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Lot 42
A Derby Porcelain Bough Pot and Pierced Liner, circa 1820, of bombé form with scroll handles, printed with a still life of fruit on a marble plinth within formal gilt borders, on scroll feet, painted mark in red, 23cm wide. Both handles with old restoration. Some typical glaze staining and crazing. Some wear to gilding.
Lot 442
After Nadia Benois (Russian, 1896-1975), Signed print on paper, still life with flowers in jug, Signed lower right, blind stamp lower left, 61.5cm x 50cm, Framed and glazedBiographical note: Nadezhda Leontievna Ustinova, née Benois, known as Nadia Benois, was a painter and stage designer, and the mother of Sir Peter Ustinov.
Lot 470
Thomas G. Hill (1913-1984), Two oils on canvas, Still lives with flowers, Signed lower left and lower right, 59cm x 49cm and 49cm x 59cm, Matching gilt frames, With a further watercolour still life with flowers by Sheila M. Webster, and a pastel on paper of labradors by Jean Parry-Williams (4)
Lot 723
1959 Citroen AZ 2CVReg. no. 238 XULChassis no. 1912316Engine no. 02636987Citroen’s 2CV requires little introduction – the car designed in the 1930s to get the rural population of France mobile, that went on to be produced in the millions and acquire a fame and significance that far out-stripped its original remit. Perhaps better than any other car, it demonstrates how simplicity and clever engineering and design often trumps over-complication, and that if the function is performed to perfection, then people will come to love the form. Although the basic design of the 2CV remained more or less unchanged throughout its long production run, there were plenty of changes and improvements made over the years, the most significant of which were the series of engine developments that raised power from the original 9bhp. In 1955, the AZ model was introduced, which produced 12bhp from its 425cc engine. This was enough to give a 50mph cruising speed – that is more or less top speed as well, but the 2CV engine was so strong that running at top speed all day was of little concern – indeed, Citroen often tested engines by running them at full throttle, non-stop, for the equivalent distance of the circumference of the earth at the equator.This 1959 2CV AZ was imported from Belgium in 1970. A Belgian-built car, it incorporates some rare parts that were only found on the Belgian-assembled models. Restored in 2008/9, it has been converted to right-hand-drive using original Citroen parts, and the centrifugal clutch has been replaced with a conventional one. Other than that, it is in original specification, with the 425cc engine still thrumming away under the bonnet. During the no-expense-spared restoration, the car was totally stripped and all corrosion eliminated. The vendor preferred to use coach paint with a satin finish for the bodywork, and left the dents and ‘battle scars’ that the car had accumulated over its life; the aim being a totally solid car, not one that looked like it had just left the factory. On the mechanical front, everything was overhauled or replaced where necessary, including the dampers and the braking system. Five new wheels and tyres were fitted, and the engine had new barrels, pistons and carburettor. The result is a comfortable cruising speed of 50, with 50+ mpg. The car also comes with many spares that the vendor has collected over the years, including two spare engines – one a ‘4 stud’ unit of 18bhp, the other a ‘3 stud’ of 12 – and a gearbox. The car also comes with various bills and a V5c.
Lot 973
STUART PARK (SCOTTISH 1862-1933) STILL LIFE OF WHITE, PINK AND YELLOW FLOWERS Oil on canvas, signed, 61 x 51cm (24 x 20") Condition Report: The painting has been glazed with non reflective (frosted) glass and thus apart from what appears to be slight wear and abrasion around the edges of the canvas the work looks to be in reasonable condition from what is visible.
Lot 991
•JAMES MCNAUGHT RSW, RGI (SCOTTISH B. 1948) LONG HANDLED SPOON LONG HANDLED PAN Watercolour and gouache, signed and dated Nov. 2002, 8.25 x 26cm (3 1/4 x 10 1/4") TABLE TOP STILL LIFE Watercolour and gouache, 19 x 5cm (7 1/2 x 2") Provenance - The Estate of the late Tom H. Shanks RSW, RGI, PAI (1921-2020) (2) Condition Report: Both works in good condition with no significant issues.
Lot 208
Margaret WARDMAN (1922- 2020)Five Still livesVarious mediaMargaret Wardman (née Shuttleworth)Margret Wardman (1922–2020), born, West Riding of Yorkshire, studied Fine Art at Bradford and Leeds Colleges of Art during WW11. In wartime, she also specialised in weaving at the Ministry of Pensions Hospital, Occupational Therapy Department, Eden Hall, Edinburgh, Scotland. Followed by an appointment at Pinderfields Hospital in Wakefield as an Occupational Therapist whilst fitting in three summers farming in Warwickshire and Worcestershire drawing subject matter for the painting Harvest Group. Post war, teaching art in schools in Accrington and Manchester.Through the strong, professional interconnections with artists in the North of England and its principal art galleries and museums, Margret’s paintings and drawings of the 1940’s and 50’s saw her visual language and modernist, artistic style grow in confidence and maturity. Her paintings were shown and regularly highlighted in reviews in group exhibitions such as the ‘Yorkshire Artists Exhibition’, the Annual West Riding Artists Exhibition’ and ‘Artists with North Country Associations’ at Bradford, Leeds, Manchester and Wakefield City Art Galleries. Painting and family life ran parallel, expecting the first of three children, sketching subject matter for the oil painting, Buck’s Mills whilst on holiday in Devon. Involvement with Otley and Ilkley arts Clubs at that time provided further opportunities to exhibit and develop her talent. The family’s civil engineering business brought about a move and a period of four decades living on the Somerset levels. There a new focus for drawing and recording the architectural specialisms of the level’s historic, Dutch style houses emerged along with commissions for illustrations for local businesses. A more personal, intimate, domestic subject matter flowed through her flower studies integrated with her gardens.Margaret’s later paintings, she settled in Cornwall from 2006, rediscover her own pictorial language and formative experiences. As Barbara Hepworth noted in 1939-40, ‘the deep connectivity with the Cornish landscape and the Yorkshire Moors’ meant, for Margaret, her continued exploration of modernism and strong pictorial form - planar space, structure, composition, line, painted mark with colour which the earlier canvases had produced. Farmstead, Higher Bussow 2009, an example of her energy to simplify and abstract further the essence of her vision. How does a life in art begin?An innovative and immersive three month, inter-scholarship exchange through West Riding of Yorkshire Higher Education and Des Universités et Ecoles Françaises to Paris in 1938 became a cultural experience and influence throughout Margaret’s artist life.
Lot 320
Still life of flowers in a vase signed 'Mary Melville Foster' (lower right) oil on canvas 74 x 62cmFootnote: Provenance By descent within the family of the artistCondition report: Oil on canvas which is unlined. The canvas tension is slightly slack but in plane. The reverse of the canvas has a layer of dust and dirt, there is also a light sketch. The paint layer is in a stable condition. There are few small dents and losses around the edge of the painting. The painting is unvarnished, there are some light scuffs and scratches to the surface and a layer of dirt. The frame has suffered from a few losses and chips to the decorative surface.
Lot 433
Still life of a Kettle and Bottles on a table top signed 'Pawle' (upper right) oil on canvas, unframed 50.5 x 61cmCondition report: Oil on a coarse weave canvas support which is plane. The paint layer is stable. The painting is unvarnished, the surface gloss is uneven and very matte in the darker areas. The wooden stretcher has a few woodworm exit holes.
Lot 445
Still life with an oil lamp, decanter and a glass signed 'Ruffell' (lower left) oil on canvas 93 x 61cm; An interior scene with a dresser and a longcase clock Signed with initials (lower right) oil on canvas 93 x 61cm (2)Condition report: Oil on canvas. Both works have a thick gesso preparation layer below the paint layers. There are localised areas of flaking paint. Around the edges of the paintings are some abrasions and losses. Both paintings have a varnish layer, on the picture with the lamp this has been thickly applied and there are discoloured drips near the centre of the work. Both paintings have a layer of surface dust and dirt.
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