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A Note from the Director Trinity House is incredibly proud to present this selection of works to commemorate our ten years as an international art dealership. We are very grateful for all the support that we have received from our valued clients over the years and we hope that we can continue to build on our relationships, offering our expertise and advice to develop personal collections for years to come. Over these last ten years we have built up a strong reputation for the quality of the paintings, drawings and sculptures that we exhibit and sell. This year, to celebrate a decade of success at Trinity House, we curated a special 10th Anniversary exhibition; works from which are presented in this catalogue. From George Stubbs’s Portrait of a Gentleman Upon a Grey Hunterr to Claude Monet’s Près Dieppe Reflets sur la Mer, this exhibition reflected the incredible range of artworks that we specialise in and sell. We look forward to what the next ten years will bring!

Steven Beale, Founder and Director

About Trinity House Established by Steven Beale in 2006, Trinity House Paintings is an international art dealership with galleries in New York, London and the Cotswolds. Our aim is to make the art market approachable and use our experience to guide our clients through every aspect of owning art; from sourcing and buying, to maintaining and selling an art collection, we are here to offer our advice. We specialise in and offer exceptional paintings, drawings and sculpture from a variety of periods, including works by acclaimed artists such as George Stubbs, Claude Monet, and Pablo Picasso. Having developed a strong reputation for the quality of the artworks we exhibit, we have have become a world-renowned international art dealership. This success has been reflected in our ever-increasing presence at prominent global art fairs including TEFAF Maastricht, London’s Masterpiece, BADA, LAPADA, New York’s Spring Masters, Cologne Fine Art, The Palm Beach Show and Fine Art Asia.

18TH AND 19TH CENTURY

GEORGE STUBBS

(1724 - 1806)

A PORTRAIT OF A GENTLEMAN UPON A GREY HUNTER (1781) OIL ON PANEL 24 x 28 in / 61 x 71.3 cm Signed ‘Geo.Stubbs pinxit / 1781’ (lower right) PROVENANCE: Robert Nesham (his administrators) Ackermann, 1929 Mrs Robert Emmer, Paris Mrs St Clair Balfour, Hamilton, Ontario John Alistair Campbell, Alberta, Canada Mr. Paul Mellon, KBE, 1964 Private Collection, United Kingdom, 2004-2016 Trinity House Paintings, 2016 EXHIBITED: Royal Academy, London, ‘Painting in England 1700-1850 from the collection of Mr & Mrs Paul Mellon’, 12 December 1964 - 28 February 1965, no. 264 Yale University Art Gallery, New Haven, ‘Painting in England 1700 - 1850 from the collection of Mr & Mrs Paul Mellon’, 15 April - 20 June 1965, no. 176 Tate Gallery, London, ‘George Stubbs 1724 - 1806’, 13 February - 7 April 1985, no. 12. LITERATURE Judy Egerton, Catalogue Raisonné (2007), pp.446-447, no. 229 Basil Taylor, Stubbs (1971), p.188, 211 Judy Egerton, Geeorge Stubbs 1724-1806, ex. cat., Tate Gallery Publications (1984), p.19

As a celebrated painter, accomplished dissector and man of science, George Stubbs was always remarkably true to nature in his art, concerning himself with every aspect of his subject’s anatomy; ultimately, succeeding where contemporaries, such as Joshua Reynolds and Thomas Gainsborough, had failed. Yet, far from being a facsimilist, Stubbs injected his artworks with vitality, spirit and poetic lyricism. Portrait of a Gentleman upon a Grey Hunterr is perhaps one of the finest and most personal paintings in Stubbs’s entire oeuvre, demonstrating his accomplishments as a painter of horses, landscapes and people. Continued ...

GEORG R E STUBBS

Depicted in a moment of repose, a gentlemen, who scholars identify as Stubbs’s son, sits upon a beautiful grey hunter in an imagined variant of Creswell Crags, Stubbs’s favourite topographical location. The craggy bluff forms a strong dark backdrop for the pale grey horse in the foreground, pushing the subjects to prominence – a device Stubbs had experimented with before and managed to perfect in the present painting. In his later works, such as this panel, Stubbs transitioned from painting specific environments to using a reliable picturesque formula, comprising of distant hills, water in the middle distance and a rocky outcrop in the foreground, to please contemporary taste.

“Thy pencil, Stubbs, no rival need to fear; Not mimic art, but life itself is here.” HORACE WALPOLE, HISTORIAN, 1763 Stubbs’s horses are rendered with arresting precision, accurate musculature and consequently, are full of life and movement. Although the horses may sometimes seem idle, small gestural details create the sense of imminent movement. For example, in Portrait of a Gentleman upon a Grey Hunter the horse’s ears are pricked, nasal passages dilated and veins pumped; its muscles are clearly depicted as it pauses for breath. Portrait of a Gentleman upon a Grey Hunter is comparable to a number of paintings in Stubbs’s oeuvre in subject-matter and composition and has a particular resemblance to Stubbs’s self-portrait on enamel of 1772. According to some scholars, the similarity in the pose of the gentleman, the horse and the background suggests that the rider in Portrait of a Gentleman upon a Grey Hunter is a relative of Stubbs’s or at least a close friend; the open demeanour and informal pose indicates that the sitter ‘belongs to a circle in which Stubbs felt at home’. In 1972, Basil Taylor proposed that ‘the man’s features show such a strong resemblance to the artist’s, while being considerably younger, that one is bound to consider the possibility that the picture may represent his natural son, George Townly Stubbs’. One way in which Stubbs added variety to his paintings was by placing them in different landscapes. Creswell Crags, on the Nottinghamshire-Derbyshire border, was a particular favourite of Stubbs’s and features in a number of his works. The crags were not particularly well known during Stubbs’s time, however, The Beauties of England and Wales (1801-1815), a guide to Britain’s topography, noted that Creswell Crags are ‘curious and worthy of notice, 8

consisting of rocks torn by some convulsion of nature into a thousand romantic shapes’, adding that they ‘are not often visited’, since they lie ‘out of the usual track of good roads’. Although some believe that Portrait of a Gentleman upon a Grey Hunter is located at Creswell Crags, it must be noted that it is more likely to be an imagined, generalised landscape than a precisely identifiable topographical area. Perhaps, Stubbs heeded Reynolds’s advice delivered as part of his third discourse at the Royal Academy in 1770 when he urged that ‘nature is not to be too closely copied. A mere copier of nature can never produce anything great, can never raise and enlarge the conceptions. The whole beauty of the art consists, in my opinion, of being able to get above all singular forms, local customs, particularities and details of every kind’. Therefore, the background in Portrait of a Gentleman upon a Grey Hunter is likely to have been composed of elements from Creswell Crags that had been reformulated into a dramatic yet harmonious composition, exemplary of Stubbs’s imagination and artistic ability. Although the painting’s merit lies in its masterful execution and subject-matter, its provenance is equally significant. The painting was once owned by Paul Mellon who, according to the Yale Center for British Art, was ‘one of the greatest art collectors and philanthropists of the twentieth century’. With an enviably discerning eye, Mellon was particularly fond of works by Stubbs, collecting his paintings and generously offering to present them at exhibitions. Mellon’s philanthropy together with a reassessment of Stubbs’s work contributed in elevating the artist’s status to that of Gainsborough and Reynolds as one of the greatest and most original artists of the eighteenth century. It is, therefore, unsurprising that at auction, works by Stubbs command high prices and often feature as highlights of noteworthy sales. Indeed, it is very rare for a painting by Stubbs of such importance, execution and provenance to become available on the open market.

JOHN ATKINSON GRIMSHAW LATE AUTUMN

ON THE

(1836 - 1893)

ESK (C.1882)

OIL ON CANVAS 31 Á x 46 Á in / 79.4 x 118.1 cm Signed lower right PROVENANCE: Private Collection, United Kingdom, 2001-2016 Trinity House Paintings, 2016

Although unusual in its departure from his established subjects, Early Autumn on the Esk is a fine example of John Atkinson Grimshaw’s technical virtuosity and ability to record the effects of light. In contrast to his conventionally dark and eerie environments, we are presented with an impressive landscape devoid of industry on a bright cloudless day. Yet, the painting is unmistakably a great work by Grimshaw. Adopting a Realist approach, he captured the subject with vivid detail, revealing the influence of fellow Loiner, John William Ichbold and demonstrating an interest in PreRaphaelite sensibilities. Grimshaw is primarily known among collectors for his ethereal, foggy depictions of moonlit harbours. He was fascinated with capturing the transient dispersion of light and recording the distinctions in colour, quality and sharpness between light’s natural and artificial sources. Grimshaw is now highly collectable, but he was also highly regarded by his contemporaries who perceived him as a ground breaking artist. Famously, James McNeil Whistler is reputed to have said “I thought I had invented the Nocturne until I saw Grimmy’s moonlights”. The composition shows a meandering road along the Esk Valley in bright daylight with the warm yellow glow of the path complementing the blue sky. As with many of his other works of around 1880, Grimshaw incorporated a figure walking down a winding road and ensured that his trademark light, atmospheric mist was implemented. A hint of the river, reflecting the white glow of the sun, 10

appears in the valley below, while the trees communicate Grimshaw’s interest in light, shade and form. The figure is dwarfed by the landscape, yet the maid plays an important role in providing a narrative for the painting. The viewer is allowed to imagine the backstory; an aspect of painting that particularly interested the Victorians. Although natural landscapes such as Early Autumn on the Esk are unusual within Grimshaw’s oeuvre, we can be certain that he enjoyed venturing out of the industrial towns that became his most reproduced subject. This enjoyment of the natural world and an interest in the study of light is demonstrated in the present painting by the detailed rendering of the environment. Indeed, in the 1870s, when Grimshaw became an artist of some repute, he bought a second home in Scarborough, just south of the Esk. The environments around this property were to become some of his most beloved subjects.

JOHN ATKINSON GRIMSHAW A

JOHN ATKINSON GRIMSHAW ON

THE

(1836 - 1893)

CLYDE (1883)

OIL ON CANVAS 20 x 30 in / 50.8 x 76.2 cm Signed and dated 1883 lower left, inscribed verso PROVENANCE: Private Collection, United Kingdom Private Collection, United Kingdom, 2006 – 2016 Trinity House Paintings, 2016

Although John Atkinson Grimshaw is now recognised as one of the most collectable artists of the Victorian era, very few documents and records about the painter’s life survive. Thus, he remains as enigmatic and mysterious as his misty canvases. Essentially a self-taught artist, Grimshaw displayed extraordinary talent and in 1861, at the age of twenty-four, decided to forgo his father’s wishes and become a painter. The present painting, On the Clyde, is in many ways emblematic of Grimshaw’s greater oeuvre with its choice of subject and its delicate detailing. Grimshaw has become synonymous with the depiction of atmospheric Victorian docks and painted a great deal of them over his lifetime, perhaps to the detriment of his reputation. Nonetheless, Grimshaw quickly found favour with the industrialists of the nineteenth century who appreciated his romantic, almost lyrical scenes of trade and commerce. Rather than representing an accurate portrayal of the Glaswegian docks on the Clyde, the present painting is an idealised version eschewing the dirt and the repugnant fog that often covered the harbour. This was, after all, the period of the infamous ‘peasouper’ fog, romantically portrayed in pictures by Monet and Whistler, and yet, Grimshaw vehemently avoided ever depicting the phenomenon. Instead of obscuring the viewer’s vision, Grimshaw wished to enlighten and record the everyday reality of his vibrant environment; the source of the Empire’s prosperity. Grimshaw’s attention to detail, to the rigging of the boats, the gentle diffusion and reflection of light, appeals to both Victorian 14

and contemporary sensibilities. Far from illustrative, his works are therefore transformative, depicting an idealised Victorian world for posterity. On the Clydee is a particularly fine example of Grimshaw’s popular harbour scenes that exhibit an unusual stillness and serenity. Rather than blocking in monotone swathes of colour, Grimshaw paints delicate transitions of red, blue and green and skilfully hints at the moon hidden behind the buildings on the right. The artificial light emanating from the shop fronts along the dock diffuse into the wet, rainy street, exemplifying Grimshaw’s vivacious ability to capture texture, light and tone.

JOHN ATKINSON GRIMSHAW A

THOMAS GAINSBOROUGH LANDSCAPE

WITH

FIGURES

COWS (C.1770)

BLACK CHALK AND STUMP, AND WHITE CHALK ON GREY PAPER 10 x 12 Á in / 25.4 x 31.75 cm

EXHIBITED Colnaghi’s London, 1906

PROVENANCE: Ernest C. Innes; Christie’s London, 13th December 1935, lot 29 W. Hetherington Private Collection, United Kingdom Private Collection, United Kingdom

LITERATURE J. Hayes, The Drawings of Thomas Gainsborough (A. Zwemmer Ltd., London, 1970), p. 207, no. 425 M. Woodall, Gainsborough’s Landscape Drawings: Catalogue Raisonné (Faber and Faber Ltd., London, 1939), p. 50, no. 61

Thomas Gainsborough is one of the most appealing and respected British artists of the eighteenth century. As a shrewd businessman, Gainsborough was an intelligent commercial artist who focused on subjects that were particularly popular and lucrative. Thus, in the wake of burgeoning industrialisation, Gainsborough became one of the most sought after artists, painting portraits to support the status and prestige of the rising middle and upper classes. Although Gainsborough is primarily admired for these perceptive portraits, he also pioneered a form of landscape that preceded the rise of Romanticism; the movement later developed by John Constable. These landscapes represent a purer aesthetic, untainted by monetary pursuit and are highly demonstrable of Gainsborough’s talents as a draughtsman. Drawings such as Landscape with Figures and Cows, were admired by his contemporaries and continue to play an integral role in our academic understanding of the artist’s work and methods.

bridge, while another pair sit in a boat in front of it. In the background, a castle juts out from the foliage reenforcing the idyllic, romanticised landscape. Although Gainsborough struggled to find a strong, profitable market for landscape painting, he became one of the most acclaimed landscape artists of his generation. In 1862, Horace Walpole wrote in his Anecdotes of Painting, that ‘if we have the seeds of a Claude or Gaspar amongst us, he must come forth’. Fifteen years later, in 1877, when Gainsborough exhibited The Watering Place, Walpole called it ‘by far the finest landscape ever painted in England, & equal to the great masters’.

Gainsborough considered his landscape drawings to be the most intimate and personal of his varied artistic output. For this reason he never sold his drawings and only ever gifted them to friends as tokens of their close relationship. These drawings were not created in laborious, concentrated sessions, but rather were completed during relaxing evenings with his family. It is likely therefore, that the scene of cattle crossing a bridge was a figment of Gainsborough’s imagination, rather than a scrupulous study from nature. The scene depicts two figures driving cattle across a small 16

AND

Interestingly, the central portion of the present work has been executed on a separate sheet, indicating that Gainsborough had revised his drawing or expanded it. This drawing was more than a quick, throwaway sketch; Gainsborough clearly valued it enough to spend time thinking and altering the composition.

THOMAS GAINSBOROUGH

MARTÍN RICO

ORTEGA

(1833-1908)

VEDUTA VENEZIANA, IL BACIANO SAN MARCO SALUTE OIL ON CANVAS 28 x 18 in / 71.1 x 45.7 cm Signed ‘Rico’ (right) PROVENANCE: Private Collection, United States of America Private Collection, United States of America, 2000 - 2016

Depicted from the northern bank of the Grand Canal, just around the corner from the famous Piazza San Marco, Veduta Veneziana, Il Baciano San Marco e La Salute by Martín Rico y Ortega displays the everyday bustle of Venetian life, to which the Grand Canal is integral. Gondoliers balance precariously as they paddle upper-class women in fine contemporary dress with elegant parasols and fans, to and from the luxurious palazzos that line the riverbanks, while in the background men are seen working in larger sailboats. Ortega knew Venice well; he first visited the city in 1872 and spent three summers there from 1879 onwards. Ortega’s stunning depictions of Venice earned him the title of the father of modern Spanish landscape painting. He was one of the first Spanish painters to start working outdoors, from life; indeed, it is what he is most famed for. His unique style, which has features in common with the later Impressionist movement, conspicuously emphasises this method of production. For instance, he realistically captured the way reflections become disjointed on rippling water and he paid great attention to the architectural details of his surroundings. He even manipulated his signature to draw attention to the fact that his work was created en plein air. Almost like graffiti which simply happened to be present in the location Ortega decided to represent, the artist’s signature, ‘Rico’, is subtly written on the steps on the right. In a setting as iconic as Venice, with such unique architecture and monuments, the best way for Ortega to prove 18

that this work was created from life would be to depict, in detail, recognisable architecture from an identifiable viewpoint. He certainly employs the first of these two methods. It is easy to identify the magnificent Baroque architecture of Chiesa di Santa Maria del Rosario with San Gregorio on the right and what is now Punta della Dogana on the left. The viewpoint is trickier to ascertain. As the architecture of Venice has remained basically unchanged since Ortega’s time, it should be very simple to locate the point from which he worked, however, matching the building on the right with the angle at which the Punta della Dogana and Santa Maria del Rosario are portrayed is almost impossible. This suggests that, despite his fame for painting en plein air, Ortega made this painting in his studio, though undoubtedly from drawings made from life. Ortega’s paintings are in several major collections worldwide, including the Metropolitan Museum of Art in New York and Museo del Prado, Madrid.

MARTÍN RICO Y ORTEGA

Impressionist and Modern

MARY FEDDEN RA STILL LIFE

WITH

(1915-2012)

PEAR, MELON

AND

GRAPES (2006)

OIL ON CANVAS 19 6/8 x 19 6/8 in / 50.2 x 50.2 cm Signed ‘Fedden ’06’ (lower left) PROVENANCE: Private Collection, United Kingdom, 2006 - 2008 Private Collection, London, 2008 - present

SSttill Li L fe with t Pe P ar,r Me M lo l n and Gr Grapes is a painting by British artist Mary Fe F dden. Born in 1915, Fe F dden had a life f long passion fo f r art and left f school at the age of sixteen to study d at the Slade School of Art under the theatre designer Vladimir Po P lunin. Fo F llowing her tutor’s lead, F dden went on to work Fe r as a set painter at Sadler’s We W lls and the Arts Theatre in Great Newport Street in London. This painting reveals Fe F dden’s career-long preoccupation with still life f painting; a genre that she described as her ‘real love’. While the subj b ect may a be a traditional one, with a well established place in art history, y Fe F dden rej e ected the classical origins of the genre with its symbolic signifi f cance and realistic representations; instead, Fe F dden f llowed the example of earl fo r ier Modernists such as Pablo Picasso and Paul Cézanne who strove to break its fo f rmal stereoty t pes, reducing the subj b ects to their basic fo f rms. F dden alway Fe a s denied the symbolic signifi f cance of the obj b ects in her still life f paintings, instead seeing them simply as items that she enj n oyed painting. g Fedden’s interest in the obj F b ects she painted is evident in Still Li St L fe with t Pe P ar,r Me M lo l n and Gr Grapes where the items on the table are the fo f cus of the piece; their dark r green and browns, and bright yellow and oranges contrast strongly against the rich red of the table and the background. As earl r ier noted, Fe F dden painted in the Modernist sty t le which rej e ected realistic representation in fa favour fo f ra more sty t lised fo f rm. The table and background hav a e been f attened out into two separate planes; any fl n suggestion of one resting on the other has been removed, together with 22

any n indication of texture or depth. The same applies to F dden’s depiction of the fr Fe f uit: the melons hav a e become two-dimensional discs, much like the bowl in which the grapes, pear and lemons lie, even though in reality t natural f uit is mark fr r edly diff fferent to a man-made dish. In this t pe of art, the viewer is given enough of an indication of ty reality t to fi f gure out the composition and its contents fo f r themselves. Fedden’s work F r is owned by a number of prestigious galleries and companies including Ta T te Modern and P&O. But perhaps her fi f nest accomplishments include her career at the Ro R yal College of Art, where she taught the young Dav a id Hockney and Allen Jones, her O.B.E and, f nally, fi y her election to the Ro R yal Academy my.

MARY FEDDEN RA

CHARLES ANGRAND DANS

(1854 - 1926)

JARDIN (1884)

OIL ON CANVAS 28.7 x 36 in / 73 x 91.5 cm Signed ‘Ch. Angrand - 1884’ (lower left) PROVENANCE Sotheby’s London, 21st April 1971, (lot 27) Private Collection, United Kingdom, 1971-2016 EXHIBITED ‘Société des Artistes Indépendants’ Paris, December, 1884 LITERATURE Bogomila Welsh-Ovcharov, ‘The Early Works of Charles Angrand and his contact with Vincent Van Gogh’, Editions Victorine, Utrecht-Den Haag, 1971, illustrated p.24, (pl.13.)

“An intellectual vision of harmony” CHARLES ANGRAND

Charles Angrand boasts a significant contribution to the history of art by having a profound influence on Neo-Impressionism and one of the most prolific and famous artists of all time: Vincent van Gogh. In his own right, Angrand was a talented and wellrespected artist who became one of the founding members of the Société des Artistes Indépendants, together with the likes of Georges Seurat, Paul Signac, Henri-Edmond Cross and Albert Dubois-Pillet. The Society was formed in 1884 to provide artists with an opportunity to present works independently, bypassing the conservative judgement of a selective jury at the Paris Salon. The motivation behind the Society’s conception was recorded in its by-laws and continues to be an essential part of the institution’s mantra in the twenty-first century; thus, Angrand was partly responsible for the liberation of the arts in Western Europe. Continued ...

CHARLES ANGRAND

The present work, Dans le Jardin, is considered to be from Angrand’s second period, typically characterised by Realist subject-matter and loose Impressionist technique. However, this is an oversimplified, generic description that ignores the dynamic, transitional elements that differentiate the painting from typical Impressionist canvases. In Dans le Jardin, Angrand is no longer focused on capturing impressions of atmospheric variation, instead he concentrates on the handling of pigment and on achieving a balanced composition; nuances that establish the painting as an early precursor to the planar, flattened vision of the Neo-Impressionists. Within Angrand’s own oeuvre, this painting was particularly important because, according to Pierre Angrand, the artist’s nephew, it features his mother and native Normandy; a sentimental link that adds value to the painting. Between 1883 and 1885 Angrand visited Normandy to paint rural kitchen gardens. Dans le Jardin is one of the largest and most ambitious paintings to have been produced during this period and clearly demonstrates his interest in assimilating modern techniques into the peasant painting genre that other artists, such as Jules Bastien-Lepage and Camille Pissarro, were also experimenting with; indeed, Angrand’s works of this period seem to emulate the broken brushwork of Bastien-Lepage and exaggerate it, conveying form with directional strokes of paint. Paying homage to the French artist Jean François Millet from whom this subject ultimately derived, Angrand succeeded in capturing a radiant and perceptive view of nature and life in rural France. By the mid-1880s Angrand had met both Signac and Seurat and became involved in the development of Neo-Impressionist colour theory and the reaction against the so-called Impressionist ‘formlessness’. Although the idea of a ‘formless’ style is deeply contested, the contemporary argument related to the lack of structure and thus, unity in some Impressionist paintings. Impressionism was, in many ways, a reaction to the balance and perfection present in landscape paintings by artists like Nicolas Poussin (1594-1665). Poussin’s landscapes were serene and full of grandeur, romanticised and carefully arranged; he was not compelled to paint what he saw and instead elected to follow reliable formulas to please contemporary taste. The Impressionists on the other hand, felt that landscape painters should seek objectivity by surrendering themselves to their impressions, creating accurate portrayals of nature. Consequently, little attention was given to harmonious design and composition, enforcing a limiting set of virtues that eliminated the necessity for significant purport. By the 1880s some artists decided that a middle-ground should be sought, one that combines the careful compositional concern of the Old Masters with the Impressionist interest in natural beauty, light and colour. By carefully arranging and balancing the composition, as seen in Dans le Jardin, Angrand became one of the earliest proponents of this theory and was one of the first to attempt to render his paintings with recognisably Impressionistic strokes, while removing the ‘messiness’ inherent to works that objectively recorded the landscape.

SIR ALFRED MUNNINGS RA AFTER THE RACE, NEWBURY (C. 1947) OIL ON PANEL 16 x 20 in / 40.6 x 50.8 cm Signed ‘A. J. Munnings’ (lower left) PROVENANCE Private Collection, United Kingdom Private Collection, United Kingdom, Titled Gentleman Private Collection, United Kingdom, 2005 Private Collection, United Kingdom, 2015

Sir Alfred Munnings is widely considered to be the twentieth century’s greatest painter of equine subjects; his paintings of prerace rituals in saddling paddocks, as well as his spirited depictions of post-race exhaustion and jubilation, have been particularly popular with collectors past and present. After the Race, Newbury is a beautiful example of Munnings’s fluency and ability to capture fleeting moments with sensitivity and fervour and was most likely painted when he was the President of the Royal Academy. The composition depicts a horse, visibly exhausted with its head lowered, breathing mist into the cold, crisp air. The jockey is relaxed, his hold on the reigns loosened; details that Munnings, an observant artist and knowledgeable horseman, carefully considered in his sketches. Continued ...

SIR ALFRED MUNNINGS RA

After the Race, Newbury is distinctly serene in comparison to Munnings’s depictions of the uncontrollable excitement before a race. Munnings distills the elements of the composition in order to focus on the horse and rider, themselves lost in a moment of tranquility, blurring out everything in the periphery. Although Munnings was a zealous objector to the proliferation of modern art, his work is remarkably bold, loose and colourful, full of spirit and feeling; qualities characteristic of a highly recognisable style. The present painting is also a particularly fine example of Munnings’s methodical approach to painting. Munnings first carefully observed the races, paying special attention to the idiosyncrasies of each horse and jockey, while creating highly accomplished emotive sketches in situ. The purpose of these sketches was not to construct a likeness or identifiable representation of a particular horse or rider, but rather, to capture poses, reactions and impressions. Therefore, the colours worn by the jockey in this painting are not specific to a particular owner or stable and were carefully chosen by Munnings to complement the light, colour and mood of the overall composition. Sketches were worked up in a studio, where Munnings often used his own horses as models to ensure the accuracy of his anatomy. Although Munnings only ever mentioned Newbury in a social context in his autobiography, further research led to the discovery of a previously unpublished drawing from one of his sketchbooks that was annotated ‘Newbury’ and bears a striking resemblance to the painting in almost every detail. Thus, After the Race, Newbury was created following careful consideration of the subject and environment and although it is unresolved, as suggested by the unfinished construction in the upper left quadrant, the painting is a fine example of Munnings’s originality and proficiency as an equine painter. Curiously, by only hinting at the architectural forms, Munnings successfully places his painting within the sporting subject, tradition and environment, while ensuring the integrity of the composition by not overwhelming the available space.

PAUL-CÉSAR HELLEU MADAME HELLEU

(1859 - 1927)

DANS L’ATELIER DE SON MARI

OIL ON CANVAS 30 6/8 x 22 6/8 in / 78.1 x 57.8 cm Signed ‘Helleu’ (lower left) PROVENANCE: Private Collection, Anonymous possibly Helleu family collection. Private Collection, United Kingdom, 1958 - 1988 Anonymous sale: Christie’s, London, 24 June 1988, Lot 85 Private Collection of an English Gentleman, United States, 1988 Trinity House Paintings, 2016

(1900)

LITERATURE Catalogue d’exposition, Paul Helleu, Musée de Dieppe, Dieppe, 1962, p.2, no.17. Frédérique de Watrigant (sous la direction de), Paul-César Helleu, Paris, éditions Somogy, 2014, p.256. To be included in the forthcoming catalogue raisonné being prepared by Les amis des Paul-César Helleu Held in the archives of Les amis des Paul-César Helleu, Reference number APCH : HU-1339

EXHIBITIONS Paris, Galerie Charpentier, Paul César Helleu, 1931, no. 16. Dieppe, Musée de Dieppe, Paul Helleu, 1962, no. 17

“He was the most talented of all. Manet, Monet, Renoir were all convinced of this, just like we were.” JACQUES-ÉMILE BLANCHE, ARTIST AND WRITER Paul-César Helleu was recognised as one of the most talented artists of his generation, a master of drypoint portraiture and Impressionist painting. His celebrated contemporaries and friends included Sargent, Monet, Degas, Whistler and Boldini; a revered group of artists Helleu equalled and in some respects, surpassed. Although Helleu quickly developed a strong circle of friends within the artistic community, he also networked with powerful patrons. One of Helleu’s greatest admirers and clients was Comte Robert de Montesquiou, a descendent of one of the greatest French families with famous members including d’Artagnan, commander of King Louis XIV’s musketeers. Helleu, better than any other artist, epitomised the spirit and elegance of fin-de-siècle Paris and was able to imbue his sitters with the gracefulness expected of privileged, fashionable women. Although he captured the visage of many ladies, his favourite model was his wife, Alice Helleu. Drawings and paintings, such as the present work, 32

that feature Madame Helleu are widely considered to be among the most intimate and charming of his entire oeuvre. Madame Helleu dans l’atelier de son mari is recognisably Impressionistic with its bold brushwork and intense use of light and colour, but the overall palette is noticeably cooler, perhaps a result of Helleu’s use of a grey ground as seen in his other paintings. Helleu carefully employs the priming to give his painting more depth and to ensure that the colour and tone remain harmonious. Furthermore, by using pastel colours Helleu prevents the eye from being distracted and allows the viewer to gaze at the focal point of the composition. The piece itself depicts Madame Helleu in a beautiful white dress seated at her bureau busying herself with writing; a perfect example of Helleu’s charming, spontaneous compositions. It was noted by contemporaries that Madame Helleu was always impeccably dressed and that she was incapable ‘of making a gesture without grace and elegance, and ten times a day he [Helleu] attempted to capture her movements in a quick drypoint etching’. Although the painting seems to portray a moment of stillness within the quiet intimacy of a household, the painterly strokes suggest imminent movement, perhaps reflecting the spontaneity of the painting.

PAUL-CÃ&#x2030;SAR HELLEU

DETAIL FROM MADAME M HELL LEU DANS N L’A ’ TEL ELIER DE SON MARI M

GIOVANNI BOLDINI, LEDA AND THEE SWAN

The strong vertical composition is complemented by the upright writing desk, still in the Helleu family collection, and places Madame Helleu at the centre of the painting surrounded by carefully selected decor, furniture and paintings. ‘The simple, elegant objects that filled his atelier were marvels he’d yearned after for a long time’ said Proust. The furnishing of Helleu’s home was a manifestation of his fine taste, elegance and style that pervades through into his artworks, particularly his paintings. Montesquiou even went so far as to compare the interiors of Helleu’s and Sargent’s paintings saying: ‘beseech the skies when he places a Sargent before you […] featuring those fake Louis XV armchairs and settees […] but then, look at the furnishings indicated in a work by Boldini or Helleu. They are bibelots, they are jewels […] These two artists almost exaggerate, in that they subvert the collector’s attention from the model, redirecting it to the very seat she poses on’. The decor surrounding Madame Helleu is, therefore, every bit as elegant and graceful as she is; Helleu was proud to show off his porcelain koi hanging in the top left corner, his three beautifully upholstered eighteenth-century chairs and his collection of paintings including Boldini’s Leda and the Swan placed prominently above the escritoire in a circular frame. Loose brushstrokes of vivid colour and intense value hint at the subtle reflections and at the varied materials and textures of his beloved furnishings.

Judging by the number of paintings and drawings depicting his wife at the bureau, it is likely that Helleu felt that compositionally, these were amongst his best works. It must be said however, that the present painting is perhaps his most accomplished. It is harmonious, yet charms with its highly Impressionistic, loose style. After cleaning, the painting has become even more vibrant, colourful and detailed. It is unsurprising that Helleu’s oil paintings won warm praise from his friends such as Sargent, Blanche and Monet; Helleu’s paintings were some of the most accomplished of his era.

SIR GEORGE CLAUSEN RA, RWS, RI THE RICKYARD,

(1852 - 1944)

SUNNY DAY (C.1908)

OIL ON CANVAS 24 x 20 in / 61 x 50.8 cm Signed ‘G. Clausen’ (lower right) PROVENANCE: Private Collection United Kingdom The Fine Art Society, London, c. 1968 Private Collection, United Kingdom Private Collection, United Kingdom, 2012 - 2016

George Clausen received many accolades during his extraordinary life. These accomplishments included a knighthood in 1927, the honour of serving as official war artist between 1914 and 1918, as well as becoming Professor of Painting at the Royal Academy in 1904, following his inclusion as an Associate member in 1895. Clausen’s career began in earnest; the son of a Danish sculptor, Clausen was encouraged to pursue an artistic career and was apprenticed to the office of Messrs Trollope, a firm of decorators based in London, at the age of fourteen. In 1867, having been awarded a scholarship, Clausen also began attending evening classes at the National Art Training Schools, which later became the Royal College of Art in South Kensington. After a brief period of study on the continent where he first discovered and explored the themes of the peasant painting genre that artists such as Jules Bastien-Lepage were experimenting with, Clausen returned to England and moved to Hertfordshire. Here, he took to painting in the manner of Bastien-Lepage, working with square brushes en plein air. By the late 1880s, Clausen moved towards a more uninhibited Impressionist aesthetic characterised by bright luminous colours and the careful study of light. The British countryside, farmhouses and their outbuildings feature in some of Clausen’s most significant paintings; however, upon his appointment as Professor of Painting at the Royal Academy in 1905, Clausen had to leave behind his beloved countryside to live in London. Once in London, Clausen’s responsibilities 36

grew with his election as a Royal Academician in 1908 and a solo exhibition at the Leicester Galleries in 1909, leaving little time to venture back into the countryside and paint. The Rickyard, a Sunny Day was completed during this demanding period and represents a wistful return to painting outside, capturing the evanescent light breaking through the trees and reflecting brightly in the stream and on the shimmering field. According to Clausen, many of the paintings he ‘commenced in the open air [were] unfinished because of changing light conditions’. Thus, The Rickyard, a Sunny Day is primarily a celebration of the British countryside and the transcient effects of light by a highly distinguished artist.

GEORG R E CLAUSEN RA, RW R S, RI

GUSTAVE LOISEAU LE PONT SUSPENDU SUR SEINE (1915)

(1865 - 1935)

TRIEL

OIL ON CANVAS 21 x 32 in / 53.3 x 81.3 cm Signed and dated ‘G. Loiseau 1915’ (lower left) PROVENANCE: Durand-Ruel Galleries Private Collection, France Private Collection, United States of America

Gustave Loiseau was a significant French painter associated with the Post-Impressionist movement and was recognised among his contemporaries for his originality, style and technique. Loiseau was originally apprenticed as a decorator, however, when his parents moved to Pointoise, an important commune extensively depicted by Camille Pissarro and Paul Cézanne, his interest in landscape painting grew. Receipt of a large inheritance, following the passing of his grandmother in 1887, provided an opportunity for Loiseau to devote his life to drawing and painting. Although Loiseau’s training initially centred on the study of the human figure and form, his interest in landscape prevailed and he soon befriended a number of artists from the Pont-Aven School. The work of members of the group was characteristically bold in its handling with a strong sense of colour. The Pont-Aven School undoubtably influenced the young Loiseau who adopted a pointillist technique and then transitioned into painting en plein air. Continued ...

GUSTAVE LOISEAU

When Claude Monet and Auguste Renoir saw Loiseau’s work they decided to introduce him to their highly influential art dealer, Paul Durand-Ruel, marking the young artist out as a possible successor to their legacy. The present painting, Le Pont Suspendu de Triel sur Seine, owes a lot in its handling to works by Monet. Loiseau preferred the muted tones created by the light of early morning or evening and was particularly fond of rendering his compositions with raw, heavy stippled brushstrokes of pure colour mixed directly on the canvas. Durand-Ruel saw something special in Loiseau’s work and signed an exclusive contract with the artist in 1897. The stipend and patronage offered by Durand-Ruel enabled an inquisitive Loiseau to travel to Normandy and track the river Seine on its course towards the English Channel. Le Pont Suspendu de Triel sur Seine exemplifies Loiseau’s lifelong fascination with the Seine and its tributaries that ultimately became his most loved serialised subject. Although the present painting is exceptional in demonstrating the stippling technique that the Impressionists and Post-Impressionists became known for, it is also a fine example of a technique Loiseau developed called ‘en treillis’. Rather than painting in daubs of colour, Loiseau applied paint in a cross-hatched manner giving his paintings a visceral quality that his contemporaries greatly admired.

LAURENCE STEPHEN LOWRY RA HARBOUR

WITH

(1887 - 1976)

FISHING BOATS (1945)

OIL ON BOARD 8 1/4 x 10 1/2 in / 30 x 26.7 cm Signed and dated ‘L. S. Lowry 1945’ (lower left) PROVENANCE: Private Collection, United Kingdom Private Collection, United Kingdom

Laurence Stephen Lowry is a pre-eminent British artist. His name is synonymous with images of the British city; in his painting he reveals the lives of the people who made the city, the men and women who worked in the factories, the children that grew up in the streets and ultimately the changing socio-economic landscape of Britain in the modern world. While Lowry’s cityscapes became iconic for his representation of people and their daily lives, throngs of workers going to and from the mill, children playing football in the street, this seascape is notably devoid of human presence. Instead of representing fishermen at work, Lowry only shows us the boats in which they toiled. This conspicuous lack of figures is perhaps reflective of the time at which this painting was made. In 1945, the British fishing industry was recovering from the Second World War which not only decreased trade but also had an enormous impact on the size of the available workforce. Perhaps, these empty sailing boats are a reminder of the casualties of war, both human and industrial. Lowry had a lifelong fascination with the sea and its unpredictable, unrelenting nature: “I often wonder what would happen if the tide didn’t turn, and the sea came on and on and on and on, what would the place be like, and wouldn’t it be wonderful to see it”, he once said. For a man so preoccupied with the rituals of everyday life, the volatile character of the sea must have been fascinating, particularly given that Britain, as an island, lives at the mercy of the ocean and yet relies so heavily on the sea 42

This work comes with a certificate of Authentication, Mervyn Levy 15th April 1952

for industry. Lowry’s biographer Shelley Rohde argued that he used the sea as a metaphor for human life, seeing “in the inexorable ebb and flow of the tides the same vain struggle for survival that possessed the people”. Here perhaps, the sea is symbolic of the Second World War and its impact upon day-to-day life; the fishing boats, even with their lack of crew, continue to enter and leave the harbour despite the adverse conditions surrounding them. Lowry is a highly sought-after artist, and in the past his works have sold for up to £5.6 million. Beyond being a sound investment, Lowry’s art has wide artistic acclaim. A permanent collection of his work is on display at The Lowry in Salford and in 2013, Tate Britain hosted a major exhibition of Lowry’s work, ‘Lowry And The Painting Of Modern Life’, which proved highly popular.

LAURENCE STEPHEN LOWRY RA

ALFRED SISLEY

(1839 - 1899)

LES OIES A SAINT-MAMMÈS PASTEL ON PAPER 11 7/16 x 15 3/4 in / 29 x 40 cm Signed ‘Sisley’ (lower right) PROVENANCE: Hammer Galleries, New York Drouot-Montaigne, Paris, 18th June 1998, lot no. 17 Christie’s, London, 1st July 1999, lot no. 828 Private Collection, 1999 Private Collection, 2014 – 2016 Trinity House Paintings, 2016

“What is more beautiful indeed than the summer sky, with its wispy clouds idly floating across the blue? What movement and grace! Don’t you agree? They are like waves on the sea; one is uplifted and carried away.” - ALFRED SISLEY IN A LETTER TO ADOLPHE TAVERNIER Alfred Sisley, like all Impressionists, was devoted to capturing transience in the natural world. He was dedicated to painting en plein airr and his works are characterised by a sense of tranquility and incisiveness, paired with broken brushwork and a bright palette. As the quote above indicates, Sisley was particularly partial to representing the fleeting effects of cloud formations. Indeed, over two-thirds of the present composition is assigned to the depiction of the sky. Continued ...

ALFRED SISLEY

For a decade and a half, Sisley worked in various towns located along the Seine, west of Paris, however, in January 1880, a time of financial hardship for many of the Impressionists, Sisley left the Parisian suburbs for a rural region near the confluence of the Seine and Loing rivers. It was here, in a commune called Saint-Mammès, that this work was completed. Sisley painted and sketched numerous views of the river, woods and pastures, sometimes including small details such as the geese of Saint-Mammès, seen in the foreground of the present work. According to one art critic, Sisley ‘sought to express the harmonies that prevail, in all weather and at every time of day, between foliage, water and sky; and he succeeded ... He loved river banks; the fringes of woodlands; towns and villages glimpsed through the trees; old buildings swamped in greenery; winter morning sunlight; summer afternoons’. Sisley often turned to the medium of pastel to produce works of the picturesque environment surrounding him. By embracing the distinctive crumbling quality of pastel, Sisley was able enhance the sense of tranquility and transience that was central to his work.

JOHN WILLIAM GODWARD RA

(1861 - 1922)

A GARLAND SELLER (1914) OIL ON CANVAS 30 1/2 x 30 1/2 / 77.5 x 77.5 cm Signed ‘J. W. Godward 1914’ centre right and ‘A Garland Seller, Rome 1914’ on verso PROVENANCE: With Richard Haworth, Blackburn, where purchased by the present owner’s grandfather. This work is to be included in the forthcoming updated catalogue raisonné by Professor Vern G. Swanson.

appears in some of Godward’s most sensuous paintings. William Russell Flint, who visited Godward in Rome in 1912, gave this description of Dolcissima:

“He [Godward] worked steadily at his Greek Maidens ... from a model whose name in English meant ‘Sweetest Castaway’. This heavy-jowled beauty was a star among the models.” - WILLIAM RUSSELL FLINT, ARTIST, 1912

John William Godward was a technically gifted artist and was one of the last great artists working in the Classical tradition. Although the talents of Godward were not recognised in the early twentieth century, his status as a sensitive, meticulous artist is now celebrated in the twenty-first century. Perhaps, the lack of critical acclaim Godward received in his own lifetime was due to his own elusiveness and his preference for anonymity, or it may have been related to the lack of archival documents at the disposal of art historians. Indeed, his family, disapproving of his career and ashamed of his tragic suicide, burnt all of his papers and records. Godward Godward firmly blamed the champions of Modern art for his lack of popular appeal, having written ‘the world is not big enough for myself and a Picasso’ in his suicide note. Inspired by the work of Sir Lawrence Alma Tadema, Godward painted subjects that harked back to the Classical age. The ancient worlds of Greece and Rome were viewed as a past idyll; an age of beauty and certainty. The subject also provided Godward with ample opportunity to combine his passion for classical architecture with his desire to depict youthful women in the bright rays of the Mediterranean sun. In order to lend his work an added element of authenticity, Godward’s art dealer, Eugene Cremetti, suggested that he relocated to Rome in search of inspiration and an environment ‘free from Impressionists’. Godward heeded this advice and left for Rome in 1911 or 1912, where the present work was created. In the Villa Strohl Fern, the artist is thought to have lived with his favourite model, Dolcissima, who 48

In the present work, Dolcissima is sat on a bench next to two garlands, softly staring out into the distance. Her perfectly soft, rosy cheeks, plump lips and glowing complexion, together with her graceful pose, demonstrate Godward’s infatuation with his model and his search for painterly perfection. In his own lifetime, Godward regularly exhibited his paintings at the Royal Academy in London, where they were greatly admired by the public. Currently, his work is represented in art galleries around the world, from the Getty Museum in California to the Manchester City Art Gallery in England.

JOHN WILLIAM GODWARD W

PABLO PICASSO

(1881 - 1973)

SONIA (1965) FELT-TIP PEN ON PAPER 11 3/4 x 10 5/8 / 30 x 27cm Signed and dated ‘Picasso 10.7.65’ (lower right) Inscribed ‘Pour Sonia’ (upper centre) PROVENANCE: Sonia Orwell, a gift from the artist on 10 July 1965 Hilary Spurling, as a gift from Sonia Orwell Private Collection, United Kingdom

Pablo Picasso was a highly prolific artist and his work is among the most recognised in the world. His lucid, delineated forms were created with sensitivity, fervour and an unabating love for his craft. Picasso repeatedly pushed the boundaries of art, paving the way for Modernist practice. Yet, even among the abundance of pieces by Picasso, it is rare to find a work which intrinsically connects his genius with that of another artistic innovator. The present work, produced on a page from Parmelin’s Picasso: less dames de Mougins, was dedicated to Sonia Orwell, the second wife of literary giant, George Orwell. The work was produced in the summer of 1965 and became a housewarming present for when Sonia returned to her new home in South Kensington following her time in Paris. Following Orwell’s death, Sonia remained close friends with writers and artists including Lucian Freud and Maurice Merleau-Ponty. This beautiful drawing is highly demonstrable of Picasso’s ability to improvise, creating lines and forms in a matter of seconds. Like many other works by Picasso, its instantly recognisable simplicity is deceptive. The confidence with which the marks are made is remarkable, especially considering that Picasso was eighty-three years old at the time. Although the present sheet is only an artistic dedication to Sonia Orwell, it is highly characteristic of Picasso’s finest drawings.

Claude Picasso and Maya Widmaier Picasso have confirmed the authenticity of this work

PABLO PICASSO

MARC CHAGALL LE

(1887-1985)

COUPLE AU TRAÎNEAU

(1965)

OIL ON BOARD 9 x 8 1/2 in / 22.9 x 21.6 cm Signed ‘Marc Chagall’ (lower right) PROVENANCE: Private Collection, United States of America Galleria Tega, Milan Private Collection, Italy, before 2012 Private Collection, Hong Kong, 2012 - 2016 Trinity House Paintings, 2016

Marc Chagall was a Russian artist who worked across Europe in the late nineteenth and early twentieth centuries. Chagall’s art is remarkably unique; although his work reveals the influences of multiple art movements, he never limited himself to any particular style. Le Couple au Traîneau is an example of Chagall’s late work. It is considerably more abstract and fluid than his early Cubist work and the colours, while still bold, lack the aggressive juxtaposing and vividness present in his early pieces. As the title suggests, Le Couple au Traîneau shows a couple on a sleigh in the snow. Chagall very crudely represents the sleigh and so the wash of white paint and the figures of the dogs are the most conspicuous signs of a sleigh in winter. Sat upon the sleigh, two lovers embrace. These figures are also depicted in Chagall’s characteristically abstract style. Chagall is an immensely important and popular artist. During his lifetime, he displayed works at a number of historic exhibitions, including the Salon d’Automne in 1912. He has had solo shows at leading galleries around the world, including exhibitions at the Louvre in Paris, MoMA in New York and Kunsthalle Basel. Chagall’s art can be seen in leading collections around the world, such as MoMA and Tate Modern.

This work is sold with a photo-certificate from the Comité Marc Chagall

MARC CHAGALL

CHRISTOPHER RICHARD WYNNE NEVINSON

(1889-1946)

BRIGHTON BEACH (1930S) PENCIL, WATERCOLOUR AND GOUACHE 12 x 14 1/2 in / 30.5 x 36.8 cm Signed ‘CRW Nevinson’ (lower right) PROVENANCE: Private Collection, United Kingdom since 1930s Private Collection, United Kingdom Private Collection, United Kingdom, 2016 Trinity House Paintings, 2016

Nevinson is arguably the most renowned British Futurist artist. He initially celebrated and embraced the violence and mechanised speed of the modern age, harnessing the angularity and dynamism of Futurism to represent the modern urban landscape in all its glory. However, following The Great War, Nevinson rejected Futurism, opting for the more conventional and softer style of painting that we can see in Brighton Beach. Gone are the dramatic angular shapes and dark colours of his earlier work and in their place, Nevinson used naturalistic tones and simple, light brushstrokes to create a calm image of everyday life. What remains of his earlier style is the sense of movement that Nevinson instilled in many of his artworks. Almost reminiscent of the Impressionists, Nevinson used visible and rapid brushstrokes to capture the momentary dynamism of the scene. This is particularly evident in the sea where he layered short lines of paint on top of one another to create depth and the impression of waves and ripples in the water. In other areas, Nevinson deliberately smudged the light brown paint used for the sand and added chalk highlights to create the effect of sand being blown across a beach. Nevinson is a highly regarded artist. His work is on display at Tate, National Museum of Wales and Imperial War Museum. He exhibited work in the 1915 Vorticist Exhibition, as well as exhibiting with the Friday Club and Allied Artists’ Association. He was a founding member

of the London Group and a member of the Royal Society of British Artists; Royal Institute of Painters in Watercolours; the National Society of Painters, Sculptors and Gravers/Printmakers and in 1939 was made an Associate Royal Academician.

CHRISTOPHER RICHARD WYNNE NEVINSON

CHRISTOPHER RICHARD WYNNE NEVINSON HENRY IV

FROM THE

QUAI (1930S)

PENCIL, WATERCOLOUR AND GOUACHE ON PAPER 9 3/4 x 13 5/8 in / 24.8 x 34.6 cm Signed twice ‘C.R.W. Nevinson’ (lower left and lower right), signed again and inscribed ‘C.R.W.Nevinson/Sketch of Henri IV/from the Quai’ (on the New English Art Club label attached to the backboard) PROVENANCE: Private Collection, United Kingdom

Christopher Richard Wynne Nevinson was a British landscape painter who became one of the most famous artists of World War One. Nevinson was celebrated for his highly graphic, Futurist works that were inspired by Cubism and characterised by angular lines, blocked shapes and dynamic compositions. However, after The Great War, Nevinson’s interests shifted and he began painting with a newfound naturalism. The present painting depicts Paris in the 1930s when the city was transforming itself into a haven for artists, writers, musicians and film-makers. The city was full of activity and excitement as Nevinson’s astute study shows. The painting was probably produced en plein air, from a viewpoint above the road and river; the innovative use of perspective allows for more of the city to be captured. Paris and its inhabitants seem to merge into one identity in this work. Uninterested in the personalities and features of the individuals that flocked to the streets, Nevinson depicted figures vaguely with undefined features. His lack of definition of form and loose brushstrokes imbue his characters with a sense of transience that beautifully captures the vibrant, energetic atmosphere of 1930s Paris. This effect is enhanced with the use of watercolour paint, which by its very nature, produces transparent, ghost-like strokes. Nevinson’s painting depicts a number of people strolling along the bank of the Seine, with Pont Neuf and the

(1889-1946)

EXHIBITED London, New English Art Club, The Eighty-First Exhibition, November - December 1930, no. 289. LITERATURE Exhibition catalogue, The Eighty-First Exhibition, London, New English Art Club, 1930, p. 28, no. 289.

famous statue of Henry IV – designed by Giambolgna – seen prominently in the middle-ground. Although highly naturalistic in style, Nevinson appears to hint at his prevailing interest in dynamism, perhaps more conspicuous in his Futurist works. Nevinson was highly regarded throughout his career and was awarded the Chevalier of the Legion d’Honneur in 1938 and was made an Associate of the Royal Academy in 1939.

CHRISTOPHER RICHARD WYNNE NEVINSON

CLAUDE MONET PRÈS DIEPPE, (1897)

(1840 - 1926)

REFLETS SUR LA MER

OIL ON CANVAS 251/2 x 36 in / 65 x 92 cm Signed and dated Claude Monet 97 (lower right) PROVENANCE: Purchased from Monet by Charles Pitet for Julius Oehme in 1901 Galerie Durand-Ruel, 1903 Private Collection, Switzerland, 1964 Wildenstein & Co., Inc., New York Helen Turner, 1987 Private Collection, Japan, 1999 Private Collection, United Kingdom EXHIBITED Les Nympheas de Louis Cane: Regard sur Claude Monet. Travelling exhibition in Japan, 1992 (work was no. 9 in exhibition) Chiba, Kawamura Memorial Museum of Art (3rd May- 4th June 1992) Kurashiki, Municipal Muesuem of Kurashiki (9th June - 9th July 1992) Sapporo, Museum of Modern Art, Hokkaido (14th July - 20th August 1992) Takaoka, Takaoka Museum of Modern Art (26th August - 1st October 1992)

“Finally I feel that I’m in my element.” - CLAUDE MONET IN A LETTER FROM POURVILLE Claude Monet was unquestionably the most influential artist of the Impressionist movement. Known for his broken brushwork and exceptional ability to capture the transient, flickering effects of light, he became the figurehead for generations of artists. Although Monet’s exploration and depiction of waterlilies is favoured by collectors and therefore reach record prices at auction, it is interesting to note that he ceased to work on a series of waterlily paintings in order to revisit the coast by Pourville. It was here that Monet chose to escape the difficulties of his personal life, search for solace and tranquility, while ‘gain[ing] strength from the sea air’. The present painting depicts the coastal view, east of Pourville and perfectly encapsulates Monet’s concern for the fleeting effects of light and atmosphere. Continued ...

CLAUDE MONET

Instead of a lurid, bright palette, Monet uses an unusually pale selection of pinks, soft oranges and light blues, complemented by broken contours that hark back to his earlier works. This painting was part of the first series of works that Monet completed after the exhibition of his Rouen Cathedral series. However, unlike his Cathedral paintings, this composition appears to have been painted at an indeterminate time of day. Nevertheless, Monet has been able to faithfully record the impression of bright light reflecting in the water below and the mingling, hazy colours of the cliffs. Monet first painted this view in 1896 and when he returned in 1897, he discovered that the picturesque viewpoint was threatened by burgeoning gentrification: â&#x20AC;&#x153;It so happens that the spot at which I have begun so many canvases, higher up, towards Dieppe, is going to be closed to the public; a Dieppe company has rented all of this land starting from the Val Saint-Nicolas in order to use it for playing all sorts of English games, as well as archery and pigeon-shootingâ&#x20AC;?. Clearly, this site resonated with Monet: he loved the coastline and escaped to it in search of solace, choosing to depict it for posterity in 1897.

LAURENCE STEPHEN LOWRY RA AT

THE

SEASIDE (1955)

PENCIL ON PAPER 10 x 14 in / 25.4 x 35.6 cm Signed and Dated ‘LS Lowry 1955’ (lower right) PROVENANCE: Mercury Gallery, London, 1972 Private Collection, United Kingdom, 1972 Private Collection, United Kingdom, 2016

Laurence Stephen Lowry is best known for his paintings of industrial Manchester and Salford, but his instantly recognisable style pervades through into his beautifully delineated drawings. Lowry believed that successful drawings were as difficult to create as strong paintings, and devoted a lot of time and energy into perfecting his craft. Although Lowry said himself that he was obsessed by the industrial landscape, his interest in the seaside was unequivocal. The present drawing is highly demonstrable of this attraction to the sea, but is also indicative of Lowry’s skill in creating simple yet beautiful compositions. Lowry had fond memories of family holidays to the seaside in North Wales and the Lancashire coast, once saying that he ‘used to draw little ships when he was eight’. Seascapes and views of the coastline quickly became an integral part of Lowry’s oeuvre and At the Seasidee perfectly showcases Lowry’s draughtsmanship and knowledge. The strong architectural lines used to define the building and fence are juxtaposed by the fluid, sweeping hills and the transient, quick lines used to depict people, families and dogs enjoying a day out by the sea. Lowry also worked the surface of his drawings by smudging, erasing and rubbing the pencil lines on his paper to enhance the atmosphere present in his work and to create an elegant, jovial depiction of the British seaside.

(1887 - 1976)

LAURENCE STEPHEN LOWRY RA

ALAN DAVIE BIRDS IDOL

(1920 - 2014)

NO.4

OIL ON CANVAS 60 x 72 in / 152.4 x 182.9 cm Signed, titled and dated twice ‘Alan Davie/Feb 70/BIRDS IDOL/NO 4/FEB 70’ (verso)

LITERATURE: Douglas Hall and Michael Tucker, Alan Davie, Lund Humphries, London, 1992, p.180, cat. no.635, pl.76 (coloured illustration)

PROVENANCE: With Gimpel Fils Gallery, London, May 1970, where acquired by Robert Steinberg Christie’s, New York, 9 May 1984, lot 122, where acquired by the present owner Private Collection, United States

Alan Davie is arguably Scotland’s most respected painter of the post-war era, winning international acclaim from critics, artistic establishments and leading contemporary artists including, Jackson Pollock, Mark Rothko and David Hockney. Birds, Idol no. 4 is an example of Davie’s graphic, bold approach to painting and his particular interest in exploring the meanings of symbols. Birds, Idol no.4 has been identified as one of the ‘more important oils by Alan Davie’ and represents Davie’s interest in the dialogue between music and painting. In 1971, Davie produced a recording titled ‘Bird through the Wall’ as part of ‘The Alan Davie Music Workshop’ and paintings were produced under similar names, incorporating a number of motifs. Influenced by the American Abstract Expressionists and the Surrealists, Davie vehemently believed that art should be created spontaneously and not be premeditated. In an interview with Tate in 1986, he described how ‘ideas evolve out of just making marks on paper’; in this sense, the artist is not a designer with predetermined ideas and plans, but rather a transmitter of form and colour. Davie was the closest thing 1960s Britain had to an American Abstract Expressionist. However, as he always identified himself as a Scottish artist it is interesting to consider his work in relation to Celtic art. Since the early 1960s, Davie was drawing increasingly on symbolism in his work, featuring signs from a range of cultures as diverse as the Navajo Indians, Aboriginal Australians, Ancient Egyptians and, more locally, the Celts. Davie was 64

intrigued by the power that art of ancient civilisations, of which we know little, maintained in modern culture. He was particularly interested in how the same shapes and symbols developed and were used by societies around the world. Davie experienced almost immediate success in his artistic career. Upon completing his training as a painter at Edinburgh College of Art, he was awarded a scholarship that enabled him to travel Europe. It was on these travels that he first saw the work of Paul Klee and was introduced to Peggy Guggenheim who in turn showed him the work of Jackson Pollock. His work is exhibited at prestigious galleries worldwide, including Tate, MOMA and National Galleries Scotland. In 1972, he was appointed CBE and in 2012, he was elected a senior Royal Academician.

D UNCAN GRANT ALAN DA AVIE VIIE

CARL WILHELM WILHELMSON A BRIGHT DAY

ST. IVES, CORNWALL

OIL ON CANVAS 20 1/4 x 27 in / 51.4 x 68.6 cm Signed ‘C. Wilhelmson’ (lower left) PROVENANCE: Mrs. Wilhelmson Anonymous sale: Bukowski, Stockholm, 10 November 1971, lot 186 Private Collection, United Kingdom

St. Ives has become iconic within the art scene as a location that fosters creativity and influences artists. The conversion of a small, rural fishing village, into a bustling artistic idyll was facilitated by the extension of the Great Western Railway to West Cornwall in 1877; over the years, the attraction of the beautiful coast, a simplified life and the quality of light has convinced numerous artists to relocate and settle in the Cornish town. Although Carl Wilhelm Wilhelmson did not move to St. Ives, he painted a number of scenes that captured the magical light that the town has become famous for. Wilhelmson was no stranger to the subject of fishing villages, himself being born and raised in Fiskebäcksil in Sweden. In many of his paintings, Wilhelmson depicts the day-to-day events that shape the lives of fishermen and villagers in rural dwellings. The present painting is highly demonstrable of Wilhelmson’s ability to capture his subjects with sensitivity and great accuracy; indeed, the painting is still highly representative of the current locale. Wilhelmson began studying painting in Gothenburg at the age of fourteen and between 1890 and 1897 travelled to schools in Spain, Leipzig and Paris. Upon return to Sweden, he quickly became the Director of the Valand Art School and in 1910, opened his own instructional, studio practice. Wilhelmson’s achievements within educational establishments continued when he began to teach at the Royal Academy of Stockholm in 1925. Between 1910 and 1920, Wilhelmson travelled and painted several scenes in Lapland, Spain and 66

EXHIBITED: Gothenburg, 1926 Gothenburrg and Stokholm, 1929 Kiel, Germany, 1929 Stockholm, National Museum, 1930 Stockholm, Lilijevalchs, Retrospective exhibition, 1934, no. 451

Cornwall. The present painting clearly demonstrates Wilhelmson’s ability to embrace the nuances of his chosen subject-matter and capture scenes accurately and with great detail, exemplifying his individual, characteristic style. The work is painted from the viewpoint of one of the stone piers on the beaches of St. Ives. Towards the lower right, men are seen pushing and pulling boats off the shoreline. On the left, a dog is alerted to something happening outside the canvas plane, while a child plays by the water in the centre of the composition. The painting not only captures the business of everyday life, but also convincingly represents St. Ives with a beautiful, translucent palette comprised of light, sandy yellows, blues and greens.

CARL WILHELM WILHELMSON

EDWARD SEAGO IN

THE

(1910 – 1974)

HARBOUR

OIL ON CANVAS 17 x 23 in / 43.2 x 58.4 cm Signed ‘Edward Seago’ (lower left) PROVENANCE: Private Collection, United Kingdom

Edward Seago is perhaps one of the most collectable British artists of the twentieth century. The enduring popularity of the artist is a consequence of his innovative interpretation of the traditional landscape genre. Although self-taught, he was a diligent student, imitating and learning from looking at the works of British Masters such as John Constable. His style, however, was altogether more exciting, more energetic and more spontaneous. Seago was a careful observer of the world around him, and was able to capture fleeting moments with a vibrancy and fluidity rarely matched, let alone surpassed. The present painting exemplifies Seago’s talent for creating beautiful paintings out of otherwise everyday scenes. In order to do this, Seago did not exaggerate or pander to formulaic compositions, but rather mastered the use of tone and characteristic edges. Some lines and contours appear sharp, while others are broken or lost, allowing him to accurately replicate atmospheric effects. Although the colours are muted, Seago carefully placed blue and green accents to excite and retain his viewer’s interest. The subtlety and confidence present in the sky is particularly impressive: painted on a cream ground, Seago adds brisk brushstrokes of pale blue, green and grey to suggest an overcast sky. The open sail of the boat on the far left is painted in an equally confident manner. Each broad stroke adds form to the sail and is highly demonstrable of Seago’s ability.

Seago enjoyed the patronage of members of The Royal Family, having been requested to paint the Queen’s Coronation and to accompany The Duke of Edinburgh on an Antarctic Expedition. His commercial exhibitions also attracted large crowds that famously queued outside galleries to purchase his works.

EDWARD SEAGO

HENRI MARTIN L’EGLISE

(1860 - 1943)

SAINT-CIRQ-LAPOPIE

OIL ON CANVAS 44 x 33 1/2 in / 111.8 x 85.1 cm Signed lower right PROVENANCE: Gerald Peters Gallery, Santa Fe Wally F Galleries, New York Private Collection of Marsha Mason, c. 1980 - 2011 Private Collection, United Kingdom, 2011- present

In 1900, Henri Jean Guillaume Martin left Paris and bought a property in a small village of Labastide du Vert near Toulouse in Midi-Pyrénées. Surrounded by the French countryside, Martin abandoned his early representations of allegory and classical myths in favour of depictions of nature. With this new subject came a new style of painting; from 1900 onwards, Martin developed an increasingly Pointillist style; the Neo-Impressionist technique allowed the artist to more successfully depict atmosphere through colour and light. In his own words, “My preoccupation with rendering atmospheric effects increased… after three months in the country, face to face with nature. Trying to capture its diverse effects, I was compelled to paint it differently. The natural light, now brilliant, then diffuse, which softened the contours of figures and landscape, powerfully obliged me to translate it any way I could, but other than using a loaded brush – through pointillé and the breaking up of tone.” Every element of L’église de Saint-Cirq-Lapopiee is formed out of a multitude of small dabs and strokes. Through this technique, Martin was able to depict colour in detail; for instance, the tall tower of the church is not simply brown, but, composed of multiple different brown tones and even blue to reveal the striations and markings of the medieval structure. There is a sense of quiet and stillness to this idyllic scene of rural French life with a clear blue sky, lush greenery and unchanged medieval architecture. The village is entirely at peace.

Cyrille Martin has confirmed the authenticity of this painting.

Martin was a very successful artist in his lifetime. He received the Gold medal at the Salon in 1889, the Grand Prize at the Exposition Universelle of 1900, and was twice the recipient of the Legion of Honour Cross. Martin’s success continues today and his works are in the permanent collections of numerous prestigious galleries worldwide. In France, his paintings can be viewed at Musée d’Orsay and Musée des Beaux-Arts de Bordeaux, in Spain, Thyssen-Bornemisza Museum and in America, at the Smithsonian American Art Museum.

HENRI MARTIN

(1860 - 1943)

LABASTIDE-DU-VERT (1916) OIL ON CANVAS 27 1/2 x 39 in / 69.9 x 99.1 cm Signed (lower right) PROVENANCE: Private Collection, United States of America

Henri Jean Guillaume Martin was born in Toulouse, France in 1860. He received a formal training in fine art at the École des Beaux-Arts de Toulouse, under the instruction of Jules Garipuy. The influences of Martin’s classical education are evident in his early art which focused on the grand historical characters, classical myths and events popularised by the Paris Salon. However, Martin’s career as an academic painter was reasonably short-lived. In the early 1900s, Martin moved from Paris to the quieter town of Labastide du Vert, in France’s Midi-Pyrénées. Martin flourished in this new setting and, as we see in Labastide du Vert, the village became not only his home but also the backdrop for much of his art of this period. Gone are the elegant allegorical figures dressed in long floating gowns and non-descript landscapes. In their place, Martin represented scenes of everyday life in actual locations. Here, Martin depicts Labastide du Vert with its cluster of small houses and rich green foliage. Although there are no figures visible, Martin references the simple everyday actions of country life by portraying small clouds of smoke emanating from the chimneys. There is a sense of calm and tranquillity to this image that reveals Martin’s new love of the simple rural life. Continued ...

HENRI MARTIN

While living in Labastide du Vert, Martin developed a Pointillist style, reminiscent of the works of George Seurat. Here we can see his early development of the style. It is most evident in the grass in the foreground which is constructed through multiple small marks. This technique allowed Martin to more expressively represent colour and light; two key components of any NeoImpressionist style. The grass is not a single, generic green colour; Martin used a range of tones to depict the variety of colours in the grass and the effects of light upon it. Arguably this painting still has far to go before it could be described as Pointillist.

CHARLES CAMOIN

(1879 - 1965)

RAMATUELLE (C. 1925) OIL ON CANVAS 21 1/4 x 25 1/2 in / 54 x 64.8 cm Signed lower right, ‘Ch Camoin’ PROVENANCE: Private Collection, Switzerland Private Collection, United States of America

Most will know the French artist Charles Camoin as a Fauvist artist, acclaimed for his vivid use of colour and fierce painterly brushstroke. However, he actually had a very varied career, moving between Fauvism, Expressionism and even a modernist’s take on Impressionism. Ramatuellee is a beautiful example of his later work where Camoin disassociated himself from the wildness of the Fauvists in favour of calmer, more serene images. In 1918, Camoin and his friend, Henri Matisse, visited the famous Impressionist painter, Pierre-Auguste Renoir at his home in Cagnes, in the south of France. Renoir had a profound effect on Camoin’s painting technique and style. From that date onwards, Camoin painted en plein air and showed an intense interest in light and colour. The viewpoint of Ramatuellee gives the impression that it was created en plein air; it is easy to imagine Camoin standing on the hillside with his canvas while the solitary figure in the right-hand corner of the composition, gazed wistfully upon the picturesque village of Ramatuelle below. His brushstrokes are varied, some are even reminiscent of the Impressionists, but on the whole, they appear simple and swift. Camoin masterfully depicted light and particularly shadow; the shadows of the large tree with its twisting branches on the right are highly realistic and his use of colour to suggest shade on the trees below is beautiful. Camoin’s use of colour reveals the influence of another famed artist, Paul Cézanne. Camoin met Cézanne in 1902 and they remained close friends until Cézanne’s 76

death four years later. It is hard to ignore Cézanne’s influence on Camoin. The image of a small hillside village framed by a large tree with interjecting branches is reminiscent of Cézanne’s paintings of Mont SainteVictoire. Camoin’s simple, reduced forms are also indebted to Cézanne, the father of Modernism. Above all, Camoin was inspired by Cézanne’s spectacular use of colour. Cézanne was a master of colour, his work is proof that colour is the basis of form in painting; in the foliage of the tree on the left, Camoin contrasted areas of sparse and dense foliage, showed leaves reflecting sunlight, created areas of shadow and displayed the colours of the leaves entirely through the careful modulation of pigment.

CHARLES CAMOIN

CHARLES CAMOIN LE CLOCHER

(1879 - 1965)

SAINT TROPEZ

ET LA

CONCHE (C.1905)

OIL ON CANVAS 21 1/4 x 28 3/4 in / 54 x 73 cm Signed ‘Ch Camoin’ (lower left) PROVENANCE: Private Collection, United Kingdom Archives Camoin have confirmed its authenticity and its inclusion in the catalogue raisonné under the given date of c.1905.

Charles Camoin was passionate about rendering simplified forms with heavy brushstrokes loaded with strong, vivid colour. Le Clocher de Saint Tropez et la Conche, is exemplary in demonstrating Camoin’s interest in implementing this powerful, forward-thinking style. Camoin was closely associated with the Fauves, a group known for their use of wild, energetic and often abstracted colours. Although contemporaries may have initially disapproved of the style, labelling the group ‘wild beasts’ or Fauves, the name stuck and those affiliated with the movement went on to find success: Camoin, for example, exhibited regularly in Paris and painted in the esteemed company of artists such as Henri Mattisse, André Derain and Henri Manguin. Building on the successes of Post-Impressionist thought and technique, Camoin and his friends were producing highly-evolved, disciplined works that were full of colour and powerful brushstrokes. In his youth, Camoin often frequented St. Tropez, where the present work was completed. Le Clocher de Saint Tropez et la Conchee demonstrates Camoin’s interest in using strong colours and expressive brushstrokes. This is best seen in the lower third of the painting where long, drawn out brushstrokes of pure, vivid colour are used to create ripples in the water. It is highly likely that this painting was produced in situ without any underdrawing, therefore, Camoin’s primary focus was to capture the interaction of light with the buildings and water.

Camoin was a highly successful artist. His works are in the permanent collections of several prestigious galleries, including the Centre Pompidou in Paris, MET and MoMA in New York and Musée des Beaux-Arts de Nice.

CHARLES CAMOIN

LOUIS VALTAT JARDIN

(1869 - 1952)

FLEURS

OIL ON CANVAS 25 1/2 x 21 1/2 in / 64.8 x 54.6 cm Signed ‘L. Valtat’ (lower left) PROVENANCE: Private Collection, United States of America Private Collection, United Kingdom

Louis Valtat is best known for his associations with the Fauvist movement, of which Henri Matisse and Andre Derain were the main proponents. Despite his tendencies towards Fauvism, Valtat never fully committed to the movement and always retained his unique style. Jardin de Fleurss is an excellent example of Valtat’s distinctive take on Fauvism. The defining elements of Fauvist art include the use of vivid colour and wild brushstrokes. It was these features that gave Fauvism its name; in 1905, when art critic Louis Vauxcelles visited the Salon d’Automne in Paris and saw the work of Henri Matisse and André Derain he described them as ‘les fauves’, French for ‘the wild beasts’. Jardin de Fleurss demonstrates the first of these two techniques; Valtat uses a wide variety of bold colours and tones to represent the garden. Light greens are adjacent to strong shades of orange and red in the flowerbed, while above in the trees, darker green tones clash with the more vibrant shades of yellow. The juxtaposition of such strong colours enhances their vividness. However, what is different to the Fauvists is that Valtat does not violently contrast colours or use colour abstractly. Matisse, for instance, painted trees with stark red trunks and blue foliage, whereas, in Jardin de Fleurs, the colours used remain within the boundaries of naturalism. Valtat’s brushstroke is comparable to that of the Fauvists, though here too, he retained his unique style. Like Matisse and Derain, Valtat represented forms through repetitive short lines and dabs. However, the density 80

of his marks is considerably heavier than the sparse application of paint of Matisse and Derain. It is through his brushstroke, rather than colour, that Valtat enters into abstraction; the consecutive lines lack any detail and deny any sense of realistic depth, texture or representation. Valtat was and remains today a highly popular artist amongst connoisseurs. The most famous of his collectors was the notorious art dealer, Ambroise Vollard who described Valtat as ‘a great painter’. Even the illustrious painter, Pierre-Auguste Renoir, who introduced Valtat to Vollard, was enamoured by his work.

LOUIS VALTAT L

GERALD KELLY RA ANTOÑITA

VA A LOS

(1879 - 1972)

TOROS

OIL ON CANVAS 40 1/2 x 30 in / 102.9 x 76.2 cm PROVENANCE: Private Collection of Sir Malcolm Sargent Atkinson Art Gallery, United Kingdom Private Collection, United Kingdom

Famed for his portraits of natives from exotic lands, Sir Gerald Kelly was a master of capturing the spirit of a place and the individual character of a sitter in a single image. Antoñita va a los Toros is a stunning example of this skill and an image of an Andalusian beauty. Composed in the Academic style, Antoñita va a los Toros is a work of captivating personality and expression. Kelly possessed the rare ability of being able to capture a true sense of his subject’s character; the contemporary writer, William S. Maugham, described him as ‘a student of character’. Here, Antoñita’s hint of a smile and direct gaze gives us an impression of her coy personality. While her gaze is direct, her cross profile position and the open fan she holds in her lap suggests she is distancing herself from the viewer, further enhancing the image of coyness. It is a stunning example of the subtlety and individuality that permeates Kelly’s portraiture. Kelly first realised his passion for painting while in Paris. From Burma and South Africa to the better-known countries of Western Europe, Kelly’s passion for art and culture took him around the world to many exotic locations where he would record his experiences in painting, often creating portraits of locals in traditional attire. Antoñita va a los Toros is exemplary of such works. Kelly represents the spirit and culture of Andalucía by showing Antoñita in the traditional costume for a bullfight with an elegant lace mantilla and colourful peineta and exuding an unapologetic boldness and charisma so characteristic of the area. She is simultaneously exotic and accessible, rendered in a vibrant palette of cobalt, 82

reds, and purples that frame her engaging and affable face. Kelly’s impressive list of patrons speaks for his success as an artist: among them were King George VI, Queen Elizabeth, Henry Clay Frick, T. S. Eliot and Ralph Vaughan Williams. This painting was owned by the esteemed conductor Sir Malcolm Sargent. Kelly was elected a member of the Royal Academy in 1930 and in 1949 he was appointed President. His remarkable works are represented in important collections worldwide, including Tate, the Frick Collection in New York, London’s National Portrait Gallery and the Royal Collection at Windsor Castle.

GERALD KELLY RA

Index Angrand, Charles ........................................................................ Camoin, Charles ......................................................................... Chagall, Marc ............................................................................. Clausen, George ......................................................................... Davie, Alan ................................................................................. Fedden, Mary ............................................................................ Gainsborough, Thomas ............................................................. Godward, John William ............................................................. Grimshaw, John Atkinson ........................................................... Helleu, Paul-César ...................................................................... Kelly, Gerald ............................................................................... Loiseau, Gustave ......................................................................... Lowry, Laurence Stephen ........................................................... Martin, Henri ............................................................................. Monet, Claude ........................................................................... Munnings, Alfred ........................................................................ Nevinson, Christopher Richard Wynne ..................................... Picasso, Pablo ............................................................................. Rico y Ortega, Martín ............................................................. Seago, Edward .......................................................................... Sisley, Alfred ............................................................................... Stubbs, George ......................................................................... Valtat, Louis ............................................................................... Wilhelmson, Carl Wilhelm .........................................................

24 76, 78 52 36 64 22 16 48 10, 14 32 82 38 42, 62 70, 72 58 28 54, 56 50 18 68 44 6 80 66

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