BRIGADIER ALLEN ROBERT BETHAM SHUTTLEWORTH (BRITISH ACTIVE 1912-1920) WATERCOLOUR PAINTING OF ZIARAT IN PAKISTAN, 'Ziarat 1929' bottom left and signed by the artist to the bottom right. Brigadier Allen Robert Betham Shuttleworth (20 February 1873[1] – 30 July 1935) was an officer in the British Indian Army and player of The Great Game.[2] Shuttleworth was born in Dapoli, North-West Provinces, India, to Allen Thornton Shuttleworth, who won the Albert Medal of the First Class, and Laura Phoebe Betham. His younger brother was Sir Digby Shuttleworth. Shuttleworth joined the British Army relatively late, beginning his career in the militia. For a time in 1908, Shuttleworth was acting Consul in Kashgar while George Macartney was in England. During this time, Shuttleworth became involved in investigating the expeditions of Eizaburo Nomura and Zuicho Tachibana, even dining with them at Chini-Bagh. Shuttleworth reported his suspicions to Sir Francis Younghusband, and these suspicions about the two Japanese eventually made its way to Lord Morley, Secretary of State for India. Shuttleworth died suddenly in Ajmer, Rajasthan. Provenance: Property of a local resident of Wimbledon Village.
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Property from a Private London CollectionRamkinkar Baij ( Indian 1910-1980), Landscape Series, 1940, watercolour on paper, signed and dated lower right in Bengali (2.12.40), mounted, glazed and framed, painting 18.5 x 27cm.Provenance: Acquired in Kolkata, 1998, auction house unknown, Lot 21; Private Collection, CalcuttaExhibited: "Landscape as Inspiration", Cymroza Gallery. Part of the The Intuitive-logic: A Festival of Indian Contemporary Painting, 1 March - 19 April 1997. Published: N. Tuli, The Flamed-mosaic: Indian Contemporary Painting, HEART in association with Mapin Publishers Pvt. Ltd., Ahmedabad, 1997, p. 101, pl. 40 (full colour illustration).Ramkinker Baij was born in 1910 in Bengal, India and trained at the Kala Bhavan in Santiniketan. Baij was renowned for his tendency towards abstraction at a time when the majority of British-founded art schools espoused academic realism. The present work on paper depicts an avenue of trees dappled with sunlight. The unusual attribution of sky blue and sunset yellow and amber to the trees, rather than to the sky, gives the impression of a landscape set alight by the glow of dusk. Baij adeptly creates a sense of depth and perspective with washes of darker colors, inviting the viewer to contemplate the last fleeting moments of twilight.Condition Report: Foxing to mount; paper slightly buckled
Abdul Qader Al-Rais (Emirati, b. 1951), Untitled, watercolour on paper, signed in Arabic and dated 2008, stamped with the artist's fingerprint (lower right), glazed and framed, 151 x 101cm. Painted in 2008.Provenance: Private UK Collection; Leila Heller GalleryAbdul Qader Al Rais (b.1951, United Arab Emirates) received a Bachelor of Sharia Law from the United Arab Emirates University in 1982 and is a self-taught artist. He was born twenty years before Dubai (and the United Arab Emirates) was formed and is considered one of the most iconic painters of the country.A founding member of the Emirates Fine Arts Society, Al Rais’ practice was truly self-driven and resourced. He began painting in 1964, at a time of limited cultural infrastructure, where sourcing paint posed difficulties. Being cut off from traditional international art markets and western artistic dialogues, his practice was deeply informed by Gulf traditions; of representations of the divine, culture and community – all grounded in humility. He spent time during his youth in Kuwait in the 60’s and 70’s, while the country experienced an artistic and literary renaissance, where he encountered key figures in the Gulf modern art movement, including Sami Mohammed, and Khalifa and Lidia Qattan. Al Rais’ early works were representational and rooted in realism. He mostly depicted traditional Emirati landscapes and architecture. After a hiatus between 1974 and the 1980s, his work began to take on political themes (particularly responsive to the first Palestinian Intifada, seen as the artist’s second period). In the 90s, Al Rais increasingly turned to abstraction and calligraphy (his third period) recognizing their shared meditative and spiritual qualities.Al Rais has held several solo exhibitions both locally and internationally. Notably, he was featured in the UAE Pavilion at the 56th Venice Biennale, Venice (2015). Al Rais’ work has also been displayed at the European headquarters of the United Nations in Geneva and his public murals can be found in the Dubai Airport and the Dubai Metro. Retrospectives of Rais' extensive artistic career have been held at the Sharjah Art Museum and the Institut du Monde Arabe.Among his numerous awards are the Sheikh Khalifa Prize for Art and Literature, Abu Dhabi (2006); Golden Palm Award, Gulf Cooperation Council Art Exhibition, Doha (1999); first prize at The UAE in the Eyes of Its Artists, Abu Dhabi Cultural Foundation, Abu Dhabi (1999); Sultan Al Owais Award for Scientific Studies and Creativity, Dubai (1992, 1994, 1996) and first prize at the UAE Exhibition in China (1991).Al Rais’ work is held in the collections of the British Museum, London; Louvre, Paris; Northwest Museum of Culture and Arts, Spokane, Washington; Museum of Contemporary Art Shanghai, Shanghai and the Museum of Modern Art, New Delhi. Al Rais lives and works in Abu Dhabi.
A BOX OF PAINTINGS AND PRINTS ETC, to include four signed Henry Rushbury etchings - two are in poor condition, one has foxing to the margins, frames distressed, Katherine Mary Fryer (1910-2017) two etchings depicting Canada Geese signed and dated 2002 & 2003 - glass broken, Michael W. King watercolour river landscape, signed and dated 1980, a student painting on steel depicting an industrial scene with soldiers approaching figures waving flags - distressed condition, assorted other prints etc
HARDEN SIDNEY MELVILLE (1824-1894) AN ENGLISH SCHOOL LANDSCAPE WITH FIGURES AND HORSES, signed and dated 1871 bottom left, watercolour on paper, approximate size 36cm x 61cm, Condition Report: the painting is in very good condition, modern frame and mount, bottom corners of the frame have some damage
Rachel Smith-Ruffle (The Wonky Artist) (b.1974) and celebrity friendsHoratio's Garden South West - SalisburyWatercolour heightened with white on paper58.5 x 76.5cm (framed) Together with a signed list of those who participated in the creation of the painting: Hugo Bugg, Laurie Burns, Darcey Bussell, Linford Christie, Charlotte Church, Fiona Cumberpatch, Clare Foggett, Adam Frost, Ruth Gemmell, Bunny Guinness, Sue Holderness, Vicky Hope, Jeremy Irons, Alex James, Nisha Katona, Martin Kemp, Shirlie Kemp, Sue Kent, Deborah Meaden, Katie Piper, Craig Revel-Horwood, Reece Shearsmith, Nigel Slater, Rick Stein, Deborah Stone and Jo Whiley.
Claire Waltier MacGillivray (b.1965)PinstripesSigned with initials (lower right) and further signed and titled (to verso)Watercolour17.5 x 38.5cm Claire Waltier MacGillivray has run watercolour workshops in Horatio’s Garden Midlands for three years, also working with the charity to create its Christmas card in 2021 and a notecard set, launched at RHS Chelsea Flower Show. After graduating with a degree in Fine Art – Painting, MacGillivray has worked freelance to create hand painted artwork for fashion and interiors. She runs educational courses and art workshops for both adults and children specialising in watercolour techniques. Her approach to painting begins with direct observation, studying the colour, light and structure of flowers through the medium of watercolour. As the work progresses a more intuitive approach comes into play responding to the colour and shapes on the paper and arriving at a playfully balanced composition. She says: “When the opportunity arose for me to be artist in residence at Horatio’s Garden Midlands I couldn’t have anticipated how enriching and rewarding working with the patients would be and how the garden and the activities provided by the charity contribute to the patients wellbeing and recovery in such a positive way.”
Sandrine Maugy MSBA (b.1969)Red PoppySigned Sandrine Maugy (to right)Watercolour65 x 75cm (framed) Sandrine Maugy is a member of the Society of Botanical Artists, the Association of Illustrators, the Society of Authors and the French Society of Botanical Illustration. Her work hangs in collections in Europe, Australia and the United States. Sandrine’s first book Colours of Nature was published in 2013 and her second book Botanical Watercolours through the Seasons in July 2022. She also writes articles for Artists & Illustrators Magazine. In 2023 Daniel Smith Watercolors released the Sandrine Maugy Palette. Sandrine’s painting style captures the pure, vibrant colours of nature using wet-in-wet watercolour washes, giving this traditional style a contemporary twist.
Karen Camkin (b.1967) Mrs B's TulipsSigned (lower left)Oil on gesso100 x 100cm Karen Camkin received her MA Fine Art (Distinction) in 2012 from the University of Gloucestershire and her BA in painting from Exeter Art College in 1991. She is currently studying for a MA in Print at the Royal College of Art. She has been selected multiple times for the Lynn Painter Stainers, the Sunday Times Watercolour Competition, The Royal West of England and Discerning Eye. Since 2019 she has regularly shown with Eastwood Fine Art and runs classes and workshops from her studio in Gloucestershire. Her still life paintings are inspired by seasonal flowers and the featured pottery in many paintings is also made by Camkin. The works are full of colour, painted in layers of oil that are sometimes scraped and sanded to reveal previous marks. Her mark making is lively and fresh to capture the movement and fragility within nature.
§ Anthony Benjamin (British 1931-2002) Untitled, 1958 signed and dated in pencil (lower right), oil and watercolour on paper Dimensions:90cm x 58cm (35 1/2in x 22 7/8in) Provenance:ProvenanceThe Estate of the Artist. Note: A Journey from Social Realism to Abstract Expressionism: Works from the Estate of Anthony BenjaminFew artists successfully span both Modern and Contemporary periods in British art whilst moving between multiple mediums. Anthony Benjamin (1931-2022) was one such polymath working in painting, drawing, printmaking and sculpture in wood, metal and plastic. Benjamin wrote that, for him, ‘an idea is more important to a man than any physical object’, in the catalogue for his 1966 exhibition at the Institute of Contemporary Arts in London. Chris Stevens, then curator of modern British art and Head of Displays at Tate Britain, described Benjamin as ‘an anarchist who ignored trends and forged his own path’. A bit of a loner and a bit of a thinker, Benjamin was quick to accept opportunities to work in new spaces, learning from the best. It was in Paris in the late 50’s, at Atelier 17 with William Stanley Hayter, that he experimented with new forms of painting, moving away from the landscape abstraction of St Ives. However, a constant in his practice was a precision of line, an incomparable quality of execution and an intense understanding of colour and form. Benjamin thought as he made and his thinking was always one-step ahead of the rest. It was during the 1970s, in collaboration with leading printer Kevin Harris at Calvert Studio, that Benjamin produced his seminal series of screenprints Roxy Bias Suite. Inspired by his student Brian Eno, Benjamin was fascinated by the new electronic music Eno was composing. Each of the six images in the series was named after computer music terms such as Inverse Echo and Multi-Mode Jitter. The screenprints use outrageously clashing bold colours, almost as if electrified and challenge the viewer with uncompromising energy. Sumptuous pieces, they were both of the time but also way-ahead of their time. No matter what Benjamin turned his hand to the results were always perfectly executed. In the 1990s he returned to drawing with a solo show at Gimpel Fils in London. Large scale works, they are more paintings in graphite than drawings. Involving a complex range of techniques of masking and erasure, of painting with graphite dust as well as drawing with broad pencils, these works incorporate texture and atmosphere, geometric forms, polar whites and intense blacks. They are some of the most powerfully evocative images that Benjamin produced. Throughout his career Benjamin held teaching posts at a variety of colleges of art and universities including time spent in the USA and Canada as Professor of Art at the University of Calgary and Hayward State College in California. His work is now held in a great number of international public collections including the Arts Council of Great Britain, the Tate, UK and the Museum of Modern Art in New York.
§ Mary Fedden O.B.E., R.A., R.W.A. (British 1915-2012) Harbour Cat, 2005 (For RCA Secret) watercolour on paper, laid on postcard Dimensions:10cm x 15cm (4in x 6in) Provenance:Provenance Donated by the Artist to RCA Secret, Royal College of Art, London, where acquired by the current owner. Note: The Royal College of Art’s fundraising exhibition RCA Secret was established in 1994 and was London’s original postcard exhibition.All proceeds from the annual event go to the RCA Fund, which in turn enables the College to offer bursaries to those students who would otherwise not be able to attend its storied classrooms, allowing talented individuals, regardless of their background or financial circumstances, to access a unique educational experience at a formative time in their lives.Past contributors to the exhibition include renowned alumni and friends of the College such as Christopher Bailey, David Bowie, Sir James Dyson, Tracey Emin, Norman Foster, Thomas Heatherwick, Anish Kapoor, Mike Leigh, Stella McCartney, Steve McQueen, Yoko Ono, Zandra Rhodes and Sir Paul Smith. Current students and recent alumni are also invited to contribute – adding to the fascinating mix of styles and responses.However, when the works go on display, all are anonymous – leaving it up to the viewer to decide if the work they like is by an art-world luminary or a rising star. Some are quite obvious (a few artists miss the memo and sign their works on the front); the majority are not. Part of this is due to there being no limitation on medium: from photography and collage, to drawing, painting and even sculpture and embroidery, the only requirement is that all artworks should be postcard-sized.To buy the works, members of the public register to gain a buyer’s ID – after which, it’s first come, first served (capped at four works per buyer until the very last days of the show). This wonderful collection [lots 292-300] was put together by possibly the most dedicated follower of RCA Secret, who was first in line every year between 2002 and 2018 and as such it represents the best of what the exhibition is about. There are works by major names such as Grayson Perry, Yinka Shonibare, Mimmo Paladino, Maggi Hambling, David Bailey and Richard Wentworth, mixed in with jewels by artists less well known, all with something in common, that particular collaborative and open-hearted spirit of the exhibition.
Tom Carr (1912 - 1977) "Chink", a profile study of the horse set against a pastoral landscape, watercolour, signed and dated 1963, in pen-lined card mount and moulded frame under glass, 46 cm x 38 cm overall [Carr originally trained as a blacksmith before turning his hand to painting. He graduated in Fine Art from King's College, Newcastle.]
Alexandre Benois (1870-1960) La Dame de Pique - The Queen of Spadesink, watercolour and gouache34 x54cmThe painting was acquired by the present vendors mother who collected Russian works. It was acquired sixty years ago and has always been insured as a Benois by both Phillips and Bonhams. We sodl a collecion of works by Pavel Fyodorovich Tchelitchew from the same vendor a number of years ago. Generally, the paint layer appears stable. Pin holes across the composition, notable in the corners, down the sides and along the centre. Most notably in the centre of the composition in the chest of the statue. Paper has some minor warping. Some surface dirt to the glaze and with some thunderflies trapped beneath glass. Framed dimensions 53.5 x 72.5cm
† RAGHEB AYAD (EGYPTIAN 1892-1982) THE BUFFALO AND THE FLIES - VERSO; FLIES AND THE BUFFALO - RECTOsigned and dated in English R.AYAD / c.1965 lower left - recto; signed and dated in English R.AYAD / c.1965 lower centre - versoink and watercolour on paper47 x 67cm; 18 1/2 x 26 1/4in71 x 90cm; 28 x 35 1/2in (framed)ProvenanceCollection of Dr Mohammed Said FarsiThence by descentLiteratureDr Sobhy Al Sharouny, A Museum in a Book, Cairo, 1998, pp. 74, 80 and 81, illustratedRagheb Ayad is celebrated as one of Egypt's most independent and boldest of the First Generation of artists. He is particularly remembered for his spontaneous style of painting, which borders on caricature. A talented draughtsman, he chose to depict scenes of popular culture with raw emotion and honesty, including the fellaheen and their daily domestic village life, as well as desert monasteries and monks.After training, both in Cairo and abroad in Rome, where from 1922 he studied with fellow Egyptian artist, Youssef Kamel, mutually supporting each other financially and in friendship, he returned to Cairo in 1930 to commence an illustrious career as a teacher and curator at many renowned institutions in addition to serving on many government committees. Appointed Department Head at the Higher School of Fine Arts in 1942, he was chosen to organise the Coptic Museum in Old Cairo and subsequently became the Curator of the Cairo Modern Museum from 1950 to 1955.During his liftetime, Ragheb Ayad held over 40 exhibitions in Egypt and abroad and his works are held in private Egyptian and international collections, as well as institutions such as the Modern Egyptian Museum, Cairo; the Agricultural Museum in Dokki and the Museum of Fine Arts, Alexandria. Additionally, his murals adorn the walls of churches, hotels and former palaces in Egypt.
R & F MO, PLAY TIME watercolour and gouache on card album cover, signed31cm x 31cm R & F Mo graduated from RCA in 1984 and was awarded the RCA drawing prize. Her practice (sometimes across disciplines) explores narratives that connect the seen the sensed and the dreamed. Her current practice (from 2016-) focuses on drawn narrative painting concerning human behaviour, contradictions, interactions, ambiguity, and place, in which she works to conjure a remembered or imaged scene, while aiming to bridge the processes of drawing and painting. Grappling to keep the work alive, she retains the initial marks and forms made in the building process, sometimes drawing in paint, other times painting layers into and over drawing, in this way the processes become one, woven together into the whole. Instagram: r.andf.mo
SHELLEY MORROW, COLOUR FORMATIONS watercolour and gouache on card album cover, signed31cm x 31cmDuring 2010 Shelley Morrow took the plunge and became a full-time, self-employed artist. She also partnered with another artist, Jake Spicer, to create a dedicated studio for running life drawing classes in Brighton called Draw. Draw became a thriving community of artists, tutors and life models and my drawing, painting and teaching skills had the opportunity to flourish. Since the pandemic, like so many, she has turned to teaching online, specialising in watercolour. Instagram: shelleymorrow1
DAVE WHITE, HUMMINGBIRD 2023 watercolour on card album cover, signed31cm x 31cmDave White is a contemporary British Artist who dedicates his work to celebrating popular culture and interpreting emotive issues. White graduated with a BA (Hons) Fine Art (Painting) at Liverpool John Moores University and has enjoyed success from the inception of his career, with selection for the Northern Graduates exhibition at the Royal College of Art. Dave has successfully exhibited at exhibitions and galleries across the world. Whilst White has pursued many subject matters over the last twenty years, for the last decade he has been focussed on environmental issues by promoting endangered species with his signature expressive portraits. White continues to support international charities with donations of work for special projects and auctions. Instagram: davewhitestudio
Various Stamps, six late 1960s hand painted watercolour stamp-like designs from around the UK, each 16.5cm by 9cm painting laid on a larger blue card backing, marked 5D and with protrait of Queen Elizabeth II, including Llandybie Wales, Somerset, Warrenpoint Ireland, Old Inn England, Castle Combe and East Lothian (6)
Attributed to John Keith Vaughan (23rd August 1912 - 4th November 1977) watercolour gouache, titled Figures and Trees III, Keith Vaughn lower right with title to border, Verso inscription with additional title. Together with a letter addressed to Tony Reichardt dated 15th May 1964, Letter reads.“would you be kind enough to have the attached enclosed label to the painting which the Carnegie Institute will collect from you in due course. When you have Time to spare to come in and see how the work is going, perhaps you can come in for a drink one evening on you way home. Yours Sincerely Keith Vaughnâ€Â.
Joseph William Carey (1859-1937, British), watercolour, 'Glencoe, Loch Leven' signed and dated 1915 to the lower left, framed, mounted, and under glass, 35cm x 52cm, & 57cm x 75cm overallCondition report - Overall this lot appears to be in generally good order. The frame, mount, and glass are all intact. The painting doesn't show any major damage, but it does appear a little faded. There are also some small grey blemishes to the sky above the central peak.
ERICH HECKEL (1883-1970)Verwundeter Seesoldat signed, inscribed and dated 'Ostende 1915/16 Heckel' (lower right)gouache, watercolour, pen and black ink and pencil on card63.8 x 49.5cm (25 1/8 x 19 1/2in).Executed in Ostende in 1915-1916 Footnotes:The authenticity of this work has been confirmed by Hans Geissler. Renate Ebner has confirmed that this work is recorded in the archives of the Erich Heckel Estate, Hemmenhofen.ProvenanceDr Max Zeller Collection, Switzerland (acquired directly from the artist).Private collection, Switzerland.Alice Adam Ltd., Chicago (acquired by September 1992).Private collection, US (acquired from the above on 4 April 1995).The present work was executed during the First World War in 1915-1916, a few years after the dissolution of the Brücke group, of which Erich Heckel was a founding member. Having been rejected from military service for his age, Heckel joined the Red Cross medical corps as an orderly. His platoon was based in Ostende from May 1915 and became somewhat of an artist's colony, as the platoon was assembled by Walter Kaesbach, a curator from the National Gallery of Berlin. The troop included a number of other artists and Heckel acquainted himself with Max Beckmann and James Ensor during this time.Whilst his output before the war had generally focused on happier times in Kirchner's Dresden studio, or the bucolic landscapes and liberated nudes on the shores of the Moritzburg lakes, the war years saw a more introspective and melancholy production, mostly imbuing a spiritual isolation. His portraiture, both self and of others, greatly increased during this period and many of his figures take on a haggard, pained and often pitiful visage; this marked a noticeable shift from the human form to the human psyche.The wounded sailor here can be seen with the infamous 'thousand-yard-stare', a blank expression seen on the face of soldiers during a quiet moment after the horrors of war. It is closely linked to what was termed shellshock at the time, now more commonly known as Post Traumatic Stress Disorder (PTSD). The figure's gaunt cheeks and highlighted blue lips represent the cold bite of death, both on the battlefield and within the soldier. With its broad brushstrokes and detailed additions in pen and ink, the present work resembles a finished painting, as opposed to a work on paper, which are often more sketchily executed and loosely handled.Owned by the present owner for almost thirty years and with provenance tracing directly back to the artist, this is the first time Verwundeter Seesoldat has been offered at auction, and is arguably one of Heckel's finest war time portraits to ever come for sale.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Alfred Edward Chalon RA (1780 - 1860), possibly a portrait of Queen Victoria, watercolour, signed with monogram, label verso states that this painting was shown to the National Portrait Gallery in London in 2009, who considered that this might be a portrait of Victoria, image 17cm x 12cm, framedGood condition, frame and mount also good
General Siegfried Westphal - Aquarell-Bild "Monte Soratte mit Storchlandeplatz, März 1944" mit einer Widmung von Gustav Langenscheidt für Westphal Ein Aquarell-Bild des Kriegsmalers, dargestellt ist der Landeplatz für den Fieseler Storch von GFM Kesselring, mit dem Berg im Hintergrund. Links handschriftlich "Monte Soratte mit Storchlandeplatz, März 1944", schlecht leserliche Signatur. Auf der Rückseite ein aufgeklebter handgeschriebener Vers von Gustav Langenscheidt, Oktober 1943, mit Widmung "Seinem hochverehrten Chef des Generalstabes Herrn Generalmajor Westphal zum Kriegsgeburtstag 1944, H.Qu./O.B.Südwest (OBKDO H.GR.C), den 18. März 1944", signiert "Gustav Langenscheidt, gen. Onkel Gustav" (Major der Luftwaffe). Das Deckblatt auf der Rückseite eingerissen. Mit Etikett des Rahmengeschäftes "Umberto, Roma". Maße Bild ca. 33 x 45 cm, mit Rahmen ca. 52 x 65 cm.Seit September 1943 gewährte der Berg Albert Kesselring, Wehrmachts-Oberbefehlshaber Süd, und seinem Stab Schutz. Von hier aus koordinierten sie monatelang die Rückzugsgefechte der Wehrmacht.Provenienz: Direkt aus Familienbesitz. General Siegfried Westphal - a watercolour painting "Monte Soratte with Landing Place for a Fieseler Storch" with dedication by Gustav Langenscheidt for Westphal General Siegfried Westphal - a watercolour painting "Monte Soratte with Landing Place for a Fieseler Storch" with dedication by Gustav Langenscheidt for Westphal Ein Aquarell-Bild des Kriegsmalers, dargestellt ist der Landeplatz für den Fieseler Storch von GFM Kesselring, mit dem Berg im Hintergrund. Links handschriftlich "Monte Soratte mit Storchlandeplatz, März 1944", schlecht leserliche Signatur. Auf der Rückseite ein aufgeklebter handgeschriebener Vers von Gustav Langenscheidt, Oktober 1943, mit Widmung "Seinem hochverehrten Chef des Generalstabes Herrn Generalmajor Westphal zum Kriegsgeburtstag 1944, H.Qu./O.B.Südwest (OBKDO H.GR.C), den 18. März 1944", signiert "Gustav Langenscheidt, gen. Onkel Gustav" (Major der Luftwaffe). Das Deckblatt auf der Rückseite eingerissen. Mit Etikett des Rahmengeschäftes "Umberto, Roma". Maße Bild ca. 33 x 45 cm, mit Rahmen ca. 52 x 65 cm.Seit September 1943 gewährte der Berg Albert Kesselring, Wehrmachts-Oberbefehlshaber Süd, und seinem Stab Schutz. Von hier aus koordinierten sie monatelang die Rückzugsgefechte der Wehrmacht.Provenance: Direkt aus Familienbesitz.Condition: II +
SIR EDWIN HENRY LANDSEER (BRITISH 1802-1873) THE ARREST OF THE FALSE HERALD, FROM SIR WALTER SCOTT'S 'QUENTIN DURWARD' Pencil and watercolour Signed and dated 1831 (lower left) and signed with initials, dated 1831 and indistinctly inscribed (lower right) 20 x 16.7cm (7¾ x 6½ in.) Provenance: Dickinson, London Engraved: By R. Graves and published by Robert Cadell and Moon, Boys and Graves, 1831 This is the original watercolour for an engraving illustrating a scene from Scott's `Quentin Durward.' It illustrates the lines: `At length the speed of the pseudo herald could save him no longer from the fangs of his pursuers: they seized him, pulled him down, and would probably soon have throttled him.' Quentin Durward was first published in 1823 and tells the story of a Scottish archer in the service of the French King Louis XI. Landseer met Scott on his first visit to Scotland in 1824 with the painter C.R. Leslie. They sailed to Leith before travelling to the Highlands ending at Scott's house Abbotsford where they spent a week. The trip sparked a lifelong love of Scotland in Landseer and he and Scott became firm friends. The two were often compared in the public mind with Landseer being dubbed `the Walter Scott of painting' by The Times.
* After Joseph Mallord William Turner (1775-1851). Caligula's Palace and Bridge, mid 19th century, watercolour on card, with some bodycolour, heightened with gum arabic, 28.6 x 82 cm (11 1/4 x 20 1/2 ins), framed and glazed (55 x 77 cm)QTY: (1)NOTE:A copy after Turner's famous painting exhibited in 1831 and now housed in the Tate Gallery, London.
* After Sir Edwin Landseer (1802-1873). Bolton Abbey in the Olden Time, circa 1834, watercolour on paper laid to card, 16 x 19.8 cm (6 1/2 x 7 3/4 ins), with Sir Edwin Landseer’s signature in pen and ink cut out from a separate sheet, 4 x 8.3 cm, bearing pencil inscription on the verso of mount 'Sketch made by Landseer for the Large Oil Exhibited at R.A. 1834.' , with remains of a letter on verso of frame backboard with fragmented inscription in pen and ink '1927/ Sir Edwin / Bolton Abbey in the Olden Time/ of Devonshire K.G. / G.G. the lake' glazed and framed, 41 x 35.5 cm QTY: (1)NOTE:Provenance: W. A. Foyle; Christopher Foyle, Beeleigh Abbey.This watercolour is after one of Sir Edwin Landseer’s most celebrated works, the eponymous painting of 1814 held at Chatsworth, Derbyshire. It was exhibited at the Royal Academy in 1834.
* Silvestre (M., 19th century). Portrait of Joséphine, Empress of France, oval miniature watercolour and gouache on porcelain, head and shoulders portrait of the Empress as a young woman, wearing a brown-trimmed cream gown with stand-up lace shoulder frills, and bejewelled crown, necklace, and earrings, signed lower right, titled in contemporary manuscript on verso, 84 x 66 mm (3 1/4 x 2 1/2 ins), oval brass frame with stand (95 x 77 mm) QTY: (1)NOTE:After the full-length oil painting of the Empress in her coronation robes painted in 1807 by François Gérard (housed in the Château de Fontainebleau).
'Hillside Landscape' painting, glazed and framed. Label on reverse "signature appears to be AMH, perhaps Alice May HOBSON. (19th century English Scholl. Watercolour painter at Leicester. Member of the New Watercolour Society where she exhibited 27 painting s and 2 at various exhibitions, between 1879 & 1893. The NWS changed its name to Royal Institute of Paintings."
![OIL PAINTING OF A HORSE & RIDER BESIDE A RIVER AND BRIDGE TOGETHER WITH A WATERCOLOUR OF FIGURES ON A MOUNTAIN ROAD [2] 9 X 1](https://cdn.globalauctionplatform.com/df116d26-9bb5-4f43-8cf3-b09300f7fca6/54ae4af9-c7e9-46ef-bf29-b09a00edcde3/468x382.jpg)
William Lionel Wyllie RA RWS (1851-1931) The Neva, signed lower right, watercolour, 18 x 30.2 cm, frame 36 x 47 cm Provenance: Collection of Mr Magdi Obeid, purchased Bonhams 13/04/2016 lot 49Provenance:The painting is a watercolour, framed under glazing- not examined external to the frame. The visible sheet appears in generally good condition- no obvious losses, tears or faults. There is some general ageing (browning) to the sheet. The paint condition appears stable, some colour fade to the sky, otherwise appears fine. The frame has some general wear and tear, joints solid.
Albert Moulton Foweraker RBA (1873-1942) Moonlit Scene in a Spanish Town, figures gathering by a water fountain, signed lower right, watercolour, 22.5 x 27.5 cm, frame 44 x 53 cm Provenance: Collection of Mr Magdi Obeid, purchased Stephen Welbourne 08/04/2016Condition:Lot 213- the painting is a watercolour, framed under glazing – not examined external to the frame. The sheet appears in good condition, no obvious issues or faults. The paint surface is well preserved, colours are good and condition is stable. Frame has some general wear and tear.
ARR Edward Wesson RBA RI RSMA (1910-1983) A Tree Lined Avenue in Autumn, signed lower left, watercolour, 31.5 x 59 cm, frame 52 x 68 cm Provenance: Collection of Magdi Obeid, purchased Keys Fine Art 20/10/2006 lot 65Condition:The painting is a watercolour, framed under glazing- not examined external to the frame. The sheet appears in good condition - no obvious evidence for faults, losses or deterioration. The paint surface appears stable, colours are good - no obvious paint loss or deterioration. Frame has solid joints, some general wear and tearAdditional images available on the online catalogue
Thomas Bush Hardy RBA (1842-1897) Venice, The Doge's Palace, signed lower right, 1879, watercolour, 9 x 11.5 cm, frame 22 x 23 cm Provenance: Collection of Magdi Obeid, purchased Anderson & Garland 29/9/2020 lot 318, label verso for Arthur Tooth & Sons, auction stencil versoCondition:115: the painting is a watercolour, framed under glazing – not examined external to the frame. The sheet appears generally well preserved – no obvious tears or losses. The paint surface appears stable, there is some evidence for colour fade. The signature in ink is slightly faded also. The frame has some general wear and tear, no obvious losses, the joints seem sound.
Albert Moulton Foweraker RWS (1873-1942) Antequera, signed lower right, watercolour, 25 x 35 cm, frame 46 x 56 cm Provenance: Collection of Mr Magdi Obeid, purchased Dreweatts 23/08/2016Condition:215: the painting is a watercolour, framed under glazing – not examined external to the frame. The sheet appears in good condition, no obvious faults, losses or deterioration. The paint surface appears well preserved and stable with colours good. Frame has general wear and tear.
Earnest Albert Chadwick RBSA RI (1876-1955) Bluebell Wood, signed lower right, watercolour, 26.5 x 38 cm, frame 48 x 61 cm Provenance: Collection of Mr Magdi Obeid, purchased Phillips 19/04/1990 lot 32Condition:The painting is a watercolour, framed under glazing - not examined external to the frame. The sheet appears in good condition - no obvious faults or losses. The paint surface appears well preserved, colours good, and stable- no obvious deterioration or paint loss. Frame joints are solid, has general wear and tear including a chip to the lower right, scuffs etc.
Bernard Fleetwood-Walker (1892/3-1965) Mary Joseph and Christ as a young boy, signed lower and top left, watercolour, 99 x 75.5 cm, frame 105 x 92 cm Provenance: Collection of Mr Magdi Obeid, purchased Biddle & Webb 01/09/1989 lot 395. The painting was presented by Birmingham central hall to Rhondda House circa 1920s, where it hung in the prayer hall until its closure. Following the death of Rev. R.J. Barker who ran the house, it was returned to the Central Hall by his widow in 1982. Label verso for Ruskin Galleries, Birmingham.
Thomas Mackay (1851-1920) The Young Anglers, signed lower right, watercolour, 9.5 x 17 cm, frame 28 x 35 cm Provenance: Collection of Mr Magdi Obeid, purchased Biddle & Webb 06/12/1985 lot 240Condition:The painting is a watercolour, framed under glazing- not examined external to the frame. The sheet appears in generally good condition, no obvious tears or losses. There is some general ageing (browning) to the paper, with some potential colour fade in the sky/water area, other colours appear stable. There are a few spots of foxing to the lower centre. The paint condition appears stable. Frame has general wear and tear, joints appear sound. Additional images uploaded to website
ARR Leonard Russell Squirrell RWS RI PS (1893-1979) Richmond Castle, York, from the Green, signed lower left, dated 1954, watercolour, 26.5 x 19 cm, frame 50 x 41 cm Provenance: Collection of Mr Magdi Obeid, purchased Fine Lines Fine Art 1995Condition:The painting is a watercolour, framed under glazing - not examined external to the frame. The sheet appears in generally good condition for age, there are no obvious tears or losses. The paint condition appears well preserved, stable- no obvious paint loss or deterioration, the colours are good. The backing paper behind the painting appears to have some faint foxing- not examined external to the frame. Frame has some general wear and tear, joints sound.
Albert Moulton Foweraker RBA (1873-1942) Moonlit River Scene, Spain, signed lower right, watercolour, 36 x 53 cm, frame 51 x 68 cm Provenance: Collection of Mr Magdi Obeid, purchased Tooveys 06/09/2017 lot 100Condition:Lot 193: The painting is a watercolour, framed under glazing - not examined external to the frame. The sheet appears in good condition, no obvious tears or losses. The paint condition appears well preserved and stable, the colours good, no obvious paint loss or deterioration. There are a couple of faint, sparsely distributed spots of foxing. Generally very condition. Frame has general wear and tear
ARR George Ayling (1887-1960) Inner Pool, London, signed lower left, watercolour, 28 x 53.5 cm, frame 61 x 77 cm Provenance: Collection of Mr Magdi Obeid, purchased Fine Lines Fine ArtCondition:The painting is a watercolour, framed under glazing- not examined external to the frame. The sheet appears in generally good condition- no obvious faults or losses. There is some general ageing (browning) to the sheet but otherwise looks generally good. The paint surface appears stable, some potential minor colour fade, no obvious paint loss or deterioration. Frame has general wear and tear
William Banks Fortescue RBSA RWA (Newlyn School 1850-1924) Unloading the Catch at Low Tide, signed lower right, watercolour, 22 x 27 cm, frame 48 x 42 cm. Together with a further work showing Shipwrecks in a Storm, signed 'Baldock' and dated 1860 lower left, watercolour, 30 x 44 cm, frame 48 x 62 cm (2) Provenance: Collection of Magdi Obeid, Fortescue purchased at John Nicholsons 10/07/2019 lot 135.Condition:The painting is a watercolour, framed under glazing - not examined external to the frame. The sheet does not show obvious evidence for tears/creasing. There is foxing to the sheet, particularly concentrated in the upper left and upper centre areas of the painting. There is some general ageing (yellowing) to the sheet also. The paint condition appears stable, there is some fade. The frame has solid joints, there is some general wear and tear and a repair is visible to the bottom right edge. Additional images are available on the online catalogue
James Walker Tucker RCA RBA (1898-1972) Market Place, Amiens, signed and dated 1926 lower left, watercolour, 26 x 36 cm, frame 43 x 53 cm Provenance: Collection of Mr Magdi Obeid, purchased Aquila Fine Art 2018Condition:The painting is a watercolour, framed under glazing - not examined external to the frame. The sheet appears in good condition- no obvious faults or losses. There is some general ageing (browning) of the paper- an old mount line can be faintly made out around the edges. The paint surface appears generally well preserved, potentially some minor colour fade to the blue roof of the houses etc, surface appears stable. Frame has minor wear and tear
John II Varley (1850-1933) Feluccas on the Nile, signed lower left, watercolour Provenance: Collection of Mr Magdi Obeid, purchased Bonhams 14.11.2011 lot 541Condition:The painting is a watercolour, framed under glazing, not examined external to the frame. The sheet does not show any obvious tears/creases etc. There is some general ageing (yellowing) to the sheet, particularly where is meets the mount, and some faint foxing in the skyline. The paint condition appears generally well preseved, colours are good for age. The mount is quite aged, the frame has general wear and tear- joints are solid. Additional images are available on the online catalogue
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