Charlie Roberts Untitled (3), 2022 Watercolour on Paper Signed on Front and Verso 10 x 15cm (3¾ x 5¾ in.) About Roberts is a polymath, a cultural magpie. His various endeavours cross-pollinate, building myths amongst themselves. Roberts' works borrow from art-historical and pop cultural sources. His cramped paintings display the perspectival complexity of ancient Egyptian and Byzantine painting. The contents are stacked one above the other, showing different views simultaneously. Roberts is fearless in his approach to subject, style and technique. The result is full of energy, determination and a unique expression which draws on the illusion of the good life and shows a fascination of hip-hop culture. The subject matter, utterly contemporary, banal and everyday is at odds with the delicacy of the medium they are made in. Watercolour on paper, over a painted pink ground which unifies the overall image and brings harmonious tonal order to the chaotic scenarios. His wide-ranging practice also encompasses sculptures roughly carved from chunks of local trees and painted, sitting somewhere between tribal objects, folk art and pop-cultural figures. Charlie Roberts is educated at Emily Carr Institute of Art and Design, Vancover, Canada and Kansas University, USA. Recent exhibitions include: Cosmis Hedge, Galleri Golsa, Oslo (2019), New "Bad" Painting, V1 Gallery, København (2018), No Ceilings, Galleri Magnus Karlsson, Stockholm, Sverige (2017), Windows, David Risley Gallery, København, Danmark (2017), Laffy Taffy, Rod Bianco Gallery, Oslo, Norway (2017), Fan Art, Richard Heller Gallery, Los Angeles, USA (2017), Juicy, Marlborough Contemporary, London, UK (2016), Halcyon Daze, Richard Heller Gallery, Santa Monica, USA (2016). You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.
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Charlie Roberts Untitled (4), 2022 Watercolour on Paper Signed on Front and Verso 15 x 10cm (5¾ x 3¾ in.) About Roberts is a polymath, a cultural magpie. His various endeavours cross-pollinate, building myths amongst themselves. Roberts' works borrow from art-historical and pop cultural sources. His cramped paintings display the perspectival complexity of ancient Egyptian and Byzantine painting. The contents are stacked one above the other, showing different views simultaneously. Roberts is fearless in his approach to subject, style and technique. The result is full of energy, determination and a unique expression which draws on the illusion of the good life and shows a fascination of hip-hop culture. The subject matter, utterly contemporary, banal and everyday is at odds with the delicacy of the medium they are made in. Watercolour on paper, over a painted pink ground which unifies the overall image and brings harmonious tonal order to the chaotic scenarios. His wide-ranging practice also encompasses sculptures roughly carved from chunks of local trees and painted, sitting somewhere between tribal objects, folk art and pop-cultural figures. Charlie Roberts is educated at Emily Carr Institute of Art and Design, Vancover, Canada and Kansas University, USA. Recent exhibitions include: Cosmis Hedge, Galleri Golsa, Oslo (2019), New "Bad" Painting, V1 Gallery, København (2018), No Ceilings, Galleri Magnus Karlsson, Stockholm, Sverige (2017), Windows, David Risley Gallery, København, Danmark (2017), Laffy Taffy, Rod Bianco Gallery, Oslo, Norway (2017), Fan Art, Richard Heller Gallery, Los Angeles, USA (2017), Juicy, Marlborough Contemporary, London, UK (2016), Halcyon Daze, Richard Heller Gallery, Santa Monica, USA (2016). You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.
Henry Boddington (British, 1849-1945), Le Theatre Guignal, Etaples, Northern France. watercolour, signed "Boddington" inscribed "Le Theatre Guignal" and dated "29.8.1908". 7 ½ x 9 ¾in. (19 x 24.7cm.). * Provenance: Purchased from the Selective Eye Gallery, Jersey in 1982.. ** Notes: Henry Boddington was an artist that painted for pleasure rather than to make a living. The Studio recognised his work in 1908, acknowledging that he had "an appreciation of colour and skill of manipulation which entitles his work to recognition amongst that of the professional brush". Much of his work remained in the possession of his family until the end of the twentieth century. Boddington's artistic style developed from a loose and fluid treatment of the watercolour medium to the more detailed precise handling of the medium and is characterised by a restricted palette with detail accentuated with the use of bodycolour and sepia ink. Boddington travelled on the continent until the outbreak of the First World War when the family returned to England and Boddington stopped painting around 1925..
A Chinese watercolour on silk painting, probably mid-20th century, depicting three white egrets, peonies and bamboo, four character mark and red seal, 37¼ x 10¾in. (94.5 x 27.3cm.), in a bamboo carved frame. * Some foxing to buff silk ground, mainly to upper half. Further foxing to ivory silk border. Colours good, no other faults.
Patricia Turner (British 20th/21st century) "The Royal Observatory, Greenwich" Titled on verso, watercolour and ink.24cm x 34.5cm (9.5in x 13.5in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in good, original condition with strong colours. There are some remnants of sellotape adhesive around the edges of the paper. The sheet has slipped within the frame. The painting is framed and glazed. The surfaces of both the glass and frame are stained by nicotine. The original frame has some minor scuffs and knocks commensurate with age.
J J Hodgson (1871-1906), "Mill", the Demense Mill, Sebergham, depicting waterwheel with millrace flowing towards the viewer, watercolour, signed and dated "09" lower left, framed and matted under glass, 36.5 x 25.5 cm seen, together with gallery certificate: Exhibited No. 52, in John James Hodgson exhibition, Carlisle Gallery, 17 Castle Street, Carlisle, 23rd October 1987, and having been in the family's possession since artist's death, signed by grand niece, and a photograph of the painting annotated verso
Tom Dodson (British 1910-1991) "The Milk Dandy", signed and titled, watercolour and ink.23.5cm x 16.5cm (9.25in x 6.5in)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.
Tom Dodson (British 1910-1991) "Piggy", signed and titled, watercolour and ink.16.5cm x 24cm (6.5in 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. 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) "Orry Lane, Peel", signed, titled and dated 1978-79 on verso, watercolour.56cm x 38cm (22in x 15in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with strong colours. There are one or two minor spots of foxing across the sheet but extensive foxing across the mountboard. The painting is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
William Heaton Cooper R.A. (British 1903-1995) "Western Cuillins, Evening", signed, titled and dated 1953 on gallery label - 'The Heaton Cooper Studio, Grasmere' verso, watercolour.27cm x 37cm (10.75in x 14.75in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with strong colours. There is some slight browning across the paper and some minor spots of foxing. The painting is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
Helen Bradley M.B.E. (British 1900-1979) "On the Evening of Christmas Day", signed and with fly insignia (lower left), with the artist's handwritten narrative on verso - "On the Evening of Christmas Day the Bells rang out merrily as we all set out for Church - all, except Mrs Maitland and Dear Emily. Mrs Maitland said she didn't feel very well and would rest a while and perhaps feel better by the time we all arrived home. We were looking forward to singing the Carols and meeting Mr Taylor (the Bank Manager) who was coming back to Grandma's with us. We were going to light the Tree and have Crackers, Games and a Good Supper and the year was 1907. Helen Layfield Bradley 1972", watercolour and gouache on paper.36.5cm x 51.5cm (14.25in x 20.25in)Provenance:This painting is illustrated on page 6 of Miss Carter Came With Us by Helen Bradley, 1973.The Unicorn Gallery, Wilmslow, Cheshire.Private Collection, U.K.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 original frame has some minor scuffs and knocks commensurate with age.
John Thompson (British 1924-2011) "Group Series No. 54", signed and monogrammed, titled on artist's label verso, watercolour.54.5cm x 41.5cm (21.5in x 16.25in)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 original frame has some minor scuffs and knocks commensurate with age.
Bob Kay (British 20th century) "Whitworth Street Railway Arch, Manchester", signed and dated 1975, watercolour and ink.33.5cm x 24cm (13.25in x 9.5in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is ornately framed and glazed.
Alston Emery (British 1913-1993) "French Horn Public House, Hanley", signed and dated 1976, titled on verso, watercolour.34.5cm x 47cm (13.5in x 18.5in)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 scratches commensurate with age.
Pat Cooke (British 1935-2000) "Last Bargains Darlings, Petticoat Lane, Sunday", signed, titled and dated 1970, ink and watercolour.44cm x 54.5cm (17.25in x 21.5in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with strong colours. The painting is ornately framed and glazed. The surfaces of both the frame and glass are stained by nicotine. The frame has some scuffs and knocks.
Bob Kay (British 20th century) "Princess Street Lock, Manchester", signed and dated 1976, watercolour and ink.33.5cm x 21.5cm (13.25in x 8.5in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is ornately framed and glazed.
William Turner F.R.S.A., R.Cam.A. (British 1920-2013) "The Allotment", signed and dated 1950, watercolour and pencil.33cm x 48.5cm (13in x 19in)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.
Tom Dodson (British 1910-1991) "The Firewood Man", signed and titled, watercolour and ink.16.5cm x 24cm (6.5in 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. The frame has some minor scuffs and knocks commensurate with age.
A Chinese watercolour hanging scroll painting, Qing dynasty, painted with a seated dignitary and his attendant watching the torture of a man bound to a pillar, 83cm x 24.5cm (surround damaged).Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A Japanese watercolour painting, Meiji period, depicting figures in a walled interior with gilt clouds around, unsigned, 20cm x 23.5cm, framed and glazed.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Keith Vaughan (British, 1912-1977)Landscape with Church stamped with initials 'KV.' (lower left)watercolour and gouache49.9 x 39.7 cm. (19 5/8 x 15 5/8 in.)Executed circa 1973Footnotes:ProvenanceWith Austin Desmond Fine Art, London, where acquired byProfessor J.N. BallPrivate Collection, U.K.ExhibitedLondon, Austin Desmond Fine Art, Keith Vaughan 1912-1977, December 1989, cat.no.102In 1964 Vaughan bought a row of derelict, workmen's cottages on a quiet lane near Toppesfield in the heart of the Essex countryside. Once renovated, he installed a studio at Harrow Hill cottage and worked there on small works on paper during the summer months and at weekends. The surrounding landscape and local villages provided him with ample visual material, and he embarked on a series of gouaches that incorporate both landscape and architectural motifs. In the present work the spire of an unidentified church is clearly visible at the upper right, while the alternating white and coloured geometric forms evoke the presence of windows and walls of rural buildings among trees and shrubbery.Vaughan's picture-making process initially involved steeping himself in nature, familiarising himself with it to the point that its memory and quality entered his system enough to eventually coalesce into a painting. He would go for lengthy walks, noting along the way various aspects of the terrain. He drove around the local villages and narrow country roads in his car, pulling over to make preparatory drawings. These aide-mémoires assisted in the transformation and refining process of the landscape but, nevertheless, imagination, memory and recollection remained as important as observation and recording: Imagination is based always on observation; it is a summary of the evidence of the senses, intensified in the memory and carried forward one stage into the future where it stands as a revelation of the truth not yet achieved by the slower process of nature...the point of value lies in whether our own experience is enlarged by the distortion.(Keith Vaughan, A View of English Painting, 'Penguin New Writing', vol. 31, 1947).We are grateful to Gerard Hastings for compiling this catalogue entry. His new book Keith Vaughan: The Graphic Art, is to be published by Pagham Press.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
George Morland (British, 1763-1804) Portrait of a seated lady known as Louisawatercolour over pencil on watermarked laid paper, unframed30 x 24.5cm; together withAfter George MorlandPortrait of a Girl in a Gardenpen and ink with watercolour on paper, unframed27.5 x 18.5cm (2)Provenance:The first - Christie's, London, 23rd March 1956, lot 69, as 'John Raphael Smith', when sold to Walter Brandt,Thence by descent to his grandsonPortrait of a Girl in a Garden is a copy after George Morland's oil painting dated circa 1786-1788, which is now at the Yale Center for British Art, Connecticut, US.
Collection of 20th Century Chinese and Indian paintings and catalogues of prints to include: two watercolour paintings of women with mythical beasts (50 x 22 cm each) 11 lithographic plates of Chinese dye-woodcuts from Min Ch'i-chi 1640 titled 'The Romance of the Western Chamber'; two albums of prints of Chinese watercolour paintings; and three Lalit Kala Series Portfolios: No. 14 - 'The Bhagavata Purana In Kangra Painting', No. 7 'Bundi Painting' and No. 10 'Early Mughal Painting'
Eight painting and prints of apple and one other painting to include: Susan Maund, 'Apples' watercolour on paper, 21 x 14 cm; C.A. Pavey-Smith, buildings along a road, watercolour on paper, 26 x 18 cm; watercolour painting of apples and pear, unsigned; and six lithographic prints of apples including W. G. Smith 'Foxwhelp' 37 x 27 cm, all framed and glazed (9)
JOHN KINGSLEY RSW PAI (SCOTTISH b.1956) MOUNTAIN VIEW Oil on canvas, signed lower left, 59 x 74cm (23.25 x 29") Born in Glasgow, the prolific Scottish contemporary artist studied drawing and painting at the Glasgow School of Art, graduating in 1977. Kingsley?s inspiration often derives from landscapes, both in Scotland and on the continent, namely Provence in France, and Spain. Awards include the William Bowie Landscape Prize (1991), the Mary Armour Award (1992) and he was an elected member of the Royal Scottish Society of Painters in Watercolour and Glasgow Art Club. Condition Report:Available upon request
HAZEL NAGL RSW RGI PAI (SCOTTISH b.1953) HIGHLAND FERRY Mixed media, signed lower right, 15 x 24cm (6 x 9.5") Title inscribed verso Hazel Nagl is renowned for her sense of colour, space and light in her landscapes and still lifes. Nagl studied Drawing and Painting at the Glasgow School of Art, and she was elected to the Royal Glasgow Institute and to the Royal Scottish Society of Painters in Watercolour. Notable exhibitions and public collections include The Royal Bank of Scotland; Glasgow University; The Fleming Collection and Scottish & Newcastle Breweries. Condition Report:Available upon request
ELIZABETH MARY WATT (SCOTTISH 1886-1954) FAIRIES AND ELVES - 1944 Watercolour on paper, signed lower right, dated (1944), 34 x 24cm (13.5 x 9.5") Condition Report:Signs of mildew/mold visible across mainly lower half of painting. Some discolouration and indication of foxing to paper surface. Some warping and a crease to lower left corner, may appear be some signs of water damage.
SIR WILLIAM GEORGE GILLIES RA RSA PRSW (SCOTTISH 1898-1973) KIPPFORD Watercolour, signed lower left, dated (1948), 51 x 64cm (20 x 25.25") Bourne Fine Art label verso; Ewen Mundy Fine Art exhibition card verso, Arran the Firth of Clyde Hebrides and Beyond Exhibition, Kippford illustrated and captioned, 'catalogue no.6' Gillies is one of Scotland?s most important artists. Associated with Edinburgh College of Art for most of his life, he taught until his retirement in 1966 as head of painting and principal, having influenced several generations of artists. Gillies explored cubism in Paris for a brief period, and returned to Scotland where he was fond of depicting Fife, Lothian and Border regions. Condition Report:On close inspection this appears to be in good overall condition. There are pin holes visible in each corner with some residue likely to be from the metal. Some surface marks and tiny imperfections to the paper. There appears to be a mark/imperfection visible in upper middle area.
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