LIST 543

DECEMBER 2023
CHRISTMAS SPECIAL!


NICHOLAS BENTLEY (1907-1978)

BRITISH GENIUS: AN ALPHABET

THE SET: £5,000


BERNARD KAY (1927-2021)

1950s Abstract Watercolours

4pm Thursday 7th December

Bernard Kay trained at Liverpool School of Art and the Royal Academy Schools. In 1954 he won a French government scholarship to work in Paris and studied at the Académie Ranson (painting) and Atelier Friedlander (etching). These works were all made during that time, in December 1954 and January 1955.

These are sold in box frames with UV glass.
WORLDWIDE
POSTAGE and PACKING £15


  • Kay, Bernard (1927 – 2021)
    ‘Pink and Black’. Ink, watercolour and gouache. Dated, ‘14.1.1955’. Titled verso. Provenance: Artist’s Estate. 6×8.5 inches. Framed: 9.25×12 inches.
  • Kay, Bernard (1927 – 2021)
    ‘Moody Blues’. Ink, watercolour and gouache. Dated, ‘14.1.1955’. Titled verso. Provenance: Artist’s Estate. 6×8.5 inches. Framed: 9.25×12 inches.
    £450
  • Kay, Bernard (1927 – 2021)
    ‘Black over Yellow’. Ink, watercolour and gouache. Dated, ‘14.1.1955’. Titled verso. Provenance: Artist’s Estate. 6×8.5 inches. Framed: 9.25×12 inches.
  • Kay, Bernard (1927 – 2021)
    ‘Black and Blue’. Ink, watercolour and gouache. Dated, ‘14.1.1955’. Titled verso. Provenance: Artist’s Estate. 6×8.5 inches. Framed: 9.25×12 inches.
    £450
  • Kay, Bernard (1927 – 2021)
    ‘Soft Red, Black and Green’. Ink, watercolour and gouache. Dated, ‘21.12.1954’. Titled verso. Provenance: Artist’s Estate. 6×8.5 inches. Framed: 9.25×12 inches.
  • Kay, Bernard (1927 – 2021)
    ‘Yellow, Grey and Black Spires’. Ink, watercolour and gouache. Dated, ‘21.12.1954’. Titled verso. Provenance: Artist’s Estate. 6×8.5 inches. Framed: 9.25×12 inches.
    £350
  • Kay, Bernard (1927 – 2021)
    ‘Suburban Pink and Black’. Ink, watercolour and gouache. Dated, ‘21.12.1954’. Titled verso. Provenance: Artist’s Estate. 6×8.5 inches. Framed: 9.25×12 inches.
    £450
  • Kay, Bernard (1927 – 2021)
    Abstract Composition III. Ink, watercolour and gouache. Dated, ‘14.1.1955’. Provenance: Artist’s Estate. 6×8.5 inches. Framed: 9.25×12 inches.
    £550
  • Kay, Bernard (1927 – 2021)
    ‘Trapped Blue’. Ink, watercolour and gouache. Dated, ‘14.1.1955’. Titled verso. Provenance: Artist’s Estate. 6×8.5 inches. Framed: 9.25×12 inches.
    £450
  • Kay, Bernard (1927 – 2021)
    ‘Yellow Horizon’. Ink, watercolour and gouache. Dated, ’21 .12.1954′. Titled verso. Provenance: Artist’s Estate. 6×8.5 inches. Framed: 9.25×12 inches.
    £450
  • Kay, Bernard (1927 – 2021)
    ‘Red Map’. Ink, watercolour and gouache. Dated, ‘21.12.1954’. Titled verso. Provenance: Artist’s Estate. 6×8.5 inches. Framed: 9.25×12 inches.
  • Kay, Bernard (1927 – 2021)
    ‘Black over Yellow’. Ink, watercolour and gouache. Dated, ‘21.12.1954’. Titled verso. Provenance: Artist’s Estate. 6×8.5 inches. Framed: 9.25×12 inches.
  • Kay, Bernard (1927 – 2021)
    ‘Un Melange’. Ink, watercolour and gouache. Dated, ‘13.12.1954’. Titled verso. Provenance: Artist’s Estate. 6×8.5 inches. Framed: 9.25×12 inches.
    £550
  • Kay, Bernard (1927 – 2021)
    Abstract Composition II. Ink, watercolour and gouache. Dated, ‘13.12.1954’. Provenance: Artist’s Estate. 6×8.5 inches. Framed: 9.25×12 inches.
    £550
  • Kay, Bernard (1927 – 2021)
    ‘Gris de Ciel’. Ink, watercolour and gouache. Dated, ‘12.12.1954’. Titled verso. Provenance: Artist’s Estate. 6×8.5 inches. Framed: 9.25×12 inches.
    £550
  • Kay, Bernard (1927 – 2021)
    ‘Il Pleut sur la Ville’. Ink, watercolour and gouache. Dated, ‘12.12.1954’. Titled verso. Provenance: Artist’s Estate. 6×8.5 inches. Framed: 9.25×12 inches.
    £550
  • Kay, Bernard (1927 – 2021)
    Abstract Composition I. Ink, watercolour and gouache. Dated, ‘11.12.1954’. Provenance: Artist’s Estate. 6×8.5 inches. Framed: 9.25×12 inches.
    £550
  • Kay, Bernard (1927 – 2021)
    ‘Construction en Noir’. Ink, watercolour and gouache. Dated, ‘11.12.1954’. Titled verso. Provenance: Artist’s Estate. 6×8.5 inches. Framed: 9.25×12 inches.

EDWARD ARDIZZONE C.B.E. R.A. (1900-1979)

A Selection of Prints

2pm Monday 11th December

PAUL SANDBY R.A. (1731-1809)

Prints c.1745-1755

2pm Wednesday 13th December

  • Sandby R.A., Paul (1731 – 1809)
    ‘Three men in conversation beneath a tree’ (AG56). Etching. c.1755. 5×4 inches.
  • Sandby R.A., Paul (1731 – 1809)
    'John Balfour's Coffee House at Edinburgh' (AG49). Etching. 1752. Titled and dated in the plate. The old figure is Alexander Monro Primus. The younger figure may well be a self portrait of Sandby. On the wall is a spoof poster advertising a benefit concert for Monro (it is dated 1st April 1752) and on the right is an engraving after Hogarth, humorously adapted. 4.5"x3.5" inches.
  • Sandby R.A., Paul (1731 – 1809)
    ‘A Stout Butcher’ (AG53). Etching. c.1755. 4.75×3.5 inches.
  • Sandby R.A., Paul (1731 – 1809)
    ‘Head and shoulders portrait of man’ (AG57). Etching. c.1755. Signed in the plate. 5×4 inches.
  • Sandby R.A., Paul (1731 – 1809)
    ‘Two young ladies’ (AG61). Etching. c.1756. Signed in the plate. These figures also appear in Sandby’s print ‘View from the North Side of Virginia Water … ‘ (AG149). 3.75×3.25 inches.
  • Sandby R.A., Paul (1731 – 1809)
    ‘A Book of Figures’ (AG55). Etching. 1754. Two exotic characters on the street of London. 5×3.75 inches.
  • Sandby R.A., Paul (1731 – 1809)
    ‘Caricature Heads’ (AG46). Etching with hand touching. First state, with feathers (or leeks, if he’s supposed to be a Welshman!) drawn into the hat of the standing figure. These feathers / leeks are etched into the second state. 6.5×4 inches.
  • Sandby R.A., Paul (1731 – 1809)
    ‘Good Entertainment / A New Book of Figures’ (AG51). Etching. c.1755. This man is probably standing outside the famous Turk’s Head Tavern in Soho. He must have been intended as a frontispiece for one Sandby’s collections of figure subjects. 4.5×3.5 inches.
  • Sandby R.A., Paul (1731 – 1809)
    ‘Two women and two children, one a boy dressed as a soldier’ (AG63). Etching. 1756. Signed and dated in the plate. These figures also appear in Sandby’s print ‘View from the North Side of Virginia Water…’ (AG149). 3.75×3 inches.
  • Sandby R.A., Paul (1731 – 1809)
    ‘Old man and woman seated on a bench’ (AG32). Etching. 1747. Signed and dated in the plate. 6.5×4 inches.
  • Sandby R.A., Paul (1731 – 1809)
    ‘Old Woman with a Basket, three figures in the background’ (AG48). Etching. c.1755. 4.75×3.5 inches.
  • Sandby R.A., Paul (1731 – 1809)
    A man with a stick, possibly a beggar (AG54). Etching. c.1755. 4.5×3 inches.


JOHN HENNING (1771-1851)

Miniature reproduction plaster casts of the Parthenon Frieze

2pm Friday 15th December

The following is an extract from the British Museum website …
‘These copies of the famous sculptures from the Parthenon were made by John Henning (1771-1851), who came to London from Paisley in Scotland in 1811. Henning was one of the first artists to gain access to Lord Elgin’s collection of marble sculptures from Greece, which were displayed in a makeshift museum on the corner of Park Lane and Piccadilly in London. Henning was struck by the beauty of the sculptures from the Parthenon frieze and asked for permission to draw and model them. Having made careful drawings, he sculpted miniature replicas in ivory. But this proved unsatisfactory, so Henning carved versions in slate as sunken impressions, from which raised versions were then cast in white plaster […] Henning and his son John Henning Junior (1802-57) later became well known for carving a partial replica of the Parthenon frieze around the Atheneum, the gentleman’s club in Waterloo Place, London, in 1828. The previous year they had completed a frieze loosely based on that of the Parthenon for the so-called Screen at Hyde Park Gate’.

  • Henning, John (1771 – 1851)
    A section of the Parthenon Frieze. Plaster cast. Signed and dated, 1819 in the cast. Henning made his slate moulds between 1818 and 1823. 2.25×9.5 inches.
  • Henning, John (1771 – 1851)
    A section of the Parthenon Frieze. Plaster cast. Henning made his slate moulds between 1818 and 1823. 2.25×9.5 inches.
  • Henning, John (1771 – 1851)
    A section of the Parthenon Frieze. Plaster cast. Henning made his slate moulds between 1818 and 1823. 2.25×9.5 inches.
  • Henning, John (1771 – 1851)
    A section of the Parthenon Frieze. Plaster cast. Henning made his slate moulds between 1818 and 1823. 2.25×9.5 inches.
  • Henning, John (1771 – 1851)
    A section of the Parthenon Frieze. Plaster cast. Henning made his slate moulds between 1818 and 1823. 2.25×9.5 inches.
  • Henning, John (1771 – 1851)
    A section of the Parthenon Frieze. Plaster cast. Henning made his slate moulds between 1818 and 1823. 2.25×9.5 inches.
  • Henning, John (1771 – 1851)
    A section of the Parthenon Frieze. Plaster cast. Henning made his slate moulds between 1818 and 1823. 2.25×9.5 inches.
  • Henning, John (1771 – 1851)
    A section of the Parthenon Frieze. Plaster cast. Signed in the cast. Henning made his slate moulds between 1818 and 1823. 2.25×9.5 inches.
  • Henning, John (1771 – 1851)
    A section of the Parthenon Frieze. Plaster cast. Henning made his slate moulds between 1818 and 1823. 2.25×9.5 inches.
  • Henning, John (1771 – 1851)
    A section of the Parthenon Frieze. Plaster cast. Signed and dated, 1819 in the cast. Henning made his slate moulds between 1818 and 1823. 2.25×9.5 inches.
  • Henning, John (1771 – 1851)
    A section of the Parthenon Frieze. Plaster cast. Henning made his slate moulds between 1818 and 1823. 2.25×9.5 inches.
  • Henning, John (1771 – 1851)
    A section of the Parthenon Frieze. Plaster cast. Henning made his slate moulds between 1818 and 1823. 2.25×9.5 inches.

EDWARD BURRA (1905-1976)

WOODCUTS

2pm Monday 18th December

These wood-cuts were printed by Alexander Postan from the original 1920s blocks in 1971
and sold by Observer Art in an edition of 45. The blocks were then given to the Tate.

  • Burra, Edward (1905 – 1976)
    ‘Souvenir’. Woodcut. c.1929. Re-strike printed by Alexander Postan from the original block and sold by Observer Art in an edition of 45. 1971. The blocks then given to the Tate. 6.25×4.25 inches.
    £575
  • Burra, Edward (1905 – 1976)
    ‘Royal Favourites’. Woodcut. c.1929. Re-strike printed by Alexander Postan from the original block and sold by Observer Art in an edition of 45. 1971. The blocks then given to the Tate. 12×9.25 inches.
  • Burra, Edward (1905 – 1976)
    ‘Boy with a Jug’. Woodcut. c.1929. Re-strike printed by Alexander Postan from the original block and sold by Observer Art in an edition of 45. 1971. The blocks then given to the Tate. 6.25×4.25 inches.
  • Burra, Edward (1905 – 1976)
    ‘Guitar Player’. Woodcut. c.1929. Re-strike printed by Alexander Postan from the original block and sold by Observer Art in an edition of 45. 1971. The blocks then given to the Tate. 6.25×4.25 inches.
    £575
  • Burra, Edward (1905 – 1976)
    ‘Cafe’. Woodcut. c.1929. Re-strike printed by Alexander Postan from the original block and sold by Observer Art in an edition of 45. 1971. The blocks then given to the Tate. 4×6 inches.
  • Burra, Edward (1905 – 1976)
    ‘Two at a Bar’. Woodcut. c.1929. Re-strike printed by Alexander Postan from the original block and sold by Observer Art in an edition of 45. 1971. The blocks then given to the Tate. 6.25×4.25 inches.
  • Burra, Edward (1905 – 1976)
    ‘Cup Bearer’. Woodcut. c.1929. Re-strike printed by Alexander Postan from the original block and sold by Observer Art in an edition of 45. 1971. The blocks then given to the Tate. 6.25×4.25 inches.
    £575
  • Burra, Edward (1905 – 1976)
    ‘Fleet’s in’. Woodcut. c.1929. Re-strike printed by Alexander Postan from the original block and sold by Observer Art in an edition of 45. 1971. The blocks then given to the Tate. 6×4 inches.
  • Burra, Edward (1905 – 1976)
    ‘Balcony’. Woodcut. c.1929. Re-strike printed by Alexander Postan from the original block and sold by Observer Art in an edition of 45. 1971. The blocks then given to the Tate. 6.25×4.25 inches.
    £575

GEORGE DU MAURIER (1834-1896)

Drawings for Punch

2pm Tuesday 19th December

  • Du Maurier, George (1834 – 1896)
    ‘The Philosophy of Criticism’. ‘Critic – “Sorr, it’s by taychin the ignorant public what is good or bad, accordin’ to me loights, that I get me livin’ intoirely!” Layman – “and how’s the ignorant public to know whether you are right or wrong?”. Critic (innocently) – “By the coincidence of the popular verdict with moine, or the reverse! but eetherr way I turn an honest penny!”. Pencil, pen and ink. July 3rd 1880. Signed. For ‘Punch’. 5×5 inches.
  • Du Maurier, George (1834 – 1896)
    ‘Tact’. Admiring friend: “What, another picture? Why, that’s the second you’ve finished this week!”. Pictor: “the Third, my boy, the Third!”. Admiring friend (wishing to be pleasant): “Ah! Wonderful! That’s what I always say when I hear people abuse your pictures! ‘They may be bad’, I always say; ‘but just look at the lot of them he turns out’!”. Pencil, pen and ink. 1879. Signed. For ‘Punch’. 5×4 inches.
    £575
  • Du Maurier, George (1834 – 1896)
    ‘Pleasant for Papa’. “Men used to have lots of wives once, Mummy _ but they don’t now!” / “The Christian religion only allows one darling,” / “Yes, it says a man can’t serve two masters, doesn’t it Mummy?”. Pencil, pen and ink. Signed. 1882. For ‘Punch’. 5×7.75 inches.
  • Du Maurier, George (1834 – 1896)
    ‘Cultchah! / A Little Knowledge is a dangerous thing’. – “Who made the Eljin Marbles Aunt Hippolyte?” / – “Pheidias, dear _ and you must say Elgin, not Eljin… The greek g, or gamma, is always pronounced hard…”. Pencil, pen and ink. Jan 1888. Signed. For ‘Punch’. 5.5×4 inches.
  • Du Maurier, George (1834 – 1896)
    Lawn Tennis; ‘A Conscious Martyr’. ‘Why are you so cross, Angela?” – “Oh! because I hate selfishness, aunt! And they’re all of them so selfish!”. “What have they done?” _ “Why, they all want to go on the river, just when I want to play lawn-tennis!”_”Well, you needn’t go with them!”_”Of course I needn’t! But how am I to play lawn-tennis all by myself!”‘. Pencil, pen and ink. 1881. Signed. For ‘Punch’. 5.25×8 inches.
    £875
  • Du Maurier, George (1834 – 1896)
    ‘Instinctive Critical Acumen’; “That looks like an old picture, John! _ What is it?” / “It’s Moses Striking the Rock!” / “Ah! I told you it was old … didn’t I, now!”. Pencil, pen and ink. Signed, 1893. For ‘Punch’, 8×5.25 inches.
  • Du Maurier, George (1834 – 1896)
    ‘The “United Trousers” V. the “Divided Skirts” / (With Mr Punch’s apologies to Lady ..arberton’. Pencil, pen and ink. April 29th 1882. For ‘Punch’. 6×4.75 inches.
    £250
  • Du Maurier, George (1834 – 1896)
    ‘Adding Insult to Injury’. ‘Brown (whose prise St Bernard has just snatched a filler of Veal from a butcher’s slab): “HI – come & take your confounded meat away from him – he’s eating the the skewers”‘. Pencil, pen and ink. Signed. Sept 1890. For ‘Punch’, 5×7.5 inches.
  • Du Maurier, George (1834 – 1896)
    ‘A Sketch from Nature’; ‘Jennings and Bellamy, the famous dramatists, planning on of those thrilling plays of plot and passion, in which (as everybody knows) Jennings provides inimitable broad humour, and Bellamy the love-scenes and the tragic deaths. (Bellamy is the shorter of the two)’. Pencil, pen and ink. Signed. 26th June 1880. For ‘Punch’. 5×3.75 inches.


MAX BEERBOHM (1872-1956)

Poet’s Corner

10am Wednesday 20th December

This incomplete set of plates was taken (not by us!) from The Poet’s Corner, published by William Heinemann, 1904.
They are sold newly mounted in acid-free museum board.

  • Beerbohm, Sir Max (1872 – 1956)
    ‘Mr Rudyard Kipling Takes a Bloomin’ Day Aht, on the Blasted ‘Eath, Along with Britannia, ‘Is Gurl’. Plate from ‘The Poet’s Corner’, Publ. William Heinemann, 1904. 12.75×7.75 inches.
  • Beerbohm, Sir Max (1872 – 1956)
    ‘Dante Gabriel Rossetti, in his Back Garden’. Plate from ‘The Poet’s Corner’, Publ. William Heinemann, 1904. 7.75×12.75 inches.
  • Beerbohm, Sir Max (1872 – 1956)
    ‘Dante in Oxford. Proctor: “Your Name and College?”‘. Plate from ‘The Poet’s Corner’, Publ. William Heinemann, 1904. 12.75×7.75 inches.
  • Beerbohm, Sir Max (1872 – 1956)
    ‘Mr Matthew Arnold. To Him, Miss Mary Augusta, his Niece: “Why, Uncle Matthew, Oh Why, Will Not You Be Always Wholly Serious?”‘ Plate from ‘The Poet’s Corner’, Publ. William Heinemann, 1904. 12.75×7.75 inches.
  • Beerbohm, Sir Max (1872 – 1956)
    ‘Homer, Going his Round’. Plate from ‘The Poet’s Corner’, Publ. William Heinemann, 1904. 12.75×7.75 inches.
  • Beerbohm, Sir Max (1872 – 1956)
    ‘Goethe Watching the Shadow of Lili on the Blind’. Plate from ‘The Poet’s Corner’, Publ. William Heinemann, 1904. 12.75×7.75 inches.
  • Beerbohm, Sir Max (1872 – 1956)
    ‘Henrik Ibsen, Receiving Mr William Archer in Audience’. Plate from ‘The Poet’s Corner’. Publ. William Heinemann, 1904. (Note Stain!). 7.75×12.75 inches.
  • Beerbohm, Sir Max (1872 – 1956)
    ‘Lord Byron, Shaking the Dust of England from His Shoes’. Plate from ‘The Poet’s Corner’, Publ. William Heinemann, 1904. 12.75×7.75 inches.
  • Beerbohm, Sir Max (1872 – 1956)
    ‘Mr Tennyson, Reading “In Memoriam” to His Sovereign’ Plate from ‘The Poet’s Corner’, Publ. William Heinemann, 1904. 7.75×12.75 inches.
  • Beerbohm, Sir Max (1872 – 1956)
    ‘Mr W. B. Yeats, presenting Mr George Moore to the Queen of the Fairies’. Plate from ‘The Poet’s Corner’, Publ. William Heinemann, 1904. 12.75×7.75 inches.
  • Beerbohm, Sir Max (1872 – 1956)
    ‘Omar Khayyam’. Plate from ‘The Poet’s Corner’, Publ. William Heinemann, 1904. 12.75×7.75 inches.
  • Beerbohm, Sir Max (1872 – 1956)
    ‘Paul Verlaine (Usher in Private School at Bournemouth, 1877-1878)’. Plate from ‘The Poet’s Corner’, Publ. William Heinemann, 1904. 12.75×7.75 inches.
  • Beerbohm, Sir Max (1872 – 1956)
    ‘Mr William Watson, Secretly Ceded by the British Government to Abdul Hamid, but, in the Nick of Time, Saved from the Trap-door to the Bosphorous by the Passionate Intercession of Mr John Lane’. Plate from ‘The Poet’s Corner’, Publ. William Heinemann, 1904. 7.75×12.75 inches.
  • Beerbohm, Sir Max (1872 – 1956)
    ‘Scene: The Board of Trade. Time: Office Hours in the Early ‘Eighties’. Mr Austin Dobson and Mr Edmund Gosse, Composing a Ballade, are Taken Unawares by their President, Mr Jos, Chamberlain’. Plate from ‘The Poet’s Corner’, Publ. William Heinemann, 1904. 12.75×7.75 inches.
  • Beerbohm, Sir Max (1872 – 1956)
    ‘Robert Browning, Taking Tea with the Browning Society’. Plate from ‘The Poet’s Corner’, Publ. William Heinemann, 1904. 7.75×12.75 inches.
  • Beerbohm, Sir Max (1872 – 1956)
    ‘Walt Whitman, Inciting the Bird of Freedom to Soar’. Plate from ‘The Poet’s Corner’, Publ. William Heinemann, 1904. 12.75×7.75 inches.
  • Beerbohm, Sir Max (1872 – 1956)
    ‘Robert Burns, Having Set his Hand to the Plough, Looks Back at Highland Mary’. Plate from ‘The Poet’s Corner’, Publ. William Heinemann, 1904. 7.75×12.75 inches.
  • Beerbohm, Sir Max (1872 – 1956)
    ‘William Shakespeare, His Method of Work’. Plate from ‘The Poet’s Corner’, Publ. William Heinemann, 1904. 12.75×7.75 inches.
  • Beerbohm, Sir Max (1872 – 1956)
    ‘William Wordsworth in the Lake District, at Cross-Purposes’. Plate from ‘The Poet’s Corner’, Publ. William Heinemann, 1904. 12.75×7.75 inches.


AND MORE IDEAS FOR CHRISTMAS
FROM OUR STOCK!



POWELL & SONS

Presentation Watercolours

for Stained Glass

CLICK HERE


GWEN RAVERAT (1885-1957)

Wood-Engravings

CLICK HERE


PETER HAYMAN (B.1930)

Original illustrations to 

The Complete Guide to the
Birdlife of Great Britain and Europe

CLICK HERE


BRIAN STONEHOUSE M.B.E. (1918-1998)

FASHION DRAWINGS

CLICK HERE




COMING IN THE NEW YEAR


LIST 544

5pm 16th January

Including … Aldridge, Blamey, Bright, Cameron, Crotch, Davis, Gaunt, Gere, Kramer, Ihlee, Lancaster, Legros, Morland, Munn, Payne, Piper, Pryde, Rowlandson, Sandby, Simpson, Sutherland, Tanner, Vaughan, Ward …

Will be followed by…


An Exhibition of

BRITISH WORKS ON PAPER

for

MASTER DRAWINGS NEW YORK


26th January – 3rd February
24 East 64th Street, New York
and
15th February – 9th March
30 Museum Street, London


ADAM, BLAKE, BONINGTON, BURNE-JONES, CALVERT, CARWITHAM, CHINNERY, COOPER, COTMAN, COX, COZENS, CRAIG, DANCE, EDRIDGE, ETTY, FRANCIA, GAINSBOROUGH, GILLRAY, GIRTIN, GLOVER, HAMILTON, HAYTER, LEAR, LEIGHTON, LINNELL, MALTON, OPIE, PAYNE, RENTON, ROMNEY, ROOKER, RUNCIMAN, SANDBY, SHOTTER BOYS, STANFIELD, TURNER, VANDERBANK, VARLEY, WARD, WILKIE …


 

HOW ‘THE LIST’ WORKS

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

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