Henry Dawson (1811-1878)

Autumnal Evening on the Banks of the River Trent, Wilford Nr Nottingham

This stunning, large British mid 19th century exhibited river Trent landscape oil painting by noted artist Henry Dawson was described as 'one of the Principle Pictures of 1858' in The Life of Henry Dawson by Alfred Dawson. It was painted in 1858 and is signed and dated with an inscription as the title on the reverse. It was exhibited at the British Institute the same year.  The artist regularly visited Nottingham where he had family connections. He is recorded for instance as travelling to Nottingham in October 1858. The river Trent at Nottingham was a favourite subject of Dawson's and one which he returned to on many of his visits to Nottingham. His friend and fellow artist William Henry Knight wrote that Dawson had reached a level in painting that will place him 'immensely above any living landscape painter'. After mentioning the impiety of going beyond Turner he continued: 'One thing I will venture to affirm...is that Turner has never painted so luminous a sun as yours.'

Indeed, Autumnal Evening on the Banks of the Trent, Wilford near Nottingham depicts the river to the right and the bank to the left with cows watering in the evening sun with trees further down stream. The river has the most beautiful reflections of the descending sun. The colours in the sky and water are just stunning as is the brushwork and details. This large and impressive British Victorian exhibited river landscape oil painting has excellent provenance including exhibition history, previous owner and literature citation and is an excellent example of Dawson's work.

Signed and dated 1858, and with inscription as title on the reverse and further inscription 'H Dawson No.1'

Unframed.

Provenance British Institution, 1859 no.36. Nottingham University Art Gallery, Henry Dawson (1811-1878) Centenary Exhibition. no. 49.
                        Collection of Horace Woodward, Esq. Howes Gallery, Brighton. Edward C.Wigg, Esq. Loxwood Place, Loxwood. Sussex. Thence to the present vendor.

Literature: The Life of Henry Dawson, Landscape Painter 1811-1878, by Alfred Dawson, Seeley & Co. London 1891. p 72 where listed as ' one of the Principal Pictures of 1858'

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Glyn Morgan (1926-2015)

Portrait of Nellie - Millie Hayes (1916-2001) Artist and Housekeeper at Benton End for Cedric Morris

This superb British Post Impressionist fifties portrait oil painting on board is by noted artist Glyn Morgan. Morgan was a noted Welsh artist, initially taught by Ceri Richards in Cardiff and later a Benton End student (the East Anglian School of Painting and Drawing) where he was greatly influenced by Cedric Morris who proved to be his main source of inspiration throughout his artistic career. Painted in 1956 it is a head and shoulders portrait of a lady called Nellie. She is actually Millie Hayes nee Gomersall (1916-2001) but often called Nellie. Originally from Stafford, she was educated at Malvern School of Art. Whilst working in London she met Cedric Morris in a cafe in Percy Street. She became a model of Morris and later studied under him at Benton End. He painted her portrait in 1936 which was displayed at the Minories, Colchester. She exhibited at Ipswich Art Club in 1941. Millie married Ronald Hayes in 1942 and Cedric Morris painted her portrait for a second time in 1964. Her portrait was also painted by artist Elvic Steele. Millie became the house keeper for 20 years for Cedric Morris and his partner Lett Hayes at their house in Benton End. At some point prior to this she had spent many years in a mental institution, simply because she had suffered from post natal depression. She was a beneficiary of his will, being left enough money to buy her own home. She died in 2001 and is buried with them both at Hadley cemetery, Suffolk. 

Beth Chatto recalls Millie in Benton End Remembered published in 2002.

"Slender as a flower on a stem, with huge dark expressive eyes and expressive hands, she devoted twenty years of her life, helping to run the household, caring for two handsome, naughty, darling old men who coloured our lives until eventually the light of each was blown out".

Nellie is wearing a sweet floral peach coloured dress with a similar coloured background. The bold, confident brushwork is absolutely fantastic. This is a fine example of Morgan's work and a superb Post Impressionist 1950's portrait oil painting of a significant woman behind the scenes at Benton End and an artist in her own right. 

Provenance. Artist's details and title inscribed on board verso.
                     Royal Academy label 1956 label verso. Exhibited as Nellie.  

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Glyn Morgan (1926-2015)

Portrait of Tana Sayers (Metana Galleani)

This superb British Post Impressionist oil painting is by artist Glyn Morgan. Morgan was a noted Welsh artist, initially taught by Ceri Richards in Cardiff and later a Benton End student where he was greatly influenced by Cedric Morris who proved to be his main source of inspiration throughout his artistic career. Painted in 1955, the sitter is Tana Sayers and her full first name is Metana and maiden name Galleani. She was the daughter of militant Italian anarchist Luigi Galleani whose followers included Sacco and Vanzetti. She married Irish poet and playwright Michael Sayers in 1938. He was a protégé of TS Eliot and a friend of George Orwell, during the war an investigative reporter, after that a victim of McCarthyism, and in the 1960s a screenwriter for an early James Bond movie. They had two sons, Sean and Peter and divorced in 1957 after nineteen years. She was described by Ted Allan, an author who stayed briefly with Tana that same year as  a woman of singular intelligence and presence. An eminence grise in the émigré community, At that time, Tana lived with her two sons in Kent Terrace, one of the Georgian Terraces that border Regent's Park. Morgan would have painted her portrait a couple of years before her divorce and move to Kent Terrance. The portrait is an oil on board head and shoulders of Tana, turned to her left, wearing a stripy garment. Her dark short hair is brushed off her face revealing her strong, characterful facial features. There is something very striking about this portrait and knowing a little about Tana's background makes it all the more interesting. The bold, confident brushwork is absolutely fantastic. This is a fine example of Morgan's work and a superb Post Impressionist fifties portrait oil painting.
Signed lower right Morgan 55.

Provenance. Sitter's details verso. 

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Jacques-Emile Blanche (1861-1942)

Title Sunflower Floral Arrangement

Description This vibrant French Art Deco floral oil painting is by noted French artist Jacques Emile Blanche. Painted circa 1930, the palette is of wonderful tones of yellow and orange with splashes of green and typical Blanche heavy impasto.  The composition is a floral bouquet consisting of sunflowers, red hot pokers and dahlias against an orange and gold background and in a stunning black and gold vase. This is an excellent radiant example of Blanche's work and a good size.

Signed lower right

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Walter Langley (1852-1922)

The Evening of Life - Interior Portrait

This stunning, large British Edwardian Newlyn School interior portrait oil painting is by much noted and exhibited artist Walter Langley. Originally from Birmingham, Langley and his family moved to St Ives in 1881. He was one of the first artists to settle and painted the local fishermen and their families. Painted in 1906 and entitled The Evening of Life, the painting is a full length seated portrait of an elderly lady in a cottage interior. She is sat by a table on which she has a bible, jug of flowers and her sewing equipment. Across her lap she has a large patchwork quilt to mend but is lost in thought. In fact the same sitter and quilt can be seen in Memories, also painted in 1906 and in the Ferens Art Gallery, Hull.  Memories includes more of the cottage interior but the sitter's head is bowed towards her hands. The Evening of Life is more vibrant and the sitters face is much more visible as are the lovely colours of the quilt. The painting has fantastic detail, great brushwork and the Newlyn school palette of colours. The provenance is excellent, having been kept in the same family ownership so fresh to market. The painting appeared in the artist's catalogue Raisonne and was also in 1997 biography by Langely's grandson, Roger Langley, entitled Walter Langley: Pioneer of the Newlyn Art Colony. This a superb example of Langley's work, a good size and composition and a pleasure to gaze upon. 

Signed lower left and dated (19)06.

Provenance Ford, 1906 (£63).
Long in the previous family ownership and sold by the executors of the estate.
Thomas Wood and Sons label vereso. 
Literature: Langley (R) - Walter Langley Pioneer of the Newlyn Art Colony 1997, catalogue raisonne p.170 (under 1906). 

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