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Lot 1
WILDE JIMMY: (1892-1969) Welsh Boxer, the first official World Flyweight Champion, 1916-23. Vintage signed postcard photograph of Wilde standing in a three quarter length pose, in a boxing stance, and wearing his Lonsdale belt. Signed in bold dark fountain pen ink to a clear area of the image and dated 1947 in his hand. Together with a bold fountain pen ink signature (‘Jimmy Wilde’) and date, 19th August 1935, in his hand on a printed correspondence card from the Crown Hotel in Lowestoft. Some light overall foxing to the signed card, G to VG, 2
Lot 30
A selection of various First and Second World War British medals, along with a Elizabeth Coronation medal for police long service CONDITION REPORT; Numbered left upper to right lower starting No 1 No 1, 24470 L. CPL. W. MEADOWS, CHESHIRE No 2, L425637 A/CPL. P. G. WATSON RAF (WITH BORNEO BAR) No 3, 2. LIEUT. W. MEADOWS No 4, UNINSCRIBED No 5, UNINSCRIBED No 6, INSPR. THOMAS. E. WATSON
Lot 7
Elkington & Company, a hallmarked silver circular powder box, having a repoussé detailed hinged cover, inscribed "First Prize, Fancy Dress Ball, presented by The Royal Mail Steam Packet Co." CONDITION REPORT; General surface wear and small dings throughout. Mirror inset is broken. Hallmarks a little rubbed
Lot 22
A SET OF SIX WORCESTER FIRST PERIOD PLATES, circa 1775-85, of lobed circular shape with basket weave moulded rims, printed in blue with the 'Gilliflower' pattern, 21cm diameter (one at fault) (6) Condition:one with crack intersecting rim in two places and around the verge, one has very small chip to rim edge
Lot 23
A WORCESTER FIRST PERIOD MOULDED CREAM BOAT, circa 1755-58, of lobed oval shape with scroll handle, the sides moulded with rococo scrollwork cartouches encasing blue printed scenes with 'Captive Bird' pattern of pagoda with oriental figure holding a bird on a chord, the interior with flower garlands, 5.8cm high (repaired) Condition:hairline from rim to foot, across and up to opposite , riveted near rim, associated chips to foot rim
Lot 29
A SET OF WORCESTER FIRST PERIOD CUPS AND SAUCERS, circa 1765, comprising three coffee cups, two teabowls and six saucers, painted in blue with the 'Prunus Root' pattern of flowering trees (11) Condition:coffee cups, one with rim chip and three footrim chips, one with forked hairline to body, one with minuscule hairline to rim, teabowls - one with small chip to outside rim edge, one with broken and repaired section to rim and two chips to foot rim, saucer - one with 1/3 section of rim restuck, one with small triangular section of rim rivited, remaining four good
Lot 2176
* HAIDEE BECKER (AMERICAN b 1950), TWO ON AN OVAL PLATE oil on canvas, signed, inscribed and dated 2010 verso 48cm x 68cm Framed Note: Note: Born 1950 in Los Angeles, California. Lives and works in London. Former pupil of Uli Nimptsch RA and Adrian Ryan, London. Studied with Elizabeth Keys, Herta Kötner and Anthony Whishaw, London. Fritz Wotruba, Vienna. Full biography at www.haideebecker.com ...... ''After that, I got to know some of her still lives and flowers. They have, for me, the essential quality; the revelation of a passionate inwardsness, like portraits of hypnagogic images just about to materialize, lit and shadowed with a turbulent yet magnetic inner form. The depth is the psychological depth of great sweetness - gently and powerfully focused. Living with them has confirmed all my first impressions about them.'' - Ted Hughes, Poet Laureate of Great Britain.
Lot 2190A
* ALAN DAVIE CBE RA HRSA RWA (SCOTTISH 1920 - 2014), EL TERREMOTO gouache on paper, signed, titled and dated 89 56cm x 77cm Framed and under glass Note: Scottish painter, trained as a painter at Edinburgh College of Art from 1938 to 1940, initially favouring poetic imagery and coming into contact with modernism at exhibitions held in London of works by Picasso (1945; V&A) and Paul Klee (1945; Tate). He explored a diverse range of activities, however, before returning to painting from 1949 to 1953 he earned his living by making jewellery and in 1947 he worked as a jazz musician, an activity he continued in later life. He wrote poetry during the early 1940s. From 1953 to 1956 Davie taught in London at the Central School of Arts and Crafts, where he became interested in African and Pacific art. As early as 1958 Davie emphasised the importance in his work of intuition, as expressed in the form of enigmatic signs. During the 1960s, both in paintings and in coloured lithographs, he represented such images with increasing clarity at the expense of gestural handling. In 1971 he made his first visit to the island of St Lucia, where he began to spend half of each year and which brought Caribbean influences to bear on his suggestive imagery, as in Bird Gong No. 10, Opus 730 (1973; London, Brit. Council). Taking on the role of a disinherited shaman, Davie created a synthesis of mythologies from a variety of cultures for a modern civilisation devoid of its own village myths.
Lot 2234
* ROSEMARY BEATON, VILLAGE STREETS, EYMET watercolour on paper, signed 20cm x 27.5cm Framed and under glass Note: Rosemary Beaton studied at The Glasgow School of Art (1981-86) at a time when great emphasis was put on teaching drawing and highly figurative painting was re emerging. She was in 1st year when Stephen Campbell; Adrian Wiszniewski ; Ken Currie and Peter Howson were in their 4th year. Among her contemporaries were Mary Maclean; Alison Harper; Lesley Burr; Margaret Hunter and Helen Flockhart. Whilst still a student in third year she was the first Scot and youngest person to win the prestigious John Player National Portrait Award (now BP) in 1984, followed by GSA Alumni Alison Watt in 1987 and Allan Ramsay in 1988.
Lot 2241
* RUTH STAGE NEAC (BRITISH b 1969), BROOKLYN HEIGHTS (AND THE TWIN TOWERS) egg tempera on gesso board, signed with initials 92cm x 90cm (36 1/5 x 35 2/5 inches) Framed In the artists words: I did the painting in 95 or 96 (not totally sure) after my first visit to New York .Most of the other paintings in the series were from the World Trade Center so quite historical. We stayed in Brooklyn for the first few days and Brooklyn Heights was the first fabulous view as we walked towards the city. Note: See biographical information with lot 2172.
Lot 2269
* JACK VETTRIANO OBE, CHEATING HEARTS (SCENE FROM THERESE RAQUIN) oil on canvas, signed 'Vettriano' (lower left) 61cm x 50cm Framed Note: Thérèse Raquin is a novel (first published in 1867) and a play (first performed in 1873) by the French writer Émile Zola. The novel was originally published in serial format in the journal L'Artiste and in book format in December of the same year. Provenance: Exhibited The Catto Gallery, London, 1992.
![Robert O. Lenkiewicz [1941-2002]-
Diogenes and Belle at Prayer with Chairs:-
Project 2. Death and The Maiden. 1974
oil on can](https://cdn.globalauctionplatform.com/1420244c-4569-4c10-84f7-a44800de466c/b6836755-bbc7-482e-a189-c45b8169724a/468x382.jpg)
Lot 110
Robert O. Lenkiewicz [1941-2002]- Diogenes and Belle at Prayer with Chairs:- Project 2. Death and The Maiden. 1974 oil on canvas 196 x 214cm. * Provenance. The Lenkiewicz Foundation Collection. *Notes Exhibited. The Painter with Women (Retrospective Section), ICC Birmingham 1994; Plymouth City Museum Retrospective, 1997; Wolverhampton Art Gallery, A Retrospective, 1998; At the Edge, Hartlepool Art Gallery 2007 and Novas Gallery 2008; Plymouth City Museum and Art Gallery, 2009; Royal West of England Academy, Bristol 2011; Torre Abbey 2011; Royal William Yard, Plymouth, 2012; Spinnerei, Leipzig, and Nuremberg, Germany, 2013 (see Introduction for post-2007 exhibition details). * Notes. Begun in the autumn of 1974 after a surprise visit to Plymouth by Lenkiewicz' muse Belle Pecorini, this painting was completed too late to feature in the first showing of its Project on the theme of Death and the Maiden. Nevertheless, Lenkiewicz was able to submit it, unsuccessfully, to the Royal Academy Summer Exhibition in 1975. The work was shown at Lenkiewicz's gallery called The Fool in Clifton Street in 1974, its one room more than large enough for the seventy pictures, many of which introduced a new turn in the artist's method: 'the aesthetic note' - smaller works, usually executed in watercolour or gouache on paper on which were inscribed notes written in the artist's hand. These works, numbering almost fifty, were later bound into a large folio with many more notes and annotated sketches of memento mori in art across world cultures, including sketches he made during visits to the Victoria and Albert Museum's collection. This folio is titled Death & The Maiden Paintings: R.O. Lenkiewicz and is in the collection of The Lenkiewicz Foundation. The vagrant Diogenes, Edwin Mackenzie, featured extensively in this Project. In The Putrefaction of Diogenes he himself appeared as a memento mori - a gruesome reminder that death is inevitable - but here the motif appears in the classical form of the skull, reinforced by Lenkiewicz' favourite visual metaphor for absence and loss - the empty chair. The subject matter of the exhibition was based on Lenkiewicz's observation that: 'An intense aesthetic/personality interest in another person seems always to carry with it the inevitability of change. In this change we witness the death of love and the decay of our interest. The undermining influence of this experience hints at the contact between 'Death and the Maiden' - between 'Love and Tragedy' - between life and us.' Literature R.O. Lenkiewicz (1997). White Lane Press. p.48 Robert Lenkiewicz. Paintings & Projects (2006). White Lane Press. Plate 9. Robert Lenkiewicz. Still Lives (2011). Lenkiewicz Archive. p. 9.
![Robert O. Lenkiewicz [1941-2002]-
Woman Walking Away:-
Project 8. Jealousy. 1977
oil on board
61 x 122cm
* Provenance. The](https://cdn.globalauctionplatform.com/1420244c-4569-4c10-84f7-a44800de466c/8d811c30-b91b-493c-fd72-367159b8f47c/468x382.jpg)
Lot 48
Robert O. Lenkiewicz [1941-2002]- Woman Walking Away:- Project 8. Jealousy. 1977 oil on board 61 x 122cm * Provenance. The Lenkiewicz Foundation Collection. * Notes. Lenkiewicz was wary of symbolism in his work, instead he sought 'formulae' or metaphors to convey meaning. In the 1977 Jealousy Project he repeatedly used the 'man watching a woman walk away' formula, which was based on the 'to love is to live in fear of loss' notion. Woman Walking Away [1977] shows Myriam Rivera in the garden of 'Death House', Lenkiewicz's cottage in Compton, watched by a male figure whose entrails flail after the retreating woman. The male figure is taken directly from Velazquez's The Forge of Vulcan; even the twisting entrails exactly follow a sinuous line in Velazquez's own composition. Vulcan is the Roman counterpart to the Greek god Hephaestus, who in Greek mythology made the first woman, Pandora, out of clay. In the notebook for the Project - which according to Robert was spirited away by one of its major subjects and never seen again - he wrote: The visceral sensations experienced by the jealous lover torment and isolate with remarkable clarity. The bodily sensations involved in jealous reactions began to strike Lenkiewicz as identical to the sensations reported by alcoholics and addicts undergoing withdrawal symptoms - 'not just similar, identical,' he would emphasize. All the elements of the artist's mature understanding of 'the falling in love scenario' were now in place: that love was an addiction and jealousy the withdrawal symptom; that the process was visceral or physiological in nature and had nothing to do with psychology. As he later elaborated to his friend, Dr Philip Stokes: ...the experience of jealousy is the experience of being withdrawn from one's own addiction, from one's own drug, that one has inflicted on oneself - nothing to do with the other person … and that infliction, that process, that peculiar suicide, is an aesthetic phenomenon entirely But the inevitable conclusion was that intense feeling isolates people rather than bringing them together. However, in Woman Walking Away which of the figures is undergoing the torments of jealousy? Lenkiewicz' diaries from that year record that Myriam was wearing her sister Magdalena's dress, a visual hint to the jealous love triangle playing itself out within the painter's Edenic garden in Compton. * Exhibited. The Painter with Women (Retrospective Section), ICC Birmingham 1994; Plymouth City Museum Retrospective, 1997; Wolverhampton Art Gallery, A Retrospective, 1998; Plymouth City Museum and Art Gallery, 2009; Royal West of England Academy, Bristol 2011; Royal William Yard, Plymouth, 2012; Spinnerei, Leipzig, and Nuremberg, Germany, 2013 (see Introduction for post-2007 exhibition details). Literature R. O. Lenkiewicz (1997) White Lane Press p. 55. Robert Lenkiewicz - Paintings & Projects (2006). White Lane Press. Plate 25 Robert Lenkiewicz - Human All Too Human (2012). Lenkiewicz Archive. p26.
![* Robert O. Lenkiewicz [1941-2002]-
The Night Watch:-
Project 3. Mental Handicap. 1976
oil on canvas
193 x 290cm
Originally](https://cdn.globalauctionplatform.com/1420244c-4569-4c10-84f7-a44800de466c/727e2f02-73b5-4f8e-912b-95025281ac56/468x382.jpg)
Lot 90
* Robert O. Lenkiewicz [1941-2002]- The Night Watch:- Project 3. Mental Handicap. 1976 oil on canvas 193 x 290cm Originally almost the same size (304 x 426 cm) as Rembrandt's painting of the same name before being cut to manageable size by the artist, The Night Watch was the centrepiece of the Mental Handicap Project in 1976 and was unveiled by Plymouth's Lord Mayor, Arthur Floyd. Concealed behind a vast curtain at one end of the warehouse studio Jacob's Ladder, this deliberately invoked the great unveiling scene in Alexander Korda's 1936 film Rembrandt, which had first inspired Lenkiewicz to become a painter when he saw it on television as a boy. As in Rembrandt's painting, Lenkiewicz is depicting those who 'look after' and are 'responsible for' the vulnerable in our society. Sitters for the painting were drawn from the social services and other care organisations concerned with people with learning difficulties. Left to right: Dr Hans de Rijke; Superintendant Physiotherapist at the Trengweath Spastic Centre, Viv Sloaman; Ron Moore, headmaster at Mill Ford School; Dr David Owen, MP for Devonport and Minister for Health; Bernard Ashley, director of a skills training centre, 'Cockney Jim', a vagrant; Ken Young, Director of Social Services for West Devon.
![* Robert O. Lenkiewicz [1941-2002]-
Study. Hyde Park. Morning:-
(First outdoor sketch outing) St Martins School of Art 16/17](https://cdn.globalauctionplatform.com/1420244c-4569-4c10-84f7-a44800de466c/4079843b-a4df-4055-e81c-976e949a1aec/468x382.jpg)
Lot 206
A rare Dr Wall First Period Worcester lobed 'Late Floral Bouquet' pattern tea bowl and saucer, decorated in underglaze blue, open crescent mark C. 1785 (repair to rim of saucer), accompanied with letter from the Museum of Worcester Porcelain stating that this example is not present in the collection.
Lot 295
First World War Interest. Five embroidered silk cushion covers. 1. "Souvenir of Egypt 1916, 6th Rgt AIF, Fight on, Fight Ever" 2. "Souvenir of Egypt 1916, Forget Me Not" embroidered with allied flags and clasped hands 3. "Souvenir of Egypt 1916", embroidered with hearts and allied flags. 4. "Mother", with printed rose and Liberty War Service insignia together with two silk handkerchiefs one embroidered "Souvenir de France" the other "Souvenir de France, Australian Commonwealth Military Forces". (6).
Lot 316
Mary Piercy (20th Century British). A folio of mostly watercolour landscape studies and illustrations including Alpine and beach views (approx 33). Notes Mary Piercy grew up in Hampstead, and in the late 1950s attended Hornsey College of Art. She provided illustrations for the 1959 first issue of "Ambit" literary magazine, which continues to be published today. In the 1960s she had a solo exhibition in Oxford; as a member of the Hampstead Artists' Council, she was closely involved with organising and exhibiting at the "Open-Air Art Exhibitions" in Hampstead; she also sold works in Canada at this time. Later she made props for various leading ballet companies, including the Royal Ballet Covent Garden and also for television, notably on early episodes of "Dr Who". She experimented with a range of styles in her art and was particularly influenced by Gauguin and Picasso, but her pictures always have a bold, forceful, expressive quality that is distinctively her own.
Lot 317
Mary Piercy (20th Century British). A folio of figurative studies, some preparatory sketches (Qty). Notes Mary Piercy grew up in Hampstead, and in the late 1950s attended Hornsey College of Art. She provided illustrations for the 1959 first issue of "Ambit" literary magazine, which continues to be published today. In the 1960s she had a solo exhibition in Oxford; as a member of the Hampstead Artists' Council, she was closely involved with organising and exhibiting at the "Open-Air Art Exhibitions" in Hampstead; she also sold works in Canada at this time. Later she made props for various leading ballet companies, including the Royal Ballet Covent Garden and also for television, notably on early episodes of "Dr Who". She experimented with a range of styles in her art and was particularly influenced by Gauguin and Picasso, but her pictures always have a bold, forceful, expressive quality that is distinctively her own.
Lot 318
Mary Piercy (20th Century British). A folio of layouts for childrens books and animation cells including the original studies for the illustrations in "Our Lady's Fool: Life of Father Maximilian Kolbe" Published by St Paul Publications, illustrated by Mary Piercy. (Qty). Notes Mary Piercy grew up in Hampstead, and in the late 1950s attended Hornsey College of Art. She provided illustrations for the 1959 first issue of "Ambit" literary magazine, which continues to be published today. In the 1960s she had a solo exhibition in Oxford; as a member of the Hampstead Artists' Council, she was closely involved with organising and exhibiting at the "Open-Air Art Exhibitions" in Hampstead; she also sold works in Canada at this time. Later she made props for various leading ballet companies, including the Royal Ballet Covent Garden and also for television, notably on early episodes of "Dr Who". She experimented with a range of styles in her art and was particularly influenced by Gauguin and Picasso, but her pictures always have a bold, forceful, expressive quality that is distinctively her own.
Lot 319
Mary Piercy (20th Century British). A folio of still lives (approx 18). Notes Mary Piercy grew up in Hampstead, and in the late 1950s attended Hornsey College of Art. She provided illustrations for the 1959 first issue of "Ambit" literary magazine, which continues to be published today. In the 1960s she had a solo exhibition in Oxford; as a member of the Hampstead Artists' Council, she was closely involved with organising and exhibiting at the "Open-Air Art Exhibitions" in Hampstead; she also sold works in Canada at this time. Later she made props for various leading ballet companies, including the Royal Ballet Covent Garden and also for television, notably on early episodes of "Dr Who". She experimented with a range of styles in her art and was particularly influenced by Gauguin and Picasso, but her pictures always have a bold, forceful, expressive quality that is distinctively her own.
Lot 320
Mary Piercy (20th Century British). A folio of figurative studies (37 ). Notes Mary Piercy grew up in Hampstead, and in the late 1950s attended Hornsey College of Art. She provided illustrations for the 1959 first issue of "Ambit" literary magazine, which continues to be published today. In the 1960s she had a solo exhibition in Oxford; as a member of the Hampstead Artists' Council, she was closely involved with organising and exhibiting at the "Open-Air Art Exhibitions" in Hampstead; she also sold works in Canada at this time. Later she made props for various leading ballet companies, including the Royal Ballet Covent Garden and also for television, notably on early episodes of "Dr Who". She experimented with a range of styles in her art and was particularly influenced by Gauguin and Picasso, but her pictures always have a bold, forceful, expressive quality that is distinctively her own.
Lot 321
Mary Piercy (20th Century British). Coffee drinkers, mixed media, signed. 50 x 40cm f/g. Notes Mary Piercy grew up in Hampstead, and in the late 1950s attended Hornsey College of Art. She provided illustrations for the 1959 first issue of "Ambit" literary magazine, which continues to be published today. In the 1960s she had a solo exhibition in Oxford; as a member of the Hampstead Artists' Council, she was closely involved with organising and exhibiting at the "Open-Air Art Exhibitions" in Hampstead; she also sold works in Canada at this time. Later she made props for various leading ballet companies, including the Royal Ballet Covent Garden and also for television, notably on early episodes of "Dr Who". She experimented with a range of styles in her art and was particularly influenced by Gauguin and Picasso, but her pictures always have a bold, forceful, expressive quality that is distinctively her own.
Lot 322
Mary Piercy (20th Century British). Adam and Eve, oil on board, signed, framed. 44 x 89cm. Notes Mary Piercy grew up in Hampstead, and in the late 1950s attended Hornsey College of Art. She provided illustrations for the 1959 first issue of "Ambit" literary magazine, which continues to be published today. In the 1960s she had a solo exhibition in Oxford; as a member of the Hampstead Artists' Council, she was closely involved with organising and exhibiting at the "Open-Air Art Exhibitions" in Hampstead; she also sold works in Canada at this time. Later she made props for various leading ballet companies, including the Royal Ballet Covent Garden and also for television, notably on early episodes of "Dr Who". She experimented with a range of styles in her art and was particularly influenced by Gauguin and Picasso, but her pictures always have a bold, forceful, expressive quality that is distinctively her own.
Lot 324
Mary Piercy (20th Century British). Modernist seated boy and girl sur l'herbe, signed, oil on board, framed. 75 x 91cm. Notes Mary Piercy grew up in Hampstead, and in the late 1950s attended Hornsey College of Art. She provided illustrations for the 1959 first issue of "Ambit" literary magazine, which continues to be published today. In the 1960s she had a solo exhibition in Oxford; as a member of the Hampstead Artists' Council, she was closely involved with organising and exhibiting at the "Open-Air Art Exhibitions" in Hampstead; she also sold works in Canada at this time. Later she made props for various leading ballet companies, including the Royal Ballet Covent Garden and also for television, notably on early episodes of "Dr Who". She experimented with a range of styles in her art and was particularly influenced by Gauguin and Picasso, but her pictures always have a bold, forceful, expressive quality that is distinctively her own.
Lot 325
Mary Piercy (20th Century British). Nude sunbathers, oil on canvas, signed dated 85, framed 53 x 53cm together with reclining figures in deck chairs, oil on board and a group family portrait, oil on board (3). Notes Mary Piercy grew up in Hampstead, and in the late 1950s attended Hornsey College of Art. She provided illustrations for the 1959 first issue of "Ambit" literary magazine, which continues to be published today. In the 1960s she had a solo exhibition in Oxford; as a member of the Hampstead Artists' Council, she was closely involved with organising and exhibiting at the "Open-Air Art Exhibitions" in Hampstead; she also sold works in Canada at this time. Later she made props for various leading ballet companies, including the Royal Ballet Covent Garden and also for television, notably on early episodes of "Dr Who". She experimented with a range of styles in her art and was particularly influenced by Gauguin and Picasso, but her pictures always have a bold, forceful, expressive quality that is distinctively her own.
Lot 326
Mary Piercy (20th Century British). Nuns, oil on board, signed, dated 71, framed. 49 x 39cm. Notes Mary Piercy grew up in Hampstead, and in the late 1950s attended Hornsey College of Art. She provided illustrations for the 1959 first issue of "Ambit" literary magazine, which continues to be published today. In the 1960s she had a solo exhibition in Oxford; as a member of the Hampstead Artists' Council, she was closely involved with organising and exhibiting at the "Open-Air Art Exhibitions" in Hampstead; she also sold works in Canada at this time. Later she made props for various leading ballet companies, including the Royal Ballet Covent Garden and also for television, notably on early episodes of "Dr Who". She experimented with a range of styles in her art and was particularly influenced by Gauguin and Picasso, but her pictures always have a bold, forceful, expressive quality that is distinctively her own.
Lot 327
Mary Piercy (20th Century British). Modernist portrait of two elderly Spanish women, oil on board, signed, framed, 70 x 91cm together with full length portrait of a beggar woman holding a child, signed and another of two girls feeding doves, both oil on board (3). Notes Mary Piercy grew up in Hampstead, and in the late 1950s attended Hornsey College of Art. She provided illustrations for the 1959 first issue of "Ambit" literary magazine, which continues to be published today. In the 1960s she had a solo exhibition in Oxford; as a member of the Hampstead Artists' Council, she was closely involved with organising and exhibiting at the "Open-Air Art Exhibitions" in Hampstead; she also sold works in Canada at this time. Later she made props for various leading ballet companies, including the Royal Ballet Covent Garden and also for television, notably on early episodes of "Dr Who". She experimented with a range of styles in her art and was particularly influenced by Gauguin and Picasso, but her pictures always have a bold, forceful, expressive quality that is distinctively her own.
Lot 328
Mary Piercy (20th Century British). Portrait of a woman standing next to an oil lamp, oil on canvas, signed dated 59, 51 x 76cm together with oil on board sketch of market scene and other figurative study (3). Notes Mary Piercy grew up in Hampstead, and in the late 1950s attended Hornsey College of Art. She provided illustrations for the 1959 first issue of "Ambit" literary magazine, which continues to be published today. In the 1960s she had a solo exhibition in Oxford; as a member of the Hampstead Artists' Council, she was closely involved with organising and exhibiting at the "Open-Air Art Exhibitions" in Hampstead; she also sold works in Canada at this time. Later she made props for various leading ballet companies, including the Royal Ballet Covent Garden and also for television, notably on early episodes of "Dr Who". She experimented with a range of styles in her art and was particularly influenced by Gauguin and Picasso, but her pictures always have a bold, forceful, expressive quality that is distinctively her own.
Lot 329
Mary Piercy (20th Century British). Bath Time, oil on board, signed, framed. 47 x 78cm. Notes Mary Piercy grew up in Hampstead, and in the late 1950s attended Hornsey College of Art. She provided illustrations for the 1959 first issue of "Ambit" literary magazine, which continues to be published today. In the 1960s she had a solo exhibition in Oxford; as a member of the Hampstead Artists' Council, she was closely involved with organising and exhibiting at the "Open-Air Art Exhibitions" in Hampstead; she also sold works in Canada at this time. Later she made props for various leading ballet companies, including the Royal Ballet Covent Garden and also for television, notably on early episodes of "Dr Who". She experimented with a range of styles in her art and was particularly influenced by Gauguin and Picasso, but her pictures always have a bold, forceful, expressive quality that is distinctively her own.
Lot 330
Mary Piercy (20th Century British). Portrait sketch, 'Wrestler Standing', oil on board, signed andf dated 57, 46 x 61cm and two other sketches (3). Notes Mary Piercy grew up in Hampstead, and in the late 1950s attended Hornsey College of Art. She provided illustrations for the 1959 first issue of "Ambit" literary magazine, which continues to be published today. In the 1960s she had a solo exhibition in Oxford; as a member of the Hampstead Artists' Council, she was closely involved with organising and exhibiting at the "Open-Air Art Exhibitions" in Hampstead; she also sold works in Canada at this time. Later she made props for various leading ballet companies, including the Royal Ballet Covent Garden and also for television, notably on early episodes of "Dr Who". She experimented with a range of styles in her art and was particularly influenced by Gauguin and Picasso, but her pictures always have a bold, forceful, expressive quality that is distinctively her own.
Lot 331
Mary Piercy (20th Century British). Abstract Madonna and child, oil and mixed media on board,signed 59, framed. 71 x 75cm. Notes Mary Piercy grew up in Hampstead, and in the late 1950s attended Hornsey College of Art. She provided illustrations for the 1959 first issue of "Ambit" literary magazine, which continues to be published today. In the 1960s she had a solo exhibition in Oxford; as a member of the Hampstead Artists' Council, she was closely involved with organising and exhibiting at the "Open-Air Art Exhibitions" in Hampstead; she also sold works in Canada at this time. Later she made props for various leading ballet companies, including the Royal Ballet Covent Garden and also for television, notably on early episodes of "Dr Who". She experimented with a range of styles in her art and was particularly influenced by Gauguin and Picasso, but her pictures always have a bold, forceful, expressive quality that is distinctively her own.
Lot 332
Mary Piercy (20th Century British). Modernist portrait of a seated woman, oil and mixed media on board, signed, framed. 61 x 76cm. Notes Mary Piercy grew up in Hampstead, and in the late 1950s attended Hornsey College of Art. She provided illustrations for the 1959 first issue of "Ambit" literary magazine, which continues to be published today. In the 1960s she had a solo exhibition in Oxford; as a member of the Hampstead Artists' Council, she was closely involved with organising and exhibiting at the "Open-Air Art Exhibitions" in Hampstead; she also sold works in Canada at this time. Later she made props for various leading ballet companies, including the Royal Ballet Covent Garden and also for television, notably on early episodes of "Dr Who". She experimented with a range of styles in her art and was particularly influenced by Gauguin and Picasso, but her pictures always have a bold, forceful, expressive quality that is distinctively her own.
Lot 335
Mary Piercy (20th Century British). Figurative studies, a watercolour and an abstract, oil on board (5). Notes Mary Piercy grew up in Hampstead, and in the late 1950s attended Hornsey College of Art. She provided illustrations for the 1959 first issue of "Ambit" literary magazine, which continues to be published today. In the 1960s she had a solo exhibition in Oxford; as a member of the Hampstead Artists' Council, she was closely involved with organising and exhibiting at the "Open-Air Art Exhibitions" in Hampstead; she also sold works in Canada at this time. Later she made props for various leading ballet companies, including the Royal Ballet Covent Garden and also for television, notably on early episodes of "Dr Who". She experimented with a range of styles in her art and was particularly influenced by Gauguin and Picasso, but her pictures always have a bold, forceful, expressive quality that is distinctively her own.
Lot 336
Mary Piercy (20th Century British). Still life oil on board together with six others, unframed (7). Notes Mary Piercy grew up in Hampstead, and in the late 1950s attended Hornsey College of Art. She provided illustrations for the 1959 first issue of "Ambit" literary magazine, which continues to be published today. In the 1960s she had a solo exhibition in Oxford; as a member of the Hampstead Artists' Council, she was closely involved with organising and exhibiting at the "Open-Air Art Exhibitions" in Hampstead; she also sold works in Canada at this time. Later she made props for various leading ballet companies, including the Royal Ballet Covent Garden and also for television, notably on early episodes of "Dr Who". She experimented with a range of styles in her art and was particularly influenced by Gauguin and Picasso, but her pictures always have a bold, forceful, expressive quality that is distinctively her own.
Lot 337
Mary Piercy (20th Century British). A guitar player, oil on canvas, signed Piercey 85 together with preparatory oil on board together with six other figuratives, oils on canvas and board (8). Notes Mary Piercy grew up in Hampstead, and in the late 1950s attended Hornsey College of Art. She provided illustrations for the 1959 first issue of "Ambit" literary magazine, which continues to be published today. In the 1960s she had a solo exhibition in Oxford; as a member of the Hampstead Artists' Council, she was closely involved with organising and exhibiting at the "Open-Air Art Exhibitions" in Hampstead; she also sold works in Canada at this time. Later she made props for various leading ballet companies, including the Royal Ballet Covent Garden and also for television, notably on early episodes of "Dr Who". She experimented with a range of styles in her art and was particularly influenced by Gauguin and Picasso, but her pictures always have a bold, forceful, expressive quality that is distinctively her own.
Lot 338
Mary Piercy (20th Century British). Still life, oil on canvas together with three other sill lives, oils on board and a framed pastel (5). Notes Mary Piercy grew up in Hampstead, and in the late 1950s attended Hornsey College of Art. She provided illustrations for the 1959 first issue of "Ambit" literary magazine, which continues to be published today. In the 1960s she had a solo exhibition in Oxford; as a member of the Hampstead Artists' Council, she was closely involved with organising and exhibiting at the "Open-Air Art Exhibitions" in Hampstead; she also sold works in Canada at this time. Later she made props for various leading ballet companies, including the Royal Ballet Covent Garden and also for television, notably on early episodes of "Dr Who". She experimented with a range of styles in her art and was particularly influenced by Gauguin and Picasso, but her pictures always have a bold, forceful, expressive quality that is distinctively her own.
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