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Lot 644
Fred Dubery (1926-2011) THE HALL, BUXHALL LODGE Oil on board 54.5 x 51cm; and three others, THE GLASS VASE Oil on linen laid on board 18.2 x 14.4cm; STILL LIFE OF FLOWERS Oil on canvas 50.5 x 38.4cm; SUNFLOWERS Signed, oil on board 28.8 x 27cm; STILL LIFE OF FLOWERS Signed, oil on board 17 x 30cm (5)
Lot 287
*Craigie Aitchison RA (1926-2009) 'STILL LIFE WITH BIRD VASE' Screenprint in colours, 2004, signed, dated and numbered 280/300 in pencil, printed and published by Advanced Graphics, London, on wove paper, the full sheet printed to the edges, within folder and with the book 'Pictures', published by Timothy Taylor Gallery and Waddington Galleries, London, all within slipcase sheet 28 x 22cm, unframed slipcase 30.5 x 26 x 3cm *Artist's Resale Right may apply to this lot.
Lot 12
*Glyn Morgan (1926-2015) STILL LIFE OF SEASHELLS Signed and dated '88 l.r., watercolour 10 x 29cm, together with the actual seashells illustrated When Morris came to judge a show at Pontypridd, the 17-year-old Morgan entered two pictures. Morris thought his work promising and invited him to his school in Suffolk. In the summer of 1944, the year he left Cardiff College of Art, Morgan booked a week at Benton End, formerly known as The East Anglian School of Drawing and Painting. Morgan was a frequent visitor to Benton End over the following years and Morris provided Morgan with artistic inspiration for the rest of his life. He had numerous solo exhibitions, including seven retrospectives, one at the National Library of Wales, Aberystwyth. *Artist's Resale Right may apply to this lot.
Lot 1646
Anita M Carr (Early 20th century British) - Woodland scenes, pair of watercolours, one signed, and both with biographical details of the artist verso, 36 x 25.5. cm, together with A Bradley, still life with fruit, oil painting on board, an oil painting on canvas of a red roofed cottage, two further oil paintings of landscape subjects, one signed Valarie Chiltern, inscribed verso River Coquet, Rothbury, Northumberland, various sizes, all framed (6)
Lot 1660
Kenneth Stanley Tadd (20/21st century British) - Beach scene with figures, watercolour on paper, signed, 43 x 45.5 cm, together with three further watercolours by the same hand of landscape subjects and a still life with fruit, all signed, all framed, together with three 20th century watercolours of Norwegian views, probably by Kenneth Stanley Tadd, three oil paintings by W Mathias (20th century) all unframed (collection)
Lot 202
* Continental School. Still Life of Flowers, 2nd half 19th century, oil on canvas, depicting flowers in an urn with a relief of cavorting putti set upon a marble shelf, including tulips, roses, chrysanthemums, lilac, delphiniums, poppies, and hydrangea, old Christie's auction stencil number on stretcher '699TD', 86 x 70 cm (34 x 27.5 ins), period gilt frame (Qty: 1)NOTESProvenance: Estate of Rodney Tolson (1923-2015), Sutton Coldfield.
Lot 357
* Continental School. Still life of Antique Books, 20th century, oil on canvas, showing a pewter inkwell and feather dip pen amongst antiquarian books and scroll, 51 x 61.5cm (20 x 24.25ins), gilt moulded frame, together with a 19th-century English School interior of a country cottage kitchen, oil on canvas, indistinctly signed lower left, 38 x 47cm (15 x 18.5ins), unframed (Qty: 2)
Lot 117
Magic Lantern and Slides, 3¼in. sq. slides - Lumiere Autochrome still life of fruit in glass tazza, G (1), street scenes circa 1910 - flower sellers (1), procession in town, possibly royal (2), Barnet Station (1), shoring up of nave of Winchester Cathedral, exterior (1), Royal train in Canada with inscription from mountaineer Edward Whymper (1), and others, mainly topographical (two boxes) and mahaogany and brass magic lantern, converted to electricity, altered, af
Lot 10
Kenneth Hall (1913-1946)Still Lifemixed media on papersigned lower right48 x 62cm (18.9 x 24.4in)Provenance: Private CollectionAn exceptionally crisp, decisive still life by one of the two main artists (with Basil Rákóczi) of the White Stag movement. The White Stag was in general open to Surrealism and other modern developments, though Hall was in essence a relatively traditional, if audacious, painter of the environments and subjects close to him, usually with a feeling for narrative and incidental detail. Largely forgotten for many years, the importance of the White Stag group has been increasingly appreciated in the last ten years or so.
Lot 54
John Shinnors (b.1950)Loop Head - Still Morning, Windy Eveningoil on canvassigned lower right and titled verso117 x 167½cm (46.1 x 65.9in)Provenance: Acquired directly from the artist by the present owner John Shinnors is a phenomenon in modern Irish art. His work veers close to abstraction and his palette is boldly sparse, yet he has managed to retain a wide following among an art public that would traditionally be wary of abstraction. More, he is quite well known beyond art circles, gaining public acceptance and recognition to a degree that is unusual. He is also closely identified with Limerick (where he was born and where he still lives and works), even a Limerick school of painters. He acknowledges the importance of Jack Donovan as an influence, but his style is entirely his own and based on his own life and environment. The motifs in his paintings are usually tied to specific locations and memories. They include mackerel glimpsed on the fishmonger's counter, a slightly sinister scarecrow, Friesian cattle, washing on the clothesline, badgers, swallows and Loop Head lighthouse. Shinnors excels at instilling a sense of drama in the everyday and has a knack for capturing the ordinary from disorientating angles and in unusual configurations and combinations. His wide mix of motifs mostly share a predominantly black-and-white character. He has a strong sense of graphic design and he skillfully employs monochrome patterning enlivened by bursts of bright, vivid colour, including red and yellow. This diptych arrangement sets quiet morning against turbulent evening. The white-washed buildings are defined in the slightly chill light of dawn. The life-ring, sounding a note of unease, is flushed with a garish, threatening light, standing against a lively, agitated ground. Aidan Dunne, September 2019
Lot 84
Pat Harris (b.1953)Quince I (2007)oil on linensigned and dated 2007 on lower stretcher60 x 75cm (23.6 x 29.5in)Provenance: Private Collection Beginning as a portrait and figure painter, Pat Harris subsequently came around to landscape - encouraged by Sean McSweeney - and still life. An important enduring influence is Charles Brady, who was his teacher and friend. Witness the example of Brady's still lifes of humble, everyday items - a comb, an envelope. Harris went on to study and then teach in Belgium, and Luy Tuymans may have influenced his growing interest in painting not so much things as their traces, echoes, residues in beautifully judged works with a subtle sense of colour and form. He thinks of his paintings of individual fruits as portraits of a sort.
Lot 30
Georges Braque (1882-1963) FrenchStill Life with Fishetching on rives paper - numbered 167 from an edition of 300signed lower right and numbered 167/300 lower left40 x 50cm (15.7 x 19.7in)Provenance: Galerie Maeght, Paris; Private Collection For a time, early in the 20th Century, Braque and Picasso were fairly inseparable, "like two mountaineers roped together" as they put it, while they developed the essence of Cubism. Thereafter they diverged. Picasso was a chameleon, constantly reinventing himself, while Braque's was a steadier, more considered artistic personality. While both incorporated elements of Cubism into everything they did subsequently, neither felt bound by strict rules. Braque came to concentrate more and more on still life, making beautifully classically poised compositions.
Lot 40
William Crozier HRHA (1930-2011)Plant Room at Night (2000)oil on canvassigned lower left and titled verso80 x 100cm (31.5 x 39.4in)Provenance: Private Collection Literature: Kennedy, SB 'William Crozier, an introduction' in William Crozier ed. Crouan, K; with essays by Kennedy SB and Vann, P. Lund Humphries. London and Aldershot 2007, p.18, p.146, pl.133 illustrated. Although primarily thought of as a landscape artist, the still life was always important for William Crozier as it allowed him to 'compose within the canvas', as he said. His subjects could be the objects around his home or, as here in The Plant Room at Night, the pots and beakers on his studio table. Crozier never considered these modest subjects as small-scale or domestic; instead he transformed them into objects as monumental as the grandest landscape. Crozier was strongly attracted to the tradition of still life painting which he believed was capable of conveying profound emotion. 'It is one of the greatest concepts of Western art' , he said, 'which defines the essence of the European mind' 'The Plant Room at Night, painted in 2000, was cited by SB Kennedy as 'Technically a tour de force (which) reaffirms Crozier's achievement and place in contemporary painting.'
Lot 44
Late 18th century violin of the Klotz School, unlabelled, the two piece back of faint medium curl with similar wood to the head, the sides of birds eye maple, the table of a fine width grain widening to the flanks and the varnish of a plum red colour on a golden ground, 14 3/16", 36cm *this violin bears the Hill no. W51 on the end of the fingerboard **This violin belonged to Allan Loveday, the violinist, who died aged 88 and is being sold by his daughter. He was a New Zealand-born child prodigy who for half a century was a mainstay of London musical life; his recording of Vivaldi's The Four Seasons with the Academy of St Martin in the Fields and Neville Marriner, released in 1970, sold more than 500,000 copies and is still regarded as the yardstick by which all subsequent recordings are measured. *An obituary in the Telegraph giving further details about the life of Alan Loveday can be found in the link below
Lot 43
Interesting Late 18th/early 19th violin, unlabelled, the two piece back of plainish wood with similar wood to the sides, the head of faint medium curl, the table of a fine/medium width grain and the varnish of a reddish-brown colour on a golden ground, 14", 35.60cm *This violin belonged to Allan Loveday, the violinist, who died aged 88 and is being sold by his daughter. He was a New Zealand-born child prodigy who for half a century was a mainstay of London musical life; his recording of Vivaldi's The Four Seasons with the Academy of St Martin in the Fields and Neville Marriner, released in 1970, sold more than 500,000 copies and is still regarded as the yardstick by which all subsequent recordings are measured. *An obituary in the Telegraph giving further details about the life of Alan Loveday can be found in the link below
Lot 37
Bohemian Violin labelled Joan Udalricus Eberle, fecit Pragae, 1790, the two piece back of medium curl with similar wood to the sides and head, the table of a broad width grain and the varnish of a plum red colour on a golden ground, 14 1/16", 35.70cm *This violin belonged to Allan Loveday, the violinist, who died aged 88 and is being sold by his daughter. He was a New Zealand-born child prodigy who for half a century was a mainstay of London musical life; his recording of Vivaldi's The Four Seasons with the Academy of St Martin in the Fields and Neville Marriner, released in 1970, sold more than 500,000 copies and is still regarded as the yardstick by which all subsequent recordings are measured. *An obituary in the Telegraph giving further details about the life of Alan Loveday can be found int the link below
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77111 item(s)/page