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Lot 1159
Leonard Rosoman OBE RA (b.1913)-`Royal Albert Dock, London`, watercolour, bears label verso for Arthur Guinness Son & Co (Park Royal) Ltd, 8 Baker Street, London, W1, and typed `Original painting on loan from the advertising department. Original lithograph sketch from the 2nd series issued in 1962. Royal Albert Dock, London, by Leonard Rosoman`, 38 x 50cm (illustrated)
Lot 224
Goldberg (Norman L.) John Crome the Elder 2 vol. Oxford 1978 § Noon (P.) Richard Parkes Bonington `On the Pleasure of Painting` Newhaven and London 1991 § Smith (Hammond) Peter DeWint 1784-1849 1982 § Reynolds (Jan) William Callow R.W.S 1980 § Sloan (Kim) Alexander and John Robert Cozens: The Poetry of Landscape 1986 § Day (Harold) John Constable R.A. 1776-1837 Drawings Eastbourne 1975 § Wilton (Andrew) Turner Abroad 1984 illustrations original cloths or boards dust-jackets; and c.40 others English landscape and watercolour artists v.s. (c.45)(c.45)
Lot 653
ELIZABETH ADELA STANHOPE FORBES, NEE ARMSTRONG, RE, ARWS (1859-1912) THE MUSE OF HERRICK: "I sing of brooks, of blossoms, birds and lovers" signed, charcoal and watercolour with bodycolour, 55.5 x 44.5cm The Muse of Herrick is additional to the suite of eight drawings which served to illustrate Canon Beeching`s edition of Herrick`s poems, published in 1907. No less than five of these feature the same model wearing the eye catching red dress, with its wide white collar. These are characteristic of the increasingly expressive subjects of the last few years of Forbes` short career, pregnant with symbolism and painted in her painting hut in the familiar little Cornish wood behind her home at Higher Faugan. The closely related portfolio of similarly poetic illustrations for A Knight in Armour (1904) also executed in her "own imaginative blend of charcoal and watercolour" (Caroline Fox, 1993) brought her not only critical acclaim in a review in The Studio, but also her immediate election to the RWS. ++In fine condition, close mounted in a carved giltwood frame
Lot 79
MID 20TH CENTURY ENGLISH SCHOOL - Cattle in a field with far reaching view beyond, possibly Ellsfield, near Oxford, oil on canvas, unsigned, indistinctly inscribed to the reverse, 15 3/4" x 23 3/4", together with an oil painting of the outskirts of a village signed E Millington-Drake and a watercolour of Mount Fuji by R Mori (3)
Lot 2079
KATHERINE (KATE) CAMERON RSW RE (Scottish, 1874-1965) The Duck Pond Watercolour, signed `K Cameron` (lower left) 30 x 46 cm (11 13/16 x 18 1/8 inches). Note: Prominent "Glasgow Girl" and sister of D Y Cameron. Trained at the Glasgow School of Art and had a very successful career in book illustration but first love was landscape and flower painting. Married Arthur Kay-the art connoisseur and collector. Together they spent holidays at the Selkirk Arms in Kirkcudbright and the vendor believes this work was executed in the Kirkudbright area.
Lot 431
* Trevor Bell (b.1930) Abstract signed and dated Bell 8. 57 bottom left pencil and watercolour 21 x 7.5cm, unframed. Provenance:A gift from the artist Trevor Bell was born in Leeds and studied there at the College of Art, going on to teach at Harrogate and in 1955 moved to Zennor near St Ives on the advice of his friend Terry Frost. In 1958 he had a one-man show at Waddingtons and since has shown at the Paris Biennale, a Retrospective at New Arts Centre, London and in 1990 a show at The Gillian Jason Gallery. In the early 1970s Bell became Professor for Master Graduate Painting at Florida State University remaining there for over 20 years, returning to Cornwall in 1996.
Lot 502
Hendrik Willem Mesdag (1831-1915) Fishing boats moored offshore signed HW Mesdag bottom left watercolour 43 x 60cm. Hendrik Willem Mesdag (1831-1915) was born in Groningen. He was encouraged to paint by his father, the banker Klaus Mesdag, and studied under William Roelofs in Brussels and in 1968 moved to The Hague to paint the sea. In 1870 he won a gold medal at the Paris Salon for The Breakers of The North Sea. Between 1880-1881 he worked on a commission from a Belgian company to paint a panorama. This resulted in `Panorama Mesdag`, an epic painting 14 metres high by 120 metres around. Elected chairman of The Hague Society in 1889. In 1903 he gave his house at Laan van Meerderwot and his collection of paintings to the Netherlands; the house is now the Mesdag Museum.
Lot 150
Wilcox (Scott) British Watercolours: Drawings of the 18th and 19th Centuries from the Yale Center for British Art New York 1985 § Hardie (Martin) Water-colour Painting in Britain vol.II: The Romantic Period third impression 1979 § Williams (Iolo A.) Early English Watercolours... reprint Bath 1970 § Wilton (Andrew) British Watercolour 1750 to 1850 Oxford 1977 § Huisman (P.) French Watercolour of the 18th Century 1969 illustrations original cloth or boards dust-jackets one or two slightly rubbed; and c.30 others on watercolours v.s. (c.35)(c.35)
Lot 521
A Collection of Art Reference Books, to include: Benezit, Dictionary of Painters, Sculptors and Engravers, 10 vols: Royal Academy Exhibitors 1799-1904, 4 vols: Royal Academy Exhibitors 1905-1970, 6 vols: Houfe, Simon, Dictionary of Book Illustrators and Caricaturists 1800-1914: Hardie, Martin, Watercolour Painting in Britain, Victorian Period Vol I: The Royal Society of British Artists & The New English Art Club 1888-1947:Hart, Denys Brook, British 19th Century Marine Painting: Wood, Christopher Dictionary of Victorian Painters: Archibald, E H, Dictionary of Sea Painters: Dictionary of British Artists Working 1900-1952, 2 vols: Wood, Jeremy, Hidden Talents, Dictionary of Neglected Artists 1900-1950: Who`s Who in Art, 1927, 8th Edition, 15th Edition, 3 vols: together with a further small quantity of art catalogues and referecne material, (a lot)
Lot 782
A Group of Five Indian Mica Paintings, depicting two women and three men, standing full-length; opaque watercolour on Mica, 12x8cm, ea., (5) (unframed) Note: Stylistically these images are similar to a series of painting by Shiva Lal, held by the V&A (c.1857). They were commissioned by the East India Company, by Dr D. R. Lyall (the personal assistant in charge of opium-making) for a series of wall paintings in the Gulzarbagh factory. (V&A 07361:18/(IS)
Lot 131
Pencil, watercolour and bodycolour drawing en grisaille Alexander Viktorovich Moravov (1878-1951) "Battle between Warriors and Knights", signed, 33 x 44cm, unframed Born Dec 8 (20), 1878, in the village of Velikaia Motovilovka, present-day Fastov Raion, Kieve Oblast; died Feb. 23, 1951, in Mosco. Soviet painter. Honored Art Worker of the RSFSR (1946). Member of the Academy of Arts of the USSR (1949) From 1897 to 1902, Moravov studied at the Moscow School of Painting, Sculpture, and Architecture under A.E. Arkhipov and N.A. Kasatkin. He taught in a number of art schools in Moscow and was a member of the peredvizhniki (the "wanderers", a progressive art movement) from 1904 and of the Association of Artists of Revolutionary Russia from 1923. Depicting the new life in the countryside during the Soviet period, he developed the traditions of peredvizhnik genre paintings on the peasant theme (In the Volost Office of Civil Registration, 1928, Tret`iakov Gallery). He also created works on historical and revolutionary subjects (The Decembrists in Chita, 1911, State Historical Museum, Moscow; the triptych Lenin`s Arrival in Petrograd, 1931-33, Central Museum of the Armed Forces of the USSR, Moscow; and The Lena Shootings of 1912, 1937, the Lenin Central Museum, Moscow)
Lot 134
Watercolour drawing Nikolai Nevrev (1830-1904) "Tricked into full Confession", study of four figures in interior, signed, titled and dated 1903, unframed, 29 x 24cm Nikolai Nevrev was born into a family of merchants in Moscow in 1830. He enrolled at the Moscow School of Painting, Sculpture and Architecture at the age of 21 and studied under Mikhail Scotti. His work often took the form of social commentary and one of his most famous paintings "The Market" (1866) depicted the sale of serfs. The church was often exposed by his work and in later life he turned to historical art. His work became increasingly didactic and this watercolour sketch was made in the year before his death.
Lot 72
* Postcard paintings. A collection of ninety-four postcards, 1951-54,. each with a pen, ink & watercolour cartoon-style illustration, some with accompanying ms. verse or speech bubbles, a few with small adhesive tape marks to edges, mostly dated and inscribed on verso ‘To Bunchie’, 84 x 139 mm (3.25 x 5.25 ins) A comical and somewhat bizarre series of drawings, obviously drawn for a young child’s amusement. Most of them feature a tall, skinny (almost clown-like) figure in a blue and white striped shirt, engaged in various pursuits, such as painting a wall, kitchen duties, playing ball, dancing, extracting teeth, manning a sweet shop, sewing, having a bath, boating, lighting fireworks, shopping, etc. A number of other characters make an appearance, including a fairy, a rabbit, a sailor, and a soldier, and many of the activities, more often than not, seem doomed to disaster. (94)
Lot 281
* Walton (Elijah, 1832-1880). Desert Landscape at Sunset, near Cairo, watercolour, with touches of bodycolour, 8 x 16.5cm, mounted, with title and artist’s signature in ink to verso, together with other various pictures and prints, including a large photographic portrait of Derek Jarman by Michael Woods, 1998 (some surface marks), a 19th century gilt framed oil painting of ships in a harbour, a 19th century naive oil on board of a Welsh girl in a mountain landscape, a coloured pastel view of the Wye Valley by Frank Leawood, dated 1929, etc. (9)
Lot 994
Charlotte Wylie or Wyllie (nee Major) (fl. 1872-1893) "The Ballad of Sir David Graeme", watercolour laid down on canvas, 28" x 22.5" In traditional Pre-Raphaelite style, this water-colour depicts the story told in the ballad by the 19th century Scottish poet James Hogg, from his collection of writings, which he called "The Mountain Bard", dating from 1807. THE BALLAD; Hogg`s ballad imitation `Sir David Graeme` is Hogg`s literary ballad in response to `The Twa Corbies`, which had appeared in the third volume of the Minstrelsy. `Sir David Graham` first appeared in the Scots Magazine September 1805, where it is presented straightforwardly as `a border ballad`. The dramatic focus is on the `lady fair` suggested in the narrative of `The Twa Corbies`, who in Hogg`s ballad waits for her slain knight and eventually discovers his raven-pecked corpse. The "fair lady" of the story watches from her window in vain for the coming of her "noble Graeme," who had vowed that the hate of her father and brothers would not keep him from coming to carry off his fair lady on St. Lambert`s night. The sun had drunk frae Kieldar Fell His beverage o` the morning dew; The deer had crouched her in the dell, The heather oped its bells o` blue. The lady to her window hied, And it opened o`er the banks o` Tyne; An` "O! alack," she said, and sighed, "Sure ilka breast is blythe but mine?" Her forebodings prove only too true, for her lover`s faithful hound seeks her out, and, with mournful looks, induces her to follow him over Deadwater Fell, and guides her to a lonely spot where the raven-pecked body of the gallant Graeme, slain by her brothers, is lying. A label on the reverse of the picture, in Charlotte Wyllie`s hand, includes a verse from the ballad of the discovery of the Knight`s body, as portrayed in the picture, which reads: "She gae ae look she need it but one For it left her sweet uncertaintye She saw a wound through his shoulder bone And in his brave breast two or three" PRE-RAPHAELITE CONNECTIONS; It is interesting to speculate that the "lady fair" in the watercolour is a likeness of Elizabeth "Lizzie" Siddall (1829-1862) who was painted and drawn extensively by artists of the Pre-Raphaelite Brotherhood, including Walter Deverell, William Holman Hunt, John Everett Millais and Dante Gabriel Rossetti. In 1852, she famously posed for Millais` Ophelia by floating in a bathtub to model the drowning subject of the painting. She married Rossetti in 1860 but became addicted to laudanum and died the following year. Charlotte Wyllie, was a friend of Lawrence and Laura Alma-Tadema and the Pre-Raphaelites who shocked stuffy Victorian society. Charlotte`s work included portraits, genre scenes and symbolical subjects, but was never extensive and is rare. She exhibited at London`s Grosvenor Gallery, a flagship for the Aesthetic Movement which launched in 1877 as a liberal alternative to the Royal Academy, and one of the few to encourage women artists. Laura Alma-Tadema was a fellow exhibitor at the Grosvenor. She had particularly close artistic connections with G F Watts and may have been envolved as a collaborator in some of his work. An oil painting "A wanderer in the Elysian Fields" was sold at Christies lot 102 on 11th June 2004. BIOGRAPHY; Charlotte Wyllie, (spelt Wylie by her,) née Major, (fl 1872-1893) was married to the artist Charles William Wyllie (1853-1923) and brother of the better known exponent of marine and shipping subjects, William Lionel Wyllie, R.A. (1851-1931). Little is known about her, even her dates being uncertain. Her husband, Charles, was one of the artists who painted a series of 45 panels in the entrance hall of the Alma-Tademas` home and studio in St John`s Wood and a small portrait that Alma-Tadema painted of Charlotte was almost certainly done in return for her husband`s work. Later, when her old friend, the popular Victorian painter and sculptor George Frederick Watts was leaving Little Holland House prior to it being demolished, Charlotte, dismayed at the thought of the destruction of all the frescoes, insisted she could have them removed from the walls at great personal cost. Watts offered them to Charlotte as a gift, but she declined and they were later presented to Leighton House, where they remain today PROVENANCE; Label verso with extract of a poem by James Hogg, "Sir David Graeme", from the "Mountain Bard". Also inscribed "Mrs C Wylie, 3 Earls Terrace, Kensington" which is only a short distance away from George Frederick Watts home at Little Holland House, 6 Melbury Road, Kensington. This water-colour was purchased in a small Bournemouth Auction about 6 years ago, without attribution. Nothing is known of its whereabouts in the previous 130 years. It is a rare and previously unrecognised painting by a mysterious woman painter associated with the Pre-Raphaelite Brotherhood.
Lot 341
Cedric J. Kennedy (1898-1968) On Haresfield Beacon Autumn; Adlestrop Park Autumn Two both signed and dated 1984 and 1961 Both watercolour Each 33 x 51.5cm; 13 x 20½in (2) Exhibited: (Adlestrop) Cheltenham Group Cheltenham Art Gallery June 1962 For an oil painting by the same artist please see lot 526++Good condition* All lots marked with an asterisk are subject to VAT on the hammer price.‡ All marked lots may be subject to Droit de Suite / Artist`s Resale Right.For details please see www.woolleyandwallis.co.uk department page.All condition reports are a guide only and should be used as such.
Lot 1429
A Chinese silk painting, 20th century, depicting a floral and foliate composition, in a circular silk panel, bears one seal, 25.4cm dia: A Chinese fan design, 20th century, depicting a figure by a pink flowering blossom tree with boat moored, watercolour and ink on board, bears one seal, 17.3x43.8cm: together with two other similar fan designs by the same hand, both bear one seal, 17.3x43.8cm ea.: together with seven other 20th century Chinese pictures, watercolour and ink on silk and paper, depicting landscape and floral images, various sizes, (11) (unframed)
Lot 231
Sold by the direction of the liquidators of St. Margaret`s school (Edinburgh) Limited Sir William George Gillies, CBE, RA, PRSW, RSA (1898-1973) "TEMPLE VILLAGE" indistinctly signed lower left, inscribed with title and Artist`s address "Temple Cottage, Temple Village, Gorebridge, Midlothian" verso oil on canvas 67.5 x 79cms; 26 3/4 x 31in. PROVENANCE: St. Margaret`s School Edinburgh, presented to the school by the Old Girls` Club in Memory of Henrietta Kennedy Milne. NB: Gillies moved to Temple in 1939, where the surrounding landscapes provided the inspiration for many of his later works. He visited the villages of East Linton, Haddington (his birth place), Howgate and Gifford on his motorcycle, painting in oil and watercolour. He also visited the east coast fishing villages, whose nets and boats proved to be particularly INSPIRATIONAL to him.
Lot 14
* KUSTODIEV, BORIS 1878-1927 Worker and Farmer. Cover Design for the Anniversary Issue of the Magazine "Petrograd" signed and dated 1923 Pencil and watercolour on paper, 27 by 23 cm. "Provenance: Collection of I. Angenitski, KievExhibited: Vsesoyuznaya vystavka proizvedenii B.M. Kustodieva, The Kiev State Museum of Russian Art, label on the reverse.Literature: Etkind, M.G. (ed.), Boris Mikhailovich Kustodiev, Leningrad-Moscow, 1960, p. 205. Etkind, M.G. (ed.), Boris Mikhailovich Kustodiev, Leningrad, Khudozhnik RSFSR, 1967, p. 258. Boris Mikhailovich Kustodiev, Moscow, Sovetski Khudozhnik, 1982, p. 368, No. 2300, listed.Boris Kustodiev’s fame as an outstanding painter sometimes eclipses his evident success in the area of graphic design. However, there is no branch of graphic art in which the artist could not have demonstrated real mastery as a draughtsman and watercolourist. He practised easel-painting — both landscape and portrait graphics — as well as theatre design, book illustration, woodcut printing, magazine covers and propaganda posters. Kustodiev was a genuine virtuoso in all graphic techniques.Executed with the humour and elegance for which he is renowned, the economy of a poster design and a particular “fairground” decorativism unique to Kustodiev, the Cover we now present also has historical and artistic validation. For Kustodiev’s close friend, the artist Vsevolod Voinov, wrote in his diary for 1923 the following: “9 October. Around six o’clock went to Kustodiev’s. Boris Mikhailovich showed me his most recent works and those done in the summer, which I hadn’t yet seen. Among them the cover for the anniversary issue of Petrograd magazine. A splendid watercolour. It shows a peasant and a worker, sitting by a column, above which flies a red flag with the letters ‘USSR’. At the feet of the peasant, a mound of fruit and sheaves of corn. The worker reads aloud from a book. In the background, a village and a town. Cranes, a railway, factories, fields and so on. A beautiful sky with white clouds.” (M.G. Etkind, 1967, p. 258)."
Lot 80
* SEREBRIAKOVA, ZINAIDA 1884-1967 Bee Yard signed in Cyrillic "Zina Lanceray" and dated 1900, further inscribed in Cyrillic on the reverse Pencil and watercolour on paper, 23.5 by 31.5 cm. This splendid early watercolour by Zinaida Serebriakova dates from 1900, a year before she entered the painting and drawing studio of Princess Maria Tenisheva. Zina Lanceray (as she was then) was only 15 years old. At that time the girl sometimes took lessons from her uncle, the famous watercolourist Albert Nikolaevich Benois. She trusted him implicitly, and he kept a constant eye on the young Serebriakova’s work, zealously monitoring her success. In his time he also had a considerable influence on the artistic development of his younger brother Alexander, later a well-known member of the World of Art movement. So it comes as no surprise that the watercolour technique of Bee Yard is similar in method to the work of Albert Benois. However, Serebriakova’s striving for stylistic “emancipation” and more freedom in composition is already clearly seen in this touching early work.
Lot 487
Carel Weight, RA, CBE (British, 1908-1997) Greetings from the Army PR in Vienna-a Christmas card painted by Carel Weight whilst Official War Artist 1944-1945, and showing St Stephen`s Cathedral, Vienna signed lower right "Carel Weight" watercolour 16 x 20cm (6.24 x 7.80in) Weight was born in Paddington in 1908. He studied at the Hammersmith School of Art and Goldsmiths College. His first solo exhibition was held in the Cooling Gallery in 1933 and later exhibited in some major London galleries and throughout the UK. During the Second World War, Weight served with the Royal Engineers and Army Education Corps. As an Official War Artist in 1945, he worked in Austria, Greece, and Italy. In 1947, he began teaching at the Royal College of Art, and was Professor of Painting there from 1967. He retired in 1973. He was appointed a CBE in 1962 and awarded an Honorary Doctorate from Edinburgh University in 1982. His work is represented in the Tate Gallery and the Victoria and Albert Museum
Lot 29
FREDERICK GEORGE DAWTREY DREWITT (1848-1942) The Moselle Bridge at Coblenz, with pencil inscription on mount `Turner`s Coblenz copied at Brantwood 1881. F. Dawtrey Drewitt` watercolour 12 x 18 1/4in (30.5 x 46.4cm) This watercolour is a copy after Turner`s Coblenz, 1842, Wilton 1530 (Art Museum Cincinatti). That original hung at Brantwood and appears on the wall of John Ruskin`s bedroom (in which he died) in the watercolour by Arthur Severn, painted in April 1900 (versions in Ruskin Foundation and Santa Barbara Museum of Art). Dawtrey Drewitt presumably knew Ruskin well in order to have gained access to Ruskin`s Collection of Paintings. Unfortunately 1881 was a year of ill health for Ruskin and the Brantwood Diary, where a visit from Drewitt would otherwise have been recorded, doesn`t continue after February of that year. Frederick G. Dawtrey Drewitt was the biographer of Edward Jenner (the naturalist and discoverer of vaccination) and Historian of the Chelsea Physic Garden. A Pathologist by profession, Drewitt`s other interests beside painting, included Zoology and Botany. As well as being a watercolourist, he also experimented with print making. He exhibited at The Royal Academy on various occasions.
Lot 543
Mary Fedden R.A. (1915-), "Cappadocia", signed, titled on a fragmented label verso, watercolour, 13 x 19cm.; 5 x 7.5in. * Mary Fedden was in Turkey in the early 1970`s as recorded on page 92 of ‘Mary Fedden’ by Mel Gooding. The painting depicts Cappadocia on the central Anatolian Plain. As far back as 400BC, people have carved various styles of dwellings out of the soft volcanic rock to create scenes that wouldn’t look out of place in a Star Wars film. First built to hide from the Arab raids, the elaborate cave systems have continued to shelter generation after generation of persecuted settlers. The area provides a wealth of inspiration for the artist from the elaborate rock churches with Byzantine frescoes at Goreme to the intricate, if slightly creepy monastic complex at Zelve and the underground cities of Kaymakli and Derinkuyu.
Lot 548
ART. Mallalieu, H.L. The Dictionary of British Watercolour Artists up to 1920, three volumes, Antique Collectors` Club, Woodbridge 1990 / 1988 / 1990. Cloth, dustjackets, illustrations, quarto; Hardie, Martin. Water-Colour Painting in Britain, three volumes (The Eighteenth Century, The Romantic Period, The Victorian Period), Batsford, London 1969 / 1970 / 1971. Cloth, dustjackets, illustrations throughout, quarto; and Williams, Iolo Aneurin. Early English Water-Colours and some cognate drawings by artists born not later than 1785, The Connoisseur, London 1952. Ivory cloth, illustrations, quarto, (7).
Lot 768
George Fall c.1848-1925- Roman fortress wall, St Leonard`s Place, with York Cathedral in the background; watercolour, 27.8x21.7cm: European School, mid 20th century- Portrait of a clown; oil on board, signed, 38.3x28.2cm: together with one other similar painting of a clown in oils on board by the same hand, both in giltwood moulding frames: Van Hunt, late 20th/early 21st century- Still life of flowers; oil on board, signed, 23.8x19cm: together with one other painting signed `S Temple`, late 20th/early 21st century, (5) (may be subject to Droit de Suite)
Lot 95
ROWLAND & EDITH HILDER watercolour - Drakensburg Mountains, South Africa with blossom in the foreground, signed - the last painting by Rowland Hilder in collaboration with his wife Edith, see letter verso from the Edwin Pollary Gallery confirming this (Provenance: in present ownership since early 1980s when purchased from the Edwin Pollard Gallery)
Lot 433
Barbara Worth (1925-2010), ten sculptures. This collection of the work of the late Barbara Worth has been consigned for sale by her executors following her death in January 2010. It comprises 10 pieces in various styles from different stages of her career, supported by her own notes of exhibitions, lists of sculpture, photographs, press cuttings, letters and other information about her career. She was born as Barbara Wigglesworth in London in 1925 and never married, adopting the professional name of Barbara Worth. After the War she worked as a Youth Leader until taking up a place at London University and obtained a Diploma in Social Studies 1948-1952. She went to Canada 1953 -57 travelling and working in TV and Radio as well as in the Probation Service in Vancouver. She travelled extensively around the world before returning to the UK in 1958. Then she pursued her artistic training at the City & Guilds School (1958-9, Sculpture and Modelling); Hammersmith College of Art (1959-62, Sculpture and Modelling); Chelsea School of Art (1960-62, Drawing), before returning to Canada in 1962. More courses followed at the University of British Columbia (1963-4 Bachelor of Education) and Seattle University (1964, Summer School in Bronze Casting). She was sculpting and exhibiting in Canada in this period, mainly in Vancouver. She returned to London in 1964 where she remained for the rest of her life, combining increasing success with her sculpture, exhibiting at some well know galleries alongside Moore and Epstein, and taking a wide variety of jobs to support her artistic career through the 1960s - 1980s. In later life she turned increasingly to painting in watercolour and pastels, drawing inspiration from her passion for music which was reflected in her earlier abstract sculptures, and busts and drawings of well known orchestral conductors. There are a number of lists typed by the artist of her work and places exhibited, with photographs taken at the time of some of them. There is also some copy correspondence about specific commissions. The pieces offered here are: Chinese Man, on a wood base, 35cm high overall (1963?). The Parting,on a wood base, 33.5cm high overall (exhibited 49th annual exhibition of Northwest artists, Seattle, 1963). Abstract bronze, on marble base, 22.5cm long overall (1960s?). Winged Victory, bronze, 25.5cm high, and a plaster copy 1960s? Eskimo Hunter, on a wood base, 35cm high overall (1967?). Head of Girl (1970s?). Plaque of Debbie (1972?). Bronze bust of an unidentified Norwegian man, on wood base, 37cm high overall (1970s). Bust of Rudolph Kempe, on wood base, 42.5cm high overall (1974). Barbara Worth exhibited only two works with the Society of Women Artists both in 1978, no. 543 Prof. Denis Gabor, bronze (£750) and no. 544, Aram Khatchaturian, bronze (£1000)
Lot 76
An early 19th century reverse glass painting depicting a gambling man with a woman on his lap, contained in a gilt and ebonised frame, 36cm x 30cm; a reverse glass painting of the `Judgment of Paris`, unframed, 37cm x 26cm (damages); and a watercolour on paper of children playing, in an ornate gilt frame, 45cm x 63cm (3)
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11513 item(s)/page