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Lot 5
Framed Black and White Portrait photograph of Normandy Veteran David Greig. Overall size including frame 76cm x 56cm. This is his story: "I landed on Gold beach on D Day + 7. There was still a great rush to unload and clear the beach as quickly as possible. As a dispatch rider for the lines of communication, I had to wait for my motorcycle to be unloaded. By the time I had my motorbike, my unit had already gone. There were no signs up anywhere to tell you where to go and I had to try and find my unit at an airfield. Spotting a red cap, I stopped to ask directions. His reply was ‘don’t ask me, I’m on holiday!’ Earlier in the war, I was a fireman in London during the Blitz. Our officer was a dreadful man and thoroughly disliked. On one occasion, I snapped and swore at him and was immediately transferred and replaced by two of my pals. They were both killed soon afterwards. Swearing saved my life!".
Lot 390
ATTRIBUTED TO ABEL HOLD (1815-1891) A STILL LIFE STUDY OF A BIRDS NEST, there are four blue eggs in the nest with a red felt bag beyond, bears a signature bottom right, oil on wood panel, approximate size 24.5cm x 31cm (Condition Report: there are multiple areas of paint and varnish loss across the whole of the painting, varnish is discoloured, unframed )
![Claire MethvenWatercolour '' Still Life of Daffodils'', signed.[54x34cm]](https://cdn.globalauctionplatform.com/0228602d-84ed-46ab-8328-b12600b5ce74/4a59b050-9e74-4e6f-81d7-b127015b0cd1/468x382.jpg)
Lot 6594
Copyist of John Frederick Peto (American 1854-1907): Trompe L'oeil Still Life of Oranges, oil on canvas unsigned, stamped verso 31cm x 47cmNotes: ESK canvas stamp verso - exhibited at the South Kensington Musuem art competition. The life-size oranges, segments and peels casting of shadows create the tromple l'oeil.
Lot 37
Agustin Arrieta (Santa Ana Chiautempan, Tlaxcala, Mexico, 1803 - Puebla, Mexico, 1874)"Still Life with Prickly Pears"Oil on canvas.80 x 106 cm.As indicated in the report by art historian José Gómez Frechina:"The 19th-century painter José Agustín Arrieta, son of the Basque Tomás Arrieta and María Rita Fernández, lived in the Mexican city of Puebla from an early age, where he began his artistic training at the Academy of Fine Arts under the supervision of painters such as Julián Ordóñez and Lorenzo Zandejas at the time of the recent independence of Mexico.Arrieta painted portraits (Portrait of General Don Felipe Codallos's Family, Soumaya Museum) and religious paintings in the early years of his artistic career. Later, distancing himself from academic influences, he captured passages of sociological value on his canvases, reflecting the reality of the society of Puebla, especially the lower classes (Pulquería Gathering). He became famous for his paintings of "chinas poblanas" (women from Puebla) and especially for his still life paintings, known at the time as "dining room paintings."Examples of his still life work and social-themed paintings were shown in exhibitions at the Academy of San Carlos in Mexico in 1850 and at the Academy of Fine Arts in Puebla in 1851, 1853, and 1855. Despite being one of the principal artists working in Angelópolis, as stated by his biographer Francisco Pérez Salazar, he faced certain difficulties: "However, his talent and skill were not enough to secure him a comfortable position, and around 1852, he had to take on the role of caretaker at the Congress to make a living."The importance of the culinary world and the inclusion of fruits and crafts typical of Puebla and Tlaxcala are reflected in José Agustín Arrieta's still life paintings, as in this unique "Still Life with Prickly Pears," the symbolic nature of which is quite clear due to the presence of the nopal (prickly pear cactus) and its fruits. This sacred cactus, related to an Aztec legend identifying it with the founding of Mexico-Tenochtitlan, appears on the National Coat of Arms of Mexico. This native species of cactus, also known by other names such as xoconostle or chumbera, found in dry and semi-desert environments, was introduced to many areas of the Mediterranean by the Spanish in the 16th century.The presence of fruits native to Mexico, such as limes, papayas, pitahayas, mameyes, and prickly pears, is often accompanied by other elements such as bottles, crystal glasses, pots, or baskets in Arrieta's still life work.The still life in question features a jug in the central axis of the composition and two wicker baskets full of prickly pears (also known in the Hispanic world as higos chumbos) - one of them overturned. The popularity of the nopal and its edible fruit in Mexico is well-known, as are the fleshy paddles of the plant, highly appreciated for their healing properties.In the foreground are two clay pots, common ceramic plates with floral decoration, a polychromed clay oil bottle and an oil lamp with glass sections. Various types of prickly pears with white or orange-reddish peel are depicted. It is also worth mentioning the scissors, the prickly pear sliced at both ends, and sectioned to show the edible part, and the presence of two snails (Helix aspersa Maxima).As is customary in Arrieta's paintings, there is special attention to the depiction of objects and textures, observed in the glass, the clever arrangement of scissors with their shadows, and in the clay pots with water droplets." Reference bibliography:Castro Morales, Efraín, Homenaje Nacional a José Agustín Arrieta (1803-1874), Museo Nacional de Arte (México) INBA 1994; Fraile Martín, Isabel, "Pintura y pintores en Puebla: Una revisión a los modelos y tendencias del siglo XIX" Estudio, 2015, n. 20, p.17-31. The study by José Gómez Frechina is included with the lot.
Lot 36
Francisco Gomez de Valencia (Granada 1657 - Mexico, first half of the 18th century)"Memento Mori"Oil on burlap. Signed and dated 1681 on the back.140 x 107 cm.An exquisite depiction of the transience of existence, painted by Francisco Gómez de Valencia and dated 1681 on the back of the canvas: "Franc• Gomez fat. año [year] 1681".This Spanish Baroque painter, born in Granada in 1657, was the son of the painter Felipe Gómez de Valencia and followed his father's style as a member of the family workshop, one of the most active Granada workshops in the second half of the 17th century, influenced, like many others of the period, by Alonso Cano, "el Racionero" who was artistically dominant at the time.In 1679, his father passed away, and he took over the workshop until at least 1685, the date of the last documented appearance of the painter in Granada. The oil painting we have here for auction dates from this period.Professors Gloria Espinosa and María Teresa Suárez, in a recent and highly interesting article (2023) in which they reveal new documentary sources about the artist's biography and a previously unknown canvas, conclude that "Francisco Gómez de Valencia must have arrived in Mexico around 1687" and not in 1699, as previously thought in other studies. The painter, after three undocumented years, reappears in 1688 in Mexico City, in a document which reports on his genealogy, previously unknown until the publication of said article. Further information provided by Espinosa and Suárez regarding the Granadan painter is from 1693 when he was appointed Family of the Holy Inquisition, a position that provided economic stability, "in addition to the promotion and social prestige he desired," reasons why he is likely to have left his home town. The last piece of information about Gómez de Valencia, also in New Spain, dates back to 1711 where his delicate health at the age of 54 is documented.Of his probable extensive production, eleven canvases are currently kept in the Museum of Fine Arts of Granada —among them, the "Virgin of Sorrows" and the "Lamentation before Dead Christ," with clear influences from his father, from Flemish painters, and "el Racionero" — and the "Assumption of the Virgin" in the National Museum of San Carlos, Mexico. In addition, we would like to highlight the "Presentation of the Virgin in the Temple," attributed by Raquel Prados in 1999, and another artwork which was unknown until last year when Espinosa and Suárez brought it to light. It is an "Ascension of Christ," which is reproduced in the aforementioned article, and is kept in the National Center for Conservation and Registration of Movable Artistic Heritage of Mexico, where, along with more than five hundred paintings, it had remained shut up in the so-called 'Pandora's Box' for almost half a century. For more information, please refer to the article, which we cite in the bibliography.To these two canvases, we now add the "Memento Mori" presented in this auction, further enriching a catalog that surely has much more to discover. It is essential to note that our painting is dated, unlike most of his corpus, allowing us to place it with total certainty in Granada, as in 1681, as Raquel Prados reports, he "resided in Placeta de Chavarría with his mother, brothers, and Ana de Valencia, his wife." By that time, in fact, our painter had already taken over the family workshop two years earlier and had taken on the commissions that Felipe Gómez de Valencia had left behind orphaned.In this painting we can appreciate the sense of sweetness in colours and an ease in drawing that he inherited from his father. With delicate strokes, he captures a baroque, theatrical scene, almost like a meditation from cell in a convent, in a still life, indoor setting.The human soul or guardian angel reminds a repentant knight of the transience of life, emphasising the vanity of existence. In a room with a bed and canopy, the praying figure is led by the song of the angel, who hints with a pointing hand that nature decomposes, but that the soul can be immortal; it shows him a still life full of symbols: at the centre a skull or skeleton shines, a "memento mori," a reminder that death is inevitable; an hourglass reminds him of the passage of time; it rests on a book, which traditionally alludes to excessive pride in learning. But everything passes.And after these, other objects allude hopefully to the afterlife. The painting has a moralistic message that encourages the viewer to consider their own mortality and how they live their life. This still life compares the vain nature of mortal life with the possibility of eternal life. The Cross is presented as the purpose of his commitment, as well as the rosary that will allow him to live in prayer, and the whip hanging from the table, inviting him to live in penance and mortification.It seems that the painter is devoted to the Virgin Mary, whom he places above, being crowned as Queen and Lady by the Holy Trinity.To conclude, this serene painting does not suggest decay or sadness but carries a legacy of hopeful aspirations beyond life itself. Reference bibliography:- Espinosa Spínola, Gloria y Suárez Molina, María Teresa. (2023). Francisco Gómez de Valencia, un pintor del siglo XVII entre Granada y México. “Boletín de Arte-UMA”, n.º 44, Departamento de Historia del Arte, Universidad de Málaga, pp. 75-85. https://dx.doi.org/10.24310/ba.44.2023.16195- Prados, Raquel. (1999). Un lienzo inédito de Francisco Gómez de Valencia. “Cuadernos De Arte De La Universidad De Granada”, 30, 303–310. https://revistaseug.ugr.es/index.php/caug/article/view/9101
Lot 1522
Ten vinyl albums from the 1980s, including The Human League - Crash, Altered Images - Pinky Blue, Hazel O'Connor - Sons and Lovers, Toni Basil - Word of Mouth, John Lennon - Double Fantasy, Karel Fialka - Still Life, Bangles - Different Light, Adam Ant - Strip, Ice House - Love in Motion and Joan Armatrading - The Key, (10) The vinyl surfaces of each disc are in excellent condition with few very minor marks visible under light, with all covers showing some signs of light laminate creasing and signs of storage wear along the edges, but generally are very good.
Lot 246
Tony WEARE (1912-1994) Four portfolios of botanical watercolour studies One hundred and twenty loose pages of watercolour studies containing over one thousand individual illustrations of flora found in America and Canada, each illustration with its own title and dated, many including the place where the flora was located. Each page measures 25cm x 20cm and was created when Weare, the internationally-renowned cartoonist, spent two years driving around the American West, whilst still finding time to send back his cartoons to the London Evening News for their popular and long-running 'Matt Marriott' cartoon, for which he is perhaps best known. A philosopher, humanitarian, conservationist and amateur botanist, Weare lived and incredible life. Spending time sleeping rough in London, determined to succeed as an illustrator in the capital city, his drawings began to grace the pages of various magazines, including 'John Bull' and 'Brittania & Eve'. After some success with other comic strips, it was the creation of 'Matt Marriott, which ran from 1955 to 1977, which gave him his greatest commercial success, with even The Duke of Edinburgh himself said to be a fan. Such success enabled him to buy homes in both Devon and Spain, before the latter was sold to fund his journey around the US. Here he created these magnificent and botanically important drawings and his own personal story took another turn. Somehow, he managed to run himself over with his own car when his handbrake failed. Thankfully, a passer-by stopped and was able to remove the car from off of him, but then drove off in the car, leaving Tony injured and alone for several days before he was able to make it to hospital. Such was the nature of the accident, however, that Weare's insurance company neglected to pay out, leaving Tony with no way to pay for the medical bill. His artistic skills once more came to his aid though, as he painted a mural on the hospital wall as recompense. Even in his own death at 82, Tony created his own story. Not wanting to become a burden as he inevitably slowed, Tony decided to take his own life, having one last pint in a local pub before leaping from Porthleven Pier at high tide, but only after drawing a cartoon of his own death and leaving it for loved ones to find. In it he wrote 'I should hate to be more inactive than I am at the moment, with my children and grand-children feeling like they must sit with this old wreck until his last gasp. So I hope you will understand and give me a cheer and a handclap if I do manage to catch the tide tonight.'
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