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Lot 79
HOWARD BEHRENS STILL LIFE OIL ON CANVAS OF STREET Howard Behrens (AMERICAN, 1933) oil painting on canvas depicting a street scene with flowers. Signed to lower left. Mounted in black and gold painted wooden frame with matting. Measures 37 3/8" height x 27 1/4" width + 2 1/8" mat & frame (94.9cm x 69.2cm + 5.4cm). Provenance: Wally Findlay Galleries.
Lot 84
NELL BLAINE STILL LIFE OIL ON CANVAS OF FLOWERS Nell Blaine (AMERICAN, 1922-1996) still life oil painting on canvas depicting flowers in vase. Signed to upper left. Mounted in gold and white painted wooden frame. Includes `Night and Day` exhibition pamphlet, March 26 - April 20, 1991 at Fischbach Gallery. Also includes `Nell Blaine Her Art and Life` book by Martica Sawin (signed by Sawin to interior with dedication to the owners of the estate). Measures 24 7/8" height x 20" width + 2 1/8" (63.1cm x 50.8cm).
Lot 205
NANCI KATCHMER STILL LIFE OIL ON CANVAS OF FRUIT Nanci C Katchmer (AMERICAN, 1935 - 1999) oil painting on canvas depicting a still life of fruit: peach, red grapes and pear. White ground with red velvet backing. Signed to lower left. Mounted in wooden frame. Measures 10" height x 8" width + 4 1/4" frame (25.4cm x 20.3cm + 10.7cm).
Lot 1246
The property of a Lady: Sir Matthew Smith (British, 1879-1959): a still life of fruit with a water jug, oil on canvas, signed with monogram bottom left, the stretcher marked 'Henry Roche, 23 Rue Thiers, Aix', 22cm by 28cm, together with a letter from the artist to Mrs Fay Bradford and signed photographs, including one of Tickeridge Mill where the artist and she met.
Lot 321
SCHOOL OF JURIANNE VAN STREKKE "Still life study with books, bust and wine cooler", oil on canvas, unsigned, 140 cm x 100 cm CONDITION REPORTS Overall with large amount of craqueleur to the paint, various repairs and touch-up painted areas, some flaking, small hole to canvas near bottom right corner, canvas and painting in general appears to have some age, although date of painting not known.
Lot 325
CATHERINE M WOOD (? - 1939) "Roses on a ledge", still life study, oil on canvas, signed bottom right, 24 cm x 34 cm CONDITION REPORTS Please note that the picture is oil on canvas (not oil on board), back of picture not visible due to cardboard backing to frame. Canvas is fairly undulating and mis-shapen. There appear to have been a few repairs particularly to the left of the picture, which show up darker under UV light.
Lot 467
Felicity Ferguson (Newcastle, County Down, Ireland), an archive of watercolours, drawings and oil paintings, of various subjects, including landscapes, portraits and life studies (qty) See illustration Condition report Report by Alastair Some framed but mostly unframed: Lots of mounted watercolour/sketches: Some oils on board and canvas: 1x Box of sketch pads 1 x Box of mounted watercolour: 1 x Box of sundry items Report by JB There are a wide array of paintings and prints, of varying degrees of wear. The majority are lightly discoloured. Oils are cracking. Some have been patched. Mounted watercolours have been affected by foxing. Sometimes encroaching on the image. A few of the framed watercolours have survived slightly better, however they still show signs of wear. Please see photos
Lot 512
α William Crampton Gore, a still life of roses in a porcelain bowl, oil on panel, signed and dated 1927, 30 x 25 cm See illustration Condition report Report by JB Discolouration present to the surface, most noticeably around the white flowerheads and base of the bowl, probably caused by tobacco smoke. Speckles of foxing around base and top right and left section. There does not appear to be any major damage of note to the board. Cutting to rear paper of the board would suggest some fiddling at some point Please see illustrations for details
Lot 532
Alfred Walmark, a still life of lilies, oil on canvas, 75 x 54 cm (unframed) Condition report Report by JB The painting signed in the bottom left corner with a capital W in black and marked Alfred Walmark to the rear. Generally grubby, with noticeable dirt or discolouration to the white areas of the flowers. Light cracking to the surface, mainly contained to the centre and stems of the flowers. There is an unfortunate tear to the centre, just left of one of the flowers, ripping right through the canvas and with loss to the sand like staining.
![Manner of Jan David de Heem [18th Century]- Still life, an urn of Summer flowers alongside a basket of Summer flowers, set](http://lot-images.atgmedia.com/SR/35518/2870734/379-201310715432_468x382.jpg)
![* Emmanuel Michel (Many) Benner, [1873-1965]- Still life, `Fleurs`:- signed Many Benner further signed and inscribed on the s](http://lot-images.atgmedia.com/SR/35518/2870734/501-201310715757_468x382.jpg)
![* Winifred Nicholson [1893-1981]- Still life of Garden Flowers:- circa 1972, oil on canvas board 59 x 48.5cm * Provenance.](http://lot-images.atgmedia.com/SR/35518/2870734/520-201310715826_468x382.jpg)
Lot 520
* Winifred Nicholson [1893-1981]- Still life of Garden Flowers:- circa 1972, oil on canvas board 59 x 48.5cm * Provenance. With Crane Kalman Gallery December 1972, where bought by Dr. Gibson, thence by direct family descent. * Biography. Winifred Nicholson was born in Oxford, as Rosa Winifred Roberts. Her mother, Lady Cecilia, was a daughter of the politician George Howard, 9th Earl of Carlisle. Her father, an accomplished artist himself, painted with Winifred from an early age. She attended the Byam Shaw School of Art and Paris and India. She married Ben Nicholson in 1920 initially exhibiting for some while under her maiden name Winifred Roberts. She exhibited at the Mayor Gallery and became a member of the New England Art Club. Unlike her husband Ben she was never really a member of the then newly founded St. Ives School and she never permanently lived there, travelling extensively as she did. She experimented in her own form of abstraction in the 1930`s. Influences between Ben and Winifred were mutual, Ben Nicholson admitting that he learnt a lot about colour from Winifred. After their divorce in 1938, W.N. spent most of her long life in Cumberland. The Tate Gallery had a significant exhibition of her work in 1987, and the Kettle`s Yard Cambridge have a large collection. An auction record was set for her work in March 2011 in London when Sea Treasures, a 1952 work, realised £145,000. `She probably has no equal among Modern British painters, as a colourist of the most exquisite refinement`. P.C. Konody writing in the Observer in 1927.
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77168 item(s)/page