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Lot 60
Olive Bagshaw (Northern British fl.1965-1978): Still Life of Roses in a Jug, oil on canvas laid on board signed 35cm x 28cmProvenance: from the Artist's Studio Sale. Miss Bagshaw who was born in Salford, received her formal art training at Salford and Manchester Art School. Her work has been regularly accepted at the Royal Society of Portrait Painters, the Royal Academy and Federation of British Artists (Information from a 1970's Monks Hall Museum and Gallery exhibition catalogue)DDS - Artist's resale rights may apply to this lot
Lot 63
Olive Bagshaw (Northern British fl.1965-1978): Still Life Blossom in a Jug & Still Life of Roses, two oils on canvas laid on board unsigned, 51cm x 45cm & 38cm x 32cm (2) Provenance: from the Artist's Studio Sale. Miss Bagshaw who was born in Salford, received her formal art training at Salford and Manchester Art School. Her work has been regularly accepted at the Royal Society of Portrait Painters, the Royal Academy and Federation of British Artists (Information from a 1970's Monks Hall Museum and Gallery exhibition catalogue) DDS - Artist's resale rights may apply to this lot
Lot 108
§ James Cowie R.S.A., L.L.D (Scottish 1886-1956) Still life in industrial landscape Signed, pencil and watercolour (Dimensions: 26.5cm x 23cm (10.5in x 9in))(26.5cm x 23cm (10.5in x 9in))Footnote: Provenance: The artist's family Exhibited: Arts Council - Scottish Committee, James Cowie Memorial Exhibition 1957, no.49
Lot 115
§ Alberto Morrocco R.S.A., R.S.W., R.P., R.G.I., L.L.D (Scottish 1917-1999) Still life with shell Signed, oil on canvas (Dimensions: 46cm x 61cm (18in x 24in))(46cm x 61cm (18in x 24in))Footnote: Exhibited: The Scottish Gallery June 1973,no.13Condition report: Largely good original unlined condition - U.V. light suggests that the artists made some later changes
Lot 141
? George Leslie Hunter (Scottish 1877-1931) Still life with marigolds Signed, oil on board (Dimensions: 46cm x 41cm (18in x 16in))(46cm x 41cm (18in x 16in))Footnote: Note: ‘Everyone must choose his own way, and mine will be the way of colour’ were the words of artist George Leslie Hunter, reflecting upon his own unique practice. Focusing for much of his life on landscapes and still life, Hunter worked in a range of mediums. His still life’s of fruit are particularly distinctive, such as his 1925 painting Still Life with Fruit and Pink Rose . Hunter’s typical impasto technique adds a luxuriously textured surface to the composition and visualises the inspiration he found in Matisse and the free, energetic work of the French Fauves. In his Still Life with Marigolds , we again note his vibrant palette and strong brushstrokes, demonstrating a bold and experimental new attitude that he took away from his continental counterparts. His landscapes, such as Street Scene, Largo , and Beached Boats, Lower Largo , offer us fascinating insight into the Scottish Colourist’s French influences by contemporary artists such as Monet and Cezanne. The warming colours of the buildings in Street Scene, Largo juxtaposed against the cooler tones of the sky are reminiscent of Cezanne’s new colour theory, in which he used the natural properties of warm and cool colours to advance and recede and create a sense of depth. Beached Boats, Lower Largo also explores Hunter’s fascination with the effects of light and colour theory, with the sharp contrast of the warmly coloured boat in the foreground against the sombre, muted cool tones of the surrounding water and sky that produces an atmospheric feeling of the cool weather. Diverse and experimental, Hunter was always looking outwards and learning from his contemporaries; resulting in an impressive oeuvre which teaches us not just about Scottish life at the beginning of the twentieth century, but also of the intellectual and cultural interchange of artists across Europe.
Lot 143
George Leslie Hunter (Scottish 1877-1931) Beached boats, Lower Largo Signed, oil on panel (Dimensions: 20.5cm x 28cm (8in x 11in))(20.5cm x 28cm (8in x 11in))Footnote: Note: ‘Everyone must choose his own way, and mine will be the way of colour’ were the words of artist George Leslie Hunter, reflecting upon his own unique practice. Focusing for much of his life on landscapes and still life, Hunter worked in a range of mediums. His still life’s of fruit are particularly distinctive, such as his 1925 painting Still Life with Fruit and Pink Rose . Hunter’s typical impasto technique adds a luxuriously textured surface to the composition and visualises the inspiration he found in Matisse and the free, energetic work of the French Fauves. In his Still Life with Marigolds , we again note his vibrant palette and strong brushstrokes, demonstrating a bold and experimental new attitude that he took away from his continental counterparts. His landscapes, such as Street Scene, Largo , and Beached Boats, Lower Largo , offer us fascinating insight into the Scottish Colourist’s French influences by contemporary artists such as Monet and Cezanne. The warming colours of the buildings in Street Scene, Largo juxtaposed against the cooler tones of the sky are reminiscent of Cezanne’s new colour theory, in which he used the natural properties of warm and cool colours to advance and recede and create a sense of depth. Beached Boats, Lower Largo also explores Hunter’s fascination with the effects of light and colour theory, with the sharp contrast of the warmly coloured boat in the foreground against the sombre, muted cool tones of the surrounding water and sky that produces an atmospheric feeling of the cool weather. Diverse and experimental, Hunter was always looking outwards and learning from his contemporaries; resulting in an impressive oeuvre which teaches us not just about Scottish life at the beginning of the twentieth century, but also of the intellectual and cultural interchange of artists across Europe.
Lot 145
§ Anne Redpath O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (Scottish 1895-1965) STILL Signed, oil on board (Dimensions: 30.5cm x 34.5cm (12in x 13.5in))(30.5cm x 34.5cm (12in x 13.5in))Footnote: Provenance: Mercury Gallery, Edinburgh 1986 Note: Celebrated as one of the most important figures in 20th century Scottish painting, Anne Redpath became one of Edinburgh College of Art's most highly-commended students. After receiving a travelling scholarship in 1919, Redpath embarked on an extended period of study in Brussels, Bruges, Antwerp and Paris, where her work took on varied influences such as Rogier van der Weyden, Duccio and Ambrogio Lorenzetti. Redpath’s focus on early Italian art was not uncommon amongst her peers and her interest extended even further to Etruscan work. This interest is evident in her brushwork, especially throughout her earlier career, resembling that of fresco, albeit in oil. In October 1920, Redpath married architect James Beattie Michie and moved to France where she continued to paint, though much of her life became devoted to raising her three sons: Alastair, Lindsay and David. Painted during her time in France, Windmills at the Pas de Calais is a fine example of one of Redpath’s favourite subjects. The scene is bright, fresh and sunny; an Impressionist influence can be seen in her application of colour and texture. In contrast, Mediterranean Village is an example of Redpath’s later work. Deliberate splashes and scratches of white paint renders the scene more abstract, but no less beautiful. In In a Church, St. Paul , her brushwork becomes intricate, layered and focused in its application to reveal a symphony of detail, with Redpath utilising visible texture to emphasise the surface of the building itself. Redpath’s still life paintings are equally as exquisite; Still Life of Three Tomatoes utilises a flatter surface, exploring the dimensional aspect of her subjects, not with brushwork, but with colour. Dried Flowers , on the other hand, does both; here Redpath leans into a more abstract technique. The variation, talent and vibrancy of Redpath’s work is well demonstrated by the pieces presented in this December's auction. Redpath evolved beyond her influences to become an artist vital to the 20th century Scottish artistic tradition, and her work continues to be held in the highest esteem.Condition report: Three horizontal hairline cracks which do not extend across image with commensurate cosmetic re-touching - just visible in raking light:- Opposite top edge of dish Adjacent to mid point between the upper and lower tomatoes Towards lower edge of dish
Lot 146
§ ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., R.O.I., R.B.A. (SCOTTISH 1895-1965) IN A CHURCH, ST. Signed, oil on canvas (Dimensions: 51cm x 61cm (20in x 24in))(51cm x 61cm (20in x 24in))Footnote: Provenance: The Lefevre Gallery, London Portland Gallery, London Exhibited: Portland Gallery, Anne Redpath, 2013, no.7 Note: Celebrated as one of the most important figures in 20th century Scottish painting, Anne Redpath became one of Edinburgh College of Art's most highly-commended students. After receiving a travelling scholarship in 1919, Redpath embarked on an extended period of study in Brussels, Bruges, Antwerp and Paris, where her work took on varied influences such as Rogier van der Weyden, Duccio and Ambrogio Lorenzetti. Redpath’s focus on early Italian art was not uncommon amongst her peers and her interest extended even further to Etruscan work. This interest is evident in her brushwork, especially throughout her earlier career, resembling that of fresco, albeit in oil. In October 1920, Redpath married architect James Beattie Michie and moved to France where she continued to paint, though much of her life became devoted to raising her three sons: Alastair, Lindsay and David. Painted during her time in France, Windmills at the Pas de Calais is a fine example of one of Redpath’s favourite subjects. The scene is bright, fresh and sunny; an Impressionist influence can be seen in her application of colour and texture. In contrast, Mediterranean Village is an example of Redpath’s later work. Deliberate splashes and scratches of white paint renders the scene more abstract, but no less beautiful. In In a Church, St. Paul , her brushwork becomes intricate, layered and focused in its application to reveal a symphony of detail, with Redpath utilising visible texture to emphasise the surface of the building itself. Redpath’s still life paintings are equally as exquisite; Still Life of Three Tomatoes utilises a flatter surface, exploring the dimensional aspect of her subjects, not with brushwork, but with colour. Dried Flowers , on the other hand, does both; here Redpath leans into a more abstract technique. The variation, talent and vibrancy of Redpath’s work is well demonstrated by the pieces presented in this December's auction. Redpath evolved beyond her influences to become an artist vital to the 20th century Scottish artistic tradition, and her work continues to be held in the highest esteem.Condition report: Good original unlined condition
Lot 147
§ Anne Redpath O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A (Scottish 1895-1965) Inscribed by both Redpath and James Michie and dated 1926, oil on board (Dimensions: 54cm x 38cm (21in x 15in))(54cm x 38cm (21in x 15in))Footnote: Provenance: Arthur and Christianne Beesley a gift from Anne Redpath and James Michie on the occasion of their wedding N ote: Anne Redpath and her husband James lived in St-Omer in Northern France from 1921-1925 and very few paintings from this period remain. In 1925, Anne Redpath's husband Jim was offered a position as private architect to an American millionaire Thompson, who had a villa at St. Jean, Cap Ferrat. The 1926 date on this painting and the inscriptions of both husband and wife indicate that the painting was especially inscribed for their friend's wedding. Literature: A letter from David Michie confirming the authenticity of this painting accompanies the lot. In addition, a letter from Christianne to David Michie on the death of his mother refers to the wedding gift and to other paintings by Redpath that they owned together, with references to a sketchbook by Redpath they had found, which they returned to David Michie. This will also accompany the lot. Note: Celebrated as one of the most important figures in 20th century Scottish painting, Anne Redpath became one of Edinburgh College of Art's most highly-commended students. After receiving a travelling scholarship in 1919, Redpath embarked on an extended period of study in Brussels, Bruges, Antwerp and Paris, where her work took on varied influences such as Rogier van der Weyden, Duccio and Ambrogio Lorenzetti. Redpath’s focus on early Italian art was not uncommon amongst her peers and her interest extended even further to Etruscan work. This interest is evident in her brushwork, especially throughout her earlier career, resembling that of fresco, albeit in oil. In October 1920, Redpath married architect James Beattie Michie and moved to France where she continued to paint, though much of her life became devoted to raising her three sons: Alastair, Lindsay and David. Painted during her time in France, Windmills at the Pas de Calais is a fine example of one of Redpath’s favourite subjects. The scene is bright, fresh and sunny; an Impressionist influence can be seen in her application of colour and texture. In contrast, Mediterranean Village is an example of Redpath’s later work. Deliberate splashes and scratches of white paint renders the scene more abstract, but no less beautiful. In In a Church, St. Paul , her brushwork becomes intricate, layered and focused in its application to reveal a symphony of detail, with Redpath utilising visible texture to emphasise the surface of the building itself. Redpath’s still life paintings are equally as exquisite; Still Life of Three Tomatoes utilises a flatter surface, exploring the dimensional aspect of her subjects, not with brushwork, but with colour. Dried Flowers , on the other hand, does both; here Redpath leans into a more abstract technique. The variation, talent and vibrancy of Redpath’s work is well demonstrated by the pieces presented in this December's auction. Redpath evolved beyond her influences to become an artist vital to the 20th century Scottish artistic tradition, and her work continues to be held in the highest esteem.
Lot 148
§ Anne Redpath O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A (Scottish 1895-1965) DRIED Signed, oil on canvas (Dimensions: 86cm x 122cm (34in x 48in))(86cm x 122cm (34in x 48in))Footnote: Exhibited: Portland Gallery, London, Anne Redpath, 2013, no.8 Note: Celebrated as one of the most important figures in 20th century Scottish painting, Anne Redpath became one of Edinburgh College of Art's most highly-commended students. After receiving a travelling scholarship in 1919, Redpath embarked on an extended period of study in Brussels, Bruges, Antwerp and Paris, where her work took on varied influences such as Rogier van der Weyden, Duccio and Ambrogio Lorenzetti. Redpath’s focus on early Italian art was not uncommon amongst her peers and her interest extended even further to Etruscan work. This interest is evident in her brushwork, especially throughout her earlier career, resembling that of fresco, albeit in oil. In October 1920, Redpath married architect James Beattie Michie and moved to France where she continued to paint, though much of her life became devoted to raising her three sons: Alastair, Lindsay and David. Painted during her time in France, Windmills at the Pas de Calais is a fine example of one of Redpath’s favourite subjects. The scene is bright, fresh and sunny; an Impressionist influence can be seen in her application of colour and texture. In contrast, Mediterranean Village is an example of Redpath’s later work. Deliberate splashes and scratches of white paint renders the scene more abstract, but no less beautiful. In In a Church, St. Paul , her brushwork becomes intricate, layered and focused in its application to reveal a symphony of detail, with Redpath utilising visible texture to emphasise the surface of the building itself. Redpath’s still life paintings are equally as exquisite; Still Life of Three Tomatoes utilises a flatter surface, exploring the dimensional aspect of her subjects, not with brushwork, but with colour. Dried Flowers , on the other hand, does both; here Redpath leans into a more abstract technique. The variation, talent and vibrancy of Redpath’s work is well demonstrated by the pieces presented in this December's auction. Redpath evolved beyond her influences to become an artist vital to the 20th century Scottish artistic tradition, and her work continues to be held in the highest esteem.Condition report: Good original unlined condition
Lot 89
Patrick William Adam R.S.A. (Scottish 1854-1929) A still life of fruit and objects on a table-top Signed and dated 1919, oil on canvas (Dimensions: 83cm x 66cm (32.5in x 26in))(83cm x 66cm (32.5in x 26in))Condition report: Unlined - some vertical re-touching from top edge and to glass to right of table top glass - top stretcher mark visible in raking light
![BONNELL, James (1697-1774). A fine manuscript journal of travels in England between 10 August and [?]2 September 1717, title](https://cdn.globalauctionplatform.com/dd3fa65e-97b1-4590-80d4-ab0d00aae4fa/9f0f4695-73f0-4bd1-bc42-ab0d0102fa8d/468x382.jpg)
Lot 689
BONNELL, James (1697-1774). A fine manuscript journal of travels in England between 10 August and [?]2 September 1717, titled: "An Account of a month's Travell Round the North West[sic] & South West of England from London to Oxford & Worcester & round to Chichester &c. In all Nine Citys. In a Continued Distance of 160 mile from London." 8vo (151 x 100mm). "Title" and 184-leaves, written in black ink on rectos only, with numerous blank leaves at the end interspersed with 18-pages of accounts relating to the tour. Bound in contemporary speckled calf (rubbed). Provenance: Harvey Bonnell (armorial bookplate); and thence by descent. A COLOURFUL ACCOUNT, PREVIOUSLY UNPUBLISHED, OF A YOUNG MAN'S TOUR FROM LONDON ACROSS THE WEST OF ENGLAND IN 1717. Taking in the attractions of Windsor, Oxford, Worcester, Gloucester, Bristol, Bath, Wells, Glastonbury, Salisbury, Winchester and Chichester, amongst many other places, the journal also provides detailed descriptions of the interiors and gardens of noteworthy houses along the way including Blenheim, Wilton and Dyrham Park; there are lively accounts of partying at Worcester and Bath, and numerous introductions and flirtations. In Henley: "... we had very good diversion with ye young Girls being for the most part of a very cheerfull disposition"; in Oxford, a service at the Cathedral "... was very indiferently performed, and the Church of a very indiferent structure"; Queen's College: "... is new and the fine Chapell not at this time finished"; in Worcester: "... a very genteel place and we had the fortune to be very well acquainted with all the best of ye city, as Miss Kitty Stevens, Fanny Paine, Sophia Sheldon, Molly Moore, 4 Miss Betsons, particularly pretty Miss [?]Ann, Sally Pansford, Sally Boostor, Miss Berkley, Miss Travil, Patty Carey di Twitty, Sicilia Twitty, wth. many others ... Memorandum - Mr Cooke, altho' I invited him to supper never asked me to drink a glass of wine. Memorandum - Mrs Cooke has a Beard, one inch long, all black ... we rose about Ten, I having not been very well"; on Bristol: "This City is the most dirty, noisy, drunken, ill-natured, homely place I ever met ... I think Wopin [ie Wapping] in London to most like it, tho' to its advantage"; in Bath, they hit the town: "... to ye Pump room, to prayers, walks, Dinner, Rafflin's room, & walks, & at Night, gaming room, & Ball, being Tuesdays, & Fridays. On Saturday evening we visited the Pump room & Walks so late yet no Company; we went to ye Billiard table, Hazard Table & Harrisons rooms, very full ..."; in Salisbury: "... after dinner we went to ye Master of St. Cross in a chariot for 5/ where Mr Thomas went to visit a Lady of his acquaintance, who made us very welcome, a dancing master being there, and the Children dancing - the Lady desire me to take out a Lady was visiting there, which I did, and danced a Minuet with her, and after that another ..." Meals en route are described in exhaustive detail; this, for example, at The Angel in Oxford (at the time the foremost coaching Inn of the city but demolished in 1876): "... we had this Night 2 Rabbits fricasied, with a Loin of Mutton, 2 fowls and half dozen tarts, and a handsome desart, 2 flasks of french wine, 1 of port, and a pint of Mountain with Lemons, etc"; and at Chichester: "... we had for Dinner at ye Upper end a noble Dish of Fish with Schrimps, & Oyster Sauce, at ye Bottom a Chine of Mutton - one one side some Pig, on tother, a most incomperable rich backed pudding, Pickles in ye middle - the first course ended, the table was a second time furnished with at ye Upper End, a Dish of Partridges, the lower end Artichokes, on one side Tarts, on tother Lobsters, these being taken away, ye next consisted of desert - in ye Middle Grapes - at upper end Nectralles, at lower, plumbs, in a row on one side Currants, & figs, tother Damsons & Peeches, being 7 dishes, from thence we went home ..." James Bonnell, who was about 19 and single when he kept this journal, was of Spring Gardens, Westminster. His sister, Sarah, left money in her will to found a school for poor girls in West Ham in 1769. 'The Sarah Bonnell School', one of the oldest schools for girls in England, still flourishes in Stratford, east London. Of James Bonnell's later life, not a great deal is known beyond some official records: he was Lord of the Manor of Purleigh, Essex, in 1759, and he purchased Pelling Place and adjoining land including Beaumont Lodge in Old Windsor, Berkshire. The Bonnell family memorial is in the Monoux chapel of St Mary's church, Walthamstow.
Lot 162
KNOX AMANDA: (1987- ) American Writer who was convicted of the 2007 murder of the British exchange student Meredith Kircher, with whom she shared an apartment in Italy, although was subsequently exonerated in 2015. A rare A.L.S., Amanda, on two sides of a monogrammed correspondence card, Casa Circondariale (prison), Perugia, Italy, 12th January 2010, to Kris Andrews. Knox thanks her correspondent for their letters and support, remarking 'I read every letter that comes my way but can't nearly respond to every one of them, so I usually limit myself to corresponding with just my friends and family. Still, I wanted to extend to you my thanks, most especially for your honesty' and further writing 'I like people who are open about themselves' and referring to her Christmas and New Year ('I spent time with a few girls I'm closer to and we danced together for so long that the first day of the year I awake (sic) with gloriously aching abs. Ate too much, but otherwise everything was as usual') as well as adding that she spends a lot of time reading, reflecting 'My life fills (sic) very full and at the same time spilled all over the floor. It's okay though, because life isn't something as easy as that, and I consider myself, despite it all, a very fortunate person for my loved ones. So life is good, in the end'. Accompanied by the original envelope hand addressed by Knox and signed ('Amanda Knox') by her in the return address panel to the verso (the text slightly affected by some tears caused by the original opening of the envelope) above a simple ink sketch in her hand of a smiling face. VG
Lot 166
AUTOGRAPHS: A miscellaneous selection of signed clipped pieces, A.Ls.S., a few T.Ls.S. etc., by a variety of famous men and women, most associated with the Arts, including Muriel St. Clare Byrne, Leslie Hartley, Leon Goossens, Alec Guinness, Arthur Bliss, Thomas Bodkin, Thomas Armstrong, Peter Pears, John Keating, Geoffrey Fisher, Andre Dunoyer de Segonzac, Edward Maufe, William Reid Dick, John Ward, James Fitton, Arnold Machin, Charles Wheeler, Peter Hawkins (stating, in part, 'I was up at the Palace for half of last week making the last two Flower Pot films for the present…..', 8th May 1954), Siegfried Charoux (2), Diana Armfield, Jennifer Dickson, John Ward (stating, in part, 'How very, very kind of you to write about my book. It was fun to do - although I found I could only write sense for about 2 hours a day. I can manage about 4 hours painting a day….I hardly ever get to the R.A. these days - but what fun it was when Sidney was secretary & the place still belonged to the R.A.'s! I have been away painting in Monte Carlo…..'), William Russell Flint, Norman Wilkinson, Yvonne Arnaud, Solomon, Alec Clifton-Taylor (discussing the British art historian and Secretary of the Royal Academy Sidney Hutchison, 1967), Audrey Russell (7; in one stating, in part, 'How nice of you to write about "Going for a Song". I should have replied long ago & certainly before my resounding defeat at the hands of Spike Milligan. I don't quite know why, but I was very off colour that day, though that is an amateur's excuse - the reason was, as you may have observed, that Spike Milligan knows much more about antiques & their value than I do! I was sorry not to get through as that kind of programme is such marvelous publicity, which I rather need just now. I've never met Milligan before, though he had written to me once or twice about programmes. I liked him - immensely intelligent - & of course amusing, & mad on antiques & with a sort of gentleness unusual in this day & age'). Donald Wolfit, R. F. Delderfield (5), Donald Sinden (stating, in part, 'So delighted you enjoyed This is Your Life: it was quite a traumatic experience - especially when Mai Zetterling came on. I had never met her before!!'), Anna Neagle (2), Andre Tchaikowsky, Kyffin Williams (stating, in part, '….I always feel I am a bit of an outsider in the R.A. John Ward, Bernard Dunstan & Anthony Green are old friends but otherwise, apart from Diana, I am an academic loner….'), Hugh Gaitskell, Ernle Chatfield, Lord Woolton, Alexander of Tunis, Montgomery of Alamein, Frederick Browning etc. G to VG, 78 The majority of the letters in the present lot were written to Margaret Hallett (1928-2018) British Clerk and Assistant Librarian at the Royal Academy of Arts in London 1955-65.
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