JACOB GRIMMER (FLEMISH CIRCA 1525-1590)TRAVELLERS ON A TRACK, A VIEW OF ANTWERP BEYONDOil on panel22.5 x 26.5cm (8¾ x 10¼ in.)Provenance: Koetser Gallery, London, 1971 (colour reproduction no. 42) Literature: E. Greindl, Monographie de Jacob Grimmer, 1972, no. 55 Reine de Bertier de Sauvigny, Jacob et Abel Grimmer: Catalogue Raisonné, Brussels 1991, no. 3Jacob Grimmer, born in Antwerp, was a contemporary of Peter Brueghel the Elder who clearly influenced this small but elegant landscape. Gillis Mostaert also had a marked influence on his oeuvre and most likely painted the figures in this panel. Most of Grimmer's works when signed and dated (which is rare) were painted between 1553 and 1588. This present composition, with the tower in the background, shows significant similarities to a signed and dated panel painted in 1583 in the collection of the Kunsthistorisches Museum in Vienna (cat. rais. XXVII). Condition Report: The panel is cradled. Some discolouration of the varnish. Areas of fine craquelure, mainly in the foliage, but paint layer appears stable. A horizontal crack running from the edge of the panel through the foliage of the trees upper left. UV light reveals signs of retouching in scattered areas and in concentrated patches in the sky. Condition Report Disclaimer
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ENGLISH SCHOOL (17TH CENTURY)PORTRAIT OF A LADY WITH HER SPANIELOil on canvas73.5 x 62.5cm (28¾ x 24½ in.)Condition Report: The canvas has been relined. Discoloured varnish. Two repairs in the hand and in the garment, visible to the naked eye. UV light reveals retouches in the dog, the sitter's hair as well some smaller retouches in the face where the paint is slightly thinning. Fine craquelure throughout with a few related areas of paint loss. Scattered abrasions, including around the edges. Condition Report Disclaimer
SIR GODFREY KNELLER (BRITISH 1646 - 1723)PORTRAIT OF LADY GRIFFITHOil on canvas laid to boardSigned and dated 1687 (lower left)126 x 100cm (49½ x 39¼ in.) Condition Report: The painting is covered in surface dirt and a thick layer of discoloured varnish. The board is cradled. Several marks and abrasions. Paint thinning and fine craquelure in various areas with related scattered areas of paint loss, mainly in the lower half. UV light reveals signs of retouching, predominantly in the sitter's dress and around the edges. Condition Report Disclaimer
FOLLOWER OF SALOMON VAN RUYSDAELA WOODED RIVER LANDSCAPE WITH PEASANTS BEFORE A COTTAGEOil on panelIndistinctly signed (lower centre)40 x 37.5cm (15½ x 14¾ in.)Provenance:Mrs. Coulthurst, Skipton, Yorkshire (according to a label on the reverse)Sale, Christie's, South Kensington, 5 July 2013, lot 134, £2500Condition Report: Some surface dirt and discoloured varnish. UV light reveals scattered retouching, particularly in the sky where the paint is slightly thinning. Fine craquelure in the dark areas, mainly in the foliage, but paint layer appears stable. Condition Report Disclaimer
CIRCLE OF THOMAS GAINSBOROUGH (BRITISH 1727-1788)PASTORAL LANDSCAPE WITH CATTLE AND DROVERS AT DUSKOil on canvas104 x 136cm (40¾ x 53½ in.)Provenance:Lady SassoonGeorge Curzon, 1st Marquess Curzon of Kedleston sold in the Scarsdale Heirlooms saleSale, Christie's, London, 18 July 1930, lot 93 (as by Gainsborough painted in emulation of Jan Both)Sale, Sotheby's, London, 10 July 1991, lot 75 (£10,000 hammer price) Exhibited:Shepherd Gallery, St. James, London in 1906The Art Treasures Exhibition, 1911Literature:George Encil, Experiences and Adventures of a Collector, 1989, p. 290 (illustrated)Condition Report: The canvas has been relined and is on later stretcher which is providing good support. In the lower left quarter there are some small areas of paint flaking but generally the surface appears to be stable. Under UV light there are scattered areas of retouching mainly in the darker pigment in the foreground including on the cattle. There also appears to be a scratch which runs along the lower left edge of the painting. There are older and finer spots of retouching across the sky. The varnish layer is slightly discoloured and there is some surface dirt. Condition Report Disclaimer
CIRCLE OF JAMES SEYMOUR (BRITISH 1702-1752)PRINCESS AMELIA WITH HER GROOM SPURRIER RIDING IN A LANDSCAPEOil on canvasInscribed (lower left): Princess Amelia, d. of Geo. II and her groom Spurrier61.5 x 74.5cm (24 x 29¼ in.)Provenance:Tabley Old Hall, Cheshire Another version of this picture was sold at Christie's on the 15th June 2001, lot 16Condition Report: The canvas is unlined and on a later wooden stretcher which is providing good support. Fine surface cracking is visible across the image, but the paint layer is stable. It has a thick layer of uneven, discoloured varnish and some surface dirt making it quite difficult to read under UV light. There appears to be some small areas of old retouching to the edges and in the foreground, but these are minor. Condition Report Disclaimer
SAMUEL JOHN EGBERT JONES (BRITISH 1797-1861) WOODCOCK SHOOTINGOil on canvas56.5 x 73.5cm (22 x 28¾ in.)Provenance:Sale, Christie's London, 16 November 1991, lot 89 where purchased for £20,136 (as one of a pair) Condition Report: The canvas has been lined and is on a new stretcher. There is some fine surface cracking but the paint layer seems to be stable and in good original condition. Under UV light there are scattered areas of retouching, mainly in the sky, these appear to be covering old cracks and are well executed. It has been cleaned and varnished. Condition Report Disclaimer
JOHN FERNELEY SENIOR (BRITISH 1782-1860)A SADDLED HUNTER IN A STABLE YARD WITH A WOODED LANDSCAPE BEYONDOil on canvas Signed, inscribed and dated 'Melton Mowbray/1829' (lower right)87 x 107.3cm (34¼ x 42 in.)Provenance:Sir Walter Gilbey, 1st Bt. (1831-1914)aLeger Galleries, London, 1954Provenance:Kingston-upon-Hull, Ferens Art Gallery, Sporting Pictures, June 1949, no. 60Condition Report: The canvas has been lined. Cleaned and revarnished. UV light reveals scattered areas of retouching. Condition Report Disclaimer
HENRY THOMAS ALKEN (BRITISH 1785 - 1851)BREAKING COVEROil on boardSigned and indistinctly dated 18** (lower right)22.5 x 35cm (8¾ x 13¾ in.)Please note: it has been suggested that this might be a work by John Alfred Wheeler. Condition Report: Some surface dirt and discoloured varnish. UV light reveals extensive retouching. Condition Report Disclaimer
STUDIO OF SIR JOSHUA REYNOLDS (BRITISH 1723 - 1792)PORTRAIT OF CHARLES PRATT, 1ST EARL CAMDEN (1713-1794)Oil on canvas231 x 147.5cm (90¾ x 58 in.)UnframedProvenance:In store at Spink's, 1997Sale, Dreweatts, The Camden Sale, 14 September 2010, lot 97Elibank House, Taplow- a Grade II Listed Queen Anne houseLiterature: David Mannings and Martin Postle, Joshua Reynolds: A Complete Catalogue of his Paintings, New Haven/London, 2000, cat. no. 1476, fig. 854.Algernon Graves and William Vine Cronin, A History of the Works of Sir Joshua Reynolds, P.R.A., London, 1899-1901, I, 144-145Ellis Waterhouse, Reynolds, London 1941, 56Exhibited:Royal Academy, 1880 (13)British Institution, 1813 (7)Painted probably in 1765-66 and subsequently engraved by J. G. Haid in 1766 it depicts the Lord Chancellor Camden, in red judicial robes in front of a red curtain with a red chairback. The lawyer and statesman was an MP for Downton 1757-62, created Baron in July 1765, and Earl Camden in May 1786. It was Lord Camden who, presiding in the Court of Common Pleas, declared General Warrants illegal and awarded damages to Reynolds's friend, John Wilkes. A copy of 90 x 70 cm resides in the National Portrait Gallery (459). Condition Report: The canvas has been lined and is on a new stretcher which is providing very good support. There are numerous small spots of paint loss particularity by the sitters hand and in other background areas. There is also surface cracking. Under UV light there are scatters areas of retouching including to the light side of the sitters face and his wig as well as numerous background areas. The varnish layer is quite uneven and discoloured. Condition Report Disclaimer
ENGLISH SCHOOL (18TH CENTURY)PORTRAIT OF A GENTLEMAN HOLDING A TRICORN HATOil on canvas, feigned oval74 x 62cm (29 x 24¼ in.)Condition Report: The canvas has been lined and is on a later stretcher which is providing good support. There is fine surface cracking across the image but the paint layer appears stable. There is a very minor abrasion in the top left side. Under UV light there are some scattered areas of retouching across the picture but these are all very finely executed and not major, although some of these are visible to the naked eye. The varnish layer is discoloured and has some surface dirt and would benefit from a light clean. Condition Report Disclaimer
Y FRANCOIS FERRIERE (SWISS 1752-1839)PORTRAIT MINIATURE OF HARRIET CATHERINE SCOTT (TOWNSHEND), COUNTESS OF DALKEITH AND DUCHESS OF BUCCLEUCH, TOGETHER WITH HER TWO CHILDRENOil on ivorySigned and dated 1799 (centre left)12 x 10cm (4½ x 3¾ in.)Harriet Catherine Scott Townshend was the youngest daughter of the 1st Viscount Sydney and married Charles William Henry Montagu-Douglas-Scott, 4th Duke of Buccleuch in 1795. She is depicted with her two children, Anne Elizabeth Montague and George Henry Montagu Douglas- Scott, who was to become the 5th Duke of Buccleuch. Please note: the cataloguing for the medium of this lot has been amended to oil on ivory. Please also note: CITES has been marked to this lot. Condition Report: Unexamined out of glazed frame. Cracking in the red pigment at the edge of the table. Light rubbing to the edges. Inspection under UV reveals a green varnish and light retouching scattered across the surface. Condition Report Disclaimer
FOLLOWER OF GEORGE HENRY HARLOWPORTRAIT OF CORNET THOMAS HENRY CLARKE TERRY OF THE 15TH HUSSARS (AGED 18)Oil on canvas119.5 x 97.5cm (47 x 38¼ in.)Thomas Henry Clarke Terry (1810-1897) was gazetted Cornet in the 15th King's Hussars on 17 April 1828, around which time the present portrait was painted. He later served in the Surrey Yeomanry as Lieutenant and commanded the 3rd Royal Surrey Militia. In 1839 he married Charlotte Fellowes 1839, who was the second daughter of Henry Fellowes of Hurstbourne Park, Southampton, sometime Master of the Vine Hounds, where the Duke of Wellington hunted and with whom Charlotte was well acquainted.Condition Report: The canvas has been lined. There is evidence of a T-shaped tear in the lower left quarter on the sitters hat. The relining of the canvas is supporting this but the areas has not been filled. The canvas is slightly uneven below the sitters chin. Under UV light there is evidence of retouching under the sitters chin and in his hat as well as scattered area in the background, particularly in the lower left quarter. There is a V-shaped surface scratch to the right of the sitters head. It has just been cleaned and re-varnished. Condition Report Disclaimer
CIRCLE OF SIR HENRY RAEBURN (SCOTTISH 1756 - 1823)PORTRAIT OF A GENTLEMANOil on canvas92 x 70cm (36 x 27½ in.)Please note: the estimates for this lot have changed to: £1500-2000 Condition Report: The canvas has been lined on a later stretcher which is providing good support. Under UV light there is scattered areas of retouching although these seem well executed and only covering cracked areas. There is no visible sign of bitumen in the artists pigments. It has been cleaned and varnished. It is presented in its original frame which had minor abrasions. Condition Report Disclaimer
Cat and Mouseman: Lyndon Hammell (Harmby), an oak press cupboard, the rectangular top above a pair of panelled cupboard doors and six short drawers below, carved cat signature141 x 125 x 48cmIn good overall condition, light scuffs and wear from use, particularly to plinth base. Top surface not adzed.
A free-standing architectural shelving unit in the Biedermeier style, the four central shelves united by columnar supports and with black painted details151 x 53 x 31cmStructurally solid with no play in the jointssome scuffs and light wear to the uprights and the top surfacetwo small holes in one sidethis may have originally been used as retail display hence some of the marks
§ Attributed to John Flanagan (Irish 1895-1976) Portrait of Ruth Doggettoil on canvas, unframed50.5 x 40cm;together with Jane Moncur (British 1891-1993)portrait of Ruth Doggett sketchingsigned 'Jane Moncur.' (lower right)pencil25 x 16cm Provenance:By direct descent within the sitter's family Jane Moncur sketch: Not examined out of the frame. Surface is evenly toned, but with two paler margins at the top and bottom of the sheet, where the surface has previously been under a mount. There are some light handling creases throughout and appears to be a small circular abrasion to the right hand arm of the sitter.Attr. John Flanagan: Portrait is unframed, canvas has been relined. Surface quite dirty, particularly in paler passages of paint. The corners of the canvas are all knocked, the top right hand corner is lifting away from the canvas beneath with a dog ear crease and associated paint loss across the crease line the lower left hand corner is similarly damaged. The paint layer is rubbed and scuffed along all edges.
Paul Maitland NEAC (British 1863-1909) The Bayswater Road from Kensington Gardenssigned with initials (centre left)oil on board13 x 21cmExhibited:London, The Leicester Galleries, Exhibition of Works by Paul Maitland, December 1952, cat. no. 12London, Messum's, British Impressions, spring 2007, cat. no.12The surface perhaps a little dirty, and some imperfections with the board support are visible under raking light. Appears to have had some retouching to the fence on the right hand side of the image, scattered retouching to the sky, lower left hand corner and some to the tree on the left hand side. Overall in good, presentable condition.
Boy Birdsnesting, 1927signed 'E.Ravilious' (lower right)wood engraving, unframed16 x 25cm (sheet)A prodigiously talented watercolourist, designer and lithographer, Eric Ravilious is perhaps most celebrated for his remarkable wood engravings and is credited as one of the most critical figures in the revival of the medium during the 1920s.The popularity of wood engraving has waxed and waned since its inception in 1768 by British naturalist and illustrator, Thomas Bewick. Using tools traditionally used for metal engraving, Bewick’s wood engravings were admired for their extraordinary precision and meticulous detail. Widely used as a method of mass-producing images during the 19th century, by the end of the century, however, the practice of wood engraving was becoming supplanted by the more efficient and less labour-intensive process of photography.The resurgence of wood engraving was initiated in the 1920s with the foundation of the Society of Wood Engravers by artists including Gwen Raverat, Eric Gill, Lucien Pissarro, Robert Gibbings, Clifford Webb and Noel Rooke. In 1926, Ravilious received his first major wood engraving commission - a series of vignettes, marginalia and illustrations for Martin Armstrong’s Desert. On the strength of this project, Ravilious gained the attention of Robert Gibbings who recommended him for membership to the Society of Wood Engravers and invited him to illustrate the Golden Cockerel Press publication, Ballad Upon a Wedding, by John Suckling. Following this, Ravilious was once again commissioned by Gibbings to illustrate Nicholas Breton’s The twelve months (sic) in 1927. Between 1929 and 1935 Ravilious would contribute to four further Cockerel publications: The Atrocities of the Pirates, Consequences, The Hansom Cab and the Pigeons and Twelfth Night. Ravilious continued to work primarily in wood engraving until the late 1930s, before abandoning the practice in favour of watercolour painting.As demonstrated by the present lots, Ravilious’ wood engravings are as much valued for their technical dexterity as they are for their wonderfully imaginative and deftly observed compositions. The present lot is an alternative version of a plate illustrating April in The Twelve Moneths (sic) commissioned by Robert Gibbings for the Golden Cockerel PressLengths of adhesive tape attached to the top, left and right hand edges, where the sheet has previously been attached to the mount. The top and right hand edges fairly irregular, the top edge with some losses and creases. There is a network of creases along the right hand edge and a large, but fairly shallow, dogear crease at the lower right corner. There is a similar crease at the top left corner, a smaller, but deeper dogear at the top right corner, and some other light handling creases throughout. The margins display some scattered foxing and overall age toning. The image is mostly clean, though there are some navy blue marks to the boy's shorts, face and the branch nearest to his right hand
Title plate for The Hansom Cab and the Pigeons - Being Random Reflections Upon the Silver Jubilee of King George V, L. A. G. Strong, published by the Golden Cockerel Press, 1935signed 'Eric Ravilious' (lower right)wood engraving, unframed23 x 17cm (sheet) The present lot was also used as a Christmas card for the Golden Cockerel PressAdhered to the mount by two lengths of tape at the top and bottom edges. From the reverse sheet appears to have been trimmed irregularly. There is some light overall age toning and some slight undulation of the surface, but overall in nice, clean condition.
Taurus, 1929, May from an Almanac for the (then Lanston) Monotype Corporationsigned 'E. Ravilious' (lower right)wood engraving, unframed16 x 12cm (sheet)Two lengths of adhesive stuck to the reverse of the top and bottom edges where previously attached to mount. A small abrasion to the to the right hand edge, and some light overall toning commensurate with age, but otherwise in nice, clean condition
§ Agnes Miller-Parker (Scottish 1895-1980) Wolf and Rams, an illustration from The Fables of Aesop, published by Gregynog Press, 1932signed and dated 'amillerParker. 1931.' (lower right); numbered 5/12wood engraving, unframed26 x 20cm (sheet)Adhered to mount by two lengths of tape along the top and bottom edges. Small dogear fold to lower left corner (as viewed from reverse) and the top left corner with light crease. The surface demonstrates some overall toning but this is very even and uniform throughout. One very small speck to the top right corner, possibly intrinsic to the paper, but overall a nice, clean impression,
§ Agnes Miller-Parker (Scottish 1895-1980) A group of nine unframed wood engravings, to include illustrations from Through the Woods: The English Landscape, H.B. Bates, 1940the largest 25 x 19.5cm (sheet) All adhered to mounts by lengths of tape at top and bottom edges. In order as displayed in website images Engraving with crow, flowers and leaves: one negligible accretion below the first engraving, reverse shows some very minor foxing to edges of sheet Birds feeding their young: some small blemishes and very minor foxing to the reverse, the top corners both with losses, otherwise good Hummingbird and singing bird: two very faint foxing spots, one to the left of the singing bird's beak and one in the lower right corner, the reverse with some grubby marks and blemishes Mushroom, snails, mouse, fish: one very faint foxing mark to the left of the mushroom, the reverse with some foxing and grubby marks Gorse (mounted together with feather and flowers and bee): one very minute accretion, and one very faint foxing mark on the lower right corner, the reverse with a small rectangle snipped from the top left corner and some very light foxing Flower and bee: some very light foxing to the reverse, otherwise good Oak leaves: appears good overall Pheasants and leaves: some negligible blemishes, the reverse with some foxing Feather: one very faint blemish, otherwise good
Stanhope Forbes RA (British 1857-1947) Children on the beach, St Ivessigned and dated 'STANHOPE A FORBES / 1886' (lower right)oil on canvas30 x 40cmProvenance:Sale; Christie's, London, 22 November 1994, lot 246Sold by the Executors of Roland Baker deceased Literature:E. Knowles, 'Checklist of Paintings' in Stanhope Forbes: Father of Newlyn School, Bristol, 2017, p.114, unnumberedWithin the last two centuries, Cornwall has established an incontrovertible reputation as one of the most influential and internationally significant artists’ colonies. Prior to the early 19th century, however, the region was chiefly associated with fishing and mining; geographically remote and primarily a site of industry, the area offered very few incentives to visit. In 1809, the first comprehensive pictorial survey of the county was completed by Royal Academician, Joseph Farington, who produced 24 topographical engravings which were later published in Britannia Depicta, Part IV. Two years later, J.M.W. Turner would make the same voyage. Following the southern coastal route, Turner produced in excess of 200 pochades, many of which were reproduced in his 1814 series Picturesque views on the southern coast of England, whilst others were used as the source material for his classical masterpieces. Formerly known for its pilchard and mackerel fishing, by the late 19th century, Newlyn, the chief port of Mount’s Bay, was beginning to attract growing numbers of artists, all of whom were drawn to the dramatic landscapes and fertile opportunities for narrative realism afforded by the area. It is no coincidence that many of the artists that chose to settle in the Newlyn area had previously spent time painting en plein air in France, indeed, Stanhope Forbes described the fishing town as ‘a sort of English Concarneau.’ Stanhope Forbes settled in Newlyn in 1884 and, although he was not the first of his generation to make the move, having been preceded by Thomas Cooper Gotch, Henry Tuke, Walter Langley and Edwin Harris, the Dublin born artist soon became known as the ‘Father of the Newlyn School’. In Newlyn, Forbes was able to establish his own contemporary interpretation of the ‘picturesque’, documenting the daily lives and struggles of the local population, from the fishing communities of Newlyn to the nomadic roadside gypsies in the surrounding locale. In 1885, Stanhope Forbes received popular and critical acclaim for his work, A Fish Sale on a Cornish Beach, which was exhibited at the Royal Academy and effectively sealed both his personal reputation and the reputation of the Newlyn School. In the summer of 1886, away from the silvery tonalities and dusky light of Newlyn, Forbes’ family were enjoying a holiday staying in nearby St Ives. Having recently been connected to the 1876 rail link between Penzance and Paddington, St Ives was rapidly becoming a popular seaside holiday destination, particularly amongst those who espoused the curative properties of sea-bathing. During the months between mid-July and September of 1886, Stanhope Forbes was known to frequently make the nine-mile journey over Paul Hill to join his family on the north coast, where he executed the present lot, together with a smaller study of a comparable composition, now held in Bristol Museum and Art Gallery. Painted at Porthminster Beach, both works show small clusters of children playing on the sand, alongside bathing tents and lines of towels and swimming costumes drying in the breeze. Differing from the smaller pochade held at Bristol Museum, the present lot shows the peninsula sweeping into the left-hand side of the canvas, the distant twin piers delicately balanced against the horizontal clothes line in the foreground. In contrast to his Newlyn works, the present lot has a resolutely modern character. Painted in situ with a flat-ended brush, Forbes was seemingly experimenting with technique, composition, and palette. Whilst the Newlyn school valued temperate and, arguably, more authentic tonalites, in St Ives, Forbes made use of more vociferous harmonies, contrasting the sun-flashed sand against the cerulean ocean. Similarly, the high horizon and audacious expanse of sand and sky in the foreground of the image demonstrates a departure from Forbes’ more traditional compositions.The painting is executed in oil on a canvas support which has been lined. The original canvas has a horizontal join running across the picture in the sky. It is unclear if this is a join in the canvas which was present before the artist started painting or a later occurrence. The canvas weave above and below the join are very similar in texture, suggesting the same piece of canvas. The join is well secured and stable. Overall, the paint layers are in a good, stable condition. There is retouching running the length of the join in the sky as well as down the right hand edge of the canvas, probably covering areas of wear and abrasion. There are other, smaller areas of retouching present. The retouchings are well matched to the original. The varnish is clear and even.
§ Stephen Bone NEAC (British 1904-1958) Hampstead Heath in the Snowsigned 'Stephen Bone' (lower left)oil on board25.5 x 36cmUpon close inspection the surface appears a little dirty, particularly in the palest passages of paint. Close to the centre of the image, there is a light brown accretion. In the lower left quadrant of the image there are some scattered black marks, these appear to be paint, likely to have been done by the artist during execution of the piece. Overall a very attractive picture.
Covent Gardensigned 'Edward Bawden' (lower right); artist's prooflithograph58 x 78cmNot examined out of the frame, most of the edges are obscured by the edges of the frame. Some typical age toning, deepening in colour at the outermost edges. There appears to be some losses to the left hand edge. The margins display some light foxing, mostly localised to the lower edge. From an edition of 75
§ Mildred Elsie Eldridge (British 1909-1991) Swooping Gullssigned and dated 'M.E. ELDRIDGE / 1940' (lower left)oil on canvas48 x 58cmUpdated: canvas appears to be laid to board, there appears to be a small patch repair to the right hand side, only visible under raking light. The surface a little dirty and a small area of yellow discolouration to a the mid left hand side. Some minor scattered accretions, mostly localised to the left hand side of the image. There are some very small sites of paint loss, most notably on the head of the standing gull on the lower right of the image, where there are two tiny losses and a very fine crack to the paint layer. There are other pinhole sized losses on the gull's body, in the top left of the corner and lower right corner.
§ Eric Woodward (British 20th century) In The Beginningsigned and dated 'Eric Woodward '55' (lower right)wax tempera on board51 x 62cmExhibited:Birkenhead, Williamson Art Gallery, Wirral Society of Arts ExhibitionThe board slightly bowed. Light surface scratch to the body of the frog, otherwise appears in good overall condition
§ David Tindle RA, HRBSA, RE (British 1932-) Girl with her Child - Night Feedsigned with initials (lower right)oil on board29 x 48cmThere is a light layer of surface dust throughout. Overall the paint layer is in good order, there is a small scratch to the centre of the image, resulting in minor paint loss, just above the hand of the woman. Under raking light, the board support also appears to have a small graze imperfection, though this is covered by paint and does not appear to be the result of any damage. Overall in good, presentable condition.
§ James Morrison RSA, RSW (Scottish 1932-2020) Winchester Cathedralsigned and dated 'MORRISON 1988' (lower right)oil on board43 x 107cmSurface has an overall glossy appearance and the sky area is mottled and yellowing in appearance, possibly the result of aging varnish. On the left hand side, under raking light, a few cracks in the board can be seen, but this does not impact on the overall appearance of the piece. There are some sections, particularly along the top edge of the sky, where the top layer is abraded and shows the whiter board beneath. Upon close inspection there are scattered brown accretions to the surface, mostly localised to the left hand side.
§ Laurence Stephen Lowry RA, RBA (British 1887-1976) Berwick-Upon-Tweedsigned 'L.S. Lowry' (lower right)colour reproduction bearing the Fine Art Trade Guild blindstampunnumbered from an edition of 65055 x 43cmNot examined out of the frame. Full margins obscured by the mount, so not available for inspection. The top left hand margin displays some light foxing, which encroaches upon the top left hand quadrant of the print. Otherwise in good, clean condition.
§ Laurence Stephen Lowry RA, RBA (British 1887-1976) Woman with a Beardsigned 'L.S. Lowry' (lower right); numbered 678/750lithographpublished by Adam Collection Ltd. and bearing the Fine Art Trade Guild blindstamp 68.5 x 54cmProvenance:The collection of Joseph Fitton (1925-2009)Not examined out of the frame. Margins are toned throughout with some scattered foxing, most of which is localised to the lower edge. Crease to the top right corner and some other small creases to the right hand margin. The image perhaps slightly faded but overall good. Under raking light there is a handling or impact crease to the top right corner of the image.
§ Sherree Valentine Daines (British 1959-) Buckets and Spadessigned with initials (lower right)oil on board37.5 x 27.5cmProvenance:With Lucy Simmonds Fine PaintingsThe image is in overall good, clean condition with nice, bright colours. There are four very light surface scratches to the surface, though these appear to have been done by the artist whilst the paint was still wet and are therefore intrinsic to the artwork. See additional images.
§ John Hoyland RA (British 1934-2011) Untitledsigned and dated 'John Hoy 92' (lower left)screenprint, unframed94 x 75cm2 cm vertical tear to centre of lower edge. Second, very small, tear to right hand edge. All edges are deckled, so slightly rough by design, but there do appear to be a few minor knocks to edges and corners. There are a number of creases, mostly located to the right hand edge, including a slight bend of the top right corner, a 10cm crease along the top of the right hand edge, and a 5cm crease just below. There are some further small creases towards the bottom of the right hand edge. There are a few light handling creases visible on the image, but otherwise the image is in good order. The reverse of the sheet has five small rectangles of masking tape adhered to the edges.
§ Peter Sedgley (British 1930-) A pair of untitled screenprints,signed 'Peter Sedgley' (lower right);signed and dated 'Peter Sedgley 1986' (lower right); numbered 6/15041 x 61.5cmWhite ground: Not examined out of the frame. Some light and scattered foxing throughout, but the image appears clean and in good condition. Black ground: Not examined out of the frame, appears to have a little minor debris under the glass, but in overall good condition.
§ Martin Bradley (British 1931-) And the crows devour their deadsigned and titled to the reverseoil on canvas49 x 59.5cmMartin Bradley was, in all regards, determined to become an artist. The son of Gladys Keokeok and army captain, James Bradley, Martin Bradley spent his early childhood in relative poverty before a wealthy benefactor offered to pay for his tuition at the prestigious St Paul’s School, London. However, when his guardian opposed his desire to pursue a career in painting, Bradley, then aged just fourteen, ran away to sea where he worked for three years as a cabin boy on the Central and South American circuit. Whilst at sea, Bradley spent much of his free time painting his shipmates - diametric to the works he is today famed for, these works were mostly academic in nature. Upon returning to London, Bradley began studying Oriental languages, art, and literature and quickly became associated with the anarchic circle of novelists and playwrights known as the ‘Angry Young Men’. Dubbed the ‘Rimbaud of Soho’ due to his nihilistic lifestyle, Bradley’s work was soon recognised by respected galleries such as Gimpel Fils and the Redfern Gallery and in 1956, he joined Gallery One. From the late 1950s, Bradley lived an increasingly itinerant lifestyle, initially living between Paris, Ibiza and Brazil, before travelling extensively throughout Asia in the 1960s and 1970s. An accomplished linguist, it was during these travels that Bradley, alongside his artistic practice, became proficient in more than ten languages, including Tibetan, Chinese, Japanese and Hindi. As demonstrated by the present lot, one could easily imagine that the motifs in Bradley’s arcane works could have been traced from the surface of ancient petroglyphs, the relics of an alien civilisation, though they also retain a decidedly modern feel. Straddling this unusual temporal space and featuring a series of cryptic runes, no doubt influenced by his extensive travels and knowledge of the Far East, the present lot is typical of Bradley’s work during the 1950s and 1960s.The canvas is in plane, though very slightly slack and has a very light layer of dust across the surface. The artist has scraped away at the red painted ground exposing areas of canvas beneath, this is intrinsic to the work and not the result of any damage. There is a very minor deformity to the top right hand side of the canvas and another to the shoulder of the crow, but these are not terribly visible and do not detract from the overall image.There are some very fine drying cracks to the paint layer along the top of the canvas and to the wings and back of the bird, though overall the paint layer appears stable with no lifting or flaking. The exposed area of the canvas along the lower edge appears a little grubby, with a few small scattered accretions.
§ David Hockney OM, CH, RA (British 1937-) Exhibition poster for The Metropolitan Museum, New Yorkoffset lithograph, unframed showing Mount Fuji and Flowers, 1972 86.5 x 64cmThe top left hand edge has suffered a knock resulting in two very small horizontal tears. Under raking light, some very shallow and minor handling creases are visible along the top of the image and the lower right hand edge, otherwise in good overall condition
§ Robyn Denny (British 1930-2014) A; from the Light of the World Suitesigned and dated 'Denny '70' (lower right); artist's proof IX/XXVscreenprint, unframed74 x 81.5cmThe outer margins typically toned, some very light handling creases to the top of the image, and a deeper crease along the top left hand edge and minor knocks to the bottom left and top right corner, and a knock to the top of the left hand edge. One small part of the image with some shiny accretions, otherwise in nice, presentable condition.
§ Robyn Denny (British 1930-2014) B; from the Light of the World Suitesigned and dated 'Denny '70' (lower right); artist's proof IX/XXVscreenprint, unframed74 x 81.5cmSome typical toning to margins, deepening in colour along the bottom edge. some negligible handling creases visible under raking light. Each corner with very minor knocks, otherwise in good overall condition.
§ Robyn Denny (British 1930-2014) G; from the Light of the World Suitesigned and dated 'Denny '70' (lower right); artist's proof IX/XXVscreenprint, unframed74 x 81.5cmLight toning to margins. Some very light surface scratches, most notably to the pink field and the blue field. One very small dark accretion towards the top centre of the image. A very small tear to the centre of the top margin. Overall in nice condition.
§ Robyn Denny (British 1930-2014) J; from the Light of the World Suitesigned and dated 'Denny '70' (lower right); artist's proof IX/XXVscreenprint, unframed74 x 81.5cmLight toning to margins and some shallow handling creases visible under raking light. The lower left of the image with two abrasions, one resulting in a small loss. Towards the upper centre of the image there is a small dark smidge, around 4cm. There is a shallow dogear crease to the lower left hand corner, and a small brown stain along the right hand edge. Otherwise in nice, presentable condition.
§ André Masson (French 1896-1987) Hommage to Dorothea Tanning, 1977signed 'andré Masson' (lower right); numbered 89/150lithograph, unframed65 x 50cmDeckled lower and right hand edge. Some light overall toning, deepening slightly in colour towards at the outer edges of the sheet. Some negligible foxing, one spot on the lower edge and some very small spots along the right hand edge. The lower right hand edge with a very small knock, Under raking light one or two very shallow handling creases visible, but overall in nice condition.
§ Romain de Tirtoff Erté (French-Russian 1892-1990) Les Idoles, Folies Bergere, 1924signed 'Erte' (lower right)gouache and metallic ink19.5 x 25.5cmProvenance:With Grosvenor Gallery, LondonThere are two light surface scratches on the right hand side of the image and one small accretion on the left hand side. Attached to mount by two lengths of adhesive tape along the reverse of the top edges. Otherwise appears in good, clean condition.
§ Peter Laszlo Peri (Hungarian 1899-1967) Design for a muralfacsimile signed and dated 'Peri/ 1924' (lower right)screenprint, unframed34 x 46.5cmSome faint and typical age toning, deepening slightly in colour at the outermost edges. Some very minor handling creases visible under raking light, otherwise in good, clean condition.
§ Gillian Lowndes (British, 1936-2010), wall hanging, fired mixed media38 x 75cm Quietly disquieting and with unsettling sentience, grey-tipped talons appear to pierce the fossilised ceramic flesh of the present lot, as if this intriguing object has been gestating an extra-terrestrial life form. Operating far beyond the restraints and expectations of traditional ceramics, Gillian Lowndes is today celebrated as one of the most audacious and creatively uninhibited ceramic artists and teachers of her generation. Born in West Kirby, Cheshire, in 1936, Lowndes spent much of her childhood in India before training at the Central School of Arts and Crafts from 1957. Initially studying sculpture, Lowndes soon found herself drawn to the pottery department, where she studied first under Dora Billington and later under Gilbert Harding Green. Renowned as a lively and progressive teaching environment, it was at the Central School of Arts and Crafts that Lowndes first met such influential figures as Ruth Duckworth, Dan Arbeid, Gordon Baldwin and Ian Auld - the latter of whom she would later marry. Following her studies in London and after a year studying in Paris at L'École des Beaux-Arts in 1970, Lowndes accompanied Auld on an 18-month research trip to Nigeria. Experiencing the rich material culture of the country, Lowndes quickly became fascinated with the bricolage nature of West African sculpture, which typically juxtaposed several unexpected materials and methods within the construction of a single artifact. Whilst her distinctive artistic voice is undoubtedly the result of a confluence of experiences, the influence of these objects on Lowndes’ work cannot be understated. Exploring the absolute limits of the medium and the transformative properties of the kiln, Lowndes’ entropic and unquantifiable works have won praise for their raw physicality and for their ability to challenge the boundaries between art and craft, ancient and modern, organic and alien. So experimental are these works that it is almost easier to conceive that they have been excavated from an archaeological site or dredged from the deepest depths of the ocean, the evidence of a lost civilisation or a visit from an alien race, than it is to accept that they have been made by human hands. Acquired from the Lynn Strover Gallery, Cambridge. In seemingly good condition with no apparent condition issues, examined under UV light.
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