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Click here to subscribeAnne Cherry MA RCA (20th Century) - A 20th Century watercolour painting on paper depicting a landscape scene with swooping birds over a ploughed field entitled 'Gulls' together with a water colour study of a rose entitled 'Morning Rose'. Both signed. Framed and glazed. Measures 45 cm x 35 cm.
FRANCIS NICHOLSON O.W.S. (BRITISH 1753-1844) SCARBOROUGH Pen and ink and watercolour (Dimensions: 30cm x 41.5cm (12in x 16.25in))(30cm x 41.5cm (12in x 16.25in))Footnote: Note: Dubbed the ‘Father of English watercolour painting’, Francis Nicholson is best known for his landscapes. Nicholson was born in Pickering, North Yorkshire in 1753. He trained in Scarborough for three years before beginning his career back in Pickering, where he produced sporting pictures and portraits of his Yorkshire patrons. The mid-1780s saw Nicholson’s interest shift toward painting scenes of country houses, and this eventually led to his experimentation and exploration of landscapes in watercolour. By 1789, his works were exhibited at the Royal Academy and his landscapes had been included in several publications. Nicholson developed a technique with watercolour paintings which allowed him to create shadows and depth through the application/removal of beeswax. The Society of Artists purchased this method in 1799 and claimed that, through this practice, Nicholson had elevated watercolour paintings from simple, ‘stained drawings’ to possessing all the power of an oil painting. Nicholson moved to London around 1801 and, three years later, became founder-member of the Society of Painters in Watercolours, as well as a prolific contributor to their exhibitions. In 1820, he published The Practice of Drawing and Painting Landscape from Nature in Watercolours. The book was so wildly popular that it sold out and a second edition promptly followed in 1823. Nicholson revolutionised watercolour painting and ultimately paved the way for future landscape artists. JMW Turner was even said to have admired his work, citing Nicholson as ‘my model’. He died in London in March 1844 and is buried in Brompton cemetery.Condition report: Laid down time fading with some foxing in period gilt frame
An oil painting on board in gilded wood frame, entitled The Old Beech Tree, signed W Goford 1895 - size of painting 32x20cm and an unframed watercolour of a coastal scene with monogram possibly RB bottom right corner, size 23x13cm, some losses/scratches to oil painting and foxing to watercolour
CHARLES ROBINSON (1870-1937) "Nymph", Watercolour painting, signed, gilt framed, mounted and glazed, 25cm x 17cm (Charles Robinson was a book illustrator, amongst others he illustrated; "Alice's Adventures in Wonderland" (1907) "Grimm's Fairy Tales" (1910) Robert Louis Stevenson's "A Childs Garden of Verses" (1895) )
THOMAS HARTLEY CROMEK (1809-1873) "The Vestibule of Saint Mark's Basilica, Venice", watercolour heightened with body colour and white inscribed on "Guy Peppiatt Fine Art Ltd of London" label verso with provenance relating to Hubert George de Burgh-Canning etc CONDITION REPORTS Painting is in good condition with general wear and tear commensurate with age and use. See photos for more details.
A second-half 19th Century achievement of arms for the Cave-Browne-Cave Baronets, with 130 named quarterings/ watercolour and gilt, 51cm x 36.5cm/framed and glazed/Note: The Cave family had taken their name from North and South Cave in Yorkshire where they settled at the Conquest, and for whom a baronetcy was created in 1641. In 1721 Roger Cave married the heiress Catherine Browne and their son added the name of Browne by Act of Parliament in 1752. The additional name of Cave was confirmed by Royal Licence in 1839. The painting was made for Sir Mylles Cave-Browne-Cave, 11th Baronet, who succeeded his father in 1855 and died 1901. His rebel adventurer son, the Revd Sir Genille Cave-Browne-Cave, 12th Baronet, after running away to the circus as a child, being sent to Australia at the age of 14 where he deserted, seeing action on the Khyber Pass where he shot 29 tigers, and taking part in the Chinese Boxer Rebellion, also had the unusual distinction of working as a cowboy on a ranch in the American Wild West where his record for lassoing and tethering a steer in 19½ seconds apparently still stands. Known as the 'Bronco Baronet', late in life he entered the church, writing an autobiography From Cowboy to Pulpit/see illustration
A collection of pictures and prints including a 20th century oil painting on board of a French village scene, signed Harrison, 43 x 35 cm, a gouache study of a spring orchard with blossom and daffodils, 23 x 20 cm, an early 20th century watercolour of a Venetian canal scene, signed A Scarpa, 31 x 17 cm, a signed monochrome engraving of the Council House at Bristol with snowballers, signed Charles Bird, 18 x 13 cm approx visible sheet size, etc, various sizes, all framed (8)
R Warwick (British, 20th Century), Clare College Bridge, Cambridge, watercolour, 17 x 24cm; Deception, oil on board, 24 x 36cm; and Circle of Deception, oil on board, 42 x 56cm. Warwick was well known for his idyllic water colours of Cambridge university scenes in the 1950s and was an established artist with a track record of credible work. Sadly he became ill with a tumour of the brain in the early 1960s and his work changed dramatically from painting every day scenes of a sleepy university town to garish depictions of a Dali-esque nature as the disease progressed. The present paintings will be of interest to collectors of unusual art, or those with an interest in the effect of disease on how the human mind changes, manifest through distinctive art (3)
Military.- Dubois-Drahonet (Alexandre-Jean, French portrait painter, 1791-1834) Portrait study of Lieut. Everard William Bouverie of Delapre Abbey, Northampton (1789-1871), full-length, standing, wearing uniform of The Royal Regiment of Horse Guards, presented alongside his military commission, the official document of appointment dated 1812 and signed by HRH The Prince Regent George IV, watercolour over pencil on buff wove paper, sheet approx. 250 x 180 mm. (9 7/8 x 7 in), the commission on vellum approx. 230 x 330 mm. (9 x 13 in), under glass, some handling creases and surface dirt, framed, [circa 1812]Provenance: Ex-collection of Fawley House, Buckinghamshire;Sale. Sotheby's London, Sotheby's On the Premises: Fawley House, 15th October 2003, lot 477AIllustrated:The Connoisseur, vol. XXXV [Otto Limited, London, 1913]⁂ An original preliminary study for a painting; probably part of the commission by King William IV for Dubois-Drahonet to paint a series of pictures illustrating recent changes in the uniforms and weapons of the British Army. The finished paintings from this commission are now held in the Royal Collection, although there does not appear to be a finished painting of the present sitter.
δ Elisabeth Frink (1930-1993)Cormorant Watercolour and pencil on paper, 1971, signed and dated in pencil, sheet 430 x 570mm (17 x 22 1/2in) (framed) British artist Elisabeth Frink was occupied by the themes and symbolism of birds in her work since she first exhibited publicly in 1951. For her, it was specifically that moment just before or during flight that was fascinating. This inspired her continuous return to the subject across her sculpture, painting and printing for the next two decades. The present artwork exemplifies the power of such an image. Here a cormorant stands in a stormy landscape, looking wildly around at its surroundings while spreading its wings to launch into a foreboding sky. In the artist's opinion, it is in these moments that birds are their most expressionist in feeling because they are about to attempt to overcome the forces of nature and gravity that keep man firmly in his earthbound state. Such an idea is both beautiful and pertinent, as it provides the perfect metaphor for her viewer to explore one's struggle to surpass our own limitations - to soar to freedom, spiritual ascendancy and success - while also acknowledging the uncertainty that comes with doing so. Provenance:Private Collection, United Kingdom, 1995-Present.Chiswick Auctions, London, 11th April 1995.δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
* MHAIRI MCGREGOR RSW (SCOTTISH b 1971), MOOLOOLOO HOMESTEAD, SA gouache on paper, signed 27cm x 30cm Mounted, framed and under glass. Note: MHAIRI PATRICIA McGREGOR RSW was born in 1971. She studied at Glasgow School of Art from 1989 - 1993, gaining a BA (Hons) in Fine Art. She has exhibited very widely in Scotland, in England and Australia. While at Art School she received a number of awards including one month working in Vetheuil, France, a Christie’s Bursary for 3rd-Year Studies, Glasgow School of Art Landscape Drawing Prize for a sketchbook done in the open and a John Kinross Scholarship - 3 months working in Florence, Italy. Following graduation, she spent six months painting in Australia. In 1996 she was interviewed by BBC Radio Scotland for The Usual Suspects programme. In 1997 she was short-listed as one of four for the Alastair Salvesen Scholarship and she was awarded the Under 25 Regional Winner of the Laing Art Competition. She spent a further four months painting in Australia. In 1998 she was short-listed, one of six for Gilchrist-Fisher Memorial Award. She took part in a Scottish Television interview for The Home Show programme. In 1999 she was short-listed, one of four for the Alastair Salvesen Scholarship. She was awarded the Ruth Davidson Memorial Award - 3 months working in the South of France. She was elected Member of the Royal Scottish Society of Painters in Watercolour. In 2000 she was awarded Glasgow Art Club Fellowship and spent two months painting in Australia. In 2001 she was awarded the Alexander Graham Munro Travel Award and the Paisley Art Institute Prize. In 2002 she spent two months painting in Arizona and New Mexico.
English School (20th century) -A still life of fruit in a basket, the fruit including grapes and peaches, pencil and watercolour, 4.25" x 4.25"; together with various prints and watercolours including figurative subjects, a framed Baxter Print of early settlers and American Indians, a sepia watercolour after Peter La Cave, rustic figures with a donkey beside a tree, Oriental watercolour on rice paper depicting flowers and a butterfly, watercolour of harvesters resting against corn stooks, a cottage nearby, signed Tom Lloyd and dated 72 (1872) an oil painting signed Bennetts depicting anemones in a brown bow, a facsimile print after Sir Peter Paul Rubens depicting a series of head studies, coloured print of a court of alms with Latin text with various photographs and other pictures all contained within a box, various sizes, and a small mirror (a collection)
Collection of framed pictures, predominantly modern decorative prints, to include a facsimile map of British Isles by Blaeu, a late-19th century French fashion plate, a Chinese silk painting of fish, two naive watercolour street scenes in the manner of Lowry, an unframed (but mounted) 19th-century map of Shropshire by Thomas Moule, and others (16)
§ James McNaught R.S.W., R.G.I. (Scottish B.1948) Arrival Venice, Mist Signed and dated 2009, watercolour and gouache (Dimensions: 10cm x 24cm (4in x 9.5in))(10cm x 24cm (4in x 9.5in))Footnote: Provenance: Open Eye Gallery, Edinburgh; Provenance: The Willie Rodger Art Trust Willie Rodger studied at Glasgow School of Art from 1948-52, and was a school art teacher until 1987 when he resigned to concentrate on his career as an artist. Rodger worked in a variety of media in a career which saw him design 11 stained glass windows (working collaboratively with John K Clark), a Scottish Post Office Aerogramme, a set of postage stamps for Scottish Devolution, the award-winning Scottish Historical Playing Cards (for the late Angus Ogilvy of The Stirling Gallery), book jackets and record sleeves, letterheads, logos and alphabets. A gifted draughtsman, his drawing ability was already recognised whilst a student, and he always had a small sketchbook and a pen to hand. Having been dissuaded from painting whilst at Art School, he took it up several decades later after the late Angus McAuley of the Stenton Gallery prompted him to try his hand, and offered him a solo exhibition by way of encouragement. It was as a relief printmaker, working most usually in lino and wood, that Rodger established himself. His status as one of Scotland’s pre-eminent printmakers was recognised by his peers in 1989 when he became the first person elected an Associate of the Royal Scottish Academy in the category of Printmaker. During his long life he built a small collection of works by fellow artists. These included artists whom he knew personally; others, like Bawden, whom he regarded as personal heroes, and others for whom he was the source of inspiration. His acquisitions reflected places he knew, or addressed gardening and music, pastimes which filled his time away from family and art. Above all he knew what he liked, and acquired to reflect this, either by gift or exchange, or from exhibitions, dealers, or auction sales. Lyon & Turnbull are delighted to offer a small group of works from his private collection within this auction.
A set of six Meissen platesCirca 1900 In the manner of J.E.Braunsdorf, painted with sprays of flowers, reserved on a dark brown ground within gilded and scalloped-edge rims, 20cm diameter, crossed swords marks in underglaze blue and impressed numeral 3 (6)Footnotes:Meissen's head painter, Ludwig Sturm was very traditional and under his direction most flower painting on Meissen was formal, in the manner of Deutsche Blumen. When Horst Brunneman took over as factory director in 1895, he realised a more modern approach was needed. While Sturm was unwilling to change his ways, Brunneman insisted the factory's senior flower painter, Julius Eduard Braunsdorf, be allowed to break with tradition. An experienced watercolour painter, Braunsdorf was given free range to decorate Meissen with flowers in a totally new, impressionistic manner. The new flower-painting style was well received at the Paris Exhibition in 1900.For further information on this lot please visit Bonhams.com
ϒ Giovanni Battista Canevari (Italian, 1789-1876), portrait of a young lady wearing a white dress with a colourful shawl, watercolour on ivory, signed Canevari Roma, middle right, 11.7cm x 8.9cm, in a gilt metal filet and black papier mache frame Canevari worked as a miniaturist in Florence, Livorno, Luca and Turin, painting for noble families and King Carlo Felice. In 1824, he settled in Rome, where the present lot was painted. He was greatly influenced by English miniaturists and spent some time in England, exhibiting at the Royal Academy between 1848 and 1871. ϒ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.
Robin Furness (b.1933) ''The Zetland, Hamsterley'' Signed, inscribed and dated (20)19, watercolour, 25cm by 38cm ''Captain Colin MacAndrew showed wonderful sport during his sixteen seasons as a Joint Master and Huntsman of the Zetland Foxhounds. His best hound hunt was the nine mile point after a meet near Barnard Castle on the 12th February 1957. Hounds found at Hawksley Hill and ran North East, past Crane Row across the Linburn Beck below Hamsterley, as shown in this painting. They ran past Hamsterley Church and killed in Adder Wood to the North of the village; a hunt of one hour and forty-five minutes with only six mounted followers at the finish''. R.F
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