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Lot 336
"Gilbert DECOCK (1928-2007) Attr. a - "Composition abstraite de fleurs d’aromes" Huile sur toile, datee de 1947. - Gilbert DECOCK (1928-2007) Attr. a - "Composition abstraite de fleurs d’aromes" Huile sur toile, datee de 1947. - Cette oeuvre presente une composition particulierement equilibree, ou les petales geometriques des fleurs se fondent harmonieusement dans un decor tout aussi structure. Les fleurs ne se devinent qu’a travers leurs carpelles, conferant a l’ensemble une subtile dimension figurative. - Aucune autre oeuvre de cette periode ne nous est parvenue a ce jour. Cependant, en comparant la signature de cette toile avec celle au crayon de Gilbert Decock dans les annees 1960-1970, on observe une similitude frappante, notamment dans la facon dont le « G » de son prenom semble se rapprocher d’un « e ». - Ref Goldfield: GFAD1560 - Poids: 4500GR - Mesures: H 945MM X L 745MM AVEC CADRE // H 790MM X L 590MM - Condition : Usure normale - Weight: 4.50 kg - Region: Belgique - Sizes: H 945MM X L 745MM AVEC CADRE // H 790MM X L 590MM"
Lot 197
§ Stanley William Hayter (1901-1988) - Untitled, coloured crayon and pencil on paper, signed and dated '1943' lower right, unframed, 26 x 54cmProvenance: Bloomsbury Auctions, Stanley William Hayter: Painter Printmaker, 26th November 2014, lot 33 Some creases and surface dirt to the paper.A few spots of foxing visible.A small tear lower middle.Three pieces of tape to the reverse.Unframed.
Lot 793
COW PARADE CERAMIC FIGURE, AND GLASS PAPERWEIGHTS the cow figure made by Cow Parade in 2001, in style 'Crayon', as well as a ceramic pineapple, two unmarked glass paperweights, an unmarked glass mushroom shaped paperweight, a Heron glass paperweight and a Wedgwood glass apple paperweightQty: 7
Lot 203
Marc Vaux (b.1932)'Untitled geometric study', pencil and crayon sketch, signed and dated '87 to the margin lower right, unframed, 21cm x 29.5cm and another smaller study by the same artist, 'Quadrant study', signed lower centre, unframed, 29.5cm x 21cm (2) The smaller of the two has a faint dedication to the reverse 'With every good wish for Christmas & the new year, Love Marc'. Minimal wear to the edges of the paper as a result of being unframed. The larger study has been stuck down with tape to the reverse, otherwise seems ok.
Lot 262
Michael Rees (b.1962)'Fisherman's family', crayon sketch, dated 89, signed in pencil lower left, 13cm x 22cm, another by the same artist 'Study of a figure', watercolour, dated 1996, signed in pencil lower left, 21cm x 15cm and one other also by the same artist 'Man against blue', etching and aquatint, dated 99, signed in pencil lower left, 16.5cm x 22cm (3) Provenance: From the collection of Professor John Chambers. At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a condition report.
Lot 593
EDUARDO PAOLOZZI (SCOTTISH 1924-2005) ⊕ MODERN MAN (I); FOUR STUDIES OF GRETA GARBO (II)signed, dedicated and dated 1996 For Sabina, Eduardo in the left margin (i); signed, titled, dedicated and dated Four Studies of GRETA GARBO / For Sabina, Eduardo Paolozzi 1995 in the middle and lower margins (ii) coloured crayon and pastel over lithograph on paper (i)pastel and biro over lithograph on paper (ii)17 x 12cm; 6 3/4 x 4 3/4in (i); 46 x 37.5cm; 18 x 14 3/4 (ii)43.5 x 38.5cm; 17 1/4 x 15 1/4in (framed) (i); 52 x 43.5cm; 20 1/2 x 17in (framed) (ii)(2)ProvenanceSabina Grinling (a gift from the artist); Grinling was the artist's assistantSale, Sotheby's, London, 23 November 2005, lot 247 (purchased by the present owner)Both works are hinged at various places from the reverse. Modern Man (I) has minor surface accretions in places visible only under very close inspection. There is slight lifting associated with the mounting process. There are minor marks on the frame likely caused by handling. Four studies of Greta Garbo (II) has minor surface accretions and deckling to the edges of the paper deemed inherent to the artist's chosen medium and working method. There is a small surface accretion to the upper-centre horizontal edge visible only under close inspeciton. There are minor marks on the frame likely caused by handling Otherwise, both works are in good original condition. Modern Man (I) is framed behind UV protected glass in a gilded frame. Four studies of Greta Garbo (II) is framed behind glass in a brown wooden frame. Neither work has been examined out of frame.
Lot 1004
Fortunino Matania RI (1881-1963) Italian Female life study Red conte crayon heightened with white, together with two further pencil sketches depicting water carriers and a female bather in repose, 44.5cm by 26.5cm, 27.5cm by 24.5cm and 38cm by 27.5cm (unframed) respectively (3)Provenance: From a collection of sketches and drawings from the studio of Fortunino Matania Private Collection, North Yorkshire Nude: Two feint creases, top left quadrant (see raking light images). A pale line of paper along top edge suggesting some oxidisation/darkening of paper.Framed of two figures: Very slight cockling in places only visible in raking light. Scattered dark flecks are inclusions/matter in the paper. Some light oxidisation of paper.Unframed: Corners dogearred at top. Cockling throughout, more pronounced creases from folding at the bottom. Staining/water mark at the bottom. Foxing spots throughout. Grey dirt, some smudging. Some oxidisation of the paper. Rough edges.
Lot 114
Angelina May Davis Untitled, 2025 Gouache and pencil crayon on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Angelina May Davis is a contemporary painter and member of Contemporary British Painting. Her paintings are fabrications, plundering imagery from childhood TV and art history. She is interested in what shapes us, using the transformative act of painting to reflect on history and culture as well as her own sense of belonging. She has been restoring the English Elm as depicted in remembered films, archival footage and English landscape painting as a metaphor for loss and longing, recalling a nostalgic and insincere past. Her paintings are claustrophobic worlds in which there is ambiguity, artifice, and the possibility of things just out of view. Education 2020-2022 Turps Correspondence Course 1996-1998 MA in Fine Art University of Central England 1985-1988 BA Fine Art Coventry Polytechnic Solo Exhibitions 2024 Model Village, United Reformed Church, Long Buckby 2022 PAL, Division of Labour, Salford, Manchester Coming up for Air, Oxmarket Gallery Chichester 1993 Living on the Ceiling, MAC, Birmingham 1992 Behind Closed Doors, City Gallery, Leicester Lanchester Gallery, Coventry Polytechnic Group Exhibitions 2024 Stop the Chaos, Turn the Page, Paradise Works, Manchester Librarian Services, Manchester Contemporary, Manchester Cassart Finalists Exhibition, Copeland Gallery, London Scrit, Terrace Gallery London Jackson's Shortlist Exhibition, Bankside, London Assembly, Contemporary British Painting, Rye 2023 Leaf and Tree, Division of Labour, Salford, Manchester Plein Air A site for resistance and remedial action, Pitt Studio, UOW 'X', Contemporary British Painting, Newcastle Contemporary, Newcastle Unnatural Women, Curated Rowena Easton, WIA Fair, Mall Galleries, London New Worlds with Daisy Collingridge, DOL and TJ Boulting Art Brussels 2022 Catalyst, Turps Banana Painters, Oriel Canfas, Cardiff Fare Share Fare, Whitworth Gallery Manchester P U L P, Pitt Studio, The Art House Worcester 2021 Bloomberg New Contemporaries, Firstsite Colchester Bloomberg New Contemporaries, South London Gallery Without Borders Touring Exhibition, Elysium Gallery, Swansea Ikon for Artists, Ikon Gallery Birmingham 2020 BEEP, Elysium Gallery, Swansea Hinterland 3, Birmingham Artspace, Medicine Gallery, Birmingham 2017 Elsewhere, Lanchester Gallery, Coventry University 2017 Hinterland 2, Rugby Gallery 2016 Elsewhere, Rugby School Bourne, Stryx Gallery, Birmingham 2015 Hinterland, Birmingham Art Space, Telsen Centre, Birmingham Coventry Drawing Prize, Rugby School Drawing Parallels, Eagle Works, Wolverhampton 1991 Secret Life of Objects, Ikon Gallery, Birmingham Awards Bloomberg New Contemporaries 2021 Outstanding Water Colour Award, Jackson's Art Prize, 2020 Gallery Representation Division of Labour, Manchester, UK Public Collections Government Art Collection, London and Manchester UK Manchester Art Gallery, Manchester, UK Isaac Newton Collection, Cambridge University. Statement about AOAP Submitted Artwork Tattered ribbons hang from a bright upright tree, a TV set is on in the corner, and fragments of landscape are contained, framed and slide out of view in what is probably an artist's studio. Painting allows me to think about ideas simultaneously and constructed landscapes provide the settings for me to ruminate about history, pop culture, and my own sense of belonging. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
![[ARCHITECTURE]PETERS, WILLIAM WESLEY. Motel for Bartell Associates, Madison Wisconsin. ?Scottsdale, Arizona: Taliesin Associa](https://cdn.globalauctionplatform.com/377a6448-203d-4eea-9a10-b2920128eaf6/f91522dc-fb07-4def-9ef1-b292013ff7df/468x382.jpg)
Lot 25
[ARCHITECTURE]PETERS, WILLIAM WESLEY. Motel for Bartell Associates, Madison Wisconsin. ?Scottsdale, Arizona: Taliesin Associated Architects, Taliesin West, early 1960s (probably 1962-3). 29 3/4 x 35 inches (75 x 89 cm); 26 x 35 inches (66 x 89 cm); two elaborate crayon-colored architectural renderings for a motel, one consisting of an aerial view and a cross-section; the other of a view of the central court from the balcony terrace, both renderings by William Wesley Peters Member of Taliesin Associated Architects. Fine. Framed.William Wesley Peters was Wright's protégé and son-in-law and was the first managing principal of Taliesin Associated Architects. The design here harkens to Wright's design for the Snow Flake Motel (on which Peters also worked), with a geometrically arrayed complex of rooms and a central covered court. The Organic Architecture and Archives Online Catalog lists several items pertaining to this project (which was never completed), including an interesting fact sheet on the Motel, see https://catalog.oadarchives.org/index.php/Detail/objects/1860. The publication used the superb rendering of the central court as the illustration, the original of which is included here. The accompanying text notes: "This 224 unit motel, designed by the FRANK LLOYD WRIGHT FOUNDATION features eight separate 2 and 3 story wings arranged like the spokes of a wheel around a central paved court and swimming pool. Above the court, a translucent cable supported canopy creates a spacious garden conservatory atmosphere. Each room has its own private terrace or balcony and overlooks a landscaped garden. The dining room, cocktail lounge, and shops open onto the central court. Parking is adjacent to the rooms but screened from view..." This was Taliesin Architects Project Number 6208. Materials relating to this are in the Taliesin Architects collection at the Avery Library. Estimate and reserve lowered per client converation 2/21 ERDNo condition report? Click below to request one. *Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and Doyle New York shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.Request a condition report
Lot 3
The Smiths: A collection of five postcards, two written by Morrissey to Mike Hinc, the first undated but believed to be September 1984, the front featuring a black and white photograph of The Marvelettes, reading 'Dear Michael, Thoughts on Cardiff: No toilets (except public one)!! Dressing room 300 degrees below freezing point!! Stage laughably small, heavies mid-barrier were ultra heavy with happy fan. Crowd were great. ART WORK (given to Outlaw by ATB) was 3 records old!!!! - Will accept your decision on Belfast & Dublin venues - tickets aren't too expensive, I presume - thanks to Martin for coming to Gloucester. Please compile Feb-Mar venues. Love, your pets, The Smiths'.The second card, featuring a picture of Morrissey himself, and dated April 28th 1985, reads 'Mike, Can we tie in an Italian date with the Spanish jaunt? Yet still to England on planned date? Can we ditch Barcelona and do Rome? Or one important Spanish date and two Italian? Any idea how London Records found my address? Love, M'.The remaining cards feature bass guitarist Andy Rourke apparently practising his signature (on the reverse of a Smiths promotional postcard), a further card with the same image, with a typed message (probably by Morrissey, to Mike Hinc), reading 'These four beautiful boys would like to do SOME GIGS (but NOT the Upper Volta). We feel a grand passion for Ireland. Nine gigs? But we don't want to LOSE MONEY. Nine gigs? Our future support must be JAMES from FACTORY (please contact them when necessary)...Nine gigs (three rows of three). Remember, we are Rough Trade Artists.' There is blur crayon across the card, similar to that used to sign other letters written to Mike Hinc from Morrissey, as featured elsewhere in this sale.The final card, featuring a black and white portrait of Morrissey, is from an unknown sender, to 'Hilary', who worked with Mike Hinc at All Trade Booking, and reads 'Hilary, I need a copy of US tour inv (359?). Are Ross Bennet Smith having this paid from US? Can your travel agent get me info on QE2 to US. And sea routes to Japan?? (P'haps from US). Please call me, [?]', the card with a postmark dated 13th September 1985. Provenance:From the personal collection of the late Mike Hinc, former booking agent at Rough Trade for Morrissey, The Smiths and others. The lot forms part of an extensive archive of related items on this sale, consigned by the family of Mike Hinc. Qty: 5
Lot 93
The Smiths: A collection of original ephemera, to include two pieces with a Morrissey signature, relating to the live booking arrangements for the band's 1985 UK & Ireland tour, comprising a copy of a typed letter from Mike Hinc of All Trade Booking, to Morrissey, dated 14th October 1984), in which he provides a sample of the proposed rider for the tour, and says 'I was glad to hear that you enjoyed the Welsh sortie, to the extent that you are now contemplating as many as 35 dates in Feb/March throughout the UK. As agreed, I will organise these on a 3 on - 1 off basis, but would also strongly advise you to take a substantial rest period both before and after going on the road - as a matter of working necessity. I will keep in close touch with you as the booking of this tour progresses - please remember to give me your new phone number as and when you move back to Manchester. Don't hesitate to contact us should you feel the slightest pang of worry or doubt with regard to any of your forthcoming live work - and don't try to push yourself harder than your constitution will allow! We were glad at last to discover the real reason behind your former reluctance to work abroad - this is something major for you, and serious - and I think until we can find some kind of answer for the problem, you shouldn't be subjected to the kind of real street which travelling by air places you under. The world can wait! As ever, wildely [sic] yours...'.Morrissey then replied on 16th October, with a typed letter, signed with large text in blue crayon, reading 'Dear Mike, I return the rider as requested. All seems perfect to me, but John Featherstone and Oz will have the final say on stage size, so please wait for their comments. Please arrange all dates as soon as possible. Make note of these personal requirements:' [He goes on to suggest a preferred outline of locations and venues]. 'Please etch all venues with dates as soon as possible, and let copies be sent to Oz, John Featherstone, Scott and Stuart, and myself. I shall be contactable at [address in Hale Barns, Cheshire] ...until directly prior to the Irish tour. My new number here in London is.... But more importantly than all of this, I am simply happy to see the supply of Lucozade on the rider has remained sufficient. Ever, Morrissey'.A further typed letter from Morrissey to Mike Hinc, also hand-signed and dated January 20th 1985, reads: 'Dear Mike, I should let you know that there is no enthusiasm from anyone here to add another date to the tour. Certainly, Preston and Coventry are quite attractive, and would have initially been appreciated in place of Poole and Margate. However, it's too late now. It would be interesting to know any details on the Opera House in Manchester, for use perhaps on the Scottish stretch. Concerning overseas work, I must say that until we find a manager, we are unlikely to set foot outside this country. On the matter of the P.A. I remain manically distraught, but feel that this situation should not be allowed to occur. It does seem unfair that, at such a late stage, the matter seems entirely in my hands. What concerns me now is advertising. The Manchester date has had no presence whatsoever. It is as if the thing isn't really happening. I want people who don't know The Smiths, and people who hate The Smiths, to be aware of what we're doing. Please do something about posters (especially in Manchester). Whether the promoter thinks it unnecessary from the gig's point of view is not really the issue: it's important from The Smiths' point of view. Thanks for all the info on Friday. and for help in other ways. Best regards, Morrissey'.This final letter also has the words 'How Soon is Now' written to the bottom right corner, although not, apparently, in Morrissey's own hand. Provenance: From the personal collection of the late Mike Hinc, former booking agent at Rough Trade for Morrissey, The Smiths and others. The lot forms part of an extensive archive of related items on this sale, consigned by the family of Mike Hinc.
Lot 58
Walt Disney (1901-1966). ‘Cinderella’. Autographed reproduction of an original colour animation cel drawing, Walt Disney Productions, Burbank, California, (c. 1950) -depicted Gus and Jaq, Cinderella’s loveable mouse friends, and boldly inscribed by Walt Disney in black crayon on lower right margin, ‘To Pat Osborne Best Wishes Walt Disney’, further annotated in pencil in an unknown hand beneath the image on left margin ‘From Cinderella’, the image 15 x 20cm within mount, printed label on reverse, 44 x 42cm overall, framed and glazed. Provenance:Personally gifted by American animator, film producer, Walt Disney, to the vendor’s mother, the Late Pat Osborne, who was a BBC producer and close friend of Walt Disney.Pat Osborne started working for the BBC as a typist at the age of 18 in 1936, until she left the company in the mid-1970s. Pat then began to take over the corporation’s programmes which had lost their male producers to Her Majesty’s Armed Forces and by 1946 she had become a highly professional senior BBC producer in her own right.Miss Osborne started the BBC’s radio programme, ‘Woman’s Hour’ and produced numerous programmes including, ‘Housewives’ Choice’, ‘Radio Rhythm Club’, ‘Desert Island Discs’,‘ March of the Movies’, International Hit Parade’, and ‘The Wonderful World of Disney’ broadcasts on Christmas Day to name a few. Throughout her 40 years with the BBC, Pat Osborne made many friends, many of whom included the best-known names in show business.Bold and clear signature, a few small marks to the cream mount, toning and rubbing to printed label on reverse, some scuffs to the frame, otherwise overall good condition.
Lot 29
The Smiths: A typed letter, hand-signed by Morrissey in blue crayon, written to Mike Hinc of All Trade Booking, dated September 19th [1984], regarding plans for forthcoming live show bookings, reading 'Dear Mike, Thank you for sending the rider. You understand that I no longer have any physical need for gladioli or small greenary [sic] (passe, man), but instead, an insatiable biological need for a small tree. Please include this paltry request on Irish rider (indeed all future riders). The tree itself should be imminently swingable, at least four feet in length, minus thorns or anything likely to maime [sic] a delicate artistic hand.Please send me a detailed list of the finalised Irish dates. It had always been group policy never to return to any given venue, so this is why we frown at the Ulster Hall. I wish something could be done. Is it too late? We have no real passion to visit Londonderry. Can you let me know the finalised ticket prices for all Irish dates? Provenance: From the personal collection of the late Mike Hinc, former booking agent at Rough Trade for Morrissey, The Smiths and others. The lot forms part of an extensive archive of related items on this sale, consigned by the family of Mike Hinc.We feel that the February-March tour should be mammoth. The crew need details of venues as soon as possible. We plan to accommodate a huge screen onstage (this was roughly planned for the three upcoming gigs, but stage area was deemed too small). So although we'd like all venues (practically) to be stand up's, there must be stage space for a vast screen. Sergeant Featherstone can explain further.The main purpose of the Feb-March tour will be to promote the 2nd LP ['Meat is Murder']. If LP is not released by mid-February, we are in deep trouble. I want to avoid antics of Feb-March tour '84 where LP was released mid-tour.Instead of playing two (or more!) nights at a London venue, can we not play a London date early in the tour and London date at latter half, playing two separate venues? Also, for Manchester, can we wheedle in a concert hall date and a club date?Please think about these two points.RT [Rough Trade] release a compilation LP mid-November of radio sessions, but otherwise a record release before the end of this year is unlikely.As a matter of total trivia, although waves splash abound, The Smiths as a unit have never been so unified and determined. Plus, we still get heaps of fan mail (especially me). Love (I expect), Morrissey.' A second typed letter, (facsimile text and signature), dated May 21st 1985, reads: 'Dear Mike, The final Spanish date was the worst 24 hours of our career. As a direct result, please discard any notions of the Smith ever doing any European hikes. Enough is enough.We will never work with Stuart James again. Please produce a choice of three tour managers for America. We can quite easily conduct swift interviews in Manchester and finally brand the luckless candidate.We will never take a flight on a gig day; our ears are precious. We rely on them. Please apply this to the US jaunt.It was good to see you in Madrid, but clearly Scott left the country without altering his notions of US Tour Presidency. I rely on you fully to clean this issue up and get it out of the way.To re-tell the San Sebastian incident is to re-live it. Naturally, our Spanish promoters turned into our worst enemies. We were inches away from imprisonment. Everybody in the entourage deserted the group.We do not want a caterer for the US tour. If the promoters don't provide ample basic food, we're going home to our Mothers.I think that demanding there be no barriers and very modest 'heavies' at US gigs is a wholly reasonable request. The absolute purpose of this tour is to incite stage invasions.Please let me know the situation with James. Has a second 'major' group been added to Dublin? Please confirm with Scott that Jim Connelly is available for America. After all, we need at least one person to be on our side.Finally, our strongest thanks to Hilary for all her brainpower throughout the Spanish hotel siege. Too sincerely, Morrissey.'
Lot 1004
CHRISTO: (1935-2020) Christo Vladimirov Javacheff. Bulgarian artist. Signed colour 6 x 4 postcard of Christo´s environmental artwork Valley Curtain (1970-72) located at Grand Hogback in Rifle, Colorado. Signed by Christo in orange crayon to a light area at the head of the image and dated at Rifle, 1972, in his hand. VG
Lot 980
PICASSO PABLO: (1881-1973) Spanish painter, a co-founder of the Cubist movement. A wonderful and vibrantly illustrated A.L.S., Picasso, two pages, slim 4to (approximately 10.5 x 27.5 cm), Mas Notre-Dame-de-Vie, Mougins, Alpes-Maritimes, 23rd October 1962, to Max [Pellequer] (´Mon cher Max´), in French. The artist sends his correspondent more papers, with his thanks, and continues to provide a snapshot of his relaxed life with his second wife and muse, Jacquelibe Roque, on the Cote d´Azur ´Il fait l´été nous nous sommes baignez au port hier encore et nous aurions pu aller encore aujourd´hui hier ce matin encore sur la plage et dejeuner sur le sable comme jusques à présent´ (Translation: ´It's summer, we went swimming at the port again yesterday and we could have gone again today yesterday or this morning again on the beach and had lunch on the sand as we have been doing until now´), further profusely expressing his gratitude to Pellequer, ´Merci et merci encore pour toute du travail que je vous donne avec tant d´histoire de contributions et maisons. Merci. Merci. Merci. Vous etes très bon pour moi´ (Translation: ´Thank you and thank you again for all the work I give you with so much history of contributions and houses. Thank you. Thank you. Thank you. You are very good to me´) and concluding by sending best wishes from himself and Jacqueline. To further reinforce the joy Picasso has found on his recent visit to the beach, the artist has added a delightful original drawing at the foot of his letter, executed in blue ink and various coloured crayons, depicting a magnificent, bright yellow sun in a clear blue sky, shining upon the deep blue Mediterranean sea, in which two bathers can be seen, and with a beach in the foreground upon which appear a number of other figures, some happily relaxing beneath bright orange parasols. To further illuminate his letter Picasso has underlined each Merci in orange crayon (a total of six times) and also underlined the name of his villa and the date in blue crayon at the head of the first page. A magnificent and rare illustrated letter by Picasso. A few very light, extremely minor creases, VGMax Pellequer (1903-1973) French banker and art collector who would become Picasso´s private banker, financial adviser and close friend. Pellequer assembled an important collection of artworks in the 1920s and 1930s which included a number of significant early pieces by Picasso, as well as works by Paul Cezanne, Edgar Degas, Paul Gauguin, Henri Matisse, Joan Miro and others. Almost two hundred letters from Pellequer to Picasso are preserved in the Musee National Picasso in Paris.In 1961, Picasso, who had discovered Mougins in 1936, bought Mas Notre-Dame-de-Vie from the Guinness family as a wedding present for his future wife Jacqueline. Referred to by Picasso as the ´house of my dreams´, the large villa (set in three hectares and with views over the Bay of Cannes) would be the artist´s final residence.
Lot 992
HOCKNEY DAVID: (1937- ) English painter, an important contributor to the pop art movement in the 1960s. Signed colour 4 x 6 postcard, the image being a reproduction of Hockney´s oil on canvas painting Doll Boy (1960-61). Signed by the painter in blue crayon with his name alone to the verso. EX
Lot 979
PICASSO PABLO: (1881-1973) Spanish painter, a co-founder of the Cubist movement. A printed small 4to exhibition catalogue for Picasso at the Durand-Ruel Galleries in New York, 3rd - 29th May 1948, featuring various paintings created by Picasso between 1939 and 1945, ten of them portraits of women and five still lifes, each reproduced in monochrome to a single page opposite a description of the work. To the front cover Picasso has executed an attractive original pencil, black and blue crayon drawing, the image showing a flute player seated serenely on the ground in a full-length profile pose, facing right and with his knees bent, playing a long flute which he holds to his lips with both hands. Around the fluid, simplistic and stylised figure (in black crayon) Picasso has added (in pencil and blue crayon) a horizon and arabesques which serve to illuminate the composition. Signed (´Picasso´) by the artist in pencil, above the printed title of the catalogue, and dated 5th September 1950 in his hand. A wonderful and highly desirable original drawing signed by Picasso. Some very light, extremely minor age wear, VGThe theme of the flautist recurred many times in Picasso´s works during his career, and the present drawing is somewhat reminiscent of The Flute Player (1962) in which Picasso also depicts the musician seated on the ground, in a full-length pose and with his knees bent, holding his flute to his mouth with both hands.
Lot 972
KUPKA FRANTISEK: (1871-1957) Czech painter and graphic artist. A.L.S., Kupka, one page, 4to, Puteaux, 17th August 1929, to a gentleman, in Czech. Kupka confirms that he has received twenty five copies of the Franconian text and will send the payment of 1,250 Czech Koruna during September. With a feint ink stamp and crayon annotation at the head of the page. VG
Lot 864
LAGERFELD KARL: (1933-2019) German fashion designer. A wonderful original pencil and coloured crayon drawing executed and signed by Lagerfeld, one page, large 4to (approximately 19.5 x 28.5 cm), n.p., n.d. (1980s). On a sheet of Chanel printed stationery (featuring the interlocking CC monogram of Coco Chanel which Lagerfeld integrated into a style pattern for the House of Chanel in the 1980s) Lagerfeld has drawn an attractive full-length study of the slim Coco Chanel standing in profile, wearing a long skirt and matching jacket, and with a Chanel handbag hanging by its chain from her wrist. Lagerfeld has seemingly deliberately added more detail to the handbag, which features the interlocking CC monogram, reflecting on its importance as an iconic accessory of the Chanel brand. Lagerfeld has also prominently titled the drawing Gabrielle Chanel across the centre and added his signature at the base. Both Chanel´s name and Lagerfeld´s signature are written in black ink, adding a red outline (essentially a second signature) to both in order to attractively create the effect of a red ´shadow´. Matted in cream and framed and glazed in a plain black frame to an overall size of 12.5 x 16. A truly fabulous original drawing linking two of the 20th century´s most important fashion designers. VG
Lot 34
λ DAME LAURA KNIGHT (BRITISH 1877-1970) TWO THEATRE STUDIES: SONJA HENIE AT THE BLACKPOOL ICE DOME & STUDY FOR "PAVLOVA TAKING A CALL" Black crayon, each study executed on two sheets of paper, the set framed as one Both signed (lower right) Each 19 x 30.5cm (7¼ x 12 in.) Overall (including frame): 68 x 53cm (26¾ x 20¾ in.) The top drawing, depicting Sonja Henie, dates in all probability from circa 1935. Knight executed five other works of Henie at the Blackpool Ice Dome, namely The Skater; Finale Skating Ballet exhibited at The Royal Society of Painters and Watercolours; Arabesque on Skate exhibited at the Royal Academy, London in 1965; Five Ballerinas exhibited at Eastbourne Fine Art in 1966 and The Skating Ballet exhibited at the Royal Watercolour Society in spring 1949. Sonja Henie (1912-1969) was a Norwegian figure skater and actress. At the time, Henie won more Olympic and world titles than any other female figure skater, achieving gold medals in 1928, 1932 and 1936. She was world champion ten times between 1927, when she was only 15, and 1936, and six times European Champion between 1931 and 1936. Henie is credited with being the first ice skater to adopt the short skirt costume in figure skating and made great use of dance choreography. She moved from competitive ice skating into films and in 1936 she joined 20th Century Fox studios in Hollywood. The lower drawing is a sketch and draft for Knight's well known ballet painting entitled Pavlova taking a call from 1920 which was exhibited at the Leicester Galleries in the same year. The present drawing can therefore be safely dated to the same period. We are grateful to R. John Croft F.C.A. for his assistance in cataloguing this lot. The works will be included in the Laura Knight Catalogue Raisonne currently being prepared. Condition Report: Each work is executed on two sheets. Unexamined out of glazed frame. SONJA HENIE AT THE BLACKPOOL ICE DOME There are gaps between the two sheets, where they don't completely align and the edge is not completely straight. Slight undulation to both sheets. Otherwise appears to be in good original condition. STUDY FOR "PAVLOVA TAKING A CALL" There are gaps between the two sheets. The edges are not straight or even and slightly fraying. Sheets are undulating most notable to the centre of the lower edge. Condition Report Disclaimer
Lot 10
ROBERT BEVAN (BRITISH 1865-1925) BRETON GIRL KNEELING Crayon 29.5 x 26cm (11½ x 10 in.) Provenance: Thomas Agnew & Sons Ltd., London (no. 28482) Exhibited: London, The Arts Council of Great Britain, Gauguin and the Pont-Aven Group, 1966, no. 291 London, Thomas Agnew & Sons, Ltd., no. 77 Condition Report: Unexamined out of glazed frame. The sheet appears to be stuck down to the mount. The edges are not completely straight, commensurate with conception of work. Otherwise work appears to be in good original condition. Condition Report Disclaimer
Lot 138
λ JOHN NAPPER (BRITISH 1916-2001) PORTRAIT OF MARY N. MULLER, MRS CHARLES MULLER Oil on canvas Signed, titled and dated 1956 (to label verso) 71.5 x 91.5cm (28 x 36 in.)Painted in 1956 at the artist's studio on Glebe Place, London. Together with a preparatory sketch, pencil, ink and coloured crayon squared for transfer, signed with monogram (lower right); further inscribed 'For/ Charles and Mary/A souvernir/best wishes from/John Napper', 34.5 x 41cm (13 1/2 x 16 1/8in.) (2)In a letter dated 30th May 1986 from the artist to Charles Muller, John Napper describes the portrait of Mary as 'possibly the best I have ever done.' Napper also commented in 1956, on receipt of payment, 'It was a most enjoyable task and its success is largely due to Mary's cooperation.'
Lot 65
* De Boisseau (Jean-Jacques, 1736-1810). Buste de Jeune Paysanne, the sitter depicted is either the artist's wife or the maid, Josephine, crayon and ink wash, signed with monogram top right, laid down on board, spotted foxing marks and short tears to edge, image measures 16.2 cm x 13.4 cm (6 1/2 x 5 1/8 ins), labels verso, presented in ornate gilded frame, overall 29 cm x 25.5 cm (11 1/2 x 10 ins)QTY: (1)
Lot 199
§ § Jo Brocklehurst (English, 1935-2006) Seated nude smoking a cigarettepencil and crayon on papersigned and dated 197882 x 57cm Honest untouched condition, untouched ground paper evenly discoloured to a dark creamish tone, undulation marks showing particularly down the left hand side along with some light creasing, pin holes showing in the top corners, colours strong, glazed wooden frame with black card mount, newspaper extract regarding the artist verso.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
Lot 123
▲ Sheila Robinson (1925-1988) 'Revan Kiosk'signed and dated 'Sheila Robinson 1973' l.r., inscribed with title l.l., pen and ink and coloured crayon21.5 x 29cmCondition ReportFramed: 41 x 47cmA little brown staining to the upper left edge and corner, and also to the top of the right edge. A diagonal fold mark to the upper right corner. Not viewed out of glazed frame.
Lot 6
Banksy (b.1974)Very Little Helps (Signed)Screenprint in colours, 2008, signed in blue crayon, numbered from the edition of 299 in pencil, printed and published by Pictures on Walls, London, on wove paper, with full margins, sheet 506 x 374mm (19 7/8 x 14 3/4in)This work is accompanied by a Certificate of Authenticity issued by Pest Control Office.
Lot 402
Attributed to Betty Blandino (1927-2011)Female nude study, oil on canvas, 60.5 x 50cm (unframed), together with a pencil and crayon nude study, signed 'Fett' and inscribed to a label verso 'Lady Ida Clarke Hall (1879-1979) from Betty Blandino Jones', 45 x 23.5cm, and a nude print by Christine Burgess, signed in pencil and dated '89. (3)
Lot 81
An interesting collection of Polo memorabilia, including a watercolour of a polo match at Deauville by Pierre Gaillardot (French, 1910-2002), signed lower right, watercolour on paper, 29 by 46cm., label of Axel Thorpe Gallery, Houston, Texas to reverse, mounted, framed & glazed, overall 45 by 62cm., very good condition, Gaillardot received a retrospective in 1967 at Musee D'Art Moderne in Paris; charcoal pastel of a polo player on horseback, artists monogram lower margin Gran (?), framed, 78 x 62.6 cm; sold together with a Nikolai Leikine ''Je de polo'', oil on canvas, signed lower right, framed, 46.5 x 65.5 cm; a polo scene by an unknown artist, mounted and framed, 48.5 x 64 cm; Eddie Kennedy (Irish, b. 1960) On the lines, Limited Edition 79 of 650, signed in pencil lower right margin, framed, 66.5 x 91.5 cm; seven volumes by or regarding the renowned polo & equestrian artist Paul Brown (American, 1893-1958), i) ''Hits and Misses'', limited edition, 185/900, signed by Paul Brown, being a facsimile reproduction of the artist's sketchbook including manuscript annotations, pictorial cloth over hard boards, The Derrydale Press, New York, 1935, wear to boards but overall good; ii) ''Polo'', Charles Scribner's Sons, New York, 1949, green papered boards, spine paper present but detached; iii) ''Polo, A Non-technical Explanation of the Galloping Game'', Charles Scribner's Sons, New York, 1949, with dust jacket, areas of paper loss; iv) ''Crazy Quilt, The Story of a Piebald Pony'', Charles Scribner's Sons, New York, 1934, children's crayon marks & colouring in to inside front boards; v) ''Black & White, Simplified Drawing'', Charles Scribner's Sons, New York, 1939, good condition; vi & vii two copies of M L Biscotti's ''Paul Brown, Master of Equine Art'', 2001, Polo collectables; two sets of John Jenkins whiskey tumblers, boxed and unused, each etched with a polo player and pony; a glass trinket box and cover, the lid reverse carved with two polo players and ponies in match action, factory mark to lid, 3.3 x 11 x 8.5 cm; the lot also including a pewter ashtray by the Wilton Company, commemorating the 2003 Newport International Polo Series in the USA; a decorative poster for Sagpond Vineyards La Ferme Martin Chardonnay 1993, 76 x 46 cm; a Ellen C. Maze small watercolour of a polo player and pony, pair of vintage polo player knee pads etc., (a lot)
Lot 465
† SIMON POOLEY (born 1955); oil, graphite and crayon, 'Smiling', a seated nude woman, signed and dated 96 to the bottom right, and signed, titled, dated etc to label verso, with label for The Stour Gallery, 25 x 22cm, together with a signed limited edition print DOUGLAS PORTWAY of a reclining nude woman with flowers behind her, signed indistinctly and numbered X/XIII, 18 x 14cm, both framed and glazed (2).DOuglas POrtway born in Johannesberg in 1922 and mved to Cornwall in 1967. He became part of the British abstract movement of the 1950's and 60's. His work is often classified as abstract expressionism.
Lot 33
Bernard ROOKE (1938) Heron, Tree and Three further Works Heron, oil paint and mixed media, artist's resume verso, 25.5cm x 38.5cm, 35.5cm x 48.5cm mounted; Tree, Oil paint and crayon on paper, signed, artist's information verso, 23cm x 29cm, 33cm x 39cm mounted; Frogs, mixed media, signed, 19cm x 12.5cm, 26.5cm x 20cm mounted; Bees, mixed media including collage and print, signed, 26cm x 23.5cm, 36cm x 33.5cm mounted; Insects, mixed media including collage and print, signed, 23cm x 18cm, 33cm x 27.5cm mounted. Shipping is available from £25.22 to a UK Mainland address.
Lot 14
Tom Thumb original six-page artwork by Dudley Watkins for The Magic-Beano Book 1948 (pgs 99-104). His Majesty takes his pipe by the fire so Tom and Tinkel decide to make a new 'king-size' one for themselves. They test it out with a smoke and the Princess has to administer castor oil (extra nasty variety!). A rare complete story artwork of Watkin's work at the height of his powers. With the Magic Beano Book for 1948. Indian ink and blue crayon on card. 13 x 9 ins each page
Lot 1277
A photograph, Chinese landscape, with a bridge, 10 x 16 cm, and another similar, of a bronze bull, 27 x 12 cm, Emma B, a cockerel, pastel, signed, 30 x 41 cm, a study of daffodils, crayon, 35 x 26 cm, an abstract print, 40 x 28 cm, Christopher Hughes, a street scene, pencil, 25 x 17 cm with artist's label verso, M Boots, limited edition print of a boat, 16/25, 17 x 18 cm, a Baxter print, and a set of three brass fire irons, with claw and ball finials, the tongs 68 cm (qty) and a Terence Conran for Habitat, a kitchen table with a solid oak top, on a painted metal base, the top 98 x 195 cmHabitat - Kitchen Table - watermarks and some scuffs and marks to the top, probably due to use, structurally sound
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