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Click here to subscribeGeoffrey Key (British 1941-) "Landscape" Signed and dated '80, titled on verso, pastel.35 x 49cm (framed 54 x 67.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The drawing is in very good, original condition with no obvious faults to report. The drawing is ornately framed and glazed. The original frame has some minor scuffs and knocks commensurate with age.
Bob Richardson (British 1938-) Manchester canal scene Signed, pastel.42 x 50cm (framed 61.5 x 70cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The drawing is in very good, original condition with no obvious faults to report. The drawing is ornately framed and glazed. The original frame has some minor scuffs and knocks commensurate with age.
James Sharples, Jnr. (c. 1788-1839) – Pastel - Portrait of Emily Howell, bust-length in profile facing to dexter, 23cm x 18cm, framed and glazedSold with a copy of a handwritten letter dated Sept 20th 1962 on letterheaded paper from 43 Apsley Road, Clifton, stating "I would like my Executor Mr Charles N Clarke to accept my portrait of Miss Emily Howell, painted by James Sharples, as a small token of my gratitude... Miss Howell was a cousin of my maternal grandmother..."Together with a typewritten letter from City Art Gallery Bristol dated 2nd May 1962, stating "James Sharples junior was born in 1788, probably in Liverpool and went to America with his family in 1793, where he started as a professional portraitist in 1803. He returned to England and worked with Rolinda from 1811 onwards. He died in 1839".
MAURICE FEILD (1905-1988). An interior scene with seated woman, studio stamp verso, pastel on paper, framed and glazed, 26 x 29 cm, together with a beach scene with two figures, studio stamp verso, framed and glazed, 12 x 12 cm and an interior scene with figures, studio stamp verso, oil on paper, framed and glazed, 9 x 9 cm (3)
Harry Clarke RHA (1889 - 1931) Hilda Luvia – Lady playing a theorbo Watercolour and pencil, 34.5 x 27.5cm (13½ x 10¾") Signed and dated 1921Provenance: Albert Ernest Wood KC (1873 - 1941), Marino, Killiney, Co. Dublin (now known as Abbey Lea, residence of H.E. The Ambassador of Australia), thence by descent to the current owners.Harry Clarke, perhaps most famous for his intensely coloured jewel-like stained glass and for his dramatic black & white illustrations and graphic work, could also, with consummate ease, create delicate pastel-coloured images such as this illustration. Although the colour palette may be less familiar, the exquisite drawing of the delicate female musician has all the hallmarks of Clarke’s finesse. It is thought that this pencil and watercolour image dates to c.1921 and may have been submitted to Hodder and Staunton, though ultimately not used, for the Fairy Tales of Charles Perrault (1922), a publication for which Clarke provided twelve colour plates. The watercolour was exhibited at the sixth exhibition of the Arts and Crafts Society of Ireland in September 1921 and was jokingly titled, in Joycean mode, Hilda Luvia. The leading authority on Clarke, the late Dr Nicola Gordon Bowe, interviewed the artist’s friend, Victor Wood, who explained that the title was derived from an incident when Clarke, walking across Butt Bridge, saw a barge tied up below with the inscription ‘Hilda I Luv Yer’ painted on her side. The title of the drawing is a blend of this with ‘Anna Livia’, the river’s familiar Dublin name, which reflects not only Clarke’s irreverent sense of humour but also his ease with combining disparate references – something that is apparent in the imagery of the watercolour itself. Clarke depicts the musician in a vast skirt which occupies a third of the picture, its volume rivaling the mountain peaks behind. The floral details on the skirt’s fabric recall the designs he had made for sets of handkerchiefs commissioned by Sefton’s of Belfast a few years earlier. The musician is shown playing a theorbo, a member of the lute family which was popular during the Baroque music era (1600–1750) as part of a small basso continuo group or as a solo instrument as depicted here. While the instrument may be associated with the Baroque period, the style of skirt came into fashion in the eighteenth century, and the bobbed hairstyle more common in nineteenth or twentieth century though notably the unevenness of the hair cut is at variance to the sophistication of her costume. In the background one can see a fairy tale hilltop town with ogee domes and spires, but the spindly, bleak tree hints at the orient with its Japonisme style. This illustration shows Clarke in eclectic mode, happy to draw on a range of sources, influences and eras, and whip them into a delicate confection. Dr David Caron November 20231. See Bowe, Nicola Gordon, Harry Clarke, the Life and Work 2015 ed.), p. 192. 2. Recounted to Nicola Gordon Bowe by Victor Wood in 1976 (Albert Wood, father of Victor, had bought the picture at Clarke's London exhibition in 1925). See Bowe, Nicola Gordon, Harry Clarke, the Life and Work (2015 ed), p. 344.
Hoepffner, Marta -- "Räumliche Strukturen II". 1979. Chromogenic print on Kodak paper. 21,5 x 21,2 cm. Tipped in edges to card, signed, titled by the photographer in pencil below the image on the mount; titled and dated by the photographer in pencil and photographer's label on mount verso.Marta Hoepffner was an artist known for her innovative "Farbinterferenzbilder" series, created in the mid-1960s, which featured geometric forms and a harmonious interplay of pastel and vibrant colors. Her work demonstrates a unique fusion of art and science, captivating viewers with its dynamic optical effects. – Slight buckling from glue on verso in upper right corner, a few light scuff marks, otherwise in very good condition.Lit.: Eva Scheid (ed.). Lichtbilder - Bilder des Lichts. Marta Hoepffner. Fotokünstlerin und Pädagogin. Hofheim am Taunus 1997, see pp. 50-67.Brigitte Behrens/Ulrika Jäger. "Lichtbilder - Bilder des Lichts. Marta Hoepffner und Ihm Schoffers" in: Die Frauenfeder No 2, Drumlin Verlag, Weingarten 1986, p. 135-175.
Ervin Bossányi (1891-1975)Mother and Child, 1924inscribed and titled (to the artist's label on the reverse)oil on plywood56 x 42cm. Exhibited:Ashmolean Museum, Oxford, 1979;Hungarian National Gallery, 1980;Baja Museum, Hungary, 1980. Wilma with baby Jo in a doorway, Ervin in the foreground. This picture, painted in 1924 on a piece of plywood from a tea chest, suggests the artist’s feelings of neglect as his wife’s attention is solely turned upon Jo, their baby son (born 11 May 1924). The paint layer is particularly thin, almost all turpentine which has soaked into the wood, exploiting the natural grain that Ervin was fond of at this period. The picture became very dirty and in his old age, Ervin brightened it with pastel. This was removed in 1984, together with the dirt, to reveal the original work.
JOHN DUDGEON "Fruit in a bowl on a table", a still life study, oil on panel, signed lower right, signed verso, 33 cm x 41.5 cm, together with DEREK BRIDGEWATER "The red house", a town scene with cars, oil on board, signed and dated 1966 lower right, inscribed on artist's label verso, SARAH HARTLAND "Landscape in yellow and blue", pastel, initialled lower right, bearing artist's label verso (8)
Rare 1908 Wales v Scotland Dinner Menu: Hugely desirable 115-yr-old decorative 4pp fold over card issue for the function at the Royal Hotel Swansea, following Wales's 6-5 win on Feb 1st, 1908, en route to a Grand Slam. Embossed floral 7 pastel-toned cover, extensive menu within. Very minor foxing to top margin, otherwise remarkably good condition for its age. Lovely
Paul Lucien Maze,Female nude, standing in an interior,pastel and mixed media, signed,37x31cm.SALEROOM AMENDMENT: The lot image was incorrect at initial publishing. The image(s) now posted against this description are correct.Condition report:Mounted, framed and glazed - not inspected out of the frame. No evident damages to the paper. No staining.
Paul Lucien Maze,Female nude, standing at a dressing table,pastel, signed,26x37cm.Paul Lucien Maze,Female nude, standing in an interior,pastel and mixed media, signed,37x31cm.SALEROOM AMENDMENT: The lot image was incorrect at initial publishing. The image(s) now posted against this description are correct.Condition report:There is a 2cm tear to the lower left hand margin, inline with the base of the dressing table. No other evident damages to the paper. Mounted, framed, and glazed. Not inspected out of the frame and mount.
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