A Northern Town by Sunderland Rollinson (1872-1950)

Bir Kuzey İngiltere Kasabası, 1900

Mukavva üzerine suluboya / Watercolor on board Ölçüler/measures : 16.5 x 22.5 cm

SANATÇI HAKKINDA / ABOUT THE ARTIST

Sunderland Rollison 1872-1950

Sunderland Rollinson was born in Knaresborough in 1872, although his family moved to Scarborough shortly afterwards. He studied at Scarborough School of Art and at the Royal College of Art in London. He lived and taught in Edinburgh from 1904 to 1908, and in 1910 moved to Cottingham, East Yorkshire, where he took a teaching job at Hull College of Art. He taught at Hull for 28 years until his retirement in 1937. He lived for many years at 3 Market Green, Cottingham, which provided the scene for a number of his paintings. He also had a studio at 12 Princess Street, Scarborough.

In 1922 he married one of his students, Eleanor Malam, an accomplished artist and miniaturist in her own right.

Throughout his life he continued to paint the Humber estuary, the Yorkshire Wolds, Teesdale and Midlothian. His lavish plein-air technique owed much to the continental nineteenth-century tradition, which remained a staple part of reactionary painting in Britain in the first half of the twentieth century. He was also a skilled print-maker. He exhibited at the RA, the Paris Salon, the RSA and RBA. A retrospective exhibition of his work was held in the Borlase Gallery, Blewbury, in 1976. He was awarded the National Medal for Success in Art by the Science and Art Department in 1896 and 1897. Reference:

Windsor Castle by an Anonymus Painter

Windsor Şatosu / Castle 1883 yılı için hazırlanan bir takvimin kapak tasarımı, karton üzerine suluboya, 5.5 x 8.5cm Windsor Castle by an unknown British painter. A cover page design for a calendar of 1883, watercolour, 5.5 x 8.5cm. A Gothic arch opens to the background where the castle and its vicinity has been explored with the eyes of the spectators. A very detailed painting with revivalist approach of its time.

A Sunset Landscape by an Unknownm Belgian Painter

This landscape of nature by an unknown Belgian painter, is in the Romantic style showing a sunset scene in Belgian rural. It is oil on board and dimensions are 16 x 10.5 cm. The composition in terms of expression and style heavily influenced by Barbizon School and particularly Camille Corot. Eventhough it is signed by the artist, the signature is very difficult to read. It may be the work of Pierre Thevenet (1870-1937), a Belgian landscape painter. It has been purchased from the famous Sablon flea market, Brussels in May, 2007.

Bu manzara resmi bir Belçika kırsalını konu edinmektedir. Gün batımı sahnesini betimleyen bu kompozisyon Romantik bir manzara resmi özelliklerinin yanı sıra Barbizon Okulu sanatçılarından Camille Corot'nun etkilerinin hissedildiği bir üsluba sahiptir. Resim imzalı olmasına rağmen, imzanın okunması oldukça zordur; ancak Belçikalı manzara ressamı Pierre Thevenet (1870-1937)'nin olma ihtimalinden söz edebiliriz. Karton ya da sıkıştırılmış paçavra üzerine yağlıboya tekniğiyle yapılmış olan eserin boyutları 16 x 10.5 cm'dir.

Silver Birch on the River by Henry Jules C. C. Degroux

Signature Detail

Henry Jules Charles Corneille Degroux was a genre, mythology and historical painter, sculptor, lithographer, pastellist and a drawer. He knew his father Charles de Groux only shortly. He received his education from Portaels at the Académie des Beaux Arts de Bruxelles. Contributing to the exhibitions of the group L'Essor, he was elected a member of the club 'Les XX' the year after. Unfortunately a lack of respect towards Van Gogh, Lautrec and Signac forced him to resign. He also was a guest of 'La Libre esthetiqué'. Le Christ aux Outrages painted in 1888 has been rejected from the 1892 exhibition of the Champs de Mars in Paris. This work had already caused some reactions at the 'Salon triennal de la Nationale des Beaux-Arts de Bruxelles' in 1890. At the time it was shown in a stable of the Alain Chartier street. He prepared a remake of the picture 1893 and another one in 1915. In the Salon d'Automme of 1911 his genius was fully recognized. Being a sincere and faithful artist, he never accepted the symbolist aesthetics, although he played around with the symbolist literature. In this respect he illustrated 'Le Livre Secret' of Joséphin Péladan and he cooperated for a limited period with Willian de Gouve de Nuncques. He spent a long time in France where he became a friend of Léon Bloy. Literary symbols are to be found in his art sometimes but mostly he reamins firmly attached to his father's realistic trend, which he could impregnate with a mere sense for freedom and movement. Favorite subjects are bewildered mobs attacking a beguilded or the same chrashed by cataclysm. Important personalities have been sculpted by him , often with a glimpse narcissism.

Reference: Willem G Flippo, Lexicon of the Belgian Romantic Painters, International Art Press, Antwerp, 2000:(no page number)

About the painting: Silver Birch on the River

Pastel on paper, dimensions: 19 x 28cm.

Silver birch tree which is totally out of its leaves and faded/decayed, painted with florescent colours and gives a striking effect as a primary element of the composition. Faded silver birch making a deep contrast with the green flowers on the foreground and bushy trees in darker colours in the background, has been designed to improve its significance and most probably a symbol solitude of the artist. The painting with its general structure has many features reminiscence of Barbizon School on the one hand, with quick strokes of Impressionism on the other hand.  I presume it must have been made in the last decade of the 19th century.

Sailing Boats offshore of Malaga (Southern Spain) by Frances E. Nesbitt, circa 1910s-1920s

Reverse of the painting

Watercolor on board, 10 x 26cm, unsigned and undated, purchased from the artist's nephew.

About the artist.

Frances Nesbitt (1864-1934) was a prolific painter of landscapes and genre. She was the daughter of an eminent surgeon, Francis Albert, and she trained at the Slade School of Art. She exhibited regularly at the leading London galleries from 1888, chiefly at the Royal Society of British Artists and the Royal Institute of Painters in Water-colours. She particularly loved painting boats, a subject to which her style was well suited, with her adeptness at capturing morning and evening light, and reflections on water. Frances spent much time sketching on the Suffolk coast, as well as at a multitude of other locations at home and abroad, as is evidenced in her sketchbooks. She was an excellent linguist and she travelled extensively in Europe with her mother, where she studied the history and architecture of each country they visited. The two spent some time in North Africa, and Frances wrote and illustrated an A. and C. Black publication, 'Algeria and Tunis', published in 1906, for which she produced seventy watercolours. Her Middle Eastern paintings are particuarly sought after.

Reverse of the painting indicates that the artist employed OWP Ordinary Pasteboard to paint her designs. O.W. Paper & Arts Co. Ltd of 105 Great Russell Street, London. The company was started in 1895 by JW North A.R.A. to market the finest quality hand made papers made from 100% linen rag. The first papers were made by JR Jones of Afonwen Mill, Flintshire, but eventually production moved to J Green & Son at Hayle Mill, Maidstone, Kent. For reference please click here.

Farm house in the dawn by an unknown painter, late 20th cent.

Oil on plywood, 10.5 x 14.5cm, signed but unable to read and undated. A Romantic  horizon backgrounding a farm house on the foreground. The artist's name starts with Ilie, I presume.

Seven sailing boats in an estuary, by Frank Lewis Emanuel circa 1910

An actual drawing by Frank L. Emanuel on paper. It is signed on the left handside. This is a lively, masterfully drawn martime depiction of sail boats by F.L. Emanuel on the spot. It measures 19.3 x 9 cm.

About the artist:

Frank Lewis Emanuel 1865-1948

A noted maritime artist and writer, he studied at University College, London, The Slade, and Juliens in Paris. He became chief examiner for the Royal Drawing Society and was a special artist for the Manchester Guardian. He lived in London and was a contributor to many salons including the RA (38), the Leicester Gallery (17), and at the NEA, RBA, RE, RI, ROI, and the RSA. This was originally part of a legacy of his drawings to the Royal Maritime Museum. It was contained with several hundred others in a Royal Maritime Museum storage box. Because of lack of space some museums are now disposing of works which they could never show to public, either because they are too small or they already too many examples. This series was clearly one of these cathegories.

Fishing boats beached, by Frank Lewis Emanuel circa 1910

This drawing on paper illustrates three fishing boats beached with a number of figures.This drawing shows the strength of the artist's design. Measures: slightly larger than: 17.1x14.1 cm. The drawing is initialled on the left handside by the artist. Please take a look at the drawing above for the artist's bio.

                    Au Printems sur les bords de la Riviere Port-au-Persil by Jean-Pierre Sauvé, 2009

Biography: Painter and printmaker, Jean-Pierre Sauvé was born in1945 in Montréal. He studied anthropology at the University of Montréal before getting a bachelor in Fine Arts at Saint-Laurent College. He also took painting and sculpture classes at the Fra-Angelico Studio in Saint-Laurent. His work can be described as figurative, although it is far from being realistic. His imagery often involves an individual, a couple or an animal depicted in a dreamlike moment of tenderness or contemplation, for example. Recurrent themes are solitude, solidarity, love and voyage. The narratives created are definitely poetic and lyrical. Sauvé has been printmaking for the past twenty years, showing his artwork at the Guilde Graphique gallery but also in different parts of Canada. His works are part of to the Loto-Québec collection, the National Library of Quebec and the National Library of Canada.

Reference: LA GUILDE GRAPHIQUE