Sebastien Le Clerc (1637 - 1714)

Sebastien Le Clerc

Engraving Signed and inscribed in the plate Trimmed to the plate mark and further trimmed at lower edge, laid down, unframed 

Sebastien Le Clerc was born in Metz, the son of a goldsmith. He became engineer-geographer to Marshall de la Ferte, executing plans of several fortresses in the Metz area. He moved to Paris in the mid 1660s and, on the advice of Charles Le Brun, he gave up his engineering work to concentrate on his drawing and engraving. He joined the Academie Royale de Peinture et Sculpture in 1672 where he taught perspective and geometry. He worked for Louis XIV, being made “Graveur de Roi”. He also worked at times at the Gobelins factory and as a technical draftsman and military engineer. The present work is one of a set of four prints illustrating the story of Cupid and Psyche, commissioned by Claude Pottier, circa 1700.

Desespoir de l'Amour

Harcourt Medhurst Doyle (1913 - 2001)

Harcourt Medhurst Doyle

HARCOURT MEDHURST DOYLE
(1913-2001)

Amos – Design for a Stained Glass Window, St Mark’s, Scarisbrick, Lancashire

Signed and variously inscribed:
Amos/Remember before God/Ralph William Pilkington/1895-1962 – Churchwarden for 25 years.
Watercolour and ink
Unframed, in conservation mount

30 by 9 cm., 11 ¾ by 3 ½ in.
(mount size 43 by 22 cm., 17 by 8 ½ in.)

Doyle was born in Liverpool where he studied at the College of Art and first found his interest in stained glass design. He gained a scholarship to study with Martin Travers as the Royal College of Art and later worked as his assistant. In 1935 he gained his Diploma in Design and was three times winner of the Annual Competition of the Worshipful Company of Glaziers. From the late 1950s he was based in Liverpool where he established his own studio, receiving many important local commissions. He moved to the outskirts of Llandudno in 1966. He was a member of the British Society of Master Painters in Stained Glass.


Amos - Design for a Stained Glass Window by Harcourt Medhurst Doyle

Arild Rosenkrantz (1870 - 1964)

Arild Rosenkrantz

Signed l.l.: Arild Rosenkrantz Pastel Framed 

43.5 by 51.5 cm., 17 by 20 in. (frame size 62.5 by 70 cm., 24 by 27 in.) 

Arild Rosenkrantz was born in Frederiksborg Castle, Denmark, the son of Baron Iver Holger Rosenkrantz, a Danish diplomat and his Scottish born wife. In the late 1880s he studied art under Professor Modesto Faustini in Rome before continuing his studies at the Academie Julian in Paris. Between 1894-5 he worked in the United States in the glassworks of Tiffany. He was influenced by the Pre-Raphaelites and the Romantic artists. In 1898 he settled in London, establishing himself as a Symbolist artist, showing works in the final exhibitions of the New Gallery. He became increasingly interested in spiritual issues, particularly in the work of the Austrian philosopher Rudolf Steiner, becoming a member of the Anthroposophic Society. The philosophy emphasised the importance of colour to the soul. In addition to his pastel drawings he work as an illustrator and costume, stage, stained glass and interior designer.

The Temple

Cornelia Dibble (1937)

Cornelia Dibble

Signed and dated l.l.: Cornelia 67; signed, inscribed with title, numbered 76 and dated Dec ’67 on the reverse Pen and black ink and watercolour heightened with white and gum arabic, circular Framed Diameter 

39 cm., 15 in. (frame size 59.5 by 59 cm., 23 by 23 in.) 

Cornelia Dibble (sometimes known as Clarissa) was born in Scotland and studied at Bromley School of Art and the Royal Academy Schools. Her idiosyncratic imagination lends a strong Surrealist feel to much of her work, which she exhibited extensively at the Portal Gallery, London. Her work can be found in many private collections and was in the collection of Ringo Starr and Barbara Bach.

Blue Barbican

Roy Hobdell (1911 - 1961)

Roy Hobdell

Signed, inscribed with title and dated 1932 Watercolour and pen and ink Framed 

29 by 20.5 cm., 11 by 8 in. (frame size 49.5 by 40.5 cm., 19 by 16 in.)

 Leslie Roy Hobdell was born in South London in 1911. After studying at Camberwell School of Arts and Crafts he started a collaboration with the photographer and set designer Angus McBean, creating numerous backdrops for ballets and plays in London. As an artist he is best remembered for his surrealist paintings and convincing tromp l’oeil murals. Many of his works are playfully signed with the initials of his two cats, Giles and Emma Farquharson. His theatrical portrait of Angus McBean is in the collection of the National Portrait Gallery, London.

La Chanson du Rossignol

Victor Hume Moody (1896 - 1990)

Victor Hume Moody

Signed and inscribed on a label on the backboard Chalks Framed 

49 by 41 cm., 19 by 16 in. (frame size 65 by 57.5 cm., 25 by 22 in.) 

: Catherine Moody, the artist’s daughter; Neil Wilson. 

: Neil Wilson, Father & Daughter, Victor Hume Moody & Catherine Olive Moody, 2011, p.48, no.38 (illus). 

Victor Moody studied at Battersea Polytechnic of Arts and Crafts under Henry Cogle and later at the Royal College of Art from 1927 under William Rothenstein. In 1935 he was appointed Head of the Malvern School of Art and the family moved out of London, settling to Stroud. Heavily influenced by artists of the Baroque and Italian Renaissance art and techniques, Moody set upon a career as a painter of figurative subjects, classical scenes and portraits. Classical themes where prominent in his art and he spent many hours studying his subject in the British Museum and Victoria & Albert. He exhibited widely, including at the Royal Academy, New English Art Club, Goupil Gallery, Paris Salon and elsewhere.

Ganymedes

Elyse Ashe Lord (1900 - 1971)

United Kingdom Elyse Ashe Lord was a watercolourist and drypoint etcher who favoured exotic and Far Eastern figure subjects, often treated in delicate or imaginative colours. Little is known about her early although she held her first important solo exhibition of 70 drawings at the Brook Street Gallery in 1921 and in the following year was elected a member of the Royal Institute of Painters in Water Colours. She was also a member of the Society of Graver-Printers in Colour. She exhibited actively from 1915 to 1939, showing at the Royal Academy, Royal Institute of Painters in Water Colours, Royal Scottish Academy, Walker Art Gallery, Liverpool, Fine Art Society, Lefevre Gallery and at the Paris Salon, where she gained a silver medal for colour prints. Alexander Reid issued much of her work in book illustrations including The Arabian Nights. In 1990 Cyril Gerber Fine Art held an exhibition of her work. She lived in Bexley, Kent. Her work is represented in the collections of the British Museum and Victoria & Albert Museum.

Elyse Ashe Lord

 Signed l.r.: E LORD; bears title on a label on the backboard

 Watercolour, bodycolour over pen and ink with gold paint and applied glass stone, in the original chinoiserie lacquer frame.

 Elyse Ashe Lord was a watercolourist and drypoint etcher who favoured exotic and Far Eastern figure subjects, often treated in delicate or imaginative colours. Little is known about her early although she held her first important solo exhibition of 70 drawings at the Brook Street Gallery in 1921 and in the following year was elected a member of the Royal Institute of Painters in Water Colours. She was also a member of the Society of Graver-Printers in Colour. She exhibited actively from 1915 to 1939, showing at the Royal Academy, Royal Institute of Painters in Water Colours, Royal Scottish Academy, Walker Art Gallery, Liverpool, Fine Art Society, Lefevre Gallery and at the Paris Salon, where she gained a silver medal for colour prints. Alexander Reid issued much of her work in book illustrations including The Arabian Nights. In 1990 Cyril Gerber Fine Art held an exhibition of her work. She lived in Bexley, Kent. Her work is represented in the collections of the British Museum and Victoria & Albert Museum.

Aladdin

Arthur Charles Conrade (1863 - 1955)

Arthur Charles Conrade

both signed, one dated 1916 Both grisaille gouache over traces of pencil, framed Each 

26 by 36 cm.; 10 by 14 in. (43 by 52.5 cm.; 17 by 20 in. frame size ) (2) 

Alfred Charles Conrade was the son of German born Herman and Marie Schmitz. His parents had moved to England, settling in Leeds and their oldest son, Alfred Charles Conrad Schmitz, was born there in 1865. He later changed his surname to Conrade. He studied in Dusseldorf, Paris and Madrid and spent some time Japan. He specialised in architectural subjects and exhibited at the Royal Academy between 1914-1933 and at the Dudley Gallery. He was chief artist at the White City exhibition and sporting venue 1911-14.

Ghostly Armies

Bernard Sleigh (1872 - 1954)

Bernard Sleigh

At the age of 14 Sleigh was apprenticed to a wood engraver. At the same time he attended the Birmingham School of Art under Arthur Gaskin, coming under the influence of the Birmingham Group. He first came to the public eye through his skilful wood engravings illustrating various books. His early paintings and watercolours were heavily influenced by Burne-Jones and his circle. In addition to his paintings, murals and illustrations he also involved in the decorative arts, designing stained glass, metal work and inlayed furniture. He joined the Society of Mural Decorators and Painters in Tempera and was a member of the Royal Birmingham Society of Artists between 1923 and 1928. In 1937 Sleigh retired to Chipping Camden, like his mentor Arthur Gaskin, moving into Old Forge Cottage in Cider Mill Lane. Works by him are in the Fitzwilliam Museum, Cambridge, Birmingham Museum & Art Gallery and the Russell-Cotes Art Gallery & Museum. Sleigh’s Piers Plowman was published in The Artist Engraver in 1904.

Piers Plowman

Maxwell Ashby Armfield (1882 - 1972)

EnglandBorn at Ringwood of Quaker parents, his father being a milling engineer, Armfield entered the Birmingham School of Art in 1899. There he came under the influence of Henry Payne, Gaskin and Southall, who taught him the tempera technique he was to practice for the rest of his life, and was deeply impressed by the Pre-Raphaelite paintings in the Art Gallery. In September 1902, after visiting Italy at the suggestion of Gaskin, he went to Paris, enrolling at the Académie de la Grande ChaumiÃ¨re and sharing a studio with three other students - Norman Wilkinson (also from Birmingham), Keith Henderson and the sculptor Gaston Lachaise. In 1904 his painting Faustine, inspired by the English poet Algernon Swinburne, was bought for the Luxembourg.

Returning from London the following year, he embarked on a series of one-man exhibitions that were henceforth to mark his career, showing first at Robert Rosss Carfax Gallery (1908, 1912), subsequently at the Leicester Galleries and elsewhere, as well as contributing regularly to the RA, NEAC and RWS (member since 1941). In 1909 he married the writer Constance Smedley, with whom he was to work closely until her death in 1941. In 1915 they left for an intensely active and successful seven year spell in America. Armfield was not only a painter but a prolific illustrator and versatile decorative artist, while being deeply involved in theatre, music, teaching and journalism and writing some twenty books, including poetry, accounts of foreign travel, and such textbooks as the much-acclaimed Manual of Tempera Painting (dedicated to Southall, 1930).

He was also a tireless researcher into occult religions, and passionately interested in the formal and philosophical basis of art. Neglected for many years after the Second World War, he lived to see a revival of interest in his work before his death at the age of ninety-one in 1972.

Maxwell Ashby Armfield

 Signed, inscribed and dated l.c.: MAXWELL ARMFIELD/MDCCCCIV [1904] PARIS;SIEGFRIED/ACT III, pencil and watercolour, framed

  24 by 16 cm., 9 by 6 in. (frame size 42.5 by 34.5 cm., 16 by 13 in.) 

  London, Fine Art Society, London, 1979.

 The present work is a preparatory drawing for the artist's 1905 tempera painting of the same subject.

 Born at Ringwood, Hampshire, of Quaker parents, his father being a milling engineer, Armfield studied at the Birmingham School of Art under Arthur Gaskin and Joseph Southall who taught him the tempera technique he was to practice for the rest of his life. In September 1902, after visiting Italy at the suggestion of Gaskin, he went to Paris, enrolling at the Academie de la Grande Chaumiere and sharing a studio with three other students: Norman Wilkinson (also from Birmingham); Keith Henderson and the sculptor Gaston Lachaise. Returning to London the following year, he embarked on the series of one-man exhibitions that were henceforth to mark his career, showing first at Robert Ross’s Carfax Gallery (1908, 1912) and subsequently at the Leicester Galleries and elsewhere, as well as contributing regularly to the RA, NEAC and RWS. In 1909 he married the writing Constance Smedley, with whom he was to work closely until her death in 1941. In 1915 they left for an intensely active and successful seven-year spell in America.

 Armfield was not only a painter but a prolific illustrator and versatile decorative artist, while being deeply involved in theatre, music, teaching and journalism and writing some twenty books, including poetry, accounts of his foreign travels and such textbooks as the much-acclaimed Manual of Tempera Painting (1930). He was also a tireless researcher in occult religions and passionately interested in the formal and philosophical basis of art.

 He is represented in the collection of the British Museum and many provincial and overseas galleries. The present work is a preparatory drawing for the artist’s 1905 tempera painting of the same subject.

Siegfried

Charles Sims (1873 - 1928)

Charles Sims

Signed Proof plate, printed in colours, colour engraving with aquatint Framed Plate size 

30 by 25 cm., 11 by 10 in. (frame size 57 by 49 cm., 22.5 by 19 in.) 

: Rosalie Emslie, the artist’s assistant c.1916. 

Sims was born in Islington and studied at South Kensington, the Academie Julian, Paris and at the Royal Academy Schools. He first made his name at a one-man show at the Leicester Galleries in 1906 and he was elected ARA in the following year. In 1908 The Fountain was bought by the Chantrey Bequest and other works are now in public collections in this country and overseas. In 1918 he was appointed a war artist and sent to France. On his return he was made Keeper of the Royal Academy Schools, 1920-1926. Sims exhibited widely during his lifetime, sending a total of 116 works at the Royal Academy alone, however, he never recovered for the loss of his son in the First World War and took his own life in 1928. A copy of this rare print is in the collection of the British Museum. Sims made an oil painting of the same subject.

Epilogue (The Three Graces)

Frank Arthur Staples (1888 - 1964)

Frederick Arthur Staples was born in Kilburn in 1888. At some time he moved to Essex, living at Hope Cottage, Buckhurst Hill. He died in Essex in 1969.

Frank Arthur Staples

Sir Titurel Hears the Angel’s Voice on the Mount 

Inscribed: Hail to Thee Chosen Hero of the Most High/The Lord hath called thee to Guard the Sangreal on his Mount Montsalvatch Signed and inscribed with title and the artist’s address on a label on the backboard Gouache Framed 

57 by 37.5 cm., 22 by 14 in. (frame size 71 by 51 cm., 28 by 20 in.) 

Frederick Arthur Staples was born in Kilburn in 1888. At some time he moved to Essex, living at Hope Cottage, Buckhurst Hill. He died in Essex in 1969. The style of this work suggests that it may have been intended as an illustration. The legend of Titurel comes from the early thirteenth century Middle High German romance by Wolfram von Eschenbach and seems to have been a prequel to his earlier work, Parzival. The young Titurel was visited by an angel who announced: “Hail, chosen hero of the Most High! The Lord hath called thee to guard the Holy Grail on His Mountain, Montsalvatch. Set they house in order, and obey the voice of God.” Titural returned home were he divided is wealth between his servants before being led on a treacherous journey to the Holy Grail where he built a temple for its protection. His descendant was Sir Percival.

Sir Titurel Hears the Angel's Voice on the Mount

Violet Brunton (1878 - 1951)

Violet Brunton

Signed with the artist’s nom-de-plume Watercolour and pencil, unframed, in mount only 

21.5 by 14 cm., 8 by 5 in. (mount size 38.5 by 27.5 cm., 15 by 10 in.)

 Violet Brunton was born in Brighouse, Yorkshire and studied at Southport and the Liverpool School of Art, where she studied woodcarving, miniature painting and book illustration. Her work won the County Palatine Scholarship and she was subsequently offered a place at the Royal College of Art in London. Primarily a painter of miniatures and a sculptor, Brunton also worked as a whimsical and highly decorative illustrator. She contributed to two illustrated books published in 1927, The Jeweller of Bagdad and Ecclesiasticus or The Wisdom of Jesus the Son of Sirach. The following year, her illustrations for Green Magic were published and in 1929, a further illustrated title carrying her contributions, Silver Magic, was published. Some of her monotone illustrations appearing in Green Magic (1928) and Silver Magic (1929) subsequently appeared with the illustrations of Kay Nielsen with his suite of illustrations published in Red Magic (1930). She was elected a member of the Royal Society of Miniature Painters in 1925. Brunton sometimes signed with the pseudonym Victor du Lac. The present work appears to be an unused illustration for Ecclesiasticus, or the Wisdom of Jesus the Son of Sirach, published by John Lane the Bodley Head Ltd., in 1927 with an introduction by C Lewis Hind. In his “Comment with Quotations” Hind introduces the illustrations: “The purpose of this “Comment with Quotations” is to introduce the drawings, made by Miss Violet Brunton, to illustrate “Ecclesiasticus”. When I first saw them I must admit that I was startled, but to be startled, at first glance, is not a bad impulse towards the appreciation of art ”“ especially modern art.” From this introduction if may be concluded that the idea for the publication could have originally come from Violet Brunton. It has been suggested that this work illustrates: “Hast thou daughters? give heed to their body, And make not thy face cheerful toward them.” (Ecclus 7:24)

Illustration for Ecclesiasticus

Frank Watkins (1863 - 1929)

Frank Watkins

Frank Henry Watkins was born in Lambeth, London and was the son of a bank clerk. He worked as a children’s book and comic illustrator in the early 20th century, drawing for many children’s stories including 

 (1919-1921) and also for Merry Moments. He provided book illustrations for 

The Man From the Moon by Philip Carmichael

The King Who Never Died: Tales of King Arthur by Dorothy Senior

 (1911). In the 1920s he contributed as a writer and illustrator to a large number of Blackie’s special publications for children including My Own Big Book, My Own Picture Story Book, The Rainy Day Book and others. Watkins lived at 64 Waldegrave Park, Twickenham.

Putting the Cat in the Bag

Mary Krishna (1909 - 1968)

Mary Krishna (nee Oldfield) studied at the Royal College of Arts in the late 1920s. It was there that she met her husband, the Indian artist Roop Krishna. They moved to his native Punjab where they continued their studies at the Lahore School of Fine Arts under the Indian watercolour painter Abanindranath Tagore. They were members of a group of early 20th century artists in India who experimented with Western influences, blending them with traditional Indian techniques and construction. Her subjects included gods, animals and often dancers depicted in an animated or spinning vortex of movement. They moved permanently to London in 1946 and she exhibited regularly at the Royal Academy between 1955 and 1967.

Mary Krishna

Signed l.r.: Mary Krishna Black and white chalks on grey paper Unframed, in conservation mount 

22.5 by 14.5 cm., 22 by 5 in. (mount size 42.5 by 32.5 cm., 16 by 12 in.0 

Dancer IV

 Signed l.r.: Mary Krishna  Black and white chalks on grey paper  Unframed, in conservation mount

 22.5 by 14.5 cm., 22 ¾ by 5 ¾ in.  (mount size 42.5 by 32.5 cm., 16 ¾ by 12 ¾ in.

 Mary Krishna (nee Oldfield) studied at the Royal College of Arts in the late 1920s. It was there that she met her husband, the Indian artist Roop Krishna. They moved to his native Punjab where they continued their studies at the Lahore School of Fine Arts under the Indian watercolour painter Abanindranath Tagore. They were members of a group of early 20th century artists in India who experimented with Western influences, blending them with traditional Indian techniques and construction. Her subjects included gods, animals and often dancers depicted in an animated or spinning vortex of movement. They moved permanently to London in 1946 and she exhibited regularly at the Royal Academy between 1955 and 1967.

Dancer III

Signed l.l.: Mary Krishna Black and white chalks on grey paper Unframed, in conservation mount 

22.5 by 14.5 cm., 22 by 5 in. (mount size 42.5 by 32.5 cm., 16 by 12 in.

Dancer II

Dancer I

Marjorie Maitland Howard (1898 - 1983)

The daughter of the civil servant and artist Henry James Howard, Marjorie (sometimes referred to as Margaret) Maitland Howard was born in London and studied at the Byam Shaw

Marjorie Maitland Howard

Signed with monogram; signed and inscribed with title and the artist’s address on a label attached to the reverseOil on boardFramed

37.5 by 28 cm., 14 by 11 in.(frame size 55 by 46 cm.; 21 by 18 in.) 

The daughter of the civil servant and artist Henry James Howard, Marjorie (sometimes referred to as Margaret) Maitland Howard was born in London and studied at the Byam Shaw & Vicat Cole School of Art and the Royal Academy Schools where she was a multiple silver medal-winner. In addition to her paintings, sculpture and mural work she also worked as a book illustrator, producing an illustrated edition of theÂ Fables of Aesop, published by John Lane at The Bodley Head in 1926. She also illustrated Elizabeth Ward’s, Who Goes to the Wood(1940) and Frederick Zeuner’s, Dating the Past: An Introduction to Geochronologyin 1946. She exhibited at the Royal Academy, New English Art Club, Society of Women Artists and elsewhere. In 1948 she was appointed draughtsman to the Institute of Archaeology at London University. She was a member of the Ridley Art Club.

Cupid & Psyche

John Anster Fitzgerald (1832 - 1906)

England Fitzgerald is one of the most delicate and imaginative of the Victorian fairy painters. More than any of the other artists working in this genre, he was able to suggest the existence of a coherent alternate world, which was both ethereal and bizarre. His fairy subjects sometimes show the fantasies of a human sleeper, for instance the erotic dream of a young girl represented in The Stuff That Dreams Are Made Of (Collection of Valerie, Lady Scott). He also depicts fairies as the inhabitants of the natural world, perhaps contending with mice or living in birds nests.n  n  Almost nothing is known of his life, although he exhibited in most of the major London exhibitions from 1845 onwards, showing works at the Royal Academy, British Institution, Society of British Artists, New Watercolour Society and Dudley Gallery. The titles of his exhibited paintings reveal a diverse range of interests. His works include portraits, modern and historical genre pictures, Shakespearean and religious subjects.

John Anster Fitzgerald

Sea Sprites

Mary Adshead (1904 - 1995)

Mary Adshead



A pair, both signed and dated 1927
Tempera on canvas



Each 51 by 40.5 cm., 20 by 16 in.
(each frame size 65 by 52 cm., 25 ½ by 21 ½ in.)



Adshead attended the Slade School of Fine Art. She and Rex Whistler won the joint first prize in the Slade’s Summer painting competition in 1924 and as a result Henry Tonks arranged for them to undertake a joint mural commission at the Highway Boys’ Club in London’s East End. From then on she began to receive a steady stream of mural commissions, most importantly those for Lord Beaverbrook’s dining room (1928) and the Bank Underground Station (1929). She was soon established as a painter, decorator, painter of murals and illustrator, designing posters for London Underground, decorations for the British Pavilion at the 1937 Paris International Exhibition and designed stamps for the General Post Office. She exhibited at the Royal Academy, New English Art Club, Society of Women Artists and Goupil Gallery.


Music & Song - a pair by Mary Adshead

Robert James Enraght Moony (1879 - 1946)

Robert James Enraght Moony

ROBERT JAMES ENRAGHT-MOONY, RBA (1879-1946) 

Signed and also signed with pictogram and dated 1933 Tempera 

: London, Beaux Arts Gallery, Exhibition of Paintings in Tempera by R. J. Enraght-Moony, 1933, no.23. 

Robert James Enraght-Moony was born in Athlone, Ireland. He studied at the Academie Julian in Paris before further travels and studies in Italy and for two years he studied modelling at the terracotta works in Leeds. For a short period he painted portraits before developing his own highly imaginative and individual style. From an early age he was interested in the legends of the Saints and Kings of old Ireland and therefore a strong vein of mysticism is in all his work. He later settled in Cornwall, living for a time in Mount Hawke and later in Chywoone, Grove, Newlyn. He was a member of the Newlyn Society of Artists as well as an honorary member of the Sheffield Society of Art. He exhibited at the Royal Academy, New English Art Club, Royal Society of British Artists and elsewhere.

March, April and May

Kate Eadie (1880 - 1945)

Kate Eadie

 “Alas! Alas!” A low voice, full of care,  Murmur’d beside me: “Turn and look on me:  I am that Rosamund, whom men call fair,  If that I was I be.

 Signed, inscribed with title and the artist’s address on a label attached to the backboard  Watercolour and bodycolour

 73 by 35.5 cm., 28 ¾ by 14 in.  (frame size 110 by 52 cm., 43 ¼ by 20 ½ in.)

By descent in the artist’s family. Liverpool, Walker Art Gallery, Autumn Exhibition of Modern Art, 1920, no.1093.

 Kate Muriel Mason Eadie is best known as a Birmingham enameller, jeweller, manuscript illuminator and Arts & Crafts designer. She exhibited enamel panels at the Royal Academy between 1905 and 1915. In 1915 she was elected an Associate of the Royal Birmingham Society of Artists which whom she exhibited jewellery and metalware. She was the Society’s first female member. A fire screen by her is in the collection of the Victoria & Albert Museum.

 In September 1940 she became the second wife of Birmingham Pre-Raphaelite painter and stained glass designer Sidney Harold Meteyard (1868-1947). Meteyard’s first wife, Lizzie Fairfax Muckley was the sister of Birmingham artist Louis Fairfax Muckley. It seems that Eadie and her sisters lived at the same address as the Meteyards from about 1916. She had first met Meteyard when she was studying at Birmingham School of Art, she became his student and model and they are known to have worked together on various stained glass schemes. It is unusual to find such a highly finished watercolour by her. In many ways it bears great similarity to paintings by Meteyard and although it was exhibited in Liverpool as being by Kate Eadie it seems very possible that the hand of Meteyard may also be in this watercolour.

 The subject is taken from Tennyson’s A Dream of Fair Women, which tells the story of illustrious women who came to unfortunately ends. A popular subject for Pre-Raphaelite artists, Fair Rosamund, one of the great beauties of history, was the mistress of Henry II. The king kept her hidden in a maze in his park in Woodstock, Oxfordshire until his queen, Eleanor of Aquitaine, discovered her and forced her to choose between the dagger or a bowl of poison.

Fair Rosamond

Richard Westall (1766 - 1836)

Richard Westall

Cupid Sleeping; from a poem of Mrs Robinson

- The Duchess of Devonshire Discovers the Sleeping Cupid

36 by 44.5 cm., 14 ¼ by 18 in.
(frame size 55 by 66 cm., 21 ¾ by 26 in.)

London, Royal Academy, 1792, no.448.

Richard Westall was born in Reepham, near Norwich. Initially apprenticed to a London silver engraving he began studying at the Royal Academy Schools from 1785 and exhibited regularly at the Royal Academy between 1784 and 1836. Westall became an Associate member of the Royal Academy in 1792 and a full member in 1794.

Westall painted in both oil and watercolour, his works being romantic and neoclassical in style. He contributing to both Boydell’s Shakespeare Gallery and Fuseli’s Milton Gallery and was also a prolific book illustrator of both fiction and poetry including works by Sir Walter Scott and Byron, whose portrait he also painted. For a time he was also art master to the young Princess Victoria.

This is probably Westall’s 1792 Royal Academy exhibit (no.448). The subject was inspired by the poem Cupid Sleeping by the poetess-actress Mary Darby Robinson, which had been published in the previous year. The poem was dedicated to Georgiana, Duchess of Devonshire and the picture show the Duchess discovering the sleeping cupid who she then relieves of his bow and arrows. Mrs Robinson was not only the Duchess’s protégée but also the first public mistress of the Prince of Wales. William Nutter’s engraving of Westall’s picture was also dedicated to the Duchess of Devonshire.




Close in a woodbine's tangled shade,
The blooming god asleep was laid;
His brows with mossy roses crown'd;
His golden darts lay scatter'd round;
To shade his auburn, curled head,
A purple canopy was spread,
Which gently with the breezes play'd,
And shed around a soften'd shade.
Upon his downy smiling cheek,
Adorned with many a "dimple sleek,"
Beam'd glowing health and tender blisses,
His coral lip which teem'd with kisses
Ripe, glisten'd with ambrosial dew,
That mock'd the rose's deepest hue.–
His quiver on a bough was hung,
His bow lay carelessly unstrung:
His breath mild odour scatter'd round,
His eyes an azure fillet bound:
On every side did zephyrs play,
To fan the sultry beams of day;
While the soft tenants of the grove,
Attun'd their notes to plaintive Love.

Thus lay the boy–when Devon’s feet
Unknowing reach'd the lone retreat;
Surpriz'd, to see the beauteous child
Of every dang'rous pow'r beguil'd !
Approaching near his mossy bed,
Soft whisp'ring to herself she said:–
"Thou little imp, whose potent art
Bows low with grief the feeling heart;
Whose thirst insatiate, loves to sip
The nectar from the ruby lip;
Whose barb'rous joy is prone to seek
The soft carnation of the cheek;
Now, bid thy tyrant sway farewell,
As thus I break each magic spell:"
Snatch'd from the bough, where high it hung,
O'er her white shoulder straight she flung
The burnish'd quiver, golden dart,
And each vain emblem of his art;
Borne from his pow'r they now are seen,
The attributes of Beauty’s queen!
While Love in secret hides his tears;
Dian the form of Venus wears!

Cupid Sleeping by Richard Westall

William Shackleton (1872 - 1933)

William Shackleton



Signed and dated ’26; on the reverse signed, inscribed with title and:

  

 "This picture is to represent the idea that this world is so beautiful at times that it is enough to draw the Angels down from heaven."

34 by 24.5 cm., 13 ½ by 9 ½ in.
(frame size 53.5 by 43 cm., 21 by 17 in.)


The artist’s studio sale.

Shackleton was born in Bradford, the son of a paper manufacturer and merchant. He attended Bradford Grammar School and then studied art at Bradford Technical College. He won a Royal Exhibition to study at the Royal College of Art in 1893. He travelled to France and Italy on a British Institute Scholarship and spent a time in Paris where he studied at the Academie Julian. On his return to Britain he initialled settled in Sussex where he worked with his friend Edward Stott and the small artistic group that gathered around him in the South Downs village of Amberley. In 1905 he moved to Fulham, London where he shared a studios with Philip Connard and Oliver Onions, although he still spent his summers with Stott in Sussex.

He exhibited at the Royal Academy, 1895-1919, the New English Art Club, 1901-33 and at many other venues. His first one-man show was held at the Goupil Gallery in 1910, a retrospective exhibition was held at the Leicester Galleries in 1922 and a memorial exhibition was held at Cartwright Hall, Bradford in 1933. Works by him are in the collection of the Tate Gallery, York, Bradford, Manchester and elsewhere.


Sunset Wings by William Shackleton


WILLIAM SHACKLETON, NEAC
(1872-1933)

Sunrise; Noon; Sunset

A set of three
All oil on canvas

Two 22.5 by 17.5 cm., 9 by 7 in.; One 25 by 21 cm., 10 by 8 ¼ in.
(frame sizes: Two 41 by 36 cm., 16 by 14 ¼ in.; One 43 by 39 cm., 17 by 15 ¼ in.)

Provenance:
The artist’s studio sale.

Shackleton was born in Bradford, the son of a paper manufacturer and merchant. He attended Bradford Grammar School and then studied art at Bradford Technical College. He won a Royal Exhibition to study at the Royal College of Art in 1893. He travelled to France and Italy on a British Institute Scholarship and spent a time in Paris where he studied at the Academie Julian. On his return to Britain he initialled settled in Sussex where he worked with his friend Edward Stott and the small artistic group that gathered around him in the South Downs village of Amberley. In 1905 he moved to Fulham, London where he shared a studios with Philip Connard and Oliver Onions, although he still spent his summers with Stott in Sussex.

He exhibited at the Royal Academy, 1895-1919, the New English Art Club, 1901-33 and at many other venues. His first one-man show was held at the Goupil Gallery in 1910, a retrospective exhibition was held at the Leicester Galleries in 1922 and a memorial exhibition was held at Cartwright Hall, Bradford in 1933. Works by him are in the collection of the Tate Gallery, York, Bradford, Manchester and elsewhere.


Sunrise; Noon; Sunset, a trio by William Shackleton

Arthur George Watts (1883 - 1935)

Arthur George Watts

Watts was born in Rochester, Kent, the son of a Deputy Surgeon-General in the Indian Medical Service, Indian Army. He was educated at Dulwich College and the Slade School of Fine Art, spending several summers in the art colony of St Ives. A precocious artist, he was awarded a silver medal for merit in 1901 at the Crystal Palace Poster Academy. He then went on to further his studies in Antwerp, Paris, Moscow and Madrid. By 1904 he was producing illustrations for Tatler, Bystander, Pearsons’s Magazine and London Opinion and by 1911 he was married, living in Regents Park Road and had a successful career as a magazine illustrator. His first drawing for Punch was in 1912, and he work would appear regularly in the magazine until his death. During World War I he served in the Royal Naval Volunteer Reserve, attaining the rank of Commander and receiving a DSO for his bravery in the Zeebrugge Raid of 1918. He was tragically killed in an air crash in 1935.

Beyond Temptation

Reginald Francis Hallward (1858 - 1948)

Reginald Francis Hallward

Reginald Hallward was born at Sandown on the Isle of Wight. He worked as a stained glass designer, poet, painter and book designer. He studied at the Slade School of Fine Art and Royal College of Art. For a time he worked with the glassmaker Christopher Whall in Dorking and with him and independently executed a number of stained glass windows and painted tempera murals for several churches. He ran his own press, the Woodlands Press, printing his own verse with illustrations by himself and his wife Adelaide. He was a regular exhibitor at the Royal Academy and New English Art Clubs as well as the Royal Society of British Artists and Dowdeswell Gallery, London. This delightful watercolour is a study for the large triptych reredos in All Saints Church, Earsham, Norfolk.

Study for Adoration of the Magi and Angels

Sophie Ryder (1963)

Sophie Ryder

Signed and dated ’95, numbered 37/50, all in pencil Linocut, 

Sophie Ryder was born in London and studied combined arts at the Royal Academy School 1981-84. Although best known for her large scale wire sculptures she also uses other materials and drawing, painting and printmake have always been a central part of her practice. Her work is populated by mystical creatures, the Hare and Minotour of Greek legend being frequent subjects. Her monumental sculptures are in many public collections.

Lady Hare and Child

Adelaide Hallward (1860 - 1925)

Adelaide Hallward

Beneath the Mushroom ”“ An Illustration for The Baby’s Quest 

Pen and ink heightened with white, unframed, in mount only 

4.5 by 8 cm., 1 by 3 in. (mount size 21.5 by 24 cm., 8 by 9 in.) 

: Adelaide Bloxham, The Baby’s Quest, Woodland Press, 1913, illus. op. p.40. 

Adelaide Bloxham was born in Ryde on the Isle of Wight. She married the glassmaker, poet, painter and book designer Reginald Francis Hallward in 1887. She worked as an illustrator and participated in many of her husband’s projects. She illustrated and published two volumes, 

 (1913-14). She also illustrated a number of periodicals for children. She and her husband both exhibited at the Clergy and Artists Exhibition in 1906. They lived at Arthog, North Wales and Shorne, Kent. After her death Reginald Hallward designed a window for the church of St Peter and St Paul, Shorne, in which he incorporated many of her drawings. This work is accompanied by a copy of The Baby’s Quest.

Beneath the Mushroom - An Illustration for The Babys Quest

George Sheringham (1884 - 1937)

United Kingdom Sheringham studied at the Slade under Henry Tonks and later in Paris where he held his first one-man exhibition in 1905. On his return to London he initially supported himself with poster designs and teaching. His first exhibition of fans was held at the Ryder Gallery in 1909 followed by another in the following year. With enthusiastic reviews in Studio he had launched his career as a decorative designer, theatrical designer and illustrator. His fans and fan designs became hugely popular, sometimes being painted on silk and made into fans but often the fan paintings where originally only intended to be framed and displayed. Works by him are in the collections of the Tate Gallery, British Museum, Fitzwilliam Museum, Victoria and Albert Museum and elsewhere.

George Sheringham

Signed and inscribed with title on a label on the backboard 

Watercolour and gold paint on silk, semi circle shape, in artist’s decorated mount 

24 by 47.5 cm., 9 by 18 in. (frame size 46 by 71 cm., 18 by 28 in.)

Sheringham was born in London and studied at the Slade under Henry Tonks and later in Venice, Brussels, Berlin and Paris where he held his first one-man exhibition in 1905. On his return to London he initially supported himself with poster designs and teaching. His first exhibition of fan designs was held at the Ryder Gallery in 1909 followed by another in the following year. With enthusiastic reviews in Studio he had launched his career as a decorative designer, theatrical designer and illustrator. He illustrated books by Max Beerbohm and Cyrus MacMillan. In 1921 he collaborated with his brother Hugh on a book about fishing, The Book of the Fly Rod. He wrote

 (1927) and with Rupert Mason and R Boyd Morrison he edited Robes of Thespis, 

 (1928). As a decorator, Sheringham designed the music room at 40 Devonshire House, the ballroom at Claridge’s Hotel and the Paris Exhibition of 1937. He was one of the first recipients of the Royal Designers for Industry distinction in 1937. He designed scenery and costumes for ballets, opera and the theatre, working closely with the actor-manager Nigel Playfair and for the D’Oyly Carte. A memorial exhibition was held at the Leicester Galleries in 1938. Works by him are in the collections of the Tate Gallery, British Museum, Fitzwilliam Museum, Victoria and Albert Museum and elsewhere.

The War Birds

GEORGE SHERINGHAM (1884-1937) Visit to the Bazaar Signed; inscribed with title on a label on the backboard Watercolour and gold paint on silk 15 by 38 cm., 6 by 15 in. (frame size 34 by 56 cm., 13 by 22 in.) Exhibited: London, Leicester Galleries, Exhibition of Works by George Sheringham, 1916, no.17. Sheringham was born in London and studied at the Slade under Henry Tonks and later in Venice, Brussels, Berlin and Paris where he held his first one-man exhibition in 1905. On his return to London he initially supported himself with poster designs and teaching. His first exhibition of fan designs was held at the Ryder Gallery in 1909 followed by another in the following year. With enthusiastic reviews in Studio he had launched his career as a decorative designer, theatrical designer and illustrator. He illustrated books by Max Beerbohm and Cyrus MacMillan. In 1921 he collaborated with his brother Hugh on a book about fishing, The Book of the Fly Rod. He wrote Drawing in Pen and Pencil (1922), with James Laver, Design in the Theatre (1927) and with Rupert Mason and R Boyd Morrison he edited Robes of Thespis, Costume Designs by Modern Artists (1928). As a decorator, Sheringham designed the music room at 40 Devonshire House, the ballroom at Claridge’s Hotel and the Paris Exhibition of 1937. He was one of the first recipients of the Royal Designers for Industry distinction in 1937. He designed scenery and costumes for ballets, opera and the theatre, working closely with the actor-manager Nigel Playfair and for the D’Oyly Carte. A memorial exhibition was held at the Leicester Galleries in 1938. Works by him are in the collections of the Tate Gallery, British Museum, Fitzwilliam Museum, Victoria and Albert Museum and elsewhere.

Visit to the Bazaar

British School (1800 - 1899)

British School

On Earth Peace & Goodwill to Men

Signed and inscribed: “The Bird Man was something Mr Pickwick, something like Mr Punch and something like a bird.” 

Pen and ink, unframed, in conservation mount only 

32.5 by 23.5 cm., 12 by 9 in. (mount size 48.5 by 38.5 cm., 19 by 15 in.) 

The Bird Man

Lionel Durieu

LIONEL DURIEU After WALTER CRANE RWS (1845-1915) 

Watercolour and gold and silver paint on vellum 

Other Worlds

Online Exhibition

Sebastien Le Clerc

Harcourt Medhurst Doyle

Arild Rosenkrantz

Cornelia Dibble

Roy Hobdell

Victor Hume Moody

Elyse Ashe Lord

Arthur Charles Conrade

Bernard Sleigh

Maxwell Ashby Armfield

Charles Sims

Frank Arthur Staples

Violet Brunton

Frank Watkins

Mary Krishna

Mary Krishna

Mary Krishna

Mary Krishna

Marjorie Maitland Howard

John Anster Fitzgerald

Mary Adshead

Robert James Enraght Moony

Kate Eadie

Richard Westall

William Shackleton

William Shackleton

Arthur George Watts

Reginald Francis Hallward

Sophie Ryder

Adelaide Hallward

George Sheringham

George Sheringham

British School

Frank Watkins

Lionel Durieu

Edward Woore