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Lot 371
Celia Ellis, 'Kiwi Fruit, Star Fruit, and Apples', mixed media, 40cm x 60cm; another similar two by the same artist; Margaret Green, 'Passiflora', collage embroidery, 54cm x 43cm; Gordon Crook, 'Seascape', tapestry, 27cm x 46.5cm; Viv Denscombe, 'Visual Narrative', mixed media, ; Margaret Fairhead, 'Spirals', embroidery; Francine Wilkins, 'Savannah', embroidery; Nadia Nagual, by and after, 'Snakes and Scales', signed, lithograph, 32cm x 52.5cm; Malla, by and after, signed, and numbered 307/500 in pencil to margin, 42cm x 31.5cm; C. Ellis, 'Cockerel', watercolour, qty.
Lot 214
Whittington Press.- Craig (John) Britten's Aldeburgh, number vi of 28 specially-bound copies signed by the author/artist and with an additional suite of engravings, from an edition limited to 440, printed in ochre and black, wood-engraved illustrations and 3 tipped-in folding colour linocuts by Craig, bound in half pale turquoise goatskin with transparent vellum over seascape-printed boards and thin onlaid red goatskin lines and lettering in silver, by James and Stuart Brockman to a design by John Craig and James Brockman, yapp edges, concave spine lettered in silver, silver edges, vellum slightly yellowed and marked on lower cover, 11 additional wood-engravings all signed and dated in pencil, one hand-coloured, loose as issued in printed wrappers, together in cloth drop-back box with wooden edges, binder's printed note on binding loosely inserted, 4to, Risbury, Whittington Press, 1997.⁂ James Brockman's note describes the binding design, "...The red onlaid leather lines and endbands are similar in colour to the boat marker buoys found at Aldeburgh. The colour and use of materials is intended to suggest the atmosphere of the East Coast. I invented the rigid concave spine in 1994 and this is te first time it has been used on an edition of special bindings".
Lot 654
* Brock (Henry Matthew, 1875-1960). 'Under Temple Bar', pen, ink & watercolour, showing Samuel Johnson and James Boswell standing on the cobbles in front of Temple Bar, with pedestrian and horse traffic behind, signed lower left, sepia ink decorative border, incorporating title below image, lightly spotted, 21.5 x 14cm (8 4/8 x 5 4/8ins), mounted, framed and glazed (42.7 x 32.6cm), Chris Beetles printed label on verso, together with: Seascape with figures, pen and ink, showing two men lying down on a grass bank by an estuary watching a rowing boat go by, with other boats, yachts and buildings in the distance, signed lower right, 20 x 20.5cm (7 7/8 x 8ins), mounted (30.4 x 30.4cm), 'With All Good Wishes for Christmas and the New Year', pen and ink, showing a lady dressed in her winter finery out on a walk, title on a scroll upper right, and artist's address lower right 'Arundine House, Madingley Road, Cambridge' signed by Brock, additionally initialled by the artist to left within image, lightly spotted, 27.5 x 18cm (10 7/8 x 7 1/8ins), mounted, framed and glazed (37 x 27cm)Qty: (3)
Lot 154
Signed, oil on canvas56cm x 51cm (22in x 20in)Provenance: Acquired from Alexander Reid, La Société des Beaux-Arts, Glasgow in 1924 by Ion R. Harrison Footnote: Exhibited: Samuel John Peploe, La Société des Beaux-Arts, Glasgow, 1924Fine Art Section, Empire Exhibition, Bellahouston Park, Glasgow 1938, no.28Pictures from a Private Collection: Peploe, Fergusson, Hunter, Cadell, McLellan Galleries, Glasgow, 1951Three Scottish Colourists, Scottish Arts Council Gallery, Glasgow 1970 and tour, no. 71Literature: Ion R. Harrison, 'As I Remember Them' in T. J. Honeyman, Three Scottish Colourists: Peploe, Cadell, Hunter, London 1950, p. 119, repr. col. pl. VI.Guy Peploe, S. J. Peploe, Farnham 2012, p. 137, repr. col. fig. 144.Note: Roses and Fruit is a superlative painting by Peploe. It not only shows the artist at the very height of his powers but was also part of one of the most important collections of the work of the Scottish Colourists ever assembled.Having explored the visual possibilities of the tulip in the immediate post-World War One period, roses emerged as Peploe's favoured flower in the early 1920s. They became the subject of the most celebrated paintings of his career. The interplay of light and colour amidst their layered heads, as well as the formal contrast with their strongly defined leaves proved endlessly inspirational. On a practical level, roses maintained their shape long enough to satisfy Peploe's painstaking working methods.In his still lifes of the decade, Peploe brought to bear all the experience he had gained in the genre as an emerging artist in Edinburgh before the war, his experimentation in pre-war Paris and the development of his practice during the conflict. Peploe's exploration of the work of artists from Edouard Manet, to Vincent van Gogh and Paul Cézanne were brought to a triumphant and original conclusion in this period, as revealed in Roses and Fruit.This ambitious and confidently realised work features many of Peploe's most treasured still-life objects, from fruit compotier to gold-rimmed tea-cup and be-ribboned black fan. Each element is carefully placed in relation to the others, creating a sense of balance and allowing a seamless visual journey from drapery in the foreground to plate in the foreground. The cropping of, for example, the aspidistra leaf which enters from the left, is a clever device suggesting the space beyond the canvas, into which the viewer is invited to join the artist. The complex and triumphant realisation of the roses, their stems in water and the view through the vases are passages of extraordinary skill. A gentle palette is combined with bright colour, especially in the fruit, to provide rhythm and structure. It was with works such as Roses and Fruit that Peploe rose to international prominence in the 1920s and on which his enduring reputation as one of Scotland's most important artists is based.In 1915, Peploe had his first solo exhibition at Alexander Reid's gallery, La Société des Beaux-Arts, in Glasgow. Thus began a long and productive relationship with the business, which expanded to London, involving regular exhibitions throughout the rest of Peploe's life. As a result, many art lovers were introduced to Peploe's work, not least the Glasgow ship-owner Ion R. Harrison. He purchased Roses and Fruit from Alexander Reid when it was included in a solo exhibition in the city in 1924. It was one of the first two paintings by the Scottish Colourists which he acquired before going on to become one of their most significant patrons.In 1950 Harrison recalled: 'In was in 1921 or 1922 that I first became interested in the work of the...Scottish Colourists. The first exhibition of Peploe's which I saw was in Alex. Reid & Lefevre's, West George Street, Glasgow. Mr Peploe at that time had an Exhibition of Flower Pictures...I had never seen anything in art similar to these pictures...The first pictures I bought of the...Colourists were from a Peploe exhibition at Reid's which was held in March 1924. One was the beautiful Pink Rose Picture [sic - he is referring to the present work, which is titled Roses and Fruit under its reproduction in the book] and the other the smaller storm seascape painted at the North End, Iona. I recollect the thrill it gave me to hang my first two Peploes.' (Harrison, op.cit, p. 119)Harrison not only went on to acquire many of Peploe's most important paintings, but was also able to develop a friendship with the notoriously private artist. He explained: 'It was through Cadell that I first met Peploe and it was when Cadell was starting to paint a portrait of my wife that Peploe joined us at Croft House for a weekend. This was a very great privilege for us, for Peploe did not care for visiting people unless he knew them very well. It was a very happy weekend indeed and Peploe was pleased to see his pictures hanging together in their surroundings...I held him in great esteem and regard him as a very great artist.' (ibid, p.123).Indeed, over time the walls of the Harrison family home, Croft House in Helensburgh, were hung with masterpieces not only by Peploe, but also by Cadell, J. D. Fergusson and George Leslie Hunter. Such was the eventual importance of the Harrison Collection that it was exhibited at the McLellan Galleries in Glasgow in 1951.Roses and Fruit is being sold to support various charities.
Lot 4
Barbara Goolden (Welsh 20th/21st century) "North Wales Seascape", signed, oil on canvas.48.5cm x 68.5cm (19.25in x 27in)Footnote:Initially training as a teacher with a specialist interest in physical education, Barbara Goolden discovered an early interest in and talent for painting, which she has maintained and developed throughout her life.Barbara Goolden draws the people and animals of Wales all set in the Welsh landscape, the constantly changing light and moods of the mountains with their power and dignity portrayed in her paintings in a variety of media.Exhibitions of works by Barbara Goolden in the North West include:Royal Cambrian Open 2005Welsh Artist of the Year, St David’s Hall Cardiff.Chester Open Grosvener Museum.Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report:The painting is in very good, original condition with no obvious faults to report. The painting is ornately framed but not glazed.
Lot 93
Cauldron pottery dinner service, each piece with countryside and seascape scenes with a ribbed edge and red dashes and floral sprays, the bases stamped Cauldron and the retailers stamp Mortlock's Orchard Street, Trafalgar Square and Oxford Street, to include twenty-eight plates, eleven soup bowls, ten side plates, a small tureen, a dish, a lidded dish, three square bowls, four serving dishes and five platters of varying sizes, (64)
Lot 543
ABRAHAM BOGDANOVE (AMERICAN 1886-1946)Rocky Seascape ,1935oil canvas laid on panel50.5 x 60.5 cm (19 7/8 x 23 7/8 in.)signed and dated lower right PROVENANCESotheby's, London, December 2, 2004, lot 89Acquired at the above by the present ownerCONDITIONObserved in frame, the painting appears in good condition. Inspection under UV light shows a small area of retouching to the upper left edge.framed dimensions: 65 x 95 cm (25 5/8 x 37 3/8 in.) Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
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