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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.
Lot 354
§ Sir Leslie Lynn Marr, 2nd Baronet (British 1922-2021)The Life Drawing Class signed 'Marr' (lower right); dated '21/Jan/94' (lower left) watercolour and pastel 55 x 74.5cmFootnote: It is often claimed that Sir Leslie Marr ‘taught’ art at various points during his career, though this is a claim he refutes, arguing that he only facilitated the classes and encouraged his ‘students’ to find their own artistic voice. Echoing the training he received from David Bomberg, which Marr described as ‘quite gentle...a push here and a pull there’, Marr viewed his position in the classroom as one of support, rather than instruction. The figures depicted in the present lot are Marr’s students and include Dorothy Ransome, seated in the foreground, Barbara Morrow in the background and, standing beside her, John Graveling and Robert Barfield.
Lot 44
Harold Riley (b.1934), a Salford street scene, depicting a figure walking at night in front of a shop, ('Barmy Mick's), mixed media on paper, signed and dated 1970, 19.5 cm x 10.3 cm, glazed in a gilt frame, together with a small signed print, 'Old Lady', dated 1976, 19 cm x 14 cm, also framed and glazed. Qty: 2Footnote: Provenance: From a private collection - please see the other Riley lots in the sale, which include written notes relating to them from the artist to the original purchasers.Condition report: No apparent faults. Paper is flat on both works, the mixed media being largely pastel. Colours appear good.
Lot 81
Harold Riley (b.1934) British, 'Study of Mandy', a portrait of a young woman, pastel on paper, signed and dated 1971, 55 cm x 47.5 cm framed and glazed.Footnote: Provenance: Private collection. Comes with a copy of a hand-written letter from Riley on Leigh Gallery (Sale, Cheshire) headed paper, dated January 1972, stating 'the present value' of some works in the possession of the owners, based on their then-current gallery prices.'Our grandmother died in the late sixties and left my brother and I a little money. We were teenagers and our parents encouraged us to invest it in some art as a permanent reminder of her. At the time, in Manchester, our mother had seen and liked some work by Harold Riley. She contacted him and we went to see him in his studio in Salford. The works were primarily of industrial scenes of the North West and my parents bought two landscapes which stayed with my mother until her recent death. My brother bought two charcoal pictures of Salford which are still in his possession and was given a small sketch as a gift.I was less keen on the bleakness of the works.Harold suggested I sit for him and if I liked the result, I could buy it and if I didn’t it was also ok. I was 15 and loved the idea. In the end he did 3 pictures. One hangs in my dining room and my mother bought the other two.Now, with 2 staying in the family, it is enough hence the sale of the third.'Condition report: No apparent faults
Lot 223
Winifred Nicholson (1893-1981) Mount Tagetus and Harebells, 1964 signed, titled, and dated (to label attached to reverse) mixed media, crayon and pastel 37.5 x 54cm. Exhibited: Winifred Nicholson: Wild Flowers in Greece, Redfern Gallery, London, September 1964, no 52 as 'Tagetus and Harebells'. Winifred Nicholson made numerous trips to Greece during the 1960s, where she particularly delighted in the spring wild flowers, writing home, "All is perfect for painting if one can - sunlight, warm breezes, from the sea and hills, sunhappy flowers, the wild ones over except for harebells and love-in-a-mist all over the hills…" (quoted in Winifred Nicholson: Liberation of Colour, Jovan Nicholson, Philip Wilson Publishers, London, 2016, p. 104). Mount Taygetus is the highest mountain in that range in the south west of the Peloponnese. Winifred Nicholson's solo exhibition Wild Flowers in Greece at the Redfern Gallery in 1964 was the first time she showed the works she painted there. For another picture created at about the same time see Campanulas on Mount Tagetas, Sotheby's 18th March 2008, lot 102. We are grateful to Jovan Nicholson for his assistance in cataloguing this lot.
Lot 272
MAURO MALANG SANOS (1928-2017) "Bird of Paradise", floral study, oil pastel, signed "Malang" and dated 30.VIII.88 bottom right, size including frame 65 cm x 56.5 cmCondition ReportCondition appears overall to be good, frame has some signs of minor scratching, denting etc, which may or may not be part of the original design as it is clear that some of the red is meant to come through the gilding, see images for further detail. The work itself appears to be in good condition, no sign of damage or restoration under UV light. Provenance local private source
Lot 287
EARLY 20TH CENTURY ENGLISH SCHOOL "Study of a young girl in purple hat set with flower", oil on paper, indistinctly signed bottom right, size including frame approx 58.5 cm x 48.5 cm, E C E "View of Thames with bridge", pastel study, iniitalled "E C E" and dated '76 bottom right, size including frame 30.5 cm x 37.5 cm and CONTINENTAL SCHOOL "Study of buildings with tree in foreground", oil on canvas stuck on board, size including frame approx 25 cm x 37 cm
Lot 337
A collection of GILL EVANS pastels, watercolours and prints to include "Study of three black Labrador heads", signed in pencil lower left and No'd. 157/575, image size 46 cm x 38.5 cm, together with "Study of three Border Collies", as one, signed in pencil lower right and No'd. 5/500, size including frame 31 cm x 26.5 cm, GILL EVANS "Tubby", pastel, signed and dated '90, size including frame 29 cm x 33.5 cm, together with various other pictures and prints, mainly on a sporting theme
Lot 132
A GOLD, SILVER AND RECYCLABLE PLASTIC 'ACHILLEA' COCKTAIL RING, 2020BY MAGHERITA BURGENER & ENRICA BORGHIOf floral design, composed of flowerheads, the petals in pink and green recyclable plastic, gold pistils, mounted on silver, with maker's mark MB for Margherita Burgener, with maker's recyclable plastic box, ring size L½ (52)Enrica Borghi and Emanuela Burgener's Achillea: Sustainable luxury"I started working with waste/recycled materials in the late 90s, then there was a burgeoning interest in the environment and ecology" recalls the Italian artist Enrica Borghi "What most attracted me to plastic was the explosion of colours used in plastic packaging, it still fascinates me to this day". Italian artist Enrica Borghi shot to fame in the late 90s with her striking sculptures created from novel materials - fake nails, plastic bottles and even on occasion kitchen rags. For 30 years sustainability and the reuse of material has been central to Borghi's artistic creations which inspires a thought-provoking commentary on the reimagined beauty of such objects and what is considered 'waste' in today's society. "there is something inherently fragile to plastic" recounts Enrica "plastic only remains in our homes for a brief moment in time before being thrown out, discarded".The relationship between the artist Borghi and recycled materials is one that spans four decades and takes centre stage in her latest collaboration with Italian jewellery maker Emanuela Burgener and her brand Margherita Burgener.Margherita Burgener Jewellery is the brainchild of Italian designer Emanuela Burgener, who dedicated her creations to her eldest daughter Margherita, born in 2003. Burgener creates limited edition and one-of-a-kind pieces which she produces along with her team in her workshop in Valenza founded by the grandfather. The exquisite craftmanship and uniqueness of Margherita Burgener Jewellery has landed the brand a spot amongst top jewellery designers. Both Borghi and Burgener were born in the same small village of Macugnaga, at the foot of Monte Rosa in Northern Italy. Their professional partnership allowed Borghi and Burgener to revisit their childhood memories and draw from their shared environment growing up when exploring new design concepts. Inspiration for the new jewellery line 'Achillea' was found in shared recollections of hiking in the nearby mountains to harvest the flower Achillea (Yarrows in English). Achillea tells a story, a dialogue between artisanal tradition, precious metals, everyday materials, sustainably and the love for the environment. Although Enrica has been crafting jewellery out of recycled materials for years, collaborating with Emanuela presented a unique opportunity to explore her ambition to combine waste materials and precious metals: "the idea of creating a dialogue with precious material was extremely exciting for me, Emanuela's laboratory was the perfect environment for this project to blossom". Through this partnership, recycled materials are elevated and become precious, sustainability become luxury, and the discarded past becomes the beautiful present.We are delighted to offer two examples from the Achillea line in this May Fine Jewellery and Watch Auction: the Fiordaliso earclips and the Achilllea ring. The deep cornflower blue in the Fiordaliso earclips is obtained from the repurposing of PET plastic bottles; the earclips (pictured above) were created using a key material in Emanuela's production - Titanium, as well as gold and diamonds. The use of plastic to mimic the outburst of blue petals typical of cornflowers is incredibly smart, and the clever usage of precious materials such as gold and diamonds alongside the PET bottles furthers the core concept which asks us to think about what is considered precious today. The Achillea ring, is a delicate example fashioned out of PET plastic, gold and silver (pictured below). The bush-like nature of the Achillea flower lends itself to the creation of a striking ring like this, designed with multiple focus points. materials. The effect of the recycled plastic materials is visible in the pastel pink and green hues. Every flower head is beautifully crafted with a gold button in the centre of each bud, perfectly placed in order to create a sense of rooted fragility. The collision of the natural world with the discarded man-made world is perfectly embodied in this beautiful piece and is a wonderful resurrection and celebration of these materials.
Lot 515
'Rhodanthe' a Clarice Cliff Bon Jour preserve pot and cover, painted in colours, a Clarice Cliff Bon Jour preserve pot and cover with pastel bands, a Killarney' Bon Jour preserve pot and two other Cylindrical preserve pots printed factory marks, 10.5cm. high (7) Provenance The Collection of Stephen and Marjorie Page
Lot 550
'Branch and Squares' a unique Clarice Cliff Bizarre floor vase, painted in pastel Gloria colours printed factory marks, 68cm. high Provenance The Collection of Stephen and Marjorie Page Catalogue notes Probably made for an exhibition, this is one of a handful of floor vases or stick-stands produced by Clarice Cliff. There is an example in the standard Branch and Squares pattern.
Lot 161
early 19th century - Half length naive study of a fair haired boy, standing holding a book, pastel on paper, 36 x 27cm approx, together with a coloured poster from the American Folk Art Exhibition at the American Museum in Bath, showing a naive style girl in print dress, 91 x 59cm, further coloured print of a child in a blue dress offering a cherry to a bird, etc (4)
Lot 250
Howard Morgan (20th century British) - Study of a garden border, gouache on paper, signed Morgan and dated 82, inscribed verso Howard Morgan, 1949, Garden Border 2002, etc, 35 x 45cm, together with G Hayes (20th century British) - French street scene, watercolour on paper, signed and dated 97, inscribed Midday Ile Sur Tet, 36 x 25.5cm, further watercolour of La Chapelle De Saint Anne, St Tropez, by Josiane Aberial, signed and with label verso dated 2000, together with a pastel study of a continental church, various sizes, all framed (4)
Lot 633
PAINTINGS AND PRINTS to include five oil landscapes, a watercolour of an Owl, pastel of a bird of prey and a mixed media study of a Leopard, all by Staffordshire artist Alan Dale, largest sizes approximately 63cm x 75cm, smallest 11cm x 17cm, unsigned oval oils, assorted landscape prints, Bubbles print, unsigned Continental street scene, oil on board, landscape watercolours signed James etc
Lot 1006
Derek Carpenter (British 1936-2010): Sandsend from the Ness, pastel signed 32cm x 35cm; L Tindall (Late 20th century): The Ness Sandsend, watercolour signed 13cm x 23cm; 'Mulgrave Inn Upgang' Whitby, early 20th century watercolour indistinctly signed and extensively inscribed verso 14cm x 22cm (3)
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46300 item(s)/page