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Lot 2085
CC TOM STONE; oil on canvas 'Derwent Water', signed and inscribed verso, 29.5 x 20cm, together with a pencil signed etching by John Yarwood depicting a humpback bridge and figures in a river scene, signed lower right, 27 x 11cm, framed and glazed (2). (D)Additional InformationThis lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
Lot 233
A Japanese Imari charger with moulded fluted detailing and underglaze blue decoration to the underside, diameter 44cm, together with a carved hardstone and gilt brass figural table lamp, and a pair of Japanese printed and painted pictures, including one of Mount Fuji (4).Additional InformationThe Imari charger with rubbing to the gilding throughout and some imperfections to the glaze. The lamp with some light scuffs to the stone. The pictures with light wear to the frames.
Lot 85
Alabaster novelty table lamp in the form of two stylised birds with frosted glass shade on a circular base. (B.P. 21% + VAT)Grubby. Chips to base. Crack over feet of one bird, this section and the column below glued back onto base. Bowl also glued back on to column. Bowl has a crack but looks like a natural flaw in the stone. Shade has minor scratches to top otherwise ok. Failed PAT test.
Lot 903
Ephemera, Sarah Bernhardt to comprise a signed cabinet photo 1903, menu for laying of Foundation Stone at Trocadero Restaurant 1897, Programme of Sarah Bernhardt as Le Duc de Reichstadt in L'Aiglon circa 1900, London Coliseum programme with insert 1910 and endorsed advertisement for Proctor's Pinelyptus (gd) (5)
Lot 26
λ Winifred Nicholson (British 1893-1981)Landscape Under Snow, Eigg Oil on canvas 74 x 83.5cm (29 x 32¾ in.)Painted in circa 1950s. With a sketch of mother and child seated verso. Provenance:Crane Kalman Gallery, LondonAcquired from the above in 1992 Thence by descent to the present ownerExhibited:London, Crane Kalman Gallery, The Rural Poetry of 3 English Women Painters, May-June 1992'Those seemingly casual flowers with their airy-light petals were the work of deep understanding and mastery of colour, her lifelong study.' Kathleen Raine, from the introduction for The Rural Poetry of Three English Women Artists, Crane Kalman Gallery, 1992. The present lot captures the dramatic weather during Winter in Eigg, one of the isles in the Scottish Hebrides. Winifred Nicholson visited Eigg for the first time in 1950 with her close friend and poet Kathleen Raine. The pair frequently travelled together following this date exploring the Scottish Hebrides, regularly staying at author Gavin Maxwell's house located in Sandaig in Ross-shire. Winifred reveals her working processes in the Hebrides within letters, especially to her son Andrew and husband Ben. She expresses her love for the landscape and location 'this is a place after my heart' which is not full of lush greenery but greys and large stone formations. She describes the sea as 'full of grey mysterious islands and rocks, seals and seabirds.' Winifred watched the world go by during these days commenting on families going about their daily lives and animals congregating in search of food. [letter to Andrew Nicholson, from Isle of South Uist, Hebrides c. 1950, Unknown Colour, p.228 quoted in Jovan Nicholson, Winifred Nicholson, Liberation of Colour, Philip Wilson Publishers, Bloomsbury Publishing, London & Dublin, 2016, p88] Winifred was drawn to the rural setting striving for a closeness to nature. This new landscape allowed her to explore and experiment with colour an element in painting which became her core concern. Winifred worked directly from nature, working briskly almost finishing a picture in a whole sitting. She often painted late at night 'between midnight and one in the morning,' expressing how 'it is of course a magic light then.' The viewer is drawn straight into the rural landscape through Winifred's window with plants and leaves shooting upwards from the lower edge. The purple, blue and grey fluid brushstrokes capture the unpredictable weather of the Hebrides and reflect Winifred's enthusiastic and dedicated approach to working direct from nature. [letter to Ben Nicholson, 1950s TGA 8717/1/1/1830 quoted in Jovan Nicholson, Winifred Nicholson, Liberation of Colour, Philip Wilson Publishers, Bloomsbury Publishing, London & Dublin, 2016, p88]Condition Report: Separate canvas depicting mother and child pasted to the reverse of the canvas. Some craquelure to the areas of thick white impasto. Very light surface dirt scattered throughout and some very small patches of pooling varnish to the centre, in the blue pigment in the sky. To the centre of the right hand edge is a small patch circa. 2cm of a darker pigment which may have been caused by the glue residue verso, there is a few smaller flecks of a similar coloured pigment to the right side of the upper edge. Inspection under UV reveals no obvious evidence of retouching or repair. Condition Report Disclaimer
Lot 256
λ Tom Malone (British 1913-1986)Landscape: Homage to Cezanne Oil on canvasboard 41 x 51cm (16 x 20 in.)Provenance:Estate of the artistThence by descent to the present owner This landscape painting depicts the luscious banks of a river traversed by a stone bridge. The deep greens of the foliage contrasting with the earth tones of the bridge, painted with thick strokes are reminiscent of Cézanne's colourful paintings of Mont Saint-Victoire.Tom Malone (1913-1986) was an accomplished portrait painter originally from Warrington. Despite being employed as Chief Inspector of Weights and Measures in Salford, he was always involved in the art scene of Manchester, being friends with artists L.S.Lowry and Ted Finley.He was often found painting on the weekends, his subjects ranging from his two sons, Nick and Peter, to local government officials such as the Warrington and Salford Mayors. His art style was influenced by the fauvist movement, which confers to his works a very painterly and textured quality, present even in the more traditional oil portraits.Malone was a member and chairman of the Salford Art Club, participating regularly in its annual exhibition along with artists Eric Satchwell, Jose Christoperson, Stella Platt and Richard Weisbrod. His portraits were shown at the Manchester Academy of Fine Arts' 93rd exhibition in 1952, as well as the 118th Exhibition at the Manchester City Art Gallery in 1976, with his contemporary Arthur Delaney. He continued to paint after retiring as Chief Inspector, holding several solo shows at Salford Art Gallery.
Lot 298
λ Emily Young (British b. 1951)Three graces Purbeck stone Height: 26cm (10 1/4in.)Provenance:Thackeray Gallery, London Purchased from the above in 1995Thence by descent to the present owner Emily Young (b.1951)Originally from London, Emily Young spent her childhood between Wiltshire and Rome. As the granddaughter of the sculptor Kathleen Scott (a colleague of Rodin) and niece of conservationist Peter Scott, she grew up in a family of artists, naturalists, explorers and writers.Her education started at Chelsea School of Art and Central Saint Martins in London, where she was first interested in painting. She left England in the late 1960s, travelling through Europe, Africa and the Middle East, then moving to the United States to study with artist Robert White. Emily developed an interest in working with stone in the 1980s, using leftover marble from a kitchen worktop.Giving a human form to the stillness of the stone, the sculptures emerged from unique discarded stone found in quarries. Her sculptures brings forth the close link between human experience and the planet. They encompass the natural beauty, history and energy of material stone imbedded with human consciousness through the act of touching, carving, and giving form. The sculptures ask the viewer to consider their presence on Earth, their history and contribution to the future of the planet. The meditative quality of Emily Young's work puts the ephemeral quality of human consciousness in perspective to the timelessness of stone.A passionate conservationist, she employs her sculptures in an environmental effort to protect endangered spaces. She has opposed the opening of a geothermal power station in Tuscany, as well as the illegal trawling in the Mediterranean with the project The Garden of the Fishes.'Hard stone can endure to tell our story: when a human hand, mind and heart is consciously involved in changing the face of a piece of stone, a mark is made, a contribution lightly touching the planet, touching the full immensity of the past, and speaking to the full immensity of an unknown future: it tells something, it leaves a record, of the relationship we humans have with our planet, one way or another.'- Emily YoungShe has exhibited at many prestigious museums including: The Getty, California; The Imperial War Museum, London; The Whitworth, Manchester; The Meijer Sculpture Gardens, Grand Rapids, and in 2018, The Victoria and Albert Museum, London.The present lot is one of Young's earliest pieces. The work shows three female figures elegantly dancing through water. The piece was treasured by the owner throughout her lifetime. A wonderful and touching poem was written by the owner and is published on the previous page. Condition Report: There are two very small abrasions to the tip of the right hand corner of the base. Otherwise, the work is in good original condition.Condition Report Disclaimer
Lot 63A
λ Ivor Roberts-Jones (British 1916-1996)Sir Winston Churchill, maquette for the monument in Parliament SquareBronze with a dark brown patinaNumbered `54' (on the bronze base)Height (excluding Portland stone base): 52cm (20¼ in.)Provenance:Acquired directly from the artist by the husband of the present ownerLiterature:P. Cannon-Brookes, Ivor Roberts-Jones, London, 1983, pp. 51-59 In 1970 the Royal Fine Arts Commission (members included Henry Moore and John Piper) approached nine sculptors to compete for the Parliament Square Winston Churchill Monument commission. Two of these, Ivor Roberts-Jones and Oscar Nemon, were shortlisted and invited to submit revised proposals. By November 1970, the Commission had selected Roberts-Jones as the sculptor. However, Lady Churchill was determined that it shouldn't be Oscar Nemon who won the commission and due to her reservations, the Commission agreed to look at two larger maquettes by both sculptors. Kyffin Williams, a staunch supporter of Roberts-Jones, arranged a private view of Roberts-Jones' maquettes in his own studio for Lady Churchill and in 1971 he was finally announced as the chosen sculptor. The finished statue was unveiled in Parliament Square in 1973 by Lady Churchill, with a speech given by Queen Elizabeth II. The present work was cast by the Meridian Foundry from a maquette produced at the same time as the Parliament Square monumental work. Roberts-Jones retained the first 100 casts for his own clients with the remainder being offered to the subscribers of The Collected works by Winston Churchill by the Library of Imperial History, London. The present work was purchased directly from Roberts-Jones by the present owner's husband.Condition Report: In overall good original condition. Some surface dirt, would benefit from a light clean. Condition Report Disclaimer
Lot 30
λ Elisabeth Frink (British 1930-1993)Small DogBronze with a brown patina Signed and numbered 4/10 (on the base)24 x 28cm (9¼ x 11 in.)Conceived in 1986.Provenance:The Everard Read Gallery, Johannesburg, South AfricaPrivate Collection, London (acquired from the above by the present owner)Thence by descent to the present ownersLiterature:Annette Ratuszniak, Elisabeth Frink Catalogue Raisonné of Sculpture 1947-93, London, 2013, p. 175, no. 358, illustration of another cast 'The particular attraction for me is that dogs are the animals who've been closest to man for thousands of years. I find that interesting.' Elisabeth Frink, quoted in Edward Lucie-Smith and Elisabeth Frink, Frink: A portrait, Bloomsbury, London, 1994, p. 50 The topic of man's best friend was explored by Frink during the late 1980s and early 1990s. Whilst dogs and their relationship with man had always fascinated the artist it was during her time spent at her home at Woolland in Dorset that sparked the inspiration for this series. Alex Csaky, Frink's husband owned Hungarian gun-dogs and it was these majestic hounds whose strong muscular build and smooth coats could be transferred to sculpture. In the same year that Small Dog (FCR358) was created Frink produced Large Dog (FCR355) a life-size study of the Hungarian Vizsla. What is particularly striking is the characterful face, wide eyes and large nose which captures the charming features of 'man's best friend', as the dog appears to look up towards the viewer almost in awe of its owner. During this same period Frink visited Leonardo Da Vinci's Chateau de Cloux. At the entrance to the chateau are two stone dogs, awaiting the return of their master. These two sculptures inspired Frink who created life-size versions titled Leonardo's Dog I and Leonardo's Dog II in 1991 and 1992 respectively. Small Dog (FCR 358) has the same charming facial features, with its ears pushed back and its glossy smooth coat worked into the surface of the enchanting sculpture. Frink was unapologetic for her interest in dogs whilst others around her were producing pieces for the esoteric . Frink's Dog series was not made to be scrutinised and nor did they open discussion of critical interpretation. They developed a direct engagement with the public by producing a subject matter she was interested in. Condition Report: In overall good condition. Some minor surface dirt, some ingrained to the crevasses. Would benefit from a light clean. Condition Report Disclaimer
Lot 32
λ Simon Palmer (British b. 1956)The Barge of FoolsInk and watercolour Signed twice (lower right) and titled (lower left) 84 x 60cm (33 x 23½ in.)Provenance:Property from a Private English CollectorSimon Palmer was born in Yorkshire in 1956, growing up in Bromley and attending Reigate Art School. When visiting Wensleydale, North Yorkshire, he fell in love with the landscape that has become the inspiration for his watercolours. Palmer's paintings capture a fairy tale-like atmosphere grounded in the rural scenery of Yorkshire. From the narrow lanes, railway bridges, the drystone walls and winding fencing, stone churches and farms, ancient trees and new saplings and, on the horizon, the distant moors waiting to claim back the domesticated land. Starting with the familiar landscape of Wensleydale, Palmer has created an illusion which hovers on the brink of reality, connecting his much loved home and the world of his imagination. He has exhibited extensively since 1980, at the Mercer Art Gallery and the Portland gallery. He has also held ten one-man exhibitions in London with JHW Fine Art, and written three books including 'Pebbles on a Beach' (1990).Palmer won the 2007 Turner/Windsor and Newton Watercolour Award at Royal Academy Summer Exhibition. Other notable exhibitions include the National Trust Centenary exhibition, British Landscape Painting in the Twentieth Century.
Lot 243
Ruth Duckworth (British 1919-2009), a teapot and cover,20th century, impressed mark to base, With stone glaze and cane handle, 15cm high; together with a cast porcelain creamer, with internal gloss glaze and moulded stylised handle, 16cm long, unmarked, and a cast porcelain salt cellar, 5cm high, both unmarked, attributed to Ruth Duckworth (ARR) (3) Teapot: There is a chip to the top opening, approx. 15mm across, a chip to the cover, 11mm across, chips to the spout, .2mm & 4mm across, no restoration detectedCreamer: some hairlines to the vessel, one measuring approx. 6cm across, the other 5cm across, some surface wax residue, no restoration detected. Creamer: one chip approx. 3mm to rim, and a further fleabite to rim,
Lot 746
Late Victorian diamond five stone ring with five graduated old cut diamonds in carved yellow metal claw setting. Ring size OCondition report: Ring not marked and weighs 2.8 gramsThe stones are currently secure but some of the claws are quite worn and would benefit from possibly being reset. The stones are well matched in colour and have a nice sparkle, however there are a few small chips, the centre stone has a chip visible to the naked eye. The stone also have inclusions visible when looking through a 10x loupe.
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