PicturesArtist’s Resale Right (“Droit de Suite”) (Ð)Pictures and original prints by European artists are subject to a resale royalty if the hammer price exceeds 1000 Euros. This has now been extended to include living artists and all European artists who have died since 1942.The buyers of such lots agree to pay Lawrences this royalty and we shall forward it to the artists’ collecting agents. The rate varies as follows: €1000.00 to €50,000 - 4% €50,000.01 to €200,000 - 3% €200,000.01 to €350,000 - 1% €350,000.01 to €500,000 - 0.5% Exceeding €500,000 - 0.25% ARR is capped at €12,500 Please note ARR is calculated in euros. The Euro rate of exchange will be based upon the European Central Bank rate on the day of sale as all invoices are issued in Pounds Sterling. Please speak to Richard Kay if you have any questions. The artists to whom this applies are marked Ð before the lot number in the catalogue.
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A COLLECTION OF DUTCH ETCHINGS to comprise works by or after Abraham Hondius (see illus.), Adriaen van de Velde, Karel Dujardin, Jan van Goyen (?), Pieter van Laer, Aelbert Cuyp, Hendrik de Goudt, Allart van Everdingen, Adriaen Verboom and other hands; also a soft-ground etching by John Crome ('Wagon wheels, tree trunk and beams'), two framed (34 images) ++ Mixed; a little worn; some with pale stains; some trimmed to within image; foxing etc £150-200 (+ 26.4% BP*)
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AFTER JOHN CONSTABLE, RA (1776-1837) SUMMER AFTERNOON - AFTER A SHOWER; A MILL NEAR BRIGHTON; A MILL; WEYMOUTH BAY, DORSETSHIRE; STONE HENGE; WILLY LOTT'S HOUSE; THE GLEBE FARM; NOON Eight, mezzotints by D. Lucas, from 'Various Subjects of Landscape, Characteristic of English Scenery', 1830-1832, the last five (pls. 6, 20, 35, 36, 37) from the later Bohn edition (1855), various sizes The largest 14 x 22cm. (8) ++ Some speckled foxing; a few need a light clean £300-500 (+ 26.4% BP*)
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A FOLIO OF ASSORTED PRINTS to include examples in various media, with topographical examples by or after J. C. Bourne (' .. Kilsby Tunnel'), M. Colston, F. C. Lewis, P. J. de Loutherbourg ('Llyn Ogween', see image), J. Marsden, frontispiece from 'Egypt & Nubia' vol.5 by L. Haghe after D. Roberts, T. H. Shepherd, W. Simpson, T. Nash etc; and assorted subjects by or after A. Deveria, J. Kramer, S. M. Litten, G. Orlowski, A. Pesne, Rubens etc., (folio) ++ Mixed condition; some damaged/worn etc £80-120 (+ 26.4% BP*)
| Fifteen Etchings by W.L. Wyllie from A Private Collection | |
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WILLIAM LIONEL WYLLIE, RA (1851-1931) JUTLAND, OR A 'SECOND GLORIOUS 1st OF JUNE': HMS IRON DUKE AT WINDY CORNER Etching, signed in pencil 25.5 x 49cm. ++ Good condition £150-250 (+ 26.4% BP*)
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WILLIAM LIONEL WYLLIE, RA (1851-1931) ATLANTIC FLEET COMING INTO PORTSMOUTH HARBOUR Etching, signed in pencil 17 x 35cm. ++ Some time-toning and mount burn £120-180 (+ 26.4% BP*)
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WILLIAM LIONEL WYLLIE, RA (1851-1931) BATTLE CRUISER SQUADRON AT JUTLAND Etching, signed in pencil 17 x 42.5cm. * HMS Tiger, Princess Royal, Lion, Warrior, Defence and Onslow ++ Good condition £150-200 (+ 26.4% BP*)
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WILLIAM LIONEL WYLLIE, RA (1851-1931) THE MOUTH OF THE TYNE Etching with drypoint, signed in pencil 16 x 37.5cm. ++ Some mount burn £120-180 (+ 26.4% BP*)
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WILLIAM LIONEL WYLLIE, RA (1851-1931) COASTAL CRAFT WITH SMALL VESSELS OFFSHORE Etching, signed in pencil 12 x 32cm. ++ Pale time/mat staining £100-150 (+ 26.4% BP*)
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WILLIAM LIONEL WYLLIE, RA (1851-1931) NAVAL FLEET MANOEUVRES WITH ESCORT VESSELS Etching, signed in pencil 8.5 x 35cm. ++ Good condition £120-180 (+ 26.4% BP*)
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WILLIAM LIONEL WYLLIE, RA (1851-1931) A SWEPT CHANNEL IN THE NORTH SEA Etching, signed in pencil 8.5 x 33cm. ++ Good condition £100-150 (+ 26.4% BP*)
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WILLIAM LIONEL WYLLIE, RA (1851-1931) HMS ORION Etching, signed in pencil 27.5 x 20cm. ++ Slight time-toning £150-200 (+ 26.4% BP*)
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WILLIAM LIONEL WYLLIE, RA (1851-1931) FIRST WORLD WAR DESTROYERS Etching, signed in pencil 10.5 x 32.5cm. ++ Slight time-toning £120-180 (+ 26.4% BP*)
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WILLIAM LIONEL WYLLIE, RA (1851-1931) PORTSMOUTH HARBOUR: HMS NATAL LEAVING Etching, signed in pencil 16.5 x 25.5cm. ++ One worm hole lower right; some foxing; some time-toning £120-160 (+ 26.4% BP*)
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WILLIAM LIONEL WYLLIE, RA (1851-1931) MINESWEEPERS LEAVING PORTSMOUTH, 1916 Etching, signed in pencil 9.5 x 25cm. ++ A little pale foxing; slightly bruised £100-150 (+ 26.4% BP*)
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WILLIAM LIONEL WYLLIE, RA (1851-1931) WARSHIPS RETURNING TO PLYMOUTH SOUND; WARSHIPS AT ANCHOR IN PLYMOUTH SOUND; THE FLEET AT ANCHOR; HOW THE FLEET COMES TO ITS MOORINGS (TO THE ADMIRAL'S SHIP FOR ORDERS) Four, etchings, each signed in pencil Each 9.5 x 21.5cm. (4) ++ Each with a little pale foxing and time-toning £300-500 (+ 26.4% BP*)
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WILLIAM LIONEL WYLLIE, RA (1851-1931) SEA SCOUTS AT PORTSMOUTH Etching, signed in pencil 15 x 24.5cm. ++ Foxing and staining £100-150 (+ 26.4% BP*)
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WILLIAM LIONEL WYLLIE, RA (1851-1931) HMS PROBUS ENGAGING A SUBMARINE Etching, signed in pencil 14.5 x 22.5cm. ++ A little pale foxing; mount burn £100-150 (+ 26.4% BP*)
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WILLIAM LIONEL WYLLIE, RA (1851-1931) FISHING BOATS ON HAMILTON BANK Etching with drypoint, signed in pencil 16.5 x 21.5cm. ++ Slight time-toning; mount burn £120-160 (+ 26.4% BP*)
| Ten Prints by Edward Calvert | The following lots are from the first formal edition of Edward Calvert's printed work, entitled 'A Memoir of Edward Calvert, Artist; by his Third Son', published by Messrs Sampson, Low, Marston & Co in a folio edition of 350 in 1893. They are derived from prints made during the artist's most inspired period after the death of William Blake in 1827. The subjects address Calvert's visionary approach to Christian and pagan themes when he was associated with Samuel Palmer and the 'Ancients' at Shoreham. Each print was executed with meticulous attention to detail and Calvert was his own harshest critic, ruthlessly destroying any impressions that fell short of his exacting standards. As a result, lifetime proofs are exceedingly scarce and there were rigid directions about how the surviving plates and blocks could be used. Those blocks are preserved at the British Museum with strict instructions that no further editions after the Carfax Portfolio (1904) were ever to be issued.
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EDWARD CALVERT (1799-1883) THE PLOUGHMAN (Lister 6C) Wood engraving, 1827, as published in the Memoir edition, 1893, on pale cream India paper with margins 8 x 12.5cm. ++ Good condition £500-800 (+ 26.4% BP*)
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EDWARD CALVERT (1799-1883) THE CYDER FEAST (Lister 7C) Wood engraving, 1828, as published in the Memoir edition, 1893, on pale cream India paper with margins 7.3 x 12.5cm. ++ Good condition £800-1200 (+ 26.4% BP*)
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EDWARD CALVERT (1799-1883) THE BRIDE (Lister 8C) Line engraving, 1828, as published in the Memoir edition, 1893, on pale cream wove paper with margins 7.3 x 12.5cm. ++ Good condition £800-1200 (+ 26.4% BP*)
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EDWARD CALVERT (1799-1883) THE SHEEP OF HIS PASTURE (Lister 9B) Line engraving, 1828, as published in the Memoir edition, 1893, apparently on wove (though Lister insists upon laid India) with margins 3.8 x 7.4cm. ++ Good condition £300-500 (+ 26.4% BP*)
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EDWARD CALVERT (1799-1883) THE FLOOD (Lister 10) Lithograph, 1829, as published in the Memoir edition, 1893, on pale cream India paper with margins 3.9 x 7.3cm. ++ Good condition £350-450 (+ 26.4% BP*)
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EDWARD CALVERT (1799-1883) IDEAL PASTORAL LIFE (Lister 11) Lithograph, 1829, as published in the Memoir edition, 1893, on pale cream India paper with margins 4 x 7.4cm. ++ Good condition £500-800 (+ 26.4% BP*)
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EDWARD CALVERT (1799-1883) THE BROOK (Lister 12C) Wood engraving, 1829, as published in the Memoir edition, 1893, on pale cream India paper with margins 4.8 x 8.5cm. ++ Good condition £350-450 (+ 26.4% BP*)
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EDWARD CALVERT (1799-1883) THE LADY WITH THE ROOKS (Lister 13C) Wood engraving, 1829, as published in the Memoir edition, 1893, on pale cream India paper with margins 4 x 7.4cm. ++ Good condition £350-450 (+ 26.4% BP*)
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EDWARD CALVERT (1799-1883) THE RETURN HOME (Lister 14B) Wood engraving, 1830, as published in the Memoir edition, 1893, on pale cream India paper with margins 3.8 x 7.4cm. ++ Good condition £350-450 (+ 26.4% BP*)
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EDWARD CALVERT (1799-1883) THE CHAMBER IDYLL (Lister 15B) Wood engraving, 1831, as published in the Memoir edition, 1893, on pale cream India paper with margins 3.9 x 7.5cm. ++ Good condition £1500-2000 (+ 26.4% BP*)
| Watercolours and Drawings | |
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AFTER FRANCOIS BOUCHER (1703-1770) FEMME NUE ALLONGEE Sanguine, inscribed indistinctly Ch July 10 11 12 13-64/ Le Guayon [?] 39 x 33.5cm. * After a Boucher subject (reversed), 1740 ++ Handling marks; a few pale spots; gum stain at right hand edge £100-150 (+ 26.4% BP*)
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JOHN WOOTTON (c.1682-1764) COURSING Pen and sepia ink with red crayon 8.5 x 30cm. ++ Old creases; worn, especially at left; some foxing; needs a clean £250-350 (+ 26.4% BP*)
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PETER DE WINT (1784-1849) FIGURES WITH A DOG ON A WOODED RIVERSIDE PATH Watercolour 23.5 x 32cm. ++ Faded £180-250 (+ 26.4% BP*)
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INDIA: A FOLIO OF PENCIL SKETCHES comprising town scenes, buildings and temples, animal and figure studies etc, a few inscribed (Pirteepore, Bunda, Punna state, Chuprapee of the Jubbulpore court, Jorawar Jonar inhabitant of Ghouspore, Pennahut, Camp Chanpore, the house of the collector of revenue for the Raja at Ghurra Kota village of Kulowrah etc, many inscriptions indistinct) and some dated 1826-1829 (18 leaves) Provenance: (?) London, Phillips, Son & Neale, early 1980's, lot 148 (one drawing attributed to Thomas Daniell) ++ Some handling marks and pale stains; some wear; some worm damage £120-180 (+ 26.4% BP*)
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ATTRIBUTED TO WILLIAM JAMES MULLER (1812-1845) A LADY ARTIST SKETCHING A TOMB, ST. MARY'S CHURCH, YATTON, NEAR BRISTOL Bears inscription Yatton verso, watercolour and pencil 36 x 54.5cm. ++ Old grazes on the left; small damages elsewhere; slightly faded; some pale foxing £200-300 (+ 26.4% BP*)
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DAVID COX (1783-1859) FIGURES ON A COUNTRY TRACK BY A WAGON SHED Bears a signature, watercolour and pencil 19 x 27cm. Provenance: Bristol, Messrs Frost & Reed ++ Slightly faded £400-600 (+ 26.4% BP*)
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THOMAS ROWLANDSON (1756-1827) ON THE ROAD FROM ISLINGTON TO HACKNEY; EMBRACING COUPLES Two, the latter bears a signature, pen and ink with watercolour 9 x 14cm. and 21.5 x 17.5cm. (2) ++ Each with fading; the latter also foxed £300-500 (+ 26.4% BP*)
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FOLLOWER OF RICHARD PARKES BONINGTON (1802-1828) CHURCH INTERIOR WITH RELIGIOUS PROCESSION Watercolour with scratching out 8 x 10.5cm.; with a watercolour of Bolton Abbey, circle of David Cox, bears signature and date, 29.5 x 49cm.; and a 'View near Canterbury' by a follower of Paul Sandby, 11 x 14cm. (3) Provenance: ('Bonington') ex Pinson Collection; ex S. A. Cave Collection; London, Christies, 1961 ++ 'Bonington' satisfactory; the others faded £150-200 (+ 26.4% BP*)
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SIR NATHANIEL DANCE-HOLLAND, Bt., RA (1735-1811) A CHILDREN'S MASQUERADE Watercolour with pen and ink and pencil 13 x 28cm. Provenance: London, Walker's Galleries Ltd ++ Needs a light clean £500-700 (+ 26.4% BP*)
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THOMAS ROWLANDSON (1756-1827) THE SUICIDE OF CLEOPATRA Signed and inscribed Guido, pen and ink with watercolour 13 x 17cm. * The inscription indicates that this is a copy, the prime version of which is by Guido Cagnacci,1659 (Vienna, Kunsthistorisches) ++ A little faded; some foxing £400-600 (+ 26.4% BP*)
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JOHN LEECH (1817-1864) WEBB'S COUNTY TERRACE Signed, pen and brown ink with pale blue wash, laid down 12.7 x 19.7cm. * The address was near New Kent Road in Southwark ++ Some foxing and pale stains; needs a clean £100-150 (+ 26.4% BP*)
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SIR EDWIN HENRY LANDSEER, RA (1802-1873) STUDY OF A HORSE Bears inscription and date Copenhagen by Landseer/1816, dark pencil 23 x 29cm. * Copenhagen (1808-1836), by Meteor out of Lady Catherine, was the Duke of Wellington's horse at Waterloo. He is buried at Stratfield Saye. Landseer's precocity was considerable; he had exhibited his first work at the Royal Academy in 1815, the year before this drawing. ++ Time toning of the paper £300-500 (+ 26.4% BP*)
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A FOLIO OF WATERCOLOURS to include works by or attributed to Marcus Arthur Boss (2 sketchbooks, approx 89 small leaves), Anthony Devis, Thomas H Cromek, George Haydock Dodgson, follower of Richard Wilson, follower of Richard Cosway (this one framed, see illus.), and various other studies, most sepia or monochrome wash (approx. 20) ++ Mixed; generally fair £150-200 (+ 26.4% BP*)
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JOHN SELL COTMAN (1782-1842) CROWLAND ABBEY, LINCOLNSHIRE Signed, pencil 39 x 29.5cm. * Crowland (or Croyland) is a ruined 12th Century Benedictine Abbey in Lincolnshire, partially demolished shortly after its dissolution in 1539. Views by Cotman of the dramatic remains are in the Tate (1804) and British Museum (1807). Further examples from the same viewpoint but in a larger format are in Hull and Norwich and (at one time) there was another version in the Marquis of Stafford's collection at Trentham Park. The artist's visits to the site were inspirational for him and moved him to rapture. He wrote to his patron Dawson Turner in September 1804 that 'Croyland is most delicious .. I feel my pen incapable of describing it 'tis so magnificent, 'tis most magnificent .. there is not one upright line in the Composition therefore let not the Botanists criticise when they come to see it & they find me out of the perpendicular'. Nonetheless, Cotman had some difficulties with local villagers. He disliked the 'paltry Inn full of the worst company I ever heard' and so bothersome were his interruptions as he worked that he 'was obliged to give one of the ringleaders a sound flogging.' Despite these adversities, Cotman 'finished three sketches which are quite sufficient to give a good report of the place'. Two works were shown at the RA in 1805 (nos 509 and 626) but it is not clear which of Cotman's various interpretations these were. Thomas Girtin had stood on almost exactly the same spot to draw the abbey in 1797. (See Miklos Rajnai, John Sell Cotman , London, 1982, pp.88-89) ++ Soft and unobtrusive crease approx 3.5cm from lower edge; some spotting and surface marks; time-toning of the paper £1500-2000 (+ 26.4% BP*)
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CIRCLE OF FRANCOIS LOUIS THOMAS FRANCIA (1772-1839) RIVER SCENE AT EVENTIDE WITH SAILING BARGES Watercolour 14.5 x 21cm.; with two further watercolours, of buildings (possibly at Serampore, inscribed indistinctly), 21 x 29.5cm.; and another, of trees by a field, 10 x 13cm. (3) ++ 'Francia' with some foxing and in need of a clean; 'Serampore' faded; the other satisfactory £100-150 (+ 26.4% BP*)
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SIR EDWARD JOHN POYNTER, Bt. PRA (1836-1919) STUDY OF A SEATED WOMAN Pencil, on pale blue/grey paper 20.5 x 18.5cm. ++ A few old soft creases and spots of foxing £100-200 (+ 26.4% BP*)
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RICHMOND MARKES (Fl.c.1860-1900) SAILING VESSELS IN CHOPPY WATERS Signed with initials, watercolour 22 x 39cm. ++ Needs a light clean; unusually good colour for this artist's work £200-300 (+ 26.4% BP*)
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JAMES MACMASTER (1856-1913) AFTER A WINTER GALE, LEVEN SANDS Signed and inscribed with title, watercolour heightened with white 33.5 x 51cm. ++ Signature a little rubbed but fully legible; slight discoloration £150-200 (+ 26.4% BP*)
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THOMAS BUSH HARDY (1842-1897) VESSELS OFF THE FRENCH COAST Signed and inscribed indistinctly, also inscribed To my dear friend/ Harry Pyatt, watercolour 11.5 x 23cm.; with an ALS to the recipient of the picture, dated 15 Augt/'94, urging him to make plans to collect the watercolour before he leaves town. (2) ++ Watercolour needs a light clean; letter badly stained but still legible £200-400 (+ 26.4% BP*)
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WILLIAM JOHN CAPARNE (1855-1940) HARBOUR IN EVENING LIGHT Signed, watercolour and pencil 29.5 x 44.5cm. ++ Good condition £150-200 (+ 26.4% BP*)
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JAMES AUMONIER (1832-1911) THE CHAIN PIER, BRIGHTON, SUSSEX Signed, inscribed and dated Btn 1896, watercolour and pencil 30 x 47cm. ++ Good condition £120-180 (+ 26.4% BP*)
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ALMA CLAUDE BURLTON CULL (1880-1931) A PLEASURE STEAMER ON A RIVER BY A TOWN Signed, watercolour and pencil 23 x 40.5cm. ++ Slight discoloration, slight pale staining and a little foxing in the sky £400-600 (+ 26.4% BP*)
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