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Lot 502
§ Cecil Mary Leslie (British, 1900-1980) Girls with white peacocks, signed lower right ""Cecil Leslie"", aquatint, 35 x 41cm; Naked girl on white bull, woodblock, 18 x 23cm (2) Cecil Mary Leslie (1900?1980) was an engraver, portrait painter, sculptor and illustrator, who painted in a wonderfully evocative Art Deco style in the 1930s. She studied at the Royal Academy Schools, and exhibited from 1923 until 1939 at the Royal Academy; the Society of Women Artists; the Royal Glasgow Institute of the Fine Arts; the Walker Art Gallery, Liverpool; the New English Art Club; the Royal Society of British Artists; the Royal Cambrian Academy of Art; and the Royal Scottish Academy. Cecil Mary Leslie also exhibited in the USA, France, Czechoslovakia, the Netherlands, Australia and New Zealand. Leslie began illustrating children`s books in the 1930s, but was also an aquatint engraver and painter of portraits and still-lifes. She worked mainly in pen and ink, but used watercolours, crayon or chalk to add texture and provide highlights, as seen here. She always drew from life and her illustrations were well researched. Her home was in Blakeney, Norfolk, Girls with peacocks is unframed and has a small tear to the right of the tree. Girl on bull, some foxing and spotting, unframed.
Lot 537
§ John Melville (British, 1902-1986) Still life of yellow tulips in a vase signed lower right ""John Melville"" watercolour 31 x 25cm (12 x 10in) John Melville is one of English art`s neglected modernists par excellence. Working in relative isolation in Birmingham, his compelling hybrid style - a mixture of surrealism and cubism - yielded memorable images of the figure or still life. In spite of his provincial position, he was by no means unknown - he exhibited with leading dealers like Lucy Wertheim and Erica Brausen, won the critical endorsement of Herbert Read and showed many times with the English surrealist group. His later work saw this gifted and individual artist step beyond the influence of Picasso and create wildly expressive landscapes of a disturbing, disquieting or apocalyptic kind. Although generally out of sync with the hedonistic Sixties, Melville nonetheless painted with an imaginative overdrive that broke all stylistic categories and in so doing followed the example of Picasso in anticipating the thematic angst and formal frenzy of 1980s neo-expressionist painting. Melville was a painter`s painter, a natural colourist of breadth, charm and distinction, and a genuine visionary who refused to compromise with the art establishment. The quality always wins out in the long run and Melville reminds us that to have been out on a limb, like Theodore Major in the north, or John Tunnard in Cornwall, could be a symptom of genius at play. Lots of thunderflies under the glass but image is fine.
Lot 1243
An early 19th century part dessert set, comprising a two-handled pedestal comport, two two-handled dishes, three small dishes, a table lamp, converted from a vase and a similar ink well set, the dessert set all with gilt scroll decoration on a Royal blue ground, the centres hand painted with floral still life decoration on a white ground, some numbered '3886', (8)
Lot 594
Clarisse Loxton-Peacock, British 1924-2004, `Still-life with coffee pot`, signed and dated `61, oil on canvas, PROVENANCE: Royal Society of British Artist`s label verso. Exhibited at the 236th exhibition in 1961. With a photocopy of the cover of the exhibition catalogue and listing of the oil paintings. 19½ x 29½in. (48 x 74cm)
Lot 138
Set of two lithographic prints comprising:lithographic print of painting by Raphael entitled St. Paul Preaching at Athens (Detail), originally painted c.1516A section of his large Cartoons which were thought lost and later rediscovered at Genoa in 1623, Charles I instructed Sir Francis Crane, manager of the tapestry factory at Mortlake, London to purchase the Cartoons for £300.The original Cartoons are painted on paper in sized colours; the under-drawing is in charcoal and much of it is still visible. Seven of the Cartoons survive from the series of ten commissioned by Pope Leo X to serve as designs for tapestries which were to be woven in Flanders and hung in the Sistine Chapel. The tapestries illustrate the lives of St. Peter and St. Paul.Print size inches: 8.9 x 6.5 together with lithographic print of drawing by Michelangelo entitled Man Nude, with Proportions indicated, originally drawn c.1515-20Acquired by George III, King of the United Kingdom (1738-1820), by c.1810.Two tones of red chalk. With only two exceptions, the drawings by Michelangelo in the Royal Library were first recorded in the collection of George III. This is one of Michelangelo`s most majestic studies of a nude, possibly intended for teaching purposes having the proportions of various parts of the body indicated. Throughout his life the artist was drawn to the investigation of musculature and form, as reflected in this drawing. Of his few pupils, Sebastiano del Piombo (c.1485-1547) was probably the most adept and it was possibly drawn for Sebastiano as a teaching aid.Print size inches: 6.2 x 9.8
Lot 285
Set of two lithographic prints comprising:lithographic print of painting by Raphael entitled St. Paul Preaching at Athens (Detail), originally painted c.1516A section of his large Cartoons which were thought lost and later rediscovered at Genoa in 1623, Charles I instructed Sir Francis Crane, manager of the tapestry factory at Mortlake, London to purchase the Cartoons for £300.The original Cartoons are painted on paper in sized colours; the under-drawing is in charcoal and much of it is still visible. Seven of the Cartoons survive from the series of ten commissioned by Pope Leo X to serve as designs for tapestries which were to be woven in Flanders and hung in the Sistine Chapel. The tapestries illustrate the lives of St. Peter and St. Paul.Print size inches: 6.8 x 9.5 together with lithographic print of drawing by Annibale Carracci entitled Study for St. Andrew, originally drawn c.1603-4The great collection of drawings by the Carracci in The Royal Library came from two sources; the Albani collection, purchased in Rome for George III, King of the United Kingdom (1738-1820) in 1762, and Consul Joseph Smith?s collection, bought for the King in 1763.Black chalk, heightened with white. A study from the life for the figure of St. Andrew in the picture of the Crucifixion at Munich. The painting is attributed to Carracci`s pupil Domenichino, who would have used the detailed studies of his master`s drawings.Print size inches: 9.3 x 8.7
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