λ Frederick Gore (British 1913-2009)Spring landscape, Clement's Reach, Meopham, KentOil on canvasSigned (lower left); further signed, titled, and dated 1980 (to stretcher)70 x 90cm (27½ x 35¼ in.)Provenance:Sale, Christie's, London, 27 November 1997, lot 129Condition Report: This work has not been relined. Light surface dirt throughout. There is an area of yellowing varnish in the upper right corner causing discolouration to the upper right quadrant. There are a number of vertical lines of cracking to the lower right corner. Along the lower section of the right edge is also evidence of some old newspaper stuck to the surface circa. 2mm, a small loss circa. 2mm and an area of scratching with associated loss circa. 2 x 3cm. Condition Report Disclaimer
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λ†Frank Dobson (British 1886-1963)Head of a girlRed chalkSigned and dated 32 (lower right)35.5 x 25.5cm (13¾ x 10 in.)Provenance:The Artist's EstateGillian Jason Gallery, LondonCondition Report: Unexamined out of glazed frame. Light discolouration to the sheet most notable at the edges. Slight undulation the sheet. Condition Report Disclaimer
λ David Hockney (British b. 1937)Portrait of Richard Hamilton (S.A.C. 126/Tokyo 118)Etching with aquatint, 1971An unsigned proof aside from the edition of 3034 x 26.5cm (13¼ x 10¼ in.)Provenance:A gift to the present owner circa 1985/86Condition Report: Unexamined out of glazed frame. Light discolouration to the image with a white circular blemish to the middle of the left edge. There is one light stain to the lower left corner of the margin and two areas of foxing, one to the left middle edge and one to the right middle edge. There are some light handling creasing visible to the lower margin and very slight undulation to the sheet. Otherwise the work appears to be in good original condition.Condition Report Disclaimer
λ Mr Brainwash (French b. 1966)Beautiful Life - Mickey and Minnie MouseMixed media, stencil and acrylic on canvas laid on boardSigned (to lower right edge); further signed, dated 2011 and inscribed (verso)162.5 x 122.5cm (63¾ x 48 in.)Artist to the stars Thierry Guetta aka. Mr. Brainwash has worked with some of music industry's biggest stars including Madonna for whom he designed the 2009 'Celebration' album cover. He has collaborated with TV and film productions including the Kardashians and Shameless whilst working on creative partnerships with Coca Cola and Marvel Comics. Mr. Brainwash first shot to fame through the widely circulated documentary 'Exit Through the Gift Shop' directed by Banksy featuring artists Shepherd Fairey and Space Invader. The film highlights the accessibility of street art and how art can be inclusive, shaping the world we live in. Mr. Brainwash combines elements from the pop art era drawing on motifs from artists such as Keith Haring and Jean-Michel Basquiat together with components from his street art and graffiti works, drawing on imagery from popular culture. At the centre of the piece, Mickey and Minnie Mouse embrace. To the left of Mickey's ear you see the eye of Madonna from his 'Celebration' album cover. To the right of the eye is a the identity card of Marilyn Monroe stating birth name Norma Jean. Behind the frontal images, small Campbell soup tins are scattered across the background. In the lower right corner we see the left eye of John F. Kennedy, the late president of the United States peeking out from beside Minnie Mouse. Every time you look at the image more details emerge. Mr. Brainwash has taken a canvas and thrown famous faces, iconic pop art and recognisable logos straight onto its surface finishing the composition with Disney's most celebrated, joyous, and recognisable characters to create an enchanting and striking piece of work. Condition Report: Light surface dirt. Small areas of glue residue but most likely caused at conception of the piece. Otherwise in good original condition. Condition Report Disclaimer
λ Peter Mcdonald (British/Japanese b. 1973)Untitled Acrylic on canvas 81.5 x 114cm (32 x 44¾ in.)Condition Report: There are visible water drips across the canvas. Consultation with a restorer has confirmed this would be difficult to repair. There are some light scuff marks to the left edge. Condition Report Disclaimer
λ Peter McDonald (British/Japanese b. 1973)New Fontana Acrylic on canvas Signed, titled and dated 2008 (verso)81.5 x 114cm (32 x 44¾ in.)Condition Report: There are visible water drips across the canvas. Consultation with a restorer has confirmed this would be difficult to repair. There are some light scuff marks across the surface. There is an area of cracking to the lower right quadrant approximately 3x4cm Condition Report Disclaimer
λ Peter Mcdonald (British/Japanese b. 1973)Ice Cream Acrylic on canvasSigned, titled and dated 2007 (verso)82 x 114.5cm (32¼ x 45 in.)Condition Report: Light scuffs and surface dirt visible mostly to the edges. Consultation with a restorer has confirmed this would be difficult to repair. There is a horizontal mark running along the lower edge and running vertically along the right hand edge. There is evidence of water damage to the upper right edge. There is a small white scuff to the dark green upper lip. Condition Report Disclaimer
λ Peter Mcdonald (British/Japanese b. 1973)PanpipesAcrylic on canvas Signed, titled and dated 2008 (verso)81 x 114cm (31¾ x 44¾ in.)Condition Report: There are visible water drips across the canvas. Consultation with a restorer has confirmed this would be difficult to repair. There are some light surface dirt and scuff marks, most notable to the edges. There is some green pigment to the upper right edge and some scattered dots of white paint across the canvas surface. Condition Report Disclaimer
λ John Wonnacott (British b. 1940)View from Lloyds Building I, DaytimeOil on boardSigned (verso)95 x 136cm (37¼ x 53½ in.)John Wonnacott is one of Britain's most celebrated portrait painters, with The Royal Family and Prime Ministers amongst his most notable commissions. However, these immersive portraits would not be possible without his exploration into how we physically see and experience the world around us and in turn how he, as a painter can capture this moment; this experience.The present works form part of a series of London landscapes painted from the glass elevators of the Lloyd's Building. Although these paintings are topographically accurate, placing the onlooker unmistakably above the city of London skyline, Wonnacott uses the glass lift to construct a dynamic space that draws the viewer into the canvas and suspends them hundreds of feet above the ground. The dramatically foreshortened perspective of the intricately congested cityscape in View from Lloyds Building I, Daytime contrasts with the expansive open sky above giving that feeling of joyous vertigo as one is propelled into the air by the glass elevators. Through his masterful use of palette, perspective, and pictorial construction Wonnacott has brought a wonderful immediacy to these pictures that allows us, the viewer, to share his experience both physically and emotionally.Condition Report: Examined under ultra violet light there is no fluorescence. The painting appears to be in excellent condition. Condition Report Disclaimer
λ John Wonnacott (British b. 1940)View from Lloyds Building IV Night TimeOil on board105 x 133.5cm (41¼ x 52½ in.)John Wonnacott is one of Britain's most celebrated portrait painters, with The Royal Family and Prime Ministers amongst his most notable commissions. However, these immersive portraits would not be possible without his exploration into how we physically see and experience the world around us and in turn how he, as a painter can capture this moment; this experience.The present works form part of a series of London landscapes painted from the glass elevators of the Lloyd's Building. Although these paintings are topographically accurate, placing the onlooker unmistakably above the city of London skyline, Wonnacott uses the glass lift to construct a dynamic space that draws the viewer into the canvas and suspends them hundreds of feet above the ground. The dramatically foreshortened perspective of the intricately congested cityscape in View from Lloyds Building I, Daytime contrasts with the expansive open sky above giving that feeling of joyous vertigo as one is propelled into the air by the glass elevators. In View from Lloyds Building IV, Night Time Wonnacott subverts this feeling into one of a sensory claustrophobia. Reflections of the city and the Lloyds Building behind bounce off the glass elevator, enclosing the onlooker as the surrounding buildings crowd in. Through his masterful use of palette, perspective, and pictorial construction Wonnacott has brought a wonderful immediacy to these pictures that allows us, the viewer, to share his experience both physically and emotionally.Condition Report: Examined under ultra violet light there is no fluorescence. The painting appears to be in excellent condition.Condition Report Disclaimer
λ Pamela Jane Crook (British b. 1945)FridayLiquitex acrylic on canvas and wooden frameSigned (lower right) further signed, dated 1995 and titled (verso)86 x 147cm (33¾ x 57¾ in.)Condition Report: Light surface dirt. A small area of unstable paint to the right of 'The Times Today'. Some small areas of yellowing varnish most notable to the upper edge of the frame. Otherwise the work appears to in in good original condition. Condition Report Disclaimer
Brett Whiteley (Australian 1939-1992)MagpieSugarlift etching, 1977Signed in pencil and numbered 36/60Plate: 49.5 x 49cm (19¼ x 19¼ in.)Condition Report: Unexamined out of glazed frame. Light discolouration to the sheet with staining to the extreme edges. Otherwise appears to be in good original condition.Condition Report Disclaimer
λ Philip Sutton (British b. 1928)Heigh-ho! Into the Green HollyOil on canvas with painted frameSigned, titled, dated 2001 and inscribed Manorbier (verso)Overall: 88 x 78cm (34½ x 30½ in.)Provenance:Piano Nobile, London Purchased from the above by the present owner in 2001Condition Report: Examined under ultra violet light there are no signs of fluorescence. There is a tiny nick to the upper edge of the painted frame, otherwise the work appears to be in excellent condition.The colours in the original painting are deeper and richer than the catalogue illustration.Condition Report Disclaimer
λ Doris Zinkeisen (British 1898-1991)Spanish DancerOil on canvasSigned and dated 1938 (lower left)60 x 49.5cm (23½ x 19¼ in.)Exhibited:London, Ernest Brown & Phillips, The Leicester Galleries, 1939Condition Report: No obvious condition issues. Inspection under UV does show evidence of light scattered retouching mostly to the right edge. Condition Report Disclaimer
λ John Duncan Ferguson (Scottish 1874-1961)Portrait of a lady in a hatPencil20 x 12cm (7¾ x 4½ in.)Provenance:The collection of Margaret Morris (1891-1980)Thence by descent to the present ownerCondition Report: Unexamined out of glazed frame. Light handling creases throughout. Puckering along the lower left edge. Light discolouration to the sheet most notable at the edges. Condition Report Disclaimer
λ William Lee Hankey (British 1869-1952)Pottery and Flowers, DieppeOil on canvasSigned (lower right); titled and dated 1947 (to canvas overlap verso)50 x 61cm (19½ x 24 in.) Condition Report: The canvas is not relined. There is some light surface dirt, but otherwise, in good condition. There is no evidence of retouching visible under ultraviolet light.Condition Report Disclaimer
λ Edward Seago (British 1910-1974)Norfolk landscape under snowOil on boardSigned (lower left)51 x 76cm (20 x 29¾ in.)Provenance:Marlborough Fine Art Ltd., LondonCondition Report: There are a couple of areas of craquelure to the snow, at the lower left, approximately 10cms above the signature and to the lower centre. There are also a number of small patches where the uppermost layer of paint has flaked off, notably to the snow along the lower edge of the painting. There is some surface dirt to the sky. Otherwise, in generally good overall condition. There is no evidence of retouching visible under ultraviolet light. Condition Report Disclaimer
λ Gilbert Spencer (British 1892-1979)Summer landscapeOil on canvas Signed and dated 1959 (lower right)51 x 77cm (20 x 30¼ in.)Provenance:Property from a Private English CollectorCondition Report: The work is unlined. Examined under ultra violet light there is no fluorescence. There is a very faint stretcher mark running along the top righthand edge of the canvas, otherwise the painting appears to be in very good condition. The colours in the original painting are deeper and richer than the catalogue illustration. Condition Report Disclaimer
λ Rowland Hill (Irish 1915-1979)Near Rosapenna, County Donegal, Ireland Oil on canvas laid to boardSigned (lower left)31 x 43.5cm (12 x 17 in.)Provenance:Deighton's Strand Gallery, London Condition Report: Light surface dirt throughout. A white blemish to the upper right quadrant. Otherwise in good original condition. Inspection under UV reveals no obvious evidence of restoration or repair. Condition Report Disclaimer
λ Fred Uhlman (British 1901-1985)Le Chateau de Grand MeaulnesOil on board 54 x 66cm (21¼ x 25 in.)Provenance:The Zwemmer Gallery, London The collection of Eardley Knollys (1902-1991), friend and associate of the Bloomsbury Group, artist, critic and owner of the Storran Gallery, London, from 1936 to 1944Bequeathed to Mattei Radev (1927-2009) and, subsequently, to the present ownerEardley Knollys (1902-1991) was born in Alresford, Hampshire. He studied at Winchester College and continued his education at Christ Church College in Oxford. Knollys interest in the arts and his reputation as an art critic grew during the 1920s and in 1936 Knollys opened The Storran Gallery, opposite Harrods with his partner Frank Coombs. The gallery exhibited renowned artists such as Amedeo Modigliani, Maurice Utrillo, Ivon Hitchens, Pablo Picasso and Victor Pasmore to name just a few. Coombs tragically passed away in an air raid during World War II in Belfast in 1941. Knollys closed the gallery shortly afterwards. In 1945, Knollys along with music critic and novelist Edward Sackville-West and music critic Desmond Shawe-Taylor purchased a Georgian rectory in Long Crichel, Dorset. Along with James Lees-Milne, literary critic Raymond Mortimer and gay activist and eye surgeon Patrick Trevor-Roper, the house became a centre for young creatives, where these young men and their friends could immerse themselves in books, music, art, and poetry. These passionate young men hosted guests such as Ben Nicholson, Duncan Grant, Sibyl Colefax and film director Anthony Asquith. Knollys joined James Lees-Milne working for the National Trust during World War II and published diaries recording their trips to some of the most renowned British country houses. In 1965, Knollys, a well-respected art critic and member of the Bloomsbury art group inherited a collection of artworks which had belonged to Edward Sackville-West. In 1967 Knollys and Mattei Radev purchased a hunting lodge in Hampshire and they both painted and worked in the artist's studio attached to the lodge. Knollys' interest in the arts continued and he added to the collection right up until his death in 1991. Knollys' collection was bequeathed to Mattei Radev, who continued to grow the important collection. Mattei Radev became an iconic member of the artistic and literary Bloomsbury group. Radev was a Bulgarian émigré who settled initially in Glasgow after escaping Bulgaria through Turkey. When he first arrived in London, he started working at Whittington Hospital as an orderly and met eye surgeon Patrick Trevor-Roper. Trevor-Roper was a gay activist and introduced Radev to likeminded friends in London. Influenced by these new acquaintances in artistic circles Radev decided to pursue an apprenticeship in framing. In 1960 he set up his own workshop in Fitzrovia with the help of a financial loan from Eardley Knollys. Clients included John Banting, Graham Sutherland, and Duncan Grant. The framers continued under Radev's management until the 1990s. Radev visited Long Crichel many times and met his life-long lover E.M. Forster, the notable novelist and literary critic. The Radev collection represents the three strong individuals involved, Sackville-West who championed Modernism, Eardley Knollys whose passion for French Impressionism shines through and Radev for his loyalty to British artists with whom he was friends and in business with.Condition Report: Surface dirt throughout. There are some very small scattered losses, the most obvious to the lower right quadrant with associated diagonal scuff marks. Inspection under UV reveals and uneven varnish and light scattered retouching. Condition Report Disclaimer
λ Ronald Ossory Dunlop (Irish 1894-1973)Portrait of a lady, wearing a red scarf Oil on board Signed (lower centre)51 x 41cm (20 x 16 in.)Condition Report: The board is bowing. Craquelure and light surface dirt throughout. There are two pinholes to each lower corner. There is rubbing tot he framing edges. Inspection under UV reveals a green masking varnish which may be concealing the extent of restoration or repair. Condition Report Disclaimer
λ Herbert Davis Richter (British 1874-1955)Iris and oriental poppiesOil on canvasSigned (lower right)76.5 x 63.5cm (30 x 25 in.)Condition Report: The canvas has not been relined. The canvas is slightly puckering in the upper corners with evidence of pinholes to each corner. Light rubbing to the framing edges and light surface dirt throughout. There are some white specks of paint scattered across the surface. One small loss to the leaf resting on the table at the lower right hand edge. Inspection under UV reveals a green masking varnish which may be concealing the extent of restoration or repair. Condition Report Disclaimer
λ Gerald Festus Kelly (British 1879-1972)On The Way to The Well, TaungdwingyiOil on board Titled, dated Nov 26 and inscribed (verso)15 x 18cm (5¾ x 7 in.)Exhibited:London, Royal Academy of Arts, Diploma Gallery, Exhibition of works by Sir Gerald Kelly, 1957 Condition Report: Very light surface dirt. Inspection under UV reveals a green masking varnish. Otherwise there appears to be no other significant condition issues. Dimensions including frame: 32x35 cm Condition Report Disclaimer
λ Harold Steggles (British 1911-1971)AlnwickOil on boardSigned (lower left); further signed and titled (verso)41 x 31cm (16 x 12 in.)Painted in 1936.Provenance:Alex Reid & Lefevre, LondonSir David Scott (acquired from the above on 9th April 1942 for £14.4.0)Sale: Sotheby's, London, 19 November 2008, A Great British Collection: The pictures collected by Sir David and Lady Scott, sold to benefit the Finnis Scott Foundation, lot 221 Acquired from the above sale by the present ownerExhibited:London, Alex Reid & Lefevre, December 1936, no. 10Southend-On-Sea, Beecroft Art Gallery, The East London Group, Out of the City, March-June 2016Southampton, Southampton City Art Gallery, From Mile End to Mayfair, The East London Group and their Contemporaries, September 2017-January 2018Literature:David Buckman, From Bow to Biennale: Artists of the East London Group, London, 2016, p. 188 (illustrated in colour)Quote:'I had this picture in my room in the Foreign Office together with some by Tunnard. I was visited there once by Mr. G. M. Young, the famous writer on Victorian England, who, after looking hard at the Tunnards and making no comment, gazed at this picture and said "I like this picture. I know what it is. A street" (with great emphasis!). I too like it, for its clear colour and directness.' Sir David ScottCondition Report: Very light surface dirt. Light rubbing to the extreme lower left edge. Inspection under UV reveals two small areas of retouching to the sky. Overall the work is in good original condition. Condition Report Disclaimer
λ Harold Steggles (British 1911-1971)Old Ford Road, BowOil on boardSigned (lower left); further signed and titled (verso)28 x 35cm (11 x 13¾ in.)Painted in 1932.Provenance:Alex Reid & Lefevre Ltd., LondonSir David Scott (acquired from the above in 1932 for 15 guineas)Sale: Sotheby's, London, A Great British Collection: The pictures collected by Sir David and Lady Scott, sold to benefit the Finnis Scott Foundation,19 November 2008, lot 218 Acquired from the above sale by the present ownerExhibited:London, Alex Reid & Lefevre Ltd., New Paintings by the East London Group, December 1932, no.2London, Nunnery Gallery (Bow Arts), The East London Group of Artists, From Bow to Biennale, c.1928-1936, May-July 2014Southampton, Southampton City Art Gallery, From Mile End to Mayfair, The East London Group and their Contemporaries, September 2017-January 2018Literature:David Buckman, From Bow to Biennale: Artists of the East London Group, London, 2016, p. 141 (illustrated in colour) Condition Report: Very light surface dirt. There is a small gap between the framing mount and board lower right. Inspection under UV reveals no evidence of retouching or repair. Overall the work is in good original condition. Condition Report Disclaimer
λ Elwin Hawthorne (British 1905-1954)Pastoral viewsA group of six linocutsVarious sizes, each approx. 9 x 13cm (3½ x 5 in.) (6)4 unframedProvenance:Family of the artistAcquired from the above in the 1990sThe authenticity of these works has been confirmed by the artist's son.Condition Report: Framed works: Unexamined out of glazed frame. The deer has staining to the framing edges. A diagonal crease from the upper left to middle right edge. Unframed:The church - is mounted. The overall image is slightly faded. There is light staining to the original sheet at the right hand side. The other works are stuck down to card. They are overall in good condition. There is an area of red staining to the castle at the right hand edge. Condition Report Disclaimer
λ Oscar Nemon (British 1906-1985)Sigmund Freud Bronzed resin Signed (to the reverse)Height: 24cm (9 1/2in.) This is a resin maquette for the 1971 Sigmund Freud memorial sculpture by Oscar Nemon which is situated in Hampstead, North London. The original sculpture is located in front of the Tavistock Clinic, a major psychological health care institution closely located to near where Sigmund and Anna Freud lived.Condition Report: Light surface dirt, otherwise in good original condition.Condition Report Disclaimer
Vincent Cartwright Vickers (British 1879-1939)Google BirdsA set of six watercolour and pen and inkOne signed with initials (lower right)Various sizes, the largest 49.5 x 32cm (19¼ x 12½ in.) (6)Provenance:The artist's grandsonThese eccentric drawings were executed in the first decade of the 20th century by a talented amateur artist who was better known as a leading economist. He produced these drawings for pleasure and to share with his children and nephews and nieces. Some would later be published with accompanying rhymes in The Google Book.The Google Book, a kind of children's monster and rhyme book, was published in 1913. Its Surreal illustrations of various fictitious birds and whimsical verses were all created by its author, the economist Vincent Cartwright Vickers. His extended family-owned Vickers Limited and he wrote The Google Book while serving as a director of the Bank of England. Vickers was born in 1879 and educated at Eton and Magdalen College, Oxford. He was a Deputy Lieutenant of the City of London, a director of Vickers for twenty-two years and a director of the London Assurance from which he resigned in 1939. In 1910 he became Governor of the Bank of England, resigning this appointment in 1919. He later became President of the Economic Reform Club and Institute. He wrote extensively on economics and monetary reform. After a long illness he died in 1939.The Google of the title is a strange pond dwelling monster living in a beautiful garden. At night in prowls the land where the different birds live. The birds themselves have many exotic names such as the Great Skull-Headed Stone Trot, the Swank, the Blue-Billed Ork and the Shivver-Doodle.It is not known whether Vicker's Google had any influence on the naming of the current famous American Internet company.Condition Report: Image 6 has been unframed. The work is watercolour on card and has been taped to the backing mount at the centre of each edge. All the works are under glass. The other five have not been examined out of glazed frames. There is some light scattered foxing most noticeably to areas where the original card is on show. Image 4 showing the two swooping birds, there is evidence of pencil marks either behind the sheet or as part of the original design which was the changed. There is a small cluster of brown marks to the left hand edge of the sheet. Otherwise each work appears to be in good original condition. Condition Report Disclaimer
'Suzanne' a Marius Sabino opalescent glass figure, modelled as a naked woman, arms outstretched and holding a peacock feather robe, mounted on ebonised wood base with back-light fitting, 26cm. high, 23.5cm. wide, 23.5cm. high (figure) Literature Victor Arwas Glass Art Nouveau to Art Deco, Academy Editions, page 271 for a comparable Suzanne figure illustrated, circa 1927.
'Carribean' a Moorcroft Pottery plate designed by Walter Moorcroft, tubeline decorated with exotic fish and seahorses amongst waterweed, in colours, under a light flambe glaze, impressed factory marks, 26cm. diam. Provenance Private collection. Literature Paul Atterbury Moorcroft Pottery 1897-1993 (new edition), Richard Dennis Publications, page 184 figure 2 for comparable examples circa 1960-65.
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