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Lot 239
A George III satinwood and marquetry demi-lune commode in the manner of Ince & Mayhew, the top inlaid with a sand-shaded half fan tied ribbons and swags of Hare bells within a rosewood crossbanded border with further harebells, fitted three shaped doors with tied laurel wreath and triumphal urn inlay on a quartered ground, supported by inlaid tapering square supports, 126 cm wide x 56 cm deep x 88 cm overall height. The commode has had some later sub-divisions to the interior, the top has had a dark watermark (pan ring) removed locally that has caused the outline to have sunken slightly.,Update, the feet look to have been cut off at some point, you can see where the saw has stalled in its kerf on one foot perhaps the commode had small block feet, the detail continues from the pilasters to the feet suggesting that the legs are correct but cut downThe shelves are later additions with signs of Vandyk crystals staining to the shelves and shelf supports, maybe this carcass interior was not partitioned for shelves or perhaps one long shelf.The top of the commode has had a dark cup ring taken out but this has left a slightly depressed ring to the surface. the top is free from cracks or splits.The two end cupboards are free from splits but do have some slightly lifting sections of marquetry, the central door shows some transmission of the boarded ground in the form of a subtle undulation to the surface, but it remains intact without splits.The commode has had some restoration over the years using outdated processes and has also had something done to the interior, possibly to make three compartments from a large single space with a single shelf but is basically period.Please see the extra images supplied .
Lot 25
Ronald Reagan (1911-2004) Former President of the United States. Autographed sepia publicity photograph, with Signed inscription in blue ink ‘Good Luck Jess Sincere Best Wishes Ronald Reagan’, 7 ½ x 9 ½ inches.Ronald Reagan made his acting debut in Love Is on the Air (1937) and was elected to President of the Screen Actors Guild in 1947 where his first tenure saw various management disputes including the Hollywood blacklist. Reagan served as Governor of California 1967-1975, and served as the 40th President of the United State (1981-1989) This item has not been authenticated, please satisfy yourself as to the veracity of this item prior to bidding.
Lot 71
*BETTY SWANWICK (1915-1989) 'The Sightless Man', signed lower right, pencil on paper, 50cm x 38cm, Framed dimensions: 71cm x 58cmNote: Betty Swanwick was a painter, illustrator, designer and writer of novelettes. She studied at Goldsmith's College under Edward Bawden who became a life-long friend. While still a student she fulfilled advertising commissions for London Transport, as well as Bendick's and Barrow's, competing with E McKnight Kauffer and her teachers, Edward Bawden and Clive Gardiner. From 1965, her unique visionary watercolours are in the tradition of William Blake and Samuel Palmer. They are often compared to Stanley Spencer, though she refuted that she was directly influenced by him. In her watercolours she developed a distinctive world reflecting her dreams and experiences with a strong spiritual component. Behind day-to-day events she saw images and concepts which she used to symbolise a more meaningful understanding of life.
Lot 54
*FREDERICK JAMES LLOYD, (1905-1974) A donkey in a landscape, signed lower left, watercolour and gouache, 28cm x 22cm, Framed dimensions: 50.5cm x 42cm Provenance: The estate of the late Brian Phelan (1934-2024) and Dorothy Bromiley Phelan (1930-2024), Note: Frederick James Lloyd was an English artist who became famous for his studies of animals and country landscapes. Lloyd was the first living self-taught artist to have a painting hung at the Tate in London, titled 'Cat and Mouse'.Lloyd took up painting full-time at the age of forty-eight, having worked at a variety of occupations including cowman, labourer, bus conductor, factory worker and policeman. With great intensity, he worked in watercolour and gouache, seated at the kitchen table, surrounded by the chaos of family life with eight children.Lloyd’s artistic “discovery” took place in 1957, when the influential critics – Herbert Read and John Berger - paid a visit to this unknown artist’s council house in Yorkshire. (Read, who lived locally, had responded to an invitation from Lloyd’s wife.) The following year saw his first exhibition at London’s Arthur Jeffress Gallery, with catalogue introduction by Read. When this gallery closed in 1961, he moved to the Portal Gallery, where he became the pre-eminent name in its stable of artists. The Portal soon offered him a monthly stipend, allowing him to give up his job at a plastics factory and to work full-time as an artist.A countryman to the core, raised in Cheshire, with an adult life spent in Yorkshire, rural scenes inevitably dominated his output. An affectionate and quirky portrayal of animals took precedence, and where humans are included in his compositions they are usually involved in rural or agricultural activity – hedging, wattling, harvesting and the like. Lloyd achieved minor celebrity status in 1963, through Ken Russell’s BBC documentary 'The Dotty World of James Lloyd'. Two years later, in an inspired piece of casting, Russell gave the totally untried Lloyd the starring role of Henri Rousseau in Always on a Sunday, his biopic about the 19th century French naïve painter.
Lot 251
AFTER CARL KAUBA (1865-1922) A LARGE AUSTRIAN COLD-PAINTED BRONZE FIGURE OF A NATIVE AMERICAN CHIEF, indistinct impressed marks to the reverse, carrying a tomahawk in one hand and a shield the other, on a naturalistic stone base, 48cm high overall, Provenance: The Les Watts Collection.Note: Carl Kauba was born in Austria in August, 1865. He studied at the Academy of Fine Arts in Vienna. His cold-painted bronzes depicting Native Americans are highly sought after, even though it is very much debated that he ever visited America. The sculpture is believed to depict the Native American War Chief 'Rain in the Face' of the Hunkpapa band of Lakota Sioux. He played an important part in the Battle of Little Big Horn, which saw the defeat of General Custer and his 7th Cavalry, and as such he was a popular figure subject to numerous studies. The American poet Henry Wadsworth Longfellow wrote a poem about him entitled "The Revenge of Rain in the Face".
Lot 187
*KITTY HILLIER (b. 1984) Untitled, 2008, abstract composition, signed and dated in pencil verso, mixed media on plywood panel, with incised work throughout, 122cm x 106.5cm, Note: Born in Londoin 1984, Kitty grew up in rural Somerset. After completing her Foundation year at Falmouth Art School she gained a 1st class honours degree in Fine Art Painting at Bath School of Art in 2007. She won the Reveal Emerging Artist Award in 2009 and was awarded the SAW Abundance Commission in 2013, which included a two week residency at Stroud Valley Arts and site-specific installation at Cannington Gardens.In 2019 she was selected by Hospital Rooms to make two works for the MBU Exeter visitor flats, and in 2020 she became a co-director of CAMP, a member-led network for the creative and visual arts community in Cornwall and Devon. During lockdown, Kitty launched @artinthewindow, using the old shop window of her home to show other artists work, and she ran a drawing group (online and IRL) @pubsketching, encouraging everyone to discover the benefits of exploring experimental mark-making with the simplest of materials. With her non-directive approach to teaching, Kitty regularly leads workshops for the Youth Programme and adults at St Ives School of Painting; these sessions often lean towards building confidence, slow looking and loosening up, as Kitty shares parts of her own process of abstraction and belief in the importance of play.Selected as one of three artists to work on researcher and filmmaker Rachael Jones’ project: Moving Landscapes, and the Doorstep Residency in 2021, Kitty has most recently exhibited work at Grays Wharf, Newlyn Art Gallery Picture Room, Exeter Phoenix 333 Gallery and with ALMA at Newquay Orchard.Kitty lives and works from a studio at Islington Wharf, Penryn. Her work is held in private and corporate collections internationally.
Lot 53
*FREDERICK JAMES LLOYD (1905-1974) A white foal in a landscape, signed lower right, watercolour and gouache, 35cm x 50.5cm, Framed dimensions: 45cm x 60.5cmProvenance: The estate of the late Brian Phelan (1934-2024) and Dorothy Bromiley Phelan (1930-2024), Note: Frederick James Lloyd was an English artist who became famous for his studies of animals and country landscapes. Lloyd was the first living self-taught artist to have a painting hung at the Tate in London, titled 'Cat and Mouse'.Lloyd took up painting full-time at the age of forty-eight, having worked at a variety of occupations including cowman, labourer, bus conductor, factory worker and policeman. With great intensity, he worked in watercolour and gouache, seated at the kitchen table, surrounded by the chaos of family life with eight children.Lloyd’s artistic “discovery” took place in 1957, when the influential critics – Herbert Read and John Berger - paid a visit to this unknown artist’s council house in Yorkshire. (Read, who lived locally, had responded to an invitation from Lloyd’s wife.) The following year saw his first exhibition at London’s Arthur Jeffress Gallery, with catalogue introduction by Read. When this gallery closed in 1961, he moved to the Portal Gallery, where he became the pre-eminent name in its stable of artists. The Portal soon offered him a monthly stipend, allowing him to give up his job at a plastics factory and to work full-time as an artist.A countryman to the core, raised in Cheshire, with an adult life spent in Yorkshire, rural scenes inevitably dominated his output. An affectionate and quirky portrayal of animals took precedence, and where humans are included in his compositions they are usually involved in rural or agricultural activity – hedging, wattling, harvesting and the like. Lloyd achieved minor celebrity status in 1963, through Ken Russell’s BBC documentary 'The Dotty World of James Lloyd'. Two years later, in an inspired piece of casting, Russell gave the totally untried Lloyd the starring role of Henri Rousseau in Always on a Sunday, his biopic about the 19th century French naïve painter.
Lot 504
§ Patrick Heron CBE (1920-1999) FIVE REDS, FOUR DISCS : MAY 1965signed, titled and dated May 1965 to the reverseoil on canvas122 x 132cm Exhibited:Private Collection (via Waddington Galleries, London and Richard Demarco Gallery, Edinburgh), September 1966With Waddington Galleries, London August 1967Private collection, CambridgeExhibited:New York, Bertha Schaefer Gallery, Patrick Heron: New Oils, 4-23 October, 1965, cat. no.9Edinburgh, Richard Demarco Gallery, Inaugural Exhibition, August-September, 1966, cat. no.73We are grateful to Dr Andrew Wilson for his assistance in cataloguing this work and for compiling the catalogue note.The Patrick Heron Trust is in the process of researching the forthcoming catalogue raisonné of the artist’s work and would like to hear from owners of any works by Patrick Heron, so that these can be included in this comprehensive catalogue. Please write to the Patrick Heron Trust, c/o Cheffins, 1-2 Clifton Road, Cambridge CB1 7EA or email fine.art@cheffins.co.uk Patrick Heron was a pioneering British abstract painter of the second half of the 20th century, his aesthetic position was grounded firmly within European sensibilities through which he engaged with the achievements of French artists such as Henri Matisse, Georges Braque and Pierre Bonnard, yet also responded to the possibilities of new approaches to abstraction he recognised both in American abstract expressionism and in the work of British artists of his own generation.FIVE REDS, FOUR DISCS : MAY 1965 occupies a significant position in Heron’s oeuvre, and was included in his third solo exhibition in New York at the Bertha Schaefer Gallery. Each of his three exhibitions in New York – in 1960, 1962 and 1965 – offered both a response to the possibilities he at first recognised in new American abstract painting after 1956 and a challenge to what he saw increasingly as its shortcomings. The paintings that were included in his 1965 New York exhibition stand in high contrast to American ‘post-painterly’ abstract painting typified by the airbrushed open colour fields of Jules Olitski or the stained symmetrical compositions of Kenneth Noland, and reveal the degree to which Heron was expanding the possibilities of abstract painting.Limiting the composition of this painting to four disc shapes and the colour to five different reds underlines how Heron created compositional and spatial complexity out of comparatively simple means. These colours and shapes are arranged within planes parallel to the picture surface expressed through drawn lines that define the interacting colour areas. The ways in which these colour shapes interact is how an active pictorial illusion of space is created that contradicts the flatness of the canvas surface itself. Each colour shape for Heron is just that, interacting with each other shape as a fully realised compositional unity and not in the way the hierarchy of a traditional figure/ground relationship might work. The illusion of space is active because it changes along with the colour relationships, shifting and altering in character as the viewer’s eyes move over the canvas led by line, colour and shape. Brush marks offer visible traces of the act of painting rather than just mark down paint literally as colour – adding further spatial complication to the colour-relationships he has created. FIVE REDS, FOUR DISCS : MAY 1965 is a painting animated by the interaction of colour within a complex composition that creates space, playing equally on the eye and the emotions.The unlined canvas is attached to a wooden stretcher with two vertical cross bars. The canvas tension is adequate and the painting is generally in plane. Water staining is evident on the reverse of the picture and this has affected the paint layers. Flaking and loss has occurred at the top and bottom edges, where moisture has been retained by the stretcher bars behind. The flaking has been recently stabilised to prevent further loss to the original paint. There are other localised areas of cracked and raised paint in the main composition. Water drips are evident on the surface, in the lower circle, this has affected the paint layers, revealing the white ground below. There is also dark staining, possibly mould, which has formed along the brushstrokes of the lower circle and upper right orange section. There is a white, sparkly haze across the surface of the unvarnished painting, which is likely a bloom caused by damp conditions.
Lot 205
Christopher Dresser (1834-1904), a rare electroplate teapot, No. 2277, circa 1880, manufactured by James Dixon & Sons, Sheffield, England, electroplated metal with ebony handle, impressed with manufacturer's mark Chr. Dresser and 2277 12.5 x 22 x 13.5cm Provenance: Georgina Bourke (née Anderson, then Greenwood), who likely acquired the teapot in the early 20th century. A socialite who mixed in avant garde circles, Bourke first married Lieutenant J F B Greenwood, Kings Own Royal Regt., who was killed in action in May 1915, before moving to Cheltenham and then later, after the war, to Southern Ireland, where she lived in Castleconnell, Co. Limerick. After her death in 1967, the teapot remained undiscovered in a trunk containing her various possessions until a recent routine valuation. Literature: H.Lyons, Christopher Dresser: The People's Designer 1834-1904, p. 7 no. 8 W.Halén, Christopher Dresser, 1990, p. 182, pl. 206 W.Halén, Christopher Dresser: A Pioneer of Modern Design, London, 1993, p. 183, pl. 206 M.Whiteway, Shock of the Old: Christopher Dresser's Design Revolution, 2004, p. 158, pl. 200 Born in Glasgow in 1834, from age thirteen Christopher Dresser effectively began his career when he commenced his training at Somerset House's Government School of Design, one of a number of state-funded centres established from 1837 to train designers specifically for industrial production. This was a period defined by a stratospheric rise in machine manufacturing, making household items more widely available and creating an entirely new market for innovative and creative designs that were suited to modern methods of manufacture. Although he was only twenty-eight years old at the time of the 1862 Great London Exposition, whilst there Dresser claimed to have designed "as much as any man"; this was likely true as he was demonstrably accomplished in all aspects of industrial design, including carpets, ceramics, furniture, glass, graphics, metalwork and textiles. By the end of 1862, Dresser had published The Art of Decorative Design (1862) and The Development of Ornamental Art in the International Exhibition (1862), followed latterly, in 1873, by Principles of Decorative Design. Though he may have designed more than any other man at the Exposition, the Japanese works he saw at there inspired a lifelong interest in the country and its aesthetic principles. Closely associated with influential design reformers including Richard Redgrave, Henry Cole, Owen Jones, and Matthew Digby Wyatt, Dresser was not only interested in the practical facets of design, but also the moral and philosophical doctrines. For Dresser and his cohort, design had the capacity to "exalt" or "debase". Establishing his principles of 'Truth, Beauty and Power', Dresser looked to the natural world to inspire. Using reduced and abstracted forms from nature, Dresser aimed to express the essence of design in its most distilled form. Despite his pioneering aesthetic, many of Dresser's designs were too complex and costly to be easily mass-produced, limiting their accessibility. The present example, catalogued as no. 2277 in 1879, is a rare example of his work, with only around twelve known to exist. One such piece forms part of the collection at the Victoria and Albert Museum, London. Also displayed internationally by institutions including the Metropolitan Museum, New York, and the Musée d'Orsay, Paris, it is difficult to overstate the importance of Christopher Dresser in the history of industrial design. One foot is slightly bent inwards and the base very slightly dished around the area, a very minor crease to the underside of the base, just visible in the right light. A couple of small marks to the cover where it has knocked against the handle. Some tarnishing and the plating slightly rubbed to finial, hinge and the rim of the cover, also to joint where spout meets body. A small dent to one side, and some other light surface wear and scratching more commensurate with age and use. Please see additional images and video online. The handle does not protrude beyond the metal at either end, but does not appear to be broken, again see images. Handle rotates freely.
Lot 70
A MEISSEN PORCELAIN GROUP 'PETRUSHKA' modelled by Peter Sheurich, impressed no. 73323, 27cm high x 22cm wide x 12cm deepNote: A rare model based on the ballet first performed by Diaghilev's Ballets Russes in Berlin in December 1912. It is likely that Scheurich saw one of the performances at the time, but it is unknown why he created a porcelain group based on the ballet 18 years later in April 1930. A sketch for the model has survived and was published in the magazine 'Sport im Bild', 37/14 (1931). The first example was formed in October 1930.
Lot 80
Adrian Rigby (b.1962) Race to the Needles, Yankee, Britannia and Velsheda, signed lower left, oil on canvas, canvas 61 x 91 cm, frame 67 x 106 cm Notes: The race took place in the waters near the Isle of Wight in 1935 which saw The Endeavour triumphProvenance: Ex Collection of a Northern Art Gallery Condition:The painting is an oil on canvas, framed without glazing. The canvas is in good condition, no obvious holes, tears etc and the tension is fine. The paint condition is well preserved and stable, no obvious losses or deterioration, the colours are good and surface clean. Frame is in good condition, joints are sound - ready to hang
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