Paul Nash (1889-1946)Study interior, c.1930pencil and watercolour38 x 55.5cmExhibited: Hamet Gallery, 'Paul Nash', March 1970, no.30;Hamet Gallery, 'Paul Nash Drawings and Watercolours', May 1973, no.37.Literature: Andrew Causey, 'Paul Nash', Clarendon Press, Oxford, 1980, no.583, p.400;Margot Eates, 'Paul Nash', John Murray, London, 1973, p.123.Eates dates the work to 1930 and lists the work as 'Interior Study, Toulon', the Nashes visited Toulon on the French Riviera for a six-week holiday in February 1930. However, Causey suggests that the fireplace could also be from Iver Heath, as it bears similarity to an oil painting titled 'Dahlias', 1927 (Causey, no.566). Wood Lane House, Iver Heath, was Nash's home growing up and his father lived there until his death in 1929. Condition ReportFramed size: 61 x 79cm.Unexamined out of glazed frame, a couple of pin holes in corners and top centre, spots of light foxing throughout, time staining at edges likely from a previous mount. In our opinion, when looking at the work on a wall, foxing does not detract from the impression of the whole.
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â–´ John Northcote Nash RA (1893-1977)'The Avenue'signed 'John Nash' l.l., with pencil annotations, watercolour and pencil on paper33 x 72cmProvenance: With Maltzahn Gallery Limited, London, 1974 (J C Thorncroft);Sotheby's 16 March 1977.Condition ReportFramed size 54 x 92.5cmNot viewed out of glazed frame. A vertical line two thirds along the work where two sheets have been joined together. Faded. Spots of foxing in places. Some light creases. Please contact dept. for detailed images.
â–´ John Aldridge RA (1905-1983)'The Temple of Apollo, Rome', 1951signed 'John Aldridge' l.r., also signed, inscribed with title and dated 'Aug 1951' on label verso, oil on canvas72 x 92cmProvenance: Collection of Reuben Sloman who lived at The Cross Farm, Great Bardfield and was a close friend of John Aldridge;thence by descent.Sold with a letter from the artist to Reuben Sloman.Condition ReportFramed size: 89.5 x 109.5cm.There is craquelure to left hand side that has been infilled, the area around this has been retouched and fluoresces under uv light, there is also retouching across sky in other areas, please see images. Overall, when stood back from the work the retouching is not overly distracting, the colours are bright and condition is stable, the work is well-presented.
â–´ Sven Berlin (1911-1999)'Encounter at Morning'signed 'Sven Berlin', inscribed with title and dated 1946, pen and ink and watercolour19 x 36cmProvenance: 'The Poetry of Crisis: The Peter Nahum Collection', Christie's, South Kensington, 15 November 2006, lot 164.Exhibited: Sven Berlin Exhibition, the Belgrave Gallery, London, 1989, no. 49.Condition ReportFramed size 42 x 57.5cmNot viewed out of glazed frame. Some light staining visible at edges of paper. A small crease upper right.
â–´ Rowland Emett (1906-1990)'The Vintage Car Wheel Clamp'signed 'EMETT' l.l., pen and ink and watercolour38 x 47cmExhibited: Chris Beetles Limited, London, 29 November - 15 December 1989, no 132.Condition ReportFramed size: 63 x 72cmNot viewed out of glazed frame. Overall light brown colouration to paper. A watermark mark to right edge and light abrasians near driver's head, but these appear to have happened during execution of artwork.
â–´ Rudolph Ihlee (1883-1968)Still life with leekssigned 'R.Ihlee', oil on canvas61 x 74cm Literature: James Trollope, 'Rudolph Ihlee: The Road to Collioure', published by Lund Humphries Ltd., London, 2022, catalogue ref. Trollope C134.Condition ReportFramed size: 69.5 x 85cm A 3cm x 2cm area of paint loss in the centre and dent in this area. A 5cm scratch with small paint loss to right side in blue ara. A scratch and paint loss to chopping board. Some light abrasians elsewhere.Seen under uv light, no obvious retouching shown.
â–´ John Aldridge RA (1905-1983)'The Cross Farm', 1950signed 'John Aldridge' l.l., inscribed with title verso and dated 'April 1950', oil on canvas25.5 x 35.5cmProvenance: Collection of Reuben Sloman who lived at The Cross Farm, Great Bardfield and was a close friend of John Aldridge;thence by descent.Condition ReportFramed size: 41 x 50cm.There is a light crack to paint across top left corner and along edges of canvas with a couple of tiny specks of paint loss along edges caused by rebate of frame, however, paint is currently in a stable condition, please refer to images. Viewed under uv light, no obvious signs of retouching or restoration. Overall, the work is in good condition. Small loss to frame lower left, but generally it is also in good order.
Roy de Maistre (Australian, 1894-1968)A vase of midsummer flowerssigned 'R. de Maistre' l.l., oil on canvas99 x 73cmProvenance: The artist;collection of Dora Thomas, c.1940s;gifted to current vendor as a wedding present in 1973.An early pioneer of colour theory and abstraction in his native Australia, de Maistre initially studied at the Royal Art Society in Sydney. After the First World War, he developed his concept of colour by working with shell-shocked soldiers and creating colour combinations to soothe them. He was also a talented musician, playing the viola and violin at Sydney’s Conservatorium. Music formed part of his colour theory as the idea of harmonising colour (as composers do with notes) appealed to him.In 1923, he won a scholarship to travel to Europe. Greatly influenced by European modernism, in particular cubism, de Maistre settled in London permanently in 1930.He first met Francis Bacon in 1930, and in 1932 the pair both took neighbouring studios in Chelsea. De Maistre has been heralded as one of the key influences on Bacon’s development in this early period, encouraging his collecting habits, use of photographic material when painting, and expanding his art historical knowledge. The two are believed to have had a brief affair but were primarily friends. The influence of both artists upon each other is clear in works such as de Maistre’s ‘Francis Bacon’s Studio’ (1932). They exhibited together twice at 17 Queensberry Mews West (1930) and Thos. Agnew & Sons (1937).In 1960, de Maistre achieved his first retrospective exhibition at the Whitechapel Gallery. His work is also held in the Tate Britain and the Art Gallery of New South Wales, Australia. De Maistre’s ‘Stations of the Cross’ hangs in Westminster Cathedral.This is the larger of two paintings on offer in this auction. Its vibrant reds, yellows, blues, purples and white depict an eclectic summer bouquet with blue and white stocks, roses, yellow ranunculus, black-eyed Susans and scabiosa. The vase is placed on an angular table with an abstracted screen in the background, it is reflected in the table in cubist forms that are echoed in the flower heads. It speaks of de Maistre’s distinctive interpretation of the cubist movement.Sold separately is a smaller still life of white lilacs by the artist, softer in comparison to the first and executed in a more simplified palette, de Maistre still employs expressionistic strokes to create interest in the shadowed background and space around the vase. Both paintings were gifted as a wedding present to the current owners in 1973. They had been acquired by a family friend in the 1940s directly from the artist.Condition ReportFramed size: 115 x 89cm.Light surface dirt, a small bulge to canvas upper right corner, another to the lower left edge where something has fallen in between the stretcher and the canvas, probably a wedge. There is a little craquelure emerging in small isolated areas. Possibly a little discolouration to varnish along top, slight stain to frame, otherwise generally appears to be in good condition, under UV light, there are some small areas which fluoresce, however it seems likely these are the result of the artist's pigments rather than anything else as generally it is in its original state.
â–´ Colin Fraser (b.1956)'After the Rain - The River Coe'signed and dated 'Colin Fraser 1983' l.l., inscribed with title verso, egg tempera 46 x 45cmExhibited: Royal Academy, London, Summer Exhibition, 1985.Condition ReportFramed size 74 x 70cmNot viewed out of glazed frame. A little discolouration to inner edges of the mount, light wave to sheet, generally appears to be in good and original condition.
â–´ Paul S Gribble (b.1938)Girl by the shoresigned 'PAUL S GRIBBLE' l.r., oil on canvas40 x 50cmCondition ReportFramed size: 60 x 71cm.Fleck of nude paint on top of canvas/frame and a fleck of nude paint to centre right - possibly household paint as unlikely to have been added by artist. Otherwise no obvious condition issues. UV light shows these small marks of nude paint but no retouching.
▴ Alfred Reginald Thomson RA (1894-1979)'First Time at The Box', May 1979oil on canvas91.5 x 121.5, unframedThis painting is said to depict Margaret Thatcher as she made her first speech to the House of Commons after being elected Prime Minister in May 1979. It was executed contemporaneously by the artist, who was a well-known English portrait painter. The work was never signed and its significance was lost when it was bought at an antiques fair at Kempton Park Racecourse in 2015. The identity of the artist remained a mystery for many years. The owner began by asking surviving MPs whether they could shed light on the painting. However, Lord (Patrick) Cormack, a member of the Commons Works of Art Committee across the 1980s, was able to make the link with Alfred Reginald Thomson. Given permission to sketch from the public gallery in the chamber, the artist (who was deaf from birth) had painted a similar view of the Commons with Macmillan at the despatch box in 1960. Seemingly he had ‘updated’ the image to depict Britain’s first female PM with the use of photographs. Malcolm Hay, then the curator of the Parliamentary Art Collection, confirmed the attribution.Condition ReportSeveral areas of paint loss, stretcher bar mark visible along top, some craquelure along top. Under uv light, the black areas of paint fluoresce but this appears to be caused by the type of paint rather than retouching. Please refer to images to illustrate paint loss.
Vittorio Borriello (Italian-American, 1896-1974)A young woman in a black hat, in profilesigned and dated 'Boriello 1919' l.c., also signed and dated on label verso, oil on panel35 x 21.5cmProvenance: The Estate of Sir Jack and Lady Baer.Borriello was born in Naples but moved to New York, living there until his death in 1974. The artist's ability to capture a profile with such intensity is highly skilled. Our eyes are focused on the smooth arc of the hat, executed in darkest black, its flair is in the elegant and sharp line it weaves around the sitter's head, which accentuates her fine jawline and elongated neck. The hat throws shade over the sitter's eyes creating a certain intrigue and mystery in relation to her identity. Keeping to a simple palette, Borriello creates depth and texture through a confident understanding of the paint. He finely works the flesh tones on the sitter's face and neck, while contrasting this against a much freer use of brushwork on the dress and background.Condition ReportFramed size: 53 x 39.5cm.Probably covered with a discoloured varnish which may therefore brighten on cleaning, a thin crack to paint across cheek that is visible to reverse of panel, please see images, under uv light no obvious signs of retouching.
English School, early 20th centuryHomage to Manetsigned with initials 'MS' l.r., oil on canvas laid down on board27.5 x 30cmProvenance: The Estate of Sir Jack and Lady Baer.Condition ReportFramed size: 38 x 40.5cmUneven varnish layer that under uv light fluoresces green in places, there is some shrinkage and what appears to be infilling in a couple of places, although the reading under uv light is not entirely clear. Paint in stable condition, well-presented and ready to hang.
â–´ Fulco di Verdura (Italian, 1898-1978) Figure looking out to seasigned 'Fulco' l.l., gouache on board6 x 9.5cmProvenance: The Estate of Sir Jack and Lady Baer.Fulco di Verdura, one of the last Dukes of Verdura, is best known as a jeweller. His career gained momentum in the 1920s when he met Coco Chanel and was hired by her, first as a textile designer, and then to oversee Chanel jewellery. One of his most iconic pieces was the Maltese Cross Cuff for Chanel. In 1934, he left Chanel and started his own business in New York. This, too, saw great success and led to joint collaborations with artists including Salvador Dali. Fulco sketched throughout his life, executing his work often on a small and precise scale. His sense of design and close observation of the places around him is evident in his drawings.Condition ReportFramed size: 11.5 x 15cmThe work is glazed and has not been viewed out of glazed frame, there are areas where the paint is thinner and board shows, the work generally appears to be in good condition and under uv light there are no obvious signs of retouching.
â–´ Louis Valtat (French, 1869-1952)'Fleurs'stamped 'L.V' l.r., oil on canvas28 x 34cmProvenance: Schoneman Galleries, New York;Collection of George L Schultz;Sotheby's, London, 11 July 2006, lot 50;with Browse & Darby, London, 2006;The Estate of Sir Jack and Lady Baer.Condition ReportFramed size: 40 x 46cm.Canvas is relined. There is some fine craquelure to white paint along right edge. Light surface dirt. Viewed out of frame, a couple of small spots of paint loss along right edge and fine line along bottom edge, otherwise, work is in good order and under uv light no signs of retouching. Please see images online, which can be viewed at this link:https://www.sworder.co.uk/auction/lot/lot-85---louis-valtat-french-1869-1952/?lot=449262&so=0&st=valtat&sto=0&au=1061&ef=&et=&ic=False&sd=0&pp=96&pn=1&g=1
â–´ John Morley (b.1942)'Auricula in a Basket'signed and dated 'John Morley 1987' l.r., watercolour32.5 x 37.5cmProvenance: With the Piccadilly Gallery, London, 1987;the Estate of Sir Jack and Lady Baer.Condition ReportFramed size: 38.5 x 53.5cm.Unexamined out of glazed frame, a bit of cockling to sheet consistent with watercolour method, light time staining, otherwise appears to be fine.
â–´ Mary Fedden RA (1915-2012)'The Garden'signed and dated 'Fedden 1955' l.r., also signed and inscribed with title on artist's label verso, oil on canvas61 x 50.5cmProvenance: Purchased from the artist in late 1950s;The Estate of Sir Jack and Lady Baer.Viewed through a window, Fedden depicts two figures lunching in a richly coloured garden. This scene is likely the garden at Durham Wharf, the place that Fedden and her husband Julian Trevelyan, had called home since their marriage in 1951. Durham Wharf is located on Chiswick Mall and overlooks the Thames; it was a unique property with combined living and studio space.Both keen gardeners, the couple invested great time into shaping their garden. They created a raised terrace, so that you could view the river more easily, and planted a wide range of herbs and flowers. Painted in 1955, this work is a wonderful demonstration of her partnership with Trevelyan and clearly draws on his influence with its perspective, inclusion of figures and expressive, almost rough, brushwork. The abundant flowers are executed by Fedden with great flair, while our eye is also drawn to the lounging cat in the foreground and the small still life balanced on the bright blue table at the back.In the 1960s, Trevelyan acquired the land next door and built another set of studios with living space, which he rented to artists such as Prunella Clough and Bernard Myers. This created an intimate artists' community. Both Trevelyan and Fedden lived at Durham Wharf for the rest of their lives.Condition ReportFramed size: 72.5 x 63cm.Canvas is unlined. Slight bulging from stretcher bars in corners, a little bit of yellowing to blue paint in lower left section, may benefit from a light clean, otherwise generally appears to be in good condition, under uv light no obvious signs of retouching or restoration.
â–´ Glynn Boyd Harte (1948-2003)Daffodilssigned and dated 'Glynn Boyd Harte 1978', watercolour, coloured pencils41 x 58.5cmProvenance: The Estate of Sir Jack and Lady Baer.Condition ReportFramed size: 43.5 x 61cmNot examined out of the frame, light time staining, otherwise appears to be fine.
â–´ William Gear RA (1915-1997)Abstract compositionsigned and dated 'Gear '52' l.r., pen and ink38 x 28cm;and a monotype by the same hand38 x 28cm (2)Provenance: The Estate of Sir Jack and Lady Baer. Commissioned from the artist by Lady Baer.Condition ReportFramed size of both: 56 x 45.5cmUnexamined out of glazed frames, both appear to be attached to backing at corners, light time staining more so at edges of sheet, some foxing emerging, otherwise both generally appear to be fine. Well-presented.
A collection of 20th century studio pottery, comprising a stoneware platter by Ann Wrighton, incised and painted blue fish on a brown ground 36cm diameter, a earthenware bowl by Andy Blick, with lustre decoration, partially glazed, marked to the underside 33cm diameter, an unglazed bowl with blue and gold squared design, unnamed 30.5cm diameter, an unglazed earthenware vase, in antique style with a light faded white coating 30cm high and a terracotta glazed plaque, contemporary design of a flower, signed bottom right 30cm x 30cm (5)
A quantity of books. Including volumes regarding poetry, novels, art, etc. Condition Report: Wide Sargasso sea published 1967, where the wind blows 1982. Dust jacket is worn on Wide Sargasso sea, with marks and small creases caused through use. Pages show signs of light foxing. When the wind blows with marks, small creases and wear throughout the cover caused through previous use, hand written name to inside of front cover S A WIlliams
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λ OLIVER MESSEL (BRITISH 1904-1978)DESIGN FOR BACKDROP, BATHPencil, watercolour, gouache and collage33 x 48cm (12 x 18¾ in.)Provenance:Supplied by Oliver Messel The present picture is the design for the drop curtain for the 1945 production of Sheriden's comedy of manners, The Rivals. Performed at the Criterion Theatre in 1945, and directed by William Armstrong and Edith Evans, Messel designed costumes and sets in pastiche of eighteenth century period style. The artificiality and lightness of his designs were well suited to the improbable plot and satiric spirit of the play.Condition Report: Unexamined out of glazed frame. Sheet is undulating. There are some small gaps between the view of bath and the collage creating the backdrop. Some light scuff marks to the yellow silk. Condition Report Disclaimer
λ OLIVER MESSEL (BRITISH 1904-1978)MRS MALAPROP, 2ND DRESS FOR ENDPencil, watercolour and gouacheSigned (lower right) and titled and variously inscribed (upper right)50.5 x 33.5cm (19¾ x 13 in.) Provenance:Supplied by Oliver Messel The present picture is a design for the character Madam Malaprop, the middle-aged guardian of Lydia Languish in Richard Brinsley Sheridan's, comedy of manners, The Rivals, Criterion Theatre, 1945. Displayed in a frame painted by Messel.Condition Report: Unexamined out of glazed frame. Light handling creases throughout. Condition Report Disclaimer
λ OLIVER MESSEL (BRITISH 1904-1978)MRS MALAPROPPencil, watercolour and gouacheSigned (lower right) and titled (upper right)50 x 35cm (19½ x 13¾ in.) Provenance:Supplied by Oliver Messel The present picture is a design for the character Madam Malaprop, the middle-aged guardian of Lydia Languish in Richard Brinsley Sheridan's, comedy of manners, The Rivals, Criterion Theatre, 1945. Displayed in a frame painted by Messel.Condition Report: Unexamined out of glazed frame. Handling creases and light undulation throughout the sheet. The sheet has puckered at the centre of the lower edge. An area of staining to the centre of the right edge. Condition Report Disclaimer
λ OLIVER MESSEL (BRITISH 1904-1978)DESIGN FOR BACKDROP WITH TREE AND MOUNTAINPencil, watercolour and gouache36 x 51cm (14 x 20 in.)Exhibited:C.E.M.A exhibition, Ballet design no. 103Provenance: Supplied by Oliver Messel The present picture is possibly a drop curtain design for the 1946 production of Sleeping Beauty by the Royal Ballet. His sets for this landmark production are considered Messel's masterpiece, and were revived for the Company's 2006 production.Condition Report: Unexamined out of glazed frame. Sheet is slightly undulating, most visible to the extreme left edge. Some very light loss to the upper left corner, possibly rubbing. A fine crack running along the length of the work along the upper edge. A pin hole visible to each upper corner. Condition Report Disclaimer
ENGLISH SCHOOL (17TH CENTURY)PORTRAIT OF A BEARDED MAN, HALF-LENGTH IN A RED COATOil on canvas (in a Lely panel frame)73 x 61.5cm (28½ x 24 in.) Provenance:The Crawley-Boevey family Sold Flaxley Abbey, Gloucestershire: Catalogue of the Valuable Contents, Bruton, Knowles & Co., 29 March - 5 April 1960, lot 1309Bought by Mr and Mrs Frederick Baden-Watkins and thence by descent at Flaxley AbbeyCondition Report: The canvas has been relined and is on a later stretcher. Surface dirt and signs of mould. Areas of thinning paint and paint shrinkage, mainly in the sitter's cloak and in the background above his shoulders where the ground is clearly visible. Abrasions around the edges from contact with the frame. Craquelure throughout, UV light also reveals retouched craquelure (mainly in the sitter's face).Condition Report Disclaimer
A REGENCY PATINATED METAL SAMOVAR EARLY 19TH CENTURY AND LATER ADAPTED AS A LAMP The interior of the lid is marked J.S. PYRKE & SONS, LONDON 50cm high including lid and goat's head finial Together with another similar, 42cm high (2)Provenance: Supplied by Oliver Messel, probably from Nymans Condition Report: Each has knocks and dents to the body of an historic nature. Country house condition and each with the original cover. Each with traces of bird droppings and would no doubt come off without ruining the patina. Each has been adapted to take a light fitting and the tap removed and replaced with a plate to cover the hole. Each will need re-wiring.Condition Report Disclaimer
A LATE VICTORIAN MAHOGANY AND UPHOLSTERED TUB ARMCHAIRCIRCA 1900, IN THE MANNER OF HOWARD & SONS On square tapering supports with brass casters 93cm high, 67cm wide, 68cm deep Condition Report: Marks, knocks, scratches, abrasions consistent with age and useOld splits and cracks, some chips and losses, the legs especially with chips and lossesThe frame appears to be solid and stable overall, the upholstery is later applied, Dreweatts can make no comments or give any guarantees as to the condition or originality to the frame beneath this later upholstery. This is in a condition that reflects its lack of significant age and light use in a domestic settingThis has brass caps to the legs and has brown porcelain castorsPlease refer to additional images for visual reference to conditionCondition Report Disclaimer
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