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Live
Venue address
Dreweatts
Donnington Priory
Newbury, Berkshire
RG14 2JE
United Kingdom
Old Master, British and European Art
This is a live online auction with auctioneer. For details on registration, bidding, viewing & condition reports, click “Important information” link.
Viewing in London (highlights): Dreweatts London, 16-17 Pall Mall, St James’s, London SW1Y 5LU
24 Sep 2024 10:00 - 16:00 BST
25 Sep 2024 10:00 - 16:00 BST
26 Sep 2024 10:00 - 16:00 BST
Viewing in Newbury (full sale): see below
Auction dates
09 Oct 2024 10:30 BST
Viewing dates
06 Oct 2024 10:00 - 15:00 BST
07 Oct 2024 10:00 - 16:00 BST
08 Oct 2024 10:00 - 16:00 BST
09 Oct 2024 09:00 - 16:00 BST
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Featured lots
There are 238 lots within this auction
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THOMAS MILES RICHARDSON THE YOUNGER (BRITISH 1813-1890)
AN ITALIANATE LANDSCAPE
Watercolour
Signed (lower right)
9 x 30cm (3½ x 11¾ in.)
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FRANCIS DANBY (BRITISH 1793-1861)
LANDSCAPE OF A LAKE WITH REFLECTIONS
Pencil and grey wash
14 x 20cm (5½ x 7¾ in.)
Provenance:
J S Maas & Co., London, 1965
Sale, Rosebery's, Old Masters & 19th Century Pictures , 19 July 2022, lot 164
Exhibited:
London, J S Maas & Co., Christmas Exhibition, 1965, no. 26
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1
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1,500 - 2,000 GBP
FRANCIS DANBY (BRITISH 1793-1861)
A SAILING SHIP IN A STORMY SEA
Oil on card
Signed (to mount, lower centre)
16 x 18cm (6¼ x 7 in.)
Provenance:
Anthony Reed, London
Davis & Langdale Co. Inc., New York
David Cross Gallery, Bristol
Sale, Sotheby's, London, Old Master and British Works on Paper , 6 July 2022, lot 213, from the Collection 'A Way of Life: The Collection of Barbara & Ernest Kafka'
Exhibited:
London, The Tate Gallery, Francis Danby , 15 Feb - 9 April 1989, n. 60
Dating from circa 1855 this rapidly executed oil study was painted at a time when the artist was living on the Devon coast at Exmouth. Danby had a great love of sailing and was an amateur boat builder. He was also aware of the sea's power and survived a shipwreck off Axmouth in the last year of his life. The low viewpoint and subtle treatment of the dark tones heighten the sense of drama in this sketch.
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HENRI JOSEPH HARPIGNIES (FRENCH 1819-1916)
LA FUTAIE
Charcoal
Signed and dated '1901' (lower left)
14.5 x 22.5cm (5½ x 8¾ in.)
Provenance:
Sale, Dreweatts , Art Online , 30 June 2023, lot 61
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λ ETHELBERT WHITE (BRITISH 1891-1972)
FIGURE IN A WOODED LANDSCAPE
Pencil
18 x 14cm (7 x 5½ in.)
Provenance:
Hilary Chapman
Moore-Gwyn Fine Art, London
Sale, Christie's, London, Dramas Of Light and Land: The Martyn Gregory Collection of British Art, 24 May 2022, lot 83
Exhibited:
London, Martyn Gregory, A Foray in to the 20th Century: Works by British Artists , April-May 2015, no. 83
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HENRI LE SIDANER (FRENCH 1862-1939)
LA FONTAINE (CIRCA 1911)
Chalk and pencil
Signed (lower right)
19.4 x 24.7cm (7½ x 9½ in.)
Provenance:
Private collection, acquired in 1989
P. & D. Colnaghi, London, acquired in 1999
Private collection, Florida, acquired from the above in 2012
Sale, Christie's, London, Modern Edition: Works on Paper and Prints , 1 July 2020, lot 43
Stephen Ongpin Gallery, London
Exhibited:
Paris, Musee Galleria, Retrospective Henri Le Sidaner , April 1948
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CHRISTIAN JACQUES BERARD (FRENCH 1902-1949)
SKETCH FOR A PLAY, POSSIBILY DAPHNIS AND CHLOE
Gouache and watercolour
Signed (lower left)
25 x 19cm (9¾ x 7¼ in.)
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ATTRIBUTED TO RICHARD ROTHWELL (IRISH 1800-1868)
PORTRAIT OF A PAGE
Oil on canvas
67 x 50cm (26¼ x 19½ in.)
Provenance:
Sale, Christie's, Scotland, 27 November 1996, lot 662, as Richard Rothwell
Lady Patricia Ramsay
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1
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2,000 - 3,000 GBP
JOHN BOADEN (BRITISH FL. 1812-1839)
THE BRAZILIAN BRIDE
Oil on canvas
75 x 62.5cm (29½ x 24½ in.)
Provenance:
Sale, Gorringes, Lewes, 28 September 2021, lot 361
The painting was engraved by H. Cook and published by Elder & Co.
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BRITISH SCHOOL (CIRCA 1900)
PORTRAIT OF A LADY WITH A TIBETAN SPANIEL
Oil on canvas
Signed with monogram 'JB' (lower left)
61 x 46cm (24 x 18 in.)
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ATTRIBUTED TO GEORGE HENRY HARLOW (BRITISH 1787-1819)
A YOUNG WOMAN RESTING BY A WALL
Oil on panel
21.5 x 17cm (8¼ x 6½ in.)
Provenance:
Prof. Julius Held (1905-2002), New York
Sale, Christie's, New York, 27 January 2009, lot 58
Private Collection, UK
George Harlow studied first under Hendrik Frans de Cort, then with Samuel Drummond, before joining Thomas Lawrence's studio apparently on the advice of the Duchess of Devonshire, who had noticed his talent. In 1818, Harlow travelled to Italy where he was widely admired for his technical ability. He was befriended by the sculptor Antonio Canova and earned considerable acclaim in Rome by painting a full-size copy of Raphael's Transfiguration , a feat that resulted in his election as an Academician of Merit in the Accademia di San Luca in Rome, a rare accolade for an English artist.
The picture formed part of the large and fascinating collection assembled by Professor Julius Held. Born in Germany, Held emigrated to the United States in 1934 and became a towering figure in art historical circles, widely recognised for his scholarship and expertise on Rubens, Rembrandt, and Van Dyck. An author of many articles and books, including the 1980 two-volume publication The Oil Sketches of Sir Peter Paul Rubens .
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CIRCLE OF JOHN LINNELL (BRITISH 1792 - 1882)
A PAIR OF PORTRAITS
Oil on canvas
Each 31 x 25.5cm (12 x 10 in.) (2)
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GEORGE FREDERIC WATTS (BRITISH 1817-1904)
PORTRAIT OF MR RICHARD EDMONDS
Oil on canvas
Later signed (lower left)
25 x 20cm (9¾ x 7¾ in.)
Provenance:
The sitter's granddaughter Mrs Emma Shorter
Exhibited:
London, Leighton House, August - November 1905
The 1905 exhibition of works by G.F Watts at Leighton house included a number of works which were lent by Mrs Russell Barrington (The author of The life, letters and work of Frederic Leighton Vol.I&II ). In a letter to Mrs Barrington dated August 1905, Mrs Shorter writes of the present lot:
I had an interview with my aunt yesterday on the subject of the little picture of her father by the late Mr Watts. She informed me that she cannot quite remember the year in which it was painted but it was certainly not later than 1834.
Mr Watts' father in those days was a piano tuner and used to go to Mr Richard Edmonds' house at New Cross to tune the pianos, during that time he was always talking of his son's great talent...Mr Edmonds wishing to encourage the young artist gave him a sitting. it was not signed at the time of painting but 5 years ago Mr Watts recognised it as his work and kindly affined his signature'.
The portrait was subsequently shown to Mr Richard Jeffries circa 1996/7 who confirmed the attribution.
We are grateful to Richard Ormond for his help in preparing this catalogue entry.
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7,000 - 10,000 GBP
ARTHUR HUGHES (BRITISH 1832-1915)
THE CONVENT BOAT
Oil on canvas
Signed (lower right)
44.5 x 72.5cm (17½ x 28½ in.)
Provenance:
Mrs. Ann Fleming by1963
Sale Christie's, 25 March 1966, lot 145, as 'The last Farewell' (70gns)
Naylor Leyland.
Sale, Sotheby's, 26 July 1967, lot 361 (£160)
David W. Hughes.
Sale, Sotheby's, 30 October 1968, lot 118 (£190)
Colson.
Sale, Sotheby's Belgravia, 22 February 1972, lot 109 (£650)
The Fine Art Society
Michael Hasenclever.Galerie
R. Hartmann by November 1973.
Sale, Sotheby's Belgravia, 9 April 1980, lot 17 (£11,000)
Private collection, UK
Exhibited:
London, The Aesthetic Movement and the Cult of Japan , The Fine Art Society, 3-27 October 1972 (no.24, repr. p.14)
Munich, Burne-Jones und der Einfluß der Prä-Raffaeliten , Michael Hasenclever, 29 November 1972 -10 January 1973 (No.11, DM16,500, repr.)
Baden-Baden, Germany, Staatliche Kunsthalle Baden-Baden 1973 (No.84, repr. colour, p.147)
Literature:
M. Amory, ed. The Letters of Evelyn Waugh , 1980, p.607.
L. Roberts and S. Wildman, Arthur Hughes: His Life and Works, A Catalogue Raisonné , Woodbridge Suffolk: Antique Collectors' Club, 1997, no.131.3. ill., p.184
Depictions of nuns proliferated in Victorian art. The opportunity for medievalism appealed to Victorian sensibilities but their popularity also speaks to the emergence of High Anglicanism and the conventual revival which had been cultivated by the Oxford Movement. The subject, having been relatively neglected for a couple of hundred years, was enthusiastically taken up by many of Hughes' contemporaries, including John Everett Millais and William Holman Hunt
In a letter to Nancy Mitford, Evelyn Waugh once described the present work as a "touching scene"; it shows the emotional moment in which a young novice leaves her family for the convent. The ramifications of her decision are laid bare for the viewer. Dressed as a bride of Christ, the novice's austere clothing contrasts with the sumptuous garb of those standing on the river bank. While her family lament her departure, she holds a prayer book and looks away solemnly, appearing resolute
in her choice. The deliberate negation of material wealth and familial or romantic ties was a recurrent theme in artistic and literary depictions of nuns. The works reveal a curiosity with autonomous female spaces and the eschewal of the secular world in favour of an interior, spiritual life. Indeed, we only see a small glimpse of the cloister she will be entering.
The work invokes a harmonious vision of the pre-Reformation world. Soft evening light descends over the trees and reflects serenely across the water. The convent walls, overgrown with dense ivy, suggest the institution's agedness, connecting it with England's spiritual heritage. When a larger version of this painting was exhibited at the Royal Academy in 1874, critics praised Hughes' attention to organic detail and the romantic naturalism of the scene. One wrote that the picture provided the "double fascination of a scene that belongs both to the present and the past", whilst another lauded the "perception of beauty that belongs to the solemn and aged growth of undisturbed places." What is more, Hughes identified it as one of his best works in a letter to the French art critic Ernest Chesneau. The fact that the artist returned to the subject several times confirms his fondness for the composition.
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1,500 - 2,000 GBP
λ JOHANNES HENDRIK EVERSEN (DUTCH 1906-1995)
STILL LIFE WITH A ROEMER, PEWTER, AND FRUIT
Oil on canvas
Signed and dated '1959' (lower right)
50 x 70cm (19½ x 27½ in.)
Provenance:
Burlington Paintings, London
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1
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2,000 - 3,000 GBP
ENGLISH SCHOOL (20TH CENTURY)
LILLIES, CLUYSANTHEMUMS AND POPPIES IN A LANDSCAPE, WITH A FROG AND BEETLE IN THE FOREGROUND
Oil on canvas
94 x 71cm (37 x 27¾ in.)
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MANNER OF JEAN BAPTISTE MONNOYER
STILL LIFE OF FLOWERS AND A BASKET IN A LANDSCAPE
Oil on canvas
68 x 107cm (26¾ x 42 in.)
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FRANÇOIS THOMAS DE BACKER (BELGIAN 1812-1872)
TWO TRAVELLERS ON A FOOTPATH
Oil on canvas
Signed and dated '1845' (lower left)
80 x 65cm (31¼ x 25½ in.)
Condition Report:
There is a small bag with fragment of frame attached with brown tape verso. No visible woodworm to the frame. The canvas has been lined. Fine surface cracking and paint shrinkage across the image but the paint layer is stable. Inspection under UV reveals some very minor small spots of retouching scattered throughout, together with a layer of varnish.
Condition Report Disclaimer
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1
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2,000 - 3,000 GBP
WILLIAM ETTY (BRITISH 1789-1849)
EVE AND THE SERPENT
Oil on panel
15 x 15.5cm (5¾ x 6 in.)
Provenance:
Sale, Phillips Son and Neale, 14 December 1981, lot 146
J.H. Starkey, Beverley, Yorkshire
Sale, Tennants Auctioneers, Leyburn, 22 July 2016, lot 672
Sale, Sotheby's, London, TOMASSO: The More a Thing is Perfect , 29 April 2021, lot 157
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WILLIAM BREAKSPEARE (BRITISH 1856-1914)
THE BREAKUP
Oil on board
Signed (lower right)
18 x 28.5cm (7 x 11 in.)
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FOLLOWER OF RICHARD REDGRAVE
A GIRL SEWING IN A SUNNY DOORWAY
Oil on canvas
52 x 40cm (20¼ x 15½ in.)
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1
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1,000 - 2,000 GBP
AUGUSTE JEAN BAPTISTE VINCHON (FRENCH 1789-1855)
A FOUNTAIN IN A WOODED LANDSCAPE, POSSIBLY AT TIVOLI
Oil on paper laid down on canvas
21 x 26cm (8¼ x 10 in.)
Provenance:
By descent in the family of the Artist
Their sale, Hotel des Ventes Michelcolombe, Tours, 11 October 1998, lot 19
Private Collection, UK, acquired at the above sale
Auguste Jean-Baptise Vinchon was a pupil of Gioacchino Giuseppe Serangeli and Jacques-Louis David. In 1813 he won second place in the Prix de Rome and the Grand Prix the following year. He resided in Rome at the French Academy in the Villa Medici between 1814 and 1816. During his stay, he spent his days copying the Old Masters and making oil sketches of the city and the surrounding countryside. At the time, in Rome, en plein-air sketching was much in vogue, and was practiced by artists who, like Vinchon, were not specialists in the genre. Sketching from nature trained artists in close observation and served them to collect a library of motifs usable for further compositions. Such sketches were usually executed on paper, which was easier to transport, and then laid down on canvas to provide a more stable support.
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1
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1,000 - 2,000 GBP
AUGUSTE JEAN-BAPTISTE VINCHON (FRENCH 1789-1855)
A TOMB IN THE NAVE OF A BASILICAN CHURCH
Oil on paper laid down on canvas
25.7 x 38.4cm (10 x 15 in.)
Provenance:
By descent in the family of the Artist
Their sale, Hotel des Ventes Michelcolombe, Tours, 11 October 1998, lot 19
Private Collection, UK, acquired at the above sale
Auguste Jean-Baptise Vinchon was a pupil of Gioacchino Giuseppe Serangeli and Jacques-Louis David. In 1813 he won second place in the Prix de Rome and the Grand Prix the following year. He resided in Rome at the French Academy in the Villa Medici between 1814 and 1816. During his stay, he spent his days copying the Old Masters and making oil sketches of the city and the surrounding countryside. At the time, in Rome, en plein-air sketching was much in vogue, and was practiced by artists who, like Vinchon, were not specialists in the genre. Sketching from nature trained artists in close observation and served them to collect a library of motifs usable for further compositions. Such sketches were usually executed on paper, which was easier to transport, and then laid down on canvas to provide a more stable support.
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1
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Estimate
2,000 - 3,000 GBP
WILLIAM HUGGINS (BRITISH 1820-1884)
THE RUINS OF ST JOHN'S CHESTER
Oil on canvas
Signed and dated `1873' (lower right)
51 x 45.5cm (20 x 17¾ in.)
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MYLES BIRKETT FOSTER (BRITISH 1825-1899)
FRANKFURT
Pencil and watercolour with white heightening
Inscribed with title (lower right)
14 x 10.5cm (5½ x 4 in.)
Provenance:
The Collection of Fanny Anne Foster (Second wife of the artist)
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1
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1,500 - 2,500 GBP
ATTRIBUTED TO GEORGES ANTOINE ROCHEGROSSE (FRENCH 1859 -1938)
ARRIVAL AT THE TEMPLE
Oil on canvas
49.5 x 82cm (19¼ x 32¼ in.)
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JAMES AUMONIER (BRITISH 1832-1911)
SUNNY HOURS
Oil on canvas laid on panel
Signed (lower right)
23 x 46cm (9 x 18 in.)
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1
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1,500 - 2,000 GBP
ADRIANO GOBY (ITALIAN 19TH CENTURY)
WOMAN SEATED WITH A BASKET OF FLOWERS AND A FAN
Oil on canvas
Signed (lower right)
108 x 77cm (42½ x 30¼ in.)
Condition Report:
The relined canvas presents a very subtle craquelure, mostly visible near the right arm and dress. Under UV light various brush strokes fluoresce, such as on the nose, cheek, right arm, and dress, but they might be original brushstrokes and not retouches.
The evident retouches are on the sitter's left arm and on the fan, where the restorations follow the cracks of the craquelure.
Condition Report Disclaimer
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RAMON MUNOZ RUBIO (SPANISH 1867 - 1910)
BAILAORES FLAMENCOS
Oil on canvas
Signed (lower right)
66 x 47cm (25 x 18½ in.)
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154
BRITISH SCHOOL (19TH CENTURY)
SKETCHES DEPICTING PERFORMANCES OF SATISFACTION AND THE RIVALS
Watercolour and bodycolour with white heightening, a pair
Each with accompanying sheets inscribed with players details, and one dated '1835' (attached verso)
Each 26.5 x 41cm (10¼ x 16 in.) (2)
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1
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3,000 - 5,000 GBP
λ WALTER ERNEST WEBSTER (BRITISH 1878 - 1959)
ROMANCE
Oil on canvas laid to board
Signed (lower right)
70 x 52cm (27½ x 20¼ in.)
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2,000 - 3,000 GBP
AUGUSTE LOUIS VEILLON (SWISS 1834 - 1890)
ARAB ON HORSEBACK ALONG A COASTAL TRACK
Oil on canvas
Signed (lower left)
47.5 x 80cm (18½ x 31¼ in.)
Provenance:
The collection of Dr Hans Willi (1929 - 2005), Passfield Manor, Hampshire, acquired circa 1985
Thence by descent to the present owner
Condition Report:
The canvas is relined and presents no evident craquelure. UV light reveals a few scattered retouches in the sky, majorly on the left side section, and a 6cm wide horizonal retouch near the centre left section of the sky, where adjacent are three smaller retouches of about 2cm in width.
Framed measurements 70x99 cm
Condition Report Disclaimer
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1
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5,000 - 7,000 GBP
AMEDEO PREZIOSI (MALTESE 1816-1882)
A SET OF SIX STUDIES OF TURKS
Pencil, watercolour, and bodycolour
Each 26 x 17cm (10 x 6½ in.) (6)
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1
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7,000 - 10,000 GBP
WILLIAM STRUTT (BRITISH 1825-1915)
`L'ABREUVOIR,' THE WATERING PLACE
Oil canvas
Signed (lower left)
66 x 161cm (25 x 63¼ in.)
Exhibited:
Possibly Paris 189* (according to a fragmentary label on the reverse)
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4,000 - 6,000 GBP
ATTRIBUTED TO HENRY JOHN LEWIS WALKER D'ACOSTA (BRITISH ACTIVE 1883-1889)
THE FLOWER MARKET, PARIS 1897
Oil on canvas
Signed, inscribed and dated 'Paris 1897'(lower left)
66 x 100cm (25 x 39¼ in.)
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6,000 - 8,000 GBP
OSCAR BLUHM (GERMAN 1867-1912)
MIDSUMMER DAY
Oil and bodycolour on paper
Signed, inscribed and dated 'Meissen 08' (lower left)
33 x 50cm (12 x 19½ in.)
Provenance:
Sale, Bonham's, London, 29 September 2010, lot 32
MacConnal-Mason, London
Copgrove Hall, Yorkshire
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MICHELANGELO MEUCCI (ITALIAN 1840 - 1901)
ROBINS; GOLDFINCHES; BLUEBIRDS
Oil on canvas, a set of three
Each signed, inscribed and dated 'Firenze 1901' (lower right)
Each 45 x 27cm (17½ x 10½ in.) (3)
Condition Report:
The works have not been lined. Stretcher marks visible. Some superficial surface scratches and craquelure. Overall the works appear to be in good original condition
Please note Dreweatts is not responsible for any damage to frames
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WILLIAM HENRY BARRIBAL (BRITISH 1874-1952)
PORTRAIT OF A YOUNG WOMAN WEARING A BLACK HAT
Watercolour and gouache
Signed (lower right)
38 x 28cm (14¾ x 11 in.)
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ALBERT DE BELLEROCHE (WELSH 1864 - 1944)
NUDE STUDIES
Charcoal
One signed with initials and numbered '91', the other numbered '148' (lower left)
Each 40 x 25.5cm (15½ x 10 in.) (2)
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1
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15,000 - 25,000 GBP
PIETRO ANTONIO ROTARI (ITALIAN 1707-1762)
YOUNG BOY WEARING A TEAL GILET
Oil on canvas
43 x 33cm (16¾ x 12 in.)
In 1734 after studying in Rome and Naples Pietro Rotari returned to his hometown of Verona where he opened a private academy concentrating on the production of historical and religious paintings. By 1740 his success brought him the title Count of the Venetian Republic and the following year he travelled to Vienna, where he was introduced to Jean-Etiènne Liotard, the celebrated Swiss pastellist, whose work profoundly influenced him. He was in Dresden, in the service of Frederick Augustus III, when he received an invitation from the Empress Elisabeth of Russia, daughter of Peter the Great, to come to St. Petersburg as first painter of the court. He arrived in 1756 and soon amassed a large fortune
Although he continued to work as a history painter in Saint Petersburg, it was there that Rotari developed the genre still associated with his name: small paintings of idealized heads, delicate and studiously artless in style, depicting the emotions of young boys and girls. After Rotari's sudden death in 1762, Catherine the Great bought 340 of the artist's 'fancy pictures' for the salon of Peterhof. The pictures Catherine did not buy were returned to Rotari's family in Verona, where they remained in the possession of his descendants until the late nineteenth century.
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EDWARD TAYLOR (BRITISH 1828-1906)
GIRL WITH BLUE RIBBON IN HER HAIR
Watercolour heightened with white
Signed and dated `1870' (lower left)
39 x 31cm (15¼ x 12 in.)
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EDWARD TAYLER (BRITISH 1828 - 1906)
A CLASSICAL BEAUTY WITH FLOWERS IN HER HAIR
Watercolour
Signed with initials (lower left)
31 x 22cm (12 x 8½ in.)
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EDWARD TAYLER (BRITISH 1828 - 1906)
LA RAGAZZA
Watercolour heightened with white
Signed (lower left)
40.5 x 36cm (15¾ x 14 in.)
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EDWARD TAYLOR (BRITISH 1828-1906)
A GIRL WITH A GARLAND OF BLUE BELLS IN HER HAIR
Watercolour and pencil
Signed (lower right)
37 x 27cm (14½ x 10½ in.)
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20,000 - 30,000 GBP
λ FRANK CADOGAN COWPER (BRITISH 1877-1958)
VANITY
Pastel
Signed and dated '1925' (lower right)
50 x 34cm (19½ x 13¼ in.)
Provenance:
Sale, Drouot-Richelieu, Paris, 11 th June 2004, lot 106
The Maas Gallery Ltd, London, where purchased by the present owner, 2006
Exhibited:
Paris, Exposition des Beaux-Arts, 1936
Cowper first painted Vanity in 1907 the year he became at Associate of The Royal Academy. He was so enamoured with it that he bought it back when it came up for auction at Christie's in 1921. Four years later he produced this pastel replica, which was a practice that he often did for his most popular paintings. He gave the 1907 version to The Royal Academy as his Diploma Work when he became a Royal Academician in 1934.
Cowper collected antique frames and this pastel was most probably drawn especially for this frame as the proportions differ from the earlier version.
The prime version of Vanity was most recently exhibited in Pre-Raphaelites: A Modern Renaissance at the Musei di San Domenico in Forlì, Italy and the influence of Renaissance painting is clearly seen in Cowper's work. He is often seen as the last exponent of the Pre-Raphaelite tradition and the picture pays homage to Rossetti's half-length likenesses of beautiful models with exotic accessories, an idiom itself owing much to sixteenth-century Venetian painting. The elaborate serpentine design on the woman's dress may have been inspired by the portrait of Isabella d'Este attributed to Giulio Romano (Historic Royal Palaces). Edward Burne-Jones had also depicted such a design in his watercolour 'Sidonia von Bork' (1860; Tate Britain). Vanity suggests the romance of the past and alludes to notions of the chivalric and courtly love.
The record auction price for the artist was set by Our Lady of the Fruits of the Earth which sold at Christie's in 2011 for £469,250.
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ALBERT GOODWIN (BRITISH 1845-1932)
ON THE ROAD TO WINCHESTER
Oil on canvas
Signed (lower left)
87.5 x 139.5cm (34¼ x 54¾ in.)
Provenance:
Dr. G.B.Longstaff
Chris Beetles, London
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ALBERT GOODWIN (BRITISH 1845-1932)
MERAN, TYROL
Watercolour heightened with bodycolour
Signed and dated '1911' (lower right), titled (lower left)
26 x 36cm (10 x 14 in.)
Provenance:
Chris Beetles, London
Exhibited:
London, Royal Watercolour Society, Albert Goodwin RWS (1845-1932), 7 May - 7 June 1996, n. 105
A painting of the same title was exhibited in London, Royal Watercolour Society, Winter, 1914, n. 166
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ALBERT GOODWIN (BRITISH 1845-1932)
AMSTERDAM
Pencil and watercolour
Signed with monogram and dated `64' (lower left)
24 x 35cm (9¼ x 13¾ in.)
Provenance:
Chris Beetles, London
Exhibited:
London, Chris Beetles, The Albert Goodwin Exhibition, 7th May-7th June 1996, (unnumbered)
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ALBERT GOODWIN (BRITISH 1845-1932)
LAUTERBRUNNEN
Watercolour with pen, ink and bodycolour
Inscribed (lower left) and signed (lower right)
17.5 x 24.5cm (6¾ x 9½ in.)
Provenance:
Chris Beetles, London
Exhibited:
London, Chris Beetles, The Albert Goodwin Exhibition, 7th May-7th June 1996, No.103
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ALBERT GOODWIN (BRITISH 1845-1932)
LANDSCAPE
Watercolour
Signed with monogram and dated `65' (lower left)
10 x 25cm (3¾ x 9¾ in.)
Provenance:
Chris Beetles, London
Exhibited:
London, Chris Beetles, The Albert Goodwin Exhibition, 7th May-7th June 1996, No.7
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ALBERT GOODWIN (BRITISH 1845-1932)
THE ESTUARY
Watercolour heightened with bodycolour
Signed with monogram and dated '66' (lower left)
9 x 24.5cm (3½ x 9½ in.)
Provenance:
Chris Beetles, London
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ALBERT GOODWIN (BRITISH 1845-1932)
NEAR WINCHESTER
Watercolour heightened with bodycolour
Signed with monogram and dated '64' (lower left)
15 x 12.5cm (5¾ x 4¾ in.)
Provenance:
George Prince Boyce, purchased from the artist through the intermediary of Ford Madox Brown
Peter Nahum Ltd, London
Exhibited:
London, The Royal Academy of Arts, The Great Age of British Watercolours 1750-1880 , 9 May - 25 July 1993, n. 409
London, Tate Britain, 12 February-3 May 2004; Berlin, Altes Nationalgaleire, 12 June-19 September 2004; Madrid, Fundacio 'la Caxia', Pre-Raphaelite Vision: Truth to Nature , no. 51
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ALBERT GOODWIN (BRITISH 1845-1932)
ST. AUBIN'S BAY, JERSEY
Watercolour heightened with bodycolour
Signed with monogram and dated '64' (lower left)
11.5 x 35cm (4½ x 13¾ in.)
Incorrectly described as Hastings on frame
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ALBERT GOODWIN (BRITISH 1845-1932)
SUNSET THROUGH WOODLAND
Watercolour heightened with bodycolour
Signed with monogram and dated '65' (lower left)
34 x 48cm (13¼ x 18¾ in.)
Provenance:
Chris Beetles, London
Exhibited:
London, Chris Beetles, The Albert Goodwin Exhibition, June 2007, No.1
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20,000 - 30,000 GBP
ERNEST NORMAND (BRITISH 1857-1923)
A GIRL WITH A FAN
Oil on canvas
Signed and dated '1900' (lower right)
104 x 61.5cm (40¾ x 24 in.)
In 1884 Ernest Normand married his fellow Royal Academy student Henrietta Rae and they joined the artistic community, dominated by Frederic, Lord Leighton. George Frederick Watts and other luminaries, in the Holland Park area of Kensington. Leighton, as president of the Royal Academy embodied the Victorian art establishment and took a personal interest in their progress. He profoundly influenced their treatment of classical subjects, and ensured that, like him, they contributed to the murals executed for the Royal Exchange in the City of London.
In 1890 Normand and Rae both suffered a crisis of confidence when their pictures were hung badly at the Royal Academy and they decided to go to Paris to seek further instruction. They studied at the Academie Julian under Benjamin Constant and Jules Lefevre. They then went on to spend some weeks painting en plein air at Grez, the village near Barbizon which had been an inspirational centre for young artists of all nationalities since the early 1870s.
Upon their return to London, Leighton was not complimentary about their stylistic development that had become more 'impressionistic' under the influence of the masters in Paris and Grez. In 1892, they therefore decided to leave the rather claustrophobic world of Holland Park and moved to Norwood in south-east London.
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CIRCLE OF DAME LAURA KNIGHT (BRITISH 1877-1970)
A GYPSY CARAVAN
Oil on canvas
61 x 51cm (24 x 20 in.)
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GEORGE FAULKNER WETHERBEE (AMERICAN 1851 -1920)
SUMMERTIME; IRISES IN BLOOM
Oil on canvas
Signed (lower left)
58.5 x 114.5cm (23 x 45 in.)
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4,000 - 6,000 GBP
WILLIAM HOLT YATES TITCOMB (BRITISH 1858-1930)
GULLS AT ST. IVES BAY
Oil on canvas
Signed (lower right)
85 x 110cm (33¼ x 43¼ in.)
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