TRINITY HOUSE 19TH AND 20TH CENTURY FINE PAINTINGS

T R I N I T Y H O U S E F I N E A RT

TRINITY HOUSE

TRINITY HOUSE

F I N E

F I N E

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T R I N I T Y H O U S E F I N E A RT www.trinityhousefineart.com International Dealers and Fine Art Agents

A R T

T R I N I T Y H O U S E F I N E A RT International Dealers and Fine Art Agents

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19 to 20 Century Fine Paintings

Trinity House Fine Art 67 High Street, Broadway, Worcestershire. WR12 7DP Tel: +44 (0) 1386 859 329 Fax: + 44 (0) 1386 859 298 Web: www.trinityhousefineart.com Email: art@trinityhousefineart.com

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Introduction Welcome to our second full colour catalogue. If you are reading this, the likelihood is that you have either visited our beautiful gallery in Broadway or one of our stands at an exhibition in either the United Kingdom or America. We very much hope that you enjoyed the paintings on view and have been tempted to either begin acquiring fine art or add to an already existing collection.

The art market is as strong as ever, with competition for the finest pictures generating world record prices time and time again.

The Directors of Trinity House Fine Art have travelled far and wide to source the best examples for our summer and autumn season. We have been to Amsterdam, Maastricht, Paris, Chicago, Los Angeles and throughout Britain, to buy our collection which, we feel, offers our customers fine examples by some the 19th and 20th centuries greatest artists.

Within these pages you will be able to view oil paintings and works on paper by some of the most influential artists of our time. Sir John Lavery, Dame Laura Knight and Sir Terry Frost are represented from the Modern British School and from the Barbizon and Impressionists you will find the work of Leon Augustin L’hermitte, Isaac Israels, Paul Cesar Helleu, Fernand Toussaint and Luigi Loir.

We very much look forward to welcoming you to Trinity House in Broadway in the near future, where you will be greeted by friendly staff who are ready to answer any questions you might have regarding any aspect of our fine art collection.

Furthermore, if you are unable to visit us in the Cotswolds and would like to view any of the paintings featured here, please do not hesitate to contact us and we shall be happy to arrange a private viewing in the comfort of your own home.

Steven Beale Director

Simon Shore Director

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Eugene Von Blaas (Austrian, Rome 1843 – 1931 Vienna)

Day Dreaming

executed in a precise hand and utilising vibrant colours. Von Blaas had an international exhibiting career becoming a regular to the Esposizione Nationale exhibitions in Venice and the Jubilaums Austellungs held in Vienna and Munich.

He also showed his paintings at the Royal Academy, the Grafton Gallery and the New Gallery in London between 1875 and 1892. Von Blaas died in Vienna in 1931. His work is exhibited at Leicester: Venetien Faisant sa Coeur; Melbourne: Jeune Fille Venitienne; Sheffield: Avant la Masquerade; Sydney: Etude Venitienne; Vienna: L’Imperatrice Marie-Therese, Marie Antoinette et Mozart.

Eugene Von Blaas was born on July 24 1843, in Albano, Italy, a village near Rome. His parents were Austrian, and his father Karl von Blass was a well known historical painter. Von Blaas was an early student of his father. He later went on to study at the Academy of Rome and the Academy of Venice, choosing to paint picturesque aspects of the lives of fishermen in Venice. These works often concentrated on images of female beauty, capturing the marvellous facial line and skin tone of the model. Von Blaas painted in both oil and watercolour, using both mediums with great skill. His favourite motif, the daily life of the Venetian folk going about their business, was

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Oil on panel 21 inches 14 inches 28 inches 22 inches 1889, Lower left

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Adolphe Alexandre Lesrel (French, Genet 1839 - 1929 Paris)

End Game

Adolphe Alexandre Lesrel was born at Genet in France on 19th May, 1839. He studied painting and was greatly influenced by the famous French artist Meissonier who painted detailed military subjects.

Lesrel gives us an intimate and nostalgic glimpse of the past.

His cavaliers are exquisitely painted with every attention paid to detail. His colours are rich and vibrant and his rendition of luxurious is outstanding.

During the 19th century people developed a vivid fascination for the past. This was particularly true in France where memories of the recently deposed monarchy were still strong and the political situation was volatile. Paintings emphasized the human qualities of the subjects and in Lesrel's works he alludes to the paternal qualities of the monarchy by painting the King's men at ease in their domestic situations.

The artist was elected to the Society of French Artists in 1885 and he received an award from them in the Exposition Universalle in 1889. He became an Associate of the Salon de la Nationale Beaux Arts in 1890 and regularly exhibited his works there.

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Oil on panel 22 inches 26 inches 34 1â „2 inches 38 inches 1906, Lower left

Provenance:

Private collection, United Kingdom

Lesrel died in 1929.

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Henry Pether (British fl. 1828 - 1862)

Westminster

Henry Pether was a painter of landscapes, especially by moonlight. He was probably the son of Sebastian Pether, also an artist. Henry exhibited at the Royal Academy from 1828 to 1862, the British Institution and Suffolk Street. Pether was known for his beautiful scenes along the Thames, however he also painted other English views and scenes of Venice too.

especially in the details, fittings and furniture. This broad panoramic view, looking north east, was executed circa 1860 - 62 before the final completion of the rebuild, as the timber scaffolding on Victoria Tower is clearly visible.

However, if one looks beyond the Palace to Westminster Bridge we are able to detect that this too is still under construction.

The Palace of Westminster almost completely burnt down in a fire on 16 October 1834, which destroyed everything except Westminster Hall, the crypt of St Stephen’s Chapel and the Jewel Tower. The Houses of Parliament, as we know them today, were rebuilt after the fire. The process, which incorporated Westminster Hall and the remains of St Stephen’s Chapel, took just over 30 years. The rebuilding was completely finished by 1870. Architect Sir Charles Barry won an open competition for a new design with his gothic vision. Barry was assisted by Augustus Welby Pugin,

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Oil on canvas 24 inches 36 inches 32 1⁄2 inches 42 1⁄2 inches Lower right

Provenance:

Private collection, United Kingdom

The new bridge was designed by Thomas Page in consultation with Sir Charles Barry. It was begun in 1854 and opened on 24th May, 1862. To save the erection of a temporary bridge, the first half of the new bridge was built upstream of the old and put into use before the second half was built on the site of the old bridge. The cost, £400,000, was defrayed partly by funds in the hands of the Westminster Bridge Commissioners and partly by parliamentary grant.

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Andrea Landini (Italian, 1847 - 1935)

Late for the Game

Andrea Landini was born in Florence on 10th December, 1847. His artistic talent was apparent from an early age and he studied painting under Pasquini and Ciseri.

in their fine robes. These paintings are often humorous but are painted with fine attention to detail. The artist's use of rich purples and crimsons give his paintings a jewel-like quality and confirm his place as one of the finest artists of this genre.

Landini exhibited his works in Florence and Paris; his final exhibition being in 1911 at the Society of French Artists.

Landini painted some portraits and flower subjects but he is best known for his ecclesiastical subjects depicting cardinals

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Oil on canvas 18 inches 15 inches 22 inches 19 inches Lower left

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Willem Gruyter (Dutch, Amsterdam 1817 - 1880)

Sailing Ships at Anchor

1875 and he first exhibited in Amsterdam in 1863. As his popularity increased Gruyter also showed his work in Berlin, Bremen, Vienna and Munich.

Willem Gruyter was born in Amsterdam on 6th September, 1817. This was a time of artistic revival in Holland when the nation’s painters looked back and reinterpreted the great artists of the 17th century. The wealthy middle classes of the Netherlands were generous patrons of this new romantic school whose interest was in nature and the depiction of scenes from everyday life.

His style was very similar to that of Hermanus Koekkoek in that he also excelled in painting sky using the shadow of the clouds to create interest of light and shade in the sea. In this painting he achieves a high level of detail in the flat-bottomed fishing boats with their tapering masts and intricate rigging.

The inclusion of the jutting headland in the painting serves to break the expanse of the sea and leads the viewer from the foreground to the distant town beyond.

Gruyter was both an engraver and a marine painter and he was a pupil of the most important seascape painter of the time, Hermanus Koekkoek (1815-1882). Koekkoek lived and worked in Amsterdam and Durgerdam between 1832 and 1873 and Gruyter studied with him during this time. He exhibited in his own right in The Hague between 1843 and

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Museums: Amsterdam, Bremen, Le Havre, The Hague

Oil on panel 8 inches 9 inches 15 inches 18 1â „2 inches With monogram 1853, lower right

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Edgar Hunt (British, 1876 - Birmingham - 1955)

The Extended Family

Edgar Hunt and his brother Walter, who were born in Birmingham, were the third generation of the Hunt family to become artists.

It is likely that this painting depicts a Mallard drake and an all white Aylesbury female and their crossed offspring denoted by the white plumage and Mallard blue wing tip of the respective parents. Furthermore, Hunt has portrayed the brown drake as the father of the ducklings and thus depicting three generations of one family.

His grandfather was Charles Hunt (1803-1877) who was well-known for his humorous genre subjects which he exhibited from 1846 at the Royal Academy and other prestigious venues. Edgar's father was Charles Hunt Jr. (1829-1900). He painted in a similar vein to his father but he also did some animal subjects. With this background of artistic achievement it was natural for Edgar and Walter (1861-1941) to become painters.

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Acknowledgement: We would like to thank Mr. Gary Carter for his assistance and opinion on the identification of the breeds depicted in this painting.

Oil on canvas 11 inches 15 inches 17 inches 21 1â „2 inches 1924, l.ower right,

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Charles Spencelayh H.R.B.S.A., R.M.S., V.P.B.W.S. (British, Rochester 1865 - 1958 London)

His Old Wedding Hat

Acclaimed by one critic as ‘the modern Meissonier of British domestic life’, Charles Spencelayh was a painter of figure subjects, genre scenes and portraits. He has also been compared to William Powell Frith in his skillful evocation of sentiment and meticulous rendering of detail. He worked in many media achieving great acclaim as a miniaturist, watercolourist and etcher.

School (later renamed the Royal College of Art), where he won a prize for figure drawing. Spencelayh continued his training in Paris where he exhibited at the Paris Salon.

Spencelayh exhibited predominantly in Britain. He showed 30 paintings at the Royal Academy from 1912 until his death in 1958. He was a founder member of the Royal Society of Miniature Painters, joining in 1897. He was also elected an honorary member of the Royal Birmingham Society of Artists and Vice-President of the British Watercolour Society.

Charles Spencelayh was the son of Henry Spencelayh, an engineer and iron and brass founder. He was born in 1865 in Rochester, Kent. He first studied at the National Art Training

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Oil on canvas 20 inches 24 inches 30 inches 34 inches 1943, Lower left

Provenance:

Private collection, United Kingdom Aubrey Noakes, plate 59

Published:

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Frank Moss Bennett (British, Liverpool 1874 - 1952 Trusham)

The Captain's Sailing Orders

In addition to his skills as an artist, Bennett was an accomplished craftsman and some of the pieces of furniture depicted in his paintings were made by him. Other pieces were from his extensive collection of furniture, tapestries, period costumes, armour and all manner of artefacts. He visited many of the great houses of England and sketched their interiors to provide the remarkable settings for his genre and historical subjects. Knole in Kent, Montacute in Somerset and Haddon Hall in Derbyshire are just three of these great houses.

Frank Moss Bennett was born in Liverpool on 15th November, 1874, the son of Henry Bennett an iron founder in the thriving shipbuilding port of Liverpool. Educated at Browns House, Clifton College in Bristol, Bennett joined the Slade School of Art in 1892 and trained as a portrait painter.

In 1896 he enrolled at the Royal Academy School of Art, where he won the Gold Medal and Travel Scholarship in 1899.

After his marriage in 1907, Bennett became an established London artist, specialising in painting portraits, genre and historical subjects, which proved immensely popular and provided him and his family with a very good income, not only from the sale of his original paintings but also from their reproduction as prints. By 1911, Bennett and his family were settled in a large house in Ebury Street near Victoria, with a fine studio. The Sackville-West family were close neighbours and Bennett frequently painted portraits of the family.

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Oil on canvas 24 inches 34 inches 29 1â „2 inches 39 1â „2 inches 1945, Lower left

Provenance:

Private collection, United Kingdom

In 1938, with war looming in Europe, Bennett retired to a farm called Whetcombe Barton in Trusham, Devon, the county from which his wife’s family originated. His daughter managed the farm and his grandchildren were frequent visitors.

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Campbell A. Mellon (British 1878 - 1955)

Busy Day on Gorleston Beach

Campbell Mellon was born in Berkshire on the 16th of June 1878. He married and settled in Nottingham in 1903 and remained there until he died in Gorleston on 28th August, 1955.

He only started painting following his move to Nottingham.

He studied under Carl Brenner, nephew of B W Leader, RA, amongst other artists.

groynes making what became known as the "little beach" or "children's corner". Gorleston was now on the verge of becoming one of the east coast's most popular resorts helped by the new bank holidays, the railway which arrived in Gorleston in 1903 and the annual holiday breaks which brought visitors by the trainload. The early days of the 20th century witnessed the arrival of bathing machines and changing tents which are added here to Mellons composition.

This view of Gorleston on the Norfolk coast dates from the 1930’s. From 1887 the rudimentary sea defences of the time enabled the beach to increase and eventually cover the

After his arrival in Norfolk he studied under Sir J A Arnesby Brown, RA. His work can be seen in public galleries in Bristol, Leeds, Sheffield and Great Yarmouth.

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Oil on canvas 18 inches 22 inches 24 inches 28 inches

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Sir John Lavery R.S.A., R.A., R.H.A. (Irish, 1856 - 1941)

Norwegian Cargo Boats, St. Jean de Luz

Unquestionably one of the greatest painters of the late 19th and 20th centuries, the name Sir John Lavery is immediately associated with a time of Edwardian elegance, the roaring twenties, scandal and the struggle for Irish independence. All of this set against the back drop of the Great War. When one notes the names of sitters for his highly coveted portraits, which included George V, Churchill and Michael Collins, one is left with the impression that he knew everyone in high society and everyone in high society knew him.

specifically focused on the harbour there where he painted “Norwegian Cargo Ships, St Jean de Luz”. This striking oil on panel records a convoy of Norwegian merchant ships in the harbour in South West France.

The horizontal emphasis of the present work, punctuated by the moving ships is highly reminiscent of Whistler's seascapes such as Crepuscule in Flesh Colour and Green: Valparaiso, (1866, Coll. Tate Britain, London) and Symphony in Grey and Green: The Ocean (circa 1867, Frick Collection, New York).

In 1917 Charles Masterman, head of the government's War Propaganda Bureau (WPB) recruited Britain's two leading portrait painters, Lavery and William Orpen to paint pictures of British military leaders in France. Both were assigned to the Royal Navy. Unfortunately, soon after receiving the invitation, Lavery had a serious car-crash during a Zeppelin bombing raid.

With the outbreak of war in 1914, Norway, like Sweden and Denmark, issued a declaration of neutrality. Norway was badly hurt by the war at sea. 1,892 Norwegian merchant sailors died, mostly due to vessels torpedoed by German submarines and it lost about 50% of its merchant fleet, percentage-wise the highest loss of any nation's merchant fleet in WWI. These statistics make Lavery’s painting all the more potent and one can further make sense of the clearly positioned Norwegian ensigns draped down the flanks of each vessel, identifying them as a neutral nation to the Germans. The war brought a distinct boom to Norway's economy in shipping, mining, and fish exports and it is likely that this convoy captured by Lavery in 1917, was supplying the allied war effort from St Jean de Luz.

Unfit to travel to the front line in France, Lavery painted the war effort on the home front, with “London Hospital” a prime example. Orpen, however, did travel and he was able to portray many of the officers fighting on the front line as desired by the WPB. Soon Lavery was growing restless in war-time London and gladly accepted the chance to leave the city when the Duke of Westminster invited him to stay at Landes. He travelled via Paris and Mimizan to St Jean de Luz where he arrived in early April. Amongst several works produced on the trip, the most important group was

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Oil on board 21 1⁄4 inches 30

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38 1⁄2 inches Lower left & inscribed verso ‘Norwegian Cargo Boats, St. Jean de Luz 1917’

Provenance:

The Dorothy Dillon Ewson collection, United States

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Sir Alfred Munnings P.R.A. (British, 1878 Mendham - 1959 Dedham)

By the Lamorna

Born in Mendham, Suffolk, Alfred Munnings was the son of a

near Reading and later went to France as an official war artist,

miller. He was apprenticed to a firm of lithographers from 1893

attached to the Canadian Cavalry Brigade.

to 1898 and studied at the Norwich School of Art and in Paris.

There Munnings was impressed with plein-air naturalism; this,

The year 1919 was a major turning-point in all aspects of

together with his introduction to the racecourse in 1899,

Munnings' life; he painted his first racehorse, Pothlyn, the

influenced the themes for which he became famous.

winner of the Grand National, and became an Associate of the Royal Academy. Munnings met Violet McBride, whom he was

While in Mendham, Munnings painted many scenes of

to marry, and bought Castle House, Dedham, where the

country life, particularly horse fairs. He went to Cornwall in

Munnings Memorial Trust maintains a permanent exhibition of

1908, and for many years was an important addition to the

his pictures. Munnings' prolific career, spanning over 60 years,

Newlyn School of artists. “By the Lamorna” was painted on

brought him honour, with election to the Presidency of the

his arrival in that year. When the First World War broke out,

Royal Academy in 1944, a Knighthood in 1945, and a personal

Munnings enlisted, despite having the use of only one eye

award from the Sovereign in 1947, when Munnings was

owing to an accident in 1899. He became an army horse trainer

created Knight of the Royal Victorian Order.

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Oil on canvas

Provenance:

Private collection

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18 1⁄4 inches 23

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26 1⁄2 inches 1908, Lower left

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Dame Laura Knight (British, 1877 - 1970))

Lamorna Cove

English painter and designer. She studied at Nottingham College of Art from 1889. In 1894 the deaths of her mother and grandmother left her dependent on her own earnings, and she taught art from a studio in the Castle Rooms, Nottingham. From 1903 she exhibited regularly at the Royal Academy, London, and in the same year married the painter Harold Knight (1874–1961); they lived in an artists' community in Staithes, North Yorkshire, until 1907, also spending time in another community in Laren, Netherlands.

They then moved to Newlyn, Cornwall, attracted by the presence of a number of prominent artists. The couple exhibited together at the Leicester Galleries, London, in 1912.

reliable than local girls and did not object to posing in the nude, despite the disapproval of local people.

Laura Knight’s biographer Caroline Fox writes, “Female figures, dressed and sitting on the edge of the cliff, outlined against the edge of the sea, continued to be a popular subject with Laura for many years. These paintings are extremely bright and colourful and reveal her delight in painting the sea in its many different moods with shimmering reflections and ripples around the rocks. Her models serve as focal points in these works and as colour contrasts to the rich blues and blue greens of the sea”.

Bibliography Dame Laura Knight (exh. cat. by D. Phillips, Nottingham, Castle Mus., 1970) J. Dunbar: Laura Knight (London, 1975) C. Fox: Dame Laura Knight (Oxford, 1988)

Knight started to paint women, sometimes in the nude and usually out of doors. The successful sales of these paintings (of which this is a prime example) made it possible to hire professional models from London who were far more

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Oil on canvas 24 inches 36 inches 32 inches 43 1⁄2 inches Lower left

Provenance:

Lady Throckmorton, Coughton Court; Private collection, United Kingdom

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Sir William Russell Flint R.A. (British, 1880 - 1969)

The Iced Drink

In 1900 Flint came to London and was first employed to do medical drawings, later being appointed to work on the ‘Illustrated London News’ from 1903-1907. During this time he studied at Heatherley’s School in the evenings. He became interested in book illustration and produced a number of works for classical limited editions such as Malory’s ‘Morte d’Arthur’, Chaucer’s ‘Canterbury Tales’ and Homer’s ‘Odyssey’.

culture. He was elected Associate of the Royal Academy in 1924, a full member in 1933 and he became President of the Royal Society of Painters in Watercolour in 1936. In 1947 Flint was knighted by King George VI alongside the actor Laurence Olivier and the musician Malcolm Sargent.

During the post war period Flint produced his finest works.

His talent with both the watercolour medium and his skill in depicting the female form created a hallmark style which would later become legendary. In 1962 his work was acknowledged by a retrospective exhibition in the Diploma Gallery of the Royal Academy which was attended by 21,000 visitors. At the time, Charles Wheeler, the President, paid tribute to the artist describing his watercolour technique as a “baffling skill”.

Late in 1912 Flint and his wife went to Italy where they rented a studio in Rome. It was here that the artist discovered a local model called Peppina from Anticoli Corrado in the Sabine Hills. Her rural charm and natural beauty inspired Flint and made a lasting impression upon him.

Flint was commissioned in the First World War and it was only after the war that his career really began to flourish. He travelled to France and Spain where he produced wonderful watercolours and drawings reflecting the local scenery and

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Museums: Victoria and Albert Museum, London, Fitzwilliam Museum, Cambridge, Liverpool, Cardiff.

Watercolour 19 1⁄4 inches 26 1⁄4 inches 30 inches 37 inches Lower right & inscribed verso ‘The Iced Drink, Concarneau, August – September 1922’

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Cecil George Charles King (British 1881 - 1942)

Piccadilly at Night

Cecil King was educated at Haileybury and first studied engineering. He turned to art and studied at Goldsmith Institute then at Westminster School of Art, before going to Paris to study Laurens and Steinlen. He became very successful and exhibited at the R.A., Paris Salon and Venice.

He was elected RBA in 1910, RI in 1924 and ROI in 1932. He became Vice President of the Royal Society of Marine Artists

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and was appointed Painter to the Royal Thames Yacht Club.

This atmospheric example depicts Piccadilly in the heart of London. His ability to capture an impression of movement from the crowds and vehicles adds to the vibrancy of the view. “Piccadilly at Night” is typical of his output on his return from Paris and underlines the impact of Post Impressionism found within his ouvre.

Watercolour 15 1⁄2 inches 19 1⁄4 inches 25 1⁄2 inches 30 inches Lower right

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Alfred Hayward A.R.D.S., R.P., N.E.A.C. (British, 1875 - 1971)

A fête at Tours

at Slade School (1895-97) before being invited to exhibit at the Paris Salon, the Royal Academy and the New English Art Club. He travelled extensively throughout Europe and in particular Italy and France. In 1925 Hayward held an exhibition of his Venetian paintings at the Leicester Gallery (London).

A fête at Tours was painted on a trip to the Loire Valley by Alfred Hayward during the 1920’s and marks a turning point in the artist’s career. Having been commissioned as a war artist during World War I, Hayward was familiar with the medieval town known in France as "Le Jardin de la France" ("The Garden of France"). The post war economic revival and renewal of every day life is recorded in this fluid and competently executed oil on board, painted en plein air. Hayward was able to selectively record the occasion, effectively capturing the essence rather than concentrating on the detail.

Hayward was born 21 February 1875 in London, a descendant of Robert Hayward, lessee of the Pump Room, Bath, in the time of Beau Nash. He was to become a Member of the International Society, and of the N.E.A.C. 1910.

He had studied at the Royal College of Art (1891-94) and

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Oil on board 15 inches 20 inches 22 inches 27 inches Lower left

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David Shepherd O.B.E., F.R.S.A. (British, born 1931)

Bull Elephant

David Shepherd's early career was, to quote his own words, 'a series of disasters.' After failing to be a game warden in Africa, he turned to his second choice, painting - and was promptly turned down as 'not worth training' by the first art school that he tried to enter. They said he had 'no talent'.

David owes all his subsequent success to the man who trained him, Robin Goodwin, also to the Royal Air Force who flew him all over the world in order to paint aircraft pictures for them and also commissioned his very first elephant painting.

conservationist. His paintings have raised over two and a half million pounds for this cause through The David Shepherd Conservation Foundation.

David has been awarded The Order of the Golden Ask by Prince Bernhard of the Netherlands as well as the Order of The British Empire for his services to conservation. He has been made a Member of Honour of the World Wide Fund for Nature and has also been awarded an Hon. Doctorate of Fine Arts by Pratt Institute in New York. David has been featured in a BBC documentary of his life, has made a series of six wildlife films for ITV and others and has been the 'target' for 'This is Your Life'. He has written six books, covering all aspects of his life, including wildlife and steam railway.

Now he is regarded by many as being one of the world's leading wildlife and landscape artists but also, because of the enormous debt that he says he owes to wildlife for what it has done for him, he is known internationally as a leading

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Oil on canvas board 4 inches 5 inches 8 inches 9 inches Lower right

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Leonard Campbell Taylor R.A., R.O.I., R.P. (British, 1874 - 1969)

Pitch Hill from Wykehurst Farm, Ewhurst

The painter Leonard Campbell Taylor studied at the RA Schools from 1895-98, during which time he illustrated many of the popular magazines of the day, including The Windsor Magazine. His first painting exhibited at the Academy was The Sentinel (1899). He achieved early success with portraiture, and gained a patron with the noted art collector

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Humphrey Roberts. He worked in a variety of genres, producing landscapes, scenes featuring Japanese people, historical pictures and interiors with figures such as The Patient, Chess and The Rehearsal. He was one of a significant number of artists who were influenced by the later work of J.E.Millais.

Oil on canvas 13 inches 17 inches 18 inches 22 inches Lower left & inscribed verso ‘Pitch Hill from Wykehurst Farm, Ewhurst, 1917’

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Montague Dawson (British, 1895 - 1973)

Onward Clipper Ship, Norman

Montague Dawson was unquestionably one of the greatest sea painters of the 20th century. Born in Chiswick, London, to a family of sea-farers; his father was an engineer, yachtsman and artist, while his grandfather, Henry Dawson, was a well known Victorian sea and landscape artist. It is said that he completed his first painting by the time he was five years old.

Throughout WWI and WWII, Dawson supplied the magazine Sphere with monochrome illustrations of historical events of the wars. It is notable that Sphere devoted an entire issue to Dawson’s portrayal of the German Grand Fleet’s surrender in WWI. It was these illustrations that brought him the recognition necessary to secure his place as a highly regarded painter/illustrator of historical maritime subjects and portraits of deep-water sailing vessels.

Dawson was largely a self-taught artist, but in 1910 he joined an art studio in Bedford Row, London, that produced posters and illustrations. In 1914, at the outbreak of World War I, Dawson enlisted in the Royal Navy. As an Officer he became closely associated with Officer Charles Napier Hemy – the great maritime artist. Hemy became Dawson’s tutor and, as such, had a profound influence on his work.

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In the 1930s he lived at Milford-on-Sea, Hampshire and until the mid 1960s exhibited regularly at the Society of Marine Artists, where he was elected a member. Dawson was also a fellow of the Royal Society of Arts and an occasional exhibiter at the Royal Academy from 1916 – 1936.

Oil on canvas 20 inches 30 inches 26 inches 36 inches Lower left

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Sir Terry Frost (British, Leamington Spa 1915 - 2003 Newlyn)

Blue Lizard Moon

Born in 1915, in Leamington Spa, Warwickshire, Terry Frost first began to paint as a prisoner of war. Returning to England, he received an ex-serviceman's grant and attended Camberwell School of Art, London from 1947 to 1950. He went on to teach at the Bath Academy of Art at Corsham Court from 1952, and was the Gregory Fellow at Leeds University 1954 to 1956, teaching at Leeds School of Art from 1956 to 1957. He was made Artist in Residence at the Fine Art Department of Newcastle University in 1964, became a full time lecturer at the Department of Fine Art, Reading University 1965, and went on to become Professor of Painting at the University of Reading from 1977 to 1981.

include the ICA, London (1971) and the Serpentine Gallery, London (1976) organised by the Arts Council and South West Arts, touring to Newcastle, Bristol, Leeds, Chester, Birmingham and Plymouth.

A retrospective exhibition of his work was held at the Mayor Gallery, London in 1990 and in 2000 a major retrospective, 'Terry Frost: Six Decades', was held at the Royal Academy of Arts, London. Frost has also participated in many group shows since 1953, and his work is held in many corporate and private collections throughout the world.

Terry Frost was elected Royal Academician 1992 and received a knighthood in 1998. He lived and worked in Newlyn, Cornwall.

Frost's first one-man show was held at the Leicester Galleries in 1952. He continued to exhibit regularly in London and his first international one-man show was held in 1961 at the Bertha Schaeffer Gallery, New York. Further solo exhibitions

Terry Frost died on 1st September 2003

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Oil on canvas 50 inches 25 inches 51 1⁄2 inches 27 inches Inscribed verso ‘Blue Lizard Moon’ 1997, Terry Frost

Provenance:

Private Collection, United Kingdom

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Fernand Toussaint (Belgian, 1873 - Brussels - 1955)

Still Life with Roses

Fernand Toussaint, the celebrated Belgian painter of still lifes and figurative subjects, was born in Brussels 1873. At the age of fifteen he entered the Academy of Fine Arts of his native city where he studied under Jean Portaels, an innovative and demanding teacher who attached prime importance to the art of drawing. Thus Toussaint received thorough formal academic training before leaving for Paris in 1891 where he completed his studies.

handling of paint. He excelled in still life and was able to capture the Japanese aesthetics that were so prevalent at the time.

He exhibited widely at most of the major venues in Brussels, and at the Salon des Artistes Francais in Paris, where he received a medal in 1901 and a gold medal in 1929. His gold medal winning exhibit that year was featured in the influential Parisian magazine " L' illustration". In 1929, art critic Mario de Marchi wrote of Toussaint "Le maitre incontestÊ de la grâce et du charme de la femme' , which translates to "Toussaint is the undisputed master at capturing the grace and charm of women" Fernand Toussaint passed away in 1955.

There he met the great Alfred Stevens, who was then at the height of his artistic popularity, and with Stevens' guidance, Toussaint formulated his own individual style, combining elegance and fine draughtsmanship with a free impressionistic

Medium: Paper Height: Paper Width: Framed Height: Framed Width: Signed:

Watercolour 25 inches 31 inches 33 inches 39 1â „2 inches Lower right

Provenance:

Private collection, United Kingdom

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Eugene Galien Laloue (French, 1854 - Paris - 1941)

Rivoli, Paris

Eugene Galien-Laloue was born in Paris in December, 1854.

He was a pupil of Charles Laloue and was a member of the Salon des Artistes Francais from 1877. He painted the countryside around Normandy and Seine-et-Marne and he is known to have illustrated some military subjects in 1914.

However, Galien-Laloue is most highly regarded for his exquisite paintings of Paris in which he conveys the essence of the Belle Epoque. His most usual medium for these works was gouache, a mixture of opaque watercolour and glue,

Medium: Paper Height: Paper Width: Framed Height: Framed Width: Signed:

Watercolour 9 1â „2 inches 10 1â „4 inches 14 inches 15 inches Lower left

Provenance:

Private collection, United Kingdom

which he used to maximum effect.

The artist captures the atmosphere of the bustling and fashionable boulevards of the great city and his portrayal of the horse-drawn carriages, trolley cars and the first omnibuses are of historical as well as artistic interest. GalienLaloue was a forerunner in popularising the painting of street scenes and later artists such as Edouard Cortes and Antoine Blanchard were inspired and influenced by him.

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Luigi Loir (French, Goritz 1845 - 1916 Paris)

Bal au foyer de l'Opéra

received the recognition he was due. Their response would also influence the Municipal Council of Paris to purchase “Le Marche a la Ferraille”, the city of Paris would acquire “La Rue de la Pitie, vue du Val de Grace” and The Empress of Russia to purchase the watercolour entitled “The Celebration of the Throne”.

Luigi Loir was born December 22, 1845 in Goritz, Austria and he died February 9, 1916 in Paris. He began his first formal art education in 1853 at the Beaux-Art Academy of Parma.

Upon finishing his studies in 1865, Loir had his debut in the Salon of Paris with "Paysage a Villiers-sur Seine" for which he received the highest acclaim. Loir then enrolled into studies under Jean Amable Amedee Pastelot (1810-1870) to become a mural painter. He became a very popular ceiling and mural painter. One of Loir's first commissions was to paint the murals and ceilings at the Chateaux du Diable in 1866.

In 1870, he was commissioned into the military to record the battles of Bouret. Loir concentrated exclusively on painting views of Paris. In these works, Loir caught and expressed the many faces of Paris, at all hours of the day. Though some thought him excessively methodical, he was undeniably endowed with exceptional powers of observation and craftsmanship. It was because of his work during this campaign of 1870, that Loir was elected to be the official painter of the Boulevards of Paris. This boosted his career and reputation. In 1879 he was awarded the Bronze medal from the Exposant Fidele des Artistes Francais.

Many of Loir’s works, which include oils, watercolours, and lithographs, were acquired by the city of Paris and by French museums. During the Salon des Sciences at the Hotel de Ville, Loir exhibited “Les Preparatifs de la fete foraine.” The painting overwhelmed the museums. Loir had finally

Medium: Paper Height: Paper Width: Framed Height: Framed Width: Signed & Dated:

Watercolour & Gouache 7 inches 12 inches 21 inches 23 inches Lower right

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Luigi Loir (French, Goritz 1845 - 1916 Paris)

La Place du Delta, Paris

Luigi Loir was born December 22, 1845 in Goritz, Austria and he died February 9, 1916 in Paris. He began his first formal art education in 1853 at the Beaux-Art Academy of Parma.

received the recognition he was due. Their response would also influence the Municipal Council of Paris to purchase “Le Marche a la Ferraille”, the city of Paris would acquire “La Rue de la Pitie, vue du Val de Grace” and The Empress of Russia to purchase the watercolour entitled “The Celebration of the Throne”.

Upon finishing his studies in 1865, Loir had his debut in the Salon of Paris with "Paysage a Villiers-sur Seine" for which he received the highest acclaim. Loir then enrolled into studies under Jean Amable Amedee Pastelot (1810-1870) to become a mural painter. He became a very popular ceiling and mural painter. One of Loir's first commissions was to paint the murals and ceilings at the Chateaux du Diable in 1866.

In 1870, he was commissioned into the military to record the battles of Bouret. Loir concentrated exclusively on painting views of Paris. In these works, Loir caught and expressed the many faces of Paris, at all hours of the day. Though some thought him excessively methodical, he was undeniably endowed with exceptional powers of observation and craftsmanship. It was because of his work during this campaign of 1870, that Loir was elected to be the official painter of the Boulevards of Paris. This boosted his career and reputation. In 1879 he was awarded the Bronze medal from the Exposant Fidele des Artistes Francais.

Many of Loir’s works, which include oils, watercolours, and lithographs, were acquired by the city of Paris and by French museums. During the Salon des Sciences at the Hotel de Ville, Loir exhibited “Les Preparatifs de la fete foraine.” The painting overwhelmed the museums. Loir had finally

Medium: Canvas Height: Canvas Width: Framed Height: Framed Width: Signed:

Oil on canvas 19 3⁄4 inches 25 3⁄4 inches 26 inches 32 inches Lower right

Published:

Noe Willer, page 88

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Paul Cesar Helleu (French, Vannes 1859 - 1927 Paris)

A portrait of Jeanne Ballot

Paul Cesar Helleu was a painter and engraver whose work epitomises the charm and elegance of France at the turn of the century. His portraits of his wife, Alice, are considered to be amongst his most graceful and sensitive works. However, it was his commissioned portraits of society ladies such as this fine example of Jeanne Ballot, that brought him considerable fame and fortune.

Guerins for two more years.

In 1876 Helleu and Sargent visited the Second Impressionist Exhibition which was to have a profound effect on their artistic careers. Helleu was greatly impressed by this new group of artists and was accepted as one of them. In 1886 he was invited to exhibit in the eighth exhibition but was urged not to do so by his friend Monet.

Helleu was born in Vannes in 1859. As a young man he moved to Paris and supplemented his allowance by decorating plates for the ceramic artist Deck. During this period he became a close friend of John Singer Sargent whom he joined as a pupil of Jean Leon Gerome at the Ecole Nationale des Beaux Arts and who was to buy his first painting. At this time he met and fell very much in love with Alice Guerin who was only fourteen years old, Alice's parents insisted that they could not marry until she was sixteen and even then they had to live with the

Medium: Paper Height: Paper Width: Framed Height: Framed Width: Signed & Inscribed:

Drawing on paper 27 1â „2 inches 19 1â „2 inches 41 inches 34 inches Helleu a Mademoiselle Jane (sic) Ballot, lower left

Provenance:

Miss Jeanne Ballot and then by family decent

Note:

Miss Jeanne Ballot was at one time copy executive for Conde Nast publications in New York and former secretary to the editor of Vanity Fair

As Helleu's success as a society portraitist increased he was able to indulge his love of yachts and sailing which he had inherited from his father, a naval officer. He spent his summers at Deauville or Cowes mixing with both English and French society which only served to increase his popularity. His wife enjoyed entertaining on their boat L'Etoile and Helleu painted many canvasses of life on board and other harbour scenes.

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Eugene Galien Laloue (French, 1854 - Paris - 1941)

Au Marche

Eugene Galien-Laloue was born in Paris in December, 1854.

He was a pupil of Charles Laloue and was a member of the Salon des Artistes Francais from 1877. He painted the countryside around Normandy and Seine-et-Marne and he is known to have illustrated some military subjects in 1914.

However, Galien-Laloue is most highly regarded for his exquisite paintings of Paris in which he conveys the essence of the Belle Epoque. His most usual medium for these works was gouache, a mixture of opaque watercolour and glue, which he used to maximum effect.

Medium: Canvas Height: Canvas Width: Framed Height: Framed Width: Signed:

Oil on canvas, pair 11 inches 14 inches 17 inches 20 inches E. Galiany

Provenance:

Private collection, United Kingdom

The artist captures the atmosphere of the bustling and fashionable boulevards of the great city and his portrayal of the horse-drawn carriages, trolley cars and the first omnibuses are of historical as well as artistic interest.

Galien-Laloue was a forerunner in popularising the painting of street scenes and later artists such as Edouard Cortes and Antoine Blanchard were inspired and influenced by him.

He died on 18th April, 1941.

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Marcel Dyf (French, 1899 - Paris - 1985 - Cannes)

Sur La Manche

Marcel Dyf was born in Paris on the 7th October 1899. As a youth he was influenced by the Impressionist and PostImpressionist movements that he observed in Paris and Normandy, where he spent his holidays.

as an artist. He remained in Arles for thirteen years before returning to Paris in 1935. During World War II he joined the Resistance and was based in Correze.

After the war, Dyf held exhibitions of his work in some of the major cities in France. In 1950 he acquired a studio in Cannes, where he met his wife, Claudine in 1954. Claudine was 19 years old, 36 years younger than Dyf. They married in 1965 and she devoted her life to travelling with Dyf, continually looking for new scenes to paint.

He started a career in engineering but it was short lived and he was still in his early twenties when he decided to become an artist. He moved to Arles in Provence where he bought a studio and began zealously painting the inspirational landscapes that were new to him. Dyf was entirely self-taught

Medium: Canvas Height: Canvas Width: Framed Height: Framed Width: Signed:

Oil on canvas 15 inches 18 inches 22 inches 24 1â „4 inches Lower right

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Charles Garabed Atamian (Armenian, Constantinople 1872 - 1947 Paris)

Bord de Mer

Charles Garabed Atamian was an Armenian painter and illustrator of landscape and marine subjects. The majority of his works are oil paintings and he often depicted beach scenes, especially children playing in the sand, as in this fine example.

from 1913 - 42, at the Independent Gallery from 1938 - 45, and he was made an Associate of La Nationale in 1927.

Atamian's work has always been very popular and in high demand. He captures not only the luminosity of wet, sundrenched sand, but also the charm of children playing in the 1920s and 1930s.

Atamian was born in Constantinople, but predominantly worked and exhibited in Paris. He exhibited at La Nationale

Medium: Canvas Height: Canvas Width: Framed Height: Framed Width: Signed:

Oil on canvas 15 inches 24 3â „4 inches 22 1â „2 inches 29 inches Lower left

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Isaac Israels (Dutch, 1865 The Hague - 1934)

Pink Roses

changeable light of sun and sea, he painted many colourful seaside scenes.

The son of the cultivated and sophisticated painter Jozef Israels, Isaac Israels developed an interest in literature, travel and painting as a child. Between 1878 and 1880 he studied at the academy in The Hague. His special talent was obvious from an early age. In 1881, when he was 16, he painted a picture which was purchased even before it was finished by the artist and collector Hendrik Willem Mesdag.

In Amsterdam, Israels was a close friend of George Hendrik Breitner. The two artists tried to capture the fleeting moments of everyday life in the Dutch capital. To obtain that 'snapshot' feeling, they used abruptly truncated figures.

Between 1903 and 1923 Israëls spent most of his time in Paris and London. In 1923 he returned to his parent's home in The Hague, where his father's old studio became his new workplace. There, until his death, he produced his impressionist paintings with their bright and brilliant colours. (source:Rijksmuseum Amsterdam).

Apart from one or two extensive travels, from 1886 Israels lived in Amsterdam. In that year he registered at the Amsterdam Academy of Art to complete his schooling.

However, he only stayed for the one year: there was not much more they could teach him. Israels often spent the summer months with his father in Scheveningen. Fascinated by the

Medium: Panel Height: Panel Width: Framed Height: Framed Width: Signed:

Oil on panel 8 inches 6 inches 13 1⁄2 inches 11 1⁄4 inches Lower left

Provenance:

Private collection, the Netherlands

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Leon Augustin L'hermitte (French, 1844- 1925)

La Moisson, Plaine de Mezy

Of Léon L’hermitte, Vincent Van Gogh wrote: “He is the absolute master of the figure, he does what he likes with it—proceeding neither from the colour nor the local tone but rather from the light—as Rembrandt did—there is an astonishing mastery in everything he does, above all excelling in modelling, he perfectly satisfies all that honesty demands”.

and a Commander in 1911.

L’hermitte was born at a time of increasing change in rural France as industrialisation spread and a gulf grew between the more cosmopolitan north of the country and the south where change was less rapid. He documented these changes with unerring accuracy, but also with a lightness of touch and sensitivity which combined the Realist tradition of Jean Francois Millet with the use of colour and light of Impressionism.

In a career which spanned over forty years, L’hermitte was awarded the highest accolades that the French artistic establishment could bestow. His international reputation was equally high with works celebrated in Great Britain and North America. The French nation rewarded him with the Legion d’honneur in 1884, an Officer five years later

Medium: Paper Height: Paper Width: Framed Height: Framed Width: Signed:

Pastel 16 1⁄2 inches 19 inches 21 1⁄2 inches 24 inches Lower left

Provenance:

Boussod, Valadon & Cie, 21521; Wallis, London, French Gallery, March 1909.

Bought by Wheatley; Monteal, Wheatley, 12th Dec. 1912; Montreal, Watson Art Gallery Private collection, Canada

Exhibited: London, French Gallery Selected pictures by J Israels, L. L’hermitte, M. Maris, H. Harpignes 1909, no. 47.

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Antoine Bouvard (French, St Jean-de-Bournay 1870 - 1856 Paris)

Santa Maria de la Salute, Venice

Doges Palace from the steps of Chiesa del Redentore on the Guidecca . This spot offers a particularly advantageous view enabling Bouvard to capture three of Venice’s most important sites.

Antoine Bouvard was born at St. Jean-de-Bournay in L'Isere in 1870. He trained as an architect and studied art and architecture under Constant-Dufeus, at the Ecole des BeauxArts in Paris. He became the Director of Architectural Services for the Seine, and was responsible for the construction of the Bourse du Travail and the Boulevard Morland in Paris.

His paintings show the influence of Felix Ziem, reflecting his love of Venice in the delicacy and fluidity of his use of colour, capturing in his paintings, the warmth and beauty that he found there.

This fine example depicts a view across the Lagoon towards Santa Maria de la Salute and beyond to the Campanile and the

Medium: Canvas Height: Canvas Width: Framed Height: Framed Width: Signed:

Oil on canvas 13 inches 18 inches 19 1⁄2 inches 24 1⁄2 inches Lower right

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Pierre Carrier-Belleuse (French, 1851 - Paris - 1932)

Ballet Dancer

Until the 1870s, Montmartre, the section of Paris best remembered as the home of the Impressionists, Cubists, and other members of the avant-garde, was a sleepy little village spotted with windmills. However, as the city expanded in the late-nineteenth century, Montmartre was incorporated into its limits and soon became the hub of Parisian nightlife. In 1881, the famed Moulin Rouge opened its doors, delighting its customers with operettas, can-can girls, and dancers. The success of the Moulin Rouge inspired a number of music halls and cafés to spring up, including the Caran d’Ache, the Mirliton, and the infamous Folies-Bergère, and before long the pleasures available there attracted Parisians from all walks of life: workers, artists, the middle class, the demi-mondaine, and aristocrats mingled together in Montmartre’s cabarets and dance halls.

residence there and immortalize its visitors and residents in pictures and words. Among these was Pierre CarrierBelleuse, the son of the famed artist Albert CarrierBelleuse.

The versatile painter Pierre Carrier-Belleuse grew successful at painting and drawing under the hand of his famous father. Pierre also studied under Cabanel and Galland at the Ecole des Beaux-Arts and debuted at the Paris Salon in 1875. He mastered pastels (a difficult medium only recently revived by the Impressionist school) rendering genre works, landscapes, historical subjects and the ballet. Other Parisian venues in which he exhibited included the Society of French Artists (1888) and the National Society of Fine Arts (1893-1911). He received an honourable mention for his work in 1887 and a silver medal at the Exposition Universelle in 1889.

Eventually, the neighbourhood’s reputation for debauchery and delight inspired painters and writers alike to take up

Medium: Canvas Height: Canvas Width: Framed Height: Framed Width: Signed:

Pastel 38 inches 16 inches 46 inches 24 inches Lower right

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Index Atamian, Charles

58

Bennett, Frank Moss

20

Blaas, Eugene Von

6

Bouvard, Antoine

64

Carrier Belleuse, Pierre

66

Campbell Taylor, Leonard

38

Dawson, Montague

40

Dyf, Marcel

56

Flint, William Russell

30

Frost, Terry

42

Gruyter, Willem

14

Hayward, Alfred

34

Helleu, Paul Cesar

52

Hunt, Edgar

16

Israels, Isaac

60

King, Cecil

32

Knight, Laura

28

Laloue, Eugene Galien

46

Laloue, Eugene Galien

54

Landini, Andrea

12

Lavery, John

24

Lesrel, Adolphe Alexandre

8

L’hermitte, Leon Augustin

62

Loir, Luigi

48

Loir, Luigi

50

Mellon, Campbell Archibald

22

Munnings, Alfred

26

Pether, Henry

10

Spencelayh, Charles

18

Shepherd, David

36

Toussaint, Fernand

44

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