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Lot 119
Max Papart (French, 1911-1994). Large lithograph on paper depicting a composition of bright colors juxtaposed with a seascape and a musical arrangement. Pencil signed along the lower right; numbered H.C. VI/XV (6/15) along the lower left.Sight; height: 34 in x width: 27 in. Framed; height: 46 in x width: 39 1/2 in x depth: 1 1/2 in.Condition: The colors are bold and bright. There are no visible tears, creases, losses, or restorations when viewed under UV light. Housed under a nonacidic mat. Framed under glass; light wear to the frame. Not inspected out of frame.
Lot 35
William Trost Richards (American, 1833-1905). Oil on canvas painting titled "Spring Tide" depicting a serene seascape, 1875. Signed and dated along the lower right. With a title plaque affixed to the verso.Lot Essay:William Trost Richards was an American landscape artist known for his association with both the Hudson River School and the American Pre-Raphaelite movement. Born in Philadelphia, he attended Central High School before studying under German artist Paul Weber while working as a designer and illustrator. His artistic career began with a public exhibition in 1858, organized by Albert Bierstadt. Over the years, he gained recognition, becoming an honorary member of the National Academy of Design in 1862 and a full Academician in 1871. He also joined the Association for the Advancement of Truth in Art, reflecting his commitment to precise and realistic depictions of nature.Richards traveled to Europe in 1866, and upon returning, he spent summers painting along the East Coast. During the 1870s, he produced highly detailed watercolor landscapes of the White Mountains, some of which are now housed in the Metropolitan Museum of Art. He exhibited extensively at institutions such as the National Academy of Design and the Brooklyn Art Association. In 1881, he settled in Jamestown, Rhode Island, where he lived and worked until his death in 1905. His artistic style emphasized meticulous realism, distinguishing him from other Hudson River School painters who often took a more romanticized approach. In his later years, he focused almost exclusively on marine watercolors.Richards’ works are featured in many prestigious museums, including the National Gallery, the Smithsonian American Art Museum, and the Philadelphia Museum of Art. His daughter, Anna Richards Brewster, also became a painter.Unframed; height: 19 1/2 in x width: 39 in. Framed; height: 26 in x width: 44 3/4 in x depth: 1 1/2 in.Condition: When inspected under UV light there does not appear to be any major areas of restoration. Craquelure throughout. The work has been relined. There is a small sticker affixed to the verso noting a cleaning and re-varnishing in the 1950s. Light wear to the frame.
Lot 17
A French Aesthetic Movement silver mounted inkwell. Abit & Lopisgich (1898-1903), Paris, c.1900. Of square form, the opaque, banded glass body forming a green and burgundy ground behind a silver mount with a seascape scene depicting a swan against a setting sun, the inkwell raised on four lion paw bracket feet and designed with a domed, hinged cover with bud finial, liner deficient, stamped 'sterling silver, France' to underside, 15cm high
Lot 398
Alison Catley, British b.1960 - Seascape with Drowned Figure (Cleethorpes); oil on board, titled and inscribed on the reverse, 40.8x56cm (ARR) Provenance: private collection of Victor Aubrey Lownes III (April 17, 1928 January 11, 2017); Roseberys, Modern & Contemporary British Art, 4th November 2020, lot 180; private collection, UK, purchased from the above Note: Lownes was an executive for HMH Publishing Company Inc., later known as Playboy Enterprises, from 1955 through the early 1980s. Behind the image of a high-flying suave sophisticated, non-stop, executive, Lownes was a relaxed man who enjoyed everything English. He was the iconic Playboy skiing in Europe and Aspen swimming in his jacuzzi with the inevitable bevy of beauties flying a helicopter to the races enjoying riding to the hounds and country sports from his home Stocks House in Hertfordshire and although a patriotic American through and through Victor was his happiest here in England . He had a keen eye for art and furnished every property he had with interesting paintings. Incredibly erudite, Lownes knew what he liked, proved by some of the paintings he invested in over the years, artists as diverse as Francis Bacon and Egon Schiele intermingling with more traditional artists such as Gainsborough and Constable.
Lot 208
Ernst Eisenmayer, Austrian/British 1920-2018 - Seascape, 1965; oil on board, signed and dated lower right 'Eisenmayer 1965', 36.2 x 80.8 cm (ARR) Note: Austrian-born Eisenmayer moved to London to study in 1939, where he was guided and influenced by his fellow countryman, the poet, playwright and artist Oskar Kokoscha. Eisenmayer lived and exhibited in the UK for many decades, including at the prestigious Marjorie Parr Gallery and Leicester Galleries. Works by the artist are in the collection of the Ben Uri Gallery, Peterborough Museum & Art Gallery and King’s Lynn Museum.Eisenmayer’s works incorporate the aesthetic qualities of the Post-War period in Britain, most notably that of the so-called Geometry of Fear artists, such as Kenneth Armitage and Lynn Chadwick. His sculptures have an industrial, almost militaristic quality to them, the form emerging subtly from the roughly hewn material. Major works are on public display, including at Southlands College, Roehampton and Carlton Forum Leisure Centre, Nottingham. Like many artists working in Britain during the 1950s and 1960s, Eisenmayer was a refugee from Nazism. Eisenmayer escaped Dachau concentration camp in April 1939 and was interned on the Isle of Man, along with other émigré artists such as Fred Uhlman, before settling in London, enrolling in Camberwell College of Art and studying under Victor Pasmore. He established a successful career as a painter, sculptor and printmaker, exhibiting in London, Osaka and Vienna.
Lot 72
John Maclauchlan Milne RSA, British 1885-1957 - Beach Scene; watercolour, signed lower right 'J Maclauchlan Milne', 36.2 x 48.9 cm (ARR) Note: Milne was part of a key generation of Scottish painters, alongside his contemporaries the Scottish Colourists, S. J. Peploe, F. C. B. Cadell, J. D. Fergusson and G. L. Hunter. This early work is painted in a more traditional impressionist style, but the delicacy of his handling of the watercolour demonstrates his understanding of light and colour. An oil painting of a similar scene and palette 'Seascape' is now in the collection of Dundee Art Galleries and Museums Collection.
Lot 587
John Wilson Ewbank (British 1779-1847) A seascape possibly near Scarborough, oil on canvas, signed and dated 'J Ewbank 1841'.58cm high x 75cm wideQty: 1In generally good condition, with signs of later cleaning and overpainting to the centre of the canvas. Slight scratching to the painted surface notable in the middle left. Minor losses around the edges of the canvas. Light surface dirt throughout.
Lot 1112
Italian School (late 19th/early 20th century)Tremezzo, Lake ComoWatercolour, 32cm by 48.5cm; together with further 19th and 20th century watercolours including an indistinctly signed nocturnal seascape with moored boats; Pandy Mill, on the River Machno, Caernarvonshire; and another landscape (4)
Lot 81
Roy Lichtenstein (1923-1997)Seascape (1), from the New York Ten Portfolio (Corlett 36)Screenprint in colours on translucent Rowlux, 1965, signed in pencil verso, numbered from the edition of 200 verso, printed by Chiron Press, published by Tanglewood Press Inc., New York, the full sheet printed to the edges, sheet 431 x 556mm (17 x 21 7/8in)
Lot 68
* CHRISTOPHER WOOD RSW RGI PPSSA, WINTER'S GRASP oil on board, signed, titled and dated 2004 versoframed and under glass image size 46cm x 51cm, overall size 59cm x 64cm Artist's label versoLabel verso: Manor House Gallery, Chipping NortonNote: Christopher Wood trained at Edinburgh College of Art, graduating with an Honours degree in Drawing & Painting in 1984. He has been a full-time professional artist since his first one-man exhibition in Edinburgh 1987. Inspired by the artist’s coastal environment near his home in Dunbar, Wood’s palette is infused with the reflection and absorption of light to be found in ever changing elements of Scottish land and seascape. Wood has won numerous prestigious awards. “My work encompasses landscape, seascape and abstraction, using oils, acrylics, collage and mixed media. My working practice is intuitive and improvisational - an approach which fosters the unexpected. Through the processes of painting, of layering and scraping, of looking and reacting, the work finds its own identity, with a purpose, history and a voice of its own. I endeavour to leave enough room for the viewer to engage with my work through the lens of their own experience." He is a Past-President of the Society of Scottish Artists, an elected member of the Royal Scottish Society of Painters in Watercolour and an elected member of the Royal Glasgow Institute of the Fine Arts. Collections include: HM King Charles, the Bank of Scotland; Aberdeen Asset Management; United Distillers; Edinburgh University; Lennox Lewis; The Demarco European Foundation; MacRoberts Solicitors; Premier Property Group; Phoenix Equity Partners and many other private and corporate collections around the world.
Lot 266
* BILL WRIGHT RSW RGI DA (SCOTTISH 1931 - 2016), STORM BEACH watercolour on paper, signed, titled label versomounted, framed and under glassimage size 25cm x 33cm, overall size 47cm x 53cm Artist's label verso.Note: Bill Wright's talent first became evident when he was a boy, drawing endlessly for amusement while bedbound with illness. He went on to study painting at Glasgow School of Art and became an award-winning watercolourist, constantly inspired by was seascape and ever-changing sky on the Kintyre peninsula where he had a second home. Glasgow-born Wright, the son of a shipyard plater, was brought up in Partick and started his schooling at the city’s Dowanhill Primary before being evacuated to Dunoon during the Second World War. After returning home he attended Hyndland Senior Secondary and despite being discouraged by his parents, who would have preferred him to have a “proper job”, in 1949 he began his studies at Glasgow School of Art. They were interrupted by national service – a duty he felt hindered the progression of his art career. He served at Catterick army garrison but was a pacifist who abhorred war and dismissed the opportunity to be promoted to Sergeant as an army career held no interest. His first teaching post was at East Park School in Glasgow’s Maryhill. He then moved in 1965 to St Patrick’s High School in Dumbarton where he spent two years before becoming art adviser for the area at the age of 36. Over the next two decades he fostered the idea of instilling a cultural interest in art among pupils. He formed working groups to reform teaching of first and second-year students, encouraged forward-looking principal teachers and recruited many young teachers. His ethos was that teachers were not just there to create artists but to give all children a good art experience. He also established a residential art course for school children, at the Pirniehall residential educational facility at Croftamie in Dunbartonshire, where youngsters from different backgrounds could investigate the idea of furthering an art career through experiencing a range of different mediums in an art camp environment. And he is said to have been instrumental in encouraging the implementation of Scotland’s Standard Grade art and design qualification. However, he suffered from the chronic arthritic condition ankylosing spondylitis which, by the age of 55, forced him to take early retirement from his post in the education department of Strathclyde Regional Council. Meanwhile, as he had strived to enthuse youngsters with his own passion for art, he had been elected, in 1977, to the Royal Scottish Society of Painters in Watercolour. A member of the Glasgow Arts Club for many years, he was also an elected member of the Glasgow Institute of Fine Arts and Paisley Art Institute, served as president of the Scottish Artists’ Benevolent Association for 14 years and was a Scottish Arts Council lecturer, touring the country discussing art. But perhaps his own greatest inspiration was the view from a cottage he stumbled upon half a century ago, seven miles from Campbeltown on the Mull of Kintyre. He rented the property at Bellochantuy and set up a studio there where he drew on the vistas stretching 180 degrees, encompassing sea, beach, rocks and sky. He was utterly smitten by the area and was ultimately bequeathed the cottage by the owner who had become a close family friend. Over the years he came to know the area intimately and was fascinated by the constantly changing moods of the sea and light of the sky which formed the majority of his output. One large body of work, "Towards Islay", focused on the view from the back of the cottage. He captured the patterns and waves of the sea, sometimes adding a bird, limpit, mermaid’s purse, rock lines or some seaweed. But at times his works were very abstract and symbolic, concentrating on themes of nature and transience. He was hung in all the major shows in Scotland and in galleries across the country from Aberdeenshire to Edinburgh, Glasgow and south of the border. His work also features in public collections of Stirling and Strathclyde Universities, HRH The Duke of Edinburgh and the Educational Institute of Scotland. And he was recognised with The Laing Prize for Landscape and Seascape and the RSW’s Sir William Gillies Award.
Lot 81
* CHRISTOPHER WOOD RSW PAI PPSSA, THE DIM CLOUD THE DIM CLOUD THAT DOTH THE WORLD ENFOLD HATH LESS THE CHARACTERS OF DARK AND COLD THAN WARMTH AND LIGHT ASLEEPoil on canvas, signed, titled and dated 1995 versoframedimage size 46cm x 51cm, overall size 67cm x 72cmLabel verso: The Gatehouse Gallery, Glasgow.Note: Christopher Wood trained at Edinburgh College of Art, graduating with an Honours degree in Drawing & Painting in 1984. He has been a full-time professional artist since his first one-man exhibition in Edinburgh 1987. Inspired by the artist’s coastal environment near his home in Dunbar, Wood’s palette is infused with the reflection and absorption of light to be found in ever changing elements of Scottish land and seascape. Wood has won numerous prestigious awards. “My work encompasses landscape, seascape and abstraction, using oils, acrylics, collage and mixed media. My working practice is intuitive and improvisational - an approach which fosters the unexpected. Through the processes of painting, of layering and scraping, of looking and reacting, the work finds its own identity, with a purpose, history and a voice of its own. I endeavour to leave enough room for the viewer to engage with my work through the lens of their own experience." He is a Past-President of the Society of Scottish Artists, an elected member of the Royal Scottish Society of Painters in Watercolour and an elected member of the Royal Glasgow Institute of the Fine Arts. Collections include: HM King Charles, the Bank of Scotland; Aberdeen Asset Management; United Distillers; Edinburgh University; Lennox Lewis; The Demarco European Foundation; MacRoberts Solicitors; Premier Property Group; Phoenix Equity Partners and many other private and corporate collections around the world.
Lot 258
* BILL WRIGHT RSW RGI DA (SCOTTISH 1931 - 2016), BROKEN EDGE watercolour on paper, signed, titled label versomounted, framed and under glassimage size 43cm x 59cm, overall size 70cm x 85cmNote: Bill Wright's talent first became evident when he was a boy, drawing endlessly for amusement while bedbound with illness. He went on to study painting at Glasgow School of Art and became an award-winning watercolourist, constantly inspired by was seascape and ever-changing sky on the Kintyre peninsula where he had a second home. Glasgow-born Wright, the son of a shipyard plater, was brought up in Partick and started his schooling at the city’s Dowanhill Primary before being evacuated to Dunoon during the Second World War. After returning home he attended Hyndland Senior Secondary and despite being discouraged by his parents, who would have preferred him to have a “proper job”, in 1949 he began his studies at Glasgow School of Art. They were interrupted by national service – a duty he felt hindered the progression of his art career. He served at Catterick army garrison but was a pacifist who abhorred war and dismissed the opportunity to be promoted to Sergeant as an army career held no interest. His first teaching post was at East Park School in Glasgow’s Maryhill. He then moved in 1965 to St Patrick’s High School in Dumbarton where he spent two years before becoming art adviser for the area at the age of 36. Over the next two decades he fostered the idea of instilling a cultural interest in art among pupils. He formed working groups to reform teaching of first and second-year students, encouraged forward-looking principal teachers and recruited many young teachers. His ethos was that teachers were not just there to create artists but to give all children a good art experience. He also established a residential art course for school children, at the Pirniehall residential educational facility at Croftamie in Dunbartonshire, where youngsters from different backgrounds could investigate the idea of furthering an art career through experiencing a range of different mediums in an art camp environment. And he is said to have been instrumental in encouraging the implementation of Scotland’s Standard Grade art and design qualification. However, he suffered from the chronic arthritic condition ankylosing spondylitis which, by the age of 55, forced him to take early retirement from his post in the education department of Strathclyde Regional Council. Meanwhile, as he had strived to enthuse youngsters with his own passion for art, he had been elected, in 1977, to the Royal Scottish Society of Painters in Watercolour. A member of the Glasgow Arts Club for many years, he was also an elected member of the Glasgow Institute of Fine Arts and Paisley Art Institute, served as president of the Scottish Artists’ Benevolent Association for 14 years and was a Scottish Arts Council lecturer, touring the country discussing art. But perhaps his own greatest inspiration was the view from a cottage he stumbled upon half a century ago, seven miles from Campbeltown on the Mull of Kintyre. He rented the property at Bellochantuy and set up a studio there where he drew on the vistas stretching 180 degrees, encompassing sea, beach, rocks and sky. He was utterly smitten by the area and was ultimately bequeathed the cottage by the owner who had become a close family friend. Over the years he came to know the area intimately and was fascinated by the constantly changing moods of the sea and light of the sky which formed the majority of his output. One large body of work, "Towards Islay", focused on the view from the back of the cottage. He captured the patterns and waves of the sea, sometimes adding a bird, limpit, mermaid’s purse, rock lines or some seaweed. But at times his works were very abstract and symbolic, concentrating on themes of nature and transience. He was hung in all the major shows in Scotland and in galleries across the country from Aberdeenshire to Edinburgh, Glasgow and south of the border. His work also features in public collections of Stirling and Strathclyde Universities, HRH The Duke of Edinburgh and the Educational Institute of Scotland. And he was recognised with The Laing Prize for Landscape and Seascape and the RSW’s Sir William Gillies Award.
Lot 178
* PAM CARTER DA PAI (SCOTTISH 1952 - 2022), WHITE SANDS OF THE WESTERN ISLES oil on canvas, signedframedimage size 67cm x 67cm, overall size 78cm x 78cm Note 1: Pam Carter was born in Tanganyika, East Africa to an Austrian mother and Scottish father. At the age of thirteen, she came to Scotland where she schooled at Bearsden Academy. She graduated from Glasgow School of Art in the seventies. "My main inspiration as an artist is in the Scottish landscape and seascape. I enjoy using colour to define contours, structure and changing light sequences. I search out specific viewpoints. I am equally inspired by the rugged isolation of the Western Isles and the dramatic viewpoints of the Eastern coastline. I work predominantly in oil". Pam Carter was unquestionably one of Scotland's most popular and successful contemporary artists. She won numerous awards and prizes, always received significant media attention, has been the subject of many magazine features and had several tv appearances. Her work is widely exhibited but rarely appears at auction. However, in The Scottish Contemporary Art Auction of 17th April 2022 lot 38 "Luskentyre Reflections" a 46 x 51cm oil by Pam Carter sold for £2000 (hammer) and in The Scottish Contemporary Art Auction of 10th July 2022 lot 230 "Gables Geary" sold for £2600 (hammer). Most recently, in The Scottish Contemporary Art Auction of 24th October 2024, lot 47 "West Coast Sunset" (61 x 61cm oil on canvas) by Pam Carter sold for £3600 (hammer).Note 2: Having lectured part-time for many years at Falkirk College, Pam retired and painted full-time from her studio in Torrance until her death in 2022. She was mostly influenced by the bright colours of the Scottish landscape. The white sands of the west coast are set against dramatic skies and the silhouettes of outlying islands stand like sentinels. Her interest in the use of strong colours may come from her origins in Africa. However, art school also taught her to see the colour and the work of the great colourists, from Titian to the Impressionists and has influenced her painting style over the years since graduation. Pam once said “Walking on empty beaches, alone with your thoughts, embracing the elements and hearing the sounds of the rhythm of nature can touch our souls. These are deeply spiritual moments when we often stop to consider the grand design of life itself. At these times it is easy to believe that there is a God and that the intention of life was to be all good. I love the Scottish landscape - it has all the form and textures that visually stimulate the senses. I am inspired not only by the scene but search out that "divine proportion"- aptly called and indeed the most pleasing to the eye. These thoughts follow me to the studio where I try to recreate not only the landscape but that spiritual moment. I take a long time to consider the design of my paintings and through the different stages correct and re-correct until, if not the "golden section" is reached, it has at least that same effect on my deep inner being. In my paintings you can feel the presence of mankind but rarely see them - the washing is hung, the lum is reeking, and the telegraph poles are talking. I pay tribute to the cultural past through the ancient dyke wall, the little harbours and the quaint crofts which are happily standing side by side with the grazing sheep. I use strong colour to interpret the drama of light in the landscape. I am inspired by the changing light sequences of the Western Isles and I have often been awestruck at witnessing what feels like a heavenly scene. Light features strongly in my work. Whether it be light bouncing off the waters of the Hebrides or the sunlit sands before an encroaching storm or sunlight moving across the landscape. It is ever changing, ever travelling. Light is synonymous with hope, a feeling of well being, joy and with God. I find myself always being drawn to the light in both my paintings and my life. That is my strength and my inspiration.
Lot 259
* BILL WRIGHT RSW RGI DA (SCOTTISH 1931 - 2016), ARRIVING TIDE watercolour on paper, signed, titled label versomounted, framed and under glass image sie 36cm x 47cm, overall size 61cm x 71cm Artist's label verso.Note: Bill Wright's talent first became evident when he was a boy, drawing endlessly for amusement while bedbound with illness. He went on to study painting at Glasgow School of Art and became an award-winning watercolourist, constantly inspired by was seascape and ever-changing sky on the Kintyre peninsula where he had a second home. Glasgow-born Wright, the son of a shipyard plater, was brought up in Partick and started his schooling at the city’s Dowanhill Primary before being evacuated to Dunoon during the Second World War. After returning home he attended Hyndland Senior Secondary and despite being discouraged by his parents, who would have preferred him to have a “proper job”, in 1949 he began his studies at Glasgow School of Art. They were interrupted by national service – a duty he felt hindered the progression of his art career. He served at Catterick army garrison but was a pacifist who abhorred war and dismissed the opportunity to be promoted to Sergeant as an army career held no interest. His first teaching post was at East Park School in Glasgow’s Maryhill. He then moved in 1965 to St Patrick’s High School in Dumbarton where he spent two years before becoming art adviser for the area at the age of 36. Over the next two decades he fostered the idea of instilling a cultural interest in art among pupils. He formed working groups to reform teaching of first and second-year students, encouraged forward-looking principal teachers and recruited many young teachers. His ethos was that teachers were not just there to create artists but to give all children a good art experience. He also established a residential art course for school children, at the Pirniehall residential educational facility at Croftamie in Dunbartonshire, where youngsters from different backgrounds could investigate the idea of furthering an art career through experiencing a range of different mediums in an art camp environment. And he is said to have been instrumental in encouraging the implementation of Scotland’s Standard Grade art and design qualification. However, he suffered from the chronic arthritic condition ankylosing spondylitis which, by the age of 55, forced him to take early retirement from his post in the education department of Strathclyde Regional Council. Meanwhile, as he had strived to enthuse youngsters with his own passion for art, he had been elected, in 1977, to the Royal Scottish Society of Painters in Watercolour. A member of the Glasgow Arts Club for many years, he was also an elected member of the Glasgow Institute of Fine Arts and Paisley Art Institute, served as president of the Scottish Artists’ Benevolent Association for 14 years and was a Scottish Arts Council lecturer, touring the country discussing art. But perhaps his own greatest inspiration was the view from a cottage he stumbled upon half a century ago, seven miles from Campbeltown on the Mull of Kintyre. He rented the property at Bellochantuy and set up a studio there where he drew on the vistas stretching 180 degrees, encompassing sea, beach, rocks and sky. He was utterly smitten by the area and was ultimately bequeathed the cottage by the owner who had become a close family friend. Over the years he came to know the area intimately and was fascinated by the constantly changing moods of the sea and light of the sky which formed the majority of his output. One large body of work, "Towards Islay", focused on the view from the back of the cottage. He captured the patterns and waves of the sea, sometimes adding a bird, limpit, mermaid’s purse, rock lines or some seaweed. But at times his works were very abstract and symbolic, concentrating on themes of nature and transience. He was hung in all the major shows in Scotland and in galleries across the country from Aberdeenshire to Edinburgh, Glasgow and south of the border. His work also features in public collections of Stirling and Strathclyde Universities, HRH The Duke of Edinburgh and the Educational Institute of Scotland. And he was recognised with The Laing Prize for Landscape and Seascape and the RSW’s Sir William Gillies Award.
Lot 116
* ERIC TIMMS, DRIFTWOOD SEASCAPE oil on canvasframedimage size 40cm x 50cm, overall size 43cm x 53cm Note: Words from the artist's website: My name is Eric Timms and I was born a long, long time ago in a distant land that was held firmly in the grip of dark and evil forces. With my family, brushes and remaining sanity I managed to escape to a land far to the North where it was believed that freedom reigned and that people from every corner of the world lived in peace and harmony. Alas, this was but a myth for this new land was driven by greed and worthless celebrity so I dragged my easel and loved ones further overland and ventured further North to the land of Mystery and "the right to roam". Scotland. I could tell you about all the paintings I have done, about the galleries I have run, but what's the point of that. I could mention the phases and exhibitions I have endured and the people I have taught but I cannot think why. In truth, as any person born in middle of last century will absolutely understand, I have managed to stay alive to deal with all the lofty joys and the deep miseries of being human. We all have our stories to tell and they are best savoured person to person. Now I live on my palette-board with my loving and ravishing wife of many long, long, long years, my devoted wolf-dog Zulu and the opportunity to paint with freedom and true expression.
Lot 813
An Art Nouveau silver ring box, the cover cast with a Mermaid?, sunburst seascape with flower, the flower is signed, plain base, all hallmarked Birmingham, 1904, approx 48 grams together with late Victorian silver mounted tortoiseshell circular ring box, a silver mounted tortoiseshell mirror and a plain bombe shaped ring box., all hallmarked, various dates and makers [4]
Lot 11
A study group of two Böttger porcelain Hausmalerei saucers, two Meissen Hausmalerei saucers, a Chinese blanc de chine porcelain cold-painted Hausmalerei beaker, a Vienna porcelain saucer and a Continental cup, the first Böttger saucer c.1715-20, the reverse with gilt W monogram, decorated at Augsburg by Elizabeth Wald in the Auffenwerth workshop, c.1731, with three chinoiserie figures around a circular table, an elaborate scrollwork support below surmounted by gilt seated pagoda figures, 11.9cm diameter; the second Böttger saucer c.1715-20, the reverse moulded with flutes, the obverse decorated at Augsburg in the Seuter workshop, c.1725, gilt with chinoiserie figures by a tree on a terrace, a diaper-panel support below, the broad scalloped band border with husks and scrolls, 12.7cm diameter; the Vienna saucer c.1750-60, blue shield mark, impressed and incised marks, gilded in the manner of the Augsburg Seuter workshop with chinoiserie figures on a tasselled support within a similar border, 12.7cm diameter; the third Meissen saucer c.1728, blue crossed swords mark, the decoration probably c.1735-40, the reverse moulded with radiating gilt flutes, the centre of the obverse with figures on horseback, within a border of gilt scrollwork, 12cm diameter; the fourth Meissen saucer c.1735-39, blue crossed mark, the decoration probably Bayreuth, probably Johann Friedrich Metzsch workshop, c.1740-50, the reverse moulded with radiating gilt and puce stiff leaves, the obverse with a seascape within an elaborate cartouche with fruit, flowers and scrollwork, 13.3cm diameter; the Chinese Blanc de Chine beaker moulded with prunus, c.1690-1700, the European decoration first quarter of the 18th century, perhaps Holland or Germany, decorated in cold colours and gilding with a figure of a woman, a bird, a church and flowers, 7.5cm high; the Continental cup probably second half of the 19th century, blue sabre crossing two crossed swords mark, painted with finely dressed figures in a park landscape, 6.5cm high (7) Provenance: Property of the late Hugo Morley-Fletcher MA FSA (1940-2022). Note: The first Böttger saucer was decorated by Elizabeth Wald (née Auffenwerth) for the Hosennestal Service, a service which was produced for her sister Sabina’s wedding in 1731. Two beakers from this service are illustrated by E. & H. Manners, Decorators of Ceramics and Glass, June 2004 Treasure House exhibition catalogue, London, 2004, p. 111. The decoration of the third Meissen saucer bears similarities with a teapot illustrated by Hugo Morley-Fletcher, Meissen Porcelain in Colour, London, 1979 (second edition), p. 111, which he attributed to ‘probably Dresden, circa 1730’.
Lot 128
§ § Cecil Rochfort D'Oyly John (English, 1906-1993) 'Tarragona, Spain'oil on boardsigned21.5 x 27cm Honest untouched condition, possibly needing a light clean but no real faults noted, ink signature perhaps just starting to fade, ornate gilt frame with artist's label verso, signed and inscribed by the artist with a date of 1971, a sketch of a seascape verso, mostly covered up by the stuck down label.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
Lot 830
A COLLECTION OF 'HIGHLAND STONEWARE' DINNER AND KITCHENWARE ITEMS to include a lamp with a lake scene, height 41cm (untested), five plates in seascape, landscape, and puffin patterns, diameter 20cm, two small mugs in seascape and sheep patterns, three fish individual handled dishes with different fish patterns, two with 15.5cm diameters and the third 18cm diameter, a seascape serving bowl diameter 23.5cm, and two Tain Pottery thistle patterned bowls (14) (Condition Report: items require a thorough clean, no obvious damage)
Lot 74
Anthony Stern (1944-2022) A selection of art glassware to include a multicoloured paperweight 9cm high, blue 'Seascape' bowl 9.5cm high x 14cm wide, two globular formed vases 15cm high x 13.5cm wide and a tapering vase with wrythen decoration 23cm high, each signed to the basesIf there is no condition report shown, please request
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