This auction is live!
You need to be registered and approved to bid at this auction.
Watch the auctionThis auction is closed!
It is no longer possible to bid at this auction.
You are registered for this auction
You are now approved to bid at this auction.
Your auction registration is now pending
You have successfully registered for this auction, pending approval to bid. Please check your email for further information.
Your auction registration has been declined
Please contact the auctioneer for more information.
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
|
Auction currency
|
GBP |
|
Buyer's premium
|
28 % (exc. Sales tax) |
|
Accepted cards for registration
|
|
|
Accepted cards for payment
|
|
|
Other payment methods
|
Featured lots
We found 157 items matching your search
Refine results
Filter by
Estimate
Category
Brand
Item Type
Sale Section
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 PAUL LUCIEN MAZE (FRENCH/BRITISH 1887-1979) YACHT IN TOULON HARBOUR Oil on board 38 x 52.5cm (14¾ x 20½in.) Painted in 1919. Provenance: Marlborough Fine Art Ltd, London Condition Report Disclaimer
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
8,000 - 12,000 GBP
λ PAUL LUCIEN MAZE (FRENCH/BRITISH 1887-1979) MONACO Oil on canvas Signed (lower right) 73.5 x 91.5cm (28¾ x 36in.) Condition Report Disclaimer
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 PAUL LUCIEN MAZE (FRENCH/BRITISH 1887-1979) A VIEW THROUGH THE SHUTTERS, LA ROCHELLE Oil on canvas Signed and dated 1926 (lower right); further inscribed and dated La Rochelle 1926 (to stretcher verso) 55.5 x 46cm (21¾ x 18in.) Condition Report Disclaimer
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
5,000 - 8,000 GBP
λ PAUL LUCIEN MAZE (FRENCH/BRITISH 1887-1979) ST MALO Oil on canvas Signed (lower right) 66 x 92.5cm (25 x 36¼in.) Painted circa 1930 Provenance: Lord Ivor Spencer-Churchill (1898-1956) And by family descent Formerly in the collection of Lord Ivor Churchill, this painting (and lot 51) belongs to a period shaped by Maze's close contact with artists including Édouard Vuillard and Paul Signac. The harbour provides a framework for exploring shifting coastal light; colour changes across water, sky and boats, while quays, masts, trees and architecture gives the composition a strong underlying structure. Condition Report Disclaimer
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
5,000 - 7,000 GBP
λ PAUL LUCIEN MAZE (FRENCH/BRITISH 1887-1979) MARGARET AND PAULINE AT ACHNACLOICH, OBAN Oil on canvas Signed (lower left) 74 x 93cm (29 x 36½in.) Provenance: Lord Ivor Spencer-Churchill (1898-1956) And by family descent Condition Report Disclaimer
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 PAUL LUCIEN MAZE (FRENCH/BRITISH 1887-1979) GUARDS LEAVING BUCKINGHAM PALACE Oil on board Signed 14.5 x 57cm (5½ x 22¼in.) Exhibited: London, Wildenstein& Co Ltd, Paul Maze and the Guards , 10 May - 2 June 1973, ex cat. Oxfordshire, Blenheim Palace, Paul Maze and Winston Churchill: Companions of the Brush , 11 July-13 November 2022, no cat. no. Maze delights especially in painting London which
he understands as no other living painter. What may
be termed the dramatic moments in the city’s life, its
ceremonies, its ritual and its pageantry, stir and kindle
his imagination. The black and scarlet of a guardsman’s
uniform seen against a warm grey background of
architectural detail, the veridian green of plane trees lining
the paved and yellow Mall; these and other everyday sights
of London have an irresistible attraction for his eye. (Lord Ivor Spencer-Churchill, 1939) Condition Report: Condition Report Disclaimer
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
1,000 - 1,500 GBP
λ PAUL LUCIEN MAZE (FRENCH/BRITISH 1887-1979) WHITEHALL, CHANGING OF THE GUARD Oil on board Signed (lower right) 17.5 x 59.5cm (6¾ x 23¼in.) Exhibited: London, Wildenstein & Co Ltd, Paul Maze and the Guards , 10 May - 2 June 1973, cat no. 123 Oxfordshire, Blenheim Palace, Paul Maze and Winston Churchill: Companions of the Brush , 11 July-13 November 2022, no cat. no. Maze delights especially in painting London which
he understands as no other living painter. What may
be termed the dramatic moments in the city’s life, its
ceremonies, its ritual and its pageantry, stir and kindle
his imagination. The black and scarlet of a guardsman’s
uniform seen against a warm grey background of
architectural detail, the veridian green of plane trees lining
the paved and yellow Mall; these and other everyday sights
of London have an irresistible attraction for his eye . (Lord Ivor Spencer-Churchill, 1939) Condition Report Disclaimer
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
6,000 - 8,000 GBP
λ PAUL MAZE (FRENCH/BRITISH 1887-1979) LIFEGUARDS, WELLINGTON ARCH BEYOND Oil on canvas board Signed (lower left) 57 x 52.5cm (22¼ x 20½in.) 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: Condition Report Disclaimer
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
15,000 - 25,000 GBP
λ PAUL LUCIEN MAZE (FRENCH/BRITISH 1887-1979) ROYAL ASCOT Oil on canvas Signed (lower left), further signed and inscribed From Owner's stand No 13 Ascot (to stretcher verso) 73.5 x 92.5cm (28¾ x 36¼in.) Provenance: Marlborough Rare Books and Fine Art Ltd, London Exhibited: Oxfordshire, Blenheim Palace, Paul Maze and Winston
Churchill: Companions of the Brush , 11 July-13 November 2022 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… (TheTimes , London, 12th May 1958, 'Review of the Exhibition of Paul Maze', O'Hana Gallery, London). Condition Report Disclaimer
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
7,000 - 10,000 GBP
ARTHUR AMBROSE MCEVOY (BRITISH 1878-1927) PORTRAIT OF LORD IVOR SPENCER-CHURCHILL Oil on canvas Signed (lower left) 76 x 63cm (29¾ x 24¾in.) Provenance: Lord Ivor Spencer-Churchill (1898-1956) And by family descent Born in London on 14 October 1898, Lord Ivor
Spencer-Churchill was the younger son of Charles
Spencer-Churchill, the 9th Duke of Marlborough, and
Consuelo Vanderbilt. His elder brother, John, later
became the 10th Duke of Marlborough. Educated at
Eton College and Magdalen College, Oxford, Ivor
joined the Royal Army Service Corps in 1917 and
served as a lieutenant. He was decorated with the
French Legion of Honour for his wartime service. From an early age Ivor had been drawn towards the
arts, and, influenced by writings of Roger Fry, he
developed a particular interest in Modern French
painting. Paul Maze recounts that It was through his
mother’s introduction that we became friends. He then
had only an oil by Steer. We went to Paris together
and I took him round galleries and introduced him to
painters. He was a man of rare sensitivity and distinction
and, as he started acquiring impressionists, his inborn
appreciation and judgment never led him astray…
He was eventually to own some of the most famous
Impressionist pictures. Humble about his possessions,
he never had an intellectual approach to them – he just
loved and understood painting…
(Paul Maze, interviewed by Wolfgang Fischer,
Marlborough Gallery, 22nd March 1967.) Through his love of art, Ivor became a member of the
Contemporary Art Society and served as Honorary
Secretary for over 15 years in the 1930s and 40s.
Personally he built up a wonderful collection of 19th
and 20th Century French paintings and is most fondly
remembered for his philanthropy, gifting twenty
one works to public galleries including paintings by
Bonnard, Cezanne, Degas and Gauguin. In Ivor’s obituary Lord de la Warr wrote: If one could
sum up so complex a character in one word, I would
think it would be “quality” Condition Report Disclaimer
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
40
Quantity
1
Max bid
GBP
Estimate
6,000 - 8,000 GBP
λ PAUL LUCIEN MAZE (FRENCH/BRITISH 1887-1979) LAURANCE AND MARY ROCKEFELLER WITH ETIENNE AND MARGARET MAZE, FIRE ISLAND, OFF LONG ISLAND Oil on canvas Signed with initials (lower right) 56 x 76cm (22 x 29¾in.) Condition Report Disclaimer
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
4,000 - 6,000 GBP
λ PAUL LUCIEN MAZE (FRENCH/BRITISH 1887-1979) THE KITCHEN TABLE Oil on canvas Signed (upper right) 85.5 x 118.5cm (33½ x 46½in.) Following the First World War, Maze established his studio at
13 rue Bonaparte, Paris, where André Derain and Segonzac occupied
neighbouring studios on the same floor. The composition can be
considered alongside Derain’s La Table de cuisine , painted between
1922 and 1925 and now in the Musée de l’Orangerie, Paris. Condition Report Disclaimer
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 PAUL LUCIEN MAZE (FRENCH/BRITISH 1887-1979) STILL LIFE WITH PINK ROSES Oil on canvas Signed (lower right) 65 x 50.5cm (25½ x 19¾in.) Condition Report Disclaimer
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
8,000 - 12,000 GBP
λ PAUL LUCIEN MAZE (FRENCH/BRITISH 1887-1979) COWES REGATTA Oil on canvas Signed (lower left) 73 x 91.5cm (28½ x 36in.) Condition Report: Condition Report Disclaimer
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
10,000 - 15,000 GBP
λ PAUL LUCIEN MAZE (FRENCH/BRITISH 1887-1979) COWES WEEK, WITH HMY BRITANNIA Oil on canvas Signed (lower right), further signed and inscribed Cowes (to stretcher verso) 73.5 x 93cm (28¾ x 36½in.) The present work depicts the racing yacht HMY Britannia among the fleet. Built for the future King
Edward VII in 1893 and extensively raced by his son King George V, Britannia
became one of the most celebrated racing yachts of her generation. It has been
suggested that the large steam yacht lying offshore may be HMY Victoria and Albert III ,
George V's official Royal Yacht, which Maze is known to have depicted offshore
during Cowes Regatta. Maze was a familiar figure at the regatta and is recorded as painting from
the end of the Royal Yacht Squadron pier. Condition Report Disclaimer
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 PAUL LUCIEN MAZE (FRENCH/BRITISH 1887-1979) COWES Oil on canvas Signed (lower right); further signed and titled (to stretcher verso) 38.5 x 55cm (15 x 21½in.) Condition Report Disclaimer
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
1,500 - 2,500 GBP
λ PAUL MAZE (FRENCH/BRITISH 1887-1979) FISHING BOATS, LA ROCHELLE Pastel on buff paper Signed (lower right) 37 x 53.5cm (14½ x 21in.) Maze owned a Paul Signac watercolour of La Rochelle painted in 1925
which demonstrated a similarly explorative use of light and colour. Condition Report: Condition Report Disclaimer
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
5,000 - 8,000 GBP
λ PAUL LUCIEN MAZE (FRENCH/BRITISH 1887-1979) ST MALO Oil on canvas Signed (lower right) 65 x 92.5cm (25½ x 36¼in.) Provenance: Lord Ivor Spencer-Churchill (1898-1956) And by family descent Condition Report Disclaimer
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
4,000 - 6,000 GBP
λ PAUL LUCIEN MAZE (FRENCH/BRITISH 1887-1979) BATTERSEA BRIDGE, LONDON Oil on canvas Signed (lower left) 50.5 x 65cm (19¾ x 25½in.) Provenance: Lord Ivor Spencer-Churchill (1898-1956) And by family descent Condition Report: Condition Report Disclaimer
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 PAUL LUCIEN MAZE (FRENCH/BRITISH 1887-1979) VIEW FROM A WINDOW OVERLOOKING A RIVER Oil on canvas Signed (lower right) 55 x 46cm (21½ x 18in.) Condition Report Disclaimer
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
1,000 - 1,500 GBP
λ PAUL LUCIEN MAZE (FRENCH/BRITISH 1887-1979) CHRIST CHURCH, OXFORD Pastel on buff paper Signed, inscribed and dated For Ivor/1949 (lower right) 23.5 x 32.5cm (9¼ x 12¾in.) Condition Report Disclaimer
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
1,000 - 1,500 GBP
λ PAUL LUCIEN MAZE (FRENCH/BRITISH 1887-1979) BRIGHTON BEACH SCENE Pastel on buff paper Signed twice (lower left and right) 25 x 33.5cm (9¾ x 13in.) Condition Report Disclaimer
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
1,500 - 2,500 GBP
λ PAUL LUCIEN MAZE (FRENCH/BRITISH 1887-1979) AN ESTUARY, HAMPSHIRE Oil on board Signed (lower right) 24 x 72cm (9¼ x 28¼in.) Condition Report: Condition Report Disclaimer
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
λ PAUL LUCIEN MAZE (FRENCH/BRITISH 1887-1979) BEACH SCENE WITH DUNES Oil on board Signed (lower left) 14 x 46cm (5½ x 18in.) Condition Report Disclaimer
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 PAUL LUCIEN MAZE (FRENCH/BRITISH 1887-1979) AN ESTUARY WITH A DISTANT BRIDGE Oil on canvas 54 x 81cm (21¼ x 31¾in.) Provenance: Lord Ivor Spencer-Churchill (1898-1956) And by family descent Condition Report Disclaimer
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
4,000 - 6,000 GBP
λ PAUL LUCIEN MAZE (FRENCH/BRITISH 1887-1979) PLACE DE LA CONCORDE, PARIS Oil on canvas Signed (lower left) 46 x 61cm (18 x 24in.) Condition Report Disclaimer
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
λ PAU L LUCIEN MAZE (FRENCH/BRITISH 1887-1979) PARC, LE CHÂTEAU DE SAINT-GEORGES-MOTEL Pastel on buff paper Signed and dated 1938 (lower left) 50 x 34cm (19½ x 13¼in.) Exhibited: London, Wildenstein & Co Ltd. Paul Maze Exhibition , 16 June - 8 July 1977, cat.no. 2 Condition Report Disclaimer
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
λ SIMON LEVY (FRENCH 1886-1973) STILL LIFE WITH SKULL Oil on board Signed (lower right) 27 x 35cm (10½ x 13¾in.) Provenance: Lord Ivor Spencer-Churchill (1898-1956) And by family descent Condition Report: Condition Report Disclaimer
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
5,000 - 8,000 GBP
λ PAUL LUCIEN MAZE (FRENCH/BRITISH 1887 - 1979) STILL LIFE WITH SCULPTURE Oil on board Signed (lower right) 36 x 71.5cm (14 x 28in.) Condition Report: Condition Report Disclaimer
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 PAUL LUCIEN MAZE (FRENCH/BRITISH 1887-1979) STILL LIFE OF A TABLE WITH A JUG OF FLOWERS Oil on canvas Signed (lower right) 55 x 38.5cm (21½ x 15in.) Condition Report Disclaimer
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
4,000 - 6,000 GBP
λ SIR GERALD FESTUS KELLY (BRITISH 1879-1972) PORTRAIT OF REGINA, COUNTESS OF LISBURNE Oil on canvas Annotated for transfer (along lower edge); inscribed Doña Regina. III. and dated Feb. 24 (to canvas overlap verso) 106 x 75cm (41½ x 29½ in.) Provenance: Sale, Christie's, London, The Contents of the Studio of the late Sir Gerald Kelly , 8 February 1980, lot 157 Maria Isabel Regina Aspasia Vaughan (née Bittencourt), Countess of Lisburne (1895-1944) was the daughter of Don Julio Bittencourt, attaché to the Chilean Legation in London. Her parents were renowned for hosting glamorous parties at the Ritz and were described by one newspaper as 'simply terrifically and tropically rich'. She was presented at court in 1912 and two years later married Ernest Edmund Henry Malet Vaughan, 7th Earl of Lisburne. Kelly painted the sitter on several occasions. In the artist's studio sale at Christie's in 1980 there were three portraits of Regina, Countess of Lisburne, including the present work and there is a further portrait of the Countess painted in 1926, (Ferens Art Gallery, Hull, Yorkshire). Condition Report: The work is framed and was not examined out of the frame. The work has been re-stretchered and a wooden backboard added. The work has not been relined. Ultraviolet light reveals small spots of scattered retouching throughout the background, also visible to the naked eye upon close inspection. There is some slight surface dirt. Otherwise, the work is stable and ready to hang. Condition Report Disclaimer
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
6,000 - 8,000 GBP
λ ARTHUR SPOONER (BRITISH 1873–1962) PORTRAIT OF A FLAPPER GIRL Oil on canvas Signed (lower right) 51 x 40.5cm (20 x 15¾in.) Provenance: Private Collection, Suffolk and by descent to the present owner Condition Report Disclaimer
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
7,000 - 10,000 GBP
λ EDWARD WOLFE (BRITISH 1897-1982) "BASSOUTO BOY" Oil on board Signed (lower left) 67 x 33.5cm (26¼ x 13in.) Executed in 1920 Provenance: Private collection, Enslin du Plessis (1894-1978) Sale, Sotheby's, London, 1 October 1997, lot 196 Sale, Sotheby's, London, 5 September 2004, lot 141 Sale, Lot's Road Auctions, London, 5 September 2021, lot 372 Edward Wolfe moved to London from South Africa, during the First
World War to study, initially at Regent’s Street Polytechnic and then at the Slade
School of Art. Whilst at the Slade he met Nina Hamnett, who introduced him to
Roger Fry. By 1917, he was invited to join the Omega Workshops, for whom he designed
and painted furniture in a bold Fauvist palette. Wolfe was deeply influenced by
the work of Matisse, Modigliani and Gauguin, absorbing their painterly style
and vibrant palette. His work was characterised by bold colours and carefully
observed, simplified forms, with a focus on everyday life and the people and
landscapes he encountered. Wolfe was part of a group of artists who were inspired by European
and particularly French modern art and became integral in the development of Modern
British Art, helping to create a movement that transformed the wider European
modernism into a distinctly British idiom. Throughout his life, Wolfe exhibited
widely in both Britain and abroad. He exhibited at the London Group for the
first time in 1918 and was subsequently elected a member of the group in 1923.
He became a member of the Seven and Five Society, between 1926 and 1931. Wolfe’s
first solo exhibition took place in Johannesburg in 1920 and in London (at the
Mayor Gallery) in 1926. He exhibited at the Royal Academy between 1951 and 1970,
was elected an Associate of the Royal Academy in 1967 and became a full member
in 1972 at the age of 75. Wolfe travelled extensively, spending part of the 1920s in
Paris and Italy and long periods in Mexico and North America, as well as back
in his native South Africa. During the Second World War, he worked as a BBC censor. Wolfe met the artist and journalist Enslin du Plessis at the
exhibition of Wolfe’s work at Leon Levson’s gallery in Johannesburg in 1920. Du
Plessis served in the Middle East during World War I and acted as correspondent
for various South African newspapers. He took up painting when he was in his
30s and exhibited in Britain from the late 1920s, exhibiting at several of the
leading Mayfair Galleries of the period, including Goupil, Leicester Galleries
and Roland Browse and Delbanco. Following the success of his 1920 exhibition and before he
returned to London, Wolfe was invited to stay near the gold mines of Village Deep.
The violinist Zelma Whitehouse and her husband lent Wolfe a house near the mine
and he set up studio in an empty barracks in the mine workers' compound. As
William Plomer stated, the resulting drawings from this visit captured ‘ in a
flowing line the shapely sadness and exiled vigour of naked black miners’ and
as John Russell Taylor noted, in the process Wolfe found ‘a new strength and
tension…he was fascinated by the heroic aspect of the miners, their physical beauty
and dignity, as he was by the stark shapes of the nearby landscape, something
which returned to haunt him for the rest of his life ’ (John Russell Taylor,
Edward Wolfe , Trefoil Books, 1986, p. 28). Condition Report Disclaimer
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
10,000 - 15,000 GBP
λ DUNCAN GRANT (BRITISH 1885-1978) PORTRAIT OF PATRICK NELSON, SEATED Oil on board Signed with initials (verso) 62.5 x 37.5cm (24½ x 14¾in.) Provenance: The artist’s estate Sale, Christie’s, South Kensington, 29 May 2012, lot 499 Literature: Gemma Romain, Race, Sexuality and Identity in Britain and
Jamaica: The Biography of Patrick Nelson 1916-1963 , Bloomsbury, 2017, pp.194-5, illus. p. 194 (in black and white) and on the front cover (in colour) Frieze Masters issue 8, Black in Bloomsbury , 25
September 2019. Patrick Nelson (1916-1963) was born into a conservative
Catholic working-class family in Kingston, Jamaica. His father was the
celebrated wicket-keeper, Leopold Nelson. Nelson found early work as a valet in Jamaica, before
meeting Lord Stanley who invited Nelson to become his valet, at his seat
Penrhos, Wales in 1937. After briefly returning to Jamaica and spending time in
Bristol, Nelson moved to London in 1938, to study law, where he met Duncan
Grant, possibly either at the Shim Sham Club or the Café Royal. Coincidently, Grant’s
grandfather, Sir Peter Grant, had been colonial governor in Jamaica in the
1870s. Nelson became Grant’s lover and model and posed for a number of
portraits by the artist, the first being completed in August 1938. Nelson also
modelled for Edward Wolfe. Grant and Nelson remained close, corresponding
regularly throughout their lives and there are a number of letters from the
sitter to the artist preserved in the Tate, London. In 1940, Nelson joined the Auxiliary Military Pioneer Corps
and was posted to France as part of the British Expeditionary Forces. He was
wounded and captured by the Germans in May 1940. He spent the rest of the war
as a prisoner of war. Whilst a prisoner, Grant who was designated
Nelson’s next of kin, sent him parcels and law books, through the Red Cross. On his release, Nelson returned to Jamaica, where he remained until he decided to revisit London in
about 1960 and the present painting was painted sometime after Nelson’s return
and his death, from a heart attack, in 1963. Grant has captured his friend,
at ease, with his hands folded, elegantly dressed, with an Omega Workshop scarf
draped across him. Condition Report Disclaimer
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
2,000 - 3,000 GBP
DAME ETHEL WALKER (BRITISH 1861-1951) SEATED NUDE WITH MANDOLIN Oil on canvas 91 x 71cm (35¾ x 27¾in.) Provenance: Sale, Christie's London, 20 June 1995, lot 62 Exhibited: Manchester, 1934 Walker became one of the leading artists of her generation, representing
Britain on six occasions at the Venice Biennale between 1922 and 1936, as well
as at the World Trade Fair, Chicago in 1939. She became particularly celebrated
for her portraits and appears to have been a popular choice with her fellow
artists; Lucien Pissarro, Orovida Camille Pissarro, a young Barbara Hepworth
and Vanessa Bell number amongst her sitters. She was known for having a furious
energy and a great confidence in her own abilities, as well as a determination
to been seen as equal to her make counterparts. She was elected the first female member of the
NEAC and in 1940, age 79, she was elected ARA. Three years later, Walker was awarded DBE, only the second
female artist to gain such a recognition (Laura Knight having been similarly awarded
in 1929). The present portrait is characteristic of Walker’s spontaneous,
loose, almost impressionistic brushwork and the sensitive portrayal of her
sitters. Condition Report Disclaimer
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
8,000 - 12,000 GBP
λ AUGUSTUS JOHN (BRITISH 1878-1961) PORTRAIT OF A WOMAN Oil on canvas Signed (upper right) 51 x 41cm (20 x 16in.) Provenance: Arthur Tooth and Sons Ltd., London Exhibited: London, Arthur Tooth and Sons Ltd., Recent Developments in British Painting , 1-17 October 1931, no. 56 Condition Report Disclaimer
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
20,000 - 30,000 GBP
λ AUGUSTUS JOHN (BRITISH 1878-1961) MODEL FROM BRITISH GUIANA Oil on canvas Signed (upper right) 117 x 71.5cm (46 x 28in.) Painted circa 1937 Provenance: Arthur Tooth and Sons Ltd., London Sale, Sotheby's, London, 10 June 1998, lot 150 Exhibited: London, Arthur Tooth and Sons Ltd, Paintings and Drawings not previously
exhibited by Augustus John, O.M., Royal Academician , 15-30 March 1961, cat.
no. 11 As early as 1911, John had expressed a desire to visit the West
Indies, writing to Dorelia, I think Jamaica would be a nice place to go and
work. (Michael Holroyd, Augustus John, A Biography, Heineman, 1974, vol.
II, p. 141). However, it was not until 1937 that he finally visited, arriving
in March and staying until May. He found the landscape altogether too
fertile , although parts of it reminded him of North Wales. However, he was captivated
by the people he encountered and found that he was painting with a renewal
of energy quite remarkable and will not cease til I have accomplished much
( op. cit. p. 142). He was keen to live simply whilst there and rejected
the formal, colonial way of life as much as possible. The portraits that were produced during this period are
characterised by a bold, direct approach and strong sense of the personality of
his sitters. Several of his West Indian portraits were exhibited at Tooth’s in
May-June 1938, where they caused a sensation, virtually selling-out and with
glowing press articles. The present portrait appears not have been exhibited in this earlier exhibition, but was amongst the 49 previously unexhibited works, shown at Tooth's in 1961. Whether the artist met the sitter when he was in Jamaica, or in London is unknown. Condition Report Disclaimer
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
3,000 - 5,000 GBP
Property from the Private Collection of Raymond Tooth NARCISSE GIULBERT (FRENCH 1878-1942) LA SEINE AU PRÉ-AUX-LOUPS, EFFET DU MATIN Oil on canvas Signed (lower right); further signed and inscribed Brume du matin, Pre-aux-Loups (verso) 46.5 x 61cm (18¼ x 24in.) Painted in 1912. Provenance: Arthur Tooth & Sons Ltd., London Exhibited: Paris, Galerie Watteau, Retrospective N. Guilbert , December 1969, no. 7 London, Arthur Tooth and Sons, Narcisse Guilbert 1878-1942 , no. 13 Literature: Arthur Tooth and Sons, Narcisse Guilbert 1878-1942 , 1970, no. 13, illus. The authenticity of this work has been confirmed by François Lespinasse. Born in Bouville, south of Paris in 1882, the death of Guilbert’s
father in 1890 resulted in the family moving to Rouen. It was here with the encouragement of painter Joseph
Delattre, founding member of the École de Rouen, that Guilbert enrolled in the École
des Beaux Arts. A bursary allowed him to
travel to Brittany in 1910 but he remains best known for his Normandy landscapes
in and around Rouen. The present work depicts the Seine at Pré-aux-Loups
in Rouen, a view that attracted other Impressionist painters, notably fellow École
de Rouen painter Albert Lebourg. Condition Report Disclaimer
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
4,000 - 6,000 GBP
Property from the
Private Collection of Raymond Tooth ALBERT LEBOURG (FRENCH 1849–1928) LA SEINE A COURBEVOIE Oil on canvas Signed and inscribed Courbevoie pres Paris (lower left) 46.5 x 76.5cm (18¼ x 30in.) Painted circa 1880s. Provenance: Arthur Tooth & Sons Ltd., London Literature: Léonce Bénédité, Albert Lebourg , Paris, 1923, p. 346, no. 1109 The authenticity of this work has been confirmed by François Lespinasse. Born in Normany, Lebourg was an integral member of the École
de Rouen. During his lifetime, he produced
a significant body of work particularly focussed on depictions of the Seine and
the landscape around northern France. In 1876, Lebourg exhibited his paintings alongside Monet, Sisley
and Renoir on the Boulevard Montmartre and went on to exhibit regularly
alongside his fellow Impressionists during the 1870s and 1880s. He presented paintings of Algiers, where he
had taken a teaching post in 1873, as well as Paris and Rouen. Like many of his contemporaries, he was
particularly drawn to the Seine and its tributaries, taking inspiration from
the luminous effect of the light on the water.
His time in Algiers had further informed his treatment of his subject
matter and the atmosphere of his landscapes. During his lifetime, Lebourg achieved notable critical
acclaim and he was represented by prestigious Parisian galleries Mancini, Bernheim-Jeune,
Paul Rosenberg and Georges Petit. His
work is held in numerous public collections including the Musée d’Orsay and the
Petit Palais in Paris and the Musée des Beaux-Arts in Rouen. Condition Report Disclaimer
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
40,000 - 60,000 GBP
λ BERNARD BUFFET (FRENCH 1928-1999) RIVIÈRE DANS LA CAMPAGNE Oil on canvas Signed and dated 61 (upper right) 80 x 100cm (31¼ x 39¼in.) Provenance: Arthur Tooth & Sons Ltd., London This work is recorded in the Galerie Maurice Garnier archives. A certificate of authenticity can be issued on request and at the purchaser's expense. Condition Report: Condition Report Disclaimer
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 CARLOS BOTELHO (PORTUGESE 1899-1982) FIGURES ON THE SHORE Oil on board Signed (lower right) 32.5 x 41cm (12¾ x 16in.) The present painting probably depicts one of the piers along the Tagus near Lisbon. Condition Report Disclaimer
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
6,000 - 10,000 GBP
λ EDWARD SEAGO (BRITISH 1910-1974) A MARSHLAND MILL Oil on canvas Signed 41 x 51cm (16 x 20in.) Painted in 1948. Literature: Edward Seago, Tideline , Collins 1948, illus. follows p.32 Condition Report: The work was framed and was not examined out of its frame. The work has been relined. There is no evidence any retouching under UV light. Condition Report Disclaimer
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
80,000 - 120,000 GBP
ALBERT MARQUET (FRENCH 1875-1947) LE PONT DE CONFLANS Oil on canvas Signed (lower right) 64.5 x 80cm (25¼ x 31¼in.) Painted in 1911. Provenance: Adams Gallery, London Mayor Gallery, London (no. 4718) Acquired from the above by The Honourable Peter Samuel, 4th Viscount Bearsted (1911-1996), November 1963 And by descent This work is accompanied by an Attestation of Inclusion from the Wildenstein Institute, and it will be included in the forthcoming
Marquet Digital Catalogue Raisonné , currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc. The village of Conflans-Sainte-Honorine sits to the west of
Paris on the banks of the rivers Oise and Seine. Marquet stayed there in 1911 and produced a
number of views of the river and the surrounding landscape. The present painting depicts the suspension
bridge traversing the river Oise traditionally known as the Pont de Conflans
or Fin d’Oise . Another view of Conflans,
painted during the same trip entitled Paysage au Chaland depicting the
railway bridge designed by Gustave Eiffel is held by The Musée d’Art
Moderne de la Ville de Paris (fig.1). As with so many Impressionist and post-Impressionist
painters, Marquet was continually drawn to the landscape and waterways of the Ile-de-France. Painted in 1911, the present work demonstrates
his gradual move away from the vivid tones of Fauvism and toward a softer and
more naturalistic palette focussed on the broad expansive skies and the play of
light and reflection on water. Pont de Conflans embodies Marquet’s use
of his favoured hues of greyed violets and blues contrasted with the orange of
the rooftops and the black lines of the boats and the bridge. Born in Bordeaux in 1875, Marquet moved to Paris in 1890 to
study at the École des Arts Décoratifs.
It was here that he met Matisse, a relationship that was to become one
of the most enduring and productive in 20th century art. Rooted both in sincere friendship and mutual
admiration, they frequently painted alongside each other and maintained a
constant dialogue about their work. Marquet
travelled widely throughout his career, both in Europe and north Africa, and
these experiences informed his approach to painting, as well as his choice of
subject matter. However, he remains best
known as a landscape painter with works held in numerous public collections
across France including Musée d’Orsay, Paris, Musée des Beaux-Arts de Bordeaux,
as well as internationally - Metropolitan Museum of Art, New York, Montreal
Museum of Fine Arts, Hermitage, St. Petersburg and Tate Gallery, London amongst
others. Condition Report: Condition Report Disclaimer
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
1,000 - 1,500 GBP
THOMAS BENJAMIN KENNINGTON (BRITISH 1856-1916) ALONG THE BANKS OF THE RIVER SEINE, PARIS Oil on canvas Signed (lower right) 30 x 40.5cm (11¾ x 15¾in.) Condition Report Disclaimer
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
ROBERT RUSSELL MACNEE (BRITISH 1880-1952) CHICKENS FEEDING IN THE YARD Oil on canvas Signed and dated 24 (Lower left) 41 x 56cm (16 x 22in.) Provenance: Sale, Sotheby's, London, 13 April 1976, lot 286 Condition Report Disclaimer
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
1,500 - 2,500 GBP
WILLIAM LEE HANKEY (BRITISH 1869-1952) LEAVING HARBOUR, HONFLEUR Oil on canvas Signed (lower left) and titled (to stretcher verso) 37 x 45cm (14½ x 17½in.) Condition Report Disclaimer
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
2,000 - 3,000 GBP
JAMES BROWN (BRITISH 1863-1943) HORSE AND CART ON A COUNTRY LANE Oil on canvas 49 x 39cm (19¼ x 15¼in.) Provenance: William Darby, London Condition Report: Condition Report Disclaimer
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
λ TOM COATES (BRITISH 1941-2023) HORSES AND CARTS IN THE PARK Oil on canvas Signed with monogram (lower left) 50.5 x 61cm (19¾ x 24in.) Provenance: Sale, Dreweatts, Newbury, 19 October 2022, lot 155 Condition Report Disclaimer
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 KEN HOWARD (BRITISH 1932-2022) THE RED UMBRELLA Oil on canvas Signed (lower right) 31 x 61cm (12 x 24in.) Painted in 1986. Provenance: Jonleigh Gallery, Guildford Condition Report Disclaimer
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
λ FRED CUMING (BRITISH 1930-2022) FUNFAIR Oil on board Signed (lower left) 18 x 36cm (7 x 14in.) Condition Report Disclaimer
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
λ DAVID TINDLE (BRITISH B. 1932) SNOW SCENE, REGENT'S CANAL Oil on board 12.5 x 21.5cm (4¾ x 8¼in.) Provenance: The Piccadilly Gallery, London Condition Report Disclaimer
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
4,000 - 6,000 GBP
λ JOHN ANTHONY PARK (BRITISH 1880-1962) OVERLOOKING THE THAMES AT BLACKFRIARS Oil on canvas Signed (lower right) 102 x 127.5cm (40 x 50in.) Provenance: Sale, Christie's, London, 22 September 1994, lot 134 Acquired from the above by the present owner Park has captured the bustle of the River Thames at the junction of Blackfriars Bridge and the Embankment and looking along the river towards Old Waterloo Bridge. On the far bank are the industrial docks of the south bank with their chimneys and in the distance is the Palace of Westminster. Christopher Richard Wynne Nevinson painted a similar view about a decade before the present painting (now in the Courtauld Gallery, London). Condition Report: The work has been relined. There is some slight small scattered retouching in the upper left corner of the sky. Condition Report Disclaimer
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
λ BERTRAM NICHOLLS (BRITISH 1883-1974) THE STRAND, ST CLEMENT DANES Oil on canvas 69 x 76.5cm (27 x 30in.) Provenance: Sale, Christie's South Kensington, 19 October 1989, lot 78 Condition Report Disclaimer
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 CHARLES CUNDALL (BRITISH 1890-1971) VIEW OF NEW YORK Oil on canvas Signed (lower right) 41 x 56.5cm (16 x 22in.) Exhibited: London, New English Art Club This view of New York is captured from a lush corner of Central Park South and includes the Sherry Netherland Hotel, The Savoy Plaza Hotel, The Essex House and Hampshire House. The artist produced several paintings of New York with a similar view to this exhibited at the Royal Academy in 1961. Condition Report Disclaimer
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
15,000 - 20,000 GBP
λ WILLIAM JOHN LEECH (IRISH 1881-1968) THE BRIDGE, REGENT'S PARK Oil on canvas Signed (lower left) 47.5 x 60cm (18½ x 23½in.) Provenance: Pyms Gallery, London During the 1930s, Irish born artist, William John Leech began a series of paintings of views of
Regent’s Park. In 1928, Leech began renting a studio, just a short walk away, at No. 4 Steele’s
Studios, Hampstead, Christopher Nevinson was a next-door neighbour. York Bridge crosses
the boating lake in Regent’s Park. Built in the early years of the 19th Century as part of Nash’s
landscaping and provides access to the Inner Circle and its villas. In the present painting, the artist
has blurred the edges of the circular lake, making the water seem more naturalistic and extensive. Leech was captivated by the effects of the interplay of light and shadow on the landscape around
him and the lush planting of the park and the water at its centre, provided an endless source
of inspiration for the artist. The present work amply demonstrates the artist’s masterful use of
colour. Leech found early inspiration by the work of the Impressionists, whose work he first saw
at an exhibition in Dublin in1899 and in 1901, Leech moved to Paris to further his studies. He then
moved to London, where his parents had also moved in 1910. Leech remained in England for the
rest of his life, travelling extensively in search of inspiration Condition Report Disclaimer
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
1,500 - 2,500 GBP
λ WALTER STEGGLES (BRITISH 1908-1997) BOATS ON THE THAMES NEAR COOKHAM oil on board Signed (lower right) and titled (to label verso) 36 x 46cm (14 x 18in.) Painted in the early to mid 1960s Condition Report Disclaimer
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
λ WALTER STEGGLES (BRITISH 1908-1997) A BRECKLAND GATE Oil on canvas 35.5 x 41cm (13¾ x 16in.) Painted in the early 1970s. Condition Report Disclaimer
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
λ WALTER STEGGLES (BRITISH 1908-1997) NR. MAIDEN BRADLEY, WILTSHIRE Oil on board Signed (lower left), further signed, titled and dated 1992 (to label verso) 13 x 18cm (5 x 7in.) Condition Report Disclaimer
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
10,000 - 15,000 GBP
λ WALTER STEGGLES (BRITISH 1908-1997) BOW BRIDGE Oil on canvas Signed (lower right) 45 x 61cm (17½ x 24in.) Exhibited: London, Abbott & Holder, Museum Street, From Bow to Biennale , in association with the book launch, 21 March 2013-4 April 2013 London, The Nunnery Gallery, Bow Arts
Trust, From Bow to
Biennale , 9 May 2014-13 July 2014 London, Townhouse Gallery, Spitalfields, Now & Then , 28 October 2013-8 December 2013 Southend, The Beecroft Gallery, Out of the
City , 19 March 2016-25 June 2016 Southampton, Southampton City Art
Gallery, From Mile End to Mayfair , 2 September- 6 January 2018 Southend, The Beecroft Gallery,
Brothers in Art , 11 September 2021 - 3 April 2022 Poole, The Lighthouse Gallery,
East London Group: Dorset
Days , 20 January 2023 - 8 April 2023 London, The Nunnery Gallery, Bow Arts
Trust, In the Footsteps of The East London
Group , 4 October 2024 - 22 December 2024 Literature: 20 March 1997, The Independent , 'Obituary of Walter Steggles', illus. David Buckman, From Bow to Biennale, Artists of the East London Group , Francis Boutle, 2012, p. 308, illus. Alan Waltham, Ferha Farooqui, Frank Creber, In the Footsteps of the East London Group , Batsford, 2024, p. 46, illus. Alongside his younger brother Harold, Walter Steggles was a leading member of the East London Group. The genesis of the Bow-based group emerged from
classes run initially from 1924 by Charles
Genge at the Bethnal Green Men’s Institute
and from 1925 by John Cooper at the Bow and Bromley Evening Institute.
The classes were aimed at those for whom full-time art education was
impossible, with most working a day job and studying at the Institute by
evening, two or three nights each week.
Cooper attracted notable teaching talent, including William Coldstream and
Rodrigo Moynihan as well as Walter Sickert who mentored the Group and exhibited with them on three
occasions. Sickert also employed
another Group member, Elwin Hawthorne as his studio assistant from early 1928
to late 1931 Despite their humble beginnings, the group went on to exhibit at the Whitechapel Gallery in December 1928
followed by a small show at what is now Tate Britain in early 1929. These
shows quickly established their reputation and eight annual exhibitions then followed at the prestigious Lefevre Gallery
in London’s west end from 1929 until 1936, which
was the same year that Walter and Elwin were amongst the contingent of artists
who represented Great Britain at the Venice Biennale. Their works
were frequently hung in numerous mixed shows alongside
such eminent names as Paul Cezanne, Claude Monet and Pablo Picasso as well as
British artists Duncan Grant and Vanessa Bell. Seven examples of Walter’s work are held in public
collections across six different galleries and museums. He continued to paint in to later life, almost up until his death in March
1997. The present work, although post-war, is very reminiscent of
Steggles’ earlier 1930s work, with its atmospheric early morning light and
vertical lines juxtaposed against the curve of the bridge and hazy skyline in
the distance. It would have been a well-known landmark for the members of
the group, many of whom would have crossed the bridge to get to work in the
city. Condition Report Disclaimer
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
λ GERTRUDE HARVEY (BRITISH 1886-1966) VASE OF FLOWERS Oil on canvas Signed (lower left) 35 x 26cm (13¾ x 10in.) Painted circa 1930 Provenance: The Artist Private collection, Bette Moore, by bequest of the artist Private collection, Pep and John Branfield Lay's Auctioneers, Penzance, The Art Collection of Pep and John Branfield, 29 February 2024, lot 24 Exhibited: Falmouth, Falmouth Art Gallery, Women Artists in Cornwall , 1996, no. 46 Penzance, Penlee House Gallery and Museum, Women A rtists in Cornwall , 16 March - 27 April 2002, no. 97 Literature: Catherine Wallace (ed.), Women Artists in Cornwall 1880-1940 , Falmouth Art Gallery, 1996 Bette Moore, was the sister of the artist Marjorie ‘Midge’ Frances Bruford (1902
– 1958). Condition Report Disclaimer
Please review and confirm your bid
Current bid:
Opening bid:
Your max bid:
Max bid:
Quantity:
Bidding ends:
Your bid is off increment
Choose one of the quick bid options below:
Your bid is below the current minimum bid
To place a bid select the minimum amount below:
Bidding has ended on this item
We are always adding new lots, use search to find similar items.
You are the current highest bidder!
To be sure to win, come back before the lot closes or increase your maximum bid.
You have been outbid!
For a chance of winning, increase your maximum bid.
You have been outbid!
Another bidder has already bid this amount. For a chance of winning, increase your maximum bid.
You have won!
Congratulations!
You are the winning bidder on this lot.
You have lost!
Unfortunately you have missed out on this lot.
Unable to place your bid
Please refresh your page to see current lot status.
We're very sorry, but we were unable to process the Buy it now.
Please contact customer services for more help.
Your bid has been declined
Your bid has been declined by the auctioneer, please contact customer services for more information.
Your bid is pending approval with the auctioneer
Please check your email account for more details.
You cannot Buy it now until you are approved to bid.
Please contact the auctioneer
Confirming your bid is a legally binding obligation to purchase and pay for the lot should your bid be successful.
Please review and confirm your bid
Current bid:
Opening bid:
Your max bid:
Max bid:
Buy it now price:
As your Max bid is at least equal to the Buy it now price, you can immediately purchase the lot.
New bid:
Quantity:
Bidding ends:
Your bid is off increment
Choose one of the quick bid options below:
Your bid is below the current minimum bid
To place a bid select the minimum amount below:
Bidding has ended on this item
We are always adding new lots, use search to find similar items.
You are the current highest bidder!
To be sure to win, come back before the lot closes or increase your maximum bid.
You have been outbid!
For a chance of winning, increase your maximum bid.
You have been outbid!
Another bidder has already bid this amount. For a chance of winning, increase your maximum bid.
You have won!
Congratulations!
You are the winning bidder on this lot.
You have lost!
Unfortunately you have missed out on this lot.
Unable to place your bid
Please refresh your page to see current lot status.
We're very sorry, but we were unable to process the Buy it now.
Please contact customer services for more help.
Your bid has been declined
Your bid has been declined by the auctioneer, please contact customer services for more information.
Your bid is pending approval with the auctioneer
Please check your email account for more details.
You cannot Buy it now until you are approved to bid.
Please contact the auctioneer
Confirming your bid is a legally binding obligation to purchase and pay for the lot should your bid be successful.