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Click here to subscribeNoel Gibson (British, 1928-2005) Still life with pansies in a glazed bowl, Oriental figures, a wooden box and glass witches ball oil on canvas board, signed lower left, glazed in a gilt hollow frame with laurel leaf border 20¼ x 16 in (51.5 x 40.5 cm), frame size 26¼ x 22¼ in (66.7 x 56.5 cm)
Harry Barr (1896-1987)Still life – a stoneware vase of pink peonies, oil on canvas, 61 x 51cm; and companion study of tulips cascading from a vase, 61 x 51cm (2) Peonies – paint loss and scratches to edges especially the corners, further surface abrasions particularly to lower area.Tulips – paint loss to lower left corner especially but also further loss to edges and other corners. Slight blooming to lower left corner and two small holes to same area. Canvas also thin and fragile to that area.
A collection of seven pen and ink or pencil works by Joseph Pennell (1858/60-1926) subjects to include: The Tower of London; Trafalgar Square; St Paul's Cathedral; Still life etc, varying sizes, all unframed (7) From the Estate of the late Martin Bayer, formerly a Director at the Fine Art Society
Harry Barr (1896-1987)Still life – yellow and orange chrysanthemums in a terracotta vase upon a table, signed, oil on canvas, 75 x 54.5cm Chrysanthemum – paint flaking and cracks especially to upper area. Horizontal scratch approximately 2 inches left of vase. Light surface scratches to upper right centre edge.
Harry Barr (1896-1987)Still life – red roses in a pottery vase, oil on canvas, 61 x 51cm; and another similar of apricot roses in a glass vase, 61 x 51cm (2) Red roses – scratches to edges and stretcher indents. Cracking to darker areas on flower blooms. Surface abrasions and paint flakes.Apricot roses – wear and scratches to edges otherwise generally good.
PETER DE WINT (BRITISH 1784-1849) A STILL LIFE OF POTS AND A BARREL ON A DRAPED LEDGE Watercolour 40 x 31cm (15½ x 12 in.)Provenance: The Fine Art Society, 1942. (no.1929). Condition Report: The work is under glass and unexamined out of frame. There is a tear to the upper edge (approx. 5cm), as well as some white spotting. The colours are a little down and discoloured. Condition Report Disclaimer
WILLIAM JAMES MÜLLER (BRITISH 1812-1845) TWILIGHT, EGYPT Pencil and watercolour heightened with bodycolour and gum arabic Signed and inscribed (verso): 'I sketched this by the Twilight December 27th/not that the scene is anything more than.../I have regarded a hundred times in.../but because I saw the figures in the (spot)/they strongly reminded me of two.../(Agar in the desert) or the Good Sam(aritan)/The scene is application to either.../WM' 16.8 x 27.3cm (6½ x 10½ in.) Provenance: James Orrock (1829-1913) Sir James Dromgole Linton (1840-1916) Anonymous sale, Christie's, 20th April 1896, lot 69 Albany Gallery, London Literature: Francis Greenacre and Sheena Stoddard, W. J. Müller 1812-1845, 1991 p. 116, no. 102, ill. Exhibited: Bristol Art Gallery, W. J. Müller, 7th September - 17th November 1991, no. 102 This lot as well as the Study of North African Figures date from Müller's tour of Greece and Egypt in 1838-39. He left Bristol in September 1838 and spent six weeks in Athens before continuing to Alexandria in early November. Müller was excited by the novelty of Egypt since... 'a halo of mystery still lingered around this land of the ancient East.' (see Cyril Bunt, The Life and Work of William James Müller of Bristol, 1948, p. 37).
ARTHUR WARDLE (BRITISH 1864-1949) AN IDYLL OF SUMMER Oil on canvas Signed (lower right), numbered '329' (verso) 108 x 153cm (42½ x 60 in.)Exhibited: London, Royal Academy, 1900, no. 329 Illustrated: Royal Academy Pictures, 1900, p. 15 Arthur Wardle was one of the most highly regarded and versatile animal painters of the late nineteenth and early twentieth century. He exhibited at the Royal Academy for over fifty-five years and showed An Idyll of Summer in 1900 when he was thirty five. Many of his works show animals, mostly dogs, in their natural environments, but a number of his pictures, including many of his most important exhibition pieces, include humans, such as his 1895 Royal Academy exhibit A Fairy Tale, (Christie's 11 July 2013, lot 4, £337,875). He was an academic artist by temperament and he would have been very conscious of the tradition of a hierarchy of subjects, 'history painting' representing the highest form of artistic expression followed by portraiture, genre, landscape, animal painting and still life. By making animals the protagonists of 'historical' subjects he was having the best of both worlds, claiming the pictorial high ground while remaining true to his field of expertise. Occasionally he would attempt a classical theme, 'history' in its purest form. More often Wardle opted for inventions of his own such as An Idyll of Summer which, while being a bucolic celebration of youth, may also allude to the mythological figure of Cygnus, who appeared in many myths, most of which led to his transformation into a swan. Wardle may be thinking of either Cygnus, the handsome son of Apollo who, together with his mother Thyrie, was transformed into a swan, or possibly Cygnus son of Poseidon. In this tale, he was abandoned on a beach as a baby and subsequently rescued by fishermen who, inspired by a flock of swans flying overhead and his pale complexion, called him Cygnus. He would go on to gain a reputation as a warrior during the Trojan Wars and on his death Poseidon transformed him into a swan. Condition Report: Relined. A few areas of concentrated craquelure, scattered throughout. There appears to be an L-shaped area of repair approx. 7cm long in the upper left quadrant. One or two smudge marks to the outer edges. There is a small area of loss, approx. 2mm below the boy's left foot in the reeds. One or two spots of surface dirt scattered throughout. Inspection under UV reveals retouching to the repaired area, previously mentioned and also to the lower right corner. The presence of a green masking varnish may be concealing evidence of further retouching or repair. The work is overall in good condition ready to hang. Condition Report Disclaimer
FLORIS VAN SCHOOTEN (DUTCH 1585 - 1665) STILL LIFE WITH GAME BIRDS AND FRUIT Oil on panel 50.5 x 76.5cm (19¾ x 30 in.) Provenance: Sale, Christie's, London, 2 May 1980, lot 69We are grateful to Fred Meijer for his assistance in cataloguing this lot. Condition Report: There are a number of cracks to the panel, but the most notable are two horizontal cracks running the length of the panel. The first runs through the lower bird's head, and the second higher up, through the bunch of grapes. Rubbing and abrasions throughout. There is a surface scratch (approx. 10cm) running through the pear. The work has previously been cleaned and varnished. Inspection under UV reveals scattered retouching and infilling to surface cracking throughout. There is also a thick, cloudy varnish.Condition Report Disclaimer
FOLLOWER OF WILLEM CLAESZ HEDA A STILL LIFE WITH A RUMMER, A TAZZA, A LEMON AND OTHER OBJECTS ON A TABLE Oil on panel 52 x 78cm (20¼ x 30½ in.) Condition Report: The panel has split and been re-joined using glue and wooden supports. This split is also visible recto including retouching/overpaint which can be seen in natural light. There are two spots of discoloured varnish to the lower left and right edges. Small spots of paint loss and abrasions to the lower right quadrant. There is an uneven varnish which is most notable in natural light to the upper right quadrant. Layer of surface dirt. Inspection under UV reveals the aforementioned line of repair. Further retouching is presumed but hard to read due to the applied heavy varnish. Condition Report Disclaimer
MARY LAWRANCE (Fl.1790-1831) STILL LIFE OF FLOWERS Watercolour 56.5 x 43cm (22 x 16¾ in.) Condition Report: The sheet appears to be laid on linen which has been wrapped over a wooden stretcher. This has been relined which is providing good support to the work. Generally the sheet is wrinkled and slightly uneven. There are minor abrasions to the edges and also a diagonal tear on the upper left even which has been retouched. There are numerous small spots of paint loss and possible retouchings along the left and bottom edge in the darker pigments, also appear to be retouchings in the top right corner and upper edge but these are all in background areas. Spots of discolouration on several of the flowers and minors areas of paint loss. The colours seem to be reasonable well preserved.Condition Report Disclaimer
A Heal's oak four-poster bed, panelled head board with turned columns, adorned with Morris & Co Bird woven jacquard bed spread, curtains and canopy, designed by William Morris, unsigned, 219cm high, 137cm wide (headboard) LiteratureCharlotte Gere & Michael Whiteway Nineteenth Century Design, Thames & Hudson, page 210 plate 261 for a comparable example of the 'Bird' textile. ProvenanceSir Ambrose Heal, thence by descent Catalogue notesThe four-poster bed that is being offered for sale is a fairly simple piece of early 20th century furniture and yet this particular bed is laden with symbolism. This was the bed in which Sir Ambrose Heal (1872-1959) slept for much of his life. It brings together comfort, design history and social history.The Heal’s business in London’s Tottenham Court Road had been founded in 1810 to manufacture beds and mattresses. Bedding was at the heart of the business throughout the 19th century and most of the 20th century, even as the firm expanded into dealing in other items of furniture and furnishing. The small bedding factory remained on the same site in Tottenham Court Road until the 1980s and the skilled upholsterers and makers continued to use the same traditional techniques and the finest natural materials that their ancestors had used. One of Heal’s major contributions to sleep comfort was the design of the “Sommier Elastique Portatif” which was patented in 1860 by John Harris Heal. It was still in production over 100 years later. It folds in order to make cleaning, removals and storage easy and has no top stuffing so it was “quite free from all risk of moth”. The Victorian catalogue described it as “the most comfortable Spring Mattress yet invented” and it “requires just one good mattress over it”. The Four-Poster is fitted with one of these bed-bases containing nine rows of star-lashed, nine inch, nine turn, hourglass springs made from eight-and-a-half gauge wire mounted on insulating pads.As well as being a furniture designer, Sir Ambrose was fascinated by the history of London trades. Before the buildings in streets were numbered many displayed hanging signs to enable businesses to be found. Heal recorded hundreds of these 18th century signs which were eventually published under the title “London Shop Signs” in 1939. For example there were no less than sixteen that incorporated an anchor, ranging from the Anchor & Bible in St Paul’s Churchyard to the Anchor & Wheatsheaf, Whitehouse Court near Tooley Street. In 1904 when looking for a symbol that would act as a logo and trademark for the Heal firm he came up with the idea of using the Four-Poster bed. Since then Heal & Son Ltd has traded “At The Sign of The Four-Poster”. Appropriately this bed is thought to date from that time. Not only did he trade under the four-poster sign but henceforth he slept in one.Sir Ambrose was inspired by the work and writings of William Morris so it was fitting that he acquired some of Morris’s original “Bird” pattern wool cloth to make up a bed-spread and curtains for the Four-Poster. There was no better way of signalling his connection to the Arts & Crafts Movement that influenced his own design philosophy. Morris designed this pattern (with a huge repeat) in 1877-8 and it was hand-loom jacquard-woven. It was available through Morris & Co but interestingly Morris himself used this particular pattern to decorate the walls of the drawing room of his own home at Kelmscott House, Hammersmith. An inventory of Ambrose Heal’s home taken in 1914 records “An oak frame four post bedstead with panelled back and floral linen curtains and valances lined green twill 4’ 6” wide”. It was then valued at £20.Oliver S Heal.
* Phelan Gibb (Henry William, 1870-1948). Still Life with Bowls and Vases of Flowers, circa 1946, oil on canvas, signed ‘Phelan Gibb’ lower left, 50.7 x 61cm (20 1/8 x 24 ins), in an Italian wooden frame, with a label verso typewritten 'Lent by Lucy Werthheim', frame 59.5 x 69 cmQTY: (1)NOTE:Provenance: Lucy Wertheim; Michael Dawson; Derwent Wise; Collection of Michael and Megan Dawson.According to the handwritten note added to the typewritten label to verso this painting was offered to Derwent Wise by Michael Dawson as security for a loan, the full text reads: 'Not as I remember it! As I recall, this picture was offered as security on a loan (of £5, I believe) at the time in the early 1950s when we were both students in Whitley Bay. When I came to redeem it several months later, Derwent claimed I had in fact sold it to him.... a view he maintained for over 50 years. Also - I didn't work in Lucy Wertheim's galley in Ashford, Derbyshire - I was introduced to her by a girlfriend who had worked there. Michael Dawson, 23 iv 05'.Harry Phelan Gibb was born in Alnwick, Northumberland, and studied in Newcastle, Edinburgh, Antwerp, and Munich before moving to Paris for 25 years up until the First World War. While there, he exhibited regularly at the Salon d'Automne, and was included in the infamous Armory Show of Modern Art in New York, alongside Picasso, Matisse, Duchamp, and others. In the same year, he held a one-man show at the Bernheim Jeune gallery in Paris, and in Dublin in 1914 an important exhibition of his work was closed down on the eve of its opening due to the opposition at the Catholic Church to numerous studies of nudes included in it. He was rediscovered in the early 1930s by the art dealer Lucy Wertheim, who wrote in her autobiography Adventure in Art: 'The English artist still living whose work probably is of the most permanent value id Phelan Gibb. One day Phelan Gibb will doubtless come into his own, and his finest paintings take their place alongside examples of Manet, Cezanne, Picasso, Kolle and Christopher Wood in international exhibitions of Modern Art' (page 31).
AR * Fedden (Mary, 1915-2012). Still Life with Artichoke Flowers, 1963, oil on board, signed and dated lower right, with a label verso on stretcher inscribed in pen and ink ‘Mary Fedden / Still life with Artichoke’ and inscribed in chalk verso ‘Lot 133 / 16/7/81’, 77 x 54 cm (30 1/4 x 21 1/4 ins), in painted and gilded frame, 93 x 69.5 cm, together with a postcard from the artist relating to the painting, addressed and inscribed in blue biro pen to Michael Dawson, signed by Mary FeddenQTY: (1)NOTE:Provenance: Collection Michael and Megan Dawson, with a postcard written by the artist, illustrating the artist’s gouache ‘Cats by the Sea’, addressed to the owner ‘Michael Dawson, 2 West View, Wells Rd., W. Yorkshire LS29 9JG: ‘Thank you so much for your letter & photograph. How very nice of you to write & tell me you still enjoy my painting so much. It is lovely to have fans & I’m delighted – yours sincerely Mary Fedden’In spite of the diversity of Mary Fedden’s subject matter, still lifes remained her ‘real love’, and she returned to them repeatedly. She treated the subject of artichokes and artichoke flowers in a cluster of oil paintings executed during the 1950s and 1960s; for example Artichokes, 1957, oil on board, signed and dated, sold at Sotheby’s, London, 12 October, 1988, lot 233; Artichoke Flowers, signed and dated 1959, oil on board, sold at Sotheby’s, 25 May, 2011, lot 122; Still Life with Artichokes, signed and dated 1962, sold at Bonham’s, London, 25 March 2003, 2002, lot 82; and Still Life with Artichokes and Coffee Grinder, 1965, oil on canvas, signed and dated, sold at Sotheby’s, London, 1 December 1999, lot 62. The present still life stands out amongst them, as it combines the exuberant reds and pinks of the chequered cloth and sober browns of the artichoke flowers to rich effect. Fedden also combines both motifs in a Still Life of .... combines both the chequered cloth and artichoke flowers; and the chequered cloth reappears in The Chequered Cloth of 1976, oil on board, signed and dated, which sold at Bonham’s, London, 24 November 2021, lot 59.
AR * Vaughan (Keith, 1912-1977). Study for Assembly, circa 1955-60, graphite on wove paper, mount opening 15.5 x 13.75 cm (6 x 5 1/2 ins), framed and glazed (35 x 32.5 cm) with Anthony Hepworth Fine Art gallery exhibition label to verso, numbered 17QTY: (1)NOTE:Provenance: Anthony Hepworth Fine Art, Bath (label to verso); Collection of Michael and Megan DawsonOver the course of twenty-five years Keith Vaughan produced nine major paintings to which he applied the title ‘Assembly of Figures’, the first dating from 1952 and the last completed in 1976. 'These compositions rely on the assumption (hard to justify perhaps, but none the less real to me) that the human figure, the nude, is still a valid symbol for the expression of man’s aspirations and reactions to the life of his time. No longer incorporated in the church or any codified system of belief, the Assemblies are deprived of literary significance or illustrative meaning. The participants have not assembled for any particular purpose such as a virgin birth, martyrdom, or inauguration of a new power station. In so far as their activity is aimless and their assembly pointless they might be said to symbolize an age of doubt against an age of faith. But that is not the point. Although the elements are recognisably human, their meaning is plastic. They attempt a summary and condensed statement of the relationship between things, expressed through a morphology common to all organic and inorganic matter.' (Keith Vaughan, Painter’s Progress, Studio, August 1958).
Dallas Seitz (b. 1972) A Very Still Life, Dr Kevorkian And The Suicide Machine (2009) Graphite coated air-drying clay, post-card holder, milk bottles, surgical tube, clothes pegs, saline, sedative, poison To be sold without reserve Property of a distinguished British collector Provenance: Carter Presents, 2009  Exhibition history: Save me, Carter Presents, London, 2009; Shot, Severed Head gallery, Dublin, 2010; DEAD: A Celebration of Mortality, Saatchi Gallery, London, 2015.  Dimensions: Dimensions variable Sloane Street Auctions are not responsible for any adverse effects arising from your need to lick poison.
Joyce Seddon (British 20th Century) Three Still Life Studies, signed, oil on board, largest 15.5 x 24 cm, frame 29 x 37 cm Provenance: Collection of Mr Magdi Obeid, purchased Bonhams, Exhibited at the Summer Royal Academy Exhibition 1982, purchased by Mrs Goldman- handwritten letter to the purchaser from the artist verso
ARR Deborah Jones (1921-2012) Still Life Lemons and Soft Fruits, signed lower right, dated MCMLXX, oil on canvas, 50 x 75 cm, frame 63 x 78 cm, together with a further Still Life showing strawberries, grapes and a pear alongside a bottle of wine and a jelly mould, a pair (2) Provenance: Collection of Mr Magdi Obeid (1943-2021), purchased Dreweatts 18/7/2018 lot 178
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