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Live
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Dreweatts
Donnington Priory
Newbury, Berkshire
RG14 2JE
United Kingdom
Modern and Contemporary Art
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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
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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
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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
Condition Report:
Unexamined out of glazed frame. A very small loss to the lower left corner. Some rubbing to the extreme edges and right lower corner. A small surface scratch circa. 2cm to the lower left quadrant. Otherwise appears to be in good original condition.
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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
Condition Report:
In very good original condition. No apparent condition issues. Unexamined out of glazed frame.
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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.
Condition Report:
In good original condition, no apparent condition issues.
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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.
Condition Report:
In good original condition, no apparent condition issues.
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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.)
Condition Report:
Some light surface dirt but otherwise, in good original condition. No evidence of retouching visible under ultraviolet light.
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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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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)
Condition Report:
There is some cracking to certain areas of black pigment, notably the patch at the centre of the right edge. Some 'spotting' to the paint surface which appears to be consistent with the artist's intention (see lower right corner). Ultraviolet light reveals one small patch of retouching just off the lower edge in the lower right quadrant. Some surface dirt, but otherwise, in generally good original condition.
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1
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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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5,000 - 7,000 GBP
λ ALAN REYNOLDS (BRITISH 1926-2014)
WINTER HOPGARDEN
Oil on canvas-board
Signed and dated 57 (lower right); titled (verso)
51.5 x 44.5cm (20¼ x 17½ in.)
Provenance:
Thomas Agnew & Sons Ltd., London
Sale, unknown, 12 October 1973, lot 279
Please note: This work is signed and dated 57 lower right
Condition Report:
Light surface dirt throughout. Appears to be in good original condition.
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1
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1,000 - 1,500 GBP
λ LEO DAVY (BRITISH 1924-1987)
FIGURES STANDING DECONSTRUCTED
Oil on board
Signed and dated 55 (lower centre)
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
Condition Report:
In good original condition. Unexamined out of glazed frame.
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λ LEO DAVY (BRITISH 1924-1987)
STANDING FIGURES DECONSTRUCTED II
Oil on board
Signed and dated 62 (lower right); further signed and dated M'62 (upper right)
122 x 61cm (48 x 24 in.)
Provenance:
Direct from the Estate of the artist
Condition Report:
In good original condition. Unexamined out of glazed frame.
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1
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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
Condition Report:
The canvas is not relined. There is some fine craquelure to thicker paint pigments, notably in the upper left quadrant, but paint surface is stable. Ultraviolet light reveals some light scattered retouching. Otherwise in generally good condition.
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1
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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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1
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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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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
Condition Report:
In good original condition with a glossy varnish. No obvious condition issues.
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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)
Condition Report:
Examined under ultra violet light there appear to be scattered areas of retouching in the sky. The varnish appears to be slightly discoloured. Subject to the above the work appears to be in generally good condition.
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1
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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.
Condition Report:
Some very fine craquelure to the thickest areas of pigment. Light surface dirt throughout. Some possible discolouration throughout due to yellowing varnish. A very small loss to the upper right quadrant to a cloud in the sky. Inspection under UV reveals no obvious evidence of restoration or repair.
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1
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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.
Condition Report:
Relined. Light surface dirt throughout. Some yellowing varnish throughout. Some very fine craquelure to the thickest white pigment. Otherwise appears to be in original condition.
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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
Literature:
Daniel Marchesseau, Catalogue raisonne de L'oeuvre peint , Volume II, Paris, 1999, no. 1362
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:
Oil on paper laid to canvas. Evidence of old craquelure visible to the headdress and background. Ultraviolet light reveals infilling to the craquelure in addition to scattered spots of retouching throughout.
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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.)
Condition Report:
Clusters of pin holes to each of the four corners. Light surface dirt throughout. Otherwise appears to be in good original condition.
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1
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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
Condition Report:
Craquelure throughout, most evident to the dark green pigment. Otherwise surface appears stable and work in original condition.
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1
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2,000 - 3,000 GBP
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.
Condition Report:
The canvas has not been relined. Inspection under UV reveals three spots of retouching along the upper edge and a vertical line of retouching (approx 7cm.) to the tree, far right. Otherwise, the work is clean and ready to hang.
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1
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20,000 - 30,000 GBP
λ MARY FEDDEN (BRITISH 1915-2012)
THE WHITE UMBRELLA
Oil on canvas
Signed and dated 1995 (lower left)
91.5 x 101.5cm (36 x 39¾ in.)
Provenance:
Richard Green, London
Guy Reed, Copgrove Hall
Guy Reed Will Trust
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λ JEROEN KRABBÉ (DUTCH B. 1944)
A VIEW FROM MY WINDOW AT THE DATAI III, MALAYSIA
Oil on canvas
Signed and dated 1994 (lower left); further signed, titled, inscribed and dated 1994 (verso)
89.5 x 70cm (35 x 27½ in.)
Provenance:
Francis Kyle Gallery, London
John Reed, removed from Copgrove Hall
Condition Report:
Appears to be in good original condition.
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1
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2,000 - 3,000 GBP
λ JOHN LOWRIE MORRISON (BRITISH B.1948)
AUTUMN LIGHT, OBAN
Acrylic on canvas
Signed (lower right); further signed, titled and dated 2006 (verso)
90 x 90cm (35¼ x 35¼ in.)
Provenance:
Kranenburg Fine Art, Argyll
Guy Reed Will Trust
Condition Report:
Unexamined out of glazed frame. Appears to be in good original condition.
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1
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2,000 - 3,000 GBP
λ GERALD A. COOPER (BRITISH 1898-1975)
FLOWER PIECE
Oil on panel
Signed (lower left); further signed, titled and inscribed No. 1 (verso)
76.5 x 63.5cm (30 x 25 in.)
Provenance:
Frost & Reed, London
Richard Green, London
Guy Reed, Copgrove Hall
Guy Reed Will Trust
Exhibited:
London, Royal Academy, Summer Exhibition, 1955, no. 229
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2,000 - 3,000 GBP
λ GERALD A. COOPER (BRITISH 1898-1975)
HOLLYHOCKS
Oil on panel
Signed (lower right); further signed, titled and inscribed No 2 (verso)
76 x 63.5cm (29¾ x 25 in.)
Provenance:
Frost & Reed, London, stock no. 18890
Richard Green, London
Guy Reed, Copgrove Hall
Guy Reed Will Trust
Exhibited:
London, Royal Academy, Summer Exhibition , 1955, no. 225
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1,500 - 2,500 GBP
λ HAROLD CLAYTON (BRITISH 1896-1979)
A BOUQUET OF FLOWERS IN AN URN ON A STONE LEDGE
Oil on canvas
Signed (lower left)
63.5 x 76cm (25 x 29¾ in.)
Provenance:
Guy Reed, Copgrove Hall
Guy Reed Will Trust
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1
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600 - 800 GBP
λ DORIS CLARE ZINKEISEN (BRITISH 1898-1991)
THE STEAMBOAT
Signed (lower right)
46 x 60cm (18 x 23½ in.)
Provenance:
The Fine Art Society, London
Guy Reed, Copgrove Hall
Guy Reed Will Trust
Exhibited:
London, The Fine Art Society, June 1952
Condition Report:
There is some brown tape obscuring the tip of the upper left corner (not stuck down). No evidence of retouching visible under ultraviolet light. In good original condition.
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1,500 - 2,000 GBP
λ STEVEN SPURRIER (BRITISH 1878-1961)
THE CRITICS
Oil on canvas
Signed and dated 53 (lower right)
71.5 x 92cm (28 x 36 in.)
Exhibited:
London, Royal Academy, 1953
London, The Arts and the Cafe Royal,1956 (1st prize)
Condition Report:
Light surface dirt throughout. An area of loss to the theatre programme being held by the lady in white, approx. 2cm, bear canvas showing. An area of paint thinning to the lower right corner. Inspection under UV reveals some very light scattered retouching.
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λ RAOUL MILLAIS (BRITISH 1901-1999)
HORSE AND CARRIAGE, WITH FIGURES RESTING IN THE PARK
Oil on canvas
Signed (lower right)
20.5 x 25.5cm (8 x 10 in.)
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5,000 - 7,000 GBP
λ DOROTHEA SHARP (BRITISH 1874-1955)
BABY IN A PRAM AMONGST THE DAISIES
Oil on canvas
Signed (lower right)
41.5 x 46.5cm (16¼ x 18¼ in.)
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6,000 - 8,000 GBP
λ DOROTHEA SHARP (BRITISH 1873-1955)
STILL LIFE OF FLOWERS
Oil on board
Signed (lower left)
51 x 41.5cm (20 x 16¼ in.)
Provenance:
Spink & Son, London
Thence by descent to the present owner
Condition Report:
Some cracking and associated loss to the upper right corner. Some yellowing to the varnish throughout. Inspection under UV reveals no obvious evidence of restoration or repair, but an uneven varnish.
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800 - 1,200 GBP
ALFRED FREDERICK WILLIAM HAYWARD (BRITISH 1856-1939)
WHITE CONVOLVULUS
Oil on canvas
Signed (lower right)
43.5 x 33.5cm (17 x 13 in.)
Provenance:
The Fine Art Society, London
Exhibited:
London, The Fine Art Society, March 1945
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ERNEST JULES RENOUX (FRENCH 1863-1932)
JARDIN DU LUXUEMBOURG
Oil on canvas
Signed (lower left) titled (verso)
38 x 56cm (14¾ x 22 in.)
Provenance:
Kaplan Gallery, London
Condition Report:
The canvas is not relined. The canvas is slack on the stretcher. There are some areas of fine scattered craquelure. Some possible discoloration caused by yellowed varnish. Otherwise, in generally good condition. No evidence of retouching under ultraviolet light.
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800 - 1,200 GBP
λ HERBERT ROYLE (BRITISH 1870-1958)
SNOW LANDSCAPE
Oil on canvas
Signed (lower right)
63.5 x 76cm (25 x 29¾ in.)
Condition Report:
Unexamined out of glazed frame. Craquelure scattered throughout. Light surface dirt.
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λ ALFRED WOLMARK (BRITISH 1877-1961)
OXFORDSHIRE LANDSCAPE
Oil on board
Signed and dated 41 (lower right)
49 x 65cm (19¼ x 25½ in.)
Provenance:
Private Collection, F. Davidson Esq.
Ben Uri Art Gallery (presented by the above)
Condition Report:
In good original condition. Inspection under UV reveals no obvious evidence of restoration or repair.
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λ ISABELLE DE GANAY (FRENCH B. 1960)
LE CHAMPS FLEURI VERS LA CADIERE D'AZUR
Oil on canvas
Signed (lower left)
91 x 119cm (35¾ x 46¾ in.)
Provenance:
The Collection of The Bowerman Charitable Trust
Condition Report:
In good original condition. 112 x 139cm including frame.
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λ ROBERT BUHLER (BRITISH/SWISS 1916 -1989)
LANDSCAPE
Oil on board
Signed (lower right)
45.5 x 78cm (17¾ x 30½ in.)
Condition Report:
Some light surface dirt, including some spots of uneven varnish. Inspection under ultraviolet light reveals no evidence or restoration.
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λ PIETRO ANNIGONI (ITALIAN 1910-1988)
PORTRAIT OF JUANITA FORBES
Tempera grassa on panel
Signed with monogram, dated and inscribed Paris LIII/To J (verso)
68 x 48cm (26¾ x 18¾ in.)
Painted in 1953.
Provenance:
Juanita Forbes and thence by descent
Exhibited:
Paris, Galerie de Beaux Arts, Peintures et Dessins de Pietro Annigoni, 3-23 December 1953.
London, Wildenstein, An Exhibition of Paintings and Drawings by Pietro Annigoni , 7 April - 1 May 1954, no.11
Florence, Galleria d'Arte Internazionale, Pietro Annigoni , 19-23 January 1963
Milan, Galleria Cortina, Antologica di Pietro Annigoni , 25 October - 25 November 1968
New York, The Brooklyn Museum, Pietro Annigoni: A Retrospective Exhibition, 27 April - 22 June 1969
San Francisco, California Palace of the Legion of Honor, Pietro Annigoni: A Retrospective Exhibition, 19 July - 31 August 1969
Cardiff, National Museum of Wales, Pietro Annigoni, 1 - 30 September 1977
Literature:
R.C. Cammell, Pietro Annigoni , London,1954.
G. Solari Bozzi, Con il preziozo manto turchino della Giarrettiera la Regina Elisabetta"posa" per Pietro Annigoni, in Il Giornale d'Italia, Rome, 28 November 1954.
H. Kanis, This is Annigoni , in News Page , London, July 1955, p.42.
D. Wynne-Morgan, Annigoni...and a Duchess he refused to paint . In Daily Express , 8 May 1956, p.10.
R.C. Cammell, Memoirs of Annigoni , London, 1956, p.80.
M. Garland, The Changing Face of Beauty. Four thousand years of beautiful Women, London, 1957, p.206.
N. Rasmo, Pietro Annigoni, Florence, 1961, p.69
U. Longo, Pieta e amore nell'arte di Pietro Annigoni, Milan, 1968, p.88
D.F. Hoopes, Pietro Annigoni. A Retrospective Exhibition, New York, 1969
A.D.F. Jenkins, Pietro Annigoni, Cardiff, 1977
L. Pelizzari, Pietro Annigoni, Il periodo inglese: 1949-1971 , Rome, 1991, pp.140, 188, no.153, fig.179 (detail), fig. 242
Born in Milan on 7 June 1910, Pietro Annigoni was the son of Ricciardo Annigoni, a mechanical engineer. In 1925 the family moved to Florence and Pietro attended life drawing classes at the Circolo degli Artisti and at the Accademia di Belle Arti.
In 1927, he entered the Accademia as a full-time student, taking courses in painting, sculpture, and engraving. Annigoni was heavily influenced by the Accademia's classical teaching, finding inspiration in the subject matter and techniques of the great Italian old masters.
During the 1930s he found critical acclaim in Italy, exhibiting widely and receiving numerous commissions, the most notable being a series of frescoes in the Convent of San Marco, Florence. However, his open opposition to Mussolini led to his ostracism from the Italian artistic establishment and he struggled as an artist until the collapse of Mussolini's fascist dictatorship and the ending of World War II in 1945.
Looking for new audiences for his work he entered three paintings, including Portrait of the Artist, into the Summer Exhibition at the Royal Academy in London in 1949. These were duly accepted into the show and as Annigoni had hoped, were discovered by collectors and dealers alike. This recognition and acclaim lead to subsequent exhibitions at the Wildenstein Gallery and Agnews in London.
Building on this new audience Annigoni started to live in London for six months a year, undertaking an increasing number of commissions, particularly for portraits. This includes the present work, painted in 1953, just a year before he famously painted the portrait of the young Queen Elizabeth II. Commissioned by the Worshipful Company of Fishmongers in 1954, the work was unveiled at the Royal Academy in 1955. Crowds flocked to view the painting and attendance was recorded at almost 300,000, making it the most popular Summer Exhibition for over 50 years. The Times produced a limited edition print which instantly sold out and Sir Alfred Munnings, former President of the Royal Academy proclaimed Annigoni to be "The Greatest Painter of the age."
The publicity and popularity that this portrait received led to many other commissions including a second portrait of Queen Elizabeth II for the National Portrait Gallery, the Duke of Edinburgh and Princess Margaret. He continued to be in demand throughout his life, with requests coming from all walks of life, and he completed portraits of Pope John XIII, John F. Kennedy, the Shah and Empress of Iran, Julie Andrews, Margot Fontane, Rudolph Nureyev and Salvatore Ferragamo to name but a few.
His work is represented in numerous public collections, including the National Portrait Gallery, London, Metropolitan Museum of Art, New York, The Uffizi Gallery, Florence, The Vatican, Rome, Indianapolis Museum of Art, and the Fine Arts Museum, San Francisco.
Condition Report:
Crazing to the varnish throughout which has created an uneven effect across the surface. Tempera grassa pigment is in good condition. Light surface dirt throughout. Some discolouration caused by yellowing varnish. A diagonal line running across the lower right quadrant approx. 20cm.
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λ PIETRO ANNIGONI (ITALIAN 1910-1988)
PAESAGGIO FANTASTICO
Tempera grassa on board
Signed with monogram and dated LII (lower right)
54 x 64cm (21¼ x 25 in.)
Painted in 1952.
Provenance:
Juanita Forbes and thence by descent
Exhibited:
London, Wildenstein, An Exhibition of Paintings and Drawings by Pietro Annigoni , 7 April - 1 May 1954
New York, The Brooklyn Museum, Pietro Annigoni: A Retrospective Exhibition, 27 April - 22 June 1969
San Francisco, California Palace of the Legion of Honor, Pietro Annigoni: A Retrospective Exhibition, 19 July - 31 August 1969
Literature:
D.F. Hoopes, Pietro Annigoni. A Retrospective Exhibition, New York, 1969
L. Pelizzari, Pietro Annigoni, Il Periodo Inglese: 1949-1971 , Rome, 1991, p.183, no.140, fig. 235
Please note: this work is tempera grass on board and not as previously catalogued.
Condition Report:
Tempera grassa on board. Light surface dirt throughout. Yellowing varnish possibly causing some discolouration. There are a number of horizontal lines and diagonal lines created by build up of tempera to the lower half of the work, likely created at point of conception. There is a small hole to the centre of the work approx. 1cm.
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λ PIETRO ANNIGONI (ITALIAN 1910-1988)
IL FANTASTICO MONDO DELLA FATTUCCHIERA
Tempera grassa on canvas on board
Signed, inscribed and dated LONDON XLIX (lower right)
30 x 40cm (11¾ x 15½ in.)
Painted in 1949.
Provenance:
Juanita Forbes and thence by descent
Literature:
R.C. Cammell, Pietro Annigoni , London,1954, p.12
R.C Cammell, Pietro Annigoni , London 1958, p.18
L. Pelizzari, Pietro Annigoni, Il periodo inglese: 1949-1971 , Rome, 1991, p.154, no. 83, fig. 192
Condition Report:
Canvas laid down to board. Rubbing to the extreme framing edges with some associated losses most notable to the upper corners and lower right corner. A very small surface scratch to the upper left quadrant circa. 1.5cm. A very small loss circa. 2mm to the centre of the upper edge. Some very fine craquelure in patches scattered across the surface, although hardly noticeable but there is one area running in line with the upper stretcher mark. Inspection under UV reveals a thick varnish.
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λ PIETRO ANNIGONI (ITALIAN 1910-1988)
LES FEUILLES MORTES
Tempera grassa on paper
Inscribed and dated (to the centre)
13 x 17.5cm (5 x 6¾ in.)
Painted in 1953.
Provenance:
Juanita Forbes and thence by descent
Literature:
L. Pelizzari, Pietro Annigoni, Il Periodo Inglese: 1949-1971 , Rome,1991, p.192, no. 166, fig. 249
Condition Report:
Uneven varnish and uneven varnish causing a textured surface across the sheet. Otherwise no significant condition issues.
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λ ALGERNON NEWTON (BRITISH 1880-1968)
HOUSE ON THE SURREY CANAL
Oil on canvas
Signed with monogram (lower left)
69 x 91.5cm (27 x 36 in.)
Painted in 1950.
Provenance:
The Leicester Galleries, London
Private Collection, Alan M. Allan
From the Estate of Margaret Sparks (née Allan), sold by order of the Executors
Exhibited:
London, The Leicester Galleries, Paintings of London by Algernon Newton , April, 1951, no. 7
Sheffield, Sheffield City Art Galleries, Algernon Newton R.A. 1880-1968, July, 1980, lent by Alan M. Allan, travelling exhibition to Plymouth, City Art Gallery and Museum, September - October 1980 and London, Royal Academy of Arts, November - December 1980
We are grateful to Sir Mark Jones and Nicholas Newton for their assistance in compiling the catalogue entry for this painting.
The gritty, urban landscape through the eyes of Algernon Newton becomes picturesque, serene, and captivating. Often referred to as the "Canaletto of the canals," Newton was celebrated for his ability to infuse urban scenes with a calm, contemplative atmosphere-a skill honed through his training at the Slade School of Fine Art and the London School of Art in Kensington. Newton recorded and interpreted on canvas the industrial and technological changes of his era, capturing the transformation of the urban landscape. His connection to the Royal Academy began early, exhibiting for the first time in 1903 while still a student. Over the years, his reputation grew, leading to his election as an Associate of the Royal Academy in 1936 and as a full member in 1943. In 1980, the Royal Academy hosted a retrospective exhibition of his work.
In House on the Surrey Canal , Newton showcases his remarkable talent for capturing the quiet allure of industrial London. The painting is bathed in a soft light that invites the viewer to linger, guiding the eye across sunlit crates, the shimmering waters of the canal, and the townhouse that stands quietly yet enigmatically in the foreground. Newton's meticulous attention to light, shaped by his admiration for Canaletto, is particularly evident here. He frequently visited the National Gallery in London to study Canaletto's mastery of light in his large-scale Venetian landscapes. Newton adopted Canaletto's technique of tonal contrasts and the layering of thin glazes to create a flat, serene effect.
In 1951 The Leicester Galleries hosted a one man exhibition of Algernon Newton's works and a review of the exhibition published by The Illustrated cited:
' London - without Londoners: Newton's paintings of her many aspects.' '"The Surrey Canal": the picturesque yet slightly sinister beauty of the London canals has provided Newton with many subjects ' The Illustrated London News, April 14 1951, p. 586
Newton's original colour notes for this work still exist and are held in the Tate Archives. Newton discusses his colour choices, particularly for the sky:
' Deptford . Blue sky above brilliant blue. (Brilliant gold white clouds)... Distant pale green peep of sky, warm with gold clouds soft lit warmish grey shadows. Big mass curling over top L and distant range of curling gold clouds .' Algernon Newton, TGA 749/1/8, Tate Archives
While some artists, like Paul Nash, sought peace and tranquillity away from the grittiness of urban life after the First World War, Newton turned his attention to depicting London in new and imaginative ways. He was particularly drawn to the canal network within the urban landscape. Newton expressed a desire to connect with the lives of London's poorest residents by portraying their daily surroundings without the need to depict the figures themselves, focusing instead on the desolate yet poignant landscapes they inhabited. The present lot is an ambitious example from this canal series painted in 1950. The work was last seen in public in 1980 when it was exhibited at the Royal Academy and has been in private ownership ever since.
Condition Report:
Stretcher mark visible to the lower edge. There is a thin line of dark blue pigment running along the centre of the extreme lower edge which appears to be retouching but does not flare under UV light. There are scattered areas of craquelure, mostly to the sky but the surface is stable. Inspection under UV reveals no obvious evidence of restoration or repair. The photograph published in the printed catalogue shows an area of 'glare' running along the lower edge of the work, this is not a condition issue and a result of the photographer's flash on the glossy finish of the varnish. Overall the work is in good original condition.
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λ JOHN SHELLEY (BRITISH 1938-2020)
CHURCH COTTAGES
Oil on board
Signed, titled and dated 1973 (verso)
60.5 x 76cm (23¾ x 29¾ in.)
Provenance:
The Trafford Gallery, London
Sale, Christie's, London, 25 January 1991, lot 93
Condition Report:
Work appears to be in overall good original condition. There is an uneven varnish throughout.
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λ JOHN SHELLEY (BRITISH 1938-2020)
SURREY COTTAGES
Oil on board
Signed, titled and dated 1974 (verso)
61 x 76cm (24 x 29¾ in.)
Provenance:
The Trafford Gallery, London
Sale, Christie's, London, 25 January 1991, lot 94
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3,000 - 5,000 GBP
λ FELIX KELLY (BRITISH/NEW ZEALANDER 1914-1994)
PICNIC ACROSS THE RIVER FROM WINDSOR CASTLE AND ST. GEORGE'S CHAPEL
Oil on board
Signed and dated 53 (lower right)
57 x 73cm (22¼ x 28½ in.)
Provenance:
Sale, Christie's, 10 March 1973, lot 117
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λ SIR EDUARDO PAOLOZZI (BRITISH 1924-2005)
LAKE INNOCENCE
Collage
Signed (lower right)
Image 17 x 22.5cm (6½ x 8¾ in.)
Provenance:
Freda Paolozzi and by descent
Literature:
E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions , London, 1977/2023, p. 89 (illus).
Condition Report:
There is evidence of glue residue and associated staining around the edges of the collage. Work appears to be in original condition.
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2,000 - 3,000 GBP
λ SIR EDUARDO PAOLOZZI (BRITISH 1924-2005)
THE CITADEL, CAIRO, EGYPT
Collage
Signed (lower right)
20 x 25.5cm (7¾ x 10 in.)
Executed in 1960.
Provenance :
Freda Paolozzi and by descent.
Exhibited:
London, Anthony D'Offay, Eduardo Paolozzi, Collages and Drawings , 23 March - 22 April 1977.
Literature:
E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions , London, 1977/2023, p. 99 (illus)
Created in 1962 the History of Nothing is a twelve minute film of changing sepia and black and white stills put to an equally seemingly random soundtrack of locomotives, aircraft, barking dogs, church bells and Kabuki theatre. It is fundamentally a `Surrealist collage in time'
`The materials from which Paolozzi made these collages... were collected over ten years. At their basis is the idea that in the relationships of such diverse subjects and materials there are always poetic possibilities.
The sources of the collages are pages from the 1920s and 1930s German furniture catalogues, travel magazines, exhibition catalogues of ethnic art, and manuals of machinery.' (E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions , London, 1977/2023, p. 10)
"I am interested above all, in investigating the golden ability of the artists to achieve a metamorphosis of quite ordinary things into something wonderful and extraordinary that is neither nonsensical nor morally edifying"
(E. Roditi, Eduardo Paolozzi, Dialogues on Art , London, 1960, pp.153-54)
Condition Report:
Slight undulation to the sheet, possibly handling creases. Otherwise work appears to be in good original condition with no significant issues.
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3,000 - 5,000 GBP
λ SIR EDUARDO PAOLOZZI (BRITISH 1924-2005)
RACHEL'S TOMB, NEAR BETHLEHEM, PALESTINE
Collage
Signed (lower right)
Image: 20.2 x 25cm (7¾ x 9¾ in.)
Created in 1962 the History of Nothing is a twelve minute film of changing sepia and black and white stills put to an equally seemingly random soundtrack of locomotives, aircraft, barking dogs, church bells and Kabuki theatre. It is fundamentally a `Surrealist collage in time'
`The materials from which Paolozzi made these collages... were collected over ten years. At their basis is the idea that in the relationships of such diverse subjects and materials there are always poetic possibilities.
The sources of the collages are pages from the 1920s and 1930s German furniture catalogues, travel magazines, exhibition catalogues of ethnic art, and manuals of machinery.' (E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions , London, 1977/2023, p. 10)
"I am interested above all, in investigating the golden ability of the artists to achieve a metamorphosis of quite ordinary things into something wonderful and extraordinary that is neither nonsensical nor morally edifying"
(E. Roditi, Eduardo Paolozzi, Dialogues on Art , London, 1960, pp.153-54)
Condition Report:
Very undulation to the sheet. Two small spots of staining. One to the centre of the sheet the other to the strings of the parachute. Otherwise appears to be in good original condition.
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3,000 - 5,000 GBP
λ SIR EDUARDO PAOLOZZI (BRITISH 1924-2005)
SPIRIT OF THE MOTHERLAND
Collage
Signed (lower right)
22 x 13cm (8½ x 5 in.)
Provenance:
Freda Paolozzi and by descent
Literature:
E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions , London, 1977/2023, p. 25 (illus)
Created in 1962 the History of Nothing is a twelve minute film of changing sepia and black and white stills put to an equally seemingly random soundtrack of locomotives, aircraft, barking dogs, church bells and Kabuki theatre. It is fundamentally a `Surrealist collage in time'
`The materials from which Paolozzi made these collages... were collected over ten years. At their basis is the idea that in the relationships of such diverse subjects and materials there are always poetic possibilities.
The sources of the collages are pages from the 1920s and 1930s German furniture catalogues, travel magazines, exhibition catalogues of ethnic art, and manuals of machinery.' (E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions , London, 1977/2023, p. 10)
"I am interested above all, in investigating the golden ability of the artists to achieve a metamorphosis of quite ordinary things into something wonderful and extraordinary that is neither nonsensical nor morally edifying"
(E. Roditi, Eduardo Paolozzi, Dialogues on Art , London, 1960, pp.153-54)
Condition Report:
Some scattered area of staining, most likely caused by glue residue around the edges of the collage. Otherwise in good original condition.
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2,000 - 3,000 GBP
λ SIR EDUARDO PAOLOZZI (BRITISH 1924-2005)
RUST AND HUMOUR
Collage
Signed (lower right)
Image: 20 x 16cm (7¾ x 6¼ in.)
Executed in 1960.
Provenance:
Freda Paolozzi and by descent
Literature:
E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions , London, 1977/2023, p. 75 (illus)
Created in 1962 the History of Nothing is a twelve minute film of changing sepia and black and white stills put to an equally seemingly random soundtrack of locomotives, aircraft, barking dogs, church bells and Kabuki theatre. It is fundamentally a `Surrealist collage in time'
`The materials from which Paolozzi made these collages... were collected over ten years. At their basis is the idea that in the relationships of such diverse subjects and materials there are always poetic possibilities.
The sources of the collages are pages from the 1920s and 1930s German furniture catalogues, travel magazines, exhibition catalogues of ethnic art, and manuals of machinery.' (E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions , London, 1977/2023, p. 10)
"I am interested above all, in investigating the golden ability of the artists to achieve a metamorphosis of quite ordinary things into something wonderful and extraordinary that is neither nonsensical nor morally edifying"
(E. Roditi, Eduardo Paolozzi, Dialogues on Art , London, 1960, pp.153-54)
Condition Report:
There are some possible minor areas of glue residue surrounding the lower edge of the collage. Otherwise there are no significant condition issues. The work appears to be in good original condition.
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2,000 - 3,000 GBP
λ SIR EDUARDO PAOLOZZI (BRITISH 1924-2005)
TABLE OF CHARYBDIS
Collage
Signed (lower right)
16 x 13.5cm (6¼ x 5¼ in.)
Provenance:
Freda Paolozzi and by descent
Literature:
E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions , London, 1977/2023, p. 55 (illus)
Created in 1962 the History of Nothing is a twelve minute film of changing sepia and black and white stills put to an equally seemingly random soundtrack of locomotives, aircraft, barking dogs, church bells and Kabuki theatre. It is fundamentally a `Surrealist collage in time'
`The materials from which Paolozzi made these collages... were collected over ten years. At their basis is the idea that in the relationships of such diverse subjects and materials there are always poetic possibilities.
The sources of the collages are pages from the 1920s and 1930s German furniture catalogues, travel magazines, exhibition catalogues of ethnic art, and manuals of machinery.' (E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions , London, 1977/2023, p. 10)
"I am interested above all, in investigating the golden ability of the artists to achieve a metamorphosis of quite ordinary things into something wonderful and extraordinary that is neither nonsensical nor morally edifying"
(E. Roditi, Eduardo Paolozzi, Dialogues on Art , London, 1960, pp.153-54)
Condition Report:
A very minor surface scratch to the lower right corner. Otherwise appears to be in good original condition.
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1,500 - 2,500 GBP
λ SIR EDUARDO PAOLOZZI (BRITISH 1924-2005)
BEDROOM WITH PORTRAIT
Collage
Signed (lower right)
Image 17.8 x 16cm (7 x 6¼ in.)
Provenance:
Freda Paolozzi and by descent
Literature:
E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions , London, 1977/2023, p. 47 (illus)
Created in 1962 the History of Nothing is a twelve minute film of changing sepia and black and white stills put to an equally seemingly random soundtrack of locomotives, aircraft, barking dogs, church bells and Kabuki theatre. It is fundamentally a `Surrealist collage in time'
`The materials from which Paolozzi made these collages... were collected over ten years. At their basis is the idea that in the relationships of such diverse subjects and materials there are always poetic possibilities.
The sources of the collages are pages from the 1920s and 1930s German furniture catalogues, travel magazines, exhibition catalogues of ethnic art, and manuals of machinery.' (E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions , London, 1977/2023, p. 10)
"I am interested above all, in investigating the golden ability of the artists to achieve a metamorphosis of quite ordinary things into something wonderful and extraordinary that is neither nonsensical nor morally edifying"
(E. Roditi, Eduardo Paolozzi, Dialogues on Art , London, 1960, pp.153-54)
Condition Report:
Some light discolouration to the centre of the cupboard door. The artist appears to have changed their mind during the execution of the work and there is evidence of glue residue and minor areas of loss to both left and right sides of the work. This is evident in the original History of Nothing series. The work appears in original condition.
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λ SIR EDUARDO PAOLOZZI (BRITISH 1924-2005)
HARP (COLLECTION OF G.A. REISNER)
Collage
Signed (lower right)
Image: 15.2 x 12.7cm (5 x 5 in.)
Provenance:
Freda Paolozzi and by descent
Literature:
E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions , London, 1977/2023, p. 57 (illus)
Created in 1962 the History of Nothing is a twelve minute film of changing sepia and black and white stills put to an equally seemingly random soundtrack of locomotives, aircraft, barking dogs, church bells and Kabuki theatre. It is fundamentally a `Surrealist collage in time'
`The materials from which Paolozzi made these collages... were collected over ten years. At their basis is the idea that in the relationships of such diverse subjects and materials there are always poetic possibilities.
The sources of the collages are pages from the 1920s and 1930s German furniture catalogues, travel magazines, exhibition catalogues of ethnic art, and manuals of machinery.' (E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions , London, 1977/2023, p. 10)
"I am interested above all, in investigating the golden ability of the artists to achieve a metamorphosis of quite ordinary things into something wonderful and extraordinary that is neither nonsensical nor morally edifying"
(E. Roditi, Eduardo Paolozzi, Dialogues on Art , London, 1960, pp.153-54)
Condition Report:
Glue residue causing some staining scattered across the sheet. Otherwise in original condition.
Condition Report Disclaimer
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λ SIR EDUARDO PAOLOZZI (BRITISH 1924-2005)
OTTO MASCHENFABRIK
Collage
Signed (lower right)
12 x 14.5cm (4½ x 5½ in.)
Provenance:
Freda Paolozzi and by descent
Literature:
E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions , London, 1977/2023, p. 59 (illus)
Created in 1962 the History of Nothing is a twelve minute film of changing sepia and black and white stills put to an equally seemingly random soundtrack of locomotives, aircraft, barking dogs, church bells and Kabuki theatre. It is fundamentally a `Surrealist collage in time'
`The materials from which Paolozzi made these collages... were collected over ten years. At their basis is the idea that in the relationships of such diverse subjects and materials there are always poetic possibilities.
The sources of the collages are pages from the 1920s and 1930s German furniture catalogues, travel magazines, exhibition catalogues of ethnic art, and manuals of machinery.' (E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions , London, 1977/2023, p. 10)
"I am interested above all, in investigating the golden ability of the artists to achieve a metamorphosis of quite ordinary things into something wonderful and extraordinary that is neither nonsensical nor morally edifying"
(E. Roditi, Eduardo Paolozzi, Dialogues on Art , London, 1960, pp.153-54)
Condition Report:
Very slight discolouration caused by glue residue to the edges of the collage. Otherwise appears to be in good original condition.
Condition Report Disclaimer
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λ SIR EDUARDO PAOLOZZI (BRITISH 1924-2005)
FOGGIA
Collage
Signed (lower right)
19 x 14cm (7¼ x 5½ in.)
Provenance:
Freda Paolozzi and by descent
Literature:
E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions , London, 1977/2023, p. 70 (illus)
Created in 1962 the History of Nothing is a twelve minute film of changing sepia and black and white stills put to an equally seemingly random soundtrack of locomotives, aircraft, barking dogs, church bells and Kabuki theatre. It is fundamentally a `Surrealist collage in time'
`The materials from which Paolozzi made these collages... were collected over ten years. At their basis is the idea that in the relationships of such diverse subjects and materials there are always poetic possibilities.
The sources of the collages are pages from the 1920s and 1930s German furniture catalogues, travel magazines, exhibition catalogues of ethnic art, and manuals of machinery.' (E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions , London, 1977/2023, p. 10)
"I am interested above all, in investigating the golden ability of the artists to achieve a metamorphosis of quite ordinary things into something wonderful and extraordinary that is neither nonsensical nor morally edifying"
(E. Roditi, Eduardo Paolozzi, Dialogues on Art , London, 1960, pp.153-54)
Condition Report:
Evidence of minor glue residue to the edges of the collage. Otherwise appears to be in original condition.
Condition Report Disclaimer
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
2,000 - 3,000 GBP
λ SIR EDUARDO PAOLOZZI (BRITISH 1924-2005) WELCOME PROFESSOR RUHRBERG Collage Signed (lower right) Image: 21.5 x 15.5cm (8¼ x 6 in.) Executed in 1960.
Provenance:
Freda Paolozzi and by descent
Literature:
E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions , London, 1977/2023, p. 71 (illus)
Created in 1962 the History of Nothing is a twelve minute film of changing sepia and black and white stills put to an equally seemingly random soundtrack of locomotives, aircraft, barking dogs, church bells and Kabuki theatre. It is fundamentally a `Surrealist collage in time'
`The materials from which Paolozzi made these collages... were collected over ten years. At their basis is the idea that in the relationships of such diverse subjects and materials there are always poetic possibilities.
The sources of the collages are pages from the 1920s and 1930s German furniture catalogues, travel magazines, exhibition catalogues of ethnic art, and manuals of machinery.' (E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions , London, 1977/2023, p. 10)
"I am interested above all, in investigating the golden ability of the artists to achieve a metamorphosis of quite ordinary things into something wonderful and extraordinary that is neither nonsensical nor morally edifying"
(E. Roditi, Eduardo Paolozzi, Dialogues on Art , London, 1960, pp.153-54)
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
2,000 - 3,000 GBP
λ SIR EDUARDO PAOLOZZI (BRITISH 1924-2005)
UNTITLED, HISTORY OF NOTHING
Collage
Signed (lower right)
Image: 21.5 x 16cm (8¼ x 6¼ in.)
Executed in 1960.
Provenance:
Freda Paolozzi and by descent
Literature:
J. Drew, Photographer as Printmaker: 140 Years of Photographic Printmaking , London, 1981
M. Middleton, Eduardo Paolozzi, London, 1963, illustrated (page unnumbered)
Created in 1962 the History of Nothing is a twelve minute film of changing sepia and black and white stills put to an equally seemingly random soundtrack of locomotives, aircraft, barking dogs, church bells and Kabuki theatre. It is fundamentally a `Surrealist collage in time'
`The materials from which Paolozzi made these collages... were collected over ten years. At their basis is the idea that in the relationships of such diverse subjects and materials there are always poetic possibilities.
The sources of the collages are pages from the 1920s and 1930s German furniture catalogues, travel magazines, exhibition catalogues of ethnic art, and manuals of machinery.' (E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions , London, 1977/2023, p. 10)
"I am interested above all, in investigating the golden ability of the artists to achieve a metamorphosis of quite ordinary things into something wonderful and extraordinary that is neither nonsensical nor morally edifying"
(E. Roditi, Eduardo Paolozzi, Dialogues on Art , London, 1960, pp.153-54)
Condition Report:
A crease with associated surface skinning to the lower right corner to the artist's signature. And a further minor area of surface skinning to the left side of the upper edge. Otherwise in original condition.
Condition Report Disclaimer
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
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Quantity
1
Max bid
GBP
Estimate
8,000 - 12,000 GBP
λ CAREL WEIGHT (BRITISH 1908-1997)
THE SEVEN DEADLY SINS - ENVY
Oil on canvas
Signed (lower left); further signed, titled and inscribed (to label verso)
127 x 101.5cm (50 x 39¾ in.)
Painted in 1979-80.
Provenance:
Sale, Sotheby's London, 3rd December 1998, lot 68
The estate of John Lippitt, Hampshire
Exhibited:
London, Royal Academy, Carel Weight R.A. Retrospective , 1982, no. 97a, this exhibition travelled to York, City Art Gallery; Rochdale, Art Gallery; Penzance, Newlyn Art Gallery and Folkestone, New Metropole Art Centre
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