Carritt (Gabriel "Bill", post-war radical and friend to W.H. Auden, 1908-1999).- Snow (Edgar) Red Star Over China, original wrappers, lightly soiled and creased, some short tears to spines ends, 1937 § Frölich (Paul) Rosa Luxemburg, original boards, spine faded, 1940 § Rust (William) Britons in Spain, marginal toning, original boards, lightly faded, 1939, ownership signatures of Gabriel Carritt to front free endpaper; and 8 others, from the archive of Carritt, one with light annotations, 8vo & 4to (11)⁂ Gabriel Carritt, better known as "Bill", was a member of the 1930s radical generation who campaigned for black American Scottsboro Boys, and the republic in the Spanish civil war. Educated at the Dragon School, where he remembered John Betjeman as "something of a bully", his description of his teammates formed the basis for one of W. H. Auden's early poems. He gained a scholarship to Christchurch, Oxford, where he befriended Dick Crossman, Stephen Spender, and Auden, who shared the Carritt family holidays.
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Stoker (Bram) University of Dublin. College Historical Society. Address Delivered in the Dining Hall of Trinity College..., occasional light foxing or soiling, original printed wrappers, spine neatly repaired, soiling, minor chipping and some creasing to extremities, preserved in custom drop-back box, 8vo, Dublin, 1872.⁂ The first published work by Stoker we can trace no other copy at auction or online. Stoker was the auditor of the College Historical Society, the debating society of Trinity College. Listed among the debates for the 1871-72 session is the subject "That the novels of the 19th century are more immoral in their tendency than those of the eighteenth" for which Stoker argued in the negative.
Stoker (Bram) The Shoulder of Shasta, first edition, half-title, rear endpaper browned, front endpaper with lower half torn away, original cloth, slight shelf-lean, spine rather mottled and browned, light soiling and fading to covers, 8vo, 1895.⁂ Stoker's fourth novel, a romance set in the American West, rare.
Stoker (Bram) Dracula, "sixth edition", half-title, with "Shoulder of Shasta" advertisement at rear, lacking front free endpaper, rear endpaper browned, original cloth, heavy vertical crease to upper cover causing cracking on verso, spine dulled, repaired split to lower cover, light surface soiling, 8vo, 1899.⁂ While termed "sixth edition", in fact the sixth impression of the first edition.
Stoker (Bram) Dracula, first abridged paperback edition, half-title (a little spotted), 6pp. advertisements at rear, light marginal browning, original pictorial upper wrapper (light browning and soiling, some chipping and creasing along spine and fore-edge), spine and lower wrapper supplied, preserved in custom drop-back box with morocco label to upper cover, 8vo, 1901.⁂ The rare first paperback edition, only a handful of copies known featuring the first printed illustration of Dracula. Stoker oversaw the abridgment himself, cutting around 15% from the original text. He also approved the illustration which includes many of the classic features (pointed ears, receding hair and bat-like cape) that define the character today.
Stoker (Bram) Personal Reminiscences of Henry Irving, 2 vol., first edition, plates and illustrations, occasional light foxing, some tape-browning to endpapers, original cloth, lettered in gilt with portrait medallions to upper covers, light fading to spines, light rubbing to extremities, excellent copies overall, 8vo, 1906.
Stoker (Bram) Dracula, "nineteenth edition", light browning to text, half-title, hinges starting, original cloth, dust-jacket, spine ends and corners chipped and crease, scratch marks to upper panel, creasing to head and foot, 1931; Dracula's Guest and Other Weird Stories, eighth impression, spotting endpapers browned, original cloth, spine faded and relaid, joints split, [c.1914]; The Lady of the Shroud, original cloth, Rider and Co., [?c.1909]; The Mystery of the Sea, original cloth, light fading to spine, 1913; The Lair of the White Worm, half-title, lacking front free endpaper, hinges weak, original cloth, fading, Rider and Co., [?c.1909], 8vo (5)⁂ A good group of early reprints.
![NO RESERVE Tolkien (J.R.R.) [The Lord of the Rings], 3 vol., second edition, first impressions, original red cloth, slight we](https://cdn.globalauctionplatform.com/3cc98721-b8ce-4047-a914-ac4700a5a9f3/07d383cd-b976-4603-bbcc-ac4700b72e4f/468x382.jpg)
NO RESERVE Tolkien (J.R.R.) [The Lord of the Rings], 3 vol., second edition, first impressions, original red cloth, slight wear to lower edges especially spine ends, dust-jackets price-clipped, rubbed and browned, some splits to joints, 1966 § Lewis (C.S.) The Last Battle, first edition, illustrations by Pauline Baynes, new front endpapers, original pale blue cloth, slight rubbing and fading to edges, spot to upper cover, dust-jacket, a little rubbed, spine ends frayed and stained, stain to lower outer corner of rear panel, 1956 § Eliot (T.S.) Old Possum's Book of Practical Cats, first edition, occasional light soiling, original pictorial yellow cloth, rubbed and soiled, spine stained, 1939, 8vo & 4to (5)
Wells (H.G.) The Stolen Bacillus and Other Incidents, 32pp. publisher's catalogue dated September 1895, contemporary ink owner's inscription to head of title, light spotting to front endpapers, original decorated blue cloth, gilt, slightly rubbed at joints and spine ends, a good copy, [Wells 6], 1895; The War in the Air, plates by A.C.Michael, advertisement leaf at end, ink ownership stamps, W.H.Smith & Son Library label and discount label to front pastedown, original blue cloth, gilt, rubbed, spine sunned, small ink stain to lower edge of upper cover, 1908; The Secret Places of the Heart, original green cloth with borders in blind, spotting to fore-edge, dust-jacket, spine lightly browned but an excellent copy, 1922, first editions; and 6 others by the same, 8vo (9)⁂ The first is Wells's second science fiction work and his first collection of short stories.
White (T.H.) The Sword in the Stone, first edition, illustrations, light spotting (mainly to fore-edge), number inscribed on front pastedown, original black cloth, lightly mottled by damp, dust-jacket with price 8s 6d to front flap, a little spotted, spine browned and rubbed at ends, 1938; and 4 others by the same, 8vo (5)
![NO RESERVE Wodehouse (P.G.) Leave it to Psmith, spotting, [1924]; Hot Water, browning and ink inscription to endpaper, light](https://cdn.globalauctionplatform.com/3cc98721-b8ce-4047-a914-ac4700a5a9f3/4bdc8d94-c519-4a69-9bee-ac4700b62050/468x382.jpg)
NO RESERVE Grimm (Jakob Ludwig and Wilhelm Carl) Fairy Tales, first edition, colour tipped-in plates by Arthur Rackham, captioned tissue guards, light browning to endpaper, occasional scattered spotting, original pictorial cloth, gilt, rebacked, spine worn, 1909 § Cruikshank (George) My Sketch Book, etchings and illustrations, original pictorial morocco, gilt, rebacked, lightly rubbed; and 9 others, v.s. (11)
NO RESERVE Lang (Leonora Blanche) The Red Book of Heroes, edited by Andrew Lang, colour plates and illustrations by A.Wallis Mills, original pictorial red cloth, gilt, g.e., spine very slightly faded, 1909 § Lang (Andrew, editor) The Yellow Fairy Book, illustrations by H.J.Ford, light spotting at beginning, contemporary half tan morocco, spine gilt, t.e.g., 1894; The Nursery Rhyme Book, illustrations by L.Leslie Brooke, some spotting, faint scribble to p.19, original cloth, spine gilt, g.e., spine slightly faded, London & New York, 1897, first editions, very slightly rubbed and a little fading to spines but good copies; and 15 others, 8vo (18)
NO RESERVE Norton (Mary) The Borrowers Aloft, first edition, 1961 § Blyton (Enid) The Treasure Hunters, light marginal toning, 1962 § Brazil (Angela) The Madcap of the School, 1920, original boards or cloth, the last pictorial, all but the last with dust-jackets, extremities creased or lightly rubbed; and 42 others, 20th century children's literature, v.s. (45)
Robinson (William Heath) The "First Colliery", an Almanac of Four Drawings, illustrated title, 4 sheets each with mounted plate by Robinson, depicting calendar months April 1938 - March 1939, light spotting to title and final leaf, title lightly browned, loosely bound with chord, repaired with tape, extremities creased, Lancashire Associated Collieries, 1925; Some 'Frightful' War Pictures, first edition, illustrations, light damp staining or finger soiling, original pictorial cloth-backed boards, rubbed and stained, 1915, folio & 8vo (2)
NO RESERVE French Art.- Conisbee (Philip) & others. In the Light of Italy: Corot and Early Open-Air Painting, Washington DC, 1996 § Galassi (Peter) Corot in Italy: Open-Air Painting and the Classical-Landscape Tradition, New Haven & London, 1991 § Bogh (Mikkel) & others. Danish Golden Age, Stockholm, 2019, illustrations, many colour, original cloth or boards with dust-jackets; and c.15 others, mostly Corot and plein-air landscape painting, 4to & 8vo (c.20)
NO RESERVE Impressionism.- Rewald (John) The Paintings of Paul Cézanne: A Catalogue Raisonné, 2 vol., 1996; Paul Cézanne: The Watercolours. A Catalogue Raisonné, 1983 § Grenon (T.) & others. Claude Monet 1840-1926, Paris, 2010 § Hauptman (J.) Georges Seurat: The Drawings, New York, 2007 § Distel (Anne) & others. Gustave Caillebotte: The Unknown Impressionist, original wrappers, 1986 § Schackelford (G.) & C.Frèches-Thory. Gauguin in Tahiti, original wrappers, Boston, 2004 § Föhl (Thomas) Curt Herrmann: Ein Künstlerleben 1854-1929, Stuttgart, 1996 § Tucker (P.H.) The Impressionists at Argenteuil, Washington DC, 2000 § Color, Line Light: French Drawings, Watercolors, and Pastels from Delacroix to Signac, Washington DC, 2012, illustrations, many colour, all but the fourth and fifth original cloth or boards, the first with slip-case, the last three with dust-jackets; and c.35 others on Impressionism and Post-Impressionism, v.s. (c.40)
NO RESERVE Tapestries & Textiles.- Cleland (Elizabeth) & others. Grand Design: Pieter Coecke van Aelst and Renaissance Tapestry, New York, 2014 § Campbell (T.P.) Tapestry in the Renaissance: Art and Magnificence, New York, 2002; Henry VIII and the Art of Majesty: Tapestries at the Tudor Court, New Haven & London, 2007 § Woolley (Linda) Medieval Life and Leisure in the Devonshire Hunting Tapestries, 2002 § Browne (C.) & others. English Medieval Embroidery: Opus Anglicanum, New Haven & London, 2016 § Day (Lewis F.) William Morris and his Art, Easter Art Annual Art Journal Extra Number, 1899 § Seligman (G.S.) & Talbot Hughes. Domestic Needlework, one of 500 copies, light damp-staining to lower outer corner of first few leaves, modern cloth preserving part of original upper cover, [1926], plates and illustrations, many colour, all but the last original cloth or boards, the sixth rubbed and marked, the first five with dust-jackets; and c.15 others on tapestries and textiles, 4to & folio (c.20)
NO RESERVE Blore (Edward) The Monumental Remains of Noble and Eminent Persons..., engraved plates, title lightly soiled, occasional offsetting, very occasional light foxing to plates, upper cover contemporary diced calf, ornately gilt decorative edges, spine and lower cover 20th century roan, inner dentelles to upper cover, 1826 § Hope (Thomas) Costume of The Ancients, 2 vol., plates, some foxing and browning, title torn and repaired, light browned, 20th century calf-backed boards, 1841 § Arnold (Hugh) Stained Glass of the Middle Ages in England and France, colour-printed plates, damp-staining, light foxing, original pictorial cloth, 1913; and a quantity of others, art, art history, architecture etc., v.s. (lge qty)
Bewick (Thomas) History of British Birds, 2 vol., vol.II first edition, second edition of vol.1, title vignette and wood engravings by Bewick, book label to pastedown, previous ownership signature to title, occasional light staining or spotting, contemporary half-morocco, lightly rubbed, 8vo, Newcastle, by Edward Walker, 1804.
Williamson (Capt. Thomas) Foreign Field Sports, Fisheries, Sporting Anecdotes, &c., first edition, 2 parts in 1 including supplement on New South Wales, half-title, 106 fine hand-coloured aquatint plates only after Howitt, Atkinson, Clark, Manskirch etc. (of 110, lacking 4 plates from the main part), some light foxing or soiling but generally clean, wormholes to inner margin at beginning, contemporary ink inscription "Ambrose Godd. Lethbridge 1814" to head of first title and front pastedown and with his bookplate, contemporary half russia, spine gilt, worn, covers detached, [Abbey, Travel 2; Ferguson 577], 4to, E.Orme, 1814-13 [plates water-marked 1811]; sold not subject to return⁂ Superb plates depicting hunting, fishing, whaling, bull-fighting etc. around the world, and including the 10 supplementary scenes of aboriginal hunting and customs.
Italy.- Lear (Edward) Journals of a Landscape Painter in Southern Calabria, first edition, half-title, 2 lithographed maps and 20 tinted lithographed plates, 4pp. advertisements at end, paper guards, one or two frayed at edges, some foxing, map opposite title with light marginal water-staining, original blind-stamped blue cloth, rubbed, corners bumped, rebacked preserving original gilt spine, [Abbey, Travel, 175], large 8vo, 1852.
NO RESERVE World.- Butler (Samuel) An Atlas of Modern Geography, one folding and 21 double-page engraved maps, hand-coloured outlining in contemporary hand, spotting and foxing, contemporary and modern previous ownership inscriptions to pastedown and endpaper, light offsetting, contemporary half morocco, rebacked, lightly rubbed, 4to, 1829.
NO RESERVE World.- Gore (Mrs) Paris in 1841, Heath's Picturesque Annual for 1842, engraved additional vignette title and plates after Thomas Allom, some spotting, later half morocco, g.e., a little rubbed, 1842 § Irving (Washington) The Alhambra, illustrations by Joseph Pennell, light foxing, original decorated green cloth, gilt, g.e., 1896 § Ford (Richard) A Hand-book for Travellers in Spain..., 3 vol., reprint, original rexine, 1966 § Blacker (William) Along the Enchanted Way: A Romanian Story, 2009 § Egremont (Max) Forgotten Land: Journey among the Ghosts of East Prussia, 2011 § Attlee (Helena) The Land Where Lemons Grow, 2014, illustrations, the last three original boards with dust-jackets; and c.30 others, travel, 8vo & 4to (c.35)
Victorian silver pocket watch top wind by Samuel Sharpe, Birmingham 1900, in yew and fruit wood case, similar silver pocket watch by the same hand hallmarked and a Waltham gold-plated half hunter pocket watch (3) - Condition Report Silver cased pocket watch - ticking away - clean dial, the other watch intermittently working light brown spots at 1 'o'clock, Waltham ticking cracks to dial
A pair of early 16th century carved oak tracery panels, circa 1500-30Each with two registers of tracery, one with its uppermost carved with quatrefoils between a pair of twin-light lancet arches, the other with a rose 'window', both with a lower register of five twin-light lancet arches, 29cm wide x 39cm high, (2)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A rare early 18th century sheet and cast brass twin-light wall sconce, Dutch, dated 1719The sheet brass cresting and backplate embossed with flowers, and bosses, and punched 'ANNO 1719', all between a pair of cast brass knopped pillars, the shaped pan with simple flared rim and fitted with a pair of wrapped candle sockets fixed to the pan with tabs and copper rivets, 20cm wide x 9.5cm deep x 36cm high, (7 1/2in wide x 3 1/2in deep x 14in high)Footnotes:Literature:A similar twin-light wall-sconce, dated 1712, is illustrated R. Gentle & R. Feild, Domestic Metalwork 1640-1820 (1994), p. 199, Figure 7 and attributed to England. However, it is now generally agreed that this type of wall sconce is Dutch.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
An early 18th century sheet and cast brass twin-light wall sconce, Dutch, circa 1715The sheet brass cresting and backplate embossed with stars and bosses, all between a pair of cast brass knopped pillars, the rectangular pan fitted with a pair of wrapped candle sockets fixed to the pan with tabs and copper rivets, 21cm wide x 11cm deep x 34cm high, (8in wide x 4in deep x 13in high)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
An early 18th century sheet and cast brass twin-light wall sconce, Dutch, circa 1720The sheet brass cresting with decorative gadroons, the backplate embossed with bosses and with punched hearts, all between a pair of cast brass knopped balustroid pillars, the rectangular pan with folded edge and fitted with a pair of wrapped candle sockets fixed to the pan with tabs and copper rivets, 20cm wide x 9cm deep x 35cm high, (7 1/2in wide x 3 1/2in deep x 13 1/2in high)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
λ Roger Marcel Limouse (French 1894-1990) Jardin du Cap MartinOil on canvas Signed upper right; signed and titled verso120 x 120cm (47 x 47 in.)Condition Report: The canvas is not relined. There are numerous artist's pinholes to each edge and some associated paint loss. The paint is heavily impastoed and there is some light cracking to the paint surface in areas and some scattered specks of paint loss. Otherwise, in good original condition. There is no evidence of retouching visible under ultraviolet light.Condition Report Disclaimer
λ John Shinnors (Irish b. 1950) Rising Kite, Clare Island Cycle Oil on canvas Signed lower right, titled verso 143.5 x 284.5cm (56¼ x 112 in.)Painted in 1998.Provenance: Corporate collection, UKTo view a video of this lot, click here. Born in Limerick in 1950, Shinnors spent time in the early 1970s studying at the Limerick School of Art under influential local artist, Jack Donovan. Combining juxtaposed abstract shapes with familiar motifs such as lighthouses, cattle, sheep, scarecrows and kites, the present work is a seminal example of Shinnor's bold expressive style. He is known for his three-tone colour schemes executed on a large scale and his use of contrast with light and dark pigments lend both balance and a sense of pattern to his work. He has cited Rembrandt and Vermeer as central to his understanding of the interplay between light and shade. Shinnors developed his mature abstract style in the early 1990s moving away from a more realist approach of earlier years. The emblematic kite has since become a recurring theme in his painting and, as the artist himself explained, one that was central to his artistic development: '...I was in Kilkee, out on George's Head. It was a miserable day, with a grey mist over everything. Looking down, there was a tiny white figure moving against the rock, and I saw a flash of yellow in the sky. It was a child playing with a kite, and something clicked. It had all the elements - the human presence, air, sky and sea, a kind of dynamic interaction, and me, an interpreter, which is what I count myself as now...' (Shinnors in conversation with Aidan Dunne, John Shinnors, Gandon Editions, Kinsale, 2002, p.18). The present work, painted in 1998, on the mountainous Clare Island off the coast of County Mayo, returns once again to the powerful image of the kite - in its monumental form, the kite whilst always recognisable, becomes one with the harmonious juxtaposition of shapes and forms that complete the composition. Shinnors has exhibited widely across Ireland, represented by Taylor Galleries in Dublin. His work is held by numerous public and private collections such as the Arts Council of Ireland, Ulster Museum, Belfast, Limerick City Art Gallery and the National Self Portrait Collection. He has also been involved in supporting the visual arts in Ireland with the Shinnors Scholarship for an MA in Curatorial Studies in partnership with LIT, LSAD and Limerick City Gallery of Art and the Shinnors Drawing Award at LCGA. Condition Report: In overall very good original condition. Some (original) traces of pencil in the upper right corner. A few scattered brown spots of surface staining predominately to the area of white paint, lower centre. Unframed as originally intended. Some minor scuffs to the outside edges of the canvas. Some very slight craquelure to the grey paint at the centre of the right hand edge and again to the area of dark blue paint along the left hand edge. Please refer to the department for detailed images of these areas.Condition Report Disclaimer
λ Maggi Hambling (British b.1945)LoversOil on canvas Signed, titled and dated 1977 to canvas verso 52 x 67.5cm (20¼ x 26½ in.)Provenance:Private Collection, Gerald Levin (1934-2020) Gerald Levin was born in Zimbabwe and arrived in London in 1954. He first worked for Basil Spence and was a founding partner of Renton, Howard, Wood, Levin Architects a firm which became synonymous with arts and theatre projects. Gerald was responsible for designs of the Donmar Theatre in London, Royal Concert Hall in Nottingham, Sadlers Wells and many of the practices acclaimed housing projects included The Prudential Building on Euston Road (London) part of Tolmers Square (London) and Earlstoke Estate (London). Gerald was a member of The Architectural Association, President from 1985-1987 and a Life Member. He supported many Arts organisations including LPO, Donmar and Tate Gallery where he was Chairperson of Patrons of New Art 1990-1993 acquiring works of art for their collections and was a driving force behind the instigation of the Turner Prize. Gerald played the Cello and was part of many small groups of string players. Levin was an avid art collector who had many good friends involved in music, art, theatre and ballet including Maggi Hambling, Keith Milow, Yolanda Sonnabend, Derek Jarman, Jane Joseph and Olivia Scholnick whose works of art filled his Covent Garden flat.Condition Report: Light staining and surface dirt throughout, most notable to the lower edge. Otherwise no significant condition issues. Condition Report Disclaimer
λ Vladimir Stribrny (Czech 1905-1970)Two nudesOil on canvasSigned and dated 1928 lower right71 x 71cm (27¾ x 27¾ in.)UnframedCondition Report: Craquelure scattered in patches throughout. One very small loss to the upper right quadrant, hardly noticeable. Surface scratches scattered throughout with one particularly noticeable to the running down the left edge. Two scuffs with possible retouching, visible in natural light, to the lower left quadrant. Inspection under UV reveals a masking green varnish, retouching scattered throughout especially to the red drapery in the background and above the two figures' heads. Condition Report Disclaimer
λ Rebecca Salter (British b.1955)Four Divisions I Woodcut, 199538.1 x 48.3cm (15 x 19 in.)Provenance:Jill George Gallery, London Private Collection, Mr Alan Angas Thorman (acquired from the above in 1996)Condition Report: Executed on hand made paper. There is some discoloration and associated patchy bleaching to the margins of the sheet, predominately to the upper and lower centre of margins. Some light creasing to the sheet at lower left corner in margin and undulation where the sheet has been mounted. Under glass and unexamined out of frame.Condition Report Disclaimer
λ John de Pauley (British b.1963)Archaic Form III, 2009Polished blue lias sculpture on unpolished blue lias baseHeight including base 62.5cm (24 5/8in.)Provenance:The Summerleaze Gallery, Salisbury Private Collection, Keith William Sleeman (1941-2020) (purchased from the above in 2010)Part of a collection of works assembled by Keith William Sleeman (1941-2020). Keith was a founding partner of the architectural firm Lyons + Sleeman + Hoare, retiring in 1980. Following his retirement Keith amassed nearly 200 paintings and sculptures focused primarily on British artists who were either born or lived in the 20th Century. His collection included works by both established and lesser known artists. The collection was proudly displayed in Keith's private residences in Newbury and London where he would take friends, neighbours and family members on 'tours' of his cherished pieces. Condition Report: Very light surface scratches throughout. A few holes, most notably one to the left edge, one to the top and one to the front flat surface. These are part of the stone itself. Condition Report Disclaimer
λ Andrew Hemingway (British b. 1955)The OrchardWatercolour on boardSigned lower right96 x 150cm (37¾ x 59 in.)Please Note: this work is watercolour and not egg tempera as stated in the printed catalogue. Condition Report: Very light undulation to the sheet. Otherwise in original condition. Condition Report Disclaimer
λ Henri Matisse (French 1869-1954) Tete de jeune fille aux sourcils rectangulaires (Duthuit 222) Etching, 1930 Signed in pencil and numbered 8/25 12.5 x 10cm (4¾ x 3¾ in.)Provenance: Sale, Sotheby's London, 27 March 2007, lot 92 The Collection of Jo Wood (acquired from the above) Condition Report: Sheet has slipped in its mount. Light handling creases to the framing edges. Otherwise the work appears to be in good condition. Unexamined out of glazed frame.Condition Report Disclaimer
λ Erté (French 1892-1990)Lady with pearlsGouache on Canson & Mongolfier paper, with their blindstampSigned in white; stamped with signature, 'Erte Romain de Tirtoff' and 'Composition originale' verso and numbered 6/14374 in pencilSheet: 37.5 x 27.5cm (14¾ x 10¾ in.)Condition Report: In generally good condition. Some light staining to edges of sheet and some light surface dirt noticeable to the black paint. Mounting tape adhered to edges of sheet verso and old tape along the upper edge verso. Framed under glass.Condition Report Disclaimer
λ John Emanuel (British b. 1930)Seated figure with bookInk and watercolourSigned lower right40.5 x 29cm (15¾ x 11¼ in.)UnframedProvenance:Sims Gallery, St. IvesJohn Emanuel's natural creativity is inspired by a love of his subject - the figure and the figure embraced by the landscape, has developed into a consistent style. His drawings exhibit a clear, classical form and a simplicity of line which strengthens the relationship between the contours of the figure and the contours of the land. He loves the singular beauty of the Cornish coastline and the extraordinary light. The notion of forms sleeping beneath the earth are a recurring theme. Emanuel works in a variety of media: charcoal, gouache, oils and, more recently mixed media and lino-types, a method he learned from John Wells. His preferred medium is oil paint using hand and mould made papers laid down on archive quality board.
Robert Fogel (British b.1963)Open Edge, 2017Bronze on slate baseStamped with artist's initials and numbered 3/530 x 30cm (11¾ x 11¾ in.)Provenance:Paisnel Gallery, London Private Collection, Keith William Sleeman (1941-2020) (acquired from the above in 2017)Part of a collection of works assembled by Keith William Sleeman (1941-2020). Keith was a founding partner of the architectural firm Lyons + Sleeman + Hoare, retiring in 1980. Following his retirement Keith amassed nearly 200 paintings and sculptures focused primarily on British artists who were either born or lived in the 20th Century. His collection included works by both established and lesser known artists. The collection was proudly displayed in Keith's private residences in Newbury and London where he would take friends, neighbours and family members on 'tours' of his cherished pieces. Condition Report: The work is in need of a light surface polish but otherwise, in good original condition.Condition Report Disclaimer
λ Michael John Crook (British 21st century)Spiral formLacquered wood Signed with initials to underside of base Height including base 89cm (35 in.)Provenance:Private Collection, Keith William Sleeman (1941-2020)Part of a collection of works assembled by Keith William Sleeman (1941-2020). Keith was a founding partner of the architectural firm Lyons + Sleeman + Hoare, retiring in 1980. Following his retirement Keith amassed nearly 200 paintings and sculptures focused primarily on British artists who were either born or lived in the 20th Century. His collection included works by both established and lesser known artists. The collection was proudly displayed in Keith's private residences in Newbury and London where he would take friends, neighbours and family members on 'tours' of his cherished pieces. Condition Report: There are a few light surface scratches to the veneer. Please refer to extra images for further details. Otherwise, in good original condition.Condition Report Disclaimer
λ Michael John Crook (British 21st century)Spiral formLacquered wood Signed with initials to underside of base Height including base 71cm (28 in.)Provenance:Private Collection, Keith William Sleeman (1941-2020)Part of a collection of works assembled by Keith William Sleeman (1941-2020). Keith was a founding partner of the architectural firm Lyons + Sleeman + Hoare, retiring in 1980. Following his retirement Keith amassed nearly 200 paintings and sculptures focused primarily on British artists who were either born or lived in the 20th Century. His collection included works by both established and lesser known artists. The collection was proudly displayed in Keith's private residences in Newbury and London where he would take friends, neighbours and family members on 'tours' of his cherished pieces. Condition Report: A couple of very small surface scratches to the light wood veneer. Otherwise in good original condition.Condition Report Disclaimer
λ Victoria Crowe (Scottish b.1945) On ReflectionOil on linenSigned lower left150 x 150cm (59 x 59 in.)Condition Report: The canvas has not been lined. This work appears to be in good original condition with no evidence of retouching or restoration when examined under UV light. Condition Report Disclaimer
λ Bill Jacklin (British b. 1943) Cherry Tree with Dog, Great Lawn Oil on canvas Signed, titled and dated 99-00 verso 198 x 244cm (77¾ x 96 in.)Provenance: Marlborough Fine Art, London Acquired from the above by the current ownerTo view a video of this lot, click here.Royal Academician Bill Jacklin initially studied graphic design before going back to painting, firstly at Walthamstow School of Art and then the Royal College of Art between 1964 and 1967. Whilst his early work centred on abstraction, from the mid-1970s onwards Jacklin moved towards figuration with a particular pre-occupation with the interplay between light and shadow and movement. The present work depicts Great Lawn, Central Park in New York. Jacklin moved to New York in 1985 where he focussed on producing 'urban portraits' of city life in all its different forms. Jacklin's depiction of Great Lawn owes as much to classical painting and influence of the French impressionists as it does to late the 20th century. His flowing, almost dreamlike figures, so reminiscent of Seurat's pointillist figures from over a century before, endow the work with a timeless quality. The artist captures a moment in time, the blurred figures suspended momentarily, the artist an unseen observer capturing that moment before the characters move along. In her essay from 1999, Phoebe Hoban asserts that Jacklin is "obsessed with the choreography of the moment; its blurred geometry of motion, its fleeting waltz of time." (from The Connected Vision, Marlborough, New York catalogue). The scale of the canvas in Cherry Tree with Dog, Great Lawn serves to envelop the viewer in the scene, inviting us to immerse ourselves for a moment in their world, whilst always remaining an observer. Jacklin was elected Royal Academician in 1991. Condition Report: There is a small concentrated area to the lower right corner where there are four or five isolated spots of flaking, the largest being approx. 2cm long. Also visible along the lower right corner edge are very light traces of uneven varnish. Otherwise, the work appears to be in good original condition with no evidence of retouching or repair when examined under ultra violet light. Condition Report Disclaimer
λ Mildred Bendall (British 1891-1974)Still life with jugs, fruit bowl and fanOil on boardSigned lower left58 x 69cm (22¾ x 27 in.)Condition Report: Executed on a thin board, backed with canvas. There is some light craquelure to the lower left corner and to the upper edge and upper right corner. Otherwise in generally good original condition.Condition Report Disclaimer
λ Raoul Millais (British 1901-1999)Figures by a fountain in a parkOil on canvasSigned lower right18 x 24cm (7 x 9¼ in.)Condition Report: Light surface dirt. Very light rubbing to the edges. One small loss to the right hand lower edge. Canvas taught which is causing a slight bulge to along the right edge. Condition Report Disclaimer
λ Manuel Colmeiro (Spanish1901-1999)Fisherfolk unloading the catchOil on canvas Signed lower right115 x 146cm (45¼ x 57¼ in.)Provenance:The Broadway Gallery Purchased from the above in 1964Thence by descent to the present owner Condition Report: Light surface dirt throughout. Horizontal crease running along the lower edge. Stretcher marks visible. Horizontal shaded line running the length of the canvas about 1/3 from the top edge. A few scattered pools of varnish. Inspection under UV reveals no evidence of restoration or repair. Condition Report Disclaimer
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