We found 77111 price guide item(s) matching your search

STUART PARK (SCOTTISH 1862-1933) A STILL LIFE OF YELLOW ROSES Signed, oil on canvas(41cm x 51cm (16in x 20in))Provenance: The Late Dr Helen E C Cargill Thompson

STUART PARK (SCOTTISH 1862-1933) A STILL LIFE OF RED AND YELLOW ROSES Signed, oval, oil on canvas(51cm x 41cm (20in x 16in))

§ SIR WILLIAM GEORGE GILLIES C.B.E., L.L.D., R.S.A., P.R.S.W., R.A. (SCOTTISH 1898-1973) ST VALERY Signed, watercolour(48cm x 63cm (19in x 25in))Provenance: Mercury Gallery, Edinburgh April 1987 Literature: W. Gordon Smith, W. G. Gillies - A Very Still Life 1991, Ill. pp.24, 25, 51Footnote: Note: Gillies’ early training in Paris is well-documented; less well-known is his 1938 sojourn in the French fishing port of St Valery-en-Caux, Normandy, in the company of the artist Johnnie Maxwell. This evocative watercolour is a rare souvenir from this trip. Made spontaneously and without preparatory drawing, colour has been applied in urgent, bold strokes evoking an atmospheric windy day in the French coastal town. The luscious, expressive mark-making demonstrate Gillies’ admiration for the French masters of interior painting such as Vuillard and Bonnard, yet for Gillies it was in his landscapes painted en plein air that he felt he could best capture a sense of vibrancy and immediacy. This watercolour typifies the artist’s ability not only to record his surroundings, but to also lay down an unmediated emotional response to the world around him. The emotional intensity of Gillies’ painting from around this period is perhaps best explained by the sense of tragedy that defined his life in the latter half of the 1930s: as tensions mounted in the build-up to the Second World War, Gillies also suffered a bitter personal loss through the death of his younger sister Emma, who succumbed to ill health in 1935. Herself a talented ceramicist, Gillies had painted Emma a number of times, and the siblings shared a close and affectionate relationship. In the wake of this loss, Gillies threw himself into his craft with renewed devotion, with the resulting work demonstrating an exploration of the boundaries between intimacy and intensity. Gillies’ influence on Scottish landscape painting has been profound, and this vivid watercolour is a rare instance of the artist applying his distinctive vision to a subject-matter further afield.

WILLIAM GOUW FERGUSON (SCOTTISH 1632/33- AFTER 1695) A STILL LIFE OF DEAD GAME AND SONGBIRDS Signed and dated 1690, oil on canvas(124.5cm x 104cm (49in x 41in))

§ SIR WILLIAM MACTAGGART P.R.S.A., R.A., F.R.S.E., R.S.W. (SCOTTISH 1903-1981) STILL LIFE Signed, oil on canvas(76cm x 56cm (30in x 22in))Footnote: Provenance: Collection of Dugald McTaggart Lindsay. Note: Lyon & Turnbull are pleased to present to market a fine selection of work by Sir William MacTaggart. MacTaggart is an interesting figure within Scottish Art. His approach to his subject, distinctive technique of paint application, and above all his jewel-toned palette, renders his work highly recognisable. He was the grandson of William McTaggart, who had been a huge force for change and lasting influence within Scottish art. He shared his forebear’s talent for capturing atmospheric light, as well as an interest in landscape painting from an elemental perspective. Growing up under this important influence, MacTaggart set out to become an artist from the tender age of fifteen. Respiratory issues blighted his childhood and his studies at the Edinburgh College of Art. The outcome was that he spent a lot of time in the healing warmer climate of the South of France - the land of Cezanne - whose influence was notable in his early career work, as it had been in the work of the Scottish Colourists before him. These periods of convalescence also meant he never became fully indoctrinated in the Edinburgh College of Art’s artistic approach at the time, which was still staunchly traditional and centred round draughstmanship, form and tone. His friend and contemporary student H. Harvey Wood wrote in his 1974 monograph on MacTaggart that in many ways his work, and particularly his distinctive palette, was a reaction to the College’s doctrine and relative disinterest in colour (a reaction interestingly also pursued by his contemporaries William Gillies and John Maxwell). His distinctive aesthetic was also due to his shifting interest from the French Impressionist school towards the German Expressionist and Nordic masters like Nolde and Munch. As a result, we see his tones becoming less French and sun-baked, and his later period explores a sense of the Autumnal, the crepuscular, and the nocturnal. The distinctive use of colour, which matured into a palette Harvey Wood likens to the glow of medieval cathedral stained glass, was perfect for achieving MacTaggart’s artistic aim: to capture within his work a sense of mood. There is something brooding and emotional, tempestuous even within his paintings, which was apparently at odds with the moderate and considered outward demeanour of the man himself. As evidenced abundantly in the works offered here, MacTaggart is an artist who adores his material, a fact immediately apparent to the viewer. There is a sensuality to his handling of paint, and a great richness. As Harvey Wood described so vividly; “His skill with paint is like the exquisite cutting of a lapidary artist”. Not only was he an interesting and notable member of the so-called Edinburgh School of Artists, MacTaggart was also a leader amongst them, serving as President of the Royal Scottish Academy where he is remembered for his energetic and astute tenure. Described as having a “crusading spirit”, he was responsible for promoting and assisting the Arts Council to launch a series of major painting exhibitions, sponsored jointly by the Academy. Thanks to his efforts, works by Braque, the Blau Reiter Group, Delacroix, Modigliani, Soutine and Corot graced the walls of the Academy and served to inspire a new generation of aspiring artistic talented in Scotland.

§ JOAN EARDLEY R.S.A (SCOTTISH 1921-1963) JAR OF SUMMER FLOWERS, 1963 Inscribed with the inventory number EE89, oil on canvas(76cm x 56cm (30in x 22in))Provenance: Mrs Patricia BlackFootnote: Exhibited: Arts Council of Gt Britain, Edinburgh, Joan Eardley Memorial Exhibition 1964, no.111 Talbot Rice Gallery, Edinburgh, Joan Eardley Retrospective 1988, no.136 Arts Council/South Bank Centre, London, Joan Eardley Exhibition 1988/89, no.136 Note: In this, the centenary year of the artist’s birth, Lyon & Turnbull are delighted to dedicate a section of our bi-annual Scottish Paintings & Sculpture sale to the wonderful work of Joan Eardley.As an audience we find ourselves increasingly intrigued by Eardley as the years pass. Perhaps this is because the passage of time has done little to dim the eloquent ‘truthfulness’ of her work, or the fact we now understand fully how we have been robbed of a significant talent by her untimely early death. What could this extraordinary artist have gone on to achieve with more time?It is also, perhaps, because through her work we can see tangible glimpses of the singular woman herself. What we know of this artist’s personality from the accounts of her small but close circle of friends is transcribed vividly in paint and charcoal. There is a raw passion to her work, as well as a brusque but acute sensitivity and pathos towards her fellow humans; a determination in the marks she made, and a single-mindedness evident in the subjects that drew her intense focus.With works representing each of the key areas of her oeuvre, the selection offered here for sale help to tell the story of this extraordinary woman’s life. ********************************************************** Eardley was devoted to Glasgow, particularly to the fast-disappearing areas to the east which were being torn down and re-developed. She recognised that the sense of community which had thrived within the tenement closes and backcourts was vanishing along with the old buildings and subsequently dedicated herself to capturing what remained in her artworks. Nothing represented this essence for Eardley more than the local children: “…they are Glasgow – this richness Glasgow has – I hope it will always have – a living thing, an intense quality – you can never know what you are going to do but as long as Glasgow has this I’ll always want to paint.”Eardley had an attic studio at 21 Cochrane Street, now long since demolished. It was extremely basic, consisting only of a large free-standing stove, a cooker, a workbench and sink. It did, however, have a glazed ceiling and outer wall making it perfect for painting. It was here that the majority of her famous depictions of the local street children were painted. She had her favourites amongst them – those that would come knocking on her door asking to be painted – and they recur as recognisable characters in her drawings. ******************************************************** Catterline, a tiny row of fishermen’s cottages hunkered on the wild North East Scottish coast, became the foil to the scenes of urban decay and scrambling clusters of children playing in the streets. Here her work found an expanse of elemental scenery and wild, wind-lashed textures to tempt her brush. Again favouring almost spartan living conditions; the simplest of furniture, the light of old oil lamps, Eardley would spend weeks at a time alone here, trudging doggedly out into the elements to paint en plein air. The work produced here is often tumultuous; the artist revelling in the battle to distil the landscape’s essence even as it tries its best to evade her. Crashing waves, tangled grasses and heaving skies characterise these works which again capture the duality that is at the root of her work: her ferocious skill married with an un-replicable sensitivity to her environment. ******************************************************** By 1961, Joan Eardley's ill health was keeping her indoors in her Catterline cottage for periods and she wasn't always able to paint en plein air in the elements. Consequently, only a very small clutch of still lifes exist, dating exclusively to this short time period between 1961 and her death at the age of 42 in 1963. Though Eardley resented her periods of confinement, these oils nonetheless burst with all the wild texture and vitality of her landscapes of the surrounding cornfields and meadows. Taking a traditionally feminine genre of painting, Eardley individualised her approach to the subject and the result is both striking and beautiful. The layers of scumbled paint and the myriad ways in which she applies it are a visual feast for the eyes, not to mention a demonstration of her distinctive prowess as a painter. 

§ JOAN EARDLEY R.S.A (SCOTTISH 1921-1963) CHILDREN PLAYING IN THE STREET Charcoal and watercolour(17.5cm x 22.5cm (7in x 9in))Exhibited: The Scottish Gallery, Joan Eardley - Paintings and Drawings, 2007 Provenance: The Artist's Studio ED1414Footnote: Note: In this, the centenary year of the artist’s birth, Lyon & Turnbull are delighted to dedicate a section of our bi-annual Scottish Paintings & Sculpture sale to the wonderful work of Joan Eardley.As an audience we find ourselves increasingly intrigued by Eardley as the years pass. Perhaps this is because the passage of time has done little to dim the eloquent ‘truthfulness’ of her work, or the fact we now understand fully how we have been robbed of a significant talent by her untimely early death. What could this extraordinary artist have gone on to achieve with more time?It is also, perhaps, because through her work we can see tangible glimpses of the singular woman herself. What we know of this artist’s personality from the accounts of her small but close circle of friends is transcribed vividly in paint and charcoal. There is a raw passion to her work, as well as a brusque but acute sensitivity and pathos towards her fellow humans; a determination in the marks she made, and a single-mindedness evident in the subjects that drew her intense focus.With works representing each of the key areas of her oeuvre, the selection offered here for sale help to tell the story of this extraordinary woman’s life. ********************************************************** Eardley was devoted to Glasgow, particularly to the fast-disappearing areas to the east which were being torn down and re-developed. She recognised that the sense of community which had thrived within the tenement closes and backcourts was vanishing along with the old buildings and subsequently dedicated herself to capturing what remained in her artworks. Nothing represented this essence for Eardley more than the local children: “…they are Glasgow – this richness Glasgow has – I hope it will always have – a living thing, an intense quality – you can never know what you are going to do but as long as Glasgow has this I’ll always want to paint.”Eardley had an attic studio at 21 Cochrane Street, now long since demolished. It was extremely basic, consisting only of a large free-standing stove, a cooker, a workbench and sink. It did, however, have a glazed ceiling and outer wall making it perfect for painting. It was here that the majority of her famous depictions of the local street children were painted. She had her favourites amongst them – those that would come knocking on her door asking to be painted – and they recur as recognisable characters in her drawings. ******************************************************** Catterline, a tiny row of fishermen’s cottages hunkered on the wild North East Scottish coast, became the foil to the scenes of urban decay and scrambling clusters of children playing in the streets. Here her work found an expanse of elemental scenery and wild, wind-lashed textures to tempt her brush. Again favouring almost spartan living conditions; the simplest of furniture, the light of old oil lamps, Eardley would spend weeks at a time alone here, trudging doggedly out into the elements to paint en plein air. The work produced here is often tumultuous; the artist revelling in the battle to distil the landscape’s essence even as it tries its best to evade her. Crashing waves, tangled grasses and heaving skies characterise these works which again capture the duality that is at the root of her work: her ferocious skill married with an un-replicable sensitivity to her environment. ******************************************************** By 1961, Joan Eardley's ill health was keeping her indoors in her Catterline cottage for periods and she wasn't always able to paint en plein air in the elements. Consequently, only a very small clutch of still lifes exist, dating exclusively to this short time period between 1961 and her death at the age of 42 in 1963. Though Eardley resented her periods of confinement, these oils nonetheless burst with all the wild texture and vitality of her landscapes of the surrounding cornfields and meadows. Taking a traditionally feminine genre of painting, Eardley individualised her approach to the subject and the result is both striking and beautiful. The layers of scumbled paint and the myriad ways in which she applies it are a visual feast for the eyes, not to mention a demonstration of her distinctive prowess as a painter. 

§ JOAN EARDLEY R.S.A (SCOTTISH 1921-1963) GIRL WITH STRIPED JERSEY Pastel on glass paper(26.5cm x 23cm (10.5in x 9in))Footnote: Exhibited: The Scottish Gallery, Edinburgh, Festival Exhibition 1964, no.71 Note: In this, the centenary year of the artist’s birth, Lyon & Turnbull are delighted to dedicate a section of our bi-annual Scottish Paintings & Sculpture sale to the wonderful work of Joan Eardley.As an audience we find ourselves increasingly intrigued by Eardley as the years pass. Perhaps this is because the passage of time has done little to dim the eloquent ‘truthfulness’ of her work, or the fact we now understand fully how we have been robbed of a significant talent by her untimely early death. What could this extraordinary artist have gone on to achieve with more time?It is also, perhaps, because through her work we can see tangible glimpses of the singular woman herself. What we know of this artist’s personality from the accounts of her small but close circle of friends is transcribed vividly in paint and charcoal. There is a raw passion to her work, as well as a brusque but acute sensitivity and pathos towards her fellow humans; a determination in the marks she made, and a single-mindedness evident in the subjects that drew her intense focus.With works representing each of the key areas of her oeuvre, the selection offered here for sale help to tell the story of this extraordinary woman’s life. ********************************************************** Eardley was devoted to Glasgow, particularly to the fast-disappearing areas to the east which were being torn down and re-developed. She recognised that the sense of community which had thrived within the tenement closes and backcourts was vanishing along with the old buildings and subsequently dedicated herself to capturing what remained in her artworks. Nothing represented this essence for Eardley more than the local children: “…they are Glasgow – this richness Glasgow has – I hope it will always have – a living thing, an intense quality – you can never know what you are going to do but as long as Glasgow has this I’ll always want to paint.”Eardley had an attic studio at 21 Cochrane Street, now long since demolished. It was extremely basic, consisting only of a large free-standing stove, a cooker, a workbench and sink. It did, however, have a glazed ceiling and outer wall making it perfect for painting. It was here that the majority of her famous depictions of the local street children were painted. She had her favourites amongst them – those that would come knocking on her door asking to be painted – and they recur as recognisable characters in her drawings. ******************************************************** Catterline, a tiny row of fishermen’s cottages hunkered on the wild North East Scottish coast, became the foil to the scenes of urban decay and scrambling clusters of children playing in the streets. Here her work found an expanse of elemental scenery and wild, wind-lashed textures to tempt her brush. Again favouring almost spartan living conditions; the simplest of furniture, the light of old oil lamps, Eardley would spend weeks at a time alone here, trudging doggedly out into the elements to paint en plein air. The work produced here is often tumultuous; the artist revelling in the battle to distil the landscape’s essence even as it tries its best to evade her. Crashing waves, tangled grasses and heaving skies characterise these works which again capture the duality that is at the root of her work: her ferocious skill married with an un-replicable sensitivity to her environment. ******************************************************** By 1961, Joan Eardley's ill health was keeping her indoors in her Catterline cottage for periods and she wasn't always able to paint en plein air in the elements. Consequently, only a very small clutch of still lifes exist, dating exclusively to this short time period between 1961 and her death at the age of 42 in 1963. Though Eardley resented her periods of confinement, these oils nonetheless burst with all the wild texture and vitality of her landscapes of the surrounding cornfields and meadows. Taking a traditionally feminine genre of painting, Eardley individualised her approach to the subject and the result is both striking and beautiful. The layers of scumbled paint and the myriad ways in which she applies it are a visual feast for the eyes, not to mention a demonstration of her distinctive prowess as a painter. 

§ JOAN EARDLEY R.S.A (SCOTTISH 1921-1963) SEA, CATTERLINE Oil on board(18cm x 18cm (7in x 7in))Footnote: Exhibited: The Scottish Gallery, Christmas Exhibition 1967, no.48 Note: This painting is recorded in the Joan Eardley archive EE165 In this, the centenary year of the artist’s birth, Lyon & Turnbull are delighted to dedicate a section of our bi-annual Scottish Paintings & Sculpture sale to the wonderful work of Joan Eardley.As an audience we find ourselves increasingly intrigued by Eardley as the years pass. Perhaps this is because the passage of time has done little to dim the eloquent ‘truthfulness’ of her work, or the fact we now understand fully how we have been robbed of a significant talent by her untimely early death. What could this extraordinary artist have gone on to achieve with more time?It is also, perhaps, because through her work we can see tangible glimpses of the singular woman herself. What we know of this artist’s personality from the accounts of her small but close circle of friends is transcribed vividly in paint and charcoal. There is a raw passion to her work, as well as a brusque but acute sensitivity and pathos towards her fellow humans; a determination in the marks she made, and a single-mindedness evident in the subjects that drew her intense focus.With works representing each of the key areas of her oeuvre, the selection offered here for sale help to tell the story of this extraordinary woman’s life. ********************************************************** Eardley was devoted to Glasgow, particularly to the fast-disappearing areas to the east which were being torn down and re-developed. She recognised that the sense of community which had thrived within the tenement closes and backcourts was vanishing along with the old buildings and subsequently dedicated herself to capturing what remained in her artworks. Nothing represented this essence for Eardley more than the local children: “…they are Glasgow – this richness Glasgow has – I hope it will always have – a living thing, an intense quality – you can never know what you are going to do but as long as Glasgow has this I’ll always want to paint.”Eardley had an attic studio at 21 Cochrane Street, now long since demolished. It was extremely basic, consisting only of a large free-standing stove, a cooker, a workbench and sink. It did, however, have a glazed ceiling and outer wall making it perfect for painting. It was here that the majority of her famous depictions of the local street children were painted. She had her favourites amongst them – those that would come knocking on her door asking to be painted – and they recur as recognisable characters in her drawings. ******************************************************** Catterline, a tiny row of fishermen’s cottages hunkered on the wild North East Scottish coast, became the foil to the scenes of urban decay and scrambling clusters of children playing in the streets. Here her work found an expanse of elemental scenery and wild, wind-lashed textures to tempt her brush. Again favouring almost spartan living conditions; the simplest of furniture, the light of old oil lamps, Eardley would spend weeks at a time alone here, trudging doggedly out into the elements to paint en plein air. The work produced here is often tumultuous; the artist revelling in the battle to distil the landscape’s essence even as it tries its best to evade her. Crashing waves, tangled grasses and heaving skies characterise these works which again capture the duality that is at the root of her work: her ferocious skill married with an un-replicable sensitivity to her environment. ******************************************************** By 1961, Joan Eardley's ill health was keeping her indoors in her Catterline cottage for periods and she wasn't always able to paint en plein air in the elements. Consequently, only a very small clutch of still lifes exist, dating exclusively to this short time period between 1961 and her death at the age of 42 in 1963. Though Eardley resented her periods of confinement, these oils nonetheless burst with all the wild texture and vitality of her landscapes of the surrounding cornfields and meadows. Taking a traditionally feminine genre of painting, Eardley individualised her approach to the subject and the result is both striking and beautiful. The layers of scumbled paint and the myriad ways in which she applies it are a visual feast for the eyes, not to mention a demonstration of her distinctive prowess as a painter. 

§ JOAN EARDLEY R.S.A (SCOTTISH 1921-1963) HAYSTOOKS Pen and ink and watercolour(23cm x 57cm (9in x 22.25in))Provenance: Artist's studio ED1267Footnote: Exhibited: The Scottish Gallery, Joan Eardley 1981, no.6 Note: In this, the centenary year of the artist’s birth, Lyon & Turnbull are delighted to dedicate a section of our bi-annual Scottish Paintings & Sculpture sale to the wonderful work of Joan Eardley.As an audience we find ourselves increasingly intrigued by Eardley as the years pass. Perhaps this is because the passage of time has done little to dim the eloquent ‘truthfulness’ of her work, or the fact we now understand fully how we have been robbed of a significant talent by her untimely early death. What could this extraordinary artist have gone on to achieve with more time?It is also, perhaps, because through her work we can see tangible glimpses of the singular woman herself. What we know of this artist’s personality from the accounts of her small but close circle of friends is transcribed vividly in paint and charcoal. There is a raw passion to her work, as well as a brusque but acute sensitivity and pathos towards her fellow humans; a determination in the marks she made, and a single-mindedness evident in the subjects that drew her intense focus.With works representing each of the key areas of her oeuvre, the selection offered here for sale help to tell the story of this extraordinary woman’s life. ********************************************************** Eardley was devoted to Glasgow, particularly to the fast-disappearing areas to the east which were being torn down and re-developed. She recognised that the sense of community which had thrived within the tenement closes and backcourts was vanishing along with the old buildings and subsequently dedicated herself to capturing what remained in her artworks. Nothing represented this essence for Eardley more than the local children: “…they are Glasgow – this richness Glasgow has – I hope it will always have – a living thing, an intense quality – you can never know what you are going to do but as long as Glasgow has this I’ll always want to paint.”Eardley had an attic studio at 21 Cochrane Street, now long since demolished. It was extremely basic, consisting only of a large free-standing stove, a cooker, a workbench and sink. It did, however, have a glazed ceiling and outer wall making it perfect for painting. It was here that the majority of her famous depictions of the local street children were painted. She had her favourites amongst them – those that would come knocking on her door asking to be painted – and they recur as recognisable characters in her drawings. ******************************************************** Catterline, a tiny row of fishermen’s cottages hunkered on the wild North East Scottish coast, became the foil to the scenes of urban decay and scrambling clusters of children playing in the streets. Here her work found an expanse of elemental scenery and wild, wind-lashed textures to tempt her brush. Again favouring almost spartan living conditions; the simplest of furniture, the light of old oil lamps, Eardley would spend weeks at a time alone here, trudging doggedly out into the elements to paint en plein air. The work produced here is often tumultuous; the artist revelling in the battle to distil the landscape’s essence even as it tries its best to evade her. Crashing waves, tangled grasses and heaving skies characterise these works which again capture the duality that is at the root of her work: her ferocious skill married with an un-replicable sensitivity to her environment. ******************************************************** By 1961, Joan Eardley's ill health was keeping her indoors in her Catterline cottage for periods and she wasn't always able to paint en plein air in the elements. Consequently, only a very small clutch of still lifes exist, dating exclusively to this short time period between 1961 and her death at the age of 42 in 1963. Though Eardley resented her periods of confinement, these oils nonetheless burst with all the wild texture and vitality of her landscapes of the surrounding cornfields and meadows. Taking a traditionally feminine genre of painting, Eardley individualised her approach to the subject and the result is both striking and beautiful. The layers of scumbled paint and the myriad ways in which she applies it are a visual feast for the eyes, not to mention a demonstration of her distinctive prowess as a painter. 

§ JOAN EARDLEY R.S.A (SCOTTISH 1921-1963) THE OIL LAMP Oil on board(38cm x 20cm (15in x 8in))Provenance: Browse & Derby Ltd, LondonFootnote: Note: In this, the centenary year of the artist’s birth, Lyon & Turnbull are delighted to dedicate a section of our bi-annual Scottish Paintings & Sculpture sale to the wonderful work of Joan Eardley.As an audience we find ourselves increasingly intrigued by Eardley as the years pass. Perhaps this is because the passage of time has done little to dim the eloquent ‘truthfulness’ of her work, or the fact we now understand fully how we have been robbed of a significant talent by her untimely early death. What could this extraordinary artist have gone on to achieve with more time?It is also, perhaps, because through her work we can see tangible glimpses of the singular woman herself. What we know of this artist’s personality from the accounts of her small but close circle of friends is transcribed vividly in paint and charcoal. There is a raw passion to her work, as well as a brusque but acute sensitivity and pathos towards her fellow humans; a determination in the marks she made, and a single-mindedness evident in the subjects that drew her intense focus.With works representing each of the key areas of her oeuvre, the selection offered here for sale help to tell the story of this extraordinary woman’s life. ********************************************************** Eardley was devoted to Glasgow, particularly to the fast-disappearing areas to the east which were being torn down and re-developed. She recognised that the sense of community which had thrived within the tenement closes and backcourts was vanishing along with the old buildings and subsequently dedicated herself to capturing what remained in her artworks. Nothing represented this essence for Eardley more than the local children: “…they are Glasgow – this richness Glasgow has – I hope it will always have – a living thing, an intense quality – you can never know what you are going to do but as long as Glasgow has this I’ll always want to paint.”Eardley had an attic studio at 21 Cochrane Street, now long since demolished. It was extremely basic, consisting only of a large free-standing stove, a cooker, a workbench and sink. It did, however, have a glazed ceiling and outer wall making it perfect for painting. It was here that the majority of her famous depictions of the local street children were painted. She had her favourites amongst them – those that would come knocking on her door asking to be painted – and they recur as recognisable characters in her drawings. ******************************************************** Catterline, a tiny row of fishermen’s cottages hunkered on the wild North East Scottish coast, became the foil to the scenes of urban decay and scrambling clusters of children playing in the streets. Here her work found an expanse of elemental scenery and wild, wind-lashed textures to tempt her brush. Again favouring almost spartan living conditions; the simplest of furniture, the light of old oil lamps, Eardley would spend weeks at a time alone here, trudging doggedly out into the elements to paint en plein air. The work produced here is often tumultuous; the artist revelling in the battle to distil the landscape’s essence even as it tries its best to evade her. Crashing waves, tangled grasses and heaving skies characterise these works which again capture the duality that is at the root of her work: her ferocious skill married with an un-replicable sensitivity to her environment. ******************************************************** By 1961, Joan Eardley's ill health was keeping her indoors in her Catterline cottage for periods and she wasn't always able to paint en plein air in the elements. Consequently, only a very small clutch of still lifes exist, dating exclusively to this short time period between 1961 and her death at the age of 42 in 1963. Though Eardley resented her periods of confinement, these oils nonetheless burst with all the wild texture and vitality of her landscapes of the surrounding cornfields and meadows. Taking a traditionally feminine genre of painting, Eardley individualised her approach to the subject and the result is both striking and beautiful. The layers of scumbled paint and the myriad ways in which she applies it are a visual feast for the eyes, not to mention a demonstration of her distinctive prowess as a painter. 

§ JOAN EARDLEY R.S.A (SCOTTISH 1921-1963) THISTLEDOWN CATTERLINE Oil on board(93cm x 82.5cm (36.5in x 32.5in))Provenance: The artist's family Cyril Gerber Fine Art, GlasgowFootnote: Note: With the Studio inventory No: EE308 In this, the centenary year of the artist’s birth, Lyon & Turnbull are delighted to dedicate a section of our bi-annual Scottish Paintings & Sculpture sale to the wonderful work of Joan Eardley.As an audience we find ourselves increasingly intrigued by Eardley as the years pass. Perhaps this is because the passage of time has done little to dim the eloquent ‘truthfulness’ of her work, or the fact we now understand fully how we have been robbed of a significant talent by her untimely early death. What could this extraordinary artist have gone on to achieve with more time?It is also, perhaps, because through her work we can see tangible glimpses of the singular woman herself. What we know of this artist’s personality from the accounts of her small but close circle of friends is transcribed vividly in paint and charcoal. There is a raw passion to her work, as well as a brusque but acute sensitivity and pathos towards her fellow humans; a determination in the marks she made, and a single-mindedness evident in the subjects that drew her intense focus.With works representing each of the key areas of her oeuvre, the selection offered here for sale help to tell the story of this extraordinary woman’s life. ********************************************************** Eardley was devoted to Glasgow, particularly to the fast-disappearing areas to the east which were being torn down and re-developed. She recognised that the sense of community which had thrived within the tenement closes and backcourts was vanishing along with the old buildings and subsequently dedicated herself to capturing what remained in her artworks. Nothing represented this essence for Eardley more than the local children: “…they are Glasgow – this richness Glasgow has – I hope it will always have – a living thing, an intense quality – you can never know what you are going to do but as long as Glasgow has this I’ll always want to paint.”Eardley had an attic studio at 21 Cochrane Street, now long since demolished. It was extremely basic, consisting only of a large free-standing stove, a cooker, a workbench and sink. It did, however, have a glazed ceiling and outer wall making it perfect for painting. It was here that the majority of her famous depictions of the local street children were painted. She had her favourites amongst them – those that would come knocking on her door asking to be painted – and they recur as recognisable characters in her drawings. ******************************************************** Catterline, a tiny row of fishermen’s cottages hunkered on the wild North East Scottish coast, became the foil to the scenes of urban decay and scrambling clusters of children playing in the streets. Here her work found an expanse of elemental scenery and wild, wind-lashed textures to tempt her brush. Again favouring almost spartan living conditions; the simplest of furniture, the light of old oil lamps, Eardley would spend weeks at a time alone here, trudging doggedly out into the elements to paint en plein air. The work produced here is often tumultuous; the artist revelling in the battle to distil the landscape’s essence even as it tries its best to evade her. Crashing waves, tangled grasses and heaving skies characterise these works which again capture the duality that is at the root of her work: her ferocious skill married with an un-replicable sensitivity to her environment. ******************************************************** By 1961, Joan Eardley's ill health was keeping her indoors in her Catterline cottage for periods and she wasn't always able to paint en plein air in the elements. Consequently, only a very small clutch of still lifes exist, dating exclusively to this short time period between 1961 and her death at the age of 42 in 1963. Though Eardley resented her periods of confinement, these oils nonetheless burst with all the wild texture and vitality of her landscapes of the surrounding cornfields and meadows. Taking a traditionally feminine genre of painting, Eardley individualised her approach to the subject and the result is both striking and beautiful. The layers of scumbled paint and the myriad ways in which she applies it are a visual feast for the eyes, not to mention a demonstration of her distinctive prowess as a painter. 

‡ WILLIAM GOUW FERGUSON (SCOTTISH 1632/3-AFTER 1695) STILL LIFE WITH GAME BIRDS Oil on canvas(50cm x 44cm (19.75in x 17.25in))

§ MARY NICOL NEILL ARMOUR R.S.A.,R.S.W (SCOTTISH 1902-2000) STILL LIFE WITH PEONIES Signed and dated '70, oil on canvas(63cm x 76cm (25in x 30in))Footnote: Exhibited: Royal Scottish Academy 1971, no.78

STUART PARK (SCOTTISH 1862-1933) A STILL LIFE OF PINK ROSES Signed, oil on canvas(50cm (20in) diameter)Footnote: Provenance: Ewan Mundy The Late Dr Helen E C Cargill Thompson

STUART PARK (SCOTTISH 1862-1933) STILL LIFE OF PINK ROSES Signed, oil on canvas, oval(51cm x 41cm (20in x 16in))

§ MARY NICOL NEILL ARMOUR R.S.A.,R.S.W (SCOTTISH 1902-2000) STILL LIFE WITH POMEGRANATES Signed and dated '75, oil on canvas(66cm x 66cm (26in x 26in))Footnote: Exhibited: Royal Scottish Academy 1976, no.171

English School, 19th centuryStill Life Study, ‘Flower and a Broken Cup’ watercolour, 17cm x 14cm

Germany, Saxony, History and Antiquities - Abel (Caspar), Teutsche und Sächsische Alterthümer [...], two-volume set bound as one, Braunschweig [Brunswick]: L. Schröders, 1729-1730, pp: [2] (blank), frontispiece panorama, [xiv], 512; allegorical map frontispiece, [xiv], 736, [2] (blank), foliate initials, Baroque woodcut still life ornamental footers, rebacked and relayed spine over contemporary calf boards, red-specked edges, 8vo, [1]Provenance: 1) Johannes Holtmann, 19th century blue ownership stamp to first title-page; 2) Liverpool Free Public Library, blind-blocked lower-cover and their bookplate to recto pastedown.

A 19th century French Rococo Revival silvered table casket, cast throughout with scrolls, flowers, and foliage, applied with portrait and still life miniatures, hinged cover, 15cm wide, c. 1870

Circle of Edward (Edwaert) Collier (Dutch, Breda c.1640-1706 London) - oil on canvas - trompe l'oeil still life with engraved portrait of Charles I, folded newspaper 'The London...' [Gazette?], quill, sealing wax stick, and opened envelope with wax seal. Apparently unsigned, 61.5cm x 31cm, on later stretcher, unframedCondition report: All-over crecking and crazing to paint surface. Twi dark circular marks to upper quarter, two to lower quater - but these may be painterly effects as no corresponding damage verso). Darker paint to left hand edge and much of right hand edge, losses to all corners, some tears to edges (all of these would be concealed by a frame). Surface dirt. Canvas is clearly early but stretcher appears to be of later date and has old worm scarring. Sold as seen.Please see our terms and conditons regarding picture cataloguing.

George Stevens (fl. 1815-1865) - Oil on canvas - Still life of game, 28cm x 23.5cm, Frost & Reed gallery label verso, in gilt frame.Condition report: Surface cracking present, loss of gilding to the frame, would benefit from a clean, stains present to the fabric borders of the frame. Please check the extra images provided or telephone department prior to bidding. General condition consistent with age.The inclusion of the artist’s full name (and dates of birth and/or death, if known) should be understood to convey that, in our opinion only, this work is probably by the artist, and probably of the period. Any qualifiers such as ‘Attributed to’, ‘Circle, Manner, School, or Follower of’ etc. convey some level of doubt on our part.Due to ongoing Covid restrictions, bidders are able to view lots in this online-only sale on the specified viewing days, by prior appointment only. There is no viewing on the day of sale. Please therefore read the following:As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey.

John Whitlock Codner RWA (1913 - 2008) - Oil on canvas - Still life - 'The Orange Rose', signed 'John Codner' lower right, 40cm x 49.5cm, framed. Artist Resale Rights may apply.Condition report: Frame having some scratches and knocks in places. Please check the extra images provided.The inclusion of the artist’s full name (and dates of birth and/or death, if known) should be understood to convey that, in our opinion only, this work is probably by the artist, and probably of the period. Any qualifiers such as ‘Attributed to’, ‘Circle, Manner, School, or Follower of’ etc. convey some level of doubt on our part.Due to ongoing Covid restrictions, bidders are able to view lots in this online-only sale on the specified viewing days, by prior appointment only. There is no viewing on the day of sale. Please therefore read the following:As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey.

Cecil Kennedy, (1905-1997) - Oil on canvas - 'Winter', still life with vase of flowers, signed lower right, original label of The Fine Art Society verso dated December 1961, Southport exhibition label, James Bourlet inventory label 28104, Roberson canvas, 24cm x 17.5cm, in swept frame under glass, with named and entitled plaqueCondition report: Tears to Fine Art Society label, minor frame cracks, otherwise very good.Due to ongoing Covid restrictions, bidders are able to view lots in this online-only sale on the specified viewing days, by prior appointment only. There is no viewing on the day of sale. Please therefore read the following:As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey.Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms.

Judith Levin (b.1956) - Oil on canvas, still life of flowers, signed lower right, 49cm x 74cm, framed. Artist Resale Rights may apply. Condition report: No signs of major faults. Please check the extra images provided. General condition consistent with age. The inclusion of the artist’s full name (and dates of birth and/or death, if known) should be understood to convey that, in our opinion only, this work is probably by the artist, and probably of the period. Any qualifiers such as ‘Attributed to’, ‘Circle, Manner, School, or Follower of’ etc. convey some level of doubt on our part.

John Stanton Ward RA CBE (1917-2007) - Mixed media - 'Isabelle's First Still Life', signed and dated 1990, 19cm x 26.5cm, framed and glazed. Artist Resale Rights may apply.Condition report: Small browning spots / foxing to the piece above the skull, small holes present to the corners, please check the extra images provided / telephone department prior to bidding.The inclusion of the artist’s full name (and dates of birth and/or death, if known) should be understood to convey that, in our opinion only, this work is probably by the artist, and probably of the period. Any qualifiers such as ‘Attributed to’, ‘Circle, Manner, School, or Follower of’ etc. convey some level of doubt on our part.Due to ongoing Covid restrictions, bidders are able to view lots in this online-only sale on the specified viewing days, by prior appointment only. There is no viewing on the day of sale. Please therefore read the following:As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey.

Del Valle (Spanish, 20th Century) - Oil on canvas - Still life of oranges, signed lower right, 30cm x 38cm, framed. Artist Resale Rights may apply.Condition report: Frame would benefit from a clean. Please check extra images provided.The inclusion of the artist’s full name (and dates of birth and/or death, if known) should be understood to convey that, in our opinion only, this work is probably by the artist, and probably of the period. Any qualifiers such as ‘Attributed to’, ‘Circle, Manner, School, or Follower of’ etc. convey some level of doubt on our part.Due to ongoing Covid restrictions, bidders are able to view lots in this online-only sale on the specified viewing days, by prior appointment only. There is no viewing on the day of sale. Please therefore read the following:As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey.

Royal Worcester Ex Artist Brian Cox Signed and Hand Painted Pair of Lidded Fruit Vases ' Fallen Fruits ' Still Life to All round the Vase - Grapes, Peaches, Raspberries and Apples Leaves, Embellished with Gold Borders. Each Vase Stands 9.5 Inches - 23.75 cms Tall. Both 1st Quality and Mint Condition.

Royal Worcester Ex Artist Brian Cox Signed and Hand Painted Fruits Vase ' Fallen Fruits ' Still Life Painted to All Sides of Vase, Apples, Blueberries, Raspberries, Peaches and Cherries, Embellished with Gold Borders. Height 8 inches - 20cms. 1st Quality and Mint Condition

Royal Worcester Superb Matched Pair of Signed and Hand Painted Globular Shaped Vases ' Roses ' Still Life. Signed R. Austin. Date 1909 & Shape No 290 - Both Vases. Heights 8 Inches - 20 cms.

Royal Worcester Fine Hand Painted and Signed Fruits Vase ' Fallen Fruits ' Still Life - Peaches, Grapes and Berries. Signed J. Smith. Shape No 228. Height 6.25 Inches - 15.65 cms. 1st Quality and Mint Condition.

Royal Worcester - Fine Quality Pair of Hand Painted and Signed Fruits Milk Jug and Sugar Bowl ' Fallen Fruits ' Still Life - Apples, Berries and Grapes, Embellished with Gold Borders, Signed S. Weston to Each Piece. Height of Milk Jug 4 Inches - 10 cms, Height of Sugar Bowl 3 Inches - 7.5 cms. Each 1st Quality and Mint Condition.

Royal Worcester Hand Painted and Signed Matched Cup and Saucer. Fallen Fruits Still Life - Pears, Peaches and Grapes. Signed J. Smith to Saucer and A Telford to Cup. Size of Saucer 5.5 Inches - 13.75 cms Diameter, Size of Cup 2.5 Inches - 6.25 cms.

Royal Worcester - Ex Artist Brian Cox Hand Painted and Signed Pair of Candlesticks ' Fallen Fruits ' Still Life - Apples, Peaches and Berries. Signed Brian Cox. Heights 5.5 Inches - 13.75 cms, Bases 5 Inches - 12.5 cms. Both 1st Quality and Mint Condition.

Royal Worcester Hand Painted Pair of Fruits - Signed Small Dishes, Comprises 1/ Fallen Fruits Still Life, Apples and Grapes. Signed Leaman. 5.75 Inches - 13.90 cms Diameter. 2/ Fallen Fruits Still Life - Apples and Grapes. Signed A. Shuck. Date 1936, Diameter 3.5 Inches - 8.75 cms.

Royal Worcester Ex Artist Signed and Hand Painted Superb Quality Fallen Fruits Cabinet Plate ' Fallen Fruits ' Still Life - Peaches, Cherries and Strawberries. Signed Stephen C. Dare - Ex Worcester Artist. 10.5 Inches - 26.25 cms In Diameter.

Royal Worcester Ex-Artist Signed and Hand Painted Lidded Preserve Pot ' Fallen Fruits ' Plums, Apples Still Life. Signed R. Poole. Worked for Royal Worcester Between 1950 & 1970, Trained by Harry Davies. Height 4 Inches - 10 cms.

2 modern floral design oil paintings. A gilt framed oil on board Still life of red flowers. Signed A.W. Ross to lower right, together with a cream, silver and gold oil on canvas. Frame approx. 39cm x 34cm, canvas approx. 80.5cm x 40cm.

J Lissemon Lewis, watercolour, still life study of fruit in a bowl with mossy ground, dated 1941, 11.5ins x 8ins

Sully Bersot, oil on canvas, Still life of flowers in a vase, 19ins x 23ins

Continental school, early 20th century, still life of flowers, oil on canvas, 48 x 39 cmVarious impact scratches and losses to paint surface

H G Davis, still life of flowers, oil on canvas, signed, 56 x 80 cmHole to the canvas

J Molenao, a still life with a Japanese vase, 48 x 38 cm and various prints (qty)

M E Parkhouse, still life of pink roses, watercolour, signed in pencil, 33cm by 52cm

Raymond Campbell, Still life, 'Oriental vase and grapes', oil on canvas, signed, paper labels verso including for Forest Gallery Fine Art, 49cm by 39cm

Szabo (20th century), still life of fruit beside a glass and silver teapot, oil on board, signed and indistinctly dated 71?, 11.5cm by 16cm

Rennie, oil on canvas, still life, flowers with urn and parrot, 50cm x 40cm, framed

Royston Du Maurier-Lebek, acrylic on canvas, still life, 98cm x 46cm, unframed

Royston Du Maurier-Lebek, acrylic on canvas, still life, 50cm x 50cm, unframed

Jack Carter, watercolour, still life, 1987, signed, 34cm x 40cm, framed

Andre Bicat, watercolour, still life, signed, 14cm x 9cm, framed

Carol Maddison, contemporary oil on board, abstract still life, signed, 72cm x 59cm, framed

Royston Du Maurier-Lebek, acrylic on board, still life, signed, 66cm x 50cm, framed

Royston Du Maurier-Lebek, acrylic on board, still life, 50cm x 36cm, framed

Royston Du Maurier-Lebek, acrylic on board, still life, 50cm x 43cm, framed

W Houghton, watercolour, still life, signed, 25cm x 35cm, framed

Nikolai Efimovich Kuznetsov (Russian, 1876-1970)Still life with apples and an orange tree signed in Cyrillic and dated '16' (upper left); further inscribed in Cyrillic with dedication: 'To wonderful Alenka, as a memory of an unexpected meeting and bright memories of unforgettable Kiev days, Lina, 03/12/21' (verso)oil on canvas71.5 x 59.5cm (28 1/8 x 23 7/16in).Footnotes:ProvenanceCollection of V. A. PushkarevAcquired from the above by the present owner in late 1990sPLEASE NOTE THAT PERMIT FOR EXPORT FROM RUSSIA HAS NOT BEEN OBTAINED FOR THIS LOT. IT WILL BE AVAILABLE FOR PRIVATE VIEWINGS IN MOSCOW BETWEEN 11 MAY AND 8 JUNE, BY APPOINTMENT ONLYНачиная с 1910-х годов, для общества Бубновый валет, жанр натюрморта становится своеобразной лабораторией новых исканий художников. Отход от повествовательности, отсутствие интереса к сюжету сделали натюрморт с его фрагментарностью, не поддающейся конкретизации во времени, главной темой художественного эксперимента. Отказавшись от действия в картине, художники смогли сосредоточиться на новаторских художественных приемах и достичь синтеза цвета и формы в предметах окружающего мира. Представленная на аукцион работа Николая Кузнецова (1876-1970) Натюрморт с яблоками и апельсиновым деревом, 1916, является прекрасным примером новаций в данном жанре. Один из членов авангардного объединения, Роберт Фальк, раскрыл суть натюрморта кисти бубновалетца: «Мы все – люди привычки, и мы все забываем наши первоначальные живые свежие ощущения. Лук, картошка – почти каждый день мы видим эти предметы и знаем, что их можно съесть... Люди – ленивые, сонные существа, мы не любим каждый день зарабатывать себе жизненные ощущения заново, любим жить привычными представлениями. Надо проснуться. Только тогда начинается искусство» (Р.Р. Фальк, Беседы об искусстве. Письма. Воспоминания о художнике, Москва, 1981, с. 28). Именно Бубновый вале... For further information on this lot please visit Bonhams.com

Vladimir Igorevich Yakovlev (Russian, 1934-1998)Still life with three red flowers signed in Cyrillic (lower left)gouache on paper61.3 x 43cm (24 1/8 x 16 15/16in).Footnotes:ProvenanceCollection of Professor Mikhail M. FotievCollection of Alexander Kronik (acquired from the above)ExhibitedMoscow, New Hermitage, Vladimir Yakovlev. To the 70th anniversary of birth, September - October 2004Moscow, Romanov Gallery, Anatoly Zverev and Vladimir Yakovlev. From the collection of Alexander Kronik, May 2006LiteratureExh. cat. Vladimir Yakovlev. To the 70th anniversary of birth, Moscow, 2004, illustrated p. 92, listed p. 117, no. 84, titled Three flowers and a vaseA. Kronik et al., My Circle: Nonconformist artists in the collection of Alexander Kronik, Moscow, 2010, illustrated p. 292, no. 674 (www.svoykrug.com )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

David Burliuk (Russian/American, 1882-1967)Morning still life inscribed with blue pencil 'N18', 'David Burliuk' (stretcher), bearing Kakhovka typography label inscribed in Cyrillic 'David Burliuk, Morning still life' (verso) oil on canvas50 x 70cm (19 11/16 x 27 9/16in).Footnotes:ProvenanceCollection of V. A. PushkarevAcquired from the above by the present owner in the late 1990sThe creative legacy of David Burliuk has come down to us in an extremely disproportionate manner. As it is known, most of his works are made up from his American period. Fate turned out to be not so favourable to his earlier works created in Russia. Many paintings, the existence of which we know from press reviews and exhibition catalogues, turned out to be irretrievably lost. This is especially true for works in the avant-garde style. In contrast to the artist's impressionistic paintings, which were always appreciated and were in demand by private collectors even in Soviet times, his primitivist works, as well as experiments in the style of Cubism or Fauvism, were not taken seriously for a long time. Being unclaimed, they were primarily destroyed as a result of improper storage, and often intentionally ruined. Morning still life in this sense can be attributed to the happy exceptions to this rule.Burliuk was well aware of this state of affairs. Having settled in the early 1920s in America, the artist, several times, tried to get back something from his 'Moscow' artworks. We know from Burliuk's correspondence that most of it was kept at the old Kuntsevo dacha and was left in the care of new tenants, to whom the artist managed to transfer small funds for some time. However, in the autumn 1923, an old acquaintance of Burliuk, photographer Nikolai Yarovov, visited the Kuntsev house. The photographer wrote to him and mentioned that most of the works stored there had fallen into disrepair, 'on the paintings are two layers of chicken dung', many of them were torn and others used by the new owners for insulation and protection from the wind on the terraces. The letter indicates that there are barely any Russian landscapes left and that almost all of them stolen, and there were only 'cubist-futuristic portraits' and other things that the Yarovov was not certain about. For Burliuk, these works that he has left behind were of particular interest - for personal exhibitions he desperately needed examples of his early works that could visually reinforce his proud title of 'father of Russian futurism.' Therefore, Yarovov was transferred money to repair and put things in order. The artist hoped that he would be able to send at least some of them to New York as he was planning, with I. Garbar, an exhibition of Russian paintings. The condition of the Morning Still Life, like the canvas itself, and the preserved author's stretcher, suggests that it was among those works, which Burliuk's entrusted friend managed to take out of the Kuntsevo dacha. The colourful layer on the whole surface has bits of talus and in other places (especially noticeable on the bread loaf and the painting behind it) craquelure. Clearly, the artist's thick layered painting style facilitated the damage, but also the re-stretching of the canvas, or rather, the rough burlap on which the still life is painted.The work is the earliest known example of Burliuk's later favourite still life construction, in which, along with household items, his own works are used. As an example, we can recall a still life with a bouquet of flowers and a book from the collection of the Arkhangelsk Museum, in which the artist's painting Cossack Mamai is used as a background. In Morning Still Life Burliuk recreates two of his works. On the left, we see one of the artist's Fauvist landscapes, reminiscent of his canvas Dnieper rapids from the Russian Museum. On the right, is a fragment of a painting made in a primitivist manner. It apparently depicted the figure of a lumberjack or a reaper in profile - his right arm bent at the elbow got into the composition of the still life. Stylistically, this fragment echoes the artist's well-known primitivist work depicting a running man, from the Rostov Kremlin Museum. It is worth noting that part of the painting's composition (surface of the table of two clay jugs and a loaf of bread) almost completely repeats the composition of the still life with the dog from the Russian Museum, one of the very first Fauvistic paintings of the artist.These parallels, as well as the pronounced expressionist manner of painting, allow us to attribute this still life to the very beginning of the 1910s. On the canvas's verso, the artist's label, with the name of the painting and the number written by hand, has been preserved. A work with this title is not found in the catalogues of exhibitions with Burliuk's participation; at the exhibition Stefanos, held in the spring of 1909 in St. Petersburg, a still life 'Morning coffee' was exhibited. Such names, which give details of the painted still life are generally not typical for Burliuk, and we only see them in catalogues of exhibitions of 1908-1910. He later preferred to label works of this genre in French (Nature morte). Postage paper was used for the above-mentioned label, which preserved the address of the Bergart printing house in Kakhovka. Since the estate where the Burliuks lived before 1913 was located nearby, the artist often used private printing houses in Kakhovka and Kherson to publish his publications. There were also printed and still unresearched catalogues of several exhibitions organized by Burlyuk in Kherson in the late 1900s. Also unknown is the composition of the works sent by the artist in 1910-1913 to various exhibitions in Yekaterinoslav, Rostov-on-Don and St. Petersburg. One of them could have exhibited Morning Still Life.In the end, neither this work nor other works of Burliuk taken from the Kuntsev dacha by Yarovov could be sent back to the artist in New York. For a while, they were in his apartment on the Malaya Bronnaya, and before his departure to South America, he gave them for storage in the House of Press on Nikita Boulevard. Later Burliuk, through many acquaintances, tried to find out their fate, but with no result. The paintings were kept there in basements, without description. Many of them, including, perhaps, 'Morning still life', subsequently ended up in private hands. Since the 1960s, the painting has been in the collection of the director of the Russian Museum, Vasily Pushkarev, who actively sought and collected works of 'leftist' artists.We are grateful to Vladimir Polyakov, author of Khudozhnik David Burliuk, 2016, for this note.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

Arkadi Petrov (Russian, born 1940)'Thank you for your purchase' signed in Cyrillic, titled and dated '1983', with attached photograph (verso)oil on canvas60 x 80cm (23 5/8 x 31 1/2in).Footnotes:The present lot is offered with catalogue J. Kiblitsky et al., Arkady Petrov - Paradise with the Kremlin, St. Petersburg, 2007.(2)ProvenanceAcquired by the present owner directly from the artist's studio in MoscowArkadi Petrov studied at the Surikov Art Institute in Moscow (1963-69) and is a well known artist of the 1970s. His work dealt with contemporary Soviet imagery that was still relevant in the post-soviet period. During the Soviet era his art fell into the 'forbidden' category, and he rarely was allowed to be exhibited. Never a formal nonconformist, Petrov created images of the day to day life, of the 'simple Soviet man' highlighting the stereotypes of Soviet society through a kitsch style not aligned with the official standards. These images of national mass culture look familiar and nostalgic and are appealing because of their simplicity, sincerity and a certain theatricality. Despite the toy-like figures and faces, Petrov manages to humanise his characters and by doing that, he brings the communist myth to life. In the present work Petrov depicts two women that look like typical women that work at the till. Lollipops and a bring coloured thank you sign decorates the background. The work does not aim to be either anti-Soviet or propagandistic, but simply evoke a nostalgic experience of the everyday life of a Soviet citizen, a contemplation of the good old past.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