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Lot 99
Elizabeth Taggart b. 1943THE RAVENS & MUSICIANOil on canvas, 40" x 40", signed; signed inscribed and dated 02 verso.Born in Donaghadee, Co. Down, Elizabeth Taggart studied painting at the Belfast College of Art in the early 1960s under John Luke and Romeo Toogood, among others. In the mid 1960s, she moved to England where she completed further studies at Leicester College of Art before establishing her first studio in London in 1968. From London, she exhibited regularly at the RHA, the RA and the Irish Exhibitions of Living Art. In 1995, she returned to live in Co. Down where she has been living and working ever since.Elizabeth's work is very much in the tradition of Northern figurists like Dan O'Neill and Gerard Dillon. It is beautifully refined in its execution, the painstaking care of the small brushstrokes echoed in the tenderness of the subject matter. Closer inspection reveals hints of more sinister subtexts in the stillettoed chair legs, masked pierrot figures and averted eyes of the subjects. The eyes that meet those of the viewer convey a sort of melancholy at odds with the flamboyant costumes and theatrical settings.
Lot 19
Mary Swanzy HRHA 1882-1978FRENCH LANDSCAPEOil on canvas, 17" x 25" ( 43 x 63.5cm)Provenance: James Gorry, June 1997 (Cat No. 54) where acquired by the present owner.Exhibited: Pyms Gallery, London 1986 (Cat No. 19); Fine Art Society of Los Angeles International Cubist Futurist Collection, 1987 (Cat No. 21)
Lot 148
Jean Lurcat, 1892-1966COQ PAILLEAubusson Tapestry by Tabard Frere et Soeurs, 60"x 52" (152cm x 132xm), signed; inscribed label versoJean Lurcat, one of France's finest exponents of tapestry design and was a major influence on Louis Le Brocquy's introduction to this medium. Le Brocquy, writing for Ark Magazine Royal College of Art, London 1956 stated:“Lurcat's method of designing, already widely practised in France, has given new life to French tapestry, now more joyous and frank, more durable and economic than at any time since the end of the 16th century, when resistance to Renaissance idiom finally collapsed. His reconstituted technique imposes no particular style on the designer, as may be seen by comparing the quantity of stylistically varied work recently produced at Aubusson. It is essentially a return to medieval ways.In one form or another it represents the only practical and economic way of producing 'a very large work of woven and coloured wools': a tapestry. For any designer who has made a cartoon by this direct method of Lurcat and by the indirect, copy-a-painting method of, shall we say, Boucher, there can be no remaining doubt in eye or in mind as to the superiority of the former when comparing the two resultant tapestries. Only those can remain obdurate who insist on the virtue of cleverly and laboriously translating paint scumbles into weft”. Louis Le Brocquy, Ark Magazine, Royal College of Art, London 1956
Lot 234
A silver Art Deco sweet dish by Adie Brothers, Birmingham, 1930, rectangular with curved sides and pedestal foot, cylindrical ivory handles with silver bands, 16.1 cm. long, gross wt. 129 gm.Marks rather rubbed especially maker's mark, small crack in one ivory handle, this handle has come away from dish on one side and would need resoldering but is a simple job for a silversmithOne of the ivory handles is loose as one end has come detached from body and will need resoldering whilst the other handle is slightly crookedly mounted
Lot 152
David Hockney/Saltaire Mill's 'Salts Diner Menu' circa 1993/print, 42cm x 30cm/and three David Hockney posters; A Retrospective; The Metropolitan Museum of Art 1988 and Nar Natur, Kunsthalle Würth, Scwäbisch Hall From Manet to Hockney, V & A 1985 Condition Report: Menu badly water stained; Nar Natur poster with creases, otherwise all generally okay
Lot 193
Fred Yates (British 1922-2008)/Oaston Basset Hounds/signed/label verso states date purchased, December 1974/oil on board, 57.5cm x 39.5cm Condition Report: Artist's resale right may apply to this lot if the hammer price is equivalent of 1000 Euros or more. Please contact the office if you require further information about this.Provenance: From a local Private Collection. In 1970 Fred Yates was living in Cornwall and was just beginning to make a living as an artist. Working almost exclusively outdoors, he painted scenes of local village life, clifftop and beach scenes. With the success of a show in 1985 at the Tate Gallery in London of 'St Ives 1939-64' which Yates' work featured in, his popularity grew and he began to build a name for himself within the commercial art market. In 1974 the current owner purchased a piece of his work from the Polperro Gallery and wished for it to be signed. Upon meeting the artist at his home in Fowey, she invited Yates to exhibit at the Guiting Power Arts Festival in Gloucestershire. From here their friendship grew and Yates would often stay at their home during the time of festival and painted avidly in the local area. Many of the paintings below were gifted directly from the artist or private commissions from Gloucestershire and Cornwall and exhibited at the Guiting Power Festival between the years of 1974-1977. They remained close friends until his death in 2008.Condition - overall with brown foxing/brown mould spotting to the general overall surface. See further images. Otherwise generally good.
Lot 194
Fred Yates (British 1922-2008)/Going to Church - Twardreath, Cornwall/signed/label verso states date purchased, July 1977/oil on board, 30.5cm x 41.5cm/see illustration Condition Report: Artist's resale right may apply to this lot if the hammer price is equivalent of 1000 Euros or more. Please contact the office if you require further information about this.Provenance: From a local Private Collection. In 1970 Fred Yates was living in Cornwall and was just beginning to make a living as an artist. Working almost exclusively outdoors, he painted scenes of local village life, clifftop and beach scenes. With the success of a show in 1985 at the Tate Gallery in London of 'St Ives 1939-64' which Yates' work featured in, his popularity grew and he began to build a name for himself within the commercial art market. In 1974 the current owner purchased a piece of his work from the Polperro Gallery and wished for it to be signed. Upon meeting the artist at his home in Fowey, she invited Yates to exhibit at the Guiting Power Arts Festival in Gloucestershire. From here their friendship grew and Yates would often stay at their home during the time of festival and painted avidly in the local area. Many of the paintings below were gifted directly from the artist or private commissions from Gloucestershire and Cornwall and exhibited at the Guiting Power Festival between the years of 1974-1977. They remained close friends until his death in 2008.Condition - overall in good condition
Lot 241
James Dickson Innes (British 1887-1914)/Tan-y-Grisiau:The Green Dress (Arenig)/oil on wood panel, 29.75cm x 39.25cm/Provenance: M V B Hill Esq. and thence by descent/Exhibited: XIX Biennale Internazionale d' Arte, 1934/The Last Fifty years in British art 1900-1950;The English Speaking Union of the United States 195/Graves Art Gallery, Sheffield, March 1961, No 31/Southampton Art Gallery, 10th Sept-23 Oct, 1978, No 92/Some Miraculous Promised Land: J.D.Innes, Augustus John/and Derwent Lees in North Wales 1910-13, Mostyn Art Gallery,Llandudno, 1982/see illustration/Note: By family tradition the figure in this painting was added by Augustus John. James Dickson Innes and Augustus John were painting together in North Wales crca 1910-1912; the period is described in the BBC documentary 'The Mountain That Had to be Painted' (2013). We have been unable to confirm the accuracy of this story, however the figure certainly shows the influence of John and its position within the landscape lends the painting a surreal air. Condition Report: Some cracking to surface throughout. There is what appears to be a possible finger print to edge on left side. A 'halo' appearance around the head of the figure, otherwise overall appears good. Some slight surface dirt.
Lot 255
Barbara Dorf - A True EccentricBarbara Esther Dorf was born into a North London Jewish middle class family in November 1933. Her father was a Polish furrier whose business was bombed during the war. From the North London Collegiate she won a scholarship to the Slade. Ever with few funds, she sat as a nude model, taught at the Ruskin and in several girls' boarding schools. She became a Catholic at 20 on her father's death and her faith informed her beliefs and her work. This is revealed in her Mother and Child series and the Crucifixions. The Balkans never ceased to fascinate her, especially Montenegro and Serbia; their forbidding mountains appear among paintings in this sale. Her base for 50 years was 11 Pembridge Villas, just off Notting Hill Gate, a studio flat with high ceilings and good light. Amid the surroundings of her Balkan kitchen, a work of art in its own right, conversation flowed and guests overflowed from chairs to her bed. At one party I remember coming face to face with both Ernst Gombrich and Irish Murdoch, on another occasion it was Kenneth Branagh.We kept up a correspondence for over 30 years and her insight on art, literature and politics was always original and sharp. She talked about having a literary executor, when I admitted to keeping her letters. Her diary, one publisher said, was actionable and unprintable! It is perhaps pertinent for her and for us that the Guardian refused to write an obituary, as the Editor of the obit page could not find her on Google. I will never know why she wanted me to have her works when she died. David and I have several of her paintings and I was honoured to be asked to look after the future of her art work, on which she placed no strings. Her eclectic collection of paintings and drawings offer an extraordinary insight into the character and quality of a remarkable person. Proceeds of this sale will be donated to Longfield.Lucy Abel Smith September 2016Barbara Dorf (1933-2016)/Still Life with Jug of Lilies on a Table/oil on canvas, 50cm x 65cm
Lot 76
An Art Nouveau silver coloured metal framed mirror, modelled with a maiden under a flowering tree with blossom and stylised spandrels, easel back, stamped marks to the back of one foot, overall 36cm x 26cm Condition Report: Lot 76:I cannot make out the mark, there is a B then a symbol then another letter or number combination. The mirror is not silver but plated. The plating is worn particularly to the raised areas. There is a mark bottom centre that looks like an old repair. Back board is worn.
Lot 346
Edwardian silver and enamel Art Nouveau-style bud vase of tapering square section, with twin foliate handles and inset green enamel panels, on a shaped square pedestal foot (Birmingham 1909), Williams (Birmingham) Ltd., 24cm overall height CONDITION REPORT General overall condition good. Some minor surface wear and scratching. No signs of major damage or repair. Enamel is undamaged and corner of foot has a deep dent
Lot 378
Large 1930s two-handled silver Art Deco-style tray of circular form, with turned lip rim, scroll mounted ivory handle (Sheffield 1936), maker - F. C. All at approximately 82ozs, 53cm across handles CONDITION REPORT General overall condition very good. Some surface scratching but no dings or dents. Both handles in good condition although one has minor discolouration, marks clear
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