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Lot 427
A pair of gilt framed mid 20th Century Oil on Artist's Board still life Studies of flowers in a vase and flowers in a circular wicker pot, each with the Parker Gallery, London W1 paper label verso, one annotated painted 1946 by Janetta Birdwood (wife of Field Marshall Lord Birdwood 1872-1947, each image with prevalent craquelere, each image approx. 20cm square
Lot 985
Mary Fedden 1915 - 2012 Signed Limited Edition Print Still Life With Fruit And Jug Mary Fedden was born in Bristol and wanted to be a painter even as a child. Leaving Badminton School at sixteen, she studied at the Slade School of Art in London from 1932 to 1936 under the theatre designer Vladimir Polunin, who had worked with the Ballets Russes. She painted sets for professional performances at Sadlers Wells, but decided against stage design as a career. Returning to Bristol, she taught art and made a living by painting portraits. Presented here is a pencil signed print, number 77 of 550 depicting a table laden with fruit and ceramics against a black and white chequerboard background. Modernist in style, housed in contemporary silver frame. 13.5 x 15.5 inches.
Lot 661
Two (2) Limoges France Gilt Hand Painted Porcelain Chargers. Decorated with gilt overlay on molded rim with portraits of still life fruits motif en centre. Signed "Limoges France, WG&Co" and blue mark on underside. Both chargers have puncture holes for hanging on underside, minor gilt wear to rim to both chargers, needs cleaning. Measures 13" Dia. Shipping $85.00 (estimate $100-$200)
Lot 17
J. K. DE HAAN (FLEMISH 17TH CENTURY)Still Life with Fruit, Glassware, and Insects, oil on panel42 x 30.8 cm (16 1/2 x 12 in.)signed and inscribed lower right LOT NOTESThere is a long tradition of still life painting in Flanders and the Netherlands. The popular focus and presentation changed with the decades throughout the seventeenth century, but some elements remained and can be seen in the northern still lifes through the ages. In a move that differentiates the Dutch still lifes from their Italian counterparts, the artist chose to include blemishes on the fruits, pest-ravaged leaves, and insects amid the realistically painted luscious fruit, spilling over beyond the picture frame. Symbols of vanitas, the depiction of decay and its agents, were meant to remind the viewer to enjoy the bounty of life while remembering its transience.
Lot 100
MIKHAIL CHEMIAKIN (RUSSIAN B. 1943)Still Life with Garlic, Pears and Knife, 1972watercolor and ink on paper24 x 24 cm (9 1/2 x 9 1/2 in.)signed, dated and inscribed Toulon lower left; signed and dated again in Cyrillic lower rightPROVENANCEAcquired at Eduard Nakhamkin Fine Arts Gallery, New York by the present owner
Lot 92
VLADIMIR NEMUKHIN (RUSSIAN 1925-2016)Still Life with Cards, 1989oil and cards on canvas100 x 100 cm (39 1/2 x 39 1/2 in.)signed and dated lower center; signed, titled, dated and inscribed in Cyrillic on verso Still life with cards, Vl. Nemukhin, 1989, MoscowPROVENANCEPrivate Collection, Germany
Lot 428
REGINALD GEORGE HAGGAR (1905-1988) Views at Niarbil, signed with initials, inscribed and dated 1981, crayon, 16 x 27.5cm, another by the same hand; sketch of hills, possibly the Roachers, North Staffordshire, signed, 39 x 28cm; another watercolour study by the same hand, still life of teawares on a shelf, signed, 29 x 46.5cm; and a signed print by the same (4)
Lot 1224
Norman Hartnell (1901-1979), a pen, watercolour and gouache fashion illustration,from the House of Norman Hartnell, for a tweed coat for HRH Queen Elizabeth, c.1980, with a tweed fabric sample,together with two other fashion illustrations,one of a pink spotted dress and the other of a blue day coat with fabric sample, both of which can be seen worn by Queen Elizabeth The Queen Mother in a book titled 'The Queen Mother' (qty.)In August 1979, after answering a job advertisement for a ladies' tailoring assistant apprenticeship, the vendor went to work for Miss Margaret Mayo at the haute couture house of Norman Hartnell, an experience she describes thus: 'The main aspect of my role was to prepare for the first fitting of the garment, prior to the garment being taken by Miss Margaret to Clarence House. At Clarence House, the garment was then fitted for the Queen Mother or other titled ladies. Despite the long hours and low wage, I enjoyed the role and the labour of love that went into the garments. The skills I learnt have stayed with me my whole life. To this day, I still wear a tailoring thimble to sew, which back then had to be worn at all times. I worked under Miss Margaret for a little over six years and during that time was lucky to become a friend for the rest of her life. During the six years, I met in person Barbara Cartland, Lady Raine Spencer and various other titled ladies, although I was never allowed to meet the Queen or Queen Mother; that was Miss Margaret's role. I left Norman Hartnells shortly before the arrival of my eldest child in 1986, but Margaret and I remained good friends and continued to write letters as frequently as once a month. When Miss Margaret sadly passed away in the early 2000s, she left a suitcase of these designs to me amongst other things'.
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