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Click here to subscribeHarry Gordon (1920-2009) watercolour and gouache study- cacti in the moonlight, signed, in glazed frame, 27.5cm x 42cm and overall frame size 48cm x 63cm, together with a sketchbook and unframed works. N.B. Harry Gordon was a prominent 1950s artist and drinking partner of Dylan Thomas - associate of Sylvia Plath, Louis MacNeice and Jacob Epstein. (See related article attached to painting)
Signed, titled on verso, gouache and watercolour.37cm x 51cm (14.5in x 20in)Footnote: * Studied at Manchester School of Art. A member of the Manchester Group.Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report: The painting is in good, original condition. There is some minor craquelure across the more impasto areas of the painting. The paper has browned slightly in some areas and there are one or two very minor spots of foxing in the upper centre of the painting. The painting is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
Signed, watercolour and ink, together with a handwritten note from the artist featuring an illustration of a dog.28cm x 21.5cm (11in x 8.5in)Qty: 2Footnote: Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report: The painting is in very good, original condition with no obvious faults to report. The painting is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
Signed, oil on board.56.5cm x 80cm (22.25in x 31.5in)Footnote: * Frank Shenton exhibited at the Royal Academy, London. Shenton taught art at Tameside College, and sadly passed away at the age of 79 on April 30th 1999, after thirty years of teaching night classes at the college. Shenton's watercolour of Ashton War Memorial was adopted by Manchester Museum in 1991.Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report: The painting is in very good, original condition. There is a small scratch to the surface of the board in the lower-left corner of the painting. The painting is framed but not glazed.
Signed, titled on artist's label verso, watercolour.41.5cm x 62cm (16.25in x 24.5in)Footnote: Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report: The painting is in very good, original condition with strong colours and no obvious faults to report. The painting is framed and glazed.
Heather Bray (20th/21st century) - sunlit balcony with figures at a table, signed artist's proof, limited edition print, 2/6; together with a further edition of the same print also numbered 1/6, both unframed, each 14.5" x 10.25"; together with seven further works by the artist including an oil painting, still life of flowers in a blue vase, a watercolour depicting a boat on a sunlit beach, a further coloured print of a fishing boat in harbour with houses nearby, studies of flowers in watercolour, also a study of a tree, a room interior with a chair, table and plant beside an open window and balcony, pencil and watercolour, and a further study of flowers around a hat, oil painting, various sizes, (9)
A* Cadman (20th/21st century) - a lady seated at a table wearing a red coat and hat, a drink by her side, possibly a pub interior, also a companion portrait of a gentleman and another figure playing dominoes with drinks by their side, both signed and dated '92 (1992), oil on board, each 14.25" x 7.75" *In terms of colouring they are reminiscent of the Camden Town school of artists, particularly Charles Ginner. Together with six further pictures including a sketch of a seated girl on blue paper initialled and dated '93 (1993), further modern watercolour initialled SFA depicting figures and dogs on a windy day, another watercolour initialled G depicting a snowlit landscape with figures beside wooden barn and Oast houses and trees, another picture depicting a Northern street scene with three women and two children, a dog by their side, a little girl holding a doll, signed C* Taylor and dated 2012, signed Burke depicting a Northern street scene with figures, vintage cars and a tram with factory chimneys in the distance, and finally an oil painting initialled RG and dated '63 (1963), a street scene with figures, horses and carts, possibly a scene in Paris, oil on board 14.75" x 13.75" and various sizes and mediums, (8)
*Edward Wesson (1910-1983)A winter landscapesigned l.r., watercolour38.5 x 56cm, unframed,with a photograph of Edward Wesson painting the watercolour *Artist's Resale Right may apply to this lot.Condition report: Number 1 written in pencil in lower right corner. Blue watercolour wash on back of paper. Some scuffing and small folds to edges and corners of paper, could be hidden if sheet was mounted.
Samuel Edmund Waller ( 1850 - 1903)Oil painting'The Letter' signed and dated lower left. possibly '9435cms x 28 cmsCondition ReportPlease note: this has been rectalogued as an oil painting not watercolour. It is glazed so difficult to photo and inspect but there is no obvious, apparent or visible damage/ restoration.
* JOHN MILLER RSA PRSW (SCOTTISH 1911 - 1975 STILL LIFE WITH A PAINTING oil on board, signed 38cm x 48cm Framed and under glass Label verso: The Open Eye Gallery, 75-79 Cumberland Street, Edinburgh. Note: John Miller was born in Glasgow and studied at the Glasgow School of Art under W.O. Hutchison in 1936 and at Hospitalfield Art College in Arbroath under James Cowie in 1938. Miller joined the staff at the Glasgow School of Art in 1944 and remained there until his death. He visited France where he as greatly influenced by French painting and the landscapes there. He was known for his coastal scenes painted around the Clyde and for his glowing still lifes, of which Still Life with Painting is a fine example. Miller was elected to the Royal Scottish Society of Watercolour Artists in 1952, becoming its President from 1970-74, and was elected to the RSA in 1966.
* CLAIRE HARKESS RSW (SCOTTISH B. 1970 - ), WEE PENGUIN gouache on paper, signed 26cm x 17.5cm Mounted, framed and under glass Artist's label verso. Note: Claire Harkess was born in Ayr, Scotland, graduating from Glasgow School of Art in the early 1990s. In recent years her painting has taken her to fragile lands to study and interpret life on the edge. Antarctica, Outback Australia and St Kilda are all places where, in such extreme environments, survival is difficult and the balance of life is delicate. Harkess has also worked on the Galápagos Islands, made famous by Charles Darwin’s ‘The Origin of the Species’. This isolated volcanic outpost remained relatively untouched by man, evolving to become one of the World’s unique ecosystems. The balance present in nature is clearly communicated through Claire's paintings. Painting in watercolour or gouache offers a unique directness; the essential qualities of light and energy present in the natural world are the very essence of the medium itself. The delicacy of her palette and oriental economy of her mark-making creates a subtle tension representing a world that is ‘holding still’, giving a sense of freedom, spirit, time and place. Claire's work is exhibited at The Scottish Gallery ,where her most recent highly successful solo show was in July 2020, and at other prestigious galleries around the UK.
* JAMES MCINTOSH PATRICK LLD RSA ROI ARE (SCOTTISH 1907 -1998), THE AVENUE, ARBIRLOT watercolour on paper, signed; titled verso 36cm x 54cm Mounted, framed and under glass Label verso: Fraser and Son, Fine Art Dealers, 38-40 Commercial Street, Dundee. Note: A fine example of McIntosh Patrick's work in watercolours. After the war Patrick returned to Dundee with his wife and family and began painting outdoors rather than in the studio which he had upstairs in his house. By the 1950's he had perfected his style and technique in outdoor landscape painting and began recording his beloved Angus countryside working in all seasons and all weather conditions. His style was traditional and he didn't have much time for ''contemporary'' interpretations of landscape. ''The Tay Bridge from My Studio Window'', painted in 1947, is probably the best known of Patrick's works and illustrates the detailed style which he had finally decided upon as suiting his temperament best. He was elected a full member of the Royal Scottish Academy in 1957. His reputation grew throughout the sixties and seventies and by the early eighties he was a giant in the Scottish art world. James McIntosh Patrick was an exemplar in his life and work and imparted his knowledge freely.
* GLEN SCOULER RSW RGI (SCOTTISH b 1950 - ), MEETING PLACE, LA GAUDE oil on canvas, signed, further titled verso 56cm x 76cm Framed Note: Glen Scouller is a contemporary Scottish artist, known for his vibrant and expressive landscapes and still lifes, which showcase his interest in bold colours and the movement of light. Scouller was born in Glasgow in 1950 and studied at Glasgow School of Art from 1968-73. As a student, he won the Royal Scottish Academy Painting Award and in 1973, was awarded the Post Graduate Study Award, the WO Hutcheson Prize for Drawing and Travelling Scholarship to Greece. In the following years, Scouller won more awards for his work, including the Lauder Award, Glasgow Art Club and Scottish Amicable Award, Royal Glasgow Institute of Fine Arts. He regularly exhibits at the Royal Scottish Academy, The Royal Glasgow Institute of Fine Arts and the Royal Scottish Society of Painters in Watercolour. In 1989, he was elected a member of the Royal Glasgow Institute of the Fine Arts, followed by the Royal Scottish Society of Painters in Watercolour in 1997.Since 1977, Scouller has had over 40 solo exhibitions across Scotland and internationally. His works are held by both public and private collections worldwide, including The Scottish Office in Edinburgh, De Beers and the First National Bank of South Africa.
* WILLIAM LITTLEJOHN RSA RSW RGI (SCOTTISH 1929 - 2006), SPOTTED FISH watercolour on paper, signed and dated, further titled verso 50cm x 78cm Mounted, framed and under glass Note: William Littlejohn was born in Arbroath, Scotland in 1929 and began his artistic training at the Gray’s School of Art in Aberdeen from 1946-50. Although he explored different approaches to painting, Littlejohn favoured watercolours and collage-based media, often incorporating images of his native Angus and Aberdeenshire into his work. He held his first solo exhibition in 1963 but had already been exhibiting at the Royal Scottish Academy since 1951. He was elected member of the RSA in 1973, and often exhibited with the Royal Society of Painters in Watercolour. Littlejohn taught at his former high school in Arbroath and subsequently at Gray’s School of Art, later becoming Head of Fine Art until his retirement in 1991. He continued to paint late into life and began to experiment with silver and gold leaf in his later works. In 2006, Littlejohn gifted the contents of his studio, including 300 watercolours, oils, drawings, and studio objects, to the Royal Scottish Academy. That same year, the RSA held an exhibition in his honour. His work is held in important collections throughout Britain, including the private collections of HM The Queen and the Duke of Edinburgh.
* MARYSIA DONALDSON (1930 - 2018), GIRL AND MIRROR watercolour on paper, signed 20cm x 20cm Mounted, framed and under glass Note: Marysia Donaldson was born in Warsaw and brought up in Scotland where she was educated. She studied at the renowned Glasgow School of Art, which counted amongst its past students many illustrious painters. Marysia was taught there by her future husband, David Donaldson, the Queen’s Painter and Limner in Scotland, and by Hugh Crawford RSA. On leaving Art School she took up sculpture, but in time concentrated on painting. She has had numerous one-man exhibitions, both in the UK and abroad and has exhibited in many group shows including the Fine Arts Society, the Scottish Gallery, Fosse Gallery and the Everard Read Gallery, Johannesburg. She was a regular exhibitor at the Royal Scottish Academy, Edinburgh, The Royal Glasgow Institute and The Royal Academy, London as well as at the Royal Society of Portrait Painters. She is represented in the collection of HRH The Duke of Edinburgh and in collections throughout Scotland, England, France, South Africa, Canada and the USA as well as in numerous corporate collections, including Hambros Bank, The MacFarlane Group, John Capel and Freshfields.
ANTHONY COPLEY FIELDING (1778-1855), watercolour - Alpine lake landscape with figures and village to the fore, signed and dated 1816, 27.5 x 41.5cms (reversed with an interesting early steam locomotive and rolling stock on a cast iron bridge) COLLECTING ITEMS STRICTLY BY PRE-ARRANGED APPOINTMENT / SAFE DELIVERIES CAN BE ARRANGED (PLEASE ENQUIRE)There are some small marks in the sky area, could be foxing. There are also some paper tears to the top and sides, two larger 3cm tears on the right edge.The painting has also slipped from the paper mount, I can see between and it looks like someone has used Sellotape to stick the painting to the mount.The painting has slightly faded.There is no provenance, the painting came to us from a private seller here in South Wales.The railway scene on the reverse is a photograph which has been mounted inside the glass on the reverse. could have been used to support the painting.
Portfolio of paintings, artist signed prints, engravings, 30 + marine prints etc, includes signed watercolour of clowns and a young lady doing dance steps, signed horse racing scene in pastels, signed impasto painting of a boat and harbour scene and an oil on board beach scene Newquay Cornwall.
Potter (Beatrix). Peter Rabbit's Painting Book, 1st edition, London & New York: Warne, [1911], 28 full-page illustrations, 12 printed in colour, and 16 in outline (including endpapers and title), only four of the outline illustrations with some careful watercolour applied, one opening with small watercolour mark to each blank foremargin, edges with some minor paint marks, original dark green pictorial card wrappers, front cover lightly spotted, extremities a trifle rubbed with a little wear in places, small loss to foot of spine, slim 4toQty: (1)NOTESLinder p.431; Quinby 19.
Conrad Hector Rafaele Carelli 1869-1956 Titled English Summer Garden Landscape with Hills and Fields in distance. Overcast skies. Watercolour Signed by Artist lower right. Mounted and framed behind glass. Painting size 7 by 9 inches 17.5 by 22.5 cms. All aspects of condition excellent. From a private collection.
λ OLLY & SUZI (BRITISH 20TH/21ST CENTURY)I LIKE AFRICA AND AFRICA LIKES MEPencil and watercolour on paper Signed lower centre Sheet 42 x 60cm (16½ x 23½ in.)Inc. frame 63 x 79.5cm (24 3/4 x 31 1/4in.)Provenance:Eleven, London Exhibited:London, Eleven, Olly & Suzi, Wilddog, 21 November 2007-12 January 2008Olly Williams and Suzi Winstanley work collaboratively, specialising in wildlife painting. The pair began working together in 1987 after meeting as students at Saint Martin's School of Art. The pair moved to New York and were granted a scholarship to Syracuse University between 1988-1989. Olly and Suzi's body of work closely studies the movements of predators and prey in their natural habitat in some of the most remote places in the world. The pair have been known to include paw prints and bite marks in their work caused by the animals themselves. Olly noted that their view of animals was influenced by the romanticised philosophy of American Indians - creatures were all brothers, dinner and gods, a complex mystical and practical vision of nature. Works by Olly and Suzi have been exhibited worldwide including galleries such as Simon Dickinson and the Natural History Museum in London. Condition Report: It is unexamined out of its frame. The sheet is slightly uneven but this to be expected as it is loosely attached to the mount. It appears to be in good original condition. There are minor chips and abrasions to the frame edges. Condition Report Disclaimer
A framed oil on canvas study of motor racing, signed SCH Davis lower left (55cm x 70cm) together with framed and glazed watercolour study 'Chalk Hills, Kent' by C Wilkinson signed and dated lower left and one further framed and glazed watercolour study 'Tereglio' by C Wilkinson and signed and dated 02 lower left (25.5cm x 36cm) (3)Condition Report: The condition of the oil painting is pretty good overall, no major problems. There is a little bit of dribbling of the oils when it was first painted and some discolouration to the back of the canvas, on the whole there is no major problems with this lot.
Signed, watercolour.66cm x 30cm (26in x 11.75in)Condition report: The painting is in good, original condition with strong colours and no obvious faults to report. There is some very light time staining and browning around the edge of the painting near the mount board. The painting is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
Signed and titled, watercolour.38.5cm x 26.5cm (15.25in x 10.5in)Condition report: The painting is in very good, original condition with strong colours. There are one or two horizontal strips of light browning across the paper. The painting is framed and glazed. The frame has some minor scuffs and scratches commensurate with age.
Signed and titled, watercolour.34.5cm x 25.5cm (13.5in x 10in)Condition report: The painting is in good, original condition with strong colours. The paper has browned slightly in some areas and there is some time staining around the figure. There is some foxing across the painting and a stain along the top edge of the paper. The painting is framed and glazed. The original oak frame has the Snaffles bits logo on the lower strip but unfortunately, large portions of this are now missing. The frame has some minor scuffs and scratches commensurate with age.
Unsigned, oval, watercolour on paper.19.5cm x 16cm (7.75in x 6.25in)Footnote: * The Hon. Mrs. Diana Walpole, neé Grosset, married the Hon. Robert Walpole on 8th May 1780. Robert Walpole (1736 - 1810) was the fourth son of Horatio Walpole, 1st Baron Walpole of Wolterton, and nephew of Robert Walpole, 1st Earl of Orford, who is considered the de facto first Prime Minister of Great Britain.Condition report: The painting is in fair, original condition. The paper has browned in some areas and there is some foxing across the painting. The painting is framed and glazed. The frame has knocks and losses.
Signed, titled on verso, watercolour.16.5cm x 24.5cm (6.5in x 9.5in)Condition report: The painting is in very good, original condition. There are some minor spots of foxing across the painting. The painting is ornately framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
Unsigned, miniature, watercolour on paper.12.5cm x 11cm (5in x 4.25in)Condition report: The painting is in good, original condition. The paper has browned universally. The painting is ornately framed and then set in a larger glazed case. Both the frames have knocks and losses commensurate with age.
Unsigned, miniature, watercolour on ivory.13cm x 10.5cm (5in x 4in)Condition report: The miniature is in good, original condition. There are some undulations across the ivory and both vertical edges are slightly curling upwards. There are various vertical indents and minor scuffing across the surface of the ivory and a crack in the top right-hand corner of the painting. The painting is ornately framed and glazed. The frame has some minor knocks and losses commensurate with age.
Signed, miniature, oval, watercolour on ivory, set in an ebonised frame with decorative oak leaf suspension ring mount.6.5cm x 5cm (2.5in x 2in)Condition report: The miniature is in very good, original condition. There is a faint black line on the surface of the painting in the top left corner. The miniature is framed and glazed.
Unsigned, miniature, watercolour on ivory.14cm x 11.5cm (5.5in x 4.5in)Condition report: The miniature is in good, original condition. There are some undulations across the ivory and a vertical crack running down from the top edge of the painting to behind the head of the sitter. The painting is framed and glazed. The frame has some minor scuffs and scratches commensurate with age.
Unsigned, watercolour on ivory.9.5cm x 7.5cm (3.75in x 3in)Condition report: The miniature is in good, original condition. There are some undulations across the ivory and both vertical edges are slightly curling upwards. There is a central crack in the ivory running up from the lower edge to the face of the sitter. The painting is ornately framed and glazed. The frame has some minor knocks and losses commensurate with age.
Signed and dated 1929, watercolour.25.5cm x 34.5cm (10in x 13.5in)Condition report: The painting is in good, original condition with strong colours. The paper has browned universally across the sheet. The painting is framed and glazed. The frame has some minor knocks and losses commensurate with age.
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