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Click here to subscribeChinese monochrome watercolour painting of a galloping horse on buff paper, with calligraphic inscriptions and red seal marks, with label verso "Looking up to the sky, roaring, my aspirations are overwhelming in my heart" from a Song dynasty poem by General Yue Fei and "To Mr & Mrs Bai", 134cm x 69cm.
Frank Egginton (Irish, 1908-1990) Watercolour"Dunsoghly Castle, County Dublin", signed lower right, 37cm x 53cm Condition ReportNo obvious signs of foxing on painting, there are numerous brown spots to the inside of the glass. Possibly some minor fading or discolouration. General Wear and tear.
20th century Maltese school 'Valetta Malta', watercolour, signed indistinctly and dated 1989 lower right, 37cm x 28cmOverall wear and marks to frame, minimal foxing and signs of wear to painting itself, area with abrasions and possible repair centre right hand side and some foreign objects under glass
JULES LESSORE (FRENCH 1848-1892) 'TREGUIER', A French Breton scene depicting Cathedral Saint-Tugdual to the distance, signed bottom right, titled in pencil verso, watercolour on paper, approximate size 33cm x 45cm, later mounted framed and glazed (Condition: the painting appears to be in good condition, the frame is dented, chipped and scratched)
λ HAROLD WOOD (BRITISH 1918-2004) SUNSET, BEETHAM, WESTMORELAND Oil on panel Signed and dated 71 (lower right) signed and inscribed to label and dated 10 May 1971 to various labels (verso) 20.5 x 30.7cm (8 x 12 in.) Born in 1918, in Lancashire, Wood studied Drawing and Painting at the Harris School of Art, Preston. In 1935 he trained as a Decorative Artist with 'Leyland Paint Co.' Between1939 and 1946 Harold was in War Service in North Africa, Abyssinia and Europe. After the War he worked in London as an illustrator and model maker. He began painting full time in 1953, doing mainly one-man shows in London where he did various mural commissions. In 1947 he was commissioned to illustrate the life of Abdul Aziz al Saud, the first King of Saudi Arabia, a total of 58 paintings in watercolour, completed in 1977. Captured by the middle east Wood went on to work for the Sultan of Oman producing paintings of his Arabian horses. With a total of 285 paintings to date for the two patrons, Harold became known as 'Painter of the Arab World'. In 1980 Harold came to live in Kinsale, Ireland and later to Ballinhassig. In 1993 he discovered Connemara and, in between the Arabian commissions, fell in love with the mountains and landscape, in contrast to the endless heat and dust of the desert which occupied a great deal of his working life for over 26 years. Versatile and colourful artist, born in Preston, Lancashire, where he studied part-time at Harris Art School, 1935-9. He claimed to be "self-taught in painting"; however, in the five years to World War II he "learned much technical expertise" while working in the decorative art department at Leyland Paint & Varnish. After over six years' wartime service in the Army, including a period in Germany, Wood worked as an illustrator in London. He learned etching for two terms at the Central School of Arts and Crafts, but otherwise "spent all my spare time in the National Gallery". The early Italian masters, Oskar Kokoschka whom he met in 1954, and the writings of John Berger were key influences. For a time Wood was involved in town planning, architectural drawing and model-making, including work for Lancashire County Council, Peterlee New Town and George Wimpey.
Frederick Donald Blake RI, RSMA (Scottish, 1908-1997), Mountain Village, watercolour and pen & ink on clay coated paper, varnished, signed "F. Donal Blake" lower right, 17 ½ x 27in. (44.4 x 68.6cm.)* Provenance: The Furneaux Gallery, 23 Church Road, Wimbledon Village** Notes: The Scottish painter and designer Frederick Donald Blake was born in Greenock in 1908 but moved with his family to London when he was child and he lived in the South of England for the rest of his life. He trained at Camberwell School of Art and started work as an architectural draughtsman. Early in 1940 he was drafted into a small group of war artists producing propaganda work for the Ministry of Defence. During the war he also produced war maps and impressions of battles for the Daily Express and worked as an Air Raid Officer. It was at this time that he began to exhibit his paintings at the Royal Academy and elsewhere. After the war he worked as a freelance designer for the aircraft industry, the railways and on road safety campaigns but his passion was for painting. He perfected the use of a clay coated paper in combination with watercolour and finished the work with a coat of varnish to add depth. He also worked in oils. He was elected a member of the Royal Institute of Painters in Watercolours, the Royal Society of Marine Artists, the New English Art Club, the Chelsea Arts Club, the Wapping Group of Artists and the London Sketch Club.
AUSTON (E) Historic St. Edmundsbury, illustrated by Tom Moody, with folding map dated 1946 and the artist’s original cover drawing, together with a collection of his artwork mainly relating to Suffolk and Norfolk church interiors to include details from brasses at St. Margaret’s, King’s Lynn and Holy Trinity, Orford, a watercolour of a late medieval painting of the Doomsday, Wenhaston etc., variously signed, inscribed and dated 1946-51.
* IRENE HALLIDAY RSW (SCOTTISH b. 1931), TRAWLER I oil on board, signed, further signed and titled verso overall size 123cm x 122cm Unframed, as intended. Comment: Halliday favoured depicting fishing boats from unusual angles and "Trawler I" is an overhead view with an element of abstraction. This is a very large work for Irene Halliday and it was probably a centrepiece for a solo show. Museums & Galleries Edinburgh (City Art Centre) have "Arbroath Lobster Man" a smaller oil on board which shows a near overhead view of a fisherman in his boat. Note: Irene May Halliday was born in Kingsmuir, Scotland and attended Duncan of Jordanstone College of Art in Dundee between 1948 and 1953, studying under Alberto Morrocco. From 1956-1979 she worked at Didsury College of Education becoming Head of Art and Design. She spent an academic year as visiting Professor at State University College, Buffalo, New York State from 1972 to 1973. She left full-time teaching at Manchester Polytechnic in 1979 but continued to teach summer schools in Alston, Hull, Lancashire and Harrogate. Irene Halliday was elected to the Royal Scottish Society of Painters in Watercolour (RSW) in 1955, she has exhibited at the Royal Academy (London), the Royal Scottish Academy, the Royal Glasgow Institute of Fine Arts and elsewhere. She had several dozen solo exhibitions in England, Scotland and America. Public galleries in Edinburgh, Bolton, Dundee, Salford and elsewhere hold examples. She never moved far from "Scottish painting" and in 2002 returned to live in Arbroath inspired by the sea coast, harbours and land around her home.
* DAVID MCLEOD MARTIN RSW RGI (SCOTTISH 1922 - 2018), GULLS & HARBOUR, ANSTRUTHER pastel on paper, titled label verso image size 34cm x 52cm, overall size 50cm x 72cm Mounted, framed and under glass. Artist's label verso. Note: David sold his paintings through our auctions from time to time and was always kind, courteous and well liked. David McLeod Martin was born in Glasgow in 1922. He studied at Glasgow School of Art from 1940 to 1942 before serving in India with the Royal Air Force between 1942 and 1946. He returned to Glasgow School of Art in 1946 where he studied under David Donaldson and met his future wife, the painter Isobel Smith. After graduating from Glasgow School of Art in 1948 he pursued a career in teaching. He married Isobel in 1949 and moved to Eaglesham where he lived for the rest of his life. He was elected a member of the Royal Glasgow Institute of Fine Arts in 1959 and the Royal Scottish Society of Painters in Watercolour in 1961. Between 1973 and his retirement in 1983, David Martin was Principal Teacher of Art at Hamilton Grammar School. After his retirement from teaching he concentrated full time on his painting. Numerous highly successful solo shows in London were to follow and he continued to enjoy commercial success and critical acclaim both at home and throughout the UK for the rest of his life. David Martin was widely regarded as one of the finest still life and landscape painters of his generation and his work is held in numerous public, corporate and notable private collections including The Arts Council of Scotland, The City of Edinburgh Art Collection, Perth Museum and Art Gallery, The Dick Institute, Kilmarnock, Robert Fleming and Company Ltd, Linklaters and Paine, Lord MacFarlane, The Earl of Moray, Credit Lyonnais Bank, Warburg Asset Management and the Clydesdale Bank. A major retrospective of his work was held at Perth Museum and Art Gallery in 1999.
PABLO PICASSO (1881-1973)Femme assise et gentilhomme dated '10.11.70.' (lower right)brush, pen, India ink and wash on paper23.7 x 31.8cm (9 5/16 x 12 1/2in).Executed on 10 November 1970Footnotes:The authenticity of this work has been confirmed by Claude Picasso.ProvenancePrivate collection, France (a gift from the artist circa 1970-1973).Heinz Berggruen Collection, Paris and Berlin (acquired from the above). Anon. sale, Sotheby's, London, 9 February 2005, lot 214. Private collection, UK (acquired at the above sale).ExhibitedSan Francisco, John Berggruen Gallery, Picasso, The Berggruen Album, 4 March – 10 April 2004, no. 19 (later travelled to New York).'Every painter takes himself for Rembrandt' – Pablo PicassoFemme assise et gentilhomme is an exquisite work on paper by Pablo Picasso. Representing two of the most defining subjects of his oeuvre, the artist's model and the musketeer, this work is an iconic example from Picasso's mature period and stands testament to the artist's desire to confirm his place alongside the greatest painters of the Western art historical canon. In the final years of Picasso's life, swashbuckling seventeenth century mousquetaires occupied the artist's output. Immediately identifiable by the long pipe, broad brimmed hat and imperial moustache, the musketeer in the present work is highly evocative of Golden Age portraiture, most notably that of Rembrandt - an artist whom Picasso deeply revered. The musketeer would come to operate both as a signifier of the great Old Masters and as a psychological substitute for the artist himself.In the mid-1960s, Picasso, whilst recovering from surgery, devoured literary classics such as Shakespeare, and Alexandre Dumas' The Three Musketeers. Simultaneously, Picasso studied Otto Benesch's landmark publication of Rembrandt's drawings, as there was a revived interest in the great master on the occasion of the three hundredth anniversary of his death. Picasso grew fonder of Rembrandt's work and saw an opportunity to dive into the mind of his mighty predecessor. A projection of the Night Watch appeared on the walls of his studio, through which Picasso was able to transport himself into the adventurous world of chivalrous noblemen. Like Rembrandt, Picasso was also keen on inserting himself into his works, taking on various guises and approaching his output with a brilliant sense of wit and skill. He increasingly started to relate to the Dutch master, and throughout the final chapter of his life, Rembrandt's artistic universe remained an important source of inspiration for Picasso, as if Rembrandt was 'an all-powerful God-figure whom Picasso had to internalize before he died' (J. Richardson quoted in Late Picasso, exh. cat., Tate, London, 1988, p. 34).In Femme assise et gentilhomme, Picasso subtly disrupts the traditional power dynamics between artist and subject. The musketeer and model behold each other with an uncompromising gaze, but the imposing and elevated position of the female subject lends her a regal air, while the musketeer archetype adopts a more submissive, courtly persona. It is a subtle homage to some of Picasso's earliest works from his artist and models series, which are known to represent Rembrandt and his wife Saskia. The present work was originally part of a sketchbook containing twenty-six drawings which were executed over a period of eight days in November 1970. Completed wholly in India ink, Picasso underscores his mastery of the medium in the present work and thereby affirms his position as one of the greatest draughtsmen of the twentieth century. Alongside its art historical significance, the present work is also distinguished by an exceptional pedigree. Femme assise et gentilhomme was once owned by Heinz Berggruen, an art dealer but - most of all – a close friend to the artist and a passionate collector. He acquired Femme assise et gentilhomme from a private French collection and kept it in his personal collection until his death. Berggruen made a name for himself as a gallery owner in Paris in the post-war era. Originally born into a German-Jewish family, Berggruen lived in Berlin until his early adulthood before fleeing to the US in 1936 where he would spend nearly a decade, holding various artistic positions at public institutions and art journals. After Europe's liberation, he decided to return to the continent and settled in the French capital in 1947. He started a gallery and found his true calling as a dealer. Berggruen quickly ranked as one of the most prominent figures within Parisian artistic circles, with artists like Van Gogh, Cézanne, Matisse, Klee, Arp and Giacometti included in his stable. Picasso, however, would have more impact on Berggruen than any other and would become of great significance to the art dealer, both personally and professionally. The artist entered Berggruen's world in 1951, having already enjoyed a sixty-year long career and celebrated as one of the most famous artists alive. Introduced through their mutual friend Tristan Tzara, Berggruen met Picasso in his studio on the rue des Grands-Augustins. Berggruen recalled that 'in physical terms alone, Picasso was an impressive sight. His wonderful, clear-cut face, his magnificent, large, magnetic eyes, his stocky, athletic body – it was as if every part of him had been cast from the same mould, as if he were his own, self-created masterpiece. During our very first encounter I already found myself enchanted by this man' (H. Berggruen, Highways and Byways, Guildford, 1996, p. 184).After their first encounter, a lifelong friendship was born, and Picasso was added to Berggruen's roster of artists. It marked the beginning of a collecting journey for Berggruen, during which he found some of the finest works and collections from the artist's all-embracing oeuvre. One of the most notable collections that passed through Berggruen's hands was Gertrude Stein's collection of Blue and Rose Period works. To this day, Stein is widely regarded as the first collector to champion Picasso's work. Berggruen's gallery became a hub for American collectors and was frequently visited by influential figures such as Alfred J. Barr and Nelson Rockefeller. For Berggruen, collecting and selling often went hand in hand: 'In my days as an art dealer I was always looking for ways to perfect, enrich and consolidate my Picasso collection. Or, to put it differently, over some thirty years some of the most significant Picassos passed through my hand, and I was all too often confronted with the decision as to whether I should see or keep a drawing, a watercolour of a painting' (H. Berggruen, op. cit., p. 179).On his frequent visits to Picasso in the South of France, Berggruen would bring Picasso news 'from the big world outside' and show Picasso his latest trouvailles. Their last encounter took place in 1969, but Berggruen would remain under the great artist's spell well after that. In the span of thirty years, Berggruen amassed a profound and carefully selected body of works, spanning from the Blue Period all the way through to 1973, the year of Picasso's death: 'by consistently and persistently collecting Picasso's works, I attempted to create an impression of the cosmos of this man, who, like no other, carried within him the lebensgefühl (life-feeling) of an entire century' (H. Berggruen, op. cit., p. 184).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
SIR JAMES LAWTON WINGATE RSA (SCOTTISH 1846 - 1924),AN ORCHARD IN AUTUMNoil on canvas, signed and dated '82, titled label versoimage size 42cm x 32cm, overall size 67cm x 56cm Framed. Partial handwritten label verso.Note: Born at Kelvinhaugh near Glasgow in 1846, Wingate's career as a boy clerk in a Glasgow commercial house was overshadowed by his taking drawing lessons in the early morning before work. Ruskin's Modern Painters and Elements of Drawing were a stimulus to him, as was the Pre-Raphaelite tradition, as seen in Scotland in the paintings of Waller Paton. From pencil studies, he constructed watercolour drawings which he exhibited for the first time in 1864 at the Glasgow Fine Art Institute. The appreciation he received for his work induced him to give up all thought of a commercial career and with £70 as his savings, he went on a six months' tour of Italy (1867-68), where he studied the works of the great masters and for the first time painted directly from nature. The tour resulted in the production of about 150 watercolour drawings. After his return to Scotland he based himself in Hamilton for about five years. The neighbouring Cadzow Forest, beloved by Sam Bough and Alexander Fraser, gave him the opportunity of careful study of tree forms, of which he made excellent use in later life. He then moved on to Edinburgh, where he studied at the RSA Schools. The turning point in his career came through meeting Hugh Cameron at Comrie, in Perthshire, in the autumn of 1873. Cameron was a genial and helpful critic. Wingate sturdily defended his work as being true to fact; Cameron's reply "I feel the work to be wrong and art is not an affair of argument, it is an affair of feeling" struck him with irresistible force. In 1874 he went to Muthill, near Crieff, in Perthshire, painting rustic subject matter such as 'The Wanderers' and 'The Quoiters', which drew public attention. 'The Wanderers' ensured his election to Associate rank in the Academy. From 1880-86 he made Muthill his home and in the later years he gained full membership of the Academy. Later he moved to Colinton and afterwards to Slateford, both in the vicinity of Edinburgh and 1913 he came to the capital. Thereafter he came increasingly under the influence of William McTaggart and his style became much more free, although with the same affection for the Scottish Countryside. The sky as the source of light, treated by so many painters in a perfunctory way is with him all-important. He exhibited at the RA from 1880 but showed mainly at the RSA from 1865. He became President of the RSA in 1919, resigning shortly before his death in Edinburgh, aged 77. There are three distinct periods in Wingate's career: early, post 1873 and late career (post 1913). Collectors are most motivated by his work from the mid period (post 1873) when the artist created a superb body of work and examples from this period appear at auction infrequently. However, in the most recent Scottish Pictures Auction (27th April 2022) lot 207 "The Hayrick" dated 1883 (by Wingate) sold for £3200 (hammer). "An Orchard in Autumn" is a little smaller than "The Hayrick" but it's an exceptionally fine example of the work of Sir James Lawton Wingate at the very peak of his talent.
* HAMISH CONSTABLE PATERSON (SCOTTISH 1890 - 1955),CRUMPLED MAN AT LE PONT ROYALE, PARISwatercolour on paper, signed and dated 1926image size 21cm x 31cm, overall size 46cm x 56cm Mounted, framed and under glass. Note: The third son of the artist James Paterson, cousin of Viola Paterson and thus a member of the distinguished Scottish painting family. He was actually named James Constable Paterson but was always known as Hamish. In 1910 he began studying at Edinburgh College of Art and his talent was obvious to all. He became an officer in The Black Watch during Army service in World War I and was severely wounded. Although he eventually recovered physically, his experiences left a lasting mental mark and he suffered from "depressions" for the rest of his life. His uncle William Bell Paterson gave him a show in Bond Street (London) in 1922 which included portraits of the former Prime Minister David Lloyd George and many titled people. Hamish's talent as a portraitist was widely admired but instead of accepting lucrative commissions he chose to live in France painting landscapes. It's possible that he sought a life away from the people he knew, perhaps embarrassed by his issues. The vendor believes the crumpled figure in the foreground to be Hamish Paterson. If he's right, Paterson depicts himself as a lonely and forlorn figure with his back turned to the spectacular view and the nearby Louvre. Although his work continued to be exhibited at the RSA regularly until 1949, many of these pictures were loaned by friends, fellow artists or collectors. His pictures were also shown at the RSW, RA, Royal Glasgow Institute and was included in "The Paterson Family" at Belgrave Gallery (London) in 1977. He retained lifelong friendships with some of the Kirkcudbright group including W.O. Hutchison, Robert Sivell and Mac Fleming. It seems Hamish Paterson largely financed his life in France with the sales of his pictures there and he only returned to the family home at Moniaive (Dumfriesshire) a couple of years before his death. Hamish Paterson's war experiences had a dramatic impact on the rest of his life but his watercolours show the influences and qualities which brought his father such success and had Hamish felt able to remain in Scotland, it's likely that his reputation in his own country would have better matched his abilities and talent.
* ANNE REDPATH OBE RSA ARA (SCOTTISH 1895 - 1965),STILL LIFE WITH FLOWERS FRUITS AND VEGETABLES watercolour on paper, signedimage size 39cm x 54cm, overall size 65.5cm x 78.5cm Mounted, framed and under glass.Note: Anne was born in Galashiels, the daughter of a tweed designer (she later described how she used flecks of colour in a manner similar to tweed makers: ‘I do with a spot of red or yellow in a harmony of grey, what my father did in his tweed’). In 1913 she studied at Edinburgh College of Art and in 1920 she married James Beattie Michie, an architect with the War Graves Commission in France, where they lived for the next fourteen years. During this time she did little painting, devoting herself to her family (she had three sons). In 1934 she returned to Scotland, living first in Hawick and then from 1949 in Edinburgh (she became gradually estranged from her husband, who worked in London). From the 1950s she attained a distinguished position in the Scottish art world and was awarded various honours. Her main subjects were landscapes and still-lifes, richly coloured and broadly handled in the tradition of the Scottish Colourists (in her later work there is sometimes a hint of Expressionism). She travelled a good deal, painting landscapes in, for example, Spain and Portugal. Redpath retains a position as one of the most highly regarded Scottish artists of the twentieth century and UK public collections hold one hundred and sixteen examples of her work.
EDWARD ARTHUR WALTON RSA PRSW (SCOTTISH 1860 - 1922),EDWARDIAN LADYoil on board, signedimage size 60cm x 45cm (oval), overall size 67cm x 52cm (oval) Framed. Note: Edward was one of twelve children of Jackson Walton, a Manchester commission agent and a competent painter and photographer. Some of Edward's siblings were well known in their time - his brother George Henry Walton (1867-1933) was a noted architect, furniture designer and stained glass designer, Constance Walton was an acclaimed botanical painter, while Helen Walton, born 1850, was a decorative artist who studied at the Glasgow Government School of Design and was artistic mentor to the family. Walton enjoyed his art training at the Kunstakademie Düsseldorf and then at the Glasgow School of Art. He was a close friend of Joseph Crawhall (Walton's brother Richard having married Judith Crawhall in 1878) George Henry and James Guthrie and lived in Glasgow until 1894 where he became part of the Glasgow School or Glasgow Boys, all of whom were great admirers of Whistler. Their favourite painting haunts were in the Trossachs and at Crowland in Lincolnshire. In 1883 Walton joined Guthrie, who had taken a house in the Berwickshire village of Cockburnspath. He also produced a remarkable set of watercolours in Helensburgh in 1883, showing the affluent suburb and its decorous people. These images are regarded as some of the finest of the Glasgow School and praised for their clarity, colour and strong decorative sense. Carrying out portrait commissions became Walton's main source of income. In the 1880s and 1890s he painted murals in the main building of the Glasgow International Exhibition of 1888 and other buildings in the city. Walton also attended painting classes at the Glasgow studio of W. Y. Macgregor, one of the central figures of the Glasgow School. Walton exhibited from 1880 in both Glasgow, at the Royal Glasgow Institute of Fine Arts, and Edinburgh, at the Royal Scottish Academy, being elected an associate of the Academy in 1889 and a full member in 1905. He was in London from 1894 until 1904, living in Cheyne Walk in Chelsea, and a neighbour of Whistler and John Lavery. While in London, Walton often painted in Suffolk, spending summers at the Old Vicarage in Wenhaston. Here he painted pastoral scenes in oil and watercolour, the latter often on buff paper with creative interplay between paper and paint. He used extensive underpainting in his oils, thereby creating subtle effects. In 1907 he accompanied Guthrie on a painting trip to Algiers and Spain and in 1913 worked in Belgium. The World War I years led to his discovering Galloway and he became a frequent visitor to the area. From 1915 he served as President of the Royal Scottish Water Colour Society. Walton married the artist Helen Law (née Henderson) after becoming engaged on 29 November 1889. Helen gave up her painting career in order to tend to their family. Their son John (1895-1971), became Regius Professor of Botany at the University of Glasgow. Their daughter Cecile (1891-1956), was a successful painter, sculptor and illustrator in Edinburgh. Their youngest daughter Margery married William Oliphant Hutchison in 1918. Sixty eight of his paintings are held in UK public collections including Glasgow Museums & Galleries.
ROBERT GEMMELL HUTCHISON RSA RBA ROI RSW (SCOTTISH 1855 - 1936),CARNOUSTIEoil on board, signedimage size 22cm x 29cm, overall size 35cm x 42cm Framed.Note: Robert Gemmell Hutchison was born at 35, North Richmond Street, Edinburgh on 1st July 1855. He was the first child of George Hutchison, a brass founder, and his wife Margaret Forman. Soon after his birth, the family moved to 37, Carrubbers Close, Canongate. It is not recorded which school Robert attended but he did not enjoy the experience! He was described as “scraping from class to class with as little work as possible, and, as soon as he could, leaving it gladly”. From the census of 1871, the family was still at 37, Carrubbers Close and had increased to seven; three sons and four daughters. With encouragement from his mother of whom he “always speaks with great reverence”, he was determined to become an artist and aged 17, enrolled at the Board of Manufacturers` School of Art in Edinburgh (also called the Trustees Academy). One of his instructors here was William McTaggart. He also attended the Royal Scottish Academy (RSA) Schools. At this time, he received valuable advice and help from the artist J. Campbell Noble RSA and thus encouraged, he sent some of his paintings to the RSA Annual Exhibitions. After several rejections, he was eventually successful in 1878 when he had three small landscapes exhibited: Youthful Labour, Quiet Pastures and A Country Well. One of these was bought by the Royal Association for the Promotion of the Fine Arts in Scotland and for which Hutchison received the sum of six guineas. He submitted the paintings from his studio at 1, India Buildings, Edinburgh. On 24th June 1879, Robert aged 23, married Janet Boe who was 21 and the daughter of a grocer in Biggar. The marriage took place at 4, Morningside Park, Edinburgh. On the marriage certificate he listed his occupation as “artist (figure painter)” and his address as 38, Jamaica Street, Edinburgh. The couple had nine children only five of whom survived infancy. These were four daughters; Jane (1880-1956), Marion Maud (1887-1963), Roberta Louise (1889-1966), Ann Carr Forman (1893-1978) and a son, George Jackson Hutchison who was born in 1895. After a period spent painting landscapes along the Fife coast, Robert began to specialise in scenes of Scottish rural life especially those involving children and in the year after his marriage, he had a painting The Empty Cradle exhibited at the Royal Academy (RA) in London. His studio was now at 53, George Street, Edinburgh. There followed five exhibits at the RA over the next decade. He continued to exhibit annually at the RSA and in 1886 was awarded a prize for his painting Boys Guddling Trout. From 1888 onwards he also exhibited at the Royal Glasgow Institute. At the 1891 Census he was an “artist, figure and portrait”, living at 4, Melville Place, Edinburgh with his wife and four daughters. His son George was born at the same address four years later. He began to paint and exhibit widely throughout Britain. A favourite location was Carnoustie in Angus where he had a house, “Coral Den”, in William Street. He also painted at Machrihanish, at Musselburgh and on the Farne Islands. Robert was elected to many prestigious institutions throughout the British Isles including the Royal Scottish Society of Painters in Watercolour, (RSW) in 1895, the Royal Society of British Artists (RBA), 1896, the Royal Institute of Oil Painters (ROI), and Associate of the Royal Scottish Academy (ARSA) in 1901. In 1903 he exhibited a work Bairnies Cuddle Doon at the Paris Salon. He was awarded a gold medal and the painting was purchased by the Scottish Modern Arts Association. He was awarded a second gold medal at the Paris Salon Exhibition of 1928 for his painting The White Seam. This was bought by Paisley Corporation and is now at the Paisley Museum and Art Gallery. Hutchison was elected to full membership of the RSA in 1911, replacing William McTaggart who had died the previous year. Several examples of Gemmell Hutchison's paintings have sold at auction in recent years for figures over and around £100,000. He retains his position as one of Scotland's best loved artists of the late 19th and early 20th century.
* JEKA KEMP (SCOTTISH 1876 - 1967),BELLAGIOwatercolour on paper, signed, titled and dated 1908image size 16cm x 23cm, overall size 31cm x 37cm Mounted, framed and under glass.Note: Jeka Kemp was born in Bellahouston, Glasgow where she began her artistic training before continuing in London and later at the Academie Julian in Paris between the years 1903-4. Kemp had her first solo exhibition in Scotland around the year 1907 and is known to have exhibited at the Macindoe’s Gallery in Glasgow regularly between 1910 to 1914. Kemp lived in Paris at 49 Boulevard Montparnasse and in 1922 her "La Liseuse" was catalogued as painting number 1 in Le Salon D'Automne and for a prolonged period, she was regularly exhibiting and socialising with many of the titans of European 20th-century art. La Liseuse was sold again at John Nicholson's (Surrey) lot 422 31.10.2018 for £1600 and in 2006 "French Harbour Scene" a small watercolour was sold at Lyon & Turnbull (Edinburgh) for £1900 (lot 1, 26.05.2006) Kemp's reputation was recognised internationally, and her work was bought by the French Government on several occasions and this interest encouraged the artist to exhibit at the Marcel Bernheim in Paris and the Galerie de la Librairie de la Press in Nantes. Kemp also continued to exhibit in her native Scotland throughout her career. Her work is held in a number of eminent private collections across Europe.
David Cox Snr. O.W.S. (British, 1783-1859)A towpath and travellerSigned and dated 'David Cox 1836' (lower left) Watercolour 17 x 23cm (6 11/16 x 9 1/16in).Footnotes:David Cox (senior) was one of the founders of the British school of watercolour painting. A generation of artists, including Turner, Constable, Thomas Girtin, John Sell Cotman, Peter De Wint, John Varley and David Cox created a direct and immediate style which conveyed their personal responses to the scenery they painted. This is regarded as one of Britain's most important contributions to visual art.In the autumn of 1814 David Cox took up a position as drawing master at Miss Croucher's School for Young Ladies in Hereford. In Hereford, Cox reached artistic maturity and some financial stability. His teaching commitments were not onerous, enabling him to explore the surrounding countryside and take private pupils. Cox's arrival in Hereford corresponds almost exactly with that of John Arkwright (1785-1858, grandson of Sir Richard 1732-1792) who asked his father for permission to reside at Hampton Court in 1814, four years after his father had bought the estate. He moved from Derbyshire to Herefordshire soon after that date. Given that Cox went on to teach in Leominster immediately north of Hampton Court, and that Turner had painted Hampton Court in the 1790s, it is most likely that Cox would have wanted, at the very least, to visit as he passed so close by and to see for himself the views that Turner had captured. Cox and his family left Hereford for London in 1827. Watercolour paintings by David Cox (presumably at least some of those in this sale) are mentioned in surviving Arkwright correspondence. John Arkwright's eldest son, John H 'Jonny' Arkwright seems to have had an interest in acquiring some of Cox's work in 1859, the year after he had inherited Hampton Court. In 1859, Jonny's widowed mother, Sarah Arkwright wrote to him from Gwernvale, near Glanusk to commiserate with him at the loss of David Cox's pictures but she was sure he would get some others one day. It appears that Johnny had been trying to purchase some pictures by Cox and had perhaps been an underbidder.Sarah Arkwright took her younger children to North Wales on holiday after their father's death (the trip in September-October 1858 included Caernarvon, Llanberis and Beaumaris). If scenes painted by Cox were bought by the Arkwrights, it is no surprise that North Wales should feature prominently.On 19th May 1876, Johnny wrote to his wife Lucy 'I have got all the Coxs on the Morning Room wall even yours & they look very fine.' It is most likely that Jonny is referring to the Cox pictures offered in the forthcoming sale. The mention of Lucy having paintings by Cox is interesting. Lucy (c1840-1904) was nee Davenport of the Foxley estate, Herefordshire, famous for its connections with Uvedale Price (from whom Lucy's father bought the estate in 1856) and the Picturesque landscape movement. Lucy was a good amateur artist and it may well be that Cox painted some scenes around Foxley or Yazor, and that her family acquired some, which Lucy (having a particular interest in painting) took with her to Hampton Court upon her marriage in 1866.With thanks to Catherine Beale for her historical guidance and research with this lot.For further information on this lot please visit Bonhams.com
David Cox Snr. O.W.S. (British, 1783-1859)A Welsh church and churchyardWatercolour and pencil 27 x 37cm (10 5/8 x 14 9/16in).Footnotes:David Cox (senior) was one of the founders of the British school of watercolour painting. A generation of artists, including Turner, Constable, Thomas Girtin, John Sell Cotman, Peter De Wint, John Varley and David Cox created a direct and immediate style which conveyed their personal responses to the scenery they painted. This is regarded as one of Britain's most important contributions to visual art.In the autumn of 1814 David Cox took up a position as drawing master at Miss Croucher's School for Young Ladies in Hereford. In Hereford, Cox reached artistic maturity and some financial stability. His teaching commitments were not onerous, enabling him to explore the surrounding countryside and take private pupils. Cox's arrival in Hereford corresponds almost exactly with that of John Arkwright (1785-1858, grandson of Sir Richard 1732-1792) who asked his father for permission to reside at Hampton Court in 1814, four years after his father had bought the estate. He moved from Derbyshire to Herefordshire soon after that date. Given that Cox went on to teach in Leominster immediately north of Hampton Court, and that Turner had painted Hampton Court in the 1790s, it is most likely that Cox would have wanted, at the very least, to visit as he passed so close by and to see for himself the views that Turner had captured. Cox and his family left Hereford for London in 1827. Watercolour paintings by David Cox (presumably at least some of those in this sale) are mentioned in surviving Arkwright correspondence. John Arkwright's eldest son, John H 'Jonny' Arkwright seems to have had an interest in acquiring some of Cox's work in 1859, the year after he had inherited Hampton Court. In 1859, Jonny's widowed mother, Sarah Arkwright wrote to him from Gwernvale, near Glanusk to commiserate with him at the loss of David Cox's pictures but she was sure he would get some others one day. It appears that Johnny had been trying to purchase some pictures by Cox and had perhaps been an underbidder.Sarah Arkwright took her younger children to North Wales on holiday after their father's death (the trip in September-October 1858 included Caernarvon, Llanberis and Beaumaris). If scenes painted by Cox were bought by the Arkwrights, it is no surprise that North Wales should feature prominently.On 19th May 1876, Johnny wrote to his wife Lucy 'I have got all the Coxs on the Morning Room wall even yours & they look very fine.' It is most likely that Jonny is referring to the Cox pictures offered in the forthcoming sale. The mention of Lucy having paintings by Cox is interesting. Lucy (c1840-1904) was nee Davenport of the Foxley estate, Herefordshire, famous for its connections with Uvedale Price (from whom Lucy's father bought the estate in 1856) and the Picturesque landscape movement. Lucy was a good amateur artist and it may well be that Cox painted some scenes around Foxley or Yazor, and that her family acquired some, which Lucy (having a particular interest in painting) took with her to Hampton Court upon her marriage in 1866.With thanks to Catherine Beale for her historical guidance and research with this lot.For further information on this lot please visit Bonhams.com
David Cox Snr. O.W.S. (British, 1783-1859)Chepstow Castle and the River Wye, a studyWatercolour 24 x 32cm (9 7/16 x 12 5/8in).Footnotes:David Cox (senior) was one of the founders of the British school of watercolour painting. A generation of artists, including Turner, Constable, Thomas Girtin, John Sell Cotman, Peter De Wint, John Varley and David Cox created a direct and immediate style which conveyed their personal responses to the scenery they painted. This is regarded as one of Britain's most important contributions to visual art.In the autumn of 1814 David Cox took up a position as drawing master at Miss Croucher's School for Young Ladies in Hereford. In Hereford, Cox reached artistic maturity and some financial stability. His teaching commitments were not onerous, enabling him to explore the surrounding countryside and take private pupils. Cox's arrival in Hereford corresponds almost exactly with that of John Arkwright (1785-1858, grandson of Sir Richard 1732-1792) who asked his father for permission to reside at Hampton Court in 1814, four years after his father had bought the estate. He moved from Derbyshire to Herefordshire soon after that date. Given that Cox went on to teach in Leominster immediately north of Hampton Court, and that Turner had painted Hampton Court in the 1790s, it is most likely that Cox would have wanted, at the very least, to visit as he passed so close by and to see for himself the views that Turner had captured. Cox and his family left Hereford for London in 1827. Watercolour paintings by David Cox (presumably at least some of those in this sale) are mentioned in surviving Arkwright correspondence. John Arkwright's eldest son, John H 'Jonny' Arkwright seems to have had an interest in acquiring some of Cox's work in 1859, the year after he had inherited Hampton Court. In 1859, Jonny's widowed mother, Sarah Arkwright wrote to him from Gwernvale, near Glanusk to commiserate with him at the loss of David Cox's pictures but she was sure he would get some others one day. It appears that Johnny had been trying to purchase some pictures by Cox and had perhaps been an underbidder.Sarah Arkwright took her younger children to North Wales on holiday after their father's death (the trip in September-October 1858 included Caernarvon, Llanberis and Beaumaris). If scenes painted by Cox were bought by the Arkwrights, it is no surprise that North Wales should feature prominently.On 19th May 1876, Johnny wrote to his wife Lucy 'I have got all the Coxs on the Morning Room wall even yours & they look very fine.' It is most likely that Jonny is referring to the Cox pictures offered in the forthcoming sale. The mention of Lucy having paintings by Cox is interesting. Lucy (c1840-1904) was nee Davenport of the Foxley estate, Herefordshire, famous for its connections with Uvedale Price (from whom Lucy's father bought the estate in 1856) and the Picturesque landscape movement. Lucy was a good amateur artist and it may well be that Cox painted some scenes around Foxley or Yazor, and that her family acquired some, which Lucy (having a particular interest in painting) took with her to Hampton Court upon her marriage in 1866.With thanks to Catherine Beale for her historical guidance and research with this lot.For further information on this lot please visit Bonhams.com
David Cox Snr. O.W.S. (British, 1783-1859)Country scene with figures and cattle beside a thatched cottageSigned and dated 1837 (lower centre) Watercolour with touches of bodycolour 20 x 28cm (7 7/8 x 11in).Footnotes:David Cox (senior) was one of the founders of the British school of watercolour painting. A generation of artists, including Turner, Constable, Thomas Girtin, John Sell Cotman, Peter De Wint, John Varley and David Cox created a direct and immediate style which conveyed their personal responses to the scenery they painted. This is regarded as one of Britain's most important contributions to visual art.In the autumn of 1814 David Cox took up a position as drawing master at Miss Croucher's School for Young Ladies in Hereford. In Hereford, Cox reached artistic maturity and some financial stability. His teaching commitments were not onerous, enabling him to explore the surrounding countryside and take private pupils. Cox's arrival in Hereford corresponds almost exactly with that of John Arkwright (1785-1858, grandson of Sir Richard 1732-1792) who asked his father for permission to reside at Hampton Court in 1814, four years after his father had bought the estate. He moved from Derbyshire to Herefordshire soon after that date. Given that Cox went on to teach in Leominster immediately north of Hampton Court, and that Turner had painted Hampton Court in the 1790s, it is most likely that Cox would have wanted, at the very least, to visit as he passed so close by and to see for himself the views that Turner had captured. Cox and his family left Hereford for London in 1827. Watercolour paintings by David Cox (presumably at least some of those in this sale) are mentioned in surviving Arkwright correspondence. John Arkwright's eldest son, John H 'Jonny' Arkwright seems to have had an interest in acquiring some of Cox's work in 1859, the year after he had inherited Hampton Court. In 1859, Jonny's widowed mother, Sarah Arkwright wrote to him from Gwernvale, near Glanusk to commiserate with him at the loss of David Cox's pictures but she was sure he would get some others one day. It appears that Johnny had been trying to purchase some pictures by Cox and had perhaps been an underbidder.Sarah Arkwright took her younger children to North Wales on holiday after their father's death (the trip in September-October 1858 included Caernarvon, Llanberis and Beaumaris). If scenes painted by Cox were bought by the Arkwrights, it is no surprise that North Wales should feature prominently.On 19th May 1876, Johnny wrote to his wife Lucy 'I have got all the Coxs on the Morning Room wall even yours & they look very fine.' It is most likely that Jonny is referring to the Cox pictures offered in the forthcoming sale. The mention of Lucy having paintings by Cox is interesting. Lucy (c1840-1904) was nee Davenport of the Foxley estate, Herefordshire, famous for its connections with Uvedale Price (from whom Lucy's father bought the estate in 1856) and the Picturesque landscape movement. Lucy was a good amateur artist and it may well be that Cox painted some scenes around Foxley or Yazor, and that her family acquired some, which Lucy (having a particular interest in painting) took with her to Hampton Court upon her marriage in 1866.With thanks to Catherine Beale for her historical guidance and research.For further information on this lot please visit Bonhams.com
David Cox Snr. O.W.S. (British, 1783-1859)A stream, two children on the rocky banks and wooded hillside, autumnIndistinctly dated (lower left) Watercolour and pencil 27 x 41cm (10 5/8 x 16 1/8in).Footnotes:David Cox (senior) was one of the founders of the British school of watercolour painting. A generation of artists, including Turner, Constable, Thomas Girtin, John Sell Cotman, Peter De Wint, John Varley and David Cox created a direct and immediate style which conveyed their personal responses to the scenery they painted. This is regarded as one of Britain's most important contributions to visual art.In the autumn of 1814 David Cox took up a position as drawing master at Miss Croucher's School for Young Ladies in Hereford. In Hereford, Cox reached artistic maturity and some financial stability. His teaching commitments were not onerous, enabling him to explore the surrounding countryside and take private pupils. Cox's arrival in Hereford corresponds almost exactly with that of John Arkwright (1785-1858, grandson of Sir Richard 1732-1792) who asked his father for permission to reside at Hampton Court in 1814, four years after his father had bought the estate. He moved from Derbyshire to Herefordshire soon after that date. Given that Cox went on to teach in Leominster immediately north of Hampton Court, and that Turner had painted Hampton Court in the 1790s, it is most likely that Cox would have wanted, at the very least, to visit as he passed so close by and to see for himself the views that Turner had captured. Cox and his family left Hereford for London in 1827. Watercolour paintings by David Cox (presumably at least some of those in this sale) are mentioned in surviving Arkwright correspondence. John Arkwright's eldest son, John H 'Jonny' Arkwright seems to have had an interest in acquiring some of Cox's work in 1859, the year after he had inherited Hampton Court. In 1859, Jonny's widowed mother, Sarah Arkwright wrote to him from Gwernvale, near Glanusk to commiserate with him at the loss of David Cox's pictures but she was sure he would get some others one day. It appears that Johnny had been trying to purchase some pictures by Cox and had perhaps been an underbidder.Sarah Arkwright took her younger children to North Wales on holiday after their father's death (the trip in September-October 1858 included Caernarvon, Llanberis and Beaumaris). If scenes painted by Cox were bought by the Arkwrights, it is no surprise that North Wales should feature prominently.On 19th May 1876, Johnny wrote to his wife Lucy 'I have got all the Coxs on the Morning Room wall even yours & they look very fine.' It is most likely that Jonny is referring to the Cox pictures offered in the forthcoming sale. The mention of Lucy having paintings by Cox is interesting. Lucy (c1840-1904) was nee Davenport of the Foxley estate, Herefordshire, famous for its connections with Uvedale Price (from whom Lucy's father bought the estate in 1856) and the Picturesque landscape movement. Lucy was a good amateur artist and it may well be that Cox painted some scenes around Foxley or Yazor, and that her family acquired some, which Lucy (having a particular interest in painting) took with her to Hampton Court upon her marriage in 1866.With thanks to Catherine Beale for her historical guidance and research with this lot.For further information on this lot please visit Bonhams.com
David Cox Snr. O.W.S. (British, 1783-1859)On the Welsh coast in a calmWatercolour 24 x 35cm (9 7/16 x 13 3/4in).Footnotes:David Cox (senior) was one of the founders of the British school of watercolour painting. A generation of artists, including Turner, Constable, Thomas Girtin, John Sell Cotman, Peter De Wint, John Varley and David Cox created a direct and immediate style which conveyed their personal responses to the scenery they painted. This is regarded as one of Britain's most important contributions to visual art.In the autumn of 1814 David Cox took up a position as drawing master at Miss Croucher's School for Young Ladies in Hereford. In Hereford, Cox reached artistic maturity and some financial stability. His teaching commitments were not onerous, enabling him to explore the surrounding countryside and take private pupils. Cox's arrival in Hereford corresponds almost exactly with that of John Arkwright (1785-1858, grandson of Sir Richard 1732-1792) who asked his father for permission to reside at Hampton Court in 1814, four years after his father had bought the estate. He moved from Derbyshire to Herefordshire soon after that date. Given that Cox went on to teach in Leominster immediately north of Hampton Court, and that Turner had painted Hampton Court in the 1790s, it is most likely that Cox would have wanted, at the very least, to visit as he passed so close by and to see for himself the views that Turner had captured. Cox and his family left Hereford for London in 1827. Watercolour paintings by David Cox (presumably at least some of those in this sale) are mentioned in surviving Arkwright correspondence. John Arkwright's eldest son, John H 'Jonny' Arkwright seems to have had an interest in acquiring some of Cox's work in 1859, the year after he had inherited Hampton Court. In 1859, Jonny's widowed mother, Sarah Arkwright wrote to him from Gwernvale, near Glanusk to commiserate with him at the loss of David Cox's pictures but she was sure he would get some others one day. It appears that Johnny had been trying to purchase some pictures by Cox and had perhaps been an underbidder.Sarah Arkwright took her younger children to North Wales on holiday after their father's death (the trip in September-October 1858 included Caernarvon, Llanberis and Beaumaris). If scenes painted by Cox were bought by the Arkwrights, it is no surprise that North Wales should feature prominently.On 19th May 1876, Johnny wrote to his wife Lucy 'I have got all the Coxs on the Morning Room wall even yours & they look very fine.' It is most likely that Jonny is referring to the Cox pictures offered in the forthcoming sale. The mention of Lucy having paintings by Cox is interesting. Lucy (c1840-1904) was nee Davenport of the Foxley estate, Herefordshire, famous for its connections with Uvedale Price (from whom Lucy's father bought the estate in 1856) and the Picturesque landscape movement. Lucy was a good amateur artist and it may well be that Cox painted some scenes around Foxley or Yazor, and that her family acquired some, which Lucy (having a particular interest in painting) took with her to Hampton Court upon her marriage in 1866.With thanks to Catherine Beale for her historical guidance and research with this lot.For further information on this lot please visit Bonhams.com
David Cox Snr. O.W.S. (British, 1783-1859)The ancient yew tree, Beddgelert churchyardWatercolour and stump 27 x 37cm (10 5/8 x 14 9/16in).Footnotes:David Cox (senior) was one of the founders of the British school of watercolour painting. A generation of artists, including Turner, Constable, Thomas Girtin, John Sell Cotman, Peter De Wint, John Varley and David Cox created a direct and immediate style which conveyed their personal responses to the scenery they painted. This is regarded as one of Britain's most important contributions to visual art.In the autumn of 1814 David Cox took up a position as drawing master at Miss Croucher's School for Young Ladies in Hereford. In Hereford, Cox reached artistic maturity and some financial stability. His teaching commitments were not onerous, enabling him to explore the surrounding countryside and take private pupils. Cox's arrival in Hereford corresponds almost exactly with that of John Arkwright (1785-1858, grandson of Sir Richard 1732-1792) who asked his father for permission to reside at Hampton Court in 1814, four years after his father had bought the estate. He moved from Derbyshire to Herefordshire soon after that date. Given that Cox went on to teach in Leominster immediately north of Hampton Court, and that Turner had painted Hampton Court in the 1790s, it is most likely that Cox would have wanted, at the very least, to visit as he passed so close by and to see for himself the views that Turner had captured. Cox and his family left Hereford for London in 1827. Watercolour paintings by David Cox (presumably at least some of those in this sale) are mentioned in surviving Arkwright correspondence. John Arkwright's eldest son, John H 'Jonny' Arkwright seems to have had an interest in acquiring some of Cox's work in 1859, the year after he had inherited Hampton Court. In 1859, Jonny's widowed mother, Sarah Arkwright wrote to him from Gwernvale, near Glanusk to commiserate with him at the loss of David Cox's pictures but she was sure he would get some others one day. It appears that Johnny had been trying to purchase some pictures by Cox and had perhaps been an underbidder.Sarah Arkwright took her younger children to North Wales on holiday after their father's death (the trip in September-October 1858 included Caernarvon, Llanberis and Beaumaris). If scenes painted by Cox were bought by the Arkwrights, it is no surprise that North Wales should feature prominently.On 19th May 1876, Johnny wrote to his wife Lucy 'I have got all the Coxs on the Morning Room wall even yours & they look very fine.' It is most likely that Jonny is referring to the Cox pictures offered in the forthcoming sale. The mention of Lucy having paintings by Cox is interesting. Lucy (c1840-1904) was nee Davenport of the Foxley estate, Herefordshire, famous for its connections with Uvedale Price (from whom Lucy's father bought the estate in 1856) and the Picturesque landscape movement. Lucy was a good amateur artist and it may well be that Cox painted some scenes around Foxley or Yazor, and that her family acquired some, which Lucy (having a particular interest in painting) took with her to Hampton Court upon her marriage in 1866.With thanks to Catherine Beale for her historical guidance and research with this lot.For further information on this lot please visit Bonhams.com
David Cox Snr. O.W.S. (British, 1783-1859)Rock, arched bridge and trees on a windswept dayWatercolour 27 x 36cm (10 5/8 x 14 3/16in).Footnotes:David Cox (senior) was one of the founders of the British school of watercolour painting. A generation of artists, including Turner, Constable, Thomas Girtin, John Sell Cotman, Peter De Wint, John Varley and David Cox created a direct and immediate style which conveyed their personal responses to the scenery they painted. This is regarded as one of Britain's most important contributions to visual art.In the autumn of 1814 David Cox took up a position as drawing master at Miss Croucher's School for Young Ladies in Hereford. In Hereford, Cox reached artistic maturity and some financial stability. His teaching commitments were not onerous, enabling him to explore the surrounding countryside and take private pupils. Cox's arrival in Hereford corresponds almost exactly with that of John Arkwright (1785-1858, grandson of Sir Richard 1732-1792) who asked his father for permission to reside at Hampton Court in 1814, four years after his father had bought the estate. He moved from Derbyshire to Herefordshire soon after that date. Given that Cox went on to teach in Leominster immediately north of Hampton Court, and that Turner had painted Hampton Court in the 1790s, it is most likely that Cox would have wanted, at the very least, to visit as he passed so close by and to see for himself the views that Turner had captured. Cox and his family left Hereford for London in 1827. Watercolour paintings by David Cox (presumably at least some of those in this sale) are mentioned in surviving Arkwright correspondence. John Arkwright's eldest son, John H 'Jonny' Arkwright seems to have had an interest in acquiring some of Cox's work in 1859, the year after he had inherited Hampton Court. In 1859, Jonny's widowed mother, Sarah Arkwright wrote to him from Gwernvale, near Glanusk to commiserate with him at the loss of David Cox's pictures but she was sure he would get some others one day. It appears that Johnny had been trying to purchase some pictures by Cox and had perhaps been an underbidder.Sarah Arkwright took her younger children to North Wales on holiday after their father's death (the trip in September-October 1858 included Caernarvon, Llanberis and Beaumaris). If scenes painted by Cox were bought by the Arkwrights, it is no surprise that North Wales should feature prominently.On 19th May 1876, Johnny wrote to his wife Lucy 'I have got all the Coxs on the Morning Room wall even yours & they look very fine.' It is most likely that Jonny is referring to the Cox pictures offered in the forthcoming sale. The mention of Lucy having paintings by Cox is interesting. Lucy (c1840-1904) was nee Davenport of the Foxley estate, Herefordshire, famous for its connections with Uvedale Price (from whom Lucy's father bought the estate in 1856) and the Picturesque landscape movement. Lucy was a good amateur artist and it may well be that Cox painted some scenes around Foxley or Yazor, and that her family acquired some, which Lucy (having a particular interest in painting) took with her to Hampton Court upon her marriage in 1866.With thanks to Catherine Beale for her historical guidance and research with this lot.For further information on this lot please visit Bonhams.com
David Cox Snr. O.W.S. (British, 1783-1859)Man by a riverside, Wales, thought to be Aberglaslyn PassWatercolour and pencil 27 x 38cm (10 5/8 x 14 15/16in).Footnotes:David Cox (senior) was one of the founders of the British school of watercolour painting. A generation of artists, including Turner, Constable, Thomas Girtin, John Sell Cotman, Peter De Wint, John Varley and David Cox created a direct and immediate style which conveyed their personal responses to the scenery they painted. This is regarded as one of Britain's most important contributions to visual art.In the autumn of 1814 David Cox took up a position as drawing master at Miss Croucher's School for Young Ladies in Hereford. In Hereford, Cox reached artistic maturity and some financial stability. His teaching commitments were not onerous, enabling him to explore the surrounding countryside and take private pupils. Cox's arrival in Hereford corresponds almost exactly with that of John Arkwright (1785-1858, grandson of Sir Richard 1732-1792) who asked his father for permission to reside at Hampton Court in 1814, four years after his father had bought the estate. He moved from Derbyshire to Herefordshire soon after that date. Given that Cox went on to teach in Leominster immediately north of Hampton Court, and that Turner had painted Hampton Court in the 1790s, it is most likely that Cox would have wanted, at the very least, to visit as he passed so close by and to see for himself the views that Turner had captured. Cox and his family left Hereford for London in 1827. Watercolour paintings by David Cox (presumably at least some of those in this sale) are mentioned in surviving Arkwright correspondence. John Arkwright's eldest son, John H 'Jonny' Arkwright seems to have had an interest in acquiring some of Cox's work in 1859, the year after he had inherited Hampton Court. In 1859, Jonny's widowed mother, Sarah Arkwright wrote to him from Gwernvale, near Glanusk to commiserate with him at the loss of David Cox's pictures but she was sure he would get some others one day. It appears that Johnny had been trying to purchase some pictures by Cox and had perhaps been an underbidder.Sarah Arkwright took her younger children to North Wales on holiday after their father's death (the trip in September-October 1858 included Caernarvon, Llanberis and Beaumaris). If scenes painted by Cox were bought by the Arkwrights, it is no surprise that North Wales should feature prominently.On 19th May 1876, Johnny wrote to his wife Lucy 'I have got all the Coxs on the Morning Room wall even yours & they look very fine.' It is most likely that Jonny is referring to the Cox pictures offered in the forthcoming sale. The mention of Lucy having paintings by Cox is interesting. Lucy (c1840-1904) was nee Davenport of the Foxley estate, Herefordshire, famous for its connections with Uvedale Price (from whom Lucy's father bought the estate in 1856) and the Picturesque landscape movement. Lucy was a good amateur artist and it may well be that Cox painted some scenes around Foxley or Yazor, and that her family acquired some, which Lucy (having a particular interest in painting) took with her to Hampton Court upon her marriage in 1866.With thanks to Catherine Beale for her historical guidance and research with this lot.For further information on this lot please visit Bonhams.com
David Cox Snr. O.W.S. (British, 1783-1859)Wind blown trees, with another painting on the reverse, landscape, Watercolour, in a double sided frame 64 x 44cm (25 3/16 x 17 5/16in).Together with another, a Snowdonia mountain landscape by another hand (2)Footnotes:David Cox (senior) was one of the founders of the British school of watercolour painting. A generation of artists, including Turner, Constable, Thomas Girtin, John Sell Cotman, Peter De Wint, John Varley and David Cox created a direct and immediate style which conveyed their personal responses to the scenery they painted. This is regarded as one of Britain's most important contributions to visual art.In the autumn of 1814 David Cox took up a position as drawing master at Miss Croucher's School for Young Ladies in Hereford. In Hereford, Cox reached artistic maturity and some financial stability. His teaching commitments were not onerous, enabling him to explore the surrounding countryside and take private pupils. Cox's arrival in Hereford corresponds almost exactly with that of John Arkwright (1785-1858, grandson of Sir Richard 1732-1792) who asked his father for permission to reside at Hampton Court in 1814, four years after his father had bought the estate. He moved from Derbyshire to Herefordshire soon after that date. Given that Cox went on to teach in Leominster immediately north of Hampton Court, and that Turner had painted Hampton Court in the 1790s, it is most likely that Cox would have wanted, at the very least, to visit as he passed so close by and to see for himself the views that Turner had captured. Cox and his family left Hereford for London in 1827. Watercolour paintings by David Cox (presumably at least some of those in this sale) are mentioned in surviving Arkwright correspondence. John Arkwright's eldest son, John H 'Jonny' Arkwright seems to have had an interest in acquiring some of Cox's work in 1859, the year after he had inherited Hampton Court. In 1859, Jonny's widowed mother, Sarah Arkwright wrote to him from Gwernvale, near Glanusk to commiserate with him at the loss of David Cox's pictures but she was sure he would get some others one day. It appears that Johnny had been trying to purchase some pictures by Cox and had perhaps been an underbidder.Sarah Arkwright took her younger children to North Wales on holiday after their father's death (the trip in September-October 1858 included Caernarvon, Llanberis and Beaumaris). If scenes painted by Cox were bought by the Arkwrights, it is no surprise that North Wales should feature prominently.On 19th May 1876, Johnny wrote to his wife Lucy 'I have got all the Coxs on the Morning Room wall even yours & they look very fine.' It is most likely that Jonny is referring to the Cox pictures offered in the forthcoming sale. The mention of Lucy having paintings by Cox is interesting. Lucy (c1840-1904) was nee Davenport of the Foxley estate, Herefordshire, famous for its connections with Uvedale Price (from whom Lucy's father bought the estate in 1856) and the Picturesque landscape movement. Lucy was a good amateur artist and it may well be that Cox painted some scenes around Foxley or Yazor, and that her family acquired some, which Lucy (having a particular interest in painting) took with her to Hampton Court upon her marriage in 1866.With thanks to Catherine Beale for her historical guidance and research with this lot.For further information on this lot please visit Bonhams.com
Large Pears print entitled 'Summer Glory', together with a pair of prints after William Affleck, entitled 'Familiar Friends' and 'Going to the well', a mirrored map of the British Isles, watercolour entitled 'Masquerade' by Marjorie V. Kemp and dated 1927, pair of Oriental landscape paintings, and a late 19th/early 20th century school oil painting on canvas, study of a street scene, housed in a gilt frame (8)
LUIS FEITO LÓPEZ (Madrid, 1929).Untitled.Watercolour and ink on paper.Signed in the lower right corner.Size: 32 x 45 cm; 42 x 54 cm (frame).Born and educated in Madrid, Luis Feito was one of the founding members of the El Paso group. In 1954 he held his first individual exhibition, with non-figurative works, at the Buchholz gallery in Madrid. From then on Feito exhibited regularly in the most important cities in the world, such as Paris, Milan, New York, Helsinki, Tokyo and Rome. Appointed professor at the San Fernando School of Fine Arts in 1954, two years later he left teaching and went to Paris on a scholarship to study the avant-garde movements in force. During this period he was influenced by automatism and matter painting. In 1962 he became a founding member of the El Paso group, with which he had lost contact during his years in Paris. His first works were figurative painting, followed by a phase in which he experimented with cubism and finally moved fully into abstraction. At first he only used black, ochre and white colours, but when he discovered the potential of light he began to use more vivid colours and smooth planes. He evolved until he used red as a counterpoint in his compositions (from 1962) and, in general, more intense colours. In his abstract phase, which includes the 1970s, Feito showed a clear tendency towards simplification, with the circle predominating in his compositions as a geometric form. Possibly, the influence of Japanese art can be seen in his preference for large bands of black. Most of his works are untitled and can therefore be recognised by a number assigned to them. Among his awards is his appointment as an Officer of the Order of Arts and Letters of France in 1985. In 1998 he was awarded the Gold Medal of Fine Arts in Madrid, and was made a Full Member of the San Fernando Royal Academy of Fine Arts. In 2000 he was awarded the Prize of the Spanish Association of Art Critics at the Estampa Salon, in 2002 the AECA Grand Prize for the best international artist at ARCO, in 2003 the prize for the most important artist at the Osaka Art Fair (Japan), in 2004 the Prize for the Culture of Plastic Arts of the Community of Madrid, in 2005 the Francisco Tomás Prieto Prize of the Fábrica Nacional de Moneda y Timbre, and in 2008 the Jorge Alió Foundation Prize and the Grand Prize for Spanish Contemporary Art CESMAI. Luis Feito is represented in the most important museums around the world, including the Gallery of Modern Art in Rome, the Guggenheim, the MoMA and the Chase Manhattan Bank in New York, the Museums of Modern Art in Tokyo, Paris, Rio de Janeiro and Montreal, the Lissone in Italy and the Albright Art Gallery in Buffalo.
Adrien de Menasce, Egyptian/British 1925-1995 - Untitled, 1964; watercolour, crayon and ink on paper, signed and dated lower left 'Menasce 64', 20.4 x 27.8 cm (mounted/unframed) Note: another example of this series made in 1964 is now in the collection of the British Museum, London Adrien de Menasce was born in Alexandria but moved to Paris in the 1950s, where his work was soon influenced by the existentialist abstractions of Taschist artists such as Wols, Vieira da Silva and Henri Michaux. These works from the 1950s were called 'Ecritures¥ ('Writings¥) by the artist, creating an abstract language in the paint, half-seen and half-understood. De Menasce was encouraged to exhibit these works by Sir Herbert Read in Switzerland, where he also become friendly with Sonja Sekula, before eventually moving to London in the 1960s. In the UK, de Menasce began to explore eroticism more deeply in his work, juxtaposing the landscape with the male body in both collage and painting. During the 1960s, de Menasce met his future-partner Sam Lock, and his twin-brother Wilfred Avery, a fellow artist whose mature work would explore a similar visual language. Both artists created a unique and highly individual contribution to Post-War British art and queer visual culture, and one that should be recognised alongside that of Keith Vaughan, Francis Bacon and David Hockney. Please refer to department for condition report
Norman Bluhm, American 1921-1999- Two panels from 'Composition', 1958; watercolour and ink on paper, (centre) signed, dated and inscribed on the reverse 'Norman Bluhm 1958 centre' (right) signed and dated lower right 'Bluhm 58' and signed, dated and inscribed 'right' on the reverse, 76 x 56.2 cm (2) (mounted/unframed) Provenance: with Gimpel Fils, London, GF7321 and GF3183 (according to the labels attached to the mount); private collection Note: Norman Bluhm retained a strong interest in gestural abstraction throughout his career, as evident in this piece, which demonstrates his connection to the work of contemporaries such as Jackson Pollock, Franz Kline and Helen Frankenthaler. This lot displays the way in which Bluhm's technique creates a sense of the artist's presence in the production of the artwork, serving to emphasise, rather than obscure, the process of painting itself, creating a sense of immediate and powerful emotion which is such a defining feature of the Abstract Expressionist movement. Please refer to department for condition report
A Victorian Windsor & Newton 'Extra Handsome' mahogany watercolour box,circa 1870-1880, the mahogany box inlaid with a brass sunburst to the lid, opening to reveal trays and compartments with 36 cakes of paint, bottles of ink, porcelain paint trays, with two cut glass water pots, and two cut glass bottles, with assorted paintbrushes and tools, to the front with a concealed drawer of porcelain palettes and paint trays, the inside of the lid with a gilt leather insert inscribed 'Winsor & Newton Limited, manufacturer's by appointment to Her Majesty and to T.R.H The Prince and Princess of Wales, Rathbone Place London England', 37.5cm wide,27.5cm deep, 10cm high, together with a copy of Practical Directions for Portrait Painting in Watercolours,1875, by Mrs. Merrifield, fifteenth edition, published by Winsor & Newton, to the back featuring the contemporary Winsor & Newton List of Colours & Materials for Water Colour Painting, Oil Painting, Pencil Drawing &c., see p. 9 for an illustrated example of the 'Extra Handsome' boxCondition ReportSome of the cakes of paint with cracks. Overall internally with minimal signs of use. Some of the tools possibly later. The accompanying book with wear and stains. The frontispiece with fading. Minor chips and crazing to the porcelain palettes and trays.
Patrick Collins - Port Isaac - A mixed media painting to depict Cornish fishing village Port Isaac, as viewed from beneath a set of stone steps with lobster pots and boats along a roadway with buildings beyond. Watercolour, acrylic & ink. Signed and dated 2000. Framed and glazed. Measures 45cm x 56cm.
Hildebrandt, Eduard (1818 Danzig - 1869 Berlin)"Whampoa" oder "Whampoa. Sonnenuntergang". Chromolithografie nach einem Aquarell von Hildebrandt. Verlag R. Wagner, Berlin, um 1870/75. Im Motiv unten rechts eingedruckt signiert, unten links betitelt. Blatt No. 18 der Serie "Reise um die Erde". 22,5 x 30,5 cm, 45,5 x 56 cm (Untersatz). Vollflächig montiert. Untersatz angeschmutzt und gebräunt, insgesamt stockfleckig. Whampoa or Whampoa at sunset. Chromolithograph after watercolour painting by Hildebrandt. Publisher: R. Wagner, Berlin, around 1870/75. Plate no. 18 of a series. Mounted on supporting cardboard, here tanned brownish and spotty, foxing allover.
Robert Littleford F.R.S.A., B.W.S. (1945-) Beach scene with figures and a pier Signed and dated '97, watercolour.20cm x 25cm (8in x 10in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with strong colours and no obvious faults to report. The painting is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
Jim Mitchell (British 20th/21st century) "A Potteries Street Scene circa 1950's No. 1" Signed, titled on label verso, watercolour.14.5cm x 23cm (5.75in x 9in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with strong colours and no obvious faults to report. The painting is framed and glazed.
Jim Mitchell (British 20th/21st century) "A Potteries Street Scene circa 1950's No. 2" Signed, titled on label verso, watercolour.18.5cm x 24.5cm (7.25in x 9.5in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with strong colours and no obvious faults to report. The painting is framed and glazed.
Ray Blundell (British 20th/21st century) "Fisherwick Farm" Signed, titled on artist's label verso, watercolour.18cm x 27cm (7in x 10.5in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with strong colours and no obvious faults to report. The painting is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
Reginald G. Haggar R.I., A.R.C.A., F.R.S.A. (British 1905-1988) Village scene with hills beyond Signed and dated 16 June '70, watercolour.38.5cm x 56cm (15.25in x 22in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in good, original condition with strong colours. There is some very light time staining and one or two pinholes around the edges of the paper near the mount board. The painting is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
Terry McGlynn (British 1903-1973) Roses Signed, watercolour and gouache.35cm x 45cm (13.75in x 17.75in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with strong colours and no obvious faults to report. The painting is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
Robert Littleford F.R.S.A., B.W.S. (1945-) Beach scene with figures Signed and dated '97, watercolour.20cm x 25cm (7.75in x 9.75in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with strong colours and no obvious faults to report. The painting is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
Emmanuel Levy (British 1900-1986) "Rural Village" Signed and dated 1945, titled on gallery label - 'Gateway Gallery' verso, watercolour and ink.31cm x 43cm (12.25in x 17in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in fair, original condition. The ink and watercolours have faded slightly across the painting and there are some minor spots of foxing across the sheet. The painting is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
John Thompson (British 1924-2011) "Group Series No. 3020" Signed and monogrammed, watercolour and ink.14cm x 17.5cm (5.5in x 6.75in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with strong colours and no obvious faults to report. The painting is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
Reginald G. Haggar R.I., A.R.C.A., F.R.S.A. (British 1905-1988) Village street scene with figures Signed and dated 15 June '71, watercolour.38cm x 54.5cm (15in x 21.5in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in good, original condition with strong colours. There is some light time staining and browning around the edges of the paper near the mount board. The painting is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
Gwilym John Blockley R.I., P.P.P.S., N.E.A.C., R.W.A. (British 1921-2002) "Flower Piece" Signed, titled on artist's label verso, watercolour.21.5cm x 21.5cm (8.5in x 8.5in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with strong colours and no obvious faults to report. The painting is ornately framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
Grabinski, J. Tätig Ende 19./ Anf. 20. Jh.Pferdeschlitten auf winterlicher Dorfstraße. Aquarell, re. u. sign., ca. 27,5 44 cm. Hinter Glas gerahmt. Grabinski, J. Active at the end of the 19th / beginning of the 20th century. Horse-drawn sleigh on a winter village street. Watercolour painting, signed lower right, ca. 27,5 44 cm. Framed behind glass.
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