PICTURES
FIRST DAY’S SALE
WEDNESDAY 26TH JANUARY 2011
PICTURES
Not before 2.00pm
Pictures will be on view on:
Saturday 22nd January 9.00am to 1.00pm Sunday 23rd January 2.00pm to 4.00pm Monday 24th January 9.00am to 5.15pm Tuesday 25th January 9.00am to 5.15pm and on sale day.
Enquiries: Martin Scadgell Tel: 01392 413100 Email: [email protected]
Enquiries: Daniel Goddard Tel: 01392 413100 Email: [email protected] 61 351. Circle of James Nixon (1741-1812) Miniature portrait of a gentleman, head and shoulders with powdered hair, wearing a pale green jacket with brass buttons, oval, 3.2cm., in a plain beaded ormolu frame £300-500
351
352. Circle of Richard Cosway (1742-1821) Miniature portrait of a gentleman, head and shoulders with powdered hair tied in a ribbon, wearing a red coat and yellow waistcoat, oval, 4.1cm., in a plain gold frame £400-600
352
353. Attributed to Edward Miles (1752-1828) Miniature portrait of a gentleman, head and shoulders with fair hair, wearing a dark green coat and white stock, sky background, oval, 3.8cm., in a gold brooch frame £400-600
353
62 354. Attributed to Joseph Burrell (b.1770) Miniature portrait of a gentleman, head and shoulders wearing in dark blue coat, white waistcoat, shirt and cravat, oval, 8cm. £300-500
354
355. Patrick John McMorland (1741-c.1809) Miniature portrait of a gentleman, head and shoulders with powdered hair, wearing brown coat, white waistcoat and cravat, sky background signed with initials and dated 1796, oval, 7.5cm., in a plain gold case with hair plait and seed pearl reverse. £400-600
355
356. English School early/mid 19th Century Miniature portrait of a young man, head and shoulders on ivory, oval 5.5cm, together with two manuscript letters dated 1865 in which it is suggested the sitter is Sir Robert Peel, in a small red leather case. £50-100
356
63 357. Alyn Williams, P.R.M.S. (1865-1955) Miniature portrait of Edward VII bust-length, wearing a tweed waistcoat and jacket with black tie signed bottom right oval, 3.3cm, within a gold and turquoise enamel pendant. £250-350
357
358. English School 18th Century Miniature portrait of James VII of Scotland James II of England (1633-1701) head and shoulders with full wig and wearing a long lace cravat oil on board oval, 8.3 x 6.3cm, within a moulded and gilded wood frame. £600-800
358
359. Circle of Archibald Robertson (early 19th Century) Miniature portrait of a young man head and shoulders, with short dark curling hair wearing a white cravat and black coat sky background oval, 4.7cm, within a gold frame with seed pearls and hair to the reverse. £150-250
359 64 (actual size)
360. Richard Cosway (1742-1821) Miniature portrait of a midshipman, half-length standing with long fair hair and blue eyes his right hand resting on an anchor a view to blue sky and the sea beyond with a ship on the horizon oval 8.9 x 7.2cm, within a plain gold frame £4000-6000
65 361 361. Attributed to Richard Crosse (1742-1810) Miniature portraits of a lady and gentleman both head and shoulders he with powdered hair and wearing a pale green coat and white cravat, she with long dark curling hair tied high and wearing a brown dress ovals, each 4.3cm. (2) £400-600
362 362. Attributed to James Leakey (1775-1865) Miniature portrait, of a Colonel William Henry Stopford-Blair, R.A. head and shoulders, with short dark hair and a companion portrait of a lady thought to be Mira Sophia Stopford-Blair (née Bull) a pair each 8.2 x 6.8cm. (2) £600-800
William Henry Stopford-Blair (1788-1868) was the second son of The Hon. Edward Stopford (1732-1794) and grandson of James Stopford, first Baron and Earl of Courtown in The County of Wexford, the earldom being created in 1762 and being titled in the Peerage of Ireland. The first Earl was a Tory politician serving under William Pitt the Younger. In 1796 he was created Baron Saltersford in the County of Chester, a title which gave him and his descendants an automatic seat in The House of Lords.
66 363. Attributed to James Leakey (1775-1865) Miniature portrait of The Hon. Sir Edward Stopford (1732-1794) head and shoulders, with powdered hair oval, 6.7cm. £500-700
The Hon. Edward Stopford (1732-1794) was father of William Henry Stopford-Blair (1788- 1868) and the son of James Stopford, first Baron and Earl of Courtown in The County of Wexford.
363
364. Attributed to James Leakey (1775-1865) Miniature portrait of Lambert Blair, head and shoulders with short powdered hair wearing a black coat and white cravat oval, 8.1cm. £400-600
In 1809 Lambert Blair of Courtland, Devon, married Jane Letitia Stopford, daughter of Lt- Gen. The Hon. Edward Stopford
364
365. Attributed to James Leakey (1775-1865) Miniature portrait of a gentleman bust-length seated with short grey hair wearing a black coat and white stock 10.5 x 8.3cm. £250-350
366-368. No Lots.
365
67 369
369. Attributed to Richard Crosse (1742-1810) Miniature portrait of Hester Palmer head and shoulders oval, 3.9cm, together with two other contemporary miniatures of fashionable ladies. (3) £800-1200
370
370. Circle of William Hamlet the Elder (early 19th Century) Miniature silhouette on glass of George III dedicated and dated June 18 1818 on a label attached to the reverse, oval, 7cm, together with three other silhouettes and a wax relief portrait. (5) £100-200
68 371. Studio of William Miers and John Field, (fl.1823-1829) Miniature bronzed silhouette on plaster of a gentleman, head and shoulders, wearing a powdered wig and dark coat with lace cravat oval 8cm, together with a one other of a younger gentleman, head and shoulders. (2) £200-300
372. 371 Attributed to James Leakey (1775-1865) Miniature portrait of a gentleman, head and shoulders with short grey hair, wearing a black coat with brass buttons, and a white stock oval, 8cm, together with a miniature portrait of James Blair, with short fair hair and blue eyes, and a miniature portrait of a young lady. (3) £300-500
372
373. English School Circa 1820, Miniature portraits of William Merewether and Martha Merewether each bust-length, he seated, she with an evening bag, on card, largest 9 x 6.5cm together with three other contemporary family miniatures and a collection of silhouettes and miniature portraits including Jane, Jackson, Ann James (née Burleigh), Charles Henry James, John James Canon of Peterborough, Alderman Burleigh of Cambridge, Anna Elizabeth Joyce, Edward James, Robert James and also a wash drawing of Sturmere Hall by William Henry Syer (19th Century) - signed, inscribed and dated 1847 on the backboard, 11 x 15cm. (a lot) £200-300
69 374. Studio of John Field, early 19th Century Miniature silhouette of a lady and gentleman, a pair, each signed Field beneath the shoulder, ovals, each 7.2cm, together with a bronzed silhouette of Lt. Col William Wanchope, a silhouette of George Wanchope, a silhouette of John Benson and a silhouette of Alexander Duttle attributed to Franz Deiwel. (6) £300-500
374
375. Attributed to Merryweather, mid 19th Century A bronzed cut paper silhouette portrait of a seated boy and his younger sister, 10.5 x 16.7cm, together with two cut paper silhouettes of 375 children attributed to The Royal Victorian Gallery, one with a pet dog and one with an umbrella, and one bronzed silhouette of a child with a riding crop. (4) £400-600
376. English School late 19th Century Miniature portrait of a lady, head and shoulders with curling hair, wearing a blue and white dress and an amber necklace, oval, 6cm., in a plain gold frame with hair plait and gilt monogram to the reverse £100-150
376
70 377. English School early 19th Century, A bronzed silhouette of a child standing, oval, 10cm, together with a bronzed silhouette portrait of a lady, a bronzed silhouette of a young man and two silhouettes of boys (5) £150-200
377
378. John Miers & Studio (1758-1821) Miniature silhouette portraits of Francis North, (Lord Guilford) and Ester North (née Harrison) ovals, largest 8.3cm. together with a miniature bronzed silhouette of George Watson 378 inscribed and dated 1812 on the reverse and one other of a young lady. (4) £250-350
379. Circle of James Schouler Miniature portrait of a lady, head and shoulders with long powdered hair, wearing a white silk dress and pearls, oval, 4cm., in a plain gold frame £200-300
380-382. No Lots.
379
71 383. Attributed to Julius (Isaak) Jacob (1811-1882, German) Portrait of a sporting gentleman, full-length seated in a landscape holding a shotgun, a dog at his side; A companion portrait of a lady, full-length standing and wearing a satin dress, with a dog, and a distant view to a lake and mountains beyond the first signed bottom left, the second signed and dated 1847 bottom right oils on canvas, a pair each 60 x 50cm. (2) £1200-1800
Provenance: The Stapleton-Bretherton Family, Berwick, thence by family descent.
Julius (Isaak) Jacob (1811-1882, German): A pupil of Wilelm Wach (1787-1845), studied at the Academy of Dusseldorf and Paris. Exhibited at The Salon between 1838-1844. He travelled to Africa, Asia Minor and throughout Europe, and worked in London between 1844-1856, painting society portraits in England and Scotland, exhibiting each year at The Royal Academy. After London he went to live in Vienna and spent his final years in Berlin where he was a frequent exhibitor at the Academy.
384. No Lot.
72 385
385. Circle of John Singleton Copley (1737-1815) Portrait of a lady thought to be Elizabeth Pearle Todd (née Strutt) half-length standing wearing a red dress with lace fringed bodice and a lace mop cap; together with a companion portrait (her son) of a young gentleman, thought to be Radcliffe Pearle Todd, son of Elizabeth, half-length standing wearing a red jacket with yellow waistcoat and neckerchief oils on canvas each 39.5 x 34cm. (2) £1200-1800
386
386. English School Circa 1820 ‘Separated’; the young bride three-quarter length seated in an interior, holding a letter; with a companion portrait attributed to Italian School Circa 1820 of a young Naval officer three-quarter length standing holding a letter, a view to a Mediterranean coast in the distance oils on canvas each 46 x 37cm. (2) £300-500 73 387. Circle of Andrea Soldi (1703-1771) Portrait of a gentleman, half-length standing wearing a red velvet jacket with a white shirt and cravat; with a companion portrait; A lady, half-length standing wearing a damask coloured silk robe and décolleté undergarment each painted oval oils on canvas 74 x 61cm & 75 x 62cm respectively (2) £1500-2500
388. No Lot.
74 389
389. Circle of Thomas Gainsborough (1727-1778) Portrait of a lady, thought to be Mary Isabella, 4th Duchess of Rutland (1756-1831) bust-length, wearing a blue dress trimmed with white lace, (circa 1780/1785) oil on canvas, painted oval 74 x 62cm, within a Carlo Maratta frame with old plaque inscribed to Thomas Gainsborough.
£4000-6000 Provenance: Lady (Ethel) Patricia Hare Purchased by the present owner at a sale of her pictures
Lady Patricia Hare, daughter of the 4th Earl and Countess of Listowel. Her maternal great grandfather x 7, was the 1st Duke of Rutland. Her maternal great grandmother x 3, Lady Anne Leveson-Gower, was the aunt of the 5th Duchess of Rutland.
The sitter’s likeness is compared to the National Portrait Gallery’s engraving of the 4th Duchess of Rutland after Richard Cosway, and portraits by Sir Joshua Reynolds. It is recorded that Thomas Gainsborough at least started a portrait of the 4th Duchess of Rutland as she sat for him in October 1882 [Ellis Waterhouse, 1958, p.88: William T Whitely, 1915, p.193; The Morning Herald, Oct. 30th 1782, p.2].
Mary Isabella (née Somerset) Manners, 4th Duchess of Rutland born on 1st August 1756, the fifth and youngest daughter of Charles Noel Somerset, 4th Duke of Beaufort (1709-1756) and Elizabeth Berkeley. Mary Somerset was politically active. As well as being a society hostess she was a renowned beauty of her day; the combination of looks, charm and impeccably ladylike political conduct won her the approval of the political critics, Horace Walpole, Charles Piggot and Nathaniel Wraxall who said she was ‘The most beautiful woman in England’. Sir Joshua Reynolds painted her four times.
75 390. Circle of James Sant (1820-1916) ‘Pensive’; portrait study of a young girl bust-length oil on canvas 56 x 46cm. £300-500
390
391. Attributed to John Burr (1831-1893) ‘The Waggoner’; a head and shoulders study of a countryman an old label attached refers to an exhibition No.429-from the artist oil on canvas 23 x 18cm. £200-300
391 76 392. John W. Brook (Exh 1886- 1923) ‘Sidi Mustapha’; Portrait of an Englishman in Arabian Costume signed top right further signed, inscribed as titled and with artist’s address at 92 Basinghall Street, Leeds, on a label attached to the stretcher oil on canvas 125 x 101cm, unframed £800-1200
• John W. Brook (exhibited at The Royal Academy from 1894-1917
392
393. After Guido Reni (17/18th Century) Salome with the head of John The Baptist oil on canvas 35.5 x 28.5cm. £1200-1800
This picture is a copy in reverse after a full-length Guido Reni original in Rome, thus probably after a print.
393
77 394. English School late 18th Century Portrait of The Reverend G James, half-length standing wearing a jacket, buttoned waistcoat, clerical collar and full wig oil on canvas 74 x 61cm, within a good contemporary carved wood and gilded frame. £800-1200
Provenance: Edgeworth Manor, Stroud, Gloucestershire
394
395. Attributed to John Theodore Heins (1697-1756) Portrait of a gentleman, thought to be Radcliffe Pearl Todd, half-length standing wearing a blue jacket, buttoned waistcoat and holding a triform hat indistinctly signed Heins and dated 1755 bottom right oil on canvas painted oval 73 x 60cm, within an ebonised and gilded pierced frame £1500-2500
396. No Lot.
395 78 397. English School mid 18th Century Portrait of a lady thought to be Mary Radcliffe Todd (née Pearle) half-length standing wearing a blue dress oil on canvas painted oval 73 x 61.5cm. £800-1200
397
398. John Ponsford (1790-1870) Portrait of The Reverend John James, Canon of Peterborough, born 1783 half-length seated before a window, wearing clerical robes and collar, a view to a church tower and landscape beyond signed and dated 1828 bottom left oil on canvas 73 x 63cm. £400-600
398 79 399. Frederick William Elwell (1870-1958) An Edwardian gentleman three-quarter length standing signed bottom right oil on canvas 52 x 34cm. £300-500
399
400. Circle of William Beechey (1753-1839) Portrait of a lady half-length seated, wearing a turban style bonnet, brown dress with inset lace blouse and red shawl oil on canvas 74 x 61cm. £400-600
400
80 401. William Shiels, R.S.A. (1785-1857) ‘The Old Fiddler’, signed and dated 1827, oil on canvas, 50 x 38cm. £1500-2500
402 – 403. No Lots.
81 404
404. Attributed to Joseph Goupy (d.1782. 18th Century French School) Lovers in a landscape with attendant putti; Sleeping figures in a landscape a pair, each fan-shaped gouache on vellum each 8.5 x 16.5cm. £300-500
405. Attributed to Pietro Dandini (1646-1712, Italian) The Golden Calf initialled PD bottom centre inscribed in pencil on the mount board and bearing a signature bottom right red chalk drawing on paper 26.5 x 36cm. £300-500
405
406. French School late 17th Century A battle scene, miniature watercolour on parchment paper oval, 6 x 8cm, contained within an ‘ormolu’ frame on an ornate easel stand. £300-500
82 406 407. M. Stenckmann (?) 19/20th Century Portrait of a child bust-length indistinctly signed bottom right, dated 1915 and inscribed in French ‘with kisses to a friend in Enfield’ oil on canvas 45.5 x 35cm. £300-500
407
408. Edward William Stott (1859-1918) Study for ‘Two Mothers’ pastel drawing 24 x 17.5cm. £250-350
A contemporary inscription to the original back board reads; ‘Study for The Two Mothers. To G D Hobson Esq., from Anne Dinnage in affectionate Remembrance of Edward Stott A.R.A., March 19th, 1918’ Anne Dinnage was Stott’s housekeeper at Amberley in Sussex
408
409. English School 19th Century, possibly Sir James Lawton Wingate (1846-1924) Arranging flowers; a young lady seated in an interior bears initial bottom right oil on canvas 40 x 29cm. £400-600
410-412. No Lots.
409
83 413 413. John Slater (fl.1800-1847) Portrait of a gentleman said to be The Reverend John James, Canon of Peterborough, born 1783 half-length study; together with a companion portrait of a lady (his wife) said to be Elizabeth James (née Bell), half-length study each signed inscribed and dated London 1808 bottom left graphite drawings with colour washes each 27 x 33cm. £150-250
* Josiah Slater was a fashionable portrait painter of the time and thought to have been a pupil of Sir Thomas Lawrence (1769-1830)
Provenance: Edgeworth Manor, Stroud, Gloucestershire 414. Josiah Gilbert (1814-1892) Portrait of a lady thought to be Lady Tite full-length seated in a Victorian dress with a collar pinned with a brooch and wearing a lace bonnet signed J.Gilbert and dated 1856 bottom right graphite, watercolour and coloured chalks 32 x 25cm. £80-120
415. English School 18/19th Century Portrait of a gentleman thought to be John James the second (d.1723) pastel drawing, oval 31.5 x 25cm, together with a group of various other portraits and prints from the family. (7) £100-200
Provenance: 414 Edgeworth Manor, Stroud, Gloucestershire
84 416. Robert Frain (?) British, 19th Century) Portrait of a fisherman, said to be Jock Scott full-length standing signed and dated 1852 bottom right coloured chalk drawing 60 x 38cm. £600-800
416 417. Herbert Blande Sparks (late 19th Century) Portrait of a young lady full-length standing in a garden setting signed bottom left watercolour 44.5 x 29.5cm. £250-350
417
418. Attributed to Henry Brittan Willis (1810-1884) Cattle recumbent in a landscape, a lake beyond oil on canvas 34.5 x 44.5cm. £400-600
418 85 The following 18 lots are the property of the artist and writer Michael Seward Snow (b 1930).
“Over the forty years during which I occupied studios in St Ives, or nearby, my closest friends were Ben Nicholson, Terry Frost, Dennis Mitchell and the poet W S Graham. The little collections artists make from groups or exchanges sometimes provide interesting evidence of experiments from which the later and better known works of art have developed.
Terry Frost’s reaction to the decline of academic tradition has been well described by Chris Stephens (Terry Frost, Tate Publications, 2000) and David Lewis (Terry Frost, Scholar Press, 1994). Frost was deeply attracted by the economy of means and delicacy of tension in, for example, a Mondrian or a Nicholson painting, but he was also overwhelmed by the visual intensity and immediacy of the restless sea and boats only yards away from his front door.
Walk along The Quay, (1950) was an important stage in his work. Coastal Figures, St Ives (1952-53) is the closest in style to the Blue and Yellow Harbour. The date of that painting is now very faint but was earlier clearly visible as 1952.
In 1956 Frost saw a three-dimensional white relief of mine in the Penwith Society of Arts Gallery, St Ives. The relief had a long vertical red bar running through it into the space above and below. He was delighted by it and later took it to Leeds with him. What he gave me in exchange was the much more sensuous Blue and Yellow Harbour, a celebration of sea. light and movement.”
86 419. John Wells (1907-2000) Untitled signed John Wells, dated 1950 and numbered 8/25 in pencil in the bottom margin inscribed on the reverse ‘Michael from John August 1953’ etching image size 17.25 x 12cm. £300-500
419
Provenance: An exchange of work
John Wells: Born in London, trained as a doctor at University College Hospital. He learned to paint at evening classes at St Martins School of Art. From 1936-1945 he worked as a general practitioner for the Isles of Scilly. In 1945 he moved to Newlyn to pursue a full time career as an artist.
Co-founder of The Crypt Group and the Penwith Society of Artists. He worked with Barbara Hepworth and exhibited regularly in London, the provinces and abroad. His works of geometric abstraction were influenced by Naum Gabo, Ben Nicholson and Barbara Hepworth. An exhibition at the Tate, St. Ives in 2007 celebrated the centenary of his birth.
420. John Wells (1907-2000) Untitled inscribed on the reverse ‘Christmas 1960 Best Wishes from Johnny, Newlyn.’ mixed media 12 x 14cm. £300-500 Provenance: An exchange of work
420
87 421. Alexander Mackenzie (1923-2002) Untitled inscribed on the reverse ‘To Michael and Margaret. Best wishes, Alex. Nov 1957, Alexander Mackenzie’ oil on panel laid down on hardboard 12.5 x 9.75cm. £800-1200
Provenance: A gift from the artist
421
Born in Liverpool, McKenzie attended the Liverpool College of Art between 1946-1950. His first move to Cornwall was in 1951. In 1953 he moved to Newlyn and Penzance where he taught at the art school until 1964. He was exhibiting at St Ives, Newlyn, London and New York at this time. For the next 20 years he was head of the Department of Fine Art at the Plymouth College of Art and Design. In 1984 he moved in retirement back to Penzance. His sculptural and sensuous style in architectural and geometric formats enhance the landscape and skylines he loved and studied
422. Alexander Mackenzie (1923-2002) Untitled; landscape signed in pencil, dated ‘58 and numbered 27/30 in the bottom margin coloured lithograph image size 29.5 x 48cm, unframed £100-150
Provenance: An exchange of work
422 88 423. Alexander Mackenzie (1923-2002) Untitled signed in pencil bottom right and numbered 2/25 bottom left coloured lithograph image size 50 x 45cm. £200-300
Provenance: An exchange of work
423
424. Alexander Mackenzie (1923-2002) Drawing: May 14 - 56 monotype 37 x 41.5cm, unframed. £100-150
424
89 425. Ben Nicholson (1894-1982) Untitled drypoint etching signed Ben Nicholson in the margin inscribed 2nd Proof image 20 x 15cm, unframed. £600-800
Provenance: An exchange of work
Ben Nicholson was born in Denham, Buckinghamshire. His father was the painter Sir William Nicholson. He attended the Slade School of Art in 1910-11. In 1922 he had his first solo exhibition at the Adelphi Gallery, London and soon after painted abstract paintings influenced by Cubism and by 1927, inspired by Rousseau and early Folk Art, he had evolved a primitive style. He met Mondrian and Picasso who both had influences on his work.
In 1939 Nicholson moved to St Ives with his wife Barbara Hepworth, the sculptor. They initially stayed with Adrian Stokes in Carbis Bay. Nicholson entered a period of painting landscapes and coloured abstract reliefs, and then linear abstract painting. He joined the St Ives Society in 1943 and in 1949 was a founder member of The Penwith Society. In 1951 Nicholson and Hepworth divorced and he left Cornwall in 1957. 90 426. Sir Terry Frost, R.A., (1915-2003) Blue and Yellow Harbour indistinctly signed, dated 1952, and inscribed in pencil on the reverse oil on board 50 x 60cm, unframed. £2000-3000
Provenance: From the artist’s studio, an exchange of work.
Sir Terry Frost was born in Leamington Spa, and did not become an artist until he was in his 30s. During his army service he met and had tuition from Adrian Heath. He subsequently attended Camberwell and St Ives Schools of Art. His career included teaching at the Bath Academy and serving as Gregory Fellow at the University of Leeds. He became the artist in residence and Professor of Painting at the Department of Fine Art at the University of Reading. In 1992 he was elected R.A., and was knighted in 1998.
91 427. Sir Terry Frost, R.A., (1915-2003) Untitled inscribed on the reverse ‘Happy Xmas to Michael and Margaret from Kathleen and Terry, Xmas 1960 watercolour 16 x 12.5cm, unframed £400-600
Provenance: A gift from the artist
427
428. Sir Terry Frost, R.A., (1915-2003) ‘Mars Image’ signed and dated terry Frost ‘58 on the reverse also inscribed ‘To my Friend, Mr Snow’ oil on board (with three screw heads showing) 26.25 x 19cm, unframed. £1200-1800
Provenance: A gift from the artist.
428 92 429. Patrick Hayman (1915-1988) The Dream signed in pencil top right Hayman further signed, inscribed and dated 1962 on the reverse further inscribed ‘For Michael & Margaret (Snow) with every good wish from Patrick, February 1965’ oil on board 12.5 x 17cm. £600-800
Provenance: An exchange of work
Patrick Hayman was born in London, and spent his formative years in New Zealand where he was closely involved with the foremost young artists of the time centred around Colon McCahon. On his return to England in March 1947 he went to live in St Ives. He and his wife lived there until 1965, returning to Barnes in London where they lived the remainder of their lives. “Patrick Hayman’s work is intensely private...single-mindedly pursuing a personal mythology through numerous small paintings, drawings and constructions and poetry” (M.Gooding. Patrick Hayman;Visionary Artist)
93 Alfred Wallis was a Cornish fisherman and artist. In the early 1870s he became a mariner in the Merchant Service. He married in 1876, when he was 20 and his wife 41, and became step father to her five children. The family moved to St Ives in 1890 where he established himself as ‘Wallis, Alfred. Marine Stores Dealer’. Following his wife’s death in 1922 Wallis took-up painting, as he later told Jim Ede ‘for company’.
His paintings are a fine example of naive art; perspective is ignored and an objects scale is often based on its relative importance, and this gives his paintings a map-like quality. Wallis painted his seascapes from memory in large part because the world of sail, which he knew, was in transition and being replaced by steamships. As he said, his subjects were “what use to bee out of my memery what we may never see again”. Having little money Wallis improvised with materials, mostly painting on cardboard ripped from packing boxes and using a limited palette of paint bought from ship’s chandlers.
In 1928 Ben Nicholson and Kitt Wood came to St Ives where they were delighted to discover Wallis and celebrated his direct approach to image making. Wallis was propelled into the circle of some of the most progressive artists working in Britain in the 1930s.
94 430. Alfred Wallis (1855-1942) Harbour Approaches signed in pencil bottom right A.WALLIS oil on card 18.5 x 29.5cm, unframed. £4000-6000
Provenance: Ben Nicholson. Gifted to the vendor by Ben Nicholson in 1958; the present owner was a close personal friend of Ben and Felicitas Nicholson.
95 431 432
431. Trevor Bell was born in Leeds and studied there at * Trevor Bell (b.1930) the College of Art, going on to teach at Harrogate Abstract and in 1955 moved to Zennor near St Ives on the signed and dated Bell 8. 57 bottom left advice of his friend Terry Frost. In 1958 he had pencil and watercolour a one-man show at Waddingtons and since has 21 x 7.5cm, unframed. shown at the Paris Biennale, a Retrospective at New £300-500 Arts Centre, London and in 1990 a show at The Gillian Jason Gallery. In the early 1970s Bell became Provenance: A gift from the artist Professor for Master Graduate Painting at Florida State University remaining there for over 20 years, returning to Cornwall in 1996.
432. Alice Moore was born in Honolulu and studied Alice Moore (1908-1980) at the Royal College of Needlework, South ‘Clustered Moths’ Kensington, Moore moved with her parents to fine needlework Cornwall in 1939, living in Penzance, Carbis Bay inscribed as titled on the reverse and Lelant. Her work was of a very fine stitching signed and further inscribed ‘Executed by Alice often with silver and gold threads and she Moore, Lelant, St Ives - Winter 1955’ regularly exhibited alongside the painters. image 47.5 x 17cm. £300-500
Provenance: An exchange of work 96 433. Alixe Jean Shearer Armstrong (1894-1983) Quarry signed and dated 1953 bottom right pastel 29 x 43cm. £400-600
Provenance: An exchange of work
433
Alixe Jean Shearer Armstrong was born in Penge, London, Shearer Armstrong studied at the Slade School, 1912-14. She moved to Cornwall in 1921 and worked briefly with Stanhope Forbes. She went on to develop an individual style of still life in the 1930s and later, under the influence of Ben Nicholson, an abstract style. She married Henry Armstrong and moved to Carbis Bay in 1921, maintaining space at Piazza Studios and Porthmeor Studios. She exhibited regularly at the Royal Academy and the Royal Scottish Academy where she held her first major show in 1959. A friend of Mary and Bryan Pearce, she was a conduit for Bryan Pearce. Later in her life she returned to more traditional styles of floral painting.
434. Alixe Jean Shearer Armstrong (1894-1983) Roman Forum signed and dated Shearer Armstrong 1959 and inscribed with title on the reverse oil on board 23 x 62cm £300-500 434
Provenance: An exchange of work
97 435. Michael Nevill Seward Snow (b.1930) Incised Painting - Myriad signed, inscribed and dated 1959 on the reverse oil on board 57 x 44.5cm £700-1000
Provenance: Arts Council - Penwith Society of Arts exhibition 1959, Cat. No.31
Michael Nevill Seward Snow: professional artist and writer. Born Manchester 1930 and educated at Lawrence Sheriff School, Rugby. He settled in Cornwall 1951-1980 and was elected to The Penwith Society of Arts in St Ives in 1953 becoming closely associated with Ben Nicholson, Terry Frost, Denis Mitchell and Roberts Adams. Exhibited widely and held one-man shows in The Rowan Gallery, London, in Manchester and St Ives. Taught at Exeter College of Art, 1965-1983. Snow makes predominantly abstract constructions and paintings. A friend of the poet W.S. Graham, Snow and his late wife Margaret researched and edited The Night Fisherman - selected letters of W S Graham (Carcanet Press, 1999). Currently lives and works in Devon.
98 436. Michael Nevill Seward Snow (b.1930) ‘Sea Mine, Penwith’ re-titled, signed, dated 1963 and inscribed on the reverse oil on canvas 76 x 46cm. £2000-3000
Provenance: From the artists’s studio, St Ives John Knight
437. No Lot.
99 438. Bobo Ivancich de la Torriente (Contemporary) Ezra Pound, head study; with another similar two, each painted circa 2004 each signed and inscribed on the reverse oil on canvas each 45 x 65cm, together with a catalogue. (3)
439. Edward Piper (1938-1990) Figures and green parasols dated 22 II 82 top left watercolour and pastel drawing 439 49 x 36cm.
together with the artists’s postcard inscribed ‘with our best wishes for 1984 with love from Edward, Prudence, Luke & Henry’ £300-500
440. Robert O Lenkiewicz (1941-2002) ‘Quo Vadis’ extensively inscribed pen and ink drawing 67 x 50cm. £250-350
Impressed with Lenkiewicz Studio Stamp
440 100 441. Robert O Lenkiewicz (1941-2002) Young Hasid signed twice and dated 1965? on the reverse inscribed ‘[Hampstead] Eton Avenue - Study/ Young Hasid - For life size Four Figures Hasidic [Cabala] - painting now in Glasgow. (Hotel Shemtof 85-87 Fordwych Road)’ oil on board 44 x 28.5cm. £5000-7000
441
442. Robert O Lenkiewicz (1941-2002) Robert Crouch, b. March 28th 1956 a label attached to the reverse signed by the sitter, the sitter’s mother and the sitter’s father oil on board 35.5 x 53cm.
Project 3. Mental Handicap, 1976 £1800-2500
443. No Lot.
442
101 444. Quentin Bell (1910-1996) Still life with apples, scythe, red cloth, bowl and vase inscribed with title ‘Still Life’ and £30.00 on a label attached to the reverse oil on canvas 79 x 59cm. £400-600
Provenance: 1946 Yvonne Kapp, inherited by Betty Lewis, thence by family descent.
Quentin Bell (1910-1996): Painter, writer, teacher, potter and sculptor. Son of the art critic Clive Bell and the artist Vanessa Bell. Studied at Leighton School and during World War II was a member of the Political Warfare Executive. Held teaching positions at The Slade, Oxford University, Hull University, Sussex University. With Duncan Grant and Vanessa Bell, he painted extensive murals in Berwick Church, Sussex, close to where he lived at Firle.
Yvonne Kapp was born in London to a German-Jewish family in 1903. Against her parents wishes, she married the artist Edmond Kapp and lived with him on the fringes of the intellectual-bohemian world. Their marriage ended in 1930 and she returned to London where she became aware of and motivated by political developments in Europe. She campaigned against fascism and worked to support refugees, latterly becoming active in conditions for workers and women’s rights.
In the mid 1930s Quintin Bell wrote of Kapp “When I fell in love with Yvonne it must have seemed, to adapt a phrase of Jane Austen’s, that I did so to “disoblige my family”. In fact I had no ulterior motive, I just found her voice, her appearance and her mind immensely attractive”.
102 445. Quentin Bell (1910-1996) Still life with quills, bottle, glass, basket, cutlery and plate signed and dated Quentin Bell 1946 bottom right further signed, inscribed and priced £15.00 on a label attached to the reverse oil on canvas 68 x 55cm. £400-600
103 446. Clifford Fishwick (1923-1997) Towards The Sea signed and indistinctly dated bottom right further signed, inscribed with title and dated 1957 on the reverse oil on board 121 x 90cm. £2500-3500
Clifford Fishwick: Painter and teacher born near Accrington, Lancashire, he attended Liverpool School of Art and after Naval service returned to Liverpool leaving with an art teacher’s diploma. A member of the Newlyn Society from 1952-1983 and exhibiting at The Penwith Society 1950-1970, he taught at Exeter College of Art becoming principal between 1958-1984. He had a one-man show at Austin Desmond in 1989, he also showed with Bruton Street Gallery. The Universities of Plymouth and Exeter jointly supported a memorial exhibition in 1998.
Over the years Fishwick’s style changed as certain influences took effect; the Neo-Romantics, the Cornish Painters and the second School of Paris. Fishwick lived at Topsham near Exeter.
104 447. Tom Keating (1917-1984) Blackheath Fair 1951 oil on canvas 29 x 34 cm. £400-600
447 448. * Frederick (Fred) Cuming, R.A., (b.1930) The Parade signed bottom left oil on board 89 x 121cm. £500-700
With Brandler Galleries, Brentwood ,Circa 1970
448
449. Sir James Lawton Wingate (1846-1924) Autumn landscape with plough horses in the foreground signed Wingate bottom right oil on canvas 34.5 x 24.5cm. £300-500
449
105 450. Tom Dodson (1910-1991) Buille Hill Park signed Dodson bottom right oil on board 27.5 x 36.5cm. £1000-1500
* With Studio Arts Gallery, Lancaster, 1990.
Tom Dodson was born in Salford and the eldest of five children. He excelled at drawing at school, but left at the age of 14 to become a grocer and subsequently worked in number of trades to support his family. Shortly before retiring he took-up painting and depicted a number of scenes from his youth with warmth and sincerity. He held a ‘sell-out’ solo exhibition at Bell Galleries, Sale in 1974 which resulted in 36 of his originals being reproduced as limited edition prints. In 1998 the Salford Quays Heritage Centre, with the support of Studio Arts, Lancaster, held a commemorative exhibition.
451. No Lot.
106 452. Sir William MacTaggart. P.P.R.S.A., R.A., (1903-1981) ‘Telemark, Norway’; a mountain landscape with cottage signed bottom left oil on board 49 x 59cm. £4000-6000
Provenance: Exhibited at The Royal Academy Summer Exhibition in 1972, where purchased by Sir Leslie O’Brien, Governor of The Bank of England (1966-1973) Thence by family descent.
* Telemark is a county in south eastern Norway, extending from Hardangervidda to the Skagerrak coast. Telemark has a broken and diverse landscape including many hills and valleys.
Sir William MacTaggart was born at Loanhead in Midlothian. He attended Edinburgh College of Art, 1918-1921 and there made friends with William Gillies, Anne Redpath and William Crozer, who together became the core group in the Edinburgh School in the 1930s. At this time MacTaggart shared a studio with Gilles and in 1937 married Fanny Aavatsmark, a Norweigian. He painted the landscape of East Lothian, France and Norway as well as still lives. In the early 1930s he taught at the Edinburgh School of Art and was president of The Society of Artists 1933-1936. In 1948 he was made a member of the R.S.A. and later elected its President. A member of the Royal Academy, he was knighted in 1962.
107 453. Willy Planck (b.1870, Stuggart) ‘A Quiet Moment’; a young lady seated in a longboat on the shore of a lake signed bottom left inscribed on the reverse Planck, Stuggart, No.5 oil on canvas 71 x 91cm. £600-900
453
454. Charles Walter Simpson (1885-1971) ‘Rodeo’, circa 1924 signed bottom left oil on canvas 50.5 x 60.5cm. £600-800
454
The first International Rodeo, or Cowboy, Championships were held at Wembley Stadium as part of The British Empire Exhibition in 1924. The rodeo event was organised by the famous American promoter John van “Tex” Austin (1886-1938), known as The King of The Rodeo. He worked tirelessly to popularise the rodeo outside of its core American west demographic.
Charles Walter Simpson (1885-1971) first studied art at Bushey under Lucy Kemp Welch, continuing at Newlyn under Stanhope Forbes. His early influence was Munnings, whom he painted with in Norfolk in the early 1900s and whom he persuaded to join the Newlyn colony in 1908. In 1901 he finished his formal art education at Juliens in Paris. In 1913 he married the artist Ruth Alison and they set up a painting school in St Ives in 1916. Simpson exhibited bird, sporting and landscape paintings at the Royal Academy from 1907-1933. In 1924 he made a large series of sketches and finished works at the famous ‘Rodeo’ held at Wembley from which he produced a book ‘El Rodeo’. In the same year he moved to London, returning to Cornwall in 1931 where he spent the rest of his life.
108 455. Terrick Williams (1860-1936) Fisherfolk and trawlers at low tide on the Brittany coast signed and dated ‘98 bottom right oil on canvas 29.5 x 44.5cm. £1200-1800
456. No Lot.
109 457. Raffaele Mainella (1858-1907, Italian) Venetian Scene; Morning, with fisherman in their gondolas, a view to Guidecca Island and The Renentore Church beyond signed bottom left watercolour over pencil heightened with white 32 x 17.5cm. £300-500
458. Raffaele Mainella (1858-1907, Italian) Venetian Scene; Evening, a gondola in the foreground a view to Basilica San Marco beyond signed bottom left 457 458 watercolour over pencil heightened with white 32 x 17cm. £300-500
459. Hector Caffieri (1847-1932) A busy quayside; fish, children and a sailor with a barrel in the foreground signed bottom right watercolour 35 x 51cm. £300-500
459
460. Hector Caffieri (1847-1932) A busy quayside; a woman loading provisions in the foreground signed bottom left watercolour 34.5 x 51cm. £400-600
460 110 461. A. Moulton Foweraker (1873-1942) Moonlight, Chorro, Malaga signed bottom right watercolour 52.5 x 35.5cm. £600-800
461
462. A. Moulton Foweraker (1873-1942) ‘Moonlight, Algeciras’; figures on a beach, houses beyond signed bottom left inscribed in pencil as titled on the reverse watercolour 25.5 x 35.5cm. £700-900
462
463. A. Moulton Foweraker (1873-1942) ‘A Garden in Granada’; figures in a courtyard signed bottom right inscribed as titled in pencil on the reverse watercolour 22 x 26.5cm. £700-900
464. No Lot.
463 111 465 (part)
465. Samuel William Reynolds (1773-1835) Seventeen views around Plymouth comprising; Ford Cottage Langdon, The Yealm (4), Plymouth Sound, Plympton (2), Kitley House, Lodge at Kitley, Lime kiln at Kitley, Mrs Calmady sketching on The Mewstone, Saltram, The Mewstone, Langdon Woods, Gara Falls, Cottage at Yealm watercolours each 10.5 x 20cm. (17) £1000-1500
From a sketch book painted in 1821 when Reynolds stayed with the Calmady family at Langdon Park, Newton Ferres. Reynolds was accompanied by the engraver Frederick Christian Lewis, who engraved Sir Thomas Lawrence’s portrait of The Calmady Children
466. English School early 19th Century View of Teignmouth looking along the coast from the east, fishermen netting bass on the beach, shipping in the estuary and numerous figures along the promenade watercolour 39 x 49cm. £200-300 466 467. Circle of Francis Nicholson (1753-1844) Cascade near Askrigg in Wensleydale watercolour 26 x 32cm. £200-300
467 112 468 468. James B. Goodrich (19th Century British) Topsham from the Exe looking downstream; Countess Weir Bridge from the Exe looking upstream a pair, both signed and dated ‘60 oils on board each 16.5 x 29.5cm (2). £300-500
469 470 469. 470. Henry Cheadle (1859-1910) Henry Cheadle (1859-1910) Summer landscape, a thatched cottage, Upland river scene with cattle watering children and sheep in the foreground signed bottom left signed bottom left oil on canvas oil on canvas 22 x 34cm. £250-350 22 x 34cm. £400-600
471 471. William Langley (1852-1922) Cattle in the highlands a pair both signed oils on canvas each 51 x 75cm. (2) £500-700
472-475. No Lots. 113 476. George Blackie Sticks (1843-1938) Loch Lomond signed G.B.Sticks and dated 1895 bottom right inscribed on the reverse of the canvas ‘By the Loch side, Loch Lomond, G.B.Sticks 1895’ oil on canvas 90 x 70cm. £800-1200
George Blackie Smith was born in Newcastle-upon-Tyne and worked largely in the north east of Scotland. He studied under William Bell Scott (1811- 1890), the Pre-Raphaelite painter, illustrator and poet.
476
477. James Burrell Smith (1822-1897) Waterfall in an upland landscape signed and indistinctly dated 1888? bottom right oil on canvas 30.5 x 30cm £250-350
477 114 478
478. 479. Circle of William Traies (1789-1872) William Widgery (1822-1893) Woodbury Common looking west over Wooded river landscape, cattle watering in the Exmouth foreground, figures in the foreground and a view across the view to high moors beyond bay beyond signed bottom right oil on canvas oil on canvas 95.5 x 131.5cm. 102 x 152cm. £1500-2500 £1200-1800
480. No Lot.
479 115 481. Albert Goodwin, R.W.S. (1845-1932) New Sarum from The Old signed and dated 1903 bottom right inscribed as titled bottom left further signed and inscribed on a label attached to the backboard watercolour 25 x 35cm. £800-1200
481
The hill fort of Old Sarum, which contains evidence of human habitation back to 3000 BC, is the site of the earliest settlement of Salisbury in Wiltshire,
482. Annie L Henniker (19/20th Century British) Still life of orange gerberas in a Chinese vase signed bottom left oil on canvas 21.5 x 25cm. £200-300
482
116 483. Henry George Todd (1846-1898) Still life of pears, a peach, grapes and a bird’s nest on a mossy bank signed and dated 1878 bottom left oil on canvas 29 x 34.5cm. £500-700
483
484. Charles Thomas Bale (late 19th Century) Still life of pears, apples, grapes and a Chinese jar signed bottom left oil on canvas 34 x 44cm. £300-500
484
117 485. Circle of Albert Cuyp (17th Century Dutch) Figures in a gorge, a traveller on horseback in the foreground fishermen, a shepherd and fort on a hill beyond oil on canvas 58.5 x 74cm. £600-800
485
486. Attributed to Julius Caesar Ibbetson (1759-1817) A rural village scene; a team of horse and cart in the foreground, figures, cattle, sheep and buildings beyond oil on canvas 45 x 59.5cm. £600-800
486
487. John Dearman (?-1857) Rural landscape with horses in a farmyard, a shepherd and sheep in the foreground signed John Dearman on the reverse oil on miniature panel 3.5 x 6.6cm, unframed. £100-200 487 (actual size)
118 488. After Gaspard Dughet (late 18th Century) “Abraham and Isaac”, an extensive landscape oil on canvas 98 x 126cm. £3000-4000
The original 1665 painting is in the collection of The National Gallery.
489. No Lot.
119 490. Thomas Coleman Dibdin (1810-1893) A busy canal town scene signed and dated 1880 bottom left watercolour heightened with white and gum arabic and scratching-out 54.5 x 36.5cm £250-350
490
491. Gabriel Carelli (1820-1900) Assiout Egypt signed and inscribed Gab. Carelli Assiout, lower right watercolour 28 x 54cm. £500-700
491
492. Conrad H.R. Carelli (1869-1956) Rivercraft on the Nile at Ghivneh signed bottom right H R Carelli inscribed on the reverse of drawing ‘Ghivneh’ watercolour 16.5 x 35cm. £400-600
492
120 493. Alexander Jamieson (1873-1937) Figures standing on a terrace before a palace thought to be Versailles, Paris signed and dated 1910 bottom right further signed and dated 1910 on the reverse and signed on the stretcher with artist’s address as 34 Thurloe Square, London oil on canvas 63.5 x 80cm. £1200-1800
493
Alexander Jamieson was a painter of landscape, French towns and gardens and occasional portraits and genre subjects. Born in Glasgow where he studied at the Haldane Academy, he won a scholarship to Paris in 1898. He was influenced by the plein air painters and by the work of Manet. His first one man show was at the Carfax Gallery in 1912. He served in France, 1914-1919, and after the war exhibited in Glasgow at the Goupil Gallery and from 1928 at The Royal Academy. He lived at Weston Turville, Buckinghamshire.
494. Attributed to Major C. Haldane McFall (1860-1928) Market street scene, West Africa inscribed with artist’s name and title on a plaque fixed to the frame oil on canvas 61 x 91cm. £700-1000
494
121 495. A Macdonald (19/20th Century) A farm yard scene; women fetching water, a farmer and chickens with farmhouse and building beyond signed bottom right watercolour 35 x 57.5cm. £500-700
495
496. David Cox (1809-1885) On the River Dockart, Killin signed and dated David Cox Jnr, 1876 watercolour heightened with gum arabic 37 x 63cm, £250-350
496
497. Thomas Leeson Rowbotham (1823-1975) Low tide in a river mouth signed and dated 1853 watercolour 20 x 30.5cm. £200-300
497
498. George Gregory (1849-1938) Solent Shore, Evening Afterglow signed with initials GG bottom right oil on canvas 24.5. x 42cm. £300-500
Provenance: Denys Brook-Hart
498
122 499. Anton Van Anrroy (1870-1949) An extensive river landscape, figure in a punt in the foreground, cattle and windmill beyond signed bottom right A Van Anrroy watercolor 53.5 x 74.5cm. £400-600
Anton Van Anrroy was a watercolour painter of genre and landscape in the Hague Style. He exhibited in Amsterdam and England.
500. Jacob Maris (1837-1899) 499 Fishing boat at anchor, a study signed J. Maris bottom left watercolour and bodycolour 30 x 19.5cm £600-900
Jacob Maris was born at Karlsbad and with his brothers Willem and Matthias belonged to what has come to be known as The Hague School of Painters. Jacob studied at the Antwerp Academy and later at Paris (1865-1871) until the Franco-Prussian War when he returned to Holland. He painted domestic and interior scenes early in his career, latterly turning to landscapes in which he excelled. “He expressed so well the ethereal effects, bathed in air and light through floating silvery mist, in which painters delight, and the characteristic remote horizons blurred by haze”, (M Philippe Zilcken).
501. No Lot.
500
123 502. Hendrik Willem Mesdag (1831-1915) Fishing boats moored offshore signed HW Mesdag bottom left watercolour 43 x 60cm. £3000-5000
Hendrik Willem Mesdag was born in Groningen. He was encouraged to paint by his father, the banker Klaus Mesdag, and studied under William Roelofs in Brussels and in 1968 moved to The Hague to paint the sea. in 1870 he won a gold medal at the Paris Salon for The Breakers of The North Sea. Between 1880-1881 he worked on a commission from a Belgian company to paint a panorama. This resulted in ‘Panorama Mesgad’, an epic painting 14 metres high by 120 metres around. Elected chairman of The Hague Society in 1889, in 1903 he gave his house at Laan van Meerderwot and his collection of paintings to the Netherlands; the house is now the Mesdag Museum.
124 503. Willem Bastiaan Tholen (1860-1931) Trading barge on a river, a town beyond and other craft in the distance signed and dated W B Tholen ‘04 bottom left oil on panel 31 x 44.5cm. £3000-5000
Willem Bastiaan Tholen was born in Amsterdam and became a painter, draughtsman and printmaker. From an artistic family he entered The Amsterdam Academy and went on to study in Delft in 1878. He studied with Jan and Tholen Voerman and worked en plein air for many summers in Kampen and Giehoom. From 1887 he lived in The Hague and became friends with the painters of The Hague School. In 1901 he had a boat built in which he made trips over the next 15 years along the rivers of the Netherlands and the coast of Zuiderzee.
125 504. Thomas Luny (1759-1837) Fisherfolk on a shore, three masted men-o-war offshore, other shipping beyond signed and dated 1826 bottom left oil on panel 23 x 29cm £1800-2500
504
505. Lieutenant H. Hay (19th Century British) Mt Hart’s Residence on the Cocos (Keeling) Islands, Circa 1860-1875 watercolour 14.5 x 42.5cm. £300-400 505
The Cocos and Keeling Islands are a territory of Australian. The islands are located in the Indian Ocean, midway between Australia and Sri Lanka.
126 506. Attributed to Thomas Luny (1759-1837) The Lady Jane in three positions, thought to be off The South Foreland bears signature and dated T.Luny 1792 bottom right (strengthened) oil on canvas 55.5 x 89.5cm. contained within a period carved and gilded wood frame £4000-6000
127 Somerscales was born at Kingston-Upon-Hull. His father was sea captain and amateur artist. He was one of seven children, educated locally and finished his education at Cheltenham College. He joined The Royal Navy as a school master to teach the midshipmen and in March 1863 he joined HMS Cumberland. After a year he transferred to HMS Clio which sailed to Valparaiso, arriving at Christmas 1864. He was an enthusiastic amateur painter, and when offered a post to teach English, drawing and geography at an English school in Valparaiso he took it and made the bold step of leaving the navy.
An exhibition in Santiago in 1872, primarily to promote the Chilean economy, brought about Somerscales’ first major commissions which were for landscapes of the Chilean interior. After the short Chilean/Peru War, 1879/80, there was a great demand for marine paintings depicting the heroics of the Chilean navy. Portrait of Thomas Jaques Somerscales Somerscales responded and from this time by John Somerscales. his works were almost exclusively marine. He found himself in great demand and it was only a family bereavement that resulted in Somerscales leaving Chile and returning to England in 1892. As a virtual unknown he soon built up a considerable reputation exhibiting at the Royal Academy and sending large canvases back to patrons in Chile. It was Somerscales’ experience at sea that enabled him to capture sail and sea so well. Off Valparaiso, exhibited at the Royal Academy in 1899 and bought under the terms of the Chantry Bequest for£250, is his most recognisable and most reproduced work.
Footnote: In 1889, one Colonel J T North, who had large interests in the saltpetre industry, went to Chile to travel the country, proceeding as far as Tarapaca. He commissioned Somerscales to join his party and paint some pictures of their travels. This painting, like many others, was made in Hull from memories of such travels and observations whilst living in and exploring Chile and its coast.
128 507. Thomas Jaques Somerscales (1842-1927) Off the Coast of Tarapaca signed and dated 1920 bottom left inscribed as titled above on the stretcher oil on canvas 71 x 112cm. £12000-18000
129 Index of Artists
ARTIST Lot Nos. ARTIST Lot Nos. Anrroy, A. van 499 Macdonald, A. 495 Armstrong, A. J. S. 433, 434 Mackenzie, A. 421 - 424 Bale, C.T. 484 MacTaggart, W. 452 Bell, Q. 444, 445 Mainella, R. 457, 458 Bell, T. 431 Maris, J. 500 Brook, J.W. 392 McMorland, P. J . 355 Caffieri, H. 459, 460 Mesdag, H.W. 502 Carelli, C.H.R. 492 Moore, A. 432 Carelli, G. 491 Moulton Foweraker, A. 461 - 463 Cheadle, H. 469, 470 Nicholson, B. 425 Cosway, R 360 Piper, E. 439 Cox, D. 496 Planck, W. 453 Cuming, F. 448 Ponsford, J 398 Dearman, J. 487 Reynolds, S.W. 465 Dibdin, T.C. 490 Rowbotham, T.L. 497 Dodson, T. 450 Shiels, W. 401 Elwell, F. W. 399 Simpson, C.W. 454 Fishwick, C. 446 Slater, J. 413 Frain, R. 416 Smith, J. B. 477 Frost, T. 426 - 428 Snow, M.N.S. 435, 436 Gilbert, J. 414 Somerscales, T.J. 507 Goodrich, J. B. 468 Sparks, H. B. 417 Goodwin, A. 481 Stenckmann, M. 407 Gregory, G. 498 Sticks, G. B. 476 Hay, H. 505 Stott, E.W. 408 Hayman, P. 429 Tholen, W.B. 503 Henniker, A.L. 482 Todd, H.G. 483 Ivancich, B. 438 Wallis, A. 430 Jamieson, A. 493 Wells, J. 419, 420 Keating, T. 447 Widgery, W. 479 Langley, W. 471 Williams, A, 357 Lenkiewicz, R. O. 440 - 442, Williams, T 455 Luny, T. 504 Wingate, J. L. 449
130 GLOSSARY OF CATALOGUING TERMS
Any statement as to authorship, origin, date, age, provenance and condition is a statement of opinion and is not to be taken as a statement of representation of fact.
1. SIDNEY RICHARD PERCY – In our opinion a work by the artist. (When the artist’s forename(s) is not known, a series of asterisks, followed by the surname of the artist, whether preceded by an initial or not, indicates that in our opinion the work is by the artist named.)
2. ATTRIBUTED TO SIDNEY RICHARD PERCY – In our opinion probably a work by the artist but less certainty as to authorship is expressed than in the preceding category.
3. STUDIO OF SIDNEY RICHARD PERCY – In our opinion a work by an unknown hand in the studio of the artist which may or may not have been executed by under the artist’s direction.
4. CIRCLE OF SIDNEY RICHARD PERCY - In our opinion a work by an as yet unidentified but distinct hand – closely associated with the named artist but not necessarily his pupil.
5. STYLE OF . . . ; FOLLOWER OF SIDNEY RICHARD PERCY - In our opinion a work by a painter working in the artist’s style, contemporary or nearly contemporary, but not necessarily his pupil.
6. MANNER OF SIDNEY RICHARD PERCY – In our opinion a work in the style of the artist and of a later date.
7. AFTER SIDNEY RICHARD PERCY – In our opinion a copy of a known work of the artist.
8. The term signed and/or dated and/or inscribed means that in our opinion the signature and/or date and/or inscription are from the hand of the artist.
9. The term bears a signature and/or date and/or inscription means that in our opinion the signature and/or date and/or inscription have been added by another hand.
10. Dimensions are given height before width.
ARTIST’S RESALE RIGHT (“DROIT DE SUITE”)
If a lot is affected by this right it will be identified by the symbol ”•” next to the lot number. The buyer agrees to pay Bearnes Hampton & Littlewood an amount equal to the resale royalty and we will pay such amount to the artist’s collecting agent. Resale royalty applies where the hammer price is 1,000 Euro or more and the amount cannot be more than 12,500 Euro per lot. The amount is calculated as follows:
Royalty for the portion of the Hammer Price (in Euro)
4.00% up to 50,000 3.00% between 50,000.1 and 200,000 1.00% between 200,000.01 and 350,000 0.50% between 350,000.01 and 500,000 00.25% in excess of 500,000
Invoices will, as usual, be issued in Pounds Sterling. For the purposes of calculating the resale royalty the Pounds Sterling/Euro ratio rate of exchange will be European Central Bank reference rate on the day of the sale. 131 7499 MW 240x170 BACA 7/12/05 11:00 Page 1
We'll find the best value cover for the worst case scenario.
Nobody likes thinking about the worst. So think about the best instead. Because Lycetts is an independent insurance broker, we can offer you expert, impartial advice on a wealth of products and services for farm, estate, art and high value property insurance.
For further information and advice contact Simon Hay on 01392 479 111. Exeter Office: 2 Bystock Terrace, Exeter, Devon, EX4 4HY. Email: [email protected] or visit our website at www.lycetts.co.uk
We know your world.
132 Lycett, Browne-Swinburne & Douglass Ltd is authorised and regulated by the Financial Services Authority.