£1,750

Oil on panel
25 x 16 in. (63.5 x 14.7 cm.)
Provenance: Count William de Belleroche; private collection

Belleroche was a founder member of the Salon d'Automne, exhibiting alongside the Impressionists and associating with Emile Zola, Oscar Wilde, Albert Moore, Renoir, Degas, Helleu and Toulouse-Lautrec. He shared a studio with his friend, John Singer Sargent, whose handling of pastel was to be of great inspiration to Belleroche. In turn, Belleroche's sensitivity to tone and creation of form through the modelling of light exerted an influence on Sargent. Belleroche's talent as a painter was recognized by his contemporaries - Degas purchased a work from him and in the early 1890s the French state acquired a painting for the Luxembourg Gallery. Roger-Marx, the critic who discovered Renoir, was amongst Belleroche's fervent admirers, referring to him as 'le peintre des femmes decoiffées' (Gazette de Beaux-Arts, XLX, Jan 1905).

In a D section reeded frame

£450

Pen and ink
inscribed from the jointure garden/looking to the Village and WdeB Coll
3 1/8 x 4 1/2 in. (8.5 x 11.5 cm)

In a gilded oak flat section frame with square outer section
Provenance: collection of William de Belleroche
Literature: William de Belleroche, Brangwyn's Pilgrimage, Chapman and Hall, 1948, p. 197

Brangwyn's Pilgrimage, The Life Story of An Artist, was published by Chapman and Hall in 1948 following an earlier similar collaboration between Brangwyn and William de Belleroche, Brangwyn Talks, (1944).  For both publications Brangwyn produced pen and ink sketches to accompany William de Belleroche's text. The majority of these drawings remained with William de Belleroche until the sale of his collection at Christies in July 1961. 

Brangwyn purchased The Jointure in Ditchling in 1918 and lived their until his death in 1956.  He was immensley fond of The Jointure:


We are grateful to Dr Libby Horner for her assistance.  Looking Towards Village from the Jointure Garden will be included in her forthcoming catalogue raisonné on Brangwyn.

£1,300

Signed; signed and titled on reverse
Watercolour and pen and ink, 15 X 8Q ins. (38.1 X 21.5 cms.)
Provenance: Mr Hartley, 1900; private collection
Exhibited: London, Victoria and Albert Museum, Loan Exhibition of Modern Illustration, 1900 (3143)

In a gilded oak slip with laurel knull

This is probably an illustration for Blackie's Popular Nursery Stories, published 1900 - the first of over 70 books illustrated by Hassall for Blackie and Sons Ltd.

£500

£600

Pencil
4 x 6 1/4 ins. (10 x 16 cm.)

In a reeded mahogony frame

The Borghese Gardens, situated by The British School at Rome, provided Knights with a setting for many of her Rome School compositions, for instance The Marriage at Cana.  The gardens also provided an area where Knight's could avoid the noise of the city.  In her first letter home from Rome she wrote:

I can’t tell you how lovely Rome is Mother. The gardens are so beautiful and all the plants and trees are different. The school is a beautiful building also. And it is so comforting to come back to English people after all the shrieking foreigners they are a noisy lot. (5th November 1920)

£1,200

Inscribed
Pencil and brown ink on tracing paper
6 ins. sq. (15 .1 cm sq.)

In a black receeding frame with gilded knull

This compostion is clearly indebted to Piero della Francesca’s Baptism of Christ (1450s, National Gallery, London).  The National Gallery Baptism had a special significance for Monnington - it was, he later recalled, on first seeing this work  as a young teenager, that he decided his vocation was to be an artist.

£360

Unframed
oil on panel
14 x 10 in. 35.5 x 25.5 cm

Provenance: The Artist's Family

During 1917 Platt produced a series of landscape studies near Matlock in Darbyshire.
Wood engraver and painter, born at Leek, Staffordshire. He studied at the Royal College of Art, 1905-08, and went on to become principal of both Leicester College of Art and Blackheath School of Art. He won a gold medal at the International Print Makers' Exhibition, 1922. He exhibited at the RA, NEAC, RE and with the British Council. During World War II he was an Official War Artist. His work is held by the British Museum, Imperial War Museum, Victoria and Albert Museum and the Tate. He wrote for a number of publications including The Studio and The Artist and produced several books on the art of the colour woodcut. He worked equally successfully in oil, watercolour and wood engraving, usually confining himself to a small scale; he often worked en plein air, a method he successfully employed to respond directly to his subject. His panels are frequently annotated with notes about the weather and light conditions. Selected Literature: Hilary Chapman, The Colour Woodcuts of John Edgar Platt, 1999.

£250

Unframed
Gouache on card
15 x 19 in. (38 x 48.2 cm.)
Sunderland Rollinson was born in Knaresborough in 1872, although his family moved to Scarborough shortly afterwards. He studied at Scarborough School of Art and at the Royal College of Art in London. He lived and taught in Edinburgh from 1904 to 1908, and in 1910 moved to Cottingham, East Yorkshire, where he took a teaching job at Hull College of Art. He taught at Hull for 28 years until his retirement in 1937. He lived for many years at 3 Market Green, Cottingham, which provided the scene for a number of his paintings. He also had a studio at 12 Princess Street, Scarborough. In 1922 he married one of his students, Eleanor Malam, an accomplished artist and miniaturist in her own right. Throughout his life he continued to paint the Humber estuary, the Yorkshire Wolds, Teesdale and Midlothian. His lavish plein-air technique owed much to the continental nineteenth-century tradition, which remained a staple part of reactionary painting in Britain in the first half of the twentieth century. He was also a skilled print-maker. He exhibited at the RA, the Paris Salon, the RSA and RBA. A retrospective exhibition of his work was held in the Borlase Gallery, Blewbury, in 1976. He was awarded the National Medal for Success in Art by the Science and Art Department in 1896 and 1897.

£220

Unframed
Inscribed with title, dated, signed and numbered 22/50
Etching,
9 x 6 3/4 in. (23 x 17 cm.)

Provenance: acquired directly from the artist

Taylor's pictures combine figure and landscape with strong Neo-Romantic overtones, and are saturated with lyricism and a sense of longing.  His compositions frequently include portraits of his wife, Audrey, (as in this etching), who was a fellow artist.

A painter, teacher, writer, exhibition organiser and film-maker, born in Sheffield, Taylor studied at Sheffield College of Art, 1936-39, and at the Royal College of Art, 1939-43. He taught at Sheffield College of Art where in 1963 he established the History of Art Department. He was Dean of the Faculty of Art and Design at Sheffield Polytechnic, 1972-75. He holds a Master of Philosophy degree in art history from Nottingham University. He has organised major shows of Aubrey Beardsley and Edward Burne-Jones at Mappin Art Gallery and made the film Portrait of Beardsley. He has exhibited at the RA, NEAC, at Leicester and Redfern Galleries and in New Zealand and Canada.

£900

Unframed
This panel shows the front garden at 10 Sylvan Avenue, Hendon where Sheppard's parents lived before they moved to Christchurch, Dorset.

Although best known as an illustrator, especially of magazines such as Lilliput, Picture Post and The Studio as well as of children’s books, Sheppard was one of the most gifted painters of wildlife of his generation. He was also an extremely diverse artist, producing semi-abstract and surrealist images alongside those of a purely realistic nature.

£180

Unframed
Pencil

This drawing is likely to be of Stanmore Common where the artist's children, Christine and Michael, often went to play whilst their father sat and sketched. As Christine recalls, "In those days Stanmore Common had quite a rural feel to it." (email to Paul Liss 16th June 2008).

Although best known as an illustrator, especially of magazines such as Lilliput, Picture Post and The Studio as well as of children’s books, Sheppard was one of the most gifted painters of wildlife of his generation. He was also an extremely diverse artist, producing semi-abstract and surrealist images alongside those of a purely realistic nature.

£300

Unframed
10 x 14 in. (25.5 x 35.5 cm.)
Watercolour and pen and ink

This watercolour shows  the pond at the top of Barn Hill, Wembley (then Middlesex, now in borough of Harrow). The Sheppards lived in Kingsbury Green  "a regular walk over the railway line and up the hill where cows grazed and there was a farm. This was post war but before the prolific housing developments, although the fields remain", (Christine Sheppard, the artist's daughter, email to Paul Liss 16th June 2008).

Although best known as an illustrator, especially of magazines such as Lilliput, Picture Post and The Studio as well as of children’s books, Sheppard was one of the most gifted painters of wildlife of his generation. He was also an extremely diverse artist, producing semi-abstract and surrealist images alongside those of a purely realistic nature.

£450

Unframed
Watercolour, gouache and collage
7 1/4 x 8 3/4 in. (18.5 x 22 cm.)

Provenance: the artist’s estate

Trained at the Slade School of Art under Myles Tonks, and married to fellow painter Robin Guthrie, Kathleen Guthrie’s pre-war work is firmly figurative. Her abstract painting dates to the post-war period, after she had divorced Guthrie and married the painter Cecil Stephenson  in 1941. Although clearly influenced by Stephenson, she retained a distinctive luminous, soft palette, and her brushwork remained very consistent, avoiding the hard edges and sometimes vigorous impasto of his work. A solo exhibition of her work was held at the Drian Gallery in London in 1966, in which these works are likely to have been included.

We are grateful to Marjorie Guthrie for her assistance.

£300

Unframed
Signed with monogram, inscribed with title on reverse
watercolour over pencil
11 x 17 in. (28 cx 38 cm.)

Trained at the Royal College of Art in the mid 1930's Hayes exhibited extensively at the Society of Women Artists, often watercolours painted en plein air.  She excelled in textile design and established her own commercial design and bespoke clothes business.

£200

Unframed
watercolour over pencil
11 x 17 in. (28 cx 38 cm.)

Trained at the Royal College of Art in the mid 1930's Hayes exhibited extensively at the Society of Women Artists, often watercolours painted en plein air.  She excelled in textile design and established her own commercial design and bespoke clothes business.

£400

The original woodblock
3 ins. sq.
Provenance: the artist’s family
Literature: A List of Prints with Notes by Frederick Carter, exh. cat., Cartwright Memorial Hall, Bradford, 1916, p. 17 (no. 29); Frederick Carter: A Study of his Etchings, Richard Grenville Clark, Guildford, Surrey, 1998.

Framed with an posthumous woodcut taken from the block by David Maes, mounted to the reverse.

 

£1,900

The original wood block 186 x 139mm
Literature: Lit:Avant-Garde British Printmaking, 1914-60, Carey/Griffiths, Brit. Museum, p68

Somerset Landscape is one of only twelve woodcuts that Ginner designed.

Framed with a posthumous woodcut to the reverse taken from the block by David Maes

£650

Unframed
Coloured chalks and pastel on buff paper
10 x 12 in. (25.5 x 30.5 cm.)

Provenance: the artist’s daughter

Benefiting from the unrivalled teaching of his uncle, Henry Tonks, Myles Tonks excelled in painting on-the-spot landscape and coastal views, responding especially to the rugged scenery of the Scottish Highlands. According to his great-nephew, he often allowed himself the comfort of painting through the open window of his Rolls-Royce, his artist’s materials to hand.

£200

Unframed
Pastel on blue paper
7 3/4 x 11 ins. (19 x 28 cm.)

Provenance: the artist’s daughter

Benefiting from the unrivalled teaching of his uncle, Henry Tonks, Myles Tonks excelled in painting on-the-spot landscape and coastal views, responding especially to the rugged scenery of the Scottish Highlands. According to his great-nephew, he often allowed himself the comfort of painting through the open window of his Rolls-Royce, his artist’s materials to hand.

£1,500

Signed with unidentified monogram; watercolour; each 16 × 2 in. (41.9 x 6.35 cm.)

In 4 arched-top gilded oak frames

Although no stained-glass designs are recorded by the Pre-Raphaelite artist John Melhuish Strudwick, on stylistic grounds this work, initialled J.M.S., might logically be attributed to him.

We are grateful to Rachel Moss and Neil Wilson for assistance.

£350

Unframed
pen and ink with scratching out on card primed with gesso
sight size 8 x12 in. (20.2 x 30.3 cm.)

MOMA Wales have a large collection of paintings by Arthur Kemp and are planning an exhibition of his work in 2010

We are grateful to Jeremy Kemp and Jeremy Rye for assistance.

£180

Unframed
Watercolour and pencil
15 3/4 x 22 in.  (40 x 56 cm.)

MOMA Wales have a large collection of paintings by Arthur Kemp and are planning an exhibition of his work in 2010

We are grateful to Jeremy Kemp and Jeremy Rye for assistance.

£800

Pen and ink
13 1/8 x 8 5/8 in. (34 x 22cm.)

Provenance: The Fine Art Society

£100

Unframed
gouache over pencil, on card
sight size 9 1/2 x 8 1/4 in. (24 x 21 cm.)

Lilian Rowles was a commercial artist and illustrator, born Newport, Monmouthshire (nee Hall).  She studied at West Bromwich Municipal School of Art and married the artist Stanley Charles Rowles. She exhibited Royal Academy and Walker Art Gallery, Liverpool.  Lived Congleton, Cheshire.
The Wind in the Willows is a classic of children's literature by Kenneth Grahame, first published in 1908. Alternately slow moving and fast paced, it focuses on four anthropomorphised animal characters in a pastoral version of England. The novel is notable for its mixture of mysticism, adventure, morality, and camaraderie. The Wind in the Willows was saved from obscurity by the then-famous playwright, A. A. Milne, who loved it and adapted a part of it for stage as Toad of Toad Hall. The book made Grahame's fortune, enabling him to retire from his bank job, which he hated, though it was respectable and well-paid. He moved to the country, where he spent his time by the River Thames doing much as the animal characters in his book do; namely, as one of the most famous phrases from the book says, "simply messing about in boats".

£150

Unframed
Watercolour over pencil with white high-lights on buff coloured paper
Sight size 10 x 9 ins. (25.2 x 23 cm.)

Reserved

Unframed
Black chalk with highlights in white, squared in white and red
16 x 13 in. (40.5 x 33 cm.)

This is a squared-up study for the Tate Gallery painting of the same title, which Mahoney exhibited at the NEAC in 1936( 199).

Adam and Eve in the Garden of Eden exhibited 1936, oil on canvas 91 x 76 cm, presented by the Contemporary Art Society 1942, Tate (N05323).

A similar study is in the collection of the Tate:

Study for `Adam and Eve' circa 1936, pencil, pen and ink and wash on paper support: 403 x 270 mm on paper, presented by the artist's widow 1976 (T02091)

The Garden of Eden is here reinstated as a horticultural fantasy, defined by its relationship with an unseen domestic interior. Mahoney's image of perfection glimpsed from a window was created in the mid-1930s, when the idea of the garden was actually an accomplice of suburbanisation. (From the Tate display caption May 2003) Adam and Eve are shown exploring the Garden of Eden before their fall. They are seen through a brick window at the right of which a pair of hands, belonging to some unseen person inside the building, arranges a branch of leaves in a glass on the sill. In the final painting Adam and Eve hold hands instead of standing apart and some of the objects on the window sill are different: two pears in place of the insects shown in the drawing, more flowers in the vase at the left and a less elegant glass at the right. As no record appears to survive of Mahoney's precise intentions in ‘Adam and Eve’, one can only guess at the identity of the mysterious hands. Are they meant to be God's? Or did the artist, a keen botanist, imagine Eden as his own garden and do the hands stand for his own? Throughout his life Mahoney turned to flowers and gardens for much of his subject matter; about the time ‘Adam and Eve’ was painted he was even preparing, with Evelyn Dunbar, an illustrated book on the subject, Gardeners' Choice, which appeared in 1937. That the hands may be human rather than divine is also suggested by the inclusion of similar motifs in non-Biblical pictures, for example ‘Three Boxes with Flowers’ (Coll. John Ward), in which mysterious fingers edge their way into the design. Mahoney painted and drew the Adam and Eve subject on later occasions. An oil ‘Sketch for Adam and Eve’ exhibited at the NEAC in 1959 (77) and still with Mrs Mahoney is a different composition, as presumably is the drawing ‘Garden of Eden, Version II’ shown there in 1965 (409). In the latter year Mahoney exhibited at the RA two pen and wash drawings entitled ‘Adam and Eve (version II)’ and ‘Study for Adam and Eve (version II)’ (nos. 1239 and 1265 respectively). Another pen and wash drawing shown at the RA that year, ‘Adam and Eve (version I)’ (1266) is presumably related to T02091. On the reverse of T02091 there are an ink drawing of a tree, and ink sketches of crowns (one on a female head), with suggestions of ornamented designs (the latter perhaps for costume relating to the crowns). Published in: The Tate Gallery 1976-8: Illustrated Catalogue of Acquisitions, London 1979

Reserved

Unframed
Watercolour and charcaol
11 1/2 x 15 in. (29.3 x 38.2 cm.)

Provenance: John Monnington

Monnington was often drawn to this group of Ash, situation in an area known as the sandpit on the Leyswood Estate.  Inspired especially by Cezanne, Monnington was fascinated by the abstract shapes formed by these spindly Ash.

We are grateful to John Monnington for assistance.

Reserved

Unframed
Signed, dated, numbered 2/10 and inscribed with title

Sights size 6 x 10 in. (15.2 x 25.4 cm.)

The model for this etching is the artist's wife Audrey
William Taylor is a painter, teacher, writer, exhibition organiser and film-maker, born in Sheffield. He studied at Sheffield College of Art, 1936-39, and at the Royal College of Art, 1939-43. He taught at Sheffield College of Art where in 1963 he established the History of Art Department. He was Dean of the Faculty of Art and Design at Sheffield Polytechnic, 1972-75. He holds a Master of Philosophy degree in art history from Nottingham University. He has organised major shows of Aubrey Beardsley and Edward Burne-Jones at Mappin Art Gallery and made the film Portrait of Beardsley. He has exhibited at the RA, NEAC, at Leicester and Redfern Galleries and in New Zealand and Canada. Taylor's pictures combine figure and landscape with strong Neo-Romantic overtones, and are saturated with lyricism and a sense of longing.

Sold

Unframed
gouache and oil on paper, circa 1940
size 8 x 8 in. (20.2 x 20.2 cm.)
Tempest studied at Woolwich Polytechnic School of Art, 1927-32, with Herbert Buckley, and at the Royal College of Art, 1932-36, under William Rothenstein. He showed at the RA, NEAC, RBA and in Doncaster, Gateshead and Sunderland. Public collections in Leicester and Wolverhampton hold examples. He lived in Plumstead, southeast London, and later in Keston, Kent. Tempest is typical of a certain kind of British painter: he exhibited year in and year out at the RA and NEAC, thus establishing a solid reputation as a talented landscape artist, and yet today he is little known. He was a competent artist, but also one who was capable of producing exceptional works. His suburban views of back gardens, which are part of a uniquely English vision, are equal to the works of many of his better-known contemporaries.

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Unframed
water colour over charcoal and pencil.
sight size 7 1/2 x 6 in. (19 x 15.3 cm.)

As an artist and intellectual,Wood was fascinated by ‘the treatment of form and colour’ and the ‘great advances made by the artists of the last generation’. Throughout his life he explored theories about colour and especially the relationship between sound and colour, which was the subject of a series of articles he published in The Cambridge Magazine between January and June 1918, in which, as he wrote,‘the whole problem was dealt with by a number of experts, psychologists, physicists and artists, in collaboration’. Wood was one of the earliest collectors of Kandinsky.  With I.A. Richards and C.K. Ogden as co-authors, Wood went on to publish The Foundation of Aesthetics (1922).

In an article on the influence of Kandinsky on British Art,  Adrian Glew wrote of Wood as follows:

"Whilst most of these artists moved on to different ends - Nevinson would launch the Futurist manifesto with Marinette several months later - the most specific, enduring, yet least known influence of Kandinsky on British artists at that time was on James Wood.  He had absorbed the lessons on colour theory, particularly those establishing correspondences between colour and musical tones, when studying at Percyval-Hart's art school in Paris in 1909, .... . These views were mirrored in Wood's own paintings, where the colour correspondences serve specific functions and where the image vibrates and resonates beyond the canvas."

Work by Wood is in the collection of the Yale Centre for British Art

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Unframed
Wash, signed with monogram
8 1/4 x 12 ins. (21 x 30.5 cm.)
In the artist's original washed mount

This watercolour is one of a series made by Kemp whilst he was still at art school, showing a farm near Inkberrow, Worstershire, which belonged to a friend of his. MOMA Wales have a related painting of the farm. MOMA Wales have a large collection of paintings by Arthur Kemp and are planning an exhibition of his work in 2010

We are grateful to Jeremy Kemp and Jeremy Rye for assistance.