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A Corner in Rye, Sussex - click to enlarge
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A Corner in Rye, Sussex by Edward Wesson

32 x 25 cm (12.5 x 9.75 inches)

Page 52, The Watercolours of Edward Wesson by Steve Hall and Barry Miles, Halsgrove 2004

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A Fine Day  - click to enlarge
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A Fine Day by Arthur Briscoe

33 x 25 cm

Price on application


A Grey Morning, Audierne Brittany 1912 - click to enlarge
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A Grey Morning, Audierne Brittany 1912 by Terrick Williams

47 x 33 cm

Price on application


A Norfolk Farmyard  - click to enlarge
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A Norfolk Farmyard by Rowland Hilder

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A Surrey Pond - click to enlarge
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A Surrey Pond by Edward Wesson

50 x 33 cm

Superb hand-gilded frame with washline mount

1,900


An Arab Horseman - click to enlarge
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An Arab Horseman by Claude Buckle

54 x 36 cm

Superb hand-gilded frame with washline mount.

The Gilding process

The frames are first cut and joined, sanded and prepared for the gesso stage.

6 or 7 coats of gesso are applied to the frames allowing each coat to dry progressively. This builds up a fine , very hard surface which is sanded and fettled to provide a smooth hard surface essential to gilding.

3 coats of Bole are then applied. In the case of gold leaf this is generally a reddish/brown but can be yellow or even black in the case of silver leaf.

The leaf (22 ct Gold) is laid on the surface using a liquor of gold size which draws the leaf onto the gessoed surface.

Each leaf is cut to overlap the previously laid piece, which gives the typical look of gilding by having a double gilded section every 4.

Once hard, the surface is rubbed back to distress the surface as required, using very fine wire wool or pumice powders. This allows a hint of the bole colour to show through.

The surface is then burnished using an agate burnishing tool to bring the best out of the gold, making the highlights more sumptuous and reflective.

A final coat of shellac seals the surface to retain its lustre.

1,750


Anemones - click to enlarge
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Anemones by Wallace F Brown

43 x 50 cm (17 x 19.5 inches)

950


Anenomies  - click to enlarge
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Anenomies by Marjorie Best

13 x 19 cm

1,100


Autumn in the Lakes - click to enlarge
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Autumn in the Lakes by Wallace F Brown

57 x 35 cm

850


Autumn Splendour  - click to enlarge
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Autumn Splendour by Marjorie Best

35 x 44 cm

1,200


Barges at Greenwich - click to enlarge
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Barges at Greenwich by Edward Wesson

34.25 x 25.5 cm (13.5 x 10 inches)

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Barges at Rest - click to enlarge
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Barges at Rest by Edward Wesson

Price on application


Barges on a Sunny Day - click to enlarge
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Barges on a Sunny Day by Arthur Briscoe

50 x 34 cm

Price on application


Barges on the Orwell - click to enlarge
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Barges on the Orwell by Edward Wesson

35.5 x 25.5 cm (14 x 10 inches)

Page 34, The Watercolours of Edward Wesson by Steve Hall and Barry Miles, Halsgrove 2004

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Barges on the Thames - click to enlarge
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Barges on the Thames by Claude Buckle

Price on application


Barges Racing on the Orwell - click to enlarge
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Barges Racing on the Orwell by Wallace F Brown

69.75 x 53.25 cm (27.5 x 21 inches)

Superb hand-gilded frame with washline mount

1,600


Before The Race, Maldon - click to enlarge
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Before The Race, Maldon by Wallace F Brown

30.5 x 20.5 cm (12 x 8 inches)

950


Berry Head, Brixham - click to enlarge
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Berry Head, Brixham by Arthur Briscoe

Price on application


Castle Coombe - click to enlarge
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Castle Coombe by Edward Wesson

48 x 33 cm (19 x 13 inches)

Page 90, The Watercolours of Edward Wesson by Steve Hall and Barry Miles, Halsgrove 2004

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Causeway at Yarmouth - click to enlarge
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Causeway at Yarmouth by Edward Wesson

51 x 32 cm (20 x 12.5 inches)

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View by Artist

 

Best, Marjorie

 

Breanski, A De

 

Briscoe, Arthur

 

Brown, Wallace F

 

Bryan, John

 

Buckle, Claude

 

Crosby, F Gordon

 

Cuneo, Terence

 

Hilder, Rowland

 

Merriott, Jack

 

Nevell, Sydney

 

Seago, Edward

 

Wesson, Edward

 

Williams, Terrick

 

Yardley, John