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Lot 293
Hubert Arthur Finney (British 1905-1991), a folio of four pastels and charcoals, to include a view of spain, pastel and ink, 44.5 x 30cm, a sanguine drawing of a sleeping man, dated 1941, 31 x 46cm, a portrait study of a seated military man in brown pastel, dated 1940, 55 x 37cm and a portrait in charcoal of a man leaning on a table, dated 1942, 39 x 55cm (4)
Lot 25
§ PATRICIA DOUTHWAITE (SCOTTISH 1939-2002) GODDESS, 1971 Signed and dated '71 upper left, pastel(65cm x 50cm (25.5in x 19.75in), unframed)Footnote: "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 more and more people are drawn to her distinctive, expressive style and tales of her mysterious, maverick personality.
Lot 28
§ PATRICIA DOUTHWAITE (SCOTTISH 1939-2002) CREATURE, INDIA, 1985 Signed and dated '85 and inscribed 'India' lower right, pastel(58.5cm x 81cm (23in x 31.75in))Footnote: "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 more and more people are drawn to her distinctive, expressive style and tales of her mysterious, maverick personality.
Lot 31
§ PATRICIA DOUTHWAITE (SCOTTISH 1939-2002) UNTITLED (BUTTERFLY) Pastel and watercolour(27.5cm x 19cm (10.75in x 7.5in), unframed)Footnote: "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 more and more people are drawn to her distinctive, expressive style and tales of her mysterious, maverick personality.
Lot 421
* Hammond (Aubrey, 1893-1940). The London Scene, "A Cabaret Show", print on paper, image size 15.5 x 12.5cm, unframed, together with 5 further prints from the same series comprising "The Thames Embankment", "A Billiard Saloon", "A Dining Club", "A Coffee Stall" and "A West End Hotel", all unframed, together with other illustrations including Frank Lewis Emanuel (1865-1948), The Admiralty, Amsterdam, pencil drawing, signed lower right, 13 x 14cm, unframed, Ronald Dukesill Moore, Fireman in Uniform, 1926, watercolor and pastel on paper, signed and dated lower right, 38 x 28cm, mount aperture, other artists include Henry Shepherd, school of Donald Maxwell, 4 pen and ink drawings, Mabel Gear and othersQty: (32)
Lot 450
* Watercolour Drawings. An album of sketches by S.F. Perrin, circa 1920, 15 pen, ink, and watercolour (or coloured pencil) drawings, mostly loosely inserted between 12 coloured album leaves (some mounted first), and a few laid down on album leaves, a number initialled S.F.P., comprising figure studies, including costume studies and children, a landscape of trees, and a drawing of a singer beside a grand piano against a whirl of multi-coloured light, annotated 'Impression of first hearing Roland Hayes singing in London accompd. by Lawrence Brown' signed S.F. Perrin and dated 'about 1927(?)', sheet size 18.5 x 13cm (7.25 x 5.25ins), original green wrappers printed 'Greyhound Pastel Book', front cover initialled by the artist and titled 'Scriblets', 8vo, together with 7 other original watercolours and drawings, including a framed watercolour titled 'Le Tennis', circa 1930s, depicting 2 ladies in a car, another beside holding a racket, and 2 figures playing tennis, signed F. Martinez, 19.5 x 27.5cm, and a calligraphic rendering of 'A Smuggler's Song' by Rudard Kipling, below a pen, ink, and watercolour illustration titled 'Mevagissey Lugger' signed Henson Bamford '37, 29 x 13cm, mountedQty: (8)
Lot 51
Evelyn de Morgan (British, 1855-1919)A study of shoulders and arms for a figure in St Christina Giving her Father's Jewels to the Poor pastel and chalk on brown paper32 x 22cm (12 5/8 x 8 11/16in).Footnotes:ProvenanceFaerber & Maison Ltd., London.The present lot relates to a work which was sadly destroyed in a fire in 1991.We are grateful to Sarah Hardy, Curator-Manager of the De Morgan Foundation, for her assistance in cataloguing this lot.For further information on this lot please visit Bonhams.com
Lot 62
Anthony Frederick Augustus Sandys (British, 1829-1904)Portrait of Conrad Herbert Flower and Violet Flower signed, dated and inscribed 'Conrad Herbert Flower Born 29 April. 1882/Violet Flower Born 12th July. 1880/P. Sandys. Dec.r 1885.' (upper right)pastel and pencil on paperFootnotes:ProvenanceLord and Lady Battersea, Cyril and Constance Flower, Overstrand, Norfolk.Sale of contents of The Pleasaunce, Overstrand, A.D. Mackintosh & Co., 4 February 1935, lot 2264.Anon. sale, Worthing, Sussex, n.d.Elizabeth White, Brighton.Peter Rose and Albert Gallichan, Brighton.Anon. sale, Sotheby's, London, 22 November 1983, lot 77.Anon. sale, Phillips Son & Neale, London, 13 April 1987, lot 78.J. S. Maas & Co., Ltd., London.Anon. sale, Sotheby's, London, 20 June 1989, lot 77.Anon. sale, Doyle, New York, 30 September 2015, lot 28.ExhibitedLondon, Sotheby's, Childhood (in aid of the Save the Children Fund), 2-27 January 1988, no. 245.LiteratureBetty Elzea, Frederick Sandys, 1829-1904: A Catalogue Raisonné , Woodbridge, 2001, p. 272, cat. no 4.47, illustrated p. 75, pl. 61.For further information on this lot please visit Bonhams.com
Lot 66
Léon Augustin Lhermitte (French, 1844-1925)Portrait de Madame Jean Lhermitte, née Lucie Megret signed and dated 'L. Lhermitte/1909.' (lower right)pastel on paper laid down on canvas36.5 x 31.5cm (14 3/8 x 12 3/8in).Footnotes:Provenance:From the artist's family, thence by descent.Private collection, Paris.Anon, sale, Bonhams, London, 28 April 2009, lot 199.Literature:Monique Le Pelley Fonteny, Léon Augustin Lhermitte. Catalogue raisonné, Paris, 1991, p. 186, no. 134 (illustrated).The sitter of the present lot is the first wife of the artist's son.For further information on this lot please visit Bonhams.com
Lot 530
Manner of Sir Anthony van DyckTwo Apostlespastel42 x 43cmBetween 1610 and 1612, Rubens painted a series of 12 apostles that are now in the Prado and they must have inspired his pupil, Van Dyck, to copy the same idea. Van Dyck went overboard and there are dozens of paintings, some in groups, that show the apostles. They are discussed in great detail by Nora de Poorter in the catalogue raisonné published by Yale in 2004. All these are individual heads and none are double portraits like the present pastel. The figures in this pastel are similar to Simon and Jude (Judas Thaddeus) but they are by no means identical. The figure types are very similar, but the poses adjusted, and they are inspired by Van Dyck, but not copied from him.Condition report: 19th century. Small grey spots of foxing throughout. Also some large white spots, possibly mould or damp visible in the darker areas. A pale rubbed patch in the background, top centre, and some paler areas down the righthand edge. Not seen outside of glazed frame.
Lot 424
Attributed to Theodore Fantin-Latour (1805-1872)pastel on paper backed with canvasNeapolitan woman feeding flowers to a goat30.5 x 24inCONDITION: A few scattered dirt marks notably near 11 and 10 o'clock, some insect dirt but overall good condition, colours remain strong, no sign of any signature, housed in a 19th century gilt gesso frame which has old repairs, some overpainting and small losses.
Lot 568
PAINTINGS to include Peter Merrin harvest landscape, signed bottom left, oil on board, approximate size 29cm x 40cm, Peter Merrin Suffolk watercolour, J Moult watercolour landscape with sheep, Rod Campbell Winter landscape watercolour, Eve Nye watercolours of birds, watercolour of a grand house, pastel of small child and cat signed Hawkesford and Joan Twistleton pastel of a river landscape (9)
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