THE COLLECTION III

Jonathan Cooper

20 Park Walk London SW10 0AQ

t: +44 (0)20 7351 0410

mail@jonathancooper.co.uk

jonathancooper.co.uk

If you the reader visited my gallery when I first opened in 1988, you would have found that the paintings on the wall for sale had been bought on the open market. Fortunately, to survive we found buyers and from there the gallery took its present form.

These paintings reflected my taste and knowledge at the time. Looking back at old gallery catalogues, I can see a strong parallel to this collection today. I realise these present works may seem varied, not from a particular school or time. However, these works did attract me, amongst many others that I saw, and I wanted to have the thrill of owning them before offering them for sale in an exhibition.

Normally my gallery only represents living artists. Our stable, I hope you would agree, represents outstanding craftsmen in their particular field.

It is my hope that this collection also reflects what we set out to do all those years ago, to represent quality and interest to the viewer.

I would like to thank my steady hard-working colleague Melissa Tahar, who has written short biographies, giving a background to every work. For this I am very grateful.

Jonathan Cooper , April 2024

THE ARTISTS

THOMAS PERCIVAL ANDERSON

NORMAN BLAMEY

WILLIAM BROOKER

RAYMOND HARRIS CHING

DAVID DONALDSON

MARK FISHER R.A.

MICHAEL FRENCH

JÓHANNES JÓHANNESSON

JONATHAN KENWORTHY

GODFREY PENINGTON KINGDON

FRIEDRICH WILHELM KUHNERT

SIR PETER LELY

EDWARD BARNARD LINTOTT

CAROL MAHTAB

LEONARD MCCOMB R.A.

RORY MCEWEN

GRÉGOIRE MICHONZE

RODRIGO MOYNIHAN

RACHEL PEDDER-SMITH

SARAH RAPHAEL

ERIC HARALD MACBETH ROBINSON

TAI-SHAN SCHIERENBERG

BORIS VANSIER

JAMES WEBB

SCOTTIE WILSON

THOMAS PERCIVAL ANDERSON

(1885–1940)

Born in York, England, Thomas Percival Anderson embarked on his artistic journey with formal training at the York School of Art in England. His pursuit of artistic excellence led him to Paris, where he immersed himself in the city’s vibrant artistic culture.

Upon returning to the United Kingdom, Anderson shifted his focus to portraiture, coinciding with his service in the Army Service Corps during the tumult of the First World War. It was during this period that he contributed a series of notable portraits to The Tatler magazine, capturing the essence of senior figures within the British Army and prominent personalities associated with the War Office.

Additionally, Anderson gained recognition for his pencil portraits depicting the grace and poise of early 20th-century British aristocratic women. Notably, these portraits of Cecily Burdon-Muller found a home within the prestigious collection once housed at Shakenhurst Hall in Cleobury Mortimer, Worcestershire. The sitter of these elegant portraits married into the Meysey family in 1915, a lineage that had been granted Shakenhurst outright by Edward III in 1349 for their services rendered overseas.

Portrait of Cecily Burdon-Muller, 1910

Signed and dated ‘T. Percival Anderson 1910’ (lower right)

Pencil on paper | 28.74 × 20.87 ins | 73 × 53 cm (artwork size)

34.25 × 26.38 ins | 87 × 67 cm (framed size)

Provenance: Shakenhurst Hall, Cleobury Mortimer, Worcestershire, United Kingdom

£8,000

Portrait of Cecily Burdon-Mulle r in Profile, 1910

Signed and dated ‘T. Percival Anderson 1910’ (lower left)

Pencil on paper | 28.74 × 20.87 ins | 73 × 53 cm (artwork size)

34.25 × 26.38 ins | 87 × 67 cm (framed size)

Provenance: Shakenhurst Hall, Cleobury Mortimer, Worcestershire, United Kingdom

£8,000

NORMAN BLAMEY OBE RA

(1914-2000)

Norman Blamey was born in London, St Pancras in 1914, and studied at the Chelsea School of Art, where he became a senior lecturer from 1963 to 1979. He exhibited for the first time at the Royal Academy in 1938 and was elected as a Royal Academician in 1975. His paintings reflect his attachment to the Anglo-Catholic church and his interest in moments of quiet domestic scenes depicting his family.

The sitter in this painting is the artist’s wife, Margaret Kelly, one of his students he married in 1948 and with whom he had a son, the philosopher Stephen Blamey. Seated in a comfortable chair, she seems lost in her thought and impassive to the passing of time, highlighted by the metronome and the outside world to whom she turns her back. This quiet stillness, which invites reflection, is strengthened by the artist’s palette, made from smooth brown, white, and greys.

A sweet tranquillity exudes from the painting, and the serenity of the human figure gives the scene a deep sense of spiritual peace, which is also present in Blamey’s depictions of church rituals. The realism of the city landscape and its geometrical aspect show the artist’s influence by early Flemish masters.

Blamey’s paintings are held in the collections of the Tate Gallery who acquired a number of his works, the United Kingdom Parliament, and the Southampton City Art Gallery.

A Bay Window in West Hampstead No.2

Artist’s label on verso with title Oil on board | 32.28 × 42.52 ins | 82 × 108 cm (artwork size)

34.5 × 55.12 ins | 87.5 × 140 cm (framed size)

£28,000 + ARR

WILLIAM BROOKER

(1918–1983)

Born in Surrey, England, in 1918, Brooker began his artistic training at the Croydon School of Art in 1936. During World War II, he stopped his education to serve in the Royal Artillery and returned to his studies in 1947 at the Chelsea School of Art and Goldsmiths College of Art. William Brooker started a brilliant teaching career in 1949, being appointed Senior Lecturer at Central School of Arts and Crafts, London, in 1965 and Principal of the Wimbledon School of Art in 1969.

His still lifes are noted for exquisite tonal subtlety in portraying ordinary objects, as exemplified in the nearly monochromatic painting Still life: Compotier with Jars & Pot. In this artwork, the duo of pots on the left emerges from the backdrop, distinguished only by delicate shifts in hue and understated shadow play. By employing a minimalist aesthetic and forgoing intricate details in the depicted subjects, he reduces familiar objects to their fundamental geometric forms. This approach nudges the still life close to the edge of abstraction, transforming the everyday into the purely visual.

Brooker’s work started to be exhibited at Arthur Tooth & Sons, London, from the 1950s, where he continued to exhibit regularly. His work is held in public collections, such as the Tate Gallery and the Aberdeen Art Gallery in England.

Still life: Compotier with Jars & Pot, 1961

Signed and dated ‘Brooker’61’ (lower right)

Oil on canvas | 30.12 × 40.35 ins | 76.5 × 102.5 cm (artwork size)

31.15 × 41.34 ins | 80 × 105 cm (framed size)

£24,000 + ARR

Signed and dated ‘Brooker 68’

× 30.31 ins | 65.5 × 77 cm (framed size)

+ ARR

Drawing of White Bottles with Black Tin, 1968

(lower right)

Pencil on paper 16.93 × 21.65 ins | 43 × 55 cm (artwork size)

25.79

£10,000

Still Life on Folding Table, 1974

Signed and dated ‘Brooker ‘74’ (lower right)

Pencil on paper 18 × 21.5 ins | 45.7 × 54.5 cm (artwork size)

19.88 × 23.43 ins | 50.5 × 59.5 cm (framed size)

Provenance: Arthur Tooth & Sons Ltd (label on verso)

£8,000 + ARR

RAYMOND HARRIS CHING

(BORN 1939)

This exquisite study, a portrayal of the common buzzard (Buteo buteo), exemplifies Raymond Harris Ching ‘s mastery in capturing the essence of avian grace and majesty.

Born in 1939 in Wellington, New Zealand, the artist is celebrated for his captivating depictions of contemporary birds and wildlife. His artistic journey began amidst the vibrant landscapes of New Zealand, where he exhibited remarkable talent from a young age.

In the realm of avian artistry, Ching rapidly gained prominence with his inaugural exhibition, “Thirty Birds,” held at the John Leech Galleries in Auckland in 1966. This collection of meticulously detailed watercolours, employing the drybrush technique, garnered widespread acclaim and quickly sold out, signalling the arrival of a prodigious talent in the art world.

His artistic journey reached new heights with his collaboration on “The Reader’s Digest Book of British Birds.” Tasked with producing 230 full-colour portraits, Ching’s unparalleled skill breathed life into the pages of this iconic publication. Published in 1969, the book emerged as a monumental success, captivating audiences worldwide with its vivid illustrations and comprehensive insights into British avifauna.

Beyond his seminal contributions to avian illustration, Ching’s artistic oeuvre extends to diverse subjects, encompassing landscapes, wildlife, and portraiture. His mastery of oils and watercolours, coupled with an unwavering commitment to precision and detail, imbues his artworks with a timeless allure, often likened to photographic realism.

Today, Raymond Harris Ching’s works are held in prestigious collections and galleries worldwide. With each stroke of his brush, he continues to evoke the awe-inspiring beauty of the natural world, enriching our collective appreciation for the marvels of avian life.

Study of a Buzzard, 1968

Signed and dated ‘Raymond Harris Ching, London, 1968’ and inscribed ‘Buzzard Buteo buteo Plate 82’ (lower left)

Pencil on paper 16 × 11.81 ins | 40.5 × 30 cm (artwork size)

24.8 × 20.87 ins | 63 × 53 cm (framed size)

£3,000 + ARR

DAVID DONALDSON RSA RP RGI LLD

(1916–1996)

David Donaldson, a luminary of 20th-century Scottish art, emerged from the modest beginnings of working-class Lanarkshire to grace the pinnacles of British society with his portraiture. His education at the Glasgow School of Art (1932-1937) served as the foundation for a distinguished career that took him across the globe, propelled by the prestigious Haldane Travelling Scholarship.

Donaldson’s talent was undeniable, earning him the Guthrie Award at the Royal Scottish Academy’s annual exhibition in 1941 and later, a permanent lecturing position at the Glasgow School of Art in 1944. His commitment to art education culminated in his appointment as Head of Drawing and Painting at the Glasgow School of Art in 1967. A testament to his skill and influence, Donaldson was honoured with memberships in the Royal Scottish Academy and the Royal Society of Portrait Painters, along with honorary degrees from the Universities of Strathclyde and Glasgow.

His commission to paint Her Majesty the Queen in 1966 was a career highlight, leading to his role as Her Majesty’s Painter and Limner in Scotland—a title he held with distinction from 1977 until his passing in 1996. Donaldson’s portfolio spans not only royal and notable figures, including Prime Minister Margaret Thatcher, but also intimate portraits of his family, revealing his versatility and deep humanity. Renowned for his direct approach and absence of preparatory sketches, Donaldson’s artistry is marked by a blend of imagination and the tactile joy of painting.

Donaldson’s legacy, celebrated in a retrospective at the Talbot Rice Gallery on his 80th birthday, continues to shine through the vast array of public and private collections that feature his work, serving as a shining example of Scottish art and portraiture.

Signed ‘Donaldson’ (lower right)

Oil on canvas

80.5 × 69 cm (artwork size)

92 × 82.5 cm (framed size)

£20,000 + ARR

Portrait of a Young Lady

MARK FISHER RA

(1841–1923)

William Mark Fisher, born in Boston, USA, was known as a British American Impressionist. His early education in art commenced at the Lowell Institute in Boston, enriched by guidance from George Innes, a renowned American landscape artist. Fisher’s artistic pursuits led him to Paris in 1863, where he studied at Gleyre’s Atelier alongside peers like Alfred Sisley, marking a formative period in his career.

Fisher’s journey eventually led him back across the Atlantic, and in 1872, he made England his home. There, he immersed himself in the English Impressionist scene, contributing to exhibitions with the New English Art Club, the Royal Academy, the Royal Watercolour Society, and the Essex Art Club, where he also served as President for a time. His artistic achievements were recognised with his election as an Associate of the RA in 1911 and as a full member in 1919.

Fisher’s artistic repertoire primarily features rural landscapes and village scenes, characterised by a sense of peace or the lively presence of sheep, cattle, and country folk. His work, known for its vigorous and expressive brushwork, often reflects the moods of the weather and the landscape.

Vernon,

France

Signed ‘Mark Fisher’ (lower right)

Oil on canvas 9.45 × 11.61 ins | 24 × 29.5 cm (artwork size)

14 × 16.14 ins | 35.5 × 41 cm (framed size)

Exhibition: Royal Academy Winter Exhibition, 1928 (label on verso)

£3,800

MICHAEL FRENCH

(BORN 1951)

Michael French, born in 1951 in Chilliwack, British Columbia, is a painter recognised for his realistic landscapes. His formative years, enriched by extensive European travels with his family, profoundly influenced the thematic essence of his work.

French’s early years were marked by a significant meeting with American painter Andrew Wyeth in South Cushing, Maine, in 1972, where he received valuable advice and support that deeply influenced his artistic direction. This period also saw French living in Newfoundland, drawing inspiration from the rugged landscapes and wildlife, which he meticulously captured using watercolour techniques in acrylic on acid-free art board. In 1983, the artist moved to Quebec, where his work evolved to incorporate more surrealistic elements painted from memory.

Since his debut exhibition in 1968 at the McCready Gallery in downtown Toronto, French’s journey in the art world has been marked by notable exhibitions, both solo and collective, in some of the most respected galleries and museums internationally, including the Basmadjian Gallery in Paris and the Humphrey Gallery in New York.

Dark Night Rousseau Hills, 1985

Signed and titled “dark night Rousseau hills” / “Tall spruce” / “La lune” (verso) and dated ‘1985’ (lower right)

Oil and acrylic on board 14 × 20 ins | 25.6 × 50.8 cm (artwork size)

£7,500

JÓHANNES JÓHANNESSON

(1921-1998)

Born in Reykjavik, Iceland, in 1921, Jóhannes Jóhannesson studied art at the Barnes Foundation in the US from 1945 to 1946, then in Italy and France from 1949 to 1951. Working mainly as a successful goldsmith, Jóhannesson turned completely to painting after 1973.

Participating in the Avant-Garde in the Nordic countries, he was one of the founders and participants of the September exhibitions in Iceland from 1947, which became the chief forum for new art and remained as well into the 1950s.

Very involved in the cultural life in his country (he served in the Museum Council from 1965 to 1973), his work was exhibited in important group shows in national museums such as the Reykjavik Art Museum Asmundarsafn and The ASÍ Art Museum in Reykjavík.

No. 10

Signed ‘Jóhannes’ (upper left)

Oil on canvas 33.5 × 39.4 ins | 85 × 100 cm (artwork size)

34.25 × 40.16 ins | 87 × 102 cm (framed size)

£4,800 + ARR

JONATHAN KENWORTHY

(BORN 1943)

Modelling always held a very important place in Jonathan Kenworthy’s life. Born in Westmorland, England, in 1943, he was only eleven years old when he attended the Royal College of Art in London. A precocious and talented young artist, he later entered the Royal Academy Schools, where he was the youngest student ever to win the Gold Medal and Travelling Scholarship for Sculpture. The intense observation and study of the anatomy and movement being essential in Kenworthy’s work, the artist reinforced his knowledge at The Royal Veterinary College in London and the Department of Comparative Anatomy at Nairobi University.

However, the bodies that the artist represents, whether animal or human, are as expressive as they are accurate. Working in his studio in England, he translates into timeless objects his visions and emotions of fleeting moments observed during his trips. The artist had extensively travelled since the 1960s when he visited for the first time East Africa. From this part of the world, where he observed the wildlife, the ruthless play of life and death, and the animal’s gestures in a fight for survival, the artist found the drama and intensity necessary to serve his art.

In his bronzes, the artist captures the strength and the grace in the tension of the animals’ body about to leap or run. The irregular surface of his sculptures, which he creates with bold clay applications, gives the animal he depicts an incredible vitality.

Kenworthy’s work is collected worldwide and was featured in several exhibitions at key galleries, including the Pangolin London.

Running Leopard, 1968

Signed and dated ‘Kenworthy 68’; numbered 8/10 Bronze, black-brown patination, on a rectangular grey-veined marble base

6.7 × 13 × 9.7 ins | 17 × 33 × 24.5 cm

£8,400 + ARR

GODFREY PENINGTON KINGDON (1896–1974)

Godfrey Penington Kingdon (1896-1974) was a British artist known for his work in watercolours and oil paintings. His piece, “Norman Road, Winchester - The View From The Artist’s Window In January, 1965,” exemplifies his adept use of watercolour over pencil, offering an intimate view into his personal environment and artistic viewpoint during that era.

Kingdon’s journey took him from serving in the Machine Gun Corps during World War I to spending years in India, before ultimately settling in Winchester, Hampshire, in the late 1930s. It is here, in the tranquillity of his chosen retirement spot, that he produced the work mentioned above.

The theme of a view from the artist’s window has been a pervasive subject in art history, bridging centuries and embodying a plethora of styles and movements. In “Norman Road, Winchester,” Kingdon employs a bird’s-eye view to deliver a richly detailed and exploratory depiction of the outside world, inviting the viewer’s eye to wander from the interior of a garage or a glass greenhouse to the distant hills. This perspective captures not only the tranquillity of the area but also the essence of everyday life. Through his exploration of perspective and the serene beauty of the scene, Kingdon reminds us of the countless narratives unfolding each day, just outside our windows.

Norman Road, Winchester–The View from the Artist’s Window in January, 1965

Signed and dated ‘G. Kingdon 1/65’ (lower right) Artist’s label attached to the backboard

Watercolour over pencil 15.55 × 19.88 ins | 39.5 × 50.5 cm (artwork size) 22.83 × 26.77 ins | 58 × 68 cm (framed size)

Provenance: Sarah Colgrave Fine Art

£1,800 + ARR

FRIEDRICH WILHELM KUHNERT

(1865–1926)

Wilhelm Kuhnert’s greatest merit was his determination to pursue an unconventional artistic path that would introduce African wildlife to the general public for the first time. Rather than portraying exclusively caged zoo animals in an imaginary landscape, as did his contemporary animal painters, Kuhnert explored the regions of North and East Africa, to depict exotic animals in their natural environment.

Born in 1865, Kuhnert studied at the Academy of Fine Arts in Berlin. He was greatly influenced by Paul Meyerheim, head of the animal painting class at the Academy, who was well-known for his paintings of circus scenes and menageries. Although he worked in the nineteenthcentury academic style, Kuhnert was also inspired by the plein air painting of Impressionism and undertook four intrepid expeditions in the German colonies of Africa to paint in the field. He produced a prodigious body of work based on the numerous studies sketched during his trips, where he recorded the great diversity of wildlife. His close observation of his models’ appearance and behaviour made him known as an expert in zoology. However, although his depictions of Africa are more realistic than the works produced by his contemporaries, they also express a romantic vision of the land.

In this depiction of a buffalo in a marsh, the artist pays particular attention to the animal’s surroundings, depicting the effect of light filtered across the marsh by clouds, and capturing the humid atmosphere of the landscape. The viewer’s perspective is the same as the artist, who could only observe and draw the buffalo from a distance. This point of view emphasises the ephemeral aspect of the scene and represents the animal as inextricably bound to its habitat.

Today, Kuhnert is recognised as the leading interpreter of the tropical animal world in Germany and beyond, even though many of his works were sadly destroyed during the Second World War. His work is particularly prized by collectors in the USA, and a major retrospective of his work was held in the Shirn Kunsthalle, Frankfurt, in 2019.

In the Marsh – Buffalo

Signed ‘Wilhelm Kuhnert’ (lower left).

Oil on board 13.78 × 28.35 ins | 35 × 72 cm (artwork size)

21.89 × 36.02 ins | 55.6 × 91.5 cm (framed size)

Provenance: The Fine Art Society, London (gallery label verso).

Literature: Angelika Grettmann-Werner, forthcoming catalogue raisonné, WV no. 6500

Exhibitions: The Fine Art Society, London, Big-Game in Africa and India Pictures by W. Kuhnert, May 1911, no.79

The Fine Art Society, London, Exhibition of Big Game Paintings & Etchings by WM. Kuhnert, November 1924, no.46

£24,000

SIR PETER LELY

(1618–1680)

Sir Peter Lely, a Baroque portrait painter of Dutch origin, was born as Pieter van der Faes in Westphalia, Germany. Renowned for his evocative portrayals of the mid-17th-century English aristocracy, his work was significantly influenced by the styles of Anthony van Dyck.

His formal art education took place in Haarlem, where he is believed to have been apprentice to Pieter de Grebber, a painter and embroiderer. His skills were recognised early in his career when he became a master of the Guild of Saint Luke in Haarlem in 1637.

Lely’s artistic career predominantly unfolded in England, where he relocated around 1643. Initially, his repertoire included Biblical and mythological scenes; however, his profound legacy was cemented through portrait painting. Lely’s remarkable talent captured the attention of the court, making him the premier portraitist for Charles I. Remarkably, his career seamlessly transitioned through the tumultuous periods of the English Civil War, serving both Oliver Cromwell and Richard Cromwell.

With the Restoration of the monarchy in 1660, Charles II appointed Lely as the Principal Painter in Ordinary, a prestigious role that further solidified his influence in English art. In 1661, Lely became a naturalised British subject and was knighted in 1679, reflecting both his contribution to the arts and his integration into British society. His studio, known for its prolific output, was in constant demand, marking him as the preeminent painter in England.

Lely’s work during the Commonwealth era (1649-1660) took on a more severe and puritanical tone. Conversely, his Restoration portraits, particularly of women, are celebrated for their subtle colouring and the sensuous languor they evoke. His series The Windsor Beauties, portraying court ladies of the 1660s, exemplifies his ability to blend skilful rendering of textiles with an intimate portrayal of his subjects.

His portrait of Miss Ada Gossett serves as a prime example of Lely’s mastery in capturing the essence of his patrons. The depicted sense of intimacy, combined with the luxurious detailing of pearls and brocade, illustrates the subject’s status and personality with elegance and subtlety.

Beyond his painting, Lely was a noted connoisseur of art, amassing an impressive collection of Old Master drawings. His collection was sold posthumously, further testament to his enduring influence and refined taste in art.

Miss Ada Gossett, c.1673

Oil on canvas 30 × 25 ins | 76.2 × 63.5 cm (artwork size)

31.1 × 35.4 | 79 × 90 cm (framed size)

Provenance: Sjuberg Collection Sale, Bukowski, Stockholm, 1927, lot 88 (label on verso)

We are grateful to Catherine MacLeod and Diana Dethloff, National Portrait Gallery, London, for their authentication of this portrait as the work of Sir Peter Lely.

£22,000

Attributed to Sir Peter Lely, Portrait of a Lady Wearing a Brown Dress

Oil on canvas, feigned oval 29.13 × 24 ins | 74 × 61 cm (artwork size)

35.24 × 30.31 ins | 89.5 × 77 cm (framed size)

£16,000

EDWARD BARNARD LINTOTT

(1875–1951)

London-born artist Edward Barnard Lintott was educated in England and pursued his studies in Paris. He attended The Académie Julian, a private art school for painting and sculpture, and enrolled at the Ecole des Beaux-Arts.

After an artistic and political career in London (he was appointed secretary to the British Ambassador to Russia), the artist moved to the USA and became an American citizen in the 1940s. He had many exhibitions in this country, including solo shows at the Macbeth Gallery in New York and the Berkshire Museum, Pittsfield, Massachusetts, in 1942.

A versatile artist, Edward Barnard Lintott is difficult to categorise. In the catalogue of the exhibition held at the Macbeth Gallery in 1934, Marie Sterner, a respectable art dealer and the artist’s wife, stated: ‘ “Variety is charming”, repetition is dull. It is because of this fact that the artist with an active analytical and exploring mind will paint still life, landscape, genre, in fact everything rather than be pigeonholed and placed in a category […] Barnard Lintott has, therefore, the best of authority for his belief that each of the subjects that interests him,— landscapes, portraits, flowers, genre,—demands its own technical expression. The variety of his methods adds to the enjoyment of his pictures’. 1

A retrospective exhibition of his work was held at the Clayton-Liberatore Art Gallery, Bridgehampton, New York in September 1970.

1. Sterner, M. (intro), Paintings and Drawings by Lintott, Macbeth Gallery, New York, January-February 1934.

Study of a Nude, 1924

Signed, inscribed and dated 1924 (lower right)

on paper 17.91 × 12.4 ins | 45.5 × 31.5 cm (artwork size)

23.23 × 16.73 in | 59 × 42.5 cm (framed size)

£1,400 + ARR

Pencil

CAROL MAHTAB

(MONTRÉAL, 1935-2012, NOVA SCOTIA)

Carol Mahtab, born in Montreal in 1935, had a prolific 60-year career in art, initially studying under Arthur Lismer before furthering her education in London. After returning to Montreal, she embarked on a journey with her husband, Ashraf Mahtab, leading them to reside in various locations, including California, Colorado, Ontario, and New York City, where she showcased her work. Settling finally in Sandy Cove, Nova Scotia, Mahtab created deeply introspective abstract pieces influenced by poetry, nature, and the landscapes she lived in, leaving a lasting legacy through her vibrant and evocative art.

Oil on canvas 26 × 22 ins | 66 × 55.9 cm (artwork size)

26.7 × 22.8 ins | 68 × 58 cm (framed size)

£2,800

Joshua Bowl

LEONARD MCCOMB RA

(1930–2018)

Leonard McComb is distinguished for his diverse works across watercolours, oils, prints, and sculptures, notably featured in the Tate collection. Educated at Manchester School of Art and the Slade School of Fine Art (1956-1959), he later taught at prestigious institutions, such as the Royal College of Art and Goldsmiths College, and founded the Sunningwell School of Art in 1974. McComb participated in significant exhibitions, including The Human Clay at the Hayward Gallery in 1976. He was elected a Royal Academician in 1991 and Keeper of the Royal Academy in 1995, placing him in charge of the Royal Academy Schools until 1998. He held key positions in art societies, contributing richly to the art world until his passing in 2018.

McComb held the view that art’s essence lies in capturing light’s dynamic expression, which infuses life with vibrancy. His visits to Southern France in the mid-1980s deeply influenced his painting approach, shifting from the dimmer ambiance of Ireland and Northern England to the luminous Provencal light that also inspired Cezanne and Van Gogh. Through his work, light served as a simplifier, distilling subjects to their core forms.

“Yet, even in the simple paintings of a bowl of fruit or vase of flowers we can still see the intricacy of McComb’s particular gaze, probing and penetrating, seeking out through tiny tabs of colour that are each in a moment of inter-action and intimate connection with those around it, the inner vibration that is the proof of a life that is ‘full of unbelievable surprise”. 1

1. Richard Davey, (2022) ‘Love Connecting Line and Colour’ in ‘Leonard McComb’, Beams Editions, p.184

Peaches in a Vase, 1989

Signed with initials and dated ‘LM 1989’ (lower right)

Pencil and watercolour on paper 14.75 × 22.5 ins | 37.5 × 57 cm (artwork size)

18.5 × 25.39 ins | 47 × 64.5 cm (framed size)

Provenance: Gillian Jason Gallery, London

£4,200 + ARR

RORY MCEWEN

(1932–1982)

A Scottish artist, McEwen was born and raised amidst the cultural affluence of Marchmont House, Berwickshire. His artistic journey commenced at the age of eight, under the guidance of a French governess who introduced him and his sister to drawing directly from nature.

Educated at Eton from 1945, McEwen was nurtured in the art of drawing by Wilfrid Blunt. Recognising McEwen’s exceptional talent, Blunt later lauded his student as perhaps the most gifted artist to pass through his hands. After his tenure at Eton, McEwen devoted two years to National Service in Egypt, subsequently enrolling at Trinity College, Cambridge, in October 1952.

Rory McEwen’s artistic repertoire was diverse, engaging with a wide array of media throughout his career. His artistic exploration extended into modernism and abstract art, with endeavours in oil painting, perspex sculptures, and environmental art concepts, though he is most celebrated for his intricately detailed paintings of individual flowers or vegetables.

In the 1970s, Rory McEwen temporarily set aside vellum, his favourite substrate, in favour of paper. This period marked the beginning of a unique series of semi-abstract watercolour paintings, focusing on grasses and wildflowers, often set against water-inspired backgrounds, adding a dreamlike quality to his work. Embracing paper allowed McEwen to explore new artistic directions, resulting in a captivating collection that featured grasses in a way that played with multiple images to produce a sense of rhythmic repetition.

By the time of his passing in 1982, McEwen had established himself as a botanical artist of renown, his mastery drawing parallels with 18th and 19th-century greats such as Redouté and Ehret, and as a distinguished musician. His profound influence on contemporary botanical art continues to inspire new generations of artists. His legacy was honoured posthumously with notable retrospectives of his work at Edinburgh’s Inverleith House, the Serpentine Gallery in London in 1988, and the Shirley Sherwood Gallery of Botanical Art at Kew Gardens in London in 2013. A major exhibition of Rory McEwen’s works has begun in January 2024 at the Gibbes Museum of Art, Charleston, and will tour to other museum venues across the USA.

Grass Studies, 1976

Signed and dated ‘Rory McEwen 1976’ (lower right)

Watercolour and pencil on paper 27 × 40.5 ins | 68.5 × 103 cm (artwork size)

£28,000 + ARR

GRÉGOIRE MICHONZE

(1902–1982)

Gregoire Michonze was born in the Russian Empire in 1902 in Kishinev, today the capital of the Republic of Moldova. After studying art at a local art academy and attending the Academy of Painting in Bucharest, Michonze decided to pursue an artistic career in Paris. In the 1920s, the city of lights had become an important art scene, attracting artists and intellectuals from all parts of Europe. In Paris, Michonze met Max Ernst, who introduced him to the circle of surrealist artists such as André Breton, Paul Éluard and Louis Aragon. The artist became very close to them, although being never an official member of their group. An independent individual, he developed his own style from the 1930s that he named, with a touch of humour, ‘surreal naturalism’.

Politically engaged, Michonze joined the French artillery in 1939, and was imprisoned in Germany for two years. From this traumatic experience, Michonze made a series of drawings and watercolours, sold to benefit war prisoners’ families.

After the war, supported by his wife Una, Michonze was more than ever committed in his art. Participating in many group exhibitions, he had his first solo show in Paris in 1953 in Mayo’s studio and at the Guénégaud Gallery in 1954. He also travelled to London, where he had two solo shows at the Arcade Gallery in 1946 and the Mayor Gallery in 1947, followed by an important solo show at the Adams Gallery in 1959.

This figurative folkloric scene created in 1961 is typical of Michonze’s work. It is on paper laid on canvas, a technique that the artist learnt in the 1960s and regularly used for his small formats. The artist appreciated working on paper very much, as its smooth surface allowed him to paint quickly, keeping the initial drawing’s spontaneity. Michonze’s work is difficult to define. Often described as ‘naïve’, ‘surrealist’, ‘primitive’, they cannot be categorised. In the preface of the catalogue of Michonze exhibition at the Adams Gallery, his good friend and writer Henry Miller, that he met he Paris in 1928, described his art as a ‘[…] gentle, dreamy world of reality, where trees are trees, rocks are rocks, where all the elements combine to reflect the innocence of the soul.[…] In some the spirit, of a Cimabue hovers – suggested perhaps by the soft classic background of verdant hills, birds in flight, sombre trees, man–sized dwellings, peace, resignation, purity of atmosphere, the devotion and adoration of humble people.”1

In 1978, a major retrospective of Michonze’s work was organised at the Thibaud de Champagne Cultural Center in Troyes, in 1985 at the Musée d’Art moderne in Troyes, and in 1997 at the Parisian Galerie Francis Barlier.

1 Miller, H. (intro), Paintings by Michonze , Adams Gallery, London, June-July 1959.

Composition aux chèvres, 1961

Signed and dated ‘Michonze 61’ (lower right)

Oil on paper laid on canvas 4.75 × 8.5 ins | 12 × 21.5cm (artwork size)

5.91 × 9.65 ins | 15 × 24.5 cm (framed size)

Provenance: private collection, France

£1,000 + ARR

RODRIGO MOYNIHAN

(1910–1990)

Rodrigo Moynihan was an English painter renowned for his diverse artistic journey. Born in Santa Cruz de Tenerife, Canary Islands, Moynihan’s family relocated to London in 1918. Inspired by a winter in Rome in 1927–1928, he pursued art, eventually studying at the Slade School of Fine Art.

In the 1930s, Moynihan emerged as a pioneer of abstract painting in England, associated with the Objective Abstraction movement. Later, he transitioned to social realism, aligning with the Euston Road School and focusing on representational painting, including still life, interiors, and portraiture.

After World War II, Moynihan held a professorship at the Royal College of Art and became a full member of the Royal Academy in 1954. During this period, he was sought after for official portraits, including notable figures such as Princess Elizabeth and Prime Minister Clement Attlee. However, in 1957, he returned to abstraction, working internationally.

By 1971, Moynihan shifted back to figurative painting, producing large-scale studio still-lives and portraits, including notable commissions of figures like Prime Minister Margaret Thatcher and Dame Peggy Ashcroft.

Throughout his career, Moynihan’s works found homes in prominent British institutions including the Glasgow Museums, Derby Art Gallery and in the Imperial War Museum. His legacy remains as a versatile artist who navigated between abstraction and representation with innovation and finesse. The variety of his works was described by the British Art Historian Richard Shone as an expression ‘[…] of both a complex inheritance and training, and a restless intellect that has opened doors rather than closed them in his search for what and how to paint over the last fifty years and more’. 1

1. Richard Shone (1988), ‘The Art of Rodrigo Moynihan’ in ‘ Rodrigo Moynihan, Paintings and Works on Paper ’, Thames & Hudson Ltd, p.15.

Still life with Books and Bottles on a Chest , c.1950

Oil on canvas 23.62 × 35.43 ins | 60 × 90 cm (artwork size)

26.38 × 38.58 ins | 67 × 98 cm (framed size)

£30,000 + ARR

RACHEL PEDDER-SMITH

(BORN 1975)

Watercolour has long been intertwined with British Art, and Rachel Pedder Smith’s work adds a distinctive flair to this tradition. Fascinated by historically collected and stored materials, she considers herself a “voyeur of other people’s collections.” Her PhD project in 2011 at the Royal College of Art in London saw her spending years illustrating 703 specimens from the herbarium at the Royal Botanic Gardens, Kew. The culmination of this effort was an impressive 18-foot-long painting, demonstrating her mastery in capturing textures, shapes, and colours with precision.

Rachel’s fascination with collected and stored dry materials makes her illustrations unique and captivating. She immerses herself in the world of collectors, uncovering curiosities such as tortoise shells, dried frogs, crocodile skulls, or this seed pod from the Afzelia Africana tree species in the Fabaceae family. Through her meticulous representations, she seamlessly blends art, history, and science.

In 2011, Rachel’s painting titled “Bean Painting, Specimens from the Leguminosae Family” was chosen to represent contemporary natural history painting in the “Watercolour” exhibition at Tate Britain. The artist had three solo shows in London, including one with Jonathan Cooper, and her paintings adorn numerous notable collections worldwide, solidifying her status as a prominent figure in the intersection of art and scientific illustration.

Afzelia Africana, 2004

Signed with initials and dated ‘RPS 2004’ (lower right)

Watercolour on paper 11.81 × 10.83 ins | 30 × 27.5 cm (artwork size)

18.5 × 17.32 ins | 47 × 44 cm (framed size)

£2,800 + ARR

SARAH RAPHAEL (1960–2001)

Renowned for her portraiture, Sarah Raphael was a multifaceted English artist whose mastery spanned painting, drawing, and printmaking, exploring both figurative and abstract art. Her formative years at Bedales School, followed by a rigorous art education at Camberwell School of Art from 1978 to 1981, culminated in a First-Class Honours Degree, a testament to her early dedication and skill.

Raphael’s professional debut was marked by a solo exhibition at the Christopher Hull Gallery in 1985, followed by two shows at Agnew’s in 1989 and 1992. Her career trajectory took a pivotal turn in the 1990s after a transformative journey to Australia. This expedition birthed the ‘Desert Landscapes’ series, which was presented in her solo exhibition at Agnew’s in 1995.

Raphael’s portraits, celebrated for their emotional depth and complexity, transcended mere physical likeness to capture the very essence of her subjects. Her nuanced approach combined traditional methods with new experiments to bring out more abstract elements in her art.

Sarah Raphael’s paintings are held in institutions such as the National Portrait Gallery in London, the Metropolitan Museum of Fine Art in New York, and the Victoria and Albert Museum in London.

Oil on canvas 10.04 × 6.69 ins | 25.5 × 17 cm (artwork size) 14.29 × 11.1 ins | 36.3 × 28.2 cm (framed size)

Provenance: Agnew’s, London

£9,500 + ARR

Portrait of Tony Hand V

Oil on canvas 11 × 6 ins | 28 × 14.5 cm (artwork size)

15.35 × 9.84 ins | 39 × 25 cm (framed size)

Provenance: Agnew’s, London

£9,500 + ARR

Penny Il, 1991

ERIC HARALD MACBETH ROBERTSON (1887–1941)

Eric Harald Macbeth Robertson, a Scottish painter hailing from Dumfries and later moving to Edinburgh, carved a unique path at the Edinburgh College of Art. Befriending Symbolist John Duncan, he found a mentor who profoundly impacted his art, drawing inspiration from the intricate works of the Pre-Raphaelites and the evocative symbolism of Gustave Moreau. In 1912 and 1913 he showed in Edinburgh with Barclay, Hutchison, Spence Smith, Storrock and Sutherland. His work, particularly a series of nude compositions crafted in this period, sparked controversy among Edinburgh’s conservative circles. This was largely due to Robertson’s provocative and suggestive approach to depicting the nude form, which deviated from the more traditional and classical interpretations. His integration into the Edinburgh Group alongside notable contemporaries in 1919 marked a pivotal moment in his career. His later years saw a shift towards landscape painting, influenced by his wartime service with the Friends Ambulance Unit in France. Robertson’s legacy endures through his mastery of figure and landscape, leaving an indelible mark on the Scottish art scene.

Reclining Nude,

Signed and dated ‘Eric Robertson March. 19. 1911.’ (lower right)

on paper 5.91 × 7.48 ins | 15 × 19 cm (artwork size)

14.57 × 15.35 ins | 37 × 39 cm (framed size)

1911

Pencil

£2,200

TAI-SHAN SCHIERENBERG

(BORN 1962)

Born in England in 1962, Tai Shan Schierenberg grew up in an artistic environment, frequently visiting London museums and art galleries. The son of a Malaysian mother and German father, who was himself a painter, the artist spent part of his childhood in Malaysia before going to a primary school in London and pursued his studies in a grammar school in Germany. After travelling through Europe, he went back to London, where he graduated from the Slade School of Art in 1987.

Since his first prize in the National Portrait Gallery’s John Player Portrait Award, which he won in 1989, the artist has been highly regarded for his portraits. The National Portrait Gallery commissioned the artist for a portrait of playwright Sir John Mortimer and acquired portraits of Lord Carrington, Lord Sainsbury, and Seamus Heaney.

Although well known for portraiture, landscape paintings also held an important place in Schierenberg’s work. It is particularly in Norfolk, an area to which he was introduced by his wife, that the artist has developed his landscapes, executed with expressive brushstrokes. Schierenberg has been deeply inspired by the atmosphere and simplicity of Norfolk’s landscapes and declared that although he found these landscapes depressing at first, ‘[…] some of [his] best pictures have been made there […]’ and [he] now loves the place.’ 1

The artist had his first solo shows in Ireland and London in 1992 and has been represented by Flowers East, with which his work has been regularly exhibited. His work is held in public collections such as the National Portrait Gallery, the Tate Gallery in London, and Chatsworth House in Derbyshire.

1 Tai-Shan Schierenberg (2005) Landscape. In: Packer, W. Tai-Shan Schierenberg , 2014 Edition, Great Britain, Flowers, p. 65.

Norfolk - Tree, 1992

Signed, titled and dated ‘Norfolk-Tree 1992 T.Schierenberg’ (on verso)

Oil on board 7.87 × 7.87 ins | 20 × 20 cm (artwork size)

13.27 × 13.27 ins | 33.7 × 33.7 cm (framed size)

£6,800 + ARR

BORIS VANSIER

(BORN 1928)

Swiss artist Boris Vansier, born in 1928 in Russia, spent his youth in Geneva before embarking on an artistic career that spanned continents. Arriving in the United States in 1946, he initially settled in New York, immersing himself in studies at Adelphi University. Subsequently, he pursued his artistic education at the Chouinard Art Institute in Los Angeles. In 1948, Vansier moved to Montreal, where he crossed paths with gallerist Henry Kleemann, leading to his inaugural exhibition at the Kleemann Gallery in New York.

In 1954, Vansier made the pivotal decision to relocate to France, where he cultivated friendships with notable artists such as Arman, David Lan-Bar, and Yves Klein. It was in Paris that he encountered Iris Clert, his enduring gallerist, who propelled his career with seminal exhibitions in both Paris and New York, notably centred around portraits of Charles De Gaulle.

Returning to Switzerland in 1970, Boris Vansier continues to paint prolifically to this day, showcasing his work across Switzerland, France, Belgium, Israel, and Sweden. His abstract paintings from the fifties and sixties, originating during his time in Montreal and exhibited at the Kleemann Gallery, laid the foundation for his artistic expression. Over time, Vansier’s oeuvre evolved to encompass a fusion of abstraction and figuration, exemplified by works such as ‘Still Life with Candle’, where the artist reinterprets traditional themes against an abstract background.

Still life with Candle, 1954

Signed ‘Vansier B.’ (upper left) and dated ‘54’ (upper right)

Oil on canvas 24 × 17.72 ins | 61 × 45 cm (artwork size)

27.17 × 21 ins | 69 × 53.5 cm (framed size)

£7,500 + ARR

JAMES WEBB

(1825–1895)

James Webb was a British painter renowned for his captivating landscapes and seascapes. Born in Chelsea, London, he was immersed in an artistic milieu from a young age, being part of a family of painters. His father, Archibald Webb, and brother, Byron Webb, were notable figures in the art world.

Webb’s path led him to the Royal Academy, where he honed his skills under the tutelage of the prominent marine artist Clarkson Frederick Stanfield RA. Throughout his career, Webb’s work bore the profound influence of the romantic styles of renowned painters such as John Constable and Joseph Mallord William Turner.

Primarily focusing on marine views and landscapes, Webb’s paintings often depicted coastal scenes from England, Wales, Holland, and France, as well as parts of the Rhine. His compositions, characterised by detailed studies of ships set against expansive skies, reflected his fascination with dramatic coastal scenery.

Exhibiting in London at prestigious venues such as the Royal Academy and the British Institute, Webb garnered acclaim for his evocative portrayals of maritime settings. Many of his works found homes in esteemed collections, including those of the Victoria and Albert Museum and the Tate Gallery in London, as well as the National Gallery of Art in Washington, D.C., and the National Gallery of Victoria in Melbourne.

Despite his passing in 1895, James Webb’s legacy endures through his timeless paintings, which continue to captivate audiences with their timeless beauty and evocative storytelling of the maritime world.

Shipping Loading and Unloading from a Beach, 1875 Signed and dated ‘James Wedd 75’ (lower right)

SCOTTIE WILSON

(1891–1972)

Scottie Wilson was a Scottish artist born in Glasgow in 1891. Renowned for his intricately detailed style, Wilson was a self-taught artist. Remarkably, he started his artistic career at the age of 44, establishing himself as an outsider artist, operating beyond the bounds of the established cultural mainstream.

Wilson’s early years were marked by service in the Scottish Rifles, during which he served in India and South Africa before eventually buying himself out in 1911. However, with the outbreak of World War I in 1914, he reenlisted to fight on the Western Front. Following the war, he relocated to Toronto, Canada, where he ran a second-hand shop.

It was not until 1945, post-war, that Wilson gained recognition for his work, prompting a move to London. There, he exhibited his drawings in unconventional venues for modest fees, harbouring a deep mistrust of art dealers. Despite his scepticism, Wilson’s talent quickly garnered attention, leading to a solo exhibition at the Arcade Gallery in London, coinciding with a showcase of 20thcentury artists like Picasso, De Chirico, and Klee.

Wilson’s unique style, characterised by intricate cross-hatching featuring birds and vegetation, captivated Surrealist luminaries such as E.L.T. Mesens and Roland Penrose, and later, Jean Dubuffet.

In his later years, Wilson resided in Kilburn, London, where he continued to work in solitude, producing his distinctive drawings until his passing in 1972. His legacy endures as one of the most intriguing voices in postwar modern art, celebrated for his unmistakable style and unique approach to artistic expression.

Birds in a Tree, c.1950

Signed ‘SCOTTIE’ (lower centre)

Ink and coloured crayon on board 26.38 × 16.73 ins | 67 × 42.5 cm (artwork size)

33.86 × 24.02 ins | 86 × 61 cm (framed size)

£5,000 + ARR

Editor: Melissa Tahar

Design: Graham Rees Design

Photography of works: Justin Piperger and Douglas Atfield Jonathan Cooper 20 Park Walk London SW10 0AQ t: +44 (0)20 7351 0410

JONATHAN COOPER