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Lot 356
French school pastel drawing on artist's board depicting a portrait of a woman veiled in pink, clutching a large beaded necklace. Signed "Morjous" and dated 1843 along the lower right.Provenance: From the Estate of Horst Rechelbacher, Osceola, Wisconsin.Horst Rechelbacher, the founder of Aveda and Intelligent Nutrients, was a pioneer in the field of safe and eco-friendly cosmetics. The same curiosity that led him to explore ways to improve the beauty industry led him to travel the world, collecting rare and beautiful objects as he went.Sight; height: 21 3/4 in x width: 17 1/2 in. Framed; height: 29 in x width: 24 1/2 in.
Lot 562
A GROUP OF LARGE CERAMICS AND TABLE LAMPS, comprising a large green glass carboy terrarium, height 55cm, two electric table lamps (not tested), a Winterton Ware planter decorated with pink flowers on a black ground (broken handle and crazed), height 24cm x diameter 22cm, a Crown Devon 'Ivory Blush' vase, height 32cm (crazed), a Victorian jug and rectangular wash bowl decorated in pastel shades of pink, blue and lavender on a cream ground, jug height 29cm, bowl length 38cm x width 32cm, a garden pond ornament (broken arm), etc. (s.d) (18)
Lot 572
A GROUP OF CERAMICS, comprising Wemyss Pottery pin dish hand painted plum design, diameter 9.5cm (crazing front and back), a Continental style hand painted eggshell porcelain cup and saucer decorated with pastel pink Primroses and gold gilding (cup has a hairline crack), a brass match box holder with raised foliate decoration, a Hammersley & Co. egg shaped pot, Lurpak toast rack and butter dish, a Royal Doulton 'To Bed' HN 1805 figurine, height 16cm, Royal Doulton 'Lydia', height 13cm, Royal Doulton' Tinkle Bell' HN1677, height 12cm, four vintage Peggy Foy figurines comprising two rabbits, a hedgehog and a squirrel (both rabbits have had repairs), two Wade Whimsies from the Hat Box series Disney's Thumper and Flower Skunk, four boxed Royal Worcester collector's plates from the NSPCC Christmas plate series, 1987-1990, a vintage brown suitcase, a Mr. Men slide projector, etc. (28) (Condition Report: obvious damage is mentioned in description)
Lot 596
STANLEY JOYCE (BRITISH 20TH CENTURY) A LARGE QUANTITY OF LANDSCAPE DRAWINGS AND PAINTINGS ETC, to include a small number of etchings, various media including pencil, pastel and watercolour etc, comprising loose sheets and sketch books largest size approximately 42cm x 59cm, Condition Report: loose sheets have edge bumps, creases in places and tears to some, (artist resale rights apply) (2 boxes)
Lot 606
STANLEY JOYCE (BRITISH 20TH CENTURY) SIX WATERCOLOUR LANDSCAPES, together with a charcoal landscape, nude figure study and pastel coastal landscape, to also include watercolour landscapes by Percy Hipkiss and Bell Foster, pastel landscape by V.B. Turner, oil on board river landscape signed A Forster and an artist proof wood block print by Pauline Sophie Hall, largest approximate size 32cm x 41cm, Condition Report: paintings in good condition, some damage to frames (14)
Lot 103
* PAT DOUTHWAITE (SCOTTISH 1939 - 2002),UNTITLEDpastel on paperimage size 62cm x 48cm, overall size 88cm x 69cm Mounted, framed and under glass.Provenance: The Corrymella Scott Gallery.Note: "She should no longer be seen as an exotic maverick but acknowledged as one of the true originals of Scottish art." A concluding comment on Pat Douthwaite’s 1993 solo exhibition, made by The Scotsman’s art critic Edward Gage. The ‘maverick’ label is often attached to Douthwaite to encompass a variety of the artist’s more striking traits: her troubled personality, the restless, nomadic lifestyle that took her across the world in search of subjects and meaning and her complete disregard for anything that did not further the development of her artwork, despite it making her a difficult figure to manage and work with. A good example is an incident in which she broke into a house and stole back one of her paintings from a buyer whom she did not consider worthy of owning her work. This demanding, uncompromising commitment and all-encompassing focus on her work paid off. She developed and sustained a distinctive, signature style characterised by raw feeling and idiosyncratic lines. Douthwaite was fascinated by historical heroines including Greek deities, Mary Queen of Scots and the aviator Amy Johnson and often depicted them as well as herself. Her images of women remain the most powerful and popular of her works, truly encapsulating the pain and suffering women can experience and endure. This exploration of suffering means there is a violence in the work, yet Douthwaite often manages to retain fun, playful touches in their execution. Born in Glasgow in 1934, Douthwaite’s first exposure to creative expression was in the form of dance classes at the dancing school run by Margaret Morris, the bohemian partner of the Scottish Colourist John Duncan Fergusson. She eventually discontinued dancing and decided, aged twenty-four and with no artistic training, to become a painter. Douthwaite showed her work to Fergusson, who recognised her talent and encouraged her endeavours, though he suggested she avoid art school, as he had done. Thus, both Morris and Fergusson had a major impact on Douthwaite’s creative endeavours. Douthwaite’s ever-present wanderlust quickly took over and she left Glasgow to join an artistic community within William Crozier’s house in East Anglia. An informal artistic training in itself, she was surrounded by fellow artists including Robert Colquhoun, Robert MacBryde and Crozier himself. In her lifetime, her work was recognised and championed by key figures in the Scottish art world; including Richard Demarco, who mounted her first major exhibition in Scotland in 1967; Douglas Hall, the former Director of the Scottish National Gallery of Modern Art and the artist and critic Edward Gage. Following her death, her popularity continues to increase as ever more collectors are drawn to her distinctive, expressive style and tales of her mysterious, maverick personality. The prestigious Scottish Gallery (Edinburgh) have long promoted Pat Douthwaite's work and her most recent solo show "Pat Douthwaite, On The Edge" was staged by the gallery between 4th and 27th February 2021.
Lot 105
* PAT DOUTHWAITE (SCOTTISH 1939 - 2002),UNTITLEDpastel on paperimage size 48cm x 62cm, overall size 69cm x 88cm Mounted, framed and under glass.Provenance: The Corrymella Scott Gallery.Note: "She should no longer be seen as an exotic maverick but acknowledged as one of the true originals of Scottish art." A concluding comment on Pat Douthwaite’s 1993 solo exhibition, made by The Scotsman’s art critic Edward Gage. The ‘maverick’ label is often attached to Douthwaite to encompass a variety of the artist’s more striking traits: her troubled personality, the restless, nomadic lifestyle that took her across the world in search of subjects and meaning and her complete disregard for anything that did not further the development of her artwork, despite it making her a difficult figure to manage and work with. A good example is an incident in which she broke into a house and stole back one of her paintings from a buyer whom she did not consider worthy of owning her work. This demanding, uncompromising commitment and all-encompassing focus on her work paid off. She developed and sustained a distinctive, signature style characterised by raw feeling and idiosyncratic lines. Douthwaite was fascinated by historical heroines including Greek deities, Mary Queen of Scots and the aviator Amy Johnson and often depicted them as well as herself. Her images of women remain the most powerful and popular of her works, truly encapsulating the pain and suffering women can experience and endure. This exploration of suffering means there is a violence in the work, yet Douthwaite often manages to retain fun, playful touches in their execution. Born in Glasgow in 1934, Douthwaite’s first exposure to creative expression was in the form of dance classes at the dancing school run by Margaret Morris, the bohemian partner of the Scottish Colourist John Duncan Fergusson. She eventually discontinued dancing and decided, aged twenty-four and with no artistic training, to become a painter. Douthwaite showed her work to Fergusson, who recognised her talent and encouraged her endeavours, though he suggested she avoid art school, as he had done. Thus, both Morris and Fergusson had a major impact on Douthwaite’s creative endeavours. Douthwaite’s ever-present wanderlust quickly took over and she left Glasgow to join an artistic community within William Crozier’s house in East Anglia. An informal artistic training in itself, she was surrounded by fellow artists including Robert Colquhoun, Robert MacBryde and Crozier himself. In her lifetime, her work was recognised and championed by key figures in the Scottish art world; including Richard Demarco, who mounted her first major exhibition in Scotland in 1967; Douglas Hall, the former Director of the Scottish National Gallery of Modern Art and the artist and critic Edward Gage. Following her death, her popularity continues to increase as ever more collectors are drawn to her distinctive, expressive style and tales of her mysterious, maverick personality. The prestigious Scottish Gallery (Edinburgh) have long promoted Pat Douthwaite's work and her most recent solo show "Pat Douthwaite, On The Edge" was staged by the gallery between 4th and 27th February 2021.
Lot 191
* KEITH BOWEN (BRITISH b. 1950),SUNFLOWERS AND MELONSpastel on paper, signed, titled label versoimage size 37cm x 25cm, overall size 55cm x 42cm Framed and under glass. Label verso: The Open Eye Gallery, Edinburgh.Note: Keith Bowen was born in Denbighshire, North Wales in 1950. He studied Graphic Design at the Faculty of Art & Design, Manchester Polytechnic between 1969 and 1972. He has exhibited extensively and received justifiable acclaim. Amongst a host of awards, Keith has twice received the Gold Medal for Fine Art at the Royal National Eisteddfod of Wales. In 1997 he was awarded an Honorary Fellowship of the University of Wales. Two Royal Mail Stamps and two books, ‘Snowdon Shepherd’ and ‘Among the Amish’ feature his paintings of the countryside. Keith writes of his work: “For the first time at the age of twelve, I stood on the top of Snowdon; I had found something that I wanted to do and somewhere that I wanted to be. Forty-five years later, I am still stumbling around the Welsh hills, and I still feel that initial excitement and fascination with the place. However, these days, I am as likely to visit those remote places that are away from the high peaks, places that are neglected and unremarkable, the forgotten, old and strange back country: Y Cefn Gwlad". Collections include: The National Library of Wales, The National Trust, National Postal Museum, Oriel Ynys Mon (Llangefni), Denbighshire County Council and Leicestershire County Council. Keith Bowen's pictures appear at auctions infrequently but on 16th July 2022 Rogers & Jones (Cardiff) sold two of his pastels (lots 411 & 412) for £2000 & £4200 (both hammer).
Lot 22
* GEOFF SQUIRE RSA RSW RGI (BRITISH 1923 - 2012),UNTITLEDoil on board, signedimage size 91cm x 76cm, overall size 110cm x 96cm Framed and under glass.Note: Geoff Squire was a Senior Lecturer at the Glasgow School of Art. He held the position of Governor at Glasgow from 1988-91. He was an inspirational and influential teacher and his students included Alison Watt, John Byrne and Steven Conroy. Painting in oil, acrylic, watercolour and working in pastel, his work has been exhibited extensively and appears in world-wide collections including the RSA, Royal and Ancient Golf Club in St Andrews, New College, Edinburgh and in the collection of HRH The Princess D Maria Cristina, Duchess of Braganza.
Lot 24
* GEOFF SQUIRE RSA RSW RGI (BRITISH 1923 - 2012),ELSAoil on board, signed, titled label versoimage size 16cm x 38cm, overall size 37cm x 60cm Framed and under glass. Handwritten artist's label verso.Note: Geoff Squire was a Senior Lecturer at the Glasgow School of Art. He held the position of Governor at Glasgow from 1988-91. He was an inspirational and influential teacher and his students included Alison Watt, John Byrne and Steven Conroy. Painting in oil, acrylic, watercolour and working in pastel, his work has been exhibited extensively and appears in world-wide collections including the RSA, Royal and Ancient Golf Club in St Andrews, New College, Edinburgh and in the collection of HRH The Princess D Maria Cristina, Duchess of Braganza.
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46298 item(s)/page