A few examples of appraisal values for
BOARDMAN AND WELLS

• § JOHN WELLS (BRITISH 1907-2000)
  § JOHN WELLS (BRITISH 1907-2000) DANCER, 1952 artist's proof, signed, inscribed and dated in pencil in the margin, engraving20cm x 13.5cm (7.9in x 5.4in)Note: Two different impressions/states of this print dated to 1950 are in the British Museum.John Wells and Wilhelmina Barns-Graham shared a particular friendship. Both had benefited from the mentorship of Ben Nicholson who, of the many artists that gathered in St Ives, seemed to have had a particular interest in Barns-Graham’s work. She and Wells had also been significantly influenced by the work of Naum Gabo, a leading figure in Russian Constructivism who, as an emigrant during the War, followed his friends Nicholson and Hepworth to St Ives, playing a key role in the modernist developments that took place.This impact was seen in the pair's artistic practices which shared an affinity with an analytical, at times scientific approach to abstraction. As a result there is often something more linear and hard-edged to their output than some of their more expressionistic peers: a theory of the landscape and its forms as much as a representation of it.
• § JOHN WELLS (BRITISH 1907-2000)
  § JOHN WELLS (BRITISH 1907-2000) WINDOW, 1948 signed, titled and dated (to reverse), oil and pencil on board29.5cm x 35cm (11.6in x 13.75in)Provenance: In Barns-Graham's notes about her collection she notes she purchased two oils by John Wells.Exhibited: 1949: Paris, Salon des Réalités Nouvelles, 1949.2020: Bristol, Royal West of England Academy, St Ives: Movements in Art and Life, 14 March to 19 September 2020.John Wells and Wilhelmina Barns-Graham shared a particular friendship. Both had benefited from the mentorship of Ben Nicholson who, of the many artists that gathered in St Ives, seemed to have had a particular interest in Barns-Graham’s work. She and Wells had also been significantly influenced by the work of Naum Gabo, a leading figure in Russian Constructivism who, as an emigrant during the War, followed his friends Nicholson and Hepworth to St Ives, playing a key role in the modernist developments that took place.This impact was seen in the pair's artistic practices which shared an affinity with an analytical, at times scientific approach to abstraction. As a result there is often something more linear and hard-edged to their output than some of their more expressionistic peers: a theory of the landscape and its forms as much as a representation of it.
• William Wells (British 1872 -
  William Wells (British 1872 - 1923)/Coastal Scene with Fishing Boats/oil on canvas, 29.5cm x 44.5cm
• William Wells (British 1872 -
  William Wells (British 1872 - 1923)/Coastal Landscape with Buildings to Foreground/oil on artist's board, 29.5cm x 44.5cm
• Wells, H. G. Kipps, First
  Wells, H. G. Kipps, First Edition, 1905 and 16 others by the same. 8vo., orig. cloth (17)
• Pair "C. Wells" paintings: boats in
  Pair "C. Wells" paintings: boats in harbor, Venice, signed lower left and right "C. Wells", oil on canvas, early 20th century, 16-1/2 x 20-3/4 in.; matching 20th century gilt wood and composition frames with strapwork, acanthus and leaf decoration. Both with original stretcher and tacking edges, crackle, light grime, one with patch verso; frame with losses, areas of repaint. Property of a European Collector.
• § JOHN WELLS (BRITISH 1907-2000)
  § JOHN WELLS (BRITISH 1907-2000) UNTITLED, 1956 signed, dated and inscribed 'Anchor Studio, Trewarveneth Street, Newlyn' in pencil (to reverse), oil and pencil on board19cm x 80cm (7.5in x 31.5in)Provenance: In Barns-Graham's notes about her collection she notes she purchased two oils by John Wells.John Wells and Wilhelmina Barns-Graham shared a particular friendship. Both had benefited from the mentorship of Ben Nicholson who, of the many artists that gathered in St Ives, seemed to have had a particular interest in Barns-Graham’s work. She and Wells had also been significantly influenced by the work of Naum Gabo, a leading figure in Russian Constructivism who, as an emigrant during the War, followed his friends Nicholson and Hepworth to St Ives, playing a key role in the modernist developments that took place.This impact was seen in the pair's artistic practices which shared an affinity with an analytical, at times scientific approach to abstraction. As a result there is often something more linear and hard-edged to their output than some of their more expressionistic peers: a theory of the landscape and its forms as much as a representation of it.
• Wells, H. G. The War in the Air,
  Wells, H. G. The War in the Air, 1908. Plates; The History of Mr. Polly, 1910. First Editions; The Outline of History, n.d., 2 vols., qtr. green morocco. Illustrated. With 13 others by the same. 8vo., orig. cloth (17)
• W. Collins (American 19th
  W. Collins (American 19th century) A pair of portraits depicting Abner Goodale Mosman and Emily Rice 1834 oil on canvas 36 1/2 x 30 inches.
• JOHN DOWNMAN (british
  JOHN DOWNMAN (british 1750-1824) PORTRAIT OF MRS. WELLS THE ACTRESS Graphite and watercolor on paper 12 1/8 x 8 1/8 in. provenance: Thomas Agnew & Sons Ltd., London, United Kingdom. From the collection of Philip Rieff and Alison Douglas Knox. Exhibited: Philadelphia Museum of Art, Philadelphia, Pennsylvania
• British School painting, two
  British School painting, two figures in a country landscape, signed lower left "T. Wells", oil on canvas, early 20th century, 15 x 20 in.; 20th century gilt wood and composition French style frame. Original stretcher and tacking edge, small patch verso, 1 in. tear left edge, indentations, retouch in sky, stretcher marks; frame with repairs and separations. The Estate of the Late John R. Jones, Hickory, North Carolina.
• JOHN WELLS (20TH CENTURY):
  JOHN WELLS (20TH CENTURY): OBLATIONS CONSIDERED1994; gouache on paper, matted and framed under acrylic; initialed: "J" lower left, "C" lower middle, "W" lower right; Provenance: Barbara Braathen Gallery, New York, NY (label verso); The Estate of Herbert Mayer Berk; 9 x 9 inches; 15 x 15 inches frame Provenance: exhibited in a series by John Wells which was reviewed in Art in America October 1994, and in Artforum November 1994 Condition:
• C. WELLS (BRITISH SCHOOL, LATE
  C. WELLS (BRITISH SCHOOL, LATE 19TH/EARLY 20TH CENTURY) 12 ½" x 19" Boats at dock. Oil on canvas, signed in the lower left corner, framed under glass in a burnished gilt frame, overall 20 ¼" x 26 ½".
• [Civil War] Maj. Gen. N.P. Banks
  [Civil War] Maj. Gen. N.P. Banks and Wm. T. Sherman  Lot of 2 stereoviews from the ca 1890s Taylor & Huntington printing of the Anthony/Brady War Views series both on oversized orange mounts with their advertisement imprinted on verso titled on recto: 1321. Gen. N.P. Banks.; and 3626. General Sherman and Staff continued on verso This photograph of General Sherman and his Staff was taken on July 18 1864 on the lines before Atlanta Ga. The Ed Burchard Stereoview Collection Condition: The latter view has been purposely cut down the middle and repaired with tape on verso.
• Edward Francis Wells (1876-1952)/On
  Edward Francis Wells (1876-1952)/On the Hillside/distant Bulbarrow, Delcombe, Dorset/signed E F Wells, typed label verso/watercolour, 24cm x 35cm/four smaller watercolours by the same, and a watercolour by another hand, woodland pond
• J.E. Baker artist Boston-based
  J.E. Baker artist Boston-based Armstrong & Co. lithograph ''The March of Miles Standish'' scene based on Longfellow's poem ''Courtship of Miles Standish '' showing Pilgrims led by Indian guide Abomock gilt frame ss: 18 3/4'' h. x 24 3/4'' w. foxing deep margins top and bottom with select excerpts from poem trimmed side margins waterstains. [Provenance: from Estate of Lila Sklar Antiques dealer/collector]
• A watercolour of two girls kneeling
  A watercolour of two girls kneeling in the surf signed bottom right ''Wally Hamilton'' 18 x 13 cm.
• Benjamin Baker (act. circa
  Benjamin Baker (act. circa 1880-1900)/Worcester, Hereford, Gloucester and Monmouth/coloured engraved map in fifty-five linen backed sections/published by Lieut. Col. Colby, 24th November 1829 and 29th September 1831, No. L and LIV, two leather panels in a gilt tooled slip engraved Ordnance Survey and the Counties on the spine, 157cm x 129cm
• Pair William E. Powell
  Pair William E. Powell watercolors (British, 1878-1955), (songbirds, titled in script below, "Among the Lilacs…(Green Finch)" and "The Critic - Robin Redbreast", signed lower left "W.E. Powell", watercolors on paper, pencil inscriptions at bottom "#2532-A" and "#2533-A", 12 x 10 in.; matching 20th century gilt silver frames. Both hinged at top with paper tape, light toning verso; frames with abrasions. The Estate of The Late Paula Spanierman Etherington, Asheville, North Carolina.
• William Daniell BANFF; WEYMOUTH Two
  William Daniell BANFF; WEYMOUTH Two hand-colored aquatints Estimate: $100  - $150
• JOHN DEARMAN (1828 - 1857): "NEAR
  JOHN DEARMAN (1828 - 1857): "NEAR WELLS, SOMERSET"1847 oil on canvas signed and dated lower left, titled to label verso 15 x 22 inches canvas; 24 1/4 x 31 1/2 inches frame Condition:
• A watercolour of two girls kneeling
  A watercolour of two girls kneeling in the surf signed bottom right ''Wally Hamilton'' 18 x 13 cm.
• JAMES WELLS CHAMPNEYAmerican
  JAMES WELLS CHAMPNEYAmerican 1843-1903Rocky coastal scene with figures. Signed lower left J. Wells Champney''.Watercolor on paper 6'' x 10''. Framed.''
• John and Josiah Boydell - ''A
  John and Josiah Boydell - ''A History of the River Thames'' printed by W. Bulmer & Co for John and Josiah Boydell 1794 and 1796 containing twin maps of the Course of the River Thames from its Source to the Sea and complete with seventy-six coloured aquatints of views on the River Thames (two volumes folio size bound in gilt tooled blue morocco) Provenance: Baynton-Williams 18 Lowndes Street Belgravia London SW1X 9EY Note : The text was written by William Combe the plates are aquatinted after drawings by Joseph Farington (1747-1821) and engraved by Joseph C. Stadler (fl. late 18th/early 19th Century) The Mask of Thame does not appear as a text page but as a separate plate opposite page 255 which is usually a sign of a fairly early issue but a water mark ''NOT BLEACHED 1825'' appears in Cricklade plate opposite Page 38 Volume 1 and therefore copy must date after 1825
• Arthur William Head (1861-1930) -
  Arthur William Head (1861-1930) - Six watercolours - ''An Old Road Winchelsea Marshes'' ''Country Landscape'' ''An Old Track possibly Winchelsea'' Country landscape with cows to foreground ''Ypres Tower Rye'' and ''The Old College Bromley'' various sizes all signed and in gilt moulded frames and glazed Provenance: Direct descent from artist to vendor (the artist's grandson)
• MILLER BROS. 101 RANCH REAL WILD
  MILLER BROS. 101 RANCH REAL WILD WEST AND GREAT FAR EAS...Miller Bros. 101 Ranch Real Wild West and Great Far East. Pocahontas and Captain John Smith. N.p., ca. 1910s. Color lithograph mounted on board, in a wooden frame. 39 x 26 _". Chipped portion upper right, scattered tears and losses, toning, trimmed borders. Poor.
• WELLMAN (WILLIAM) MORRISON OIL ON
  WELLMAN (WILLIAM) MORRISON OIL ON CANVAS PORTRAITWellman (William) Morrison (American d. 1857) , oil on canvas portrait of a gentleman, signed under lining, 21 1/2" x 18". Exhibited Boston Athenaeum, listed as possibly a self portrait. Provenance: The Collection of Dic and Donnie Catzen. Competitive in-house shipping is available for this lot. Condition: Relined. Newer stretcher. Several repaired tears including to forehead and shoulder.
• A.E. WELLS (BRITISH, LATE
  A.E. WELLS (BRITISH, LATE 19TH/EARLY 20TH C.)A.E. Wells (British, late 19th/early 20th c.), "Children Waiting in a Park", 1885, oil on canvas, signed and dated lower right, 36 in. x 48 1/8 in., framed. Provenance: Estate of Reuel Lacy "Sonny" and June Ann Anderson, Baton Rouge, LA.
• Pair British School paintings:
  Pair British School paintings: landscapes, one with cottage by water, one with windmill, unsigned, oil on fiber board, 10 x 12 in.; original matching gilt wood and composition oval frames with grape decoration. Both with retouch in skies, boards warped, crackle; frames with abrasions and some retouch.
• Wells, H. G. The First Men in the
  Wells, H. G. The First Men in the Moon, First English Edition, 1901. 8vo., orig. dark blue cloth. Plates
• WATERCOLOR- 'Emblem'' by Charles
  WATERCOLOR- 'Emblem'' by Charles Wells (b. New York New York 1935) Sepia ink and watercolor on paper-signed in pencil lower center.Wells was apprenticed to Leonard Baskin and won the Prix de Rome in l964. Elegantly framed in a gold APF frame with a
• WELLS, Sylvester, (American, b.
  WELLS, Sylvester, (American, b. 1939): Florida Highwaymen Bend in the River Painting, Oil/Canvas on Upson Board, 24'' x 16'', signed lower right, framed, 27.75'' x 20''.
• JOHN SANDERSON-WELLS (BRITISH
  JOHN SANDERSON-WELLS (BRITISH 1872-1955) A GENTLEMAN SUITOR Signed, oil on board25.5cm x 20cm (10in x 8in)Provenance: The Bellamy Collection, County Down, Northern Ireland
• Beatrice Davies - Pair of
  Beatrice Davies - Pair of watercolours - Rural cottage scenes with children watching their mother sewing and children by a cottage doorway each 5ins x 7.75ins signed in gilt moulded frames and glazed
• W.L. Walton after Victor Dubreuil
  W.L. Walton after Victor Dubreuil ''The Contest Between Heenan and Sayers at Fairborough on the 17th of April 1860'' color lithograph Bufford Sons Boston lithographer published by George Newbold London 28 1/4 x 39 in. framed Estimate $ 500-700 Creases buckling. Paintings have not been examined by blacklight.
• JOHN SANDERSON WELLS (1872-1955),
  JOHN SANDERSON WELLS (1872-1955), "THE MEET," WATERCOLOR ON PAPER, SIGHT: 9.5" H X 13.5" WJohn Sanderson Wells, (1872-1955) "The Meet", Watercolor on paper Signed lower right: J.S. Wells; titled on a label affixed to the backboard Watercolor on paper Dimensions: Sight: 9.5" H x 13.5" W