British & European Paintings | 27/11/2014

Thursday, 27th November, 201433 Broughton PlaceEdinburgh EH1 3RR

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British & European Paintings

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Catalogue: 10

BUYERS PREMIUM25% up to 25,00020% thereafter. VAT will be charged on the premium at the rate imposed by law.20% VAT chargeable on the lot itself*5% import VAT on the lotDroit de Suite (artists resale rights)applies(see our Terms and Conditions of Saleand Information for Buyers).

ENQUIRIES AND COMMISSION BIDSLyon and Turnbull Ltd.33 Broughton PlaceEdinburgh EH1 3RRTel. 0131 557 8844 Fax. 0131 557 8668 email. [email protected]

Thursday, 27th November, 2014at 11am

Sale Number LT422

ViewingSunday, 23rd November 12 noon - 4pmMonday, 24th November 10am - 5pmTuesday, 25th November 10am - 5pmWednesday, 26th November 10am - 5pmMorning of sale strictly by appointment only

Specialists

Nick [email protected]

Emily [email protected]

Charlotte [email protected]


British Paintings 1.qxd:27-5-05 pictures 8/11/14 09:14 Page 1

L Y O N & T U R N B U L L


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Damage and RestorationOccasionally, when a lot hassuffered extensive damage and/orrestoration it is indicated in thecatalogue. This is mentioned entirelyat our discretion for the benefit ofbuyers. Where there is no mentionof damage and/or restoration thisshould not be taken to mean thatthere is none. It is the buyersresponsibility to ensure that thecondition of lots is to theirsatisfaction (see our Terms andConditions of Sale).

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Buying at AuctionThis sale is subject to our standardTerms and Conditions of Sale. If you have not bought at auctionbefore we will be delighted to adviseyou.

EstimatesEstimates are printed below each lotand do not include the buyerspremium. The sale will beconducted in pounds sterling.

DimensionsDimensions are for guidance only; itis the buyers responsibility toensure that they are correct.

Buyers PremiumThe buyer shall pay the hammerprice together with a premiumthereon.

25% up to 25,000 / 20% thereafter.

VAT will be charged on the premiumat the rate imposed by law. (see ourTerms and Conditions of Sale).

VATThe symbol by a lot numberindicates that VAT is payable by thepurchaser at the standard rate onthe hammer price. The symbol * by a lot numberindicates that the lot has beentemporarily imported from outsidethe EU and that VAT is payable bythe purchaser at the rate of 5% onthe hammer price.No VAT is payable on the hammerprice or premium for books boughtat auction.

Droit de SuiteThis symbol indicates works whichmay be subject to the Droit de Suiteor Artists Resale Right, which tookeffect in the United Kingdom on 14thFebruary 2006. We are required tocollect a royalty payment for allqualifying works of art. Under newlegislation which came into effect on1st January 2012, this applies toliving artists and artists who havedied in the last 70 years. This royalty will be charged to thebuyer on the hammer price and inaddition to the buyers premium. Itwill not apply to works where thehammer price is less than 1,000(euros). The charge for works of artsold at and above 1,000 (euros) andbelow 50,000 (euros) is 4%. Foritems selling above 50,000 (euros),charges are calculated on a slidingscale.

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1 HA882/1HENRY MOWBRAY HOWARD(19TH/20TH CENTURYAMERICAN)BATEAUX DE PCHE ENRADE A CANCALESigned, inscribed and datedParis 1897, oil on canvas

56cm x 81cm (22in x 32in)

Exhibited:Paris Salon 1898, no.1046

1,000-1,500

3




2 HA926/6ARCHIBALD DAVID REIDA.R.S.A., R.S.W., R.O.I.(SCOTTISH 1844-1908)PICNIC ABOVE STONEHAVENSigned, oil on panel

27cm x 37cm (10.5in x 14.5in)

600-800

4

3 FE191/555JOHN CRAWFORD WINTOURA.R.S.A.(SCOTTISH 1825-1882)THE LINKS OFORTH FROMBLAIRLOGIE CASTLESigned with a monogram anddated 1856, oil on canvas


Exhibited:Royal Scottish Academy 1856, no.84

1,000-1,500




4 HA700/1JAMES MCINTOSH PATRICKR.S.A., R.O.I., A.R.E., L.L.D.(SCOTTISH 1907-1998)CASTLE MILL, ROSSIEPRIORYSigned, watercolour

53.5cm x 74cm (21.5in x 29.25in)

Exhibited:Fine Art Society Ltd, Glasgow, 1987

2,000-3,000

5

5 FE191/557SAM BOUGH R.S.A.(SCOTTISH 1822-1878)NEAR LOCH LOMONDSigned and dated 1874,watercolour

34cm x 49cm (13.5in x 19.25in)

700-1,000




6 HA945/1ROBERT MCGOWNCOVENTRY A.R.S.A., R.S.W.(SCOTTISH 1855-1941)WOODCUTTERS BY THELOCHSigned, oil on canvas


1,500-2,000

6

7 HB24/1JOSEPH MORRIS HENDERSONR.S.A. (SCOTTISH 1864-1936)JEAN MCALPINES INN,ABERFELDYSigned, oil on canvas


800-1,200




8 HA3/1WILLIAM ALFRED GIBSON(SCOTTISH 1866-1933)A RIVER LANDSCAPE WITHGOATHERDSigned, oil on canvas

76cm x 101.5cm (30in x 40in)

2,000-3,000

7




9 HA124/1LOUIS BOSWORTH HURT(SCOTTISH 1856-1929)LLYN LLYDAW, SNOWDONSigned, oil on board

34cm x 48cm (13.5in x 18.75in)

Exhibited:Derby Corporation Art Gallery

1,000-1,500

8

10 HA710/1LOUIS BOSWORTH HURT(SCOTTISH 1856-1929)GLEN SANNOXSigned, oil on board


1,000-1,500




9L Y O N & T U R N B U L L


12 HA92/1JOHN MURRAY THOMSONR.S.A., R.S.W., P.S.S.A.(SCOTTISH 1885-1974)THE WHITE DRAKESigned, oil on canvas


600-800

11 HA710/23JAMES FAED JNR(SCOTTISH 1856-1920)BEN AANN FROM LOCHKATRINESigned, inscribed on acontemporary label verso, oilon canvas


1,000-1,500


15 FG412/10ATTRIBUTED TO WILLIAMMCTAGGARTCRAB FISHERS, ARRANInscribed verso, oil on canvas


800-1,200

10

13 FH251/1JAMES KAY R.S.A., R.S.W.(SCOTTISH 1858-1942)THE SWINGSigned, oil on canvas

29cm x 45cm (11.5in x 17.75in)

800-1,200



14 HA5/3GEORGE HOUSTON R.S.A.,R.S.W., R.I.(SCOTTISH 1869-1947)DEPARTING SNOWSigned, oil on canvas


1,000-1,500


11



16 HA710/15COLIN HUNTER A.R.A., R.I.,R.S.W. (SCOTTISH 1841-1904)FISHING BOATS OFF THECOAST OF CORNWALLSigned and dated 84,inscribed on a contemporarylabel verso, oil on canvas

56cm x 101.5cm (22in x 40in)

Exhibited:Royal Academy 1884

3,000-5,000


12

17 FF549/11VILHELM MELBYE(DANISH 1824-1882)UNLOADING THE BARGESigned and dated 1856, oil oncanvas

76cm x 122cm (30in x 48in)

Provenance:Ben Loyal Estate, Sutherland,formerly owned by Count Adam W.Knuth of Knuthenborg (Denmark)

4,000-6,000




Selected Paintings from

Denston HallSuffolk


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Settled in the broad open countryside of West Suffolk, Denston Hall is a fine GradeII listed house built in the early 18th century incorporating parts of an earlierhouse dating back to the 16th century, with mature gardens and moat.

The Hall has an interesting history. In 1564, Henry Cheyney made over the manorof Denston to William Burd without licence to alienate from the Crown. WilliamBurd died in 1591, and by 1602 the estate had passed to his son, but was seized bythe Crown, for debt and leased to Sir John Robinson. In 1617 it was bought byWilliam Robinson, in whose family it stayed until the early part of the 19th century.The front part of the Hall is early 18th century red brick while the 16th centuryearlier parts of the house to the rear have Tudor arch windows and doorways. Theinterior has a circular hall with public rooms to the left and right of it, circa 1770,with plaster ceilings with Adam style ornamentation.

The current owners furnished the house in an elegant but relaxed, traditionalcountry house style with period furniture, paintings and works of art, in keepingwith the nature of the Hall and its history.


15

18 HA800/131GEORGE LAMBERT(BRITISH 1710-1765)CLASSICAL LANDSCAPEWITH FIGURESSigned and dated 1747, oil oncanvas

87cm x 101cm (34.25in x 39.75in)

4,000-6,000




16



19 HA800/129GEORGE SMITH OFCHICHESTER(BRITISH 1714-1776)A CLASSICAL RIVERLANDSCAPE WITHFISHERMEN AND NETSOil on canvas

63cm x 107cm (25in x 42in)

3,000-5,000


20 HA800/139CIRCLE OF PIETER BOEL(FLEMISH 1622-1674)STUDY OF WILD FOWLOil on canvas

125cm x 175cm (49in x 69in)

4,000-6,000

17




21 HA800/140GERRIT JOHAN VAN LEEUWEN(DUTCH 1756-1825)STILL LIFE WITH URN ANDCLASSICAL RUINSSigned and dated 1802, oil on canvas

106cm x 91cm (41.75in x 36in)

10,000-15,000

18




22 HA800/136CIRCLE OF SIMONE DELTINTORE(ITALIAN 1630-1708)STILL LIFE WITH PEACHES,GRAPES AND MELONSOil on canvas

102cm x 72cm (40in x 28.25in)

5,000-8,000

19




23 HA800/137CIRCLE OF FRANCISBARLOW(BRITISH 1626-1702)SPANIEL PUTTING UP DUCKOil on canvas

88cm x 150cm (34.5in x 59in)

4,000-6,000

20




24 HA800/130NICHOLAS HENRY JOSEPHDE FASSIN(BELGIAN 1728-1811)ITALIANATE LANDSCAPEWITH TRAVELLERS ANDANIMALS ON A WOODEDPATHOil on canvas

73cm x 94.5cm (28.75in x 37.5in)

3,000-5,000

21




25 HA800/133ATTRIBUTED TO ADRIAENVAN OOLEN(DUTCH 1631-1694)WILD FOWL WITHLANDSCAPE AND FIGURESOil on canvas

110cm x 134cm (43.25in x 52.75in)

8,000-12,000

22




26 HA800/138CIRCLE OF ABRAHAMBRUEGHEL ANDMICHELANGELO CERQUOZZIBOY PICKING GRAPES WITHAN ARRAY OF FRUITOil on canvas

130cm x 99cm (51in x 39in)

6,000-9,000

23




27 HA800/134NICHOLAS POCOCK(BRITISH 1740-1821)FRIGATE ENTERINGPORTSMOUTH HARBOURWatercolour

25.5cm x 38cm (10in x 15in)

600-900

24



29 HA800/135FOLLOWER OF ANTOINESCHRANZ (MALTESE 1769-1839)MAN O WAR OFF THE COASTWatercolour

38cm x 55cm (15in x 21.5in)

800-1,200

28 HA800/141FOLLOWER OF FRANCISNICHOLSONRIVER LANDSCAPE WITHWATERFALL AND CASTLEWatercolour


500-700


31 HA800/132BARON HENDRIK JANAUGUSTYN LEYS(BELGIAN 1815-1869)KITCHEN INTERIORSigned and dated 1849, oil onpanel


500-700

25



30 HA800/154PETRUS THEODORUS PIETVAN WIJNGAERDT(DUTCH 1873-1964)STILL LIFE OF ROSESIndistinctly signed, and verso,oil on canvas

41cm x 27cm (16in x 10.5in)

400-600


26

Various Properties

Clrisseau was a Frenchartist and architect, and a keyfigure in the development ofthe Neo-classical style duringthe 18th century. He trainedas an architect in Paris beforestudying at the FrenchAcademy in Rome. It was inRome, surrounded bycrumbling ruins and underthe tutelage of Giovanni PaoloPanini, that he developed apassion for the antique. Thispassion would ultimatelyshape both his architecturaland artistic practices.

Clrisseaus influence wasextensive. He acted as mentorand drawing instructor foryoung artists and architects,filtering his taste for theantique down to the nextgeneration. He also workedwith key figuresinternationally, creating aseries of never-realised over-the-top designs for theRussian Empress Catherine IIand working with ThomasJefferson to produce designsfor the Virginia State Capitol.Most famously, Clrisseauwas a key influence on thearchitect Robert Adam. Adamwas travelling, looking for astyle that would allow him todistinguish himself from otheryoung British architects.

Clrisseau was the key, withAdam proclaiming, he drewdelightfully in the freemanner I wanted and hadthe utmost knowledge ofArchitecture of Perspective, &of Designing and Colouring Iever saw. They workedtogether on a volume, Ruinsof the Palace of the EmperorDiocletian at Spalato (1764)and though uncredited manyof the engravings are nowthought to be by Clrisseau.

Clrisseau also paintedatmospheric watercolour andgouache paintings of hisfavoured antique ruins. Theselovely paintings foundcommercial success; theywere regularly purchased ascultural souvenirs by youngEnglish gentlemen on theirGrand Tour. The offered pairof signed and dated gouachesare typical examples of thesepopular paintings. Thesecharming studies featurefantasy architecturalstructures, bathed in light andshadow, overgrown withfoliage and populated withfigures and animals; alltechniques that serve tohighlight the majesty andmagnitude of the crumblingstructures.

CHARLES-LOUIS CLERISSEAU


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32 HA330/3CHARLES-LOUIS CLERISSEAU(FRENCH 1722-1820)FIGURES AND ANIMALS IN ACAPRICCIO OF CLASSICALRUINSSigned and dated 1764,gouache

59cm x 46cm (23.5in x 18in)

and a companion a pair (2)

Provenance:It is believed these watercolours wereacquired from the XVII CenturyFrench Chteau Grmonville

15,000-20,000




33 HB39/3MANNER OF JOHN HAYLSHALF LENGTH PORTRAIT OFA YOUNG MAN, SAID TO BESIR GEORGE WALTON,SEATED WITH A WRITINGBOXOil on canvas

76cm x 63.5cm (30in x 25in)

2,000-3,000

28

34 HA819/2MANNER OF JEREMIAHDAVIDSONHALF LENGTH PORTRAIT OFA YOUNG MAN IN IVORYFROCK COAT WITH LACEJABOT AND CUFFSOil on canvas


Note:The portrait is believed to depictWilliam Henderson of Westerton

800-1,200




35 HA543/1CIRCLE OF SIR PETER LELYTHREE QUARTER LENGTHPORTRAIT OF NELL GWYNNEIN A LANDSCAPEOil on canvas

127cm x 101.5cm (50in x 40in)

6,000-8,000

29




36 SV254/23FOLLOWER OF PIERREMIGNARDHALF LENGTH PORTRAIT OFA LADY SAID TO BE MADAMEDE MONTESPANOil on canvas, oval


Provenance:George John Danvers Butler, laterLord Lanesborough of SwithlandHall, Leicestershire

800-1,200

30



37 HA596/2ATTRIBUTED TO ONORIOMARINARI(ITALIAN 1627-1715)ST. CATHERINEOil on canvas, oval


2,000-3,000


38 SV93A/58SIR JOHN HOPPNER R.A.(BRITISH 1758-1810)HALF LENGTH PORTRAIT OFMISS MARY PALMER,AFTERWARDS THEMARCHIONESS OFTHOMONDInscribed verso and withseveral contemporary labels,oil on canvas


Exhibited:Royal Academy, Winter Exhibition1906

4,000-6,000

31




39 HA414/2MANNER OF FRANCESCOALBANIHERCULES RECLININGInscribed Annibal Carracciverso, oil on copper

26cm x 36cm (10.25in x 14.25in)

2,000-3,000

32

40 HA414/1CIRCLE OF FEDE GALIZIASTILL LIFE OF PEACHES ANDSONGBIRDOil on panel

45cm x 56cm (17.75in x 21.5in)

2,000-3,000




41 HA330/1JURIAEN VAN STREECK(DUTCH 1632-1687)A STILL LIFE OF LEMONS,PEACHES AND GRAPES IN ANICHE WITH SWAGSSigned, oil on panel

39cm x 49.5cm (15.25in x 19.5in)

Provenance:The Brod Gallery, St. JamessLondon

10,000-15,000

33



Juriaen van Streeck excelledat still life painting, as provenby this example. A Still Life ofLemons, Peaches and Grapesin a niche with swags is amasterful study of contrasts:from the dark, shadowyrecess of the alcove to thelight, bright highlights on thecentral lemons and theglistening sparkle of thegolden threaded tassels.

In The Great Theatre ofNetherlandish Painters andPaintresses (De GrooteSchouburgh derNederlantscheKonstschilders en

Schilderessen), published in1718-21, Arnold Houbrakenundertook an ambitious art-historical study, compiling adictionary of more than 600Dutch artists from the 17thcentury, with shortbiographies and hisassessment of their artisticoutput. Regarding vanStreeck, he wrote He choseas his subjects all sorts ofstill life . . . which hecomposed with such goodjudgement, that one [object]balanced out another verywell. He observed his lightand browns admirably well,

and had a bold brush [stoutpenceel], letting the power ofhis brushwork to measureitself against nature.

His talent was alsoacknowledged commercially,with buyers including high-profile Amsterdam citizensincluding Nicolaes Bambeeck,a wealthy wool merchantwhose portrait was painted byRembrandt, and the Reynstfamily, two brothers who weresuccessful merchants,members of the town counciland art collectors.


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42 SV410/1HENDRICK MEYER THEYOUNGER(DUTCH 1737-1793)A BUSY DUTCH TOWNSCAPEWITH FIGURES SKATING ONA FROZEN CANAL BYMOONLIGHTSigned and dated 1790, penand ink and gouache onpaper laid down on canvas


Note:Hendrik Meyer the Younger wasknown for his prolific output as anartist and the meticulous attentionto detail of his work. He trained atthe Drawing Academy inAmsterdam, before settling inHaarlem and setting up acommercial workshop, creatingdecorative wall paintings forinteriors. He belonged to the artistsguild and eventually becameDirector of the Haarlem DrawingAcademy. He travelled to Englandaround 1774, and returned topursue his career there in his laterlife.


35


In A Busy Dutch Townscape withfigures skating on a frozen canal bymoonlight, Meyers amazingattention to detail is apparent, downto the silver criss-crossing marksleft by the skaters on the ice. Meyerfinished works like these to be sold,and paintings with seasonal themesand activities were especiallypopular. They were inspired by 17th-century traditions, by artists such asPieter Bruegel the Elder. The keybuildings: the church, bridge andwindmill are individually identifiableas landmarks in the town he madehis home, Haarlem. Though itappears that in this instance, Meyerhas rotated their locations to createan ideal composition.

6,000-8,000


43 HA866/1ATTRIBUTED TO DANIELTURNERWESTMINSTER BRIDGEOil on canvas


1,000-1,500


36


44 HA866/2ATTRIBUTED TO HERMANVAN SWANEVELTAN ITALIANATE LANDSCAPEWITH FIGURES ON A PATHOil on canvas

34cm x 41cm (13.5in x 16in)

1,000-1,500

43A HA825/5CHRISTOFFEL ALBERTUSVOS (DUTCH 1813-1877)SKATERS ON A FROZENLAKESigned and indistinctly dated,oil on canvas


1,000-1,500


45 SV254/24KLAES MOLENAER(DUTCH 1630-1676)A VILLAGE KERMESSESigned and dated 1672, oil onpanel

74cm x 107cm (29in x 42in)


4,000-6,000


37



46 HA596/4FOLLOWER OF PAOLO ANESI(ITALIAN 1700-1761)AN ITALIAN TOWN WITHBRIDGE OVER A RIVEROil on canvas

48cm x 82cm (19in x 32.25in)

600-900


38


47 HA998/1MANNER OF JEAN ANTOINEWATTEAUFTE CHAMPTREOil on canvas


2,000-3,000


48 HA596/1CIRCLE OF GIOVANNI PAOLOPANINI (ITALIAN 1692-1765)A VIEW OF THE ROMANFORUMOil on canvas

71cm x 132cm (28in x 52in)

Provenance:Bears contemporary label versostating that the painting waspurchased at Birkwood Castle sale,1921

5,000-8,000


39



51 SV93A/50CIRCLE OF SIR JOHNHOPPNER R.A. (1758-1810)HALF LENGTH PORTRAIT OFA YOUNG WOMANOil on canvas


1,000-1,500


40


49 HA695/1SIR WILLIAM ALLANP.R.S.A.(SCOTTISH 1782-1850)PORTRAIT OF THE ARTISTJOHN HARDENIndistinctly signed bottomleft, oil on panel

28.5cm x 21.5cm (11.25in x 8.5in)

800-1,200

50 HA953/19ATTRIBUTED TO GIUSEPPICHIARISTUDY OF A NYMPHSURPRISED BY A SATYR Oil on panel, shaped top

40cm x 22cm (15.75in x 8.75in)

2,000-3,000


52 HA941/3FOLLOWER OF MATTHEUSVAN HELMONTVENUS AT THE FORGE OFVULCAN OR AN ALEGORY OFFIREOil on canvas

71.5cm x 98cm (28.25in x 38.5in)

5,000-7,000


41


53 FH485/5MANNER OF LOUIS DECAULLERYTHE SIEGE OF TROYOil on panel

36cm x 59cm (14in x 23.25in)

Provenance:The Miller Collection

1,000-2,000



42


At first glance, the overallimpression of Sandbys Welshlandscape is of classicismand tranquillity. Closerexamination reveals that thescene is alive with Sandbystypically unique vision ofactivity and industry. In theforeground a milkmaid restswith her child under a greatoak, to the right a shepherddrives sheep down a steeppath. Two men peer over acliff observing a horseman,possibly a redcoat officer onthe heels of a coach andhorses. The river winds past a

castle and beyond the bend inthe river, in the far distance, apuff of steam suggests a trainhurtling along.

Sandby visited Wales threetimes; firstly in 1770 when hestayed at Wynnstay, the estateof the great art collector SirWatkin Williams-Wynn,returning the following yearfor a six week tour of NorthWales with Williams-Wynn(and an entourage of nineservants). In 1773 he touredSouth Wales with JosephBanks and the naturalistDaniel Solander.

Sandby was admired for thefidelity of his landscapepainting but they can beadmired equally as genrepaintings. Deeply patriotic,Sandbys landscapes presentthe worthy British people,nourished by nature and oftenprotected by a soldier orsailor (he himself was chiefdrawing master at the RoyalMilitary Academy and viewedthe military as guardians ofthe realm).

The paintings produced forpatrons were largely executedin watercolour. Sandby used

bodycolour or gouache, as isthe case here, when apainting was intended forpublic exhibition. The coloursof gouache are deeper andstronger than watercolour.Contrasts are bolder,ensuring these works wouldstand out at the RoyalAcademy exhibitions.

PAUL SANDBY


55 HA640/9PAUL SANDBY R.A.(BRITISH 1725-1809)FIGURES ON A PATH ABOVEA RIVER VALLEYGouache


Provenance:Late Lyndsay Bradfer-Lawrence

4,000-6,000


43

54 HA640/8PAUL SANDBY R.A.(BRITISH 1725-1809)VIEW IN WALESGouache


Provenance:W. Angerstein EsqMrs NormanD.M.Eccles M.PP & D Colnaghi & Co Ltd, LondonLate Lyndsay Bradfer-Lawrence

Exhibited:Arts Council of Great Britain, PaulSandby no.37

5,000-7,000




44


A national bicentenarycelebration and selection ofrecent exhibitions at the RoyalSociety, National Galleries ofScotland and AshmoleanMuseum have broughtattention back to the role inwhich Edward Lear definedhimself; as artist. Hisnonsense poetry andlimericks have ensured hisenduring appeal andrecognition but in his lifetime,he earned his living drawingand painting.

Lear commenced paintingunder the instruction of hiselder sister and surrogatemother, Ann. By age sixteenhe was using these skills toearn a living, firstly bypainting decorations on

ladies fans and documentingmedical afflictions beforebecoming a seriousornithological draftsman forthe Zoological Society andLord Derby. This detailed andintricate work resulted in thedeterioration of his alreadypoor eyesight and as a lessintricate alternative, heturned to topographicalsketching. He created truthfuland lyrical watercolourdepictions of landscapes tocapture the scenes, withplans to work up in oil andprint later. In his lifetime,these sketches wereconsidered preparatory worksand inferior to any fullyrealised paintings. Now,however, their beauty and

evidence of the artists eye,talent and intentions arerecognised and highly prized.

In August 1836, Lears Patron,Lord Derby, suggested hevisit the Lake District. Despitean extremely rainy start to thetrip, Lear had an enjoyableand productive time, walkingand painting for up to twelvehours a day. He wrote to hiscolleague, John Gould, Reallyit is impossible to tell youhow, & how enormously, Ihave enjoyed the wholeAutumn. The counties ofCumberland and Westmd aresuperb indeed, & tho theweather has been miserable,yet I have contrived to walkpretty well over the wholeground, & to sketch a good

deal beside. I hope too, I haveimproved somewhat.

On Lears return from theLake District, Lord Derbygenerously funded a trip toRome. As a result, Lear neverworked up his Lake Districtsketches, instead offeringthem as gifts to friendsthroughout his life. Thelandscapes of the continentpleased Lear and the warmclimate improved theepilepsy, asthma andbronchitis that had plaguedhim all his life. For the rest ofhis life Lear spent themajority of his time on thecontinent; travellingextensively and sketchingprolifically.

EDWARD LEAR


57 HA640/11EDWARD LEAR(BRITISH 1812-1888)PATTERDALEInscribed and dated 14th Oct.1836, black chalk

18cm x 26cm (7in x 10.25in)


1,500-2,500


45

56 HA640/10EDWARD LEAR(BRITISH 1812-1888)WASTDALE, KIRKFELL THEGREATInscribed and dated 14thSept. 1836, black chalk andwatercolour

18cm x 26cm (7in x 10.25in)

Provenance:P & D Colnaghi & Co. Ltd, LondonLate Lyndsay Bradfer-Lawrence

3,000-5,000



58 HA41/16JAMES ORROCK(BRITISH 1829-1913)EDINBURGH FROM BURNSMONUMENTSigned, inscribed and dated1892, watercolour


600-800


46


59 HA871/1SCHOOL OF GREUZECHILDREN WITH RABBITSWatercolour

37cm x 48cm (14.5in x 19in)

600-800


60 FH599/1MAX BEERBOHM(BRITISH 1872-1956)THE HAPPY FATHER-IN LAWSigned, inscribed and datedMr Chaplin (to LordCastlereagh): You and I, myboy, we belong to the OldSchool, 1913, pencil andwatercolour

39cm x 27cm (15.5in x 10.75in)

Exhibited:The Leicester Galleries, London,Max Beerbohm, 1921, no.51 bt. Hon.Wm. JoliffeThe Piccadilly Gallery, London

Literature:Hart-Davis, Max Beerbohm, 1972,p.44, no.297

Note:Lord Castlereagh, later the 7thMarquess of Londonderry(1878-1949) married Edith, thedaughter of Henry Chaplin M.P.(1840-1923) later the first ViscountChaplin (1916) in 1899.

1,000-1,500


47


61 HA640/14WILLIAM SAMUEL HOWITT(BRITISH c. 1765-1822)THE GANGES BREAKING ITSBANKS WITH FIGURESSPEARING FISHSigned, pen and ink andwatercolour

29cm x 43cm (11.5in x 17in)


1,000-1,500


62 HA640/2BASIL EDE (BRITISH b. 1931)JACKDAWSigned, watercolour

43cm x 34cm (17in x 13.5in)

Provenance:The Tryon Gallery Ltd, London Late Lyndsay Bradfer-Lawrence

400-600

63 HA640/3BASIL EDE (BRITISH b. 1931)REED-BUNTING AT NESTSigned, watercolour

50cm x 28cm (19.75in x 11in)

Provenance:The Tryon Gallery Ltd, LondonLate Lyndsay Bradfer-Lawrence

300-500

64 HA640/4BASIL EDE (BRITISH b. 1931)LITTLE OWLSigned, watercolour

39.5cm x 31cm (15.5in x 12in)

Provenance:The Tryon Gallery Ltd, LondonLate Lyndsay Bradfer-Lawrence

400-600


48



65 HA868/2ARCHIBALD THORBURN(SCOTTISH 1860-1935)CREAM-COLOUREDCOURSER AND PRATINCOLESigned and dated 1925,pencil, watercolour andbodycolour

20cm x 29cm (8in x 11.5in)

6,000-9,000


49



66 HA867/1ARCHIBALD THORBURN(SCOTTISH 1860-1935)ROSEATE TERNSSigned and dated 1926,pencil, watercolour andbodycolour

28cm x 19.5cm (11in x 7.75in)

7,000-10,000


50



67 HA868/1ARCHIBALD THORBURN(SCOTTISH 1860-1935)MALLARD RISINGSigned and dated 1933,pencil, watercolour andbodycolour

26cm x 16cm (10.25in x 6.25in)

3,000-5,000


51



68 HA640/1THOMAS SIDNEY COOPERR.A. (BRITISH 1803-1902)STUDY OF A FARMERSigned and dated 34, oil onpaper

23.5cm x 19cm (9.25in x 7.5in)

and three other figuralstudies by the same hand (4)


1,200-1,800


52




53


69 HA853/1JAMES GILES R.S.A.(SCOTTISH 1801-1870)PORTRAIT OF TWO SISTERSSigned and indistinctly dated,oil on canvas


2,000-3,000


70 HA931/1ALEXANDER FRASER SNRA.R.S.A.(SCOTTISH 1785-1965)THE YOUNG BUGLEROil on panel


3,000-5,000


54


71 HA791/4WILLIAM KIDD H.R.S.A.(SCOTTISH 1796-1863)DAMSEL IN DISTRESSSigned and dated 1835, oil onpanel


1,500-2,000


72 SV254/93ATTRIBUTED TO JOHNFREDERICK HERRINGSENIORA REST BY THE WAYOil on panel, arched top



1,800-2,500


55



73 HA737/3WILLIAM JAMES MULLER(BRITISH 1812-1845)THE ROCK OF SCILLA FROMTHE STRAITS OF MESSINASigned and inscribed verso,oil on panel

25.5cm x 35.5cm (10in x 14in)

800-1,200


56


74 HA737/5CLARKSON STANFIELD R.A.(BRITISH 1793-1867)SHIPPING OFF DUMBARTONROCKSigned, oil on panel


1,500-2,000


75 HA996/3JULIUS LANGE (GERMAN 1817-1878)AN ALPINE LANDSCAPEWITH HAYMAKERSSigned, inscribed Mnchenand dated 1865, oil on canvas

83cm x 113cm (32.75in x 40.5in)

2,000-3,000


57


75A FH559/2WILLIAM CALLCOTT KNELL(BRITISH 1830-1876)SHIPPING IN A HEAVY SWELLOFF TYNEMOUTHSigned and dated 1857 on thestretcher, oil on canvas

68.5cm x 98.5cm (27in x 38.75in)

1,500-2,000


76 HA358/4ATTRIBUTED TO EDWARDJOHN COBBETT(BRITISH 1815-1899)THE PENNY WHISTLEOil on canvas

91cm x 131cm (36in x 51.5in)

1,000-2,000


58


77 HA710/17ROBERT MCGREGOR R.S.A.(SCOTTISH 1847-1922)HARVESTING NEEPSSigned and dated 1882, oil oncanvas

46cm x 92cm (18in x 36.25in)

1,500-2,000


78 HA747/1JOHN MCGHIE(SCOTTISH 1867-1952)AT THE WATERS EDGESigned, oil on canvas


4,000-6,000


59



79 HA710/14ALEXANDER YOUNG(SCOTTISH 1865-1923)FISH MARKET, FIFESigned, oil on canvas

41cm x 68.5cm (16in x 27in)

1,000-1,500


60


80 HA5/5JAMES WHITELAWHAMILTON R.S.A., R.S.W.(SCOTTISH 1860-1932)EYEMOUTH HARBOURSigned, oil on canvas

26.5cm x 34.5cm (10.5in x 13.5in)

600-800


81 HA354/2PATRICK DOWNIE R.S.W.(SCOTTISH 1871-1945)OFF THE AYRSHIRE COASTSigned, watercolour

33cm x 43.5cm (13in x 17in)

600-900


61


82 HA737/4CLARKSON STANFIELD R.A.(BRITISH 1793-1867)SCHOONER IN A SQUALLSigned, oil on panel

25.5cm x 41cm (10in x 16in)

Provenance:Rutland Gallery, London

800-1,200



62


84 FE191/556JOHN CRAWFORD WINTOURA.R.S.A.(SCOTTISH 1825-1882)THE GOSSIPSSigned and dated 1846, oil oncanvas


1,000-1,500

83 HA710/16JAMES CAMPBELL NOBLER.S.A. (SCOTTISH 1846-1913)MONADHLEATH HILLS,AUTUMNSigned, oil on canvas


1,200-1,800


85 HA5/1WILLIAM ALFRED GIBSON(SCOTTISH 1866-1931)GORSE AND WOODEDCOPPICESigned, oil on canvas


800-1,200


63


86 HA710/18CHARLES EDWARDJOHNSON R.I., R.O.I.(BRITISH 1832-1913)A HIGHLAND CLACHANSigned, signed and inscribedverso, oil on canvas

80cm x 102cm (31.5in x 40in)

2,000-3,000


87 HA710/19CHARLES SELLAR R.S.W.(SCOTTISH 1856-1926)THE YOUNG FISHERGIRLSigned, oil on canvas


2,000-3,000


64


88 HA710/9ROBERT HERDMAN R.S.A.,R.S.W. (SCOTTISH 1829-1888)ON THE TERRACE - A STUDYSigned with a monogram anddated 21 Sept 85, oil onpanel

32cm x 20.5cm (12.5in x 8in)

1,500-2,000


89 HA161/1ERNEST WALBOURN(BRITISH 1872-1927)NO ROOM FOR YOUSigned, oil on canvas


1,500-2,000


65



90 HA330/7JOSEPH BOUVIER(BRITISH 19TH CENTURY)MARIE-ANTOINETTE AT THEPETIT TRIANONSigned, oil on canvas


800-1,200


66


91 HA66/1ROBERT GEMMELLHUTCHISON R.B.A., R.O.I.,R.S.A., R.S.W.(SCOTTISH 1860-1936)GOSSIPSigned, oil on canvas


3,000-5,000


92 HA693/6JAMES KAY R.S.A., R.S.W.(SCOTTISH 1858-1942)ON THE RIVERBANKSigned, oil on canvas

30.5cm x 46cm (12in x 18in)

2,000-3,000

67



93 HA5/2JAMES WHITELAWHAMILTON R.S.A., R.S.W.(SCOTTISH 1860-1932)HARBOUR SCENE, BERWICKON TWEEDSigned, oil on canvas


1,000-1,500


94 HA710/11ROBERT GEMMELLHUTCHISON R.B.A., R.O.I.,R.S.A., R.S.W.(SCOTTISH 1860-1936)TENDING BABYSigned, oil on canvas

43cm x 35.5cm (17in x 14in)

1,000-1,500

68



95 HA710/12JAMES CASSIE R.S.A., R.S.W.(SCOTTISH 1819-1879)FISHERMANS TALESSigned and dated 1869, oil onpanel

30.5cm x 25.5cm (12in x 10in)

1,000-1,500


96 FH559/1 JESSIE MCGEEHAN(SCOTTISH 1872-1961)A DUTCH WASHING DAYSigned, oil on canvas

82cm x 109cm (32.25in x 43in)

Exhibited:Royal Scottish Academy 1914,no.305

8,000-12,000

69




97 SV333/305ARTHUR RACKHAM (BRITISH 1867-1939)CORDELIASigned and dated 1909, penand ink and watercolour

19cm x 12cm (7.5in x 4.75in)

Provenance:Property of the Estate of the lateLady Mary Stewart

Exhibited:Leicester Galleries, London, ArthurRackham 1909, no.84John Howell, California February 141972.

3,000-5,000

70



Arthur Rackham was theleading figure of what is nowreferred to as the Golden Ageof Illustration whichencompassed the first twodecades of the twentiethcentury in Edwardian Britain.This was a period which sawgreat strides made in thequality of printing technology,not to mention morewidespread literacy amongthe nations population.Nonetheless, the Victorianobsession with fairy talesmaintained a nostalgicfoothold as the age ofindustrialisation continued toaccelerate. Vellum-bound,limited edition books ofstories by the likes of HansChristian Anderson, TheBrothers Grimm, Edgar AllanPoe and Aesops Fables werein strong demand as the idealChristmas gift these

reminders of a more innocenttime, a treasured possessionin many peoples homes.

In the early 1890s, Rackhamtrained at the Lambeth Schoolof Art while simultaneouslygrafting at the Pall MallBudget as an illustrativejournalist. These long yearsspent as a hack to makeends meet served him well inthe development of a uniquestyle which would go on tocapture the imagination of thepublic, particularly during hiscareers peak c.1908-1911.

Though the onset of war andthe dawn of the 1920s saw thepopularity of fantasy fall away,Rackhams work withstoodthe test of time. Regarded bymany, both then and now, tohave eclipsed his peers,critics account his popularityto the clever way in which he

bridged the darkness at thecore of the fairy tales with asuitably ethereal gentlenessof touch. His nymphs are bothsensuous and chaste, hisfamously anthropomorphictrees simultaneouslythreatening and humorous,and all the while neatly side-stepping the overlysaccharine. Rackhamscharacteristically sinuous lineand his delicate touch with

colour were perfectly suited tothe tales he depicted and hefilled his scenes with cleverdetail, the kind of whichchildren (and youthful adults!)would spend hours insatiablypouring over.

Note:A selection of illustrated books byArthur Rackham will be included inour forthcoming book sale on 28thJanuary, 2015.

ARTHUR RACKHAM


99 SV333/304ARTHUR RACKHAM (BRITISH 1867-1939)THE PRINCESS AND THEDRAGONSigned, dated 1900 andnumbered 67, pen and ink

21cm x 15cm (8.25in x 6in)

Provenance:Property of the Estate of the lateLady Mary Stewart

Note:This is an original illustration forThe Four Clever Brothers fromGrimms Fairy Tales

3,000-5,000

71



98 HA640/16ARTHUR RACKHAM(BRITISH 1867-1939)ALADDIN AND THE LAMPSigned, pen and ink

27cm x 18cm (10.5in x 7in)


600-800


100 HA640/12ARTHUR RACKHAM(BRITISH 1867-1939)BEFORE THE BALLSigned, pen and ink and wash

16cm x 20.5cm (6in x 8in)


800-1,200

72



101 HA159/1MICHELE CASCELLA(ITALIAN 1898-1989)ITALIAN FACADESigned and dated 1930, penand ink and watercolour

58cm x 80cm (22.75in x 31.5in)

1,000-1,500




Selected Paintings from

The Western ClubGlasgow


74

The Western Club was founded as the Badger Club in 1825 by Major Monteith andtoday exists as the successful amalgamation of the Junior Club, the New Club,and the Kelvin Club, as well as becoming the adopted home of the RNVR Club(Scotland). As membership grew the club moved venue on several occasions andhas been in its current home, 32 Royal Exchange Square, since 1965.

Among many notable members of The Western Club was Leonard Gow. As asuccessful ship owner who was a strong patron to the arts in Glasgow, he leftlegacies to the Hunterian Museum, Glasgow University and many otherinstitutions around the city. The fantastic painting Winter Sunrise by WilliamMcTaggart featured in this sale was bequeathed by Gow to The Western Club in1936.

The Western Club remains at the Royal Exchange Square premises and is host tomany events throughout the year. For more information please contact DouglasGifford, Club Secretary or visit www.thewesternclub.co.uk




75

102 SV0135/12GEORGE MORLAND(BRITISH 1763-1804)BEACHING A BOATSigned, oil on canvas


and a pair by the same hand(2)

6,000-8,000




76

The Lanarkshire andRenfrewshire Hunt has a longand prestigious history, theearliest mention on recorddating back to 1771 when theGlasgow Hunt and theRoberton Hunt amalgamated.

Originally the hunt covered awide territory acrossLanarkshire, Renfrewshireand part of Ayrshire. Over theyears this has been reducedto Renfrewshire alone withlarge areas of Lanarkshirehaving been given over to thequarrying of minerals. Thetown of Houston has been the

location of the seasonsopening meet since around1850 and the hunts houndshave been kept at kennelsthere for over 150 years.

During the hunts historythere have been manyillustrious Masters of theHunt, including the wealthyand eccentric sportsmanLord Kelburn (later Earl ofGlasgow) who was known forhis colourful character andkindness towards his animals,Lord Inverclyde and BrigadierJ. W. H. Gow.

The painting offered here forsale by the Glaswegian artistThomas Robertson featuresone of the Hunts mostimportant Masters, Sir DavidCarrick Buchanan (1849-1893). According to RalphGreaves short history of thehunt published in the 1950s,over the course of 43 seasonsCarrick established theLanarkshire and Renfrewshirehunt on those firm andprosperous lines which it hassince been run. A popularlandowner with a large estateover which the hunt would

ride, Buchanan was anexceptional horseman andtook a keen interest in thebreeding of the hound pack,his knowledge of the subjectensuring the creation of afirst-rate and indeedprizewinning pack of hounds.He was succeeded by LordEglinton in 1866.

Many of the same familiesoriginally associated with thehunt still participate and tothis day there remains a longand happy relationshipbetween the hunt and landowners.




77

103 SV0135/23JOHN MITCHELL(BRITISH 19TH CENTURY)THE LANARKSHIRE ANDRENFREWSHIRE HUNTSigned and dated 1825, oil oncanvas

91.5cm x 127cm (36in x 50in)

10,000-15,000

104 SV0135/24THOMAS ROBERTSON(SCOTTISH fl. 1861-d. 1866)THE FIELD OF THELANARKSHIRE ANDRENFREWSHIRE HUNTSigned and dated 1859, oil oncanvas

91.5cm x 165cm (35in x 65in)

10,000-15,000




105 SV0135/18CLARKSON STANFIELD R.A.(1793-1867)SHIPPING AT LOW TIDESigned and dated 57, oil oncanvas

76cm x 122cm (30in x 48in)

10,000-15,000

78




106 SV0135/28JOHANN HENDRICK VANMASTENBROECK(DUTCH 1875-1945)A DUTCH WATERWAYSigned and dated 1909, oil oncanvas

63.5cm x 91.5cm (25in x 36in)

6,000-8,000

79




80




81

107 SV0135/14WILLIAM MCTAGGART R.S.A.,R.S.W. (SCOTTISH 1835-1910)WINTER SUNRISESigned and dated 1894, oil oncanvas

89cm x 137cm (35in x 54in)

Provenance:Christies July 1914 bt. Mr Hay BoydRoberts, Townend of Symington

Exhibited:Messrs Aitken & Dott, Glasgow,Edinburgh and Dundee, 32 Paintingsby Wm. McTaggart R.S.A., 1901,no.10Mr A.Reid, Glasgow, Pictures andDrawings by Wm. McTaggart R.S.A.,1906

Literature:James L Caw, William McTaggart1917, pp.131,161, 266



Note:The Scottish Impressionist, WilliamMcTaggart, is known for hisidiosyncratic and atmosphericpaintings of the sea and storms,featuring scenes from both coastsof Scotland. Winter Sunrise is rarein his oeuvre for its depiction of asnowy, wintery scene. McTaggartsdistinctive swirling texturalbrushwork is evident, as is hisfavoured populating of landscapeswith a small grouping of youngchildren in the foreground. Hismastery in the representation ofnature and weather effects isevident in the beautiful tones thatimbue the whole artwork with thesoft, warm light of a crisp wintersmorning.

60,000-80,000


108 SV0135/25DAME ETHEL WALKER R.A.(BRITISH 1861-1951)STILL LIFE OF MIXEDFLOWERSSigned, oil on canvas


4,000-6,000

82



109 SV0135/26DOROTHEA SHARP(BRITISH 1874-1955)A STILL LIFE OF MIXEDFLOWERSSigned, oil on board

51cm x 40.5cm (20in x 16in)

3,000-5,000


110 SV0135/2JOHN G. BOYD R.P., R.G.I.(SCOTTISH 1940-2001)BIRTHDAY CAKESigned, oil on canvas


4,000-6,000

83




111 SV0135/6BERNARD DE HOOG(DUTCH 1867-1943)MATERNAL CARESSigned, oil on canvas


3,000-5,000

84



112 SV0135/8JOHN GRAHAM-GILBERT R.S.A.(SCOTTISH 1794-1866)A MARKET GIRLSigned and dated 1844, oil oncanvas

96.5cm x 76cm (38in x 30in)

2,000-3,000


113 SV0135/5JOHANN CORNELISFREDERIK SCHERREWITZ(DUTCH 1868-1951)UNLOADING ON THE SHORESCHVENINGENSigned, oil on canvas

91.5cm x 81.5cm (36in x 32in)

7,000-10,000

85



Johan Scherrewitz travelledextensively through Holland,painting farming and rurallandscapes with greatsensitivity and realism. Hisemphasis on mans bondwith earth and animalsclosely associatedScherrewitz with both theFrench Barbizon and theHague schools of art.

The coastal landscape atScheveningen in the Hagueperhaps inspired his verybest works. Scherrewitzexcelled in depicting scenesof traditional fishing life andthe coastal communityworking on the beaches andamong the dunes along theNorth Sea coastline.Scherrewitz was not the firstartist to be attracted to the

long sandy beach and wildscenery at Scheveningen. Afew years earlier, JozefIsrals and David Artz beganthe tradition and later VanGogh would paint plein air onthe beach.

Born in Amsterdam in 1868,Scherrewitz descended froman artistic family, his Frenchmother was related to thepainter Antoine Renou (1731-1806). He initially studiedunder the landscape painter,Johan Diderik CornelisVeltens (1814-1894) and laterat the studio of George Jan

Hendrik Poggenbeek (1853-1903). He was a member ofSt. Lukes Academy inAmsterdam and the Arti etAmicitiae.

Scherrewitzs reputationspread beyond the shores ofhis native Holland. Heexhibited at the RoyalAcademy in London in 1907,in Liverpool in 1909 and atThe Royal Scottish Academyin 1916. Scotland wasparticularly receptive to thework of the Hague School.The long-standing economic

and social ties betweenScotland and theNetherlands wereunderpinned by cultural andreligious affinities. Scottishartists such as WilliamMcTaggart had beenattracted to paint Scottishcoastal life after seeingexamples of paintings byDavid Artz among others.Scherrewitzs atmosphericlandscapes were thereforeparticularly resonant withScottish artists and many ofhis paintings were acquiredby British collectors.

JOHANN CORNELIS FREDERIK SCHERREWITZ


114 SV0135/19JOHANN CORNELISFREDERIK SCHERREWITZ(DUTCH 1868-1951)TENDING THE FLOCKSigned, oil on canvas

61cm x 112cm (24in x 44in)

3,000-5,000

86




115 SV0135/20JOHANN CORNELISFREDERIK SCHERREWITZ(DUTCH 1868-1951)A DUTCH MEADOWSigned, oil on canvas

81cm x 101.5cm (32in x 40in)

3,000-5,000

87




116 SV0135/22JOHN CUNNINGHAM R.G.I.(SCOTTISH 1926-1998)MULL AND BEN MORE FROMIONASigned, oil on canvas

71cm x 101.5cm (28in x 40in)

8,000-12,000

88




117 HA770/2GEORGE HOUSTON R.S.A.,R.S.W., R.I.(SCOTTISH 1869-1947)PICNIC IN THE WOODSSigned, mixed media


800-1,200

89



118 HA770/3ALEXANDER YOUNG(SCOTTISH 1865-1923)THE DAYS CATCHSigned and dated 1908, oil oncanvas


1,000-1,500

Various Properties


119 HB53/1STANHOPE FORBES(BRITISH 1857-1947)SAVED FROM THE FLAMESSigned and dated 1989, oil oncanvas

100cm x 69cm (39.5in x 27in)

Provenance:From a private collection within aScottish country house.

Note:This is a fully worked up study for adetail of the huge mural whichForbes contributed to the 'GreatFire' project in 1899 for the RoyalExchange building. The followingquotation from a contemporaneousissue of the New York Times(February 18th, 1899) describes themural and contextualises thepainting offered here:'The decoration of the walls of theRoyal Exchange, London, is fastmaking progress, and the hugemural painting by Mr StanhopeForbes, A.R.A., of "The Great Fire ofLondon." has been put in it's place.Mr. Forbes's picture was painted atNewlyn, but it was brought to

90



120 HA598/17ROBERT BURNS A.R.S.A.(SCOTTISH 1869-1941)THE MIRRORSigned, inscribed and dated1901 verso, oil on canvas


2,000-3,000

London, and was shown recently ata studio. Mr. Forbes had found hissubject on the banks of the Thames,which was, according to Evelyn'saccount of the fire, "covered withgoods floating, all the barges andboats laden with what some hadtime and courage to save." Thepicture shows an ancient river-wall,with the burning city in thebackground and middle distance,and in the foreground a motleycrowd of houseless Londonerscarrying their children and theirhousehold treasures down to theboats. Smoke and sparks sweepacross the twilight sky, and the glareif the burning houses reddens theriver from bank to bank. The newpicture for the decoration of theRoyal Exchange has been presentedby the Sun Insurance Company, aninstitution which, fortunately for itsproprietors, did not come intoexistence until more than half acentury after the great fire.'

5,000-7,000


121 FH48/1SIR JAMES GUTHRIEP.R.S.A., H.R.A., R.S.W.,L.L.D. (SCOTTISH 1859-1930)PORTRAIT OF MARY MARTININ A RIDING HABITSigned and indistinctly dated,oil on canvas

150cm x 89.5cm (59in x 35.25in)

Provenance:Mrs Burnett-Stuart

Literature:Sir James Guthrie, Sir James L.Caw, 1932, pp.85, 221

12,000-18,000

91




122 HA640/15SIR ALFRED MUNNINGSP.R.A., R.W.S.(BRITISH 1878-1959)PORTRAIT OF MRS JAMESHILLSigned and dated 1900, oil oncanvas



Exhibited:Russell Cotes Art Gallery,Bournemouth, Sir Alfred Munnings,1955 no.38

Note:Munnings was twenty-two years oldwhen he painted this portrait of hisaunt at the turn of the century. Theprevious year he had shown at theRoyal Academy for the first time.His Aunt Polly played an importantrole in the artists early life. Heregularly stayed with her atMulbarton near Norwich and it wasthere that he painted his firstequestrian portrait (it was also therethat he lost the sight in his right eyein an accident in 1898). Munningsloved the local scenery and in 1903he rented rooms at nearby ChurchFarm in Swainsthorpe which wasowned by his aunt and only partiallyoccupied by an elderly couple.During this period Munningsdeveloped his confident andexpressive style, combining detailwith loose brush strokes.

4,000-6,000

92




123 HA151/1JAMES PATERSON P.R.S.W.,R.S.A., R.W.S.(SCOTTISH 1854-1932)AN AUTUMN RIVERLANDSCAPESigned, inscribed and datedMoniaive 1882, watercolour

52cm x 34.5cm (20.5in x 13.5in)

800-1,200

93



124 HA710/4PATRICK WILLIAM ADAMR.S.A. (SCOTTISH 1854-1929)THE OVAL BEDROOM,SMEATON HEPBURNSigned, oil on canvas

69.5cm x 50cm (27.5in x 19.75in)

Exhibited:Royal Scottish Academy 1912, no.115

3,000-5,000


125 HA925/1PETRUS VAN SCHENDEL(BELGIAN 1806-1870)A QUIET NIGHTCAPSigned with initials and dated1832, oil on canvas

41cm x 35cm (16in x 13.75in)

5,000-7,000

94




126 HA284/4GRIGORY GLUCKMANN(RUSSIAN 1898-1973)NUQUESigned with incised signature,inscribed on a contemporarylabel verso, oil on panel

32cm x 26.5cm (12.5in x 10.5in)

6,000-8,000

95



Gluckmann is known for hispaintings of women, mainlynudes, and ballet dancers. Hewas never interested in theirfaces, preferring a focus ontheir form, with elegantdepictions of intimate glancesover shoulders and downbacks. The nuque, nape ofthe neck, was a particularfavourite which he painted onmultiple occasions. In theoffered painting, the goldensepia tones add to the eleganteffect of the figures gracefulneck and hair, with only a hintof her facial features in thetiny hint of an eyelash. Thetextured brushwork in thelace of her clothing highlightsthe contrasting smoothnessand delicacy of her skin andhair, and both reveal thetechnical expertise with whichGluckmann painted eachcontrasting texture.

Born in Belarus in 1898, hecommenced his studies at theAcademy of Fine Arts inMoscow in 1920 but revolutionforced a move to Berlin, thenParis, and a year in Italy by1924. His year in Italy allowedGluckmann to focus onstudying the Renaissancemasters, especially thetechnique of using layered

colour glazes to create rich,deep tones. In October of1924, he held his first soloexhibition in Paris and hissuccess began, with positivecritical reviews, sales andfurther exhibitions acrossEurope. Looking to develophis professional career, hesettled in Paris. However, by1941 he was on the moveagain, to the south of Franceand then the U.S.A., to escapethe invading German Army inthe Second World War. Heworked in a studio in New

York and exhibited on bothU.S. coasts before settlingpermanently in California.

He was close friends with theworld-renowned violinistJascha Heifetz, who alsobecame the largest collectorof his work. His Europeantraining left Gluckmann with areverence for the techniquesof the Old Masters. The oil onpanel technique utilised herewas his preferred method ofworking, a skill he learned inMoscow and developed inItaly. It was a very time-

intensive technique; eachlayer had to dry completelyover a period of a couple ofdays before work could starton the next layer. However, itallowed the painting to beimbued with a warmth anddepth that has become histrademark. The subjectmatter and painting style,though distinctivelyGluckmann, have a timelessquality.


127 HB19/1MAX SCHDL (AUSTRIAN 1834-1921)A STILL LIFE OF OBJECTS ONA TABLETOPSigned, oil on panel

18cm x 14cm (7in x 5.5in)


2,000-3,000

96



128 HA998/2ATTRIBUTED TO JEANCAROLUSTHE BETROTHALOil on panel

56cm x 44cm (22in x 17.25in)

800-1,200


129 HA791/2LOUISE RAYNER(BRITISH 1829-1924)HIGH STREET, EDINBURGHSigned, watercolour

34cm x 24cm (13.25in x 9.5in)

5,000-7,000

97



130 HB19/2ETTORE SIMONETTI(ITALIAN 1857-1909)THE CARPET VENDORSigned and inscribed, Roma,watercolour

54cm x 37cm (21.25in x 14.5in)

5,000-7,000


131 HA257/1STANLEY CURSITER C.B.E.,R.S.A., R.S.W(SCOTTISH 1887-1976)A FARM IN ORKNEY,ODNESS, STRONSAYSigned, oil on board

30.5cm x 41cm (12in x 16in)

3,000-5,000

98



132 HA202/1CONSTANCE PHILLOTT(BRITISH 1842-1931)RIVER AT DUSKSigned with monogram,gouache and watercolour

20cm x 31cm (8in x 12.25in)

1,000-1,500

133 HA166/1SPENCE SMITH R.S.A.(SCOTTISH 1880-1951)FARMYARD NEAR TAPLESSigned, oil on board


1,500-2,000


134 HA335/1NORA HEYSEN(AUSTRALIAN 1911-2004)A STILL LIFE OF SPRINGFLOWERSSigned and dated 1929, oil oncanvas


5,000-8,000

99



135 HA786/1WILLIAM STEWARTMACGEORGE R.S.A.(SCOTTISH 1861-1931)VIEW OF ANTWERPCATHEDRAL FROM THESCHELDTSigned, oil on canvas

26cm x 36cm (10.25in x 14.25in)

700-900


100




101

136 HA737/1SIR WILLIAM RUSSELLFLINT P.R.A., P.R.W.S.,R.S.W., R.O.I., R.E.(SCOTTISH 1880-1969)CECILIAS CRYSTAL VASESigned, signed inscribed anddated verso July 20 and 23,1965, and on the backboard,watercolour

24cm x 37.5cm (9.5in x 14.75in)

Provenance:Frost & Reed Ltd, London andBristol 1964MacConnal Mason & Son Ltd,London

20,000-30,000



Sir William Russell Flint washighly regarded bothprofessionally andcommercially. He held fullmembership of the RoyalAcademy from 1933, led atwenty-year tenure asPresident of the RoyalWatercolour Society, wasawarded a knighthood forservices to the art in 1947 andgranted an exclusive soloshow in the Royal AcademysDiploma Galleries in 1962.Commercially he soldextremely well, with hisartworks appearing in publicand private collectionsworldwide, and his imagesdisseminating into publicconsciousness through arange of limited edition printruns, released both during hislifetime and posthumously.

Born and raised in Portobello,he trained extensively as alithographer in Edinburghfrom the age of fourteenbefore moving to London to

pursue illustration, findingsuccess with commissionsfrom the Illustrated LondonNews. Following militaryservice in the First World War,his success meant he wasable to pursue painting full-time, allowing the freedomand flexibility to travelregularly in Europe.

Flint is best known for hiswatercolour paintings ofsensuous nudes and hedepicted many noted beautiesof his day including VivienLeigh, Elizabeth Webb andMoira Shearer. However, itwas not until he was aged 71in 1953, that he met theembodiment of his ideal ofbeauty in Cecilia Green. Atrained dancer, who turned tomodelling after a bout of

tuberculosis ended herprofessional dancing career,Cecilia had the strength tohold dynamic poses for longperiods of time. This proved auseful skill when workingwith Flint, an artistnotoriously demanding of hismodels. The tricky posedepicted here reveals theelegance of her sun-kissedlimbs, while the compositionallows Flint to demonstratehis mastery of thewatercolour medium in thedepiction of various textures:smooth skin, sparkling crystaland crushed satin.

Note:A handwritten note verso from SirWilliam Russell Flint, dated July 20+ 23, 1965, Cecilia, very sunbronzedafter 4 weeks in Majorca with theflower glass she brought me fromVenice.

SIR WILLIAM RUSSELL FLINT


137 HA737/6SIR WILLIAM RUSSELLFLINT P.R.A., P.R.W.S.,R.S.W., R.O.I., R.E.(SCOTTISH 1880-1969)THE LISPING GODDESSThe Lisping Goddess, 24 of 25copies bound in full moroccoby Sangorski & Sutcliffe andsigned by the author/artist onthe verso of title, from anedition limited to 275 copies,plates and illustrations byRussell Flint, some colour,original blue pictorialmorocco, gilt, Sangorski &Sutcliffe, marbled boardslip-case, folio, StanbrookAbbey Press, Worcester, 1968

2,000-3,000

102




138 HA791/8SIR WILLIAM RUSSELLFLINT P.R.A., P.R.W.S.,R.S.W., R.O.I., R.E.(SCOTTISH 1880-1969)SUMMER SANDSSigned, watercolour

32cm x 54.5cm (12.5in x 21.5in)

6,000-8,000

103




139 HA791/6SIR WILLIAM RUSSELLFLINT P.R.A., P.R.W.S.,R.S.W., R.O.I., R.E.(SCOTTISH 1880-1969)BARBARA AMONGST THERUINSSigned, watercolour


7,000-10,000

104




141 HA693/2SIR WILLIAM RUSSELLFLINT P.R.A., P.R.W.S.,R.S.W., R.O.I., R.E.(SCOTTISH 1880-1969)THE JAILORSigned and dated 1909,watercolour

21cm x 17cm (8.25in x 6.75in)

1,500-2,000

105



140 HA146/6AGERALD LESLIEBROCKHURST(BRITISH 1890-1978)HEAD AND SHOULDERPORTRAIT OF A YOUNGWOMANSigned and dated 1934,inscribed Jillian Sands on thebackboard, sanguine

38cm x 30.5cm (15in x 12in)

1,000-1,500


142 HA791/9ALFRED DE BREANSKISENIOR (BRITISH 1852-1928)LOCH AWE AT SUNSETSigned, oil on canvas


7,000-10,000

106




143 HA791/10ALFRED DE BREANSKISENIOR (BRITISH 1852-1928)A HIGHLAND RIVER VALLEYAT SUNSETSigned, oil on canvas


7,000-10,000

107




144 HA640/13PATRICK HENNESSY R.H.A.(IRISH 1915-1980)EBB TIDE, ETRETATSigned, oil on canvas

38cm x 55cm (15in x 21.5in)


2,000-3,000

145 HA849/1MANNER OF EUGENEBOUDINA BUSY HARBOUR SCENEBears signature, oil on panel

24cm x 33cm (9.5in x 13in)

1,000-1,500

108




109



146 HA710/6JOHAN CORNELIS FREDERIKSCHERREWITZ(DUTCH 1868-1951)ON THE SHORESigned, oil on panel

54cm x 49cm (21.25in x 19.25in)

3,000-5,000


147 HA710/10JAMES CAMPBELL NOBLER.S.A. (SCOTTISH 1846-1913)DARTMOUTHSigned, oil on canvas


1,200-1,800

110




148 HA736/1LOUIS BOSWORTH HURT(BRITISH 1856-1929)ON THE RIVER GARIE,KINLOCHEWESigned and dated 1888,inscribed on a label verso, oilon canvas


10,000-15,000

111




149 SV143/100CONSTANT ARTZ(DUTCH 1870-1951)DUCKS AND DUCKLINGS BYA RIVERBANKSigned, watercolour

35.5cm x 53.5cm (14in x 21in)

600-800

112



150 SV143/100ACONSTANT ARTZ(DUTCH 1870-1951)DUCKS AND DUCKLINGS ONA RIVERBANKSigned, watercolour

40cm x 53.5cm (15.75in x 21in)

600-800


113



151 HA640/7SIR FRANK BRANGWYN R.A.(BRITISH 1867-1956)ST. MARTINS BRIDGE,TOLEDOSigned, pencil andwatercolour

50cm x 60cm (19.75in x 23.5in)

Provenance:Fine Art Society, London, Sir FrankBrangwyn, 1948, no.29Late Lyndsay Bradfer-Lawrence

1,500-2,500


152 SV408/36ROBERT GEMMELLHUTCHISON R.B.A., R.O.I.,R.S.A., R.S.W.(SCOTTISH 1860-1936)BLOSSOM TIMESigned, oil on canvas


2,000-3,000

114



153 HA401/1DAVID FARQUHARSONA.R.A., A.R.S.A., R.S.W., R.O.I.(SCOTTISH 1840-1907)A SUMMER DAY INDALBEATTIESigned and dated 1878,signed, inscribed and datedverso, oil on canvas

38cm x 30.5cm (15in x 12in)

3,000-5,000


115

154 HA658/6STUART PARK(SCOTTISH 1862-1933)A STILL LIFE OF DAFFODILSSigned, oil on canvas


800-1,200



155 HA774/1DAVID FORRESTER WILSONR.S.A. (SCOTTISH 1873-1950)PORTRAIT OF ISA DAWSONSigned and dated 1924, oil oncanvas

49cm x 60cm (19.25in x 23.5in)

1,000-1,500


116




117

156 HA640/5DAME LAURA KNIGHT R.A.,R.W.S. (BRITISH 1877-1970)PLOUGH IN THE CHERRYORCHARDSigned and dated 1940, oil oncanvas



8,000-12,000



In 1939, as war broke out,Harold and Laura Knightretreated to the Malvern Hillson the Herefordshire andWorcestershire border inorder to avoid the Londonbombings. Knight was anofficial war artist and inSeptember the War ArtistsAdvisory Committee invitedher to create a poster for theWomens Land Army. Knightset the scene at the farm ofher friends, the Averills. Shehired two Suffolk Punchhorses and a plough andpainted three Land Army Girlsploughing a cherry orchard.Her original design for theposter was rejected forplacing too much emphasison the horses: the emphasis

is...so little on the girl that themessage which we wish toconvey would not really get tothe public. Knight adjustedthe composition to includejust one woman, emphasisingthe arduous work which wasessential for food productionduring the war. Knight usedthe composition again for her1940 Royal Academy entry,January 1940 (exhibition no.268, see Royal AcademyIllustrated, London, 1940, p.37). Her work for the WarOffice was a great successand her final, and perhapsmost important commission,was to represent theNuremburg War Trials in1946.

Study for January 1940


157 HA358/7DAVID JONES C.H.(WELSH 1895-1974)THE GARDENSigned and dated 32, penciland watercolour

48.5cm x 59.5cm (19in x 23.5in)

Provenance:The Redfern Gallery Ltd, LondonLord Clwyd, 1958

4,000-6,000

118


British &European Paintings

David Jones is now regardedas one of the most significantModernist writers of hisgeneration. He served withthe Royal Welch Fusiliers onthe Frontline between 1915-1918 and his magnum opus,In Parenthesis, regarded bypeers including T. S. Eliot andW. H. Auden as amasterpiece, is nowrecognised as one of themost important texts inspiredby the First World War.

Jones, however, primarilyregarded himself as an artist.Having studied at CamberwellArt School and theWestminster School of Art, hebecame an active participantin exhibition societies,including the Seven and Fivegroup alongside the likes ofBen and Winifred Nicholson,Ivon Hitchens and FrancesHodgkins. Jones wasstimulated by the desire tocreate a modern language(visual and literary) thatassimilated his interest inWelsh mythology and hisexploration of the tensionbetween his Catholic faithand an increasingly secularworld.

He struggled with the loss ofsignification in art and feltthat his peers were turning toabstraction and its nownessas a result. Despite this trendJones remained largelyfigurative in technique andoften chose relativelydomestic subject matter,though his work still evokes agentle poetry and sense ofdeeper meaning.

The work offered here forsale dates from 1932, asignificant year in many waysfor Jones. By August he hadfinished his first draft of InParenthesis and was in themidst of one of the mostmarkedly creative periods ofhis career. The watercolours

from these early years of the1930s are regarded by many,including Jones himself, asthe best work he producedthough sadly this period ofimmense productivityculminated in a nervousbreakdown.

At this time Jones wasspending a lot of timepainting in rural andsuburban locations includinghis parents home inBrockley, Kent. He wouldoften describe views from thewindow of his single room-cum-studio; the gentle,mundane charm of thesurrounding gardens, housesand fields nonethelesscleverly composed. The

chosen medium ofwatercolour was, as ever, asymbolic decision on Jonespart, being fluid, mutable andevocative of a long Englishtradition fromcontemporaries includingBawden, through Blake andreaching back to medievalilluminations.


158 FG412/4WILLIAM CROSBIE R.S.A.(SCOTTISH 1915-1999)I BUILD ME A SHIPSigned, inscribed and datedLXXXVIII, watercolour

39cm x 57cm (15.5in x 22.5in)

Exhibited:Aitken Dott & Son, William CrosbieRetrospective 1980, no.106

600-800

119



159 SV388/33ROBERT POLEHILL BEVAN(BRITISH 1865-1925)COTTAGES BY A WOODEDLANESigned with the Trusteesstamp beneath mount,charcoal and watercolour

22cm x 27cm (8.5in x 10.5in)

800-1,200


160 HA737/2CHARLES MCCALL(BRITISH 1907-1989)THE RED CARPETSigned and dated 68, oil on board

31cm x 25.5cm (12in x 10in)

Provenance:Cork Street Gallery, LondonSir James Bowker

600-800

120



161 SV388/39JACOB KRAMER(BRITISH 1892-1962)MADONNA AND CHILDInscribed on label verso, oilon canvas


1,500-2,000162 SV388/37JACOB KRAMER(BRITISH 1892-1962)HEAD OF A WOMANSigned, oil on canvas


600-800


163 SV51/1DAME ELISABETH FRINKD.B.E., R.A.(BRITISH 1930-1993)MAQUETTE FORMANCHESTER AIRPORT /STUDY FOR STANDARDInscribed in the cast, bronze

29.5cm (11.6in) high

3,000-4,000

121

British & European Paintings | 27/11/2014

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