English School Drawings and Watercolor Paintings

A most attractive watercolor by one of the forefathers of British watercolour painting. John White Abbott (1763-1851) Abraham and Isaac in an extensive landscape Pen, ink and wash 7...

Family Group Drawing in Chinese white, sepia and bistre ink, c. 1790 Signed lower left: G. Morland (see photo) The present work appears to be a preliminary study for two Morland paintings where the artist uses portions of this preliminary study in finished exhibition paintings. The strongest association is with the painting entitled The Cottage Door (1790), now in the collection of Royal Holloway College, University of London. Morland uses the same small girl (on left side of this sheet) holding a doll on a chair in the exact same pose. The second painting entitled The Tea Garden (Tate Gallery, London, c. 1790) incorporates similar poses and gestures of the three other figure studies on this sheet. Provenance: Colnaghi, London (Stock # D25924, see photo) Maynard Walker Gallery, New York ( see photo of label) Davis Galleries, New York, their Eagle stamp and stock number (see photo) Ms. Gloria Kaplan (1930-2011) New York City Regarding Maynard Walker: Maynard Walker New York Times obit: "Maynard Walker, an art dealer in New York City for nearly 40 years who was among the first to show the works of leading American regionalist painters, died of pneumonia Tuesday at St. Joseph's Hospital in Carbondale, Pa. He was 89 years old and lived in Lake Ariel, Pa. In 1933, while working at the Ferargil Gallery in New York, Mr. Walker organized an exhibition for the Kansas City Art Institute that for the first time brought together the work of the regionalist painters Grant Wood, Thomas Hart Benton and John Steuart Curry. After Mr. Walker opened his own gallery, at 108 East 57th Street, in 1935, these artists joined him and showed regularly there. The gallery was also among the first to show the work of George Grosz, the German painter and caricaturist, who moved to the United States in 1932. The gallery moved to 117 East 57th Street after the war." Condition: Aging to paper Slight fading to ink Tiny spotting in image All consistent with the age of the drawing Image size: 6 3/8 x 9 1/2 inches Frame size: 14 1/4 x 17 1/4 inches George Morland was born in London on 26 June 1763. He was the son of Henry Robert Morland, and grandson of George Henry Morland, said by Cunningham to have been lineally descended from Sir Samuel Morland, while other biographers go so far as to say that he had only to claim the baronetcy in order to get it. Morland began to draw at the age of three years, and at the age of ten (1773) his name appears as an honorary exhibitor of sketches at the Royal Academy. He continued to exhibit at the Free Society in 1775 and 1776, and at the Society of Artists in 1777, and then again at the Royal Academy in 1778, 1779 and 1780. His talents were carefully cultivated by his father, who was accused of stimulating them unduly with a view to his own profit, shutting the child up in a garret to make drawings from pictures and casts for which he found a ready sale. The boy, on the other hand, is said to have soon found a way to make money for himself by hiding some of his drawings, and lowering them at nightfall out of his window to young accomplices, with whom he used to spend the proceeds in frolic and self-indulgence. It has been also asserted that his father, discovering this trick, tried to conciliate him by indulgence, humouring his whims and encouraging his low tastes. He was set by his father to copy pictures of all kinds, but especially of the Dutch and Flemish masters. Among others he copied Fuseli's Nightmare and Reynolds's Garrick between Tragedy and Comedy. He was also introduced to Sir Joshua Reynolds, and obtained permission to copy his pictures, and all accounts agree that before he was seventeen he had obtained considerable reputation not only with his friends and the dealers, but among artists of repute. A convincing proof of the skill in original composition which he had then attained is the fine engraving. It is said that before his apprenticeship to his father came to an end, in 1784, Romney offered to take him into his own house, with a salary of £300, on condition of his signing articles for three years. But Morland, we are told, had had enough of restraint, and after a rupture with his father he set up on his own account in 1784 or 1785 at the house of a picture dealer, and commenced that life which, in its combination of hard work and hard drinking, is almost without a parallel. Morland soon became the mere slave of the dealer with whom he lived. His boon companions were "ostlers, potboys, horse jockeys, moneylenders, pawnbrokers, punks, and pugilists." In this company the handsome young artist swaggered, dressed in a green coat, with large yellow buttons, leather breeches, and top boots. "He was in the very extreme of foppish puppeyism", says Hassell; "his head, when ornamented according to his own taste, resembled a snowball, after the model of Tippey Bob, of dramatic memory, to which was attached a short, thick tail, not unlike a painter's brush." His youth and strong constitution enabled him to recover rapidly from his excesses, and he not only employed the intervals in painting, but at this time, or shortly afterwards, taught himself to play the violin. He made also an effort, and a successful one, to free himself from his task-master, and escaped to Margate, where he painted miniatures for a while. In 1785 he paid a short visit to France, whither his fame had preceded him, and where he had no lack of commissions. Returning to London, he lodged in a house at Kensal Green, on the road to Harrow, near William Ward, intercourse with whose family seems for a time to have had a steadying influence. It resulted in his marriage with Miss Anne Ward...

Simeon Stafford (British, b.1956) St Michael’s Bay Pencil on paper Signed `Simeon’ (lower right) 15.3/4 x 22.3/4 in. (40 x 57.8 cm.) Executed in 2012 Simeon Stafford was born in Duk...

Title: Set of Four Miniature Watercolors of Redcliffe and Bristol Harbour by Jack Grunwell, 20th century British artist Medium: Watercolor on thin card, unframed Measurements (each)...

Title: Set of Three Miniature Watercolors of Historic Inns and Almshouses in Bristol by Jack Grunwell, 20th century British artist Medium: Watercolor on thin card, unframed Measurem...

Title: Set of Four Miniature Watercolors of Bristol Civic and Historic Landmarks by Jack Grunwell, 20th century British artist Medium: Watercolor on thin card, unframed Measurements...

Title: Set of Four Miniature Watercolors of Historic Bristol Churches and Almshouses by Jack Grunwell, 20th century British artist Medium: Watercolor on thin card, unframed Measurem...

Title: Historic Miniature Watercolor of Portcullis Inn Pub Scene by Jack Grunwell, 20th century British artist Medium: Watercolor on thin card, unframed Measurements: 3 inches (heig...

Title: Pair of Watercolors of Bootham Bar and Micklegate Bar York City Scenes by Jack Grunwell, 20th century British artist Medium: Watercolor on thin card, unframed Measurements: 3...

Title: St Georges Church and Court Farm Hanham and Haughan Abbots Watercolor by Jack Grunwell, 20th century British artist Medium: Watercolor on thin card, unframed Measurements: 3....

Title: Miniature Watercolor of St John the Baptist Chipping Sodbury by Jack Grunwell, 20th century British artist Medium: Watercolor on thin card,...

Alexander P. Thomson, R.S.W. (Scottish, 1887-1962) Plockton (Ross-shire, Scotland), 20th century Watercolor on paper 15 x 22 in. Framed: 25 1/16 x 32 in. Signed lower left: A.P. Thom...

Title: Pair of Historic Miniature Watercolors of Two of Bristol’s Historic Inns by Jack Grunwell, 20th century British artist Medium: Watercolor on thin card, unframed Measurements:...

Title: Miniature Watercolor Triptych of Historic Views of Bristol by Jack Grunwell, 20th century British artist Medium: Watercolor on thin card, unframed Measurements: 6.75 inches (height) x 2.5 inches (width) Condition: Very good and highly presentable Provenance: From a large private collection of this artists work in Bristol, England. Description: This stunning watercolor triptych by Jack Grunwell offers three historic views of Bristol, beautifully arranged in a vertical composition. Each panel captures a different aspect of the city’s maritime and architectural heritage, highlighting its connection to trade, history, and natural beauty. Clifton Suspension Bridge...

Title: Historic Miniature Watercolor of Temple Church and Shakespeare Inn in Bristol by Jack Grunwell, 20th century British artist Medium: Watercolor on thin card, unframed Measurem...

A fascinating 19th century view of Chinese Sumo wrestlers in a mountainous landscape Circle of George Chinnery (1774-1852) Chinese wrestlers in a land...

A lovely rural scene with figures walking on a country track, pausing for a moment to chat and gaze over towards the castle in the woods. Circle of William Leighton Leitch (1804-188...

Title: Miniature Watercolor of Chapel of the Three Kings, Christmas Steps in Bristol by Jack Grunwell, 20th century British artist Medium: Watercolor on thin card, unframed Measurem...

Title: Historic Miniature Watercolor of Chapel of the Three Kings in Bristol by Jack Grunwell, 20th century British artist Medium: Watercolor on thin card, unframed Measurements: 2....

Title: Historic Miniature Watercolor of St Bartholomew 1620 and Three Kings Almshouses by Jack Grunwell, 20th century British artist Medium: Watercolor on thin card, unframed Measur...

Title: Historic Miniature Watercolor of Christmas Steps Historic Bristol Street Scene by Jack Grunwell, 20th century British artist Medium: Watercolor on thin card, unframed Measure...

Title: Historic Miniature Watercolor Paintings of John Wesley Kingswood School by Jack Grunwell, 20th century British artist Medium: Watercolor on thin card, unframed Measurements: ...

William Heath Robinson (British, 1872-1944) East coast sea sketch, circa 1930 Pencil and watercolour 8.1/2 x 12.3/4 in. (21.7 x 32.3 cm.) There is an extensive passage regarding the ...

Blair Hughes-Stanton – ‘Thetis Laments’ 1952 The watercolour is signed by the artist lower right in pencil 'Blair HS' and dated (19)52. It was exhibited in June 1954 at The Leicester...

Red and black chalk on paper, with white highlights Initialed ‘CHS’ and dated (lower right) 27cm × 25cm (43cm × 39cm framed) Shannon studied at Lincoln School of Art and at Lambeth ...

English School, Circa 1859 The Hampton Court Paper Chase Pen and ink Dated ‘nov. 2.6.4/59’ (lower right) 5.1/4 x 7 in. (13.3 x 17.8 cm.)

Artist: John Arthur Dees (English, 1876-1959) Title: "In Cambridgeshire" *Signed by Dees lower right Circa: 1915 Medium: Original Watercolor on paper Framing: Recently beautifully fr...

Sir William Rothenstein (British, 1872-1945) Mountain landscape Signed and dated `W. Rothenstein 22’ (lower right) Gouache 20.3/8 x 15 in. (51.8 x 38 cm.) Provenance: Christie’s London, Modern British Paintings, 31 October 1996, lot 2 The English portrait artist Sir William Rothenstein was born January 29, 1872, near Bradford, Yorkshire. William Rothenstein was the son of Moritz Rothenstein, who came to England from Hanover in 1859, and the brother of Charles Lambert Rutherston, the collector, and Albert Daniel Rutherston, the artist. William Rothenstein studied for one year at the Slade School in London under Alphonse Legros, after which he spent four years in Paris, where he attended the Académie Julian. While in Paris, Rothenstein met many of the important artists of the time; he was particularly influenced by James Whistler, Edgar Degas, and Henri Fantin-Latour. After his return to England in 1893, Rothenstein was commissioned by John Lane...

B. C. Leeming (British, circa 1901) A Portrait of John Ruskin Ink Signed and dated ' B C Leeming 01’ (lower left) 13 x 10.1/4 in. (33 x 26 cm.). Provenance: Collection of James S D...

19th century silhouette of a male , description to reverse gives name and date, copied from back of silhouette see photo framed and glazed and in good condition with only minor sig...

V JORDAN (19th Century) , A Surrey Cottage watercolour heightened with white, signed, inscribed mounts, size overall 23 x 19 inches approx. painti...

A 19th Century WATERCOLOUR depicting a charming British rural scene with Milk maids and children in a farmstead size of image approx 28 x 23 cm (11" by 9") oval overall size( 41 x 46...

A study in red chalk of a girl sitting and reading a book. Red chalk on paper under glass in a giltwood and gesso frame. This small drawing has a sense of intimacy in the capturing of a moment where the sitter is seemingly unaware of being observed, unlike the feeling of formailty and self-awareness in a staged portrait sitting Provenance: Private collection, Somerset With J. Davey & Sons Ltd, Liverpool William Hoare...

Housed in a period gold leaf frame. Inscribed lower left, "Market Place Tanta Egypt". Signed and dated 1874. This watercolor depicts an Arab Marketplace (Souk) in Tanta, Egypt. William Paton Burton was born 1828, in Madras, India and died December 1883, in Aberdeen, Scotland. William Paton Burton was an architect, painter and watercolourist. His father was an officer in the Indian Army. Burton first studied with David Bryce...

Thomas Barclay Hennell (1903-1945) Gathering potatoes, Inscribed, "Gathering potatoes/ Folkestone/ Sept 30 1931", Pencil with pen highlights, 11 x 17½ inches 18 x 24 inches with the...

Blair Hughes-Stanton (British, 1902-1981) The Bathers Ink and watercolour Signed and dated `Blair HS 38’ (lower right) 13.1/2 x 20 in. (34.4 x 50.7 cm.)

Watercolour and pen and ink on paper, inscribed verso Image size: 5 x 4 inches (13 x 10 cm) Framed This drawing most likely depicts a view in Lullingstone Park, near the village of ...

Graphite on paper Image size: 10 1/4 x 8 1/2 (26 x 22 cm) Mounted Drawing was at the heart of all of his artistic practice. A friend once recalled an anecdote that out on a walk he ...

Graphite on paper Image size: 5 1/4 x 8 inches (13 x 20.25 cm) Mounted Jane Ross Little is known about Jane Ross apart from that she attended Heatherley's Art School. Here she met...

The Callings of Saints Peter and Andrew Robert Edge Pine 1730-1788 Chalk on paper, unsigned Image size: 15 1/2 x 17 inches (39.5 x 43 cm) Original frame Here in Pine’s picture disp...

V JORDAN (19th Century) A Warwickshire Cottage, watercolour heightened with white, signed, inscribed mounts, size overall 23 x 19 inches approx. painting 9 1/2" x 13 1/2", The waterc...

Graphite on paper Image size: 7 x 5 inches (17.75 x 12.75 cm) Mounted Jane Ross Little is known about Jane Ross apart from that she attended Heatherley's Art School. Here she met ...

Brown, grey and pink washes on beige paper 4 x 3 3/4 inches (10 x 9.5 cm) Signed: In Nuremberg Provenance Commissioned from the artist by Daniel Wadsworth Coit (1787 – 1876), and th...

Company School 18th Century Ramnagar Fort, India Pen & ink on paper Inscribed and dated 1793 Acid free mount This incredible detailed work would probably have been drawn by an En...

Watercolour and graphite on paper Image size: 9 1/2 x 12 inches (24 x 30.5 cm) Acid free mount This is a view just outside of the village of Warlingham, Surrey, where Scott had a house. The Artist Gordon Scott frst studied at Croydon School of Art and then was trained at the Royal College of Art between 1934-38 under Gilbert Spencer, Alan Sorrell and Charles Mahoney...

Graphite on paper, signed bottom right Image size: 13 x 8 3/4 inches (33 x 22.25 cm) Original frame Dora Thacher Clarke, later Dora Middleton, (1895–1989) was a British sculptor and wood carver who also wrote about, and promoted African art. Clarke was born in Harrow in Middlesex. Her father, Joseph Thacher Clarke was an American architect. Clarke won a scholarship that allowed her to attend the Slade School of Fine Art. Aged fifteen, Clarke initially studied at the Slade on a part-time basis for three days each week throughout 1910 and 1911 but during 1915 and 1916 she studied sculpture there as a full-time student. Clarke first exhibited at the Royal Academy in 1923 and continued to do so until 1959. In the early 1930s she was a regular exhibitor in group shows at the Goupil Gallery and in March 1937 had her first solo show at the French Gallery. She also exhibited at the Paris Salon and with the Royal Society of British Artists. Clarke's works included bronze castings, memorials and wood sculptures, often of African heads. For example she was commissioned to sculpt the posthumous portrait bust of Sir Walter Morley Fletcher. The most notable of her memorials is the panel and medallion tribute to Joseph Conrad at Bishopsbourne in Kent, which was unveiled in 1927. Clarke also wrote about, and promoted African art and spent a year, between 1927 and 1928 in Kenya, where she made many drawings which when she returned to London she used as the basis for wood carvings and bronzes of tribal figures. Wood carving became her technique of choice, often working with hardwoods and, on occasion, sperm whale teeth. Clarke married Admiral Gervase B Middleton in 1938 but rarely exhibited work under her married name. During World War II, Clarke was commissioned by the War Artists' Advisory Committee to produce a portrait medallion depicting a serviceman who had been awarded the George Cross. This proved to be the only portrait medallion acquired for the WAAC collection. Sculptures by Clarke are held in various museums, including the Ashmolean Museum which also holds a 1936 portrait of her by Orovida Camille Pissarro.

Graphite on paper, signed with stamp Image size: 9 x 6 ¾ inches Acid free mount Born in London, Moody studied at Battersea Polytechnic and at Royal College of Art under William Roth...

Graphite on paper, signed lower right Image size: 17 x 21 inches (43.25 x 53.25 cm) Contemporary frame James Stroudley Stroudley was born in London on 17 June 1906, the son of James Stroudley, showcard and ticket writer. He studied at Clapham School of Art (1923-27) and then at the Royal College of Art (1927-30), where his teachers included Alan Gwynne-Jones and William Rothenstein. As a recipient of the first Abbey Scholarship he was able to spend three years in Italy from 1930, where he absorbed the influences of Giotto and Piero della Francesca, and produced one of the last wholly satisfying decorative cycles by a Rome Scholar of the period. From 1934, he exhibited at the Royal Society of British Artists, and was elected to its membership in the following year. From the Second World War – in which he worked with the Camouflage Unit – Stroudley taught at St Martin’s School of Art and was a visiting lecturer at the Royal Academy Schools. Though he continued to live in London, his later work, exhibited at the Royal Academy from 1955, indicated regular painting trips to Kent and Sussex coasts. However, much of his later work was abstract. In 1971, his former student, Peter Coker, paid homage to Stroudley by including his work in the exhibition ‘Pupil & Masters’, held at Westgate House, Long Melford, Suffolk. Stroudley married three times, and his wives included the fashion artist to the Sun newspaper...

Pastel on paper Image size: 13 x 17 1/2 inches (33 x 44.5 cm) Mounted and framed This original pastel drawing by Thomas Frye is a half-length portrait of a man dressed in a turban. This drawing is the original sketch for one of the heads depicted in Frye's collection 'Twelve Mezzotint Prints' of 1760 and it can be assumed that this pastel work was created earlier of this same year. Two versions of the print, created from this original work, are currently held in the collection of the National Portrait Gallery and the Metropolitan Museum of Art. Frye's evocative figures, although presumably based on living models, exceed the conventions of portraiture, and also function as character studies. The man shown here - dressed in the fashionable 'Turkish' manner - turns with parted lips as if poised to speak, while raising the elegant fingers in one hand in a rhetorical gesture. His long eyelashes and smoothly rendered wrinkles and dimples are hallmarks of Frye's refined style. The Artist Thomas Frye (c. 1710 – 3 April 1762) was an Anglo-Irish artist, best known for his portraits in oil and pastel, including some miniatures and his early mezzotint engravings. He was also the patentee of the Bow porcelain factory, London, and claimed in his epitaph to be "the inventor and first manufacturer of porcelain in England," though his rivals at the Chelsea porcelain factory seem to have preceded him in bringing wares to market. The Bow porcelain works did not long survive Frye's death; their final auctions took place in May 1764. Frye was born at Edenderry, County Offaly, Ireland, in 1710; in his youth he went to London to practice as an artist. His earliest works are a pair of pastel portraits of boys...