MICHAEL KENNA "DRAPED BOATS" GELATINMICHAEL KENNA "DRAPED BOATS" GELATIN SILVER PRINT Michael Kenna (American / English b. 1953) 'Draped Boats', Whitby Yorkshire England, negative 1986 and printed 1990, gelatin silver print photograph, pencil signed and dated lower right and numbered 34/45 to lower left, Jackson Fine Art, Atlanta gallery label verso, framed. Approximate Dimensions:image 6", w. 9"; frame h. 20.25", w. 16.25", d. 1". Provenance: Private Collection, Atlanta, GA.
HAROLD FRYERS (1920-2012) WATERCOLOUR.HAROLD FRYERS (1920-2012) WATERCOLOUR. 'ARGUMENTS YARD, WHITBY'.59 X 47CM
A COLLECTION OF FOUR STERLING SILVERA COLLECTION OF FOUR STERLING SILVER SOUVENIR SPOONS. INCLUDING RUTLAND USA, WOODSTOCK, LAKE GEORGE AND A 1925 WHITBY SOUVENIR SPOON.51G
FRANK MEADOW SUTCLIFFE (6) PortraitFRANK MEADOW SUTCLIFFE (6) Portrait of a fisherman photograph, published by The Sutcliffe Gallery, Whitby, circa 1970's 24 x 19cm together with four other photographs of fishing related subjects and a book of a selection of his work compiled by Bill Eglon Shaw (6)
GEORGE STANFIELD WALTERS (1837-1924)GEORGE STANFIELD WALTERS (1837-1924) BRITISHGeorge Stanfield Walters, Grimsby sailing barge and other shipping off Whitby, watercolour on paper, signed. Giltwood frame. 11.5" x 18.5".
CIRCUS BROADSIDE AND PROGRAM.CircusCIRCUS BROADSIDE AND PROGRAM.Circus Broadside and Program. Includes a broadside for the Yankee Robinson Ten Big Shows featuring a large illustration of Tom-Tom the elephant (Erie Lithography, ca. 1905), 10 _ x 28", chipped margins with some tears repaired with tape; and an official program for The Cook and Whitby Colossal English Circus (W. W. Parmlee, ca. 1890s), 10 _ x 14 _", folded, light staining with small chips and creases, marked with two different dates in pencil. Fair.
PR A. LEWIS LANDSCAPESA. Lewis (British),PR A. LEWIS LANDSCAPESA. Lewis (British), n.d. A pair of early 20th century oils on canvas, each depicts a port scene with figures in the foreground. One is signed "A. Lewis" lower right and entitled "Old Hulks, Devonport" on the reverse, and the other is signed lower left and entitled "Low Tide, Off Whitby" on the reverse, in matching contemporary frames. Both have craquelure; "Low tide" has small area of overpainting near the center with a 4 x 1 1/4" patch on the reverse. Image 20 x 12 1/2", framed 26 1/2 x 18 1/4" high overall. ESTIMATE $800-1,200
Condition:
Both have craquelure; "Low tide" has small area of overpainting near the center with a 4 x 1 1/4" patch on the reverse. I
J.F. BARRY PITTAR, WHITBY SUNRISE, MIXEDJ.F. BARRY PITTAR, WHITBY SUNRISE, MIXED MEDIA/P(British, 1880-1948), watercolor and charcoal harbor scene, signed lower right, titled lower left. Framed, not examined out of frame. Frame size: 18 1/2" high, 22 1/2" wide. Provenance: Property of a CT Estate.
Condition:
Any condition information included in our lot descriptions is not the equivalent of a written condition statement, and the absence of condition information does not imply that the lot is free of defects. Our auction lot descriptions reflect our effort to provide accurate, objective and fair information on all lots for sale, and we encourage bidders to request written condition statements and large file images on any lots of interest by emailing condition@woodburyauction.com. We also strongly advise that you or someone on your behalf inspect the lot personally before bidding. All lots are sold "as is" and "where is" and neither we nor any consignor makes any warranties or representation of any kind or nature with respect to the property. There are no returns and no refunds based on condition
A GROUP OF EIGHT NAPOLEONIC AND OTHERA GROUP OF EIGHT NAPOLEONIC AND OTHER ASSORTED DESKTOP ...A GROUP OF EIGHT NAPOLEONIC AND OTHER ASSORTED DESKTOP OBJECTS, 19TH AND 20TH CENTURIES, comprising a burled walnut pipe carved as the bust of Napoleon and mounted with faux horn stemmed mouthpiece, length: 6 1/2", together with a custom carved wood stand by Decatur Industries; a domed transparent glass paperweight enclosing a silver metal medallion depicting a profile portrait bust titled "NAPOLEON I," signed L/L with monogram and mounted on green felt background, verso covered in marbleized paper backing, height: 1 1/2", diameter: 3 1/2"; a domed transparent glass paperweight enclosing a silvered metal/pewter pendant, modeled as a spread-winged eagle centering a profile portrait bust of Napoleon with an arched crest background partially revealing a radiating "N I," mounted on a deep blue marbleized paper background, height: 1 1/2", diameter: 3 1/2"; a French commemorative gilt brass and burlwood snuff box, honoring Napoleon I and of circular form centering a repoussé panel reproducing Jacques-Louis David's "Napoleon Crossing the Alps," and titled below PASSAGE DU MONT ST. BERNARD," height: 3/4", diameter: 2 5/8"; a French modern "Bonaparte Pack," boxed deck of Napoleon Bonaparte and his family playing cards, by Éditions J.C. Dusserre, Paris, reproduced from 1858 original; a William Maple & Sons brass mounted and rolled steel conical lighter fluid can, by Hibernia Works, Sheffield, England, brass labeled, height: 3 1/4"; a cylindrical brass lighter with conforming removable top revealing a disc igniter thumbpiece and a cotton cord wick, verso threaded base opening to an interior with a woolen fluid ball, height: 3 1/4"; a WW I German iron shell fragment mounted on mahogany base as a paperweight, above two plaques engraved with "PIECE OF GERMAN SHELL FOUND AT WHITBY 16-12-14," and "E.G. FROM P.H.C.," flanking an inset 1914 English one penny copper coin, length: 8". (8)
Condition:
Each in good used condition and the burlwood pipe has a blackened bowl, some minor nicks, and normal light wear, with Decatur, stand in good condition. Both glass paperweights with metal pendants have normal wear on glass, and interior pendants have some tarnished spots, small scratches, light wear, and marbleized paper has some small tears and is dry. Burlwood snuff box has surface buildup, tiny nicks, small scratches, and expected general wear. The Bonaparte playing cards are in good shape and their box is good with some light edge wear. The lighter fluid can has expected wear and some tiny spots of surface rust. The lighter has expected wear, a lead repair on the underside of the base, and the disc igniter doesn't work. The iron shell paperweight has obvious rust, buildup, and engraved plaques are dry, yellowing, nicks, and surface buildup, while the wood base has normal light wear, some scratches, and dings. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS."
FREDERICK TORDOFF OIL ON CANVAS, "THEFREDERICK TORDOFF OIL ON CANVAS, "THE WHALING PORT OF W...Frederick Tordoff (English b.1939) Oil on Canvas, "The Whaling Port of Whitby", signed lower right, "F. Tordoff", titled on reverse. Loss to one corner of frame as seen in photos.
10 in. x 20 in. Overall 13.5 in. x 23.5 in.
Condition:
Items may have wear and tear, imperfections or the effects of aging. Please contact the gallery for further details prior to bidding. Any condition statement given as a courtesy should not be treated as fact.
FOUR ANTIQUE ENGLISH SILVER PLATE CANDELABRASFourFOUR ANTIQUE ENGLISH SILVER PLATE CANDELABRASFour Antique English Silver Plate Candelabras, one pair marked, "Whitby Plate London England, E.P. on Copper, Hand Chased", the other, "Made in England".
Height 14 in. Width 13.5 in. Depth 5.5 in.
Condition:
Items may have wear and tear, imperfections or the effects of aging. Please contact the gallery for further details prior to bidding. Any condition statement given as a courtesy should not be treated as fact.
FRED TORDOFF OIL ON CANVAS "SHIPPINGFRED TORDOFF OIL ON CANVAS "SHIPPING OFF THE WHALING PO...Fred Tordoff (British b. 1930) Oil on Canvas "Shipping Off the Whaling Port of Whitby" , signed lower right F. Tordoff in gold toned gessoed frame
10 in. x 20 in. Framed 14 in. x 23.75 in.
Condition:
Items may have wear and tear, imperfections or the effects of aging. Please contact the gallery for further details prior to bidding. Any condition statement given as a courtesy should not be treated as fact.
STUART HENRY BELL (BRITISH 1823-1890)
LIFESTUART HENRY BELL (BRITISH 1823-1890)
LIFE ON THE WATER - TOIL AND PLEASURE Signed and dated 1893/4, signed, inscribed and dated verso, oil on canvas76cm x 127cm (30in x 50in)Note: The registration number on the fishing boat refers to Whitby
FREDERICK WILLIAM SCARBROUGH (UNITEDFREDERICK WILLIAM SCARBROUGH (UNITED KINGDOM, 1860-1939), “EVENING CALM, WHITBY”., WATERCOLOR ON PAPER, 12.25" X 9.25" SIGHT. FRAMED 20" X 16.25".FREDERICK WILLIAM SCARBROUGH, United Kingdom, 1860-1939, "Evening Calm, Whitby". Signed lower right "F.W. Scarbrough". Titled lower left. The artist's name is often misspelled as "Scarborough". Dimensions: Watercolor on paper, 12.25" x 9.25" sight. Framed 20" x 16.25".
ATTRIBUTED TO GIUSEPPI FEDI (ITALY,ATTRIBUTED TO GIUSEPPI FEDI (ITALY, 1792-1819), "MELANTO OF WHITBY GEORGE PARRY MASTER"., WATERCOLOR ON PAPER, 19.5" X 26". FRAMED 22" X 28".ATTRIBUTED TO GIUSEPPI FEDI, Italy, 1792-1819, "Melanto of Whitby George Parry Master". Unsigned. Dimensions: Watercolor on paper, 19.5" x 26". Framed 22" x 28". Provenance: Peter Tillou.Northeast Auctions, Portsmouth, New Hampshire, August 19, 2000, Lot #628.Private Collection, Massachusetts.
BRITISH WOOLWORK PICTURE19th century,BRITISH WOOLWORK PICTURE19th century, signed "G.W. Whitby / India"; a "woolie" sailor's embroidery depicting the Prince of Wales feathers and two flags; Provenance: The Estate of Barry Tarlow, Los Angeles; Condition: appears to be in good condition; slight yellowing to lower part of flags; one or two tiny holes to one feather; framed under glass; not examined out of frame; 27 1/2 x 27 1/2 inches frame Condition:
PENNSYLVANIA CHIPPENDALE WALNUT TALLPENNSYLVANIA CHIPPENDALE WALNUT TALL CASE CLOCKPennsylvania Chippendale walnut tall case clock, late 18th c. , the broken arch star-inlaid bonnet with script initials DH , enclosing an eight-day works with brass face, signed Richd Stonehouse Whitby Fecit , over a case with fan carved door and fluted quarter columns, 94 1/4" h. Provenance: Charles Sterling; The Estate of Peter Tillou.
Condition:
Parts: none. Broken arches are replaced. Works and case associated. Pook & Pook does not guarantee clocks to be complete or in working condition.
FOUR HISTORICAL BLUE STAFFORDSHIRE PLATESFourFOUR HISTORICAL BLUE STAFFORDSHIRE PLATESFour Historical Blue Staffordshire plates , to include Dartmouth, The Kent East Indiaman, Whitby, and View of Liverpool, 8 1/4" dia. - 10" dia.
Condition:
Dartmouth with small rim flake and wear to inner rim.
ENGLISH SCHOOL (19TH CENTURY,), "BARQUEENGLISH SCHOOL (19TH CENTURY,), "BARQUE 'NICARAGUA' OF WHITBY ..."., WATERCOLOR ON PAPER, 10.75" X 17". MATTED 17" X 22.25".ENGLISH SCHOOL, 19th Century, "Barque 'Nicaragua' of Whitby ...". Signed illegibly lower left. Titled on mat. Dimensions: Watercolor on paper, 10.75" x 17". Matted 17" x 22.25".
A George III Mahogany Tall Case Clock
RichardA George III Mahogany Tall Case Clock
Richard Stonehouse, Whitby, Circa 1780
Height 90 1/4 x width 21 1/2 x depth 11 inches.
DOUBLE-FLUE HARPOON 19TH CENTURY LENGTHDOUBLE-FLUE HARPOON 19TH CENTURY LENGTH 32”.DOUBLE-FLUE HARPOON, 19th Century, Signed "W. Hurst" and marked "Phoenix 1832" for the whaleship Phoenix, which operated from the northern English port of Whitby. Hellman Collection acquisition date August 14, 1993. Additional information about this lot may be found on the Hellman Collection website, number REH116. Dimensions: Length 32". Provenance: Barbara Johnson Collection.The Collection of Bob and Nina Hellman, Nantucket, Massachusetts.
EARLY AMERICAN IMPRINTS, ETC., INCLUDINGEARLY AMERICAN IMPRINTS, ETC., INCLUDING THE SCRIPTURE-BISHOP VINDICATED. 1733EARLY AMERICAN IMPRINTS, ETC., INCLUDING THE SCRIPTURE-BISHOP VINDICATED. 1733, [American Imprints] 12 volumes, 12 titles: Eleutherius [pseudonym of Jonathan Dickinson]. The Scripture Bishop Vindicated: A Defence of the Dialogue Between Praelaticus and Eleutherius ... Bound with: Phileluth Bangor, V.E.B. [pseudonym of Thomas Foxcroft]. Eusebius inermatus: Just remarks on a late book intitled Eleutherius Enervatus, or an Answer to a Pamphlet, Intituled, The Divine Right of Presbyterian Ordination ... Boston: Printed for D. Henchman, 1733. 16mo. First edition, with half-title. 125: 158 pp. Plain embossed leather. With scarce Nathaniel Hurd bookplate of Harvard University with inscription 'The Gift of Jonathan Jackson/Newbury/1764-66,' and signed in ink on title page; Espinasse, Isaac. A Digest of the Law of Actions and Trials at Nisi Prius. Walpole, New Hampshire: Printed for Thomas and Thomas, by David Carlisle. 1801. Large 8vo. 2 volumes. xlviii, 1-426: 427-871. Contemporary brown leather binding, spines with 5 raised bands; Whitby, Daniel. Six Discourses ... Worcester, Massachusetts: Isaiah Thomas. 1801. 8vo. xvi, 17-412. Contemporary brown leather binding; Stiles, Ezra. President of Yale College. A Sermon Preached Before His Excellency Jonathan Trumbull ... Worcester, Massachusetts: Isaiah Thomas. [1785]. 12mo. 172 pp. followed by advertisements. Contemporary leather binding, placed in is a 1918 single page letter from Warren C. Crane, prominent NY books and manuscripts collector, referring to the book as a gift; Goethe. Sorrows of Werter. Boston: Andrews and Cummings. 1807. 16mo. 319 pp. Contemporary leather binding; A Series of Letters Between the Rev. Joseph Buckminster ... Windsor: James G. Watts. 1811. 16mo. Contemporary brown leather binding. Harvard College Library bookplate; Hill, J. The Young Secretary's Guide: Or a Speedy Help to Learning. Boston: Thomas Fleet. 1750. 16mo. Contemporary brown leather binding; Pike, Nicolas. A New And Complete System of Arithmetic ... Worcester, Massachusetts: Isaiah Thomas. 1797. 8vo. 516 pp. Contemporary brown leather binding. Harvard College Library stamp and bookplate; Ferguson, James. Astronomy Explained Upon Sir Isaac Newton's Principles ... Philadelphia: Matthew Carey. 1809. 8vo. 533 pp. Index. Contemporary brown leather binding. Ownership inscription of Hiram Howard, Cincinnati, 1831; Choice Tales ... Philadelphia: Joseph Charles. 1800. 170 pp. plus Contents. 32mo. Modern binding; Eliot, Jared. The Two Witnesses; or Religion Supported by Reason and Divine Revelation ... London: T. Green. 1736. 32mo. 79 pp., Title page and pages 1 and 2 replaced by modern copies. Modern binding (12)
(10) Staffordshire blue transfer plates(10) Staffordshire blue transfer plates to include (2) American Villa plates, 8-1/2", (2) Adams Hawthornden Edinburghshire plates, 8-7/8" dia, Adams Villa in the Regents Park, 8-7/8" dia, Whitby shell trimmed ship scene, 9-1/4" dia, (1) Clews Canterbury Cathedral plate, 10-1/4" dia and (3) unmarked scenic transfer plates, 10-3/8" dia
R W Yarnold (19th Century)/Whitby CoastalR W Yarnold (19th Century)/Whitby Coastal Scene/signed/oil on canvas, 24cm x 34.25cm
Bernard Evans/Whitby Abbey/watercolour,Bernard Evans/Whitby Abbey/watercolour, 39cm x 74cm/Provenance: The Mayor's Picture Exhibition, 1908
DAVID C. BELL, (B. 1950), WHITBY SAILINGDAVID C. BELL, (B. 1950), WHITBY SAILING THE OCEAN, WATERCOLOR ON PAPER, SIGHT: 17" H X 25" WDavid C. Bell, (b. 1950) Whitby sailing the ocean Watercolor on paper Signed lower right: David C. Bell Sight: 17" H x 25" W Notes: A handwritten letter detailing the heritage and journey of the ship, Whitby, signed by David C. Bell, and dated, October 2002, accompanies this lot. Watercolor on paper Dimensions: Sight: 17" H x 25" W
GEORGE WEATHERHILL WATERCOLOR ON PAPERGeorgeGEORGE WEATHERHILL WATERCOLOR ON PAPERGeorge Weatherhill (British, 1810-1890) watercolor on paper, Whitby from Stainsacre Lane. Inset card with title and artists name below painting. Titled on label, verso. Bleeding to paint on tree, center. Toning to paper.
4 1/4" x 9 5/8" (with frame 11 1/4" x 16 1/2").
ALFRED WILLIAM HUNT R.W.S. (BRITISHALFRED WILLIAM HUNT R.W.S. (BRITISH 1830-1896)
SUNSET AT WHITBY VIEWED FROM THE NORTH Watercolour12.7cm x 21.6cm (5in x 8.5in)Provenance: Violet Hunt, sold from her estate (according to Abbott & Holder);With Abbott & Holder, London, July 1998.
? JOHN ATKINSON GRIMSHAW (BRITISH 1836-1893)
EVENING? JOHN ATKINSON GRIMSHAW (BRITISH 1836-1893)
EVENING IN KNOSTROP Signed and dated 1881, oil on board34cm x 44cm (13.5in x 17.25in)Provenance: Thos Agnew & Sons Ltd, London, No.28603John Atkinson Grimshaw’s innovation was to apply Ruskin’s tenet of ‘truth-to-nature’ to scenes of Britain’s burgeoning industrial centres. Owing to his sensitive portrayal of the atmosphere and ‘feeling’ of urban life, he has been considered the artistic equivalent of the great Victorian novelists Charles Dickens and Elizabeth Gaskell. Lyon & Turnbull are delighted to be offering two paintings by one of the most accomplished British artists of the nineteenth century.Atkinson Grimshaw was born in Leeds in 1836. By 1860 he had left his position as a Northern Railway clerk to become a full-time painter, much to his parents’ dismay. His early artworks were generally landscapes and still lifes of fruit, flowers and birds rendered with a detailed intensity inspired by the Pre-Raphaelites. He also worked from photography, a relatively new medium, and is believed to have implemented camera obscura projections onto his canvases to refine his compositions.His career breakthrough came in 1867 when a painting of Whitby harbour at night was received to great acclaim. The urban nocturne dominated Atkinson Grimshaw’s output forthwith, as he pursued ever-more subtle and complex ways to illuminate his compositions. Contemporary urban audiences identified with his nighttime streetscapes lit by gas lamps, which effectively evoked the dynamism and isolation of the industrialised town.Atkinson Grimshaw travelled to various towns and harbours to study their architecture and imbibe their atmosphere. The locales he most frequently painted (Glasgow, Leeds, Liverpool, Whitby, Scarborough and London) reflect the distribution of his market. In the mid-nineteenth century innovative contemporary art was generally patronised by wealthy industrialists in the north of England and Scotland. Such was the case with the Pre-Raphaelites, whose aesthetic initially proved too challenging for traditional London tastes but flourished in northern industrial centres. Atkinson Grimshaw’s market developed along similar lines, and it was not until the 1870s that London collectors began to invest in his work in earnest.By 1870 he was successful enough to rent Knostrop Hall, a seventeenth-century mansion represented in Evening in Knostrop. The Hall was built for Adam Baynes (1622-1671), the first Member of Parliament for Leeds, and its Jacobean architecture would prove an enduring inspiration which Atkinson Grimshaw would continue to paint for the rest of his life. Evening in Knostrop depicts a solitary, fashionably-dressed figure waiting at the gate to the house. The shadowy landscape under the pale sky successfully evokes the ambience of Knostrop’s grounds in twilight.Between 1885 and 1887 Atkinson Grimshaw lived in Chelsea, London near the studio of the American artist James McNeill Whistler. The pair became good friends and bonded over their shared interest in painting city living, although Whistler implemented a more impressionistic technique. Whistler would later comment ‘I thought I had invented the nocturne, until I saw Grimmy’s moonlights’.
? JOHN ATKINSON GRIMSHAW (BRITISH 1836-1893)
GREENOCK? JOHN ATKINSON GRIMSHAW (BRITISH 1836-1893)
GREENOCK Signed inscribed and dated 'T.20.92', signed, inscribed and dated verso 'Quayside Greenock T.20.92', oil on canvas31cm x 46cm (12in x 18in)Provenance: Christie's, 20 July 1979, lot.42 £8000 where purchased by the vendor's family and thence by descentJohn Atkinson Grimshaw’s innovation was to apply Ruskin’s tenet of ‘truth-to-nature’ to scenes of Britain’s burgeoning industrial centres. Owing to his sensitive portrayal of the atmosphere and ‘feeling’ of urban life, he has been considered the artistic equivalent of the great Victorian novelists Charles Dickens and Elizabeth Gaskell. Lyon & Turnbull are delighted to be offering two paintings by one of the most accomplished British artists of the nineteenth century.Atkinson Grimshaw was born in Leeds in 1836. By 1860 he had left his position as a Northern Railway clerk to become a full-time painter, much to his parents’ dismay. His early artworks were generally landscapes and still lifes of fruit, flowers and birds rendered with a detailed intensity inspired by the Pre-Raphaelites. He also worked from photography, a relatively new medium, and is believed to have implemented camera obscura projections onto his canvases to refine his compositions.His career breakthrough came in 1867 when a painting of Whitby harbour at night was received to great acclaim. The urban nocturne dominated Atkinson Grimshaw’s output forthwith, as he pursued ever-more subtle and complex ways to illuminate his compositions. Contemporary urban audiences identified with his nighttime streetscapes lit by gas lamps, which effectively evoked the dynamism and isolation of the industrialised town.Atkinson Grimshaw travelled to various towns and harbours to study their architecture and imbibe their atmosphere. The locales he most frequently painted (Glasgow, Leeds, Liverpool, Whitby, Scarborough and London) reflect the distribution of his market. In the mid-nineteenth century innovative contemporary art was generally patronised by wealthy industrialists in the north of England and Scotland. Such was the case with the Pre-Raphaelites, whose aesthetic initially proved too challenging for traditional London tastes but flourished in northern industrial centres. Atkinson Grimshaw’s market developed along similar lines, and it was not until the 1870s that London collectors began to invest in his work in earnest.By 1870 he was successful enough to rent Knostrop Hall, a seventeenth-century mansion represented in Evening in Knostrop. The Hall was built for Adam Baynes (1622-1671), the first Member of Parliament for Leeds, and its Jacobean architecture would prove an enduring inspiration which Atkinson Grimshaw would continue to paint for the rest of his life.Between 1885 and 1887 Atkinson Grimshaw lived in Chelsea, London near the studio of the American artist James McNeill Whistler. The pair became good friends and bonded over their shared interest in painting city living, although Whistler implemented a more impressionistic technique. Whistler would later comment ‘I thought I had invented the nocturne, until I saw Grimmy’s moonlights’.This Greenock scene exemplifies Atkinson Grimshaw’s mastery of ephemeral light. Greenock is situated on the River Clyde around 22 miles from Glasgow, and in the 18th and 19th centuries was a thriving and populous shipbuilding hub. Atkinson Grimshaw delineates the architecture with sharp precision, which serves as a visual counterpoint to the soft, delicate palette. While muted tones evoke the damp evening haze, points of tonal intensity draw the eye to the bustle of activity across the quayside, from the moored ships’ blinking lights, to the carriages conveying silhouetted figures, to the warm glow emanating from the row of smart shops.Greenock was painted a year before his untimely death from tuberculosis in 1893. Several of his children also became painters, including Louis Grimshaw, a son born in 1870. Louis trained under his father, and for a spell the pair painted collaboratively, with John executing the sky and landscape and Louis working on the figures. Like his father, Louis generally painted nocturnes, but he diverged by predominantly representing London. Louis’ career as an artist was relatively brief, as he gave up painting in 1905 to work as a cartographer for the Manchester Guardian, and his paintings are consequently rare.
SHIP'S DRUG SAFE, BRITISH MERCHANT NAVY,SHIP'S DRUG SAFE, BRITISH MERCHANT NAVY, "NOVA SCOTIA", 1926, "LAUDENUM" Heavy Tin Box in black paint, white lettering on top reads "Warren Line/ 1926/ S.S. Nova Scotia/ Furness and Whitby/ 6796T./ 406'." Painted label on front in black on gold with red underlining reads "Laudanum", 7" x 14" x 9 1/2". Fine condition.
Tag reads "S.S. Nova Scotia, 1926. Built for Warren Line by Vickers, Armstrong, Newcastle, England. 6,796 tons, 406' x 55'. Twin screw, 15 knots. Quadruple expansion engines, two masts and one funnel. 105 in cabin and 80 third class. Torpedoed and sunk off Lorenco Marques, Mozambique, December 4, 1942 with heavy loss of life. Had on board at time of sinking over 300 Italian prisoners of war."
George Morton
(British, fl. 1874-1904)
TheGeorge Morton
(British, fl. 1874-1904)
The Harbor, Whitby, Yorkshire, circa 1880s
watercolor
signed 'G. Morton' (lower right)
8 3/4 x 6 1/4 inches.
Property from the Collection of F. Alan Cummings, Tallahassee, Florida
7 vols. Christian Subjects - 18th &7 vols. Christian Subjects - 18th & 19th-Century British & American Imprints: Whitby, Daniel. Sermons on The Attributes of God. London: for A. and J. Churchill, 1710. 2 vols. in 1. 8vo, contemp. calf; rubbed & worn, rebacked. Internal spotting, foxing & occasional dust soiling. Ink stamp & annotations on title page. * Cave, William. Primitive Christianity. London, 1728. Seventh Edition. 8vo, contemp. calf, spine gilt, red morocco spine label; scuffed, front cover detached. Frontis. Minor internal dampstaining. * Claude, John. An Essay on The Composition of a Sermon. Cambridge, 1779. 1st English-language ed. 2 vols. 8vo, contemp. calf; rubbed, rebacked. Frontis. portrait. Some internal spotting, foxing & occasional dust soiling. Ink stamp & annotation on title pages. * Huntington, Joseph. Calvinism Improved. New London (Connecticut): Samuel Green, 1796. 8vo, modern buckram. Some dampstaining throughout, rather heavy on front matter. Evans 30609. * Fox, George. Journal of... London, 1852. Seventh Edition. Edited by Wilson Armistead. 2 vols. 8vo, orig. blind-stamped & ruled brown cloth, gilt-lettered spines; light wear.
PAIR OF TAZZAS - Royal Crown Derby TazzasPAIR OF TAZZAS - Royal Crown Derby Tazzas in pink white and gilt decoration with handpainted harbor scenes at center marked 'Whitby' and 'Hull' on underside the shallow bowls set on three footed bases 5 3/4'' tall 9 3/4'' diam fine condition.
English porcelain bowl of nautical interestEnglish porcelain bowl of nautical interest dated 1855 depicting the Brig Oak of Whitby 5 1/4" h. 11" dia. ?
Attr: William McAlpen (British act.Attr: William McAlpen (British act. 1840-1880) "Heavy Weather off the Cliff Whitby". Oil on board signed at the lower right title written in pencil on verso apprx. 10-1/2"D sight size in an ornate gilt frame with spandrel overall apprx. 17-3/4" x 17-3/4". Nameplate reading "J. McAlpine" (may not be accurate).