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Lot 1000
*Gerald Spencer Pryse (1882-1956) oil on canvas - Tangier, 51cm x 76cm, apparently unsigned, framed. Gerald Spencer Pryse was born in Ashton and educated at Eton. He was largely self taught but with spells under artists in London and Paris. He won first prize at the Venice International Exhibition in 1907. Early in his career he contributed work to The Strand Magazine, The Graphic and Punch, he produced illustrations for E Nesbit, Henry Fielding and others. A staunch socialist and an active member of the Fabian Society, his work was often politically charged and with humanist themes, demonstrated in posters for various humanitarian relief agencies throughout the first world war and its aftermath. Pryse initially focussed on print-making and was well versed in the techniques of lithography by the outbreak of The Great War. He captured scenes from the battlefields from 1914 and ultimately became the most prolific lithographic artist of World War I. Working initially under the patronage of The Queen of Belgium as a dispatch rider on the Belgian front, his fine draughtsmanship and technical assurance permitted him the freedom to record his observations directly onto huge lithographic stones, which he carried around the Western front line in his Mercedes, commentators at the time described him as ‘’looking like he’d looted a graveyard’”. He later wrote a memoir of this time ‘Four Days: an account of a journey in France made between 28 and 31 August 1914’ published by John Lane in 1932. Pryse also worked with the Indian Army in France and several of his lithographs depict scenes of Indian troops (Indian colonial troops were otherwise almost entirely unreported in the visual records of the conflict). He subsequently served as a Captain in the Queen Victoria’s rifles, during the conflict he lost the sight in one eye and was shot in the hand. He won the Military Cross at Passchendaele, was awarded the Croix de Guerre and was Mentioned in Dispatches. He was, however, torn between his obligation as a soldier and his potential value as an artist in the propaganda unit. His repeated petitions to become an official war artist were protracted, largely due to his military successes and the reluctance of his superiors to release him, his socialist leanings were also a significant stumbling block. In 1917 he finally became an official war artist, one of just 26 British artists to have been awarded the honour during WWI. When his sketches were later exhibited in London they were said to have ‘a freshness and authenticity that were not always apparent in the work of official war artists’, unfortunately much of his work was destroyed during the 1918 German Offensive, and even more destroyed when the Spencer Pryse house was bombed in World War II. Pryse secured prestigious commissions during the war period, including poster designs for military recruitment, the British Red Cross, London Underground and The Labour Party. In 1924 he did a large series of work for the British Empire Exhibition at Wembley, working alongside Frank Brangwyn to produce the official accompanying publication and on a monumental series of posters covered ‘the whole of the Empire in 24 pictures’, designed to convey the extent and marvels of the British Empire. He also produced images for the 1928 and 1932 Olympics. In 1925 he travelled and worked extensively in Morocco where his brother was based. In 1928 he toured West Africa by car and river steamer to record scenes on the Gold Coast and Nigeria for The Empire Marketing Board and in 1930 was commissioned for further works by the Gold Coast Government. Throughout his career he exhibited widely including at the Alpine Gallery, Royal Academy, Royal Scottish Gallery, Leicester Galleries and the Royal Glasgow Institute of Art. His work was acquired by and is held by The British Museum, The Victoria and Albert Museum, The Louvre, The Uffizi, The National Portrait Gallery, The Royal Collection and others. He career was curtailed by the injuries he suffered in the Great War and by the outbreak of WWII he had ceased to paint. Gerald Spencer Pryse, MC died at Cranford House, Stourton, Worcestershire on 28 November 1956 aged 74.Original untouched condition, some water stains to rear, one area coinciding with an area of crazing and inconsistent finish, far left (see images) otherwise ok
Lot 1001
*Gerald Spencer Pryse (1882-1956) watercolour - Lokoja Market, 54cm x 78cm, titled verso, unframed.Gerald Spencer Pryse was born in Ashton and educated at Eton. He was largely self taught but with spells under artists in London and Paris. He won first prize at the Venice International Exhibition in 1907. Early in his career he contributed work to The Strand Magazine, The Graphic and Punch, he produced illustrations for E Nesbit, Henry Fielding and others. A staunch socialist and an active member of the Fabian Society, his work was often politically charged and with humanist themes, demonstrated in posters for various humanitarian relief agencies throughout the first world war and its aftermath. Pryse initially focussed on print-making and was well versed in the techniques of lithography by the outbreak of The Great War. He captured scenes from the battlefields from 1914 and ultimately became the most prolific lithographic artist of World War I. Working initially under the patronage of The Queen of Belgium as a dispatch rider on the Belgian front, his fine draughtsmanship and technical assurance permitted him the freedom to record his observations directly onto huge lithographic stones, which he carried around the Western front line in his Mercedes, commentators at the time described him as ‘’looking like he’d looted a graveyard’”. He later wrote a memoir of this time ‘Four Days: an account of a journey in France made between 28 and 31 August 1914’ published by John Lane in 1932. Pryse also worked with the Indian Army in France and several of his lithographs depict scenes of Indian troops (Indian colonial troops were otherwise almost entirely unreported in the visual records of the conflict). He subsequently served as a Captain in the Queen Victoria’s rifles, during the conflict he lost the sight in one eye and was shot in the hand. He won the Military Cross at Passchendaele, was awarded the Croix de Guerre and was Mentioned in Dispatches. He was, however, torn between his obligation as a soldier and his potential value as an artist in the propaganda unit. His repeated petitions to become an official war artist were protracted, largely due to his military successes and the reluctance of his superiors to release him, his socialist leanings were also a significant stumbling block. In 1917 he finally became an official war artist, one of just 26 British artists to have been awarded the honour during WWI. When his sketches were later exhibited in London they were said to have ‘a freshness and authenticity that were not always apparent in the work of official war artists’, unfortunately much of his work was destroyed during the 1918 German Offensive, and even more destroyed when the Spencer Pryse house was bombed in World War II. Pryse secured prestigious commissions during the war period, including poster designs for military recruitment, the British Red Cross, London Underground and The Labour Party. In 1924 he did a large series of work for the British Empire Exhibition at Wembley, working alongside Frank Brangwyn to produce the official accompanying publication and on a monumental series of posters covered ‘the whole of the Empire in 24 pictures’, designed to convey the extent and marvels of the British Empire. He also produced images for the 1928 and 1932 Olympics. In 1925 he travelled and worked extensively in Morocco where his brother was based. In 1928 he toured West Africa by car and river steamer to record scenes on the Gold Coast and Nigeria for The Empire Marketing Board and in 1930 was commissioned for further works by the Gold Coast Government. Throughout his career he exhibited widely including at the Alpine Gallery, Royal Academy, Royal Scottish Gallery, Leicester Galleries and the Royal Glasgow Institute of Art. His work was acquired by and is held by The British Museum, The Victoria and Albert Museum, The Louvre, The Uffizi, The National Portrait Gallery, The Royal Collection and others. He career was curtailed by the injuries he suffered in the Great War and by the outbreak of WWII he had ceased to paint. Gerald Spencer Pryse, MC died at Cranford House, Stourton, Worcestershire on 28 November 1956 aged 74.
Lot 1007
*Gerald Spencer Pryse (1882-1956) watercolour - Latuwe, Ondo, 38.5cm x 54cm, titled verso, unframed. Gerald Spencer Pryse was born in Ashton and educated at Eton. He was largely self taught but with spells under artists in London and Paris. He won first prize at the Venice International Exhibition in 1907. Early in his career he contributed work to The Strand Magazine, The Graphic and Punch, he produced illustrations for E Nesbit, Henry Fielding and others. A staunch socialist and an active member of the Fabian Society, his work was often politically charged and with humanist themes, demonstrated in posters for various humanitarian relief agencies throughout the first world war and its aftermath. Pryse initially focussed on print-making and was well versed in the techniques of lithography by the outbreak of The Great War. He captured scenes from the battlefields from 1914 and ultimately became the most prolific lithographic artist of World War I. Working initially under the patronage of The Queen of Belgium as a dispatch rider on the Belgian front, his fine draughtsmanship and technical assurance permitted him the freedom to record his observations directly onto huge lithographic stones, which he carried around the Western front line in his Mercedes, commentators at the time described him as ‘’looking like he’d looted a graveyard’”. He later wrote a memoir of this time ‘Four Days: an account of a journey in France made between 28 and 31 August 1914’ published by John Lane in 1932. Pryse also worked with the Indian Army in France and several of his lithographs depict scenes of Indian troops (Indian colonial troops were otherwise almost entirely unreported in the visual records of the conflict). He subsequently served as a Captain in the Queen Victoria’s rifles, during the conflict he lost the sight in one eye and was shot in the hand. He won the Military Cross at Passchendaele, was awarded the Croix de Guerre and was Mentioned in Dispatches. He was, however, torn between his obligation as a soldier and his potential value as an artist in the propaganda unit. His repeated petitions to become an official war artist were protracted, largely due to his military successes and the reluctance of his superiors to release him, his socialist leanings were also a significant stumbling block. In 1917 he finally became an official war artist, one of just 26 British artists to have been awarded the honour during WWI. When his sketches were later exhibited in London they were said to have ‘a freshness and authenticity that were not always apparent in the work of official war artists’, unfortunately much of his work was destroyed during the 1918 German Offensive, and even more destroyed when the Spencer Pryse house was bombed in World War II. Pryse secured prestigious commissions during the war period, including poster designs for military recruitment, the British Red Cross, London Underground and The Labour Party. In 1924 he did a large series of work for the British Empire Exhibition at Wembley, working alongside Frank Brangwyn to produce the official accompanying publication and on a monumental series of posters covered ‘the whole of the Empire in 24 pictures’, designed to convey the extent and marvels of the British Empire. He also produced images for the 1928 and 1932 Olympics. In 1925 he travelled and worked extensively in Morocco where his brother was based. In 1928 he toured West Africa by car and river steamer to record scenes on the Gold Coast and Nigeria for The Empire Marketing Board and in 1930 was commissioned for further works by the Gold Coast Government. Throughout his career he exhibited widely including at the Alpine Gallery, Royal Academy, Royal Scottish Gallery, Leicester Galleries and the Royal Glasgow Institute of Art. His work was acquired by and is held by The British Museum, The Victoria and Albert Museum, The Louvre, The Uffizi, The National Portrait Gallery, The Royal Collection and others. He career was curtailed by the injuries he suffered in the Great War and by the outbreak of WWII he had ceased to paint. Gerald Spencer Pryse, MC died at Cranford House, Stourton, Worcestershire on 28 November 1956 aged 74.
Lot 1014
*Gerald Spencer Pryse (1882-1956) colour lithograph - Tea Picking in Ceylon, issued by the Empire Marketing Board, 77cm x 51cm, unframed. Gerald Spencer Pryse was born in Ashton and educated at Eton. He was largely self taught but with spells under artists in London and Paris. He won first prize at the Venice International Exhibition in 1907. Early in his career he contributed work to The Strand Magazine, The Graphic and Punch, he produced illustrations for E Nesbit, Henry Fielding and others. A staunch socialist and an active member of the Fabian Society, his work was often politically charged and with humanist themes, demonstrated in posters for various humanitarian relief agencies throughout the first world war and its aftermath. Pryse initially focussed on print-making and was well versed in the techniques of lithography by the outbreak of The Great War. He captured scenes from the battlefields from 1914 and ultimately became the most prolific lithographic artist of World War I. Working initially under the patronage of The Queen of Belgium as a dispatch rider on the Belgian front, his fine draughtsmanship and technical assurance permitted him the freedom to record his observations directly onto huge lithographic stones, which he carried around the Western front line in his Mercedes, commentators at the time described him as ‘’looking like he’d looted a graveyard’”. He later wrote a memoir of this time ‘Four Days: an account of a journey in France made between 28 and 31 August 1914’ published by John Lane in 1932. Pryse also worked with the Indian Army in France and several of his lithographs depict scenes of Indian troops (Indian colonial troops were otherwise almost entirely unreported in the visual records of the conflict). He subsequently served as a Captain in the Queen Victoria’s rifles, during the conflict he lost the sight in one eye and was shot in the hand. He won the Military Cross at Passchendaele, was awarded the Croix de Guerre and was Mentioned in Dispatches. He was, however, torn between his obligation as a soldier and his potential value as an artist in the propaganda unit. His repeated petitions to become an official war artist were protracted, largely due to his military successes and the reluctance of his superiors to release him, his socialist leanings were also a significant stumbling block. In 1917 he finally became an official war artist, one of just 26 British artists to have been awarded the honour during WWI. When his sketches were later exhibited in London they were said to have ‘a freshness and authenticity that were not always apparent in the work of official war artists’, unfortunately much of his work was destroyed during the 1918 German Offensive, and even more destroyed when the Spencer Pryse house was bombed in World War II. Pryse secured prestigious commissions during the war period, including poster designs for military recruitment, the British Red Cross, London Underground and The Labour Party. In 1924 he did a large series of work for the British Empire Exhibition at Wembley, working alongside Frank Brangwyn to produce the official accompanying publication and on a monumental series of posters covered ‘the whole of the Empire in 24 pictures’, designed to convey the extent and marvels of the British Empire. He also produced images for the 1928 and 1932 Olympics. In 1925 he travelled and worked extensively in Morocco where his brother was based. In 1928 he toured West Africa by car and river steamer to record scenes on the Gold Coast and Nigeria for The Empire Marketing Board and in 1930 was commissioned for further works by the Gold Coast Government. Throughout his career he exhibited widely including at the Alpine Gallery, Royal Academy, Royal Scottish Gallery, Leicester Galleries and the Royal Glasgow Institute of Art. His work was acquired by and is held by The British Museum, The Victoria and Albert Museum, The Louvre, The Uffizi, The National Portrait Gallery, The Royal Collection and others. He career was curtailed by the injuries he suffered in the Great War and by the outbreak of WWII he had ceased to paint. Gerald Spencer Pryse, MC died at Cranford House, Stourton, Worcestershire on 28 November 1956 aged 74.
Lot 1016
*Gerald Spencer Pryse (1882-1956) black and white lithograph - A Coursing Meeting, signed and titled below in pencil, 56cm x 78cm, unframed. Gerald Spencer Pryse was born in Ashton and educated at Eton. He was largely self taught but with spells under artists in London and Paris. He won first prize at the Venice International Exhibition in 1907. Early in his career he contributed work to The Strand Magazine, The Graphic and Punch, he produced illustrations for E Nesbit, Henry Fielding and others. A staunch socialist and an active member of the Fabian Society, his work was often politically charged and with humanist themes, demonstrated in posters for various humanitarian relief agencies throughout the first world war and its aftermath. Pryse initially focussed on print-making and was well versed in the techniques of lithography by the outbreak of The Great War. He captured scenes from the battlefields from 1914 and ultimately became the most prolific lithographic artist of World War I. Working initially under the patronage of The Queen of Belgium as a dispatch rider on the Belgian front, his fine draughtsmanship and technical assurance permitted him the freedom to record his observations directly onto huge lithographic stones, which he carried around the Western front line in his Mercedes, commentators at the time described him as ‘’looking like he’d looted a graveyard’”. He later wrote a memoir of this time ‘Four Days: an account of a journey in France made between 28 and 31 August 1914’ published by John Lane in 1932. Pryse also worked with the Indian Army in France and several of his lithographs depict scenes of Indian troops (Indian colonial troops were otherwise almost entirely unreported in the visual records of the conflict). He subsequently served as a Captain in the Queen Victoria’s rifles, during the conflict he lost the sight in one eye and was shot in the hand. He won the Military Cross at Passchendaele, was awarded the Croix de Guerre and was Mentioned in Dispatches. He was, however, torn between his obligation as a soldier and his potential value as an artist in the propaganda unit. His repeated petitions to become an official war artist were protracted, largely due to his military successes and the reluctance of his superiors to release him, his socialist leanings were also a significant stumbling block. In 1917 he finally became an official war artist, one of just 26 British artists to have been awarded the honour during WWI. When his sketches were later exhibited in London they were said to have ‘a freshness and authenticity that were not always apparent in the work of official war artists’, unfortunately much of his work was destroyed during the 1918 German Offensive, and even more destroyed when the Spencer Pryse house was bombed in World War II. Pryse secured prestigious commissions during the war period, including poster designs for military recruitment, the British Red Cross, London Underground and The Labour Party. In 1924 he did a large series of work for the British Empire Exhibition at Wembley, working alongside Frank Brangwyn to produce the official accompanying publication and on a monumental series of posters covered ‘the whole of the Empire in 24 pictures’, designed to convey the extent and marvels of the British Empire. He also produced images for the 1928 and 1932 Olympics. In 1925 he travelled and worked extensively in Morocco where his brother was based. In 1928 he toured West Africa by car and river steamer to record scenes on the Gold Coast and Nigeria for The Empire Marketing Board and in 1930 was commissioned for further works by the Gold Coast Government. Throughout his career he exhibited widely including at the Alpine Gallery, Royal Academy, Royal Scottish Gallery, Leicester Galleries and the Royal Glasgow Institute of Art. His work was acquired by and is held by The British Museum, The Victoria and Albert Museum, The Louvre, The Uffizi, The National Portrait Gallery, The Royal Collection and others. He career was curtailed by the injuries he suffered in the Great War and by the outbreak of WWII he had ceased to paint. Gerald Spencer Pryse, MC died at Cranford House, Stourton, Worcestershire on 28 November 1956 aged 74.
Lot 1026
*Gerald Spencer Pryse (1882-1956) black and white lithograph - Indians and motor buses near Poperinge, signed and titled below in pencil, 34cm x 50cm, unframed. Gerald Spencer Pryse was born in Ashton and educated at Eton. He was largely self taught but with spells under artists in London and Paris. He won first prize at the Venice International Exhibition in 1907. Early in his career he contributed work to The Strand Magazine, The Graphic and Punch, he produced illustrations for E Nesbit, Henry Fielding and others. A staunch socialist and an active member of the Fabian Society, his work was often politically charged and with humanist themes, demonstrated in posters for various humanitarian relief agencies throughout the first world war and its aftermath. Pryse initially focussed on print-making and was well versed in the techniques of lithography by the outbreak of The Great War. He captured scenes from the battlefields from 1914 and ultimately became the most prolific lithographic artist of World War I. Working initially under the patronage of The Queen of Belgium as a dispatch rider on the Belgian front, his fine draughtsmanship and technical assurance permitted him the freedom to record his observations directly onto huge lithographic stones, which he carried around the Western front line in his Mercedes, commentators at the time described him as ‘’looking like he’d looted a graveyard’”. He later wrote a memoir of this time ‘Four Days: an account of a journey in France made between 28 and 31 August 1914’ published by John Lane in 1932. Pryse also worked with the Indian Army in France and several of his lithographs depict scenes of Indian troops (Indian colonial troops were otherwise almost entirely unreported in the visual records of the conflict). He subsequently served as a Captain in the Queen Victoria’s rifles, during the conflict he lost the sight in one eye and was shot in the hand. He won the Military Cross at Passchendaele, was awarded the Croix de Guerre and was Mentioned in Dispatches. He was, however, torn between his obligation as a soldier and his potential value as an artist in the propaganda unit. His repeated petitions to become an official war artist were protracted, largely due to his military successes and the reluctance of his superiors to release him, his socialist leanings were also a significant stumbling block. In 1917 he finally became an official war artist, one of just 26 British artists to have been awarded the honour during WWI. When his sketches were later exhibited in London they were said to have ‘a freshness and authenticity that were not always apparent in the work of official war artists’, unfortunately much of his work was destroyed during the 1918 German Offensive, and even more destroyed when the Spencer Pryse house was bombed in World War II. Pryse secured prestigious commissions during the war period, including poster designs for military recruitment, the British Red Cross, London Underground and The Labour Party. In 1924 he did a large series of work for the British Empire Exhibition at Wembley, working alongside Frank Brangwyn to produce the official accompanying publication and on a monumental series of posters covered ‘the whole of the Empire in 24 pictures’, designed to convey the extent and marvels of the British Empire. He also produced images for the 1928 and 1932 Olympics. In 1925 he travelled and worked extensively in Morocco where his brother was based. In 1928 he toured West Africa by car and river steamer to record scenes on the Gold Coast and Nigeria for The Empire Marketing Board and in 1930 was commissioned for further works by the Gold Coast Government. Throughout his career he exhibited widely including at the Alpine Gallery, Royal Academy, Royal Scottish Gallery, Leicester Galleries and the Royal Glasgow Institute of Art. His work was acquired by and is held by The British Museum, The Victoria and Albert Museum, The Louvre, The Uffizi, The National Portrait Gallery, The Royal Collection and others. He career was curtailed by the injuries he suffered in the Great War and by the outbreak of WWII he had ceased to paint. Gerald Spencer Pryse, MC died at Cranford House, Stourton, Worcestershire on 28 November 1956 aged 74.
Lot 1145
Dorothy Mead (1928-1975) oil on canvas - seated nude, signed and dated '64, 77cm x 64cm, framed. Dorothy was born in London in 1928 and trained at the South East Essex School of Art where she met David Bomberg, he recognised her significant talent and she trained under him from 1945-1951, before later attending the Slade School of Art. At the Slade she had considerable academic success, becoming the first woman president of the of the annual exhibiting society, and was awarded the Figure Painting Prize and the Steer Prize. But despite her accolades, she was forced to leave the college and failed to receive a qualification because of her refusal to sit the course on perspective. It was her belief and that of her mentor Bomberg, that this element was invalid in her art, she wrote to William Coldstream declaring ‘perspective is completely alien to me in my work as a painter’.In 1964 the Arts Council England created a series of touring exhibitions titled ‘Six Young Painters’, Dorothy exhibited alongside artists including Peter Blake, William Crozier, David Hockney, Bridget Riley and Euan Uglow. Around this time she joined the London Group of artists, and was their first female president from 1971-1973. She lectured and taught variously at Goldsmiths, Morley College and Chelsea College of Art. Dorothy Mead died in 1975 aged just 46. Her work is held by Tate Gallery, UCL Art Gallery, London South Bank Collection and other institutions. Her work was particularly admired amongst her artistic peers and evokes comparisons to her contemporaries and colleagues Bomberg, Kossoff and Auerbach. Examples are rarely seen in salerooms and this collection, which is by family descent from the artist, represents the largest and most comprehensive collection to appear at auction.Generally good original condition, the canvas has not been lined.
Lot 1146
Dorothy Mead (1928-1975) oil on canvas - still life (with losses), 72cm x 92cm, unframed. Dorothy was born in London in 1928 and trained at the South East Essex School of Art where she met David Bomberg, he recognised her significant talent and she trained under him from 1945-1951, before later attending the Slade School of Art. At the Slade she had considerable academic success, becoming the first woman president of the of the annual exhibiting society, and was awarded the Figure Painting Prize and the Steer Prize. But despite her accolades, she was forced to leave the college and failed to receive a qualification because of her refusal to sit the course on perspective. It was her belief and that of her mentor Bomberg, that this element was invalid in her art, she wrote to William Coldstream declaring ‘perspective is completely alien to me in my work as a painter’. In 1964 the Arts Council England created a series of touring exhibitions titled ‘Six Young Painters’, Dorothy exhibited alongside artists including Peter Blake, William Crozier, David Hockney, Bridget Riley and Euan Uglow. Around this time she joined the London Group of artists, and was their first female president from 1971-1973. She lectured and taught variously at Goldsmiths, Morley College and Chelsea College of Art. Dorothy Mead died in 1975 aged just 46. Her work is held by Tate Gallery, UCL Art Gallery, London South Bank Collection and other institutions. Her work was particularly admired amongst her artistic peers and evokes comparisons to her contemporaries and colleagues Bomberg, Kossoff and Auerbach. Examples are rarely seen in salerooms and this collection, which is by family descent from the artist, represents the largest and most comprehensive collection to appear at auction. Numerous losses as seen in the images, the canvas has not been lined.
Lot 1147
Dorothy Mead (1928-1975) oil on canvas - Ancient Egyptian figures, dated '72, 61cm x 51cm, unframed. Dorothy was born in London in 1928 and trained at the South East Essex School of Art where she met David Bomberg, he recognised her significant talent and she trained under him from 1945-1951, before later attending the Slade School of Art. At the Slade she had considerable academic success, becoming the first woman president of the of the annual exhibiting society, and was awarded the Figure Painting Prize and the Steer Prize. But despite her accolades, she was forced to leave the college and failed to receive a qualification because of her refusal to sit the course on perspective. It was her belief and that of her mentor Bomberg, that this element was invalid in her art, she wrote to William Coldstream declaring ‘perspective is completely alien to me in my work as a painter’. In 1964 the Arts Council England created a series of touring exhibitions titled ‘Six Young Painters’, Dorothy exhibited alongside artists including Peter Blake, William Crozier, David Hockney, Bridget Riley and Euan Uglow. Around this time she joined the London Group of artists, and was their first female president from 1971-1973. She lectured and taught variously at Goldsmiths, Morley College and Chelsea College of Art. Dorothy Mead died in 1975 aged just 46. Her work is held by Tate Gallery, UCL Art Gallery, London South Bank Collection and other institutions. Her work was particularly admired amongst her artistic peers and evokes comparisons to her contemporaries and colleagues Bomberg, Kossoff and Auerbach. Examples are rarely seen in salerooms and this collection, which is by family descent from the artist, represents the largest and most comprehensive collection to appear at auction.
Lot 1148
Dorothy Mead (1928-1975) oil on canvas - still life with black vase, dated '74, 46cm x 61cm, in painted framed. Dorothy was born in London in 1928 and trained at the South East Essex School of Art where she met David Bomberg, he recognised her significant talent and she trained under him from 1945-1951, before later attending the Slade School of Art. At the Slade she had considerable academic success, becoming the first woman president of the of the annual exhibiting society, and was awarded the Figure Painting Prize and the Steer Prize. But despite her accolades, she was forced to leave the college and failed to receive a qualification because of her refusal to sit the course on perspective. It was her belief and that of her mentor Bomberg, that this element was invalid in her art, she wrote to William Coldstream declaring ‘perspective is completely alien to me in my work as a painter’. In 1964 the Arts Council England created a series of touring exhibitions titled ‘Six Young Painters’, Dorothy exhibited alongside artists including Peter Blake, William Crozier, David Hockney, Bridget Riley and Euan Uglow. Around this time she joined the London Group of artists, and was their first female president from 1971-1973. She lectured and taught variously at Goldsmiths, Morley College and Chelsea College of Art. Dorothy Mead died in 1975 aged just 46. Her work is held by Tate Gallery, UCL Art Gallery, London South Bank Collection and other institutions. Her work was particularly admired amongst her artistic peers and evokes comparisons to her contemporaries and colleagues Bomberg, Kossoff and Auerbach. Examples are rarely seen in salerooms and this collection, which is by family descent from the artist, represents the largest and most comprehensive collection to appear at auction. Good overall condition, ready to hang.
Lot 1149
Dorothy Mead (1928-1975) two works, oil on canvas - still life, dated '74, 25.5cm x 18cm, unframed. Dorothy was born in London in 1928 and trained at the South East Essex School of Art where she met David Bomberg, he recognised her significant talent and she trained under him from 1945-1951, before later attending the Slade School of Art. At the Slade she had considerable academic success, becoming the first woman president of the of the annual exhibiting society, and was awarded the Figure Painting Prize and the Steer Prize. But despite her accolades, she was forced to leave the college and failed to receive a qualification because of her refusal to sit the course on perspective. It was her belief and that of her mentor Bomberg, that this element was invalid in her art, she wrote to William Coldstream declaring ‘perspective is completely alien to me in my work as a painter’. In 1964 the Arts Council England created a series of touring exhibitions titled ‘Six Young Painters’, Dorothy exhibited alongside artists including Peter Blake, William Crozier, David Hockney, Bridget Riley and Euan Uglow. Around this time she joined the London Group of artists, and was their first female president from 1971-1973. She lectured and taught variously at Goldsmiths, Morley College and Chelsea College of Art. Dorothy Mead died in 1975 aged just 46. Her work is held by Tate Gallery, UCL Art Gallery, London South Bank Collection and other institutions. Her work was particularly admired amongst her artistic peers and evokes comparisons to her contemporaries and colleagues Bomberg, Kossoff and Auerbach. Examples are rarely seen in salerooms and this collection, which is by family descent from the artist, represents the largest and most comprehensive collection to appear at auction. Provenance by family descent from the artist. Both in very good condition. Please see further images at www.reemandansie.com
Lot 1150
Dorothy Mead (1928-1975) oil on canvas - bathers after Cezanne, signed and dated '65, 102cm x 91.5cm, framed. Dorothy was born in London in 1928 and trained at the South East Essex School of Art where she met David Bomberg, he recognised her significant talent and she trained under him from 1945-1951, before later attending the Slade School of Art. At the Slade she had considerable academic success, becoming the first woman president of the of the annual exhibiting society, and was awarded the Figure Painting Prize and the Steer Prize. But despite her accolades, she was forced to leave the college and failed to receive a qualification because of her refusal to sit the course on perspective. It was her belief and that of her mentor Bomberg, that this element was invalid in her art, she wrote to William Coldstream declaring ‘perspective is completely alien to me in my work as a painter’. In 1964 the Arts Council England created a series of touring exhibitions titled ‘Six Young Painters’, Dorothy exhibited alongside artists including Peter Blake, William Crozier, David Hockney, Bridget Riley and Euan Uglow. Around this time she joined the London Group of artists, and was their first female president from 1971-1973. She lectured and taught variously at Goldsmiths, Morley College and Chelsea College of Art. Dorothy Mead died in 1975 aged just 46. Her work is held by Tate Gallery, UCL Art Gallery, London South Bank Collection and other institutions. Her work was particularly admired amongst her artistic peers and evokes comparisons to her contemporaries and colleagues Bomberg, Kossoff and Auerbach. Examples are rarely seen in salerooms and this collection, which is by family descent from the artist, represents the largest and most comprehensive collection to appear at auction. Generally good original condition, the canvas has not been lined. A couple of minor paint chips.
Lot 1151
Dorothy Mead (1928-1975) oil on canvas - three figures, dated '70, 71.5cm x 91.5cm, unframed. Dorothy was born in London in 1928 and trained at the South East Essex School of Art where she met David Bomberg, he recognised her significant talent and she trained under him from 1945-1951, before later attending the Slade School of Art. At the Slade she had considerable academic success, becoming the first woman president of the of the annual exhibiting society, and was awarded the Figure Painting Prize and the Steer Prize. But despite her accolades, she was forced to leave the college and failed to receive a qualification because of her refusal to sit the course on perspective. It was her belief and that of her mentor Bomberg, that this element was invalid in her art, she wrote to William Coldstream declaring ‘perspective is completely alien to me in my work as a painter’. In 1964 the Arts Council England created a series of touring exhibitions titled ‘Six Young Painters’, Dorothy exhibited alongside artists including Peter Blake, William Crozier, David Hockney, Bridget Riley and Euan Uglow. Around this time she joined the London Group of artists, and was their first female president from 1971-1973. She lectured and taught variously at Goldsmiths, Morley College and Chelsea College of Art. Dorothy Mead died in 1975 aged just 46. Her work is held by Tate Gallery, UCL Art Gallery, London South Bank Collection and other institutions. Her work was particularly admired amongst her artistic peers and evokes comparisons to her contemporaries and colleagues Bomberg, Kossoff and Auerbach. Examples are rarely seen in salerooms and this collection, which is by family descent from the artist, represents the largest and most comprehensive collection to appear at auction. Areas of loss as seen in images, the canvas has not been lined.
Lot 1152
Dorothy Mead (1928-1975) oil on canvas - figure reclining, signed and dated '61, 76.5cm x 63.5cm, unframed. Dorothy was born in London in 1928 and trained at the South East Essex School of Art where she met David Bomberg, he recognised her significant talent and she trained under him from 1945-1951, before later attending the Slade School of Art. At the Slade she had considerable academic success, becoming the first woman president of the of the annual exhibiting society, and was awarded the Figure Painting Prize and the Steer Prize. But despite her accolades, she was forced to leave the college and failed to receive a qualification because of her refusal to sit the course on perspective. It was her belief and that of her mentor Bomberg, that this element was invalid in her art, she wrote to William Coldstream declaring ‘perspective is completely alien to me in my work as a painter’. In 1964 the Arts Council England created a series of touring exhibitions titled ‘Six Young Painters’, Dorothy exhibited alongside artists including Peter Blake, William Crozier, David Hockney, Bridget Riley and Euan Uglow. Around this time she joined the London Group of artists, and was their first female president from 1971-1973. She lectured and taught variously at Goldsmiths, Morley College and Chelsea College of Art. Dorothy Mead died in 1975 aged just 46. Her work is held by Tate Gallery, UCL Art Gallery, London South Bank Collection and other institutions. Her work was particularly admired amongst her artistic peers and evokes comparisons to her contemporaries and colleagues Bomberg, Kossoff and Auerbach. Examples are rarely seen in salerooms and this collection, which is by family descent from the artist, represents the largest and most comprehensive collection to appear at auction. Generally good original condition, the canvas has not been lined. Areas of paint shrinkage and a few minor losses.
Lot 1153
Dorothy Mead (1928-1975) oil on canvas - abstract, dated '74, 61cm x 71cm, unframed. Dorothy was born in London in 1928 and trained at the South East Essex School of Art where she met David Bomberg, he recognised her significant talent and she trained under him from 1945-1951, before later attending the Slade School of Art. At the Slade she had considerable academic success, becoming the first woman president of the of the annual exhibiting society, and was awarded the Figure Painting Prize and the Steer Prize. But despite her accolades, she was forced to leave the college and failed to receive a qualification because of her refusal to sit the course on perspective. It was her belief and that of her mentor Bomberg, that this element was invalid in her art, she wrote to William Coldstream declaring ‘perspective is completely alien to me in my work as a painter’. In 1964 the Arts Council England created a series of touring exhibitions titled ‘Six Young Painters’, Dorothy exhibited alongside artists including Peter Blake, William Crozier, David Hockney, Bridget Riley and Euan Uglow. Around this time she joined the London Group of artists, and was their first female president from 1971-1973. She lectured and taught variously at Goldsmiths, Morley College and Chelsea College of Art. Dorothy Mead died in 1975 aged just 46. Her work is held by Tate Gallery, UCL Art Gallery, London South Bank Collection and other institutions. Her work was particularly admired amongst her artistic peers and evokes comparisons to her contemporaries and colleagues Bomberg, Kossoff and Auerbach. Examples are rarely seen in salerooms and this collection, which is by family descent from the artist, represents the largest and most comprehensive collection to appear at auction. Generally good original condition, the canvas has not been lined. A couple of paint chips lower right corner.
Lot 1154
Dorothy Mead (1928-1975) oil on canvas - Blue seascape, signed and dated '66, 91cm x 61cm, framed.Dorothy was born in London in 1928 and trained at the South East Essex School of Art where she met David Bomberg, he recognised her significant talent and she trained under him from 1945-1951, before later attending the Slade School of Art. At the Slade she had considerable academic success, becoming the first woman president of the of the annual exhibiting society, and was awarded the Figure Painting Prize and the Steer Prize. But despite her accolades, she was forced to leave the college and failed to receive a qualification because of her refusal to sit the course on perspective. It was her belief and that of her mentor Bomberg, that this element was invalid in her art, she wrote to William Coldstream declaring ‘perspective is completely alien to me in my work as a painter’. In 1964 the Arts Council England created a series of touring exhibitions titled ‘Six Young Painters’, Dorothy exhibited alongside artists including Peter Blake, William Crozier, David Hockney, Bridget Riley and Euan Uglow. Around this time she joined the London Group of artists, and was their first female president from 1971-1973. She lectured and taught variously at Goldsmiths, Morley College and Chelsea College of Art. Dorothy Mead died in 1975 aged just 46. Her work is held by Tate Gallery, UCL Art Gallery, London South Bank Collection and other institutions. Her work was particularly admired amongst her artistic peers and evokes comparisons to her contemporaries and colleagues Bomberg, Kossoff and Auerbach. Examples are rarely seen in salerooms and this collection, which is by family descent from the artist, represents the largest and most comprehensive collection to appear at auction. Generally good original condition, the canvas has not been lined. Some minor paint shrinkage.
Lot 319
Silk Cigarette Card Issues, various examples, contained in modern photograph sleeves, postcard size examples, Godfrey Phillips BDV Great War Leaders and Celebrities (22), Old Masters (10), Flags (28) includes two Flags of the Allies, Regimental Colours (7), Beauties (1), Irish Patriots (2), various medium size and K size issues, Godfrey Philips BDV and others, National Flags, Colonial flags, Regimental Emblems, Clan Tartans, Pilot & Signal Flags, Great War Leaders & Celebrities, Arms of Countries, Ceramic Art (90), F-VG, (160+)
Lot 322
A Shelley Art Deco Tea Set decorated with Garden Scene having Foxgloves and Urn of Flowers comprising Four Cups, Jug, Cake Plate, Five Saucers and Six Side PLates together with a Shelley Blue Marble Glazed Ashtray and a Part Fenton Art Deco Tea for Two Comprising Two Cups, Saucers, Teapot and a Sugar Bowl (Teapot AF)
Lot 158
A Canadian Inuit hardstone carving, 1977, modelled as a loon, numbered to the underneath 579822, bearing a label inscribed 'Canada Eskimo Art Esquimau', 15cm high together with an Inuit green stone carving,early 20th century, modelled as a loon, signed to the underneath Paoloosi, numbered E91717,6cm high Condition ReportBoth with some scratches and marks throughout. The argillite carving with a pronounced white line down its belly.
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