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Lot 372
A COLLECTION OF MALING LUSTREWARES, ten pieces comprising a vase tube lined with white flowers on a green patterned ground, two shape no 120 twin handled vases in pastel pink and blue, height 15.5cm, a pale blue elongated planter with relief scroll moulding, with matching basket and jug, a green ribbed vase height 25cm, and three pieces of a dressing table set, printed and tinted with sprays of flowers (10) (Condition Report: pieces appear ok, some crazing, one or two pieces sound dull when tapped, would benefit from a clean)
Lot 490
TWO EARLY 20TH CENTURY PORTRAITS, the first depicts a sensitive head and shoulders portrait of a boy wearing a white uniform, initialled and dated C.W 1910 bottom right, oil on canvas, approximate size 48cm x 40cm, the second depicts a head and shoulders profile portrait of a young girl by the same hand, pastel on paper, approximate size 44cm x 37cm, Condition Report: the male portrait is glazed and is in good condition with some marks to the frame, the female portrait is in good condition but would benefit from reframing
![E.Gill 1876 Mix media using watercolour, pen and pastel. The Falls of the Tummel, Scotland. Signed [61X50cm]](https://cdn.globalauctionplatform.com/639648c1-8f4f-44b4-997c-afeb00d527a6/7e222ba2-d2e8-481a-971c-afeb012ad22b/468x382.jpg)
Lot 109
§ Roy De Maistre C.B.E. (Australian / British 1894-1968) Two Ladies Reading pastel and watercolour on paper Dimensions:41cm x 68.5cm (16 1/8in x 27in)Provenance:ProvenanceCelia Broadbent (neé Keogh) and by direct descent to the present owner.Celia Broadbent was de Maistre’s cousin once removed, and his executor and friend; her mother, Camilla Keogh, was the subject of ‘La Folie', considered one of de Maistre’s major works.Note: Roy de Maistre is celebrated as an Australian pioneer of abstraction. After graduating from Sydney’s Royal Art Society, de Maistre worked as a colour therapist to aid World War One soldiers suffering from shellshock. A 1923 scholarship enabled him to travel to London, Paris and St Jean de Luz, where he encountered European modernism; Cubism, in particular, had a profound impact on his style. In 1930 de Maistre settled in London, where he befriended Francis Bacon, encouraged him to take up oil painting and is credited for expanding Bacon’s technical and art-historical knowledge. The two artists took neighbouring studios on the King’s Road, Chelsea, and their output in the early 1930s demonstrates mutual influence. De Maistre predominantly painted portraits and interior scenes. He also maintained an interest in religious subjects which intensified following World War Two; his 1954 ‘Stations of the Cross’ remain on display at Westminster Cathedral. A retrospective of De Maistre’s work was held at the Whitechapel Gallery in 1960, and his work is represented in important collections including Tate Britain, the National Gallery of Australia, and the Arts Council of Great Britain. The present collection comes from de Maistre’s cousin-once-removed Celia Broadbent, who was his executor and friend. Celia’s mother was Camilla Keogh, subject of ‘La Folie’ (1946-47), considered one of de Maistre’s major works.
Lot 2
Henri Eugène Augustin Le Sidaner (French 1862-1939) Les Toits, Gerberoy, August 1936 signed (lower left)charcoal and pastel, enhanced with oil, on paperDimensions:26.5cm x 33.5cm (10 1/2in x 13 1/4in)Provenance:ProvenanceLouis Le Sidaner, ParisRoland, Browse and Delbanco, LondonEwan Mundy Fine Art, Glasgow & London, where acquired by the present ownerExhibitedMusée Galliéra, Paris, Rétrospective Henri Le Sidaner, n°82, April 1948;Roland, Browse and Delbanco, London, Henri Le Sidaner-Lui Sbou Kwan, n°54, February- March 1964.This work is accompanied by a certificate of authenticity issued by Yann Farinaux-Le Sidaner, March 2023Note: Throughout the 38 years spent at Gerberoy, Le Sidaner never ceased inviting friends from around the world to visit his gardens. The last stage of the walk around the gardens was always the little terrace that overlooked the property, which he had erected at the foot of a church, from which point there was a breathtaking view of the old rooftops of Gerberoy. The artist adored the diversity and personality of these old houses with their threadbare roofs so typical of Picardy. In 1904, having decided to transform a large old building in his yard to make it into his studio, so he exchanged new tiles with the villagers, "The artist really surprised people”, reported the critic Camille Mauclair, “by asking them for old tiles eaten away with moss and offering them the exchange with beautiful, brand new, very red tiles.”Few artists have been able to express all the charm and poetry of the ridgeline of our old buildings like him. Around 1936, the “pilgrim of old France”, as Mauclair called him, dedicated his final series to Gerborean roofs, of which La Petite ville, jewel of the Norton Simon Museum in Pasadena, remains the highlight. Our enhanced drawing served as a preparatory study for the canvas, Les Toits ensoleillés, painted the same year. As is often the case, the artist did not hesitate to disguise reality in order to obtain the desired impression, which here becomes the disorder of a sunny vision.Yann Farinaux-Le Sidaner, March 2023 (translated by Matthew Yeats)
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