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Lot 64
Laurence Stephen Lowry (1887-1976), 'Woman with Beard' limited edition signed lithographic print, 58 cm x 48 cm with margins, Fine Art Trade Guild blindstamp, printed number '747', loose in mount.Provenance: From the collection of Monty Bloom (See Dawsons website articles for more details) Extract from 'A COLLECTOR’S LIFE' Monty Bloom and L.S. Lowry © Martin Bloom, 2020' :One particular painting in that 1957 documentary was purchased by my father, together with the original drawing upon which it is based, and a signed numbered print of it is for sale within Dawsons December sale. Woman with a Beard was based on a bearded woman Lowry met on a train journey to Paddington. Mervyn Levy in his book, The Paintings of L.S. Lowry, sees it as “a succinct example of the artist’s power to express the terrible isolation of the individual soul, an isolation unquestioned and blithely accepted. Everything is concentrated in the face itself, the setting from which we can extricate ourselves only by renunciation of self. Lowry’s imagery is the measure of a common destiny.”
Lot 95
Vintage Collection Liber Amiicorum of the Famous Mimi a Mare Restaurant in Torre De Greco Naples destination of the Neapolitan nobility, Politicians, Actors and Musicians of the early 1900s. The Liber Amicorum covers a 11 year time frame from 1910 1921 and features numerous dedications caricatures of the owner Mimi sketches a watercolour and various musical autographs of characters more or less known. Among the most famous autographs to be noted is the famous tenor Enrico Caruso great frequenter of the restaurant and Tito Schipa also a Tenor and actor of the first years of the last century. The Restaurant Mimi a Mare after being for decades one of the most famous Restaurants of the Neapolitan Area famous for their Vermicelli Alle Viongole and Goat meat often mentioned in the Liber Amicorum was destroyed by bombing in 1943. Lot comes complete with print out of list page by page of the notable signatures. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Lot 153
Millvina Dean 14x11 overall matted Titanic signature piece includes signed The Largest Steamers in the World White Star Line print mounted to a professional standard. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Lot 118
Make & Model: Mercedes B180 BlueefficiencyDate of Reg: SD62 HPKColour: Blackcc: 1796MoT: 01-09-2022Fuel Type: DIESELMileage: 50kTransmission: MANUALSummary: Digital service report print out with six entriesSold with an after sales test driveVehicle Check Sheet: https://angliacarauctions.co.uk/umbraco/surface/auction/GetVehicleCheckSheet?id=150600
Lot 25
Leon Underwood (British, 1890-1975)The Sculptor black Irish marble38.7 cm. (15 1/4 in.) highCarved 1938-49UniqueFootnotes:ProvenanceSidney Rothman (probably acquired from the 1953 exhibition),thence by family descent to the present ownerPrivate Collection, U.K.ExhibitedLondon, Beaux Arts Gallery, Leon Underwood, 11 May-24 June 1953, cat.no.41Colchester, The Minories, Leon Underwood: A Retrospective Exhibition, 9 August-10 September 1969, cat.no.120LiteratureChristopher Neve, Leon Underwood, Thames and Hudson, London, 1974, p.176, pl.131 (ill.b&w)Ben Whitworth, The Sculpture of Leon Underwood, the Henry Moore Foundation in association with Lund Humphries, Aldershot, 2000, p.64, cat.no.118 (ill.b&w)The Sculptor appears to be the only carving Underwood made using black Irish marble, or Kilkenny marble as it is often referred to. An exquisite, fine-grained carboniferous limestone, its main source lies just south of Kilkenny, nicknamed 'the Marble City', in south-east Ireland.Of the present sculpture, which is appearing for sale through auction for the first ever time, Christopher Neve comments:'Ironically, with the 1939 Zwemmer exhibition indicating that his print-making and sculpture was not only increasing in momentum but beginning to regain a public lost when he went to America, war was declared. In no time he was frittering away a second spell in camouflage, this time attached to the Civil Defence department at Leamington Spa, with almost no opportunities for getting on with his work. The last major sculpture before the war is, significantly, The Sculptor, a massive and powerful figure in Irish black marble in which the head is drawn into the shoulders and all the forms block in on one another, the weight of the buttocks balanced by the heavy head of the mallet and the deliberately phallic and potentially productive chisel held against the body in front' (Christopher Neve, Leon Underwood, Thames and Hudson, London, 1974, p. 176)Whilst Underwood's earliest carvings in stone and wood appeared in the early 1920s, such as Torso in Tournai slate (collection: Tate Gallery, London), it was his sculptures of the mid-to-late 1930s which achieved greatest aesthetic resonance. African Madonna (St George's Anglican Cathedral, Cape Town, South Africa) for instance, in lignum vitae with silver-gilt inlay of 1934-35, is arguably his most impressive and successful. It was received in South Africa in 1935 to mixed reviews, to which Underwood explained his thought process, as Neve goes on to explain, 'In May, Underwood replied to his critics in an open letter to the Rand Mail, saying that he hoped in time the sculpture would be accepted as belonging to a new and different order of beauty by the descendants of those African artists 'whose simplicity of expression helped to rescue Western art from the slough of naturalism and vulgar sentiment' into which it has fallen in the nineteenth century.' (Op. cit. p.156). The Sculptor shares affinities with African Madonna, including its primitive, mask-like face and powerful over-sized forearm and hand. However, with the present lot the sculptor has jettisoned the rhythmic lines of lead or silver-gilt inlay which infiltrated his work during the middle part of the decade and concentrates all his artistic prowess on the medium to hand. Here, the inherent qualities of the fine-grained Kilkenny marble have been used to maximise impact. Part polished and unpolished, the areas left roughly sanded and are therefore less black, assist in accentuating the flowing lines of the glistening figure's body and face, thereby creating a dramatic sense of depth. It is the culmination of Underwood's twenty year-long investment with carving, as Ben Whitworth remarks:'Underwood's final carving was The Sculptor in black Irish marble, begun on the eve of the Second World War. This image of artistic power must not be read as a self-portrait, but it is ironic that, after making an image that epitomises the heroic view of direct carving, Underwood never again carved a block of stone or wood'. (Ben Whitworth, The Sculpture of Leon Underwood, The Henry Moore Foundation, Much Hadham, 2000, p.64)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 56
Craigie Aitchison C.B.E., R.S.A., R.A. (British, 1926-2009)Nativity and Angels oil on canvas40.7 x 30.4 cm. (16 x 12 in.)Painted in 1960Footnotes:ProvenanceWith The New Art Centre, London, circa 1960, where acquired by Private Collection, U.K., thence by descentPrivate Collection, U.K.ExhibitedWiltshire, Rabley Drawing Centre, Craigie Aitchison R.A., A Life in Colour, Painting and Print 1952 - 2009, 5-15 March 2015This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
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