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.
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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).
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
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.
After Kolomann Moser oil on canvas Still life, jug of lupins, bearing facsimile signature, 76cm x 65cm Condition Report PLease see images of the back and where we have pulled the lining paper back to see the canvas. we have have contacted the Belvedere Gallery in Vienna who got in touch with the author of the catalogue raisonne who has said he does not believe it to be right.
▴ Amy Katherine Browning (1881-1978)Still life of a bowl of spring flowers and a statuettesigned 'A. K. BROWNING' l.r., oil on canvas61 x 51cmBorn in Bedfordshire in 1881, Browning was the second child of a family of eight children. In 1899, she entered the Royal College of Art, but had to return home in 1901, as she was eldest unmarried daughter and her pregnant mother required her help. She was later to resume her studies at art school and during this period became friends with the feminist and socialist Sylvia Pankhurst. Together they created an art exhibition for the Women's Social and Political Union at the Prince's Skating Club in 1909 and worked to raise money for the poor during the First World War. Browning spent her time teaching to subsidise her painting and received commissions, including one from Winston Churchill. She exhibited regularly at the Royal Academy in London, nationally and globally. She would sign her paintings ‘A. K. Browning’ so as not to reveal her gender and to avoid any discrimination for being a female painter.Condition ReportFramed: 81 x 69.5cmThere is a small tear to the background centre right which appears to have been glued verso but presents well overall. Not examined under UV light, for a full report please contact the department.
▴ Joanna Carrington aka Reginald Pepper (1931-2003)The cat leaping over the cakesigned with initials 'RP' l.r., inscribed 'Tractor & cake 2' verso, oil on board30 x 41cm;the painting was a preliminary sketch for the book 'Pepper & Jam' by Longbody, published by Jonathan Cape, London, 1984, and a copy of the book is included in the lot (2)Provenance: A gift from the artist to the current vendor.Joanna had an excellent start to her creative future; her father was the publisher and designer Noel Carrington, and her aunt the artist Dora Carrington. As a teenager, Cedric Morris was impressed by Joanna's artistic skills when she studied under him at his summer school. She was also tutored by Fernand Léger in Paris and Mervyn Peake and Keith Vaughan at the Central School of Art and Design in London. As her career progressed, the influence of these artists can be seen, including in her cubist still lifes and her landscapes, which express her love for the countryside. Her first solo exhibition was at the Establishment Gallery in 1962 and she had subsequent shows at Crane Kalman, Grosvenor and Thackeray galleries. In 1966, she married her second husband, the artist and film director Christopher Mason. A few years later, after Mason made a film on the naive artist Alfred Wallis, Carrington adopted the pseudonym Reginald Pepper. Pepper was said to be an 'unemployable forty-year-old' who lived with his overbearing mother in a backstreet of Swindon, filled with kitsch carpets and wallpapers and their two giant cats. Pepper's paintings are in a primitive style, where perspective is absent. They tend to be fun and uplifting works, with a childlike nature which was seen to be reflective of Reg's lower mental capacity. In 1974, Carrington showed some works to the Portal Gallery in London and presented herself as his agent. Pepper's true identity was revealed by the Sunday Times in 1981. But this did not adversely affect the public interest in him and, in 1984, Carrington was commissioned to illustrate a children's book 'Pepper and Jam'. If authors could write books under pseudonyms, Carrington felt she should be able to enjoy the freedom of producing two very different styles of art. Reginald Pepper has gained a cult following and collectors of her work will often hang a 'Carrington' and 'Pepper' side by side. For the last twenty or so years of her life, Joanna Carrington and Christopher Mason lived in France. The vendors of this lot had a holiday home close by and became friends with the couple, being gifted artworks.Condition ReportFramed: 35 x 45cm
▴ Claude Venard (French, 1913-1999)Still life of a vase of flowerssigned 'C.VENARD' l.r., inscribed 'No 5' verso and 'FV1081' on the stretcher, oil on canvas130 x 162cmClaude Venard was a highly individual post-Cubist painter known for his still-lifes, landscapes, and eccentric portraits.Influenced by the late work of Cezanne, Picasso and Braque, Venard also reduced motifs to geometric outlines, but marked a revolutionary break with the tradition by embracing a richer, more intense colour palette. He applied paint liberally with a palette knife to enhance the drama of his paintings.Condition ReportFramed: 151 x 183cmThe artwork is framed in a way that exposes the edges of the canvas. One nail used to secure the canvas to the stretcher is missing on the right edge. Canvas a little loose in stretcher to the touch, but stretching it too tightly may be detrimental to the areas of heavy impasto. Indentation to black area in upper left corner. Surface dust and dirt which is pronounced on thick paint. Small patches of craquelure mainly throughout the black and pink painted areas. Currently appears stable with no major losses. On very close inspection some very small losses and craquelure can be seen but nothing that affects overall enjoyment of the work. Some intentional areas of glossiness and some areas with a matt finish. Marked with oil patches to the reverse. Please see additional detail images. Under UV light no obvious retouching shows, some areas fluoresce green but this appears to be some sort of varnish.
▴ Sheila Macmillan (1928-2018)Still life of flowers and fruitwith artist's label and authentication by Fiona Taylor (executor) verso, oil on card50.5 x 42cm, unframedCondition ReportThe top and bottom right corners are dog-eared. Some light abrasions to the extreme edges. Not viewed under UV light, for a full report please contact the department.
▴ Joanna Carrington aka Reginald Pepper (1931-2003)The dinner partysigned with initials 'RP' l.l., oil on board38 x 46cmJoanna had an excellent start to her creative future; her father was the publisher and designer Noel Carrington, and her aunt the artist Dora Carrington. As a teenager, Cedric Morris was impressed by Joanna's artistic skills when she studied under him at his summer school. She was also tutored by Fernand Léger in Paris and Mervyn Peake and Keith Vaughan at the Central School of Art and Design in London. As her career progressed, the influence of these artists can be seen, including in her cubist still lifes and her landscapes, which express her love for the countryside. Her first solo exhibition was at the Establishment Gallery in 1962 and she had subsequent shows at Crane Kalman, Grosvenor and Thackeray galleries. In 1966, she married her second husband, the artist and film director Christopher Mason. A few years later, after Mason made a film on the naive artist Alfred Wallis, Carrington adopted the pseudonym Reginald Pepper. Pepper was said to be an 'unemployable forty-year-old' who lived with his overbearing mother in a backstreet of Swindon, filled with kitsch carpets and wallpapers and their two giant cats. Pepper's paintings are in a primitive style, where perspective is absent. They tend to be fun and uplifting works, with a childlike nature which was seen to be reflective of Reg's lower mental capacity. In 1974, Carrington showed some works to the Portal Gallery in London and presented herself as his agent. Pepper's true identity was revealed by the Sunday Times in 1981. But this did not adversely affect the public interest in him and, in 1984, Carrington was commissioned to illustrate a children's book 'Pepper and Jam'. If authors could write books under pseudonyms, Carrington felt she should be able to enjoy the freedom of producing two very different styles of art. Reginald Pepper has gained a cult following and collectors of her work will often hang a 'Carrington' and 'Pepper' side by side. For the last twenty or so years of her life, Joanna Carrington and Christopher Mason lived in France. The vendors of this lot had a holiday home close by and became friends with the couple, being gifted artworks.Condition ReportFramed: 43 x 51cmThere are some small areas of retouching and light surface abrasions to the brown borders around the edges, but this does not detract from overall enjoyment of the work. Under UV light there is retouching visible to the bottom of the left edge and some unevenness to the varnish around the edges. Please refer to additional condition images.
▴ Harold Speed (1872-1957)Still life of apples and plumssigned and dated 'HAROLD SPEED 1917' l.r., oil on canvas51 x 64cmCondition ReportFramed: 62.5 x 75cmLight surface dirt with craquelure and flaking to the bottom edge and a small area of flaking to lower left area. Please see additional condition images. Examined under UV light and no obvious retouching shows.
Margaret Calkin James (20th Century)/Still Life/with vase of flowers/signed and dated lower right '46/watercolour, 29cm x 28cm CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection ARR Artist's Resale Right may apply to the sale of this lot if the hammer price is the equivalent of 1000 Euros or more, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk
John Roberts (Contemporary)/Still Life/a sailing boat with a torn sail/signed lower right/oil on board, 40cm x 60cm CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
British School, 19th Century/Still Life with Feather, Butterfly and Illustration of Sphinx/initialled lower right TOMS/watercolour heightened with white, 10cm x 15cm CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
Peter Kotka (born 1951)/Still Life/silver and grapes with Chinese bowl/signed lower right/oil on panel, 24cm x 28.5cm CONDITION REPORT: ARR Artist's Resale Right may apply to the sale of this lot if the hammer price is the equivalent of 1000 Euros or more, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
Peter Kotka (born 1951)/Still Life/Rioja, a wine jug and cheese/still life/signed lower right/oil on panel, 23.5cm x 18.5cm CONDITION REPORT: ARR Artist's Resale Right may apply to the sale of this lot if the hammer price is the equivalent of 1000 Euros or more, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.ukCondition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
Emma Walter (act.1855-1891)/Still Life/with grapes, peaches and berries/signed and dated lower right 1873/watercolour, 26cm x 40.8cm (unframed) CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
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