λ GRAHAM SUTHERLAND (BRITISH 1903-1980)INTERLOCKING HILLSInk, watercolour, pastel and gouacheSigned and dated 1945 (lower left), further signed, titled, dated 1945 and inscribed to backboard (verso)38.5 x 28.5cm (15 x 11 in.)Provenance:John R. Brown, Esq., Private Collection, Stratford-on-Avon, purchased from the 1946 Bucholz Gallery ExhibitionThence by descent to the present owner Exhibited:New York, Buchholz Gallery, Curt Valentin, Graham Sutherland, February-March 1946, no. 20 Condition Report: Unexamined out of glazed frame. Light surface dirt throughout. Pin holes to the lower left and lower right corners. Foxing scattered throughout. Light spots of bleaching to the lower third of the work. A very small patch of skinning to the centre of the lower edge approx. 1cm. Condition Report Disclaimer
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λ PRUNELLA CLOUGH (BRITISH 1919-1999)PRIZE JAR Oil on canvas 61.5 x 92cm (24 x 36 in.)Painted in 1998. Provenance:Annely Juda Fine Art, London Condition Report: The canvas is not relined and the verso is painted. There is a crease to the canvas running off the right hand edge and along the lower edge. Ultraviolet light reveals no evidence of retouching. In overall good condition.Condition Report Disclaimer
λ PRUNELLA CLOUGH (BRITISH 1919-1999)ROSEOil on board20 x 24cm (7¾ x 9¼ in.)Painted in 1962.Provenance: Redfern Gallery, LondonPrivate Collection (purchased from the above in February 1989)Condition Report: Unexamined out of glazed frame. Light surface dirt throughout. Small loss to the lower left corner. Two very small losses to the left edge of the central square. In overall good condition. Condition Report Disclaimer
λ JOHN WELLS (BRITISH 1907-2000)THOUGHTS OF SPRINGOil on cardTitled and stamped with studio stamp (verso)35.5 x 37.5cm (13¾ x 14¾ in.)Executed circa 1948.Provenance:Jonathan Clark & Co., LondonAcquired from the above by the present owner in 2003Condition Report: The edges of the card are damaged in places, most probably consistent with the original condition. There some light craquelure, notably to the lower right quadrant. The paint surface is uneven, as consistent with original condition. There are a couple of pinholes to extreme edges. Ultraviolet light reveals no evidence of retouching. Framed under perspex and unexamined out of frame.Condition Report Disclaimer
λ DENIS MITCHELL (BRITISH 1912-1993)POLDUBronzeSigned with initials, titled, dated 1980 and numbered 2/7 (to underside of base)Height (including base):16.5cm (6¼ in.)Provenance:Flowers Gallery, LondonAcquired from the above by the present owner in 2016Condition Report: In good original condition. May benefit from a light surface clean. Condition Report Disclaimer
λ BRYAN INGHAM (BRITISH 1936-1997)TEA POT STILL LIFE IOil and collage on boardSigned, titled and dated 1985-8 (verso)31 x 37.5cm (12 x 14¾ in.)Provenance: Francis Graham-Dixon Gallery, London.Condition Report: There are imperfections to the board and paint surface which are original to the work. There are a few further scuffs notably to the the grey area and what appears to be some glue staining in the brown area adjacent. There is no evidence of retouching visible under ultraviolet light. Under glass and unexamined out of frame.Condition Report Disclaimer
λ BEN NICHOLSON (BRITISH 1894-1982)UNTITLED (MARCH 64)Pencil and oil wash on paper, on the artist's prepared boardSigned and dated MARCH 64 (verso)43.8 x 51.7cm (17 x 20¼ in.)Executed in March 1964. Provenance:Waddington Galleries, LondonPurchased from the above by the present owner's father in July 1969Thence by descentCondition Report: The sheet is stuck down to the artist's board along the upper edge and taped at the lower corners, but the lower right has come loose. There is a small loss to the sheet at the lower left corner. There is a small vertical crease to the upper right corner, only visible in a raking light. Framed under glass.Condition Report Disclaimer
λ BREON O'CASEY (BRITISH 1928-2011)RED BIRD BronzeInscribed with initials and numbered II/IX (on the underside of base)Height (including base): 25cm (9¾ in.)Provenance: Sale, Barbara Kirk Auctions, Penzance, date unknownCondition Report: Screwed to cream marble base with two screws. Very light surface dirt. Otherwise appears to be in good original condition. Condition Report Disclaimer
λ VICTORIA CROWE (BRITISH B. 1945)INTERIOR WITH UNHEEDING DANCER, POMPEIIOil on boardSigned (centre right); further signed, titled and inscribed (to backboard)74 x 90cm (29 x 35¼ in.)Condition Report: There is no evidence of retouching visible under ultraviolet light. Apart from some light surface dirt, this work is in good original condition.Condition Report Disclaimer
λ MARY FEDDEN (BRITISH 1915-2012)STILL LIFE OF FLOWERS IN A BLACK URN WITH BIRDS IN AN AUTUMNAL LANDSCAPE Oil on canvas Signed and dated 1955 (lower left)51 x 61cm (20 x 24 in.)Possibly in the artist's original frame or that belonging to Julian Trevelyan, her husband. Provenance:Dr Richard & Mrs Lavinia Emanuel, Private Collection, (most likely acquired directly from the artist in 1955) Thence by descent to the present owner Literature:Homes & Gardens, January 1966, Psyche Pirie, Collectors At Home, The London House of Dr & Mrs Richard Emanuel, p. 46 (illustrated) Condition Report: The canvas is not relined. There is no evidence of retouching visible under ultra-violet light. In overall good condition.Condition Report Disclaimer
λ JOHANNA LOGAN (SCOTTISH B. 1972)A NIGHT IN Oil on canvas Signed (lower right); signed, titled and dated 1997/98 to canvas overlap (verso)126 x 113cm (49½ x 44¼ in.) Condition Report: Oil on canvas. Not relined. Signed (lower right); signed, titled and dated 1997/98 to canvas overlap (verso). Light surface dirt throughout. In good original condition. Condition Report Disclaimer
λ ROBERT OSCAR LENKIEWICZ (BRITISH 1941-2002) TEMPTATION OF SAINT ANTHONYOil on canvas, triptychSigned, titled and inscribed Project 18 (to reverse of right hand canvas)261 x 310cm (102¾ x 122 in.)Painted in 1993.Condition Report: The canvas has not been relined and is slightly slack. There is light surface dirt throughout. Evidence of a diagonal surface scratch to the lower 1/3 of the right panel. Inspection under UV reveals no obvious evidence of restoration or repair. Condition Report Disclaimer
λ PHILIP JACKSON (BRITISH B. 1944)CHOIR MASTER BronzeSigned and stamped with foundry mark L and Ø (to the reverse of cloak), aside from the edition of 8Height: 46cm (18in.)Provenance:Catto Gallery, LondonAcquired from the above by the present ownerCondition Report: Very light surface dirt. Otherwise in good original condition. Condition Report Disclaimer
λ PHILIP FLANAGAN (IRISH B. 1960)CONCRETE FORM WITH RED OVER ORANGE Acrylic on linenSigned and dated '07 (verso); further signed, titled and dated 2007 (to stretcher verso)150 x 220cm (59 x 86½ in.)Literature:Hilary Pyle (ed.), Winter Light: Philip Flanagan, Dublin, 2007, unpaged, no. 1 (illustrated in colour)
WALTER SICKERT (BRITISH 1860-1942)SANTA MARIA MADDALENA, VENICE Ink and pencil, squared for transferSigned (lower left), inscribed Maddalena -Venezia (along lower edge) and variously annotated31 x 22cm (12 x 8½ in.)Provenance:Private Collection, Vera Russell, LondonSale, Christie's, London, 4th June 1971Viscount and Viscountess Gort, Hamsterley Hall, County Durham (acquired at the above sale)Thence by descent to the present ownerExhibited:Brighton, Royal Pavilion, Sussex Festival Exhibition: Sickert, June 1962, no. 46 (lent by Mrs Russell)Literature:Wendy Baron, Sickert Paintings and Drawings, New Haven and London, 2006, p. 182, no. 181/4Condition Report: Executed on buff coloured wove paper. The sheet is laid down throughout and covered with an overmount. There is some discolouration and a number of small holes particularly along the upper edge. There are scattered light stains and foxing. The work would benefit from cleaning and remounting onto acid-free board. Framed under glass.Condition Report Disclaimer
SPENCER FREDERICK GORE (BRITISH 1878-1914)A GARDEN SQUARE IN CAMDEN TOWN Oil on canvas 51.5 x 62cm (20¼ x 24¼ in.)Painted in 1910.Provenance:Acquired directly from the artist by John Quinn, New York, 1911His sale, American Art Association, New York, 10 February 1927, lot 228Acquired from the above by S. LustgartenSale, Christie's, London, Modern British and Irish Paintings, Watercolours, Drawings and Sculpture, 23 November 1993, lot 57Sale, Christie's, London, 20th Century British Art, 5 March 1999, lot 26 Literature:Forbes Watson (intro.), The John Quinn Collection of Paintings, Watercolours, Drawings and Sculpture, New York, 1927, p.17It is my privilege to have observed at close quarters the development of Spencer Frederick Gore, from what I may perhaps call the coming of age of his talent in 1906, to its close in 1914 ... In his painting was made manifest colour, and not merely colours ... He attained to exquisiteness in touch. Expression descended like snowflakes on his canvases, varied, adequate, and economical. He painted with the reticence and the measure of the great gentleman that he was. (W.R. Sickert, Paintings by the Late Spencer F. Gore, London, Carfax Gallery, February 1916.) Spencer Gore met Walter Sickert in 1904 while traveling in Normandy with fellow artist Albert Rutherston. Sickert was living in Dieppe at the time but moved back to London the following year and took a studio in Fitzroy Street not far from Gore. The two became great friends and an inspiration to each other. In 1909 they both took rooms in Mornington Crescent. Sickert resided at no. 6 and Gore rented a front room at no. 31 from a local vicar. It is believed that the present work depicts Mornington Crescent Gardens. The changing seasons and everyday activities within the gardens became a regular source for subject matter. People sitting, reading quietly, or playing tennis on the grass court, a game close to Gore's heart as his father had been the first Wimbledon Lawn Tennis champion in 1877. Writing in the New Age Magazine on 9 April 1914, after Gore's sudden death from catching pneumonia, Sickert reminisces that 'There was a few years ago a month of June which Gore verily seems to have used as if he had known that it was to be for him the last of its particularly fresh and sumptuous kind. He used it to look down on the garden of Mornington Crescent. The trained trees rise and droop in fringes, like fountains, over the little well of greenness and shade where parties of young people are playing at tennis. The backcloth is formed by the tops of the brown houses of the Hampstead Road, and the liver-coloured tiles of the Tube Station'. (W.R. Sickert, The New Age, 9th April 1914, The Perfect Modern, p.718) Condition Report: The canvas has been relined. There is so evidence of retouching visible under ultraviolet light apart from one spot at the centre of the upper edge. In overall good condition. Condition Report Disclaimer
MALCOLM DRUMMOND (BRITISH 1880-1945)LANDSCAPE, DONEGAL Oil on panel 25 x 35cm (9¾ x 13¾ in.)Provenance:Mrs Malcolm Drummond, Private CollectionD. Hackman, Private Collection Maltzahn Gallery Ltd., London Sale, Christie's, London, 20 September 1990, lot 185Sale, Sotheby's, London, 3 March 1999, lot 64Exhibited:London, Maltzahn Gallery Ltd., May 1974Condition Report: The paint surface is dirty. Ultraviolet light reveals scattered retouching notably to the lower right corner, along the edges as well as in the sky. Otherwise, in generally good condition, may benefit from a light clean.Condition Report Disclaimer
λ RUDOLPH IHLEE (BRITISH 1883-1968)WINTER IN THE SOUTHOil on canvasSigned (lower right)51 x 61cm (20 x 24 in.)Painted in 1931.Exhibited:Perpignan, Gallery Campistro, 1931Literature:James Trollope, Rudolph Ihlee: The Road to Collioure, London, 2022, cat no. C89The painting features a vineyard on the outskirts of Collioure with Fort Saint-Elme at the highest point in the distance. On the back 31 01 indicates it was the first picture Ihlee painted in 1931 probably in January.We are grateful to James Trollope for his kind assistance in cataloguing this lot. His book, Rudolph Ihlee: The Road to Collioure, published this year by Lund Humphries, includes the first full catalogue of Ihlee's work (C89 indicates it's the 89th work Ihlee painted in Collioure).Condition Report: The canvas is not relined. There are stretcher marks to the left and right margins and some faint vertical lines of craquelure to the left and right of the composition. Ultraviolet light reveals no evidence of retouching. In overall good original condition.Condition Report Disclaimer
λ ALGERNON NEWTON (BRITISH 1880-1968)RIVER STOUR, ESSEX Oil on canvas laid down to boardInscribed and dated "To Sally/with love and best wishes/from Grandfather/Nov. 1951" (to label verso) 12.5 x 17.5cm (4¾ x 6¾ in.)Provenance:The artist's granddaughter, Sally Newton (a gift from her grandfather in 1951)Thomas Agnew & Sons Ltd., London (stock no. 47340)Private Collection, UKAcquired from the above by the present ownerPainted in December 1939 at a time when Newton and his wife were living near Dedham. Synonymous with the work of John Constable, Newton's paintings during this period reflect his interest in Constable's brushwork. We are grateful to Sir Mark Jones for his assistance in cataloguing this lot, which will be included in the forthcoming catalogue raisonné of the artist's work being prepared by Sir Mark and Nicholas Newton. Condition Report: The board is very slightly bowing. Very light surface dirt. A small loss to the centre of the tree at the left edge, hardly noticeable. Inspection under UV reveals a green varnish throughout but no evidence of restoration or repair. Condition Report Disclaimer
JAMES BOLIVAR MANSON (BRITISH 1879-1945)MOONLIT HOUSES, RIVER AND BOATS Oil on canvas Signed (lower right)35.5 x 25.5cm (13¾ x 10 in.)Provenance:Sandra Lummis Fine Art, London Condition Report: The canvas has not been relined. There are stretcher marks and some associated light craquelure. There are two spots of paint loss to the lower edge and a further tiny spot to the lower centre of the composition. There is some retouching to paint loss in the upper left hand corner, visible to the naked eye. There is a light surface scuff to the lower left quadrant. Condition Report Disclaimer
λ DAVID BOMBERG (BRITISH 1890-1957)ROCK FAÇADE, NORTH-EAST WALL, PETRAOil on canvas Signed and dated 24 (lower right)58.5 x 77cm (23 x 30¼ in.)Provenance:James Estens, Private Collection, by 1929, purchased direct from the artist for £100 On loan to National Gallery, Millbank from November 1929 until at least 1932John Flanagan Esq, Private Collection by 1958Arthur A. Stambois, Private Collection, possibly purchased from the Arts Council Exhibition in 1958Stanley Mann, Private Collection, purchased from the above in 1961 By descent to his wife, Eithne Maureen Mann (nee Milne), Private Collection (1937-2018)By descent to the present ownerExhibited:London, Leicester Galleries, Paintings of Palestine and Petra by David Bomberg, February 1928, Exhibition no. 451, cat no. 41 Birmingham, The Ruskin Gallery, An Exhibition of Paintings and Drawings of Palestine and Petra by David Bomberg, February 1929, no. 20Newcastle-Upon-Tyne, Exhibition Park, The Palace of Arts, North-East Coast Exhibition, 14 May-26 October 1929The Arts Council, David Bomberg 1890-1957, An Exhibition of Paintings and Drawings, Newcastle, Laing Art Gallery, 17 May - 7 June 1958; Swansea, Glynn Vivian Art Gallery 21 June - 5 July 1958; Middlesbrough, Art Gallery 12 July - 5 August 1958; London, Arts Council Gallery 13 September - 4 October 1958; Bradford, Cartwright Memorial Hall, 11 October - 1 November 1958, no. 16, lent by John Flanagan Esq. (illus. pl. 4)Literature:The Studio, Vol. 104, 1932, J. Newmark, The Artist on Tour, The Rose-Red City of Petra, Painted by David Bomberg, July to December, p. 103-108, p. 108 (illus.) Richard Cork, David Bomberg, (New Haven & London: Yale University Press), 1987, illus. p. 161, no. 200 Petra was uphill work, entailing much inconvenience, expense and the maximum of annoyance - there was scenery of an extraordinary nature to compensate us for the setbacks. Scorpions, snakes, and lizards, have found a happy home in Petra, and the blue lizard who basks in the sun on the rocks of Petra.- David Bomberg, recollections on Petra In 1923, Bomberg left London for Jerusalem. Organised by the artist Muirhead Bone and funded by the Palestine Foundation Fund, his brief was to record reconstruction projects in Palestine. Working en plein air he responded to the intensity of the heat and sun he encountered in Jerusalem by creating incredibly precise realistic works infused with a brilliance of light. It was here that he met the British Military Governor of Jerusalem, Sir Ronald Storrs. Storrs became an enthusiastic patron of Bomberg and it was he who funded and organised Bomberg's two expeditions to Petra in 1924. Accompanied by a military escort to protect him against thieves, Bomberg and his wife Alice embarked on this challenging expedition which took several weeks to reach the `Rose City'. Working as always, en plein air, Bomberg initially struggled with the sheer scale and monumentality of this city, hewn from rock, feeling "like a tiny ant, labouring along the white riverbed, with all the egotism knocked out me". (Exhibition catalogue, David Bomberg: Spirit in the Mass, Abbot Hall Gallery, July - October 2006, p.82). However, returning for a second visit he overcame this initial hesitancy and went on to create paintings such as The Rock Façade, North-East Wall, Petra. The present work is one of his masterpieces from this extraordinary expedition and so it is unsurprising that Charles Aitkens, director of the National Gallery, Millbank, accepted the work on loan from the collector James Estens in 1929. In fact Bomberg himself wrote to Aitkens on 23rd October 1929 from Toledo referring to this painting; "By this time I think the painting is at the Tate. I know you have a personal liking for the painting after all. It was a stupendous task to set to Petra, from the start, under the [?] and wildest conditions imaginable to do a hugely finished work. In this respect the picture is unique - it has never been attempted before and it is not likely to be tried again by any other artist" In the present work Bomberg has managed to masterfully combine the sweeping monumentality of the landscape with the considered detail of the architectural construction. He ineffably transports the onlooker to this magical corner of Jordan through the freshness and immediacy of the paint surface. We involuntarily squint, shielding our eyes from the morning light, taking in the huge, sheer rock face in front of us and out of this red façade the holly temples and dwellings emerge. As they were carved out of the rock, so Bomberg carves them from his canvas through each painstaking brush stroke. All the more extraordinary when one is reminded that this work was not painted in the comfort of his studio, worked up from preliminary studies, but executed in the dusty, rocky, ancient and majestic landscape of Jordan.Condition Report: The canvas has not been relined. Light surface dirt throughout. There is a small area of craquelure lower centre. Scattered craquelure to the centre portion of the sky. Inspection under UV reveals no evidence of restoration or repair. Overall in good original condition. Condition Report Disclaimer
λ DAVID BOMBERG (BRITISH 1890-1957)PORTRAIT OF LADY SEATED, THOUGHT TO BE LILIAN, THE ARTIST'S WIFE Oil on canvas Signed and dated 31 (lower left)93 x 72cm (36½ x 28¼ in.)Provenance:Arthur A. Stambois, Private Collection (possibly purchased directly from the artist in 1936)Stanley Mann, Private Collection (purchased from the above in 1961)By descent to his wife, Eithne Maureen Mann (nee Milne) (1937-2018), Private Collection By descent to the present ownerExhibited:London, Whitechapel Gallery, Jewish Painters in London, 15 August 1943, p. 4 (illustrated in the exhibition catalogue) Condition Report: The canvas has not been relined. Light surface dirt. May benefit from a light clean. Inspection under UV reveals an area of retouching to the the upper right corner which corresponds to a patch repair visible verso. Three spots of further retouching to the upper left quadrant. There is scattered retouching along the right hand edge. In overall good condition. Condition Report Disclaimer
λ DAVID BOMBERG (BRITISH 1890-1957)PORTRAIT OF ETHEL Oil on canvas Signed (lower right); further signed, titled, and dated 1931 to stretcher (verso)61 x 51cm (24 x 20 in.)Provenance:J. Issacs, Private Collection Arthur A. Stambois, Private CollectionStanley Mann, Private Collection (purchased from the above in 1961)By descent to his wife, Eithne Maureen Mann (nee Milne) (1937-2018), Private Collection By descent to the present ownerExhibited:London, Bloomsbury Gallery, Exhibition of Sixty Imaginative Compositions, Spanish and Scottish Landscapes and Other Work by David Bomberg, November 1932, no. 35 (Ethel)Condition Report: The canvas has not been relined. Very light surface dirt throughout. Inspection under UV reveals a patch of retouching to the centre of Ethel's chest which corresponds to a small repaired tear approx. 1.5cm visible verso. Condition Report Disclaimer
λ DAVID BOMBERG (BRITISH 1890-1957)HILLS ABOVE CHRISOSTOMAS MONASTERY, CYPRUSOil on canvas Signed and dated 48 (lower right); further signed, inscribed and dated 1948 (to stretcher verso)63.5 x 76.5cm (25 x 30 in.)Provenance:Arthur A. Stambois, Private CollectionStanley Mann, Private Collection (purchased from the above in 1961)By descent to his wife, Eithne Maureen Mann (nee Milne), Private Collection (1937-2018)By descent to the present ownerIn July 1948 Leslie Marr, student and husband of Dinora, Bomberg's stepdaughter, organised and paid for a painting trip to Cyprus. Bomberg had heard from an old friend and patron, Austen Harrison, about the drama and beauty of the landscape of Northern Cyprus so an adventure, financed by his son-in-law was met with great enthusiasm.Settling in the village of Lapithos, Bomberg once again felt free and invigorated by the landscape before him. The searing heat and intensity of light infused his paintings with cadmium reds, Prussian blues, chrome yellows and oranges, all vigorously applied in quick, fluid brushstrokes which leap off the canvas. Leslie Marr observed that Bomberg used to re-prime his canvases just before he started to paint in order to create a surface on which his brushes would glide over easily, giving the paintings an immediacy and fluid energy. The resulting impasto in this painting gives a three dimensionality and tactility that implores you to study it up close and immerse yourself in the ridges and furrows of paint, transporting you to the sun drenched mountains of Northern Cyprus. This was a happy time for Bomberg, surrounded by his close family he was able to immerse himself in the landscape and his painting. When he returned to England he painted nothing for three years, concentrating on his teaching post at Borough Polytechnic until this was terminated and he and Lilian decided to escape London for good to Spain and Ronda, where almost twenty years earlier he had found such positive inspiration in the landscape.Condition Report: The canvas has not been relined. There are two horizontal cracks running along the upper edge in the left hand side of the sky and another to the right hand side of the sky. There is a small area circa. 1cm of impasto to the lower centre which has been professionally stabilised. Inspection under UV reveals no evidence of retouching. The very small area of restoration mentioned above flares under UV. In overall good condition. Condition Report Disclaimer
λ DAVID BOMBERG (BRITISH 1890-1957)LANDSCAPE, CORNWALLOil on paperSigned (lower right)31 x 41cm (12 x 16 in.)Executed in 1947.Provenance:Sale, Christie's London, 12 June 1998, lot 184Please Note: This work is titled Landscape, Cornwall and was executed in 1947. Additional provenance is available online which states that it was sold at Christie's on 12th June 1998.Condition Report: Unexamined out of glazed frame. Light rucking throughout the sheet. Otherwise appears to be in good original condition. Condition Report Disclaimer
λ DAVID BOMBERG (BRITISH 1890-1957)BOMB STORE Red and black chalk on tracing paper 26 x 33.5cm (10 x 13 in.)Executed in 1942. Provenance:The artist's familySale, Christie's, London, 5 November 1999, lot 157Sandra Lummis Fine Art, London Condition Report: Examined out of glazed frame. Light discolouration throughout the sheet. Executed on brown tracing paper. Hinged to the mount and the two upper corners. There are two nicks to the extreme left hand edge. Soft crease running diagonally through the upper right hand corner. In generally good condition. Condition Report Disclaimer
λ DAME LAURA KNIGHT (BRITISH 1877-1970)SALT AND SAUCY AT ISLINGTONCharcoalSigned, titled and dated 1922 (lower left)25 x 34cm (9¾ x 13¼ in.)Provenance:Sale, Christie's, South Kensington, 1 March 2000, lot 32John Mitchell & Sons Fine Paintings, LondonThe present drawing is one of Knight's first circus drawings, executed when visiting Swallows Circus at The Agricultural Hall Islington following the recommendation of a railway porter at Paddington Station. Following these early visits, the artist then got to know Carmos Circus, where she sketched and painted her first well known circus works. A year later, in 1923, Knight also started a new venture in art, making limited numbers of prints. Her first etching depicting a circus scene was called 'Salt and Saucy' and depicted a similar scene to that of the present charcoal. The work was limited to 55 impressions although it is possible that less than 55 were actually printed.We are grateful to R. John Croft, FCA, the artist's great nephew, for his help in preparing this catalogue entry. The present work will be featured in his forthcoming Catalogue Raisonné of the artist's work. Condition Report: Examined out of glazed frame. Slight undulation to the sheet. Sheet has been cut to the left and right edge. Light staining visible to the extreme edges. A diagonal crease across the upper left and a further very small diagonal crease to the lower right corner. Stain to the lower right corner. A small scratch and associated area of skinning approx 2mm. Hinged at two points along the upper edge and to the middle of the left edge. Condition Report Disclaimer
λ ALAN LOWNDES (BRITISH 1921-1978)FAIRGROUND GIRLOil on boardSigned (lower left) and dated 1966 (lower right); titled (verso)50.5 x 43.4cm (19¾ x 17 in.)Condition Report: Light surface dirt throughout. A diagonal scratch running from the centre of the right edge to the right foot of the blue doll. Some evidence of rubbing with associated loss to the left edge. Layer of varnish causing some light discolouration throughout. Inspection under UV reveals a thick green varnish and some light scattered retouching to the upper edge. Condition Report Disclaimer
λ DAME LAURA KNIGHT (BRITISH 1877-1970)PAUL SHELBY, BARRY JACKSON, SCOTT SUNDERLANDPencilSigned (lower right) and inscribed as titled (along lower edge)30 x 24cm (11¾ x 9¼ in.)The present work will be featured in the forthcoming Catalogue Raisonné of the artist's work being prepared by R. John Croft, FCA, the artist's great nephew.Condition Report: Unexamined out of glazed frame. A number of faint bleaching marks scattered to the sheet. A diagonal crease to the sheet across the lower left quadrant. Some light creasing to the upper left and lower left corners, although this is hardly noticeable. Condition Report Disclaimer
λ NINA HAMNETT (BRITISH 1890-1956)PORTRAIT OF ALAN PRYCE-JONESRed chalk Signed (lower right)33 x 27cm (12 x 10½ in.)Lieutenant Colonel Alan Payan Pryce-Jones (1908-2000) was a notable journalist and book critic. His political career developed after he joined the Liberal Party in 1937 and went on to become vice-president of the St. Marylebone Liberal Association and Prospective Liberal Parliamentary Candidate for Louth in Lincolnshire. Pryce-Jones became editor of The Times Literary Supplement from 1948-1959 and trustee of the National Portrait Gallery 1950-1961. Condition Report: Unexamined out of glazed frame. Very slight undulation to the sheet and light staining throughout. A very small spot of foxing to the upper left corner. Condition Report Disclaimer
λ NINA HAMNETT (BRITISH 1890-1956)THE LOUNGE LIZARD Pen and ink Signed with initials and dated 17 (lower right)16.5 x 10.5cm (6¼ x 4 in.)Provenance:Sandra Lummis Fine Art, LondonCondition Report: Unexamined out of glazed frame. The sheet is slightly puckered at the centre upper edge. Light staining throughout. A faint vertical line running a 1/3 of the way in from the right edge with a faint diagonal line running from the vertical line to the right edge. Condition Report Disclaimer
λ EDWARD WOLFE (SOUTH AFRICAN/BRITISH 1897-1982)SOUTH AFRICAN LANDSCAPE Oil on canvas Signed (lower right)46 x 62.5cm (18 x 24½ in.)Painted circa 1920. Provenance:Dr Frances Spalding, private collectionSandra Lummis Fine Art, London Condition Report: Very light surface dirt throughout. Areas of craquelure scattered throughout. Inspection under UV reveals scattered retouching most notable to the upper right quadrant. Upper stretcher mark visible. There appears to be two very faint scratches to the centre however this was likely to have been made at conception. Condition Report Disclaimer
λ DUNCAN GRANT (BRITISH 1885-1978)NUDE WRESTLERSBlack crayon and oil on paperSigned and dedicated 'To Andy' (lower right)47 x 68cm (18½ x 26¾ in.)Provenance:Count William de Bellroche and Gordon Anderson (a gift from the artist) Thence by descentSale, Bonhams, London, 10 July 2018, lot 20 (part lot)Purchased at the above sale by the present ownerCondition Report: Unexamined out of glazed frame. Light surface dirt throughout. Slight undulation to the sheet visible to the upper edge. A rectangular area of fading where a piece of tape used to be stuck down to the centre of the upper edge. Two diagonal creases running from the centre of the lower edge to 10cm up the right edge. Vertical crease running through the sheet through the figure's waists. Light creasing to the left edge. Condition Report Disclaimer
λ FRANK DOBSON (BRITISH 1888-1963)SLEEPING NUDE Charcoal and chalk 31.5 x 48cm (12¼ x 18¾ in.)Executed circa 1940. Provenance:Gillian Jason Gallery, London Condition Report: Executed on cream watermarked paper., hinged to the mount. There are a few light handling creases, notably to the lower right corner. Otherwise, the work appears to be in good original condition. Under glass and unexamined out of frame.Condition Report Disclaimer
λ JACOB EPSTEIN (AMERICAN/BRITISH 1880-1959)FOURTH PORTRAIT OF DOLORES BronzeHeight (including base): 46cm (18in.)Conceived in 1923. Provenance:Ruskin Galleries Ltd., Stratford-on-AvonJohn R. Brown, Private Collection, Stratford-on-AvonThence by descent to the present owner Literature:Evelyn Silber, The Sculpture of Epstein, Oxford, 1986, no. 135, p. 135 (illustration of another cast)Condition Report: Light surface dirt throughout. Head free-standing on floating wooden stand attached to marble base. In good original condition.Height of sculpture excluding base is 24.5cm Some rubbing and loss to the edges of the marble base. Glue residue to the right side corner of the base. Condition Report Disclaimer
λ FRANK DOBSON (BRITISH 1886-1963)PORTRAIT OF A YOUNG WOMAN Red chalk34.5 x 23.5cm (13½ x 9¼ in.)Provenance:The Artist's EstateGillian Jason Gallery, London Condition Report: Executed on white wove paper. There are a few pastel smudges, possibly original and a couple of light handling creases. Otherwise, the work looks to be in good original condition. Under glass and unexamined out of frame.Condition Report Disclaimer
BERNARD MENINSKY (BRITISH 1891-1950)THE BATHERS Watercolour Signed (lower right)30 x 55.5cm (11¾ x 21¾ in.)Provenance:Dr S. C. Lewsen, private collection (acquired directly from the artist in 1938)Sandra Lummis Fine Art, London Condition Report: Unexamined out of glazed frame. Very slight undulation to the sheet. Very light staining to the upper right edge . Otherwise in overall good original condition. Condition Report Disclaimer
* Embroidered bedcover. A large crewelwork bedcover, circa 1930s, expertly hand-stitched in polychrome wools on a cream twilled ground, with 2 wide vertical panels depicting repeated exotic bird at intervals along a sinuous bamboo stem entwined with floral and foliate tendrils, matching narrow borders to top and sides, bedcover possibly sometime pieced from a larger item, backed with oyster-pink cotton, edged with green velvet (a little dust-soiled and marked in places), a few small light damp-stains (1 with associated tiny hole), small area with several fox spots, 254 x 239 cm (100 x 94 ins) QTY: (1)
* Quilt. A large piece of Victorian patchwork and broderie perse, unfinished piece of polychrome patchwork, composed of printed cotton octagons hand-stitched together with small plain cotton squares between, border of appliquéd flowers and leaves attached with buttonhole stitch, toned, occasional wear, white cotton tacking still present and verso unlined revealing some remains of paper pieces, many with early manuscript or printed matter, including parts of letters, bills, etc., one dated 1808, 161 x 163 cm (63.5 x 64.25 ins), together with a large broderie perse bedcover, composed of early 19th century fabrics but of later construction on a cream cotton ground, divided into 9 squares with machine-stitched borders, patchwork lozenge star in centre, surrounded by appliquéd birds and butterflies, remaining squares each with a large applied cut-out floral bouquet, 2 different alternating designs, comprising passion flowers, roses, poppies, lilies, chrysanthemums, and other flowers, star and other appliqués carefully hand-stitched in place, some light staining, unhemmed selve or raw edges frayed in places, 203 x 183 cm (80 x 72 ins) QTY: (2)
* Quilt. An early-mid 19th century quilt, English, a large hand-stitched bedcover, with central square composed of 4 8-pointed stars, enclosed by borders of squares, stars, lozenges, and rectangles, using a variety of printed cotton fabrics in predominantly pastel shades and plain ivory cotton, turquoise ink stamp to one edge 'D. Knowks', light toning, some fabrics degraded with consequent small losses, backed in cream cotton, hand-quilted overall in white cotton thread, butted hem, edges worn, 272 x 259 cm (107 x 102 ins) QTY: (1)
* Shawl. A Georgian whitework turnover shawl, fine white cotton lawn, with floral motifs in opposing corners hand-stitched in tambourwork and French knots, incorporating cutwork, border of tambourwork and drawn threadwork, some light toning and foxing, occasional tiny holes and neat period darns, 94 x 90 cm (37 x 35.5 ins), together with 16 19th or early 20th century handkerchiefs, variously embellished with embroidery, lace, initials, coronets, openwork, etc., various sizes and condition (some damaged) QTY: (17)
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