1. Ardizzone R.A., Edward (1900 – 1979)London; St Paul’s School – The Front.Pencil study for the lithograph of the same subject (NAP42). Signed. Inscribed by the artist and lightly squared.10×14.25 inches.
6. Brockhurst R.A. R.E., Gerald Leslie (1890 – 1978)Sir Henry Rushbury K.C.V.O. C.B.E. R.A. (1889-1968) painted when artist and sitter were students at the Birmingham School of Art.Oil on canvas. 1907. Inscribed recto by the sitter’s father ‘Leslie Brockhurst Age 17. Male / Studied at Birmingham / School of Art’. The unlined canvas bearing the ‘ESK’ stencil verso and with an ESK label stating Brockhurst’s name and age (17). Exhibited: Sheffield City Art Gallery, ‘A Dream of Fair Women; an exhibition of the work of Gerald Leslie Brockhurst R.A. (1890-1978)’, 1987, no.4. Provenance: by descent in the sitter’s family.30.25×22.25 inches.Framed: 33×24.75 inches.
16. Du Maurier, George (1834 – 1896)‘Things one would wish to have approached differently’.Pen and ink. Signed and dated, April 1889.8×4.5 inches.
£500
17. Dayes, Edward (1763 – 1804)Lake District; Derwentwater / Keswick Lake looking towards Borrowdale.Pencil, pen, ink and watercolour. Provenance: Charles Mallord William Turner (uncle of Joseph Mallord William Turner); Charles Wilfred Mallord Turner and by descent.12.25×19 inches.●
18. Gill, Eric (1882 – 1940)‘Design for an altarpiece for the Lady Chapel Saint Peters’ / ‘Thine eyes were opened and they knew him. Luke XXII xxxi’.Pencil and chalks. Signed, inscribed and dated, 1916.
21. ANON (Nineteenth-Century)Greece; Athens, the base of the Acropolis with the two columns from the original Parthenon.Watercolour. c.1810, before the destruction of 1826/27 but after the removal of elements by Elgin.8×4.5 inches.●
23. Harding O.W.S., James Duffield (1797 – 1863)London; Hyde Park Corner.Watercolour and gouache. Signed and dated, 1845. Exhibited: The Fine Art Society, 1957.12×18 inches.Framed: 22.5×28 inches.●
24. Halliwell, Albert Edward (1905 – 1987)Dancers; a Poster Design.Pencil and gouache. c.1930. Signed. Provenance: the Artist’s Estate.20.25×12.25 inches.Framed: 25.5×17.5 inches.●
25. ANON (Nineteenth-Century)PAIR: Henley; ‘The Thames, Henley Bridge and St Mary’s Church’ and ‘The view towards Henley from the Hill Under Malmesbury’s Park / Park Place’.Watercolour. c.1800. Exhibited: Leger Galleries.10.5×16 inches.
27. John, Gwen (1876 – 1939)‘Girl in Green, Holding a Prayer Book’.Watercolour and gouache. 1920s. Studio stamp. Exhibited: Davis and Langdale, 1988. Literature: for another version of this painting see Cecily Langdale, ‘Gwen John’, 1987, Cat. No.317, pl.164.6×4.75 inches.Framed: 14×12.75 inches.
30. Leitch, William Leighton (1804 – 1883)Sicily; ‘The Convent of San Martino’ near Palermo.Pencil, chalk and watercolour. c.1835. Stamped monogram.6×9.25 inches.Framed: 14×16.5 inches.●
31. MacKinnon, Sine (1901 – 1996)France; ‘Old Streets of Paris’, the Rue Mouffetard and Eglise Saint Medard.Oil on canvas. Circa 1935. Signed.20×24 inches.Framed: 24×28 inches.
£2,500
32. Nash, Tom Saunders (1891 – 1968)Christ blessing the Children.Pencil, pen, ink and gouache. Signed and dated, 1932.13.75×9.25 inches.Framed: 20.5×16 inches.●
33. Noyes (Late Eighteenth Century), RobertWiltshire; ‘A View in the Devizes’.Watercolour. Signed and dated, 1798. Showing the sculpture of a bear on twin columns, moved to stand on the porch of the Bear Hotel in 1806 (and where it still stands today). The current Market Cross was designed by James Wyatt and completed in 1814.13×23.75 inches.Framed: 16.75×27.5 inches.
£3,000
34. Potter, Mary (1900 – 1981)‘Burnt Hedge’.Oil on canvas. 1967. Exhibited: The New Art Centre.24×20 inches.Framed: 29×25 inches.●
39. Shannon R.A., Charles Haslewood (1863 – 1937)The Rising Tide (D83).Lithograph. 1909. Signed. Edition of probably no more than 50. Published separately in brown in ‘Gazette des Beaux Arts 5ème prériode, Vo.II (1909) as ‘La Marée Montante’. Ex Collection: Paul Delaney, author of ‘The Lithographs of Charles Shannon’.8.5×6.5 inches.●
42. Steel, Kenneth (1906 – 1970)‘Rankin Porch, Liverpool Cathedral’ (Y23).Line engraving and drypoint. 1934. Edition of 50. Signed.13×10.5 inches.●
43. Stothard R.A., Thomas (1755 – 1834)Riders; part Elgin Marbles, part Stothard’s famous Canterbury Pilgrims.Pen, ink and sepia wash. c.1810. Signed.5×6.5 inches.Framed: 12×13 inches.●
44. Suddaby, Rowland (1912 – 1978)An East Anglian Estuary and Harbour.Crayon, fibre-tipped pen and watercolour. Signed. Provenance: the Artist’s Estate.12.75×15.75 inches.Framed: 19×22 inches.●
48. Varley O.W.S., John (1778 – 1842)River landscape.Watercolour. From a sketchbook of 18 similar studies. Exhibited: Leger & Son, 1952.4.75×6.5 inches.Framed: 12.75×14 inches.●
49. Walcot R.E., William (1874 – 1943)‘The Trojan Horse – Virgil’s Aeneid II’ (D20 / EH-L 35).Etching and aquatint. 1914. Signed. Edition of 35, of which 29 printed.24.5×32.25 inches.
£1,250
50. White N.E.A.C. R.W.S. L.G. S.W.E., Ethelbert (1891 – 1972)East Sussex / South Downs; ‘Trimming the Rick’.Watercolour. 1930. Signed. Exhibited: Leicester Galleries, ‘Exhibition of Works by Ethelbert White’, November 1930.15.25×11.5 inches.Framed: 26×21 inches.●
GERALD LESLIE BROCKHURST R.A. R.E. (1890-1978)
Portrait of Sir Henry Rushbury K.C.V.O. C.B.E. R.A. (1889-1968)
Painted when artist and sitter were students at the Birmingham School of Art.
6. Brockhurst R.A. R.E., Gerald Leslie (1890 – 1978)Sir Henry Rushbury K.C.V.O. C.B.E. R.A. (1889-1968) painted when artist and sitter were students at the Birmingham School of Art.Oil on canvas. 1907. Inscribed recto by the sitter’s father ‘Leslie Brockhurst Age 17. Male / Studied at Birmingham / School of Art’. The unlined canvas bearing the ‘ESK’ stencil verso and with an ESK label stating Brockhurst’s name and age (17). Exhibited: Sheffield City Art Gallery, ‘A Dream of Fair Women; an exhibition of the work of Gerald Leslie Brockhurst R.A. (1890-1978)’, 1987, no.4. Provenance: by descent in the sitter’s family.30.25×22.25 inches.Framed: 33×24.75 inches.
£15,000
Brockhurst (top left) and Rushbury (below him) at the Birmingham School of Art. c.1905.
This prodigious portrait of Henry Rushbury by Gerald Brockhurst is an early record of a life-long friendship.
Rushbury and Brockhurst at 16 Markham Sq. 1912.
Rushbury and Brockhurst were both born in Birmingham and as boys attended the Birmingham School of Art on scholarships. Brockhurst entered the school in 1901 and Rushbury in 1902. Brockhurst gained a place at the R.A. Schools in 1907. Henry, who had studied under the stained-glass painter Henry Payne, left in 1910 to assist Payne in the making of stained-glass and murals at Madresfield Court, Worcestershire.
Francis Dodd R.A. (1874-1949) Henry Rushbury. Pastels. NFS
Rushbury’s career as a stained-glass painter was short lived and he moved to London in 1912, sharing digs with Brockhurst at 16 Markham Square in Chelsea.
By this point Brockhurst was already establishing himself as a portrait painter. But it was a chance meeting with Francis Dodd while drawing on the London streets that was to give Rushbury his direction. Dodd, himself a great architectural printmaker (cf. no.4 on this List), recognised Rushbury’s potential and gave him a cooper-plate, some tools and tuition in etching. The two remained close friends throughout their lives.
Brockhurst spent much of WWI in Ireland with his first wife Anäis. Rushbury, who married Florence Layzell in July 1914, was called up in 1916. Through Dodd’s brother-in-law, Muirhead Bone – another great etcher – he was transferred from the East Surrey Regiment and promoted to sergeant draughtsman of the Royal Flying Corps at Uxbridge. He was made an Official War Artist in 1918.
Gerald Brockhurst R..A. (1890-1978) Henry Rushbury. Etching. 1920. NFS
In the 1920s Brockhurst and Rushbury became recognised as two of the great printmakers of their age; Brockhurst for his virtuoso portraits of women (cf. no.5 on this List), and Rushbury for his beautifully drawn architectural subjects (cf. nos.51-59 below this text).
Rushbury, Job Nixon and Charles Cundall in Rome. 1922.
Rushbury spent much of the 1920s and 30s travelling and drawing in France and Italy, which together with London, were to provide him with so much of his subject-matter. Rushbury wrote … ‘The first bit of etching any etcher should undertake should be the words of Ingres: “Drawing is the probity of art” – these should be etched on his heart before he begins’.
Brockhurst was elected an Associate Academician in 1928 and published his most famous etching of Rushbury in 1930 (based on his oil of 1927). He was elected a Royal Academician in 1937 but emigrated to United States in 1939. Although Brockhurst stayed in the States for the rest of his life, his friendship with Rushbury continued.
Gerald Brockhurst R..A. (1890-1978) Henry Rushbury. Etching. 1930. NFS
Rushbury was elected an Associate Academician in 1927 and a Royal Academician in 1936. After serving as a War Artist for a second time, he was elected Keeper of the Royal Academy Schools in 1949. He is widely considered to have brought in a period of modernisation and re-organisation that revived the School’s reputation. He retired from the Academy Schools in 1964 and was appointed KCVO the same year.
A Selection of prints by Henry Rushbury R.A. (1889-1968)
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