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Lot 242
In the manner of Duncan Grant (1885-1978)'Still life of flowers', oil on canvas, signed lower right, 56cm x 41cm with another painting 'Study of Irises' to the reverse of the canvas, unsigned, oil on canvas, 56cm x 41cm At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a condition report.
Lot 229
Heloise Toop (20th Century School) 'Still life', oil pastel, unsigned, 46.5cm x 59cmProvenance: Hesketh Hubbard Art Society 1974 at Mall Galleries, 17 Carlton House Terrace, SW1 label to the reverse. At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a condition report.
Lot 286
Geoffrey Robinson (b.1945) 'Still life with flowers', acrylic on board, signed in pencil lower left, 30cm x 40.5cmProvenance: With 'Lena Boyle Fine Art, 40 Drayton Gardens, London SW10 9SA' receipt, dated 19/10/01. Minimal display wear to the frame, otherwise seems ok. In good overall condition.
Lot 216
Prue Sapp (1928-2013) 'The birthday present (Still life of flowers)', oil on panel, signed lower right, 34cm x 31.5cmProvenance: The Flower Gallery, 366 Kings Road, London, SW3 5UZ. Overall ok with minimal display wear to the frame. At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a condition report.
Lot 302
H W P (20th Century School) 'Still life of flowers', oil on canvas, initialled lower right, 24.5cm x 21cm with an accompanying Chinese ginger jar with turquoise glaze, unmarked, 12.5cm high, which is featured in the painting (2) Gold frame with extensive wear and in need of a gentle clean. The canvas itself seems ok. The jar with overall wear, some glaze faults and some minor glaze losses.
Lot 326
ALISON WATT O.B.E., F.R.S.E., R.S.A. (SCOTTISH B.1965) STOCKING, 2020-21 oil on canvas 75cm x 62cm (29 ½in x 24 ½in) (unframed) Exhibited: Scottish National Portrait Gallery, Edinburgh, Alison Watt: A Portrait Without Likeness, 17 July 2021- 9 January 2022‘I can’t deny the lure of the past.’ – Alison WattAlison Watt is one of the UK’s most respected painters working today. Her oeuvre has gradually evolved since her figurative works first came to public attention at her sold out Glasgow School of Art degree show. Over time the figures left our line of sight, leaving only the suggestion of their presence, her paintings pushing almost to the point of abstraction in her famous canvases of minimalistic white drapery. The latest direction - represented by the two works offered here - is markedly different again, though along a logical continuum. The figures have left the frame entirely and what remains is a psychological examination of their vestiges. Those familiar with her career will recognise that her work’s current iteration is the next step in her on-going exploration of, as she puts it, ‘the different ways in which a human being can be represented without being present…’Though an artist with a singular voice, her work is underpinned by a fascination with and debt to the precise and lusciously detailed work of the Old Masters. It was this aspect of her work that the Scottish National Portrait Gallery sought to explore in their exhibition Alison Watt: A Portrait Without Likeness (Edinburgh, 2021-2022), which juxtaposed Watt with the work of one of her great inspirations, Allan Ramsay. Watt immersed herself in the gallery’s collection of Ramsays, including accessing his archived sketchbooks. The resultant body of work was exhibited alongside two of his most celebrated portraits, those of his first and second wives. Many of the aspects Watt admires in Ramsay’s work, she also shares: the simplicity and “geometry” of composition, balanced against the fine detail and delicacy of technique, and a depth of feeling tangible in the painting process itself. Ramsay’s portraiture is celebrated for its deep intimacy; his best work is frequently said to be of the interesting, intellectual women of his close acquaintance. Watt conveys that same intimacy in the present paintings, an unspoken narrative suggested in the quiet grandeur of her still lives. She raises gentle, unanswered questions about the objects’ symbolism. In Watt’s own words, the still life ‘can both offer you familiarity with an object, but also transcend the everyday.’Stocking was one of the works created for the Scottish National Portrait Gallery exhibition, with Frances a continued exploration on the theme in 2022. The cabbage leaf in the latter is a reference to the one held by Ramsay’s sitter Lady Boscawen in his portrait of her of 1747. In the exhibition catalogue text, historian Tom Normand remarks on the eccentricity of Ramsay’s choice of such an object as a prop. At face value, Boscawen was a keen horticulturalist, and on a second level it might be understood to represent the mother of five’s fecundity. Watt, intrigued by the mystery, amplifies it further by isolating the object and placing it within a contextless blank backdrop. As with Watt's famously allusive folds of drapery, the elevation of a mundane object and the strange intimacy this choice engenders makes complex what at first appears simple. As Normand puts it, the cabbage leaf ‘is revealed as a charismatic organism. Its familiarity is complemented by its wild exoticism; its mundane aspect becomes a strangely erotic cypher.’ Boscawen, a painting closely related to Stocking and Frances, was purchased for the Scottish national collection with support from the Patrons of the National Galleries of Scotland in 2022.
Lot 325
ALISON WATT O.B.E., F.R.S.E., R.S.A. (SCOTTISH B.1965) FRANCES, 2022 signed, inscribed with title and dated ‘8th August 2022’ to stretcher verso, oil on canvas 76cm x 62cm (30in x 24 ½in) (unframed) Exhibited: Tristan Hoare Gallery, London, A Kind of Longing, 3 February - 10 March 2023‘I can’t deny the lure of the past.’ – Alison WattAlison Watt is one of the UK’s most respected painters working today. Her oeuvre has gradually evolved since her figurative works first came to public attention at her sold out Glasgow School of Art degree show. Over time the figures left our line of sight, leaving only the suggestion of their presence, her paintings pushing almost to the point of abstraction in her famous canvases of minimalistic white drapery. The latest direction - represented by the two works offered here - is markedly different again, though along a logical continuum. The figures have left the frame entirely and what remains is a psychological examination of their vestiges. Those familiar with her career will recognise that her work’s current iteration is the next step in her on-going exploration of, as she puts it, ‘the different ways in which a human being can be represented without being present…’Though an artist with a singular voice, her work is underpinned by a fascination with and debt to the precise and lusciously detailed work of the Old Masters. It was this aspect of her work that the Scottish National Portrait Gallery sought to explore in their exhibition Alison Watt: A Portrait Without Likeness (Edinburgh, 2021-2022), which juxtaposed Watt with the work of one of her great inspirations, Allan Ramsay. Watt immersed herself in the gallery’s collection of Ramsays, including accessing his archived sketchbooks. The resultant body of work was exhibited alongside two of his most celebrated portraits, those of his first and second wives. Many of the aspects Watt admires in Ramsay’s work, she also shares: the simplicity and “geometry” of composition, balanced against the fine detail and delicacy of technique, and a depth of feeling tangible in the painting process itself. Ramsay’s portraiture is celebrated for its deep intimacy; his best work is frequently said to be of the interesting, intellectual women of his close acquaintance. Watt conveys that same intimacy in the present paintings, an unspoken narrative suggested in the quiet grandeur of her still lives. She raises gentle, unanswered questions about the objects’ symbolism. In Watt’s own words, the still life ‘can both offer you familiarity with an object, but also transcend the everyday.’Stocking was one of the works created for the Scottish National Portrait Gallery exhibition, with Frances a continued exploration on the theme in 2022. The cabbage leaf in the latter is a reference to the one held by Ramsay’s sitter Lady Boscawen in his portrait of her of 1747. In the exhibition catalogue text, historian Tom Normand remarks on the eccentricity of Ramsay’s choice of such an object as a prop. At face value, Boscawen was a keen horticulturalist, and on a second level it might be understood to represent the mother of five’s fecundity. Watt, intrigued by the mystery, amplifies it further by isolating the object and placing it within a contextless blank backdrop. As with Watt's famously allusive folds of drapery, the elevation of a mundane object and the strange intimacy this choice engenders makes complex what at first appears simple. As Normand puts it, the cabbage leaf ‘is revealed as a charismatic organism. Its familiarity is complemented by its wild exoticism; its mundane aspect becomes a strangely erotic cypher.’ Boscawen, a painting closely related to Stocking and Frances, was purchased for the Scottish national collection with support from the Patrons of the National Galleries of Scotland in 2022.
Lot 387
Pictures and Prints - William Hogarth (1697-1764), after, The Good Samaritan, engraving, 47cm x 55cm; J. Gladwin, Rowing Boat on Tranquil Waters, signed, watercolour, 20cm x 44cm; English School (19th century), Still Life with Grapes and Flowers, oil on board, 18.5cm x 29.5cm; a contemporary rectangular looking glass, oval bevelled plate, the frame painted with flowers and scrolls, 86.5cm x 60.5cm; a mahogany oval looking glass; etc (7)
Lot 600
Y JACOB KRAMER (1892-1962)Still Life of Flowers in a Vase, signed lower right, oil on canvas, 20" x 16", framed and glazed (subject to Artists Resale Right) (Est. plus 24% premium inc. VAT)Condition Report: Overall the paint surface is stable with no damage or repairs visible. One small area of raised paint to the bottom right area of the canvas.
Lot 13
A ROYAL WORCESTER CHINA CREAM JUG, 1929, of baluster form painted by A. Shuck with a still life of two apples and black grapes on a mossy bank, 4" high over handle, together with a sugar basin, 1922, painted by Horace Price with two peaches and blackberries, with gilt interior, 3" diameter, both signed, puce marks (2) (Est. plus 24% premium inc. VAT)Condition Report: No chips, cracks or restoration typical scratches to gilding. SOLD IN SALE 27 11 24 BUT WAS UNPAID.
Lot 671
Y STEFANI M FISHER (1894-1963) The Monarch of Campden Hill from Bedford Gardens, signed lower right, inscribed with title on label verso, oil on canvas, 25" x 30", modern white composite frame (Illustrated) (subject to Artists Resale Right) (Est. plus 24% premium inc. VAT)Notes: Stefani Fisher was a realist painter who worked in the overlapping circles of the Camden Town painters and the Bloomsbury Group. Son of the fashionable Edwardian portraitist, Samuel Melton Fisher, he was a skilled painter of portraits and still life who worked in Kensington and taught at Dulwich College. This unusual painting represents the skyline of Campden Hill, Kensington, London, near Fisher's studio on Uxbridge Street in the 1930s. "The Monarch" was a nickname for the water tower, built in 1847 on the corner of Campden Hill Road and Aubrey Walk which dominated the area until its demolition in 1970 Condition Report: No holes, tears or repairs to the canvas. Some slight areas of paint loss to the canvas edge in places. The frame with losses to the corners.
Lot 1
A CHINESE PORCELAIN VASE of inverted baluster form, painted in underglaze blue and over painted in famille rose enamels and gilded with two panels of figures on verandahs, unmarked, 7" high, together with a late 19th century oil on canvas laid onto board of the same vase as part of a still life with a covered porringer, fruit and a tortoiseshell album, 16" x 19 1/2" (2) (Est. plus 24% premium inc. VAT)Condition Report: Gilding is likely to be a London atelier, no damage per se but quite tired. Oil painting has quite heavy losses but is interesting together with the vase.
Lot 673
Y TIBOR CORN (b.1958)Still life of Peaches, Grapes and a Glass on a Ledge, signed lower right, oil on panel, 9" x 11", modern burr maple veneered frame (subject to Artists Resale Right) (Est. plus 24% premium inc. VAT)Condition Report: Losses to the frame. The oil surface with some light scratches due to age and use.
Lot 36
Craigie Aitchison CBA RSA (1926-2009) Oil and ink on canvas “Crucifixion, Angel and Bedlington”, 2007, signed verso, with Tim Taylor Gallery label verso and Timothy Taylor Gallery receipt dated 2008, 15cm x 12.5cm From the collection of the late Maurice Costley. Maurice and Craigie were acquainted. 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.
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