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Click here to subscribeARTHUR BERRY (1925-1994); mixed media, portrait of a lady, signed and dated 67, 60 x 46cm, framed and glazed. (D)Additional InformationImage is good, frame with light wear.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
ARTHUR BERRY (1925-1994); mixed media, landscape, 53 x 79cm, framed and glazed. (D)Additional InformationImage is in good condition, frame with light wear.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
ARTHUR BERRY (1925-1994); mixed media, portrait side profile of a lady with grey hair, signed and dated 77, 68 x 56cm, framed and glazed. (D)Additional InformationImage appears fine, frame with light scuffs and scratches.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
ARTHUR BERRY (1925-1994); mixed media, portrait of a lady wearing a green dress, signed lower left, 91 x 75cm, framed and glazed. (D)Additional InformationImage appears good, light scuffs, scratches and wear to frame.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
EMMANUEL LEVY (1900-1986); mixed media, thistles, signed lower left. 39 x 30cm, framed and glazed. (D)Additional InformationPaper is slightly discoloured in parts. There is an area of paper set between the image and the glass. Frame with light wear.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
OTWAY MCCANNELL; mixed media, 'Hills', signed with monogram and inscribed on old label verso, 23 x 28cm, framed and glazed. (D)Additional InformationThis lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
*THIERRY BOSQUET (1937) 'Theatrical Set Design for a Medieval Palace Hall' mixed media on paper, 75cm x 52cm Thierry Bosquet is a well known Belgian opera set and costume designer and artist. He studied under Thomas Clossay at the Abbaye de la Cambre in Brussels. Bosquet has created sets and costumes for almost 200 productions at most of the world's great opera houses, and is also renowned for party decorations, murals and paintings. He was knighted by the King of Belgium in 2014 and now lives in retirement in Brussels.
ASSORTED PAINTINGS & PRINTS including PAUL PETER PIECH three linocut prints - pair of Welsh dragon presentations prints on pink card, inscribed 'Pen-y-Bont, Ars Gratis Ars in Wales, Presented to...' (one of the pair then inscribed Harri Webb '93), 42 x 29cms, together with a two colour linocut on white card 'Sony Pen-y-Bont' signed and dated 1995, 35 x 25cms, LAURIE WILLIAMS mixed media - titled verso 'Greek Odyssey with Vase', signed, 20 x 19.5cms and LESLEY KERMAN oil on wood - entitled verso 'The Owl, The Clock or The Lighthouse', 16 x 15cms (5 total)Provenance: estate of Carys and William (McClure) Brown, William Brown being Scottish-Canadian (1953-2008). William Brown lived in Wales from 1990 to his death and was part of the Welsh arts community.Comments: Piech prints: slight marks to white card example, Laurie Williams: framed and glazed, Lesley Kerman: unframed
Ernest Procter A.R.A. (British 1885-1935) The Long Range Bombardment of Dunkirk, circa 1918 signed, indisctinctly dated and inscribed 'FRANCE' (lower right), oil on canvas(49cm x 59.5cm (19.3in x 23.4in))Footnote: Literature: TIS, 'About Dod & Ernest Procter', Colour, April 1919, vol. 10, no.3, p. 51 (illustrated) This major work is the long-lost The Long Range Bombardment of Dunkirk which has recently come to light in a private collection. As Elizabeth Knowles has explained ‘Ernest [Procter] made relatively few major oil paintings of war subjects, perhaps the most notable being The Long Range Bombardment of Dunkirk from sketches and notes made on the spot. (Elizabeth Knowles, ‘Ernest Procter ARA 1886-1935’, Dod Procter RA 1892-1982 and Ernest Procter ARA 1886-1935, Laing Art Gallery, Newcastle-upon-Tyne, 1990, p. 32). Ernest Procter was born in Tynemouth, Northumberland into a Quaker family. He trained at Leeds Art School and then under Stanhope Forbes in Newlyn, where he met the artist Doris ‘Dod’ Shaw (1890-1972). They furthered their studies at the Académie Colarossi in Paris and married in 1912; Dod was thereafter known by her married name and their son Bill was born the following year. The couple worked and exhibited together, most significantly on the decoration of the Kokine Palace, Rangoon, Burma in 1919-20 and in joint exhibitions held at The Fine Art Society and the Leicester Galleries in 1913 and 1926 respectively. Following the Procters’ return from Burma, Ernest established an art school in Newlyn with Harold Harvey (1874-1971), which they ran until the mid-1920s. Procter played a leading role in the Cornish art world, whilst maintaining a high profile in London. He was a member of the St Ives Society of Arts and Newlyn Society of Artists, joined the New English Art Club in 1929 and was elected an Associate Member of the Royal Academy three years later. He was best known for the allegorical figure compositions and landscapes which were regularly shown in group exhibitions such as those at the Royal Glasgow Institute, Royal Hibernian Academy and the International Society of Sculptors, Painters & Gravers. In 1934, Procter was appointed Director of Studies in Design and Craft at Glasgow School of Art, but he died the following year. Memorial exhibitions were mounted at the Leicester Galleries and Laing Art Gallery, Newcastle. In line with his religious beliefs, Procter declared himself a conscientious objector on the outbreak of World War One. The Friends' Ambulance Unit was established soon afterwards by a group of young Quakers, as a means for civilian volunteers to contribute to the war effort in a non-violent way. The Unit travelled to Dunkirk in October 1914 under the auspices of the British Red Cross Society and the Order of St John of Jerusalem. Procter’s personnel records reveal that he joined it on 11 April 1916, arrived in Dunkirk on 12 June 1916 and served until his demobilisation on 2 February 1919. His duties included care of the wounded, ambulance maintenance and quartermaster tasks. He also designed and decorated Red Cross huts and camp entertainment, whilst recording his experiences in sketches, drawings and paintings as circumstances permitted. Towards the end of the war, Procter applied to the Ministry of Information for a permit to depict the work of the Red Cross on the Western Front. He was engaged under Scheme 3 of the British War Memorials Committee, whereby in return for facilities, Procter was to offer the first option on all the work he made to the committee, with no salary or expenses. His permit was granted in November 1918. This gave him just a few months before demobilisation to produce the work he carried out for the Royal Army Medical Corps section and was presented for approval in February 1919; six watercolours were acquired and are now in the collection of the Imperial War Museum. They are held alongside a significant number of Procter’s World War One drawings and one of his sketchbooks from the period (see https://www.iwm.org.uk/collections/search?query=ernest+procter&pageSize=30&media-records=all-records&style=list accessed 1 April 2022). Long Range Bombardment of Dunkirk is thought to be an extraordinarily personal and direct account of the major German offensive against the French city which took place over 20 to 23 March 1918, culminating in the use of a German long-range gun situated twenty miles away. Indeed, the painting could act as an illustration of the diary entry for 24 March 1918 written by Procter’s friend Molly Evans (1890-1974), who served as a Voluntary Aid Detachment nurse with the Friends’ Ambulance Unit based in the local Queen Alexandra Hospital. This concludes ‘unending stream of sorting people, carrying bedsteads, personal belongings, mixed up. Glorious sunny day. Queer scene. Frenchmen, lunatics, Chinese carrying things on bamboo sticks, nuns, English sisters, patients, officers, orderlies, all collecting ‘goods’, a procession of Chinese carrying 7 coffins through it all. Crashing shells at intervals. A weary & never-to-be-forgotten day.’ (see https://www.morganfourman.com/articles/hospital-evacuation-under-fire-dunkirk-20-23-mar-1918/ accessed 26 March 2022). Seen from the point of view of the fleeing civilians whom Procter was in the region to aid, he depicts the nearby dunes strewn with refugees and members of the military, streaming away from the city which burns in the background. The towers of the church of Saint Éloi and the town hall are visible in the skyline – of which an annotated sketch is in the Imperial War Museum’s archive (War Artist Archive: Ernest Procter, ART/WA1/298, 'Belgium misc’ portfolio). The image is full of sensitively observed human relationships, between adults and children of all ages, interspersed with animals. Children play whilst grown-ups survey the scene before them, overlooked by a cross on a dune to the upper left, which may refer to Christ’s crucifixion at Calvary. Sunshine and shadow are captured over the flow of the dunes, whilst a use of bold colour, including red, green, pink and orange, attracts the eye throughout the complex composition. The importance of Long Range Bombardment of Dunkirk was recognised immediately. It was reproduced in colour and singled out for extensive praise in an article about Ernest and Dod Procter in Colour of April 1919, in which its author wrote that, despite the tragedy of its subject matter: ‘I…consider his “Long Range Bombardment of Dunkirk” a really remarkable picture…To begin with, it is extraordinarily attractive at the first glance. The eye taking in the whole picture at once is fascinated by its arrangement of colour patterns: there is something Japanese in its composition and even in its colour. Once attracted the eye begins to inform the mind and the mind browses over every square inch, taking in every anecdote, every pictorial detail, wondering how it was possible to combine so much pure art with so much pure story – and every artist must be delighted with the ingenious manner in which he has contrived to make the many-figured whole hang together as one thing. He comes near to Peter Brueghel in his incidents, but Peter Brueghel could not have reached him in composition. This Bombardment I say again is a remarkable picture.’ (“TIS”, 'About Dod & Ernest Procter', Colour, April 1919, vol. 10, no.3, p. 51 (illustrated) & p.52). Procter was to develop the narrative richness, orchestration of complex figure groups and skilful use of colour seen in this work in further major paintings created after his return to Cornwall, including On the Beach at Newlyn, 1919 and Cornish Beach Scene, c.1922, both in private collections. His work is held in numerous public collections.Provenance:Private Collection, Scotland.Believed to have been purchased in 1948, and by descent in the same family to the current owner.
§ Winifred Nicholson (British 1893-1981) Agamemnon and Clytemnestra mixed media on paper laid on card(53.3cm x 67.3cm (21in x 26.5in))Provenance: Acquired from the artist by Jake Nicholson and thence by descent to the present owner.Footnote: Literature: Andreae, C., Winifred Nicholson, Lund Humphries, Farnham, 2009, p. 175 (illustrated in colour fig. 169) In Greek mythology Agamemnon was the king of Mycenae. His wife Clytemnestra was the sister of Helen of Troy.
§ Ben Nicholson O.M. (British 1894-1982) Oh Boy!, circa 1933 mixed media and collage on board(17.7cm x 7.9cm (7in x 3.25in))Provenance: Acquired from the artist by Jake Nicholson and thence by descent to the present owner.Footnote: Oh Boy! is at once an immensely fun work of art made by the artist for his young son, whilst also being an important example of how Ben Nicholson progressed towards the pioneering reliefs for which he is acclaimed. Nicholson is remembered for his sense of humour and playfulness, which formed the basis of his relationship with his oldest son Jake. In 1934 Ben wrote to Winifred ‘Jake and I have such a good and easy contact, I do enjoy him enormously and always have but now very especially – and I know in return I can give him endless things.’ (letter from Ben Nicholson to Winifred Nicholson of 12 April 1934 quoted in Andrew Nicholson, Unknown Colour: Paintings, Letters, Writings by Winifred Nicholson, Faber & Faber, London, 1987, p. 146). In 1988 Jake affectionately recalled his father’s ‘jokey side’ as borne out in illustrated letters featuring dogs called Booboo or Ponto and horses called George or Rufus, who also appeared in paintings. (Jake Nicholson, ‘Ben Nicholson’s Fabrics’, The Nicholsons: A Story of Four People and Their Designs, York City Art Gallery, 1988, exh. cat., p. 38). Jake explained ‘he would build up a serious comment about art or life, then would suddenly pull the rug from under your feet with a pithy joke – perhaps about ginger biscuits.’ (Jake Nicholson, op.cit., p. 39). In Oh Boy! two collaged figures are formed from simple elements as if the result of a game. One is presented within a rectangle, like a goalkeeper to the other, at whose foot a ball is seen moving at speed. The moment of sporting drama is encapsulated in the title, written at the centre right. It is known that Ben and Jake enjoyed playing football together, not least due to a letter recounting a visit they paid to the artists Jean Arp and Sophie Taeuber-Arp in 1935, in which Ben wrote ‘Jake & I played a good deal of football all over Meudon.’ (letter from Ben Nicholson to Barbara Hepworth of 10 May 1935, quoted in ed. Lee Beard, Ben Nicholson: Writings and Ideas, Lund Humphries, London, 2019, p. 121.) At the same time, Oh Boy! shows how Nicholson was exploring the visual and structural possibilities of working in three dimensions – here collaged, but soon to be carved. The simplification of the human form, the abstracted and graphic representation of facial features and the emphasis on the circle to convey rhythm all speak to his contemporary, more serious concerns. Planes of colour in a palette dominated by black, white and red illustrate opposing team strips as well as emphasising a sense of surface. Nicholson made his first relief in December 1933 whilst in Paris visiting Winifred and their children. He reported this in a letter to Barbara Hepworth a day later, in which he wrote ‘I carved it all day long, it…looks like a primitive game. Jake and Kate came in at various stages and we rolled a marble about it.’ (letter of 12 December 1933 as quoted in Jeremy Lewison, Ben Nicholson, Tate Gallery, London, 1993, p. 216 in entry for cat.no. 49). Thus Jake was present at the moment of this breakthrough in International Modernism, which even so, father, son and daughter were able to turn into a game. We are grateful to Dr Lee Beard for his assistance in cataloguing this work.
§ Ben Nicholson O.M. (British 1894-1982) small red diamond, circa 1974 signed, titled and inscribed 'lent to Jake / until pop off / then it becomes / his property / Nicholson/ (small Red diamond)' (to reverse), mixed media on irregularly-shaped paper laid on artist's prepared board(sheet 24.2cm x 15cm (9.5in x 5.8in) maximum dimensions; board 34.4cm x 24cm (13.5in x 9.5in))Provenance: Acquired from the artist by Jake Nicholson and thence by descent to the present owner.Footnote: Exhibited: Chichester, Pallant House Gallery, Ben Nicholson: From the Studio, 2021, no cat. nos. (illustrated upside down p. 94, fig. 101) This work was included in the recent exhibition Ben Nicholson: From the Studio at Pallant House Gallery, Chichester, which examined the inspiration the artist found in still-life objects throughout his career. It is one of a series in which Nicholson enjoyed the form and implied personality of a spanner from a set that he purchased from a plumber in 1973, that were ‘patinated with age and use, strong and weighty shapes full of character’ (Norbert Lynton, Ben Nicholson, Phaidon Press Ltd, London, 1993, p. 208). However, it is named after the colour highpoint of its composition. We are grateful to Dr Lee Beard for his assistance in cataloguing this work.
John Piper CH (1903-1992) ‘Appleton’, 1982, watercolour and mixed media, signed to lower right corner, (title & date partially obscured), 38 cm x 55.5 cm framed and glazed.Private London collection, deceased estate. Marlborough Fine Art Gallery label verso.No apparent faults, in clean condition. Some possible foxing spots, but hard to be sure as they could well be part of the image (see photos).
*HR (20th century)Portrait of an elegant ladyInitialled and dated April (19)46, mixed media, together with a watercolour by Esmond Knight "Hawking on the Thames Estuary", 47cm by 30cm and 15cm by 19.5cm (2)*HR (20th century)Portrait of an elegant ladySlight time staining to paper, slight cockling to paper, especially within the lower section of her dress, right of centre. The odd minor sporadic foxing spot. Not examined out of the frame.Esmond Knight "Hawking on the Thames Estuary"Slight time staining to the paper. Otherwise in good overall condition. Not examined out of the frame.
James Rizzi (American, 1950-2011). Mixed media collage titled "Trick or Treat," depicting a colorful group of costumed Halloween revelers. Pencil signed along the lower left, titled along the lower center, and numbered 8/350 and dated 1989 along the lower right.Sight; Height: 6 in x width: 10 in. Framed; Height: 13 in x width: 16 3/4 in.
Charles Fazzino (American, b. 1955). Mixed media 3D paper construction titled "Greetings from NY," depicting a bustling New York cityscape. Serigraph and glitter on paper. Pencil signed along the lower right, titled along the lower center, and numbered 179/450 along the lower left.Sight; Height: 35 1/2 in x width: 28 1/2 in. Framed; Height: 43 1/4 in x width: 33 3/4 in.
Lorna Simpson (American, b. 1960). Mixed media sculpture group titled "III," 1994. Bronze, ceramic, & rubber with lithography on felt. This artwork was commissioned by the Peter Norton family as their Christmas Edition for 1994, and is from an edition of 5,000.Box; Height: 2 in x width: 13 1/2 in x depth: 5 1/4 in.
William Brennen. 'Me and Uncle Marc'. Study of two heads, mixed media on canvas. 43 x 61cm. Framed and glazed. With National Portrait Gallery Labels verso from 1996 BP Portrait Award. Signed, dated and titled verso. Sold with postcard from the artist to Trevor Baxter regarding sale of the picture dated 3rd August 1996. From the Trevor Baxter collection of contemporary art. Trevor Baxter was a character actor perhaps best known for his cult role as Professor George Lightfoot in Dr. Who in 1977. He also appeared in shows and films including Z-Cars (1968), and Sky Captain and the World of Tomorrow (2004). Trevor, who was a passionate collector of contemporary art, sadly passed away in 2017.
Colin Halliday (British, b.1964). 'Emblem', 2003. Dark grey abstract with raised section. Mixed media on canvas. Signed, titled and dated verso. 51 x 46.5cm. From the Trevor Baxter collection of contemporary art. Trevor Baxter was a character actor perhaps best known for his cult role as Professor George Lightfoot in Dr. Who in 1977. He also appeared in shows and films including Z-Cars (1968), and Sky Captain and the World of Tomorrow (2004). Trevor, who was a passionate collector of contemporary art, sadly passed away in 2017.
William Brennen. Abstract in white, blue and red. Mixed media. 21 x 36cm. Framed and glazed. Sold with postcard from the artist to Trevor Baxter regarding sale of the picture dated 24th October 1996. From the Trevor Baxter collection of contemporary art. Trevor Baxter was a character actor perhaps best known for his cult role as Professor George Lightfoot in Dr. Who in 1977. He also appeared in shows and films including Z-Cars (1968), and Sky Captain and the World of Tomorrow (2004). Trevor, who was a passionate collector of contemporary art, sadly passed away in 2017.
Anders Adern (Swedish). 'Stillness'. Abstract with red to lower centre. Mixed media on canvas. Signed lower left. 25 x 25cm. Sold with photocopy of original purchase receipt from 2003 from Stark. From the Trevor Baxter collection of contemporary art. Trevor Baxter was a character actor perhaps best known for his cult role as Professor George Lightfoot in Dr. Who in 1977. He also appeared in shows and films including Z-Cars (1968), and Sky Captain and the World of Tomorrow (2004). Trevor, who was a passionate collector of contemporary art, sadly passed away in 2017.
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