534325 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen
534325 Lose gefunden, die zu Ihrer Suche passen. Abonnieren Sie die Preisdatenbank, um sofortigen Zugriff auf alle Dienstleistungen der Preisdatenbank zu haben.
Preisdatenbank abonnieren- Liste
- Galerie
-
534325 Los(e)/Seite
Los 683
Cigarette cards, USA, Kinney, Leaders, 12 different cards, Miss Mary Anderson, Marie Antoinette, Julius Caesar (back damage), Empress Eugenie, Com. Farragut, La Fayette, Mary Queen of Scots, Napoleon, Lord Nelson, Gen. Scobeloff, Martha Washington & Wellington (1 with back damage, some toning & light marks, gen gd) (12)
Los 26
λ Winifred Nicholson (British 1893-1981)Landscape Under Snow, Eigg Oil on canvas 74 x 83.5cm (29 x 32¾ in.)Painted in circa 1950s. With a sketch of mother and child seated verso. Provenance:Crane Kalman Gallery, LondonAcquired from the above in 1992 Thence by descent to the present ownerExhibited:London, Crane Kalman Gallery, The Rural Poetry of 3 English Women Painters, May-June 1992'Those seemingly casual flowers with their airy-light petals were the work of deep understanding and mastery of colour, her lifelong study.' Kathleen Raine, from the introduction for The Rural Poetry of Three English Women Artists, Crane Kalman Gallery, 1992. The present lot captures the dramatic weather during Winter in Eigg, one of the isles in the Scottish Hebrides. Winifred Nicholson visited Eigg for the first time in 1950 with her close friend and poet Kathleen Raine. The pair frequently travelled together following this date exploring the Scottish Hebrides, regularly staying at author Gavin Maxwell's house located in Sandaig in Ross-shire. Winifred reveals her working processes in the Hebrides within letters, especially to her son Andrew and husband Ben. She expresses her love for the landscape and location 'this is a place after my heart' which is not full of lush greenery but greys and large stone formations. She describes the sea as 'full of grey mysterious islands and rocks, seals and seabirds.' Winifred watched the world go by during these days commenting on families going about their daily lives and animals congregating in search of food. [letter to Andrew Nicholson, from Isle of South Uist, Hebrides c. 1950, Unknown Colour, p.228 quoted in Jovan Nicholson, Winifred Nicholson, Liberation of Colour, Philip Wilson Publishers, Bloomsbury Publishing, London & Dublin, 2016, p88] Winifred was drawn to the rural setting striving for a closeness to nature. This new landscape allowed her to explore and experiment with colour an element in painting which became her core concern. Winifred worked directly from nature, working briskly almost finishing a picture in a whole sitting. She often painted late at night 'between midnight and one in the morning,' expressing how 'it is of course a magic light then.' The viewer is drawn straight into the rural landscape through Winifred's window with plants and leaves shooting upwards from the lower edge. The purple, blue and grey fluid brushstrokes capture the unpredictable weather of the Hebrides and reflect Winifred's enthusiastic and dedicated approach to working direct from nature. [letter to Ben Nicholson, 1950s TGA 8717/1/1/1830 quoted in Jovan Nicholson, Winifred Nicholson, Liberation of Colour, Philip Wilson Publishers, Bloomsbury Publishing, London & Dublin, 2016, p88]Condition Report: Separate canvas depicting mother and child pasted to the reverse of the canvas. Some craquelure to the areas of thick white impasto. Very light surface dirt scattered throughout and some very small patches of pooling varnish to the centre, in the blue pigment in the sky. To the centre of the right hand edge is a small patch circa. 2cm of a darker pigment which may have been caused by the glue residue verso, there is a few smaller flecks of a similar coloured pigment to the right side of the upper edge. Inspection under UV reveals no obvious evidence of retouching or repair. Condition Report Disclaimer
Los 104
λ William Lee Hankey (British 1869-1952)Breton harbour sceneOil on canvasSigned (lower right)62.5 x 75cm (24½ x 29½ in.)Condition Report: Relined. Evidence of slight craquelure throughout in a raking light. Inspection under UV reveals light scattered retouching notably to the sky. Otherwise in good clean condition.Condition Report Disclaimer
Los 264
λ Steven Campbell (Scottish 1953-2007)The Dream of every Ostrich is to own its Own HomeOil on canvas206 x 183cm (81 x 72 in.) on irregular shaped stretcherPainted in 1986.Provenance: Marlborough Galleries, LondonSale: Bonhams, Knightsbridge, 5 June 1991, lot 151Condition Report: Produced on multiple pieces of canvas joined together. The joins of the canvas are visible both vertically and horizontally running through the composition. Some light surface dirt and some circular craquelure to the hand of the lower figure. A further area of craquelure to the centre of the left edge and to the extreme left edge. Please not in an irregular shaped frame. Condition Report Disclaimer
Los 251
λ Laurence Stephen Lowry (British 1887-1976)His familyLithograph printed in coloursSigned in pencil and numbered 1/166, with the Fine Art Trade Guild blindstampImage: 52.5 x 70.5cm (20½ x 27¾ in.)Provenance:Property sold to benefit a charitable trust created by the late William de GelseyCondition Report: With full margins. Hinged to the mount at the upper corners, with brown tape covering the tips of corners. Some light staining to the image where it has been mounted and discolouration to the verso of the sheet. Otherwise, in generally good condition. Would benefit from re-hinging and mounting on an acid-free board. Framed under glass.Condition Report Disclaimer
Los 67
λ Elwin Hawthorne (British 1905-1954)Bow RoadOil on canvasSigned and dated 1930 (lower right)35 x 45cm (13¾ x 17½ in.)Provenance:Alex. Reid & Lefevre, LondonThe collection of Sir David and Lady Scott (acquired from the above), sold to benefit the Finnis Scott FoundationTHE EAST LONDON GROUPBorn out of classes for working men and women at the Bow and Bromley Evening Institute in the mid-1920s, the East London Group is a remarkable story of a journey from humble beginnings to the lauded galleries of the west end and beyond. The group's teacher, John Cooper, was a pivotal character in this story. An artist himself, he had attended the Slade School of Art after the First World War and supplemented his income by teaching in the evenings. He encouraged the artists, the vast majority of whom did not come from privileged backgrounds, to paint what was around them and what they saw on an everyday basis. His connection to the Slade brought a number of influential and established artists to Bow, none more so than Walter Sickert. This creative atmosphere was an inspiration to those who dedicated their spare time to the group - most of those studying under Cooper were painting purely in their spare time in addition to working as tradesmen, shop girls, window cleaners and basket makers during the day. David Buckman, in his seminal book on the subject: 'From Bow to Biennale' (2012), numbers 35 eventual members of the group. Among the main protagonists were brothers Walter and Harold Steggles, Elwin Hawthorne and his future wife Lilian Leahy, Henry Silk, Albert Turpin, Brynhild Parker and Phyllis Bray (Cooper's wife). Showing as the East London Art Club, an exhibition at the Whitechapel Art Gallery in 1928 began a chain of events that led to a further exhibition at what was the Millbank Gallery (now Tate) in 1929 and onto a succession of shows between 1929 and 1936 at the prestigious Lefevre Gallery in King Street, St. James's. Lefevre was one of the leading galleries of the day, with a rich stable of artists and exhibitions including the likes of Picasso, Matisse, Degas, Modigliani and Cezanne. The shows were commercially very successful and also frequently garnered critical praise. This short period witnessed unparalleled productivity for the group - documenting the east end of London in the interwar years. Although many of the artists continued to paint beyond these years, it is the work from this era which is the most exciting and evocative. Condition Report: Not relined. Light surface dirt and discoloured varnish throughout. Inspection under UV reveals uneven varnish which may be concealing evidence of restoration or repair. Condition Report Disclaimer
Los 91
λ Henry Moore (British 1898-1986)Reclining Nude: Crossed FeetBronze with a green patina, mounted on a wooden baseSigned and numbered 5/9 (on the base)11 x 16.5cm (4¼ x 6¼ in.)Conceived in 1980.Provenance:The Goodman Gallery, South AfricaPrivate Collection, London (acquired from the above in 1981)Thence by descent to the present ownersLiterature:Alan Bowness (ed.), Henry Moore, Complete Sculpture: 1980-86, Vol. 5, London, 1988, no. 788, another cast illustrated, p. 36-37Along with the theme of the mother and child, the reclining female figure is a form that dominated Moore's artistic output across his career. He loved the composition both for the essence of the idea as well as the freedom of expression that it afforded him. Unlike a seated figure that required a pedestal or support, or a standing figure which often lacked structural stability, the reclining figure could be presented in any manner and in any position without the incumbrance of other distracting elements. "One is standing, the other is seated and the third is lying down... of the three poses, the reclining figure gives the most freedom, compositionally and spatially... A reclining figure can recline on any surface. It is free and stable at the same time. It fits in with my belief that sculpture should be permanent, should last for eternity." Henry Moore, cited in the Art Gallery Handbook, Art Gallery, New South Wales, Australia, 1994 In contrast to many depictions of the female nude, Moore's work is never overtly erotic or sexualised. Indeed it has more in common with the very early pictorial language of the Neolithic period in Europe or the art of some early central American cultures in which the simplified form is a symbol of fertility. Moore was naturally drawn to these images and whilst his figures are far more than simply maternal depictions, enduring memories of his mother - a tremendously strong woman who raised eight children and who represented a rock of stability for Moore - left a lasting impact on how he viewed the female figure. The present work is typical of Moore's small scale bronzes. The smooth curves of the body dominate the form whilst the more diminutive head, with its lack of naturalistic facial characteristics alludes to a generic stylised form rather than a personalised image. Propped up on both arms, the body creates a contrasting mix of soft curves and sharper angles at the joints, interrupted by the lack of hands and feet. In spite of the simplification of the form the work remains more naturalistic than his earlier abstract sculptures.Similarities can be drawn between some of Moore's pen and ink studies during the 1980s for example reference HMF 80(117), Reclining Nude and HMF 80(115) titled Idea for Sculpture: Reclining Nude. Other sculptures during this period include Reclining Figure: Pointed Legs LH 777 dated to 1979 and moving into 1982 where Moore explored a more upright figure with a fuller chest Reclining Figure: Pointed Head LH827. Quote:"From the very beginning the reclining figure has been my main theme.....The first one I made was around 1924, and probably more than half of my sculptures since then have been reclining figures." Henry Moore, quoted in J. Hedgecoe, Henry Moore, New York, 1968, p. 151Condition Report: In overall good original condition. Some small areas of verdigris notably to the hair and underside of the bronze where it attaches to the base. Would benefit from a light clean. Condition Report Disclaimer
Los 109
Attributed to Theophile Steinlen (French/Swiss 1859-1923)The Close of the DayLithograph printed in colours, an early impression before letters for Gil Blas, heightened with pastelBears signature (lower left)36 x 26.5cm (14 x 10¼ in.)The present work has been examined by Madame Claude Orset. Whilst the hand colouring and signature are consistent with many aspects of the artist's oeuvre, it is impossible to confirm with certainty that it is by the hand of the artist. Condition Report: Sheet stuck down. Glue residue visible to the upper edge. Light scratch to the man's shirt, upper hill and lower left quadrant together with some very light further surface scratches, hardly noticeable. Light foxing to the sky. Very light curling of the sheet to the left edge and upper edge. Condition Report Disclaimer
Los 132
Jean Marchand (French 1883-1941)Seascape, high tideOil on board Signed and inscribed a Edith (lower left)22 x 26.5cm (8½ x 10¼ in.)Provenance:Property sold to benefit a charitable trust created by the late William de GelseyCondition Report: Very fine craquelure throughout. Very light surface dirt throughout. Slight rubbing to extreme framing edges, most notable lower right. Inspection under UV reveals no obvious evidence of restoration or repair. Condition Report Disclaimer
Los 50
Henry and Walter Greaves (British 1850-1900 & 1846-1930)Duke Street, Old ChelseaInk, watercolour and wash Signed and dated 1872 (lower right); titled to artists' label affixed to backboard (verso)45 x 45.5cm (17½ x 17¾ in.)Provenance:Sale, Sotheby's, London, 18 June 1997, lot 22Property from a Private English CollectorCondition Report: Under glass, unexamined out of glazed frame. Light undulation to the sheet. Very light surface dirt throughout. Condition Report Disclaimer
Los 92
λ Henry Moore (British 1898-1986)Head of Queen (Study)Bronze with a green patinaSigned (at base of neck)Height: 28cm (11 in.) (including base)Conceived in 1952 and cast in 1959 in an edition of two plus one artist's proof.Provenance:Finart Gallery Ltd., Johannesburg, South AfricaPrivate Collection, London (acquired from the above in 1974)Thence by descent to the present ownersLiterature:Alan Bowness, ed., Henry Moore Sculpture and Drawings 1949-1954, vol. II, London, 1965, no. 349a, illustration of another cast p. 49Robert Melville, Henry Moore Sculpture and Drawings, 1921-1969, New York, 1970, p. 357, illustration of another cast pl. 452Head of Queen (Study) is one of several preparatory works produced by Moore for the large-scale group sculpture King and Queen (LH 350). Both the studies and the final sculpture are unusual within Moore's repertoire, representing a defined subject rather than the usual universal human form. They are also the only sculptures depicting a single pair of adult figures in Moore's entire output. Moore himself offered up the following explanation, although others have suggested that the timing of the piece with the coronation of Elizabeth II cannot have failed to impress a certain interest upon the artist:"The 'King and Queen' is rather strange. Like many of my sculptures, I can't explain exactly how it evolved. Anything can start me off on a sculpture idea, and in this case it was playing with a small piece of modelling wax. ... Whilst manipulating a piece of wax, it began to look like a horned, Pan-like, bearded head. Then it grew a crown and I recognised it immediately as the head of a king. I continued, and gave it a body. When wax hardens, it is almost as strong as metal. I used this special strength to repeat in the body the aristocratic refinement I found in the head. Then I added a second figure to it and it became a 'King and Queen'. I realised now that it was because I was reading stories to Mary, my six-year-old daughter, every night, and most of them were about kings and queens and princesses."Henry Moore in Henry Spencer Moore, photographed and edited by John Hedgecoe, words by Henry Moore, Nelson, London: Simon and Schuster, New York 1968, p.221 This small study shows the angular head of the queen perforated by a single hole in place of the eyes, its thin face has been extensively worked and scratched adding texture and depth to the surface. The Queen's head used in the completed group sculpture was much softer and less angular than his preparatory studies. In the present work, Moore's working process is laid bare as he experiments with both the form and the surface. Each mark a permanent memory of the artist's touch, the present work has its own beauty and serves as a key insight into the development of an idea. In 1968, Moore recalled that 'the head of the Queen was a problem because it had to be in harmony and I made two or three different attempts at it before being satisfied.' cited in John Hedgecoe, Henry Moore, London, 1968, p.221. Moore felt it was important that the King's head didn't overshadow that of the Queen. The Queen's head had to stand in unison with the strong and distinctive nature of the sculptural and angular King's head, whilst still keeping her own sense of identity.One of casts of LH349a is held in the public collection of Montréal Museum of Fine Arts, Quebec, Canada, a gift of Dr and Mrs Max Stern in 1984. The plaster is held by the Henry Moore Foundation. Condition Report: In overall good original condition. Some areas of surface dirt and verdigris, notably to the top of the head. Would benefit from a light clean. Condition Report Disclaimer
Los 257
λ Tom Malone (British 1913-1986)Still life of apples with a striped plant potOil on board Signed (lower right), with a sketch of a man seated (verso)51 x 67cm (20 x 26¼ in.)Provenance:Estate of the artistThence by descent to the present owner A still life composition with apples, executed with thick brush strokes, heavy pigment, and a flattening of shapes displaying the influences of Fauvism and Cézanne's unique art style in Malone's painting. Tom Malone (1913-1986) was an accomplished portrait painter originally from Warrington. Despite being employed as Chief Inspector of Weights and Measures in Salford, he was always involved in the art scene of Manchester, being friends with artists L.S.Lowry and Ted Finley.He was often found painting on the weekends, his subjects ranging from his two sons, Nick and Peter, to local government officials such as the Warrington and Salford Mayors. His art style was influenced by the fauvist movement, which confers to his works a very painterly and textured quality, present even in the more traditional oil portraits.Malone was a member and chairman of the Salford Art Club, participating regularly in its annual exhibition along with artists Eric Satchwell, Jose Christoperson, Stella Platt and Richard Weisbrod. His portraits were shown at the Manchester Academy of Fine Arts' 93rd exhibition in 1952, as well as the 118th Exhibition at the Manchester City Art Gallery in 1976, with his contemporary Arthur Delaney. He continued to paint after retiring as Chief Inspector, holding several solo shows at Salford Art Gallery.Condition Report: Light surface dirt throughout. Some minor scuffs and scratches to the paint surface. Some small associated losses. Inspection under UV reveals no obvious evidence of restoration or repair. Appears to be in good original condition. Measurements inc. frame 66 x 81.5cm Condition Report Disclaimer
Los 134
Jean Marchand (French 1883-1940)Landscape with treeOil on boardSigned (lower left)13 x 18cm (5 x 7 in.)Provenance:Property sold to benefit a charitable trust created by the late William de GelseyCondition Report: Light surface dirt throughout. Otherwise no significant condition issues. Inspection under UV reveals no obvious evidence of restoration or repair. Condition Report Disclaimer
Los 271
λ Claire Naylor (British 20th century)Set piece in red (self portrait)Oil on canvasSigned and dated '80 (lower right); further signed, titled and dated 1980 (to stretcher verso)65 x 54cm (25½ x 21¼ in.)Provenance:Sale, Christie's South Kensington, 25 July 1996Exhibited:London, National Portrait Gallery, November 1980-March 1981Condition Report: The canvas has not been relined. The canvas is slightly slack on the stretcher with some rippling towards the corners. There are two small protrusions, lower centre where the canvas has been dented from the reverse. There are several small surface dents to the lower left quadrant some light surface dirt throughout. Otherwise, in generally good condition, no evidence of retouching visible under ultraviolet light.Condition Report Disclaimer
Los 174
λ Hamish Mackie (British b. 1973)Sitting Leopard HeadBronze Signed, dated 2009 and numbered 5/12 to lower edge Height 45cm (17 3/4in.) 53cm (20 7/8in.)Provenance:Collier & Dobson, Fordingbridge, HampshireAcquired from the above by the present owner'You should be able to look wildlife sculpture in the eye and see life' (Hamish Mackie)Hamish Mackie (b.1973) is a considered one of the world's foremost wildlife sculptors. Largely self-taught, Mackie's subjects range from livestock to birds to wild animals, all observed in their natural environment. From the first impressionistic sketches and quick models in plasticine, Mackie works to build up a detailed and atomically accurate core covered with a vibrant skin which serves to capture each individual animal's personality. As with lots 174, 175 and 177 offered here, Mackie often works in bronze. Caracal Head, Leopard Turning in Tree and Sitting Leopard Head all demonstrate Mackie's ability to convey a spontaneous and instinctive moment of an animal's behaviour, from a leopard stretching out and relaxing in a tree to the caracal with his ears pricked up and eyes alert as though he may have just spotted potential prey. It is these intimate moments which Mackie so skilfully depicts which help to bring the sculptures to life. Mackie's love for animals developed at an early age when in 1978, aged five, he moved with his family to a farm in Lostwithiel, Cornwall and was often tasked with looking after the livestock. It was here that he made his first bronze sculpture - a calf's head, given to his father as a Christmas present and which still hangs in the kitchen today.After completing a course in design at Kingston University, Mackie travelled to Africa and in 1995, took a job on a hunting camp in Zimbabwe. It was here that he was able to observe the distinction between an animal in the wild and one in captivity. This interest led him to the conservationist organisation TUSK whom he still supports today. It was during his time in Africa that Mackie fell in love with African wildlife and produced his fist wax sculpture of a cheetah.On his return to the UK, Mackie worked with the sculptor Mark Coreth and began to cast his models in bronze for commercial sale. In 1997, Mackie was accepted into the Royal Academy's Summer Exhibition following on from his first solo show with Fanshawe Somerset, London. Several successful solo shows followed and in 2013 Mackie was commissioned to produce six horses galloping through Berkeley Group Holdings in Spitalfields, London.In 2016, Mackie was awarded the Public Monuments and Sculpture Association's (PMSA) annual Marsh Award for Excellence in Public Sculpture and Public Fountains.Condition Report: Very light surface dirt. A few small patches of green verdigris to the back of head. Overall in good original condition. Condition Report Disclaimer
Los 175
λ Hamish Mackie (British b. 1973)Caracal HeadBronze Signed, dated 2010 and numbered 2/2 to the undersideHeight: 27cm (10 5/8in.), Inc. base: 34cm (13 3/8in.)Provenance:Collier & Dobson, Fordingbridge, HampshireAcquired from the above by the present owner'You should be able to look wildlife sculpture in the eye and see life' (Hamish Mackie)Hamish Mackie (b.1973) is a considered one of the world's foremost wildlife sculptors. Largely self-taught, Mackie's subjects range from livestock to birds to wild animals, all observed in their natural environment. From the first impressionistic sketches and quick models in plasticine, Mackie works to build up a detailed and atomically accurate core covered with a vibrant skin which serves to capture each individual animal's personality. As with lots 174, 175 and 177 offered here, Mackie often works in bronze. Caracal Head, Leopard Turning in Tree and Sitting Leopard Head all demonstrate Mackie's ability to covey a spontaneous and instinctive moment of an animal's behaviour, from a leopard stretching out and relaxing in a tree to the caracal with his ears pricked up and eyes alert as though he may have just spotted potential prey. It is these intimate moments which Mackie so skilfully depicts which help to bring the sculptures to life. Mackie's love for animals developed at an early age when in 1978, aged five, he moved with his family to a farm in Lostwithiel, Cornwall and was often tasked with looking after the livestock. It was here that he made his first bronze sculpture - a calf's head, given to his father as a Christmas present and which still hangs in the kitchen today.After completing a course in design at Kingston University, Mackie travelled to Africa and in 1995, took a job on a hunting camp in Zimbabwe. It was here that he was able to observe the distinction between an animal in the wild and one in captivity. This interest led him to the conservationist organisation TUSK whom he still supports today. It was during his time in Africa that Mackie fell in love with African wildlife and produced his fist wax sculpture of a cheetah.On his return to the UK, Mackie worked with the sculptor Mark Coreth and began to cast his models in bronze for commercial sale. In 1997, Mackie was accepted into the Royal Academy's Summer Exhibition following on from his first solo show with Fanshawe Somerset, London. Several successful solo shows followed and in 2013 Mackie was commissioned to produce six horses galloping through Berkeley Group Holdings in Spitalfields, London.In 2016, Mackie was awarded the Public Monuments and Sculpture Association's (PMSA) annual Marsh Award for Excellence in Public Sculpture and Public Fountains.Condition Report: Overall surface dirt. May benefit from a light clean. Otherwise in good original condition. Condition Report Disclaimer
Los 231
λ Arthur Delaney (British 1927-1987)The works tramOil on boardSigned (lower right); further signed, titled and inscribed (to label verso)40 x 31cm (15½ x 12 in.)Provenance:The Selwyn Demmy Collection'This is a pre-war scene found all over Manchester - old mills and warehouses and the workers with that wonderful mode of transport - the majestic old tramcar. I enjoyed making this painting - my approach was simple and not over detailed also it is painted on a nice old piece of plywood, the very texture of the wood giving me a head start as the light grain looks so attractive just showing through the paint. I sincerely hope who ever [sic.] ends up owning this picture gets a lifetime of pleasure from it.'Condition Report: Under glass, unexamined out of glazed frame. In good original condition. Inspection under UV reveals no obvious evidence of restoration or repair. Condition Report Disclaimer
Los 195
λ Rowland Suddaby (British 1912-1978)Still Life on a Window SillOil on board Signed and dated 1945 (lower right)39 x 54cm (15¼ x 21¼ in.)Provenance:Sale, Tennants Auctioneers, 26 July 2014, lot 666Exhibited:Leeds, Leeds City Art Gallery & Temple Newsam House, date unknownPlease Note: This work is dated 45 and not 65 as stated in the printed catalogue. Condition Report: Under glass, unexamined out of glazed frame. Light surface dirt throughout. Scattered patches of craquelure, especially to the white pigment. Otherwise no other significant condition issues. Condition Report Disclaimer
Los 133
Jean Marchand (French 1883-1940)Seascape, low tideOil on boardSigned and inscribed a Marie amicalement (lower left) 21 x 26.5cm (8¼ x 10¼ in.)Provenance:Property sold to benefit a charitable trust created by the late William de GelseyCondition Report: Board is slightly bowed. Light surface dirt throughout. Inspection under UV reveals light scattered retouching. Condition Report Disclaimer
Los 63A
λ Ivor Roberts-Jones (British 1916-1996)Sir Winston Churchill, maquette for the monument in Parliament SquareBronze with a dark brown patinaNumbered `54' (on the bronze base)Height (excluding Portland stone base): 52cm (20¼ in.)Provenance:Acquired directly from the artist by the husband of the present ownerLiterature:P. Cannon-Brookes, Ivor Roberts-Jones, London, 1983, pp. 51-59 In 1970 the Royal Fine Arts Commission (members included Henry Moore and John Piper) approached nine sculptors to compete for the Parliament Square Winston Churchill Monument commission. Two of these, Ivor Roberts-Jones and Oscar Nemon, were shortlisted and invited to submit revised proposals. By November 1970, the Commission had selected Roberts-Jones as the sculptor. However, Lady Churchill was determined that it shouldn't be Oscar Nemon who won the commission and due to her reservations, the Commission agreed to look at two larger maquettes by both sculptors. Kyffin Williams, a staunch supporter of Roberts-Jones, arranged a private view of Roberts-Jones' maquettes in his own studio for Lady Churchill and in 1971 he was finally announced as the chosen sculptor. The finished statue was unveiled in Parliament Square in 1973 by Lady Churchill, with a speech given by Queen Elizabeth II. The present work was cast by the Meridian Foundry from a maquette produced at the same time as the Parliament Square monumental work. Roberts-Jones retained the first 100 casts for his own clients with the remainder being offered to the subscribers of The Collected works by Winston Churchill by the Library of Imperial History, London. The present work was purchased directly from Roberts-Jones by the present owner's husband.Condition Report: In overall good original condition. Some surface dirt, would benefit from a light clean. Condition Report Disclaimer
Los 30
λ Elisabeth Frink (British 1930-1993)Small DogBronze with a brown patina Signed and numbered 4/10 (on the base)24 x 28cm (9¼ x 11 in.)Conceived in 1986.Provenance:The Everard Read Gallery, Johannesburg, South AfricaPrivate Collection, London (acquired from the above by the present owner)Thence by descent to the present ownersLiterature:Annette Ratuszniak, Elisabeth Frink Catalogue Raisonné of Sculpture 1947-93, London, 2013, p. 175, no. 358, illustration of another cast 'The particular attraction for me is that dogs are the animals who've been closest to man for thousands of years. I find that interesting.' Elisabeth Frink, quoted in Edward Lucie-Smith and Elisabeth Frink, Frink: A portrait, Bloomsbury, London, 1994, p. 50 The topic of man's best friend was explored by Frink during the late 1980s and early 1990s. Whilst dogs and their relationship with man had always fascinated the artist it was during her time spent at her home at Woolland in Dorset that sparked the inspiration for this series. Alex Csaky, Frink's husband owned Hungarian gun-dogs and it was these majestic hounds whose strong muscular build and smooth coats could be transferred to sculpture. In the same year that Small Dog (FCR358) was created Frink produced Large Dog (FCR355) a life-size study of the Hungarian Vizsla. What is particularly striking is the characterful face, wide eyes and large nose which captures the charming features of 'man's best friend', as the dog appears to look up towards the viewer almost in awe of its owner. During this same period Frink visited Leonardo Da Vinci's Chateau de Cloux. At the entrance to the chateau are two stone dogs, awaiting the return of their master. These two sculptures inspired Frink who created life-size versions titled Leonardo's Dog I and Leonardo's Dog II in 1991 and 1992 respectively. Small Dog (FCR 358) has the same charming facial features, with its ears pushed back and its glossy smooth coat worked into the surface of the enchanting sculpture. Frink was unapologetic for her interest in dogs whilst others around her were producing pieces for the esoteric . Frink's Dog series was not made to be scrutinised and nor did they open discussion of critical interpretation. They developed a direct engagement with the public by producing a subject matter she was interested in. Condition Report: In overall good condition. Some minor surface dirt, some ingrained to the crevasses. Would benefit from a light clean. Condition Report Disclaimer
Los 376
Chuah Thean Teng (Malaysian 1914-2008)Farmer and oxenBatik dye on clothSigned (lower right)96 x 49.5cm (37¾ x 19¼ in.)Condition Report: Laid to cloth which has been laid down to paper. Light undulation throughout. The edges fraying slightly. A cluster of marks to the lower right hand edge moving into the farmer's left leg, these appear to be watermarks. Again some smaller marks to the oxen's head. A green/yellow cluster of stains to the farmer's hat and left shoulder. White residue to the bottom of the feet. This work is frame and under glass. Condition Report Disclaimer
Los 95
Richard Hayley Lever (American 1876-1958)Fishing Boat, CornwallOil on boardSigned (lower right)16 x 23.5cm (6¼ x 9¼ in.)Painted in 1903.Provenance:Clayton-Liberatore, Bridgehampton, New YorkPrivate Collection, USAThence by descent to the current ownerRichard Hayley Lever was born in South Australia in 1876. An inheritance allowed him to travel to England in 1899 in pursuit of an artistic career. He settled in St. Ives which already had a reputation as a thriving artist's colony, the St. Ives Art Club founded in 1890 with fellow Australian Louis Greer amongst its founding members. Hayley Lever shared a studio with Frederick Judd Waugh and studied under renowned marine painter Julius Olsson and British impressionist Algernon Talmage. As well as painting the views around St. Ives, Hayley Lever also travelled in Europe, notably in Brittany where he painted along the coast at Douarnenez and Concarneau, also known as flourishing artistic centres.In 1904, Hayley Lever returned to Australia where his mother was dying of tuberculosis. However, he returned to St. Ives a year later and, in 1906, married Aida Smith Gale. Persuaded that his art would find greater recognition, he moved to the United States, arriving in New York in 1912 and later took American citizenship. His work was received to great acclaim and featured regularly in exhibitions before the Wall Street Crash in 1929. Although he remained very active artistically for the rest of his life, he drifted somewhat into obscurity and it was not until after his death in 1958, that a largely unknown and unseen body of later work was discovered, leading to a re-evaluation of his career. His importance and influence on American impressionism in the 20th century is now more widely recognised. The present group of works by the artist all come from the same collection and demonstrate provide an insight into the breadth of his work both in St. Ives and Europe and also in the United States. Condition Report: There is some light surface dirt, notably to the right hand side of the composition. There is no evidence of retouching visible under ultraviolet light. In overall good original condition.Condition Report Disclaimer
Los 51
Henry and Walter Greaves (British 1850-1900 & 1846-1930)The Kings Head and Eight Bells, Cheyne WalkPen, ink and watercolourSigned (lower centre)48 x 60cm (18¾ x 23½ in.)Provenance:Property from a Private English CollectorCondition Report: Under glass, unexamined out of glazed frame. Staining throughout the sheet. Light undulation throughout. Blemish to the centre of the sky. Light creasing, mainly to the upper edge. Condition Report Disclaimer
Los 353
Raja Shahriman Bin Raja Aziddin (Malaysian b. 1967)Tapak Sembah (Welcoming Position)Metal56.5 x 20cm (22 x 7¾ in.)Condition Report: One small patch of white residue on one of the arms. Light surface dirt throughout, may benefit from a light clean and polish. Otherwise no significant condition issues. Condition Report Disclaimer
Los 188
λ George Bissill (British 1896-1973)Miners Oil on canvasSigned (lower left)34 x 41cm (13¼ x 16 in.)George Bissill was born in Fairford Gloucestershire, but the family soon moved to the mining village of Langley Mill in Derbyshire where his father worked as a railway brakesman. At 13 George was sent down the mines, where he worked, initially with pit ponies, then at the coal face, until 1915 when he joined the Kings Royal Rifles (First Battalion) to fight in the First World War. He had hoped to escape the underground life but as an ex-miner he was immediately trained to be a sapper, tunnelling, defusing mines and laying mines under enemy lines. While working near Béthune in France, he suffered a catastrophic tunnel collapse and later in the war he was badly gassed. In 1918 he was invalided out of the army.With his army pension, he spent a few months at Nottingham School of Art, but he had already developed his own distinctive style and subject matter, saying later that the pit was the only art school he needed.He arrived in London in 1922 and took a pitch as a pavement artist outside Bush House, which was just being constructed. There he was 'spotted' by a member of the Arts League of Service, who in 1924 took a portfolio of his mining drawings around the country for exhibition.Soon after this, the newly established Redfern Gallery in Bond Street offered him an exhibition, which opened to great critical acclaim in April 1925. Bissill immediately became extremely famous causing a sensation with his pictures of miners toiling underground, a subject matter which was new to the London Art Scene and was ten years before the Pitmen Painters came to fame. The show was reviewed by all the major art critics and newspapers. Other exhibitions at The Redfern Gallery followed and Bissill worked successfully in London for the next 5-6 years.Soon after the first exhibition opened in 1925 Bissill met the ballet critic, writer and art collector Arnold Haskell, who took him on a visit to Paris. Here Bissill learnt the art of wood engraving, producing some of his finest work, and expanded his subject matter to include ballet dancers, harlequins, set designs and pictures of Parisian life.Condition Report: The canvas is not relined. There are some patches of craquelure throughout, notably to the centre and centre left of the composition and a further small area lower right. Ultraviolet light reveals no evidence of retouching. Condition Report Disclaimer
Los 34
λ John Bulloch Souter (British 1890-1972)Village SceneOil on boardSigned (lower right)46 x 36cm (18 x 14 in.)Provenance:Property from a Private English Collector Condition Report: The board is slightly bowed along the upper edge. Light surface dirt throughout. Inspection under UV reveals a few small areas of fluorescing pigment but this appears to be the original pigment. Otherwise appears to be in good original condition. Condition Report Disclaimer
Los 140
λ Emilie Charmy (French 1878-1974)Lady in a red hatOil on canvasSigned (lower left)58 x 48cm (22¾ x 18¾ in.)Provenance:Crane Kalman Gallery, LondonProperty sold to benefit a charitable trust created by the late William de GelseyCondition Report: Canvas is not relined. Light surface dirt throughout. Otherwise appears to be in original condition. Inspection under UV reveals no obvious evidence of restoration or repair. Condition Report Disclaimer
Los 120
Alberto Prosdocimi (Italian 1852-1925)Venetian scene, with a gondola in the foreground Watercolour Signed (lower left)59 x 89cm (23 x 35 in.)Condition Report: Under glass, unexamined out of glazed frame. The sheet is discoloured. There are two flecks of paint loss lower centre and some surface dirt throughout. Light undulation to the sheet. Some spotting to the sky which may have been cleaned. Condition Report Disclaimer
Los 191
λ Helen Hale (British b. 1936)The Road to the Village Oil on canvas Signed (lower right)76 x 101.5cm (29¾ x 39¾ in.)Exhibited:London, The Society of Women Artists, Westminster Gallery, 1993Condition Report: Canvas is not relined. Patches of scattered craquelure with associated cupping and some unstable paint surface in patches. Light rubbing to framing edges. Some very small areas of loss to the corners. Inspection under UV reveals no obvious evidence of restoration or repair. Condition Report Disclaimer
Los 164
Gustav Klimt (Austrian 1862-1918)Sitzende Von Vorne, Die Hande Ineinander Gelegt (Studie Zum Bildnis Fraulein Lieser) Seated Woman with Cupped Hands Seen from the Front (Study for the Portrait of Miss Lieser)Pencil on paper Signed (lower right)50 x 32.5cm (19½ x 12¾ in.)Drawn circa 1917-1918, the work belongs to a group of studies for a painting of Dora Breisach. It is not known if the final portrait was ever completed, or if it has since disappeared.This work will be included in the forthcoming supplement to the Klimt Catalogue raisonné being prepared by Dr Marian Bisanz-Prakken.Provenance:Sale, Dorotheum, Vienna, 10 November 1993, lot 450Private CollectionSale, Sotheby's, London, 22 June 2017, lot 355Property sold to benefit a charitable trust created by the late William de GelseyCondition Report: Executed on smooth buff wove paper, hinged to the mount at two points along the upper edge. The sheet is slightly discoloured throughout with some mount staining along the lower and left and right edges. There are some light handling creases, notably to the upper two corners which are also slightly dirty from handling. Otherwise in overall good condition. Framed under glass.Condition Report Disclaimer
Los 148
λ Celso Lagar (Spanish 1891-1966)Circus tentOil on canvasSigned (lower right)37 x 45cm (14½ x 17½ in.)Painted circa 1938.Provenance:Property sold to benefit a charitable trust created by the late William de GelseyCondition Report: Canvas has not been relined. Very slight undulation to the canvas, most noted in the upper right corner. Light surface dirt throughout. An area of cracking to the lower left corner, along the lower edge and in the lower right corner. An area of paint thinning to the upper left quadrant with one small area of loss. A loss to the centre of the right edge with two pin holes. Inspection under UV reveals scattered retouching to the sky. Condition Report Disclaimer
Los 252
λ Laurence Stephen Lowry (British 1887-1976)Six FiguresFelt-tip pen and pencil on paperSigned and dated 1969 (lower right)25 x 29cm (9¾ x 11¼ in.)Provenance:County Galleries, Altrincham, CheshireAcquired from the above by the present owner in 2012Condition Report: Under glass, unexamined out of glazed frame. Executed on white wove paper. The sheet slightly dirty throughout, with some grey smudges notably to the upper right quadrant. Very light fading to the felt tip. Otherwise in overall good condition. Condition Report Disclaimer
Los 227
λ Sam Rabin (British 1903-1991)Final WarningMixed media on paper laid to boardSigned (upper centre)20 x 24.5cm (7¾ x 9½ in.)Provenance: From the collection of The Hon. Sir William McAlpineSam Rabin (British 1903-1991) was born in Manchester to Jewish-Russian exiles from Vitebsk. Rabin was truly versatile in his practice: a skilled artist, sculptor, teacher and athlete. He won a scholarship to the Manchester Municipal School of Art in 1914, at age 11 - the youngest person ever to attend the prestigious school under French artist Adolphe Valette. His formal education continued at the Slade School of Fine Art in London, under Henry Tonks. In 1925 he moved to Paris, where he met and was greatly influenced by Charles Despiau. In parallel, he competed as an amateur wrestler and boxer - becoming part of the Great Britain squad for the 1928 Olympic Games in Amsterdam, and winning a bronze medal. Rabin worked as a sculptor in London on the Daily Telegraph building and London Transport headquarters, but despite this early success he was wasn't able to find a stable source of work. He funded his artistic career through professional wrestling during the 1930s. Later, Rabin went on to teach drawing at Goldsmith's College of Art, Bournemouth College of Art, and the Poole Art Centre. His students included Mary Quant, Bridget Riley and Tom Keating.Condition Report: There is some cracking and lifting to the paint along the lower edge and some further light scattered paint cracking throughout, particularly to the lower left quadrant. Otherwise, the work appears to be in good original condition. Under glass and unexamined out of frame. Condition Report Disclaimer
Los 29
λ Dame Elisabeth Frink (British 1930-1993)PilgrimBronze with a brown patina Signed and numbered 7/8 (on the base)23 x 33cm (9 x 12 in.)Conceived in 1983.Provenance:The Everard Read Gallery, Johannesburg, South AfricaPrivate Collection, London (acquired from the above by the present owner)Thence by descent to the present ownersLiterature:Annette Ratuszniak, Elisabeth Frink Catalogue Raisonne of Sculpture 1947-93, London, 2013, p. 159, no. 318, illustration of another castIn 1984, Frink explained in her catalogue raisonné, 'What I have tried to make clear in my sculptures for the last five years is the way in which feeling, expression, even force and energy, should be below the surface. The outer skin may define more or less conventional features, but with a second look should indicate the complex strain of nerve-endings and the anticipatory reflexes of something about to happen.' [Elisabeth Frink, Sculpture: Catalogue Raisonné, 1984, p.33] After studying at Guildford School of Art in 1947, Frink enrolled at the Chelsea School of Art under the tutelage of Julian Trevelyan, Ceri Richards and John Berger. Immersing herself in this creative environment Frink began experimenting in plaster creating sculptures of men and animals. Her early works caught the attention of 'The Geometry of Fear' sculptors who included Lynn Chadwick and Kenneth Armitage. Frink became associated with this group who had been labelled by the art critic Herbert Read. Frink soon became known for her strong depictions of male figures. These sculptures encapsulated both the heroism and fragility of man. Her childhood experience growing up during the first world war was to have a great impact on her work. Frink's father was an officer in the 7th Dragoon Guards and she spent her childhood growing up near an airbase in Suffolk. Numerous air raids and crashes exposed Frink to an enormity of brutality and bloodshed which invoked fear, experiences which came to be reflected in her sculptures. Her sculptures embodied strong, purposeful and athletic men usually shown in a stance of standing, walking or running. However, the outer layer with his textured surface reveals a more vulnerable side to the bronzes, described as exposed flesh. The vacant facial expressions and moments of movement caught in time represent the shell shock and effects of war over time, crossing this bridge between heroism and vulnerability. Pilgrim sculpted in 1983 captures this strength of the male form. His feet firmly on the ground the 'pilgrim' makes no advance frozen in a moment of time. The work is from a series of 8 editions and a similar composition can be found in Shepherd and Sheep (FCR317) also created in 1983 which shows a similar figure, but with the addition of a flock of sheep and a crook in the figure's right hand. Condition Report: In good original condition. Light surface dust and dirt. Otherwise no significant condition issues. Condition Report Disclaimer
Los 184
λ Lynn Chadwick (British 1914-2003) Walking Cloaked Figures VIIIBronze with a black patina and polished bronzeEach stamped with the Lypiatt Foundry mark and numbered 795S and 1/9 (inside the cloaks)Height: 28cm (11 in.)Conceived in 1980 and cast in a numbered edition of 9.Provenance:Private Collection, London (acquired in 1983)Thence by descent to the present ownersLiterature:Lynn Chadwick (exhibition catalogue), Fondation Veranneman, Kruishputen, Belgium, 1980, illustration of another cast n.p. Dennis Farr & Eva Chadwick: Lynn Chadwick Sculptor, With a Complete Illustrated Catalogue 1947-2003, Farnham, 2014, p. 343, no. 795 (illustration of another cast)For additional videos or images of the pieces included in this lot please contact the department on pictures@dreweatts.com Together with his contemporaries Henry Moore, Barbara Hepworth, Jacob Epstein and Eduardo Paolozzi, Chadwick is inextricably associated with the British Modernist Sculpture movement of the mid-20th century. Initially specialising in architectural design both before and after the Second World War, by 1946, Chadwick had started to move away from the intangible world of design instead finding himself increasingly drawn to the tangible nature of objects. A year later, in 1947, Chadwick made his first mobile. Encouraged by his employer at the time, Rodney Thomas, these wire, metal, copper, and brass shapes were first used to decorate the exhibition stands of Thomas' company and then later turned into 'stabiles' by adding ground supports. Around 60 mobiles were created between 1947 and 1952.Although very few of these mobiles survive today, this was clearly the very beginning of what would eventually evolve into Chadwick's signature bronze and steel abstract figures that we know so well today. In 1951, Chadwick was commissioned by the Arts Council of Britain to produce a large-scale sculpture for the Festival of Britain, The Fisheater, which went on to be exhibited at the Tate Gallery until 1952. It was also at this time that Chadwick was asked to present to the selection committee of the XXVI Venice Biennale who selected him together with seven other emerging British artists including Kenneth Armitage, Robert Adams, and Eduardo Paolozzi to exhibit in Venice that year. It was after this exhibition that Chadwick really established his reputation as a member of the New British Sculptors. In 1956, Chadwick returned to the Venice Biennale, this time winning the International Sculpture Prize - the youngest artist ever to do so. During this period Chadwick became increasingly interested in form with his designs becoming more identifiable as figures; their thin and tapering legs and geometric heads, in Chadwick's words 'adding flesh to the skeletons'. By the 1960s, Chadwick was experimenting with bronze casting and by the 1970s, he had established a visible vocabulary of sexual differentiation - triangle or diamond heads for female and square or rectangular heads for male. In addition, the technique of adding polished facets to his figures both added texture and accentuated specific parts of anatomy. This is clearly demonstrated in Walking Cloaked Figures VIII which also combines the artist's timeless architectonic forms with elements of the human, animal and mechanical. The use of clothing, specifically flaring cloaks helps to add a sense of movement to the work. There is no real narrative to Chadwick's works, but it is perhaps the stoic silence and anonymous strength which makes his works so intriguing and timeless.Chadwick remained active until only a few years before his death in 2003, aged 88. Throughout his career and beyond Chadwick remains a recognised household name. In 1964, he was awarded a CBE, and later in 1984 made Officer de l'Ordre des Arts et des Lettres in France. In 2001 he was appointed Senior Academician at the Royal Academy of Arts, London. His work is held in major collections and galleries around the world including the Tate Gallery, London, and Museum of Modern Art, New York.Condition Report: In overall good original condition. Some surface dirt, notably to crevasses. May benefit from a light clean. Condition Report Disclaimer
Los 203
λ Igor Mitoraj (Polish 1944-2014)Sleeping Head (Testa Addormentata)Bronze on base Signed, numbered 7/8 and stamped with the foundry mark Fonderia d'Arte Massimo del Chiaro, Lucca, Italy Inc. base: 36 x 40cm (14 x 15½ in.)The current lot is a small maquette study for the large-scale Testa Addormentata located in Canada Square, Canary Wharf, London and was created in bronze in 1983. Mitoraj's work combines elements of surrealism with minute study of ancient Greece and Rome. Testa Addormentata depicts a bandaged face, sleeping, resting on its side. The green patina is particular effective giving the sculpture an almost emerald glow. Mitoraj studied at the Krakow Academy of Art under the tutelage of Tadeusz Kantor. He held his first solo exhibition in 1967 at the Krzysztofory Gallery in Poland. In 1968 he continued his studies in Paris at the National School of Art. Mitoraj started to experiment with sculpture after travelling around Mexico , inspired by the Latin American culture. His first major solo exhibition was held in 1976 where he showcased sculpture for the first time. This exhibition was a major turning point in Mitoraj's career who now regarding himself foremost as a sculptor. Mitoraj worked in terracotta, bronze and marble, after a trip to Carrara, Italy. Mitoraj's work stemmed from the study of antiquities. He was fascinated by the human body and how it has been depicted through different civilisations. His work is usually presented in a fragmented state, emphasising the fragility and beauty of the human body and reflecting the way in which antiquities are damaged and suffer through time. This analogy can be applied to the fragility of nature and the human impact upon it. Other monumental sculptures by the artist can be found in Valencia, Spain, Castle Square in Warsaw, Poland and a large scale study of Icarus in from of the Temple of Concordia in the Valley of the Temples. Condition Report: There are some small surface abrasions, notably to the bandaged ear on both sides where it has been displayed. Some light surface dirt. The work has a blue-ish patina which is consistent with the creative process rather than a condition issue. Condition Report Disclaimer
Los 281
λ Peter Howson (Scottish b.1958) The Noble DosserWoodcut, 1987Signed, titled and dated in pencil, numbered 30/30, printed and published by Glasgow Print Studio180.5 x 120.5cm (71 x 47¼ in.)Provenance: Sale, Sotheby's, Olympia, 23 November 2006, lot 102Condition Report: Under glass, unexamined out of glazed frame. Executed on two sheets of paper. Joined horizontally through the centre, this is not a fixed join as the works appear to be coming apart at the edges. Light surface dirt throughout. Condition Report Disclaimer
Los 135
Jean Marchand (French 1883-1940)A view of the Seine with Notre DameOil on canvasSigned (lower left)45 x 54cm (17½ x 21¼ in.)Provenance:Property sold to benefit a charitable trust created by the late William de GelseyCondition Report: Canvas is relined. Light surface dirt throughout. Patches of craquelure to the sky. Rubbing to the framing edges. Inspection under UV reveals scattered retouching to the sky. Condition Report Disclaimer
Los 258
λ Tom Malone (British 1913-1986)Seated Model Oil on board80 x 67cm (31¼ x 26¼ in.)Provenance:Estate of the artistThence by descent to the present ownerExhibited:Society of Staffordshire Artists Tom Malone (1913-1986) was an accomplished portrait painter originally from Warrington. Despite being employed as Chief Inspector of Weights and Measures in Salford, he was always involved in the art scene of Manchester, being friends with artists L.S.Lowry and Ted Finley.He was often found painting on the weekends, his subjects ranging from his two sons, Nick and Peter, to local government officials such as the Warrington and Salford Mayors. His art style was influenced by the fauvist movement, which confers to his works a very painterly and textured quality, present even in the more traditional oil portraits.Malone was a member and chairman of the Salford Art Club, participating regularly in its annual exhibition along with artists Eric Satchwell, Jose Christoperson, Stella Platt and Richard Weisbrod. His portraits were shown at the Manchester Academy of Fine Arts' 93rd exhibition in 1952, as well as the 118th Exhibition at the Manchester City Art Gallery in 1976, with his contemporary Arthur Delaney. He continued to paint after retiring as Chief Inspector, holding several solo shows at Salford Art Gallery.Condition Report: Some surface dirt throughout, particularly to the upper left quadrant. Inspection under UV reveals no evidence of retouching. May benefit from a light clean. Condition Report Disclaimer
Los 186
λ Robert Clatworthy (British 1928-2015)Head IIIBronze Stamped with initials and numbered 2/9 (to reverse of neck)Height: 38cm (14¾ in.)Conceived in 1964.Robert, son of Ernest, a railwayman, and his wife, Gladys (nee Jugaler), was born in Bridgwater, Somerset. Towards the end of the 1940's, after a period in national service, Clatworthy attended Chelsea School of Art, London, where he was taught by Bernard Meadows. He also began an enduring friendship with Elisabeth Frink, whose work he continued to praise even when she later eclipsed him. In the early 50s Clatworthy had an important break, being taken on as an assistant by Henry Moore, who gave him a surprising degree of creative latitude. Moore also persuaded him to join the Slade School in preference to the Royal College of Art, a decision that he is said to have regretted, though it did not hinder his early success.The young Clatworthy was extrovert, even charismatic. In 1954 he married the actress Pamela Gordon, the daughter of the musical performer Gertrude Lawrence, while also making rapid advances into the West End art scene. As a rising star at the Hanover Gallery he showed his bronzes of bulls, cats and heads, whose textured surfaces express his rapid handling of the quick-drying plaster from which they were cast. His heads were likened to Frank Auerbach's highly textured canvases but realised in three dimensions. Later, in 1965, he exhibited at the Waddington Galleries his austere standing and walking figures, which evoke Alberto Giacometti and Germaine Richier.In the mid-50s the critic David Sylvester, who was also close to Clatworthy's friend and drinking partner Francis Bacon, described his output as "the best thing I have seen by any English sculptor younger than Henry Moore". However, even at the height of his commercial success, he believed in following his own rhythms rather than the demands of the art market, and he eventually fell out with his fashionable dealers over their requests for constant production.Condition Report: In good overall original condition. Minor surface dirt and blemishes to the crevasses, would benefit from a light clean. Condition Report Disclaimer
Los 39
λ Kathleen Tyson (British 1898-1982)Village landscapeOil on canvasSigned (lower right)51 x 61cm (20 x 24 in.)Provenance:Sale, Bonhams, Knightsbridge, 17 July 2007, lot 176Property from a Private English CollectorCondition Report: Canvas has not been relined. Some rubbing to the framing edges. The paint is thin in places and a small patch of paint loss to the lower left quadrant. Some surface dirt throughout but notably to the sky. Light craquelure to the green and brown pigments running through the centre of the composition. Inspection under UV reveals no obvious evidence of retouching or repair. Condition Report Disclaimer
Los 131
French School (20th Century)L'espagnoleOil on canvas51 x 44.5cm (20 x 17½ in.)Provenance:Private Collection, LondonCrane Kalman Gallery, London (as by Jacqueline Marval)Property sold to benefit a charitable trust created by the late William de Gelsey (acquired from the above in January 1990)Please note the revision to cataloguing and estimates from the printed catalogue.Condition Report: Canvas is not relined. Executed on a thick weave canvas, weave visible in areas of a light paint mostly to the background. Inspection under UV reveals some retouching to the hair and headpiece and further spots of scattered retouching.Condition Report Disclaimer
Los 28
λ Mary Fedden (British 1915-2012)In the LuberonOil on canvasSigned and dated 1995 (lower right)76 x 81.5cm (29¾ x 32 in.)Provenance:Thompson's Gallery, SuffolkExhibited:London, Royal Academy, Summer Exhibition, 1995, no. 2Condition Report: Canvas has not been lined. There are a couple of areas of light craquelure to the white table top, centre right. Very light surface dirt visible in a few areas scattered across the canvas. Otherwise appears to be in good original condition. Inspection under UV reveals no obvious evidence of retouch or repair. Condition Report Disclaimer
Los 57
λ Ethelbert White (British 1891-1972)The farm in the hollowEtchingSigned in pencil and titledPlate: 20 x 25cm (7¾ x 9¾ in.)Provenance:Property from a Private English CollectorCondition Report: Under glass, unexamined out of glazed frame. Very light foxing to the margins. Image is good. Condition Report Disclaimer
Los 374
Duane Michals (American b. 1932)How Nice to Watch You Take a Bath, 1986A sequence of five gelatin silver prints, framed as oneThe first image titled, the remainder numbered consecutively 1-5, the last image signed in in ink and numbered 6/25 (in the margin)Each approx. 8.5 x 12.5cm (3¼ x 4¾ in.)Provenance:Sale, Christie's, New York, Photographs from the Collection of Sir Elton John, 14 October 2004, lot 19Exhibited:Atlanta, Georgia, USA, High Museum of Art, Chorus of Light: Photographs from the Sir Elton John Collection, November 2000-January 2001Literature:Marco Livingstone, The Essential Duane Michals, Bulfinch, 1997, pp. 158-159Condition Report: Under glass, unexamined out of glazed frame. In good original condition. Condition Report Disclaimer
Los 192
λ Henryk Gotlib (Polish 1890-1966)Oxen and Farmer Oil on canvas Signed (lower right)63 x 76cm (24¾ x 29¾ in.)Condition Report: Canvas slightly slack. A couple of small spots of surface dirt and some minor light craquelure to the impasto in the white pigment on the oxen. Inspection under UV reveals no obvious evidence of retouching or repair. Condition Report Disclaimer
Loading...-
534325 Los(e)/Seite