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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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26 % (exc. VAT) |
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Featured lots
There are 225 lots within this auction
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λ SIR JACOB EPSTEIN (AMERICAN /BRITISH 1880-1959)
STUDY OF JACKIE
Charcoal
Signed (lower left)
47 x 44cm (18½ x 17¼ in.)
Provenance:
Obelisk Gallery, London
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1
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2,000 - 3,000 GBP
λ SIR JACOB EPSTEIN (AMERICAN /BRITISH 1880-1959)
EIGHTH PORTRAIT OF PEGGY JEAN
Bronze with gold patina
26.5cm (10¼in.) High exc. base
Conceived in 1921.
Literature:
A. Haskell, The Sculptor Speaks, Jacob Epstein to Arnold Haskell, A Series of Conversations on Art , 1931, p.179
R. D. Black, The Art of Jacob Epstein , New York and Cleveland, 1942, p. 233, no. 90
R. Buckle, Jacob Epstein Sculptor , London, 1963, p.425
Evelyn Silber, The Sculpture of Epstein, with a complete catalogue , Oxford, 1986, p.148, no. 118, another cast illustrated
Peggy Jean, Epstein's daughter, is shown in the present lot at the age of 2 years and 4 months with curly hair. This 'eighth portrait' was part of a series of works that the artist made of his daughter over a number of years.
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λ SIR JACOB EPSTEIN (AMERICAN /BRITISH 1880-1959)
STUDY OF JACKIE
Charcoal
Signed (lower left)
60 x 43cm (23½ x 16¾ in.)
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1
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2,000 - 3,000 GBP
λ SIR JACOB EPSTEIN (AMERICAN /BRITISH 1880-1959)
THIRD PORTRAIT OF JACKIE (RAGGAMUFFIN)
Bronze with gold patina
22.8cm (8¾in.) High exc. base
Conceived in 1939.
Literature:
R. D. Black, The Art of Jacob Epstein , New York and Cleveland, 1942, no. 242
R. Buckle, Jacob Epstein Sculptor , London, 1963, p.254, pl. 391
E. and B. Schinman, Jacob Epstein, A Catalogue of the Collection of Edward P. Schinman, Cranbury , 1980, p. 107, another cast illustrated
Evelyn Silber, The Sculpture of Epstein, with a complete catalogue , Oxford, 1986, p.188, no. 309, another cast illustrated
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λ DAVID WYNNE (BRITISH 1926-2014)
EGG FIGURE
Bronze with a green patina
Signed and numbered 1/8
Height: 12cm (4½ in.)
Conceived in 1961.
Provenance:
From a Private Collection
Literature:
T.S.R. Boase, The Sculpture of David Wynne 1949-1967 , London, 1968, p. 155
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λ DAVID WYNNE (BRITISH 1926-2014)
EGG WOMAN
Bronze with a green patina
Signed with monogram and numbered 6/6
Height: 13cm (5in.)
Conceived in 1961.
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. 80)
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1
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Estimate
3,000 - 5,000 GBP
λ SIR JACOB EPSTEIN (AMERICAN/BRITISH 1880-1959)
OLD PINAGER
Bronze with green patina
42 x 37 x 35cm (16½ x 14½ x 13 3/4 in.)
Conceived in 1923.
Literature:
H. Wellington, Jacob Epstein , 1925, pl.32
A. Haskell, The Sculptor Speaks, Jacob Epstein to Arnold Haskell, A Series of Conversations on Art , 1931, p.181
L.B. Powell, Jacob Epstein , London, 1932, p. 92, another cast illustrated
Jacob Epstein, Let There Be Sculpture: An Autobiography , London, 1940, pp. 112-3
R. D. Black, The Art of Jacob Epstein , New York and Cleveland, 1942, no. 105, pl. 61
Jacob Epstein, Epstein An Autobiography , London, 1955, p. 93
R. Buckle, Jacob Epstein Sculptor , London, 1963, p.127, pl. 197
Evelyn Silber, The Sculpture of Epstein, with a complete catalogue , Oxford, 1986, p.153, no. 138, another cast illustrated
The sitter was an elderly man who was a matchseller on the streets that Epstein asked to model for him.
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λ HANS BELLMER (GERMAN 1902-1975)
DORIANE (CHAPEAU-FILLES)
Etching, 1969
Signed in pencil and numbered 5/100, published by Galerie A.F. Petit
Plate 29 x 22.5cm (11¼ x 8¾ in.)
Literature:
Denoel, Hans Bellmer, Oeuvre Grave , 1969, illus. p.107
Hans Bellmer was a German artist known for his provocative and surrealistic sculptures, drawings, and photographs. Emerging in the 1930s, Bellmer's work often explored themes of desire, sexuality, and the subconscious mind. He gained international recognition for his "La Poupée" series, which featured unsettling and meticulously crafted dolls with interchangeable parts, arranged in surreal and sometimes disturbing compositions. His work was deeply influenced by his own experiences during the war, and his interest in psychoanalysis, particularly the theories of Sigmund Freud.
During the Second World War, his work was declared "degenerate" by the Nazi party, and Bellmer fled to France in 1938, where his work was received by André Breton and the Surrealists with interest. He was fascinated by their experimentation of multifaceted planes of perspective, which influenced some of his later works.
Bellmer's work has been exhibited in Europe and the United States, with multiple solo shows showcasing his photography, dolls and paintings. Highlights include solo shows at the Museum of Contemporary Art, Chicago in 1975, the Centre Georges Pompidou in 2006, and at the Washington D.C Hirshhorn Museum and Sculpture Garden in 2016.
Condition Report:
Executed on wove paper. Some slight undulation to the sheet, notably to the edges where it has been mounted. There is some faint discolouration to the sheet throughout. Unexamined out of glazed frame.
Condition Report Disclaimer
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1
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7,000 - 10,000 GBP
λ HANS BELLMER (GERMAN 1902-1975)
PORTRAIT OF THE PHILOSOPHER GASTON BACHELARD
Oil and ink on board
Signed (lower right) and dated 1957 (lower left)
54 x 49.5cm (21¼ x 19¼ in.)
Exhibited:
Cologne, Galerie Gmurzynska,1966, no. 5
The authenticity of this work has kindly been confirmed by Rodica Aldoux.
Hans Bellmer was a German artist known for his provocative and surrealistic sculptures, drawings, and photographs. Emerging in the 1930s, Bellmer's work often explored themes of desire, sexuality, and the subconscious mind. He gained international recognition for his "La Poupée" series, which featured unsettling and meticulously crafted dolls with interchangeable parts, arranged in surreal and sometimes disturbing compositions. His work was deeply influenced by his own experiences during the war, and his interest in psychoanalysis, particularly the theories of Sigmund Freud.
During the Second World War, his work was declared "degenerate" by the Nazi party, and Bellmer fled to France in 1938, where his work was received by André Breton and the Surrealists with interest. He was fascinated by their experimentation of multifaceted planes of perspective, which influenced some of his later works.
Bellmer's work has been exhibited in Europe and the United States, with multiple solo shows showcasing his photography, dolls and paintings. Highlights include solo shows at the Museum of Contemporary Art, Chicago in 1975, the Centre Georges Pompidou in 2006, and at the Washington D.C Hirshhorn Museum and Sculpture Garden in 2016.
Condition Report:
The paint has been lightly applied with areas of the white board visible, as originally intended by the artist. Ultraviolet light reveals a few scattered patches of retouching, notably one to the centre left, just off the edge, another to the lower left corner above the date and another to the lower edge. Otherwise, the work appears to be in good original condition.
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1
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20,000 - 30,000 GBP
λ HANS BELLMER (GERMAN 1902-1975)
NUDE DESCENDING
Oil on canvas
Signed (lower left) dated 1955 (lower right)
64 x 64cm (25 x 25 in.)
Exhibited:
Cologne, Galerie Gmurzynska,1966, no. 3
The authenticity of this work has kindly been confirmed by Rodica Aldoux.
Hans Bellmer was a German artist known for his provocative and surrealistic sculptures, drawings, and photographs. Emerging in the 1930s, Bellmer's work often explored themes of desire, sexuality, and the subconscious mind. He gained international recognition for his "La Poupée" series, which featured unsettling and meticulously crafted dolls with interchangeable parts, arranged in surreal and sometimes disturbing compositions. His work was deeply influenced by his own experiences during the war, and his interest in psychoanalysis, particularly the theories of Sigmund Freud.
During the Second World War, his work was declared "degenerate" by the Nazi party, and Bellmer fled to France in 1938, where his work was received by André Breton and the Surrealists with interest. He was fascinated by their experimentation of multifaceted planes of perspective, which influenced some of his later works.
Bellmer's work has been exhibited in Europe and the United States, with multiple solo shows showcasing his photography, dolls and paintings. Highlights include solo shows at the Museum of Contemporary Art, Chicago in 1975, the Centre Georges Pompidou in 2006, and at the Washington D.C Hirshhorn Museum and Sculpture Garden in 2016.
Condition Report:
Unexamined out of glazed frame. Fine craquelure scattered across the surface. Light surface dirt. Vertical stretcher mark running through the centre of the work slightly visible. Inspection under UV reveals light scattered retouching, most notable to the lower edge.
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1
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10,000 - 15,000 GBP
λ AMÉDÉE OZENFANT (FRENCH 1886-1966)
BAIGNEUSES AU CLAIR DE LUNE
Oil on panel
Signed and dated 29 (lower left)
60 x 40cm (23½ x 15½ in.)
Provenance:
Léonce Rosenberg, Paris
Galerie L'Effort Moderne, Paris
Sale, Sotheby's, London, July 1974
Exhibited:
Paris, Galerie de L'Effort Moderne
Literature:
Pierre Guénégan, Viveca Bosson, Margaret Guénégan, Amédée Ozenfant, 1886-1966 : Catalogue Raisonné de l'Oeuvre Peint , Saint Albans, Lanwell & Leeds, 2012, p. 430, no. 1929/022, illus
Prominent French artist Amédée Ozenfant studied at l'Ecole Quentin de la Tour in Saint-Quentin, the same school Henri Matisse attended, and later at Palette, Paris, alongside André Dunoyer de Segonzac and Roger de la Fresnaye. Between 1918 and 1925, alongside Le Corbusier, Ozenfant worked to form the Purism movement, which attempted to restore order and structure following the war. In his early works, Ozenfant developed an interest in stability, clarity, and harmony, reflected in his works through his use of clean line, geometric shapes, and simplification of details. But from 1925 onwards, the subjects and style of his works changed, instead experimenting with the human form in vast spaces, influenced by his trips to the Middle East, specifically the Egyptian desert.
Unlike some of his contemporaries, such as the cubists, who experimented with more fragmented or distorted representations of the human form, Ozenfant approached figures with a sense of simplification and clarity that aligned with his Purist philosophy. His work is characterised by a unique blend of abstraction and a strong sense of order, with figures formed with geometric precision.
His work Baigneuses Au Clair De Lune, 1929, exhibited by Léonce Rosenberg at Galerie de L'Effort Moderne, demonstrates his early interest in the lines and shapes of the human body, which he called 'Lines of Force' in his diary Journey through Life, 1939. The painting experiments with human figures in movement, relaxing, or bathing. During this time, we begin to see more texture to Ozenfant's work, such as Baigneuses au Promontoire, 1931, which uses a thick impasto application of paint to present the bodies in relief. Other figure paintings include Femme et Enfant, 1928, which sold at Sotheby's in 2015, and Le Sommeil, 1931, which sold at Christie's in 2016.
Today, his works are held in multiple public collections across the globe, including the Guggenheim Museum in New York, the Louvre, Paris, The Tate Gallery in London and the National Gallery of Australia.
Condition Report:
Some very fine cracking to the thick beige impasto. Very fine rubbing with associated losses to the extreme edges and corners. Hardly noticeable. Inspection under UV reveals some scattered retouching to the extreme edges.
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1
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Estimate
5,000 - 8,000 GBP
λ CONROY MADDOX (BRITISH 1912-2005)
THE MESSENGERS
Oil and collage on canvas
Signed and dated 77 (lower right);further signed, titled and dated 77 (verso)
95.5 x 124cm (37½ x 48¾ in.)
Painted in 1977.
Provenance:
London, Belgrave Gallery
Literature:
Silvano Levy, The Scandalous Eye: The Surrealism of Conroy Maddox , 2003, p.275
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1
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4,000 - 6,000 GBP
λ CONROY MADDOX (BRITISH 1912-2005)
THE PRIMA DONNA
Oil on canvas
Signed and dated 93 (lower right); further signed, titled and dated 1993 (verso)
122.2 x 92cm (48 x 36 in.)
Painted in 1993.
Provenance:
London, Belgrave Gallery
Exhibited:
Stoke-on-Trent, Museum and Art Gallery, Conroy Maddox: Surreal Enigmas , 1 April-29 May 1995, no.79
Literature:
Silvano Levy, Surreal Enigmas , 1995, illus p.96.
Silvano Levy, The Scandalous Eye: The Surrealism of Conroy Maddox , 2003, p.275
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1
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1,500 - 2,000 GBP
λ SIMON PALMER (BRITISH B. 1956)
MEETING AT THE GAZEBO
Watercolour and gouache
Signed (lower right); titled (lower left)
Image 33 x 24cm (12 x 9¼ in.)
Provenance:
Palm House Gallery/Forest Gallery Fine Art, Guildford
Condition Report:
Unexamined out of glazed frame. The work appears to be in very good original condition.
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1
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3,000 - 5,000 GBP
λ FELIX KELLY (BRITISH/NEW ZEALAND 1914-1994)
HOUSE WITH REGENCY PAVILION
Oil on board
Signed and dated 80 (lower right)
56 x 71.5cm (22 x 28 in.)
Provenance:
Partridge (Fine Arts), London
Private Collection, Berkshire (acquired from the above)
Condition Report:
Ultraviolet light reveals an uneven varnish, but no retouching. In otherwise, good general condition.
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λ BRIAN WILLSHER (BRITISH 1930-2010)
UNTITLED
Mahogany
Signed and dated 1999 (to underside)
59.5cm (23¼in.) high
Executed in 1999.
Condition Report:
Appears to be in good original condition.
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λ BRIAN WILLSHER (BRITISH 1930-2010)
VORTEX
Walnut
Signed, titled and dated 1991 (to underside of base)
42cm. (16½ in.) high
Executed in 1981.
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λ  BRIAN WILLSHER (BRITISH 1930-2010) UNTITLED (HOMAGE TO BRIDGET RILEY SERIES) Wood Signed and dated 1996 (verso) 59 x 67.5cm (23 x 26½ in.)
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λ DENIS BOWEN (BRITISH/SOUTH AFRICAN 1921-2006)
RED LAVA (I)
Mixed media
Signed, titled and dated 1993 (verso)
50 x 46cm (19½ x 18 in.)
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1
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Estimate
4,000 - 6,000 GBP
λ AHMED PARVEZ (BRITISH/PAKISTANI 1926-1979)
ABSTRACT
Oil on canvas
Signed and dated '62 (lower left)
76 x 51cm (29¾ x 20 in.)
Provenance:
Private Collection, Denis Bowen
Exhibited:
London, New Vision Centre Gallery, 1962
Nottingham, Commonwealth Festival Exhibition , 1966
London, Hayward Gallery, The Other Story , 1989, no. 4
Belgrave Gallery, British Abstract Artists of the 50s and 60s , 1992 (illustrated in exhibition catalogue p. 40)
The present work was notably exhibited in the ground breaking exhibition The Other Story: Afro-Asian Artists in Post-War Britain, at The Hayward Gallery, London in 1989. This exhibition brought together works from Asian, African and Caribbean artists working in Post-War Britain, celebrating and promoting these artists to the mainstream that had otherwise been side-lined by critics and established institutions.
Victor Musgrave from Gallery One called Parvez "Without question the outstanding artist from Pakistan who has made a very strong impact upon the English art world. His extension into the West of the ideals implicit in Muslim art has been an effort of unique importance."
(S. Ali, Homage: Remembering the Maestro , Dawn, 15 September 2013.)
Condition Report:
Very fine craquelure to the extreme edges and corners. Light surface dirt throughout. Inspection under UV reveals retouching to the upper left quadrant in the shape of a right angle.
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1
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5,000 - 8,000 GBP
λ AUBREY WILLIAMS (BRITISH 1926-1990)
CHIMU
Mixed media
Signed, titled and dated 1960 (verso)
62 x 65cm (24¼ x 25½ in.)
Provenance:
Eve Williams, the artist's widow
Acquired from the above by the present owner
Aubrey Williams came to Britain from his native Guyana in 1952, first to Leicester before settling in London in 1954 and attending St Martin's School of Art. The exhibitions Modern Art in the United States (1956) and New American Painting (1959), both at the Tate Gallery, London, had a lasting impact on his work. It was at these exhibitions that he was able to experience the works of the American Abstract Expressionists in the flesh. An admirer of Franz Kline and Jackson Pollock, Williams found an exciting and unique way to celebrate his Guyanan heritage in the bold and expressionistic techniques of Abstract Expressionism.
The title of the present work reflects Williams's interest in the ancient cultures of South America. It refers to the pre-Inca civilisation of Chimu, who lived in the North of present day Peru up until the late 15 th Century.
Condition Report:
Executed on card laid down to board. There is a small tear to the upper right corner and a horizontal crease running across the width of the work approx 3cm off the upper edge. An area of cracking with associated loss to the centre of the work, approx. 2cm. Some slight undulation to the sheet. Otherwise in generally good condition. Unexamined out of glazed frame.
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1
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5,000 - 8,000 GBP
λ AUBREY WILLIAMS (BRITISH 1926-1990)
HOSORORO IV
Oil on canvas
Signed and titled (verso)
71 x 75cm (27¾ x 29½ in.)
Painted circa 1950.
Provenance:
Denis Bowen
Exhibited :
London, New Vision Centre Gallery, Aubrey Williams, 1958 (illustrated on gallery invitation)
Paris, Galerie Colette Allendy, Towards the Future, 1958 (illustrated on gallery invitation)
St. Ives, Belgrave Gallery, Post War Abstract , 2010 (illustrated in the exhibition catalogue p. 30)
Aubrey Williams's lifelong interest in the cultures of South America was sparked by the time he spent as an agricultural officer working with the Warrau people in the North-West of Guyana between 1947 and 1949. Williams reminisced that "It was there that for the first time I discovered myself as an artist. Before that it was all amateur activity...I have to thank the Warrau people now for my work as an artist." Through immersing himself in their language, customs, and rituals, he adopted glyphic symbols that he continued to incorporate into his work throughout his career.
The title of the present painting, Hosororo, refers to a region in Northern Guyana that Williams would have known during his stay with the Warrau. Loosely translated as "Pouring Water" the name refers to a series of small waterfalls in the region.
Condition Report:
The canvas is not relined. Stretcher marks to the edges and some very minor associated paint loss to the upper right. Otherwise, in generally good original condition.
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1
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Estimate
20,000 - 30,000 GBP
λ ANWAR JALAL SHEMZA (BRITISH 1928-1985)
PAINTING 1959
Oil on canvas
Signed and dated in Urdu (lower left); further signed, inscribed and dated 59 (verso)
84 x 64cm (33 x 25 in.)
Provenance:
Denis Bowen
Acquired from the above by the present owner
Exhibited:
New Vision Centre Gallery, A.J.Shemza, 1959
London, Commonwealth Institute, Commonwealth Vision , 1961 (illustrated in catalogue)
Bristol, Royal Commonwealth Society, Centenary Exhibition , 1968
Jarrow, Bede Gallery, New Vision 56-66, 1984, no. 45
Born in Simla, India, in 1928, Anwar Shemza initially studied Philosophy and languages at Punjab University before enrolling at the Mayo School of Art in Lahore. Graduating in 1947 he opened the Shemza Commercial Art Studio there and as an artist, poet and writer he quickly became a central figure in the cultural life of Pakistan. In 1956, he left Lahore to study at the Slade School of Art in London where his work began to fuse the earlier literary and artistic influences from Lahore with imagery and techniques that he discovered in the Museums and Galleries of London, most notably those of Paul Klee and Piet Mondrian . The Art Historian, Professor Iftikhar Dadi, describes Shemza's work from this period as "Calligraphic Modernism", observing that "among the lessons he learned from Klee was the importance of surface as the plane of modernist experimentation rather than a stress on modelling and the freedom and ability to deploy abstraction, geometry and pattern - much of it derived from Islamic art - towards modernist exploration."
(I.Dadi, Calligraphic Abstraction: Anwar Jalal Shemza , London, 2015, p.12)
Indeed Shemza's work from the late 1950s and early 1960s uniquely explores and celebrates his past and present artistic experiences while fighting the insular attitudes of the Post War British art establishment. His past successes in Lahore found admirers in the likes of Denis Bowen at the New Vision Centre Gallery and Victor Musgrave at Gallery One, however more mainstream galleries and critics were dismissive and hostile. As the artist and curator of the Hayward Gallery 1989 exhibition, The Other Story , Raheed Araeen observed;
"Although Anwar Jalal Shemza belongs to that generation of artists who arrived here in the 50s and who had already established themselves in their countries of origin, his experience in Britain led him to an entirely different direction to his contemporaries. But his experience was not unique. Almost every Afro-Asian artist must have his or her own story to tell: how their dreams and aspirations were shattered, how they had to recover their confidence in themselves, their identity as human beings and as artists; and how the memory of their own cultures played an important role in this recovery."
(Rasheed Araeen, The Other Story, Exhibition Catalogue, The Hayward Gallery, London, 1989)
Shemza's work has been exhibited widely including The Other Story: Afro-Asian Artists in Post-War Britain, at the Hayward Gallery, London, 1989; Anwar Shemza , at the Birmingham Museum and Art Gallery, 1997; Anwar Shemza , at the Tate Britain, 2015; and Postwar: Art Between the Pacific and the Atlantic, 1945-1965 , at Haus der Kunst, Munich, 2016.
Works are also held in the permanent collections of the Ashmolean Museum, Oxford, Tate Gallery, London, Metropolitan Museum of Modern Art, New York, the Lahore Museum, Pakistan National Council of the Arts, Islamabad, the Sharjah Art Foundation, and the Guggenheim in Abu Dhabi.
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λ BALRAJ KHANNA (INDIAN/BRITISH B. 1940)
ASTROLOGER'S NOTES
Oil on canvas
Signed and dated April 66 (lower right)
89 x 68.5cm (35 x 26¾ in.)
Provenance:
A. Oscar (Peter Sheldon-Williams)
Exhibited:
London, Anthony Tooth Gallery, Balraj Khanna, 1966, no. 31
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λ MAURICE JADOT (BELGIAN 1893-1983)
COMPOSITION, 1953
Mixed media collage
38 x 55cm (14¾ x 21½ in.)
Provenance:
Gimpel Fils, London
Wenlock Fine Art, Much Wenlock
Exhibited:
(possibly) Palais des Beaux Arts, Brussels, Maurice Jadot , 1964, no. 9 (different size given in catalogue)
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4,000 - 6,000 GBP
λ AUBREY WILLIAMS (BRITISH 1926-1990)
UNTITLED
Mixed media
With studio stamp (verso)
59 x 75.5cm (23 x 29½ in.)
Provenance:
Eve Williams, the artist's widow
Acquired from the above by the present owner
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4,000 - 6,000 GBP
λ AGOSTINO BONALUMI (ITALIAN 1935-2013)
UNTITLED
Oil on canvas
Signed and dated 60 (verso)
59 x 69.5cm (23 x 27¼ in.)
Provenance:
Denis Bowen
Acquired from the above by the present owner
Exhibited:
London, New Vision Centre Gallery, Agostino Bonalumi , 1960
Jarrow, Bede Gallery, New Vision 56-66 , 1984, no. 69
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6,000 - 8,000 GBP
λ ENRICO BAJ (ITALIAN 1924-2003)
PERSONNAGE
Oil on canvas, laid to board
Signed (lower right)
128 x 105cm (50¼ x 41¼ in.)
Painted in 1957.
The authenticity of the work has been confirmed by Roberta Cerini Baj.
Condition Report:
Very fine cracking to the thick impasto, hardly noticeable. In generally good original condition.
Condition Report Disclaimer
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10,000 - 15,000 GBP
λ WOJCIECH FANGOR (POLISH 1922-2015)
CIRCLE 1975
Pastel
Signed and dated 75 (lower right)
47 x 33cm (18½ x 12 in.)
Provenance:
Chalette International, New York
Condition Report:
Unexamined out of glazed framed. A couple of light handling creases to the lower half of the work. Otherwise, the work appears to be in good original condition.
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1,000 - 1,500 GBP
λ ENZO PLAZZOTTA (ITALIAN 1921-1981)
REHEARSAL I (NADIA NERINA)
Bronze on wooden base
Signed and numbered from an edition of 12
44cm (17¼in.) High exc. base
Together with certificate of authenticity.
Literature:
Carol Plazotta and Richard O'Conor, Enzo Plazotta, A Catalogue Raisonné, London, 1986, p. 38, no. 61
Italian-born sculptor Enzo Plazzotta Studied in Milan at the Acadamia di Brera under Francesco Messina, until the outbreak of the second World War, when he enrolled in the army. He was sent to North Africa until Mussolini's fall, and subsequently founded a partisan movement, which led to his imprisonment.
Released from the prison after the war, Plazzotta returned to Brera to complete his studies. In 1957 he travelled to England to present a statuette, before deciding to establish his artistic profile in London, directing his attention towards setting up a commercial art agency. At the age of forty, Plazzotta turned his attention back to sculpting, working mainly in bronze to create sculptures of dynamic human and animal figures, with a specific interest in dancers and horses. Despite many of his sculptures being situated on the streets of London, he maintained close links to his home-country, casting much of his work at his studio in the quarries of Pietrasanta. In 1976, Plazzotta was honoured the title of Cavaliere from the Italian government, acknowledging his services to Italian art. By 1981, Plazzotta's health was diminishing due to cancer, and he passed away within the same year.
Plazzotta's work has been widely exhibited globally in Europe, the United States and Australia, and features in several public and private collections including the Vatican, Rome, The Hermitage, Lausanne and The Queensland Art Gallery, Brisbane.
Condition Report:
Light surface dirt throughout. There are some scratches to the wood base where the sculpture meets the base. Overall in good original condition.
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2,000 - 3,000 GBP
λ ENZO PLAZZOTTA (ITALIAN 1921-1981)
NADIA NERINA - POSITION WITH WINGS II
Bronze on marble base
Signed and numbered 3/12
78cm (30½in.) High
Conceived in 1967 and sold with signed certificate.
Literature:
Carol Plazotta and Richard O'Conor, Enzo Plazotta, A Catalogue Raisonné, London, 1986, p. 39, no. 60
Italian-born sculptor Enzo Plazzotta Studied in Milan at the Acadamia di Brera under Francesco Messina, until the outbreak of the second World War, when he enrolled in the army. He was sent to North Africa until Mussolini's fall, and subsequently founded a partisan movement, which led to his imprisonment.
Released from the prison after the war, Plazzotta returned to Brera to complete his studies. In 1957 he travelled to England to present a statuette, before deciding to establish his artistic profile in London, directing his attention towards setting up a commercial art agency. At the age of forty, Plazzotta turned his attention back to sculpting, working mainly in bronze to create sculptures of dynamic human and animal figures, with a specific interest in dancers and horses. Despite many of his sculptures being situated on the streets of London, he maintained close links to his home-country, casting much of his work at his studio in the quarries of Pietrasanta. In 1976, Plazzotta was honoured the title of Cavaliere from the Italian government, acknowledging his services to Italian art. By 1981, Plazzotta's health was diminishing due to cancer, and he passed away within the same year.
Plazzotta's work has been widely exhibited globally in Europe, the United States and Australia, and features in several public and private collections including the Vatican, Rome, The Hermitage, Lausanne and The Queensland Art Gallery, Brisbane.
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1
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Estimate
3,000 - 5,000 GBP
λ ENZO PLAZZOTTA (ITALIAN 1921-1981)
ICARUS
Bronze on wooden base
Signed and numbered 3/6
102cm (40in.) Width
Provenance:
Obelisk Gallery, London
Literature:
Carol Plazotta and Richard O'Conor, Enzo Plazotta, A Catalogue Raisonné, London, 1986, p. 161, no. 309 (Similar cast from same series)
Italian-born sculptor Enzo Plazzotta Studied in Milan at the Accademia di Brera under Francesco Messina, until the outbreak of the second World War, when he enrolled in the army. He was sent to North Africa until Mussolini's fall, and subsequently founded a partisan movement, which led to his imprisonment.
Released from the prison after the war, Plazzotta returned to Brera to complete his studies. In 1957 he travelled to England to present a statuette, before deciding to establish his artistic profile in London, directing his attention towards setting up a commercial art agency. At the age of forty, Plazzotta turned his attention back to sculpting, working mainly in bronze to create sculptures of dynamic human and animal figures, with a specific interest in dancers and horses. Despite many of his sculptures being situated on the streets of London, he maintained close links to his home-country, casting much of his work at his studio in the quarries of Pietrasanta. In 1976, Plazzotta was honoured the title of Cavaliere from the Italian government, acknowledging his services to Italian art. By 1981, Plazzotta's health was diminishing due to cancer, and he passed away within the same year.
Plazzotta's work has been widely exhibited globally in Europe, the United States and Australia, and features in several public and private collections including the Vatican, Rome, The Hermitage, Lausanne and The Queensland Art Gallery, Brisbane.
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λ ENZO PLAZZOTTA (ITALIAN 1921-1981)
CHARMAINE
Bronze with gold patina
Signed and dated 1966 (to back of arm)
49cm (19¼in.) High
Conceived in 1966 and sold together with certificate of authenticity.
Italian-born sculptor Enzo Plazzotta Studied in Milan at the Accademia di Brera under Francesco Messina, until the outbreak of the second World War, when he enrolled in the army. He was sent to North Africa until Mussolini's fall, and subsequently founded a partisan movement, which led to his imprisonment.
Released from the prison after the war, Plazzotta returned to Brera to complete his studies. In 1957 he travelled to England to present a statuette, before deciding to establish his artistic profile in London, directing his attention towards setting up a commercial art agency. At the age of forty, Plazzotta turned his attention back to sculpting, working mainly in bronze to create sculptures of dynamic human and animal figures, with a specific interest in dancers and horses. Despite many of his sculptures being situated on the streets of London, he maintained close links to his home-country, casting much of his work at his studio in the quarries of Pietrasanta. In 1976, Plazzotta was honoured the title of Cavaliere from the Italian government, acknowledging his services to Italian art. By 1981, Plazzotta's health was diminishing due to cancer, and he passed away within the same year.
Plazzotta's work has been widely exhibited globally in Europe, the United States and Australia, and features in several public and private collections including the Vatican, Rome, The Hermitage, Lausanne and The Queensland Art Gallery, Brisbane.
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λ ENZO PLAZZOTTA (ITALIAN 1921-1981)
ARABESQUE A TERRA II
Bronze
Signed and numbered 4/12
70cm (27½in.) High
Literature:
Carol Plazotta and Richard O'Conor, Enzo Plazotta, A Catalogue Raisonné, London, 1986, p. 37, no. 55
Italian-born sculptor Enzo Plazzotta Studied in Milan at the Acadamia di Brera under Francesco Messina, until the outbreak of the second World War, when he enrolled in the army. He was sent to North Africa until Mussolini's fall, and subsequently founded a partisan movement, which led to his imprisonment.
Released from the prison after the war, Plazzotta returned to Brera to complete his studies. In 1957 he travelled to England to present a statuette, before deciding to establish his artistic profile in London, directing his attention towards setting up a commercial art agency. At the age of forty, Plazzotta turned his attention back to sculpting, working mainly in bronze to create sculptures of dynamic human and animal figures, with a specific interest in dancers and horses. Despite many of his sculptures being situated on the streets of London, he maintained close links to his home-country, casting much of his work at his studio in the quarries of Pietrasanta. In 1976, Plazzotta was honoured the title of Cavaliere from the Italian government, acknowledging his services to Italian art. By 1981, Plazzotta's health was diminishing due to cancer, and he passed away within the same year.
Plazzotta's work has been widely exhibited globally in Europe, the United States and Australia, and features in several public and private collections including the Vatican, Rome, The Hermitage, Lausanne and The Queensland Art Gallery, Brisbane.
Condition Report:
Some green verdigris scattered across the surface most notable to the base. Surface dirt throughout. May benefit from a clean.
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1,500 - 2,000 GBP
λ ENZO PLAZZOTTA (ITALIAN 1921-1981)
BAIGNEUSE I
Bronze
Signed and numbered 1/6
39cm (15¼in.) High
Conceived in 1961 and sold with certificate of authenticity.
Literature:
Carol Plazotta and Richard O'Conor, Enzo Plazotta, A Catalogue Raisonné, London, 1986, p. 13, no. 2
Italian-born sculptor Enzo Plazzotta Studied in Milan at the Acadamia di Brera under Francesco Messina, until the outbreak of the second World War, when he enrolled in the army. He was sent to North Africa until Mussolini's fall, and subsequently founded a partisan movement, which led to his imprisonment.
Released from the prison after the war, Plazzotta returned to Brera to complete his studies. In 1957 he travelled to England to present a statuette, before deciding to establish his artistic profile in London, directing his attention towards setting up a commercial art agency. At the age of forty, Plazzotta turned his attention back to sculpting, working mainly in bronze to create sculptures of dynamic human and animal figures, with a specific interest in dancers and horses. Despite many of his sculptures being situated on the streets of London, he maintained close links to his home-country, casting much of his work at his studio in the quarries of Pietrasanta. In 1976, Plazzotta was honoured the title of Cavaliere from the Italian government, acknowledging his services to Italian art. By 1981, Plazzotta's health was diminishing due to cancer, and he passed away within the same year.
Plazzotta's work has been widely exhibited globally in Europe, the United States and Australia, and features in several public and private collections including the Vatican, Rome, The Hermitage, Lausanne and The Queensland Art Gallery, Brisbane.
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1
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1,500 - 2,000 GBP
λ ENZO PLAZZOTTA (ITALIAN 1921-1981)
HAND OF GOD
Marble
Signed and dated 1967
77cm (30¼in.) High
Italian-born sculptor Enzo Plazzotta Studied in Milan at the Accademia di Brera under Francesco Messina, until the outbreak of the second World War, when he enrolled in the army. He was sent to North Africa until Mussolini's fall, and subsequently founded a partisan movement, which led to his imprisonment.
Released from the prison after the war, Plazzotta returned to Brera to complete his studies. In 1957 he travelled to England to present a statuette, before deciding to establish his artistic profile in London, directing his attention towards setting up a commercial art agency. At the age of forty, Plazzotta turned his attention back to sculpting, working mainly in bronze to create sculptures of dynamic human and animal figures, with a specific interest in dancers and horses. Despite many of his sculptures being situated on the streets of London, he maintained close links to his home-country, casting much of his work at his studio in the quarries of Pietrasanta. In 1976, Plazzotta was honoured the title of Cavaliere from the Italian government, acknowledging his services to Italian art. By 1981, Plazzotta's health was diminishing due to cancer, and he passed away within the same year.
Plazzotta's work has been widely exhibited globally in Europe, the United States and Australia, and features in several public and private collections including the Vatican, Rome, The Hermitage, Lausanne and The Queensland Art Gallery, Brisbane.
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λ EDMUND FAIRFAX-LUCY (BRITISH 1945-2020)
LADY WITH A LOVE LETTER, AFTER JAN VERMEER
Oil on board
Signed, titled, inscribed and dated March 2017 (to frame verso)
21 x 15.5cm (8¼ x 6 in.)
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λ PETER KELLY (BRITISH 1931-2019)
INTERIOR IN THE MANNER OF VERMEER
Oil on board
Signed with initials (lower left)
34 x 27cm (13¼ x 10½ in.)
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158
λ EDMUND FAIRFAX-LUCY (BRITISH 1945-2020)
AN ISLAND IN THE LAGOON, AFTER A DRAWING BY CANALETTO, IN THE QUEEN'S COLLECTION AT WINDSOR
Oil on canvas board
Signed and variously inscribed to backboard (verso)
17 x 37cm (6½ x 14½ in.)
Painted in 2007.
Condition Report:
In good original condition. No evidence of retouching visible under ultraviolet light.
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λ PETER KELLY (BRITISH 1931-2019)
SAN GIORGIO MAGGIORE IN THE MIST
Oil on canvas-board
Signed with initials (lower left)
47 x 34cm (18½ x 13¼ in.)
Provenance:
John Adams Fine Art Ltd., London
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λ PETER KELLY (BRITISH 1931-2019)
THE LONG GALLERY, HERMITAGE MUSEUM
Oil on canvas-board
Signed with initials (lower left)
29.5 x 23cm (11½ x 9 in.)
Provenance:
John Adams Fine Art Ltd., London
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1
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1,500 - 2,500 GBP
λ BERNARD DUNSTAN (BRITISH 1920-2017)
THE NATIONAL GALLERY
Oil on board
Signed with initials (lower left); titled and dated 11-12/85 (verso)
42 x 32cm (16½ x 12½ in.)
Provenance:
Thomas Agnew & Sons Ltd., London
Thompson's Gallery, London
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λ PETER KELLY (BRITISH 1931-2019)
CHURCH INTERIOR
Oil on canvas-board
Signed with initials (lower right)
38.5 x 28cm (15 x 11 in.)
Provenance:
John Adams Fine Art Ltd., London
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λ PETER KELLY (BRITISH 1931-2019)
THE VENETIAN CHAIR
Oil on canvas-board
Signed with initials (lower left)
39 x 27cm (15¼ x 10½ in.)
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1
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2,000 - 3,000 GBP
λ PETER KUHFELD (BRITISH B. 1952)
SANTISSIMA ANNUNZIATA, FLORENCE
Oil on canvas
Signed (lower right)
45.5 x 50cm (17¾ x 19½ in.)
Provenance:
Agnew's, London
From a Private Collection
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1
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Estimate
2,000 - 3,000 GBP
λ BERNARD DUNSTAN (BRITISH 1920-2017)
THE WINDOW, VERONA
Oil on canvas-board
Signed with initials (lower left)
39 x 25.5cm (15¼ x 10 in.)
Provenance:
Roland, Browse & Delbanco, London
Sale, Sotheby's, London, 19 July 1989, lot 427
Thomas Agnew & Sons Ltd., London
From a Private Collection
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1
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2,000 - 3,000 GBP
λ PETER KUHFELD (BRITISH B. 1952)
JENNA LA FONTANACCIO
Oil on canvas-board
Signed (lower right)
66 x 74cm (25 x 29 in.)
Provenance:
Agnew's, London
From a Private Collection
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1
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1,500 - 2,500 GBP
λ PETER KUHFELD (BRITISH B. 1952)
SUNNY DAYS IN TUSCANY
Oil on canvas
66 x 91cm (25 x 35¾ in.)
Provenance:
From a Private Collection
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λ DIANA MAXWELL ARMFIELD (BRITISH B. 1920)
ON THE ZATTERE, VENICE I
Oil on board
Signed with initials (lower left)
17 x 24.5cm (6½ x 9½ in.)
Condition Report:
The board has slightly slipped in the frame. Inspection under UV reveals no obvious evidence of restoration or repair. Appears to be in good original condition.
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λ KEN HOWARD (BRITISH 1932-2022)
THE WESTERN WALL, JERUSALEM
Watercolour
Signed (lower right)
26.5 x 32.5cm (10¼ x 12¾ in.)
Provenance:
Manya Igel, London (acquired directly from the artist)
Acquired from the above by the present owner
Condition Report:
Unexamined out of glazed frame. Slight undulation to the sheet. Some possible staining to the right side of the dome. Otherwise appears to be in good original condition.
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λ PETER GREENHAM (BRITISH 1909-1992)
CROMER PIER
Oil on canvas
Signed with initials (lower left)
30.5 x 40.5cm (12 x 15¾ in.)
Provenance:
From a Private Collection
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λ HENRY INLANDER (BRITISH 1925-1983)
NUDE AND DOG IN INTERIOR
Mixed media
49.5 x 36.5cm (19¼ x 14¼ in.)
Provenance:
Antonia Inlander, the artist's widow
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λ DORIS PUSINELLI (BRITISH 1900-1976)
GIRL IN A PINK DRESS
Watercolour
Signed (lower left)
51 x 45cm (20 x 17½ in.)
Exhibited:
Hove Museum of Art and London, Belgrave Gallery, Doris Pusinelli, 1977, no. 13 (illustrated on the cover of the catalogue)
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1
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2,000 - 3,000 GBP
λ ROBIN PHILIPSON (BRITISH 1916-1992)
WAITING
Oil on canvas
Signed (verso)
32 x 24.5cm (12½ x 9½ in.)
Provenance:
Roland, Browse & Delbanco, London (acquired by Dr. John O'Driscoll, 5 November 1975)
The Estates of Dr. John & Mary Esther O'Driscoll, Kildare, Ireland
By descent to the present owners
Acquired from the above by the family of the present owners, thence by descent
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1
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2,500 - 3,500 GBP
λ DIANA MAXWELL ARMFIELD (BRITISH B. 1920)
THE POT FROM MOUSTIERS
Oil on canvas board
Signed with initials (lower left)
28 x 19cm (11 x 7¼ in.)
Provenance:
Browse & Darby Ltd., London
Mrs S. Egerton, Private Collection
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λ MARY JACKSON (BRITISH B. 1936)
STILL LIFE OF FLOWERS IN A BLUE AND WHITE VASE
Oil on canvas laid to board
Signed (lower left)
29 x 24.5cm (11¼ x 9½ in.)
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1
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1,000 - 1,500 GBP
λ EMILY PATRICK (BRITISH B. 1959)
PEONIES
Oil on board
Signed with initials and dated 88 (lower right)
41 x 50.5cm (16 x 19¾ in.)
Provenance:
Thomas Agnew & Sons Ltd., London
From a Private Collection
Condition Report:
Appears to be in good original condition. Inspection under UV reveals no obvious evidence of restoration or repair.
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1
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3,000 - 5,000 GBP
λ EMILY PATRICK (BRITISH B. 1959)
STILL LIFE ON A WINDOW SILL
Oil on board
Signed (lower right)
60.5 x 90.5cm (23¾ x 35½ in.)
Provenance:
Thomas Agnew & Sons Ltd., London
From a Private Collection
Condition Report:
Very light surface dirt throughout. Otherwise appears to be in good original condition.
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1
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2,000 - 3,000 GBP
λ DAVID WYNNE (BRITISH 1926-2014)
ALIGHTING BIRD
Bronze
Signed with monogram, dated 1966 and numbered 3/6 (to the base)
Height (including base): 71cm (27¾ in.)
Conceived in 1965.
Provenance:
Sale, Sotheby's, London, 9 December 1970, lot 119
From a Private Collection
Literature:
T.S.R. Boase, The Sculpture of David Wynne 1949-1967 , London, 1968, p. 156 (illustration of another cast p. 127)
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1
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2,500 - 3,500 GBP
λ GEOFFREY DASHWOOD (BRITISH B. 1947)
TAWNY OWL
Bronze with a green/black patina
Signed and numbered 8/12
37 x 37cm (14½ x 14½ in.)
Condition Report:
In good original condition.
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