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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.
A Collection of Works by George Howard... find out more
Viewing in London (highlights): Dreweatts London, 16-17 Pall Mall, St James’s, London SW1Y 5LU
29 Jan 2025 10:00 - 16:00 GMT
30 Jan 2025 10:00 - 16:00 GMT
31 Jan 2025 10:00 - 16:00 GMT
Viewing in Newbury (full sale): see below
Auction dates
11 Feb 2025 10:30 GMT
Viewing dates
06 Feb 2025 10:00 - 16:00 GMT
07 Feb 2025 10:00 - 16:00 GMT
09 Feb 2025 10:00 - 15:00 GMT
10 Feb 2025 10:00 - 16:00 GMT
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Featured lots
We found 126 items matching your search
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JOHN HAYNES-WILLIAMS (BRITISH 1836-1908) AT THE SPRING Watercolour Signed with monogram (lower right) 69 x 46cm (27 x 18 in.) Provenance: The Bourne Gallery, Reigate, Surrey From the estate of the Late David Pike, sold to benefit The Art Fund
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JOHN ABSOLON (BRTISH 1815-1895)
WEARY
Watercolour
Signed and dated '1870' (lower left)
45 x 34.5cm (17½ x 13½ in.)
Provenance:
From the estate of the Late David Pike, sold to benefit The Art Fund
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JULIANA RUSSELL (19TH CENTURY)
A LOOK INTO THE PAST
Watercolour
Signed (lower left)
31 x 24.5cm (12 x 9½ in.)
Provenance:
From the estate of the Late David Pike, sold to benefit The Art Fund
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GEORGE LAWRENCE BULLIED (BRITISH 1858-1933)
THE CAMEO BROACH
Watercolour
Signed (lower left)
23 x 20cm (9 x 7¾ in.)
Painted circa 1900
Provenance:
Peter Nahum, London
From the estate of the Late David Pike, sold to benefit The Art Fund
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1
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Estimate
5,000 - 7,000 GBP
EDWARD FREDERICK BREWTNALL (BRITISH 1846-1902)
READING BY THE FIRE
Watercolour heightened with bodycolour
Signed and dated '1880' (lower left)
52 x 33cm (20¼ x 12 in.)
Provenance:
Maas Gallery, London
Kaye Michie Fine Art, London
From the estate of the Late David Pike, sold to benefit The Art Fund
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GUIDO BACH (GERMAN 1828-1905)
THE LOVE LETTER
Watercolour
Signed (lower left)
42 x 33cm (16½ x 12 in.)
Provenance:
From the estate of the Late David Pike, sold to benefit The Art Fund
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GUIDO BACH (GERMAN 1828-1905)
THE SHEPHERD BOY
Watercolour heightened with bodycolour
Signed and dated '1872' (lower right)
66 x 47cm (25 x 18½ in.)
Provenance:
From the estate of the Late David Pike, sold to benefit The Art Fund
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GUIDO BACH (GERMAN 1828-1905)
TAMBOURINE GIRL
Watercolour
Signed and dated '1868' (to tambourine)
71 x 53cm (27¾ x 20¾ in.)
Provenance:
From the estate of the Late David Pike, sold to benefit The Art Fund
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GUIDO BACH (GERMAN 1828-1905)
DEVONSHIRE
Watercolour
Signed and dated '1873' (lower right)
68 x 48cm (26¾ x 18¾ in.)
Provenance:
Chris Beetles, London
From the estate of the Late David Pike, sold to benefit The Art Fund
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GUIDO BACH (GERMAN 1828-1905)
YOUTH AND AGE
Watercolour heightened with bodycolour
Signed and dated '1869' (lower right)
57 x 43cm (22¼ x 16¾ in.)
Provenance:
From the estate of the Late David Pike, sold to benefit The Art Fund
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GUIDO BACH (GERMAN 1828 - 1905)
STUDY OF A YOUNG GIRL
Watercolour and pencil, heightened with white bodycolour, tondo
16.5cm (6¼ in.) diameter
Provenance:
Crosshall Gallery
From the estate of the Late David Pike, sold to benefit The Art Fund
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λ EMMA FLORENCE HARRISON (AUSTRALIAN 1877 - 1955)
FAIR JEHANE DU CASTEL BEAU
Watercolour, pastel and ink
Signed (lower right)
30 x 20cm (11¾ x 7¾ in.)
Provenance:
From the estate of the Late David Pike, sold to benefit The Art Fund
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1
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Estimate
1,500 - 2,500 GBP
WILLIAM SHACKLETON (BRITISH 1872-1933)
CLEOLINDA
Watercolour and bodycolour
Signed and dated '97' (lower left)
15.5 x 7.5cm (6 x 2¾ in.)
Provenance:
From the estate of the Late David Pike, sold to benefit The Art Fund
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λ ANNIE FRENCH (SCOTTISH 1872 - 1965)
'IF YOU WANT TO DIE OF DRINKING...'
Pen, ink, and watercolour
21.5 x 13.5cm (8¼ x 5¼ in.)
Provenance:
The artist's brother
Christopher Wood Gallery, London
From the estate of the Late David Pike, sold to benefit The Art Fund
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EDITH HOLMAN HUNT (BRITISH 1846-1931)
THE FANCY SAILOR OR ELIZA LEE
Watercolour, pen and ink
Signed, inscribed ' The tiller one hand firmly grasped, Ah he Ah ho are you most done, And Eliza's waist the other was clasped, so clear the track let the bulgine run ', and dated '1916' (lower right)
31 x 39cm (12 x 15¼ in.)
Provenance:
Campbell Wilson
From the estate of the Late David Pike, sold to benefit The Art Fund
Eliza Lee was a popular capstan shanty dating from the middle of the 19th century. Bulgine was a slang term for engine.
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λ GLADYS M. BLACK (BRITISH 1895-1975)
THE BLACK SWAN, PORTRAIT OF M.E.C, 1933
Watercolour
Bears inscription 'Portrait of M.E.C, G.M.B. 17th Jan 1933' (verso)
37 x 25.5cm (14½ x 10 in.)
Provenance:
Sale, Bonhams Knightsbridge, Victorian Watercolours & Illustrations from a Private Collection , 19 November 2008, lot 189
From the estate of the Late David Pike, sold to benefit The Art Fund
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λ JAMES STROUDLEY (BRITISH 1906-1988)
HEAD AND SHOULDER STUDY OF A LADY
Drawing
44 x 33cm (17¼ x 12 in.)
Provenance:
Campbell Wilson, London
From the estate of the Late David Pike, sold to benefit The Art Fund
Condition Report:
Other than a few stain marks and a five cm long crease to the right border, no other evident signs of restoration or damage are visible.
Condition Report Disclaimer
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λ CECIL ARTHUR HUNT (BRITISH 1873-1965)
STORMY SUNSET LANGKOPEL, DOLOMITES
Watercolour and bodycolour
Signed (lower right); inscribed with title (verso)
23 x 29cm (9 x 11¼ in.)
Provenance:
Chris Beetles, London
From the estate of the Late David Pike, sold to benefit The Art Fund
Exhibited:
London, Chris Beetles Summer Show 2000, n. 58
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JOHN WILLIAM NORTH (BRITISH 1842-1924)
GIRL RAKING THE HAY
Watercolour heightened with bodycolour
Signed and dated '1872' (lower right)
28 x 20.5cm (11 x 8 in.)
Provenance:
From the estate of the Late David Pike, sold to benefit The Art Fund
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λ CECIL ARTHUR HUNT (BRITISH 1873-1965) SUNSET GLOW ON POMAGAGNON, CORTINA Watercolour Signed and dated '1922 (lower right); further signed, titled, and inscribed (verso) 36 x 53.5cm (14 x 21 in.) Provenance: Chris Beetles, London From the estate of the Late David Pike, sold to benefit The Art Fund Exhibited: London, Leger Galleries, 1968 London, Chris Beetles, Cecil Arthur Hunt VPRWS RBA , October 1996, n. 44
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1
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10,000 - 15,000 GBP
SIR FRANK DICKSEE (BRITISH 1853-1928)
THE SENSITIVE PLANT
Pencil and watercolour heightened with body colour and with scratching out
Initialled (lower right)
19 x 12.5cm (7¼ x 4¾ in.)
Provenance:
Probably given by the artist to Edward, Prince of Wales circa 1887
By descent to the collection of H.R.H The Princess Royal
Sale, Christie's, London, 5 July 1966, lot 56
Sale, Christie's, London, 5 June 1984, lot 179
Sale, Christie's, London, The Nicolette Wernick Collection, British Watercolours and Paintings (1800 - 1950) , 16 June 2010, lot 39
Exhibited:
Springfield, Massachusetts, George Walter Vincent Smith Art Museum, 14 January - 13 March 1988
Literature:
Simon Toll, Frank Dicksee, 1853-1928: His Art and Life , Suffolk, 2016, p.229, cat. No. FD.1887.7, p.73, illustrated in colour
The present watercolour depicts Percy Bysshe Shelley's poem of 1820.
A Sensitive Plant in a garden grew,
And the young winds fed it with silver dew,
And it opened its fan-like leaves to the light.
And closed them beneath the kisses of Night.
The dramatic yet subtle lighting are typical of Dicksee's style. The warm glow of light in the present watercolour is particularly characteristic. This awareness of the possibilities of light may well have been encouraged by Dicksee's early experience of working in stained glass with Henry Holiday.
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30,000 - 50,000 GBP
WALTER CRANE (BRITISH 1845 - 1915)
SUMMER
Watercolour and bodycolour laid to canvas
Signed and dated '1895' (lower left)
54.5 x 90cm (21¼ x 35¼ in.)
Provenance:
Thomas Agnes and Sons Ltd, London
Sale, Sotheby's, The British Sale - Paintings, Drawings and Watercolours , London, 15 June, lot 57
Sale, Christie's, British Works on Paper , 21 November 2007, lot 115
Christopher Wood Gallery, London
Literature:
Art Journal, 1896, p. 62, illustrated p. 60
The Easter Art Annual, The Work of Walter Crane , London, 1898, p.29
P. G. Konody, The Art of Walter Crane , London, 1902, p. 137
Exhibited:
London, Royal Society of Painters in Water Colours, Winter Exhibition, 1895-6, No.200
A figurehead of the Aesthetic and Arts and Crafts Movements, Walter Crane sought to restore the primacy of public painting, akin to Renaissance mural decoration. By synthesising the fine and decorative arts, Crane's practice deconstructed the traditional hierarchy to create cohesive and harmonious visual schemes (1). His wallpaper design for Jeffrey & Co., 'The Magarete' in the V&A illustrates this amalgamation of the decorative and figurative, combining a mythological frieze with lively festoons of daisies. The present work similarly unites the symbolic and the ornamental, by placing an allegorical figure against a rich backdrop of buoyant daisies and dandelions, reminiscent of Crane's 'Meadow Flowers' design from the following year.
Crane's Summer can be placed within the popular 19th century tradition of what Hope B. Werness has termed the 'modest maiden' trope, whereby female figures recline in verdant outdoor settings (2). The scene is imbued with the abundance and soporific warmth of the season, draped in diaphanous white robes, the alluring figure of Summer languishes on a soft bed of marguerites. There is a psychological charge to the figure's serene stillness. Surrounded by minutely detailed flora, Crane creates a sensual atmosphere of suspended time, in which the figure and the natural world exist in a state of quiet equilibrium.
Previously a member of the Institute of Painters in Water Colours, Crane was elected to the Royal Water Colour Society in 1889, where this work was exhibited at the Winter Exhibition of 1895-1896. A reviewer for The Art Journal remarked that Summer was 'a graceful piece of decoration entirely characteristic of his curiously learned art', praising the work's 'technical beauties...charm of design and delicacy of colour' (3).
1) Morna O'Neill, Walter Crane: The Arts and Crafts, Painting and Politics, 1875-1890, 2010, p.2-4
2) Hope B. Werness, The Modest Maiden in 19th-Century Art: Evolution of a Theme, 1984, p.7
3) The Art Journal, 1896, p.62
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LADY CECILIA HOWARD (BRITISH 1868 - 1947)
AMALFI FROM THE CAPPUCCINI GARDENS
Watercolour
34 x 26cm (13¼ x 10 in.)
Provenance:
Given to Aurea Howard by her mother Lady Cecilia Howard, 3 January 1917
Bequeathed to Joanna Matthews
Thence by descent
Lady Cecilia Howard (1868 - 1947) was the daughter of the artist George Howard, 9th Earl of Carlisle (1843 - 1911), and Lady Rosalind Frances Howard (1845 - 1921).
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GEORGE HOWARD (BRITISH 1843 - 1911)
LANERCOST PRIORY AT SUNSET
Watercolour and white heightening
29 x 46cm (11¼ x 18 in.)
Provenance:
By descent through the artist's family
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GEORGE HOWARD (BRITISH 1843 - 1911)
ROME, VIEW OF ST PETER'S
Watercolour and white heightening
24 x 53cm (9¼ x 20¾ in.)
Provenance:
The artist's daughter, Aurea
Gifted by Aurea to Jimmy and Joanna Matthews, May 1965
Exhibited:
Carlisle, George Howard and his Circle , November 1968, no.44
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GEORGE HOWARD (BRITISH 1843 - 1911)
VENICE FROM THE LAGOON
Watercolour with white heightening
17 x 35cm (6½ x 13¾ in.)
Provenance:
By descent through the artist's family
Exhibited:
Carlisle Art Gallery, George Howard and his Circle 1854-1911, 1968, no.43 as 'Venice'
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GEORGE HOWARD (BRITISH 1843 - 1911)
ATHERSTONE HOUSE, LINCOLN
Watercolour with white heightening
36 x 26cm (14 x 10 in.)
Provenance:
The collection of Joanna Roberts by 17 June 1949
The collection of Mrs Matthews by November 1968
Thence by descent
Exhibited:
Carlisle, Carlisle Art Gallery, George Howard and his Circle , November 1968, No 113 (lent by Mrs Matthews)
The two young girls depicted in the present lot in the gardens at Atherstone House are most likely Winifred and Christina Roberts, the two daughters of Lady Cecilia and Charles Roberts, and grand-daughters to George Howard. They would have been living at Atherstone House at this time.
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GEORGE HOWARD (BRITISH 1843 - 1911)
PORTRAIT OF ROSALIND FRANCES, LADY HOWARD
Watercolour
Inscribed with the sitter's initials (upper right)
36 x 26cm (14 x 10 in.)
Provenance:
The family of the artist, thence by descent
Lady Howard, Countess of Carlisle (1845 - 1921), was known as the Radical Countess for her involvement as an activist for women's political rights, and with the temperance movement. She was a member of the Howard and Stanley families. In 1864, she married George Howard. In 1870, Gabriel Dante Rossetti painted her portrait which is now owned by her great great grandson, the 13th Earl of Carlisle at Castle Howard.
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GEORGE HOWARD (BRITISH 1843 - 1911)
CECILIA, THE ARTIST'S DAUGHTER, SKETCHING
Watercolour
30 x 21cm (11¾ x 8¼ in.)
Provenance:
Gifted by the artist to Wilfred Roberts (1900 - 1991), the sitter's son (according to hand-written label verso)
Thence by descent
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1
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3,000 - 5,000 GBP
EDWARD LEAR (BRITISH 1812 - 1888)
LUXOR, EGYPT
Pen, ink, and watercolour with white heightening
Signed (lower left), inscribed (lower right)
11 x 18cm (4¼ x 7 in.)
Provenance:
The Fine Art Society, London, September 1954
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1
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2,000 - 3,000 GBP
MYLES BIRKET FOSTER (BRITISH 1825-1899)
GOING TO MARKET
Watercolour and pencil with white heightening
Initialled (lower left)
19 x 30cm (7¼ x 11¾ in.)
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MYLES BIRKET FOSTER (BRITISH 1825-1899)
MARKET DAY, WELLS, SOMERSET
Watercolour and pencil with white heightening
Initialled (lower left)
9.5 x 14.5cm (3½ x 5½ in.)
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WILLIAM FRASER GARDEN (BRITISH 1856-1921)
ST IVES BRIDGE, CAMBRIDGESHIRE
Watercolour and pencil
Signed and dated '1906' (centre left)
13.5 x 19cm (5¼ x 7¼ in.)
Provenance:
Spink, London
Martyn Gregory, London
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JOHN WILLIAM NORTH (BRITISH 1842-1924)
FIGURE AT THE WATER'S EDGE
Watercolour
Signed, dated and inscribed 'ARA April 1899' (lower left)
40 x 54cm (15½ x 21¼ in.)
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JOHN WILLIAM NORTH (BRITISH 1842-1924)
A QUIET TIME
Watercolour and gouache
Signed with initials and inscribed 'RWS April' (lower right)
28.5 x 43.5cm (11 x 17 in.)
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3,000 - 5,000 GBP
THOMAS SHOTTER BOYS (BRITISH 1803-1874)
THE CHURCH OF SAINT PIERRE, CEAN
Watercolour heightened with bodycolour
Signed, dated, and inscribed '1864 Cean' (lower centre)
100.5 x 73.5cm (39½ x 28¾ in.)
Provenance:
Spink, London
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1,500 - 2,500 GBP
JOHN VARLEY (BRITISH 1778 - 1842)
LOCH LOMAND
Watercolour
Signed (lower right)
26 x 35cm (10 x 13¾ in.)
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HECTOR CAFFIERI (BRITISH 1847-1932)
THE FISH MARKET BOULOGNE
Watercolour, a pair
Each signed (lower right)
60 x 45cm (23½ x 17½ in.) (2)
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ERSKINE NICOL (SCOTTISH 1825-1904)
A BOY EATING AN APPLE
Pencil and watercolour with white heightening
Signed, inscribed and dated 'Claddagh '54' (lower right)
23 x 18cm (9 x 7 in.)
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ANDREW NICHOLL (IRISH 1804-1886)
A BANK OF WILD FLOWERS, RIVER FOYLE
Watercolour
Signed (lower left)
34 x 50cm (13¼ x 19½ in.)
Unframed
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1
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2,000 - 3,000 GBP
CHARLES RENNIE MACKINTOSH (SCOTTISH 1868-1928)
DOUBLE CHERRY, PINK
Watercolour and pencil
Signed with monogram, titled and dated 'AP.24.07'(lower right)
12 x 19.5cm (4½ x 7½ in.)
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2,000 - 3,000 GBP
CHARLES RENNIE MACKINTOSH (SCOTTISH 1868-1928)
AURICULA
Watercolour and pencil
Signed with monogram, titled and dated 'AP.25' (lower right)
12 x 17cm (4½ x 6½ in.)
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3,000 - 5,000 GBP
ROBERT BURNS (SCOTTISH 1869-1941)
AND HE HAS BRENT THE DALES D'BYNE, AND PART O'BAMBROUGH SHIRE; AND THRIE GUID TOWERS ON ROXBURGH FELLS, HE LEFT THEM A' ON FIRE'
Gouache, gold and ink on vellum
29 x 19cm (11¼ x 7¼ in.)
Two sheets framed as one
Provenance:
The Fine Art Society, London, 1976
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EVELYN DE MORGAN (BRITISH 1855-1919)
DESIGN FOR THE LEGEND OF GOOD WOMEN, AFTER GEOFFREY CHAUCER
Watercolour and pencil on paper
30 x 45.5cm (11¾ x 17¾ in.) ; and smaller
Together with a figure study in chalk (2)
Pencil inscriptions naming the figures reveal the subject of the present watercolour to be Chaucer's Legend of Good Women, where the Prologue opens with the poet's dream of Eros (Amor) and Alcestis. Chaucer's poem narrates the stories of virtuous women from antiquity who suffered for love. This was a favourite source for William Morris and Burne-Jones and the artist may have used the text given in the former's famous Kelmscott Chaucer (1896). The best-known pictorial version is the Morris & Co stained glass panel by Burne-Jones from 1864 of Amor leading Alcestis back from the Underworld, with copies in V&A and William Morris Gallery collections.
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1
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2,000 - 3,000 GBP
λ SIR FRANK BRANGWYN (BRITISH 1867 - 1956)
IL PESCAIONE
Pencil and watercolour, heightened with bodycolour
Signed and titled (lower left and centre)
74 x 53.5cm (29 x 21 in.)
Provenance:
F. Lewis Collection, n. 256, acquired from the artist in 1940
Sale, Christie's, 1986, lot 74
Literature:
Cyril G. E. Bunt, The Watercolours of Brangwyn , 1958 (according to label on verso)
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λ CECIL ARTHUR HUNT (BRITISH 1873-1965)
THREE TRAVELLERS IN THE ADLER PASS
Gouache
Titled 'The Adler Pass' (lower left)
37 x 57cm (14½ x 22¼ in.)
Provenance:
Spink, London
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1
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Estimate
3,000 - 5,000 GBP
λ LUCY KEMP-WELCH (BRITISH 1869-1958)
THE TRANSIENT GOLDEN HOUR
Watercolour
Signed (lower left)
31.5 x 41.5cm (12¼ x 16¼ in.)
Provenance:
Messum's
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GBP
Estimate
2,000 - 3,000 GBP
λ LUCY KEMP-WELCH (BRITISH 1869-1958)
THREE CALVES IN AN ORCHARD
Watercolour
Signed (lower left)
23 x 33cm (9 x 12 in.)
Provenance:
Sale, Phillips, Bath, circa 1986 (according to a label to the reverse)
Trimbridge Gallery, Bath (according to a label to the reverse)
Sale, Russell, Baldwin & Bright, Leominster, unknown sale, lot 1219
Messum's, 2003
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JAMES CHARLES PLAYFAIR (BRITISH ACTIVE 1865 - 1904)
THE READER
Watercolour
Signed and dated '71' (lower left)
27 x 21cm (10½ x 8¼ in.)
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MORTIMER LUDDINGTON MENPES (AUSTRALIAN 1855-1938)
A SIDE CANAL, VENICE
Watercolour
Signed (lower left)
19 x 24cm (7¼ x 9¼ in.)
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λ GEORGE OWEN WYNNE APPERLEY (BRITISH 1884-1960)
DE MERIENDA, TANGER 1930
Watercolour
Signed (lower left)
26 x 34cm (10 x 13¼ in.)
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λ GEORGE OWEN WYNNE APPERLEY (BRITISH 1884-1960)
MARINA, SAN VIGILIO, ITALIA; ESPANA DESDE TANGER
Watercolour
Both signed (lower right)
23 x 30cm (9 x 11¾ in.); 20.5 x 37cm (8 x 14½ in.);
Unframed (2)
Painted in 1930 and 1935 respectively.
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λ GEORGE OWEN WYNNE APPERLEY (BRITISH 1884-1960)
SAN VIGILIO, ITALY, 1930
Watercolour
Signed (upper left)
25 x 34.5cm (9¾ x 13½ in.)
Unframed
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λ GEORGE OWEN WYNNE APPERLEY (BRITISH 1884-1960)
STORMY WEATHER, TANGER
Watercolour
Signed (lower left)
24.5 x 34.5cm (9½ x 13½ in.)
Unframed
Painted in 1945.
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λ GEORGE OWEN WYNNE APPERLEY (BRITISH 1884-1960)
SKETCH OF ENRIQUETA EN TRAJE NEGRO, 1954
Charcoal
Signed (lower right)
43 x 31cm (16¾ x 12 in.)
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λ GEORGE OWEN WYNNE APPERLEY (BRITISH 1884-1960)
FIRST NUDE STUDY OF ENRIQUETA
Drawing
Titled and dated '1919' (lower left)
20.5 x 29cm (8 x 11¼ in.)
Literature:
Exhibition catalogue, Apperley - El Ultimo Romantico Ingles , p.9 (illustrated but not for sale)
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λ GEORGE OWEN WYNNE APPERLEY (BRITISH 1884-1960)
CENICIENTA, MAMA AT 16
Drawing
Signed (lower right); inscribed 'Primer dibujo para el cuadro de la 'Cenicienta'' (verso)
47.5 x 34cm (18½ x 13¼ in.)
Painted in 1919.
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λ GEORGE OWEN WYNNE APPERLEY (BRITISH 1884-1960)
TANGIER FROM S.W, AFTER HOLLAR '1669'
Watercolour
Signed, titled, and dated '1938' (lower left)
26.5 x 38cm (10¼ x 14¾ in.)
Unframed
Together with two unframed sketches of Yorke Castle
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λ GEORGE OWEN WYNNE APPERLEY (BRITISH 1884-1960)
TORRENUEVA
Watercolour
Titled and dated 'Sept 21. 52' (lower right)
17 x 23.5cm (6½ x 9¼ in.)
Unframed
Together with a pair of unframed watercolours of Yorke Castle
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λ GEORGE OWEN WYNNE APPERLEY (BRITISH 1884-1960)
TANGIER FROM THE HILL WEST OF WHITEHALL, FROM WENCESLAUS HOLLAR, 1673
Watercolour and pencil
Titled (lower centre)
15.5 x 26.7cm (6 x 10½ in.)
Unframed
Together with two unframed views of Yorke Castle
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