Dreweatts 1759 | The Collection of The Hon. Patrick and Lady Amabel Lindsay

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The Collection of The Hon. Patrick and Lady Amabel Lindsay

Dreweatts

Donnington Priory

Newbury, Berkshire

RG14 2JE

United Kingdom

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Viewing in London (highlights): 16-17 Pall Mall, SW1Y 5LU
13 May: 10:00-16:00 BST
14 May: 10:00-16:00 BST
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Jun 02, 2026 10:30 AM BST

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Jun 01, 2026 10:00 AM - 04:00 PM BST

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Auction date(s): Jun 02

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ATTRIBUTED TO SIR EDWARD COLEY BURNE-JONES

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ATTRIBUTED TO SIR EDWARD COLEY BURNE-JONES, BT., A.R.A., R.W.S. (BRITISH 1833-1898) STUDY OF A WOOD NYMPH AND A SEA NYMPH Brown and grey wash, white chalk over pencil on brown paper 35.5 x 51cm (13¾ x 20in.) The present drawing, previously given to Thomas Matthews Rooke (1842-1942) Burne-Jones's main studio assistant (for further information on Burne-Jones's studio see lot 30) appears to be an early first design for Burne-Jones's Designs for sculptural reliefs: Sea-Nymph and Wood-Nymph, 1878 which precede his important painting, A Sea-Nymph, 1881 (private collection) and its companion, A Wood Nymph , 1883 (South African Museum, Cape Town), which were commissioned by Burne-Jones's patron William Connal, (see J. Christian, Daughter's of Delight , exhibition and sale catalogue, Christie's, London, 2005). As Christian noted, op.cit. Burne-Jones fondness for the theme of the sea-nymph is usually linked to his acquisition of a house at Rottingdean, four miles east of Brighton in 1880, though as is often the case with Burne-Jones, the idea had been used earlier and subsequently recycled. These subjects had their roots in earlier decorative work and his work record for 1875 records 'mermaids for woven stuffs', where we see two of these mer-figures, one moving from left to right holding fishes, one moving from right to left clasping mer-babies, they were Burne-Jones's contribution to a repeating pattern of fabric or wallpaper for William Morris. In 1878 he noted he had designed three panels for low relief, one of a wood nymph, a water nymph and Hesperides . These were the Designs for sculptural reliefs: Sea-Nymph and Wood-Nymph, sold Christie's, London, 15 December 2010, lot 34, executed in bodycolour on brown paper and are framed within a narrow border. There is some evidence that these designs were originally conceived as a relief to decorate either end of a cassone or chest with the longer Hesperides panel decorating the front section. Although there are many differences from the sketch in the present drawing to the sculptural designs- the wood nymph is standing full-length, rather than emerging from the tree itself and the mermaid swims with her back to us and other sea creatures are added such as a pencilled-in whale and a large sea snail, however the mermaid is reminiscent of a watercolour and bodycolour work of the artist, from 1882, see Christian, op.cit , fig. 23. Notable are the striking and almost comical depictions of the gaping eel-like fish, identified as gurnies and for which Burne-Jones executed independent studies, also on brown paper, sketches of which are in The Whitworth, University of Manchester and Palazzo Butera. Condition Report: Condition Report Disclaimer

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Auction date(s): Jun 02

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GIACINTO GIMIGNANI (ITALIAN 1606-1681)JAEL SLAYING SISERA

138

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λ EDMUND DULAC (FRENCH/BRITISH 1882-1953) PAPER DESIGN IN BLUE AND BLACK

151

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λ EDMUND DULAC (FRENCH/BRITISH 1882-1953) PAPER DESIGN IN ORANGE AND BLACK

152

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Auction date(s): Jun 02

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JONATHAN DELAFIELD COOK (BRITISH B. 1966) EUCALYPTUS LEAVES

153

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Auction date(s): Jun 02

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INDIAN SCHOOL (20TH CENTURY) AFTER 19TH CENTURY BOTANICAL PRINTS

172

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Auction date(s): Jun 02

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λ HENRY LAMB R.A. (BRITISH 1883-1960) HEAD STUDY, PORTRAIT OF ELIZABETH JAMESON

179

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λ HENRY LAMB R.A. (BRITISH 1883-1960) HEAD STUDY FOR THE PORTRAIT OF ELIZABETH JAMESON Pencil Signed and dated 1908 (lower right) 24.5 x 20cm (9½ x 7¾in.) Provenance: Private Collection, Richard Carline (1896-1980), London Sale, Christie's, London, 9 June 1978, lot 226 Exhibited: London, The Leicester Galleries, Memorial Exhibition of Paintings and Drawings by Henry Lamb , December 1961, no. 81 Born in Adelaide, Australia but brought up in Manchester, Lamb initially studied medicine, but gave up his studies in 1906, to enrol at the Chelsea Art School, where he was taught by William Orpen and Augustus John. The latter had a profound influence on Lamb's early work. As William Gant noted, As a draughtsman he is comparable with Augustus John in vying with him in the sensitive rendering of a head or a figure in studies of exquisite quality . (William Gant , Catalogue of a Memorial Exhibition of Paintings and Drawings by Henry Lamb , Leicester Galleries, 1961, p.7). However, this sometimes led to criticism of Lamb being seen as an imitator and whilst he would forever owe a debt to John for his transformation ... to the bold and self-assured painter he had become, ... to fight against the criticism of imitation he would be forced to forge a new direction . (Harry Moore-Gwyn , Henry Lamb out of the Shadows , 2018, p. 14). In 1907, Lamb joined a group of artists including John, in Paris, and attended L'Ecole de la Palette, in Montparnasse. While in Paris, Lamb met the young Russian artist Boris Anrep, who became a lifelong friend, as well as the music student Helen Maitland. Lamb remained in France on and off until 1911, before returning to Britain. This was an exciting period for the young artist, as he began to forge a reputation as an artist of considerable talent and developed friendships with the other leading lights of the time, including Augustus John, Vanessa Bell, Lytton Strachey and other members of the Bloomsbury Group. He became a founding member of the short-lived but highly influential Campden Town Group and after serving as a medic in the Royal Army Medical Corps during World War I, he made his name as a one of Britain's leading 20th-century portraitists. He was elected ARA in 1940 and R.A in 1949 and became a Trustee of the National Portrait Gallery and the Tate. The present drawing demonstrates Lamb's extraordinary facility to capture the spirit, as well as the appearance of his sitter, with her direct, confident gaze, tilted head and long elegant neck. It relates to one of the artist's early, key portrait commissions of Mrs Elizabeth 'Betty' Jameson, wife of Edinburgh solicitor John 'Harry' Jameson, painted whilst Lamb was staying with the Jamesons, in November 1908. The commission was probably the result of Lamb's time in Paris, as Helen Maitland was a distant cousin of the sitter. The sitter was pregnant when the portrait was being painted and Lamb undertook numerous studies in pencil and watercolour, including this work, in order to capture her as fully as possible, before her pregnancy showed. The resulting full-length portrait depicts his 'Scotch Lady' as Lamb affectionately referred to the sitter, as typically wasp-waited and elegantly Edwardian. Apparently, the young artist was a firm favourite of the Jamesons, as Keith Clements noted younger generations ...remember how well and warmly Henry Lamb was always spoken of by his sitter, even in old age - she lived to be ninety-four. ( Keith Clements, Henry Lamb: The Artist and his Friends , Redcliffe Press Ltd, Bristol 1985, p.76.). The regard that the sitter held the artist in can be seen in the warm expression captured in the present drawing. Condition Report: Condition Report Disclaimer

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Auction date(s): Jun 02

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λ MARY KESSELL (BRITISH 1910-1978) REFUGEES

202

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λ MARY KESSELL (BRITISH 1910-1978) FLYING BIRD

203

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λ MARY KESSELL (BRITISH 1910-1978) WOMAN AND CHILD

204

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λ MARY KESSELL (BRITISH 1910-1978) TWO ILLUSTRATIONS FOR TURGENEV'S SPORTSMAN'S DIARY

205

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NORMAN MACNAMARA MORROW (BRITISH 1879-1917) THE MEETING PLACE

216

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λ MABEL DAWSON (BRITISH 1887-1966) A TURTLE DOVE SITTING ON A PINE BRANCH

217

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THALES FIELDING (BRITISH 1793-1837) SHEEP ON A TRACK

218

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λ VIRGINIA POWELL (BRITISH B. 1939) GARDEN VIEW, MOUNT PLEASANT, GOUDHURST

231

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λ VIRGINIA POWELL (BRITISH B. 1939) FIELD OF AUBERGINES, LESBOS

233

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FRANCIS DANBY (BRITISH 1793-1861) A LAKE LANDSCAPE AT DUSK

239

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λ TORY LAWRENCE (BRITISH 1938-2024) COASTAL LANDSCAPE

240

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λ ATTRIBUTED TO BERNARD LAMOTTE (FRENCH 1903-1983) LA PROMENADE

241

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ENGLISH SCHOOL (EARLY 19TH CENTURY) A SET OF FOUR COASTAL STUDIES

242

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240 GBP

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Auction date(s): Jun 02

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λ LESLIE CHARLES WORTH (BRITISH 1923-2009) WINTER LANDSCAPE

243

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λ LESLIE CHARLES WORTH (BRITISH 1923-2009) LANDSCAPE STUDIES

244

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AUSTRALIAN SCHOOL (20TH/21ST CENTURY) THE WAVE - DEPOT BEACH, MURRAMARANG NAT. PARK N.S.W.

245

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Auction date(s): Jun 02

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λ MILDRED E. ELDRIDGE (BRITISH 1909-1991) STUDY OF BLUE TITS

250

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180 GBP

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180 GBP

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λ MILDRED E. ELDRIDGE (BRITISH 1909-1991) WILLOW WARBLERS ON FENNEL

251

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ENGLISH SCHOOL (19TH CENTURY) A PEACOCK BUTTERFLY ON A NARCISSUS

253

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60 GBP

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λ FREYA WOOD (BRITISH B. 1987) OVERLOOKING FARMLAND, WILTSHIRE

254

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Auction date(s): Jun 02

Lot location: Newbury, Berkshire