Our Lists introduce 100 new works to stock every month
We will re-open at 10am on Tuesday 4th January. LIST 522 will be published at 5pm on Tuesday 11th January.
PART I
Nos. 1-50, issued 5pm 30th November
– LONDON ART WEEK SPECIAL –
Thanks to all the organisers who ran another successful London Art Week. If you couldn’t visit in person, there is still plenty of fascinating content on the LAW website.
Anderson C.B.E. R.A. R.E., Stanley (1884 – 1966)The Tree Fellers (H245); ‘Many Bright Mornings, much dew, many showers, passed o’er thy head’.Engraving. 1945. Edition of 75. Signed, titled and editioned.7.5×6 inches.●
ANON (Nineteenth-Century)A Scholar wearing his uniform and badge.Oil on canvas. c.1815.30×25 inches.●
ANON (Eighteenth-Century)Mercury Slays Argus.Pen, brush, ink and gouache. A version of the composition also drawn by Eberhard Wächter (1762-1852) in the British Museum (BM1914,0901.1). This sheet traditionally Attributed to Antonio Zucchi A.R.A. (1726-1795). Provenance: Christie’s, 17.11.1992, Lot 6 (Part); Abbott and Holder.12.25×11.25 inches.Framed: 23.75×20.5 inches.●
ANON (Nineteenth-Century)Hats and Bonnets; a family Outing.Pen, ink and monochrome wash. Formerly attributed (perhaps correctly) to Edward Francis Burney (1760-1848). Ex. Collection: Cyril Fry.5.5×8.5 inches.●
Beaton, Sir Cecil (1904 – 1980)An Edwardian Suit Dress; a Fashion Illustration.Pen and ink. Inscribed ‘1904’ (the date of the outfit). Provenance: The Estate of Eileen Hose, Beaton’s secretary.13.5×8.5 inches.●
Beerbohm, Sir Max (1872 – 1956)Rodin. (RHD1242)Pencil, brush and wash. 1914. One of a series entitled ‘Simple lessons in the art of drawing M. Rodin’, Merton College, Oxford (ref: RHD 1241).
Ex. Collection: Mrs Eva Reichmann, by descent from the artist; her brother-in-law.12.5×8 inches.Framed: 21×15.5 inches.●
Brangwyn R.A. R.W.S., Frank (1867 – 1956)South Africa; Moonrise and Sands.Oil on panel. 1891. Inscribed ‘Frank Brangwyn S. Africa’ by another hand. Exhibited: Simon Carter, 1978. Ex. Collection: Graham Cherry. We are grateful to Libby Horner for confirming this attribution.12.25×17 inches.●
Cotman, Miles Edmund (1810 – 1858)Norfolk; St Mary, Kenninghall, the Norman South Door.Pencil and watercolour, Signed and dated, 1840. Inscribed recto and verso. Ex. Collection: Cyril Fry.6.7×4.73 inches.●
Clarke Hall, Edna (1879 – 1979)Cathy; a Wuthering Heights study.Pen, ink and brush. c.1925.7.5×9.5 inches.Framed: 15.5×17.5 inches.●
Crotch, Dr William (1775 – 1847)London; Hyde Park, August 8th 1810.Pencil and watercolour. Signed and inscribed verso, ‘Hyde Park / Aug 8. 1810 / Wm … / was going to school / next morninig / WC’. Ex. Collection: Cyril Fry.3.15×6.3 inches.●
Detmold, Edward Julius (1883 – 1957)‘Tiger Tiger Burning Bright’.Etching and aquatint. Signed and titled. Monogrammed and dated 1924 in the plate.13.25×7.75 inches.●
Dewe Mathews, Johnny (born 1946)France; ‘Cote des Maures’.Pencil. Signed and dated, 2007. Exhibited: Rebecca Hossack.22×30 inches.Framed: 25×33 inches.
£575
Ellis A.R.C.A., Lionel (1903 – 1988)‘Firenze, 1926’; portrait of a woman.Oil on canvas board. Signed, inscribed and dated, 1926. Painted on the artist’s R.C.A. Travelling Scholarship. Exhibited: Bradford City Art Gallery 1933.16×13 inches.●
Eddis, Eden Upton (1812 – 1901)Marmaduke Edmonstone Browne (1843-1925) and Maria Louisa Browne (1844-1911).Chalks. 1847/48. Provenance: The sitters’ mother, Louise Macleod Edmonstone (1814-1871) (a gift from her sisters) and thence by descent to Marmaduke Edmonstone Browne. Given by Marmaduke Edmonstone Browne (and his sisters) to their aunt, Henrietta Dashwood Edmonstone (1806-1888) on the death of their mother (1871) and returned to him on Henrietta’s death, March 16th 1888 (See label).16×13 inches.●
Hayter, Charles (1761 – 1835)‘Mrs Forriman, wife of the Revd’.Pencil. Inscribed. Exhibited: Walker’s Galleries (as Sir George Hayter).5.5×4.5 inches.●
Frink R.A., Dame Elisabeth (1930 – 1998)Design for the Ulster Bank Sculpture.Charcoal on paper. 1964. Provenance: a group of drawings for the Ulster Bank Sculpture with A and H 2011.27×12.5 inches.●
Gilder, Henry (1743 – 1808)Kent; Roydon Hall.Pen, ink, watercolour and gouache. c.1780. By the draughtsman who served Thomas Sandby at Windsor Great Park (1778/9) and became Chief Drawing Master at the Board of Ordnance in the Tower of London.9×17 inches.Framed: 17×24.5 inches.●
Howard (9th Earl of Carlisle), George (1843 – 1911)‘Polly’; Lady Dorothy Georgiana Howard (1881-1968), Baroness Henley of Chardstock from 1925.Pencil. c.1890. Inscribed ‘Polly’ on the original mount. Provenance: A group of works by Howard believed to have belonged to his daughter Lady Cecilia Howard (1869-1947) (m. Charles Henry Roberts 1891).3.75×3.5 inches.
£375
Glashan, John (1927 – 1999)Scotland; An Edinburgh street.Pen, ink and watercolour. Signed.7.25×12.25 inches.●
Lamb R.A., Henry (1883 – 1960)Wiltshire; A wooded stream near Coombe Bissett.Pencil, pen and ink. Provenance: a group of Lamb drawings ‘from the family’, Christies South Kensington, March/April 1996.7×8.5 inches.Framed: 15×16 inches.●
Leighton, Clare (1898 – 1989)A Farmer’s Year; May, ‘Sheep Shearing’.Wood engraving. 1933. Signed, titled and editioned ‘6/30’. For ‘A Farmer’s Year: A Calendar of English Husbandry’, Publ. 1933.8×10.5 inches.●
Jeudwine (Twentieth Century), EsmeChristmas Kitten.Gouache for Royal Publications. Circa 1955.6.5×7.25 inches.Framed: 12.5×13.25 inches.●
Peri, Peter Laszlo (1899 – 1967)WWII; VE Day, 1945.Etching and aquatint. Signed. Ex. Collection: Dr Jeffrey Sherwin.8×6 inches.●
Pyne, George (1800 – 1884)Oxford; Christchurch, the Tom Tower entrance from St Aldate’s.Watercolour. c.1850.6.25×9 inches.●
Rowlandson, Thomas (1756 – 1827)‘Lady Kirkwall[?] and her daughters taking a lesson from Monsieur Bonani the drawing master’.Pencil, pen, ink and watercolour. c.1805. Inscribed. Literature: Matthew and James Payne, Regarding Thomas Rowlandson 1757-1827: His Life, Art & Acquaintance, Hogarth Arts, 2010, p.250-251.6.5×10 inches.●
Salmond Smith, Gwen (1877 – 1958)Norfolk; Hickling Broad.Oil on panel. Signed and inscribed verso.15.5×12.5 inches.Framed: 21.25×17.75 inches.●
Sandby R.A., Paul (1731 – 1809)‘Easton Lodge in Essex, the Seat of Lord Viscount Maynard’.Gouache. Signed and inscribed verso. Exhibited: Agnews. Built in 1597, Easton Lodge was destroyed by fire 1847. It was rebuilt to designs by Thomas Hopper. Gardens by Harold Peto were added in 1902. It was requisitioned by the War Office during WWII and the park was cleared for the building of RAF Great Dunmow. The Victorian house was demolished after the War.8.25×11 inches.Framed: 14.75×17.5 inches.●
Searle C.B.E., Ronald (1920 – 2011)Miles Malleson, Derek Francis and Pauline Jameson in Malleson’s adaptation of Moliere’s ‘Sganarelle’ (Old Vic, 1958/59).Pen and ink (fading and card discoloured). 1958/59. Ex. Collection: Pauline Jameson.13.75×14.75 inches.
£750
Shephard R.S.P.P., Rupert (1909 – 1992)London; ‘The Bus’Linocut. Signed, titiled and editioned 56/60. From ‘London – The Passing Scene’, Patrick Seale Prints, 1975.16×11.5 inches.Framed: 24.75×19.75 inches.●
Sickert N.E.A.C., Walter Richard (1860 – 1940)‘Mother and Daughter’ (RB171).Etching. 1915. Third State. Printed in red ink. Ex. Collection: Enid Bagnold. This print is based on a drawing of the same subject dated 1911 (Private Collection), which was published in ‘New Age’. The drawing also became the basis for a painting.6×3.5 inches.Framed: 13.5×9 inches.●
Southall R.W.S. N.E.A.C., Joseph (1861 – 1944)‘St Dorothea’.A study for ‘St Dorothea and Her Two Sisters Refusing to Worship the Idol’. Pencil on prepared paper card. Signed with monogram and dated, ‘VI 1901’. Frame: c.1900, based on early Italian Cassetta frames.15×11.5 inches.Framed: 27.5×22.75 inches.●
Turner of Oxford, William (1789 – 1862)Evening landscape.Watercolour and gouache. Ex. Collection: Bill Thomson, Albany Gallery. We are grateful to Tim Wilcox for confirming this attribution.6.5×13.5 inches.Framed: 14.75×21.25 inches.●
Tunnicliffe R.A. R.E., Charles Frederick (1901 – 1978)Cheshire; ‘The Kestrel’; the view from Lee Farm over the artist’s farmhouse, with parts of the village of Sutton Lane Ends, St James’s church, Ridge Hill and Macclesfield in the distance (MH32).Etching. 1926. Signed and editioned 65/75.9.75×22.5 inches.●
Tushingham, Sidney (1884 – 1968)Italy; Florence from PIazza Michaelangelo, San Miniato.Etching. c.1920. Signed.6.5×14.25 inches.●
Wale, Samuel (1721 – 1786)George I landing at Greenwich.Pencil, pen, ink and monochrome wash. Probably a study related to Wale’s illustrations for G. F. Raymond’s ‘New, Universal and Impartial History of England’ (1789). Ex. Collection: Cyril Fry.4.25×3 inches.●
Whishaw R.A., Anthony (born 1930)‘Interior with Shadow’.Acrylic collage on board. Signed with initials. 1991. Exhibited: Contemporary Art Society Market.8×8 inches.Framed: 13×13 inches.●
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Robertson, Charles (1844 – 1891)Italy; Bellagio, Lago di Como.Pencil and monochrome wash. Provenance: a group of Italian drawings by Rowbotham with A and H c.2010.4×5 inches.●
ANON (Nineteenth-Century)‘Lady […] preparing to Skate at Cosgrove’, with a drawing of ‘Grasini’ (sic), Giuseppina Grassini (1773-1850).Pen and ink.4×8 inches.●
Paget (1775-c.1824), Rev. William‘On the River Poitiers, France’.Pencil and watercolour. 1821/23. Provenance: a collection of works by Paget with A and H 2005.
£60
ANON (Nineteenth-Century)France; ‘Tree at Dijon’.Pencil, pen, ink and monochrome wash on a sketchbook page. Inscribed. Unfolded: A Country house through trees.10×7.5 inches.
Chappell, Billy (1907 – 1994)Costume design for Joy Hayden, probably made for ‘Sugar and Spice’ (St Martin’s Theatre, 1948).Pencil, watercolour and gouache. Inscribed. Provenance: A collection of designs by Billy Chappell with A and H.15×10.5 inches.●
Walker, E (Nineteenth Century)Italy; Sorrento, ‘View from the mountains over the piano Sorrent drawn from nature 1823’.Pencil. Inscribed verso.7×10 inches.●
Clark (fl.1827-1858), Thomas‘At […] near Dorking, 1838’.Pencil and watercolour. Inscribed and dated. Provenance: A group of drawings by Clark with Bill Thomson / Albany Gallery.4.5×6.5 inches.●
Malet, Guy Seymour (1900 – 1973)North Yorkshire; ‘Fountains’ Abbey.Pencil and watercolour. Signed and inscribed. Provenance: Malet Studio Sale, Christies.13.5×7 inches.●
Hayward, John Samuel (1778 – 1822)A Frontispiece; ‘Flying Sketches in a tour through France, Switzerland & Italy / 1802’.Pen and ink. Signed and dated.4.5×7.5 inches.●
Keene (fl.1830-1895), Mary‘Home’; a window sill still life.Pencil. Provenance: a sketchbook of drawing by Mary Keene.4×6.5 inches.
Sells, Rev. Alfred (1822 – 1898)Cornwall; Two Watercolour – The Cheesewring and the Trethevy Quoit.Pencil and watercolour. 1897. The cheesewring Inscribed.6×4.5 inches.●
Walker (Twentieth Century), Ernest R‘York Minster / Nave facing West’.Pencil, pen, brush and ink. Signed and dated, ‘July 1935’.16.75×12.5 inches.●
Prinsep R.A., Valentine (1838 – 1904)‘St Spirito’.Pencil and watercolour. Prinsep travelled in Italy with Burne-Jones 1859-1861. inscribed recto. Inscribed verso: ‘Drawing by Prinsep bought at Mrs House’s Sale Regents Park’.10.5×4 inches.●
Prout Newcombe (c.1824-1912), SamuelWales; ‘First view of the waterfall, Aber’.Pencil and white heightening. Inscribed and dated, ’14/8/72′.5×3.5 inches.●
ANON (Nineteenth-Century)U.S.A.; ‘Undercliff near Cold Spring / Hudson River’ [The Seat of General George Morris].Pencil drawing after the plate in ‘American Scenery, or Land, Lake, and River Illustrations of a Transatlantic Nature’ from drawings by W. H. Bartlett (1840). Inscribed verso.5×7 inches.●
ANON (Nineteenth-Century)Wiltshire; ‘Stonehenge’.Chalks. Inscribed on the original wash-line mount.8×11 inches.●
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 email 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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