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Click here to subscribeDerrick Latimer Sayer, British 1917-1992 - Floral still life; oil on board, signed lower left 'Derrick Sayer', 65 x 41 cm; together with another work by the same artist, Adam and Eve, 1944, watercolour, gouache and ink on paper, signed and dated lower right 'DEK Sayer 12/44', 34 x 26 cm (2) (ARR)
An 18ct gold signet ring, the oval panel bearing the intaglio crest of the Bromley-Davenport family - the head of a felon, with a hangman’s noose around his neck, bearing maker’s mark for Charles Green & Son and partial hallmark (misstruck), ring size J. £220-£280 --- The crest of the Bromley-Davenport family, the head of a thief with a hangman's noose around his necks, dates from the 1250s when Roger de Davenport, Lord of Davenport held the hereditary office of Master Serjeant of the Peace for Macclesfield, Cheshire, giving him the authority to make life and death decisions over poachers. The family resided at Capesthorne Hall, Macclesfield, which they still own. Similar heads, carved in stone, appear on the gate post of Capesthorne Hall. Condition Report General light wear. Gross weight 7.8gm.
An 18ct gold and diamond spray brooch by Michael Gosschalk, 1960, the stylised frond of scroll design and set with an old brilliant-cut diamond highlight, maker’s mark, London hallmark, length 5cm. £500-£700 --- After originally trading as a stone merchant, Michael Gosschalk opened his first retail premises in 1957 at 20 Motcomb Street in Belgravia, London. Between 1957 and 1965 he was a hugely influential figure in the London jewellery world, his bold designs bringing fun and glamour back into everyday London life, the city still suffering from post-war austerity. As well as Gosschalk’s own impressive list of private clientele, Andrew Grima sold his jewels exclusively through Gosschalk’s retail outlet before opening his own shop in 1962. After an armed robbery in 1965, Michael Gosschalk closed his London store and relocated to Monaco. Condition Report General light surface wear commensurate with age and use. The diamond bright and lively, with a small nick to one of the crown facets observed under 10x magnification. Diamond weight approximately 0.10 carat. Some spot solder to reverse. Overall good condition. Gross weight 12.7gm.
RENOIR PIERRE-AUGUSTE: (1841-1919) French Impressionist Artist. A fine and good association A.L.S., `Renoir´, two pages, written to the first and third page, small 8vo, Cagne, 8th January 1908, to Claude Monet, in French. Renoir writes to his long life friend Monet `Mon cher ami…´ ("My deaf friend…"), and first asks about his correspondent´s health `Tu me diras si tu as toujours mal à l´estomac, c´est une maladie qui rend triste, il faut vite guérir´ ("Tell me if you still have a stomach ache, it's a disease that makes you sad, you have to heal quickly") Renoir further refers to Vollard, their art collector supporter, stating `Vollard est ici, je le portraiterai´ ("Vollard is here, I will make a portrait of him") Further again Renoir thanks Monet and his daughters for the letters they often send him, and before concluding makes a sharp critic of a colleague´s exhibition, stating `Une pièce que je n´irai certainement pas voir c´est celle de Geoffroy à l´Odéon…´ ("A painting that I will certainly not go to see is the one of Geoffoy at the Odeon") To a post-scriptum Renoir referring to the new year 1908, states `Ce 8 me fait bien vieillir´ ("This 8 makes me feel older") VG Claude Monet (1840-1926) French Impressionist Painter.Ambroise Vollard (1866-1939) French art Dealer. One of the most important dealers of his time in French contemporary art. He supported many painters such as Cézanne, Renoir, Gauguin, etc… Jean Geoffroy (1853-1924) French Painter and Illustrator, best known for his scenes with children.
RIEFENSTAHL LENI: (1902-2003) German film director. A significant and interesting correspondence collection comprising two A.Ls.S. and nine T.Ls.S. (several with holograph additions), Leni Riefenstahl, sixteen pages (total), 4to, various places (Munich etc.), January 1952 - December 1958, the majority to Christian Bourcier de Carbon (and, indirectly, Henri Langlois), in German. Riefenstahl writes on a variety of subjects, including her work and the efforts she made to recover her films reels, which had been confiscated by the French government at the end of World War II and retained at the Cinematheque Française, thanking De Carbon for supporting her in the return of her films, explaining that she intends to go to Paris personally 'as soon as possible to bring about the handover there and I would be happy if I could ask for your help. In order to obtain my French entry permit, it is necessary for me to receive an official invitation….from you as soon as possible (by express) so that I can receive my entry visa from the French consulate in Munich in a few days' (26th January 1952), further stating, in part, 'Many weeks have now passed since my stay in Paris and unfortunately the return of my material to the Austrian Embassy has still not become a fact…..If all these efforts are unsuccessful, then the last resort I see is either a civil suit against Monsieur Petitjean, a French film officer who at the time brought the material to France without permission and without a mandate from the French military government, or that I have to file a complaint with the International Court of Justice in The Hague' (19th March 1952), 'On 4th April I finally have my world premiere of 'Blauen Licht' in Munich….I wanted to go to Kitzbuhel over Easter and from there to Breuil to test the ski area there for my film 'Die roten Teufel'' (1st April 1952), 'Unfortunately I haven't received any sign of life from you since we were last together in Munich and wonder whether you are in Paris and whether you are aware of the outrageous article about me in the magazine 'Samedi Soir' of 10th May 1952. This article took over the pictures of the Munich 'Revue', made the same claims and published more fictional and forged Streicher letters. As a result, the already officially confirmed transfer of my films to the Austrian Embassy was thwarted at the very last hour…..I ask you to treat the contents of this letter as confidential. It is only intended to show you the base means by which my enemies in France are trying to prevent the return of my property. This new setback has made my current situation even more difficult, but I hope to be able to resolve the matter through a lawsuit. For this process I now need an absolutely flawless translation of the article from 'Samedi Soir' and I would be particularly grateful if you would have the same made, as I have no money to pay for the translation…..I will give you back your expenses after the case has been won…..My lawyer will ask the newspaper 'Samedi Soir' to bring a correction. If the newspaper does not do this, I will be forced to sue 'Samedi Soir' and again I would like your advice on which French lawyer I should hire?' (1st June 1952), 'Above all, I would like to tell you that your faith and the trust you have placed in me have given me a lot of strength. On the day of your visit in Munich I was really completely devastated by the mean slanders of the 'Revue'. Your encouragement helped me a lot. The next day I flew to Berlin and had the strength to face a big public hearing in Berlin to refute all allegations against me, although the chairman of the court was a Jew, he possessed the necessary objectivity to conduct the proceedings fairly, I was acquitted on all counts and fully rehabilitated. This was a great victory and will also help me to fend off further attacks. For your information I am enclosing a newspaper report from which you can see the means by which an attempt was made to destroy me. I am also enclosing the copy of the Berlin verdict, which is of particular value because the most severe verdicts are pronounced in Berlin. As a result of this Berlin verdict, I am now in a position to sue the illustrated magazine 'Revue' for defamation and professional damage. So I will once again have to endure a lawsuit, but I am convinced that I will win it and then the way for my future work will be free….I wrote to Mr. Borst today to find out how far my 'Tiefland' affair has progressed…..I cannot understand why the handover has still not taken place. If you are still in Paris, I would be indebted to you if you would ask Mr. Borst, or even better, Mr. Langlois directly, when the handover will take place, It can't be that my life's work is destroyed by the French' (5th June 1952), 'It has been a long time since we last spoke. In the meantime my 'Tiefland' film has begun in Germany and Austria with a very strong response from the press and so far I am very satisfied with the artistic success. If you don't have the opportunity to see it in a cinema somewhere, it will be my great pleasure to show you the film on your next visit to Munich. Only now can I fully immerse myself in the realisation of my ski film 'Die roten Teufel'…..I would now be interested, dear Mr. de Carbon, whether you are still interested in any way in co-financing the film…..I think it's going to be big business and it's worth investing capital in, It would also make the work easier because, if francs are available to me, I could finance French skiers and workers and possibly also some outdoor shots in French territory' (9th June 1954), the later letter of 1958 regarding a proposed ballet based on Das blaue Licht (1932, 'The Blue Light') in which Riefenstahl had appeared as an actress in the role of Junta, with Rosella Hightower suggested for the same role, Riefenstahl asking 'Is this prima ballerina a household name?'. Together with a few associated carbon copies of letters, two original envelopes, a small series of handwritten notes by Riefenstahl, and several French newspaper articles relating to the director. Some light overall age wear and a few letters with small tears and creasing to the edges, G to generally VG, Sml. Qty.Christian Bourcier de Carbon (1912-?) French civil and industrial engineer who invented the de Carbon hydraulic shock absorber in 1953, also establishing the De Carbon Company in the same year.Henri Langlois (1914-1977) French film archivist and cinephile, a pioneer of film preservation and co-founder of the Cinematheque Française.Towards the end of World War II the French government confiscated all of Riefenstahl's editing equipment, along with the production reels of Tiefland. After years of legal wrangling, these were returned to her, but the French government had reportedly damaged some of the film stock whilst trying to develop and edit it, with a few key scenes missing. Riefenstahl edited and dubbed the remaining material and Tiefland premiered in Stuttgart in 1954, however it was denied entry into the Cannes Film Festival. In the 1950s and 1960s the director attempted to make many other films, but was continually met with resistance, public protests and sharp criticism. Although both film professionals and investors were willing to support her work, most of the projects she attempted were stopped owing to ever-renewed and highly negative publicity about her past work in Germany, and Tiefland would subsequently remain as her last feature film.
DUVIVIER JULIEN: (1896-1967) French film director. A.L.S., Julien Duvivier, two pages, 4to, n.p., n.d. ('Lundi 6', c.1938/39), to a friend, in French. Duvivier states that he hasn't received any news from his friend and continues, in part, 'Je suis en bagarre feroce avec Lauran au sujet de La fin du jour. Il veut le sortir au Colisee. Moi je ne veux pas. Devant les menaces, ils sont hesitants. Mais ils ont des contrats signes. Si le film sort dans cette salle je ne leur ferai pas le prochain prevu dans mon contrat......En ce qui concerne le film lui-meme, j'ai fait encore des petites coupures. On enregistre la musique le 10.....La copie definitive ne sera guere prete avant la premiere semaine de Mars. "La Grande Valse" sort dans ce meme debut de Mars au Marignan.....Ce que je vais tourne n'est pas encore decide.....Les bons scenarii sont rarissimes' (Translation: 'I'm in a fierce fight with Lauran over The End of the Day. He wants to take it out at the Coliseum. Me, I do not want. Faced with threats, they are hesitant. But they have signed contracts. If the film is released in this theater I will not make the next one provided for in my contract......As for the film itself, I still made small cuts. We recorded the music on the 10th.....The final copy will hardly be ready before the first week of March. “La Grande Valse” comes out at the beginning of March at the Marignan.....What I am going to shoot is not yet decided.....Good scenarios are extremely rare') and in a postscript mentions having telephoned Jean Gabin and that they had dinner together. Some creasing and with an area of paper loss to the lower left corner, not affecting the text or signature, otherwise about VGDuvivier refers to his drama film La Fin du jour (1939) and his biographical film The Great Waltz (1938) which was very loosely based on the life of Johann Strauss II.
KANDINSKY WASSILY: (1866-1944) Russian painter, one of the pioneers of abstraction in western art. T.L.S., Kandinsky, one page, 4to, Berlin, 22nd May 1933, to [Andre] de Ridder, in French. Kandinsky informs his correspondent that he has just received a tribute from Christian Zervos and continues to remark 'Je vous prie bien de trouver le moyen de trouver une bonne place pour cet hommage. Vous vouliez me faire parvenir toutes les correctures vers le 15 mai. Je suppose que vous attendiez l'hommage de M. Zervos. J'espere encore toujours que le Cahier parraitra la fin de ce mois!' (Translation: 'Please find a way to find a good place for this tribute. You wanted to send me all the corrections around 15th May. I suppose you were waiting for the tribute from Mr. Zervos. I still hope that the Cahier will appear at the end of this month!'). In a postscript Kandinsky further writes 'Si vous n'avez plus besoin des photos, je vous prie bien de me les rendre: on me demande souvent des photos et je n'ai pas des dupplicats' (Translation: 'If you no longer need the photos, please return them to me: I am often asked for photos and I do not have duplicates'). Some very light, extremely minimal age wear and a very small tear to the right edge, VGAndre de Ridder (1888-1961) Belgian art historian and editor-in chief of Cahier, a chronicle of artistic life in Brussels. A special edition of the periodical devoted to Kandinsky was published in July 1933 under the title 'Selection Chronique de la Vie Artisque XIV Wassily Kandinsky - Editions Selection Anvers 1933'Christian Zervos (1889-1970) Greek-French art historian, critic, collector, writer and publisher who founded the magazine Cahiers d'Art in 1926.
VAN DONGEN KEES: (1877-1968) Dutch Painter, a member of the Fauves. A curious and fine A.L.S., `Kiki´, two pages, 8.5 x 11, Naples, Wednesday morning, n.d., on his printed heading of 5 rue Juliette Lambert, to his wife, in French. Van Dogen reports how are his recent days in Naples, stating `Réveillé par le commandement. Hotel Santa Lucia. Naples. Ben mon vieux c´est du Madame à la Jamaique, J´écoute et j´obéis. Donc (je dors encore un peu et le plombier est entrain de m´arranger un robinet pour que j´ai de l´eau chaude dans mon petit fourbi) il ne se pase rien ici sinon qu´il fait un froid de canard presque froid à allumer le feu´ (Translation: “Awakened by the commandment. Hotel Santa Lucia. Naples. Well, my old man, this is like a Madame in Jamaica. I listen and I obey. So (I'm still sleeping a little and the plumber is fixing a tap for me so that I have hot water in my little closet) nothing is happening here except that it's freezing cold, almost cold. to light the fire”) Van Dongen further refers to his work as writer, referring to his work on Rembrandt, and states `De froid, d´ennui et de tristesse je travaille mais le coeur n´y est pas… je travaille à ce Rembrandt, mais plus j´avance plus cela me paraît bête, je fais aussi de la peinture, c´est moins bête…´ (Translation: “With cold, boredom and sadness I work but my heart is not in it... I work on this Rembrandt, but the more I advance the more stupid it seems to me, I also paint, it's less stupid…”) Further again and before concluding, Van Dongen says `Je mange bien à la maison et je dors comme un ange. Je t´embrasse et je vais engueuler… qui ne m´a pas encore livré mes cadres…´ (Translation: “I eat well at home and I sleep like an angel. I kiss you and I am going to yell… who has not delivered my paintings yet to me…”) VG Kees Van Dongen wrote Rembrandt, based on Rembrandt´s life, which was published in 1943.
MENGS ANTON RAPHAEL: (1728-1779) German Painter. In 1754, at the early age of 26, he was appointed Director of the Vatican painting school. Mengs became one of the precursors to Neoclassical painting which replaced Rococo as the dominant painting style in Europe in the second half of the 18th century. Rare A.L.S., `Antonio Rafaele Mengs´, one page, small 4to, Madrid, 19th August 1776, to a Roman correspondent, in Italian. A cleanly written letter by Mengs, stating in part `Le ringrazio infinitamente della memoria che ha di me, solamente mi dispiace non poterle mostrare la mia gratitudine con inpiegarmi in cosa che le fosse di alcuna utilita, non ostante le assicuro che non perdero di vista ogni favorevole occasione di poterle servire a V. S.´ (Translation: "I thank you infinitely for the memory you have of me, I only regret not being able to show my gratitude by engaging in something that would be of any use to you, nevertheless I assure you that I will not lose sight of every favorable opportunity to be able to serve Your Excellency") Further, Mengs refers to his prompt return to Rome and to the King´s aproval of this trip which he is waiting for, saying `Spero fra poche mesi torniare a Roma, ben che ancora non ho la licenza per dispacio, ma spero che S.M. non retirera la Sua Real Parola...´ (Translation: "I hope to return to Rome in a few months, although I still don't have the license due to dispatch, but I hope that His Majesty will not withdraw His Royal Word...") Before concluding Mengs sends his regards to several personalities as well as to his Roman benefactor and relatives, stating in part `Se acaso havesse occasione di vedere S. E. il Sign Cardinale Archinto la prego porgerle li miei Osequiosi Complimenti, come ancora al Sign. Marquese Coligola...´ (Translation: "If by chance you have the opportunity to see His Excellency Cardinal Archinto, I beg you to extend my obsequious compliments, as also to Marquis Coligola...") Small overall creasing, otherwiseabout VGCharles III of Spain (1716-1788) King of Spain 1759-88 as King Charles III, previously King Charles VII of Naples and Sicily 1734-59. Charles resided in Naples for nineteen years and gained valuable experience as Ruler before becoming King of the Spanish Empire. Charles III is widely regarded as the most successful European ruler of his generation.Giovanni Archinto (1736-1779) Italian Cardinal, nephew of Cardinal Alberico Archinto (1698-1758). Although Mengs spent most of his life in Rome, on two occasions he accepted invitations from Charles III, King of Spain, to go to Madird. First in 1761 when he produced some of his best work, most notably the ceiling of the banqueting hall of the Royal Palace of Madrid. After the completion of this work in 1777, Mengs returned to Rome, where he died two years later, in poor circumstances, leaving twenty children, seven of whom were pensioned by the King of Spain
GERTLER MARK: (1891-1939) British painter. A scarce A.L.S., Mark, to the verso of a colour picture postcard featuring a reproduction of a painting by Rubens, Paris, 1932, to his aunt, Annie Gertler. The artist writes, in full, ‘I heard from Minnie that Harry is better. I am very glad. I hope all goes well still. I will phone when I return to London. Love to all’. Together with a few pieces of unsigned printed ephemera comprising two different invitation cards to exhibitions of Gertler’s works at The Leicester Galleries and Whitechapel Art Gallery in London and a small 8vo catalogue of the New Year Exhibition of Pictures, Drawings and Sculpture by Nineteenth and Twentieth Century Artists at The Leicester Galleries in London, January 1954, featuring works by L. S. Lowry, Ford Madox Brown, Frank Brangwyn, Amedeo Modiglaini, Augustus John, Graham Sutherland, Henry Moore, Stanley Spencer, Wyndham Lewis, Paul Signac, Alfred Sisley, Duncan Grant, Walter Sickert, Terry Frost, John Piper, Ben Nicholson, Edgar Degas and Mark Gertler amongst others. Further including a series of unsigned incomplete autograph letters and notes by Valentine Dobree (1894-1974, Indian-born English artist, associated with the Bloomsbury Group and the lover of Gertler), four pages, 8vo, Richmond, n.d., to Mark Gertler, in ink and pencil. Dobree commences the first page of one letter ‘Terms like the “aura of my disfigured mentality” and the “rigidity of puritanical labels” occur to me as the memory of my first confused correspondence sweeps into my mind like a dark cloud which flashed thunder……’ further writing ‘I experienced the fever & madness of love, then the idyllic strain of fanciful pleasure, which shocked me out of myself with its sweetness & unrealism. I descended to earth filled with the fright of you’, and also adding a note in the margin, ‘I know I never ought to right (sic) like this to you because you do not love me but you can decide for yourself whether you want me or not’. The other pages state, in part, ‘The unconscious growth of nature creates shapes of life with an unpremidated (sic) spontanity (sic)….The Artist in you is mostly unconscious if it exists at all….sex is definitely unconscious liquid in the mind poisoning the grey matter…..I don’t think anybody else has felt love like I have. It is because I have suppressed myself to such an extent that it has burst upon me…..’ Some age wear and creasing, particularly evident to Gertler’s postcard (which also has the postage stamp neatly removed), and a few small tears and areas of paper loss, FR to generally G, 8
Margaret Fisher-Prout, British 1875-1963 - Still life; oil on board, signed and dated lower right 'Fisher Prout 1929', 41.4 x 33.7 cm (ARR) Provenance: with Arthur Tooth & Sons, London (according to the label attached to the reverse of the frame); private collection Note: reminiscent of the work of Ethel Walker, Fisher-Prout painted in a gentle style using a chalky palette, often focusing on both interior scenes and horses. Works by the artist are in the collections of the Royal West of England Academy, the Royal Academy, London and the Ashmoleum Museum, Oxford. Her father was Mark Fisher, who is often seen as one of the first proponents of Impressionism in Britain. The work is inscribed 'Vincent Lines' on tape on the reverse of the frame and again under the mount. There is also a reference to Leonard Lines. Vincent Lines was an artist, writer and friend of Fisher-Prout, who wrote a book on the artist.
John Armstrong ARA, British 1893-1973 - Still Life with Mushrooms, 1961; oil on canvas, signed and dated upper left 'John Armstrong 61', 27.8 x 32.8 cm (ARR) Literature: Andrew Lambirth, 'John Armstrong: The Complete Paintings, Catalogue Raisonne', London: Philip Wilson Publishers, 2009, no.7216
Mary Fedden OBE RA RWA, British 1915-2012 - Still life with lamp, 1987; watercolour on paper, signed and dated lower left 'Fedden 1987', 14.4 x 19.6 cm (ARR) Provenance: the Collection of Paul Clarke and thence by descent Note: Mary Fedden is one of the most beloved British artists of the twentieth century, known for her harmonious and carefully composed landscapes and still lifes. This work is an excellent example of her nature style, in its contrasting colours and flattened perspective, that is comparable with her contemporaries Winifred Nicholson and Anne Redpath. Married to the painter Julian Trevelyan, Fedden exhibited in major events such as the 1951 Festival of Britain and later taught at the Royal College of Art, where her students included David Hockney and Patrick Caulfield. Her works are in major UK collections, including the Tate, New Hall Cambridge and Bristol Art Gallery.
Henryk Gotlib, Polish/British 1890-1966 - Val di Costello, two women resting in a field; watercolour and pencil on paper, 19.3 x 25 cm: together with 2 other works on paper by the same artist, 'Woman and cat', ink on paper, 15.5 x 15.1 cm, cat.67 (2) and 'Still life with fruit', pencil on paper, 10.7 x 9.4 cm, cat.206 (3) (ARR) Provenance: the Estate of the Artist Note: with estate reference inscribed on the reverse of the frame 'No. 72'
Zhou Tingxu (Teng Hiok Chiu), Chinese 1903-1972 - Still Life Composition; oil on strawboard, signed lower left 'Chiu', also signed on the reverse 'Teng Hiok Chiu', 45 x 55.5cm Note: Teng-Hiok Chiu was the first foreigner to be granted the membership of the Royal Society of British Artists, after leaving Xiamen, Fuijan Province in the 1920s. He further worked in the British Museum under Laurence Binyon, an oriental art scholar and curator, where he developed a multi-point perspective in his work. In 1929, his first solo exhibition was held Claridge Gallery, where Her Majesty Queen Mary honoured the show with a visit. The show sold out sold out the next day. His second exhibition the following year was praised, by art critics for his ‘suave, transparent, clean handling of the oil medium' (The Observer 1930, p. 14). In New York, his success continued where he befriended Georgia O’Keeffe, who admired his use of western and eastern elements in his oil paintings. The present lot is exemplary of a Modernist style ad subtle layering and handling of paint.
Harold Dearden, British 1888–1962 - Still life with flowers and hand-mirror; oil on canvas, signed lower left 'H. Dearden' and with artist's label attached to the reverse, 45.3 x 37.8 cm (ARR) Note: a number of works by the artist are in the collections of Swindon Museum and Art Gallery and the Museum of London.
Leonard Appelbee, British 1914-2000 - Apples and Pears, 1971; oil on canvas, signed and dated lower left 'Applebee 71', 46 x 61 cm (ARR) Note: the Artist produced a number of still life compositions during this period in this highly refined style. The artist exhibited with the Leicester Galleries and The Fine Art Society.
Duncan Grant, British 1885-1978 - Parrot Tulips, c.1957; oil on board, signed lower right 'Duncan Grant', 56 x 38.4 cm (ARR) Provenance: with The Leicester Galleries, London (according to the label attached to the reverse); J. C. Greer, purchased from the above c.1957 (according to the label attached to the reverse); the Collection of Bernard Sheridan (1927-2007) and thence by descent Exhibited: The Leicester Galleries, London, 'Duncan Grant', 1st May 1957, no.37 (according to the label attached to the reverse) Note: this work was likely completed at Grant's home in Charleston, with a nude painting by the artist in the background. Grant used this compositional device of placing a still life in front of an image of a nude throughout his career, for example 'Mimosa, 1930' and 'Still Life with Matisse, 1971'. The wilting tulips echo the folds of the nude, creating a natural rhythmic quality to the work. The late 50s were important for the artist as a large retrospective of his work was held at the Tate in 1959. Duncan Grant was a central member of the Bloomsbury Group, closely associated with seminal figures in early 20th century British culture such as Virginia Woolf, Vanessa Bell, E.M. Forster and Lytton Strachey, alongside the art critic Roger Fry, the latter having a particularly strong impact on Grant's artistic approach. Grant's works can be found in a wide number of collections throughout the country, including the Tate Britain and the V&A in London, the Ashmolean Museum in Oxford and the Scottish National Gallery of Modern Art in Edinburgh.
Dorothea Sharp RBA ROI, British 1874-1955 - Sunshine and Flowers; oil on board, signed lower left 'Dorothea Sharp', 45.5 x 38.6 cm (ARR) Provenance: Christie's, London, Ancient and Modern Pictures & Drawings, 19th May 1950, lot 104; private collection and thence by descent Note: this is a highly characteristic subject for the artist. As always with these works, the still life is central, the flowers filling the entire composition.
Rolf Harris, Limited Edition print on textured board, beach scene at sunset with fishermen and boat, No. 22 of 195, 60 x 40cm, gilt framed, together with a John Powell colour print on canvas, still life of flowers, No. 267 of 800 and a signed Limited Edition print of a lily pool, No. 328 of 400
§ § Raymond Campbell (English, b.1956) Still life of claret, cheese and grapes upon a ledge with delft tiles beyondoil on canvassigned45 x 60cm***CONDITION REPORT***Honest untouched condition, perhaps a little dirty so may well benefit from a clean but no real faults noted, housed in a silvery blue sprayed scroll frame, no labels verso.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
Countess Ginette de Malet Roquefort (1903-1967) Still life of flowers in a vaseoil on canvas boardsigned and dated '6760 x 50cm***CONDITION REPORT***Oil on board in honest untouched condition, a little dirty, two small dented tears across the top margin almost concealed by the frame, plain gilt frame with Winchester Gallery label verso.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
Churchill, Winston S. (1874-1965) - From Sir Winston’s London home at 28, Hyde Park Gate - Two similar Louis XVI provincial open armchairs, the stained beech frames, upholstered in pale blue cotton velvet, raised on tapered, fluted legs, one a replacement, together with the Knight, Frank and Rutley property auction sales brochure for 28, Hyde Park Gate, dated 28th October, 1965, where the chairs are illustrated in the Study, the KFR Country Life page advert for the sale and three black white original press photographs showing events outside the property, including riders offering birthday wishes to celebrate Sir Winston’s 86th birthday***CONDITION REPORT***In good restored condition, medium brown tone, signs of old restorations to cracks in the back and old worm holes, upholstery a little rubbed but still fair, joints of one chair a little wobbly, the other better.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
§ § Raymond Campbell (English, b.1956) Still life of a green glass roemer and fruit upon a table topoil on canvassigned40 x 30cm***CONDITION REPORT***Good untouched condition, no faults noted, white stained moulded frame, no labels verso.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
19th century Continental School 17th century style still life of flowers in a vase upon a ledgeoil on canvas laid on board87 x 74cm***CONDITION REPORT***PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
Artashes Abraamyan (Armenian, 1921-2003) Still life with snowdropssigned and dated '80' l.r., also inscribed verso, oil on canvas58 x 42cmCondition ReportFramed: 66 x 50.5cmStretcher marks with some light cracking starting to emerge along the top edge. Presents well overall. Not examined under UV light, for a full report please contact the department.
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