Fine Art

Geoffrey de Selincourt – ‘Ayios Epictetos’, mid-20th century watercolour, sheet size 21.5cm x 28cm, within a signed and titled mount. Note: Geoffrey de Sélincourt, born in 1901, was the son of Martin de Sélincourt, a successful businessman and owner of the renowned Swan & Edgar store in Piccadilly Circus, London. He grew up in a distinguished family, with siblings that included the notable author Aubrey de Sélincourt, the illustrator Guy de Sélincourt, and Dorothy, who was married to A.A. Milne. Geoffrey's most successful period as an artist came in the early 1930s when he was represented by Lucy Wertheim as part of her 'Twenties Group', which included Christopher Wood, Barbara Hepworth, Victor Pasmore, Roger Hilton, Mervyn Peake and Nan Youngman amongst others. During this time, his work was also exhibited at the Cooling Galleries in London and Aldridge Bros in Worthing. Described as 'a harmless eccentric who knew nothing but his love for painting,' Geoffrey led a somewhat carefree life. However, his decision to pursue a career in art led to his disinheritance by his father. Consequently, he relied on the generosity of friends and family members, often staying with them until he had outstayed his welcome. By 1932, Geoffrey was living with his uncle, the author Hugh de Sélincourt, near Pulborough, Sussex, where he offered art lessons. In 1935, he moved to France, residing with the American artists and intellectuals Earl and Achsah Brewster at Château Brun, a hub for creatives that was frequented by figures like D.H. Lawrence, Edith Lewis, and Willa Cather. Later, Geoffrey spent time in India as an itinerant yogi before relocating to Cyprus in the 1940s. Initially, he lived with Sushil Dutt and Miss Black in Kyrenia, later spending two years in Nicosia, teaching art while living with two sisters known as 'the Egyptians.' Geoffrey returned to Kyrenia in 1947, moving in with Lieutenant-Colonel W.E. Pain and his wife, Violet. The Pain's, described as an ‘eccentric and vain couple’ had taken up art in their later years. They enjoyed having de Sélincourt's 'cheerful spirit', around their home, and the three of them even lived together in a caravan they called the ‘Trojan Horse.’ However, the Pain’s eventually grew tired of supporting Selincourt, leading to his departure from Cyprus. It is believed that Geoffrey de Sélincourt later died of tuberculosis, though the time and place of his death remain unknown

Geoffrey de Selincourt – ‘Kyrenia District (Cyprus), mid-20th century watercolour, signed, sheet size 17cm x 26.5cm, tipped onto titled card, together with two other watercolours by the same hand and a quantity of watercolours and drawings by Lieutenant-Colonel W.E. and Mrs Violet Pain, including fifteen within frames. Note: Selincourt, the son of a wealthy businessman who chaired the company Bourne and Hollingsworth, was disinherited after choosing to pursue a career as an artist rather than join the family business. He spent some time in India as a wandering yogi before arriving in Cyprus without any money. After a period in Nicosia, Selincourt moved to Kyrenia, where he stayed with Colonel and Ms. Pain, an ‘eccentric and vain couple’ who had taken up art in their later years. They enjoyed having Selincourt, a cheerful spirit, around their home, and the three of them even lived together in a caravan they called the ‘Trojan Horse.’ However, the Pain’s eventually grew tired of supporting Selincourt, leading to his departure from Cyprus. It is believed that Selincourt died of tuberculosis, though the time and place of his death remain unknown.

Gerard Dillon - 'High Cross Panel', mixed media with oil, gouache and pastel on fifteen sheets of paper laid on board, circa 1949, Gerard Dillon Retrospective exhibition label verso, 112.5cm x 159cm, within a stained wood frame. Note: considered one of the artist's seminal works, the 'High Cross Panel' is inspired by Celtic relief sculptures that Dillon had sketched during his visits to Monasterboice and Mellifont Abbey with his friend, the artist Nano Reid. Although Dillon had grown disenchanted with the Catholic Church of his upbringing, Dillon's incorporation of Celtic Christian iconography can be seen as an attempt to connect with a distinctly Irish tradition. By referencing Celtic art, Dillon sought to position his work within the broader context of Irish artistic heritage. Provenance: P.J. Carroll & Co. Ltd. Art Collection; private collection. Exhibitions: Gerard Dillon Retrospective, Municipal Gallery of Modern Art, Dublin, 1973. Illustrated: White, J. 'Gerard Dillion an Illustrated Biography' (Wolfhound Press, 1994), pp.26-27.

John Minton, after Samuel Palmer – ‘Ruth Recovered from the Gleaning’, 20th century monochrome ink with wash and bodycolour, titled verso, 18cm x 21.5cm, within a gilt frame. Provenance: Carlos Peacock; Chelsea Rare Books, March 1998.

Paul Maitland – ‘Barges, Battersea Riverside’, late19th/early 20th century oil on board, titled label verso, 18.5cm x 11cm, within a painted and gilt wood frame. Provenance: Bonhams, British and European Art, 6th July 2022, lot no. 141; Eardley Knollys.

Claughton Pellew-Harvey – Landscape with Two Churches, watercolour with pen and ink, signed and dated 1912 recto, 34.5cm x 49.5cm, within a stained wood frame. Provenance: Toovey’s, 12th June 2013, lot no. 35. Literature: reproduced in Methuen-Campbell, J., ‘Ploughshare & Hayrick, the life and work of Claughton Pellew and Kechie Tennent’ (The Fleece Press, 2019) p.34.

Claughton Pellew-Harvey – Landscape with Windmill, watercolour with pen and ink, signed and dated 1913 recto, 28.5cm x 38.5cm, within a stained wood frame. Provenance: Toovey’s, 12th June 2013, lot no. 34. Literature: reproduced in Methuen-Campbell, J., ‘Ploughshare & Hayrick, the life and work of Claughton Pellew and Kechie Tennent’ (The Fleece Press, 2019) p.36.

James Methuen-Campbell – ‘Ploughshare & Hayrick, the life and work of Claughton Pellew and Kechie Tennent’, private press book, published by The Fleece Press, 2019, one of 375 standard copies bound in quarter cloth with printed paper sides, containing a tipped-in wood engraving.

Mary Martin – ‘St Dominic Church, Winter Evening’, 20th century oil on board, signed recto, titled verso, 39cm x 59cm, within a painted and gilt wood frame.

Rupert Norman Shephard – ‘Bird in the Vine’, oil on board, signed and dated 1969 recto, titled verso, 55cm x 39.5cm, within a painted wood frame.

Tom Coates – ‘St Enimie Gorges Du Tarn’, oil on canvas, signed with monogram recto, titled and dated 1982 to Royal Society of British Artists label verso, 34cm x 39cm, within a painted wood frame, together with another oil by the same hand, Landscape with Mill on a Riverbank.

Edward Brian Seago – Horseracing Study, 20th century ink with wash and gouache over pencil, signed, 23cm x 23cm, within a gilt frame.

Peter Markham Scott – Berwick Swans, pen and ink with gouache, signed, inscribed and dated 1972, 12cm x 19.5cm, within a gilt frame.

Edward Wesson – Village Scene with Thatched Cottage and Figures, 20th century watercolour, signed, 37cm x 32cm, within a gilt frame.

Edward Wesson – ‘Near Wylye, Wilts’, 20th century oil on board, signed recto, titled verso, 46cm x 61cm.

Edward Wesson – Chanctonbury Ring from Ashington, 20th century watercolour, signed, 21cm x 28.5cm, within a painted wood frame.

Edward Wesson – ‘Arundel Castle after the Floods’, 20th century watercolour, signed recto, titled Frost & Reed label verso, 23.5cm x 69cm, within a painted wood frame.

Edward Wesson – ‘The White Windmill at High Salvington, Sussex’, 20th century watercolour, signed recto, titled gallery label verso, 24cm x 34cm, within a painted wood frame.

Edward Wesson – ‘Birdham Pool’, 20th century watercolour, signed recto, titled label verso, 26cm x 39cm, within a painted wood frame.