British & Continental Pictures Sale on
Tuesday 8th July 2014
Lots: 51-100 of 144
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Lot Description and Estimate Images Sold For
51

PAUL EMILE LEON PERBOYRE (FRENCH, 1851-1929): ADVANCING TO THE FRONT signed l.r; oil on canvas 49cm x 59cm; 19 1/4in x 23 1/4in
Estimate: 2000-3000

    
52

EDWARD MATTHEW HALE (BRITISH, 1852-1924): SIRENS IN A CORACLE PULLED BY PORPOISES signed and dated 1900 l.l; oil on canvas 29cm x 42cm; 11 1/2in x 16 1/2in Exhibited: Royal Academy 1900 (according to an inscription on the stretcher). Born in Hastings, Edward Matthew Hale studied in Paris and began his career as an illustrator. He worked for The Illustrated London News following the Russian army in the Russo-Turkish War. Later in life he concentrated on painting establishing a reputation for his highly original and fantastical depictions of sea life, as well as ambitious canvases of Classical subjects.
Estimate: 400-600

750
53

EDWARD MATTHEW HALE (BRITISH, 1852-1924): MERMAIDS PLAYING IN THE SEA WITH FISH signed and dated 1923 l.r; oil on canvas 29cm x 41.5cm; 11 1/2in x 16 1/4in Born in Hastings, Edward Matthew Hale studied in Paris and began his career as an illustrator. He worked for The Ilustrated London News following the Russian army in the Russo-Turkish War. Later in life he concentrated on painting establishing a reputation for his highly original and fantastical depictions of sea life, as well as ambitious canvases of Classical subjects.
Estimate: 400-600

550
54

JOHN ROBERT CHARLES SPURLING (BRITISH, 1870-1967): THE VICTORY GOING INTO ACTION signed l.l and inscribed with the artist's hand 'The Victory going into action, 1805; the first shot at Trafalgar falling short of the port bow of The Victory; watercolour" 19cm x 17cm; 7 1/2in x 6 3/4in John (better known as Jack) Spurling was born in Suffolk. His first contact with the sea and shipping was through his father's business as an importer of jute. As a youth in London he spent much time drawing ships in the East India Docks. When he reached age 17 he went to sea as an apprentice for 7 years. When he returned to shore he first worked as an actor but continued painting as a sideline. His ship paintings came to the attention of the editor of the nautical magazine The Blue Peter and he received regular commissions. This also led to his collaboration with Basil Lubbock, a maritime author who also contributed to The Blue Peter, on his series of books on commercial sailing ships.
Estimate: 80-120

70
55

JOHN ROBERT CHARLES SPURLING (BRITISH, 1870-1967): A CLIPPER IN FAIR BREEZE watercolour 13.5cm x 14.5cm; 5 1/4in x 5 3/4in John (better known as Jack) Spurling was born in Suffolk. His first contact with the sea and shipping was through his father's business as an importer of jute. As a youth in London he spent much time drawing ships in the East India Docks. When he reached age 17 he went to sea as an apprentice for 7 years. When he returned to shore he first worked as an actor but continued painting as a sideline. His ship paintings came to the attention of the editor of the nautical magazine The Blue Peter and he received regular commissions. This also led to his collaboration with Basil Lubbock, a maritime author who also contributed to The Blue Peter, on his series of books on commercial sailing ships.
Estimate: 60-80

75
56

ETHEL LOUISE RAWLINS (BRITISH, 1880-1940): LANDSCAPE WITH FARMSTEAD signed: E.L.Rawlins l.r; watercolour 37.5cm x 45cm; 14 3/4in x 18 3/4in
Estimate: 100-150

80
57

MILDRED FREEBORN (BRITISH, EXH.1913-1927): 'BERNINA PASS', SWITZERLAND signed and inscribed with title l.r; watercolour 27cm x 44cm; 10 1/2in x 17 1/4in Provenance: The Fine Art Society, March 1927
Estimate: 200-400

200
58

WILLIAM HEATH ROBINSON (BRITISH, 1872-1944): HEADING TO 'THE MERCHANTS WIFE' signed with initials u.r; inscribed with title under mount; watercolour 21cm x 24.5cm; 8 1/4in x 9 3/4in Illustrated: 'Bill the Minder', Constable & Co Ltd. Provenance: Chris Beetles
Estimate: 1000-1500

900
59

ELFREDA G. BEAUMONT (BRITISH, EXH.1914-1934): MYTHOLOGICAL SCENE signed and dated: E.G.Beaumont/1914 l.r; watercolour (framed, no glass) 24cm x 24cm; 9 1/2in x 9 1/2in
Estimate: 200-300

180
60

CIRCLE OF SIR GEORGE CLAUSEN, RA, RWS (BRITISH, 1852-1944): PORTRAIT OF A YOUNG GIRL coloured chalks 37cm x 29.5cm; 14 1/2in x 11 1/2in
Estimate: 200-300

180
61

GEORGE SCHOLEFIELD DIXON (BRITISH, 1890-c.1945): WINTER SUNSET ON SUSSEX GARDENS BY ST JAMES'S PADDINGTON signed: G.S.Dixon l.r; oil on canvas 60cm x 50cm; 23 3/4in x 19 3/4in This interesting pre-second world war view depicts houses by what is now a busy section of Sussex Gardens in Bayswater. To the right of the picture is the tower of one London's great late nineteenth century churches, St James's Paddington designed by George Edmund Street. Dixon was born in Leeds and studied at Leicester School of Art before moving to London. He flourished as a commercial artist working for publications such as Tatler and Bystander. He was a regular exhibitor at the Royal Academy and an active member of the London Sketch Club
Estimate: 400-600

360
62

ROLAND VIVIAN PITCHFORTH, RA (BRITISH, 1895-1982): WELSH MINING VILLAGE signed: Pitchforth l.r; watercolour 54cm x 73cm; 21 1/4in x 28 3/4in Dating from the 1930s
Estimate: 400-600

380
63

ALFRED CHARLES CONRADE (BRITISH, 1863-1955): THE GARDEN OF STATUES signed on base of statue: A.C. CONRADE DELINEAT/ACQUARELL; watercolour over pencil, heightened with bodycolour 37cm x 53cm; 14 1/2in x 20 3/4in
Estimate: 400-600

    
64

"ERIC GILL A.R.A (BRITISH, 1882-1940): A STUDY FOR ARIEL, BROADCASTING HOUSE signed Eric G. and dated 28.1.'31 l.r and inscribed 'Study for Ariel' l.l; pencil (unframed) 37.5cm x 27cm Provenance: The Fine Art Society, April 1986. Over the front entrance of Broadcasting House stand Gill's statues of Prospero and Ariel. The characters are taken from, what is thought to be, Shakespeare's last play The Tempest. Prospero, Ariel's master is depicted sending Ariel, the spirit of the air, out into the world. After Broadcasting House was opened the statues were installed in 1933. The study was drawn in 1931."
Estimate: 5000-7000

    
65

ERIC GILL A.R.A (BRITISH, 1882-1940): FIGURE ON A HORSE brush and ink (unframed) 16cm x 12cm; 6 1/4in x 4 3/4in
Estimate: 600-800

    
66

E. CARTER PRESTON (BRITISH, EXH.1909-1938): THE BLUE BAY"" signed l.r, bears inscription with title on backboard; watercolour on silk 19.5cm x 33.5cm; 7 3/4in x 13 1/4in
Estimate: 120-220

    
67

ALFRED AARON WOLMARK (BRITISH, 1877-1961): STILL LIFE WITH FRUIT, VEGETABLES, FLOWERS AND BOTTLES oil on canvas (unframed) 56cm x 56cm; 22in x 22in
Estimate: 500-700

500
68

SIR WILLIAM ROTHENSTEIN (BRITISH, 1872-1945): RICKYARD IN WINTER"" inscribed on reverse of canvas 'Sir Wm Rothenstein no 58' and bears attribution and title on label attached to reverse of canvas; oil on canvas (unframed) 61cm x 89cm; 24in x 35in Provenance: The Art Exhibitions Bureau
Estimate: 1000-1500

    
69

WALTER W. TOLLAST (BRITISH, EARLY 20TH CENTURY): WOMEN WAITING IN A PORT oil on panel 26.5cm x 33cm; 10 1/2in x 13cm Walter Tollast trained at The Slade School and later emigrated to South America
Estimate: 70-90

50
70

EDWARD JULIUS DETMOLD (BRITISH, 1883-1957): OLD CLYMPING, SUSSEX signed with monogram: EJD/1923 l.r; watercolour and bodycolour and another watercolour by the same hand (2) 24.5cm x 35cm; 10in x 14in
Estimate: 250-350

    
71

WILLIAM DRING, RA (BRITISH, 1904-1990): PORTRAIT OF MISS MADELINE HENSON signed and dated: William Dring/45 l.l; oil on canvas 72cm x 61cm; 28 1/4in x 24in Exhibited: London, Royal Academy, 1946, no.468. Painted at Dring's home near Winchester at the end of the Second World War, the present work must rank as one of his finest and most engaging portraits. Full of a spring-like optimism that reflects the era, Dring was at the height of his power as an artist. Fresh from his work as a War artist Dring had executed numerous portraits and studies of men and women on active service, as well as Land girls on the Home Front. Strongly a period piece, the sitter's demeanour and short hair cut may well suggest her return from work in munitions or the land army
Estimate: 400-600

1200
72

JOHN ARMSTRONG, ARA (BRITISH, 1893-1973): THE MAD PRIEST signed with initials: JA; watercolour 36cm x 24cm; 14in x 9 1/2in Provenance: the artist's estate, by direct descent. This a rare example of Armstrong's earlier work in watercolour and probably dates from the 1930s or 1940s. Before Armstrong had established himself as one of the most distinctive and important artists of the BRITISH avant-garde, he had already enjoyed a successful career as sought-after designer for BRITISH stage and screen. His collaborations included work with Robert Donat and Alexander Korda, creating costumes and sets for stage works such as Fa! ade, The Magic Flute (Sadler's Wells), and Riverside Nights and for the films The Private life of Henry VIII, The Scarlet Pimpernel and Rembrandt
Estimate: 300-500

225
73

SIR CECIL BEATON (BRITISH, 1903-1980): RHODOPE inscribed extensively; watercolour over pen and ink with material sample 42cm x 28cm; 23 3/4in x 19 3/4in Provenance: the Cecil Beaton Studio Sale, Christie's. A design for the costume of Rhodope for the 1944 play Crisis in Heaven, directed by John Gielgud and for which Beaton designed the costumes
Estimate: 600-800

    
74

HENRY CHARLES BREWER, RI (BRITISH, 1866-1950): PATERNOSTER SQUARE, LONDON FOLLOWING A BOMBING RAID watercolour and gouache over pencil 35cm x 53cm; 13 3/4in x 20 3/4in Provenance: the Henry Brewer Studio Sale, Christie's South Kensington
Estimate: 600-800

    
75

THOMAS SYDNEY COOPER, RA, RI (BRITISH, 1895-1977): CATTLE GRAZING IN A FIELD signed and dated l.l; watercolour 19cm x 32cm; 7 1/2in x 12 1/2in
Estimate: 250-350

    
76

TOM CAMPBELL (SCOTTISH, 1865-1943): FIGURES PROMENADING ON A SCOTTISH BEACH signed l.l; watercolour 22cm x 36cm; 9 3/4in x 14in
Estimate: 80-120

    
77

FREDERICK E.J. GOFF (BRITISH, 1855-1931): MEDENHAM ABBEY, BERKSHIRE signed and inscribed with title l.r; watercolour 17cm x 25cm; 6 3/4in x 9 3/4in
Estimate: 60-80

    
78

ALEXANDER JAMES MAVROGORDATO (BRITISH, 1869-1947): IN THE TYROL, THE RED CRAG bears title on label affixed to backboard; watercolour 25.5cm x 37cm; 10in x 14 1/2in Provenance: The Fine Art Society, Royal Institute of Painters in Water Colours, June 1945
Estimate: 200-400

    
79

CHARLES KNIGHT R.W.S (BRITISH, 1901-1990): 'THE ASH GROVE', DITCHLING, SUSSEX signed l.r; watercolour over pencil 24cm x 34.5cm; 9 1/2in x 13 3/4in Provenance: The Fine Art Society, March 1941
Estimate: 100-200

200
80

CIRCLE OF JOSEPH CRAWHALL, LATE 19TH/EARLY 20TH CENTURY: CAMELS AND RIDERS AT REST watercolour 19cm x 23.5cm; 7 1/2in x 9 1/4in
Estimate: 150-250

150
81

OLIVER MESSEL (BRITISH, 1904-1978): COSTUME DESIGNS FOR CLEOPATRA,FOR THE FILM 'CAESAR AND CLEOPATRA' (1945) the first signed l.l, inscribed 'in Alexanders Tomb.' u.l and 'made of the Blue green/Thailand silk woven with gold' u.r; the second signed l.r, inscribed 'for the Banquet and the Ride'; watercolour and pencil (2) the first: 37cm x 24.5cm; 14 1/2in x 9 3/4in; the second: 36cm x 24.5cm; 14 1/4in x 9 3/4in Oliver Messel was one of Britain's most celebrated theatrical designer throughout much of the middle of the 20th century. His name was associated with the lavish costumes and beautiful sets which he created for some of the most prestigious venues in the United Kingdom. Messel was born in London on 13th January 1904 into a wealthy middle-class family. He was educated at Eton, where his contemporaries included Evelyn Waugh and Harold Acton, and subsequently at the Slade School of Fine Art. He began his career as a portrait painter, but soon began to pick up commissions for theatre work, of which one of his earliest successes came with his designs for the masks for a London production of Sergei Diaghilev's ballet, Zephyr et Flore, in 1925. Friends and contemporaries of Messel at this time included Noel Coward and Cecil Beaton. During the 1940s, Messel designed the sets for numerous Hollywood films, including The Thief of Baghdad in 1940 and Suddenly, Last Summer in 1959, for which he was nominated for an Oscar. Messel also designed the costumes for many significant films, including Romeo and Juliet in 1936 and Caesar and Cleopatra. Nowadays, Oliver Messel is perhaps even better known for his interior design work. In 1953 he was commissioned to design the d
Estimate: 400-600

1800
82

FELIKS TOPOLSKI (POLISH, 1907-1989): AT 'THE BELLS' - CHELSEA AIR RAID WARDEN signed and inscribed with title l.r; pen and ink 19cm x 23cm; 7 1/2in x 9in
Estimate: 600-800

    
83

ENGLISH SCHOOL MID-20th CENTURY: THE PEDESTRIAN SIGNAL inscribed with title l.l; watercolour 14.5cm x 19cm; 5 1/2in x 7 1/2in
Estimate: 50-80

46
84

RONALD OSSORY DUNLOP, RA, RBA (BRITISH, 1894-1973): PORTRAIT OF ANDREW AS A YOUNG CHILD inscribed and signed: R.O.Dunlop l.r; watercolour and gouache 50cm x 37cm; 20in x 15in
Estimate: 80-120

    
85

JOHN EDGAR PLATT, RBA (BRITISH, 1886-1968): CORNISH LIGHTHOUSE WITH SIREN SOUNDING oil on paper 29.5cm x 18cm; 11 1/2in x 7in Provenance: the artist's estate; with the 20th Century Gallery, Fulham
Estimate: 180-220

160
86

ALFRED KINGSLEY LAWRENCE, RA, RP (BRITISH, 1893-1975): PORTRAIT OF A YOUNG GIRL coloured chalks (unframed) 50.5cm x 36.5cm; 19 3/4in x 14 1/4in Provenance: the artist's estate
Estimate: 200-300

    
87

RODNEY JOSEPH BURN, RA, NEAC (BRITISH, 1899-1984): THE HARBOUR AT BEMBRIDGE, ISLE OF WIGHT signed with initials: RJB l.r; oil on canvas 44cm x 59cm; 17 1/4in x 23 1/4in The pretty sheltered coastline at Bembridge on the Isle of Wight was a favourite subject of Burn in the 1950s. One view of the beach was exhibited at the Royal Academy in 1953 (no.629) and subsequently acquired by the Chantry Bequest for the Royal Academy collection. He exhibited further views of the harbour also at the Royal Academy in 1955, 1957 and 1959, as well as a number of views of other parts of the Island, including several of Newtown. The present work displays Burn's distinctive brand of impressionism, together with the typically low viewpoint that many of his works have to help give the viewer a sense of involvement in the scene
Estimate: 600-800

    
88

RUDOLF SAUTER, RBA, RI (BRITISH, 1895-1977): PORTRAIT OF THE ARTIST'S WIFE signed and dated 1950 l.l; oil on board 80cm x 65cm; 31 1/2in x 22 1/2in
Estimate: 300-400

    
89

RUDOLF SAUTER, RBA, RI (BRITISH, 1895-1977): EXOTIC INTRUDERS signed with initials l.r; oil on board 60cm x 47cm; 23 1/2in x 18 1/2in
Estimate: 300-400

    
90

SIR STANLEY SPENCER R.A (BRITISH, 1891-1959): A STUDY FOR A SELF PORTRAIT WITH PATRICIA PREECE pencil, squared for transfer(unframed) 33cm x 47cm; 13in x 18 1/2in Spencer met Patricia Preece in Cookham in 1932. She entranced Spencer and she became a model for several of his paintings and eventually his relationship with her led to his divorce from his wife Hilda. Spencer went in to debt giving Preece money, clothing and jewels and although they married shortly after his divorce, the marriage was never consummated.
Estimate: 3000-5000

    
91

SIR STANLEY SPENCER R.A (BRITISH, 1891-1959): STUDIES FOR DOMESTIC SCENES inscribed on reverse'1. Hilda airing clothes . me looking through clothes horse./ 2. Hilda having dress tried on ./ 3. Hilda & I feeding / 4. Hilda & I at tailors/ 5. Hilda sewing, me looking on ./ 6. Hilda showing ? winter'; sepia wash over pencil (unframed) 41cm x 49cm; 16 1/4on x 19 1/4in In 1937 Stanley Spencer divorced his first wife Hilda Carline subsequently marrying Patricia Preece. Despite this some two years earlier Spencer had conceived of Church House" where his everyday domestic existence and life with Hilda would be celebrated alongside the sacred in an ambitious scheme of murals. These domestic scenes form the subject of the present design for the scheme. Later in life following Carline's death in 1951 he found his primary inspiration in recollections of their life together. This would have culminated in a great work "The Apotheosis of Hilda" but this was left unfinished at his death in 1959."
Estimate: 3000-5000

3000
92

BRITISH SCHOOL, FIRST HALF OF THE 20TH CENTURY: SEASIDE FORT watercolour 23.5cm x 34cm; 9 1/4in x 13 1/2in
Estimate: 250-350

    
93

NINA WINDER REID (BRITISH, 1891-1975): AFTER THE STORM"" signed l.r; title inscribed on label attached to stretcher; oil on canvas 39.5cm x 49.5cm; 15 1/2in x 19 1/2in
Estimate: 200-400

220
94

HAROLD DEARDEN (BRITISH, 1888-1969): THE ACCORDION PLAYER oil on canvas; unframed 50cm x 50.5cm; 19 3/4in x 20in Provenance: Christie's Studio Sale
Estimate: 200-400

200
95

JACOB KRAMER (BRITISH, 1892-1962): STILL LIFE OF DAFFODILS IN A VASE signed l.r; oil on canvas 59cm x 48cm
Estimate: 2000-2500

    
96

JACOB KRAMER (BRITISH, 1892-1962): PORTRAIT OF A GIRL signed l.r; brush and indian ink 35cm x 25cm; 13 3/4in x 13 3/4in
Estimate: 200-300

240
97

JACOB KRAMER (BRITISH, 1892-1962): PORTRAIT OF A MAN signed l.r; brush and indian ink 54cm x 39.5cm; 21 1/4in X 15 1/2in
Estimate: 200-300

200
98

LUDVIK DVORACEK (CZECH 1895-1970): THE OLD YARD signed and dated 'Dvoracek .14' l.r; charcoal and gouache on grey paper 21.5cm x 13.5cm; : 8 1/2in x 5 1/4 in Provenance: Boris Wilnitsky Fine Arts, Vienna. Professor Ludvik Dvoracek was a well-known painter and printmaker in Brno.
Estimate: 40-60

55
99

VERONICA BURLEIGH (BRITISH, 1909-1999): BUILTH WELLS, BRECON, SOUTH WALES signed: Veronica Burleigh; watercolour 24.5cm x 36cm; 9 3/4in x 17 1/4in
Estimate: 150-200

120
100

RONALD OSSORY DUNLOP, RA, RBA (BRITISH, 1894-1973): THE SEINE, PARIS BY PONT ST MICHEL oil on canvas 37cm x 44.5cm; 14 1/2in x 17 1/2in Provenance: acquired directly from the artist's family by a previous owner
Estimate: 1000-1500

    
 
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