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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
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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 OLIVER MESSEL (BRITISH 1904-1978)
PORTRAIT OF LADY KELVEDON, INGRID CHANNON
Oil on canvas-board
Signed (lower right)
51 x 40.5cm (20 x 15¾ in.)
Unframed
Provenance:
Direct from the artist
By descent to Thomas Messel, the artist's nephew
Ingrid Channon was born to the painter Richard Wyndham, scion of the Barons Egremont. In 1963, she married Paul Channon, President of the Board of Trade under Margaret Thatcher. Messel was acquainted with Channon's father-in-law, Sir Henry 'Chips' Channon, from London society; there, they enjoyed the company of prominent men of their day, including Cecil Beaton and Noel Coward (for a comprehensive account of these circles, see Thierry Coudert, Café Society: Socialites, Patrons, and Artists, 1920 to 1960 (2010)). Beaton would later photograph Channon. Paul and Ingrid Channon remained close to Messel, exchanging Christmas cards after his move to Barbados (see University of Bristol Theatre Collection OHM/2/3/19).
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λ OLIVER MESSEL (BRITISH 1904-1978)
PORTRAIT OF MARK NEWMAN GILBEY
Oil on canvas
Signed (lower left)
45.5 x 35.5cm (17¾ x 13¾ in.)
Unframed
Provenance:
Direct from the artist
By descent to Thomas Messel, the artist's nephew
Mark Newman Gilbey was the chairman of Duncan, Gilbey and Matheson, a scotch whisky distillery now based in Zambia. Along with the horticulturist Peter Daniel Coats and the soldier Sir William Miles Aykroyd, Gilbey was the subject of a 1950 group photograph by Norman Parkinson. Gilbey, like many successful men of his age, owned leisure homes in such coastal locations as Gorée Island and Tangiers. Gilbey and Messel enjoyed a long friendship; in the 1960s, Messel was entrusted with designing his Dominican residence (Charles Castle, Oliver Messel: A Biography (1986), p. 232).
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λ OLIVER MESSEL (BRITISH 1904-1978)
PORTRAIT OF SIR JOHN MILLS
Oil on canvas
46 x 41cm (18 x 16 in.)
Unframed
Painted in 1974.
Provenance:
Direct from the artist
By descent to Thomas Messel, the artist's nephew
Sir John Mills was a prolific actor on stage and screen, amassing over 120 film credits during his seven-decade career. Celebrated for his military roles, Mills cemented his reputation with such war films as Cottage to Let (1941), Above Us the Waves (1955), Dunkirk (1958), and The Valiant (1962). Mills received the Academy Award for Best Supporting Actor for his performance as the bumbling Michael in David Lean's Ryan's Daughter (1970). In 1960, Mills was appointed CBE; in 1976, he was knighted for his services to cinema by Queen Elizabeth II; in 2002, he was awarded a BAFTA Fellowship. His acquaintance with Messel was long established, given their professional collaboration on early productions including Cochran's 1931 Revue (see Balanchine Catalogue no. 108) as actor and set designer respectively.
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λ OLIVER MESSEL (BRITISH 1904-1978)
STUDY OF MICA ERTEGUN
Oil on canvas, laid to board
74 x 61cm (29 x 24 in.)
Unframed
Provenance:
Direct from the artist
By descent to Thomas Messel, the artist's nephew
Mica Ertegun was a Romanian-American philanthropist and, like Messel, an accomplished interior designer, co-founding the extant firm MAC II in 1967. She donated widely to cultural causes, including humanities teaching at the University of Oxford, restoration efforts in the Church of the Holy Sepulchre, and the Lincoln Center for the Performing Arts, New York. In 1993, Ertegun was inducted into the Interior Design Hall of Fame; in 2011, Ertegun was appointed CBE by Queen Elizabeth II. In the 1970s, Ertegun visited Messel in Barbados, where she sat for this portrait (see University of Bristol Theatre Collection OHM/2/5/8). It is a testament to Messel's taste that Ahmet Ertegun, Mica's husband and the co-founder of Atlantic Records, chose the Oliver Messel Suite at the Dorchester Hotel as his London base (Robert Greenfield, The Last Sultan: The Life and Times of Ahmet Ertegun (2012), p. 208).
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λ ROBERT BUHLER (BRITISH/SWISS 1916 -1989)
PORTRAIT OF A SEATED LADY, WITH HANDS FOLDED
Oil on canvas board
50.5 x 35.5cm (19¾ x 13¾ in.)
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λ ROBERT BUHLER (BRITISH/SWISS 1916 -1989)
PORTRAIT OF A SEATED LADY
Oil on canvas
Signed (lower right); dated March. 36 (verso)
91 x 76cm (35¾ x 29¾ in.)
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BETTY MAUD CHRISTIAN FAGAN (BRITISH 1875-1932)
STUDY FOR 'THE BRIDESMAID'
Oil on board
Signed (lower right)
49.5 x 39.5cm (19¼ x 15½ in.)
Condition Report:
Condition Report Disclaimer
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3,000 - 5,000 GBP
λ KEN HOWARD (BRITISH 1932-2022)
NUDE MODEL SEATED IN THE ARTIST'S STUDIO
Oil on canvas
Signed (lower right)
76.5 x 64cm (30 x 25 in.)
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λ ROBERT BUHLER (BRITISH/SWISS 1916 -1989)
PORTRAIT OF COLIN HAYES
Oil on canvas
61 x 45cm (24 x 17½ in.)
Unframed
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25,000 - 35,000 GBP
λ AUGUSTUS JOHN (BRITISH 1878-1961)
PORTRAIT OF ROBIN
Oil and pencil on panel
Signed (lower left)
48.5 x 27cm (19 x 10½ in.)
Painted circa 1910-14.
Provenance:
Private Collection, Mr and Mrs Andre de Lemur
Private Collection, Charles and Eleanor "Nonie" de Limur, San Francisco (a gift from the above in 1957)
Christie's, London, 21 November 2013, lot 171
Acquired from the above sale by the present owner
The present painting belongs to the period 1910 -1914 when the family spent periods at Martigues, a fishing village on the Etang de Berre, a series of saltwater lagoons near Marseille in southern France. Portrait of Robin is typical of John's output during this period - he would draw directly onto the panel and paint at speed, leaving small areas of bare wood and pencil showing. These panels are among some of his most sought after works. Robin was born in 1904 and was Augustus's third son with his first wife, Ida.
We are grateful to Rebecca John for her kind assistance in cataloguing this lot.
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8,000 - 12,000 GBP
WALTER SICKERT (BRITISH 1860-1942)
THE OLD SOLDIER
Oil on canvas
Signed (lower right), inscribed and dated Le Pollet. 1912. (lower left)
41 x 33cm (16 x 12 in.)
Provenance:
Sale, Christie's, 1950s (sale unknown)
Private Collection, A.D. Peters
Private Collection, J.B. Priestley (a gift from the above in 1964 for Priestley's 70th birthday)
Sale, Sotheby's, 18 June 1997, lot 63
The Collection of The Bowerman Charitable Trust
Literature:
Wendy Baron, Sickert , 1973, cat. 302, fig. 211
Wendy Baron, Sickert Paintings & Drawings , 2006, cat. 390., p.393 (illustrated)
The present work was referenced in letters dated 1913 between Walter Sickert and Ethel Sands. ' I have happily decided to hold over the finishing of the blind sailor. It won't do for me to come our just now with an important sentimental work unfinished or à peu près .'
The work was painted during a visit to Dieppe in 1912. Sickert was a regular visitor to the area and took up permanent residence in Dieppe between 1898-1905. In 1912 Sickert and his new wife Christine Angus Drummond bought the Villa d'Aumale in Envermeu, a village set in the valley of the Eaulne ten miles inland from Dieppe.
Condition Report:
Not relined. Pinhole to the upper left corner. The canvas is quite thin in areas and there are some scattered holes, these are hardly noticeable and they are extremely small (fine pin holes). The work may have been cleaned by Simon Gillespie in 1997 (according to label verso).
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40,000 - 60,000 GBP
λ LAURA KNIGHT (BRITISH 1877-1970)
TWO ROMANY LASSES ON ASCOT HEATH
Oil on canvas
Signed (lower left)
63.5 x 76.2cm (25 x 30 in.)
Provenance:
Ian MacNicol, Glasgow
John E. Milne Esq., Private Collection, Glasgow, acquired from the above in 1966
John Martin of London, Modern Art from Britain & Ireland, London
The Collection of the Bowerman Charitable Trust, acquired from the above in 2001
Exhibited:
Penzance, Penlee House Gallery & Museum , Laura Knight: In the Open Air ,16 June 2012 - 8 September 2012, touring exhibition to Nottingham, Djanogly Art Gallery, 22 September - 4 November 2012; Worcester, Worcester Art Gallery, 17 November 2012 - 10 February 2013
Penzance, Penlee House Gallery & Museum, Laura Knight: A Celebration , 17 May - 16 September 2021
This painting will be included in the forthcoming C atalogue Raisonné of the work of Dame Laura Knight currently being prepared by R. John Croft F.C.A., the artist's great-nephew.
Gypsy and traveller communities have long cherished the tradition of gathering at racing events, particularly at Ascot and Epsom, as horses have always held significant importance within the traveller community. These occasions, following months of travel, offered a chance for communities to meet and celebrate. The races provided a vibrant backdrop for socialising and an opportunity to display their finest clothes and jewellery. It became tradition to sell flowers and lucky heather to fellow attendees, a tradition that continues to this day.
During the 1930s, Laura Knight regularly attended the races at Epsom Downs and Ascot, initially recommended by her friend Sir Alfred Munnings. Her connection with Ally Bert, wife of a circus performer, led to an introduction to Mr. Sully, who owned a garage. Mr. Sully kindly agreed to chauffeur Knight and her companions in his Rolls Royce, which, with its high roof, accommodated Knight's easel and canvas comfortably. Knight would record from life scenes from these meets, capturing the festivities, characters and everyday life providing a unique insight into these historic meets.
'This Royal meeting was a special occasion for the gipsies [ sic .]; they came in their bright satin gala dresses, hair elaborately arranged with curls soaped to their cheeks, their sharp black eyes alert for police as they made a round of parked cars which had passengers standing on top. Out came a crystal from a hidden pocket, and a wheedling voice offered to tell fortunes - forbidden by law. They never bothered Laura at her easel in the Rolls; she was a source of money in another way, for now she asked gipsies [ sic .] of different ages to pose for her, and paid them. More important still, they knew that she liked and admired Romany folk' (J. Dunbar, Laura Knight , 1975, p. 143)
Laura Knight beautifully captures the essence of Romany life through her paintings. Following on from the races, Knight was welcomed into the travelling community, spending time painting direct from life in Iver. She engaged intimately with the community which lends her work a remarkable authenticity and realism that is both honest and romantic. In the present lot, the Ascot racecourse is depicted in the distance, with the Queen Anne Enclosure visible in the upper right corner. The lawn is scattered with groups of people at leisure, relaxing and resting under the trees. Central to the composition are two female figures: one seated and the other lying with her head resting in the lap of the seated figure. The seated figure wears a striking red cape with primary blue sleeves and a yellow tartan skirt, her auburn curls flowing over her shoulders. The figure lying down has jet black hair with a curl resting on her forehead. Her arms are delicately placed on her friend's knee, her right arm gently entwined with her companion's. The soft pastel shades of her patterned dress create a serene and beautiful contrast.
Condition Report:
The canvas is not relined. Ultraviolet light reveals some scattered spots of retouching to the tip of the upper left corner, along the edges and to the sky as well as a couple of further small spots. Otherwise, the work is in good condition.
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λ JACK SIMCOCK (BRITISH 1929-2012)
HOUSE IN A LANDSCAPE
Oil on board
Signed and dated 69 (lower left); further signed (verso)
46 x 76cm (18 x 29¾ in.)
Condition Report:
Light surface dirt. Very light discolouration possibly caused by yellowing varnish most notable to the sky. Two light surface scratches each circa. 10cm, swooping through the sky to the upper left quadrant and through the chimney. Inspection under UV reveals no obvious evidence of restoration or repair.
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λ JACQUES DEPERTHES (FRENCH B. 1936)
MARCY
Oil on canvas
Signed (lower right); further signed, titled, dated 1972 and inscribed with inventory number 20F (verso)
60 x 73cm (23½ x 28½ in.)
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2,000 - 3,000 GBP
λ ANDREW HEMINGWAY (BRITISH B. 1955)
THE STORE HOUSE
Tempera on board
Signed twice (upper left)
149.5 x 112.5cm (58¾ x 44¼ in.)
Provenance:
Private Collection, Canada (purchased from the Royal Academy Summer Exhibition in 1984)
Sale, Christie's, An Adventurous Spirit: An Important Private Collection Sold to Benefit a Charitable Foundation , 13 December 2018, lot 295
Exhibited:
London, Royal Academy, Royal Academy Summer Exhibition , 1984
London, Plus One Gallery
Literature:
The Royal Academy Illustrated, 1984, p. 75
Condition Report:
Unexamined out of glazed frame. Appears to be in good original condition.
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λ DAVID TINDLE (BRITISH B. 1932)
HARBOUR "CAPSTAIN WITH POLES"
Oil on board
Signed and dated 1957 (lower left); further signed, titled and dated 1957 (verso)
42 x 53cm (16½ x 20¾ in.)
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5,000 - 7,000 GBP
λ GLUCK (BRITISH 1895-1976)
SULKY SPRING, SOUTHEASE
Oil on board
Signed (lower left)
26 x 36.5cm (10 x 14¼ in.)
Presented in artist's three tier painted frame.
Provenance:
The Fine Art Society Ltd., London (by December 1937)
Exhibited:
London, The Fine Art Society Ltd., 1937, no. 23
London, The Fine Art Society Ltd., Memorial Exhibition , 1980-81, no. 33
Literature:
Diana Souhami, Gluck, Her Biography , London,1988, p.175
In February 1937 Gluck and Nesta Obermer visited Southease, a village in East Sussex in the valley of the river Ouse. The pair had a picnic from the car as Gluck began painting the vast landscape. Gluck captured the point at which the river changes its course and flows onwards to the sea.
Gluck designed and painted many of her frames including the one used in the present lot. Gluck's distinctive 3 stepped symmetrical painted panels were designed to match the colour of the wall on which they were hung. It was also encouraged that the outer step could be covered in the same wallpaper to match the walls. This effect was patented in 1932 and used in all of her subsequent exhibitions. The concept became known as 'The Gluck Room'.
Condition Report:
There is a light surface scuff to the upper edge at the left hand side and a small spot of paint loss to the extreme edge at the centre of the lower edge. Otherwise the work appears to be in good original condition. No evidence of retouching visible under ultraviolet light. There are some dirt marks, small losses and fine cracks to the artist's painted frame.
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15,000 - 20,000 GBP
λ ELIOT HODGKIN (BRITISH 1905-1987)
BRITISH RAILWAY OIL CANS
Oil on canvas laid to board
Signed and dated 30 V 66 (lower right)
49 x 38.5cm (19¼ x 15 in.)
Provenance:
Sale, Christie's, South Kensington, 24th January 1983, lot 225
Martin Summers, London (acquired in 2000)
Exhibited:
London, Thomas Agnew & Sons Ltd., Eliot Hodgkin, Paintings in Oil and Tempera , 1966, no. 20
London, The Royal Academy, The Summer Exhibition , 1967, no. 681
Aylesbury, Waddesdon Manor, Brought to Life: Eliot Hodgkin Rediscovered, May-October 2019, cat. no. 69 (illustrated p. 132)
This work is included in the online catalogue raisonne of works by Eliot Hodgkin.
Condition Report:
Work appears to be in good original condition. Inspection under UV reveals light scattered retouching, mostly to the extreme edges.
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2,000 - 3,000 GBP
λ FRED CUMING (BRITISH 1930-2022)
STILL LIFE OF APPLES AND YELLOW KETTLE
Oil on board
Signed (lower left)
38.5 x 50cm (15 x 19½ in.)
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20,000 - 30,000 GBP
λ ANNE REDPATH (SCOTTISH 1895-1965)
THE SITTING ROOM
Oil on canvas
91 x 91cm (35¾ x 35¾ in.)
Painted in 1957.
Provenance:
Mercury Gallery, London
Private Collection, C.C. Harper, Esq.
Sale, Sotheby's Gleneagles, 31 August 1993, lot 1098
Sale, Sotheby's Gleneagles, 27 August 2003, lot 1232
Acquired from the above by the present owner
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150,000 - 250,000 GBP
FRANCIS CAMPBELL BOILEAU CADELL (SCOTTISH 1883-1937)
THE SPANISH LADY
Oil on canvas
Signed and dated 1910 (lower left)
152.5 x 102cm (60 x 40 in.)
Provenance
Bourne Fine Art, London, 1986
Sale, Christie's, Scotland, 11 December 1986, lot 226 (indistinctly dated)
Standing at just over one and a half metres tall the Spanish Lady is a virtuoso work of confident brush strokes and carefully controlled palette. It combines all that Cadell had learned from his studies in Paris and Munich as a young man, with his knowledge and experience of not only the most current artistic trends but also masterpieces from the past. It is in essence a celebration of the history of portraiture rendered in a very contemporary hand.
It was the artist and mentor Arthur Melville who recommended to Cadell's parents that he would benefit enormously by going to study in Paris. In 1899, at the age of sixteen he left Edinburgh Academy with his mother and sister and settled in Paris, studying at the Académie Julien between 1899 and 1902. There he would have been aware of the innovations of his French contemporaries and the Impressionists' works that were on view at the Musée du Luxembourg and Galerie Durand-Ruel. In the subsequent years he travelled between his home city of Edinburgh and the rest of Europe, studying at the Akademie der Bildenden Kunste in 1907 and spending time in Venice in 1910 afforded by his patron Patrick Ford.
"It was in Venice in 1910 that Cadell's work took off with confidence, freedom and consistency." (T. Hewlitt, Cadell: The Life and works of A Scottish Colourist 1883-1937 , London, 1988, p. 27).
The present work, painted in the same year that he visited Italy, does not have the fleeting spontaneity of his Venetian landscapes but Cadell brings a surety and strength of brushstroke to this monumental canvas that gives it a structure that then allows him to control the palette of closely modulated tones of blacks, whites and ochres, carefully and harmoniously laid down so that the figure, the landscape, and the sky exist as one, punctuated with vibrant flashes of colour such as the vermillion red carnation in the model's hair.
The scale and pose bring to mind the great portrait painters from the 17 th and 18 th Centuries; Joshua Reynolds, Thomas Gainsborough, and the Spanish Masters of Velasquez and Francisco Goya; the handling more of Eduard Manet and the coolness of palette of James Abbot McNeil Whistler. This work could as easily be called Harmony in White and Black as The Spanish Lady and is a testament to Cadell's knowledge of art history and his consummate manipulation of the paint surface and subtlety of tone on such a grand scale.
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6,000 - 8,000 GBP
λ ELWIN HAWTHORNE (BRITISH 1905-1954)
ST. JOHN'S, DOWNSHIRE HILL, HAMPSTEAD
Oil on canvas
Signed (lower right); inscribed St. John's, Hampstead and dated 1936 (to stretcher verso)
50.5 x 63.5cm (19¾ x 25 in.)
Exhibited:
London, Alex, Reid & Lefevre, New Paintings by the East London Group, December 1936, no. 44 (as 'Downshire Hill')
The artist painted two views in oils of St. John's, Hampstead during 1936. In addition to the present work, a further painting is held by the Herbert Art Gallery & Museum in Coventry.
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5,000 - 7,000 GBP
λ HENRY SILK (BRITISH 1883-1947)
THE BEDROOM
Oil on canvas, laid to board
Signed (lower left)
48 x 50.5cm (18¾ x 19¾ in.)
The painting depicts Henry Silk's own bedroom at 11 Rounton Road in Bow, East London.
Exhibited:
London, The Bethnal Green Museum, Spring 1927, no. 41
London, Whitechapel Art Gallery, The East London Art Club's Exhibition, December 1928, no. 107
Literature:
David Buckman, From Bow to Biennale (revised edition), London, 2016, illustrated p. 66
Condition Report:
There is some undulation to the canvas where it has been laid down to the board. There are some scattered dents, scuffs and abrasions to the paint surface throughout, notably a line of scuffing running along the lower half of the left hand edge. Ultraviolet light reveals no evidence of any restoration or repair.
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λ WALTER STEGGLES (BRITISH 1908-1997)
CAISTER CASTLE
Oil on canvas
Signed (lower left); titled (to canvas overlap verso)
51 x 36cm (20 x 14 in.)
Condition Report:
Apart from some light surface dirt, the work appears to be in good original condition. No evidence of retouching visible under ultraviolet light.
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1
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3,000 - 5,000 GBP
λ WALTER STEGGLES (BRITISH 1908-1997)
ESSEX LANDSCAPE WITH POLLARDS
Oil on board
Signed (lower right); further signed and titled (verso)
18.5 x 23cm (7¼ x 9 in.)
Painted in 1932.
Provenance:
Alex. Reid & Lefevre Ltd., London
Mary Cburchill (acquired from the above in 1932 as a Christmas present from her nanny, Maryott Whyte)
Sale: Sotheby's, London, Daughter of History: Mary Soames and the Legacy of Churchill , 17 December 2014, lot 219
Private Collection, UK
Exhibited:
London, Alex. Reid & Lefevre Ltd, New Paintings by the East London Group , 1932, no. 85
Southend-on-Sea, Beecroft Gallery, Brothers in Art: Walter & Harold Steggles & the East London Group , September 2021-April 2022
Southend-on-Sea, Beecroft Gallery, Out of the City , 2016
Condition Report:
Very fine crazing throughout the panel. Rubbing to the framing edges with some associated loss, most notable to the lower edge and left side of upper edge. Light surface dirt throughout with some possible discolouration caused by yellowing varnish. One very small circa. 2mm loss to the centre of the left edge which has been retouched and natural in visible light. A light diagonal scuff circa. 4cm to the upper left corner but no damage to the paint work. Inspection under UV reveals scattered retouching to the edges.
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1,000 - 1,500 GBP
λ ETHELBERT WHITE (BRITISH 1891-1972)
BRADFORD-ON-AVON
Oil on canvas
Signed (lower right)
49 x 62cm (19¼ x 24¼ in.)
Condition Report:
There are two parallel horizontal lines of what appears to be thicker pigment running across the canvas approx 10cms from the upper and lower edges. Light surface dirt and two very small losses to the upper section of the left edge. Some flaking and associated loss to the left side of the upper edge. No evidence of retouching visible under ultraviolet light.
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7,000 - 10,000 GBP
λ HAROLD STEGGLES (BRITISH 1911-1971)
HIGH WYCOMBE
Oil on board
Signed (lower left); further signed and titled (verso)
34.5 x 42.5cm (13½ x 16½ in.)
Painted in 1938.
Provenance:
Sir Robert Ensor, writer and poet (1877-1958) (acquired from the Ashmolean Gallery exhibition, 1939)
Sale, Cheffins, Cambridge, 10 June 2010, lot 511
Private Collection, UK
Exhibited:
London, Alex. Reid & Lefevre Ltd., New Paintings: Harold & W.J. Steggles , 1938
Oxford, Ashmolean Museum, Young British Painters , 1939, no. 101
Southend-on-Sea, Beecroft Gallery, Brothers in Art: Walter & Harold Steggles & the East London Group , September 2021-April 2022
Southend-on-Sea, Beecroft Gallery, Out of the City , 2016
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λ PAUL STOREY (BRITISH B. 1957)
ATHENE WITH OWL
Acrylic on board
76 x 62.5cm (29¾ x 24½ in.)
Painted in 2003.
Provenance:
Gillian Jason Modern & Contemporary Art, London
Acquired from the above by the present owner
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15,000 - 25,000 GBP
λ JACK VETTRIANO (SCOTTISH B. 1951)
THE INTERVAL
Oil on canvas-board
Signed (lower right)
55.5 x 45.5cm (21¾ x 17¾ in.)
Provenance:
The Atholl Gallery, Dunkeld, Perthshire
Condition Report:
Unexamined out of glazed frame. Light surface dirt throughout. Thick glossy varnish throughout, especially noticeable to the gentleman's head and right shoulder stood to the right of the image.
Condition Report Disclaimer
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1,000 - 1,500 GBP
λ RENÉ GRUAU (ITALIAN 1909-2004)
CHAT SUR FOND ROUGE
Oil on board
Signed with monogram (upper right); further signed with monogram (verso)
61 x 43.5cm (24 x 17 in.)
Condition Report:
Oil on artist prepared board. Light surface dirt throughout. Otherwise appears to be in good original condition.
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λ GEORGE DEVLIN (SCOTTISH 1937-2014)
EVENING ON THE MARE, HERAULT
Oil on canvas
Signed (lower left)
33 x 35.5cm (12 x 13¾ in.)
Provenance:
Portland Gallery, London
Exhibited:
London, Portland Gallery, May, 1994
Condition Report:
Unexamined out of glazed frame. Appears to be in good original condition.
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λ ROBERTO FERRUZZI (ITALIAN 1927-2010)
RIO DI SAN VIO, VENEZIA
Oil on board
Signed (lower right); further signed and titled (verso)
20 x 30cm (7¾ x 11¾ in.)
Condition Report:
Appears to be in good original condition.
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λ ROBERTO FERRUZZI (ITALIAN 1927-2010)
IL REDENTORE, VENEZIA
Oil on board
Signed (lower left); further signed and titled (verso)
30 x 40cm (11¾ x 15½ in.)
Condition Report:
In good original condition.
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7,000 - 10,000 GBP
λ GUSTAV WUNDERWALD (GERMAN 1882-1945)
FOHREN MIT ROTER WOLKE
Oil on canvas
Signed (lower left)
71 x 61cm (27¾ x 24 in.)
Painted circa 1909.
Provenance:
Sale: Sotheby's, London, German & Austrian Art , 18 October 2000, lot 269
Collection of the late John Lippitt, Hampshire (acquired from the above)
The authenticity of this work has been confirmed by Dr. Hildegard Reinhardt.
Condition Report:
The canvas has not been relined. There are vertical stretcher marks to the left and right edges and some undulation to the canvas along the upper edge where the work has been mounted on the stretcher. There are some scattered spots of surface dirt. There is some craquelure throughout, most notably to the dark paint in the trees. Ultraviolet light reveals some scattered retouching to the lower edge of the canvas.
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λ MERLIN JAMES (BRITISH B. 1960)
TWO POPLAR TREES
Oil on canvas
Signed and dated 9-11 to stretcher (verso); further titled and dated 2009-11 (verso)
58 x 90.5cm (22¾ x 35½ in.)
Unframed
Provenance:
Richard Salmon Gallery, London
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λ PETER COLLIS (BRITISH 1929-2012)
THE SEA NEAR ROUNDSTONE
Oil on board
Signed (lower right); titled to artist's label (verso)
22.5 x 33cm (8¾ x 12 in.)
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1
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1,500 - 2,000 GBP
λ WILLIAM BROOKER (BRITISH 1918-1983)
MAIZE FIELD, IBIZA
Oil on canvas
Signed and dated '53 (lower right); Inscribed, titled and dated 1953 to canvas overlap (verso)
46 x 61cm (18 x 24 in.)
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λ POLISH SCHOOL (20TH CENTURY)
JAPANESE WOMAN SEATED IN AN INTERIOR
Stamped Janusz Kosowicz (to stretcher verso)
Oil on canvas
149.5 x 120cm (58¾ x 47 in.)
Provenance:
Private Collection, Jan Kulczyk, Poland (acquired circa 2002)
Thence by descent to the present owner
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1
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2,000 - 3,000 GBP
λ GWYNETH JOHNSTONE (BRITISH 1915-2010)
MYSTERY AND MELANCHOLY OF A STREET
Oil on board
Signed with initials (lower left)
58.5 x 49cm (23 x 19¼ in.)
Provenance:
Acquired directly from the artist's studio in Benidorm circa 1979-82
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1
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1,500 - 2,000 GBP
λ GEOFF UGLOW (SCOTTISH B. 1978)
VIEW OF EDINBURGH
Oil on wood
25 x 30cm (9¾ x 11¾ in.)
Provenance:
Acquired directly from the artist by the present owner
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λ LESLIE MARR (BRITISH 1922-2021)
NORTH YORKSHIRE MOORS
Oil on canvas
Signed and dated '82 (lower left); further signed and titled (verso)
89 x 120cm (35 x 47 in.)
Condition Report:
The canvas is not relined. No obvious condition issues, work appears to be in good original condition. 98 x 124.5cm including frame.
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λ LESLIE MARR (BRITISH 1922-2021)
EXMOOR
Oil on canvas
Signed and dated Dec. 2015 (lower left); further signed, titled, inscribed No. 351 and dated 2015 to canvas overlap (verso)
71 x 92cm (27¾ x 36 in.)
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1
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2,000 - 3,000 GBP
λ LEO DAVY (BRITISH 1924-1987)
UNTITLED
Oil on board
122 x 178.5cm (48 x 70¼ in.)
Painted circa 1984.
Provenance:
Direct from the Estate of the artist
Exhibited:
London, Piano Nobile, Leo Davy Abstract Scenes 1973-1987, February-May 2017
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700 - 1,000 GBP
λ MERLIN JAMES (BRITISH B. 1960)
OVAL
Oil and collage on canvas
Signed, titled and dated 2001 (verso)
86.5 x 71.5cm (34 x 28 in.)
Provenance:
Richard Salmon Gallery, London
Condition Report:
Apart from some minor surface dirt, this work is in good original condition.
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1
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1,000 - 1,500 GBP
λ ADAM BIRTWISTLE (BRITISH B. 1959)
EVIVA IL COTELLO
Oil on paper
Signed with monogram and dated 09 (lower right), titled (lower left)
120 x 110cm (47 x 43¼ in.)
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1,500 - 2,500 GBP
λ ANTHONY GREEN (BRITISH 1939-2023)
SELF-PORTRAIT WITH PLANT
Oil on board
Signed, titled and dated 1964 (verso)
70 x 37.5cm (27½ x 14¾ in.)
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2,000 - 3,000 GBP
λ ANTHONY GREEN (BRITISH 1939-2023)
THE 30TH WEDDING ANNIVERSARY/THE STUDIO-MOLE END
Oil on board, irregular shape
Signed, titled and dated 1991 (verso)
166 x 154cm (65¼ x 60½ in.) (irregular)
Exhibited:
London, Royal Academy, Royal Academy Summer Exhibition, 1994, no. 4
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2,000 - 3,000 GBP
λ KEITH COVENTRY (BRITISH B. 1958)
UNTITLED (AGATHON KEBAB ABLEROS KEBABS)
Oil on canvas
76 x 50cm (29¾ x 19½ in.)
Provenance:
Richard Salmon Gallery, London
Sale, Christie's, London, Contemporary Art and Photoworks , 23 October 2001, lot 374
Exhibited:
London, Richard Salmon Gallery, Keith Coventry: Greeks, May-June 1998 , no. 19
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5,000 - 7,000 GBP
λ BILLY CHILDISH (BRITISH B. 1959)
DRUNK
Oil on wood panels
Signed and dated 93 (verso)
45.5 x 65.5cm (17¾ x 25¾ in.)
Condition Report:
In good original condition.
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1
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2,000 - 3,000 GBP
λ PHILIP SUTTON (BRITISH B. 1928)
SKINKLE, NR TENBY
Oil on canvas
Signed, titled and dated 1989 (verso)
102 x 102cm (40 x 40 in.)
Unframed
Provenance:
Private Collection, Joan Hurst
Condition Report:
In good original condition.
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1
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2,000 - 3,000 GBP
λ PHILIP SUTTON (BRITISH B. 1928)
MOZART
Oil on canvas
Signed, titled and dated 1989 (verso)
102 x 102cm (40 x 40 in.)
Unframed
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1
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2,000 - 3,000 GBP
λ JOHN HITCHENS (BRITISH B. 1940)
SINGLE WHITE
Oil on canvas
Signed (lower right); further signed, titled, dated 1966 and inscribed Petworth,Sussex (verso)
43 x 152cm (16¾ x 59¾ in.)
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1,500 - 2,500 GBP
λ PHILIP SUTTON (BRITISH B. 1928)
THE CLIMATE'S DELICATE, THE AIR MOST SWEET
Oil on canvas
Signed, titled and dated 1989 (verso)
91.5 x 91.5cm (36 x 36 in.)
Provenance:
Private Collection, Joan Hurst
Condition Report:
Appears to be in good original condition. Inspection under UV reveals no obvious evidence of restoration or repair.
Condition Report Disclaimer
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2,000 - 3,000 GBP
λ MICHAEL CRAIG-MARTIN (BRITISH B. 1941)
UNTITLED 5502Y (OPEN BOOK)
Vinyl matt emulsion
Signed, titled and dated 1990 to stretcher (verso)
71 x 92cm (27¾ x 36 in.)
Unframed
Provenance:
Richard Salmon Gallery, London
Condition Report:
Some surface dirt to the lower edge and also to canvas along the box frame edges. Some paint loss to the lower right corner.
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2,000 - 3,000 GBP
λ MICK ROONEY (BRITISH B. 1944)
THE SERENADERS
Mixed media on board
Signed and dated '85 (lower left)
102 x 84cm (40 x 33 in.)
Provenance:
Sale, Sotheby's, London, 27 November 1996, lot 104
The estate of John Lippitt, Hampshire
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15,000 - 25,000 GBP
λ PETER CURLING (IRISH B. 1955)
A MISTAKE BY THE LEADER
Oil on canvas
Signed (lower left)
77 x 122cm (30¼ x 48 in.)
Provenance:
The Tryon Gallery Ltd., London
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8,000 - 12,000 GBP
λ SUSAN CRAWFORD (BRITISH B. 1941)
DANCING BRAVE, PAT EDDERY UP
Oil on canvas
Signed and dated 1987 (lower right)
71 x 91cm (27¾ x 35¾ in.)
Provenance:
The Tryon Gallery Ltd., London
Dancing Brave was the outstanding racehorse of 1986 season, and has been described as 'the standard against which every potential world-class racer is measured'. Though his career lasted only a year, in that brief time he won 8 out of the 10 races he competed in, including the 2000 Guineas, the Eclipse Stakes, and the King George VI and Queen Elizabeth Stakes. Though he lost the Derby to Shahrastani, he avenged this defeat in the Prix de l'Arc de Triomphe, prompting a reputation as 'the best horse who never won the Derby'. His Arc de Triomphe victory, in which Flat jockey Pat Eddery came from the back of the field to win by a length and a half, was voted the greatest race of all time by Racing Post readers in 2022.
The partnership with Eddery, whose ability to win major races was at its peak during the 80s, proved essential to his success. The jockey's riding style was 'instantly recognisable to generations of punters through his habit of bouncing in the saddle in a close finish as a means of driving his mount forwards'. Despite this unorthodox look, Eddery was clearly a natural in the saddle. His weighing room rival Michael Hills remarked that 'Horses just loved to run for him. They used to stick out their heads out for him and all they wanted to do was run as fast as they can.' Even so, Eddery and Dancing Brave's partnership seems to have been a particularly memorable one for the jockey, who called the horse a 'once in a lifetime ride'.
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3,000 - 5,000 GBP
λ DAME ELISABETH FRINK (BRITISH 1930-1993)
HORSEHEAD II
Acrylic and charcoal
Signed and dated 88 (lower right)
101 x 72cm (39¾ x 28¼ in.)
Provenance:
Fischer Fine Art Limited, London (C 13.825)
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