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Lot 100
Oliver Clare (1853-1927) - Oil painting - Still life with plums, gooseberries and strawberries, mahogany panel 4.5ins x 8ins, signed in full in red, inscribed on reverse of panel "Happy Christmas Bob", in modern gilt moulded and swept frame Note : Thought to have been painted on the lid of a cigar box and given as a personal present by the artist
Lot 591
Thomas Gainsborough, R.A. (1717-1788), PORTRAIT OF CHRISTOPHER GRIFFITH JNR. OF PADWORTH, HALF LENGTH, IN A BLUE COAT WITH GILT TRIM, Oil on canvas, 79 x 63cm. Provenance: J.G. Couper, Glasgow by 1937; his sale, at Morrison, McChlery and Company, Glasgow 29 June 1956 (35) repr; I. Austin Kelly III; given by him to Peddie, School; their sale, Christie`s New York, 30 September 2005 (61) repr. col., bt by, the present owner.Literature: Connoisseur, CXXXVIII, November, 1956, p. 194, repr.; E.K. Waterhouse, `Preliminary Checklist, of Portraits by Thomas Gainsborough`, Walpole Society 1948-50,1953, p.71.Christopher Griffith (?1721-76), was the son of another Christopher Griffith, about whom almost nothing is known except that he lived at Winterbourne in Gloucestershire. When the younger Griffith was still a teenager he inherited from his maternal grandfather, Loftus Brightwell, an estate at Padworth south of Reading. He trained as a lawyer and to consolidate the ownership of the estate he married a Brightwell cousin, Anne, who died in 1758, just two years after their marriage. He was a widower for less than a year and soon married, Catherine, a daughter of Sir William St Quintin, who also sat to Gainsborough. St Quintin, a baronet with estates in Yorkshire, kept a house in Bath and became interested in contemporary painting, commissioning landscapes from William Marlow, still-lifes from Stephen Elmer and portraits and landscapes from Thomas Gainsborough. He must have provided Griffith with an introduction to the artist.. There are three identical portraits of Christopher Griffith by Gainsborough. Griffith was MP for Berkshire for the last two years of his life when he may well have presented Reading Corporation with one of the likenesses. Another descended in the family and was recently purchased by Griffith`s Yorkshire descendants. The early provenance of the third portrait, being offered by Sworders, is unknown. It is first recorded in Glasgow in 1937, when it was thought to be a portrait of Robert Budd Vincent R.N., but the identity was soon corrected by Professor Sir Ellis Waterhouse. It was sold to America and has only recently returned to England. The portrait was painted when Griffith was visiting Bath and Gainsborough`s studio had become one of the sights of the city. It is a direct image, uncomplicated and honest, in which Griffith welcomes the beholder with a smile. The dexterity of the artist`s ability to catch a likeness, paint lace to perfection and create a presence is wholly apparent in this canvas
Lot 676
A large quantity of various prints, pictures, frames, and embroideries to include a large photographic print of still life of flowers, tapestries, oil donkey pulling cart and other still lifes. A limited edition "Aberdeen Angus" print after Marion Johns No. 100/450, another "Hereford" No. 100/450 etc. (a quantity)
Lot 20
A ROYAL WORCESTER PORCELAIN POT POURRI VASE, dated 1941, of lobed tapering cylindrical form with pierced cover painted by Richard Sebright, with a vignette still life of apples and blackberries on a mossy ground below a green and gilt moulded arcade border, 6 1/4" high, printed marks in puce, shape 291/H
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