Martyn Gregory - A Foray into the 20th Century

A FORAY INTO THE 20TH CENTURY

Cover illustration: Ray Howard-Jones, Found on the shore, no. 26 Back cover illustration: Leila Faithfull, On the beach, no. 16

MARTYN GREGORY Catalogue 93

A FORAY INTO THE 20TH CENTURY Works by British artists

MARTYN GREGORY Catalogue 93

Exhibition dates: 29 April – 15 May 2015

34 Bury Street, St. James’s London SW1Y 6AU Tel. 020 7839 3731 Fax. 020 7930 0812 mgregory@dircon.co.uk www.martyngregory.com

A FORAY INTO THE 20TH CENTURY: works by British artists Since the 1970s the Martyn Gregory Gallery has offered British watercolours and drawings of the eighteenth and nineteenth centuries; but alongside these works the gallery has gradually acquired a selection of more modern works on paper, and some oils, by British artists. This is our first catalogue since 1988 to be dedicated to twentieth-century pictures. Among the well-known names of modern British art represented here are Edward Bawden, George Clausen, John Nash, Paul Nash, John Piper and Charles Tunnicliffe. Our foray into the twentieth century also includes lesser-known but highly accomplished artists working from the turn of the twentieth century up to the 1980s. This diverse selection of work includes illustration, abstraction, landscape, portraiture and still life.

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1. Robert Weir Allan, RWS, RSW, RBC (1852-1942) Madras (Chennai): the beach Pencil and watercolour 13 º x 20 º in (33.7 x 51.5 cm) Signed and inscribed ‘Madras’ Exhibited: Martyn Gregory ‘Trade Routes to the East’, 1998, catalogue 72, no. 4

2. Marius A. J. Bauer (1867-1932) The baker’s shop Chalk, wash and bodycolour on buff paper 17 æ x 20 º in (45 x 51.5 cm) Signed

Born in Glasgow and trained in Paris, Robert Weir Allan was renowned as a painter of landscapes, coastal and shipping scenes.

He painted views of Scotland, France, Italy and Holland, and later visited India in 1891-2 and Japan in 1907. In this view Allan depicts the mango-wood ‘masula boats’ traditionally used for bringing in travellers and cargo over the notorious Madras surf.

The Dutch artist Marius Bauer studied in the Hague Academy.

Eastern subjects became his preoccupation after a visit to Constantinople in 1888. He went on to travel in Egypt, Palestine, India, Tunisia and Morocco, gathering source material for many of his subsequent pictures. He was particularly known for his etchings of Oriental subjects, executed in a spontaneous, sketchy style.

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3. Edward Bawden, CBE, RA (1903-1989) “They Began Slowly to Travel Along the Coast Between Bombay and Ceylon”, an illustration to ‘Lady Filmy Fern’ Pen and ink and watercolour with wax crayon 9 ¿ x 11 Ω in (23.3 x 29 cm) Signed. Signed and inscribed on the original mount ‘No. 12’, ‘The Sights of India’; also numbered ‘15’.

Provenance: Mrs Braga, Virginia, USA Exhibited: The Fine Art Society Ltd., London, ‘Lady Filmy Fern’, September 1980

Bawden’s long and versatile career embraced the fine and applied arts with equal success. His reputation as painter, designer and illustrator was well established even before he was appointed an Official War Artist in 1940. Between 1922 and 1925 he took a diploma in book illustration at the Royal College of Art, where his design tutor was Paul Nash. Nash helped Bawden to get his earliest commissions for poster designs – for London Transport and the Curwen Press.

Eric Ravilious was one of Bawden’s closest friends at the Royal College of Art. The two artists worked together on a mural design in 1928, while Bawden began to make a name for himself with designs for Shell advertisements.

Bawden’s work as a War Artist took him to Europe, Africa and the Middle East. After the war and his return to England he worked on many illustration projects, murals, linocuts and landscape watercolours. His technical abilities in a variety of media were wideranging, and his treatment of subject matter was witty and highly individual.

Bawden was appointed CBE in 1946, became an RA in 1956, was a trustee of the Tate Gallery in the 1950s and was given a retrospective exhibition at the Victoria and Albert Museum in 1989.

Lady Filmy Fern or The Voyage of the Window Box, written by Thomas Hennell, was created from a series of illustrations made by Bawden in the 1930s, although the resulting book was not published until 1980. It is a fantasy story in the tradition of Lewis Carroll: the characters had grown out of a game of ‘consequences’ played by Bawden, Hennell, Ravilious and their wives during weekends spent together before the war. Our drawing was reproduced as plate no. 12, depicting the main character and her companion travelling atop an elephant through India.

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4. Ernest Alfred Sallis Benney, RBA, ARCA (1894-1966) Poynings, Sussex Pencil and watercolour 13 Ω x 20 in (45.1 x 50.7 cm) Signed in pencil and inscribed on old label ‘Poynings’, with the artist’s name and ‘Collection of Art Brighton’

A regular exhibitor at the Royal Academy and other societies, Sallis Benney was also Director of Art Education in Brighton from 1934 to 1958. He exhibited two views of Poynings at the Royal Academy in 1946 and another in 1954. The village of Poynings near Brighton is on the north side of the South Downs.

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5. Samuel John Lamorna Birch, RA, RWS, RWA (1869-1955) A river in winter Pencil and watercolour 9 x 12 √ in (22.9 x 32.7 cm) Signed and dated January 1897

Samuel John Lamorna Birch is regarded as the founder of the later group of ‘Newlyn’ artists, known as the Lamorna group. Cheshireborn Birch first visited West Cornwall in the late 1880s and settled in Lamorna in 1902. He adopted the name ‘Lamorna’ to distinguish himself from a fellow Newlyn School artist, Lionel Birch (an idea suggested by Stanhope Forbes).

Over his long career, Birch exhibited more than 200 works at the Royal Academy. He is remembered in Lamorna as a ‘splendid flyfisher’. His knowledge and love of rivers is apparent in this sparkling watercolour.

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6. Sir David Muirhead Bone, NEAC, HRSW, HRSA, HRIBA (1876-1953) Thames barges at Chelsea Pen and ink 4 x 6 æ in (10.2 x 17.2 cm) Inscribed in ink ‘Chelsea’ and in pencil ‘Muirhead Bone / to P.A.’ Provenance: Michael Bryan

The Glasgow-born Muirhead Bone is best known for his etching, drypoint and watercolour, depicting urban construction and demolition, shipbuilding yards and war-damaged cities. He had trained as an architect in the 1890s. He moved in 1901 to London, where he became a member of the New English Art Club and exhibited over 200 of his pictures. In May 1916 Bone was appointed the first Official War Artist, and he served in the same capacity in 1939-45.

7. Sir David Young Cameron, RA (1865-1941) St. Skeagh Charcoal on buff paper 9 Ω x 10 Ω in (24.2 x 27 cm) Signed ‘D Y Cameron’ bottom right. Inscribed on the old label attached to frame, with title ‘St. Skeagh, Arran’ Provenance: Miss F. Coulson

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8. Sir David Young Cameron, RA (1865-1941) Loch Nell, Argyll Oil on panel 8 Ί x 10 Ì in (21.7 x 27.3 cm) Signed Provenance: Croal Thomson Collection, London; Watson Art Galleries, Montreal; Dominion Gallery, Montreal

D. Y. Cameron, along with fellow Scots Muirhead Bone and James McBey, was at the forefront of the etching revival of 1880-1930.

By the 1920s and 30s Cameron was a well-established painter in England as well as Scotland. His paintings in oil and watercolour received critical acclaim and entered many public collections in Britain and abroad. His muted palette underwent a change following a visit to the south of France in 1821 to convalesce after a heart attack. He continued to use the vivid colours of his French landscapes in later Scottish subjects.

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9. Sir George Clausen, RA, HRBA, NEAC (1852-1944) Farmyard in winter Pencil and watercolour 6 æ x 9 æ in (17.2 x 24.8 cm) Signed ‘G. CLAUSEN’ Provenance: T. & R. Annan and Sons, 518 Sauchiehall Street, Glasgow, their label attached to frame giving the picture’s title

London-born Clausen was a founder-member of the New English Art Club, and was committed to reforming the selection process of the Royal Academy. He became Professor of Painting at the Royal Academy Schools in 1904, a post he held for two years. In 1917 he was appointed an Official War Artist, assigned to the Woolwich Arsenal. His monumental painting of the Arsenal’s cavernous interior was regarded as among the best work commissioned by the Ministry of Information. He was subsequently commissioned to paint a mural for the Houses of Parliament (Wycliffe’s English Bible, 1926), and in 1927 he was knighted for his services to the arts. He continued to exhibit regularly at the Royal Academy throughout the 1930s.

Between the wars Clausen kept a country cottage on Dutton Hill, Essex. The surrounding countryside provided him with material for painting the atmospheric landscapes which became a hallmark of his work.

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10. Jehan Daly (1918-2001) Still life with ink pot and plate Crayons on buff paper 6 x 7 in (15 x 18 cm) Signed Exhibited: Martyn Gregory, ‘Drawings by Jehan Daly’ catalogue 71, 1997, no. 51

Born of French and Irish parents, Jehan (pronounced John) Daly was noted for his draughtsmanship, especially in pastel. He enrolled at the Royal College of Art in 1937 where he became a great friend of the artist John Ward, CBE, RA (1917-2007). In 1939 the two men enlisted together in the Royal Engineers. After the war they shared a flat in Fulham, where, according to Ward, Daly ‘worked for thirty years oblivious of fashion and undisturbed by the fluctuations of acclaim… enabling him to produce a body of work quite unlike anything else produced in this country’. In 1950 Daly married, and took up teaching posts at Wimbledon and St Martin’s School of Art. He was reluctant to show his works, but he did exhibit at the Royal Academy and the New English Art Club, and had one-man shows at Agnew’s, the Maas Gallery, in Canterbury and at Martyn Gregory in 1993 and 1997.

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11. Herbert Dalziel (1853-1941) Departing Day Oil on canvas 10 x 14 in (25.4 x 35.7 cm) Signed Provenance: from the studio of Herbert Dalziel, by descent to his daughter Ailsa Exhibited: ‘Impressionism in Britain’ Barbican Art Gallery, London, January - May 1995, no. 49; illustrated in catalogue by Kenneth McConkey, p. 115 Illustrated: Sotheby’s Belgravia, ‘The Dalziel Family’, introduction by Simon Houfe, 1978, p. 34

Of the celebrated Dalziel brothers, Northumbrian engravers of the Victorian period, the youngest and most versatile was Thomas B. G. Dalziel (1823-1908). Herbert Dalziel was his eldest and most talented son. After leaving school in 1874, Herbert Dalziel spent two years copying watercolours; he studied at the West London School of Art, and came under the influence of Pre-Raphaelitism.

In 1882-3 he went to Paris, attending the école des Beaux-Arts and absorbing the French interest in rural realism. In 1887 he was elected to the New English Art Club, an event which further betokened his departure from orthodox academic tradition.

At this time the artist-craftsmanship represented by the Dalziel firm was increasingly threatened by mechanical printing and mass production. In 1893 the brothers Dalziel were declared bankrupt; Herbert Dalziel was moreover handicapped by illness and failing eyesight. Nevertheless he continued to produce original and atmospheric works such as the painting here, in which he employed a pointilliste technique more reminiscent of Seurat than any contemporary British artist.

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12. Jacob Dooijeward (1876-1969) River landscape with pollards, dawn Pencil and watercolour 4 Ω x 7 Ω in (11.5 x 19 cm) Verso: Studies of figures Provenance: Martyn Gregory, 1977; private collection, England Exhibited: Martyn Gregory, catalogue 16, 1977, no. 8

13. Jacob Dooijeward (1876-1969) Marshy landscape Pencil and watercolour 4 Ω x 7 Ω in (11.5 x 19 cm) Verso: sketches from nudes copied from paintings by Pascal, Blanchard etc.

Provenance: Martyn Gregory, 1977; private collection, England Exhibited: Martyn Gregory, catalogue 16, 1977, no.2

Dooijeward was born in Amsterdam and lived there until he moved to the small country village of Nunspeet in 1904.

He travelled further afield to Spain and France in 1920 and during the Second World War he stayed with friends in Norway.

Afterwards he went to America, where he remained until 1946, finally moving back to Holland where he kept his studio for the rest of his life. He specialised in portraits, interiors and still-life drawings and was awarded various prizes and medals for his work.

Both this drawing and Marshy Landscape are leaves from one of the artist’s sketchbooks dating from December 1912 to June 1913; they were probably used during local sketching expeditions around Nunspeet.

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14. Jacob Dooijeward (1876-1969) Study of two women, dressing Chalk and gouache on grey paper 22 立 x 17 立 in (57 x 44.5 cm)

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15. Joan Eardley, RSA (1921-1963) Scull, net and baited lines Watercolour and bodycolour 12 x 18 Ί in (30.5 x 47 cm) Signed

Joan Eardley studied at Goldsmith’s and the Glasgow School of Art, becoming the youngest female member of the Royal Scottish Academy. Even in her short lifetime she earned a reputation as the most significant Scottish artist of her generation. From 1950 she lived increasingly in the old fishertown of Catterline on the east coast of Scotland, where in her uniquely expressionist manner she depicted the rural people, the waves and the hedgerows, and (as here) the everyday objects used by the local fishermen. (A scull is a type of shallow basket used for fish.)

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16. Leila Faithfull (1896-1994) On the beach Oil and pencil on canvas 20 x 24 in (51 x 61 cm) Provenance: the artist’s studio sale, Moore, Allen & Innocent, Cirencester, 1970s?; Leva Gallery, Ledbury Road

Leila Faithfull (née Reynolds) was born in Woolton, Liverpool.

Her father Sir James Reynolds was MP for Liverpool in 1929. She studied at the Slade School in 1923-24 and at l’Académie de la Grande Chaumière, Paris. She became well known for her portraits but also painted lively canvases showing groups of figures, in parks or outdoor settings. She exhibited between 1931 and 1940 at the Glasgow Institute of Fine Arts, the Lefevre Gallery, the Leicester Gallery, the New English Art Club, the Royal Academy, the Royal Society of British Artists, and the Royal Institute of Oil Painters.

Examples of her paintings are held in the Imperial War Museum, the New Art Gallery Walsall and the Manchester, Bradford and Aberdeen Art Galleries.

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17. Leila Faithfull (1896-1994) Woman in a cafÊ Oil on canvas 18 x 14 in (46 x 36 cm) Provenance: the artist’s studio sale, Moore, Allen & Innocent, Cirencester, 1970s?; Leva Gallery, Ledbury Road

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18. Allen Freer (b.1926) The Cumbrian hills near Keswick Pen and ink and watercolour with scratching out 11 x 15 Âş in (28 x 38.8 cm) Signed Provenance: Edward King

Allen Freer has had a lifelong interest in art and poetry of the 20th century. He is a successful watercolourist, noted for his atmospheric views of the English countryside. Freer’s bold pen-and-ink drawing here strongly evokes the contours of the land. He has exhibited his work in London and Manchester. He is the author of John Nash: the delighted eye (1993).

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19. Arthur Joseph Gaskin ARE, RBSA (1862-1928) The Searchlight Pastel 9 x 5 Ω in (22.8 x 14 cm) Signed with initials and dated 1917; the station light inscribed ‘OLTON’.

Verso: inscribed ‘The Searchlight’ and dated 1918; inscribed and dated again ‘Olton Station 1918’ Provenance: Mrs Margaret Dennery, daughter of the artist Exhibited: Birmingham City Art Gallery, 1982, cat. no. C48

Arthur Gaskin was closely involved in the Arts and Crafts movement in the Midlands. He supplied the drawing for the edition of The Shepheardes Calendar published by William Morris at the Kelmscott Press in 1897. Gaskin was director of the Jewellers’ and Silversmiths’ School in Birmingham, and a member of the Art Workers’ Guild from 1917 to 1922. As a Member of the Royal Birmingham Society of Artists (RBSA), Gaskin was instrumental in organising the exhibition ‘The New Movement in Art’ at the Society in 1917; a revised version of Roger Fry’s 1910 Post-Impressionist exhibition. Arthur and his wife Georgie, an accomplished jewellery and metalwork designer, lived for some time in Olton, Solihull.

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20. Elsie Henderson (1880-1967) Twisted trees Pen and ink and watercolour on buff paper 11 Ω x 14 º in (29.3 x 36.2 cm) Provenance: estate of the artist; Sally Hunter

Elsie Henderson was born in Eastbourne, Sussex. She studied at the Slade School of Art and was taught by Henry Tonks and Philip Wilson Steer. She was a draughtsman, lithographer, painter and sculptor. She studied landscapes and figures and was well known for her studies of animals. She spent a great deal of time sketching her subjects in London Zoo, especially the big cats. Henderson designed posters for the London Underground Company in 1917, and was the designer of the polar bear logo used by Fox’s Glacier Mints from 1922 onwards. She regularly exhibited at the Goupil Gallery, the Redfern Gallery and the Leicester Gallery where she had her first solo show. Examples of her work are in public collections including the British Museum, Tate and the Fitzwilliam Museum, Cambridge.

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22. George Howard, 9th Earl of Carlisle (1843-1911) Lake in a wooded landscape Watercolour 14 Ω x 10 º in (36.2 x 26.8 cm)

21. Elsie Henderson (1880-1967) Patterned spaces Watercolour, gouache and ink 8 æ x 11 æ in (22.2 x 30 cm) Signed and dated 1960 Provenance: estate of the artist; Sally Hunter

It is likely that this is a view in Cumberland, where George Howard lived at Naworth Castle. He was a well-known figure in the London art world, a friend and patron of Burne-Jones and William Morris, and an able amateur artist. Howard exhibited his work at the Grosvenor Gallery and New Gallery between 1868 and 1910.

He was a member of the Etruscans, a group of English artists who admired (and frequently visited) the countryside of Tuscany, taking inspiration from a noted exponent of freely-handled landscape, Giovanni Costa (1826-1903).

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23. Ray Howard-Jones (1903-1996) The Light House from Skomer Island Watercolour and bodycolour 9 x 13 in (23 x 33 cm) Signed and dated ‘Ray 61’; inscribed verso ‘from my cottage - the Light House on the Deer Park Earlier days Lord Kensington kept his deer’ Provenance: the artist’s studio

Ray Howard-Jones was brought up in the Vale of Glamorgan and the Brecon Beacons. Her first name was Rosemary but she signed her work ‘Ray’. At the age of twelve she made her first seascape sketch at Tenby, and she went on to have an enduring love of west Wales. She was awarded a diploma in Fine Art at the Slade, and became a great friend of her teacher Philip Wilson Steer. She held a series of exhibitions from the 1930s, notably at the Leicester Galleries. During the war she worked as an Official War Artist, and in 1949 achieved a life-long ambition to live on the tiny, almost uninhabited Skomer Island. The first exhibition of her work from this period (1949-58) was held at the Leicester Galleries in 1959.

In the same year she made a forty-foot mosaic, An Eye for the People, for the exterior of Thomson House in Cardiff, supervising the papering in Italy and working on scaffolding during the installation.

(The building was demolished in 2008; sadly the mosaic was not preserved.)

Lord Kensington’s estate (referred to in the artist’s inscription on the verso of this drawing) was on the mainland opposite Skomer Island where Ray Howard-Jones lived in a cottage on the shore.

Apart from visits from her photographer companion, Raymond Moore (see no. 47), she was the only inhabitant of the island for nine seasons between 1949 and 1958.

Jones’s work is represented in the collections of the National Museum of Wales, the Imperial War Museum, the National Gallery of South Australia, the Glyn Vivian Museum, Swansea, and the Art Galleries of Aberdeen, Glasgow and Burton-on-Trent.

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24. Ray Howard-Jones (1903-1996) Swede by the pond Watercolour and gouache over traces of pencil 15 Ω x 23 in (39.5 x 58.4 cm) Signed ‘Ray 1958’ Inscribed on label attached to original backboard ‘Swede by the pond / Skomer 1958 Howard Jones’ Provenance: the artist’s studio Exhibited: Leicester Galleries, May 1959, no. 21

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25. Ray Howard-Jones (1903-1996) Studies of Pablo the pigeon on Skomer Island Pencil and crayon 11 x 14 æ in (28.7 x 37.8 cm) Signed ‘Ray’ and dated 1952. Inscribed ‘Pablo / Skomer’ Provenance: the artist’s studio

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26. Ray Howard-Jones (1903-1996) Found on the Shore Pencil, watercolour and gouache 15 x 19 in (38 x 48 cm) Signed ‘Ray’ Provenance: Rocket Contemporary Art Exhibited: ‘Ray Howard-Jones: Poet-Painter, A Retrospective exhibition of paintings and drawings’, held by Rocket Contemporary Art at 28 Cork Street, London, 1993, no. 47

This is a particularly fine example of Ray’s work dating from the 1960s. The composition is made of found objects including a broken boat, fishing nets and a lobster pot. In 1961, in an introduction to the artist’s Leicester Galleries exhibition catalogue, the Earl of Listowel described her work of this period as having ‘a higher degree of abstraction, a greater awareness of the formal structure of objects around her, and therefore more emphasis on composition and design… her landscapes and seascapes still have the freshness of nature, which she loves in all its moods’.

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27. Ray Howard-Jones (1903-1996) ‘Serenity’ Oil on canvas 18 x 14 in (45.5 x 35.5 cm) Signed and dated 1942.

Signed twice on stretcher in pencil and again in blue ink.

Inscribed on original label: 60 / III / Ray Howard-Jones / Trilogy / Serenity / £14.14.0’, also on stretcher: label of James Bourlet, 18 Nassau Street, no. B-5840. Unknown dealer’s label attached to frame ‘no.30479 priced £525’

The National Museum of Wales in Cardiff holds examples of Jones’s abstract pictures, including Bird (Abstract).

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28. James Dickson Innes (1887-1914) Arrenig, North Wales Pen and ink and watercolour on buff paper 8 æ x 10 æ in (22.2 x 27.3 cm) Provenance: Redfern Gallery, London; Mrs D. A. Bannerman Exhibited: ‘Works by J. D. Innes’, Graves Art Gallery, Sheffield, 1961, no. 59

In the years 1910-1913 Innes made a number of studies of the mountain Arenig Fawr, which he painted in all its moods and changing light. Deeply impressed by the wild and austere scenery of the area, he rented a cottage close to the mountain at Nant Ddu. Here he was joined by Augustus John and Derwent Lees (see nos.

40-41), who comprised a short-lived but intense ‘Arrenig School’.

John believed that ‘Innes was never happier than when painting in this district [which was] perceived by him as the reflection of some mysterious promised land’. Innes exhibited with the New English Art Club and in 1911 became a member of the Camden Town Group.

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29. James Dickson Innes (1887-1914) The mountain Watercolour over traces of pencil 11 x 15 º in (28 x 38.7 cm) Signed and dated 1910, lower left corner Provenance: John Quinn (1870-1924), lawyer and patron of the arts, New York Exhibited: International Exhibition of Modern Art, 69th Regiment Armory, New York, 1913, no. 420

The present picture was exhibited at the very first ‘Armory Show’ in New York City: the 1913 ‘International Exhibition of Modern Art’ organized by the Association of American Painters and Sculptors held at the 69th Regiment Armory. This was the first large exhibition of modern art in America. This groundbreaking exhibition introduced the American public to European avant-garde painting and inspired a profound shift in American culture. An exhibition to mark the centenary of the Armory show was held at the New York Historical Society in October 2013.

Following his return to the south of France, and especially to Collioure in 1910, Innes began to make use of bold and intense colours and forms. His watercolours of French and Welsh landscapes, made in 1910 and after, both show this stylistic development.

A one-man exhibition at the Chenil Gallery in January 1911 included such examples.

The watercolour was owned by John Quinn, a New York lawyer and influential collector who played a major role in the organizing committee of the 1913 Armory show.

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30. Henry Jenkins (1906-1975) Sultan’s Guard, Morocco Pen and black ink and watercolour 15 x 10 º in (38 x 25.7 cm) Signed and dated [19]59 Verso: inscribed as title Provenance: Priscilla MacLeod (née Hanbury), a fellow artist and companion of Henry Jenkins; by descent to Ms Henrietta Harland

Prior to his career as a professional artist, Jenkins was a barrister and then served in the Army during the war. He developed his talent for lively on-the-spot sketching after enrolling at Heatherley’s Art School, and exhibited his spontaneous line drawings in a number of one-man shows in London, New York and Boston. He took pleasure in sketching everyday life and drew all manner of characters – military figures, auctioneers and policemen in London, farmers at the fairs and markets in Ireland, and sentry guards and others in Tangier.

Although most of his drawings appear to have been achieved with boldness and rapidity, some were in fact built up over a series of days, on which a line or two would be meticulously added each day following a fresh glimpse of his subject. On a very few occasions he was obliged to complete his pictures with the aid of a photograph: one such case was a drawing of the Queen taken at Trooping the Colour, which was acquired by HRH Princess Alice and given by her to the Queen.

Jenkins sold his drawings and prints during his lifetime, but at his death the remaining pictures were bequeathed to Priscilla McLeod: a lifelong friend and fellow student from Heatherley’s. Jenkins’s drawings from her collection were exhibited at Martyn Gregory in 1995.

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31. Henry Jenkins (1906-1975) Sentry on duty, Morocco Pen and black ink and watercolour 12 ร x 9 ยก in (32.2 x 23.7 cm) Signed and dated [19]59 Verso: inscribed as title Provenance: Priscilla MacLeod (nee Hanbury), a fellow artist and companion of Henry Jenkins; by descent to Ms Henrietta Harland

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32. Henry Jenkins (1906-1975) Study of a donkey Pen and black ink and watercolour 15 º x 10 in (38.8 x 25.5 cm) Verso: Study of a Moroccan guard, pen and black ink and watercolour, signed and dated [19]59 Provenance: Priscilla MacLeod (nee Hanbury), a fellow artist and companion of Henry Jenkins; by descent to Ms Henrietta Harland

33. Henry Jenkins (1906-1975) Irish farmers market Black chalk 15 ¬ x 11 ¿ in (40 x 28 cm) Signed and dated [19]69 Verso: sketch of a man, black chalk Provenance: Priscilla MacLeod (nee Hanbury), a fellow artist and companion of Henry Jenkins; by descent to Ms Henrietta Harland

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34 c) Autumn spill (detail)

34. Bob Jones (b.1937) A set of woodland scenes depicting the four seasons a) Sprinkled with spring Signed, inscribed as title, and dated April 1987 b) Shady glade Signed, inscribed as title, and dated August 1987 c) Autumn spill Signed, inscribed as title, and dated 1990 d) Cold snap Signed, inscribed as title, and dated 1987 Watercolour, bodycolour and mixed media Each 10 Ω x 28 º in (27 x 71.5 cm)

Bob Jones has made a speciality of painting the detailed forms of trees and intertwining branches. He has worked mainly in Epping Forest, making an intense and obsessive study of the trees there.

His early watercolours are strange and beautifully detailed, and in pure watercolour. In later works, Jones is more experimental with his media. He has produced calendars for Shell, and his work is represented in the Government Art Collection and the Victoria and Albert Museum.

Jones uses his paint to build up textures, combined with finely rendered detail to produce a sparkling effect. Cold snap and Autumn spill employ mixed media including fragments of ceramic.

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a) Sprinkled with spring

b) Shady glade

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c) Autumn spill

d) Cold snap

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35. Dorothy Kirkbride (1924-2010) Still life Watercolour and bodycolour 5 x 6 Ί in (12.8 x 16.5 cm) Verso: signed and dated 1982 and inscribed as title Provenance: purchased from the artist

Born in Wales, Dorothy Kirkbride studied at St. Martin’s School of Art and the Courtauld Institute. She lived in Hong Kong in the 1950s onwards, and her work was exhibited there in the 1970s and 80s. She was represented in Hong Kong by Nigel Cameron; an influential art critic for the South China Morning Post for many years. Cameron promoted numerous exhibitions and gave critical support to many rising artists in Hong Kong.

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36. Dorothy Kirkbride (1924-2010) Tap Mun (Grass Island), Hong Kong Watercolour and white bodycolour 6 √ x 9 √ in (17.5 x 25 cm) Signed and dated 1980 Verso: inscribed in pencil ‘Study for inland sea / (inlet) / (Tap Mun) Island Mirs Bay’ and ‘Colour variation / Blue / Brown’ Provenance: purchased from the artist

37. Dorothy Kirkbride (1924-2010) ‘Study for Blue Landscape III’ Watercolour and pen and ink 6 º x 8 √ in (16 x 22.7 cm) Signed and dated 1981 and inscribed ‘III’ top right.

Verso: inscribed as title Provenance: purchased from the artist

Tap Mun, also known as Grass Island, is situated in the northeastern part of the New Territories, between Mirs Bay and the North Channel. The lower drawing on this sheet shows the inlet or cave at Mirs Bay, while the drawing above it perhaps depicts buildings in the fishing village.

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38. Charles Knight, RWS, ROI (1901-1990) Waterfall Oil on canvas 36 x 28 º in (91.5 x 71.5 cm) Provenance: Mrs Braga, Virginia, USA Illustrated on facing page

Born in Hove, Knight was encouraged to draw the surrounding Sussex landscape by his father who was a keen artist and naturalist.

After studying at Brighton School of Art, Knight went on to a scholarship at the Royal Academy. His discovery of early English watercolour, in particular the work of John Sell Cotman, inspired Knight to work in this medium, as well as in oils. Cotman’s influence is evident in Knight’s early style and subject matter.

Knight was among the artists who contributed to the ‘Recording Britain’ scheme, established by Sir Kenneth Clark (then Director of the National Gallery) in 1940. Some of the country’s finest watercolour painters, including John Piper and Sir William Russell Flint, were commissioned to make drawings of typically English scenes that fostered a sense of national identity during the Second World War. Knight’s forty Sussex subjects were regarded as some of the most successful of the project.

During and after the Second World War he was occupied by teaching at Brighton School of Art, and in 1944 he invited media attention when he was asked to give painting lessons to Princess Margaret. He continued to paint and exhibit until the end of his life. His work is represented in the collections of Brighton and Hove Museums and Art Galleries, the Towner Art Gallery, Eastbourne and the Victoria and Albert Museum.

39. Eugen von Ledebur (1909-1973) A Pekingese dog Black ink 15 x 11 º in (38 x 29 cm) Signed and dated [19]35 The German-born artist Ledebur, a friend of Gustav Klimt, was known for his animal studies and caricatures, and for children’s books, including Hundekunde in Vers und Bild (1949). The British Museum holds examples of his work.

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No. 38

40. Derwent Lees, NEAC (1885-1931) La Ciotat, Provence Pen and ink and watercolour on buff paper 9 ĂŚ x 14 Âż in (24.7 x 35.5 cm) Signed Provenance: Redfern Gallery, London, 1946; Mrs J. B. Priestly, March 1946

Derwent Lees was educated in his native Melbourne and in Paris.

Coming to London in 1905 he studied at the Slade School, and subsequently taught there. Before the Great War he travelled widely in Europe. He was associated especially with Augustus John and J. D. Innes (see nos. 28 and 29), with whom he painted in Wales and in the south of France.

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41. Derwent Lees, NEAC (1885-1931) The coast at Cavtat, Yugoslavia Watercolour over traces of pencil 10 æ x 15 º in (27.8 x 38.3 cm) Signed Provenance: Redfern Gallery, London, 1942; Wilfrid A. Evill; Miss Honor Frost; with Spink Exhibited: British Council ‘Allied Institutes’; Brighton Art Gallery and Museum, ‘Wilfrid A. Evill Memorial Exhibition’, 1965, no.99

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42. Lance-Bombadier John Mackay (fl. 1930-45) ‘Take post’ Pen and ink and wash heightened with white 17 x 13 º in (43 x 33.7 cm) Signed and dated ‘John Mackay L /Bdr R.A. / 41’, and inscribed as title

Mackay exhibited at the Royal Scottish Academy from 1930 until 1945. Several of his exhibits during the war years illustrated his experiences while stationed as a gunner in heavy anti-aircraft batteries in the north of Scotland.

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43. Gertrude Martineau (1840-1924) Scots pine at Rothiemurchus Watercolour and bodycolour 23 º x 18 in (59 x 46 cm) Signed and dated 1890, inscribed verso ‘Gertrude Martineau Loch Eilein Aviemore

by Rothiemurchus’

The watercolourist and woodcarver Gertrude Martineau was born in Liverpool and later lived in London. She and her younger sister Edith (1842-1909), also a watercolour painter, were both members of a small group of female artists associated with the Pre-Raphaelites. The present watercolour exemplifies Gertrude’s mastery of detail and accurate portrayal of the natural landscape, in keeping with the Pre-Raphaelite movement’s philosophy.

Gertrude often visited the family’s summer home at Rothiemurchus, spending her time there painting as well as teaching art and woodcarving.

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44. James McBey (1883-1959) Shoreham, Sussex Pen and ink and watercolour 10 º x 15 æ in (26 x 39.5 cm) Signed, inscribed and dated ‘McBey / Shoreham, 14 February 1925’ Provenance: Alex Reid and Lefevre, Glasgow Exhibited: Martyn Gregory, ‘English Watercolours’, 1991, catalogue 58, no. 136

He was a prolific producer of etchings, watercolours and drawings, all of which were highly sought after in the 1920s. In 1930 McBey arrived in Philadelphia where he met Marguerite Loeb, the American artist and illustrator. Loeb was born into a wealthy Philadelphia family. She was famously, strikingly beautiful, and had a love affair with Oscar Kokoschka during her days as a young student. McBey and Loeb married in 1931 and he eventually became an American citizen in 1942. He and his wife settled in Tangier but they continued to visit his native Newburgh and Aberdeen.

McBey began to make etchings whilst working as a young bank clerk in Scotland. He was encouraged by the acceptance of one of his etchings at the Royal Scottish Academy annual exhibition of 1905.

During his time in Edinburgh McBey was impressed by the work of James McNeill Whistler. In 1911 he settled in London to pursue his career as an artist, having resigned from banking. His early work met with great praise, and its commercial success allowed him to travel in Europe and Morocco to find new subjects for his views.

McBey was appointed an Official War Artist in 1917, during which time he worked in the Near East.

McBey’s work is held in public collections in Britain and America, including the British Museum, the National Maritime Museum, the Victoria and Albert Museum and the National Gallery of Art in Washington. Aberdeen Art Gallery holds an archive of his working drawings, trial proofs, etchings and watercolours.

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45. James McBey (1883-1959) Ostend Pen and ink and watercolour 9 Ω x 15 Ω in (24 x 39.5 cm) Signed, inscribed as title and dated 19 August 1926 Provenance: R. E. S. Willison

46. James McBey (1883-1959) Rochester from Chatham, Kent Pen and ink and watercolour 11 º x 17 in (28.5 x 43 cm) Signed, inscribed and dated ‘McBey / Rochester April 1928’ Provenance: Alex Reid and Lefevre, Glasgow

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47. Raymond Moore (1920-1987) Interior, 1952 Chalk and wash 14 ĂŚ x 20 ĂŚ in (37.5 x 52.7 cm)

48. William E. C. Morgan (1903-1979) An Italian hill farm Pencil and wash 6 x 8 in (15 x 20.3 cm) Signed W.E.C. Morgan Provenance: Alex Reid and Lefevre, Glasgow

Moore was a photographer and teacher who studied painting at the Royal College of Art. His study of painting influenced his photographic work. By the 1980s he had earned a reputation as one of the most important photographers of his generation. He had a retrospective exhibition at the Hayward Gallery in 1981. This drawing, a masterful exercise in dramatic light and shadow, was made during the time that Moore spent on the island of Skomer with Ray Howard-Jones (see nos. 23-27).

Morgan studied at the Slade School, won the Prix de Rome in 1924, and travelled in Italy; he lived in London and then Argyll.

His paintings and engravings were exhibited principally at the Beaux Arts Galleries, the Fine Art Society and the Royal Academy.

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49. John Northcote Nash, CBE, RA, NEAC, LG, SWE (1893-1977) Hilly landscape with rocky outcrops Watercolour and bodycolour on buff paper 14 Ί x 11 in (36.8 x 28 cm) Signed

Before the First World War John Nash exhibited with the Camden Town Group and the London Group, and in 1913 he held a joint exhibition with his brother Paul at the Dorien Leigh Galleries. After serving with the Artist’s Rifles in 1916-18, and working as an Official War Artist in 1918, he lived with his wife in the Chiltern hills.

Nash taught at the Ruskin School of Art in Oxford in the 1920s and continued to teach throughout the rest of his life. He held several one-man shows and was again appointed an Official War Artist during the Second World War. Throughout his artistic career, John Nash was concerned with the familiar objects of the countryside, which he conceived in sharplydefined, almost abstract rhythms. He shared with his early associates in the Camden Town Group an ability to find poetry in everyday objects, but unlike them his overriding enthusiasm was for the country.

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50. John Northcote Nash, CBE, RA, NEAC, LG, SWE (1893-1977) Ash Grove, Firle Park, East Sussex Watercolour and pencil 13 Ω x 17 Ω in (34.4 x 44.5 cm) Signed and dated 1957 Exhibited: Leicester Galleries, ‘Works by John Nash’, April 1960, no.34 (bought by Paul Toller, Esq.); Royal Academy of Arts, Retrospective Exhibition ‘John Nash C.B.E., R.A.’, 1967, no.139 Provenance: Mr and Mrs Paul Toller; Sotheby’s, 2nd October 1996; H. S. Axton, Esq., Chichester

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51. John Northcote Nash, CBE, RA, NEAC, LG, SWE (1893-1977) The dead ash tree, a study for Dead Forest Giant, 1975 Pencil and watercolour, squared for transfer 11 Ω x 9 inches (29.3 x 22.7 cm) Signed ‘John Nash’ and inscribed with notes Provenance: purchased directly from the artist’s studio; private collection; Sotheby’s 25 June 1980

From his childhood onwards, studies of trees played a major role in Nash’s work – whether blasted on a battlefield, bleakly set against snow-covered fields or shown in full leaf in a summer landscape.

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52. Paul Nash, NEAC, LG, SWE (1889-1946) Seaside Pencil and watercolour 10 x 13 √ inches (25.4 x 25.5 cm) Signed and inscribed as title, also with colour notes Exhibited: Redfern Gallery, 1935, no.58 Literature: Andrew Causey, Paul Nash (1980), Catalogue Raisonné no.853

An Official War Artist like his younger brother John, Paul Nash produced pictures of desolate battlefields which are among the most memorable of all Great War landscapes. After the war Nash worked on book illustration and design; he also taught these disciplines at the Royal College of Art – Edward Bawden was among Nash’s students (see no. 3). This watercolour, depicting a beach tent, was probably executed during Paul Nash’s residence in Swanage in 1934-5. During this time he travelled around Dorset gathering material for his Shell Guide on the county, published in 1936.

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53. John Piper, CH (1903-1992) Grasses and blossoms Watercolour, bodycolour and black ink 15 º x 8 Ω in (38.7 x 21.5 cm) Provenance: Henry Homan

Piper had a diverse career encompassing painting and design. His abstract work in the early part of his career gained him recognition, and he was invited by Ben Nicholson to join the Seven and Five Society in 1934 as it turned to non-figurative art. Later on Piper was noted for his more naturalistic architectural views including paintings of churches and English country houses. In 1940 he was appointed an Official War Artist. He recorded the bombing of Coventry Cathedral, and after the war was commissioned to design stained glass windows for the cathedral’s new building. Piper designed stage sets for many opera and ballet productions. This drawing is part of a stage design for The Royal Opera House, Covent Garden; perhaps a panel for one of the wings.

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54. William Redgrave (1903-1986) Portrait of a young man with a red scarf Oil on canvas laid on board 18 x 14 in (46 x 35.5 cm) Signed Verso: Signed and inscribed by the artist, ‘Young man with a red scarf / William Redgrave / St Ives 1953 / 15 gns’ Provenance: purchased from the artist, c.1980

Redgrave was a painter and sculptor who for a time worked in Cornwall alongside Peter Lanyon and Terry Frost. He became part of the Stuckist movement, which strove to promote “painting as the most viable contemporary art form” and restore “values of authenticity, content, meaning and communication in art”.

Redgrave’s major work, The Event, a bronze triptych, was destroyed by fire at the Momart warehouse in 2004.

According to the artist, the sitter in the present portrait was a minstrel who attended the Royal Manchester College of Music.

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56. William Redgrave (1903-1986) Mount Ephraim, Kent Pencil, pen and ink and watercolour 14 Æ x 21 Æ in (37.5 x 55.5cm) Signed ‘Wm Redgrave’ in pencil, and inscribed in ink as title and with colour notes Provenance: purchased from the artist, c.1980

This is a preparatory study for one of Redgrave’s paintings.

55. William Redgrave (1903-1986) Study of a winch and chain Watercolour and gouache 9 Æ x 6 ¡ in (24.8 x 16.3cm) Signed Provenance: purchased from the artist, c.1980

57. William Redgrave (1903-1986) Study of a female nude Black chalk on blue paper 10 Ω x 13 Æ in (26.7 x 35 cm) Signed Provenance: purchased from the artist, c.1980

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No. 57

58. Albert Rutherston, RWS, NEAC (1881-1953) Chloe Pen and ink and wash 5 Ω x 9 Æ in (14 x 24.8 cm) Signed and dated ‘Albert Rothenstein Paris 1912’ and inscribed ‘to Carrington Dec. 13’

Born Albert Rothenstein, younger brother of Sir William Rothenstein, the artist anglicised his surname in 1916. Rutherston studied at the Slade School from 1898 to 1902. He began as a realist painter, adopting the style characterised by the New English Art Club of which he was made a full member in 1905, but he turned to a more decorative style in about 1910. He was also an illustrator of books, and designed posters and stage sets. He held his first solo exhibition at the Carfax Gallery in 1910.

This drawing, dedicated to the 20-year-old Dora Carrington, is a study for one of Rutherston’s principal works: Chloe, painted on silk, and exhibited at the New English Art Club in 1912. Carrington, a painter and decorative artist, also trained at the Slade School of Art, and was closely associated with members of the Bloomsbury group.

No. 58

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60. Vera Southby (1895-1987) Figure with camels Gouache 3 Ω x 4 æ in (9 x 12 cm) Signed verso (visible through paper)

59. Vera Southby (1895-1987) Junks at Nha Trang, Vietnam Oil on canvas 12 æ x 15 æ in (32.4 x 40 cm) Signed Exhibited: Martyn Gregory, ‘Vera Southby in China’, 1978, no. 32

Many of Vera Southby’s paintings employ the rich colours and exuberant forms which she encountered on her travels. She was born in Cape Town of British parents; she studied at the London School of Art, the Scuola Britannica in Rome and under Professor Joseph Binder in Vienna. She lived in China in the late 1920s and early 1930s, first in Kunming and then in Tianjin and Beijing. After a brief interval in Europe she returned to China in 1935, and was interned at Shanghai during the Sino-Japanese war. After the war she remarried and travelled extensively with her husband, Ake Hartmann, in India, China and south-east Asia; the present picture dates from the mid-1950s.

Her paintings were exhibited at the Royal Academy from 1922 until she settled in Tuscany in 1961; exhibitions devoted to her work were held in Shanghai (1929), London (1935), San Francisco (1950-51) and at the Martyn Gregory Gallery in London in November 1978.

61. Vera Southby (1895-1987) Two figures with sheep Gouache 6 Ω x 4 æ in (16.5 x 12 cm) Signed ‘Southby’

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62. Harold Speed, RP (1872-1957) The salmon stream Oil on canvas 20 x 25 ¿ in (51 x 64 cm) Signed and dated 1920 (the last two numbers indistinct). Inscribed on old label on stretcher ‘47. The Salmon Stream’ Exhibited: Martyn Gregory, ‘Modern British Painters 1875-1945’, Catalogue 52, 1988, no. 78

Harold Speed enjoyed a distinguished career as a portrait painter.

By the age of 26 he had already exhibited a dozen works at the Royal Academy and received numerous commissions for portraits.

He also took great pleasure in landscape painting and making informal sketches from nature. His work is represented in the Tate, the National Portrait Gallery, London, and in public collections as far afield as Australia and New Zealand.

A painting by Speed of this title was exhibited at the Fine Art Society in June-July 1922, no. 13.

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63. Harold Speed, RP (1872-1957) Summer landscape with corn stooks Oil on canvas laid on card 11 x 15 in (28 x 38 cm) Provenance: David and David, Philadelphia, 1988

64. Harold Speed, RP (1872-1957) Scottish moorland Oil on panel 12 x 17 in (30.5 x 43 cm) Provenance: David and David, Philadelphia, 1988

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65. George Hammond Steel (1900-1960) Landscape with ruined columns Pencil and watercolour 11 ¡ x 13 º in (29 x 33 Ω cm) Signed and dated [19]29

George Hammond Steel studied in his native Sheffield and in Birmingham. He was a painter of landscapes, decorative subjects and designs for stained glass. He exhibited widely, including fifteen works at the Royal Academy, many of them Derbyshire scenes.

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66. Philip Wilson Steer, NEAC (1860-1942) Dover Harbour Watercolour over traces of pencil 9 Ω x 13 Ω in (24.5 x 34.5 cm) Signed and dated 1918. A fragment of the artist’s label attached to the backboard.

Provenance: Mr Vernon Wethered Exhibited: National Gallery, Millbank, ‘Exhibition of Works by P. Wilson Steer’, 1929

Steer was a founder member of the New English Art Club in 1886; however towards the end of the 1880s he chose to distance himself from the school of English painters working in a naturalistic style.

Instead he experimented with various types of impressionism as his awareness of trends in French painting increased. A series of exhibitions in London in the late 1880s allowed him to see works by Claude Monet and other French Impressionists.

The son of an artist (Philip Steer, 1810-71), Philip Wilson Steer studied at the Gloucester School of Art and at the South Kensington Drawing Schools. He was refused entry by the Royal Academy Schools and instead went to Paris in 1882 to train at the Académie Julian, and then at the École des Beaux-Arts. Following his return to England, the plein-air paintings he produced reflected the influence of the French painters such as Jules Bastien-Lepage.

In addition, at the end of the nineteenth century, Steer began to reexamine works of the Old Masters, including the landscape painting of Constable and Turner. This led Steer to revisit English landscape and coastal subjects, in watercolour as well as oil. He painted in watercolour mainly for preliminary work, but later used the medium almost exclusively, with a freedom and subtlety of touch. Steer was appointed an Official War Artist in 1918. He produced a number of paintings of the British fleet in Dover harbour: examples of these are held in the collection of the Imperial War Museum.

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67. Alfred Reginald Thomson, RA (1894-1979) Portrait of a young black man Oil on canvas 20 x 16 立 in (51 x 42 cm) Signed verso in oil and pencil

Thomson was born in Bangalore, India. He was deaf and dumb from birth, and attended the Royal School for the Deaf and Dumb in Margate when his family moved to England. He went on to study at the London Art School, Kensington, and exhibited at the Royal Academy from 1920. He served as an Official War Artist with the Royal Air Force. He was elected RA in 1945, and continued to exhibit regularly both there and at the Royal Society of Portrait Painters. He was a draughtsman with a particular flair for figure drawing, and in oils his portraits were sensitively painted. He was commissioned to execute numerous royal and official portraits.

Thomson was also a decorative artist who completed a mural for the Science Museum in London.

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68. Charles Frederick Tunnicliffe, RA (1901-1979) Sawmills Weir Gouache 6 Âş x 4 in (16 x 9.3 cm) Provenance: Bunny Bird Fine Art

Tunnicliffe was a prolific illustrator of books who had a long association with Henry Williamson, author of Tarka the Otter. Sawmills Weir and no. 69, End and Beginning, were published as illustrations to Williamson’s 1936 edition of Salar the Salmon, a tale of a five-yearold male salmon returning from the Atlantic, through the rivers of Devon, to the stream of its birth.

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69. Charles Frederick Tunnicliffe, RA (1901-1979) End and beginning Gouache 6 ยบ x 4 in (16 x 9.3 cm) Provenance: Bunny Bird Fine Art

Also an illustration for Salar the Salmon (see no. 68)

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70. Charles Frederick Tunnicliffe, RA (1901-1979) Studies of ducks Pen and ink and watercolour 8 æ x 5 º in (22.2 x 13.5 cm) Inscribed ‘going under / Eider Duck, June 9th / Scourie Bay. / Resting on the shingle of the Beach / Paler T olive green / Duck and Drake on the / Pebbles with 4 oyster catchers’ Provenance: Bunny Bird Fine Art

71. Charles Frederick Tunnicliffe, RA (1901-1979) Two studies of cattle: a bull by a farmhouse, and a group of cows on a hillside Pencil, watercolour and gouache 2 Ω x 3 Ω in (6.3 x 9 cm) and 2 Ω x 3 æ in (6.3 x 9.5 cm) Provenance: Bunny Bird Fine Art Exhibited: ‘Charles F. Tunnicliffe, RA, The Composition of Drawings’, Bunny Bird Fine Art in association with The Tryon and Moorland Gallery, 23-24, Cork Street, London, March 1986, no. 315

Tunnicliffe is best known for his watercolours and illustrations of birds and wildlife. In the 1950s he regularly provided the drawings for the cover of the RSPB’s magazine.

Tunnicliffe’s early years were spent living on a farm. The everyday working life of the countryside, with its animals and birds, provided subjects for his watercolours and prints throughout his career.

He depicted animals with accuracy but also skilfully captured their character.

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72. Charles Frederick Tunnicliffe, RA (1901-1979) Study of two border collies Watercolour and gouache over pencil 4 x 8 in (10.2 x 20.4 cm) Provenance: Bunny Bird Fine Art Exhibited: ‘Charles F. Tunnicliffe, RA, The Composition of Drawings’, Bunny Bird Fine Art in association with The Tryon and Moorland Gallery, 23-24, Cork Street, London, March 1986, no. 370

73. Charles Frederick Tunnicliffe, RA (1901-1979) Shearing sheep Watercolour with bodycolour, ink and pencil 4 ¿ x 5 º in (10.4 x 13.4 cm) Provenance: Bunny Bird Fine Art

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74. Charles Frederick Tunnicliffe, RA (1901-1979) Red truck on a farm track Watercolour with bodycolour and pencil 4 Ω x 4 ¡ in (11.5 x 11.1 cm) Provenance: Bunny Bird Fine Art

75. Charles Frederick Tunnicliffe, RA (1901-1979) A book jacket design for The Island by R.M. Lockley Watercolour and gouache over pencil 2 æ x 2 Ω in (7 x 6.5 cm) Provenance: Bunny Bird Fine Art Exhibited: ‘Charles F. Tunnicliffe, RA, The Composition of Drawings’, Bunny Bird Fine Art in association with The Tryon and Moorland Gallery, 23-24, Cork Street, London, March 1986, no. 407

Author of The Island, Ronald Mathias Lockley (1903-2000) was a Welsh naturalist and author who spent much of his later life in New Zealand. In 1927, with his first wife Doris Shellard, he took a 21-year lease of Skokholm, a small island some four miles off the western tip of Pembrokeshire, which was inhabited only by rabbits and seabirds. He wrote over fifty books on ornithology, natural history and island life. The Island was published in 1969.

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76. Charles Frederick Tunnicliffe, RA (1901-1979) Nant Gwynant Watercolour and pen and ink 6 x 8 in (15.3 x 20.2 cm) Provenance: Bunny Bird Fine Art Exhibited: ‘Charles F. Tunnicliffe, RA, The Composition of Drawings’, Bunny Bird Fine Art in association with The Tryon and Moorland Gallery, 23-24, Cork Street, London, March 1986, no. 399

77. Charles Frederick Tunnicliffe, RA (1901-1979) Snowdon from Nant Gwynant with cattle watering Pencil, watercolour and gouache 5 x 7 in (12.5 x 7.8 cm) Provenance: Bunny Bird Fine Art Exhibited: ‘Charles F. Tunnicliffe, RA, The Composition of Drawings’, Bunny Bird Fine Art in association with The Tryon and Moorland Gallery, 23-24, Cork Street, London, March 1986, no. 398

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No. 79

78. Charles Frederick Tunnicliffe, RA (1901-1979) Two studies of cattle Pencil Both 5 x 5 in (12.5 x 12.5 cm) Provenance: Bunny Bird Fine Art Exhibited: ‘Charles F. Tunnicliffe, RA, The Composition of Drawings’, Bunny Bird Fine Art in association with The Tryon and Moorland Gallery, 23-24, Cork Street, London, March 1986, no. 323

79. Charles Frederick Tunnicliffe, RA (1901-1979) A clearing in a wooded park Black ink, chalk and wash over traces of pencil 8 æ x 11 in (22.2 x 28 cm) Verso: studio stamp Provenance: Bunny Bird Fine Art

No. 78

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80. Charles Frederick Tunnicliffe, RA (1901-1979) Cottage in a hilly landscape Pen and ink over pencil 9 x 13 in (23 x 33 cm) Provenance: Bunny Bird Fine Art

81. Charles Frederick Tunnicliffe, RA (1901-1979) Fishermen hauling in nets and sketch of men rowing a boat Pen and ink, traces of red chalk 5 Ω x 8 æ in (14 x 22.3 cm) Inscribed with extensive descriptive notes. Verso: studio stamp ‘Charles Tunnicliffe R.A. Studio 1980, no…’

Provenance: Bunny Bird Fine Art

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83. Ethelbert White, NEAC (1891-1972) Figure in a wooded landscape Pencil 7 º x 5 º in (8.3 x 13.4 cm)

Born in Isleworth, Ethelbert White was a landscape painter, poster designer, illustrator and wood engraver. He studied at St John’s Wood School of Art in 1911-12, and went on to become a firmly established member of the English art scene. He was a friend of C. R. W. Nevinson, with whom he painted a Futurist version of Hampstead Heath on Fair Day in 1913. In 1916 White began to exhibit at the London Group and also at the New English Art Club, of which he became a member in 1921. In that same year he held his first solo exhibitions at the Paterson and Carfax Gallery. The scenery of southern England formed most of White’s subject matter, but he also worked in Ireland, the south of France and Spain. His oil paintings are represented in public collections throughout Great Britain.

82. Carol Watson (fl. first half of 20th century) Sunflower seedhead Ink and wash heightened with white on buff paper 22 º x 16 in (57 x 41 cm) Signed ‘Carol Watson / C’

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84. Erich Wolfsfeld (1885-1956) Mother and Child Chalk and gouache 18 x 24 立 in (46 x 62 cm)

As a young man the Prussian-born Wolfsfeld travelled in north Africa and Turkey, where he was commissioned to copy excavated frescoes.

After the Great War he travelled widely in Europe, returning to Turkey in 1928 and also visiting Egypt and Palestine, the source of several of his intense figure drawings. Wolfsfeld depicted the human face with a deep-seated humanity, and was frequently drawn to depict gypsies and beggars. He was a master of black chalk; when he painted in oils it was generally upon prepared paper. From 1920 Wolfsfeld was Professor of Painting and Etching at the Berlin Academy where he had studied, but he was forced to relinquish the post by the Nazi regime in 1935. He came to England in 1939, settling in London. He exhibited at the Royal Academy from 1943 onwards. His work is represented in international public collections including the British Museum and the Metropolitan Museum, New York.

85. Erich Wolfsfeld (1885-1956) Head of a man Chalk and gouache 20 立 x 15 in (52 x 38 cm)

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INdex of Artists Allan, Robert Weir Bauer, Marius A. J. Bawden, Edward Benney, Ernest Alfred Sallis Birch, Samuel John Lamorna Bone, Sir David Muirhead Cameron, Sir David Young Clausen, Sir George Daly, Jehan Dalziel, Herbert Dooijeward, Jacob Eardley, Joan Faithfull, Leila Freer, Allen Gaskin, Arthur Joseph Henderson, Elsie Howard, George Howard-Jones, Ray Innes, James Dickson Jenkins, Henry Jones, Bob Kirkbride, Dorothy Knight, Charles Ledebur, Eugen von Lees, Derwent Mackay, Lance-bombadier John Martineau, Gertrude McBey, James Moore, Raymond Morgan, William E. C. Nash, John Northcote Nash, Paul Piper, John Redgrave, William Rutherston, Albert Southby, Vera Speed, Harold Steel, George Hammond Steer, Philip Wilson Thomson, Alfred Reginald Tunnicliffe, Charles Frederick Watson, Carol White, Ethelbert Wolfsfeld, Erich

LIST OF ABBREVIATIONS 5 5 6-7 8 9 10 10-11 12 13 14-15 16-17 18 19-20 21 22-23 24-25 25 26-31 32-33 34-36 37-39 40-41 42-43 42 44-45 46 47 48-49 50 50 51-53 54-55 56 57-59 59 60 61-62 63 64 65 66-73 74 74 75

A Associate CBE Commander of the Order of the British Empire CH Companion of Honour H Honorary member LG London Group NEAC New English Art Club RA Royal Academy RBA Royal Society of British Artists RBC Royal British Colonial Society of Artists RBSA Royal Birmingham Society of Artists RCA Royal College of Art RE Royal Society of Painter-Etchers and Engravers RIBA Royal Institute of British Architects ROI Royal Institute of Oil Painters RP Royal Society of Portrait Painters RSA Royal Scottish Academy RSW Royal Scottish Society of Painters in Watercolour RWA Royal West of England Academy RWS Royal Society of Painters in Watercolours SWE Society of Wood Engravers

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MARTYN GREGORY 34 Bury Street, St. James’s London SW1Y 6AU Tel. 020 7839 3731 Fax. 020 7930 0812 mgregory@dircon.co.uk www.martyngregory.com