Haynes Fine Art 2022 Catalogue

Welcome to Haynes Fine Art, London

The Pimlico Road is neatly placed in the heart of the residential boroughs for Chelsea, Belgravia, Knightsbridge, Kensington, Westminster and Mayfair. A long-time favourite destination for the Haynes Family over the years with many businesses being owned by fellow dealers and friends - very much a home from home - Pimlico is quite simply tailor-made!

How to find us

The road system favours easy access avoiding the bustle of some London areas with the Thames Embankment avoiding heavy traffic and the congestion zone charges. Parking is an absolute doddle with lots of local on street parking and a Victoria NCP a six minute walk away.

For those commuting by train we are only a five minute walk from the Sloane Square tube station. Hotels are plentiful with the famous Sloane Club (www.sloaneclub.co.uk) conveniently between us and Sloane Square. As we are members of the Sloane Club we can extend to our clients preferential rates. Please email us for further details on email@haynesfineart.com.

The Pimlico Road Design District, London’s premier destination for interior design, world-class art, fine antiques and furniture

HAYNES FINE ART

Haynes Fine Art and Picton House

The history of Picton House’s present owners, Haynes Fine Art, is naturally less antiquated than the house itself. Established in 1971, Haynes Fine Art, a family run business, quickly became the largest dealers outside London. With up to twenty four million pounds worth of stock we are able to offer the serious collector and trade a vast selection of works by important artists.

The Haynes Family has always strived to offer not only a wide selection of world-class images but also show a wide range of prices to suit most pockets, with prices starting from £1,800 and up to £500,000.

Pimlico Road, London’s premier design district, is the capital’s must-visit destination for those in the know seeking the most tasteful and unusual furnishings and the most interesting world class artworks and antiques. Set within the heart of Belgravia on Grosvenor’s London estate, the eclectic mix of retailers create a shopping environment like no other. What sets Pimlico Road apart is that this isn’t just a place that bears the names of famous designers, it is where you’ll find the designers and craftsmen and women themselves. Pimlico Road offers a breadth of shopping opportunities, which you will struggle to match elsewhere. And, best of all, the street is cheerfully free of the “usual” high street stores.

The galleries have built up a strong reputation for selecting major pieces by British artists including John Atkinson Grimshaw, Arthur John Elsley, Joseph Farquharson, Heywood Hardy, Sir William Russell Flint, David Shepherd, Edgar Hunt, Sidney Richard Percy and Alfred de Bréanski Snr to name but a few.

There is a wonderful array of subjects to choose from with all categories covered in depth and all beautifully displayed throughout the twelve stunning showrooms Picton House offers.

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Moreover, Continental names such as Frederik Marinus Kruseman, Petrus van Schendel, Edouard Cortès, Antoine Bouvard Snr, Eugène Galien Laloue, Delphin Enjolras, Antonietta Brandeis and Georges Croegaert are always well represented. Not to mention the exciting contemporary collection by Andy Warhol, Banksy, Laurence Stephen Lowry, Kyffin Williams, Helen Bradley, Brian ‘Braaq’ Shields, Ken Howard, Claude Venard, Harold Riley,

Also displayed is an extensive range of quality period hand carved marbles, fine furniture with tables, chairs, davenports and desks shown in potential room settings.

With the assurance of our long standing reputation within the International Fine Art Market and our close links with the two leading trade associations, BADA and LAPADA, you can buy with complete confidence.

Campbell Mellon, Mary Fedden, Dorothea Sharp, Edward Seago and Donald McIntyre.

The History of the Haynes Family

There was very little time for the privilege of attending school; as a result he is mostly selfeducated: Tenacious is his middle name! So, in hope of earning much needed funds, the young boy started his working life by performing a wide array of imaginative duties for example, looking after the prams of strangers whilst parents shopped at Woolworths.

For Tony Snr, art opened a window into another world; he would sit for hours at Birmingham Museum & Art Gallery in awe of the craftsmanship displayed. ‘February Fill Dyke’ by Benjamin Williams Leader (British 1831-1923) was the very first painting to

clouds all denoted to him that life goes on, to weather storms and wait, for the sun will come out again. Art, the educator, had taught him its first important lesson.

The Benjamin Williams Leader was soon followed by two conversation pieces by Sir John Gilbert (British 1817-1897) with detail so vividly painted it was almost as if he, Tony Snr the viewer, was privy to another place and time, very nearly able to hear, follow and understand the figures in the scene; he had been transported by art.

The next work to capture the young Tony Snr was a Crucifixion scene by Carlo Dolci (Florentine 1616-1686), which immediately kindled a special interest in Old Masters. The scene depicts hundreds of figures looking at Christ, each with their back to us the viewer,

This intrigued the young Tony Snr and posed art’s first riddle: Why is he looking at me and not at Christ? It was only later when he spotted a self portrait by Rembrandt (Dutch 1606-1669) along with the artist’s comment - am looking at someone who is looking at me whilst I look at them that Tony Snr found his answer: the figure looking at him in Dolci’s Crucifixion scene was the artist himself, perhaps asking, “What have we done?”

Fortunate to meet his equally determined future wife and life partner, Vivien, when he was just seventeen, Tony Snr has, with Vivien’s hard work and unflinching support, journeyed his way through a diverse succession of employment (including selling hot dogs and window cleaning) from a lowly position through to that of a firmly established and widely respected international art expert and dealer, as well as both founding and heading the successful company known today as Haynes Fine Art. A self made man in all aspects - and yes, we are all very proud of him and miss him very dearly, God bless.

Indeed it was, and continues to be, art’s sense of complexity that appealed to and drove Tony Snr, its ability to change as it is looked at, for the viewer to feel seen by and interact with it, as

Rembrandt pointed out - it displays and yet looks back at you, commenting on what it is like to be human. Art the mirror, the entertainer, the commentator, the educator challenges and thrilled Tony Snr up to and including his final days.

Tony Snr and Vivien’s ultimate pride and joy is, and will always be, their children. Sadly only two of four survive. The youngest, Alison, followed her path into performing Arts (Guildhall School of Music and Drama) singing at The Royal Albert Hall and on national radio before her passion for world music took her to South Africa as music director for a touring theatre company; consequent ill health has, for the time being, paused what promises to be a notable career. Nurtured amongst a wealth of beautiful and important art works, it came as no surprise when eldest son, Tony Jnr, decided to follow in his father’s footsteps. From an early age the Haynes children were encouraged to interact with art, including regular trips to public art galleries and museums, alongside frequent invitations to share in their father’s often exhaustive research procedure the promise of a reward was always lucrative! Over the years Tony Snr had patiently shared his encyclopaedic knowledge of art and well thumbed comprehensive collection of art books and catalogues, indeed with his guidance and motivation, the next Haynes generation had an exceptional start into the art world.

In 1988, Tony Jnr opened the first retail outlet for Haynes Fine Art and promptly announced his arrival into the fine art community. Within a short space of time his gallery stock changed from Old Masters (supplied by Tony Snr) to much later works in order to meet requirements of collectors. Again a family unit Tony and his wife Julie ran the gallery until the

business would warrant a larger team. Clients still comment today that they were often greeted by Tony’s and Julie’s first child Emma who at the age of two would try to sell them a painting, it’s clearly in the blood! This became a running theme with all four of their children each displaying their own entrepreneurial fair.

Even after expanding the first gallery customer demands ushered Haynes Fine Art to a much larger gallery and the family home of Tony Jnr, Picton House, became the natural choice for the new retail home of Haynes Fine Art. Acknowledged as being Britain’s largest provincial fine art dealer, Haynes Fine Art owns up to two thousand five hundred paintings at any time - and with four grandchildren waiting in the wings (and now three beautiful great grandchildren) and a magnificent Haynes team this number is likely to grow!

The Haynes Family has handled many important paintings which are now housed in museums worldwide, including;

The National Gallery, London; J. Paul Getty Museum, Los Angeles; The Victoria and Albert Museum, London; Philadelphia Art Gallery; The Louvre, Paris; The Overbeck-Gesellschaft Museum, Germany; National Gallery of Art, Washington; Norton Simon Museum of Art, Pasadena, California and the Leicester Art Gallery, England amongst numerous others.

Born to extremely humble beginnings, Tony Haynes Snr had little choice but to soon become the provider and carer for his then family of six brothers, two sisters and mother.

Tony Snr and Tony Jnr in the original Family Estate

Tony Jnr amongst some of the Family Collection

The Fine Art Reference Library

The Music Room displaying part of the Family Collection

The original Haynes Family Estate

INDEX

ADRION , Lucien

ALDINE Marc

BLACKLOCK William Kay

BLANCHARD Antoine

BRADLEY , Helen MBE

BRANDEIS , Antonietta

BRASILIER , André

BRÉANSKI Snr Alfred de

CORTÈS , Edouard Léon

DEGAS , Edgar

DELANEY , Arthur

DESCHAMPS Gabriel

DYF , Marcel

FEDDEN Mary OBE, RA, RWA

FLINT Sir William Russell KBE, RA, PRWS

FURNEAUX , Alan

GRIMSHAW Arthur Edmund

HUNT Edgar

HUTCHISON Robert Gemmell RSA, RBA, ROI, RSW

KARPINSKI Tony

LALOUE Eugène Galien

LEBOURG Albert

MALLE Charles

MCINTYRE Donald RCA, RSMA

MELLON Campbell Archibald ROI,RBA

MONTEZIN Pierre Eugène

PARKER , Gill

PAUL Gen

PERCY Sidney Richard

PIPER John Egerton Christmas CH

SCOTT , Henry FRSA

SEAGO Edward RBA, RWS

SHARP Dorothea ROI, RBA, PSWA

SHIELDS Brian

SPRATT Tina

TALBOT , Michael

VENARD Claude

WILLIAMS , Sir John Kyffin KBE, RA

Price Codes

EDGAR DEGAS

French 1834 – 1917

Four Dancers Evolving Charcoal on tracing paper

Paper size: 16 x 23.75 inches

Framed size: 27.25 x 33 inches

Provenance:

Certificate of Authority Issued by Brame & Lorenceau

Ref 15674

Price on application

Always remembered as an Impressionist, Edgar Degas was a member of the seminal group of Parisian artists who began to exhibit together in the 1870s. He shared many of their novel techniques, was intrigued by the challenge of capturing effects of light and attracted to scenes of urban leisure. But Degas’ academic training, and his own personal predilection toward Realism, set him apart from his peers, and he rejected the label ‘Impressionist’ preferring to describe himself as an ‘Independent.’ His inherited wealth gave him the comfort to find his own way, and later it also enabled him to withdraw from the Paris art world and sell pictures at his discretion. He was intrigued by the human figure, and in his many images of women - dancers, singers, and laundresses he strove to capture the body in unusual positions. While critics of the Impressionists focused their attacks on their formal innovations, it was Degas’ lower-class subjects that brought him the most disapproval.

Degas’ enduring interest in the human figure was shaped by his academic training but he approached it in innovative ways. He captured strange postures from unusual angles under artificial light. He rejected the academic ideal of the mythical or historical subject and instead sought his figures in modern situations, such as at the ballet.

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Degas’ academic training encouraged a strong classical tendency in his art which conflicted with the approach of the Impressionists. While he valued line as a means to describe contours and to lend solid compositional structure to a picture, they favoured colour and more concentration on surface texture. As well, he preferred to work from sketches and memory in the traditional academic manner while they were more interested in painting outdoors (en plein air).

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Like many of the Impressionists, Degas was significantly influenced by Japanese prints which suggested novel approaches to composition. The prints had bold linear designs and a sense of flatness that was very different from the traditional Western picture with its perspective view of the world.

ARTHUR EDMUND GRIMSHAW

British 1864 – 1913

Docks by Night

Oil on canvas, signed and dated 1895 lower left

Canvas size: 11.25 x 18 inches

Framed size: 18 x 25 inches

Ref 16138 Price Code F

Arthur Edmund Grimshaw was the son of John Atkinson Grimshaw (1836–1893), a painter from Leeds. John Atkinson Grimshaw had several children and he chose to name them all after fictional characters in the Idylls of the King by Alfred, Lord Tennyson.

Arthur Edmund was an artist, composer, organist and conductor. He was born in Leeds, was the master of the choir at Leeds Cathedral and was a conductor of the Leeds Symphony Orchestra.

He followed his father’s style by painting moonlight scenes and winter landscapes. His paintings focused on the streets and docklands of large northern cities in Britain including Glasgow, Liverpool and Leeds. However, unlike his father who had work exhibited at the Royal Academy of Arts, he is not known to have any of his work exhibited in London.

All of Arthur Edmund Grimshaw’s known paintings date from 1890 to 1900. After a revival of interest in his father’s work, more attention was paid to Grimshaw’s paintings in the late twentieth century.

More of John Atkinson Grimshaw’s children went on to become painters such as Louis H. Grimshaw (1870–1944), Wilfred Grimshaw (1871–1937) and Elaine Grimshaw (1877–1970).

ANTONIETTA BRANDEIS

Austrian 1848 – 1926

Ponte Vecchio, Florence & The Grand Canal, Venice

A pair, oil on board, both signed lower right

Board size: 6.75 x 9 inches each

Framed size: 11.5 x 14 inches each

Ref 16049 Price Code E

Antonietta Brandeis was born on 13 January 1848, in Miskovice (near Kutná Hora) in Eastern Europe. The first bibliographical indication of Antonietta Brandeis dates from her teens, when she is mentioned as a pupil of the Czech artist Karel Javurek of Prague. After the death of Brandeis’ father, her mother, Giuseppina Dravhozvall, married the Venetian Giovanni Nobile Scaramella; shortly afterward the family apparently moved to Venice. In the 1867 registry of the Venetian Academy of Fine Arts, Brandeis is listed as being enrolled as an art student.

At this time, Brandeis would have been nineteen and one of the first females to receive academic instruction in the fine arts in Italy. In fact, the Ministry granted women the legal right to instruction in the fine arts only in 1875, by which time Brandeis had finished her education at the Academy.

Brandeis’ professors at the Venetian Academy of Fine Arts include Michelangelo Grigoletti and Napoleone Nani for life drawing, Domenico Bresolin for landscape, Pompeo Marino Molmenti for painting

and Federico Moja for perspective. Already during her first years of study there is evidence of Brandeis’ skillin her first year she was awarded prizes and honours in Perspective and Life Drawing. Brandeis’ continued excellence and diligence in her artistic studies during the five years she spent at the Academy is attested to in the lists of prize-winning students of the Venice Academy, proceeding to the Royal Academy of Fine Arts in Venice in the years 1866 to 1872.

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4. HENRY SCOTT FRSA

British 1911 – 2005

American Clipper ‘Dreadnought’ off the Horn Oil on canvas, signed lower right

Canvas size: 25 x 30 inches

Framed size: 31 x 36 inches

Ref 15573 Price Code D

Henry Scott was a painter of marines and coastal subjects strongly associated with the Royal Society of Artists. As well as painting lucrative shipping portraits for some of his wealthy clientele, he also executed a number of works of British and American clippers.

His works have often been confused with those of Montague Dawson. Scott worked in a similar way to that of Dawson and captured a wonderful freshness and feel of immediacy. Scott’s palette is striking, with all surfaces and elements observed, capturing every movement in full flow. His sails are nearly always bellowed with a good stiff breeze, which is further emphasised by the spray of the water being wisped across the top of the choppy seas. Particularly notable are his skies which move the subject helping the canvas feel alive.

In 1970 Scott was commissioned to paint ‘Morning Cloud’ which was skippered and owned by the then Prime Minister, Edward Heath.

Scott exhibited at the Society of Marine Artists; The Royal Exchange, London; The Guildhall, London and The Royal Academy. He also exhibited at the St. Malo Museum, France and at Madison Square in New York.

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He was honoured as a Fellow of the Royal Society of Arts and awarded an honorary Life Member ‘Cape Homers’ by the International Association of Master Mariners.

British 1821 – 1886

British 1876 – 1953

Farmyard Companions

Oil on canvas, signed and dated 1920 lower left

Canvas size: 22 x 30.25 inches

Framed size: 27 x 35 inches

Ref 15040 Price Code E

Edgar Hunt was born in Birmingham of humble parentage. His compositions, usually on small canvases, were mostly of farmyard scenes in which domestic poultry and their broods predominated; although calves, pigs and rabbits were often introduced. He worked in a meticulous manner not a feather or a hair was out of place. His style is immediately recognisable, hardly changing throughout his career.

A Highland Landscape

Oil on canvas, signed lower right

Canvas size: 7.25 x 12.5 inches

Framed size: 11.5 x 16.5 inches

Sidney Richard Percy was the fifth son of Edward Williams Snr and the nephew of James Ward. He was brought up in the usual family tradition, exhibiting his work at the Royal Academy in 1842 at the very young age of twenty-one. Percy changed his name, just as his brothers Henry John Boddington and Arthur Gilbert had done, in order to avoid confusion with other members of the Williams family.

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Ref 16041 Price Code C

He exhibited at the Royal Society of Artists and at the Walker Art Gallery in Liverpool.

In 1843 Percy made his debut at the British Institution and thereafter he became a regular and respected contributor at all the leading art exhibitions including the Royal Academy. Percy exhibited more than three hundred paintings during his lifetime.

Whether in spring, summer, autumn or winter Percy’s sense of nature at times is unrivalled. He put his hand to landscapes, which are honest, free from exaggeration and soberly observed which more than amply satisfy the viewer.

5. EDGAR HUNT

6. SIDNEY RICHARD PERCY

ALFRED DE BRÉANSKI Snr

British 1852 – 1928

The Pikes of Langdale

Oil on canvas, signed lower left

Canvas size: 30 x 50 inches

Framed size: 40 x 60 inches

Ref 15983 Price Code F

Alfred de Bréanski Snr was a distinguished landscape painter who became famous for his resplendent views of the Welsh and Scottish Highlands; he also painted many views of the Thames. Often bathed in a flood of golden light, these landscapes usually feature water and cattle or sheep on grassy banks; sometimes a solitary figure is seen in the distance.

Bréanski belonged to the real stamp of those landscape painters who nimbly seized moments of the day. He had a great passion for the Highlands and perhaps more than any other, caught the atmospheric influences of the undulating landscape.

Born in London, Alfred was the eldest son of Leopold Bréanski; his younger brother and sister, Gustave and Julie, were also painters. He made his debut at the Royal Academy in 1872 and he continued to exhibit there until 1918. He also exhibited at the Royal Institute of Oil Painters and the Royal Cambrian Academy. His many patrons included Sir James Lemon and the Bishop of Peterborough, who purchased the first picture that he exhibited at the Royal Academy ‘Evening: softly falls the even light’.

In 1873, Bréanski married Annie Roberts, a talented Welsh artist whom he met during his frequent painting trips to Wales. They had seven children, two of which, Alfred Fontville and Arthur, were both to become painters. For much of his life Bréanski lived in Greenwich, Lewisham and Cookham and in 1880 he became a Freeman of the City of London.

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The work of Bréanski is represented in several public collections including the Southampton Art Gallery and the Laing Art Gallery, Newcastle-upon-Tyne.

CAMPBELL ARCHIBALD MELLON ROI, RBA

British 1878 – 1955

Gorleston Sands, Norfolk

Oil on board, signed lower right

Board size: 9 x 12 inches

Framed size: 14 x 17 inches

Ref 15881 Price Code D

Campbell Mellon often painted in the open air and his style was influenced by the Barbizon School and Impressionism. It was his focus on the imaginative expression of atmosphere above pure realism which undoubtedly helped establish him as a representative of the new Romantic Movement.

WILLIAM KAY BLACKLOCK

British 1872 – 1924

William Kay Blacklock, like so many of his generation, joined a colony of artists in Walberswick, a picturesque village on the East Coast. This colony was founded by Philip William Steer, OM (18601942), the leading light of British Impressionism, who lived and worked in Walberswick from 1888 until 1894.

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In 1938 Mellon was elected a Member of the Royal Society of Oil Painters and of the Royal Society of British Artists. His first picture to be exhibited at the Royal Academy, in 1924, was a beach scene entitled ‘ Yarmouth – August Bank Holiday ’.

Summer Holidays

Oil on board, signed lower right

Board size: 10 x 14 inches

Framed size: 16.5 x 20.75 inches

Ref 15989 Price Code G

Blacklock was a regular exhibitor at the Royal Academy between 1897 and 1918, showing a total of seventeen works. He also regularly exhibited at the Royal Institute of Oil Painters. His work shows knowledge of the French Social Realists, such as Jean François Millet (1814-1875) and Jules Bastien-Lepage (1848-1884).

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DOROTHEA SHARP ROI, RBA, PSWA

British 1874 – 1955

In the Shallows Oil on canvas, signed lower left

Canvas size: 25 x 30 inches

Framed size: 32 x 37 inches

Ref 16158 Price Code G

The editor of The Artist praised Dorothea Sharp as ‘one of England’s greatest living woman painters’ and commented upon the particular attraction of her art: “ No other woman artist gives us such joyful paintings as she. Full of sunshine and luscious colour, her work is always lively harmonious and tremendously exhilarating ... the chief attractions of Miss Sharp’s delightful pictures are her happy choice of subjects, and her beautiful colour schemes. Rollicking children bathed in strong sunlight, playing in delightful surroundings; her subjects appeal because they are based on the joy of life. And she presents them equally happily, with a powerful technique which enables her to make the most of her wonderful sense of colour ”

(Harold

Sawkins,

Dorothea Sharp, ROI, RBA, The Artist April 1935).

Born at Dartford in Kent, it was not until the age of twenty-one that Dorothea Sharp seriously took up painting. The death of an uncle, who left her £100, enabled her to study at the art school run by C.E. Johnson RI, in Richmond, Surrey. She then attended the Regent Street Polytechnic where she was greatly encouraged by Sir George Clausen and Sir David Murray, visiting critics to the Polytechnic Sketch Club. It was in Paris that Sharp achieved her complete artistic development. There s he studied under Castaluchio. It was the work of Claude Monet, however, that was to have a profound and lasting effect on her art, resulting in the highly impressionistic and spontaneous style that she went on to adopt for the rest of her life.

Dorothea Sharp exhibited regularly throughout her career at many institutions including The Royal Academy, The Royal Society of British Artist, The Royal Institute of Oil Painters and The Society of Women Artists, of which she acted as President for four years.

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She held her first one-woman show at the Connell Gallery in 1933 which proved to be a great success and was constantly attended by admiring visitors.

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DOROTHEA SHARP ROI, RBA, PSWA

British 1874 – 1955

Walking with Big Sister Oil on board, initialled lower left

Board size: 13 x 16 inches

Framed size: 18 x 21 inches

Ref 16066 Price Code E

The editor of The Artist praised Dorothea Sharp as ‘one of England’s greatest living woman painters’ and commented upon the particular attraction of her art: “No other woman artist gives us such joyful paintings as she. Full of sunshine and luscious colour, her work is always lively harmonious and tremendously exhilarating... the chief attractions of Miss Sharp’s delightful pictures are her happy choice of subjects, and her beautiful colour schemes. Rollicking children bathed in strong sunlight, playing in delightful surroundings; her subjects appeal because they are based on the joy of life.

DOROTHEA

SHARP

ROI, RBA, PSWA British 1874 – 1955

Summer’s Splendour Oil on board, signed lower left

Board size: 17 x 15 inches

Framed size: 23.75 x 21.75 inches

Ref 16132 Price Code E

...And she presents them equally happily, with a powerful technique which enables her to make the most of her wonderful sense of colour ”

(Harold Sawkins, Dorothea Sharp, ROI, RBA, The Artist , April 1935).

Born at Dartford in Kent, it was not until the age of twenty-one that Dorothea Sharp seriously took up painting. The death of an uncle, who left her £100, enabled her to study at the art school run by C.E. Johnson RI, in Richmond, Surrey. She then attended the Regent Street Polytechnic where she was greatly encouraged by Sir George Clausen and Sir David Murray, visiting critics to the Polytechnic Sketch Club. It was in Paris that Sharp achieved her complete artistic development. There she studied under Castaluchio. It was the work of Claude Monet, however, that was to have a profound and lasting effect on her art, resulting in the highly impressionistic and spontaneous style that she went on to adopt for the rest of her life.

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Dorothea Sharp exhibited regularly throughout her career at many institutions including The Royal Academy, The Royal Society of British Artist, The Royal Institute of Oil Painters and The Society of Women Artists, of which she acted as President for four years.

She held her first one-woman show at the Connell Gallery in 1933 which proved to be a great success and was constantly attended by admiring visitors.

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ROBERT GEMMELL HUTCHISON RSA, RBA, ROI, RSW

Scottish 1855 – 1936

Coastal Breeze

Oil on board, signed lower left

Board size: 5 x 7 inches

Framed size: 12 x 14 inches

Ref 16080 Price Code E

Robert Gemmell Hutchison was born and educated in Edinburgh. He began work as a seal engraver although his real love was painting and he later studied art at The Board of Manufacturers School of Art. Hutchison developed a distinctive, broad and vigorous style. He specialised in painting children and genre scenes within interiors, Scottish landscapes and his much sought after and highly desirable picturesque shore scenes.

Hutchison was soon recognised by the art fraternity and became one of the most prolific exhibitors of his day. He was elected to many prestigious academies throughout the British Isles, including; The Royal Society of British Artists, The Royal Institut e of Oil Painters, The Royal Society of Painters in Watercolour and The Royal Scottish Academy. Hutchison was awarded a medal for his work in 1903. There are close similarities between his work and some of the Glasgow School of Painters, particularly in his use of broad brushstrokes and soft, mute colouring.

The style is pure ‘British Impressionism’, with the artist displaying consummate command of his medium and revelling in light effects and atmosphere. The impasto is rich and yet the handling is free and spontaneous, despite the imposing dimensions of the canvas. Coastal views are most effective on a large scale, an inspiration Hutchison would have drawn from William McTaggart, and the younger artist was instructed by him at the Trustees’ Academy in 1877 alongside notable contemporaries such as Arthur Melville and Patrick William Adam. Hutchison loved to paint girls on the shore and often called on his daughters and their friends, whether he was working in East Lothian, Carnoustie or Berwickshire. Many pictures feature the same models and poses, and this work is a synthesis of his best compositions.

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Hutchison emerged from the ‘Scott Lauder’ tradition of genre and rustic naturalism, and although a contemporary of the elder members of the Glasgow School his early work was not progressive. He painted interiors with a tendency towards pathos and had much in common with the Hague School. However, after 1900 he achieved a distinctive niche with his light, airy coastal views, and a Gold Medal awarded at the Paris Salon for ‘ Bairnies Cuddle Doon confirms that his style had a resonance beyond Scotland.

The artist exhibited numerously including at: The Royal Academy, The Royal Society of British Artists, The Royal Institute, Walker Art Gallery Edinburgh, The Royal Scottish Academy and The Glasgow Institute.

SIR WILLIAM RUSSELL FLINT KBE, RA, PRWS

British 1880 – 1969

Playing on the Beach Watercolour, signed lower left

Paper size: 19 x 26 inches

Framed size: 33.25 x 40 inches

Ref 15060 Price Code E

Sir William Russell Flint was surely the greatest watercolour painter of the last century. He enjoyed painting in the open air, applying beautifully controlled broad washes over the faintest of charcoal outlines. He seldom, if ever, included figures at the time preferring to leave precise blank spaces on the paper to be filled in at his leisure upon his return to London. Continued...

British 1880 – 1969

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Reflective Sands Watercolour, signed lower left

Paper size: 14 x 22.5 inches

Framed size: 26.75 x 35.25 inches

Ref 15909 Price Code E

Flint was a regular exhibitor at the Royal Academy and was elected an Associate member in 1924 with full membership being granted in 1933. He was elected a member of the Royal Watercolour Society in 1914 and served as their President for twenty years from 1936 and subsequently retained the title of Past President.

Recognition of another kind occurred on 8 July 1947 when he was knighted for services to art.

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SIR WILLIAM RUSSELL FLINT KBE, RA, PRWS

Evening Calm along the River Thames Watercolour, signed lower left

Paper size: 10.5 x 14.5 inches

Framed size: 25.5 x 29.25 inches

Ref 15960 Price Code D

Edward Seago was an English artist who painted in both oils and watercolours. Essential to a landscape artist, he remained faithful to an impressionistic atmosphere, attempting to capture the rapid touches from the shimmering of light, made to sometimes bathe together in a blur like that of Turner. He liked to translate English landscapes in particular like those of Norfolk, but also painted much from abroad. He was a member of the Royal Society of British Artists from 1946, and of the Royal Watercolour Society from 1959.

Nestling at the Quayside, River Tagus Watercolour, signed lower left

Paper size: 10.5 x 14.5 inches

Framed size: 25.5 x 29.25 inches

Ref 15958 Price Code C

Seago exhibited in London, Glasgow, New York, Toronto, Montreal, Los Angeles, Oslo and Brussels. Such was his popularity that those who wished to buy one of his paintings had to queue at his various annual exhibitions around the world (with the single exception of the late Queen Elizabeth the Queen Mother). In fact

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The Queen Mother bought so many that eventually the artist, who died in 1974, gave her two a year – on her birthday and at Christmas. Prince Philip invited him on a tour of the Antarctic in 1956, and his subsequent paintings, considered to be among his best, hang at Balmoral.

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EDWARD SEAGO RBA, ARWS, RWS

British 1910 – 1974

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EDWARD SEAGO RBA, ARWS, RWS British 1910 – 1974

EUGÈNE GALIEN LALOUE

French 1854 – 1941

Scène de plage à Trouville

Oil on canvas, signed with pseudonym J. Lievin lower left

Canvas size: 15.25 x 25.25 inches

Framed size: 23.75 x 33.5 inches

Ref 16056 Price Code F

Born on 11 December 1854 in Montmartre to French-Italian parents, Eugène Galien Laloue studied under his father Charles Laloue, a set designer. His debut was almost exclusively as a painter in gouache of Parisian street scenes and Galien Laloue’s early works reflect his traditional training.

He painted landscapes, coastal and river scenes in Normandy and around Paris, the Seine and the River Marne. In contrast to his later works, these show a broad technique with significant use of impasto. It was at the turn of the century that Galien Laloue commenced his detailed gouaches depicting Paris and Parisian life. During the Great War he painted scenes in the ruined towns behind the front line and continued to depict Paris in wartime. He turned to pastel and gouache in the late 1880s, exhibiting one of each in 1886 and in 1889 two gouaches at the Paris Salon.

His paintings of the early 1900s accurately represent the era in which he lived: a happy, bustling Paris, ‘La Belle Époque’, with horse-drawn carriages, trolley cars and its first omnibuses. Galien Laloue’s works are valued not only for their contribution to 20th century art, but for the actual history, which they document. He was a populariser of street scenes, usually painted in autumn or winter. His work can be seen at the Musée des Beaux-Arts, Louvier; Musée des Beaux-Arts, La Rochelle; Mulhouse, France. Galien Laloue has inspired and influenced many of yesterday’s and today’s artists, including renowned French impressionists Edouard Léon Cortès and Antoine Blanchard.

HAYNES FINE ART

LONDON COTSWOLDS LONDON COTSWOLDS

Some artists or writers are content to have a pseudonym so as to disguise their work. Eugène Galien Laloue was particularly adept at establishing several identities, since over the course of his career he worked under three pseudonyms: ‘J. Lievin’ –after a soldier he met during the Franco-Prussian war, ‘E. Galiany’ – an Italianized version of his own names, and ‘L. Dupuy’ – after Dupuy Léon who lived in his same area. While these are three confirmed names that he used, there is the possibility that he used other names as well. Even his name ‘Galien’ is questionable, since on occasion he spelled it with one ‘L’ and on his birth certificate it is spelled ‘Gallien’. Why the artist went to such great lengths to perplex audiences and historians is the question that remains to be answered. Despite preoccupation with the reclusive nature of this man, he depicted Paris and the surrounding landscape with his cool palette and in doing so he became another recorder of popular Parisian life. He balanced his architectural interest in Paris with several landscape views and was an equally if not more proficient draughtsman.

EUGÈNE GALIEN LALOUE

French 1854 – 1941

Scène portuaire dans le sud de la France

Oil on canvas, signed with pseudonym J. Lievin lower left

Canvas size: 25.25 x 35.75 inches

Framed size: 33.25 x 43.5 inches

Ref 16057

Price Code F

Born on 11 December 1854 in Montmartre to French-Italian parents, Eugène Galien Laloue studied under his father Charles Laloue, a set designer. His debut was almost exclusively as a painter in gouache of Parisian street scenes and Galien Laloue’s early works reflect his traditional training.

He painted landscapes, coastal and river scenes in Normandy and around Paris, the Seine and the River Marne. In contrast to his later works, these show a broad technique with significant use of impasto. It was at the turn of the century that Galien Laloue commenced his detailed gouaches depicting Paris and Parisian life. During the Great War he painted scenes in the ruined towns behind the front line and continued to depict Paris in wartime. He turned to pastel and gouache in the late 1880s, exhibiting one of each in 1886 and in 1889 two gouaches at the Paris Salon.

His paintings of the early 1900s accurately represent the era in which he lived: a happy, bustling Paris, ‘La Belle Époque’, with horse-drawn carriages, trolley cars and its first omnibuses. Galien Laloue’s works are valued not only for their contribution to 20th century art, but for the actual history, which they document. He was a populariser of street scenes, usually painted in autumn or winter. His work can be seen at the Musée des Beaux-Arts, Louvier; Musée des Beaux-Arts, La Rochelle; Mulhouse, France. Galien Laloue has inspired and influenced many of yesterday’s and today’s artists, including renowned French impressionists Edouard Léon Cortès and Antoine Blanchard.

HAYNES FINE ART

LONDON COTSWOLDS LONDON COTSWOLDS

Some artists or writers are content to have a pseudonym so as to disguise their work. Eugène Galien Laloue was particularly adept at establishing several identities, since over the course of his career he worked under three pseudonyms: ‘J. Lievin’ –after a soldier he met during the Franco-Prussian war, ‘E. Galiany’ – an Italianized version of his own names, and ‘L. Dupuy’ – after Dupuy Léon who lived in his same area. While these are three confirmed names that he used, there is the possibility that he used other names as well. Even his name ‘Galien’ is questionable, since on occasion he spelled it with one ‘L’ and on his birth certificate it is spelled ‘Gallien’. Why the artist went to such great lengths to perplex audiences and historians is the question that remains to be answered. Despite preoccupation with the reclusive nature of this man, he depicted Paris and the surrounding landscape with his cool palette and in doing so he became another recorder of popular Parisian life. He balanced his architectural interest in Paris with several landscape views and was an equally if not more proficient draughtsman.

WILLIAM KAY BLACKLOCK

British 1872 – 1924

William Kay Blacklock, like so many of his generation, joined a colony of artists in Walberswick, a picturesque village on the East Coast. This colony was founded by Philip William Steer, OM (1860-1942), the leading light of British Impressionism, who lived and worked in Walberswick from 1888 until 1894.

PIERRE

EUGÈNE MONTÉZIN

French 1874 – 1946

LONDON COTSWOLDS LONDON COTSWOLDS

Shepherdess

Oil on board, signed lower right

Board size: 10 x 14 inches

Framed size: 16.5 x 20.25 inches

Ref 15985 Price Code F

Blacklock was a regular exhibitor at the Royal Academy between 1897 and 1918, showing a total of seventeen works. He also regularly exhibited at the Royal Institute of Oil Painters. His work shows knowledge of the French Social Realists, such as Jean François Millet (1814-1875) and Jules Bastien-Lepage (1848-1884).

La ferme, Provence

Oil on canvas, signed lower right

Canvas size: 20 x 24 inches

Framed size: 27 x 31 inches

Ref 15900 Price Code E

Pierre Eugène Montézin was born on 16 October 1874 in Paris and died on 10 July 1946 in Moelansur-Mer. His work is mostly influenced by the ones of Claude Monet sharing his special taste for fresh air, countryside landscapes and open fields strolls. Montézin was made a Chevalier of the Légion d’Honneur in 1923 and in 1940 was elected a member of the Académie des Beaux-Arts. In 1933, he was unanimously elected president of the jury of the Salon des Artistes Français.

20.

21.

23.

LUCIEN ADRION

French 1889 – 1953

Nature morte des Dahlias

Oil on canvas, signed lower right

Canvas size: 25.5 x 21.25 inches

Framed size: 33.5 x 29 inches

Ref 15791 Price Code E

Lucien Adrion was born on 25 May 1889 in Strasbourg, France. He was a French Post-Impressionist painter, draftsman, and printmaker known for his depictions of the French countryside and beaches, as well as Parisian life including landscape, still life, figure and landmark paintings.

As World War I broke out he had to go to Berlin, where he studied as an engraver with Hermann Struck, who was also the teacher of Marc Chagall. He remained in Berlin until the War ended and after the demobilization Lucien studied engraving under Franz Ritter von Struck, who was also Marc Chagall’s teacher.

22.

ALBERT LEBOURG

French 1849 – 1928

Along the bank of the Seine

Oil on canvas, signed lower right

Canvas size: 15 x 24 inches

Framed size: 21.25 x 31 inches

Ref 15834 Price Code G

Initially studying at Évreux Lycée, Albert Lebourg, with interests in architecture, entered the École des Beaux-Arts of Rouen at a very young age. He was extremely talented and In 1876, Lebourg exhibited his works for the first time together with Claude Monet, Alfred Sisley, Pierre-Auguste Renoir, and other artists on the Boulevard Montmartre.

In the Fourth Impressionist Exhibition of 1879 Lebourg exhibited thirty works with Claude Monet, Camille Pissarro and Edgar Degas.

In 1921 Adrion had his first solo exhibition at Galerie Chéron and then in 1926 at the age of thirty-seven, he had his first major exhibition in the Salon des Indépendants, where later on, he exhibited regularly.

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In 1940 he exhibited in the Salon d’Automme and the following year 1941 in the Salon des Tuileries where he exhibited several landscapes.

Albert Lebourg was a French Impressionist and Post-Impressionist landscape painter of the Rouen School.

25. GABRIEL DESCHAMPS

French born 1919

Lumière pommelée, Provence

Oil on canvas, signed lower left

Canvas size: 24 x 18.25 inches

F ramed size: 30.25 x 24.75 inches

Ref 16012 Price Code D

Gabriel Deschamps was born in 1919 and studied at the École Nationale Superieure des Beaux Arts in Paris. From 1939 he was a State Art Professor and a member of the Paris Autumn Salon. He was best known for his evocative landscapes depicting Provence, where he had a house and the spectacular coastline of the South of France.

24.

GABRIEL

DESCHAMPS

French born 1919

Campagne dans les Alpes-Maritimes

Oil on canvas, signed lower right

Canvas size: 23.5 x 29 inches

Framed size: 30 x 35.5 inches

Ref 15861 Price Code D

Gabriel Deschamps was born in 1919 and studied at the École Nationale Superieure des Beaux Arts in Paris. From 1939 he was a State Art Professor and a member of the Paris Autumn Salon. He was best known for his evocative landscapes depicting Provence, where he had a house and the spectacular coastline of the South of France.

His paintings perfectly capture the fresh, vibrant colours and the intense quality of light in that region.

The museum in Casablanca holds work by Deschamps.

His paintings perfectly capture the fresh, vibrant colours and the intense quality of light in that region. Deschamps’ paintings were sold to many collectors in the United Kingdom in his lifetime and his works are represented in important private collections in Switzerland, Belgium, Brazil, USA and Argentina. The artist exhibited widely including in Paris, Algiers, Oran and Casablanca.

LONDON COTSWOLDS LONDON COTSWOLDS

French 1899 – 1985

A Grand Bouquet

Oil on canvas, signed lower right

Canvas size: 21.5 x 18 inches

Framed size: 28.5 x 25 inches

Ref 15811 Price Code D

The artistic climate to which he was exposed in Paris and in Normandy was crucial during his youth, as innovative ideas and new thinking, born of the Impressionist and Post-Impressionist movements, formed ever widening circles of influence in Europe.

After finishing his studies his first employment took him to southern Morocco. Marveling at the beauty of the scenery and swept up in the atmosphere, Dyf decided in his early twenties to give up his career in engineering and dedicate himself to painting and the arts.

French 1899 – 1985

Golfe du Morbihan

Oil on canvas, signed lower right

Canvas size: 18 x 21.75 inches

Framed size: 24.25 x 28 inches

Ref 15986 Price Code D

Marcel Dyf was born in Paris on 7 October 1899. His parents were industrialists originally from the Alsace region and he spent his childhood holidays in Normandy at Ault, Deauville, and Trouville nurturing a lifelong affection for the sea and their maritime skies.

Dyf was encouraged to draw from a very young age and made several visits to the Louvre.

In the summer of 1954 Dyf met Claudine Godat. Aged nineteen, she was thirtysix years younger than Dyf. There was an instant rapport between them: it was simply love at first sight, they married and bought a lodge at Bois d’Arcy, near Versailles. This became their main home but each winter they returned to Provence on painting trips, staying in Saint-Rémy or in the small village of Eygalières.

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Throughout these years Dyf principally painted in three areas: Brittany, Provence, and the Île-de-France. His paintings give an outward appearance of being simple, undemanding compositions, but the process of creating them was exactly the opposite - it was complex, rigorous, disciplined, considered, measured. He exhibited widely in France and in the USA as well as Great Britain and up until his death on 15 September 1985 his works were exhibited at Frost & Reed Gallery in London until their close.

26. MARCEL DYF

27. MARCEL DYF

MARCEL DYF

French 1899 – 1985

Bouquet spectaculaire

Oil on canvas, signed lower right

Canvas size: 28.75 x 23.5 inches

Framed size: 35.75 x 30.75 inches

Ref 15821 Price Code E

The artistic climate to which he was exposed in Paris and in Normandy was crucial during his youth, as innovative ideas and new thinking, born of the Impressionist and Post-Impressionist movements, formed ever widening circles of influence in Europe.

After finishing his studies his first employment took him to southern Morocco. Marveling at the beauty of the scenery and swept up in the atmosphere, Dyf decided in his early twenties to give up his career in engineering and dedicate himself to painting and the arts.

French 1899 – 1985

Un village riverain

Oil on canvas, signed lower right

Canvas size: 23.75 x 28.75 inches

Framed size: 32 x 37 inches

Ref 16149 Price Code E

Marcel Dyf was born in Paris on 7 October 1899. His parents were industrialists originally from the Alsace region and he spent his childhood holidays in Normandy at Ault, Deauville, and Trouville nurturing a lifelong affection for the sea and their maritime skies.

Dyf was encouraged to draw from a very young age and made several visits to the Louvre.

In the summer of 1954 Dyf met Claudine Godat. Aged nineteen, she was thirtysix years younger than Dyf. There was an instant rapport between them: it was simply love at first sight, they married and bought a lodge at Bois d’Arcy, near Versailles. This became their main home but each winter they returned to Provence on painting trips, staying in Saint-Rémy or in the small village of Eygalières.

LONDON COTSWOLDS LONDON COTSWOLDS

Throughout these years Dyf principally painted in three areas: Brittany, Provence, and the Île-de-France. His paintings give an outward appearance of being simple, undemanding compositions, but the process of creating them was exactly the opposite - it was complex, rigorous, disciplined, considered, measured. He exhibited widely in France and in the USA as well as Great Britain and up until his death on 15 September 1985 his works were exhibited at Frost & Reed Gallery in London until their close.

28. MARCEL DYF

29.

MARCEL DYF

French 1899 – 1985

Fleurs sauvages dans un vase

Oil on canvas, signed lower right

Canvas size: 22 x 18.5 inches

Framed size: 29.75 x 26.25 inches

Ref 16145 Price Code D

The artistic climate to which he was exposed in Paris and in Normandy was crucial during his youth, as innovative ideas and new thinking, born of the Impressionist and Post-Impressionist movements, formed ever widening circles of influence in Europe.

After finishing his studies his first employment took him to southern Morocco. Marveling at the beauty of the scenery and swept up in the atmosphere, Dyf decided in his early twenties to give up his career in engineering and dedicate himself to painting and the arts.

MARCEL DYF

French 1899 – 1985

Marcher parmi les bles, Normandy

Oil on canvas, signed lower right

Canvas size: 23.25 x 28 inches

Framed size: 32 x 36.75 inches

Ref 16135 Price Code E

Marcel Dyf was born in Paris on 7 October 1899. His parents were industrialists originally from the Alsace region and he spent his childhood holidays in Normandy at Ault, Deauville, and Trouville nurturing a lifelong affection for the sea and their maritime skies.

Dyf was encouraged to draw from a very young age and made several visits to the Louvre.

In the summer of 1954 Dyf met Claudine Godat. Aged nineteen, she was thirtysix years younger than Dyf. There was an instant rapport between them: it was simply love at first sight, they married and bought a lodge at Bois d’Arcy, near Versailles. This became their main home but each winter they returned to Provence on painting trips, staying in Saint-Rémy or in the small village of Eygalières.

LONDON COTSWOLDS LONDON COTSWOLDS

Throughout these years Dyf principally painted in three areas: Brittany, Provence, and the Île-de-France. His paintings give an outward appearance of being simple, undemanding compositions, but the process of creating them was exactly the opposite - it was complex, rigorous, disciplined, considered, measured. He exhibited widely in France and in the USA as well as Great Britain and up until his death on 15 September 1985 his works were exhibited at Frost & Reed Gallery in London until their close.

30.

31.

MARC ALDINE

French 1870 – 1955

Backwater Shadows, Venice Oil on canvas, signed lower right

Canvas size: 21.5 x 14.75 inches

Framed size: 28.5 x 22 inches

Ref 16086 Price Code C

Marc Aldine, also known as Antoine Bouvard Senior, was born at Saint-Jean-de-Bournay in L’Isère in 1870. He trained as an architect and studied art and architecture under Constant-Dufeus at the École des Beaux-Arts in Paris. He became the Director of Architectural Services for the Seine and was responsible for the construction of the Bourse du Travail and the Boulevard Morland in Paris.

His paintings show the influence of Felix Ziem, reflecting his love of Venice in the delicacy and fluidity of his use of colour, capturing in his paintings, the warmth and beauty that he found there. Known as a painter of Venetian subjects, he worked during the early part of the 20th century, becoming one of the most prolific painters of Venetian genre from this period.

MARC ALDINE

French 1870 – 1955

Reflective Backwaters, Venice Oil on canvas, signed lower right

Canvas size: 21.5 x 15 inches

Framed size: 28.75 x 22.25 inches

Ref 16085 Price Code C

Marc Aldine, also known as Antoine Bouvard Senior, was born at Saint-Jean-de-Bournay in L’Isère in 1870. He trained as an architect and studied art and architecture under Constant-Dufeus at the École des Beaux-Arts in Paris. He became the Director of Architectural Services for the Seine and was responsible for the construction of the Bourse du Travail and the Boulevard Morland in Paris.

His paintings show the influence of Felix Ziem, reflecting his love of Venice in the delicacy and fluidity of his use of colour, capturing in his paintings, the warmth and beauty that he found there. Known as a painter of Venetian subjects, he worked during the early part of the 20th century, becoming one of the most prolific painters of Venetian genre from this period.

Aldine’s works are broad and confidently painted, capturing all the atmosphere and charm of one of the most beautiful cities in the world. He exhibited throughout France and Italy as well as in many provincial European galleries during his own lifetime.

Aldine’s works are broad and confidently painted, capturing all the atmosphere and charm of one of the most beautiful cities in the world. He exhibited throughout France and Italy as well as in many provincial European galleries during his own lifetime.

LONDON COTSWOLDS LONDON COTSWOLDS

French 1910 – 1988

Champs-Élysées

Oil on canvas, signed lower right

Canvas size: 13 x 18 inches

Framed size: 20.5 x 25.5 inches

Ref 15858 Price Code B

Antoine Blanchard is the pseudonym for the French painter Marcel Mason. He was born in a small village near the banks of the Loire on 15 November 1910 and was the eldest of three children. His parents recognised his artistic flair when he was very young and encouraged him to study sculpture and drawing, in which he excelled.

French 1910 – 1988

LONDON COTSWOLDS LONDON COTSWOLDS

Notre Dame

Oil on canvas, signed lower right

He often painted the same landmark in different weather conditions or various seasons, perfecting his own unique style and depicting Paris at the turn of the century.

Blanchard loved Paris but he longed for the capital of old drawing inspiration from the 1890s.

Continued...

Canvas size: 18 x 21.5 inches

Framed size: 25.25 x 29 inches

Ref 15937 Price Code C

Antoine Blanchard died on 10 August 1988 at the age of seventy-eight. He is considered today to be one of the leading exponents of the genre and his work is highly sought after by collectors from all around the world.

34. ANTOINE BLANCHARD

35. ANTOINE BLANCHARD

EDOUARD LÉON CORTÈS

French 1882 – 1969

Lumières, Parisiennes

Oil on canvas, signed lower right

Canvas size: 18 x 21.5 inches

Framed size: 25 x 27.75 inches

Ref 16148 Price Code F

Edouard Léon Cortès was born at Lagny (Seine et Marne), a few miles east of Paris on 26 August 1882. It was an exciting epoch into which Cortès was born. Art, literature, music and political thought reached a pinnacle of creativity, allowing new schools of artistic expression to evolve. With this revitalised attitude towards new ways of seeing art, experimenting with colour, depth and perspective, Cortès became enraptured with the idea of becoming a professional painter. At the age of seventeen Cortès began formal studies at the École des Beaux-Arts in Paris and for five years he expanded his horizons in the fields of classical and impressionistic art. He was a member of the Society of French Artists and made his debut in Paris in 1907.

As an artist, Cortès sought to discover the unperceived aspects of nature and man; those special atmospheric qualities of mist in the air, the afternoon sun, evening shadows, rattling carriages and bookstalls along the quays of the river Seine.

Cortès captured in oils the unique and magical light of Paris. In some paintings his stonework seems almost to “weather” before our eyes and in others it glistens like pearls against a summer sky. In evening compositions night falls like a gentle veil, wistful and wreath-like, holding intact shadows of the night. His windows shine brightly, his lamps glow, signs shimmer and streets appear wet from a sultry nocturnal rain.

HAYNES FINE ART

Clearly evident is Cortès’ talent for creating the perfect composition; every angle giving way to a new look. Living in the heart of Paris, Cortès was surrounded by the many famous landmarks: Notre Dame, La Madeleine, L’Opéra, the Café de la Paix, Place de la Concorde, La Place Vendôme, the Eiffel Tower and more. Cortès deliberately chose these sights, studying each from different points of view, at certain times of the day and in varying seasons. The dramatic facades of winter versus summer resulted in entirely different compositions, crystalline white snow, chilled air and buildings standing triumphant in a winter wonderland, versus the sweet smell of summer, flower vendors and book sellers, blazing shadows and glistening white fountains.

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Unique to Cortès was his impressionistic flair with the brush. With strict precision in the use of his brush and oils, each movement of the paint on canvas made its impact.

EUGÈNE GALIEN LALOUE

French 1854 – 1941

Place de la Bastille

Gouache on paper, signed lower left

Paper size: 14.25 x 8.75 inches

Framed size: 19.25 x 13.75 inches

Ref 15792 Price Code C

Born on 11 December 1854 in Montmartre to French-Italian parents, Eugène Galien Laloue studied under his father Charles Laloue, a set designer. His debut was almost exclusively as a painter in gouache of Parisian street scenes.

It was at the turn of the century that Galien Laloue commenced his detailed gouaches depicting Paris and Parisian life. His paintings of the early 1900s accurately represent the era in which he lived: a happy, bustling Paris, ‘La Belle Époque’, with horse-drawn carriages, trolley cars and its first omnibuses. He was a populariser of street scenes, usually painted in autumn or winter.

Some artists or writers are content to have a pseudonym so as to disguise their work. Eugène Galien Laloue was particularly adept at establishing several identities, since over the course of his career he worked under three pseudonyms: ‘J. Lievin’ – after a soldier he met during the FrancoPrussian war, ‘E. Galiany’ – an Italianized version of his own names, and ‘L. Dupuy’ – after Dupuy Léon who lived in his same area. While these are three confirmed names that he used, there is the possibility that he used other names as well.

EUGÈNE GALIEN LALOUE

French 1854 – 1941

Boutiques animées sur le boulevard, Paris

Despite preoccupation with the reclusive nature of this man, he depicted Paris and the surrounding landscape with his cool palette and in doing so he became another recorder of popular Parisian life. He balanced his architectural interest in Paris with several landscape views and was an equally if not more proficient draughtsman.

LONDON COTSWOLDS LONDON COTSWOLDS

Gouache on paper, signed lower left

Paper size: 7 x 12 inches

Framed size: 15 x 19.5 inches

Ref 16082 Price Code D

His work can be seen at the Musée des Beaux-Arts, Louvier; Musée des Beaux-Arts, La Rochelle; Mulhouse, France. Galien Laloue has inspired and influenced many of yesterday’s and today’s artists, including renowned French impressionists Edouard Léon Cortès and Antoine Blanchard.

38.

Charles Gleize, known as Charles Malle, was born on 9 August 1935 in Douai in Northern France.

French born 1935

French born 1935

Moulin Rouge, Boulevard de Clichy, Paris

Oil on canvas, signed lower right

Canvas size: 25.5 x 32 inches

Framed size: 33.25 x 39.5 inches

Ref 16065 Price Code E

His Post-Impressionist paintings are associated with the School of Montmartre, a loosely knit group of painters that follow in the footsteps of Degas, Monet, Manet, Alphonse Quizet, Elise Maclet and Maurice Utrillo. Continued...

Le manège sur la butte, Montmartre

Oil on canvas, signed lower right

Canvas size: 28.75 x 36.25 inches

Framed size: 36 x 44 inches

Ref 15864 Price Code F

Malle studied art at St. Luke’s school in Tournai, Belgium for two years than at the ENSAIT (Higher National School for Art and Textile Industry) in Roubaix, France for five years. He also trained in drawing and painting and studied art history.

LONDON COTSWOLDS LONDON COTSWOLDS

Besides painting Paris and the river Seine, he also paints Northern France, the ports of Calais, Boulogne and Dunkirk, Rouen and the Normandy coastline.

39. CHARLES MALLE

40. CHARLES MALLE

GEN PAUL French 1895 – 1975

Cavaliers

Gouache on paper, signed lower right

Paper size: 19 x 25 inches

Framed size: 33 x 38.5 inches

Ref 15659 Price Code C

Gen Paul was a French painter widely acclaimed for his use of rapid brushstrokes and dynamic angles, in depicting street scenes, figures, and horse races. He was largely a self-taught artist. He was born as Eugène Paul in Montmartre, Paris on 2 Jul y 1985. His father died when he was only ten years old and Paul was trained to work in decorative furnishings.

Paul served in the French army during World War I and was wounded twice, losing one of his legs. During his convalescence, he returned to painting after having shown talent for drawing as a child. He never received any formal training however he went on to make a living from his art for almost sixty years.

While his early works reflected the influences of his friends in Montmartre, Vlaminck, Utrillo and Frank Will, he soon develope d dynamic form of expressionism reflecting influences as varied as Toulouse-Lautrec, Van Gogh, Cézanne, Goya, Velázquez and El Greco.

In addition to painting scenes from his native Montmartre, including that of his friends, composer Darius Milhaud, writer Louis Ferdinand Celine, Paul travelled to the United States where he painted jazz and classical musicians, a subject with which he had much interest.

Between 1925 and 1929, he produced many of his best works which were fuelled by his passion for life and a desire to overcome his handicap. Unlike other expressionists of the time, Gen Paul’s works are full of optimism and some consider Paul to be the first action painter; a precursor to the abstract expressionists of the 1950s.

LONDON COTSWOLDS LONDON COTSWOLDS

Paul began the 1930s with a serious addiction to alcohol, further complicating his chronic health problems. The paintings of 1930s reflect a more sombre mood with precise lines and carefully chosen colours and an emphasis of rhythm over motion. In 1934, he was recognized for his contributions to France and was awarded the Legion of Honour. In 1937, he was contracted to paint a large fresco for the Pavilion of Wines of France at the Paris International Exposition.

Gen Paul died on 30 April 1975 in Paris. A great many of his works remain in private hands but a number of his important pieces can be found at museums in France and in other parts of Europe.

42. ANDRÉ BRASILIER

French born 1929

Automne Oil on canvas, signed lower right

Canvas size: 45.5 x 32 inches

Framed size: 54.5 x 41 inches

Provenance: Galerie Nichido, Tokyo; Sale: Mainichi Auction, Tokyo, 1 August 2015, lot 1279; Private Collection, Japan; (Purchased at the above sale. Sold: Sotheby’s, London, 22 June 2016, lot 198); Purchased at the above sale;

Purchased by Haynes Fine Art

Literature:

Xavier de Coulanges, André Brasilier, Catalogue Raisonné 1982-2002 Paris 2002, vol. I, no.1992/53, illustrated in colour p.216

Ref 15275 Price Code G

André Brasilier is a French painter, born in Saumur, France, who studied at the École des Beaux-Arts in Paris. In 1952, he received the Florence Blumenthal Award and the Prix de Rome for painting the following year. He resided at the villa Medicis in Rome from 1954 to 1957. He now lives and works in Paris.

Brasilier creates canvasses that are a blend of abstraction, expressionism, and something distinctly his own. His works often feature themes and motifs like horses, nature, music, and women and more particularly his wife and muse, Chantal. In an intimate communion with nature, he draws his inspiration from its language, sounds, and colours, thus revealing the natural beauty of our surroundings.

HAYNES FINE ART

LONDON COTSWOLDS LONDON COTSWOLDS

Brasilier had his first retrospective of one hundred artworks from 1950 until 1980 at the Château de Chenonceau and a retrospective exhibition at the Musée Picasso-Château Grimaldi in Antibes, the French Riviera, in 1988. He has since been honoured with major retrospectives both at Russia’s renowned State Hermitage Museum in Saint Petersburg in 2005 and at the Museum Haus Ludwig für Kunstausstellungen Saarlois in Germany in 2007.

French 1913 – 1999

Nature morte sur une table

Oil on canvas, signed and dated 54 lower right

Canvas size: 39.25 x 44.5 inches

Framed size: 40.25 x 45.5 inches

Ref 15863 Price Code F

Claude Venard was born in Burgogne. At the age of seventeen Venard began to take evening classes in painting at the École des Arts Appliqués. However, after only six years of conscientious study, he was forced, to help ends meet, to spend most of 1936 working as a restorer at the Louvre Museum.

French 1913 – 1999

LONDON COTSWOLDS LONDON COTSWOLDS

Musique

Oil on canvas, signed lower right

Canvas size: 45.25 x 57.5 inches

Unframed

This experience, however, turned out to be beneficial in as much as it enabled the young artist to fill the gaps still existing in his artistic education. He remained faithful to a Cubist style, and progressively accentuated the chromatics of his palette up to reaching the extremes of his colour range, which he used in very thick forms and applied with multiple tools, including brush and palette knife.

Continued...

Ref 16154

Price Code F

Claude Venard had many one man shows in London, New York, Paris, Dusseldorf, Munich, Buenos Aires, Holland and Belgium, to name but a few.

43. CLAUDE VENARD

44. CLAUDE VENARD

PIPER CH

British 1903 – 1992

Cathedral of Saint Gatianys of Tours

Mixed media on paper, signed lower left

Paper size: 21.75 x 14.5 inches

Framed size: 36.5 x 28.75 inches

Ref 16073 Price Code D

Piper was taught at Epsom College, and then trained at the Richmond School of Art and later the Royal College of Art in London (1926-28).

During World War II, John Piper was appointed as an official war artist. He was tasked with recording the effects of the Blitz on Britain’s buildings. After producing a series of drawings of Windsor Castle for HM The Queen at the time, his work picked up interest at an increasing rate. After the war, he became a Trustee at the Tate Gallery and National Gallery and then in 1959 he became a member of the Royal Fine Art Commission.

British 1903 – 1992

A Pembrokeshire Landscape

Mixed media on paper, signed lower right

Paper size: 14 x 21 inches

Framed size: 28.25 x 35 inches

Ref 16099 Price Code D

John Piper’s career in art spanned over sixty years and has incorporated a huge range of artistic media including printmaking, painting, drawing and illustration, photography, stained glass, fabric design, murals, stage sets and costume design. However, Piper is most well-known for his prints and paintings of the romantic heritage of Britain; his explorations of rural Britain throughout his life (a passion that started with bicycle adventures in his native Surrey as a boy) have much influence on his paintings. In his prints, his subject matter was predominately architectural; often abbeys, churches, houses, castles, cottages or details of architectural design.

John Piper also created - and is well known for - a stained glass window for Coventry Cathedral; the windows for Eton College Chapel and alongside Patrick Reyntiens, for Liverpool’s Roman Catholic Cathedral. Also in the 1960s, he took an interest in screen-printing and etching, alongside Chris Prater at Kelpra Studio. In 1983 the Tate staged a full retrospective of his work. John Piper passed away in Buckinghamshire on 28 June 1992, his children follow in his footsteps as artists and painters.

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45. JOHN EGERTON CHRISTMAS PIPER CH

46. JOHN EGERTON CHRISTMAS

Still Life

Acrylic on board, initialled lower left

Board size: 8.75 x 6.75 inches

Framed size: 22.25 x 20 inches

Ref 16077 Price Code B

By this point McIntyre had moved to North Wales but spent most of his summers on Iona, much as the Scottish Colourists had done so before him. He developed a palette and approach to working based on the tradition of this movement and their followers, such as Francis Cadell and Anne Redpath.

McIntyre had spent his childhood in northwest Scotland, and it is fair to say that these early experiences of the Scottish landscape and the artists he encountered there influenced him throughout his life. Time again he would return to coastal scenes of the British Isles, in particular to Scotland and Wales.

Sunlit Harbour

Oil on board, initialled lower right

Board size: 6 x 8 inches

Framed size: 19.75 x 21.5 inches

Ref 15947 Price Code A

Despite being a natural draftsman Donald McIntyre originally trained as a dentist at the Glasgow Dental Hospital. It was during this time that he would attend evening classes at the nearby Glasgow School of Art to further develop his talent.

McIntyre served in the Army and became an Education Health Officer before, at the age of forty, deciding to pursue painting as a full-time career.

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He often made landscape studies en plein air before returning to his studio to finish larger pieces. His works, regardless of where they were executed are lively, spontaneous but well considered compositions created with sympathetic understanding of paint.

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47. DONALD MCINTYRE RCA, RSMA Scottish 1923 – 2009

48. DONALD MCINTYRE RCA, RSMA Scottish 1923 – 2009

McIntyre exhibited at The Royal Academy, The Royal Scottish Academy and The Royal Society of Marine Artists.

McIntyre spent most of his summers on Iona, much as the Scottish Colourists had done so before him. He developed a palette and approach to working based on the tradition of this movement and their followers, such as Francis Cadell and Anne Redpath.

Time again he would return to coastal scenes of the British Isles, in particular to Scotland and Wales.

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Board size: 12 x 16 inches

Framed size: 19 x 23 inches

Ref 15871

B

McIntyre childhood was full of visits to northwest Scotland, and it is fair to say that these early experiences of the Scottish landscape and the artists he encountered there influenced him throughout his life.

Board size: 20.75 x 30.75 inches

Framed size: 29.25 x 39.25 inches

Ref 15962 Price Code D

He often made landscape studies en plein air before returning to his studio to finish larger pieces. His works, regardless of where they were executed are lively, spontaneous but well considered compositions created with sympathetic understanding of paint.

49. DONALD MCINTYRE RCA, RSMA Scottish 1923 – 2009

Iona Shore Oil on board, initialled lower right

Price Code

50. DONALD MCINTYRE RCA, RSMA Scottish 1923 – 2009

Coastal Calm, Isle of Mull Oil on board, signed lower left

McIntyre exhibited at The Royal Academy, The Royal Scottish Academy and The Royal Society of Marine Artists.

ALAN FURNEAUX British born 1953

From Boat to Table, Mousehole Oil on panel, signed lower right

Panel size: 30 x 30 inches

Unframed

Ref 15988 Price Code A

Alan Furneaux was born in London in 1953.

Artists such as, Frost, Hitchens, Nicholson, Matisse, Klee, Picasso, Braque, to name but a few were all early influences of his art but at the age of fourteen, he was greatly influenced by the English painter, Patrick Heron for his simple and direct approach. Alan left Secondary Modern School at seventeen and went to Reigate School of Art for two years although it he did not make art his career until much later.

In 1985, Furneaux moved to Brighton, finding rooms near George Hann’s studio. George (who was his grandfather) was an established artist and the two men formed a mutual friendship based on discussions about Jack Kerouac, George’s life as a painter, and art in general.

MARY FEDDEN OBE, RA, RWA

British 1915 – 2012

Butterflies and Fruit

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Now actively working in Cornwall on the Penwith coast of Penzance, Alan paints in oils or acrylics.

Furneaux readily describes his style as ‘naïve’ in as much as it’s representative of a very uncomplicated, blocky visual disposition, complete with interesting shapes and frequented with saturated colours. There is an almost child-like charm and pictorial resonance to its application, a stripped-back counter to over-elaborate renderings. To extract the maximum light play, Furneaux generally chooses to undertake his paintings in the middle of the afternoon.

Gouache and collage on paper, signed and dated 1987 lower left

Paper size: 5.75 x 6 inches

Framed size: 21 x 21.25 inches

Ref 16076 Price Code B

Mary Fedden was born in Bristol. Fedden left school to study at the Slade School of Art at the age of sixteen. In 1951 Mary married the artist Julian Trevelyan, they took a studio on the Thames River at Chiswick. From 1958 to 1964 she taught at the Royal College of Art and was appointed the first female tutor in the Painting School. Her pupils included David Hockney and Allen Jones. Subsequently, Fedden was elected Royal Academician.

From 1984, Fedden held the post of President of the RWA, she has also received an OBE.

51.

52.

HELEN BRADLEY MBE

British 1900 – 1979

Happy Land

Oil on board, with fly insignia lower left; further signed and dated 1971 verso and with artist’s story

Board size: 21.75 x 31.75 inches

Framed size: 30.75 x 40.75 inches

Ref 16160 Price Code G

Helen Bradley was one of the great story tellers of the 20th century. Perhaps the most intriguing story however, is that of her own sudden and belated rise to fame in her mid sixties.

Born in Lees near Oldham in 1900, Helen only began to paint her distinctive scenes of an Edwardian girlhood at the age of sixty-five. At first she simply wanted to show her grandchildren how different a place the world used to be when she was a child. From 1965 until her death in 1979, Helen achieved international celebrity. In the 70s she was the darling of the chat shows, appearing on Pebble Mill at One, Desert Island Discs and the Russell Harty chat show. The BBC and the American NBC network made documentaries of her life and the Northern Ballet adapted her work for the stage.

Like Lowry, Helen Bradley has often been described as a naive or primitive artist. In fact she began her art education at the age of thirteen, winning the John Platt scholarship to Oldham Art School in 1913. The outbreak of war and parental opposition brought an early end to her ambitions. She married the painter and textile designer Thomas Bradley in 1926 and devoted the next forty years of her life to her family.

Helen never entirely lost the impulse to paint and, when living in London, made frequent trips to the British Museum. She was inspired by an exhibition of early Chinese painting and by the collection of Persian miniatures. In the 1960s she met L.S. Lowry who encouraged her in the creation of a narrative style based on her childhood memories and a personally expressive style finally began to emerge.

HAYNES FINE ART

At first Helen focused on the period 1904 to around 1908, invariably writing a short narrative account based on memory and then illustrating the text in her immediately recognisable style. The earliest pictures usually feature Helen herself and her young brother George, her mother and Helen’s three maiden aunts, family friend Miss Carter (who wore pink) and the eligible bachelor Mr. Taylor, the bank manager. They are often pictured holidaying in Blackpool, walking in Salford’s Peel Park or shopping in Oldham.

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Helen Bradley awarded the MBE for services to the arts however she died on 19 July 1979 shortly before she was due to receive the honour from Her Majesty The Queen. Today Helen’s paintings with their evocation of an idyllic Edwardian age remain as endearing and arresting as ever. Prices for her work now look set to follow the astronomical amounts paid for Lowry’s work.

ARTHUR DELANEY

British 1927 – 1987

The Manchester Hippodrome

Oil on board, signed lower right

Board size: 18 x 18.5 inches

Framed size: 26.25 x 26.75 inches

Ref 15825 Price Code E

Arthur McEvoy Delaney was born in the All Saints district of Manchester in 1927. His family background was theatrical, his mother being a dancer and his father the famous comedian Frank Randle.

At the age of thirteen he joined a textile design studio in Manchester where he continued to work for the next thirty-two years. He married his childhood sweetheart and they had four children. He started to paint as a means of relaxation.

There were two great influences in his life that were to effect his own development as a painter. One was the work of L.S. Lowry and the other memories of the happy years he spent as a boy in the Manchester of the 1930s with its smoke laden skies, rattling tramcars and gas lamps.

BRIAN SHIELDS

British 1951 – 1997

Street Life

Oil on board, signed and dated braaq 76 F.B.A. and inscribed “ANN” lower left

Board size: 24 x 18 inches

Framed size: 31.25 x 25.25 inches

Ref 16059 Price Code D

Brian ‘Braaq’ Shields was born in Liverpool in 1951.

The unusual name of ‘Braaq’ is a misspelling of the famous French artist Braque which, on account of his artistic talent as a boy, was Brian’s nickname at school. The name ‘Ann’ after his own signature refers to his sister who died at the young age of twenty-one; to whose memory all of his subsequent paintings were dedicated.

Lowry’s work made Delaney aware of the many special qualities of the north and soon he began producing street scenes and industrial landscapes. His paintings were not stylised but a true likeness to their location. He set out to capture the atmosphere of the 1930’s and all of his paintings capture the nostalgia of the period.

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In April 1974 he held a very successful one-man show at the Tib Lane Gallery in Manchester, with all the pictures selling within half an hour at the preview. His paintings continued to sell well during his lifetime and he exhibited at the Royal Academy. Many of his paintings were produced as limited edition prints.

Arthur Delaney’s paintings are now more popular than ever and are being discovered by a new generation of collectors.

Shields never looked back from this point on and held his first exhibition in 1974. In 1977 he was invited to hold the first of four exhibitions in London’s West End. It was after this particular exhibition that The Times described him as “one of the six most successful artists in England”.

All Shields’ paintings are based in a humorous way on his childhood memories of Liverpool. He frequently painted himself as a boy wearing a striped jumper.

Y Lliwedd

Pencil and watercolour on paper, initialled lower right

Paper size: 10 x 14 inches

Framed size: 20 x 23.75 inches

Ref 15594 Price Code C

Sir John “Kyffin” Williams was born on 9 May 1918 in Llangefni, Anglesey into an old landed Anglesey family.Williams enrolled at London’s Slade School of Fine Art in 1941 and taught art at Highgate School, London, where he was Senior Art Master from 1944 until 1973. His works typically drew inspiration from the Welsh landscape and farmlands. They are on permanent exhibition in Oriel Ynys Môn, Anglesey.

He was President of the Royal Cambrian Academy and was appointed a member of the Royal Academy in 1974.

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On the Lookout

Pencil and watercolour on paper, initialled lower right

Paper size: 10.75 x 15.5 inches

Framed size: 20.75 x 25.75 inches

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Ref 15599 Price Code C

His ability to say so much with just a few swift, but very sure, lines or painting knife strokes was quite extraordinary. His art may have been within a defined tradition but it was unmistakably his. In 1995, Williams received the Glynd ŵ r Award for an Outstanding Contribution to the Arts in Wales during the Machynlleth Festival. He was awarded the OBE for his services to the arts in 1982 and a KBE in 1999.

56. SIR JOHN KYFFIN WILLIAMS KBE, RA Welsh 1918 – 2006

57. SIR JOHN KYFFIN WILLIAMS KBE, RA Welsh 1918 – 2006

Sheep Dog

Mixed media on paper, initialled lower centre

Paper size: 5.5 x 9.5 inches

Framed size: 19.75 x 22.25 inches

Ref 15849 Price Code B

Sir John “Kyffin” Williams was born on 9 May 1918 in Llangefni, Anglesey into an old landed Anglesey family.Williams enrolled at London’s Slade School of Fine Art in 1941 and taught art at Highgate School, London, where he was Senior Art Master from 1944 until 1973. His works typically drew inspiration from the Welsh landscape and farmlands. They are on permanent exhibition in Oriel Ynys Môn, Anglesey.

He was President of the Royal Cambrian Academy and was appointed a member of the Royal Academy in 1974.

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A Dolgellau Ram

Mixed media on paper, initialled lower right

Paper size: 5.75 x 9.75 inches

Framed size: 20 x 23.5 inches

Continued...

Ref 15922 Price Code C

His ability to say so much with just a few swift, but very sure, lines or painting knife strokes was quite extraordinary. His art may have been within a defined tradition but it was unmistakably his. In 1995, Williams received the Glynd ŵ r Award for an Outstanding Contribution to the Arts in Wales during the Machynlleth Festival. He was awarded the OBE for his services to the arts in 1982 and a KBE in 1999.

58. SIR JOHN KYFFIN WILLIAMS KBE, RA Welsh 1918 – 2006

59. SIR JOHN KYFFIN WILLIAMS KBE, RA Welsh 1918 – 2006

SIR JOHN KYFFIN WILLIAMS KBE, RA Welsh 1918 – 2006

Companions

Mixed media on paper, initialled lower right

Paper size: 10 x 14 inches

Framed size: 24.25 x 27.75 inches

Ref 16100

Price Code E

Sir John “Kyffin” Williams was a Welsh landscape painter who lived at Pwllfanogl, Llanfairpwll on the Island of Anglesey.

Williams was born on 9 May 1918 in Llangefni, Anglesey into an old landed Anglesey family, and was educated at Shrewsbury School before joining the 6th Battalion Royal Welch Fusiliers as a lieutenant in 1937. After failing a British Army medical examination in 1941 (due to epilepsy) doctors advised him to become an artist, and so began the career of one of Wales’ most prolific artists. It was suggested, “As you are, in fact, abnormal, I think it would be a good idea if you took up art”.

Despite academic difficulties, Williams enrolled at London’s Slade School of Fine Art in 1941 and taught art at Highgate School, London, where he was Senior Art Master from 1944 until 1973. His pupils included the historian Sir Martin Gilbert, Royal Academicians Anthony Green and Patrick Procktor and composers John Tavener and John Rutter.

In 1968 he won a scholarship (Winston Churchill Fellowship) to study and paint Welsh descendants in Patagonia.

According to BBC North West Wales, Williams was one of the most popular living artists in Wales. His works typically drew inspiration from the Welsh landscape and farmlands and they appear in many galleries all over Britain and are on permanent exhibition in Oriel Ynys Môn, Anglesey. He was President of the Royal Cambrian Academy and was appointed a member of the Royal Academy in 1974.

Williams was a kind and gentle soul, a hilarious raconteur, mimic and conversationalist. He was also given to contribute many pieces of his work to countless charities and good causes. Despite an abiding lack of self-worth he was, without doubt, an immense talent. His ability to say so much with just a few swift, but very sure, lines or painting knife strokes was quite extraordinary. His art may have been within a defined tradition but it was unmistakably his. Williams had a style all of his own and has influenced many of his contemporaries.

In 1995, Williams received the Glynd ŵ r Award for an Outstanding Contribution to the Arts in Wales during the Machynlleth Festival.

He was awarded the OBE for his services to the arts in 1982 and a KBE in 1999.

Born in Westminster, London in 1965, Tony Karpinski began painting and drawing from the age of four and a half. Receiving art prizes every year throughout his school years, Tony went on to study the techniques of Great Masters such as Rembrandt and Rubens. He was privately commissioned to execute several pastiches of Dutch Masters paintings for private clients.

From 1985 to 1995, Tony worked in advertising and publishing as a commercial illustrator.

Of his own work Tony says “My heart is rooted in London. was born in London, I grew up in London and I spent most of my adult life in London. Yet it is quite remarkable that despite having also spent most of my adult life as a professional artist it is only now that have started to paint my beloved city.

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British born 1965

HMS Belfast

Oil on board, signed lower left; further signed and inscribed verso

Board size: 12 x 19.5 inches

Framed size: 19 x 26.25 inches

British born 1965

Tower Bridge

Oil on board, signed lower right; further signed and inscribed verso

Board size: 13.5 x 19.5 inches

Framed size: 20.5 x 26.5 inches

Ref 16170 Price Code A

British born 1965

Queen Victoria Memorial

British born 1965

The River Thames

Oil on board, signed lower left; further signed and inscribed verso

Board size: 19.5 x 13.25 inches

Framed size: 26.25 x 20.25 inches

Ref 16171 Price Code A

It could be seen as a long and necessary apprenticeship that has led me to this moment. A combination also of how see London now and a new style of painting in which think my subject should be interpreted.

HAYNES FINE ART

Est.1971

live just outside of London now and going into town allows me to look at it with fresh eyes, seeing the smaller things that I could possibly have overlooked if saw it day in day out.

I’m filled with a great sense of excitement when I’m in the streets, I feel like a fly watching a fast moving City in slow motion. I love watching people, my focus is always on the people of London simply going about their daily business and moving around living their lives, I don’t look for action, just simple beauty.

Of course this new avenue I have entered has opened up exciting new worlds to me of all the great cities on this planet, a never ending stream of reference material and so much to see and paint. The truth is though; I could spend my whole life in London, never get bored and constantly see something incredible and new.”

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Ref 16174 Price Code A

Oil on board, signed lower left; further signed and inscribed verso

Board size: 19.5 x 13 inches

Framed size: 26.25 x 20.25 inches

Ref 16173 Price Code A

61.

TONY KARPINSKI

63.

TONY KARPINSKI

64.

TONY KARPINSKI

62.

TONY KARPINSKI

British born 1976

All We Ever Knew

Oil on linen panel, monogrammed lower right

Panel size: 24 x 16 inches

Framed size: 29 x 21.25 inches

Ref 16039 Price Code A

Tina Spratt has always been fascinated by the skill and draughtsmanship in painting. In her work a great emphasis is placed on the execution: she tends to paint in many layers to build up the glow of light and depth she requires to create the atmosphere and mood. She was inspired very early on by the dramatic use of light in the works of Rembrandt and Caravaggio. Both had a huge impact on her and have stayed with her to the present day, the lighting being an important part of her own work. She also greatly admires Vermeer for the atmospheric and domestic settings he portrays, and Andrew Wyeth; particularly the intimacy of the Helga series.

Spratt’s paintings which are focused on the female form are glimpses of a simple everyday intimacy. Clothed or nude, she is continually inspired by fabrics and different textures to compliment the figure.

British born 1976

She is interested in capturing that fleeting time when a person is unaware of being observed: there is something very honest and private about that moment. Spratt hopes to portray a sense of ambiguity for the viewer to arrive at their conclusions and evoke an emotional connection with the model.

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Anywhere Go, There You Are

Pastel on paper, monogrammed lower right

Paper size: 18 x 26 inches

Framed size: 22.25 x 32 inches

Ref 16040 Price Code A

She uses a variety of techniques in her painting, including glazing, which has the ability to bring out amazing colours and depth, although each painting has a slightly varied approach depending on what she feels it requires. Spratt is forever challenging herself to develop her painting skills further and continue to explore the subject.

65.

TINA SPRATT

66.

TINA SPRATT

British born 1959

Ayanna

Bronze, edition #2/20, signed and with edition number verso

65 inches high including base Ref 15478 Price Code D

Michael Talbot is a figurative sculptor in bronze who was born in Staffordshire. His dedication to his craft began at art school with studio pottery classes. This combined with his love of the human figure was further honed in life drawing classes. Michael combined his love of the properties of clay along with his passion for sculpting the human form and portraying its dramatic poetry.

Following his completion of a BA Hons degree in Sculpture, he gained a scholarship to the Royal Academy Schools, London for post graduate study and won the Landseer prize in 1983. He went on to further studies at The Sir Henry Doulton Sculpture School under Colin Melbourne ARCA and Dame Elizabeth Frink RA. Michael Talbot was elected a member of the Royal Society of British Sculptors in 1997.

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MICHAEL JAMES TALBOT

British born 1959

Seraphina

Bronze, edition #11/20, signed and with edition number verso

36 inches high including base Ref 16141 Price Code D

Michael creates an original clay sculpture which he then casts into bronze, uniquely finishing and painting each sculpture. This process allows him to enhance and refine the final image. Sculpture is wondrous in that it can be seen, touched and walked around giving the viewer pleasure, interest and intrigue from all angles.

Michael’s sculpture is in public and private collections throughout the world, including Patrick Lichfield, the former chairman of the arts council Lord Gibson and the Nat West Bank.

HAYNES FINE ART Est.1971

67. MICHAEL JAMES TALBOT

68.

GILL PARKER

British Contemporary

Spanish Grey

Bronze, edition #2/9, signed and with edition number verso

17 inches high including base, 9.75 inches wide, 9.75 inches deep

Ref 15418 Price Code B

Gill Parker is one of the most acclaimed animal sculptors of our time.

“I don’t make sculpture to shock, make statements, or needing explanation, I want to make sculpture that is a ‘standalone’ thing of beauty, based on the perfect forms of nature”

An accomplished horsewoman, Gill’s work clearly demonstrates her passion for horses. Yet her work is remarkably versatile in both subject matter and size – from equestrian subjects, to British wildlife, big game and family pets.

GILL PARKER

British Contemporary Frankel

Bronze, edition #8/9, signed, inscribed and with edition number verso

11.5 inches high including base, 10 inches wide, 8 inches deep

Ref 16144 Price Code B

In May 1983 Gill took her first bronzes to London where they were bought by Garrards and Asprey. Early support and encouragement from the Sladmore Gallery led to her first one women show in November 1984. Since then she has become a leader in the field of equine and wildlife sculpture with many major commissions to her name including the lifesize bronze Motivator at Ascot Racecourse.

HAYNES FINE ART Est.1971

Gill lives and works in a beautiful part of rural Gloucestershire, along with a various assortment of animals. She also breeds and shows American Quarter Horses with which she has won numerous European and National championships. It was whilst studying art at South Wilts Grammar School in Salisbury that Gill was first introduced to sculpture.

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Gill’s sculpture is eagerly sought by art collectors around the world and is in many public, private and Royal collections, including: Sheik Mohamed, Jeremy Tree, Sheik Khalid Abdullah, Lord and Lady Baden-Powell, Pierce Brosnan, Noel Edmunds, Frank Sinatra, Margaret Thatcher, Richard Dunwoody, Pat Eddery, Anthony Andrews, Ian Stark, John Dunlop, Henrietta, Duchess of Bedford, Lord and Lady Russell, Mr and Mrs Seb Coe, HM The Queen, Lord Harris, Lord Kirkham, Duke of Bedford, Dubai Royal family and the Duke and Duchess of Cambridge (now the Prince and Princess of Wales).

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Gill is a member of the Society of Equestrian Artists.