John Arthur Malcolm Aldridge Sold at Auction Prices

Painter, Illustrator, b. 1905 - d. 1983

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  • ▲ John Aldridge RA (1905-1983)
    Apr. 15, 2025

    ▲ John Aldridge RA (1905-1983)

    Est: £300 - £500

    ▲ John Aldridge RA (1905-1983) 'Essex Farmyard' lithograph in colours, signed and dated 'John Aldridge 48' in pencil l.r. visible 45 x 56cm Provenance: The collection of David and Sandy Fuller. Condition Report: Framed: 70 x 80cm Time staining. A little fading. The signature and date are slightly smudged. Not viewed out of glazed frame.

    Sworders
  • ▲ John Aldridge RA (1905-1983)
    Apr. 15, 2025

    ▲ John Aldridge RA (1905-1983)

    Est: £200 - £300

    ▲ John Aldridge RA (1905-1983) 'Dunwich' inscribed with title l.l., pen 37 x 52cm Provenance: From the artist's studio and estate, and then passed to the Fry Art Gallery in 2010 for sale; Fry Gallery Annual Sale, November 2011. Condition Report: Framed: 53.5 x 67cm Time staining and fading. A 19cm vertical crease to the left edge with further light creasing in areas. Some small spots of foxing starting to emerge in places. There is a small round mark to the upper left corner. A small brown stain to the centre of the bottom edge and another to the right side of the top edge, please see images. Not viewed out of glazed frame.

    Sworders
  • ▲ John Aldridge RA (1905-1983)
    Apr. 15, 2025

    ▲ John Aldridge RA (1905-1983)

    Est: £100 - £200

    ▲ John Aldridge RA (1905-1983) 'Newbury' inscribed and dated '1942' l.l., pencil 21 x 22cm Provenance: From the artist's studio and estate, and then passed to the Fry Art Gallery in 2010 for sale; Fry Art Gallery, Saffron Walden, June 2012. Condition Report: Framed size 35 x 34cm Not viewed out of glazed frame. Fold marks l.l., light handling creases elsewhere.

    Sworders
  • ▲ John Aldridge RA (1905-1983)
    Apr. 15, 2025

    ▲ John Aldridge RA (1905-1983)

    Est: £200 - £300

    ▲ John Aldridge RA (1905-1983) Farmstead by a river dated '27 Aug 76' l.l., pencil 15 x 22.5cm Provenance: From the artist's studio and estate, and then passed to the Fry Art Gallery in 2010 for sale; Fry Art Gallery, Saffron Walden, December 2012. Condition Report: Framed: 28 x 34.5cm Time staining with foxing starting to emerge in places. A brown stain to the upper left edge and a small green mark to the right side, lower centre., please see images. Light cockling with a slight crease in the bottom right corner. Not viewed out of glazed frame.

    Sworders
  • ▲ John Aldridge RA (1905-1983)
    Apr. 15, 2025

    ▲ John Aldridge RA (1905-1983)

    Est: £200 - £300

    ▲ John Aldridge RA (1905-1983) 'Richmond' inscribed 'Richmond Wed' l.r., and dated '14 Sept 55' l.l., pencil 18.5 x 24.5cm Provenance: From the artist's studio and estate, and then passed to the Fry Art Gallery in 2010 for sale; Fry Art Gallery, Saffron Walden, November 2010.. Condition Report: Framed: 30.5 x 35.5cm Time staining with light cockling. The paper is slightly thin and it is possible to see the number 8 (?) inscribed on the reverse in the top left corner. There is some very light discolouration to the upper right corner where it appears that tape may be applied to the reverse. Not viewed out of glazed frame. Ready to hang.

    Sworders
  • ▲ John Aldridge RA (1905-1983)
    Apr. 15, 2025

    ▲ John Aldridge RA (1905-1983)

    Est: £200 - £300

    ▲ John Aldridge RA (1905-1983) Mill House, Great Bardfield pencil 18 x 23cm Provenance: From the artist's studio and estate, and then passed to the Fry Art Gallery in 2010 for sale; Fry Art Gallery, Saffron Walden, September 2013. Condition Report: Framed: 26 x 31cm Very light surface dirt and a faint dirty smudge to the centre. Slight cockling to the top edge but presents well overall and is ready to hang. Not viewed out of glazed frame.

    Sworders
  • ▲ John Aldridge RA (1905-1983)
    Apr. 15, 2025

    ▲ John Aldridge RA (1905-1983)

    Est: £5,000 - £8,000

    ▲ John Aldridge RA (1905-1983) 'Great Bardfield' - a view of a house under snow signed 'John Aldridge' l.r., inscribed with title and dated 'Feb 1963' verso, oil on board 26.5 x 35.5cm Provenance: Michael Cooke, Studio Gallery, Coggeshall. There is a pencil sketch of this view in the Fry Art Gallery, Saffron Walden, Essex, titled 'Hayfield, Squared Sketch, 1960' cat. no. 2072. Condition Report: Framed: 42 x 51cm A few very tiny paint losses in the upper left corner and to the snow in the foreground. There are some drips of liquid on frame and perhaps upper left of painting. Appears to be in otherwise good order and presents well overall. Not examined under UV light, for a full report please contact the department.

    Sworders
  • Aldridge (John, 1905-1983). Landscape with Church at Great Bardfield, 1939
    Mar. 12, 2025

    Aldridge (John, 1905-1983). Landscape with Church at Great Bardfield, 1939

    Est: £2,000 - £3,000

    Aldridge (John, 1905-1983). Landscape with Church at Great Bardfield, 1939 AR * Aldridge (John, 1905-1983). Landscape with Church at Great Bardfield, 1939, oil on board, signed and dated in red paint to lower edge (partially obscured by frame), title, date and artist in pencil to board verso, some areas of paint loss and cracking, board size 63 x 76 cm (25 x 30 ins), in a carved wood frame (82 x 95 cm) QTY: (1) NOTE: Provenance: Purchased by Noel Blakiston (1905-1985), author, Italian scholar, art collector, former Chairman of the Chelsea Society and a close friend of the English literary critic Cyril Connolly; thence by decent.

    Dominic Winter Auctions
  • ▲ John Aldridge RA (1905-1983)
    Mar. 11, 2025

    ▲ John Aldridge RA (1905-1983)

    Est: £200 - £300

    ▲ John Aldridge RA (1905-1983) Harvest time pencil with artist's studio stamp l.l. 23 x 29.5cm, unframed, together with: Cottage and garden pen and ink with artist's studio stamp l.l. 15 x 18cm, unframed (2) Provenance: The Collection of David and Sandy Fuller. David was a director of the National Horseracing Museum and a successful fine art consultant. He offered his expertise to leading galleries and auction houses, including Sotheby's and Christie's, and was a regular visitor and friend of Sworders for many years. Condition Report: Harvest time: Mount, 34 x 39.5cm. Timestaining. Discolouration to the upper right corner. A diagonal crease in the lower left. Cottage and garden: Mount, 25.5 x 28cm. A little light foxing starting to emerge. Light surface dirt and slight cockling in the upper right corner. A small pinhole to the upper right corner. Not viewed out of mounts.

    Sworders
  • § John Aldridge RA (1905-1983)
    Feb. 27, 2025

    § John Aldridge RA (1905-1983)

    Est: £8,000 - £12,000

    § John Aldridge RA (1905-1983) A view of Place House from across Place Farm yard, Great Bardfield signed 'John Aldridge' (lower left); titled and dated 'Feb 1956' to the reverse oil on board 40 x 55cm The present lot depicts The Place, Great Bardfield, the residence Aldridge shared with his first wife, and textile artist, Lucie Brown (née Saunders). After acquiring the property in 1933, The Place quickly became a hub for a group of painters and printmakers who would later be known as 'The Great Bardfield Artists'. This community, which included artists such as Edward Bawden and Eric Ravilious, fostered a creative environment that would profoundly influence Aldridge's work. With a generous garden enveloped by the rolling hills and tranquil rivers of the Essex countryside, the property and surrounding environs provided Aldridge with limitless inspiration. Far from being simply a dwelling, The Place was an important wellspring for artistic freedom. We are grateful to Peter Donovan and Gordon Cummings for their assistance in cataloguing this work.

    Cheffins
  • John Aldridge (1905-1983) - 'Welsh farmyard near Cardigan', oil on board, Gallery label for
    Dec. 11, 2024

    John Aldridge (1905-1983) - 'Welsh farmyard near Cardigan', oil on board, Gallery label for

    Est: £1,000 - £1,500

    John Aldridge (1905-1983) - 'Welsh farmyard near Cardigan', oil on board, Gallery label for Leicester Galleries London dated 1939 to reverse, 47.5 x 70 cm ARR may be applicable Insect holes/damage to right hand side of painitng, colours crisp and bright, surface blemishes etc

    Andrew Smith & Son
  • John Aldridge (British, 1905-1983) Deya, The Cala in Storm (Painted in 30 September 1973)
    Nov. 27, 2024

    John Aldridge (British, 1905-1983) Deya, The Cala in Storm (Painted in 30 September 1973)

    Est: £2,000 - £3,000

    John Aldridge (British, 1905-1983) Deya, The Cala in Storm signed 'John Aldridge' (lower left) oil on board 27 x 35.5cm (10 5/8 x 14in). Painted in 30 September 1973

    Bonhams
  • § John Aldridge RA (1905-1983)
    Oct. 25, 2024

    § John Aldridge RA (1905-1983)

    Est: £2,000 - £3,000

    § John Aldridge RA (1905-1983) Lilac signed and dated 'John Aldridge / 13 May 49' (lower left); further titled dated reverse oil on board 45 x 60cm Provenance: With The Fry Art Gallery, Saffron Walden, where purchased in October 1988

    Cheffins
  • ▲ John Aldridge RA (1905-1983)
    Oct. 02, 2024

    ▲ John Aldridge RA (1905-1983)

    Est: £2,500 - £3,500

    ▲ John Aldridge RA (1905-1983) Bridge Street, Great Bardfield signed 'John Aldridge' l.r., oil on canvas laid on board 27 x 35.5cm Condition Report: Framed: 36 x 45cm A little surface dirt, may benefit from a light clean. Rubbing to the lower right edge. The paint appears a little thin in place, please refer to illustration. Not examined under UV light, for a full report please contact the department.

    Sworders
  • ▲ John Aldridge RA (1905-1983)
    Oct. 02, 2024

    ▲ John Aldridge RA (1905-1983)

    Est: £1,500 - £2,500

    ▲ John Aldridge RA (1905-1983) 'Quince Tree by a Frozen Ditch' signed 'John Aldridge' l.r., also signed, inscribed with title and dated 'Winter 1956-57' verso, oil on board 22 x 31.5cm Condition Report: Framed: 40.5 x 50cm Appears to be in good order. Not examined under UV light, for a full report, please contact the department.

    Sworders
  • Pictures & Prints - John Aldridge (1905-1983), Wooded Garden, lithograph on card, signed, 51cm x 63cm
    Sep. 26, 2024

    Pictures & Prints - John Aldridge (1905-1983), Wooded Garden, lithograph on card, signed, 51cm x 63cm

    Est: £20 - £30

    Pictures & Prints - John Aldridge (1905-1983), Wooded Garden, lithograph on card, signed, 51cm x 63cm

    Bamfords Auctioneers and Valuers Ltd
  • ▲ John Aldridge RA (1905-1983)
    Aug. 13, 2024

    ▲ John Aldridge RA (1905-1983)

    Est: £250 - £350

    ▲ John Aldridge RA (1905-1983) 'Kitchen Table' of the artist, Place House, Great Bardfield inscribed with title l.l., pencil 22 x 26cm Provenance: From the artist's studio and estate, and then passed to the Fry Art Gallery in 2010 for sale. Condition Report: Framed: 34.5 x 37.5cm Time staining with some small scattered brown spots and speckles. Two light diagonal crease marks to the bottom left corner. Well presented and ready to hang. Not viewed out of glazed frame.

    Sworders
  • John Aldridge (British, 1905-1983) Fiesole
    Jul. 17, 2024

    John Aldridge (British, 1905-1983) Fiesole

    Est: £1,500 - £2,000

    John Aldridge (British, 1905-1983) Fiesole titled and dated 'FIESOLI/c.1929' (on canvasboard verso) oil on canvasboard 19.5 x 29.5cm (7 11/16 x 11 5/8in).

    Bonhams
  • § John Aldridge RA (1905-1983)
    May. 23, 2024

    § John Aldridge RA (1905-1983)

    Est: £100 - £200

    § John Aldridge RA (1905-1983) Urbino signed 'John Aldridge' (lower left); titled and dated 19th September 58 (lower right) pencil 25 x 20cm

    Cheffins
  • § JOHN ALDRIDGE R.A. (BRITISH 1905-1983)
    Apr. 26, 2024

    § JOHN ALDRIDGE R.A. (BRITISH 1905-1983)

    Est: £3,000 - £5,000

    JOHN ALDRIDGE R.A. (BRITISH 1905-1983) THE PLACE HOUSE: THE ARTIST'S DRAWING ROOM, GREAT BARDFIELD initialled (lower left), oil on board 59.5cm x 49.5cm (23 ½in x 19 1.2in) Abbott & Holder, London, from whom acquired by the present owner. John Aldridge met Lucie Brown (née Saunders) in London in the early 1930s. Having studied at Corpus Christi College, University of Oxford, the self-taught Aldridge was emerging as an artist of promise in the capital’s art scene, showing with the Seven and Five Society from 1931, at the invitation of Ben Nicholson and receiving a solo exhibition at the Leicester Galleries two years later.  Brown trained at the Heatherley School of Fine Art and had established a dress-making studio. In 1933 they moved to Place House in the Essex village of Great Bardfield, where they became central figures in the informal gathering of artists based there, headed by Edward Bawden and Eric Ravilious, along with their wives Charlotte Epton and Tirzah Garwood.  The group of works presented here cover forty years of Aldridge’s career, from 1930 and one of the first of many visits to his friend Robert Graves in Deià on Majorca, to a pastoral scene near Great Bardfield of approximately 1970. It ranges across genres from landscape to still life and the interior in paintings and works on paper.  A rare surviving example of Lucie’s rag rugs, Garden of c.1935, completes the collection. Aldridge and Brown married in 1940, so that she would inherit his pension should he die whilst on active service during World War Two. He joined the Intelligence Corps and was stationed in the UK, Africa and Mediterranean. He painted and sketched when circumstances permitted, as can be seen in San Severo of 1945 and Grotto in the Boboli Gardens, Florence of 1944-45. Lucie’s sister Agnes and their nanny Ninnie, moved in with her at Place House for three years whilst John was away on war duties. Ninnie taught Lucie the art of hooked rug weaving and, as can be seen in Garden, she ’transformed a humble popular craft into a rich and original art form’ (Olive Cook quoted in Robjn Cantus, Before & After Great Bardfield: The Artistic Memoirs of Lucie Aldridge with a Postscript by Robjn Cantus, Inexpensive Progress, Cambridge, 2021, p.176). Following his demobilisation, John joined in the pursuit and a jointly made carpet of 1953 is in the collection of the Victoria & Albert Museum (CRIC.529-1953).  The decorating and furnishing of the artists’ houses is a key aspect of the Great Bardfield art historical legacy, as captured in The Place House: The Artist’s Drawing Room, Great Bardfield. The historic property was in a state of neglect when purchased by Aldridge and he and Lucie worked hard to renovate the house and its overgrown garden. Cantus has explained how: ‘Colour started to come in as the walls were painted; John decorated one room red with a fantasy mural of exotic plants. They changed the wine-red sitting room carpet for a yellow one... The sitting room had the Moss wallpaper [designed by Aldridge], a blue and white striped sofa much like a butcher’s apron and Victorian furniture. There was a curious selection of china throughout the house… Lucie made the house a home, arranging furniture and the crafted items John loved. She was an excellent arranger of floral displays, using flowers from the garden of Place House. Visitors commented on how it made the house feel more alive.’ (Robjn Cantus, ibid, p. 176) Paintings by artist friends including Ben Nicholson, Stanley Spencer and Frances Hodgkins hung on the walls, but Olive Cook was especially drawn to Lucie’s creations, writing: ‘The interior of The Place was…striking, with its bold wallpapers, draped mantelshelves, Victoriana, opulent flower arrangements and cottage furniture. The rugs above all caught the eye. They were rag rugs designed and made by Lucie.’ (Olive Cook, ‘The Fry Art Gallery’, Olive Cook and Andrew Lambirth, Artists at the Fry: Art & Design in the North West Essex Collection, Fry Art Gallery, Saffron Walden, 2012, pp.9-10) Following Lucie’s departure in 1960, she and Aldridge divorced and he married Margaret ‘Gretl’ Cameron. With the death of Ravilious in 1942, Bawden’s move to Saffron Walden in 1970 and the dispersal of the generation of artists who had arrived in the village after World War Two, Aldridge became the sole survivor of the glory days of Great Bardfield’s artistic chapter, remaining in Place House until his death in 1983; Lucie had pre-deceased him in 1974. 

    Lyon & Turnbull
  • § JOHN ALDRIDGE R.A. (BRITISH 1905-1983)
    Apr. 26, 2024

    § JOHN ALDRIDGE R.A. (BRITISH 1905-1983)

    Est: £1,500 - £2,000

    JOHN ALDRIDGE R.A. (BRITISH 1905-1983) COWS GRAZING NEAR GREAT BARDFIELD, c. 1970 oil on card 23.5cm x 28.5cm (9 ¼in x 11 ¼in) Abbot and Holder, London, from whom acquired by the present owner. John Aldridge met Lucie Brown (née Saunders) in London in the early 1930s. Having studied at Corpus Christi College, University of Oxford, the self-taught Aldridge was emerging as an artist of promise in the capital’s art scene, showing with the Seven and Five Society from 1931, at the invitation of Ben Nicholson and receiving a solo exhibition at the Leicester Galleries two years later.  Brown trained at the Heatherley School of Fine Art and had established a dress-making studio. In 1933 they moved to Place House in the Essex village of Great Bardfield, where they became central figures in the informal gathering of artists based there, headed by Edward Bawden and Eric Ravilious, along with their wives Charlotte Epton and Tirzah Garwood.  The group of works presented here cover forty years of Aldridge’s career, from 1930 and one of the first of many visits to his friend Robert Graves in Deià on Majorca, to a pastoral scene near Great Bardfield of approximately 1970. It ranges across genres from landscape to still life and the interior in paintings and works on paper.  A rare surviving example of Lucie’s rag rugs, Garden of c.1935, completes the collection. Aldridge and Brown married in 1940, so that she would inherit his pension should he die whilst on active service during World War Two. He joined the Intelligence Corps and was stationed in the UK, Africa and Mediterranean. He painted and sketched when circumstances permitted, as can be seen in San Severo of 1945 and Grotto in the Boboli Gardens, Florence of 1944-45. Lucie’s sister Agnes and their nanny Ninnie, moved in with her at Place House for three years whilst John was away on war duties. Ninnie taught Lucie the art of hooked rug weaving and, as can be seen in Garden, she ’transformed a humble popular craft into a rich and original art form’ (Olive Cook quoted in Robjn Cantus, Before & After Great Bardfield: The Artistic Memoirs of Lucie Aldridge with a Postscript by Robjn Cantus, Inexpensive Progress, Cambridge, 2021, p.176). Following his demobilisation, John joined in the pursuit and a jointly made carpet of 1953 is in the collection of the Victoria & Albert Museum (CRIC.529-1953).  The decorating and furnishing of the artists’ houses is a key aspect of the Great Bardfield art historical legacy, as captured in The Place House: The Artist’s Drawing Room, Great Bardfield. The historic property was in a state of neglect when purchased by Aldridge and he and Lucie worked hard to renovate the house and its overgrown garden. Cantus has explained how: ‘Colour started to come in as the walls were painted; John decorated one room red with a fantasy mural of exotic plants. They changed the wine-red sitting room carpet for a yellow one... The sitting room had the Moss wallpaper [designed by Aldridge], a blue and white striped sofa much like a butcher’s apron and Victorian furniture. There was a curious selection of china throughout the house… Lucie made the house a home, arranging furniture and the crafted items John loved. She was an excellent arranger of floral displays, using flowers from the garden of Place House. Visitors commented on how it made the house feel more alive.’ (Robjn Cantus, ibid, p. 176) Paintings by artist friends including Ben Nicholson, Stanley Spencer and Frances Hodgkins hung on the walls, but Olive Cook was especially drawn to Lucie’s creations, writing: ‘The interior of The Place was…striking, with its bold wallpapers, draped mantelshelves, Victoriana, opulent flower arrangements and cottage furniture. The rugs above all caught the eye. They were rag rugs designed and made by Lucie.’ (Olive Cook, ‘The Fry Art Gallery’, Olive Cook and Andrew Lambirth, Artists at the Fry: Art & Design in the North West Essex Collection, Fry Art Gallery, Saffron Walden, 2012, pp.9-10) Following Lucie’s departure in 1960, she and Aldridge divorced and he married Margaret ‘Gretl’ Cameron. With the death of Ravilious in 1942, Bawden’s move to Saffron Walden in 1970 and the dispersal of the generation of artists who had arrived in the village after World War Two, Aldridge became the sole survivor of the glory days of Great Bardfield’s artistic chapter, remaining in Place House until his death in 1983; Lucie had pre-deceased him in 1974. 

    Lyon & Turnbull
  • § JOHN ALDRIDGE R.A. (BRITISH 1905-1983)
    Apr. 26, 2024

    § JOHN ALDRIDGE R.A. (BRITISH 1905-1983)

    Est: £3,000 - £5,000

    JOHN ALDRIDGE R.A. (BRITISH 1905-1983) SEA KALE, 1931 signed, inscribed and dated (to reverse), oil on board 59.5cm x 85cm (23 ½in x 33 ½in) The Collection of Sir Michael Sadler;Craddock & Barnard, London. John Aldridge met Lucie Brown (née Saunders) in London in the early 1930s. Having studied at Corpus Christi College, University of Oxford, the self-taught Aldridge was emerging as an artist of promise in the capital’s art scene, showing with the Seven and Five Society from 1931, at the invitation of Ben Nicholson and receiving a solo exhibition at the Leicester Galleries two years later.  Brown trained at the Heatherley School of Fine Art and had established a dress-making studio. In 1933 they moved to Place House in the Essex village of Great Bardfield, where they became central figures in the informal gathering of artists based there, headed by Edward Bawden and Eric Ravilious, along with their wives Charlotte Epton and Tirzah Garwood.  The group of works presented here cover forty years of Aldridge’s career, from 1930 and one of the first of many visits to his friend Robert Graves in Deià on Majorca, to a pastoral scene near Great Bardfield of approximately 1970. It ranges across genres from landscape to still life and the interior in paintings and works on paper.  A rare surviving example of Lucie’s rag rugs, Garden of c.1935, completes the collection. Aldridge and Brown married in 1940, so that she would inherit his pension should he die whilst on active service during World War Two. He joined the Intelligence Corps and was stationed in the UK, Africa and Mediterranean. He painted and sketched when circumstances permitted, as can be seen in San Severo of 1945 and Grotto in the Boboli Gardens, Florence of 1944-45. Lucie’s sister Agnes and their nanny Ninnie, moved in with her at Place House for three years whilst John was away on war duties. Ninnie taught Lucie the art of hooked rug weaving and, as can be seen in Garden, she ’transformed a humble popular craft into a rich and original art form’ (Olive Cook quoted in Robjn Cantus, Before & After Great Bardfield: The Artistic Memoirs of Lucie Aldridge with a Postscript by Robjn Cantus, Inexpensive Progress, Cambridge, 2021, p.176). Following his demobilisation, John joined in the pursuit and a jointly made carpet of 1953 is in the collection of the Victoria & Albert Museum (CRIC.529-1953).  The decorating and furnishing of the artists’ houses is a key aspect of the Great Bardfield art historical legacy, as captured in The Place House: The Artist’s Drawing Room, Great Bardfield. The historic property was in a state of neglect when purchased by Aldridge and he and Lucie worked hard to renovate the house and its overgrown garden. Cantus has explained how: ‘Colour started to come in as the walls were painted; John decorated one room red with a fantasy mural of exotic plants. They changed the wine-red sitting room carpet for a yellow one... The sitting room had the Moss wallpaper [designed by Aldridge], a blue and white striped sofa much like a butcher’s apron and Victorian furniture. There was a curious selection of china throughout the house… Lucie made the house a home, arranging furniture and the crafted items John loved. She was an excellent arranger of floral displays, using flowers from the garden of Place House. Visitors commented on how it made the house feel more alive.’ (Robjn Cantus, ibid, p. 176) Paintings by artist friends including Ben Nicholson, Stanley Spencer and Frances Hodgkins hung on the walls, but Olive Cook was especially drawn to Lucie’s creations, writing: ‘The interior of The Place was…striking, with its bold wallpapers, draped mantelshelves, Victoriana, opulent flower arrangements and cottage furniture. The rugs above all caught the eye. They were rag rugs designed and made by Lucie.’ (Olive Cook, ‘The Fry Art Gallery’, Olive Cook and Andrew Lambirth, Artists at the Fry: Art & Design in the North West Essex Collection, Fry Art Gallery, Saffron Walden, 2012, pp.9-10) Following Lucie’s departure in 1960, she and Aldridge divorced and he married Margaret ‘Gretl’ Cameron. With the death of Ravilious in 1942, Bawden’s move to Saffron Walden in 1970 and the dispersal of the generation of artists who had arrived in the village after World War Two, Aldridge became the sole survivor of the glory days of Great Bardfield’s artistic chapter, remaining in Place House until his death in 1983; Lucie had pre-deceased him in 1974. 

    Lyon & Turnbull
  • § JOHN ALDRIDGE R.A. (BRITISH 1905-1983)
    Apr. 26, 2024

    § JOHN ALDRIDGE R.A. (BRITISH 1905-1983)

    Est: £1,500 - £2,000

    JOHN ALDRIDGE R.A. (BRITISH 1905-1983) MEDITERRANEAN VILLAGE oil on card 40cm x 64cm (15 ¾in x 29in) Abbott & Holder, London, from whom acquired by the parents of the present owner. John Aldridge met Lucie Brown (née Saunders) in London in the early 1930s. Having studied at Corpus Christi College, University of Oxford, the self-taught Aldridge was emerging as an artist of promise in the capital’s art scene, showing with the Seven and Five Society from 1931, at the invitation of Ben Nicholson and receiving a solo exhibition at the Leicester Galleries two years later.  Brown trained at the Heatherley School of Fine Art and had established a dress-making studio. In 1933 they moved to Place House in the Essex village of Great Bardfield, where they became central figures in the informal gathering of artists based there, headed by Edward Bawden and Eric Ravilious, along with their wives Charlotte Epton and Tirzah Garwood.  The group of works presented here cover forty years of Aldridge’s career, from 1930 and one of the first of many visits to his friend Robert Graves in Deià on Majorca, to a pastoral scene near Great Bardfield of approximately 1970. It ranges across genres from landscape to still life and the interior in paintings and works on paper.  A rare surviving example of Lucie’s rag rugs, Garden of c.1935, completes the collection. Aldridge and Brown married in 1940, so that she would inherit his pension should he die whilst on active service during World War Two. He joined the Intelligence Corps and was stationed in the UK, Africa and Mediterranean. He painted and sketched when circumstances permitted, as can be seen in San Severo of 1945 and Grotto in the Boboli Gardens, Florence of 1944-45. Lucie’s sister Agnes and their nanny Ninnie, moved in with her at Place House for three years whilst John was away on war duties. Ninnie taught Lucie the art of hooked rug weaving and, as can be seen in Garden, she ’transformed a humble popular craft into a rich and original art form’ (Olive Cook quoted in Robjn Cantus, Before & After Great Bardfield: The Artistic Memoirs of Lucie Aldridge with a Postscript by Robjn Cantus, Inexpensive Progress, Cambridge, 2021, p.176). Following his demobilisation, John joined in the pursuit and a jointly made carpet of 1953 is in the collection of the Victoria & Albert Museum (CRIC.529-1953).  The decorating and furnishing of the artists’ houses is a key aspect of the Great Bardfield art historical legacy, as captured in The Place House: The Artist’s Drawing Room, Great Bardfield. The historic property was in a state of neglect when purchased by Aldridge and he and Lucie worked hard to renovate the house and its overgrown garden. Cantus has explained how: ‘Colour started to come in as the walls were painted; John decorated one room red with a fantasy mural of exotic plants. They changed the wine-red sitting room carpet for a yellow one... The sitting room had the Moss wallpaper [designed by Aldridge], a blue and white striped sofa much like a butcher’s apron and Victorian furniture. There was a curious selection of china throughout the house… Lucie made the house a home, arranging furniture and the crafted items John loved. She was an excellent arranger of floral displays, using flowers from the garden of Place House. Visitors commented on how it made the house feel more alive.’ (Robjn Cantus, ibid, p. 176) Paintings by artist friends including Ben Nicholson, Stanley Spencer and Frances Hodgkins hung on the walls, but Olive Cook was especially drawn to Lucie’s creations, writing: ‘The interior of The Place was…striking, with its bold wallpapers, draped mantelshelves, Victoriana, opulent flower arrangements and cottage furniture. The rugs above all caught the eye. They were rag rugs designed and made by Lucie.’ (Olive Cook, ‘The Fry Art Gallery’, Olive Cook and Andrew Lambirth, Artists at the Fry: Art & Design in the North West Essex Collection, Fry Art Gallery, Saffron Walden, 2012, pp.9-10) Following Lucie’s departure in 1960, she and Aldridge divorced and he married Margaret ‘Gretl’ Cameron. With the death of Ravilious in 1942, Bawden’s move to Saffron Walden in 1970 and the dispersal of the generation of artists who had arrived in the village after World War Two, Aldridge became the sole survivor of the glory days of Great Bardfield’s artistic chapter, remaining in Place House until his death in 1983; Lucie had pre-deceased him in 1974. 

    Lyon & Turnbull
  • § JOHN ALDRIDGE R.A. (BRITISH 1905-1983)
    Apr. 26, 2024

    § JOHN ALDRIDGE R.A. (BRITISH 1905-1983)

    Est: £500 - £700

    JOHN ALDRIDGE R.A. (BRITISH 1905-1983) GROTTO IN THE BOBOLI GARDENS, FLORENCE, CONTAINING GIAMBOLOGNA'S 'VENUS OF THE LITTLE GROTTO', 1944/45 pen, ink and watercolour 30.5cm x 42.5cm (12in x 16 ¾in) Abbott & Holder, London, from whom acquired by the present owner. John Aldridge met Lucie Brown (née Saunders) in London in the early 1930s. Having studied at Corpus Christi College, University of Oxford, the self-taught Aldridge was emerging as an artist of promise in the capital’s art scene, showing with the Seven and Five Society from 1931, at the invitation of Ben Nicholson and receiving a solo exhibition at the Leicester Galleries two years later.  Brown trained at the Heatherley School of Fine Art and had established a dress-making studio. In 1933 they moved to Place House in the Essex village of Great Bardfield, where they became central figures in the informal gathering of artists based there, headed by Edward Bawden and Eric Ravilious, along with their wives Charlotte Epton and Tirzah Garwood.  The group of works presented here cover forty years of Aldridge’s career, from 1930 and one of the first of many visits to his friend Robert Graves in Deià on Majorca, to a pastoral scene near Great Bardfield of approximately 1970. It ranges across genres from landscape to still life and the interior in paintings and works on paper.  A rare surviving example of Lucie’s rag rugs, Garden of c.1935, completes the collection. Aldridge and Brown married in 1940, so that she would inherit his pension should he die whilst on active service during World War Two. He joined the Intelligence Corps and was stationed in the UK, Africa and Mediterranean. He painted and sketched when circumstances permitted, as can be seen in San Severo of 1945 and Grotto in the Boboli Gardens, Florence of 1944-45. Lucie’s sister Agnes and their nanny Ninnie, moved in with her at Place House for three years whilst John was away on war duties. Ninnie taught Lucie the art of hooked rug weaving and, as can be seen in Garden, she ’transformed a humble popular craft into a rich and original art form’ (Olive Cook quoted in Robjn Cantus, Before & After Great Bardfield: The Artistic Memoirs of Lucie Aldridge with a Postscript by Robjn Cantus, Inexpensive Progress, Cambridge, 2021, p.176). Following his demobilisation, John joined in the pursuit and a jointly made carpet of 1953 is in the collection of the Victoria & Albert Museum (CRIC.529-1953).  The decorating and furnishing of the artists’ houses is a key aspect of the Great Bardfield art historical legacy, as captured in The Place House: The Artist’s Drawing Room, Great Bardfield. The historic property was in a state of neglect when purchased by Aldridge and he and Lucie worked hard to renovate the house and its overgrown garden. Cantus has explained how: ‘Colour started to come in as the walls were painted; John decorated one room red with a fantasy mural of exotic plants. They changed the wine-red sitting room carpet for a yellow one... The sitting room had the Moss wallpaper [designed by Aldridge], a blue and white striped sofa much like a butcher’s apron and Victorian furniture. There was a curious selection of china throughout the house… Lucie made the house a home, arranging furniture and the crafted items John loved. She was an excellent arranger of floral displays, using flowers from the garden of Place House. Visitors commented on how it made the house feel more alive.’ (Robjn Cantus, ibid, p. 176) Paintings by artist friends including Ben Nicholson, Stanley Spencer and Frances Hodgkins hung on the walls, but Olive Cook was especially drawn to Lucie’s creations, writing: ‘The interior of The Place was…striking, with its bold wallpapers, draped mantelshelves, Victoriana, opulent flower arrangements and cottage furniture. The rugs above all caught the eye. They were rag rugs designed and made by Lucie.’ (Olive Cook, ‘The Fry Art Gallery’, Olive Cook and Andrew Lambirth, Artists at the Fry: Art & Design in the North West Essex Collection, Fry Art Gallery, Saffron Walden, 2012, pp.9-10) Following Lucie’s departure in 1960, she and Aldridge divorced and he married Margaret ‘Gretl’ Cameron. With the death of Ravilious in 1942, Bawden’s move to Saffron Walden in 1970 and the dispersal of the generation of artists who had arrived in the village after World War Two, Aldridge became the sole survivor of the glory days of Great Bardfield’s artistic chapter, remaining in Place House until his death in 1983; Lucie had pre-deceased him in 1974. 

    Lyon & Turnbull
  • § JOHN ALDRIDGE R.A. (BRITISH 1905-1983)
    Apr. 26, 2024

    § JOHN ALDRIDGE R.A. (BRITISH 1905-1983)

    Est: £300 - £500

    JOHN ALDRIDGE R.A. (BRITISH 1905-1983) SAN SEVERO, 1945 titled, inscribed JA for AEOW and dated Feb 45 (to lower edge), pencil, sepia ink and wash on paper 23.5cm x 30cm (9 ¼in x 11 ¾in) John Aldridge met Lucie Brown (née Saunders) in London in the early 1930s. Having studied at Corpus Christi College, University of Oxford, the self-taught Aldridge was emerging as an artist of promise in the capital’s art scene, showing with the Seven and Five Society from 1931, at the invitation of Ben Nicholson and receiving a solo exhibition at the Leicester Galleries two years later.  Brown trained at the Heatherley School of Fine Art and had established a dress-making studio. In 1933 they moved to Place House in the Essex village of Great Bardfield, where they became central figures in the informal gathering of artists based there, headed by Edward Bawden and Eric Ravilious, along with their wives Charlotte Epton and Tirzah Garwood.  The group of works presented here cover forty years of Aldridge’s career, from 1930 and one of the first of many visits to his friend Robert Graves in Deià on Majorca, to a pastoral scene near Great Bardfield of approximately 1970. It ranges across genres from landscape to still life and the interior in paintings and works on paper.  A rare surviving example of Lucie’s rag rugs, Garden of c.1935, completes the collection. Aldridge and Brown married in 1940, so that she would inherit his pension should he die whilst on active service during World War Two. He joined the Intelligence Corps and was stationed in the UK, Africa and Mediterranean. He painted and sketched when circumstances permitted, as can be seen in San Severo of 1945 and Grotto in the Boboli Gardens, Florence of 1944-45. Lucie’s sister Agnes and their nanny Ninnie, moved in with her at Place House for three years whilst John was away on war duties. Ninnie taught Lucie the art of hooked rug weaving and, as can be seen in Garden, she ’transformed a humble popular craft into a rich and original art form’ (Olive Cook quoted in Robjn Cantus, Before & After Great Bardfield: The Artistic Memoirs of Lucie Aldridge with a Postscript by Robjn Cantus, Inexpensive Progress, Cambridge, 2021, p.176). Following his demobilisation, John joined in the pursuit and a jointly made carpet of 1953 is in the collection of the Victoria & Albert Museum (CRIC.529-1953).  The decorating and furnishing of the artists’ houses is a key aspect of the Great Bardfield art historical legacy, as captured in The Place House: The Artist’s Drawing Room, Great Bardfield. The historic property was in a state of neglect when purchased by Aldridge and he and Lucie worked hard to renovate the house and its overgrown garden. Cantus has explained how: ‘Colour started to come in as the walls were painted; John decorated one room red with a fantasy mural of exotic plants. They changed the wine-red sitting room carpet for a yellow one... The sitting room had the Moss wallpaper [designed by Aldridge], a blue and white striped sofa much like a butcher’s apron and Victorian furniture. There was a curious selection of china throughout the house… Lucie made the house a home, arranging furniture and the crafted items John loved. She was an excellent arranger of floral displays, using flowers from the garden of Place House. Visitors commented on how it made the house feel more alive.’ (Robjn Cantus, ibid, p. 176) Paintings by artist friends including Ben Nicholson, Stanley Spencer and Frances Hodgkins hung on the walls, but Olive Cook was especially drawn to Lucie’s creations, writing: ‘The interior of The Place was…striking, with its bold wallpapers, draped mantelshelves, Victoriana, opulent flower arrangements and cottage furniture. The rugs above all caught the eye. They were rag rugs designed and made by Lucie.’ (Olive Cook, ‘The Fry Art Gallery’, Olive Cook and Andrew Lambirth, Artists at the Fry: Art & Design in the North West Essex Collection, Fry Art Gallery, Saffron Walden, 2012, pp.9-10) Following Lucie’s departure in 1960, she and Aldridge divorced and he married Margaret ‘Gretl’ Cameron. With the death of Ravilious in 1942, Bawden’s move to Saffron Walden in 1970 and the dispersal of the generation of artists who had arrived in the village after World War Two, Aldridge became the sole survivor of the glory days of Great Bardfield’s artistic chapter, remaining in Place House until his death in 1983; Lucie had pre-deceased him in 1974. 

    Lyon & Turnbull
  • § JOHN ALDRIDGE R.A. (BRITISH 1905-1983)
    Apr. 26, 2024

    § JOHN ALDRIDGE R.A. (BRITISH 1905-1983)

    Est: £2,500 - £3,500

    JOHN ALDRIDGE R.A. (BRITISH 1905-1983) STREAM BELOW DEYA (DEIÀ), 1930 signed, inscribed and dated (to reverse), oil on card 41.5cm x 52cm (16 ¼in x 20 ½in) The Estate of the Artist;Abbott & Holder, London, from whom acquired by the present owner. John Aldridge met Lucie Brown (née Saunders) in London in the early 1930s. Having studied at Corpus Christi College, University of Oxford, the self-taught Aldridge was emerging as an artist of promise in the capital’s art scene, showing with the Seven and Five Society from 1931, at the invitation of Ben Nicholson and receiving a solo exhibition at the Leicester Galleries two years later.  Brown trained at the Heatherley School of Fine Art and had established a dress-making studio. In 1933 they moved to Place House in the Essex village of Great Bardfield, where they became central figures in the informal gathering of artists based there, headed by Edward Bawden and Eric Ravilious, along with their wives Charlotte Epton and Tirzah Garwood.  The group of works presented here cover forty years of Aldridge’s career, from 1930 and one of the first of many visits to his friend Robert Graves in Deià on Majorca, to a pastoral scene near Great Bardfield of approximately 1970. It ranges across genres from landscape to still life and the interior in paintings and works on paper.  A rare surviving example of Lucie’s rag rugs, Garden of c.1935, completes the collection. Aldridge and Brown married in 1940, so that she would inherit his pension should he die whilst on active service during World War Two. He joined the Intelligence Corps and was stationed in the UK, Africa and Mediterranean. He painted and sketched when circumstances permitted, as can be seen in San Severo of 1945 and Grotto in the Boboli Gardens, Florence of 1944-45. Lucie’s sister Agnes and their nanny Ninnie, moved in with her at Place House for three years whilst John was away on war duties. Ninnie taught Lucie the art of hooked rug weaving and, as can be seen in Garden, she ’transformed a humble popular craft into a rich and original art form’ (Olive Cook quoted in Robjn Cantus, Before & After Great Bardfield: The Artistic Memoirs of Lucie Aldridge with a Postscript by Robjn Cantus, Inexpensive Progress, Cambridge, 2021, p.176). Following his demobilisation, John joined in the pursuit and a jointly made carpet of 1953 is in the collection of the Victoria & Albert Museum (CRIC.529-1953).  The decorating and furnishing of the artists’ houses is a key aspect of the Great Bardfield art historical legacy, as captured in The Place House: The Artist’s Drawing Room, Great Bardfield. The historic property was in a state of neglect when purchased by Aldridge and he and Lucie worked hard to renovate the house and its overgrown garden. Cantus has explained how: ‘Colour started to come in as the walls were painted; John decorated one room red with a fantasy mural of exotic plants. They changed the wine-red sitting room carpet for a yellow one... The sitting room had the Moss wallpaper [designed by Aldridge], a blue and white striped sofa much like a butcher’s apron and Victorian furniture. There was a curious selection of china throughout the house… Lucie made the house a home, arranging furniture and the crafted items John loved. She was an excellent arranger of floral displays, using flowers from the garden of Place House. Visitors commented on how it made the house feel more alive.’ (Robjn Cantus, ibid, p. 176) Paintings by artist friends including Ben Nicholson, Stanley Spencer and Frances Hodgkins hung on the walls, but Olive Cook was especially drawn to Lucie’s creations, writing: ‘The interior of The Place was…striking, with its bold wallpapers, draped mantelshelves, Victoriana, opulent flower arrangements and cottage furniture. The rugs above all caught the eye. They were rag rugs designed and made by Lucie.’ (Olive Cook, ‘The Fry Art Gallery’, Olive Cook and Andrew Lambirth, Artists at the Fry: Art & Design in the North West Essex Collection, Fry Art Gallery, Saffron Walden, 2012, pp.9-10) Following Lucie’s departure in 1960, she and Aldridge divorced and he married Margaret ‘Gretl’ Cameron. With the death of Ravilious in 1942, Bawden’s move to Saffron Walden in 1970 and the dispersal of the generation of artists who had arrived in the village after World War Two, Aldridge became the sole survivor of the glory days of Great Bardfield’s artistic chapter, remaining in Place House until his death in 1983; Lucie had pre-deceased him in 1974. 

    Lyon & Turnbull
  • ▲ John Aldridge RA (1905-1983)
    Apr. 09, 2024

    ▲ John Aldridge RA (1905-1983)

    Est: £200 - £300

    ▲ John Aldridge RA (1905-1983) Pond a preparatory study for Aldridge's 'Mill in Essex' lithograph, c.1938, with a further sketch verso, pencil 20.5 x 32cm Provenance: From the artist's studio and estate, and then passed to the Fry Art Gallery in 2010 for sale; purchased by the current owner from the Fry Art Gallery, Saffron Walden. Condition Report: Framed: 30.5 x 41cm Time staining with light crease marks to the top left corner. There is a small brown spot of foxing to the left of mill in the upper left corner, and brown stain to the upper right corner, please see images. Not viewed out of glazed frame.

    Sworders
  • ▲ John Aldridge RA (1905-1983)
    Apr. 09, 2024

    ▲ John Aldridge RA (1905-1983)

    Est: £200 - £300

    ▲ John Aldridge RA (1905-1983) Beside the river pen and ink 22.5 x 38cm Provenance: From the artist's studio and estate, and then passed to the Fry Art Gallery in 2010 for sale; Fry Art Gallery, Saffron Walden, June 2012. Condition Report: Framed: 36.5 x 50cm A tiny pinhole in the extreme upper left corner. There is a thin strip of faint brown discolouration to the upper right edge. A couple of small spots of foxing starting to emerge. Not viewed out of glazed frame.

    Sworders
  • ▲ John Aldridge RA (1905-1983)
    Apr. 09, 2024

    ▲ John Aldridge RA (1905-1983)

    Est: £200 - £300

    ▲ John Aldridge RA (1905-1983) The allotments with artist's studio stamp l.r., pen and ink 18 x 27cm Provenance: From the artist's studio and estate, and then passed to the Fry Art Gallery in 2010 for sale. This is a preparatory sketch relating to 'The Allotments', 1949, oil on canvas, held by the Fry Gallery. Condition Report: Framed: 31 x 39.5cm Time staining. Light creasing and faint dirty smudges to the top edge. Some small spots of foxing starting to emerge in the centre, and to the lower right corner. Not viewed out of glazed frame.

    Sworders
  • ▲ John Aldridge RA (1905-1983)
    Apr. 09, 2024

    ▲ John Aldridge RA (1905-1983)

    Est: £200 - £300

    ▲ John Aldridge RA (1905-1983) Cattle grazing pencil 20.5 x 25.5cm Provenance: From the artist's studio and estate, and then passed to the Fry Art Gallery in 2010 for sale; Fry Art Gallery, Saffron Walden, December 2012. Condition Report: Framed: 33 x 37.5cm Time staining. A small brown spot to the bottom right corner. There is a dark brown mark which appears to be paint in the bottom right quarter and it is unclear if this is by the hand of the artist, please see images. Light creasing to the extreme corners. Not viewed out of glazed frame.

    Sworders
  • ▲ John Aldridge RA (1905-1983)
    Apr. 09, 2024

    ▲ John Aldridge RA (1905-1983)

    Est: £200 - £300

    ▲ John Aldridge RA (1905-1983) Mill House, Great Bardfield pen and ink 19 x 24.5cm Provenance: From the artist's studio and estate, and then passed to the Fry Art Gallery in 2010 for sale; Fry Art Gallery, Saffron Walden, December 2012. Condition Report: Framed: 29.5 x 34.5cm Two light creases to the top edge and a further light crease to the bottom of the left edge. Some scattered spots of foxing, please see images. Not viewed out of glazed frame.

    Sworders
  • ▲ John Aldridge RA (1905-1983)
    Apr. 09, 2024

    ▲ John Aldridge RA (1905-1983)

    Est: £4,000 - £6,000

    ▲ John Aldridge RA (1905-1983) Clock House Farm, Little Sampford signed and dated 'John Aldridge 71' l.l., oil on board 31 x 41cm, together with a handwritten letter from the artist (2) Provenance: The current owner lived in the house depicted in Clock House Farm. They contacted John Aldridge on its completion and bought this painting directly from him in 1972. Condition Report: Framed: 52 x 62.cm A couple of extemely tiny speckles of light surface dirt. There are some very faint dirty marks to the sky along the right edge, please see images, but in our opinion this does not affect overall enjoyment of the work. Appears to be in otherwise good condition. Not examined under UV light, for a full report please contact the department.

    Sworders
  • ▲ John Aldridge RA (1905-1983)
    Apr. 09, 2024

    ▲ John Aldridge RA (1905-1983)

    Est: £300 - £400

    ▲ John Aldridge RA (1905-1983) 'An Essex Farmyard' lithograph in colours, 1948, signed 'John Aldridge' in pencil l.r. image 40.5 x 52.5cm Provenance: With Redfern Gallery, London. Condition Report: Framed: 62.5 x 73.5cm Well presented and ready to hang. There is slight timestaining but the work appears to be in otherwise good condition. Not viewed out of glazed frame.

    Sworders
  • ▲ John Aldridge RA (1905-1983)
    Apr. 09, 2024

    ▲ John Aldridge RA (1905-1983)

    Est: £100 - £150

    ▲ John Aldridge RA (1905-1983) A horse-drawn single furrow plough pencil, pen and ink 11 x 19cm Provenance: From the artist's studio and estate, and then passed to the Fry Art Gallery in 2010 for sale. Condition Report: Framed: 25 x 32cm Light time staining. A dirty diagonal crease to the bottom left. Some faint brown stains to the right side, please refer to images. Ready to hang.

    Sworders
  • ▲ John Aldridge RA (1905-1983)
    Apr. 09, 2024

    ▲ John Aldridge RA (1905-1983)

    Est: £100 - £150

    ▲ John Aldridge RA (1905-1983) 'Ruined Cottage' pencil 16 x 19cm Provenance: From the artist's studio and estate, and then passed to the Fry Art Gallery in 2010 for sale. Condition Report: Framed: 29 x 30.5cm Light time staining with some slight creasing to the upper right and lower left corners. Some small spots of foxing starting to emerge. Well presented and ready to hang. Not examined out of glazed frame.

    Sworders
  • ▲ John Aldridge RA (1905-1983)
    Apr. 09, 2024

    ▲ John Aldridge RA (1905-1983)

    Est: £100 - £150

    ▲ John Aldridge RA (1905-1983) 'Study of a Farm Cart and Tractor Engine' pencil, pen and ink 18 x 25cm Provenance: From the artist's studio and estate, and then passed to the Fry Art Gallery in 2010 for sale. Condition Report: Framed: 29 x 35cm Light time staining with some very slight creasing to the bottom left corner. Overall presents well and is ready to hang. Not viewed out of glazed frame.

    Sworders
  • John Aldridge RA (1905-1983)
    Jan. 09, 2024

    John Aldridge RA (1905-1983)

    Est: £100 - £150

    John Aldridge RA (1905-1983) 'Heath Farm, Flamstead' inscribed with title l.r., pen and ink 10.5 x 17cm Provenance: From the artist's studio and estate, and then passed to the Fry Art Gallery in 2010 for sale; Fry Art Gallery, Saffron Walden, November 2012. Condition Report: Framed: 22 x 27cm Light discolouration to the paper. The work has a vertical centre fold with further fold marks to the upper corners and creasing to the lower left corner. Not viewed out of glazed frame.

    Sworders
  • John Aldridge (1905-1983) Garden view; Dedham House; Morley House; Staircase at the Red Lion; and others
    Dec. 14, 2023

    John Aldridge (1905-1983) Garden view; Dedham House; Morley House; Staircase at the Red Lion; and others

    Est: £600 - £800

    John Aldridge (1905-1983) Garden view; Dedham House; Morley House; Staircase at the Red Lion; and others Six pencil or pen and ink, the first with watercolour, circa 1950s, each with the estate stamp, on wove paper, largest sheet 280 x 315mm (11 x 12 3/8in) (6) This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

    Forum Auctions - UK
  • John Aldridge RA (1905-1983)
    Oct. 17, 2023

    John Aldridge RA (1905-1983)

    Est: £300 - £400

    John Aldridge RA (1905-1983) ▴ John Aldridge RA (1905-1983) 'Continental Railway Siding' pen and ink and watercolour 12 x 19.5cm Provenance: From the artist's studio and estate, and then passed to the Fry Art Gallery in 2010 for sale; Fry Art Gallery, Saffron Walden, 'Annual Sale', November 2012, cat. no. 125. Condition Report: Framed size 23 x 30cm Not viewed out of glazed frame. Very light creasing to sky. Presents well, strong colours.

    Sworders
  • John Aldridge RA (1905-1983)
    Oct. 17, 2023

    John Aldridge RA (1905-1983)

    Est: £200 - £300

    John Aldridge RA (1905-1983) ▴ John Aldridge RA (1905-1983) Harbour scene pen and ink 11 x 17.5cm Provenance: From the artist's studio and estate, and then passed to the Fry Art Gallery in 2010 for sale; Fry Art Gallery, Saffron Walden, July 2015. Condition Report: Framed size 25 x 30cm Not viewed out of glazed frame. Paper appears to be lightly stuck down. Dog eared corners, fold marls to two corners, creasing.

    Sworders
  • John Aldridge RA (1905-1983)
    Oct. 17, 2023

    John Aldridge RA (1905-1983)

    Est: £200 - £300

    John Aldridge RA (1905-1983) ▴ John Aldridge RA (1905-1983) 'West Park', 1941 signed with initials, inscribed and dated 'Aug 4 1941' l.l., pen and brown ink with wash 20 x 24.5cm Provenance: Abbott & Holder Ltd., London, from the artist's executor, Ian Tregarthen Jenkins. Condition Report: Framed size 39 x 42.5cm Not viewed out of glazed frame. Paper has previously been folded in four. Thin paper, creases throughout.

    Sworders
  • John Aldridge RA (1905-1983)
    Oct. 17, 2023

    John Aldridge RA (1905-1983)

    Est: £200 - £300

    John Aldridge RA (1905-1983) ▴ John Aldridge RA (1905-1983) 'Via Appia' inscribed and dated '11 Aug ‘57' l.l., pencil 18.5 x 24.5cm Provenance: From the artist's studio and estate, and then passed to the Fry Art Gallery in 2010 for sale; Fry Art Gallery, Saffron Walden, March 2012. Condition Report: Framed size 32 x 36.5cm Not viewed out of glazed frame. Paper light brown in colour. A small stain to l.r. corner.

    Sworders
  • John Aldridge RA (1905-1983)
    Oct. 17, 2023

    John Aldridge RA (1905-1983)

    Est: £200 - £300

    John Aldridge RA (1905-1983) ▴ John Aldridge RA (1905-1983) 'Newbury' inscribed and dated '1942' l.l., pencil 21 x 22cm Provenance: From the artist's studio and estate, and then passed to the Fry Art Gallery in 2010 for sale; Fry Art Gallery, Saffron Walden, June 2012. Condition Report: Framed size 35 x 34cm Not viewed out of glazed frame. Fold marks l.l., light handling creases elsewhere.

    Sworders
  • John Aldridge RA (1905-1983)
    Oct. 17, 2023

    John Aldridge RA (1905-1983)

    Est: £200 - £300

    John Aldridge RA (1905-1983) ▴ John Aldridge RA (1905-1983) Giant hogweed and Scots pine in the garden at Place House inscribed ‘Heracleum & pines’ and dated '75' l.l., pencil 27.5 x 21cm Provenance: From the artist's studio and estate, and then passed to the Fry Art Gallery in 2010 for sale; Fry Art Gallery, Saffron Walden, September 2013. Literature: Tony Venison, 'An Artist in the Garden', John Aldridge at Place House, Great Bardfield, Essex, 'Country Life', 17 October 1985, (illustration 4). Condition Report: Framed size 37 x 29.5cm Not viewed out of glazed frame. Light creases.

    Sworders
  • John Aldridge RA (1905-1983)
    Oct. 17, 2023

    John Aldridge RA (1905-1983)

    Est: £250 - £350

    John Aldridge RA (1905-1983) ▴ John Aldridge RA (1905-1983) 'Haddington' inscribed with title and dated 'Oct. 7. 24' l.r., pencil and sepia wash 13 x 22cm Provenance: From the artist's studio and estate, and then passed to the Fry Art Gallery in 2010 for sale; Fry Art Gallery, Saffron Walden, 'Annual Sale', November 2014, Condition Report: Framed size 30.5 x 38cm Not viewed out of glazed frame. Good condition.

    Sworders
  • John Aldridge RA (1905-1983)
    Oct. 17, 2023

    John Aldridge RA (1905-1983)

    Est: £300 - £400

    John Aldridge RA (1905-1983) ▴ John Aldridge RA (1905-1983) Working in a landscape watercolour 15 x 20cm Provenance: From the artist's studio and estate, and then passed to the Fry Art Gallery in 2010 for sale; Fry Art Gallery, Saffron Walden, April 2014. Condition Report: Framed size 27.5 x 31.5cm Not viewed out of glazed frame. Appears to be taped down rather than pasted. Some light foxing and staining to sky.

    Sworders
  • John Aldridge RA (1905-1983)
    Oct. 17, 2023

    John Aldridge RA (1905-1983)

    Est: £250 - £350

    John Aldridge RA (1905-1983) ▴ John Aldridge RA (1905-1983) Building in a woodland watercolour heightened with white 29.5 x 22.5cm Provenance: From the artist's studio and estate, and then passed to the Fry Art Gallery in 2010 for sale; Fry Art Gallery, Saffron Walden, 'John Aldridge at the R.A.’, September 2013. Condition Report: Framed size 44 x 35.5cm Not viewed out of glazed frame. Appears to be in good condition.

    Sworders
  • John Aldridge RA (1905-1983)
    Oct. 17, 2023

    John Aldridge RA (1905-1983)

    Est: £400 - £600

    John Aldridge RA (1905-1983) ▴ John Aldridge RA (1905-1983) Woodland behind the orchard at Place House watercolour 22 x 28.5cm Provenance: From the artist's studio and estate, and then passed to the Fry Art Gallery in 2010 for sale; Fry Art Gallery, Saffron Walden, 'Annual Sale', November 2013, cat. no. 209.

    Sworders
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