FINE PAINTINGS, WORKS ON PAPER & SCULPTURE
WEDNESDAY 12TH JUNE 2024
Lot 44 (detail)
FINE PAINTINGS, WORKS ON PAPER & SCULPTURE
TO BE SOLD BY AUCTION: 25 Blythe Road, London W14 0PD
AUCTION: Wednesday 12th June 2024, 12pm, precisely
PUBLIC EXHIBITION:
Sunday 9th June, 12pm to 4pm
Monday 10th June, 10am to 8pm
Tuesday 11th June, 10am to 5pm
SALE NUMBER OA0144
ENQUIRIES:
Adrian Biddell, Head of Sale adrian.biddell@olympiaauctions.com
Charlotte Norman-Butler, Specialist and Cataloguer charlotte.normanbutler@olympiaauctions.com
Maryam Daoudi, Administrator and Junior Cataloguer maryam.daoudi@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
Property from a Private Collection, Suffolk
ITALIAN SCHOOL,
PROBABLY
EMILIA (17TH CENTURY)
ST ANTHONY OF PADUA WITH THE CHRIST CHILD oil on panel, engaged frame (tondo)
10.5cm; 4in diameter
32.5cm; 13in (framed)
Provenance
The Hale family, Hale Place, Canterbury
Mary Sibylla Holland (née Lyall, 1836-1891, wife of Reverend Francis James Holland 1828-1907, Canon of Canterbury Cathedral; a gift from the above)
Bernard Henry Holland (1856-1926), Harbledown House, Kent (son of the above)
Catherine Sibylla Mostyn (née Holland, 1903-1983), London (daughter of the above)
A wedding present from the above to their daughter and son-in-law in 1952
By descent to the present owner, son of the above
£1,500-2,500
Property from a Private Collector
AFTER CHARLES LE BRUN (FRENCH 1619-1690)
THE HOLY FAMILY WITH THE INFANT SAINT JOHN THE BAPTIST, SAINTS ELIZABETH, JOACHIM AND ANNA oil on canvas (framed as an octagon)
79.5 x 103.5cm; 77 1/2 x 40 1/2in
96.5 x 118.5cm; 38 x 46 3/4in (framed)
Provenance
A.F. Reyre, London (according to labels on the reverse)
Susanins, Chicago
Purchased from the above by the present owner on 26th March 2011
The original painting by Charles Le Brun of 1665 titled Le sommeil de l’enfant Jésus or Le silence is in the collection of the Musée du Louvre, Paris.
£6,000-8,000
Property from a Private Collection, Kent
ENGLISH SCHOOL (17TH CENTURY)
A YOUNG GIRL WITH FRUIT oil on canvas (in a painted oval)
77 x 63.5cm; 30 1/4 x 25in
77 x 66cm; 30 1/4 x 26in (framed)
Provenance
Fokko Kortlang, ‘Shepway’, Ashford (acquired in the 1950s)
Thence by descent to the present owner
£600-800
Property from a Private Collector 4
AFTER FRANS II POURBUS (FLEMISH 1569-1622)
PORTRAITS OF PHILIP III OF SPAIN and HIS WIFE MARGARET OF AUSTRIA - A PAIR
both oil on panel
each 26.5 x 20.5cm; 10 1/2 x 8in
each 39.5 x 33cm; 15 1/2 x 13in (framed) (2)
Provenance
Ralph Bernal, London (Bernal, 1785-1854, was born in London and educated at Christ’s College, Cambridge. He served as an MP for the Whig party in various constituencies between 1818 and 1852. An avid collector of glass, ceramics and miniatures he became president of the British Archaeological Society in 1853)
His posthumous sale, Christie’s London, 5th March 1855
Sir John Ramsden 6th Bt. Bulstrode, Gerrards Cross, Bucks. (Sir John Ramsden, 1877-1958, known as ‘Chops’ to his friends due to his side-whiskers, was a keen polo player and gardener. He sold the contents of his Buckinghamshire seat in his three-day sale at Christie’s in 1932. He is described in one obituary as ‘a simple, natural person, who set no great store by possessions’ and is also said to have turned down a peerage. He spent a great deal of time in Kenya on his farm and invested heavily in the country’s agricultural and industrial development)
His sale, Christie’s London, 27th May 1932, lot 114
Sale, Bonhams London, 9th April 2003, lot 2
Sale, Sotheby’s Olympia London, 6th July 2004 (purchased by the present owner)
£3,000-5,000 4
Property from a Private Collector
MANNER OF JUAN BAUTISTA MARTINEZ DEL MAZO (SPANISH 1612-1667)
PORTRAIT OF A GIRL oil on canvas
60.5 x 47.5cm; 24 x 18 1/2in
79 x 67cm; 31 x 26 1/4in (framed)
Sale, Bonhams London, 28th October 2015, lot 155 (purchased by the present owner)
£1,500-2,500
Property of a Lady
FLEMISH SCHOOL (MID-17TH CENTURY)
PORTRAIT OF A YOUNG GIRL, FULL LENGTH
WEARING A WHITE DRESS AND HOLDING AN OSTRICH FEATHER FAN oil on canvas
112 x 75cm; 44 x 29 1/2in
128.5 x 90.5cm; 50 1/2 x 35 1/2in (framed)
Provenance
Inherited by the late husband of the present owner in 1968
According to family tradition the present work is thought to be a portrait of the young Henrietta Anne (1644-1670), daughter of King Charles I and Queen Henrietta Maria of England and the youngest sister of Charles II who called her ‘Minette’. Although baptised into the Church of England she was brought up a Catholic in France, and through her marriage in 1661 to Philippe I, Duke of Orléans, brother of Louis XIV of France, she became the Duchess of Orléans. Thereafter she worked for an alliance between England and France, and to convert Charles to Catholicism.
£4,000-6,000
Property from a Private Collection
THEUDE GRÖNLAND (GERMAN 1817-1876)
STILL LIFE WITH FRUIT AND FLOWERS ON A MARBLE LEDGE
signed and dated Th. Grönland. 1844 lower right
oil on panel
46.5 x 38cm; 18 1/4 x 15in
55.5 x 46.5cm; 21 3/4 x 18 3/4in (framed)
Provenance
Sotheby’s, London, 25 November 1987, lot 8
Purchased at the above sale, thence by descent to the present owner
£2,500-3,500
Property from a Private Collection, Kent
SCHOOL OF HARLEM (DUTCH 17TH CENTURY)
A WOODED LANDSCAPE WITH A FERRY AND A DISTANT TOWN oil on canvas
87 x 104cm; 34 1/4 x 41in
134.5 x 115.5cm; 53 x 45 3/4in (framed)
Provenance
Rayner MacConnal, London (as Jan Vermeer of Harlem)
Fokko Kortlang, ‘Shepway’, Ashford (acquired in the 1950s)
Thence by descent to the present owner
The present work has traditionally been attributed to Jan Vermeer of Harlem (1656-1705); other attributions to School of Harlem painters that have been suggested include those of Jan Lagoor (active 1645-1659), and Jan Looten (1618-1681).
£3,000-5,000
Property of a Lady 9
ITALIAN SCHOOL (MID-18TH CENTURY)
PORTRAIT OF A GENTLEMAN
oil on canvas, framed as an oval
86 x 66cm; 33 3/4 x 26in
96.5 x 82.5cm; 38 x 32 1/4in (framed)
Provenance
Robin Duff OBE, Meldrum House Hotel, Old Meldrum, Aberdeen (acquired by the early 1980s; Robin Duff was the last Laird of Old Meldrum)
Thence by descent to the present owner, niece of the above
£2,000-3,000
Property from a Private Collector
AFTER JUAN BAUTISTA MARTINEZ DEL MAZO (SPANISH 1612-1667)
A VIEW OF ZARAGOZZA oil on canvas
62 x 77.5cm; 23 1/2 x 31in
73 x 90cm; 28 3/4 x 35 1/2in (framed)
Provenance
Simon Carter Gallery, Suffolk (as by Juan Bautista Martinez del Mazo) Purchased from the above by the previous owner Sale, Bonhams London, 26th October 2011, lot 249 (purchased by the present owner)
The present composition derives, with minor differences, from a section of the larger panoramic View of Zaragozza in the Museo del Prado, Madrid attributed to del Mazo.
£2,000-3,000
Property from the Estate of Lord Perth 11
WILLIAM HAYES (BRITISH 1729-1799)
STUDY OF A RUFF
signed and dated on the artist’s mount WLA. Hayes 1779 lower right; titled on the artist’s mount Ruff lower centre
watercolour and bodycolour over pen and ink on laid paper glued to the artist’s mount
32 x 27cm; 12 1/2 x 10 1/2in
57 x 50cm; 22 1/2 x 19 3/4in (framed)
Provenance
Acquired circa 1990
Offered together with an engraving of a ruff by John Frederick Miller (1750-1790).
£800-1,200
Property from a Private Collection, North London 12
STEPHEN TAYLOR (BRITISH, EARLY 19TH CENTURY) A SPANIEL STARTLED BY A HERON
signed and dated Steph. Taylor 183… lower right oil on canvas
92 x 116cm; 36 1/4 x 45 1/2in
117 x 144cm; 46 x 56 3/4in (framed)
Provenance
Acquired by the parents of the present owner in the late 1960s
£1,500-2,500
Property from a Private Collection, Cumbria 14
EDWARD CHARLES CLIFFORD (BRITISH 1858-1910) AFTER EDWARD COLEY
BURNE-JONES (BRITISH 1833-1898)
MERLIN AND NIMUE with monogram and dated EBJ / 1861 (in a cartouche, lower left) watercolour and bodycolour on paper mounted on the artist’s prepared stretcher 65 x 52.5cm; 25 1/2 x 20 1/2in 109 x 89cm; 43 x 35in (framed)
Provenance
Sale, Sotheby’s London, 6 November 1995, lot 210
Mr Carl Laszlo, Basel Sale, Sotheby’s London, 13 July 2017, lot 16 (purchased by the present owner)
Literature
William Waters, Burne-Jones Catalogue Raisonne, online edition (catalogued as After Edward Coley Burne-Jones, By Edward Charles Clifford)
Edward Clifford painted several faithful copies of Burne-Jones’ works from the 1860s including the present watercolour of Merlin and Nimué which Burne-Jones had completed in 1861 (Collection of the Victoria & Albert Museum, London).
Clifford summed up his admiration Burne-Jones’ original in glowing terms: ‘I was greatly impressed by this picture when I was only a student, but when I saw it three or four years ago in the collections of Mr Leathart of Gateshead-on-Tyne, I found it so beautiful that I almost lost command of myself for a few moments. The subject and the fine dramatic treatment of it are interesting, the greatest virtue of the picture lies in its ineffable and overwhelmingly lovely colour.’ (quoted in Broadlands as it was by Edward Clifford, London, 1890 pp. 52-54).
Clifford was not alone in his idolization of the work of Burne-Jones, but one of a group of admirers led by Robert Batemen (1842-1922). Waters notes that Clifford seems to have had access to Burne-Jones’s studio, but that there is no suggestion in Clifford’s biography or his writings that he was actually an assistant there, commenting that if he was an assistant along side Thomas Matthews Rooke and Charles Fairfax Murray, then it has yet to come to light. (William Waters, Burne-Jones Catalogue Raisonne, online edition).
ECCE ANCILLA DOMINI! (THE ANNUNCIATION) oil on canvas, heightened with touches of gold
71 x 40.6cm; 28 x 16in
91 x 61cm; 35 3/4 x 24in (framed)
Provenance
Purchased by the present owner in the late 1970s
The present work is after the original painting by Rossetti in 1849-50 (Collection of Tate Britain).
£2,000-3,000
Born in St John’s Wood, the son of an artists’ materials supplier, Clifford taught painting at the Berry F. Berry Art School in Swiss Cottage. He showed his work in London at the Royal Society of British Artists, The Royal Institute of Painters in Watercolours, The Royal Academy, and the Royal Institute of Oil Painters. Further afield his work was exhibited at the Manchester Academy of Fine Arts and the Walker Art Gallery, Liverpool.
£3,000-5,000
PROPERTY SOLD ON BEHALF OF A CHARITABLE TRUST (LOTS 15-17)
The six pages of studies featured in the following three lots are preparatory sketches for Burne-Jones’ important painting The Golden Stairs of 1880 (Collection Tate Britain) and Terra Omniparens of 1879. They were originally bound in a sketchbook but subsequently split up (sale, Christie’s, London, 14th December 2016, lots 17-24). Burne-Jones gave the sketch book to his friends Sir George and Lady Lewis.
15
EDWARD COLEY BURNE-JONES (BRITISH 1833-1898)
(I) A STUDY OF TWO FIGURES EMBRACING AND (II) A STUDY FOR ‘THE GOLDEN STAIRS’ - RECTO; A STUDY OF LEGS FOR ‘THE GOLDEN STAIRS’VERSO
(I) dedicated and dated EB-J to EL / 18 / 81 lower centre both pencil on paper each 25.5 x 14cm; 10 x 5 1/2in 38.5 x 42cm; 15 1/4 x 16 1/2in (framed as one)
Provenance
Sir George and Lady Elizabeth Lewis (a gift from the artist in 1881)
Thence by descent to the present owner, grandson of the above (I) was the first page of the sketchbook dedicated to Elizabeth Lewis and dated 1881. The model for (II) was Burne-Jones’ daughter Margaret (1866-1953), and is a study for the maiden holding a trumpet at the bottom of the stairs in The Golden Stairs Margaret was also very likely the model for the study of legs on the verso of (II), a preparatory study for the same figure in The Golden Stairs.
George Lewis was the most famous solicitor of his day who made his name representing the relatives of the poisoned Charles Bravo in the so-called Balham Mystery of 1876. Over a career of thirty years he was involved in a series of causes célèbres that came to court in London. He extricated the Prince of Wales from the embarrassing Tranby Croft Baccarat Affair and various other scandals involving gambling and mistresses, assistance that led to him being granted a knighthood. In 1866 he married his second wife, the beautiful Elizabeth Eberstadt, a passionate devotee of the arts. Their home from 1876, 88 Portland Place, was a magnet for artists and musicians and none were more welcome than Burne-Jones who became a great friend of them both and their children. Burne-Jones may have been in love with Elizabeth, like so many other younger women in his circle whose affection and attention he craved in later years. After his death Lady Lewis destroyed many of his letters, feeling they were too intimate to be allowed to survive for others to read.
£1,500-2,500
Property sold on behalf of a Charitable Trust 16
EDWARD COLEY BURNE-JONES (BRITISH 1833-1898)
TWO SHEETS OF STUDIES FOR SLEEVES FOR ‘THE GOLDEN STAIRS’ each initialed C on the reverse both pencil on paper
each 25.5 x 13.5cm; 10 x 5 1/4in
38.5 x 42cm; 15 1/4 x 16 1/2in (framed as one)
Provenance
Sir George and Lady Elizabeth Lewis (a gift from the artist in 1881)
Thence by descent to the present owner, grandson of the above
The present two studies relate to the sleeves of the girl playing a violin half-way down the stairs (who has the features of May Morris), and to the figure holding a tambourine, seventh from left whose face is obscured in the painting by the head of another musician.
See note to previous lot
£1,500-2,500
Property sold on behalf of a Charitable Trust 17
EDWARD COLEY BURNE-JONES (BRITISH 1833-1898)
(I & II) INFANT’S HEAD FOR PUTTI IN ‘TERRA OMNIPARENS’ - RECTO; A STUDY OF A PUTTI’S HEAD AND HANDVERSO I;
A STUDY FOR ‘THE GOLDEN STAIRS’ - VERSO II pencil on paper
both 25 x 14cm; 9 3/4 x 5 1/2in each 65 x 26cm; 25 1/2 x 10 1/4in (framed as one)
Provenance
Sir George and Lady Elizabeth Lewis (a gift from the artist in 1881)
Thence by descent to the present owner, grandson of the above
Executed in 1879. The present two pages are preparatory sketches for Terra Omniparens, the painted inside-lid of a piano that depicts Mother Earth amid a grape-vine among which a throng of infants and baby-fauns are clambering. The decoration was for his friend and patron William Graham, a Scottish merchant and politician who presented the piano to his daughter Frances on her twenty-first birthday. Unlike the seraphic bliss the child exudes in the present work, Burne-Jones characterized the putti in his painting as miniature satyrs with pointed forelocks and tiny horns. On the verso of (II) is a study for the figure holding a pipe at the top of the stairs in The Golden Stairs (Collection Tate Britain) begun in the 1870s and completed in 1880, the model was Margaret Burne-Jones (1866-1953), the artist’s daughter.
See note to lot 15
£1,000-1,500
Property from a Private Collection, Cumbria
MARY EVELINA KINDON (BRITISH, ACT.1879-1918)
THE POEM
signed M.E. Kindon lower left oil on canvas
76.5 x 101.8cm; 30 1/4 x 40 1/4in
110.5 x 132cm; 43 1/2 x 52in (framed)
Provenance
Sale, Sotheby’s Belgravia, London, 22 September 1981, lot 273
Sale, Christie’s, London, 3 June 1999, lot 78 (purchased by the present owner)
Born in Southwark, Kindon was the daughter of a floorcloth manufacturer. She worked in watercolours and oils and lived for many years in and around Bushey in Hertfordshire. A prolific exhibitor, her work was featured in exhibitions throughout Great Britain, including at the Royal Birmingham Society of Artists, the Royal Glasgow Institute of Fine Arts, the Manchester Academy of Fine Arts, the Royal Hibernian Academy, Dublin and the Walker Art Gallery, Liverpool. In London she showed at the Royal Academy, the Royal Society of British Artists, the Royal Institute of Painters in Watercolours, the Royal Institute of Oil Painters, the London Salon, the Society of Women Artists, and the Bushey Society of Artists. She died in Watford, Hertfordshire.
£2,000-3,000
Property from a Private Collection, Cumbria
19
WILLIAM MAW EGLEY (BRITISH 1826-1916)
MIRANDA’S FIRST SIGHT OF FERDINAND
signed and dated W. Maw Egley 1863 lower left; signed and inscribed with a scene from Shakespeare’s The Tempest and the artist’s address Miranda’s first sight of Ferdinand / Prospero. The fringed curtains of thine eye advance / And say, what thou seest yond? / Miranda. What is ‘t? a spirit? / Tempest. Act 1. Sc. 2. / Painted by / W. Maw Egley / 12 Hereford Road North / Westbournia. / W. on a label attached to the backboard oil on canvas, painted arch
66.6 x 43.3cm; 26 1/4 x 17in (with rounded top)
86 x 63cm; 33 3/4 x 24 3/4in (framed)
Provenance
Sale, Sotheby’s Belgravia, 24 March 1981, lot 202 (purchased by the present owner)
Born in Marylebone, Maw Egley learnt to paint under the guidance of his father, the portraitist and miniaturist William Egley (1798-1870). His early tuition included drawing literary illustrations of Molière and Shakespeare, and as the present painting attests, his work is typically rich in costume and historical references. In London Egley exhibited at the Royal Academy, the Royal Society of British Artists, The Royal Institute of of Painters in Watercolours and the Royal Institute of Oil Painters. Further afield he showed at the Royal Birmingham Society of Artists, the Manchester Academy of Fine Arts, the Walker Art Gallery, Liverpool and the Royal Hibernian Academy, Dublin. He also worked as an assistant to William Powell Frith. His work is in the collections of the Victoria & Albert Museum, Tate Britain and the Holbourne Museum, Bath.
£1,200-1,800
Property from a Private Collection, Cumbria
20
GEORGE PERCY JACOMB-HOOD (BRITISH 1857-1929)
THE WATER NYMPHS
signed and dated G.P. JACOMB HOOD / 1909 lower left oil on canvas
91.5 x 72.4cm; 36 x 28 1/2in 116 x 94cm; 45 3/4 x 37in (framed)
Provenance
Sale, Christie’s, London, 3 June 1988, lot 98 (purchased by the present owner)
Jacomb-Hood was one of many artists who had a studio in Manresa Road, Chelsea at the end of the nineteenth century. He counted himself as being ‘one of a little colony which included J.J. Shanon, Henri La Thangue, Harvard Thomas, William Llewellyn, Frank Short, Frank Brangwyn and Fred Pomery.’
A founding member of the Chelsea Arts Club in the autumn of 1890, he described its initial premises on the Kings Road: ‘The ground floor and basement of a house next-door to the Town Hall, and the studio at the back of it in the tenancy of a jovial and talented Scots painter, ‘Jimmie’ Christie, were rented… The studio formed a mess room for meals, and the room upstairs was for newspapers, chess and general socialbility.’ (Caroline Dakers, The Holland Park Circle, Artists and Victorian Society, London, 1999, p. 225).
Born in Surrey, Jacomb-Hood studied at the Slade and then under Jean-Paul Laurens (1838-1921) in Paris. His preferred subject matter was mythological scenes such as the present example, and he also earnt his living as an accomplished portrait painter. A founder member of the New English Art Club, Jacomb-Hood also supplied illustrations for the Illustrated London News and The Graphic. He exhibited his work widely: in London at the Royal Academy, the Royal Society of British Artists, the Royal Institute of Oil Painters, the Royal Society of Portrait Painters, the Fine Art Society, the Ridley Art Society and the Grosvenor Gallery. Elswhere across the country he showed at the Royal Birmingham Society of Artists, the Royal Glasgow Institute of the Fine Arts, the Walker Gallery, Liverpool, the Manchester Academy of Fine Arts and the Royal Hibernian Society, Dublin. He also exhibited regularly at the annual Paris Salon. His work is in museums and public galleries across the UK.
£2,000-3,000
Property from a Private Collection, Cumbria 21
SIMEON SOLOMON (BRITISH 1840-1905)
HERO AT ABYDOS
signed with initials and dated SS / 94 lower left oil on canvas
39.5 x 51cm; 15 1/2 x 20 1/4in
56 x 69cm; 22 x 27 3/4in (framed)
Provenance
Rachel Simmons (née Solomon), the artist’s cousin
By descent from the above
J S Maas & Co., London
Purchased by the present owner in the early 1980s
Exhibited
London, Geffrye Museum and Birmingham, Museum and Art Gallery, Solomon: A Family of Painters, 1985-86, no. 73
The Greek myth of the passionate love affair between the Priestess Hero and the young Leander from Abydos ends in tragedy when one winter night Leander sees the torch at the top of Hero’s tower on the other side of the strait of Hellespont. He attempts to swim the strait to visit her, but halfway across a strong wind blows out Hero’s light, and he loses his way and drowns. When Hero sees Leander’s dead body she throws herself off the tower to join him in death. Their bodies wash up on shore locked in embrace, and the couple are buried in a lover’s tomb.
£8,000-12,000
Property from a Private Collection, Kent 22
CIRCLE OF GEORGE RICHMOND (BRITISH 1809-1896)
HEAD OF A BEARDED MAN oil on canvas
61.5 x 52cm; 24 x 20 1/2in
87 x 79cm; 34 3/4 x 31in (framed)
Provenance
Fokko Kortlang, ‘Shepway’, Ashford (acquired in the 1950s)
Thence by descent to the present owner
£500-700
ELEANOR FORTESCUE-BRICKDALE (BRITISH 1872-1945)
THE TRYSTING PLACE
signed with monogram lower right pencil and bodycolour on Windsor and Newton sketching board
37 x 18cm; 14 1/2 x 7in
63.5 x 44.5cm; 25 x 17 1/2in (framed)
Provenance
Sale, Sotheby’s London, 25 January 1989, lot 417 Purchased by the previous owner in the early 1990s Eleanor Fortescue-Brickdale, described as a ‘Pre-Raphaelite revivalist’, studied first at Crystal Palace School of Art under Herbert Bone from 1889, then St John’s Wood School of Art and finally the Royal Academy Schools. She was elected a full member of the Royal Watercolour Society, however, as a woman, she could not become a Royal Academician at the time. During World War I she designed posters for a number of government departments and after the war more than twenty commemorative stained-glass windows. Her work appears in York Minister and Bristol Cathedral. She was also an accomplished illustrator and provided illustrations for books by Tennyson and Walter Scott. In 1920, a solo exhibition of her watercolours was held at the Leicester Galleries.
£2,000-3,000
Property of a Lady, London
24
JAMES ABBOT MCNEILL WHISTLER (BRITISH 1834-1903)
WATERLOO BRIDGE, 1896
signed lower right transfer lithograph
20.5 x 16cm; 8 x 6 1/4in
39 x 34cm; 15 1/4 x 13 1/4in (framed)
Provenance
Thomas Agnew & Sons Ltd, London
A gift to the present owner from her stepfather in the late 1990s
Literature
T. R. Way, Mr. Whistler’s Lithographs: The Catalogue. London, 1896, no. 119
Mervyn Levy, Whistler Lithographs: An Illustrated Catalogue Raisonné. London, 1975, no. 165
£800-1,200
Property of a Lady, London
25
JAMES ABBOT MCNEILL WHISTLER (BRITISH 1834-1903)
LITTLE COURT, 1880
signed with the artist’s butterfly on tab below etching on laid paper
12.5 x 17cm; 5 x 6 3/4in
30.5 x 34cm; 12 x 13 1/4in (framed)
Provenance
Thomas Agnew & Sons Ltd, London
A gift to the present owner from her stepfather in the late 1990s
Literature
Edward G Kennedy, The Etched Work of Whistler, New York, 1910, no. 236
Margaret F. MacDonald, Grischka Petri, Meg Hausberg, and Joanna Meacock, James McNeill Whistler: The Etchings, a catalogue raisonné, University of Glasgow, 2012, no. 244 (on-line website at http://etchings.arts.gla.ac.uk)
An early etching of the only state published by Dowdeswell and Thibaudeau in 1886 from the Set of Twenty-Six Etchings known as the Second Venice Set. It is thought that Little Court was located off Drury Lane, London.
£1,000-1,500
Property of a Lady, London 26
JAMES ABBOT MCNEILL WHISTLER (BRITISH 1834-1903)
MAUNDERS FISH SHOP, CHELSEA, 1890 signed with the artist’s butterfly on tab below etching on laid paper
13.5 x 21.5cm; 5 1/4 x 8 1/2in
33 x 40cm; 13 x 15 3/4in (framed)
Provenance
Thomas Agnew & Sons Ltd, London
A gift to the present owner from her stepfather in the late 1990s
Literature
Edward G. Kennedy, The Etched Work of Whistler, New York, 1910, no. 264
Margaret F. MacDonald, Grischka Petri, Meg Hausberg, and Joanna Meacock, James McNeill Whistler: The Etchings, a catalogue raisonné, University of Glasgow, 2012, no. 267 (on-line website at http://etchings.arts.gla.ac.uk)
Elizabeth Maunder’s fish shop at 72 Cheyne Walk, Chelsea was demolished around 1892. Whistler later lived in a house on the site which was subsequently destroyed in the Second World War. This is one of two works Whistler produced which portrayed the fish shop. A contemporary account of Whistler’s work describes this etching as: ‘one of Mr Whistler’s most brilliant creations. It represents a group of old houses at Chelsea, and is an excellent arrangement in black and white.’
£1,000-1,500
Property from a Private Collector
JOAQUIN SOROLLA Y BASTIDA (SPANISH 1863-1923) PORTRAIT OF CHARLES ROMER WILLIAMS (1885-1926)
signed and dated J Sorolla 1913 upper left oil on canvas
81.5 x 65cm; 32 x 25 1/2in (unframed)
Provenance
Captain Charles Romer Williams, London (Captain Romer, 1885-1926, served with the Welsh Guards during World War I. After leaving the army he became a partner with the fine art dealers Thomas Agnew & Sons in London. In 1921 he moved to the USA where he worked as an art dealer and publisher. He died in New York in 1926.
Sale, Alcala Madrid, 7th October 2015, lot 830 (purchased by the present owner)
To be included in the Sorolla catalogue raisonné being prepared by Blanca Pons-Sorolla, the artist’s great-granddaughter and recorded in her archive under number BPS 3093.
£12,000-18,000
Property from a Private Collector
JOAQUIN SOROLLA Y BASTIDA (SPANISH 1863-1923)
PORTRAIT OF A LADY
signed J Sorolla upper left oil on panel
40.5 x 34.5cm; 16 x 13 1/2in
58.5 x 53.5cm; 23 x 21in (framed)
Painted in 1892
Provenance
Sale, Alcala Madrid, 17th December, 2014, lot 271
Purchased at the above sale by the present owner
To be included in the Sorolla catalogue raisonné being prepared by Blanca Pons-Sorolla, the artist’s great-granddaughter and recorded in her archive under number BPS 3879.
£10,000-15,000
The Property of a Lady
MONTAGUE DAWSON (BRITISH 1895-1973)
RUNNING DOWN THE EAST INDIAMAN signed Montague Dawson lower left oil on canvas
69 x 61.5cm; 27 1/4 x 24 1/4in
85 x 87cm; 33 1/2 x 34 1/4in (framed)
Provenance
Sale, Phillips Toronto, 1st December 1993, lot 184
⊕ £10,000-15,000
30
STANHOPE ALEXANDER FORBES RA (BRITISH 1857-1947)
REFLECTIONS IN THE CANAL, VENICE
signed and dated Stanhope A. Forbes. / 1927 lower left oil on canvas
76.2 x 61cm; 30 x 24in
94 x 79cm; 37 x 31in (framed)
Provenance
Harrods Department Store, Knightsbridge, London
Purchased from the above by the parents of the present owner circa 1930
£8,000-12,000
SIR GEORGE CLAUSEN RA (BRITISH 1852-1944)
A HOUSE WITH A TREE IN BLOSSOM signed G. CLAUSEN. lower right oil on canvas
35 x 45.5cm; 13 3/4 x 18in
54 x 64cm; 21 1/4 x 25 1/4in (framed)
Provenance
Purchased by the previous owner in the early 1990s
£2,000-3,000
Property from a London Collection 32
HARRY WATSON (BRITISH 1871-1936)
TWO BOYS BATHING IN A ROCKPOOL signed HARRY WATSON lower left oil on canvas
122 x 150cm; 48 x 59in
140 x 169cm; 55 x 68in (framed)
Provenance
Whitford & Hughes, London
Sale, Bonhams London, 12 March 2008, lot 94
Purchased at the above sale by the present owner
£7,000-10,000
Property from the Estate of Lady Beryl Steinberg 33
SIR
WILLIAM RUSSELL-FLINT RA (BRITISH 1880-1969)
ISABELLE AT LUCENAY
signed W. Russell Flint lower right; signed, titled, dedicated and dated Isabelle at Lucenay / W Russell-Flint / May 1967 / Given to Helen on her Birthday, Dec 2. 1968 / with love & gratitude. / W Russell-Flint on the reverse; signed dedicated and dated For beloved Helen on her Birthday / Dec.2.1968 / / With fondest good wishes / for always and always / From / Willie / W Russell-Flint on the backboard
watercolour on paper
50 x 68.5cm; 19 1/2 x 27in
84 x 101cm; 33 x 39 3/4in (framed)
Provenance
Helen Thompson, a gift from the artist on her birthday, 2nd December 1968 (Thompson was Russell-Flint’s house-keeper) Frost & Reed, London (by 1999)
Lucenay lies between Beaujolais and Lyon in the Rhône, France.
⊕ £6,000-8,000
Property from the Estate of Lady Beryl Steinberg
SIR WILLIAM RUSSELL FLINT RA (BRITISH 1880-1969)
LA BELLE POSEUSE, NERAC
signed W. Russell Flint, lower right; signed and dated W Russell Flint / October 1967 on the reverse watercolour on paper
68 x 99cm; 28 3/4 x 39in
81.5 x 99cm; 32 x 39in (framed)
Provenance
Williams & Sons, London
Nérac is in the Lot-et-Garonne in the south-west of France.
⊕ £5,000-7,000
Property from a Private Collection
35 WILLIAM HENRY MARGETSON (BRITISH 1861-1940) A LASS THAT LOVED A SAILOR signed W H MARGETSON lower right oil on panel
80.5 x 55.5cm; 31 3/4 x 22in
100.5 x 76cm; 39 1/2 x 30in (framed)
Provenance
Acquired by the grandfather of the present owner in the 1940s
£1,000-1,500
Property from a Private Collection, Kent
SIR WILLIAM ALEXANDER DARGIE CBE (AUSTRALIAN 1912-2003)
PORTRAIT OF ANNA JOHN oil on canvas
51 x 41cm; 20 1/4 x 16in
60.5 x 50.5cm; 24 x 19 3/4in (framed)
Provenance
Fokko Kortlang, ‘Shepway’, Ashford (acquired in the 1950s)
Thence by descent to the present owner
Painted in the mid-1950s, Anna John (b. 1930) is the eldest daughter of David John, and the eldest granddaughter of Augustus and Ida John. As well as sitting for Dargie, Anna sat for her grandfather on at least three occasions. John nominated Dargie for membership of the Royal Academy in 1951 and Dargie stayed in London in the mid-1950s for eighteen months, when the present work was painted. Anna was married to the Glaswegian artist and cartoonist John McGlashan (1927-1999).
We are grateful to Rebecca John for her assistance in cataloguing this work.
⊕ £500-700
Property of a Lady, West London
EDWARD
BAWDEN (BRITISH 1903-1989)
THE UNIVERSE IS INFINITELY WIDE
signed and dated Edward Bawden 1932 twice lower right; also numbered 28 lower right watercolour, gouache and wash on paper 45 x 56.5cm; 17 3/4 x 22 1/4in 57 x 68cm; 22 1/2 x 26 3/4in (framed)
Provenance
Zwemmer Gallery, London (1933) Montague Shearman Esq, London (purchased from the above; Montague Shearman, 1886-1940, was a barrister, art collector and connoisseur. A posthumous exhibition of his collection at the Redfern Gallery, London included works by Dali, Vuillard, Monet, Matisse, Renoir and Utrillo)
Acquired by the father of the present owner in the late 1940s
Exhibition
London, The Zwemmer Gallery, 1933, no. 26
Literature
James Russell The Lost Watercolours of Edward Bawden, Norwich, 2016, p.159, illustrated
The present work is a re-discovery and a rare example of Bawden’s work from the inter-war years – the period which is the subject of the recent book by James Russell (ibid).
At the time, Bawden was in his 30s, living and working in the rural idyll of Great Bardfield, Essex which he found to be a welcome escape from the bustle of London that he loathed. He initially took rooms in the Brick
House there with his friend and fellow artist Eric Ravillious (1903-1942). After marrying Charlotte (née Epton), Bawden’s father purchased the house for the newly-weds and it became their permanent home. Bawden’s work that decade was the subject of two important exhibitions, at the Zwemmer Gallery in 1933 (the exhibition in which the current lot featured), and the Leicester Galleries in 1938. Both focused on works produced within a few miles of Great Bardfield. The 1933 exhibition was reported in glowing terms in The Times while the reviewer in The Week-End Review said of the present work ‘Mr Bawden has also a delightful sense of humour, which, in a painting like The World is Infinitely Wide, goes deeper than many men’s solemnity.’ (The Week-End Review, October 21, 1933).
It was Gwyneth Lloyd Jones, a close friend of Charlotte Bawden and academic at Girton College, Cambridge who selected the literary titles for each work before they were exhibited at the Zwemmer Gallery. The gallery cut out the line titles from their catalogue and pasted them to the backboard as can be seen on the reverse of the present work. The title is the sixth line of Sonnet XIV by William Wordsworth composed in 1833: Desire we past illusions to recall?
To reinstate wild Fancy, would we hide Truths whose thick veil Science has drawn aside?
No, - let this Age, high as she may, install
In her esteem the thirst that wrought man’s fall, The universe is infinitely wide;
⊕
£5,000-7,000
The title and Zwemmer Gallery label on the backboard
Property from a Collector, London
EDWARD SEAGO (BRITISH 1910-1974)
A STREET OFF THE WALWORTH ROAD, LONDON
signed Edward Seago lower left oil on board
54.5 x 80cm; 21 1/2 x 31 1/2in
68.5 x 94cm; 27 x 37in (framed)
Provenance
Colnaghi, London
Aubry Easton, London (purchased from the above in the 1950s. Aubrey Easton was a senior partner of the family firm of solicitors William Easton & Sons whose offices were at Lion House, 124 Walworth Road, hence his interest in the present subject) By descent to the present owner, niece of the above
For another view of the present street from a different vantage point further down the road by Seago see sale Bonhams, London 21st March 2017, lot 104. Walworth Road in Elephant and Castle, south of the Thames, was and remains the principal trading street in the area encompassing East Street Market, one of the oldest markets in London.
The son of a coal merchant, Seago was born and raised in Norfolk, where he painted local views as a boy. After leaving school he ran away to join Bevan’s Travelling Show publishing the sketches and oils he completed of the performers and circus characters in Circus Company, Life on the Road in 1932. The introduction to the book was written by the poet laureate John Masefield who went on to commission Seago to illustrate two volumes of his poetry: The Country Scene (1937) and Tribute to Ballet (1939).
As well as Masefield, Seago acquired several other influential patrons during the 1930s, including Princess Mary, Countess of Harewood, whose patronage brought Seago to the attention of the Royal Family. Queen Mary, Queen Elizabeth the Queen Mother, Prince Philip, The Duke of Edinburgh and Prince Charles, Prince of Wales at the time, all became devotees of his work, and his exhibitions with his dealer Colnaghi sold out immediately. Typically collectors queued around the block to acquire a painting, the gallery having to limit purchases to one each, a rule not dissimilar to those imposed by leading fashion brands today selling their merchandise to eager buyers on Bond Street. ⊕ £8,000-12,000
39
FRANK DOBSON (BRITISH 1886-1963)
FEMALE TORSO
pastel and pencil on paper
29 x 44cm; 11 1/2 x 17 1/2in
55 x 68cm; 21 3/4 x 26 3/4in (framed)
Provenance
Private Collection, London
Purchased by the present owners from the above in 2017
⊕ £700-900
40
FRANK DOBSON (BRITISH 1886-1963)
BENDING NUDE
pastel and charcoal on paper
48 x 31cm; 19 x 12in
106.5 x 81.5cm; 42 x 32in (framed)
Provenance
Private Collection, London
Purchased by the present owners from the above in 2017
⊕ £600-800
Property from a Private Collector, London
41
PAUL DELVAUX (BELGIAN 1897-1994)
LES CAPTIVES, 1955
signed and dated P Delvaux / 1955 lower right; inscribed Dernier préliminaire pour / un grand tableau déjà achevé / intitulé “Les Courtisanes” on a label on the reverse pen and indian ink and wash on paper
35 x 45cm; 13 3/4 x 17 3/4in
64 x 74cm; 25 3/4 x 29 1/4in (framed)
Provenance
Sale, Christie’s, London, 3rd February 2010, lot 276 (purchased by the present owner)
⊕ £10,000-15,000
GEORGE MORREN (BELGIAN 1868-1941)
NATURE MORTE AUX FRUITS ET LEGUMES
signed and dated Morren 98 lower right oil on canvas
60 x 81cm; 23 3/4 x 31 3/4in
83 x 106cm; 32 3/4 x 41 3/4in (framed)
Provenance
Sale, Hôtel des Ventes Horta Brussels, 15th April 2009, lot 226
Exhibited
Antwerp, Exposition de quelques oeuvres de George Morren, Thibaut, 1900, no.10
Brussels, La Libre Esthétique, 7ième Exposition, March 1900, no. 225
Sale, Horta Brussels, 20th April 2009, lot 226
Joseph Vandenbroeck, London
Purchased from the above by the present owner in 2011
To be included in the supplement to the George Morren Catalogue raisonné being prepared by Tony Calabrese and recorded in his archives.
£3,000-5,000
43
ANDRE LHOTE (FRENCH 1885-1962)
NATURE MORTE A LA TETE ROMANE
signed A.LHOTE lower left oil on canvas
46 x 62.5cm; 18 x 24 1/2in
67 x 82cm; 26 3/4 x 32 1/4in (framed)
Painted circa 1948
Provenance
Sale, Mes. Blanchy et Lacombe, Bordeaux-Chartrons, 23 February 2011, lot 64 (acquired by the present owner)
The authenticity of this work has been confirmed by Dominique Bermann Martin et Jean-François Aittouarès and is recorded in their archives under no. S2183.
⊕ £10,000-15,000
Property of a Gentleman, London
43A
EDWARD ATKINSON HORNEL (SCOTTISH 1864-1933)
THE FAN DANCE - THREE YOUNG JAPANESE ENTERTAINERS
oil on canvas
64 x 77cm; 25 1/4 x 30 1/4in (framed)
Provenance
Adam Gallery, London (purchased by the present owner in 1993)
£6,000-8,000
Property of a Gentleman, London
44
LEON DE SMET (BELGIAN 1881-1966)
NATURE MORTE AVEC COQUELICOTS
signed and dated LÉON DE SMET / 1921 lower left oil on canvas
64 x 77cm; 25 x 30in
86 x 98.5cm; 34 x 38 3/4in (framed)
Provenance
Sale, Phillips London, 25th June 2001, lot 32
Paisnel Gallery, London
Purchased from the above by the present owner in the early 2000s
⊕
£8,000-12,000
Property of a Gentleman, London 45
FERNAND TOUSSAINT (BELGIAN 1873-1956)
NATURE MORTE AU PARAVENT signed Toussaint lower left oil on canvas
80 x 100cm; 31 1/2 x 39 1/2in
106.5 x 127.5cm; 42 x 50 1/4in (framed)
Provenance
Sale, Christie’s New York, 28th February 1991, lot 133
Paisnel Gallery, London
Purchased from the above by the present owner circa 2000
⊕
£6,000-8,000
Property from a Private Collector, London
SUZANNE ROGER (FRENCH 1899-1986)
SAINT PHAL
signed Suzanne Roger lower right oil on canvas
65 x 46cm; 25 1/2 x 18 1/4in
83.5 x 64cm; 32 3/4 x 25 1/4in (framed)
Painted in 1925
Provenance
Paris, Galerie Simon, 1925 (Galerie Simon, established by Daniel-Henry Kahnweiler in 1920, was named after his business partner André Simon. In 1940 Kahnweiler put the gallery in the name of his sister-in-law Louise Leiris. Kahnweiller represented many of the leading artists of the day, including Picasso, Juan Gris and Fernand Léger. Suzanne Roger was first represented by him in 1923.)
Galerie des Modernes, Paris
Purchased from the above by the present owner in November 1999
⊕ £1,000-1,500
Property from a Private Collection
YANKEL ADLER (POLISH 1895-1949)
ABSTRACT COMPOSITION (STILL LIFE)
signed Adler lower left oil on board
18.5 x 24cm; 7 1/2 x 9 1/2in
44 x 49.5cm; 17 1/4 x 19 1/2in (framed)
Painted circa 1940
Provenance
Stern Gallery, Tel Aviv
James Davids (purchased from the above 11th December 1993)
Sale, Christie’s London, 15th July 2010, lot 72
Purchased by the father of the present owner circa 2010
£3,000-5,000
Property from a Private Collector, London
MIMMO PALADINO (ITALIAN B.1948)
UNTITLED
signed and dated Mimmo Paladino / 07 lower right
crayon, gouache and collage on paper
30.5 x 45cm; 12 x 17 3/4in
52 x 70cm; 20 1/2 x 27 1/2in (framed)
Provenance
Carlo Berardi, London
Purchased from the above by the present owner in September 2010
⊕ £2,000-3,000
Property from a Private Collector, London 49
ARMAN (FRENCH 1928-2005)
signed and numbered Arman 68/100 lower right bronze on marble base
height: 63.5cm; 25in (including base)
Provenance
Galerie Ferrero, Nice
Purchased from the above by the present owner in October 1999
⊕ £3,000-5,000
Property from a Private Collector, London
50
ANTONI CLAVE (SPANISH 1913-2005)
PETIT ARLEQUIN AU CHAT
gouache and ink on paper
61 x 43cm; 24 x 17in
96 x 76cm; 37 3/4 x 30in (framed)
Executed in 1948
Provenance
Pyms Gallery, London
Sale, Sotheby’s London, 30th March 2000, lot 110 (purchased by the present owner)
⊕ £2,000-3,000
Property from a Private Collector, London
ENRICO BAJ (ITALIAN 1924-2003)
LADY, 1973
signed baj top left; signed baj on the reverse mixed media on board
80 x 60cm; 31 1/2 x 23 1/2in
96 x 76cm; 37 3/4 x 30in (framed)
Provenance
Sale, Christie’s London, 6th February 2003, lot 645 (purchased by the present owner)
Literature
Marconi Menhir, Enrico Baj, Catalogo generale delle opere dal 1972 al 1996, 1997, no. 1733, illustrated
⊕ £12,000-18,000
signature on backboard
Property of a Gentleman
THEO TOBIASSE (FRENCH 1927-2012)
ENTRANCES MYSTIQUE POUR UNE FEMME ET DES FLEURS
signed theo tobiasse centre right; titled entrance mystique pour une femme et des fleurs centre left oil on canvas
72 x 59cm; 28 1/2 x 23 1/4in
75 x 62.5cm; 29 1/2 x 24 1/2in (framed)
Provenance
Purchased from the artist by the present owner in the late 1990s
⊕ £8,000-12,000
Property of a Gentleman
THEO TOBIASSE (FRENCH 1927-2012) OU VONT LES RUMEURS DE LA FETE?
signed theo tobiasse lower right; titled oú vont les rumeurs de la fête? upper left oil on canvas
56 x 65cm; 22 1/4 x 25 1/2in
81 x 92.5cm; 32 x 36 1/2in (framed)
Provenance
Opera Gallery, Paris
Purchased from the above by the present owner in the early 2000s
⊕ £8,000-12,000
Property from a Private Collection, Cambridgeshire
54
LAURENCE STEPHEN LOWRY (BRITISH 1887-1976)
GOING TO THE MATCH
signed in pencil L.S.Lowry lower right margin; with the Fine Art Trade Guild stamp lower left margin offset lithograph
52 x 68cm; 20 1/4 x 26 3/4in
74 x 86cm; 29 x 33 3/4in (framed)
Provenance
Acquired by the aunt of the present owner in the early 1970s
Printed in 1972 in an edition of 300, the present work is the limited edition lithograph Lowry produced of one of his most popular oil paintings from 1953 of the same title. Lowry had originally entered his oil painting Going to the Match into a competition held jointly by the Football association and the Arts Council of Great Britain in 1953. The entries had to make a connection between art and football. Lowry’s Going to the Match won first prize.
The work depicts crowds of his iconic ‘matchstick men’ swarming to a football match at the stadium at Burnden Park, the former home of Bolton Wanderers, at the time one of the leading clubs in the country. Lowry was in fact a Manchester City fan but the Bolton ground was close to Pendlebury where Lowry lived (the stadium was demolished in 1999). In the work
Lowery is an outside observer of human life and not part of the crowd he depicts as in many of his works. Lowry focuses on the fans attending the match rather than the game itself, combining his most popular subjects: the industrial landscape of the north, the role of sport in the everyday lives and the weekly rituals of those who worked in the mills and factories.
Lowery’s 1953 oil was sold at Christie’s London on 19th October 2022 where it was purchased by the Lowry Arts Centre, Salford (with the help of the Law Family Foundation), for £7.8 million. The painting had been loaned to the Centre for 22 years when it was put up for auction by the then owners, The Professional Footballers’ Association.
⊕ £25,000-35,000
Property from the Estate of Lord Perth 55
JULIAN BARROW (BRITISH 1939-2013)
ROYAL HOSPITAL, FROM MY STUDIO signed Julian Barrow lower right oil on canvas
29.5 x 39.5cm; 11 1/2 x 15 1/2in
38.5 x 49cm; 15 1/4 x 19 1/4in (framed)
Provenance
The Chelsea Art Society (acquired by the late owner circa 1990)
£700-900
Property of a Lady, West London
56
LAURENCE STEPHEN LOWRY (BRITISH 1887-1976)
INDUSTRIAL PANORAMA
signed in pencil L.S.Lowry lower right margin; with the Fine Art Trade Guild stamp lower left margin
offset lithograph
60.5 x 79.5cm; 23 3/4 x 31 1/4in
86.5 x 103cm; 34 x 40 1/2in (framed)
Provenance
Harrods Department Store, Knightsbridge, London
Acquired from the above by the present owner in the 1980s
Printed in 1972 in an edition of 300, the present work is after the original oil from 1953 of the same title in the Castle Museum and Art Gallery, Nottingham.
⊕ £3,000-5,000
Property from a Private Collector, London
57
FRANK AUERBACH
(GERMAN-BRITISH B.1931)
PLAYING CARDS - TWO HEADS
signed Auerbach lower right; numbered 58/70 lower left; signed Auerbach top left (inverted)
lithograph
82 x 61cm; 32 1/4 x 24in
101 x 71cm; 39 3/4 x 28in (framed)
£800-1,200
Property from a Private Collection
58
JOHN HOYLAND (BRITISH 1934-2011)
UNTITLED
signed John Hoyland. lower right margin; dated 67 lower left margin
acrylic on paper
59 x 72cm; 23 1/4 x 28 1/4in
76 x 91cm; 29 3/4 x 35 3/4in (framed)
Provenance
Robert Elkon Gallery, New York
Purchased by the father of the present owner circa 2010
⊕ £2,000-3,000
59
TREVOR BELL (BRITISH 1930-2017)
UNTITLED
gouache and acrylic on paper
106.5 x 81cm; 42 x 32in
115 x 88cm; 45 1/4 x 34 3/4in (framed)
Provenance
Acquired from the artist by the present owner
⊕ £500-700
PROPERTY FROM THE ESTATE OF KARSTEN SCHUBERT
(LOTS 60-63)
Karsten Schubert, 1961-2019
Born in Berlin, Karsten Schubert (1961-2019) was a pioneer on the 1980s London Art scene, promoting and opening doors to many artists who were associated with the Young British Artist movement (YBAs). Karsten began his career at the Lisson Gallery which, in the early 1980s, was the only London gallery offering space to young, as yet, undiscovered artistic talents. 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 (lot 61) and Ian Davenport. Karsten typically gave his artists free reign to create as they pleased. A 1992 exhibition entitled 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 were ultimately uncommercial and by 1992 Karsten had relocated to Foley Street and a number of his protégés had left him for other representation now springing up in London’s 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 who he admired greatly and those of Tess Jaray (see lot 60) from his Lexington Street Gallery in Soho.
Loved and admired in the London art world and beyond, typical of his generosity and kindness the proceeds from the book he wrote during his convalescence from cancer surgery (from a room at Claridges, funded by two of his friends), he donated to charity. The following four works are from Karsten’s private collection.
Property from the Estate of Karsten Schubert
TESS JARAY (BRITISH B.1937)
UNTITLED
signed Tess Jaray lower left pencil on graph paper
31 x 34cm: 12 1/4 x 13 1/2in
41.5 x 44.5cm; 16 1/4 x 17 1/2in (framed)
Executed circa 1999-2000
Provenance
Acquired from the artist
£300-500
Property from the Estate of Karsten Schubert
61
MICHAEL LANDY (BRITISH B.1963)
I’M FOREVER BLOWING BUBBLES
carved J. Tappy I’m forever blowing bubbles S,E,11, On Hire along the wood gloss paint on wood with bolts length: 197.5cm; 77 1/2in
Provenance
Acquired from the artist
The present work, appropriated by Landy, originated in the frame of a London costermonger’s barrow, a street cart on wheels used by market traders for the sale of fresh fruit, vegetables and flowers. A structural support running the length of the barrow’s chassis to support its floor, the beam’s inscription reveals that the barrow was originally owned and lent out by Joseph Tappy who carved his name and neighbourhood on the side of it and added the line from the popular song I’m forever blowing bubbles.
Born in 1873, Tappy lived in Lambeth, London SE11, married in 1901 and set up as an independent barrow maker and lender in 1903. The popular song I’m Forever Blowing Bubbles was written in 1918 by Jack Kellette. A hit in British music halls and theatres throughout the 1920s it featured in numerous films, famously sung by Doris Day in 1951 On Moonlight Bay. In the UK it is now better known as the anthem sung by the fans on the terraces of West Ham United Football Club: I’m forever blowing bubbles – pretty bubbles in the air – they fly so high –nearly reach the sky – then like my dreams – they fade and die…
A complete market barrow by Tappy reconditioned and bedecked by flowers in 1991 by Landy is in the collection of Tate, London, another is in the Zabludowicz Collection, London. A wooden cartwheel also previously owned by Tappy on which the same inscription is carved and which Landy painted red is now in the collection of the British Council Collection. Landy also used the title I’m forever blowing bubbles in other works he created at the end of the 1990s including works in watercolour and pen and ink.
⊕ £500-700
Property from the Estate of Karsten Schubert
62
JOHN VIRTUE (BRITISH B.1947)
UNTITLED NO 12
signed, titled and dated 12.UNTITLED.2017 / John Virtue on the reverse
acrylic on linen
18 x 20cm; 7 1/4 x 8in (unframed)
Provenance
Acquired from the artist
⊕ £700-900
Property from the Estate of Karsten Schubert
63
JOHN VIRTUE (BRITISH B.1947)
LANDSCAPE 141
signed, titled and dated 141 / Landscape 141 / 1990-1991 / John Virtue on the reverse pencil, charcoal, shellac, black ink, gouache, acrylic emulsion on paper pasted on board
22.5 x 29.5cm; 9 x 11 1/2in
24.5 x 32cm; 9 1/2 x 12 1/2in (framed)
Provenance
Lisson Gallery, London
⊕ £600-800
Property from a Private Collector, London
64
PAULA REGO (PORTUGUESE 1935-2022)
GOOD MORNING, 1988
signed in pencil Paula Rego lower right margin; numbered in pencil 48/50 lower left margin engraving
21 x 32cm; 8 1/4 x 12 1/2in (plate)
44 x 52cm; 17 1/4 x 20 1/2in (framed)
⊕ £1,000-1,500
Property from a Private Collector, London 65
BANKSY (BRITISH B.1974)
TEN DI-FACED TENNERS
each offset lithograph printed in colours each 7.5 x 14cm; 3 x 5 3/4in
47 x 36cm; 18 1/2in x 14 1/4in (ten framed as one)
Provenance
Lazarides Gallery, London
Damian Delahunty Gallery, London
Purchased from the above by the present owner in 2020
Sold with a Lazarides Gallery business card inscribed: Give me a call when you’re back. Here’s a tenner attached to the backboard.
The first batch of Di-Faced Tenners rained down on the crowds at Notting Hill Carnival, Reading Festival and Liverpool Street Station in 2004. A second ‘suitcase’ was put together for the Santa’s Ghetto exhibition at the Lazarides Gallery later that year, along with a limited edition series of screen prints featuring five notes.
⊕ £10,000-15,000
Property from a Private Collector, London
66
MARTIN BRADLEY (BRITISH B.1931)
UNTITLED
signed with initials and dated 55 lower left brush and ink and gouache on paper
50 x 36cm; 19 3/4 x 14 1/4in
60 x 46.5cm; 23 1/2 x 18 1/4in (framed)
Provenance
Ohana Gallery, London
Christie’s, London, 15th December 2011, lot 162
⊕ £2,500-3,500
Property from a Private Collector, London
67
MARTIN BRADLEY (BRITISH B.1931) FLOWER
signed with initials and dated M.B.55. lower right; signed with initials, titled and dated Flower / MB 1955 on the reverse oil on canvas
61 x 50cm; 24 x 19 1/2in
66 x 55cm; 25 x 21 1/2in (framed)
Provenance
Sale, Phillips London, 17th June 1997, lot 124
Julian Hartnoll, London
Purchased from the above by the present owner in the late 1990s
⊕ £3,000-5,000
Property from a Private Collector, London
68
MARTIN BRADLEY (BRITISH B. 1931)
FALLING RAIN
signed and dated Martin Bradley 1972. lower right; titled and inscribed Oui / for the / meaningful / meaningless / gibberings / of Chaos / Falling Rain. lower left oil on canvas
130 x 97cm; 51 1/4 x 38 1/4in (unframed)
Provenance
Sale, Christie’s, London, 27th February 2008, lot 207 (purchased by the present owner)
⊕ £1,200-1,800
Property from a Private Collection, West London 69
LYNN
CHADWICK (BRITISH 1914-2003)
RAD LAD II
signed and numbered Chadwick 2/3
bronze height: 43cm; 17in
Executed in 1962 and cast in a numbered edition of three Provenance
Marlborough Fine Art Ltd, London
Purchased from the above by the mother of the present owner 13th August 1965
Exhibited
London, Marlborough Fine Art, Summer Exhibition, 1965, no.13
Literature
Dennis Farr and Éva Chadwick, Lynn Chadwick Sculptor, With a Complete Illustrated Catalogue 1947-2003, London, 2014, p. 198, no. 362 (illustration of the cast in the Museum of Fine Arts, Montreal)
In Rad Lad II a rugged and ridged head and body sit on three angular, tapering legs, the rough geometric form half human, half robot. Chadwick’s light-hearted title - an abbreviation for ‘radiator man’ or plumber - refers to the work’s corrugated surfaces, but belies the more insidious presence the bronze’s spectre-like form suggests. Other more prescient titles he gave to similar sculptures of single figures he completed in the early 1960s included Watcher, Detector and Inquisitor. Such labels of monitoring and surveillance reference the perceived existential threats present in the geo-politics of the day, when the Russian-American Cold War was entrenched, the Cuban Missile crisis was threatening, the Berlin Wall under construction and the horrors of the Vietnam War were unfolding.
Chadwick’s developing interest in casting in bronze followed a formidably successful decade of development, beginning with his first solo show at Gimpel Fils in Mayfair in 1950, three separate large scale commissions for the Festival of Britain in 1951 and inclusion both in the Battersea Park Open Air Sculpture Exhibition, and the exhibition American Abstraction in New York the same year. In 1952 he was featured as one of eight young emerging British sculptors in the Venice Biennale, others included Kenneth Armitage, Reg Butler, Eduardo Paolozzi and William Turnbull. His meteoric rise continued when in 1956 he represented Britain at the Venice Biennale, winning the International Sculpture Prize against the favourite Alberto Giacometti.
⊕ £14,000-18,000
MAURICE COCKRILL (BRITISH 1936-2013)
PORTABLE KINGDOM
signed and dated Maurice Cockrill / 1996 on the backboard oil on panel
51.5 x 61cm; 20 1/4 x 24in
67.5 x 76.5cm; 26 3/4 x 30 1/4in (framed)
Provenance
Bob Simm, Tunbridge Wells
Acquired from the above by the present owner circa 2010
⊕ £600-800
Property from a Private Collector, London
REZI VAN LANKVELD (DUTCH B.1973)
CURTAINS
signed, titled and dated CURTAINS / REZI VAN LANKVELD / 2003 on the reverse oil on board
152.3 x 152.3cm; 60 x 60in (unframed)
Provenance
Sale, Christie’s London, 19th October 2013, lot 412 Gordon Watson, London
Purchased from the above by the present owner
⊕ £4,000-6,000
Property from a Private Collector, London 72
JOHN WALKER (BRITISH B.1939)
KINGSTON II
signed, titled and dated John G Walker / KINGSTON II 1988 on the reverse oil on canvas
91 x 71.5cm; 36 x 28in
98 x 77.5cm; 38 1/2 x 30 1/2in (framed)
Provenance
John Berggruen Gallery, San Francisco Sale, Phillips London, 21st November 2000, lot 137 (purchased by the present owner)
⊕ £1,500-2,500
Property from a Private Collector, London 73
MICK ROONEY (BRITISH B.1944)
WEDDING DAY, YALALAG
signed and dated Rooney 91 lower right oil on canvas
77 x 61cm; 30 1/4 x 24in
92 x 77cm; 36 1/4 x 30 1/4in (framed)
Provenance
Sale, Christie’s London, 1st March 2006, lot 183 (purchased by the present owner)
Exhibited
London, Royal Academy, Summer Exhibition, 1992
⊕ £1,500-2,500
Property of a Lady, Chelsea 74
JOHN DAVIES (BRITISH B.1946)
HEAD OF WILLIAM JEFFREY WITH DEVICES
painted polyester resin, fibreglass, fillers, dowells and wire
height including base and perspex cover:
49.5cm; 19 1/2in
Executed in 1972
Provenance
Wolpe Gallery Ltd, Cape Town
Purchased from the above by the husband of the present owner in May 1986
Executed in 1972, the present work is one of a small number of casts from life of William Jeffery’s head. One of the casts from the edition was acquired that year by the Tate Gallery (Collection Tate Britain). In the Tate’s head Davies added chicken wire to the cast; in the present example he adds two dowells affixed with wire around the ears, sitting horizontally above the eyes, and on the tip of the nose. Davies notes that his life casts were not intended as portraits of the sitter as they reveal little about their character, hence his addition of ‘devices’ to draw out and give expression to broader human qualities.
⊕ £900-1,200
SALVADOR DALI (SPANISH 1904-1989)
THE HIPPIES SUITE (1969-70)
all: signed Dali lower right margin and numbered 1XL/C lower left margin; some also with blind stamp lower right all: drypoint etching with hand colouring on Japan paper published by Pierre Argillet, Paris each: 31.5 x 39.5cm; 12 1/4 x 15 1/2in (plate) each: 71 x 55cm; 28 x 21 1/2in (framed) (11)
Literature
Ralf Michler and Lutz W. Löpsinger, Salvador Dali, Catalogue Raisonne of Etchings and Mixed-media Prints 1924-1980, Munich, 1994, pp. 377-387
Albert Field, The Official Catalog of the Graphic Work of Salvador Dali, Dali Archives, 1996, p. 69-13G
Executed in 1969-70, the subject matter of Dali’s The Hippies Suite - eleven dry point etchings with handcolouring - was inspired by photographs brought back from a trip to India by his friend and publisher Pierre Argillet (1910-2001), images Dali considered representative of the ‘swinging sixties’. Argillet and his wife Geneviève had first met Dali in 1959, and they worked together on a series of limited edition albums over the following fifteen years. Collaboration between artist and publisher led to the production of The Mytholopgy Suite (1963-65) and the Poems of Mao Tse-Toung (1967), as well as the present set. Friends with a range of artists aligned with Surrealism, Argillet also published limited editions by Hans Bellmer, Giorgio de Chirico, Jean Cocteau and Leonor Fini.
Dali titled each work as follows:
(A) LE VIEL HIPPIE
(B) LES FEMMES-FLEURS AU PIANO
(C) LE COSMONAUTE
(D) LES FEMMES DANS LES VAGUES
(E) LE SOLEIL
(F) LA PAGODE
(G) LE COULOIR DE KATHMANDOU
(H) ST.-JACQUES-DE-COMPOSTELA
(I) LA VACHE SACREE
(J) LA FEMME AU COUSSIN
(K) LE NU A LA JARRETIERE
⊕ £10,000-15,000
(A)
(B)
HOYLAND, JOHN 58
ITALIAN SCHOOL 1, 9
JACOMB-HOOD, GEORGE PERCY 20
JARAY, TESS 60
KINDON, MARY EVELINA 18
LANDY, MICHAEL 61
LE BRUN, CHARLES 2
LHOTE, ANDRE 43
LOWRY, LAURENCE STEPHEN 54, 56
MARGETSON, WILLIAM HENRY 35
MARTINEZ DEL MAZO, JUAN BAUTISTA 5, 10
MORREN, GEORGE 42 PALADINO, MIMMO 48 POURBUS, FRANS II 4
PAULA 64 RICHMOND, GEORGE 22
SUZANNE 46
MICK 73
ROSSETTI, DANTE GABRIEL 13
RUSSELL-FLINT, WILLIAM 33, 34
SEAGO, EDWARD 38
SOLOMON, SIMEON 21
SOROLLA, JOAQUIN 27, 28
TAYLOR, STEPHEN 12
TOBIASSE, THEO 52, 53
TOUSSAINT, FERNAND 45
VAN LANKVELD, REZI 71
VIRTUE, JOHN 62, 63
WALKER, JOHN 72
WATSON, HARRY 32
WHISTLER, JAMES ABBOT MCNEILL 24-26
