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Live
Venue address
Dreweatts
Donnington Priory
Newbury, Berkshire
RG14 2JE
United Kingdom
Modern and Contemporary Art
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Pietro Annigoni: A Personal Insight... read more!
Viewing in London (highlights): Dreweatts London, 16-17 Pall Mall, St James’s, London SW1Y 5LU
09 Oct 2024 10:00 - 16:00 BST
10 Oct 2024 10:00 - 16:00 BST
11 Oct 2024 10:00 - 16:00 BST
Viewing in Newbury (full sale): see below
Auction dates
23 Oct 2024 10:30 BST
Viewing dates
20 Oct 2024 10:00 - 15:00 BST
21 Oct 2024 10:00 - 16:00 BST
22 Oct 2024 10:00 - 16:00 BST
23 Oct 2024 09:00 - 16:00 BST
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Featured lots
There are 220 lots within this auction
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λ MICHAEL CANNEY (BRITISH 1923-1999)
TUSCAN ROOFS
Oil on board
18.5 x 28.5cm (7¼ x 11 in.)
Painted circa 1985.
Provenance:
Estate of the artist
Thence by descent to the present owner
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λ BRYAN PEARCE (BRITISH 1929-2006) CRABBER Pencil and ink Signed, titled, inscribed and dated 1963 (verso) 34 x 48cm (13¼ x 18¾ in.)
Provenance: Sale, Christie's, 12 October 2011, lot 144
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1
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1,500 - 2,500 GBP
λ MICHAEL CANNEY (BRITISH 1923-1999)
SQUARE VARIATION VI
Alkyd and pencil on board
Signed, titled and dated 83 (verso)
23 x 23cm (9 x 9 in.)
Provenance:
Estate of the artist
Thence by descent to the present owner
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λ PATRICK VENTON (BRITISH 1925-1987)
STUDIO TABLE STILL LIFE (WITH POTS AND PANS)
Oil on board
With study (verso)
61.5 x 122cm (24 x 48 in.)
Painted in 1957.
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λ PATRICK VENTON (BRITISH 1925-1987)
STUDIO TABLE STILL LIFE WITH JARS
Oil on board
With study (verso)
91.5 x 122cm (36 x 48 in.)
Painted in 1960.
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1
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2,000 - 3,000 GBP
λ CLIFFORD FISHWICK (BRITISH 1923-1997)
BANDSTAND
Oil on board
Signed and dated 54-5 (lower right)
48.5 x 108cm (19 x 42½ in.)
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1
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2,500 - 3,500 GBP
λ WILLIAM GEAR (BRITISH 1915-1997)
ST. IVES
Watercolour, ink and crayon
Signed and dated 48 (lower right); further signed, titled and dated June '48 (verso)
50 x 37.5cm (19½ x 14¾ in.)
Provenance:
Sale, Sotheby's, Made in Britain , 1 April 2014, lot 90
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3,000 - 4,000 GBP
λ WILLIAM GEAR (BRITISH 1915-1997)
PINK FIGURES
Gouache, watercolour, pencil and wax
Signed and dated 47 (lower left)
27 x 49.5cm (10½ x 19¼ in.)
Provenance:
Waterman, London
Sale, Christie's, 20th Century British Art , 10 October 2012, lot 328
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1
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5,000 - 8,000 GBP
λ PAUL MOUNT (BRITISH 1922-2009) MORTAL COIL Bronze Signed (on the base) 23 x 37.5cm (9 x 14¾ in.)
"The way two shapes relate is as important as the way two people relate" - Paul Mount
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1
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1,500 - 2,500 GBP
λ MARTIN BRADLEY (BRITISH 1931-2023)
UNTITLED
Enamel on card
Signed with initials and dated 52 (upper centre)
16.5 x 14.5cm (6¼ x 5½ in.)
Provenance:
Private Collection, Sir Jack Baer (1924-2016), British art dealer and founder of Hazlitt Gallery in 1948
Sale, Christie's, London, 12 October 2011, lot 181 (with the title " Today we have a Yeng Yeng Che Che invisibility" )
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1
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3,000 - 5,000 GBP
λ DENIS BOWEN (BRITISH 1926-2006)
EXPLODED STRUCTURE
Acrylic, sand and Ripolin on canvas
71 x 91.5cm (27 x 35 in.)
Painted in 1958.
Provenance:
Redfern Gallery, London
Private Collection, P. Dallas Smith (acquired from the above in July 1958)
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2,000 - 3,000 GBP
λ MARTIN BRADLEY (BRITISH 1931-2023)
UNTITLED
Oil on canvas
Signed and dated 58 (lower right)
57 x 43cm (22¼ x 16¾ in.)
Provenance:
Sale, Christie's, London 12 October 2011, lot 183
Acquired from the above sale by the present owner
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1
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3,000 - 5,000 GBP
λ MARTIN BRADLEY (BRITISH 1931-2023)
CONSTRUCTION
Watercolour and ink with scratching out
Signed and dated 1952 (lower left), inscribed in traditional Chinese characters (to lower edge of sheet)
31.5 x 25.5cm (12¼ x 10 in.)
Provenance:
Private Collection, Sir Jack Baer (1924-2016), British art dealer and founder of Hazlitt Gallery in 1948
Sale, Christie's, London, 14 July 2011, lot 151
Acquired from the above sale by the present owner
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2,000 - 3,000 GBP
λ ALAN REYNOLDS (BRITISH 1926-2014)
ELY FEN
Ink and watercolour
Titled and dated 1952 (verso)
14 x 22.5cm (5½ x 8¾ in.)
Provenance:
Roland, Browse & Delbanco, London (as 'Kent Landscape)
Strachan Fine Art, London
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1
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3,000 - 5,000 GBP
λ ALAN REYNOLDS (BRITISH 1926-2014)
STUDIES FOR YOUNG SEPTEMBER'S CORNFIELD
Ink and watercolour
Signed and dated 54 (lower right), titled (lower left)
41 x 29.5cm (16 x 11½ in.)
Provenance:
Thomas Agnew & Sons Ltd., London
The painting 'Young September's Cornfield' was completed in 1954, the same year as this study and is held by the Tate Gallery, London.
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1
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5,000 - 7,000 GBP
λ ALAN REYNOLDS (BRITISH 1926-2014)
WINTER HOPGARDEN
Oil on canvas-board
Titled (verso)
51.5 x 44.5cm (20¼ x 17½ in.)
Provenance:
Thomas Agnew & Sons Ltd., London
Sale, unknown, 12 October 1973, lot 279
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1,000 - 1,500 GBP
λ LEO DAVY (BRITISH 1924-1987)
FIGURES STANDING DECONSTRUCTED
Oil on board
104 x 40.5cm (40¾ x 15¾ in.)
Painted in 1955.
Provenance:
Direct from the Estate of the artist
Exhibited:
London, Piano Nobile, Leo Davy Abstract Scenes 1973-1987, February-May 2017, no. 7
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λ LEO DAVY (BRITISH 1924-1987)
STANDING FIGURES DECONSTRUCTED II
Oil on board
Signed and dated 62 (lower left); further signed and dated M'62 (upper right)
122 x 61cm (48 x 24 in.)
Provenance:
Direct from the Estate of the artist
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1
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7,000 - 10,000 GBP
λ FRANK AUERBACH (BRITISH B. 1931)
STUDY FOR 'FROM THE STUDIOS'
Wax crayon and felt tip pen
34 x 29cm (13¼ x 11¼ in.)
Executed in 1987.
Provenance:
Marlborough Fine Art Ltd., London
Private Collection, UK (acquired from the above)
Sale, Christie's, South Kensington, 17 December 2008, lot 142
Exhibited:
London, Marlborough Fine Art Ltd., Works on Paper by Contemporary Artists , March-April 1988, cat. no. 13
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λ GRAHAM SUTHERLAND (BRITISH 1903-1980)
INVITATION DESIGN FOR GRAHAM SUTHERLAND: AN EXHIBITION OF PAINTINGS AND DRAWINGS, 1953
Watercolour and ink
Signed (to the centre), annotated in pencil across the sheet
11.5 x 18.5cm (4½ x 7¼ in.)
Provenance:
Private Collection, Herbert Spencer (a gift from the artist)
Thence by descent
The exhibition was organised by the Trustees of the Tate Gallery and the Arts Council of Great Britain who presented an exhibition of paintings and drawings by Graham Sutherland at The Tate Gallery, from 20 May to 9 August 1953. The present study was a preparatory design for the exhibition catalogue.
Condition Report:
The sheet is uneven along the upper edge, artist's intention. A couple of marks to upper and right edge but otherwise appears to be in good original condition.
Condition Report Disclaimer
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2,000 - 3,000 GBP
λ GRAHAM SUTHERLAND (BRITISH 1903-1980)
STUDIES FOR 'RED MONOLITH' 1937
Ink, watercolour, gouache, pencil and collage
Signed, titled Red monolith and dated 38 (to upper edge); further inscribed with colour notes (upper right); titled vase like tree form and dated 37/8 (lower right)
20.3 x 15.3cm (7 x 6 in.)
There is a sketch executed in coloured crayons to the reverse of the sheet.
Provenance:
Private Collection, Herbert Spencer (a gift from the artist)
Thence by descent
Literature:
D. Cooper, The Work of Graham Sutherland, London, 1961, no.12b (illustrated)
Condition Report:
The sheet is stuck down at the four corners. Surface dirt throughout.
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3,000 - 5,000 GBP
λ GRAHAM SUTHERLAND (BRITISH 1903-1980)
STUDY FOR SPRAWLING TREE TRUNK
Watercolour, ink, pencil and collage
Signed (upper right);titled and dated 1937 (to upper left edge)
20.1 x 15.3cm (7¾ x 6 in.)
Provenance:
Private Collection, Herbert Spencer (a gift from the artist)
Thence by descent
Literature:
D. Cooper, The Work of Graham Sutherland, London, 1961, no.12a (illustrated)
Condition Report:
Stuck down to mounting card at three corners. Light surface dirt throughout.
Condition Report Disclaimer
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1
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4,000 - 6,000 GBP
λ GRAHAM SUTHERLAND (BRITISH 1903-1980)
TRAPPES - WRECKED LOCOMOTIVE
Watercolour, ink and charcoal
27.7 x 20.2cm (10¾ x 7¾ in.)
Painted in 1944.
Provenance:
Private Collection, Herbert Spencer (a gift from the artist)
Thence by descent
Literature:
D. Cooper, The Work of Graham Sutherland, London, 1961, no.49 (illustrated)
Condition Report:
Creases and small nicks to the extreme lower corners. Light surface dirt throughout.
Condition Report Disclaimer
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1
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8,000 - 12,000 GBP
λ GRAHAM SUTHERLAND (BRITISH 1903-1980)
DEVASTATION - EAST END - BURNT-OUT PAPER ROLLS & FALLEN LIFT-SHAFT
Watercolour, coloured crayon, ink and chalk
Inscribed Mound of paper rolls in burnt warehouse (to centre of the sheet); further inscribed Lift-shaft fallen over rubble (lower left); titled (verso)
21.2 x 16.3cm (8¼ x 6¼ in.)
Painted in 1941.
Provenance:
Private Collection, Herbert Spencer (a gift from the artist)
Thence by descent
Literature:
D. Cooper, The Work of Graham Sutherland, London, 1961, no.40b (illustrated as Burnt-out Paper Rolls)
Herbert Spencer (1924-2002) was one of the most influential British graphic designers of the 20 th Century.
In 1949 he founded, wrote and designed the ground-breaking journal Typographica. It focused on typographical design and its applications in the real world. It was the first journal to really explore how typography can contribute to and even shape popular culture as opposed to merely its practical applications and it introduced a new generation of printers and designers to the history of modernist design in Europe.
As a designer one of his first clients was the Institute of Contemporary Arts where he met Eric Gregory, the Chairman of Lund Humphries. They would subsequently go on to publish Typographica and Douglas Cooper's The Work of Graham Sutherland in 1961 which Spencer designed. It was during this project that he met and became friends with Graham Sutherland.
Condition Report:
The sheet is stuck down with glue at the two lower corners. Old glue residue visible to the upper two corners where the sheet was once stuck down. The illustration of paper rolls in the upper section of the sheet has been executed on a separate sheet and stuck down. A small nick to the lower left edge.
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1
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Estimate
4,000 - 6,000 GBP
λ GRAHAM SUTHERLAND (BRITISH 1903-1980)
STUDIES FOR INTERLOCKING HILLS
Oil pastel, ink and pencil
Signed (upper right); titled and dated 1943 (lower right)
20.2 x 15.5cm (7¾ x 6 in.)
Provenance:
Private Collection, Herbert Spencer (a gift from the artist)
Thence by descent
Literature:
D. Cooper, The Work of Graham Sutherland, London, 1961, no. IV (illustrated in colour)
Condition Report:
Light surface dirt throughout some staining visible to the edges and lower left corner. Slightly rounded corners and right edge is not straight, but this would have been artist's intention. A small diagonal crease to the lower right corner and a number of other very mild handling creases.
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1
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2,000 - 3,000 GBP
λ GRAHAM SUTHERLAND (BRITISH 1903-1980)
STUDY FOR `GREEN TREE FORM'
Watercolour and ink
Signed with initials and dated 1939 (lower right)
18 x 13.5cm (7 x 5¼ in.)
Provenance:
Private Collection, Herbert Spencer (a gift from the artist)
Thence by descent
Literature:
D. Cooper, The Work of Graham Sutherland, London, 1961, no.23a (illustrated)
Condition Report:
On original sketchbook paper. No obvious condition issues.
Condition Report Disclaimer
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1
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5,000 - 7,000 GBP
λ GRAHAM SUTHERLAND (BRITISH 1903-1980)
STUDY FOR A CACTUS
Gouache, watercolour and ink
Stamped Tuesday - 5 Apr 1960 (verso)
23 x 18cm (9 x 7 in.)
Painted in 1948.
Provenance:
Private Collection, Herbert Spencer (a gift from the artist)
Thence by descent
Literature:
D. Cooper, The Work of Graham Sutherland, London, 1961, no.106d (illustrated)
Condition Report:
Knicks and losses to the extreme left edges. Corners slightly bent/rounded. A small vertical tear to the left side of the lower edge approx. 1cm and another slightly further towards the centre of the left edge circa. 2cm.
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1
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2,000 - 3,000 GBP
λ GRAHAM SUTHERLAND (BRITISH 1903-1980)
STUDY FOR HANGING MAIZE
Pencil
22.5 x 28.5cm (8¾ x 11 in.)
Executed in 1948.
Provenance:
Private Collection, Herbert Spencer (a gift from the artist)
Thence by descent
Literature:
D. Cooper, The Work of Graham Sutherland, London, 1961, no.95d (illustrated)
Condition Report:
There is a horizontal crease running the width of the sheet approx. 3.5cm from the lower edge. Handling creases throughout with some more notable diagonal creases to the right edge and upper left corner. Surface skinning to the lower left quadrant in two sections, the largest 3cm. Surface dirt throughout.
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1
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6,000 - 8,000 GBP
λ JOHN PIPER (BRITISH 1903-1992)
THORNHILL PRIORY
Watercolour, ink, pencil, oil and coloured crayon
Signed, titled and dated 17 VII 83 (lower left)
37 x 56cm (14½ x 22 in.)
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1
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10,000 - 15,000 GBP
λ JOHN PIPER (BRITISH 1903-1992)
PALAZZO IN VINCENZA, ITALY
Gouache, watercolour, ink and collage on paper
Signed (lower right)
52 x 68.5cm (20¼ x 26¾ in.)
Painted in 1957.
Provenance:
Spink, London
Exhibited:
London, Spink, 1996, no.9
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1
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7,000 - 10,000 GBP
λ SIR JACOB EPSTEIN (BRITISH 1880-1959)
RALPH VAUGHAN WILLIAMS, O.M.
Bronze with green patina
Signed (verso)
Height (excluding base): 39cm (15¼in.)
Conceived in 1949.
Provenance:
From a Private Collection
Literature:
Jacob Epstein, An Autobography, London, 1955, p.234, illus.
Richard Buckle, Jacob Epstein Sculptor, London, 1963, pp. 334-5, pls. 519-20 (dates 1950)
Evelyn Silber, The Sculpture of Epstein, Oxford, 1986, p. 205, no. 416
Ralph Vaughan Williams was a composer. He commissioned Epstein to produce his sculpture at the beginning of February 1949.
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1
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5,000 - 7,000 GBP
λ SIR JACOB EPSTEIN (BRITISH 1880-1959)
SECOND PORTRAIT OF KATHLEEN
Bronze with green patina
Signed to sitter's left shoulder
Height: 39cm (15¼in.)
Conceived in 1922.
Provenance:
Sale, Sotheby's, London, 9 July 1969, lot 105
Agnew's Gallery, London
From a Private Collection
Literature:
Richard Buckle, Jacob Epstein Sculptor, London, 1963, p. 113, pl. 176
Evelyn Silber, The Sculpture of Epstein , Oxford, 1986, p. 151, no. 130
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1
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1,500 - 2,500 GBP
λ SIR JACOB EPSTEIN (BRITISH 1880-1959)
RISEN CHRIST (HANDS ONLY)
Bronze with a dark brown patina
43 x 39cm (16¾ x 15¼ in.) (including base)
Conceived 1917-1919.
Provenance:
Sale, Sotheby's, London, 9 July 1969, lot 101
Agnew's Gallery, London
From a Private Collection
Literature:
Evelyn Silber, The Sculpture of Epstein, Oxford, 1986, relating to no. 97
The other version of this work is held in Walsall, Garman-Ryan Collection.
The present lot was part of a study intended for a large scale sculpture measuring 218cm tall depicting the sick Bernard van Dieren during 1917. Artists Jacob Kramer and Cecil Gray, the musician posed for the unfinished sections when Epstein returned to the work in 1918/1919.
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1
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3,000 - 5,000 GBP
λ SIR JACOB EPSTEIN (BRITISH 1880-1959)
EPSTEIN'S LEFT HAND (SCULPTOR'S HAND)
Bronze with a dark brown patina
20 x 14.5cm (7¾ x 5½ in.) (excluding base)
Probably cast after 1959.
Provenance:
From a Private Collection
Literature:
Evelyn Silber, The Sculpture of Epstein , Oxford, 1986, p. 227, no. 526
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12,000 - 18,000 GBP
HENRI GAUDIER-BRZESKA (FRENCH 1891-1915)
FIREBIRD (THE RUSSIAN BALLET)
Bronze
Signed
Height: 62cm (24¼ in.)
Cast in an edition of 10.
Exhibited:
London, Royal Albert Hall, Allied Artist's Association, The London Salon: Sixth Year , July 1913, no. 1212, another cast exhibited
London, Whitechapel Art Gallery, Twentieth Century Art , May 1914, no. 179, as 'L'oiseau de Feu Ballet', another cast exhibited
London, Leicester Galleries, A memorial exhibition of the work of Henri Gaudier-Brzeska , May - June 1918, no. 31, as 'The Russian Ballet', another cast exhibited
Leeds, Temple Newsam, Roy de Maistre, Henri Gaudier-Brzeska , June - August 1943, no. 62, as 'L'oiseau de Feu', another cast exhibited
Leeds, Arts Council of Great Britain, Temple Newsam, Henri Gaudier-Brzeska Exhibition of Sculpture and Drawings , June - August 1956, no. 2, as 'Russian Ballet', another cast exhibited
Edinburgh, Scottish National Gallery of Modern Art, Henri Gaudier-Brzeska Sculptures , August - September 1972, no. 10, another cast exhibited: this exhibition travelled to Leeds, City Art Gallery, September - October 1972; and Cardiff, National Museum of Wales, October - November 1972
London, Mercury Gallery, Gaudier-Brzeska , May - June 1987, no. 5, as 'L'oiseau de Feu', another cast exhibited
Literature :
H.S. Ede, Savage Messiah , William Heinemann, London, 1931, pp.156-57
H. Brodzky , Henri Gaudier-Brzeska 1891-1915 , London, 1933, pp. 36, 175-176, no. 179, as 'L'oiseau de Feu Ballet', another cast illustrated
M. Levy, Gaudier-Brzeska Drawings and Sculpture , London, 1965, pp. 17, 29, no. 73, pl. 73, as 'L'oiseau de Feu (Ballet)', another cast illustrated
R. Cole, Burning to Speak: The Life and Art of Henri Gaudier-Brzeska , Oxford, 1978, pp. 38, 61, no. 14, another cast illustrated
London, Mercury Gallery, Exhibition catalogue, Gaudier-Brzeska ,1987, no. 5, another cast illustrated on the front cover
E. Silber and D. Finn, Gaudier-Brzeska Life and Art , London, 1996, pp. 34, 39, 43, 84, 104-105, no. 18, pls 11-12, another cast illustrated
Paris, Centre Pompidou, Musée National d'Art Moderne, Exhibition catalogue, Henri Gaudier-Brzeska in the collection of the Centre Pompidou , 2009, pp. 176-177, 207, no. 13 and 21, as 'Oiseau de feu', another cast illustrated
Evelyn Silber comments, 'Julian Lousada commissioned this group showing Adolph Bolm and Tamara Karsavina in the Ballet Russes production of Stravinsky's The Firebird, which was performed in London for the first time during the Ballet Russes' season from 12 June - 1 August, 1912. The sculpture depicts the moment when Ivan Tsarevitch captures the Firebird. Lousada received a plaster and paid £20 for one bronze cast, the highest price paid for any of his works in his lifetime' (op. cit.).
This cast was sadly destroyed by bombing during the Blitz, and ten casts were subsequently produced from the surviving plaster.
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2,000 - 3,000 GBP
λ HUMPHREY SPENDER (BRITISH 1910-2005)
HOUSES WITH LAMP POST
Watercolour ink and chalk
Signed and dated 1946 (lower right)
30 x 37cm (11¾ x 14½ in.)
Provenance:
The Redfern Gallery Ltd., London
Private Collection, Mrs. Jasper Peck (acquired at the Redfern exhibition on 7 March 1947)
Thence by descent to the present owner
Exhibited:
London, The Redfern Gallery Ltd., March 1947
It has been suggested that the present work shows a view of houses in St. John's Wood where Humphrey was living with his brother, poet and novelist, Stephen Spender.
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λ HUMPHREY SPENDER (BRITISH 1910-2005)
TALL HOUSES
Watercolour, ink and chalk
Signed and dated 46 (lower right)
37 x 26.5cm (14½ x 10¼ in.)
Provenance:
The Redfern Gallery Ltd., London
Private Collection, Mrs. Jasper Peck (acquired at the Redfern exhibition on 7 March 1947)
Thence by descent to the present owner
Exhibited:
London, The Redfern Gallery Ltd., March 1947, no. 88
It has been suggested that the present work shows a view of houses in St. John's Wood where Humphrey was living with his brother, poet and novelist, Stephen Spender.
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8,000 - 12,000 GBP
PAUL NASH (BRITISH 1889-1946)
STUDY IN PALE TONES: THE POND AT OXENBRIDGE, IDEN IN RYE, SUSSEX
Pencil, watercolour and coloured crayon
Signed and dated 1921 (lower right); further signed, titled and dated 1921 (verso)
59 x 40cm (23 x 15½ in.)
Provenance:
Mrs Paul Nash, Oxford
The Leicester Galleries, London
Private Collection, Geoffrey Jellicoe (acquired at the 1952 exhibition)
Sale, Christie's, London, 4 June 1999, lot 2
Sale, John Nicholson Auctioneers, Haslemere, 11 October 2014, lot 401
Private Collection, Hampshire (acquired frome the above sale)
Exhibited:
London, New English Art Club, January 1923, no.181
London, The Leicester Galleries, New Year Exhibition , January 1952, no.25
Literature:
Andrew Causey, Paul Nash , Oxford, 1980, no. 373
The present work is one of the earliest depictions of Oxenbridge farmhouse in the village of Iden in East Sussex. Paul and his wife Margaret moved to nearby Dymchurch in 1921, the same year as this drawing. Nash's mental health was severely impacted by his wartime experience and this was a period characterised by inner turmoil and subsequent recuperation. Study in Pale Tones, the Pond at Oxenbridge is a break from the desolation of Nash's wartime works and a move towards the romantic depictions of the English landscape that characterised his work between in the decade that followed.
Oxenbridge Farm in Iden was owned by close friends of the Nashes, Bertram and Kitty Buchanan. Bertram had also served as a war artist and they were frequent visitors to the farm which became a recurrent subject of many of Nash's 1920s works , including Fig. 1, Oxenbridge Pond, 1927-28 (Birmingham City Museums & Art Gallery). From Dymchurch, the Nashes moved to Oxenbridge Cottage in 1925, staying there until they left for Rye in 1930.
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15,000 - 25,000 GBP
λ SIR MATTHEW SMITH (BRITISH 1879-1959)
STILL LIFE WITH TULIPS IN A BOWL
Oil on canvas
54 x 65cm (21¼ x 25½ in.)'
Painted in 1932.
Provenance:
Arthur Tooth and Sons, London
Private Collection, Sir James Robert McGregor (1889-1973), Sydney (acquired from the above on 6 September 1933)
Sale, Sotheby's, London 20 November 1991, lot 107
Sale, Sotheby's, London, 3 December 1998, lot 62
Collection of the late John Lippitt, Hampshire
Literature:
Art in Australia , Third Series, no. 57, November 1935, p. 21 (illustrated)
John Gledhill, Matthew Smith: Catalogue Raisonne of the Oil Paintings, Farnham, 2009, cat. no. 342 (as Tulips and white hyacinths ), illustrated p. 154
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1,000 - 1,500 GBP
λ SIR MATTHEW SMITH (BRITISH 1879-1959)
FRUIT ON A BLUE PLATE
Watercolour
22 x 29cm (8½ x 11¼ in.)
Provenance:
Roland, Browse & Delbanco, London
Acquired from the above by the parents of the present owner
Thence by descent
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8,000 - 12,000 GBP
λ SIR MATTHEW SMITH (BRITISH 1879-1959)
PORTRAIT OF DUDLEY WALLIS
Oil on canvas
Signed with initials (lower left)
77.5 x 63.5cm (30½ x 25 in.)
Painted circa 1936.
Provenance:
Arthur Tooth & Sons, London
Private Collection, Sir David & Lady Scott, London (acquired from the above on 13 September 1960)
Their sale, Sotheby's, London, A GREAT BRITISH COLLECTION: The pictures collected by Sir David and Lady Scott, sold to benefit the Finnis Scott Foundation, 19 November 2008, lot 172
Sale, Chiswick Auctions, London, 28 June 2018, lot 76
Private Collection, Hampshire (acquired from the above sale)
SOTHEBY'S NOTE:
G.P. Dudley Wallis was curator at the Holburne Museum in Bath from November 1913-1917, and crucially oversaw the moving of the museum to its purpose built current home on Great Pulteney Street. Although the collection of the museum is pre-twentieth century, Wallis himself owned an important group of modern British paintings including works by Walter Sickert, Christopher Wood and Sir Matthew Smith, some of which were sold in these rooms on the eighteenth April 1951. Interestingly, Wallis' predecessor at the Holburne, Hugh Blaker, had also combined his role as curator of historical artefacts with his love of avant-garde art when he acted as art advisor to Gwendoline and Margaret Davies, whose impressive collection of impressionist and post-impressionist works of art was bequeathed to the National Museum of Wales in 1951 and 1963.
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6,000 - 8,000 GBP
HILDA FEARON (BRITISH 1878-1917)
THE BATHERS
Oil on panel
Signed (lower left)
38.5 x 45.7cm (15 x 17 in.)
Study of woman stood beside the sea holding a parasol to reverse of panel.
Provenance:
Sale, Christie's, Victorian & Traditionalist Pictures , 8 June 2006, lot 294
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4,000 - 6,000 GBP
HARRY WATSON (BRITISH 1871-1936)
TWO FIGURES BY A WATERFALL
Watercolour
Signed (lower right)
49 x 59.5cm (19¼ x 23¼ in.)
Painted circa 1935.
Provenance:
Nortfolk Art Centre, Buxton Mill Galleries Ltd., Buxton-Lamas, Norwich
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2,000 - 3,000 GBP
λ CAMPBELL ARCHIBALD MELLON (BRITISH 1876-1955)
NOVEMBER, GORLESTON BEACH
Oil on board
Signed (lower right)
24 x 34cm (9¼ x 13¼ in.)
Provenance:
Royal Exchange Art Gallery, London
Acquired from the above by the present owner
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3,000 - 5,000 GBP
STANISLAS LÉPINE (FRENCH 1835 -1892)
PLAINE DE GENNEVILLIERS, CHAMPS DE BLE
Oil on canvas
Signed (lower left)
24 x 33cm (9¼ x 12 in.)
Painted circa 1874-76.
Provenance:
Sale, Hotel Drouot, Paris, Tableaux par Lepine , 15 March 1877, lot 32
Félix Gérard, Paris
Kunsthandel M. L. de Boer, Amsterdam
Sale, Sotheby's, London, 3 December 1981, lot 602
Acquired from the above sale by the parents of the present owner
Thence by descent
Literature:
R. & M. Schmit, Stanislas Lépine 1835-1892, Catalogue Raisonné de l'oeuvre peint , Paris, 1993, p. 223, no. 561 (illustrated)
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5,000 - 7,000 GBP
λ MARCEL DYF (FRENCH 1899-1985)
PECHEUR SUR L'ETANG DE SAINT QUENTIN EN ILE DE FRANCE
Oil on canvas
Signed (lower right)
61 x 73cm (24 x 28½ in.)
The work is registered in the Marcel Dyf Archive under N° ID : 3555.
Provenance:
Frost & Reed, London, no. 47897, titled ' Regate au bord de l'etang '
Sudgrove House, Gloucestershire
We are grateful to Claudine Dyf for her assistance in cataloguing this work.
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15,000 - 25,000 GBP
PAUL SIGNAC (FRENCH 1863-1935)
PONT SUR LA RIVIERE
Watercolour and black crayon
Signed (lower left)
29 x 41cm (11¼ x 16 in.)
Provenance:
Estate of Mrs Louisa Carolina Pop-Schwarz, The Netherlands (1989)
From a Private Collection
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5,000 - 7,000 GBP
λ MARCEL DYF (FRENCH 1899-1985)
NU ALLONGE
Oil on canvas
Signed (lower right)
54 x 65cm (21¼ x 25½ in.)
Painted circa 1970.
Provenance:
Frost & Reed Gallery, London
Sale, Lawrence's Auctioneers, Bletchingly, 3 February 2015, lot 1375
Private Collection, Hampshire (acquired from the above sale)
We are grateful to Claudine Dyf for her assistance in cataloguing this work. The work will be included in the Marcel Dyf Archive.
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7,000 - 10,000 GBP
λ MARIE LAURENCIN (FRENCH 1883-1956)
L'ESPAGNOLE
Oil on paper laid to canvas, oval
Signed (lower right)
53 x 43cm (20¾ x 16¾ in.)
Provenance:
Peter Meltzer, Canada, Private Collection, where purchased by Count Manfredi della Gherardesca
Exhibited:
Toronto, Art Gallery of Ontario, on loan in memory of Elise and David Meltzer, 1979
This work is recorded in the Marie Laurencin Archives.
Marie Laurencin's exposure to avant-garde movements at the turn of the 20 th century in Paris were integral to her artistic development and heavily influenced her journey to find her unique and distinctive style. Her relationship with the poet Guillaume Apollinaire and introduction to Georges Braque, Pablo Picasso and important figures of l'ecole de Paris introduced Laurencin to artistic movements such as Cubism and Fauvism. Laurencin rose to prominence in Paris as a notable figure within the Cubist group and exhibited with the Section d'Or at the Salon des Independents in 1910-11. Following this, Laurencin was represented by Paul Rosenberg from 1913-1940.
Despite this, Laurencin remained on the periphery of Cubism and Fauvism borrowing elements of stylisation such as simplified lines and segmenting the subject into planes of colour and shapes but with her own interpretation and approach, the image remained realistic and immediately familiar. Her dreamlike colour palettes became integral to her work and this contrasted with piercing eyes conjures an emotional response, melancholic and erotic.
Marie Laurencin's ethereal female figure of a Spanish lady fills the oval composition. Her elongated face is balanced by the dramatic head piece which drapes across her forehead. The viewer is immediately struck by the jet-black eyes which penetrate through the canvas. Laurencin has used her distinctive colour palette of muted colours, blue, pink and pastel tones juxtaposed against the bold black lines which appear to represent the figure's mantilla held high upon the head traditionally by a peineta. Laurencin was exiled to Spanish with her husband at the start of the First World War until 1919, it is possible that this period inspired the present lot.
By 1920, Laurencin settled back in Paris and rose to prominence as an established portrait painter and illustrator. The strong female figures which sat at the heart of her subject matter were also the driving force behind her art. Laurencin strove to promote creativity and artistic endeavours amongst women in a male dominated society. Laurencin supported the Société des Femmes Artistes Modernes and exhibited with the group on several occasions between 1931-1938.
The Marie Laurencin Museum was opened in Japan in 1983 becoming the first museum in the world dedicated to a female painter.
Condition Report:
Condition Report Disclaimer
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2,500 - 3,500 GBP
WILFRED GABRIEL DE GLEHN (BRITISH 1870-1951)
THE VILLAGE GREEN IN EVENING LIGHT
Oil on canvas
Signed and dated 1893 (lower left)
60.5 x 50cm (23¾ x 19½ in.)
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3,000 - 5,000 GBP
WYNFORD DEWHURST (BRITISH 1864-1941)
SUNNY PASTURES, A BIT OF NORMAN LANDSCAPE
Oil on canvas
Signed (lower right)
82.5 x 61cm (32¼ x 24 in.)
Provenance:
Sale, Christie's, London, 23 June 1994, lot 5
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2,000 - 3,000 GBP
λ VICTOR VIGNON (FRENCH 1847-1909)
LES HAUTEURS DE TRIEL-SUR-SEINE
Oil on canvas
Signed (lower right)
46.5 x 55.5cm (18¼ x 21¾ in.)
Painted in 1881.
Provenance:
Kaplan Gallery, London
Mrs William Nitze, Washington DC
Sale, Sotheby's, London, 21 February 1990, lot 70
Private collection, Paris
Stoppenbach & Delestre, London
Private collection, UK
The authenticity of this work has been confirmed by Stéphane Kempa, who will be including it in the forthcoming Victor Vignon catalogue raisonné.
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THEOPHILE ALEXANDRE STEINLEN (FRENCH 1859-1923) TROIS FEMMES AVEC UN ENFANT Blue crayon Signed, dedicated and dated A MIss Bessie Dibblee souvenir de Paris Mai 1908 (lower left) 40.5 x 31cm (15¾ x 12 in.)
Provenance: The Folio Society, London (stock no. D3130)
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PAUL CÉSAR HELLEU (FRENCH 1859-1927)
PORTRAIT OF A LADY, SIDE PROFILE
Crayon and wash
Signed (lower right)
32.5 x 21cm (12¾ x 8¼ in.)
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LÁSZLÓ BÁRÓ MEDNYANSZKY (HUNGARIAN 1852-1919)
MAN IN A BLUE HAT
Watercolour and pencil
Signed (lower right)
25.5 x 18.5cm (10 x 7¼ in.)
Provenance:
Abbott and Holder, London
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CHRISTOPHER WOOD (BRITISH 1901-1930)
CIRCUS TROUPE
Pencil
25.5 x 32.5cm (10 x 12¾ in.)
Drawn circa 1929-30.
Provenance:
Sale, Christie's, 11 June 1998, lot 31
It has been suggested that the work relates to the Luna Park Ballet for which Christopher Wood was commissioned by Boris Kochno in Paris.
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CHRISTOPHER WOOD (BRITISH 1901-1930)
TWO GIRLS
Pencil
Numbered (verso)
25 x 32cm (9¾ x 12½ in.)
Provenance:
The Mercury Gallery, London
Whitford Fine Art, London
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CHRISTOPHER WOOD (BRITISH 1901-1930)
SITTING NUDE
Pencil
32 x 24cm (12½ x 9¼ in.)
Drawn in 1926.
Provenance:
Private Collection, Sir Rex Nan Kivell
Private Collection, Dr William Mason
Michael Parkin Gallery, London
Private Collection, Mrs Heather Mansell Jones
Exhibited:
London, Michael Parkin Gallery, no. 35
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2,000 - 3,000 GBP
λ WILLIAM ROBERTS (BRITISH 1895-1980)
STANDING FEMALE NUDE
Pencil
Signed (lower right)
38 x 23cm (14¾ x 9 in.)
Drawn circa 1945.
Provenance:
Sale, Sotheby's, London, 6 October 1993, lot 98 (unverified)
England & Co. Gallery, London
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