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Lot 227
Manner of WALTER RICHARD SICKERT ARA (British 1860-1942) Study for L'armoire a Glace Ink drawing, signed 'Sickert' lower right, 16cm x 10cm, frame 27cm x 19.5cm. Unproven provenance: purchased from Ron Slaven of Wakefield together with a Francis Hogkins for £3,700 on 14th January 2001.Image has not been inspected out of the frame. Waves in the paper would suggest that the image is not stuck down.
Lot 634
DAVID COX JUNIOR (1809-1885)A collection of approximately 35 pencil sketches in three Victorian drawing books each 10" x 14". The subjects are mostly trees, farm buildings, ruins and agricultural equipment. The inside cover to one of the sketch books is inscribed "David Cox, 2 New Park Road, Brixton Hill", together with an 1844 postmarked letter by David Cox Junior to a cousin living in Oswestry (Illustrated) (Est. plus 24% premium inc. VAT)Provenance: Mrs Elizabeth Cox, 2ndwife of David Cox Junior and then by descent to the present ownerCondition Report:All sheets essentially intact. Some wear to the paper edges and one book heavily foxed.
Lot 711
TWO BOXES OF METALWARE AND TREEN, included four wood twist detail candlesticks with metal detail at the top, small decorative boxes, one has vintage technical drawing items in, a carved wooden zanpar mould, an animal horn finished with a brass cap, eight small framed portrait prints of vintage ladies, oriental hand fan, selection of EPNS decorative trays, three arm candelabrum, a pair of vintage pewter vases, floral design, makers symbol on the base, a four piece cruet set cut glass in a metal carry tray, also some brass candlesticks and planters, etc. (2 boxes), (sd/af)
Lot 719
A GROUP OF AUSTRALIAN INTEREST ITEMS comprising a ceramic sculpture of a large red kangaroo in a leaping position, etched 'Studio Australia' to the base height 31cm x length 34cm, a hand painted souvenir boomerang in aboriginal style, length 47cm, a hand painted plate depicting a fish in an aboriginal style, height 22cm x width 29cm, and a framed drawing of an aboriginal style turtle on slate, height 14cm x width 14cm, retail sticker to the reverse (4) (Condition Report: overall fair condition)
Lot 71
This serene oil painting depicts a tranquil river winding through a lush, verdant forest. The composition captures the peaceful essence of nature with softly reflected light on the water and intricate details of trees and foliage. The muted, natural tones evoke a sense of calm and timeless beauty, drawing the viewer into the idyllic landscape. The artist's delicate brushwork highlights the interplay of light and shadow, creating depth and realism. Two ducks on the water provide a focal point with a windmill in the background, adding a gentle touch of life to the stillness of the scene. The ornate frame enhances the painting's traditional appeal, complementing the romantic and naturalistic aesthetic characteristic of late 19th and early 20th-century landscape art. Signature on lower right side: illegible. Housed in an elaborate gilded frame. Artwork dimensions: 31"L x 15.25"H. Frame dimensions: 38.75"L x 22.75"H x 2.75"W.Issued: Late 19th-Early 20th centuryDimensions: See DescriptionCondition: Age related wear. Buckling on right side of painting. Minor damage on left side of frame.
Lot 74
This finely executed oil on board intimate portrait, signed by artist C. Franco, presents a distinguished gentleman with a neatly groomed beard and formal attire, exuding an air of quiet confidence and sophistication. The subject's steady gaze and poised demeanor suggest a figure of importance, with the dark background that emphasizes the sitter's facial features and attire, creating a striking visual impact. The artist demonstrates remarkable attention to detail in rendering the texture of the subject's clothing, the luminous quality of his skin, and the thoughtful expression captured with subtle brushstrokes. The warm tones in the face contrast beautifully with the muted tones of the background, drawing the viewer's attention to the subject's striking visage. Signature on lower right: C. Franco. Housed in a gilded frame. Artwork dimensions: 4.50"L x 6.50"H. Frame dimensions: 7.25"L x 9.25"H x 1"W.Artist: C. FrancoIssued: 20th centuyDimensions: See DescriptionCondition: Age related wear.
Lot 72
This delightful oil on wood painting is an exquisite homage to the celebrated work of Theodore Gerard Trying on Grandmother's Spectacles. The scene captures a tender domestic moment set in a rustic European interior. A young child, perched on a table, tries on a pair of spectacles, much to the amusement of the family gathered around. Grandmother, seated and poised with a book on her lap, radiates a gentle warmth, while the surrounding children interact with endearing curiosity and familial affection. The composition is rich in detail, from the textured fabrics and furnishings to the expressions of each figure, offering a glimpse into a bygone era of domestic harmony. The intricate tile flooring and warm-toned interior add depth and authenticity to the scene, emphasizing the artist's keen observation of everyday life. Theodore Gerard was a Belgian genre painter renowned for his depictions of rural life and intimate family moments. Drawing inspiration from the traditions of the Flemish masters, Gerard's works often portrayed cheerful and sentimental scenes infused with realism and narrative depth. His ability to capture human emotion and everyday interactions made his paintings highly sought after in the 19th century, particularly among collectors who appreciated his finely detailed compositions. Housed in an elaborate gilded frame. Artwork dimensions: 11.50"L x 15.75"H. Frame dimensions: 16"L x 19.75"H x 1.75"W.Artist: After Theodore Gerard (Belgian 1829-1895)Issued: Early 20th centuryDimensions: See DescriptionCountry of Origin: BelgiumCondition: Age related wear.
Lot 73
This charming oil on wood painting, titled Petite Boudeuse (The Little Sulker), is a high-quality rendition after the celebrated work by William-Adolphe Bouguereau. The piece portrays a young girl in a moment of innocence and introspection, her hands clasped near her face as she gazes softly away. The meticulous detailing in her expression and attire highlights the influence of Bouguereau's mastery in portraying human emotion and the delicate interplay of light and shadow. The scene captures a timeless pastoral charm, with a basket of fruit and household objects enriching the rustic narrative. The soft, luminous quality of the girl's skin, juxtaposed with the muted background, mirrors Bouguereau's renowned ability to blend realism with romanticism. The work radiates a sense of nostalgia, drawing the viewer into a simpler, idyllic world. Housed in an ornate gilt frame with floral motifs and intricate detailing. William-Adolphe Bouguereau (1825-1905) was a French academic painter celebrated for his classical approach to figure painting. His works often featured mythological themes, rural scenes, and portraits imbued with a profound sense of beauty and technical precision. A central figure in 19th-century art, Bouguereau combined traditional techniques with an emotional depth that continues to resonate with audiences. While his contemporaries veered towards modernism, Bouguereau remained steadfast in his devotion to classical ideals, earning him acclaim as one of the foremost painters of his era. Artwork dimensions: 7.25"L x 9.50"H. Frame dimensions: 16.25"L x 18.25"H x 2.25"W.Artist: After William-Adolphe Bouguereau (French 1825-1905)Issued: Early 20th centuryDimensions: See DescriptionCountry of Origin: FranceCondition: Age related wear. Minor chips in frame.
Lot 461
THOMAS STOTHARD (BRITISH 1755-1834) THE ORLEANS FAMILY RECONCILED BY THE DUKE OF BURGUNDYpen and ink and wash8 x 23cm; 3 1/4 x 9in32 x 50cm; 12 3/4 x 19 1/2in (framed)The present work is a study for one of the eight panels en grisaille of chivalrous scenes from the chronicles of Enguerrand de Monstrelet that Stothard completed to decorate the upper part of the octagonal library at Hafod, the estate of Colonel Thomas Johnes in north Wales. A wealthy landowner, Johnes devoted his time to literary pursuits and surrounded himself with a circle of artists that included J. C. Ibbetson, John 'Warwick' Smith, J.M.W. Turner and the architect John Nash. Stothard had first been employed by Johnes as drawing master to his precocious invalid daughter Marianne. When a fire burned the house down in 1807, Johnes had it rebuilt by Nash in an Indian style with an octagonal library to hold what remained of his valuable library. Stothard's great interest in medieval art prepared him for this commission which was much admired by the bibliophile Thomas Dibdin.
Lot 465
WALTER CRANE (1845-1915) PREPARATORY DRAWING FOR SCOTTISH WIDOWS CALENDAR, FEBRUARYpencil on paper21 x 14cm; 8 1/4 x 5 1/2in47.5 x 37.5cm; 18 1/2 x 14 1/2in (framed)ProvenanceThe Scottish Widows' Fund Life Assurance Society, Edinburgh (commissioned from the artist) Walter CraneLionel F. Crane (son of the above) The Fine Art Society, LondonExecuted circa 1890. Crane designed a poster, bookmarks and a calendar for the Scottish Widows' Fund.offered for sale without reserve
Lot 1359
Victorian lady's and gentleman's pair of drawing room chairs - walnut framed open armchair and nursing chair, the arched cresting rail with central cartouche decorated with curled acanthus leaves, upholstered in neutral textured fabric, the frame decorated with satinwood band and scrolling foliate motifs, turned and fluted front feet with brass and ceramic castors
Lot 389
A late 18th portrait miniature of a gentleman, initialled for artist Charles Bestland. The gentleman wears a blue coat with a red collar and white stock and appears before a red curtain drawing back to reveal a landscape. Signed CB '96. (1796) by Charles Bestland (1763-1837). In a glazed yellow metal frame, surface testing as 14ct gold, with an inscribed paper to the verso reading: "Painted by C Bestland 1796, West End." Ivory Certificate: 6C8P74KK
Lot 1105
Frank Reynolds (1876-1953) - Foresight, pencil sketch heightened in white on drawing board, unframed, 32x24cm, together with a copy of Winter's Pie dated 1912, in which the sketch appears on page 76 (2)Very poor, cover is loose. Binding falling apart. Back cover missing pages with browning to edges and some foxing in places.
Lot 1000
Fortunino Matania RI (1881-1963) Italian The Muse Signed, mixed media, together with a collection of further sketches to include a range of studies depicting the female form, portraits and figurative subject matter, 33cm by 53cm, various other sizes, all unframed (a collection)Provenance: From a collection of sketches and drawings from the studio of Fortunino Matania Private Collection, North YorkshireThe son of the artist Eduoardo Matania, Fortunino studied in his father’s studio in Naples. He soon showed himself to be a child prodigy in the field of drawing and painting and Matania is recorded as saying: “I can’t remember when I first held a brush.”In assisting his father with his illustrations intended for the periodical “L’ Illustrazione Italiana” his proficiency and talent was soon recognised in wider circles and Matania was producing his own illustrations for the magazine from 1895-1902. Before moving to Britain, he worked as a travelling artist for magazines in Italy, Germany, France and England and in 1902, he was awarded a great honour in becoming the official artist for the Coronation of Edward VII for The Graphic magazine. Once in London, Matania was keen to produce works which were inspired by the world around him and driven by this he produced an unbelievably large, diverse and highly skilled output of work over more than 40 years, which appeared in The Graphic, The Sphere, Illustrated London News Britannia and Eve, and other instructive publications such as Look and Learn, towards the end of his career. A contemporary quote of the time referred to his endeavours as “intensely energetic and hard-working, always on the spot, his pictures were far more vivid than the artists who drew from their reports”Aged 22, Matania had a brief time away from London when he took military service with the Bersaglieri, in Italy, even here he had a studio appointed to him and he produced six large paintings for display within the Garrison. It was after his army service that he returned to London and it was in 1911 that he was given the illustrious assignment as guest of George V at the Delhi Durbar (Indian Court) when he and his queen were installed as King – Emperor and Queen Empress. His association with the King and Queen Mary continued also evidently past this time and it is known that works by him formed part of the collection of HM Queen Mary. By 1914 Matania became a war artist and he was in the trenches many times drawing from life to ensure that his paintings were realistic renditions. He is quoted as saying “After it was over I realised drawings of innocuous functions would not appeal, photography had made great strides so I turned to something else, the reconstruction of historical events”.It was from this time that Matania determinedly sought to depict historical scenes, often of a Classical nature and intended for the publication Britannia and Eve. Matania went to enormous lengths to ensure that all aspects of the design were absolutely historically correct and applied a meticulous approach to detail. Matania exhibited his Roman interiors at the Royal Academy, Royal Institute of Painters in Watercolours (becoming a member of the latter in 1917) and several other locations. He strove to depict faithful reproductions, which he achieved through the rigorous study of the subject, by accurately reconstructing the furniture found in the buried city, and with the addition of appropriate models; his studio transformed into Ancient Rome.His talent and success as an illustrator encouraged a number of commissions for advertising posters and catalogues and he produced work for companies such as Ovaltine and Burberry’s (see lot 1005).The artistic output of this remarkable artist seems truly endless. In his pursuit of his ideals, Matania stood alone amongst his contemporaries, he employed a resourcefulness rarely matched and always remained true to his notion of beauty and realism.
Lot 222
John Newberry RWS (British 1934-): Chinese Temples, pair watercolours signed in pencil 20cm x 30cm (2)Notes: Newberry read Architecture at Cambridge, but changed courses, moving to Newcastle where under Lawrence Gowing and Victor Pasmore he graduated in Fine Art in 1960. He taught at the Ruskin School of Drawing 1963-1989. Exh. Chris BeetlesCondition Report: Excellent condition, good original colours. Well presented, ready to hang
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67522 item(s)/page