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Lot 509
* IAN BOYTER, ST MONANS pastel on paper, signed and dated '73, titled in the mount 25cm x 16cm Mounted, framed and under glass. Note: Ian Boyter began exhibiting paintings way back in 1974 with a one-man show in the Libra Gallery, St Monans, while he was working as a graphic designer with the National Trust For Scotland. With ancestral roots in Scotland's North-west Highlands and in the East Neuk of Fife, his work is inspired by Scotland's east and west coasts. Ian Boyter trained as a graphic designer and commercial artist at the Heriot Watt College and the Edinburgh College of Art. Based in Edinburgh, he was Chief Designer in the design studio of the National Trust for Scotland for many years, travelled extensively throughout Scotland designing publications and exhibitions and grew to appreciate Scotland's evocative countryside, especially the West Highlands and Islands, the home of his Macdonald ancestors. His love of the East Neuk of Fife comes from Anstruther and Cellardyke where he painted and exhibited and where he also has Boyter family connections. He has exhibited watercolours, acrylics, pastels, collages as well as small sculptures in Edinburgh and in Fife – in galleries, in one-man shows and in group exhibitions. Ian Boyter paintings are in many private collections throughout Scotland and beyond.
Lot 33
Keith Jansz (Contemporary) The Blue and White Vase Signed CKJ (lower left) Oil on canvas 56 x 61cm Framed. Horatio's Garden will receive 100% of the hammer price on this lot. Keith Jansz started painting for the first time since junior school after having run the London Marathon for Barnardo's in 1995. Just two months later he suffered a broken neck in a tragic car accident, resulting in complete paralysis from his shoulders down. After six months in the National Spinal Injuries Centre at Stoke Mandeville Hospital, Keith returned home to begin the painful process of adjusting to his new situation. Unable to do anything for himself Keith naturally experienced the depths of despair. However, the gift of a collection of biographies of the Mouth & Foot Painting Artists inspired Keith to try painting by holding a brush in his mouth. Despite disastrous early efforts Keith persevered, developing his individual style, inspired by his heroes the Impressionists. Since then Keith has held solo exhibitions in the U.K., U.S. and Italy and his paintings have been exhibited in museums and galleries around the world with the Mouth & Foot Painting Artists. His paintings have been sold as reproductions worldwide. Keith paints in oils and sketches in charcoal and pastel. It is important to him that his work speaks not of disability but of a joy for life. As John Constable said 'To paint is to feel'.
Lot 74
Tessa Whitley (b.1965) Meadowhead Farm, January Signed verso Oil on board 91.5 x 91.5cm Framed Horatio's Garden will receive 100% of the hammer price on this lot. Tessa's landscape painting is inspired by a love of colour and an interest in the dialogue between spatial depth and the interplay of shapes and marks across the picture surface. She loves the tapestry of forms and textures within the landscape, both natural and man-made and particularly enjoys the blanket effect of snow to flatten and simplify form. She makes on-the-spot pastel and pencil sketches and then develops them in her Edinburgh studio. Tessa studied at Edinburgh Art College and Leith School of Art and has exhibited in galleries in Edinburgh and Perthshire.
Lot 1629
ACKERMANN, MAX (1887-1975, Prof.), "o. T. (Strahlende Pforte)", abstrakte Komposition vor roséfarbenem Hintergrund, u.re. mit Graphitstift signiert und datiert 'Ackermann 1974', Pastell/Bütten, HxB: ca. 48x32,5 cm (64,5x49 cm mit Rahmen). Leicht gebräunt und minim. gewellt. Mit verglastem Galerierahmen. Altersspuren. VERSO Etikett Galerie Gommel, Ludwigsburg u. Bezeichnung. Wir danken Herrn Rudolf Bayer, Bietigheim-Bissingen für die Aufnahme ins Werkverzeichnis Max Ackermann, Ack-Nr. 7489. | ACKERMANN, MAX (1887-1975, Prof.), "o. T. (Strahlende Pforte)", abstract composition in front of a pink background, below right signed and dated 'Ackermann 1974' in graphite pencil, pastel / handmade paper, HxW: approx. 48x32.5 cm (64.5x49 cm with frame). Slightly browned and minimal. wavy. With glazed gallery frame. Signs of age. VERSO label Galerie Gommel, Ludwigsburg and description. We are grateful to Mr. Rudolf Bayer, Bietigheim-Bissingen, for inclusion in the Max Ackermann catalog raisonné, Ack no. 7489.
Lot 1630
ACKERMANN, MAX (1887-1975, Prof.), "o. T. (Strahlende Pforte)", abstrakte Komposition vor blau-violettem Hintergrund, u.re. mit Graphitstift signiert und datiert 'Ackermann 1974', Pastell/graues Bütten, HxB: ca. 48x31,5 cm (64x47 cm mit Rahmen). Minim. Alters- und Beriebspuren. Mit verglastem Galerierahmen. Altersspuren. VERSO Etikett Galerie Gommel, Ludwigsburg und Bezeichnung. Wir danken Herrn Rudolf Bayer, Bietigheim-Bissingen für die Aufnahme ins Werkverzeichnis Max Ackermann, Ack-Nr. 7490. | ACKERMANN, MAX (1887-1975, Prof.), "o. T. (Strahlende Pforte)", abstract composition in front of a blue-violet background, bellow right signed and dated 'Ackermann 1974' in graphite pencil, pastel / gray laid paper, HxW: approx. 48x31.5 cm (64x47 cm with frame). Minim. Signs of age and use. With glazed gallery frame. Signs of age. VERSO label Galerie Gommel, Ludwigsburg and description. We are grateful to Mr. Rudolf Bayer, Bietigheim-Bissingen, for inclusion in the Max Ackermann catalog raisonné, Ack no. 7490.
Lot 163
After William Hoare of BathSummerOil on canvas79 x 66cm (31 x 25 in.)Provenance:Sale, Christie's, South Kensington, 8 March 2001, lot 404The original pastel portrait sold at Christie's, London, 22 January 2009, lot 598 (as part of a pair with 'Autumn') from the collection of Alleyne FitzHerbert, 1st Baron St. Helens (1753-1839).Condition Report: The canvas has been relined and the stretcher replaced. Small scratches and abrasions throughout but largely to the edges /corners. Generally the paint surface appears in good condition. Inspection under UV reveals some restoration to the edges and in the darker background edges, however generally the figure appears untouched. Generally in overall good restored condition.Condition Report Disclaimer
Lot 268
§ Sir Leslie Lynn Marr, 2nd Baronet (British 1922-2021)Bomberg Landscape signed and dated 'Leslie Marr 59' (lower right) charcoal and pastel 54 x 73cmFootnote: Landscape artist and former race car driver, Sir Leslie Lynn Marr, studied engineering at Pembroke College, Cambridge, before embarking on his artistic training. Following his service as a technician for the Royal Air Force during World War II, Marr attended life drawing classes at Heatherley’s Art School, before studying under David Bomberg at the Borough Polytechnic. In addition to being a student of Bomberg and an important figure of the Borough Group, Marr was also married to Dinora Mendelson, the daughter of Lilian Holt and stepdaughter of David Bomberg, between 1948 and 1956.
Lot 334
§ Roger 'Syd' Barrett (British 1946-2006)Orange Dahlias in a Vase signed and dated 'R. Barrett / Oct. 1961' (lower left) watercolour and pastel 58 x 44cmFootnote: Provenance: Gifted by the artist to Gerald Arthur Clement Harden, thence by descent within the family If you were to read his secondary school reports, there would be very little to indicate that Roger ‘Syd’ Barrett would later become one of the most significant and influential cultural figures of the 20th century, both domestically and internationally; an almost mythic figure, Barrett became an emblem of a time, place, and culture, distilled into a single individual. In 1957, Barrett began his secondary education at Cambridgeshire High School for Boys, which aimed to emulate the public-school model. The exclusively male teaching staff shrouded themselves in academic robes and crowned themselves with mortarboards. The school certainly had a profound effect on Barrett’s fellow pupil and later bandmate, Roger Waters, whose lyrics to the band’s 1979 hit, ‘The Happiest Days of Our Lives’, open with: ‘When we grew up and went to school / There were certain teachers who would / Hurt the children in any way they could’ and continues in the rest of the song to reflect upon the contemptuous and often violent treatment of pupils by some of the school’s tutors. As a student, Barrett was emphatically average and, to most of his teachers, remarkable only in his inability to follow the rules. To Gerald Arthur Clement Harden, the school’s art teacher between 1938 and 1971, however, Barrett was a conspicuous and prodigious talent and one of the very few pupils permitted to use Harden’s oil paints. Painted when Barrett was just 15 years old, the present lot was gifted to Harden by the artist shortly before he left the school and began studying art at Cambridgeshire College of Arts and Technology. Although generally perceived as an unmotivated student by most of his tutors, Harden’s support encouraged Barrett to pursue further study in painting and ignited in him a passion for art that would continue to burn until his death in 2006. Following his death in 2006, Cheffins sold the contents of Barrett's home in Cambridge, no.6 St Margaret's Square, where he had lived since 1981.
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