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534325 Los(e)/Seite
Los 264
â–´ Alan Davie (1920-2014)'opus G.1835 Village Myths No.28'signed and dated 'Alan Davie 3 83' l.r., inscribed 'VILLAGE MYTHS NO 28' l.r., gouache59.3 x 76cm, unframedProvenance: The artist;with Gimpel Fils, London.Condition ReportUnframed. Light cockling to sheet, deckled edge on right side, light handling creases. Pin holes in corners and centre upper edge, two small downward tears from upper edge, also lower right corner is partially torn. Some mounting tape to reverse. These imperfections are at the extremities and generally appear to be from time of the work's execution and so in our opinion do not distract from the overall impression of the work. Please refer to images.
Los 284
â–´ John Christoforou (1921-2014)'L'Isle Des Reveurs'signed 'Christoforou' l.l., also signed, inscribed with title and dated '1964' verso, oil on canvas41.5 x 33.3cmCondition ReportFramed size: 42.3 x 34cm. Light surface dirt/dust, some bulging to the canvas in the centre where the paint has been thickly applied, craquelure to yellow areas and to some of the thicker impasto, although generally this appears to be stable, not viewed under uv light, please contact department for a full report.
Los 290
â–´ Alan Parry (contemporary)'The White Parasol', 2018signed 'Alan Parry' l.r., acrylic on board80 x 80cmProvenance: With the Catto Gallery (£5500).Condition ReportFramed size: 97.5 x 97.5cm. Generally in good condition, not viewed under uv light, please contact the department for a full report. Well-presented.
Los 30
Vera Cummings (New Zealander, 1891-1949)'Maggie'signed 'V Cumming' c.r., inscribed with title verso, oil on canvas27 x 21cmVera Cummings was born in 1891 on the North Island of New Zealand. Aged 11, she received a scholarship to attend Elam School of Fine Arts and studied under the admired artist C F Goldie (1870-1947). Goldie, who had trained at the Académie Julien in Paris, was an eminent portraitist best known for his paintings of Maori chiefs. Both Goldie and Cummings dedicated their time to painting the Maori people. Condition ReportFramed size 50 x 45cmThe surface is covered with a layer of dirt. There is a small hole to the forehead, see illustration, which has been patched verso by the airmail label, however, there doesn't seem to be any attempt to fill or retouch it to the front. Some superficial abrasions elsewhere and a small dent lower right. Under uv light, there are no signs of retouching.
Los 301
â–´ John Kiki (b.1943)'The Shadow of The Beast'signed 'John Kiki', inscribed with title and dated '2002, 2003, 2005' verso, mixed media and collage on canvas135 x 127cmCondition ReportFramed size: 143.5 x 135.5cmA couple of light marks from dust/dirt, a little bit of cracking to brown area of paint lower left but this is stable, generally any minor imperfections appear to be part of the work's original condition and part of the method of layering/collage, please refer to illustrations.
Los 308
â–´ Damien Hirst (b.1965)'Colour Chart', 2021offset lithograph in colours, signed 'Damien Hirst' l.r., published by HENI for Claridge's Art Space Exhibition, October 202198 x 57.5cmCondition ReportFramed size: 104.2 x 63.5cmUnexamined out of glazed frame, light handling creases, generally appears to be in good condition.
Los 320
▴ Terry O'Neill (1938-2019)'Faye Dunaway, the morning after she won the Oscar for Network, Beverley Hills Hotel, LA, 1977'chromogenic print, signed 'Terry O'Neill' l.r. in silver pen and inscribed A/P l.l., artist's proof aside from the edition of fifty, printed laterimage 38 x 38cmsheet 49.7 x 40.8cmSold with a certificate of authenticity.Born in London in 1938, Terry O’Neill’s photography has played a vital role in defining and mythologising the collective image of the Swinging Sixties. While the majority of photographers operating contemporaneously were concerned with subjects such as the Vietnam War and politics, O’Neill sought instead to focus on the zeitgeist of Hollywood, fashion and fame. By 1965, O’Neill was being commissioned by some of the largest publications in the world. No other photographer has captured the span of fame as well as O’Neill, operating for over six decades and photographing icons from Audrey Hepburn to Amy Winehouse; from Elvis to Mick Jagger; from David Bowie to Nicole Kidman. This is one of the photographer’s most iconic images and depicts American actress Faye Dunaway on the morning after she won the Academy Award for Best Actress in 1977. Whilst O’Neill’s relationship with the actress began as a professional one, the pair quickly fell in love and married in 1983. O’Neill's portraits are best characterised by their candidness, along with a strong sense of intimacy between photographer and sitter. These qualities are typified by the portraits on offer in this auction.O’Neill’s unique style of photography along with the sheer level of dedication to his craft led him to receive a range of accolades, including the title of CBE and the award of the Centenary Medal from Royal Photographic Society. O’Neill passed away in November 2019. Condition ReportFramed size: 59 x 55.5cmViewed out of frame. Small scratch lower left corner and some light handling creases, please see images, otherwise condition is fine.
Los 33
â–´ Elsie Marian Henderson (1880-1967)Study from nature of a lionesssigned 'Miss Elsie Henderson' l.l. on mount and inscribed 'A Study from Nature' u.r. on mount, charcoal and pastel heightened with white23.3 x 31cm, unframedCondition ReportOverall sheet: 31 x 39.5cmThe drawing is stuck down at the corners to a larger piece of paper, a few creases in corners, light time staining, handling creases and tears to larger piece of paper that drawing is attached to. Please see images.
Los 4
â–´ John Aldridge RA (1905-1983)'Spring Flowers'signed and dated 'John Aldridge/68' l.r., also signed, inscribed with title and dated 1968 in pencil verso, oil on board36 x 27cmExhibited: Phoenix Gallery, Lavenham, Suffolk.Condition ReportFramed size 49 x 40cmTwo tiny dark dots to right side near edge of table. Otherwise appears to be in good condition. Not viewed under uv light. Please contact dept. for more detailed report.
Los 41
â–´ Frank Dobson RA (1886-1963)Seated male nudesigned and dated 'Frank Dobson/45' l.r., pencil and coloured chalks53 x 65cmCondition ReportFramed size: 62 x 70cmNot viewed our of glazed frame. Paper is loose in frame. Time stained light brown overall. Tears to edges of paper. Please contact department for detailed report and images.
Los 43
â–´ Attributed to Mervyn Peake (1911-1968)Standing nude, Westminster School of Art, 1939with later inscription 'Demonstration watercolour by Mervyn Peake at Westminster School of Art 1939' verso, watercolour 48 x 31cm, unframedProvenance: Collection of the artist Gwendolyn Jackson;the artist.Condition ReportUnframed. Pin holes in corners, uneven edges and light handling creases concurrent with this being a life drawing. A few small specks of foxing, otherwise colours are generally strong.
Los 45
â–´ Doris Brabham Hatt (1890-1969)'Picasso Dancing Girls'signed with monogram and inscribed with title, pen and ink over pencil18 x 14.5cmCondition ReportFramed size 41 x 36cmNot viewed out of glazed frame. Lower left corner looks like like ot has a handling crease. Some light spots of foxing
Los 47
Paul Nash (1889-1946)Study interior, c.1930pencil and watercolour38 x 55.5cmExhibited: Hamet Gallery, 'Paul Nash', March 1970, no.30;Hamet Gallery, 'Paul Nash Drawings and Watercolours', May 1973, no.37.Literature: Andrew Causey, 'Paul Nash', Clarendon Press, Oxford, 1980, no.583, p.400;Margot Eates, 'Paul Nash', John Murray, London, 1973, p.123.Eates dates the work to 1930 and lists the work as 'Interior Study, Toulon', the Nashes visited Toulon on the French Riviera for a six-week holiday in February 1930. However, Causey suggests that the fireplace could also be from Iver Heath, as it bears similarity to an oil painting titled 'Dahlias', 1927 (Causey, no.566). Wood Lane House, Iver Heath, was Nash's home growing up and his father lived there until his death in 1929. Condition ReportFramed size: 61 x 79cm.Unexamined out of glazed frame, a couple of pin holes in corners and top centre, spots of light foxing throughout, time staining at edges likely from a previous mount. In our opinion, when looking at the work on a wall, foxing does not detract from the impression of the whole.
Los 48
â–´ John Northcote Nash RA (1893-1977)'The Avenue'signed 'John Nash' l.l., with pencil annotations, watercolour and pencil on paper33 x 72cmProvenance: With Maltzahn Gallery Limited, London, 1974 (J C Thorncroft);Sotheby's 16 March 1977.Condition ReportFramed size 54 x 92.5cmNot viewed out of glazed frame. A vertical line two thirds along the work where two sheets have been joined together. Faded. Spots of foxing in places. Some light creases. Please contact dept. for detailed images.
Los 5
â–´ John Aldridge RA (1905-1983)'The Temple of Apollo, Rome', 1951signed 'John Aldridge' l.r., also signed, inscribed with title and dated 'Aug 1951' on label verso, oil on canvas72 x 92cmProvenance: Collection of Reuben Sloman who lived at The Cross Farm, Great Bardfield and was a close friend of John Aldridge;thence by descent.Sold with a letter from the artist to Reuben Sloman.Condition ReportFramed size: 89.5 x 109.5cm.There is craquelure to left hand side that has been infilled, the area around this has been retouched and fluoresces under uv light, there is also retouching across sky in other areas, please see images. Overall, when stood back from the work the retouching is not overly distracting, the colours are bright and condition is stable, the work is well-presented.
Los 51
â–´ Sven Berlin (1911-1999)'Encounter at Morning'signed 'Sven Berlin', inscribed with title and dated 1946, pen and ink and watercolour19 x 36cmProvenance: 'The Poetry of Crisis: The Peter Nahum Collection', Christie's, South Kensington, 15 November 2006, lot 164.Exhibited: Sven Berlin Exhibition, the Belgrave Gallery, London, 1989, no. 49.Condition ReportFramed size 42 x 57.5cmNot viewed out of glazed frame. Some light staining visible at edges of paper. A small crease upper right.
Los 52
â–´ Rowland Emett (1906-1990)'The Vintage Car Wheel Clamp'signed 'EMETT' l.l., pen and ink and watercolour38 x 47cmExhibited: Chris Beetles Limited, London, 29 November - 15 December 1989, no 132.Condition ReportFramed size: 63 x 72cmNot viewed out of glazed frame. Overall light brown colouration to paper. A watermark mark to right edge and light abrasians near driver's head, but these appear to have happened during execution of artwork.
Los 58
â–´ Rudolph Ihlee (1883-1968)Still life with leekssigned 'R.Ihlee', oil on canvas61 x 74cm Literature: James Trollope, 'Rudolph Ihlee: The Road to Collioure', published by Lund Humphries Ltd., London, 2022, catalogue ref. Trollope C134.Condition ReportFramed size: 69.5 x 85cm A 3cm x 2cm area of paint loss in the centre and dent in this area. A 5cm scratch with small paint loss to right side in blue ara. A scratch and paint loss to chopping board. Some light abrasians elsewhere.Seen under uv light, no obvious retouching shown.
Los 6
â–´ John Aldridge RA (1905-1983)'The Cross Farm', 1950signed 'John Aldridge' l.l., inscribed with title verso and dated 'April 1950', oil on canvas25.5 x 35.5cmProvenance: Collection of Reuben Sloman who lived at The Cross Farm, Great Bardfield and was a close friend of John Aldridge;thence by descent.Condition ReportFramed size: 41 x 50cm.There is a light crack to paint across top left corner and along edges of canvas with a couple of tiny specks of paint loss along edges caused by rebate of frame, however, paint is currently in a stable condition, please refer to images. Viewed under uv light, no obvious signs of retouching or restoration. Overall, the work is in good condition. Small loss to frame lower left, but generally it is also in good order.
Los 60
Roy de Maistre (Australian, 1894-1968)A vase of midsummer flowerssigned 'R. de Maistre' l.l., oil on canvas99 x 73cmProvenance: The artist;collection of Dora Thomas, c.1940s;gifted to current vendor as a wedding present in 1973.An early pioneer of colour theory and abstraction in his native Australia, de Maistre initially studied at the Royal Art Society in Sydney. After the First World War, he developed his concept of colour by working with shell-shocked soldiers and creating colour combinations to soothe them. He was also a talented musician, playing the viola and violin at Sydney’s Conservatorium. Music formed part of his colour theory as the idea of harmonising colour (as composers do with notes) appealed to him.In 1923, he won a scholarship to travel to Europe. Greatly influenced by European modernism, in particular cubism, de Maistre settled in London permanently in 1930.He first met Francis Bacon in 1930, and in 1932 the pair both took neighbouring studios in Chelsea. De Maistre has been heralded as one of the key influences on Bacon’s development in this early period, encouraging his collecting habits, use of photographic material when painting, and expanding his art historical knowledge. The two are believed to have had a brief affair but were primarily friends. The influence of both artists upon each other is clear in works such as de Maistre’s ‘Francis Bacon’s Studio’ (1932). They exhibited together twice at 17 Queensberry Mews West (1930) and Thos. Agnew & Sons (1937).In 1960, de Maistre achieved his first retrospective exhibition at the Whitechapel Gallery. His work is also held in the Tate Britain and the Art Gallery of New South Wales, Australia. De Maistre’s ‘Stations of the Cross’ hangs in Westminster Cathedral.This is the larger of two paintings on offer in this auction. Its vibrant reds, yellows, blues, purples and white depict an eclectic summer bouquet with blue and white stocks, roses, yellow ranunculus, black-eyed Susans and scabiosa. The vase is placed on an angular table with an abstracted screen in the background, it is reflected in the table in cubist forms that are echoed in the flower heads. It speaks of de Maistre’s distinctive interpretation of the cubist movement.Sold separately is a smaller still life of white lilacs by the artist, softer in comparison to the first and executed in a more simplified palette, de Maistre still employs expressionistic strokes to create interest in the shadowed background and space around the vase. Both paintings were gifted as a wedding present to the current owners in 1973. They had been acquired by a family friend in the 1940s directly from the artist.Condition ReportFramed size: 115 x 89cm.Light surface dirt, a small bulge to canvas upper right corner, another to the lower left edge where something has fallen in between the stretcher and the canvas, probably a wedge. There is a little craquelure emerging in small isolated areas. Possibly a little discolouration to varnish along top, slight stain to frame, otherwise generally appears to be in good condition, under UV light, there are some small areas which fluoresce, however it seems likely these are the result of the artist's pigments rather than anything else as generally it is in its original state.
Los 69
â–´ Colin Fraser (b.1956)'After the Rain - The River Coe'signed and dated 'Colin Fraser 1983' l.l., inscribed with title verso, egg tempera 46 x 45cmExhibited: Royal Academy, London, Summer Exhibition, 1985.Condition ReportFramed size 74 x 70cmNot viewed out of glazed frame. A little discolouration to inner edges of the mount, light wave to sheet, generally appears to be in good and original condition.
Los 70
â–´ Paul S Gribble (b.1938)Girl by the shoresigned 'PAUL S GRIBBLE' l.r., oil on canvas40 x 50cmCondition ReportFramed size: 60 x 71cm.Fleck of nude paint on top of canvas/frame and a fleck of nude paint to centre right - possibly household paint as unlikely to have been added by artist. Otherwise no obvious condition issues. UV light shows these small marks of nude paint but no retouching.
Los 73
▴ Alfred Reginald Thomson RA (1894-1979)'First Time at The Box', May 1979oil on canvas91.5 x 121.5, unframedThis painting is said to depict Margaret Thatcher as she made her first speech to the House of Commons after being elected Prime Minister in May 1979. It was executed contemporaneously by the artist, who was a well-known English portrait painter. The work was never signed and its significance was lost when it was bought at an antiques fair at Kempton Park Racecourse in 2015. The identity of the artist remained a mystery for many years. The owner began by asking surviving MPs whether they could shed light on the painting. However, Lord (Patrick) Cormack, a member of the Commons Works of Art Committee across the 1980s, was able to make the link with Alfred Reginald Thomson. Given permission to sketch from the public gallery in the chamber, the artist (who was deaf from birth) had painted a similar view of the Commons with Macmillan at the despatch box in 1960. Seemingly he had ‘updated’ the image to depict Britain’s first female PM with the use of photographs. Malcolm Hay, then the curator of the Parliamentary Art Collection, confirmed the attribution.Condition ReportSeveral areas of paint loss, stretcher bar mark visible along top, some craquelure along top. Under uv light, the black areas of paint fluoresce but this appears to be caused by the type of paint rather than retouching. Please refer to images to illustrate paint loss.
Los 74
Vittorio Borriello (Italian-American, 1896-1974)A young woman in a black hat, in profilesigned and dated 'Boriello 1919' l.c., also signed and dated on label verso, oil on panel35 x 21.5cmProvenance: The Estate of Sir Jack and Lady Baer.Borriello was born in Naples but moved to New York, living there until his death in 1974. The artist's ability to capture a profile with such intensity is highly skilled. Our eyes are focused on the smooth arc of the hat, executed in darkest black, its flair is in the elegant and sharp line it weaves around the sitter's head, which accentuates her fine jawline and elongated neck. The hat throws shade over the sitter's eyes creating a certain intrigue and mystery in relation to her identity. Keeping to a simple palette, Borriello creates depth and texture through a confident understanding of the paint. He finely works the flesh tones on the sitter's face and neck, while contrasting this against a much freer use of brushwork on the dress and background.Condition ReportFramed size: 53 x 39.5cm.Probably covered with a discoloured varnish which may therefore brighten on cleaning, a thin crack to paint across cheek that is visible to reverse of panel, please see images, under uv light no obvious signs of retouching.
Los 78
English School, early 20th centuryHomage to Manetsigned with initials 'MS' l.r., oil on canvas laid down on board27.5 x 30cmProvenance: The Estate of Sir Jack and Lady Baer.Condition ReportFramed size: 38 x 40.5cmUneven varnish layer that under uv light fluoresces green in places, there is some shrinkage and what appears to be infilling in a couple of places, although the reading under uv light is not entirely clear. Paint in stable condition, well-presented and ready to hang.
Los 83
â–´ Fulco di Verdura (Italian, 1898-1978) Figure looking out to seasigned 'Fulco' l.l., gouache on board6 x 9.5cmProvenance: The Estate of Sir Jack and Lady Baer.Fulco di Verdura, one of the last Dukes of Verdura, is best known as a jeweller. His career gained momentum in the 1920s when he met Coco Chanel and was hired by her, first as a textile designer, and then to oversee Chanel jewellery. One of his most iconic pieces was the Maltese Cross Cuff for Chanel. In 1934, he left Chanel and started his own business in New York. This, too, saw great success and led to joint collaborations with artists including Salvador Dali. Fulco sketched throughout his life, executing his work often on a small and precise scale. His sense of design and close observation of the places around him is evident in his drawings.Condition ReportFramed size: 11.5 x 15cmThe work is glazed and has not been viewed out of glazed frame, there are areas where the paint is thinner and board shows, the work generally appears to be in good condition and under uv light there are no obvious signs of retouching.
Los 85
â–´ Louis Valtat (French, 1869-1952)'Fleurs'stamped 'L.V' l.r., oil on canvas28 x 34cmProvenance: Schoneman Galleries, New York;Collection of George L Schultz;Sotheby's, London, 11 July 2006, lot 50;with Browse & Darby, London, 2006;The Estate of Sir Jack and Lady Baer.Condition ReportFramed size: 40 x 46cm.Canvas is relined. There is some fine craquelure to white paint along right edge. Light surface dirt. Viewed out of frame, a couple of small spots of paint loss along right edge and fine line along bottom edge, otherwise, work is in good order and under uv light no signs of retouching. Please see images online, which can be viewed at this link:https://www.sworder.co.uk/auction/lot/lot-85---louis-valtat-french-1869-1952/?lot=449262&so=0&st=valtat&sto=0&au=1061&ef=&et=&ic=False&sd=0&pp=96&pn=1&g=1
Los 86
â–´ John Morley (b.1942)'Auricula in a Basket'signed and dated 'John Morley 1987' l.r., watercolour32.5 x 37.5cmProvenance: With the Piccadilly Gallery, London, 1987;the Estate of Sir Jack and Lady Baer.Condition ReportFramed size: 38.5 x 53.5cm.Unexamined out of glazed frame, a bit of cockling to sheet consistent with watercolour method, light time staining, otherwise appears to be fine.
Los 88
â–´ Mary Fedden RA (1915-2012)'The Garden'signed and dated 'Fedden 1955' l.r., also signed and inscribed with title on artist's label verso, oil on canvas61 x 50.5cmProvenance: Purchased from the artist in late 1950s;The Estate of Sir Jack and Lady Baer.Viewed through a window, Fedden depicts two figures lunching in a richly coloured garden. This scene is likely the garden at Durham Wharf, the place that Fedden and her husband Julian Trevelyan, had called home since their marriage in 1951. Durham Wharf is located on Chiswick Mall and overlooks the Thames; it was a unique property with combined living and studio space.Both keen gardeners, the couple invested great time into shaping their garden. They created a raised terrace, so that you could view the river more easily, and planted a wide range of herbs and flowers. Painted in 1955, this work is a wonderful demonstration of her partnership with Trevelyan and clearly draws on his influence with its perspective, inclusion of figures and expressive, almost rough, brushwork. The abundant flowers are executed by Fedden with great flair, while our eye is also drawn to the lounging cat in the foreground and the small still life balanced on the bright blue table at the back.In the 1960s, Trevelyan acquired the land next door and built another set of studios with living space, which he rented to artists such as Prunella Clough and Bernard Myers. This created an intimate artists' community. Both Trevelyan and Fedden lived at Durham Wharf for the rest of their lives.Condition ReportFramed size: 72.5 x 63cm.Canvas is unlined. Slight bulging from stretcher bars in corners, a little bit of yellowing to blue paint in lower left section, may benefit from a light clean, otherwise generally appears to be in good condition, under uv light no obvious signs of retouching or restoration.
Los 91
â–´ Glynn Boyd Harte (1948-2003)Daffodilssigned and dated 'Glynn Boyd Harte 1978', watercolour, coloured pencils41 x 58.5cmProvenance: The Estate of Sir Jack and Lady Baer.Condition ReportFramed size: 43.5 x 61cmNot examined out of the frame, light time staining, otherwise appears to be fine.
Los 98
â–´ William Gear RA (1915-1997)Abstract compositionsigned and dated 'Gear '52' l.r., pen and ink38 x 28cm;and a monotype by the same hand38 x 28cm (2)Provenance: The Estate of Sir Jack and Lady Baer. Commissioned from the artist by Lady Baer.Condition ReportFramed size of both: 56 x 45.5cmUnexamined out of glazed frames, both appear to be attached to backing at corners, light time staining more so at edges of sheet, some foxing emerging, otherwise both generally appear to be fine. Well-presented.
Los 22
A collection of 20th century studio pottery, comprising a stoneware platter by Ann Wrighton, incised and painted blue fish on a brown ground 36cm diameter, a earthenware bowl by Andy Blick, with lustre decoration, partially glazed, marked to the underside 33cm diameter, an unglazed bowl with blue and gold squared design, unnamed 30.5cm diameter, an unglazed earthenware vase, in antique style with a light faded white coating 30cm high and a terracotta glazed plaque, contemporary design of a flower, signed bottom right 30cm x 30cm (5)
Los 178
A quantity of books. Including volumes regarding poetry, novels, art, etc. Condition Report: Wide Sargasso sea published 1967, where the wind blows 1982. Dust jacket is worn on Wide Sargasso sea, with marks and small creases caused through use. Pages show signs of light foxing. When the wind blows with marks, small creases and wear throughout the cover caused through previous use, hand written name to inside of front cover S A WIlliams
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534325 Los(e)/Seite