LIST 550

JULY 2024


Issued 5pm 9th July

  • ANON (Nineteenth-Century)
    A New Woman of the French Empire. Pastels. c.1805. 11.5×8 inches. Framed: 16×12 inches.
  • Austin R.A. R.E., Robert Sargent (1895 – 1973)
    Somerset; ‘Highbridge’ (CD77). Engraving. 1928. Signed and dated. 4.5×5 inches.
  • Bough R.S.A., Sam (1822 – 1878)
    Scotland; Edinburgh Castle from Bonnington Mills. Watercolour and gouache. Signed and dated 1860. See the similar composition in oils in the collection of the R.S.A. 9.5×13.5 inches. Framed: 15×18.5 inches.
  • Cameron R.S.A. R.E., Sir David Young (1865 – 1945)
    France; Paris, ‘Saint Germain l’Auxerrois’. Etching. 1904. Signed. 12.5×6.5 inches.
  • Cecil, Roger (1942 – 2015)
    ‘Landscape No.23’. Oil on paper. Signed. By the great, elusive Welsh artist. 4×3 inches. Framed: 10.5×8.5 inches.
  • Cox O.W.S., David (1783 – 1859)
    Coastal study, possibly looking towards Dover Castle. Pencil and watercolour. c.1840. Provenance: Andrew Wyld; Caroline Gee. 6×9 inches. Framed: 14.5×17 inches.
  • Fillmore Lillie, Ella (1884 – 1972)
    U.S.A.; ‘Rolling Hills’, probably Vermont. Lithograph. c.1935. Signed and titled. 8×10 inches.
  • Fraser, Eric (1902 – 1984)
    ‘Blood Wedding’. Pen and ink. Signed. An illustration for Federico García Lorca’s tragedy ‘Blood Wedding’, made for the Radio Times, 1/7/1949. 5×4 inches. Framed: 12.5×10.5 inches.
  • Frost, William Edward (1810 – 1877)
    A young artist sketching. Pencil and watercolour. Exhibited: Colnaghi. 4.5×4 inches. Framed: 11×9.5 inches.
  • Gibbings, Robert (1889 – 1958)
    ‘A Lizard and a Sphinx’. Wood-engraving. 1932. From ‘Fourteen Wood Engravings, from drawings made on Orient Line Cruises’. 10×7.5 inches.
  • Graham, Rigby (1931 – 2015)
    ‘Homage to Cavafy’. Linocut. 1987. Artist’s proof. Signed, dated, titled and editioned ‘AP’. 16×18 inches.
  • Greenaway (Att. to), Kate (1846 – 1901)
    Girl with a summer hat a basket. Pencil and watercolour. c.1880. 9×5.5 inches.
  • Guillou, Alfred (1844 – 1926)
    France; Sunset over the harbour at Concarneau. Oil on canvas. c.1880. Signed. Priced to include a frame. 10.75×13.75 inches.
  • Hamnett, Nina (1890 – 1956)
    Head of a boy. Red chalk. Signed and dated, ‘Nov 3rd 1947’. 10×6.5 inches. Framed: 18×14 inches.
  • Hardie R.E., Martin (1875 – 1952)
    France; ‘Boat-builders, Concarneau’ (H79). Etching. 1920. Signed. Edition of 60. 8.5×11.5 inches.
  • Harmer (Vicountess Harberton), Fairlie (1876 – 1945)
    Portrait of a red-haired woman. Pencil and watercolour. c.1915. Signed. 15×12 inches.
  • Hayward S.W.E. (Contemporary), Anne
    ‘Bedhead Boundary’. Wood-engraving. Signed, titled and editioned ’29/50′. 7×5 inches. Framed: 14.5×12 inches.
  • Ingham, Bryan (1936 – 1997)
    ‘September Garden’. Etching. 1978. Signed, titled, dated and editioned ’25/100′. 12.5×18 inches. Framed: 24.5×29 inches.
  • Johnson, Harry John (1826 – 1884)
    Turkey / Lycia; ‘Valley of Patara, Asia Minor’. Oil on canvas. Signed verso. Titled to the stretcher. Johnson travelled to Asia Minor in 1843 with William James Muller (1826-1884). He exhibited views from the trip throughout the 1840s so this work my well date from then. He was using the address given on the verso of the canvas in 1857. 11.5×22.75 inches. Framed: 20×31 inches.
  • Kirkman (Contemporary), Michael
    The Artist at Work; a self portrait. Pencil. Signed and dated, 2015. 21×28 inches. Framed: 28.5×35.5 inches.
  • Larcher, Dorothy (1882 – 1952)
    ‘Anemones and Hyacinths’. Oil on board by the textile designer who established ‘Barron and Larcher’ with her life-long partner Phyllis Barron (1890-1964). Signed and dated, 1945. Titled on artist’s label verso. 12×16 inches. Framed: 17.5×21.5 inches.
  • Lear, Edward (1812 – 1888)
    Greece; Corfu, the view ‘from Spartera’. Pencil, pen and ink. Inscribed and dated, 12th May 1862, the artist’s 50th Birthday. An extract from the artist’s diary: ‘Monday, 12 May 1862 / My 50th birthday. Rose at 4.20: ― off by 5.15. Long winding paths through olive groves: then dips & struggles with quite wild places, stuffed with all sorts of underwood, the old olives growing tangly all about … A man passing, & asked the way to Sparterò … superb scenery all about the place … the quiet, warmth, & semishade are delightful … After death perhaps I shall be a tree ― a cloud ― a cabbage ― or silence in the next world: but most possibly an ass … At 1, or 1.30 ― into the Monastery, & drew till 3 ― awfully tortured by fleas, & obliged to stand in the sun all the time. As soon as I got to the sea I bathed ― killing 11 fleas first …’. 12×19.5 inches. Framed: 19×26 inches.
  • Lindsay, Sir Lionel Arthur (1874 – 1961)
    Black Cat. Wood-engraving. Signed and editioned ‘No.23 / Ed. 100’. 7×6 inches.
  • Malthouse, Eric (1914 – 1997)
    ‘Coiling Ropes, Cornwall’. Gouache. Signed. 18×22.5 inches. Framed: 26×29.5 inches.
  • Marie-Alix (Twentieth Century), Alice
    Still life with violin. Oil on canvas. c.1910. Signed. Provenance: a gift from the artist to a friend with whom she had been at the Slade in the 1890s; by descent to the previous owner 17.5×21.5 inches. Framed: 22.5×26.5 inches.
  • Mellor, Oscar (1921 – 2005)
    Life study. Oil on card. c.1950. Signed verso. 14.5×8.5 inches. Framed: 19×13 inches.
  • Page R.W.A., Dione (1936 – 2021)
    ‘The Willow Pattern Plate’. Watercolour and gouache. Signed, titled and dated, 1995. 19.5×26 inches. Framed: 28×34.5 inches.
  • Procter A.R.A., Ernest (1886 – 1935)
    WWI; 'Ypres / Cloth Hall, Town Gate / Ruins of Cathedral'. Watercolour and gouache. Painted in October 1918. Signed and inscribed. 9.5"x12.5" inches.
  • Pyne, George (1800 – 1884)
    Hampshire; Cricket at Winchester College. Watercolour. Signed and dated, 1852. 8×11.75 inches. Framed: 16×19.5 inches.
  • Schmidt-Rottluff, Karl (1884 – 1976)
    ‘Kundung’ (Proclamation). Woodcut. 1921. Signed in the plate. Exhibited: Goldmark. 11×9 inches. Framed: 20×17 inches.
  • Squirrell R.E. R.W.S., Leonard Russell (1893 – 1979)
    Scotland; ‘Edinburgh from Calton Hill’. Pencil. c.1937. Signed. A study for the artist’s etching of the same subject which formed part of his set of six Scottish prints. Provenance: with the Deben Gallery, Woodbridge, October 1983 according to an inscription verso. 7×11 inches.
  • Sutherland O.M., Graham (1903 – 1980)
    ‘Wood Interior’ (T.29). Etching. 1929/30. Signed. Edition of 60. 4.5×6.5 inches.
  • Town, Norman (1915 – 1987)
    ‘Orchard’. Pen, ink, watercolour and gouache. Signed and dated, 1948. Exhibited: Peter Nahum, 1988. 8×10 inches. Framed: 14×16 inches.
  • Tuke R.A. R.W.S., Henry Scott (1858 – 1929)
    Sailing; figure studies. Pencil. Provenance: one of Tuke’s sketchbooks dated 1898, Christies 3/11/1999; to A and H. 4.5×6.5 inches. Framed: 11×13 inches.
  • Weissenborn, Hellmuth (1898 – 1982)
    Red-haired nude. Monotype. c.1960. 7×5 inches. Framed: 16×13 inches.
  • White N.E.A.C. R.W.S. L.G. S.W.E., Ethelbert (1891 – 1972)
    ‘Netley Mill’. Wood-engraving. Signed, titled and editioned ’20/50′. 5.5×7 inches.
  • Williams (Nineteenth Century), Thomas
    BARBADOS; Lieutenant Thompson, 81st Regiment of Foot (Loyal Lincoln Volunteers). Oil on canvas. Signed and dated, ‘Barbados Oct / 1840’ verso. Further inscribed to the stretcher with the sitter’s name. The canvas bearing the supplier’s stamp of ‘P Caff[…] / New York’, so the artist perhaps American. 10.5×8.5 inches. Framed: 12.5×10.5 inches.
  • Ziegler, Walter (1859 – 1932)
    Germany; Munich, head and figure studies. Pencil, Signed, inscribed ‘Munchen’ and dated 1885. Exhibited: Faerber & Maison. 18.75×23.5 inches.


Frederick George Austin, younger brother of the great printmaker Robert Sargent Austin (1895-1973), was born in Leicester in 1902. He attended the Leicester College of Art then the Royal College of Art (1924-27). At the RCA he studied under Randolph Schwabe, William Rothenstein and, most significantly, the printmaker and future president of the R.E., Malcolm Osborne. The ‘Print Revival’ was then reaching its peak in Britain, so Austin saw the RCA printmaking department in its heyday, having grown from a mere 5 or 6 students in the 1890s to between 60 and 70 students.

As his brother had done before him, Austin won the Prix de Rome in 1927 for his etching The Flight into Egypt (see an example in our stock archive). He was elected an associate member of the R.E. in 1930, and a fellow in 1952. Although he was a regular exhibitor, his professional life was taken up largely by teaching at London art schools, including Blackheath, Putney, Kingston, Croydon and Epsom.

The etchings in this group all date from early in his career. Many – The Feast in the House of Simon (1926), The Congregation (1927), A Peasant Family (1928) The Baptism (c.1930) – are religious subjects treated with great sensitivity. They depict, in one way or another, acts of faith and belie his own Catholicism. Despite the quality of his work, there is no study of Austin as an artist or a catalogue of his prints. It is high-time he was given the scholarly attention he deserves…


Etchings 1925-1928


LIST 550

JULY 2024


5pm 23rd July




As is tradition, we will be publishing a Summer Selection of stock.
5pm 6th August


Make sure there’s wifi on the beach!
5pm 20th August

It has been five long years since our last exhibition with Tor Falcon. But, boy has it been worth the wait! The drawings in this exibition are a study of our moon – how to get to grips with finding it, looking at it, drawing it, understanding it … and so much more … Tor has published a beautifully written journal documenting the project to accompany the exhibition.



An Artist’s Study of the Sky

18th September (Full Moon)
and continuing until 19th October

LIST 551


Thursday 26th September

In our opinion there is no better fair for modern and contemporary British art, so we are thrilled to annouce we are taking part in the 2024 edition.

Saatchi Gallery
Thursday 26th – Sunday 29th September


Our Lists introduce 100 works to our large stock of oil paintings, watercolours, drawings and prints each month.

They are usually published in two halves, in the first and third weeks of the month. We treat enquiries about List pictures in strict order of receipt.

Please call if you would prefer to talk to us about anything you see on the website, but we strongly advise sending an email first; we are happy to hold works for a short time while they are being considered, or to give time to make a vist.

Images: These are intended as an indication of the work – please telephone or email  if you have any questions about the photograph’s relationship to the original. We are always happy to send further photos – frames, versos, inscriptions, something to give scale – so please do ask.

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