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Lot 108
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.
Lot 111
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.
Lot 137
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.
Lot 180
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.
Lot 20
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.
Lot 202
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.
Lot 24
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.
Lot 66
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.
Lot 69
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.
Lot 71
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.
Lot 74
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.
Lot 77
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.
Lot 1270
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.
Lot 1261
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.
Lot 51
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
Lot 226
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.
Lot 364
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'
Lot 400
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)
Lot 1023
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
Lot 1114
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
Lot 958
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.
Lot 991
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.
Lot 211
Victoria (1819-1901). Queen of Great Britain & Ireland, 1837-1901. Portrait of Queen Victoria & Princess Beatrice with their four dogs, Waldmann, Fern, Sharp and Noble, c. 1880s, albumen print by Hills & Saunders, Eton, after a watercolour, probably by Charles Burton Barber, image 16 x 20.5 cm, original mount with photographer's imprint beneath and inscribed by Queen Victoria in brown ink to lower mount centre, 'The Queen & Princess Beatrice and their faithful friends, 1876', mount dust-soiled and a little spotted, some creasing to left corners and upper margin away from image and inscription, 35 x 43 cm overallQTY: (1)NOTE:Richard Assheton Cross, 1st Viscount Cross (1823-1914), British statesman and Conservative politician who served as Home Secretary 1874-1880 & 1885-1886.The original of which this is a photograph would appear to be a photograph with watercolour and wash highlights, probably a study made and used by Charles Burton Barber (1845-1894) for his oil painting of the same group at Windsor, c. 1877.
Lot 347
George Vernon Stokes, watercolour "The Evening Performance", signed lower right. 27.5 x 35 cm. CONDITION REPORT: The painting appears to be in generally very good condition with no significant issues. There are no tears and no rippling to the paper. The colours are strong and there is no fading or foxing. The oak frame is also in good order with only very minor nibbles to the corners.
Lot 194
Henry O?Neill (1798-1880) "Portrait of a Gentleman seated on a chair wearing a brown waistcoat with jacket and cravat c. 1838," watercolour on paper 29cms x 23cms (11 1/2" x 9"). Born in Clonmel (or possibly Dundalk) in 1798, orphaned at a young age and raised in Dublin by his aunt Sarah who ran a haberdashery in South Great George?s Street, in 1815 Henry O?Neill enrolled in the Dublin Society?s Drawing School. A prize-winning student, he designed lace patterns for his aunt?s business and in 1835 began exhibiting at the RHA, showing mainly views in Co. Wicklow. An early portrait by him (NLI) depicts the street character and balladeer ?Zozimus?. He also worked for a time in TCD, painting a portrait of Bartholomew Lloyd, who was appointed Provost of the College in 1831. Other portraits by O?Neill include the pioneering medical clinician Robert James Graves. From the outset, O?Neill was politically active, becoming a member of the Repeal Association and a supporter of the Young Ireland movement. There is a strong nationalist flavour to his work, and in 1844 he recorded the rooms occupied by Daniel O?Connell, Charles Gavan Duffy and other members of the Repeal movement in the Richmond Bridewell prison, in a series of watercolours now in the National Museum. In the early 1860?s he published a pamphlet Ireland for the Irish, advocating an end to landlordism. O?Neill?s talent as a portraitist is evident in this watercolour, which depicts a fair-haired young man?probably a student or academic?fashionably dressed in a coat, wing collar, cravat and waistcoat. The portrait is half-length, with the man?s trousers sketched in lightly. He is seated in a carved wooden chair, upholstered with green leather and bearing a stylised carving of an eagle on the side. The signature ?H O?Neill? can be seen, inscribed faintly on the chair seat. Seated sideways, the man?s face is turned towards the viewer; his expression is bright and candid. With his right hand, he is about to turn the page of a book that rests on his lap. This may be the watercolour entitled The Student, exhibited at the RHA in 1838, or perhaps O?Neill?s Portrait of a Gentleman, shown at the Academy two years later. *We would like to acknowledge the assistance of Dr. Peter Murray in catalogue these lots.
Lot 196
Henry O'Neill (1798 - 1880) "Monasterboice, County Louth, with couple praying by the Round Tower showing numerous Celtic Crosses and Graves, c. 1840," O.O.B., 42cms x 51cms (16 1/2" x 20"). Exhibition label verso "The Bell Gallery, 3 Alfred Street, Belfast." In a painting that clearly echoes George Petrie?s 1838 watercolour The Last Circuit of Pilgrims at Clonmacnoise, O?Neill depicts the round tower at Monasterboice, surrounded by high crosses and monastic ruins. Founded by the Abbot Boethius in the sixth century, Monasterboice is located some five miles north of Drogheda. Although nothing remains of the original buildings, there are the ruins of two churches and three sculptured high crosses, all dating from around the tenth century AD. The churches and crosses are depicted in O?Neill?s watercolour, which also shows the round tower with its distinctive jagged top. In the foreground, amidst tilted gravestones, two figures kneel, deep in prayer, before a carved cross. Overgrown with ivy, the outlines of the ruined churches are barely discernible. With the setting sun partly obscured by the slender tower, and a cloud-flecked sky paling from pink-tinted hues on the horizon to pale blue, the painting has all the characteristic of a Romantic landscape, reminiscent of paintings by JMW Turner, Francis Danby or Petrie. Today, the buildings have been stripped of foliage, the graves neatened, and the site, while far better tended, lacks something of the Romantic mystery conveyed in O?Neill?s watercolour. While George Petrie held that the ancient round towers of Ireland were of Christian origin, O?Neill, like Henry O?Brien, believed they were pagan buildings, later adopted by Christians. He set out to publish a multi-volume analysis of Irish round towers, but in the event only one volume was published, in 1877, detailing the four round towers of County Dublin. *We would like to acknowledge the assistance of Dr. Peter Murray in catalogue these lots.
Lot 578
JOHN MILLER. 'Old Manor House Mousehole' (Keigwin Arms). Pencil & watercolour. Signed & titled. Titled to the reverse & with a page reference to John Miller's book 'Leave Tomorrow Behind', where this painting is illustrated in Chapter 2, page 14. 37 x 22cm. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect. WE CANNOT SHIP THIS LOT or other large, glazed or fragile pictures. Our recommended carrier is MBE Plymouth on +44 (0) 1752 257224 or info@mbeplymouth.co.uk
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11510 item(s)/page