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Preisdatenbank abonnierenRobert 'Mouseman' Thompson, an oak dining table and eight chairs, the table with adzed octagonal top to a central cruciform support, the chairs with studded tan leather seats and lattice backs, carved mouse signature to all pieces73 x 133 x 133cmCondition report: A few light surface marks only, both table and chairs are structurally sound and sturdy, some marks to the leather seats. In good overall condition.
A good Art Deco figured-walnut coffee table, circa 1930, the well figured quarter-veneered circular top raised on four flat-section uprights united by an undertier below57 x 57cmCondition report: Good original condition, structurally solid and with no apparent faults beyond light marks from use.
A mid-century teak and rosewood sideboard, with five graduated drawers and a pair of cupboard doors raised on tapering legs78.5 x 167 x 45.5cmCondition report: Structurally sound with only light surface marks and staining, top two drawers are lined and fitted for cutlery, a few small veneer chips and scuffs, general light wear commensurate with age and use. Only the front is rosewood veneered.
Gunni Omann for Omann Jun, a Danish rosewood secretaire bookcase, the book case top with fall front above a cupboard base191 x 110 x 40cmCondition report: In generally good overall condition, some light surface wear and scratching commensurate with age and use, a cup ring to the top surface of the fall front. The piece is in two sections. Interior of secretaire is 35cm high, there are fixed half depth shelves within, full depth is app. 28cm (back to hinge), from front of shelf to hinge is 14cm. Veneered.
A G-Plan 'Fresco' teak sideboard, circa 1970s, the rectangular top above four central short drawers flanked by a pair of cupboard doors to either side and raised on tapering legs79.5 x 213.5 x 46cmCondition report: In good overall condition, light surface wear and scratching commensurate with age and use only, a couple of water-marks to the top surface.
Attributed to Merrow Associates, a rosewood and chrome drinks trolley, with chromium plated flattened steel frame with leather trim handles to the top rails, raised to swivel castors67 x 76 x 46.5cmCondition report: In generally good condition overall, a few light water-marks only, leather slightly faded. Age commensurate wear.
Nils Jonsson for Hugo Troeds, a mid-century teak sideboard, the four central drawers flanked by sliding cupboard doors to either side raised on tapering cylindrical legs80 x 192 x 46cmCondition report: In good overall condition, a few light scuffs and marks commensurate with age and use, but no major condition issues.
A G-Plan 'Sierra' teak sideboard, circa 1970s, the rectangular top above a pair of cupboard doors, four short drawers and a fall-front cocktail cupboard raised on tapering legs78.5 x 205.5 x 46cmCondition report: In good overall condition, light surface wear and scratching commensurate with age and use.
In the manner of Charles Rennie Mackintosh, a modern oak dining table and four chairs, the high-back chairs with pierced back rails, the rectangular table with pierced apron, raised on square legsthe table 71 x 199 x 94.5cmCondition report: Some light surface marking to table top, a few light water marks, but generally in good order, joints are sound.
Robert Wallace Martin for the Martin Brothers, a stoneware character jug, 1903, modelled as a seated medieval man, the reverse of his chair forming a handle, glazed with dark brown slip and buff highlights, incised marks to underside27cm highProvenance: Acquired by the present owner from a private American collection Condition report: There are two hairline cracks running down the true left-hand side of the jug, one from his knee, through his hand and running up to his neck, the other shorter and running through his forearm. Otherwise in seemingly good condition, examined under UV light. Inscribed marks to underside painted or inked in.
Robert Wallace Martin for the Martin Brothers, a stoneware spoon warmer, glazed in shades of green, blue and ochre, the ovoid body modelled as a grotesque creature with a gaping downturned mouth and a long, curling beard, the loop handle emanating from the top of the head, incised marks to underside14cm highProvenance: Acquired by the present owner from a private American collection Condition report: Inspected under UV light, seemingly free from damage and repair.
§ Edward Le Bas RA (British 1904-1966) Seated Woman, previously identified as Nellie Edith Schwabeoil on canvas49 x 39cm Exhibited:London, The Royal Society of Portrait Artists, (details untraced)Footnote: Born in London to Anglo-French parents, Edward Le Bas received his early education at Harrow before reading Architecture at Cambridge and from 1924, studying under William Rothenstein at the Royal College of Art. Celebrated for his quiet yet eloquent works, Le Bas was also renowned for his extensive collection of twentieth-century French and English modern paintings. A significant exhibition of Le Bas’ collection, featuring works by Matisse, Sisley, Sickert and Yeats, was held in the Royal Academy of Arts in 1963. Both the present and following lot are believed to depict Nellie Edith Schwabe (1878-1968), cousin of the distinguished painter, etcher and draughtsman, Randolph Schwabe. Thought to have previously worked as housekeeper to Le Bas, possibly during the time that the paintings were executed, Schwabe was also known to have enjoyed a lifelong friendship with him. Indeed, family correspondence sent from Le Bas to Schwabe during his travels throughout Europe in the 1950s demonstrate the warmth of friendship and familiarity shared between the two.Condition report: Some light surface dirt and some negligible brown accretions behind the rear of the sitter's head, but overall clean. There are a handful of extremely fine surface cracks to the paint layer, mostly located to the pillow and the top left hand corner, though the paint layer appears stable and in good overall condition. The canvas is in plane and has good tension.
Robert Wallace Martin for the Martin Brothers, a stoneware spoon warmer, 1881, glazed in shades of cobalt and green and modelled as a grotesque aquatic creature with a gaping mouth and clasping a shield to its chest, incised marks to underside15cm highProvenance: Acquired by the present owner from a private American collectionCondition report: Examined under UV light, some extensive restoration to shield (which still shows firing? crack through) and plumes below as well as to underside.
Robert Wallace Martin for the Martin Brothers, a stoneware spoon warmer, 1881, glazed in shades of brown and green, modelled as a grotesque creature with squinting eyes and a large gaping mouth, the bridge of the nose rolling back to form a loop handle, painted marks to rear and incised marks to underside15.5cm highProvenance: Acquired by the present owner from a private American collection Condition report: Inspected under UV light, no apparent restoration, a firing crack to the base (see images), another to the inside of the handle, a couple of minor glaze blisters and bruises, a glaze miss to the nose.
§ George Chapman (British 1908-1993) Street in the Rainsigned and dated 'George Chapman 57' (lower right)oil on canvas111 x 78cmCondition report: Canvas tension is slightly slack, largely in plane, though there is some undulation at the corners and some minor deformations across the surface. There is a light layer of dust across the surface and some slight discolouration to the sky. There are some fine vertical cracks to the paint layer, mostly located to the top corners of the canvas and, at their longest, extending around 25cm from the top edge. There are some minor accretions scattered across the surface, these appear to be mostly fly spots. There is a very small area of raised paint on the left most building in the image.
§ Lucy Harwood (British 1893-1972) Still Life with Daisies and Grapessigned to the reverseoil on canvas59 x 49.5cm Provenance:The estate of Cedric MorrisWith Sally Hunter Fine Art Ltd., London Exhibited:Suffolk, Ipswich Museum, 1987London, Sally Hunter Gallery, Virginia Powell and Lucy Harwood, September 1992, cat. no.53Condition report: A light layer of dirt has accumulated on the surface of the paint, this is more prominent in the paler passages of paint. Overall the paint layers are in good order, but there are a few areas, particularly in areas where the paint has been more thickly applied, a small number of drying cracks are present (see images). The canvas is in plane and the tension is good. Does not appear to have been relined.
Allan Walton (British 1891-1948) Suffolk Barges at Anchoroil on canvas29.5 x 39.5cm Provenance:With Sally Hunter Fine Art Ltd., London Exhibited:London, Sally Hunter Gallery, Allan Walton, November 1984, cat. no.11Condition report: The canvas in plane and with good tension. Overall with a layer of surface dirt and some discolouration, would benefit from a light clean. Otherwise in good, presentable condition.
Robert Wallace Martin for the Martin Brothers, a stoneware ewer and stopper, modelled as a grotesque long-necked bird, the removable head with a frowning stare and oversized beak, glazed in shades of brown with blue and buff highlights, incised marks to underside15.5cm highProvenance: Acquired by the present owner from a private American collectionCondition report: Examined under UV light, the beak has been restored, otherwise seemingly ok, a firing crack to the front lower neck.
§ Lucy Harwood (British 1893-1972) Still Life with Pumpkins; the reverse painted with a garden sceneoil on canvas74 x 50cmProvenance:With Sally Hunter Fine Art Limited, London Exhibited:London, Sally Hunter Gallery, Virginia Powell and Lucy Harwood, September 1992, cat. no.47Condition report: The canvas is slightly loose in the frame, but in otherwise good order with good tension and the image in plane. There is a light layer of dirt, consistent with age, across the surface of the paint. There is some flaking of the paint layer, which is accompanied by a fine network of cracks, across the bottom edge of the canvas. Elsewhere, the paint layers appear in generally good, stable condition.The reverse of the canvas quite dirty, but the paint layer appears stable and in good order.
§ Lucy Harwood (British 1893-1972) Still Life with Paper Whitesoil on canvas64.5 x 44cm Provenance:Estate of Cedric MorrisWith Sally Hunter Fine Art Ltd., London Exhibited:London, Sally Hunter Gallery, Virginia Powell and Lucy Harwood, September 1992, cat. no.66 Condition report: The image is in plane and the canvas tension is good. There is a light layer of dirt across the surface, which is more prominent in the paler passages of paint. There is small and isolated area of flaked paint on the bottle and a negligible brown accretion on the right hand side of the bottle, but overall the paint layer is in good order.
§ Lucy Harwood (British 1893-1972) Portrait of a boy beside a windowoil on canvas75 x 39cm Provenance:With Sally Hunter Fine Art Ltd., London Exhibited:London, Sally Hunter Gallery, Virginia Powell and Lucy Harwood, September 1992, cat. no.46Condition report: Consistent with age, there is a light layer of dirt on the surface, this is more evident in the paler passages of paint and some slight yellowing of areas of white paint. There is a minute area of flaked paint behind the shoulder of the boy. There are two small accretions on the cheek of the sitter, and some very fine drying cracks. The picture is in plane and the canvas tension is good. In overall good condition.
§ John Anthony Park (British 1880-1962) Downalong, St Ives signed 'JAPark' (lower right)oil on board35 x 45cmProvenance:With James Lanham Ltd., St IvesWith The Sims Gallery, St IvesCondition report: The board is secure, but a little bit loose in the frame. The surface is quite dirty and with some discolouration, particularly to the sky - would benefit from a light clean. The top left corner shows a small pinprick sized hole, there appears to be a corresponding hole in the top right corner, though this is covered by paint. There are some scattered accretions, mostly located to the sky. Across the sky there are also a number of fine horizontal cracks to the paint layer, these are most apparent in the sky, though there are some across the buildings, in the sea and on one of the boats. There are a few small accretions in the lower left hand corner.
Julius Olsson RA, RBA, PROI, RWA, NEAC (British 1864-1942) St Ives - Summer Calmsigned 'Julius Olsson' (lower left); further titled to the reverseoil on canvas35 x 44cmProvenance:With David Messum Fine Art, LondonCondition report: Has probably had a light clean in the past, some minor discolouration to the palest passages and some very light surface dirt. There are some very fine, negligible cracks to the paint layer in the most impasto areas. There is a small, raised rectangular section of canvas on the lower right hand side of the image, though this does not appear to be a repair and does not present on the reverse of the canvas
Robert Wallace Martin for the Martin Brothers, a rare stoneware jug, 1881, glazed in shades of ochre and brown and modelled as a grotesque bird-like creature with a fierce, toothy grimace, the spiny neck rising from an ovoid body and connecting to a loop handle, incised marks to underside21cm highProvenance: Acquired by the present owner from a private American collection Condition report: Inspected under UV light, a large section of professional restoration to the body, no other apparent damages or repairs.
§ Gwen Raverat SWE (British 1885-1957) Horses by moonlight oval woodblock13.5 x 19cmCondition report: Image is mounted and framed. The surface shows typical age toning, with deeper discolouration present around the borders of the oval, the image itself is clean overall, though there is a small brown accretion on the hind right hoof of one of the feet. The image looks to have slipped in the frame at the top right hand corner, revealing the difference in colour between the areas of the sheet that have been hidden beneath the mount. The top right hand corner also appears to have shallow score marks in the shape of an 'X'. There are two light handling creases on the right hand edge and lower right hand corner. Along the top edge, there is a small stain that appears to be formed of three curved, concentric lines. In otherwise good, clean condition.
§ Lynn Chadwick CBE, RA (British 1914-2003) Hammachersigned and dated 'Chadwick 71' (lower right)lithograph, published by Erke Presse, St Gallen, unframed76.5 x 56cmCondition report: The lower right hand corner with two creases of around 6cm, the lower edge with a very shallow crease of around 10cm and the left hand corner with two very shallow diagonal creases of around 12cm. Some other typical light handling creases visible under raking light and some light shell mark creases, the most significant of which is in the green section of the print, but overall in good clean condition.
§ Sir Walter Thomas Monnington PRA (British 1902-1976) Clouds on Horizonoil on board23.5 x 21 cmExhibited:Kent, Nicholas Bowlby, Paintings and Drawings of Sir Thomas Monnington, P.R.A, 1902-1976, 17 September - 18 September 1994Condition report: The texture of the board appears visible under raking light. The surface has a light layer of dirt, some minor surface accretions, and some fine fibre inclusions beneath the paint. The lower left corner and bottom edge have some small areas of slightly exposed support, where the paint has been applied thinly. There is a light surface scratch of around 6cm to the left hand side of the board, and below this a small white mark, possibly a small abrasion.
§ Fred Cuming RA (British 1930-) Lake Maggioresigned 'Cuming' (lower left); inscribed and titled to the reverse oil on board 30 x 30cmProvenance: A wedding gift by the artist to the present owner in 1992Condition report: Very light layer of surface dirt, but the paint layer appears in good order. In good overall condition.
§ Olga Lehmann (German 1912-2001) Self portraitsigned 'Olga Lehmann' (lower left) oil on board 23 x 17cm;together with a folio of works by the artits to include a set design for the play Let's be Happy, three views of Saffron Walden, Hollywood Hills, and a costume designFootnote: Michael Stennett exhibited works by Olga Lehmann at the Barnsdale Gallery, Yoxford, SuffolkCondition report: The portrait a little dirty and with a light layer of dust - would benefit from a light clean, otherwise good. Framed gouache appears in good order. Long gouache with some nibbles to the edges, the lower edge with a small tear, and the corners all with small pin holes. The surface a little toned and the reversed foxed. All loose landscapes with some foxing and creasing. The mounted oil on card with some minor discolouration, but otherwise good. The charcoal landscape with some minor foxing to the top right corner and mount, but otherwise good.
David Walker (British 1934-2008) An archive of theatre designs, to include, three oil on boards, three designs for Cinderella, Glyndebourne Festival Opera; a design for Der Rosenkavalier, English National Opera, 1974; a design for Charge of the Light Brigade, 1968; and a sketchbook containing drawings (9)Condition report: Unframed sketches all with slight discolouration and some minor foxing. Small oil on board with some minor knocks to the corners. Larger oil on boards with knocks to the corners and some light surface dirt. The sketchbook with 8 sketches.
§ Patrick Procktor RA (British 1936-2003) Mo - Ecce Homosigned 'Patrick Procktor' (lower right); titled and dated 78 to the reverseoil on canvas24.5 x 17cm Footnote: Executed in 1978, the present lot depicts Mo McDermott, a long-term friend, model, and assistant to David Hockney. In addition to his association with Hockney, McDermott is also credited with introducing Celia Birtwell to Ossie Clark. Together with Clark, Birtwell and Hockney, McDermott became the centre of what was described as the “Northern Invasion” of the Swinging London. The subtitle of Procktor’s painting, Ecce Homo, from the Latin ‘behold the man’, traditionally refers to images depicting the suffering of Christ and recalls the mocking words of Pontius Pilate before condemning Jesus to crucifixion. A popular theme in Baroque art, Procktor’s 1978 portrait offers a modern, secular rendering of the theme. Whilst McDermott is not conceived as a Christ-like figure, the human skull placed in the foreground functions as a memento mori to remind the viewer of man’s mortality.Condition report: The surface a little dirty and with some small brown accretions. The left hand edge of the canvas shows a small dent and resulting paint loss. There are some fine cracks to the paint layer located on the sitter's chin, shoulder and a longer crack (approx 6cm) on the sitter's left arm. Would benefit from a light clean, otherwise good.
§ Tessa Newcomb (British 1955-) Garden Dreamsigned with initials and dated 06 (lower right); further signed, titled and dated to the reverseoil on board, unframed20 x 33.5cmCondition report: Some knocks to the corners and edges of the board and with some minor paint losses, mostly located to the right hand edge. The surface a little dirty and with some small, scattered accretions throughout and some light surface scratches. Overall a nice, presentable image.
John Robertson Reid RI, RBA, ROI (Scottish 1851-1926) Clifftop Viewsigned and dated 'John R. Reid - 97' (lower left)oil on canvas24.5 x 24.5cmCondition report: With a layer of surface dirt and with discolouration to the white cliffs. The impasto areas of the cliff with some fine drying cracks. Some losses to the top edge of the canvas and with two small brown accretions in the sky. Would benefit from a light clean.
§ Charles Wyatt Warren (Welsh 1908-1993) Cottages in Welsh Landscapesigned 'Chas Wyatt Warren' (lower left)oil on board28.5 x 74.5cmCondition report: With a light layer of surface dust, but in good overall condition. Some slight discolouration to the white passages of paint and with a very small area of flaking, but otherwise the paint layer appears stable and in good order.
§ Wilhelmina Barns-Graham CBE (British 1912-2004) Blue Light, Summersigned and dated 'W.BarnsGraham 1999' (lower right); numbered 37/100screenprint, published by Gresham Studio Ltd., unframed55 x 74cmCondition report: In generally very good, clean condition. One negligible blemish to the lower right hand edge, the top right corner possibly with a very minor knock, but more likely just the effect of the deckled edge.
§ Stanley William Hayter CBE (British 1901-1988) Mooringsigned and dated 'SWHayter 70' (lower right); numbered 54/100etching and engraving61 x 48cmCondition report: Not examined out of the frame, edges obscured by the mount. Perhaps a little fading, and some light foxing, mostly located to the margins, but one spot present in the plate. The sheet appears to have slipped very slightly in the frame, making the lower margin slant down towards the right. Otherwise in good order.
§ Rebecca Salter PRA (British 1955-) Untitled No.7, 1983signed 'Rebecca Salter' (lower right)woodblock and collage46.5 x 63.5cmExhibited:Chicago Art Exhibition, 1984Condition report: Not examined out of the frame. Image appears to be stuck down to the mount. Overall appears to be in good condition, with some light abrasions to the surface, though this seems to be intrinsic to the work. Some light, scattered accretions and some very light foxing to the mount.
The complete set of seven prints for the Institute of Contemporary Art Exhibition Cybernetic Serendi The Computer and the Arts, 2 August – 20 October 1968published by Motif Editions, to include: Maughan S. Mason ‘Asymmetry’, 51 x 76cm, ‘Human Figure’ (Boeing Computer Graphics), 51 x 76cm, Donald K. Robbins ‘3D Checkerboard’, 76 x 51cm, ‘Return to Square’ by the Computer Technique Group, Japan, 76 x 51cm, Charles Csuri & James Schaffer ‘Random War’ (Ohio State University), 51 x 76cm, Kerry Strand ‘The Snail’ (Californian Computer Products, Anaheim), 76 x 51cm, ‘Running Cola is Africa', 51 x 76cmCondition report: All stuck down to the backboard at the corners, with light handling creases, and all with slight, but uniform, toning.
§ KEF! (German 1989-) Jongleur of the Universesigned and dated 2014 to the reverseacrylic on canvas, unframed76 x 76.5cmCondition report: Purchased by the present owner at auction several years ago, and is not accompanied by a COA. Some light scuffing to the lower corners, otherwise in good, clean condition.
§ Yvaral (Jean-Pierre Vasarely) (French, 1934–2002), untitled, 1969, published by Denise René Editions, Paris, of three-dimensional box construction, signed and numbered 120/17557.5 x 57.5 x 7.5cmCondition report: A small tear along the top left fold, light scratches, the hanging hole to reverse with tear - See images. The whole piece is printed card.
Collection of Dolls House Furniture including 6 items of Russ painted furniture, approximately 70 further items of furniture, approximately 9 accessories including harp, mannequin, clocks, etc, quantity of rugs and bed covers, quantity of metal doll's house doors and windows, quantity of china, plastic and metal bathrooms items, various tea sets, 7 ceramics items of furniture, fire surrounds 2 radios plus various light fittings and accessories plus a fat packed wooden dolls house - generally in good playworn condition
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