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Lot 1286
Leo McDowell (1936-2011) - Four limited edition colour prints, comprising Cliffside, visible sheet dimensions 46.5 x 23cm; Golden Cups, visible sheet dimensions 43.5 x 18.5cm; Landscape I, visible sheet dimensions 33.5 x 33.5cm; and a Still life study with cello and bust portrait, visible sheet dimensions 32.5 x 28cm, each signed and numbered in pencil to the lower margins, the first three examples being artist proofs from editions of 10 (4)
Lot 249
Pinchus Kremegne (Belarussian/French 1890-1981): Still Life of a Stoneware Jug Bottle and Fruit, oil on canvas laid on board signed 53cm x 43cmNotes: Kremegne was a Lithuanian Belarusian Jewish-French artist, primarily known as a sculptor, painter and lithographer. He was a native of Zhaludak near Lida, now Belarus, and was a friend of both Chaim Soutine and Michel Kikoine. He studied sculpture at the Vilnius Academy of Art died at Ceret France.Condition Report: Very good condition, ready to hang
Lot 234
Owen Bowen (Staithes Group 1873-1967): Still Life of Pink Flowers, oil on canvas laid on to board signed 50cm x 40cm Provenance: by direct descent through the artist's family, never previously been on the marketCondition Report: Good original condition, no signs of overpainting visible under UV light.
Lot 233
Frederic William Jackson (Staithes Group 1859-1918): Still Life Flowers in a Stone Vase, oil on canvas signed 73cm x 60cmProvenance: with Richard Green, New Bond Street, London, Stock No.RH717Condition Report: Excellent condition, shows no sign of overpaint or restoration under UV lightWell presented in quality frame, ready to hang
Lot 161a
Martin Whatson (Norwegian 1984-), ‘Still Life 2’, 2016, hand-finished archival pigment print in colours on wove paper, signed, dated, and inscribed PP in pencil, aside from the regular edition of unique 75 works, published by Graffiti Prints; sheet: 73.5 x 56.5cmARR sheet: 73.5 x 56.5cm In Very Good Condition No knocks, tears or creases to the sheet This work has never been framed In Very Good ConditionAccompanined by a Graffiti Prints Certificate of Authenticity
Lot 251
NADIA BENOIS (RUSSIAN 1896-1974) Still life with flowers Oil on canvas Signed and dated '40 lower right 80cm x 65cm Condition Report : frame and canvas in good, original condition Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Lot 418
Oliver Clare (British, 1853-1927), Still life of Peaches and Strawberries, oil on canvas painting in gilt ornate frame. Signed ‘Oliver Clare’ to lower right. 24.5cm x 18cm. Oliver Clare was born to renowned still-life artist George Clare, a family famed for their distinctive still-life works. Oliver spent most of his artistic career in Birmingham and exhibited several times in Birmingham, Manchester & Liverpool.
Lot 347
Barton S. Hays (American, 1826-1914). Group of two oil on board still life paintings. One depicting red roses against a deep green background. The other depicting peaches, grapes, and apples on the table against a light green background.Although Hays initially gained popularity for his portraiture - such as his painting of then-governor of Indiana, William Henry Harrison - his focus shifted to still life paintings after his move to Minneapolis and it was these realistic paintings that were his most popular. He also created panorama paintings such as his painting depicting scenes from Harriet Beecher Stowe's iconic novel "Uncle Tom's Cabin."(Rose) Sight; height: 7 1/2 in x width: 5 1/2 in. Framed; height: 9 in x width: 7 in. (Fruits) Sight; height: 5 1/2 in x width: 8 in. Framed; height: 7 in x width: 9 1/2 in.Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
Lot 389
Le Pho (Vietnamese, 1907-2001). Oil on canvas painting titled "Fleurs" depicting a still life of a white vase overflowing with brightly blooming flowers. Signed along the lower right. With a label from Wally Findlay Galleries along the verso.Provenance: Wally Findlay Galleries, September 2, 1977; Private Minnesota Collection.Lot Essay:Le Pho was born in Vietnam in 1907. As a child, he was constantly finding opportunities to make art. As the son of the Viceroy of Tonkin, he had the opportunity to study art at the newly established Ecole des Beaux-Arts in Hanoi under Victor Tardieu (1870-1937), a well-respected French painter. In 1931, he traveled to France with Tardieu, where he studied at the Ecole des Beaux-Arts in Paris on a scholarship. He then traveled to Italy to do research, also visiting the Netherlands and Belgium in his tour of Europe.After returning to Vietnam, Le Pho became a professor at the Ecole des Beaux-Arts in Hanoi. During his professorship, he decided to continue his education by making trips to China to study and make art. While in China, he studied traditional Chinese sculpture, visited museums, and even had the opportunity to paint the Emperor and Empress.In 1937, he was sent to Paris to work on the Indochina Pavilion at the International Exposition of Art and Technology in Modern Life. He stayed in France after the Exposition, where he found great success as an artist. His first solo exhibition was in 1938, and soon after, his work began getting international exposure. His works were widely distributed, particularly in the United States because of an exclusive contract he signed in 1964 with Wally Findlay Galleries, an American company.Despite his expatriate status, Le Pho kept close ties to his homeland. He was active in the Vietnamese community in Paris, and worked with Vietnamese dignitaries and intellectuals to advocate for better treatment of the colonized Vietnamese people. His ties to his homeland are also evident in his subject matter. His paintings featured women and flowers, which he depicted in ways influenced by Vietnamese traditions and aesthetics.Sight; height: 19 in x width: 23 1/2 in. Framed; height: 28 in x width: 31 in.Condition: The colors are bold and bright. There are no creases, rips, or restorations. Along the darkest green areas of the bouquet there is craquelure and some cupping. There a few small losses to the paint layer, exposing the white canvas underneath. This is localized only to the darkest areas of green leaves. Some light wear along the extreme edges of the painting where the canvas and rabbet meet. Clean verso. Light wear to the frame with some small losses to the gilt plaster along the extreme edges; visible in the lot listing.
Lot 385
Ivon Hitchens (English, 1893-1979). Oil on canvas still life painting titled "Poppies on a White Ground" depicting flowers in a vase, 1973-75. Signed along the lower right. Painted in the artist's characteristic style with vibrant and bright colors. With a label from Waddington and Tooth Galleries along the verso. Included is an exhibition poster from the artist's Retrospective exhibition at the Royal Academy of Arts in London which ran from March 21 to April 25, 1979.Provenance: Roger Sherman, Esq.; Waddington and Tooth Galleries, Ltd., London; Private Minnesota Collection.Lot Essay:Ivon Hitchens was the son of landscape painter Alfred Hitchens. He studied at St. John's Wood School of Art and the Royal Academy in London during World War I. In 1922 he became the founding member of the Seven and Five Society and began exhibiting his work that same year. He subsequently became a part of the "London Group" in the 1930s. This group included Barbara Hepworth, Henry Moore, Naum Gabo, Paul Nash, Ben Nicholson, and Leon Kossoff. His work during this period was often painted with natural earth-tones such as muted greens and browns.In 1940 during World War II, his home and studio in Hampstead was destroyed during a bombing, forcing the artist to relocate. He and his wife Mollie settled in Sussex where they lived first out of a caravan which he then gradually supplemented with additional buildings. The six acres of woodland that they moved to became his home and muse for the next 40 years.The muted tones that characterize his early works were replaced with a brighter palette. Landscapes became his forte, utilizing abbreviated fields of color perceived from a landscape instead of exact renderings. His work changed little after his move to the countryside and he remained consistent in his style until his death in August of 1979. The present work is an excellent example of his countryside paintings. His palette includes energetic reds to represent the poppies, bright blue for their vessel, and vibrant yellow and green as the background. The white ground allows the colors to pop forward, engaging the viewer.His work was part of the 1956 Venice Biennale and his paintings are now in the collections of the Tate Gallery in London, the National Galleries of Scotland in Edinburgh, and the Courtauld Institute in London. His work has been exhibited through the United Kingdom through the years including a 1979 Retrospective exhibition at the Royal Academy of Arts to as recent as 2019.Unframed; height: 17 1/4 in x width: 41 3/4 in. Framed; height: 27 in x width: 51 1/4 in.Condition: The colors are bold and bright and the surface is stable. When inspected under UV light there does not appear to be any signs of restoration. Clean verso. Framed under a linen mat and glass; some light stains to the mat that does not appear to affect the artwork. Not inspected out of frame. Some wear to the frame.
Lot 350
Barton S. Hays (American, 1826-1914). Oil on canvas painting depicting a landscape with a farmhouse nestled among the trees.Although Hays initially gained popularity for his portraiture - such as his painting of then-governor of Indiana, William Henry Harrison - his focus shifted to still life paintings after his move to Minneapolis and it was these realistic paintings that were his most popular. He also created panorama paintings such as his painting depicting scenes from Harriet Beecher Stowe's iconic novel "Uncle Tom's Cabin."Height: 10 1/2 in x width: 13 in.Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
Lot 316
Walton Ford (American, b. 1960). Engraving, drypoint, and aquatint on wove paper titled "Nantes" depicting a monkey attacking a parrot with a disrupted still life in the foreground, 2009. Pencil signed and dated along the lower right; numbered 23/65 along the lower left. Published by Paul Kasmin Editions, New York. From an edition of 65 along with 25 artist proofs.Inspired by the works of John James Audubon, Ford repositions the animals in his works into chaotic and violent scenes. His works are a commentary on the history of colonialism, slavery, and oppression. He also forms a commentary on the ways in which Audubon collected his specimens, often killing the creatures in order to draw them as alive.Sight; height: 47 1/2 in x width: 36 1/2 in. Framed; height: 52 1/4 in x width: 41 in.Condition: No visible tears, creases, or losses. The sheet is floating on the frame; all four margins are visible. To the upper right margin, there is a light crease to the sheet. Along the edges of the image, there is light brown areas that are original to the artistic production. Framed under plexiglass; not inspected out of frame. Very light wear to the frame. No visible sign of restoration under UV light.
Lot 349
Barton S. Hays (American, 1826-1914). Oil on canvas painting depicting a scene of a cowboy in black attire moving cattle through a wooded landscape.Although Hays initially gained popularity for his portraiture - such as his painting of then-governor of Indiana, William Henry Harrison - his focus shifted to still life paintings after his move to Minneapolis and it was these realistic paintings that were his most popular. He also created panorama paintings such as his painting depicting scenes from Harriet Beecher Stowe's iconic novel "Uncle Tom's Cabin."Height: 26 1/2 in x width: 20 in.Condition: There is wear throughout the recto and verso. There are stretcher bar marks visible along all four margins. Throughout the recto the varnish is discolored, most noticeably along the lower right quadrant. There is inpainting along the lower extreme edge. Along the extreme edges of the canvas there is wear and losses, especially along the top edge. Along the verso there are several canvas patches indicating restoration. There is a minute one in the lower right corner, two along the left edge, two that are approximately 5 inches long down the center, and most obviously one along the length of the top edge.
Lot 348
Barton S. Hays (American, 1826-1914). Oil on canvas painting depicting a portrait of an elderly man holding an infant, possibly a self-portrait depicting the artist with his granddaughter.Although Hays initially gained popularity for his portraiture - such as his painting of then-governor of Indiana, William Henry Harrison - his focus shifted to still life paintings after his move to Minneapolis and it was these realistic paintings that were his most popular. He also created panorama paintings such as his painting depicting scenes from Harriet Beecher Stowe's iconic novel "Uncle Tom's Cabin."Height: 30 in x width: 25 in.Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
Lot 548
‘….too much to hurt me in a life of which a month will still be devoted to this filthy country….’ CREVEL RENE: (1900-1935) French writer associated with the Surrealist movement. Rare A.L.S., with his initials R.C., one page, 4to, Davos-Platz (Graubunden, Switzerland), n.d. (1934), to Michel Simon, in French. Crevel states that he is still undergoing his cure, remarking 'Qouiqu'il y ait mieux a faire que de compter ses crachats, quand le monde est ce qu'il est' (Translation: 'Although there's better things to do than count your spit, when the world is what it is'), adding that he will have his examination on Monday, but there were still signs of bacteria four days ago, 'Tres peu. Mais trop pour me facher une vie dont un mois sera encore consacre a ce sale pays' (Translation: 'Very little. But too much to hurt me in a life of which a month will still be devoted to this filthy country') and concluding by asking 'Pourquoi Lausanne? Faites-vous la tuberculine?' (Translation: 'Why Lausanne? Do you do tuberculin?'). Accompanied by the original envelope hand addressed by Crevel. Autograph letters signed by Crevel are rare as a result of his suicide at the young age of 34. Some very light, extremely minimal age wear, VGRene Crevel was diagnosed with tuberculosis in 1924 which resulted in him frequently being absent from Paris in order to visit sanatoriums, particularly in Switzerland.
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