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Lot 695
Shaw-Sparrow, W - "Angling In British Art" Through five centuries: Prints, pictures, books, 1st ed 1923, cloth binding, John Lane Bodley Head edition, colour and b/w plates, blue cloth cover, together with Hare (T) The National Gallery, One Hundred Plates in Colour, Volume two, London: T.C & E.C Jack Ltd, and Luckhardt (Ulrich) David Hockney, A Drawing Retrospective, Royal Academy of Arts, 1995
Lot 18
James Ward (1769-1859) - Herd of deer resting beneath the shade of a cedar tree on a rise at Needwood Park, Staffordshire Oil on canvas Painted circa 1814 45 x 34 cm. (17 3/4 x 13 1/2 in) Provenance: Sale.: Sotheby's Olympia, 19th Century British, Continental & Sporting Art , 12th October 2005, lot 9 (as 'Attributed to') A signed and dated preliminary pen and ink drawing by Ward for the present painting was with Leggatt Brothers in the mid 1960s, and the composition and execution of the drawing validates with a degree of certainty that the painting is by Ward himself.[1] Besides the preliminary study, the handling of the paint and structure of the composition compares very closely with a number of other paintings by Ward, such as Landscape with Deer under an Oak Tree now in the Paul Mellon Collection (see Yale Center for British Art, acc.:B2014.5.7), and A Landscape Overlooking a Bay, formerly in the Roland Collection (illus. in Geoffrey Grigson, The Vision of the English Romantics, 1946, p. 7) . [1] Illustrated in an advert for Leggatt Brothers: Connoisseur, November 1966.
Lot 29
Follower of James Pollard (1792-1867) - North Country Mails at The Peacock, Islington; The Elephant and Castle on the Brighton Road A pair, oil on canvas Each c. 52 x 78.5 cm. (20 1/2 x 31 in) Literature: For Peacock Inn : cf. Selway, N.C., The Regency Road, The Coaching Prints of James Pollard, 1957, p. 72, no. 23. Engraved: The Peacock Inn, aquatint, circa 1823 Elephant and Castle , aquatint by or after[?] Thomas Fielding, circa 1826 A larger version (just more than twice the size of the present example) of the North Country Mails at the Peacock, Islington , was sold at Sotheby's, London, on the 30th November 1960 (see lot 175), which is now part of the Yale Center for British Art, Paul Mellon Collection (see acc.: B1981.25.506). One other variant version of The Peacock Inn scene has come to market over the last one hundred years, first offered at Sotheby's in 1937 (see Spicer Sale, 17th March 1937, lot 120), and then again in 1961 (see Parke-Bernet, 10th November 1961, lot 86). The Paul Mellon Collection also hold a prepartory pen and brown ink drawing by Pollard for North Country Mails at the Peacock, Islington , dated 1815 (see acc.: B2001.2.1101).
Lot 36
Carl Haag (1820-1915) - The Assegai thrower Watercolour, heightened with bodycolour and scratching-out Signed and dated 1880 lower right Further pen and black ink inscription with artist's name and address on label attached to reverse 53 x 37.5 cm. (20 7/8 x 14 3/4 in) Provenance: Sale.: Sotheby's, London, 29th April 1982, lot 62 The Fine Art Society, London; Private collection, UK; Fauna & Flora International Exhibited: The Fine Art Society, London, September 1982 (stock no. 17882) At the age of 14 Haag moved from his birth town of Erlangen to Nuremberg; here he was apprenticed to his uncle, a porcelain painter.[1] He later travelled to England in 1847 to settle and learn the English watercolour technique, which at the time was greatly admired and highly regarded throughout Europe, although rarely exported. Haag travelled extensively, and in September 1858 he arrived in Greece, before moving on to Cairo by November. It was here that Haag shared accomodation with Frederick Goodall (1822-1904), both of whom quickly gained a reputation amongst fellow artists and travellers for their hospitality. Haag wasn't to return to England until 1860, but this first period of Eastern travel was to inspire the artist for the rest of his career. Haag was to develop a considerable reputation for his finely executed paintings of Eastern subjects and scenes, and the present lot, as well as the following lot, stand as a testament to an artist famed in his own lifetime for such work. [1] Stewart-Lockhart, Clive and Nicky Ford, Watercolours by Carl Haag, auction catalogue, Donnington Priory, 6th June 2000.
Lot 37
Carl Haag (1820-1915) - Uskai, a Contented Zulu Watercolour, heightened with bodycolour, over traces of graphite Signed and dated 1880 lower right 53 x 37.5 cm. (20 7/8 x 14 3/4 in) Provenance: Sale.: Sotheby's, London, 29th April 1982, lot 64 The Fine Art Society, London; Private collection, UK; Fauna & Flora International Exhibited: Grosvenor Gallery[?], Society of Painters in Watercolour, London , June 1880, no. 113; The Fine Art Society, London, September 1982 (stock no. 17883). At the age of 14 Haag moved from his birth town of Erlangen to Nuremberg; here he was apprenticed to his uncle, a porcelain painter.[1] He later travelled to England in 1847 to settle and learn the English watercolour technique, which at the time was greatly admired and highly regarded throughout Europe, although rarely exported. Haag travelled extensively, and in September 1858 he arrived in Greece, before moving on to Cairo by November. It was here that Haag shared accomodation with Frederick Goodall (1822-1904), both of whom quickly gained a reputation amongst fellow artists and travellers for their hospitality. Haag wasn't to return to England until 1860, but this first period of Eastern travel was to inspire the artist for the rest of his career. Haag was to develop a considerable reputation for his finely executed paintings of Eastern subjects and scenes, and the present lot, as well as the following lot, stand as a testament to an artist famed in his own lifetime for such work. [1] Stewart-Lockhart, Clive and Nicky Ford, Watercolours by Carl Haag, auction catalogue, Donnington Priory, 6th June 2000.
Lot 46
Paul Lucien Maze (1887-1979) - Yellow Flowers Oil on canvas Signed lower right 73 x 92 cm. (28 3/4 x 36 1/4 in) Provenance: Acquavella Galleries Inc., New York (label on reverse); Sale. Christie's SK, 20th Century British Art, 20th October 2005, lot 105; Private Collection, UK. NEEDS NOTE IMPORTANT: This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 467
Pierre Adolphe Valette (1876-1942), "Presbyterian Church, All Saints, with figures", with numerous gallery and exhibition labels on verso, oil on board, 15.5 x 9cm.; 6 x 3.5in. Provenance with Tib Lane Gallery, Manchester, 1971. Christie's 20th Century British Art, 16th December 2010 Lot 18 Exhibited Manchester City Art Gallery, Adolphe Valette, 1876-1942: Exhibition of paintings, including works by pupils and associates, October - November 1976, no. 65. The Lowry, Adolphe Valette: A Pioneer of Impressionism in Manchester, 15th October 2011-29th January 2012.
Lot 478
Kenneth Lawson (British, 1920-2008), "Still Life with Bottle and Apples", signed and dated 1941, titled on artist's label verso, oil on paper, 21 x 25cm.; 8.25 x 10in. * By the age of 22 Kenneth Lawson was exhibiting with the `London Group` at Burlington House. Successful exhibitions followed and he exhibited regularly at major galleries in London including The Redfern Gallery, Cork Street; The Leger Gallery, Bond Street; and The Leicester Gallery, Panton Street. During these early years in Dulwich, Kenneth`s mentor was the RA James Fitton, who remained advisor and friend until his death in 1982. In 1951 he was approached by Graham Sutherland to assist with the large painting `Origins` for the Festival of Britain. Kenneth was the only assistant that Sutherland ever used. The painting was created at The Tate Gallery, Millbank, and has remained there ever since. In 1952 and 1953 Kenneth worked on another project with Graham Sutherland: they worked together on the drawings of the world`s largest tapestry which was made in France and later installed at Coventry Cathedral. Kenneth also became absorbed in the world of theatre and TV and moved North to join the BBC in Manchester where he created the Design Department there. In the North West his work has been shown both in the Manchester and Salford Art Galleries and has included entries in the Laing Collection. Lawson`s work is in private collections in the UK, Europe and America. Artists` Resale Right ("droit de suite") may apply to this lot.
Lot 482
Tadeusz Was (1912-2005), Abstract figurative studies, signed, double sided, oil on board, 35.5 x 29.5cm.; 14 x 11.5in. * Tadeusz trained at the Polish Institute of Fine Art, Krakow for five years before being conscripted into the Polish Army. Tadeusz taught art in Crewe for many years and set up a coalition of Artists known as Group Five who exhibited throughout the Northwest. A solo exhibition - `Lost in Crewe` was held at the Museum and Art Gallery, Warrington in 1991 and an exhibition at the Portico Gallery, Manchester was very well received in June 30th, 2005. Artists' Resale Right ("droit de suite") may apply to this lot.
Lot 585
Geraldine Girvan (1947-), "Flowers and Prints", signed and dated '89, watercolour and bodycolour, 42 x 33cm.; 16.5 x 13in. Provenance: Chris Beetles Ltd., 8 and 10 Ryder Street, St James's, London, SW1. * Geraldine Girvan was trained at Edinburgh College of Art where her first tutor was Elizabeth Blackadder. Geraldine has had a biennial solo exhibition at the Chris Beetles Gallery, London, since 1989 and continues to produce bold and vibrant paintings in a tradition which is fresh and vital and an explosion of colour. Artists' Resale Right ("droit de suite") may apply to this lot.
Lot 586
Sydney Horne Shepherd (1909-1993), Portrait, signed, mixed media, 38 x 28cm.; 15 x 11in. * Horne Shepherd was born in Dundee and studied at Dundee School of Art from 1924-1926, followed by Glasgow School of Art from 1926-1927, where he was awarded a travelling scholarship. He was a fireman in the Second World War and followed this by teaching art at Shoreditch and St Martin's. He had numerous solo shows in the UK and abroad. Artists' Resale Right ("droit de suite") may apply to this lot.
Lot 590
Charles Murray (1894-1954), "Icelandic Village", signed, titled on gallery label verso, watercolour, 31 x 42.5cm.; 12.25 x 16.75in. * Had first one-man show at Leicester Galleries in 1946, another following at Batley Art Gallery in 1950. Memorial exhibition at Temple Newsam House, Leeds, 1955 and an Edinburgh International Festival show at the Merchant Company Hall in 1977. Tate Gallery and Scottish National Gallery of Modern Art hold his work. Artists' Resale Right ("droit de suite") may apply to this lot.
Lot 606
After Laurence Stephen Lowry R.A. (British, 1887-1976), "Peel Park", signed in pencil in the margin, with Fine Art Trade Guild blindstamp, published in 1975 by Venture Prints Ltd, colour reproduction print, image size 38 x 76cm.; 15 x 30in. Artists' Resale Right ("droit de suite") may apply to this lot.
Lot 608
After Laurence Stephen Lowry R.A. (1887-1976), "Group of Children", signed in pencil in the margin, with Fine Art Trade Guild blindstamp, number 656 from an edition of 850, colour reproduction print, image size 17.5 x 19cm.; 7 x 7.5in. Artists' Resale Right (droit de suite) may apply to this lot.
Lot 623
After Charles Frederick Tunnicliffe R.A. (1901-1979), "The Gander", signed in pencil in the margin, with Fine Art Trade Guild blindstamp, published by Adam Collection Ltd, from an edition of 306, published 1976, colour reproduction print, image size 58.5 x 43cm.; 23 x 17in, together with Portrait of a Country Artist - C.F. Tunnicliffe R.A. 1901-1979 by Ian Niall, 1983, with the signed print illustrated on page 49 (2).
Lot 137
An art deco diamond and sapphire bracelet, designed as nine geometric pierced panels with a central checkerboard line of square cut mid blue sapphires and round brilliant cut diamonds with pierced arches supporting further diamonds either side, and bounded by a millegrain edge; these alternating with knife edge target links with a central rose cut diamond with smaller similar diamonds along the outer edge, all in white precious metal stamped 'Pt 950'; hidden clasp; length 18.2cm
Lot 139
A French art deco odeonesque diamond and platinum brooch, of pierced double buckle form, with a central band of graduated baguette cut diamonds, the remaining bands set throughout with single cut diamonds, set in platinum, with French dog's head assay mark struck twice; clasp with safety catch, length 5.2cm; gross weight 13.95g, total estimated weight of diamonds approximately 2.30cts
Lot 140
An Art Deco sapphire and diamond bracelet, set to the centre with an articulated and graduated line of millegrain edged, pierced square panels, each with a diaper set calibré cut sapphire to single cut diamond corners, the remainder of the bracelet of elongated rectangular links, unmarked white precious metal tests for 18ct white gold; length 17cm
Lot 271
A rare Carter Stabler & Adams Poole Pottery Holly vase designed by Truda Carter, painted by Ann Hatchard, pattern LG, shape no.949, painted in colours with geometric berried foliage panels impressed and painted marks, 34cm. high Literature Sue Lunt Age of Jazz British Art Deco Ceramics, National Museums of Liverpool, page 128 catalogue number 136 for a comparable vase illustrated. Andrew Casey (editor) Art Deco Ceramics in Britain, Antique Collector's Club, Chapter 12 Carter Stabler & Adams by Michael Jeffery page 103 plate 12..11 for a comparable piece.
Lot 122
Thistle a Doulton Lambeth stoneware washing post finial designed by Gilbert Bayes, made for the St Pancras Housing Association Flats, 1937, glazed in shades of purple, green and blue unsigned 33cm. high Provenance Private Collection Literature Louise Irvine and Paul Atterbury Gilbert Bayes Sculptor 1872-1953 Richard Dennis/Fine Art Society 1998, page 90 and 172 for examples illustrated
Lot 413
A pair of W.M.F electroplated metal candlesticks, each modelled as an Art Nouveau maiden, offering up a large urn sconce and flowing drape, on pierced stepped base on bun feet, a Phillip Ashberry & Sons electroplated dolphin centrepiece with glass bowl, a WMF coaster, mug with glass liner and an Art Nouveau electroplated cigar box with cedar lining stamped marks, candlesticks 25.5cm. high, (7).
Lot 223
The Apple Gatherer a rare Della Robbia Pottery plaque by Cassandra Annie Walker, dated 1900, modelled in low relief with a maiden collecting apples in a basket, her blond hair blowing in the wind painted CAW 1900 to bottom right, incised numbers to reverse, restored 57.5 x 37cm. Literature Peter Hyland The Della Robbia Pottery, ACC books, Appendix B page 243, this panel listed, priced £2,10 (1461) Exhibited The Home Arts and Industries, 1900 and listed in The Studio, 1900 page 98, Walker Art Gallery Autumn 1900
Lot 226
A Minton's Secessionist vase designed by John Wadsworth and Leon Solon, swollen cylindrical form. tubeline decorated with Art Nouveau ivy stems, in green, purple and blue on a white ground, another Minton's Secessionist twin-handled vase an Upsala Ekeby stoneware figure of a boy and another smaller Swedish pottery figure printed factory marks, 17cm.high (4)
Lot 285
Danlami Aliyu (1952-2012) A Wenford Bridge vase, swollen shouldered form with knop neck, incised with vertical cut columns, glazed to the foot with ash glazes impressed seal marks to side 27cm. high Catalogue Notes Danlami Aliyu was born in Nigeria, coming to Britain in 1975 where he studied under Michael Cardew at Wenford Bridge for a year before studying at Farnham School of Art.
Lot 364
‡ Dame Lucie Rie D.B.E (1902-1995) and Hans Coper (1920-1981) a stoneware plate, the exterior glazed pale grey to the rim, the interior with manganese glaze with incised band impressed seal marks, 17.5cm. diam. Literature Margot Coatts Lucie Rie & Hans Coper Potters in Parallel, Barbican Art Gallery, 1997, page 57 catalogue number 2.30 for a service in a comparable design., circa 1955
Lot 120
Ship a Doulton Lambeth stoneware washing line post finial designed by Gilbert Bayes, made for the St Pancras Housing Association flats, 1937, glazed in shades of red, pink, blue, green and buff, unsigned, chips and repair to finial, 43cm. high Provenance Private Collection Literature Louise Irvine and Paul Atterbury Gilbert Bayes Sculptor 1872-1953 Richard Dennis/Fine Art Society 1998, page 171 for another version illustrated.
Lot 115
The Water Baby a rare Doulton Lambeth stoneware fountain by Gilbert Bayes for his own garden, modelled as a young boy holding a large fish, glazed cream, purple, green and yellow, signed Gilbert Bayes in the cast on the base, professional restoration to neck, 49cm. high Provenance Gilbert Bayes' garden at Boundary Road, late 1920s The Fine Art Society Private Collection Literature Louise Irvine and Paul Atterbury Gilbert Bayes Sculptor 1872-1953 Richard Dennis/Fine Art Society 1998, page 32 for a contemporary photograph of the fountain in situ at Boundary Road. Page 146 for a version of the stoneware fountain (1927) and page 148 for a bronze maquette for a sculpture of this subject, (1928). Exhibited Royal Academy 1927, a version exhibited
Lot 116
Christmas Tree a rare Doulton Lambeth stoneware washing post finial by Gilbert Bayes, for St Nicholas' Flats 1937, modelled as a tree decorated with baubles and candles, with inscribed banner Peace on Earth Good Will to Men, glazed in colours signed in the cast Bayes, old restoration to banner, 54cm. high Provenance Fine Art Society Private collection Literature Louise Irvine and Paul Atterbury Gilbert Bayes Sculptor 1872-1953 Richard Dennis/Fine Art Society 1998, page 171 for an illustration of the Christmas Tree.
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641361 item(s)/page