BERNARD MYERS (BRITISH 1925-2007) Bernard Myers (Lots 98-123) IntroductionTrained as a gunner in the RAF during the Second World War, Bernard Myers studied at St Martin’s School of Art (1947-49) and Camberwell (1949-51) before studying painting at the Royal College of Art in 1951. Fellow students included John Bratby and Jack Smith, Frank Auerbach and Leon Kossoff. After graduating ARCA in 1954, Myers taught, variously at Camberwell, Hammersmith and Ealing art schools, and was senior lecturer in drawing at the Architectural Association School. At the AAS he was talent-spotted to return to the RCA, where he spent the following two decades, punctuated in 1968 and 1971 by stints as Visiting Professor at the Indian Institute of technology, New Delhi. His final teaching post was as Chair of Design Technology at Brunel University (1979-85). At the RCA students such as James Dyson treasured Myers’ good advice, remembering him as ‘cheerful, irrepressible [and] rather dapper… with a tweed suit and bowtie…’ But as well as being upbeat Myers was also appreciated for his considerable range of mind and intellect. On being made a fellow of the RCA, in his welcome speech the Dean noted that Myers ‘…must without doubt be the most versatile graduate ever to emerge from the Painting School. Since joining the College in 1961 he has been, by virtue of an encyclopaedic knowledge which comfortably bestrides the boundaries between the humane and the technological, and of his superlative gifts as a teacher, in demand by virtually every School and Department within the College…’ The plus side for Myers was that teaching left him free to practise his own art exactly as he wished. As he noted: ‘Some artists find that teaching interferes with their work. I find it clarifies my work.’ Indeed, he had an unstoppable compulsion to paint, incessantly exploring a wide range of subject matter, in particular the landscapes he encountered on his varied travels, the still-lifes he returned to again and again in his studio, the nudes he painted in weekly life-classes, and his not infrequent forays into abstraction, precipitated in part by his fascination with space. He married Pamela Fildes, granddaughter of the painter Sir Luke Fildes in the early 1950s (lot 98); they lived first in Windsor and then in Kensington before moving in 1974 into one of the studios overlooking the Thames at St Peter’s Wharf, purpose built by Julian Trevelyan, next to Hammersmith Terrace (lots 121-123). He had several one-man shows in the West End, the first at the New Art Centre in 1969; his last with Austin Desmond Fine Art in 1991. He wrote two books on Goya, others on the history of sculpture and How to Look at Art, and co-edited The Macmillan Encyclopedia of Art’ (1979). He also penned articles for the magazines in The Artist (May 1988) on his highly original approach to pastel (lots 110, 111, 113-117), and in Artists and Illustrators (1995) on his Venice views (lots 118 & 119).BERNARD MYERS (BRITISH 1925-2007)MISS PAMELA FILDESsigned, titled and dated on reverse Bernard Myers / Miss Pamela Fildes / 1955-6oil on canvas122 x 91.5cm; 48 x 36in(unframed)Pamela Fildes was the granddaughter of the painter Sir Luke Fildes RA (1843-1927). She married Bernard Myers shortly after she sat for the present painting. With the studio inventory number 0244 on the reverseARR may apply
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SIR WILLIAM ROTHENSTEIN (BRITISH 1872-1945) (i) NURSE AND CHILD; (ii) FEEDING HENS; (iii) ALICE WITH JOHN(iii) signed and dedicated for John and Elizabeth affect. Albert lower leftpastel(i) 20 x 22.3cm; 8 x 8 3/4in41 x 43cm; 16 x 17in (framed)(ii) 23 x 32cm; 9 x 12 1/2in40.5 x 56cm; 16 x 22in (framed)(iii) 34 x 23cm; 13 1/4 x 9in52 x 39cm; 20 1/2 x 15 1/2in (mounted)(3)Provenance(iii) John and Elizabeth Rothenstein, London (a gift from the artist) Painted in the early 1900s, these three pastels all feature Rothenstein's eldest child John: (i) John with his nurse; (ii) almost certainly John feeding hens with his mother, Rothenstein's wife Alice and (iii) Alice giving John a piggyback.Alice Rothenstein (1867-1957, née Knewstub) was the daughter of the artist John Knewstub and the pre-Raphaelite muse Emily Renshaw. She trained as an actress and married Rothenstein in 1899. Their first child John, born in 1901, went on to become Director of the Tate Gallery, and was knighted in 1952 for services to the arts. He and his mother feature in a number of notable paintings by Rothenstein, including the oil Mother and Child (Tate Britain) painted in 1903 when the Rothensteins were living on Church Row, Hampstead.
A 'QIANJIANG CAI' ENAMELED 'LUSH FORESTS AND HIGH BAMBOO' PLAQUE, BY JIN PINQING (1862-1908)Expert's note: Qianjiang cai or 'pastel palette' enamels reflected the late Qing potter's increasing inability to produce the more technically demanding vibrant colors of the earlier High Qing or the later Republic period. To borrow a modern aphorism however, the determined late Qing artisans turned this 'bug' into a 'feature' - notably the dreamlike faintness of these colors became popular with the melancholy intelligentsia of the time and led to masterworks by the best, with Cheng Men (1833-1908) and Jin Pinqing (1862-1908), the painter of the present lot, being the most renowned.The rectangular plaque painted in orange, green, and blue tones with thinly applied enamels depicting a forest landscape with hills and mountains, bamboo groves and pine trees in the foreground. Two scholars sit conversing in a field while a third approaches them on foot, two houses with a tranquil river running beside it which disappears into the mountains. The plaque with a lengthy dedication written by Wang Fengchi (1824-1898), a scholar and official who was friends with Jin Pinqing and often collaborated with him on porcelain paintings.Inscriptions: Top center, titled 'Lush Forests and High Bamboo', signed 'written by Jin Pinqing', two seals. Top left, inscribed 'Some time ago in the Yijin Studio in the capital, I saw an ink painting by the master Wang Jian from Taicang with a lush forest. The landscape was quite unique. The [present] painting was painted for me by Pinqing in the style of porcelain paintings from Zhushan. The paintings complement each other. The ink style is so gentle and mild like a breath of air. The [original] painting was done in the Spring of the Year of Dingchou [corresponding to 1877] in the third year of the Guangxu era. I am very touched, thus I wrote this dedication. Wang Fenchi.'Provenance: Boston trade. Acquired from a private estate.Condition: Good condition with minor wear and firing irregularities, some of the enamels slightly faded and with minor rubbing and minimal losses, and light surface scratches. Weight: 2,651 gDimensions: Image size 26.3 x 40.7 cm. Size incl. frame 34.1 x 48.6 cm. With an associated gilt wood frame. (2)Qianjiang is a term used to describe a type of over-glaze enameled ware that was very popular during the Late Qing/Early Republican Period. The term Qianjiang cai (enamels) or Qianjiang porcelain was only coined in the 1950s. Prior to that, annals or commentaries in the late Qing and Republican periods did not classify it as a new distinctive type of over-glaze enamel decorative technique on porcelain. The term was initially used to describe a distinct style of landscape painting by the Yuan master Huang Gongwang. It is typified by the use of a particular color scheme: varying ink tones for outlines and reddish-brown for other aspects such as foliage, flowing water, mountain shades etc. The term was subsequently used to describe a porcelain painting style that used similar techniques but with additional colors such as aquamarine, moss green, pale blue, red and light pink.The relationship between qianjiang and fencai painting has caused quite a bit of confusion. In terms of the decorating medium, qianjiang utilizes fencai enamels. The main difference is actually the source of inspiration for the painting because the Qianjiang school draws its inspiration from the Chinese literati style, whereas the typical fencai work is more akin to gongbi painting. For fencai painting, the areas within the outlines of the motif are first applied with an arsenic-based opaque white pigment. The deeper and lighter tones are then obtained by mixing the enamels with different amounts of this opaque substance. For Qianjiang, the enamels are applied directly without the opaque white pigment. Hence, the enamels are thin and lack tonal gradations, especially on the early qianjiang works.Auction result comparison: Type: RelatedAuction: Christie's London, 16 May 2014, lot 1254Price: GBP 18,750 or approx. EUR 32,000 converted and adjusted for inflation at the time of writingDescription: A large circular famille rose 'landscape' plaque, late 19th/20th century, dated Bingzi year, corresponding to 1874Expert remark: Note the size (47.6 cm diameter).Auction result comparison: Type: RelatedAuction: Bonhams San Francisco, 11 December 2015, lot 2291Price: USD 21,250 or approx. EUR 25,500 converted and adjusted for inflation at the time of writingDescription: A qianjiangcai enameled plaque, dated by inscription to 1894Expert remark: Note the size (55.2 cm). 金品卿(1862-1908) 淺絳彩《茂林脩竹》瓷板瓷板由王鳳池（1824-1898）所題，他是一位學者兼官員，與金品卿是好友，經常合作創作瓷畫。畫面筆力瀟灑，設色清麗。 款識: 品卿金誥寫；前在京都詒晉齋，見太倉王遠照先生有《茂林修竹》墨綃一幅，覺蘭亭風景皆入筆妙。此黟山品卿居士以珠山瓷笺寫寄吾宗。逢卿刺史，以補映帶者。覺筆墨間亦含惠風和暢之致。是幅成於光緒三年丁丑暮春之初，愚見而動幽情，書此訂再暢敘。王鳳池。來源：波士頓貿易，購自私人莊園。 品相：狀況良好，有輕微磨損和燒製不規則，一些琺瑯輕微褪色，有輕微摩擦、缺損，以及輕微的表面劃痕。 重量：2,651 克 尺寸：畫面26.3 x 40.7 厘米，總 34.1 x 48.6 厘米. 配有金漆木框。 (2)由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
JOHN ROWLAND BARKER (1911-1959) “Surrealist forms in a landscape” a pastel study, signed and dated '57 lower right, 19 cm x 27 cm CONDITION REPORTS Overall condition appears good. Clear signature and date lower right. Frame of the period but slightly tired and coming away at the corners. Staining to the old board and paper verso. See images for further detail.
DAVID WEST (1868-1936) "Covesea Lighthouse", watercolour, initialled lower right, bears labels including title verso, 7 cm x 8.5 cm, together with another by the same hand "Loch Naver Sutherland", 7 cm x 8 cm and EARLY 20TH CENTURY CONTINENTAL SCHOOL "Egyptian river scene", pastel and pencil on paper, unsigned, 17 cm x 24.5 cm (3)
KOLISNYK, IHOR (Ukrainian b.1956), Nyu 2, chalk pastel on paper, 50 x 70 cms (1) Further information: Igor Kolisnyk, Born April 19th, 1956. Graduated I. Trush Lviv State College of Applied and Decorative Art in 1977, Art Decoration Department.1988 to present - Chief Artist in Private Joint Stock Company "Gal-Expo". During this time Igor Kolisnyk supervised more than 600 international exhibits and presentations. 2000 to present - Member of National Union of Ukrainian Artists and Chief of Lviv region of NUUA. Igor is specialising in design, painting and graphics. His art was presented in more than 30 personal exhibitions. Experimenting in different fields of painting, graphic, drawing and design. Images are representing symbolism, allegory and romantic expressionism. CONDITION: Igor KolisnykBorn April 19th, 1956.Graduated I. Trush Lviv State College of Applied and Decorative Art in 1977, Art Decoration Department.1988 to present - Chief Artist in Private Joint Stock Company "Gal-Expo".During this time Igor Kolisnyk supervised more than 600 international exhibits and presentations.2000 to present - Member of National Union of Ukrainian Artists and Chief of Lviv region of NUUA.Igor is specialising in design, painting and graphics.His art was presented in more than 30 personal exhibitions.Experimenting in different fields of painting, graphic, drawing and design.Images are representing symbolism, allegory and romantic expressionism.
KOLISNYK, IHOR (Ukrainian, b.1956) Nyu 4, pastel on paper, 50 x 70cms (1) Further information: Igor Kolisnyk, Born April 19th, 1956. Graduated I. Trush Lviv State College of Applied and Decorative Art in 1977, Art Decoration Department.1988 to present - Chief Artist in Private Joint Stock Company "Gal-Expo". During this time Igor Kolisnyk supervised more than 600 international exhibits and presentations. 2000 to present - Member of National Union of Ukrainian Artists and Chief of Lviv region of NUUA. Igor is specialising in design, painting and graphics. His art was presented in more than 30 personal exhibitions. Experimenting in different fields of painting, graphic, drawing and design. Images are representing symbolism, allegory and romantic expressionism. CONDITION: Igor KolisnykBorn April 19th, 1956.Graduated I. Trush Lviv State College of Applied and Decorative Art in 1977, Art Decoration Department.1988 to present - Chief Artist in Private Joint Stock Company "Gal-Expo".During this time Igor Kolisnyk supervised more than 600 international exhibits and presentations.2000 to present - Member of National Union of Ukrainian Artists and Chief of Lviv region of NUUA.Igor is specialising in design, painting and graphics.His art was presented in more than 30 personal exhibitions.Experimenting in different fields of painting, graphic, drawing and design.Images are representing symbolism, allegory and romantic expressionism.
SIDNEY HAROLD METEYARD (BRITISH, 1868-1947)Would I were dead! Would I were dead! signed with monogram (lower right) coloured chalks, watercolour and bodycolour 46 x 29cm Provenance Films of the Mind: British Fantasy Art and Illustration, Sotheby's, London, 30th October 1997, lot 114; The Seymour Stein CollectionCondition reportTwo pale white lines visible forming a right angle to lower right corner to left of curtain.A very small bit of pastel lifting on the hat he's wearing.Otherwise appears in generally good condition.
JAMES SHARPLES (BRITISH, 1825-1893)Portrait of a lady in profile inscribed 'James Sharples Bath' (to backboard) pastel 23 x 17.5 (oval) Provenance Trim Bridge Galleries, Bath; Private collection, UKCondition reportTwo small tears to right edges, partially obscured by frame.A few very small spots and marks in places.Some surface dirt.Under glass and not examined out of frame.
A 1920's platinum, sapphire and diamond ring. Centred with a pale pastel-blue round mixed-cut sapphire approx. 0.73cts, in a four claw setting between tapered baguatte diamond shoulders, on a D-section shank stamped '10% Irid Plat', size L+, 3.5g gross Condition Report: The ring in overal very good condition for age though would beneft feom a general light clean and polish. The sapphire is a pleasing shade of light pastel blue and appears the same colour under varying light conditions. the stone measures approx. 5.9mm diameter, 2.5mm deep. The diamonds are bright and lively and eye clean.
Costas Mikellides (1938-2019 ) MSIA, FCSD, Pastel,' Hinton Priory, old Kitchen ' (near Bath), titled verso and named ' From Studio ', 36.5 x 36.5 cm A Fellow Member of the British Institute of Chartered Society of Designers. He has worked in in the UK, Europe, Middle East and USA for Rolls Royce, John Player & Sons, The Royal Saudi Family , United States Air force,etc. He has also been the Chairman of the British Interior Design and lists his influences as Victor Vasarely (1908-1997),Bridget Riley ( 1931) , Anoka Faruqee , Carlos Cruz-Diez ( 1923 ), etc.
Two 19th century oval form pastel portraits, comprising a portrait of a lady pastel on board, indistinctly signed possibly 'E.B. Hodgson..', 53.5 by 44.5cm, glazed and in a gilt frame, 64 by 54cm, a portrait of a young boy, pastel on paper laid upon canvas, unsigned, 44 by 37cm, glazed and with a gilt frame, 53.5 by 46cm. (2)
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