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315251 Los(e)/Seite
Los 1097
VIETNAMESE SCHOOL; modern oil on canvas, landscape with figures, thatched cottages and mountains in the distance, indistinctly signed lower right, 80 x 118cm, framed, with an oliographic print of a harvest scene (2).Condition Report: The large oil is generally in good condition, the oliograph with wear to the frame and general discolouration.
Los 1117
†LAURENCE STEPHEN LOWRY RBA RA (1887-1976); limited edition colour print, St Luke’s Church, signed in pencil, 835/850, with blind stamp, published 1973 by kind permission G.R. Mellor Esq, 64 x 47cm, framed and glazed.Condition Report: Image is clean and bright, the frame with some wear to the corners.
Los 1118
†LAURENCE STEPHEN LOWRY RBA RA (1887-1976); colour print, ‘The Cart’, signed in pencil lower right and with Fine Art Trade Guild blind lower left, initialled ‘BKD (184)’, 52 x 41cm, framed and glazedProvenance: From a private Cheshire vendor, believed purchased in the 1970s.Condition Report: The print appears to be clean and bright, the blue mount is closely mounted to the bottom edge and part of the Fine Art Trade Guild blind stamp is slightly obscured, frame with light wear.
Los 1119
†LAURENCE STEPHEN LOWRY RBA RA (1887-1976); pencil signed limited edition print, Great Ancoats Street, (Manchester), signed and no.74/850, 29 x 38cm, framed and glazedProvenance: Complete with copy of bill of sale, dated 25.8.73 for the sum of £30. we cannot remove the print from the frame for photography. Condition Report: The frame with light wear, the print is in good condition.
Los 1137
†VINCENT KAMP; signed limited edition print, ‘Queen of Diamonds’, 33/95, 57 x 85cm, framed and glazed. Condition Report: Image in good condition. Minor wear around the frame. This lot qualifies for Artist Resale Rights. For further information, please visit https://www.dacs.org.uk or https://artistscollectingsociety.org
Los 1140
†HAROLD FRANCIS RILEY BL.D. Litt FRCS (HON) DFA ATC (born 1943); pencil signed print, 'The Virgin Mary', signed and dated '88, 14.5 x 11.5cm, framed and glazed, a pencil signed Christmas Card for Pendlebury Children's Hospital, signed 20 x 14.5cm, with a D Johnson pastel, 'The Britannia', signed and dated '74, 15 x 25cm, framed and glazed (3)
Los 1154
TREVOR GRIMSHAW (1947-2001); an unsigned print, ‘Northern Townscape’, together with two further examples, size of largest 55 x 46cm, unframed (3).Condition Report: The prints are not stamped. The largest with a hirizontal crease and marks throughout the edges. All a little grubby. The largest more so.
Los 86
Joseph Tudor (c.1695 - 1759)View of Dublin from the Phoenix Park Watercolour, 16.5 x 28.5cm (6½ x 11¼")Inscribed: View of DublinProvenance: With Hazlitt, Gooden & Fox, London from who acquired Sir Jack Baer (1924 - 2016) and from whose estate acquired by the present owner.A rare example of Joseph Tudor’s art dating from 1753 or a little earlier, this sheet is the preparatory drawing for his known well-known view of Dublin from the Phoenix Park which was engraved in London by James Mason and published by Laurie & Whittle as A Prospect of the City of Dublin, from the Magazine Hill, in his Majesty’s Phoenix Park. This was one of six views of the city after drawings by Tudor, titled, in French, Six points de Veue d’edifices publics et remarquables de la Ville de Dublin. As was standard practice, Tudor’s drawing focuses squarely on the architecture and the engraver has added the elegant figures and livestock who disport themselves in the foreground. Tudor also painted this same view in a large and unusually ambitious oil and this newly identified drawing, the print and the oil show the city from a spot in Chapelizod close to the Phoenix Park. In the middle distance can be seen the village of Island Bridge flanked to the left by the Magazine Fort while to the right the viewer catches a glimpse of the Royal Hospital, Kilmainham, which is shown more fully in the oil painting. Further into the distance appear the spires of St Patrick’s and Christ Church Cathedrals as well as the wooden clock tower of Dr Steeven’s Hospital, erected a few years earlier in 1735. Other Dublin views by Tudor which were engraved include the old Custom House and Essex Bridge and the Upper Yard at Dublin Castle. Nicola Figgis notes that the prints after Tudor’s drawings serve as important records of certain buildings that are no longer in existence’ and this is particularly so as Tudor was ‘adept at drawings architecture’ (AAI, 2, p. 480). Regrettably given this, only four other drawings by Tudor are extant, including one depicting the Parliament House on College Green. (Anne Crookshank and Desmond FitzGerald, Knight of Glin, The Watercolours of Ireland (London, 1994) p. 37).A presumed pupil of William Van der Hagen, Joseph Tudor enjoyed a busy practice as a landscape and decorative painter in the decades from about 1740 to his death in 1759. Like so many other Irish landscape artists of the period, he painted sets for the Dublin theatres, the experience of which gave him great versatility. However the ephemeral nature of much of his decorative work means that his surviving oeuvre is tiny, although it is amplified somewhat by engravings after his work. Tudor is recorded as winning premiums for landscape painting from the Dublin Society in 1740, 1742, 1743 and 1746. Three years later he executed a Perspective View of the Illuminations and Fireworks at St Stephen’s Green on Thanksgiving Day for the General Peace concluded at Aix-la Chapelle which was engraved by Thomas Chambers. He worked at Dublin Castle, the Rotunda Gardens and at Smock Alley where, in January 1739, he painted the scenery for The Harlot’s Progress and nine years later that for Henry Woodward’s Fairy Friendship, or the Triumph of Hibernia. Tudor was admitted to the Guild of St Luke in 1755 and died in his house in Dame Street on the 24 March 1759. Like his putative master Van der Hagen he was an adaptable artist and is recorded as having painted an altarpiece for Waterford Cathedral in 1750.
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315251 Los(e)/Seite