LIST 547

APRIL 2024

Published 5pm 9th April

OLIVER HILL (1887-1968)


Until 4th May


  • ANON (Eighteenth-Century)
    Italy; ‘Near Albano’ / ‘Frightful’. A study in the sublime. Pencil, pen, ink and monochrome wash. c.1800. 5.25×6.25 inches. Framed: 13×13.5 inches.
  • Austin R.A. R.E., Robert Sargent (1895 – 1973)
    ‘Norfolk Landscape’ (CD104). Engraving. 1934. Editioned and dated under the mount by the artist, ‘2nd st [state]. 6/25’ / ‘Jan 20 / 34’. Studio stamp verso. 5×5.5 inches.
  • Austin, Frederick (1902 – 1990)
    A British harbour – the boathouse and slipway. Pencil and watercolour. Signed. c.1935. 10.5×14.5 inches.
  • Bawden C.B.E. R.A., Edward (1903 – 1989)
    ‘Queluz’; the Sphinx in the Neptune Garden of the Royal Palace, Sintra, Portugal. Linocut. Signed and titled. Used as an end paper for Ruari McLean’s ‘MOTIF’, 1962 issue. 13.5×8 inches.
  • Bawden N.E.A.C. R.E., Richard (born 1936)
    A Summer flower bed. Pen, ink and watercolour. Signed and dated, ‘July ’93’. Extensively inscribed beneath the mount, ‘Lilium Speciosum / Hedysarum Coronarium / Penstemon / Alchemilla …’. 12.5×20.75 inches.
  • Bradley, Martin (1931 – 2023)
    ‘Monk Passing in the Night’. Watercolour and goauche. Signed, titled and dated, 1965. 15.5×22.25 inches.
  • Cayley, George John (1826 – 1878)
    Algeria; Bay of Algiers. Watercolour and gouache. c.1875. Inscribed to the album page from which it was removed ‘Souvenir / B of Algiers’. 5×7.5 inches.
  • Coverly-Price, Victor (1901 – 1988)
    Australia; the Rootes car factory, Melbourne. Pen, ink, watercolour and gouache. 1955. Signed. Built in the 1930s, during WWII this building in Port Melbourne was used by the Australian Department of Munitions and Department of Aircraft Productions. It was also associated with the Commonwealth government’s secret tank research and development program. 9×14.75 inches.
  • Fitton R.E., Hedley (1857 – 1919)
    Italy; The Pantheon, Rome. Etching. 1913. Signed. 17×22 inches. Framed: 27.5×31 inches.
  • Goff R.E., Robert (1837 – 1922)
    West Sussex; Brighton. Etching. Signed. 9×5 inches.
  • Gooch (Eightenth Century), William
    Newcastle; ‘St Nicholas Tower’ aka the Lantern Tower. Pen and ink. Inscribed and signed ‘Wm Gooch / Scripsit Etatis 11 / 1781’. Presumably copied from an engraving. 27×11 inches.
  • Griggs R.A. R.E., Frederick Landseer Maur (1876 – 1938)
    ‘Mortmain’ (C.22). Etching. 1918. State III of IV. 40 impressions. Signed. 4.75×6.25 inches.
  • Gross C.B.E. R.A., Anthony (1905 – 1984)
    France; ‘Georgette’ at Montgesty. Pen, ink and watecolor. c.1948. Signed. Inscribed verso. The figure in this watercolour was used for Gross’ etching ‘Shepherdess / Georgette (La Bergere Aux Rochers)’ (RH.4806). 13×21 inches.
  • Hall, Patrick (1906 – 1992)
    France; Beach and Promenade. Watercolour. Signed. 20×30 inches. Framed: 26×36 inches.
  • Highmore (Attributed to), Anthony (1718 – 1785)
    A study of promenading figures. Pencil and watercolour. c.1760. Exhibited: Fine Art Society, 1947; Maurice Dear and attributed by both to Paul Sandby, but we think Highmore is a much more likely hand. 3.5×5.25 inches.
  • Houthuesen, Albert (1903 – 1979)
    ‘Seascape (Storm Sky with White Cloud)’. Oil on canvas. 1965. Signed. Signed, titled and dated, verso. Exhibited: Mercury Gallery. 15.75×20 inches. Framed: 25.5×29.5 inches.
  • John O.M. R.A., Augustus (1878 – 1961)
    Moses and the Brazen Serpent. Pen, ink and wash. A study for John’s winning Slade Summer Painting Competition entry, 1898. Similar sheets are in the Herbert Art Gallery and the National Museum of Wales. 6×8 inches. Framed: 14.5×15.5 inches.
  • Keene, Charles (1823 – 1891)
    A Self Study. Pen and ink. c.1870. 7.25×4.25 inches. Framed: 14.5×11.5 inches.
  • Landseer R.A., Sir Edwin (1802 – 1873)
    Profile studies of the writer Emily Eden (1797-1869) and her brother, Lord Auckland (1784-1849), with whom she travelled to India in 1836 when he took up his appointment as Governor General there. Pen, brush and ink. Exhibited: Agnews, 100th Annual Exhibition of Watercolours & Drawings, 1973, No.221. 8.5×6.5 inches. Framed: 14.25×12 inches.
  • Larcombe, Ethel (1876 – 1940)
    Lucy Locket Lost her Pocket… Pen and ink. c.1910. Signed verso. Provenance: a group of works by Larcombe at Christie’s, 7th November, 1988; to A and H. 11.5×8 inches.
  • Larkins, William Martin (1901 – 1974)
    France; ‘St Tropez’. Pen, ink and wax crayon. Signed, inscribed and dated, 1946. 9×14.5 inches.
  • Leech, John (1817 – 1864)
    Bringing a Gig to a standstill. Pencil. c.1850. 4.25×6.5 inches.
  • Luard, Lowes Dalbiac (1874 – 1944)
    Start of the Horse Race. Etching. Signed and editioned ‘2/20’. 2×4.5 inches.
  • Lumsden, Ernest Stephen (1883 – 1948)
    Edinburgh; ‘The Saut-Buckets’ (St. Ninian’s Row). Drypoint etching. 1926. Signed and editioned 18/60. 13.75×9 inches.
  • Nasmyth, Patrick (1787 – 1831)
    Country cottage and distant landscape. Oil on canvas. Signed and dated, 1829. 10×11.5 inches. Framed: 17×19 inches.
  • Ogilvie (fl.1920-1950), Lilian
    ‘Marguerites’; a studio still life. Oil on board. Signed. Signed and titled verso. 16.5×20.5 inches. Framed: 22.25×26.25 inches.
  • Payne, William (1760 – 1830)
    A fisherwoman with her basket. Pen, ink and watercolour. c.1820. Provenance: a group of works by Payne from a priavte collection, with A and H 2008. 3.5×4 inches. Framed: 10.5×10 inches.
  • Platt, John Edgar (1886 – 1967)
    Devon; ‘Brixham Town’. Woodcut. Signed, titled and editioned ’92/150′. 10.5×14.5 inches.
  • Portway, Douglas (1922 – 1993)
    Abstract. Softground etching. Signed and dated, 1964/9. 11×15 inches.
  • Ray-Jones R.E., Raymond (1886 – 1942)
    Self-portrait. Etching. 1915-1921. Edition of 40. Signed. Second state. 13×9 inches. Framed: 22.75×17.5 inches.
  • Rosenberg A.R.E., Louis (1890 – 1983)
    Chicago; ‘Federal Buildings at Night’ at the Century of Progress International Exposition / World’s Fair. Etching. 1933. Signed. 6×11 inches.
  • Roussel, Theodore Casimir (1847 – 1926)
    Figures on a beach Pen and ink. c.1900. 4×6.25 inches.
  • Sickert R.A. N.E.A.C., Walter Richard (1860 – 1942)
    France: Paris, study of heads at L’Eldorado. Pen, ink and chalks. Signed and inscribed ‘Paris, 1907’. L’Eldorado (demolished 1932) was a popular Cafe Concert, established in the mid-nineteenth-century. Provenance: Jack Beddington; his sale, Christie’s, 25th March, 1960 (lot 100); LG; Denys Sutton; Christie’s , 25th August 2005 (lot 18); with Simon Hilton, 2005; David Fullen; Goldmark Gallery; Bonhams, 2nd November 2010 (lot 114). Literature: Wendy Baron, ‘Sickert Paintings and Drawings’, 2006, Cat. No. 293.1. 10×7 inches. Framed: 19×15.5 inches.
  • Swanwick R.I. R.O.I., Harold (1866 – 1928)
    A candlelit interior. Oil on canvas. Provenance: Swanwick Studio Sale, Gorringes 15.5.2013. 7.5×10.5 inches. Framed: 8.5×11.5 inches.
  • Sykes, Dorcie (1908 – 1988)
    Still life with Japanese Vase and Figurine. Watercolour. c.1940. Signed. 21×17.25 inches. Framed: 31×26 inches.
  • Varley O.W.S., John (1778 – 1842)
    A Capriccio landscape. Watercolour and gum-arabic. c.1820. 9.25×14.5 inches.
  • Vaughan, Keith (1912 – 1977)
    Man feeding birds. Pencil. 1975. Studio stamp verso. Provenance: John Ball. Exhibited: Keith Vaughan Drawing Retrospective, Gallery 27, Cork St, Sept. 2010, No.56. 9.75×7.25 inches. Framed: 16.25×14 inches.
  • Von Leiden (Attributed to), Baroness
    A Fairytale Illustration. Pen and ink. c.1900. Possibly a copy? Provenance: A and H c.1970, by whom attributed to ‘Baroness von Leiden’ no doubt with good reason! … ; to John Russell Taylor. 7.5×4.5 inches.



Mary Blue studied painting at the University of Pennsylvania, the Vermont Studio, the Maryland Art Institute, and Ecole des Arts d’Avignon, France. This Group of her recent paintings is featured on our List No.547 for April 2024 as a way of introducing her work.

Mary Blue lives and works in Norfolk, but has made for us a study of three British coastlines. Her paintings are a response to the light, air and water of our shores. She has, we think, captured each of these very different places.

The works will hang together in the gallery until Saturday 27th April


  • Blue (Contemporary), Mary
    Anglesey; Llanddona. Acrylic on paper. 2023. Signed. Signed and titled verso. 11.5×30 inches. Framed: 19.5×37.5 inches.
  • Blue (Contemporary), Mary
    Anglesey; Llanfachraeth. Acrylic on paper. 2023. Signed. Signed and titled verso. 11.5×30.25 inches. Framed: 19.75×37.75 inches.
  • Blue (Contemporary), Mary
    Anglesey; Llanddona Beach. Acrylic on paper. 2023. Signed. Signed and titled verso. 6.5×30 inches. Framed: 14.75×37.5 inches.
  • Blue (Contemporary), Mary
    Anglesey; Treaddur Bay. Acrylic on paper. 2023. Signed. Signed and titled verso. 6.5×30 inches. Framed: 14.75×37.5 inches.


  • Blue (Contemporary), Mary
    Norfolk; Wells-next-the-Sea. Acrylic on paper. 2023. Signed. Signed and titled verso. 11.75×30.25 inches. Framed: 20×37.5 inches.
  • Blue (Contemporary), Mary
    Norfolk; Weybourne to Blakeney Point. Acrylic on paper. 2023. Signed. Signed and titled verso. 11.25×30 inches. Framed: 19.5×37.5 inches.
  • Blue (Contemporary), Mary
    Norfolk; Holkham Pinewoods. Acrylic on paper. 2023. Signed. Signed and titled verso. 6.5×30 inches. Framed: 14.75×37.5 inches.
  • Blue (Contemporary), Mary
    Norfolk; Wells-next-the-Sea. Acrylic on paper. 2023. Signed. Signed and titled verso. 6.75×30 inches. Framed: 15×37.75 inches.


  • Blue (Contemporary), Mary
    Cornwall; Porthcurno Beach. Acrylic on paper. 2023. Signed. Signed and titled verso. 11.5×30 inches. Framed: 19.5×37.5 inches.
  • Blue (Contemporary), Mary
    Cornwall; Portcurno. Acrylic on paper. 2023. Signed. Signed and titled verso. 6.75×30 inches. Framed: 15×37.5 inches.
  • Blue (Contemporary), Mary
    Cornwall; Rock Pools, Mousehole. Acrylic on paper. 2023. Signed. Signed and titled verso. 6.75×30 inches. Framed: 14.75×37.5 inches.
  • Blue (Contemporary), Mary
    Cornwall; Sennen Beach. Acrylic on paper. 2023. Signed. Signed and titled verso. 6.25×30 inches. Framed: 14.5×37.5 inches.

LIST 547

APRIL 2024

Published 5pm 23rd April




A selling exhibition of First World War prints in collaboration with

Bone, Brangwyn, Clausen, Dulac, Greiffenhagen, Hartrick, Jackson, John, Kennington, Moira, Nevinson, Nicholson, Pears, Ricketts, Rothenstein, Shannon, Shepperson, Sullivan.

16th May – 6th July 2024
at 30 Museum Street, London

A fully illustrated catalogue with essays on these remarkable prints will be available on request. The exhibition will be accompanied by Talks and Events.


It has been more than 100 years since a commercial gallery has exhibited and offered for sale the remarkable set of prints called The Great War: Britain’s Efforts and Ideals. So, it is a great privilege to have the opportunity to do so now. The prints, commissioned in 1917 from eighteen artists, are made up of two Series; nine Sets of six prints depicting Britain’s ‘Efforts’ in the Great War, and twelve prints depicting its ‘Ideals’. As such this was one of the largest and most ambitious British print projects of the early twentieth century; a feat of technical skill and artistic vision, as well as war-time logistics and propaganda.

Today, ‘provenance’ is something of a buzz-word, its significance often over emphasised. But, I cannot remember having handled works with such exciting provenance as these prints. Commissioned by the British Government, impressions were first offered for sale through the Fine Art Society in 1917. When the Ministry of Information was shut down in 1918 the prints were transferred to the newly created Imperial War Museum. They continued to be available to purchase via the Grosvenor Galleries until 1923, when the decision was made to withdraw the works from sale and store them; first at His Majesty’s Stationery Office, before being returned to the Imperial War Museum, where they have remained un-accessioned and awaiting future sale ever since.

There is a common comparison made between private companies and public institutions; that one is small but naturally nimble, the other large but burdened by bureaucracy. This has not been my experience working with IWM. I would like to thank Claire Brenard, Rhodri Cole, Jenni Fewery, Reasey Kheng and all their colleagues, who have worked on this project with great professionalism and decisiveness while retaining all the integrity expected of a National Museum.

Every print sold will generate proceeds that will go directly into IWM’s restricted fund for the development of its art collection through commissions and purchases.

We all hope you will visit, and enjoy seeing the exhibition!

Tom Edwards (Managing Director, Abbott and Holder)



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

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