Fine Paintings & Works on Paper | 11th December 2024
FINE PAINTINGS AND WORKS ON PAPER
WEDNESDAY 11TH DECEMBER 2024
Lot 58 (detail)
FINE PAINTINGS AND WORKS ON PAPER
TO BE SOLD BY AUCTION: 25 Blythe Road, London W14 0PD
AUCTION: Wednesday 11th December 2024, 12pm, precisely
PUBLIC EXHIBITION: Sunday 8th December, 12pm to 4pm Monday 9th December, 10am to 8pm Tuesday 10th December, 10am to 5pm
SALE NUMBER OA0154
ENQUIRIES:
Adrian Biddell, Head of Sale adrian.biddell@olympiaauctions.com
Tazeena Thorowgood, Assistant and Administrator tazeena.thorowgood@olympiaauctions.com
Hebe Reynolds, Administrator and Junior Cataloguer hebe.reynolds@olympiaauctions.com
+44 (0)20 7806 5541 pictures@olympiaauctions.com
ONLINE CATALOGUE AND LIVE INTERNET BIDDING AVAILABLE THROUGH: www.olympiaauctions.com www.the-saleroom.com www.invaluable.com www.drouotonline.com
This auction is conducted by Olympia Auctions in accordance with our Conditions of Business printed in the back of this catalogue.
Property from a London Collection 1
PERUVIAN SCHOOL (EARLY 18TH CENTURY)
VIRGIN OF SOLITUDE oil on canvas
81 x 62cm; 32 x 24 1/2in
93.5 x 74.5cm;
36 3/4 x 29 1/4in (framed)
Provenance
Frederick Ashton, Suffolk (Ashton, 1904-1988, became a dancer, the leading British choreographer of the twentieth century and Director of the Royal Ballet, Covent Garden. Born in Ecuador, he grew up in Peru before being sent to school in England, and - under parental pressure - working briefly in the City of London. But he soon quit his job to follow his passion to train to be a dancer, first studying under Leonide Massine and then under Marie Rambert, who encouraged his interest in choreography. In 1935 Ninette de Valois appointed him her resident choreographer, first for her company Vic-Wells Ballet and then for Sadlers Wells Ballet which became The Royal Ballet in 1956. Working alongside de Valois, Ashton honed his skills over many years and is now widely credited with the creation of a specifically English genre of ballet. Among his best-known works are Façade (1931); Symphonic Variations (1946); Cinderella (1948) and the feature film ballet The Tales of Beatrix Potter (1970). He was Knighted in 1962 and succeeded de Valois as director of the Royal Ballet in 1963. Under his direction the Company enjoyed a golden age of success and was widely considered the best ballet company in the world. He retired from the role in 1971).
Acquired from the above by his nephew, father of the present owner
The Virgin of Solitude is a form of Marian devotion specific to Spanish-speaking countries and refers to the Virgin in the act of contemplating the death of Jesus Christ. Both physically and psychologically isolated in her sorrow - for only a mother can know the true pain of childloss - she is traditionally depicted alone with arms crossed in her lament. In the present work nails and a crown of thorns lie at the Virgin’s feet, symbols of how Christ suffered for the sake of the world.
£2,000-3,000 1
PERUVIAN SCHOOL (18TH / 19TH CENTURY) ARCHANGEL
oil on canvas
83.5 x 55.5cm; 32 3/4 x 22in
96 x 68cm; 38 x 26 3/4in (framed)
Provenance
see provenance to previous lot
The exotic finery of the Archangel in the present work combines local Andean tradition with contemporary European fashion to create an image of fabulous aristocratic style. Although the angel’s costume is painted using a preponderance of earthy reds and yellows and is decorated with local flora and fauna, the balloon sleeves, intricate lace detailing, elaborate footwear and feathered tricorne hat clearly reflect a strong European influence.
The distinctive style corresponds to the Roman Catholic Cusco School prevalent in Peru during the sixteenth to the nineteenth centuries. The School refers to indigenous and European artists working during the Viceroyalty of Peru – a Spanish imperial province – in and around Cusco. Situated high in the Andes, the province became the headquarters for each of the Christian religious orders. European artists began working in Cusco shortly after the Spanish colonisation of the city in the 1530s, introducing European methods to native artists who had traditionally painted ceramics and murals in geometrically abstract forms.
£2,000-3,000
Property from a Private Collector, West London
GIOVANNI BATTISTA PIRANESI (ITALIAN 1720-1778)
THE TOMB OF PLAUTII, NEAR THE PONTE LUCANO etching on heavy ivory laid paper
62 x 46.5cm; 24 1/2 x 18 1/4in
86.5 x 71cm; 34 x 28in (framed)
Provenance
Acquired by the uncle of the present owner circa 1970
Literature
Piranesi, Vedute Di Roma Disegnate Ed Incise Da Giambattista Piranesi, circa. 1747-1766, pl. 83, illustrated Henri Focillon, Giovanni-Battista Piranesi: Essai de catalogue raisonné de son oeuvre, Paris, 1964, no. 783
John Wilton-Ely, Giambattista Piranesi, The Complete Etchings, Alan Wofsy Fine Arts, vol. I, 1994, no. 1014, illustrated
Executed circa 1760-69 and published 1800-07, the present work depicts the tomb of Lucanus Plautius from circa 10-14 AD, after whom the adjacent bridge over the river Aniene was named. The view is one of a series of etchings that Piranesi featured in his seminal Vedute di Roma (Views of Rome) that occupied the last thirty years of his life. Piranesi’s popular Vedute, which eclipsed earlier views of Roman landmarks through their dynamic compositions, bold lighting effects, and dramatic presentation, shaped European conceptions of the city.
One of the greatest printmakers of the eighteenth century, Piranesi always considered himself an architect. The son of a stonemason and master builder, he received practical training in structural and hydraulic engineering from a maternal uncle who was employed by the Venetian waterworks, and a thorough schooling in perspective and stage design, while his brother, a Carthusian monk, fired the aspiring architect with enthusiasm for the history and achievements of the ancient Romans. Although Piranesi had limited success in attracting architectural commissions, this diverse training was instrumental in establishing his reputation as a graphic artist.
£400-600
4
oil on canvas
28 x 39cm; 11 x 15 1/2in
46 x 55cm; 18 x 21 1/2in (framed in carved and gilt wood)
£1,500-2,500 4
MANNER OF FRANCESCO GUARDI (ITALIAN 1712-1793)
VENETIAN PORTICO
Property from the Estate of Peter Gerrard 5
ATTRIBUTED TO JAN WIJNANTS (DUTCH 1632-1684)
FIGURES IN A LANDSCAPE oil on canvas
53 x 65cm; 21 x 25 1/2in
73 x 85.5cm; 28 3/4 x 33 3/4in (framed)
Provenance
Spink & Son, London
Peter and Prudence Gerrard (acquired from the above circa 1962)
Wijnants regularly drew inspiration for his work from the woods, open landscape and waterways surrounding his native Harlem, his early development greatly influenced by both Jacob Van Ruisdael and Philip Wouwermans. The artist often repeated the compositional structure in his landscapes, with a path punctuated by figures skirting a canal and receding into the distance. Here, as in many of his paintings, the left side of the picture is built up with trees while the right side opens up to a panoramic view, creating a sense of space. The staffage in Wijnants’ paintings was often added by other artists such as Adriaen van de Velde (1636-1672) or Johannes Lingelbach (1622-1674), who was a frequent collaborator.
£3,000-5,000
Property from a Private Collector, Berkshire
CIRCLE OF GASPARD DUGHET (FRENCH 1615-1675)
FIGURES IN A LANDSCAPE oil on canvas
50 x 66cm; 19 3/4 x 26in
65.5 x 82cm; 25 3/4 x 32 1/4in (framed)
Provenance
Acquired by the present owner circa 2010
£3,000-5,000
7
FOLLOWER OF JAN VAN KESSEL (FLEMISH 1626-1679)
CHRIST AS THE MAN OF SORROWS SURROUNDED BY FESTOONS OF FLOWERS
oil on panel
25 x 19.5cm; 10 x 7 1/4in
58 x 45cm; 23 x 18in (framed)
Christ as the Man of Sorrows shows Jesus typically unclothed above the waist, with the wounds of the Passion prominently displayed on his hands and side, often crowned with thorns. The image developed from the thirteenth century and was especially popular in Northern Europe. Together with the Pietà - showing the suffering Madonna cradling the dead body of Christ - it was intended for private meditation and became the most popular devotional image of the period.
£700-900
£2,000-3,000 7 8
8
NORTH ITALIAN SCHOOL (CIRCA 1700)
DEATH OF LUCRETIA
oil on canvas, in a painted oval
43 x 36.5cm; 17 x 14 1/2in
58.5 x 52cm; 23 x 20 1/2in (framed)
The Roman noblewoman Lucretia plunged a knife into her breast after Sextus, the son of the tyrannical Etruscan king of Rome and a member of the Tarquin family, forced himself upon her. In ancient Roman, a woman who was raped was guilty of adultery, the blame passing onto her. It was a crime punishable by death, Lucretia made her husband and father swear an oath of vengeance against the Tarquins, and subsequently committed suicide in shame. Enraged by her death, Junius Brutus led a victorious rebellion against the Etruscan king and liberated the Romans from Etruscan rule, marking the beginning of the Roman Republic.
Property of a Gentleman, London
9
FRENCH SCHOOL (17TH CENTURY)
THE FINDING OF MOSES
oil on canvas
95.6 x 138cm; 38 x 54 1/2in
126 x 157cm; 49 1/2 x 61 3/4in (framed)
Provenance
Frederick Willis Farrer, London (d.1909; Farrer worked for the family legal firm, Farrer & Co. in Lincoln’s Inn Fields, and was the son-in-law of the painter George Richmond)
Sale, Christie’s London, 23 June 1916, lot 108
Sale, Phillips London, 28 April 1987, lot 65 (as Circle of Gaspard Poussin, called Gaspard Dughet).
Purchased at the above sale by the present owner
Exhibited
Ottawa, National Gallery of Canada, Egyptomania: Egypt in Western Art, 1730-1930, 1994, p. 33, fig. 2 (as by Charles-Alphonse Dufresnoy; illustrated in the catalogue)
The present work has been the subject of much scholarly debate. When first recorded at auction in 1916 it was considered to be by Claude Lorrain (1600-1682), when offered for sale in 1987 it was attributed to Circle of Gaspard Poussin, called Gaspard Dughet (1615-1675). Since 1987 a range of attributions have been proffered, mostly to French hands of the 17th century. In 1994, when it was a feature of the Egyptomania exhibition in Ottawa it was catalogued as by CharlesAlphonse Dufresnoy (1611-1668), an attribution put forward by Pierre Rosenberg; another suggestion is that it could be by Francisque Millet III (1697-1777). More recently the name of Dutch painter Johannes Glauber (1656-c.1703) has been proposed.
Iconographically the figures in the composition bear striking similarities to the work of Francisque Millet I (1642-79). The woman kneeling with arms outstretched to the left of the baby Moses compares with the corresponding figure in the etching by Theodore after the painting by Millet I (Alte Nationalgalerie, Berlin). The female figure standing behind Moses who gestures towards the child also adopts the pose of the woman standing almost in the river in Theodore’s etching.
Concerning references to the Antique, the obelisk on the left of the composition derives from the obelisk in front of the church of St John Lateran, Rome - one of the nineteen obelisks brought back from Egypt by Emperor Hadrian. Its ornamentation shows the cartouches of King Tuthmosis III of the Eighteenth Dynasty. The inscriptions in the roundel are taken, in part at least, from the obelisk in the Piazza del Popolo, Rome. The two statues are the Antinous now in the Museo Gregorio in the Vatican. The pyramid shown on the right is the tomb of Caius Cestius, which stands in what is now the English cemetery in Rome. The brass trumpet-like object on the ground is the rattle of Osiris, the Egyptian mother-god. The winged creatures in the sky appear to reference the flying serpents sent by God on the grumbling Israelites and the ibis Moses used to put down the birds.
£4,000-6,000
Property from a Lady
ATTRIBUTED TO MARY BEALE (BRITISH 1632-CIRCA 1697)
PORTRAIT OF PETER BEAVIS OF CLYST HOUSE (1657-1708)
oil on canvas
77 x 64.5cm; 30 1/4 x 25 1/2in
94.5 x 82cm; 37 1/4 x 32 1/4in (framed)
Provenance
Sale, Sotheby’s London, 9 November 1994, lot 26 (as Mary Beale)
Purchased at the above sale by the uncle of the present owner, thence by descent
Little is known today about the sitter in the present work, Peter Beavis. However, since the sixteenth century the senior line of the Beavis family were of the manor of Clyst Satchville, Devon. A pair of portraits attributed to Mary Beale, traditionally regarded as likenesses of the sitter’s parents Richard (1621-1702) and Margarett Beavis, née Davie (1627-c 1717) appeared in Bonhams’ Old Master Paintings sale in London on 8th December 2004, lot 2. The attribution of the pair, however, is not universally accepted. But because the style and dimensions of these portraits are so comparable to the present work, particularly in their inclusion of painted stone cartouches and the use of a similar colour palette, it is very probable that all three oils relate and are likely part of the same series.
£1,500-2,500
Property from a European Private Collector
FOLLOWER OF JOSEPH WRIGHT OF DERBY (BRITISH 1734-1797)
CHILD PLAYING WITH HIS MOTHER’S LOCK OF HAIR oil on canvas
78 x 102cm; 30 3/4 x 40 1/4in
93.5 x 117cm; 36 3/4 x 46in (framed)
Provenance
Sale, Sotheby’s London, Old Masters and 19th Century Paintings, 11 April, 2024, lot 78 (purchased by the present owner)
At the time of its acquisition by the father of the present owner, the painting was of a larger, upright format and had been overpainted to depict a woman in profile wearing an Empire-style dress. Since then the work has been restored, revealing the original design and the canvas modified to a landscape format.
£800-1,200
Property from a Private Collector, Dorset 12
VITTORIO AMEDEO PREZIOSI (MALTESE 1816-1882)
AN OTTOMAN LADY WITH HER SON signed Preziosi lower right
watercolour over pencil heightened with white on paper
26.5 x 18.5cm; 10 1/2 x 7 1/4in
38 x 32cm; 15 x 12 1/2in (framed)
Provenance
Acquired by the present owner circa 1990
£600-800
Property from a Private Collector, Oxford 13
WILLIAM CALLOW (BRITISH 1812-1908)
ST. GOARHAUSEN ON THE RHINE signed and dated Wm Callow 1861 lower left watercolour over pencil on paper
27 x 69.5cm; 10 1/2 x 27in
48.5 x 90cm; 19 x 35 1/2in (framed)
Provenance
Thomas Agnew & Sons Ltd., London
Acquired from the above by the present owner
The present lot depicts a view of Sankt Goar in the Rhine region, Germany; a vista that William Callow would repeatedly return to throughout his extensive career. Callow’s first visit to Switzerland and Germany was in 1838, before returning in 1861-2 for a second sketching tour to Coburg, Potsdam and Berlin, during which time the present watercolour was executed.
Callow’s watercolours satisfied the growing demand for travel imagery depicting scenic views and picturesque corners of European cities. Over the course of his long career, Callow’s working methods and choice of subjects barely changed, and his extensive oeuvre represents the final expression of the early nineteenth-century topographic watercolour tradition.
From the 1830s until the early years of the twentieth century Callow exhibited annually at the Society of Painters in Water Colours, and in 1907, at the age of 95, he attended his own retrospective exhibition at the Leicester Galleries in London.
£800-1,200
Property from a Private Collector, West London
14
JOHN CLEVELEY THE YOUNGER (1747-1786) SHIPPING OFF THE NEEDLES watercolour and pen and ink on laid paper
15 x 19cm; 6 x 7 1/2in
31 x 35cm; 12 1/2 x 13 3/4in (framed)
Provenance
Thomas Agnew & Sons Ltd., London Acquired from the above by the mother of the present owner circa 1990
John Cleveley the younger was the son of marine painter John Cleveley the Elder and the twin brother of Robert Cleveley, also a marine painter. John and Robert were born at Deptford and John was apprenticed to his father, then a shipwright, at an early age. He was later taught to paint in watercolour by Paul Sandby and in oils by his father, before exhibiting at the Free Society from 1767 and at the Royal Academy from 1770.
£500-700
15
VILHELM MELBYE (DANISH 1824-1882)
VIEW FROM THE HARDANGERFJORD LOOKING TOWARDS THE FOLGEFONNA, NORWAY
signed and dated W Melby 59 lower left; signed and inscribed No. 2 Wilhelm Melby 20 Circus Rd St Johns Wood, London. on the stretcher oil on canvas
51 x 91.5cm; 20 x 36in
67.5 x 108cm; 26 1/2 x 42 1/2in (framed)
Provenance
Private Collection, Sweden
Acquired from the above by the present owner in 2005
Exhibited
London, British Institution, 1861, no. 551 (View looking towards the Folgefjord in the Hardanger Fjord, Norway)
The late Regine Gerhardt confirmed the authenticity of this work.
£1,000-1,500
16
MIKHAIL SPIRIDONOVICH ERASSI (RUSSIAN 1823-1899)
MOUNTAIN PASS IN WINTER
signed in Russian lower left oil on canvas
52 x 79cm; 20 1/2 x 31in
71 x 96cm; 28 x 37 3/4in (framed)
Provenance
Sale, Paris, Hôtel Drouot, Tableaux et sculptures Impressionnistes, XIXe et Modernes, 2 December 2009, lot 31(purchased by the present owner) ‡ £3,000-5,000
Property from a London Collection 17
GEORG WOLF (GERMAN 1882-1962)
A SHEPHERD WITH HIS FLOCK signed G Wolf lower right oil on board
12 x 28.5cm; 4 3/4 x 11 1/4in
33 x 50cm; 13 x 19 3/4in (framed)
Provenance
Acquired by the grandfather of the present owner in Stuttgart in the 1960s
Wolf trained as a painter of animals and landscapes first at the Düsseldorf Kunstakademie from 1906 where he studied under the Austrian painter Julius Paul Junghanns (1876-1958) and subsequently with the celebrated animalier Heinrich von Zügel (1850-1941) from 1909-14 at his ‘Zügel-Schule’ in Wörth am Rhein.
⊕ £300-500
Property from a London Collection 18
ANDREAS MITTERFELLNER (GERMAN 1912-1972)
LAKELAND VIEW, BAVARIA signed Andre Mitterfellner lower right oil on board
48.5 x 58cm; 19 x 23in
66 x 76cm; 27 x 30in (framed)
Provenance
Acquired by the grandfather of the present owner in Stuttgart in the 1960s
Mitterfellner lived his entire life in Holzkirchen south of Munich specialising in painting scenes of the surrounding landscape.
⊕ £400-600
Property from a London Collection
19
FRIEDERICH
WILHELM OTTO MODERSOHN (GERMAN 1865-1943)
HOUSE AMONG TREES dated 886 lower left oil on board
35.5 x 30cm; 14 x 12in
57 x 51cm; 22 1/2 x 20in (framed)
Provenance
Acquired by the grandfather of the present owner in Stuttgart in the 1960s
Authenticated by Christian Modersohn, the artist’s son, on the reverse: Dieses Bild stammt von Otto Modersohn / Aus dem datire 1886 / Chris Modersohn / Gailenberg / 22.8.51
Painted in 1886, as the present work attests, Otto Modersohn developed his painterly style working outdoors en plein air, heavily influenced by Corot and the Barbizon School of artists. In 1897 he co-founded the Worpswede Art Colony near Bremen together with fellow landscapists and Düsseldorf Kunstakademie students Fritz Mackeson (1866-1963), Fritz Overbeck (1869-1909) and Heinrich Vogeler (1872-1942).
The group took on several students, amongst them Paula Becker (1876-1907) who joined in 1898, and whom - following the death of his first wifeOtto Modersohn married in 1901. In the years that followed Otto Modersohn continued largely at Worpswede as a landscape painter, whilst his wife Modersohn-Becker forged her own distinctive early Expressionist style for which she is now celebrated, but died tragically young after their first child was born in 1907.
Following Paula’s death Modersohn moved away from the area, eventually acquiring an old farmhouse in Gailenberg in Bad Hindelang, southern Germany in 1933 where he kept a studio for the remainder of his life. His oeuvre was extensive, and can be seen in Worpswede and museums devoted to both his and Paula’s work in Fischerhude and Tecklenburg, Westphalia.
£4,000-6,000
Property of a London Collector
EDWARD COLEY BURNE-JONES (BRITISH 1833-1898)
PORTRAIT OF A YOUNG WOMAN, THOUGHT TO BE ANNE MARIA JONES
– RECTO; TWO CARICATURES OF WILLIAM MORRIS – VERSO inscribed POETA NON FIT verso coloured chalk and pencil on paper
50 x 35.5cm; 19 3/4 x 14in (sheet) 67 x 55cm; 26 1/4 x 21 3/4in (framed)
Provenance
Sir Edward Poynter RA (a gift from the artist. Poynter, 1836-1919, was an artist, served as the President of the Royal Academy from 1896-1918 and was the brother-in-law of Edward Coley Burne-Jones)
Alfred Baldwin (a gift from the above. Baldwin, 1841-1908, was Poynter’s brother-in-law, a businessman and politician and the father of the future Prime Minister, Stanley Baldwin. Poynter, Burne-Jones and Baldwin all married daughters of George Browne Macdonald - Agnes, Georgina and Louisa respectively - to form part of a remarkable family circle; another Macdonald sister, Alice, married John Lockwood Kipling, father of Rudyard Kipling)
Thence by descent to the present owner
Anne Maria Jones (also known as Augusta or Gussie) was one of three sisters from Hull who made a living in London as artist’s models. Celebrated for her strong profile and wealth of golden hair, she posed for several important pictures by Burne-Jones in the 1860s, including the watercolour Astrologia of 1865 and the oil Princess Sabra in the Garden (Musée d’Orsay, Paris). Other artists for whom she sat included Albert Moore, James Abbott McNeill Whistler and members of the Pre-Raphaelite brotherhood.
On the reverse of the present drawing are two humorous caricatures by Burne-Jones of his closest friend William Morris. One of the sketches is inscribed ‘Poeta non Fit’ (the poet is not yet done) and depicts the great designer and writer pompously leaning against a pedestal and orating to an unseen audience. The other sketch depicts him slumped in his chair and continuing to orate with little care about whether he is being listened to. Both Burne-Jones and Poynter were very fond of Morris but had also had to endure interminably long evenings in which he had insisted on reading to them at length from his epic poems and translations. Burne-Jones’ wife Georgina admitted that she sometimes had to bite her fingers or stick pins in herself to ward off sleep when Morris was in a particularly verbal mood. The caricatures were clearly shared with Poynter to tease Morris. There are other examples in the British Museum which similarly poke fun at Morris and his speeches.
Roger Langley, Walter Langley, Pioneer of the Newlyn Art Colony, Bristol, 1997, p.168, illustrated
Painted in Newlyn in 1901, the present lot depicts the courtyard of a local cottage; a fisherman pauses from repairing sail cloth to smoke his pipe whilst a young woman reads a letter and two children draw water from a barrel behind. The same courtyard featured in a number of Langley’s works including a large oil painting of 1898 A Cousin from Town and a watercolour from 1901 Local Critics.
The young woman also appeared in other works by Langley, and can be seen leaning against the harbour railings in the artist’s large oil of the same year Between the Tides (Warrington Museum and Art Gallery, Cheshire). The blouse worn in both works was originally white and belonged to a Newlyn woman named Mrs Tregurtha who dyed it pink but gifted it to Langley after she decided it did not suit her complexion.
£4,000-6,000 21
Property from a Collector 22
GEORGE LANCE (BRITISH 1802-1864)
FRUIT SELLER
oil on canvas
104 x 58.5cm; 41 x 23in
137 x 91cm; 54 x 35 3/4in (framed)
Provenance
Rosie Tickner (Mrs Tickner, 1895-1972, established a successful courturier business in Liverpool with additional outlets in London and Cowlyn Bay)
Thence by descent to the present owner, grandson of the above £1,500-2,500
LEON COMERRE (FRENCH 1850-1916)
STUDY FOR ARACHNE
oil on canvas
54 x 73cm; 21 1/4 x 28 3/4in
74.5 x 93cm; 29 1/2 x 36 1/2in (framed)
Painted circa 1900, the present work relates to Comerre’s larger circular oil Arachné exhibited at the Paris Salon of 1905
(see George Comerre & Denyse Lion-Comerre, Léon Comerre, Paris, 1980, p. 56, the larger painting illustrated)
Provenance
Sale, Hôtel Drouot Paris, Tableaux et Dessins de Léon Comerre, 3 February 2003, lot 102 (purchased by the present owner)
£800-1,200
Property from a Private Collector, Leicestershire 24
CHARLES COOPER HENDERSON (BRITISH 1803-1877)
THE LONDON TO LEOMINSTER STAGECOACH oil on canvas
43 x 56.5cm; 17 3/4 x 22 1/4in
59 x 84cm; 23 1/4 x 33in (framed)
Provenance
Beaton-Brown Fine Paintings, London
Acquired from the above by the present owner circa 2000
One of the major coaching painters of the nineteenth century, Henderson is celebrated for his extensive output and distinctive detailing of splattered paint suggesting a fast-paced sense of urgency in his compositions. Henderson married against his father’s wishes and was subsequently disinherited, thus relying on his paintings as a means of livelihood.
£1,000-2,000
Property from a Collector
25
ROBERT ALEXANDER HILLINGFORD (BRITISH 1828-1904)
THE CAVALIER
signed with initials RH lower right oil on canvas
25.5 x 20.5cm; 10 x 8in
50.5 x 45cm; 20 x 7 3/4in (framed)
Provenance
Rosie Tickner (Mrs Tickner 1895 -1972, established a successful courturier business in Liverpool, with additional outlets in London and Cowlyn Bay) Thence by descent to the present owner, grandson of the above £400-600
Property from a Lady, Staffordshire 26
WILLIAM GEDDES (SCOTTISH 1841-1884)
ROB ROY KEEPING WATCH
signed with the monogram lower left oil on canvas
60 x 48cm; 23 1/2 x 19in
88.5 x 74cm; 35 x 29in (framed)
Provenance
Acquired by the husband of the present owner circa 1980
The present work depicts Rob Roy MacGregor, a character of Scottish-folkloric legend, in his hideout with a considerable armouryincluding his broad sword, pistol and targe (a distinctly Scottish, large circular shield) - keeping watch over the surrounding Highlands and ready for battle. The location is said to be on the hillside above the farmstead of Tulloch, just west of the Kirkton of Balquhidder in a cave behind a waterfall.
Rob Roy was a mischievous outlaw notorious for stealing cattle from wealthy farmers, the Robin Hood-type figure became a local hero during the Jacobite uprisings at the Battle of Killiecrankie at the age of just eighteen, and subsequently the 1715 rising against the Duke of Argyll who commanded the government troops in Scotland.
£500-700
Property from a distinguished Private Collector
ROBERT GEMMELL HUTCHISON (SCOTTISH 1855-1936)
A GIRL WITH AN UMBRELLA
signed Gemmell Hutchison lower right oil on canvas
35.5 x 25.3cm; 14 x 10in
45 x 35cm; 17 3/4 x 13 3/4in (framed)
Provenance
Richard Hagen, Broadway, Worcestershire Sale, Christie’s, Edinburgh, The Scottish Sale at the Assembly Rooms, 28 October 2004, lot 103 (purchased by the present owner)
Edinburgh-born Robert Gemmell Hutchison initially trained as a seal engraver before abandoning the endeavour in favour of painting, concentrating primarily on the life of children in rural and naturalistic settings. Strongly influenced by fellow Scottish artist William MacTaggart (1835-1910) and the Hague School in Holland, Hutchison’s loose handling of paint and light palette garnered him wide success around Britian. He exhibited at the Royal Academy, London, was elected as an Associate of the Royal Scottish Academy in 1901 and was awarded numerous gold medals, notably at the Paris Salon of 1928.
£4,000-6,000
Property from a distinguished Private Collector
ROBERT GEMMELL HUTCHISON (SCOTTISH 1855-1936) HOT POTATOES
signed Gemmell Hutchison upper left; signed and titled Hot Potatoes, Gemmell Hutchison on the reverse oil on panel
14.5 x 11cm; 5 3/4 x 4 3/8in
20.5 x 17.5cm; 8 x 6 7/8in (framed)
Provenance
Sale, Christie’s, London, The Scottish Sale, 28 October 1999, lot 166
Sale, Sotheby’s, Gleneagles, Scottish and Sporting Pictures and Sculpture, 27 August 2003, lot 1195 (purchased by the present owner)
see note to previous lot
£3,000-5,000
Property from a distinguished Private Collector
A YOUNG PARISIAN
signed Jean Béraud lower right oil on panel
36 x 20.5cm; 14 1/4 x 8in
48 x 32cm; 18 7/8 x 12 1/2in (framed)
Provenance
Sale, Christie’s New York, 19th Century European Art, 22 April 2004, lot 183
Kraushaar Fine Arts, New York
Acquired from the above by the present owner in January 2006
£5,000-7,000
JEAN BERAUD (FRENCH 1849-1936)
Property from a distinguished Private Collector
ROBERT GEMMELL HUTCHISON (SCOTTISH 1855-1936)
A BOY WITH AN UMBRELLA
signed Gemmell Hutchison lower right
oil on artist’s board
27 x 20cm; 10 5/8 x 8in
36 x 29cm; 14 1/8 x 11 3/8in (framed)
Provenance
Sale, Sotheby’s London, Scottish and Sporting Paintings, Drawings and Watercolours, 26 April 1988, lot 256
Sale, Christie’s Edinburgh, The Scottish Sale at the Assembly Rooms, 28 October 2004, lot 102 (purchased by the present owner)
see note to lot 27
£3,000-5,000
JOHN CHARLES GOODHART (AUSTRALIAN 1873-1952)
DUST STORM OVER BROKEN HILL, NEW SOUTH WALES, AUSTRALIA
signed and dated J.C. Goodhart 1907 lower left oil on canvas
61.5 x 85cm; 24 1/4 x 33 1/2in
86 x 109.5cm; 34 x 43 1/4in (framed)
The present work captures the legendary dust storm that engulfed Broken Hill and the surrounding area of New South Wales in 1907.
Trees were uprooted and roofs were ripped off homes by the strong winds that blew dust as far as the sea. The region is still subject to devastating natural disasters, with the last dust storm accumulating as recently as 2021.
Broken Hill is in the far west region of outback New South Wales, Australia. The town features in Australia’s history after the discovery of silver-lead-zinc ore established Broken Hill as a prosperous mining town.
signed and dated Gerald Fitzgerald 1898 lower left watercolour heightened with stopping out and gum arabic
54.5 x 29.5cm; 21 1/2 x 11 3/4in
76 x 52cm; 30 x 20 1/2in (framed)
Fitzgerald was born in Hunters Hill, Sydney, the seventh of eight children. He commonly painted scenes of the surrounding areas of New South Wales, including numerous depictions of Port Kembla, a coastal suburb just south of Sydney. Fitzgerald regularly exhibited with art societies in Australia and New Zealand. In 1898 three of his works were chosen for inclusion in the Exhibition of Australian Art in London.
£200-300
⊕ £800-1,200 32
ARTHUR BAKER-CLACK (AUSTRALIAN 1877-1955) LE CHAUMINE
signed A Baker Clack lower right; signed, titled, inscribed TREPIED, ETAPLES, P.D.C. / FRANCE and priced on the artist’s label on the reverse oil on board
38.5 x 46cm; 15 1/4 x 18in
46.5 x 54.5cm; 18 1/4 x 21 1/2in (framed)
Arthur Baker-Clack was an Australian-born landscape painter who studied at the art colony in Étaples, Pas-de-Calais, France in 1910. He remained in the region through the upheaval of the First World War and its aftermath, deepening his connection to the area’s artistic community. Baker-Clack showcased his work at prestigious exhibitions including the Salon des Indépendants, and joined the London Group led by Walter Sickert. The collective embraced the Post-Impressionist style and captured scenes of everyday life, with subjects ranging from idyllic landscapes to still-life studies.
JOHN NASH
WATERCOLOURS FROM A PRIVATE COLLECTOR, WEST LONDON (LOTS 34-37)
Painter, wood engraver, lithographer and illustrator, Nash is best known and much celebrated for his landscape paintings and observations of the natural world.
As a boy he moved with his family from urban London to the Buckinghamshire countryside near Iver Heath, a village boasting a gentle terrain of rolling hills, acres of fields, and verdant trees which would inform his visual vocabulary for the rest of his life. Here Nash befriended fellow artist Claughton Pellew (1890-1966) who was to encourage his interests in watercolour and painting the natural world.
Schooled at Wellington College, Berkshire, Nash was dissuaded from studying at art school by his brother Paul Nash (1889-1946) who was attending the Slade and found the rigid structure of formal training oppressive. Instead, John studied botany, an interest he had nurtured since childhood after winning a botany prize and subsequently calling himself an ‘artist plantsman’.
During the First World War Nash served in the Artist’s Rifles on the front lines, and although deterred from recording his experiences at the time, he began to materialise his experiences from memory when he returned to England in 1917. He was appointed an Official War Artist in 1918, the same year that he completed his oil Over the Top (Collection of the Imperial War Museum), of soldiers clambering from their trenches to engage with the enemy.
That same year too Nash married Christine Kühlenthal whom he had met eighteenth months prior. Before he returned from the war, the couple pledged they would marry if he came back alive and,
privately, that their shared life would be at once both intimate and free. In their ideal future, each might well have other ‘outside loves’ and their alliance was to be a convention-defying undertaking. Their wedding gave legal form to a relationship that would endure for fifty-eight years; a deep personal commitment, but not an acceptance of ties that bind.
After the War Nash became the first art critic of the London Mercury magazine, held his first solo-exhibition at the Goupil Gallery in 1921, and associated with several small artistic circles including the London Group and the Cumberland Market Group in Camden. During the Second World War, Nash was again appointed a War Artist, this time serving as a Captain in the Royal Marines. After the War he and Christine moved to Essex. He joined the staff of the Royal College of Art, taught alongside Henry Collins, Cedric Morris, Lett Haines and Roderic Barrett at Colchester Art School and founded the Colchester Art Society of which he later became President.
Throughout his married life his excursions into the countryside to work en plein air were frequently accompanied by his wife who would find suitable vistas. Nash would then make a sketch on the spot as the basis of a work that he would later complete in his studio. The support of the endlessly forbearing Christine would make possible a career of great richness spanning six decades. As John Rothenstein. art historian and Tate Director, recalled, half a haystack interested him as much as a mountain range, and half of his best works can be traced to locations within walking distance of his long-term homes in the Chilterns and the Stour Valley.
signed and dated John Nash 1939. lower right watercolour over pencil on paper
44 x 57cm; 17 1/2 x 22 1/2in
70 x 81.5cm; 27 1/2 x 32 1/4in (framed)
Provenance
Purchased from the artist by the grandfather of the present owner circa 1940 Exhibited London, Royal Academy, Summer Exhibition, 1967 Worthing, Worthing Art Gallery, John Nash, 1971
Nash’s visit to the Gower Peninsula near Swansea in Wales in 1939 was the first of many he made to the region. In 1956 the Peninsula became the first area in the UK to be designated an ‘Area of Outstanding Natural Beauty’.
⊕ £4,000-6,000
Property from a Private Collector, West London 35
JOHN NASH (BRITISH 1893-1977) LANDSCAPE UNDER SNOW signed John Nash. lower left watercolour on paper
52.5 x 36.5cm; 20 3/4 x 14 1/2in 57 x 74cm; 22 1/2 x 29 1/4in (framed)
Provenance
Commissioned from the artist by the grandfather of the present owner in the late 1950s
Executed in the 1950s, the current owner’s grandfather commissioned Nash to paint the present subject after receiving a Christmas card from the artist of the view. Opening the Christmas missive he was immediately captured by the harmonious composition, the snowcapped trees, rolling hills blanketed by white powder and the mauve shadows cast across the landscape in the card, and asked Nash to develop the composition into a larger format. Nash duly obliged, scaling up the drawing and adding washes of watercolour to fully realise the image that has become a stand-alone depiction of an idyllic winter’s morning.
⊕ £4,000-6,000
Property from a Private Collector, West London
JOHN NASH (BRITISH 1893-1977) PRIMEVAL FOREST, BUTLEY (RENDLESHAM FOREST)
signed and dated John Nash / 1955 lower left watercolour over pencil on card
55 x 45.5cm; 21 3/4 x 18in
82 x 70.5cm; 32 1/4 x 27 3/4in (framed)
Provenance
Purchased from the artist by the grandfather of the present owner in the mid-1950s
Exhibited London, The Royal Academy, Summer Exhibition, 1961 Worthing, Worthing Art Gallery, John Nash, 1971 After his relocation in 1944 to Colchester following the Second World War, Nash spent the rest of his life painting the English countryside. A stone’s throw from Nash’s permanent residence in Wormingford, Rendlesham Forest would become a frequent source of inspiration for the artist where he would depict specific trees, flora and fauna from the area, such as Rendlesham Woods and Dead Fir Tree, Rendlesham Forest, both works on paper executed in 1969.
⊕ £3,000-5,000
37 (recto)
37
Property from a Private Collector, West London
37
JOHN NASH (BRITISH 1893-1977)
LANDSCAPE - RECTO; BARN AND SHEEVES OF WHEAT - VERSO
signed John Nash lower right - recto; signed and inscribed Evening strong low sun / John Nash lower right - verso; both sides with additional annotations by the artist
watercolour over pencil on two joined sheets of paper
35.5 x 46.5cm; 12 x 18 1/4in
51.5 x 66cm; 20 1/4 x 26in (framed as one) (2)
Provenance
Purchased from the artist by the grandfather of the present owner
⊕ £1,500-2,500
(verso)
JOHN PETER RUSSELL (AUSTRALIAN 1858-1930)
LA SEINE A NEUILLY signed, dated and titled JOHN RUSSELL 04. SEINE A NEUILLY lower right watercolour over pencil on paper
22.5 x 30.5cm; 8 3/4 x 12in
47 x 54.5cm; 18 1/2 x 21 1/2in (framed)
The present lot is a view of the Pont de Neuilly that spans the Seine to the north-east of Paris and connects the neighbourhood of Neuilly to La Défense. Painted sparingly with ultramarine blues and delicate shades of violet, the artist combines topographical accuracy with an Impressionist palette to capture the shifting light as the day draws to a close.
Born in Sydney, Russell emigrated to London in 1880 where he studied at the Slade School of Art before moving to Paris. In France he witnessed at first hand the development of Impressionism, befriending a number of leading artists of the day, including Auguste Rodin (1840-1917) and Claude Monet (1840-1926), and viewing exhibitions hosted by the Ecole des Beaux-Arts and at the gallery of Paul Durand-Ruel.
Working in the studio of the Fernand Cormon, 1845-1924 (see lot 23), Russell befriended Vincent van Gogh, resulting in the artist’s first ever portrait executed by Russell in 1886, now in the Van Gogh Museum, Amsterdam (fig. 4). The two artists remained close and corresponded right up until Van Gogh’s death in 1890. Although strikingly different personalities, they perhaps shared the same self-doubt in terms of artistic acumen: Russell was notoriously shy about exhibiting his work and his comfortable financial position exempted him from having to expose himself to criticism.
Russell eventually returned to Sydney in 1920 where he died in relative obscurity. His cousin, Australian artist Thea Proctor, did much to posthumously promote Russell’s art and by the late twentieth century a number of biographies and exhibitions had helped restore his reputation as a significant artist. Today, Russell’s works are held in major galleries in his Australia and across Europe, including the Musée d’Orsay and the Musée Rodin in Paris.
£2,000-3,000
Property from a distinguished Private Collector
RUSKIN SPEAR (BRITISH 1911-1990)
AT THE BAR
signed and dated Ruskin Spear 62 lower right oil on paper mounted on board
66 x 31.5cm; 26 x 12 1/2in
90 x 62cm; 35 3/8 x 12 3/8in (framed)
Provenance
Sale, London, Sotheby’s Olympia, Modern British and Irish Art, 19 May 2004, lot 170
Crane Kalman Gallery, London
Acquired from the above by the present owner in February 2005
⊕ £2,500-3,500
Property from a distinguished Private Collector
ALAN LOWNDES (BRITISH 1921-1978)
SYLVAN GROVE
signed AB Lowndes lower left oil on canvas
52 x 76.2cm; 20 1/2 x 30in
72 x 97cm; 28 1/4 x 38 1/8in (framed)
Provenance
Crane Kalman Gallery, London
Acquired from the above by the present owner in February 2005
Exhibited
London, Crane Kalman Gallery, Silence in Painting, 1999
London, Crane Kalman Gallery, Alan Lowdnes Retrospective & Book Launch, 2010
Painted in 1948, Sylvan Grove is a street in Altrincham to the west of Alan Lowndes’ native Stockport, Greater Manchester. Like his contemporary Laurence Stephen Lowry, both of whom were represented by the same dealer Andras Kalman, Lowndes documented the lives of the working classes, depicting a nostalgic vision of a quiet life in the urban north.
⊕ £6,000-8,000
Property from a Private Collector, Middlesex
41
MICHAEL ANDREWS (BRITISH 1928-1995) RECLINING NUDE, LIFE DRAWING
pencil on paper
15.5 x 35cm; 6 1/4 x 14in
26 x 45.5cm; 10 1/4 x 18in (framed)
Provenance
Estate of the artist
June Andrews (the artist’s wife)
A gift from the above to the present owner, the artist’s accountant
Executed circa 1949-1953, when Andrews was a student at the Slade School of Art under William Colstream, Lucian Freud and Lawrence Gowing. Awarded a Rome Scholarship in Painting, after graduating Andrews spent six months in Italy at the British School in Rome. Upon his return Andrews divided his time between his native Norwich and London. His first two solo exhibitions were held at the Beaux Arts Gallery, London in 1958 and 1963.
Together with Auerbach, Bacon, Freud, Hockney, Kitaj, and Kossoff, Andrews became associated with the so called ‘School of London’, a name coined by Kitaj to describe the heterogeneous group of painters that he brought together in the landmark exhibition The Human Clay at the Hayward Gallery in 1976. The group’s shared interest was in figurative painting at a time when abstraction was in the ascendent and painting the human figure and naturalism was far from fashionable.
⊕ £1,500-2,500
Property from a Private Collector, Middlesex 42
MICHAEL ANDREWS (BRITISH 1928-1995) STUDY OF HERMES FASTENING HIS SANDAL pencil on paper
26.5 x 35.5cm; 10 1/2 x 14in
37 x 45.5cm; 14 1/2 x 18 x 14in (framed)
Provenance
Estate of the artist
June Andrews (the artist’s wife)
A gift from the above to the present owner, the artist’s accountant
Executed circa 1949-1953. The present work is a study of Hermes Fastening His Sandal, an early Roman marble copied from the lost Greek original in the manner of Lysippos dating to the fourth century BCE. The Roman copy is in the Musée du Louvre, Paris.
see note to previous lot
⊕ £800-1,200
Property from a Private Collector, Middlesex
43
MICHAEL ANDREWS (BRITISH 1928-1995)
BEECH TREE, EARLHAM HOUSE
signed and dated M. ANDREWS 5th Sept lower right
watercolour and ink on paper
24.5 x 17cm; 9 1/2 x 6 3/4in
33.5 x 26cm; 13 1/4 x 10 1/4in (framed)
Provenance
Estate of the artist
June Andrews (the artist’s wife)
A gift from the above to the present owner, the artist’s accountant see note to lot 41
⊕ £500-700
WORKS FROM THE ESTATE OF ALEXANDER IOLAS
BY JEAN
HUGO AND NIKKI DE SAINT PHALLE (LOTS 44-52)
Born in Alexandria, Egypt, Alexander Iolas (1908-1987) was a renowned art dealer, gallerist and collector of both classical and modern art whose extraordinary influence made a seismic impact on the New York art scene and internationally between the 1950s and 1980s.
As a young man Iolas defied family expectations of following in the path of his father to become a cotton dealer, instead he travelled widely throughout Europe pursuing a career in ballet before turning his attention to the arts. In 1935 he arrived in New York and launched himself into the city’s growing art scene as the manager of Hugo Gallery on East 55th Street. Founded by Elizabeth Arden alongside Robert Rothschild, the gallery gained a reputation for Surrealist art after Iolas staged a pivotal exhibition of new work by Max Ernst, Dorothea Tanning and René Magritte in 1947.
Five years later Iolas mounted the landmark show of the yet undiscovered artist Andy Warhol, staging his artistic debut Fifteen Drawings Based on the Writings of Truman Capote in 1952 and propelling the young American artist to stardom. Iolas and Warhol subsequently worked extensively together, with Iolas credited for commissioning one of Warhol’s final print epics Last Supper of 1986. Iolas also introduced the work of Ed Ruscha to the gallery, shepherding both his reputation and his market. In 1955, in partnership with Brooks Jackson, Iolas established his own independent gallery franchise across Paris, Milan, Rome, Geneva, Madrid and Athens.
Famous for his bombastic claims and often amusing opinions (once dismissing Balthus and Cy Twombly as terrible painters in the same breath), Iolas’ professional achievements are often interchangeable with extraordinary stories of a legend formed in part of his own making. His eye was informed by intuition rather than institution, his theatrical nature inextricably linked to his professional undertakings. Speaking to art historian Maurice Rheims in 1965, Iolas stated: ‘I don’t consider a gallery as a commercial occupation. It’s purely artistic… it’s a show in which the audience members are the dancers, and the scenery is made by the painter.
Property from the Estate of Alexander Iolas
The following nine lots are from Iolas’ private collection.
44 JEAN HUGO (FRENCH 1894-1984)
(i) ON THE QUAY (ii) BY THE CLIFFS
(iii) ACROSS THE SOUND
each signed Jean Hugo - (i) lower left, (ii) & (iii) lower right; (i) inscribed no. 103 on the reverse, (ii) inscribed no. 41 on the reverse, (iii) inscribed no. 113 on the reverse gouache on paper
4.8 x 8cm; 2 x 3 1/4in (i) & (iii)
8 x 4.8cm; 3 1/4 x 2in (ii)
55.5 x 23.5cm; 21 3/4 x 9 1/4in (three framed as one)
Jean Hugo was the great-grandson of the Romantic novelist and politician Victor Hugo (1802-1885).
Brought up in a lively artistic environment, he began teaching himself drawing and poetry from an early age. His artistic career spans the twentieth century, from his early sketches of the First World War through the creative fervour of his years in Paris thereafter. Part of an extensive artistic circle, he counted Picasso, Cecil Beaton and Jean Cocteau (see lot 68) among his friends.
each signed Jean Hugo lower right gouache on paper
each: 7.8 x 4.6cm; 3 1/4 x 1 3/4in
55.5 x 23.5cm; 21 3/4 x 9 1/4in
(three framed as one)
see note to previous lot
⊕ £2,000-3,000
Property from the Estate of Alexander Iolas
JEAN HUGO (FRENCH 1894-1984)
(i) THE TOWN FOOTBALL PITCH
(ii) LANDSCAPE AT DUSK
(iii) A DOG AND HIS MASTER
each signed Jean Hugo lower right; (i) inscribed no. 87 on the reverse, (ii) inscribed no. 152 on the reverse, (iii) inscribed no. 45 on the reverse gouache on paper
7.8 x 4.6cm; 3 1/4 x 1 3/4in (i) & (iii)
7 x 3.4cm; 2 3/4 x 1 1/4in (ii)
58 x 23.5cm; 22 3/4 x 9 1/4in (three framed as one)
see note to lot 44
⊕ £2,000-3,000
Property from the Estate of Alexander Iolas
47
NIKI DE SAINT PHALLE
(FRENCH-AMERICAN 1930-2002) REMEMBER
signed Niki de Saint Phalle and numbered 54/100 lower right screenprint in colours on wove paper 50 x 61.3cm; 19 3/4 x 24 1/4in unframed
Executed in 1969.
The present lot together with lots 48-52 executed between 1968-1970 depict Saint Phalle’s idiosyncratic style characterised by vibrant colours and a youthful spirit, works that have been included in what has been called ‘outsider art’ as she did not receive an academic training. The works portray numerous characters with quotations and annotations that shed insight into the artist’s deeply personal state of mind as she navigates heartbreak and reproductive health. The works later informed Saint Phalle’s illustrated book AIDS: You Can’t Catch It Holding Hands of 1986, an important work that delivers life-saving healthcare information about the transmission of HIV through colourful cartoons in an attempt to destigmatise the disease.
Saint Phalle was a self-taught avant-gardist, one of the late twentieth century’s great creative personalities, with traits that once clouded and now halo her importance. First dominated by feminist rage, the artist’s creative direction eventually moved away from an epoch of destruction to a period typified by the celebration of womanhood through sculptures of female bodies, often immense, in fibreglass and polyester resin. Her work reached its zenith in such monumental outdoor projects as Dragon for the son of Roger Nellens, at Knokke-le-Zoute created in the early 1970s in collaboration with her long term creative and romantic partner Jean Tinguely (1925-1991), and The Tarot Garden, a sculpture garden in Pescia Fiorentina, Tuscany featuring twenty-two monumental figures inspired by Guadi’s Parc Güell in Barcelona, that opened in 1998.
⊕ £500-700
Property from the Estate of Alexander Iolas
48
NIKI DE SAINT PHALLE
(FRENCH-AMERICAN 1930-2002) MACHINE A REVER
signed N. Saint Phalle and numbered 29/50 lower right screenprint in colours on wove paper
88.5 x 61cm; 34 3/4 x 24in unframed
Executed in 1970.
see note to previous lot
⊕ £500-700
Property from the Estate of Alexander Iolas
49
NIKI DE SAINT PHALLE
(FRENCH-AMERICAN 1930-2002) WHAT SHALL I DO?
signed Niki de Saint Phalle and numbered 28/50 lower right screenprint in colours on wove paper
89 x 61cm; 35 x 24in unframed
Executed in 1969.
see note to lot 47
⊕ £500-700
Property from the Estate of Alexander Iolas
50
NIKI DE SAINT PHALLE
(FRENCH-AMERICAN 1930-2002) WHY DON’T YOU LOVE ME?
signed Niki de Saint Phalle and numbered 24/100 lower right screenprint in colours on wove paper
40 x 60cm; 15 3/4 x 23 1/2in unframed
Executed in 1968.
see note to lot 47
⊕ £500-700
Property from the Estate of Alexander Iolas
51
NIKI DE SAINT PHALLE (FRENCH-AMERICAN 1930-2002) OUR LOVE WAS A BEAUTIFUL FLOWER
signed Niki de Saint Phalle and numbered 3/75 lower right screenprint in colours on wove paper
50.2 x 57.5cm; 19 3/4 x 22 1/2in unframed
Executed in 1969.
see note to lot 47
⊕ £500-700
Property from the Estate of Alexander Iolas
52
NIKI DE SAINT PHALLE (FRENCH-AMERICAN 1930-2002) UNTITLED
signed Niki de Saint Phalle and numbered 26/50 lower right screenprint in colours on wove paper
89 x 61cm; 35 x 24in unframed
see note to lot 47
⊕ £500-700
Born in Berlin, Karsten Schubert (1961-2019) was a pioneer on the 1980’s London Art scene, opening doors of opportunity to many artists who were associated with the Young British Artist movement (YBAs). He began his career at the Lisson Gallery which, in the early 80’s, was one of the very few London galleries offering space to young undiscovered artistic talent. Inspired to create his own forum for a new generation of art, Karsten sought investment from dealer Richard Salmon, and at the age of 25 established a gallery on Charlotte Street, Fitzrovia.
His first exhibition featured the work of Alison Wilding and, following on from Damien Hirst’s Freeze show of 1988, he began representing Goldsmith graduates Gary Hume, Michael Landy and Ian Davenport. Karsten typically gave his artists free reign to create as they pleased. In 1992 the exhibition Closing Down saw artist Michael Landy fill shopping trolleys with cheap tat emblazoned with banners: ‘Cor What a Bargain’ and ‘Everything Must Go.’ Equally as outlandish was Anya Gallacio’s project in which she covered the gallery interior with chocolate. Although groundbreaking and inspiring these exhibitions
PROPERTY FROM THE ESTATE OF KARSTEN SCHUBERT (LOTS 53 & 54)
were ultimately uncommercial, Karsten was obliged to relocate to smaller premises on Foley Street and a number of his protégés left him for other representation in London’s popular West End.
In 1995, Karsten turned his attention to publishing. Teaming up with Thomas Dane and Charles Asprey, he established Ridinghouse Editions focusing on prints. Later in his career, his literary focus shifted to more academic endeavours and Ridinghouse became a publisher of art history and theory including a number of artist monographs. Karsten’s artistic focus also shifted and he concentrated on the works of the likes of Bridget Riley and Tess Jaray from his Lexington Street Gallery in Soho.
Loved and admired in the London art world and beyond, in 2015, Schubert was diagnosed with a rare form of thyroid cancer. While recovering from surgery in a suite at Claridge’s, London (his hotel bill was met by two friends) he wrote a semi-autobiographical book, Room 225-6: A Novel. The book was published by Ridinghouse, with the proceeds going towards research into robotic surgery.
signed, titled, dated and dedicated for Karsten / Michael Craig Martin / Untitled (Gun) / 1997 on the reverse acrylic on canvas 41 x 25.5cm; 16 x 10in unframed
Michael Craig-Martin depicts everyday items with a nuanced simplicity that exposes the tensions between objects and their representation. His work is distinguished by exceptional draftsmanship, vibrant colour, and uninflected line; intensely visual, it is rooted in an exploration of the relationships between perception, language, and meaning. In the mid-1990s Craig-Martin explored a range of quotidienne objects such as a pair of shoes, a coat hanger or an electric fan, but certain of his selected items from this period are emphatically more loaded such as handcuffs, or the present work (GUN)
Born in Dublin, Craig-Martin spent his formative years in the United States, where his family moved in 1946. During the 1960s, he earned a BA and MFA from Yale University School of Art and Architecture, studying alongside Jennifer Bartlett, Brice Marden and Richard Serra (see lot 57). Returning to the United Kingdom in 1966, in 1972 he participated in The New Art, a landmark exhibition of Conceptual art at the Hayward Gallery, London. He is currently the subject of a major retrospective at the Royal Academy, Piccadilly until 10th December 2024.
At Goldsmiths, University of London, where he taught from 1974 to 1988 and from 1994 to 2000, he profoundly influenced a generation of students, including Damien Hirst and Sarah Lucas. Craig-Martin was awarded a CBE in 2000 and Knighted by Queen Elizabeth II in 2016.
⊕ £4,000-6,000
Property from the Estate of Karsten Schubert 54
ANN-MARIE JAMES (B.1981)
(i) AS THOUGH SHE WERE STONE OR STRUCK BY THUNDER
(ii) THE OBSERVER’S BOOK OF PAINTING, PLATE 50
(i) signed and dated Annmarie James 2012 lower right; numbered 1/25 lower left
screenprint in colours on Fabriano paper
34.5 x 26.5cm; 13 1/2 x 10 1/2in
39.5 x 31.5cm; 15 1/2 x 12 1/2in (framed)
(ii) signed, titled and dated The Observer’s Book of Painting, Pl. 50 / 2015, Annmarie James on the endpaper
The fourth reprint edition of The Observer’s Book of Painting and Graphic Art by William Gaunt, 1976, with hand-colouring in gouache and biro on plate 50, contained in the artist’s cloth-covered presentation box with printed title
14.6 x 9.4 x 1.5cm; 5 3/4 x 3 3/4 x 1/2in (book)
20.4 x 25.9 x 3.4cm; 8 x 10 1/2 x 1 1/2in (box)
Ann-Marie James works with classical source materials, appropriating and mutating culturally-defined art historical masterpieces to create an image that is both recognisable and distorted.
As Though She Were Stone or Struck by Thunder recalls Bernini’s Rape of Proserpine, yet the repetition of figurative elements blended with complex abstract configurations results in a wholly new image that marries baroque iconography with the visual genius of a contemporary mind. In The Observer’s Book of Painting James repetitively layers ink and gouache on top of plate 50, an illustration of Leonardo da Vinci’s Madonna of the Rocks in the National Gallery, to give way to an abstract composition that, whilst still retaining a memory of Da Vinci’s work, negotiates a new visual language.
⊕ £200-300
Property from a Private Collector, Kensington 55
WAYNE THIEBAUD (AMERICAN 1920-2021) DOWNGRADE
signed and dated ♡ Thiebaud 1979 lower right; numbered 32/50 lower left etching, aquatint and drypoint on Somerset paper
50.5 x 32.5cm; 19 3/4 x 12 3/4in
82.5 x 62cm; 32 1/2 x 24 1/2in (framed)
Part of his seminal eight-part series Recent Etchings I, Wayne Thiebaud’s striking re-interpretations of the traditional genre of landscape painting takes its inspiration from the unique topography of San Francisco. The city’s plunging hills, strict formality of the buildings, sidewalks, and even road markings are visible in the artist’s exacting delineation of objects and space. Thiebaud’s approach upends conventional perspective, creating swells and inclines on the cusp between abstraction and representation. His resourceful use of light and shadow on the vertical street, rendered with a painterly realism and gravity-defying manipulation of space, demonstrates his determination to usurp conventional observation as he creates a viewing experience that plays with both the audience’s sense of position and frame of reference.
£4,000-6,000
56
HUGHIE O’DONOGHUE RA (BRITISH B.1953)
HEAD
signed and dated O’Donoghue 86 lower right charcoal on paper
76 x 111cm; 30 x 43in
105.5 x 140.5cm; 41 1/2 x 55 1/4in (framed)
Provenance
Fabian Carlsson Gallery, London
Acquired from the above by the present owner circa 1990
Exhibited
London, Fabian Carlsson Gallery, Hughie O’Donoghue, Paintings and drawings 1983-86, nn. (p. 44, illustrated in the catalogue with incorrect measurements)
London, Fabian Carlsson Gallery, Fires, 1989
O’Donoghue uses figuration and abstraction to explore themes of human identity, memory, and experience, and draws on shared history as well as personal records to create works that resonate with emotional intensity. Born in Manchester O’Donoghue completed an MA in Fine Art at Goldsmiths in 1982 and was Artist in Residence at the National Gallery, London from 1984-85.
Awarded an Honorary Doctorate from University College Cork, Ireland in 2005, he was elected to the Royal Academy in 2009 and Aosdána in 2013.
⊕ £1,000-1,500
Property of a Private Collector 57
RICHARD SERRA (AMERICAN 1938-2024)
UNTITLED (DRAWING)
signed RS lower right paintstick on paper
25.9 x 28.3cm; 10 1/4 x 11 1/4in
Provenance
A gift from the artist to the present owner in 2008
Executed in 2008 at the time of the artist’s exhibition at Gagosian, Britannia Street, London
Serra had employed black paintstick (compressed oil paint, wax, and pigment) as his preferred medium since 1971. Applied in the present work using broad, dense strokes, the paintstick conveys a strong sense of optical weight, acutely similar to the physical presence of his sculptures. Serra was an avid draughtsman, his drawings defying any metaphoric or emotive reading, instead expressing the notions of time, materiality, weight, and process that characterised his sculptural practice.
£2,500-3,500
Property from a London Collection
58
GENE DAVIS (AMERICAN 1920-1985)
UNTITLED 65-6
acrylic on canvas
116 x 127cm; 45 1/2 x 50in
118 x 129cm; 46 1/2 x 50 3/4in (framed)
Provenance
Pointdexter Gallery, New York
John Monk, Hampton (architect)
Acquired from the above by the present owner
Painted in 1965, Davis was a leading proponent of Color Field Painting in Washington D.C. in the 1950s and ‘60s, best known for his distinctive stripe paintings such as the present example.
Largely self-taught, in developing the works Davis considered his non-academic background a blessing, liberating him from the limitations of a traditional art school orientation. His early paintings and drawings, although they show the influence of such artists as the Swiss painter Paul Klee and the American abstractionist Arshile Gorky, display a distinct improvisational quality.
The same preference for spontaneity characterised Davis’ selection of colour in his stripe paintings; the works were not based on conscious use of theories or formulas, instead the artist often compared himself to a jazz musician who plays by ear, describing his approach to painting as ‘playing by eye.’ In another discussion of the works - a style that Davis explored for over twenty years - the artist also spoke not simply about the importance of the colours selected but about ‘colour interval’: the rhythmic, almost musical effects caused by the irregular appearance of colours or shades within a striped composition. Davis lived his entire life in Washington, D.C., growing up alongside fellow locals Kenneth Noland and Morris Louis who together formed the Washington Color School in the early 1950s. Other Color School adherents included Mark Rothko and Helen Frankenthaler, their work characterised by large areas of single flat colour populating an abstract composition. In 1965 the group was brought together in the landmark exhibition Washington Color Painters at the Washington Gallery of Modern Art in D.C. Championed by the New York art critic Clement Greenberg as part of the larger trend of Post-Painterly Abstraction, the work of the group was seen as the culmination of modernist painting, with its emphasis on the twodimensional surface of the picture plane and its lack of reference to any subject matter.
£10,000-15,000
Property from a London Collection
JUSTIN KNOWLES (BRITISH 1935-2004)
UNTITLED 1965: 27
signed and dated JUSTIN KNOWLES / 1965 : 27 on the reverse
acrylic on canvas
185 x 214cm; 72 3/4 x 84 1/4in
210 x 242cm; 82 1/2 x 95 1/4in (framed)
Provenance
Acquired from the artist by the present owner in 1966
Exhibited
Edinburgh, The Richard Demarco Gallery 8, Justin Knowles, 1967
Born in Exeter, and with little formal training behind him, Knowles met with immediate success as both sculptor and painter when he first exhibited in New York in the English Eye exhibition at MarlboroughGerson Gallery in 1965, and was awarded second prize at the exhibition
Open Painting at the Ulster Museum, Belfast organised by the Arts Council of Northern Ireland in 1966.
Writing in Studio International in 1972, Patrick Heron contended that Knowles’ work was ‘eloquent and fertile’, and commanded ‘a sheerness of image that is absolutely masterly’. A devastating fire in 1973, however, destroyed a large proportion of his output, and he did not exhibit again until the 1990s - a period he termed the ‘silent time’.
Despite the huge loss of Knowles’ corpus of work, his final years were largely successful. He began producing sculpture again, spare and beautiful works superbly finished in a range of materials. Thus followed a string of high-profile shows, including at the National Technical Museum, Prague; at Austin / Desmond Fine Art, London and at Lemon Street Gallery, Truro in the early 2000s. His aquamarine, iridescent cross commissioned by Exeter Cathedral in 2002 remains there to this day –a lasting memory of the artist’s life-long achievements in his city of birth.
⊕ £800-1,200
Property from a London Collection
JOE TILSON RA (BRITISH 1928-2023) GEOMETRY
signed and dated Joe Tilson 1965 on the silver mount lower right; numbered 2/5 on the silver mount lower left screenprint on vacuum-formed butyrate panels
83 x 51cm; 32 1/2 x 20in
92 x 62cm; 36 1/4 x 24 1/2in (framed)
Provenance
Marlborough Graphics, London Acquired from the above by the present owner in 1966
Joe Tilson begun his working life as a professional joiner, constructing objects from ‘this and that’ becoming an integral part of his artistic approach. He was influenced by American advertising with its punchy colours, bold logos, and highly stylised typefaces. He also had a fascination with puzzles and a concern, shared by fellow Pop artists such as Blake and Richard Hamilton, with discerning the hierarchy between original and copy.
⊕ £3,000-5,000
Property from a London Collection 61
ALLEN JONES RA
(BRITISH B.1937)
BRIGITTE BARDOT
signed, dated and numbered 9/12 Allen Jones 63 lower left of central image lithograph in colours on paper 76 x 49.5cm; 30 x 19 1/2in 94 x 66cm; 37 x 26in (framed)
Provenance
Editions Alecto Ltd., London
Acquired from the above by the present owner
Allen Jones was born in Southampton and studied painting and lithography at Hornsey College of Art, London (1955-1959) before enrolling at the Royal College of Art. Fellow students at the RCA included Peter Phillips, David Hockney and R.B. Kitaj who together with Jones were instrumental in the birth of British Pop Art.
Jones is best known for his sculptures, paintings and prints incorporating female figures. His sexually charged works, with their provocative eroticism, have, over the years, given way to more stylised, lyrical compositions often involving elements of performance such as fashion shows, dance and cabaret. As a printmaker Jones worked mostly in lithograph and screenprint. The first major retrospective of his graphic work was held at the Barbican Art Gallery, London in 1995. ⊕
£300-500
Property from a London Collection
HEINZ GINDULLIS (GERMAN B.1950)
SURREALIST
JOCKEY
signed and dated der Heinz Gindullis 70 lower right oil on canvas
171 x 120cm;
67 1/4 x 47 1/4in
172 x 121cm;
67 3/4 x 47 3/4in (framed)
Exhibited
Michael Parkin Gallery, Belgravia (circa 1970)
Provenance
Michael Parkin, London
Acquired from the above by the present owner in the mid-1970s
⊕ £800-1,200
Property from a Private Collector, Kensington
HOWARD HODGKIN RA (BRITISH 1932-2017)
HERE WE ARE IN CROYDON
signed and dated Hodgkin 79 and numbered 94/100 lower centre watercolour, gouache and lithograph in colours on Moulin d’Auvergne hand-made paper
55.5 x 75cm; 22 x 29 3/4in
81 x 101cm; 32 x 40in (framed)
Literature
Pat Gilmour, ‘Howard Hodgkin’ in Print Collector’s Newsletter, vol. 12, March-April 1981, p. 3
Liesbeth Heenk, Howard Hodgkin Prints: A Catalogue Raisonné, London, 2003, no. 49
The present lot depicts a room in an apartment that Hodgkin had visited in Tulsa, Oklahoma whilst on a trip to see David Hockney in Los Angeles. The room had been decorated by a husband of the film star Jean Harlow. According to Hodgkin, the title recalls a friend’s witticism on visiting the apartment for the first time; a sarcastic remark poking fun at the ostentatious design and how it was very much not like Croydon.
Hodgkin was deeply attuned to the interplay of gesture and colour. Embracing time as a compositional element, his work is testament to his immersion in the intangibility of thoughts, feelings, and fleeting private moments. While many of his contemporaries were drawn to Pop or the School of London, he remained independent, initially marking his outsider status with a series of portraits of contemporary artists and their families. His first solo exhibition was at Arthur Tooth & Sons in London in 1962. In 1984, Hodgkin represented Britain at the Venice Biennale. His exhibition Forty Paintings opened the Whitechapel Gallery, London, in 1985, and he won the Turner Prize the same year.
⊕ £1,500-2,500
Property of a Lady, Belgravia 64
JOAN MIRO
(SPANISH 1893-1983)
LE SCIEUR DE LONG signed Miró lower right; numbered 14/75 lower left etching, aquatint and carborundum in colours on Mandeure rag paper
76.4 x 57.2cm; 30 1/4 x 22 1/2in
103 x 82.5cm; 40 1/2 x 32 1/2in (framed)
Literature
Jacques Dupin, Miro Engraver II: Catalogue Raisonné of Engravings (1961-1973), Paris, 1989, no. 458
Executed in 1968 and published by Maeght éditeur, Paris. Miró began his carborundum prints in the late 1960s, which Murray Macaulay describes as ‘the culmination and final development of his graphic work’. They involved a type of engraving, in which an abrasive ground known as carborundum (silicon carbide) was mixed with a binding agent and applied to a printing plate. The final prints - such as the present example - have a velvety, granulated surface, and are not only monumental in sheer scale, but also by their brilliance and depth of field achieved through their textured appearance.
Joan Miró has been described as a ‘painter-poet’, his works adopting a unique visual vocabulary of inverted metaphors, undiluted primary colours, and rhythmic linearity. Earning international acclaim, Miró is notable for his interest in the potential of the subconscious mind, reflected in the jovial, biomorphic lines and forms that populate his compositions. Although often pigeonholed as a Surrealist, Miró considered his art to be free of any ‘ism’. He experimented feverishly throughout his career with different media - painting, pastel, printmaking, sculpture, ceramics, collage, muralism, and tapestry - and unconventional materials as a way of making work that expressed the moment.
⊕ £4,000-6,000 64
FRANK AVRAY WILSON (BRITISH 1914-2009)
FAW837
signed and dated aw 84 lower right and on the reverse oil on paper
30 x 21cm; 11 3/4 x 8 1/4in
41 x 31.5cm; 16 1/4 x 12 1/4in (framed)
Born in Mauritius and known as an Abstract Expressionist painter, printmaker and writer, Avray Wilson studied art in France and Norway, developing his style through experimenting with the techniques and methods of Action Painting and Tachisme - a term used to describe the non-geometric abstract art that developed in Europe in the 1940s and 1950s characterised by spontaneous brushwork, drips and scribble-like marks.
Avray Wilson had numerous solo exhibitions in London, Paris and Brussels, while also participating in group shows with artists such as Hans Hartung, Georges Mathieu, Jean-Paul Riopelle and Pierre Soulages, with whom he exhibited at the Galerie Internationale,1956; and Galerie Helios, 1957. Major retrospectives were held by the Paisnel Gallery in 2011 and by Whitford Fine Art in 2016 and 2018.
⊕ £400-600
66
FRANK AVRAY WILSON (BRITISH 1914-2009)
UNTITLED (RED)
signed and dated Avray Wilson
87 lower left oil on board
41 x 51cm; 16 x 20in
54.5 x 65cm; 21 1/2 x 25 1/2in (framed)
see note to previous lot
⊕ £500-700
67
FRANK AVRAY WILSON (BRITISH 1914-2009)
UNTITLED
signed and dated aw 84 lower left oil on paper laid on board
21.5 x 30.5cm; 8 1/2 x 12in
31 x 40cm; 12 1/4 x 15 3/4in (framed)
see note to lot 65
⊕ £300-500
reverse of current lot
OTTO GUTFREUND
(CZECH 1889-1927)
NATURE MORTE
stamped and numbered 36 by the artist’s estate on the reverse pen, ink and wash on paper
27 x 22cm; 10 1/2 x 8 3/4in
54 x 47cm; 21 1/4 x 18 1/2in (framed)
Executed between 1910-19 on the reverse of a piece of Moravian Insurance Company headed paper that features the crest of the Margraviate of Moravia, a crown land that in 1918 became one of the five founding territories incorporated into the newly formed country of Czechoslovakia. Gutfreund made a number of sketches in pen and ink on such letterheaded papers, using the loose sheets as other artists would a sketchbook. His use of this specific paper has become a helpful way of verifying such works.
The angular oblongs in the sketch that jut into empty spaces on the page as if three dimensional constructions are a graphic depiction of Gutfreund’s interest in creating three-dimensional works from flat pieces of wood between 1910-1920. He termed this exploration of space ‘consistent abstract constructivism’, and both his drawings and sculptures during this period reflect his determined shift towards Cubism. Gutfreund was one of the pre-eminent fathers of Czech Modernism. Born in Northern Bohemia, he studied pottery in Bechyně before enrolling in the School of Decorative Arts, Prague where he explored figurative and ornamental modelling. In Prague, he met the French sculptor Antoine Bourdelle who encouraged him to enrol in his Académie de la Grande Chaumière in Paris. After working with Bourdelle he returned to Prague in 1910, and the following year co-founded Skupina výtvarných umělců (Group of Creative Artists), a collective informed by Western European avant-garde art that promoted Czech Modern artists to an international audience. In 1914 he was invited by Herwarth Walden to exhibit with Der Sturm in Berlin, and returned to Paris where he met Picasso, Gris, the poet Apollinaire and the dealer Daniel-Henri Kahnweiler. During the War he served in the French Foreign Legion seeing action on the Somme, but was interned in a French prison camp near Avignon for two years. In 1920 he returned to Prague where he developed a more naturalist figurative style.
£800-1,200
Property of a Lady, Belgravia
JOHN PIPER RA (BRITISH 1903-1992) BRITTANY BEACH
signed John Piper lower right watercolour and gouache on paper
38 x 55cm; 15 x 21 3/4in
54.5 x 72cm; 21 1/2 x 28 1/2in (framed)
Born in Epsom, Surrey, Piper first worked in his father’s solicitors firm until 1926. Meeting Georges Braque in Paris inspired him to make abstract art and to exhibit with the Seven and Five Society (1934-35). In 1935, Piper collaborated with Myfanwy Evans, his wife to be, on the pioneering review Axis. He later abandoned abstract art for Neo-Romanticism and during the Second World War as an Official War Artist, recorded bomb-devastated buildings of England’s disappearing architectural heritage.
Piper travelled through France regularly in the 1950s and stayed in Brittany during the summer of 1960, drawn especially to the region’s architecture, medieval stained glass and wild shoreline. A versatile artist, Piper made book illustrations, theatre designs, ceramics, textiles, and collaborated on stained-glass projects which included the baptistry window for what was then the new Coventry Cathedral, and the stained glass lantern for Liverpool Metropolitan Cathedral. Retrospective exhibitions of Piper’s work have been held at the Museum of Modern Art, Oxford (1973) and the Tate Gallery (1983-84).
⊕ £2,000-3,000
70
JEAN COCTEAU (FRENCH 1889-1963) AND ZIKA ASCHER (CZECH 1910-1992)
VISAGE
with printed signature and date Jean Cocteau 1947 lower right; with printed signature Ascher lower left screenprint on silk twill
89 x 85cm; 35 x 33 1/2in
119 x 116cm; 46 3/4 x 45 1/2in (framed)
Literature
Valerie D. Mendes and Frances Hinchcliffe, Zika and Lida Ascher: Fabric - Art - Fashion. London, 1987, p. 81, illustrated
During 1946-1947 fabric designer Zika Ascher collaborated with a number of leading artists including Alexander Calder, Henry Moore, Pablo Picasso and Jean Cocteau on his Artist Squares Collection, printed silks intended to be displayed in frames as well as made into garments.
⊕ £600-800
70
Property from a Private Collector, West London 71
RONALD SEARLE (BRITISH 1920-2011)
EVOLUTION - SKETCH FOR LE MONDE
signed and dated Ronald Searle 2001 lower right; signed, titled and dated Ronald Searle Evolution (Le Monde:
3 Oct 2001 / first edition) lower left pen and ink on paper
47 x 33.5cm; 18 1/2x 13 1/4in
75 x 57cm; 29 1/2 x 22 1/2in (framed)
Provenance
Chris Beetles Gallery, London
Acquired from the above circa 2014
A master of modern caricature, Ronald Searle’s unique approach has had a tremendous influence on the work of other graphic artists. Since 1995, Searle has applied his sardonic trade to the coveted editorial page of the French daily newspaper Le Monde, for which the present lot is a preliminary sketch. The deceptive simplicity of his lines, shading and overexaggerated facial contortions produce arresting images that are rife with Searle’s signature dark, satirical wit.
⊕ £800-1,200
71
Property from a Lady 72
QUENTIN BLAKE (BRITISH B.1932)
RIDING THE HOUND
signed and dated Quentin Blake 1973 lower right
watercolour on paper
67 x 50cm; 26 1/4 x 19 3/4in
68 x 51.5cm; 26 3/4 x 20 1/4in (framed)
Provenance
Acquired from the artist by the present owner in the 1970s
Blake’s early cartoons first appeared in Punch magazine when he was still a teenager, and he was soon in demand from a range of magazines. After studying English at Downing College, Cambridge he enrolled at Chelsea College of Art, and in 1960 began as a children’s book illustrator with drawings for A Drink of Water by John Yeoman. Blake has subsequently
72
collaborated with a wide range of writers, including Russell Hoban, Joan Aiken, Michael Rosen, John Yeoman and, most famously, Roald Dahl.
⊕ £700-1,000
Property from a Private Collector, East Sussex 73
SHERREE VALENTINE-DAINES (BRITISH B.1956)
AN AFTERNOON AT HENLEY signed with initials lower right oil on card
34 x 40cm; 13 1/4 x 15 3/4in
62 x 67cm; 24 1/2 x 26 1/2in (framed)
⊕ £1,500-2,500
Property from a Private Collector, Chelsea
RACHEL NICHOLSON (BRITISH B.1934)
PORTHMEOR WITH CANOEIST
signed, titled and dated Rachel Nicholson 1989 / PORTHMEOR WITH CANOEIST on the backboard gouache on board
20.5 x 33cm; 8 x 13in
33 x 46cm; 13 x 18 1/4in (framed)
Provenance
Porthmeor Gallery, St. Ives
Robert Sandelson Gallery, London (by November 2001) Montpellier Studio, London
Caroline Wiseman Modern Art, London
Acquired from the above by the present owner in 2013
⊕ £1,200-1,800
Property of a Lady, Belgravia
75
JOSEF HERMAN (POLISH-BRITISH 1911-2000)
VASE OF FLOWERS oil on panel
79 x 62cm; 31 x 24 1/2in
89 x 72cm; 35 x 28 1/4in (framed)
see note to lot 79
⊕ £2,000-3,000
Property from a Private Collector, Kent 76
YOEL
BENHARROUCHE (ISRAELI B.1961) THE QUEEN AND THE CONSORT
signed, dated and numbered Yoel / HC 39/50 / Benharrouche 30 middle left terragraph on paper 78 x 106cm;
30 3/4 x 41 3/4in
111 x 145cm; 43 3/4 x 57in (framed)
Executed in 2015.
£300-500
Property of a Lady, Belgravia 77
THEO TOBIASSE (FRENCH 1927-2012) IL BOIT DU THE COMME DANS SON PAYS signed theo tobiasse middle left; titled il boit du thé / comme dans son pays middle right gouache on board
51.5 x 67cm;
20 1/4 x 26 1/2in
67.5 x 83.5cm; 26 1/2 x 33in (framed)
⊕ £1,000-1,500
78 (i)
Property from the Marie-Louise von Motesiczky Charitable Trust 78
MARIE-LOUISE VON MOTESICZKY (AUSTRIAN-BRITISH 1906-1996)
(i) HENRIETTE VON MOTESICZKY AND FRIEND TALKING (ii) SWIMMER
both oil on canvas
(i) 59 x 80cm; 23 1/4 x 31 1/2 in (ii) 37.5 x 50.5cm; 14 3/4 x 20in
(both unstretched) (2)
Literature
Ines Schlenker and Kristian Wachinger, Marie-Louise von Motesiczky 1906-1996. A Catalogue Raisonné of the Paintings, Munich, 2011, nos. 99 & 337
Marie-Louise von Motesiczky left Vienna immediately after the Anschluss with Germany in 1938 to travel with her mother Henriette (1882-1978) to England where they were to spend the rest of their lives. Several critically acclaimed exhibitions, notably in Liverpool, London, New York and Vienna, have acquainted the public with Motesiczky’s oeuvre which comprises portraits, self-portraits, still-lifes, landscapes and allegorical paintings.
⊕ £500-700
78 (ii)
Property of a Lady, Belgravia
JOSEF HERMAN (POLISH-BRITISH 1911-2000)
PEASANT COUPLE WITH SHOVELS oil on canvas
25.5 x 30.5cm; 10 x 12in
39.5 x 44.5cm; 15 1/2 x 17 1/2in (framed)
Provenance
Rowland, Browse & Delbanco, London
Acquired from the above by the present owner
Herman was renowned for capturing the essence of the British working classes, making a distinct contribution to the artistic scene in Britain from his arrival in 1940. Herman left his native Warsaw for Brussels in 1938 to escape oppressive political conditions in Poland. He subsequently fled to Paris and then to Britain in 1940, arriving in Glasgow. In 1943 he moved to London, where he exhibited with Laurence Stephen Lowry (1887-1976), moving again in 1944 to the Welsh mining village of Ystradgynlais, where the local mining community would inspire his subsequent paintings. His sympathetic images of coal miners, fishermen and farm workers from Wales, Scotland and Suffolk represented the dignity of ordinary people and a reverence for the quiet beauty of everyday life.
⊕ £2,000-3,000
Property from a Private Collector, London
HANNAH BAYS (BRITISH B.1982)
NOON MOON
titled and dated NOON MOON 2018 on the stretcher oil on canvas
100cm x 80.5cm; 39 1/4 x 31 1/2in (unframed)
Provenance
Purchased from the artist by the present owner in 2018
Painted whilst Artist in Residence at Eton College, Berkshire, the present work of a female figure contemplating a garland of roses attempts, in the artist’s words, to capture a ‘feminine spirit’, a mood she found to be a rare phenomenon in the environment of an all-boys’ school. The sentiment is reflected in the title of the work, the moon being a symbol of fertility and creation for millennia and myriad cultures across the globe.
Often portrayed from an observer’s point-of-view, Bay’s figures are typically absorbed in moments of introspection, their private thoughts undisclosed to the viewer. These personal moments of meditation elevate Bay’s subjects from simple studies of the human form to that which is an ode to an appreciation of the small things in life: her figures stop and smell the roses.
Hannah Bays was awarded her Post Graduate Diploma in Fine Art from the Royal Academy Schools and she has work in the Jerwood, Hiscox and Soho House collections. She was a Creekside Open 2019 prize winner, a Jerwood Purchase Prize winner in 2014 and received the Agnes Ethel Mackay travel award in 2015.
⊕ £4,000-6,000
IMPORTANT INFORMATION FOR BUYERS
SECTION A
1. INTRODUCTION
The following notes are intended to assist Bidders and Buyers, particularly those who are inexperienced or new to our saleroom. The sale of goods at our auctions are governed by our Terms of Sale (for Live Auctions or Online Auctions as applicable), our Privacy Policy, the Important Information for Buyers, and any notices that are displayed in our saleroom or announced by the Auctioneer (in the case of a Live Auction) or displayed on any Listing for a Lot in our Online Auction catalogue (in the case of an Online Auction) (collectively, the “Terms and Conditions of Business”). The Terms and Conditions of Business are available for inspection on our Website and at our saleroom on request. Our staff will be happy to help you if there is anything in our Terms and Conditions of Business that you do not fully understand.
Please make sure that you read the applicable Terms of Sale carefully before bidding. If your bid is successful, you will be obliged to comply with our Terms of Sale.
2. AGENCY
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3. ESTIMATES
Estimates are designed to help you gauge what sort of sum might be involved for the purchase of a particular Lot. Estimates may change and should not be thought of as the Lot’s value or predicted sale price. The lower Estimate may represent the Reserve price (the minimum price for which a Lot may be sold) and will not be below the Reserve price. Estimates do not include the Buyer’s Premium or VAT (where chargeable). Estimates are prepared some time before the auction and may be altered by a saleroom notice or announcement by the Auctioneer before the auction of the Lot (for Live Auctions), or on the Listing for a Lot in our Online Auction catalogue before the auction of the Lot (for Online Auctions). They represent a matter of opinion and are not definitive.
4 BUYER’S PREMIUM
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5. VAT
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6. REFUNDS OF VAT
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(a) registered to bid with an address outside the UK; and
(b) discussed with us the proof of export we require and the timeframes to complete the export.
6.2 Once we are satisfied that the requirements referred to in Clause 1.6.1 have been met, and with the proof of export provided, the following VAT will be refunded:
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7. REINVOICING SALES
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8. INSPECTION OF GOODS BY THE BUYER
As we act on behalf of the Seller, we are dependent on information provided by the Seller about their goods. We may inspect Lots and will act reasonably in taking a general view about them. However, we are normally unable to carry out detailed examinations of Lots to check their condition in the way a Buyer would do. You will have the opportunity to inspect the goods (upon request). Where a Lot is made available for inspection, we strongly recommend that you inspect any Lots that you are interested in prior to bidding at the auction. Please carefully note the exclusion of liability for the condition of Lots set out in the Terms of Sale for Online Auctions at Clause 22.5 and the Terms of Sale for Live Auctions at Clause 18.5.
9. GOODS WITH ELECTRICAL COMPONENTS
These are sold as “antiques” for their historical and decorative attributes, and for collection and display only. They are not intended for use. If you buy goods with electrical components and intend to use them, you must ask a qualified electrician to check them for compliance with safety regulations before you use them.
10. ENDANGERED SPECIES
If you intend to buy goods which contain endangered species, you need to find out if there is a prohibition on the purchase of goods of that character. For goods containing elephant ivory, you also need to satisfy yourself that they have been correctly registered or certified and meet the exemption conditions under applicable legislation.
11. EXPORT OF GOODS
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11.1 whether an export licence is needed; and
11.2 if there is a prohibition on exporting goods of that character outside of the UK or on importing goods of that character in your intended country of import such as because the goods contain prohibited materials such as elephant ivory or other protected flora and fauna.
12. BIDDING
Bidders will be required to register with us before the auction starts. We Reserve the right to impose a deadline prior to the auction by which you must register or by which we must receive a commission bid. If you wish to bid on high value Lots this deadline may be several days before the auction in order to allow us sufficient time to carry out the necessary checks. Lots will be invoiced to the name and address on the registration form. Please enquire in advance about our arrangements for telephone or online bidding. You will need to provide us with proof of your identity in a form acceptable to us and such other information as we may require. Please note that we may refuse to register you if you do not provide us with all the information and documentation that we ask for or at our discretion.
13. BIDDING PLATFORMS
We offer free online bidding directly through our Website (www.olympiaauctions. com). You may also bid using an independent Bidding Platform. Bidders using an independent Bidding Platform or service should note that the platform may impose an additional fee or charge, which will be added to the total amount payable in the event your bid is successful. Please refer to the terms and conditions on the relevant independent platform for rates.
14. FINANCIAL CHECKS
As Auctioneers we may have to conduct various checks into our customers under the Money Laundering Legislation, under sanctions legislation and other related legislation. Unless we confirm we already have this information, on registration to bid you will be required to provide the following:
(a) For individuals, official photo identification (driving licence, passport or equivalent) and proof of address (if this is not included in your ID document).
(b) For corporate entities, the certificate of incorporation (or equivalent) with the entity’s official name, registered number (if any) and registered address, as well as details and ID documentation for directors and beneficial owners of the entity.
(c) For trusts and estates, details and ID documentation for executors/trustees and details of beneficiaries: please contact us for further information.
14.1 You may be asked for further information if we deem this necessary.
14.2 If you are bidding for another person (your Principal) you will be required to provide the above information for yourself and your Principal, along with a signed letter from your Principal authorising you to bid on his/her behalf.
14.3 If you require further information about ID requirements, please contact enquiries@olympiaauctions.com. If we deem that you have not provided sufficient information for us to complete our anti-money laundering, terrorist financing and sanctions checks to our satisfaction, we may refuse to register you to bid and we may postpone completion of or cancel any Contract made by you and the Seller in the event you have made a successful bid.
15. COMMISSION BIDDING
You may leave commission bids with us indicating the maximum amount to be bid against a Lot (excluding the Buyer’s Premium and/or any applicable VAT). We will execute commission bids as cheaply as possible having regard to the Reserve (if any) and competing bids. If two Buyers submit identical commission bids, we may prefer the first bid received (where this can be reasonably ascertained). Please enquire in advance about our arrangements for the leaving of commission bids by telephone or fax/email or via our Website or online Bidding Platform.
16. METHODS OF PAYMENT
16.1 Online: Payment can be made at www.olympiaauctions.com/payments.
16.2 Cheque: Usually any cheques will need to be cleared before you can take the goods away. We require seven days to clear sterling cheques unless special arrangements have been made in advance of the sale.
16.3 Bank Transfer: Payments must be received from a bank account held in the name of the person or entity named on the invoice for the Lot.
16.4 Cash: £6,000 and “card holder not present” payments above £2,000 cannot be accepted.
16.5 Credit Card payments in person: Payments above £6,000 cannot be accepted.
16.6 Debit card payments in person: Payments are without limit.
17. COLLECTION AND STORAGE
Please note what the applicable Terms of Sale say about collection and storage (see Clause 13 of the Terms of Sale for Live Auctions and Clause 15 of the Terms of Sale for Online Auctions). It is important that you pay for and collect goods promptly. Any delay may involve you having to pay storage charges. You (or your agent) must bring photographic ID for collection. Please note that collection may be made during working hours only, usually Monday to Friday 09:30 to 17:00.
18. POTENTIAL CANCELLATION RIGHTS
If you purchase a Lot in an Online Auction as a Consumer in the UK or EU from a Seller who is a Trader, you may have a right to cancel your purchase of that Lot from the day of the auction up to the day which is 14 days after the date on which you take possession of the Lot. You may also have the right to cancel Services provided by us. Further information is set out in the Terms of Sale for Online Auctions.
CATALOGUING PRACTICE
SECTION B
1.
Please note that all measurements are approximate and that illustrations are not to scale. The condition of a Lot is not usually included in catalogue descriptions, and no assumptions should be made in the absence of this information. Condition reports are available on request.
2. CERAMICS
Obvious faults may be recorded in italics at the end of a description for ceramics.
3.CLOCKS AND WATCHES
All Lots are sold “as is” and the absence of any reference to the condition of a clock or watch does not imply that the Lot is in good condition and without defects, repairs or restorations. Most clocks and watches have been repaired in the course of their normal lifetime and may now incorporate parts not original to them. Furthermore, we make no representation or warranty that any clock or watch is in working order. As clocks and watches often contain fine and complex mechanisms, the Bidder should be aware that a general service, change of battery or further repair work, for which the Buyer is solely responsible, may be necessary. The Bidder should be aware that the importation of watches such as Rolex, Frank Muller and Corum into the United States is highly restricted. These watches may not be shipped to the USA and can only be imported personally.
4. DISPLAY ACCESSORIES
Please note that armour stands and many of the display mounts used in the catalogue(s) and the sale exhibition(s) do not form part of the Lot unless stated in the catalogue, though they may be made available to the successful Buyer of the relevant Lot(s). Please contact us for prices and further details.
5. FIREARMS
Please note that all bore sizes are approximate.
6. JEWELLERY
It is common practice for many gemstones to be treated by a variety of methods to enhance their appearance and the international jewellery trade has generally accepted these methods. Although heat enhancement of colour is usually permanent, in some cases this could affect the durability of a gemstone. Oiled gemstones may need reoiling after a certain period. If no gemmological report is published in the catalogue, prospective Buyers should be aware that the gemstones or pearls could have been enhanced by some method.
7. PHOTOGRAPHS
In addition to the explanations set out below regarding categorising terms for works, please note the following. The date given is that of the image (negative). Where no further date is given, this indicates that the photographic print is vintage (the term “vintage” may also be included in the Lot description). A vintage photograph is one which was made within approximately 5–10 years of the negative. Where a second, later date appears, this refers to the date of printing. Where the exact printing date is not known, but understood to be printed later, "printed later" will appear in the Lot description.
Unless otherwise specified, dimensions given are those of the piece of paper on which the image is printed, including any margins. Some photographs may appear in the catalogue without the margins illustrated.
All photographs are sold unframed unless stated otherwise in the Lot description.
8. PICTURES
A work catalogued with the name(s) or recognised designation of an artist, without any qualification, is, in our opinion, a work by the artist. In other cases, the following expressions with the following meanings are used:
(a) “Attributed to”: means in our opinion it is probably a work by the artist in whole or in part.
(b) “Studio of ” or "workshop of ”: means in our opinion a work executed in the studio or workshop of the artist, possibly under his supervision.
(c) “Circle of ”: means in our opinion a work of the period of the artist and showing his influence.
(d) “Follower of ”: means in our opinion a work executed in the artist's style but not necessarily by a pupil.
(e) “Manner of ”: means in our opinion a work executed in the artist's style but of a later date.
(f) “After”: means in our opinion a copy (of any date) of a work of the artist.
(g) “Signed”, “dated”, “inscribed”: means in our opinion the work has been signed, dated or inscribed by the artist. The addition of a question mark (?) adds an element of doubt.
(h) “Bears signature”, “bears date”, “bears inscription”: means in our opinion the signature, date, inscription or stamp is by a hand other than that of the artist.
9. SILVER, GOLD AND PRECIOUS METALS
Weights may only be accurate to within 5 grams. Weights shown as “(* oz)” are in troy ounces and usually rounded down to the full ounce.
10. THE FOLLOWING SYMBOLS MAY BE USED IN OUR AUCTION CATALOGUES:
(a) () indicates a Lot with no Reserve.
(b) (✧) indicates a “Premium Lot”. For Premium Lots, you must complete the required Premium Lot preregistration application and deliver to us such necessary financial references, guarantees, deposits and/or such other security as we may in our absolute discretion require, as security for your bid. Our decision as to whether to accept any pre-registration application shall be final.
(c) (◉) indicates items that have been identified at the time of cataloguing as containing organic material which may be subject to restrictions regarding import or export, such as a CITES certificate. The absence of the symbol is not a warranty that there are no restrictions regarding import or export of the item. We accept no liability for any Lots which may be subject to restrictions but have not been identified as such. Please refer to section A, paragraph 10 above.
(d) (⊕) indicates a Lot that may be subject to Artist’s Resale Right.
(e) (○) indicates “Guaranteed Property”. The seller of lots with this symbol has been guaranteed a minimum price from one auction or a series of auctions. This guarantee may be provided by Olympia Auctions or jointly by Olympia Auctions and a third party. Olympia Auctions and any third parties providing a guarantee jointly with Olympia Auctions benefit financially if a guaranteed lot is sold successfully and may incur a loss if the sale is not successful. A third party providing a guarantee jointly with Olympia Auctions may provide an irrevocable bid, or otherwise bid, on the guaranteed property. If the Guaranteed Property symbol for a lot is not included in the printed or pdf auction catalogue (where applicable), then Olympia Auctions will notify bidders that there is a guarantee on the lot by one or more of the following means: the lot’s specific webpage will be updated to include the guaranteed property symbol, a notice will be added to the Olympia Auctions webpage for the auction, or a pre-sale or pre-lot announcement will be made indicating that there is a guarantee on the lot. If every lot in a sale is guaranteed, a Special Notice will be included to this effect and this symbol will not be used for each lot.
(f) (∏) indicates “Monumental”. Lots with this symbol may, in our opinion, require special handling or shipping services due to size or other physical considerations. Buyers are advised to inspect the lot and to contact Olympia Auctions prior to the sale to discuss any specific shipping requirements.
(g) (W) indicates property stored and to be collected from off-site storage. Please note that property can only be released once payment has been received in full and cleared funds. If you are sending your own authorised agent to collect property from Olympia Auctions on your behalf, please provide a letter of authorisation, a copy of your paid invoice and photographic ID.
(h) (#) Book sales. Although these items are not free from VAT, Olympia Auctions is able to use the margin scheme and VAT will not normally be charged on the hammer price. Olympia Auctions must bear VAT on the buyer’s premium and hence will charge an amount in lieu of VAT at the standard rate on this premium. This amount will form part of the buyer’s premium on our invoice and will not be separately identified.
AUCTION CALENDAR
Make a date in your diary to view our forthcoming auctions
2ND MARCH 2025 | Viewing 27 February - 2 March ARMS AND ARMOUR TIMED SALE (Online) A PRIVATE COLLECTION OF 300 VESTA CASES (Online)
12TH MARCH 2025 | Viewing 9-11 March FROM THE STUDIO: WORKS FROM ARTIST’S ESTATES
16TH MARCH 2025 | Viewing 9-11 March PAINTINGS, WORKS ON PAPER & SCULPTURE (Online)
7TH MAY 2025 | Viewing 4-6 May MODERN AND CONTEMPORARY AFRICAN AND MIDDLE EASTERN ART
14TH MAY 2025 | Viewing 11-13 May CHINESE AND JAPANESE WORKS OF ART
22ND MAY 2025 | Viewing 19-22 May JEWELLERY AND WATCHES EUROPEAN WORKS OF ART, OBJECTS AND SILVER
To be added to our invitation list for private views and catalogue alerts, please contact enquiries@olympiaauctions.com +44 (0)20 7806 5541
Please note these dates may be subject to change www.olympiaauctions.com 25 Blythe Road, London W14 0PD
ABSENTEE BID FORM
OLYMPIA AUCTIONS
SALE TITLE: FINE PAINTINGS AND WORKS ON PAPER
DATE: 11 DECEMBER 2024
CODE: OA0154
Please mail, fax or scan and email to: Olympia Auctions, 25 Blythe Road, London W14 0PD Fax +44 (0)20 7806 5546
Email: pictures@olympiaauctions.com
Important
Please bid on my behalf at the above sale for the following Lot(s) up to the hammer price(s) mentioned below. These bids are to be executed as cheaply as is permitted by other bids or reserves and in an amount up to but not exceeding the specified amount. The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller. The auctioneer may further bid on behalf of the seller up to the amount of the reserve by placing responsive or consecutive bids for a lot.
I agree to be bound by Olympia Auctions Conditions of Business. If any bid is successful, I agree to pay a buyer’s premium on the hammer price at the rate stated in the front of the catalogue and any VAT, or amounts in lieu of VAT, which may be due on the buyer’s premium and the hammer price.
Methods of Payment
Olympia Auctions welcomes the following methods of payment, most of which will facilitate immediate release of your purchases.
Online: www.OlympiaAuctions.com/payments
Bank Transfer: Payments must be received from a bank account held in the name of the person or entity named on the invoice for the Lot.
HSBC Bank Plc, 38 High Street, Dartford, Kent, DA1 1DG
IBAN No: GB39HBUK40190422033119
BIC: HBUKGB4B
Sort Code: 401904
Account No: 22033119
Account Name: Olympia Auctions
Sterling Bankers Draft: Drawn on a recognised UK bank.
Cheque: Usually any cheques will need to be cleared before you can take the goods away. We require seven days to clear sterling cheques unless special arrangements have been made in advance of the sale.
Cash: £6,000 and “card holder not present” payments above £2,000 cannot be accepted.
Credit Card payments in person: Payments above £6,000 cannot be accepted.
Debit card payments in person: Payments are without limit.
Please print or type
Please note that if you have not dealt with us before, you will need to supply us with a copy of photographic ID and proof of address.
