Eric Ravilious (British 1903-1942)

In the summer of 1934 Eric Ravilious made five drawings, depicting the Asham Cement Works and neighbouring chalk quarry on the flank of Beddingham Hill. Most people viewed the recently-established enterprise as an eyesore but to Ravilious, who stumbled upon the site, it was a marvel! We are pleased to be offering one of these works in the auction (Lot 126).⁠

It was the hidden landscape of the chalk pit (or 'cement pit') that most inspired Ravilious. He had long been captivated by the cool Alpine watercolours of itinerant 18th century artist Francis Towne, yet he was wary of the sublime. The ever-changing topography of the chalk pit offered Ravilious the opportunity to explore a miniature, man-made, 20th century version of Alpine landscape. The chalk pit became for him a playground of the imagination. At the time, Ravilious was still finding his way as an artist and Asham offered him the opportunity to experiment. In 'The Cement Pit' we can clearly see for the first time aspects of his mature vision.⁠

Each of these dreamscapes is carefully constructed so that our eye moves constantly from the foreground into the distance and back again, and it was at Asham and among the surrounding hills that Ravilious began to understand how to do this.⁠

Maurice Utrillo (French 1883-1955)

The village of Bessines-sur-Gartempe was the birthplace of Maurice Utrillo's mother, the artist Suzanne Valadon. Throughout his life, Utrillo visited the Haute-Vienne region on a number of occasions, painting not only the church at Bessines-sur-Gartempe but others in the surrounding area.

We are thrilled to be offering this work by Utrillo, painted in 1916, titled Eglise de Bessines-sur-Gartempe (Lot 181A).⁠ ⁠This work balances the white façades of the buildings against the earthy terracotta hues of the street and the piercing blues of the sky. The winding road leads the eye from the foreground through the village to the church.⁠

Lynne Drexler (American 1928-1999)

The auction also includes this dramatic abstract work by American artist, Lynne Drexler, which is a prime example of one of her Monhegan Island paintings.

During the formative years of Lynne Drexler's career, it was the dominant artistic force of Abstract Expressionism which informed her early artistic practice. In 1971, along with her husband, the artist John Hultberg, she bought a summer house on Monhegan Island off the coast of Maine, before permanently moving there in 1983. The landscape of this island had a profound effect on her painting as she turned away from the strict confines of Abstract Expressionism towards a more lyrical, painterly and representational style. The paintings she produced during this period blend abstraction with the visceral effect of the dramatic and rugged landscape, balancing the deep hues of the wooded scenery against expansive and ever-changing skies.

In the present work, the broad painterly brushstrokes in the sky create the effect of fast moving clouds, briefly parting to reveal a patch of intense blue sky with more foreboding stormy clouds gathering in the distance. The foreground, a patchwork of greens, blacks, yellows and blues, guides the viewer's gaze through to the sea beyond.

Sir William Nicholson (British 1872-1949)

Sir William Nicholson was known for his landscapes, portraits and still lifes. Whilst the artist had found considerable success as a society portrait painter, his landscape paintings represent a more personal and intimate side to his work, produced in large part for his own enjoyment.

In 1935, Nicholson spent the summer of 1935 in Malaga. This year was significant for Nicholson because it was during his stay in Spain that he met and fell in love with the writer Marguerite Steen who was to become his lifelong companion. Together they explored the countryside around Malaga.

Nicholson's technique in the resulting series of small paintings is looser and more impressionistic than his still lifes and portraits. In the present work, the muted earthy colours and broad brushwork point to a freedom of expression not evident in other areas of his work.

Christopher Richard Wynne Nevinson (British 1889-1946)

Finally, we turn to this work by Christopher Richard Wynne Nevinson, Cloud Study (Lot 124). Drawing inspiration from the great landscape painters of the early nineteenth century - including J.M.W. Turner, John Constable, Thomas Girtin, and David Cox - the present work reflects Nevinson's enduring fascination with the fleeting effects of light and weather across the British landscape. Capturing the ever-changing atmosphere with remarkable sensitivity, it exemplifies a theme to which the artist returned repeatedly throughout his career.

The landscape in this work has been reduced to a narrow band at the lower edge of the composition, allowing the sky to almost completely fill the canvas. The dark silhouette of the trees and land acts both as a compositional anchor and as a contrast to the light and drama of the sky above. Nevinson's use of broad, fluid brushstrokes and the diagonal movement of the clouds create a dynamism to the work, while the touches of white create a depth and luminosity. As with many of Nevinson's atmospheric studies, the emphasis is not on narrative detail but on mood and sensation. Through subtle tonal variation and confident handling of paint, the artist conveys both the weight and instability of the passing weather, producing a work of quiet immediacy and considerable sensitivity.

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Auction Details

Wednesday 8 July 2026, 10.30am BST
Donnington Priory, Newbury, Berkshire RG14 2JE

Bidding is available in person at our salerooms, online, by telephone or you can leave commission (absentee) bids.

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