Walter Crane (1845 - 1915)

England Crane was a prolific illustrator of childrens books and a painter, decorative designer and theorist on art and on society. He was a central figure in the aesthetic and the Arts and Crafts movements.In 1859 he was apprenticed to the wood engraver W. J. Linton as a draughtsman and from 1863 began designing the Toy Books for Routledge that would do so much to improve the standard of Victorian childrens book design. Japanese prints were a formative influence on Cranes bold book illustrations. He also began to work as a watercolour painter of poetic and romantic subjects. With two exceptions, his work was consistently rejected by the Royal Academy so he joined a coterie of like-minded artists exhibiting at the Dudley Gallery. They were united in their admiration for Burne-Jones and the critics dubbed them the poetry-without- grammar-school. In the 1870s Crane began to paint in tempera and in oil and exhibited regularly at the Grosvenor Gallery and later at the New Gallery. The Renaissance of Venus,shown at the first exhibition of the Grosvenor Gallery in 1877, was bought by the painter G. F. Watts and is now in the Tate Gallery. This work, like most of Cranes mature paintings, reveals his admiration for fifteenth century Italian art. George Howard was also a friend and patron. Cranes Italian landscape paintings link him with the Etruscan school. His first and most important visit to Italy was an extended honeymoon journey between 1871 and 1873.In his later years, theoretical writing became an important part of his output. He joined the Socialist League in 1883 and produced many designs for the working class movement. He was also the first president of the Art Workers Guild in 1884, and president of the Arts and Crafts Exhibition Society between 1888 and 1890. This involvement in the Art and Crafts movement led to a number of works on the history and theory of design such as Ideals in Art (1905), The Bases of Design (1898) and Line and Form (1900). His Reminiscences appeared in 1907 and an exhibition covering all aspects of his career was held at the Whitworth Art Gallery, Manchester in 1989.

Walter Crane

WALTER CRANE, RWS
(1845-1915)

Shepherd’s Bush

Inscribed and dated May ‘75
Watercolour heightened with white
Framed

35 by 26 cm.; 13 ¾ by 10 ¼ in.
(frame size 59.5 by 49 cm, 23 ½ by 19 ¼ in.)

Provenance:
With Colnaghi & Co, London;
Mrs F Salmon;
Christie’s London, 8 Nov 1996, lot 25.

Crane lived at Beaumont Lodge, Shepherd’s Bush, West London from 1873 until their move to Holland Street, Kensington in 1892.

Walter Crane was born in Liverpool, the son of Thomas Crane, a portrait painter and miniaturist. During his early apprenticeship to the wood-engraver William James Linton (1859-62) he had the opportunity to come into close contact with the works of Rossetti, Millais and other member of the Pre-Raphaelite circle who, along with his interest in the Italian Renaissance the Japanese art and design, were to have a great influence upon his own work.

Crane met Burne-Jones and William Morris in 1871 and was inspired by the former’s exhibits at the Old Watercolour Society he began to work in watercolour and tempera, showing works at the Dudley Gallery, Grosvenor Gallery and later at the New Gallery. He was increasingly drawn to landscape painting during a prolonged Italian sojourn in 1871-73. Leighton had introduced him to Giovanni Costa and the landscape painting of other members of the Etruscan School and on his return to London landscapes began to feature more often in his work. However, he is probably still best known as a leading member of the Aesthetic movement and for his illustrations for children’s books, decorative schemes, his radical beliefs and close association with the Socialist movement.


Shepherd's Bush by Walter Crane

Arthur Hacker (1858 - 1919)

England Arthur Hacker was accomplished in a spectrum of different styles and genres that were distinctively his own. Hacker studied at the Royal Academy Schools from 1876 and in Paris from 1880-81 under the portrait painter Leon Bonnat. He exhibited at the Royal Academy from 1878 and his 1892 exhibit, The Annunciation, was bought for the Nation under the terms of the Chantrey Bequest. He was a founding member of the New English Art Club.

Alongside his late allegorical subjects, he produced atmospheric London street scenes such as A Wet Night at Piccadilly Circus, which was chosen for Hacker’s diploma work for the Royal Academy upon his election to a full member in 1910. He also produced genre paintings inspired by the rural realism of Jean-Francois Millet. Furthermore, throughout his life, Hacker was in demand as a portrait painter of glamorous society women, dignified gentlemen, and fellow artists.

Arthur Hacker

ARTHUR HACKER, RA
(1858-1919)

Rosa Canina

Signed and dated l.l.: Arthur Hacker 1911
Oil on panel
Framed

32 by 40 cm., 12 ½ by 15 ¾ in.
(frame size 49.5 by 58 cm., 19 ½ by 22 ¾ in.)

Arthur Hacker was the son of Edward Hacker, a London based engraver. He studied at the Royal Academy Schools between 1867-80 and at the Atelier of Leon Bonnat in Paris, where one of his fellow students was Stanhope Forbes. After Paris he travelled in Spain and North Africa with fellow artist Solomon J Solomon and would return to revisit these areas on many future sketching expeditions. His diverse subject matter includes still lifes; romantic, religious and figure subjects; portraits and landscapes. He first exhibited at the Royal Academy in 1878, being elected an Academician in 1910. He was also a regular exhibitor at the New Gallery and became a founding member of the New English Art Club in 1886. Works by him are in the collections of the Tate Gallery, London; Walker Art Gallery, Liverpool; Leeds City Art Gallery and many other public and private collections.


Arthur Hacker - Rosa Canina - Still Life of Dog Roses

William Shackleton (1872 - 1933)

William Shackleton was born in Bradford, the son of a paper manufacturer and merchant.  He was educated at Bradford Grammar School and then studied art at Bradford Technical College.  In 1893 he won a scholarship to the National Art Training School (later to become the Royal College of Art), where he gained a British Institute Scholarship in 1896.  This enabled him to study in Paris and Italy.  On returning to London, he took a studio in Chelsea, sharing it with Philip Connard and Oliver Onions.  He would spend many of the summer months West Sussex, joining Edward Stott and his artistic community based around the South Downs village of Amberley.  After 1914 he moved to a cottage close to Gordale Scar, near Malham, in the Yorkshire Dales.  There the dramatic landscape would feature in many of his later paintings.  

Greatly influenced by Turner and George Frederic Watts in his colouring, atmosphere and impressionist handling, Shackleton developed a personal vision of the spirituality of nature which was reflected in his symbolist paintings which often depicted the mysticism of life and destiny via the myths and legends of antiquity.  He described his own work as “conscientious symbolism”.

Shackleton exhibited widely sending being a regular exhibitor at the Royal Academy and many other major venues both in London and regionally.  He also represented Britain at the Venice Biennale in 1910 and again in 1922.  He held solo shows at the Goupil Gallery in 1913 and at the Twenty-One Gallery in 1910 and 1922.  In 1933 a memorial exhibition was held at the Cartwright Hall Art Gallery, Bradford.  Works by him are in many public collections


William Shackleton

WILLIAM SHACKLETON, NEAC
(1872-1933)

Kniphofia - Red Hot Pokers

Signed l.r.: Wm Shackleton
Watercolour and bodycolour over traces of pencil
Framed

37 by 18.5 cm., 14 ½ by 7 ¼ in.
(frame size 55.5 by 37.5 cm., 21 ¾ by 14 ¾ in.)

Provenance:
The artist’s studio sale.

William Shackleton was born in Bradford, the son of a paper manufacturer and merchant. He was educated at Bradford Grammar School and then studied art at Bradford Technical College. In 1893 he won a scholarship to the National Art Training School (later to become the Royal College of Art), where he gained a British Institute Scholarship in 1896. This enabled him to study in Paris and Italy. On returning to London, he took a studio in Chelsea, sharing it with Philip Connard and Oliver Onions. He would spend many of the summer months West Sussex, joining Edward Stott and his artistic community based around the South Downs village of Amberley. After 1914 he moved to a cottage close to Gordale Scar, near Malham, in the Yorkshire Dales. There the dramatic landscape would feature in many of his later paintings.

Greatly influenced by Turner and George Frederic Watts in his colouring, atmosphere and impressionist handling, Shackleton developed a personal vision of the spirituality of nature which was reflected in his symbolist paintings which often depicted the mysticism of life and destiny via the myths and legends of antiquity. He described his own work as “conscientious symbolism”.

Shackleton exhibited widely sending being a regular exhibitor at the Royal Academy and many other major venues both in London and regionally. He also represented Britain at the Venice Biennale in 1910 and again in 1922. He held solo shows at the Goupil Gallery in 1913 and at the Twenty-One Gallery in 1910 and 1922. In 1933 a memorial exhibition was held at the Cartwright Hall Art Gallery, Bradford. Works by him are in many public collections.


William Shackleton - Red Hot Pokers

Snowdon, Antony Armstrong-Jones (1930 - 1999)

Snowdon, Antony Armstrong-Jones

Designed by Lord Snowdon for the investiture of Prince Charles on 1 July 1969.  The chairs were made for seating guests inside Caernarfon Castle.

The frame is made from steamed beech and the seat and back of preformed plywood veneered with olive ash.  The whole is stained vermilion and sealed with a clear acid catalyst lacquer. The fabric is Welsh flannel made by David Lewis Limited of Cambrian Mills in Drefach Lelindre.  The chairs were made at Remploy factories in Treforest and Wrexham.

Prince of Wales Investiture Chair

Arthur Winter Shaw (1869 - 1948)

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.


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

John Frederick Herring Jnr

JOHN FREDERICK HERRING, JNR
(1820-1907)

Taking the Team Home

Signed and dated l.c. l.r.: J F Herring 1844
Oil on canvas
Framed

46 by 61 cm., 18 by 24 in.

Provenance:
Private collection, UK

John Frederick Herring Jnr was born in Doncaster, the son of the great equestrian and sporting artist John Frederick Herring, Snr. He studied under his father and from about 1835 Herring Snr would add Sr behind his signature to distinguish his own work from that of his talented son. His brothers Charles and Benjamin were also artists.


Taking the Team Home by John Frederick Herring Jnr

Frank Dobson (1886 - 1963)

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 Royal College of Art. 

He is represented in many public galleries including the Tate Gallery.


Frank Dobson

FRANK DOBSON, R.A.
(1886-1963)

Study Towards Cornucopia

Pencil, watercolour and gouache
Framed

51 by 35.5 cm., 20 by 14 in.
(frame size 71 by 55 cm., 28 by 21 ½ in.

Provenance:
The Artist’s Estate;
Gillian Jason Gallery, London;
Private collection, France.

Executed c.1925-7, the present work is a study of a monumental nude is related to his stone figure Cornucopia now in the collection of the University of Hull.

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. His early paintings were much influenced by Roger Fry’s Post-Impressionist exhibitions. His first carvings date from 1913 and his first one man show, at the Chenil Gallery, was in 1914. 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 called “a keeper of tradition” – bridging classical and modern sculpture. In 1946 Dobson was appointed professor of Sculpture at the Royal College of Art.

He is represented in many public galleries including the Tate Gallery.


Frank Dobson - Nude Study Towards Cornucopia

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. 

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. 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.

Helen Allingham - The Woodland Path

George Price Boyce (1826 - 1897)

George Price Boyce

GEORGE PRICE BOYCE, RWS
(1826-1897)

A Surrey Common in November

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.)

Provenance:
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 by George Price Boyce

George Denholm Armour (1864 - 1949)

Scotland George Denholm Armour, animal painter and cartoonist, was born at Waterside, Lanarkshire on the 30th January 1864. After attending St Andrews University, he moved to Edinburgh, where he studied at the School of Art and the RSA Schools. It was through the RSA that he met Robert Alexander and travelled with him to Tangiers in 1885 to paint and also to buy cheap horses, only returning when their money ran out. It was on a subsequent expedition to Tangiers that he met Joseph Crawhall, who remained a great friend until the latter’s untimely death in 1913. Both hunting mad, upon their return to England the two friends ran a stud together at Wheathampstead, Hertfordshire, where Crawhall continued to influence his friend’s work. The household only broke up when Armour married, with Crawhall standing as his best man. Although always a fine draughtsman, it was after he met Crawhall that Armour developed the subtle but strong drawing style seen in his work for Punch and other publications. He was first illustrated in The Graphic in 1890, while sharing a studio with Phil May in London, and from 1894 concentrated largely on his cartoon work. He contributed to Punch for 35 years, although never entirely abandoning his hunting and shooting watercolours and washes. He was appointed OBE in 1919, following his command of the army’s remount depot in Salonika. His love of the outdoors, horses and his work are interwoven. When hunting he always carried a sketch book, while his total commitment to his horses led to his converting half his studio into a stable. It is this great enthusiasm which lends so many of his animal portrayals their power and flowing movement, just as his sense of humour, wit and keen observation of outdoor pursuits give his cartoon illustrations their appeal. Caw states that in comparison to the works of other exponents of the pictured ‘sporting joke’, in ‘draughtsmanship and design they are incomparably finer.’

George Denholm Armour

GEORGE DENHOLM ARMOUR, RSA, OBE
(British 1864-1949)

Modern Coaching – In the Show Ring

Signed u.l.: G D ARMOUR
Watercolour heightened with white on linen
Framed

26.5 by 47 cm., 10 ½ by 18 ½ in.
(frame size 51 by 71 cm., 20 by 28 in.)

Literature:
E. D. Cuming, Coaching Days & Ways, with illustrations by G. Denholm Armour, Hodder & Stoughton, illus. op. p.32.

Armour was born in Waterside, Lanarkshire and studied at St Andrews University, Edinburgh School of Art and the Royal Scottish Academy Schools. He was a close friend of Joseph Crawhall and visited Tangiers with him and Robert Alexander in the 1880s. In the 1890s he settled in London, sharing a studio for some time with Phil May and becoming a regular contributor of illustrations for Punch, The Tatler, Country Life and The Graphic as well as illustrating many sporting books. In 1910, he studied military equestrianism at the Spanish Riding School in Vienna. During the First World War he commanded the depot of the Army remount service and from 1917 to 1919 served with the Salonika Force. By the end of the war he was the Director of Remounts in that area and was awarded the OBE for his services. He worked in oil, watercolour and pastel, painting sporting subjects and exhibiting at the Royal Academy, Royal Scottish Academy and elsewhere and later lived in Malmesbury, Wiltshire. Works by him are in the collections of Aberdeen Art Gallery, the National Galleries of Scotland and in other private and public collections.


George Denholm Armour - Modern Coaching - In the Show Ring

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

SIR CECIL BEATON, CBE
(1904-1980)

Ballet Costume Design for Le Pavillon - 1936

Signed and bears wardrobe mark l.r.: Beaton
Watercolour and ink

49 by 39 cm., 19 ¼ by 15 ½ in.
(frame size 70.5 by 60 cm., 27 ¾ by 23 ¾ 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.

In 1936 Beaton was commissioned to design the costumes for Col de Basil’s Ballet Russes de Monte Carlo’s performance of Le Pavillon to be performed at the Royal Opera House. The ballet was by Boris Kochno, music by Alexander Borodine and choreography by David Lichine. The costumes were made by Barbara Karinska and the main dancers were Irina Baronova, Tatiana Riabouchinska and David Lichine. Beaton designed a blue stage set with costumes in shades of blue overlaid with brilliantly coloured feathers, flowers etc. However, when Kochno saw the half finished blue costumes, he was so enchanted by them that he insisted they were used as they were, without the trimmings. The result was a blue or blue effect on the opening night of the ballet. Beaton was dismayed and, disobeying Kochno, he arranged for Barbara Karinska, the costume maker, to add the colourful overskirts and trims for the subsequent performances and for the United States tour.


Cecil Beaton - Ballet Costume Desight for Le Pavillon - 1936

James Charles

JAMES CHARLES
(1851-1906)

Selsey Bill

Signed l.l.: Charles; bears title on a label on the reverse
Oil on canvas
Framed

9 by 28 cm., 3 ½ by 11 in.
(frame size 26 by 45 cm., 10 ¼ by 17 ¾ in.)

Provenance:
Sotheby’s Belgravia, 1977;
Collection of Peter Rose and Albert Gallichan.

James Charles was born in Warrington Lancashire. His father was original of French extraction and was a cabinet maker and designer. For a while he was worked at a lithographer’s offer before studying at the Heatherley School of Fine Art in Newman Street. He entered the Royal Academy School in 1872. In his early days he spent time studying in Paris and Venice and continued to visit the Continent for regular painting trips throughout his life. He lived in Chelsea, and exhibited his first picture at the Royal Academy in 1875, continuing to exhibited there throughout his career. He also exhibited regularly at the Grosvenor Gallery and New English Art Club. Works by him are in the collections of the Tate Gallery, Manchester City Art Gallery, National Gallery of Victoria, Johannesburg Art Gallery and elsewhere.


Selsey Bill - Marine Landscape by James Charles

Mildred Eldridge, RWS

Mildred Elsie Eldridge, known to her friends as “Elsi” studied at Wimbledon School of Art and later at the Royal College of Art where her tutors included Eric Ravilious, Gilbert Spencer, Edward Bawden and Alan Sorrell.  She won the Prix de Rome travelling scholarship, which allowed her to spend time painting and sketching in Italy.  On her return to London she worked with Charles Mahoney and a group of other female students from the Royal College of Art on a large set of murals at Brockley School.  At this time she started exhibiting at the Royal Academy and held a successful solo exhibition at the Beaux Arts Gallery, Bruton Street.  She then decided to move to Wales where she met and married the poet R. S. Thomas who was a clergyman in Manafon, Montgomeryshire.  In Wales and the neighbouring county of Shropshire she continued to work as a muralist and also became involved in the Recording Britain project in the 1940s.  The beauty of the Welsh countryside inspired her work and she developed a deep love for the rural environment around her.  In the 1950s and 196s he devoted much of her time to teaching a to her carefully studied watercolours of the birds and plants she saw around her.  She exhibited at the Royal Academy, Royal Watercolour Society, Royal Cambria Academy, Royal Scottish Academy and elsewhere.  Examples of her work are held in many public collections.


Mildred Eldridge

MILDRED ELDRIDGE, RWS
(1909-1991)

The Wren - Troglodytidae

Signed and dated l.r.: M E ELDRIDGE 1972 and inscribed with title l.l.
Watercolour over traces of pencil
Framed

21 by 27 cm., 8 ¼ by 10 ½ in.
(frame size 42 by 47 cm., 16 ½ by 18 ½ in.

Mildred Elsie Eldridge, known to her friends as “Elsi” studied at Wimbledon School of Art and later at the Royal College of Art where her tutors included Eric Ravilious, Gilbert Spencer, Edward Bawden and Alan Sorrell. She won the Prix de Rome travelling scholarship, which allowed her to spend time painting and sketching in Italy. On her return to London she worked with Charles Mahoney and a group of other female students from the Royal College of Art on a large set of murals at Brockley School. At this time she started exhibiting at the Royal Academy and held a successful solo exhibition at the Beaux Arts Gallery, Bruton Street. She then decided to move to Wales where she met and married the poet R. S. Thomas who was a clergyman in Manafon, Montgomeryshire. In Wales and the neighbouring county of Shropshire she continued to work as a muralist and also became involved in the Recording Britain project in the 1940s. The beauty of the Welsh countryside inspired her work and she developed a deep love for the rural environment around her. In the 1950s and 196s he devoted much of her time to teaching a to her carefully studied watercolours of the birds and plants she saw around her. She exhibited at the Royal Academy, Royal Watercolour Society, Royal Cambria Academy, Royal Scottish Academy and elsewhere. Examples of her work are held in many public collections.


Mildred Eldridge - The Wren (Troglodytidae)

William Russell Flint (1880 - 1969)

William Russell Flint

Signed with initials, indistinctly inscribed and dated l.l.: 1.4.67  

18 by 12.5 cm., 7 by 5 in.  (frame size 34.5 by 28.5 cm., 13 ½ by 11 ¼ in.)

 Born in Edinburgh where he studied at the Edinburgh Institution before moving to London to continue his studies at the Heatherley School of Fine Art. Initially he worked as an illustrator for The Illustrated London News, 1903-1907, as well as illustrating several books including 

). During visits to Spain he was impressed by Spanish dancers and painted them, often in semi-dressed poses, throughout his career. He was enormously successful and published many of his watercolours in limited edition print form. Flint was elected present of the Royal Society of Painters in Watercolour in 1936 to 1956 and was knighted in 1947.

Studies of a Dog by Sir William Russell Flint, RA

William Hatherell

William Hatherell studied at the Royal Academy Schools.  From the early 1880s he was contributing illustrations to The Graphic and Harper’s New Monthly Magazine.  In the late 1880s he travelled to Australia on a commission from Cassell’s to create illustrations for their 1890 book Picturesque Australia.  The P&O steamers left Southampton and travelled via the Suez Canal, stopping at Colombo, Sri Lanka (then Ceylon) on route to Australia.  An account of the journey with many illustrations appeared in The Graphic in February 1889.  

He became a member of the Royal Institute of Painters in Watercolour in 1888 and the Royal Institute of Oil painters in 1898.  He was also a member of the Langham Sketch Club, Royal West of England Academy and the American Society of Illustrators.


WILLIAM HATHERELL
(1855-1928)

On Deck at Columbo. P&O Steamer bound for Australia

Signed and inscribed l.l.: W HATHERELL COLUMBO
Watercolour
Framed

27.5 by 19.5 cm., 10 ¾ by 7 ¾ in.
(frame size 45 by 35 cm., 17 ¾ by 13 ¾ in.)

William Hatherell studied at the Royal Academy Schools. From the early 1880s he was contributing illustrations to The Graphic and Harper’s New Monthly Magazine. In the late 1880s he travelled to Australia on a commission from Cassell’s to create illustrations for their 1890 book Picturesque Australia. The P&O steamers left Southampton and travelled via the Suez Canal, stopping at Colombo, Sri Lanka (then Ceylon) on route to Australia. An account of the journey with many illustrations appeared in The Graphic in February 1889. The present work shows a view on deck with elegant ladies resting in the shade during their stop at Colombo.

He became a member of the Royal Institute of Painters in Watercolour in 1888 and the Royal Institute of Oil painters in 1898. He was also a member of the Langham Sketch Club, Royal West of England Academy and the American Society of Illustrators.


William Hatherell - On Deck at Columbo.  P&O Steamer Bound for Australia

William Huggins (1820 - 1884)

William Huggins

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 by William Huggins

Arthur Lemon (1850 - 1912)

Arthur Lemon

Inscribed with title and Goupil Gallery details on the reverse Oil on panel 

15 by 22 cm., 6 by 8 in. (frame size 24 by 31 cm., 9 by 12 in.) 

: London, Goupil Gallery, Arthur Lemon Memorial Exhibition, Feb 1913, no.104e. 

Arthur Lemon was born in the Isle of Man. He left there at an early age to live with relations in Rome where his uncle had a post in the Vatican. It was during this period that he first developed his love for the Italian countryside and its horses and cattle that were to provide much of the subject matter for his future paintings. When Garibaldi attacked the Papal States in 1862, Lemon fled to California where he had several careers including that of a cowboy. In the early 1870s he returned to Europe and studied under Carolus Duran in Paris where he came into contact with Sargent, Swan and the artist and critic R A M Stevenson who was to remain a lifelong friend. He later settled in Florence and took to painting the Tuscan countryside and agricultural life of the area. At this time he came into contact with members of the Etruscan School who excelled in sensitive and lively plein-air oil studies of which the present work is a typical example. He returned to England and settled in Surrey although he would frequently return to Italy for months at a time. He exhibited at the Royal Academy, Grosvenor Gallery, New Gallery and elsewhere and following his death a memorial exhibition of his works was held at the Goupil Gallery, London. He is represented in the collection of the Tate Gallery, London.

Arthur Lemon - White Pony, New Forest

Ernest Normand (1857 - 1923)

Ernest Normand



Signed, inscribed and dated l.l.: Ernest Normand/St Lunaire 1902
Oil on canvas
Framed

26 by 49 cm., 10 ¼ by 19 ¼ in.
(frame size 38 by 61 cm., 15 by 24 in.)

Ernest Normand was born in London and studied at the Royal Academy Schools. He is best known as a painter of history and orientalist paintings and portrait commission. In 1884 he married the painter and writer Henrietta Rae. They lived in Holland Park and were part of that area’s artistic group which included Leighton, Millais, Prinsep and Watts. In the 1890s they travelled of Paris to study at the Academie Julian with Jules Joseph Lefebvre and Jean-Joseph Benjamin-Constant. He exhibited at the 

 and works by him are in the collections of 

St Lunaire, Brittany by Ernest Normand

Raymond Sheppard

RAYMOND SHEPPARD
(1913-1958)

Harlequin Macaw

Chalks on brown paper
Framed

31.5 by 17 cm., 12 ½ by 6 ¾ in.
(frame size 42 by 27.5 cm., 16 ½ by 10 ¾ in.)

Provenance:
Christine Sheppard, the artist’s daughter;
Paul Liss, Raymond Sheppard Studio Exhibition, 2010
Private collection.

Sheppard was born in London and educated at Christ’s College, Finchley before going on to study at the London School of Printing and Graphic Arts. He became a free-lance artist and illustrator, mainly of natural history books and studied his subjects at the London Zoo and in the Natural History Museum, South Kensington. During the Second World War he was attached to the RAF Photographic Section. He taught for three years at the London School of Printing. His How to Draw handbooks, which were part of the Studio series, ran to many editions and made him a household name: How to Draw Birds was first published in 1940; Drawing at the Zoo in 1949 and More Birds to Draw in 1956.


Harlequin Macaw by Raymond Sheppard

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

GEORGE SHERINGHAM
(1884-1937)

The Wave

Signed and numbered 2
Stencil print with 9 plates, designed and cut by the artist, fan shaped

23 by 42 cm., 9 by 16 ½ in.
(frame size 37.5 by 22 cm., 14 ¾ by 8 ¾ 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 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.


The Wave by George Sheringham

Bernard Sleigh (1872 - 1954)

Sleigh was born in Kings Norton, south of Birmingham.  When aged 14 his father died and he was obliged to leave school and become apprenticed to a wood engraver.  At the sametime he attended the Birmingham School of Art under Arthur Gaskin, coming under the influence of the Birmingham Group.  For a time he worked at an skillful illustrator for small presses and also taught engraving.  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.  He worked from most of his life in Birmingham but travelled widely throughout Britain and Europe.  In 1937 Sleigh following in the footsteps of his mentor Arthur Gaskin and retired to the Cotswold town of Chipping Camden, living at Old Forge Cottage in Cider Mill Lane.  

At the age of 24 he suffered a brain aneurysm, resulting in a trepanning operation which he claims changed his outlook on life and led to his interest in mystical and fairy subjects.  He as deeply affected by the horrors of World War I and took refuge in the world of his imagination.  At this time he created his famous lithograph "An Ancient Mappe of Fairyland, Newly Discovered and Set Forth".  

Works by Sleigh are in the Fitzwilliam Museum, Cambridge, Birmingham Museum & Art Gallery and the Russell-Cotes Art Gallery & Museum.

Bernard Sleigh

BERNARD SLEIGH, RBSA
(1872-1954)

The Horns of Elfland

Signed with monogram within the plate, signed, inscribed and dated in pencil l.r.: Doris Warden from Bernard Sleigh/Dec 31/35
Chiaroscuro woodcut
Framd

Image 22 by 39 cm., 8 ¾ by 15 ¼ in.
(frame size 35.5 by 50.5 cm., 14 by 20 in.

The splendour falls on castle walls
And snowy summits old in story;
The long light shakes across the lakes,
And the wild cataract leaps in glory.
Blow, bugle, blow, set the wild echoes flying,
Blow, bugle; answer, echoes, dying, dying, dying.

O hark, O hear, how thin and clear,
And thinner, clearer, farther going!
O sweet and far from cliff and scar
The horns of Elfland faintly blowing!
Blow, let us hear the purple glens replying:
Blow, bugle; answer, echoes, dying, dying, dying.

O love, they die in yon rich sky,
They faint on field or hill or river:
Our echoes roll from soul to soul,
And grow for ever and for ever.
Blow, bugle, blow, set the wild echoes flying,
Blow, bugle; answer, echoes, dying, dying, dying.

Blow, Bugle, Blow
Tennyson

Sleigh was born in Kings Norton, south of Birmingham. When aged 14 his father died and he was obliged to leave school and become apprenticed to a wood engraver. At the sametime he attended the Birmingham School of Art under Arthur Gaskin, coming under the influence of the Birmingham Group. For a time he worked at an skillful illustrator for small presses and also taught engraving. 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. He worked from most of his life in Birmingham but travelled widely throughout Britain and Europe. In 1937 Sleigh following in the footsteps of his mentor Arthur Gaskin and retired to the Cotswold town of Chipping Camden, living at Old Forge Cottage in Cider Mill Lane.

At the age of 24 he suffered a brain aneurysm, resulting in a trepanning operation which he claims changed his outlook on life and led to his interest in mystical and fairy subjects. He as deeply affected by the horrors of World War I and took refuge in the world of his imagination. At this time he created his famous lithograph An Ancient Mappe of Fairyland, newly discovered and set forth. Sleigh published the current woodcut, The Horns of Elfland, c.1920. There is an impression of the print in the holdings of the British Museum and another in the Royal Collection.

Works by Sleigh are in the Fitzwilliam Museum, Cambridge, Birmingham Museum & Art Gallery and the Russell-Cotes Art Gallery & Museum.


Bernard Sleigh woodcut - The Horns of Elfland

Francis Wynne-Thomas

Francis Wynne Thomas was born in Bromley, Kent, the son of Dr Harold Wynne-Thomas, a prominent homeopathic doctor.  Francis initially studied architecture at Cambridge before going on to study art at Heatherley’s under Frederick Whiting.  During World War II Thomas served as an officer in the RAF stationed at the Photographic Interpretation Unit at Medmenham, Buckinghamshire.  A portrait and landscape painter, he exhibited at the Royal Academy, Royal Society of British Artists and Royal Institute of Painters in Oils.

German Training Ship in Shadwell Basin - 1937



Signed l.r.: F WYNNE THOMAS; signed, inscribed with title and dated 1937 on the stretcher
Oil on canvas
Framed



20 by 24 in. 51 by 61 cm.,
(frame size 64.5 by 75 cm., 25 ½ by 29 ½ in.)



Francis Wynne Thomas was born in Bromley, Kent, the son of Dr Harold Wynne-Thomas, a prominent homeopathic doctor. Francis initially studied architecture at Cambridge before going on to study art at Heatherley’s under Frederick Whiting. During World War II Thomas served as an officer in the RAF stationed at the Photographic Interpretation Unit at Medmenham, Buckinghamshire. A portrait and landscape painter, he exhibited at the 



The three-masted German training ship in the painting is either the Gorch Fock I, built in 1933 and now a museum ship or the Horst Wessel, launched in 1936 and now a United States Coast Guard vessel and renamed Eagle.


German Training Ship in Shadwell Basin, 1937 by Francis Wynne Thomas

John Stanton Ward (1917 - 2007)

England Ward was born in Hereford, where his father, Russell Stanton Ward, ran an antiques shop and restored paintings. He studied at the Hereford School of Arts and Crafts before winning a place to the Royal College of Art in 1936, where he studied under Gilbert Spencer, Charles Mahoney and Alan Sorrell and won the prize for drawing. During World War II he served in the Royal Engineers, using his drawing skills to design pillboxes, and later taking part in the D-Day landings. He was posted to Belgium after the war before returning to the Royal College to graduate in 1946.Ward worked as a painter, illustrator and teacher, happy to work in oils, watercolour, pastel and pen and ink. He painted portraits, landscapes, interiors and architectural subjects, undertaking portraits of members of the royal family, businessmen and celebrities including the Princess of Wales, the Princess Royal and the christenings of Prince William and Prince Harry. Fifteen of his portraits are in the collection of the National Portrait Gallery and he held one man shows at Agnew’s and the Maas Gallery. As a prolific illustrator he worked on guides to Herefordshire and North Yorkshire and produced illustrations for Vogue magazine from 1948 to 1952 and illustrated many books including Laurie Lee’s Cider with Rosie (1959) and H E Bates’s The Darling Buds of May (1958). As a teacher he gave lessons in drawing to the Prince of Wales and taught at for a time at Wimbledon School of Art.In 1956 he became an associate member of the Royal Academy, being elected a full member in 1966. He was a Trustee of the Royal Academy from 1985 to 1993. In 1997 he resigned from the Royal Academy in protest at the Sensation exhibition and never rejoined. He exhibited at the Royal Academy, Royal Watercolour Society, Royal Society of Portrait Painters and elsewhere and is represented in many public collections.

John Stanton Ward


For I will consider my cat Jeoffrey.
For he is the servant of the living God duly and daily serving him.
For at the first glance at the glory of God in the East he worships in his way.
For this is done by wreathing his body seven times round with elegant quickness.
For then he leaps up to catch the musk, which is the blessing of God upon his prayer.
For he rolls upon prank to work it in.
For having done duty and received blessing he begins to consider himself.
For this he performs in ten degrees.
For first he looks upon his forepaws to see if they are clean.
For secondly he licks up behind a clear away there.
For thirdly he works it upon stretch with the forepaws extended.
For fourthly he sharpens his paws by woods.
For fifthly he washes himself.
For sixthly he rolls upon wash.
For seventhly he fleas himself, that he may not be interrupted upon the beat.
For eighthly he rubs himself against a post.
For ninthly he looks up for his instructions.
For tenthly he goes in quest of food.
Christopher Smart

Extensively inscribed
Pen and ink and watercolour
Framed



32 by 48 cm., 12 ½ by 18 ¾ in.
(frame size 43 by 58.5 cm., 17 by 23 in.)

Sir Roy Strong.

The lengthy religious poem Jubilat Agno (Rejoice in the Lamb) was written by Christopher Smart between 1759 and 1763 during the poet’s confinement for insanity in St Luke’s Hospital, Bethnal Green, London. The poem was not published until 1939. Benjamin Britten used it as a source for his choral piece Rejoice in the Lamb in 1943.

Ward was born in Hereford, where his father, Russell Stanton Ward, ran an antiques shop and restored paintings. He studied at the Hereford School of Arts and Crafts before winning a place to the Royal College of Art in 1936, where he studied under Gilbert Spencer, Charles Mahoney and Alan Sorrell and won the prize for drawing. During World War II he served in the Royal Engineers, using his drawing skills to design pillboxes, and later taking part in the D-Day landings. He was posted to Belgium after the war before returning to the Royal College to graduate in 1946.

Ward worked as a painter, illustrator and teacher, happy to work in oils, watercolour, pastel and pen and ink. He painted portraits, landscapes, interiors and architectural subjects, undertaking portraits of members of the royal family, businessmen and celebrities including the Princess of Wales, the Princess Royal and the christenings of Prince William and Prince Harry. Fifteen of his portraits are in the collection of the National Portrait Gallery and he held one man shows at Agnew’s and the Maas Gallery. As a prolific illustrator he worked on guides to Herefordshire and North Yorkshire and produced illustrations for 

 from 1948 to 1952 and illustrated many books including

 H E Bates’s The Darling Buds of May (1958).

 As a teacher he gave lessons in drawing to the Prince of Wales and taught at for a time at Wimbledon School of Art.

In 1956 he became an associate member of the Royal Academy, being elected a full member in 1966. He was a Trustee of the Royal Academy from 1985 to 1993. In 1997 he resigned from the Royal Academy in protest at the Sensation exhibition and never rejoined. He exhibited at the 

Royal Academy, Royal Watercolour Society, Royal Society of Portrait Painters

 and elsewhere and is represented in many public collections.


Jubilat Agno by John Ward

Frank Watkins (1863 - 1929)

Frank Watkins

Generally I rather dread The hour for going up to bed But sometimes, when it’s getting late And I am tired of my drawing slate, And the light ”“ Seems too bright, And my eyes are pricking And getting red, And ”“ my ”“ head Is heavy as lead ”“ Then I know it is time for bed! No matter what the clock may say I know its time to end the day. So up to curtain’d room I go Where night-lights always burned low Then, after all my prayers are said And I think of pillows round my head I give a most e-nor-mous yawn And jump into bed until the dawn! Signed, inscribed and dated 1926 Pen and ink Framed 

33.5 by 23.5 cm., 13 by 9 in. (frame size 53 by 43 cm., 20 by 17 in.) 

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 Dolly Twoshoes (1901); The Wonder and Dolly Daydream (1902); Illustrated Chips and Dick and Daisy (1919-1921) and also for Merry Moments. He provided book illustrations for The Man From the Moon by Philip Carmichael (1909); The Sun’s Babies by Edith Howes (1910); The King Who Never Died: Tales of King Arthur by Dorothy Senior (1910) and Fairy Rings by Edith Howes (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.

The Dustman

James Woodford, RA (1893-1976)

James Woodford



Signed l.r.: JAMES WOODFORD RA
Red chalk
Fframed



31 by 24 cm., 12 ¼ by 9 ½ in.
(frame size 50.5 by 43 cm., 20 by 17 in.)



James Arthur Woodford was born in Nottingham and studied at Nottingham School of Art until the outbreak of World War I, resuming his studies at the Royal College of Art after the war. There he became a Rome Scholar, 1922-25. A sculptor, his first major commission was for a set of bronze doors for Liverpool Blind School. This was followed by his 1934 commission to create a pair of monumental doors for the headquarters of the Royal Institute of British Architects in Portland Place, London. As part of the same project, he also made figures for the exterior columns, interior ceiling plaster reliefs and stone window pieces. During World War II he served as a camouflage officer with the Air Ministry and following the war he created a number of war memorials. For the coronation of Queen Elizabeth II in 1953 he made a set of ten plaster sculptures of the Queen’s Beasts, each 6 feet tall, to be placed at the entrance of Westminster Abbey. These are now in the collection of the Canadian Museum of History, Quebec but stone replicas were made which were presented to Kew Gardens in 1956. Woodford supplied decorative work and sculpture for many London buildings in London and elsewhere, as well as for the interior the liner RMS Queen Mary.


Cockerel by James Woodford

Once again I am delighted to be exhibiting at

The Petworth Park Antiques & Fine Art Fair

Petworth House and Park, Petworth, West Sussex GU28 0QY

The fair has its own free car park by the marquee - access is from the A272 Tillington Road through the gate at New Lodges.  AA signs will direct Fair traffic to this entrance.  Fair visitors enjoy free access to Petwoth House during the three deays event.

The following online exhibition includes some of the pictures I will be showing on my stand.  The full selection can be view from the 18th May.

Please find attached your complimentary ticket and I look forward to seeing you at the Fair.

Petworth Park Fair 2023

Online Exhibition