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Lot 1
KONCHALOVSKY PETR 1876-1956 Still Life signed and dated 1949 also signed dated and numbered 1535 on the reverse. Oil on canvas 66 by 82 cm. Provenance: Acquired from the artist by the Ministry of Culture of the Soviet Union. Since 1956 held in the private collection of Lord Thorneycroft UK. The painting was presented to Peter (later Lord) Thorneycroft during the official state visit by Nikita Khrushchev during his official visit to the UK in 1956. Literature: P. Konchalovsky. Khudozhestvennoye nasledie. Isskustvo Moscow 1964 p.153.
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*MANEVICH ABRAHAM 1881-1942 Still Life in Red signed. Oil on canvas 84 by 80 cm. Exhibited: Watson Art Galleries Montreal Nov. 1930. Jerome Stavola Galleries Hartford Connecticut Jan. 1935. Academy of Allied Arts Gallery New York May 1933. Rudur Gallery Massachusetts March 1935 USA. French Art Galleries Nov. - Dec. 1941 New York USA.
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Hermione Hammond, 1910 - 2005 Dahlias and daisies Signed; signed, inscribed and titled on an old artist's label attached to the frame Oil on canvas 61x51cm.; 24x20in. (3) To be sold together with Still Life with Glebe Flowers, oil on board, framed, and Still Life with Wine Bottle, oil on board, unframed, by the same hand.
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Roderic O'Conor, 1860-1940 Jeune fille allongee sur le divan rouge Signed; stamped on the reverse atelier O'CONOR Oil on board 47x60cm.; 18.5 x23.5in. Executed circa 1910-11, the model’s pose, with knees raised and hands joined behind her head, was a favourite one that O’Conor returned to in a number of drawings and paintings dating from the first, second and third decades of the twentieth century. He clearly took pleasure in the interplay of angular and curved shapes that the pose afforded, with its alluring combination of openness and modesty. The particular model seen here was painted on several occasions by O’Conor. With her slender forms and full head of hair, she was characteristically depicted in sumptuous settings that exploited richly coloured (especially red) drapes and generously proportioned armchairs and chaises longues. Here, unusually, she looks directly out of the picture at the viewer, drawing our gaze towards her in a fashion that runs counter to the standard intimiste approach of candid observation. O’Conor cleverly deploys bright studio lighting to heighten the contrast between the luminous flesh tones and the saturated colours of the fabrics. No extraneous still life or furnishing props are allowed to detract from the intensity of focus the artist has brought to his subject on this occasion. Jonathan Benington
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Bryan Wynter, 1915-1975 Still life with tea pot And fish Pencil, watercolour and gouache 31x39.5cm.; 12.25x15.5in. (4) Executed circa 1950. To be sold together with three drawings on transfer paper by the same hand. The following works were a design for an unrealised lithograph in three colours. The colours were to be Rose Bengal with ultramarine, Burnt Siena with chrome organe and Hooker's Green. This group demonstrates the use of transfer paper for the making of colour lithographs during the late 1940s and 50s. It was probably commissioned by the Redfern Gallery and Millers Press to be sent to the Master-Printer Louis Ravel in Paris. Exhibited London, Redfern Gallery, British Prints of the Post-War Years, 1986, no. 121
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George Clare - Study of a Bird’s Nest and Rhododendron Flowers within a Naturalistic Setting, and Still Life Study of Plums, Grapes and Raspberries within a Naturalistic Setting, a pair of late 19th/early 20th Century oils on canvas, one signed, each approx 24cm x 19.5cm, both within gilt composition frames. (See Illustrations)
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