Arthur Winter Shaw (1869 - 1948)

Arthur Winter Shaw



Signed with initials in pencil and inscribed Rising Moon on a label on the backboard
Watercolour
Framed





Arthur Winter Shaw was born in Peckham, the son of a Clerk to the War Office. He studied at Westminster School of Art and at the Slade. In about 1904 he moved to Amberley in Sussex, then the home of a thriving artistic community established by Edward Stott who has been described as “the poet-painter of twilight”. Stott’s influence can clearly be seen in the present work.

Shaw was a regular exhibitor at many venues in London and the provinces.


Rising Moon, Amberley by Arthur Winter Shaw

Claude Muncaster (1903 - 1974)

Claude Muncaster

The South Downs from Tillington, near Petworth



Signed l.r.: CLAUDE MUNCASTER
Oil on board
Framed



44 by 81 cm., 17 ¼ by 31 ¾ in.
(frame size 64 by 100 cm., 25 ½ by 39 ½ in.)

Christie’s South Kensington, 6 Sep 2001, lot 53

Claude Muncaster was born in West Chiltington, Sussex. Originally name Grahame Hall, he changed his name by deed-poll in order to avoid confusion with his father, the Royal Academician, Oliver Hall. He first came to notice with his views of London and the Docks, some of which were commissioned by City firms and exhibited at the Royal Academy. In 1925 his Demolition of Hays Wharf was purchased by the Tate Gallery and in the following year he was to hold his first one-man show at the Fine Art Society. In 1931 he was elected an Associate member of the Royal Society of Painters in Water-Colours, becoming a full member in 1936. From 1940-44 he served in the R.N.V.R. advising on camouflage and in 1946-7 he received a major commission to paint a series of watercolours of Royal residences. Particularly known for his marine subjects and views of the Sussex countryside, works by him are in a number of public collections. He lived in Pulborough, Sussex.

The South Downs from Tillington, near Petworth

Bernard Sleigh (1872 - 1954)

Bernard Sleigh

24 by 22 cm., 9 ½ by 8 ½ in.  (frame size )

 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.

Moored Boats

Charles March Gere (1869 - 1957)

Gloucestershire Charles March Gere was born in Gloucester in 1869, became a student at the Birmingham School of Art in the late 1880s and a staff member in 1893. He was also a member of the “Birmingham Group,” an informal circle of talented craft workers and artists, which began to form in the 1890s. Most of the group members, including Gere, taught at the Birmingham Municipal School of Art. Under its head Edward R. Taylor it had become one of Britain’s most innovative art schools. Comparable to the famous Glasgow School of Art in its impact on late Victorian design, it was also one of the key centres of the Arts and Crafts movement. Fellow teachers at the school included Arthur Gaskin (1862-1928) Sidney Meteyard (1868-1947), Henry Payne (1868-1940) Mary Newill (1860-1947) and Bernard Sleigh (1872-1954). Joseph Southall (1861-1944) was not connected with the school, but his experiments in tempera at his Edgebaston studio provided another focus for the group.

In addition, Birmingham had been the home city of Sir Edward Burne-Jones (1833-1898), and at the end of the century his fame predisposed young Birmingham painters to emulate his decorative medievalising style and his fascination with Pre-Raphaelitism. The revivals, both of tempera painting and of interest in William Blake, emerged from late Pre-Raphaelite circles and were taken up by the Birmingham Group, which provides the context for the subject and technique of Infant Joy.

Group members made personal contact with William Morris (1834-1896) and Burne-Jones in the 1890s. Morris was sufficiently impressed with the Birmingham artists’ decorative drawing style to commission both Gaskin and Gere to illustrate books published by his Kelmscott Press. Gere produced the most famous illustration: the image of Kelmscott Manor, which opens Morris’s Utopian romance News From Nowhere. In this book, Morris contrasts the idyllic English countryside of an imaginary socialist future with the injustice and squalor of modern industrialised society. The idealisation of rural life is widespread in modern culture, but it was an ideal which many members of the arts and crafts movement tried to put into practice as well as express through their art; the phenomenon is studied in Jan Marsh’s Back to the Land Quartet, 1982. In 1901, Gere set Infant Joy in an Arcadian landscape, likely derived from studies made while on holiday in Italy. (The Italian style of the tiny church in the background is notable.) Gere exhibited Sunset in Perugia at the New Gallery in 1898, Assisi in 1904. In 1902, the year it was exhibited, Gere was living for the first time in Painswick in the Cotswolds, a great contrast to industrial Birmingham (then England’s second biggest city), and where he made his permanent home in 1904.

Gere’s early Pre-Raphaelite phase with its imaginative subjects was short-lived. By 1910 he was concentrating on landscapes, and painting increasingly in oil. In fact he became almost exclusively a painter of serene and idyllic landscapes in the later years of his life. Although his art lost much of its early intensity, he retained a sensitivity to the spirit of place, and his later work brought him academic honours. He was elected Associate of the Royal Academy in 1934, and then Member of the Royal Academy in 1939. He was also a member of the Royal Watercolour Society. He died in 1957.

Charles March Gere

 Signed and dated l.l.: C M GERE 1942  Watercolour on linen  Framed

36.5 by 51.5 cm., 14 ¼ by 20 ¼ in.  (frame size 54 by 69 cm.; 21 ¼ by 27 ¼ in.)

 Gere was born in Gloucester and studied at the Birmingham School of Art under E R Taylor and he joined the staff of the art school in 1893. In the 1890s he worked as an illustrator, contributing to The Quest and books illustrated by the Birmingham Group and designing the frontispiece for William Morris’s News from Nowhere (Kelmscott Press, 1892). In his early career he was involved in a number of the arts and crafts, designing embroidery, metalwork and stained glass and painting the reredos in the Chapel at Madresfield. Gradually, however, he became almost exclusively a landscape painter. In about 1904 he and his sister Margaret settled in Painswick, near Stroud, and many of his subjects were found in the surrounding Cotswolds, which was to become his favourite painting ground. He exhibited at the New Gallery, Society of Painters in Tempera, Royal Academy, New English Art Club, Royal Watercolour Society and Art Workers Guild. A memorial exhibition was held in Gloucester in 1963.

Snowdonia

Gerald Mackenzie Leet (1913 - 1998)

Gerald Mackenzie Leet

 Watercolour and gouache over pencil, arched top  Framed

26.5 by 49.5 cm., 10 ½ by 19 ½ in.  (frame size 47.5 by 69.5 cm., 18 ¾ by 27 ½ in.)

The artist’s estate;  Harry Moore-Gwyn Fine Art.

 Gerald Leet was born in South London and studeid at Goldsmiths’ School of Art 1929-1934, the Royal Academy of Art 1934-1937 and later at the Courtauld Institute. As a young man he shared a studio with Carel Weight. His first teaching appointment at Ealing School of Art in 1933 where he met fellow art student Denton Welch. He painted a portrait of Welch and had a large collection of his paintings. Having spent some time in the USA he returned to Britain in 1939 and at the outbreak of war he joined the army served in South Africa and Egypt. During this time he came to the attention of Lord Wavel, Viceroy of India, and was appointed official war artist in New Delhi. Following the war he returned to teaching being a master at Eton, 1946-1949 and later at Brighton College of Art. As a portrait painter he painted portraits of a number of members of the Queen Mother’s staff living, for a time in an apartment in Windsor Castle.

A Day At The Seaside

Edmund Van Someren (1875 - 1963)

Edmund Van Someren


Signed l.r.: E L van Someren; signed, inscribed and dated on the reverse: “Le Ruban Noir”/ E L van Someren 1903
Oil on canvas
Framed



61 by 51 cm., 24 by 20 in.
(frame size 76.5 by 66 cm., 30 by 26 in.)



Edmund Lawrence van Someren was born in Bangalore, the son of Col Gotlieb James van Someren of the British Indian Army. He was educated at Linton House School, Worthing before studying art at the Dresden Academy and later at the Royal Academy, London, where he won Silver Medals and the Landseer Scholarship. At the outbreak of the Boer War he was commissioned into the Lancashire Fusiliers and served in South Africa. Following the war he remained in South Africa for a time where he established a school of painting in Cape Town. He returned to England in 1906 to live in Chelsea. A portrait and landscape painter, he became a regular exhibitor at the 

Royal Academy, New Gallery, Royal Institute of Oil Painters, Royal Society of Portrait Painters 

and elsewhere. In 1927 he moved to Melton House, Woodbridge where he lived for the rest of his life.


Le Ruban Noir by Edmund van Someren

Stuart Somerville (1908 - 1983)

Stuart Somerville

 Signed l.l.: Somerville  Watercolour  Framed

 20.5 by 27 cm., 8 by 10 ½ in.  (frame size 37 by 42 cm., 14 ½ by 16 ½ in.) 

Ex collection of H. A. E. Day  (publisher of G Waters, Dictionary of British Artists working 1900-1950)

 Stuart Scott Somerville was born in Yorkshire, the son of the Scottish born artist Charles Somerville. He was educated at home and studied under his father. In He initially exhibited at the Doncaster Art Society before showing his first painting at the Royal Academy in 1926 when aged only 18. He thereafter had along career exhibiting at the Royal Academy, Royal Institute of Oil Painters, Royal Hibernian Academy, Royal Scottish Academy and at the Fine Art Society. In 1934 he participated in a year-long exhibition to East Africa with the British Museum. In the mid 1940s he moved to Suffolk where he lived and worked until the later years of his life.

Elephants

Edmund Caldwell (1852 - 1930)

Edmund Caldwell

20 by 53 cm., 8 by 21 in.
(frame size 38 by 70 cm., 15 by 27 ½ in.)


Maas Gallery, London;
Private collection.

Caldwell was born in Canterbury, the son of Samuel Caldwell, the master stained-glass artist for Canterbury Cathedral. Edmund initially apprenticed to become a stone mason before studying painting in the Canterbury studio of Thomas Sidney Cooper. He then spent time in Paris studying at the Academie Julian with Lefevbre. On his return from France he set up his studio in London where he specialised in oil paintings and watercolours of animals, particularly dogs. He exhibiting at the Royal Academy, Royal Watercolour Society and Royal Institute of British Artists. He also worked as an illustrator and print maker and turned to sculpture in later life.
 

IMG_8907.jpeg

Stoats by Edmund Caldwell

Leonard Russell Squirrell (1893 - 1979)

Leonard Russell Squirrell

 Signed and dated l.l.: L R Squirrell 1977  Watercolour heightened with white  Framed

 19 by 37.5 cm., 7 ½ by 14 ¾ in.  (frame size 39 by 56 cm., 15 ¼ by 22 in.) 

 Leonard Russell Squirrell was born in Ipswich where he entered the School of Art in 1908. In 1920 he went to the Slade School of Fine Arts to study under Henry Tonks and Philip Wilson Steer. After a time travelling on the Continent he returned to Suffolk were he took a post teaching at the Ipswich School of Art, remaining there until 1940. He lived in Ipswich for most of his life, and was a member of the Ipswich Art Club from 1914 until his death. He was also on the council of the Royal Society of Painters in Watercolours and the Royal Society of Painter-Etchers and Engravers. In addition to his etchings, he worked in watercolour and pastel, exhibiting extensively. He published Landscape Painting in Pastel in 1938 and Practice in Watercolour in 1950.

Venice

Robert Hills (1769 - 1844)

Robert Hills

10.5 by 13 cm., 4 ¼ by 5 ¼ in.  (frame size 24.5 by 26 cm., 9 ¾ by 10 ¼ in.) 

 Robert Hills was born in Islington and studied under John Alexander Gresse before entering the Royal Academy Schools in 1788. In 1804 he was one of the six founder members of the Old Watercolour Society, being its first secretary and later treasurer. He was to exhibit almost 600 drawings there during his lifetime. He is known for his watercolours of parkland, rural scenes and animals. Works by him are in the collection of the British Museum, Royal Academy and Tate Gallery, London and in many regional galleries.

Fallow Deer in Parkland

Edward John Gregory (1850 - 1909)

Gregory was born in Southampton, the son of a ship’s engineer and grandson of John Gregory, engineer-in-chief on Sir John Franklin’s last Arctic expedition.  He was educated privately before entering the drawing-office of P&O in Southampton.  He met Hubert von Herkomer, whose family had settled in Southampton, and together they attended life-classes.  In 1869 they both joined the South Kensington Art School.  He later studied at for a short time at the Royal Academy Schools.  In 1871, together with his friends Herkomer and Robert Walker Macbeth, he began working for The Graphic as an illustrator.  In the mid 1870s he started painting portraits and figurative subjects both in oil and watercolour, his first major painting, Dawn, (1876) was in the collection of John Singer Sargent (now in Royal Cornwall Museum).  Perhaps his best-known work is Boulter’s Lock, Sunday Afternoon (1895, Lady Lever Art Gallery, Liverpool).  He exhibited at the Royal Academy, Royal Institute of Paints in Water Colours and elsewhere.  Works by him are held in the Tate Gallery, National Portrait Gallery and many other public collections.

Edward John Gregory

Signed with initials l.l.: EJG  Watercolour heightened with white over traces of pencil  In original frame

12 by 9 cm., 4 ¾ by 3 ½ in.  (frame size 26 by 23 cm., 10 ¼ by 9 in.) 

Agnews, London;  William Vivian by 1910;  Private collection. London, Royal Academy, Oil Paintings and Watercolour Drawings by the late Edward John Gregory, RA, 1910, no.194.

 Gregory was born in Southampton, the son of a ship’s engineer and grandson of John Gregory, engineer-in-chief on Sir John Franklin’s last Arctic expedition. He was educated privately before entering the drawing-office of P&O in Southampton. He met Hubert von Herkomer, whose family had settled in Southampton, and together they attended life-classes. In 1869 they both joined the South Kensington Art School. He later studied at for a short time at the Royal Academy Schools. In 1871, together with his friends Herkomer and Robert Walker Macbeth, he began working for The Graphic as an illustrator. In the mid 1870s he started painting portraits and figurative subjects both in oil and watercolour, his first major painting, Dawn, (1876) was in the collection of John Singer Sargent (now in Royal Cornwall Museum). Perhaps his best-known work is Boulter’s Lock, Sunday Afternoon (1895, Lady Lever Art Gallery, Liverpool). He exhibited at the Royal Academy, Royal Institute of Paints in Water Colours and elsewhere. Works by him are held in the Tate Gallery, National Portrait Gallery and many other public collections.

The Bride

Edward Clifford (1844 - 1907)

United Kingdom Clifford was born in Bristol and studied at the Royal Academy. He painted and exhibited landscapes, portraits and historical subjects in oil and watercolour and had many aristocratic patrons. He was influenced by Burne-Jones and the group of artists who exhibited at Dudley gallery and the present watercolour is typical of his dreamy aesthetic works which led Philip Burne-Jones to write of him: “I think perhaps he is to be seen at his very best in his landscapes, into which he has always infused an atmosphere of romance and beauty as attractive as it was peculiarly individual. I know no other man’s work quite like it.”

Edward Clifford

 Inscribed with title on the backboard  Watercolour and bodycolour  Framed

 12 by 17 cm., 4 ¾ by 6 ¾ in.  (frame size 33.5 by 37.5 cm., 13 ¼ by 14 ¾ in.) 

Given by the artist to Rev Wilson Carlile;  Reginald Clifford Carlile;  Elizabeth Carlile and thence by descent.

 Clifford was born in Bristol and studied at the Royal Academy. He painted and exhibited landscapes, portraits and historical subjects in oil and watercolour and had many aristocratic patrons. He was influenced by Burne-Jones and the group of artists who exhibited at the Dudley gallery and the present watercolour is typical of his dreamy aesthetic works which led Philip Burne-Jones to write of him: “I think perhaps he is to be seen at his very best in his landscapes, into which he has always infused an atmosphere of romance and beauty as attractive as it was peculiarly individual. I know no other man’s work quite like it.”

 Clifford visited Kashmir in 1888 on his way to Hawaii where he was to present the famous leper worker Father Damien with a picture from Edward Burne-Jones. He published his experiences in Father Damien; A Journey from Cashmere to his Home in Hawaii in 1889.

 This work, one of a group of six watercolours of Cashmere and India, was given by the artist to Wilson Carlile, founder of the Church Army. Clifford was honorary Secretary of the Church Army, an evangelistic Anglican society.

Islamabad, Early Morning

Henry Larpent Roberts (1841 - 1917)

Henry Larpent Roberts

Autumn Leaves – The Gold of the Ruined Woodlands



Signed and dated l.l.: Larpent Roberts/1868
Oil on canvas, arched top



51 by 51 cm., 20 by 20 in.
(frame size 64 by 64 cm., 25 ¼ by 25 ¼ in.)



Henry Larpent Roberts was born in Nottingham, the son of Thomas Roberts, a wealthy lace manufacturer. It is not known where he studied but it is very likely that he would have attended Nottingham School of Art & Design. His father died in 1863 and in that same year he exhibited his first work at the Royal Academy and appears to have moved to London. He exhibited at the Royal Academy and Royal Society of British Artists producing still life, landscape and figure paintings which showed a strong Pre-Raphaelite influence. In his later years his fortunes declined and although he appears not to have exhibited, he continued to work as an artist. He died in Walthamstow workhouse in 1917.


Autumn Leaves

John Dronsfield (1900 - 1951)

John Dronsfield

Signed l.r.: Dronsfield  Watercolour and pencil  

43 by 34 cm., 17 by 13 ¼ in.  (mount size 62 by 53 cm., 24 ½ by 20 ¾ in.)

John Marsden Dronsfield was born in Lancashire. He studied briefly at Manchester School of Art. In 1918 he enlisted in the Young Solder’s Battalion of the Cheshire Regiment but was discharged the following year as being physically unfit. In 1923 he began work in London as an advertising artist and stage-designer for Sybil Thorndike. In 1939 he moved to South Africa, settling in Cape Town, where he built a reputation as an imaginative stage-designer for ballet and theatre. In 1945-48 he worked with Gwen Ffrangcon-Davies and Marda Vanne in theatrical productions which were a major contribution to the development of theatre in South Africa. He also wrote incidental music for their 1945 production of The Merry Wives of Windsor. He was a member of the International Art Club, South Africa.

 His first one-man exhibition was held in Cape Town in 1939. His work was included in the Overseas Exhibition of South African Art in the Tate Gallery, London in 1948 and in the Venice Biennale of 1950.

 A Memorial Exhibition was help at the South African National Art Gallery, Cape Town in 1955.

Red and Black Costume Design

Harry Morley (1881 - 1943)

Harry Morley

 Signed and dated 1927  Watercolour and bodycolour, framed

36.5 by 52cm., 14 ¼ by 20 ½ in.  (frame size 60.5 by 75 cm., 23 ¾ by 29 ½ in.)

 Born in Leicester, Morley entered the Leicester School of Art to study architecture in 1897. In 1901 he was awarded a scholarship to the Royal College of Art, and in 1905 a travelling scholarship enabled him to go to Rome and there he decided to abandon architecture in favour of painting. After a time in Paris is 1908 he returned to London where he married and settled in Kensington. He first exhibited at the Royal Academy in 1905 and was to become a regular exhibitor there; his Apollo and Marsyas was purchased by the Chantrey Bequest in 1924 (Tate Gallery). Although he is known for his large and monumental figure subjects he also worked in tempera, watercolour and was an excellent etcher. The 1930s slump forced Morley to accept a teaching post at the St Martin’s School of Art; he was also appointed to the Faculty of Engraving at the British School in Rome and published a number of articles and books on art techniques.

The Romany Camp

Albert Rutherston (1881 - 1953)

Albert Rutherston

Signed and dated l.l.: Albert R 1914  Watercolour and bodycolour  Framed

35.5 by 25 cm., 14 by 9 ¾ in.  (frame size 65.5 by 53.5 cm., 25 ¾ by 21 in.)

The artist and by descent to Gloria, Countess Bathurst.

St Michel d’Aiguilhe (St Michael of the Needle) is a chapel in Aiguilhe, near Le Pey-enVelay, France. Bishop Godescalc of Le Puy-en-Velay had the chapel built to celebrate his return from the pilgrimage of St James in 951. The chapel is dedicated to the Archangel Michael, the patron of mountaintops and other high places. It is reached by 268 steps carved into the rock.

Born Albert Daniel Rothenstein, he was the youngest of the six children of Moritz and Bertha Rothenstein, German-Jewish immigrants who had settled in Bradford, Yorkshire in the 1860s. He and his siblings proved to be a hugely talented and artistic family, his elder brother became Sir William Rotherstein (1872-1945), the artist and director of the Royal College of Art; two of his other siblings, Charles Rutherston and Emily Hesslein, both accumulated major modern British and French art collections and his nephew Sir John Rothenstein was direct of the Tate Gallery.

He was educated at Bradford Grammar School before moving to London in 1898 to study at the Slade School of Art where he became close friends with Augustus John and William Orpen. He met Walter Sickert during a painting holiday in France in 1900 and by introducing Sickert to Spencer Gove became instrumental in the beginning of the Camden Town Group. He was one of Sickert’s most frequent companions and was one of the original members of the Fitzroy Street Group

 Rutherston had a sociable and attractive personality, he frequently travelled abroad with other artists including Max Beerbohm, Spencer Gore, Walter Russell and Edna Clarke Hall. It was Clarke Hall who introduced him to watercolour painting and in 1910, while in Grasse on the France Riviera with the artist Gerald Chowne, he tried his hand at watercolour painting on silk, a technique most famously used by his friend Charles Conder. These watercolours led to his first solo exhibition at the Carfax Gallery in October1910.

 In 1911 he collaborated with the English dramatist and director, Harley Granville-Barker, to design costumes for Granville-Barker’s innovative production of Shakespeare’s The Winter’s Tale, performed at the Savoy Theatre in 1912.

 At the outbreak of World War I he was initially assigned a desk job with the Engineers’ War Service Register at the Board of Trade and from October 1916 he served with the Northamptonshire Regiment in Egypt and Palestine. At this time he he anglicised his surname to Rutherston as a declaration of patriotism to the country of his birth.

 Following the war he returned to his artistic career and married the actress, Marjory Holman. He took a number of teaching posts, starting at Camberwell School of Art and later becoming Ruskin Master of Drawing in 1929. At the same time his own work flourished when he was recruited as an illustrator by the Curwen Press along with Claud Lovat Fraser and Paul Nash. In 1938 he largely returned to oil painting.

 Rutherston became a member of the New English Art Club in 1905, a member of the Royal Society of Painters in Watercolours in 1942 and was also a regular exhibitor at the Cheltenham Group. Examples of his work are in the collections of the Tate Gallery, Victoria & Albert Museum Ashmolean Museum, Bradford Art Gallery Manchester City Art Gallery and elsewhere.

 This work comes from the collection of Gloria, Countess of Bathurst (1927-2018) whose first marriage had been to David Rutherston, the son of Albert and Marjory Rutherston.

Rocher St Michel D’Aiguilhe

Cecil Beaton (1904 - 1980)

England Harrow- and Cambridge-educated Cecil Beaton made his name as a photographer of theatrical, royal and society luminaries. In the thirties, he designed sets and costumes for ballet, opera and films. It was also in this decade Beaton began to photograph the royal family. After the war,he was designing theatre productions, in both London and New York. He famously won Oscars for the flowing elegance of his costume design for Gigi and My Fair Lady. His films were almost invariably set in high society - or in the demi-monde at least. Beaton was chosen as official photographer for many royal events, such as the coronation, and photographing the Queen’s children. He was equally successful in the 1960s, again at the forefront of society and fashion, capturing its beauty. He was made a CBE in 1957 and knighted in 1972.

Cecil Beaton

Signed l.r.: Beaton  Watercolour on tinted paper  

36.5 by 21.5 cm., 14 ½ by 8 ½ in.  (frame size 59.5 by 44.5 cm., 23 ½ by 17 ½ in.)

Cecil Walter Hardy Beaton was a fashion and portrait photographer, diarist, interior designer and stage and costume designer for the stage and screen. He was born in Hampstead and educated at Harrow and St John’s College, Cambridge although he left without a degree in 1925. He worked as a photographer for fashion magazines and became an extremely popular and well-connected society portraitist who also recorded the gathering of his friends among the Bright Young Things of the 20s and 30s. After the war Beaton started designing stage sets and costumes for London and Broadway. His most lauded achievement for the stage being the costume for Lerner and Loewe’s 1956 production of My Fair Lady.

Still Life with Picasso Owl Vase

Frank Dobson (1886 - 1963)

Frank Dobson


Signed l.l.: Frank Dobson
Red chalk
Framed



35.5 by 25.5 cm., 14 by 10 in.
(frame size 62 by 51 cm., 24 ½ by 20 in.)

Collection of Peter Ward-Jackson, curator of the V&A.

A sculptor, draughtsman and painter in oil and watercolour. Born in London, Dobson first studied at Leyton School of Art and later at the City and Guilds School, Kennington. During World War I he enlisted in the Artists’ Rifles and continued working - his large oil The Balloon Apron was acquired by the Imperial War Museum. After the war Dobson met Wyndham Lewis and exhibited with Group X in 1920 and he held his first one-man show as a sculptor at the Leicester Galleries in 1921. During the interwar Dobson consolidated his reputation as a sculptor and together with Epstein was call “a keeper of tradition” – bridging classical and modern sculpture. In 1946 Dobson was appointed professor of Sculpture at the 


He is represented in many public galleries including the T

Nude by Frank Dobson

William Huggins (1820 - 1884)

William Huggins

 Signed and dated l.r.: 1882 W Huggins  Coloured chalks  Framed

26.5 by 37 cm., 10 ½ by 14 ½ in.  (frame size 46.5 by 56 cm., 18 ¼ by 22 in.)

 Huggins was born in Liverpool and studied at the Liverpool Mechanics’ Institution, exhibiting work at the Liverpool Academy of Arts from an early age. Largely and animal painter, he drew from life, sketching the animals in Liverpool’s zoo, Wombwell’s Traveling Menagerie and the many pets and domestic animals in his own household. In addition to his animal subjects, he also painted landscapes and literary themes from Milton, Shelley and Spenser, although the subjects invariably included an animal. He exhibited Androcles and the Lion at the Royal Academy in 1846 and thereafter becoming a regular exhibitor both in London and in other major UK venues. He became a member of the Liverpool Academy in 1850. Examples of his work are in many public collections throughout the UK.

Ducklings

Arthur Severn (1842 - 1931)

Arthur Severn

 Signed and dated l.r.: Arthur Severn RI 1927; signed and inscribed with title on a label attached to the backboard  Watercolour and bodycolour

 26 by 35 cm., 10 ¼ by 13 ¾ in.  (frame size 39 by 48 cm., 15 ¼ by 18 ¾ in.)

 Severn came from an artistic family, his father was the artist Joseph Severn and his brother Walter and sister Mary were also artists. He studied in both Paris and Rome and first began exhibiting at the Royal Academy in 1863. He was a founder member of the Arts Club and a member of the Royal Institute of Painters in Water Colours and the Royal Institute of Oil Painters. In 1871 he married Joan Ruskin Agnew, the cousin of the famous art critic. Much influenced by Ruskin, he accompanies the critic on his trip to Italy with Albert Goodwin in 1872. He and his wife joined Ruskin at Brantwood, his house on Coniston Water and became his constant companions for the final 30 years of the great man’s life. When Ruskin died in 1900 he left the house and grounds to the Severns with the condition in his will that Brantwood and its collection be open to the public for 30 days annually. Regretfully, the Severn family did not comply with these wishes and sold many of the more valuable paintings from the collection. Severn exhibited at the Royal Academy, New Watercolour Society, Grosvenor Gallery and Dudley Gallery. Works by him are in many public collections.

Sunset at Seascales, Coast of Cumberland

William S Taylor (1920 - 2010)

William S Taylor

 Signed and dated l.r.: W S Taylor ‘60  Watercolour and pen and ink over traces of pencil

 29 by 32 cm., 11 ½ by 12 ½ in.  (frame size 49.5 by 52 cm., 19 ½ by 20 ½ in.)

 Taylor studied at Sheffield College of Art, 1936-39 and at the Royal College of Art, 1939-43. He then 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 organized major shows of Aubrey Beardsley and Edward Burne-Jones at the Mappin Art Gallery and made a film Portrait of Beardsley. Taylor exhibited at the Royal Academy, New English Art Club, Leicester and Redfern Galleries and overseas.

The Cello

Michael B 'Jerry' Chritchlow (1904 - 1974)

Michael B 'Jerry' Chritchlow

 Signed and dated l.l.: CRITCHLOW ‘46  Oil on canvas

 61 by 51 cm., 24 by 20 in.  (frame size 69.5 by 59 cm., 27 ½ by 23 ¼ in.)

 The painter and illustrator Michael B. Critchlow (known as “Jerry”) was born in Wolverhampton as Bernard Critchlow Green. He attended Wolverhampton School of Art, studying under Robert J. Emerson and became a freelance illustrator in the 1930s. At the end of the war, he produced posters for the Ministry of Information and this led to illustration work for magazines and periodicals, including Woman, Woman’s Own, The Strand, Britannia and Eve and John Bull. He returned to formal painting and, within a few years, his works were being exhibited the Royal Academy, Royal Society of Portrait Painters, New English Art Club and Royal Institute of Oil Painters. He spent most of his time in London but lived in Berkhamstead briefly and also in Brixham.

At the Dancehall

Carolyn Sergeant (1937 - 2018)

Carolyn Sergeant

 Signed with initials and dated ‘71  Oil on canvas, framed

35 by 45 cm., 13 ¾ by 17 ¾ in.   (frame size 43 by 53 cm., 17 by 20 ¾ in.)

 Carolyn Cann studied at Wimbledon School of Art (1955-59) and at the Royal Academy Schools (1959-62) where she was a Silver Medallist. At the Royal Academy Schools she met and later married her fellow student, John Sergeant. She had several one-man exhibitions in London, at the Fine Art Society, Colnaghi, Hazlitt, Gooden & Fox, the Waterhouse Gallery and Waterman Gallery. She also showed at the Leicester Galleries, Roland, Browse and Delbanco and elsewhere.

 In 1983 John and Carolyn bought an old run down farmhouse near Builth Wells in Powys, mid Wales. The house needed such extensive renovation that it took many years to complete. After their two sons had grown and left home she was able to devote more of her time to her painting, often specializing in beautifully composed and studied still life studies.

Daisies and Poppies

Feliks Topolski (1907 - 1989)

Topolski was born in Warsaw, Poland and studied at the Warsaw Academy of Fine Arts (1925-30). He was a prolific contributor of illustrations to books and periodicals in Poland but at the outbreak of World War II he settled in England, becoming a naturalized British subject in 1947. In Britain he became an official war artist to the Polish Forces, depicting the Blitz and the Battle of Britain, recording the bombed streets and scenes of wartime London life. In 1941 he travelled to Russia as a member of a Polish Diplomatic Mission and went on to serve widely overseas. Following the war he published selections of drawing and began designing for the theatre. In 1951 he made a series of largescale decorations for the Festival of Britain. Works by him are in the British Museum, Tate Gallery, Imperial War Museum and in Poland.

Feliks Topolski


Signed and inscribed: To Slim – Feliks Topolski
Pen and ink, red crayon and watercolour on tinted paper



46 by 53 cm., 18 ¼ by 21 in.
(frame size 71 by 78 cm., 28 by 30 ¾ in.)


Slim Hewitt, photographer, and thence by descent.

Topolski was born in Warsaw, Poland and studied at the 

(1925-30). He was a prolific contributor of illustrations to books and periodicals in Poland but at the outbreak of World War II he settled in England, becoming a naturalized British subject in 1947. In Britain he became an official war artist to the Polish Forces, depicting the Blitz and the Battle of Britain, recording the bombed streets and scenes of wartime London life. In 1941 he travelled to Russia as a member of a Polish Diplomatic Mission and went on to serve widely overseas. Following the war he published selections of drawing and began designing for the theatre. In 1951 he made a series of largescale decorations for the 

British Museum, Tate Gallery, Imperial War Museum

 and in Poland.

In 1958, Prince Philip, Duke of Edinburgh commissioned Topolski to create a large scale mural for Buckingham Palace depicting the coronation of Queen Elizabeth II. The mural contains 14 friezes divided into two narratives; one narrative, entitled “In The Streets” shows various processions to Westminster Abbey, while the second, entitled “In the Abbey”, depicts the procession out of the Abbey after the coronation.


Lifeguard Escort - The Coronation by Feliks Topolski

William Shackleton (1872 - 1933)

William Shackleton

Signed, extensively inscribed and dated ‘98  

33.5 by 27 cm., 13 ¾ by 10 ½ in.  (frame size 51 by 42.5 cm., 20 by 16 ¾ in.) 

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.

Camellia, Kew

Helen Allingham (1848 - 1926)

Helen Allingham

 27 by 20 cm., 10 ¾ by 8 in.  (frame size 47 by 42 cm., 18 ½ by 16 ½ in.)

Helen Allingham (nee Paterson) was born near Burton-on-Trent, Derbyshire, and received her training as an artist at the Birmingham School of Design and Royal Academy Schools. She began her career as an illustrator for The Graphic and the Cornhill magazines; she also produced colour illustrations for a number of books. For a time she shared a house with Kate Greenaway in Hampstead, London, and the two women went on painting excursions together.

In 1874 Helen married the Irish poet William Allingham, a close friend of Rossetti, which enabled her to enter the closed circle of the Pre-Raphaelites. She edited for publication her husband’s diary, which was published in 1907 and contains many interesting reminiscences of Tennyson, Carlyle and other well known contemporaries, including John Ruskin, who wrote kindly of her work in his book The Art of England, 1884. In 1881 the Allinghams moved to Witley in Surrey, where Birket Foster was living. Rapidly becoming friends, the two painters began to make Witley a centre for rural artists. William Allingham died in 1889, but his wife remained in Witley. She worked continuously until her death, painting studies of rural cottages and country gardens, recording the changing rural lifestyles. She supplied colour illustrations for a number of books: 

 (1909). Works by her are in many public collections.

The Woodland Path

George Price Boyce (1826 - 1897)

George Price Boyce

 Signed, inscribed and dated 1866.7; indistinctly signed and inscribed with title and the artist’s address on a label on the backboard  Watercolour

16 by 43.5 cm., 6 ¼ by 17 ¼ in.  (frame size 33 by 60.5 cm., 13 by 23 ¾ in.) By descent in the artist’s family.

 Boyce initially trained as an architect but after a meeting with David Cox in Wales in 1849 decided to give up architecture in favour of painting. In about 1849 he met Rossetti and the two became close friends sharing a house together for a time in Chatham Place, Blackfriars. Boyce concentrated on landscape watercolours, applying the strict Pre-Raphaelite principles of truth to nature. His diaries are a valuable source of information on the Pre-Raphaelites. Boyce exhibited at the Royal Academy from 1853-1861 but mainly showed at the Old Watercolour Society where he exhibited a total of 218 works in the summer and winter exhibitions. Works by him are in many public collections including the Tate Gallery, British Museum and Victoria & Albert Museum.

A Surrey Common in November

Once again I am delighted to be exhibiting at the Petworth Park Antiques and Fine Art Fair at:

The Marquee, Petworth Park, Petworth, West Sussex GU28 0QY.

Please contact me for complimentary tickets.

The following is a selection of some of the pictures I will be showing on my stand.

Petworth Park Fair, 2022

Online Exhibition