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Click here to subscribeSigned, titled on artist's label verso, watercolour and gouache.25cm x 26cm (9.75in x 10.25in)Footnote: 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.
Signed, titled on gallery label - 'Thompson's Gallery, London' verso, watercolour.54cm x 66.5cm (21.25in x 26.25in)Footnote: 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 scratches commensurate with age.
A Portrait of John Dunn Gardner (1811-1908) standing full-length in black with his first wife, Mary Lawson (d. 1851) in a landscape with a dark horse signed lower right 'R. Thorburn / 1851' watercolour on ivory 45 x 33cmFootnote: Exhibited: London, Royal Academy of Arts, 1850, no. 767 as 'J. D. Gardner, Esq., and Mrs. Gardner' (as the latter died in 1851, that date was presumably later added)Condition report: Watercolour on ivory. The support has two horizontal cracks. The painting is poorly supported by the slip and is bowing forward, notably along the top edge. The work is glazed with a wooden backboard. This appears to be creating a microclimate in the frame which is not helping the ivory support. The glazing is suffering from glass disease, causing droplets of water to form on the inside. There is also mould on the reverse of the wooden backboard. Despite the issues with the ivory support the paint layers are beautifully handled and appear to be in a very good, original condition. The wooden frame is slightly bowed in places, but the gilded slips are in a good condition. The painting should be examined and unframed by an expert in conservation of ivory supports.
A Portrait of Ada Dunn Gardner ( née Pigott, d. 1915) seated full length in an Alpine lake landscape with her son Algernon Dunn Gardner (1853-1929) signed lower right 'R. Thorburn / 1856' watercolour on ivory 45 x 33cmFootnote: By her marriage in 1853 to John Dunn Gardner (1811-1908) Ada Pigott as his second wife brought the Dullingham, Lillingstone Dayrell and Denston estates, which ultimately all devolved upon their only child Algernon Dunn Gardner (1853-1929) here represented as a child. Exhibited: London, Royal Academy of Arts, 1856, no. 744 as 'Mrs Dunn Gardner'Condition report: Watercolour on ivory. The support has numerous horizontal cracks, some more severe than others. The painting is poorly supported by the slip and is bowing forward, notably along the top edge. The work is are with wooden backboards. Despite the issue with the ivory supports the paint layers are beautifully worked and appear to be in a very good, original condition. The wooden frame is slightly bowed in places, but the gilded slips are in a good condition. The painting should be examined and unframed by an expert in conservation of ivory supports.
Susan M Ridyard - busy street scene - watercolour and gouache, signed lower left corner, 10 7/8" x 15 6/8", mounted in a glazed frame, unsigned, oil painting still life of berries, ferns and other fruits and foliage, 20 1/2" x 16", gilt frame, an oval framed wall mirror and a modern gilt framed wall mirror with bevelled glass plate
Francis Danby A.R.A. (1793-1861) The Avon Gorge from Clifton Down, c.1821, Watercolour and bodycolour, approx 11.4 x 18.4cm, Signed , Exhibited: 'Francis Danby and Painting in Bristol', City Art Gallery, Bristol 1973, no.85, Private Collection, Provenance: from the Estate of Christopher & Rosemary Warren
A group of four 18th century and late miniature portraits, comprising a brass framed painting on ivory, possibly George I, initialled 'M.D.', 7.5 cm diameter, together with two portraits on porcelain, one in a ceramic frame, an early 20th century portrait of a beauty in profile (American) and afurther framed 19th century allegorical work, pencil and watercolour on paper, unsigned.Qty: 5
* TOM HOVELL SHANKS RSW RGI PAI (SCOTTISH 1921 - 2020), LOCH AILORT watercolour on paper, signed 20cm x 64cm Mounted, framed and under glass. Note: Tom was born in Glasgow and spent his early years in Dennistoun. After his father’s death, when Tom was just ten years old, he and his older brother were raised by their mother and her two sisters. Shelving his dream of going to art school, he left school in his early teens and got a job as an office boy at Templeton’s carpet factory, but art remained his passion. As young as seven, on family holidays to Skye he would set off with his drawing book and sketch the mountains. He later spoke of this as a formative experience which defined what would be his key subject for the rest of his artistic life. At Templeton’s he began to exhibit his drawings and paintings in the art club and worked his way up to a job in the design department at the time when the company was creating the carpets for Cunard’s new liner, the Queen Mary. Returning to Glasgow after the war, he started attending night classes at Glasgow School of Art where his exceptional work was spotted by the director, Harry Barnes, who encouraged him into full-time study. He graduated in 1950, winning a prestigious travelling scholarship which took him to France, Italy and Belgium, painting as he went. Tom’s wife-to-be, June, was a fellow student at Glasgow School of Art. They married in 1953 and were together for 65 years until her death in 2018. Tom and June moved to Rosehill in Kilbarchan in 1956, sharing the big house with artist friends Bill Birnie and his wife Cynthia (Wall). Tom and June’s daughters, Judy and Wendy, grew up alongside the three Birnie children, forming lifelong friendships. Tom also began to exhibit his own paintings with Glasgow gallery Cyril Gerber Fine Art, a relationship which continued until Cyril’s death (2012) and after the gallery passed to his daughter Jill. Tom was elected to membership of the Royal Scottish Society of Painters in Watercolour (RSW) in 1957. The family often spent the six-week summer holiday in the Highlands, where Tom would head off daily to paint and draw. Working en plein air was an important aspect of his practice, whether painting the mountains or sketching seascapes on the deck of a ferry bound for the islands. He took early retirement from teaching to concentrate on painting. Always productive, Tom was now able to exhibit regularly with a range of galleries and a following quickly grew for his work. Never one for self-promotion, he preferred to leave June to work the room at private views and could often be found in quiet conversation with art students or gallery assistants, learning about their work. He was made RGI in 1983 and PAI in 1996. At no point did advancing age curb Tom’s productivity as an artist. If anyone ever asked why he was still wielding a paintbrush in his nineties, they would be quietly told: “I’m an artist, that’s what I do.” A master of watercolour, he particularly enjoyed capturing the moods and weather of the Highlands, the shifting patterns of cloud and light over panoramas of mountains. In old age, he decided to experiment with oil paint and produced a handful of exquisite works, adapting the techniques he used so masterfully in watercolour to this new medium. His last solo show was at Jill Gerber Fine Art in 2018, and he continued to supply paintings for group shows, and painted well into his 99th year. He celebrated his 99th birthday in April during the pandemic lockdown with his three great-grandchildren singing to him through his window. The pandemic meant attendance at his funeral was limited, but friends and neighbours lined the streets of Kilmacolm as his cortege passed, to honour a man who is remembered as a caring, modest gentleman and an exceptional artist. Notable collections include HRH Prince Philip, The Hunterian (Glasgow) and The House of Lords (London).
* JEAN B MARTIN RSW (SCOTTISH b 1947), COSMOS AND MARGARITAS watercolour on paper, signed 40cm x 60cm Framed and under glass Label verso: Gatehouse Gallery, Rouken Glen Road, Giffnock. Inscribed with title, artist's name and dated 1998. Note: Jean B Martin was born in Glasgow in 1947 and trained at the Glasgow School of Art. She was elected a member of the Royal Scottish Society of Painters in Watercolour (RSW) in 2002. Luminosity and depth are the most immediately striking features of Martin's work, achieved by building up layers of glazing and collage, lending the effect of an inner glow to her painting. Her work comprises a diversity of subject matter, from vibrant floral-based still lives to sublime church interiors, and landscapes from golden-hued Venice to the blustery East Coast of Scotland, involving the viewer through evoking the distinct atmosphere of each subject. Jean Martin has won numerous awards and is an important Scottish painter of her generation. Her work is held in many private and corporate collections in the UK, Hong Kong, Singapore, Australia, Canada and America.
Peter Toms (b.1940) - Lowtide at Morston, watercolour, signed lower right, 21 x 26cmCondition report: Paper with some lifting/warping in places.Some light discolouration to sky.Otherwise painting is good.Frame is poor and with significant losses to gilt to one side.Mount has some water damage and staining.
In the style of Henry Bright, a 19th century highlighted pencil and watercolour depicting horse, cart and driver at the Wayside Inn. Framed and glazed, 49cm x 39cm. Foxing to inside of glass on right side. Painting has minor foxing. Removed from a Cambridge property, owned by a University of Cambridge Fellow
M Sharpe (British 20th century): 'Ironclads', oil on board signed and dated '86, with another painting of a lighthouse verso, Ken Perry (British 20th century): 'Return to Scarborough', watercolour signed, titled verso, Lady Reading by a Lake, acrylic on board signed JRW, and Coastal Town, watercolour signed D B Lloyd, max 48cm x 73cm (4) - Condition Report
Henry Moore - British Artist 1898-1986 - A good group of three abstract watercolour and drawing painting prints by Henry Moore. Each print of different subjects with one finished on textured paper. One depicting a reclining figure and another with multiple abstract figures. Biggest measures 56cm x 42cm.
Pictures to include - N Wylie-Moore - coastal beech scene, watercolour, signed lower left corner, 14" x 20 1/2", mounted in glazed gilt frame and a river scene by the same hand. Rowe Maye Dawes - countryside landscape with fields and a farm cottage, signed lower left corner, watercolour, 11" x 17 6/8" mounted in glazed oak frame and after Fred Slocombe - Tolleridge, a coloured print published in 1888 by Robert Dunthorne, 14 1/8" x 22 1/2", mounted in glazed gilt frame and one other lakeland watercolour and pencil painting, unsigned (5)Location: LWM
• SYLVIA GOSSE, R.B.A., A.R.E., S.W.A., L.G. (1881-1968) RUE DE LA BOUCHERIE, DIEPPEsigned & inscribed to reverse, dated 1920 oil on canvas 25.0 x 30.0 cm / 9 3/4 x 11 3/4Provenance: Purchased from Louise Kosman, April 2016 The present work is highly similar in tone and composition to one by Walter Sickert from c.1898, titled The Flower Market (Baron, 116) which is now in the Art Gallery of New South Wales, Australia (Acc. No. 8069). The scene had previously been painted by J.M. Whistler in 1885, in watercolour, and that work was at one point owned by Sickert himself. Sickert painted a view of the Rue de la Boucherie in c.1902 in a very similar palette to the present work, which was sold as part of the Jeffrey Archer Collection, Christie's, London, 28.06.2011, Lot 77; and a further one in 1903 (York Art Gallery, Acc. No. 1044).Gosse was in Dieppe in 1920 having nursed Christine, Sickert's wife, in the final days before she died. Staying on after Christine's death, Gosse bore the full weight of Sickert~s grief which was to dog him for longer than many of his close friends had expected. Gosse had always followed Sickert's lead in her own artistic development, and close contact with her mentor is evidenced by her very similar hand and choice of subject. Her painting of the back of the church of St Jacques, Dieppe, dated 1920 as well and seen in the present painting, also shows how closely she was emulating Sickert: both are painted with a lightly loaded brush, they are choices of an unusual perspective on a well-known view and the colours used in them indicate the strong influence of Sickert at this time.
• COLIN MOSS, A.R.C.A. (1914-2005) JOCKsigned l.r. watercolour 67.0 x 47.0 cm / 26 1/2 x 18 1/2 inProvenance: Acquired directly from the artist Colin Moss studied at Plymouth College of Art and the Royal College of Art, studying at the latter under Barnett Freedman and Gilbert Spencer. During WWII he had been assigned to camouflage painting by the Ministry of Home Security. Moss taught at the Ipswich School of Art between 1947-1979, during which time he was a founder member of several artists' groups and exhibited widely. Following this appointment he had several retrospective exhibitions around the U.K. There is a note affixed to the backboard of the present work explaining its subject: |Colin Moss told us that the person depicted in this picture was called Jock. He was a 'beggar; and a regular at the Arboretum, High Street, Ipswich, a pub which Moss himself frequented. (July 2003)|
John Charles Dollman RWS RI ROI (1851-1934)'A Very Gallant Gentleman' - Captain Lawrence Oatespen, ink and watercolour heightened with white59 x 99cmProvenance: John Charles Dollman was born in Hove, Sussex, on 6th May 1851; his family were booksellers there. He lived at Hove House, Ditchling, where he painted many of his South Downs Landscape works.The present painting was given to the Thompson family, Beacon House, Ditchling Beacon, Underhill Lane, Sussex, by Ruth Dollman (Mrs Maurice Webb), Dollman's daughter, who lived in Ditchling until her death aged 90 in 1965.This is the original sketch by Dollman for his finished painting which hangs in the Cavalry Club, London. In the present sketch Captain Oates, as he walked to his death, has poles, and in the painting widely seen he just has mittens. The painting was commissioned by Officers of the Inniskilling Dragoons in 1913, and was exhibited at the Royal Academy in 1914. A smaller preparatory sketch is in the Scott Polar Research Institute, at the University of Cambridge.Lawrence Edward Grace 'Titus' Oates (1880-1912) is remembered as a member of the ill-fated expedition to the South Pole, led by Captain Scott. In order to ensure that his colleagues had a better chance of survival when he found himself incapacitated by frostbite and gangrene, Oates deliberately walked out of his tent into a blizzard, having uttered the celebrated words: ' I am just going out and I may be some time.'Oates was born in Putney to a well-to-do family; his uncle Frank Oates was a naturalist and explorer. Oates attended both Wellington School and then Eton, subsequently obtaining an army commission. He saw active service in the Boer War, during the course of which he sustained a shattered thigh bone and was recommended for the Victoria Cross. In 1906 Oates was promoted to the rank of captain and became known by the soubriquet of 'Titus' after the seventeenth century priest of the same surname. Following tours of duty in Ireland, Egypt and India, Oates volunteered for Scott's Antarctic expedition of November 1911. Oates came with glowing army references and was described as 'a man of fine physique, full of pluck, energy and spirit.'Oates was accepted mainly on the strength of his experience with horses - his role was to look after the 19 ponies that Scott intended to use for sledge hauling during the initial food depot-laying stage and the first half of the trip to the South Pole. Scott eventually selected him as one of the five-man party who would travel the final distance to the PoleThe outgoing journey of 895 miles across Antarctica through the snow and ice took 79 days. Finally reaching the South Pole on 18th January 1912, the party was disappointed to discover that it had been forestalled by the rival Norwegian explorer Roald Amundsen 35 days earlier. 'We are not a very happy party tonight' reported Oates. 'Scott is taking his defeat better than I expected.''Now for the run home and a desperate struggle', recorded Scott, 'I wonder if we can do it.' Plagued by frostbite and inclement weather, with temperatures dropping as low as minus 40 degrees Celsius, the little group struggled on painfully. 'Titus's toes are blackening and his nose and cheeks are dead yellow,' noted a companion. By 6th March, the harsh conditions, compounded by malnutrition, had taken their inexorable toll. Scott noted, 'Poor Oates is unable to pull. He sits on the sledge when we are track searching - he is wonderfully plucky, his feet must be giving him great pain ... 'On 15th March, Oates said he could go no further. By this point, with advanced frostbite on his hands and feet, it would take him two hours just to put on his footwear. He suggested to the others that they left him in his sleeping bag which they refused to do and urged him to struggle on. Realising his existence was proving a liability to his companions, that night Oates walked out of the tent into a blizzard. Scott recorded in his diary: 'We knew that poor Oates was walking to his death, but though we tried to dissuade him, we knew it was the act of a brave man and an English gentleman.'The remaining trio struggled on for another 20 miles where their frozen bodies were eventually discovered by a search party on 12th November 1912. Oates's body was never found. A cairn and inscribed cross were erected by the search party near to where he was presumed to have died.Oates's reindeer-skin sleeping bag was recovered and is now at the Scott Polar Research Institute in Cambridge. There is an Oates Museum at Gilbert White's House, Selborne, Hampshire. The Royal Dragoon Guards, the successor to the 6th (Inniskilling) Dragoons, have a regimental day to remember Oates, and in 1913 his brother officers erected a brass memorial plaque to him in the parish church of St Mary the Virgin in Gestingthorpe, Essex, which his mother, Caroline, faithfully polished weekly for the rest of her life. The church is opposite his family home of Gestingthorpe Hall.For further information, see Sue Limb and Patrick Cordingley, 'Captain Oates, Soldier and Explorer', published by B T Batsford, 1982.Condition report: 39in Long 23in High. Tape on reverse is restorer's tape, easily removed, for strength in frame.Picture sturdy and under non-reflective glass. Colours very good as was kept in a drawer. On four sheets of paper.On reverse (unseen as backboard now) - in script 'Original design for Captain Oates' picture'
Giovanni Battista Filosa (Italian, 1850-1935)Grand tourists at the Salon of Jupiter, The Pitti Palace, Florencewatercolour124 x 88cm, in an highly ornate gilded frameCondition report: Extensive tears throughout, most of which have been partially repaired/restored. The top third contains the most tears, many of which overlap and some spanning the width of the painting. There is a long vertical tear running from top centre right down to the lower right corner. Further smaller tears throughout, for example in the red book. Some scattered indents and deep but thin scratches to the paper throughout. Paper appears lightly discoloured and some colours could have faded slightly. Some light foxing throughout. A little light surface dirt including a little light mould in places, mainly on the hats of the two gentleman in the left section, and some unexplainable flecks of flourescent orange on the left lady's bonnet. There appears to be bubbling in the dark paint in the swags near the top of the painting and in the black shoes. Not seen outside of frame.
Stewart Ganley (20th century British school) - Colourful scene with poultry, ramshackle shed, etc, oil on canvas, indistinctly signed and dated 64, 64 x 94cm approx, together with an oil painting on board of a country road, signed with initials FA, dated 63, a coloured print after Braque of a still life with fruit, jug, etc, 44 x 55cm, also together with a watercolour of a river scene signed with initials TDR and a further watercolour of a street scene, all framed (5)
Vera Furneaux Harris (British 1904-C1995) - Study of a child in a garden accompanied by a spaniel, watercolour on paper, unsigned but with label verso, 22 x 27cm approx, together with Gladys Mason - Study of a child with outstretched arms, seated on a log in a landscape setting and accompanied by a spaniel, watercolour on paper, signed, 25 x 20cm approx and also an oil painting on board of a small child walking an out-sized Great Dane, indistinctly signed with monogram, 23.5 x 31cm, all framed (3)
A collection of five pictures of spaniels comprising a 19th century oil on board of a pair of Cavalier King Charles Spaniels in an interior setting with feathered hat, unsigned, 9 x 13cm approx, a watercolour and bodycolour study of a Cavalier King Charles Spaniel in a landscape with windmill, 13.5 x 14.5cm, a painting on slate by Jean Crofts of a Cavalier King Charles Spaniel - Tampas, 29 x 21cm, and two oil further oil paintings of Spaniels, (5)
Signed, watercolour over pencil heightened with touches of bodycolour.13.5cm x 19cm (5.25in x 7.5in)Footnote: * Exhibited at the Royal Academy, British Institution, Society of British Artists - Suffolk Street, New Watercolour Society and elsewhere.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 the odd minor knock and loss commensurate with age.
Signed and titled, watercolour and ink.18cm x 13.5cm (7.25in x 5.25in)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.
Signed and titled, watercolour and ink.22cm x 16.5cm (8.75in x 6.5in)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.
Gabrielle Carelli - Italian Listed Artist 1821-1900, Watercolour of Street Scene in Spanish Town, circa 1880s. Signed by artist. Mounted and framed behind glass. Painting size 7" x 5" - 17.5 cm x 12 cm. Pristine original condition, no issues of any kind. From a gentleman's private collection.
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.
Princess Louise Caroline Alberta, Duchess of Argyll. ( daughter of Queen Victoria), Bermuda View, The Royal Palms from Paget. Watercolour on watercolour board. Circa 1885. Signed with initials lower left. 33 x 48cm. Framed and glazed. Frame size: 57 x 72.5cm. Princess Louise, the sixth child of Queen Victoria and Prince Albert was a talented painter and sculptor who studied at The Royal College of Art. She married John, Marquess of Lorne (later Duke of Argyll) and they lived at the Claremont Estate in Surrey until the Marquess was appointed Governor General of Canada in 1878. There, the couple resided at Rideau Hall in Ottawa where Louise installed many of her paintings and sculptures. In 1883 she spent 10 weeks in Bermuda, staying at ‘Inglewood’ in Paget, close to the location of this painting. During her time there she made several sketches and watercolours, some of which are now exhibited at Canada’s National Gallery. See Ewbank's Spring Antiques and Fine Art, 21st March 2012, lot 1022 a sketchbook of Princess Louise watercolours (74) sold for £27,000
Percy Wyndham Lewis (British, 1882-1957)Two Figures in a Restaurant pen and ink and watercolour on paper11 x 18cm (4 5/16 x 7 1/16in).with a further sketch in pen and ink and chalk to the reverse, by the same handExecuted circa 1909Footnotes:ProvenanceAgnes Bedford, and thence by family descentPrivate Collection, U.K.The concert pianist Agnes Bedford (1892-1969) was a friend and collaborator of Ezra Pound, and also a very close friend of Wyndham Lewis, especially in the years after he went blind (1951-7). Bedford would read to him, and also assisted him by transcribing some of his writing. She owned a number of works by the Artist, and loaned five of these to the Tate's 1956 exhibition Wyndham Lewis and Vorticism. The style of the present lot is closely related to two drawings in the collection of the Victoria and Albert Museum, London; The Theatre Manager and, to a lesser extent, Anthony, both executed in 1909. In the present lot, the sitters in both sketches are unknown, and indeed given their similarity to each other Paul Edwards has suggested that they may be intended as 'doubles'. At the time, Lewis was working on the first draft of his novel Tarr, which illustrates his interest in the concept of the double during this period: his main reference-point was Dostoyevsky's novella The Double (1846).The Theatre Manager has been characterised by Walter Michel as possibly 'the earliest work outside Paris to show a knowledge of Picasso's Demoiselles d'Avignon' (W. Michel, Wyndham Lewis: Paintings and Drawings, Thames and Hudson, London, 1971, p. 48), though Lewis can only have known of the painting through Augustus John's reports. The present lot shows the Artist experimenting with a variety of 'primitivism' that was proto-cubist. Despite the ephemeral support used - the sketches are executed on both sides of a throwaway receipt - the present lot is an intriguing and important piece showing the influence and development of Cubism in British art.We are grateful to Paul Edwards for his assistance in cataloguing this lot.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
19th century British school - a full length portrait of a Regency Lady in a landscape scene, watercolour, 22 by 30cms (8.75 by 12ins).Condition ReportEvidence of paper worm, especially to the right hand side and corner of the painting, colours somewhat faded, otherwise good overall condition
HARRY FRIER (1849-1921) WATERCOLOURS 3 framed watercolours including a painting of Taunton Castle Courtyard, painted with 2 figures and a Dog (36cms by 25cms) and dated 1906. Also with a watercolour of Vivary Park, Taunton, with a depiction of 2 children playing with a hoop and dated 1906 (36cms by 25cms), and a watercolour of Wilton Church, Taunton, with a depiction of 2 children playing and also dated 1906 (36cms by 25cms). (3)
MARIES STOPES - A FOLIO OF ORIGINAL ARTWORK OF AND BY HER FAMILY, to include works by Charlotte Carmichael (Marie's mother) and by James Ferrier Carmichael (Charlotte's father, Marie's Grandfather). Works include:Three portraits of Charlotte Carmichael by her father, to include a drawing of her aged 7, another pencil drawing A/F and an oil painting on canvas together with a pencil sketch thought to be done around 1850, all have a description in Marie Stope's handwriting. A watercolour with the name Charlotte B. Carmichael on the back. Seven unsigned and unattributed watercolours, one with the date 1840 pencilled on the back. Several pencil architectural sketches signed Charlotte Carmichael and topographical pencil drawings dating to the mid 1800s signed or attributed to H. S. Carmichael E. S. Carmichael and Ellen Carmichael.A delightful 18th Century page of watercolour flower studies which says at the top "1st Drawings and Paintings from nature 1786", pencilled at the bottom is Ann Durward? (Ann Durward was James Ferrier Carmichael's mother).A charcoal sketch that appears to be by Marie Stopes herself ("Marie Stopes Lime Sketch 1¼ hrs")A sampler by Charlotte Brown 1801
* Barker (Cicely Mary, 1895-1973). Study for Mary Magdalene, 13th April 1935, watercolour and pencil on paper, full-length portrait of a young woman wearing a multi-coloured striped robe and white head covering, gazing sideways and with hands clasped, two jars beside her sandalled feet, pencilled title lower left and monogram with date below lower right, slightly marked and dusty, right hand margin with vertical crease 1.5 cm in from edge, short closed tear in upper blank margin (repaired on verso), two pin holes to lower right corner, sheet size 48 x 28.5 cm (19 x 11.25 ins)Qty: (1)NOTESA study for a work entitled Jesus Calls to Mary , in which the resurrected Christ appears to Mary beside the tomb. Best known for her 'flower fairies', Cicely Mary Barker's oeuvre was certainly not confined to such images. She was deeply religious and believed that her artistic gifts should be used to reflect and interpret the truths that were central to her life. Thus, a significant body of her output was of a spiritual nature, and this was the work on which she placed the greatest importance. For example she produced books for children such as The Little Picture Hymn Book , He Leadeth Me , and Bible Stories , as well as commissioned works such as stained glass designs. She donated a number of artworks to charities and missionary organisations, and Queen Mary purchased her painting of the Christ Child, The Darling of the World Has Come.
* Dietrich (Christian Wilhelm Ernst, 1712-1774). Head portrait of a lady, brown ink on laid paper, head and shoulders study of a lady profile to right, wearing a loose fitting robe with her hair swept up behind her head, sheet size 8.8 x 7.7 cm (3.5 x 3 ins), laid down on later card, mounted, together with a large collection of mostly 18th and 19th century drawings and prints, including: 2 large chiascuro woodcuts by John Baptiste Jackson, one after Titian's Descent of the Holy Spirit, published 1745, the other after Leandro Bassano's The Raising of Lazarus, published 1742, both damaged; a large later 18th century English scene of warriors in the manner of Fuseli or John Hamilton Mortimer, pen, black ink, and grey wash, damaged with substantial loss; a good early 19th century pencil drawing on paper of the Reverend Henry Mortlock (1788-1834) of the East India Company; a pencil drawing on paper, circa 1830s, of French Revolutionaries around a table, annotated in contemporary ink with the names Dupuis, Mercier, Lameth, Chenier, Condoret and Fabre d'Eglantine; an abstract watercolour and gouache painting of 3 figures by Victor Roman (1937-1995); 2 small early 19th century views of Venice, one with watercolour wash; and an 18th century sepia ink drawing of a courting couple, attributed to Maria Callani in pencil on mount; plus other miscellaneous ephemera, e.g. correspondence, exhibition catalogues, invitations, etc., various condition and sizesQty: (-)
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