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John Brett Auction Price Results

John Brett (1831-1902)  Please Register/Login to access your Invaluable Alerts

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John Brett (1830-1902), A coastal view,

Lot 73: John Brett (1830-1902), A coastal view,

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Description: John Brett (1830-1902), A coastal view, Pembrokeshire, Oil on canvas, Signed and dated 82 lower left, Signed and dated 1882 on reverse, 18 x 36cm (7 x 14in), We are grateful to Charles Brett for his assistance in cataloguing this painting. Please note Charles Brett has kindly confirmed this work should be titled 'A Rocky Coast, North Pembrokeshire' and relates to No. 980 in his catalogue of works.

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John Brett (1831-1902) British Sightseers to the Welsh Coast 1874 Watercolour & bodycolour on paper

Lot 113: John Brett (1831-1902) British Sightseers to the Welsh Coast 1874 Watercolour & bodycolour on paper

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Description: John Brett (1831-1902) British Sightseers to the Welsh Coast 1874 Watercolour & bodycolour on paper Signed & dated lower right 30.5 x 46.8 cm

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Attributed to John Brett A.R.A (1830-1902) Yachts

Lot 124: Attributed to John Brett A.R.A (1830-1902) Yachts

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Description: Attributed to John Brett A.R.A (1830-1902) Yachts in a seaway, Oil on canvas, Unframed, Signed and dated 1871 lower left, 84 x 122 cm (33 x 48 in) Provenance: The Collection of Mr George P. Bidder. Exhibited: London International Exhibition of 1872.

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OIL ON CANVAS - 'DERWENT' by John Brett (UK, 1831-1902), unsigned, a distant view of Derwentwater with curving stone walls to left. U

Lot 156: OIL ON CANVAS - 'DERWENT' by John Brett (UK, 1831-1902), unsigned, a distant view of Derwentwater with curving stone walls to left. U

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Description: OIL ON CANVAS - 'DERWENT' by John Brett (UK, 1831-1902), unsigned, a distant view of Derwentwater with curving stone walls to left. Unframed. Includes book "John Brett, A Pre-Raphaelite in Cornwall" by Brett, Hickox & Payne. Plate No. 136 in catalogue of Brett's work (Yale U Press John Brett 2010) 8 3/4" x 19". Good condition.

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John Brett ARA ,1830-1902, sailing boats in a loch

Lot 328: John Brett ARA ,1830-1902, sailing boats in a loch

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Description: John Brett ARA ,1830-1902, sailing boats in a loch landscape', oil on canvas, signed and dated 1882, 28cm x 58cm, also the companion 'A loch landscape at sunset', - a pair (2)

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John Brett

Lot 462: John Brett

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Description: John Brett coastal scene with boats and figures signed, watercolour h:4 w:11 in.

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John Brett

Lot 593: John Brett

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Description: John Brett (British, 1831-1902) LION ROCK, LIZARD oil on panel, period frame, signed lower right H10" W14" Provenance: Summerville, South Carolina private collection Schillay & Rehs, New York label verso

Condition Report: *** Notice to bidders: The absence of a condition report does not imply that an object is free of defects or restoration. Condition reports are prepared by request on a 'first come, first served' basis. For more information please read paragraph #9 of Terms and Condition of Sale.

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JOHN BRETT (United Kingdom, 1831-1902) COASTAL VIEW WITH PASTURE & SHEEP.

Lot 1282: JOHN BRETT (United Kingdom, 1831-1902) COASTAL VIEW WITH PASTURE & SHEEP.

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Description: Oil on canvas scene shows a rugged coastline with sails on the horizon with setting sun. Birds fly over foreground field with eleven sheep grazing. Signed lower right "John Brett 94". On reverse of canvas is a title indicating location which is illegible. Housed in a gilt carved wood frame with linen liner. SIZE: 8" x 12". CONDITION: Craquelure, chipped area near sheep, fair to good. 9-24982

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John Brett (1831-1902) 'Duchy Cove - Sept. 1881', 7 x 14in.

Lot 1535: John Brett (1831-1902) 'Duchy Cove - Sept. 1881', 7 x 14in.

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Description: John Brett (1831-1902) oil on canvas, 'Duchy Cove - Sept. 1881', inscribed and dated, 7 x 14in.

Condition Report: Oil on original canvas, not under glass and would benefit from a gentle clean as rather dirty, inscribed with title and date September 8 '81 in top right corner, in original frame with Christies stamp verso. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Gorringes Conditions of Sale.

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Lot 1: John Brett (1830-1902)

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Description: Forest Creek, Newport Sandbanks, Pembrokeshire Coast inscribed 'FOREST Creek 15 July 82' (upper right); and signed and inscribed 'Newport Sandbank Pembrokeshire Coast/by John Brett/ARA' (on the reverse) oil on canvas 71/8 x 141/8 in. (18.1 x 36 cm.) PROVENANCE with George Hughes, Newcastle upon Tyne. NOTES The present work is a smaller version of one commissioned by Dr J. Watt Black in 1882. The larger oil measures 15 x 291/2 in. and is currently in the National Museum of Wales, Cardiff. Brett is particularly known for his Pre-Raphaelite works of the 1850s, including The Glacier of Rosenlaui, (1856) (Tate Gallery, London), The Stonebreaker, (1857-8) (Walker Art Gallery, Liverpool) and Val d'Aosta, (1858) (Private Collection). In 1863-64 Brett visited the Bay of Naples and began thereafter to paint sea pictures and coastal views; in subsequent years he frequently travelled along the coast of the British Isles during the summer months. He painted several pictures of Cardigan Bay including one which was exhibited in 1892 at the Royal Academy. Brett frequently included rocks in the foreground of his coastal scenes which enabled him to display his skills at portraying their detailed surfaces. He was interested in geology and, as a scientist of some repute, was a fellow of the Royal Astronomical Society. He used strict mathematical theory to determine the size of his canvases; the eye could take in a view on a horizontal azimuth of 60 degrees, and it was his opinion that 'all the paintable phenomena in nature occur within an angle of about fifteen degrees above or below the horizon'. This resulted in almost all of his paintings being exactly twice as long as they are high. SALESROOM NOTICE A sketch for this view can be found in the artist's sketchbook, held in the National Maritime Museum.

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Lot 4: BRETT, JOHN EDWARD (1830-1902)

Description: Saint's bay, Guernsey, 1885 Oil/canvas 24x48 inches (61x122 cm) signed & dated.

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*John Brett, (British, 1831-1902), Three Cutters Running into Cowes Roads in Half a Gale (Yachting Off the Coast of Scotland), 1893

Lot 4: *John Brett, (British, 1831-1902), Three Cutters Running into Cowes Roads in Half a Gale (Yachting Off the Coast of Scotland), 1893

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Description: John Brett (British, 1831-1902) Three Cutters Running into Cowes Roads in Half a Gale (Yachting Off the Coast of Scotland), 1893 oil on canvas signed John Brett and dated (lower left) 7 x 14 inches.

Condition Report: Basic good condition, some thin paint separation in lower center. Under UV: fine.

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Lot 5: John Edward Brett, A.R.A. (1830-1902)

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Description: Val di Cogne, Switzerland dated ÔJuly 30.58Õ (lower right) pencil and watercolour, heightened with white 4 À x 8 ½ in. (10.4 x 21.6 cm.) Provenance: By descent from the artist to his eldest daughter, Daisy Watson, and thence by descent to the present owner. Literature: T.S.R. Boase, ÔEnglish Artists and the Val dÕAostaÕ, Journal of the Warburg and Courtauld Institutes, 1956, vol. XIX, p. 292. A. Staley, ÔSome Watercolours by John BrettÕ, Burlington Magazine, February 1973, vol. CXV, pp. 86-93, illustrated p. 88. Footnotes:Between June and September 1858, Brett resided at the Ch‰teau St. Pierre in the Val dÕAosta. It was here that he worked on and completed his Pre-Raphaelite masterpiece, the oil painting Val dÕAosta. The view of the present watercolour, executed several weeks before Brett begun work on the oil, looks towards the snow covered peaks of La Grivola, over the Val di Cogne, in the opposite direction of the Val dÕAosta (see Assessovato Regionale Turismo Aosta, Valle dÕAosta, Novava, 1968, p. 35). The present watercolour is different in its style and scale to Val dÕAosta and the related watercolour (see below). Unlike the Val dÕAosta, which revels in a conscious super-realism and a minute attention to detail, the present watercolour has an exciting freedom. The trees in the foreground are loosely brushed in and the mountains rise to a dusky haze. BrettÕs intention was to appeal to the Romantic imagination and experiment with the effects of light and colour. Moreover, the present watercolour reveals BrettÕs love of his surroundings. The present watercolour contends RuskinÕs assertion, articulated after seeing the Val dÕAosta at the Royal Academy in 1859, ÔI cannot find from it ( Val dÕAosta ) that the painter loved or feared, anything in all that wonderful piece of the world. There seems to be no awe of the mountains there...Õ. A watercolour study for the oil painting Val dÕAosta, sold at ChristieÕs London, 14 June 1991, lot 18, (£15950) and a further alpine view, executed in 1856 and measuring 9 ¾ x 14 in., was sold at ChristieÕs London, 27 October 1987, lot 163, (£33000).

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Lot 5: John Edward Brett, A.R.A. (1830-1902)

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Description: Val di Cogne, Switzerland dated 'July 30.58' (lower right) pencil and watercolour, heightened with white 4.1/8 x 8 in. (10.4 x 21.6 cm.) PROVENANCE By descent from the artist to his eldest daughter, Daisy Watson, and thence by descent to the present owner. LITERATURE T.S.R. Boase, 'English Artists and the Val d'Aosta', Journal of the Warburg and Courtauld Institutes, 1956, vol. XIX, p. 292. A. Staley, 'Some Watercolours by John Brett', Burlington Magazine, February 1973, vol. CXV, pp. 86-93, illustrated p. 88. NOTES Between June and September 1858, Brett resided at the Chteau St. Pierre in the Val d'Aosta. It was here that he worked on and completed his Pre-Raphaelite masterpiece, the oil painting Val d'Aosta. The view of the present watercolour, executed several weeks before Brett begun work on the oil, looks towards the snow covered peaks of La Grivola, over the Val di Cogne, in the opposite direction of the Val d'Aosta (see Assessovato Regionale Turismo Aosta, Valle d'Aosta, Novava, 1968, p. 35). The present watercolour is different in its style and scale to Val d'Aosta and the related watercolour (see below). Unlike the Val d'Aosta, which revels in a conscious super-realism and a minute attention to detail, the present watercolour has an exciting freedom. The trees in the foreground are loosely brushed in and the mountains rise to a dusky haze. Brett's intention was to appeal to the Romantic imagination and experiment with the effects of light and colour. Moreover, the present watercolour reveals Brett's love of his surroundings. The present watercolour contends Ruskin's assertion, articulated after seeing the Val d'Aosta at the Royal Academy in 1859, 'I cannot find from it ( Val d'Aosta ) that the painter loved or feared, anything in all that wonderful piece of the world. There seems to be no awe of the mountains there...'. A watercolour study for the oil painting Val d'Aosta, sold at Christie's London, 14 June 1991, lot 18, (15,950) and a further alpine view, executed in 1856 and measuring 9 x 14 in., was sold at Christie's London, 27 October 1987, lot 163, (33,000).

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Lot 9: BRETT, John (1830-1902, British)

Description: Silver clyde, i.d.28 July 86 prov. Oil Painting (14x7in).

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Lot 9: John Brett (1830-1902)

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Description: Near the Lizard, Cornwall signed and dated 'J. Brett 77' (lower right) and inscribed 'Near the Lizard, Cornwall/John Brett A.R.A./Daisy Watson' on the reverse. oil on board 7 x 14in. (17.8 x 35.5cm.) PROVENANCE Alexander Hasse, Fine Art Gallery, Leeds.

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Lot 11: JOHN BRETT, A.R.A. (1830-1902)

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Description: NEWPORT incised Newport 10 Aug 82 u.r.; indistinctly signed and inscribed on the stretcher, oil on canvas 18 by 35.5 cm.; 7 by 14 in.

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Polpeer Cove, The Lizard, Cornwall

Lot 12: Polpeer Cove, The Lizard, Cornwall

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Description: John Brett, A.R.A. (1830-1902) Polpeer Cove, The Lizard, Cornwall inscribed and dated 'Polpeor [sic]/Aug 1876' (lower right) oil on canvas 10 x 19 in. (25.5 x 48 cm.)

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Lot 13: BRETT, JOHN EDWARD (1830-1902)

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Description: Wild flowers and seashore, 1895, 1895 Oil/canvas 15x29.9 in (38x76 cm) signed & dated (Lower Right).

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JOHN BRETT

Lot 15: JOHN BRETT

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Description: JOHN BRETT 1830 - 1902 ENTRANCE TO YARMOUTH HARBOUR signed and dated l.r.: JOHN BRETT/ Sept 1868 31.5 by 47.5cm., 12.5 by 18¾in. 48.2 x 63.5 cm

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Lot 17: BRETT, JOHN EDWARD (1830-1902)

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Description: Portmeron, 1886, 1886 Oil/canvas 7.1x14 in (18x35.5 cm) Title D 19 Aug. 86.

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Lot 18: BRETT, JOHN EDWARD (1830-1902)

Description: Val d'Aosta, 1858 Pencil 10x8 inches (24.5x19.4 cm) Inscr. artist's son.

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JOHN BRETT, A.R.A.

Lot 18: JOHN BRETT, A.R.A.

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Description: THE LIZARD; CALDY ISLAND one inscribed and dated l.l.: Lizard/ Aug 8/76; the other inscribed and dated l.r.: Caldy Island July 22 79

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John Brett, A.R.A. (1830-1902)

Lot 19: John Brett, A.R.A. (1830-1902)

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Description: John Brett, A.R.A. (1830-1902) Hills of Argyll inscribed and dated 'Hills of Argyll 23 Aug 85' (upper right) and inscribed 'Received of Basil Woodd-Smith Esq the/sum of..... - the price of/my sketch No.29 of the 1885 series/"Argyll Paradise",(being the original sketch/for my picture now in the R.Academy "an Argyll/Eden" 19 x 10 inches on canvas./John Brett/28 May 1886/Garracoch nr Oban' (on the reverse)oil on canvas 10 x 19 in. (25.5 x 48.2 cm.)

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Lot 20: BRETT, John (1830-1902, British)

Description: The desired haven, i.d.14 June 86 Oil Painting (14x7in).

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Lot 20: John Brett

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Description: Anglesea signed 'J. Brett' and inscribed 'Anglesea/Jul.13.79' oil on panel 71/4 x 133/4in. (18.4 x 34.9cm.).

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Lot 20: BRETT, John (1830-1902, British)

Description: Anglesea, s.i.d.Jul.13.79 panel Oil Painting (14x7in).

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John Brett, A.R.A. (1830-1902)

Lot 20: John Brett, A.R.A. (1830-1902)

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Description: John Brett, A.R.A. (1830-1902) Land's End inscribed with the title and dated 'Lands End Sep 30 72' (lower left)oil on board 10 1/8 x 14¼ in. (25.8 x 36.2 cm.)

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Lot 21: BRETT, John (1830-1902, British)

Description: Loch Fyne, s.d.1897 Oil Painting (30x15in).

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Lot 21: BRETT, JOHN EDWARD (1830-1902)

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Description: Sketch of Fermain Bay, Guernsey, 1874, 1874 Oil/board 7.1x14.2 in (18x36 cm) Inscr.D (Lower Right) July 18 -74. Initials title verso.

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Lot 22: BRETT, JOHN EDWARD (1830-1902)

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Description: Calm day East of the Lizard, 1877, 1877 Oil/canvas 12x24 in (30.5x61 cm) signed & dated (Lower Right).

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John Brett, A.R.A. (1830-1902)

Lot 22: John Brett, A.R.A. (1830-1902)

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Description: Pearly Summer signed and dated 'John Brett 1892' (lower left) and signed and inscribed 'John Brett A.R.A./Putney/London' (on the reverse) oil on canvas 421/4 x 82 1/8 in. (107.2 x 208.7 cm.) PROVENANCE The Artist's Sale, Christie's, London, 15 February 1902, lot 120 (105 gns to Jones). with Agnew's, 1971. Anon. sale, Christie's, London, 5 March 1971, lot 62 (380 gns). with The Fine Art Society, London, from whom acquired by the present owner in 1971. LITERATURE H. Blackburn (ed.), Academy Notes, 1893, London, 1893, p. 10. Illustrated London News, 6 May 1893, p. 547. Magazine of Art, 1893, vo. XVI, p. 256. Royal Academy Pictures, 1893, illus. p. 100. Athenaeum, 28 July 1894. Magazine of Art, 1901, vol. XXV, illus. p. 219 (View of northside of Room XXVII, Exposition Universelle, see upper left corner). EXHIBITION London, Royal Academy, 1893, no. 153. Birmingham, Royal Birmingham Society of Artists, 1893, no. 361. Paris, Soci‚t‚ des Artistes Fran‡ais, Salon de 1894, no. 294, awarded Diploma (?) and 'Mention Honourable'. London, Galerie Continentale. Paris, Exposition Universelle, 1900, British Fine Arts Section, no. 25 (Silver Medal). Paris Exhibition, 1901, (Gold Medal). Sheffield, Mappin Art Gallery, 1901. Birmingham, Royal Birmingham Society of Artists, 1901, no. 151. The Art and Mind of Victorian England, 1974, no. 3. The Royal Academy (1837-1901) Revisited, 1975-6, no. 3. Pintura Victoriana, 1993, no. 92. Cardiff, National Museum and Art Gallery, John Brett: A Pre-Raphaelite on the Shores of Wales, 2001, no. 36. NOTES This is arguably Brett's final tour de force. Much admired by fellow artists when exhibited at the Royal Academy of 1893, it earned an Honourable Mention and favourable reviews when shown at the Paris Salon of 1894. Only last year, when it was included in John Brett: A Pre-Raphaelite on the Shores of Wales in Cardiff, it was considered the star of the show. The composition recalls Britannia's Realm, exhibited at the Royal Academy of 1880, no. 387, and bought for the Tate by the Trustees of the Chantrey Bequest for œ600 (see fig 1). The picture was considered remarkable, for as Brett's exact contemporary, the marine artist Henry Moore noted in his diary, on 16 May 1857, some twenty years earlier: 'There is one thing respecting the sea I never saw truly given in a painting - viz, its size and extent as seen from high cliffs - it is truly wonderful'. In Britannia's Realm Brett made good the deficiency, and he repeated the high viewpoint in Pearly Summer. Of the earlier picture the Art Journal concluded: 'Dark clouds, partially obscuring the piled-up cumuli, betoken to our uninitiated eye a change of weather, but Mr Brett at once explains that it is merely a local disturbance, common in the afternoon, and will quickly pass away, and he speaks with such authority that we at once defer to his better knowledge'. In Pearly Summer, Brett again betrays his interest in climatic conditions, indicating an enthusiasm for scientific matters that led him to build an astronomical observatory on the roof of his house in Putney. In the present picture he treats sea and sky with a greater degree of subtlety than is found in the Tate painting, and eloquently conveys the heat and langour of a cloudy summer afternoon. Torpor is reflected in the limp sails of the vessels to the right but Brett includes in the middle distance the added interest of more discernible human activity. These were men fishing for pilchards, an activity which involved two craft, one slightly larger than the other, between which huge seine nets were drawn. One of them bears the registration 'PZ' for Penzance, far from Cardigan Bay where this picture was painted. David Jenkins has pointed out that, although the sky and seascape were taken from a sketch executed from the cliffs near Aperporth in the summer of 1891, the vessels in the picture are an agglomeration of scenes witnessed over a period of some twenty years, recorded by Brett in sketchbooks from his tours around the British Isles. The towing incident in the centre of the picture for instance was taken from a pencil drawing of a steam paddle tug, and two sailing vessels, which he had made twenty-four years earlier (see fig. 2). The drawing, from the artist's sketchbook, no. 23 (now in the National Maritime Museum, Greenwich), is dated July 3 /67, and was executed on board the yacht Victoria, then sailing off Little Cambrae Island in the outer approaches to the Firth of Clyde. For Pearly Summer the tug was re-named Rattler, after a tug then working out of Cardiff, while the smack was re-named Mary Jane, after a vessel then registered at Aperporth, which Brett would have seen carrying limestone and building materials along the Bristol Channel. When exhibited at the Royal Academy the following lines were appended, in order to explain the nautical manoeuvres taking place in the picture: ' Skipper of smack. 'Stand by to cast off!' ' Master of tug : 'Ease her!' ' Cox of shore boat : 'Way enough, mates; she'll just fetch us'. An entry in Brett's Studio Log Book for 14 August 1892 explains the subject matter, and also indicates that it took him no more than two weeks to complete the painting: 'On 1st August I began another 7 foot picture of an opposite sort of subject. "Pearly Summer" from a sketch off the cliffs at Aberporth dated 27 July 91. It went very well and without alteration during the first week. Then I had to introduce more subject, and so put in the towing incident "stand by to cast off etc.". It was practically finished yesterday and I have a favourable opinion of it. I doubt whether it can be better done'. Aberporth is in Dyfed, and the sketch from which the picture was taken was executed from the cliffs at D“l-wen near Tresaith. (Measuring 10 x 19 in. it was sold at Sotheby's London, 10 December 1989, lot 27, œ3,080). Brett's diary of 14 August 1892, mournfully records 'Having no income we could not travel this year, so had to stay at home and try to spend as little as possible of our hard earned savings...'. The summer was spent working sketches executed on previous trips into finished pictures. The entry is a telling reminder of the sudden and surprising reversal in fortune for Brett: even the present painting was still in his possession at the time of his death, despite having been widely exhibited in Britain and on the Continent. Brett first visited Wales in 1866, and such was his love of the country that he returned frequently thereafter. At the height of his popularity in the 1880s he was rich enough to hire a yacht, the Viking, in which he and his large family spent several summers, undertaking one memorable tour along the Welsh coast in the summer of 1883. During the last decade of his life, however, few of his pictures sold, and he was obliged to live off capital. It was a disappointing end to a career which had witnessed some remarkable peaks. Praised by Ruskin as 'one of my keenest minded friends', Brett made his name at the Royal Academy of 1858 with a work entitled The Stonebreaker, (Walker Art Gallery, Liverpool) in which the arduous task of the young boy, breaking flints, was contrasted with the beauty of Brett's native landscape. Ruskin thought that 'in some points of precision it goes beyond anything that the pre-Raphaelites have done yet' and concluded with the challenge 'If he can paint so lovely a distance from the Surrey Downs... what would he not make of the chestnut groves of the Val d'Osta'. Brett spent the following summer with Ruskin, touring the continent, but his Val d'Osta of 1859 (private collection) confronted Ruskin with the most literal result of the approach to landscape advocated by him, and came as a disappointment to the critic who thought it 'Mirror's work, not Man's'. Brett's friendship with Ruskin gradually slackened, and from 1870 he concentrated on the depictions of the British coasts which now most frequently appear in the sale-rooms. In few of them did he approach the heights achieved in the present painting. We are grateful to David Jenkins, Senior Curator in the Department of Industry, the National Museums & Galleries of Wales, and Christopher Gridley for their help in preparing this entry.

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Lot 23: BRETT, JOHN EDWARD (1830-1902)

Description: Hilly landscape Pencil 13x23 cm (5x9 in).

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John Brett, A.R.A. 1830-1902 , portrait of mary brett oil on canvas
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John Brett, A.R.A. 1830-1902 , mount's bay, cornwall oil on canvas

Lot 24: John Brett, A.R.A. 1830-1902 , mount's bay, cornwall oil on canvas

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Description: dated l.l.: Sept r 2 76; bears an inscription on a fragment of canvas attached to the stretcher; St. Ives Cornwall by John Brett. R.A. oil on canvas

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Lot 27: BRETT, JOHN EDWARD (1830-1902)

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Description: Pearly summer, 1891, 1891 Oil/canvas 10x18.9 in (25.5x48 cm) Title D.

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John Brett, ARA (British, 1831-1902) 'Newport Bar'

Lot 28: John Brett, ARA (British, 1831-1902) 'Newport Bar'

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Description: 'Newport Bar' inscribed with title, and dated 12 Sep 82 (upper left)oil on canvas17.8 x 35.6cm (7 x 14in).

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JOHN BRETT, A.R.A.

Lot 28: JOHN BRETT, A.R.A.

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Description: JOHN BRETT, A.R.A. 1831-1902 LOW WATER, SPRINGS titled and indistinctly dated l.r.: Low Water, Springs 5 septr 91- ; signed, titled and inscribed on the canvas overlap: 98. Low Water "Spring" John Brett A R A oil on canvas 25.5 by 48cm.; 10 by 19in.

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John Brett, A.R.A. (1831-1902)

Lot 29: John Brett, A.R.A. (1831-1902)

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Description: John Brett, A.R.A. (1831-1902) Skrinkle Cove indistinctly signed, inscribed and dated 'Skrinkle Cove/John Brett. 79' (lower left)oil on canvas 7½ x 14¼ in. (19 x 36.3 cm.)

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John Brett, A.R.A. (1830-1902)

Lot 29: John Brett, A.R.A. (1830-1902)

Description: John Brett, A.R.A. (1830-1902) Trevone, Cornwall inscribed and dated 'Trevone 22 Aug 97' (lower left) oil on canvas 7 x 14 in. (17.8 x 35.6 cm.)

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JOHN BRETT A.R.A., 1830-1902

Lot 32: JOHN BRETT A.R.A., 1830-1902

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Description: SIGNED AND DATED (MAKER'S MARKS)titled and dated 5 Oct 87; signed on the overlap and titled on the stretcher

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John Brett, A.R.A. (1830-1902)

Lot 34: John Brett, A.R.A. (1830-1902)

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Description: Arran from Port-in-Cross inscribed and dated 'Portincross 9 jun 56' (upper left) oil on canvas 93/4 x 19 in. (24.8 x 48.3 cm.) PROVENANCE with J.S. Maas and Co. Ltd.

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Lot 38: BRETT, John (1830-1902, British)

Description: Eynesford, s.d.Aug.22.51 W/C htd.white Works on paper (10x6in).

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JOHN BRETT A.R.A (1831-1902) THE LIZARD 25.5cm x 48.5cm (10in x 19in)

Lot 39: JOHN BRETT A.R.A (1831-1902) THE LIZARD 25.5cm x 48.5cm (10in x 19in)

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Description: JOHN BRETT A.R.A (1831-1902) THE LIZARD Inscribed and dated ''Lizard July 19, ''76'', oil on canvas 25.5cm x 48.5cm (10in x 19in)

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Follower of John Brett, ARA (British, 1831-1902) Peasant women in an Italian landscape

Lot 39: Follower of John Brett, ARA (British, 1831-1902) Peasant women in an Italian landscape

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Description: Peasant women in an Italian landscapebears signature and date 'John Brett 1890' (lower right), oil on canvas laid to board 39 x 64cm (15 3/8 x 25 1/4in).

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JOHN BRETT, A.R.A. (1831-1902) Beach Scene with

Lot 44: JOHN BRETT, A.R.A. (1831-1902) Beach Scene with

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Description: JOHN BRETT, A.R.A. (1831-1902) Beach Scene with Figures, said to be Cromer signed and dated John Brett 1882 (lower left) watercolour heightened with white, unframed 15 x 20 1/2in (38.2 x 52.1cm)

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Lot 47: John Brett, A.R.A.

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Description: 1830-1902 NEWSLADE inscribed with title and dated l.l.: Newslade 1888 oil on canvas 25.5 by 48.5 cm., 10 by 19 in.

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Lot 48: John Brett, A.R.A.

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Description: 1830-1902 A COASTAL SCENE inscribed and dated u.r.: 6 July 89 oil on canvas Provenance: The Maas Gallery. 17 by 35 cm., 6 3/4 by 13 3/4 in.

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Lot 49: BRETT, JOHN EDWARD (1830-1902)

Description: Lands End, 1881 Oil/canvas 9x19 inches (24x47.5 cm) signed & dated Cornish June -81.

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Lot 49: John Brett, A.R.A.

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Description: 1830-1902 CORNWALL oil on panel 20.5 by 40.5 cm., 8 by 16 in.

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