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λ Gwilym Prichard (Welsh 1931-2015)Tyddyn Sir FonOil on boardSigned and dated 69 (lower left); further signed and titled (to label verso)30 x 50.5cm (11¾ x 19¾ in.)Provenance:Mansard Art Gallery, Heal & Son Ltd., London (stock no. 369)Gwilym Prichard was born in Llanystumdwy, near Criccieth, in 1931. He trained at Birmingham College of Art, then taught in Anglesey until 1973, after which he became a full time artist. Following Sir Kyffin Williams' death in 2006, Gwilym assumed the mantle of senior figure in Welsh landscape painting and was one of Wales' most admired and successful artists. Prichard was noted for his dramatic and colourful palette, and for applying the paint thickly and expressively into forms that pare the Welsh landscape down to its essentials. Ceri Richards once said that Gwilym Prichard "painted the bones beneath the land". In so doing, he managed to display his joy in the richness and beauty of his native land. Gwilym spent many years living in Brittany, France, where he exhibited regularly and was also widely admired. In 1995 he was awarded the Silver Medal by the French Academy of Arts, Sciences and Letters. He was elected to the Royal Cambrian Academy in 1970 and was an Honorary Fellow of the University of Wales. In 1999 he returned to live and work in Wales, making regular painting trips throughout north and west Wales. Gwilym died in June 2015. His work is held in the collections of the Arts Council of Wales; Contemporary Art Society of Wales; Government Art Collection; Lincoln College, Oxford; National Library of Wales; Nuffield Foundation; University of Wales, Aberystwyth; University of Wales, Bangor; and further private collections worldwide.Condition Report: In overall good condition. Some cracking to the paint surface on one of the cottage doors, centre right. Some associated paint loss and some further scattered flecks of paint loss to the heavy impasto paint, notably to the edges.Condition Report Disclaimer
William Nicholson (British 1872-1949)John Silver; Miss Havisham (from Characters of Romance)Lithographs printed in colours, 1900, Published by W. Heinemann, LondonLargest image 34 x 27cm (13¼ x 10½ in.) (2)Provenance:The Maclean Gallery, LondonProperty from a Private English CollectorExhibited:Manchester, The City of Manchester Education Committee Picture Circulating Scheme, no. ERM/120
Walter Greaves (British 1846-1930)Nocturne, Battersea ReachOil on canvas61 x 46cm (24 x 18 in.)Provenance:Sale, Sotheby's, London, 23 June 1999, lot 6Property from a Private English CollectorWalter Greaves (1846 - 1930) was a British painter and etcher who was born and worked in London. Together with his brother, Henry (1844 - 1906) Greaves met the artist James McNeil Whistler in 1863. Over the next twenty years the brothers would become great friends and studio assistants to Whistler, who in turn taught them to paint and introduced them to the sights of the Thames which would later inspire the artist's 'nocturne' views of the river at night.The influence of Whistler's 'nocturne' series can very clearly be seen in the work of both Henry and Walter Greaves. In Nocturne, Battersea Reach, as well as the obvious reference in the title, the hazy colour palate of dusky blues and greys together with the dab of yellow coming from the streetlamp in the foreground and linear composition are all reminiscent of works such as Nocturne: Blue and Gold - Old Battersea Bridge, c.1872-5 (Tate No. 1959) and Nocturne: Blue and Silver - Chelsea, 1871 (Tate No. T01571).By the late 1870s however, Whistler began to cultivate a more sophisticated set of friends which included Walter Sickert and Mortimer Mempes and the Greaves brothers, who, despite their unsophisticated attempts had always aspired to imitate their friend, found themselves excluded from this distinguished circle.Walter went on to suffer many years of poverty before being discovered by William Marchant, proprietor of the Goupil Galleries. In 1911, Marchant held an exhibition of Greaves work in his London gallery. The success of the exhibition was short lived however as just weeks after the exhibition opened, Whistler's self-appointed biographer Joseph Pennell and his wife sought to damage Greaves' reputation by claiming that he had plagiarised Whistler's work. This seems to be an unsubstantiated claim against Greaves. As well as the Greaves brothers, Whistler was also a friend to the whole Greaves family for many years and was a frequent visitor to their house and whilst Whistler eventually dropped the whole family, it was during this time that Henry and Walter were able to develop their own artistic identity and love of Chelsea whilst being firmly guided by Whistler himself. In addition, other works produced by the brothers, including Duke Street, Old Chelsea (Lot XX), The Kings Head and Eight Bells (Lot XX), and A Chelsea Pensioner outside the Kings Head (Lot XX), all depict the Chelsea that the Greaves brothers knew and loved through their own eyes and in their own individual style.In his 1928 book Painters of the 1890s, John Rothenstein writes:"Yet in truth Greaves was not only one of the most important artists of the period, but one whose painting and personality contrasted more sharply with Whistler's than did those of any of his contemporaries......the similarities were accidental while the differences were essential. ..." (p.122)This slur on Greaves' work was not completely successful and in 1922, Greaves' work was exhibited again, this time at the Grosvenor Gallery and arranged by Augustus John, William Nicholson, and William Rothenstein. It was also at this time that he was elected an honorary member of the Chelsea Arts Club. Examples of the artist's work are held by Tate Gallery, London.Condition Report: Relined. Some scattered white splashes to the lower right quadrant. Further surface blemishes and abrasions throughout. Inspection under UV reveals scattered retouching throughout. Condition Report Disclaimer
Duane Michals (American b. 1932)How Nice to Watch You Take a Bath, 1986A sequence of five gelatin silver prints, framed as oneThe first image titled, the remainder numbered consecutively 1-5, the last image signed in in ink and numbered 6/25 (in the margin)Each approx. 8.5 x 12.5cm (3¼ x 4¾ in.)Provenance:Sale, Christie's, New York, Photographs from the Collection of Sir Elton John, 14 October 2004, lot 19Exhibited:Atlanta, Georgia, USA, High Museum of Art, Chorus of Light: Photographs from the Sir Elton John Collection, November 2000-January 2001Literature:Marco Livingstone, The Essential Duane Michals, Bulfinch, 1997, pp. 158-159Condition Report: Under glass, unexamined out of glazed frame. In good original condition. Condition Report Disclaimer
{ Option of lots: 397, 398, 399 } 6 x Solido Diecast Models In Perspex Display Box Comprising Of Solido Duesenberg J 1955 1/43 Scale Solido Age D'or - Ford T-Bird 1961 #4505 Solido Age D'or - Chrysler Windsor - #4513 Metallic Blue Solido Mercedes Benz SSKL #4004 - Solido Silver And Red 1/43 Scale Solido Sixties 1/43 Scale #4512 Buick Super 1950 Solido Age Golden #4055 Cord L 29 Light Blue Black Hood
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