5.30pm Tuesday 3rd March
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ANON (Nineteenth-Century)
Cart in a open landscape.
Pencil and monochrome wash. c.1800. Provenance: Squire Gallery; Diana Peyton. This watercolour has traditionally been given to Cornelius Varley.
6.5×9.5 inches.
£575
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Austen, Winifred (1876 – 1964)
‘Waiting for the Ebb Tide; Herons’.
Watercolour. c.1935. Signed with monogram. Original illustration for Patrick R. Chalmers, ‘Birds Ashore and A-Foreshore’, Publ. Forty-Eight Pall Mall, London, 1935. Provenance: Laurie Vance Johnson (Princeton, New Jersey).
11.5×13 inches.
£2,750
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Battersby, Martin (1914 – 1982)
‘The Saddler’.
Oil on board. Signed. For Shell’s ‘Country Crafts Series’, 1966. Provenance: Shell UK Cat. No. 2112.
13×18 inches.
Framed: 16×21 inches.
£2,750
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Beer, Richard (1928 – 2017)
Oxford; Oriel College.
Etching and aquatint from the ‘Oxford Series’. 1964/65. Signed, titled and numbered 9/100.
16.5×22.5 inches.
£250
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Bone N.E.A.C., Stephen (1904 – 1958)
Pembrokeshire.
Oil on panel. c.1930. Provenance: Artist’s Estate.
9.5×13.25 inches.
Framed: 14×18 inches.
Sold
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Cliffe, Henry (1919 – 1983)
Abstract compositions.
Pencil. c.1960. Provenance: a group of drawing by Cliffe.
11×7.5 inches.
Sold
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Curtis, Anthony (1928 – 2018)
Abstract composition.
Watercolour and gouache. Signed and dated, 1952.
21.5×14 inches.
Framed: 32.5×24 inches.
Sold
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Dayes, Edward (1763 – 1804)
PAIR: ‘The Promenade in St. James’s Park’ and ‘An Airing in Hyde Park’.
Hand coloured engravings. 1793 and 1796. Engraved by François David Soiron (1764 – after 1796) and published by Thomas Gaugain (1756-1810?). Before the addition of the titles.
17.5×26 inches.
Framed: 24×32.5 inches.
£2,500
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Downman, John (1750 – 1824)
A Cambridge Undergraduate, possibly one of the Mortlock family.
Oil on copper. 1778. Signed and dated. Provenance: Los Angeles Fine Art Gallery, California.
9.25×7.75 inches.
Framed: 14.75×13.5 inches.
£5,750
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Durrant, Roy Turner (1925 – 1998)
Landscape.
Watercolour and gouache. Signed and dated, 1953.
17×22.5 inches.
Framed: 29×33.5 inches.
£3,500
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Fedden O.B.E., Mary (1915 – 2012)
Paxton & Whitfield still life.
Pencil. 1973. Signed and dated.
22×30 inches.
Framed: 30×38 inches.
£4,500
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Fisher, Bishop of Salisbury, John (1745 – 1825)
Essex; ‘The Green Mill, Dedham’.
Pencil and watercolour. Ex. Collection: Iolo Williams.
6×9.5 inches.
Sold
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Fitton R.E., Hedley (1857 – 1919)
France; ‘Pont St. Etienne, Limoges’.
Etching. 1910. Signed.
13.5×16.5 inches.
Sold
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Grimm, Samuel Hieronymus (1733 – 1794)
Scene in a Continental village.
Pencil, pen, ink and watercolour. Signed and dated, 1772. Provenance: James Tobin 1818; Sir John Fitzherbert, Bt. Exhibited: St Helier Galleries.
9.5×12.25 inches.
Framed: 16×20.5 inches.
£975
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Hoppner R.A., John (1758 – 1810)
‘Daughters of Sir Thomas Frankland Bart.’; Marianne (left) and Amelia (right), holding a portfolio and porte-crayon.
Mezzotint, 1797. A beautiful impression after one of Hoppner’s masterpieces, now in the National Gallery of Art, Washington DC. Engraved and published by William Ward (1766-1826).
22.5×17.5 inches.
Framed: 30×25.25 inches.
Sold
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Hudson, Thomas (1701 – 1779)
London, Ranelagh Gardens; Mary, Duchess of Ancaster (1730-1793), wife of the 3rd Duke of Ancaster (1714-1778), in Van Dyck dress with the Ranelagh Gardens Rotunda in the background.
Mezzotint, 1757, by James McArdell (1729-1765). A beautiful, rich impression by this master mezzo-tinter, pulled before lettering and before the margins of the plate were cleaned.
20×14 inches.
Framed: 25×19 inches.
£1,500
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Hunt, William Holman (1827 – 1910)
‘The Desolation of Egypt’ (H.15). The artist in his tent at Giza, 1854.
Etching on cream chine colle. 1854. applied to original backing sheet from the only published edition (of 500) as issued in ‘Etchings for the Art Union’ for the Etching Club in 1857.
2×4.5 inches.
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Hunter RBA, George Sherwood (1846 – 1919)
‘Winter – Scottish Highland Village’.
Oil on canvas. Monogrammed and dated, ‘Dec 1st 1882’.
11.5×17.5 inches.
Framed: 14×20.5 inches.
Sold
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Labruzzi, Carlo (1748 – 1817)
Italy; ‘Ruins near Capua’.
Pencil and watercolour. Provenance: Sotheby’s, 28th April 1983; Judy Egerton.
7×10.5 inches.
Framed: 16×19 inches.
£3,750
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Lamont, Edie (1899 – 1983)
Hill Country.
Watercolour. 1980. Signed and dated.
8×11 inches.
£225
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Larkins, William Martin (1901 – 1974)
London; ‘Bush House by Night’.
Etching. 1927. Signed, titled and editioned ‘No.5’. NOTE: please contact the gallery for a condition report on this print.
9.5×8 inches.
£675
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Levene R.A., Ben (1938 – 2010)
‘Dried Flowers’.
Oil on board. 1989. Signed. Exhibited: Royal Academy, Summer Exhibition, 1989; Browse & Darby.
47.5×39 inches.
Framed: 57×48.5 inches.
£8,500
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Marx, Enid (1902 – 1998)
‘Ark I’.
Linocut. 1955. Signed, titled and editioned 5/50. From ‘Six Linocuts’, published in an edition of 50 by The Judd Street Gallery in 1998.
12.5×19.5 inches.
Sold
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Marx, Enid (1902 – 1998)
‘Feline Phantasy’.
Linocut. 1948. Signed, titled and editioned 5/50. From ‘Six Linocuts’, published in an edition of 50 by The Judd Street Gallery in 1998.
12.5×20 inches.
£1,250
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Marx, Enid (1902 – 1998)
‘Fish’.
Linocut. 1970. Signed and editioned 5/50. From ‘Six Linocuts’, published in an edition of 50 by The Judd Street Gallery in 1998.
18×29 inches.
£875
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Marx, Enid (1902 – 1998)
‘Folly Swans, Starcross, Devon’.
Linocut. 1936. Signed, titled and editioned 5/50. From ‘Six Linocuts’, published in an edition of 50 by The Judd Street Gallery in 1998.
12.5×20 inches.
£1,100
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Marx, Enid (1902 – 1998)
‘Two Cats (Sam and Arry)’.
Linocut. 1966. Signed, titled and editioned 5/50. From ‘Six Linocuts’, published in an edition of 50 by The Judd Street Gallery in 1998.
18.5×23.5 inches.
Sold
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Marx, Enid (1902 – 1998)
‘Wally Dogs’.
Linocut. 1960. Signed, titled and editioned 5/50. With handcolouring by the artist. From ‘Six Linocuts’, published in an edition of 50 by The Judd Street Gallery in 1998.
14×20 inches.
Sold
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McBey, James (1883 – 1959)
France; Rouen.
Etching. Signed. Signed, titled and dated, 1916 in the plate.
6.5×14 inches.
Sold
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McEvoy (née Spencer Edwards), Mary (1870 – 1941)
Portrait of Augustus John O.M. R.A. (1878-1961).
Chalk. c.1897/98. There is another drawing of John made by Mary McEvoy while both were at the Slade in the Fitzwilliam Museum (Acc.No.1753).
8.5×6.5 inches.
£1,100
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Monnington P.R.A., Sir Walter Thomas (1902 – 1976)
Study for ‘Allegory’ (Tate N05036).
Chalk. c.1924. A study for Monnington’s major painting made while a Rome Scholar. The drawing relates to the figure on the far left of the composition and can be compared to another drawing in the British School at Rome. Exhibited: Nicholas Bowlby, ‘Paintings and Drawings by Sir Thomas Monnington P.R.A.’, 1994. Provenance: the Artist’s widow; Nicholas Bowlby; […] Private Collection.
6×5 inches.
Framed: 13.5×12.75 inches.
£1,750
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Muncaster P.S.M.A. R.W.S., Claude (1903 – 1974)
Italy; ‘Bridge over the River at Baveno’.
Watercolour. 1927. Signed and dated. Exhibited: The Fine Art Society, 1927, No.30; Rountree Tryon.
13×20 inches.
Framed: 21×27 inches.
Sold
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Nixon, John (1755 – 1818)
Drawings of military men.
Pen, pen, ink and wash. c.1780. Exhibited: Spink.
6.5×4 inches.
£375
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Padwick R.A. R.O.I. R.B.A., Philip Hugh (1876 – 1958)
‘A Sussex Common’.
Oil on board. 1939. Studio stamped and dated, ‘Sept 26th 39’ verso.
17×23 inches.
Framed: 21×27 inches.
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Piper C.H., John (1903 – 1992)
Designs for Fulham Pottery; ‘Founded on Wm Wright’s Grotesque Architecture 1767’.
Pencil, pen, ink and wash. c.1982. Signed, inscribed. Some of the designs on this sheet were used by Piper on shaped dishes he designed for Fulham Pottery.
14×19.5 inches.
Framed: 23×28 inches.
£3,750
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Raverat S.W.E., Gwen (1885 – 1957)
‘Winter Morning’ (SN492).
Wood engraving. 1938. Proof. Design II. Block I. Provenance: an album of Raverat’s prints, compiled by the artist; by descent in her family.
6×4 inches.
Framed: 14×15 inches.
Sold
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Ravilious, Eric (1903 – 1943)
Golden Cockerel Press; the Prospectus for 1934.
Wood-engraving. 1931.
13×9.5 inches.
Sold
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Reynolds PRA FRS FRSA (After), Sir Joshua (1723 – 1792)
‘Mrs Morris’; Henrietta Morris (née Musgrave) (d.1812).
Mezzotint. 1776. Engraved by John Raphael Smith (1751-1812) and published by John Boydell.
14.75×10.75 inches.
Framed: 23×19 inches.
£575
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Rothenstein R.A., Michael (1908 – 1993)
‘Agony in the Garden’.
Pen, ink and wash. 1939. Signed and dated. Exhibited: Redfern Gallery.
8.5×6.25 inches.
Framed: 16×13.25 inches.
£975
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Sandby R.A., Paul (1731 – 1809)
London; Woolwich, a horse and cart leaving a clay pit.
Pencil, pen, ink and waterclour. Signed and dated, 1780. Exhibited: Agnews; Spink.
9.5×11.5 inches.
Framed: 18×20 inches.
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Smith, John Raphael (1752 – 1812)
‘The Promenade at Carlisle House’.
Mezzotint. 1781. Designed, engraved and published by Smith who also exhibited an impression at the Free Society in 1781. The subject is Theresa Cornelys’s Carlisle House in Soho Square, which was popular in the 1760s and 70s and was revived in 1779. It hosted a Promenade, with refreshments, on Sunday evenings during the Summer. Identifications of the six ‘working women’ were made by Bromley in 1793. This was Smith’s most expensive print, and by implication perhaps his most popular, priced at £3 6s. by the end of the century. Literature: Ellen G. D’Oench, ‘Copper into Gold: Prints by John Raphael Smith (1751-1812)’, Yale, 1999, p.66.
12.5×15.5 inches.
Framed: 21×24.5 inches.
Sold
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Spencer R.A., Sir Stanley (1891 – 1959)
A large sheet of figure and composition studies.
Pencil, chalk and watercolour. Studio stamped. Provenance: Stanley Spencer Studio Sale, Christie’s, Thursday 5th November, 1998.
14×10 inches.
£1,100
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Tenniel, Sir John (1820 – 1914)
‘Diplomacy, Caution, Opposition’; in the face of a growing struggle over their foreign policy, Disraeli and Northcote are out to shoot the Opposition by relying on ‘Diplomacy’ and ‘Caution’.
Pencil for ‘Punch’. 1897. Signed with monogram.
6×8 inches.
Framed: 13×14.25 inches.
Sold
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Tippett, Bruce (1933 – 2017)
‘Untitled’; abstract drawing.
Charcoal. August 1957. Signed and dated. Exhibited: England & Co., ‘Bruce Tippett: Paintings and Drawings 1950-1980’, 1992, Cat No.10.
30×22 inches.
Framed: 26.5×34.5 inches.
£975
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Wilson, Scottie (1888 – 1972)
Figure and birds.
Ink and gouache. Signed. Provenance: Bought directly from the artist by Tina Carlile and Pearl King.
9.25×9.25 inches.
£1,750
RACHEL RECKITT (1908-1995)
Rachel Reckitt (1908–1995) trained at Taunton School of Art and the Grosvenor Schools (1933-1937). She made fine linocuts in the famous Grosvenor manner (modern and energetic) and became a skilled wood-engraver and painter under the direct influence of the school’s Principal, Iain Mcnab (1890-1967). These sculptures were made towards the end, or just after, her time at the Grosvenor Schools. Apart from returning to live in London during WWII, she spent the rest of her life in West Somerset where she pursued a career quite independent of artistic movements. Her work encompassed craft as well as fine art. She made prints and book illustrations, as well as paintings and sculpture. Her metal work is particularly admired – she made a number of good metal signs for Somerset pubs.
These sculptures were exhibited at the 2025 South West Heritage Trust exhibition, Chance Encounters: The Art of Rachel Reckitt at The Museum of Somerset, Taunton.
The exhibition was accompanied by a very good catalogue written by Sarah Cox.
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Reckitt, Rachel (1908 – 1995)
Mother and Children.
Walnut. c.1938. Exhibited: ‘Chance Encounters: The Art of Rachel Reckitt’, The Museum of Somerset, Taunton, 2025. Literature: Sarah Cox, ‘Chance Encounters: The Art of Rachel Reckitt’, South West Heritage Trust Exh. Cat., 2025, Ill. p.64. Provenance: Robert Hopper (Whitworth Art Gallery / Bradford Art Galleries and Museums / Henry Moore Sculpture Trust); Private Collection; from where acquired by A and H, 2025.
16×13.25xD18 inches.
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Reckitt, Rachel (1908 – 1995)
Seated Woman.
Elm wood. c.1938. Exhibited: ‘Chance Encounters: The Art of Rachel Reckitt’, The Museum of Somerset, Taunton, 2025. Literature: Sarah Cox, ‘Chance Encounters: The Art of Rachel Reckitt’, South West Heritage Trust Exh. Cat., 2025, Ill. p.23. Provenance: acquired directly from the artist by Robert Hopper (Whitworth Art Gallery / Bradford Art Galleries and Museums / Henry Moore Sculpture Trust); Private Collection; from where acquired by A and H, 2025.
13.75×17.75xD15.75 inches.
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Reckitt, Rachel (1908 – 1995)
Standing Figure.
Walnut. c.1938. Exhibited: ‘Chance Encounters: The Art of Rachel Reckitt’, The Museum of Somerset, Taunton, 2025 (where dated c.1951). Provenance: acquired directly from the artist by Robert Hopper (Whitworth Art Gallery / Bradford Art Galleries and Museums / Henry Moore Sculpture Trust); Private Collection; from where acquired by A and H, 2025.
31x10xD10 inches.
£3,750
EDNA CLARKE HALL (1879-1979)
WUTHERING HEIGHTS
This small group of drawings form an annex to our forthcoming exhibition of Edna Clarke Hall’s Poem Paintings (see below). Edna was one of the great draughtswomen to come out of the Slade at the turn of the twentieth century. She made Wuthering Heights drawings for a number of years from c.1899, taking them up again in the 1920s. They were sometimes direct illustrations and sometimes compositions intended to capture the charged atmosphere of the novel. Using herself as the model for Cathy and her home as a set, the works became a sort of emotional self-portrait; an outpouring of her own psychological crises.
In addition to our exhibition of Edna’s Poem Paintings, Eiderdown Books are publishing a new edition of Wuthering Heights illustrated with her work and with an introduction by Eliza Goodpasture. The edition will be published on 20th March, but can be pre-ordered from their website (CLICK HERE). We are proud to have financially supported this publication.
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Clarke Hall, Edna (1879 – 1979)
‘Wuthering Heights’.
Pen and ink from a sketchbook, signed and dated, 1903, in the cover. Ex. Collection: Sir Sydney Cockerell; Wilfrid Blunt; Simon Heneage.
9×7.25 inches.
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Clarke Hall, Edna (1879 – 1979)
Wuthering Heights; Cathy at the Hearth.
Pen, brush and ink. c.1925. Exhibited:
10.25×8 inches.
Framed: 22.5×16.25 inches.
Sold
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Clarke Hall, Edna (1879 – 1979)
Wuthering Heights;
Etching. Signed and inscribed ‘Single Print / Second State’.
9.5×6.5 inches.
Sold
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Clarke Hall, Edna (1879 – 1979)
Mr Earnshaw, Heathcliffe, Hindley and Cathy at the Hearth; a study for Wuthering Heights.
Pen and ink. c.1902. Provenance: Dennis Clarke Hall.
11×7.5 inches.
Framed: 19.25×15 inches.
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Clarke Hall, Edna (1879 – 1979)
Cathy; ‘Self Study for WH’ (Wuthering Heights).
Pen and ink. Inscribed.
9×7 inches.
Framed: 17.5×14.5 inches.
Sold
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Clarke Hall, Edna (1879 – 1979)
Cathy; a study for Wuthering Heights.
Pen, brush and ink. c.1925. Provenance: Denis Clarke Hall.
5.75×9 inches.
Framed: 14×16.5 inches.
Sold
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Clarke Hall, Edna (1879 – 1979)
Cathy at the hearth; a study for Wuthering Heights.
Pen and ink. c.1902. Provenance: Dennis Clarke Hall.
11.75×9.5 inches.
Framed: 20×17.25 inches.
£750
CURRENT EXHIBITION
EDNA CLARKE HALL (1879-1979)
The Poem Paintings
Thursday 12th March – Saturday 11th April
CLICK HERE
WORKS ON PAPER
Including drawings from the Study Collection of David Bindman (1945-2025)
31 East 72nd Street, New York
30th January – 7th February
30 Museum Street, London
19th February – 7th March
CLICK HERE
Coming Soon …
5.30pm Tuesday 14th April
LIST 568
New Stock for April 2026
23rd April – 9th May
URUSHIBARA | BRANGWYN
Coloured Woodcuts
14th May – 6th June
PALMER | SUTHERLAND
London Original Print Fair
HOW ‘THE LIST’ WORKS
Our Lists introduce 50-100 works to our large stock of oil paintings, watercolours, drawings and prints each month.
Most works can be bought online via our ecomm platform, but using this is not mandatory! If you would like to enquire about a work, please email or send a message using the ‘Enquire’ button that appears when you click on an item. We try and treat enquiries about List pictures in strict order of receipt. Given the numerous methods of communications people tend to use nowadays, there will inevitably be times when technological overlaps muddy the system. But we try to be fair!
Please do call if you would prefer to talk to us about anything you see on the website, but we strongly advise sending an email first; we are happy to hold works for a short time while they are being considered, or to give time for you to make a vist.
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