An interesting collection of letters from noteable early Newlyn School Artists Handwritten letters, consisting of: Stanhope Forbes, 2 x letters. Samuel John Lamorna Birch, 16 x letters including an ink sketch and a Fine Arts Society 1911 exhibition catalogue. All addressed to Woods or 'W H'.John Anthony Park, 3 x letters and one letter written by his wife Margaret.Harold Harvey, 4 x letters, all very chatty, all mentioning Alfred Munnings and his comings and goings in West Cornwall. Julius Olsson, 3 x letters.With the exception of the Forbes, all these letters are written to William Henry Woods, Alderman and one time Mayor of Preston, Lancashire, also one of the owners of WH & J Woods Tobacco Factory in Preston, a major employer in the town. Woods was also a good friend of Alfred Munnings who stayed with him at his house Moore Park in Preston. He was obviously a consistant patron and friend to all these artists and visited Cornwall from time to time. He purchased their work and encouraged friends to do the same. We learn from these letters that John Anthony Park, also from Preston had worked for Woods before coming to Cornwall. Birch wrote to him extensively. Woods died in 1924.This archive provides us with a fascinating and contemporary insight into the working lives of these Newlyn and Lamorna artists, and also their relationship with a man who was clearly an important patron and supporter to all of them. A valuable resource for historical research.
We found 7096 price guide item(s) matching your search
There are 7096 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
7096 item(s)/page
Elizabeth Adela STANHOPE-FORBES (1859-1912) Across The Sand Dunes EtchingPlate size: 17 x 11cmNewlyn Orion Gallery label to versoThis very rare dry-point etching has not been examined out of the frame. We are not aware of there being any signed numbered etchings by E Forbes but some are signed in the plate. Indeed there is a version of this etching that has her monogram.This etching was sold through the Newlyn Orion Gallery in 1981 when the respected expert John Halkes was its director. We do not know where the title "Across the Sand Dunes" comes from, perhaps it is inscribed.The etching has overall foxing
Terry FROST (1915-2003) Newlyn Blue Q, 1995 (Kemp 142) ScreenprintSigned and inscribedNumbered 94/125Image 80 x 73 cm (irregular)Sheet 85 x 85 cmProvenance - Belgrave Gallery, St Ives (label verso)This work is in excellent condition with the slightest cockle to the paper. The paper is behind a mount
Ken SPRAGUE (1927-2004) The Power & The Glory Ink and washSigned, inscribed and dated '8016 x 22.5cmThis double-sided work is on an envelope addressed to Newlyn Art Gallery and stamped April 1980.Overall this piece is in good condition, with no particular areas of major concern. There is one light foxing mark present on the reverse of the piece, located specifically on the centre of the bottom edge (please see additional image).
John SIMMONS (1871-1943) Three oils on canvas View From a Riverside, Farmstead and Rural VillageEach approximatley 46 x 61cm(3)John Simmons spent the first half of his working career within his family theatrical costumier firm ‘A. J. Simmons & Sons’, alongside his father who was a tailor by trade. It was not until the business was sold in 1912 that Simmons was able to dedicate more time to his artistic talent. Although there is no record formally, it is believed that Simmons spent time at the Slade School of Fine Art and trained under the notable painter and printmaker Walter Sickert. This time gave Simmons chance to travel as well as paint, and the two soon came to support each other with Simmons making many friends amongst his contemporary artists. Within his time in London, he became an acquaintance of Augustus John, who also trained at the Slade. Whilst holidaying in Lamorna, Cornwall he often visited Samuel John Lamorna Birch who was drawn to the area by the celebrated Newlyn School. He met many other artists working in England in the early twentieth century, as well as making many friends during his long painting expeditions through continental Europe during the interwar years. John Simmons exhibited at several galleries between 1925 and 1940: the Royal Academy, the Walker Art Gallery, the Royal Society of British Artists and the Royal Institute of Oil Painters to name a few. In contrast to the notoriety of these galleries, Simmons remained a quiet artist, a slow worker whose output was rather small, but at the same time he was a painter whose artistic merit remained a constant. All of Simmons’ paintings are of the same style; sensitive in colour and accurate in form.
Sir Terry FROST (1915-2003) Untitled (Figure) (Kemp 30) Mixed media and linocut, signed. Further work to verso, self-portrait monotype. 20.5 x 29cm.From the collection of Ron Howell."I was introduced to Terry by Allan Freer who had commissioned various things from him during his time with Manchester Education Committee - some of the works are illustrated in the Lewis book. After the initial meeting, we became good friends and I visited Terry and Kath three or four times a year in Newlyn. But we also met in Venice, where I worked regularly, and Terry has a show at the Multigrafia Gallery and the year before his death, they came to the Aldeburgh Festival. The etching ‘On the Edge’ was made for that visit. During that visit, Terry said that he had always wanted to design an opera, and I was able to help him fulfill that with the commission for Opera East’s production of Britten’s ‘Rape of Lucretia’. Unfortunately, Terry was unable to see the production, and although I had it filmed, the editing only finished after his death. The etching ‘Blue Vertical’ came from this commission, and the ‘Spiral for Aldeburgh’ was used at his funeral, with one of his poems printed verso. In 2005, ‘Blue Drowning’, based on Terry’s lost painting Drowning Blue, was performed by the Scottish Strings at the Aldeburgh Festival. This I commissioned from John Woolrich to celebrate the lives of Terry and Kath, and our friendship and collaborations."
John SIMMONS (1871-1943) Rural Landscape with Cottage Oil on board28 x 38cmJohn Simmons spent the first half of his working career within his family theatrical costumier firm ‘A. J. Simmons & Sons’, alongside his father who was a tailor by trade. It was not until the business was sold in 1912 that Simmons was able to dedicate more time to his artistic talent. Although there is no record formally, it is believed that Simmons spent time at the Slade School of Fine Art and trained under the notable painter and printmaker Walter Sickert. This time gave Simmons chance to travel as well as paint, and the two soon came to support each other with Simmons making many friends amongst his contemporary artists. Within his time in London, he became an acquaintance of Augustus John, who also trained at the Slade. Whilst holidaying in Lamorna, Cornwall he often visited Samuel John Lamorna Birch who was drawn to the area by the celebrated Newlyn School. He met many other artists working in England in the early twentieth century, as well as making many friends during his long painting expeditions through continental Europe during the interwar years. John Simmons exhibited at several galleries between 1925 and 1940: the Royal Academy, the Walker Art Gallery, the Royal Society of British Artists and the Royal Institute of Oil Painters to name a few. In contrast to the notoriety of these galleries, Simmons remained a quiet artist, a slow worker whose output was rather small, but at the same time he was a painter whose artistic merit remained a constant. All of Simmons’ paintings are of the same style; sensitive in colour and accurate in form.
John SIMMONS (1871-1943) Seated Beside the Lake Oil on boardSigned51 x 61cmandJohn SIMMONS (1871-1943)Rural LandscapeOil on boardSigned41 x 50cm(2)John Simmons spent the first half of his working career within his family theatrical costumier firm ‘A. J. Simmons & Sons’, alongside his father who was a tailor by trade. It was not until the business was sold in 1912 that Simmons was able to dedicate more time to his artistic talent. Although there is no record formally, it is believed that Simmons spent time at the Slade School of Fine Art and trained under the notable painter and printmaker Walter Sickert. This time gave Simmons chance to travel as well as paint, and the two soon came to support each other with Simmons making many friends amongst his contemporary artists. Within his time in London, he became an acquaintance of Augustus John, who also trained at the Slade. Whilst holidaying in Lamorna, Cornwall he often visited Samuel John Lamorna Birch who was drawn to the area by the celebrated Newlyn School. He met many other artists working in England in the early twentieth century, as well as making many friends during his long painting expeditions through continental Europe during the interwar years. John Simmons exhibited at several galleries between 1925 and 1940: the Royal Academy, the Walker Art Gallery, the Royal Society of British Artists and the Royal Institute of Oil Painters to name a few. In contrast to the notoriety of these galleries, Simmons remained a quiet artist, a slow worker whose output was rather small, but at the same time he was a painter whose artistic merit remained a constant. All of Simmons’ paintings are of the same style; sensitive in colour and accurate in form.Seated Beside the Lake: There is some surface dirt present on this piece, this is particularly evident to the right of the centre (please see additional image). There is some signs of peripheral losses present on each of the edges of this piece, the most prominent area being the top right corner and bottom edge (please see additional images). There is one specific area, to the left of the piece where a section of the paint has removed from the board (please see additonal image). Rural Landscape: This piece is in the better condition of the two. There is one very minor mark in the left hand corner of the piece (please see additonal image), along with slight peripheral losses present on each of the edges (please see additional images). Both works are unframed.
Reg Watkiss Three publications Early Photographs: Penzance and Newlyn. Reg Watkiss. Published 1975. Paperback.Early Photographs: The West Cornwall Penninsula. Reg Watkiss. Published 1978 by A Celtic Pottery Publication. Softcover.Early Photographs: The Land's End Peninsula. Reg Watkiss. Published 1975 by Whies of Alverton. Paperback. Signed by the author.
Terry FROST (1915-2003) Four publications Terry Frost: Between Sun and Moon. Mel Gooding. Published 2012 by London Beaux Arts.Terry Frost: Works on Paper, 25 Years: 1947-72. Exhibition catalogue. Austin/Desmond Fine Art 1986.Sir Terry Frost: R.A. (1915-2003) A Lemmington Lad. Exhibition Catalogue. Lemmington Spa Art Gallery & Museum 2015.Terry Frost: Exhibition of Prints. Exhibition flyer. Badcocks Gallery Newlyn.
A Newlyn School copper and brass trivet by John Pearson, the top decorated with a dragon raised on four splayed legs, bears initials within an oval stamp to base 25 cm x 18 cm x 9 cm high together with A Newlyn School copper rectangular tray by John Pearson with embossed dot decoration to the edges and open handles stamped with initials JP within an oval to the underside x 2, 44 cm wide (including handles) x 29.5 cm
A Newlyn School copper box by John Pearson, the top with flower head medallion opening to reveal a wooden lined interior over a floral medallion decorated front panel and studded sides, initialled verso and dated 1899 23.8 cm wide x 11.5 cm deep x 7.4 cm high CONDITION REPORTS The piece appears basically sound though there are some wear holes to the front scrollwork showing evidence of previous over polishing. The colour is arguably lighter than it should be. Apparently it was much more polished when the present vendor acquired it but has been left to oxidise over several years giving it a better colour now than when purchased - see images for further detail
SIX BOXES OF CERAMICS AND ORNAMENTS, to include a Poole Pottery spear shaped Delphis design platter, a Mdina turquoise glass decanter, Royal Albert 'Winter Harmony' figure from the Country Walk Collection, a small Dresden 'Ballerina', three Royal Albert 'Silver Maple' pattern tea cups with three saucers, three Coalport coffee cups with saucers, a Newlyn Pottery brown and green vase, a Royal Doulton 'Bunnykins' mug and egg cup, a west German stein with a pewter lid, a Swiss Army Knife (TO BE SOLD TO OVER 18'S ONLY), dinner plates, drinking glasses, etc (6 boxes)
Seven volumes relating to Cornwall and Devon:'Drawings and Paintings by Joan Manning-Sanders' (Faber & Faber 1929) with an inscription from the artist to the Newlyn artist, Ernest Procter;'The Parochial History of Cornwall' in four volumes - Davies Gilbert (J.B. Nichols 1838);'Tudor Cornwall - Portrait of a Society' A.L. Rowse (Jonathan Cape 1957);'Bartholomew of Exeter' - Dom Adrian Morley (Cambridge University Press 1917).
Alfred Neville Lewis (South African, 1895-1972)Two Sisters from Pondoland signed 'Neville Lewis' (upper right)oil on linen61.1 x 51.1cm (24 1/16 x 20 1/8in).(unframed)Footnotes:ProvenanceArtist's collection;A private collection.Born and educated in Cape Town, Alfred Neville Lewis (1895-1972) moved to England in 1912 to pursue his art studies. He first trained under Stanhope Forbes in the art colony of Newlyn in Cornwall, before undertaking formal studies at the Slade School of Art, London. He served in the British army in France, Belgium, and Italy between 1916 and 1918. Following the First World War, he set up a studio in London and established his reputation as a skilled portraitist. Neville Lewis travelled to South Africa on a number of occasions before ultimately settling in Stellenbosch in the late 1940s. During earlier visits to his native country, he embarked on painting trips to rural areas with the intention of depicting the people he encountered. It is likely that Two Sisters from Pondoland was executed during one of these trips or in Neville Lewis's London studio using materials drafted in situ. In Studio Encounters: Some Reminiscences of a Portrait Painter (1963), the artist recalls his experiences painting near Umtata (present-day Mthatha). He stayed at traders' stores which stocked a wide variety of products from blankets, boots, and saddles to tins of jam, mouthorgans, and tobacco. Neville Lewis explains, '[t]hese stores are crowded all through the day with men and women' (1963: p. 60). He drew upon members of this local community to serve as his models: 'I spent about a week at [the store] and explored the country around and did quite a few more paintings and drawings of a variety of subjects: mothers sitting feeding their babies, heads of children, groups of Africans and head studies of both men and women. I worked out in the blazing sun and sometimes in their huts' (1963: p. 66).Two Sisters from Pondoland depicts two girls draped in the brick-red blankets typically worn by the Bantu people. Set against a verdant green backdrop with grey-blue mountains visible in the distance, the sisters exude a quiet confidence. The younger girl's head is turned in profile while the older girl gazes out from the canvas – a compositional variety that demonstrates the artist's aptitude for capturing his subjects in different poses. Their necks are adorned with jewellery crafted from the coils of metal wire sold in the traders' stores that Neville Lewis stayed in during his travels. Executed using expressive brushstrokes, the artist's charismatic depiction of his subjects demonstrates his mastery of the portraiture form. BibliographyNeville Lewis, Studio Encounters: Some Reminiscences of a Portrait Painter (Cape Town: Tafelberg-Uitgewers, 1963).For further information on this lot please visit Bonhams.com
![ALBERT REUSS [1899-1976]. Blanket, 1949. oil on canvas. signed and dated. 35 x 46 cm [overall including frame 46 x 56 cm]. P](https://cdn.globalauctionplatform.com/2d52b1f3-bf52-438c-97ab-af1200c56b67/161279c7-ab52-46f8-b06c-af1200e06b8f/468x382.jpg)
ALBERT REUSS [1899-1976]. Blanket, 1949. oil on canvas. signed and dated. 35 x 46 cm [overall including frame 46 x 56 cm]. Provenance:The artist; Jeanne Day collection [friend of the artist, who had a large collection of his work]; private collection, USA; private collection, UK. A St. Ives School artist who lived in Marazion. The Newlyn Gallery have a very good collection of his work. He had a very individual style and is currently underrated. [very good condition - unexamined out of frame]. Buyers premium 20% + vat payable.
Newlyn, an oval copper biscuit barrel embossed three galleons, the lid decorated embossed shells, impressed mark, 18cm wide, a Newlyn copper charger embossed a ship in full sail, stamped three times, 31cm diameter and a hammered circular tray with wavy edge, impressed Newlyn, 37.5cm diameter CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
An Arts & Crafts copper wall pocket, in the manner of the Newlyn School, the arched back repousse decorated with a pair of birds on branches, with serrated edges, unmarked, 34cm high CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
Style of Newlyn, an Arts & Crafts copper jug of tapering form, embossed penguins, 21cm high and a copper two-handled vase decorated stylised fish, 24cm high, both unmarked CONDITION REPORT: Superficial scratches all over both the jug and vase, some deeper ones also. Marks, tarnishes and blemishes present. Some patches of discolouration throughout the two. Spotting and speckled in parts with green/white deposits also. Misshapen in areas
THOMAS COOPER GOTCH (BRITISH 1854-1931) NEWLYN HARBOUR Watercolour Signed (lower right) 18.5 x 10.5cm (7¼ x 4 in.) Condition Report: Unexamined out of glazed frame. The sheet is slightly undulating. Light yellowing to the edges of the sheet and a couple of spots of foxing to the upper sky. The frame is damaged in the upper right corner. Condition Report Disclaimer
Loading...-
7096 item(s)/page