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Click here to subscribeWende (?) Kh., Mitte 20. Jh.Stillleben vor Balkonbrüstung. 1954. Farblithographie, sign., dat., als Künstlerexemplar bez., Randfalze, 74 x 54 cm (PA), hinter Glas mit Pp. gerahmt. Rahmenmaß 93,5 x 70,5 cm Turn (?) Kh., middle of the 20th century. Still life in front of a balcony. 1954. colour lithograph, signed, dated, inscribed as artist's copy, marginal folds, 74 x 54 cm (PA), framed behind glass with paper.
Christiansen, W. (tätig in Norddeutschland, 20. Jh.)Großstadtstraße mit Straßenbahngleisen / Stillleben mit Brot, Tomaten und blauer Kanne / "Feldberg im Schwarzwald". Öl auf Hartfaser, um 1967. Jeweils unten rechts signiert, das Stillleben datiert, die Landschaft rückseitig betitelt. Ungerahmt. Ca 50 x 60 cm. Vereinzelt mit Farbverklebungen. Town street with tram rails / Still life with bread, blue jug and tomatoes / Mount Feldberg in the Black Forest. Oil on fibre board, around 1967. Each signed bottom right, one dated, one titled backsides. Unframed. Some colour encrustations.
Meinert, O. 1. H. 20. Jh.Stillleben mit Sommerblumenstrauß. Öl auf Pappe, re. u. sign., rahmenrückwand alter Aufkleber "Gemälde-Ausstellung K. Wiedemann Chemnitz. Ca. 30 x 40 cm, gerahmt. Ra. 38,5 x 48,5 cm Flower still life, oil/ board, signed lower right, old label at reverse. Frame. 38,5 x 48,5 cm (incl. frame)
Unbekannter Stilllebenmaler, 19./20. Jh.Stillleben mit Chiantiflasche und Trockenstrauß. Öl auf Leinwand, wohl spätes 19. Jh. Unsigniert. Schmuckrahmen. 98 x 73 cm, 123 x 96 cm (Ra). (Alt-?)Restauriert, augenscheinlich in sehr gutem Zustand. Kein Versand, Speditionsware. Hochfein gemaltes, altmeisterliches Stillleben mit religiösen und Vanitas-Elementen im Stil holländischer Maler des Goldenen Zeitalters. Unknown artist, 19th century. Still life with fiasco bottle and dry bouquet. Oil on canvas, pres. late 19th century. Unsigned. Ornamental frame. (Formerly?) Restored, apparently very good age-appropriate condition. Very delicate painting in Old Master's style of Golden Age netherlandish still life painting. No inhouse-shipping service.
PHILIP NAVIASKY (1894-1984); a double-sided oil on board, still life of Summer flowers in vase, signed top right and portrait of a young girl verso, with old information labels detailing the artist's life and stating that examples of his work can be found in the permanent collections of the following galleries; Leeds, Bradford, Preston, Newcastle, Harrogate, Stoke-on-Trent, Wakefield, Bootle, Southport, Salford, etc, 62 x 52cm, framed. †CONDITION REPORT: This lot may qualify for Artist Resale Rights. For further information, please visit
SIMON BULL (British, born 1958); watercolour, still life of apples in a basket, on a sun dappled tabletop, signed, 38 x 56cm, framed, together with four further works by the same artist, to include a watercolour of a sunlit doorway, signed and dated 1999, and three various prints comprising 'Wood How Tarn', limited edition no.12/20, signed and dated 1986, 'Sunlit Window 1B', artist's proof, signed and titled and 'Sunlit Doorway I', limited edition no.74/200, signed and titled, all framed (5). †CONDITION REPORT: This lot may qualify for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk.
A MATCHED PAIR OF CHARLES II KINGWOOD OYSTER VENEERED WALL MIRRORS IN THE MANNER OF THOMAS PISTOR, CIRCA 1685 Of slightly varying proportions, one 130cm high, 100cm wide, the other 127.5cm high, 98cm wide Provenance: Formerly at Chirk Castle Christie's, Chirk Castle, 21st June 2004, Lot 130 Literature: Illustrated in situ in the Long Gallery in The Hon. Mrs Mary Wombwell's watercolour of 1861 and in a late 19th Century photograph published in the National Trust Guide Book, 1983, p.25. C. Hussey 'Chirk Castle', Country Life, 5 October 1951, fig.8. (illustrated in situ in the Corridor). Catalogue note: These Charles II pier-glasses, with bevelled Vauxhall plate, have bolection- moulded Kingwood frames superbly parquetried in a wave scrolled figuring and central mosaic- parquertried medallion of shell scalloped 'oyster' veneer. These mirrors, of exceptional scale for their date, were almost certainly commissioned for the Long Gallery at Chirk. Built by Sir Thomas Myddleton ( d.1684), 2nd Brat, the Long Gallery was begun in 1670 and was substantially complete in 1678, when the sum of £100 15s 0d was paid to ' Jonathon Hooke, the Joyner, in full for all the ards at Vs per Yard'. On the same day, Thomas Dugdale was £30 'for carveing all the Carved worke at the Longe Gallery'. Both of the latter had worked at Weston Park, the ancestral home Charlotte Bridgeman, whom he married in 1677, possibly to designs by Captain William Winde. Conceived as the great room of entertainment and exercise, the Long Gallery to a large extent retained its sumptuous Baroque appearance and furnishings in 1795- although when Lady Sykes visited in 1796 she found furnishings ' so crowded together they are seen to great disadvantage'. Thus the great series of portraits in their original Sunderland frames hung above a parade of lavish cabinets,including the pietra Dura cabinets on George I gilt-gesso stands acquired on the Grand Tour by Roberth Myddleton (d.1733), as well as the Charles II silver-mounted Royal Presentation cabinet described as having 'Silver 'd Ornaments' (both of which remain at Chirk). Taking centre stage was the harpsicord by Burkhat Sindi, like that acquired by George III, dated 1742 but actually moved to Chirk in 1766 (still at Chirk), and 'Billyard Table', the first of which was installed in 1686. This rare pair of mirrors are almost certainly the '2 Pier Glasses 10.0.0' recorded in the 1795 Inventory. Although the description is all but brief, a watercolour by the Hon. Mrs Mary Wombwell of the Long Gallery, dated Sept. 20th 1861 (from an album still owned by the Myddleton family), as well as the undated later 19th century photograph of the Gallery- both show one of these mirrors above the fireplace at the South end. Both also clearly reveal how much of the furnishings from the 1795 arrangement survive , in spite of alterations apparently carried out in the 1840s and illustrated in Lady Hester Leeke's watercolour of 1840-7-although the panelling has returned by 1861. A smaller mirror of directly comparable design- still owned by the family - is possibly the 'Chimney Glass 0.18.0' listed in 1795 in that same room- although this much larger pair of mirrors was certainly placed above the fireplaces at each end by both the undated photograph and an Inventory carried out circa 1910 ('pier glass over fire place Rose wood frame North End' and '1 pier glass over fire place rosewood frame South End'). Undoubtedly originally supplied with matching pair of 'pier' or dressing tables, related 'cushion frame' mirrors are discussed by A. Bowett in English Furniture 1660-1714, Woodbridge, 2002, pp. 136-9, including a smaller example at Nunnington Hall. Like the Chirk mirrors, this also has slots cut into the back to house the cresting- although there is no evidence that any cresting was ever fitted. This is possibly the case with the Chirk Mirrors. Condition Report: Overall there are knocks, scratches, marks and cracks consistent with age and use. There are losses, restorations and observations including: the mirrored plates have aged silvering with some losses; there are cracks to the veneers and moulded borders including some movement and lifting; there is some evidence of worm; some cuts and cracks to veneers, with some patching; repairs including some filler; the backs of stained panelled construction; some later veneers; the mitred corner joints with some movement and cracks. Please see the additional photographs as a visual reference of condition. Condition Report Disclaimer
â–´ Bernard Cathelin (French, 1919-2004)A still life in yellow and blacklithograph in colours, artist's proof, signed 'Cathelin' and inscribed 'epreuve artiste'image 59 x 89cm;together with a catalogue signed and inscribed by the artist in 1987, for the exhibition 'Cathelin' at the Chateau de ChenonceauCondition ReportFramed size 68 x 100cmNot viewed out of glazed frame. Light foxing visible to the margins.
â–´ Joanna Carrington aka Reginald Pepper (1931-2003)'The Horse'signed with initials 'RP.' l.l., inscribed with title verso, oil on board44 x 63cmProvenance: A gift from the artist to the current vendor.Joanna had an excellent start to her creative future; her father was the publisher and designer Noel Carrington and her aunt the artist Dora Carrington. As a teenager, Cedric Morris was impressed by her artistic skills when she studied under him at as his summer school. She was also tutored by Fernand Léger in Paris and Mervyn Peake and Keith Vaughan at the Central School of Art and Design in London. As her career progressed, the influence of these artists can be seen, including in her cubist still lifes and her landscapes, which express her love for the countryside. Her first solo exhibition was at the Establishment Gallery in 1962 and she had subsequent shows at Crane Kalman, Grosvenor and Thackeray galleries. In 1966, she married her second husband, the artist and film director Christopher Mason. A few years later, after Mason made a film on the naive artist Alfred Wallis, Carrington adopted the pseudonym Reginald Pepper. Pepper was said to be an ‘unemployable forty-year-old’ who lived with his overbearing mother in a backstreet of Swindon, filled with kitsch carpets and wallpapers and their two giant cats.Pepper’s paintings are in a primitive style, where perspective is absent. They tend to be fun and uplifting works, with a childlike nature which was seen to be reflective of Reg’s lower mental capacity. In 1974, Carrington showed some works to the Portal Gallery in London and presented herself as his agent.Pepper’s true identity was revealed by the Sunday Times in 1981. But this did not adversely affect the public interest in him and, in 1984, Carrington was commissioned to illustrate a children's book ‘Pepper and Jam’. If authors could write books under pseudonyms, Carrington felt she should be able to enjoy the freedom of producing two very different styles of art. Reginald Pepper has gained a cult following and collectors of her work will often hang a ‘Carrington’ and ‘Pepper’ side by side.For the last twenty or so years of her life, Joanna Carrington and Christopher Mason lived in France. The present vendors of 'The Horse' and 'Rabbits' had a holiday home close by and became friends with the couple, being gifted artworks.Condition ReportFramed size 51 x 69cmA 3cm light scratch
â–´ Joanna Carrington aka Reginald Pepper (1931-2003)Rabbitssigned with initials 'RP.' l.r., oil on board46 x 46cmJoanna had an excellent start to her creative future; her father was the publisher and designer Noel Carrington and her aunt the artist Dora Carrington. As a teenager, Cedric Morris was impressed by her artistic skills when she studied under him at as his summer school. She was also tutored by Fernand Léger in Paris and Mervyn Peake and Keith Vaughan at the Central School of Art and Design in London. As her career progressed, the influence of these artists can be seen, including in her cubist still lifes and her landscapes, which express her love for the countryside. Her first solo exhibition was at the Establishment Gallery in 1962 and she had subsequent shows at Crane Kalman, Grosvenor and Thackeray galleries. In 1966, she married her second husband, the artist and film director Christopher Mason. A few years later, after Mason made a film on the naive artist Alfred Wallis, Carrington adopted the pseudonym Reginald Pepper. Pepper was said to be an ‘unemployable forty-year-old’ who lived with his overbearing mother in a backstreet of Swindon, filled with kitsch carpets and wallpapers and their two giant cats.Pepper’s paintings are in a primitive style, where perspective is absent. They tend to be fun and uplifting works, with a childlike nature which was seen to be reflective of Reg’s lower mental capacity. In 1974, Carrington showed some works to the Portal Gallery in London and presented herself as his agent.Pepper’s true identity was revealed by the Sunday Times in 1981. But this did not adversely affect the public interest in him and, in 1984, Carrington was commissioned to illustrate a children's book ‘Pepper and Jam’. If authors could write books under pseudonyms, Carrington felt she should be able to enjoy the freedom of producing two very different styles of art. Reginald Pepper has gained a cult following and collectors of her work will often hang a ‘Carrington’ and ‘Pepper’ side by side.For the last twenty or so years of her life, Joanna Carrington and Christopher Mason lived in France. The present vendors of 'The Horse' and 'Rabbits' had a holiday home close by and became friends with the couple, being gifted artworks.Condition ReportFramed size 53 x 53cmSome dust and light dirt but no obvious condition issues.
â–´ Rudolph Ihlee (1883-1968)Still life with leekssigned 'R.Ihlee', oil on canvas61 x 74cm Literature: James Trollope, 'Rudolph Ihlee: The Road to Collioure', published by Lund Humphries Ltd., London, 2022, catalogue ref. Trollope C134.Condition ReportFramed size: 69.5 x 85cm A 3cm x 2cm area of paint loss in the centre and dent in this area. A 5cm scratch with small paint loss to right side in blue ara. A scratch and paint loss to chopping board. Some light abrasians elsewhere.Seen under uv light, no obvious retouching shown.
Roy de Maistre (Australian, 1894-1968)A vase of midsummer flowerssigned 'R. de Maistre' l.l., oil on canvas99 x 73cmProvenance: The artist;collection of Dora Thomas, c.1940s;gifted to current vendor as a wedding present in 1973.An early pioneer of colour theory and abstraction in his native Australia, de Maistre initially studied at the Royal Art Society in Sydney. After the First World War, he developed his concept of colour by working with shell-shocked soldiers and creating colour combinations to soothe them. He was also a talented musician, playing the viola and violin at Sydney’s Conservatorium. Music formed part of his colour theory as the idea of harmonising colour (as composers do with notes) appealed to him.In 1923, he won a scholarship to travel to Europe. Greatly influenced by European modernism, in particular cubism, de Maistre settled in London permanently in 1930.He first met Francis Bacon in 1930, and in 1932 the pair both took neighbouring studios in Chelsea. De Maistre has been heralded as one of the key influences on Bacon’s development in this early period, encouraging his collecting habits, use of photographic material when painting, and expanding his art historical knowledge. The two are believed to have had a brief affair but were primarily friends. The influence of both artists upon each other is clear in works such as de Maistre’s ‘Francis Bacon’s Studio’ (1932). They exhibited together twice at 17 Queensberry Mews West (1930) and Thos. Agnew & Sons (1937).In 1960, de Maistre achieved his first retrospective exhibition at the Whitechapel Gallery. His work is also held in the Tate Britain and the Art Gallery of New South Wales, Australia. De Maistre’s ‘Stations of the Cross’ hangs in Westminster Cathedral.This is the larger of two paintings on offer in this auction. Its vibrant reds, yellows, blues, purples and white depict an eclectic summer bouquet with blue and white stocks, roses, yellow ranunculus, black-eyed Susans and scabiosa. The vase is placed on an angular table with an abstracted screen in the background, it is reflected in the table in cubist forms that are echoed in the flower heads. It speaks of de Maistre’s distinctive interpretation of the cubist movement.Sold separately is a smaller still life of white lilacs by the artist, softer in comparison to the first and executed in a more simplified palette, de Maistre still employs expressionistic strokes to create interest in the shadowed background and space around the vase. Both paintings were gifted as a wedding present to the current owners in 1973. They had been acquired by a family friend in the 1940s directly from the artist.Condition ReportFramed size: 115 x 89cm.Light surface dirt, a small bulge to canvas upper right corner, another to the lower left edge where something has fallen in between the stretcher and the canvas, probably a wedge. There is a little craquelure emerging in small isolated areas. Possibly a little discolouration to varnish along top, slight stain to frame, otherwise generally appears to be in good condition, under UV light, there are some small areas which fluoresce, however it seems likely these are the result of the artist's pigments rather than anything else as generally it is in its original state.
â–´ Gerald Mynott (b.1957)Still life with Ingres' Valpinçon Bathersigned and dated 'Gerald Mynott 1981' c.r., watercolour, bodycolour, coloured pencils45 x 34cmProvenance: With Francis Kyle Gallery, London;the Estate of Sir Jack and Lady Baer.Condition ReportFramed size: 65.5 x 52cm.Not viewed out of glazed frame, foxing emerging and time staining, please refer to images.
â–´ Mary Fedden RA (1915-2012)'The Garden'signed and dated 'Fedden 1955' l.r., also signed and inscribed with title on artist's label verso, oil on canvas61 x 50.5cmProvenance: Purchased from the artist in late 1950s;The Estate of Sir Jack and Lady Baer.Viewed through a window, Fedden depicts two figures lunching in a richly coloured garden. This scene is likely the garden at Durham Wharf, the place that Fedden and her husband Julian Trevelyan, had called home since their marriage in 1951. Durham Wharf is located on Chiswick Mall and overlooks the Thames; it was a unique property with combined living and studio space.Both keen gardeners, the couple invested great time into shaping their garden. They created a raised terrace, so that you could view the river more easily, and planted a wide range of herbs and flowers. Painted in 1955, this work is a wonderful demonstration of her partnership with Trevelyan and clearly draws on his influence with its perspective, inclusion of figures and expressive, almost rough, brushwork. The abundant flowers are executed by Fedden with great flair, while our eye is also drawn to the lounging cat in the foreground and the small still life balanced on the bright blue table at the back.In the 1960s, Trevelyan acquired the land next door and built another set of studios with living space, which he rented to artists such as Prunella Clough and Bernard Myers. This created an intimate artists' community. Both Trevelyan and Fedden lived at Durham Wharf for the rest of their lives.Condition ReportFramed size: 72.5 x 63cm.Canvas is unlined. Slight bulging from stretcher bars in corners, a little bit of yellowing to blue paint in lower left section, may benefit from a light clean, otherwise generally appears to be in good condition, under uv light no obvious signs of retouching or restoration.
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