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“An unmissable fixture”The Financial Times

Preview Days: Tuesday 7th and Wednesday 8th August, 10am–6pm Thursday 9th August 8am–7pm Friday 10th August 10am–6pm Saturday 11th August 10am–5pm

Coffee and croissants being served to eager buyers, prior to our 8am opening, 2015.

“Start a collection was conceived by us 15 years ago to provide a platform on which a first- time buyer could make a purchase with confidence. That defining moment proved to bea building block for many now established collections and numerous new friendships. For that reason more than any other, Start a Collection remains an eagerly awaited event in our exhibition calendar both for our clients and for ourselves.”

All works are subject to availability. You can reserve ahead of time but priority is given to buyers in the gallery for the first half-hour of the opening day. Works can be previewed in the gallery on Tuesday and Wednesday ahead of the exhibition opening. Prices are valid for the duration of the exhibition only.

Delivery of purchased items can be arranged through the gallery.

Enquire / Reserve / Buy

28 Cork Street, London, W1S 3NG | Telephone: +44 (0)20 7437 5545 | Email: [email protected] To reserve ahead of time or arrange to view please click here startacollection 2018 Three-day only exhibition and sale Thursday 9th August 8am-7pm Friday 10th August 10am-6pm and Saturday 11th August 10am-5pm Preview Days: Tuesday 7th and Wednesday 8th August, 10am-6pm

Edwin Alexander RSA RWS RSW 1870–1926 Jeremy Annear Edwin Alexander developed a fascination with birds and he dedicated Annear trained at the Exeter College of Art and has taught at art himself to wildlife painting. He found his subjects in the country around colleges in the South West. He was had several solo shows at Musselburgh, Kirkcudbright and the Western Isles, capturing seabirds Messum’s, in St Ives, and at major German galleries. In the early 1990s along the coast and estuaries. he was artist-in-residence at the Atelierhaus Verlag in Worpswede, and visits to Australia introduced him to Aboriginal art, elements of which has influenced his work.

Edwin Alexander Seagulls on an Estuary Jeremy Annear watercolour and gouache Genius Loci XI on linen oil on board 36 x 43 cms 20 x 28 cms 7 14 x 17 ins 7 ⁄8 x 11 ins £12,850 – £9,500 £2,340 – £1,755

Jeremy Annear Genius Loci X David Andrew b.1934 oil on board Andrew trained at the Slade, where his main influences were Ben 20 x 29 cms 7 1 Nicholson, Piet Mondrian and the psychology of perception. He later 7 ⁄8 x 11 ⁄4 ins taught at Bournemouth and Portsmouth, and travelled throughout £2,340 – £1,755 the Mediterranean, the US and Canada, where he taught at Queens University before returning to his native Cornwall in 2004.

Jeremy Annear Beta IV David Andrew oil on canvas Waves Around Rock 14 x 30 cms 3 3 oil on canvas 5 ⁄8 x 11 ⁄4 ins £1,305 51 x 61 cms £1,740 – 1 20 ⁄8 x 24 ins £8,220 – £2,500

Jeremy Annear Folding Form IV (Field Green) oil on canvas 70 x 90 cms 1 3 27 ⁄2 x 35 ⁄8 ins David Andrew £11,820 – £8,865 Seascape with Nude oil on canvas 137 x 176 cms 7 1 53 ⁄8 x 69 ⁄4 ins £10,200 – £6,500 Jeremy Annear Harbour Forms III (Blue Edge) oil on canvas 50 x 70 cms 5 1 19 ⁄8 x 27 ⁄2 ins £5,820 – £4,365

Enquire / Reserve / Buy (please remember to include the artist/s name and artwork title/s you are interested in.) You can reserve ahead of time but priority is given to buyers in the gallery for the first half-hour of the opening day. Messum’s, 28 Cork Street, London W1S 3NG Tel: 020 7437 5545 www.startacollection.com startacollection 2018 Three-day only exhibition and sale 3

Mia Arnesby Brown 1866–1931 David Blackburn 1939–2016 The wife of Sir John Alfred Arnesby Brown, Mia Edwards was born Constantly balanced between the macro and the microscopic, his in Monmouthshire and trained with Hubert von Herkomer at Bushey. glowing pastels express Blake’s “world in a grain of sand” and invert In 1894, She exhibited work at the Nottingham Castle Exhibition of the elemental hierarchies of land, sky, horizon and our own earth- Cornish Painters and like Marianne Stokes and Elizabeth Forbes she bound point of view. excelled at child subjects. She exhibited regularly at the Royal Academy, the Goupil Gallery and with the Society of Women Artists.

David Blackburn Industrial Lanscape - West Riding Mia Arnesby Brown pastel Child with Daisies 62 x 50 cms 3 3 oil on canvas 24 ⁄8 x 19 ⁄4 ins 62 x 51 cms £8,500 – £4,500 1 1 24 ⁄4 x 20 ⁄4 ins £18,500 – £9,500

Jake Attree b.1950 David Blackburn Desert Landscape One of the North’s most acclaimed figurative artists, Jake Attree pastel works out of his studio at Dean Clough in Halifax, an enormous mill 36 x 42 cms complex that once housed Crossley Carpets. Over the past 25 years 1 1 14 ⁄8 x 16 ⁄2 ins he has exhibited his work widely throughout the UK, The Netherlands, £7,500 – £5,625 Germany and the US.

Jake Attree An Extensive View Across an Ancient City oil on panel 121 x 121 cms David Blackburn 3 3 47 ⁄4 x 47 ⁄4 in Up The Hill £11,400 – £8,500 collage 36 x 29 cms 1 3 14 ⁄8 x 11 ⁄8 ins £6,850 – £5,140 Jake Attree Trees on the Hill oil pastel on grey board 45 x 64 cms 3 1 17 ⁄4 x 25 ⁄4 ins £5,100 – £1,750 David Blackburn Collage With Symbols pastel and collage Arthur Berry 1925–1994 42 x 37 cms Born in North Staffordshire, Berry trained at Burslem and the RCA. 1 5 16 ⁄2 x 14 ⁄8 ins His earliest influences were Robert Colquhoun, Robert MacBryde, £7,500 – £5,625 and above all, social realism. Throughout his work an undercurrent of anger runs parallel with his sympathy for the plight of the working class and the reality of the pit villages he called home.

Arthur Berry David Blackburn Eviction,1982 Desert Orange chalk and ink pastel and collage 75 x 115 cms 37 x 39 cms 1 1 5 3 29 ⁄2 x 45 ⁄4 ins 14 ⁄8 x 15 ⁄8 ins £3,850 – £1,850 £6,850 – £5,140

Norman Blamey OBE RA ROI 1914–2000 John Bratby RA 1928–1992 Norman Blamey became best known as a religious painter, but saw John Randall Bratby was an English painter who founded the kitchen himself as a humanist, who specifically saw his sitters as a means to sink realism style of art that was influential in the late 1950s. He made express both the sacred and the mundane. He trained and taught at portraits of his family and celebrities. His works were seen in television Regent Street Polytechnic, both before and after WWII. This personal and film. study of his wife Margaret Kelly is posed in their North London flat, and she had earlier modeled for many of Blamey’s postwar social subjects.

Norman Blamey John Bratby A Bay Window in West Nice Hampstead, No 2, 1980 oil on board oil on board 1 3 122 x 84 cms 32 8 4 ⁄ x 42 ⁄ ins 48 x 33 ins 82 x 109 cms £8,500 – £6,000 £14,850 – £7,500

William Bowyer RA PP NEAC RP RWS 1926–2015 A Royal Academician and a President of the NEAC for over 30 years, Bowyer began as a Staffordshire ‘Bevin Boy’. He trained at night school, before moving on to the RCA under Ruskin Spear and Arthur John Trevor Briscoe 1873–1943 Carel Weight, and his work was marked by a strong sense of place, Born in Birkenhead, within easy reach of the great port of Liverpool, specifically his homes in Chiswick and on the Suffolk coast. Briscoe had sea in his blood. He was educated at Shrewsbury school and trained under Brown at the Slade Schools in London. He also spent some time at the Académie Julian in Paris. William Bowyer St Peter’s Square Chiswick: The Gardens, 1996 Arthur John Trevor Briscoe oil on canvas The Tramp 71 x 91 cms watercolour 3 28 x 35 ⁄8 ins 35 x 53 cms £3,500 3 7 £9,850 – 13 ⁄4 x 20 ⁄8 ins £1,500 – £750

William Bowyer Still Life with Mixed Flowers on Peter Brook RBA 1927–2009 the Table, 1965 Brook’s work was informed largely by the farm life, weather and oil on canvas humour of his native Yorkshire. He trained to be a teacher at 71 x 101 cms 3 Goldsmith’s College, followed by a stint in the RAF. By the 1960s he 28 x 39 ⁄4 ins £11,500 – £6,500 had his first solo show at the Wakefield City Art Gallery and found representation with Agnew’s. His flat, detached approach to subject matter was partly derived from Victorian photography, which inspired the smooth scrim-like paint handling that typifies much of his work. Sir Frank Brangwyn RA RWS PRBA RE HRSA 1867–1956 Brangwyn was born in Bruges of Welsh parents, where his father, an architect, ran a workshop which reproduced medieval embroideries and furnishings. Brangwyn received his early artistic training in his father’s workshop, and his apprenticeship continued in London when the family moved there in 1875. Between 1882 and 1884 Brangwyn was employed in William Morris’ studio in Oxford Street where he copied Peter Brook tapestries and made working drawings for carpets and wallpapers. Lane oil on canvas 51 x 20 cms 1 7 Sir Frank Brangwyn 20 ⁄8 x 7 ⁄8 ins First Light - A Tall Ship Leaving £9,850 – £6,000 a Cornish Port under Tow oil on canvas 51 x 76 cms 7 20 x 29 ⁄8 ins £14,850 – £8,500

Peter Brown ROI PS NEAC b.1966 Peter Brown One of Messum’s most popular and prolific artists, Brown trained Towards Blackwater Estuary at Manchester Polytechnic and Bath. Always painting on site and in from a Farm near Tolleshunt all weathers, indeed, wherever the view takes him, he is a familiar D’Arcy figure on the streets of Bath, London, Oxford, Cambridge, Cardiff, oil on board Chichester, Henley, and now, Udaipur. 25 x 31 cms 10 x 12 ins Peter Brown £3,000 – £2,250 The Magazine, Hyde Park oil on canvas 31 x 91 cms 12 x 36 ins Lionel Bulmer NEAC 1919–1992 Unframed The son of an architect, Bulmer trained at Clapham art school before £6,600 – £2,500 WWII. Afterwards, he enrolled at the RCA where he met his partner Margaret Green. They became inspirational teachers and inseparable Peter Brown throughout their artistic careers, which they spent largely in Chelsea Selwood Place from Onslow and West Suffolk. The Lionel Bulmer and Margaret Green Studio Estate Gardens is represented by Messum’s. oil on board 14 x 20 cms 1 7 5 ⁄2 x 7 ⁄8 ins £1,380 – £1,040 Lionel Bulmer Resting oil on canvassed board 15 x 23 cms 7 5 ⁄8 x 9 ins Peter Brown £1,485 – £750 London Scene, Monument oil on canvas 51 x 41 cms 20 x 16 ins £4,620 – £3,465 Lionel Bulmer Beneath the Harbour Wall, Littlehampton oil on canvassed board 28 x 10 cms 7 11 x 3 ⁄8 ins £1,250 – £750

Peter Brown Piccadilly Looking West, 2012 oil on canvas Lionel Bulmer 89 x 76 cms Beneath the Harbour Wall, 7 35 x 29 ⁄8 ins Littlehampton, 1957 £14,220 – £10,670 oil on canvassed board 28 x 10 cms 7 11 x 3 ⁄8 ins £1,250 – £750

Peter Brown Lionel Bulmer Plaça Sant Jaume, 2013 Patterned Interior oil on board oil on canvas 31 x 25 cms 92 x 137 cms 12 x 10 ins 36 x 54 ins Unframed £12,500 – £8,500 £3,900 – £2,925

Peter Brown Towards Deptford Town Hall Lionel Bulmer from Goodwood Road, New Portrait of a Child Cross oil on canvassed board oil on board 23 x 15 cms 31 x 25 cms 7 9 x 5 ⁄8 ins 12 x 10 ins £750 Unframed £1,450 – £2,700 – £2,050

Lionel Bulmer Simon Carter Reading by the Studio Window Autumn High Tide, Sandy gouache and mixed media Hook, 2014 on paper acrylic on canvas 43 x 28 cms 110 x 120 cms 7 1 1 16 ⁄8 x 11 ins 43 ⁄4 x 47 ⁄4 ins £1,850 – £1,250 £15,420 – £11,570

Simon Carter b.1961 Simon Carter Carter’s Essex landscapes illustrate the act of painting as much as Drawing II for ‘Pale Autumn they do place. He contends that painting is about illustrating visual Light, Sandy Hook’, 2014 observation, which is in itself a process that develops from looking graphite and oil pastel and sketching to painting itself. It is through the act of painting, of 21 x 28 cms 1 coordinating colours and making marks, that the artist’s interpretation 8 ⁄4 x 11 ins of space and its visual elements emerges. £1,740 – £1,310

Simon Carter Tom Coates PPNEAC PPRBA RP RWS PPS b.1941 Dark Cloud Trained at the RA, Coates is both a renowned teacher and painter. In acrylic on canvas 1992 he won the Horse and Hound Royal Ascot prize for a work 25 x 30 cms 7 3 presented to HM The Queen. Recently, he has produced works for the 7 ⁄8 x 11 ⁄4 ins £1,740 – £1,300 military and watercolours for HRH The Prince of Wales. In 2000 he was MCC’s official artist when the England team went to South Africa.

Tom Coates View to the Post Office, Venice Simon Carter Frinton Beach II oil on canvas 61 x 76 cms acrylic on canvas 7 24 x 29 ⁄8 ins 25 x 30 cms 7 3 Unframed 7 ⁄8 x 11 ⁄4 ins £4,000 £1,740 – £1,300 £7,850 –

Simon Carter Tom Coates The English Landscape, Towards the Pier, Eastbourne Reedbed oil on canvas acrylic on canvas 91 x 61 cms 25 x 30 cms 36 x 24 ins 7 3 7 ⁄8 x 11 ⁄4 ins £7,850 – £4,000 £1,740 – £1,300

Lilian Colbourn 1897–1967 Simon Carter Colbourn spent most of her life in Staithes, North Yorkshire. Her The Naze work, known for both its expressionistic power and delicacy, has acrylic on canvas been exhibited at the Walker Art Gallery, the Paris Salon the Berkeley 25 x 30 cms 7 3 Galleries and elsewhere. 7 ⁄8 x 11 ⁄4 ins £1,740 – £1,300

Lilian Colbourn Ici est tombe pour la France Simon Carter Five Swimmers oil on canvas 44 x 34 cms acrylic on canvas 112 x 86 ins 117 x 127 cms 1 £9,500 – £4,500 46 ⁄8 x 50 ins £15,420 – £11,565

Alan Cotton Co Kerry - Towards the Blaskets Lilian Colbourn from Dooneen Harbour India in London ink and wash oil on canvas 30 x 40 cms 3 3 112 x 91 cms 11 ⁄4 x 15 ⁄4 ins 1 7 44 ⁄8 x 35 ⁄8 ins £1,620 – £1,220 £9,850 – £4,000

Alan Cotton Co Kerry - Brilliant Light at Lilian Colbourn Dooneen Harbour La Creperie Bretonne, Paris pen and wash 30 x 40 cms oil on artist’s board 3 3 76 x 61 cms 11 ⁄4 x 15 ⁄4 ins 7 £1,620 – £1,220 29 ⁄8 x 24 ins £7,500 – £4,000

Lilian Colbourn Alan Cotton Abstract Shapes, Yorkshire Scotland - The Dragon’s Tooth Coast above Loch Linnhe charcoal and pastel watercolour 25 x 38 cms 42 x 57 cms 7 3 1 9 ⁄8 x 15 ins 16 ⁄8 x 22 ⁄4 ins £2,450 – £1,500 £2,220 – £1,670

Jane Corsellis NEAC RWS RCA b.1940 From prize-winning student at the Byam Shaw School of Art to mainstay of the New English Art Club, Corsellis is well respected among her peers and has enjoyed a glittering and far-flung career. She has lived in Spain, Hong Kong, Canada and Malaysia, but more recent Alan Cotton subjects emanate from travels closer to home; in London, Cornwall, Sicily - Autumn in the Madonie her home in West Wales, in Venice and Florence and with family and Mountains friends in the South of France. oil on canvas 91 x 91 cms 7 7 35 ⁄8 x 35 ⁄8 ins £19,800 – £14,850 Jane Corsellis Freshly Caught Lobster oil on board 25 x 38 cms 7 9 ⁄8 x 15 ins £4,620 – £2,950 Lionel Townsend Crawshaw RSW RBSA 1864–1949 Crawshaw read law at Cambridge before becoming a painter, having Alan Cotton been encouraged by Benjamin Leader After some initial training at Cotton’s relationship with oil paint is the key to his now immediately Weymouth, he studied at Dusseldorf, Karlsruhe and the Académie recognisable and internationally sought-after work. His understanding Colorossi, before travelling to Berlin, Bavaria and the Rhineland. In of the medium’s allure, challenges and caprices translate into 1903, he moved to Whitby, where he lived (off and on) for nearly assertively textured landscapes that join impasto with atmospheric forty years, as well as at Doncaster and later, Edinburgh. perspective. Executed in high colour keys, these paintings retain a purity of pigment that is exceptionally difficult to retain in oil.

Lionel Townsend Crawshaw Alan Cotton Summer Holidays, Whitby, Devon - Boats at Hartland c. 1920 watercolour oil on canvas 31 x 41 cms 50 x 64 cms 1 1 1 1 2 4 12 ⁄4 x 16 ⁄8 ins 19 ⁄ x 25 ⁄ ins £2,340 – £1,760 £18,500 – £14,500

James Dodds, b.1957 Dodds paints smacks, skiffs, cobles, winkle brigs and peapods in Maxwell Doig meticulous detail, expressing not only their forms, but also how they Swimmer in Striped Costume developed out of the coastal communities they once sustained. He often monotype on Velin Arches ‘floats’ these boats against rich, neutral backgrounds achieved by building cream paper up and scraping down several layers of ground, paint, and even mud. 40 x 29 cms 3 3 15 ⁄4 x 11 ⁄8 ins £1,980 – £1,490 James Dodds For’ard II oil on linen 46 x 61 cms Fred Dubery Professor, NEAC 1926–2011 1 18 ⁄8 x 24 ins New English Art Club stalwart Fred Dubery exhibited at the Royal £4,620 – £3,465 Academy from 1950 and taught at the Royal Academy Schools from 1964. He wrote popular books on drawing and perspective. Drawn increasingly to East Anglia, he also displayed a life-long love of France in exhilarating images which revel in colour and patterning and pay homage to Vuillard and Bonnard. Latterly based near Stowmarket, James Dodds Dubery often painted with close friends and neighbours Lionel Bulmer “Adventure”: Inside Stern and Margaret Green whose picture have a similar sparkle. oil on linen 92 x 122 cms 36 x 48 ins Fred Dubery £13,800 – £10,350 The Golden Bowl oil on board 29 x 39 cms 1 3 11 ⁄4 x 15 ⁄8 ins £2,650 – £1,500

James Dodds Sir Jacob Epstein LG 1889–1959 Canoe Stern The son of Polish-Jewish refugees, Epstein trained in New York before oil on linen moving to Paris in 1902 to train at the Académie Julian and the École 97 x 50 cms des Beaux-Arts. After settling in London he became a British citizen in 5 5 38 ⁄8 x 19 ⁄8 ins 1907, and was later associated with the Vorticist group. He is mostly £11,400 – £8,550 known as a sculptor whose work often shocked the public because of his radical treatment of subject and form. He was knighted in 1955.

Sir Jacob Epstein LG, 1889-1959 Maxwell Doig, b.1966 Epping Forest A really good artist makes you look at the familiar in a new way; things gouache on board 43 x 56 cms you might once have passed without a second glance become suddenly 7 16 ⁄8 x 22 ins remarkable. Paul Nash did it with his winter landscapes and paintings £4,850 – £2,850 of trees; Maxwell Doig does it with the gable end of an old building, a deserted farmhouse, or the clock-tower of an abandoned woolen mill. What at first sight seems ordinary becomes, through his hands and eyes, extraordinary. And you can never look at those things in quite Andrew Festing RP MBE, b.1941 the same way again. After serving in The Rifle Brigade, and working at Sotheby’s, Festing (who is self-taught) turned to portraiture. His commissions include official portraits of HM The Queen; Baroness Boothroyd; English cricket greats of the last 40 years; and the staff at Holkham Hall, among many others. Maxwell Doig Sleeping Figure under Coat acrylic on Velin Arches cream Andrew Festing paper Coast by the Pagana, near 72 x 52 cms Portofino, Genoa III 3 1 28 ⁄8 x 20 ⁄2 ins oil on board £5,040 – £3,150 31 x 41 cms 12 x 16 ins £3,000 – £1,200

Michael Finn 1921–2002 Stanhope Alexander Forbes RA NEAC 1857–1947 A career teacher, Michael Finn began painting in earnest only in the last Born in Dublin, Forbes was educated at Dulwich College, and trained twenty years of his life, after he moved to Tregeseal in West Cornwall. at Lambeth School of Art before attending the RA Schools. He then A devout Catholic is work is deeply contemplative and his styles as trained in Bonnat’s Paris studio and painted in Brittany before moving to seen in most of his pictures from the late 1980s and early 1990s is Newlyn in Cornwall. His enormous success with Fish Sale on a Cornish similar to that of the American “colour field” painters, with the main Beach at the RA in 1885 was a turning point in his career and his name is colour planes offset by bands of contrasting hues to mark the edges of now synonymous with the Newlyn School of British painting. the picture plane.

Michael Finn White Canvas acrylic on canvas 91 x 91 cms 7 7 35 ⁄8 x 35 ⁄8 ins Stanhope Alexander Forbes £1,450 – £1,000 The Forge, 1917 oil on canvas 152 x 117 cms 7 1 59 ⁄8 x 46 ⁄8 ins £65,000 Peter Fleming NEAC b.1949 £95,000 – London-born, Fleming trained at Hammersmith, where he has been a visiting tutor for 35 years, teaching mainly at Chelsea College of Art and Design. His subjects are mostly interiors: investigations into the transformative power of light on familiar spaces. In 2006, Fleming’s painting New Morning was awarded the Cecil Jospe Prize in the NEAC’s Annual Open Exhibition.

William Gilbert Foster RBA 1855–1906 Senior member of the Staithes Group of artists, he had a studio at Runswick for many years. He painted landscapes and rural genre in Peter Fleming oil and watercolours. Born in Manchester. A self-taught artist, apart Spring Scaffolding (Studio from some instruction from his father, a portrait painter. Scenes of the Window) Yorkshire coast were his favourite subject. Exhibited regularly at the tempera on board Royal Academy (forty times) and at the Royal society of British. 102 x 64 cms 1 40 x 25 ⁄4 ins £3,120 – £1,950 William Gilbert Foster The Silver Stream oil on canvas 86 x 152 cms 34 x 60 ins £16,850 – £9,500 Elizabeth Armstrong Forbes 1859–1912 Born in Canada Elizabeth Armstrong came to London with her mother as a youngster and enrolled at the South Kensington Schools for a short time. They lived with an uncle in Chelsea next door to the old Rossetti house. By about 1877 Elizabeth and her mother were in New Alethea Garstin RWA 1894–1978 York, where she joined the Art Students’ League. Here she was taught Born in Penzance, Alethea Garstin was steeped in the art and artists of by artists who had studied on the Continent and who had already Cornwall from the start - for she was the daughter, and later the pupil, discovered the work of Millet and of Bastien-Lepage. of leading Newlyn impressionist Norman Garstin. But beyond her family connections (and her friendships with diverse talents from Alfred Wallis to Dod Procter) she achieved her own very distinctive voice as a painter. Generally modest in scale, her work is characterised by its freedom, lightness and sure sense of colour and composition. Elizabeth Armstrong Forbes The Morning Walk oil on panel Alethea Garstin 32 x 23 cms 5 At Newlyn 12 ⁄8 x 9 ins oil on board £38,500 – £27,500 27 x 40 cms 3 3 10 ⁄4 x 15 ⁄4 ins £2,850 – £1,750

Anthony Gilbert 1916–1925 Wilfrid Gabriel de Glehn RA 1870–1951 One of the last great designer-illustrators of British advertising, Gilbert The last and arguably, one of the best British Impressionists, de trained at Goldsmiths, and worked for J. Walter Thompson, where Glehn’s long career as a portraitist and painter was heavily influenced he contributed to major advertising campaigns, including Rowntree’s, by his close friendship with John Singer Sargent, as well as his in-depth Horlicks, and Rose’s Lime Juice; his design for After Eight mints is still knowledge of French art (particularly the Rococo) and love of travel. used by Nestlé. Later, he became a successful illustrator for Vogue, drawing fashions modeled by his wife, Ann.

Wilfrid Gabriel de Glehn Battersea Bridge, Looking West oil on canvas 71 x 89 cms Anthony Gilbert 28 x 35 ins Quarter-length Portrait £38,500 – £28,500 pencil 28 x 16 cms 1 11 x 6 ⁄4 ins £2,250 – £1,450

Wilfrid Gabriel de Glehn Ariadne in Naxos oil on canvas 57 x 72 cms Anthony Gilbert 1 3 22 ⁄4 x 28 ⁄8 ins Lady in Blue Coat £22,500 – £15,500 mixed media 9 x 7 cms 3 3 3 ⁄8 x 2 ⁄4 ins £1,250 – £750

Wilfrid Gabriel de Glehn Jane de Glehn painting by the River Avon, c. 1942 oil on canvas Anthony Gilbert 51 x 76 cms Exotic Bird 1 7 20 ⁄8 x 29 ⁄8 ins pencil, coloured pen & wash £36,000 – £28,500 30 x 29 cms 3 3 11 ⁄4 x 11 ⁄8 ins £2,850 – £1,400

Wilfrid Gabriel de Glehn Coutances, Normandy oil on panel 51 x 61 cms Anthony Gilbert 20 x 24 ins Jug, Mug and Cup £18,500 – £14,500 pen & wash 25 x 17 cms 7 3 9 ⁄8 x 6 ⁄4 ins £2,250 – £1,250

Wilfrid Gabriel de Glehn Helford Passage, Cornwall watercolour 41 x 51 cms 1 1 Anthony Gilbert 16 ⁄8 x 20 ⁄8 ins Still Life, Jug and Pears on £3,850 – £2,650 Laquered Table mixed media on board 44 x 33 cms 1 17 ⁄8 x 13 ins £3,250 – £2,500

Margaret Green NEAC 1925–2003 Louis Monro Grier RBA 1864–1920 Green met her life-long companion, Lionel Bulmer, at the RCA, where Australian-born, Grier’s family moved to London when he was an she had won a scholarship. They shared studios at Chelsea and Suffolk, infant, although he spent most of his childhood alternately in Canada and she regularly exhibited her work at the RA and the NEAC. Her and England. Around 1885, Grier himself moved to St Ives, possibly paintings are now in the Tate, the Government Art Collection and many inspired by Whistler, whom he deeply admired. When he later returned public galleries. Messum’s exclusively represents her Studio Estate. to Australia in 1892, Grier carried this inspiration with him and possibly shortly thereafter painted this view of the port of Newcastle in New South Wales, which, like its namesake, was a vital coal centre. Margaret Green Beneath the Trees Louis Monro Grier gouache on paper Harbour Landscape 19 x 28 cms oil on board 3 7 ⁄8 x 11 ins 24 x 34 cms £750 1 5 £1,150 – 9 ⁄2 x 13 ⁄8 ins £6,850 – £2,500

Lindy Guiness b.1941 Lindy Guinness, born Lindy Hamilton Temple Blackwood in 1941, is an Margaret Green Sat next to the Christmas Tree artist, conservationist and business woman who, after marrying the fifth Marquess, became Marchioness of Dufferin and Ava. She is the daughter oil on board 63 x 29 cms of John Manners, the 9th Duke of Rutland, growing up in Belvoir Castle 3 1 24 ⁄4 x 11 ⁄4 ins and studied art under Oskar Kokoschka as a young girl. £2,850 – £1,250

Lindy Guiness A View from the Drawing Room, Clandeboye, Bangor, N.Ireland Margaret Green oil on canvas Hunters gathering 45 x 56 cms 3 on the Village Green 17 ⁄4 x 22 ins oil on canvas £4,850 – £2,850 33 x 92 cms 1 13 x 36 ⁄4 ins £6,850 – £2,500

Nancy Haig 1917–2001 Margaret Green Nancy Haig was a member of the famous Haig family of distillers, whose Into the Garden advertising slogan “Don’t be vague, ask for Haig” was world famous. gouache on paper Nancy went to study painting at the St John’s Wood Art School, then 20 x 13 cms 7 1 under the inspired co-headship of Pat Millard, and there she made 7 ⁄8 x 5 ⁄8 ins £1,150 – £850 friends with her fellow-students Jane Levenson and John Minton.

Nancy Haig Peter Greenham RA NEAC 1909–1992 Farmyard with Chickens Throughout the 1970s, Greenham painted subtle, atmospheric pen & wash Norfolk seascapes and beach scenes. Combining draughtsmanship with 38 x 56 cms sensitive brushwork and luminous colour, his later work has a depth 15 x 22 ins and spontaneity comparable to his portraiture. £1,450 – £1,100

Peter Greenham Beach Scene in Summer Nancy Haig oil on board In the Hills, Cumbria 25 x 31 cms pastel 7 1 9 ⁄8 x 12 ⁄4 ins 39 x 53 cms 1 7 £6,850 – £5,500 15 ⁄8 x 20 ⁄8 ins £1,250 – £940

Philip Hicks b.1928 Nancy Haig Hicks trained at Chelsea and the RA Schools, and throughout the Two Fishing Boats on the Shore 1970s and ‘80s he explored abstraction, but since 1990, his work pencil has been figurative, mostly inspired by the countryside surrounding 39 x 56 cms his Oxfordshire home. In 2013, Times art critic, John Russell Taylor 3 15 ⁄8 x 22 ins published a monograph of his work and career. £1,450 – £1,100

Philip Hicks Fell Dweller oil on board 48 x 73 cms 7 3 Nancy Haig 18 ⁄8 x 28 ⁄4 ins Still Life with Oil Lamp £5,820 – £2,250 pen & wash 49 x 60 cms 1 5 19 ⁄4 x 23 ⁄8 ins £1,600 – £1,200 Philip Hicks Rooster and Wives oil on canvas 43 x 53 cms Fred Hall NEAC 1860–1948 17 x 21 ins £2,000 At first sight Hall’s idyllic scene of horses in deep dappled shade £2,700 – resembles many of his earlier rural scenes of Newlyn and Porlock, but the animals depicted are actually war horses. Closely observed, he distills his forms into almost evocations of equine strength, rather than individual horses, and his limited, high contrast palette and impasto handling indicate the enduring influence of La Thangue had on his Philip Hicks work during and immediately after the Great War, when Hall painted Sea Freshness this picture. oil on board 37 x 23 cms 1 14 ⁄2 x 9 ins £1,140 – £855

Fred Hall A Day of Rest, 1918 oil on board 64 x 76 cms 1 7 25 ⁄4 x 29 ⁄8 ins Philip Hicks £22,500 – £12,500 Bird on a Fence: Autumn Moon oil on board 51 x 76 cms 20 x 30 ins £4,380 – £3,285 Dave Hartley b.1970 Based in Stockport, Cheshire-born Hartley began his career as a graphic illustrator and his starkly refined, poetic graphite drawings Rose Hilton b.1931 usually focus on Lancashire’s industrial past. Deeply influenced by When she was only a teenager, Rose Hilton enrolled in the Royal Trevor Grimshaw, his paintings have an evident ‘human factor’, and he College of Art, despite the disapproval of her staunchly Baptist family. often titles his works to imply a narrative behind them. While her subsequent marriage to the mercurial Roger Hilton delayed any formal career, after his death, she gave herself over wholly to painting. Inspired by the French School and her Cornish home, she is now internationally recognised as a major St Ives artist and is represented exclusively by Messum’s. Dave Hartley Man of Steel, 2013 pastel on paper Rose Hilton 40 x 30 cms 3 3 Leaning Figure 15 ⁄4 x 11 ⁄4 ins £1,485 – £650 pastel 33 x 25 cms 3 7 12 ⁄4 x 9 ⁄8 ins £1,740 – £1,300

Brian Horton Rose Hilton Sunrise over Calm Sea, Costume Design Pembrokeshire pastel mixed media 37 x 27 cms 33 x 38 cms 5 5 14 ⁄8 x 10 ⁄8 ins 13 x 15 ins £1,020 – £765 £3,900 – £2,925

Rose Hilton Brian Horton Badger in Botallack Nevern Estuary & Crimson Sunset monotype 29 x 42 cms gouache 3 1 8 2 48 x 53 cms 11 ⁄ x 16 ⁄ ins 7 7 £1,500 – £1,125 18 ⁄8 x 20 ⁄8 ins £5,820 – £4,365

Rose Hilton Dance Brian Horton pastel Garden, Late October, Taplow 27 x 28 cms gouache 5 10 ⁄8 x 11 ins 41 x 46 cms 1 1 £1,020 – £765 16 ⁄8 x 18 ⁄8 ins £4,800 – £3,600

Rose Hilton Brian Horton Back View Pembrokeshire Cliffs with Sea, pastel Surf & Wind 27 x 19 cms 5 1 mixed media 10 ⁄8 x 7 ⁄2 ins 48 x 53 cms £900 – £675 7 7 18 ⁄8 x 20 ⁄8 ins £5,820 – £4,365

Brian Horton b.1933 Karin Jonzen RBA 1914–1998 Horton was educated at Shrewsbury School and Exeter College, Born in London to Swedish parents, Karin Jonzen trained at the Slade, Oxford. Following his National Service, he enrolled at Cheltenham in Paris and Stockholm, where she must have seen many works by College of Art, where he met his wife, Sheila. He has shown his work Bertel Thorvaldsen. She also frequented the British Museum and the at the RA, the Royal Watercolour Society and in several solo shows National Gallery, whose collections helped shape what would later with Messum’s. Studio Publications has published a monograph of his become recognised as her “classical” style. In 1939, she won the Prix work with text by Andrew Lambirth. de Rome and in 1948, the Royal Society of British Sculptors’ award for a woman artist.

Brian Horton Pembrokshire Seascape with Karin Jonzen Clouds and Shadows Europa and the Bull mixed media bronze with brown patina 42 x 48 cms 23 cms 1 7 16 ⁄2 x 18 ⁄8 ins 9 ins £4,620 – £3,465 £4,850 – £2,500

Percy Kelly 1918–1993 The best of Kelly’s output is the grand series of powerfully mesmeric Eardley Knollys charcoal drawings he made in the late-1950s, mostly of landscape. They Jug and Plate bear comparison with the cream of Sheila Fell’s work (which he knew and watercolour admired), but have a solidity and conviction, an earthbound magic, which is 5 x 5 cm all his own. Andrew Lambirth Art critic, Spectator 2 x 2 ins £185 – £85

Percy Kelly Church on the Green charcoal on paper 53 x 73 cms Eardley Knollys 7 3 20 ⁄8 x 28 ⁄4 ins Chianti Bottle Still Life £4,850 – £3,850 oil on canvas 64 x 76 cm 35 x 30 ins £8,850 – £3,500

Percy Kelly Church by the Bridge, West Cumbria charcoal on paper Peter Kuhfeld RP NEAC b.1952 56 x 76 cms Kuhfeld studied art at Leicester Polytechnic at the RA under Peter 7 22 x 29 ⁄8 ins Greenham, RA. He has won numerous prizes, and accompanied HRH £4,850 – £3,850 The Prince of Wales on his 1991 tour of Africa and Japan, and his 2004 tour of the Middle East. He has painted the Prince’s portrait, and views of the 2011 Royal Wedding. Dame Laura Knight DBE RA RWS 1877–1970 Just before the outbreak of WWII, Laura Knight lived at Malvern, and became part of the creative circle that gathered each summer for Barry Jackson’s Festival. Based at the Mount Pleasant Hotel and the Park Hotel in nearby Colwall, festivalgoers often amused themselves by taking donkey rides over the Malvern Hills, renting the animals from Peter Kuhfeld local eccentrics like Alice Betteridge, who Knight included, along with Burlington House, The Degas her pony Kitty, in this panoramic view looking towards Wales. Show oil on board 69 x 54 cms 1 1 27 ⁄8 x 21 ⁄4 ins £14,850 – £7,500 Dame Laura Knight On the Hill Top, 1939 oil on canvas 64 x 76 cms 7 25 x 29 ⁄8 ins £28,500 – £16,500

Richard Hayley Lever 1876–1958 Eardley Knollys 1902–1991 At the age of seventeen, Lever left his native Australia to train as a A man of many talents, Knollys tried his hand at many things - even painter in Europe and soon began to show his work in London and directing silent films in Hollywood - before becoming a respected critic Paris. In 1900, fellow Australian Louis Grier introduced him to the St and art dealer. He was celebrated for his taste and style and, together Ives, where he worked with Grier and Julius Olsson. Lever also painted with Desmond Shawe-Taylor, Raymond Martinez, Edward Sackville- on the South Coast, in Brittany and the Hudson River Valley. West and Patrick Trevor-Roper, he formed a noted salon.

Richard Hayley Lever Eardley Knollys Sunset A Figure in a Garden oil on canvas coloured crayon 27 x 34 cms 1 1 23 x 15 cms 10 ⁄2 x 13 ⁄2 ins 7 9 x 5 ⁄8 ins £9,850 – £2,850 £285 – £150

Thomas Luny 1759–1837 By 1807, when Luny moved from London to Teignmouth, the Devon Martyn R. Mackrill fishing port had become a preferred holiday spot of the Georgian Study for ‘Handling literati, with artists and writers arriving in regular pursuit of fresh air and the Backstay’ inspiration. He built Luny House as his studio/home and made coastal, pencil and his stock in trade became shipping and naval subjects. Dated 1829, 31 x 40 cms 1 this picture shows the enduring influence of Francis Holman, with 12 x 15 ⁄8 ins whom Luny had trained in London. £480 – £360

Thomas Luny Unloading the Catch oil on canvas 51 x 71 cms 20 x 28 ins Martyn R. Mackrill £22,500 – £12,500 Close Tacking watercolour 37 x 28 cms 1 14 ⁄2 x 11 ins £2,700 – £2,025

Martin R. Mackrill b.1962 Born on the Isle of Wight, where he now lives, Mackrill grew up around boats and harbours, and is a keen yachtsman. He trained at Portsmouth Art College and Sunderland Polytechnic and his pictures recreate the golden age of sailing, when fast, flawlessly lined boats owned by the rich and powerful were skippered and crewed by local fishermen, motivated as much by competition as prize money. Martyn R. Mackrill The Silver Sea oil on canvas Martyn R. Mackrill 61 x 76 cms 7 Ashore 24 x 29 ⁄8 ins watercolour £9,000 – £5,500 31 x 56 cms 12 x 22 ins £2,700 – £2,025

Martyn R. Mackrill Martyn R. Mackrill Thames Sailing Barges Yarmouth One Designs pen and ink pencil and wash 29 x 42 cms 31 x 51 cms 1 1 12 x 20 ins 11 ⁄2 x 16 ⁄2 ins £780 – £585 £780 – £585

Martyn R. Mackrill Paul Fordyce Maitland NEAC 1863–1909 Down Channel Paul Fordyce Maitland, born in 1863 was a pupil of the French émigré, oil on canvas Theodore Roussel, was among the select group of British artists in the 71 x 107 cms 1 1889 London Impressionists exhibition at the Goupil Galleries, one of 28 x 42 ⁄8 ins the first moments that Impressionism was linked to painting in Britain. £16,200 – £8,500 Through Roussel, Maitland became interested in different means of conveying space and atmospheric effect.

Paul Fordyce Maitland Martyn R. Mackrill A Corner of Kensington Homeward, Brixham Trawler Gardens Approaching Bolt Head oil on canvas oil on canvas 31 x 41 cms 71 x 107 cms 12 x 16 ins 28 x 42 ins £13,850 – £9,000 £15,000 – £11,250

Mary McCrossan RBA NEAC 1863–1934 Patrick Ferguson Millard RBA 1902–1977 The daughter of an iron founder she had trained at Liverpool School Pat Millard was born and brought up in Cumberland and studied at the of Art before progressing on to the Academie Delecluse in Paris and Carlisle and Liverpool Schools of Art, later progressing to the Royal although she returned to Liverpool for several years after her first Academy Schools, where Sickert still taught one day a week. It was visit to St Ives, by 1910 she was advertising painting lessons at Piazza Sickert who advised him to use his travelling scholarship to go to Paris Studios above Porthmeor beach. She studied with Julius Olsson in St and this he did, travelling additionally to Spain, where he fell in love Ives in the late 1890s. with the work of El Greco at a time when he was greatly undervalued.

Patrick Ferguson Millard Mary McCrossan The Wicklow Express Yachts Racing pen, wash and watercolour oil on canvas 27 x 36 cms 46 x 61 cms 5 1 10 ⁄8 x 14 ⁄8 ins 18 x 24 ins £4,850 – £3,500 £14,500 – £8,500

John Miller 1931–2002 Hugh McKenzie 1909–2005 Miller emerged as a cultural icon in 1970s Cornwall, and was Hugh McKenzie’s watercolour drawings record the changing face particularly celebrated for his glowing, evidently abstracted views of of London during a period of immense architectural upheaval, his Tresco and the West Penwith peninsula. He was also a renowned knowledge of architecture—by all accounts formidable—was born not teacher, television personality, patron of local charities, and supporter of dry historical study but came from his years of experience working of architectural projects, including an interior redesign of the Newlyn with the fire service, which he did throughout the war years and for Art Gallery. some time beyond.

John Miller Hugh McKenzie Parthenon Building Site in Byward Street oil on canvas pen and wash 61 x 61 cms 34 x 53 cms 24 x 24 ins 3 5 £1,200 13 ⁄8 x 20 ⁄8 ins £8,850 – £1,500 – £850

John Miller Hugh McKenzie Paraportiani II, 1986 Lewisham High Street oil on canvas pen and wash 61 x 51 cms 1 32 x 46 cms 24 x 20 ⁄8 ins 3 1 £1,200 12 ⁄8 x 18 ⁄8 ins £8,850 – £1,380 – £750

John Miller Hugh McKenzie Chimney in Crete Flood Prevention Works, oil on canvas Lewisham High Street 46 x 46 cm 1 1 pen and wash 18 ⁄8 x 18 ⁄8 ins 28 x 39 cms £2,450 – £1,500 3 11 x 15 ⁄8 ins £900 – £450

John Miller Hugh McKenzie Quiet Bay View in the City oil on canvas watercolour 92 x 85 cms 33 x 37 cms 1 1 4 2 7 5 36 ⁄ x 33 ⁄ ins 12 ⁄8 x 14 ⁄8 ins £12,850 – £8,500 £1,080 – £450

Carlos Nadal 1917–1998 John Miller Termed “the last of the Fauves”, as a young man Carols Nadal Blue Dome knew Braque, Matisse, Marquet, Dufy, Utrillo, and even Picasso. oil on canvas Born in Barcelona, he studied under Ossip Zadkine in Paris and his 56 x 56 cms internationally acclaimed work, marked by a naïve intensity, is often 22 x 22 ins compared to that of Raoul Dufy. £8,850 – £4,500

Carlos Nadal Brussels Market John Miller mixed media on paper 22 x 30 cms Foxgloves 5 3 8 ⁄8 x 11 ⁄4 ins oil on canvas £6,850 – £3,250 66 x 61 cms 26 x 24 ins £8,850 – £3,850

Norman Neasom RWS RBSA 1915–2010 John Minton 1917–1957 There is a heartfelt Englishness about Norman Neasom’s paintings, John Minton was born in Cambridge and studied first in Shrewsbury something about his work that speaks in a poetic way about English and then at the St John’s Art School under P F Millard, on leaving, he village life, about farming in the hills, about locals teasing each other in spent eight months in France in the company of Michael Ayrton. He the pub, that reminds us what it feels like to be hefted to this land. Our shared studios with Robert Colquhon and Robert MacBryde 1943-6, humour and modesty, our dotty fascinations, and the beauty of our and with Keith Vaughan 1946-52. He also taught at Camberwell, along landscape – Neasom captures them all. with Keith Vaughan and Leonard Rosoman, the Central School and the Royal College of Art, 1948-56. Norman Neasom Summer Walk, Bredon Hill, Helping Hands, 1996 John Minton pen drawing The Luxembourg Gardens, 24 x 21 cms 1 1 Paris 9 ⁄2 x 8 ⁄4 ins oil on canvas £2,650 – £1,990 46 x 55 cms 1 5 18 ⁄4 x 21 ⁄8 ins £13,850 – £8,500 Norman Neasom The Carvery, Red Lion, Bradley Green, 2005 John Morgan RBA 1823–1886 pencil and wash John Morgan, father of the more well known Frederick Morgan (c. 17 x 21 cms 1 1 1847–1927), trained in Paris with Couture and Delaroche. Based on 6 ⁄2 x 8 ⁄8 ins the success of his picture The Jury (1861, Aylesbury) and his habit of £2,450 – £1,850 signing his works ‘J. Morgan’, he became known as “Jury Morgan”. He was primarily a genre painter, as influenced by the work of William Powell Frith, and he excelled at children subjects, such as Winter Landscape with Boys Snowballing (Victoria & Albert Museum). Norman Neasom Seen at the Bar Woodland Cottage, 2001 pencil and wash 20 x 13 cms 7 7 7 ⁄8 x 4 ⁄8 ins £2,450 – £1,850 John Morgan Kiss Me oil on canvas 92 x 72 cms 3 3 36 ⁄8 x 28 ⁄8 ins Norman Neasom £38,500 – £28,500 North Gate to Bordesley Abbey circa.12C, 1974 pencil drawing 27 x 36 cms 3 1 10 ⁄8 x 14 ⁄8 ins £3,250 – £2,450

David Parfitt ARCA NEAC b.1943 David Parfitt grew up in Blaenavon, a former Welsh mining town. He studied painting and drawing at Newport College of Art and at the Norman Neasom RCA where he won various scholarships and prizes. These included The Smokers, 2003 travel scholarships to Italy and France. For 50 years, he has lived on pencil and wash Strand-on-the-Green, and this part of leafy riverside Chiswick inspires 19 x 22 cms much of his current work. 1 1 7 ⁄2 x 8 ⁄2 ins £2,650 – £1,990

David Parfitt Strand Spring, Low Tide oil on canvas 41 x 51 cms 1 16 x 20 ⁄8 ins Norman Neasom £2,940 – £2,500 Civil Defence Rescue, 1942 pencil and wash 25 x 30 cms 7 3 9 ⁄8 x 11 ⁄4 ins £3,500 – £2,650

David Parfitt Across the River, February, Norman Neasom Dusk Country Life Memories, 1990 oil on canvas pencil and wash 122 x 91 cms 7 23 x 30 cms 48 x 35 ⁄8 ins 3 9 x 11 ⁄4 ins £11,820 – £6,500 £2,850 – £2,150

Norman Neasom David Parfitt Pub Dominoes, 1992 Under the Bridge, Spring pencil and wash Morning 14 x 14 cms oil on board 3 3 5 ⁄8 x 5 ⁄8 ins 36 x 58 cm £1,850 1 7 £2,450 – 14 ⁄8 x 22 ⁄8 ins £3,900 – £1,750

John Wright Oakes 1820–1887 This view of a Lancashire coastal village dates to early in Oakes’s David Parfitt Sunset, Kew Bridge career, before his move to London, when he painted around Liverpool, North Wales and Cheshire. From 1839, he exhibited regularly at the oil on board 61 x 50 cm Liverpool Academy, was elected Associate in 1847, and that same year 7 5 23 ⁄8 x 19 ⁄8 ins first exhibited in London. While he first worked in a Pre-Raphaelite £5,100 – £1,950 style, following his move to London in 1859 he shifted towards the painterly realism of Benjamin Williams Leader and Vicat Cole.

John Wright Oakes David Parfitt Hazy morning at Heysham, Bridge, Boatyard and Brewery, Lancashire, 1869 Winter Morning oil on canvas oil on canvas 76 x 103 cms 89 x 122 cm 7 1 29 ⁄8 x 40 ⁄2 ins 35 x 48 ins £12,500 – £5,500 £11,820 – £6,500

Frank Phelan b.1932 Agustí Puig b.1957 Phelan’s work was shaped above all by his time in St Ives during the There may be few more passionate defences of painting in today’s 1960s, when he was an artist-in-residence at Trevaylor, Nancy Wynne- over-conceptualised art world than the work of Agusti Puig. Blending Jones’s ‘artist’s colony’ at nearby Gulvel. There, he met and befriended ancient and modern, it proves the continuing power of the medium to the likes of Roger Hilton, Terry Frost, Tony O’Malley and Peter thrill and surprise us. Lanyon. Although boldly, abstract, his work is far more sensual than analytical, even when, as in some works, he appears to deliberately challenge our perceptions of space, colour and light. Agustí Puig sense titol, 2003 mixed media 65 x 85 cms 5 1 25 ⁄8 x 33 ⁄2 ins Frank Phelan £3,420 – £2,700 Tantalus, 2012 oil and charcoal on canvas 51 x 61 cms 1 20 ⁄8 x 24 ins £10,620 – £3,500 Agustí Puig sense titol, 2003 mixed media 65 x 85 cms 5 1 25 ⁄8 x 33 ⁄2 ins £3,420 – £2,700 Pam Poskitt b.1924 Poskitt developed her work and technique in relative isolation. For most of her life she divided her time in Scarborough between farming and art. Inspired by the great collage artists, Schwitters and Tapíes, she also uses found objects and torn edges to achieve unusual surfaces and forms. James Baker Pyne RBA 1800–1870 Born in Bristol, and later a recognised member of the “Bristol School” of landscape painting, Pyne was an evident and successful follower of Pam Poskitt Turner and, perhaps more specifically Francis Danby. Self taught, he Beach Huts joined the sketching parties first led by Edward Bird, which included mixed media & collage on Danby,. Like Danby and his contemporaries, Pyne devoted himself board to painting atmospheric genre scenes set in landscapes which, though 46 x 53 cms inspired by his local surroundings, were largely imaginary. 18 x 21 ins £2,650 – £650

James Baker Pyne Hoar Frost oil on canvas 59 x 85 cms 1 1 Pam Poskitt 23 ⁄4 x 33 ⁄2 ins Escarpment £12,850 – £5,500 mixed media on canvas 46 x 58 cms 7 18 x 22 ⁄8 ins £2,850 – £650

Harold Hope Read fl.1940’s Cartoonist and illustrator, Harold Hope Read was born in Greenwich and lived in Brighton and Tunbridge Wells. His work appeared regularly in Punch and also in works published by the Folio Society.

Pam Poskitt Landscape IV Harold Hope Read mixed media on board Family Frolics 71 x 61 cms 28 x 24 ins watercolour £1,200 25 x 36 cms £2,850 – 7 1 9 ⁄8 x 14 ⁄8 ins £2,850 – £985

John Robertson Reid RI ROI 1851–1926 Born in Edinburgh and trained at the Royal Scottish Academy Schools, Zsuzsi Roboz Reid was a painter of genre, landscape and coastal scenes. He moved to Official Happiness the West Country, painting frequently from Beare in Devon, and later mixed media on paper to London, where his painting Toil and Pleasure was shown at the Royal 51 x 66 cms Academy in 1879, and bought for the nation by the Chantrey Bequest. 20 x 26 ins £6,850 – £1,200

John Robertson Reid His Latest Catch Zsuzsi Roboz oil on canvas Encounter in Kew 112 x 128 cms 1 1 pastel on canvas 44 ⁄8 x 50 ⁄4 ins 79 x 61 cms £28,500 – £15,000 1 31 ⁄8 x 24 ins £7,850 – £1,100

Briton Rivière Enormously popular with Victorian audiences for his anecdotal pictures Zsuzsi Roboz of people with animals (usually dogs), Rivière was of Huguenot Reverie extraction and his work displayed a superb command of composition mixed media on paper 30 x 40 cms and technique. While he also painted historical subjects and portraits, 3 3 11 ⁄4 x 15 ⁄4 ins his animal scenes were far and away his most successful works, which £2,650 – £220 he exhibited regularly at the British Institution and the Royal Academy.

Briton Rivière To the Hills, 1901 Zsuzsi Roboz oil on canvas The Opening 112 x 163 cms oil on canvas 1 1 44 ⁄8 x 64 ⁄8 ins 51 x 76 cms 1 7 £28,500 – £12,500 20 ⁄8 x 29 ⁄8 ins £4,850 – £950

Zsuzsi Roboz FRSA PS 1929–2012 A remarkably innovative and engaging artist Zsuzsi Roboz’s work Zsuzsi Roboz ranged from collage, to pastel drawings and oils, all of which indicated Nude Study her sensitive eye for “inner life”, and the surreal. She came to England oil on canvas from Budapest in 1947 and studied at the RA Schools under Peter 137 x 76 cms Greenham, and later in Florence with Pietro Annigoni. Her work is 54 x 30 ins now in the Tate, the Theatre Museum, the Royal Festival Hall and the £7,500 – £900 National Portrait Gallery.

Zsuzsi Roboz Zsuzsi Roboz The Body Guard Autumn Wooded Landscape mixed media on canvas oil on canvas 76 x 51 cms 61 x 76 cms 30 x 20 ins 24 x 30 ins £8,850 – £1,200 £4,850 – £950

Zsuzsi Roboz Zsuzsi Roboz Philip Pullman with Dust Autumn Love mixed media on canvas oil on canvas 76 x 51 cms 24 x 30 cms 1 3 30 x 20 ins 9 ⁄2 x 11 ⁄4 ins £7,850 – £1,100 £6,850 – £950

Zsuzsi Roboz Portrait of Lady by the Lake Zsuzsi Roboz oil on board The Green Boy Evening 43 x 92 cms pastel on paper 17 x 36 ins 61 x 51 cms £800 1 £6,850 – 24 x 20 ⁄8 ins £2,500 – £650

Zsuzsi Roboz Memories mixed media Zsuzsi Roboz 61 x 76 cms Autumn Sunlight 24 x 30 ins oil on board £6,850 – £1,100 61 x 81 cms 24 x 32 ins £4,850 – £950

Zsuzsi Roboz Memory to Van Gogh collage & oil on canvas Zsuzsi Roboz 66 x 51 cms Untitled 26 x 20 ins pastel on paper £6,850 – £750 40.6 x 55.9 cms 16 x 22 ins £4,850 – £650

Zsuzsi Roboz Female Torso Zsuzsi Roboz oil on canvas Rocky Landscape 92 x 72 cms oil on canvas 36 x 28 ins 61 x 76 cms £6,850 – £800 24 x 30 ins £4,850 – £950

Zsuzsi Roboz The Promised Land Zsuzsi Roboz oil on canvas 71 x 91 cms Interrupted 7 28 x 35 ⁄8 ins mixed media £1,100 30 x 20 cms £8,850 – 3 7 11 ⁄4 x 7 ⁄8 ins £7,850 – £800

Zsuzsi Roboz Sea Change oil on canvas 71 x 91 cms 7 28 x 35 ⁄8 ins £8,850 – £1,100

Zsuzsi Roboz Autumn Shadows oil on canvas Zsuzsi Roboz 92 x 56 cms Spring 36 x 22 ins £6,850 – £1,100 photo-collage with mixed media 58 x 38 cms 7 22 ⁄8 x 15 ins £4,850 – £350

Mick Rooney RA b.1974 Peggy Somerville 1918–1975 Born in 1944 and studied at Sutton and Wimbledon Colleges of Art, the A child prodigy, Somerville was born into an artistic family and learned Royal College of Art and The British School in Rome. He has taught at to paint by watching them. When she was three, her watercolours several art colleges in the UK and has been Head of Painting at the Royal and drawings were exhibited at the Royal Drawing Society in London. Academy Schools. He was elected Royal Academician in 1991. When she was nine, Sir John Lavery helped to organise a her London retrospective. Later, she trained briefly at the RA, but for most of her career, she painted independently in the Suffolk village she moved to with her mother after WWII.

Mick Rooney Into the Hands of Strangers Peggy Somerville oil on board Open Landscape 128 x 98 cms oil on panel 3 5 50 ⁄8 x 38 ⁄8 ins 30 x 25 cms £6,550 3 7 £12,500 – 11 ⁄4 x 9 ⁄8 ins £3,850 – £1,850

John Thomas Serres 1759–1825 Peggy Somerville Serres first trained under his father, Dominic Serres RA (1722– 1793), Still Life with Fish a Gascon painter who came to London as a prisoner of war and later pencil and charcoal on paper 23 x 27 cms established himself as one of the most successful marine painters of 5 his day. Serres swiftly surpassed his father, exhibiting his own work at 9 x 10 ⁄8 ins £985 – £450 the Academy by 1776, and upon his death, succeeding him as Marine Painter to King George III.

John Thomas Serres Ruskin Spear CBE RA NEAC 1911–1990 Shipping off Ferrol, Portugal, One of the most acclaimed artists and influential teachers of the 1815 post-war era, Spear was born in Hammersmith and as a child suffered oil on canvas from polio, which left him confined to a wheelchair. He trained at 61 x 91 cms 7 RCA and taught there from 1948 to 1975. In 1980, the RA hosted his 24 x 35 ⁄8 ins £16,850 – £8,500 retrospective.

Margaret Shields Ruskin Spear Shields lives and works in Middlesbrough and her paintings illustrate the The Enthusiast diverse and dynamic urban landscape of her Saltburn home. She paints oil on board with energy and objectivity, and though she is keenly aware of the 51 x 76 cms 1 7 human cost of local progress, her work is never nostalgic. 20 ⁄8 x 29 ⁄8 ins £28,500 – £18,500

Margaret Shields Blue Haze oil on canvas Philip Wilson Steer OM 1860–1942 45 x 55 cms One of the key figures of British Impressionism, when the RA rejected 3 5 17 ⁄4 x 21 ⁄8 ins his application, he went to Paris to study. He returned to London in £1,485 – £800 1883, a committed Impressionist. His eclectic pointillist Walberswick subjects are some of the first examples of purely English impressionism in British art.

Philip Wilson Steer Margaret Shields Southampton Water, 1921 Sounds of the Sea oil on canvas oil on canvas 51 x 81 cm 76 x 91 cms 7 20 x 32 ins 30 x 35 ⁄8 ins £19,850 – £6,500 £1,650 – £1,500

Guy Taplin Small Preening Duck carved and painted driftwood 19 x 53 x 17 cms 1 7 3 Philip Wilson Steer 7 ⁄2 x 20 ⁄8 x 6 ⁄4 ins The Black Domino, 1904 £3,000 – £2,250 oil on canvas 110 x 76 cm 1 7 43 ⁄4 x 29 ⁄8 ins £28,500 – £12,500 Guy Taplin White Whale carved and painted driftwood 62 x 130 x 6 cms 3 1 3 24 ⁄8 x 51 ⁄8 x 2 ⁄8 ins £5,820 – £4,370

Len Tabner b.1946 Tabner paints at remarkable speed and in watercolour (possibly the least forgiving medium) on heavy, specially made paper. He works almost exclusively outdoors in any weather, and when asked why, he said: “I respond to what is around me and this is the land and the sea. Guy Taplin I respond to the environment, so that means getting out in to it.” Six Flamingoes carved and painted driftwood Len Tabner 131 x 90 cms 5 3 Coatham Sands: Furnace 51 ⁄8 x 35 ⁄8 ins Lights, December 2000 £22,200 – £12,500 mixed media on paper 46 x 66 cms 18 x 26 ins £8,850 – £3,500

Margaret Thomas RWA RBA NEAC 1916–2016 Known as a lyrical painter in the firm tradition of the New English Art Club, one of Thomas’ favourite subjects was still life, particularly floral Guy Taplin b.1939 studies where the blooms had passed their peak. As she noted; “fading, Taplin grew up in London’s East End, and after a disastrous stint in the dried, left to themselves flowers begin to die from the beginning. When army, he tried several careers before realising that ultimately, all he picked they must be left alone to fulfil their destinies, to orientate to really wanted to do was sculpt birds. Working as a keeper in Regent’s the light, to sort out their relative strengths, to stabilise and to mature. Park, he began to whittle decoys of the waterfowl, and from this They cannot be arranged. All this I seek to show in my paintings.” beginning has gone on to become international known for his sensitive, eclectic ‘birds’. His work is represented exclusively by Messum’s.

Guy Taplin Flat Crow Margaret Thomas carved and painted May Flowers driftwood oil on board 30 x 63 x 7 cms 74 x 64 cms 3 3 3 1 1 11 ⁄4 x 24 ⁄4 x 2 ⁄4 ins 29 ⁄4 x 25 ⁄8 ins £2,700 – £2,100 £6,850 – £4,850

Guy Taplin Plover Margaret Thomas carved and painted Christmas Tulips driftwood 37 x 26 x 11 cms oil on board 5 1 3 8 4 8 46 x 55 cms 14 ⁄ x 10 ⁄ x 4 ⁄ ins 1 3 £5,100 – £3,850 18 ⁄8 x 21 ⁄4 ins £4,850 – £3,850

Daphne Todd OBE PPRP NEAC b.1947 Internationally known as a portraitist, Todd’s work addresses a wide David Tress range of genres, including still life, and landscapes inspired by the Kent Aftermath, 2016 and Sussex borders where she lives. Her fine, deliberate brushwork on mixed media on paper fine birch panels results in superbly controlled surfaces that often belie 41 x 61 cms 1 subtle tensions in her subject matter. 16 ⁄8 x 24 ins £5,280 – £3,960

Daphne Todd Celebration Bouquet... oil on 2 raised panels Henry Scott Tuke RA NEAC RWS 1858–1929 38 x 61 cms Tuke trained at the Slade later travelled in France and Florence, which 15 x 24 ins was particularly influential. He became best known for his scenes £7,100 £9,420 – of boys bathing and sailing, which he exhibited regularly at the RA. Although deemed a member of the Newlyn School, Tuke lived in Falmouth and did not consider himself a Newlyner. David Tress b.1955 Reviewing Tress’s 2009 show, David Killen noted, “It’s hard not to feel exhilarated by these sensual, spiritual expressions of landscape in Henry Scott Tuke Moored Boats in Cornish all its raw and transient beauty. Somewhere between representation Harbour and physical experience, these paintings burst out of the conventional watercolour rectangle. In striving to convey the drama, the texture, the sudden 13 x 20 cms changes in the weather, he adds irregularly overlapping layers until the 1 7 5 ⁄8 x 7 ⁄8 ins paintings resemble coloured relief sculptures.” £4,850 – £2,500

David Tress Fields, Pwll Deri, 2016 Michael Upton 1938–2002 graphite/paper Upton studied at Birmingham and the RA, where he later taught post- 34 x 48 cms graduate painting. In the 1960s, he exhibited with the London Group and 3 7 13 ⁄8 x 18 ⁄8 ins by the early 1970s, was known largely for his conceptual art, although £1,980 – £1,500 he continued to paint throughout. In the early 1990s, he moved to Mousehole and became fascinated by Cornish light and colour.

Michael Upton David Tress Kitchen Light on Beinn Bhan, 2016 oil on board (x3) 14 x 17 cms graphite/paper 1 3 32 x 42 cms 5 ⁄2 x 6 ⁄4 ins 5 1 £2,850 – £1,250 12 ⁄8 x 16 ⁄2 ins £2,160 – £1,620 Michael Upton Portreath oil on paper 3 1 27 x 69 cms 10 ⁄8 x 27 ⁄8 ins £5,850 – £3,500 David Tress Light – Ripped Sky, Land (Pwll Deri), 2013 mixed media/paper Michael Upton 59 x 67 cms Weymouth Esplanade 1 3 23 ⁄4 x 26 ⁄8 ins oil on board £8,220 – £6,165 27 x 36 cms 3 1 10 ⁄8 x 14 ⁄8 ins £5,250 – £3,000

David Tress A Bright, Bright Day In Winter, Michael Upton 2017 Landscape, Cornwall mixed media on paper oil on board 65 x 78 cms 5 3 53 x 54 cms 25 ⁄8 x 30 ⁄4 ins 7 1 20 ⁄8 x 21 ⁄4 ins £7,200 £9,600 – £6,850 – £4,000

Paul Walls Michael Upton Paul Walls’ landscape paintings are utterly distinctive for their heavily Godrevy impastoed technique, in which he applies the oil paint so thickly that oil on board it takes on a three-dimensional, sculptural quality, using the physical 22 x 29 cms presence of the paint to contribute to the communicative energy of 5 3 8 ⁄8 x 11 ⁄8 ins the picture. £1,850 – £950

Michael Upton “The Spreading Slopes” (pair), 1979 Paul Walls oil on board Summers Day Killybegs 13 x 19 cms Reprise, 2016 7 1 4 ⁄8 x 7 ⁄2 ins acrylic on board £450 £985 – 41 x 31 cms 16 x 12 ins £1,800 – £1,350 Michael Upton “The Spreading Slopes” (pair), 1979 oil on board 13 x 19 cms 1 5 x 7 ⁄2 ins £985 – £450

Paul Walls Michael Upton Road to the Caves Ardara Library I Expression oil on board acrylic on board 18 x 37 cms 25 x 31 cms 5 7 x 14 ⁄8 ins 10 x 12 ins £4,850 – £1,250 £1,170 – £880

Edward Wilkins Waite RBA 1854–1924 Born in Surrey, Waite was the most renowned figure to emerge from a local artistic dynasty (his father, grandfather and three brothers were all artists of various accomplishment). After schooling, and a brief period as a lumberjack in Canada, he returned to England and exhibited at the Royal Academy as early as 1878. He made his name along Helen Paul Walls Allingham, Myles Birket Foster and Benjamin Williams Leader painting Two Sisters Expression landscapes and genre scenes, usually set in Surrey and poetically titled. acrylic on board Although he also worked in the West Country, at St Ives and in the 31 x 25 cms 12 x 10 ins Lake District, he usually painted around Guildford and Dorking, an area £1,170 – £880 that amidst rapid modernization, still appeared to be lost in time.

Edward Wilkins Waite Reposing in Decay Serene, 1902 oil on canvas Paul Walls 152 x 123 cms Reflected Sky Killybegs 1 60 x 48 ⁄2 ins acrylic on board £28,500 – £8,500 25 x 31 cms 10 x 12 ins £1,170 – £880

Miles Walters 1773–1855 Antony Williams NEAC RP PS b.1964 Miles Walters worked as a shipwright at Bideford before moving to Known for his forensically detailed portraiture, Williams is now London in 1810. Dated to 1822, this broadside portrait of the brig arguably Britain’s greatest tempera painter. His work shows not only ‘Betsy Sofia’ off Dover is one of the artist’s rare signed works, possibly his mastery of a notoriously difficult medium, but an understanding of when he lived on the south coast. After he moved to Liverpool in the of human body that simultaneously captures the subject’s physical 1830, he collaborated with his son, Samuel Walters, and they signed reality and their psychology. their works ‘Walters & Son’ and several examples are now in the Peabody Essex Museum, Massachusetts.

Miles Walters Antony Williams The Brig ‘Betsy Sofia’ of Acanthus and Claw London in two positions off tempera on panel Dover, 1822 25 x 34 cms 7 3 oil on canvas 9 ⁄8 x 13 ⁄8 ins 71 x 124 cms £7,800 – £5,850 7 28 x 48 ⁄8 ins £28,500 – £20,000

Antony Williams Claw, Seed Head and Honesty tempera on panel 20 x 31 cms 7 1 7 ⁄8 x 12 ⁄4 ins £7,800 – £5,850