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283287 Los(e)/Seite
Los 254
1837 + 1838 A Narrative of Missionary enterprises in the South Sea Islands by John Williams - both rebound the 1837 ed is the 4th thousand and has a Baxter portrait frontispiece and the 1838 is the 6th thousand and has a Baxter Chief of Rarotonga frontispiece t/w 1842 book 'The Martyr of Erromanga' (2nd ed) by John Campbell ~ Missionary John Williams (1796-1839) was eaten by cannibals on the Island of Erromango (Vanuatu) ~ the 1837 book does have a repaired title page
![CANADA Elizabeth II gold proof twenty-five cents 25c 2019 Maple Leaf [24ct 0.5g 11mm] in issue case with certificate of authe](https://cdn.globalauctionplatform.com/19fe02f6-8d64-4ad5-a287-af9c0093db02/559937c1-90a0-491f-a12a-afcf013b81b7/468x382.jpg)
Los 515
CANADA Elizabeth II gold proof twenty-five cents 25c 2019 Maple Leaf [24ct 0.5g 11mm] in issue case with certificate of authenticity from Coin Portfolio Management CPM and a CANADA Edward VII portrait gold plated silver proof twenty dollars $20 2018 110th anniversary of the Canadian Mint [999 31.39g 38mm] in issue case with certificate of authenticity from Coin Portfolio Management CPM. (2)
Los 82
Rosina ROGERS (1918-2011) Landscape with Gold, circa 1960s Oil on board75 x 36cmRosina Rogers was born in Christchurch in 1918. During the 1950s and later she regularly attended art classes at Bournemouth Municipal Collage. At summer schools at Urchfont Manor, Wiltshire, she first met artist Patrick Heron, who was one of the tutors and who later became a friend. Her work of the 1950s was varied with portraits, still-life, landscapes and abstracts. in 1957 she exhibited a portrait "Old Harry" and a lithograph "The Bullfight" at the Royal Academy summer exhibition. During the late 1960s, her work was largely abstract influenced by the St Ives artists of this period.The artist's estate
Los 457
Clare WHITE (1903-1997) Smile Please! St Mark's Venice Watercolour, 38 x 50cm.Clare White captures the moment a couple pose for their portrait in front of St Mark’s Basilica in Venice. Though probably not entirely finished, the beautiful picture conveys the hustle and bustle of tourists at the famous site.From the collection of art historian and curator Andrew Pollard, the proprietor of the Clare White Gallery, who studied and exhibited Clare’s work 2002-2013. Andrew knew White and has been a passionate advocate for restoring the artist to her rightful place in Cornish art history. The works were purchased directly from the artist’s god daughter.
Los 479
Clare WHITE (1903-1997) Pliva waterfalls, Jajce, Bosnia Watercolour, 50 x 37.5cm. To verso there is a pencil sketch of The Minack Theatre, Cornwall. St Ives artist Clare White always painted from life ‘en plain air’ and must have been thrilled to set down her stool and get out her sketchbook, easel and watercolurs to capture this scene in Bosnia Herzegovina. The power of the Pliva waterfalls, with the fragile figures of people admiring them from the rocks below, and the solid and lovely town of Jajce above inspired Clare to create one of very few upright (portrait) paintings. Top to bottom, she captures the scudding clouds, silent towers and the calm of the blue water before it cascades over the falls.From the collection of art historian and curator Andrew Pollard, the proprietor of the Clare White Gallery, who studied and exhibited Clare’s work 2002-2013. Andrew knew White and has been a passionate advocate for restoring the artist to her rightful place in Cornish art history. The works were purchased directly from the artist’s god daughter.
Los 242
Rosina ROGERS (1918-2011) '21' Patterns on White, circa 1960s Oil and found objects on board46 x 61cmRosina Rogers was born in Christchurch in 1918. During the 1950s and later she regularly attended art classes at Bournemouth Municipal Collage. At summer schools at Urchfont Manor, Wiltshire, she first met artist Patrick Heron, who was one of the tutors and who later became a friend. Her work of the 1950s was varied with portraits, still-life, landscapes and abstracts. in 1957 she exhibited a portrait "Old Harry" and a lithograph "The Bullfight" at the Royal Academy summer exhibition. During the late 1960s, her work was largely abstract influenced by the St Ives artists of this period.The artist's estate
Los 146
Rosina ROGERS (1918-2011) Lady in Blue Dress Oil on board40 x 25cmRosina Rogers was born in Christchurch in 1918. During the 1950s and later she regularly attended art classes at Bournemouth Municipal Collage. At summer schools at Urchfont Manor, Wiltshire, she first met artist Patrick Heron, who was one of the tutors and who later became a friend. Her work of the 1950s was varied with portraits, still-life, landscapes and abstracts. in 1957 she exhibited a portrait "Old Harry" and a lithograph "The Bullfight" at the Royal Academy summer exhibition. During the late 1960s, her work was largely abstract influenced by the St Ives artists of this period.The artists estate
Los 490
Clare WHITE (1903-1997) Chartres Street, France Watercolour, signed, 39 x 39.5cm.This early portrait of Chartes was painted in the 1920s / 30s and provides a detailed social history of everyday life there in the early twentieth century. Clare’s love of colour already shines through but with the gentler palette of her earlier years; and her trademark bold outline is already a part of her composition, as is her talent for capturing the movement and concentration of figures with just a few simple brushstrokes.From the collection of art historian and curator Andrew Pollard, the proprietor of the Clare White Gallery, who studied and exhibited Clare’s work 2002-2013. Andrew knew White and has been a passionate advocate for restoring the artist to her rightful place in Cornish art history. The works were purchased directly from the artist’s god daughter.
Los 400
Clare WHITE (1903-1997) Old Stone Arch, The Digey, St Ives Watercolour, signed, 37 x 26.5cm.This is a familiar scene for any visitor to St Ives – the old stone arch over a walkway off The Digey, which connects Porthmeor beach to the town. Probably painted by Clare in the 1950’s it is a timeless portrait of a little nook in the well-loved town. Clare White was an active member of the Cornish arts colony and was the first female president of the Arts Club in the 1951. She mingled with traditional and modern painters, wrote exhibition reviews for local newspapers and was a popular and active member of the community.From the collection of art historian and curator Andrew Pollard, the proprietor of the Clare White Gallery, who studied and exhibited Clare’s work 2002-2013. Andrew knew White and has been a passionate advocate for restoring the artist to her rightful place in Cornish art history. The works were purchased directly from the artist’s god daughter.
Los 444
Clare WHITE (1903-1997) St Marks Venice (double sided) Watercolour, 50 x 38cm.We get a wide-angle view and a more intimate portrait of the beautiful St Mark’s Basilica in this double-sided watercolour by St Ives artist Clare White. She manages to capture the awe-inspiring scale of the building as well as the hushed reverence as visitors pay their respects.From the collection of art historian and curator Andrew Pollard, the proprietor of the Clare White Gallery, who studied and exhibited Clare’s work 2002-2013. Andrew knew White and has been a passionate advocate for restoring the artist to her rightful place in Cornish art history. The works were purchased directly from the artist’s god daughter.
Los 78
Harold KNIGHT (1874-1961) Portrait of Ella Naper, circa 1910 Graphite on paperSigned23 x 16cmExhibited - Penlee Gallery, Penzance - 'Summer in February' 16th of March - 8th June 2013 (label verso)Literature - illustrated page 70 of 'Ella and Charles Naper - Art and Life at Lamorna' by John BranfieldWith the late Maryella Pigott, by descent from the estate of Charles & Ella NaperGenerally in very good overall condition with a little minor foxing (please see images).
Los 445
Clare WHITE (1903-1997) Cornish Family Christmas Watercolour, signed, 36 x 49cm.Clare White was visiting friends one Christmas in the 1970s when she captured this homely festive scene. The warm light from the fireplace illuminates this cosy family portrait, with toys and crackers scattered across the table.From the collection of art historian and curator Andrew Pollard, the proprietor of the Clare White Gallery, who studied and exhibited Clare’s work 2002-2013. Andrew knew White and has been a passionate advocate for restoring the artist to her rightful place in Cornish art history. The works were purchased directly from the artist’s god daughter.
Los 91
Rosina ROGERS (1918-2011) The Nine Maidens, Cornwall, 1963 Oil on canvasSigned and dated verso31 x 41cmRosina Rogers was born in Christchurch in 1918. During the 1950s and later she regularly attended art classes at Bournemouth Municipal Collage. At summer schools at Urchfont Manor, Wiltshire, she first met artist Patrick Heron, who was one of the tutors and who later became a friend. Her work of the 1950s was varied with portraits, still-life, landscapes and abstracts. in 1957 she exhibited a portrait "Old Harry" and a lithograph "The Bullfight" at the Royal Academy summer exhibition. During the late 1960s, her work was largely abstract influenced by the St Ives artists of this period.The artist's estate
Los 77
Dame Laura KNIGHT (1877-1970) Ballerina, circa 1914 Ink on paperSigned13 x 9.8cmProvenance - Maryella Pigott, by descent from the estate of Charles & Ella NaperThis expressive ink drawing was a gift from Laura Knight to her dear, lifelong friend and collaborator Ella Naper.Note: Ella Naper was Laura's friend and near neighbour in the Lamorna Valley in Cornwall. As well as modelling for Laura (she was the model in Knight's seminal 1913 work 'Self Portrait with Model') she was a talented jeweller who had studied under Frank Partridge. Naper and Knight collaborated on a number of enamelled jewels, notably themed with dancers and the ballet, which Laura adored. Knight was an avid admirer of the prima ballerina Pavlova, who this drawing could well be a study of. Ella owned a particularly fine pendant, the central jewel of which was one of Naper and Knight's enamels depicting a ballerina in a similar pose. This sketch is likely to have been a preparatory work for that piece. The pendant has been bequeathed to Penlee House.Another notable enamel, a brooch depicting the dancers Michael Mordkin and Anna Pavlova, was sold at Bonhams in 2017, with an accompanying note to Marjorie Averill, to whom Laura had given it, in which Knight wrote: 'The enamel is Limoges, it is one of about eight I did in the year 1914 with the help of the jeweller, Mrs Ella Naper.'The note suggests that a provisional date of 1914 can be applied to this drawing.This foxed ink drawing is on a page torn from a sketch pad. It has not been examined out of the frame but it is float mounted and so the slightly browned edges can be seen.
Los 25
Rosina ROGERS (1918-2011) Hampreston Church, 1952 Oil on canvasSigned and dated35 x 40cmRosina Rogers was born in Christchuch in 1918. During the 1950s and later she regularly attended art classes at Bournemouth Municipal Collage. At summer schools at Urchfont Manor, Wiltshire, she first met artist Patrick Heron, who was one of the tutors and who later became a friend. Her work of the 1950s was varied with portraits, still-life, landscapes and abstracts. in 1957 she exhibited a portrait "Old Harry" and a lithograph "The Bullfight" at the Royal Academy summer exhibition. During the late 1960s, her work was largely abstract influenced by the St Ives artists of this period.The artist's estate
Los 430
Clare WHITE (1903-1997) Nets and leaning tower, Venice Watercolour, 39 x 51cm.Venetians go about their daily business in this bright canal-side portrait of the city, with a crooked St Mark’s bell tower in the background. Artist Clare White spent so much time seated at her easel that eventually she went unnoticed and was able to capture her subjects at their ease where ever she travelled and painted in Italy.From the collection of art historian and curator Andrew Pollard, the proprietor of the Clare White Gallery, who studied and exhibited Clare’s work 2002-2013. Andrew knew White and has been a passionate advocate for restoring the artist to her rightful place in Cornish art history. The works were purchased directly from the artist’s god daughter.
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