Gerard Sekoto (South African, 1913-1993)View of Paris, La Seine signed and dated 'G Sekoto/ 59' (lower right)oil on canvas 48.5 x 59.5cm (19 1/8 x 23 7/16in).Footnotes:ProvenanceA private collection, France.When Sekoto first arrived in Paris in 1947, he was confronted by a bleak prospect. It was the depths of winter, and the artist spoke no French. After two weeks, he finally obtained a job playing the piano at a bar-restaurant on Rue du Sommerard. This source of income allowed him to enrol in drawing classes at the la Grande Chaumiere.The early years in Paris were a time of loneliness for the artist, homesick for the warmth of his birthplace. However, he gradually became accustomed to the French language and began to feel more at ease in the local bistros, where he would make quick sketches of the patrons. As his draftsmanship became more confident, he began to make drawings in the street.This view of the Seine is a wonderful example of one of the artist's plein air impressions. Although Sekoto still returned to South African themes and subjects, by 1959 he was increasingly acquainted with Parisian habits and the geography of the city. This oil sketch has a dreamy, tranquil beauty, that communicates the artist's greater inner peace.BibliographyB. Lindop, Gerard Sekoto, (Randburg, 1988), pp.26-36.For further information on this lot please visit Bonhams.com
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Christo Coetzee (South African, 1929-2000)Untitled 1960 signed and dated 'christo coetzee/ 1960' and inscribed '120/FT/christo/coetzee/24/4/60' (verso)152.5 x 204 x 20.5cm (60 1/16 x 80 5/16 x 8 1/16in).Footnotes:Educated at The Slade School of Fine Art, Christo Coetzee was a South African artist who was awarded a scholarship in 1959 by the Japanese Government to study in Japan. This was arguably the result of his first exhibition with Rudolph Stadler in Paris a year earlier, where Coetzee was introduced to the influential French art critic Michel Tapie. Tapie in 1957 received a pamphlet from Gutai, a newly formed avant-garde Japanese art group, and immediately became interested in their experimental post-war practice. In September of that year Tapie traveled to Osaka and was so fascinated and impressed by their work he later introduced the Gutai group to leading figures in the art world both in Europe and the US. However it was during Tapie's initial 1957 trip that he met and introduced the Gutai founder Jiro Yoshihari to informal painting. Yoshihara states that he had to select a work for reproduction and happened to pick one by Christo Coetzee. He further comments that 'the use of ping-pong balls covered with paint, and this bizarre technique seemed to indicate a break with what painting used to be in the past'. This unique style which captivated Yoshihara is nonetheless evident in the present lot, with ping-pong balls attached throughout the center-fold of the canvas by wire disguised in heavily applied paint. Crucially it was through Tapie, that Yoshihara and Coetzee were first introduced to one another in Paris 1958 at Galerie Stadler. The two artists quickly struck up a friendship, with Yoshihari visiting Coetzee's studio by the River Seine with fellow artist Hisao Domoto.In Japan, Coetzee was attached to the department of Aesthetics at Kyoto University, living at the student institute in Osaka. As a result, Yoshihara kindly offered Coetzee a studio at his residence where he produced a series of works; an example was sold in these salerooms on 12 September 2018 (lot 38).Coetzee later went on to exhibit twice in Tokyo, and at the beginning of 1960 at the Takashimaya department store in Osaka.The present lot was executed in 1960 soon after Coetzee returned after his scholarship in Japan and undeniably shows evidence of the Gutai Group's heavy influence on Christo. The small and delicate incisions in the upper half of the canvas clearly resemble Gutai group member Shozo Shimamoto's Holes series. Michio Yoshihara's, son of founder Jiro, commonly used sand and this is also evident in the present lot. This is in addition to the heavily applied paint, evidently applied freshly squeezed from the tube or poured directly on the canvas like the work of Kazuo Shiraga.BibliographyMarco Franciolli et al, Gutai: Painting with Time and Space, (Silvana Editoriale, 2010), pp.204-205.Ai Sawai, GUTAI, (Art U, 2015), p.9Ming Tiampo & Alexandra Munroe, Gutai: Splendid Playground, (Guggenheim, 2013), pp.290-291Stevenson & Viljoen, Christo Coetzee: Paintings from London and Paris 1954-1964, (Cape Town, 2001) pp.29.For further information on this lot please visit Bonhams.com
Benedict Chukwukadibia Enwonwu M.B.E (Nigerian, 1917-1994)Portrait of a young man signed and dated 'BEN ENWONWU/ 52' (to nape of neck)wood27 x 10 x 14cm (10 5/8 x 3 15/16 x 5 1/2in).Footnotes:ProvenanceGifted to the previous owner by the artist in the late 1960s.By direct descent.Following his tutelage with British artist Kenneth Murray, then teaching at the Government Colleges of Lagos, Ibadan and Umuahia, Enwonwu travelled to London to exhibit a selection of wood carvings and paintings in 1944. The show was positively received, and attracted the attention of L.W. Harford, director of Shell West Africa. Harford helped Enwonwu to secure a scholarship to continue his studies in England, first at Ruskin School of Art in Oxford, and then at the Slade School of Fine Art from which he graduated with a first class degree in Sculpture.Whilst in London, Enwonwu was popular with his fellow students. He made a habit of gifting works to those he felt a particular affection for, a practice he continued throughout his life. This wooden head was given to one of his friends, a fellow artist, in the early 1950s when he returned to London for an exhibition.For further information on this lot please visit Bonhams.com
Two marble topped small jardinière stands19th centuryThe first with octagonal top inset with rouge marble within a border with beaded edge, carved and pierced apron of fruiting vine on cabriole supports joined by a cross-stretcher, 61cm high; together with another with a circular top with inset rouge marble panel over an apron carved and pierced with lotus design on cabriole supports joined by a carved and pierced undertier. 60cm high. (2).This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
A famille rose bowl; together with a pair of turquoise-glazed vases and two celadon bowlsThe 18th century punch bowl enamelled to the exterior with peony and bamboo issuing from rockwork, the interior with further large sprays of flowers, 23.8cm diameter; together with a pair of unusual bottle vases each formed with a straight neck above an elongated lobed body on oval foot, covered in turquoise glaze, 12.5cm high; and two celadon bowls, the first with exterior glazed in pale green, stamped four-character mark to base, 13.2cm diameter and a paler example with brocade mark to base, 13.6cm diameter, both on wood stands.(7).For further information on this lot please visit Bonhams.com
Two large famille verte dishesKangxiThe first decorated with floral and foliate panels to the centre, within a band of leafy scrolling peony stems; the second with peonies issuing from rockwork, within a band of large chrysanthemum sprays and foliate scrollwork.38.5cm and 38cm diameter. (2).For further information on this lot please visit Bonhams.com
Three famille verte vases18th centuryThe first of square lobed baluster form with flaring neck and twin handles, enamelled with two main panels of Buddhist lions spaced by others of birds and flowers, 22.5cm high; together with two beaker vases with foliate designs, tallest 22.7cm high; (all restored).(3).For further information on this lot please visit Bonhams.com
A set of five pith paintings of various professions and a pair of paintings of birds19th centuryThe first set comprising a street food carrier, a cabinet maker, a street food vendor, a shellfish gatherer, and a rice winnower, each image 27.5cm x 32.5cm, and framed and glazed; together with a pheasant cock and hen, and another pheasant, each image 19cm x 27cm, and framed and glazed.(7).For further information on this lot please visit Bonhams.com
Four underglaze blue and copper-red snuff bottlesQing DynastyThe first of rounded square-section and painted to each side with boys at play, Qianlong six-character mark, 6.3cm high; a cylindrical example painted with a continuous scene of boys playing on a terrace, (bearing a fine crack), 7.5cm high; another similar bottle with a continuous scene of a warrior and horse with attendant figures beneath pine tree, 8.3cm high; and the fourth of tapering cylindrical-section with scene of a lone fisherman in a boat, 6.8cm high.(4).For further information on this lot please visit Bonhams.com
Two hongmu armchairs19th/20th centuryThe first with a stepped top-rail above a shaped back-splat with low relief-carved panel of stylised archaistic shou-character, the curving armrests on curving supports over a solid seat with inset 'floating' panel over stepped aprons with moulded edges all raised on square-section supports and joined by stretchers, 112cm high, 59.5cm wide, 45cm deep; together with an armchair with stepped and carved top-rail featuring a bat above a back-splat carved as a peach, a bird perched to one side, the curving armrests with central peach supports on a solid seat with inset 'floating' panel over fish-belly aprons on square-section supports joined by stretchers, (breaks and losses).98cm high, 62cm wide, 47.5cm deep.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
Three hongmu stands and one low table/standFirst half 20th centuryA near pair of square examples on square-section supports joined by humpbacked stretchers, 41cm square, 51cm high; a similar square example with carved and pierced entwined-scroll design aprons on square-section supports with cloud carved feet, 41cm square, 52cm high; together with a small kang table with rectangular top with 'floating' panel over a stepped apron carved with archaistic scroll designs, the square-section supports with scroll carved corner brackets, (one lacking) and ending in cloud carved feet.27cm high, 47.5cm wide, 33.5cm deep. (4).This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
Mid 19th century and later franked Penny Red envelopes and others, contained within an album, together with two Russian stamp albums, an RAF 75th anniversary commemorative album of First Day covers and stamps, some signed by John Nichol and John Peters, Gulf War prisoners and another album of first day covers
A sapphire and diamond ring, first half 20th century, the cushion shaped mixed cut sapphire claw set above graduated stepped old cut diamond demi lune shoulders, unmarked, finger size M, 3.7g gross Offered for sale with a Gemmological Certification Services Sapphire Report, numbered 80255-18, dated 11.2.2020, stating: Origin: Basaltic deposit Comments: No indications of heating
A matched pair of cast Britannia standard silver candlesticks, the first William III by Joseph Bird, maker's mark struck four times only, the second Elizabeth II by Carrington & Co., London 1963, the reel capitals with moulded girdles, knopped tapered stems and on moulded canted-square bases, later engraved with a crest, scratch weights to the first 12:15 and 7=1, 15cm (6in) high, 786g (25.25 oz)
![Wagner (Richard) The Ring of the Niblung: The Rhinegold & the Valkyrie [with] Siegfried & The Twilight of the Gods, H](https://cdn.globalauctionplatform.com/052a1ed4-884a-4f7d-a2b0-ab4600ebad9b/a993210a-801b-4d02-9061-ab760108997f/468x382.jpg)
Wagner (Richard) The Ring of the Niblung: The Rhinegold & the Valkyrie [with] Siegfried & The Twilight of the Gods, Heinemann, 1939, first edition thus, forty-eight colour plates after Arthur Rackham, original cloth; Balfour (Ronald) (illust.), Rubaiyat of Omar Khayyam, Constable, 1920, quarto, 37 (of 38) mounted plates, original boards (2)
Dahl (Roald) Danny, The Champion of the World', Cape, 1975, first edition, dust wrapper (priced £2.25); Ransome (Arthur), The Imp and the Elf and the Ogre, James Nisbet, 1910, first edition, frontis, two (of three) plates, original quarter cloth gilt (boards worn at edges, some pages torn where crudely opened) (2)
Fantasy Fiction Hornig (Charles D.) edit., The Fantasy Fan, Volume 1, No 3, Elizabeth N.J., Nov 1933, includes H.P. Lovecraft's 'The Other Gods', tanned with a little wear to edges; Knox (Robert W.) & Eckhardt (Jason C.), The H.P. Lovecraft Centennial Calendar 1990, Necronomicon Press, 1989, colour illustrations, unused; Lumley (Brian) et al, Crypt of Cthulhu, Vol. 3, No. 3 (No. 19), 1984, 'Brian Lumley Issue' with his signed presentation inscription to front cover; Smith (Clark Ashton), The Hashish Eater, Necronomicon Press, Sept, 1989, first printing, original card wraps; idem, Nostalgia of the Unknown, The Complete Prose of Clark Ashton Smith, Necronomicon Press, July 1988, first printing, original card wraps; Wilson (Colin), The Return of Lloigor, Village Press, 1974, original card wraps; Long (Frank Belknap, Jr.), The Darkling Tide, Tsathoggua Press, Sept 1995, first printing, original card wraps; Beiles (Sinclair), Burroughs (William), Corso (Gregory), Gysin (Brion), Minutes To Go, Beach Book/City Light, [1968], original wraps; with a small collection of others in very good condition (qty)
Fleming (Ian) The Man with the Golden Gun, Cape, 1965, first edition, dust wrapper (priced 18s.); idem, On Her Majesty's Secret Service, Cape, 1963, first edition, dust wrapper (priced 16s.); idem, The Spy Who Loved Me, Cape, 1962, first edition, dust wrapper (priced 15s.); idem, You Only Live Twice, Cape, 1964, first edition, dust wrapper (priced 16s.); Lewis (C.S.), Till We Have Faces, Geoffrey Bles, 1956, first edition, dust wrapper (5)
Fleming (Ian) From Russia With Love, Cape, 1957, first edition, original black cloth with red rose and silver revolver to upper board, worn and torn dust wrapper (priced 13s. 6d.); idem, You Only Live Twice, Cape, 1964, first edition (without March), tape stains to free endpapers, original black cloth with gilt Japanese text to upper board, dust wrapper (priced 16s.); Christie (Agatha), Sparkling Cyanide, 1945, Collins Crime Club, damp stains to endpapers, dust wrapper (priced 8s. 6d.); with two others (5)
Early Aviation Eight large monochrome photographs depicting early aeroplanes, comprising; Maurice Farman (Longhorn) - 70 H.P. Renault; Handley Page 2/375 H.P. Rolls Royce; B.E. 2C 90 H.P. R.A.F.; B.E. 2E 90 H.P. R.A.F.; Avro 100 H.P. Mono Gnome; Bristol Fighter 375 H.P. Rolls Royce; Curtiss JN4 90 H.P. Curtiss; Sopwith 1 1/2 Strutter, 2 Seater Fighter, 110 H.P. Clerget, 1916; the first six photographically signed 'Flight photograph', each 365mm x 505mm (except the Curtiss - 370mm x 525mm), individually mounted, framed and glazed (condition variable) (8)
Lewis (Samuel) A Topographical Dictionary of England ..., S. Lewis, 1835, third edition, five quarto volumes including the Parliamentary History volume, folding map of England and Wales, engraved maps throughout the first four volumes, 116 maps (hand-coloured in outline) in Parliamentary volume, original cloth (worn)
Lowe (George) Mixed Type and Autograph Letter Signed, no date, inviting 'Sue' to a private showing of the Everest Film at the Royal Geographical Society with drinks afterwards at his flat, single side; idem, Autograph Letter Signed, dated 17th Oct '58, to 'Sue' discussing his availability and how 'at the moment I feel I never want to see another audience and slide', on one side of Trans-Antarctic Expedition headed paper. [A New Zealander, George Lowe OBE was the last survivor of the 1953 British expedition to Everest and the first to meet Edmund Hillary and Sherpa Tenzing as they descended from the summit. His 'The Conquest of Everest' film resulted in his appointment as photographer on the Trans-Antarctic Expedition of 1957-58. His first wife was called Susan].
Custer (Mrs E.B) Tenting on the Plains or General Custer in Kansas and Texas, New York; 1887, first edition, portrait frontis, original cloth gilt (owner's name to title page); Sheridan (P.H.), Personal Memoir of P.H. Sheridan, General United States Army, New York; 1888, two volumes, portrait frontis to each, original cloth gilt (owner's name to title page); Tytler (Patrick Fraser), Historical View of the Progress of Discovery on the More Northern Coasts of America, 1833, folding map frontis, original cloth (owner's name to title page); Wright (Mrs D.G.), A Southern Girl in '61, 1905, portrait frontis, plates, original cloth (owner's name to title page) (5)
Everest Expedition Ascent of Everest 1953, illustrated souvenir programme to accompany the lectures given by members of the successful expedition in 1953, signed by Sir Edmund Hillary and T.D.Boudillon, original wraps; Hunt (John), The Ascent of Everest, Hodder & Stoughton, 1953, first edition, dust wrapper (worn) (2)
Payne-Gallwey (Sir Ralph) Archery - An outstanding manuscript compiled by Sir Ralph Payne Gallwey of Thirkleby Park on the subject of Archery. Contains notes on research on the Turkish bow with tables of dimensions and flight distances, mounted photographs, Turkish arrows, notes on the construction of Composite bows, bowstrings, the Turkish Thumb Ring (with sketches), the grooved horn, extracts from a Turkish Book on Archery, photographs of Chinese Archery, etc.etc., written in the first decade of the 20th century, 101 pages of manuscript, photographs, tables, plates, sketches and diagrams, bound in full pebble-grained morocco with gilt lettering to upper board (binding rubbed)
Cookery The Compleat Cook: Prescribing The most Ready Ways for Dressing Flesh, and Fish, Ordering Sauces, Pickles, Jellies, &c. and Making Pastry After the Newest Manner, Phillips, Rhodes and Taylor, 1710, 12mo., [2], 138, [4] (appears to lack end of table), [bound with] pages 121-[136] of 'the Pearl of Practice' [bound with] A Queen's Delight: or a System of the Confectionary Art ..., Phillips, Rhodes and Taylor, 1710, title, pages numbered 139-146, 167-240, (lacking H2 - H11), disbound [Although the second book appears to be a few remnant pages bound in, the binder's signatures run correct from the end of the first book to H1 in the third book. Maclean p. 31 gives the first title as a single book] Lambeth (Joseph A.), Lambeth Method of Cake Decoration and Practical Pastries, Virtue, 1937, quarto, original cloth (2)
Bookselling History A collection of documents relating to Edwin W. Shepherd and Hatchards, London, comprising; A Tribute to Edwin W. Shepherd, 'We your Friends and Colleagues of the Board of Hatchards Ltd. here record our deep appreciation of the great services you have rendered to the firm since first you joined it sixty years ago ...., 31st March 1951, illuminated and signed, in full morocco gilt binding by Zaehnsdorf; Royal Christmas Card 1934, signed by Queen Mary, with aerial view of Buckingham Palace, preserved in cloth folder by Sangorski & Sutcliffe, address panel on pastedown; Royal Warrants for Hatchards, comprising; To the King, Feb 1911; To the Prince of Wales, Jan 1927; To Queen Mary, March 1938; To the King and to the Queen, both June 1938; Letters from Marlborough House on behalf of Queen Mary, five, from 1950 to 52, some about her visits to the shop; Various other letters and photographs including a portrait of Shepherd in Police Uniform (qty)
ALBERT CLARK (1843-1928)'Verity', a dark bay horse, wearing a harness in a stable,signed and dated 'Albert Clark 1885' (lower left)oil on canvas20 1/4 x 24 1/2 inAlbert Clark was the son of the animal painter James Clark. He was first noted as an artist in the census of 1861. He was based for most of his life in Islington, North London
AFTER GEORGE STUBBS ARA (1724-1806)Anvilcolour stipple engraving with etching,first published by George and George Townly Stubbs, December 1794with printed title in open letters and etched inscription 'George Stubbs, pinxt...ANVIL...Geo. Townly Stubbs Sculp. Engraver to His R.H. the Prince of Wales, London, Published Decr. 1794 by Messrs. Stubbs, Turf Gallery, Conduit Street', laid down, with rubbing at plate edges, some light browning particularly in central and upper area of imagePl. 15 1/2 x 19 3/4 inLiterature: Lennox Boyd, Dixon & Clayton. The Complete Engraved Works of George Stubbs ARA no.115 (state 1)The source for this work is an oil on canvas in the collection of Lord HalifaxAnvil was bred by Thomas Panton Esq, and foaled in 1777. In 1781 he is recorded as winning races at Epsom, Exeter, Bath and Blandford. In 1783, Anvil in the first Spring meeting at Newmarket 'beat Sir Charles Davers' Buccaneer over the Beacon Course for 200 gns', Besides another win at Newmarket that year, he also recorded victories at Winchester and Salisbury. In 1784 he became the property of H.R.H. the Prince of Wales, and continued to record numerous victories. During that time he beat a number of leading racehorses of the day including Boudrow, Boxer, Drone, Mercury and Fortitude.By the early 1790's Anvil had become a stallion in the stud of H.R.H. the Prince of Wales. He later moved to a stud at Canons Edgware George Townly Stubbs originally advertised this print at 15s. plain and £1 10s. for proof or coloured-printed impressions (c.1797)
MILDRED ANNE BUTLER RA RWS (1858-1941)'Flaunting Flowers'signed 'M.A. Butler' (lower left) inscribed with title and 'No. 2 ' and also stamped 'M.A. Butler, Kilmurry, Thomastown' on a label versowatercolour10 1/2 x 14 in Provenance: Private Collection, Presteigne The artist was born and spent most of her life in Kilmurry, Thomastown, Co. KilkennyShe became a member of the Royal Academy in 1893. Butler's painting entitled 'Morning Bath' was the first work by a female artist to be purchased by the trustees of the Chantrey Bequest and was then presented to the Tate Gallery She became an associate member of the Royal Watercolour Society in 1893
AFTER GEORGE STUBBS ARA (1724-1806)Sharkecolour stipple engraving with etching, by George Townly Stubbsfirst published by George and George Townly Stubbs 1794with printed inscription 'George Townly Stubbs...George Stubbs pinxt...Geo. Townly Stubbs Sculpt. Engraver to His R.H. the Prince of Wales/SHARKE/London Published May 20 1794 by Messrs. Stubbs, Turf Gallery, Conduit Street'all margins trimmed to near plate edge, title plate also trimmed, laid down on backing cardPl. 15 1/2 x 19 3/4 inLiterature: Lennox-Boyd, Clarke, and Dixon.The Complete Engraved Works of George Stubbs ARA ,(no.110 state 2)George Townly Stubbs originally advertised this print at 15s. plain or £ 10s. for proof or colour-printed impressionsThe source for the print is the oil painting in the Paul Mellon Collection (Egerton 1978, no.85.) another later version is known, and a watercolour reduction for this print by George Townly Stubbs is also in the Mellon Collection (Egerton and Snelgrove, p. 91 and pl. 51)The Sporting Magazine (Jan 1794) commentated of Sharke..'A most beautiful as well as a very famous horse: he won five single matches for one thousand guineas each, and upwards of twenty thousand guineas in stakes. He gave Laurel and Postmaster 7lbs. each each for a sweepstake of a thousand guineas over the Beacon Course at Newmarket. The portrait is of Price, who trained him.'Sharke was bred and owned by Robert Pigott (1736-94) of Chesterton Hall, in Huntingdonshire. Pigot was a sympathiser with the American and French revolutions and an aquaintance of Franklin, Voltaire and Brissot. He is said to have later become 'a zealous Pythagorean, as a vegetarian was than called, and was a dupe of the quack James Graham and his electric bed' (DNB)Sharke's racing winnings at Newmarket alone totalled over 16000 guineas. The highest sum to that date for any racehorse. He commenced as a stallion at Chesterton Hall in 1779. Later he was sold at Tattersall's to a dealer and exported to Virginia. His first season in America was spent at General Spottiswood's stud at Nottingham near Fredericksburg. His period at stud proved a success and he was later described by a correspondent as doing 'as much to enhance the value of the bloodstock of the United States as any horse ever imported' (American Turf Register, 1830, vol V, p173)
GIOVANNI BATTISTA PIRANESI. (1720-1778) 'Altra Veduta del tempo Della Sibilla in Tivoli' (Hind 61), etching, first published 1761, on watermarked paper laid down, Pl. 17 1/2 x 26 in; and a later published reprint after Piranesi, depicting a view towards 'the Basilica di S. Giovanni Laterano..' (with printed number 694 in top right corner); two (2)
AFTER GEORGE STUBBS ARA (1724-1806)Sweetbryercolour stipple engraving with etching, first published by George and George Townly Stubbs, December 1794, with title in open letters and etched inscription 'George Stubbs pinxt....Geo. Townly Stubbs sculpt. Engraver to His Royal Highness the Prince of Wales../SWEETBRYER /London Pubd. by Messrs Stubbs, Turf Gallery, Conduit Street' laid down, with four margins, some rubbing along plate edges, repaired old tears in top right corner image edge, vertical repaired tear upper centre towards image edgePl. 15 1/2 x 19 3/4 inLiterature: Lennox Boyd, Dixon, Clayton. The Complete Engraved Works of George Stubbs ARA no 113 George Townly Stubbs advertised this print (c.1797) at 6s. plain or 12s. for proof or colour printed impressions This print (as well as the three other examples in this auction) is from a series which were intended to illustrate a history of Horse-racing in England (post 1750). This 'Review of the Turf' was to have been compiled by George Stubbs and his son under the aegis of an anonymous patron.This ambitious venture failed at an early stage. In the event only two issues of descriptive text out of a proposed forty to forty-five were published and only fourteen horses were actually engraved
‡PHILIP JONES (b.1933)'White House at Dawlish'signed and dated 'Philip Jones, 1972' (lower right)and inscribed as titlemixed media on paper21 1/2 x 29 1/2 inProvenance: Private Collection, WorcestershireThe artist studied at the Slade, where his mentors included Tom Monnington and the then Principal William Coldstream. After first exhibiting at the RBA in 1954, he went on to exhibit at a number of London galleries including The Leicester Galleries, and the Whitechapel Art Gallery. He moved out of London in 1973 to continue painting, aiming in his words 'to be free from all Metropolitan influence'
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