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Lot 158
REMBRANDT HARMENSZ. VAN RIJN (1606-1669) The Circumcision in the stable, etching, 1654, 9.5 x 14.2cm Notes: Bartsch 47; Hinterding & Rutgers (New Hollstein) 280, second state of five. Provenance: With John Baskett, 173 New Bond St. London. The late Mrs Joan Beale; previously on loan to the Ashmolean Museum. A fine impression of the earliest state that survives in any numbers (24 are listed by Hinterding & Rutgers, including this one; the first state is only known in two impressions). This impression is cited by Hinterding & Rutgers when on loan to the Ashmolean Museum, Oxford (L11056.16). The third state, still contemporary (though impressions were also printed after Rembrandt's lifetime), is relatively common (46 are listed), and the fourth and fifth states are posthumous reworks.(Lots 158-170)A fine collection of etchings, drawings and watercolours until recently on loan to the Ashmolean Museum: This intriguing collection of etchings, drawings and watercolours was gathered together by Jean and Bill Beale. They lived beside the Thames at Chelsea in London through the nineteen sixties and seventies while Bill worked in the Foreign Office. A birthday or a wedding anniversary meant a joyful trip to a central London art dealer to look, reflect and then purchase a drawing or watercolour. Many were bought from New Bond Street art galleries like Colnaghi’s, John Baskett and Richard Day, the renowned central London fine art specialists of this period. This can be seen on the backing to the frames. In later life the Beales moved to a village in Oxfordshire. The subject matter of their pictures reflected their interest in rural England, the Thames and the highest standard of British and European drawing and watercolour painting. In the 1990’s the collection was placed on loan to the Ashmolean Museum in Oxford, which has conserved their fine condition that makes them such a pleasure to look at today. All but two are unframed but professionally re-mounted to museum specification, however the frames with their labels have been preserved and are sold in their respective lots
Lot 159
REMBRANDT HARMENSZ. VAN RIJN (1606-1669) The Ringball player ('Het Klosbaantje'), etching, 1654, 9.4 x 13.9cm, on paper with countermark of double-wired letters D M (not recorded by Hinterding), the sheet 10.2 x 14.8cm. Notes: Bartsch 125; Hinterding & Rutgers (New Hollstein) 282, first state of two. Provenance: Naudet, Marchand d'Estampes au Louvre (Lugt 1937), ink inscription verso (very faded). With John Baskett, 173 New Bond Street, London The late Mrs Joan Beale; previously on loan to the Ashmolean Museum. A very good impression, probably contemporary (the second state is not). With margins and in good condition. This impression is also cited by Hinterding & Rutgers when on loan to the Ashmolean Museum, Oxford (L11056.1). Although the print used to be called 'The Golf Player' (from 'kolef'), the man in the foreground is sitting out his turn from the ringball alley in the background, where one man is playing while two others are probably laying bets. The sport was called 'Klossen' (it is still played today but called 'Beugelen'), the Dutch and Flemish word 'klos' being a ball for bowling, and the origin of the mediaeval French and English names of the game, Cloishe or Closh. There is a famous engraving of Louis XIV playing an early form of billiards with his courtiers, with an iron hoop to aim the balls through, rather than pockets, and with a cue with a scooped end, a refined version of the one seen in the etching; so billiards evolved, in fact, as a table-top adaptation of ringball.(Lots 158-170)A fine collection of etchings, drawings and watercolours until recently on loan to the Ashmolean Museum: This intriguing collection of etchings, drawings and watercolours was gathered together by Jean and Bill Beale. They lived beside the Thames at Chelsea in London through the nineteen sixties and seventies while Bill worked in the Foreign Office. A birthday or a wedding anniversary meant a joyful trip to a central London art dealer to look, reflect and then purchase a drawing or watercolour. Many were bought from New Bond Street art galleries like Colnaghi’s, John Baskett and Richard Day, the renowned central London fine art specialists of this period. This can be seen on the backing to the frames. In later life the Beales moved to a village in Oxfordshire. The subject matter of their pictures reflected their interest in rural England, the Thames and the highest standard of British and European drawing and watercolour painting. In the 1990’s the collection was placed on loan to the Ashmolean Museum in Oxford, which has conserved their fine condition that makes them such a pleasure to look at today. All but two are unframed but professionally re-mounted to museum specification, however the frames with their labels have been preserved and are sold in their respective lots
![* Andre Jonault [1904-1987]- Fleurs; still life of flowers and grasses in a jug,:- signed oil on canvas 64 x 52cm. * Provenan](https://cdn.globalauctionplatform.com/90de10c0-9a0a-4a2a-960d-a86500b18d76/8347a5cd-3ce6-4aa8-d88c-c4bfdfee48cf/468x382.jpg)
![* Stuart Maxwell Armfield [1916-2000]- Still life of bulbs and clay pots:- signed bottom right tempera 33 x 53cm.](https://cdn.globalauctionplatform.com/90de10c0-9a0a-4a2a-960d-a86500b18d76/f07fc441-979a-41d3-b8ed-a87400b974f8/468x382.jpg)
![T. Yoshi [20/21 Century]-Still life of Violin and Cherries,:-coloured etching, signed and numbered 9/100 in pencilimage size](https://cdn.globalauctionplatform.com/90de10c0-9a0a-4a2a-960d-a86500b18d76/14957738-95e3-4e5f-fe16-cbb3b5c2ec54/468x382.jpg)
Lot 518
PROG ROCK LPs - Supreme quality collection of 24 x LPs including many audiophile and Japanese pressings, and all presented in superb condition! Artists/titles are Van Der Graaf Generator (x8) inc. A Grounding In Numbers (Cherry Red numbered 1729/2000), The Least We Can Do Is Wave To Each Other (inc. Back To Black RE sealed, Japanese BT 5171, insert but no obi), World Record, Godbluff and Still Life, Gong (and related x4) - Radio Gnome Invisible Trilogy (CHARLY L 178 sealed), Expresso II, Downwind (SPART 1080) and Stroking The Tail Of The Bird (sealed), Renaissance inc. Prologue (Japanese complete EMS 50114), Novella (Japanese complete P-10492W), Azure D'or (Japanese complete P-10693W) and A Song For All Seasons (Japanese with inserts but no obi) and Jethro Tull inc. Aqualung (green Chrysalis label no Island), Living In The Past (2015 sealed) and Minstrel In The Gallery. Condition is largely Ex+ to archive.
Lot 79
δ Ffiona Lewis (British b.1964) - Still Life Floating W. Brush Oil on board Signed with initials – lower right Signed, titled and dated 1996 to backboard 44 x 60cm (17 1/4 x 23 5/8in.) Ffiona Lewis was born in Devon in 1967. She studied at the Polytechnic of Central London to achieve a BA Hons in Architecture and went on to complete her Diploma in 1990 becoming ARCUK registered the same year. Despite her architectural passion Lewis always had a passion for art and took a series of courses at Central St. Martins. In 1999, Lewis joined the Redfern Gallery to pursue her career as a professional artist. She has held regular exhibitions at the Redfern Gallery and The Northcote Gallery in London and is displayed in public collections across the UK and in New York. Lewis is interested by the social nature of the interior and the unregarded more common aspects of the everyday . Lewis uses the term the glimpse to describe her chosen subject matter, working into the surface of the boards onto which she paints scratching and scarifying to create texture. Lewis was influenced by a group of artists working in St. Ives when she met John Wells. Artists such as Patrick Heron and Rachel Nicholson, not only became friends but inspiration to her work. Lewis joined The Redfern Gallery in 1999. IMPORTANT: This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 45
A LARGE PAIR OF ROYAL CROWN DERBY VASES, LATE 19TH CENTURY, each signed J.J. Brownsword, the moulded ovoid bodies painted with a still life of fruit, urns, shovel and lamp, boldly and richly gilded throughout with musical trophies, ribbon-tied floral swags, butterflies and acanthus, date code for 1893, printed factory mark, (one small rim chip). 46cm
Lot 800
A quantity of pictures and prints including an oil painting on board of a still life with bottles and fruit, an oil painting of a figure on a country lane and sunset, an oil on board of a Thames scene, a watercolour of a lakeland landscape, signed T Leslie Fawkes, inscribed Coniston, etc, various sizes, all framed.
Lot 813
A collection of pictures and prints including a black and white photograph of a terrier signed Tom Reveley of Wantage, a signed coloured artist's proof by Rodney Hubbuck - Foliate Door, a life study of a seated female character, a coloured print of a 17th century style Dutch still life, etc, various sizes, all framed.
![Dorothea Sharp (1874-1955) STILL LIFE WITH LILIES oil on board signed lower left; with J. Davey & Sons [Manchester] label on](https://cdn.globalauctionplatform.com/d65cb805-5d0f-4618-b657-a87f00b92ec2/2d96ca04-9a98-406a-96f3-7085e8d293ab/468x382.jpg)
Lot 41
Dorothea Sharp (1874-1955) STILL LIFE WITH LILIES oil on board signed lower left; with J. Davey & Sons [Manchester] label on reverse 24 by 18.50in. (61 by 47cm) Dorothea Sharp was born in Dartford, Kent, and began her training aged 21, when, after inheriting £100 from an uncle, she attended the Richmond art school run by C. E. Johnson RI. She went on to study at the Regent Street Polytechnic and then to Paris, where she first encountered the work of the Impressionists, in particular Claude Monet, that was to have a profound and lasting effect on her art, resulting in the highly impressionistic and spontaneous style that she was to adopt for the rest of her life. In 1903 she became an Associate of the Society of Women Artists, and in 1908 a full member, going on to serve as vice-president for 4 years. She was elected a member of the Royal Society of British Artists in 1907 and the Royal Institute of Oil Painters in 1922. Sharp exhibited at The Royal Academy from 1901 to 1948 and held her first one-woman show at the Connell Gallery in 1933; this was a great success and she was described as 'one of England's greatest living woman painters' by Harold Sawkins, editor of The Artist. Throughout the 1920s and 1930s Sharp travelled to Europe to paint, as well as St Ives, Cornwall, where she met fellow artist Marcella Smith, who became a lifelong friend. Sharp was made an honorary member of the St. Ives Society of Artists in 1928.
Lot 70
Patrick Hickey HRHA (1927-1998) and others GRAPHIC STUDIO DUBLIN FOLIO OF SPONSORS PRINTS, 1972 etching; (4); (unframed in original folio with accompanying letterpress); (nos. 20 from an edition of 75) each signed, numbered and dated in lower margin 5.75 by 8in. (14.6 by 20.3cm) The four works are: Patrick Hickey, Still Life; John Behan, Figure Reclining; Alice Hanratty, Two Heads; and Jan de Fouw, Stag Sugar. Sheet size of each work: 11.75 by 13 inches. This lot also includes two etchings by Estella Solomons HRHA (1882-1968), Dublin Scene and In the Park, numbered 20/80.
![Basil Blackshaw HRHA RUA (1932-2016) STILL LIFE [YELLOW FLOWERS] oil on canvas signed lower left 14 by 10in. (35.6 by 25.4cm)](https://cdn.globalauctionplatform.com/d65cb805-5d0f-4618-b657-a87f00b92ec2/2d7fb18b-4004-415e-cf0d-0c6041eef00e/468x382.jpg)
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77111 item(s)/page