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Preisdatenbank abonnierenâ–² William Crozier (1930-2011) 'September, Essex', 1959signed 'CROZIER' l.l., mixed media on board29.5 x 35cmProvenance: With Arthur Tooth & Sons Ltd., London. Condition ReportFramed: 32 x 36.5cmCracking in areas, please additional condition images. A little light surface dirt. Seen under uv light, no retiuching shows.
â–² Elsie Marian Henderson (1880-1967) Two tigerspastel23 x 35.5cmProvenance: With Sally Hunter Fine Art, London;Michael Simonow Esq., May 1992.Exhibited: Sally Hunter Fine Art, 'Two Draughtsmen of Style: Nommie Durell & Elsie Henderson', May - June 1992, catalogue no. 46.Condition ReportFramed: 48 x 59cmSmall spots of foxing starting to emerge. Brown spotting in the upper left corner. A diagonal crease mark runs from the upper edge, centre left, to the tail of the standing tiger. A small diagonal fold mark in the lower right corner. A little light smudging to the lower edge. Please see additional condition images. Not viewed out of glazed frame.
â–² Edward Burra (1905-1976) The processionwith 'E J Burra' estate stamp u.r., pencil and watercolour, with a pencil drawing of dancers verso65 x 50cm, unframedProvenance: Sotheby's, London, 'Works from the Estate of Edward Burra, Lady Ritchie of Dundee and Associated Owners', 3 July 2002, lot 256;the property of a private collector.Edward Burra was known for his surreal, satirical depictions of modern life. Born in London and raised in Rye, Sussex, he battled chronic rheumatoid arthritis, which shaped both his lifestyle and artistic practice. Despite physical limitations, he developed a distinctive style, favouring large-scale watercolours. His early work focused on urban nightlife, revelling in the grit and glamour of brothels, bars and cabaret scenes.Burra’s fascination with Hispanic culture led him to Spain in 1933, during the turbulent years of the Second Spanish Republic (1931-1939). The country was undergoing radical political change - secular reforms, social unrest and rising tensions that would eventually lead to civil war. He was captivated by Spain's dramatic cultural traditions, particularly its religious processions, bullfights and theatrical Catholic rituals. Spanish art profoundly influenced him, from the eerie mysticism of El Greco to the stark realism of Goya and Zurbarán. Burra immersed himself in the culture, learning Spanish and surrounding himself with Spanish literature. He also travelled to Mexico, where the vibrant folk traditions and imagery of the Day of the Dead reinforced his fascination with ritual and the macabre.His undated drawing 'The Procession' showcases his signature compositional technique. The eye is led diagonally from the upper left to the lower right, where figures seem to move beyond the paper’s edge. This sense of momentum is key to his later religious-themed works. Burra’s cartoonist-like approach is evident - while most of the piece remains an outline, he selectively colours a few figures, particularly a striking, red-skinned face, adding both drama and mystery. This technique teases the viewer, leaving them wondering how the final piece might have looked, a hallmark of Burra’s ability to balance intrigue and narrative depth.Condition ReportThere are several very small, repaired tears to the upper edge. A few light spots of foxing starting to emerge. Very light surface dirt. There is a little pale yellow discolouration in the lower right corner.
Bruno Breil (German, 1888-1953) A child seated on a chair readingsigned 'Breil' l.l., also faintly signed and inscribed in German on stretcher verso, oil on canvas56 x 50cmCondition ReportFramed: 78 x 71.5cmat Unlined. The canvas tension is a little loose to the touch. There is a noticeable 2cm x 4cm L-shaped tear in the lower right quarter. A little very fine cracking is starting to emerge in places but can only be seen on very close inspection. A tiny abrasion in the extreme upper left corner. UV light shows some patching to the girls arm and to the lower quarter of the painting. In natural light there is not obvious retouching. Please see condition images.
Roman Kravchuk (Ukrainian, contemporary) Portrait of a young girlsigned in Cyrillic l.l., also signed and inscribed in Cyrillic and dated '2004' verso, oil on canvas70 x 53.5cmCondition ReportFramed: 79x 63cmA little light surface dirt. The finish is slightly uneven in places. Not examined under UV light, for a full report please contact the department. Ready to hang.
George Leslie Hunter (1877-1931) 'Largo Harbour'signed 'L. Hunter' l.r., oil on canvas board30 x 41cmGeorge Leslie Hunter's 'Largo Harbour' captures the serene beauty of the Fife coast, an area the artist visited regularly following the First World War. Favoured locations like Lower Largo, nearby Drumeldrie, and villages along the East Neuk coast, including Ceres, provided an abundance of inspiration for his landscapes. The light, the shifting hues of the sea, and the unique colours of the limewashed houses with their red pantile roofs were likely key attractions, offering a rich palette for his work. These coastal and rural scenes continued to be a popular subject for Hunter, and indeed, for generations of artists, drawn to the region's charm and varied landscape. While Hunter's Fife paintings enjoyed commercial success, his 1922 and 1923 visits to Italy marked a shift in his approach to light and colour. His time in Italy significantly influenced his palette, and in a letter to fellow artist Matthew Justice in 1923, he noted his disappointment in finding that the light in Fife no longer suited his artistic vision as it once had. Nevertheless, Hunter continued to return to Fife for its rustic beauty, producing coastal and rural scenes until at least 1926. In this work, one can observe the influence of his Italian travels, with the vibrant blues in the depiction of the water reminiscent of the bright Mediterranean hues of his Italian works. The fusion of Scottish coastal inspiration with the refined colour palette honed in Italy reveals a pivotal moment in Hunter's artistic evolution, where his work bridges the Scottish landscape with the warmer tones he encountered abroad.Condition ReportFramed: 42 x 52cmPresents well overall. A little rubbing to the extreme edges. There is a thin vertical line of abrasion 6cm in length to the left edge, lower centre. The texture of the canvas is visible in areas where the paint has been thinly applied and this is believed to be the artist's intention rather than a later issue with condition. Not examined under UV light, for a full report please contact the department.
Yuri Matushevski (1930-1999) 'The Autumn'signed in Cyrillic and dated '64' l.l., oil on card56 x 75cmCondition ReportFramed: 67.5 x 86.5cmTiny pinholes to the upper corners and centre of the top edge. A couple of minor losses to the top edge. Presents well overall and ready to hang. Not examined under UV light, for a full report, please contact the department.
â–² Henry Moore OM CH FBA (1898-1986) 'Three Reclining Figures' (CGM 290)lithograph in colours, signed and dated 'Moore/73' in pencil l.r.sheet 57.5 x 47cm, unframedProvenance: The Estate of Stanley Jones MBE RE.There is the opportunity for this lot to be embossed with 'Estate of Stanley Jones' blind stamp after purchase.Condition ReportThe print is unnumbered. Light handling creases to the margins. The printed area appears to be in good condition.
â–² Guy Taplin (b.1939) 'Curlew'carved and painted driftwood on a metal and driftwood base, signed 'GUY TAPLIN' and inscribed with title on base61cm high overallProvenance: From a private collection.Condition ReportA little light rubbing to the gesso on the tail. There is a join in the neck and another at the top of the beak which appear to be original. There are fine cracks running across each side of the body. There is a further slightly wider crack at the base of the neck on top of the body, and another to the underside of the body, however the wood appears sound, please refer to illustration. For a more detailed report and additional images please contact the department.
â–² Elizabeth Blackadder (1931-2021) 'Four Fish'screenprint in colours, 2013, signed 'E. Blackadder' in pencil l.r. and numbered '51/80', published by Glasgow Print Studio, with blind stampsheet 54 x 43.5cmCondition ReportFramed: 59 x 49cmThe print is stuck down in the corners and the sheet had light undulations to the upper and lower edges. Appears to be in otherwise good condition and ready to hang. Not viewed out of glazed frame.
Gabriel Custodio (Philippines, 1912-1993) A market in the Philippinessigned and dated 'G Custodio/5/59' l.r., oil on canvas86 x 122cm Condition ReportFramed: 99 x 134cmThe canvas tension is a little loose to the touch, however in our opinion this is not noticable when the work is viewed on the wall. Overall the work presents well without any obvious defects. Examined under UV light no retouching shows.
â–² William Scott RA (1913-1989) White, Umber and Grey, 1962signed 'W. Scott' l.r., gouache49 x 61.5cmProvenance: Sotheby's, London, November 1996, lot 78;with Hanover Gallery, London;Design Research Unit, acquired from the above;Sotheby's, London, 14 March 1979, lot 197;a private collection;Sotheby's, London, 'Modern & Post-War British Art', 27 November 1996, lot 78;the property of a private collector.Condition ReportFramed: 70 x 81cmRippling to the edges of the sheet. A little time staining with a faint border of discolouration around the edges, please refer to illustration. The sheet appears to be stuck down to the mount in several places around the edges, but does not appear to be laid down. Deckled edges. Presents well overall and ready to hang. Not viewed out of perspex glazed frame. Perspex has light scratches in upper right.
â–² Roger Hilton (1911-1975) Untitled pen 20 x 25cmProvenance: The estate of the artist;with Jonathan Clark & Co. Fine Art, London;the property of a private collector.Exhibited: Tate, St Ives, 'Into Seeing New: Roger Hilton', 7 October 2006 - 21 January 2007.Condition ReportFramed: 32.5 x 37.5cmCirca 1960s. A small ink mark in the upper right corner. 4cm horizontal crease mark just below the upper edge, centre left. Light creasing in the lower left corner. Slight impressions where stuck down with tape in corners verso. An extremely faint fingerprint to the upper edge, centre right. Presents well overall. Not viewed out of glazed frame.
â–² John Piper CH (1903-1992) 'Malmesbury, Wiltshire: The South Porch' (Levinson 129)lithograph in colour, 1964, signed 'John Piper' in pencil l.r., with Archive of Stanley Jones blind stampsheet 81.5 x 59cm, unframedProvenance: The Estate of Stanley Jones MBE RE.There is the opportunity for this lot to be embossed with 'Estate of Stanley Jones' blind stamp after purchase.Condition ReportUnnumbered. Light creasing. Faint dirty marks and smudges to the top edge. A small rip to the bottom of the right edge. The deckled left edge has been unevenly torn and the extreme lower left corner of the sheet is missing.
â–² Eric Shanes (1944-2017) 'Olympiad 1: Jump';'Olympiad 3: Lift';'Olympiad 5: Run';'Olympiad 1: Jump'four screenprints in colours, each signed and dated 'Eric Shanes 72' in pencil l.r., inscribed with title and individually numbered from an edition of 75, created for the occasion of the 1972 Olympics in Munich75.5 x 76cm and similar, unframed (4)Condition ReportFaint dirty marks to the margins. Light creasing. There are a few lines where the ink is a little raised, presumed to be a result of the printing process. Minor surface scratches. One of the 'Olympiad: 1 'Jump' prints has brown marks at the top of the left edge and a small rip and creasing to the centre of the right edge. The other Jump print has some cracking to the ink on and around the figure at the top.
Yuri Matushevski (1930-1999) 'Birch Trees In Winter'signed in Russian and dated '83' l.r., oil on board50 x 70cmCondition ReportFramed: 61.5x 81cmA small pin hole in the upper left corner. Appears to be in otherwise good order. Not examined under UV light, for a full report please contact the department.
Serge Marshennikov (b.1971) 'Innocent Dreams'signed in Cyrillic l.l., also signed and dated 'Serge Marshennikov/2013' verso, oil on canvas60 x 70cmCondition ReportFramed: 75 x 85cmThe canvas tension is a little loose with slight undulations to the edges, however in our opinion this is not overly obvious when the work is viewed on the wall. Overall the work presents well and viewed under UV light no retouching shows. Please see additional condition images.
â–² Laurence Stephen Lowry RA (1887-1976) Houses by a roadsigned with initials l.l., and dated '1930' l.r., pencil13 x 18cmProvenance: Phillips, London, '20th Century British and Irish Art', 4 December 2001, lot 100.Condition ReportFramed: 32.5 x 37cmLaid down. The edges are a little uneven. Light foxing starting to emerge in places. A little time staining. Dirty marks and smudges with some small dark speckles, please refer to illustration. Not viewed out of glazed frame.
▲ Edward Bawden RA (1903-1989) 'The Gnat and the Lion' (MG 090)linocut in colours, 1970, from ‘Aesop's Fables', signed 'Edward Bawden' in pencil l.r., inscribed with title and numbered 'Artist's proof 18/50'image 56 x 40.5cmCondition ReportFramed: 65 x 77.5cmA little light discolouration to the margins. On very close inspection there are a couple of fine colourless lines/ indentations to the unprinted area in the upper right, however in our opinion this is not overly distracting. The work presents well overall and is ready to hang. Not viewed out of glazed frame.
â–² Roger Hilton (1911-1975) Untitlednumbered '171' u.r., conté25.5 x 20cm, unframedProvenance: The estate of the artist and part of a collection of 27 drawings belonging to Fergus Hilton;with Jonathan Clark & Co. Fine Art, London;the property of a private collector.Literature: 'Roger Hilton: Night Letters', edited by Timothy Bond, published by Archive of Modern Conflict, 2009, illustrated p.61.Condition ReportMounted: 34.5 x 40.5cmSmudging in areas, please refer to illustration. A little faint foxing starting to emerge. A tiny abrasion to the surface of the paper in the upper left between the drawn lines. Light creasing. Stuck down along the left edge.
â–² Aubrey Williams (Guyanese-British, 1926-1990) 'Solar I' signed and dated 'Aubrey Williams/66' l.r., also signed and inscribed with title verso, oil on canvas 60.5 x 46cm, unframed Provenance: Given to the vendor's late father by the artist. The vendor's parents were neighbours with Williams in London in the 1960s, and the artist's daughter and the vendor attended kindergarten together. Condition ReportSurface dirt. Scuffs and scratches. The paint is thin in areas. There is a white area in the centre of the work where it appears the thick impasto has been heavily compacted. The paint is cracked in this area revealing lighter paint beneath. Not examined under UV light, for a full report please contact the department.
â–² Raymond Campbell (b.1956) Still life with orange, raspberries, nuts and grapessigned 'Raymond Campbell' l.r., oil on board14 x 22cmProvenance: With Bourne Gallery.Condition ReportFramed: 29.5 x 37cmAppears to be in good condition. Not examined under UV light, for a full report please contact the department.
â–² Roger Hilton (1911-1975) 'Entwined Couple', c.1970scharcoal29 x 22.5cmProvenance: The estate of the artist;with Jonathan Clark & Co. Fine Art, London;the property of a private collector.Literature: 'Roger Hilton: Night Letters', edited by Timothy Bond, published by Archive of Modern Conflict, 2009, illustrated p.140.Condition ReportFramed: 41 x 34.5cmA little time staining and light creasing. Slight marks in the corners and around the edges where the work has been affixed with small pieces of tape verso. Not viewed out of glazed frame.
â–² Graham Sutherland OM (1903-1980) 'Clegyr-Boia 1, Landscape in Wales', 1936etching and aquatintplate 20 x 15cm, unframedProvenance: The Estate of Stanley Jones MBE RE.There is the opportunity for this lot to be embossed with 'Estate of Stanley Jones' blind stamp after purchase.Condition ReportSheet: 29 x 22cmTime staining with a little foxing starting to emerge. Light creasing to the margins and corners. Diagonal folds to the lower corners.
â–² Roger Hilton (1911-1975) Untitledconté25.5cm x 20cm, unframedProvenance: The estate of the artist and part of a collection of 27 drawings belonging to Fergus Hilton;with Jonathan Clark & Co. Fine Art, London;the property of a private collector.Literature: 'Roger Hilton: Night Letters', edited by Timothy Bond, published by Archive of Modern Conflict, 2009, illustrated p.108.Condition ReportMount: 40.5 x 34.5cmThe conté is lightly smudged in areas, please refer to illustration. Faint brown speckles to the lower third. A light brown stain in the lower right corner. Stuck down along top edge with minor discolouration to the extreme edges in the upper left corner.
â–² Roger Hilton (1911-1975) Untitledconté20 x 25.5cm, unframedProvenance: The estate of the artist and part of a collection of 27 drawings belonging to Fergus Hilton;with Jonathan Clark & Co. Fine Art, London;the property of a private collector.Literature: 'Roger Hilton: Night Letters', edited by Timothy Bond, published by Archive of Modern Conflict, 2009, illustrated p.202.Condition ReportMount: 34.5 x 40.5cmSmudging and light fingerprints. Handling creases. Two diagonal fold marks to the upper right. Small faint speck of discolouration to the extreme edges. Stuck down along top edge.
Averil Burleigh ARWS (1882-1949) 'Harvesters'oil on canvas laid on board48 x 58cmProvenance: With Simon Carter Gallery, Woodbridge, Suffolk.Condition ReportFramed: 66 x 74cmA little light surface dirt. Speckles of faint spotting in the sky. Not examined under UV light, for a full report please contact the department.
▲ Rudolph Ihlee (1883-1968) The outskirts of Collioure (Les Alentours du village), 1926oil on canvas51 x 61cmExhibited: Salon d’Automne, 1926.Literature: James Trollope, 'Rudolph Ihlee: The Road to Collioure', published by Lund Humphries, 2022, listed page 116. Condition ReportFramed: 67 x 77cmSmall losses and light surface scratches in the lower right corner. Not examined under UV light, for a full report please contact the department.
â–² Bryan Kneale RA (b.1930) 'The River Margin'signed 'BRYAN KNEALE' on stretcher verso, oil on canvas46 x 102cmProvenance: The Redfern Gallery, London;purchased from the above by the vendor's father-in-law in 1954.Condition ReportFramed: 57 x 113.5cmA slight bump in the canvas at the base of the neck. Small scattered losses with the potential for flaking in line with the stretcher along the top edge. Fine cracking in areas. Light surface dirt. Not examined under UV light, for a full report please contact the department.
â–² Roger Hilton (1911-1975) Untitled, c.1970scharcoal29 x 22.5cmProvenance: The estate of the artist;Jonathan Clark & Co. Fine Art, London;the property of a private collector.Condition ReportFramed: 41 x 34.5cmLight cockling. Slight time staining with a very faint border of discolouration around the edges. A few small scattered dark spots with a little light surface dirt and smudging, please refer to illustration. Slight marks in the corners and around the edges where the work has been affixed with small pieces of tape verso. Not viewed out of glazed frame.
▲ Reg Gammon (1894-1997) Figures on a mountain pathsigned 'Gammon' l.r., oil on board45 x 57cmProvenance: The collection of Robert and Jenny ​Borgerhoff Mulder.Condition ReportFramed: 57.5 x 69cmA tiny loss to the sleeve of the man on the left side. Appears to be in otherwise good order. Not examined under UV light, for a full report please contact the department.
Eric Ravilious (1903-1942) 'Clerical Outfitter'lithograph in colours, from 'High Street' by J M Richards, printed by the Curwen Press and published by Country Life, London, 1938visible 22 x 14cmCondition ReportFramed: 43 x 30.5cmLight handling creases to the corners. Faint dirty marks to the lower edge. Not viewed out of the perspex glazed frame. Presents well overall and ready to hang.
â–² Patrick Procktor RA (1936-2003) 'Felix Man in his Eightieth Year'signed and dated Patrick/Procktor/1972' l.r., and inscribed with title, watercolour43 x 31.5cm, unframedProvenance: The collection of David and Sandy Fuller.Condition ReportA little light cockling. Some faint smudges/ light spots of paint. Presents well overall.
â–² Théo Tobiasse (French, 1927-2012) 'Les Bergers de New York' signed 'theo tobiasse' u.l., inscribed with title u.r. and dated '69' c.r. edge (beneath arm), oil on canvas65 x 81cmProvenance: With Madden Galleries, London.Condition ReportFramed: 86 x 102cmA little rubbing to the extreme left edge. Appears to be in otherwise good condition. The work has a very glossy, textured surface finish. Please see additional condition images. Examined under UV light no obvious retouching shows.
â–² Francis Russell Flint (1915-1977) Still life with daffodilssigned 'FRANCIS R. FLINT' l.r., also signed and inscribed verso, oil on canvas51 x 61cmCondition ReportFramed: 64 x 74.5cmInscribed verso with the artist's address in Coffinswell, Devon where he is known to have lived in the 1940s. Unlined. A little light surface dirt, however appears to be in otherwise good order. Not examined under UV light, for a full report please contact the department.
â–² Roger Hilton (1911-1975) Untitled, 1972-1973conté24 x 19cmProvenance: Barry Flanagan, London;the property of a private collector.Condition ReportFramed: 41.5 x 36cmThere are some fine colourless lines/ indentations across the work which appear to pressure marks from another drawing, please refer to illustration. A couple of very small brown marks. Light pencil cross hatching to the upper edge, centre left. Very slight rippling to the sheet visible under raking light. Presents well overall and ready to hang. Not viewed out of glazed frame.
Bob Dylan (American, b.1941) 'Woman in Red Lion Pub - Portfolio'a set of four giclée prints in colours, 2008, each signed 'Bob Dylan' in pencil l.r., and numbered '263/295', printed by GTZ Fine Art Editions, New York, on Hahnemühle 350gsm Museum Etching, published by Washington Green Fine Art in association with Black Buffalo Artworks, complete with Washington Green Fine Art blind stamps, certificates of authenticity, and in original portfolio as issuedsheet 69.5 x 55.5cm, unframed (4)Provenance: Purchased from Halcyon Gallery, London.Condition ReportPROVENANCE: With certificates of authenticity.The prints appear to be in good condition. In raking light the portfolio has a couple of very light, superficial surface scratches, and the extreme upper left corner is a little dented. The prints are unaffected. Please see additional images.
â–² Josef Herman RA (Polish-British, 1911-2000) Teacher with studentpen and ink and wash19 x 24.5cmCondition ReportFramed: 37 x 41cmA little time staining with a small square of very faint discolouration in the upper right corner. Minor undulations and a little very light creasing in the upper right quarter, however presents well overall. Not viewed out of glazed frame.
Eric Ravilious (1903-1942) 'Hams'lithograph in colours, from 'High Street' by J M Richards, printed by the Curwen Press and published by Country Life, London, 1938visible 22 x 14cmCondition ReportFramed: 43 x 30.5cmLight handling creases visible to the unprinted areas around the edge. A very faint brown mark in the lower right corner. Not viewed out of the perspex glazed frame. Presents well overall and ready to hang.
â–² Joseph Klibansky (Dutch, b.1984) 'Leap of Faith', 2019 polished bronze, signed 'Joseph Klibansky', numbered '20/20' and dated '09-09-2022' on top of backpack 45cm wide 80cm deep 69cm high 180cm high overall, on a white plinthSouth African-born Joseph Klibansky is a contemporary artist based in Amsterdam. Known for his innovative approach, Klibansky blends traditional artistic techniques with cutting-edge digital technology to create captivating works of art. His sculptures, often crafted from polished bronze, are celebrated for their reflective surfaces and playful yet thought-provoking themes. As in the present lot he often blends traditional craftsmanship with modern aesthetics. In 'Leap of Faith' we see a spaceman attempting to take 'one giant leap for mankind' but is weighed down by a crucifix on his back. The sculpture explores themes of courage, risk and transformation, which are often central to Klibansky's work.Condition ReportPlinth: 34 x 74 x 110cmPresents well overall. A little light surface dust and dirt. Tarnishing with light surface scuffs and scratches to the crucifix. Some tarnishing to spaceman. No obvious major condition issues visible on inspection. Please see additional condition images.
â–² Fernandez Arman (French-American, 1928-2005) 'Harpe de Couleurs' (Harp of Colours), 1975screenprint in colours on three sheets of Plexiglas, printed signature l.l., inscribed 'Artcurial' and numbered '469/2500' to base, published by Artcurial, Paris31cm wide14.5cm deep68cm highProvenance: The Property of a European Collector.Condition ReportA little surface dust and dirt. Light surface scuffs and scratches to the base. For a full report please contact the department.
â–² Vasilis Zenetzis (Greek, 1935-2016) 'The Parthenon from Philopappou Hill'signed in Greek l.r., also inscribed verso, oil on canvas50 x 40cmProvenance: Acquired directly from the artist.Exhibited: Matala Gallery, Athens, catalogue no. 37, the Athens Olympiad, 2004.Literature: Peter Constant, 'Zenetzis: Impressions of Hela', 2020, p.225, illustrated.Condition ReportFramed: 68 x 58cmAppears to be in good condition. Well preseted and ready to hang. Not examined under UV light, for a full report please contact the department.
â–² Roger Hilton (1911-1975) Untitledcharcoal20 x 25cm, unframedProvenance: With Jonathan Clark & Co. Fine Art, London;the property of a private collector.Condition ReportA vertical crease 7cm in from the left edge. A little time staining and foxing starting to emerge at the edges. Small brown mark in the lower right, possibly tape residue (?). Light smudging in places. There are some fine colourless lines across the work which appear to be impressions of another drawing.
â–² Jean Margaret Peace (1915-1989) Victoria Park under snow, 1951signed 'J. M. Peace' l.r., watercolour37.5 x 47.5cmCondition ReportFramed: 51.5 x 64cmThere is some discolouration and the work has an overall light brown hue, please refer to illustration. A couple of pale marks above the trees in the upper left and a small black dot in the centre of the pond. Not viewed out of the glazed frame.
â–² John Banting (1902-1972) 'One Man Band' signed and dated 'John Banting/1950' l.r., also signed, inscribed with title and dated on backboard verso, oil on board42 x 49cmCondition ReportFramed: 55 x 62cmA small dark mark where there are white wave lines over blue, upper centre.A little light surface dirt. Appears to be in otherwise good order. Not examined under UV light, for a full report please contact the department.
â–² David Bailey (b.1938) 'Box of Pin-Ups', 1965thirty-six half-tone prints, with the biographical details of each sitter printed on the reverse of each print, printed by Weidenfeld & Nicolson, London, and contained in the original card box, signed to the reverseeach approximately 37 x 32cmProvenance: Sotheby's, New Bond Street, 'Made in Britain II', 13 September 2017, lot 175;The David and Pam McCleave Collection of Modern British Art.Literature: Martin Harrison, 'David Bailey: Archive One, 1957-1969', Thames & Hudson, London, 1999, ill. pp.157, 169, 175, 177, 179 and 181;David Bailey, 'Bailey's Stardust', National Portrait Gallery, London, 2014, ill. pp.191-197.Condition ReportThe prints appears to be in good condition overall. Light handling creases, only visible in raking light. The box has some discolouration with surface dirt, staining and abrasions to the reverse. The edges and corners of the box are worn with a tear to the upper left corner.
â–² Ian Parker (b.1955) A basket of strawberries;A bowl of plumsa pair, both signed 'I PARKER' l.r., oil on canvas board 23.5 x 31.5cm (2)Condition ReportFramed: 37 x 44.5cmA little light surface dirt. A couple of small spots of abrasion with possible retouching are visible to the background of both works. Not examined under UV light, for a full report please contact the department.
... Crozier (20th century) Farmhouse viewsigned 'Crozier' l.r., oil on board40 x 47cmCondition ReportFramed: 56 x 47cmLight surface dirt. A little vertical cracking to the lower half. There are some small unpainted spots where the board shows through, which is believed to be the intention of the artist rather than a later issue with condition. Examined under UV light no retouching shows.
â–² John Bratby RA (1928-1992) 'The Red Venetian Canal: Gore Vidal'signed 'Bratby' l.r. and also u.l., oil on canvas121.5 x 91cmExhibited: Royal Academy Summer Exhibition 1985, catalogue no. 646.This lot includes a Royal Academy Summer Exhibition 1985 catalogue, and five signed letters on headed paper from the artist to the buyer of the work.Condition ReportPROVENANCE: Exhibition catalogue and letters.Framed: 122.5 x 92cmAppears to be in good condition. Examind under uv light, no retouching shows. Please see detail condition report images.
Eric Ravilious (1903-1942) 'Theatrical Properties'lithograph in colours, from 'High Street' by J M Richards, printed by the Curwen Press and published by Country Life, London, 1938visible 22 x 14cmCondition ReportFramed: 43 x 30.5cmLight creasing visible to the top and bottom edges. There are some brown spots at the bottom of the sheet, please refer to illustration. Not viewed out of the perspex glazed frame. Well presented and ready to hang.
Eric Ravilious (1903-1942) Fireworkslithograph in colours, from 'High Street' by J M Richards, printed by the Curwen Press and published by Country Life, London, 1938visible 22 x 14cmCondition ReportFramed: 43 x 30.5cmLight handling creases to the edges. A faint dirty mark (possibly a finger print) to the centre of the lower edge. Not viewed out of the perspex glazed frame. Presents well overall and ready to hang.
▲ John Piper CH (1903-1992) 'Ruined Church, Bawsey’ (Levinson 341)screenprint in colours, 1982, signed 'John Piper' in pencil l.r., and numbered '38/100', printed at Kelpra Studio, London, with blind stamp, published by Christie's Contemporary Art, Londonsheet 54.5 x 69.5cmCondition ReportFramed: 60 x 74.5cmA little light rippling to the left margin and the edge of the print. There is slight discolouration to the extreme edges of the sheet. The margins have some timestaining and mottling. The colours are bright. There are some thunderbugs trapped behind the glazing but the printed area does not appear to be affected. Not viewed out of glazed frame.
â–² Roger Hilton (1911-1975) Untitled (seated figure)charcoal20 x 25cmProvenance: The estate of the artist;Jonathan Clark & Co. Fine Art, London;the property of a private collector.Exhibited: Tate, St Ives, 'Into Seeing New: Roger Hilton', 7 October 2006 - 21 January 2007.Condition ReportFramed: 32.5 x 37.5cmCirca 1960s. A little smudging however presents well overall. A tiny handling crease to the centre of the lower edge and a very light crease mark running parallel to the left edge. Slight impressions where stuck down with tape in corners verso. Faint discolouration to the extreme upper left corner. Ready to hang. Not viewed out of glazed frame.
â–² Elvic Steele (1920-1997) Hoarding insectsoil on board 45 x 61cmExhibited: The Medici Gallery in association with Sally Mitchell Fine Art, 'Joan Warburton and The Benton End Effect', March 2014, catalogue no. 69.Condition ReportFramed: 61 x 76.5cmPresents well overall. Not viewed out of glazed frame or examined under UV light, for a full report please contact the department.
â–² Alfred Hofkunst (Austrian, 1942-2004) 'Die Naht' (the seam)signed and dated 'A Hofkunst 70' l.c., pencil and collage79.5 x 59.5cm Condition ReportFramed: 81 x 61cmCrescent shaped creases. Small dirty marks and smudges in the upper left quarter. There are a few small, scattered dark speckles. A little light surface dirt around the edges. Not viewed out of glazed frame.
â–² Banksy (b.1974) 'Golf Sale' screenprint, 2003, stamped with 'BANKSY' tag in red ink, numbered '388/750', published by Pictures on Walls, London sheet 34 x 48.5cm This lot is accompanied by a Certificate of Authenticity issued by the Pest Control Office. Condition ReportPROVENANCE: With certificate of authenticity. Framed: 54 x 67cm Presents well overall. A little faint surface dirt to the lower edge. On close inspection under raking light there are some light superficial surface scratches to the black ink, however in our opinion this does not detract from enjoyment of the work. The print has been mounted with tape applied to the reverse of the top edge.
â–² Roger Hilton (1911-1975) 'Red and Orange'signed with initials and dated '74' l.r., charcoal, gouache and pastel44 x 34cmProvenance: The estate of the artist;Jonathan Clark & Co. Fine Art, London;the property of a private collector.Exhibited: Newlyn Art Gallery, Newlyn, 'Roger Hilton: A Centenary Celebration', 29 January - 2 May 2011.Literature: 'Roger Hilton: Night Letters', edited by Timothy Bond, published by Archive of Modern Conflict, 2009, illustrated p.179.Condition ReportFramed: 58 x 47cmPinholes to corners. Very light time staining. The right edge is deckled and uneven at the bottom. A little smudging to the orange pastel in the lower right. Minor handling creases. Faint dirty marks and smudges, however presents well overall and ready to hang. Not viewed out of glazed frame.
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