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Los 183
A Steiff "Candle in the Wind" limited edition musical bear, 1061/4000 with Certificate of Authenticity, a Steiff "Teddy Bar 1953" limited edition teddy, 1309/3000 with Certificate of Authenticity, and a light grey Steiff growler Teddy bear with white collar, 12" high, with Certificate of Authenticity
Los 172
A Dinky Supertoys die-cast model "Missile Erector vehicle with corporal missile and launching platform" N' 666, a similar Tank transporter with tank gift set N' 698, an Airport fire tender with flashing light N' 276, and eight other Dinky die-cast model vehicles, all boxed (some damages to boxes) Condition: Some scratches and wear to all models
Los 185
λ FRED YATES (BRITISH 1922-2008) THE OVERGROWN GARDEN Oil on board Signed (lower right) 81 x 107cm (31¾ x 42 in.)Provenance: The Estate of the Artist Sale, Bonhams, London, 21 July 2021, lot 36 Condition Report: Slight damage to the lower and upper right corners. Very light surface dirt throughout. Otherwise appears to be in good original condition. Condition Report Disclaimer
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λ KEITH VAUGHAN (BRITISH 1912-1977) SMALL GREEN LANDSCAPE Oil on paper laid to board Signed, titled and dated 1972 (verso) 25.5 x 29.5cm (10 x 11½ in.)Provenance: The Estate of the Artist Agnews, London Literature: Hepworth & Massey, Keith Vaughan - The Mature Oils 1946-1977, 2012, p. 184, no. AH555 Condition Report: Light surface dirt throughout with some rubbing to the extreme edges with some very light associated losses, hardly noticeable. Overall appears to be in good original condition. Condition Report Disclaimer
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λ JOHN MILLER (BRITISH 1931-2002) TRESCO, SANCREED HOME PENZANCE Oil on canvas Signed and titled (verso) 35.5 x 45.5cm (13¾ x 17¾ in.)Provenance: New Craftsman Gallery, St. Ives, Cornwall John Miller's artistic vision has become one of the most widely recognised of the twentieth century. Working from his Cornish studio with its magnificent views across the Hayle estuary to Godrevy Lighthouse, John painted his distinctive images of glowing beaches and deep blue skies, which are so widely recognised as to have become synonymous with the county of Cornwall itself. Miller's art occupies the space between figuration and abstraction. He described painting as "an exterior response to an interior vision", yet that reponse was usually rooted in the world around him. His paintings were usually concerned with specific sites and the emotions they generated held in tension with an inward contemplation informed by his religious convictions. In the 1970s and 1980s Miller travelled a great deal around the Mediterranean. There he became fascinated by the strong sunlight that renders shadows as intensely dark as the light is bright. These experiences loosened his brushwork and brought a new intensity of colour to his paintings of Cornwall. In 1995 he moved from Sancreed to Lelant and he is perhaps best known for his paintings inspired by early morning walks along the beach at Port Kidney. He developed a personal symbolism during the period, in which the sun became a symbol for the renewal of life, and the moonrise associated with the death of his mother. During this period his paintings were perhaps at their most inward looking and visionary. Condition Report: The work is not glazed. There are a number of scattered paint splashes across the surface. May benefit from a light clean. Otherwise appears in good original condition. Condition Report Disclaimer
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ROGER FRY (BRITISH 1866-1934) TOWNSCAPE AND CHURCH, SEGOVIA, SPAIN Red chalk Signed and dated 1923 (lower left), titled (lower right) 32.5 x 44.5cm (12¾ x 17½ in.)Provenance: Marion Richardson, Private Collection, British teacher and author on handwriting Thence by descent to the present ownerLiterature: Roger Fry, A Sampler of Castile, Leonard & Virgnina Woolf Hogarth Press, London, 1923, reproduced plate 8 with the caption 'Segovia: S. Nicolas''Through her discoveries in children's writing, writing-patterns and pictures she brought richness of life and colour into the lives of thousands of children.' Clarence Whaite, student of Marion Richardson, later lecturer at the Institute of Education. In 1947, "Athene," The Journal of the Society for Education in Art, dedicated a special edition to honour Marion Richardson (1892-1946). Notable patrons and advisory panel members of the Society for Education in Art included Duncan Grant, Henry Moore, Herbert Read, and Sir Kenneth Clark. Marion Richardson, a trailblazer in art education, significantly influenced the reformation of the education system, particularly in the teaching of art and handwriting for young children. Her collaborative work, "Writing and Writing Patterns," published by the University of London Press Ltd with support from Edward Johnston, a British craftsman, and calligrapher, became an integral resource in classrooms for both students and teachers.Richardson's academic journey at Birmingham School of Art, under the mentorship of Mr. Catterson-Smith, former assistant to Edward Burne-Jones and William Morris, propelled her innovative approach to teaching. Recognising the limitations of traditional teaching methods, Richardson and Catterson-Smith sought to develop practices that fostered imagination and visualisation in art as a form of practice. In 1912, Richardson achieved her Art's Master Certificate and was appointed as an art teacher at Dudley Girls' High School. 'The first thing that impressed me about Marion Richardson were her enthusiasm, freshness, drive and utter sincerity.' S. Frood, Former Headmistress of Dudley High SchoolMarion Richardson ardently believed that art served as a medium through which a child could articulate their individuality and emotions. Striving to depart from the conventional classroom approach that encouraged children to replicate objects, places, and people, Richardson emphasised a shift towards a more liberated and expressive engagement with art in school. She recognised that the freedom and expression cultivated through active involvement in artistic practices could significantly enhance a child's overall educational experience, positively influencing various aspects of their development. She actively encouraged children to embellish the school's upholstery, incorporating linocut designs for curtains and decorating scenery, furniture and costumes for school plays. Outside of school, Richardson pioneered reformative arts and crafts initiatives. Richardson led one of the first experiments in art therapy at Winson Green Prison in Birmingham. Initially collaborating with women, practicing drawing and painting, Richardson soon transitioned to working with young men. In response to favourable feedback she extended the teaching to include embroidery and other art forms. In 1917, Roger Fry became aware of Richardson's work and invited her to exhibit a group of her student's paintings and drawings at an exhibition held at the Omega Workshop in London, alongside established artists such as Duncan Grant and Vanessa Bell. In 1923, the Dudley children held an exhibition at the Independent Gallery, Grafton Street in London which proved extremely popular. This platform launched Richardson's career as a teacher of art and in 1930 she was offered position of lecturer at the London Day Training College. The friendship between Marion Richardson, Roger Fry and his sister Margery Fry, whom Richardson had initially met in Birmingham when Fry was warden to the women's residence, flourished and they are known to have holidayed together in France in 1925. The present collection of works by Roger Fry were all gifted to Richardson or purchased directly from Fry. Family records suggest that Richardson was regularly gifted works throughout her career most notably by Duncan Grant. This collection of works have remained with the family and are making their debut at auction. 'Unforgettable impression of beauty, devotion and freedom.' Herbert Read Condition Report: Unexamined out of glazed frame. Very light undulation to the sheet. Otherwise no obvious significant condition issues. Condition Report Disclaimer
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SIR JOHN LAVERY (IRISH 1856-1941) PORTRAIT OF LIEUTENANT JOHN CLIVE DARLING, XX HUSSARS Oil on canvas Signed (centre right); further signed, titled and dated 1910 (transcribed verso, not in artist's hand) 38 x 33cm (14¾ x 12 in.)Provenance: Collection of Charles John Darling, 1st Baron Darling (1849-1936) Thence by descent to the present ownerSuave and stylish, the portrait of the dashing young Lieutenant John Clive Darling is almost unique in Lavery's oeuvre. Although small in scale, in its precision, it cannot be regarded as a sketch of the type preferred by the sitter's father, Sir Charles Darling, then serving as a judge on the Oxford circuit. In 1904 the judge had written to Lavery requesting a small sketch of his daughter, Diana Janet Darling, making his specification clear: What I should like would be an impression, or sketch - such as Vandyke (sic) and others sometimes made as preliminary to a portrait and I should like it small ... I don't want a highly finished work but should prefer a study. Darling may well have also been thinking back to the swagger of his son's first portrait, painted by William James Yule in 1896, when the present sitter was aged nine. It had been one of the most admired portraits of its day. Educated at Eton and Sandhurst, John Clive Darling (1887-1933) joined the 20th Hussars in 1906, rose to the rank of captain in 1913 and retired as Major in 1923, publishing an account of his regiment's actions in the Great War. Following the retreat from Mons in 1914 where the Hussars participated in the first (and last) cavalry charge, he and his brigade were consigned to the trenches where, in 1916, he was wounded in action. Mentioned in dispatches he was awarded the Distinguished Service Order. In recovery at Hill House Red Cross Hospital, Lyndhurst, Hampshire, he met, and in 1918, married Eleanor Joan Powell. In retirement, Darling raised and exhibited New Forest ponies and contributed to local causes. Condition Report: Relined. Very fine craquelure throughout. A couple of very small losses to the left edge with some associated rubbing. Inspection under UV reveals a thick green masking varnish which may be concealing any restoration. There is one area of retouching visible to the right of the sitter's shoulder which is also visible in natural light circa. 1cm. Condition Report Disclaimer
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SIR JOHN LAVERY (IRISH 1856-1941) A GREY DAY Oil on canvas-board Signed (lower right) 25.5 x 35.5cm (10 x 13¾ in.)Provenance: William Marchant & Co., The Goupil Gallery, London (1908) Exhibited: London, William Marchant & Co, The Goupil Gallery, Paintings by John Lavery RSA, RHA, 1908, no 50Literature: Walter Shaw Sparrow, John Lavery and his Work, London, 1911, p. 189Although we cannot be certain where A Grey Day was painted, given that it passed through the Goupil Gallery in 1908, it seems very likely that the present work represents the Straits of Gibraltar viewed from a hillside to the west of the Medina at Tangier. Having recently purchased a house and garden on the hilltop in question - Mount Washington - Lavery had the opportunity to study the moods of the sea from several discreet vantage points. This accounts for the variety of effects that characterise the many seascapes that followed - the high and low horizons, for instance, that appear in this and other small seascape sketches, such as A Rough Sea (Paisley, Art Institute Collection, held by Paisley Museum and Art Galleries), also shown in the Goupil exhibition. While many of these small sketches were painted in full winter sunshine, there were occasions when grey overhanging clouds must have reminded the artist of his earliest paintings of the Irish Sea seen from the Antrim coast in the late 1880s. Vivid colour arrived with his first visits to the North African coast in the 1890s, but it was a decade later when he returned to a more sustained engagement with the great maritime trade route that other, larger 'grey days' appeared (for example, see A Grey Day, Tangier, 1911 held by the Art Institute of Chicago from the George F. Porter Collection). While artists' enchantment with the sea stretches back to the romantic generation and beyond, the importance of the little sketches of 1906-8, lies in the fact that they provide instances in which Lavery reassesses one of Whistler's favourite themes and works through the more recent advances he had noted in Monet's work. In the first exhibitions of the International Society of Sculptors, Painters and Gravers, as the society's vice-president and prime mover, he had the opportunity to view the work of these mentors at close quarters, and move on. Up until the outbreak of war, every winter with only one exception, was spent on the Moroccan heights and seascapes with passing ships became a leitmotif. With its heavy sky, breaking waves and wrack-strewn sands, A Grey Day hailed this renewed fascination. Kenneth McConkey Condition Report: Inspection under UV reveals some very light retouching to the extreme framing edges and scattered across the sky. Otherwise the work is in good original condition. The work has been professionally cleaned in January 2024. Condition Report Disclaimer
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λ AUGUSTUS JOHN (BRITISH 1878-1961) WAS THIS THE FACE THAT LAUNCHED TEN THOUSAND SHIPS? (DOUBLE HEAD PORTRAIT OF HELEN MEANY BALFE) Pencil Titled and signed Augustus (lower left), further signed John, dedicated and dated To Helen 1924 (lower right) 31 x 29cm (12 x 11¼ in.) Provenance: Private Collection, Helen Meany Balfe (1904-1991) Private Collection, Mr. and Mrs. Gary Cooper, Brentwood residence Thence by descentHelen Meany was an American diver who took part in the Summer Olympics of 1920, 1924 and 1928, when she won a gold medal in the 3m springboard in 1928. In August 1924, Augustus was in Dublin attending the first revival of the ancient TAILTEANN Games. The event was staged to follow on the Summer Olympics held in May-July in Paris. This is probably when he met and drew Helen Meany, who had been competing in the Paris Olympics, and with other athletes invited to participate in the Tailteann Games. We are grateful to Rebecca John for her kind assistance in cataloguing this lot. Condition Report: Unexamined out of glazed frame. Some very light surface dirt to the extreme edges of the sheet. The upper right corner is not completely sharp or crisp but likely present at point of conception. Overall appears to be in good original condition. Condition Report Disclaimer
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λ SIR TERRY FROST (BRITISH 1915-2003) KATHLEEN SLEEPING Oil on panel Inscribed Honeymoon, Whately Hall Hotel, Banbury, Oxon and dated 1945 (to label verso) 16 x 22cm (6¼ x 8½ in.)Provenance: Acquired directly from the artist by the present ownerExhibited: London, Belgrave Gallery, Terry Frost, 1994, no. 1 Whately Hall Hotel Condition Report: A small indentation to the panel, upper right, only visible in a raking light. Some retouching throughout, notably to the skirt and the lower half of the composition. Condition Report Disclaimer
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λ CATHLEEN SABINE MANN (BRITISH 1896-1959) PORTRAIT OF A BALLERINA, SEATED, WEARING A TUTU Oil on canvas Signed and dated 1935 (lower right) 91.5 x 71.5cm (36 x 28 in.) UnframedA similar composition featuring the same ballerina is held in the Glasgow Museums Resource Centre. The figure is shown seated in front of the same blue panelling with a black cat on her lap. Condition Report: The work was historically rolled, condition is in line with this process. Not relined. Horizontal creases and cracks scattered across the canvas with associated losses. A number of pin holes and slightly larger holes (possibly nails) across the upper edge. Inspection under UV reveals light scattered retouching, most notable to the sitter's chest. Condition Report Disclaimer
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SIR JOHN LAVERY (IRISH 1856-1941) ORIGINAL SKETCH FOR 'THE HEARING OF THE APPEAL OF SIR ROGER CASEMENT' Signed, dated 1917 and dedicated to Lord Charles Darling (lower left), variously inscribed by Lord Darling (verso) Oil on canvas-board 25.5 x 38cmProvenance: Collection of Charles John Darling, 1st Baron Darling (1849-1936) Thence by descent to the present owner The board is inscribed verso by Charles Darling as follows: 'The original sketch made for Court by Sir John Lavery ARA for his picture of the hearing of the appeal of Sir Roger Casement against his conviction for High Treason - Monday 17th July 1917.Sargeant Sullivan (for appellant) addressing the Court. The justices (from left to right) Scrutton, Bray, Darling (presiding), Lawrence, Atkin.Charles Darling' By 1916, having recently requested an oil sketch of his late wife (lot 44), Mr Justice Darling was well aware of Lavery's pre-eminence. Regarding himself as something of an aesthete, the vainglorious judge, had been portrayed during his rise to the Bench, by Charles Wellington Furse (National Portrait Gallery) and George Henry (Colchester and Ipswich Museums) in 1890 and 1898 respectively, and in 1904, having secured Lavery's small sketch of his daughter, he returned to the painter for his own controversial portrait (fig 1). Even though its theatrical air matched the sitter's reputation, portraying Darling as a hanging judge was considered inappropriate by some. Now a widower, Darling had just received the news that his only son (see lot 45) was severely wounded on the Western Front when he received the call to preside over the Casement Appeal in July 1916. For public and personal reasons, leniency in this instance was not an option for a staunch Unionist who had trained Edward Carson in his chambers. Since his own portrait was painted, he had seen Lavery take on important commissions and maintain his pre-eminence with the portrait of the Royal Family, 1913 (National Portrait Gallery). In 1915, he would have noted the newsworthiness of the artist's Wounded, London Hospital, (Dundee Museum and Art Gallery), painted in the wake of the retreat from Mons, and shown in an Academy exhibition castigated for largely ignoring the unfolding horror of war. This was an artist unafraid to tackle a difficult project and, in the summer of 1916, when Darling was appointed to try the Casement Appeal, he was in a position to offer just such a testing opportunity. To read the full catalogue note written by Kenneth McConkey please follow the link below: Condition Report: Examined out of glazed frame. A few spots of light surface dirt. Otherwise appears to be in good original condition. Condition Report Disclaimer
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λ SANDRA BLOW (BRITISH 1925-2006) UNTITLED (FOUR BLUE DIAMONDS) Ink and collage Signed and dated 2002 (lower right) 27 x 28.5cm (10½ x 11 in.)Provenance: Acquired directly from the artist by the present owner Condition Report: Unexamined out of glazed frame. The sheet appears to be stuck down at the corners but has come loose in the upper right corner. The sheet is scattered with pinholes most notable to the upper half of the work. There is some visible glue residue around the areas of collage but this would have been present at point of conception. There is a small mark approx. 2mm to the right side of the lower diamond. There is a small area of skinning and associated ink mark to the lower left quadrant. Some very light scattered ink and dirt marks to the edges. Condition Report Disclaimer
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λ  CONROY MADDOX (BRITISH 1912-2005) THE CARPETBAGGERS Collage Signed and dated 2002 (lower left); further signed, titled and dated 2002 to backboard (verso) 39 x 49cm (15¼ x 19¼ in.) Provenance: Whitford Fine Art, London Exhibited: London, Whitford Fine Art, Hidden Thoughts: Surrealist Collages of Conroy Maddox, 2002 London, Belgrave Gallery, The Scandalous Eye: The Surrealism of Conroy Maddox, 4-21 November, 2003, no. 31Literature: Silvano Levy, The Scandalous Eye - The Surrealism of Conroy Maddox, 2003, p. 285 Condition Report: The picture is acrylic and collage on board. Unexamined out of glazed frame. There is a vertical mark running from the centre of the right edge down the sheet, possibly a very light scuff. Subject to the above the picture appears to be in generally good condition.Condition Report Disclaimer
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λ JOHN NASH (BRITISH 1893-1977) STREAM IN A WOODED LANDSCAPE Pencil, watercolour and crayon Signed (lower right) 39 x 52.5cm (15¼ x 20½ in.) Condition Report: Unexamined out of glazed frame. The sheet has been stuck down. There appears to be a repaired tear running diagonally across the upper right corner. Light staining throughout, most notable the extreme edges. Very minor nicks to the extreme sides of the sheet. A repaired horizontal tear with associated creasing to the lower right corner of the sheet. Condition Report Disclaimer
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λ OLIVIER DEBRÉ (FRENCH 1920-1999) COMPOSITION Oil on canvas Signed and dated 1948 (lower right); signed with initials and dated 1948 (to stretcher verso) 89 x 130cm (35 x 51 in.)Provenance: Private Collection, Axelle Simmonard (née Note), France Thence by descent to the present owner Condition Report: Rubbing to the edges. Two small losses to the upper half of the work, one along the upper edge at the right side and one approx. 20cm down from the upper edge in the centre. Two further losses to either end of the green pigment to the centre of the lower edge. Light surface dirt throughout. A couple of light surface scuffs scattered across the edges and surface, hardly noticeable. Inspection under UV reveals no obvious evidence of restoration or repair. Condition Report Disclaimer
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λ RONALD OSSORY DUNLOP (BRITISH 1894-1973) THE WRITER Oil on canvas-board Signed (lower right) 67 x 54.5cm (26¼ x 21¼ in.)Painted circa 1935.Exhibited: London, Royal Academy, 1968 Guildford, Guildford House, Exhibition of Paintings by R.O. Dunlop, R.A., no. 22Literature: The Royal Academy Illustrated, 1969, illus. Condition Report: Light surface dirt throughout. Old varnish possibly causing some discolouration throughout. Inspection under UV reveals a thick green varnish and no obvious evidence of restoration or repair. Condition Report Disclaimer
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PHILIP WILSON STEER (BRITISH 1860-1942) THE CASINO, BOULOGNE-SUR-MER Oil on canvas Signed and dated 92 (lower right) 51 x 61cm (20 x 24 in.)Provenance: Private Collection, Thomas Humphry Ward Esq.(1845-1926), Art critic for the Times Newspaper Private Collection, Mrs. Sandwith Private Collection, Adrian McConnel Thence by descent Exhibited: London, The Goupil Gallery, Exhibition of Paintings by P. Wilson Steer, February 1894, no. 1, as 'property of T Humphrey Ward Esq.' Literature: 'Our London Correspondence', Glasgow Herald, 26 February 1894, p. 7 'From Private Correspondence', The Scotsman, 26 February 1894, p. 7 'From our London Correspondent', Manchester Courier, 26 February 1894, p. 5 'Exhibitions', Pall Mall Gazette, 27 February 1894, p. 3 'Exhibition Review, A Modern Painter', The National Observer, 3 March 1894, p. 396 G[eorge] M[oore], 'Mr Steer's Exhibition', The Speaker, 3 March 1894, p. 250 'Art: The Goupil Gallery', Weekly Dispatch, 4 March 1894, p. 6 'Studio and Gallery', Black and White, 10 March 1894, p. 294 'Fine Art: The Goupil', The Morning Post, 10 March 1894, p. 2 George Moore, Modern Painting, 1898 (Walter Scott), p. 242 DS MacColl, Life, Work and Setting of Philip Wilson Steer, 1945 (Faber & Faber), pp. 51, 193 Bruce Laughton, Philip Wilson Steer, 1971 (Clarendon Press, Oxford), p.130, (no 52)Sketches for the present work are included in Steer's sketchbook inscribed Boulogne and dated 1888. The sketchbook is held in the V&A archives under reference E 281 - 1943. Had you been standing on the upper deck of the Folkestone steamer, steering into the harbour at Boulogne-sur-Mer at the turn of the twentieth century, your view on the port side, beyond the guard rail of the jetée de l'est, would take in the plage, and the Second Empire Casino. Sitting in public gardens that contained a saltwater bathing establishment, the lines of the casino prepared you for those of the great exhibition 'palaces' of Paris, a train ride away. A quick scan of your Baedeker would tell you that the casino opened every year for the summer season from 15 June to 15 October and a day ticket would cost you two francs. Since the lights are on in Philip Wilson Steer's view of the building, we can assume that the present canvas must represent a late summer evening. Although dated '92' we know that the painter spent the summer at Cowes in that year. He would have passed through Boulogne in 1887, 1888 and 1889, producing swift sketchbook notes, three of which relate directly to the present work (fig 1). Why, in the 1880s was Boulogne and its environs so admired, and why did it supplant Walberswick in Steer's affections? The answers are various - Dannes, Étaples, Montreuil and one or two other picturesque towns nearby were supporting small colonies of British and American painters, many of whom were working in loosely Impressionist styles, while further down the coast there were the familiar haunts of Monet and Boudin. Boulogne was also one of the main points of access to Paris in the late nineteenth century, its packet-boat service having commenced in 1849. In Steer's case the specific interest in Boulogne is likely to have come first from the early work of Manet that he saw in the artist's posthumous retrospective exhibition in Paris in 1884. 'When the Manet exhibition was held', he told John Rothenstein, 'I had never heard his name. But I went and was very much interested ...The landscapes I liked very much ...' Manet had of course visited Boulogne several times in the 1860s and on one occasion on the plage, had painted the twin piers that form the harbour entrance. Fashionable promenades, these breakwaters with their white handrails had not changed when Steer painted them twenty years later.Passing through the port in the late 1880s, and again in 1891, Steer must have realized that he needed to go no further for one of the most celebrated British Impressionist paintings, Boulogne Sands. Having already painted this beach, looking north to where the hillside rolls gently towards the shore in Boulogne Sands: Children Shrimping, the Casino waterfront was a key location.There is sufficient technical variation between the Tate and Ferens canvases to leave the precise date of most works ascribed to the artist's Boulogne corpus prior to 1891, open to debate. While he was known to be capable of working in several different styles at once, the dabs and dashes of a painting of girls busily building sandcastles on a blustery day, contrast with the serenity of the present townscape - a work that takes the eye beyond the casino to the rising land of the haute ville, and the tower of the Cathédral Notre Dame. At this moment when the noisy children have gone and the casino slowly becomes incandescent, the town sinks into the crepuscular light of evening. Bruce Laughton, Steer's 1960s champion, had not seen the present painting when writing his monograph, and accepted DS MacColl's earlier assessment of it. Recalling the painting in the 1940s and thinking of the celebrated 'nocturnes' of the 1870s, MacColl had reached for the word 'Whistlerian'. It now seems most likely that the artist post-dated Casino, Boulogne '92' at the time it left his studio and when it was recalled for his solo exhibition in 1894, it had passed into the collection of Thomas Humphry Ward (1845-1926), the principal art critic and occasional leader writer on the staff of The Times. Ward apparently 'disliked that it should be known' that he was the painting's owner. George Moore was keen to make something of the fact and in praising the painting he also exposed its purchaser to a wider readership: I like ... The Casino, Boulogne, the property, I note with some interest, of Mr T Humphry Ward, art critic of The Times ... Mr Humphry Ward must write conventional commonplace, otherwise he could not remain art critic of The Times, so it is pleasant to find that he is withal an excellent judge of a picture ... The buildings stand high up, they are piled up in the picture, and a beautiful blue envelopes sky, sea, and land. Nos 1 [the present picture] and 2 show Mr Steer at his best: that beautiful blue, that beautiful mauve, is the optimism of painting, is the peculiar characteristic of Mr Steer's work. Other critics concurred, referring to its 'perfect technique' and the 'decorative charm' of its colour. Painted 'freely and flowingly', the peacefulness of this evening on the French coast was conveyed with splendid spontaneity. It had, more than the overtly 'Impressionist' studies of 1891, a 'unity of vision' that Steer considered one of the essential 'laws' of good painting. He insisted, echoing Whistler, that scenes like that of the casino, may be 'commonplace and ordinary' to the layperson, but it was for the painter to find beauty in them. As one pulled into the harbour of an evening, this called for the subtle palette of warm greys and ochres of a hillside and buildings that surround the ghostly gaming house, framed between the hints of mauve in a peaceful sky and the cool cerulean blues of a rippling tide. Kenneth McConkey
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ROGER FRY (BRITISH 1866-1934) WOODED LANDSCAPE WITH HILLS BEYOND Oil on board Signed, dedicated and dated Marion Richardson/with best wishes for Christmas/1926 Roger Fry (verso) 20.5 x 26.5cm (8 x 10¼ in.)Provenance: Gifted to Marion Richardson, British teacher and author on handwriting Thence by descent to the present owner'Through her discoveries in children's writing, writing-patterns and pictures she brought richness of life and colour into the lives of thousands of children.' Clarence Whaite, student of Marion Richardson, later lecturer at the Institute of Education. In 1947, "Athene," The Journal of the Society for Education in Art, dedicated a special edition to honour Marion Richardson (1892-1946). Notable patrons and advisory panel members of the Society for Education in Art included Duncan Grant, Henry Moore, Herbert Read, and Sir Kenneth Clark. Marion Richardson, a trailblazer in art education, significantly influenced the reformation of the education system, particularly in the teaching of art and handwriting for young children. Her collaborative work, "Writing and Writing Patterns," published by the University of London Press Ltd with support from Edward Johnston, a British craftsman, and calligrapher, became an integral resource in classrooms for both students and teachers.Richardson's academic journey at Birmingham School of Art, under the mentorship of Mr. Catterson-Smith, former assistant to Edward Burne-Jones and William Morris, propelled her innovative approach to teaching. Recognising the limitations of traditional teaching methods, Richardson and Catterson-Smith sought to develop practices that fostered imagination and visualisation in art as a form of practice. In 1912, Richardson achieved her Art's Master Certificate and was appointed as an art teacher at Dudley Girls' High School. 'The first thing that impressed me about Marion Richardson were her enthusiasm, freshness, drive and utter sincerity.' S. Frood, Former Headmistress of Dudley High SchoolMarion Richardson ardently believed that art served as a medium through which a child could articulate their individuality and emotions. Striving to depart from the conventional classroom approach that encouraged children to replicate objects, places, and people, Richardson emphasised a shift towards a more liberated and expressive engagement with art in school. She recognised that the freedom and expression cultivated through active involvement in artistic practices could significantly enhance a child's overall educational experience, positively influencing various aspects of their development. She actively encouraged children to embellish the school's upholstery, incorporating linocut designs for curtains and decorating scenery, furniture and costumes for school plays. Outside of school, Richardson pioneered reformative arts and crafts initiatives. Richardson led one of the first experiments in art therapy at Winson Green Prison in Birmingham. Initially collaborating with women, practicing drawing and painting, Richardson soon transitioned to working with young men. In response to favourable feedback she extended the teaching to include embroidery and other art forms. In 1917, Roger Fry became aware of Richardson's work and invited her to exhibit a group of her student's paintings and drawings at an exhibition held at the Omega Workshop in London, alongside established artists such as Duncan Grant and Vanessa Bell. In 1923, the Dudley children held an exhibition at the Independent Gallery, Grafton Street in London which proved extremely popular. This platform launched Richardson's career as a teacher of art and in 1930 she was offered position of lecturer at the London Day Training College. The friendship between Marion Richardson, Roger Fry and his sister Margery Fry, whom Richardson had initially met in Birmingham when Fry was warden to the women's residence, flourished and they are known to have holidayed together in France in 1925. The present collection of works by Roger Fry were all gifted to Richardson or purchased directly from Fry. Family records suggest that Richardson was regularly gifted works throughout her career most notably by Duncan Grant. This collection of works have remained with the family and are making their debut at auction. 'Unforgettable impression of beauty, devotion and freedom.' Herbert Read Condition Report: There is some light surface dirt and the work would benefit from a light clean. There are two tiny holes to the surface of the board at the centre and lower left, possibly original to the board before it was painted. Otherwise in good original condition with no evidence of retouching visible under ultraviolet light.Condition Report Disclaimer
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λ ROGER HILTON (BRITISH 1911-1975) SEATED NUDE Oil on canvas Variously signed (recto); inscribed and dated Paris 35 (verso) 32 x 40cm (12½ x 15½ in.) Painted in 1935. Provenance: Rose Hilton, Private Collection Austin Desmond Fine Art, London Exhibited: Edinburgh, Scottish Arts Council Gallery, Roger Hilton, 1974, no. 4 Leicester, Leicester Polytechnic Gallery, Roger Hilton - The Early Years 1911-55, 1984, no.42 Condition Report: Unexamined out of glazed frame. Light surface dirt throughout. A small scratch/loss to the upper right edge approx. 1cm. Inspection under UV reveals no obvious evidence of restoration or repair. Condition Report Disclaimer
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SIR JOHN LAVERY (IRISH 1856-1941) PORTRAIT OF MINNIE PLOWDEN AND HER SON HUMPHREY, STUDY FOR A FULL LENGTH PORTRAIT Oil on canvas Signed (lower left) 35.5 x 25cm (13¾ x 9¾ in.)Provenance: Minnie Plowden, thence by descent to the present owner Literature: Kenneth McConkey, John Lavery, A Painter and his World, 2010 (Atelier Books, Edinburgh), p. 71 In 1898 Lavery, with the help of fellow Glasgow Boys and under the Presidency of James McNeill Whistler, established the International Society of Sculptors, Painters and Gravers, with the idea of staging annual exhibitions or 'art congresses' in London. As Vice-President, Lavery's three contributions to this radical departure were Portrait Group (Père et Fille), 1897, (Musée d'Orsay, Paris), A Garden in France, 1897 (National Gallery of Ireland, Dublin) and Mrs Roger Plowden and Humphrey for which the present canvas is the oil sketch. It is not entirely clear where and when the painter met the Plowdens. A member of an old Catholic legal and clerical family that hailed at the time of the Crusades from Shropshire, Roger Herbert Plowden was the son of a banker in Rome where, in his early years he led the life of a country gentleman. After his marriage to the daughter of Henry Jump of Woolton, near Liverpool in August 1883, he and his wife led a peripatetic existence between Rome, the south of France, their house at 32 Portman Square, London and Scottish estates, leased for the hunting and shooting seasons. They had been living in Rome before returning recently to Scotland where in 1897 Plowden rented and then purchased the Strachur estate on Loch Fyne from the Duke of Argyll. As with most large portrait commissions (fig. 1) Lavery planned his composition with a swift sketch as shown in Lot 43. In comparing the two it is instantly apparent that the composition has been reversed and the boy's leg positions changed. His silver suit has also been replaced by a black tabard. Sittings cannot have been easy since Minnie Plowden was unwell and increasingly immobile. As a 'mother and son' subject, the finished work is nevertheless a fine complement in tone, colour, handling and scale to the Orsay 'father and daughter'. For its part, the sketch is also more than a snapshot, making play with the flash of red in the sitter's cape and creating, in its soft greys, its own fine harmonies. Kenneth McConkey Condition Report: Light surface dirt throughout. A very minor loss to the centre of the lower edge. There is an area of slight undulation to the canvas visible to the upper right corner. Some very fine craquelure to the black pigment of Minnie's dress. Very small loss and surface scratch visible just above the signature, hardly noticeable. Inspection under UV reveals no obvious evidence of restoration or repair. In overall good original condition. Condition Report Disclaimer
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λ DENIS MITCHELL (BRITISH 1912-1993) TREW Bronze with green patina and polished bronze Signed with initials, titled and dated 74 (to underside of base) Height: 11cm (4¼in.) (excluding base) Provenance: Wenlock Fine Art, London Condition Report: In overall good condition. There is some tarnishing to the gold patination which would benefit from a light clean.Condition Report Disclaimer
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λ BRIAN WILSHER (BRITISH 1930-2010) UNTITLED Wood Signed and dated 68 (to underside of base) Height: 88cm (34½in.) (including base) Condition Report: Light surface dirt throughout. Horizontal scratches across the flat surfaces but this appears to be the artist's intention creating texture. A couple of the nails running across the centre of the main wave are showing and very slightly protruding, hardly noticeable. Condition Report Disclaimer
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λ THEO GOEDVRIEND (DUTCH 1879-1969) SICILIAN COASTAL LANDSCAPE Oil on canvas laid to board Signed twice (lower left & lower right) 26.5 x 21.5cm (10¼ x 8¼ in.)Drawn to the wild mountain scenery and jewel-like light across the shores, Goedvriend and his wife to escape the melancholy of winter in the Hague they returned to Sicily time and time again. The couple stayed in Taormina near Messina and Catania where the present lot was most likely painted. Goedvriend studied under Dutch illustrator Theo van Hoytema and became best known for his detailed studies of mushrooms and forest vegetation.
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λ GWYNETH JOHNSTONE (BRITISH 1915-2010) LANDSCAPE WTIH TREE AND HOUSE Oil on board Signed with initials (lower left) 37 x 50.5cm (14½ x 19¾ in.)Painted in 1960. Provenance: Art Dealer FFC, International Art Brokerage Firm, no. 6 Galeria Arrabal, Alicante, Spain Private Collection, EuropeExhibited: Granada, Spain, Galeria Arrabal, no. 21 Condition Report: Light surface dirt throughout. Possible discolouration caused by yellowing varnish. Inspection under UV reveals no obvious evidence of restoration or repair. Condition Report Disclaimer
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λ FRANK BEANLAND (BRITISH 1936-2019) BLUE, SCARLET & LAVENDER Oil on canvas Signed, titled and dated January 1976 Bramfield (verso) 136 x 136cm (53½ x 53½ in.) UnframedExhibited: London, Belgrave Gallery, Frank Beanland, 2005, no. 21 Condition Report: In good original condition. No evidence of retouching under ultraviolet light. Some very minor surface dirt to extreme exposed edges and corners of the canvas.Condition Report Disclaimer
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ROGER FRY (BRITISH 1866-1934) THE ROUND TABLE Oil on canvas Signed and dated 1920 (lower right) 76 x 69.5cm (29¾ x 27¼ in.)Provenance: The Mayor Gallery, London Exhibited: London, Courtauld Institute Gallery, Portraits of Roger Fry, 18 September - 14 October 1976, no.22; this exhibition travelled to Sheffield, Mappin Art Gallery, 23 October - 21 November 1976 London, The Belgrave Gallery, Masters of Modern British Painting, 1977, no.1Literature:F. Birrell and D. Garnett, Some Contemporary English Artists, London, 1921, (Illustrated)R. Shone, Bloomsbury Portraits, London, 1976 (Illustrated plate 118, p. 197)R. Shone, The Art of Bloomsbury: Roger Fry, Vanessa Bell and Duncan Grant, London, 1999, p.205, fig.120D. Edwards, Winter Sonata, Virago Modern Classics, London, (front cover illustration)J. Rolls, The Bloomsbury Cookbook, London, 2014, p.232 (illus.) In the Spring of 1920, Roger Fry visited in Vence, staying at Maison Barrière with friends and fellow artists. Amongst this group were the sculptor Marcel Gimond and his wife Julie, both depicted in the present work. Gimond created a number of portrait busts of Fry in the early 1920s. An example of which is now held in London's National Portrait Gallery. The third figure present in Fry's painting, playing a guitar, is the illustrator and Post-Impressionist artist Sonia Lewitska. Lewitska was married to Fry's close friend Jean Marchand. Although present in a small oil sketch of the same scene he is not depicted in the present work. Fry admired Jean Marchand, including his work in both of his groundbreaking exhibitions held at the Grafton Galleries; Manet and the Post-Impressionists, 1910 and The Second Post Impressionist Exhibition, 1912. Through their friendship Marchand became closely associated with the Bloomsbury Group and Fry even dedicated a whole chapter in his 1920 book of essays Vision and Design, observing his move away from cubism; "Having once learned by this process of willed and deliberate analysis how to handle complex forms, he has been able to throw away the scaffolding and to construct palpably related and completely unified designs with something approaching the full complexity of natural forms, through the lucid statement and ease of handling which it actuates testify to the effect of his apprenticeship in Cubism." (R.Fry, Vision and Design, London, 1920, p.282) Although Fry wrote this about the work of Jean Marchand one cannot help but feel that he could have had in mind his fellow Bloomsbury artists Vanessa Bell and Duncan Grant after only recently closing the doors on the Omega Workshop due to lack of funds. Condition Report: The canvas has been relined. Ultraviolet light reveals scattered retouching to the extreme edges consistent with the relining. Otherwise in good condition. Condition Report Disclaimer
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‡ SAMUEL JOHN PEPLOE (SCOTTISH 1871-1935) CASSIS, LOOKING INLAND Oil on panel Signed (lower left) 32 x 41cm (12½ x 16 in.)Painted circa 1913.Provenance: Lefevre Gallery, London Acquired from the above circa 1950 and thence by descent to the present ownerPeploe had firmly established himself on the Scottish art scene in the early years of the twentieth century with his traditional Edwardian style of painting. He found success with a series of carefully observed interiors, still lives, portraits and landscapes. However, regular trips to northern France and Paris from the mid-1900s saw him come into contact with the likes of Matisse and Picasso and the latest artistic trends that avant garde Paris had to offer. He began to adopt a bolder, more vibrant palette, influenced by the art of Vincent Van Gogh, the Fauves and their raw expressionism, he pared down his compositions to the barest, yet most striking elements - the black line contrasted with the brightest, richest colours. This new department was not approved of by his usual Edinburgh dealers who refused to exhibit Peploe's new paintings on his return in 1912. It was one year later that Peploe visited the bustling harbour town of Cassis in the south of France. It was to be the first of many trips and prove instrumental in the development of the artist's mature style. Like so many before and after him, Peploe was enraptured by the iridescent light of the region, the sparkling seas and sun-drenched hills. The colourist journey begun by the Fauves ten years earlier now encompassed a new group of painters who would go on to be known collectively as the Scottish Colourists. This tight-knit group comprised Peploe along with Francis Cadell, Leslie Hunter and J.D. Fergusson and they were Scotland's first Modernists.The present work was most probably painted during Peploe's first trip to Cassis in the summer of 1913. He had been invited by J.D. Fergusson and the American artist and illustrator Anne Estelle Rice. Whilst he produced many views of the port at Cassis, he was also fascinated by the area around the town with its wooded hills and jumble of typically Mediterranean tiled houses. Cassis Looking Inland is one such example with the salmon pink rooftops juxtaposed by lemon-yellow highlights and Peploe's quintessential bold black outlines. Condition Report: Light surface dirt throughout. Some rubbing, very light scuffs and marks to the edges. Inspection under UV reveals some associated retouching to the edges. Couple of small dark marks to the upper and lower left corners. Otherwise appears to be in good original condition. Condition Report Disclaimer
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λ ARTHUR HAYWARD (BRITISH 1889-1971) ST. IVES HARBOUR Oil on canvas Signed (lower left) 48.5 x 61cm (19 x 24 in.)Provenance: Sale, Bonhams, Knightsbridge, 21 September 2010, lot 43 Messum's, London & MarlowExhibited: Marlow, Messum's, British Impressions, 2012, no. 16 Condition Report: The canvas is not relined. Some minor rubbing to the framed edges. There is no evidence of retouching visible under ultraviolet light. Condition Report Disclaimer
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λ AUGUSTUS JOHN (BRITISH 1878-1961) ROMILLY SITTING Coloured pencil Signed (lower left) 33.5 x 25cm (13 x 9¾ in.)Drawn circa 1911.Exhibited: London, Hazlitt Holland-Hibbert, Augustus John: Master works from Private Collections 1900-1920, September-October 2004 (illustrated in the exhibition catalogue p.42) Romilly John (1906 -1986) was born in France, the second of Dorelia's sons by Augustus. He was never told the exact date of his birth and mistakenly titled his memoir The Seventh Child (Heinemann 1932; Jonathan Cape 1975). He was in fact Augustus's sixth child. This drawing belongs to a superb series Augustus made of his young sons during their intermittent stays in France 1905 -1914, or at their home in Dorset after 1911. We are grateful to Rebecca John for her kind assistance in cataloguing this lot. Condition Report: Unexamined out of glazed frame. Some light discolouration throughout the sheet, most notable to either side of the sheet. A horizontal scratch to the upper left edge. Two spots of staining slightly further down the left edge to the centre and another to the very lower section of the left edge. Very small spots of bleaching, two to the upper left quadrant and two to the centre of the right edge. Condition Report Disclaimer
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λ GRAHAM SUTHERLAND (BRITISH 1903-1980) PASTORAL Etching, 1930 Signed in pencil, dedicated to Marion Richardson With best wishes for Christmas/& love from Jane & Kenneth Clark and dated 1938 to backboard (verso) Image 12.2 x 19cm (4¾ x 7¼ in.)Provenance: Marion Richardson, Private Collection, British teacher and author on handwriting Thence by descent to the present owner 'Through her discoveries in children's writing, writing-patterns and pictures she brought richness of life and colour into the lives of thousands of children.' Clarence Whaite, student of Marion Richardson, later lecturer at the Institute of Education. In 1947, "Athene," The Journal of the Society for Education in Art, dedicated a special edition to honour Marion Richardson (1892-1946). Notable patrons and advisory panel members of the Society for Education in Art included Duncan Grant, Henry Moore, Herbert Read, and Sir Kenneth Clark. Marion Richardson, a trailblazer in art education, significantly influenced the reformation of the education system, particularly in the teaching of art and handwriting for young children. Her collaborative work, "Writing and Writing Patterns," published by the University of London Press Ltd with support from Edward Johnston, a British craftsman, and calligrapher, became an integral resource in classrooms for both students and teachers.Richardson's academic journey at Birmingham School of Art, under the mentorship of Mr. Catterson-Smith, former assistant to Edward Burne-Jones and William Morris, propelled her innovative approach to teaching. Recognising the limitations of traditional teaching methods, Richardson and Catterson-Smith sought to develop practices that fostered imagination and visualisation in art as a form of practice. In 1912, Richardson achieved her Art's Master Certificate and was appointed as an art teacher at Dudley Girls' High School. 'The first things that impressed me about Marion Richardson were her enthusiasm, freshness, drive and utter sincerity.' S. Frood, Former Headmistress of Dudley High SchoolMarion Richardson ardently believed that art served as a medium through which a child could articulate their individuality and emotions. Striving to depart from the conventional classroom approach that encouraged children to replicate objects, places, and people, Richardson emphasised a shift towards a more liberated and expressive engagement with art in school. She recognised that the freedom and expression cultivated through active involvement in artistic practices could significantly enhance a child's overall educational experience, positively influencing various aspects of their development. She actively encouraged children to embellish the school's upholstery, incorporating linocut designs for curtains and decorating scenery, furniture and costumes for school plays. Outside of school, Richardson pioneered reformative arts and crafts initiatives. Richardson led one of the first experiments in art therapy at Winson Green Prison in Birmingham. Initially collaborating with women, practicing drawing and painting, Richardson soon transitioned to working with young men. In response to favourable feedback she extended the teaching to include embroidery and other art forms. In 1917, Roger Fry became aware of Richardson's work and invited her to exhibit a group of her student's paintings and drawings at an exhibition held at the Omega Workshop in London, alongside established artists such as Duncan Grant and Vanessa Bell. In 1923, the Dudley children held an exhibition at the Independent Gallery, Grafton Street in London which proved extremely popular. This platform launched Richardson's career as a teacher of art and in 1930 she was offered position of lecturer at the London Day Training College. The friendship between Marion Richardson, Roger Fry and his sister Margery Fry, whom Richardson had initially met in Birmingham when Fry was warden to the women's residence, flourished and they are known to have holidayed together in France in 1925. The present collection of works by Roger Fry were all gifted to Richardson or purchased directly from Fry. Family records suggest that Richardson was regularly gifted works throughout her career most notably by Duncan Grant. This collection of works have remained with the family and are making their debut at auction. 'Unforgettable impression of beauty, devotion and freedom.' Herbert Read Condition Report: Stuck down to mounting board with tape to the upper corners. Some very light undulation to the lower margin. Some light staining running along the upper edge of the margin with a crease to the upper right corner. Image itself is in good original condition. Condition Report Disclaimer
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ALFONSO OSSORIO (FILIPINO/AMERICAN 1916-1990) UNLIKELY CLUTCH Ink, wax, watercolour and wash Signed and dated 1954 (lower right) 102 x 76cm (40 x 29¾ in.) Provenance: Tower Gallery, Southampton, New York Betty Parsons, New York Private Collection, Robert Stigwood (1934-2016), music and film producer, whom purchased from the above circa. 1980s 'These works stand out for their vivid, saturated colors, distinctive formal characteristics, and pulsating energy.' Michael Rosenfeld Gallery, New York, Alfonso Ossorio Retrospective. Alfonso Ossorio was at the centre of the Abstract Expressionist and Art Brut movements which flourished during the 1950s. This passion for the arts and exploration of abstraction, alongside his close friends Jackson Pollock and Jean Dubuffet, was reflected in not only his own practice but also his collecting habits. Financially supported by his family, Ossorio established one of the earliest collections of Art Brut and Abstract Expressionism, helping to consolidate and promote the movements in America. Ossorio's family made their wealth through the sugar-refining industries in Negros Occidental in the Philippines. Ossorio was educated in England before relocating to Rhode Island at the age of 14. Ossorio studied Fine Art at Harvard University and held his first solo exhibition in New York with Betty Parsons in 1941. Ossorio's interest in art reached further than just practice, he was a keen collector and whilst studying at Harvard the Fogg Museum exhibited his early collection of works including pieces by Eric Gill and David Jones. Whilst exhibiting with Betty Parsons throughout the 40s, Ossorio became aware of Jackson Pollock's work, another artist Parsons was supporting and he was immediately drawn to his unique talent. Ossorio purchased his first Pollock 'drip' painting in 1949 titled Number 5, 1948. From this moment forward a strong friendship ensued between Ossorio and Pollock, both as artists but also as patron and artist. 'Europe no longer had anything to offer but a mixture of memories.' Harold Rosenberg, The De-Definition of Art (New York: Collier, 1972). P. 194 In November 1949, Pollock encouraged Ossorio to travel to Paris to meet with his friend Jean Dubuffet. At the time Dubuffet had experienced a great deal of criticism in Europe for his highly textured Art Brut works but his reputation was growing across the pond. Ossorio returned to New York with three new purchases Robinson, Figure au site Champetre and La dame au pompom and most importantly a new friendship which would continue in perpetuity. By 1951 Dubuffet was arguably the most famous French artist in America, possibly with the help of Ossorio. Together with Ossorio's lifelong partner, Ted Dragon, he purchased an estate on Long Island called The Creeks. The estate became synonymous with lavish parties attended by some of the most important artists of the 20th century Mark Rothko, Willem de Kooning and Lee Krasner. The Creeks, arguably helped to develop the strength of abstract expressionism in America. In 1952, Dubuffet's The Art Brut Collection which included 1200 works by approximately 100 artists was installed at Ossorio's estate. The collection hung on the upper floors of The Creeks alongside Ossorio's personal collection of works by Jackson Pollock, Clyfford Still, Lee Krasner and Willem de Kooning. In 1962 the collection returned to Paris to a purpose made space organised by Dubuffet and from 1976 the collection was moved to Lausanne in Switzerland in the Collection de l'Art Brut, where it remains today. Lot 161 represents Alfonso Ossorio's exploration of surrealism, characterised as "metaphysical fantasies," featured emotionally charged expressionistic brushstrokes. Influenced by his return to the Philippines in 1949, to carry out a mural commission for the chapel of St. Joseph the Worker in his hometown Victorias, he introduced the 'wax-resist' technique, inspired by Victor Brauner, giving rise to the Victorias Paintings series. This collection delved into the complexities of Catholicism, homosexuality, and racism. His early pieces depicted the emotional turmoil of a young homosexual male with a deeply rooted Catholic upbringing, set against the backdrop of World War II. These emotions were vividly portrayed through highly detailed surrealist designs. Additionally, Ossorio's art drew inspiration from psychoanalyst Nandor Fodor's writings on sexuality, birth, and motherhood. The present lot reflects the work of Jackson Pollock, most notably a piece titled Pattern c. 1945 held in the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C.'These works stand out for their vivid, saturated colors, distinctive formal characteristics, and pulsating energy.' Michael Rosenfeld Gallery, New York, Alfonso Ossorio Retrospective. Arguably, Ossorio's collecting habits and socialite lifestyle have overshadowed his artistic capabilities. A turning point came in 2013 with the exhibition Angels,Demons and Savages: Pollock, Ossorio, Dubuffet curated by Dorothy Konsinski and Klauss Ottman at the Phillips Collection in Washington D.C. before travelling to New York. This exhibition placed Ossorio in the centre of Pollock and Dubuffet shining a light on the importance of his career as both an artist and collector. Condition Report: Executed on artist's board. Some very minor damage to the extreme tips of the lower corners, not visible when framed. Otherwise in very good original condition. Framed under glass. Condition Report Disclaimer
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λ EDWARD SEAGO (BRITISH 1910-1974) THE MEADOW POND - NORFOLK Oil on board Signed (lower right) titled (verso) 51.5 x 76cm (20¼ x 29¾ in.)Provenance: Galerie George, London Condition Report: In overall good original condition. Possible light discolouration caused by yellowing varnish. Inspection under UV reveals a thick varnish and no evidence of restoration or repair. Condition Report Disclaimer
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JOSIF MEEROVICH OSTROVSKY (UKRANIAN 1935-1993) WALK Oil on canvas Signed and dated 1982 (lower right); further signed and inscribed in Cyrillic to canvas and stretcher (verso) 70 x 70cm (27½ x 27½ in.)Provenance: The Catto Gallery, London Condition Report: Not relined. Canvas is slack. Light surface dirt throughout. 2 small losses to the lower left quadrant together with a small area of rubbing. Uneven varnish across the surface with some evidence of pooling varnish. Condition Report Disclaimer
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λ ERTÉ (FRENCH 1892-1990) LACE: PRÄ’SENTATION DE LA ROBE DE DENTELLE ROSE; UNE FLEUR DE LA DENTELLE NOIS, QUI ADEVIENT AGRANDIE Gouache Both signed (lower right); stamped with studio stamp, titled and dated 1937 (verso) Each 27 x 37cm (10½ x 14½ in.) (2) UnframedProvenance: Acquired directly from the artist and by descent Condition Report: Flower - Light staining to the extreme edges. Pin holes to the corners with some creasing. Figure (pink and blue) - Light staining to the extreme edges. Pin holes to the corners with some creasing. Condition Report Disclaimer
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λ JOHN MILLER (BRITISH 1931-2002) ANEMONES II Oil on canvas Signed and titled (verso) 51 x 46cm (20 x 18 in.)Provenance: New Craftsman Gallery, St. Ives, Cornwall Portland Gallery, London John Miller's artistic vision has become one of the most widely recognised of the twentieth century. Working from his Cornish studio with its magnificent views across the Hayle estuary to Godrevy Lighthouse, John painted his distinctive images of glowing beaches and deep blue skies, which are so widely recognised as to have become synonymous with the county of Cornwall itself. Miller's art occupies the space between figuration and abstraction. He described painting as "an exterior response to an interior vision", yet that reponse was usually rooted in the world around him. His paintings were usually concerned with specific sites and the emotions they generated held in tension with an inward contemplation informed by his religious convictions. In the 1970s and 1980s Miller travelled a great deal around the Mediterranean. There he became fascinated by the strong sunlight that renders shadows as intensely dark as the light is bright. These experiences loosened his brushwork and brought a new intensity of colour to his paintings of Cornwall. In 1995 he moved from Sancreed to Lelant and he is perhaps best known for his paintings inspired by early morning walks along the beach at Port Kidney. He developed a personal symbolism during the period, in which the sun became a symbol for the renewal of life, and the moonrise associated with the death of his mother. During this period his paintings were perhaps at their most inward looking and visionary. Condition Report: Appears to be in good original condition. No obvious evidence of restoration or repair. Condition Report Disclaimer
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RICHARD HAYLEY-LEVER (AMERICAN 1876-1958) ST. IVES HARBOUR Oil on canvas-board Signed and inscribed St. Ives (lower left) 29.5 x 38cm (11½ x 14¾ in.)Provenance: Messum's, London & MarlowExhibited: Marlow, Messum's, British Impressions, 2012, no. 22 Condition Report: The board is very slightly bowing, hardly noticeable. Light surface dirt throughout and possibly some discolouration caused by yellowing varnish. Inspection under UV reveals no obvious evidence of restoration or repair. Condition Report Disclaimer
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λ BERNARD FLEETWOOD WALKER (BRITISH 1892/93-1965) MOLLIE AND STELLA Oil on canvas Signed (lower right) 127 x 101.5cm (50 x 39¾ in.)Painted in 1938.Exhibited: London, Royal Academy, Summer Exhibition, 1938, no. 733 St. Ives, St. Ives Society of Artists, Summer Exhibition 1939 (where, according to the St Ives Times of 21st July 1939, it took centre stage and was praised for its masterly composition and drawing and for being beautifully painted in 'soft restrained greens and rose'.) John Lindsay Fine Art, Knowle & Belgrave Gallery London, Bernard Fleetwood-Walker, 1981, no 33 (illustrated in the exhibition catalogue, p.9) Penlee House Gallery & Museum Touring Exhibition: Penzance, Lincoln, Doncaster, Hereford, Sunderland & Newport, Creating a Splash: The First 25 Years of the St. Ives Society of Artists 1927-1952), 2003-2004, no. 18 (illustrated in the exhibition catalogue, plate 12) Condition Report: Relined. Light surface dirt throughout with some evidence of light splashes of paint and pools of varnish in a couple of areas. A light scuff to the lower edge below the kneeling figure's knee. Inspection under UV reveals no obvious evidence of restoration or repair. Condition Report Disclaimer
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λ BETH CARTER (BRITISH B. 1968) KNEELING MINOTAUR Bronze Signed with initials and numbered 3/15 34.5 x 34.5cm (13½ x 13½ in.)Provenance: Acquired directly from the artist by the present owner The minotaur is one of Carter's favourite motifs and the subject of a great many of her drawings and sculptures. Her practice of morphing human and animal figures combined with an interest in classical mythology makes the minotaur a fitting subject. Both the present works, Minotaur Kneeling and Minotaur Reading, present the unexpected juxtaposition of the accepted stereotype of the minotaur as fearsome beast contrasted with Carter's quietly reflective, even vulnerable portrayal. Lot 182 is the first Minotaur Reading series produced by the artist and paved the way for many further such depictions.Carter's minotaurs speak of the human condition - frequently portrayed as a symbol of power and masculinity is here shown slumped and defeated, robbed of his aggression. He is a portrayal not just of a fictional beast, but a reflection of our modern world. Condition Report: Some light surface dirt to the crevasses. Otherwise appears to be in good original condition. Condition Report Disclaimer
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ALBERT RUTHERSTON (BRITISH 1881-1953) WOMEN ON THE SEA-SHORE Watercolour on silk Signed and dated 1921 (lower centre) 53 x 29.5cm (20¾ x 11½ in.)Provenance: Michael Hewitt Salaman, who was under the artist's tutelage at the Ruskin School of Art, Oxford (1930-31) Private collection, UKExhibited: London, Spring Gardens Gallery, New English Art Club Retrospective Exhibition, December 1924, no. 2 Glasgow, Empire Exhibition, Fine Arts Section, May-December 1938Literature: Ernest Benn, Contemporary British Artists: Albert Rutherston, London, plate 21In 1898, at just sixteen years old, Rutherston moved to London to study at the Slade School of Fine Art. Here he studied alongside leading artists from this period, such as Ambrose McEvoy, Spencer Gore, Harold Gilman and Wyndham Lewis. Though slightly older, he struck up close friendships with Augustus John and William Orpen, and the trio became known as the 'Three Musketeers' and worked, socialised and holidayed together. Condition Report: Unexamined out of glazed frame. Undulation to the silk. Some light brown staining to the right figure's robe, foot and the left figure's arm. There is also some staining to the rock in the lower left corner. Otherwise appears to be in good original condition. Condition Report Disclaimer
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λ JOHN BRATBY (BRITISH 1928-1992) SIR FRANK ROBERTS Oil on canvas Signed (upper right) 40.5 x 35.5cm (15¾ x 13¾ in.)Please Note: This work is signed upper right. Condition Report: Unexamined out of glazed frame. Some very fine craquelure to the corners and along the extreme edges. Some light surface dirt visible to the bare canvas along the extreme edges. Otherwise appears to be in good original condition. Condition Report Disclaimer
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LUCIEN PISSARRO (FRENCH 1863-1944) GIBBET HILL, BROUGH Oil on canvas-board Signed with monogram and dated 1932 (lower right) 33.5 x 41cm (13 x 16 in.)Painted in 1932 from a drawing executed in 1914.Provenance: Anthony d'Offay, London Private Collection, Alan Tapper (acquired from the above in 1977)Exhibited: London, Anthony d'Offay, Lucien Pissarro, 1977, no. 42London, Belgrave Gallery, Masters of Modern British Painting, 1978, no. 13Bradford, Cartwright Hall Art Gallery & London, Belgrave Gallery, Jewish Artists of Great Britain 1845-1945, 1978, no. 15 Literature: Anne Thorold, Catalogue of Oil Paintings of Lucien Pissarro, 1983, no. 490 (illustrated p. 21) Lucien was the eldest son of French Impressionist painter, Camille Pissarro. He benefitted not only from the tutelage of his father but growing up in a milieu surrounded by some of the greatest artists of that period including Claude Monet, Paul Signac and Pierre-Auguste Renoir. Although French by birth, from a young age, Pissarro was drawn to English shores, visiting first as a child in 1870-71 and settling permanently in 1890. He became a British citizen in 1916 and was an integral part of the English art scene of the first half of the twentieth century. His influence is notable in the work of Walter Sickert, Harold Gilman and Spencer Gore. Pissarro is primarily known as a landscape painter and the present oil is a typical example of his work. Between 1913 and 1919, he travelled extensively producing views of Dorset, Westmorland, Surrey, Sussex, Essex and Devon. The present work, although painted some decades later, is based on a drawing from that period. It forms part of a group of works from 1914 depicting the village and landscape around Brough in Westmorland, now Cumbria, of which Wild Boar Fell, Brough is held by Manchester Art Gallery. Condition Report: Light surface dirt throughout. Inspection under UV reveals no obvious evidence of restoration or repair. Overall appears to be in good original condition. Condition Report Disclaimer
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FRANK GASCOIGNE HEATH (BRITISH 1873-1936) THERE IS MUSIC IN THE NIGHT Oil on canvas Signed (lower left) 128 x 153cm (50¼ x 60 in.)Provenance: Purchased directly from the artist's family by the present owner Exhibited: London, Royal Academy of Arts, 1922, no. 178 Condition Report: The canvas has been relined with the reline visible along the upper framed edge and some associated rubbing along the lower edge and corners. The canvas is slightly slack and undulating in the frame. Ultraviolet light reveals scattered retouching, predominately along the edges and particularly to the centre of the lower edge. In otherwise good condition.Condition Report Disclaimer
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SURREALIST SCHOOL (20TH CENTURY) LOCK DISPLAY CABINET Wood model in glazed wooden cabinet Inscribed to label 'Made entirely of wood/No metal or any/Kind being used !' 40.5 x 35.5 x 11cm (15¾ x 13¾ x 4 1/8in.)Provenance: Private Collection, George Melly (1926-2007), jazz & blues singer, writer and critic Private Collection, UK'The marvellous is always beautiful; anything marvellous is beautiful; in fact only the marvellous is beautiful.' André Breton, Manifesto of Surrealism, 1924George Melly was first immersed in surrealist ideas by the Belgian poet, artist and writer Édouard Léon Théodore Mesens (1903-1971). Melly worked for Mesems at the London Gallery. Later Melly moved into Jazz music working with Mick Mulligan's Magnolia Jazz Band. His interest in the surrealist movement continued throughout his lifetime, even appearing on a documentary in 1978 which recorded his journey from North London to the Hayward Gallery to view the Great Exhibition of Dada & Surrealist Art. Barry Flanagan and Maggi Hambling painted his portrait and works by Magritte adorned the walls of his private collection.'Any picture which for me is worthwhile is in a way an exteriorisation of what's inside the person.' George Melly, 1982 Condition Report: The box has a crack in the wood to the upper left corner. A number of scratches to the lower edge. Some light scratches to the perspex glaze. The black felt is dusty most notable at the corners. The installation itself made from wood has no obvious significant damage. Condition Report Disclaimer
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