Barbara Worth (1925-2010), ten sculptures. This collection of the work of the late Barbara Worth has been consigned for sale by her executors following her death in January 2010. It comprises 10 pieces in various styles from different stages of her career, supported by her own notes of exhibitions, lists of sculpture, photographs, press cuttings, letters and other information about her career. She was born as Barbara Wigglesworth in London in 1925 and never married, adopting the professional name of Barbara Worth. After the War she worked as a Youth Leader until taking up a place at London University and obtained a Diploma in Social Studies 1948-1952. She went to Canada 1953 -57 travelling and working in TV and Radio as well as in the Probation Service in Vancouver. She travelled extensively around the world before returning to the UK in 1958. Then she pursued her artistic training at the City & Guilds School (1958-9, Sculpture and Modelling); Hammersmith College of Art (1959-62, Sculpture and Modelling); Chelsea School of Art (1960-62, Drawing), before returning to Canada in 1962. More courses followed at the University of British Columbia (1963-4 Bachelor of Education) and Seattle University (1964, Summer School in Bronze Casting). She was sculpting and exhibiting in Canada in this period, mainly in Vancouver. She returned to London in 1964 where she remained for the rest of her life, combining increasing success with her sculpture, exhibiting at some well know galleries alongside Moore and Epstein, and taking a wide variety of jobs to support her artistic career through the 1960s - 1980s. In later life she turned increasingly to painting in watercolour and pastels, drawing inspiration from her passion for music which was reflected in her earlier abstract sculptures, and busts and drawings of well known orchestral conductors. There are a number of lists typed by the artist of her work and places exhibited, with photographs taken at the time of some of them. There is also some copy correspondence about specific commissions. The pieces offered here are: Chinese Man, on a wood base, 35cm high overall (1963?). The Parting,on a wood base, 33.5cm high overall (exhibited 49th annual exhibition of Northwest artists, Seattle, 1963). Abstract bronze, on marble base, 22.5cm long overall (1960s?). Winged Victory, bronze, 25.5cm high, and a plaster copy 1960s? Eskimo Hunter, on a wood base, 35cm high overall (1967?). Head of Girl (1970s?). Plaque of Debbie (1972?). Bronze bust of an unidentified Norwegian man, on wood base, 37cm high overall (1970s). Bust of Rudolph Kempe, on wood base, 42.5cm high overall (1974). Barbara Worth exhibited only two works with the Society of Women Artists both in 1978, no. 543 Prof. Denis Gabor, bronze (£750) and no. 544, Aram Khatchaturian, bronze (£1000)
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A collection of miscellaneous metal and other wares, to include a Victorian oil lamp with brass reservoir raised on a cast iron base, two silver plated bottle coasters, two pairs of brass candlesticks, a pair of miniature hand-stitched Chinese slippers, a brass box decorated with horses heads, a pair of onyx book-ends, miniature candlesticks, a small collection of vintage horse brasses including one inscribed "Victoria Jubilee 1887", and one stamped to the back "Lowe", a drawing instrument set by "C. Riefler Bayern", a silver plated crumb tray with ginko leaf engraved decoration
A Chinese silver coloured metal field gun, circa 1900, a scale model as used during the Boxer Rebellion, the finely detailed gun with rotating wheels secured by wing hub screws to the axle and with ammunition boxes each side of the barrel supported by chains, set on adjustable elevation screw to the ebony cannon mount and with limber drawing mount, the removable barrel with touch hole and castellated muzzle and inscription to the top, translated from Chinese as the Dynasty of the Emperor at the time of the Rebellion, `Guangxu first year` - so dated 1875, 25.5cm (10") long, complete with ramrod and gun powder pourer/Provenance: The cannon was presented to Rear Admiral Sir Christopher George Francis Maurice Cradock KCVO CB RN (1862-1914) after commanding British, German/Prussian and Japanese sailors during the capture of the Taku Forts and the defeat of the Boxers. Sir Christopher was promoted to Rear Admiral in 1910, believed to be the youngest to reach this rank since Nelson. On 1st November 1914 Rear Admiral Sir Christopher Cradock died when his flagship and HMS Monmouth were sunk with all hands at the battle of the Coronel after orders were received to pursue and destroy the fleet of Admiral Maximilian Graf von Spee off the South American coast. The cannon passed to his cousin Guy Cradock and thence by decent and gift to the current owner/see illustration
Andrew Robertson M.A. (1777-1835) Portrait of Hugh Scott of Draycott (1777-1852), Captain of the Ceres, watercolour on ivory, Signed with monogram and inscribed Capt Scott by A. Robertson, 34 Gerard Street, 1815 on reverse, 8 x 7 cm (3.125 x 2.75 in) Provenance: By descent from the sitter. Hugh Scott was a cousin of Sir Walter Scott of Abbotsford (Hugh’s grandfather was Sir Walter’s Grandfather’s elder brother) He is mentioned in Memoirs of the life of Walter Scott as “Captain Hugh Scott of the East India Company’s Naval Service (now of Draycote House, near Derby), second son to the late Laird of Raeburn” page 234. It seems that Hugh Scott gave Walter Scott 24 pieces of Chinese wallpaper each 12 foot high by four foot wide enough to “finish the drawing room and two bedrooms (at Abbotsford)”. The wallpaper is still on the walls at Abbotsford and it would seem highly probable that Hugh Scott brought this gift back with him on the Ceres from China. Sir Walter Scott’s brother, Robert Scott, of Rosebank, was also in the East India Company and the last Commander of the Neptune.
A Chinese famille rose snuff bottle, decorated with stylized foliage, stopper, height 7 cm, a Russian paper mache box and cover, decorated with a winter scene, length 10 cm, a collection of pens, to include Parker, Waterman`s and Yardioiled, drawing equipment, together with a quantity of miscellaneous items, (a lot).
Dame Laura Knight. Birmingham Rep study for the watercolour `Chinese Acrobats`, pencil drawing, 270 x 200mm., signed with initials, L.K., lower right, inscribed below, c.1930. ***This drawing has been authenticated by R. John Croft FCA, great-nephew of the artist, and is to be included in his forthcoming Catalogue Raisonné of her work.
Houghton, M. “Views of the China Seas & Macao taken during Capt. D. Ross’ Surveys by M. Houghton. ” A disbound small folio album containing 40 drawings of various sizes, in pencil and pen and ink,many of the latter with sepia or grey/black washes. The drawings vary in size between approximately 3in x 4in to 8in x 14in and they are dated between 1816 and 1819. With the exception of the title page, the drawings are laid down on to the pages of the album and supplied with simple wash line mounts. Many have been cut out (presumably from sketch books) and have contemporary titles; those without titles are captioned beneath in what would appear to be a later hand. * Captain Daniel Ross was sent by the East India Company to Cochin China to survey the Paracel Islands in 1807, he completed charts of the south coast of China in that year and his work continued throughout the next decade or so and his charts were finally published in 1821. The arrangement of the drawings in the album is not chronological and they are most probably a personal selection from a larger body of work. That they were drawn “on the spot” is evidenced by one of the additional notes beneath the drawing of Hysansue Harbour in the Yellow Sea where the name of H. M S. Alceste is noted. The Alceste was the vessel that took Lord Amherst, in 1814, on his Embassy to China in his efforts to help the East India Company’s trading with the Chinese and which was later, whilst on an exploratory voyage in the region, wrecked on a rock in the Java Sea, the crew rescued and the vessel burnt by Malay Dyaks. It is therefore quite possible that both men were on this vessel at some point (this particular drawing is dated 1816). Two of the highlights of the collection are the view of “Singapore from the Rocky Point. 1819” this was the year that Stamford Raffles established a settlement here; and the fine drawing of the “Franciscan Monastery at Macao. ”
SIR WILLIAM RUSSELL FLINT, RA, PRWS, RSW (1880-1969) BELLE NAGEUSE. signed, inscribed by the artist with the original title Monique (Tempera) on a frament of the original frame preserved, tempera, 32 x 60.5cM. Painted in 1937. Provenance: Mrs D B Lucas; thence by descent to the present vendor. Exhibited: Royal Academy, Diploma Gallery, Exhibition of Works by Sir William Russell Flint, 1962, No 127 (lent by Mrs D B Lucas). In the entry in the RA Catalogue Sir William Russell Flint wrote about Belle Nageuse: "Any orthodox practitioner in tempera would be horrified if he knew the speed at which-of necessity- this elegant, accomplished and confident plunger was painted. I had a slight leaning or bent, or tendency, perhaps even an inclination towards a predilection- to imitate the manner of Thomas Love Peacock- for my nageuse, whom I had known from her childhood, and I parted with this picture of her with a pang. Now, normally, she helps to decorate the drawing -room of a very lovely mansion in Somerset, but here, in our Diploma Gallery, she will recline, just for a month or two, and keep an alert eye on every quizzical soul who comes along. A consummate watercolourist and draughtsman, Flint`s early training as a lithographer instilled the discipline that combined with vision and temperament affords him a unique position in the history of the medium. His lively watercolours of nubile dancers or models, all sublimely graceful and exuding confidence, sometimes reclining, sometimes striding or otherwise poised, have an almost magnetic attraction. Careful composition draws the eye around the subject which always harmonises with the vibrancy of bright, reflected colour of textiles, sand or sea. His work of the 1930s and `40s, occasionally with the merest hint of Art Deco, is at the same time of all periods, from Classical Antiquity to the present. The artist and writer Adrian Bury (1891-1991) thought Flint "...the greatest master technically of the elusive watercolour method of art". He also wrote in the Introduction to Ralph Lewis`s biography that "...at his best his work is perfect and without criticism". In expressing this opinion Bury surely had in mind works such as Belle Nageuse. It is one of those personally selected by Flint for the 1962 Exhibition in the Royal Academy`s Diploma Gallery. Painted in 1937 the original title of Belle Nageuse was Monique, the name it bears inscribed in Flint`s hand on the back of the frame. He chose the new title purposely for the 1962 Exhibition and the model is the same as that for Alethea, also painted in tempera which was exhibited at the Royal Academy in 1935, No 609. In both these and other pictures of the period, the model is reclining on, or wears what appears to be, the same bright red Chinese embroidered silk robe. Several other outstanding works on paper by the artist have appeared on the market in recent months, in particular Alethea (Sotheby`s, 29 April 2009, lot 100, £99,650) Danza Montana and Variations IV (sold in these `rooms, 1 May 2009, lots 782 and 783, £78,000 and £84,000 respectively) and Belle Poseuse, (Sotheby`s, 29 August 2007, lot 179, £96,000). . ++ In very fine condition in 18th c style giltwood and composition frame as supplied to the late owner by Frost & Reed Ltd. Not previously offered for sale
Barbier (George) Ink drawing of Nijinsky on stage in Harlequin costume with Pierrot" heightened with Chinese white signed "Larry" framed and glazed 282mm. by 183mm. ***The drawing depicts a scene from "Le Carnival" first staged by the Russian Ballet in 1910. It is reproduced in Barbier`s Dessins sur les Dances de Vaslav Nijinsky with text by Francis de Miomandre Paris " 1913.
Chinese ivory handled fan with carved sticks and guards with white feather mount painted with flowers and butterflies with a swan down edging, 28cms; ivory handled fan with painted Italianate scenes and text, with painted ribbon detailing and sepia drawing to the reverse, 28cms; mother of pearl handled fan with a lace mount and stitched sequins, 23cms; mother of pearl handled fan with carved and painted decoration to the sticks and guards and a lace mount, 29cms (4)
A rare engraving from the set recording the Emperor Qianlong's military campaign, 1755-59, depicting the battle of Kulonggui, a great Chinese victory against the Hui Muslim tribe in 1755, after a drawing by Jean Damascene, engraved by Aliamet, 51cm. x 88.5cm.Cf. The Andrew Franklin Collection of Asian Art, Christie's, 10 May 2006, lot 208.
* Mackenzie (William S., early 20th c.). A collection of original artwork, incl. a framed watercolour on rice paper of a Chinese man, a small mounted watercolour of two children, a pen & ink drawing of a cockerel, hen, and chicks, an oval framed pen & ink sketch of a parrot entitled “Language”, all variously dated 1907-12, a scrap album containing several contributions from Mackenzie (amongst others) and a few other figure sketches in watercolour, together with Selworthy (Louise), A collection of ten pencil sketches, with partial monochrome watercolour and bodycolour, c.1940s, presumably intended for the illustration of a book, depicting a variety of animals (an owl, mice, penguins, cats, pelicans), 330 x 227 mm and smaller, mounted on card, plus approx. fifteen other items, mostly prints, but incl. a pen & ink hunting scene in the manner of Edwin Landseer, plus a quantity of Toulouse-Lautrec reproductions (a folder)
Meng Yang Yang, b. 1980 LITTLE GIRL NO. 2 signed and dated 2006; signed, titled, dated 2006 and inscribed with Chinese characters on the reverse oil on canvas 100 by 100cm.; 39.375 by 39.375in. Born in 1980, Meng is one of the youngest Chinese painters to achieve international recognition. Growing up in a China increasingly less marked by Maoist authoritarianism, her artistic inspiration is instead derived from the dizzyingly fast-paced changes in her country with its influx of Western entertainment and consumer goods. In the present work and lot 545 Meng has succumbed to her own reveries, drawing from her inner world a set of intensely animated characters that are nevertheless marred with a haunting feel. Like an aspiring Marlene Dumas, Meng builds solid form out of loose brushstrokes. In lot 545 a figure is placed slightly off centre, awkwardly filling the height of the picture and staring transfixed at an uncertain distant point. Doll-like and clad in a fluffy dress, her arms seem disjointed and her head is disproportionately large. Her expression seems unfit for the paintings subdued candy colours and her girlish clothes; as if possessed her right eye expands with a greenish glow. While the large head suggests childhood, a certain friction exists through the elongated limbs that imply puberty or adulthood. At the point where Mengs sugar-sweet dream might turn into a nightmare, the figure is intercepted where childhood mercilessly must give way to adulthood. Provenance Private Collection, Europe
* Scrap album. An early Victorian scrap album, c. 1840s, containing an interesting mixture of material, incl. a cut-out silhouette of Thomas Carter, Rector and Prebend of Ballymor, County Armagh, Ireland, several orig. watercolours and pencil drawings incl. a small pair of pheasant shooting watercolours, a pencil drawing of Camfield Place, Hertfordshire, a pencil drawing of ancient buildings in Hitchin, Hertfordshire, a crayon port. of a spaniel, three Chinese watercolours on rice paper, two small marine watercolours, a pen-and-ink port. of 'Sirdar Bearer indulging in the weed', four large hand-col. eng. vign. views of Brighton, pub. W.H. Mason, various engs., etc., orig. quarter morocco, gilt dec. spine, rubbed, 4to, with a smaller mid-19th-c. scrap album and two photograph albums, c. 1880s (4)
A CHINESE PADOUK WOOD DRAWING ROOM SUITE with mother of pearl floral inlay, comprising settee, the straight top rail on three solid splats, downswept arms with leaf and scroll carved terminals on shaped supports, panel seat with red silk cushion, on square section legs, 74" wide, and a pair of chairs to match, 19th century (3)
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