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Live
Venue address
Dreweatts
Donnington Priory
Newbury, Berkshire
RG14 2JE
United Kingdom
Modern and Contemporary Art to include Angela Conner’s Studio Collection
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Viewing in London (highlights): Dreweatts London, 16-17 Pall Mall, St James’s, London SW1Y 5LU
24 Jun 2024 10:00 - 16:00 BST
25 Jun 2024 10:00 - 16:00 BST
26 Jun 2024 10:00 - 16:00 BST
Viewing in Newbury (full sale): see below
Auction dates
11 Jul 2024 10:30 BST
Viewing dates
06 Jul 2024 10:00 - 15:00 BST
07 Jul 2024 10:00 - 15:00 BST
08 Jul 2024 10:00 - 16:00 BST
09 Jul 2024 09:00 - 16:00 BST
10 Jul 2024 09:00 - 16:00 BST
11 Jul 2024 09:00 - 12:00 BST
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λ ALAN REYNOLDS (BRITISH 1926-2014)
STRUCTURE: RED AND GREEN
Oil on board
51 x 48cm (20 x 18¾ in.)
Painted circa 1960.
Provenance:
Thomas Agnew & Sons Ltd., London
Christened early in his career as "the golden boy of Neo-Romanticism" by Bryan Robertson,
Alan Reynolds was held in international acclaim for his beautifully executed paintings of
Kentish orchards, hop fields, grasses and teasel heads. His work was bought by the Tate
Gallery in London, the National Gallery of Victoria in Melbourne and the Fleischman
Collection in Pittsburgh. With sell out exhibitions to international institutions and respected
collectors alike it shocked the London art scene of the 1960s when Reynolds became an
abstract artist. He first exhibited his non-figurative work at the Redfern Gallery in 1960. This
transitional exhibition saw him using an earthen palette, reminiscent of his earlier landscapes
on paired down geometric forms and constructions. Although this was seen as a seismic
shift in his output, for Reynolds it was a natural progression in his oeuvre and something that
he had hinted at as far back as 1953 when he referred to painting as "a problem of solving
equations; tonal, linear, and so on. The subject or motif must be transformed and become an
organic whole. Poetry is never absent from Nature, but alone it cannot constitute a work of
art. It must be reconciled with the elements of design and composition. Laying emphasis on
the formal values in a work will therefore result in a degree of abstraction."
The present work manages to seamlessly synthesise nostalgia with contemporary doctrines
in a rare example from this period in which Reynolds first moves into abstraction
Condition Report:
There is some cracking and associated losses where the board meets the brown mount. Some light surface dirt. Ultraviolet light reveals no evidence of retouching. There is however a heavy varnish which may benefit from a light clean.
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1,500 - 2,500 GBP
λ  SIR TERRY FROST (BRITISH 1915-2003) VALENTINE-PURPLES AND BLUES Collage and acrylic Signed and dated 99 (lower right); further signed, dated 99 and dedicated (verso) 32 x 31cm (12½ x 12 in.)
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λ SIR TERRY FROST (BRITISH 1915-2003)
PINK DELIGHT
Collage and acrylic
Signed, titled, dedicated and dated 01 (verso)
37 x 26cm (14½ x 10 in.)
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λ SIR TERRY FROST (BRITISH 1915-2003)
THREE GRACES
Collage
Signed and dated 85 (lower right); further signed, titled and dated 1985 (verso)
20 x 20cm (7¾ x 7¾ in.)
Provenance:
Acquired directly from the artist by the present owner
Literature:
Mel Gooding, Terry Frost: Act & Image - Works on Paper Through Six Decades , 2000 (illustrated pl. 106)
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λ KENNETH ARMITAGE (BRITISH 1916-2002)
SELF PORTRAIT
Watercolour, gouache and black crayon
Signed and dated 1991 (lower centre)
24.5 x 24.5cm (9½ x 9½ in.)
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λ SVEN BERLIN (BRITISH 1911-1999)
SELF-PORTRAIT WITH CONSTRUCTION
Pencil
Signed, titled and dated 42 (lower right)
37 x 27.5cm (14½ x 10¾ in.), shaped
Provenance:
Belgrave Gallery, London
Exhibited:
St. Ives, Tate, The Dark Monarch - Magic & Modernity in British Art , October 2009-January 2010
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λ SVEN BERLIN (BRITISH 1911-1999)
HEAD OF A MAN
Alabaster
Signed with monogram and dated 57 (on underside)
12cm (4½in.) height (excluding base)
Executed in 1957.
Provenance:
Alma Berlin, the artist's sister
Julia Berlin, the artist's widow
Acquired from the above by the present owner
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λ SVEN BERLIN (BRITISH 1911-1999)
HEAD OF A WOMAN
Oil on board
With studio stamp (verso)
51 x 40.5cm (20 x 15¾ in.)
Provenance:
The Artist's Estate
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λ SVEN BERLIN (BRITISH 1911-1999)
BLACK SEA BIRD
Oil on board
With studio stamp (verso)
30.5 x 40.5cm (12 x 15¾ in.)
Provenance:
The Artist's Estate
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λ SVEN BERLIN (BRITISH 1911-1999)
SELF-PORTRAIT IN FUR HAT
Oil on board
Signed (lower right)
61 x 51cm (24 x 20 in.)
Provenance:
The Artist's Estate
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λ SVEN BERLIN (BRITISH 1911-1999)
FOR CARVING OF MAN, WOMAN & CHILD, PREPARATORY STUDY
Pen, ink and wash
Signed and dated 47 (lower right), titled For carving of man, woman & child (lower centre)
23 x 29cm (9 x 11¼ in.)
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λ DORIS VAUGHAN (BRITISH 1894-1975)
THE SHIP INN, MOUSEHOLE
Watercolour
Signed (lower left)
34 x 49cm (13¼ x 19¼ in.)
Exhibited:
London, Belgrave Gallery, Doris Vaughan & Colin Sealy , 1977, ex-cat
Condition Report:
Unexamined out of glazed frame. Light fading to the sheet, visible mostly to the pub where the sheet is bare. Otherwise no obvious significant condition issues.
Condition Report Disclaimer
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λ  JOHN RATTENBURY SKEAPING (BRITISH 1901-1980) HORSEMAN Ink Signed and dated 36 (lower right) 36.5 x 30.5cm (14¼ x 12 in.)
Provenance: Arthur Tooth & Sons., London
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λ ERIC WARD (BRITISH B. 1945)
LOTUS AT SALCOMBE
Oil on canvas
Signed (lower right)
41 x 35.5cm (16 x 13¾ in.)
Literature:
E. Ward , Eric Ward's St. Ives from his Studio & Beyond , 2003 (illustrated p. 47)
Condition Report:
Appears to be in good original condition.
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λ COLIN SEALY (BRITISH 1891-1964)
VILLAGE AND BOATS
Watercolour and charcoal
Signed (lower right)
30.5 x 40.7cm (12 x 16 in.)
Exhibited:
London, Belgrave Gallery, Doris Vaughan & Colin Sealy , 1977, no. 22 (illustrated p. 8)
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1,500 - 2,500 GBP
λ CHRISTOPHER WOOD (BRITISH 1901-1930)
FIGURE IN A STREET
Pencil
29.5 x 36cm (11½ x 14 in.)
Condition Report:
Unexamined out of glazed frame.
Light discolouration to the sheet throughout. A very small tear circa. 2mm to the centre of the upper edge with associated rucking. Otherwise appears to be in good original condition.
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1,000 - 1,500 GBP
λ PIERRE BITTAR (FRENCH B. 1934)
PROMENADE A CROISSEY
Oil on canvas
Signed (lower left)
54 x 65cm (21¼ x 25½ in.)
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JEAN-EUGÈNE CLARY (FRENCH 1856-1929)
THE GREAT BRIDGE, ROUEN
Signed (lower left)
Oil on canvas
61 x 100.5cm (24 x 39½ in.)
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λ ANDERS OSTERLIND (FRENCH 1887-1960)
BORD DE LA RIVIERE
Signed (lower right)
Oil on canvas
64 x 79cm (25 x 31 in.)
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3,000 - 5,000 GBP
λ MARCEL DYF (FRENCH 1899-1985)
PIVOINES
Oil on canvas
Signed (lower left)
65 x 54cm (25½ x 21¼ in.)
Provenance:
Frost & Reed, London, no. 24335
We are grateful to Claudine Dyf for her assistance in cataloguing the present work.
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3,000 - 5,000 GBP
λ  JEAN COCTEAU (FRENCH 1889-1963) LE THÉÂTRE ANTIQUE Earthenware plate Signed (to lower edge); further signed, inscribed and numbered Edition originale de/Jean Cocteau/Atelier Madeline Jolly/ 34/40 (to underside) Diameter: 36.5cm (14¼in.)
Conceived in 1962 and executed in an edition of 40.
Provenance: From a Private Collection
Literature: Annie Guedras, Jean Cocteau Ceramiques , Paris, 1989, no. 136
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4,000 - 6,000 GBP
λ YVONNE CANU (FRENCH 1921-2008)
PREPARATIONS AUX REGATES
Oil on canvas
Signed (lower right); titled and inscribed with inventory number 793 (verso)
36 x 42.5cm (14 x 16½ in.)
Exhibited:
New York, Wally Findlay Gallery, 1983
Condition Report:
The canvas is not relined. There is no evidence of retouching visible under ultraviolet light. In good original condition.
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15,000 - 25,000 GBP
λ JEAN DUFY (FRENCH 1888-1964)
L'ARC DE TRIOMPHE DU CARROUSEL
Gouache and watercolour
Signed (lower right)
45 x 63.5cm (17½ x 25 in.)
Provenance:
Sale, Sotheby's, 22 October 1986, lot 61
Literature:
Jacques Bailly, Jean Dufy: Catalogue raisonné de l'oeuvre , Paris, 2002, vol. 1, p. 188, no. J.242 illus.
Condition Report:
Unexamined out of glazed frame. Very slight rippling to the sheet but hardly noticeable. Two small tears to centre of right edge. Colour is good with some possible very light discolouration to the sky. Overall good original condition.
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6,000 - 8,000 GBP
λ LUCY KEMP WELCH (BRITISH 1869-1958)
GETTING IN THE HARVEST
Oil on board
Signed with initials (lower left); further signed, titled and dated July 1938 (to artist's label verso)
59 x 42.5cm (23 x 16½ in.)
Provenance:
Sale, Christie's, London, 7 November 1991, lot 70
Condition Report:
Framed under glass. No evidence of retouching visible under ultraviolet light. The work appears to be in good original condition.
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4,000 - 6,000 GBP
λ CAMPBELL ARCHIBALD MELLON (BRITISH 1876-1955)
SYMONDS YAT
Oil on board
Signed (lower left)
22.9 x 30.5cm (9 x 12 in.)
Provenance:
Private collection, Gorleston (acquired directly from the artist )
Sale, Bonhams, Knightsbridge, 12 May 2020, lot 104
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3,000 - 5,000 GBP
λ EDWARD SEAGO (BRITISH 1910-1974)
A GREY DAY ON THE COLNE
Watercolour
Signed (lower left)
27 x 38cm (10½ x 14¾ in.)
Provenance:
P.&D. Colnaghi & Co. Ltd., London
John Noott Galleries, Broadway
Exhibited:
Broadway, John Noott Galleries, 3rd Biennial Exhibition of the work of Edward Seago , December 1995, no.1
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λ CAMPBELL ARCHIBALD MELLON (BRITISH 1876-1955)
BELTON COMMON, SUFFOLK
Oil on canvas
Signed (lower right)
30.5 x 41cm (12 x 16 in.)
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30,000 - 40,000 GBP
EUG Ė NE BOUDIN (FRENCH 1824-1898)
TROUVILLE, LE PORT, LE MATIN
Oil on canvas
Signed (lower left)
32 x 46cm (12½ x 18 in.)
Painted in 1881.
Provenance:
Cyrus J. Lawrence, New York
Galeries Durand-Ruel, New York (acquired from the above, 16 April 1895)
A.A. Crosby, New York (acquired from the above, 27 January 1904)
Galeries Durand-Ruel, New York (acquired from the above, 5 January 1905)
M. Henkel, New York (acquired from the above, 27 December 1905)
Galeries Durand-Ruel, New York (acquired from the above, 15 August 1906)
Coudray, Paris (his sale, H ôtel Druout, Paris, 12 June 1908, lot 7)
Max L évy, Paris (acquired at the above sale)
Sale, Sotheby's, London, 1 st July 1964, lot 67
Acquired from the above by the present owner
Literature:
Robert Schmit, Eug è ne Boudin 1824-1898 , Paris, 1973, vol. II, no. 1542 (illustrated in black and white)
This work is recorded in the Archives Eug è ne Boudin at Galerie Brame & Lorenceau.
The Normandy coast was a favourite subject matter of Eugene Boudin. Having grown up in Honfleur and then Le Havre, he was familiar with the many seaside towns which became increasingly popular with fashionable Parisians wanting to escape the crowded city. Boudin's first depictions of Trouville date from the early 1860s. Encouraged by his friend Johan Barthold Jongkind, he is one of the first artists to practice plein air painting and is credited by his life-long friend, Claude Monet, as being instrumental in his early development as an artist.
The present work, painted in 1881, typifies Boudin's approach to landscape painting with its quintessential brooding skies filled with energy and movement. An excerpt from his diary in 1856, demonstrates that, even as a young artist honing his craft, the sky was paramount to his art.
'To swim in the open sky. To achieve the tenderness of clouds. To suspend these masses in the distance, very far away in the grey mist, make the blue explode. I feel all this coming, dawning in my intentions. What joy and what torment!'
Corot was so impressed with Boudin's ability to depict the sky that he called him 'King of the Skies'. His preoccupation with the sky meant that, as with the current work, it frequently occupied more than half the composition. In referencing the time of day in the title of the work, Boudin reveals his enduring interest in the subtleties of light and weather at different times of the day and in different seasons, often noting exact atmospheric conditions at the time of painting.
Unlike Boudin's many depictions of Trouville as a fashionable resort, the present work belongs to a body of work that focusses on the port, devoid of the groups of stylish visitors that are frequently at the centre of the artist's work. Instead Trouville, Le Port, Le Matin is an exemplary study of the play of light through the clouds onto the water, an example of Boudin's mature impressionistic style.
Condition Report:
A very small loss to the extreme left lower corner. Very light surface dirt throughout. Inspection under UV reveals some very light retouching to the extreme right edge. Overall in good original condition.
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3,000 - 5,000 GBP
λ ALFRED REGINALD THOMSON (BRITISH 1894-1979)
A COSTER AND HIS DINAH
Oil on canvas
Signed (upper right)
51 x 61.5cm (20 x 24 in.)
Painted in 1923.
Provenance:
Sir William Orpen, Private Collection by 1934
Francis Howard, Private Collection
Sale, Christie's, 25 November 1955, lot 194
Sale, Christie's, 11 July 1974, lot 164
Leva Gallery, London
Exhibited:
London, Royal Academy, 1923, no. 646 (as 'Lady and Gentleman')
Vienna, Galleries of the Secession, 1927, Exhibition of British Art (as 'Portrait of a Lady and a Gentleman')
Literature:
'The Artist', Vol 23, June 1942, 'A. R. Thomson R.A. by F.G.Mories, pp. 91-93 (illustrated p. 91 as 'Lady and Gentleman')
Condition Report:
The canvas is relined. Ultraviolet light reveals scattered retouching throughout, but in overall good restored condition.
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AFTER PHILIP WILSON STEER
SEATED NUDE: THE BLACK HAT
Oil on board
Indistinctly signed (lower centre)
43 x 34cm (16¾ x 13¼ in.)
Seated Nude: The Black Hat was painted by Philip Wilson Steer around 1900. The work was presented by the Contemporary Art Society to the Tate in 1941, chosen directly from the artist's studio by Sir John Rothenstein. The present lot was possibly sketched on site after the work was put on display at the gallery.
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6,000 - 8,000 GBP
PHILIP WILSON STEER (BRITISH 1860-1942)
STRAND-ON-THE-GREEN
Oil on panel
Stamped with initials (lower left)
20.5 x 27cm (8 x 10½ in.)
Painted in 1893.
Provenance:
Sale, Christie's, The Artist's Studio Sale , 16-17 July, 1942, lot 192
J.S. Wright, Esq., Private Collection
J. Leger & Son, London (1958)
The Maas Gallery, London
Hazlitt, Gooden & Fox, London
The Hon. Mrs. E.A. Wallace, Private Collection
Sale, Christie's, London, 8 November 1990, lot 19
Agnew's, London
From a Private Collection (purchased from the above in June 1992)
Exhibited:
London, Goupil Gallery, Catalogue of a Collection of Paintings by P. Wilson Steer , February, 1894, no. 9
Leeds, Leeds City Art Gallery, Philip Wilson Steer O.M 1860-1942, Leeds, 29 March - 14 May 1944, no. 16
Literature:
D.S. MacColl, Life Work and Setting of Philip Wilson Steer, London, 1945, p. 194
Bruce Laughton, Philip Wilson Steer 1860-1942 , Oxford, 1971, p. 134, no. 134
Leeds City Art Gallery Exhibition Catalogue, Philip Wilson Steer O.M 1860-1942, Leeds, 29 March - 14 May 1944, p. 7, no. 16
Condition Report:
There are two vertical scratches to the centre left, one in the sky and one in the water. No evidence of retouching visible under ultraviolet light.
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40,000 - 60,000 GBP
WALTER RICHARD SICKERT (BRITISH 1860-1942)
MAISON À VENDRE, DIEPPE
Oil on board
Signed (lower left)
24 x 23cm (9¼ x 9 in.)
Painted circa 1885.
Provenance:
Private Collection, Sir Cyril and Lady Kleinwort
Sale, Sotheby's, London, Sir Cyril & Lady Kleinwort Sale , 10 November 1976, lot 26
From a Private Collection
Exhibited:
London, Leicester Galleries, 1929, no. 43
London, Redfern Gallery, 1937, no. 1
London, Agnews, Centenary Exhibition , 1960 no. 68 (lent by Mrs Cyril Kleinwort)
Eastbourne, Towner Art Gallery, Sickert in Dieppe , May-July 1975, no. 8 (lent by Lady Kleinwort)
Literature:
Wendy Baron, Sickert , London, 1973, p. 301, no. 30/2
Wendy Baron, Sickert Paintings & Drawings , London, 2006, p.161, no.38.2 (illustrated)
Condition Report:
In good original condition. No evidence of retouching visible under ultraviolet light.
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100,000 - 150,000 GBP
WALTER RICHARD SICKERT (BRITISH 1860-1942)
THE RIALTO BRIDGE
Oil on canvas
Signed (lower left)
65.5 x 49.5cm (25¾ x 19¼ in.)
Painted circa 1901.
Provenance:
Gaston Bernheim, Paris
Jacques Rodriguez-Henriques, Paris
Sale, Sotheby's, London, 1 May 1991, lot 15
Acquired from the above sale by the present owner
Literature :
Wendy Baron, Sickert Paintings & Drawings , New Haven and London, 2006, p. 263, no. 165 (illustrated)
Sickert first visited Venice in 1894 with his wife Ellen. Although there is no record of him painting during this brief stay, he was known to have referred to it as "the loveliest city in the world" and it undoubtedly enthralled him as he was to return for more extended visits, inspiring him to paint some of his most important and critically acclaimed works.
In May 1896 Sickert returned to Venice and took as his studio a flat at 940 Calle dei Frati, keeping it for all his subsequent visits. A few minutes' walk to the Accademia and Grand Canal, just north of the Zattere, Sickert visited and painted the famous buildings and sites of Venice, returning to the same spot on numerous occasions to repeat the process at different times of the day.
Indeed, repetition was a key feature of Sickert's work in general but notably in his views of Venice and Dieppe. In Venice, he painted version after version of the façade and piazza at San Marco, the Santa Maria della Salute, the Rialto Bridge and the Scuola di San Marco. His dedication to revisiting the same locations echoes the architectural series of works produced by the Impressionists and, in particular bear comparison with Monet's series of paintings of Rouen Cathedral. However, unlike the Impressionists, he was not overly interested in recording the passing of time and light on his subject matter but rather "to disentangle from nature the illumination that brings out most clearly the character of each scene." (W. Sickert, French Pictures, Knoedler's Gallery, Burlington Magazine, July 1923, pp.39-40).
Consequently, Sickert's paintings were frequently executed in his studio from drawings and small oil sketches. He showed scant interest in the effect of changing atmospheric conditions. Instead, he used this repetition to explore variations in colour and tone, experimenting with the handling of paint and the different emotional responses that these variations provoked.
The most important of these were a small number of pictures depicting Venice at nightfall. These are reminiscent of the works of his earlier teacher, James McNeill Whistler, who famously painted London and Venice at night, referring to them as Nocturnes or Symphonies. Whistler used musical terms in the title in order to appeal directly to the viewer's senses without the need for narrative or subject. This synthesis of individual artistic disciplines appealed to a deeper, more visceral emotion than mere aesthetics. Although Sickert does not use the same language as his master the intent is very similar.
In the present work Sickert depicts the unmistakable site of the Rialto Bridge from the Grand Canal, however he is not exploring Canalettos's topographical splendour or indeed Monet's fleeting light dancing on the water and reflecting on the Palazzos; he is appealing directly to the viewer's senses. Through the carefully chosen colours and tones, he creates a deep emotional response that transcends the obvious beauty of the subject and in turn impels the viewer to look beyond the subject and reflect on his own personal reaction to the painting.
It is not Sickert recording his experience before the subject, but rather it is the experience of standing before the painting itself and it is this that makes this work as contemporary today as it was when it was painted over 100 years ago in "the loveliest city in the world."
Condition Report:
Examined under ultra violet light there are two spots of retouching to the sky. The canvas has been strip lined in order to secure the canvas edge to the original stretcher.
Subject to the above the painting appears to be in excellent condition.
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15,000 - 25,000 GBP
WALTER RICHARD SICKERT (BRITISH 1860-1942)
SANTA MARIA DELLA SALUTE
Pencil, charcoal and watercolour
Signed (lower right) and titled (lower left)
61.5 x 48cm (24 x 18¾ in.)
Provenance:
Ernest Brown & Phillips, The Leicester Galleries, London
Private Collection, J.W. Freshfield and by descent to his niece Mrs P.M. Rouse
Sale, Christie's, London, 11 June 1976, lot 23
Private Collection, Berkshire
Exhibited:
London, The Leicester Galleries, Drawings by Richard Sickert , July 1932, no. 54,
illustrated in the exhibition catalogue (lent by J. W. Freshfield)
London, The Arts Council of Great Britain, Drawings of the Camden Town Group ,
1961, no. 95 (lent by Mrs P. M. Rouse)
Literature:
Wendy Baron, Sickert , London, 1973, cat. 134
Wendy Baron, Sickert Paintings and Drawings , New Haven & London, 2006, p. 269, no. 168.6
Condition Report:
Please refer to the department for a restorer's report on this lot.
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WALTER RICHARD SICKERT (BRITISH 1860-1942)
THE MEWS, 15 FITZROY STREET
Pen and ink
Signed and titled (to lower edge)
24 x 20cm (9¼ x 7¾ in.)
Provenance:
Thomas Agnew & Sons Ltd., London
H. Redman, Esq., Private Collection (acquired from the above, 15 September 1960)
In 1916, Sickert rented a studio at 15 Fitzroy Street in addition to Whistler's former studio across the street at number 8.
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λ JOHN DUNCAN FERGUSSON (SCOTTISH 1874-1961)
FIGURES AT A BAR
Black crayon
20 x 12cm (7¾ x 4½ in.)
Provenance:
Direct from the artist
Thence by descent to Margaret Morris
Private Collection
Condition Report:
Unexamined out of glazed frame. Very light discolouration to the upper edge of the sheet. Otherwise appears to be in good original condition.
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λ JOHN DUNCAN FERGUSSON (SCOTTISH 1874-1961)
LADY IN A HAT
Black crayon
20 x 12cm (7¾ x 4½ in.)
Provenance:
Direct from the artist
Thence by descent to Margaret Morris
Private Collection
Condition Report:
Unexamined out of glazed frame. Appears to be in good original condition.
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10,000 - 15,000 GBP
DERWENT LEES (AUSTRALIAN 1884-1931)
A TREE AMONGST DUNES
Oil on panel
Signed and dated 1911 (lower right)
25.5 x 35cm (10 x 13¾ in.)
Provenance:
Sale, Sotheby's, London, 11 December 1968, lot 257
From a Private Collection
To be included in the forthcoming Derwent Lees Catalogue Raisonne by Lynn Davies, currently being prepared by Lund Humphries, for publication 2025.
Born in Tasmania, Australia, Lees moved to London in 1905 and studied at the Slade School of Fine Art with Henry Tonks and Frederick Brown. After completing his studies, he stayed on to teach for a decade, working on and off whilst his artistic career took off, with works exhibited at the Goupil Galleries and the Chenil Gallery, Chelsea, in 1914.
Between 1910 and 1912, Lees spent most of his time painting with artists and friends Augustus John, Ambrose McEvoy, and James Dickson Innes in North Wales and Spain. During the winter months, they would go to Collioure, a small fishing village on the Mediterranean in the south of France, a hub for artists in the early twentieth century, popular with Picasso, Matisse, Derain, and Braque. There, Lees was the only Australian artist introduced to Fauvism, subsequently completing a series of vivid landscapes. Some of his works from this time can now be found in the Tate Gallery, London.
In 1913, Lees married Edith, known at Lyndra, who frequently modelled for John but then became the subject in Lee's own works. Specifically, she featured in a series of works completed in Aldbourne, Wilshire, which depict her amongst nature. In the same year, three of his paintings exhibited internationally as the only Australian artist represented at The Armory Show, which sold out in New York, Chicago, and Boston.
His artistic career was cut short due to mental health problems, which sent him to hospital in Surrey until his death in 1931. But this did not limit the success of his works. During this time, the Redfern gallery held a retrospective exhibition, with Leeds and Manchester Galleries purchasing his works. Currently, his works are owned by many public collections, including the National Gallery Australia, The Glynn Vivian Art Gallery in Wales, and the National Gallery of Victoria in Melbourne.
Condition Report:
In good original condition, no evidence of retouching visible under ultraviolet light. Some surface dirt and would benefit from a light clean.
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12,000 - 18,000 GBP
DERWENT LEES (AUSTRALIAN 1884-1931)
COLLIOURE
Oil on panel
Signed and dated 12 (lower right)
25 x 35.5cm (9¾ x 13¾ in.)
Provenance:
Redfern Gallery, London
Thomas Agnew & Sons Ltd., London
From a Private Collection
To be included in the forthcoming Derwent Lees Catalogue Raisonne by Lynn Davies, currently being prepared by Lund Humphries, for publication 2025.
Exhibited:
Sherborne, Sherborne House, Going Modern - Being British , 2004, cat. no. 26
Born in Tasmania, Australia, Lees moved to London in 1905 and studied at the Slade School of Fine Art with Henry Tonks and Frederick Brown. After completing his studies, he stayed on to teach for a decade, working on and off whilst his artistic career took off, with works exhibited at the Goupil Galleries and the Chenil Gallery, Chelsea, in 1914.
Between 1910 and 1912, Lees spent most of his time painting with artists and friends Augustus John, Ambrose McEvoy, and James Dickson Innes in North Wales and Spain. During the winter months, they would go to Collioure, a small fishing village on the Mediterranean in the south of France, a hub for artists in the early twentieth century, popular with Picasso, Matisse, Derain, and Braque. There, Lees was the only Australian artist introduced to Fauvism, subsequently completing a series of vivid landscapes. Some of his works from this time can now be found in the Tate Gallery, London.
In 1913, Lees married Edith, known at Lyndra, who frequently modelled for John but then became the subject in Lee's own works. Specifically, she featured in a series of works completed in Aldbourne, Wilshire, which depict her amongst nature. In the same year, three of his paintings exhibited internationally as the only Australian artist represented at The Armory Show, which sold out in New York, Chicago, and Boston.
His artistic career was cut short due to mental health problems, which sent him to hospital in Surrey until his death in 1931. But this did not limit the success of his works. During this time, the Redfern gallery held a retrospective exhibition, with Leeds and Manchester Galleries purchasing his works. Currently, his works are owned by many public collections, including the National Gallery Australia, The Glynn Vivian Art Gallery in Wales, and the National Gallery of Victoria in Melbourne.
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8,000 - 12,000 GBP
DERWENT LEES (AUSTRALIAN 1884-1931)
ALDBOURNE, WILTSHIRE
Oil on panel
Signed (lower left)
40 x 51cm (15½ x 20 in.)
Painted circa 1910.
Provenance:
The Redfern Gallery, London
Private Collection, Lord Ivor Spencer-Churchill (acquired from the above on 7 April 1930)
Thomas Agnew & Sons Ltd., London
From a Private Collection
To be included in the forthcoming Derwent Lees Catalogue Raisonne by Lynn Davies, currently being prepared by Lund Humphries, for publication 2025.
Born in Tasmania, Australia, Lees moved to London in 1905 and studied at the Slade School of Fine Art with Henry Tonks and Frederick Brown. After completing his studies, he stayed on to teach for a decade, working on and off whilst his artistic career took off, with works exhibited at the Goupil Galleries and the Chenil Gallery, Chelsea, in 1914.
Between 1910 and 1912, Lees spent most of his time painting with artists and friends Augustus John, Ambrose McEvoy, and James Dickson Innes in North Wales and Spain. During the winter months, they would go to Collioure, a small fishing village on the Mediterranean in the south of France, a hub for artists in the early twentieth century, popular with Picasso, Matisse, Derain, and Braque. There, Lees was the only Australian artist introduced to Fauvism, subsequently completing a series of vivid landscapes. Some of his works from this time can now be found in the Tate Gallery, London.
In 1913, Lees married Edith, known at Lyndra, who frequently modelled for John but then became the subject in Lee's own works. Specifically, she featured in a series of works completed in Aldbourne, Wilshire, which depict her amongst nature. In the same year, three of his paintings exhibited internationally as the only Australian artist represented at The Amory Show, which sold out in New York, Chicago, and Boston.
His artistic career was cut short due to mental health problems, which sent him to hospital in Surrey until his death in 1931. But this did not limit the success of his works. During this time, the Redfern gallery held a retrospective exhibition, with Leeds and Manchester Galleries purchasing his works. Currently, his works are owned by many public collections, including the National Gallery Australia, The Glynn Vivian Art Gallery in Wales, and the National Gallery of Victoria in Melbourne.
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10,000 - 15,000 GBP
DERWENT LEES (AUSTRALIAN 1884-1931)
MOUNTAIN LANDSCAPE
Oil on panel
25 x 35.5cm (9¾ x 13¾ in.)
Provenance:
Private Collection, Arthur Crossland
Sale, Sotheby's, London, 11 December 1968, lot 258
From a Private Collection
To be included in the forthcoming Derwent Lees Catalogue Raisonne by Lynn Davies, currently being prepared by Lund Humphries, for publication 2025.
Born in Tasmania, Australia, Lees moved to London in 1905 and studied at the Slade School of Fine Art with Henry Tonks and Frederick Brown. After completing his studies, he stayed on to teach for a decade, working on and off whilst his artistic career took off, with works exhibited at the Goupil Galleries and the Chenil Gallery, Chelsea, in 1914.
Between 1910 and 1912, Lees spent most of his time painting with artists and friends Augustus John, Ambrose McEvoy, and James Dickson Innes in North Wales and Spain. During the winter months, they would go to Collioure, a small fishing village on the Mediterranean in the south of France, a hub for artists in the early twentieth century, popular with Picasso, Matisse, Derain, and Braque. There, Lees was the only Australian artist introduced to Fauvism, subsequently completing a series of vivid landscapes. Some of his works from this time can now be found in the Tate Gallery, London.
In 1913, Lees married Edith, known at Lyndra, who frequently modelled for John but then became the subject in Lee's own works. Specifically, she featured in a series of works completed in Aldbourne, Wilshire, which depict her amongst nature. In the same year, three of his paintings exhibited internationally as the only Australian artist represented at The Amory Show, which sold out in New York, Chicago, and Boston.
His artistic career was cut short due to mental health problems, which sent him to hospital in Surrey until his death in 1931. But this did not limit the success of his works. During this time, the Redfern gallery held a retrospective exhibition, with Leeds and Manchester Galleries purchasing his works. Currently, his works are owned by many public collections, including the National Gallery Australia, The Glynn Vivian Art Gallery in Wales, and the National Gallery of Victoria in Melbourne.
Condition Report:
The paint surface is dirty and would benefit from a clean. Ultraviolet light reveals scattered retouching throughout.
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18,000 - 25,000 GBP
λ JOHN NASH (BRITISH 1893-1977)
WOODED LANDSCAPE WITH A ROAD
Pencil, watercolour, pen and black ink
Signed and dated 1919 (lower left)
34 x 34cm (13¼ x 13¼ in.)
Provenance:
From a Private Collection
After the harrowing experience of the war years, Nash was keen to return to civilian life and re-engage with depicting the English landscape. In the summer of 1919 he and his new wife, Christine, spent time at Whiteleaf, Princes Risborough, where the present work is likely to have been painted. John's brother Paul, a constant painting companion throughout his life, also joined him there for several weeks in July. It was the beginning of enduring relationship with the Buckinghamshire landscape with the Nashes settling near Aylesbury in 1922. Nash frequently painted the surrounding landscape and Chiltern hills. It was a pivotal time in Nash's life with both he and his brother steadily establishing themselves as leading artists of the day. John had his first solo show at the Goupil Gallery in 1921 with an exhibition that totalled an impressive ninety works. At this time, John and Paul's work could scarcely be differentiated and although it was Paul who would go on to garner the greatest critical acclaim, John's work has always had a significant place in the portrayal of rural England. In his book Modern Masterpieces: An Outline of Modern Art (1940), critic Frank Rutter enthused: "John Nash has developed his unique aesthetic viewpoint and distinctive technical method steadily and logically until he has become one of the most sensitive and beautiful landscape painters of our time".
Condition Report:
Unexamined out of glazed frame. The sheet is laid down throughout to a cream paper mount. There is glue residue visible, most notable to the upper left and right corners. There is light undulation to the sheet throughout. There are pinholes to the four corners with an associated tear to the lower right corner with some possible retouching. There is a horizontal line of line staining to the upper edge and the upper section of the right edge. There is an additional pinhole to the lower right quadrant approximately 5cm from the lower edge.
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λ DAVID BOMBERG (BRITISH 1890-1957)
PALESTINE, HILLS OF JUDEA
Oil on tracing paper
Bears inscription and titled (lower right)
39 x 50cm (15¼ x 19½ in.)
Executed in 1923.
Provenance:
Marlborough Fine Art Ltd., London
Please Note: The work is oil on tracing paper.
Condition Report:
Examined out of glazed frame. The work is executed on tracing paper with a second layer of tracing paper applied on top. This technique has caused creasing and rucking to the sheets. There are scattered areas of pooling of paint as a result of the top layer of tracing paper being laid down. Creasing and losses to the upper left and right corners (underneath the mount). Conservation tape attached to the upper right corner. Pinholes to the bottom left and bottom right corners. The work bears an inscription to the lower edge (underneath mount) which reads 'Palestine, Hills of Judea, By David Bomberg. David Bomberg.'
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λ ANTHONY WHISHAW (BRITISH B. 1930)
A SPANISH HILLTOWN
Oil on board
Signed (lower right) further signed (verso)
91 x 138cm (35¾ x 54¼ in.)
Painted circa. 1963.
The work is most likely a view of Mijas Peublo in Southern Spain where Anthony and his wife lived for many years.
British artist Anthony Whishaw is celebrated for his exploration of memory and personal experience, whilst experimenting with abstraction to manipulate visual perception within his work. Going against representational imagery in favour of a language of pure form and colour, Whishaw's art blends the real with the imagined, straddling abstraction and the figurative. By blending various techniques, from both past and present pictorial languages, Wilshaw creates a visual experience that is both unexpected and thought-provoking.
Having graduated from the Chelsea School of Art in 1958, Whishaw went on to study at the Royal College of Art, London, from 1952 until 1955, working alongside other notable artists such as Frank Auerbach, Bridget Riley and Joe Tilson, amongst others. Since then, Whishaw has had regular exhibitions at Roland Browse and Delbanco, London, and has had numerous solo shows at the ICA, London (1971), the Oxford Gallery (1978), and Kettle's Yard, Cambridge (1982). He has won countless awards for his work, including the John Moores Minor Painting Prize (1982) and in 1989, he was elected as a Royal Academician.
The present lot titled A Spanish Hill Town was likely painted in Mijas Peublo in Southern Spain, where Whishaw lived with his wife for many years, and produced a collection of works depicting the village and surrounding landscapes. Through his use of line, shape, and texture, Whishaw creates a composition with spatial depth, transporting the viewer to the Spanish hill town. Whishaw's exploration of form is equally dynamic, with geometric shapes, organic motifs, and abstract gestures working together to create complex and visually compelling compositions.
Currently on view at The Royal Academy is an exhibition titled Anthony Whishaw RA: Memories and Experience, bringing together seven decades worth of work covering themes that have fascinated the artist: movement, nature, figures, and the illusion of space.
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8,000 - 12,000 GBP
λ JOHN NASH (BRITISH 1893-1977)
FARMYARD SCENE
Pencil and watercolour
Signed (lower left)
31 x 38.5cm (12 x 15 in.)
Provenance:
Sale, Christie's, 19 December 1972, lot 47
Acquired from the above by the present owner
From a Private Collection
Condition Report:
Some very light foxing throughout the sheet, but otherwise, the sheet appears to be in good original condition. Under glass and unexamined out of frame.
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8,000 - 12,000 GBP
λ DUNCAN GRANT (BRITISH 1885-1978)
STILL LIFE WITH JUG
Oil on panel
Signed with initials (upper right)
26.5 x 19cm (10¼ x 7¼ in.)
Provenance:
Belgrave Gallery, London
Painted in Grant's studio at Charleston, the Italian jug is seen on the mantel shelf, viewed from below.
The work shows the decorated mantel from the studio of Duncan Grant & Vanessa Bell at Charleston Farmhouse in East Sussex. The ceramic is very similar to the work sold by Dreweatts in October 2023, Vanessa Bell's Still Life of Narcissi which was also perched on the corner of the mantelpiece, from the collection of Robert Kime.
We are grateful to Richard Shone for his kind assistance in cataloguing this lot.
Condition Report:
There is a fine vertical line of craquelure running through the cream jug and fireplace, approximately 15cm long. There is a crack to the panel running vertically top to bottom through the handle of the jug. Associated retouching is visible in natural light. Some light rubbing to the extreme edges with a small loss to the lower section of the left edge. Inspection under UV reveals a thick layer of varnish and retouching to the aforementioned long vertical crack.
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4,000 - 6,000 GBP
λ CLAUDE ROGERS (BRITISH 1907-1979)
SELF PORTRAIT
Oil on canvas
Signed and dated 37 (upper right)
80.5 x 46cm (31½ x 18 in.)
Provenance:
The Artist's Estate
Acquired from the above by the present owner
Exhibited:
London, New Burlington Galleries, London Group, 37 th Exhibition of Painting & Sculpture, 1938, no. 118
Sudbury, Gainsborough House, Claude Rogers 1907-79 , October-November 1985, no. 4 London, Ben Uri Art Gallery, Claude Rogers: Paintings and Drawings , November-December 1992, no. 9
London, Belgrave Gallery, Claud e Rogers and Elsie Few , 2002 (illustrated on the cover of exhibition catalogue)
London, Ben Uri Gallery, Uproar! The first 50 Years of The London Group 1913-63, 2013-14, no. 37
Literature:
Philip Vann, Face to Face - British Self-Portraits in the 20 th Century, 2004 (illustrated p. 160)
S. Macdougall & R. Dickson (eds), Uproar! The First 50 Years of The London Group 1913-63 (illustrated p. 142)
The 1992 Ben Uri exhibition catalogue notes that the picture was painted at Rodwell House, Baylham, Suffolk, while Rogers was staying with Helen Anrep and recovering from pneumonia.
Condition Report:
The canvas is not relined. There is some light surface dirt, but otherwise, in generally good condition. No evidence of retouching visible under ultraviolet light.
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λ ARNOLD AUERBACH (BRITISH 1898-1978)
DIAMOND WEDDING
Oil on canvas
Signed and dated 43 (upper right)
51 x 61cm (20 x 24 in.)
Provenance:
Sale, Phillips, London, Arnold Auerbach Studio Sale , 29 October 1979, lot 58
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λ HENRY INLANDER (BRITISH 1925-1983)
SELF PORTRAIT
Oil on canvas-board
Signed and dated 43 (lower right); titled and inscribed (verso)
35 x 25.5cm (13¾ x 10 in.)
Provenance:
Antonia Inlander, the artist's widow
Wenlock Fine Art, Much Wenlock
Exhibited:
London, Belgrave Gallery, December Exhibition, 2004, no. 33 (illustrated in catalogue p. 14)
London, Ben Uri Gallery, The Forced Journey: Artists in Exile in Britain c.1933-45 , 2009, no. 35 (illustrated in catalogue p. 66)
London, Ben Uri Gallery, Out of Austria: Austrian Émigré Artists in the UK , March-May 2018
Condition Report:
Some rubbing to the extreme edges. Inspection under UV reveals no obvious evidence of restoration or repair. Otherwise appears to be in good original condition.
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3,000 - 5,000 GBP
λ JOHN ARMSTRONG (BRITISH 1893-1973)
TWO BROWN JUGS
Oil on board
Signed and dated 58 (lower left)
40.5 x 35.5cm (15¾ x 13¾ in.)
Provenance:
Purchased directly from the Artist by Mr Don Hewitt by 1958 (who was introduced to the Artist by Miss Gerda Larsen, film and television actress)
Sale, Sotheby's, London, 25th March 2009, lot 50 (unsold)
Sale, Bonhams 11th March 2014, lot 28
Literature:
Andrew Lambirth, John Armstrong: The Paintings , Catalogue Raisonn é by Annette Armstrong & Jonathan Gibbs , London, 2009, no. 649
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3,000 - 5,000 GBP
ISAAC ROSENBERG (BRITISH 1890-1918)
HEAD OF A WOMAN IN PROFILE
Pencil
Signed and dated 1914 (lower right)
16 x 16.5cm (6¼ x 6¼ in.)
Exhibited:
London, Belgrave Gallery, December Exhibition , 2004, no. 51 (illustrated p. 22)
London, Ben Uri Gallery, Whitechapel At War: Isaac Rosenberg & His Circle , 2008, no. 21 (illustrated p. 91)
Leeds, Leeds University, Stanley & Audrey Burton Gallery, Whitechapel At War: Isaac Rosenberg & His Circle , 2008, no. 21 (illustrated p. 91)
Literature:
Art & letters, Summer 1919, Vol II no. 3 (illustrated opposite p. 108), following essay by Annie Rosenberg (sister of Isaac), Isaac Rosenberg: In Memoriam , pp. 106-7
Joseph Cohen, Journey to the Trenches: The Life of Isaac Rosenberg , 1973,
(illustrated opposite p. 112)
Ian Parsons (ed), The Collected Works of Isaac Rosenberg , 1976 (illustrated opposite p. 145)
Jean Moorcroft Wilson, Isaac Rosenberg, 2008, p. 227 (illustrated)
Condition Report:
Unexamined out of glazed frame, the work appears to be in good original condition.
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λ JACOB KRAMER (BRITISH 1892-1962)
STUDY FOR 'THE MESSENGER'
Pen, ink and wash
Signed (lower right) and inscribed (to upper edge)
23 x 15.5cm (9 x 6 in.)
Drawn circa 1939-40.
This is the original artwork design for the front cover of 'The Messenger' (Vol 1, no. 3, February 1940), the publication of the Leeds Air Raid Precautions (A.R.P) Messenger Corps. An original copy of The Messenger is included with the art work.
Condition Report:
The drawing executed on one sheet which has then been laid down to another with the text, as originally intended. Slight staining to the upper left hand corner. Otherwise, the work appears to be in good original condition. Under glass and unexamined out of glazed frame.
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5,000 - 8,000 GBP
λ ALFRED WOLMARK (BRITISH 1877-1961)
BRETON FISHERBOYS
Oil on canvas
Signed with monogram (lower left)
76 x 63.5cm (29¾ x 25 in.)
Painted circa 1911.
Provenance:
Cyril Ross, friend and patron of the artist
Exhibited:
(probably) London, Ben Uri Gallery, Wolmark Memorial Exhibition , 1961, no. 13
London, Belgrave Gallery, Wolmark Centenary Exhibition , 1977, no.1
Bradford, Bradford City Art Gallery, Jewish Artists of Great Britain , 1978, no. 39 (illustrated in the catalogue p. 33)
Glasgow, Glasgow City Art Gallery, Exhibition of Jewish Art , 1979, no. 74 (illustrated in the catalogue p. 16)
London, Phillips, The Ben Uri Story , 2001, no. 75
Edinburgh, Phillips, The Ben Uri Story , 2001, no. 75
London, Ben Uri Gallery, Alfred Wolmark , 2004, no. 35 (illustrated in the catalogue p. 34
Hull, Ferens Art Gallery, Alfred Wolmark , 2005, no. 35 (illustrated in the catalogue p. 34)
As the son of Polish emigrés, Wolmark's early work was traditional in style and focussed on depictions of his Jewish heritage. However, by 1910, influenced by the movements in modern art both in Britain and on the continent, Wolmark had embarked upon a more radical and vibrantly coloured path. He participated in Roger Fry's seminal exhibition Manet and the Post Impressionists at the Grafton Galleries in 1910, with his work hanging alongside that of Van Gogh.
In the summer of 1911, he and his new wife spent their honeymoon at Concarneay in Brittany. It was a trip that would transform Wolmark's painting and cement him as one of the pioneers of the modernist movement in England. Concarneau and the surrounding area was already a popular destination with artists. As never before, Wolmark was exposed to the French Avant-Garde and was profoundly influenced by the Fauves' strong use of colour and fluid composition. He worked prodigiously throughout the ten week trip producing around ninety canvasses. He took as his subject matter the local fisher people such as the present lot, as well as the bustling markets, port and rugged coastal landscape. The work that Wolmark produced in 1911 is some of his best and most significant of his career. The rawness and immediacy of these compositions reveal Wolmark's excitement at having found this new artistic direction. They exude an energy that the young painter undoubtedly felt for his newfound style.
Condition Report:
The paint is thin in places around the edges with a few small paint losses, most notably to the centre of the lower edge. There is some fine scattered cracking to the areas of thick impasto. Otherwise in good original condition. No evidence of retouching visible under ultraviolet light.
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λ DAVID WYNNE (BRITISH 1926-2014)
SIR JOHN GIELGUD
Bronze with a brown patina
Signed and numbered 1/6
Height (exc. base): 31cm (12in.)
Conceived in 1962.
Provenance:
From a Private Collection
Literature:
T.S.R. Boase, The Sculpture of David Wynne 1949-1967, London, 1968, p. 155 (illustration of another cast p. 94)
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λ JACOB KRAMER (BRITISH 1892-1962)
FEMALE HEAD STUDY
Pastel
Signed (lower right)
34.5 x 27cm (13½ x 10½ in.)
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Estimate
5,000 - 7,000 GBP
λ SIR JACOB EPSTEIN (AMERICAN/BRITISH 1880-1959)
YEHUDI MENUHIN
Bronze with gold patina
35.6cm (14in.) High exc. base
Conceived in 1943.
Literature:
R. Buckle, Jacob Epstein Sculptor, London, 1963, p. 285, pl. 438, another cast illustrated
E. and B. Schinman, Jacob Epstein, A Catalogue of the Collection of
Edward P. Schinman, Cranbury, 1980, p. 96, another cast illustrated
Evelyn Silber, The Sculpture of Epstein, with a complete catalogue , Oxford, 1986, p.192, no. 337, another cast illustrated
Yehudi Menuhin was born in New York in 1916. Trained from a young age by Louis Persinger, Menuhin appeared as a solo violinist with the San Francisco Symphony Orchestra at the age of 7 years old. Menuhin went on to become one of the greatest violinists and conductors of the 20th century.
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1
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GBP
Estimate
6,000 - 8,000 GBP
λ DORA GORDINE (ESTONIAN 1895-1991)
MARY VERA HEPWORTH NÉE HOPKIN
Bronze with green patina
Signed and numbered 1/2
53.5cm (21 in.)
Provenance:
Direct from the artist, sculpture for Mary's 21st birthday
Thence by descent to the present owner
The sitter depicted in the present lot is Mary Vera Hepworth née Hopkin. She was born in Bangkok, Thailand on 20 September 1918. Her father was Harry 'Hoppy' Hopkin, then a journalist on the Straits Times, Singapore, and her mother was Nadia, a dancer, born in Krasnoyarsk, Siberia.
Mary's grandfather, Engel, was a tailer in Krasnoyarsk, Siberia and was responsible for the clothes worn by the workers responsible for the construction of the Trans Siberian Railway. Many of his co-workers were circus people and taught Engel and his family a whole range of circus skills. Following the completion of the railway the group of worker's including Engel and his family decided to travel to Shanghai to become street entertainers.
After touring with Colonel Phyllis and his circus across China, Vietnam and Laos the family decided to buy a hotel, King Chulalonghorn himself becoming a habitué, as did the Sultan of Johore. Nadia and her sisters danced for the King at his Palace and were paid in gold. So when Hoppy, Mary's father walked in to the hotel, one day, on the lookout for a new story and his gaze fell on a dancing Nadia, he was struck. They were married, and had two girls, Nadia and Mary.
Eventually Mary joined the Straits Times, to edit the society page, under the pen name Vera Ardmore - Ardmore being the name of the flats in which they lived. She had already met Dora as Hoppy had introduced Dora to Nadia as he thought her Russian/Ukrainian background would be of interest to her, and they all became friends. Some years later Hoppy came to London to join the Daily Mail as foreign editor. Dora heard of it and proposed they take the vacant house beside her newly built studios in Kingston which they did and was how and why, for a 21 birthday present, Dora sculpted Mary's nude figure.
Mary married Joseph Bulmer Hepworth on 27 th June 1947, who was the grandson of Joseph Hepworth who founded the nationwide tailoring company Hepworths, whose trading name changed to NEXT in 1990.
Condition Report:
There is some light surface dirt throughout and patches of green verdigris to crevasses. Otherwise, in good original condition.
Condition Report Disclaimer
Featured lot
Provisionally sold
Leading
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Lost
Declined
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Leading
Quantity
1
Max bid
GBP
Estimate
2,000 - 3,000 GBP
λ SIR JACOB EPSTEIN (AMERICAN /BRITISH 1880-1959)
PICCANINNY
Bronze with green patina
22.3cm (8¾in.) High exc. base
Conceived in 1940.
Literature:
R. Buckle, Jacob Epstein Sculptor , London, 1963, p.254, pl. 390
Evelyn Silber, The Sculpture of Epstein, with a complete catalogue , Oxford, 1986, p.188, no. 310, another cast illustrated
The present lot illustrates the daughter of Marie Tracey who was a model used by Epstein for his war time study series including catalogue no. 297, executed in 1938.
Featured lot
Provisionally sold
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Outbid
Lost
Declined
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Leading
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1
Max bid
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Estimate
3,000 - 5,000 GBP
λ SIR JACOB EPSTEIN (AMERICAN /BRITISH 1880-1959)
YMIEL OYVED
Bronze with a gold patina
43 x 60cm (16¾ x 23½ in.)
Conceived in 1946.
Literature:
R. Buckle, Jacob Epstein Sculptor , London, 1963, p.306, pl. 470
Evelyn Silber, The Sculpture of Epstein, with a complete catalogue , Oxford, 1986, p.200, no. 382, another cast illustrated
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
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Leading
Quantity
1
Max bid
GBP
Estimate
1,000 - 1,500 GBP
λ SIR JACOB EPSTEIN (AMERICAN /BRITISH 1880-1959)
RECLINING NUDE
Black crayon
Signed (lower right)
43 x 56cm (16¾ x 22 in.)
Condition Report:
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