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Live
Venue address
Dreweatts
Donnington Priory
Newbury, Berkshire
RG14 2JE
United Kingdom
Modern and Contemporary Art
This is a live online auction with auctioneer. For details on registration, bidding, viewing & condition reports, click “Important information” link.
Pietro Annigoni: A Personal Insight... read more!
Viewing in London (highlights): Dreweatts London, 16-17 Pall Mall, St James’s, London SW1Y 5LU
09 Oct 2024 10:00 - 16:00 BST
10 Oct 2024 10:00 - 16:00 BST
11 Oct 2024 10:00 - 16:00 BST
Viewing in Newbury (full sale): see below
Auction dates
23 Oct 2024 10:30 BST
Viewing dates
20 Oct 2024 10:00 - 15:00 BST
21 Oct 2024 10:00 - 16:00 BST
22 Oct 2024 10:00 - 16:00 BST
23 Oct 2024 09:00 - 16:00 BST
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Featured lots
There are 220 lots within this auction
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λ AUSTIN OSMAN SPARE (BRITISH 1888-1956)
SEATED FEMALE NUDE
Pencil
Signed with initials and dated 31 (lower left)
39 x 39cm (15¼ x 15¼ in.)
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λ DUNCAN GRANT (BRITISH 1885-1978) STUDY FOR PANEL TO DECORATE THE QUEEN MARY Pastel 47 x 60cm (18½ x 23½ in.)
Executed circa 1935.
Provenance: Private Collection, Sir Kenneth Clark Abbott & Holder, London Sale, Christie's South Kensington, 31 October 2007, lot 1317 Brown & Rigg, Tetbury, Gloucestershire Acquired from the above by the present owner in 2012
In 1935 Duncan Grant was commissioned to create a series of large panels, carpets, curtains and textiles for the First Class lounge on Cunard's Ocean Liner, The Queen Mary. Although originally accepted for the interior, the Chairmen and board of Directors turned down Grant's designs and they were never installed.
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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
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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
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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
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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
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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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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
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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
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1
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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)
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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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1
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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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1
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2,000 - 3,000 GBP
λ SIR JACOB EPSTEIN (BRITISH 1880-1959) FOURTH PORTRAIT OF PEGGY JEAN (ASLEEP) Bronze with a green patina Signed (to left shoulder) Height: 26cm (10in.)
Conceived in 1920.
Provenance: From a Private Collection
Literature: Hubert Wellington, Jacob Epstein, London, 1925, p. 25, pl. 17 Jacob Epstein, Let There Be Sculpture, London, 1940, p. 203, illus . Robert Black, The Art of Jacob Epstein, New York and Cleveland, 1942, p. 232, no. 76 Jacob Epstein, Epstein: An Autobiography, London, 1955 illus . Richard Buckle, Jacob Epstein Sculptor, London, 1963, p. 103, pl. 160 Barbara and Edward P. Schinman, Jacob Epstein. A Catalogue of the Collection of Edward P. Schinman, Vancouver, 1970, p. 72, illus . Evelyn Silber, The Sculpture of Epstein , Oxford, 1986, pp. 146-47, no. 110
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1
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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
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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
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λ HERBERT ROYLE (BRITISH 1870-1958)
SNOW LANDSCAPE
Oil on canvas
Signed (lower right)
63.5 x 76cm (25 x 29¾ in.)
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1
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3,000 - 5,000 GBP
λ SIR JACOB EPSTEIN (BRITISH 1880-1959)
OLIVE
Bronze with a brown patina
Height: 35cm (13¾in.)
Conceived in 1934.
Provenance:
From a Private Collection
Literature:
Richard Buckle, Jacob Epstein Sculptor, London, 1963, p. 214, pl. 329
Barbara and Edward P. Schinman, Jacob Epstein. A Catalogue of the Collection of Edward P. Schinman, Vancouver, 1970, p. 51 (illustrated)
Evelyn Silber, The Sculpture of Epstein, Oxford, 1986, p. 177, no. 250
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1
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2,000 - 3,000 GBP
λ SIR JACOB EPSTEIN (BRITISH 1880-1959) OLD SMITH Bronze with a black patina Height: 37cm (14½in.)
Conceived in 1922.
Provenance: From a Private Collection
Literature: Arnold L. Haskell, The Sculptor Speaks, Jacob Epstein to Arnold Haskell. A Series of Conversations on Art, London, 1931, p. 180 Jacob Epstein, Let There Be Sculpture, London, 1940, p. 112 Robert Black, The Art of Jacob Epstein, New York and Cleveland, 1942, p. 234, no. 97 Jacob Epstein, Epstein: An Autobiography, London, 1955, p. 93 Richard Buckle, Jacob Epstein Sculptor, London, 1963, p. 113, pl. 179 Evelyn Silber, The Sculpture of Epstein, Oxford, 1986, p. 151, no. 129
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1
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2,000 - 3,000 GBP
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)
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1
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2,000 - 3,000 GBP
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
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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.)
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1
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1,500 - 2,000 GBP
λ ENZO PLAZZOTTA (ITALIAN 1921-1981)
ICARUS
Bronze
Signed and numbered 3/6
Width: 102cm (40in.)
Provenance:
Obelisk Gallery, London
Literature:
Carol Plazotta and Richard O'Conor, Enzo Plazotta, A Catalogue Raisonné, London, 1986, p. 161, no. 309 (Similar cast from same series)
Italian-born sculptor Enzo Plazzotta Studied in Milan at the Accademia di Brera under Francesco Messina, until the outbreak of the second World War, when he enrolled in the army. He was sent to North Africa until Mussolini's fall, and subsequently founded a partisan movement, which led to his imprisonment.
Released from the prison after the war, Plazzotta returned to Brera to complete his studies. In 1957 he travelled to England to present a statuette, before deciding to establish his artistic profile in London, directing his attention towards setting up a commercial art agency. At the age of forty, Plazzotta turned his attention back to sculpting, working mainly in bronze to create sculptures of dynamic human and animal figures, with a specific interest in dancers and horses. Despite many of his sculptures being situated on the streets of London, he maintained close links to his home-country, casting much of his work at his studio in the quarries of Pietrasanta. In 1976, Plazzotta was honoured the title of Cavaliere from the Italian government, acknowledging his services to Italian art. By 1981, Plazzotta's health was diminishing due to cancer, and he passed away within the same year.
Plazzotta's work has been widely exhibited globally in Europe, the United States and Australia, and features in several public and private collections including the Vatican, Rome, The Hermitage, Lausanne and The Queensland Art Gallery, Brisbane.
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1
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1,500 - 2,500 GBP
λ SIR JACOB EPSTEIN (BRITISH 1880-1959)
BETTY PETERS
Bronze with brown patina
Height (excluding base): 22cm (8½in.)
Provenance:
J. Scott Taggart, Wing Commander, Private Collection
Sale, Sotheby's, London, 9 July 1969, lot 104
Agnew's Gallery, London
From a Private Collection
Epstein produced a series of works based on the sitter, Betty Peters between 1943-45. See Evelyn Silber, pp. 193-195 for illustrated examples.
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1
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Estimate
3,000 - 5,000 GBP
λ SIR JACOB EPSTEIN (BRITISH 1880-1959)
LITTLE EILEEN
Bronze with light green patina
Height (excluding base): 28cm (11in.)
Conceived in 1927.
Provenance:
Sale, Sotheby's, London, 9 July 1969, lot 102
Agnew's Gallery, London
From a Private Collection
Literature:
Arnold L. Haskell, The Sculptor Speaks, Jacob Epstein to Arnold Haskell. A Series of Conversations on Art, London, 1931, p. 186
Richard Buckle, Jacob Epstein Sculptor, London, 1963, p. 173, pl. 262 (dates 1930)
Evelyn Silber, The Sculpture of Epstein, Oxford, 1986, p. 161, no. 178
Little Eileen was a childhood friend of Peggy Jean, first daughter of Sir Jacob Epstein.
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1
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Estimate
2,500 - 3,500 GBP
λ SIR JACOB EPSTEIN (BRITISH 1880-1959)
JOAN GREENWOOD (CHILD)
Bronze with a gold patina
Height (excluding base): 36cm (14in.)
Conceived in 1930.
Provenance:
From a Private Collection
Literature:
Arnold L. Haskell, The Sculptor Speaks, Jacob Epstein to Arnold Haskell. A Series of Conversations on Art, London, 1931, p. 190 (dates 1931)
L. B. Powell, Jacob Epstein, London , 1932, ill. (dates 1930)
Robert Black, The Art of Jacob Epstein, New York and Cleveland, 1942, p. 238, no. 161
Richard Buckle, Jacob Epstein Sculptor, London, 1963, p. 172, pl. 260 (dates 1930)
Evelyn Silber, The Sculpture of Epstein, Oxford, 1986, p. 168, no. 203
Joan Greenwood was a childhood friend of Peggy Jean, the first daughter of Sir Jacob Epstein.
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λ BENNO SCHOTZ (SCOTTISH 1891-1984)
RECLINING NUDE
Bronze
Signed, dated 1929 and numbered 3/10
23 x 37cm (9 x 14½ in.)
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1
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Estimate
20,000 - 30,000 GBP
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.
Juanita Forbes:
Born on 25 th January 1929 to Lt-Col James Stewart Forbes and the sculptor Feridah Taylor, Juanita grew up in an artistic household frequented by artists and stars of the silver screen. In 1949 she married the actor, Anthony Steel, famous for his roles in films such as The Wooden Horse and Where No Vultures Fly . They divorced 5 years later and on her 32 nd Birthday she married Richard Stickney.
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3,000 - 5,000 GBP
λ PIETRO ANNIGONI (ITALIAN 1910-1988)
JUANITA
Pencil
Signed with monogram, inscribed and dated LONDRA/LI (lower right)
32 x 25cm (12½ x 9¾ in.)
Executed in 1951.
Provenance:
Juanita Forbes and thence by descent
Exhibited:
London, Thomas Agnew & Sons Ltd., Exhibition of Drawings and some Paintings by Pietro Annigoni, June - July 1952
London, Wildenstein, An Exhibition of Paintings and Drawings by Pietro Annigoni , 7 April - 1 May 1954, no.47
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, p. 5
P. Annigoni, Pietro Annigoni, in The Pheasantry Studios Ltd, London, 1965, p. 3
P. Annigoni, Pietro Annigoni, in The Pheasantry Studios Ltd, London, 1968, p. 4
D.F. Hoopes, Pietro Annigoni. A Retrospective Exhibition, New York, 1969
L. Pelizzari, Pietro Annigoni, Il periodo inglese: 1949-1971 , Rome, 1991, p.162, no. 109, fig 204
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3,000 - 5,000 GBP
λ PIETRO ANNIGONI (ITALIAN 1910-1988)
JUANITA FORBES
Pencil and ink
Signed with monogram, inscribed and dated Londra/LI (lower right); further signed and dated 10-V-LIII to backboard (verso)
41 x 24cm (16 x 9¼ in.)
Executed in 1951.
Provenance:
Juanita Forbes and thence by descent
Exhibited:
London, Thomas Agnew & Sons Ltd., Exhibition of Drawings and some Paintings by Pietro Annigoni, June - July 1952
London, Wildenstein, An Exhibition of Paintings and Drawings by Pietro Annigoni , 7 April - 1 May 1954, no.48
Literature:
M. Sorrell, Pietro Annigoni, in The Queen, London, 15 August 1951, p. 19
L. Pelizzari, Pietro Annigoni, Il Periodo Inglese: 1949-1971 , Italy, 1991, p. 162, no. 110, fig. 205
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3,000 - 5,000 GBP
λ PIETRO ANNIGONI (ITALIAN 1910-1988)
PAESAGGIO FANTASTICO
Tempera grassa on paper 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
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λ PIETRO ANNIGONI (ITALIAN 1910-1988)
IL CANCELLO D'INGRESSO (TOSCANA)
Pencil and ink
Signed with monogram (lower right)
28 x 34cm (11 x 13¼ in.)
Executed in 1951
Provenance:
Shepherd Family Trust, Newcastle Upon Tyne.
Sale, Sotheby's, London, 15 th November 1978, lot 115
Juanita Forbes and thence by descent
Exhibited:
London, Thomas Agnew & Sons Ltd., Exhibition of Drawings and some Paintings by Pietro Annigoni, June - July 1952
Literature:
L. Pelizzari, Pietro Annigoni, Il Periodo Inglese: 1949-1971 , Rome,1991, p.167, no. 115, fig. 212
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1
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Estimate
2,000 - 3,000 GBP
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
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1
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Estimate
2,000 - 3,000 GBP
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
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1
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Estimate
30,000 - 50,000 GBP
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.
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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
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Quantity
1
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Estimate
1,000 - 1,500 GBP
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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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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Quantity
1
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Estimate
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) PIONEER CORPS PORTRAITS Pen and ink Signed (lower centre), inscribed (lower right) and dated 1944 (lower left) 29 x 23cm (11¼ x 9 in.)
Provenance: Freda Paolozzi and by descent.
In 1940 Paolozzi enlisted in the Royal Pioneer Corps. The present work depicts two head studies of fellow soldiers. Signed "Pte E. Paolozzi" he has inscribed the work with his regiment "270A Pioneer Corps". The "A" stood for "Alien".
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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.
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λ SIR EDUARDO PAOLOZZI (BRITISH 1924-2005)
BONE STUDIES
Pen
Signed and dated 1946 (lower right), inscribed Slade School (lower left)
28.5 x 38cm (11 x 14¾ in.)
Provenance:
Freda Paolozzi and by descent
The present lot and lot 105 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) The present work depicting old bones may be a witty swipe at the antiquated, dry ethos of the Slade in the 1940s.
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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)
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Lost
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Quantity
1
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GBP
Estimate
3,000 - 5,000 GBP
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).
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Quantity
1
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GBP
Estimate
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)
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Leading
Quantity
1
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Estimate
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)
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Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
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)
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Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
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)
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Lost
Declined
Reserve not met
Leading
111
Quantity
1
Max bid
GBP
Estimate
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)
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Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
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)
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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)
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Reserve not met
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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)
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Reserve not met
Leading
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)
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)
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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
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Estimate
15,000 - 25,000 GBP
λ REG BUTLER (BRITISH 1913-1981)
STUDY FOR GIRL WITH VEST
Bronze with black patina
Signed with monogram and numbered 5/8
Height (excluding base): 56cm (22in.)
Conceived in 1959.
Provenence:
Sale, Christie's, London, 24 th May 2012, lot 206
Literature:
M. Garlake, The Sculpture of Reg Butler, Much Hadham, 2006, p. 155, no. 196
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
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
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