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FIRST DAY’S SALE WEDNESDAY 24th APRIL 2013 PAINTINGS, PICTURES, MINIATURES AND SCULPTURES Commencing not before 2.00pm Pictures will be on view on: Saturday 20th April 9.00am to 1.00pm Sunday 21st April 2.00pm to 4.00pm Monday 22nd April 9.00am to 5.15pm Tuesday 23rd April 9.00am to 5.15pm Limited viewing on sale day Enquiries: Martin Scadgell Tel: 01392 413100 Email: [email protected] Enquiries: Daniel Goddard Tel: 01392 413100 Email: [email protected]

PAINtINgS, PICtURES, MINIAtURES AND SCULPtURES · FIRST DAY’S SALE WEDNESDAY 24th APRIL 2013 PAINtINgS, PICtURES, MINIAtURES AND SCULPtURES Commencing not before 2.00pm Pictures

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FIRST DAY’S SALE

WEDNESDAY 24th APRIL 2013

PAINtINgS, PICtURES, MINIAtURES AND SCULPtURES

Commencing not before 2.00pm

Pictures will be on view on:

Saturday 20th April 9.00am to 1.00pm

Sunday 21st April 2.00pm to 4.00pm

Monday 22nd April 9.00am to 5.15pm

Tuesday 23rd April 9.00am to 5.15pm

Limited viewing on sale day

Enquiries: Martin Scadgell

Tel: 01392 413100

Email: [email protected]

Enquiries: Daniel Goddard

Tel: 01392 413100

Email: [email protected]

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301• Alan Cotton [b.1938] Hartland, Autumn Sunset, 1985 signed bottom left further signed, inscribed and dated on the stretcher oil on canvas 90 x 100cm.

£1000 - 1500

302• Alan Cotton [b.1938] Hartland, Lavender Light 1985 signed bottom right further signed, inscribed and dated on the stretcher oil on canvasverso a preparatory oil sketch for a landscape with sheep at Bicton Park. 76 x 60cm.

£1000 - 1500

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303• Alan Cotton [b.1938] The Hidden Valley - Harvest signed bottom right further signed and inscribed on the stretcher oil on canvas 90 x 100cm.

£800 - 1200

304• Alan Cotton [b.1938] Sunlight through Summer Leaves signed bottom left further signed and inscribed on the stretcher oil on canvas 101 x 90cm.

£800 - 1200

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305• Alan Cotton [b.1938] Hidden Valley in Springtime signed bottom centre further signed and inscribed on the stretcher oil on canvas 45 x 60cm.

£600 - 800

306• Alan Cotton [b.1938] Farmstead, Vacluse Valley, Provence [near Gordes] 1986 signed bottom right further signed, inscribed and dated 1986 on the stretcher oil on canvas 39 x 50cm.

£800 - 1200

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307• Alan Cotton [b.1938]Rachel in Summer Meadows:signed bottom rightfurther signed and inscribed on the stretcheroil on canvas90 x 100cm. Rachel is the artists’s daughter

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Bearnes Hampton & Littlewood are pleased to be offering the following five lots, the work of the late Michael Seward Snow, the property of Justin Snow, son of the deceased. It is Justin’s hope that a comprehensive retrospective exhibition will be held in St Ives in the near future. The following paintings offer a broad cross section of Michael Snow’s work as a means of introduction to those unfamiliar with the artist.

With no formal training Michael Snow showed an early interest in poetry, literature and the arts at school in Rugby and as a librarian in Manchester and with Tony Connor and Malcolm Bishop he founded the Peterloo Group in Manchester. After seeing an exhibition of St Ives artists in Liverpool, including Alexander Mackenzie, Snow moved there in 1951. Two years later he was elected member of the newly found Penwith Society along with Hepworth and Nicholson. Snow was particularly enamoured with the lyrical literacy of John Wells, W.Barns Graham, Alex Mackenzie, George Dannatt and Ben Nicholson. His work continued to change and evolve; his 1960s works bearing more resemblance to the painterly expressionism of Bryan Winter, Terry Frost and Roger Hilton. By the 1970s Snow’s personal interest in science, ranging from mineralogy to cosmology, resulted in works such as Sun & Moon and Blue Planet. From 1965 to 1985 Snow entered the field of education. He taught at the vibrant Exeter College of Art where he became Director of the Combined Honours Course. His interdisciplinary openness made him an instant hit with his students. Michael’s succinct catalogue statement for his 24 work show at London’s Rowan Gallery in 1964 explained his pictures as ‘additions to nature, not imitations of it. I may receive a stimulus to start work from a new landscape but my real problem is the solution on the canvas - painting matters if it is honest...because it is not only a visual addition to our environment..it is the only way to learn to see’.

Michael Seward Snow, painter and teacher, born Manchester 27 June 1930, married 1950 Sylvia Jarrett (divorced 1956), 1957 Margaret Lambert (one son, Justin). Died Hillerton Cross, Devon, 15 July 2012.

With recognition to Peter Davies from whose obituary in The Independent extracts are included in the above.

310• Michael Neville Seward Snow [1930-2012] Untitled (Sun) signed and dated 89/90/92 on the reverse further dated 1992 on the reverse oil on canvas 122 x 122cm, (unframed)

£1200 -1800

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311• Michael Neville Seward Snow [1930-2012] Landscape Archipelago, 1964 inscribed on the reverse with artist’s name and title and dated 1964 oil on canvas 91 x 152cm.

£2000 - 3000

312• Michael Neville Seward Snow [1930-2012] Incised Painting Sun and Moon, 1959 signed M N Seward Snow and inscribed with title on the backboard oil on board 99 x 47cm.

£1000 - 1500

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314• Michael Neville Seward Snow [1930-2012] Drawings for Constructions inscribed with title and dated 2.2.53 bottom centre further inscribed on the backboard, signed and dated 1953 oil on board 39.5 x 30.5cm.

£800 - 1200

315• Michael Neville Seward Snow [1930-2012] Untitled collage 59 x 79cm

£250 - 350

The Michael Snow Art Reference Library; 21st August 2013.In the Book Sale on the 21st August 2013, Bearnes Hampton & Littlewood will offer for sale the art reference library of Michael Snow. The collection reflects the influence of a previous generation of ground breaking artists, who painted in the “Warmth of the Sun”, and their own earlier influences of Turner, Mattise, Braque, Picasso and Mondrian, etc. The history of art is fully covered, constructivism and abstraction is explored and there are also many works on sculpture. There are catalogues, books, and collections on artists such as Terry Frost, Patrick Heron, Peter Lanyon, Ben Nicholson, Roger Hilton, Tony O’Malley, Alfred Wallis, Bryan Winter, etc. etc. The second part of the library consists of poetry books, with an extensive collection on the Cornish poet (who was a personal friend of Michael Snow) W. S. Graham.

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316• Istvan Szegedi Szuts [1892-1959] My War Book two volumes of the original pen, ink and wash drawings Volume I. Front page inscribed ‘My War Book - Third baby Edition’ (second is crossed out), signed Szegedi Szuts and further signed Sugady Szuts, with 116 ink drawings, each numbered and most titled, each drawing on a sketch paper, 19 x 14cm, each page and the bound volume 28 x 21cm. Volume II. 103 ink drawings, as above, most being titled, and a volume of the published work. (3) Provenance. Michael Seward Snow and thence by family descent

£2000 - 3000

Referencing these drawings to the published book My War - John Lane The Bodley Head Limited, Published 1931, 1st edition, there are a few original drawings not published (approximately 10), and some of the original titles have been changed in the printed book.

Istvan Szegedi Szuts [1892-1959], born in Budapest, a friend of the composers Bela Bartok Zoltan Kodaly and Gyorgy Ranki. Szuts served in the First World War and produced a book about his experiences, My War (published in 1931 by John Lane). He first visited England in 1929 and held a solo exhibition at the Gieves Gallery, London, in the same year. In 1936 he moved to Cornwall with his partner Gwynedd Jones-Parry, whom he married in 1937. The couple lived at Caunce Head near Mullion on The Lizard and remained there for the rest of their lives. He exhibited with The Newlyn Society of Artists and The Penwith Society of Arts.

An extract from The Daily Mail about Szuts and the exhibition of paintings and drawings held at Gieves Gallery in December 1929.

“The mere fact that Mr. Campbell Dodgson, the distinguished Keeper of Prints and Drawings at the British Museum, acts as sponsor to Mr. Istvan Szegedi Szuts, is sufficient guarantee for the merit of the work shown by that young Hungarian artist at the Gieves Gallery in Bond Street.

But Mr. Dodgson discreetly confines his praise to Mr. Szegedi Szuts’s drawings, and there can be no doubt that the drawings represent this artist’s highest achievement.

They seem, almost without exception, to be the work of inspired moments, in which the true significance of a scene, a type or movement is revealed to the artist in a flash and transferred to paper with a few vigorous strokes or accents. They are akin to Mr. Paul Nash’s memorable war drawings in intensity of realisation and simplicity of statement.

Mr. Szegedi Szuts does not appear to belong to any particular group. His art bears no marked national characteristics, although it is inspired by profound sympathy with national characteristic life and scenery. His gifts of synthesis and swift notation are akin to Vaszary’s, but unlike the older artist he has remained unaffected by Parisian influences.”

21 of the 219 original drawings are illustrated here and overleaf. To see all the drawings and to read the forward to the book by Ralph Haze Mottram, please use the following link to our website http//bhandl.eu/go/szuts

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The following 14 lots are from the estate of the late Michael Seward Snow, the property of Justin Snow. As with an earlier sale of works (see Bearnes Hampton & Littlewood 27 January 2011) this small collection was formed by exchanges of work between artists. ‘Over forty years, during which I occupied studios in St Ives, or nearby, my closest friends were Ben Nicholson, Terry Frost, Dennis Mitchell and the poet W S Graham. The little collections artists make from groups or exchanges, sometimes provide interesting evidence of experiments from which the later and better known works of art have developed’. Michael Seward Snow, January 2011.

317• Ben Nicholson [1894-1982] Columns, possible preparatory to Aquieia etching, signed and dated ‘65 in pencil in the bottom right border blindstamp bottom left corner of sheet plate size 23.5 x 14cm, sheet size 37.5 x 28cm.

£1200 - 1800Provenance. Gifted to Michael Snow by the artist, thence by family descent

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318• Ben Nicholson [1894-1982] Cion De Arquitectos-Barcelona inscribed on the reverse in ink biro ‘This drawing is to be left mounted on the blue board which has become a part of its colour scheme, B.N.’ further inscribed Ben Nicholson May 60 for Michael Snow pencil and watercolour drawing (shaped) 30 x 14cm minimum, 19cm maximum.

£6000 - 8000

Provenance. Gifted to Michael Snow by the artist, thence by family descent

Ben Nicholson (1894-1982) was born in Denham, Buckinghamshire. His father was the painter Sir William Nicholson. He attended the Slade School of Art in 1910-11. In 1922 he had his first solo exhibition at the Adelphi Gallery, London and soon after painted abstract paintings influenced by Cubism and by 1927, inspired by Rousseau and early Folk Art, he had evolved a primitive style. He met Mondrian and Picasso who both had influences on his work. In 1939 Nicholson moved to St Ives with his wife Barbara Hepworth, the sculptor. They initially stayed with Adrian Stokes in Carbis Bay. Nicholson entered a period of painting landscapes and coloured abstract reliefs, and then linear abstract painting. He joined the St Ives Society in 1943 and in 1949 was a founder member of The Penwith Society. In 1951 Nicholson and Hepworth divorced and he left Cornwall in 1957.

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320• John Clayworth Spencer Wells [1907-2000] Landfall 1949 signed, inscribed and dated on the reverse oil and pencil sketch on board 25.5 x 36.5cm.

£2000 - 3000This drawing has a faint pencil inscription ‘Annandale’ on the reverse. Annandale is a strath (a broad mountain valley) in Dumfries and Galloway.

Provenance. Gifted to Michael Snow by the artist, thence by family descent.

John Wells (1907-2000), artist and maker of relief constructions, was born in London, trained as a doctor at University College Hospital. He learned to paint at evening classes at St Martins School of Art. From 1936-1945 he worked as a general practitioner for the Isles of Scilly. In 1945 he moved to Newlyn to pursue a full time career as an artist. Co-founder of The Crypt Group and The Penwith Society of Artists. He worked with Barbara Hepworth and exhibited regularly in London, the provinces and abroad. His works of geometric abstraction were influenced by Naum Gabo, Ben Nicholson and Barbara Hepworth. An exhibition at the Tate, St. Ives in 2007 celebrated the centenary of his birth.

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321• Wilhelmina Barns Graham [1912-2004] White Relief 1954 signed and inscribed in pencil on the reverse White Relief 1954 W.Barns Graham carved and painted wood panel laid down on hardboard relief size 10 x 14cm overall 15.5 x 20cm.

Together with a letter by Willie Barns Graham from her St Andrews address in 1997 to Michael and Margaret Snow in recognition of their letter of sympathy on her brother’s death. There is reference to St Ives, Bernard Leach and her exhibition (in her 85th year) in 1997 at Art First, Cork St, London. Enclosed with the letter is a personalised printed card, signed from WBG, of an acrylic work on paper ‘Night Walk, Porthmeor 2’.

£1200 - 1800

Provenance. Gifted to Michael Snow by the artist, thence by family descent.

Willie Barns Graham, born in Fife, Scotland and studied at Edinburgh College of Art. Her tutor, Hubert Wellington recommended St Ives for her health and as ‘a centre where interesting things were happening’. She met at this time artists Ben Nicholson, Barbara Hepworth, and Naum Gabo. After the war, the St Ives Modernist Movement began to evolve its own distinctive look. As a draughtsman she was second only to Nicholson himself, and was more versatile. As a painter it was unfortunately too easy to regard her as a follower because her work did follow the same evolution as some of her more assertive (male) contemporaries. In the 1960s she was divorced from her husband David Lewis and inherited a small estate near St Andrews in Scotland, 700 miles from St Ives. She henceforth has a dual ‘nationality’ working both in Scotland and St Ives. In 2001 she received the accolade of a major monograph written by Lynne Green which restored her to her central place in the history of Modern Art in Britain.

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reverse

322• Patrick Heron [1920-1999] Heron/Monet inscribed as titled on the reverse further inscribed in pencil on the reverse of the mount board ‘drawing by Patrick Heron, signed by him ‘Heron/Monet’ - done in course of a discussion about Monet with Michael Snow, in whose collection it remained’, black line drawing 19.5 x 24.5cm, unframed.

£2000 - 3000Provenance. Gifted to Michael Snow by the artist, thence by family descent.

Extracts taken from Michael McNay’s Guardian obituary of Heron in 1999.

“Patrick Heron was one of the half dozen important British painters of the 20th Century. As a painter and critic, Heron’s work was a key factor to Britain’s awakening to the power and importance of modern art after the second world war. He regarded Matisse and Bonnard as the two greats of their time and drew much inspiration from them. It was sometimes remarked that Heron got by on his colour but he was as an incisively accurate draughtsman as Ben Nicholson, the friend from whom he inherited the studio overlooking Porthmeor Beach at St Ives. The portraits of the 1940’s and 50’s were not successful though it is unlikely that Heron himself, a great protagonist for his own achievements, ever thought so. Latterly when the mesh of lines dropped away, he was free to concentrate on his abiding commitment, the non-figurative explanation of colour and the effect on the retina of the juxtaposition of pure colours (he insisted on the term ‘non-figurative’ all art, he would say, was abstract)”.

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323• Roger Hilton [1911-1975] Drawing 1971-74 conte crayon on paper 25 x 20cm.

£600 - 900

Provenance. Michael Snow, a gift from Nessie Graham 1998, thence by family descent.

Exhibited. Arts Council of Great Britain, Piccadilly, London. 1983, Alive to it All, catalogue No.723, lent by the artist’s family.Newlyn Art Gallery 2011, Roger Hilton - A Centenary Celebration, 29th January - 2nd May 2011.Roger Hilton CBE, was a pioneer of abstract art in post-war Britain. Born in London, he studied at the Slade School under Henry Tonks and also in Paris. After the war he worked as a school teacher as well as a lecturer at the Central School of Arts and Crafts. He visited Cornwall frequently at this time, moving there permanently in 1965. He became a prominent member of the St Ives group gaining an international reputation. In 1963 won the John Morris painting prize and was appointed CBE in 1968. Married Rose Phipps, his second marriage. By 1974, precipitated by alcoholism, he was confined to bed with a muscular disease. His work became less abstract in later years, often being based on the nude or images of animals. He died at Botallack, near St Ives, in 1975 .

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325• Alixe Jean Shearer Armstrong [1894-1983] ‘Sylvan’, a landscape faint signature Shearer Armstrong and address 9 Porthmeor Studios on reverse of board further inscribed with title and 9 Guineas on reverse oil on board 26.5 x 12.5cm.

£150 - 250Provenance. Michael Snow, thence by family descent

Alixe Jean Shearer Armstrong [1894-1983]. Born in Penge, London and studied at The Slade and Karlsruhe Gallery. Moved to Cornwall in 1921 and worked briefly with Stanhope Forbes. Originally influenced to paint in oils by Algernon Talmage and developed her own style in still life during the 1930s. Her style later developed into abstract under the influence of Ben Nicholson. Married in 1921 and moved to Carbis Bay, keeping studios at Porthmeor. Exhibited at the RA and RSA from 1926. Exhibited at Newlyn and taught art at Marazion

326• Alixe Jean Shearer Armstrong [1894-1983] Roman Forum signed, inscribed and dated 1959 on the reverse oil on board 22.5 x 62.5cm.

£150 - 250

Provenance. Michael Snow, thence by family descent.

327• Alixe Jean Shearer Armstrong [1894-1983] Quarry signed and dated 1953 bottom right pastel 29 x 43cm

£150 - 250

Provenance. Michael Snow, thence by family descent

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329• Alexander Mackenzie [1923-2002] Untitled; landscape coloured lithograph signed in pencil dated ‘58 and numbered 27/30 in the bottom margin image 29.5 x 48cm.

£100 - 200

Provenance. Michael Snow, an exchange of work, thence by family descent.

328• Robert Adams [1917-1984] Forms etching, signed and dated R.Adams ‘55 and numbered 5 of 55 in pencil in the margin sight size 29.75 x 9.75cm.

£150 - 250

Provenance. Michael Snow, thence by family descent

Alexander Mackenzie (1923-2002). Born in Liverpool, McKenzie attended the Liverpool College of Art between 1946-1950. His first move to Cornwall was in 1951 and in 1953 he moved to Newlyn and Penzance where he taught at the art school until 1964. He was exhibiting at St Ives, Newlyn, London and New York at this time. For the next 20 years he was head of the Department of Fine Art at the Plymouth College of Art and Design. In 1984 he moved in retirement back to Penzance. His sculptural and sensuous style in architectural and geometric formats enhance the landscape and skylines he loved and studied

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331• Robert Adams [1917-1984] ‘Pen(with?) Forms’ signed and dated Adams 1955 on base further inscribed with title and dated 1955 on a label attached to the base slate sculpture 13.25cm high.

£1500 - 2000

Provenance. Michael Seward Snow, thence by family descent

Robert Adams [1917-1984]. Sculptor and painter. Studies at Northampton school of Art from 1933-1944. Employed as an engineer during WWII. Post-war he made abstract paintings but soon turned exclusively to sculpture, working in natural materials; wood, slate, plaster and stone. In 1949 he began working in metal and came in contact with Victor Pasmore and a group of artists around him including Adrian Heath, Anthony Hill and Kenneth and Mary Martin. The group acted as a forum for constructivist ideas in Britain. In the 1950s and 60s whilst producing works exhibiting, he also taught at the Central School of Art. After many visits to Cornwall he became a member of the Penwith Society St Ives in 1975. Exhibited; Gimple Fils 1951, Venice Biennale 1962, Retrospective Campden Academy & Northhampton 1971, Liverpool Tate 1982, Gimple Fils late Bronzes 1988. Among his later public works was the large steel sculpture for Kingswell in Hampsteasd 1973.

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332• Dennis Mitchell [1912-1993] Sennen - initialled, inscribed and dated DAM Sennen ‘77 on the slate base further numbered 6/7 on the base polished bronze sculpture, 9cm high circular slate base 2cm high x 16.5cm diameter.Provenance. Michael Seward Snow, thence by family descent.

£4000 - 6000

Dennis Mitchell [1912-1993]. Renowned for his dynamic polished bronzes, Mitchell evolved a visual language inspired by his intimate knowledge of working in and on the landscape. In 1930 Mitchell moved from Swansea to join the artistic community in St Ives, and started market gardening and painting; but it was his experience of tin mining during the war and his time spent as an assistant to Barbara Hepworth between 1949-60 that inspired him to carve. Working initially with wood, slate and stone Mitchell eventually found his signature material in bronze. His implicit understanding of the balance of line and form created by the interplay of light and surface imbues Mitchell’s sculpture with a unique vitality.

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334Alfred Wallis [1855-1942] The Mariners oil on paper (half a brown envelope) 21 x 22cm. Inscribed on the reverse by Michael snow with provenance.

£7000 - 10000

Provenance. Ben Nicholson Collection Michael Seward Snow, thence by family descent.

Alfred Wallis [1855-1942] was first a sailor and fisherman and latterly an artist. In the early 1870s he became a mariner in the Merchant Service. He married in 1876, when he was 20 and his wife 41, and became step father to her five children. The family moved to St Ives in 1890 where he established himself as ‘Wallis, Alfred. Marine Stores Dealer’. and following his wife’s death in 1922 Wallis took-up painting, as he later told Jim Ede ‘for company’. His paintings are a fine example of naive art; perspective is ignored and an object’s scale is often based on its relative importance and this gives his paintings a map-like quality. Wallis painted his seascapes from memory in large part because the world of sail, which he knew, was in transition and being replaced by steamships. He said his subjects were “what use to bee out of my memery what we may never see again”.

Wallis improvised with materials, mostly painting on cardboard ripped from packing boxes and using a limited palette of paint bought from ship’s chandlers.

In 1928 Ben Nicholson and Kitt Wood came to St Ives where they to discovered Wallis and celebrate his direct approach to image making. Wallis was unwittingly then propelled into the circle of some of the most progressive artists working in Britain in the 1930s.

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335James Jennings [fl.1763-1793] Miniature portrait of a cleric head and shoulders with blue eyes and powdered hair wearing a brown coat with white collar signed with initials and dated JJ 176? lower right oval, 3.4cm.

£150 -250

337Attributed to American School 18th Century Miniature portrait of a gentleman, head and shoulders with powdered and curled wig wearing a red coat and lace cravat, oval, 4.4cm, together with an English School miniature of a gentleman, bust-length with powdered hair and wearing a red coat and lace cravat, oval 4cm, with hair plait reverse. [2]

£250 - 350

336Henry Edridge [1768-1821] Miniature portrait of a gentleman head and shoulders with powdered hair wearing a black coat and white stock oval, 4.6cm, in a gold frame inscribed around the bottom H.Edridge A.R.A. B.1769. D.1821 with a hair plait back.

£200 - 300

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338Olivia Hamilton [19/20th Century] Miniature portrait of Carl Wieting head and shoulders, with grey beard and brown eyes signed with a monogram and dated 1899 lower right further signed, inscribed and dated on the reverse oval 8cm, in an Arts and Crafts hammered copper frame and folding leather case, together with a miniature portrait of Mrs Wieting and one other [small!] miniature of a gentleman in a gold locket case. (3)

£250 - 350

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339Attributed to N. Freese [act.1794-1814] Miniature portrait of a lady, said to be Mrs Asquith, head and shoulders with dark curling hair and deep brown eyes wearing a white lined dress, sky background oval, 7.4cm.

£200 - 300

340Attributed to Henry Edridge [1768-1821] Miniature portrait of a young lady, head and shoulders with long dark hair wearing a white and yellow sprigged dress oval, 5cm, with hair plait reverse.

£400 - 600

341English School circa 1800 Two miniatures of young ladies each head and shoulders one with short dark hair, the other with brown hair tied with a band ovals, 7.2cm & 6.7cm. [2]

£300 - 500

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342John Leech [1817-1864] ‘Youth at The Prow and Pleasure at The Helm......’ a honeymoon couple on board ship in choppy seas signed and inscribed oil on canvas 50 x 43cm.

£400 - 600Illustrated in John Leech’s Pictures of Life and Character, p.248

343• Anthony Gross [1905-1984] Seated Figure signed and dated 1927, further inscribed Bilsasen graphite drawing 61.5 x 46.5cm.

£400 - 600

Provenance. W.R.Deighton & Sons (agents for the artist in the 1920’s & 30’s).

Anthony Gross [1905-1984]. Painter and etcher, born Dulwich, son of a Hungarian cartographer. Studied Slade School, Central School of Arts & Crafts and the Ecole des Beaux Art, Paris. In 1925 he studied life classes at the Academie Julian. He travelled extensively in Europe sponsored by W.R.Deighton & Sons, sending etchings and drawings back to England as well as exhibiting in Paris. Returning to Britain in 1934 Gross worked on animated films, illustrated a 1929 edition of Jean Cocteau’s Les Enfants Terribles and became an art director for London Films. Appointed official war artist 1939-45 through the advocacy of Eric Kennington. He travelled extensively in the middle east accompanied by Edward Ardizzone and Edward Bawden. From 1948-1954 life drawing master at the Central School of Arts and head of printing at the Slade. 1948-1971 he exhibited in London and New York, notably as part of the London Group. Gross’s works are represented in the V&A, British Museum, Imperial War Museum, The Tate and numerous national galleries worldwide.

344• Bernard Meninsky [1891-1950] Martha, a reclining female nude signed and titled bottom right red chalk and charcoal drawing 27.5 x 36.5cm.

£400 - 600

Bernard Meninsky [1891-1950]. Born in the Ukraine, Russia, his family moved to England. Studied at Liverpool and the Slade. 1914-1918 official war artist. Exhibited NEAC and The London Group. Taught at the Central School of Arts & Crafts, and from 1920 at the Westminster School of Art. First solo exhibition as at the Goupil Gallery.

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345F.Santoro [19th Century, Roman School] Rustic girl in a kitchen interior signed and inscribed bottom left watercolour 46 x 43cm.

£300 - 400

346Italian School 19th Century The Musician oil on canvas 66 x 53cm, in an ornate carved fruitwood frame.

£400 - 600

347British School 19th century, initialled W.H. ‘Important news’; family group in an interior signed with initials and dated W.H. ‘62 bottom left oil on panel 22 x 18cm.

£100 - 150

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348Harry Bright [1846-1895] A pair of lilac-crowned parrots in foliage; A companion of a red parrot a pair, both signed and dated 1877 watercolours each 42 x 27cm. (2)

£400 - 600

348 a pair

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349Follower of Landseer A faithful hound oil on canvas 70 x 59cm.

£250 - 350

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351E. Erram [19th Century] after Raphael Madonna della Sedia signed on the reverse oil on board tondo 12cm.

£200 - 300

352Attributed to Henry Ryland [1856-1924] Samuel in the Temple tending an oil lamp signed with a monogram watercolour 16.5 x 11.5cm, unframed

£200 - 300

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353Aurelia Della Corte Szvatek [19/20th Century] Portrait of a young bride half-length standing, with an armful of flowers signed, inscribed and dated London 1919 bottom right oil on canvas 68 x 55cm.

£400 - 600

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354Continental School 19th Century An engagement party in an elegant 18th Century interior signed with an indistinct monogram bottom right oil on canvas 70 x 92cm.

£500 - 700

355E. Mengali [19/20th Century] Happy Days of Childhood signed further signed and inscribed on a label attached to the reverse oil on canvas 80 x 108cm, unframed.

£400 - 600

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356Edwin Thomas Roberts [1840-1917] His only pair of breeches signed bottom left oil on canvas 75.5 x 62.5cm.

£1200 - 1800

Edwin Thomas Roberts [1840-1917], London painter of genre who exhibited from 1862-86 (46 works) and at The Royal Academy. Son of the genre painter Thomas Edward Roberts (1820-1901).

357William Oliver [1823-1901] A young beauty signed and dated 1874 bottom left oil on canvas 63 x 45cm

£1000 - 1500

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359English School Circa 1820 Teignmouth from the west a view down to the town and along the coast, fishermen netting bass on the beach, a fish market and shipping in the harbour watercolour 39.5 x 49.5cm, unframed.

£200 - 300

360Attributed to Francesco Guardi [1712-1793] A Venetian backwater pen, brown ink and wash drawing 18.5 x 23.5cm.

£250 - 350

361• George Lambourn [1900 - 1977] Newlyn Harbour signed with initials bottom left oil on board 29 x 52cm.

£400 - 600

Lambourn was born in London and studied at Goldsmith College and the R.A. Schools between 1921-1926. He moved to Mousehole near Penzance in Cornwall in 1936, exhibiting at Matthieson Gallery 1936-38. Became involved in the Merlin Theatre and in the 1970s moved to St Just. There was a major exhibition of his work at the Newlyn Art Gallery in 1982.

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362Manner of Johann Gottlieb Hackert [1744-1773] An Italianate capriccio travellers and a shepherd in the foreground, classical buildings and a view across a bay to a town beyond gouache 39 x 55.5cm

£400 - 600

364• Arthur Meade [c.1963-1947] Village scene with thatched cottage and view to a church signed bottom right oil on canvas 29 x 44.5cm.

£200 - 300

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366Circle of John Glover [1767-1849] An extensive upland lake scene, cattle grazing in the foreground, mountains beyond watercolour on J Whatman paper watermarked 1794 62 x 93cm.

£300 - 500

367Circle of Francis Nicholson [1753-1844] Upland lake scene, cattle in the foreground, view to boats of a lake and mountains beyond watercolour 53.5 x 83cm.

£500 - 700

368Circle of A. V. Copley Fielding [1787-1855] View looking west across an estuary inscribed D.Cox Southampton Waters in pencil on the mount watercolour 19 x 27.5cm.

£250 - 350

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370Joseph Cartwright [1789-1829] His Majesty’s Frigate Talbot, 38 Guns, in the Grand Harbour, Malta, 1827 oil on canvas 25 x 40.5cm.

£2000 - 4000

371English School 19th century, attributed to J or R Paul Temple Bar, London before 1878 oil on canvas 48 x 62cm.

£400 - 600

This painting depicts the Temple Bar in its original position where Fleet Street meets the Strand. Its name derives from being next to the Temple Law Courts and it was the last surviving gateway of the original eight completed in Portland Stone in 1672. It became the cause of increasing traffic congestion and was expensive to maintain and in 1878 was taken down and placed into storage until 1880 when 16 of the original stones were bought by Sir Henry Moore, the brewer, to be erected as part of a gateway at Theobold Park.

In 1976 the Temple Bar Trust was formed and in 1984 the Trust became owners of the Bar and permission was obtained to recover the stones from Theobold Park and re-erect the whole structure in Paternoster Square adjacent to St Paul’s Cathedral where in November 2004 the Lord Mayor of London officially returned Temple Bar to The City of London.

J., or R., Paul was a notorious and prolific ‘faker’ or forger of paintings. In his volume titled Old English Landscape Painters, published in 1926, Colonel Grant claims that ‘Whether a prospect of Whitehall by Canaletto or of Somerset House by Samuel Scott, whenever and wherever they were wanted in the market, there was Mr Paul with an old canvas and a brush as deceptive as you please’.

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372Ferdinand Adolphe Luzeau-Brochard [19th century French] River landscape with cathedral town beyond signed bottom left oil on panel 12.25 x 21cm, unframed.

£250 - 350

373Attributed to Henry Bright [1814-1873] Goat herders in a mountain pass oil on canvas 44 x 66cm.

£600 - 900

374Thomas Henry Gibb [19th century] Fisherman on a highland river signed and dated ‘90 bottom left oil on panel 19 x 24cm.

£200 - 300

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373

374

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375• Peter Brown [b.1967] The Circus, Bath signed Peter Brown and dated ‘96 bottom right graphite and white drawing 34.5 x 50cm.

£200-300

Peter Brown, b.1967. Painter, draughtsman, educated in Manchester. Fine art degree and teaching certificate Greenwich 1992-93. Worked plein air in the city streets of London and Bath. Member of NEAC and The RBA Group showing at the Albany Gallery and Cardiff. Solo shows at W.H.Patterson, Victorian Art Gallery Bath and Messums, London.

375

376

377

376English School circa 1960 The Guardian Royal Exchange Building, City of London with the Gresham Grasshopper weather vane watercolour, pen and ink indistinctly signed 55 x 36cm.

£250 - 350

377Frederick John Widgery [1862-1941] A Summer day on Dartmoor signed gouache 24 x 33.5cm.

£250 - 350

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378Oene Romkes de Jongh [1812-1896] Winter scene in Amsterdam with Zuide Kirk in the distance signed O R de Jongh bottom left oil on canvas 85 x 69.5cm.

£2000 - 3000

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379William Edward Webb [1862-1903] Cornish fishing village signed bottom left W. Webb inscribed with title on the reverse oil on canvas 59.5 x 89.5cm.

£3000 - 5000

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380Tom Mostyn [1864-1930] Small castle by a lake signed bottom left oil on panel 24 x 34.5cm

£250 - 350

381• William Wiehe Collins [1862-1951] A February Day, South Devon signed W.W.Collins R.I. bottom left watercolour 31.5 x 50cm.

£200 - 300Exhibited. Royal Institute of Painters in Watercolours, 1900

382• Cecil Arthur Hunt [1873-1965] Palace Courtyard, Evening indistinctly signed lower right oil on canvas 49.5 x 59.5cm.

£300 - 500

Provenance. Christies, 20th November 1959.

Cecil Arthur Hunt, born in Torquay in 1873, studied at Cambridge and called to the bar in 1899. An amateur painter whose talent and devotion to his hobby bought him recognition and membership of the R.W.S. in 1925. Painter of atmospheric subjects, mountains and sea. Visited the Dolomites, Scotland, the Rhone valley, northern Italy and Devon and Cornwall. Lived at Chelsea and had a farm estate at Foxworthy on the edge of Dartmoor. Hunt exhibited regularly at the R.A., the R.W.S. and the R.B.A. He had six one man shows at the Fine Art Society, 1919-1934, and one at Colnaghi in 1945. Following his death there was a large show at the R.W.S., and Chris Beetles held a major retrospective at his London Gallery in 1996.

380

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382

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384

385

383• John Ambrose [1931-2010] Children and figures on a beach signed bottom left oil on board 43 x 59.5cm.

£400 - 600

John Ambrose [1931-2010] Born and educated is Staffordshire. Studied West Midlands School of Art. Lived for some 30 years in St Ives and painted the harbours and beaches of Cornwall. Became a member of R.O.I 1989 and the R.S.M.A. 1990

384• Prudence Turner [b.1930] The Scottish Highlands, cattle watering in the foreground signed bottom right oil on canvas 106 x 136cm.

£300 - 500

385E.Pillard [19/20th Century French School] Pivoines signed bottom right oil on panel 21 x 19.5cm.

£150 - 250

Provenance. The Redfern Gallery 1954 Christies, Lot 454, 9 December 1977, sold for £132

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386Frederick William Scarbrough [1860-1939] Paddle steamer and shipping in a harbour signed bottom right watercolour heightened with white 34 x 23.5cm.

£500 - 700

387Attributed to Benjamin Williams Leader [1831-1923] A coastal view, sand dunes in the foreground, a bay beyond signed B.W.LEADER bottom left oil on canvas 29 x 44.5cm.

£200 - 300

388• Sylvester Stannard [1870-1951] Feeding Sheep, Dorset signed Sylvester Stannard RBA bottom left watercolour 24.5 x 34cm.

£400 - 600

386

387

388

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390

391

392

390• Simeon Stafford [b.1956] Welcome Home signed and dated ‘02 bottom left oil on board 29.5 x 39.5cm.

£500 - 700

Provenance. With Bonhams, 20 March 2003 where sold for £480.

Simeon Stafford, born in Duckingfield, Pennines. Won the Robert Owen School award for art and the Manchester News Portrait Award; the consequence was an introduction to L.S.Lowry who became a family friend and encouraged the young Stafford to study art. His early work depicted gritty northern landscapes and character studies. In 1996 he moved to Cornwall where the strong colours and light had a big impact on his work. There are many characters in his paintings to look out for; subjects include docks and workers, seaside towns and streets crammed with children playing.

391• Simeon Stafford [b.1956] Dot and her Dog on a busy Day at Falmouth signed and dated bottom left oil on board 45.5 x 61cm.

£700 - 900

Provenance. With Bonhams, 20 March 2003 where sold for £850.

392• Linda Weir [b.1951] Crystal Clear Light, St Ives, August ‘05 signed with initials bottom left signed and inscribed on the reverse oil on canvas 29.5 x 99.5cm.

£600 - 800

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393• Fred Yates [1922-2008] Village scene in winter signed bottom right oil on board 19 x 24cm.

£500 - 700

394• Fred Yates [1922-2008] Salford-Sur-Mer (St Just), numerous figures in a street, buildings beyond signed bottom right oil on board 30.5 x 44.5cm.

£700 - 900

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396• Fred Yates [1922-2008] Helicopter, Penzance signed bottom right oil on board 27.5 x 37.5cm

£1200 - 1800

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397• Donald McIntyre [1923-2009] Road to the Shore signed bottom right D.McIntyre oil on board 51 x 61cm.

£2000 - 3000

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398

398• Donald McIntyre [1923-2009] Calm Harbour signed bottom right oil on board 49.5 x 75cm.

£1200 - 1800

Donald McIntyre [1923-2009], born in Leeds, Yorkshire. Spent his early childhood in north west Scotland. Painted as a youth and developed a style in the Scottish Colourist tradition. He trained as a dentist, though whilst studying at Glasgow Dental Hospital he attended evening classes at the nearby Glasgow School of Art. At the age of 40 McIntyre decided to pursue a full time career as an artist. He regularly returned to the coastal landscapes of Scotland and North Wales where he was now living, and also spent many Summers on Iona. He painted most of his sketches en plein air, finishing larger works in his studio. He was a member of The Royal Cambrian Academy and exhibited regularly with the Thackerary Gallery, the Howard Roberts Gallery and the Albany Gallery

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399• Dorothea Sharp [1874-1955] Return from the Fields bears signature and date lower right Dorothea Sharp 1913 oil on canvas 63.5 x 76cm.

£6000 - 8000

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400• Paul Feiler [b.1918] Cornish Harbour signed and dated Feiler ‘53 bottom left oil on board 48 x 72.5cm.

£30000 - 50000

Provenance. Exhibited at The Leicester Galleries August 1953 Artists of Fame and Promise Part I where bought by B.Sara Esq., thence by family descent.

400

115

Visiting Cornwall for the first time in 1949, Paul Feiler moved into the Chapel at Kerris in 1953, the year that Cornish Harbour was made. The drama of the Atlantic coastline of West Penwith, its light and landscape, made a connection with Feiler that had a profound effect on his later work. His work during the 1950s became increasingly abstract as he developed a means of rendering his environment in pictorial terms within a particular Cornish palette of blues, slate greys, browns and white. It is at this time Feiler begins to explore the dichotomous concerns that have become a standard for his painting - light and shadow, solids against fluids, geometric against organic forms and soft edges against sharp. In this present lot Feiler’s fascination with depicting harbours, quay sides and jetties is clear to see, and these became subjects that he pursued through the early 1950s. There is seen here a sophisticated and abstracted interplay of planes and lines which recall the early works of Sir Terry Frost’s Walk Along the Quay Series which began in 1950.

For other examples of this period, see Sotheby’s sale 11 November 2009, lot 181, Paul Feiler Evening St Ives Harbour 1955. Bonhams sale 30 May 2012 Lot 76 Paul Feiler Landing Stage Falmouth 1951. Paul Feiler Mousehole 1953, Private Collection - The Bridgeman Art Library

Born in Frankfurt in 1918, Paul Feiler came to England in 1934. Educated at Cranford School and studied at The Slade 1937-40. From 1941 to 1946 Art Master at the Combined Colleges of Eastbourne and Radley. From 1946 he taught at The West of England College of Art becoming head of painting in 1960. He remained at RWA until 1975. He first visited Cornwall in 1949 and from 1950 his work became more abstract. In 1953 he bought the Chapel at Kerris, Paul near Penzance where he moved to with his wife the painter Catherine Armitage. Between 1957 and 1963 he executed several murals in public buildings for the architects Yorks, Rosenberg & Marshall. In 1975 Feiler takes-over Bryan Winter’s studio near Paul which is a barn that was converted in the 19th century for the painter Stanhope Forbes. Paul Feiler has had 37 solo exhibitions between 1953-2010 and is represented in some 40 major public institutions throughout the world.

Sir Terry Frost Blue and Yellow Harbour 1954 Bearnes Hampton & Littlewood 27th January 2011 Sold for £21,000

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401• Paul Feiler [b.1918] Portheras, Blue signed and inscribed with title in black crayon on the reverse also numbered 20560 oil on canvas 45.5cm x 55.5cm.

£10000 - 15000

Provenance. Bought from the artist, circa 1970, by the parents of the vendor, thence by family descent.

Portheras is a secluded north-facing beach on the Penwith Peninsula in the west of Cornwall between Lands End and St Ives

reverse

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402• Antoni Clavé [1913-2005, Spanish] Nature Morte Rouge, 1955 oil on canvas 45.5 x 54.5cm

£6000 - 8000

Sold with a copy of the Arthur Tooth catalogue.

Provenance. With Arthur Tooth & Sons Ltd., London W1. Antoni Clavé Recent Paintings. May 24th - June 18th 1955. No.18 ‘Nature Morte Rouge’ Christies 18th October 1990. Contemporary Art Sale, Lot 321, Estimate £30,000 - £40,000 (unsold), with provenance Arthur Tooth & Sons, London.

Antoni Clavé, born Barcelona in 1913. Studied at Llotja under Felix Mestres. Interested in the science of paint preparation and materials, spending time as a house painter. Designed advertising posters and worked as an illustrator. In the 1940s his style was influenced by Bonnard and Picasso whom he met. From 1946 he designed for ballet and theatre and latterly carpets. From 1965 Clavé moved to the South of France. Visited New York in 1972 and 1989 and created his series ‘Homage a Picasso’. Retrospective at the Centre Pompidou in 1978.

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403• Herbert William Palliser [1883-1963] A bronze bust of John Harold Wood signed, 37cm.

£300 - 400

Pallister was born in Northallerton in 1888, and studied at the Central School of Arts and Crafts, and then at the Slade. There are three public works of architectural sculpture by him in central London, all in stone. In King William Street, in what is now a Russian bank, but was once the London Life Association, are three pairs of seated figures. On the north side of Southwark Bridge in Vintners Place is a sculpture of a woman representative of the spirit of the grape harvest, flanked by two goats and with swans on the supporting blocks. Most ambitious is the pediment group for a large building facing Southampton Row which consists of three figures with machinery. John Harold Wood was born in Leeds and his father was a horticulturist. In 1913 he won the gold medal at the RHS Chelsea flower show for a rockery exhibit. He was also a keen amateur artist.

404Circle of Lajos Tihanyi [1885-1938, Hungarian] Nude indistinctly signed oil on board 44.5 x 36.5cm

£800 - 1200

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406• Jose Christopherson [b.1914] Pierrot signed bottom left oil on canvas 60 x 45.5cm

£200 - 300

406

407

408

407• Jose Christopherson [b.1914] Circus horse rider signed bottom right mixed media 55 x 36cm.

£200 - 300

Jose Christopherson [b.1914] Born in Barton-on-Irwell. Studied at Manchester College of Art and Design and London, most notably with Iain Macnab at the Grosvenor School of Modern Art. Much influenced by Marc Chagall and Christopher Wood. Appeared in group exhibitions put on by Lucy Wetheim and exhibited with the Manchester Group. The circus and the landscape were leading features of her pictures. Lived latterly in Vaud, Switzerland.

408• William Gear [1915-1997]Green No.4:signed and dated GEAR ‘63 in pencil bottom rightinscribed on the reverse ‘Gear ‘Green No.4, coloured ink, Gunther Wagner (Green Deep)’, also with a plaque fixed to the reverse of the frame with artist’s address as 9 Borough Lane, Eastbourne and price of 35gns48.5 x 71cm.

Biography. Born in Methil, south east Fife, Scotland. Studied art at Edinburgh College of Art and travelled to Paris to study under Fernand Leger. Served in Egypt, Palestine, Cyprus and Italy during the war. In 1947 lived again in Paris. Exhibited at the Cobra in Amsterdam in 1949 and in the same year a one-man show at Gimpel Fils in London, the first of eight exhibitions there and exhibited extensively from 1949 - 1997. He was curator of the Towner Gallery in Eastbourne from 1958-1964 after which he became head of the Faculty of Art at Birmingham College of Art.

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410• Peter Thursby [1930-2011] Head in Green 1962 signed and dated Peter Thursby ‘62 bottom right inscribed on an exhibition label attached to the reverse 59.5 x 38.75cm.

£250 - 350

Exhibited. Topsham 2011

Peter Thursby [1930-2011], born in Salisbury, brought-up in Jamaica. After National Service studied art at St Pauls Cheltenham and then with Paul Feiler [see lots 400 and 401] and Ernest Pascoe at the West of England College of Art. Throughout the 1950s Peter’s output was largely in the form of paintings. By 1957 his career became textural and fully abstract. From the early 60s his work was almost exclusively sculpture, winning his first major award in 1962. Solo exhibitions at Plymouth Art Gallery in 1964 and the Marjorie Parr Gallery and he began making sculpture from reclaimed materials. In the 1970s he produced his Podmen Sculptures followed by the Sarum and Flight series. His monumental works, cast by the Morris Singer Foundry, came in the 1980s. Thursby gave generously of his time to art education and arts organisations including the West of England Academy of which he was president for five years [1995-2000]. In 1995 he received an honorary doctorate from the University of the West of England, Bristol. His career culminated in his Optimism series, one of which is in the Queen’s Collection. His legacy was a body of work that is widely recognised as a significant contribution to 20th century sculpture.

There is an excellent book on the artist written by Vivienne Light and Simon Olding and published by Canterton Books.

Peter Thursby, Paul Feiler and the St Ives School

Two people to whom Thursby acknowledged a debt and admiration are Paul Feiler and Ernest Pascoe. Both Slade graduates, they were his tutors at The West of England College of Art (now University of the West of England) between 1953-54. They each had a significant influence in Thursby’s development as a sculptor. In 1953 Feiler bought a chapel (once the studio of Stanhope Forbes) at Kerris near Penzance. This was the year Thursby became one of Feilers students. In order to inspire his students in their work Feiler actively forged a link between them and leading Cornish artists, arranging for the students to spend a two week period in Cornwall at studios including those of Peter Lanyon, Roger Hilton and Terry Frost. Thursby later became a member of both the Newlyn and Penwith societies.

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411• Peter Thursby [1930-2011] Drawing for Sculpture signed in pencil bottom right bodycolour and watercolour over graphite 49 x 32.5cm, unframed

£150 -250This drawing is a preparatory sketch for the bronze sculpture Looking Forward in the Guildhall Square, Exeter, commissioned for the Queens Silver Jubilee, 1977.

412• Peter Thursby [1930-2011] U Section III (maquette) initialed and numbered PT 145.67.18 aluminium sculpture height 14.9cm, width 10.8cm, depth 7.6cm

£400 - 600

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413• Peter Thursby [1930-2011] Concave Pod initialed and numbered PT 250.74.10 bronze sculpture height 50.1cm, width 16.5cm, depth 14.2cm.

£3000 - 4000

Extract from Peter Thursby by Vivienne Light and Simon Olding. “The descriptive title of ‘Podmen’ came about as Thursby observed ‘little men on scaffolding constructing buildings. They appeared to be framed in boxes like peas in a pod...therefore the name Podmen arose’. As the series progressed so Podmen began to emerge climbing, falling, ascending, descending, whirling and rotating on external surfaces. ‘Looking Forward’, commissioned by Exeter City Council, was the beginning of Podman’s escape from restricted compartments towards final release.”

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415• Sir Terry Frost [1915-2003] 5 in the afternoon signed and dated Terry Frost ‘87 bottom right inscribed on the reverse with title and further signed and dated ‘87 acrylic on paper with collage of red and black acrylic painted card 55.5 x 37.5cm.

£6000 - 8000

Provenance. With Michael Wood, Plymouth, where purchased by the present owners.

Extracts from Michael McNays Obituary of Sir Terry Frost published 3rd September 2003.

“If you know before you look, you cant see for knowing” - T.F.

“With his full white moustache, big round spectacles and rubicund face, Terry Frost looked like a cheery chappie from Dad’s Army. In fact he went into the war a commando and emerged as an artist. Captured in Crete in 1941 he became a prisoner in Stalag 383 Bavaria where he met the painter Adrian Heath who encouraged him to think of art as a vacation.”

Sir Terry Frost, R.A. [1915-2003] was Born in Leamington Spa and left school at 14 to work in a bicycle shop. After the war he attended Camberwell School of Art. He studied under Victor Pasmore who initially greatly influenced him. He moved, with his wife Kathleen, to Quay St in St Ives in 1950 where all six of his children were born. He worked for a spell as assistant to Barbara Hepworth. His career included teaching at the Bath Academy and serving as Gregory Fellow at the University of Leeds. He became the artist in residence and Professor of Painting at the Department of Fine Art at the University of Reading. In 1992 he was elected R.A., and was knighted in 1998.

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416• Robert O Lenkiewicz [1941-2002] Portrait of Michael Howells Project 20 oil on canvas 122 x 122cm.

£800 - 1200

Provenance. Lenkiewicz Studio Sale 2008, Bearnes, Westpoint, Exeter. Lot 370.

Michael James Howells was born in Looe, Cornwall in 1946. He was a sailmaker instructor in Devonport Dockyard before taking voluntary redundancy in 1990. He is a largely self-taught artist but also studied at Falmouth College of Art & Design as a mature student.

417• Robert O Lenkiewicz [1941-2002] Portrait of Ann Gray Project 20 oil on canvas 102 x 92cm.

£800 - 1200

Provenance. The Lenkiewicz Studio Sale 2004. Bearnes, Westpoint, Exeter. Lot 335.

416

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418• Robert O Lenkiewicz [1941-2002] Cockney Jim waiting for Miss Lesley Miller on The Barbican signed Lenkiewicz bottom right inscribed as titled on a label attached to the reverse of the canvas further inscribed Love & Romance Theme on the reverse oil on canvas 39 x 28.5cm.

£4000 - 6000

Exhibited Vagrancy Project. Jacobs Ladder, Plymouth 1973 Love & Romance. Reynolds Gallery, Plymouth 1975

Illustrated Wikipedia

Cockney Jim was described by Lenkiewicz in 1975 as ‘one of three alcoholic tramps [actually sleeping rough for more than ten years] left in Plymouth’. Leslie Miller was a social worker in Plymouth.

The Love & Romance Project is part of the Relationship Series which included projects titled Love & Mediocrity, Jealousy, Orgasm and Mental Handicap. Love & Romance explored the ‘falling in love experience’ and in particular the fanatical obsession felt by the rejected lover when a relationship breaks down. Lenkiewicz investigated this in terms of the experience of an alcoholic addicted to drink, or the believer and his convictions.

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419• Robert O Lenkiewicz [1941-2002] Anna at the Compton Studio signed twice and inscribed with title on the reverse further inscribed ‘Non Project Piece’ and marked with a yellow triangle oil on canvas 48.5 x 23cm.

£5000 - 7000

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420• Robert O Lenkiewicz [1942-2002] The Painter with Mary Project 14 (A Study of Obsessional Behavior) a three dimensional painted wooden model 49 x 26.5 x 38cm.

£3000 - 5000

Provenance. The Lenkiewicz Studio Sale 2004, Bearnes, Westpoint, Exeter. Lot 601. Bought for £5880.

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423

422• Adrian Maurice Daintrey [1902-1988] Mother and daughter at a breakfast table signed bottom right pen and ink drawing 22.5 x 31cm.

£150 - 250423• Peter Lanyon [1918-1964] Cookham 1939 facsimile signature (artist’s stamp) on reverse pencil drawing 21.25 x 28.75cm.

£1000 - 1500

Provenance. Sheila Lanyon

A Cornish painter of landscape whose work after 1939 leant heavily towards abstraction. Born in St Ives, he received painting instruction form Borlase Smart and Adrian Stokes. Briefly attended Euston Road School where he studied under Victor Pasmore. Between 1936-37 studied at Penzance School of Art. In 1939 he received private art tuition from Ben Nicholson and became involved in construction works after this date. Throughout the 1940s the influence of Nicholson and Gabo were strongly visible in his work. Became a leading influence in the St Ives group in the 1950s and took-up gliding as a pastime using the experience in his later work. He died in Taunton Somerset as a result of a gliding accident.

425

128

• John Blair Anderson [1945-1997] Heather, wearing a white dress, seated in an interior painted circa 1988 oil on canvas 101 x 75.5cm.

£500 - 700

Provenance. The artist’s mother, Audrey Keir Ross

John Blair Anderson was born in Glasgow and christened Henry John Keir Cross. In his late twenties he reverted to his clan name and the maiden name of his mother so as not to ‘travel on the shoulders’ of his father, who was the author and radio and dramatist John Keir Cross. At the age of five John caught the acute viral disease poliomylitis, the devoted nursing of his mother formed an exceptionally close relationship between the two. At twelve years John went to Dartington School, where a pattern of self harm culminated in a suicide attempt at seventeen. The death of his father in 1967, a marriage break-up and the sudden death of his young brother in 1974 caused further psychological difficulties and forced his mother to seek the help of a Harley Street psychiatrist for her son. After three weeks of assessment the psychiatrist advised that John should be set up in a studio and left to choose how and where to become an artist. In 1975, his mother, with the support of her second husband, bought John a cottage in Boston, Lincolnshire and the first tranche of a large supply of artist’s materials. This was a turning point for John who believed that he could become an artist and from then on worked under the name of Anderson. As had been predicted by the psychiatrist, he stopped taking prescribed medication and embarked on a progressive artistic path and he never attempted to take his life again. The early Boston landscapes are dark and moody in a style inspired by Turner and there followed a pattern of influence from the canon of modern art. Anderson moved to the family home in the South Hams in the early 1980s, married for a second time in 1988 to his regular studio model Heather and moved to a council house in Dartington. Anderson was a handsome man who was obsessive about painting, putting it first and foremost before anything else. He died from heart failure in Torbay hospital in 1997 and is buried on Dartmoor within the curtilage of his mother’s home, as was his and his widow’s wish. His worked was widely exhibited including The Royal West of England Academy, 1977.

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427

426• John Blair Anderson [1945-1997] The Lock Masters House, Boston painted circa 1976 oil on canvas 65 x 75cm.

£400 - 600

Provenance. The artist’s mother, Audrey Keir Ross

427• John Blair Anderson [1945-1997] The Night Picture, Boston painted circa 1978 oil on canvas 70 x 75.5cm.

£400 - 600

Provenance. The artist’s mother, Audrey Keir Ross

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428• Cedric Chater [1910-1978] A Sussex landscape from the South Downs signed Chater bottom right oil on canvas 70 x 90cm

£400 -600

429Robert Polhill Bevan [1865-1925] Luppit, Devon signed Robert Bevan bottom left further signed and inscribed as titled in pencil on the reverse of the sheet watercolour, pen and ink drawing 35 x 47.5cm.

£600 - 800

430• Derek Mynott [1924-1994] Mist on the Thames oil on canvas 50.5 x 61cm.

£300 - 400

With Business Art Galleries, Royal Academy of Arts, Piccadilly.

430

428

429

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432• Andre Durand [b.1947] Ode to Indian Skimmer 1987 signed and dated Durand 1987 bottom left inscribed with title on the reverse oil on canvas 151 x 182.5cm.

£600 - 900

Indian Skimmer [foaled in 1984 in Kentucky] was an American thoroughbred Arab owned by Sheik Mohammed bin Rashid al Maktoum and trained in Britain by Henry Cecil. Named after the bird Rynchops Albicollos, she won important Group 1 races against top fillies of the day, retiring from racing at the end of the 1989 season.

433• Andre Durand [b.1947] Neck and Neck; Sebastian Coe and Reference Point signed and dated Durand ‘87 bottom left oil on canvas 90.5 x 116cm.

£600 - 900

Andre Durand [b.1947]. Born in Ottawa, Canada. Working in the European Hermetic tradition, Durand is influenced by Rubens, Titian, Michelangelo and Velasquez. He is known for his allegorical portraits such as Princess Diana as Fortuna and in 1970 he painted a series of pictures inspired by The Royal Ballet. It is nevertheless Durand’s mythological narratives that demonstrate his understanding of the myth and rituals of both Classical and Christian tradition.

Sebastian Coe [b.1956]. Olympic Gold medalist Moscow 1980 and Los Angeles 1984. Member of Parliament for Falmouth and Cambourne 1992-1997 and Life Peer in 2000. Lead the successful London Olympic bid and Chairman of London Organising Committee for the Olympic Games 2012.

Reference Point [1984-1991]. A British thoroughbred racehorse sired by Mill Reef, the 1971 Epsom Derby winner. In 1987, as a three year old, he won the Epsom Derby, the King George VI & Queen Elizabeth Stakes, the St. Leger Stakes and three other major races.

At the peak of his athletic career, as a middle distance runner in 1986, Coe was ranked No.1 in the world for the 800m and No.2 for the 1500m. At the same time Reference Point was at the top of his game in the world of horse racing.

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verso434• Patrick Hayman [1915-1988] Still life signed Hayman bottom right oil on board, 36.5 x 27cm, verso Still life with Flowers, signed and dated Patrick Hayman 1946/NZ and further inscribed Wellington New Zealand bottom right

£400 - 600

Born in London and studied in Malvern. Lived in New Zealand 1936-1947 and taught at the Art School in Dunedin. With a group of young artists he developed New Zealand’s first indigenous modernism. A daughter, Christina, was born in 1942 and she went on to world renown as an artist, film maker and poet. Hayman returned to England in 1947, settling in St Ives. He admired the work of Alfred Wallis, his own works having a childlike quality and being vivid, vigorous and direct. Exhibited in 1988 at Painted Poems with the Louise Hallett Gallery and there were retrospectives at Camden Arts Centre in 1990 and Belgrave Gallery in 2005.

435• Elliott Seabrooke [1886-1950] Figures in a garden signed an dated 1930 bottom right oil on card 31.5 x 26.5cm.

£250 - 350

Studied at The Slade School under Henry Tonks 1906-11 and first exhibited at The Carfax Gallery. Served with the British Red Cross and then became an official war artist on the Italian front. Became a member of the London Group in 1920 and its President in 1943-1948. His work is influenced by Cezanne and Seurat.

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438

439

437• Miss Gladys M Black [1895-1975] The Fair, Babbacombe signed with initials GMB bottom left inscribed on a label attached to the reverse of the frame oil on canvas 49.5 x 64.5cm

£500 - 700

438• Ismael De La Serna [1897-1968] Acrobats and circus horse signed and dated DE LA SERNA ‘27 top right oil on board 37.5 x 47.5cm.

£400 - 600

439• Nicola Bealing [b.1963] ‘Snow in Porthleven 1994’, seated woman at a window, view to the harbour beyond initialled NB bottom right oil on paper 55 x 79cm.

£300 - 500

Provenance. Phillip Son & Neale.

Born in Hertford and studied at the Byam Shaw School of Art. Group show at Porthmeor Gallery St Ives 1990 and Plymouth Art Gallery. Nicola has lived and worked in Cornwall for over 20 years. Exhibited. Beaux Arts since 1995, Mall Galleries, RWA Bristol, Lemon Street Gallery, Belgrave Gallery, R.B.A., BP Portraits.

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441• Alan Richards [b.1932] ‘Benns Place’, Gwernymydd signed and dated Alan Richards ‘65 bottom right inscribed on an exhibition label attached to the reverse oil on canvas 76 x 101cm.

£300 - 350

Gwernymydd is Welsh for ‘Mountain of the Elder Trees’

Alan Richards [b.1932]. Printmaker, painter and teacher born in St Agnes, Cornwall. At a young age his family moved to Mold in Flintshire. Attended Chester School of art and Liverpool. From 1958 he taught at Exeter College of Art & Design, In 1966 he formed the Bartholomew Print workshop and became head of Fine Art in 1979. He exhibited his works at the Royal Cambrian Academy, Newlyn Art Society, The Margaret Fischer Gallery and University College in Swansea. In 2000 he showed some forty paintings at The Royal Albert Memorial Museum & Art Gallery in Exeter. In 2007 was living his artist’s wife Anne in Exeter.

442• John Anthony Park [1880-1962] Fish Cellar, St Ives inscribed on the reverse ‘Painted by J A Park, R.O.I. by way of instruction to me, his pupil at St Ives in 1922, R.A. McNab’ oil on canvas board 30 x 40cm.

£700 - 1000

Robert Allan McNab [b.1865, Preston]. Artist, exhibited 1923-33. With The Fine Art Society 1934. Porthmeor Fish Cellars and Studios are a combination of early and late 19th century buildings (13 & 15 Back Road West). The cellars incorporate part of Smeaton’s sea wall of circa 1760-80.

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443• Nancy Horrocks [1900-1989] Painting 2. Abstract signed Horrocks bottom right oil on board 90.5 x 60.5cm.

£200 - 300

With The Molton Gallery, Mayfair.

Nancy Horrocks, Abstract artist with an interest in texture. Studies Slade School and Chelsea. Exhibited WIAC Travelling Exhibitions 1958-1965, New Vision Gallery Dallas, Grabowski Gallery Bradford & Northampton, Grosvenor Gallery and Belfast. Adrian Heath said ‘The quality in all her work is directness’. Lived latterly at Singleton, Sussex.

444• Terry Whybrow [b.1932] Harbour Series, Painting 223 signed, inscribed with title and dated ‘84 on the reverse oil on board 14.5 x 30.5cm, mounted on white painted board 25 x 41cm.

£150 - 200

Provenance. Westcott’s Gallery

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