Joash Woodrow (1927-2006) ''Portrait of a Young Woman'' Pencil, 76cm by 50cm Provenance: 108 Fine Art, Harrogate Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business See illustration Born in Leeds in 1927 of Polish background, Woodrow initially trained at Leeds College of Art after which he served in the army as a cartographer in Egypt 1945 - 1948. Between 1950 - 1953 he studied drawing and painting at the Royal College of Art, his fellow students including Frank Auerbach, Peter Blake and the novelist Len Deighton. Shortly after graduating from The Royal College of Art Joash returned to his home in Chapel Allerton, Leeds where he continued to paint small scale landscapes and portraits. Already well aware of the broad strands of 20th century European Modernism it was the experience of the huge Picasso show at the Tate in 1960 which provided the major catalyst for the extraordinary explosion in scale and ambition that overtook his work over the next fifteen years. Lots 97-99 and 204 clearly demonstrate the the power of Picasso's influence on the artist. This fused with his upbringing in a community created through a mix of English, Jewish and Eastern European culture and the realisation that his expressive roots lay outside the British Isles are what enabled him to find his voice.Since the re-discovery of his work, and since a series of retrospective touring exhibitions, his work is now held in numerous public collections including Leeds City Art Gallery, Leeds University, Manchester Art Gallery, The Ben Uri, Liverpool University, Hull University, Liverpool Metropolitan University, Pallant House, Chichester. A highly successful exhibition was held at the Fine Art Society, London, in 2009
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JOHN KNOX pencil drawing - coastal scene, entitled verso 'Squall, North Sea' on label for Aitken Dott & Son Gallery, Edinburgh, signed, 19 x 16cms Provenance: as per label, Christmas Exhibition 1977, Catalogue No.73. Price of £36 on separate label with title and signature. Cardiff Estate. This lot may qualify for Artist Resale Rights. For further information, please visit http://www.dacs.org
SIR EDWIN HENRY LANDSEER (1802-1873) pencil drawing - oval format head portrait of a long haired dozing dog, below inscribed in Gothic calligraphy 'Picture by Sir E Landseer RA' and then monogram 'EW', with a four line poem below 'Alone alone! Oh not alone, One fond and faithful heart, That may not go where all are gone, Sits watching where though art', 27 x 21cmsProvenance: inscribed in pencil verso 'E...Williams'. Inscribed on later framing 'A present from Nest Perkins, Penysgwarn to Catherine & Peter Shaw, August 1991. Bought by Katie & Nesta Perkins at a country house sale (with several others) in 1930s in Pembrokshire'
English SchoolStudy of a TorPen drawing9 x 16cmEx. Frost & Reed, Bristol label verso, dated 1983Together with a pencil study of cliffs, inscribed lower leftEnglish SchoolA collection of six group portraits, the figures in 19th Century dress, each executed in pencil, the largest of which measures 8 x 12cm (presented in 4 frames) English SchoolRural Landscape with Church SteeplePencil drawing 16 x 19cm Together with further drawings, including 'Fairlight Glen' inscribed and dated Aug '45, and a print
Antique Pencil Study of a Bishop. The well-executed drawing depicting a side profile of a bishop in Elizabethan costume, the drawing obscurely signed Francis W. Slaughter, approx 38 x 31 cms framed and glazed together with a engraving entitled 'Speke Hall The Gateway' by W.R Wakefield signed in pencil to the lower left margin, framed and glazed. (2)
ϒA substantial late Victorian oak magazine of draughtsman’s drawing instruments, W.F. Stanley, London, circa 1890 The interior with moire silk padded lining to lid inscribed in gilt W.F. STANLEY, GREAT TURNSTILE STREET, HOLBORN, LONDON W.C., & RAILWAY TERMINUS, LONDON BRIDGE beneath TO H.M. GOVERNMENT over lined lift-out fitted top tray containing a comprehensive selection of nickel plated brass instruments and ivory handled pens including beam compasses with pen pencil and plain points, a rare triangular compass, a nine-inch proportional compass engraved with calibrations labelled PLANS and SOLIDS and signed STANLEY., GT. TURNSTILE., LONDON., a ‘road’ compass and an ivory ‘dotting’ pen incorporating alternative dotting styles within screwed-lid container to end cap; the middle tray with a twelve-inch nickel plated brass rolling rule, five boxwood scale rules each stamped with Stanley trademark, an ebony cylindrical rule and a wooden straight edge; the lower section with a circular nickel plated protractor calibrated in degrees in both directions and signed for Stanley to the central cross-piece, the base with apron drawer containing watercolour paints and related accessories including a ceramic mixing palette, the exterior of the box with oval brass name plate engraved Tom Yendoll, Ebbw-Vale and capped corners to lid over conforming strapped edges, 36.5cm (14.5ins approx.) wide. William Ford Stanley is recorded in Banfield, Edwin BAROMETER MAKERS & RETAILERS 1660-1900 as working from 3 Holborn bars, London 1860-64; 3, 4 and 5 Great Turnstile, Holborn, London from 1860; 13 Railway Approach, London Bridge 1869-91 and 1, 8 and 9 Tichborne Court 1872-91. Online records indicate that Tom Yendoll was the proprietor of the Heol y Mwyn Hotel in Ebbw Vale during the 1890’s and was chairman of the Ebbw Vale Cricket Club in 1912. The presence of the Railway Approach address within the gilt on silk trade label to the interior of the lid of the current lot would indicate a date of around 1890 which suggests that Tom Yendoll may have worked as a draughtsman before becoming a victualler. ϒ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.
NO RESERVE Italy.- Moore (George Belton, 1805-1875) Interior view of St Mark's Basilica, Venice, watercolour over traces of pencil, heightened with white, signed 'G.B. Moore' in the lower left corner, further inscribed with attribution on mount, sheet 250 x 165 mm. (9 7/8 x 6 1/2 in), some small nicks and tears to extremities, tipped at upper corners onto paper support, unframed, [circa 1840s]; together with a mixed group of 14 other English watercolours by various hands, all unframed, 19th century (15).⁂ George Belton Moore was an English landscape painter and drawing-master. He published works on perspective (1850) and principles of colour (1851), and exhibited at the Royal Academy. He also provided drawings for the plates in Henry Gally Knight's 'The Ecclesiastical Architecture Of Italy. From The Time Of Constantine To The Fifteenth Century', which was published in 1844. The present drawing possibly relates to this work.
MORRIS & CO.PATTERN STUDY, CIRCA 1910 pencil and watercolour on rice paper, laid on card, the design depicting a bird resting on a chrysanthemum stem surrounded by flowering foliage, inscribed lower left NO OUTLINE TO SHOW ROUND EDGE, frameddrawing 64cm x 33.5cm; frame 73cm x 42cmNote: Presumably a design for embroidery, this study formed part of a collection of studies and drawings owned by a former employee at Morris & Co.
EDWARD WILLIAM GODWIN (1833-1886)ARCHITECTURAL DRAWINGS: PROPOSED ASSIZE COURTS, BRISTOL a collection of 9 drawings in ink, pencil and coloured wash, each on unbleached tracing paper and neatly laid-down onto 7 leaves of card, comprising:- Proposed Assize Courts, Bristol, 350 x 395mm- Drawings showing Proposed New Roof to Guildhall Court..., 240 x 380mm; [laid onto the same sheet as] Proposed New Assize Courts Bristol, 335 x 220mm- ...Assize Courts Bristol, 480 x 290mm; [laid onto the same sheet as] Proposed Assize Courts Bristol [Guildhall Roof], 420 x 300mm- Proposed Assize Courts Bristol [Floor Plan], 710 x 460mm- Proposed Assize Courts Bristol [First and Second Floor Plans], 720 x 425mm; - Proposed Assize Courts Bristol [Floor plan], 710 x 465mm- Proposed Assize Courts Bristol, elevation towards Small Street, 390 x 460mmNote: Winning the competition to build the new Northampton Town Hall at the age of twenty-nine established Godwin's reputation as a leading civic architect. He followed this with another winning town hall design for Congleton, a small town near Manchester. These successes prompted his move to London in 1865, and in 1866 Godwin, with his partner Henry Crisp, entered the competition for the building of the new Bristol Assize Courts under the nom de plume '1066' or 'Ten Hundred and Sixty-Six'. Their designs won first, second and third prizes. Despite this, and amid protestations, a second competition was order by the town council, which Godwin again entered, this time only gaining second place to an entry from Popes & Binden, which was the one finally built. The collection on offer comprises a number of drawings from the first competition, including the original drawing
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