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SAMUEL JOHN PEPLOE, RSA (1871-1935) THE HAIR PIN: STUDY OF A WOMAN FIXING HER HAIR Signed, charcoal and coloured pastels 55.5 x 44.5cm. Provenance: A gift from the artist to his sister in law; and thence by descent to her grand daughter
* "[Peploe] sees the human form with clear eyes, noting the beauty that lurks in every corner of nature, and determined to set it down for us .. Every one strikes one as having been done just because it happened in life under the artist's observation. There is no deliberate posing of the model in evidence anywhere and the result is a record of indisputable facts." (Guy Peploe, S J Peploe 1871-1935, 2000, p.49) ++ Some superficial white mould spots on the left £8000-12000 (+ 26.4% BP*)
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Ð CHARLES BONE (b.1926) GORBIO Signed, watercolour 52 x 72.5cm. Exhibited: London, The R. I. at The Mall Galleries, 1990 ++ Good condition £100-200 (+ 26.4% BP*)
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Ð HENRY J. NEAVE (d.1971) SMITHFIELD MARKET Signed and dated 64, watercolour and bodycolour with pencil 41 x 68cm. Provenance: formerly in the collection of the Savoy Hotel, London ++ Good condition £200-300 (+ 26.4% BP*)
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MAXIMILIEN LUCE (1858-1941) PAYSAGE AVEC UNE EGLISE Signed, pen and ink with soft pencil and charcoal 27.5 x 37cm. Provenance: London, Christies, April 2nd 1987, lot 353 (the artist's estate) ++ A little superficial soiling £600-800 (+ 26.4% BP*)
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Ð SYLVIA GOSSE (1881-1968) THE TOILET Signed, watercolour with pen and ink and pencil 20.5 x 14.5cm. Exhibited: Bath, Camden Fine Art, 'The Camden Town Group Exhibition', April 2000, who dated this to circa 1912 ++ Good condition £450-600 (+ 26.4% BP*)
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Ð TIMOTHY BEHRENS (1937-2017) GIRL IN BED Dated Nov. 15th 1959, pencil and watercolour, on two joined sheets 40.5 x 43cm.
* Behrens studied at the Slade and was a friend of Lucian Freud and Francis Bacon at The Colony Club. He was the subject of Freud's 'Red Haired Man on a Chair' (1962) Provenance: London, Beaux Arts Gallery (label on backboard); Richard, Lord Attenborough, his sale, London, Bonhams, 'A Life Behind the Lens', October 2015 ++ Some stains £100-200 (+ 26.4% BP*)
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BURHAN CAHIT DOGANCAY (Turkish-American, 1929-2103) UNTITLED, 1973 Signed and dated 1973, watercolour and charcoal Image 51 x 41cm. ++ Slight time-toning of the paper £1500-2000 (+ 26.4% BP*)
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JACQUES LIEVIN, pseudonym of EUGENE GALIEN-LALOUE (1854-1941) FIGURES IN LA PLACE DE LA REPUBLIQUE, PARIS Signed LIEVIN, watercolour 20.5 x 31.5cm. ++ Slightly faded £2000-3000 (+ 26.4% BP*)
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MABEL OFFICER (Fl.c.1938) ON THE DERWENT, TASMANIA Signed and dated 1938, oil on canvas board 26.5 x 39cm.
* A label attached to the back indicates that this work was submitted for exhibition at The Royal Academy, London, in 1939. The artist may be identified as the woman of the same name, born in New York c.1912. Victor Bonney (1872-1953) of Harley Street (to whom this picture was sent for submission to the RA) was an eminent London gynaecologist. ++ Some craquelure and in need of a light clean £200-300 (+ 26.4% BP*)
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ZAKKIE ELOFF (South African, 1925-2004) WILDEBEEST AT A POOL; IMPALA AMIDST TREES Two, both signed and dated 62, oil on board 43.5 x 54cm and 44 x 59cm. (2) Provenance: African Producers Manufacturing Co Ltd, by whom presented to Mr. N. A. C. Pryce, August 1962 ++ Each needs a light clean; a little craquelure £400-600 (+ 26.4% BP*)
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FERNAND PIET (1869-1942) A QUIET SQUARE IN A FRENCH TOWN Signed and dated 1928, bears inscription verso, oil on panel 23.5 x 31cm. ++ Slight grazes on left £200-300 (+ 26.4% BP*)
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ATTRIBUTED ALFRED AARON WOLMARK (1877-1961) ANEMONES, 1922 Bears signature, title and date verso, oil on canvas board 21 x 27cm. ++ Needs a light clean £250-350 (+ 26.4% BP*)
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Ð PETER FOLDES (b.1924) THE FLYING FISH, 1963 Signed, also signed, inscribed and dated on the stretcher, oil on canvas 72 x 91cm. Provenance: London, McRoberts & Tunnard Ltd, purchase December 1963 ++ Good condition; needs a very light clean £300-500 (+ 26.4% BP*)
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Ð WILLIAM MILLER FRAZER, RSA (1864-1961) ON THE NENE, NORTHAMPTONSHIRE Signed, bears signature and title in ballpoint pen verso, oil on canvas board 24 x 34cm. ++ Some craquelure; needs a light clean £400-600 (+ 26.4% BP*)
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PILAR FONT (Fl.c.1964) BODEGON: STILL LIFE Signed and dated 64, also signed and inscribed verso, oil on masonite 64 x 53cm. Provenance: The Collection of the late Ruth, Lady Fermoy ++ Needs a light clean; a few superficial grazes £100-200 (+ 26.4% BP*)
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GEORGE BOYLE (1842-1930) SHIPPING AT SUNSET Signed, oil on board 23.5 x 33.5cm. ++ A few minor chips/grazes; needs a light clean £100-150 (+ 26.4% BP*)
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Ð OLIVER WARMAN (b.1932) RIVER DRONNE, FLOOD, AUBETERRE; THE OLD PUNT Two, the former signed and inscribed on the reverse, the later signed with initials, oil on board 33 x 44cm. and 28 x 39.5cm. (2) ++ Good condition £200-300 (+ 26.4% BP*)
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Ð GEORGE HANN (1900-1979) HARBOUR SCENE Signed, acrylic on board 49.5 x 59.5cm. ++ Thick impasto; needs a light clean £150-200 (+ 26.4% BP*)
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Ð OLIVER CAMPION (1928-2000) DORDOGNE FARM, 1988 Signed; also signed, inscribed with title and dated verso, oil on canvas 21.5 x 26.5cm. ++ Good condition £70-100 (+ 26.4% BP*)
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Ð OLIVER WARMAN (b.1932) LUSIGNAC Signed and inscribed verso, oil on board 23 x 33cm. Provenance: London, The Wykeham Galleries ++ Good condition £70-100 (+ 26.4% BP*)
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Ð ELISABETH ESTIVALET (b.1952) VAISON LA ROMAINE, CITE MEDIEVALE, FRANCE Signed, also signed, dated 1998 and inscribed with title on the stretcher, acrylic on canvas 22.5 x 31.5cm.; with an oil on this panel by Harry Mitton Wilson, 'After the Storm, The Thames', 22 x 29cm. (2) ++ The former in good condition; the latter with retouching over craquelure £150-200 (+ 26.4% BP*)
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ALEXANDER C. DALZELL (Fl.1935-1939) AUTUMN BEECH Signed twice, also signed and inscribed on a fragmented label verso, oil on canvas 59 x 75cm. ++ Needs a very light clean £300-400 (+ 26.4% BP*)
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NORMAN LLOYD (Australian, 1894-c.1980) HILLTOP VILLAGE WITH TREES Oil on board 30 x 40cm. £50-100 (+ 26.4% BP*)
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Ð JOHN STREVENS (1902-1990) BY THE FOUNTAIN Signed (incised), also signed and inscribed with title verso, oil on canvas 39.5 x 49cm. ++ Good condition £400-600 (+ 26.4% BP*)
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JOSEPH MILNER KITE (1862-1945) NEWS FROM A FRIEND Signed, oil on canvas 36.5 x 53.5cm. ++ A little scattered retouching £1200-1800 (+ 26.4% BP*)
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JAMES HAMILTON HAY (1874-1916) TEMPLE OF AEOLUS Signed and dated 1911, oil on canvas 63 x 74.5cm. ++ Good condition £800-1200 (+ 26.4% BP*)
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WILLIAM PAGE ATKINSON WELLS (1872-1923) PORT ST. MARY, ISLE OF MAN Signed, oil on canvas 33.5 x 44cm. ++ Thick impasto, slightly flat in sky £2500-3500 (+ 26.4% BP*)
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SAMUEL FULTON (1855-1941) THE SPORTSMAN'S DOGS: A SPANIEL AND A TERRIER Signed, oil on canvas 49.5 x 39cm. ++ Good condition; a little thinly painted in places; needs a light clean £1500-2000 (+ 26.4% BP*)
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Ð MICHAEL LYNE (1912-1989) A POINT TO POINT Signed, oil on canvas 68.5 x 49cm. ++ Good condition £1000-1500 (+ 26.4% BP*)
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CUTHBERT EDMUND SWAN (1870-1931) PROWLING TIGER Signed, oil on panel 29.5 x 44cm. ++ Scattered retouching; some craquelure £800-1200 (+ 26.4% BP*)
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HENRY MALFROY (1895-1944) MARTIGNY Signed, bears inscription on stretcher, oil on canvas 32 x 45cm. ++ Good condition; needs a very light clean £1000-1500 (+ 26.4% BP*)
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Ð NEVILL JOHNSON (1911-1999) UNTITLED Oil and graphite on board 38 x 40.5cm. ++ Some minor scuffs and chipped losses; needs a clean; mounted upon a white board by the artist £600-800 (+ 26.4% BP*)
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Ð NEVILL JOHNSON (1911-1999) MINOAN LANDSCAPE, 1968 Signed and dated 1968, signed, dated and inscribed with title verso, also with artist's inscribed label on which he describes the medium as 'glazes with dry colour and PVA on paper, on board [masonite] 50.5 x 63.5cm. ++ Some scattered scuffs and grazes; a few water spots; needs a clean; mounted upon a white board by the artist £500-800 (+ 26.4% BP*)
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Ð CLAUDE VISEUX (1927-2008) COMPOSITION EN VERT ET BRUN Signed and dated 58 verso, further inscribed indistinctly (Montenya?), oil on canvas, unframed 130 x 97.5cm. Provenance: Paris, Galerie Rene Drouin, 1958; Collection of the late Lady Norton ++ Good condition £150-250 Ð 1656. TIMOTHY FRANKLYN ROSS THOMPSON (b.1951) A BRIG IN COASTAL WATERS Signed, acrylic on board 29 x 39cm. ++ Good condition £300-500 (+ 26.4% BP*)
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E** MARTIN (Fl.c.1930) PORTRAIT STUDY OF A YOUNG MAN Signed, bears remains of inscribed and dated label on stretcher, oil on canvas 39.5 x 34cm. ++ Good condition £100-150 (+ 26.4% BP*)
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P** IRELAND (Circa 1920-1930) SUNDAY MORNING Signed, oil on canvas 34.5 x 49.5cm.
* The initial of the forename has been read as 'P' but may be 'J' or 'T' ++ Very slight craquelure; needs a light clean £300-400 (+ 26.4% BP*)
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Ð WILLIAM SELBY, RWS (b.1933) SKELMANTHORPE Signed, acrylic on board 26.5 x 29cm. ++ Good condition £300-400 (+ 26.4% BP*)
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Ð PIERRE LAVARENNE (b.1928) NU BLEU Signed, also signed and inscribed with title verso, oil on canvas 73 x 60cm. ++ Good condition £150-250 (+ 26.4% BP*)
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Ð WILLIAM SELBY, RWS (b.1933) STILL LIFE WITH COAST Signed, acrylic on board 26 x 30.5cm. ++ Good condition £300-400 (+ 26.4% BP*)
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WYNFORD DEWHURST (1864-1941) FRENCH LANDSCAPE BY THE SEINE Signed and dated 1895, oil on canvas board 55.5 x 75.5cm. Provenance: Purchased by the vendor's grandfather at auction in Bradford, 1970's. Exhibited: Manchester Art Gallery, Wynford Dewhurst - Manchester's Monet, December 2016-April 2017 Wynford Dewhurst was colourful and controversial character on the Anglo-French art scene at the turn of the twentieth century. Born in Manchester in 1864, he embarked initially on a legal training, but, at the age of 27, he went to Paris to study art and was immediately attracted to Impressionism. In 1904 he published a book, dedicated to Claude Monet, Impressionist Painting: its Genesis and Development, which was the first important study of the French Impressionists to be published in English. Dewhurst's thesis was that the English landscape tradition, especially the work of Constable and Turner, was at the root of modern French painting and he wrote that, ".….It cannot be too clearly understood that the Impressionistic idea is of English birth"
French Landscape, painted in the Seine Valley within a year of leaving the Paris art schools, is remarkable in that it shows how quickly Dewhurst has embraced the Impressionist principle of representing the visual world by the optical mixing of small dabs of colour, and that he has already adopted a colour palette befitting a follower of Claude Monet. A smaller variant of this painting, completed at the same time, is in the collection of the National Museum of Wales in Cardiff. We are grateful to Roger Brown, who wrote the book Wynford Dewhurst: Manchester's Monet to accompany the recent Manchester exhibition of Dewhurst's work, for his help in cataloguing this lot and the following lot. ++ Good condition; impasto in good condition; a little surface dirt £1500-2500 (+ 26.4% BP*)
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WYNFORD DEWHURST (1864-1941) POTTING SHED IN THE ARTIST'S GARDEN IN FRANCE Signed, oil on canvas 77.5 x 57.5cm.
* Wynford Dewhurst returned to France each year to paint in the style of Monet, who became his principle mentor. For ten years, up to outbreak of First World War, he rented a house at Crozant in the Creuse Valley, where earlier, in 1889, Monet had painted a series of twenty-four pictures. This charming summer scene from his garden overlooking the gorge of La Creuse reflects the affection he held for the place. ++ Good condition £1500-2000 (+ 26.4% BP*)
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Ð JOHN BULLOCH SOUTER (1890-1972) BUDS AND BLOOMS: STUDY OF ROSES Oil on board 25.5 x 40cm. ++ In need of a light clean £400-600 (+ 26.4% BP*)
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ATTRIBUTED TO DOROTHEA SHARP (1874-1955) A JUG OF MIXED SUMMER FLOWERS Bears a signature, oil on board 49.5 x 39cm. Provenance: Purchased by the vendor's mother in St Ives, late 1940's. ++ Needs a light clean £300-500 (+ 26.4% BP*)
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Ð ANGELO BROMBO (1893-1962) L'ANCHONETTA DELLA PESCHERIA, CHIOGGIA Signed, also signed and inscribed with title verso, oil on thin panel 29 x 38.5cm. ++ Good condition £1000-1500 (+ 26.4% BP*)
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GEORGE ENSLIN (South African, 1919-1972) LANDSCAPE Signed, oil on canvas 35 x 50cm. ++ Good condition £1500-2000 (+ 26.4% BP*)
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GEORGE ENSLIN (South African, 1919-1972) AFRICAN VILLAGE Signed and dated 59, oil on canvas 39 x 49cm. ++ Needs a light clean £2000-3000 (+ 26.4% BP*)
| Five Pictures by Clarisse Loxton Peacock | Clarisse Loxton Peacock was born in Budapest but moved to England to complete her schooling in Bristol before studying at Chelsea and Central St Martins. Early successes resulted in sales to the Walker Art Gallery, Liverpool, San Francisco Museum of Art and other successes in France, Germany and America. She received a Medaille d'Argent from the Paris Salon. After an early marriage to Grantley Loxton Peacock, Clarisse married Sir Anthony Grover and they lived an active social life in London and Kent. After Sir Anthony's death, she was married for a third time to Sir James Dunnett. Loxton Peacock's work is characterised by her admiration for Giorgio Morandi's contemplative compositions, interpreted afresh with vivid colour and sometimes with light-hearted themes that suggest a playful approach. She continued to paint until Sir James's death, completing her last work in 1996 and dying in July 2004 at the age of 80.
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Ð CLARISSE LOXTON PEACOCK (1928-2004) STILL LIFE ON A DRAPED TABLE Oil on canvas 90.5 x 49cm. ++ Good condition; some fine craquelure £400-600 (+ 26.4% BP*)
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Ð CLARISSE LOXTON PEACOCK (1928-2004) TOM DIELE AND HARVEY Signed with initials, oil on canvas 59.5 x 75cm. Exhibited: London, Hurlingham Club, Members' Art Exhibition (?) ++ Good condition £200-300 (+ 26.4% BP*)
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Ð CLARISSE LOXTON PEACOCK (1928-2004) NUDE WITH NECKLACE Signed, oil on canvas 100 x 49cm. ++ Good condition £600-800 (+ 26.4% BP*)
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Ð CLARISSE LOXTON PEACOCK (1928-2004) FLOWER SHAPES Signed, oil on canvas 100 x 49.5cm. ++ Good condition £300-400 (+ 26.4% BP*)
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