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Lot 73
Jane Strother - Clementines - a signed limited edition print, still life and flowers, signed, tilted and numbered 31/100 in pencil to lower margin, 42 x 47cm, glazed frame, along with five other framed and glazed gallery and other miscellaneous prints, to include a Gallerie Paschas Exhibition print for the artist Calude Flach (6)
Lot 589
GAVIN BONE (1907-1942). FOUR FRAMED DRAWINGS. Comprising `Posy in Jar`, 24 x 19cm,; `Night Milk`, 24 x 14.5cm.; Still Life, 1934, a gift to Stephen Bone and so inscribed, 27.5 x 21.5cm.; and `The World as Known in 1300 to Marco Polo` (1919), all signed, various media (4). * Some foxing. **BP 22.5% inc VAT + Lot Fee of £8
Lot 622
STEPHEN BONE (1904-1958). FOUR UNFRAMED OILS ON CANVAS. (d) Comprising a Still Life of Flowers in a Jug, 55 x 46cm; a Portrait of the late E V Lucas, label verso, 51 x 61cm.; another Portrait of a Lady, 61 x 51cm.; and a small landscape sketch, 25.5 x 30.5cm. (4). * Generally good condition. **BP 22.5% inc VAT + Lot Fee of £8
Lot 1430
19TH CENTURY ENGLISH SCHOOL; watercolour, still life of a Chinoiserie teapot and fan, initialled and dated 1869 lower left, 31.5 x 22cm, with a watercolour of a hay field by T.A. Hancock, with Laing Art Gallery label verso (2)Additional InformationImages generally clean and bright, the smaller watercolour perhaps with slight toning to the left hand edge, and odd slight fox mark.
Lot 17
A scarce and unusual Second War ‘1942’ military division O.B.E., ‘Iraq 1920-21’ D.F.M. group of six awarded to Aircraftman 1st Class, later Colonel, R. Hayne, Royal Air Force and Royal Army Ordnance Corps, who distinguished himself whilst serving with 30 Squadron over the newly formed Kingdom of Iraq, and stayed on in the Middle East for the inter-war years after his discharge. Obviously having made a success of himself, and now proficient in Arabic, Hayne re-engaged at Cairo for commissioned service with the R.A.O.C. during the Second War The Most Excellent Order of the British Empire, O.B.E. (Military) Officer’s 2nd type, breast badge; Distinguished Flying Medal, G.V.R. (39018 A.C.1. R. Hayne. R.A.F.); 1939-45 Star; Africa Star, 1 clasp, 8th Army; Defence and War Medals 1939-45, with M.I.D. oak leaf, mounted for display, generally good very fine (6) £2,000-£2,400 --- O.B.E. London Gazette 18 February 1943: ‘In recognition of gallant and distinguished service in the Middle East during the period May 1942 - October 1942.’ The original recommendation states: ‘This Officer has shown exceptional devotion to very responsible duties connected with fighting and other vehicles. He has also shown outstanding merit during two major reorganisations of his depot during a period of unprecedented activity and expansion. These high qualities have contributed considerably to the course of operations in the Middle East generally, and particularly during the present crisis in the Western Desert. He has set an inspiring example to all by his tenacity of purpose, organising ability, untiring efforts, leadership and absolute selfless service to the fighting troops.’ D.F.M. London Gazette 10 October 1922: ‘For distinguished services rendered during active Service operations in Iraq during 1920-21.’ M.I.D. London Gazette 1 April 1941: ‘For distinguished service in the Middle East during the period August 1939 - November 1940.’ Richard Hayne was born in Dorking, Surrey in January 1901, and entered the Royal Flying Corps as a Boy in July 1916. He was still mustered as a Boy on the formation of the Royal Air Force in April 1918, and is shown as being at the Recruits Depot on that date. Subsequent postings included C.F.S. Upavon, Eastchurch, No. 1 Aero Repair Department Farnborough, then again to C.F.S., and from there to 63 Squadron in Mesopotamia in July 1919. Hayne was posted as Aircraftman 1st Class to 30 Squadron (D.H.9A’s), Baghdad West, 1 March 1920, and it was for his service with the Squadron that he was awarded the D.F.M. The Squadron, commanded by Squadron Leader R. Collishaw, D.S.O. and Bar, D.S.C., D.F.C., was employed as one of the permanent squadrons in Iraq, engaged with providing security for the new kingdom. Hayne was posted to Amman, Trans Jordan in February 1922. The latter was the base for 14 Squadron and an Armoured Car Squadron. Hayne was transferred to the Reserve in January 1923, but more or less immediately recalled for Reserve Service, before finally discharged locally, 8 January 1924. Unusually, his address on discharge was given as ‘c/o Chief British Representative, Amman, Trans Jordan.’ Hayne appears to have decided that his civilian future lay in the Middle East, and he remained there throughout the inter-war years. Hayne was awarded a Regular Army Emergency Commission in the Royal Army Ordnance Corps in September 1939. He joined at Cairo, and declared his previous service with the R.F.C. and R.A.F., claiming linguistic talent in Arabic, but choosing to make no reference to his D.F.M. Hayne also provided proof of a Class ‘A’ Private Pilot’s Licence. He advanced to Temporary Colonel in October 1943, and served during the Second War in Egypt, Libya, Palestine, the United Kingdom and finished in Egypt. Hayne relinquished his commission, 26 March 1946, and was granted the Honorary Rank of Colonel. In later life he resided at 34 Cheniston Gardens, Kensington, London. It is unusual that Hayne did not declare his D.F.M. on entry into the Army, for he is known to have worn it after the Second World War. Indeed, he also wore a G.S.M., with ‘Iraq’ clasp which was named to a native - a medal to which he was not entitled. Hayne is not listed on the Iraq clasp medal roll, nor is there any reference to the award of the medal on his Record of Service (as a consequence the medal was removed from the group by the current vendor). His R.A.F. Record of Service, however, suggests that he was entitled to the BWM and VM (authorised on 8 January 1923 - the day before his discharge), but again this is incorrect. Hayne never saw service outside of the UK during Great War operations. Had he received them, he would surely have worn them, given his willingness to wear a G.S.M. to which he was not entitled! Sold with copied research.
Lot 412
The emotive and extremely well-documented P.D.S.A. Dickin Medal for Gallantry - “The Animals’ V.C.” - and R.S.P.C.A. Red Collar for Valour awarded to War Dog Rob, for his gallantry and outstanding service during the Second World War, during which he undertook 20 parachute descents while serving with Infantry in North Africa and the 2nd S.A.S. Regiment in Italy People’s Dispensary for Sick Animals Dickin Medal for Gallantry, bronze, the reverse inscribed ‘“ROB” War Dog No. 471/322 Attached 2nd. S.A.S. Regt. February 1945 A.F.M.C. No. 998 11’, pierced with ring suspension, and attached by riband to the recipient’s Royal Society for the Prevention of Cruelty to Animals Red Collar For Valour leather collar, this complete with integral R.S.P.C.A. For Valour medallion, with accompanying campaign ribands for the 1939-45 Star, Africa Star and Italy Star, good very fine (lot) £20,000-£30,000 --- Instituted by Maria Dickin, C.B.E., the founder of the People’s Dispensary for Sick Animals, in 1943, the Dickin Medal has since been awarded on 71 occasions - 32 of them going to pigeons, 34 to dogs, 4 to horses, and 1 to a cat. The vast majority (and all those awards to pigeons) were granted in respect of acts of bravery in the Second World War, but more recently a number of awards have been made to Arms and Explosives Search Dogs of the Royal Army Veterinary Corps for their gallantry in Iraq and Afghanistan. P.D.S.A. Dickin Medal for Gallantry awarded 8 February 1945. The accompanying P.D.S.A. (The People’s Dispensary for Sick Animals) and A.F.M.C. (Allied Forces Mascot Club) certificate states: ‘This is to certify that Rob, War Dog No 471/322 has been awarded the Dickin Medal for Gallantry for outstanding service including 20 parachute descents while serving with Infantry in North Africa and SAS Regiment in Italy. Signed M. E. Dickin (Founder). Inscription to the reverse reads: ‘War Dog No 471/322 “Rob” took part in the landings in the North African campaign with an Infantry unit. Since September 1943, he has served with a Special Air Force Regiment and took part in operations with that Unit in Italy, most of which were of an unpleasant nature. He was used as patrol and guard over small parties who were lying up in enemy occupied territory. There is no doubt that his presence with these parties saved many of them from being discovered, and thereby captured or killed. The Dog has made over 20 parachute descents.’ Rob, a black-and-white collie-retriever, was bought as a puppy in 1939 for 5 shillings, and lived his early years with the Bayne family of Tetchill, Ellesmere, Shropshire, as their farm dog and pet. When Rob was still a small puppy, he went on an exploration beyond the boundaries of Tetchill and was brought home by John Brunt, then a schoolboy at Ellesmere College. John became a frequent visitor, taking Rob for walks when time allowed. After leaving college John joined the army and led a distinguished career until he was killed in action. On the day that Rob received the ‘animal V.C.’, it was announced that John had been posthumously awarded the V.C., a strange but sad coincidence that the boy and a dog who roamed the Shropshire fields together should both have received the highest honour. At the time of receiving the award, his owner, Edward Bayne, told the Oban Times how caring he had been as a farm dog: ‘He used to help settle the chicks in their houses at night, picking them up in his mouth when they had strayed away - he had a wonderful mouth - and tucking them in under their mothers.’ The Baynes’ son, Basil, had learnt to walk by holding onto Rob’s tail or clutching his coat, and if the child was crying Rob put his front paws up on the pram, soothed him and made him laugh. Rob’s owners volunteered him as a War Dog in 1942 and he was signed up on 19 May of that year. Following action in the North Africa campaign, from September 1943 Rob served with the Special Air Service Regiment (SAS), the first war dog to do so. With the regiment, he took part in operations in Italy, parachuting in on sabotage missions. According to official War Office records, Rob completed more than 20 parachute descents, 3 of them operational. An account included with the lot gives further details of his war-time exploits: ‘At nearby Sousse, the 2nd S.A.S., then virtually unknown, had their training base. Captain Burt was a very worried man. The commanding officer was away ill and stores were disappearing in a most disconcerting way. Captain Burt asked the holding section for 2 dogs. One developed skin disease and was returned - the other was Rob, who proved more than equal to the task. He soon became race conscious and pilfering Arabs became honest men over night! It was from there that the 2nd S.A.S. practised their parachute drops and one day the men smuggled Rob up in the plane for a ride. It was all they could do to prevent him from jumping out after the men. So they borrowed a harness from a nearby American base who were trying to train dogs to jump and on the next flight up, again took Rob with them. This time Rob jumped and on landing the men ran to him to release him from the parachute. He had made a perfect drop, falling silently without panic through the air. It was only at this point that the commanding officer was informed of the fact that Rob had been airborne and from then on his training began in earnest.’ The account tells how Rob later completed three separate sabotage missions behind enemy lines. A letter from Jennifer Hodges, daughter of Victor (Sam) Redhead, Rob’s S.A.S. handler, confirms Redhead’s account of how Rob would ‘eagerly parachute ahead of my father and his S.A.S. group and then bring them together as soon as possible after they had landed’. The letter continues: ‘While the soldiers were sleeping Rob would patrol round them and lick their faces to bring them to instant wakefulness at the slightest sound. On one mission, he went missing for five weeks but in that time he rounded up all the widely scattered members of his 2nd S.A.S. patrol and they returned home safely’. (letter included with lot refers). Rob was the first War Dog attached to the S.A.S. to be awarded the ‘animal V.C.’, and was reportedly the only War Dog to have been nominated for the Dickin Medal by the War Office. He was presented with his Dickin Medal by Major the Hon. W. P. Sidney V.C. M.P. (later Viscount de L’Isle, V.C., K.G., G.C.M.G., G.C.V.O.), the Anzio beachhead hero, at a ceremony at the Prisoner of War Funds Exhibition in London on 8 February 1945. Demobilised on 27 November 1945, Rob led the Wembley Parade of 32 war dogs on 16 July 1947 in front of 10,000 spectators, being the only dog present to hold both the Dickin Medal and the R.S.P.C.A. Red Collar and Medallion for Valour. Following his wartime exploits, Rob was returned to the Baynes and settled back into family life on the farm, occasionally making public appearances to help raise funds for returning Prisoners of War and their families. In February 1948 he disappeared for five days with his companion, the Baynes’ other dog, Judy, a spaniel. Extensive press coverage accompanied the disappearance, with some papers expressing the fear that Rob might have been kidnapped, The Daily Graphic describing him as ‘the no. 1 canine hero of the war’. Five days later he was found by a neighbouring farmer, his face gashed and suffering from exhaustion, with Judy standing guard over him, his collar and ribbon missing. It appeared that he had been caught in a rabbit hole. His damaged collar, now missing its buckle, was later recovered, an...
Lot 69
Studio of Joseph Wright of Derby (British, 1734-1797)Portrait of Sir Richard Arkwright, full-length, wearing a brown coat and yellow waistcoat, seated beneath a red curtain beside a table on which is a set of cotton spinning rollers Oil on canvas244 x 152.5cm (96 1/16 x 60 1/16in).UnframedFootnotes:The present composition is derived from the prime version by Joseph Wright of Derby, which was destined for Bakewell, the residence of the sitter's son, Richard Arkwright Junior, and delivered there before 3rd March 1790 (see: B. Nicolson, Joseph Wright of Derby, no. 323, when in the collection of Col. Peter Arkwright, and now on loan to the Derby City Art Gallery). Nicolson pointed out that Wright's vision of the industrialist is 'the same as that of Carlyle, who describes Arkwright as that 'plain, almost gross, bag-cheeked, pot-bellied Lancashire man, with an air of painful reflection, yet also of copious free digestion ...'' He also suggested that it was perhaps 'because aspersions had been cast on his qualifications as an inventor, he preferred to be shown accompanied, not by a plan of his industrial empire, the creation of his own undoubted genius, but by a model of the spinning frame he claimed to have invented ...' What Nicolson describes as 'This beautiful fragment of still life', which is a focal point of the present portrait, was 'the one object Wright guarded in his studio from romping sons, daughters and nieces – it is a faithful replica of the machine that revolutionised the cotton industry and remained the basic model for generations: consisting of a wheel which sets in motion the pairs of rollers of increasing rapidity of rotation, resulting in the production of a hard and firm thread calculated for warps, just as Hargreaves's spinning jenny was adapted for spinning weft, so that the two machines, in spite of occasionally coming into conflict, together transformed the economic structure of England.' (see fig. 1). Richard Arkwright (1732-92) came of a poor family in Preston and settled as a young man in Bolton as a barber, but later moved to Nottingham in 1768, then the centre of the manufacture of cotton hosiery, a profession in which he saw better prospects of developing his gifts as an organiser. Here he was provided with sufficient funds by Jedediah Strutt (see Lot 73) and Samuel Need to improve existing machinery for the manufacture of cotton and to run a cotton factory by horse power. Three years later he moved to the then unexploited district of Cromford near Matlock, where he built in partnership with Strutt and Need the nucleus of the Cromford Cotton Mills, to be run by water power. This move has been described as one of the turning-points in the history of the factory system. As well as Arkwright's social ambitions in the upcoming neighbouring spa town of Matlock Bath, he also had ambitions as an inventor, and during these early years at Cromford was engaged in perfecting a water spinning frame and improving on traditional methods of carding cotton. His enterprises were later to extend to Matlock, Bakewell and elsewhere, including on the banks of the Clyde. By the late 1780s he had been honoured with a knighthood and the Sheriffdom of the County of Derby, dying in 1792 one of the richest commoners in Britain. Sir Richard's legacy has divided opinions from the time of early eulogies that praised his achievements, combined with the controversy relating to the patents over his 'inventions'. Yet Arkwright's defeat in the patent trials should not detract from his skills as a businessman and an innovative production manager and the surviving Cromford machines are testimony to Arkwright's perseverance and the machine maker's art. The mill style Arkwright adopted, became, for a time, the industry's pattern. His biographer in the Oxford Dictionary of National Biographer proclaims him to be 'the archetypal self-made man'. As a master of water power and an imaginative builder 'Arkwright's achievement was to combine power, machinery, semi-skilled labour, and a new raw material to create, more than a century before Ford, mass production.'As per the other Arkwright portraits, this portrait may have been commissioned to replace that which was delivered to Stoke Hall while Willersley was completed. It probably remained at Stoke Hall until the house was sold in 1839. It was certainly acquired by John Arkwright from the home of his brother Charles Arkwright, Dunstall in Staffordshire. Unlike the other portraits (below), this formed part of a sale at Dunstall, after Charles's death in 1850. John's brother Peter wrote to John at Hampton Court, Herefds, 'I saw James the day before the Pictures were to be sold at Dunstall and told him to buy in the portrait of my GFather, expecting you would wish to have it, which you see by the enclosed scrap was done – for £50-'. It most probably arrived at Worcester with the other portraits, around May day 1852. It too is listed as hanging in the Dining Room at Hampton Court, Herefds in the inventory taken after the death of John Arkwright in 1858. '1 do [Portrait] Sir Richard Arkwright full length copy from original by Wright Derby'. It moved with Jack Arkwright from Hampton Court to Kinsham Court, Herefds in 1911, where it hung, without frame, set into the panelling of the first floor Schoolroom. With thanks to Catherine Beale for her historical guidance and research on this lot.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 41
"TINO", CONSTANTINO GRANDIO LÓPEZ (Santa Olalla de Lousada, Lugo, 1924 - 1977)."Still life in Alicante", 1974.Oil on panel.With traces of an exhibition label on the back (Alicante).It has slight flaws in the pictorial surface located in the upper left area.Signed and dated in the lower right corner.Measurements: 58 x 90 cm; 64 x 96 cm (frame).Grandio's painting always oscillates between neutral tones, especially white in contrast with black, in such a way that this work stands out for the presence of the warmth provided by the yellow colour of the cheese, which transmits luminosity to a scene which, due to the fluidity of the brushstroke, seems to show a dream, rather than a set of concrete elements which form part of a kitchen. With great subtlety the author idealises the concept of the still life, reducing to a minimum the objects and food that make it up, as well as the space in which they are found, whose treatment is based on broad brushstrokes of the same chromatic range, which give a great lyricism to a totally indeterminate atmosphere.Tino Grandio studied high school in Lugo and then moved to Santiago, but soon abandoned his studies to devote himself definitively to painting. In 1949 he went to Madrid, where he was assisted by the sculptor Cristino Mallo and the painter Díaz Caneja, becoming part of the Madrid School group. In 1955 his work was selected for the Hispano-American Art Biennial held in Barcelona, and he made his solo debut in 1957 with an exhibition at the Dirección General de Bellas Artes in Madrid. Since then he has held numerous solo exhibitions in Madrid, Barcelona, Lisbon, Paris, New York, Munich and Alexandria. He also took part in group exhibitions in Europe and South America. An award-winning painter since his youth, he won the Lugo provincial prize in 1944, and since then he has been awarded other important prizes such as the Stanley Kramer (1956), Cance (1960) and Unicef (1968) prizes, and was awarded first prize at the Anthological Exhibition of the Círculo de las Artes in Lugo (1964), grand prize and medal of honour at the first Galician Biennial (1966), and the International Grand Prize for Painting at the Marbella Biennial (1971). He took part in the National Exhibitions of Fine Arts, being awarded the third medal in 1962, the second in 1964 and the first in 1966. In 1963 he was awarded the Grand Prize of the General Directorate of Fine Arts. In 1965 he was awarded a scholarship by the March Foundation. After his death, several anthological exhibitions were dedicated to him in different parts of Galicia, sponsored by the Fauna gallery, among which the Homage Exhibition held in the Provincial Council of Lugo in 1979 stands out. In 2005, the Museum of Fine Arts of La Coruña dedicated an anthological exhibition to him entitled "Painting with the mists". Tino Grandio is currently represented in the Centro Galego de Arte Contemporánea de Santiago de Compostela and in the Museo de Arte Contemporáneo de Madrid, as well as in many other museums in Spain, Europe and America.
Lot 208
DISCO / SOUL / RNB - 12" COLLECTION. Lose yourself in this great collection of (almost entirely) 61 x 12". Titles / Artists include Javine - Surrender (Your Love), Kool and the Gang - Celebration, Soul 2 Soul - Keep On Movin Remix, Soul 2 Soul - Get a Life, Soul 2 Soul - Joy, Soul 2 Soul - Missing You, Sybil - Walk On By, En Vogue inc. Hold On, Lies (2 x copies), To Sing, Love Don't Love You and Runaway Love, George Benson - Shiver, The Chimes - Heaven, Chaka Khan - Never Miss the Water, The Chimes - I Still Haven't Found What I'm Looking For, Lisa Stansfield - Live Together (New Version) and Anita Baker - Sweet Love. The condition is generally VG+ to Ex / Ex+.
Lot 221
PAT METHENY/KEITH JARRETT - LP COLLECTION. Superb collection of 24 x LPs (14 x Metheny, 10 x Jarrett) featuring these Contemporary Jazz legends! Metheny titles include Secret Story (quickly deleted double 1992 EU original on Geffen, GEF 24468 - lovely Ex+ and Ex condition records/with printed inners without splits/Ex very clean sleeve), Letter From Home (924 245-1), Still Life (Talking), Question And Answer, Rejoicing, First Circle, Watercolors, American Garage, New Chautauqua, Bright Size Life, Works, Travels and 80/81. Jarrett titles include In The Light, The Celestial Hawk, Standards, Vol 1, Belonging, Changes, Luminessence, The Survivors' Suite, Arbour Zena and Still Live. Condition is often neat VG+ tO Ex+.
Lot 530
ATTRIBUTED TO ROBERT NIGHTINGALE (BRITISH, 1815-1895)The After Dinner Table - Still life with grapes, walnuts and a wine glassbears signature and date 'R Nightingale 1875' (lower right); further signed, titled and indistinctly dated (on an old label attached to the backboard)oil on canvas24.5 x 19cm
Lot 531
CHARLES THOMAS BALE (BRITISH, 1845-1925) (2)Still life of fruitsigned 'CT Bale' (lower left)oil on canvas51 x 76cmtogether with an oil on canvas of Still life with fruit by the same hand(2)Condition reportLarger work - Original canvas. Light surface dirt but otherwise good original condition. under glass and held in the original frame. No sign of retouching under ultraviolet.Smaller work - Original canvas; light surface dirt and small area of craquelure, upper left. Otherwise good, overall condition. Under glass and held in the original frame, no sign of retouching under ultraviolet.
Lot 532
EUGENE HENRI CAUCHOIS (FRENCH, 1850-1911)Still life with peonies and other flowers signed 'E Cauchois' (lower right)oil on canvas65 x 55cmProvenancePriory Gallery, Cheltenham by 1986, from whom acquired by Michael Appleby Fine Paintings;Property from a deceased estateCondition reportThe canvas is lined.Fine craquelure and craquelure in places.Otherwise looks in overall generally good presentable condition.Inspection under uv light reveals various areas of retouching to flowers, vase and background areas.
Lot 534
LAURENCE BIDDLE (BRITISH, 1888-1968)Still life with pansies, geraniums, Limnanthes and other flowers signed and dated 'Laurence Biddle 43' (lower right)oil on board29 x 19cmARRProvenanceFrederic Hudd, 1943;Property from a deceased estateCondition reportCraquelure.Bloom visible, especially to upper section.Inspection under uv light reveals some retouching in places including to petals and a little infilling to petals.
Lot 535
WILLIAM THOMAS WOOD (BRITISH, 1877-1958)Still life of marigolds in a green vasesigned and dated 'Wood 1924' (lower left)oil on canvas51 x 41cmARRCondition reportSome surface dirt.A few small marks/scuffs in places.Some scarred areas of what appear to be retouching, mostly around the flowers and stems.Generally appears in good presentable condition.Inspection under uv light reveals various spots of retouching.
Lot 146
Jules Cavailles, French 1901-1977 - Le Tapis Jeune; oil on canvas, signed lower right 'Cavailles' and signed and titled on the reverse, 91.6 x 73 cm (unframed) (ARR) Provenance: Galerie d'Art de Bourg de Four, Geneva; private collection, purchased from the above in February 1981 Note: this work is registered in the Jules Cavailles Research Center This is a classic example of Jules Cavailles¥s work, depicting a scene overflowing with joy and colour. Inspired by the great masters of French painting, such as Henri Matisse and Pierre Bonnard, there is a delicate harmony to this still life composition. The artist moved to Paris in the 1920s, developing an understanding of 20th century French painting and sharing a studio with his friend, Roger Limouse. The artist exhibited at the Paris Salons and later at Arthur Tooth & Sons, London, Findlay Galleries, New York and Galerie Charpentier, Paris. Works are held in public collections including Musee d'Art Moderne, Paris, Walker Art Gallery, Liverpool and Manchester Art Gallery, amongst many others worldwide. Please refer to department for condition report
Lot 147
Jules Cavailles, French 1901-1977 - Des Fleurs; oil on canvas, signed lower right 'J. Cavailles', 92.2 x 70.3 cm (unframed) (ARR) Provenance: Galerie d'Art de Bourg de Four, Geneva; private collection, purchased from the above in February 1981 Note: this work is registered in the Jules Cavailles Research Center This is a classic example of Jules Cavailles¥s work, depicting a scene overflowing with joy and colour. Inspired by the great masters of French painting, such as Henri Matisse and Pierre Bonnard, there is a delicate harmony to this still life composition. The artist moved to Paris in the 1920s, developing an understanding of 20th century French painting and sharing a studio with his friend, Roger Limouse. The artist exhibited at the Paris Salons and later at Arthur Tooth & Sons, London, Findlay Galleries, New York and Galerie Charpentier, Paris. Works are held in public collections including Musee d'Art Moderne, Paris, Walker Art Gallery, Liverpool and Manchester Art Gallery, amongst many others worldwide. Please refer to department for condition report
Lot 151
Henry Cliffe, British 1919-1993 -Still life compositions (with 'Still life composition' on the reverse);gouache on paper, 27.7 x 38 cm: together with 9 other works on paper by the same artist of the same size and smaller (10) (unframed) (ARR)Provenance: the Estate of the Artist; private collection, purchased directly from the above
Lot 198
Jean Cooke, British 1927-2008 - Portrait of a Lady with Flowers; oil on canvas, signed lower right 'J Cooke', 35.5 x 30 cm (ARR) Provenance: purchased by Leonard Manasseh RA directly from the artist; private collection, UK Note: Jean Cooke's sensitive portrait is a tender depiction of a young lady, her body morphing into the background and still life composition, reminiscent of the work of Gwen John. This work was originally owned by the architect Leonard Manasseh OBE RA (1916-2017), who was a fellow RA and sat on the selection committee with Cooke for the 1984 RA Summer Exhibition. Cooke exhibited in the 1960s with the Leicester Galleries and her work is now in public collections including the Ruth Borchard Collection, Tullie House Museum and Art Gallery and the Tate. Cooke's work was recently exhibited to much acclaim in the exhibition 'Postwar Modern, New Art in Britain 1945-1965' at the Barbican Centre, London. Please refer to department for condition report
Lot 199
John Bratby RA, British 1928-1992 The Scrapyard, 1958; oil on board, signed lower left 'John Bratby', 121.8 x 182.5 cm (ARR) Exhibited: The Millinery Works, London, 'John Bratby: A Famous Unknown', 3rd - 18th November 1999 (according to the label attached to the reverse) Literature: Peter Davies, 'Bratby', Old Bakehouse Publications, 2002, illus. p.74 Note: Peter Davies refers to this painting as a 'masterpiece among a group of pictures that made inadvertent commentary on the waste and expendability of the burgeoning consumer society. The heaped pile of junk took Bratby's cluttered still life vision to its natural conclusion.' Many of these outdoor scenes were exhibited at Beaux Arts Gallery, London in 1959, the artist's final show with the gallery. The works are a natural denouement to the artist's seminal 'Kitchen Sink' period. Please refer to department for condition report
Lot 23
Henri Lebasque, French 1865-1937 - Still life, chair & drapes; pencil on paper, signed lower right 'H Lebasque', Provenance: with Gimpel Fils, London GF15308 (according to the label attached to the reverse); private collection Note: attached to the reverse of the frame there is a copy of a note from the artist's son which reads, 'I, myself, Pierre Lebasque, declare that the group of drawings by my father, Henri Lebasque, are authentic works that have not left the family, 26th August 1969'.Please refer to department for condition report
Lot 380
Vladimir Polunin (Russian, 1880-1957)Still life with fruitsigned and dated 'V.Polunin 1926' l.l., also signed and inscribed on label verso, oil on canvas36 x 31cmProvenance: The Estate of Sir Jack and Lady Baer.Condition ReportFramed size: 51 x 46cm.Light undulations to the canvas, light surface dirt, generally appears to be in original condition, not viewed under uv light, please contact department for a full report.
Lot 15
Warrior. China, Han Dynasty, 206 BC-220 AD.Polychrome terracotta.Measurements: 43 x 15.5 x 12 cm.Figure of excellent quality, representing a warrior, made in terracotta and decorated with polychrome.The Han dynasty ruled China for more than four centuries, during which the political, social and economic structures of China were consolidated, leading the country to the most glorious period of its history. The art of this period is still predominantly funerary, although it reflects the very high artistic level that would be reached in both the capitals and the provinces. These preserved objects provide us with information about the daily life and customs of the time, as the art becomes much more mundane than the bronzes of the Zhou and Shang periods. The structures of the tombs also changed: the Shang tombs were vertical, while the Han tombs were built in the form of underground palaces. They were decorated with reliefs stamped with scenes from the life of the deceased, and a new material, lacquer, was introduced as an artistic medium. Most famous today, however, is the production of Han pottery, made of terracotta and decorated with cold-applied engobes, mainly black and red.
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