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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
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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 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
Condition Report:
Unexamined out of glazed frame. No obvious condition issues. Appears to be in good original condition.
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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
Condition Report:
Unexamined out of glazed frame. Horizontal line of creasing with some associated loss and dots of brighter blue pigment approx. 4cm running parallel to the lower edge in the right corner. A diagonal crease from the lower centre running towards the middle of the image, approx. 4cm. Small scuff approx. 1cm to the base of the black tree in the foreground lower centre. Overall colours are good.
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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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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.
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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.
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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.
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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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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.
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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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6,000 - 8,000 GBP
λ JOHN PIPER (BRITISH 1903-1992)
THORNTON ABBEY GATEWAY (GATEHOUSE)
Watercolour, ink, pencil, oil and coloured crayon
Signed, titled Thornhill Priory [sic] and dated 17 VII 83 (lower left)
37 x 56cm (14½ x 22 in.)
The lithograph depicting Thornton Abbey was published in 1987.
Condition Report:
The sheet is stacked down with tape at the far left and right upper corners. The reverse of the sheet is inscribed C/9 85/9 (later inscription). There are four additional pieces of tape stuck on the reverse of the sheet to all four corners. There is some slight undulation to the sheet, some areas of cracking and loss to the oil pigments but otherwise, the work appears to be in good original condition.
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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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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.
Condition Report:
Light surface dirt. Unexamined out of glazed frame.
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2,000 - 3,000 GBP
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.
Condition Report:
There are scattered areas of paint flaking and small losses to the paint surface. In addition, there is a further larger loss to the white paint at the lower centre. Some surface dirt. Unexamined out of glazed frame.
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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.
Condition Report:
Please contact the department on pictures@dreweatts.com for the treatment report.
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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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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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15,000 - 25,000 GBP
PAUL SIGNAC (FRENCH 1863-1935)
LE MONT-BLANC VU DE SALLANCHES
Watercolour and black crayon
Signed (lower left) and dated 1919 (lower right)
29 x 41cm (11¼ x 16 in.)
Provenance:
From a Private Collection
The authenticity of this work has been confirmed by Marina Ferretti.
Condition Report:
Very slight undulation to the sheet. Light discolouration throughout the sky most notable to the upper right corner at the mounting edge. Otherwise work appears to be in original condition.
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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
Condition Report:
The sheet is slightly discoloured and there are a few spots of foxing to the background. Otherwise, appears to be in good condition. Unexamined out of glazed frame.
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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
Condition Report:
The sheet is slightly discoloured throughout, most notable along the lower edge. There is light undulation to the sheet and a spot of bleaching to the right hand edge. A small surface scuff to the centre of the sheet, by the smoker's elbow. Otherwise, in generally good condition.
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3,000 - 5,000 GBP
λ DUNCAN GRANT (BRITISH 1885-1978)
DESIGN FOR A LIDDED JAR: THE THREE GRACES
Watercolour and pencil
With study of figures (verso)
33.5 x 24cm (13 x 9¼ in.)
Painted circa 1935.
Provenance:
Estate of the artist
Condition Report:
Artist's pinholes to the two upper corners. Some light handling marks to the upper edge and lower left corner. Otherwise in overall good condition. Unexamined out of glazed frame.
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λ CECIL BEATON (BRITISH 1904-1980)
'ASCOT COSTUMES' VIII
Ink, crayon and watercolour with swatches of material (upper right)
Signed twice and inscribed (to lower edge)
45 x 31cm (17½ x 12 in.)
Provenance:
The Redfern Gallery, London, no. 94
Private Collection, C.B. Shackleton Esq (acquired from the above 8 December 1964)
Guy Reed, Copgrove Hall
Guy Reed Will Trust
Condition Report:
Unexamined out of glazed frame. Discolouration to the sheet throughout. Would benefit from remounting. Thunderbugs scattered across the sheet trapped under the glass. Some light handling creases. 4 pinholes to the lower left corner with a small associated crease. Two further pin holes to the lower right corner.
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1,000 - 1,500 GBP
λ FELIX KELLY (BRITISH/NEW ZEALANDER 1914-1994) PALLADIAN VILLA Gouache on card Signed to bridge (upper centre); indistinctly inscribed to white plinth and sphere (lower centre) 29 x 20cm (11¼ x 7¾ in.)
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λ SIR EDUARDO PAOLOZZI (BRITISH 1924-2005)
MECHANICAL STUDY
Ink
Signed, indistinctly inscribed and dated 44 (lower right)
25 x 29cm (9¾ x 11¼ in.)
Provenance:
Freda Paolozzi and by descent
Drawn while still serving in the army, the present work shows Paolozzi's early fascination with machine objects and their mechanical aesthetic.
Condition Report:
Edges are uneven, artist intent. There is evidence of some creases running along the lower edge. The study verso with some staining through ought and a row of indentations running along the lower edge. Otherwise in original condition.
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λ SIR EDUARDO PAOLOZZI (BRITISH 1924-2005)
HORSE STUDY
Pen and ink
Signed and dated 1947 (lower right)
20.2 x 25.2cm (7¾ x 9¾ in.)
Provenance:
Freda Paolozzi and by descent
The present lot and lot 104 were drawn while studying at the Slade. Paolozzi felt that the Art School was "dominated by middle-class, ex-officer type attitudes with which he was unable to identify and which in his view favoured half-baked, gutless art. Oxford, the focal point of elitist and polite notions of culture made matters worse." (F. Whitford, Eduardo Paolozzi , Exhibition Catalogue, London, Tate Gallery, 22 September - 31 October 1971, p.7)
Condition Report:
Handling creases throughout, most notable to the upper and lower left corners. There are some small marks of staining to the horse's rear.
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700 - 1,000 GBP
λ JOHN BANTING (BRITISH 1902-1971)
UNTITLED
Watercolour, ink and gouache
Signed (lower right)
47.5 x 30cm (18½ x 11¾ in.)
Provenance:
Direct from the artist
Private Colleciton, Gerald Corcoran, owner and director of Alex Reid & Lefevre Gallery
Thence by descent to the present owner
Condition Report:
Unexamined out of glazed frame. Very slight undulation to the sheet. Appears to be in good original condition.
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3,000 - 5,000 GBP
λ EDWARD BURRA (BRITISH 1905-1976)
COSTUME DESIGN FOR MIRACLE IN THE GORBALS
Watercolour, ink and gouache
50.5 x 69cm (19¾ x 27 in.)
Provenance:
Direct from the artist
Private Collection, Gerald Corcoran, owner and director of Alex Reid & Lefevre Gallery
Thence by descent to the present owner
Condition Report:
Unexamined out of glazed frame. The sheet appears to be stuck down at the four corners to the mounting board. There is light dirt to the extreme edges of the sheet. Slight undulation to the sheet throughout. Otherwise appears to be in original condition.
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15,000 - 25,000 GBP
λ EDWARD BURRA (BRITISH 1905-1976)
THE LOAF
Watercolour and gouache
Signed
58.5 x 80cm (23 x 31¼ in.)
Executed in 1964-5.
Provenance:
The Lefevre Gallery, London
Private Collection, Gerald C. Corcoran
Private Collection, London (a gift from the above)
Martin Summers Fine Art, London
Collection of the late John Lippitt, Hampshire
Exhibited:
London, The Lefevre Gallery, Watercolours by Edward Burra , May 1965, cat. no.14
London, Hayward Gallery, Edward Burra , August - September 1985, cat. no.119
Literature:
William Chappell (ed.), Edward Burra: A Painter Remembered by His Friends , Andre Deutsch, in association with the Lefevre Gallery, London, 1982, p.34 (illustrated)
Andrew Causey, Edward Burra, Complete Catalogue , Oxford, 1985, cat. no.307 (illustrated)
Burra was never a conventional artist. His early work comprises vibrant depictions of urban scenes, snapshots of the new modern world and city nightlife in particular. And yet his works are rarely straight-forward. They are frequently imbued with a sense of the bizarre, the surreal, shining a spotlight on the seedier, macabre side of life.
"He painted humanity's dark side, its warmongers, low lives and outsiders, illuminating dark and murky corners wherever he went; his idiosyncratic tour of the 20 th century is strange, unsettling and always compelling."
(Andrew Graham Dixon, in I Never Tell Anybody Anything: The Life and Art of Edward Burra , BBC Four, 2011)
Beset by ill health from an early age, Burra did not let this stifle his artistic ambition, travelling widely throughout his life with a particular love for France and Spain. He worked predominately in watercolour due to his chronic arthritis, his compositions are bright and vibrant with strong graphic lines.
The impact of the Spanish Civil War and the subsequent descent into World War II changed everything for Burra. His love for the frivolous side of life was shattered by the terrible violence meted out during these conflicts. A new seriousness came to the fore as Burra tried to deal with the horrors that confronted him.
Burra's post war works incorporate new themes such as landscape, fruit and flower works and market scenes. However, as ever, nothing is straight-forward - as in the present work, The Loaf, strange, ambiguous shapes emerge from the everyday objects. Humorous and surreal, the meaning remains elusive. Burra himself was always reticent about discussing his work preferring the viewer to make their own interpretation, forever leaving more questions than answers.
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LUCIEN PISSARRO (FRENCH 1863-1944)
BACK OF THE VILLAGE
Watercolour and ink
Signed with monogram (lower left)
9.5 x 13cm (3½ x 5 in.)
Provenance:
The Leicester Galleries, London
Private Collection, The Honorable David Kenworthy
Exhibited:
London, The Leicester Galleries, January 1946, no. 63
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λ FRANK DOBSON (BRITISH 1888-1963)
WAVES BREAKING UNDER A CLOUDY SKY
Watercolour and gouache
Signed and dated 08 (lower right)
36 x 42cm (14 x 16½ in.)
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λ ANNE REDPATH (SCOTTISH 1895-1965)
STILL LIFE WITH JUG OF FLOWERS
Watercolour
Signed (lower centre)
49.5 x 59.5cm (19¼ x 23¼ in.)
Condition Report:
Unexamined out of glazed frame. Discolouration to the sheet throughout. Otherwise appears to be in good original condition.
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λ ELWIN HAWTHORNE (BRITISH 1905-1954)
SUSSEX PLACE, REGENTS PARK, NW1
Watercolour and pencil
Signed (lower right)
14.5 x 16cm (5½ x 6¼ in.)
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λ ELWIN HAWTHORNE (BRITISH 1905-1954)
IVY COTTAGE, WANSTEAD
Watercolour and pencil
Titled (to centre, upper edge)
11.5 x 17.5cm (4½ x 6¾ in.)
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λ WALTER STEGGLES (BRITISH 1908-1997)
GEORGE GILMORE'S COTTAGE, HOWTH
Watercolour
Signed (lower left)
11 x 19cm (4¼ x 7¼ in.)
Executed circa 1950.
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λ ELWIN HAWTHORNE (BRITISH 1905-1954)
NEAR NAVESTOCK, ESSEX
Watercolour and pencil
Signed and titled (lower right)
17 x 24cm (6½ x 9¼ in.)
Exhibited:
London, Alex, Reid & Lefevre, Watercolours, Pastels and Drawings by Contemporary British Artists, December 1939, cat. no. 61
Condition Report:
In good original condition. Unexamined out of glazed frame.
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λ ELWIN HAWTHORNE (BRITISH 1905-1954)
RONEO CORNER, ROMFORD WITH THE ROMFORD BREWERY IN THE DISTANCE
Watercolour and pencil
Signed (lower right); titled (lower left)
17 x 24cm (6½ x 9¼ in.)
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λ PHYLLIS BRAY (BRITISH 1911-1991)
REMEMBRANCE
Watercolour, gouache and crayon
14 x 11cm (5½ x 4¼ in.)
Provenance:
A gift from the artist to Walter Steggles (1908-1997)
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λ ELWIN HAWTHORNE (BRITISH 1905-1954)
ROCHESTER CASTLE
Watercolour and pencil
17 x 24.5cm (6½ x 9½ in.)
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λ ELWIN HAWTHORNE (BRITISH 1905-1954)
COLMAN'S HATCH, NEAR CROWBOROUGH, SUSSEX
Watercolour, pencil and pastel
Signed (lower left)
17 x 24.5cm (6½ x 9½ in.)
Exhibited:
London, Alex, Reid & Lefevre, Watercolours, Pastels and Drawings by Contemporary British Artists, December 1939, cat. no. 50
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λ ERTĒ (FRENCH 1892-1990)
TABAC BLOND; FRIVOLITES
Gouache
Both signed (lower right); stamped with studio stamp and titled (verso)
Each 18.5 x 27cm (7¼ x 10½ in.) (2)
Unframed
Provenance:
Acquired directly from the artist
Thence by descent to the present owner
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λ ERTĒ (FRENCH 1892-1990)
EXPOSITION UNIVERSELLE 1889
Gouache
Signed (lower right); stamped with studio stamp (on the backboard)
18 x 30cm (7 x 11¾ in.)
Unframed
Provenance:
Acquired directly from the artist
Thence by descent to the present owner
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λ ERTĒ (FRENCH 1892-1990)
THREE SCREEN DESIGNS OF LONDON FOR LATIN QUARTER
Gouache and gold paint
All signed (lower right); stamped with studio stamp, titled and dated 1961 (on the reverse)
Each 26 x 36cm (10 x 14 in.) (3)
Provenance:
Acquired directly from the artist
Thence by descent to the present owner
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λ ERTĒ (FRENCH 1892-1990)
RIDEAU
Gouache and silver paint
Signed (lower right), inscribed and dated 1935 (on the reverse)
37 x 27cm (14½ x 10½ in.)
Unframed
Provenance:
Acquired directly from the artist
Thence by descent to the present owner
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λ BRUCE MCLEAN (BRITISH B. 1944)
STUDY FOR SOLDAT
Gouache, watercolour and black crayon
Signed and dated 85 (lower right); further inscribed with notes (across the sheet)
56.5 x 75.5cm (22 x 29½ in.)
The present work illustrates costume studies for the ballet Soldat by Ashley Page for Ballet Rambert in 1989.
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λ JOHN BELLANY (SCOTTISH 1942-2013)
PROMETHEUS
Watercolour
Signed (upper right)
76 x 57cm (29¾ x 22¼ in.)
Painted circa 1989.
Provenance:
Fischer Fine Art Ltd., London
Condition Report:
Unexamined out of glazed frame. Appears to be in good original condition.
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λ ADAM BIRTWISTLE (BRITISH B. 1959)
PORTRAIT OF DAVID HOCKNEY, SEATED
Watercolour and pencil
Signed with monogram (lower right), titled Hockney and dated 2002 (lower left)
77 x 56cm (30¼ x 22 in.)
Condition Report:
Please note there is a crack to the glaze, lower right corner.
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λ DAVID HOCKNEY (BRITISH B. 1937)
COLOURED CURTAIN STUDY
Pencil and coloured crayon
Signed with initials, titled and dated 63 (lower right)
43 x 31.1cm (16¾ x 12 in.)
Provenance:
Paul Kasmin, London
Ronald B. Alley, London
Private Collection
Sale, Christie's, London, 20th Century British Art , 9 June 2006, lot 18
Jack Kirkland, London
Acquired from the above by the present owner in 2013
Exhibited:
London, The Whitechapel Art Gallery, & travelling, David Hockney: Paintings, Prints & Drawings 1960-1970 , 1970, no. D9
Literature:
David Hockney, David Hockney , London, 1976, p.80, illus.
Condition Report:
Examined out of glazed frame. Light discolouration to the sheet, most notable at the upper edge and lower left corner. The sheet is stuck down at two points along the upper edge, far right and left with mounting tape. Some mounting tape also stuck to the underside of the lower edge at two points, far right and left. Very light handling creases and undulation scattered throughout the sheet. There is a horizontal crease approx. 4cm up from the lower edge running across the sheet. There is a very small vertical tear approx. 0.5cm to the right side of the lower edge. There is an indistinct inscription verso but does not appear to be in the artist's hand. The lower edge is not cut straight, consistent with the original condition.
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λ ANTHONY GREEN (BRITISH 1939-2023)
13TH WORKING DRAWING FOR RITZ. (LOVE AT THE RITZ III)
Watercolour, gouache and pencil
Signed, inscribed and dated Sept/Nov '86 (to lower edge), inscribed within the image Supper after the Theatre - Tea for two, club sandwiches and fresh fruit salad ,
61 x 56cm (24 x 22 in.)
Provenance:
Mayor Rowan Gallery, London
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λ CHARLES FREDERICK TUNNICLIFFE (BRITISH 1901-1979)
THE HERON
Watercolour and pencil
Signed (lower right)
34 x 51cm (13¼ x 20 in.)
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λ CHARLES FREDERICK TUNNICLIFFE (BRITISH 1901-1979)
OYSTERCATCHERS
Watercolour, bodycolour and pencil
Signed (lower right)
34 x 51cm (13¼ x 20 in.)
Condition Report:
Unexamined out of glazed frame. A small foxing mark to the upper right quadrant and some light discolouration to the sheet. Other appears in good original condition.
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λ CHARLES FREDERICK TUNNICLIFFE (BRITISH 1901-1979)
TWO PHEASANTS
Watercolour and pencil
Signed (lower right)
46 x 67cm (18 x 26¼ in.)
Condition Report:
Unexamined out of glazed frame. Colours are good. Overall in good original condition.
Mount is scattered with mottled staining. Otherwise frame in good original condition.
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λ CHARLES FREDERICK TUNNICLIFFE (BRITISH 1901-1979) BERLIN SHORT-FACED TUMBLER Gouache, pencil and pastel Titled and inscribed T. Forshaw (lower right) 24 x 25cm (9¼ x 9¾ in.)
Tunnicliffe moved to Anglesey in 1947, it was at this point that he met chairman and president of Burtonwood Brewery Company and keen ornithologist Thomas Forshaw. The pair's friendship blossomed with shared interests in a love of ale and ornithology and Forshaw decided to commission Tunnicliffe to his collection of Fancy Pigeons. At one point, Forshaw held 400 birds in his aviary, an avid pigeon fancier. Tunnicliffe produced three large folios of drawings, the majority of illustrations made direct from life. Two of these folios are now held in the Tunnicliffe Museum, Anglesey and it is most likely that this present work was taken from the third folio.
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λ DAME ELISABETH FRINK (BRITISH 1930-1993)
LYING DOWN HORSE
Watercolour and pencil
Signed and dated 72 (lower right)
49.5 x 64.5cm (19¼ x 25¼ in.)
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