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Click here to subscribe▲ Clive Barker (b.1940) 'Still Life (Saucepan and Eggs)', 2006copper and brass, stamp signed, titled and dated on a plaque to the base40.5cm wide26cm deep27.5cm highCondition ReportSurface dust and dirt with tarnishing, would benefit from a light clean. Some small scattered spots of oxidisation and verdigris to the copper base and backplate. For a full report and further images please contact the department.
▲ William Scott RA (1913-1989) 'Orange Still Life', 1956 (William Scott Archive No.1893);verso, pencil sketch of Mary Scott, the artist’s wife, late 1930ssigned 'W. Scott' l.r., gouache50.5 x 68cmProvenance: Private collection, USA;Offer Waterman & Co., London;the property of a private collector.The drawing of Mary Scott is similar to the oil painting ‘Seated Nude’, 1939, Tate, London.We are grateful to the William Scott Archive for their kind assistance with the cataloguing of the present work.In the 1950s, William Scott's use of vibrant colours, like orange and ochre, played a crucial role in his still-life compositions, marking a key period in his artistic development. As a member of the post-war British painting group, including artists such as Patrick Heron, Terry Frost and Peter Lanyon, Scott was influenced by the boldness of abstract expressionism. In 1953, his exposure to the New York School, where he met leading figures like Rothko, de Kooning and Pollock, made a significant impact on his approach to abstraction. Despite this, Scott remained deeply attached to the still-life genre, finding ways to modernise it while infusing it with abstraction. His works from the late 1950s often featured everyday objects like jugs, bowls and pans, painted against bold backgrounds in colours like orange. These hues, especially the warm tones of orange, went beyond mere decoration - they emphasised the physical presence of the objects and imbued the scenes with energy.Scott's choice of orange can be seen as a deliberate effort to elevate these everyday items, drawing attention to their form and giving them a unique vibrancy. This use of colour was particularly striking in works, as seen here in lot 278, where the colour envelops the composition, making items seem dynamic and essential. For Scott, orange was not only a visual tool but also a way to convey a sense of warmth and vitality. It helped balance the austerity of his minimalist approach with the sensuality he sought to evoke. By combining the figurative and abstract elements of his work, Scott's use of orange served as a bridge between his engagement with American abstraction and his European roots in more tactile, representational art.Condition ReportFramed: 67 x 84.5cmThe work is executed on paper. Rippling to the sheet visible when viewed from the side under raking light. Pinholes to top corners. A tiny tear to the extreme upper right corner. Lower edge torn slightly unevenly. Presents well overall when viewed on the wall.
▲ William Scott RA (1913-1989) 'Grey, Black and White', 1959 signed 'W. Scott' l.r., gouache, watercolour and collage 48 x 66cm, unframed Provenance: With Hanover Gallery, London, 1960; Mr and Mrs P Wakefield; Sotheby's, London, 1 October 1997, lot 265; the property of a private collector. William Scott’s 'Grey, Black and White', 1959, exemplifies his distinct approach to abstraction - balancing restraint with expressive energy. While often associated with simplicity, his late 1950s and 1960s works embraced texture, layering and gestural application. He experimented with contrasts - thick and thin paint, smooth and rough surfaces - allowing imperfections to become part of the composition. In this piece, Scott abandons defining outlines, letting forms emerge organically. Muted tones of black, grey, brown, and off-white create a quiet tension, while his raw, unfinished surface reflects his belief in 'the beauty of the thing done badly'. Paint is pushed, scraped and layered, revealing his process and rejecting a polished aesthetic in favour of something more tactile and immediate. Despite its abstraction, Scott’s work never fully detaches from reality. As he stated, 'I cannot be called non-figurative while I am still interested in the modern magic of space…the things of life'. In 'Grey, Black and White' he captures this ambiguity, hinting at stone walls, landscapes, or familiar objects, while remaining open to interpretation. The artist's paintings from this period focus as much on the act of painting as the final image. His careful yet spontaneous approach invites viewers to engage with space, texture and form in a way that feels both structured and free. Scott's 'Grey, Black and White' stands as a testament to his mastery of abstraction, where surface and tone create an atmosphere of quiet dynamism and subtle depth. Reference: Norbert Lynton, 'William Scott', Thames & Hudson Ltd., London, 2004. Condition ReportMount: 73 x 91cm Presents well overall. A little possible time staining and fading. A faint stain to the right of the black shape in the centre of the top edge.There are some remnants of paper on the front of the work in the centre of the square in the lower right, possibly the remains of previous collage (?). Small bumps/ undulations to the brown collage in the upper right quarter. There is some abrasion to the surface of the paper at the bottom of pale brown collaged rectangle in the upper right quarter. Hinge mounted with two pieces of tape applied to the reverse of the top corners. Please see additional condition images.
▲ George Bouzianis (Greek, 1885-1959) Still life with coffee cupsigned 'Bouzianis' l.l., watercolour33.5 x 23.5cmProvenance: The Property of a European Collector.Condition ReportFramed: 54 x 40cmFoxing with brown spots and speckles, please refer to images. A little cockling to the top. Not viewed out of glazed frame.
▲ Raymond Campbell (b.1956) Still life with orange, raspberries, nuts and grapessigned 'Raymond Campbell' l.r., oil on board14 x 22cmProvenance: With Bourne Gallery.Condition ReportFramed: 29.5 x 37cmAppears to be in good condition. Not examined under UV light, for a full report please contact the department.
▲ Francis Russell Flint (1915-1977) Still life with daffodilssigned 'FRANCIS R. FLINT' l.r., also signed and inscribed verso, oil on canvas51 x 61cmCondition ReportFramed: 64 x 74.5cmInscribed verso with the artist's address in Coffinswell, Devon where he is known to have lived in the 1940s. Unlined. A little light surface dirt, however appears to be in otherwise good order. Not examined under UV light, for a full report please contact the department.
▲ Reg Gammon (1894-1997) Men at work;Still life of daffodils by a windowtwo, both signed 'Reg Gammon' l.l., watercolour29.5 x 42.5cm and 27 x 38cm respectively (2)Provenance: The collection of Robert and Jenny Borgerhoff Mulder.Condition ReportFramed: 46 x 58cm and 43 x 52cmA little discolouration to the extrme edges. Time staining and a little fading to 'Men at work'. Not viewed out of glazed frames.
Francoise V Clarke-Fort, 'Still Life (2) with blue pot', oil on canvas, signed lower right, title and artist inscribed verso and dated 1958, label verso for James Bourlet & Son, 63 x 76cm, G R Cripps, landscape scene with stream in woodland, watercokour, signed lower right and dated 1920, 54.5 x 75.5cm and two other pictures (4)
Rita Smith (British, 21 Artists Group, 20th / 21st century) Still life of a vase of flowers and oranges on a table oil on board, unsigned, unframed 24 x 24in (61 x 61cm) * This painting forms part of a legacy bequest to the Blue Cross animal charity, directly from the artist's estate. Please see lots 293-301 for further lots from this collection.
This vibrant still life linen on board painting by artist Faveu showcases a beautifully arranged composition of fruits, ceramics, and draped fabric. The artwork is executed in a bold, textured style, with a strong emphasis on form and color. The earthy tones of the background contrast with the vivid yellows, greens, and reds of the fruit, creating a dynamic interplay of elements. The brushstrokes exhibit an expressive quality, lending the piece a unique character. The painting is signed Faveu in the lower right corner, affirming its authenticity. The artist demonstrates a keen understanding of classic still-life techniques while infusing the work with a contemporary and personal touch. The framed artwork is ready for display, adding a sophisticated and timeless appeal to any art collection. Artwork dimensions with frame: 30"L x 24"H x 1.75"W.Artist: FaveuIssued: 20th-21st centuryDimensions: See DescriptionCondition: Age related wear.
This framed botanical still life print features a decorative urn filled with lush fern fronds and cascading berries, rendered in a warm, muted palette of earthy tones. The composition evokes a classical European-inspired aesthetic, with aged patina effects that enhance its vintage charm. The artwork exhibits a textured finish with intentional craquelure, giving it the appearance of an antique fresco. Encased in an ornate, gilded frame with intricate scrollwork, this piece embodies a traditional and timeless appeal, making it a striking addition to any interior space.Issued: c. 2000Dimensions: 24"L x 30"HCountry of Origin: USACondition: Age related wear.
This oil-on-canvas still life painting by Palm Beach artist Annette Krauss Rose features a vibrant composition of a metallic vase and cut fruit against a draped fabric background. Rose, a 20th-century artist, studied painting in New York City under Tonalist and Impressionist Frank Vincent DuMond, whose influence is evident in her use of light and color. The painting measures 20.5”L x 22.5”H and is signed by the artist in the lower right corner. A fine example of Rose's mastery of still life, this work is ideal for collectors of Impressionist and Floridian art.Artist: Annette Krauss Rose American 20th CenturyDimensions: See DescriptionCountry of Origin: United StatesCondition: Age related wear.
COLLINS NEW NATURALIST. Botany & Plants volumes: numbers 5 Wild Flowers; 7 Mushrooms & Toadstools; 10 British Plant Life; 14 Art of Botanical Illustration; 16 Wild Flowers of Chalk & Limestone; 19 Wild Orchids of Britain; 24 Flowers of the Coast; 32 Trees, Woods and Man; 33 Mountain Flowers; 43 Alien Weeds; 48 Grass & Grasslands; 54 The Pollination of Flowers; 58 Hedges; 85 Plant Disease; 86 Lichens; 96 Fungi; 99 Mosses & Liverworts; 100 Woodlands; 116 Plant Pests; 117 Plant Galls; 122 Vegetation of Britain & Ireland. The last 5 still in shrinkwrap (21) (2 boxes)
A group of five paintings, drawings and prints, to include: Maud Harmsworth - Ploughing scene, watercolour, labelled verso; A Victorian still life of fruit, labelled 'L. Hatton' verso; A pastel beach scene with three ladies wearing hats, signed indistinctly in pencil lower left; together with a colour print after Myles Birket Foster and a lithograph of boats on the Grand Canal in Venice, largest frame: 37 x 48 cm (5)
Two watercolours and two prints (local interest) to include: Frank Palmer Cook (1894-1994) - 'Calcot Gloucester', watercolour, signed and dated lower right, 33 x 45 cm; John Bicknell - 'Salisbury Cathedral, from the Meadows' (1957), signed, watercolour; together with a colour print still life after Miachino Garcello in birdseye maple frame and a Medici print (4)
gouache on paper, signed, titled label verso mounted, framed and under glass image size 54cm x 48cm, overall size 78cm x 71cm Note: Ethel Walker was born in Ayrshire, Scotland, in 1941. She graduated from the Glasgow School of Art in 1964 where she had been taught by David Donaldson, once the Queen's portrait painter. Beginning her career as a teacher, by the age of twenty-seven she was a full-time artist. Walker is one of the most successful female painters working in Scotland today. Her talent in capturing the ever-changing light of the Scottish landscape is outstanding, and her subtle but strong still life paintings are highly-prized. Work is held in many public and corporate collections worldwide, including the Royal Bank of Scotland and Sara Lee Holdings. In The Scottish Contemporary Art Auction of 12th September 2021 "The Silver Table" (lot 562), a mixed media by Ethel Walker sold for £2600 (hammer) and in our December 2021 auction "The Lace Cloth" achieved £3000 (hammer).
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