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  • Pont Neuf, 1952 -
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     £1,900 



    Presentation: Unmounted
    SN: 1473
    Oil on paper
    14 x 20 in. (35.5 x 50.8 cm).
    Provenance: Jaqueline Peterson 
  • In the Bay, 1947 -
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     £3,500 



    Presentation: Framed
    SN: 1664

    Inscribed on the reverse (in another hand), ‘on board an aircraft carrier of the Royal Navy, 1941’
    Oil on card
    10-3/4 × 14-7/8 in. (27.2 × 37.9 cm)
    Provenance:Artist’s wife, Jacqueline Pietersen (studio ref. no. 2339); Phoenix Gallery, Highgate
    Literature: The Public Catalogue Foundation, ImperialWar Museum, London, 2006, p. 59.

    Painting of the battleship Vanquard from the aircraft carrier "Implacable".


    The Second World War saw the first large-scale use and further refinement of
    aircraft carriers – warships designed with the primary mission of deploying and recovering aircraft, which acted as a sea-going airbas

  • Panoramic estuary view, probably Clifden, County Galway -
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     £800 



    Presentation: Unmounted
    SN: 1765
    Oil on paper
    13 1/2 x 27 in. (34.2 x 68.5 cm)

    Oil on two sheets of paper
    Provenance: the artist's wife Jaqueline Pieterson
    Clifden  is a town on the coast of County Galway, and  is often referred to as "the Capital of Connemara". It is located on the Owenglin River where it flows into Clifden Bay.

    We are grateful to Michael Barker and Fergus Kinmonth for assistance
  • Porthmadog Harbour, Gwynedd -
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     £1,000 



    Presentation: Unmounted
    SN: 1766
    Oil on paper
    12 x 29 in. (30 x 73.7 cm.)

    Oil on two sheets of paper, one folded
    Provenance: the artist's wife Jaqueline Pieterson

    Both before and after the Second World War Cundall traveled extensively in Europe, painting en plein air, and was especially drawn to Ireland.   Clearly painted in situ, the use of two sheets of paper shows how Cundalls  compositions evolved - almost unfolded - in front of him.

    It has also been suggested that this is a view of Roundstone Harbour, Connermara.

    We are grateful to Richard Walwyn, Michael Barker and Fergus Kinmonth for assistance.
  • Meelcombe Bay, Newport, 1930's -
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     £750 



    Presentation: Mounted
    SN: 2457
    Signed with studio stamp to reverse
    inscribed with title on reverse

    Oil on card
    14 1/2 x 21 1/4 in. (37 x 54 cm.)

  • Bantry Bay, c. 1946 -
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     £400 



    Presentation: Passe-partout
    SN: 3175
    Oil on paper, 4 x 13 3/4 in. (10 x 35cm.)
    (6 3/4 x 16 1/2 in. (17 x 42cm.) framed)
  • Sunderland and Hangar, circa 1940 -
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    Presentation: Framed
    SN: 2598
    Signed and inscribed on reverse ‘Sunderland Seaplane, 1940’ (2333)
    Thinned oil on tracing paper ; 14 × 20 in. (35.5 × 51 cm)
    Provenance:Artist’s wife, Jacqueline Pietersen (studio ref. no. 2333);
    Phoenix Gallery, Highgate.

    The Short S.25 Sunderland, ‘one of the finest flying-boats in the world’, was a British flying-boat patrol-bomber developed for the Royal Air Force by Short Brothers, first flown on 16 October 1937. Based in part on the S.23 Empire flying boat, the flagship of Imperial Airways, the S.25 was extensively re-engineered for military service. It was one of the most powerful and widely used flying boats throughout the SecondWorldWar , and was involved in countering the threat posed by German U-boats in the Battle of the Atlantic.
    It took its name from the town of Sunderland in north-east England.
  • Dusk, Anticoli Corrado, 1921 -
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    Presentation: Framed
    SN: 44
    Oil on canvas, 16Q X 11 ins. (42 X 28 cms.)
    Provenance: the artist's wife, Jaqueline Pieterson

    Anticoli Corrado, a small village south of Rome, was famed for the beauty of its inhabitants and had, since the nineteenth century, been popular with Italian painters. Following in the footsteps of Colin Gill the first Rome Scholar, Winifred Knights and Job Nixon spent the Summer months of their scholarship in Anticoli. Knights refers to Cundall in a letter written from the village, dated 28th May 1921: 'Job's friend (Cundall, 14c Whitehead's Grove, Chelsea) is arriving here in the middle of June. Job says he would bring out my dresses. . .'

    Knights' first impression of Anticoli conjures up a similar image to Cundall's painting: 'Anticoli is a glorious place and a little terrifying, so wild and rugged with huge volcanic mountains all round. I have never imagined a more beautiful place. It hardly seems real. We saw Anticoli just springing up out of the precipice like a bundle of toadstools, all grey houses with green moss covered roofs' (letter to her mother, XIII, Jan 22 1921).

    Cundall's remarkable dusk-time view is painted from the area below the village where artists rented their studios - Knights described her studio as 'a joint affair, Nixon, Cundall's (a college man), Miss Southby's and mine is overhung in one place by a gigantic rock which hangs by a hair.' The house of Rosa Ceccarelli, where Knights lodged, with its distinctive loggia, is clearly visible in the centre of the composition.

    We are grateful to Alistair Hicks for his assistance.
  • Study for Coastal Operational Training Unit (Limavady, Northern Ireland), circa 1942 -
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    Presentation: Framed
    SN: 45
    Oil on paper, 14 x 42 ins. (35.6 x  106.7 cms.)
    Provenance: the artist's wife, Jaqueline Pieterson

    This is a sketch for Coastal Operational Training Unit (RAF Museum, Hendon). When the finished painting was exhibited at the Royal Academy in 1943, it was titled O.C.T.U. Station. Painted for the Nation’sWar Records, no. 59. The setting (not indicated at the time for security reasons) is Limavady, Northern Ireland.

    The painting showsWellington bombers, the revolutionary (geodetic) aeroplane designed by BarnesWallis in 1933; theWellington MK II, introduced into service in 1940, was, according to the RAF Handbook, ‘a remarkably fine bomber … used extensively on night bombing raids on enemy targets, including those in Italy’ (Eric Sargent, circa 1941).
  • Warwick Castle -
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    Presentation: Framed
    SN: 1471
    5 x 10 ins. (12.7 x 25.4 cm).

    Thinned oil on paper
    Provenance: Jaqueline Peterson


  • Concours des pêcheurs, 1950's -
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    Presentation: Framed
    SN: 1472
    Oil on paper
    15 x 22 in. (38.1 x 55.9 cm).
    Provenance: Jaqueline Peterson.




  • Tuilleries Gardens, 1955 -
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    Presentation: Framed
    SN: 1474
    Oil on paper, squared in pencil
    15 x 21 in. (38.1 x 53.3 cm).
    Provenance: Jaqueline Peterson


  • Notre Dame and Pont de LArchdeveche -
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    Presentation: Framed
    SN: 1475
    Oil on paper
    13 x 22 in. (33 x 55.9 cm).
    Provenance: Jaqueline Peterson

  • Demolishing the Walls of Paris, 1922 -
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    Presentation: Framed
    SN: 3564
    Oil on canvas
    15 1/2 x 22 ins.
  • Approaching the bridge, 1935 -
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    Presentation: Framed
    SN: 3584
    Signed and dated
    Bodycolour
    26 x 23 cm.
  • Industrial picture -
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    Presentation: Mounted
    SN: 4013

     More likely it is one of several industrial pictures commissioned by the Avon Rubber Co. in the 1950s for some very splendid calendars which they produced.

  • Study for Tobermory from the Admiral's Flagship, 1942 -
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    Presentation: Passe-partout
    SN: 4513

    Pencil and watercolour on paper,
    17.5 x 24.5 cm (framed:26.5 x 34 cm.)

    Provenance: The artist's daughter

    This is a study for the Cundall painting in the Imperial War Museum,

    (IWM ART LD 6052)




  • Industrial view, circa 1930 -
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    Presentation: Passe-partout
    SN: 4554

    Pencil and gouache on paper, squared
    28 x 24.5 cm (framed: 37 x 33.5 cm)



  • Calm in the Baltic, 1935 -
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    Presentation: Framed
    SN: 5063

    Signed and dated, inscribed with title on reverse
    Watercolour
    10x 8 3/4 ins. (25.5 x 22.5cm)



    Painter, potter and stained glass artist, born in Stratford, Lancashire. After working as a designer for Pilkington's Pottery Company under Gordon Forsyth, Cundall studied at Manchester School of Art, obtaining a scholarship to the Royal College of Art, 1912. After World War I army service he returned to the Royal College in 1918, then from 1919 to 1920 attended the Slade, and furthered his studies in Paris. Cundall traveled widely in several continents and became noted for his panoramic pictures, such as Bank Holiday Brighton, in the Tate Gallery (accession no. NO4700). He was a member of NEAC, RP, RWS and other bodies and was a prolific RA exhibitor. He had first solo show at Colnaghi 1927. He was an Official War Artist in World War II, during which time he was sent to Quebec (1944). In the same year he was elected RA. His wife was the artist Jacqueline Pietersen.

    His technical facility - especially when working on large panoramic canvases - was remarkable. His pictures are rich with texture, light and movement. He was equally at ease with aerial views, landscapes, seascapes and cityscapes, and was a master of crowd scenes. His work as an Official War Artist has never received the attention it merits.


  • The cattle market Orvieto, 1922 -
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    Presentation: Framed
    SN: 5225

    Signed and dated
    21 1/4 x 17 1/2 in. (54x 44.5 cm.)

    Provenance: Colnaglia & Obach,

  • Italian Vineyard, circa 1922 -
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    Presentation: Framed
    SN: 5254

    Signed, titled on a label to the reverse
    Oil on panel

    Provenance: Margaret Stansfield.

    This panel is likely to have been painted when Cundall was working in Anticoli Corrardo in 1922

  • Anticoli Corrardo, 1922 -
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    Presentation: Framed
    SN: 5255

    Signed and dated
    Oil on panel
    13 x 9 1/2 in.(33 x 24 cm.)

    Provenance: Margaret Stansfield: a gift of the artist on the occasion of her marriage 26th September 1935 (according to a label on the reverse).

    Anticoli Corrado, a small village south of Rome, was famed for the beauty of its inhabitants and had, since the nineteenth century, been popular with Italian painters. Following in the footsteps of Colin Gill the first Rome Scholar, Winifred Knights and Job Nixon spent the Summer months of their scholarship in Anticoli. Knights refers to Cundall in a letter written from the village, dated 28th May 1921: 'Job's friend (Cundall, 14c Whitehead's Grove, Chelsea) is arriving here in the middle of June. Job says he would bring out my dresses. . .'

    Knights' first impression of Anticoli conjures up a similar image to Cundall's painting: 'Anticoli is a fine place, the town is a pigsty, you meet herds of swine running quite loose in every street', letter to her Auntie Millicent, January 1921).

  • Tuscan Landscape, 1930s -
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    Presentation: Framed
    SN: 41
    Signed with monogram, oil on canvas,
    Oil on two sheets of paper laid on board, 11¾ x 30¼ ins. (32.5 x 76.5 cms.)
    Provenance: the artist's wife Jaqueline Pieterson
  • Tuscan Landscape, 1930s -
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    Presentation: Framed
    SN: 42
    Oil on six sheets of paper, laid on board, 20 x 30¾ ins. (51 x 78 cms.)
    Provenance: the artist's wife Jaqueline Pieterson

    These Tuscan landscapes date to the 1930s, during which time Cundall traveled extensively in Italy. Clearly painted in situ, the use of several sheets of paper leaves an engaging record of Cundall's working method: his compositions evolved - almost unfolded - in front of him.
  • New York, Coenties Slip, The P -
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    Presentation: Framed
    SN: 43
    Watercolour over pencil, 15 x 22½ ins. (38.2 x 57.2 cms., mount opening)
    Provenance: Phoenix Gallery, Lavenham, Suffolk, 1988; Private collection since 1988
    Exhibited: possibly, Coenties Slip, New York, 1940 (RA 277)

    This is a study for Coenties Slip, New York, which Cundall exhibited at the Royal Academy in 1940 (RA 277). The watercolour records part of the historic waterfront of Lower Manhattan at a point of remarkable change, with its celebrated Art Deco skyscrapers still under construction.
  • Hatson Airfield, Orkney, circa 1941 -
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    Presentation: Framed
    SN: 46
    Oil on paper, 15 X 40 ins. (38.1 X 101.6 cms.)
    Provenance: the artist's wife, Jaqueline Pieterson

    The painting depicts Hurricanes and Albacores at the Joint Fleet Air Arm and RAF base at Hatson on mainland Orkney. The spire of St Magnus Cathedral, Kirkwall, is visible in the background. Hurricanes were situated in most ports in the early years of the War to provide Defence Flights. They were also sometimes used by the Navy for Catapult Armed Merchantmen - CAM. The Albacore, introduced in 1939 to replace the Swordfish, served as a Fleet Air Arm Torpedo-spotter-reconnaissance biplane.

    We are grateful to Andrew Cormack (RAF Hendon), David C. Reid (Dumfries and Galloway Aviation Museum) and Peter Till for assistance.
  • Lancaster MK. I, circa 1942 -
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    Presentation: Framed
    SN: 486

     Thinned oil on paper, 13 3/8 × 19 5/8 in.
    (34 × 50 cm.)
    Provenance: Jacqueline Pietersen, the artist’s wife; thence by descent

    As an official war artist with the Royal Navy and the Royal Air Force, (Captain)Charles Cundall produced some of the most memorable images of the Second World War, not least his epic Withdrawal from Dunkirk 1940
    (Imperial War Museum).

    The most famous British bomber of the war, the Lancaster, flew on many
    famous sorties: the Dambuster’s Raid, the daylight raid on Augsburg and the
    sinking of the German battleship Tirpitz. Forming the backbone of the British
    bombing offensive, Lancasters inflicted decisive and crippling damage on
    enemy factories and installations. The bottom of the fuselage was painted
    black to avoid detection during night-time bombing raids. The Lancaster was operational from March 1942; during the war years 7,377 of these aircraft were built.

    We are grateful to Andrew Cormack and Peter Till for assistance.
  • Lockheed Hybrid, circa 1942 -
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    Presentation: Framed
    SN: 487

     Thinned oil on paper, 13 3/8 × 19 5/8 in.
    (34 × 50 cm.)
    Provenance: Jacqueline Pietersen, the artist’s wife; thence by descent

    This painting by Cundall has a number of curious characteristics: the aircraft
    appears to combine the features of a Lockheed Hudson and a Lockheed
    Ventura (both of which were used by Coastal Command), whilst omitting the glazed dorsal gun-turrets characteristic of both. The nose looks like that of a Bristol Beaufighter, while other aspects resemble the more obscure Reid and Sigrist Snargasher. Though Cundall sometime approximated features, a natural consequence of sketching rapidly on the spot, he was usually an accurate observer of aircraft and demonstrated considerable knowledge of them. The bright yellow clothing of the ground staff appears to be yellow oil-skins: high-visibility clothing was not introduced until the 1970s. On the basis of the landscape in the background, with a coal-tip pyramid and coal-pit machinery visible, the setting appears to be the North of England.

    We are grateful to Michael Barker and Andrew Cormack for assistance.
  • Rome: the Tiber island, Isola Tiberina -
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    Presentation: Mounted
    SN: 1663
    Oil on paper
    8 x 15 in. (20x 38 cm.)
    Provenance: Jaqueline Peterson

    During the inter-war years Cundall travelled extensively throughout Europe.  Amongst his most memorable works are the rapid plein air sketches such as this which were  painted in situ.

    Cundall exhibtied the following Roman subjects at the Royal Academy: Studios of Rome, 1932 (479); The Forum, 1948 (593); Keats House:the Spanish Steps, Rome, 1948 (671) Piazza del popolo, Rome 1949 (379); Ponte Vecchio,1949, (261)

    We are grateful to Dr Iain Gordon Brown for identifying the subject of this sketch.
  • The Tyne Bridge, Newcastle, circa 1930 -
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    Presentation: Framed
    SN: 2198
    Oil on panel
    10 1/2 x 14 in. (26.5 x 35.5 cm)

  • St Paul’s and London from the Thames, during the Blitz, 1943 -
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    Presentation: Framed
    SN: 2608
    Signed and dated; stamped on the reverse with studio stamp
    Oil on canvas; 15-1/4 × 21-1/4 in. (38.5 × 54 cm)

    St Paul’s Cathedral became an inspiration to the British people during the SecondWorldWar .The general population was subjected to the might of the German airforce’s Blitzkrieg attack on major cities across the UK.Throughout the Blitz, St Paul’s miraculously escaped major bomb damage, whilst buildings in the surrounding areas were reduced to rubble. Images of St Paul’s framed by the smoke and fire became a symbol of the nation’s indomitable spirit. In 1945 services at St Paul’s,marking the end of the war in Europe, were attended by 35,000 people.
  • The BBC recording at the Camden Theatre, circa 1950 -
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    Presentation: Unmounted
    SN: 2858
    Gouache and oil on paper, laid on board
    20 x 28 ins (51x71cm.)

    Michael Barker has suggest that this painting shows the Camden Theatre, later called the Camden Palace Theatre used by BBC as a recording studio. It is now a nightclub and the original interior has been destroyed.
  • Cyclists and pedestrians by the docks, circa 1940 -
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    Presentation: Passe-partout
    SN: 4512

    gouache on paper,
    22.5 x 17.8 cm (framed:31.5 x 27 cm)




  • Porta Capuana, Naples, 1920's -
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    Presentation: Framed
    SN: 5251

    Signed,
    Oil on panel, titled label verso
    12 1/2 x 10 in. (32cm x 25.5 cm.)

    In a period gilt composition frame. 

    Cundall traveled extensively through Italy in the 1920's during which period he painted some of his finest works en plein air.  Naples, Orvietto and Anticoli Corrado were amongst his subjects.

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