LIST 523



Issued 5pm 1st February

  • Tenniel, Sir John (1820 – 1914)
    Mr Punch and Britannia toasting the USA after their defeat of Spain at the Battle of Manila Bay. Pencil. Signed and dated, 1898. 8×6.25 inches.
  • Thorne Waite R.W.S., Robert (1842 – 1935)
    Leaves and Grasses. Signed with monogram and dated, ‘June 6 (18)62’. Ex. Collection: Cyril Fry. 3×5 inches.
  • Varley O.W.S., John (1778 – 1842)
    Wales; Conway Castle. Pen, ink and monochrome wash. Ex. Collection: Cyril Fry. 2.5×6 inches.
  • Waterford, Louisa, Marshioness of (1818 – 1891)
    ‘Saul and David’. Pencil and watercolour. Exhibited: Exhibition of Pictures by the Late, Louise, Marchioness of Waterford; Chris Beetles. Ex. Collection: Hon. Alfred Talbot, Berkhampstead. 7.75×9.75 inches. Framed: 12.5×14.5 inches.
  • Vellacott, Elizabeth (1905 – 2002)
    Fallen Tree. Pencil. Signed and dated 1969 verso. 16×22 inches. Framed: 18.5×24 inches.
  • Wilkie R.A., Sir David (1785 – 1841)
    ‘Interior with Three Boys and a Dog’ (D2). Etching on chine collé. 3.5×2.25 inches.
  • Wood R.A., Francis Derwent (1871 – 1926)
    Ambrose McEvoy; a caricature portrait. Pencil and watercolour on Chelsea Arts Club writing paper. Signed with initials and dated, ’19’. 7.5×4.5 inches.
  • Suddaby, Rowland (1912 – 1978)
    Still Life and Coast. Watercolour and gouache. Signed. Exhibited: Austin Desmond, ‘Rowland Suddaby’, April 1988. 20.75×29.25 inches. Framed: 26×34.5 inches.
  • Devis (Manner of / Circle of), Anthony (1729 – 1816)
    Yorkshire; ‘Harewood Castle’. Pencil and watercolour. c.1800. Inscribed verso. 10.5×14.5 inches.
  • ANON (French School)
    Self portrait with a palette. Oil on canvas. c.1895. The canvas (relined) stamped ‘de St Martin et Frere / Rue de Seine’ (active 1826-1903). 13×8.5 inches. Framed: 17×12.5 inches.
  • Ackroyd C.B.E. R.A., Norman (born 1938)
    East Sussex; ‘Midsummer Morning – Charleston’. Aquatint. Signed, titled, dated 1989 and editioned 15/60. 23.5×26 inches. Framed: 33×35 inches.
  • Beaton, Sir Cecil (1904 – 1980)
    Costume design for Noel Coward’s ‘Quadrille’, starring Lynn Fontanne and Alfred Lunt. Pen and ink. c.1952 (the play opened in Manchester in July that year). Inscribed. Provenance: The Estate of Eileen Hose, Beaton’s secretary. 10.75×7.5 inches.
  • Austin R.A. R.E., Robert Sargent (1895 – 1973)
    ‘Bouquet’ (CD131). Engraving. Inscribed ‘To Mo … Christmas 1940’. 6.75×6 inches.
  • ANON (Twentieth-Century)
    ‘De Bor [n] / [Ae]tatis Suae / MDXXX’. Oil on panel. c.1920 after the Holbein the Younger portrait of Derich Born (1509-1549) in the Alte Pinakothek, Munich. 5.25×4 inches.
  • Beer, Richard (1928 – 2017)
    Sicily; ‘Noto III’. Etching and aquatint. Signed, title and editioned 16/100. 24.5×18.5 inches.
  • Bissill, George (1896 – 1963)
    ‘Netherton, Hampshire’. Oil on board. c.1955. Inscribed and titled verso. Exhibited: Bath Society of Artists 50th Exhibition, 1955, No.1. 9×11 inches. Framed: 13.5×15.5 inches.
  • Bell, Vanessa (1879 – 1961)
    Basket of Flowers. Linocut. Printed from the original block in 1999 by The Bloomsbury Workshop. 10×7.5 inches.
  • Blackadder R.A. R.S.A., Dame Elizabeth (1931 – 2021)
    ‘Yellow Orchids’. Etching and aquatint. Signed and editioned 5/50. 23.5×32 inches.
  • Brandard, Robert (1805 – 1862)
    Washer Woman. Pencil and watercolour. Ex. Collection: Cyril Fry. 6.5×3.5 inches.
  • Callow R.W.S., William (1812 – 1908)
    Monmouthshire; a view of Raglan Castle? Pencil and watercolour. Inscribed ‘A Study’ verso. 10.25×13.75 inches.
  • Cuming R.B.A., Peter (1916 – 1993)
    ‘Reflections’. Oil on board. Signed and dated, 1973. Artist’s label verso. 25×36 inches. Framed: 19×30.5 inches.
  • Duncan R.W.S., Edward (1803 – 1882)
    Grasses and flowers. Pencil, watercolour and gouache. Studio stamped. Ex. Collection: Cyril Fry. 4×5 inches.
  • Collins, Elisabeth (1904 – 2000)
    ‘A Woman Grieving’. Gouache by the wife of Cecil Collins (1908-1989). Signed. Exhibited: Albermarle Gallery, Elizabeth Collins Retrospective, 1989, Cat No.22. 15×21.5 inches. Framed: 20×27 inches.
  • Goodwin R.W.S., Albert (1845 – 1932)
    East Sussex; ‘Rye’ at Sunset. Signed, titled and dated, 1900. Exhibited: Chris Beetles, Summer Show, 1999, no.22. 9×12.5 inches.
  • Fisher (Family), John, Bishop of Salisbury (1748-1825) or Sir George Bulteel (1764-1814)
    Berkshire; ‘Eton from Windsor’. Pencil and monochrome wash. c.1800. Traditionally attributed to Sir George Bulteel Fisher (1764-1814), but inscribed verso ‘J Fisher’. 12×17 inches.
  • Eddie (fl.1950s), James
    Spain; Granada, the Alhambra from the city. Oil on canvas. Signed and dated, 1954. 19×27.5 inches. Framed: 23×31.5 inches.
  • Hill, Adrian (1895 – 1977)
    Wales; Criccieth Beach, Gwynedd. Oil on canvas. c.1940. Signed. 27.25×34.5 inches. Framed: 35.5×43 inches.
  • Heckel (Attributed to), Augustin (1690 – 1770)
    London; Richmond, a view of the Twickenham bank of the Thames, showing (Left to Right) Pope’s villa, Lady Ferrers’ Summer House, Cross Deep and Dr Barry’s house (later Poulett Lodge). Pencil, pen, ink and watercolour. c.1750. The mount Stamped ‘Scipio’ (Henry Scipio Reitlinger). Previously attributed to Johann Heinrich Müntz (1727-1798) and inscribed on the wash line mount ‘J H Muntz / Pope’s Villa Twickenham’. Provenance: Henry Scipio Reitlinger (1882-1950), his Sale Sotheby’s 27th January 1954, lot 75 (as by Muntz); bought by the Fine Art Society; to Hilda F Finberg, April 1954; L. G. Duke, his Sale 29th April 1971, lot 150 (as by Peter Tillemans); bought by Spink & Son where acquired by the present owner in 1972 (as by Heckel). Exhibited: ‘English Watercolour Drawings’, Spink & Son, 1972, Cat No. 30; ‘Alexander Pope’s Villa, Views of Pope’s Villa, garden and grotto: a microcosm of English landscape’, Marble Hill House, 1980, Cat No.18 (where ‘attributed to’ Heckel); ‘Bleast Retreats’ A History of Private Gardens in Richmond upon Thames, Orleans House Gallery, 1984, Cat No.48 (where ‘attributed to’ Heckel); ‘Alexander Pope’s Twickenham, his neighbourhood and his friends’, 1988; ‘Prospects about Richmond’, Mid Eighteenth Century Drawing and Prints by Augustin Heckel, Museum of Richmond, 1994, Cat. No.19a (as by Heckel). 5.5×14.5 inches. Framed: 13.25×21.5 inches.
  • Keene, Charles (1823 – 1891)
    “Rejected you – did she? … You should have pressed, her man”. Dejected one “Yes – but, confound it – she wouldn’t let me come near her!”. Pen and ink. Signed. Inscribed ‘J Crawhall from CK, Jan 27 1883’. Provenance: Joseph Crawhall (1821-1896); Cyril Bird (Fougasse) CBE (1887-1965); Major Tom Bird DSC MC (1918-2017). 5.5×4.75 inches.
  • Lambert, George Washington (1873 – 1930)
    Hampshire; ‘Liphook’. Oil on board. Signed. Inscribed verso ‘Actually painted during a picnic at Churt, of K M Shuffrey & children & Lambert’. Lambert frequently stayed with the painter Kathleen Shuffrey at her cottage at nearby Liphook and the painting shows her and her children Elizabeth, Helen and Leonard. Exhibited: Goupil Gallery. Provenance: Leonard Shuffrey (1908-2001) 14×17 inches.
  • McEvoy A.R.A., Ambrose (1878 – 1927)
    Portrait of a woman. Watercolour. c.1920. Studio stamped. 11.75×7 inches. Framed: 18.25×14 inches.
  • MacNab, Allan (1901 – 1982)
    Monaco; Monte Carlo. Etching and engraving. Signed, dated 1927 and editioned ’49/75′. 12.5×15 inches. Framed: 20.75×22.25 inches.
  • McGill, Donald (1875 – 1962)
    ‘My Valentine …’. Pen, ink and gouache. 10.25×7 inches.
  • Nicholls, Bertram (1883 – 1974)
    Herefordshire; ‘Morning at Ross’ (Ross-on-Wye). Oil on canvas. Exhibited: Fine Art Society, November 1944. 11.5×16.5 inches. Framed: 18×22 inches.
  • Porter, Frederick (1883 – 1944)
    Self portrait. Pencil. 1918. Studio stamped and dated. Provenance: The Bloomsbury Workshop. 14.5×9.25 inches.
  • Pellew, Claughton (1890 – 1966)
    ‘Marsh Marigolds’. Wood-engraving. Signed and dated, 1930. Titled and editioned ‘Proof 1/3’. 11×10 inches.
  • Prout O.W.S. (After), Samuel (1783 – 1852)
    Italy; Rome, the Campanile of San Francesca Romana from the Basilica of Constantine. Pencil and watercolour. Prout made a number of versions of this composition based on his on-the-spot drawing of 1824 (BM). This sheet is very close in detail to the version he published in Jennings Landscape Annual of 1831. 16×10.5 inches. Framed: 23.25×17.75 inches.
  • Peri, Peter Laszlo (1899 – 1967)
    ‘Fighting for His Family II’. Etching and aquatint. Signed and dated, 1943. Provenance: Jeffrey Sherwin. 8×11.25 inches.
  • Rawlinson S.W.E., William Thomas (1912 – 1993)
    Snowdonia; Llyn ‘Ogwen, North Wales’. Wood-engraving. Signed, titled and dated, 1957. Editioned 7/50. 7×9 inches.
  • Richmond R.A., George (1809 – 1896)
    Surrey; ‘Thorns in Ashtead Park’. Chalks. Inscribed and dated, ‘Thorns in Ashtead Park 1842’. Ashstead Park in Surrey was the home of the Hon. Fulke Greville Howard (1773-1846) who Richmond visited in 1842. 8.5×15 inches. Framed: 14.5×20.75 inches.
  • Potter, Mary (1900 – 1981)
    ‘Red Landscape’. Watercolour. Exhibited: New Arts Centre. 5×6 inches. Framed: 11.5×14 inches.
  • Procktor R.A., Patrick (1936 – 2003)
    Italy; Venice, ‘Zattere’. Aquatint. 1978. Signed. ‘Printers Proof’ outside the edition of 35. 12.5×21.25 inches. Framed: 23.5×31 inches.
  • Romney, George (1734 – 1802)
    Composition Study. Pen and ink. c.1770. 7.5×6.25 inches.
  • Robertson, Saul (born 1978)
    ‘The Presence of Absence’. Oil on canvas. Signed with initials. Titled and dated, 2001 verso. Provenance: Thompson’s Aldeburgh. 9.5×11.5 inches. Framed: 15.5×17.5 inches.
  • Sandby R.A. (Pupil of / Circle of), Paul (1731 – 1809)
    Lake District; ‘Eagle Crag, Borrowdale’. Pencil and watercolour. Inscribed in pencil recto (top) ‘Derwent at the foot of Bull Crag’ and recto (bottom) ‘View of the Eagle Crag near the River Derwent at the foot of the Bull crag’. Inscribed verso ‘Eagle Crag, Borrowdale’. Exhibited: Spink (as Paul Sandby). Provenance: William Sandby; G D Lockett MBE. 9.5×11 inches. Framed: 16×17.25 inches.
  • Rowlandson, Thomas (1756 – 1827)
    Shipyard. Pencil. c.1800. Exhibited: Chris Beetles, ‘Rowlandson and His Time’, 2009. 6.25×6.5 inches. Framed: 13×12.5 inches.
  • Strang R.E., Ian (1886 – 1952)
    Scotland; ‘The Cuillin Hills, Skye’. Etching. Signed. Edition of 50 proofs. 6×7.75 inches.
  • Steadman, Ralph (born 1936)
    William S. Burroughs (1914-1997). Etching and aquatint. Signed and editioned 7/20. 10.75×7.5 inches. Framed: 24×18.5 inches.
  • Sozonov, Valerie (1899 – 1960)
    Switzerland; ‘Geneva from Lausanne’. Gouache. Signed. 13×17 inches.

LIST 523


Issued 5pm 15th February

  • ANON (Nineteenth-Century)
    A walled yard with flower beds and green house. Oil on canvas. 6.5×9 inches.
  • ANON (Eighteenth-Century)
    Grosvenor House, Walthamstow. Pencil, watercolour and gouache. c.1790. The garden side of the house built by Tristram Conyers c.1600 and belonging to Thomas Grosvenor (1764-1851) [Field Marshall from 1846] by the late eighteenth century. This watercolour was probably commissioned to record the house and garden after the works Grosvenor completed in 1789 and which including re-fronting the building in white Suffolk brick. The house was demolished c.1950 after a fire. 10×17 inches.
  • ANON (Eighteenth-Century)
    Italy; Tivoli, the Oval Fountain at the Villa D’Este. Watercolour and chalks. Iinscribed vero: ‘Vista della Fonte del [L?]ongalla nella Villa Madama a Tivoli’. Exhibited: Colnaghi (as ‘Villa Madama’ and attributed to Richard Wilson). 11×16.75 inches. Framed: 17.5×25 inches.
  • Adair, Hilary (born 1943)
    ‘Siesta’. Etching and aquatint. Signed, titled, dated ’90 and editioned ’50/100′. 6×7.5 inches.
  • Batty F.F.S., Lieut. Col. Robert (1789 – 1848)
    Durham; the Castle and Cathedral from the River. Pencil, pen, ink and monochrome wash. Inscribed and dated ‘Sept 25’. 5×8.25 inches.
  • Becker (fl.1790-1810), Ferdinand (Ex. Edmund)
    Italy; Rome, SS. Giovanni e Paolo from the Palatine Hill. Pencil pen, ink and wash. Inscribed ‘From the Caesers [sic] Palace’.Numbered 12 and inscribed on the reverse [by Iolo Williams?] ‘A.P. -41 Oppé says these Drawings are certainly / by Becker in his early / manner / I W / Aug 1941’. Provenance: Iolo Williams. Exhibited: Eton College, 2009, no. 10. 9.25×13.5 inches. Framed: 17×20.5 inches.
  • Bramham, Christopher (born 1952)
    Scotland; Inner Hebrides, ‘Loch Fada, Colonsay’. Oil on canvas. Signed and dated, 1986 recto and verso. Exhibited: Fine Art Society 1988; Christopher Hull, William Joll Exhibition ‘A Dealer’s Choice’, 1996. Ex. Collection: Nicholas Stanley. 16×22 inches. Framed: 22×28 inches.
  • Bell R.A., Robert Anning (1863 – 1933)
    Study for a figure composition. Charcoal and red chalk. Exhibited: Fine Art Society, 1934. 14×8.5 inches. Framed: 22.75×17 inches.
  • Bliss, Douglas Percy (1900 – 1984)
    Scotland; Outer Hebrides, a Stranded Herring Boat on Barra. Pencil and watercolour. c.1934. Signed and inscribed. Provenance: Artist’s Estate. Exhibited: A and H, ‘Douglas Percy Bliss’, 1999, No.17. 10.5×19 inches. Framed: 18.5×26 inches.
  • Cullus / Cullens? (Early Twentieth Century), W
    France; Dieppe, the Gare Maritime (built 1874, demolished 1995). Pencil and monochrome wash. Signed and dated, 1928. Attributed to Mary Curtor by the previous owner. 11×13.5 inches.
  • Devis (Attributed to), Anthony (1729 – 1816)
    Devon; Berry Pomeroy Castle. Pencil, pen, ink and watercolour. c.1800. Inscribed verso. By a hand very close indeed to Anthony Devis. 8.5×14.5 inches.
  • Eldridge R.W.S., Mildred (1909 – 1991)
    Italy; Florence, ‘Harvest, Poggio Gherardo’. Pen, ink, watercolour and gouache. 1934. Signed. Titled verso. 11×17.5 inches.
  • Chinnery, George (1774 – 1852)
    Study for a portrait. Pen and ink. Provenance: Christopher Powney. 2.5×1.5 inches. Framed: 10.5×8.5 inches.
  • Doitch, Eric (1923 – 2000)
    Self Portrait. Etching. Signed and editioned ‘2(5)’. 4.5×4.5 inches.
  • Muncaster P.S.M.A. R.W.S., Claude (1903 – 1974)
    Sussex; ‘Winter Dusk, Byworth’. Oil on canvas. Signed. Titled verso, and again to the artist’s label verso. Exhibited: Rountree Tryon. 13.5×19.5 inches. Framed: 19×25 inches.
  • Fantin-Latour, Henri (1836 – 1904)
    ‘Eve’. Lithograph. 1896. Signed. 18.5×15 inches.
  • Rothenstein N.E.A.C., Sir William (1872 – 1942)
    Eric Kennington R.A. (1888-1960) Chalks. c.1925. Kennington lectured at the RCA on a few occasions between 1922 and 1928 while Rothenstein was Principal. Verso: a portrait study, previously suggested to be T E Lawrence, but not a close enough likeness in our opinion. 5.75×5.5 inches. Framed: 13.75×13 inches.
  • Nevinson, Christopher Richard Wynne (1889 – 1946)
    London; ‘The Rising City’ (JB125). Etching. Signed. c.1926-27. Literature: Jonathan Black, ‘C.R.W. Nevinson The Complete Prints’, Lund Humphries, 2014, cat. no. 125, pp. 56 and 176 (Ill p.177). 12.5×9.25 inches.
  • Fry, Roger (1866 – 1934)
    English Garden, East Sussex? Oil on panel. Provenance: Lord and Lady David Cecil. 12.5×15.5 inches. Framed: 16.25×19.25 inches.
  • Nicholson, Sir William (1872 – 1949)
    An Almanac of Twelve Sports (Campbell 33). The complete set of 12 lithographs. Published 1898 with accompanying verses by Rudyard Kipling. 9.5×8 inches.
  • Rice, Bernard (1900 – 1998)
    Montenegro; ‘Podgorica’. Wood-cut. Signed and editioned 1/45. 8.5×10 inches.
  • Gross C.B.E. R.A., Anthony (1905 – 1984)
    France; Paris, the Seine and Eiffel Tower. Oil on canvas. Signed and dated, 1932. 20.75×28.25 inches. Framed: 25.25×32.75 inches.
  • Rackham, Arthur (1867 – 1939)
    A brick bridge. Chalk and watercolour. Ex. Collection: Cyril Fry. 3.5×6 inches.
  • Richards, Frederick Charles (1887 – 1932)
    Italy; Venice, San Giorgio Maggiore. Pencil. Exhibited: Philip Bret-Day. 9×8.5 inches. Framed: 17.5×16 inches.
  • Lessore, Jules (1849 – 1892)
    France; ‘Honfleur’; the street to the quay. Watercolour and gouache. Signed. 7×10 inches.
  • Rust, Graham (born 1942)
    India; ‘Nasturtium, Agra’. Pencil and watercolour. Signed, inscribed and dated, 7/1/75. Exhibited:Spink. 5.5×8 inches. Framed: 9.75×11.75 inches.
  • Sauter, Rudolph Helmut (1895 – 1977)
    ‘First Life’. Oil on canvas board. c.1949. Signed with initials. Titled to artist’s label verso and inscribed ‘Life Eternal / Eternal Life’. Provenance: Given to Sarah Vincent by the artist’s wife, Viola Sauter, in 1966. 17×13.75 inches. Framed: 21.25×17.75 inches.
  • Highmore (Circle of), Joseph (1692 – 1780)
    ‘Richard Puller’ (1747-1826). Oil on canvas. Provenance: Major General Mark Bond (1922-2017) 14×12 inches. Framed: 18.5×16.5 inches.
  • Self, Colin (born 1941)
    ‘Breydon Water, Norfolk’. Watercolour. Signed, title and dated 1977 verso. Exhibited: Gimpel Fils. 11×14.5 inches.
  • Spencer R.E., Noel (1900 – 1986)
    France; ‘Le Pont Marie, Paris’. Etching. Signed and titled. 7.5×8.5 inches.
  • Hilton CBE, Roger (1911 – 1975)
    Bird Abstract. Chalks. c.1964. Exhibited: Waddington; Cross Street Gallery. 9.75×7.75 inches. Framed: 19×17 inches.
  • Squirrell R.E. R.W.S., Leonard Russell (1893 – 1979)
    Scotland; Loch Leven and Glencoe. Etching and aquatint. Signed. Signed and dated 1937 in the plate. 9×14 inches. Framed: 13.5×187.25 inches.
  • Stannard, Joseph (1797 – 1830)
    Portrait of a boy in a cap and smock. Chalk and watercolour. Ex. Collection: Cyril Fry. 5.5×4.5 inches.
  • Lecomte, Emile-Florent (1866 – 1938)
    The Bird Cage. Oil on canvas. c.1900. Signed. 12.5×9 inches. Framed: 16×12.75 inches.
  • Sweet (fl.1920-1930), Dorothy
    ‘The Tower of London’. Dry point etching. c.1930. Signed and titled. 6×10 inches.
  • Thornton, Valerie (1931 – 1991)
    Italy; ‘Horsemen, Fidenza’. Signed, titled, editioned ’13/75′ and dated, 1985. 12×5.5 inches.
  • MacKenzie O.W.S., Frederick (1787 – 1854)
    London; possibly Bow Bridge. Watercolour. c.1810. This view was identified for the previous owner by Ralph Hide [Guildhall Library] from a print of the demolition of Bow Bridge c.1830 showing the windmill in the near distance. 10.5×13.5 inches.
  • Stark, James (1794 – 1859)
    Pigs, sleeping. Pencil and watercolour. Ex. Collection: Cyril Fry. 3×7.5 inches.
  • Tomkins, Charles (1757 – 1823)
    A Pair of Ovals; The first of the White Hart, the second of barns in a yard, presumably behind the inn. Pencil, pen, ink and watercolour. c.1780. 10.5×12.5 inches. Framed: 19.5×21.5 inches.
  • Lomenech Gill (Contemporary), Olivia
    ‘The Messenger’. Etching. Signed and editioned ‘A/P’. 4×6 inches. Framed: 12.25×14.25 inches.
  • Tunnicliffe R.A. R.E., Charles Frederick (1901 – 1978)
    ‘The New Rick’ (MH44). Etching. 1927. Signed and editioned ’73/75′. 8×10 inches. Framed: 17.5×21.25 inches.
  • Upham, John William (1772 – 1828)
    Isle of Wight; Carisbrooke Castle. Pencil, pen, ink and watercolour. c.1800. 9×12 inches. Framed: 17.5×20.5 inches.
  • Marinoni, Antonio (1796 – 1871)
    Italy; Rome, ‘Arch of Constantine from the Coliseum’. Ink and monochrome wash. c.1820. 8×6 inches.
  • Wardle, Arthur (1860 – 1949)
    Tiger. Chalks. 11.5×15.5 inches. Framed: 15.25×19.5 inches.
  • Watts O.M., George Frederick (1817 – 1904)
    Life Drawing. Charcoal. Provenance: Lilian MacKintosh (1879-1972), the artist’s adopted daughter. 22×14 inches. Framed: 30×22 inches.
  • Martineau (Mid-Nineteenth Century), L (or I)
    ‘Dover’. Pencil and watercolour. Inscribed and dated, ‘Aug 20th / [18]36. & Sept 8th’. Ex. Collection: Randall Davies; Randolph Schwabe; David Scrase. 10×14.5 inches.
  • Webster R.E., Herman Armour (1878 – 1970)
    Italy; Venice, ‘Fondamente Furlani’. Pen and ink. Signed, titled and dated, ‘Oct. 1931’. 7×10 inches.
  • Wilde, Samuel de (1751 – 1832)
    Two women in cloaks and bonnets. Pen, in and watercolour, c.1790. Ex. Collection: Cyril Fry. 4.5×3.5 inches.
  • Methuen R.A., Lord Paul (1886 – 1974)
    ‘London Landscape’. Oil on card. c.1940. Exhibited: The Warren Gallery (according to a typed label verso). 15.5×13.5 inches. Framed: 20×18 inches.
  • Wills, Trenwith (1891 – 1972)
    London; St Mary-le-Strand (South Elevation, Facade and Plan). Pencil and watercolour. Each signed and dated, ‘May 1910’ and drawn while Wills was a student at the Royal Academy Schools. 21×30 inches.


Shropshire and Herefordshire Watercolours

Robert Bates moved to Shropshire in 1970, finding there a landscape and peaceful way of life conducive to the way he works. His paintings are deeply rooted in the area. But they are far from literal representations. Small, intense and technically demanding, each work is a pursuit to conjure a moment or memory and to convey the experience of a place.



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

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