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Lot 489
Ronald Pope (1920-1997) 'Untitled' wooden sculpture on composite base, unsigned, 46cm high overall including the baseCondition report: Overall display wear and marks. Small stamp near foot of the wooden section of the sculpture, incised numbers/letters to the base, hard to read. Minor losses to edges and corners. Would benefit from a light clean.
Lot 4
An early 17th century Tosa school four panel folding screen for tea room use "The joys of lake Biwa": a small four-panel folding screen for tea-room use, ink, colours, and gofun (crushed calcified shell) on paper, in silk mounts, depicting various figures walking through hills over bridges, pine and cherry trees, with temples in the background; signed bottom right panel with red stamp . Overall: 90cm x178cm each panel: 90cm x 44cm. Tosa school, hereditary school of Japanese artists, consisting of members of the Tosa clan and other artists adopted into the clan, forming an official school contemporary with that of the Kanō family. Both lineages claim descent from great 15th-century masters of Japanese art. The two schools lasted until the end of the Edo period (1603–1867). The Tosa school devoted its talents to subjects and techniques traditional to the indigenous art of Japan and, in theory, provided the official painters attached to the court
Lot 7
Laurence Stephen Lowry, "The Football Match", 36cm x 25cm, monochrome print, limited edition no. 316/850, Henry Donn blind stamp lower left, signed in pencil lower right, glazed and framed 71cm x 61cm. Condition - recently re-framed with 99% UV protection glass and good quality frame, print generally in good order, general slight discolouration and crease in margin middle left, otherwise fine.
Lot 356
A SHIP'S COMPASS by E. Dent & Co., London, c.1900, with black and off-white markings, maker's stamp to rim and numbered VP54521, Patt 24B, No29, in mahogany case with brass mounts and leather strap, 10 1/4" wide (Est. plus 21% premium inc. VAT)Compass appears to be in good condition, scratches and marks to case, leather strap broken
Lot 727
A REGENCY MAHOGANY LIBRARY TABLE, the moulded edged rounded oblong top inset with tooled green leather, three frieze drawers with brass drop handles and dummy drawers opposite, on reeded end supports with downswept legs and brass toes and castors, stamp for R. Taylor & Sons, Great Dover Street, Boro, 51" x 28 1/2" x 31" (Illustrated) (Est. plus 21% premium inc. VAT)Generally good condition, leather replaced and good, some veneer repairs to banding of top, replaced handles
Lot 322
Jennifer Harding Athenian Stamp V Lino Print on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Born in Fordingbridge, Hampshire. 1981-83 National Theatre, London. Dresser and Assistant Wardrobe Mistress. 1986-87 Museum of London. Archaeological Illustrator. 1987 British Institute of Archaeology, Ankara, Turkey. Archaeological Illustrator. 2000- Royal College of Art and London School of Economics. Library work. 1986-2021 Cyprus College of Art, Paphos, Cyprus. Visiting Artist and Lecturer. Education 1974-75 Salisbury College of Art, Wilts. Foundation Course. 1975-78 Canterbury College of Art, Kent. B.A.(Hons) Degree, Fine Art. 1979 Cyprus College of Art, Paphos, Cyprus. Post-graduate Diploma, Fine Art. Select Exhibitions/Awards 1983-84 Greek Ministry of Education Scholarship, Athens School of Fine Art, Greece. 1984 Greek Ministry of Culture and Sciences Exhibition Grant. Selected Group Exhibitions 1978 Stowells Trophy, Royal Academy, London. 1983 John Moores Exhibition 13, Walker Art Gallery, Liverpool. 1990 'British Travellers in Greece', Fine Art Society, London. 2001 Apocalypse Gallery, Nicosia, Cyprus. 2002 John Moores Exhibition 22, Walker Art Gallery, Liverpool. 2006 Kypriaki Gonia, Larnaca, Cyprus. 2012 Royal Academy Summer Exhibition, London. 2017 'Hidden', Dyson Gallery, Royal College of Art, London. 2021 Royal Academy Summer Exhibition, London. Selected Solo Exhibitions 1984 British Council Gallery, Athens, Greece. 2000 The Hellenic Centre, London. Statement about AOAP Submitted Artwork The lino prints are part of a series made following time spent in Athens this winter.
Lot 323
Jennifer Harding Athenian Stamp VI Lino Print on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Born in Fordingbridge, Hampshire. 1981-83 National Theatre, London. Dresser and Assistant Wardrobe Mistress. 1986-87 Museum of London. Archaeological Illustrator. 1987 British Institute of Archaeology, Ankara, Turkey. Archaeological Illustrator. 2000- Royal College of Art and London School of Economics. Library work. 1986-2021 Cyprus College of Art, Paphos, Cyprus. Visiting Artist and Lecturer. Education 1974-75 Salisbury College of Art, Wilts. Foundation Course. 1975-78 Canterbury College of Art, Kent. B.A.(Hons) Degree, Fine Art. 1979 Cyprus College of Art, Paphos, Cyprus. Post-graduate Diploma, Fine Art. Select Exhibitions/Awards 1983-84 Greek Ministry of Education Scholarship, Athens School of Fine Art, Greece. 1984 Greek Ministry of Culture and Sciences Exhibition Grant. Selected Group Exhibitions 1978 Stowells Trophy, Royal Academy, London. 1983 John Moores Exhibition 13, Walker Art Gallery, Liverpool. 1990 'British Travellers in Greece', Fine Art Society, London. 2001 Apocalypse Gallery, Nicosia, Cyprus. 2002 John Moores Exhibition 22, Walker Art Gallery, Liverpool. 2006 Kypriaki Gonia, Larnaca, Cyprus. 2012 Royal Academy Summer Exhibition, London. 2017 'Hidden', Dyson Gallery, Royal College of Art, London. 2021 Royal Academy Summer Exhibition, London. Selected Solo Exhibitions 1984 British Council Gallery, Athens, Greece. 2000 The Hellenic Centre, London. Statement about AOAP Submitted Artwork The lino prints are part of a series made following time spent in Athens this winter.
Lot 478
Carrie Reichardt Untitled Ceramic Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Carrie Reichardt's ancestry can be traced back through a long line of aristocratic eccentrics. Her grandfather, Joseph Reichardt owned estates in the Austrian Empire and was known as The Camel Hair King of America after making a fortune shipping camel hair wool from Persia via his offices in New York. He worked for the Tsar of Russia during World War I and was awarded the title of Count before fleeing the Russian Revolution. Count Reichardt was bankrupted after losing the cutting rights to all the trees on the Caspian Sea. He moved to England with three sons. The eldest became a Nuclear Scientist. The youngest was Tony Reichardt, who prospered as an influential dealer in Modern Art in post-war London and was close friends with Francis Bacon. The second son was Carrie Reichardt's father Roland, who became a Rigsbyesque property landlord as well as being a faith healer with a keen interest in erotica. Carrie Reichardt gained a First Class degree in Fine Art at Leeds University and has had a career spanning many media, including film, performance and sculpture. She is perhaps best known as a ceramicist and mosaicist, working internationally on large scale public murals. A renegade who is revered in anti-establishment circles, Reichardt's preoccupation with seditious ceramics places her within an artistic tradition extending back to William Morris. She creates anarchic artworks where vintage floral, kitsch, royal and religious crockery is given a new twist by re-firing with layers of new ceramic decals They are modified in a "radical use of traditional things" and often adorned with skulls, cheeky slogans and political statements. Her first solo exhibition, entitled "Mad in England", provided an exploration of this theme, which she has continued to pursue in subsequent work. Carrie Reichardt has spoken publicly about the use of craft and art as protest and her skills have been put to good use as a vehicle for her own political activism, most notably her campaigning for prisoners on Death Row and her involvement with the fight to gain justice for the Angola 3. Despite having a rebellious streak, it is testament to her talent and vivacious personality that Reichardt was awarded the Winston Churchill Travelling Fellowship in 2013, enabling her to work with local communities in Chile and Mexico. Carrie Reichardt has been an outspoken advocate for using Art as a form of personal therapy and "Mad In England" is a perfect back stamp for her work. It is fitting that her house and studio in Chiswick is famously called The Treatment Rooms.
Lot 479
Carrie Reichardt Untitled Ceramic on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Carrie Reichardt's ancestry can be traced back through a long line of aristocratic eccentrics. Her grandfather, Joseph Reichardt owned estates in the Austrian Empire and was known as The Camel Hair King of America after making a fortune shipping camel hair wool from Persia via his offices in New York. He worked for the Tsar of Russia during World War I and was awarded the title of Count before fleeing the Russian Revolution. Count Reichardt was bankrupted after losing the cutting rights to all the trees on the Caspian Sea. He moved to England with three sons. The eldest became a Nuclear Scientist. The youngest was Tony Reichardt, who prospered as an influential dealer in Modern Art in post-war London and was close friends with Francis Bacon. The second son was Carrie Reichardt's father Roland, who became a Rigsbyesque property landlord as well as being a faith healer with a keen interest in erotica. Carrie Reichardt gained a First Class degree in Fine Art at Leeds University and has had a career spanning many media, including film, performance and sculpture. She is perhaps best known as a ceramicist and mosaicist, working internationally on large scale public murals. A renegade who is revered in anti-establishment circles, Reichardt's preoccupation with seditious ceramics places her within an artistic tradition extending back to William Morris. She creates anarchic artworks where vintage floral, kitsch, royal and religious crockery is given a new twist by re-firing with layers of new ceramic decals They are modified in a "radical use of traditional things" and often adorned with skulls, cheeky slogans and political statements. Her first solo exhibition, entitled "Mad in England", provided an exploration of this theme, which she has continued to pursue in subsequent work. Carrie Reichardt has spoken publicly about the use of craft and art as protest and her skills have been put to good use as a vehicle for her own political activism, most notably her campaigning for prisoners on Death Row and her involvement with the fight to gain justice for the Angola 3. Despite having a rebellious streak, it is testament to her talent and vivacious personality that Reichardt was awarded the Winston Churchill Travelling Fellowship in 2013, enabling her to work with local communities in Chile and Mexico. Carrie Reichardt has been an outspoken advocate for using Art as a form of personal therapy and "Mad In England" is a perfect back stamp for her work. It is fitting that her house and studio in Chiswick is famously called The Treatment Rooms.
Lot 105
French school; first third of the 19th century."Nereids".Oil on panel.Slight flaws in the painting and in the frame.It has a stamp on the back.Measurements: 58,5 x 37,5 cm; 68 x 48 cm (frame).In this work the author composes an ascending spiral that is formed through the bodies of numerous naked women. The unrelated young women seem to be trying to ascend to the surface, which is reflected in the upper part of the painting in a very subtle way. The mountains that make up the zenith of the painting are barely visible, a characteristic that is due to the dusty finish of the work. As for the subject matter of the painting, it draws on classical mythology, depicting the beauty of the nereids. In Greek mythology, the Nereids are sea nymphs, female spirits of the waters, and the 50 daughters of Nereus. They often accompany Poseidon, the god of the sea, and can be kind and helpful to sailors, like the Argonauts in their quest for the Golden Fleece. The Nereids symbolise all that is beautiful and kind in the sea. Their melodious voices sang as they danced around their father. They are depicted as very beautiful girls, crowned with branches of red coral and dressed in white silk robes adorned with gold, who were barefoot.Returning to the aforementioned aesthetic, the earthy and atmospheric way of applying the tones, the strong colours that emphasise the dreamlike nature of the scene, together with a hedonistic theme, place the work within the current of the sumptuousness of the French court. As a movement opposed to the naturalist and realist tradition, imagination, spirituality and dreams were exalted. Hence the proliferation of nymphs and exotic dancers as spirits of an intangible world. A dreamlike vision of life was emphasised, taking us into magical universes populated by enchanting and sibylline beings such as those who inhabit this work: young, almost adolescent nereids, who invite us with insinuating glances to immerse ourselves in their habitat. The bright colours, the gracefulness of the bodies, the linear arabesque to mark the voluptuousness of the bodies and hair are characteristic elements of unreal worlds.
Lot 64
PIERRE PUVIS DE CHAVANNES (Lyon, 1824-Paris, 1898)."Young Man Seated, Writing".Black pencil on paper.With stamp of the Atelier in the lower right area.Enclosed is a certificate issued by Robert Schmit.This drawing, which was part of the collection of the Viscount of Carcoradec, was included in the exhibition "Aspects de la Peinture Française, 19ème et 20ème siècles"- Galerie Schmit-Paris (May-July 1978).Size: 30 x 17 cm; 54 x 41 cm (frame).Pierre Puvis de Chavannes trained at the Ecole Polytechnique in France and later in Italy. He closely followed the work of Eugène Delacroix and Thomas Couture. He exhibited at the Salon of 1850 and in 1854-1855 he painted frescoes and murals in Amiens and the Pantheon in Paris. He worked in the French capital as a teacher of several Norwegian painters such as Betzy Akersloot-Berg, Helga Marie Ring Reusch, Lisbeth Bergh, Ingerid Dahl, Signe Scheel and Marie Tannæs. In 1890, he was one of the founders of the Société Nationale des Beaux-Arts, of which he later became president. Thanks to his success, Puvis tackled decorations in public buildings in Europe and the United States. His style belongs to the Symbolist trend, as his themes are mainly fantastic and allegorical. The protagonists of his paintings are figures with a timeless appearance, with a certain Mediterranean and even medieval roots.
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