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![David Clarke Original watercolour painting titled 'Boats, Axmouth'[50x64cm]](https://cdn.globalauctionplatform.com/59c5179e-ddd3-42e1-bfb4-adef00d0b200/73668827-eefb-4049-9136-adf001286ba3/468x382.jpg)
Lot 1154
O. Murray Dixon (20th Century)Hare in a snow-covered field, together with a companion depicting a brace of woodcockSigned, watercolour, and gouache, 14cm by 22cm, together with a 20th century still life watercolour of flowers in a vase, indistinctly signed, 17cm by 23cm (oval) (3)Condition report: Hare painting with a tear to the top-right corner, with some thunderbugs. Woodcock - appears to be in good condition.
Lot 801
Rowland Hilder - 11 TitlesRowland Hilder's England 1986Rowland Hilder Country 1987 (signed by Hilder)Starting with Watercolour 1990Painting Landscapes in Watercolour 1983Starting with Watercolour 1988Sketching Country 1991Successful Watercolour Painting 1989Rowland Hilder Painter and Illustrator 1978Painting Landscapes in Watercolour 1990Qty: 9
Lot 278
MORGAN MICHELE: (1920-2016) French film Actress. Signed 11 x 15 abstract watercolour by Morgan on a Canson drawing paper. Signed `M. Morgan´ in black ink to the bottom right corner, also dated `Nov 67´, in her hand. Bearing to the verso a second watercolour. From 1970 Morgan spent a large part of her life to her passion, the painting. About VG
Lot 483
19th century school, miniature watercolour heightened in gilt, portrait of Henry Howard Earl of Surrey (1517-1547), 17 cm x 12 cm in deeply moulded gilt frame (see illustration). CONDITION REPORT: This miniature painting is of good quality. There is slight foxing to the image. The frame itself is also of good quality but there is some chipping to the moulding in places.
Lot 1251
Harry Sticks (1867-1938), a watercolour Lake District scene cottage in landscape. 27 cm x 38 cm, framed, signed. CONDITION REPORT: This painting is in first class condition. It is well framed and glazed and could be hung in its present state without the need for any work. There is no foxing, no discolouration and no fading.
Lot 1252
Harry Sticks (1867-1938), a watercolour Lake District scene with cottage and dry stone wall. 27 cm x 38 cm, framed, signed. CONDITION REPORT: This painting is in extremely good condition. It is well framed and glazed (to match the previous lot). There is no evidence of any foxing or significant discolouration to the paint. The painting could be hung in its current state.
Lot 1267
Indian School, watercolour, young girl seated by a building. 48 cm x 34 cm, framed, indistinctly signed, possibly Horace Van Ruth. CONDITION REPORT: The watercolour is in generally good condition with no significant issues. There are some minor traces of foxing in the upper section. There is also a blemish to the right hand side of the sitters nose. The painting is decently mounted and framed.
Lot 1270A
George Hooper, watercolour, ink and pencil, view of a house and garden, signed, 14.75ins x 21insThere is no provenance, it has been privately entered from a local home. Dimensions given are for the painting itself. Dimensions including the frame - 22.5ins x 28.5insGood condition, no major damage or problems. Overall in good condition
Lot 702
THREE BOXES AND LOOSE SUNDRY ITEMS ETC, to include a Garrards of London mahogany cased mantle clock circa 1980, a chiming Westminster mantle clock, modern Tiffany style table lamp, a further table lamp, Walker & Hall flatware, pens and coasters made from parts of 7.62 shell cases, small African drum, sealed Olay cosmetics, easy listening LP records - Tony Bennett, Shirley Bassey etc, two watercolour painting of rural scenes etc (Condition report: both clocks wind and run, the Garrard clock doesn't appear to have been removed from the box but the foam packing has deteriorated and needs to be removed from the clock case)
Lot 785
FRED R FITZGERALD (1869-1944) A SCOTTISH LAKE AND MOUNTAIN LANDSCAPE, signed bottom left, watercolour on paper, mounted framed and glazed, approximate size 35cm x 45cm, signature is obscured by the mount, good overall condition, together with Maurice Kent (20th century) 'Fletchers Mill, Tewkesbury', children fishing in the mill stream, signed bottom right, watercolour on paper, painting has slipped in the mount (2)
Lot 106
Denby Sweeting (British 1936-2020), High and Dry at Barmouth, signed bottom left, oil on board, measurements 26 x 42 cm, frame 38 x 52 cm, together with Tresaith Beach showing children playing fetch with their dogs near the rocks, oil on board, signed bottom right, measurements 23 x 37 cm, frame 27 x 41 cm. and a further painting of Boats at Barmouth beach at sunset, watercolour and crayon on canvas, by the same hand (3) Artist's label versoConsigned from the artist's estate
Lot 87
Edith Brearey Dawson (née Robinson) (British 1862-1928): Still Life Jug of Flowers, watercolour signed 39cm x 35cm Notes: Edith was the daughter of a Quaker Schoolmaster living in Scarborough as early as 1881, she studied under Albert Strange at the Scarborough School of Art, exhibiting at the Royal Academy and the RBA between 1889 and 1893. She married fellow artist Nelson Ethelred Dawson in 1893 then moving to London she mostly abandoned painting in favour of metal and enamel work
Lot 130
Enslin Hercules Du Plessis (South African 1894-1978): 'Llansteffan Castle' South Wales, watercolour and gouache unsigned, inscribed and titled verso 39cm x 79cmProvenance: formally the property of Shell-Mex and BP Ltd, labelled versoNotes: Enslin Du Plessis was born in Standerton, Transvaal. He became a journalist in the years before the first world war. Du Plessis settled in London in 1922. He began painting seriously in 1928, but never received formal training. He became a well known painter in London, and exhibited with the New Group on occasional visits to South Africa after 1938. Enslin Du Plessis was awarded the SA Academy medal of honour for painting in 1972.
Lot 207
Lake District.- Holland (Peter, Liverpool-based artist who exhibited at the Royal Academy, active c. 1781 to 1812) Sketches of the Lakes, an album containing 62 original watercolour studies of lakes, waterfalls, bridges, and sites of natural interest, including the 'Bowder Stone in Barrowdale, Cumberland', many of which appear to have been used as designs for aquatints engraved by C. Rosenberg in a scarce publication of the same name (see second item), pen and ink title page 'Sketches of the Lakes by Peter Holland', 3 pp. with pen and ink numbered list, each with title identifying location, all on uniform laid paper with watermarks of the letters 'VDL', each leaf approx. 160 x 210 mm (6 1/4 x 8 1/4 in), all with ruled brown ink borders, marginal inscriptions and number to upper right corner of each, occasional minor spotting and browning, some surface dirt, owner's ink inscription to front free endpaper and bookplate to front pastedown, minor worm damage to front pastedown and first few leaves, contemporary calf, sympathetically rebacked, blind tooled, gilt, scuffed and rubbed, worn, oblong 8vo, 1771; together with Holland's Select Views of the Lakes in Cumberland, Westmoreland, and Lancashire from drawings made by P. Holland, engraved by C. Rosenberg, title, 21 aquatints, each with accompanying descriptive text leaf, scattered browning throughout, some surface dirt, stitched binding loose in places, a few leaves coming loose, blue paper wrappers, oblong 4to, printed by James Smith, for John Peeling, 1772 (2) Provenance: [Album of watercolours] Daniel Daulby, Liverpool (Liverpool brewer, prints and drawings collector, author of a catalogue of Rembrandt's etchings in 1796, died 1799); probably his posthumous sale Liverpool, 12 August 1799 and 8 following days (T. Vernon); Private collection, Cumbria.[Aquatints] Henry Swainson Cowper (1865-1941); Private collection, Cumbria.⁂ Holland exhibited at the Royal Academy in 1781, 1782, and 1793, and in the latter exhibition the artist included 2 landscapes of Cumberland subjects. He also exhibited at the 'Second Exhibition of the Society for Promoting Painting and Design in Liverpool' in 1787, where he exhibited alongside paintings by Fuseli, Gainsborough, Reynolds and Stubbs. [see E. Rimbault Dibdin, Liverpool Art and Artists in the Eighteenth Century, The Walpole Soc., vol. 6, p. 85].
Lot 111
Ravilious (Eric).- Ullmann (Anne, editor) Ravilious at War: The complete work of Eric Ravilious, September 1939 - September 1942, one of 750 copies, original cloth, Upper Denby, Fleece Press, 2002 § Greenwood (Jeremy) Ravilious: Engravings, one of 855 copies, with a copy of the photographic portrait used as frontispiece loosely inserted, original cloth, slip-case, Woodbridge, Wood Lea Press, 2008 § Powers (Alan), Barry Kitts & Ronald Maddox. In Place of Toothpaste: Three essays celebrating the watercolour painting of Eric Ravilious, number 75 of 250 copies, original cloth-backed patterned-paper boards, uncut, Oldham, Incline Press, 2004, illustrations, many colour, some tipped in; and 3 others on or illustrated by Ravilious, v.s. (7)
Lot 508
John Yardley, (b. 1933) - Watercolour - Sunshine in the Temple, signed lower right, entitled on Alexander Gallery label verso, 24cm x 34cm, in card mount, framed and glazedCondition report: Some faint marks to rear of glazing not affecting image - probably removable but painting is currently sealed. Otherwise sound.
Lot 254
Gilt framed watercolour painting of a cornfield by the sea, not attributed. c. Circa 1880 This is a pleasing watercolour of rural landscape by the sea. Unfortunately from the monogram, initials i am unable to attribute this painting to a specific artist. Painting in this style and genre was very popular during the late Victorian period and a large number of people painted in this style. Height 51 cm; Length 87 cm; Depth 3 cm
Lot 3484
A large quantity of Art Reference books to include: techniques for painting in Watercolour; Artist reference books - Lucian Freud, Gaugain, Rafael, Monet etc - titles: The Cult of Beauty; Art Nouveau; The Bird in Art; Phaidon's 30,000 years in Art, various authors, institutions, publishers - mainly hardbacks (4 boxes)
Lot 903
Circle of M V Dhurandhar Fine Watercolour Depicting the Exterior of an Indian Surgery in the 1920s; unsigned watercolour from circle of M V Dhurandhar at the Sir J J School of Art, Bombay (Mumbai); very rare and interesting scene of social history, finely painted on paper, fixed to a contemporary board, good definition throughout and with vibrant colours; dated to reverse 20/6/23; framed and glazed, painting size 15 inches (36cms) x 21.5 inches (54cms) NB: Vendor indicates the previous owner stated the painting was specially commissioned, along with two others, by an Edinburgh doctor, from whose family he acquired it, in 2009, when working as a missionary in India, Along with the 1923 date to the reverse, the painting is indicated to be one of three,
Lot 883
Grand duchess Olga Alexandrovna of Russia (1882-1960) - still life of roses in a vase upon a small table beside a sunlit window, signed Olga, dated 1922, pencil and watercolour, 7.5" x 5.75" ** The artist was the youngest child of Emperor Alexander III of Russia and younger sister of Emperor Nicholas II. She was raised at the Gatchina outside St. Petersburg. She escaped revolutionary Russia with her second husband and their two sons in February 1920 and joined her mother The Dowager Empress in Denmark, all remained in exile, after The Dowager Empress's death in 1928 Olga and her husband purchased a dairy farm in Ballerup near Copenhagen. She led a simple life raising her two sons working on the farm and painting and during her lifetime painted over two thousand works of art, which provided extra income for both her family and the charitable causes she supported.
Lot 170
Indian school, a Ramayana scene, Rama pining after Sita being comforted by Lakshmana in a forest cave, at night with five flying geese and a pond full of lotus flowers, within a red border, the reverse with faded lines of calligraphy, watercolour with some gilt, 19.5cm x 23.2cmCondition report: The painting is in good order but as can be seen from the image the left-hand border shows some paint run.Although not modern it is extremely difficult to be specific about the age of this work.
Lot 015
Robert Lenkiewicz (1941-2002), inscribed on the painting 'Amelia before Chateau, where Picasso lived and is buried', Provence trip, circa 1968, ballpoint pen over watercolour, 28cm x 20cm, framed and glazed, overall size 56cm x 46cm, with MWFA (Michael Wood Fine Art) Gallery label on reverse.
Lot 36
Théodore Jacques Ralli (Greek, 1852-1909)La lecture signé 'Ralli' (en haut à droite); inscrit et daté 'A ma chère cousine Marie/ Théo 1897' (en bas à gauche)acrylique sur papier25 x 30cm (9 13/16 x 11 13/16in).signed (upper right); inscribed and dated (lower left)watercolour on paperFootnotes:Peint en 1897 et dédié au modèle, la cousine de l'artiste, Maria.Painted in 1897 and dedicated to the sitter, the artist's cousin, Maria. LittératureM. Katsanaki, Le Peintre Théodore Ralli (1852-1909) et son Œuvre, doctoral dissertation, Université Paris I - Panthéon-Sorbonne, 2007, no. 196, fig. 165 (illustrated).M. Palioura, The Painting Oeuvre of Theodoros Ralli (1852-1909), doctoral dissertation, University of Athens, Athens 2008, vol. I, p. 205 (discussed), vol. II, fig. 149 (illustrated).M. Katsanaki, Theodore Ralli, A.G. Leventis Foundation - A.G. Leventis Gallery edition, Athens 2018, no. 121, p. 355 (catalogued), p. 212 (illustrated).For further information on this lot please visit Bonhams.com
Lot 342
Chinese SchoolStudy of a recumbent scholar, with his dog, watercolour on paper, with seal in red ' The seal of Jinshi calligraphy and painting as well as picture books collected and verified by the first grandson of master Yue Xue Lou whose name is Kong Zhaoxi and Jinghang', 27cm x 24cmNote: Master Yue Xue Lou is Kong Guantao who was born in 1832 and died in 1890.Condition report: Some marks and discolouring to the paper.
Lot 550
Frank Brangwyn (1867-1956),'The awful deed',Pen and ink and watercolour on paper,Initialled lower left, Labelled verso,16cm x 21cm,Framed and glazed CONDITION REPORT:The painting is framed under glass and has not been removed for inspection. The paint surface appears to be in generally good condition. There are some areas of the sky and ground which appear slightly foxed, but this is as likely to be intentional colouring by the artist. Otherwise the colours appear clean and strong, but are likely to have faded somewhat over time.
Lot 552
F J Aldridge (British, 1850-1933),Fishing boats in a choppy harbour,Watercolour on paper,Signed lower right,47cm x 71cm,Framed and glazed CONDITION REPORT:The painting is framed under glass and has not been removed for inspection. The paint surface shows areas of foxing throughout (most noticeably to the sky), with further fox-like staining to the underside of the glass. The colours appear somewhat muted and may have faded somewhat over time. The frame shows various losses to the moulded details.
Lot 5
PAUL GAUGUIN (1848-1903)Paysage de Bretagne stamped with the artist's initials 'PGO' (lower left)watercolour monotype on paper heightened with gouache and watercolour30.4 x 21.7cm (11 15/16 x 8 9/16in).Executed circa 1894Footnotes:This work will be included in the forthcoming Paul Gauguin Digital Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc.Provenance(Possibly) Galerie Schmit, Paris.Marcel Heyndricx Collection (acquired in the 1930s-1940s).Private collection, France (by descent from the above).Previously unrecorded, this rare watercolour monotype is thought to date from Gauguin's intense spell of experimentation with the technique in 1894 and marks a significant moment of artistic development. Depicting the picturesque village of Pont-Aven in rural Brittany, the composition immediately recalls the artist's earlier works from his first visit to the area in the 1880s. Recently separated from his wife and having lost his lucrative financial career following the stock market crash, Gauguin chose to make the first of many visits to Brittany in the summer of 1886, drawn away from Paris not only by economic necessity but by the fascinating subject matter that the Breton people, their costumes and landscape offered. This physical distance from Paris offered Gauguin space to reject traditional academic artistic doctrine and the prevailing Impressionist style. Here his work evolved towards Cloisonnism in the manner of Émile Bernard, characterised by flat planes of vivid colour contained by bold outlines and a rejection of traditional perspective. Traces of these bold outlines remain in Paysage de Bretagne whereby the blue cernes of the monotype transfer separate areas of distinct colour. Green fields sit above one another while the winding path leads upwards rather than through the composition, emphasising the paper's two-dimensionality. Driven by a quest to find a more unspoilt Eden, Gauguin's well-documented travels to Panama, Martinique and then Tahiti followed, voyages which resulted in many of his best-known works. However, the artist returned to Paris in August 1893 disillusioned and penniless. Adopting an increasingly eccentric public persona, he walked around Paris in Polynesian dress and had an affair with a young woman known as 'Annah the Javanese', though she was in fact half-Indian and half-Malay. Swiftly tiring of the city and seeking a return to the region which had been so fruitful in his earlier career, together they travelled to Brittany. It was an ill-fated trip that was to be Gauguin's final visit to the area. On 25 May in the port of Concarneau, near Pont-Aven, a group of local sailors threw stones at Annah and harassed her; the resulting brawl left Gauguin badly beaten and with a fractured leg. For months his only solace was in the pain-dulling morphine and alcohol he imbibed; he was unable to walk and unable to work. Having eventually grown tired of the crippled and irascible artist, Annah returned to Paris, whereupon she ransacked Gauguin's studio home of his valuables, leaving only his artworks. Gauguin remained in both Pont-Aven and the more remote Le Poldu, alone and debilitated. Unable to shake the influence of the South Seas however he created his first watercolour monotypes, many of which looked back to Tahitian subjects. The present work is one of the few that roots the artist back in his homeland. Gauguin's decision to turn to printmaking was significant and indicative, according to Starr Figura, of a time of reflection for the artist, 'when he had recently completed a major body of paintings or sculptures or was otherwise at a crossroads. Printmaking often provided a crucial creative impetus when he had difficulty painting. [...] A major group of watercolor monotypes, a small body of watercolor and gouache monotypes from around 1896-1902, and a large body of oil transfer drawings from approximately 1899 to 1903 tended to serve as more informal, individual meditations on Gauguin's earlier themes' (S. Figura, Gauguin: Metamorphoses, exh. cat, New York, 2014, pp. 15-16).The 1894 watercolour monotypes reimagined scenes from the South Seas alongside more domestic still lifes and Pont-Aven landscapes such as the present work. The series is known to consist of approximately 34 works but, as the discovery of Paysage de Bretagne demonstrates, more are surely to be found: 'Gauguin's concern with the monotype has been neglected, largely because the evidence has been scattered or lost' (R.S. Field, Paul Gauguin: Monotypes, exh. cat., Philadelphia, 1973, p. 12). Further to this, the very categorisation of a work as a watercolour or monotype can be problematic, not least due to Gauguin's continued experimentation with media. In Noa Noa, a travelogue consisting of the artist's notes on his Tahitian experience and illustrated with ten woodcuts, there is, according to Richard Field, at least one watercolour which was originally mistaken for a monotype because of its grainy, diffuse appearance – however, it was found to be formed of two sheets of paper, Gauguin laying the thinner sheet over a finished watercolour to subtly obscure the composition.The precise technique employed by the artist for his 1894 series is not known, but various methods have been suggested. Gauguin held an exhibition in his studio in December that year which included several watercolour monotypes, which the critic Julien Leclercq described as 'a process of printing with water, [to which] he imparts to the watercolour the gravity, sumptuosity and depth which are for him, no matter what subject he chooses, the necessary condition of art' (Julien Leclercq quoted in ibid, p. 16).Richard Field feels the most likely technique was a simple transfer of wet watercolour from one sheet of paper to another, but more recent research by Peter Kort Zeggers suggests that at least some of the monotypes were created by 'placing a piece of glass over one of his existing drawings or watercolors; painting on top of the glass in watercolor or gouache, using the image below as a guide; and finally, pulling an impression on dampened paper' (S. Figura, op. cit. p. 26). These tracing lines were usually blue, as in the present work, and to these Gauguin would add additional colour and details not present in the original drawing to the surface of the glass. Pressing a sheet of paper on top of the glass would result in an image transfer which was often heightened with varying degrees of ink, watercolour and gouache. Gauguin was known to use a mix of further substances such as wax, resin, oil and gum, all of which created accidental surface finishes. Indeed, Paysage de Bretagne has a historic application of gum Arabic or similar material to the sky, which heightens the mottled effect from the transfer process and casts an opaque veil over the shimmering surface. The watercolour monotype allows a fusion of printmaking and drawing, the artist's hand very much felt in the heightened deft flecks of red paint to the haystack and the rainbow cascade of brush marks in the thatched roof. The random textures left by the original sheet however mark a move away from Gauguin's disciplined cloisonné style of the late 1880s: '[The watercolour monotypes] exploit the conflict between the astructural, textured color and the more disciplined design of the flat cernes. [...They are the] most delightful evocations in Gauguin's oeuvre' (R.S. Field, op. cit., p. 40).The fluidity of these watercolour monotypes has been read as a reaction to the artist's previous woodcuts which emphasised the decorative, with sharper lines. Gaugui... This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 118
Sir Stanley Spencer R.A. (British, 1891-1959)Reclining Figures of Mothers and Children pencil and watercolour on paper, laid on card16 x 36cm (6 5/16 x 14 3/16in).Footnotes:ProvenancePatricia PreeceWith Stanhope Shelton, Suffolk, April 1980ExhibitedAdelaide, Carrick Hill, Stanley Spencer: A Twentieth Century British Master, August 2016The drawing appears to be a preliminary study or related to the painting The Resurrection: Waking Up of 1945.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 254
T'ANG HAYWEN 曾海文 (China and France, 1927-1991)Abstraction in coloursWatercolour on paperSigned on the lower right9.7 x 10 cmNotes: - The correct spelling of the name of the artist is T'ang Haywen, though he is sometimes wrongly referred to as Tang Haywen;- The eventual buyer will be able to obtain from T’ANG HAYWEN ARCHIVES and Mr. Philippe Koutouzis the inscription of this work in the catalogue raisonné of T'ang Haywen, after filling in a form and paying an administrative fee of 100 euros. Contact: info@tanghaywenarchives.com[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESE
Lot 227
A WORLD WAR ONE ARCHIVE OF FAMILY MEMORIAL PLAQUES, MEDAL, DOG TAGS, PAINTING, PHOTOS, to include two framed in wooden plinths Memorial Death Plaques named Frank Rathbone, Casualty 18.7.1918 RFA 'B' Battery, 173rd brigade, buried in Godewaersvelde Military Cemetery, France & Charles 'Charlie' Rathbone 8th Field Ambulance Coy RAMC(ASC), together with his Victory medal and two dog tags on bracelet, the group also comes with a framed watercolour painting which shows four brothers Charlie, Frank, Archie & Horace and a fold over frame with black and white photos and one other photo in an oval frame & ASC Cap badge
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