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Lot 520
Artist: Thomas A. Lee (American, active 1920s/30s). Title: "Floral Still Life". Medium: Oil on canvas. Date: Composed c1930. Dimensions: Frame size: 61 1/2 x 49 1/4 in. (1562 x 1251 mm). Image size: 48 x 36 in. (1219 x 914 mm).Lot Note(s): Signed lower right. Very good to fine condition, both painting and frame. Provenance: Private collection, Sacramento, California. Comment(s): Lee is listed in Peter Hasting Falk's "Who Was Who in American Art, 1564-1975" as well as "Davenport's Art Reference & Price Guide". The huge frame is 5 in. deep. [25009-10-1500]
![Artist: Paul Klee (Swiss/German, 1879 - 1940). Title: "Stilleben am Schalttag ["Still Life on February 29"]". Medium: Origina](https://cdn.globalauctionplatform.com/8b247141-b41d-4179-bb4c-ac1d01539cbf/ad14f2aa-d977-4643-8ac9-ac4e01431426/468x382.jpg)
Lot 157
Artist: Paul Klee (Swiss/German, 1879 - 1940). Title: "Stilleben am Schalttag ["Still Life on February 29"]". Medium: Original color lithograph. Date: Composed 1940. Printed later. Dimensions: Overall size: 8 x 11 3/4 in. (203 x 298 mm).Lot Note(s): Signed in the image, upper right. Felix Paul Klee handstamp, verso. Small edition. Thin cream wove paper. Printed to the edge of the sheet. Fine impression. Bright, fresh colors. Very good to fine condition. Provenance: Acquired directly from Felix Paul Klee. Comment(s): This edition was authorized by Klee shortly before his death in 1940 but delayed by World War II until after the war. It was printed under the immediate supervision of Klee's son, Felix Paul Klee (1907-1990), a prominent art historian and later director of the Paul Klee Foundation. Image copyright © Artists Rights Society (ARS), New York. [29289-2-300]
Lot 119
§ Christopher Chamberlain (British 1918-1984) Still Life with Paint Pallet, Brushes and Bottles inscribed 'CHAMBERLAIN' to reverse, oil on board(45cm x 41cm (17.6in x 16.25in))Footnote: Provenance: Estate of the Artist. Christopher Chamberlain's studies at the Royal College of Art were interrupted by the outbreak of World War II. He joined the Royal Army Service Corps and served in the British Expeditionary Forces that evacuated Dunkirk in 1940. After the end of the war, he returned to the Royal College before starting a teaching career, notably at Camberwell School of Art. Chamberlain exhibited widely, was respected in the field and was known for his scenes of London. He stated, ‘I have made many studies in this area where I live, in the belief that one must learn thoroughly something about a particular and loosely limited area within one's experience. I don't believe it is possible to make much of a statement about anything unless one knows one's subject very well indeed’ (letter of 3 April 1955). His work is held in the Tate Collections ( The Dangerous Corner , 1954), Royal Academy ( Liverpool: America Dock , 1957) and Swindon Art Gallery ( Vauxhall Bridge Station , 1955).
Lot 145
§ Wilhelmina Barns-Graham C.B.E. (British 1912-2004) Untitled, 1960 signed and dated (lower right), gouache on paper(57.5cm x 49.5cm (22.6in x 19.75in))Footnote: Provenance: Art First, London, Wilhelmina Barns-Graham: Important Works From Her Career , 2006 ; Private Collection, UK. Wilhelmina Barns-Graham’s practise is typified by experimentation and the development of various styles and techniques, exploring both the abstract and the figurative. Though this was also true of many of her peers in the St Ives artistic community, it has made her difficult to classify at times. Her movement between the two approaches across her long career has been taken, by some, as a lack of commitment to either one. This summation is a little unfair, however, as her work often broke ground interrogating the dialogue between abstraction and figuration. Above all she was committed to the notion of remaining true to her artistic voice, in whichever form it led her to progress. Though highly regarded for the clarity of her precise and considered line work and drawing, it was in fact when Barns-Graham worked within the realms of the abstract that she produced some of her most important and original work. In the late 1940s and throughout the 1950s, her practise became increasingly abstracted, though she was still drawing from nature and utilising its underlying forms as her basis. This included exploring the potential of the Golden Section; the naturally occurring geometry found in everything from seashells to seed heads. In the 1960s however, from which this work dates, we see can see the artist making deeper strides into the purely abstract. She had absorbed some of the influence of the American Abstract Expressionists which is apparent in her increased usage of gesture and the focus on the brushstroke as a form in itself. Her admiration of the work of Joan Miro, viewed on a trip to Spain and the Baleric Islands in 1958, also had a loosening effect on her work. A newly strident use of colour may have been a reflection of the personal turmoil she was experiencing around this period due to the breakdown of her marriage. It was in this year that she also temporarily moved away from St Ives, establishing a studio in London for a time. To cope during this period of loss and upheaval in her life, Barns-Graham became absorbed in psychoanalytic, philosophical and spiritual theory, working throughout the 1960s on a series titled ‘ Order and Disorder of Things of a Kind ’. As in the work offered here, we see this manifesting in the exploration of how colours and forms interact and react in relation to one another; the compositions radically simple. This work reads like a study or experimental exercise, in which she tests the vibrations provoked by the juxtaposition of contrasting, often jarring, colours. The black form forces its way forward, seeming to emerge from the wispy stroke of white which our eyes travel over next, before the vivid synthetic pop of pink jostles the curvaceous chartreuse shape towards us, which in turn seems to tilt precariously off to the right of the frame. In the early 1960s, Barns-Graham embraced a new geometrical form towards abstraction in her painting, investigating the expressive qualities of colour and shapes at a point when perhaps the work of St Ives least influenced her work. Instead this new approach perhaps best reflects the work of Josef Albers, Klee and the constructionist artists appearing around Victor Pasmore in the 1950s.
Lot 42
Antoni Tàpies (Spanish, 1923-2012)El Monument 1951 signed on the reverseoil on canvas120 by 110 cm. 47 1/4 by 43 5/16 in.Footnotes:This work is registered in the Fundació Antoni Tàpies, Barcelona, under no. T-0046.ProvenanceGaleria Artema, BarcelonaAcquired directly from the above by the present ownerExhibitedVenice, XXVI Biennale di Venezia, 1952, no. 87Barcelona, Galeries Laietanes, Antoni Tàpies, 1952, no. 4Barcelona, Galeria Artema, Tapies: Obra 1945-1954, 1978, no. 21, illustrated in black and whiteMadrid, Museo Español de Arte Contemporáneo, Antoni Tàpies - Exposición Retrospectiva, 1980, p. 24, no. 26, illustrated in black and whiteLiteratureAlexandre Ciriri, Tàpies, testimoni del silenci, Barcelona 1970, p. 135, no. 80, illustrated in colourJosep Vallés Rovira, Tàpies Empremta (art vida), 1983, np., illustrated in black and whiteAnna Agustí, Tàpies, The Complete Works Volume 1: 1943-1960, Barcelona 1988, p. 175, no. 388, illustrated in colourA delightful early example of the celebrated Spanish artist's practice, El Monument from 1951 belongs to what has been coined by critic Alexandre Circi as Tàpies' 'Magic Period'. Starting in 1948, Tàpies became heavily influenced by the work of surrealists - in particular, by Ernst, Miro and Klee - and started exploring the possibilities offered by depicting the subconscious' otherworldly imagery. The resulting paintings, which Tàpies' friend, writer Joan Brossa, would often name with fantastical and poetic titles, earned him the respect and admiration of Salvador Dali amongst others. Met with universal critical acclaim, works from the Magic Period truly launched Tàpies' practice in Europe and the United States.In El Monument, a range of mystical motifs imbue the dark canvas with a strange, mystical sense of wonder. The fine structure-like lines delicately scratched into the surface of the painting predate Tàpies' iconic heavily textured works in which he drew large incisions into sand. Even though Tàpies would ultimately abandon the attention to detail displayed in El Monument and other early works in favour of a more process-based approach in the following decades, the Magic Period - and its highly evocative occult potential - still very much sketched the blueprint for Tàpies' highly textural and abstract latest practice. Exhibited at the Venice Biennale in 1952, shortly before the artist married his wife, El Monument was executed at a critical time in his career: 'The years 1952 and 1953 were crucial, both for my love life and for my work. [...] Little by little, almost unconsciously, I had left behind and finally lost the worries that Soviet aesthetic principles, inspired by the famous Jdanov, had caused me... In questions of art and by an inclination that is difficult to explain, my instinct took me more and more along solitary paths I saw the necessity of going deeper in my investigation of the specific possibilities of the visual medium of colour and form in freedom.' (the artist in: A Personal Memoir: Fragments for an Autobiography, Barcelona 2009, p. 264).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 50
James Campbell (British, 1828-1893)A Pastoral Rehearsal oil on canvas63.5 x 115.2cm (25 x 45 3/8in).Footnotes:ExhibitedLiverpool Academy, 1860, no. 95.Literature Marillier, H.C., The Liverpool School of Painters, London, 1904, p. 84.This recently re-discovered work by the Liverpool artist James Campbell has been identified as his 1860 Liverpool Academy exhibit, A Pastoral Rehearsal. A group of men, women and children are gathered among a grove of trees on the edge of a village to sing and play. Led by the standing figure of a man who raises his right arm and bow to conduct, while holding his fiddle to his grey-bearded chin, and accompanied by a seated 'cellist and a third musician who plays a clarinet, six villagers sit side-by-side to form the choir. On the right, a man seems to gaze as if transfixed by the rhythm of the music and to which he beats time on a tambourine. At the centre, a flaxen-haired child wearing a pale coloured smock and with a school-satchel across his shoulder, holds the score for the violinist and 'cellist. On the left side of the composition, a youth with white shirtsleeves and a black cap rests in a wheelbarrow and holds a younger child – perhaps his sister – on his lap. One further spectator – a dark-haired woman – stands on the left side before a moss-covered drystone wall, holding a piece of embroidery or knitting. As the painting's exhibited title indicates, the folk seen together are preparing for a musical performance, perhaps as part of a wedding or May Day celebration. The various participants seem to be wearing workaday clothes, with the possible exception of the violinist/conductor who wears a shabby frockcoat and check trousers, so it may be assumed that the rehearsal is taking place at the end of the working day and when the children present have been released from school.James Campbell specialised in subjects showing the life of working-class men and women in his native city of Liverpool and surrounding countryside. For biographical information on the artist we depend on a short chapter in H.C. Marillier's The Liverpool School of Painters (1904). According to this source, Campbell studied at the Royal Academy schools in London (although, if this is the case, the academic training received there seems to have left no mark upon him). In 1851, having returned to Liverpool, he entered the Liverpool Academy as a probationer, exhibiting there for the first time the following year. Campbell was elected as an associate of the Liverpool Academy in 1854 and a full member in 1856. In 1857 he contributed to the Russell Place exhibition of Pre-Raphaelite art in London, being represented by works lent from the collection of the Liverpool collector and art entrepreneur John Miller and for which Ford Madox Brown had negotiated. In 1858 Campbell was invited to send works to the exhibition of contemporary British art shown that year in New York, Philadelphia and Boston. That Campbell was regarded in a friendly way by members of the progressive circle of painters is demonstrated by his having subsequently been admitted to membership of the Hogarth Club. Among Campbell's most loyal patrons, in addition to Miller himself, were George Rae, of Birkenhead, and James Leathart, of Gateshead.In the 1850s Campbell sent works to the Liverpool Academy from an address in Brunswick Square, Kirkdale (now part of Liverpool itself and lying to the north of the city centre). Particular works in urban settings by Campbell, such as Twilight – Trudging Homewards (private collection), in which two itinerant musicians, each of them blind, lead one another home at the end of the day, or Dinner in View (Christie's, 6 November 1995, lot 127), also of 1858 and showing gaunt figures dazed by hunger, are amongst the most extraordinary images of deprivation to come down to us from the mid 19th century. On other occasions, Campbell made painting expeditions into the Cheshire countryside, taking lodgings at Eastham Woods on the Mersey western shore, and on other occasions working at Bidston on the Wirral. These were both places favoured by the Liverpool artists in the middle years of the 19th century, and it is likely that the present rustic subject was made in one or other of them. Campbell's career as an artist was cut short by failing eyesight and from which he suffered even while he was still in his thirties. He exhibited at the Liverpool Academy only until 1864, while the following year he showed for the last time at the Liverpool Institution of Fine Arts. He was eventually awarded a pension and the offer of accommodation by the Royal Academy, and for which support his patrons Rae and Leathart had petitioned. The fact that Campbell had such a short working career – hardly longer than a decade and a half – and because he painted in such an exacting and meticulous way, explains why his works are rare.The loving attention to detail that Campbell paid in his figurative subjects owed much to the example of the Pre-Raphaelites. In addition, it seems likely that he studied Dutch genre paintings (and perhaps also French art of the 17th century – on occasions his works seems curiously akin to that of the Le Nain brothers). The way in which Campbell documented the lives of the folk he observed – describing as he did the privations they endured with such humanity – gives his works an idiosyncratic quality that makes them compelling.We are grateful to Christopher Newall for compiling this catalogue entry.For further information on this lot please visit Bonhams.com
Lot 196
Olivia Scholnick (South African 1927-2013)Still LifeOil on canvas Signed lower right 60 x 60cm (23½ x 23½ in.)Provenance:Private Collection, Gerald Levin (1934-2020) Gerald Levin was born in Zimbabwe and arrived in London in 1954. He first worked for Basil Spence and was a founding partner of Renton, Howard, Wood, Levin Architects a firm which became synonymous with arts and theatre projects. Gerald was responsible for designs of the Donmar Theatre in London, Royal Concert Hall in Nottingham, Sadlers Wells and many of the practices acclaimed housing projects included The Prudential Building on Euston Road (London) part of Tolmers Square (London) and Earlstoke Estate (London). Gerald was a member of The Architectural Association, President from 1985-1987 and a Life Member. He supported many Arts organisations including LPO, Donmar and Tate Gallery where he was Chairperson of Patrons of New Art 1990-1993 acquiring works of art for their collections and was a driving force behind the instigation of the Turner Prize. Gerald played the Cello and was part of many small groups of string players. Levin was an avid art collector who had many good friends involved in music, art, theatre and ballet including Maggi Hambling, Keith Milow, Yolanda Sonnabend, Derek Jarman, Jane Joseph and Olivia Scholnick whose works of art filled his Covent Garden flat.
Lot 54
λ Mildred Bendall (British 1891-1974)Still life with jugs, fruit bowl and fanOil on boardSigned lower left58 x 69cm (22¾ x 27 in.)Condition Report: Executed on a thin board, backed with canvas. There is some light craquelure to the lower left corner and to the upper edge and upper right corner. Otherwise in generally good original condition.Condition Report Disclaimer
Lot 1001
JANE BENNIE FYFE (1914-2011) watercolour and pastel, ‘Still Life’, signed lower right, 56x43.5cm, framed and glazed. (D)Additional InformationChips, scratches, knocks to the frame. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
Lot 332
CRAIGIE AITCHISON CBE RA (1926-2009); limited edition signed print, still life, on vermilion, No.78/85, signed lower right, 41 x 32cm, unframed. (D)Additional InformationMinor folding/wear to edges of image, minor scratches to mount, nothing serious. Lots 332, 333 and 334 have come from the same vendor who is an art collector. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
Lot 529
COLIN RUFFELL (Born 1939); oil on canvas, ‘Still life with Oil Lamp’, signed lower right, 89.5 x 59cm, framed. (D)Additional Informationminimal wear with marks and scuffs to frame, the main image appears fine. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
Lot 557
BRIAN NOLAN (Born 1931); oil on board, still life study of flowers in a jar, signed, 40 x 26cm, framed. (D)Additional InformationSome light surface wear and scratches but overall ok. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
Lot 601
DAME ETHEL WALKER (SCOTTISH, 1861-1951); oil on canvas, still life study of floral sprays in a Victorian jug, signed, inscribed verso 'Dec. 14, Cumbo', 61.5 x 51cm, framed. (D)Additional InformationThere is a tiny spot of surface detritus to the left of the lower wing. May benefit from a very light clean, but just light surface wear throughout. Some surface wear to the frame. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
Lot 613
ANDREW TIFT (Born 1968); acrylic on board, 'Suspicious Minds', signed and dated 2008 lower right, overall image size 27 x 51cm. (D) NB: Tift made a series of record sleeve covers and named the sequence "Dopplegangers". On the right is the original physical record cover and on the left is an exact size painting of the record sleeve. They are "still life" studies which depict the life, love and deterioration that the record sleeve has had over the years. Tift also enjoys making Diptychs using two panels side by side. The viewers eyes flick from one to the other, in exactly the same way that they do when the artist is painting them. Additional InformationThe frame has very minimal scratches and scuffs, but the image is in good condition. Please note the image on the left is the original acrylic painting and the image on the right is actually a distressed single record. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
Lot 987
ARTHUR NICHOLLS (BRITISH, LATE 19TH/EARLY 20TH CENTURY); watercolour, still life of fruit, signed lower right, 24 x 17cm, framed and glazed, with receipt of purchase for £300 in 1998 from Saltaire Antiques Centre; this painting was featured on BBC Antique Hunt, the precursor to Bargain Hunt. Additional InformationImage in good condition, frame worn with some chips to gilt.
Lot 26
Attributed to Louise Aimée Ribot (active France, 19th Century)Still life with bread, ceramic bowls, a bottle and a glass of wine bears signature and inscription 'a l'ami Bo**/ t. Ribot' (lower right)oil on canvas32.7 x 40.7cm (12 7/8 x 16in).For further information on this lot please visit Bonhams.com
Lot 163
Circle of Jean-Baptiste Monnoyer (Lille 1636-1699 London)A still life of a basket of tulips roses, orange blossom, a poppy, hyacinths and other flowers, on a stone plinth, beside an apple and grapes in a landscape oil on canvas70.3 x 90.1cm (27 11/16 x 35 1/2in).in a Chippendale style carved and giltwood frameFor further information on this lot please visit Bonhams.com
Lot 307
Pictures and Prints - Roy Merrington, Sunset, Naples Florida oil on canvas, signed and framed; The Courtyard, oil on canvas, signed and framed; The Post Box, oil on canvas, signed and framed; Winter pond, oil on canvas, signed and framed; Sunflowers, still life, oil on canvas, signed and framed. (5)
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