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MODERN BRITISH & 20TH CENTURY ART
3rd June 2020
HANNAH VERNON +44 (0) 1722 446970 hv@woolleyandwallis.co.uk
Now accepting consignments for the June sale. Closing date for entries 9th April.
OPPOSITE. Mary Fedden OBE, RA, RWA (1915-2012) White Arches Signed and dated 1955 Oil on canvas 50.5 x 60.9cm. Provenance: Redfern Gallery, London; From whom purchased by John Verney Esq., 12 June 1956; By decent to the present owner. Estimate: £15,000 – 20,000 1. Dame Elisabeth Frink RA (1930-1993) Baboon Screenprint in 5 colours, 1990 76.5 x 55.2cm. Provenance: The Estate of Dame Elisabeth Frink & Lin Jammet. Estimate: £500 – 800
2. Edward Seago (191 0-1 974) Jasper’s Farm, Norfolk Signed Oil on canvas 26 x 35cm. Provenance: Keys Fine Art Auctioneers, Norfolk, 15th December 2000, lot 640; By descent to the present owner. Estimate: £5,000 – 8,000
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3. Frederick Gore CBE, RA (1913-2000) Looking towards Sóller Signed Oil on canvas 69.6 x 91.5cm. Provenance: Private Collection Estimate: £6,000 – 8,000
One of the highlights of the June sale is Mary Fedden’s White Arches (opposite). It was painted in 1955, a much sought-after period, when she was heavily influenced by the work of her husband Julian Trevelyan. She began to depict objects in a more stylised manner, and the rich, vibrant colours she uses throughout White Arches also anticipates her work of the 1960s. Throughout her career still life was her favourite subject, as she explained, ‘I come back from holiday with sketchbooks full of landscapes … and then I’m back to still life. It’s my real love’.
Also included in the sale will be items from the estate of Dame Elisabeth Frink and her son Lin Jammet. Frink was one of the most celebrated British artists of the 20th century, and the collection provides a fascinating insight into the diversity of her interests. As well as works by both her (fig. 1) and Jammet, it includes examples by artists such as Pablo Picasso, Wassily Kandinsky, Guy Taplin, Trevelyan, and Fedden. Pictures form the majority of the collection, but sculptures, ceramics and Aboriginal items will also be offered. representation, as he sought to capture the character and atmosphere of the landscape.
In contrast to the quintessentially British work of Seago, Frederick Gore’s landscapes
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Edward Seago’s art was rooted in his love of his native East Anglia. However, as works such Jasper’s Farm, Norfolk (fig. 2) demonstrate, his ambition extended beyond mere topographical owe a great debt to the European tradition. Paintings such as Looking towards Sóller (fig. 3) are typical, as he uses a rich and vivid palette to convey the rich colours of the Mallorcan landscape as it is bathed in dawn light.
