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Lot 280
BLANCHE GEORGIANA VULLIAMY (1869-1923) THE GOBLIN VASE pastel study, framed 31.5cm x 28cm; and a COLLECTION OF CERAMICS to include TWO BARUM, BARNSTAPLE CANDLESTICKS, glazed pottery, one incised BARUM BARNSTAPLE, 14cm and 12cm high; a VULLIAMY WARE JARDINIÈRE, modelled as a dog embellished with letters of the alphabet, Rd No. 445420, 18cm long; a SMALL VULLIAMY WARE JARDINIÈRE, incised VULLIAMY, 12cm across; and TWO ASSOCIATED VESSELS, unmarked(33cm x 28.6cm)Provenance: The Peter Rose and Albert Gallichan CollectionFootnote: Note: Blanche Vulliamy studied portrait painting in London in the late 1880s before moving to Torquay to live with her grandparents. Here she became involved with Aller Vale Art Pottery and other potteries in Barnstaple. She became known for her creation of ceramic goblins and other grotesques and by 1897 was producing her own pottery, supplying items to Liberty & Co. in London.
Lot 25
Teapot and saucer; China, Yongzheng period (1722 - 1735).Porcelain. Pink family.The lip of the dish is slightly pitted.Measurements: 11.5 x 15 cm; 13.5 x 12 cm.In China at the beginning of the 18th century, various technical advances in the manufacture of porcelain pieces were developed which provided a host of decorative effects unprecedented until then. In particular, the Yongzheng period saw a boom in the refinement of the manufacture of this highly prized material. The pieces made during this short period are highly valued both for their small number and for their enormous technical quality. One need only look at the very fine teapot and saucer presented here to realise the great value placed on precise drawing during the reign of this emperor, with exquisite detail achieved through the outlining of the contours. The elegant chromaticism of these pieces, using pastel colours and gold, could be included among the technical innovations introduced during Yongzheng's reign. It is in fact during this period that experts believe the so-called "Famille Rose" decoration was established, which overtook the "Famille Verte" of the Kangxi reign, using a colour palette of soft, opaque tones (mixed with "Bo Li Bai" white or lead arsenate) which, when fired at a lower temperature, allowed for a wider range of shades, especially the pink and warm colours, which were usually combined with a gold base. Studies seem to indicate that the "famille Rose" decoration was influenced by European taste through the trends imported by the Jesuits who worked inside the imperial palace in Beijing, and is undoubtedly the chromatic range that the incipient Rococo style was beginning to demand in Europe and above all in France. We can find pieces of porcelain from the Yongzheng period with a pattern very similar to those presented here in the Victoria and Albert Museum (London): Inv. Nos. 682-1907 and 640-1907.
Lot 40
Bowl; China, Yongzheng period (1722 - 1735).Porcelain. Pink family.Presents label of the Stodel collection.Measurements: 6 x 14,5 cm.In China at the beginning of the 18th century, various technical advances were developed in the manufacture of porcelain pieces which brought a host of decorative effects unprecedented until then. In particular, the Yongzheng period saw a boom in the refinement of the manufacture of this highly prized material. The pieces made during this short period are highly valued both for their small number and for their enormous technical quality. One need only look at the very fine teapot and saucer presented here to realise the great value placed on precise drawing during the reign of this emperor, with exquisite detail achieved through the outlining of the contours. The elegant chromaticism of these pieces, using pastel colours and gold, could be included among the technical innovations introduced during Yongzheng's reign. It is in fact during this period that experts believe the so-called "Famille Rose" decoration was established, which overtook the "Famille Verte" of the Kangxi reign, using a colour palette of soft, opaque tones (mixed with white "Bo Li Bai" or lead arsenate) which, when fired at a lower temperature, allowed for a wider range of shades, especially the pink and warm colours, which were usually combined with a gold base. Studies seem to indicate that the 'famille Rose' decoration was influenced by European taste through the trends imported by the Jesuits working inside the imperial palace in Beijing, and is undoubtedly the colour range that the incipient Rococo style was beginning to demand in Europe and especially in France.
Lot 2
* TOM COATES PPRBA RP RWS PNEAC (BRITISH b. 1941),NUDE pastel on paper, monogrammedimage size 60cm x 45cm, overall size 82cm x 66cm Mounted, framed and under glass.Note: Tom Coates was born in 1941 and studied at Bournville and Birmingham College of Art and the Royal Academy School. He is the President of the New English Art Club and past President of the Royal Society of British Artists, and a member of the Royal Society of Painters in Watercolours, being the featured artist in 1987. In the same year he was awarded the Painter Stainers Prize and the NEAC Critics’ Prize. In 1992 he won the Horse and Hound Royal Ascot Prize and his winning painting was presented to Her Majesty the Queen to mark the 40th Anniversary of her accession. Tom Coates has exhibited at the Royal Academy Summer Exhibition since 1980 and his work is in many private collections.
Lot 211
* BET LOW RSW ARSA RGI DLITT (SCOTTISH 1924 - 2007),BENEATH THE SGURR, ISLE OF EIGGpastel on paper, signed, titled label versoimage size 15cm x 35cm, overall size 38cm x 57cm Mounted, framed and under glass.Handwritten artist's label verso.NOTE: Lots 200 - 222 are being sold on behalf of The Prince & Princess of Wales Hospice (Glasgow).Condition report: Condition is good overall, with no visible signs of restoration, damage, or known issues.
Lot 236
* CHRISTINE MACARTHUR (SCOTTISH b. 1953),ANEMONESpastel on paper, signedimage size 60cm x 45cm, overall size 81cmx 65cm Mounted, framed and under glass.Note: Christine McArthur was born in Kirkintilloch, near Glasgow in 1953 and studied at The Glasgow School of Art between 1971 and 1976, which included a post-diploma year. After graduating she taught and produced book illustrations until the demand for her work enabled her to paint full time. Her early work was primarily in oil and she became well known for her large scale still life paintings on canvas. In the late 1980s she began to work in oil pastel and watercolour. Christine McArthur was awarded Scottish Education Department travelling scholarships in 1975 and 1976 and was elected a member of the Royal Glasgow Institute of the Fine Arts in 1990. In 1995 she was elected a member of the Royal Scottish Society of Painters in Watercolour. In 1997 John Lewis commissioned four large murals – each 6ft x 15ft - for the Glasgow store in 1999. In 2002 she received a commission from John Lewis for murals for the extension to their Peter Jones store, Sloane Square, London. In 2009 she resigned from the RGI and the RSW.
Lot 240
* CHRISTINE MACARTHUR RSW RGI (SCOTTISH b. 1953),THUNDERY DAY PEARSpastel on paper, signed, titled label versoimage size 36.5cm x 36.5cm, overall size 56.5cmx. 56.5cm Framed and under glass.Note: Christine McArthur was born in Kirkintilloch, near Glasgow in 1953 and studied at The Glasgow School of Art between 1971 and 1976, which included a post-diploma year. After graduating she taught and produced book illustrations until the demand for her work enabled her to paint full time. Her early work was primarily in oil and she became well known for her large scale still life paintings on canvas. In the late 1980s she began to work in oil pastel and watercolour. Christine McArthur was awarded Scottish Education Department travelling scholarships in 1975 and 1976 and was elected a member of the Royal Glasgow Institute of the Fine Arts in 1990. In 1995 she was elected a member of the Royal Scottish Society of Painters in Watercolour. In 1997 John Lewis commissioned four large murals – each 6ft x 15ft - for the Glasgow store in 1999. In 2002 she received a commission from John Lewis for murals for the extension to their Peter Jones store, Sloane Square, London. In 2009 she resigned from the RGI and the RSW.
Lot 76
* MARK DEMSTEADER (BRITISH b. 1963),ABIGAIL WHITE PAPER VIIpastel on paper, signed, titled label versoimage size 107cm x 76cm, overall size 120cm x 89cm Mounted, framed and under glass.Label verso: Oakham Contemporary, London.Note: Mark Demsteader was born in Manchester in 1963 and still lives and works there. He studied at Rochdale College, Oldham Art College and The Slade. His awards include The Public Eye Award, The Lyceum Prize and The Sidney Andrews Scholarship. Mark's work has developed from a fascination with the human form and an obsession with classical themes. These pre-occupations can be seen in recent paintings where his close observation combines with surface texture and carefully balanced compositions to create a beautiful and powerful representation of the figure, often in renderings of just black and white paint. He favours absorbent, handmade Indian paper called Khadi as the natural ingredients in it such as grasses and leaves add another element to the finished drawing. His paintings are about movement, dynamism and expression; he believes that a drawing that is tight and overworked is be avoided at all costs. He loves the accidental marks that occur. He will mix pastel and water and often has a hair-dryer to hand to dry the results. Mark likes to have space to move about in when he is working, for that reason, he rents space in an old mill to use as a studio, he makes too much mess to make working at home possible. Mark's paintings feature in many important collections, and current demand for his work reflects his growing reputation. In The Scottish Contemporary Art Auction of 24th January 2021 lot 22A "Vicky V" a 108 x 75cm pastel by Demsteader sold for £3000 (hammer).
Lot 96
* KATHLEEN RUSSELL (SCOTTISH b. 1940),MESSING AROUND ON THE RIVERoil on canvas, signedimage size 100cm x 95cm, overall size 120cm x 115cm Framed.Note: Artist in gouache, watercolour, oil, pastel, pen and wash, and teacher, born in Edinburgh. Studied at Edinburgh College of Art 1958–63, her tutors including Robin Philipson and Sir William Gillies. She lectured there (ECA) full-time, 1963–72, then taught part-time in London schools until 1980, when she became a full-time painter. Had a long series of solo exhibitions, including French Institute, 1965, New 57 Gallery, 1969, and Douglas & Foulis, 1972, all in Edinburgh; Durham University, 1975; and at The Scottish Gallery, Edinburgh from 1981 onwards. Durham University, King’s College and Royal Botanic Gardens, Kew, hold examples of her work and twelve of her paintings are included in UK public collections. Numerous corporate collections including IBM.
Lot 190
modelled after Johann Eberline, each seated next to pitcher decorated with Deutsche Blumen, applied flowers and insects, she dressed in a skirt with a simple motif of rosebuds, matching bustier, her hair wrapped with a matching scarf, he dressed in a floral and yellow pastel over coat, matching breeches, black buckle shoes and matching hat, both marked with factory mark in blue underglaze, she with incised model number 1234, painted numeral 75 in iron-red underglaze, he with incised model number 901, impressed numeral 118, with painter's numeral 75 in gilt overglaze, all underside under base; height: 19.5 cm (7 5/8 in.)CONDITIONThe pair is in good condition. Minor chipping to the applied flowers of each. Minor chipping to the hat of the man. Inspection under UV light shows no apparent sign of restoration.
Lot 191
modelled after Michel Victor Acier and J.C. Schonheit, the figurine posed atop a circular moulded base with gilt-edging, standing next to a pedestal emulating marble her hat filled with arrows, dressed in a floral pastel crinoline, with a yellow apron, purple rosette shoes, with a bonnet and overall lace detailing, in her proper left hand she holds an arrow, marked with factory mark in blue, incised model number F.32 and with painter's numeral 4F in black, all underside of unglazed base; height: 16 cm (6 1/4 in.)CONDITIONThe figurine is in good condition. The tip of the arrow held in her proper left hand is broken resulting in loss. Minor chipping to the overall lace detailing. One of the tails of her dress has broken off resulting in loss, as present in photographs. Inspection under UV light shows retouching to the ribbon on back of her dress, the bow on her bonnett, the ribbon of the hat, lace detailing around her bustier.
Lot 193
on a mound moulded base with painted grass, standing in front of a stump, the young boy dressed in traditional clothing, comprising of a pastel yellow tunic with a pink collar, gilt buttons, mint green harem pants and red detailed slip ons, with a blue and white striped scarf around this waist, atop his head rests a wrapped turban, he holds a gilt trumpet in his right proper hand, marked with factory mark in purple, underside of unglazed base; height: 17.5 cm (6 7/8 in.)CONDITIONThe figurine is in good condition. Inspection under UV light shows no sign of restoration.
Lot 211
each modelled atop a naturalistic moulded base, she dressed ina gilt pink and pastel dress with lace detailing and pink bow heeled shoes, her hair is braided in a bun, she leans against an griffin formed table clutching a book, he dressed in a matching tunic and bloomers with white stockings and pink bow heeled shoes, leaning against a griffin formed table holding his hat; she marked with maker's mark in blue with impressed numerals 4182 additionally with impressed 8 with painter's number 72 in iron red, he marked with maker's mark additionally stamped GERMANY in blue with impressed NO. 4814 with painter's number 74 in iron red, all underside of unglazed base; height: 69 cm (27 1/8 in.)CONDITIONEach in good condition. Scattered surface scuffs and grime to each. Inspection under UV light shows no sign of restoration.
Lot 225
modelled upright atop a naturalistic base of grass and flowing water, dressed in a pastel neoclassical dress with baring one shoulder, she holds a pastel and gilt water jug, glancing softly downward, a gilt seashell rests atop her braided hair marked with maker's mark in blue underside of unglazed base; height: 76 cm (29 7/8 in.)CONDITIONThe figure is in good condition. Overall surface grime. Light surface scuffs. Cracking around the water jug, naturalistic base, most notably to the cattails. Inspection under UV light shows no sign of restoration.
Lot 226
modelled upright atop a naturalistic base of grass, dressed in a pastel Victorian bustier and crinoline skirt and blouse with white stockings and flats, with a pastel bonnett, look softly ahead, apparently unmarked; height: 59 cm (23 1/4 in.)CONDITIONThe figure is in good condition. Overall surface grime. Cracking visible to the bonnett. Inspection under UV light shows no sign of restoration.
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