5. Bainbridge, Dame Beryl (1932 – 2010)London; ‘Outside Macey’s House, Camden Town 1976’.Oil on board. Signed, inscribed and dated. Provenance: Christies 1/5/12 Lot 405.13.25×19.5 inches.Framed: 18×24 inches.●
6. Beaton, Sir Cecil (1904 – 1980)Costume designs 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.13×10 inches.●
7. Boyd, Kit (born 1970)‘Night on the Lane’.Etching and aquatint. Signed, titled and editioned ’30/30′.7.5×10 inches.●
14. Dighton, Robert (1752 – 1814)James Christie; ‘The Specious Orator; “Will your Ladyship do me the honor to say £50 – a mere trifle – a brilliant of the first water”‘.Etching with hand colouring. Published ‘March 25th 1794’.7.5×6 inches.●
17. Farleigh R.E., John (1900 – 1965)Bunyan; The Pilgrim’s Progress, ‘The Web of Flattery’.Wood-engraving. 1947. Signed, titled and editioned 5/50.15×10.5 inches.●
18. Dunstan R.A., Bernard (1920 – 2017)Portrait in a sun hat; presumably Diana Armfield R.A. the artist’s wife.Chalks. With a letter from the artist verso.4×3.5 inches.Framed: 8.5×7.5 inches.●
22. John, Gwen (1876 – 1939)Worshippers, probably in the Church at Meudon.Watercolour. Late 1910s / early 1920s. Exhibited: Davis and Langdale, ‘American and British Works on Paper’, 1988, Cat. No.17.8.75×6.75 inches.Framed: 16.5×14.5 inches.●
24. Heming Mason A.R.A., George (1818 – 1872)Head in profile.Oil on paper. Signed, inscribed and dated ‘Rome / June 1st / 1848 G. M.’, Inscribed ‘By G H Mason, A.R.A.’ verso. Provenance: Julian Hartnoll, 1998.7.5×5 inches.Framed: 14×11.5 inches.●
25. Leighton, Clare (1898 – 1989)Coleridge; ‘Both man and bird and beast’.Wood-engraving. Signed, titled and editioned ‘5/50’.6.5×4.5 inches.●
26. Lockwood (Nineteenth Century)London; ‘Charing Cross’.Pencil and watercolour after a print (close to James Miller’s view, engraved 1795). Signed ‘Lockwood Delt’ and dated, 1805.15×21.5 inches.Framed: 19.5×26.5 inches.●
29. Nash R.A., John (1893 – 1977)‘Deadly Nightshade’.Proof wood-engraving for ‘Poisonous Plants’ by William Dallimore, 1927. Signed. Exhibited: Anthony d’Offay.7×5.5 inches.●
30. Nicolle, Victor Jean (1754 – 1826)A group of figures.Pen, ink and sepia wash. Provenance: Sir John Witt (1907-1982) (his stamp verso).2.5×3 inches.●
32. Nixon, John (1755 – 1818)London; ‘A Blind Girl in St Paul’s Churchy Yd’.Pen, ink and watercolour. Signed with initials and dated, 1783. Exhibited: Spink.4.5×4 inches.Framed: 9.5×8.5 inches.●
33. Pocock OWS, Nicholas (1740 – 1821)Sicily; ‘Stromboli from the sea’.Pencil and monochrome wash. Signed and inscribed. Ex. Collection: Cyril Fry.3.5×4 inches.●
34. Procktor R.A., Patrick (1936 – 2003)Italy; Venice, ‘Ponte Lungo’.Aquatint. Edition of 35 plus 5 proofs. Signed and inscribed ‘Printer’s Proof’. The edition published by Editions Alecto and the Redfern Gallery, 1978.16×23 inches.Framed: 27.5×32.5 inches.●
35. Pollitzer, Arthur Sigmund (1913 – 1983)Head of a man, possibly John Mavrogordato (1913-1982)Pencil. Signed and dated, 1945. Provenance: Estate of John Mavrogordato.11.75×9 inches.Framed: 19×16 inches.●
38. Rowlandson, Thomas (1756 – 1827)‘Gretna Green’; ‘Love spread your Wings I’ll not out-strip ’em. Though Death’s behind. He will not clip ’em.’Pencil and watercolour. c.1815. A a study for / version of Plate XV in Rowlandson’s ‘The English Dance of Death’, the texts provided by William Combe (1742-1823). Rowlandson made another, related composition ‘Filial Affection, or a Trip to Gretna Green’, publ. 1785. This drawing comes with an original label inscribed with title and verse by the artist.5×8 inches.●
39. Sandby R.A., Paul (1731 – 1809)Capriccio landscape.Watercolour. Indistinctly signed / inscribed and dated, 1779. Exhibited: Spink.11.5×17 inches.●
40. Schwabe R.W.S. N.E.A.C., Randolph (1885 – 1948)Suffolk; Aldeburgh, Crabbe Street and the Moor Hall.Pen and ink. Inscribed and dated, 1932. Schwabe spent the Christmas of 1932 in Aldeburgh with Charles and Ivy Tennyson. Provenance: Artist’s Estate. Exhibited: Chris Beetles, ‘Randolph Schwabe’, 2017.10.75×14.5 inches.Framed: 12.25×16 inches.●
43. Sheringham, George (1884 – 1937)‘The Panel of the Mabinogi’.Watercolour and gouache on silk. Signed. Provenance: Judge William Evans (1846/47-1918); ‘Lord Howard de Walden’, Thomas Scott-Ellis, 8th Baron Howard de Walden (1880-1946). Exhibited: The Goupil Gallery, ‘The Judge Evans Collection’, May-June 1918, no.187.36.5×42.5 inches.Framed: 46.5×52.5 inches.●
44. Sickert R.A. N.E.A.C., Walter Richard (1860 – 1942)London; ‘Maple Street’ (RB212).Etching. c.1923. Signed in pencil. The second state, with title, published by the Carfax Gallery in an edition of c.100. Exhibited: William Weston, 1983.7×5 inches.●
45. Thomas, Margaret (1916 – 2016)‘Snowdrops’.Oil on board. Signed. Exhibited: ‘Mall Galleries’, 2006.10×7.5 inches.Framed: 12.5×10.5 inches.●
46. Silk, Henry (1883 – 1947)A farm worker's hut.Watercolour. Circa 1930. Provenance: Artist's family by descent.4.5"x10" inches.Framed: 13.5"x18.5" inches.●
47. Tunnicliffe R.A. R.E., Charles Frederick (1901 – 1978)‘Oxeye in the Rosebush’ (MH400).Wood-engraving. 1937. Signed proof for ‘The Sky’s their Highway’ by Kenneth Williamson. An edition of 50 was declared for this and the other seven illustrations Tunnicliffe made for Williamson’s book, but few were in fact printed. Literature: ‘Charles Tunnicliffe Prints: A Catalogue Raisonne’, Royal Academy of Arts, London, p. 313.5.5×4.5 inches.Framed: 14.5×12.5 inches.●
48. Varley F.R.S.A., Cornelius (1781 – 1873)Wales; Snowdon from Traeth Bach.A Graphic Telescope drawing in pencil, pen and ink. Uneven discolouration to the sheet. Signed, inscribed and dated, 1802.8×14 inches.Framed: 16.5×23.5 inches.●
49. Vaughan, Keith (1912 – 1977)Sheltering Figure.Oil on paper. c.1939/40. Provenance: Sebastian Walker; his Sale, Sotheby’s 10/11/91, lot 27. Special thanks to Gerard Hastings for confirming this attribution and providing an extended catalogue entry.6×7.5 inches.Framed: 11×12.5 inches.●
53. Beaumont, Sir George (1753 – 1827)Italy; The Convent of Sant Angelo, Tivoli.Pencil and monochrome wash. Inscribed under the mount ‘Tivoli – Convent of St. Angelo / May 9th’ and inscribed verso ‘Near Tivoli Friday May 9th 1783 / Convent of St Angelo at a distance’. Provenance: Sir Francis Beaumont, Bt. Exhibited: Fry Gallery, 1972; Lupton’s Gallery, Eton College, 2009, No.18.14.25×10.25 inches.Framed: 19×14 inches.●
55. Alexander, William (1767 – 1816)China; A Mandarin.Pencil and watercolour. Provenance: The Newall Collection, Christies, 13, 14 December 1979, Album, lot 249.4×2.75 inches.●
56. ANON (Nineteenth-Century)London; ‘The Garden at Highgate Grove’ 1835.Four watercolours recording garden celebrations with tents, fireworks and stage sets. The original backings inscribed and dated, 1835.4.5×6 inches.●
57. Berlincourt, Rene (1901 – 1955)GROUP: Italy; 'Napoli, 12 Gravures Sur Bois et Texte', 1926.Thirteen wood-engravings. 1926. Each signed and titled. Along with accompanying text to each of the images and the original presentation portfolio. The frontispiece note reads … 'Cette collection terminee Noel 1926 pour la librairie Detken et Rochell [B. Johanowsky, Naples] a parue en nombre restraint dont 10-X3 exemplaires completement faits a la main par l'artiste'.9"x10" inches.
59. Chinnery, George (1774 – 1852)A portrait composition study (or possibly a record).Pencil. Provenance: Bill Thomson; Christopher Powney.5×4.5 inches.Framed: 12.5×12 inches.
61. Clausen, Katherine (1886 – 1936)Crete; ‘Mount Ida from Malaxo’.Watercolour and gouache. Signed. Inscribed verso.8.25×11 inches.Framed: 11×17.5 inches.●
62. Cooke, George (1781 – 1834)Dr Samuel Johnson (1709-1784).Pencil. Initialled and dated, 1797. A study from an engraving after the portrait by Opie c.1783/84. Presumably made while Cooke was an apprentice engraver. Provenance: A group of drawings by Cooke bought at Sotheby’s Olympia 2/7/03.5.75×5 inches.●
66. Dickey, Edward Montgomery O’Rorke (1894 – 1977)Cottage in a steep valley, probably Ireland.Oil on canvas. Signed. Signed and dated, 1921 verso. Provenance:
Lord and Lady Chorley (c.1930s); and by descent.14.5×19.5 inches.Framed: 20×23.5 inches.●
73. Graham, Robert (1938 – 2008)Colour Rooms.Etching and aquatint from the series of 6 ‘Colour Rooms’. Signed, dated 1969 and editioned ’63/65′.16.5×22.5 inches.Framed: 22.5×27.5 inches.●
74. Hennell, Thomas (1903 – 1945)The Edge of the Field.Watercolour. Signed. Ex. Collection: Bill Thomson. Exhibited: The Fine Art Society, ‘Thomas Barclay Hennell’, 1988, No.40.12×18.5 inches.Framed: 18.5×25 inches.●
76. Holroyd Pearce, Edward (1901 – 1990)Ireland; ‘Joyce’s Country’.Oil on board. Signed. Signed and titled verso. Exhibited: Royal Society of British Artists.10×14 inches.Framed: 14×18 inches.●
78. Jamieson, Alexander (1873 – 1937)Scotland; ‘On the Atlantic, seen from the Ayrshire Coast’.Oil on panel. Signed and indistinctly dated ‘1917’(or19). Inscribed and signed verso.13×16 inches.
£2,250
79. Kemeny, Kalman (1896 – 1994)WWI: Soldiers advancing through a pine forrest.Pencil and charcoal. c.1916. Exhibited: A and H. Provenance: Artist’s Estate (stamp verso). Kemeny was the youngest official artist serving with the Austro Hungarian army 1915-1917. The IWM interviewed him about his War in 1977. The recording is available on their website.12.5×17.5 inches.Framed: 20.5×25.5 inches.●
83. Lee R.A., Sydney (1866 – 1949)Breton Women (RM113).Wood-cut. 1914. Second state. Signed. Edition of 75 (one of 50 proofs printed on toned paper).7×8.5 inches.
85. Moody, Victor Hume (1896 – 1990)Gloucestershire; a model at the Stroud College of Art.Oil on gesso’d panel. c.1933. Signed verso and inscribed, ‘Stroud, Glos c.1933. A model at the School of Art / Painted by Victor H. Moody A.R.C.A. / Dunbridge House / Oil on Gesso panel / Researched + made by VHM / from the Cennini recipe’.10×6.5 inches.Framed: 13×10.5 inches.●
86. Nash, Paul (1889 – 1946)The Edge of a Wood.Pencil. Signed and dated, 1925.12×19 inches.Framed: 19×25.5 inches.
92. Raverat S.W.E., Gwen (1885 – 1957)‘Boat Race’; The Bumps, Cambridge (SN558).Wood engraving and lino cut. 1949. First state. Edition of 21. Signed, title and numbered ‘1’.7×9.5 inches.●
94. Sandford, Lettice (1902 – 1993)Spencer; ‘There is a meadow by the Rver’s Side …’. Prothalamion’.Wood-engraving. Signed, titled dated ‘1/11/32’ and editioned ‘1/20’. An illustration to Spencer’s ‘Prothalamion’ (1596).7.5×5 inches.●
95. Smith (Circle of), John ‘Warwick’ (1749 – 1831)Wales; A sublime landscape. The view from the top of Cader Idris with the Mawddach estuary, Cardigan bay and the Llyn Peninsula.Pen, ink and watercolour. c.1790.11.5×21.5 inches.●
96. Tudor, Thomas (1785 – 1855)Wales; ‘Falls at the Devils bridge’.Pencil and gouache on prepared paper. Inscribed.12×9.5 inches.●
100. Yoshida, Hiroshi (1876 – 1950)‘Wisteria’.Woodcut. 1935. Signed in pencil. Further signed ‘Yoshida’ in brush and ink alongside the red ‘Hiroshi’ seal.10×15 inches.●
ROBERT BATES (b.1943)
Shropshire and HerefordshireWatercolours
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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