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283287 Los(e)/Seite
Los 370
Harry John Pearson, RBA (British, 1872-1933) Portrait of Miss Audrey Hughes in boy's dress signed lower right "to my friend Steve, H John Pearson, RBA" oil on canvas, unframed 40 x 33cm (16 x 13in) Provenance: A gift to Steven Spurrier from Harry John Pearson, and by descent. Harry John Pearson, RBA (1872-1933) was known mainly for his portrait and figure subjects, especially of children and society women, many of which were illustrated in periodicals of the day such as Colour Magazine and Woman’s Pictorial. He trained at The Royal Academy Schools and spent some time working in The Netherlands prior to World War I. Pearson exhibited at the Royal Academy 1916-1927, and extensively with the Royal Society of British Artists of which group he was elected a full member in 1915. Pearson also showed his work with the Royal Society of Portrait Painters, the Royal Institute of Oil Painters, the Royal West of England Academy, the International Society, the Walker Art Gallery Liverpool and he was President of the Langham Sketch Club. He lived in Ealing, west London and died in March 1933 aged 61 Unframed and with a scratch approx. 3in horizontally across the sitter's shorts. Scuffed around the edges. Inscribed with the artist's address of 23 Fitzroy Square to the reverse.
Los 397
Peter Lloyd-Jones (British, 1940- 2001) Portrait of a Young Girl, head and shoulders, in a grey silk dress oil on canvas, oval 13 x 9cm (5 x 4in) Provenance: Bought directly from the artist by Nicholas and Elisabeth Luard. From the collection of Elisabeth Luard, Brynmeheryn. Unframed and fine.
Los 401
§ Monica Rawlins (Welsh, 1903- 1990) Self-portrait of the artist, 1950, in pearls and a tweed jacket oil and pencil on paper on a bevelled wooden panel, in a green painted and distressed frame 34 x 35cm (13 x 14in) Provenance: From the collection of Elisabeth Luard, Brynmeheryn. Missing glass and dirty.
Los 407
§ Monica Rawlins (Welsh, 1903-1990) Portrait of Pat, aged 7 inscribed lower right "Pat / aged 7" with "Michael, aged 5" to the reverse pencil and watercolour, in a white painted frame 34 x 16cm (13 x 6in) Provenance: From the collection of Elisabeth Luard, Brynmeheryn. Frame a bit wobbly and there is dirt under the glass.
Los 414
§ Robert Colquhoun (Scottish, 1914 - 1962) Portrait of the Devil, bearded and with horns signed lower right "Colquhoun" pen and ink on paper 29 x 26cm (11 x 10in) Provenance: Purchased from Jeffrey Bernard by Nicholas and Elisabeth Luard. From the collection of Elisabeth Luard, Brynmeheryn. Quite dirty.
Los 468
§ Peter Rees Roberts (British, 1923-1998) A Panorama of vignettes of Cambridge oil on panel comprising of two equal sized panels 145 x 540cm (57 x 211in) Provenance: Commissioned for Lloyds Bank, Cherry Hinton, Cambridge, in the 1970s. During the 1970s and 1980s Rees Roberts executed murals for several shipping companies including the Norwegian Viking and Cunard lines. He completed murals for Williams & Glyn's Bank in the City, for Lloyds Banks in Cambridge and Farnham, and for hospitals in Ealing and Guildford Peter Rees Roberts was known in particular for his mural works and for his career as a freelance national press artist in the 1950s. He studied drawing and illustration at Wimbledon School of Art from 1939 to 1941. After being medically rejected for war service, be began to study mural painting under Professor Ernest Tristram at the Royal College of Art, which had transferred to Ambleside for the duration of the war. His paintings from the Ambleside years continued the tradition of earlier Royal College mural painting students such as Evelyn Dunbar and Cyril Mahoney. Like Dunbar, Rees Roberts painted scenes of workers in rural industries, his 1942 tempera panels of The Bobbin Mill at Ambleside being his most ambitious and successful work at the RCA. Stanley Spencer was a strong mural painting influence at the time, but Rees Roberts said that he was more affected by the Mexican artist Diego Rivera. His large painting of a gasworks, also from his time at Ambleside, is a stylised composition of men and machinery that has echoes of films such as Metropolis or Charlie Chaplin's Modern Times. While at Ambleside, Rees Roberts met Ursula McCannell, another Royal College student, and they married in 1945. Shortly before their meeting, Ursula had made a stone head of a handsome man with strong aquiline features - rather prophetically it could almost be a portrait of him. Rees Roberts in turn painted a tempera panel of Ursula in the style of Raphael, a particularly beautiful portrait that marked his feelings for her. After a holiday at Mousehole in Cornwall, they settled in Farnham near Ursula's parents and Peter taught for a while alongside Otway at the Farnham School of Art. After the war, Rees Roberts exhibited at several London galleries including the Modern Art Gallery, the Leger, the Redfern and the New English Art Club. He began to paint more in oils and his pictures, often of Cornish fishermen, became darker and more in tune with the neo- romantic mood of the time. His 1945 self-portrait, The Painter in Mousehole, has a brooding intensity that is reminiscent of the heroic men in Ursula McCannell's early paintings of the Spanish Civil War. The 1948 Picasso exhibition in London made a strong impact on Rees Roberts and his style moved closer to that of his contemporariesRobert Colquhoun and Robert MacBryde. These Cubist-inspired, densely abstracted figurative paintings of the late 1940s gradually became simpler, with an increasingly brighter palette. Through the 1950s and early 1960s Rees Roberts exhibited at the Royal Academy and regularly with the London Group, Unframed. Colours are good. Two holes at the top drilled for fixing.
Los 518
§ Cathleen Mann, RP, ROI (Marchioness of Queensberry) (British, 1896-1959) By the Lake signed lower right "Cathleen Mann 1938" oil on canvas 49 x 59cm (19 x 23in) Cathleen Mann's parents, Florence Sabine Pasely and the painter Harrington Mann taught her to paint, along with portrait painter Ethel Walker. Not only was she an extremely accomplished portrait painter but she was also a costume designer for films, notably "The Iron Duke" of 1935 starring George Airless and "Things to Come" of 1937 starring Raymond Massey. Cathleen Mann actually donated some of her costume designs to the Victoria and Albert Museum so that it was available to the public to see. Cathleen Mann married John Robert Follett before the Second World War, but then tragically Follett died in action which led to his wife having a nervous breakdown, after which she produced her greatest works. She then married again to Francis Kelhead Douglas, the 11th Marquess of Queensberry. Tragically, on 9th September 1959 Cathleen Queensberry committed suicide through overdosing on sleeping pills. A little dirty and in original frame. A small hole to the bottom edge, left of the signature
Los 533
§ Robin Guthrie (British, 1902-1971) Brighton Pier watercolour 26 x 39cm (10 x 15in) Robin Guthrie was a portrait, genre and landscape painter, mural decorator, illustrator and draughtsman. He studied at the Slade School 1918–22 and exhibited at the New English Art Club from 1923, becoming a member in 1928, along with exhibiting at the Royal Academy from 1931. He was Director of the School of the Museum of Fine Arts, Boston, U.S.A., 1931–3, and taught at the Royal College of Art from 1950–1952 and at the City and Guilds School. Some discolouration, torn corners and it is stuck to a piece of board. Pinholes to the corners.
Los 541
§ Steven Spurrier, RA (British, 1878-1961) Portrait of a girl in a white blouse and bobbed hair, 1920s signed lower left "Spurrier" oil on canvas, unframed 61 x 51cm (24 x 20in) Two small holes. Unframed. Reference number NS47 to the reverse. Quite rough canvas which is ridged in places. There is an L-shaped tear to her sleeve. Scuffed edges.
Los 34
Robert Baker (1909-1992), oil on panel, students preparing for a theatrical performance, early 1930s, arched top, 53.5" x 37.75", framed. Baker was given a commission in the early 1930s, instigated by the powerful political insider Thomas Jones, to paint murals at the Welsh working men's college, Coleg Harlech. The murals, produced in-situ in the dining hall, consisted of portraits of Welsh types painted on piers projecting into the room, between which Baker created two landscape panoramas. A second series of murals, consisting of 11 detachable pictures, showed scenes from the daily life of the school, based on the loose narrative sequence of the young miner leaving home to go to the college and his subsequent experience there. This panel, which probably includes a self-portrait of the artist, seated, putting on makeup, shows elements of a raised stage in the foreground, and an animated background scene. Provenance: De-accessioned from Colleg Harlech in 2013. We are grateful to Liss Fine Art for their assistance in cataloguing this work.
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283287 Los(e)/Seite