Victorian Drawings and Watercolor Paintings

Artist: John Arthur Dees (English, 1876-1959) Title: "In Cambridgeshire" *Signed by Dees lower right Circa: 1915 Medium: Original Watercolor on paper Framing: Not framed, but beautifully matted with hand decorated French matting...

"The New Year" is a pen and ink on paper portrait signed by Hannah de Rothschild. A girl sits quietly in a corner with a cap. Her focus is on a book in her lap, she is about to rip a...

Artist: Harry George Theaker (English, 1873-1954) Title: "Moors, Yorkshire, UK" *No signature found Circa: 1935 Medium: Original Watercolor on watercolor paper Sheet size: 9.75" x 13.75" Condition: In excellent condition Notes: Provenance: private collection - Corsham, UK. "GAC" and "H.G. Theaker" pencil inscribed upper left and center on verso. Biography: Born January-March 1873 in Wolstanton, Staffordshire. He was the son of George Theaker (1835-1902, born in Sheffield, Yorkshire), headmaster (principal) of the School of Art in Burslem from 1869-94 and designer for pottery. His younger brother, Charles Edmund (1875-1903) was an apprentice designer modeller and then a teacher at the Wedgwood Institute in Burslem around 1900. Harry George was an apprentice pottery decorator and then a teacher. He settled in London c.1900-05 and was in charge of design at the Polytechnic in Regent Street from about 1906 onwards, where he also taught courses in 'modelling from design'. Theaker remained at the Polytechnic and is listed in prospectuses as headmaster (principal) between 1931-2 and 1937-38. Theaker was also a successful illustrator, particularly of children's books. His first known published works date from about 1911, and most of his illustrations date from the 1920s and 1930s. Amongst the books he illustrated are 'The Ingoldsby Legends' by Sir Thomas Ingoldsby, London, 1911; 'Children's Stories from 'The Arabian Nights', by Rose Yeatman Woolf, 1914 (and later editions); 'The Adventures of Don Quixote', c.1920 and 1929; 'Gulliver's Travels', 1928; 'The Water Babies', 1930; 'Grimm's Fairy Tales', 1930; 'Stories of King Arthur', 1925 and 'Long, long ago: stories from the classics' both retold by Blanche Winder, the latter probably in the 1930s (see National Art Library catalogue...

Rare pair of 19th Century watercolors on paper painted in tropical settings both signed MWW 87 and presented in wood frames under glass.

Conditions: Very good overall condition. Edge right, visible under UV Light, minor retouching (5mm). The frame is period frame original baring stickers from Galleries in London. Low...

A British Female Illustrator paints a warm and fuzzy scene from a child's imagination, with ducks and teddy bears gazing at a "Mr Willoughby's eyeglass" standing on it's edge as it l...

Artist: Tom Whitehead (English, 1886-1959) Title: "A Windy Day ... Blackstone Edge" *Signed by Whitehead in green watercolor on verso Circa: 1920 Medium: Original Watercolor on paper, laid down to thin board Framing: Not framed, but beautifully matted with hand decorated French matting Matted size: 16.25" x 20.25" Image size: 9.25" x 13.75" Condition: A few cosmetic surface marks on lower margin of mat. In excellent condition Notes: Retains partial original gallery label with pencil inscriptions upper left on verso. Blackstone Edge is a gritstone escarpment at 1,549 feet (472 m) above sea level in the Pennine hills surrounded by moorland on the boundary between Greater Manchester and West Yorkshire in England. Biography: Tom Whitehead (English, 1886-1959) was born in Leeds and died in Halifax in 1959. He studied at the Halifax School of Art and the Royal College of Art in Paris, France. In addition to his printmaking primarily in etching, Whitehead, a member of the Society of Yorkshire Artists...

Graphite on paper, numerous pencil inscriptions Image size: 5 1/2 x 21 1/2 inches (14 x 55 cm) Period style hand made gilt frame Provenance The collection of Ernest Pearce (1930-20...

Graphite on paper Image size: 7 1/2 x 9 inches (19 x 23 cm) Carved gilt frame Literature Illustrated in Malcolm Bell's 'Sir Edward Burne-Jones, A Record and Review', London, 1899, p.127. Provenance Major Charles Sydney Goldman 1958 By descent to his Sons John and Margaret Monck (John Goldman Monck) 1958-1963 Commander Victor Robert Penryn Monck (Victor Robert Penryn Monk Goldman) 1958-1963 Christie's London (Christie, Manson and Woods) 1963, John Monck and Cmdr Penryn Monck sale 26 April 1963 part lot 71 Sir John Richardson, 2019 Burne-Jones decided that the folds in the drapery in this study were too complex for the final painting and fairly soon after he simplified the draperies. The work is a drapery study for the seated figures at the centre of Sir Edward Coley Burne-Jones monumental The Sleep of Arthur in Avalon (Museo de Arte de Ponce, Puerto Rico). The artist spent seventeen years working on the complex narrative, even moving his studio to a larger space to accommodate the canvas. Born as a commission from his patron George Howard, 9th Earl of Carlisle, to decorate a wall in his library at Naworth Castle, The Sleep of Arthur in Avalon was left unfinished in Burne-Jones’ studio upon his death. The work was bequeathed to a studio neighbour whose descendants sold it at auction in 1963, where it was purchased by Luis A. Ferré, politician and founder of the Museo de Arte de Ponce. To his friends and family, Burne-Jones was known for his 'unpainted masterpieces'. Indeed, from his youth he made swift sketches, such as this study, that appeared effortless in contrast to his carefully crafted paintings and allowed him to work out ideas and refine details. He also drew outside of the studio, and his contemporaries remarked at his uncanny ability to do so while fully engaged in other activities. The painter W. Graham...

Wolverhampton School of Practical Art Original artwork for engraving published for London Illustrated News (25 June 1853) 17.5x29cm Watercolour

Valentine Thomas Garland, R.A., R.B.A., R.I., R.O.I., R.S.A. (1868 - 1914) INQUISITIVE Signed and dated 1891, lower right. Watercolour and body colour Frame H. 45cm. x W. 39cm. Image...

Watercolor painting of a Bahamian street scene possibly in Nassau. Complete with a woman carrying a bundle, a man in a cart, palm trees, house, gates and warm peaceful ambiance. Sign...

Charcoal on paper, signed and dated '1888' bottom right Image size: 9 x 7 1/2 inches (22.75 x 19 cm) Period frame The half-length portrait depicts the subject sat, wearing a white s...

Graphite on paper, inscribed on original backing Image size: 6 1/2 x 5 1/2 inches (16.5 x 14 cm) Mounted This is a delightful graphite drawing by the artist Joseph Nash that depict...

BRITISH SCHOOL 19th Century STIRLING CASTLE Watercolour, signed lower right Image size: 12 x 10 inches (30 x 25.5 cm)

Signed "Violet Moore Higgins" in right-center image. Taped to board and matted. Story illustration for unknown publication. Though unconfirmed, it is possible this illustration was produced for The Little Lame Prince by Miss Mulock (Dinah Maria Mulock Craik) (Chicago: Albert Whitman Co., 1927, chapter VII). Violet Moore Higgins, born Violet Idelle Moore, attended the Art Institute of Chicago in the early 1900s, and then settled in New York as an illustrator for children's books and magazines. She has illustrated books like 'Pinocchio', 'Heidi', 'Hans Brinker' and 'The Three Bears'. In the 1910s she made 'Picture Puzzle...

Alfred H. Taylor The Experiment Watercolour, signed and dated 1838 Image size: 9 ½ x 8 inches

COMPANY SCHOOL 19th Century The Music Party Watercolour Image size: 4 ¾ x 7 ½ inches Acid free mount

THIS WORK IS SOLD UNFRAMED Retour des Enfants de l'École des Enviros de Ztouzow by Franciszek Tepa (1829-1889) Watercolour 23.9 x 16.1 cm (9 ⅜ x 6 ⅜ i...

Evelyn de Morgan Study of a Standing Female Nude 1855 - 1917 Black chalk and pastel on grey paper Image size: 12 ½ x 19 inches (48.2 x 31.7 cm) Pre-Raphaelite style frame Provenance J.S. Mass & Co., Ltd., London, J.X. Reynolds & Co., Ltd. Once she had graduated from the Slade School of Art, Evelyn continued to draw every day for the rest of her life. Her drawings are enlightening not only for their skill and subject matter, but also for their ability to teach us her working process. From loose compositional sketches, Evelyn swiftly progressed to detailed life studies for the figures in her paintings. Choosing to draw mainly on a grey wove paper in pencil and pastel, Evelyn produced hundreds of figure studies. Her rigorously-examined double studies of clothed and nude figures are particularly fascinating and underline the artist’s obsession with the human form and her desire for accuracy. A deep understanding of anatomy is obvious in this drawing and looking at the work you feel as though you can reach out and feel the muscle and bone under the skin, that you could feel the pulse of life through the soft skin. Evelyn de Morgan Born into a landowning family, from an early age Evelyn De Morgan, née Pickering, demonstrated a precocious artistic talent and a passionate desire to pursue a career as an artist, writing in her diary on her seventeenth birthday ‘Art is eternal, life is short… I have not a moment to lose’ (Evelyn De Morgan’s Diary, 30 August 1872, De Morgan Foundation Archive). Her maternal uncle, the artist John Roddam Spencer-Stanhope encouraged her talents and accompanied her on her first formative journeys to Italy where she discovered the Renaissance masters, particularly Botticelli. Overcoming initial parental opposition, Evelyn enrolled at the newly formed Slade School in 1873, one of the first women to do so. The Slade revolutionised women’s artistic education by allowing female students to study the nude from life alongside their male counterparts. Whilst at the Slade she began to submit work under her middle name Evelyn, rather than her Christian name Mary, as its gender ambiguity offered a chance for her work to be judged on its own merit. One of her tutors, Edward Poynter...

Watercolour on paper Image size: 4 1/2 x 3 1/2 inches (11.5 x 9 cm) Mounted and framed This is an arresting image featuring a head and shoulders portrait of a bearded man wearing a ...

Graphite on buff paper 'Hales Abbey, Gloucestershire' initialled, inscribed and dated 1837 bottom left Image size: 8 x 13 1/2 inches (20 x 34.5 cm) 18th Century Hogarth frame and was...

Guiseppe Aureli (1858-1929) "An Opulent Evening" c. 1880s Watercolor on Paper Signed Lower Right Site Size: approx. 30 x 20 inches Framed Size: approx. 37 x 29 inches Giuseppe Aureli (December 5, 1858 in Rome – 1929) was an Italian painter and watercolorist. His work is noted for its historical subject matter, portraits of Italian noble families as well as genre paintings and local scenes, especially work with Oriental themes. He received his early art education at the Academia de San Luca where he was the pupil of Pietro Gabarini and Cesare Maccari.[1] He exhibited in various exhibitions; including: The International Exhibition of 1888 in Munich and the World Fair of 1893 in Chicago, but his Oriental works were rarely included in these early exhibitions. Having his workshop at 48 Via Margutta in Rome, Aureli was in a position to exchange ideas with the most prolific Orientalist artists at that the time. He used the same staircase that led to a rabbit-warren of studios including those of Filippo Bartolini, Enrico Tarenghi...