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Lot 206
World War II interest - ephemera and items relating to seaman P A Pidgeon (P/JX212116) of HMS Ajax and HMS Juno including a folders of letters dating between 1938 and 1943, Naval Messages dating around 1941, Sutton District Water Company allowance notes, photographs of him, his disc identity tag, his 1941 pocket handy book whist on HMS Ajax, his 1941 Service Diary with entries, postcards and other ephemera belonging to him plus his rubberised life belt. He survived when HMS Juno sunk in 1941 following an attack from an Italian aircraft whilst sailing with the Mediterranean fleet against the German seaborne invasion of Crete. His pocket service diary has water damage indicating it went into the water with him. There are also descriptive letters detailing the incident, including one letter sent back to home informing that when he was rescued ' the worse was still to come '
Lot 729
'Artifact Still Life (Burial) William Morris, 1990 20-teiliges Objekt der ''Artifact Series''. Farbloses Glas mit kobaltblauer Pulverein- und Goldfolienaufschmelzung, formgeschmolzen, weiße körnige Substanz aufgeschmolzen, teils irisiert. 2 Teile in Gravur signiert und datiert: William Morris 1990. H. 37 cm; B. ca. 80 cm (variabel) Lit.: ''William Morris Glass - Artifact and Art'', University of Washington Press, Seattle & London 1989, S. 72/73 - ''Contemporary Crafts and the Saxe Collection'', The Toldedo Museum of Art, Toledo 1993, Plate 37.Bitte beachten Sie, dass dieses Objekt regelbesteuert ist. Fu?r Kunden innerhalb der EU wird auf den Zuschlag zuzu?glich 26 % Aufgeld,die gesetzliche Umsatzsteuer von derzeit 19 % erhoben. Ausgenommen hiervon sind Käufer aus dem Drittland, der Schweiz sowie Händler innerhalb der EU mit Umsatzsteuer-ID-Nr.. Please note that this item is calculated with standard taxation.EU customers have to pay the hammer price plus 26 % premium and value added tax (19%).Excluded from this are buyers from non-EU countries, Switzerland and EU Dealers with valid VAT no.
Lot 730
'Artifact Still Life'' William Morris, 1990 4-teiliges Objekt der ''Artifact Still Life Series''. Farbloses Glas mit kobaltblauer Pulvereinschmelzung, formgeschmolzen, weiße körnige Substanz aufgeschmolzen, teils irisiert. In Gravur signiert: William Morris. D. 18 bzw. 36 cm; L. 40 bzw. 61 cm (Knochen) Lit.: ''William Morris Glass - Artifact and Art'', University of Washington Press, Seattle & London 1989, S. 61.Bitte beachten Sie, dass dieses Objekt regelbesteuert ist. Fu?r Kunden innerhalb der EU wird auf den Zuschlag zuzu?glich 26 % Aufgeld,die gesetzliche Umsatzsteuer von derzeit 19 % erhoben. Ausgenommen hiervon sind Käufer aus dem Drittland, der Schweiz sowie Händler innerhalb der EU mit Umsatzsteuer-ID-Nr.. Please note that this item is calculated with standard taxation.EU customers have to pay the hammer price plus 26 % premium and value added tax (19%).Excluded from this are buyers from non-EU countries, Switzerland and EU Dealers with valid VAT no.
Lot 5
Robert Rauschenberg (1925-2008)Intersection (Copperhead) 1989 signed and dated 89; numbered 89.46 on the reversesilkscreen ink, acrylic, enamel and tarnish on copper, in a bronze frame244 by 122 cm.96 1/16 by 48 1/16 in.Footnotes:This work is registered in the archives of the Robert Rauschenberg Foundation, New York, under RRF 89.46.ProvenanceM. Knoedler & Co., New York (A 116778)Private Collection, LondonAcquired directly from the above by the present ownerExhibitedNew York, M. Knoedler & Co., Robert Rauschenberg: Works, 1989, no. 13, illustrated in colourWith its lustrous, subtly reflective copper surface and vivid blend of silkscreened and painted imagery, Intersection (Copperhead) from 1989 is a truly spectacular example from a celebrated series of paintings on metal created during Robert Rauschenberg's ROCI project. Over the course of his 60-year career, Rauschenberg worked in a wide range media including painting, sculpture, fabric collage, printmaking, photography and performance, challenging gestural abstract painting at a time where Abstract Expressionism was the dominant creative philosophy in America. Studying at the famed Black Mountain College under the tutelage of Josef Albers, he quickly rose to be one of the most influential and experimental artists of his time, a progenitor of practically every post-war artistic development since Abstract Expressionism and the first American to win the Golden Lion, the top prize at the Venice Biennale in 1964. Today, his works are highly sought after internationally, and with only two comparable works having been offered at auction in the past ten years, this is a rare opportunity to acquire a signature work by this singular artist.Robert Rauschenberg believed in the power of art as a catalyst for positive social change. He travelled widely throughout his life, participating in numerous international ventures and from 1984 to 1991 he embarked on the ROCI project, the Rauschenberg Overseas Culture Interchange (ROCI) - pronounced 'Rocky,' like the name of his pet turtle. The project was an expression of his long-term commitment to human rights and intended to spark a dialogue and achieve mutual understanding through creative work. As part of the project, Rauschenberg explored diverse cultures and local art-making practices, steering him to countries where artistic experimentation had been suppressed, including Chile, China and Cuba. On his trip to Chile in 1984 Rauschenberg visited a copper mine and foundry and learned from artist Benito Rojo about the potential of tarnishing agents on copper. Mined locally and widely exported around the world, the material was not only of huge significance to the country, but by using it, Rauschenberg demonstrated his solidarity with the Chilean people during the rule of Dictator, President Augusto Pinochet. It also possessed warm reflective qualities that he liked for his own practice, explaining that, 'the metal carries the image instead of the opposite way around, where the paint is the image on the surface.' (the artist in: Galerie Thaddaeus Ropac press release, BOREALIS 1988-92, www.ropac.net, 21 September 2021) The Copperheads (1985/89) are a series of paintings using copper supports, tarnishing agents, acrylic, enamel and silkscreened photographs taken by the artist on his travels. Photography and printmaking were two of his abiding interests, allowing him to document and reflect the countries he visited and the world around him. While the fourteen Copperheads made in 1985 are part of the larger series ROCI Chile, the present work belongs to the first of fifteen series of paintings on metal that Rauschenberg made between 1985 and 1996. With the addition of hand painted enamel, Intersection (Copperhead) is a melange of textures and shadow play, first captured in Rauschenberg's black and-white photographs and then transformed into graphic signs and bursts of colour on the copper surface. A painting that is suffused with the politics of the emergent globalization at the end of the 1980s, it wonderfully demonstrates the artist's adroitness and keen eye for imagery in modern media culture; how they could be propagated, transformed and composed. Set over a both lustrous and murky copper background, the eye is drawn upwards across the vertical pane to find a selection of five distinct images, each assigned a colour or colour combination. Some are more readily recognizable than others: the wheel of a bike for example is centrally positioned between stark letters at the top of the composition. Three small men are encased by the lamp of a traffic light, an image that was photographed in Chile and is clearly referenced in the work's title 'Intersection'. At the base, a yellow chair against a vibrant red background is serenely positioned between two windows and beautifully grounds the composition.Rauschenberg took the photograph of the bike and letters in Moscow; the image of the chair at the bottom of the composition was taken in either Captiva, Florida or the neighbouring Pine Island, near Rauschenberg's studio. Besides the reference to the prominently positioned traffic light, the title of the work also draws attention to the various layers of apparently unrelated imagery intersecting across the picture plane and the juxtaposition between two different modes of paint application: gestural brushstrokes and mechanically reproduced imagery. No specific narrative can be inferred from the figurative motifs and in some areas the imagery is dense, even overlapping, in others it is sparser, leaving part of the copper base bare, only broken up by incidental gestures, including wipes and drips, streaks, washes and spots.Rauschenberg didn't want his paintings to be didactic; rather they are a collection of motifs that lead the viewer on their own journey, and are subject to the viewer's own thoughts, perceptions, and feelings. The present work is a truly magnificent example of some of the artists most recognizable techniques with an imposing and striking presence. Rauschenberg's impact on art history is still felt strongly today, with his works being incredibly popular and amongst the highlights of the most prestigious public and private collections around the globe, including the Centre Georges Pompidou, Paris; Guggenheim Bilbao, Bilbao; Louisiana Museum of Modern Art, Humlebaek; Moderna Museet, Stockholm; Stedelijk Museum in Amsterdam and New York's Museum of Modern Art.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 4
Josef Albers (1888-1976)Homage to the Square: Study to Young Prediction 1951 signed with the artist's monogram and dated 51oil on masonite40.6 by 40.6 cm.16 by 16 in.Footnotes:This work will be included in the forthcoming catalogue raisonné currently being prepared by the Josef and Anni Albers Foundation, under no. JAAF 1976.1.193.ProvenanceThe Estate of Josef Albers, ConnecticutThe Josef and Anni Albers Foundation, ConnecticutWaddington Galleries, London (no. B37854)Acquired directly from the above by the present ownerExhibitedLondon, Waddington Galleries, Josef Albers: Works on Paper and Paintings, 2007, p. 37, no. 13, illustrated in colourAn exquisitely vibrant and mesmerizing example of Josef Albers' most celebrated series, Homage to the Square: Study to Young Prediction from 1951 offers a rare opportunity to acquire a true masterpiece from one of the most influential artists of the 20th century. Boasting an immaculate provenance directly from the estate of the artist and the Josef and Anni Albers Foundation in Connecticut, the work only went into private hands in 2008 where it has remained since. With its three concentric squares of oil paint, each slightly gravitating to the lower edge of the Masonite panel, the disarmingly simple work features a rare combination of vivid pigments - pink, ochre, and orange - reminiscent of a blazing sky at sunset. The grouping of colour is only seen in three other examples throughout the entire series to which the artist dedicated over twenty-five years of his life. Having studied at the Bauhaus in Germany, where he was later a faculty member, Albers was among those who decided to close the school rather than comply with the Third Reich and adhere to its rules and regulations. Together with his wife Anni, he arrived in the United States in 1933 to programme the visual arts curriculum at the influential Black Mountain College. His subsequent influence as a teacher to generations of artists that followed would be without equal; Albers' students included Robert Rauschenberg, Jasper Johns, Cy Twombly, Ruth Asawa, Eva Hesse, Sheila Hicks and Richard Serra. Years later, Rauschenberg would say 'I'm still learning what he taught me, because what he taught had to do with the entire visual world [...] I consider Albers the most important teacher I've ever had' (M. E. Harris, The Arts at Black Mountain College, Cambridge, MA 1987, p. 126). The Homages occupied Albers from 1950, when he began teaching his colour theory course at Yale University's Department of Design, until his death in 1976. He set about examining the compositional and formal effects of colour and shape, fascinated as he was by the versatility and fragility of perception. In Albers own words, 'every perception of color is an illusion [...] We do not see colors as they really are. In our perception they alter one another. [...] This play of colors, this change in identity, is the object of my concern. It leads me to change my color tool, my palette, from one picture to the next' (the artist in: Eugen Gomringer, Josef Albers, New York 1967, p. 104). What may initially be read as a strict, narrow compositional framework, the Homage to the Square series allowed Albers to explore the finite, expressive potentials and optical properties of colour and their intrinsic relationships. Entirely based on a mathematically determined format of several squares, each element appears to overlap and nestle within one another, conjuring advancing and receding planes, appearing as both autonomous shapes and integral parts of a complete system. Applied with a palette knife directly from the tube onto a white, primed Masonite panel, Albers worked his way from the inside outwards with the board flat on the table, achieving perfect edges and lines without a ruler or masking tape. The perception of depth- for some the squares recede, for others they are stacked on top of each other and protrude- is down to the individual perception of the viewer and can shift from viewing to viewing. Sometimes the differences in tone are minimal, but in the present work, Albers has opted for a more dramatic and striking tonal difference between his elements. There is a vibrancy to some early Homage to the Square paintings before 1955-56, the present work included, that can surprise those who know the artists more restrained, classical works of the late 1950s and through the 1960s. The pigments seen in Homage to the Square: Study to Young Prediction from 1951 - a vibrant pink, rich ochre, and luminous orange - were used in only three other paintings of the series. Whilst all four works vary in appearance due to different tonalities of the inner pink square (a mixture of pink and white), and the density of the paint application on the surface of the ground, they all bear the same title and feature the same composition. The present work is the very first study and has a denser, more thickly painted surface, as is typical of Homage paintings from 1951. It also features an overpainted earlier Homage on the reverse, along with the carefully recorded inscriptions of technical details typical for the series. The second study recorded in Albers' notes was completed in 1954; a third example dated 1951-1955 is presently in a private German collection. The last and final work called Young Prediction (Homage to the Square) has remained in the same private collection since it was acquired in 1955 and is currently on view in the exhibition 'Anni et Josef Albers: L'art et la vie' at the Musée d'art Moderne de Paris which will run through to January 2022 before travelling to the Instituto Valenciano de Arte Moderno in Valencia.Josef Albers was the first living artist ever to be honoured with a solo retrospective at the Metropolitan Museum of Art in New York in 1971. His Homage to the Square paintings are cornerstones of the most prestigious public and private art collections around the world. Not only is his influence on the timeline of modern art largely unparalleled, but Albers' legacy endured in the artists he taught, collaborated with, and guided through the early years of their career, influencing the emergence of Colour Field Painting, Geometric Abstraction and Op Art.Far from, a mere variation of a strict format of squares within squares, Homage to the Square: Study to Young Prediction from 1951 pulsates with light, tension and energy, and brilliantly incorporates the qualities that made Albers such a stalwart of the modern period. His exceptional aesthetic sense plays out between the simplicity of his composition and colours, and in turn produces a work of outstanding, complex beauty.For further information on this lot please visit Bonhams.com
Lot 442
GEORGE SCHNEIDER. 'The Book of Choice Ferns.' Five vols, original pictorial cloth, rubbed ends to spines, coloure plates and wood block engravings complete, L. Upcott Gill, c1892 (no date given), g. Dr Rob Senior arrived in West Cornwall from his native Yorkshire in the early 1960’s where he took up his vocation as a young GP and served the local community for 40 years. At the age of 12, Rob bought a book on Cacti. It was his first book, and established the twin passions of his life, books and plants. His library is a fabulous, eclectic collection of books, largely on plants and horticulture, but also nature and many other subjects, all brought together by a man with a curious and inquisitive mind. Condition: please request a condition report if you require additional information regarding the condition of this lot. Condition Report: The boards, although still vibrant, have been affected by what looks like mould. This mould is no longer present, but has left permanent staining. This is generally to the rear board. The ends of the spines are rubbed. Sporadic foxing throughout, in particularly the endpapers. The text blocks are tight, very little sign of cracking to the joints, and still an attractive set. Postage: £35 Please note that the postage quote is an estimate of the amount that we would charge to send the item to a buyer in the UK. If you are outside of the UK, or there is no estimate shown here, please contact postage@davidlay.co.uk for a bespoke quote.
Lot 474
PIERRE-JOSEPH REDOUTE. 'Roses 2.' First edition, original card boards with dj, dj chipped, cut title page, large colour plates by K. G. Lohse, The Ariel Press, 1956, g. Dr Rob Senior arrived in West Cornwall from his native Yorkshire in the early 1960’s where he took up his vocation as a young GP and served the local community for 40 years. At the age of 12, Rob bought a book on Cacti. It was his first book, and established the twin passions of his life, books and plants. His library is a fabulous, eclectic collection of books, largely on plants and horticulture, but also nature and many other subjects, all brought together by a man with a curious and inquisitive mind. Condition: please request a condition report if you require additional information regarding the condition of this lot. Condition Report: The dust jacket is frayed around the edges and has been repaired down each fold. The title page has inexplicably been clipped to the top fore edge corner. Foxing and toning to endpapers. the textblock is tight and clean and the illustrations are still vibrant. Postage: £19.56 Please note that the postage quote is an estimate of the amount that we would charge to send the item to a buyer in the UK. If you are outside of the UK, or there is no estimate shown here, please contact postage@davidlay.co.uk for a bespoke quote.
Lot 40
Francis Campbell Boileau Cadell RSA RSW (British, 1883-1937)Still Life with Ranunculus signed 'F.C.B.Cadell' (lower left), inscribed 'Still life/Ranunculus' (verso)oil on panel44 x 37.5 cm. (17 5/16 x 14 3/4 in.)Footnotes:ProvenanceSale; Sotheby's, Glasgow, 9 February 1988, Lot 291With David Messum, LondonPrivate Collection, AustraliaMédecins Sans Frontières, AustraliaThe proceeds of sale of this work will support the work of Médecins Sans Frontières, a global organisation who offers assistance to populations in distress, victims of natural or man-made disasters and armed conflict, without discrimination and irrespective of race, religion, creed or political affiliation.Cadell is often said to be the most elegant of the Colourists and Still Life with Ranunculus is a stylish image which epitomises this. During the immediate pre-war period, Cadell established himself as an artist of note and a figure of standing within Edinburgh society. He developed a palette based on white, creams and black, which may have been influenced by the work of Éduoard Manet. The appreciation of this colour scheme was also reflected in the carefully constructed environment of his studio at 130 George Street in Edinburgh. A black polished floor enhanced the rich effect of pure colour emerging from the pale white and mauve colour scheme. Although loosely painted, the overall composition is carefully considered. Here he dramatically crops his painting, boldly chopping the top section of the mirror out of the frame, to create a highly modernist aesthetic, which echoes the techniques of artists such as Van Gough and Matisse. The overall effect of this daringly simplified still life is one of sophistication and elegance.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 43
George Leslie Hunter (British, 1877-1931)Still Life with a Chinese Vase and White Roses signed 'Hunter' (upper right)oil on panel56 x 48 cm. (22 x 19 in.)Painted circa 1916-18Footnotes:ProvenanceWith The Fine Art Society, London, July 1960Collection of Mr Harold McGregor, Adelaide, Australia, thence by descentPrivate Collection, AustraliaSale; Christie's, London, 13 December 2016, Lot 76Private Collection, UKPainted circa 1916-18. This vase was a favourite motif for Hunter when he started specialising in still life themes, inspired by the Dutch masters in Kelvingrove Art Gallery in Glasgow.For further information on this lot please visit Bonhams.com
Lot 79
James Beattie Michie (1891-1960)Still life in front of window signed 'Michie' (upper right)oil on panel54.5 x 59.5 cm. (21 7/16 x 23 7/16 in.)Footnotes:ProvenanceA gift direct from the artists, thence by descent.James Michie and Anne Redpath regularly stayed with the owner's family. They often gifted and swapped paintings between the households.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 41
Samuel John Peploe RSA (British, 1871-1935)Still life with roses and an open book signed 'Peploe' (lower right)oil on canvas55.9 x 50.8 cm. (22 x 20 in.)Footnotes:ProvenanceWith Alex Reid & Lefevre, GlasgowSale; Christie's, London, 26 June 2015, Lot 205With Richard Green, LondonPrivate Collection, UK150 years after Peploe's birth, it is widely considered that his contribution to the still life genre is one that is unequalled in the history of twentieth century British art.The quest for the perfect still life preoccupied Peploe for most of his life, almost to the point of obsession, as his brother-in-law, Frederick Porter recounted: 'All his still life[s] were carefully arranged and considered before he put them on canvas. When this was done - it often took several days to accomplish - he seemed to have absorbed everything necessary for transmitting them to canvas. The result was a canvas covered without any apparent effort. If a certain touch was wrong it was soon obliterated by the palette knife. The whole canvas had to be finished in one painting so as to preserve complete continuity. If, in his judgement, it was not right then the whole painting was scraped out and painted again' (F.P. Porter, The Art of S.J. Peploe, New Alliance, VI, no. 6, 1945-1946, p. 7).Still Life with Roses and an Open Book was painted circa 1929-1931. The composition is amongst the most dynamic and beautiful of Peploe's later studies of roses, the flower with which he is most associated. The rich colouring of the roses and drapes seek your attention amongst the low tones used on most of the canvas. The flexible stems of the taller roses and open pages of the book combine to create a sense of movement; a fleeting moment in time that has been captured. The overall effect is one of rhythmic harmony of colour and form which is typical of his best work of this period.For further information on this lot please visit Bonhams.com
Lot 64
Anne Redpath OBE RSA ARA LLD ARWS ROI RBA (British, 1895-1965)Still life with fruit signed 'Anne Redpath' (lower right)oil on board38.5 x 48.5 cm. (15 3/16 x 19 1/8 in.)Painted circa 1960Footnotes:ProvenanceWith The Scottish Gallery, Edinburgh, stock.no.708This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 39
Francis Campbell Boileau Cadell RSA RSW (British, 1883-1937)Still Life with Oranges, Lemons and an Apple signed 'F.C.B.Cadell' (lower left)oil on canvas44.5 x 59 cm. (17 1/2 x 23 1/4 in.)Footnotes:ProvenanceSale; Christie's, Glasgow, 28 April 1987, Lot 633With David Messum, LondonPrivate Collection, AustraliaMédecins Sans Frontières, AustraliaThe proceeds of sale of this work will support the work of Médecins Sans Frontières, a global organisation who offers assistance to populations in distress, victims of natural or man-made disasters and armed conflict, without discrimination and irrespective of race, religion, creed or political affiliation.A trip to Venice in 1910 proved to be a turning point in Cadell's artistic development, inspiring a newly confident use of colour and a loosening of technique. The feathery strokes he deploys in this work, gives a wonderful sense of freedom, which echoes that of the Impressionist artists but also the influence of Whistler. Cadell explored the genre of the still life throughout the pre-war period. Still Life with Oranges, Lemons and an Apple is a fine, early example of Cadell's orchestration of objects such as fruit and glassware. The vibrancy of the yellow, orange and green of the fruit glow against the dark counterpart of the objects in the background and commands immediate attention. It also demonstrates Cadell's preoccupation with the play of light on different materials. The speed of these brief dabs of white paint gives the work an air of spontaneous vigour and movement.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 37
Samuel John Peploe RSA (British, 1871-1935)Still Life with Geranium signed 'Peploe' (verso)oil on canvas55 x 46.3 cm. (21 5/8 x 18 1/4 in.)Still life with roses and fruit (verso), Still Life with Geranium painted circa 1913-14Footnotes:ProvenanceSale; Sotheby's, Glasgow, 9 February 1988, Lot 289With Jonathan Clark Ltd., London Private collection, AustraliaAmnesty InternationalThe proceeds of sale of this work will support the work of Amnesty International, a global movement of more than 10 million people in over 150 countries and territories who campaign to end abuses of human rights.'The main impression gathered from [Peploe's] paintings is of colour, intense colour, and colour in its most colourful aspect. One is conscious of material selected for inclusion in still-life groups because of its colourful effect; reds, blues, and yellows are unmistakably red, blue and yellow; the neutrals are black and white' (S. Cursiter, Peploe: An intimate memoir of an artist and his work, Thomas Nelson, London, 1947, p. 43) .During his time living in Paris in the early 1910's, Peploe had been exposed to the radical artistic developments in art. He witnessed the possibilities of composition and colour through work produced by the Fauves and Cubists. Peploe developed his own use of colour; bold, primary tones, yet he encased these with distinctive black outlines. His work between 1910-20 is not concerned with over-complicated perspective or symbolism, but instead presenting the subject in its purest unfettered form.This double-sided canvas is an important and rare example of Peploe's unique and distinctive style as he broke away from tradition, occupying a position at the forefront of Modernism in Britain.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 38
Samuel John Peploe RSA (British, 1871-1935)Red Rose, 1931 signed 'Peploe' (lower right)oil on canvas46.2 x 40.7 cm. (18 3/16 x 16 in.)Still life with anemones (verso)Footnotes:ProvenanceThe Collection of The Earl of SandwichThe Collection of Howard BlissWith Alex Reid & Lefevre Ltd., LondonWith Gillian Jason Gallery, LondonWith The Scottish Gallery, EdinburghPrivate Collection, AustraliaAmnesty InternationalExhibitedLondon, Alex Reid & Lefevre Ltd., Paintings by S.J. Peploe, May 1948, cat.no.59The proceeds of sale of this work will support the work of Amnesty International, a global movement of more than 10 million people in over 150 countries and territories who campaign to end abuses of human rights.This double-sided canvas encapsulates Peploe's style during this period. While the perspective remains relatively flat, objects are not confined to rigid borders and become less defined. As a result, the painting has a heightened sense of freedom, enhanced by the looser and more broken brushwork. Nevertheless, a clear interest in composition prevails. It demonstrates how Peploe continued to experiment with technique even when he had achieved the fully formed style of his early 1920's still lifes. Stanley Cursiter summarises the work from Peploe's latter period beautifully when he wrote 'his work has a richness and fullness due in great measure to an increased acceptance of the muted harmonies of quieter and more broken colour. There is no longer the slightest suggestion that the colour was searched for and accentuated for its own sake, but rather that the whole surface was a web of some rich material in which notes of colour emerge and take shape.' (S. Cursiter, Peploe: An intimate memoir of an artist and his work, Thomas Nelson, London, 1947).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 45
George Leslie Hunter (British, 1877-1931)Still life with Chinese vase, fruit and silver salver signed 'Leslie Hunter' (upper left)oil on board61.5 x 50.8 cm. (24 3/16 x 20 in.)Footnotes:ProvenanceEx collection of J Gibson JarvieSale; Christie's, Glasgow, 8 December 1988, Lot 308'It is this unerring sense of colour that made Hunter the artist he became... never a jarring pattern is found, or an inharmonious tone in his colour schemes - rich and glowing as they are without a hint of garishness.' (T. J. Honeyman, Introducing Leslie Hunter, 1937, p. 211) Hunter usually composed his still lifes around a central motif of fruit, flowers, and ceramics. He would return to his Glasgow studio with ripe fruit or a selection of blooms and used interestingly shaped ceramics to contain them and construct a pleasing and sophisticated still life from which to work. For the present picture he chose a Chinese jar to draw the eye into the composition, and a pink rose delicately lying to the side. The silver tray and melon suggest an influence from seventeenth century Dutch still life painting, which Hunter is known to have admired and been influenced by at an earlier period in his career.The sale of this picture to Hunter's cousin, the wealthy banker and barrister John Gibson-Jarvie (1883-1964), would have brought Hunter much needed money at a time when his finances were particularly stretched and he was making concerted efforts to paint impressive pictures for sale. The impetus of the later 1920s gave his pictures a dramatic energy and confidence which he had never reached in his work before.For further information on this lot please visit Bonhams.com
Lot 114
West Indies.- Barbados & Saint Lucia.- Torrens (Sir Arthur Wellesley, British Army officer and colonial administrator, 1809-1855) Important collection of over 85 travel drawings, military figure studies, and other studies from life, including 27 finely executed drawings from Torren's time in the West Indies, with drawings recording views, local people, fishing practices, evening entertainment, and colonial dress, the other drawings include views from Madeira and elsewhere in Europe and England, together with 4 autograph letters concerning his injuries in later life and his longing for military service, pen and black inks on various papers, some pencil under-drawing, many signed with monogram, others with inscriptions, dates and location details, various sizes between 140 x 170 mm (5 1/2 x 6 3/4 in) to 250 x 360 mm (9 3/4 x 14 1/8 in), all appear to have been removed from an album with residual brown paper to verso of each, some minor losses, nicks and tears, occasional spotting and minor surface dirt, all unframed, [circa 1840s and later] (c. 85).⁂ A highly competent amateur hand, and a unique record and perspective of early colonial and military life in the West Indies, executed by the godson of Arthur Wellesley, 1st Duke of Wellington, after whom the artist was named. "In September 1843 Torrens went, in command of the 1st battalion, from Quebec to the West Indies, arriving at Barbados in October 1843. The battalion was moved from time to time from one island to another, but for two and a half years Torrens commanded the troops in St Lucia and administered the civil government of that island. Torrens declined the offer of the lieutenant-governorship of St Lucia as a permanent appointment, preferring to continue his service in the Royal Welch Fusiliers. He sailed with his battalion from Barbados in March 1847, arriving at Halifax, Nova Scotia, in April. The battalion returned to England in September 1848.Torrens was later nominated a Brigadier-General to command an infantry brigade in the British army in Turkey in the war with Russia. He joined the 4th division under Sir George Cathcart at Varna just before its embarkation for the Crimea. He was at the head of his brigade at the battles of the Alma and of Balaklava, where he was engaged in support of the cavalry and lost some men in recapturing two redoubts. On the morning of 5 November 1854 he had just returned from the trenches when he was told of the enemy's attack from the valley of Inkerman, and, under the direction of Cathcart, he attacked with success the left flank of the Russians, his horse falling under him, pierced by five bullets [see included letters]. Just before Cathcart was struck down by his mortal wound he called out, 'Nobly done, Torrens!' Torrens was still in front, cheering on his men, when he was struck by a bullet, which passed through his body, injured a lung, splintered a rib, and was found lodged in his greatcoat. He was invalided home. His health, enfeebled by his wound, broke down, and he died in Paris on 24 August 1855." [Extracts from Oxford DnB, accessed 15th September 2021]
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