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534325 Los(e)/Seite
Los 77
A GROUP OF EARLY 19TH CENTURY MINTON BENGAL TIGER / CRAZY COW PATTERN PORCELAIN comprising a five-piece hors d'oeuvres set, formed of a central circular bowl and four shaped side dishes; a lobed hors d'oeuvres dish with scroll handle; a lobed oval serving dish and a side plate, each decorated with a central reserve depicting a stylised cow or tiger, within meandering foliate scrolls, painted in tones of green, red and blue; hors d'oeuvres dish; serving dish and side plate numbered '106' in blue, hors d'oeuvres set unmarked. (8) Assembled hors d'oeuvres set 51cm diameter approx.Lobed hors d'oeuvres dish restored, with some chipping and losses to the painted design and some blistering to the green enamel; oval serving dish possibly restored with faint hairline to rim and two associated underglaze hairline cracks, some surface scratching to the painted design; side plate with faint hairline to rim and fine crazing all over, light surface scratching to the design and generally yellowed; five-piece hors d'oeuvres set with faint hairline noted to the central bowl, all pieces with some surface wear and loss to the painted designs, green enamel to most pieces is blue-green in tone, with two of the side plates being more yellow-green.
Los 150
A LARGE JAPANESE IMARI VASE Edo period, of baluster form, now with a metal cover. 40cm highMetal cover detaches. An underglaze chip to the inside of the footrim, general rubbing to the gilding, a patch of gilt (fault) to the inside of one of floral cartouches, light general wear, light scuffing to neckrim due to metal mount.
Los 146
A LARGE CHINESE FAMILLE ROSE VASE, MEIPING 19th Century, enamel painted and gilded, bears seal mark in underglaze blue. 45cm highTwo patches of adhesive residue to the shoulders where previous stickers have been applied - appear to clean off, some minor rubbing and wear to the enamel, light general surface wear.
Los 102
A PAIR OF DERBY PORCELAIN MAYFLOWER VASES AND COVERS, IN THE MEISSEN SCHNEEBALLEN MANNER, CIRCA 1770 pear form and encrusted with turquoise mayflowers, the covers with puce-coloured flower finials. (2) 12cm highPurchased by the vendor in 1997 from David J. Thorn Antiques, Ceramics & Works of Art, Devon.A similar pair of vases were in the Winifred Williams exhibition, held in 1973, 'Early Derby Porcelain 1750-70', see catalogue No.80. Also Sothebys 19-11-1996 Lot 251 for a garniture.Minor chipping to the edges of the mayflowers with some light touching in of colour to the raw edges, the finials restored with later losses (one finial with most of the stem deficient), the inner rims to both covers with small chips.
Los 100
A PAIR OF 19TH CENTURY DAVENPORT LONGPORT DESSERT PLATES painted with clusters of flowers within green and gilt foliate scroll moulded borders, printed marks, 1379. (2) 22cm diameterGeneral light surface wear consummate with age and use including some minor surface scratching to the painted floral designs.
Los 1
Δ John Aldridge RA (1905-1983)'Hayfield, North Essex'signed 'John Aldridge' l.l., inscribed with title on artist's label verso, oil on board76.5 x 115.5cmProvenance: Anon. sale, Sworders, 10 September 2013, lot 430Condition ReportOverall in good condition. Some very light scuffs in top left hand corner, not significant. Seen under uv light, no retouching visible.
Los 111
â–´ After Pablo Picasso'Notre Dame' (1979-82)lithograph in colours on Arches paper, signed 'Collection Marina Picasso' l.r. and numbered '255/500' l.l., bears blind stamp75.5 x 55.5cm, unframedSold with a certificate of authenticity stating that this is 'A limited edition after a work by Pablo Picasso'.After Picasso's death in 1973, his granddaughter, Marina Picasso, authorised the printing of this series of lithographs. They were created from paintings by Picasso and were printed by Laurent Marcel Salinas.Condition ReportVery light crease to edge of top corner, otherwise in good condition.
Los 113
â–´ Bernard Cathelin (French, 1919-2004)A still life in yellow and blacklithograph in colours, artist's proof, signed 'Cathelin' and inscribed 'epreuve artiste'image 59 x 89cm;together with a catalogue signed and inscribed by the artist in 1987, for the exhibition 'Cathelin' at the Chateau de ChenonceauCondition ReportFramed size 68 x 100cmNot viewed out of glazed frame. Light foxing visible to the margins.
Los 116
Leo Gausson (French, 1860-1944)A tree-lined roadsigned 'Leo Gausson' l.l., oil on panel26.5 x 34cm Provenance: Anon. sale, Bonhams, 10 March 2009, lot 32.Condition ReportFramed size: 42 x 49.5cm.Examined under uv light, a knock at centre has been retouched, a couple of other specks of retouching to the right, bloom of varnish on left, these are fairly minor and not obvious under naked eye, otherwise work appears to be in good order.
Los 120
â–´ Jean Chaleyé (French, 1878-1960)A vase of red carnationssigned 'J Chaleyé' l.r., oil on board34 x 26.5cmProvenance: With Los Angeles Fine Art Gallery.Condition ReportFramed size: 50 x 42cmSmall scratch lower right and along bottom edge, possibly from time of painting or previous frame, otherwise appears to be in good condition, not viewed under uv light, please contact the department for a full report.
Los 125
Joachim Weingart (Polish, 1895-1942)Two childrensigned and dated 'Weingart/Paris 1925' l.r. on folded canvas, oil on canvassight size 68 x 57cm, unframedJoachim Weingart enjoyed early success and had exhibited both at Lwow (1912) and the School of Arts and Crafts, Vienna (1914) before his twentieth birthday. In 1922, Weingart visited Berlin and during a visit to the studio of Alexander Archipenko (1887-1964), he befriended artists Sigmund Menkes (1896-1986) and Alfred Aberdam (1894-1963). He travelled to Paris the following year, meeting Léon Weissberg (1895-1943) and together with Menkes and Aberdam, the artists held a group show. At this time the art dealer, René Gimpel began working with Weingart. Weingart continued to live in Montparnasse, Paris. Following the Nazi occupation of the city, Weingart was arrested in March 1942, he was detained at the Pithiviers camp and deported to Auschwitz the same year, where he was killed.Condition ReportUnframed. Canvas is loosely attached to stretcher with some of the nails coming away and the canvas is folded over, including the signature which is folded over the lower right corner. Overall, canvas is a little loose and so has undulations. There are a couple of paint losses (some caused by impact that has slightly dented canvas) these are detailed in condition report images, under uv light there is some fluorescing but this appears to be from a paint pigment rather than a sign of restoration.
Los 126
Adolf Fényes (Hungarian, 1867-1945)Portrait of a girl in a blue dress and maroon shawl, seatedsigned 'FENYES A' u.r., oil on canvas52 x 43cmCondition ReportCraquelure, there are deep lines to her hair where under layers of paint can be seen. Not viewed under uv light, please contact department for a more detailed report and additional images.
Los 132
â–´ Emvin Cremona (Maltese, 1919-1987)Architectural compositionsigned l.l., mixed media65 x 50.5cmCondition ReportFramed size 66.5 x 52.5cmNot viewed out of glazed frame. Signature faded. A 3cm crease to left edge. A 3cm indentation to left edge. Further indentations to paper at edges. Light yellow time staining to extreme edges. Please contact department for additional condition images.
Los 136
â–´ Vasilis Zenetzis (Greek, 1935-2016)Acropolis with the Parthenon and Herodes Atticus Theatresigned l.l., also signed and inscribed verso, oil on canvas50 x 70cm Exhibited: Philippoulo Gallery, Kolonaki, Athens, 'Athens Olympics', August 2004, no.14;Greek Cypriot Brotherhood Centre, London, 'The Parthenon', 10 March-10 April 2015, no.26.Literature: Peter Constant, 'Zenetzis Impressions of Hellas', 2020, no.25, p.25 (ill.)Condition ReportFramed size: 70 x 90cm.Appears to be in very good condition, not viewed under uv light, please contact the department for a full report.
Los 144
â–´ Dora Holzhandler (French-British, 1928-2015)'Flower Shop, Launceston'signed 'DORA HOLZHANDLER' l.c., inscribed with title verso, 67 x 51cmProvenance: Crane Arts Ltd., London, December 1981 (Mr El-Rayyes).Condition ReportCraquelure throughout. Not viewed under uv light, please contact department for a detailed report and additional images.
Los 145
Atashes Abraamyan (Armenian, 1921-2003)River running through mountains, c.1970ssigned in Cyrillic l.r., also signed verso, oil on canvas42 x 57cmCondition ReportFramed size: 51 x 66cm.Appears to be in good condition, unexamined under uv light, please contact the department for a full report.
Los 146
â–´ Peter de Francia (Italian-British, 1921-2012)Beside the red motorbikeoil on canvas40.5 x 56cmPeter de Francia was a pioneering artist whose work is now held in major collections such as the Tate. His style was drawn from many French influences, in particular he turned to the works of Gustave Courbet and Honore Daumier for inspiration. He was also the author of two works on Fernand Léger. In later life, de Francia taught at many of London's top art schools including St Martin's School of Art and Goldsmiths' College.Condition ReportFramed size: 60 x 75.5cmGenerally appears to be in good condition, unexamined under uv light, please contact the department for a full report.
Los 148
â–´ Mary Potter (1900-1981)View across a harbour signed 'Mary Potter' and inscribed torn label verso, oil on panel27 x 36cmProvenance: Christie's, London, 'Modern British Art', 21 March 1996, lot 132.The residual contents of Bixley Manor by instruction of the executors of Sir Timothy Colman KG.Condition ReportFramed size: 43 x 35cm.A little cracking to paint along grain of panel or places where imperfections in panel, please refer to condition report images that depict this, under uv light, one longer crack to paint fluoresces and appears to have spots of retouching. However, these are only visible under close observation and in our opinion are not distracting when looking at the picture on a wall. Impasto is intact and paint is stable. Please refer to images.
Los 149
â–´ Tessa Newcomb (b.1955)'Strong Light'signed 'T. Newcomb', inscribed with title and dated May 2001 verso, oil on board38 x 53.5cmProvenance: The residual contents of Bixley Manor by instruction of the executors of Sir Timothy Colman KG.Condition Reportframed size 50.5 x 66.5cmgenerally in good condtion
Los 153
â–´ George Hammond Steel (1900-1960)'St Ives'signed 'HAMMOND STEEL' l.r., oil on board30 x 46cmExhibited: New Year Exhibition, Leicester Galleries, Jan 1959, no. 91.The residual contents of Bixley Manor by instruction of the executors of Sir Timothy Colman KG.Condition ReportFramed size: 43.5 x 58.5cmDot of paint loss upper left (see image) may be accidental but also could be part of original composition, only noticeable under very close observation, please see image. Overall in good condition, well-presented and ready to hang. Under uv light, no obvious signs of restoration or retouching.
Los 154
â–´ Bernard Meadows (1915-2005)'Relief (Opus 77)', 1952bronze, cast 1966, from an edition of 6mounted on metal and painted wood, overall 53cm wide, 63.5cm high, 13cm deepProvenance: With Gimpel Fils Ltd., London, 1968;the residual contents of Bixley Manor by instruction of the executors of Sir Timothy Colman KG.Condition ReportSome dirt and dust on bronze, would benefit from light cleaning. A few light abrasians to metal mount and some chips to paint work on woodedn board. A red mark on white paint of board. See detailed images.
Los 16
â–´ Edward Bawden RA (1903-1989)'Our Family II'linocut in colours, signed 'Edward Bawden', inscribed with title and numbered 27/100 in pencilsheet size 64 x 91cmCondition ReportIn a clip frame measuring 70 x 100cm3 small losses of paper (1 inch overall) to lower left edge. Light cockling. Some handling creases and light brown water marks to edges.
Los 164
â–´ Sir Eduardo Paolozzi RA (1924-2005)Alligatorplaster, signed, inscribed and dated 'For Oliver/Eduardo Paolozzi/1988' on base25cm wide, 9cm deep, 6cm highCondition ReportOveral light dirt. Dust in crevices. Plaster has lines from process. A small loss to front left of base, this must have happened long ago as is same colour as rest of work.
Los 17
â–´ Edward Bawden RA (1903-1989)'The Blue Tractor'linocut in colours, 1962, signed 'Edward Bawden' in pen l.r.sheet 56 x 80.5cmExhibited: The Minories, Colchester, 'The World of Edward Bawden', 1973, catalogue no.77.Here we see the Market Place in Saffron Walden with the building of Gibson & Co. Bank, latterly Barclays Bank. This is one of the most inventive linocuts Bawden created with the imposing blue tractor and plough which jumps out of this everyday scene with its colossal size. Although artist licence has been used for the perspective, this would have been a well-known sight to residents as the machinery belonged to a local agricultural firm which were regularly seen on Tuesday's market day.The 'Blue Plough' was the name given to a copy at the 1963 exhibition at the Zwemmer Gallery as well as at the Fry Art Gallery, but this has not been seen inscribed on a print. Unusually, the linocut fills the paper, leaving no unprinted margins. Any inscriptions for this work are within the printed area. Condition ReportFramed size 79 x 101cmSheet is taped to black mount board along the top edge. Leaving tape on back on print. Print is currently very closely held against to glass. This will be able to be carefully removed, however we are are reluctant to pull it and cause any damage before the sale. Lower right hand corner has tiny fold to it. When viewing the back of the print, light creasing can be seen in lower right of image, lower left and upper right. A copy of the Daily Telegraph - Thursday June 13 1974, found inside frame. Please see additional images online.
Los 180
â–´ Sir Peter Blake (b.1932)'M is for Marilyn Monroe'screenprint in colours, from the Alphabet Series, 1991, signed 'Peter Blake', inscribed with title and numbered 23/95 in pencilsheet 103 x 99cm, unframedCondition ReportSmall rub with dot-sized dent in lower centre margin, please refer to images. A couple of light marks verso, light handling creases, otherwise in good order.
Los 183
â–´ Dame Paula Rego RA (Portuguese-British, 1935-2022)'Melancholia or Moths' (Rosenthal 118)hand-coloured etching and aquatint, 1995, signed 'Paula Rego' in pencil l.r. and numbered 10/30 l.l., printed by Culford Pressplate 29.5 x 41cm, sheet 56 x 75.5cmRego made this print alongside 'Bird Woman Playing' at the Culford Press, working with the printer Paul Coldwell and his wife, Charlotte Hodes, who undertook the hand colouring. 'As a study in depression, it is a work with which any sufferer would identify. Even the perky Scottie cannot detract from the dejected posture of the body, the grimly closed mouth or the haunted, staring eyes'. (Rosenthal, 2003) Condition ReportFramed size: 67 x 85.5cm. Not viewed out of glazed frame, has full margins, very light handling crease at the lower centre, appears to be loosely stuck to backboard at corners creating a slight wave to sheet, generally appears to be in good and original condition, well-presented.
Los 188
â–´ Patrick Procktor RA (1936-2003)'One Dirham' - a girl on a blue sofasigned and dated 'Patrick Procktor 72' and inscribed with title, watercolour22 x 28cmCondition ReportFramed size 32.5 x 38cmViewed out of frame, paper is stained light brown and small spots of foxing seen throughout. Marks from old sellotape on edges of back of paper. Please refer to images.
Los 192
â–´ Dame Elisabeth Frink CH RA (1930-1993)Head of a man in profilesigned 'Frink' l.r., pencil41 x 30cmCondition ReportFramed size: 65 x 52cmNot viewed out of glazed frame. Paper stuck down causing a little cockling. A fold mark to lower right corner. Light handling marks. Extreme edge of paper to left has been dented.
Los 195
â–´ Scottie Wilson (1891-1972)Two facessigned 'SCOTTIE' l.r., pen and ink and watercolour18.2 x 28.5cmCondition ReportFramed size 30 x 40.5cmNot viewed out of glazed frame. Paper stuck down, but does not appear to be pasted down.. A 0.5cm repaired tear to upper edge. Edge of paper has been cut unevenly. Paper light brown in colour, with some dark smudge. Some signs of rubbing out at upper right.
Los 2
â–´ John Aldridge RA (1905-1983)'Lindsell - The Road to Thaxted'inscribed and dated 'LINDSELL/Sept. 1973' verso, oil on board27 x 35.5cmExhibited: Fry Art Gallery, Saffron Walden, 'John Aldridge RA Oil Paintings', September/October 1999, catalogue no. 37.Condition ReportFramed size 37 x 45cmLight brown marks visible in sky. A 9cm vertical very light scratch to left side.
Los 203
â–´ Ken Howard RA (1932-2022)'Gibraltar Sparkling Light'signed and dated '8 J 94' l.r., watercolour17 x 21cmProvenance: With New Grafton Gallery, London.Condition ReportFramed size 35 x 38cmNot viewed out of glazed frame. A light brown spot to upper edge of sky. This looks like it might be paint rather than a spot of foxing.
Los 204
Δ Diana Armfield RA (b.1920)'A Crowd by S. Aponal, Venice'signed with initials 'DMA' l.l. and inscribed with title on exhibition label verso, oil on board28.5 x 23cmProvenance: Royal Academy Summer Exhibition, 2010;thence by descent.Exhibited: Royal Academy Summer Exhibition, 2010, no.397.The work is accompanied by two letters from the artist to the purchaser, both dated in 2010. An excerpt from the second letter reads: 'For many years I've wanted to paint something from the beautiful facade of S.Aponal, but found difficult to get back from it sufficiently in that small campo. Somehow, the last time, it suddenly didn't seem so difficult to manage with the crowd of people there, so I had a go!/I expect you already know where it is; over The Rialto and turn left. I hope it gives you a lot of pleasure'.Condition ReportFramed size: 40.5 x 35cm.Unexamined out of glazed frame, appears to be in good and original condition, well-presented. Under uv light, no sign of restoration.
Los 206
â–´ Bernard Dunstan RA (1920-2017)'Door to the Sitting Room'signed with initials 'BD' l.l. and inscribed with title verso, oil on canvas board31 x 25cmProvenance: Royal Academy Summer Exhibition 2014;thence by descent.Exhibited: Royal Academy Summer Exhibition, 2014, no.976.The work is accompanied by a letter from the artist that states that the seated woman is Dunstan's wife, fellow artist Diana Armfield RA (b.1920).Condition ReportFramed size: 45 x 39.5cm.Not viewed out of frame, generally appears to be in good original condition, under uv light no sign of retouching/restoration. Some paint splattering to lower portion of frame and board a little off centre in frame.
Los 210
â–´ Joanna Carrington aka Reginald Pepper (1931-2003)'The Horse'signed with initials 'RP.' l.l., inscribed with title verso, oil on board44 x 63cmProvenance: A gift from the artist to the current vendor.Joanna had an excellent start to her creative future; her father was the publisher and designer Noel Carrington and her aunt the artist Dora Carrington. As a teenager, Cedric Morris was impressed by her artistic skills when she studied under him at as his summer school. She was also tutored by Fernand Léger in Paris and Mervyn Peake and Keith Vaughan at the Central School of Art and Design in London. As her career progressed, the influence of these artists can be seen, including in her cubist still lifes and her landscapes, which express her love for the countryside. Her first solo exhibition was at the Establishment Gallery in 1962 and she had subsequent shows at Crane Kalman, Grosvenor and Thackeray galleries. In 1966, she married her second husband, the artist and film director Christopher Mason. A few years later, after Mason made a film on the naive artist Alfred Wallis, Carrington adopted the pseudonym Reginald Pepper. Pepper was said to be an ‘unemployable forty-year-old’ who lived with his overbearing mother in a backstreet of Swindon, filled with kitsch carpets and wallpapers and their two giant cats.Pepper’s paintings are in a primitive style, where perspective is absent. They tend to be fun and uplifting works, with a childlike nature which was seen to be reflective of Reg’s lower mental capacity. In 1974, Carrington showed some works to the Portal Gallery in London and presented herself as his agent.Pepper’s true identity was revealed by the Sunday Times in 1981. But this did not adversely affect the public interest in him and, in 1984, Carrington was commissioned to illustrate a children's book ‘Pepper and Jam’. If authors could write books under pseudonyms, Carrington felt she should be able to enjoy the freedom of producing two very different styles of art. Reginald Pepper has gained a cult following and collectors of her work will often hang a ‘Carrington’ and ‘Pepper’ side by side.For the last twenty or so years of her life, Joanna Carrington and Christopher Mason lived in France. The present vendors of 'The Horse' and 'Rabbits' had a holiday home close by and became friends with the couple, being gifted artworks.Condition ReportFramed size 51 x 69cmA 3cm light scratch
Los 211
â–´ Joanna Carrington aka Reginald Pepper (1931-2003)Rabbitssigned with initials 'RP.' l.r., oil on board46 x 46cmJoanna had an excellent start to her creative future; her father was the publisher and designer Noel Carrington and her aunt the artist Dora Carrington. As a teenager, Cedric Morris was impressed by her artistic skills when she studied under him at as his summer school. She was also tutored by Fernand Léger in Paris and Mervyn Peake and Keith Vaughan at the Central School of Art and Design in London. As her career progressed, the influence of these artists can be seen, including in her cubist still lifes and her landscapes, which express her love for the countryside. Her first solo exhibition was at the Establishment Gallery in 1962 and she had subsequent shows at Crane Kalman, Grosvenor and Thackeray galleries. In 1966, she married her second husband, the artist and film director Christopher Mason. A few years later, after Mason made a film on the naive artist Alfred Wallis, Carrington adopted the pseudonym Reginald Pepper. Pepper was said to be an ‘unemployable forty-year-old’ who lived with his overbearing mother in a backstreet of Swindon, filled with kitsch carpets and wallpapers and their two giant cats.Pepper’s paintings are in a primitive style, where perspective is absent. They tend to be fun and uplifting works, with a childlike nature which was seen to be reflective of Reg’s lower mental capacity. In 1974, Carrington showed some works to the Portal Gallery in London and presented herself as his agent.Pepper’s true identity was revealed by the Sunday Times in 1981. But this did not adversely affect the public interest in him and, in 1984, Carrington was commissioned to illustrate a children's book ‘Pepper and Jam’. If authors could write books under pseudonyms, Carrington felt she should be able to enjoy the freedom of producing two very different styles of art. Reginald Pepper has gained a cult following and collectors of her work will often hang a ‘Carrington’ and ‘Pepper’ side by side.For the last twenty or so years of her life, Joanna Carrington and Christopher Mason lived in France. The present vendors of 'The Horse' and 'Rabbits' had a holiday home close by and became friends with the couple, being gifted artworks.Condition ReportFramed size 53 x 53cmSome dust and light dirt but no obvious condition issues.
Los 216
â–´ John Miller (1931-2002)'Cornish Landscape'signed 'John Miller' and inscribed with title verso, oil on canvas76 x 71cmCondition ReportFramed size: 86 x 81.5cm.A white mark where something has rubbed against canvas at centre, otherwise appears to be in good condition, unexamined under uv light, please contact the department for a full report. Well-presented and ready to hang.
Los 218
â–´ Adrian Daintrey (1902-1988)'View from Studio at Bloomfield Road'signed with initials 'AD' and dated '70' l.l., oil on canvas76.5 x 64cmCondition ReportFramed size: 93 x 80.5cmThere has been a repair to the lower left and glue residue is visible verso, this is neatly done and under uv light there is only a small line of retouching around the repair, no other obvious signs of retouching.
Los 219
â–´ Adrian Daintrey (1902-1988)Tree-lined avenuesigned 'Adrian Daintrey' l.l., oil on canvas71.5 x 53.5cmCondition ReportFramed size: 89 x 71cmA hole upper left approx. 9cm wide (please see images), bulging from stretcher bars, no other obvious flaws, not viewed under uv light, please contact the department for a full report.
Los 225
â–´ William Bowyer RA (1926-2015)London streetsigned and dated 'William Bowyer 88' l.r., oil on canvas laid on board47.5 x 61cmCondition ReportFramed size: 60 x 73cm.Unexamined out of the glazed frame, appears to be in good condition, well-presented, not viewed under uv light, please contact the department for a full report.
Los 23
Δ Lucy Harwood (1893-1972)Thatched cottage surrounded by grasses and poppiessigned 'LUCY HARWOOD' verso, oil on canvas61 x 51cmCondition ReportFramed size: 79 x 68.5cmCanvas is a little uneven and this has caused the paint to crack in a few places but paint is currently stable, stretcher bar marks, please see images, otherwise the work appears to be in original condition. Under uv light, no obvious signs of retouching or restoration.
Los 237
â–´ John Newland (b.1936)'Waxham, Norfolk'signed and dated 'John Newland 81' l.r., also signed and inscribed with title verso, oil on board22.5 x 35cmCondition ReportFramed size: 31 x 43.5cm.Board a little curved and so slightly loose in frame, otherwise appears to be fine, not viewed under uv light, please contact the department for a full report.
Los 24
Δ Lucy Harwood (1893-1972)'Bad Homburg', Germanysigned 'LUCY HARWOOD' and inscribed with title verso, oil on canvas61 x 51cmCondition ReportFramed size: 80.5 x 70cm.Signature verso is faint, three pin sized holes top left and another along the top, a small loss lower left and some flecks lost along bottom of the frame. Otherwise, generally appears to be in original and overall good condition. Under uv light, no obvious signs of retouching or restoration.
Los 240
â–´ Margaret Thomas (1916-2016)'Christmas Tulips'signed with initials and dated 'MT 57' l.r., inscribed with title on artist's label verso, oil on board46 x 55cmThomas was born in London and initially trained at Sidcup School of Art and then Royal Academy School. After the Second World War, she began exhibiting at London at the RA Summer Exhibition and Leicester Galleries. In the late 1940s and early 1950s, she was elected a member of the RBA, NEAC and Royal Society of Arts. Condition ReportFramed size: 64 x 73.5cmAppears to be in good condition, unexamined under uv light, please contact the department for a full report.
Los 242
â–´ Jonas Plosky (1940-2011)'Rooftops over Holloway'signed 'PLOSKY' l.r., inscribed with title on artist's label verso, acrylic on board72 x 91cmCondition ReportFramed size 81 x 102cmLight scratch lower left, please refer to images, otherwise in good condition. Under uv light, no obvious signs of retouching or restoration.
Los 247
Δ Frederick Gore RA (1913-2009)View from the terrace - Fornalutx, Majorcaoil on canvas82 x 102cmSon of the artist Spencer Gore (1878–1914), Frederick never knew him as sadly he died only a few months after his birth. Spencer, was the first president of the Camden Town Group and best known for his landscapes and interiors with their influence from French Post-Impressionism. Frederick shared his father’s passion for this period and it can be seen in his expression of colour and light in his Mediterranean views, particularly those painted in Majorca.Frederick Gore visited the Spanish island regularly during the 1970s, and for several summers he rented a house at Fornalutx. On the extreme left of this painting we see a little of the house as the remaining buildings and landscape are his viewpoint from the terrace. We see blazes of colours from the purples, blues and greens of the mountains, through to the orange and green fields and the red and yellow buildings. There is a very strong compositional foundation, which helps the eye dart about though the glowing colours. This is a really captivating work due to its large scale and vivid palette and the lot is enhanced by a lovely note written to the present owner by the artist in 1989 where he describes in detail the exact location depicted.'How nice to hear about a painting of some years ago – nineteen seventies, I suppose. Yes Majorca, painted from a house quite a long way up the Callé del Monté which leads straight up from the little main square at Fornalutx - 6 kilometres up towards the mountain (Puig Major) from Soller. The two peaks are Lóffra above Biniaraix the village closer to Soller in the same valley as Fornalutx. There is a plateau with a bit of cultivation, a hunting lodge and usually a bull and some sheep up there, behind the peaks, and an interesting walk to Soller along the heights seen on R. The house at Fornalutx belongs to a John Polimeni - Londoner of Sicilian extraction & I rented the house during several summers. Very good views on every side. Painted from the terrace above the house. A bit of the house shows on the extreme left….'Condition ReportIn good condition, under uv light no obvious signs of restoration or retouching.
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534325 Los(e)/Seite