44th Annual Exhibition

Browse & Darby

Overleaf: no. 45

44th Annual Exhibition British & French paintings, drawings, prints & sculpture

10 December 2020 – 4 February 2021 Monday – Friday 10.00 – 5.30 Saturday by Appointment

Browse & Darby 19 Cork Street London W1S 3LP Tel: 020 7734 7984 Fax: 020 7851 6650 email: art@browseanddarby.co.uk www.browseanddarby.co.uk

1. Craigie Aitchison, Brass Bird (Ornament), oil on canvas, 12 x 10 inches

5. Craigie Aitchison, Four Butterflies, oil on canvas laid down on board, 12 x 10 inches

6. Craigie Aitchison, Still Life with Bird Vase, silkscreen print, 12 1/2 x 10 1/2 inches

2. Craigie Aitchison, Crucifixion, oil on canvas, 62 1/4 x 50 inches

7. Craigie Aitchison, Washing Line at Sunset, oil on canvas 18 x 14 inches

9. Robert Polhill Bevan, Hart’s Farm, pencil and charcoal on paper, 8 1/2 x 10 inches

10. Robert Polhill Bevan, Rosemary, Devon, lithograph, 9 3/8 x 11 1/2 inches

11. Robert Polhill Bevan, The White House, lithograph, 7 3/4 x 9 inches

13. Maurice Brianchon, Villas et Tentes, watercolour, 9 x 12 1/4 inches

12. Maurice Brianchon, Nature morte aux pommes de pin, oil on canvas, 23 1/2 x 36 1/4 inches

15. Edgar Degas, Danseuse se frottant le genou, bronze, height 11 3/8 inches

16. Edgar Degas, La Masseuse, bronze, height 16 3/4 inches

17. Edgar Degas, Danseuse Assise, pastel and charcoal, 22 1/2 x 16 1/2 inches

20. Lucian Freud, Head and Shoulders of a Girl, etching, 30 3/4 x 24 3/4 inches

19. Lucian Freud, Blond Girl, etching, 34 5/8 x 28 inches

21. Lucian Freud, The Painter’s Mother, pencil, 5 x 3 1/2 inches

22. Sir William George Gillies, Figures at the Coast, watercolour and bodycolour over pencil, 7 1/4 x 9 1/2 inches

23. Spencer Frederick Gore, Hertingfordbury, oil on canvas 20 x 15 3/4 inches

25. Henri Hayden, Nature Morte Grise, oil on canvas 20 3/4 x 30 1/2 inches

26. Henri Hayden, Vue sur la Ferte sous Jouarre, oil and gouache on board, 15 1/2 x 22 1/2 inches

27. Gwen John, Woman wearing a Green Cloche, gouache, 4 3/4 x 4 1/2 inches

28. John Nash, Floodgates, oil on canvas, 24 x 30 inches

29. John Nash, Woodland, watercolour, 14 9/16 x 19 7/8 inches

30. Paul Nash, Pantile Cottage, pencil, charcoal, coloured crayon & watercolour, 19 1/4 x 28 1/2 inches

31. Sir William Nicholson, Hot Day, oil on canvas, 11 3/4 x 16 inches

32. Sir William Nicholson, The Lobster, pastel, 27 1/2 x 43 1/4 inches

37. William Ratcliffe, Eton Avenue from a Window, oil on canvas, 31 1/2 x 25 3/4 inches

41. Walter Richard Sickert, The Facade of Saint Jacques, pencil, charcoal, ink and watercolour, 8 1/4 x 6 3/4 inches

39. Walter Richard Sickert, St. Jacques, pencil, pen and ink, 6 3/4 x 5 1/2 inches

38. Walter Richard Sickert, San Barnaba, black chalk and watercolour, 12 1/4 x 10 3/8 inches

43. Sir Matthew Smith, Fruit and Leaves in a Bowl, watercolour, 26 1/2 x 20 inches

45. Sir Matthew Smith, Lilies in a Jar II, oil on canvas, 22 x 24 inches

46. Gilbert Spencer, Winter Scene at Upper Basildon, oil on canvas 16 x 22 inches

47. Philip Wilson Steer, Bathing Tents, Boulogne, oil on panel, 8 x 10 1/2 inches

48. Euan Uglow, Martine’s Pot, charcoal, 16 1/2 x 16 1/4 inches

49. Euan Uglow, Standing Nude, pencil, 16 x 14 inches

50. Edouard Vuillard, Vue de la place, pastel, 24 1/2 x 18 1/2 inches

Catalogue

This silkscreen print was printed and published by Timothy Taylor Gallery and Advanced Graphics.

CRAIGIE AITCHISON, CBE RA, (1926-2009) 1. Brass Bird (Ornament), 2006, oil on canvas, 12 x 10 inches

7. Washing Line at Sunset, 2004 oil on canvas, 18 x 14 in

Provenance Estate of the Artist

Provenance Timothy Taylor, London.

2. Crucifixion oil on canvas, 62 1/4 x 50 inches

8. Wayney Going to Heaven (with grey border), silk screen print, signed ‘Craigie Aitchison A/P 1/25 1989’, lower centre inscribed ‘Pepe/Many happy returns/bat. 1990’ 25 x 18 1/2 inches (sheet size)

Provenance Estate of the Artist 3. Crucifixion, a template, 1996 oil on cardboard, 28 1/2 x 24 1/2 inches Provenance Gifted by the artist to the previous owner.

In 1996 Craigie was commissioned to paint a mural of Calvary for the Gothic Revivalist Cathedral in Truro, Cornwall. This is a template for the mural.

4. Cypress Trees at Oppedette, 1998 silkscreen print, inscribed “For Pepe love Craigie” From an edition of 75, plus 10 artist’s proofs 18 x 15 inches (sheet size) Provenance Gifted by the artist to the previous owner.

5. Four Butterflies, 1986 oil on canvas laid on board, inscribed “For Pepe, May 1986” 12 x 10 inches Provenance Gifted by the artist to the previous owner 6. Still Life with Bird Vase, 2004 silkscreen print, from an edition of 300 12 1/2 x 10 1/2 inches

Provenance Gifted by the artist to the previous owner.

ROBERT POLHILL BEVAN, (1865-1925) 9. Hart’s Farm, Clayhidon, Devon, circa 1917 pencil and charcoal on paper, stamped with the artist’s monogram lower right, underneath the mount, 8 1/2 x 10 inches Provenance With Agnew & Sons, London, as ‘Stoneacre Farm’, where purchased by the present owner’s aunt on 9 June 1970.

Private Collection, UK 10. Rosemary, Devon, 1922 lithograph, signed ‘Robert Bevan’ (lower right) and numbered 34/40 (lower left), from an edition of 40.

9 3/8 x 11 1/2 inches Provenance The Fine Art Society, No.2180, 19 December 2006.

11. The White House, 1921 lithograph, from an edition of 50.

7 3/4 x 9 inches Provenance Private Collection, UK

MAURICE BRIANCHON, (1899-1979) 12. Nature morte aux pommes de pin, 1962 oil on canvas, signed ‘Brianchon’ (lower right) 23 1/2 x 36 1/4 inches Provenance Wildenstein & Co. Browse and Darby, London.

Estate of Hazel Westbury.

Exhibited Neuchatel Musee des Beaux -Arts, Maurice Brianchon May -August 1962 no122 (illustrated p. 288).

Paris, Galerie Beaux -Art, Maurice Brianchon, October-November 1962 no.56 (illustrated p.32).

Literature P.-A. Brianchon & O. Daulte, Maurice Brianchon - Catalogue de l’oeuvre peint, 2008 No. 640 (illustrated p. 288).

13. Villas et Tentes, watercolour, signed ‘Brianchon’ (lower right) 9 x 12 1/2 inches SIMON BUSSY, (1870-1954) 14. Lemons, pastel, 9 3/4 x 8 1/2 inches Provenance Acquired directly from the Artist by the family of the present owner, and thence by descent.

EDGAR DEGAS, (1834-1917) 15. Danseuse se frottant le genou bronze with brown patina, stamped with the signature ‘Degas’ (Lugt 658), numbered and stamped with the foundry mark ‘39/O CIRE PERDUE A.A.HEBRARD’ (on the top of the base) height 11 3/8 inches Provenance Galerie Blanche, Stockholm, Hans Mott, Lidingö (Sweden) by the early 1950s.

Private collection, Switzerland, by descent from the above in 1986.

Literature S. Campbell, ‘Degas, The Sculptures, A Catalogue Raisonné’, Apollo, vol. CXLII, no. 402, August 1995, pp. 29-30, no. 39.

J. S. Czestochowski & A. Pingeot, Degas, Sculptures, Catalogue Raisonné of the Bronzes, Memphis, 2002, pp. 196, 197, no. 39.

M. Guillard, Degas, Form and Space, Paris, 1984, fig.

161, no. 36.

C. W. Millard, The Sculpture of Edgar Degas, Princeton, 1976, p. 76.

J. Rewald, Degas Sculpture, His Complete Work, New York, 1956, pl. 62, no. XLVIII. J. Rewald, Complete Degas Sculpture, Lefevre Gallery, London, 1976, no. 27.

A. Pingeot & F. Horvat, Degas Sculpture, Paris, 1991, pp. 142-143, 165, no. 27.

F. Russoli and F. Minervino, L’Opera Completa Di Degas, Milan, 1970, p. 142, no. S27.

16. La Masseuse bronze, signed and numbered 55/I, stamped with foundry mark ‘AA HEBRARD CIRE PERDUE’ (on side of the base) Conceived circa 1896-1911; this bronze version cast in an edition of 22, lettered A to T, including two casts reserved for the Degas heirs and the founder Hébrard. height 16 3/4 inches Provenance Roland Browse and Delbanco.

Collection of Lord Crawford.

Private Collection, UK, thence by descent.

Exhibited Royal Scottish Academy, Edinburgh & Tate Gallery, London, Degas, 17 August – 6 September 1952, no. 57.

Browse & Darby, Degas: Drawings, Bronzes & Monotypes, June - July 2004.

Foundation Beyeler, Basel, Degas. The Late Work, 2012-13 (illus. in cat. p. 142).

Literature M. Schwander, Edgar Degas: The Late Work, Riehen/Basel, 2012, p. 142.

17. Danseuse Assise, circa 1897-1900 pastel and charcoal on paper mounted on card, stamped ‘Degas’ (lower right); stamped ‘Atelier Ed. Degas’ (on the verso) 22 1/2 x 16 1/2 inches Provenance Atelier Edgar Degas (and sold Galerie Georges Petit, Paris, 3ème Vente, April 7-9, 1919, lot 170).

Vignier Collection, Paris (and sold: Hotel Drouot, Paris, May 21, 1931, lot 56). Stoppenbach & Delestre, Ltd., London.

Acquired from the above in 2004.

Private Collection, USA. Literature Paul André Lemoisne, Degas et son oeuvre, vol.

III, Paris, 1946, no. 1300bis, illustrated p. 757.

18. Femme nue s’essuyant, circa 1890’s charcoal on paper, stamped signature (lower left) and stamped with the Atelier mark on the reverse in blue pencil, 1547 and ph. 810.

19 1/4 x 12 5/8 inches Provenance Atelier Edgar Degas (3rd Vente) Paris, 7-9 April 1919, cat. no. 207, 1,800 Francs.

With Paul Haim, Paris.

With Albert Loeb, New York.

With the James Goodman Gallery, New York Sale, London, July 2, 1970, cat. no. 30, former collection of Mrs. BD. LUCIAN FREUD, (1922-2011) 19. Blond Girl, 1985 etching on Somerset paper, signed with initials in pencil and numbered 40/50, published by James Kirkman, London and Brooke Alexander, New York 34 5/8 x 28 inches (sheet size) Literature S. Figura, Lucian Freud: The Painter’s Etchings, The Museum of Modern Art: New York, 2007, no.

33 C. Hartley, Lucian Freud: Etchings 1946-2004, National Galleries of Scotland, 2004, p.76, no.24.

20. Head and Shoulders of a Girl, 1990 etching on Somerset paper, signed with initials in pencil and numbered 7/50 30 3/4 x 24 3/4 inches (sheet size) Provenance Private Collection, Australia.

Olsen Irwin, Sydney, Australia.

Literature C. Hartley, Lucian Freud: Etchings 1946-2004, National Galleries of Scotland, 2004, p.114, no. 41. S. Figura, Lucian Freud: The Painter’s Etchings, The Museum of Modern Art: New York, 2007, no. 3.

21. The Painter’s Mother, c.1977 pencil on paper 5 x 3 1/2 inches Provenance A gift from the artist to the previous owner.

Private Collection, USA. SIR WILLIAM GEORGE GILLIES, (1898-1973) 22. Figures at the Coast, 1955 watercolour and bodycolour over pencil, squared for transfer, signed and dated 13/5/55 on reverse 7 1/4 x 9 1/2 inches Provenance Cyril Gerber Fine Art, Glasgow SPENCER FREDERICk GORE, (1878-1914) 23. Hertingfordbury, Hertfordshire, circa 1907-08 oil on canvas 20 x 15 3/4 inches Provenance Acquired directly from the artist by Mrs Elsie Swinton, circa 1909 and thence by descent.

ARMAND GUILLAUMIN, (1841-1927) 24. Nature morte aux pommes, circa 1879 oil on canvas, signed ‘Guillaumin’ (lower right) 15 x 21 3/5 inches

Provenance Provenance Madame Rousso, Paris. Purchased from the above Christies, London, 28 November 1996,

by Eardley Knollys in April 1954 for £120. Private lot no. 21 Collection, France.

Exhibited Leicester Museum, John Nash exhibition MayLiterature June 1941, catalogue no. 9 Floodgates.

To be included in the Comité Guillaumin’s (Dominique Fabiani, Jacques de La Béraudière 29. Woodland Scene, 1969 and Stéphanie Chardeau-Botteri) forthcoming watercolour, signed and dated ‘John Nash/69’ second volume of the catalogue raisonné. (lower left) 14 9/ 16 x 19 7/ 8 inches HENRI HAYDEN, (1883-1970) 25. Nature Morte Grise, 1961 PAUL NASH, (1889-1946) oil on canvas 30. Pantile Cottage, Dymchurch, 1925 3 1 20 /4 x 30 /2 inches pencil, charcoal, coloured crayon & watercolour, signed and dated ‘Paul Nash 1925’ (lower right) 26. Vue sur la Ferte sous Jouarre, 1963 19 1/4 x 28 1/2 inches oil and gouache on board, signed and dated ‘Hayden/63’ (lower left) Provenance 15 1/2 x 22 1/2 inches Rex Nankivell. with Tooth’s, London. with Redfern Gallery, London, where purchased by Provenance Mr D.J.W. Dryburg in October 1950.

Ernest Hecht, Esq. With Waddington Galleries, London.

Exhibited Private collection, UK. Chicago, Art Institute, 11th International Exhibition of Watercolours, 1931. London, Exhibited Redfern Gallery, Paul Nash, January 1949, no.

London, The Waddington Galleries, Henri 16. London, Redfern Gallery, Paul Nash, Hayden, Recent Gouaches, 3 - 28 March 1964 April 1961, no. 28 no.35.

Literature GWEN JOHN, (1876-1939) A. Causey, Paul Nash, Oxford, 1980, p. 383, no.

27. Woman wearing a Green Cloche, 1920’s 406, pl. 122, as ‘Pantiles Garden Gate’. gouache, stamped signature E.J. 1245 4 3/4 x 4 1/2 inches SIR WILLIAM NICHOLSON, (1872-1949) Provenance 31. Hot Day, 1928 Browse & Darby, 1998, Private Collection, UK oil on canvas laid on board, signed ‘Nicholson’ (lower right), inscribed ‘From W.N. for F.P. & Exhibited L.P’ ‘Aug 1928’ (lower left); frame carries a Browse & Darby, Gwen John, Beaux Art Gallery label attached with the title ‘Hot Day’ 21st May – 25th June 1998, no. 44 11 3/4 x 16 inches JOHN NASH, (1893-1977) Provenance 28. Floodgates, 1939 Believed to have been presented by the artist oil on canvas to Florence Phillips and Sir Lionel Phillips Private 24 x 30 inches

Collection, South Africa. Browse & Darby, London, ‘Exhibition of British Paintings’, no.17. 11th March8th April 1978 where acquired by Sir Sidney Nolan and thence by descent.

Literature Patricia Reed, ‘William Nicholson: Catalogue Raisonne of the Oil Paintings’, Modern Art Press London, 2011, p.477 no.602 (as untraced).

Apollo Magazine, London, v.107 April 1978 (illustrated on p. 330).

32. The Lobster, 1938 pastel on paper, initialled ‘N’ lower right 27 1/2 x 43 1/4 inches Provenance A gift from the artist to Jean Nouveau and thence by descent.

Private Collection, France.

33. The Drum Major, 1898 hand coloured woodcut, signed in black ink, lower left, one of less than 40 impressions from the Deluxe Edition of London Types, published by William Heinemann.

10 x 9 inches Literature Colin Campbell, William Nicholson, The Graphic Work, London: Barrie & Jenkins, 1992, pp44-55, pl.48.

34. Flower Girl (Any Corner), 1898 hand coloured woodcut, Signed and dated, lower left, one of less than 40 impressions from the Deluxe Edition of London Types published by William Heinemann 10 x 9 inche 35. Beefeater, 1898 hand coloured woodcut, signed and dated 10 x 9 inches Literature Colin Campbell, William Nicholson, The Graphic Work, London: Barrie & Jenkins, 1992, pp44-55, pl.53.

36. The Guardsman, 1898 hand coloured woodcut, signed and dated 1898, one of less than 40 impressions from the Deluxe Edition of London Types, published by William Heinemann.

10 x 9 inches Literature Colin Campbell, William Nicholson, The Graphic Work, London: Barrie & Jenkins, 1992, no. 53, pp.

44-55, pl.48.

WILLIAM RATCLIFFE, (1870-1955) 37. Eton Avenue from a Window oil on canvas, signed ‘W Ratcliffe’ (lower right) 31 1/2 x 25 3/4 inches Provenance with Ernest Brown Philips, Leicester Galleries, London.

Private Collection, UK. Literature R Allwood, William Ratcliffe: Paintings, Prints and Drawings, North Hertfordshire, 2011, pp 20-22 WALTER RICHARD SICkERT, (1860-1942) 38. San Barnaba, Venice, circa 1901 black chalk and watercolour on paper, signed and dedicated ‘Au Comte Robert de MontesquiouFézenac/Sickert-/Venise./Ce Venise que les Italiens apellent Venezia.’ (lower left) 12 1/4 x 10 3/8 inches Provenance A gift from the artist to Comte Robert de Montesquiou-Fézenac.

Anonymous sale; Sotheby’s, London, 22 July 1986, lot 256, as ‘Eglise a Venise’. with Browse & Darby, London, where purchased by N Freed, 30 January 1987 and thence by descent.

Literature W. Baron, Sickert: Paintings and Drawings, New Haven and London, 2006. p.272, no. 173.3

42. The Rasher, 1920-22 etching, signed in plate (lower left) 7 3/4 x 5 1/2 inches

39. St. Jacques, Dieppe, circa 1899 pencil, pen and ink, squared for transfer, signed ‘Sickert’ (upper left) and inscribed ‘S Jacques’ (lower centre) 6 3/4 x 5 1/2 inches

SIR MATTHEW SMITH, (1879-1959) 43. Fruit and Leaves in a Bowl watercolour, signed (lower right) 26 1/2 x 20 inches

Provenance Edward le Bas, his sale, Christie’s, 3 March 1978 (120) repr: Browse & Darby, 1986, Private Collection, Wiltshire, 2020

Provenance Private Collection, UK 44. Still Life of Flowers in a Vase watercolour 20 x 14 inches

Exhibited Royal Academy, London, 1963 ‘A Painter’s Collection; Work from the Collection of Edward Le Bas’, Provenance no. 192 Private Collection, UK Literature W. Baron, Sickert, 1973, p.322, fig 119 (2) W. Baron, Sickert: Paintings & Drawings, New Haven and London, 2006, p.243, no.132.3

45. Lilies in a Jar II, circa 1913 oil on canvas 22 x 24 inches

Provenance 40. La Gaite, Montparnasse, circa 1919 Mr & Mrs Roald Dahl and thence by decent. etching and engraving, first state, signed (lower right), on verso the Cumberland Market Press Private Collection, USA stamp in purple ink Exhibited 7 x 5 inches On loan to The Scottish National Gallery of Modern Art, Edinburgh, July to October 1964.

41. The Facade of Saint Jacques, circa 1899-1900 pencil, charcoal, ink and watercolour on paper, Literature signed ‘Sickert’ (lower right) 8 1/4 x 6 3/4 inches Matthew Smith: Catalogue Raisonne of the Oil Paintings by John Gledhill published by Provenance Lund Humpfries, 2009. page 63 no. 32 Lilies Mrs. Merk, wife of the English Chaplain in Dieppe. in a Jar (II).

Anonymous sale; Phillips, London, 11 November This is the sister painting to Lilies in a Jar I 1986, lot 147, as ‘Eglise St. Jacques, Dieppe’. bequeathed by Lilian Browse to the Courtauld with Browse & Darby, London, where purchased by Institute of Art in 1982.

N Freed, 30 January1987 and thence by descent.

Literature W. Baron, Sickert: Paintings and Drawings, New Haven and London, 2006. p.244, no. 134.4 illustrated.

GILBERT SPENCER, (1892-1979) 46. Winter Scene at Upper Basildon, circa 1948 oil on canvas, signed (lower right) 16 x 22 inches

Provenance Acquired directly from the Artist by Mrs Alice Burkitt circa 1948 and thence by descent to the previous owner.

PHILIP WILSON STEER, (1860-1942) 47. Bathing Tents, Boulogne, circa 1891 oil on panel, signed PWS (lower left) 8 x 10 1/2 inches Provenance Philip Wilson Steer Studio Sale, Christie’s 16-17 July 1942 to Captain Pattison Knight.

Sotheby’s, 22 July 1964 to Agnew’s London.

Browse & Darby, July 1984.

Private Collection, UK Exhibited Browse & Darby, July 1984 Browse & Darby, Philip Wilson Steer Exhibition, 31 October - 30 November 1985, no.12.

Fitzwilliam Museum, Cambridge, Philip Wilson Steer: Paintings and Watercolours, 21st January - 31st March 1986, no. 15. (organised with the Arts Council of Great Britain and subsequently toured to Stoke-on-Trent, Newcastle upon Tyne and Bradford) Literature Philip Wilson Steer by Bruce Laughton published by Clarendon Press, Oxford 1971.

Cat no.94, illustrated no. 55.

EUAN UGLOW, (1932-2000) 48. Martine’s Pot, 1982 charcoal on paper 16 1/ 2 x 16 1/4 inches Provenance L.A. Louver Gallery, Venice, California.

Browse & Darby, London, 1983.

Private Collection, London.

49. Standing Nude pencil 16 x 14 inches Provenance Browse & Darby, London, Gallery Artist’s Exhibition, 3-28 August 1992 Private Collection, UK EDOUARD VUILLARD, (1868-1940) 50. Vue de la place, circa 1910 pastel on paper laid on card 24 1/2 x 18 1/2 inches Provenance The Artist’s estate. Galerie Renou et Colle, Paris.

Galerie A. Barrerio, Paris (acquired in 1948).

General Morris Troper (acquired November 1948).

Private Collection USA. Literature A. Chastel, Vuillard, 1868 - 1940, Paris, 1946 (illustrated p. 88; titled Square Vintimille and incorrectly dated circa 1920).

A. Salomon & G. Cogeval, Vuillard, The Inexhaustible Glance, Critical Catalogue of Paintings and Pastels, vol. II, Milan, 2003, no. IX-58 (illustrated p. 1056).

Browse & Darby 19 Cork Street London W1S 3LP