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Lot 42
Collectables to include a large horn framed magnifying glass,10cm diameter; other wooden items and treen to include string boxes, bellows, pewter spoon and armada type dish; solitaire board, decorative oval painted still life of grapes and strawberries on board in the manner of John van Huysum (unframed); also boxed collection of multicoloured rubber (?) balls (qty)please see additional images of the balls which may or may not be rubber!
Lot 80
JOHN LANCASTER (BRITISH, 1913-1984). (d) Still life of White Rose signed and dated '1956 (lower right), oil on canvas 18cm x 22cm (7in x 8.75in) image size 28cm x 32cm (11in x12.5in) frame size. CR* Some crazing to mainly top left hand corner, frame with rustic look, generally good condition.
Lot 84
LUCY HARWOOD (BRITISH, 1893-1972). (d) Still Life with Flowers and Chicken Unsigned, oil on canvas 50 x 39.5cm (19.5in x 15.5in) - image size 54 x 44cm (21.25in x 17.25in) - with frame bearing a label to the back "Gift to Chris Squire From Cedric Morris In Memory of Arthur Lett-Haines” Provenance - reputably was given as a gift from Cedric Morris, Note - Lucy Harwood Studied at the East Anglian School of Printing and Drawing in Dedham which was run Cedric Morris. CR* Good clean condition with no obvious damage.
Lot 509
A collection of Kaiser porcelain ornaments, table boxes and figurines, to include The Frog King figurine from the Grimm Brothers fairy tales, a wall charger decorated with a Flemish still life painting after a painting by Cornelius de Heem, an Oakley fine china cased porcelain coffee set, and a similar set, and other items.Location: G7If there is no condition report shown, please request
Lot 152
Sarah John (20th century), Bottle and Glasses, study reverse painted on glass, signed to the mount. 30x15cm approx. Together with another, still life study in the same hand. Painted on Wool. 20x29cm approx. Both framed and glazed. (2) (B.P. 21% + VAT) Good original condition. Grubby externally.
Lot 1124
λ OSKAR ROBERT DOGARTH (AUSTRIAN 1898-1961) STILL LIFE OF FLOWERS ON A STONE LEDGE Oil on board Signed (lower right) 40 x 30cm (15½ x 11¾ in.) Provenance: Private Collection, Lancashire Estate Measurements do not include the frame unless specified. Please note Dreweatts are not liable for damage to frames or mounts. Condition Report: Please Note: All Lots In This Auction Are Not Available To View Light surface dirt and fine craquelure throughout. Inspection under UV reveals an unevenly applied yellowing varnish but no evident signs of restorations or damage.High resolution images are available upon request, please contact the department directly at pictures@dreweatts.com PLEASE NOTE: ALL LOTS ARE LOCATED SACKVILLE WEST STORAGE IN ANDOVER SP10 3SA. Condition Report Disclaimer
Lot 575
Kate L Andrade (British, 1861-1937) - A group of pictures comprising - Still life of roses in a glass vase - Oil on canvas - 25 x 35cm - 35 x 45cm framed - Monogrammed lower right - Together with three watercolours by the same artist, the largest 44 x 35cm, the smallest 26 x 17cm, all monogrammed (4) - Provenance: By descent in the artist's family
Lot 581
A group of pictures of John D Welsh interest (Australian/ British, early 20th Century) -A portrait of the artist by Ivor Hele CBE (Australian, 1912-1993) -Oil on canvas (unframed, canvas rolled) -94 x 46cm -Signed and dated 1930 -Together with a portrait of Ivor Hele by John D Welsh, oil on canvas (unframed, canvas rolled), 60 x 50cm, apparently also dating to 1930 -A still life of flowers and fruit by John D Welsh, oil on canvas (unframed), 51 x 41cm -And Welsh's sketchbook with pen-and-ink drawings of Continental towns and studies from the model -And Welsh's postcard written to Lady Celia MacDonald (née Edwards) Carmichael (5) -John D Welsh was a student of Marie Ann Tuck (Australian, 1866-1947), and exhibited a painting of Santa Maria de la Salute at the Centenary Tribute Exhibition by the Students of Marie Tuck, alongside Ivor Hele -Provenance: By descent from the friend and executor of John D Welsh
Lot 388
▲ 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.
Lot 278
▲ 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.
Lot 287
▲ 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.
Lot 154
▲ 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.
Lot 147
▲ 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.
Lot 131
▲ 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.
Lot 123
▲ 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.
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