Basil Bradley, RWS, British 1842-1904- Lions; pencil and watercolour heightened with touches of white on paper, signed and dated 'Basil Bradley 1874.' (lower left), further signed, indistinctly inscribed and dated '... by Basil Bradley / 1874.' on the backing board, 46 x 74 cm. Provenance: Anon. sale, Phillips, London, 23rd April 1990, lot 22. Private Collection, UK. Note: Bradley was an animal, landscape and sporting painter. He exhibited at the Manchester School of Art from 1886-1899 and at the Royal Academy in London in 1867, where he became a member in 1881.
Basil Bradley (UK, 1842 - 1904) Watercolor of a Dog. Signed lower right. Sight Size: 10 x 15 in. Overall Framed Size: 20 x 24 in. - Provenance: this item comes from the private collection of Lou A. and Barbara B. Pritchett. Lou Pritchett was the ex-Vice President of Procter and Gamble. Lou Pritchett rose through the ranks at Procter & Gamble and was instrumental in the creation of the partnership between Procter & Gamble and Wal-Mart. Pritchett was instrumental in bringing Proctor & Gamble to the Phillipines during his time there. Now retired, Lou is a sought-after public speaker and author of Stop Paddling & Start Rocking the Boat.
"Setters", original watercolor on paper, signed lower right, sight size apprx 7" x 10", under French mat, glass, overall framed apprx 14.5" x 17". Depicting a black and tan and white setter dogs. "Collies", original watercolor on paper, signed lower left, size apprx 7" x 10", under French mat, glass, overall framed apprx 14.5" x 17". Both purchased from Vixseboxse Gallery, Cleveland Ohio. The artist was a member of the Royal Watercolor Society and exhibited at the Royal Academy and the Old Watercolor Society between 1866-1893. Condition: neither examined our of framing, Colors are still strong, but still lightly faded with faint toning around perimeter. Lovely matting and framing, the frames with small losses to gold finish.
Basil Bradley (1842-1904) Irish Cabin Interior Showing a Man and Girl Making Súgán Rope Oil on canvas laid down on panel 34.5 x 44.5cm (13½ x 17½) Signed Straw was one of the most important organic materials in the economy of Irish rural life, and was used in fields as various and vital as clothing, building and agriculture. It also accrued religious, ritual and magical significance as well as developing rich linguistic associations. Straw was used for the fabrication of St Brigids crosses, for mummers costumes, fishing nets, toys and, as is shown here, rope in Irish súgán or súgán cotháin. Basil Bradley portrays the weaving process as a collaborative effort between different generations of the family with the households two dogs noticeably indifferent to the task at hand. The artists meticulous observation of detail has been noted and here the furniture, interior setting and costume are rendered accurately giving the painting great documentary value (Claudia Kinmonth, Irish Rural Interiors in Art (2006) p. 88). The work is closely comparable, especially in its earth-based colour scheme, to Bradleys, Irish Cabin, Spinning and, as is in that work, the womens red petticoats, which provide the one chromatic highlight, suggest that the home is a western one (ibid.). In addition to its harmoniously controlled palette, there is a subtle deployment of light effects to evoke presence. Clearly, two sources of illumination are in play. The light from the window which silhouettes the standing girls profile is the most obvious. But there is also a secondary source from which light floods the left foreground of the image, bathing the seated man in its rays. This can only be from the cabins door and it is easy to imagine that this is the spot where Bradley has set up his easel. This makes him simultaneously a, literally, liminal presence but also, rather suggestively, a witness as to the scenes verisimilitude standing very close by, just on the other side of the picture plane. Also enhancing the veracity of the scene is the way in which Bradley crops into the body of the bare-footed girl at the right-hand edge, rather than composing the scene into a balanced, classically-conceived composition. This is a technique more associated with the advanced Parisian modernity of Degas, than the stylistically retardataire tradition within which most painters of Irish rural life worked. While Bradley is careful to depict very scrupulously what he saw before him when visiting this particular cabin, his analytical viewpoint is not merely ethnographic, or at the expense of human interest. Instead, the image is both an endearing depiction of familial life and shared endeavour and an unmediated testament to the hardness of existence in the rural communities of the West of Ireland. Born in England, and excelling from an early date as an animal painter, Bradley was a careful recorder of the Irish landscape (for example in his View Of The Nine Pins, Connemara, 1873) and sympathetic chronicler of rural life (in for instance his Interior of an Irish Cabin in Connemara, 1879). Bradley exhibited with the Old Watercolour Society and, between 1873-99, with the Royal Academy. His Irish work is rare but examples of his art can be found in leading museum collections internationally including the Victoria and Albert Museum, London, Manchester Art Gallery and the Art Gallery of New South Wales, Sydney.
ARTIST: Basil Bradley (British, 1842 - 1904) NAME: Landscape - On the Thames (titled on verso) YEAR: 1882 MEDIUM: oil on canvas CONDITION: Minor craquelure. Few minor scattered inpaintings (1" x 1" biggest). Wear to frame. SIGHT SIZE: 20 x 36 inches / 50 x 91 cm FRAME SIZE: 24 x 39 inches / 60 x 99 cm SIGNATURE: lower right and on verso SIMILAR ARTISTS: Edwin Cooper, James Walsham Baldock, Francis Cecil Boult, Robert Payton Reid, Edmund Bristow, George Denholm Armour, Edward Julius Detmold, Richard Ansdell, Erskine Nicol, Thomas Rowlandson, Edwin Henry Landseer, Clarkson Stanfield, Tom Lloyd, Charles Gregory, George Edward Lodge, Daniel Sherrin The Elder CATEGORY: antique vintage painting AD: ART CONSIGNMENTS WANTED. CONTACT US SKU#: 117533 US Shipping $120 + insurance. BIOGRAPHY: Basil Bradley was born in London in 1842, the second son of William and Eliza Bradley. His father, a native of Manchester born in 1801, was himself a noted portrait painter who had moved to London to gain more prestigious commissions amongst the wealthier classes. William and Eliza Bradley lived for a time on Fitzroy Square within the Fitzrovia district of London (Thomson 2007) but by the 1841 census, the year before Basil's birth, they had moved just around the corner to Charlotte Street. The family then moved back to Manchester sometime in the mid to late 1840s: the 1851census/birth records show that their daughters Blanche and Julia, were born in London in 1844 and 1845 respectively but that a third daughter, was born in Manchester around 1850.Basil Bradley's early family life must have been chaotic. At the 1851 census he was living at 10 Sagar Street, Cheetham, Manchester, with his four siblings, of whom the eldest, William, was then aged 12. The only other member of the household was a 19 years old house servant. The parents, by contrast, together with a house maid, formed a separate household at 3Albert Terrace, Broughton Lane, Salford. It is difficult to imagine how this came about. William Bradley, the father, died of typhoid in a room adjoining his studio on 4 July 1857.There was controversy over accounts of his death, with some claiming that his demise resulted from intemperate habits occasioned by his perceived lack of recognition for the fruits of his own artistic efforts.A more complete description of his life and the circumstances surrounding his death can be found in Susan Thomson's book Manchester's Victorian Art Scene and its Unrecognised Artists (Thomson 2007). Both Basil and William Bradley Jnr (see Appendix 3) became professional artists.Basil Bradley received little formal instruction in painting. Between 1859-1860, the year immediately before his time in Levens, Bradley studied at the Manchester School of Art (Clement and Hutton 1879), apparently under the tutelage of the landscape painter James Astbury Hammersley (1818-1867) (Anon 1892).By the time of the 1871 Census Basil Bradley was well-established closer to the London art scene, living at Lady Cross, Hambledon, Surrey with his sister Julia, an Artist pupil Frank Goodwin and a general servant. Earlier in 1866 he had shown a painting Evening at the Dudley Gallery, London at an exhibition designed to attract up and coming water-colourists (Anon 1866). Clearly, he had impressed as the following year (1867) he was elected an associate of the Society of Painters in Water Colours, often referred to as the Old Water Colour Society (Roget 1891, Holme 1905). His first exhibits as an associate, at the Society's exhibition of 1867, including Tilling the Ground and Spring in the Highlands, were particularly well received (Anon 1867a, b). A review of a series of portraits of tigers and their cubs exhibited in 1877 received effusive praise in The Art Journal. The paintings were described as .... about as admirable examples of fine draughtsmanship, skill in display of local colour, and felicity in reproducing individual textures, as we ever remember to have seen. The intensity of animal expression thrown into the individual portraits and the mirthfulness of character shown in the drawings are simply and truthfully equal to the finest display of those qualities in the best of Landseer's drawings (Pascoe 1877).Basil Bradley married Fanny Jemima Pattison at Marleybone, London in 1874, the year after his first painting, Victor and Vanquished, was accepted to hang at the Royal Academy Exhibition. The couple appear to have had no children. They seem to have moved address repeatedly during the succeeding years as shown in Table 1. It is difficult, however, to tell whether at any one time Bradley had both a residential and a studio address.Basil Bradley was a member of the Water-Colour Society of Liverpool and was elected a full member of the Society of Painters in Water-Colours in 1881 (Clement & Hutton 1879, Roget 1891, Holme 1905). Most of his work exhibited at major exhibitions in London was shown at the Society of Painters in Water-Colours (= The Old Water Colour Society), although 11 paintings were accepted for hanging at the Royal Academy and a single painting, When All was Young, was exhibited at the Royal Society of British Artists (up to 1893) (Graves, 1901, 1905, Johnson 1975). Details and reviews of these exhibitions were widely disseminated in both the London and provincial newspapers and periodicals (e.g. Anon 1875, Pascoe 1877).In addition, some of Bradley's paintings such, as May-Time and Forlorn Hope, featured in published collections of facsimile sketches designed to illustrate the best works in the major exhibitions (Blackburn 1882, 1893). Other prominent London venues at which Bradley exhibited were Lean's Gallery, Haymarket (Anon 1878c), The Grosvenor Gallery (Anon 1879), Kensington Town Hall (Anon 1882a), The Dudley Gallery (Anon 1866, 1884a) and Hampstead Art Society (Anon 1894, 1895a, 1897). Bradley also exhibited widely throughout the UK and beyond, including the Paris Exhibition of 1878 (Anon 1878a,b, Clement & Hutton 1879). An impressive list of exhibitions can be reconstructed from accounts in local newspapers throughout the UK. City venues include Manchester, Liverpool, Birmingham, Bristol, Derby, Nottingham, York, Aberdeen, Belfast and smaller towns include Southport and Alnwick in Northumberland.Basil Bradley died in Hendon, Middlesex in late 1904. The remaining works in his studio were auctioned by Christie, Manson and Woods on 6 February 1905. Interestingly, he is described as Basil Bradley RWS, deceased, late of Scarsdale Studios, Kensington (London), an additional address to those listed in Table 1 (Christie, Manson and Woods 1905). A few years before his death Basil Bradley sat for a water-colour portrait by Sir Hubert von Herkomer that was hung in the 1897 exhibition of the Royal Water-Colour Society (Baldry 1901).The current location of this painting, if it survives, remains unknown. Some of Basil Bradley's correspondence with David Croal Thomson, dating from 1884, survives in the California Archive. Towards the end of his career Basil Bradley is known to have painted using Cambridge Colours supplied by Madderton & Co. Ltd, originally of Loughton, Essex but also at 156 King's Road, Chelsea.Madderton's kept a detailed record of artists palettes between 1902 and 1904 and amongst the artists recorded was Basil Bradley (Madderton's Notes for Artists).In addition to his role as an artist Basil Bradley was also a graphic illustrator, supplying images for engravings of animals and rural scenes to a number of magazines, most notably Once a Week, Cassell's Family Magazine, The Graphic and the Illustrated London News (Anon 1880, White 1906).
ARTIST: Basil Bradley (British, 1842 - 1904) NAME: Landscape - On the Thames (titled on verso) YEAR: 1882 MEDIUM: oil on canvas CONDITION: Minor craquelure. Few minor scattered inpaintings (1" x 1" biggest). Wear to frame. SIGHT SIZE: 20 x 36 inches / 50 x 91 cm FRAME SIZE: 24 x 39 inches / 60 x 99 cm SIGNATURE: lower right and on verso SIMILAR ARTISTS: Edwin Cooper, James Walsham Baldock, Francis Cecil Boult, Robert Payton Reid, Edmund Bristow, George Denholm Armour, Edward Julius Detmold, Richard Ansdell, Erskine Nicol, Thomas Rowlandson, Edwin Henry Landseer, Clarkson Stanfield, Tom Lloyd, Charles Gregory, George Edward Lodge, Daniel Sherrin The Elder CATEGORY: antique vintage painting AD: ART CONSIGNMENTS WANTED. CONTACT US SKU#: 117533 US Shipping $120 + insurance. BIOGRAPHY: Basil Bradley was born in London in 1842, the second son of William and Eliza Bradley. His father, a native of Manchester born in 1801, was himself a noted portrait painter who had moved to London to gain more prestigious commissions amongst the wealthier classes. William and Eliza Bradley lived for a time on Fitzroy Square within the Fitzrovia district of London (Thomson 2007) but by the 1841 census, the year before Basil's birth, they had moved just around the corner to Charlotte Street. The family then moved back to Manchester sometime in the mid to late 1840s: the 1851census/birth records show that their daughters Blanche and Julia, were born in London in 1844 and 1845 respectively but that a third daughter, was born in Manchester around 1850.Basil Bradley's early family life must have been chaotic. At the 1851 census he was living at 10 Sagar Street, Cheetham, Manchester, with his four siblings, of whom the eldest, William, was then aged 12. The only other member of the household was a 19 years old house servant. The parents, by contrast, together with a house maid, formed a separate household at 3Albert Terrace, Broughton Lane, Salford. It is difficult to imagine how this came about. William Bradley, the father, died of typhoid in a room adjoining his studio on 4 July 1857.There was controversy over accounts of his death, with some claiming that his demise resulted from intemperate habits occasioned by his perceived lack of recognition for the fruits of his own artistic efforts.A more complete description of his life and the circumstances surrounding his death can be found in Susan Thomson's book Manchester's Victorian Art Scene and its Unrecognised Artists (Thomson 2007). Both Basil and William Bradley Jnr (see Appendix 3) became professional artists.Basil Bradley received little formal instruction in painting. Between 1859-1860, the year immediately before his time in Levens, Bradley studied at the Manchester School of Art (Clement and Hutton 1879), apparently under the tutelage of the landscape painter James Astbury Hammersley (1818-1867) (Anon 1892).By the time of the 1871 Census Basil Bradley was well-established closer to the London art scene, living at Lady Cross, Hambledon, Surrey with his sister Julia, an Artist pupil Frank Goodwin and a general servant. Earlier in 1866 he had shown a painting Evening at the Dudley Gallery, London at an exhibition designed to attract up and coming water-colourists (Anon 1866). Clearly, he had impressed as the following year (1867) he was elected an associate of the Society of Painters in Water Colours, often referred to as the Old Water Colour Society (Roget 1891, Holme 1905). His first exhibits as an associate, at the Society's exhibition of 1867, including Tilling the Ground and Spring in the Highlands, were particularly well received (Anon 1867a, b). A review of a series of portraits of tigers and their cubs exhibited in 1877 received effusive praise in The Art Journal. The paintings were described as .... about as admirable examples of fine draughtsmanship, skill in display of local colour, and felicity in reproducing individual textures, as we ever remember to have seen. The intensity of animal expression thrown into the individual portraits and the mirthfulness of character shown in the drawings are simply and truthfully equal to the finest display of those qualities in the best of Landseer's drawings (Pascoe 1877).Basil Bradley married Fanny Jemima Pattison at Marleybone, London in 1874, the year after his first painting, Victor and Vanquished, was accepted to hang at the Royal Academy Exhibition. The couple appear to have had no children. They seem to have moved address repeatedly during the succeeding years as shown in Table 1. It is difficult, however, to tell whether at any one time Bradley had both a residential and a studio address.Basil Bradley was a member of the Water-Colour Society of Liverpool and was elected a full member of the Society of Painters in Water-Colours in 1881 (Clement & Hutton 1879, Roget 1891, Holme 1905). Most of his work exhibited at major exhibitions in London was shown at the Society of Painters in Water-Colours (= The Old Water Colour Society), although 11 paintings were accepted for hanging at the Royal Academy and a single painting, When All was Young, was exhibited at the Royal Society of British Artists (up to 1893) (Graves, 1901, 1905, Johnson 1975). Details and reviews of these exhibitions were widely disseminated in both the London and provincial newspapers and periodicals (e.g. Anon 1875, Pascoe 1877).In addition, some of Bradley's paintings such, as May-Time and Forlorn Hope, featured in published collections of facsimile sketches designed to illustrate the best works in the major exhibitions (Blackburn 1882, 1893). Other prominent London venues at which Bradley exhibited were Lean's Gallery, Haymarket (Anon 1878c), The Grosvenor Gallery (Anon 1879), Kensington Town Hall (Anon 1882a), The Dudley Gallery (Anon 1866, 1884a) and Hampstead Art Society (Anon 1894, 1895a, 1897). Bradley also exhibited widely throughout the UK and beyond, including the Paris Exhibition of 1878 (Anon 1878a,b, Clement & Hutton 1879). An impressive list of exhibitions can be reconstructed from accounts in local newspapers throughout the UK. City venues include Manchester, Liverpool, Birmingham, Bristol, Derby, Nottingham, York, Aberdeen, Belfast and smaller towns include Southport and Alnwick in Northumberland.Basil Bradley died in Hendon, Middlesex in late 1904. The remaining works in his studio were auctioned by Christie, Manson and Woods on 6 February 1905. Interestingly, he is described as Basil Bradley RWS, deceased, late of Scarsdale Studios, Kensington (London), an additional address to those listed in Table 1 (Christie, Manson and Woods 1905). A few years before his death Basil Bradley sat for a water-colour portrait by Sir Hubert von Herkomer that was hung in the 1897 exhibition of the Royal Water-Colour Society (Baldry 1901).The current location of this painting, if it survives, remains unknown. Some of Basil Bradley's correspondence with David Croal Thomson, dating from 1884, survives in the California Archive. Towards the end of his career Basil Bradley is known to have painted using Cambridge Colours supplied by Madderton & Co. Ltd, originally of Loughton, Essex but also at 156 King's Road, Chelsea.Madderton's kept a detailed record of artists palettes between 1902 and 1904 and amongst the artists recorded was Basil Bradley (Madderton's Notes for Artists).In addition to his role as an artist Basil Bradley was also a graphic illustrator, supplying images for engravings of animals and rural scenes to a number of magazines, most notably Once a Week, Cassell's Family Magazine, The Graphic and the Illustrated London News (Anon 1880, White 1906).
DESCRIPTION: Basil Bradley (English, 1842-1904). Oil on board. Soogaun (or Straw and Hay rope) Making, Connemara, Ireland. Signed lower left. In gilt wood and gesso frame. Part of the Irish Cabin series of paintings. Labels for C. Rowley & Co. Manchester verso. MEASUREMENTS: 20-1/4" high x 24" wide overall with frame. CONDITION: Some cracking and loss of paint to frame. IMPORTANT: Before bidding, please read the terms and conditions. When you registered for the auction you agreed to these terms and will be required to comply with them.
ARTIST: Basil Bradley (British, 1842 - 1904) NAME: Landscape - On the Thames (titled on verso) YEAR: 1882 MEDIUM: oil on canvas CONDITION: Minor craquelure. Few minor scattered inpaintings (1" x 1" biggest). Wear to frame. SIGHT SIZE: 20 x 36 inches / 50 x 91 cm FRAME SIZE: 24 x 39 inches / 60 x 99 cm SIGNATURE: lower right and on verso SIMILAR ARTISTS: Edwin Cooper, James Walsham Baldock, Francis Cecil Boult, Robert Payton Reid, Edmund Bristow, George Denholm Armour, Edward Julius Detmold, Richard Ansdell, Erskine Nicol, Thomas Rowlandson, Edwin Henry Landseer, Clarkson Stanfield, Tom Lloyd, Charles Gregory, George Edward Lodge, Daniel Sherrin The Elder CATEGORY: antique vintage painting AD: ART CONSIGNMENTS WANTED. CONTACT US SKU#: 117533 US Shipping $120 + insurance. BIOGRAPHY: Basil Bradley was born in London in 1842, the second son of William and Eliza Bradley. His father, a native of Manchester born in 1801, was himself a noted portrait painter who had moved to London to gain more prestigious commissions amongst the wealthier classes. William and Eliza Bradley lived for a time on Fitzroy Square within the Fitzrovia district of London (Thomson 2007) but by the 1841 census, the year before Basil's birth, they had moved just around the corner to Charlotte Street. The family then moved back to Manchester sometime in the mid to late 1840s: the 1851census/birth records show that their daughters Blanche and Julia, were born in London in 1844 and 1845 respectively but that a third daughter, was born in Manchester around 1850.Basil Bradley's early family life must have been chaotic. At the 1851 census he was living at 10 Sagar Street, Cheetham, Manchester, with his four siblings, of whom the eldest, William, was then aged 12. The only other member of the household was a 19 years old house servant. The parents, by contrast, together with a house maid, formed a separate household at 3Albert Terrace, Broughton Lane, Salford. It is difficult to imagine how this came about. William Bradley, the father, died of typhoid in a room adjoining his studio on 4 July 1857.There was controversy over accounts of his death, with some claiming that his demise resulted from intemperate habits occasioned by his perceived lack of recognition for the fruits of his own artistic efforts.A more complete description of his life and the circumstances surrounding his death can be found in Susan Thomson's book Manchester's Victorian Art Scene and its Unrecognised Artists (Thomson 2007). Both Basil and William Bradley Jnr (see Appendix 3) became professional artists.Basil Bradley received little formal instruction in painting. Between 1859-1860, the year immediately before his time in Levens, Bradley studied at the Manchester School of Art (Clement and Hutton 1879), apparently under the tutelage of the landscape painter James Astbury Hammersley (1818-1867) (Anon 1892).By the time of the 1871 Census Basil Bradley was well-established closer to the London art scene, living at Lady Cross, Hambledon, Surrey with his sister Julia, an Artist pupil Frank Goodwin and a general servant. Earlier in 1866 he had shown a painting Evening at the Dudley Gallery, London at an exhibition designed to attract up and coming water-colourists (Anon 1866). Clearly, he had impressed as the following year (1867) he was elected an associate of the Society of Painters in Water Colours, often referred to as the Old Water Colour Society (Roget 1891, Holme 1905). His first exhibits as an associate, at the Society's exhibition of 1867, including Tilling the Ground and Spring in the Highlands, were particularly well received (Anon 1867a, b). A review of a series of portraits of tigers and their cubs exhibited in 1877 received effusive praise in The Art Journal. The paintings were described as .... about as admirable examples of fine draughtsmanship, skill in display of local colour, and felicity in reproducing individual textures, as we ever remember to have seen. The intensity of animal expression thrown into the individual portraits and the mirthfulness of character shown in the drawings are simply and truthfully equal to the finest display of those qualities in the best of Landseer's drawings (Pascoe 1877).Basil Bradley married Fanny Jemima Pattison at Marleybone, London in 1874, the year after his first painting, Victor and Vanquished, was accepted to hang at the Royal Academy Exhibition. The couple appear to have had no children. They seem to have moved address repeatedly during the succeeding years as shown in Table 1. It is difficult, however, to tell whether at any one time Bradley had both a residential and a studio address.Basil Bradley was a member of the Water-Colour Society of Liverpool and was elected a full member of the Society of Painters in Water-Colours in 1881 (Clement & Hutton 1879, Roget 1891, Holme 1905). Most of his work exhibited at major exhibitions in London was shown at the Society of Painters in Water-Colours (= The Old Water Colour Society), although 11 paintings were accepted for hanging at the Royal Academy and a single painting, When All was Young, was exhibited at the Royal Society of British Artists (up to 1893) (Graves, 1901, 1905, Johnson 1975). Details and reviews of these exhibitions were widely disseminated in both the London and provincial newspapers and periodicals (e.g. Anon 1875, Pascoe 1877).In addition, some of Bradley's paintings such, as May-Time and Forlorn Hope, featured in published collections of facsimile sketches designed to illustrate the best works in the major exhibitions (Blackburn 1882, 1893). Other prominent London venues at which Bradley exhibited were Lean's Gallery, Haymarket (Anon 1878c), The Grosvenor Gallery (Anon 1879), Kensington Town Hall (Anon 1882a), The Dudley Gallery (Anon 1866, 1884a) and Hampstead Art Society (Anon 1894, 1895a, 1897). Bradley also exhibited widely throughout the UK and beyond, including the Paris Exhibition of 1878 (Anon 1878a,b, Clement & Hutton 1879). An impressive list of exhibitions can be reconstructed from accounts in local newspapers throughout the UK. City venues include Manchester, Liverpool, Birmingham, Bristol, Derby, Nottingham, York, Aberdeen, Belfast and smaller towns include Southport and Alnwick in Northumberland.Basil Bradley died in Hendon, Middlesex in late 1904. The remaining works in his studio were auctioned by Christie, Manson and Woods on 6 February 1905. Interestingly, he is described as Basil Bradley RWS, deceased, late of Scarsdale Studios, Kensington (London), an additional address to those listed in Table 1 (Christie, Manson and Woods 1905). A few years before his death Basil Bradley sat for a water-colour portrait by Sir Hubert von Herkomer that was hung in the 1897 exhibition of the Royal Water-Colour Society (Baldry 1901).The current location of this painting, if it survives, remains unknown. Some of Basil Bradley's correspondence with David Croal Thomson, dating from 1884, survives in the California Archive. Towards the end of his career Basil Bradley is known to have painted using Cambridge Colours supplied by Madderton & Co. Ltd, originally of Loughton, Essex but also at 156 King's Road, Chelsea.Madderton's kept a detailed record of artists palettes between 1902 and 1904 and amongst the artists recorded was Basil Bradley (Madderton's Notes for Artists).In addition to his role as an artist Basil Bradley was also a graphic illustrator, supplying images for engravings of animals and rural scenes to a number of magazines, most notably Once a Week, Cassell's Family Magazine, The Graphic and the Illustrated London News (Anon 1880, White 1906).
Basil Bradley, RWS (British, 1842-1904) News from home, Place de la Concorde signed 'Basil Bradley RWS' (lower right) oil on panel 45.4 x 61cm (17 7/8 x 24in). For further information on this lot please visit the Bonhams website
ARTIST: Basil Bradley (British, 1842 - 1904) NAME: Landscape - On the Thames (titled on verso) YEAR: 1882 MEDIUM: oil on canvas CONDITION: Minor craquelure. Few minor scattered inpaintings (1" x 1" biggest). Wear to frame. SIGHT SIZE: 20 x 36 inches / 50 x 91 cm FRAME SIZE: 24 x 39 inches / 60 x 99 cm SIGNATURE: lower right and on verso SIMILAR ARTISTS: Edwin Cooper, James Walsham Baldock, Francis Cecil Boult, Robert Payton Reid, Edmund Bristow, George Denholm Armour, Edward Julius Detmold, Richard Ansdell, Erskine Nicol, Thomas Rowlandson, Edwin Henry Landseer, Clarkson Stanfield, Tom Lloyd, Charles Gregory, George Edward Lodge, Daniel Sherrin The Elder CATEGORY: antique vintage painting AD: ART CONSIGNMENTS WANTED. CONTACT US SKU#: 117533 US Shipping $120 + insurance. BIOGRAPHY: Basil Bradley was born in London in 1842, the second son of William and Eliza Bradley. His father, a native of Manchester born in 1801, was himself a noted portrait painter who had moved to London to gain more prestigious commissions amongst the wealthier classes. William and Eliza Bradley lived for a time on Fitzroy Square within the Fitzrovia district of London (Thomson 2007) but by the 1841 census, the year before Basil's birth, they had moved just around the corner to Charlotte Street. The family then moved back to Manchester sometime in the mid to late 1840s: the 1851census/birth records show that their daughters Blanche and Julia, were born in London in 1844 and 1845 respectively but that a third daughter, was born in Manchester around 1850.Basil Bradley's early family life must have been chaotic. At the 1851 census he was living at 10 Sagar Street, Cheetham, Manchester, with his four siblings, of whom the eldest, William, was then aged 12. The only other member of the household was a 19 years old house servant. The parents, by contrast, together with a house maid, formed a separate household at 3Albert Terrace, Broughton Lane, Salford. It is difficult to imagine how this came about. William Bradley, the father, died of typhoid in a room adjoining his studio on 4 July 1857.There was controversy over accounts of his death, with some claiming that his demise resulted from intemperate habits occasioned by his perceived lack of recognition for the fruits of his own artistic efforts.A more complete description of his life and the circumstances surrounding his death can be found in Susan Thomson's book Manchester's Victorian Art Scene and its Unrecognised Artists (Thomson 2007). Both Basil and William Bradley Jnr (see Appendix 3) became professional artists.Basil Bradley received little formal instruction in painting. Between 1859-1860, the year immediately before his time in Levens, Bradley studied at the Manchester School of Art (Clement and Hutton 1879), apparently under the tutelage of the landscape painter James Astbury Hammersley (1818-1867) (Anon 1892).By the time of the 1871 Census Basil Bradley was well-established closer to the London art scene, living at Lady Cross, Hambledon, Surrey with his sister Julia, an Artist pupil Frank Goodwin and a general servant. Earlier in 1866 he had shown a painting Evening at the Dudley Gallery, London at an exhibition designed to attract up and coming water-colourists (Anon 1866). Clearly, he had impressed as the following year (1867) he was elected an associate of the Society of Painters in Water Colours, often referred to as the Old Water Colour Society (Roget 1891, Holme 1905). His first exhibits as an associate, at the Society's exhibition of 1867, including Tilling the Ground and Spring in the Highlands, were particularly well received (Anon 1867a, b). A review of a series of portraits of tigers and their cubs exhibited in 1877 received effusive praise in The Art Journal. The paintings were described as .... about as admirable examples of fine draughtsmanship, skill in display of local colour, and felicity in reproducing individual textures, as we ever remember to have seen. The intensity of animal expression thrown into the individual portraits and the mirthfulness of character shown in the drawings are simply and truthfully equal to the finest display of those qualities in the best of Landseer's drawings (Pascoe 1877).Basil Bradley married Fanny Jemima Pattison at Marleybone, London in 1874, the year after his first painting, Victor and Vanquished, was accepted to hang at the Royal Academy Exhibition. The couple appear to have had no children. They seem to have moved address repeatedly during the succeeding years as shown in Table 1. It is difficult, however, to tell whether at any one time Bradley had both a residential and a studio address.Basil Bradley was a member of the Water-Colour Society of Liverpool and was elected a full member of the Society of Painters in Water-Colours in 1881 (Clement & Hutton 1879, Roget 1891, Holme 1905). Most of his work exhibited at major exhibitions in London was shown at the Society of Painters in Water-Colours (= The Old Water Colour Society), although 11 paintings were accepted for hanging at the Royal Academy and a single painting, When All was Young, was exhibited at the Royal Society of British Artists (up to 1893) (Graves, 1901, 1905, Johnson 1975). Details and reviews of these exhibitions were widely disseminated in both the London and provincial newspapers and periodicals (e.g. Anon 1875, Pascoe 1877).In addition, some of Bradley's paintings such, as May-Time and Forlorn Hope, featured in published collections of facsimile sketches designed to illustrate the best works in the major exhibitions (Blackburn 1882, 1893). Other prominent London venues at which Bradley exhibited were Lean's Gallery, Haymarket (Anon 1878c), The Grosvenor Gallery (Anon 1879), Kensington Town Hall (Anon 1882a), The Dudley Gallery (Anon 1866, 1884a) and Hampstead Art Society (Anon 1894, 1895a, 1897). Bradley also exhibited widely throughout the UK and beyond, including the Paris Exhibition of 1878 (Anon 1878a,b, Clement & Hutton 1879). An impressive list of exhibitions can be reconstructed from accounts in local newspapers throughout the UK. City venues include Manchester, Liverpool, Birmingham, Bristol, Derby, Nottingham, York, Aberdeen, Belfast and smaller towns include Southport and Alnwick in Northumberland.Basil Bradley died in Hendon, Middlesex in late 1904. The remaining works in his studio were auctioned by Christie, Manson and Woods on 6 February 1905. Interestingly, he is described as Basil Bradley RWS, deceased, late of Scarsdale Studios, Kensington (London), an additional address to those listed in Table 1 (Christie, Manson and Woods 1905). A few years before his death Basil Bradley sat for a water-colour portrait by Sir Hubert von Herkomer that was hung in the 1897 exhibition of the Royal Water-Colour Society (Baldry 1901).The current location of this painting, if it survives, remains unknown. Some of Basil Bradley's correspondence with David Croal Thomson, dating from 1884, survives in the California Archive. Towards the end of his career Basil Bradley is known to have painted using Cambridge Colours supplied by Madderton & Co. Ltd, originally of Loughton, Essex but also at 156 King's Road, Chelsea.Madderton's kept a detailed record of artists palettes between 1902 and 1904 and amongst the artists recorded was Basil Bradley (Madderton's Notes for Artists).In addition to his role as an artist Basil Bradley was also a graphic illustrator, supplying images for engravings of animals and rural scenes to a number of magazines, most notably Once a Week, Cassell's Family Magazine, The Graphic and the Illustrated London News (Anon 1880, White 1906).
Basil Bradley, RWS (British, 1842-1904) News from home, Place de la Concorde signed 'Basil Bradley RWS' (lower right) oil on panel 45.4 x 61cm (17 7/8 x 24in). For further information on this lot please visit the Bonhams website
ARTIST: Basil Bradley (British, 1842 - 1904) NAME: Landscape - On the Thames (titled on verso) YEAR: 1882 MEDIUM: oil on canvas CONDITION: Minor craquelure. Few minor scattered inpaintings (1" x 1" biggest). Wear to frame. SIGHT SIZE: 20 x 36 inches / 50 x 91 cm FRAME SIZE: 24 x 39 inches / 60 x 99 cm SIGNATURE: lower right and on verso SIMILAR ARTISTS: Edwin Cooper, James Walsham Baldock, Francis Cecil Boult, Robert Payton Reid, Edmund Bristow, George Denholm Armour, Edward Julius Detmold, Richard Ansdell, Erskine Nicol, Thomas Rowlandson, Edwin Henry Landseer, Clarkson Stanfield, Tom Lloyd, Charles Gregory, George Edward Lodge, Daniel Sherrin The Elder CATEGORY: antique vintage painting AD: ART CONSIGNMENTS WANTED. CONTACT US SKU#: 117533 US Shipping $120 + insurance. BIOGRAPHY: Basil Bradley was born in London in 1842, the second son of William and Eliza Bradley. His father, a native of Manchester born in 1801, was himself a noted portrait painter who had moved to London to gain more prestigious commissions amongst the wealthier classes. William and Eliza Bradley lived for a time on Fitzroy Square within the Fitzrovia district of London (Thomson 2007) but by the 1841 census, the year before Basil's birth, they had moved just around the corner to Charlotte Street. The family then moved back to Manchester sometime in the mid to late 1840s: the 1851census/birth records show that their daughters Blanche and Julia, were born in London in 1844 and 1845 respectively but that a third daughter, was born in Manchester around 1850.Basil Bradley's early family life must have been chaotic. At the 1851 census he was living at 10 Sagar Street, Cheetham, Manchester, with his four siblings, of whom the eldest, William, was then aged 12. The only other member of the household was a 19 years old house servant. The parents, by contrast, together with a house maid, formed a separate household at 3Albert Terrace, Broughton Lane, Salford. It is difficult to imagine how this came about. William Bradley, the father, died of typhoid in a room adjoining his studio on 4 July 1857.There was controversy over accounts of his death, with some claiming that his demise resulted from intemperate habits occasioned by his perceived lack of recognition for the fruits of his own artistic efforts.A more complete description of his life and the circumstances surrounding his death can be found in Susan Thomson's book Manchester's Victorian Art Scene and its Unrecognised Artists (Thomson 2007). Both Basil and William Bradley Jnr (see Appendix 3) became professional artists.Basil Bradley received little formal instruction in painting. Between 1859-1860, the year immediately before his time in Levens, Bradley studied at the Manchester School of Art (Clement and Hutton 1879), apparently under the tutelage of the landscape painter James Astbury Hammersley (1818-1867) (Anon 1892).By the time of the 1871 Census Basil Bradley was well-established closer to the London art scene, living at Lady Cross, Hambledon, Surrey with his sister Julia, an Artist pupil Frank Goodwin and a general servant. Earlier in 1866 he had shown a painting Evening at the Dudley Gallery, London at an exhibition designed to attract up and coming water-colourists (Anon 1866). Clearly, he had impressed as the following year (1867) he was elected an associate of the Society of Painters in Water Colours, often referred to as the Old Water Colour Society (Roget 1891, Holme 1905). His first exhibits as an associate, at the Society's exhibition of 1867, including Tilling the Ground and Spring in the Highlands, were particularly well received (Anon 1867a, b). A review of a series of portraits of tigers and their cubs exhibited in 1877 received effusive praise in The Art Journal. The paintings were described as .... about as admirable examples of fine draughtsmanship, skill in display of local colour, and felicity in reproducing individual textures, as we ever remember to have seen. The intensity of animal expression thrown into the individual portraits and the mirthfulness of character shown in the drawings are simply and truthfully equal to the finest display of those qualities in the best of Landseer's drawings (Pascoe 1877).Basil Bradley married Fanny Jemima Pattison at Marleybone, London in 1874, the year after his first painting, Victor and Vanquished, was accepted to hang at the Royal Academy Exhibition. The couple appear to have had no children. They seem to have moved address repeatedly during the succeeding years as shown in Table 1. It is difficult, however, to tell whether at any one time Bradley had both a residential and a studio address.Basil Bradley was a member of the Water-Colour Society of Liverpool and was elected a full member of the Society of Painters in Water-Colours in 1881 (Clement & Hutton 1879, Roget 1891, Holme 1905). Most of his work exhibited at major exhibitions in London was shown at the Society of Painters in Water-Colours (= The Old Water Colour Society), although 11 paintings were accepted for hanging at the Royal Academy and a single painting, When All was Young, was exhibited at the Royal Society of British Artists (up to 1893) (Graves, 1901, 1905, Johnson 1975). Details and reviews of these exhibitions were widely disseminated in both the London and provincial newspapers and periodicals (e.g. Anon 1875, Pascoe 1877).In addition, some of Bradley's paintings such, as May-Time and Forlorn Hope, featured in published collections of facsimile sketches designed to illustrate the best works in the major exhibitions (Blackburn 1882, 1893). Other prominent London venues at which Bradley exhibited were Lean's Gallery, Haymarket (Anon 1878c), The Grosvenor Gallery (Anon 1879), Kensington Town Hall (Anon 1882a), The Dudley Gallery (Anon 1866, 1884a) and Hampstead Art Society (Anon 1894, 1895a, 1897). Bradley also exhibited widely throughout the UK and beyond, including the Paris Exhibition of 1878 (Anon 1878a,b, Clement & Hutton 1879). An impressive list of exhibitions can be reconstructed from accounts in local newspapers throughout the UK. City venues include Manchester, Liverpool, Birmingham, Bristol, Derby, Nottingham, York, Aberdeen, Belfast and smaller towns include Southport and Alnwick in Northumberland.Basil Bradley died in Hendon, Middlesex in late 1904. The remaining works in his studio were auctioned by Christie, Manson and Woods on 6 February 1905. Interestingly, he is described as Basil Bradley RWS, deceased, late of Scarsdale Studios, Kensington (London), an additional address to those listed in Table 1 (Christie, Manson and Woods 1905). A few years before his death Basil Bradley sat for a water-colour portrait by Sir Hubert von Herkomer that was hung in the 1897 exhibition of the Royal Water-Colour Society (Baldry 1901).The current location of this painting, if it survives, remains unknown. Some of Basil Bradley's correspondence with David Croal Thomson, dating from 1884, survives in the California Archive. Towards the end of his career Basil Bradley is known to have painted using Cambridge Colours supplied by Madderton & Co. Ltd, originally of Loughton, Essex but also at 156 King's Road, Chelsea.Madderton's kept a detailed record of artists palettes between 1902 and 1904 and amongst the artists recorded was Basil Bradley (Madderton's Notes for Artists).In addition to his role as an artist Basil Bradley was also a graphic illustrator, supplying images for engravings of animals and rural scenes to a number of magazines, most notably Once a Week, Cassell's Family Magazine, The Graphic and the Illustrated London News (Anon 1880, White 1906).
Basil Bradley (British 1842-1904), oil on canvas of a Saint Bernard in a snowy landscape, with figures in the background, signed lower left, 22" x 30". Provenance: W. Boswell Galleries; Swan Fine Art, London, 1989.
ARTIST: Basil Bradley (British, 1842 - 1904) NAME: Landscape - On the Thames (titled on verso) YEAR: 1882 MEDIUM: oil on canvas CONDITION: Minor craquelure. Few minor scattered inpaintings (1" x 1" biggest). Wear to frame. SIGHT SIZE: 20 x 36 inches / 50 x 91 cm FRAME SIZE: 24 x 39 inches / 60 x 99 cm SIGNATURE: lower right and on verso SIMILAR ARTISTS: Edwin Cooper, James Walsham Baldock, Francis Cecil Boult, Robert Payton Reid, Edmund Bristow, George Denholm Armour, Edward Julius Detmold, Richard Ansdell, Erskine Nicol, Thomas Rowlandson, Edwin Henry Landseer, Clarkson Stanfield, Tom Lloyd, Charles Gregory, George Edward Lodge, Daniel Sherrin The Elder CATEGORY: antique vintage painting AD: ART CONSIGNMENTS WANTED. CONTACT US SKU#: 117533 US Shipping $120 + insurance. BIOGRAPHY: Basil Bradley was born in London in 1842, the second son of William and Eliza Bradley. His father, a native of Manchester born in 1801, was himself a noted portrait painter who had moved to London to gain more prestigious commissions amongst the wealthier classes. William and Eliza Bradley lived for a time on Fitzroy Square within the Fitzrovia district of London (Thomson 2007) but by the 1841 census, the year before Basil's birth, they had moved just around the corner to Charlotte Street. The family then moved back to Manchester sometime in the mid to late 1840s: the 1851census/birth records show that their daughters Blanche and Julia, were born in London in 1844 and 1845 respectively but that a third daughter, was born in Manchester around 1850.Basil Bradley's early family life must have been chaotic. At the 1851 census he was living at 10 Sagar Street, Cheetham, Manchester, with his four siblings, of whom the eldest, William, was then aged 12. The only other member of the household was a 19 years old house servant. The parents, by contrast, together with a house maid, formed a separate household at 3Albert Terrace, Broughton Lane, Salford. It is difficult to imagine how this came about. William Bradley, the father, died of typhoid in a room adjoining his studio on 4 July 1857.There was controversy over accounts of his death, with some claiming that his demise resulted from intemperate habits occasioned by his perceived lack of recognition for the fruits of his own artistic efforts.A more complete description of his life and the circumstances surrounding his death can be found in Susan Thomson's book Manchester's Victorian Art Scene and its Unrecognised Artists (Thomson 2007). Both Basil and William Bradley Jnr (see Appendix 3) became professional artists.Basil Bradley received little formal instruction in painting. Between 1859-1860, the year immediately before his time in Levens, Bradley studied at the Manchester School of Art (Clement and Hutton 1879), apparently under the tutelage of the landscape painter James Astbury Hammersley (1818-1867) (Anon 1892).By the time of the 1871 Census Basil Bradley was well-established closer to the London art scene, living at Lady Cross, Hambledon, Surrey with his sister Julia, an Artist pupil Frank Goodwin and a general servant. Earlier in 1866 he had shown a painting Evening at the Dudley Gallery, London at an exhibition designed to attract up and coming water-colourists (Anon 1866). Clearly, he had impressed as the following year (1867) he was elected an associate of the Society of Painters in Water Colours, often referred to as the Old Water Colour Society (Roget 1891, Holme 1905). His first exhibits as an associate, at the Society's exhibition of 1867, including Tilling the Ground and Spring in the Highlands, were particularly well received (Anon 1867a, b). A review of a series of portraits of tigers and their cubs exhibited in 1877 received effusive praise in The Art Journal. The paintings were described as .... about as admirable examples of fine draughtsmanship, skill in display of local colour, and felicity in reproducing individual textures, as we ever remember to have seen. The intensity of animal expression thrown into the individual portraits and the mirthfulness of character shown in the drawings are simply and truthfully equal to the finest display of those qualities in the best of Landseer's drawings (Pascoe 1877).Basil Bradley married Fanny Jemima Pattison at Marleybone, London in 1874, the year after his first painting, Victor and Vanquished, was accepted to hang at the Royal Academy Exhibition. The couple appear to have had no children. They seem to have moved address repeatedly during the succeeding years as shown in Table 1. It is difficult, however, to tell whether at any one time Bradley had both a residential and a studio address.Basil Bradley was a member of the Water-Colour Society of Liverpool and was elected a full member of the Society of Painters in Water-Colours in 1881 (Clement & Hutton 1879, Roget 1891, Holme 1905). Most of his work exhibited at major exhibitions in London was shown at the Society of Painters in Water-Colours (= The Old Water Colour Society), although 11 paintings were accepted for hanging at the Royal Academy and a single painting, When All was Young, was exhibited at the Royal Society of British Artists (up to 1893) (Graves, 1901, 1905, Johnson 1975). Details and reviews of these exhibitions were widely disseminated in both the London and provincial newspapers and periodicals (e.g. Anon 1875, Pascoe 1877).In addition, some of Bradley's paintings such, as May-Time and Forlorn Hope, featured in published collections of facsimile sketches designed to illustrate the best works in the major exhibitions (Blackburn 1882, 1893). Other prominent London venues at which Bradley exhibited were Lean's Gallery, Haymarket (Anon 1878c), The Grosvenor Gallery (Anon 1879), Kensington Town Hall (Anon 1882a), The Dudley Gallery (Anon 1866, 1884a) and Hampstead Art Society (Anon 1894, 1895a, 1897). Bradley also exhibited widely throughout the UK and beyond, including the Paris Exhibition of 1878 (Anon 1878a,b, Clement & Hutton 1879). An impressive list of exhibitions can be reconstructed from accounts in local newspapers throughout the UK. City venues include Manchester, Liverpool, Birmingham, Bristol, Derby, Nottingham, York, Aberdeen, Belfast and smaller towns include Southport and Alnwick in Northumberland.Basil Bradley died in Hendon, Middlesex in late 1904. The remaining works in his studio were auctioned by Christie, Manson and Woods on 6 February 1905. Interestingly, he is described as Basil Bradley RWS, deceased, late of Scarsdale Studios, Kensington (London), an additional address to those listed in Table 1 (Christie, Manson and Woods 1905). A few years before his death Basil Bradley sat for a water-colour portrait by Sir Hubert von Herkomer that was hung in the 1897 exhibition of the Royal Water-Colour Society (Baldry 1901).The current location of this painting, if it survives, remains unknown. Some of Basil Bradley's correspondence with David Croal Thomson, dating from 1884, survives in the California Archive. Towards the end of his career Basil Bradley is known to have painted using Cambridge Colours supplied by Madderton & Co. Ltd, originally of Loughton, Essex but also at 156 King's Road, Chelsea.Madderton's kept a detailed record of artists palettes between 1902 and 1904 and amongst the artists recorded was Basil Bradley (Madderton's Notes for Artists).In addition to his role as an artist Basil Bradley was also a graphic illustrator, supplying images for engravings of animals and rural scenes to a number of magazines, most notably Once a Week, Cassell's Family Magazine, The Graphic and the Illustrated London News (Anon 1880, White 1906).
Basil Bradley - Tri-Colour Border Collie in a Scottish Landscape Watercolour on paper, signed 'Basil Bradley' and dated 1881 lower right, framed. 230 x 330mm
BASIL BRADLEY England, 1842-1904 "On The Thames at Bourne's End, 1882". Signed lower right "Bradley Basil". Titled verso. Oil on canvas, 19.5" x 35". Framed 24.25" x 39.5".
Herbert Moxon Cook (1844-1928) British, and Basil Bradley (1842-1904) British. "Evening in Sannox Glen, Arran", with a Shepherd and Flock, Watercolour, Signed and Inscribed by both artists, 13" x 8.25".
BASIL BRADLEY (1842-1904). 'Hounds on the Scent', expansive landscape with hounds leading huntsmen over a moor. watercolour. signed lower left and dated 1869. 50cm x 74cm. in a good gilt wood frame with slip and name plate
A chromolith from the Graphic 1871, The Buck Jumper by Basil Bradley (23 x 30cm), together with 4 fine bulls published in France 1856, alll neatly mounted, each image 24 x 33 cm) (5).
Francis M. Trappes (1838-1886) and Basil Bradley (1842 -1904) Oil on canvas Signed with monogram and in full, respectively, and dated 1879, lower right 51 x 91.5 cm (20 x 36 in) Frances Trappes and Basil Bradley occassionally collaborated on such rural English idylls, the latter supplying the figures. This scene is very likely to be in Epping Forest, to where Trappes had moved, and was often the subject of his work, either alone or in collaboration with Bradley.
Basil Bradley (British, 1842-1904) A Ghillie with English and Irish Setters on a Highland hillside, waiting for the Guns signed lower left "Basil Bradley" watercolour h:27 w: 36.50 cm
Basil Bradley (1842 - 1904), watercolour in glazed gilt frame, entitled - Waiting for the guns, Grouse Shooting Scotland, signed, bearing labels, 27cm x 36.5cm
W. Morton & Basil Bradley, Sheep in a landscape, watercolour, signed and dated 1876, 27cm x 38cm.; together with a further watercolour village scene by George Sidney Sheppard.(2)
BASIL BRADLEY (1842-1904); "View of Paris from Pont de la Concorde", Watercolour, signed and dated 1869 and titled on old label to the reverse. 6 1/2" (17cms) x 9 1/2" (24cms).
Basil Bradley RWS (1842-1904) English and Gordon Setters seated amongst heather on a moor Signed and dated 1883, pencil and watercolour heightened with white, 48.5cm by 34.5cm
Taking a rest after stalking signed 'Basil Bradley'(lower left) and futher inscribed and dated 'Basil Bradley RW/1904' (verso) oil on canvas 40.5 x 59.5cm (15 15/16 x 23 7/16in).
* Bradley (Basil, 1842-1904). Pair of St. Bernard dogs, bronze sculpture with brown patina, with vacant shield, signed 'Basil Bradley' and dated 1882, on an ebonised circular plinth, overall height 14.5 cm. (1)
