Orlando Norie, watercolour, two army officers seated on a bench, signed lower right, 5 x 5.5in.

Charles Gregory(1850-1920)STAITHES FISHING VILLAGE, NORTH YORKSHIREsignedwatercolour51 x 37cms; 20 x 14 1/2in.See illustration]

A 1934 Derby-Bentley Special, 3.5 litre, Registration no. AXM 270, chassis no. 1355AE, first registered 2nd February 1934, odometer reading approximately 16,000 finished in dark green coachwork. With receipts for restoration by James E.Pearce Ltd, Billingshurst, West Sussex. Successfully completing the following rallies: Laurent Perrier, Autibes 1989, Rallye des Alpes et des Lacs 1993, Claret & Classics - Bordeaux to Saumer 1993, Rallye de Bourgogne 1994, Rallye des Alpes et des Lacs 1995, Rallye des Cote du Rhone 1996, Federation Internationale Vehicules Aucienes, Fiva 1996, Rallye Duval de Loire 1997, Rallye des Mont D'Auvergne 1997, Rallye en Ardeche 1997, Rally Des Gastronomes 1998, La Route du Champagne 1998, Locquirec-Fougeres 1998, Les Routes de Course 2001, Rally Maconnais-Beaujolais 2002 and 1995 and Nostalgie Du Circuit-Dieppe 2003.With various spare parts and accessories etc.

Eighteen Branch Gilt Metal Two Tier Centre Light Fitting with Frosted Glass Shades, Pair of Three Branch and a Pair of Single Branch Matching Wall Lights

Circle of Francis Stringer (fl.1760-1772) Oil on canvas, Aaron and Driver/Running the Second/Heat at Maidenhead/1754, 27 x 36in.

J.F. Herring Junior - Oil onto canvas of a farmyard scene, signed and gilt framed, 39cm x 53cm:Please Note All items are sold as is. Please contact the auctioneer for further information or to request a condition report. BID LIVE ONLINE AT www.easyliveauction.com

Joe Scarborough (born 1938) - oil on canvas, entitled verso, "North Riding", coastal view with cricket scene and populated roadway, signed and dated '74, 30 x 36in.

A George III oak dresser with Delft rack, the moulded cornice above three open shelves with green painted boarded panelled back, the base having an applied moulded edge above three frieze drawers, with pair of panelled cupboard doors flanking three centre dummy drawers each with wooden knob handles and bone escutcheons, with shaped apron beneath and raised on bracket feet. Width 67 ins

A gold bangle, the hinged bangle composed of ball and chevron links.]

ARCHIBALD BERTRAM WEBB (1887-1944) Anglo-AustralianA Silent Hill, West AustraliaWatercolour Signed and inscribed to the reverse Nedlands, West Australia No.126.5 x 38 cmsIllustratedNote: After studying at St. Martin's School of Art, London, and working for the Pall Mall Magazine, Webb emigrated to Western Australia in 1915. He became Assistant Art Master at the Technical School in Perth and lived at Nedlands, close to the Swan River. In the late 1920s he was commissioned by the Empire Marketing Board to produced posters advertising Australian primary industry for display in Britain and in 1934 an exhibition of his watercolours, lithographs and woodcuts were exhibited at the Fine Art Society in London. Examples of his work are held by the Art Gallery of Western Australia, National Gallery of Victoria and The British Museum, London.

A fine Regency rosewood and ormolu mounted library table, the rectangular moulded top with foliate cut brass inlaid decoration, fitted two frieze drawers and raised on ring turned column supports united by turned stretcher, on swept legs and scroll feet, H.2ft 5ins W.4ft 9ins

Pair of diamond flower ear-rings total approx 1 carat hallmarked 18ct

Bigot, G. MA-TA Dessins de G Bigot, Etchings and Scenes of Japanese Life; another album of etching by the same hand entitled A-HA-YO; and a book of prints. (3)Part illustrated

French Cast Iron Wood Burning Stove

A Chinese mother-of-pearl inlaid carved hardwood open armchairThe profusely decorated back centred with a circular panel. 69 cms wide.

A set of twelve early 20th century mahogany Chippendale style dining chairs on carved cabriole supports with claw feet (10+2).

19th Century fusee dial wall clock made by Marks & Sons Hull in mahogany case diameter 47cm

ANATOLIY SHAPOVALOV (Ukrainian), Prior to the Performance, oil on canvas, 61cm x 91cm, signed, framed. (Please note Clause 6 of Buyer's Conditions)

HERBERT ROYLE (1870-1958) OIL ON CANVAS Coniston Water signed, titled to stretcher 19 1/2" x 23 1/2" (49.5cm x 59.7cm)

A George III mahogany chest on chest, upper stage with inlaid satinwood flutes to frieze and canted satinwood corners, two short and seven long drawers, on bracket feet, circa 1770, 3ft. 6in.

An 18ct gold diamond mounted single stone ring, the circular diamond approx 1ct.

EARLY NINETEENTH CENTURY MAHOGANY SECRETAIRE BOOKCASE, the moulded cornice above a line inlaid frieze and pair of thirteen panel astragal glazed cupboard doors, enclosing three adjustable shelves and two brass handing rails, the lower section with a line inlaid deep secretaire drawer enclosing short drawers, pigeon holes and central door to the interior, above three long graduated and cockbeaded drawers, all fitted with oval brass drop handles, raised on ogee bracket feet, 84" (213.3cm) high, 49" (124.5cm) wide

C1 HRM vehicle registration number with retention document, (assignment fee to be paid)

George Pyke, London, A George III scarlet tortoiseshell and ormolu bracket clock, the broken arch topped case surmounted with a putti and pagoda top, the brass dial set chime - silence indicator above a Roman enamelled dial with Arabic outer minute track and foliate spandrels, flanked by a pair of corinthian columns, the quarter repeating triple fusee eight day movement striking eight bells, 26.5ins

A Royal Worcester vase, painted by John Stinton with highland cattle, with reticulated rim, twin handles and bulbous body raised on circular foot, puce mark, registered number 27579 and 1089. Height 9 ins, diameter approximately 8.5 ins

A good pair of Royal Worcester twin handled vases and covers, painted by Harry Davis with sheep in a highland landscape, with twin mask handles and acorn finial, date code for 1920, 15ins

A large antique Continental inlaid serpentine front chest of four long drawers, probably Maltese, width 140cm, depth 68cm.

Late Victorian Mahogany Breakfront China cabinet having central glazed panelled door above undershelf raised on square tapering legs to spade feet 172cm high x 122cm wide

An early 19th century tortoiseshell pagoda top tea caddy, the hinged lid enclosing twin lidded compartments, on four bun feet, width 17.5cm, height 13cm.

A Regency mahogany bow fronted gentleman's press, with moulded cornice above a Greek key frieze and pair of panelled cupboard doors with satinwood banding between ebony tram lines opening to an interior fitted with four pullout trays, the base with two short and two long graduated drawers with brass drop handles with circular lion mask embossed backplates and ebony edge beading, raised on hairy paw bracket feet. Width 56 ins

Edwardian 18ct Gold Ruby and Diamond Ring, Hallmarked for 1907, Boxed

Unboxed Dinky # 34b Royal Mail Van. Red with Black bonnet and roof and Black ridged hubs. Excellent unboxed.

Dinky Supertoys # 514 Guy Van "Weetabix". Yellow cab, Yellow chassis and back, Yellow ridged hubs. Mint in Excellent Blue box.

A gentleman's 18ct. gold cased wristwatch, Omega Automatic, with silvered baton dial, arabic quarters, 18ct. flexible link pattern strap, gross weight with movement 93.9grms.]

George IV rectangular silver snuff box, the hinged cover monogrammed S.C. with floral chased border, Birmingham 1824, maker Joseph Willmore, 3ozs, 3 x 1.5in.

Attributed to Marie Laurencin (French, 1885-1956) - Hotel de la Marine, watercolour on paper, unsigned, 25.5. x 25.5cm

George II walnut and giltwood fret-frame mirror with rectangular bevelled plate, the frame with leaf and florals carved decoration, 92cm x 53cm:Please Note All items are sold as is. Please contact the auctioneer for further information or to request a condition report. BID LIVE ONLINE AT www.easyliveauction.com

A pair of Moorcroft Macintyre Florian ware Iris pattern vases, tubelined with green painted W.M monogram, and printed 'Florian wear RD326689', works No.1323 verso, circa 1898-1906, h.20cm

Lucien Freud (1922-) Pen and ink, Studies of a mother and child 'J E and Freddie', Each 5.5 x 3.25in.

A pierced puzzle jug in honey brown glaze, inscribed with a verse and signed Edward Stone, circa 1780, lacking two of the spouts.

A pair of Moorcroft Pomegranate Pattern pottery vases, of waisted form, having typical tubelined painted and glazed decoration, green painted Moorcroft signature and impressed 'Moorcroft, Made in England' verso, h.26.7cm

Victorian Figured Walnut Shaped Top Sewing Table raised on carved pedestal to four splayed legs

A bed with turned spindles, measuring approximately 4ft 6 inches.

An 18 carat white gold and diamond set line bracelet, arranged as thirty-three claw set brilliants, each weighing approx. 0.33 carat, gross carat weight 11, length 18cm

Massive 19th century Staffordshire blue and white transfer decorated oval indented meat plate (f) 28.5 x 21.5in.

Large Black Forest carved wood hall stand, modelled as a bear with glass eyes and painted facial features climbing a tree to retrieve a bear cub, with umbrella stand and metal tray liner to the base, 210cm high:Please Note All items are sold as is. Please contact the auctioneer for further information or to request a condition report. BID LIVE ONLINE AT www.easyliveauction.com

An 18ct. gold three-stone diamond ring, in platinum claw setting, ring size M/N

A circular diamond pendant, 18 ct white gold, set with approximately 104 baguette and brilliant cut diamonds, with white gold chain

After Laurence Stephen Lowry(1887-1976)TWO BROTHERSsigned by the Artist in pencilcolour print limited to an edition of 850, published 197260.5 x 30.5cms; 23 3/4 x 12in.See illustration]

Dinky Supertoys # 934 Leyland Octopus Wagon. Dark Blue and Pale Yellow cab and chassis, slits and painted hook, Light Yellow back, Red plastic hubs with Radial Pattern tyres. Near Mint in Near Mint Blue and White stripe Supertoys box. Scarce variation.

A white metal (tests 18 ct gold and platinum) diamond and ruby cluster ring, the oval ruby measuring. approx 8.2 x 6.2 mm. C 1940

A silver four-piece teaset, consisting of teapot, hot water jug, milk jug and sugar bowl, each with cast border and on claw feet, approx. 58oz. gross total SEE ILLUSTRATION

A large tanzanite ring, 18 ct white gold, set with a tanzanite weighing approximately 5.86 carats surrounded by approximately 124 diamonds, the tanzanite accompanied by a laboratory certificate

A pair of 18th century Chinese blue and white decorated sauce boatsEach with serpentine rim and loop handle. 24.5 cms long. (2)Illustrated

Carlo Fachinetti (1870-1951). A watercolour and gold leaf miniature of an angel signed lower right C Fachinetti " inscribed " 900 Firenzi " mounted in gilt circular frame circa 1900. Approx. 11 cm diameter."

A 22 carat yellow gold band, with chased floral decoration.]

A William Moorcroft early Burslem Stamp Pansy vase, on white, green script signature and impressed marks. Height 6.25 ins

17th century elm longcase clock, hood with moulded cornice over glazed door enclosing 9.5in brass dial with pierced spandrels, chapter ring with Roman numerals, subsiduary date arch, signed Edwards Bishops Castle, thirty hour movement, trunk with arched door, 73in high.

Large Moorcroft vase, hand painted and tubelined with pomegranates onto an ochre ground, impressed factory mark and green painted signature to the base, 33cm high:Please Note All items are sold as is. Please contact the auctioneer for further information or to request a condition report. BID LIVE ONLINE AT www.easyliveauction.com

SERGEY MARSHENNIKOV (b.1971, Russian), Nude in Blue, oil on canvas, 42.5cm x 75cm, signed, framed. (Please note Clause 6 of Buyer's Conditions)

A gents Rolex Oyster Perpetual Date Sea-Dweller wristwatch, steel cased with black dial, model No.16660, case No.6584687, this is a 666 transitional model, circa 1980/81, lacking Rolex papers but sold with original second-hand purchasers receipt from Thomas Tillett of St Giles, Norwich, dated 1999

Pair of 20th century Sevres style porcelain jardinières with brass lion mask and pierced mounts, the china bodies hand painted with views of figures onto a blue and gilt ground, each bearing a printed mark to the base, 27cm high:Please Note All items are sold as is. Please contact the auctioneer for further information or to request a condition report. BID LIVE ONLINE AT www.easyliveauction.com

A 19th century burr walnut credenza, with white and dappled grey marble top. With three mirrored doors on a plinth base. To measure approximately 152cm wide by 47cm deep and 90cm high. Condition: A one centimetre wide chip to the front of the marble top.

After LS Lowry (1887-1976); artist signed colour print "People Standing About", signed in pencil, 33 x 50cm, framed and glazed.

A Moorcroft Macintyre Florian ware ewer in the Peacock design, having shaped handle and intricate green and yellow floral decoration on a blue ground, green painted signature W. Moorcroft, and printed mark Florian Ware RD347607 and works No. 1707 verso, circa 1900-1902, h.22.2cm

Archibald Thorburn 1901 - Watercolour of a peregrine falcon, signed, dated, mounted and framed, 52cm x 36cm:Please Note All items are sold as is. Please contact the auctioneer for further information or to request a condition report. BID LIVE ONLINE AT www.easyliveauction.com

Large cased model of the M V Medic ship on stand

A pair of Walker & Hall cast silver entree dishes and covers, each of waisted rectangular form with pinched corners, cast detachable handles, shell, C-scroll and acanthus leaf cast corners within gadrooned edges, 151oz, Sheffield 1900, w.32.5cm

Regency tortoiseshell serpentine fronted tea caddy, the metal strung and inlaid lid opening to reveal an ivory banded twin divisional interior with lidded compartments and remnants of foil lining, raised on bun feet, 22cm in length:Please Note All items are sold as is. Please contact the auctioneer for further information or to request a condition report. BID LIVE ONLINE AT www.easyliveauction.com

William Wood (1769-1810); a fine portrait miniature of Captain Birch, facing right, in blue coat with white waistcoat, signed on reverse and dated 1805, in rectangular ebonised frame with gilt bezel, 8.5 x 7cm. Captain Birch commanded the East India Ship "The Britannia". Britannia was built in 1806 by Wells & Co, London and owned by the East Indian Company. Launched in 1806, her first voyage was to Bombay and China under Captain Jonathan Birch, departing from Portsmouth 26th Feb 1807 and returning 1st July 1808. On the second voyage in 1808/9 to Madras and China under Captain Jonathan Birch, she ran aground and was lost off Goodwin Sands on 24th January 1809.

OLD OIL ON PANEL INTERIOR SCENE WITH FIGURES APPROX. 40 X 31 INS.

William Heaton Cooper RI (1903-1995), a watercolour, "Crummock Water from Kirkstile". 13 ins x 19.5 ins

A silver cased pocket watch, the face marked with J. Brown, Sheffield (Lancashire Watch Co) in a hallmarked case, with subsidiary seconds dial and in working order.

An Art Deco 18 ct white gold sapphire and diamond ringThe oval setting with central diamond within sapphire set star cut motif.Illustrated

A platinum and diamond solitaire ring, the transitional brilliant cut diamond in eight claws, rex collet set with heart motifs and weighing 3.39 carats, the diamond measuring 9.70 x 9.64 x 5.8mm, with diamond set chenier shoulders each set with three eight cut small diamonds, the band stamped platinum, colour assessed mounted as J/K, clarity assessed mounted as SI1/SI2, with no fluorescence noted, polish very good, make very good, gross weight 3.5g, size L+

A Moorcroft Macintyre Florian ware chrysanthemum design twin handled vase, of waisted form, tubelined with green painted W. Moorcroft signature verso and impressed 160, circa 1912-1913, h.25.2cm

YURI MATUSHEVSKI (1930-1999, Russian), Village Street, 1964, oil on board, 49.5cm x 70.5cm, signed, framed.

A Seaman Schepps 18ct gold mounted multi-gem set Rio bracelet, with diamond set clasp and large cabochons divided by further precious and semi-precious set links, 7.25ins

An unusual mid Victorian walnut revolving library book table, with foliate and vineous carved frieze over carved mask pilasters, on gadroon carved plinth base, H.3ft W.2ft 2ins

An antique walnut bureau bookcase in Queen Anne style, the upper section with double dome pediment and pair of mirrored doors enclosing adjustable shelves, pigeon holes, drawers and compartments above two candle slides and herringbone banded fall front enclosing fitted interior with sliding well, two short and two long drawers on bracket feet, width 92cm, height 210cm.

LATE EIGHTEENTH CENTURY OAK AND MAHOGANY LONGCASE CLOCK, signed Aspinall, Chorley, the 13" square brass dial with subsidiary seconds dial, calendar aperture, matted centre and pierced scrollwork spandrels, powered by an eight day movement stringing on a bell, housed in a vase with broken swan neck pediment, carved frieze and fluted fore columns, over a long trunk door with shaped top, flanked by fluted quarter columns, on a crossbanded base with canted corners and shaped plinth, 7' 4 1/2" (2.247m) high

A pair of late 19th century satinwood breakfront side cabinets, in the Adam style, each having painted friezes, pair of circular porcelain plaques and gilt brass mounts, w.123cm, d.45cm, h.115cm

Remember me?!A personal "Photo Post Card", probably taken by Ida Laurel of Stan at his desk, signed "Remember Me?!" to the front in Stan's hand and typed to verso; "Rand Brooks has been delayed one week. now is due to arrive London May. 5th. If anything further develops will advise you. Love from us both here Affectionately - " and signed "Stan xxx". Addressed to Stan's sister Olga and dated 27th April, 1964.NBRand Brooks was married to Stan's daughter Lois.]

Robert Jobling(1841-1923)LIZZY HINDMARSH, CULLERCOATS FISHERGIRLsigned and dated 1882; with exhibition label verso44.5 x 34cms; 17 1/2 x 13 1/2in.PROVENANCESold Anderson & Garland Fine Art Auction 18th June, 2007 by direction of the Artist's great grandson.Exhibited Laing Art Gallery, Newcastle, Robert & Isa Jobling A Romance with the North East, 1992/3.See illustration]

A late 19th Century table centrepiece, decorated with floral scrolls, swags and masks overall, three arms holding cut glass bowls decorated with flowers and birds and another above, three putti seated on base playing various instruments, all raised on three large acanthus leaf feet, 17 1/2in. (44cms) high.]

PAIR OF MASSIVE CHINESE OLD MASTER OILS ON PAPER MOUNTED ON CANVAS ON HINGED PANELS APPROX. 46.5 X 83.5 INS. EACH

A pair of late Victorian pierced silver and shagreen mounted dwarf candlesticks, of tapering form, makers, Goldsmiths & Silversmiths Co, London, 1898, 6in.

An exquisite Edwardian platinum, diamond and natural pearl (pearls not tested) parure comprising pendant necklace, ring and earrings in fitted box marked Bentley & Co, 65 New Bond Street. Pendant measures approx 7.5cm overall length x 2.5cm, (chain 45cm), earrings 6cm x 2cm, ring 3cm x 2cm.

A Faberge silver caviar set, 88 Zolotnik silver standard Moscow 1891-1896, full Faberge mark below the Imperial Warrant

PAIR OF OLD OILS ON METAL DEPICTING BATTLE SCENES EACH APPROX. 12 X 9 INS.

A George III hallmarked silver nutmeg grater of rectangular form with canted corners, ID (possible John Deacon), London 1810, 4.2 x 3.3cm.

DAVID BATES (1840-1921) OIL PAINTING ON CANVAS 'Yews at Cradley, Malvern' signed and dated 1886 lower right, inscribed verso 24" x 36" (61cm x 91.5cm) (Contained in original glazed heavy gilt frame)

RELIGIOUS TRIPTYCH, OIL ON PANELS

Sheila Fell (1931-1979), an oil painting on canvas, "Mechi Farm, Cumberland". 28 ins x 36 ins, signed and with original frame and label verso

A Victorian tortoiseshell and silver mounted tea caddy Of octagonal form, the tapering lid above single compartment lidded interior, the whole applied with scrolling floral bands and escutcheon, silver hallmarked for Birmingham 1896, maker's mark of S.W.S. 11 cms wide.Illustrated

18th century oak Welsh dresser, plate rack back with moulded cornice over three shelves, the narrow base having three frieze drawers with brass drop handles, on square supports, 81in high, 74in wide.

French Louis XVI style kingwood bureau à cylindre by Paul Sormani, the gilt brass pierced gallery above a tambour front opening to reveal six drawers flanking central open space and a tooled leather skiver, fitted with three further drawers with marquetry inlaid decoration, the central drawer engraved 'Paul Sormani 10 Rue Charlet Paris' to the lockpiece, raised on ormolu mounted fluted legs with ormolu caps, 114cm high x 140cm wide x 65cm deep (NOTE : Paul Sormani (1817-1877) was based at 10 rue Charlot from 1867. The business continued after Sormani's death in 1887 under the direction of his widow and son until 1934. Many of the pieces made by the firm were directly influenced by earlier 18th century models. Their work was especially recognised for its exceptional quality and was widely exhibited during the second half of the century):Please Note All items are sold as is. Please contact the auctioneer for further information or to request a condition report. BID LIVE ONLINE AT www.easyliveauction.com

OIL ON PANEL (CANVAS), PORTRAIT OF A MAN IN NAVAL UNIFORM APPROX. 25 X 29.5 INS.

Needlework sampler, Anne Hales 1825, 20.5in square.

A Moorcroft Moonlit Blue Pattern pottery vase, having typical tubelined and glazed decoration, blue painted 'Moorcroft' signature and impressed 'Moorcroft, Made in England', verso, h.30.3cm

Love & Fond Thoughts:Stan and babe in costume, signed "Stan laurel" and "Oliver Hardy" then inscribed; "LOVE & FOND THOUGHTS ALWAYS OLGA & BILLY Stan xxx", 13 3/4 x 10 1/2in. (35 x 27cms).]

A large cut glass eight light chandelier, in the style of Osler, with central vase shaped column and hung throughout with various lustre swags, 52ins

William James Blacklock (1816-1858), an oil on canvas, "Blea Tarn and The Langdale Pikes". 17.5 ins x 23.25 ins, signed and dated 1854 William James Blacklock 1816-1858 THE LANGDALE PIKES ABOVE BLEA TARN 1854 It is no exaggeration to say that William James Blacklock is one of the great landscape painters of the nineteenth century, and perhaps the most remarkable of all of those who devoted themselves to the representation of the Lake District. He is less well known than he should be – the modern ‘rediscovery’ of the artist commenced in 1974 with an insightful article in Country Life by the late Geoffrey Grigson (‘A Painter of the Real Lakeland’, 4 July 1974, pp. 24-26), and was carried forward in a ground-breaking exhibition at Abbott Hall in Kendal, organised by Mary Burkett in 1981 – but on other occasions he has been omitted from landscape surveys, perhaps because of the very individuality of his work which makes them difficult immediately to characterise or readily to place in conjunction with those of his contemporaries. Nonetheless, Blacklock is a most fascinating and rewarding artist, who in the last half-decade or so of his tragically short life painted a small handful of masterpieces which serve as a testament to his deep love and knowledge of Cumberland and the English Lakes. The Blacklock family had been long established in the neighbourhood of Cumwhitton, to the south west of Carlisle, farming there at least since the 1500s. W.J. Blacklock’s father was in fact living in London, where he made his living as a bookseller and publisher, at the time of the painter’s birth, but returned to Cumberland in 1818. The younger Blacklock’s career as an artist commenced when he was apprenticed to the Carlisle engraver and lithographer Charles Thurnham, with whom he later collaborated on a series of prints showing the railway line between Newcastle and Carlisle. W.J. Blacklock enrolled for a period at the Carlisle Academy of Arts, prior to its closure in 1833, working under Matthew Ellis Nutter. In 1836 he returned to London, then aged twenty, living there for the following fourteen years. How he occupied himself at this stage is not known, nor is it clear whether he could rely on the sale of works for a livelihood. Works by him – generally showing north-country landscapes – were exhibited at the Royal Academy and British Institution. Clearly he gained some reputation on the metropolitan artistic scene, as his landscape paintings were commented upon enthusiastically by J.M.W. Turner, David Roberts and John Ruskin. Much concerning Blacklock’s career, and especially the question of his contact with other artists, is a matter of speculation. His name is largely absent from the diaries, correspondence and memoirs of the Pre-Raphaelite circle, the members of which were in any case much younger than him, but Blacklock would certainly have seen early works exhibited by members of the group and their associates. We know that he was in contact with William Bell Scott, headmaster of the Government School of Design in Newcastle, and who was in turn a close friend of Dante Gabriel Rossetti. It was almost certainly by Scott’s introduction or recommendation that Blacklock built up a circle of patrons in the North East. Scott and Rossetti may have hoped to meet Blacklock on the occasion of a walking tour they made together from Newcastle to Carlisle in June 1853. Scott, who like Rossetti was a poet as well as a painter, seems to have recorded a vain attempt to visit the painter in a poem entitled ‘An Artist’s Birthplace’, published in 1854. The verse describes the arrival of two men at the cottage home of a painter who may clearly be recognised as Blacklock: A fit place for an artist to be reared; Not a great Master whose vast unshared toils, Add to the riches of the world, rebuild God’s house, and clothe with Prophets walls and roof, Defending cities as a pastime – such We have not! but the homelier heartier hand That gives us English landscapes year by year. There is his small ancestral home, so gay, With rosery and green wicket. We last met In London: I’ve heard since he had returned Homeward less sound in health than when he reached That athlete’s theatre, well termed the grave Of little reputations. Fresh again Let’s hope to find him. The verse corroborates what sparse biographical information we have for the painter (and which derives principally from an article in the Glasgow Evening News, 25 July 1900, entitled ‘An Artist’s Career’ and contributed by Edward Pennington presumably on the basis of information received from the artist’s family, despite forty-two years having passed since his death): the painter had returned to Cumberland because his health was deteriorating, probably as a result of syphilis, but also – according to Scott’s account – because of the professional frustrations and commercial pressures that went with trying to work as an artist in London. In 1850 Blacklock seems to have engaged in a last determined bout of activity as a landscape artist, perhaps fearing that he had not many years remaining to him and wanting to put together a group of works in which his particular artistic principles were to be defined. This small corpus – consisting of views in the Lakes and countryside around Cumwhitton, and all made in a period of about four years – serve as his lasting memorial. Paintings such as Devock Water (Abbott Hall, Kendal), of 1853, and Catsbells and Causey Pike (Tullie House Art Gallery, Carlisle), of 1854, represent timeless images of particular places which speak of the painter’s love for the landscape that he was representing. The present view is of the Langdale Pikes, seen beyond Blea Tarn, and therefore from a vantage-point looking towards the north west, and with the direction of afternoon light from behind the artist’s left shoulder. A shoreline of purple heather and strewn boulders forms the foreground, with a brown-coated fisherman on the left side. E. Lynn Linton, in his book The Lake Country (1864), used an engraving of the same view by W.J. Linton to head his chapter ‘Langdale and the Stake’, describing in his text the mountains seen from this vantage-point at ‘the back of Blea Tarn’: ‘the highest to the right is Harrison Stickle, that to the left Pike o’ Stickle, and the long sweep to the right of Harrison Stickle is Pavey Ark, in the cup or lip of which lies Stickle Tarn’. Harriet Martineau in her 1855 Complete Guide to the English Lakes invoked the place as the scene of one of Wordsworth’s Excursions to dwell upon the Solitary, and also described the remoteness of the location and the ‘very rough road [that] scrambles up from Langdale, by Wall End, to the upland vale where the single farmhouse is, and the tarn’. The atmospheric effect of the painting is beautifully observed, with the forms of the mountain partly suffused in shadow but with other areas brightly lit as cloud shadows sweep over, and with clefts and exposed rock faces recorded with painstaking attention. Blacklock’s particular mastery in the treatment of mountain landscapes depended in great part on his understanding of the constantly fluctuating quality of light, and here especially the scale and structure of the distant ranges are given volumetric expression by the graduated fall of light. Thus the mountain range seems both massive and distant, but at the same times almost tangible and lending itself to close and detailed scrutiny. Martineau commented on a similar optical ambiguity whereby ‘the Langdale Pikes, and their surrounding mountains seem, in some states of the atmosphere, to approach and overshadow the waters [of Windermere]; and in others to retire, and shroud themselves in cloud land’. Blacklock did not work directly from the motif but instead drew landscape sketches in watercolour which later formed the basis of his studio compositions, or perhaps worked largely from memory. He may in addition have used photographs – probably daguerreotypes which in the 1850s were beginning to be made available by commercial photographers – to remind himself of the broad outlines of his chosen subjects (as may be suggested by the way he treats shadows in his paintings, which sometimes seems reminiscent of photographic images). He did not seek the kind of literal transcription of the forms of the landscape that artists influenced by Ruskin attempted in the period, but sought a quintessential representation of topographical type which might be recognised as a timeless record of a hallowed place, treated with an extraordinary intensity of vision. The Langdale Pikes seem to have had a particular hold on the artist’s imagination, as he painted the range on a number of occasions and from different vantage-points. An earlier work showing Blea Tarn and the Langdale Pikes of 1852 is in the collection of a descendant of the artist, while a painting entitled Esthwaite Water and the Langdale Pikes (although in fact showing Elter Water) was commissioned by William Armstrong [later Lord Armstrong, the Newcastle industrialist and arms manufacturer whose house Cragside near Rothbury was built by the architect Richard Norman Shaw] in 1855. Clearly the Lakeland landscape was enormously important to Blacklock. All his exhibited works were of northern settings, and we may be sure that even during the years that he spent in London he will have made frequent visits to Cumberland, and that he believed himself to have as his essential purpose the representation of a beloved North. Analogy may be made between Blacklock and other European artists who like him felt it was their mission to explore and describe a landscape setting which they had known from earliest childhood, feeling such close personal identity with those places as to amount to obsession. His near contemporary Gustave Courbet (1819-1877) never tired of painting landscape and country life subjects set in Ornans in the Jura Mountains of eastern France, and created an extraordinary and indelible imagery of that region. Likewise, Paul Cézanne (1839-1906) painted series of views of the Mont Sainte-Victoire in his native Provence so as to capture the essential identity of a topography that was to him living and imbued with vital and personal associations. These were all painters for whom the intimate knowledge and long contemplation of a specific locality was a vital requirement for an art to be vital and true, and who found themselves in the representation of places with which they had long association, as if the landscape forms, light and air, which were the object of their art, retained some kind of subliminal resonance of the pattern of their own lives. Blacklock’s last extraordinary surge of creativity was sadly short lived. By the time the present work was painted, he was seriously afflicted by symptoms of the disease that would kill him. In the first place, he suffered from an inflammation of the eyes that would in due course make him partially blind. In November 1855, having become increasingly erratic in his patterns of behaviour, he was placed in the Crichton Royal Mental Institution in Dumfries, and where he died on 12 March 1858 as a result of ‘monomania of ambition and general paralysis’. Interestingly, the Crichton hospital, under the direction of Dr William Browne, had recently introduced therapies to attempt to aid their deranged inmates including drawing, as happened also at the Royal Bethlehem Hospital for the Insane in London during the time that Richard Dadd was incarcerated there, so Blacklock was able intermittently to continue at least to draw to the end of his life. A number of landscape sketches made at the Crichton are reproduced in Maureen Park’s book Art in Madness – Dr W.A.F. Browne’s Collection of Patient Art at Crichton Royal Institution, Dumfries, Dumfries, 2010. The Langdale Pikes above Blea Tarn was painted for the artists’ colourman Charles Roberson, probably to a commission and as a pendant to another work of 1854, The Miller’s Homestead (private collection). Whatever professional difficulties Blacklock may have faced in the years that he lived in London, in the 1850s, after his return to Cumwhitton he began to find himself sought after by a small but discriminating circle of patrons. Roberson himself was a significant figure in the establishment of a progressive school of painting in the middle years of the century, because he supplied artists with a range of new and stronger pigments, often derived in their manufacture from industrial processes, and thus aided the move towards more brightly coloured works which was a characteristic of English painting in the period. A degree of rivalry seems to have come about between Blacklock’s would-be patrons, chronicled in the letters that the artist wrote to the Gateshead metallurgist James Leathart (now held as part of the Leathart Papers, University of British Columbia). Roberson’s two paintings are referred to in a letter to Leathart of 2 June 1854, ‘one the same lake as I am going to do for Mr Armstrong – the other a Millers Homestead – the mill looking over a moor & distant hills they are for Mr Roberson the artists colourman’. In September 1855, just weeks before his final incarceration, Blacklock sent off the Lakeland views that he had made for Armstrong and Leathart, and in doing effectively concluded his professional career. Blacklock is an important and intriguing figure who may be regarded both as a pivot between the early nineteenth-century landscape school and the achievements of Romanticism, and the earnest and obsessive innovations of the Pre-Raphaelite landscape school. Perhaps a vital factor in our understanding and appreciation of the particular character of Blacklock’s art is his knowledge of historic schools of painting. Living in London in the late 1830s and 40s he would have had the opportunity to study the works in the National Gallery. It has been suggested that it was the unveiling of works long concealed under layers of discoloured varnish as a result of Charles Eastlake’s cleaning programme of in the mid-1840s that prompted Blacklock to adopt brighter and more luminous colours. A further possibility is that he made a European tour at some point, seeing for himself works of the sixteenth and seventeenth centuries, and also perhaps making contact with working artists in France or Italy. Only the slightest indication survives of Blacklock’s interest in the work of the Old Masters – in a letter to Leathart of 20 September 1854 he looks forward to hearing about the works of art that the latter had seen in the course of a Continental tour. Nonetheless, broad stylistic analogies may be drawn between the landscape paintings of Blacklock and those of other British artists who had visited Europe in their formative years. William Dyce, for example, who had visited Italy in 1825-26 and there made contact with the German Nazarene painters in Rome. Something of the clarity of light and simplicity of expression, along with a particular feeling for colour effects which are peaceful and never strident, that characterises Dyce’s pure landscapes, is also infused into the less well known works of Blacklock, and may perhaps likewise be indebted to a knowledge of European schools of painting. Christopher Newall

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