Rose HILTON (1931-2019) A sketchbook, partially filled with mostly student sketchesIncluding still lifes, Greek and Egyptian statuary and interiors44 x 35cmThis very personal collection of pictures from the painter Rose Hilton's Botallack Moor house are those she kept about her and saw every day. Botallack was her home for 54 years during 10 of which she was married to the older, abstract painter, Roger Hilton. The house with its views across ruined mine workings to the wide sea was formed of a row of miners' cottages that Roger had spotted advertised for sale in The Times, knocked through and modernised to make a home for their young sons Bo and Fergus. Roger brought a few inherited pieces of antique furniture and the austere self portrait painted by his mother as a student at the Slade School of Art. Rose added her own casual decorative touches, described by their friend the poet W.S. Graham as, 'the Beat style.' The artists in this far flung corner of the St. Ives diaspora had always gifted and swapped pieces amongst themselves and as Rose's painting career reignited in the years after Roger's death she began buying and adding to the growing collection at Botallack. The back wall in the little kitchen hung in a stack, edge-to-edge and almost to the ceiling, featured two by Terry Frost, another from Breon O'Casey was above the upright piano, there were landscapes in the bathroom and a 'gallery' corridor wall that she continually rehung with newer works: pieces by Fergus Hilton and her friends Jeremy Le Grice and Frank Phelan, her elder son Bo Hilton (also a painter) and a pair of striking paintings that she had bought as memorials to her old friend the painter Mary Stork. The picture store in the downstairs back room that was Roger Hilton's bedroom cum studio during the last years of his life was full up, too. 'If you're an artist, you're visual, so you usually paint walls white and have flowers and nice materials and things,' Rose said, describing her style.Rose was generous almost to a fault, and when she was not occupied with painting a steady stream of friends, fellow artists and curious visitors filled this hospitable house, art historians, collectors or the regulars of her weekly life drawing classes and older friends who arrived to talk and drink and join in with singing the chapel hymns she knew by heart around the piano that she had bought from the local pub and the fire in the Long Room.
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Rose HILTON (1931-2019) Grey Still LifeOil on canvas Signed and inscribed to the backStudio seal to the back 122 x 91cm(See front cover illustration)This very personal collection of pictures from the painter Rose Hilton's Botallack Moor house are those she kept about her and saw every day. Botallack was her home for 54 years during 10 of which she was married to the older, abstract painter, Roger Hilton. The house with its views across ruined mine workings to the wide sea was formed of a row of miners' cottages that Roger had spotted advertised for sale in The Times, knocked through and modernised to make a home for their young sons Bo and Fergus. Roger brought a few inherited pieces of antique furniture and the austere self portrait painted by his mother as a student at the Slade School of Art. Rose added her own casual decorative touches, described by their friend the poet W.S. Graham as, 'the Beat style.' The artists in this far flung corner of the St. Ives diaspora had always gifted and swapped pieces amongst themselves and as Rose's painting career reignited in the years after Roger's death she began buying and adding to the growing collection at Botallack. The back wall in the little kitchen hung in a stack, edge-to-edge and almost to the ceiling, featured two by Terry Frost, another from Breon O'Casey was above the upright piano, there were landscapes in the bathroom and a 'gallery' corridor wall that she continually rehung with newer works: pieces by Fergus Hilton and her friends Jeremy Le Grice and Frank Phelan, her elder son Bo Hilton (also a painter) and a pair of striking paintings that she had bought as memorials to her old friend the painter Mary Stork. The picture store in the downstairs back room that was Roger Hilton's bedroom cum studio during the last years of his life was full up, too. 'If you're an artist, you're visual, so you usually paint walls white and have flowers and nice materials and things,' Rose said, describing her style.Rose was generous almost to a fault, and when she was not occupied with painting a steady stream of friends, fellow artists and curious visitors filled this hospitable house, art historians, collectors or the regulars of her weekly life drawing classes and older friends who arrived to talk and drink and join in with singing the chapel hymns she knew by heart around the piano that she had bought from the local pub and the fire in the Long Room.
CHRISTOPHER WILLIAM STRANGE (Exh. 1902-1931)On a Village Streetsigned and dated 'C.W. Strange 12' (lower left)oil on canvas, unframed14 1/2 x 18 1/4 in (36.8 x 46.3cm)The artist lived at Padworth near Reading between 1902-1914. In a studio there he painted landscape and still life subjects. He exhibited at both the Royal Academy and The New English Art Club.
* Du Maurier (Daphne, 1907-1989). A group of three typed letters signed, 'Daphne du Maurier', Kilmarth, Par, Cornwall, 27 November 1978, 18 September 1980 & 20 January 1982, all to Miss Rita Room, the first to accompany a signed copy of 'The Loving Spirit', 'My first novel, written 1929-30 at Bodinnick Fowey, where my sister still lives. I remember the pleasure and interest it gave me to write, all based on the life of the boat-building family whose real name was Slade. Coombe in the novel. The figurehead still hangs on the beam at Ferryside, my sister's home. I now live across the water and a few miles from Fowey. My childhood memories I put into a book coming out in paperback in December... ', the second in response to Miss Room's enjoyment from reading 'The House on the Strand', 'It can probably be rather confusing, but it was fun to write. I myself could not make up my mind what happened to poor Dick at the end. I somehow felt he was paralysed, perhaps in body only. But I never intended him to have been Roger Kilmerth in the past. The idea originally came to me when I first rented this house...', the third a short note saying that she has been in hospital and still feels weak, and is glad that Miss Room heard the recording of the broadcast, the second letter with a postscript thanking for the Edward Thomas poems, each one page, 8vo, plus a colour photographic postcard of Kilmarth, with a message to the whole of verso signed by Daphne Du Maurier, 26 June 1980, in response to her enjoyment of the broadcast from the house, and referring to her hazy memory now that she is 73, plus the aforementioned signed paperback of 'The Loving Spirit', Evergreen Books, 1940, signed, inscribed and dated November 1978 for Rita Room by du Maurier to title in blue ballpoint pen and with a colour photograph of the author pasted to facing page and inscribed beneath by her 'Daphne Du Maurier in 1977', old sellotape repairs and stains to inner margins of early leaves, original wrappers with dust jacket, a few old sellotape marks to inner flaps, 8vo (Qty: 5)
Patricia Morrison (Irish 21st Century)Floral Watercolours: "Helleboms - Abchasicus," approx. 32cms x 28cms (12 1/2" x 11") and "Fritillaria Meleagris," approx. 30cms x 20cms (12" x 8") each identified, signed and dated; Mella Boland (Irish, 20th Century) "Still Life of Roses in a cutglass Jug," O.O.C., approx. 51cms x 48cms (20" x 19"), signed and dated "Mella Boland '86", framed; with a pair of floral watercolours by Patricia Morrison, framed and an unframed ditto,all signed; another framed watercolour "A Rocky Outcrop;" and a framed broadside on Ulysses. A lot. (7)
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