Attributed to G HARDY SNR (XIX) Crossing The Ford Watercolour Attribution to verso and dated 1976 18cm x 27cm Together with a marine watercolour with attribution to Admiral Sir John Corbett (1822-1893) to the verso. Shipping is available from £25.22 to a UK Mainland address.Hardy with some foxing verso, but not impacting the painting. Some age-related fading. Sir John Corbett watercolour with accretions top left corner, as viewed in images, but otherwise well-framed and in good condition.
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Gerry Kersey (Sheffield Artist) 'Burano' oil painting, signed lower left (label verso), 27 x 39cm; Constance Shaw, Still Life, oil on board, signed lower left; Peter Holland (Sheffield Artist), Cottage Lane, Mayfield Valley, watercolour, signed and dated '93, 31 x 44.5cm; Jack Green, Malham Bridge, limited edition signed print; Three Coloured Prints of Sheffield; C. Stevens, watercolour of moored fishing boats, 26 x 36cm. (8)
Jak (Raymond Jackson 1927-1997) - British Cartoonist - original mixed media painting cartoon 'Only Wet Sponges Mr Smith, Only Wet Sponges!' Oil and watercolour on artists board. Titled in pencil and noted as being for 'Mail On Sunday - 8th June 1991'. Unframed. 52cm x 60cm. Raymond Jackson (known by his pen-name JAK) was one of Britain's best-loved newspaper cartoonists, working for London Evening Standard, The Mail On Sunday, and The Daily Express.
‡ HELEN BRADLEY MBE (1900-1979) oil on board - 'Oh where, Oh where can Gyp and Barney be!', lady with a lantern and children at play, inscribed on card verso detailing the 1906 occasion when Helen and Aunt Mary returned from a walk without the pet dogs, signed and dated 1972, 28.5 x 24cmsProvenance: private collection CardiffAuctioneers Note: Born in 1900 as Nellie Layfield in Lees, a small industrial town on the northern fringe of Oldham, Helen Bradley would become one of the nation's most loved painters, but not until her late sixties. Helen (who changed her name from Nellie by deed poll) was born into a well-established family of local business owners. She attended art school in Oldham where she met fellow student Tom Bradley, who was considered the star pupil. Following a long engagement, the couple would marry in 1926 with two children to follow, Peter born in 1927 and Betty in 1931. Whilst both Helen and Tom painted throughout their lives, and it was accepted between them that if either had a chance of painting professionally Tom was the stronger candidate, neither pursued this career initially. Throughout the interwar years Tom worked in textile manufacturing for a Manchester based firm who specialised in hand printed fabrics (including several Omega patterns by Vanessa Bell and Duncan Grant) whilst Helen kept the home. Following the Second World War, Tom's work led the family to relocate to Middlesex. This afforded Helen the opportunity to visit the National Gallery and British Museum regularly and to attend art school in Harrow. The family returned to the North West in 1952 when Tom took early retirement to allow him to focus on his painting which consisted of portrait and flower commissions. They initially settled in Cheshire before buying a cottage in Cartmel on the edge of the Lake District in 1964. Now in her 60s, Helen painted with a renewed vigour, traveling around the Lakes producing misty landscapes in watercolour, whilst Tom rented a second nearby cottage as a studio for his portrait work. Together the couple joined the local Saddleworth Art Society, through which Helen first met L.S. Lowry. She once expressed to Lowry that she had always struggled to paint figures and he suggested that she should 'paint someone you know well, go home and paint your mother'. This she did, and the resultant portrait proved to be an important turning point. Shortly after she began painting scenes from her own childhood that she would become so loved for, depicting a world full of incident viewed with innocence and rendered in exquisite detail. It was not until 1965, at the age of sixty-five that Bradley had her first solo exhibition. Staged by the Saddleworth Art Society to much local acclaim, it led to a request from Cork Street's Mercury Gallery for six of her works to be included in an exhibition of naïve art the next year. There followed a little over a decade of subsequent highly successful exhibitions in Britain, America and Japan, and the publication of many much-loved books and prints. Bradley enjoyed a broad public profile that few artists ever achieve; she was announced by the media as 'The Jolly Granny' and 'England's own Grandma Moses' (although she notes her personal inspirations as Avercamp and Turner). She was appointed an MBE in the 1978 Queen's Birthday Honours, but sadly died before her investiture.Comments: Card reads, 'Oh where Oh where can Gyp and Barney be? We had been on a lovely walk that afternoon with the dogs romping along and enjoying themselves, but when we got near home they were not with us. We had our tea and still they did not come, so Aunt Mary lit the storm lantern and took George and me with her to see if we could find them. She asked some boys playing in Dove Street, if they had seen two little black dogs, "No Missus we haven't" they said, so sadly we had to return home without them and the year was 1906. Helen Layfield Bradley'. Framed, ready to hang.
RONALD MADDOX (1930-2018) 'TOPIARY GARDEN , LEVENS HALL', a depiction of the Elizabethan house and gardens, signed bottom right, watercolour on paper, label for Lichfield Festival 2001 verso, approximate size 67cm x 49cm, frame size 94cm x 71cm, Condition Report: painting is in good condition, chips to corner edges of the frame with scratches in places (Artist resale rights apply)
‡ HYWEL HARRIES (1921-1990) oil on board - entitled verso, 'Salem Revisited', signed and dated '73, 59 x 75cmsProvenance: the Welsh art collection of award-winning television producer, the late Pat Llewellyn (1962-2017), by descentAuctioneer's Note (Prof. Robert Meyrick):Hywel Harries’ Salem Re-visited is an interpretation of Salem, a 1908 watercolour by Sydney Curnow Vosper. It is a reminder of the historic significance of chapel-going in Wales and the centrality of Nonconformist Christianity in Wales. An art teacher, painter and cartoonist, Harries understood the cultural reference in Vosper’s painting, which shows the interior of Capel Salem Cefncymerau near Harlech. Purchased by industrialist William Hesketh Lever, the image became familiar through mass-circulated reproductions advertising Sunlight Soap.In October 2019, Rogers Jones successfully brokered the purchase by the National Library of Wales of Vosper’s second version of the painting. Vosper painted Salem in the wake the 1904-05 Welsh Revival, which saw a resurgence of religion. Once a national icon, emblematic of religious piety among the rural poor in Wales, Salem’s ubiquity depended on that context. In the intervening years it was distributed through Urdd Gobaith Cymru, reproduced as covers for Cymru Fydd calendars, and used by nationalists and Welsh language activists. As art historian Peter Lord points out, framed prints of Salem are nowadays consigned to ‘folk memory,’ a curious relic of times past. Carmarthenshire born, Harries trained at Llanelli School of Art until 1941, when his studies were interrupted by RAF service. After resuming his studies at Cardiff Technical College in 1947, he held teaching posts at Ealing and Machynlleth before his 1954 appointment as Head of Art at Ardwyn Grammar School (later Penglais Comprehensive School) at Aberystwyth, a position he held until his retirement in 1981.Harries is best known for his paintings of Aberystwyth townscapes and the landscape of Ceredigion. He developed a distinctive handling of layered dry paint using a soft warm palette. His landscapes often explored spatial effects and the decorative flattening of interlocking planes of colour, pattern and form, while his townscapes deploy a narrower tonal range and muted colours. Harries’ Salem Re-visited paintings were a rare dalliance with abstraction. Fellow Welshman Ceri Richards had likewise sought contemporary responses to familiar subjects when he made paintings after Rubens’ The Rape of the Sabine Women in the National Gallery, London, in 1946. Harries would also have been aware of Pablo Picasso’s abstracted translations of paintings by Cranach, Velázquez, and Ingres.Salem portrays the 71-year-old widow Siân Owen Tŷ’n y Fawnog taking her pew before the start of a service. Even in 1908 the scene depicted by Vosper was something of an anachronism. Stove-pipe hats were rarely worn then; in fact, only one such hat could be sourced for the women to model. In 1938, Vosper recalled the names of his sixpence-an-hour models; among them were a local carpenter, farmer, shopkeeper and a tailor’s dummy he named Leusa Jones. In Salem Re-visited, Harries has lettered their names on or alongside each character. The popular belief is that the devil lies in the detail of the folds of Siân Owen’s richly patterned paisley shawl, even though Vosper refuted that the likeness was intentional. There is no ambiguity in Harries’ flat monochrome rendering of the shawl as the profile of a demonic face in contrast to its colourful surroundings. Uncharacteristically for Harries, the act of painting appears on this occasion to be more important than representation or narrative. The illusion of pictorial space being abandoned, the relative position of the congregation becomes unclear. The jigsaw arrangement of overlapping shapes allude to the fragmentary nature of appearances in momentary glances. Peter Lord described this approach as a ‘Cubist-cum-patchwork quilt oil painting.’For Harries, there was an additional resonance in Vosper’s Salem. He was himself a man of faith and a staunch chapel-goer. He was an elder at Capel Salem (later to become Capel Morfa) in Aberystwyth. Always smartly presented in jacket, collar and tie, there was nothing bohemian about him. Indeed, Harries looked every bit the chapel deacon. Founding Ceredigion Art Society in 1963, Harries placed his knowledge, experience and enthusiasm for art into the service of the community. He was Vice-President of the Royal Cambrian Academy and chaired the Art and Craft Committee of the Council of the National Eisteddfod. In retirement, he authored several books, among them Cymru’r Cynfas: Pymtheg Artist Cyfoes [Wales on Canvas: Fifteen Contemporary Artists] (1983).Prof. Robert Meyrick, art historian, curator and educator, until recently Professor, Head of Aberystwyth University’s School of Art and Keeper of the School of Art Museum and Galleries. Comments: framed, ready to hangDelivery: complimentary delivery can be arranged for all purchases over £4000 in this Welsh Sale auction (England and Wales only) please contact brj@rjauctions.co.uk for further details
*JOHN NORTHCOTE NASH (1893-1977) 'Britannia in Winter Quarters' signed and dated 1938 lower left, watercolour, 38cm x 55cmExhibited: Contemporary Exhibition, 1939, Thomas Agnew & Sons Ltd., Old Bond Street, LondonProvenance: Purchased from the above by Michael B. Harman Esq. and thence by direct descentJohn Nash first visited Bristol in the 1920s after a recommendation from Edward Wadsworth, who had been sent there during World War I to supervise the painting of ships with 'dazzle camouflage'. Nash then returned in November of 1938, bringing with him friend and fellow artist Eric Ravilious (1903-1942). The pair sat side by side at Bristol Docks painting the paddle steamers laid up in winter berths. On one occasion where Ravilious had ventured out alone drawing outside after dark, and was working intently on his picture of a paddle steamer, he had suddenly heard a grinding noise and a voice calling out, 'lucky for you I saw you, old cock, or you'd have been a box of cold meat.' Eric had set up his easel, without noticing it was on the tracks of one of those light railways that are used in the docks (Helen Binyon). Both Nash and Ravilious produced views of P & A Campbell's steamer Britannia, seen from the same spot on Mardyke Wharf, giving fascinating insight into the methods of each artist, both the similarities in understated colour and tonal range, and the differences in composition and choice of detail.The paddle steamer Britannia depicted in the present work was stationed at Bristol Quay, and was requisitioned by the Royal Navy at the outbreak of the war and renamed HMS Skiddaw. She was a fast ship and she still holds the Bristol Channel speed record for a trip to Ilfracombe to Weston with a time of one hour and fifty six minutes. She was sold for scrapping in 1956 after sixty years as a favourite steamer.Framed dimensions: 68cm x 83cm
Robert A Keith (Cumbria, Contemporary)"Bamburgh Castle, Northumberland", a broad, blissful, coastal study of the castle sat atop a rocky mound before a cove full of figures frolicking on the sandy beach, watercolour, signed, titled on label verso, in double card mount and moulded gilt frame under glass, 37 cm x 44 cm overall[Keith is a local artist whose works resonate with the landscapes of Cumbria and Northumberland, painting in watercolour over graphite and evoking a sense of serenity and a connection to nature.]
Robert A Keith (Cumbria, Contemporary)"Coble at Boulmer, Northumberland", a calm, nautical study of two fishermen tending to a coble beneath hovering gulls and blue skies, watercolour, signed, titled on label verso, in double pen-lined card mount and parcel gilt frame under glass, 35 cm x 43 cm overall[Keith is a local artist whose works resonate with the landscapes of Cumbria and Northumberland, painting in watercolour over graphite and evoking a sense of serenity and a connection to nature.]
CHARLES EDWARD DIXON (BRITISH, 1872-1934)A coastal stranding, with local inhabitants on the foreshore trying to assistSigned ‘Chas Dixon 88.93’ (lower right) counter-signed in margin (lower right)Watercolour heightened with white23 x 34½in. (58.5 x 87.5cm.)Wreck scenes are very rare within the oeuvre of Charles Dixon and it is worthy of note that not a single such work is listed or mentioned in the only book on the artist, namely Charles Dixon And the Golden Age of Marine Painting by Stuart Boyd, published in 2009.Time stained overall. The brown is the acid from the paper coming through. Will likely restore well.
Indian Company School, a watercolour on paper, with black margins, of the tomb of Itimad Ud-Daula at Agra and the interior,10 x 17cm, framed,together with two watercolours of Agra Fort,10 x 17cm, and the Delhi Gate at Agra Fort,3 x 7cm (4)Condition ReportAll with paper discolouration throughout.All with the occasional light spot of foxing.All appear to have some form of writing verso, of various lengths, which show through.A little light surface dirt to all.Both drawings of the exteriors cockled.The individually framed one has thunder bugs under the glass.The Delhi Gate painting has a rip centre top and top right.None seen out of frames.
Cyril Wood (English school) - a Victorian 19th century watercolour painting on paper depicting a country scene. Depicting two cottages, one in the foreground and one in the background, amidst spring wildflowers. Signed lower right hand corner Cyril L. Wood. Mounted, framed and glazed. Measures approx. 74cm x 56cm including frame.
A BOX AND LOOSE MAPS AND PRINTS ETC, maps include a map of Massachusetts, Connecticut and Rhode Island published 1832, approximate size 20cm x 26cm, various 18th & 19th century Staffordshire including Meeting places of the Hoar-Cross Hunt, Thomas Gardner road maps Bristol to West Chester and Oakham to Richmond, John Ogilby road map London to Holy Head, with John Carey maps of Hampshire and Dorsetshire dated 1818, C.S. Smith maps of Northumberland, Cumberland and Westmoreland dated 1801, pictures include an architectural study of bridge houses by Joseph Moussa, watercolour on paper, approximate size 16cm x 23cm, a limited edition print depicting Timoleague Friary by Nevil Swinchatt, an etching of a street in Hong Kong, Indian painting on fabric depicting three elephants, reproduction cigarette cards etc. (1 BOX + loose)
† HAROLD RILEY DL DLITT FRCS DFA ATC (1934-2023); watercolour, 'Sacred Trinity Church, Salford', unsigned, bears label verso, sketch study for an oil painting of Sacred Trinity Church, Salford, commissioned by R Greenhalgh, presented by H Riley 23rd September 1977, 21 x 25cm, framed and glazed.
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11379 item(s)/page