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Lot 253
Three pictures including a portrait of a girl in a bolero, oil on canvas, signed indistinctly and dated 62. 60cm x 45cm, Eisnen still life flowers, oil on canvas, signature indistinct, 49cm x 39cm, and Aldo Raimondi, La prima Neve' etching on silver, engraved signature, 211/999, 25 grams of silver, 13cm x 17cm (3)
Lot 122
SIR ALFRED GILBERT R.A. (1854-1934)PERSEUS ARMINGbronze, raised on a verde antico marble plinth36.5cm high (bronze), 40cm high (with plinth)Provenance: The Fine Art Society, LondonNote: Alfred Gilbert was born in London and joined the Royal Academy in 1873 before going on to study at the École des Beaux-Arts and becoming one of the most influential sculptors of his generation and the New English Sculpture movement. Gilbert’s international career took him to Rome from 1878 until 1884 where he learnt the 'cire perdu' or ‘lost wax’ technique of bronze casting and was one of the first artists to reintroduce it in England. Gilbert sought to reinvigorate classical myths in order to make them more relatable to a modern audience, stating to Joseph Hatton about Benvenuto’s Cellini’s bronze Perseus and Medusa that ‘’amazed as I was by that great work it still left me somewhat cold, insomuch that it failed to touch my human sympathies’’. Gilbert’s Perseus Arming was commissioned by Sir Henry Doulton and won an honourable mention at the Paris Salon in 1883. Rather than depicting Perseus in the dramatic aftermath of slaying the Gorgon Medusa, Gilbert’s Perseus Arming is instead a sensitive portrayal of the young hero anxiously checking his winged sandals. Gilbert stated ‘’I conceived the idea that Perseus, before becoming a hero was a mere mortal and that he had to look to his equipment’’ which was a radical departure from the traditional iconography associated with the heroic masculine figure. Gilbert adopts the classical figura serpentinata and free-standing bronze statuette, which were both celebrated features of Italian Renaissance sculpture, but modernise the subject matter by humanising Perseus as an endearing and vulnerable adolescent. This psychological dimension was a key aspect of the New Sculpture movement and can also be seen in Gilbert’s Comedy and Tragedy which is often exhibited alongside Perseus Arming. Comedy and Tragedy captures the exact moment a theatre prop boy is stung by a bee as he rushes to the stage with a comedy mask. The boy is suspended on one foot as he twists to examine his injury, perfectly framing his anguished face in the gaping grin of the comedy mask. This dynamic pose reflects the New Sculpture’s emphasis on dynamic compositions as the narrative is most effectively appreciated in the round. The Latin subtitle Sic Vita meaning ‘Thus is life’ is perhaps an autobiographical aside referring to Gilbert’s mounting financial worries, dissatisfied clients and marital problems as he conceded “I was living a kind of double life at that time…with Tragedy in my private life, living my Comedy publicly”.
![[§] JACKIE PHILIP (BRITISH CONTEMPORARY)STILL LIFE IN ORANGESigned, oil on canvas73cm x 89cm (28.75in x 35in)](https://cdn.globalauctionplatform.com/1304ecaf-2163-4f92-bf18-a95900c00e1f/c3ee8c86-9bb4-4dc1-faa7-a0019d1dbd04/468x382.jpg)
Lot 327
EDWARD ARTHUR WALTON (SCOTTISH 1860-1922)STILL LIFE OF PINK GERANIUMSOil on canvas60cm x 42.5cm (23.5in x 16.75in)Provenance: Lady Hutchison (The Artist’s Daughter); her son Robin Hutchison; The Fine Art Society, LondonNote: 'Glasgow Boy' Edward Arthur Walton was a landscape artist at heart, and professionally in demand as a portraitist, and so rarely turned his hand to still-life subjects, making Still-Life of Pink Geraniums exquisite in its rarity, and execution. Here, Walton is particularly concerned with the refinement of the decorative, and the fluidity and joy of oil paint on canvas. He creates his own decorative framing design within the composition, and leaves areas of exposed canvas, creating a subtle interplay of texture and tone. There is an ease and fluidity to the soft brushwork, yet the painting is carefully composed to be delicately balanced and subtle in colouring and composition. The central flowers lack visible roots, or a source to grow from, ethereally emerging from exposed canvas and sandy pigment, while leaves and petals are gently evoked and delicately blurred, with brown, green and pink pigments softening into the blue background.
![[§] MARGARET FISHER PROUT A.R.A. (BRITISH 1875-1963)STILL LIFE OF FLOWERS IN A JUGSigned and dated 1927, oil on board65cm x 5](https://cdn.globalauctionplatform.com/1304ecaf-2163-4f92-bf18-a95900c00e1f/dd9da3ce-2b28-4bf1-aacc-38d2a8674744/468x382.jpg)
![[§] DAVID MCCLURE R.S.A., R.S.W. (SCOTTISH 1926-1998)BLUE AND GREEN STILL LIFESigned, oil on canvas50cm x 59.5cm (19.75in x 2](https://cdn.globalauctionplatform.com/1304ecaf-2163-4f92-bf18-a95900c00e1f/c21c10ba-0e00-4345-b79d-f70170dfa260/468x382.jpg)
Lot 85
WALTER FRANCIS CRITTALL (DESIGNER, 1887-1956) AND ERNEST BECKWITH (MAKER, 1872-1952)ARTS & CRAFTS WALNUT OPEN ARMCHAIR, 1925the latticed back above shaped open arms and drop-in seat raised on square tapered legs linked by stretchers63cm wide, 98cm high, 51cm deepProvenance: Paul Reeves, LondonLiterature: Rogers, John C., 'Modern English Furniture', Country Life 1925, illus.Note: W. F. Crittall, known as ‘Pink’ apparently due to his Communist sympathies, joined his father’s metalworking firm and his design work lead to a major breakthrough in steel window design which is still the basis for their manufacture today. His interest in the welfare of his workers and improvements in their living conditions led to an involvement in the Design & Industries Movement. Established in 1915, the D.I.A. was founded by members of the Art & Crafts Movement Exhibition Society. Its aim was to promote design in industry by organising exhibitions, publishing magazines and books. For over forty years Crittall collaborated with Ernest Beckwith, a cabinetmaker from Coggeshall, Essex, to make a series of pieces of furniture, mainly for the homes and businesses of the Crittall family. He considered this furniture making as a hobby and his notebooks contain hundreds of designs for articles of furniture, only a small proportion of which were ever built.
Lot 228
Tony Barrs (British, 20th Century)/Still Life with Apples/oil on canvas board, 12.5cm x 20cm/Purchased from Edwin Pollard Gallery, Wimbledon 1987 Condition Report: ARR Artist's Resale Right may apply to the sale of this lot. For further information please ask Chorley's or visit www.dacs.org.uk
Lot 231
Brian Ballard (British, born 1943)/White Jug/still life of irises on a table in shades of blue and violet/signed and dated lower left BALLARD '91, inscribed title to back of canvas/oil on canvas, 50cm x 40cm/Note: Purchased from Beaux Arts, Bath 1991 Condition Report: ARR Artist's Resale Right may apply to the sale of this lot. For further information please ask Chorley's or visit www.dacs.org.uk
Lot 298
Arthur Ralph Middleton Todd (British 1891-1966)/Still Life of Summer Flowers in a Vase/signed/oil on canvas, 75cm x 62cm Condition Report: Surface is a little dirty but otherwise in very good condition, as is the frame.ARR Artist's Resale Right may apply to the sale of this lot. For further information please ask Chorley's or visit www.dacs.org.uk
Lot 325
Biddy Picard (British, born 1922)/Still Life with Fruit, Jug and Bottle/signed lower left/pastel, 29cm x 38cm/Purchased from Nina Zborowska Fine Paintings, 1992 Condition Report: ARR Artist's Resale Right may apply to the sale of this lot. For further information please ask Chorley's or visit www.dacs.org.uk
Lot 144
JANE FREILICHER (AMERICAN 1924-2014)View from the Window, 1970oil on canvas100 x 91.5 cm (39 3/8 x 36 in.)signed and dated lower right; signed, dated, and titled illegibly Flowers... in June on stretcherPROVENANCEAcquired directly from the painter by the father of the present ownerThence by descent LOT NOTESJane Freilicher -Êpainter, muse, member of the New York School -Êwas one of the most unconventional figures to emerge from the second generation of Abstract Expressionists. Her work, now synonymous with Long Island scenery, presents a melange of artistic traditions from Pierre Bonnard to Helen Frankenthaler. Integrating interior and exterior, landscape and still life, expressionism and representationalism, Freilicher achieves an unparalled liveliness in the familiar and unpretentious. Minimal shapes, bold colors and energetic brushwork are staples of her oeuvre across genres and styles. "Her pictures," said poet John Ashbery when presenting Freilicher with a Gold Medal for Painting by the American Academy of Arts and Letters, "always have an air of just coming into being, of tentativeness that is the lifeblood of art."
Lot 145
JANE FREILICHER (AMERICAN 1924-2014)Northeast View, 1975oil on canvas119.8 x 127.4 cm (47 1/8 x 50 1/8 in.) signed lower right; signed, dated, and titled on stretcherPROVENANCEAcquired directly from the painter by the father of the present ownerThence by descent LOT NOTESJane Freilicher -Êpainter, muse, member of the New York School -Êwas one of the most unconventional figures to emerge from the second generation of Abstract Expressionists. Her work, now synonymous with Long Island scenery, presents a melange of artistic traditions from Pierre Bonnard to Helen Frankenthaler. Integrating interior and exterior, landscape and still life, expressionism and representationalism, Freilicher achieves an unparalled liveliness in the familiar and unpretentious. Minimal shapes, bold colors and energetic brushwork are staples of her oeuvre across genres and styles. "Her pictures," said poet John Ashbery when presenting Freilicher with a Gold Medal for Painting by the American Academy of Arts and Letters, "always have an air of just coming into being, of tentativeness that is the lifeblood of art."
Lot 146
JANE FREILICHER (AMERICAN 1924-2014)Still Life with Field Flowers and Green Grapes, 1966oil on canvas56.2 x 55.5 cm (22 1/8 x 21 7/8 in.)signed lower left; signed, dated, and titled on stretcherPROVENANCEAcquired directly from the painter by the father of the present ownerThence by descent LOT NOTESJane Freilicher -Êpainter, muse, member of the New York School -Êwas one of the most unconventional figures to emerge from the second generation of Abstract Expressionists. Her work, now synonymous with Long Island scenery, presents a melange of artistic traditions from Pierre Bonnard to Helen Frankenthaler. Integrating interior and exterior, landscape and still life, expressionism and representationalism, Freilicher achieves an unparalled liveliness in the familiar and unpretentious. Minimal shapes, bold colors and energetic brushwork are staples of her oeuvre across genres and styles. "Her pictures," said poet John Ashbery when presenting Freilicher with a Gold Medal for Painting by the American Academy of Arts and Letters, "always have an air of just coming into being, of tentativeness that is the lifeblood of art."
Lot 147
JANE FREILICHER (AMERICAN 1924-2014)Flowers in a Bottle, 1967oil on canvas43.3 x 35.8 cm (17 x 14 1/8 in.)signed and dated lower rightPROVENANCEAcquired directly from the painter by the father of the present ownerThence by descent LOT NOTESJane Freilicher -Êpainter, muse, member of the New York School -Êwas one of the most unconventional figures to emerge from the second generation of Abstract Expressionists. Her work, now synonymous with Long Island scenery, presents a melange of artistic traditions from Pierre Bonnard to Helen Frankenthaler. Integrating interior and exterior, landscape and still life, expressionism and representationalism, Freilicher achieves an unparalled liveliness in the familiar and unpretentious. Minimal shapes, bold colors and energetic brushwork are staples of her oeuvre across genres and styles. "Her pictures," said poet John Ashbery when presenting Freilicher with a Gold Medal for Painting by the American Academy of Arts and Letters, "always have an air of just coming into being, of tentativeness that is the lifeblood of art."
Lot 254
NIKOLAI ALEKSANDROVICH SYSOEV (RUSSIAN 1918-2001) Still Life with Book, 1978oil on canvas50 x 70 cm (19 3/4 x 27 1/2 in.)signed and dated lower right; signed, dated and titled on verso EXHIBITEDUSSR, Art Export Salon, inventory no. 91943 (label on verso) Gekkoso Gallery, Tokyo, Contemporary Soviet Paintings, no.181 (label on the backing board)
Lot 278
MIKHAIL CHEMIAKIN (RUSSIAN B. 1943)French Still Life, 1984oil on canvas41 x 51 cm (16 1/8 x 20 in.)signed and dated lower right; signed, titled, and dated on versoLITERATUREM. Chemiakin, Mihail Chemiakin: Transformations, New York Period, vol. II (New York: Mosaic Press, 1986), p. 341 (illustrated).
Lot 54
ANTOINE VOLLON (FRENCH 1833-1900)Still Life of Fruit and Vessels before a Draped Curtain, oil on canvas66 x 82.2 cm (26 x 32 3/8 in.)signed lower rightPROVENANCEDouwes, London, 1981Christie's, New York, October 28, 1998, lot 37Acquired by the present owner at the above saleLITERATUREApollo, 1981Tableau, May and June 1981EXHIBITEDLondon, Douwes, Exhibition of 19th Century French Paintings and Watercolors, March 27-30, 1981, no. 31
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