Nigel Rhodes Fine Art Ltd Catalogue 2014

NIG E L R HODE S F I NE A R Tpa i n t ing s , wor k s of a r t , f u r n i t u r e

NIG E L R HODE S F I NE A R T

NIG E L R HODE S F I NE A R Tpa i n t i ng s , wor k s of a r t , f u r n i t u r e

7 high street , st martins , stamfordlincolnshire pe9 2lft 01780 756667

m o n d a y – s u n d a y 10 a m – 5 p mo r b y a p p o i n t m e n t o n l y

32 eastgate , lincolnlincolnshire ln2 1qat 01522 569522

b y a p p o i n t m e n t o n l y

n i g e l r h o d e s f i n e a r t g a l l e r y l t d

[email protected]

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w i t h o v e r t h i rt y y e a r s experience in negotiating the sales and purchase of substantial and notable fine art and antiques on behalf of private clients, and with access to many private collections and sales, Nigel Rhodes has built a reputation for an expert eye and professionalism in facilitating what can be an overwhelming experience in the world of collecting, buying and selling. Working on consignment as well as through private treaty, offering an alternative to auction houses, Nigel operates within the international art markets while being based at his galleries in Lincoln and the historic town of Stamford, Lincolnshire, giving him the unique position to offer clients both a personable and approachable service and access to some of the most exclusive collections and sources of fine art and antiques in the world. Gaining an insight into their tastes, understanding their budgets and assessing what their houses require, from small country interiors to grand estates, Nigel has been successfully helping clients achieve what they want for their homes for many years.

Nigel Rhodes Fine Art advises on both historical value and investment, with an expert eye and absolute discretion, we are happy to bring artworks directly into clients’ homes for viewing. Our Interior Design Service offers clients the opportunity to match the best in interiors with truly original and very fine artworks and pieces.

The examples of Fine Art and Antiques shown in this catalogue illustrate the quality and value of works that have been placed and those that are currently held in the gallery.

Introduction

g. f o u n t a i n e

George I

Oil on canvas, 232 × 149 cmInscribed by the artist George King of Gt Britain, drawn from life , 62nd year of his age, 1727 by C Fontaine

p ro v e na n c e

Elton M. Hyder Jr.

A life-size portrait of George I, Hanovarian King of Great Britain (1714–1727) and the first to succeed the throne of England. He was the first in the long line of Hanovarian rulers, taking us right up to our present Queen and making 2014 the 300th anniversary of the Hanovarians sitting on the throne. This is a substantial painting noted for its beautiful colour and composition, its size and the historic value of its provenance. The crown at the top of the frame is similar to many of the portraits at Hampton Court Palace. Which, it is understood this came from. G. Fountaine was the Hanovarian Court’s portrait painter. This is a rare painting of George I from life – a man who was notorious for his dislike of sitting for portraits.

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a l e x i s s i m o n b e l l e (1674–1734)

Mildmay Fane

Oil on canvas, 126 × 100 cmBritish Baroque style frameLater inscribed M y. fifth Son of / Vere E. of Westmorland Inscribed on label (verso) Mildmay – 5th son of / the 4th Earl of Westmoreland

p ro v e na n c eBy family descent at Apethorpe Hall, Wansford, until sold in the Apethorpe sale, Christie’s 2nd June 1892, lot 91.

The Hon. Mildmay Fane 5th son of the Earl of Westmorland resided in one of the most influential Fane residences, Mereworth Castle in Kent. Mildmay was elected Member of Parliament to Mereworth at a very young age. Both he and his brother the Hon. John Fane 4th son of the Earl of Westmorland, were Jacobites and strong supporters of Bonnie Prince Charlie, often speaking on his behalf in Parliament. Mildmay Fane died at a very young age in 1715. His older brother John succeeded him as the Member of Parliament for Mereworth and went on to host the last Jacobite council at Mereworth Castle. The meeting was the last stop for Bonnie Prince Charlie before he led his army to fight for his claim to the throne.

Alexis Simon Belle (1674–1734) was a French artist primarily known for his portraits of the Jacobite and French nobility.

Belle was the second child of the artist Jean Baptiste Belle, whom Alexis Simon Belle initially studied under. Belle continued his studies at the studio of François de Troy (1645–1730) in Saint-Germain-en-Laye and began producing work here from 1698–1701. During this period François de Troy was James II’s court painter and Belle often contributed to the high volume of portraits ordered by James II. In 1700 Belle won the Prix de Rome,

but decided instead to stay in Paris, where he married the artist Anne Chéron a year later.

Following the death of King James II, Belle became the principal painter to the Jacobite court and painted numerous portraits of James Edward Stuart and his sister the Princess Royal. When war broke out between Great Britain and France in 1702 Belle’s works were known to have been smuggled across the Channel. Belle’s most famous portrait of James Edward Stuart was painted in 1712, and shows him in military regalia just before he leaves Saint Germain for Lorraine. In 1703 Belle was received by the Académie Royale He exhibited at the Paris Salon the following year and again when the Salon was revived in 1725.

During the 1720s Belle received numerous commissions from the French nobility. He painted King Louis XV, and also completed a portrait of Louis XV with his one-time fiancée Mariana Victoria of Spain.

A prolific and successful artist, Belle’s style followed that of his master François de Troy, and is compared greatly to Hyacinthe Rigaud and Nicolas de Largillière. His son Clément-Louis, from his second marriage to the engraver Marie-Nicolle Horthemels, was also an artist of considerable note.

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ja n m y t e n s (1614–1670)

A Family Portrait

Oil on canvas, 111 × 149.5 cmSigned and dated 1648

Mytens was born in The Hague and according to Houbraken, was trained by Anthony van Opstal and later by Nicolas van der Horst. Mytens became a member of the The Hague Guild of Saint Luke in 1642 and helped set up the Confrerie Pictura, a club of artists founded in 1656 in a reaction against the Guild of Saint Luke. Mytens was the son of a saddlemaker, learning to paint from his uncles Isaac Mijtens and Daniel Mitjens, both well known artists, until he was admitted to The Hague’s Guild of Painters. After fifteen years as a member of this guild he became its governor. Throughout his life Mytens was a fashionable portrait painter,

receiving commissions from prominent citizens, members of the nobility, and high-placed government officials. He painted for Dutch royalty and specialized in portraiture, genre pieces and historical allegories. Mytens was especially skilled at rendering the clothing of affluent Dutch. His portraits can be divided into two major groups: life-size three-quarter length, and half-length portraits of individuals and small-scale family groups. He conveyed his sitters’ elevated status by depicting them wearing sumptuous garments and jewellery.

He died in The Hague.

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m a ry b e a l e (1633–1699)

Portrait of Margaret Wharton

Oil on canvas, 126 × 103 cm

p ro v e na n c eCollection of Earl and Countess of SwintonExhibited at Royal Academy exhibition of the Works of Old Masters, 1882, held at the Ashmolean Museum, Oxford – contributed byJohn M. TeesdaleStowe sale, September 1848 bought byJames Dorington

Considered to be Britain’s earliest professional female painter, Mary Beale, (1633–1699), was a prolific portrait artist and commercially very popular at the time. She was born in Barrow, Suffolk, the daughter of John Cradock, a Puritan rector, amateur painter, and a member of the Worshipful Company of Painter-Stainers. She was acquainted with local artists, such as Nathaniel Thach, Matthew Snelling, Robert Walker and Peter Lely. In 1652, at the age of eighteen, she married Charles Beale, a cloth merchant from London – also an amateur painter. Many details of her busy working life are recorded in the notebooks kept by her husband, who acted as her studio assistant. During the 1650s and 1660s, Mary Beale was a semi-professional painter, working from her home in Covent Garden and later in Fleet Street. In 1665 due to the Great Plague of London and their financial circumstances the family moved to a farmhouse in Hampshire where, for the next five years, a two storey timber-framed building was her family home and studio until she returned to London in 1670. Back in London she established a studio in Pall Mall, while her husband became her assistant and kept the accounts. Mary Beale became very successful, mixing with the likes of Thomas Flatman, the poet Samuel Woodford, the

Archbishop of Canterbury John Tillotson, and Bishops Edward Stillingfleet and Gilbert Burnet. She became reacquainted with Peter Lely, now Court Artist to Charles II, who had a great influence on her later work, being mainly small portraits or copies of Lely’s work. Her work became unfashionable after his death in 1680. She died in 1699 in Pall Mall, and was buried at St. James’s, Piccadilly in London. Her second son, Bartholomew, painted portraits before taking up medicine. While a third son, named Charles after his father, was also a painter, specialising mainly in miniatures. The sitter was the eldest daughter of Philip 4th Baron Wharton (1613–1696) and his second wife Jane Goodwin. Her father was a staunch Parliamentarian and close friend of Oliver Cromwell. He had a great taste for architecture and gardening and spent a handsome sum on his home at Woburn. He had a considerable collection of works by Van Dyck of whom he was an important patron. She married three times: her first husband was Major Dunch (1651–1679) by whom she had one son and two daughters. Following his death she married Sir Thomas Sulyarde, 2nd Baronet of Delaware and Chiddingstone, Kent (1648–1692) and subsequently William, 12th Lord Ross of Halkhead (1656–1738).

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r i c h a r d b a r r e t t d av i s (1782–1854)

Sir Roger de Coverly and His Hounds

1843SignedOil on canvas, 90 × 116 cm

Richard Barrett Davis was a Victorian horse painter and landscape artist born in Watford in 1782. In 1789 his father became a huntsman to George III’s private harriers and it was through him that Davis’ sketches caught the attention of George III who in turn persuaded Sir Francis Bourgeois (1756–1807) to tutor the young Barrett Davis.

He studied under William Evans of Eton, and in the schools of the Royal Academy, where he first exhibited in 1802. He joined the Society of British Artists in 1829, and was appointed animal painter to William IV in 1831.

From 1802 Davis exhibited his work annually at the Royal Academy for the next fifty years, and from 1808 he exhibited at the British Institution and also at the Society of British Arts in 1827.

Davis was particularly noted for his painting of animals, particularly horses, and was made ‘Animal Painter’ to George IV in 1828 and latterly to Queen Victoria. The subject of this painting was also the name of a loveable if slightly ridiculous English Squire character from The Spectator (1711), who represented the values of an old country gentleman, making the typical Tory politics of such a person seem harmless but silly. The country dance of the same name is thought to be invented by his grandfather.

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s i r a l f r e d m u n n i n g s (1878–1959)

Portrait of Harry La Montagne on a Grey

SignedOil on canvas, 71 × 91.5 cm1920

p ro v e na n c e

Mr and Mrs Harry La Montagne, Pau, France and later New York and Oyster Bay, ny; by descent to their niece Joan Kinney, later Mrs Arthur Gengler of Southport, Connecticut, USA

Harry La Montagne was a wealthy American, whom Munnings frequently met at the most important annual race meetings in England.

Shortly before Christmas 1920 Munnings went to visit Harry La Montagne at his Villa Regina, Pau, in order to paint a portrait of his wife, ‘a good looking smart American woman’. Munnings finished the portrait and La Montagne wanted him to start on another but of La Montagne himself in scarlet, on a grey.

‘As I write, I see La Montagne in the large dinning room, taking his seat on a wooden saddle horse which had been brought from the stables; his silk hat cocked slightly to the right, a good bloom

on his face, his short-clipped moustache almost as grey as when I first saw him at Epsom. The Pau Hunt affected a black velvet collar, and before Christmas, La Montagne had a pair of pictures all but finished to show his friends when he gave a party or two’. (Sir Alfred Munnings, op.cit., 1951, p.101)

Munnings is considered by many to be one of our greatest equine artists since Stubbs. While there was criticism of the artist, perhaps more to do with his infamous words on Modernism, Munnings’ reputation as a painter of horses, captured exquisitely with colour, verve and imagination has since become rightly established.

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a rc h i b a l d t h o r b u r n (1860–1935)

Grouse in Flight

1926

Signed A. ThorburnWatercolor, 33 × 55 cm

Archibald Thorburn was a Scottish illustrator and artist, painting primarily in watercolour, renowned for his depictions of wild birds.

The fifth son of Robert Thorburn (1818–1885), portrait miniaturist to Queen Victoria, Thorburn was educated in Dalkeith and Edinburgh, before briefly attending St. John’s Wood School of Art in London until the death of his father halted his stay there. In 1887 Archibald Thorburn was commissioned to illustrate Lord Lilford’s ‘Coloured Figures of the Birds of the British Isles’ and this firmly established his reputation as a painter of birds. He illustrated numerous natural history, wildlife and sporting books, including his own, and regularly scoured the Scottish Highlands

sketching and painting wild birds against evocative and dramatic backgrounds.

Thorburn was also friends with fellow bird illustrators George Edward Lodge and John Guille Millais, with whom he worked on the works: ‘Natural History of British Feeding Ducks’, ‘British Game Birds’ and ‘British Diving Ducks’.

As a painter, Thorburn regularly exhibited at the Royal Academy, and even designed their first Christmas card for the Royal Society for the Protection of Birds in 1899, continuing this annual tradition until his death in 1935. He was also Vice-President of the Royal Society for the Protection of Birds.

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w i l l i a m c ru i c k s h a n k (1848–1922)

Dead English Grey Partridge

Signed William Cruickshank (1848–1922)Gouache, 35 × 46 cm

William Cruickshank was a British painter and the grand-nephew of George Cruickshank. He studied art at the Royal Scottish Academy in Edinburgh, at the Royal Academy in London, and in Paris. In 1871 he settled in Canada, opened a studio in Toronto and for twenty-five years was an instructor in the Central Ontario School of Art. In 1894 he was elected a member of the Royal Canadian Academy of Arts and acquired a considerable reputation as a portrait and figure painter, and as a painter of Canadian scenes. Some of his paintings are in the National Gallery of Canada.

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j o h n a rt h u r l o m a x (1857–1923)

The Debate

SignedOil on canvas, 33 × 48 cm

Born in Manchester in 1857, Lomax studied at the Munich Academy in Stuttgart, he then returned to Manchester before relocating to London. His paintings are mainly historical genre in subject matter with particular interest in the Civil War period, often with a dramatic and sentimental quality. He is noted for his ability to render detail of expression and differences in quality of textures. A small painting, with exquisite detail, The Debate is beautiful in its colour and composition. Lomax exhibited a number of works at the Royal Society of British artists and at the Royal Society of Artists, Birmingham; the Walker Art Gallery, Liverpool, Manchester City Art Gallery; Royal Academy and the Royal Institute of Oil Painters.

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d a m e l au r a k n i g h t (1877–1972)

Gypsy Caravans

Circa 1935SignedOil on canvas, 76 × 97 cm

One of the foremost British painters of the twentieth century, Knight had a long and prolific career and proved a remarkably versatile painter, tackling a wide variety of subjects ranging from brilliant Cornish seascapes to the Nuremburg trials.

She studied at the Nottingham School of Art where she met Harold Knight whom she married in 1903. From 1895 onwards they lived primarily in Staithes, Yorkshire, interspersed with visits to Holland. In favour of a change of scene, they moved to Cornwall in 1907 and became part of the Newlyn School where they lived a ‘carefree life of sunlit pleasure and leisurely study . . .’ (Oil Paint and Grease Paint, 1936 p.162). The outbreak of the First World War ended this idyllic period and in 1918 the Knights moved to London, although they kept studios at Lamorna for some years, returning during the summers to paint the Cornish landscapes.

Increasingly interested in the stage, Knight began to paint scenes of theatre, ballet and

circus life, and between wars, her pictures of the Big Top established her fame and reputation. An official war artist during the Second World War, her early commissions were dictated by the convention that women artists should record women’s subjects.

She was the only woman to be given War Commissions in the Two World Wars. In 1946, at the age of 69 she was commissioned as the only British artist to cover the Nuremberg Trials.

Recognised as one of the most talented artists of the time, she was President of the society of Woman Artists, and in 1929 became Dame of the British Empire, the first female artist to be honoured in this way. In 1936 she was elected a Royal Academician, the first woman and in that same year she wrote her autobiography, Oil Paint and Grease Paint. Her works are held in many of the UK’s permanent gallery collections as well as overseas.

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g e o rg e m o r l a n d (1763–1804)

The White Horse


George Morland was a popular eighteenth-century painter of animals and rustic scenes. Something of a child prodigy, his first picture was exhibited at the Royal Academy at the age of just ten. As an artist Morland was prolific and it is estimated that he sold over 3,000 paintings in his lifetime. Morland’s reputation for habitual excess is well known, but his merits as an artist far, far outweigh this aspect of his life. His works are the result of an intimate knowledge, of his direct experience and accurate observation of life during the eighteenth century.

The finest of Morland’s pictures were executed between 1790 and 1794, and amongst them the painting Inside of a Stable (Tate, London) that may be considered as a masterpiece. In the last eight years of his life Morland produced some nine hundred paintings, besides over a thousand drawings. He exhibited at the Royal Academy, the Free Society of Artists and at present his work can be seen both at the Victoria and Albert Museum and The National Gallery.

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j o h n f r e d e r i c k h e r r i n g, j r . (1820–1907)

The Old Farmstead – Wintertime


John F. Herring, Jr. was the son of the well-known artist John Frederick Herring (1795–1865). Born in Doncaster, South Yorkshire c.1820, he developed his love of painting along with his brothers Charles and Benjamin, both of whom became artists. Out of the four brothers, these three would often collaborate on paintings. At the time their father, later to be known as John Frederick Herring Senior (Sr.) had a renowned reputation as one of England’s great Equestrian and Sporting painters, being well patronized by

the English aristocracy. His father’s mastery of the brush, and popularity with the nobility, served Herring, Jr., well. He continued painting sporting and animal pictures in the tradition of his father; however, as his artistic prowess improved, his style changed: he loosened his brushwork and widened his landscape views. The placement of farm animals along the banks of a stream or in a farmyard were characteristic of the work of John F. Herring, Jr.His works can be found in numerous Museums and Collections worldwide.

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w i l l i a m s h ay e r s n r (1788–1879)

Milking

SignedOil on canvas, 70 × 89 cm

William Shayer Senior was a renowned figure, landscape and animal painter of the nineteenth century. He was appreciated, in particular for his skillful application of glaze, giving his paintings a noted depth and brightness, perhaps not found in some of his contemporaries. Born in Southampton, Hampshire, in 1787, Shayer Senior is particularly associated with the landscapes of the New Forest and his cheerful coastal scenes. In 1823 Shayer’s first wife died leaving him to raise five children while still working as an artist. Helped by the Society of British Artists, and the opening of the Hampshire Gallery by the end of the 1820’s Shayer’s popularity as an artist began to grow.During his lifetime Shayer exhibited at the British Institution and at the Royal Academy between 1820 and 1843. His work can be found in numerous galleries across the UK. It always used to be said that every major collection should have a William Shayer. Four of Shayer Snr’s sons also became artists with William Joseph Shayer (1811–1892) and Henry Thring Shayer (1825–1894) becoming the most well known.

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t h o m a s s i d n e y c o o p e r (1803–1902)

A Mountain Group – Evening

Oil on canvas, 41 × 51 cmExhibited at the Royal Academy in 1850Number 278, signed and dated 1849

Thomas Sidney Cooper R A A Midday’s Rest exhibited at the Royal Academy, number 266 / signed 1896 / one of the Royal Academy’s longest standing exhibited artists

Thomas Sidney Cooper was born in Canterbury. He showed an early talent for drawing and received tuition from a local surgeon. He gained employment as a painter with a local coach-builder and learned to grind and mix colour.

In 1823 he was admitted to the Royal Academy Schools, London, and in 1827 moved to Brussels where he shared a studio with the Belgian painter Eugene Verboekhoven.

In May 1831 he returned to England and began making sketches of topographical scenes that

he sold to Ackermans. He became this country’s foremost nineteenth-century ‘cattle’ painter. His work proved so popular that he received numerous commissions and was exhibited widely.

Thomas Sidney Cooper died on 7th February 1902; his funeral took place in Canterbury Cathedral and was attended by Edward Poynter, President of the Royal Academy.

t h o m a s g e o rg e c o o p e r (Fl. 1857–1898)

Sheep in a Landscape

Oil on canvas, 34 × 49 cm (18 × 10 in)Signed

The son of Thomas Sidney Cooper (1803–1902), England’s foremost painter of cattle in the nineteenth century, Thomas George Cooper followed his father’s artistic profession and painted landscapes, pastoral scenes and pictures of rustic genre in oil and watercolour.

Living in Bayswater, London, he was his father’s student and visited North Wales and Osborne with him on a painting trip in 1848.

He exhibited at all the major London galleries, as well as at many of the major provincial exhibitions, between 1857 and 1896, showing his work at the Royal Academy (30 works), the British Institution, the New Watercolour Society, the Royal Society of Painter-Etchers and Engravers, the Royal Institute of Oil Painters, the Royal Institute of Painters in Water Colours, the Royal Scottish Academy and at Liverpool, Manchester and Birmingham (amongst others).

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Delanoy was born in Glasgow, of French parents and was the brother of painter Jacques Delanoy.

As a young man Delanoy studied at the Academy of Fine Art in Lyon (1865–1866), and then in Paris, under Jobbe-Duval, Gleyre, Barrias, Bonnat and Vollon.

From 1863 to 1887, Delanoy exhibited at the Lyon Salon, and from 1868–1899 at the Paris Salon. Delanoy was noted for his paintings of flowers, fruits, still-lifes, interiors and genre subjects.

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h i p p o ly t e p i e r r e d e l a n o y (1849–1899)

A Study of Flowers

Oil on canvas, 57 × 49 cm (22 × 18½ in)Signed

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a l b e rt o m o ro c c o (1917–1998)

Merendero at Nerja ‘Open-air Café’ in Nerja

Oil on canvas, 40 × 39 cm

Alberto Morrocco, painter, was born 14 December 1917 in Aberdeen, the son of immigrant Italians. Precocious talent as a draughtsman secured him entrance to Gray’s School of Art in Aberdeen at the age of 14 from where, following graduation, he briefly toured pre-war France and Italy. The avant-garde of the twenties and thirties, in particular Braque and Picasso, had an immense (though not always happy) influence on him for the rest of his life. The outbreak of war saw him committed to Edinburgh Castle, as penalty for an Italian background. It was no doubt uncomfortable, and to a degree humiliating, but he wrung many a good joke out of his incarceration (his account of periods spent manufacturing mock field wounds were worthy of Evelyn Waugh).

Following war service as a conscientious objector in the medical corps, and a brief spell teaching evening classes, Morrocco spent the rest of his professional life in Dundee, as Head of the School of painting at Duncan of Jordanstone College of Art. He had a spectacular retirement, producing some of his most vigorous work in the period from 1982 to his death. Morrocco was prodigiously productive. Even late in his life and seriously ill he, would commit himself to exhibitions of thirty or forty new works in a year. His best still-life is marked by a unique quality of stillness, even sadness, and many a painting bought initially for its warmth and

colour has been kept for that strange quality of other-worldliness that few of his contemporaries could understand, let alone capture.

He was without doubt the greatest portraitist of his generation. He worked quickly and could usually put the subject at ease with a combination of spirited conversation, unfailing courtesy, good humour and (where necessary) gin! Nonetheless, the results could surprise, not because of a failed likeness, which was very rare, but by a degree of psychological insight which could be disconcert-ingly sharp. The University of Dundee awarded Morrocco an honorary doctorate in 1980. He painted all its Principals and, in 1977, the Queen Mother as Chancellor. Spanning thirty years, these portraits are a perfect illustration of how skilfully he adapted the conventions of the formal portrait to the expectations of a contemporary audience.

He was awarded the San Vita Romano Prize and both the Guthrie and Carnegie Award of the Royal Scottish Academy, where he was elected Fellow in 1962. In addition to the degree from Dundee University, he was awarded an Honorary Doctorate from Stirling University in 1987. He served on the Scottish Arts Council and the Royal Fine Art Commission for Scotland and was appointed obe in 1993. He was elected an Honorary Fellow of the Society in 1995.

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m a g g i h a m b l i n g (born 1945)

The Wave

Circa 2009Oil on canvas, 26 × 30 cm

Hambling trained at the Ipswich School of Art, Suffolk (1962–4), at Camberwell School of Art (1964–7) and at the Slade School of Fine Art (1967–9). She received a Boise Travel Award to New York in 1969. While Artist-in-residence at the National Gallery, London (1980–81) Hambling produced a series of portraits of the comedian Max Wall. Wall responded to Hambling’s request to paint him with a letter saying: ‘Re: painting little me, I am flattered indeed – what colour? ’ The paintings were exhibited at the National Gallery in 1983 to much acclaim and helped secure her reputation. The numerous paintings and charcoal sketches from this series illustrate her superior observational skills and her direct engagement with her subject. Living in her native Suffolk during the mid 1980’s, Hambling turned to painting the surrounding landscapes. Hambling worked from

life and from the model. But to go beyond this level of realism in her work, she delved into her subconscious imaginings and her memories producing such vibrant compositions and textures as illustrated in her now famous series of North Sea paintings. Portraits form part of Hambling’s oeuvre, with several works in the National Portrait Gallery, London. Her wider body of work is held in many public collections including, in the UK, the British Museum, Tate Collection, National Gallery, Scottish Gallery of Modern Art and the Victoria and Albert Museum. Hambling’s celebrated series of North Sea paintings have continued since late 2002. In 1995 she was awarded the Jerwood Painting Prize (with Patrick Caulfield). In the same year she was awarded an o b e for her services to painting, followed by a c b e in 2010.

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Jim Malone was born in Sheffield in 1946. After the death of his father, his mother moved the family back to her native Wales. Malone went to train as a teacher in Bangor in 1966 and then accepted a teaching post at a school in Essex in 1969.

Malone took ceramics as his 3d craft and was lucky enough to have inspiring and enthusiastic tutors in Ian Godfrey, Ewan Henderson and Colin Pearson. Godfrey took Malone to the V&A to see early Korean pots, an experience that convinced Malone to become a potter. He purchased pots with his student grant and studied books such as Bernard Leach’s ‘A Potter’s Book’ and Michael Cardew’s ‘Pioneer Pottery’. During the summer holidays before his final year commenced Malone spent time working with Ray Finch at Winchcombe Pottery

j i m m a l o n e (born 1946)

Ceramics

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in Gloucestershire. Here he gained experience in a real life workshop. He graduated from Camberwell with a first class honours degree.

Soon after graduating Malone set up his first pottery on the Horseshoe Pass at Llandegla, Wales. In this remote setting he built a gas fired kiln and set about producing a range of domestic ware, digging clay locally for his slips and glazes and experimenting with porcelain. Malone was continuing to gain inspiration from the Far Eastern pots that first caught his eye back in college, yet his work was very definitely his own. A residency at Cardiff College of Art and a job as a part time lecturer at Wrexham College of Art followed.

In 1982 fellow potter Mike Dodd offered Malone a position at Cumbria College of Art.

The two of them established what was to become one of the most successful craft based throwing courses in Britain, building two wood fired climbing kilns, a salt glaze kiln and experimenting with materials.

In 2003 he returned and settled in Lessonhall, where he continues to work today. He is a sociable and friendly man but chooses to work in isolation; pottery is not just his job it is his way of life. Malone’s pots, be they his flaring bowls, decorated with Hakame and iron brushwork, Korean style bottles or his jugs (regarded by many as the best in Britain), all show why he is one of the foremost potters working in the UK today.

Furniture and Interior Design

Yew wood table, circa 1710 Chairs, circa 1800

a yew wood table of rare quality and exceptional colour, with a selection of yew wood spindle back chairs, notable for their individual features typical of certain makers from the Lincolnshire and Thames Valley areas.

table100 × 115 × 70 cm (39½ × 45 × 27½ in)(width × depth × height)

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An Exceptionally fine George II walnut bureau

Having a book-veneered sloping fall enclosing a fitted interior of small drawers and pigeon holes, above two short over three long drawers, on bracket feet.

92 × 54.5 × 107 cm, (36 × 21 × 42 in)(width × depth × height)

A Queen Anne walnut escritoire

A Queen Anne figured walnut and featherbanded escritoire

With reverse ogee moulded cornice above a cushion frieze drawer, over a fall enclosing four secret drawers behind two pull-out compartments comprising six pigeon holes, with eleven drawers below and a gilt tooled leather inset writing slope to the underside of the fall, above two short and two long drawers, on large bun feet.

112 × 50.5 × 164 cm (44 × 19½ × 64½ in)(width × depth × height)

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Dresser

A very rare, early nineteenth century, three drawer dresser base on turned legs, of warm rich colour with slight fading to the legs, circa 1700–1710, and with associated eighteenth century top.

An exceptionally rare 3 drawer dresser base on turned legs, of excellent colour, with a later associated rack, the base dates 1695–1700 and the top 1750.

165 × 52 × 203 cm (65 × 20½ × 80 in)(width × depth × height)

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Pair of Regency console tables

A pair of exceptional quality Irish mahogany console tables, of excellent dark warm colour and condition, with canthus leaf scroll front supports and plinth bases, with brass stringing to the top. Circa, 1820–1846

125 × 54 × 94 cm, (49 × 21 × 37 in)(width × depth × height)

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William IV bracket clock

A William IV, very fine, gothic style bracket clock by Manners & Son, Stamford. Mahogany case with ebonized coloumns and enameled dial. Strikes on the bell.

A Fine Quality Queen Anne walnut lowboy

With rectangular quarter veneered top above a long drawer and three short drawers with a shaped apron, on cabriole legs and pad feet.

87 × 53 × 73 cm (34 × 20½ × 28½ in)(width × depth × height)

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Mounted mantel clock

French, circa 1850Malchite, ormolu

3¾ inch enamel dial signed ‘Martin Baskett and Cie A Paris’, similarly signed bell striking movement (bell lacking), the crisply cast case surmounted by a shallow urn with grape finial and above a bacchic mask, flanked by scrolling corbels and raised on a break-front plinth decorated with swags, the front inset with four panels of richly coloured malachite.

Claret jugs

Circa 1860

Two very fine quality etched and engraved glass and German silver claret jugs.

Samovar urn

18th centurySilver

A fine quality rococo silver samovar urn in excellent original condition, with a detachable body covered, with asymmetrical C scrolls with fine scroll handles and a base with a fine pierced apron surmounting four ball and claw feet. Circa 1765

makers David Whyte and William Holmes

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Interior Design

Quality works of art and fine antiques give a different dimension to any home and life, often becoming a passionate interest and for some a serious endeavor. Forming an art collection can be a fascinating and rewarding experience but one that requires expert advice. We offer a bespoke interior design service to assist clients in matching beautiful interiors with very fine art and furniture; taking into consideration styles and periods of art, marrying these with the right furnishings and details, and advising on hanging, framing and lighting, to give an individually tailored interior suited to each taste and need.

Whether it is contemporary or period style, the smallest of luxury spaces or the grandest of properties, we are happy to work with clients on every aspect of a project. Our clients often come to us through word of mouth and our discretion and appreciation for clients’ privacy is paramount.

Nigel Rhodes Fine Art

l i n c o l n t 01522 569522

s t a m f o r d t 01780 756667

m 07950 271898

[email protected]

www.nigelrhodesfineart.com

Published by Nigel Rhodes Fine Art Gallery Ltd7 High Street, Stamford p e 9 2 l f

Photography by Steve Hill / Andy Oliver

Designed by Philip Lewis

Printed and bound in Great Britain by Colt Press

f r o n t c o v e rQueen Henrietta Maria (detail)Workshop of Sir Anthony Van Dyck (1599–1641) and Studio Oil on canvas, 215.9 × 126.7 cm

pa g e o n eSistersFrederick Yeates Hurlstone (1800–1869)Oil on canvas, 106 × 132 cm

f ro n t i s p i e c ePortrait of Harry La Montagne on a Grey (detail)Sir Alfred Munnings (1878–1959)Oil on canvas, 71 × 91.5cm

pa g e f o u rThe Debate (detail)John Arthur Lomax (1857–1923)Oil on panel, 57 × 43 cm

n i g e l r h o d e s f i n e a r t www.nigelrhodesfineart.com

Documents

Nigel Rhodes Fine Art Ltd Catalogue 2014