Thursday, October 30, 2008

William Kay Blacklock - A Captive Audience

oil on canvas
1872 - 1922.
Born in Sunderland, studied at the School Art in Edinburgh (1902 - 6) and then at the Royal College of Art. He exhibited at the RA (1897 - 1918) and other galleries.

Frank Bindley

[Feeding the Bird] '80
oil on canvas
fl. 1878 - 1883

John Ritchie - Mayday

oil on canvas

George Fern Smith

[Picking Primroses]
oil on canvas
1835 - 1926.

Wednesday, October 29, 2008

Henry Brittan Willis

[Landscape with Cattle]
oil on canvas
1810 - 1884.

James Thomas Linnell - South Coast

inscribed No.2/South Coast/1864
oil on canvas
1820 - 1895.
The second son of John Linnell, he lived in London and later at Redhill, Surrey. He painted mainly rustic landscapes in a style similar to his father but with a brighter palette.

Walter Heath Williams

[Figures by a wooded pool, a shepherd and his flock beyond]
oil on canvas

Attributed to George Augustus Williams

[Windsor Castle from the Thames]
indistinctly signed 'Williams' (lower left)
oil on canvas
1814 - 1901.

Monday, October 27, 2008

Edmund Morrison Wimperis

[A Young Girl and her Dog on a country track with a village beyond]
oil on canvas
1835 - 1900.

Benjamin Williams Leader - On the Llugwy, Wales

oil on board

Albert Goodwin - Lake Thun from Spiez

Pencil, Watercolour and bodycolour

John William North - Spring in a western orchard

Watercolour with gum arabic and scratching out

[The Wood-Reeve's Daughter] 1901/2
Pencil and Watercolour with gum arabic and scratching out

Sunday, October 26, 2008

Beatrice Emma Parsons

[Stuart Summerhouse, The Close, Salisbury]
[Queen Mary's rose garden, Regent's Park]

Harold Knight

[The Little Mother]
oil on canvas
1874 - 1961.

[Morning sun]
Oil on Canvas
30.3 x 25.2 in.

Edward Seago - Gathering Storm, Suffolk Coast

oil on board

Dorothea Sharp - Picking Wild Flowers

Hammer Price with Buyer's Premium: 45,600 GBP
signed l.r.: DOROTHEA SHARP

oil on canvas
30 by 24 in.

Edward Seago - The White Mill, Thurne, Norfolk

oil on board

Saturday, October 25, 2008

Dorothea Sharp - Babies and Springtime

Hammer Price with Buyer's Premium: 42,000 GBP
signed l.l.: DOROTHEA SHARP

oil on canvas
33 by 33 in.

Garnet Ruskin Wolseley - Young Mariners

[Young Mariners]
1884 - 1967.

Hammer Price with Buyer's Premium: 6,600 GBP
signed l.l.: G.WOLSELEY

oil on canvas
12 by 10 in.

Edward Seago - two pictures

[September Morning on the Orwell]
signed l.l.: Edward Seago; inscribed on the reverse: SEPTEMBER MORNING ON THE ORWELL
oil on board
20 by 30 in.

[Spiritsail Barges on the Orwell]
oil on board
1910 - 1974.

(Sir) Alfred James Munning - Elder Bloom

[Elder Bloom]
oil on board
1878 - 1959.

Friday, October 24, 2008

Samuel John Lamorna Birch - The Barle, near Dulverton

[The Barle, near Dulverton] 1931
oil on canvas
1869 - 1955.
(including works currently for sale)

Dorothea Sharp - three pictures

[Paddling in the Shallows, Bosham Harbour beyond]

Hammer Price with Buyer's Premium: 78,000 GBP
signed l.l.: Dorothea Sharp
oil on canvas
36 by 36in.
[In the Park]

Hammer Price with Buyer's Premium: 22,800 GBP

signed l.r.: DOROTHEA SHARP
oil on canvas

20 by 24 in.

[Rock Pooling]

Hammer Price with Buyer's Premium: 16,800 GBP

signed l.r.: DOROTHEA SHARP
oil on canvas

15 by 18 in.

Wilfred Gabriel de Glehn

[Warmingford Mill Pond] 1911
oil on canvas
1870 - 1951.
(including works currently for sale)

Hammer Price with Buyer's Premium: 32,400 GBP (2006)

signed and dated l.r.: W. de Glehn/ 1911

oil on canvas
33 by 44 in.

Stanhope Alexander Forbes - The Pack Bridge

oil on canvas

Thursday, October 23, 2008

Harold Harvey

[Picking Daffodils]
oil on canvas
1874 - 1941.

Stanhope Alexander Forbes - On Paul Hill

[On Paul Hill (Trewarveneth Street)] 1922
oil on canvas
painted in the town where the artist lived (Newlyn) where he settled in 1884.

Edward Stott - In the Orchard

[In the Orchard] c. 1892

signed l.l.: Edward Stott
oil on canvas
21 ½ by 27 in.
The sketch on the reverse of this finished painting by Stott was made in preparation for On a Summer Afternoon which was exhibited with In the Orchard at the New Gallery in 1892. The Art Journal, defined the qualities of On a Summer Afternoon as follows: 'a combined impression of the artist's feeling - colour and form with the character of the subject, whether light or delicate; or strong and powerful; in short a recording of the impression on the painter's nature' (Art Journal, 1893, p. 104). This assessment could equally be applied to In the Orchard.

1856 - 1918

Born in Rochdale, Lancashire, Stott trained in Manchester and under Cabanel at the Ecole des Beaux-Arts in Paris. His early works were influenced by Millet and Bastien-Lepage and his paintings of English rural life, around his home at Amberley in Sussex, have ideas in common with the Newlyn School. Later he adopted a virtually pointillist technique and also extended the range of his subjects to include Biblical themes. He was a founder member of the New English Art Club in 1886. Stott, a bachelor, left most of his money to the Royal Academy for travelling scholarships.

(Sir) John Lavery - Portrait Studies

[Portrait Studies of the Lady Duveen of Millbank, the Hon. Dorothy Duveen and Miss Shelagh Morrison-Bell]

Hammer Price with Buyer's Premium: 9,600 GBP
inscribed with the names of the sitters on the reverse

oil on canvasboard
20 by 15 3/4 in.

The present three portrait studies were made in preparation for Lavery's impressive lost painting of 1931 Their Majesties' Court, Buckingham Palace (FIG 1.) a painting which, according to the critic for The National Geographic 'caused a stir at this year's [1931] Royal Academy and... won unstinted praise from the critics...' (Kenneth McConkey, Sir John Lavery, 1993, p. 181). The painting was regarded as providing 'ample evidence of the skill that has made Sir John the most sought after Court and Society portraitist of our time' (ibid McConkey, p. 181). The three studies would have been made from sittings at Lavery's studio from which he painted the large painting of the women of George V's court. The portraits for which these studies were made appear in the right foreground of Their Majesties' Court, Buckingham Palace.

Baroness Elsie Duveen (née Salomon, 1881-1963) was a tobacco heiress who became the wife of the art dealer and benefactor the first Lord Joseph Joel Duveen after they met at a party held to celebrate his planned marriage to another woman. Duveen was great champion of British art in North America and held exhibitions of Lavery's work at the Duveen Galleries in New York. He was a valuable supporter of Lavery in the early 1920s and an impressive society portrait of Joseph with his wife and daughter Dolly with their wire-haired terriers at their Fifth Avenue apartment in New York was painted by him in 1937 (Ferens Art Gallery, Kingston Upon Hull).

The munificent socialite Dorothy Rose Burns (née Duveen, 1903-1985) was the only child of Baron and Baroness Duveen. Her striking portrait was painted by Augustus John in the 1940s (National Portrait Gallery, London).

Shelagh Jocelyn Morrison-Bell was the daughter of the politician and aide-de-camp Major Sir Arthur Clive Morrison-Bell and Lilah Katherine Julia Wingfield. She married William Cooper Moore on the 17th April 1943.

Wednesday, October 22, 2008

(Sir) John Lavery - Midsummer

inscribed, signed and dated l.c.: MIDSUMMER JOHN LAVERY 1884; signed and inscribed with the title and the artist's address on the reverse

oil on panel
8 ½ by 12 ½ in
Lavery spent much of the years 1883 to 1884 in the ancient French village of Grez to the south of Fontainebleu. The area housed a number of like-minded artists at this time including a number of the Glasgow Boys. Lavery fondly remembered these as being his ‘happiest days in France’ which is reflected in the art which he produced. Perhaps the best known of his works at this time is The Bridge at Grez of 1883. This period shows Lavery incorporating more sophistication in his work in terms of space and especially atmospheric effects which can clearly be seen in the present work. Lavery spent much of his time experimenting with painting en plein air and produced a number of similar studies in this manner. The picture exudes sunshine with its bright palette and is rendered in a way which is indicative of the artist’s unique skills.

1856 - 1941.

Stanhope Alexander Forbes

[The Orchard, Quimperle] 1882
oil on canvas
Breton children in a Summer orchard in the town of Quimperle. The setting is thought to be the old Ursuline convent on the banks of the river Odet.
1857 - 1947.

Frank Bramley

[Every One his own tale] 1885
oil on canvas
1857 - 1915.
Important Newlyn colony artist.
There is a long essay in the Sotherby's catalogue 27 June 2006 on the importance of the colony and this painting.