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Dreweatts
Donnington Priory
Newbury, Berkshire
RG14 2JE
United Kingdom
Art Live
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Mesmerising Colours...read more!
Please note: The auction will take place at Dreweatts Donnington Priory, but viewing is at Dreweatts Hambridge Lane. Viewing is by appointment only and as the works are not on display we ask that you specify the lots you are wanting to view in advance, to avoid delay. To book an appointment: email: pictures@dreweatts.com | tel: 44 (0) 1635 553 553. Collection is also from Dreweatts Hambridge Lane: 1 Hambridge Lane, Newbury, Berkshire RG14 5TU
Auction dates
12 Dec 2024 10:30 GMT
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Featured lots
There are 231 lots within this auction
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λ LOTHAR HEMPEL (GERMAN B. 1966)
YOU'D BETTER LEARN TO FLY
Acrylic on aluminium
Signed and dated 08 (verso)
170 x 70cm (66¾ x 27½ in.)
Unframed
Provenance:
Stuart Shave/Modern Art, London
Acquired from the above in 2008
Cologne-born Lothar Hempel has developed a highly distinctive visual vocabulary over his three-decade career. His work has been exhibited at the Venice Biennale, Stedelijk Museum, Tate Liverpool, and the Centre Pompidou. Hempel borrows from sources as varied as Dadaism and Greek tragedy to inform his thoroughly theatrical practice. Celebrated for his immersive installations, Hempel is also recognised for his series of paintings of carnivalesque figures. Their depiction is codified: standing in profile atop a platform and against a solid backdrop, distinctively clothed. The self-contained nature of these surreal portraits resists the viewer's attempts at self-insertion - Hempel's is resolutely another universe. You'd Better Learn to Fly exemplifies the tongue-in-cheek absurdity of the artist's œuvre, as the jester figure threatens a swan. The sleek, polished finish of this work feels distinctly modern, yet, in its graphic clarity and pronounced characterisation, reminiscent of the vibrant colours and polished finish achieved in pietra dura a highly skilled process of arranging cut stone to achieve intricate and decorative designs that flourished in Florence during the late 16th century.
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λ HOSSEIN VALAMANESH (IRANIAN/AUSTRALIAN 1949-2022)
CHAI, AS CLOSE AS I COULD GET, 1998
MDF, enamel paint, fluorescent light, Perspex, water, glass, tea
Height 83cm (32½in.)
Edition of 5, plus A/P.
Hossein Valamanesh (1949-2022) was an Iranian-Australian artist particularly known for his work in sculpture and installation. Born in Tehran, Valamanesh emigrated to Perth after completing his artistic studies. He spent time in Aboriginal communities before settling in Adelaide, where he would rise to prominence. Valamanesh never lost sight of his native Persian culture, investing his works with commentary on identity and nationhood. The artist's œuvre is remarkable for its assured minimalism and use of natural materials, as well as poetry and calligraphic text. A learned, literary mind, Valamanesh never shrinks from grand ontological questions, employing circular motifs to reflect his belief in the unity of Man and nature. The artist suffered a heart attack in 1995, which prompted him to engage with themes of mortality and transience. Valamanesh is survived by his wife, Angela, with whom he undertook numerous public commissions. His works have been exhibited internationally, including at Grey Noise, Dubai, Galerie Tanit, Munich, and the Institut des Cultures d'Islam, Paris. Valamanesh's work can be found in all Australian state collections, as well as the Kadist Art Foundation, Paris, and the Sara Hildén Art Museum, Tampere. He is the recipient of numerous awards, such as the Grand Prize at the 8 th Asian Biennial (1997) and the Smithsonian Artist Research Fellowship (2014); in 2010, he was declared a Member of the Order of Australia.
It is no coincidence that Chai, as close as I could get figures prominently on the cover of the artist's 2011 monograph, Hossein Valamanesh: Out of Nothingness . The installation calls forth familiar descriptors: spiritual, ethereal, poetic, understated. Visually inspired by a glass floating in a bubbly sink, Chai embodies the humility one has come to expect of Valamanesh's work. (1) In accessible formal language, this installation invites the viewer to resolve its title. Whereto is Valamanesh getting close? How does Chai answer this question? The artist's practice owes itself to many quarters: Arte Povera, Persian poetry, Sufi philosophy, Aboriginal Australia. The diversity of Valamanesh's references reflects his own composite identity, while his use of tea conjures up associations with trade and travel. Chai may be read as an eloquent and at least partly autobiographical commentary on migration. The tea hovers above the water, bathing in its light. The brightness and purity of this arrangement elevate the everyday to an almost religious experience, recalling the Islamic practice of wuḍūʾ and baptismal fonts. Chai is a monument to the transubstantial process of uprooting and resettling, inspiring a sense of what critics have termed 'cosmopolitan belonging,' fraught and challenging though it may prove. (2) Here, tea and water have achieved comfortable, amicable proximity, though they will never make contact. Perhaps - as the unmixed liquids imply - total assimilation is unlikely. The tranquil equilibrium of Chai suggests that this is no cause for regret. Rather, as Valamanesh's life and work demonstrates, cultural integration is possible, desirable even, when one settles in a new land without ever losing sight of the first.
Here, the floating glass is held in delicate suspension, its contents recommending that we pause, sip, and breathe for a moment. As the great astrologer-poet Omar Khayyám once intoned, 'Each Morn a thousand Roses brings, you say: / Yes, but where leaves the Rose of Yesterday?' (3) This life is fleeting, yes, but so too is the fear of its end; Valamanesh invites us to embrace existence in all its beautiful fragility. Chai is not so much a memento mori , then, as a whispered carpe diem . To borrow the title of Valamanesh's first European retrospective, itself an allusion to Sufi poetry, Puisque tout passe : this too shall pass.
1. Mary Knights and Ian North, Hossein Valamanesh: Out of Nothingness (Kent Town, S. Aust.: Wakefield Press, 2011), 88.
2. Marsha Meskimmon, Contemporary Art and the Cosmopolitan Imagination (United Kingdom: Taylor & Francis, 2010), 86.
3. Omar Khayyám, Rubáiyát of Omar Khayyám , trans. Edward FitzGerald (United Kingdom: University Press of Virginia, 1997), 97.
Condition Report:
Evidence of handling marks and dirt throughout. The glass has a small chip on the ring and the gilding has slightly faded. Otherwise good original condition throughout.
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† PARKER ITO (AMERICAN B.1984) THE AGONY AND THE ECSTASY, REFLECTOR PAINTING, 2012 Vinyl over enamel on 3M scotchlite 162.5 x 116.8cm (63¾ x 45 in.) Measurements do not include the frame unless specified.
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λ NIGEL HALL (BRITISH B. 1943)
UNTITLED
Etching, 1973
Signed in pencil, inscribed artists proof and dated 73
15 x 21cm (5¾ x 8¼ in.)
Unframed
Provenance:
Gifted by the artist to Angela Conner
Direct from Angela Conner's studio collection
Measurements do not include the frame unless specified.
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BRUNO GIORGI (BRAZILIAN 1905-1993)
CANDANGOS (OS GUERREIROS)
Bronze with gold patina
Signed to plaque (mounted to wooden base)
Height: 27cm (10½ in.)
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† GAVIN KENYON (AMERICAN B.1980)
UNTITLED, 2013
Concrete, fur, pigment
83.8 x 43.2cm (32 x 17 in.)
Measurements do not include the frame unless specified.
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CYRIL FRADAN (SOUTH AFRICAN 1928-1997)
UNTITLED
Oil on canvas
Signed and dated 60(?) (lower right); further dated 21.1.66 (verso)
101.5 x 127cm (39¾ x 50 in.)
Measurements do not include the frame unless specified.
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BRITISH SCHOOL (20TH CENTURY)
BIRD RESTING
Alabaster
Height: 35cm (13¾in.)
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BRITISH SCHOOL (CIRCA 1900)
PORTRAIT OF A LADY WITH A TIBETAN SPANIEL
Oil on canvas
Signed with monogram 'JB' (lower left)
61 x 46cm (24 x 18 in.)
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ITALIAN SCHOOL (19TH CENTURY)
THE VEIL OF VERONICA
Oil on canvas
48.5 x 44cm (19 x 17¼ in.)
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131
λ GEORGES ROUAULT (FRENCH 1871-1958)
MISERERE XXXIII : ET VERONIQUE AU TENDRE LIN PASSE ENCORE SUR LE CHEMIN..
Etching and aquatint
43 x 43cm (16¾ x 16¾ in.)
Literature:
J.T. Soby, Georges Rouault, Museum of Modern Art, New York, 1947
G. Rouault, Misere , foreword by Anthony Blunt, London 1950
This print, made with photo engraved plate and re-worked with a variety of engraver's techniques was one of a set made between 1916 and 1927 for an intended publication of Ambrose Vollard's, with text by Andre Suares. The text was never written, and the prints were not published until 1948, when the Societe d'Edition l'Etoile Filante published an edition of 450 (the set from which this engraving comes from was 238).
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BRITISH SCHOOL (19TH CENTURY)
PORTRAIT OF ADMIRAL HOPE-SMITH
Oil on canvas
73 x 61cm (28½ x 24 in.)
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ENGLISH SCHOOL (18TH CENTURY)
PORTRAIT OF A GENTLEMAN, PURPORTEDLY IDENTIFIED AS DAVID HUME
Pastel, oval
54 x 44cm (21¼ x 17¼ in.)
Measurements do not include the frame unless specified.
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LOUIS-AMI ARLAUD-JURINE (FRENCH 1751-1829)
PORTRAIT OF A GENTLEMAN
Watercolour and bodycolour on ivory
Signed (lower right)
7.3 x 6cm (2¾ x 2¼ in.)
Provenance:
Galerie Kugel, Paris
Sale, Christie's, Geneva, 14 May 1991, lot 115
The Collection of Dr Erike Pohl Stroher
Sale, Sotheby's, London, Old Master Day Sale, including portrait miniatures from the collection of the late Dr ErikaPohl-Stroher , 9 December 2021, lot 366
Please note Dreweatts have applied for a De minimis exemption for this lot ref. R2MUXNGA
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ENGLISH SCHOOL (18TH CENTURY)
PORTRAIT OF HUSBAND AND WIFE
Oil on canvas
55.5 x 44cm (21¾ x 17¼ in.)
Measurements do not include the frame unless specified.
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Condition Report:
Restored and relined.
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A SET OF THREE MACARONI PRINTS, PUBLISHED BY R SAYER
SPRING, SUMMER AND WINTER
Coloured Lithograph
Each 36 x 26cm (14 x 10 in.) (3)
Measurements do not include the frame unless specified.
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CONTINENTAL SCHOOL (19TH CENTURY)
PORTRAIT OF A LADY, HOLDING A BOOK
Oil on canvas
44 x 34cm (17¼ x 13¼ in.)
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ENGLISH SCHOOL (19TH CENTURY)
PORTRAIT OF A LADY
Oil on canvas
60 x 49cm (23½ x 19¼ in.)
Measurements do not include the frame unless specified.
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ENGLISH SCHOOL (LATE 19TH CENTURY)
PORTRAIT OF A LADY, IN PROFILE
Watercolour
18 x 15.5cm (7 x 6 in.)
This lot is from a deceased estate sold to benefit the Art Fund.
Measurements do not include the frame unless specified.
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Condition Report:
Unexamined out of glazed frame. The picture presents a layer of dirt and scattered stains. The colours as well appear to have faded.
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ENGLISH SCHOOL (LATE 19TH CENTURY)
PORTRAIT OF A CHILD HOLDING CHERRIES AND A BASKET
Watercolour
17 x 11.5cm (6½ x 4½ in.)
This lot is from a deceased estate sold to benefit the Art Fund.
Measurements do not include the frame unless specified.
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Condition Report:
Unexamined out glazed frame. The watercolour presents various dirt stains in the background, as well as a few yellowed stains on the dress and sleave.
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ENGLISH SCHOOL (20TH CENTURY)
PORTRAIT OF A GENTLEMAN IN HIS STUDIO
Watercolour and bodycolour
18.5 x 15.5cm (7¼ x 6 in.)
This lot is from a deceased estate sold to benefit the Art Fund.
Measurements do not include the frame unless specified.
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Condition Report:
Unexamined out of glazed frame. The watercolour presents no visible sings of restoration or damage. However, the flesh colours of the visage might have faded slightly.
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BRITISH SCHOOL (19TH CENTURY)
PORTRAIT OF MR C.B. BRAHAM AT CANNES
Pencil
Indistinctly signed and dated 'A Riohfer[?] 1850' (lower left)
20 x 15cm (7¾ x 5¾ in.)
Measurements do not include the frame unless specified.
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SAMUEL DE WILDE (DUTCH 1751-1832)
ANDREW CHERRY IN CHARACTER
Pencil and watercolour
Signed and dated '1805' (lower left)
35.5 x 19cm (13¾ x 7¼ in.)
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ATTRIBUTED TO GEORGE HENRY HARLOW (BRITISH 1787-1819)
A YOUNG WOMAN RESTING BY A WALL
Oil on panel
21.5 x 17cm (8¼ x 6½ in.)
Provenance:
Prof. Julius Held (1905-2002), New York
Sale, Christie's, New York, 27 January 2009, lot 58
Private Collection, UK
George Harlow studied first under Hendrik Frans de Cort, then with Samuel Drummond, before joining Thomas Lawrence's studio apparently on the advice of the Duchess of Devonshire, who had noticed his talent. In 1818, Harlow travelled to Italy where he was widely admired for his technical ability. He was befriended by the sculptor Antonio Canova and earned considerable acclaim in Rome by painting a full-size copy of Raphael's Transfiguration , a feat that resulted in his election as an Academician of Merit in the Accademia di San Luca in Rome, a rare accolade for an English artist.
The picture formed part of the large and fascinating collection assembled by Professor Julius Held. Born in Germany, Held emigrated to the United States in 1934 and became a towering figure in art historical circles, widely recognised for his scholarship and expertise on Rubens, Rembrandt, and Van Dyck. An author of many articles and books, including the 1980 two-volume publication The Oil Sketches of Sir Peter Paul Rubens .
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ATTRIBUTED TO GIUSEPPE MAZZOLINI (ITALIAN 1806-1876)
BOY HOLDING A TURKEY
Oil on canvas, oval
50 x 41cm (19½ x 16 in.)
Provenance:
Sale, Dreweatts, 30 June 2010, lot 233
Measurements do not include the frame unless specified.
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Condition Report:
Stretcher mark visible to the upper edge. Light craquelure throughout. Some rubbing to the framing edges and some pin holes visible to the right edge.
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FOLLOWER OF JACK LEIGH WARDLEWORTH
STUDY OF A YOUNG GIRL CROSSING A RIVER
Oil on canvas
Signed and dated 'F.A.S .1905' (lower right)
24.5 x 19.5cm (9½ x 7½ in.)
Measurements do not include the frame unless specified.
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FRANK GLYNDON (AMERICAN 1846-1937)
RETURNING HOME
Oil on canvas
Signed and dated '1882' (lower left)
112 x 86cm (44 x 33¾ in.)
Measurements do not include the frame unless specified.
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Condition Report:
The canvas presents a few diagonal retouches in the sky, and an evenly applied varnish across the whole surface. To conclude, various damages are present at the edges of the canvas, mostly caused by the abrasion of the frame.
Some significant mould to the reverse but this is not something which has affected the image recto.
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WILLIAM BREAKSPEARE (BRITISH 1856-1914)
THE BREAKUP
Oil on board
Signed (lower right)
18 x 28.5cm (7 x 11 in.)
Measurements do not include the frame unless specified.
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AFTER HENRY SINGLETON
GOING TO MARKET
Engraving
37 x 31cm (14½ x 12 in.)
This lot is from a deceased estate sold to benefit the Art Fund.
Measurements do not include the frame unless specified.
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KONSTANTIN RAZUMOV (RUSSIAN B. 1974)
THE MUSIC RECITAL
Oil on canvas
Signed (lower right); further signed and inscribed in cyrillic (verso)
50 x 61cm (19½ x 24 in.)
Measurements do not include the frame unless specified.
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Condition Report:
Appears to be in good original condition. Please note Dreweatts are not liable for damage to frames or mounts.
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CHARLOTTE BLAKENEY WARD (BRITISH FL. 1898-1939)
PORTRAIT OF JENNIFER JANE PARKER
Pastel
Signed (lower right)
61 x 51cm (24 x 20 in.)
Jennifer Jane da Silva, born 1932 [née Parker], died 27 August, 2020, aged 88, was descended from the Kleinwort baronets, and was the grand daughter paternally of the life baron, Robert John Parker, the Baron Parker of Waddington [1857-1918].
She was born 3 July, 1932, daughter of Commander the Hon Trevor Tempest Parker, RN, DSC [1890-1973], of Grantham Manor, Liss, co Hampshire, by his wife the former Marieka Louise Kleinwort [1892-1949], scion of the Kleinwort baronets, fifth daughter of Herman Greverus Kleinwort [1856-1942], merchant banker, of Wierton Place, Maidstone, Kent, by his wife the former.
Provenance:
Property from the collection of the late Mr. & Mrs. John da Silva
Measurements do not include the frame unless specified.
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RUSSIAN SCHOOL (20TH CENTURY)
HEAD STUDY
Red chalk
Variously inscribed
63 x 48cm (24¾ x 18¾ in.)
Possibly a study executed during a workshop under the supervising professor Abugov. The sheet is inscribed with an 'excellent' remark to the right hand side which may have been the examiner's comments.
Measurements do not include the frame unless specified.
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FRIEDA MENSHAUSEN-LABRIOLA (GERMAN 1861-1939)
PORTRAIT OF MARIEKE KLEINWORTH (1892-1942)
Pastel
Signed and dated 1899 (lower left)
87 x 69.5cm (34¼ x 27¼ in.)
The sitter was the daughter of merchant banker Herman Greverus Kleinwort (1856-1942).
Provenance:
Property from the collection of the late Mr. & Mrs. John da Silva
Measurements do not include the frame unless specified.
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λ PHILIP NAVIASKY (BRITISH 1894-1983)
HEAD STUDY
Pencil
Signed (lower right)
16.5 x 13cm (6¼ x 5 in.)
Measurements do not include the frame unless specified.
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Condition Report:
Unexamined out of glazed frame. Some small dirt marks to the extreme edges. Otherwise no obvious condition issues.
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ATTRIBUTED TO UMBERTO BRUNELLESCHI (ITALIAN 1879-1949)
COSTUME DESIGN
Watercolour, pencil
Signed (lower right),
33.5 x 22.6cm (13 x 8¾ in.)
Measurements do not include the frame unless specified.
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λ GIACOMO MANZU (ITALIAN 1908-1991)
MANZU' E IL PALCOSCENICO
Etching and aquatint
Signed in pencil and numbered 18/125
28.5 x 26.5cm (11 x 10¼ in.)
Measurements do not include the frame unless specified.
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Condition Report:
Unexamined out of glazed frame. Appears to be in good original condition.
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KYOHEI INUKAI (JAPANESE/AMERICAN 1913-1985)
SELF PORTRAIT
Watercolour
Signed (lower right)
27 x 20.5cm (10½ x 8 in.)
Measurements do not include the frame unless specified.
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Condition Report:
Unexamined out of glazed frame. Light handling creases and some discolouration throughout the sheet. Otherwise appears to be in good original condition.
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ROBERT SIDNEY CATTERSON-SMITH (BRITISH 1853-1938)
STUDY OF A WOMAN'S HEAD
Pencil
32.3 x 29.8cm (12½ x 11½ in.)
Provenance:
The artist's studio
The Maas Gallery, London (acquired from the above)
Acquired from the above by the late owner in 2016
Exhibited:
Hove, Campbell Wilson Gallery, Robert Catterson-Smith: A Forgotten Pre-Raphaelite , 2003, illustrated in the exhibition catalogue
Measurements do not include the frame unless specified.
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λ LUCY KEMP-WELCH (BRITISH 1869-1958)
HEAD OF A YOUNG GIRL - STUDY FOR 'APRIL'
Pencil, with a further study verso
Indistinctly dated 20 1909 (lower right) and stamped with the Lucy Kemp Welch studio collection stamp
25.5 x 21cm (10 x 8¼ in.)
Provenance:
Messum's, London
Acquired from the above by the late owner in 2010
Exhibited:
London, Messum's, Spring Exhibition , 2009
Measurements do not include the frame unless specified.
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λ FELIKS TOPOLSKI (POLISH/BRITISH 1907-1989)
JOAN BAEZ (B.1941)
Pencil
Signed (lower right)
34 x 38.5cm (13¼ x 15 in.)
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ENID BUTCHER (BRITISH 1902-1991)
BRETON WOMAN HAVING A REST WITH A VILLAGE BEYOND
Etching, 1930
Signed in pencil, numbered 13/40
14 x 12cm (5½ x 4½ in.)
This lot is from a deceased estate sold to benefit the Art Fund.
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λ WILLIAM DRING (BRITISH 1904-1990)
HEAD OF A GIRL
Pastel and wash
Signed and dated '76 (lower left)
45 x 32.5cm (17½ x 12½ in.)
Provenance:
The Maas Gallery, London
Acquired from the above by the late owner in 2013
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AFTER GEORGE MORELAN
A SET OF FOUR COLOURED ENGRAVINGS OF ARMY RECRUITMENT
Engraved by G. Keating
Each 60 x 48.5cm (23½ x 19 in.) (4)
Provenance:
G. Heldwicke & Sons, London
Measurements do not include the frame unless specified.
Please note Dreweatts are not liable for damage to frames or mounts.
Condition Report:
Unexamined out of glazed frame. The prints appear to have various stains and traces of foxing. In addition there is an evident layer of dirt on the prints and glazes.
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AURELIA DELLA CORTA SZVATEK (19TH/20TH CENTURY)
TWO WOMEN, HEAD STUDIES
Watercolour
Signed (lower right)
38 x 48.5cm (14¾ x 19 in.)
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CATHERINE GREENWAY (BRITISH 1846-1901)
YOUNG GIRL SEEN FROM BEHIND
Pencil and black chalk
38 x 27cm (14¾ x 10½ in.)
Provenance:
The collection of Miss Greenaway Dadd
Measurements do not include the frame unless specified.
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AFTER SIR JOSHUA REYNOLDS
A CHILD'S PORTRAIT IN DIFFERENT VIEWS: ANGELS HEADS
Watercolour
56 x 45cm (22 x 17½ in.)
After the original work now in Tate Britain, London.
Measurements do not include the frame unless specified.
Please note Dreweatts are not liable for damage to frames or mounts.
Condition Report:
There is some discolouration to the sheet as well as some staining to the framing edges. Some light surface scratches scattered throughout. One or two spots of brown foxing. Light undulation to the sheet under the glaze. Unexamined out of glazed frame.
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ROBERT HILLS (BRITISH 1769 -1844)
HAYMAKING
Watercolour
Signed and dated '1826' (lower left)
38 x 28cm (14¾ x 11 in.)
Provenance:
Mrs. Alexander Russell
Sale, Christie's, 1 November 1966, lot 53
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BRITISH SCHOOL (19TH CENTURY)
VIEW OF A MOUNTAIN RAVINE
Watercolour
42 x 28cm (16½ x 11 in.)
Provenance:
David Ker Fine Art, London
Measurements do not include the frame unless specified.
Please note Dreweatts are not liable for damage to frames or mounts.
Condition Report:
Some light discolouration to the sheet, including staining to the framing edges, and some light scattered spots of foxing. Generally the colours are good however. Unexamined out of glazed frame.
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ELIJAH WALTON (BRITISH 1833-1880)
MONTE ANTELAO, SOUTH TYROL
Watercolour with white heightening
17 x 12cm (6½ x 4½ in.)
Measurements do not include the frame unless specified.
Please note Dreweatts are not liable for damage to frames or mounts.
Condition Report:
Some light discolouration to the sheet, particularly at the framing edges. This is barely noticeable however. Overall the work appears to be in good condition commensurate with age. Unexamined out of glazed frame.
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JOHN VARLEY (BRITISH 1778-1842)
VIEW OF SNOWDON
Watercolour
Signed and dated 1837 (lower right)
18.5 x 26.5cm (7¼ x 10¼ in.)
Provenance:
Abbey Antiques and Arts, St. Albans
Measurements do not include the frame unless specified.
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BRITISH SCHOOL (19TH CENTURY)
MOUNTAINOUS LANDSCAPE, TRADITIONALLY IDENTIFIED AS THE DENT DE MIDI
Watercolour
26 x 43cm (10 x 16¾ in.)
Provenance:
William Drummond, London
Measurements do not include the frame unless specified.
Please note Dreweatts are not liable for damage to frames or mounts.
Condition Report:
The sheet has been laid down to the mount. Some light discolouration especially to the framing edges. Colours are a little down. Some light spots of brown foxing to the sky, but these are few, and barely noticeable. A very small loss to the lower right corner edge. Unexamined out of glazed frame.
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JOHN DIBBLEE CRACE (BRITISH 1838-1919) MONT BLANC Pencil and watercolour Inscribed with title and dated 1862 (lower left); further titled to supporting sheet (lower right) Sheet: 12 x 17cm (4½ x 6½ in.)
Provenance: David Ker Fine Art, London
Measurements do not include the frame unless specified.
Please note Dreweatts are not liable for damage to frames or mounts. Condition Report: The sheet has been laid down. The colours are a little down. Some very light scattered spots of foxing, largely isolated to the upper right quadrant, and these are not particularly noticeable. Some discolouration to the supporting sheet, including two lighter shadows/patches along the upper edge (probably from a previous hinge mount) - this translates ever so slightly to the actual sheet but it is hardly noticeable (see online image). Undulation to the sheet out of the glazed frame. Unexamined out of glazed frame.
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AFTER JOHN CHRISTIAN SCHETKY
VIEWS ON SCOTTISH ISLANDS
Watercolour
Each approx. 25 x 35cm (9¾ x 13¾ in.) (12)
Provenance:
The collection from Trethill House, Cornwall
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ARTHUR HUGHES (BRITISH 1832-1915)
LANDSCAPE
Oil on board
20 x 35cm (7¾ x 13¾ in.)
Painted circa early 1880s.
Provenance:
By descent to the artist's granddaughter Agnes Cecily Nadézhda White
Thence gifted to a private collection in 1975
Literature:
Roberts, Leonard, Arthur Hughes, His Life and Works, A Catalogue Raisonne , probably p. 194, No. 173
Measurements do not include the frame unless specified.
Please note Dreweatts are not liable for damage to frames or mounts. .
Condition Report:
Very light bowing to the panel, with a small associated surface crack (approx. 7cm) running horizontally from the upper right edge. Some superficial light surface dirt throughout. Inspection under UV light reveals a small amount of scattered retouching along the upper framing edge. Unexamined out of glazed frame.
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ARTHUR HUGHES (BRITISH 1832-1915)
AUTUMNAL WOODLAND, POSSIBLY BURNHAM BEECHES
Oil on board
21 x 36cm (8¼ x 14 in.)
Provenance:
By descent to the artist's granddaughter Agnes Cecily Nadézhda White
Thence gifted to a private collection in 1975
Literature:
Roberts, Leonard, Arthur Hughes, His Life and Works, A Catalogue Raisonne , probably p. 249, No. 548
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ARTHUR HUGHES (BRITISH 1832-1915)
FIGURES IN A FLOWER MEADOW
Oil on board
18.5 x 31.5cm (7¼ x 12¼ in.)
Measurements do not include the frame unless specified.
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ALBERT GOODWIN (BRITISH 1845-1932)
LANDSCAPE
Watercolour
Signed with monogram and dated 65 (lower left)
10 x 25cm (3¾ x 9¾ in.)
This lot is from a deceased estate sold to benefit the Art Fund.
Provenance:
Chris Beetles, London
Exhibited:
London, Chris Beetles, The Albert Goodwin Exhibition, 7th May-7th June 1996, No.7
This lot is from a deceased estate sold to benefit the Art Fund.
Measurements do not include the frame unless specified.
Please note Dreweatts are not liable for damage to frames or mounts.
Condition Report:
The colours are good. Discolouration to the sheet, most notably to the sky. The work has apparently been previously hinge mounted along the upper edge and there are two rectangular marks (approx. 2.5cm each) where the tape has been removed (visible in catalogue and online illustrations). Some light undulation to the sheet under the glaze. Unexamined out of glazed fame.
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ATTRIBUTED TO SAMUEL GILLIESPIE PROUT (BRITISH 1822-1911)
THE OLD WATERMILL
Watercolour
32 x 46.5cm (12½ x 18¼ in.)
This lot is from a deceased estate sold to benefit the Art Fund.
Measurements do not include the frame unless specified.
Please note Dreweatts are not liable for damage to frames or mounts.
Condition Report:
Unexamined out of glazed frame. The watercolour presents no visible signs of restoration or damage.
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