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FOLLOWER OF JAMES ARCHER, RSA (1823-1904) PORTRAIT OF A BOY, IDENTIFIED AS MASTER SIDNEY HASTINGS Standing, full length, beside a draped table, wearing a long blue tunic and a paler blue sash in 'Van Dyck' style, holding a plumed cap, oil on canvas 126.5 x 104.5cm. ++ Lined; some old retouched damages and other areas of retouching, principally in the background; a few scattered nicks and grazes etc; needs a clean £800-1200 (+ 26.4% BP*)
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JOHN GRAHAM GILBERT, RSA (1794-1866) 'SISTERS': PORTRAIT OF TWO YOUNG LADIES, POSSIBLY THE BARCLAY SISTERS Each standing long half length, one wearing a coral dress, the other in a white lace dress, in a park setting, indistinctly signed and dated 1863, oil on canvas 125 x 100cm.
* Gilbert's portrait of 'Miss Anne Barclay with her brother Robin' (1858) was sold at Christies London on July 19th 1985, lot 93. Provenance: Private collection, London ++ Old lining; some associated retouching; good period gilt frame £2000-3000 (+ 26.4% BP*)
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ALEXANDER M. ROSSI (1840-1916) IDLE DISTRACTIONS Signed, oil on canvas 95.5 x 56cm. ++ Lined; some associated retouching; needs a light clean £1500-2500 (+ 26.4% BP*)
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LOUIS BOSWORTH HURT (1856-1929) ON THE ROSS-SHIRE HILLS Signed and dated 1887, also signed and inscribed with title verso, oil on canvas 101 x 75.5cm. ++ Unlined; some craquelure; scattered retouching £5000-7000 (+ 26.4% BP*)
| Modern Pictures and Prints | |
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Ð RICHARD BAWDEN, RWS (b.1936) CHRISTMAS EVE Etching with aquatint, signed, titled and numbered 70/100 40 x 30.5cm. ++ Good condition £120-180 (+ 26.4% BP*)
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Ð RICHARD BAWDEN, RWS (b.1936) THE WHITE JUG Colour aquatint, signed, titled and numbered 49/80 32.5 x 43cm. ++ Good condition £100-150 (+ 26.4% BP*)
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Ð RICHARD BAWDEN, RWS (b.1936) FLOWERS AND PATCHWORK Colour aquatint, signed, titled and numbered 50/150 50.5 x 40.5cm. ++Good condition £100-150 (+ 26.4% BP*)
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Ð RICHARD BAWDEN, RWS (b.1936) 'WHAN THAT APRILL WITH HIS SHOURES SOOTE, THE DROGHTE OF MARCH HATH PERCED TO THE ROOTE' Colour linocut, signed, titled and numbered 85/100 26 x 43.5cm.
* The title is the opening lines from 'The Prologue to the Canterbury Tales' by Geoffrey Chaucer, c.1387 ++ Good condition £150-200 (+ 26.4% BP*)
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Ð JACK BUTLER YEATS, RHA (1871-1957) THE MOUNTAIN FARM AND THE VILLAGE Woodcut with hand colouring, printed by the Cuala Press 9 x 34cm.; with three further Cuala Press images by Yeats, to include 'The Ballad Singer', these unframed (4) ++ The first a little faded; the others with slight handling creases in the margins £150-200 (+ 26.4% BP*)
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Ð BERNARD CHEESE (1925-2013) THE LEMON SELLER; PICKING UP A CRABPOT Two, colour lithographs, 1960, each signed, titled, dated, the former numbered 18/25, the latter inscribed Artist's proof 41 x 47cm.; and 35 x 50cm. approx. (2) ++ Each with slight mount burn £100-150 (+ 26.4% BP*)
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Ð DAME LAURA KNIGHT, DBE, RA, RWS (1877-1970) FILIA MUNDI (B&W 29) Drypoint and aquatint, 1925, on wove, signed, also inscribed 30 Edition - 'Filia Mundi' - aquatint near lower edge, the full sheet, unframed Image 29.5 x 28.5cm (from a bevelled plate)
* The sitter was the Russian dancer Miriam Plickta ++ Good condition; very slight time-staining in the margins £500-700 (+ 26.4% BP*)
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Ð AFTER LAURENCE STEPHEN LOWRY, RA (1887-1976) CRIME LAKE (1942) Offset lithograph, published by Adam Collection Ltd, 1971, from the edition of 500, with Fine Art Trade Guild blindstamp, signed in pencil 45.5 x 60.5cm. ++ Good condition overall; very slight fading £1500-2000 (+ 26.4% BP*)
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Ð EVA SYDNEY 'EVIE' HONE (1894-1955) ST MARTIN OF TOURS: DESIGN FOR A STAINED GLASS PANEL Signed, monotype 31.5 x 22.5cm. Provenance: By descent in the family of the late Hertha Phyllis Eason, an amateur artist in Dublin and a member of the White Stag artists' group. She was an acquaintance of Jack Butler Yeats and of Evie Hone. Exhibited: probably Dublin, Evie Hone Exhibition, 1958, no.13 (catalogue and another booklet accompany this lot) (3 items) ++ A very little foxing; generally good condition £500-800 (+ 26.4% BP*)
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Ð BRUCE MCLEAN (b.1944) BURNT Screenprint, signed, titled and numbered 15/75 90.5 x 74cm. ++ Pale damp stain in margin lower left edge £100-200 (+ 26.4% BP*)
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Ð VICKY HAWKINS (b.1948) VASE OF TULIPS Signed, monotype in gouache Sheet 69.5 x 51cm. ++ Good condition £80-120 (+ 26.4% BP*)
| Lots 1586-1602: Modern Prints from A Private Collection, Somerset
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Ð GILLIAN AYRES, CBE, RA (b.1930) UNTITLED Two, screenprints, with hand colouring, each signed and numbered 41/50 in pencil or in red crayon, with blindstamps Each 58.5 x 58.5cm. approx. (2) ++ Good condition £400-600 (+ 26.4% BP*)
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Ð PETER PHILLIPS (b.1939) LEOLOCATION Screenprint, in coloir, 1970, signed, dated, numbered 773/3000, published by Dorothea Leonhart, Munich, with their blindstamp, unframed Image 54.5 x 49cm. ++ One or two minor scuffs £300-500 (+ 26.4% BP*)
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AFTER ANDY WARHOL (1928-1987) BIG TORN CAMPBELL'S SOUP CAN (BLACK BEAN) Photolithographic poster, in colour, 2002, without text, upon acrylic sheet, published by Tate Modern for the Retrospective 81.5 x 60.5cm. ++ Good condition £300-500 (+ 26.4% BP*)
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Ð SIR EDUARDO PAOLOZZI, CBE, RA (1924-2005) UNTITLED Screenprint, in colour, 1974, signed, dated and numbered 68/100, unframed Image 63.5 x 45cm. ++ Good condition £150-200 (+ 26.4% BP*)
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Ð SIR TERRY FROST, RA (1915-2003) FLAME RED (LORCA) Lithograph, c.1988, signed and inscribed A/P 55.5 x 37.5cm. ++ Good condition £300-500 (+ 26.4% BP*)
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Ð AFTER DAVID HOCKNEY, OM, CH, RA (b.1937) TWO APPLES, ONE LEMON AND FOUR FLOWERS Offset lithograph (the artist called it a 'newsprint'), in colour, 1997, as published in The Independent newspaper on January 7th 1997 33 x 52.5cm.
* Although printed in the normal run of the newspaper, this image is a direct result of the production of the newspaper itself. The Independent explained: "Hockney has provided us with four separate pieces of work, all in black and white. Each corresponds with one of the four colours of the printing process - cyan, magenta, black and yellow. The print itself only exists once the presses roll." ++ Soft creasing, typical of this print £150-200 (+ 26.4% BP*)
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Ð SIR PETER BLAKE, CBE, RA (b.1932) BABE RAINBOW Screenprint, in colour, 1967, on metal, signed and numbered 98/500 in felt tip pen 65 x 43cm.; with a photograph of the artist in his studio, by Mary McCartney, studio label verso, signed by Blake, 20 x 13.5cm. (2) ++ Principal item in uncommonly good condition; the photograph with some pale (gum?) staining £400-600 (+ 26.4% BP*)
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DAVID MACH, RA (b.1956) GREENWICH: SWIFT III Giclee print, 2000, signed, titled and numbered 8/100 51 x 95cm. Provenance: Another print of this subject was exhibited at The Royal Academy, Summer Exhibition, 2000 ('Greenwich', no.971); this one was purchased from the artist's studio in July of that year. ++Good condition £400-600 (+ 26.4% BP*)
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Ð PETER PHILLIPS (b.1939) TRIANGLES Screenprint, in colour, 1965, signed, dated and numbered 21/200 61 x 76cm. ++ Some very slight blemishes at extreme edges of sheet £200-300 (+ 26.4% BP*)
| Modern Pictures and Prints | |
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MEL RAMOS (b.1935) AMERICAN BEAUTY (HUBBA HUBBA) Enamel multiple, in colour, 2003, on metal, signed and numbered 278/500 40 x 40cm. ++ Good condition £300-500 (+ 26.4% BP*)
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Ð PATRICK CAULFIELD, CBE, RA (1936-2005) WHITE POT (Cristea 48) Screenprint, in colour, 1975, signed and numbered 42/76, Sight 97 x 76.5cm. Provenance: London, Waddington Galleries Ltd ++ Slight time toning of the paper £800-1200 (+ 26.4% BP*)
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Ð PATRICK CAULFIELD, CBE, RA (1936-2005) TERRACOTTA VASE (Cristea 44) Screenprint, in colour, 1975, signed in pencil and inscribed A/P 111/X111 Sight 63.5 x 89.5cm. ++ Slight surface scuffs £700-1000 (+ 26.4% BP*)
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Ð PATRICK CAULFIELD, CBE, RA (1936-2005) SMALL WINDOW (Cristea 25) Screenprint, in colour, 1972, signed and numbered 35/72 86.5 x 66cm. ++ Generally good condition but two fine paper breaks (11cm and 2 cm) upper left £600-800 (+ 26.4% BP*)
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ROBERT INDIANA (b.1928) THE FIGURE FIVE Screenprint, in colour, 1971, signed, dated and numbered 20/200, with the presentation sleeve entitled 'The American Dream, 1960', unframed 91 x 76cm. ++ Slight handling marks in the margins; image very good; folder good £600-900 (+ 26.4% BP*)
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Ð DAVID HOCKNEY, OM, CH, RA (b.1937) PETER SCHLESINGER Lithograph, printed in red/brown, 1976, signed, dated and numbered 9/90, published by Gemini G.E.L. and with their blindstamp Sight 38.5 x 28.5cm. ++ Good condition £1000-1500 (+ 26.4% BP*)
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AFTER ANDY WARHOL (1928-1987) BRILLO (PASADENA ART MUSEUM 12 MAY- 21 JUNE 1970) Lithographic poster, in colour, 1970 75.5 x 65cm. ++ Good condition £400-600 (+ 26.4% BP*)
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ANDY WARHOL (1928-1987) FIFTH NEW YORK FILM FESTIVAL, LINCOLN CENTRE, 1967 (F&S 19) Screenprint, in colour, 1967 113 x 60cm. ++ A little pale foxing; a few minor blemishes £1000-1500 (+ 26.4% BP*)
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PHILIP WILSON STEER, OM (1860-1942) THE BLUE POOL, CORFE, DORSET Watercolour and pencil heightened with white 24.5 x 34.5cm.
* Steer visited The Isle of Purbeck in 1913 and worked in Corfe (see example in the V&A Museum) Provenance: London, The Fine Art Society Ltd, August, 1950 ++ Faded and light-stained £150-250 (+ 26.4% BP*)
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Ð E. JONATHAN L. TROWELL (b.1938) GREYHOUNDS, DOVEDALE, DERBYSHIRE, 1988 Signed, pastels 47.5 x 60.5cm. Provenance: Almansil, Portugal, Galeria Internacional de Arte (as by Ernie Trowell) ++ Good condition £120-180 (+ 26.4% BP*)
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Ð JULIUS B. STAFFORD-BAKER (1904-1988) LOCK SCENE, POSSIBLY AT MALDON, ESSEX Signed and dated 42, watercolour and pencil, unframed 57.5 x 78.5cm. ++ Slight surface/handling marks near the edges; good colour £100-150 (+ 26.4% BP*)
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Ð CHARLES KNIGHT, VPRWS (1901-1990) THE BRIDGE AT HEREFORD Signed, watercolour and pencil 25 x 36cm. Exhibited: London, Chris Beetles Ltd, 'More Than a Touch of Poetry: Landscapes by Charles Knight, RWS ROI (1901-1990)', June 1997, no.32 ++ Good condition £200-300 (+ 26.4% BP*)
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Ð CHARLES KNIGHT, VPRWS (1901-1990) FRAMLINGHAM CASTLE Signed, inscribed with title below the mount, watercolour and pencil 22 x 37.5cm. Exhibited: London, Chris Beetles Ltd, 'More Than a Touch of Poetry: Landscapes by Charles Knight, RWS ROI (1901-1990)', June 1997, no.60 ++ Some foxing and speckles of pigment £200-300 (+ 26.4% BP*)
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Ð FRANCOIS BIRBAUM (1872-1947) THE WOODLAND BANK Signed, pastels 24 x 34cm. ++ Good condition £400-600 (+ 26.4% BP*)
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No Lot Ð 1610. CLAUDE MUNCASTER, RWS (1903-1974) SALERNO HARBOUR (2); LOOKING INLAND FROM PAGHAM HARBOUR Three, two signed, labels on the backboards, watercolour with pen and ink or pencil 21 x 35.5cm.; 14 x 26.5cm.; and 26 x 35.5cm. (3) Exhibited: (Salerno, one) London, Art Exhibitions Bureau, 'Art for Beauty's Sake', 1956 (label on backboard) ++ Each in good condition; very slight time toning £300-500 (+ 26.4% BP*)
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Ð JOHN MCKIRDY DUNCAN (1866-1945) GRAVEL PIT, NIGHT Bears signature, address and title on backboard, watercolour 32 x 38.5cm. ++ Good condition £200-400 (+ 26.4% BP*)
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Ð GRAHAM OAKLEY (b.1929) "... THEY WERE BUNDLED OFF INTO A ROOM FULL OF PEOPLE.." (from 'HETTY AND HARRIET') Signed, watercolour and bodycolour with pen and ink, unframed 23 x 26.5cm. Illustrated: Graham Oakley, Hetty and Harriet, a signed copy of which accompanies this lot. (2) ++ Both items in very good condition £100-200 (+ 26.4% BP*)
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Ð GRAHAM OAKLEY (b.1929) "... THEY CAME ACROSS A VERY PROMISING PLACE TO SCRATCH.." (from 'HETTY AND HARRIET') Signed, watercolour and bodycolour with pen and ink, unframed 23 x 26.5cm. Illustrated: Graham Oakley, Hetty and Harriet, a signed copy of which accompanies this lot. (2) ++ Both items in very good condition £100-200 (+ 26.4% BP*)
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Ð GRAHAM OAKLEY (b.1929) THE CHURCH MICE AND THE RING Signed, watercolour and bodycolour with pen and ink, unframed 21.5 x 27cm. Illustrated: Graham Oakley, dust jacket illustration for The Church Mice and the Ring, a signed hardback copy of which accompanies this lot. (2) ++ Both items in very good condition £100-200 (+ 26.4% BP*)
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Ð GRAHAM OAKLEY (b.1929) "... THEY JUST HOPED THAT ELVIS WAS A HEAVY SLEEPER.." (from 'THE CHURCH MICE TAKE A BREAK') Signed, watercolour and bodycolour with pen and ink, unframed 12 x 30cm. Illustrated: Graham Oakley, The Church Mice Take a Break, a signed copy of which accompanies this lot. (2) ++ Both items in very good condition £100-200 (+ 26.4% BP*)
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Ð GRAHAM OAKLEY (b.1929) "... THE PARSON WAS JUST STARTING HIS BREAKFAST.." (from 'THE CHURCH MICE SPREAD THEIR WINGS') Signed, watercolour and bodycolour with pen and ink, unframed 9.5 x 24cm. Illustrated: Graham Oakley, The Church Mice Spread their Wings, a signed copy of which accompanies this lot. (2) ++ Both items in very good condition £100-200 (+ 26.4% BP*)
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Ð ANNE MORTIMER (b.1958) IN THE NURSERY Signed, watercolour, a design for a greeting card 15 x 15cm. ++ Very good condition £150-200 (+ 26.4% BP*)
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Ð LEO McDOWELL (1936-2011) PICNIC II Watercolour and acrylic 38 x 29cm. Exhibited: London, The R. I. at The Mall Galleries, 1992 ++ Good condition £100-200 (+ 26.4% BP*)
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Ð LUCIEN GENIN (1894-1958) FIGURES ON A PARISIAN STREET AT NIGHT Signed, inscribed Hommage a Madame Frances Burck - R, gouache 26.5 x 34.5cm.
* Frances Burke-Roche (1936-2004) was the maiden name of Frances Shand Kydd, late mother of Diana, Princess of Wales ++ Good condition £400-600 (+ 26.4% BP*)
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Ð SIR STANLEY SPENCER, CBE, RA (1891-1959) RENDING THE VEIL OF THE TEMPLE IN TWAIN, 1920-1921 Oil and pencil on paper 25 x 22cm.
* Executed in 1920-1921 (a later pencil inscription on the backboard states 'Dated by Gilbert Spencer at gallery opening, Cookham'), the subject relates to the passage in St. Mark's gospel, Chapter 15, vs.37-38: "And Jesus cried with a loud voice and gave up the ghost. And the veil of the temple was rent in twain from top to bottom." This is apparently a study for a large Crucifixion picture which Spencer never brought to fruition, although a further study for the subject from 1921 is in Aberdeen Art Gallery Provenance: London, Arthur Tooth & Sons Ltd; and Tooth Paintings; London, Anthony d'Offay, 1979 Exhibited: London, The Royal Academy, Stanley Spencer Exhibition, 1980, no.66, illustrated in the catalogue ++ Good condition £5000-8000 (+ 26.4% BP*)
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SAMUEL JOHN PEPLOE, RSA (1871-1935) THE YELLOW TUTU: STUDY OF A SEATED DANCER Signed, charcoal and coloured pastels 56 x 35.5cm. Provenance: A gift from the artist to his sister in law; and thence by descent to her grandson
* Peploe's formal training began at the Edinburgh College of Art in 1893 and he continued in Paris at the Academie Julian and the Academie Colarossi in the following year, staying in the city until 1896. The influence of French art upon his work was apparent from these years of study and although Cezanne, Chardin and Courbet are often cited as his major sources of inspiration, the technique and subject matter of Degas is immediately obvious in these two works. Peploe never forsook the French strain in his work and visited France on many occasions, often in the company of his fellow Colourist John Duncan Fergusson. Upon his return to Edinburgh in 1896, Peploe established a studio at Shandwick Place before moving to Devon Place in 1900. He remained there for five years before relocating to occupy Sir Henry Raeburn's former studio at York Place in 1905. These are undoubtedly early works by Peploe and it is possible that they may be dated to 1895-1905. Although he produced sketches in oil, Peploe's surviving works on paper are less common and usually take the form of quick ideas or simple studies. Fully resolved signed pastels are rarer still and it would seem that fewer than half a dozen such examples have surfaced at auction in the last 25 years. Furthermore, the unbroken provenance of these two pastels in the artist's family adds appeal. ++ A few spots of foxing £8000-12000 (+ 26.4% BP*)
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