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Click here to subscribeSmall snuff box in embossed gold. France. 18th century.In an oval format, completely carved with exquisite decoration of architecture, still life of fruits and flowers, musical instruments (violins, trumpets) and curtains. On the inside it has the marks “S crowned” and a lion rampant. 2,8 x 7,4 x 3,2 cm.Weight: 56 g.
Luis Egidio Meléndez (Naples, 1716 – Madrid, 1780)"Still Life with Pears, Peaches, Grapes, and Melon"Oil on canvas. Relined.44 x 63 cm.This painting is an analogous version to the one kept in the Prado Museum, dated 1771 and of almost identical dimensions, 42 x 62 cm (Catalogue No. P000931).As stated in the Prado Museum biography of the artist: "A Spanish painter, born in Italy to a Spanish family of Asturian origin, he was the son of Francisco Antonio, the miniaturist, and nephew of Miguel Jacinto, the portraitist. He began his education in Madrid alongside his father, then attended classes at the Preparatory Board of the Academy of San Fernando and was a pupil of Louis-Michel van Loo, mastering portrait technique, as demonstrated by his magnificent Self-Portrait (Musée du Louvre). His father’s expulsion from the board, and a probable conflict with Van Loo as a result, led to his dismissal from academic studies. He travelled to Italy and later returned to Spain, where he initially worked as a miniaturist, but his most significant contribution was in still life painting, becoming one of the most distinguished still-life painters in the history of the genre. His career belongs to the second half of the 18th century, a period when the century entered a decisive phase, gradually shaped during the reign of Philip V, both by the presence of foreigners at court and by the travels of Spaniards to Italy, along with projects to reorganise artistic education, an era that would reach its peak with Goya. Meléndez's paintings are generally characterised by great sobriety, executed with a solid sense of drawing and perfectionist realism, down to the smallest details. His ordered and clear compositions, with a taste for contrasts of light and shadow, possess an intensity that recalls the best achievements of Sánchez Cotán or Zurbarán."Reference bibliography:https://dbe.rah.es/biografias/16867/luis-egidio-melendez-de-riberahttps://www.museodelprado.es/aprende/enciclopedia/voz/melendez-luis-egidio/e99ecaad-8a11-4614-932f-960df1f833e4https://www.museobbaa.com/obra/bodegon-de-cocina/
James Fullarton DA (b.1946) Oil "Study of Mushrooms", signed, Richard Hagen Gallery label and with Richard Hagen receipt dated 1994, 9cm x 19cm From the collection of the late Maurice Costley James Fullarton is a Scottish artist born in Glasgow. He studied at the Glasgow School of Art. He works in both acrylic and oils and his oeuvre includes portraiture, landscape and still life, working from his home in Ayrshire. With his keen eye for colour, his work can be seen as following on from the Scottish colourists of the early 20th century. He has exhibited at the Royal Glasgow Institute of Fine Arts and with the Royal Scottish Academy.
Craigie Aitchison CBA RSA (1926-2009) Limited edition artist's proof screenprint “Candy Dead”, signed verso 2002, 30cm x 25cm From the collection of the late Maurice Costley. Maurice and Craigie were acquainted, a postcard from Craigie to Maurice asking after his health (following an operation) is included in lot 74 Craigie Aitchison was a Scottish born painter, who studied at the Slade School of Fine Art. His work includes still life, portraits and paintings of his Bedlington Terriers. However he is best known for depicting crucifixions, which appeared in his work after he studied in Italy in the early 1950s. His work possesses a poetic use of colour, within simple but vibrant compositions. He had his first solo exhibition at the Beaux Arts Gallery in London in 1959 and exhibited regularly both internationally and in the UK, including at Marlborough Fine Art. Retrospectives of his work were held at the Serpentine Gallery and Hardwood House and The Gallery of Modern Art in Glasgow. He won the Jerwood Prize in 1994 and the Nordstrom Art Prize in 2000. His work is in many private and public collections, including several at the Tate, Birmingham Museum and Art Gallery and also the National Gallery of Scotland.
Craigie Aitchison CBA RSA (1926-2009) Oil on canvas “Arum Lily”, 2004, with Timothy Taylor Gallery label verso and with Timothy Taylor Gallery receipt dated 2005, 39cm x 30cm From the collection of the late Maurice Costley. Maurice and Craigie were acquainted, a postcard from Craigie to Maurice asking after his health following an operation is included in lot 74 Craigie Aitchison was a Scottish born painter, who studied at the Slade School of Fine Art. His work includes still life, portraits and paintings of his Bedlington Terriers. However he is best known for depicting crucifixions, which appeared in his work after he studied in Italy in the early 1950s. His work possesses a poetic use of colour, within simple but vibrant compositions. He had his first solo exhibition at the Beaux Arts Gallery in London in 1959 and exhibited regularly both internationally and in the UK, including at Marlborough Fine Art. Retrospectives of his work were held at the Serpentine Gallery and Hardwood House and The Gallery of Modern Art in Glasgow. He won the Jerwood Prize in 1994 and the Nordstrom Art Prize in 2000. His work is in many private and public collections, including several at the Tate, Birmingham Museum and Art Gallery and also the National Gallery of Scotland. Condition ReportRecto: Very good condition, no signs of dirt/wear and tear. Free mounted. Under UV - Artist's over paint upper right corner. Frame: Very good condition. Verso: Back board cut out to reveal canvas and stretcher, both in very good order. Tim Taylor Gallery label lower centre.
Francis Edward James RWS (1849-1920) Triptych of watercolours Still life flowers, each signed in pencil lower left and 16cm x 16cm, gilt framed, glazed and mountedCondition ReportThere is an old infestation of small bugs inside the glazing (now dead), but this requires treatment and cleaning. The watercolours themselves are in reasonable order overall, one undulates slightly and is not sitting flat, some very minor surface foxing and discolouration. Uninspected out of the frame. The frame with some wear and chipping to gilding. 86.5cm x 39cm, the frame overall.
Royal Academy of Art postcard "Craigie Aitchison CBRA", lamb in green field, written and sent to Maurice Costley 'Dear Maurice it is good to hear you are fine after the operation, hope to see you soon if you come to London ..., all best wishes Craigie' William, Andrew Gibbon "Craigie, the Art of Craigie Aitchison", with inscription for Maurice, best wishes Craigie Aitchison, with dust jacket Haste, Cate "Craigie Aitchison, a Life in Colour", with inscription best wishes, Cate Haste, with dust jacket Lambirth, Andrew "Craigie Aitchison Out of the Ordinary", Royal Academy of Arts book with dust jacket "Craigie Aitchison A Private Collection", Waddington Totnes Galleries 2013 catalogue Craigie Aitchison in Memorium folding programme, private view invitation to Tim Taylor Gallery Exhibition 2006 and another postcard From the collection of the late Maurice Costley Craigie Aitchison was a Scottish born painter, who studied at the Slade School of Fine Art. His work includes still life, portraits and paintings of his Bedlington Terriers. However he is best known for depicting crucifixions, which appeared in his work after he studied in Italy in the early 1950s. His work possesses a poetic use of colour, within simple but vibrant compositions. He had his first solo exhibition at the Beaux Arts Gallery in London in 1959 and exhibited regularly both internationally and in the UK, including at Marlborough Fine Art. Retrospectives of his work were held at the Serpentine Gallery and Hardwood House and The Gallery of Modern Art in Glasgow. He won the Jerwood Prize in 1994 and the Nordstrom Art Prize in 2000. His work is in many private and public collections, including several at the Tate, Birmingham Museum and Art Gallery and also the National Gallery of Scotland.
Alberto Morrocco OBE FRSA FRSE RSW (1917-1998) Oil on canvas Beach hut at the lido, signed and dated ’90, with Richard Hagen receipt dated 1997 and inscribed 'Provenance: The Scottish Gallery, Edinburgh', 76cm x 76cm, with Fine Art Society 2007 exhibition catalogue From the collection of the late Maurice Costley Alberto Morrocco was born in Aberdeen, Scotland to Italian emigre parents. He went to the Gray’s School of Art, followed by travelling and studying throughout Europe. He was known for being a superb draughtsman and spent many years as an art teacher in Dundee. In 1943 he won the Guthrie Award. He was a prolific artist. His work includes portraiture, still life, figure painting, interiors, landscapes and most notably beach scenes. With brilliant use of colour, his paintings are warm and inviting. Much of his work shows the lasting influence of early Picasso and Braque. Morrocco also painted murals for St Columba’s Church, Glenrothes and Liff Hospital Dundee, producing some of his best work later in life. He had over 30 solo exhibitions in London, Scotland and elsewhere and can been seen in numerous public collections. Condition ReportIn good order overall. A very minor linear surface mark to one of the beach hut doors and another towards the top of the beach hut, these are minor, a very small flake to canvas to one of the other beach hut doors. Uninspected out of frame.
Craigie Aitchison CBE RSA (1926-2009) Limited edition print Daffodils in vase, 34/75, signed and dated 2001 verso, 29cm x 23.5cm From the collection of the late Maurice Costley. Maurice and Craigie were acquainted, a postcard from Craigie to Maurice asking after his health following an operation is included in lot 74 Craigie Aitchison was a Scottish born painter, who studied at the Slade School of Fine Art. His work includes still life, portraits and paintings of his Bedlington Terriers. However he is best known for depicting crucifixions, which appeared in his work after he studied in Italy in the early 1950s. His work possesses a poetic use of colour, within simple but vibrant compositions. He had his first solo exhibition at the Beaux Arts Gallery in London in 1959 and exhibited regularly both internationally and in the UK, including at Marlborough Fine Art. Retrospectives of his work were held at the Serpentine Gallery and Hardwood House and The Gallery of Modern Art in Glasgow. He won the Jerwood Prize in 1994 and the Nordstrom Art Prize in 2000. His work is in many private and public collections, including several at the Tate, Birmingham Museum and Art Gallery and also the National Gallery of Scotland.
Craigie Aitchison CBA RSA (1926-2009) Oil on canvas "Tree with Mountain", 2008, signed verso, Tim Taylor Gallery label verso, 15cm x 12cm From the collection of the late Maurice Costley. Maurice and Craigie were acquainted, a postcard from Craigie to Maurice asking after his health following an operation is included in lot 74 Craigie Aitchison was a Scottish born painter, who studied at the Slade School of Fine Art. His work includes still life, portraits and paintings of his Bedlington Terriers. However he is best known for depicting crucifixions, which appeared in his work after he studied in Italy in the early 1950s. His work possesses a poetic use of colour, within simple but vibrant compositions. He had his first solo exhibition at the Beaux Arts Gallery in London in 1959 and exhibited regularly both internationally and in the UK, including at Marlborough Fine Art. Retrospectives of his work were held at the Serpentine Gallery and Hardwood House and The Gallery of Modern Art in Glasgow. He won the Jerwood Prize in 1994 and the Nordstrom Art Prize in 2000. His work is in many private and public collections, including several at the Tate, Birmingham Museum and Art Gallery and also the National Gallery of Scotland.
Music (SIGNED): Storm Thorgerson & Aubrey Powell: For the Love of Vinyl: The Album Art of Hipgnosis. NY. PictureBox, 2008, 1st. Edn. Stated. SIGNED: Aubrey Powell, Hipgnosis, 18-11-09. 4to. Fine; Storm Thorgerson & Peter Curzon: Mind Over Matter 4: The Images of Pink Floyd. 2007. DW. Signed by Thorgerson. 4to. Fine; PLUS: loosely inserted Signed invitation card for the RAC private view of Thorgerson's works; White, C: The Life And Times Of Little Richard. Pan books, 1984, SIGNED by Little Richard. Fine; Brown, Ron & Cyril Brown: Georgia On My Mind: The Nat Gonella Story. 1st. Edn. DW, Signed by Nat Gonella, VG; & Eric CLPATON: Six-String stories. Hard backs, new & still shrink-wrapped. (5)
*VALERIE BARDEN (BUSTON) (b. 1938) Still life study of gloves and a purple scarf on a circular table with yellow tablecloth, 1997, monogrammed and dated lower left, oil on board, 69cm x 80cm, Framed dimensions: 86.5cm x 98cm Provenance: The estate of the late Brian Phelan (1934-2024) and Dorothy Bromiley Phelan (1930-2024). Note: Valerie Barden is a figurative artist who paints the contemporary world as she sees it in as real and direct way as possible. Subjects include shop fronts and ladies at Ascot.Brought up in Buckinghamshire and Sherborne, Dorset, Valerie developed her artistic ability and met her husband, the artist Robert Organ, then moved to Cornwall and brought up four children. In 1973 the family moved to rural East Devon, where Valerie achieved a B.A. Hons in Art History of the Renaissance and Modern Art and Design.
*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.
*LUCY HARWOOD (1893-1972) Suffolk landscape looking towards St. Mary's Church, Kersey, signed verso, oil on canvas, 43cm x 54cm, Framed dimensions: 52cm x 62cmProvenance: A gift from the artist. Note: Harwood was born at Belstead near Ipswich and moved with her family to East Bergholt while still a young child. A botched medical operation left Harwood partially paralysed on her right-hand side and ended her ambition to be a professional pianist. Turning to art, rather than music, Harwood enrolled in the Slade School of Fine Art in London prior to the start of World War I. In 1937 she studied at the East Anglian School of Printing and Drawing in Dedham run by Cedric Morris. Harwood remained with the School when it re-located to Benton End at Hadleigh in 1940 and was associated with the School in various roles for many years.Working with her left hand only, Harwood created still-life and landscape paintings of Suffolk, in particular of the area around her home at Upper Layham but also of other parts of Britain and abroad.
*MAX BAND (1900-1974) A portrait of a Jewish worker in an interior, depicted three-quarter length, signed lower left, oil on canvas, 98cm x 62cm,Framed dimensions: 113cm x 77cm Provenance: Private collection, Dorset.Note: Max Band was born in Kudirkos Naumiestis, Lithuania in 1900. This small village offered very little artistic guidance, however the young Band was determined to create. His first oil painting was made with homemade brushes he created from sticks.Band made his way to Berlin to study art where his talents were first recognised by the public. One of his first drawings was selected by his teacher and entered into an open exhibition. Upon seeing the work, a wealthy collector tracked down Band to purchase the drawing. Never considering or putting much care into the financial value his artwork should garner Band could not name a price. Upon being pressed for a figure, Band responded that he valued time over money, so a figure was agreed upon based on two months’ worth of food.The French critic Paul Fierens described the early period of Band’s career stating, “The refinement of his color, this what he owes to France, that that he has taken something of Chardin, Corot or Bonnard, but the Parisian sky, after Lithuania and the Louvre, quite naturally became his third master. Paris, with its pale azure, its inimitable greys, its delightful white, offered itself to Max Band as an example and gave him excellent advice."Max Band’s artistic output was largely made up of still lives, landscapes, and portraits of the sea. These subjects offer a free flow of color and movement. He also created many works of the Jewish religious experience during his life. These paintings offer a deep richness of feeling that could only be reflected by an artist of his skill and above all experience living through WWII.If one label can be attached to Band’s artwork it is Humanism. Whether it be the natural world, or more personal subjects, Band had a unique expression for deeper qualities hidden beneath the surface. This unique vision was best stated by the artist in describing one of his paintings of Jewish Talmudic scholars, “After living in France for nearly twenty years I began to see something strange in the eyes of the people. As the threat of bombing grew ever more menacing, the proud French people, who for centuries had walked in pride and freedom, as befitted a nation universally regarded as the epitome of culture and spirit, began to live in fear. It showed in their eyes and gestures. They listened for threatening sounds in the night.”Max Band left France in 1940 for the United States where he lived and worked for the remainder of his career. He passed away in 1974.
*ROBERT ORGAN (1933-2023) 'Walnuts and Plums', 2001, still life study of items on a tabletop in an interior, signed and dated verso, oil on canvas, 48.5cm x 71cm, Framed dimensions: 64cm x 85.5cm Provenance: The estate of the late Brian Phelan (1934-2024) and Dorothy Bromiley Phelan (1930-2024), Note: Robert Organ was born in 1933, in Hutton in Somerset. He studied art at The Royal West of England College of Art and in 1952 won a place at the Slade School of Fine Art under the tutelage of George Sweet and Claude Rogers. Contemporaries of his were Francis Hewlett, Philip Sutton and Euan Uglow. In 1958 he married fellow artist Valerie Buston, professionally known as Valerie Barden, and they moved to Cornwall where he taught painting at Falmouth School of Art, alongside Francis Hewlett. After 12 years he moved to Devon to concentrate on his painting, he had also developed an interest in architecture, and he became a drawing tutor at the Architectural Association School of Architecture in London and a visiting tutor in Architecture at Bristol and Cambridge universities. In 1986 he served as Artist in Residence at the Royal Albert Memorial Museum in Exeter.His work was exhibited widely, including Beaux Arts, Newlyn Orion Gallery, the Royal West of England Academy and Browse and Darby. His paintings are held in numerous public collections, including Royal Albert Memorial Museum, Godolphin House, University of Edinburgh and the Royal West of England Academy.
§ Eliot Hodgkin (1905-1987) Six Pears signed and dated ‘Eliot Hodgkin 25 XI 61’ (lower right) tempera on board 11.5 x 40cm Provenance: With The Reid Gallery, LondonExhibited: London, The Reid Gallery, Fifty Still Life Paintings by Eliot Hodgkin, 04/12/1963 – 28/12/1963, cat. no. 8 The present work will be included in the forthcoming catalogue raisonné. Born Curwen Eliot Hodgkin, the only son of Charles Ernest Hodgkin and his wife, Alice Jane, Hodgkin developed his artistic skills at the Byam Shaw School of Art and, later, at the Royal Academy Schools, under Francis Ernest Jackson. Best-known for his still life works, which often feature everyday objects such as vases, fruits, and domestic artefacts, Hodgkin's thoughtful compositions transcend the genre, becoming meditations upon the extraordinary beauty of the mundane and everyday.A defining characteristic of Hodgkin’s still lifes is his precise handling of light and texture and his ability to capture the tactile qualities of these objects, from the smooth sheen of porcelain to the fleshy and delicate surface of fruit. His innovative use of the tempera, a technique that involves pigments mixed with a water-soluble binder, allowed Hodgkin to achieve a singular sense of luminosity in his paintings. This medium, known for its vibrant colours and matte finish, helped him create works with a strikingly realistic appearance and a subtle interplay of light and shadow. His careful application of light enhances the three-dimensionality of his subjects, making them appear almost tangible. Work is framed but not glazed, outermost edges are obscured by the mount so are not available for inspection. Date and signature is possibly slightly faded, there are a handful of very minor scattered accretions throughout, otherwise condition appears nice.
λ DOROTHEA SHARP (BRITISH 1873-1955) STILL LIFE OF FLOWERS Oil on board Signed (lower left) 51 x 41.5cm (20 x 16¼ in.)Provenance: Spink & Son, London Thence by descent to the present owner Condition Report: Some cracking and associated loss to the upper right corner. Some yellowing to the varnish throughout. Inspection under UV reveals no obvious evidence of restoration or repair, but an uneven varnish. Condition Report Disclaimer
λ ALGERNON NEWTON (BRITISH 1880-1968) HOUSE ON THE SURREY CANAL Oil on canvas Signed with monogram (lower left) 69 x 91.5cm (27 x 36 in.)Painted in 1950. Provenance: The Leicester Galleries, London Private Collection, Alan M. Allan From the Estate of Margaret Sparks (née Allan), sold by order of the ExecutorsExhibited: London, The Leicester Galleries, Paintings of London by Algernon Newton, April, 1951, no. 7 Sheffield, Sheffield City Art Galleries, Algernon Newton R.A. 1880-1968, July, 1980, lent by Alan M. Allan, travelling exhibition to Plymouth, City Art Gallery and Museum, September - October 1980 and London, Royal Academy of Arts, November - December 1980We are grateful to Sir Mark Jones and Nicholas Newton for their assistance in compiling the catalogue entry for this painting. The gritty, urban landscape through the eyes of Algernon Newton becomes picturesque, serene, and captivating. Often referred to as the "Canaletto of the canals," Newton was celebrated for his ability to infuse urban scenes with a calm, contemplative atmosphere-a skill honed through his training at the Slade School of Fine Art and the London School of Art in Kensington. Newton recorded and interpreted on canvas the industrial and technological changes of his era, capturing the transformation of the urban landscape. His connection to the Royal Academy began early, exhibiting for the first time in 1903 while still a student. Over the years, his reputation grew, leading to his election as an Associate of the Royal Academy in 1936 and as a full member in 1943. In 1980, the Royal Academy hosted a retrospective exhibition of his work. In House on the Surrey Canal, Newton showcases his remarkable talent for capturing the quiet allure of industrial London. The painting is bathed in a soft light that invites the viewer to linger, guiding the eye across sunlit crates, the shimmering waters of the canal, and the townhouse that stands quietly yet enigmatically in the foreground. Newton's meticulous attention to light, shaped by his admiration for Canaletto, is particularly evident here. He frequently visited the National Gallery in London to study Canaletto's mastery of light in his large-scale Venetian landscapes. Newton adopted Canaletto's technique of tonal contrasts and the layering of thin glazes to create a flat, serene effect. In 1951 The Leicester Galleries hosted a one man exhibition of Algernon Newton's works and a review of the exhibition published by The Illustrated cited: 'London - without Londoners: Newton's paintings of her many aspects.' '"The Surrey Canal": the picturesque yet slightly sinister beauty of the London canals has provided Newton with many subjects' The Illustrated London News, April 14 1951, p. 586 Newton's original colour notes for this work still exist and are held in the Tate Archives. Newton discusses his colour choices, particularly for the sky: 'Deptford. Blue sky above brilliant blue. (Brilliant gold white clouds)... Distant pale green peep of sky, warm with gold clouds soft lit warmish grey shadows. Big mass curling over top L and distant range of curling gold clouds.' Algernon Newton, TGA 749/1/8, Tate Archives While some artists, like Paul Nash, sought peace and tranquillity away from the grittiness of urban life after the First World War, Newton turned his attention to depicting London in new and imaginative ways. He was particularly drawn to the canal network within the urban landscape. Newton expressed a desire to connect with the lives of London's poorest residents by portraying their daily surroundings without the need to depict the figures themselves, focusing instead on the desolate yet poignant landscapes they inhabited. The present lot is an ambitious example from this canal series painted in 1950. The work was last seen in public in 1980 when it was exhibited at the Royal Academy and has been in private ownership ever since. Condition Report: Stretcher mark visible to the lower edge. There is a thin line of dark blue pigment running along the centre of the extreme lower edge which appears to be retouching but does not flare under UV light. There are scattered areas of craquelure, mostly to the sky but the surface is stable. Inspection under UV reveals no obvious evidence of restoration or repair. The photograph published in the printed catalogue shows an area of 'glare' running along the lower edge of the work, this is not a condition issue and a result of the photographer's flash on the glossy finish of the varnish. Overall the work is in good original condition. Condition Report Disclaimer
λ ANNE REDPATH (SCOTTISH 1895-1965) STILL LIFE WITH JUG OF FLOWERS Watercolour Signed (lower centre) 49.5 x 59.5cm (19¼ x 23¼ in.) Condition Report: Unexamined out of glazed frame. Discolouration to the sheet throughout. Otherwise appears to be in good original condition. Condition Report Disclaimer
Arthur Wright (1904-1981) Still Life Study with flowers in a vase, fruits, Magpies, a Robin and a Squirrel, signed and dated 1976 lower right, oil on board, 46 x 51 cm, together with a still life showing a fruit bowl, clock, Thrush and a Robin, and further still life study showing flowers in a vase with a cockerel, by the same hand (total 3)Provenance: Ex Collection of a Northern Art Gallery
HERMÈS, TWO SILK SCARVES Comprising: HERMÈS, LA CHASSE A TIR, A SILK SCARF The cream ground with green border, with ochre and black guns and pastoral hunting scene detail, signed Hermès, designed by Philippe Ledoux, with hand rolled and stitched edges Dimensions: 86 x 88.5cm HERMÈS, GIBIERS, A SILK SCARF The brown ground with russet border, with a still life of various game, signed Hermès, designed by Henri de Linares, with hand rolled and stitched edges Dimensions: 86 x 88.5cm Condition Report: Both have marks. the first scarf has a couple of small pulls Condition Report Disclaimer
HERMÈS, TWO SILK SCARVES Comprising: HERMÈS, LA CHASSE A TIR, A SILK SCARF The cream ground with blue border, with brown guns and pastoral hunting scene detail, signed Hermès, designed by Philippe Ledoux, with hand rolled and stitched edges Dimensions: 86 x 88.5cm HERMÈS, GIBIERS, A SILK SCARF The cream ground with olive green border, with a still life of various game, signed Hermès, designed by Henri de Linares, with hand rolled and stitched edges Dimensions: 86 x 88.5cm Condition Report: Both scarves have some marks, they both have a couple of small picks Condition Report Disclaimer
Camille Matisse (French, first half 20th century) Still life of flowers in a blue and yellow vase oil on canvas, signed 'Camille Matisse (Paris)' lower right, gold painted gilt and composition frame (losses) 23½ x 17½in (59.7 x 44.5cm) * Surface dirt and discoloured varnish. Small frame abrasions to margins. Good overall.
**Franco Fortunato (Italian, b. 1946) Still life study with a burning cheroot resting upon a clam shell and two old bound books oil on canvas, signed lower right 23½ x 31¾in. (59.5 x 80.5cm) **(Subject to ARR) Condition: Discoloured old varnish, minute craquelure here and there, scuffs and small puncture
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