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Live
Venue address
Dreweatts
Donnington Priory
Newbury, Berkshire
RG14 2JE
United Kingdom
Modern & Contemporary Art
This is a live online auction with auctioneer. For details on registration, bidding, viewing & condition reports, click “Important information” link.
The Maze Spencer-Churchill Collection: Foreword by Robert & Jeanne Churchill | Find out more
A Painting Partnership: Pictures from the Julian Trevelyan and Mary Fedden Estates | Find out more
Viewing in London (highlights):
12 Oct 2026: 10:00 - 16:00 BST
13 Oct 2026: 10:00 - 19:00 BST
14 Oct 2026: 10:00 - 16:00 BST
Viewing in Newbury (full sale): see below
Auction dates
Oct 21, 2026 11:30 AM BST
Viewing dates
Oct 17, 2026 10:00 AM - 03:00 PM BST
Oct 18, 2026 10:00 AM - 03:00 PM BST
Oct 19, 2026 10:00 AM - 04:00 PM BST
Oct 20, 2026 10:00 AM - 04:00 PM BST
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λ PAUL LUCIEN MAZE (FRENCH/BRITISH 1887-1979) HIGHLAND PICNIC, BLACK LOCHS, ARGYLLSHIRE Ink and watercolour on buff paper Signed and dated 1919 (lower right) 47 x 59cm (18½ x 23in.) Condition Report Disclaimer
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λ PAUL LUCIEN MAZE (FRENCH/BRITISH 1887-1979) SOLDIERS ON PARADE, 1932 Pen and ink and watercolour Signed and dated 1932 (lower right) 7.5 x 24cm (2¾ x 9¼in.) Condition Report Disclaimer
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λ PAUL LUCIEN MAZE (FRENCH/BRITISH 1887-1979) SOLDIERS IN A LINE, 1932 Pen and ink and watercolour Signed and dated 1932 (lower right) 8.5 x 33cm (3¼ x 12in.) I have heard it said that only a soldier or an artist can really appreciate
the true significance of a military parade.
The soldier sees corporate discipline in the steadiness of the troops, their
immediate and crisp response to the word of command, ranks perfectly
aligned, men moving as one. He understands, too, that all this exemplifies
esprit de corps and is the outward sign of the inward spirit…The instant
obedience to a command, steadiness, personal and corporate pride are
qualities as essential now as ever before.
The artist sees colours, movement and stillness, lines and curves as
the troops manoeuvre. He hears the measured tread accompanying
the military music, the wail of the pipes and staccato drumbeats, and
transmits these sounds to his canvas so that these various facets are
welded together in unison.
Paul Maze is, however, in a unique situation because he is an artist and a
soldier, both of rare distinction, and therefore combines in himself and his
work the faculties of appreciation which I have described. His knowledge of
the battlefield, its horrors and its effects on the minds and bodies of men,
was gained at first hand. His knowledge of the Household Troops stems not
only from what he saw then and shared with them, but also from an
intimate association in their ceremonial role between the two wars
and since. It is the knowledge of the soldier and the artist; and his
understanding and deep affection stand out with startling vividness
in his paintings. ( Michael Gow, Brigadier, Scots Guards, Foreword, Wildenstein, London , Paul Maze and the Guards , 10 May-2 June 1973 ). Condition Report Disclaimer
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3,000 - 5,000 GBP
λ PAUL LUCIEN MAZE (FRENCH/BRITISH 1887-1979) HENLEY REGATTA Pastel Signed (lower left) 52.5 x 69.5cm (20½ x 27¼in.) Provenance: Lord Ivor Spencer-Churchill (1898-1956) And by family descent It is second nature to us now to look at things as the Impressionist
painters taught us to do. We are perhaps more consciously affected
by Impressionism for the attitude of mind it embodies, and
particularly for that feeling of a sunny, healthy, hedonistic outlook
on life…. It is this sort of Impressionism which characterizes the
extensive retrospective exhibition of paintings and drawings
by Mr. Paul Maze…. The pleasures of life are chronicled with
vivacity and evident enjoyment. Observation is swift, execution
sure and prolific. Boating takes place at Henley rather than at
Argenteuil, the race-meetings which call Degas so much to mind
are at Goodwood or Ascot as much as at Longchamps, but it is the
same charming, busy world as that of Manet, Renoir, Pissarro,
Monet, and even Bonnard which inspires each picture in spite
of the documentary evidence that it records a later age…. Skill
in catching sun, air, and gaiety in pastel, the liveliness of his
impression of British ceremonial uniforms on parade, and the
effectiveness of colour and design… (The Times London, 12th May 1958, 'Review of the Exhibition of Paul Maze', O'Hana Gallery, London). This work is believed to be the artist's first pastel. Condition Report Disclaimer
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4,000 - 6,000 GBP
λ PAUL LUCIEN MAZE (FRENCH/BRITISH 1887-1979) GOODWOOD RACES Pastel on buff paper Signed (lower left) 36.5 x 39cm (14¼ x 15¼in.) Condition Report Disclaimer
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3,000 - 5,000 GBP
λ PAUL LUCIEN MAZE (FRENCH/BRITISH 1887-1979) GOODWOOD Pastel Signed and dated 1950 (lower right) 38 x 55cm (14¾ x 21½in.) Condition Report Disclaimer
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1
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10,000 - 15,000 GBP
λ PAUL LUCIEN MAZE (FRENCH/BRITISH 1887-1979) THE PADDOCK, GOODWOOD Pastel on buff paper Signed (lower right) 54.5 x 74cm (21¼ x 29in.) Condition Report Disclaimer
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1,500 - 2,500 GBP
λ PAUL LUCIEN MAZE (FRENCH/BRITISH 1887-1979) PORTRAIT OF A JOCKEY IN LORD IVOR SPENCER-CHURCHILL’S RACING COLOURS Pastel on buff paper Signed and inscribed, I vor Churchill solo ride (lower right) 25.5 x 31cm (10 x 12in.) Exhibited: Oxfordshire, Blenheim Palace, Paul Maze and Winston Churchill: Companions of the Brush , 11 July-13 November 2022, no cat. no. When
Lord Ivor Spencer-Churchill stopped owning racehorses, he passed his colours
(pink jacket, chocolate brown sleeves and cap) to his cousin Winston Churchill
who registered them as his own in 1949. They are also the colours of Churchill
College, Cambridge. Condition Report Disclaimer
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1
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1,000 - 1,500 GBP
VIOLET, DUCHESS OF RUTLAND (BRITISH 1856-1937) PORTRAIT OF CONSUELO DUCHESS OF MARLBOROUGH Pencil 48 x 34.5cm (18¾ x 13½in.) Provenance: Lord Ivor Spencer-Churchill (1898-1956) And by family descent Marion Margaret Violet Lindsay, granddaughter of 24th Earl of
Crawford, was regarded as one of the great beauties of her day.
In 1882, she married Henry Manners, who became 8th Duke of
Rutland in 1906. She established a career as an artist and sculptor
who exhibited internationally in London, Paris and America.
She became a leading member of the loosely knit group of
intellectual aristocrats, The Souls , which formed in the 1870s. Consuelo Vanderbilt (1877–1964) was an American
heiress and socialite who became one of the most famous
figures of the Gilded Age. Born in New York City into the
enormously wealthy Vanderbilt family, she was the daughter
of William Kissam Vanderbilt and Alva Vanderbilt. Her
family’s wealth came largely from the railroad empire built
by her grandfather, Cornelius Vanderbilt. Consuelo grew up
surrounded by luxury, but her childhood was also shaped by
strict expectations surrounding social status and marriage. In 1895, at the age of eighteen, Consuelo married
Charles Spencer-Churchill, 9th Duke of Marlborough, at
St. Thomas’s Episcopal Church in New York. Consuelo
was secretly engaged to Winthrop Ruherfurd and initially
refused. It was only when her mother claimed that her
health was suffering that she agreed to the marriage and so
became the greatest of the “Dollar Princesses” by marrying
the most eligible bachelor in England and bringing to the
union her substantial fortune which in turn allowed the Duke
to restore and maintain the majesty of Blenheim Palace. Consuelo and the Duke had two sons, John and Ivor, but
their marriage was never a happy one and they separated in
1906, eventually divorcing in 1921. After her divorce, Consuelo married Jacques Balsan, a
French aviator and businessman. Unlike her first marriage,
this relationship was based more on personal affection and
companionship. The couple lived between England, the
United States and France where they resided at the Château
de Saint-Georges-Motel. They would invite artists, musicians
and close friends to come and stay. Paul and Margaret
Maze lived at the Mill in the grounds of the Chateau and
frequent guests included Winston Churchill, who Consuelo
had grown close to while married to his cousin the Duke.
Winston would come and paint at the Chateau with Paul
Maze and other fellow artists such as Edouard Vuillard,
Andre Denoyer de Segonzac and Jean Marchand. This idyllic life abruptly came to an end with the outbreak of
World War II. The Balsans fled to America, never to return
to Saint-Georges-Motel and settled in Palm Beach Florida.
Consuelo died in 1964 and is buried in St Martin’s Church,
Bladon, in Oxfordshire, next to her younger son, Lord Ivor
Spencer-Churchill. Condition Report: Condition Report Disclaimer
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PAUL CESAR HELLEU (FRENCH 1859-1927) HELLEU'S SON SKETCHING, PORTRAIT OF CONSUELO, DUCHESS OF MARLBOROUGH IN THE BACKGROUND Drypoint Signed in pencil 32.5 x 27.5cm (12¾ x 10¾in.) Provenance: Lady Ivor Spencer-Churchill (née Elizabeth Cunningham) And by family descent Condition Report: Condition Report Disclaimer
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PAUL CESAR HELLEU (FRENCH 1859-1927) PORTRAIT OF CONSUELO, DUCHESS OF MARLBOROUGH Drypoint Signed in pencil 39 x 17.5cm (15¼ x 6¾in.) Provenance: Lord Ivor Spencer-Churchill (1898-1956) And by family descent Consuelo Vanderbilt (1877–1964) was an American
heiress and socialite who became one of the most famous
figures of the Gilded Age. Born in New York City into the
enormously wealthy Vanderbilt family, she was the daughter
of William Kissam Vanderbilt and Alva Vanderbilt. Her
family’s wealth came largely from the railroad empire built
by her grandfather, Cornelius Vanderbilt. Consuelo grew up
surrounded by luxury, but her childhood was also shaped by
strict expectations surrounding social status and marriage. In 1895, at the age of eighteen, Consuelo married
Charles Spencer-Churchill, 9th Duke of Marlborough, at
St. Thomas’s Episcopal Church in New York. Consuelo
was secretly engaged to Winthrop Ruherfurd and initially
refused. It was only when her mother claimed that her
health was suffering that she agreed to the marriage and so
became the greatest of the “Dollar Princesses” by marrying
the most eligible bachelor in England and bringing to the
union her substantial fortune which in turn allowed the Duke
to restore and maintain the majesty of Blenheim Palace. Consuelo and the Duke had two sons, John and Ivor, but
their marriage was never a happy one and they separated in
1906, eventually divorcing in 1921. After her divorce, Consuelo married Jacques Balsan, a
French aviator and businessman. Unlike her first marriage,
this relationship was based more on personal affection and
companionship. The couple lived between England, the
United States and France where they resided at the Château
de Saint-Georges-Motel. They would invite artists, musicians
and close friends to come and stay. Paul and Margaret
Maze lived at the Mill in the grounds of the Chateau and
frequent guests included Winston Churchill, who Consuelo
had grown close to while married to his cousin the Duke.
Winston would come and paint at the Chateau with Paul
Maze and other fellow artists such as Edouard Vuillard,
Andre Denoyer de Segonzac and Jean Marchand. This idyllic life abruptly came to an end with the outbreak of
World War II. The Balsans fled to America, never to return
to Saint-Georges-Motel and settled in Palm Beach Florida.
Consuelo died in 1964 and is buried in St Martin’s Church,
Bladon, in Oxfordshire, next to her younger son, Lord Ivor
Spencer-Churchill. Condition Report: Condition Report Disclaimer
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VIOLET MANNERS, DUCHESS OF RUTLAND (BRITISH 1856-1937) PORTRAIT OF DIANA MANNERS Pencil and watercolour collage Signed and inscribed Diana (lower left) 33 x 26cm (12 x 10in.) Marion Margaret Violet Lindsay, granddaughter of 24th Earl of
Crawford, was regarded as one of the great beauties of her day.
In 1882, she married Henry Manners, who became 8th Duke of
Rutland in 1906. She established a career as an artist and sculptor
who exhibited internationally in London, Paris and America.
She became a leading member of the loosely knit group of
intellectual aristocrats, The Souls , which formed in the 1870s. The present portrait is of the artist’s
youngest daughter, Lady Diana
Manners, who was one of the most
painted and photographed women
of her day. In 1919 she married the
diplomat, Duff Cooper (later Viscount
Norwich) and partly to help finance her
husband’s political career, she turned
to the stage. Condition Report Disclaimer
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λ PAUL LUCIEN MAZE (FRENCH/BRITISH 1887-1979) LONG ISLAND, NEW YORK Pastel on buff paper Signed (lower right) 25 x 16.5cm (9¾ x 6¼in.) Condition Report Disclaimer
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λ PAUL LUCIEN MAZE (FRENCH/BRITISH 1887-1979) PORTRAIT OF LARRY Red chalk on buff paper Signed and titled (lower right) 24 x 25cm (9¼ x 9¾in.) Larry was the first of a long line of King
Charles spaniels that became a passion for
Maze. Larry was bred by Lady Ivor Spencer
Churchill, the wife of Lord Ivor Spencer
Churchill and given to Maze as a present. He
named him “Larry” after his friend and patron
Laurance Rockefeller. Condition Report Disclaimer
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λ PAUL LUCIEN MAZE (FRENCH/BRITISH 1887-1979) CAT SLEEPING Pastel on buff paper Signed (lower right) 16.5 x 23.5cm (6¼ x 9¼in.) Condition Report Disclaimer
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λ PAUL LUCIEN MAZE (FRENCH/BRITISH 1887-1979) THE SOLENT Pastel on buff paper Signed (lower left) 26.5 x 36cm (10¼ x 14in.) Condition Report Disclaimer
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1
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Estimate
3,000 - 5,000 GBP
λ PAUL LUCIEN MAZE (FRENCH/BRITISH 1887-1979) MONACO Pastel 54.5 x 75cm (21¼ x 29½in.) Condition Report: Condition Report Disclaimer
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4,000 - 6,000 GBP
λ PAUL LUCIEN MAZE (FRENCH/BRITISH 1887-1979) GONDOLAS ON THE GRAND CANAL WITH SANTA MARIA DELLA SALUTE, VENICE Ink and grey wash Signed and dated 1964 (lower right) 40.5 x 105cm (15¾ x 41¼in.) Condition Report Disclaimer
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Estimate
1,000 - 1,500 GBP
λ PAUL LUCIEN MAZE (FRENCH/BRITISH 1887-1979) BELVOIR CASTLE Pastel on buff paper Signed (lower left) 25.5 x 36.5cm (10 x 14¼in.) Condition Report: Condition Report Disclaimer
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1
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Estimate
1,500 - 2,500 GBP
λ PAUL LUCIEN M AZE (FRENCH/BRITISH 1887-1979) DRIVE AT BELVOIR CASTLE Pastel Signed and dated 1952 (lower right) 74.5 x 53.5cm (29¼ x 21in.) Condition Report Disclaimer
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67
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1
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Estimate
2,000 - 3,000 GBP
λ PAUL LUCIEN MAZE (FRENCH/BRITISH 1887-1979) PONT NEUF FROM THE QUAI DES GRANDS AUGUSTINS, PARIS Pastel on buff paper Signed and dated 1955 (lower left) 35.5 x 53.5cm (13¾ x 21in.) Condition Report: Condition Report Disclaimer
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λ PAUL LUCIEN MAZE (FRENCH/BRITISH 1887-1979) PLACE VENDÔME, PARIS Pastel on buff paper Signed (lower left) 25 x 35cm (9¾ x 13¾in.) Condition Report Disclaimer
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3,000 - 5,000 GBP
λ PAUL LUCIEN MAZE (FRENCH/BRITISH 1887-1979) NOTRE DAME SEEN FROM ILE SAINT LOUIS Pastel Signed and dated 46 (lower right) 53.5 x 74cm (21 x 29in.) Condition Report Disclaimer
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1,000 - 1,500 GBP
λ PAUL LUCIEN MAZE (FRENCH/BRITISH 1887-1979) VIEW FROM MONTMARTRE, PARIS Pastel on buff paper Signed and dated 1955 (lower left) 35.5 x 53cm (13¾ x 20¾in.) Condition Report: Condition Report Disclaimer
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3,000 - 5,000 GBP
λ PAUL LUCIEN MAZE (FRENCH/BRITISH 1887-1979) PONT NEUF, PARIS Pastel on buff paper Signed and dated 1938 (lower left) 54 x 74cm (21¼ x 29in.) Executed in 1938 Provenance: Lord Ivor Spencer-Churchill (1898-1956) And by family descent Exhibited: London, Wildenstein & Co Ltd, Paul Maze Exhibitio n, 16 June - 8 July 1977, cat. no. 91 Literature: Anne
Singer, Paul Maze, The Last Impressionist, Arum Press, 1983, p.47,
illus. Condition Report Disclaimer
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λ PAUL LUCIEN MAZE (FRENCH/BRITISH 1887-1979) DETAIL OF CHÂTEAU DE SAINT-GEORGES-MOTEL Pastel on blue/grey paper Signed (lower left) 30.5 x 34.5cm (12 x 13½in.) Le Château de Saint-Georges-Motel, situated in Northern France, was built in the early 17th Century by René de
Pilliers and Charlotte de Trousseauville. Following Consuelo, Duchess of Marlborough’s divorce from the 9th Duke of Marlborough in 1921, she married
Colonel Jacques Balsan and they purchased the Château as a summer house, employing Maison Jensen to
redesign the interior. In her autobiography, The Glitter and The Gold , Consuelo describes the Maze family staying at the Château; Here
at St-George-Motel , we were privileged to become hosts to a number of friends to whom we lent small houses on
the estate. This group of artists, musicians and writers centred around Paul Maze. Paul is an artist not only in oils and
pastels, but also in his truly bohemian mode of life. He faced life with the same equanimity as he had during the war
and lived gaily in the moulin with his Scottish wife and their two children and the six already born to her. They lived
there during the summers and gathered around them painters such as Dunoyer de Segonzac, Simon Levy and the
lovely Odette des Garets. (Consuelo Vanderbilt Balsan, The Glitter and The Gold , New York, 1952). Condition Report Disclaimer
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λ PAUL LUCIEN MAZE (FRENCH/BRITISH 1887-1979) LE CHÂTEAU DE SAINT-GEORGES-MOTEL Pastel on buff paper Signed (lower right) 25 x 35cm (9¾ x 13¾in.) Le Château de Saint-Georges-Motel, situated in Northern France, was built in the early 17th Century by René de
Pilliers and Charlotte de Trousseauville. Following Consuelo, Duchess of Marlborough’s divorce from the 9th Duke of Marlborough in 1921, she married
Colonel Jacques Balsan and they purchased the Château as a summer house, employing Maison Jensen to
redesign the interior. In her autobiography, The Glitter and The Gold , Consuelo describes the Maze family staying at the Château; Here
at St-George-Motel , we were privileged to become hosts to a number of friends to whom we lent small houses on
the estate. This group of artists, musicians and writers centred around Paul Maze. Paul is an artist not only in oils and
pastels, but also in his truly bohemian mode of life. He faced life with the same equanimity as he had during the war
and lived gaily in the moulin with his Scottish wife and their two children and the six already born to her. They lived
there during the summers and gathered around them painters such as Dunoyer de Segonzac, Simon Levy and the
lovely Odette des Garets. (Consuelo Vanderbilt Balsan, The Glitter and The Gold , New York, 1952). Condition Report Disclaimer
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λ ANDRÉ DUNOYER DE SEGONZAC (FRENCH 1884 -1974) FREDERIC ET DESLAURIERS Ink Inscribed (lower right) 32.5 x 24cm (12¾ x 9¼in.) Provenance: Lord Ivor Spencer-Churchill (1898-1956) And by family descent Exhibited: London, Wildenstein, February -
March 1972 This lot depicts the characters Frederic
Moreau and Charles Deslauriers
from Gustave Flaubert’s L’Education
Sentimentale. Condition Report Disclaimer
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λ PAUL LUCIEN MAZE (FRENCH/BRITISH 1887-1979) JESSIE BRUSHING HER HAIR Pastel Signed (lower right) 25.5 x 37cm (10 x 14½in.) Condition Report: Condition Report Disclaimer
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λ PAUL LUCIEN MAZE (FRENCH/BRITISH 1887-1979) JESSIE IN THE BATHROOM Pastel Signed (lower right) 26.5 x 36.5cm (10¼ x 14¼in.) Condition Report: Condition Report Disclaimer
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2,000 - 3,000 GBP
PAUL CESAR HELLEU (FRENCH 1859-1927) ÉTUDE DE DEUX TÊTES, MEDJÉ CONQUY Black, red and white chalks Signed and dated 1913 (lower right) 54 x 38cm (21¼ x 14¾in.) Provenance: Private Collection, Lady Redesdale (1880-1963) Nancy Mitford (1904-1973) Jessica Mitford (1917-1996) Sale, Sotheby's London, 2 April 1998, lot 138 Literature: Frédérique de Watrigant (ed.), Paul-César Helleu , Paris, Somogy Éditions, 2014, p. 195, illus. The present drawing was once in the collection of Lady Redesdale (née Sydney Bowles), wife of 2nd Baron Redesdale. Apparently the drawing hung in her house on the island of Inch Kenneth. Jessica Mitford acquired the drawing when she bought her sister Nancy out of the property following Lady Redesdale's death. Jessica Mitford, the fifth of six daughters, spent most of her adult life in California, leaving England in 1939 with her first husband, Esmond Romilly, nephew of Winston Churchill. He was killed in action in November 1941,whilst serving in the Canadian Air Force. In 1943, she then married lawyer, Robert Treuhaft and the family moved to California, where Treufaft specialised in labour and race legal cases. Jessica became heavily involved in the Civil Rights Movement, wrote several books exploring aspects of American life, as well as biographies, including of Philip Toynbee and was a popular lecturer and appeared on several television programmes. We are grateful to Les Amis de Paul-César Helleu for confirming the authenticity of this work which will be included in the Catalogue raisonné digital de l'œuvre de Paul-César Helleu under the reference APCH DE1-3234. Condition Report: Condition Report Disclaimer
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λ ROWLAND HILDER (BRITISH 1905-1993) TALL SHIPS AND THAMES BARGE IN AN ESTUARY Pen and ink and watercolour over charcoal, heightened with gouache 69.5 x 97cm (27¼ x 38in.) Condition Report Disclaimer
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λ STANLEY CORNWELL LEWIS (BRITISH 1905-2009) BADGER STROLLING ALONG THE CANAL Pencil, ink and watercolour Inscribed Min Lewis (lower right) 33 x 39cm (12 x 15¼in.) Stanley Lewis's wife, Min Lewis, was a children's writer and Stanley would frequently illustrate her books. The majority of these were stories which were written for the South Wales Evening Post, between the late 1940's and the mid 1960's. Condition Report Disclaimer
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λ JOSEF HERMAN (BRITISH 1911-2000) FISHERMEN Ink and watercolour 19 x 24.5cm (7¼ x 9½in.) Provenance: Sale, Christie's, South Kensington, 8 December 1999, lot 201 Private collection, the late Prudence Skene CBE (1944-2025) Condition Report: Condition Report Disclaimer
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ENGLISH SCHOOL (20TH CENTURY) PORTRAIT OF FRANK GEORGE LEYLAND WOOSTER Coloured chalks on paper laid to board Indistinctly signed and dated 1931 (lower centre) 92 x 63.5cm (36 x 25in.) Unframed Provenance: Mitzi Fould-Springer, the sitter's wife And by descent to the present owner Frank George Leyland Wooster (1890-1953) was the illegitimate son of the Liverpool shipping magnate and patron of the arts, Frederick Richards Leyland (1831-1892) and Annie Ellen Wooster (1861-1919). The couple had two sons and although their father died when Frank was very young, Leyland provided for the boys. They were educated at Uppingham school and on their majority, apparently inherited £100,000 each. Frank was incredibly handsome with movie star looks. According to family accounts, he played golf with P.G. Wodehouse and may have been the inspiration for the world famous fictional character 'Bertie Wooster'. In 1910, whilst living in Paris, Frank became friends with Baron Eugène Charles Joachim Fould (1876-1929), and his wife Marie-Cecile (née Springer) (1886-1978) known as 'Mitzi'. Following Eugene's death, Wooster married Mitzi in 1933 and became stepfather to her four children, including Helène, who is the actor Helena Bonham-Carter's grandmother. Condition Report: Condition Report Disclaimer
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JANKEL ADLER (POLISH 1895-1949) RECLINING NUDE Offset drawing Signed (lower left) 39 x 55cm (15¼ x 21½in.) Executed circa 1942. Provenance: Gimpels Fils, London Condition Report Disclaimer
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BERNARD MENINSKY (BRITISH 1891-1950) WOMAN WITH RED TOWEL Pen and ink and watercolour Signed (lower right) 32.5 x 64cm (12¾ x 25in.) Provenance: New Grafton Gallery, London Private collection, Mrs R.B. Eustace, Wantage, Berkshire Fosse Gallery, Stow-on-the-Wold, Gloucestershire Sale, Christie's, London , 6 March 1998, lot 31 Private collection, Prudence Skene CBE (1944-2025) Exhibited: London, New Grafton Gallery, 1970, cat. no. 52 Condition Report: Condition Report Disclaimer
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20,000 - 30,000 GBP
λ DAVID HOCKNEY (BRITISH 1937-2026) JACK KENNEDY, MODEL, U.C.L.A. Pen and ink Signed with initials, titled and dated 1966 (lower right) 35.5 x 43cm (13¾ x 16¾in.) Provenance: Kasmin Gallery, London Sale, Christie's London, 25 October 1995, lot 119 Acquired from the above by the present owner Exhibited: Bielefeld, Kunsthalle Bielefeld, David Hockney Zeichnungen, Grafik, Gemälde , 25 April - 30 May 1971, no. 30 (illustrated in the exhibition catalogue p. 22) The 1960s was a seminal time in Hockney’s career. Already lauded on the international art
scene, he was drawn to the sun-drenched landscape and liberal bohemian atmosphere
of California, moving to Los Angeles in 1964.
These years are often viewed as some of the most formative in his
career, culminating in the famous pool paintings later in the decade. In 1966, Hockney took up a teaching post at U.C.L.A where
this drawing was executed. The sitter is
Jack Kennedy, aspiring model and Hockney’s lover and muse. The pair had first met in the mid-sixties in
London and their relationship developed into one of both personal and artistic
significance with Kennedy depicted in a number of paintings, drawings and
prints of the period. The present drawing is typical of Hockney’s sparse linear
style that epitomised his time in California.
The stark bright light contrasted vividly with his life in London, characterised
by dark shadows and heavy cross-hatching.
Hockney leaves much of the paper empty and uses a single, flowing line
to illustrate the sitter’s body and clothes.
Whilst the face holds greater detail, it is still governed by an economy
of line. In presenting Kennedy in this
way, Hockney strips away the unnecessary, revealing a vulnerability and
intimacy in both his subject and the artist’s relationship to him. Condition Report Disclaimer
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λ SIR STANLEY SPENCER (BRITISH 1891-1959) LADY WITH A SPOTTED DRESS AND A LANDSCAPE STUDY: A DOUBLE SIDED DRAWING Pencil With artist's studio sale stamp (lower right) 18 x 12.5cm (7 x 4¾in.) Provenance: Sale, Christie's, London, The Stanley Spencer Studio Sale , 5 November 1998, probably part of lot 262 Condition Report: Condition Report Disclaimer
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λ GILBERT SPENCER (BRITISH 1892-1979) POLLARDING A WILLOW WITH GIRLS GATHERING FLOWERS BENEATH Pen and ink Inscribed This is the original drawing/ for "The Country Places"/ by Edward Lewes/ and used again in/ murals "Scholars Gypsy" students/ Union London Unive Both/deriving from "The Islanders"/on Odney Common Cookham, 1915 (lower right); further indistinctly inscribed (upper right) 44 x 33cm (17¼ x 12in.) Provenance: Private collection, Christopher Redknap Sold to benefit the Sir Stanley Spencer Memorial Trust. Condition Report: Condition Report Disclaimer
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2,000 - 3,000 GBP
MARK GERTLER (BRITISH 1892-1939) CLASSICAL NUDE Black crayon 66.5 x 36.5cm (26 x 14¼in.) Executed circa 1933. Provenance: Wolseley Fine Arts, London Sale, Christie's, London, 15 October 1993, lot 41 Abbott & Holder, London Acquired from the above by the husband of the present owner Condition Report Disclaimer
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λ SIR STANLEY SPENCER (BRITISH 1891-1959) FIVE SHEETS OF STUDIES, INCLUDING FOUR SHEETS OF FIGURE STUDIES AND A STUDY OF A CAT PLAYING One red chalk and pencil; the rest pencil, two on lined paper One with artist's studio sale stamp (upper right) and numbered 259 ; one inscribed 73 Creche (lower left) and with artist's studio sale stamp (verso), one with artist's studio stamp (verso) Each 21.5 x 17cm (8¼ x 6½in.) (5) Provenance: Sale, Christie's, London, The Stanley Spencer Studio Sale , 5 November 1998 (lot unknown) Private collection, Christopher Redknap, acquired from the above Sold to benefit the Sir Stanley Spencer Memorial Trust. Condition Report: Condition Report Disclaimer
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λ SIR STANLEY SPENCER (BRITISH 1891-1959) FIVE SHEETS OF STUDIES; INCLUDING A FIGURE ON A BENCH, A STUDY OF A DOG, STUDIES OF A NURSING MOTHER Four pencil; the other pen and ink and pencil One extensively inscribed (lower edge) 18.5 x 28.5cm (7¼ x 11in.) and smaller (5) Provenance: Sale, Christie's, London, The Stanley Spencer Studio Sale , 5 November 1998 (lot unknown) Private collection, Christopher Redknap, acquired from the above Sold to benefit the Sir Stanley Spencer Memorial Trust. Condition Report: Condition Report Disclaimer
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λ SIR STANLEY SPENCER (BRITISH 1891-1959) FIVE SHEETS OF FIGURE STUDIES Pencil One inscribed Sacks of Flour; two with artist's studio sale stamp (verso) Each 22 x 17cm (8½ x 6½in.) (5) Provenance: Sale, Christie's, London, The Stanley Spencer Studio Sale , 5 November 1998 (lot unknown) Private collection, Christopher Redknap, acquired from the above Sold to benefit the Sir Stanley Spencer Memorial Trust. Condition Report: Condition Report Disclaimer
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2,000 - 3,000 GBP
CHRISTOPHER RICHARD WYNNE NEVINSON (BRITISH 1889-1946) EBB TIDE ON THE CAMBER (BLACK 51) Drypoint, 1918 Signed in pencil 26 x 36cm (10 x 14in.) Condition Report Disclaimer
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CHRISTOPHER RICHARD WYNNE NEVINSON (BRITISH 1889-1946) THE ESTUARY (THE SILVER ESTUARY, RYE) (BLACK 50) Drypoint, 1918 Signed and dated in pencil, from the edition of 25 17.5 x 25cm (6¾ x 9¾in.) Provenance: Ernest, Brown & Phillips Ltd., The Leicester Galleries, London Sale, Bonhams, London, 30 June 2003, lot 383 Acquired from the above by the husband of the present owner Condition Report Disclaimer
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λ GRAHAM SUTHERLAND (BRITISH 1903-1980) ROCKS FORMS Watercolour, pen and ink and pencil 22 x 17.5cm (8½ x 6¾in.) Painted circa 1970. Provenance: Goldmark Gallery, Uppingham The present sheet is from one of the artist's sketchbooks. Condition Report: The sheet has been laid down around the edges onto the backing sheet with japanned paper. The work appears to be in good overall condition. Condition Report Disclaimer
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λ DAME LAURA KNIGHT (BRITISH 1877-1970) QUAGLINO'S Pen and ink and wash on menu card Signed, dated May 6th 1930 and inscribed a darn good evening! (lower right) 17.5 x 20.5cm (6¾ x 8in.) (3) Together with two unframed etchings 'At the Folies Bergeres' and 'Watching the Aerial Act', both signed in pencil, titled and one inscribed artist's proof. Condition Report Disclaimer
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λ DAME LAURA KNIGHT (BRITISH 1877-1970) A SKETCHBOOK WITH FIGURE STUDIES Eleven works in either pencil, charcoal and red pencil 25.5 x 20.5cm (10 x 8in.) Unframed Provenance: A gift from the artist to the mother of the current owner The sketchbook contains figure studies, including a man smoking, a figure of a woman reading a newspaper, study of ballerinas, single figures and other slighter studies. There are further sketches not in the artist's hand. Condition Report Disclaimer
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λ DAME ELISABETH FRINK (BRITISH 1930-1993) BIRD OF PREY Charcoal Signed and dated 66 (lower right) 75 x 55cm (29½ x 21½in.) Provenance: From the Julian Trevelyan and Mary Fedden Estates Condition Report Disclaimer
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λ JULIAN TREVELYAN (BRITISH 1910-1988) SLEEPING TOM & SKETCHES FOR CATS One felt tip pen, the other pencil, two sketches framed as one 27 x 19cm (10½ x 7¼in.) (2) Executed circa 1973. Provenance: From the Julian Trevelyan and Mary Fedden Estates Exhibited: Henley-on-Thames, Bohun Gallery, 4 February - 1 March 2008 Condition Report Disclaimer
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λ DOUGLAS SWAN (BRITISH 1930-2000) THE DUTCH BOAT IN ARBROATH HARBOUR Ink, watercolour, bodycolour and pastel Signed (lower right); further signed and titled (to fragment of original mount) 59 x 39.5cm (23 x 15½in.) Condition Report Disclaimer
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1,500 - 2,500 GBP
λ KEN KIFF (BRITISH 1935-2001) MAN ON HORSEBACK PASSING BY A TREE Watercolour over pencil on paper mounted onto card Signed (lower left) 18 x 11.5cm (7 x 4½in.) Provenance: Goodman Gallery, London Nicola Jacobs Gallery, London Condition Report Disclaimer
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λ JOHN HOYLAND (BRITISH 1934-2011) UNTITLED Acrylic and ballpoint pen 56 x 76cm (22 x 29¾in.) It has been suggested that this study dates to circa 1995-6, when the artist was spending time in Bali and was inspired by his travels there. We are grateful to the John Hoyland estate for their assistance in cataloguing this work. As is standard for the Hoyland estate, as a study, this work will not be included in the forthcoming catalogue raisonne. Condition Report: Condition Report Disclaimer
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