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Lot 432
* Folkard (Charles, 1878-1963). Anthropomorphic tree, pen, ink, and watercolour, depicting a tree with human features expressing alarm as a gentleman in a tweed suit and cap aims a knife at its roots, watched by a young lady in a bonnet, a nest containing two birds in the branches of the tree, signed lower left, 26 x 20.5 cm (10.25 x 8 ins), mounted, framed and glazed (Qty: 1)NOTESProvenance: From the artist's studio and thence by descent. This curious and striking painting, with its Rackhamesque rendering of the tree was, as far as we can tell, never published.
Lot 434
* Folkard (Charles, 1878-1963). The Pirate Ship, pen, ink, and watercolour, depicting a crowded sailing ship flying a Jolly Roger flag, filled with ten cavorting pirate mice and imps accompanied by a frog, the vessel with newspaper hull, a tiller of spent matches, a mast of pencils and wooden cotton reel with a patched sail, and with a parrot perched on the mast, foreground with a large fish in the sea cocking a snook with his tail, signed lower left, some light spotting to sky and clouds, 23 x 18 cm (9 x 7.25 ins), mounted, together with: "Faithful John", pencil on paper, depicting a galleon with various figures on board, one playing a flute, with 3 ravens in the air above, titled in pencil to lower margin below image, 26.5 x 16.5 cm (10.5 x 6.5 ins), mounted Owl and Crescent Moon, pen, ink, and watercolour, on translucent paper mounted on card, depicting a long-eared owl perched on a branch of oak leaves and acorns, against a crescent moon, verso with the artist's name and address in pencil, 16.5 x 11.5 cm (6.5 x 4.5 ins), mounted The Folkard Font, pen & ink on paper in the artist's hand, showcasing a calligraphic font, with upper and lower case letters and Arabic numerals, horizontal fold, 21.5 x 16.5 cm (8.5 x 6.5 ins), mounted A Sussex Cottage, pencil and gouache on paper, depicting a clapperboard house with tall chimneys and a picket fence, 11.5 x 9 cm (4.5 x 3.5 ins), verso with mirror image of cottage blocked in colour, 13.5 x 11 cm (5.25 x 4.25 ins), and another version of the cottage in pencil, spotted, 18.5 x 13 cm (7.5 x 5 ins), mounted, plus a caricature head & shoulders self-portrait, pencil on paper, with flap to fold down revealing a cavernous mouth, signed and dated 1945, 11 x 11.5 cm (4.5 x 4 ins), and a pen & ink sketch of a seated monkey painting onto a hand mirror, captioned "I'm painting my own portrait" within frame to upper margin, irregularly trimmed, laid down on card, 9 x 6 cm (3.5 x 2.5 ins), mounted, plus a small quantity of children's books illustrated by Charles Folkard, including: Tales Old and New, 6 volumes, original cloth (one crudely rebacked); How Lotys Had Tea with a Lion; The Jackdaw of Rheims; 8 Teddy Tail series (generally in poor condition); and a small scrapbook of Teddy Tail cartoon cuttings (Qty: 27)NOTESProvenance: From the artist's studio and thence by descent. The entertaining picture of the pirate ship appears not to have been published. The second item is a preparatory drawing for 'Faithful John', one of the tales contained in the first Folkard edition of Grimm's Fairy Tales , which was published by A. & C. Black in 1911. The Folkard Font was designed by the artist and used extensively both by him and others, its popularity resulting in a version which is still in use today. The Folkard Font has swashed capital letters and variant forms of a number of the letters and has become popular as a font for book covers and merchandising, particularly in association with fairy and fantasy subject matter. Charles Folkard owned a seaside cottage, which he and his son built, at Winchelsea in Sussex, and the clapperboard house drawings in this lot were almost certainly executed there.
Lot 18
Three watercolours and an oil painting - Cosmo Clark 1931, The Downs, Wilmington, signed and dated, mounted and unframed, F H Tyndale - river landscape with bridge, signed mounted in glazed frame, R G W Alexander - As Evening Shadows Gather Round - Victorian coastal landscape, watercolour, signed, label verso, mounted in glazed frame and Helena May, landscape with fields, farm building and trees, oil on board, signed, gilt frame
Lot 502
Y Indian School, Courting couple, watercolour on ivory, mounted in a silver frame, maker's mark SS, London 1983, chased with trees, birds and a landscape, 18.5cm (7 1/4in) high; together with a watercolour of courting a couples, mounted in a silver frame, chased with foliate decoration, 18.5cm (7 1/4in) high (2) Condition Report: Smaller painting with losses to the paint SS frame - Marks are clear, rubbing to the decoration Painting on paper with slight tear Frame - Marks are clear Both with light scratches and wear commensurate with age and use Condition Report Disclaimer
Lot 173
Maria, Lady Nugent carried in a palanquin, accompanied by twenty-four bearers and attendants Company School, Calcutta, April 1812watercolour on paper, black and yellow outer borders 455 x 955 mm.Footnotes:ProvenanceGeneral Sir George Nugent, 1st Bt. (1757-1849), Commander-in-Chief, India, 1811-13, & Maria, Lady Nugent.Thence by descent via the Nugents to the current owners.PublishedA. L. Cohen (ed.), Lady Nugent's East India Journal, Oxford 2014, pl. 6 and cover.This large painting can be seen as emblematic of British female life in India in the 18th Century, and (in company with what she wrote about it) of the British becoming used to the strangeness of daily life in India. In its composition (the wide landscape format, the low horizon with few or no features) and its palette, it might be regarded as a precursor to the sort of paintings depicting the servants of the British produced in Calcutta around thirty years later by Shaykh Muhammad Amir of Karraya. Remarkably, it is almost certainly the one referred to by Lady Nugent in her journal entry for 24th April 1812:Went out in the evening, in a tonjon, for the first time - the cavalcade was very curious - twenty-four men attended me - I mean to have a drawing of this procession, so I will not describe it. A tonjon is a small curricle body, carried on the shoulders of four men, and I could not help thinking I looked like a successful candidate at an election [...] Very unwell in the evening. (Cohen, op. cit. p. 59).She seems to refer to the same episode in a section of a letter dated 25th April, to Lady Temple (Cohen, p. 364):You would have laughed if you could have seen me going out yesterday. I have a little carriage called a Tonjon. It is a sort of Curricle Body fixed upon Poles and carried upon men's Shoulders and I had no less than 23 men attending me - 8 to carry the Tonjon, a Surdar Bearer and his mate to direct them, four men carrying silver sticks before me and calling out my Titles and condescension in treating the World with my appearance [...] Then a man carrying a Chatta, a large umbrella with Fringe and silver ornaments. Another man with a sabre in his sash called a Jemendar and 7 Hircarhas or Messengers. The use of these last I can't understand.The servants and their dress are also referred to directly in another passage, recording a visit to General Hewett's house in Calcutta, in January 1812:The footmen are called Kitmatgars - we dress ours in white, with scarlet sashes, or rather white and scarlet mixed or twisted together - scarlet bands to their turbans - and silver crescents in front - this dress is really very pretty.This lot is subject to the following lot symbols: PP This lot is owned by a private individual. The right of return enjoyed by EU customers is not applicable.For further information on this lot please visit Bonhams.com
Lot 175
The Agna Mahal, part of the Nawab's palace at Murshidabad on the River Hooghly, with a royal barge and other boats in the foreground Murshidabad, circa 1810watercolour on paper 342 x 550 mm.Footnotes:ProvenanceGeneral Sir George Nugent, 1st Bt. (1757-1849), Commander-in-Chief, India, 1811-13, & Maria, Lady Nugent.Thence by descent via the Nugents to the current owners.The buildings in the background, which include the mosque on the left, the Agna Mahal in the centre, and the banqueting hall on the right, were demolished shortly after 1810 to make way for a new palace for the Nawab which was completed in 1837.A similar scene, with the same five boats in identical positions, including a morpankhi (peacock-prowed), filchera (elephant-prowed), and one with a horse-head prow, was sold at Christie's, Arts of India, 27th September 2001, lot 55. For a very similar boat, with the same elephant prow and superstructure, in a painting of the same date and style, see Oliver Forge & Brendan Lynch, Indian Painting 1600-1870, London 2012, no. 19.This lot is subject to the following lot symbols: PP This lot is owned by a private individual. The right of return enjoyed by EU customers is not applicable.For further information on this lot please visit Bonhams.com
Lot 176
The hook-swinging festival (charak puja) Murshidabad, late 18th/early 19th Centurypen and ink and watercolour on watermarked paper, black margin rules and black border, reverse inscribed Churkh Pooja in a contemporary hand, inscribed in pencil in nagari script 475 x 740 mm.Footnotes:ProvenanceGeneral Sir George Nugent, 1st Bt. (1757-1849), Commander-in-Chief, India, 1811-13, & Maria, Lady Nugent.Thence by descent via the Nugents to the current owners.The hook-swinging ritual (known as charak puja in Bengal) was a form of devotion to the female deity Mari-amma. The devotee would be beaten on the back by a priest until the flesh there was numbed, at which point metal hooks would be passed through the flesh. He would then be raised on the gibbet and swung around, taking care not to show any pain and even to shout and laugh. For a more stiffly-painted example of the subject, see S. C. Welch, Room for Wonder: Indian Painting during the British Period, 1760-1880, New York 1978, pp. 54-55, no. 16.Lady Nugent found the ritual shocking, witnessing it after her return to Calcutta:Easter Sunday. Awoke at daylight, by all sorts of noises, this being the commencement of one of the great Hindoo holidays, called the Churruk-Poojah. I suppose this is the god of the spring season, as Doorga Poojah means the goddess of the Autumn. To church early...I could not help thinking these Pagan noises were a real profanation of the day, but it can't be helped; the native customs must not be interfered with, yet it is most unfortunate that this holiday should this year fall on Easter Sunday.The next day:We have been to the Poojah, and a most disgusting sight it is; and melancholy indeed to think, that human beings should so torment and degrade themselves, from a false idea of religion.... First, as in all holiday meetings, there were groups of dancing people, that is, parties of men, with very little clothing on, squatting on the ground, with each his hookah, and looking at the evolutions of Nautch women, which is one of their greatest amusements...Groups of opium eaters, sitting in a circle, and looking like drunken skeletons - such miserable wretches I never saw before, and it is impossible to describe! Then, there were poor sinners, doing penance in various ways. But the most shocking sight is the swinging; this is done by the unfortunate creature having iron hooks passed through the sinews of his back, and by these he is suspended to a high pole. The wretched man... appeared at first to be in torture, for he drew up his legs, as if in great pain, catching at the rope by which he was suspended, as if to relieve himself; but, soon after, he was apparently at ease, and went round and round, as fast as possible, distributing flowers, &c, to the mob, who all scrambled for them, as sacred relics. It seems these swinging people, like many others who do penance, are hired by the priests, who make vows, and have the option of performing by proxy. One swinging man let fly a white pigeon, and he is most fortunate indeed who catches it [...] As I turned, with horror and disgust, from the wretch who was swinging, to Sir E. East's and Sir G's great amusement, a man thrust his head in my face, with his tongue out, and a great iron rod passed through it. I started back, and he made signs for a rupee, which was given him.. (Cohen, pp. 302-303, Sunday 10th-Monday 11th April 1814).Please see the note to the following lot (177) on the style of the painting.This lot is subject to the following lot symbols: PP This lot is owned by a private individual. The right of return enjoyed by EU customers is not applicable.For further information on this lot please visit Bonhams.com
Lot 178
The hook-swinging festival (charak puja), attributed to the artist Sewak Ram Patna, early 19th Centurywatercolour on paper, black margin rules, pale yellow border 370 x 495 mm.Footnotes:ProvenanceGeneral Sir George Nugent, 1st Bt. (1757-1849), Commander-in-Chief, India, 1811-13, & Maria, Lady Nugent.Thence by descent via the Nugents to the current owners.The artist Sewak Ram, who came from Murshidabad, was working in Patna by around 1790, until circa 1826. His style is quite distinctive when set against other Company School work, with a more European approach to modelling, as well as a tendency to favour depictions of large, closely-packed crowds, although he seems to have had more than one manner of painting (see lot 171 in this sale for a different approach and palette). Two large procession scenes by Sewak Ram were in the exhibition held at Bonhams recently (In Good Company: an exhibition of fine Indian Paintings under the influence of the Raj from a private collection, 9th-17th January 2020, nos. 14 and 15).For the hook-swinging festival, see the note to lot 176. The difference in the portrayal of the subject between the two is notable: Sewak Ram packs his crowd tightly in the centre of the composition, with a receding effect in his habitual way, and his setting is a more urban, even suburban one; while that of lot 176 is more pastoral, a more private celebration of the rite in the Bengal countryside. We can perhaps see why Sewak Ram's painting might have appealed to Lady Nugent in a passage from her diary relating a procession in Farrukhabad in February 1813, in which she noted that 'the mob had really the most picturesque appearance, for the different coloured turbans looked like a bed of tulips' (Cohen, op. cit., p. 228).The Nugents went through Patna on their tour in July and August 1812, and again on the return journey in 1813. On the earlier date, she records that she 'arranged the drawings I bought at Patna' (p. 106); and on the later: 'All the morning crowded with visitors, tradesmen, &c. Bought a great many drawings' (p. 272).This lot is subject to the following lot symbols: PP This lot is owned by a private individual. The right of return enjoyed by EU customers is not applicable.For further information on this lot please visit Bonhams.com
Lot 179
A large gathering at a riverside ghat, attributed to the artist Sewak Ram Patna, late 18th Century/early 19th Centurywatercolour on paper, black margin rules, pale yellow border 370 x 495 mm.Footnotes:ProvenanceGeneral Sir George Nugent, 1st Bt. (1757-1849), Commander-in-Chief, India, 1811-13, & Maria, Lady Nugent.Thence by descent via the Nugents to the current owners.See note to the previous lot for the artist and style of this painting.This lot is subject to the following lot symbols: PP This lot is owned by a private individual. The right of return enjoyed by EU customers is not applicable.For further information on this lot please visit Bonhams.com
Lot 180
The famous sheep-eating fakir, Jurah Geer Berah Geer Calcutta, circa 1800watercolour on paper, black inner margin rules, yellow outer border, inscription from reverse glued to backboard A Hindoo eating a whole sheep alive 335 x 505 mm.Footnotes:ProvenanceGeneral Sir George Nugent, 1st Bt. (1757-1849), Commander-in-Chief, India, 1811-13, & Maria, Lady Nugent.Thence by descent via the Nugents to the current owners.The fact that several depictions exist of this bizarre figure and his macabre rite (and/or performance) is testament to the fascination he held for the British in India. We might compare the interest shown in 'Mr Flowery Man', a fakir well known in Delhi (actually Sardhaj, a Brahmin from Gokal), who wore a towering headdress made of flowers. Some of the British took a more scholarly approach to Indian religions: while the meaning of the ritual remains obscure, it is thought that the fakir was a devotee (bhakta) of Vishnu, emulating the boar (one of the god's avatars) by disembowelling with his mouth). But inevitably this figure must have become an object of interest purely because of his oddness, and the Nugents were clearly no exception to this. Early in her time in Calcutta, in a letter to Lady Temple (Cohen, p. 362), Lady Nugent wrote: 'I am making great preparations for a journal and intend to get a person to make drawings for me of anything curious'. Just outside Monghir, she noted in her diary that 'There were two fakiers, in green dresses, covered with garlands, their faces daubed with all sorts of colours, and spiral feathers in their turbans. I have two in my collection of drawings, exactly like them'. (Cohen, p. 98).He seems to have been attracting attention from the late 18th Century: a Major-General Hardwicke watched him at Fategarh on 3rd March 1796, and gave a lecture on the subject to the Royal Asiatic Society in 1832, later published and illustrated with a lithograph after 'original sketches made on the spot by a native artist'. He later presented a oil painting to the Society, perhaps used at the lecture. Other British gentlemen saw the feat at Lucknow, and Indian artists produced various versions at Murshidabad and Calcutta for British consumption. A version dated Calcutta, circa 1800 is in the V&A (see M. Archer, Company Paintings, pp. 82-83, no. 46, with the same seven stages as our painting, but with a key and other inscriptions. Other examples appear in S. C. Welch, Room for Wonder, p. 44, no. 11 (from the collection of James Nathaniel Rind), ascribed to Farrukhabad, circa 1785-90, and another in the Kasturbhai Lalbhai Collection, Ahmedabad. The British Library possesses another (illustrated in W. Dalrymple (ed.), Forgotten Masters: Indian Painting for the East India Company, London 2019, p. 134, no. 75), and there was a Lucknow example (depicting the third stage only) as part of a set of 'occupations' (see J. P. Losty, 'The sheep eater of Fategarh', South Asian Studies, 4 (1988), pp. 1-11); for a Lucknow painting of circa 1810, showing the fakir approaching the sheep menacingly, see Christie's, Visions of India, 5th June 1996, lot 6.This lot is subject to the following lot symbols: PP This lot is owned by a private individual. The right of return enjoyed by EU customers is not applicable.For further information on this lot please visit Bonhams.com
Lot 235
A small portrait of Ensign Philip Moxon, killed at the Battle of Ferozshah, 21st December 1845, during the First Anglo-Sikh War British School, mid-19th Centurywatercolour on paper, with arched top, in frame, the backboard with contemporary handwritten note giving the circumstances of Moxon's death; together with a photocopy of several pages from a history of the Munster Fusiliers, giving details of the battle and of Moxon's action painting 95 x 70 mm.; frame 215 x 187 mm.(2)Footnotes:The note on the reverse reads:Philip Moxon, 3rd son of Thomas and Elizabeth Moxon. Born at Dover, 18th July 1826. Killed alas! at the battle of Ferozeshah, India, on 21st December 1845.He carried the Colours of the 1st European Light Infantry, being ensign (now I believe called the 1st Fusiliers). The battle was fought on Sunday (the shortest day). He was killed in the moment of victory, by the exploding of a shell that fell near him.The accompanying history notes that the colour carried by Moxon, 'which was saturated with his blood', now hangs in Winchester Cathedral. See D. Toor, In Pursuit of Empire: Treasures from the Toor Collection of Sikh Art, London 2018, p. 217: Sikh development of shrapnel, and 'were fully conversant with the French practice of using canister of two sizes to deliver anti-personnel fire anywhere between 200 and 400 metres. This goes a long way to explain why British casualties in some engagements of the First Anglo-Sikh War approached fifty per cent'.This lot is subject to the following lot symbols: PP This lot is owned by a private individual. The right of return enjoyed by EU customers is not applicable.For further information on this lot please visit Bonhams.com
Lot 103
a large collection of original artwork including an original watercolour painting believed to be for the film "Darling" (1965) starring Julie Christie and Dirk Bogarde set in London depicting the hoarding at Westbourne Park, London, measuring 22 x 15 inch plus mount. Three other watercolour paintings are entitled "The Shadow and the Peak" and picture Matron's room and sick room, The Great house, and a beach location, possibly an unmade film (for discussion). Sketches for discussion only for "The Golden Ass" x3, an unknown watercolour sketch measuring 20 x 25 inch. Plus eleven other architectural set design illustrations of various sizes and locations.
Lot 105
Jack Stephens artwork for the film "Vicious Circle" (1957) from Beaconsfield films and directed by Gerald Thomas. Jack Stephens worked as Art Director and won an Academy Award for the film "Tess" for his work as Art Director also nominated for his work on "The Mission". Included in this lot is a signed watercolour painting for the Interior of Dr Latimer's consulting room (played by John Mills), A signed watercolour painting for "Laura James Drawing Room", a signed watercolour painting for Brady's Office (played by Wilfrid Hyde White) plus a signed watercolour set design for "Mrs Ambler's Drawing room". Plus an unsigned drawing including a cash desk and a "Hovis" sign. Artwork measures between 11 1/2 x 18 1/2 inch and 14 x 22 inch each with a mount. (5)
Lot 55
John Emms (British, 1843-1912)The Bitch Pack of the Meath Foxhounds signed and dated 'JNO. EMMS/1896' (lower right)oil on canvas111 x 157.5cm (43 11/16 x 62in).Footnotes:ProvenanceHahn Fine Art Galleries, London.Private collection, USA.Anon. sale, Bonhams, New York, 16 February 2010, lot 121.Private collection, UK (acquired from the above sale).A keen huntsman with a consummate interest in the sporting field, John Emms had the rare ability to give real life to his subject. He was at his very best when painting dogs; with confident use of fluid brushstrokes he gives weight and solidity to their different physical characteristics as well as their individual temperaments. We know from contemporary accounts how Emms used to walk to the kennels everyday and return to his studio with one hound after another as he undertook preliminary sketches in working up to the overall composition.Emms was born at Blofield, Norfolk, the son of Henry William Emms, an amateur artist. Emms had two brothers and a sister, who married the brother of Sir William Blake Richmond, PRA. Like many aspiring artists, Emms travelled to London where he became an assistant to Frederic, Lord Leighton, PRA. It was through Leighton that Emms first visited Lyndhurst, when he assisted the former to paint a fresco in Lyndhurst Parish Church. He then made his debut at the Royal Academy in 1866 and proceeded to exhibit elsewhere at the British Institution, Royal Society of British Artists and the New Watercolour Society.In 1872, Emms returned to Lyndhurst where his skill in portraying animals, particularly dogs, as well as his participation in the hunting field and his convivial nature, led to no want of patrons. The Victorian gentleman's love of his horse and dog led to many other commissions including one from the Duke of Newcastle to paint his Clumber spaniels. In 1880 Emms married Fanny Primmer, daughter of a local Lyndhurst gentleman. Soon after their marriage he was working in London but returned in about 1881 to Lyndhurst where he built a large house and studio in Queen's Road.Emms cut a flamboyant figure, always dressed in a long black cloak and matching wide brimmed hat. He and his family led a somewhat bohemian life; when times were good, after selling a painting, he would take Fanny, their three daughters and son up to London to stay in the best hotels and live life to the full. But times were not always good. During the early 1900s Emms suffered a stroke and was unable to work; as a result he took to heavy drinking and the family's finances went into decline. He died in November 1912 aged 71 and is buried in Lyndhurst cemetery.Hunting with Hounds is a tradition in Ireland that goes back to ancient times and features strongly in Celtic literature and legend. There is a pack recorded in the Meath area as early as 1723; the earliest record shows that a Mr Nicholson of Balrath kept a pack of foxhounds at that time, and hounds were kept by the Nicholson family until the beginning of the 19th century. Mr Lowther and Mr Hopkins also kept packs.Historically, the most important hunting establishments in Co. Meath were those of Mr Pollock of Mountainstown, and Mr Gerrard of Gibbstown. In 1813 Messrs Pollock and Gerrard joined packs with kennels at the Castle of Clongill, as the Clongill Hunt, with a subscription, Mr Pollock being Master. At first the Clongill hunted only the north end of the county, but by degrees absorbed the whole. In 1817 the Clongill Hunt became the Meath Hunt. During the War part of the county was lent to the Louth and Ballymacad Hunts, an arrangement which is still partly in operation today. At the time the present lot was painted, the famous John Watson was Master, his mastership spanning from 1891 to 1908.This lot is subject to the following lot symbols: PP This lot is owned by a private individual. The right of return enjoyed by EU customers is not applicable.For further information on this lot please visit Bonhams.com
Lot 78
Edward Lear (British, 1812-1888)Venice, looking towards San Giorgio Maggiore inscribed, dated and numbered '18 - 20. Novr 1865. 3.30-4.30.PM./(43)' (lower right)pen, ink and watercolour over traces of pencil30 x 49.5cm (11 13/16 x 19 1/2in).Footnotes:ProvenancePrivate collection, UK. Got a gondola for the day ... it was very cold ... bright gorgeous - but cold weather(Edward Lear diaries, 13-16 November 1865).The present watercolour dates from Lear's second trip to Venice in November 1865. Lear first visited the city in 1857, returning eight years later on his way to Malta, to make studies for an oil painting which had been commissioned by Lady Waldegrave, one of his most loyal patrons. Lear went out onto the lagoon in a gondola, producing a series of studies of the city's famous landmarks: see for example Sotheby's, London, 3 July 2013, lot 184, Christie's, London, 5 July 2016, lot 121, and Venice 13 November 1865, (private collection, illustrated in Vivien Noakes, The Painter Edward Lear, Newton Abbot, p. 87).In the present lot, as with others of this series, Lear uses tight hatching lines in sepia ink to depict the landmarks, contrasted with freer areas of wash to portray the sky. As Noakes comments, 'In much of the work he did in Venice, Lear worked directly in often quite wet watercolour, laying in flowing washes which most accurately captures the shifting colour and light of the canal scenery'1.1 Vivien Noakes, The Painter Edward Lear, Newton Abbot, p. 87.This lot is subject to the following lot symbols: PP This lot is owned by a private individual. The right of return enjoyed by EU customers is not applicable.For further information on this lot please visit Bonhams.com
Lot 5
NO RESERVE British Art.- Hardie (Martin) Water-colour Painting in Britain, 3 vol., 1966-68 § Clifford (Derek & Timothy) John Crome, 1968 § Wilson (Richard) An Italian Sketchbook..., edited by Denys Sutton, 2 vol. including catalogue by Ann Clements, 1968 § Weston-Lewis (Aidan) Expanding Horizons: Giovanni Battista Lusieri and the Panoramic Landscape, Edinburgh, 2012, illustrations, some colour, cloth or boards, the third with slip-case, the rest dust-jackets; and c.20 others on British watercolour and landscape artists, 4to & 8vo (c.25)
Lot 74
Georgios Bouzianis (Greek, 1885-1959)Hof Blick signed (lower right), dated '30' and inscribed indistinctly (lower left); signed 'Jo Busianis' and inscribed 'Hof Blick/Paris' (on the pass-par-tout)watercolour and pencil on paper41 x 52 cm.Footnotes:ProvenancePurchased from the artist and thence by descent to the present owner.In this brilliant piece of fluid colour and evocative form painted during the artist's 'wet period' in Paris,1 all elements of the natural and manmade world2 translate into abstract shapes and shimmering blots and washes of thinned paint laid with a directness that immediately captures the eye. Invested with the lightness of watercolour, this precious jewel conveys a festive sense of carefree joy without losing its identity and coherence. Reviewing the 1932 exhibition of Bouzianis's watercolours at the Barchfeld gallery in Leipzig, art critic M. Schwimmer remarked: 'Employing the most frugal means, the artist conveys powerful and insightful impressions, a sense experience of form and colour more intense than any offered by even the best watercolours by Nolde or Kirchner,'3 while in an essay prefacing the artist's 1965 posthumous retrospective in Athens, art critic G. Mourelos noted: 'Bouzianis's watercolours constitute a monumental accomplishment in contemporary European art.'4 1 Bouzianis himself called this period 'wet' because he focused primarily on watercolour painting.2 The black iron gate motif in the foreground is used as a vital compositional element and appears in a number of the artist's watercolours from the period. (Compare Yard view in the A. Antonopoulos collection). See also A. Kouria, 55 Unknown Works by Known Greek Artists, ELIA edition, Athens 2002, p. 100.3 MS, Leipziger Volkszeitung daily, 23.12.1932.4 G. Mourelos, preface to Bouzianis-Watercolours [in Greek], exhibition catalogue, Greek-American Union, Athens 1965.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 236
3 OR’s WM glengarry badges of The Black Watch, Vic, KC with title and without, and another of the 4th (Perthshire) Vol Bn, evidently VGC, mounted and framed at the base of a modern watercolour painting of 2 soldiers of the Black Watch outside Hyde Park Barracks, Sydney, c 1825, with details, 25½” x 12½” overall. Not opened for inspection.
Lot 632
* Flint (William Russell, 1880-1969). A series of 27 Autograph Letters Signed, to the songwriter and composer Vivian Ellis and his sister Hermione, 8 )ctober 1952 to 23 April 1969, written in his 'swishy hand' and discussing, for example, a reproduction of one of his drawings in Ellis's autobiography; his birthday ('80! Isn't it awful!'); invitations to various parties; his and his wife's health; a trip to South Africa; his granddaughter ('Sarah used to be (I'm told) rather awed by her grandfather but, certainly, she is not now!'); and Hermione's many gifts to him, mostly signed 'Willie', on headed paper of Peel Cottage, Campden Hill [London], 36 pages 4to & oblong 8vo, with 26 original autograph envelopes (Qty: 27)NOTES'... Am I really going to be in the same book as you? Well, I was trained as a lithographic printer but as that was art with a very small 'A' it cannot very well be called another profession. ...' '... I've been enjoying my peaceful studio, not painting all the time but thoroughly enjoying myself writing & arranging a little book without any illustrations at all. "In due course" Hermione & Vivian Ellis will receive a copy of it & equally "in due course", I'll await, trembling, their verdict upon it. ...' '... What a lovely visit - for ME. I hope I didn't exhaust you. You, by some magic, made me chatter, me, the dumb object usually! ...' '... I can imagine you working away at your autobiography in country quiet. It should be an unusual & interesting book. (I'll keep the secret). ...' '... You, Vivian, gave me real pleasure with your "Brighton Belles" in, I think, "Courier". I have also greatly enjoyed "Uproarious Devon" - quite delightful. ...' '... Your pale "daffadowndillies", Hermione, were a joy. I had them in a perfect jug & their paleness & beauty against the white walls of my room gave me real conscious pleasure. ...' Vivian Ellis (1903-1996) was the most prolific composer of British musicals in the 1930s and after the war, in collaboration with A.P. Herbert, wrote a series of successful light operas, the most enduring of which was Bless The Bride. One of his most famous songs, 'Spread a Little Happiness' enjoyed a revival in 1982 when it was recorded by Sting. Ellis never married, and lived with his sister Hermione for many years. His autobiography, I'm on a See-Saw (1953, reprinted 1974) contains a reference to the picture mentioned by Flint in these letters: 'In my London flat hangs a picture by that past master of English watercolour painting, Sir William Russell Flint. The subject is Eileen Lush as Sue, the little girl in the Cromwellian cap who played Pepys's maid and sang the treble line in the madrigal, "Gaze not on Swans"' (p. 255). Also included is an autograph letter by Flint's son, Francis Russell Flint (2 pages oblong 8vo, Jesmond Dene, Burgess Hill, 12 January 1970, with autograph envelope), thanking Vivian and Hermione Ellis for writing to him on the death of his father: '... I have a hard task ahead, but am determined to try to carry on his tradition in Water Colour, a task I hope will be easier, as I have inherited his paintbox. ...'
Lot 155
* India. Three watercolours of military scenes, by M. Rigby, 1878, watercolour on artist's board, each depicting a scene of military men and horses, one including a camel and an elephant, another with troops lined up on a battle field with a cannon, one signed and dated lower right, approximately 32 x 46 cm (11.5 x 18 ins), each mounted, one framed and glazed (Qty: 3)NOTESPossibly illustrations for Illustrated London News or The Graphic. One with manuscript note dated 1971 on verso stating that the works were purchased in Chichester in the 1950s, and that the painting which is signed possibly "depicts the death of General Neill at the Relief of Lucknow in Sept 1857".
Lot 1444
LOCAL INTEREST, R. BRADBURY; watercolour, 'Joiners Removal', unsigned, 26 x 22cm, framed and glazed.Footnote: Ex-Macclesfield museum, see Lot 1477 for another painting by the same artist.Additional InformationThere are some areas of touch up in between the two figures and to the left hand figure also, some staining throughout the image and some surface marks, presented in a modern gilt frame.
Lot 25
Mary Ellen Best (British, 1809-1891)'Portrait of Frank, Caroline and Fred, November 1845' signed and dated 'Mary Ellen Sarg 1st November 1845' (lower right)watercolour heightened with gum arabic25.4 x 18.1cm (10 x 7 1/8in).Footnotes:ProvenanceThe family of the artist by descent. LiteratureCaroline Davidson, The World of Mary Ellen Best, London, Chatto & Windus Ltd., 1985, illustrated in colour p. 131, fig. 128.Mary Ellen Best was born in York, October 1809 to Dr Charles Best, a prominent Yorkshire physician, and Mary Norcliffe Dalton daughter or a Yorkshire landowner. Dr Best died when Mary Ellen was only eight, leaving her to be raised by her mother, who never remarried, and her two sisters. Inheritance from her mean that a good education was affordable and that she would not have to work for a living or marry for financial reasons, leaving adequate time to study painting both at Mrs. Haugh's school in Doncaster and later Miss Shepherd's school in Bromley. In 1828 Best returned to Yorkshire to embark on a career as a painter. Lot 31 is a sketch book dating from this period when Best was still learning here trade and taking every opportunity to practice, travelling throughout Yorkshire sketching landscapes, country houses and churches They are testament to the dedication shown by the young artist and a great marker for her progression.Best travelled extensively in Europe during her career, her first trip being in 1934 with her mother. Instead of following the well beaten track to Italy the pair travelled through Holland into Germany, stopping at Rotterdam along the way. The view of Rotterdam, lot 28, was likely either painted during the brief stay during this first trip or during her second foray onto the continent in 1938 when she spent two months exploring Holland, including a stay in Leyden as seen in lot 29. This second trip came after the death of Best's mother in March 1837. The inheritance Best received at this time meant she could live comfortably without having to sell to dealers or exhibit her work and afforded her the luxury of being able to travel as much as she pleased. Indeed, it is clear that Best enjoyed travelling, returning for a three month tour in June 1939 including a stay in Dusseldorf to paint the town's colourful costumes as seen in lot 27.It was late September in Dusseldorf, during this trip, that Best met her future husband, Johann Anton Phillip Sarg, a German schoolmaster and ambitious musician. In what appears to be whirlwind romance she left Dusseldorf a few weeks later engaged to marry, the wedding taking place on the 15th January 1840. The couple spent the early stages of the married life in Nuremburg and Frankfurt during which time they had three children Frank, Caroline and Fred. The family returned to England intermittently but lived mainly in Germany and Belgium. Mary Ellen Best died of pneumonia in Darmstadt in May 1891at the age of eighty-one. An appreciation of Best's watercolors is best supplemented by Caroline Davidson's comprehensive work on the artist's life and oeuvre (The World of Mary Ellen Best, Chatto & Windus Ltd., London, 1985) which features most of the present collection.For further information on this lot please visit Bonhams.com
Lot 658
A QUANTITY OF ASSORTED PICTURES AND PRINTS ETC, to include limited edition etchings by Mary George, watercolour of flowers by A.C.Powner, prints by Gordon Butler, landscape with heavy horses, etching by Venancio Arribas, painting on board of A.Pike, initialled, various prints etc (two boxes and loose)
Lot 13
An early 19th Century Georgian English antique watercolour portrait miniature painting on paper depicting a lady in blue dress with matching head scarf with white scarf to neck. Set to an ebonised frame with gilded brass oak leaf mount and inner frame. Notation to verso. Measures: 13cm x 12cm.
Lot 326
Frank Wood - 20th Century - ' HMS Queen Elizabeth Leaving Portsmouth At Dawn ' - a fine watercolour painting of HMS Queen Elizabeth. Titled and signed to each corner, dated 1922. Depicting the battleship upon the water, with other ships and buildings to the background. Later framed. Handwritten history to reverse. Measures approx; 36 x 67cm
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