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JOHN CROME (1768-1821) HOVETON ST. PETER; AT BIXLEY Two, soft ground etchings, c.1812 and c.1809 Each 16.5 x 23.5cm. approx. (2)
* Crome produced just 11 soft ground etchings and none was published during his lifetime. Posthumous editions date from 1834-c.1860. These two prints are not from the 1st or 2nd editions and so will have been issued c.1838 or later. ++ Spots of foxing £200-300
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A FOLIO OF ASSORTED PRINTS to include a tinted lithograph of 'Nelson, New Zealand' by J. Needham, poor condition; a tinted lithograph of 'The Little Lucy' by T. G. Dutton; eight wood engravings of 'The Drunkard's Children'after George Cruikshank, signed and dedicated by the artist on the cover, tears; engravings of 'Portrait d'Hassan Pacha' and 'Aborde de la Ville d'Alexandrette' by Miger after L. F. Cassas; a mezzotint of 'Pointers' by W. Ward after J. N. Sartorius [see illus.]; an etching of 'The Earl of Crawford and Balcarres' by G. L. Brockhurst, signed; four etchings by or after C. Meryon, M. Lalanne (inscribed), J. B. Jongkind; and a few others (a lot) ++ Very mixed condition £120-180
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AFTER GEORGE STUBBS, ARA (1724-1806) LEOPARDS AT PLAY; THE SPANISH POINTER Two, etchings with engraving, the former originally published by the artist, 1780, the latter originally published by R. Laurie, 1768, both these impressions from an edition published by the John Boydell Press for Observer Art, 1974 (editions of 60 and 225 respectively), unframed, in original folder Images 34.5 x 46.5cm.; and 39 x 53cm.; with five etchings and lithographs by H. Gillray, T. Rowlandson, J. Doyle and another, unframed. (7) ++ 'Leopards' good; 'Pointer' with marks in extreme lower margin; the satirical prints in generally rather poor condition £150-200
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WILLIAM WALCOT (1874-1943) LONDON BRIDGE Etching with drypoint, signed in pencil 9.5 x 14.5cm. ++ Generally good £150-200
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WILLIAM STRANG (1859-1929) HEAD OF A PEASANT (Binyon 4; Strang 15) Mezzotint, 1882, signed in pencil 26 x 21cm. ++ Generally good £100-200
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Ð SIR FRANK WILLIAM BRANGWYN, RA, RWS (1867-1956) THE SCENE AT PADDINGTON (THE FUNERAL OF KING EDWARD VII), 1910 Lithograph, 1910, signed in pencil 37.5 x 45cm. ++ A few old creases; some pale stains £120-180
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Ð ROBIN TANNER (1904-1988) THE MEADOW STILE (Garton 24); THE DRINKING TROUGH (Garton 40) Etchings, 1970 and 1979, on cream wove, each published 1984, each signed in pencil Each 19.5 x 14.5cm. (2) ++ Each in good condition £250-350
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ERIC GILL (1882-1940) TWENTY-FIVE NUDES The book, printed by Hague & Gill Ltd, published by J. M. Dent & Sons Ltd, 1938, containing all 25 reproductions of the famous wood engravings, this edition with black edged pages and associated dustjacket, 8vo; each plate 22 x 13.5cm. ++ Spine partially broken; one plate with small grease spot £300-500
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TANAKA RYOHEI (b.1933) (A DOVE IN THE TREES) Etching, 1973, signed and numbered 94/100 36 x 35.5cm.; with two further etchings by the same hand, 1965-1975, signed and numbered from editions of 100. (3) ++ Each in good condition; slight mat burn £300-500
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Ð JOHN PIPER, CH (1903-1992) ST. JAMES THE LESS, BY G. E. STREET (Levinson 144) Lithograph, 1964, plate XXIII from 'A Retrospect of Churches', printed by Curwen Studio, signed and numbered 32/70 Image 48.5 x 64cm. approx. ++ Scattered pale foxing throughout £300-500
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AFTER WILLIAM LIONEL WYLLIE, RA (1851-1931) TRAFALGAR 2.30pm Chromolithograph, published by Bemrose & Sons Ltd, 1905 Image 44.5 x 81cm. ++ Good condition £70-100
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Ð GWEN RAVERAT (1885-1957) LA MORT DE DAVID; JEU DE BOULES, VENCE; BOWL PLAYERS Three wood engravings, c.1921-1922, each signed in pencil 13.5 x 11.5cm.; and 10 x 15cm. approx.; with an etching by another hand. (4) ++ Each with some foxing; damp spots etc. £500-800
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WILLIAM WALCOT (1874-1943) THE LIBRARY OF ST. MARKS, VENICE Etching with drypint, signed in pencil 11.5 x 17.5cm. ++ Some slight mat burn £120-180
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WILLIAM LIONEL WYLLIE, RA (1851-1931) FISHING LUGGERS OFF DOVER Etching, published by R. Dunthorne, 1905, signed in pencil within the image, unframed 27.5 x 43.5cm. ++ Some foxing and time staining; tape stains in margins £120-180
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Ð EDWARD ARDIZZONE, CBE, RA (1900-1979) SHELTER SCENE Colour lithograph, published by the National Gallery, 1941, printed by The Baynard Press, scarce, unframed Image 65.5 x 99cm.
* A scene at the Tilbury shelter, under the railway arches at Stepney, which was estimated to offer protection to as many as 16,000 people on some nights during the Blitz. ++ Image good; unusually little wear to margins £200-400
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DORSEY POTTER TYSON (1891-1969) THE DRAGON BOAT FESTIVAL Colour etching, 1929, signed, inscribed indistinctly and numbered 26/100 30 x 25cm. ++ Good colour; but stained £200-250
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DORSEY POTTER TYSON (1891-1969) THE PARASOL; THE DANCERS Two, colour etchings, 1928, both signed, dated and inscribed indistinctly 21 x 23.5cm. and 20 x 25cm. (2) ++ Each a little time stained £200-250
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DORSEY POTTER TYSON (1891-1969) A PEKING CART; THE SNOW MAIDEN Two, colour etchings, 1930 and 1929, both signed, inscribed indistinctly and numbered 37/100 and 25/100 23.5 x 19.5cm. and 27.5 x 22.5cm. (2) ++ Each a little time stained £200-250
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JAMES JOSEPH TISSOT (1836-1902) THE PRODIGAL SON OF MODERN LIFE: THE DEPARTURE; IN FOREIGN CLIMES; THE RETURN; THE FATTED CALF (Wentworth 57-61) The suite of four etchings, also with the title page showing an open book and the subjects as described in St. Luke, published 1881, from the lettered edition of 400 Each image 31 x 37cm.; the title page (this unframed) 35 x 45cm. (5)
* In 1882, his last year in England, Tissot made The Prodigal Son of Modern Life the ostentatious focus of his one man show at the Dudley Gallery. The original oils are in the Musee des Beaux-Arts, Nantes and this suite of etchings was printed to satisfy keen public demand. In 1881, Tissot was a Roman Catholic living in sin with a divorced woman, Kathleen Newton, and it is tempting to speculate that a theme like this was a meek attempt at self redemption (or, at least, self justification). More pragmatically, these subjects might have been a mildly disingenuous attempt to re-ingratiate himself with the French market. It was the death of Mrs Newton in 1882 that prompted Tissot's return to Paris after an absence of over ten years. Tissot's skills are readily apparent in his ability to take a 'dry' biblical theme and re-present it in Victorian taste with his usual flair for anecdotal content. He sets the young man's story within the wealthy upper middle class of London in the 1880's and even dresses him in the colours of the I Zingari cricket club for the 'Fatted Calf'. In so doing, Tissot translates the parable into a wholly modern format which suited well his fondness for the vagaries of modern life as well as giving him a chance to offer a didactic subject in a refreshingly unacademic format. ++ Each in generally good condition; richly printed; a little superficial bloom; the title page with some foxing £400-600
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Ð LEONARD BEAUMONT (1891-1986) IN FLIGHT Linocut printed in colours, c.1933, on thin white oriental laid, signed in pencil, unframed 8.5 x 10cm. ++ Good condition; the sheet apparently untrimmed £500-800
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Ð LEONARD BEAUMONT (1891-1986) MARCHERS (Dickson 53) Linocut, 1932, on thin white oriental laid, signed in pencil, unframed 12.5 x 9cm.
* Originally entitled '1926', the subject was intended to be a comment on the General Strike. ++ Good condition; the sheet apparently untrimmed £600-900
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Ð LEONARD BEAUMONT (1891-1986) GUIDES (Dickson 72) Linocut printed in colours, 1935, on thin white oriental laid, signed in pencil, unframed 10 x 10cm.
* A scene in the Swiss Alps. Beaumont was a keen mountaineer. ++ Good condition; the sheet apparently untrimmed £800-1200
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Ð LEONARD BEAUMONT (1891-1986) SUNBATHERS (Dickson 57) Linocut printed in colours, 1932, on thin white oriental laid, signed in pencil and numbered 2/12, unframed 10 x 9.5cm.
* An impression printed in pinks, offered at Bonhams London (April 16th 2013, lot 27), was numbered 11 from an edition of 14 ++ Good condition; the sheet apparently untrimmed £2500-4000
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MANNER OF DOMENICO ZAMPIERI, DOMENICHINO (1581-1641) THE GUARDIAN ANGEL Red chalk 31.5 x 19cm.
* Probably derived from Domenichino's subject, c.1615 (Museo di Capodimonte, Naples) ++ Laid down; a little worn and grubby £150-200
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AFTER CARL GUSTAF PILO (1711-1793) PORTRAITS OF KING FREDERICK V OF DENMARK; and of his QUEEN, LOUISE A pair, each depicted three quarter length, he wearing armour, she wearing a floral gown, gouache, under bevelled glass in gilt frames with crown surmounts Each 14.5 x 10.5cm. approx. (2) ++ She with a few spots of foxing/mould £300-500
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MARKUS DINKEL (1762-1832) PORTRAIT OF A YOUNG LADY Half length, in profile, wearing an elaborate lace bonnet, signed, watercolour, oval image 15 x 12cm. ++ Generally good condition £100-150
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CIRCLE OF JOHN RAPHAEL SMITH (1752-1812) A YOUNG SHEPHERD BOY WITH A SPANIEL Pastels 45 x 34cm. ++ Generally good; a few slight spots of foxing/mould £150-200
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B** BALDWIN (Fl.c.1840-1845) PORTRAITS OF EDWARD MORRIS (1822-1852); and of his father, DAVID EDWARD MORRIS (1774-1842) Two, each three quarter length, Edward wearing a black coat and cape, holding a hat and cane; David seated, wearing a dark coat and holding 'The Times', both signed (the latter twice) and dated 1840 and 1841, watercolour, original gilt frames 35 x 26cm.; and 36 x 28.5cm. (2) Provenance: By descent in the family of the sitters, formerly of Dixfield House, Exeter. See also lots 2089-2098. ++ Each faded, the latter moreso £200-400
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FRENCH SCHOOL, Circa 1820 PORTRAIT OF A YOUNG BOY Bust length, wearing a dark coat and grey waistcoat, signed indistinctly (Laure de Loess...?), pastels 27 x 21.5cm. ++ Small rubbed area in background upper centre; verre eglomise mount £150-200
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*** SAUNDERS (1682-c.1735) PORTRAITS OF A YOUNG LADY; and GENTLEMAN A pair, both bear signature and number (No.1758 and No.1759), pastels Each 39.5 x 29cm. (2)
* Ellis Waterhouse ('Dictionary of British 18th Century Painters', 1981) records a pastellist of this name working in Cambridgeshire in the 1720's. ++ A little pale foxing and superficial pale mould spots £800-1200
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WILLIAM PAYNE (1760-1830) THE FERRY AT CREMYLL Signed W R Payne, watercolour 15 x 22cm. ++ Fading and discoloration £200-300
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WILLIAM PAYNE (1760-1830) FIGURES BY A RUINED ABBEY AND RIVER Signed and dated 1800 verso, watercolour and pencil 18.5 x 28.5cm. ++ Slightly pale in the sky £300-400
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FOLLOWER OF JOHN VARLEY (1778-1842) LANDSCAPE WITH A DISTANT CATHEDRAL; CATTLE IN A RIVER LANDSCAPE Two, watercolours 21 x 38cm. and 21 x 32cm.; with a watercolour of flowers in a vase upon a ledge, by a follower of Mary Elizabeth Duffield, 52 x 39cm. (3) Provenance: Ballyfin, Co. Laois, Ireland; Sir Charles Coote, MP, 9th and Premier Baronet of Ireland; thence by descent ++ Each with some fading, spots and pale stains etc. £100-150
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CIRCLE OF JOHN LAPORTE (1761-1839) LAKE LANDSCAPE WITH CATTLE, POSSIBLY IN IRELAND (KILLARNEY?) Watercolour 56 x 85cm.; extended to 62 x 92.5cm. ++ Damaged: grazing, tears, discolouration etc £100-200
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JOHN GENDALL (1790-1865) BRENT BRIDGE, SOUTH DEVON Watercolour, charcoal and pencil, heightened with white 25 x 35cm. Exhibited: Exeter, Museums and Art Gallery, John Gendall: Exeter's Forgotten Artist, July-October 1979, no.120 Provenance: Eastbourne, E. Stacy-Marks Ltd, 1977 (260gns) ++ Paper light stained; some fading £120-180
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SAMUEL GILLESPIE PROUT (1822-1911) FIGURES BY A LAKESIDE CHURCH, NEAR HARLECH, WALES; MASONS BY AN ESTUARY Two, both signed, the former inscribed verso, watercolour and pencil 23 x 32.5cm.; and 16 x 24cm. (2) ++ The former generally good; the latter faded in the sky £100-150
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ATTRIBUTED TO THOMAS LEESON SCARSE ROWBOTHAM (1783-1853) BRISTOL: THE DOCKS, TOWARDS ST. MARY REDCLIFFE Watercolour and pencil 33 x 51cm. ++ A little rubbed and faded; a few spotted marks and pale stains; very neat architectural details £200-300
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MANNER OF ROBERT CLEVELEY (1747-1809) A SEA BATTLE Bears signature and date 1792, watercolour with pen and ink, heightened with scratching out 31.5 x 46cm. ++ Some fading £120-180
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ANTHONY DEVIS (1729-1817) FROM THE SIDE OF THE ROAD, HEWLETS Pen and ink and wash over pencil 13.5 x 20cm.; with a scene of figures near Bodiam Castle by the Rev. Thomas Streatfield, 1796, 14 x 17.5cm. (2) Provenance: (Devis) London, John Spink ++ Devis slightly faded and with pale stain; the other good £200-300
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EDMUND MORISON WIMPERIS (1835-1900) ON THE GLASLYN, NORTH WALES Signed with initials, watercolour and pencil 31.5 x 51.5cm. ++ Some fading; a little foxing £300-400
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WILLIAM BENNETT (1811-1871) WORKERS IN A HAYFIELD Signed and dated 1858, watercolour 32.5 x 54cm.
* Mallalieu suggests that Bennett was probably a pupil of David Cox. The influence of Cox is very apparent in this subject. ++ Good condition; unusually good colour £300-400
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A FOLIO OF SEVEN WATERCOLOURS AND DRAWINGS to comprise a panorama of the Bay of Naples inscribed Naples under Vesuvius Herculaneum, portici, Resina, Torre del greco, Pompeia, style of Francis Towne, sheet 43 x 86cm. [see illus.]; a table top still life (pencil) and a watercolour study, both ascribed to Peter de Wint; a pencil drawing of 'Satan Aroused: Eve's Dream', style of Theodore van Holst; 'Pheasant Shooting' by Robert Laurie, watercolour over an etched line (after Howitt?); and two botanical watercolours by Annie Feray Mutrie (7) ++ Mixed condition; Mutries discoloured; Laurie good; Naples view foxed £200-400
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THOMAS CHARLES LEESON ROWBOTHAM (1823-1875) SHORE SCENE WITH FISHERMEN AND BEACHED BOATS Watercolour heightened with white 16.5 x 34cm.; with another watercolour by a different hand, beach scene with figures, dated 1875, 20 x 32.5cm. (2) Provenance: (Rowbotham) Gloucestershire, Heather Newman ++ Each needs a clean; each with a little pale foxing £120-160
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JOSEPH NASH (1808-1878) WITHDRAWING ROOM AT BRAMHALL HALL, CHESHIRE Signed and dated 1847, watercolour and bodycolour over pencil 34.5 x 51cm.
* Lithographed for Nash's 'Mansions of England in the Olden Time' (1839-1849) ++ A little fading £600-800
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A VICTORIAN ALBUM containing scores of sketches, apparently by more than one hand, comprising architectural, animal, portrait, figure, topographical and marine subjects etc; some depicting scenes of Queen Victoria ('Planting the Oak in Stowe Park'), one of crocodiles by an Indian lake, a Regatta at Ryde, many scraps etc; tipped or gummed down onto paper, without bindings, sold not subject to return, large folio/ledger ++ All rather ragged and worn; some creases, handling marks etc £200-300
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JOHN MARTIN (1789-1854) TWO FIGURES UNDER TREES IN A PARK, A BUILDING IN THE DISTANCE Signed and dated 1821, sepia wash and pencil 12.5 x 19cm.
* This is typical of Martin's wash drawings of the period. It is not thought to be a 'subject' piece but simply a Romanticized image, some of which were developed into more formal watercolours or engraved for Annuals of the mid-late 1820's. It is possible that Martin added the signature at a slightly later date but it is undoubtedly in his hand. ++ Sandwich mounted; some foxing and fading £1500-2000
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JOHN MARTIN (1789-1854)' STUDY FOR 'ADAM'S FIRST SIGHT OF EVE' Sepia wash and pencil 16 x 24cm.
* A prepratory study for Martin's oil of 1812 which measures 70 x 105cm. (Glasgow Museums Resource Centre). Provenance: London, Christies, March 16th, 1982, lot 90 Martin produced many works in sepia or grey wash in his early career. This corresponds closely with the finished oil of 1812 (shown at the RA in 1813, no. 211). The only significant change is the precise position and pose of the two figures. Another sepia study of this exact same subject is in a private British collection (it is signed and apparently dated 1812 but lacks the central group of trees). Michael Campbell judges this to be the more developed of the two studies and suggests that it is the immediate precursor to the oil. Martin repeated the subject in 'The Garden of Eden' of 1821 (Tate Britain), for an aquatint by T. Fielding entitled 'Paradise' (1825) and in many associated subjects for Milton's 'Paradise Lost' (1824-1827), a number of which were transformed into oil paintings. We are very grateful to Michael Campbell for his assistance with the cataloguing of lots 1967 and 1968 ++ Laid down; some foxing and slight discoloration £4000-6000
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EDWARD LEAR (1812-1888) ON THE NILE, 1867 Inscribed 3.10.PM.Feby.2.1867 and (329), also inscribed with a few artist's notes, watercolour with pen and ink 7.25 x 13.5cm.
* Lear fell in love with Egypt upon his first visit in 1849 and returned eagerly in 1853. Just as enchanted by the abundance of nature on the Nile as he was by the historical sites and the light, Lear worked rapturously on numerous small sketches and studies for larger oils to be devised more fully once back in England. Lear's final visit to the Nile lasted from December 1866 to March 1867 and yielded many more quick sketches (or 'outlines' as he liked to call them), often in small or unconventional formats. ++ A little foxing and some slight time staining; needs a clean £600-800
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ATTRIBUTED TO EDWARD MIDDLETON BARRY, RA (1830-1880) FIGURES AND CARRIAGES BY A CIVIC BUILDING Watercolour and pencil 62 x 92cm.
* E. M. Barry was the third son of Sir Charles Barry (1795-1860), whose greatest achievement was the New Palace of Westminster, a vast project completed by the son ten years after his father's death. Edward Barry designed the Royal Opera House in Valletta, the New Covent Garden Theatre, extensions to the National Gallery (the 'Barry Rooms'), Canford School in Dorset and Crowcombe Court in Somerset. See Barry's large watercolour design for St. Pancras Station (Christies, London, November 17th 2005, lot 70) ++ Needs a light clean £800-1200
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