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Lot 367
ROSALIND ADAMS (NEE THUILLIER) "Central Park, New York" pastel, initialled lower right, bears "Devizes Museum 2002" label verso together with a companion piece by the same hand depicting New York skyline, pastel, initialled lower right, bears "Devizes Museum 2002" label verso together with approximately twenty-six ROSLIND ADAMS paintings
Lot 342
AFTER MARK ANDREWS (GODWIN) (b. 1957) "Metropolis II" etching and aquatint in colours, signed lower right, titled centre and No'd 107/150 lower left together with DAVID TRACEY "Ties and sofa" colour print signed and dated 1981 lower right, Artist's Proof and F.G. DAVISON "Alverstoke" study of lake and church, pastel, signed lower left, titled lower right
Lot 50
Max Liebermann (German, 1847–1935)Café SceneSigned 'M. Liebermann' bottom left, pastel with pencil on paperSheet size: 5 1/2 x 8 3/4 in. (14 x 22.2cm)PROVENANCE:Paul Cassirer, Berlin, Germany.Private Collection, Pennsylvania.NOTE:Known as the "Manet of the Germans," Max Liebermann favored an Impressionist style in his work. As Barbara C. Gilbert notes, "In his lifetime, he was often viewed through the lens of German nationalism and condemned for his open acceptance of French modern art [although he] helped to pave the way for the acceptance of modernist painting in Germany" (Barbara C. Gilbert, ed., Max Liebermann, From Realism to Impressionism, Los Angeles, 2005, p. 56). His achievements included co-founding "Die Gruppe XI" and the avant-garde "Berlin Secession," and serving as President of the Prussian Academy for the Arts. However, Liebermann's paintings were removed from museums and featured in several exhibitions of "degenerate art" in the 1930s (Gilbert, op. cit., pp. 144).Liebermann displayed an early talent for art, taking drawing lessons from Eduard Holbein and Carl von Steffeck before attending the Weimar Academy of Art. The subjects in his art include landscapes, portraits, peasant life, as well as scenes of urban bourgeoisie German society at leisure, as in Café Scene. Also, as in the present lot, the artist worked "in the medium of pastel, which allowed greater spontaneity than oil paint." (Gilbert, op. cit., p. 39).We wish to thank Dr. Margreet Nouwen for confirming the authenticity of the present lot, which will will be accompanied by a Letter of Authenticity.
Lot 20
§ JOHN BROWN R.S.W. (SCOTTISH B.1945) LA RUE JEAN BART Signed, signed, inscribed with title and dated 2011 verso, pastel and graphite (Dimensions: 34cm x 34.5cm (13.5in x 13.5in))(34cm x 34.5cm (13.5in x 13.5in))Footnote: Exhibited: John Brown- Collioure , The Scottish Gallery, Edinburgh, 6 - 30 April 2011, cat no. 50
Lot 127
GASTON PRUNIER (FRENCH 1863-1927) JEUNES FILLES C.1910 Stamped with collectors mark, charcoal and pastel (Dimensions: 11cm x 13.5cm (4.25in x 5.5in) with two further sketches by the same artist) (Qty: 3)(11cm x 13.5cm (4.25in x 5.5in) with two further sketches by the same artist)Footnote: Exhibited: Collection Haas, Paris Provenance: Mercury Gallery, London
Lot 273
Autumn and the Poet (study) chalk pastel on board (Dimensions: 54 x 75cm )(54 x 75cm )Footnote: Provenance The Artist, by whom gifted to Margaret Lliffe née Goodwin, by descent within the family Sale; TW Gaze, Diss, Suffolk, June 2011, where purchased by the present owner We are grateful to Dr Gill Clarke for her assistance with cataloguing this lot.Evelyn Dunbar (1906-60) was part of a neglected generation of artists whose lives and artistic output are now being reappraised and their contribution to the practice and spirit of twentieth century British art duly recognised. Dunbar had a profound understanding and love of the countryside and it is notable that she was the only woman commissioned, on a salaried basis, to record women’s activities on the Home Front during the Second World War. These works for the War Artists’ Advisory Committee and in particular her lyrical, yet unsentimental paintings of the Women’s Land Army provide an important documentary record of women’s contribution to the war effort. Post war Dunbar gave more reign to her imagination and allegorical work and while living in the small village of Enstone and employed as a visiting teacher at The Ruskin School in nearby Oxford commenced work on Autumn and the Poet. Perhaps her most significant allegorical painting Autumn and the Poet was finally finished in her studio at Staple Farm, near Wye, Kent during 1958-59 having absorbed her intermittently for the previous 10 years or so. This present work is one of a number of preparatory depictions for Autumn and the Poet. The two figures symbolise “Autumn and the Poet” and are set against a backdrop of verdant Cotswold countryside at harvest time. Dunbar used her husband Roger Folley, an agricultural economist as her model for the poet, the completed work now in Maidstone Museum interestingly shows ‘the Poet’ reclining rather than seated. Much else remains the same including as here the mellow colours which convey the feeling of autumn glow as the light begins to fade. In Autumn’s right hand is gripped a long white sheet which bears the fruits of the earth, a comment on life brought to fruition. There is a sense of time passing and like the seasons, it comes full circle. Although the seasons and nature endure, Dunbar, a Christian Scientist may have had a sense of her own life coming to an end, and her inner thoughts to this effect are fused deep within the contours of the painting. She died suddenly within a year of finishing the painting. Evelyn Dunbar had signed Autumn and the Poet,a mark that it was completed. Gill Clarke author of Evelyn Dunbar War and Country published by Sansom & Company.
Lot 290
Tea in Athens signed 'Patrick Procktor' (lower left); titled and dated 'Athens 6.8.63' (lower right) oil and pastel Provenance Sale; Bonhams, Knightsbridge, 20 Jan 2004, lot 43 Patrick Procktor, a contemporary of David Hockney, was a prominent British artist known for his thin wash watercolours and depictions of the male form. The subject of Tea in Athens may be the artist, Michael Upton, who travelled with Procktor on his Grecian Odyssey. In 1962, upon graduating from the Slade, Procktor was awarded an Abbey Minor travel scholarship of £250. He spent the summer in Italy and Greece with Upton and his girlfriend, Anne McKechnie, and produced a number of watercolours of Upton swimming in the Aegean Sea. (Dimensions: 33.5 x 22.5cm)(33.5 x 22.5cm)
Lot 326
Incident at Ascot signed with initials 'A.R.T' (lower left) watercolour, pastel and gouache (Dimensions: 44 x 40cm )(44 x 40cm )Footnote: The last person to win an Olympic Gold Medal for oil painting in 1948, Alfred Reginald Thomson RA is most renowned for his work as a War Artist to the Royal Air Force between 1940 and 1944. Profoundly deaf from birth, Thomson was born in Bangalore, India, to parents George and Florence Thomson. During Alfred’s early childhood, the family moved to Margate where he attended the Royal School for Deaf Children and became fluent in sign language. Displeased that he had not learned to speak, however, Thomson’s father later enrolled him into a small private oral school in Brondesbury, London. Despite his fluency in sign language, his ability to speak and his enormous contribution to British painting, Thomson was reductively dubbed the ‘deaf and dumb’ artist by the British press. Although he attended the John Hassell School of Commercial Art in Kensington, Thomson failed to pass the entry exam for the Royal Academy and was largely self-taught. By 1945, however, Thomson was elected as a Royal Academician and was one of the most sought-after British portrait artists.
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