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ANTHONY GILBERT (LOTS 1-10)
Anthony was not easy to know. Always immaculately dressed, the epitome of an English gentleman, he was also shy and reserved and not easily taken in conversation. But his work held so much appeal.
Willie Landels, (Editor of Harpers & Queen)
Elegance and simplicity permeate the work of Anthony Gilbert, a leading post-war designer and illustrator during a renaissance in British advertising. Despite his retiring nature, Gilbert led major post-War campaigns for a range of leading brands including designs for Rowntree, Horlicks, Rose’s Lime Juice, London Transport (with ‘Enjoy your London’ series), and created the iconic Rococo mantel clock for After Eight mints still in use today. From the 1940s until the early 1970s Gilbert also contributed work for a range of magazines, including covers and pages for The Strand, Vogue, House & Garden and The Radio Times. A member of the Society of Industrial Artists, he supplied mural designs for the 1951 Festival of Britain.
Born in Leamington Spa, Gilbert trained at Goldsmiths College of Art in London followed by a part-time teaching position at the Bromley School of Art (lot 7) where he met his future wife, Ann, a student. In 1943 he joined the London office of the American advertising agency J. Walter Thompson, where Ann was also a designer, working there for the next twenty-five years. At JWT he caught the eye of the young director Willie Landels (1928-2023), an admirer of Gilbert’s work since he saw his series of paintings for ‘The Four Winds’ published in the Lilliput magazine. In an interview with David Messum in 1996, Landels recalled Gilbert as ‘vastly talented, his excellence was unique, he had enormous taste - too much really…’
Reclusive by nature, Gilbert left London with Ann for Kent in 1969 before retiring to Charlbury in Oxfordshire. There their house was filled with textiles, ceramics, and Japanese lacquer furniture that often feature in Gilbert’s still lifes (lot 3). A great admirer of Japanese fashion prints of the Taisho period (1911-1926), Gilbert enjoyed reinterpreting them in his compositions of ‘Patterned Ladies’, with similar flat patterns and sinuous lines blending Art Deco and Modernism (lot 9).
Always interested in exploring new techniques, his choice of media ranged from felt-tip pens (lots 2 & 9) to woodblock print effects. In the latter he adopted the so-called ‘wash-off’ technique that he had first learnt in advertising, where textures and colours of objects come to life, giving them three-dimensionality (lot 8). His still lifes with jugs and fruit on a tabletop are reminiscent of the more severe compositions of Ben Nicholson, where forms and shapes become almost abstract, defined by the juxtaposition of earthy colour blocks (lot 4).
Active during what was a golden age of British advertising, Gilbert followed in the footsteps of a galaxy of extraordinarily gifted 20th century designers including such leading names as Edward McKnight-Kauffer (1890-1954), Edward Bawden (1903-1989) and Eric Ravilious (1903-1942).
1
ANTHONY GILBERT (BRITISH 1916-1995)
STILL LIFE WITH LACQUERED CUP AND APPLE gouache with varnish on board
21 x 16cm; 8¼ x 6¼in (35 x 29.5cm; 13¾ x 11½in framed)
Exhibited: London, David Messum, Anthony Gilbert, 2012, no. 64
⊕ £50-80
2
ANTHONY GILBERT (BRITISH 1916-1995)
STILL LIFE WITH MUG, VASE AND BOWL black felt pen over traces of pencil on paper
46 x 31cm; 18 x 12in (66.5 x 49.5cm; 26¼ x 19½in framed)
Exhibited: London, David Messum, Anthony Gilbert, 2012, no. 87
⊕ £50-80
3
ANTHONY GILBERT (BRITISH 1916-1995)
STILL LIFE WITH JUG AND PEARS ON LAQUERED TABLE
signed with initials lower right gouache with varnish on board
44 x 34cm; 17¼ x 13¼in (56 x 45cm; 22 x 13½in framed)
Exhibited: London, David Messum, Anthony Gilbert, 2012, no. 67
⊕ £80-120
5
ANTHONY GILBERT (BRITISH 1916-1995)
APPLE STUDY VI signed and dated with initials 82 lower left pencil and coloured pencils on paper
16 x 11.5cm; 6¼ x 4½in (33.5 x 28cm; 13¼ x 11in framed)
Exhibited: London, David Messum, Anthony Gilbert, 2012, no. 19
⊕ £40-60
7
ANTHONY GILBERT (BRITISH 1916-1995)
SHORTLANDS, BROMLEY
gouache on paper
19 x 26cm; 7½ x 10in (36 x 44cm; 14 x 17¼in framed)
Painted circa 1950.
⊕ £40-60
4
ANTHONY GILBERT (BRITISH 1916-1995)
STILL LIFE WITH JUG AND RED MUG gouache with traces of pencil on board
10.5 x 15.5cm; 4¼ x 6in (23 x 28cm; 9 x 11in framed)
Exhibited: London, David Messum, Anthony Gilbert, 2012, no. 74
⊕ £40-60
6
ANTHONY GILBERT (BRITISH 1916-1995)
STILL LIFE ON A PATTERNED CLOTH pen and ink and watercolour on paper 25 x 17cm; 9¾ x 6¾in (39 x 30.5cm; 15¼ x 12in framed)
Exhibited: London, David Messum, Anthony Gilbert, 2012, no. 99
⊕ £40-60
8
ANTHONY GILBERT (BRITISH 1916-1995)
STILL LIFE OF WHITE JUGS ON A TABLE TOP watercolour and gouache over traces of pencil on paper
30 x 20cm; 11¾ x 8in (52 x 40cm; 20½ x 15¾in framed)
⊕ £80-120
9
ANTHONY GILBERT (BRITISH 1916-1995)
RED PATTERNED LADY felt pen on buff paper
21 x 15cm; 8¼ x 6in (41 x 33.5cm; 16 x 13¼in framed)
Exhibited: London, David Messum, Anthony Gilbert, 2012, no. 104
⊕ £50-80
10
ANTHONY GILBERT (BRITISH 1916-1995)
CALIGRAPHY - ANTHONY ALAN GILBERT 1961 pen and ink and watercolour over traces of pencil
43 x 28.5cm; 16¾ x 11¼in (64.5 x 49cm; 25¼ x 19½in framed)
Exhibited: London, David Messum, Anthony Gilbert, 2012, no. 6
⊕ £80-120
I am convinced that Cyril will one day be recognized as one of the ‘greats’ of British art.
(Renske Mann)
CYRIL MANN (LOTS 11-22)
Although London born, Mann’s parents had come from Nottingham. After Mann’s father was invalided out of the Great War suffering from shell-shock, the family moved back to the Midlands. With her husband incarcerated in Nottingham mental hospital, his mother raised her four children on his meagre War pension. Aged twelve Mann became the youngest student to enrol at Nottingham School of Art, but was obliged to leave two years later to earn his keep and help his mother. Later, however, he travelled to Canada to become a missionary. But the vast, arresting landscapes and his meeting with the Canadian Group of Seven painter Arthur Lismer rekindled his passion for painting.
Returning to England in 1933 Mann enrolled at the Royal Academy Schools, his tuition supported by the benefactor and patron of the arts Erica Marx (19091969), niece of Karl Marx. He also spent time in Paris studying with the Scottish colourist J. D. Fergusson (1874-1961). In the Second World War he served as a gunner in the Royal Artillery but later became a conscientious objector, painted London’s bombscarred landscapes and taught at the London County Council Central School of Art.
The 1950s marked a stylistic shift in Mann’s work as he developed his ‘solid shadow technique’ of hardedged, stylised outlines. The style emerged when Mann was living in a council flat above a gold bullion dealer on Paul Street in Shoreditch. The barred windows left him reliant on artificial light, and under the stark glare of a bare bulb he began producing heavily worked canvases with bold outlines and exaggerated shadows. Works such as Still life with pomegranate (lot 11) exemplify this distinctive phase. After he moved to a light-filled flat in Islington, however, the darkness dissolved, the shadows giving way to a softer, more natural treatment of form and light (lot 12), which coincided with his burgeoning relationship with Dutch-born Renske Van Slooten.
Renske became his muse, model and wife, shaping many of his works of the 1960s which typically explore the intimacy of their shared domestic world. Her memoirs describe both devotion and difficulty: the long hours spent posing, the instability of his health, and the precariousness of life with a mercurial, uncompromising artist. She recalled Mann’s intractability, including his resolute rejection of the gallery system: ‘They’re not interested in art, only money, and I won’t give them the satisfaction of rejecting me. They don’t know what I know.’
Despite his intransigence, from the 1950s when he was teaching at Kingsway Day College and the Sir John College, he had enjoyed a string of exhibitions, including in the West End at the Brook Street Gallery and Hanover Gallery. And in the 1960s Mann was given further shows in Mayfair at St Martin’s Gallery and Alwin Gallery. Through Renske’s eyes Mann emerges as a man fiercely devoted to his vision, for whom love and creativity were inseparable even as financial pressures mounted. Over half a century he sought to break new ground in figurative painting, exploring dynamic light effects and shadow shapes. But the strain on his mental health took its toll, and ultimately proved overwhelming, leading to Renske leaving him after twenty years together. After spells sectioned in Claybury mental hospital in 1979, he died from heart failure a year later. Renske Mann’s book on her husband The Girl in the Green Jumper, My Life with the Artist Cyril Mann was published in 2022.
11
CYRIL MANN (BRITISH 1911-1980)
STILL LIFE WITH POMEGRANATE
intialled M upper right; oil on board; 29.5 x 29.5cm; 11¾ x 11¾in (38.5 x 38.5 xm; 15¼ x 15¼in framed)
Painted circa 1957.
Exhibited: London, Piano Nobile, Cyril Mann, The Solid Shadow
Paintings, 2018-19, no. 23
⊕ £400-600
12
CYRIL MANN (BRITISH 1911-1980)
SUNLIT JUG WITH YELLOW CHRYSANTHEMUMS,
RED TABLECLOTH AND BLUE BOOK
signed and dated Mann 60 lower right; oil on board; 79.5 x 61cm; 31¼ x 24in (95.5 x 76.5cm; 37¾ x 30¼in framed)
⊕ £400-600
13
CYRIL MANN (BRITISH 1911-1980)
INTERIOR, LEYTON, EAST LONDON
signed and dated MANN, 78. lower left; oil on board; 61.5 x 46cm; 24 x 18in (unframed)
⊕ £300-500
14
CYRIL MANN (BRITISH 1911-1980)
RECLINING NUDE
oil on board; 21 x 50.5cm; 8¼ x 20in
(35.5 x 60.5cm; 13¾ x 25½in framed)
Painted circa 1956, the model for the present work was Alison Dale, Mann’s girlfriend at the time.
⊕ £300-500
16
CYRIL MANN (BRITISH 1911-1980)
STANDING NUDE IN THE MIRROR
15
CYRIL MANN (BRITISH 1911-1980)
TANGERINE AND GRAPEFRUIT
signed and dated MANN, / 60 upper right; signed and titled Tangerine/ Grapefruit / by / C. Mann on the reverse; oil on canvas; 53.5 x 43cm; 21 x 17in (61.5 x 51.5cm; 24¼ x 20¼in framed)
⊕ £350-450
oil on canvas; 122 x 76.5cm; 48 x 30¼in (unframed)
Painted in 1963.
⊕ £500-700
17
CYRIL MANN (BRITISH 1911-1980)
STILL-LIFE OF SUNLIT TULIPS, MIMOSA AND ORANGES
signed and dated MANN 73. upper right; signed and inscribed Oranges Tulips, / Mimosa, / Cyril Mann. on a label on the reverse; oil on board; 60 x 61cm; 23¾ x 24in (82.5 x 83cm; 32½ x 32¾in framed)
⊕ £400-600
18
CYRIL MANN (BRITISH 1911-1980)
THE MAAS RIVER WITH FACTORIES AND WINDMILL, DORDRECHT,
signed and dated MANN, 64 lower left; oil on canvas; 49 x 73cm; 19¼ x 28¾in (65 x 89 cm; 25½ x 35in framed)
Painted near the home of the parents of Renske Mann.
⊕ £350-450
20
CYRIL MANN (BRITISH 1911-1980)
BOMB DAMAGED BUILDINGS, SHOREDITCH
19
CYRIL MANN (BRITISH 1911-1980)
STILL LIFE WITH SUNLIT STAPLER, TANKARD AND PALETTE KNIFE
signed and dated MANN, 67 upper left; signed and titled STILL LIFE/ by / CYRIL MANN on the reverse; oil on canvas; 41.5 x 49.5cm; 16½ x 19½in (53.5 x 61cm; 21 x 24in framed)
⊕ £400-600
oil on canvas; 52 x 64cm; 20½ x 25¼in (62.5 x 74cm; 20¾ x 25¼in framed)
Painted circa 1950.
⊕ £300-500
22
CYRIL MANN (BRITISH 1911-1980)
ROAD CROSSING WITH BELISHA BEACONS
21
CYRIL MANN (BRITISH 1911-1980)
COOLING TOWERS, WALTHAMSTOW
oil on canvas; 46 x 58cm; 18 x 22¾in (unframed)
Painted circa 1964, the Walthamstow cooling towers were demolished in 1968 to make way for Walthamstow Central, the last tube stop on the Victoria Line.
⊕
£300-500
oil on canvas; 26 x 30.5cm; 10¼ x 11¾in (37.5 x 41.5cm; 14¾ x 16¼in framed)
Painted in the 1950s.
⊕ £200-300
LIONEL BULMER AND MARGARET GREEN (LOTS 23-45)
Margaret Green and Lionel Bulmer were people and painters of singular convictions – but from their first meeting in 1944, until Lionel’s last breath 48 years later, their lives simply merged. Friends called them MargaretandLionel. (Ian Collins)
Bulmer and Green met in the Lake District towards the end of the War where the Royal College of Art was temporarily located, having transferred from London to Ambleside to escape the Blitz.
Bulmer, the son of an architect, had originally enrolled at Clapham School of Art, but his studies had been cut short by his conscription into the military at the outbreak of the War. After being de-mobbed he transferred to the Royal College of Art. Green, the daughter of a Teesside steel worker in West Hartlepool had been inspired to become an artist by Patrick Heron, who drew her portrait during a family holiday in Yorkshire. She studied first at Hartlepool College of Art before also enrolling at the RCA. From their first meeting the two painters became inseparable.
On the return of the RCA to Kensington, Bulmer and Green were taught by, among others, Ruskin Spear and Carel Weight. When Green received an RCA travel scholarship the couple embarked on a tour of discovery, painting their way through France and Ireland for the best part of a year. The French sun and deep greens of the Irish landscape left a permanent mark on both artists, whose works of the familiar and everyday are dappled with soft warm light and a vibrant freshness. Once back in England they settled in Chelsea. Bulmer took up a teaching position at Kingston School of Art while Green taught at Walthamstow School of Art and they both exhibited at the Royal Academy and New English Art Club.
Keen to escape the austerity and smog of post-war London, however, they moved to the countryside. Initially they lived above a boat house in Littlehampton on the Sussex coast, but later moved into Lodge Cottage a dilapidated medieval hall-house surrounded by rundown gardens on the
banks of the River Rat in Shelland near Stowmarket, Suffolk, which they lovingly restored. From there they set out on their frequent painting expeditions to the seaside communities of Southwold, Aldeburgh and Walberswick.
Relatively untouched by heavy industry, the Suffolk coast had been popular since the 18th century as a destination for healthy living as well as artists like Philip Wilson Steer (1860-1942) who after his studies on the Continent in the 1880s was quick to introduce an Impressionist style of painting to England. Wilson Steer, together with Sargent and Clausen was a founder member of the New English Art Club in 1886. Bulmer and Green became regular contributors to the Club’s annual exhibitions.
Working side by side over many years, Bulmer and Green’s work became so close in style and technique that it was often difficult to tell their work apart. In Suffolk they combatted this by Bulmer consciously developing a more pointillist approach to his painting, reflecting the influence of Wilson Steer, the Neo-Impressionists and the work of Georges Seurat (1859-1891) in particular. His new-found style lent itself to the depiction of beach scenes and bathers, and his coastal views of summer on the Suffolk coast came to define his career. As the writer Ian Collins noted of Bulmer’s work: ‘the season appears to be one of permanent summer.’ Meanwhile, Green continued to paint in her signature enigmatic manner. An acute observer of her surroundings, and the incident to be found in everyday life, she captured the essence of Post-War Britain in her thoughtful landscapes and canny figurative compositions. But after Bulmer’s death Green was so heartbroken that she stopped painting for the rest of her life.
24
LIONEL BULMER (BRITISH 1919-1992) ON THE PROMENADE
oil on panel; 35.5 x 57cm; 14 x 22 1/3in (unframed)
⊕ £200-300
26
LIONEL BULMER (BRITISH 1919-1992) THE FAIRGROUND
oil on board; 21.5 x 40.5cm; 8½ x 16in (unframed)
⊕ £120-180
28
LIONEL BULMER (BRITISH 1919-1992)
BOATS ON AN ESTUARY, A SKETCH oil on panel; 22 x 41.5cm; 8½ x 16¼in (unframed)
⊕ £120-180
23
LIONEL BULMER (BRITISH 1919-1992)
STILL LIFE WITH LEMONS AND FRUIT WITH PATTERNED WALLPAPER
signed and dated with initials 55 lower left; oil on board; 24.5 x 43.5cm; 9¾ x 17in (unframed)
⊕ £120-180
25
LIONEL BULMER (BRITISH 1919-1992) IN THE PARK
signed L Bulmer lower left; oil on canvas laid down on board; 29.5 x 42cm; 11¾ x 16½in (unframed)
⊕ £150-250
27
LIONEL BULMER (BRITISH 1919-1992) TREE LINED AVENUE
oil on board; 23 x 45.5cm; 9 x 17¾in (unframed)
⊕ £120-180
29
LIONEL BULMER (BRITISH 1919-1992)
THE STAIRWAY
oil on the artist’s prepared muslin board; 50 x 23cm; 19¾ x 9in (unframed)
⊕ £150-250
30
LIONEL BULMER (BRITISH 1919-1992)
LACE WINDOW
signed L Bulmer lower right; signed L Bulmer on the reverse; oil on the artist’s prepared canvasboard; 68 x 98.5cm; 26¾ x 38¾in (unframed)
⊕ £300-500
32
LIONEL BULMER (BRITISH 1919-1992)
THE WINDOW BLIND
oil on the artist’s prepared muslin board; 46 x 66cm; 18 x 26in (unframed)
⊕ £250-350
31
LIONEL BULMER (BRITISH 1919-1992)
STILL LIFE WITH PEONIES
signed and dated Lionel Bulmer / 60 on the reverse; oil on the artist’s prepared muslin board; 50.5 x 76cm; 19¾ x 29¾in (unframed)
⊕ £300-500
34
LIONEL BULMER (BRITISH 1919-1992)
DOG WALKERS
oil on board; 15.5 x 23cm; 6 x 9in (unframed)
⊕ £150-250
33
LIONEL BULMER (BRITISH 1919-1992)
RIVER BANK
signed with initials and dated 56 lower right; signed with initials, titled and dated 56 / RIVER BANK on the reverse; oil on the artist’s prepared muslin board; 16 x 23cm; 6¼ x 9in (unframed)
⊕ £150-250
36
LIONEL BULMER (BRITISH 1919-1992)
HARVEST COVE, HYTHE
35
LIONEL BULMER (BRITISH 1919-1992)
MARSHLANDS
signed L Bulmer lower right; oil and acrylic on board; 46 x 61cm; 18 x 24in (unframed)
⊕ £200-300
signed L Bulmer lower right; oil on board; 41 x 51cm; 16 x 20in (unframed)
⊕ £200-300
37
LIONEL BULMER (BRITISH 1919-1992)
PATH THROUGH WOODS
signed L Bulmer lower right; oil and pencil on board; 30.5 x 30.5cm; 12 x 12in (unframed)
⊕ £150-250
39
LIONEL BULMER (BRITISH 1919-1992)
WALKING IN THE GARDEN II
oil on board; 30 x 41cm; 11¾ x 16in (unframed)
⊕ £250-350
38
LIONEL BULMER (BRITISH 1919-1992)
WALKING IN THE GARDEN oil on board; 30 x 41cm; 11¾ x 16in (unframed)
⊕ £250-350
41
MARGARET GREEN (BRITISH 1925-2003)
THROUGH THE WINDOW
oil on canvas laid down on board; 35.5 x 25cm; 14 x 9¾in (unframed)
⊕ £150-250
40
LIONEL BULMER (BRITISH 1919-1992)
SUNLIT AFTERNOON ON SOUTHWOLD ROOFS oil on board; 61 x 51cm; 24 x 20in (unframed)
⊕ £300-500
43
42
MARGARET GREEN (BRITISH 1925-2003)
THROUGH THE DOORWAY
signed m green lower left; oil on the artist’s prepared muslin board; 34 x 25.5cm; 13¼ x 10in (unframed)
⊕ £150-250
MARGARET GREEN (BRITISH 1925-2003)
THE READER
inscribed West on the reverse; oil on canvas laid down on board; 76.5 x 91.5cm; 30 x 36in (80 x 95cm; 31½ x 37½in framed)
⊕ £400-600
44
MARGARET GREEN (BRITISH 1925-2003)
AT THE TABLE
oil on the artist’s prepared muslin board; 63.5 x 76cm; 25 x 30in (unframed)
⊕ £250-350
45
MARGARET GREEN (BRITISH 1925-2003)
WOMAN IN WHITE
signed M Green lower right; oil on the artist’s prepared canvasboard; 50.5 x 40.5cm; 19¾ x 16in (unframed)
⊕ £150-250
DAVID BATES (LOTS 46-54)
Bates enrolled as a student at the Royal College of Art in 1950, where he railed against his tutor Francis Bacon and also the young art critic David Sylvester about the rise of abstraction, arguing vehemently for realism and naturalism. Sylvester was disparaging of the so called ‘Kitchen Sink School’ to which he all too readily consigned Bates, and was especially critical of Bates’ fellow student and friend John Bratby. But Bates was not to be dissuaded. He joined the Communist Party, and his strongly held socialist convictions led him later both to campaign for nuclear disarmament and to march in protest against the war in Vietnam. His subject matter in the 1950s reflected his political views and his interest in the worker in society. In London he made studies of navvies removing tram lines and emblematic paintings of industrial objects such as a cement mixer.
At the RCA he met fellow art student June Moss, his wife to be. The couple were married in Nottingham in 1957 where Bates was teaching at Boots College. They first lived together in Yeovil, then In 1961 they moved with their young family to Preston where Bates became senior lecturer in painting at Harris School of Art. They remained
there until the late 1970s, by the end of which the couple were running non-vocational art courses, and Bates was directing the Preston Arts Centre, overseeing a diverse programme of music, film, art exhibitions and events. In 1978 he took early retirement and he and June moved further north to live and work at Newbiggin Hall, Carlisle. Bates was born in China, the son of a Methodist missionary and headmaster. But with the rise of the Kuomintang (the Chinese Nationalist Party) his parents returned with their children to England in 1931. Over the next two decades Bates’ father had a succession of church postings. The family first lived briefly in Birmingham, then moved to Penzance, and subsequently to Nottingham before settling in Stockport in 1940, where Bates attended Stockport Polytechnic, and Bristol in 1945, where he enrolled in the West of England College of Art. In the late 1940s the family moved to Millom, South Cumbria where Bates began recording the working class community and the heavy industry of the area, before starting his studies at the Royal College of Art in London. Then, in 1951 the family upped-sticks once again and moved to Stoke-onTrent where he drew and painted the potteries.
46
DAVID BATES (BRITISH 1929-2024)
SAXA SALT, JUG AND APPLES
oil on board; 18 x 20.5cm; 7 x 8in (unframed)
⊕ £100-120
47
DAVID BATES (BRITISH 1929-2024)
WINTER TREE AND BARN IN SNOW oil on canvas; 36 x 46cm; 14 x 18in (unframed)
⊕ £200-300
49
DAVID BATES (BRITISH 1929-2024)
VIEW FROM NEW BIGGIN HALL, PETTERIL VALLEY, WINTER oil on canvas; 51 x 60.5cm; 20 x 23¾in (unframed)
⊕ £300-500
48
DAVID BATES (BRITISH 1929-2024)
VIEW FROM NEW BIGGIN HALL, PETTERIL VALLEY oil on canvas; 35.5 x 41cm; 14 x 16¼in (unframed)
⊕ £200-300
50
DAVID BATES (BRITISH 1929-2024)
BARROCK FELL NEAR NEW BIGGIN HALL oil on board; 26.5 x 30cm; 10½ x 11¾in (unframed)
⊕ £150-250
52
51
DAVID BATES (BRITISH 1929-2024)
STANDING FEMALE NUDE oil on board; 35.5 x 20cm; 14 x 8in (unframed)
Painted circa 1950.
⊕ £80-120
DAVID BATES (BRITISH 1929-2024)
STILL LIFE OF BREAD AND SAUSAGES oil on board; 26.5 x 30.5cm; 10½ x 12in (unframed)
Painted circa 1950.
⊕ £80-120
53
DAVID BATES (BRITISH 1929-2024)
MILLOM METHODIST CHURCH
signed BATES lower left; oil on board; 22 x 37.5cm; 8¾ x 14¾in
Painted in 1949.
There is an oil sketch of bottles and fruit on the reverse.
⊕ £80-120
54
DAVID BATES (BRITISH 1929-2024)
STILL LIFE OF A PLATE OF HERRING oil on board; 26 x 27cm; 10¼ x 10¾in (unframed)
Painted circa 1950.
⊕ £80-120
Wilfrid and Jane de Glehn were both born into affluence. Wilfrid’s grandfather, Robert von Glehn was a Baltic Baron with estates in Tallin, Estonia who had become a naturalised British subject through marriage. Wilfrid’s uncle, Alfred, was a French steam locomotive designer; his aunt, Louise, was a woman’s rights activist and author; his father, Alexander, was a coffee importer; and his mother Fanny (née Monod) was French.
Jane (née Emmet) was from a similarly accomplished background. Born in La Rochelle, New York State, the youngest of ten siblings. Her great-grandfather had left Ireland for America in the early 1800s, where he became Attorney General of New York State. Jane’s elder sisters also became successful painters, and amongst her brothers was a leading engineer, a lawyer, a decorated soldier and a noted designer of golf courses.
After leaving school Wilfrid studied at the National Art Training School in South Kensington (now the Royal College of Art) before entering the Ecole des Beaux-Arts in Paris in 1890. The following year he was recruited by John Singer Sargent to assist with his commission to decorate Boston public library. The collaboration heralded a close friendship between the two artists. Some twentyfive years his senior, the American painter’s sun dappled impressionist manner had a lasting effect on de Glehn’s technique as he developed a similarly fluid style.
In the decade that followed de Glehn began exhibiting with the New English Art Club, and at the Paris Salon, he took a studio in Glebe Place, Chelsea and showed at the Royal Academy in 1896. In 1897 he made his first trip to Venice, very likely with Sargent. In 1899 he exhibited with his French cousin Lucien Monod at the Goupil Gallery in London, he joined the New English Art Club (NEAC), and in 1903 accompanied Sargent to
WILFRID AND JANE DE GLEHN (LOTS 55-88)
America and exhibited in Boston. There he was introduced to his wife to be, Jane Emmet. Already an accomplished artist, Jane had studied at the Arts Students League in New York under William Merritt Chase and John Henry Twatchman, and then with Frederick William MacMonnies in Paris.
Jane and Wilfrid married in May 1904, following Wilfrid’s inaugural exhibition with Durand Ruel in New York. That summer they joined Sargent in Venice and moved into 47 Cheyne Walk in Chelsea. The pattern of their life together was set fair. Typically, they lived in London during the winter when Wilfrid painted portrait commissions and drew models from life. During the summer the couple travelled abroad, frequently joining up with Sargent in Italy or Spain to paint and sketch. Like Wilfrid, Jane exhibited with the NEAC, and showed some of her much admired drawings of friends and acquaintances in Wilfrid’s 1913 show at the Fine Art Society in London.
With the outbreak of the First World War they volunteered as orderlies at the temporary hospital established at Arc-en-Barrois sixty miles from the front line. Wilfrid, fluent in French, acted as an ambulance driver and interpreter. Jane supervised laundry and tea service and sketched soldiers’ portraits for the benefit of a limb prosthetics fund (lot 86). Fellow volunteers included Henry Tonks, Professor of Fine Art at the Slade and co-exhibitor with the NEAC, who had trained as a surgeon before switching to painting.
After the War the de Glehn’s made regular trips to the south of France, where Wilfrid’s cousin Lucien Monod had a house near Cannes. There Jane recorded the landscape around Gattières, north of Vence (lot 80) and painted the monastery at St Cassien (lot 83), whilst Wilfrid set his oil Christ at the Well (lot 64) in the nearby village of Biot. Wilfrid became a Royal Academician in 1932 but later declined the Presidency.
Image Courtesy of the De Glehn Estate
55
WILFRID DE GLEHN RA (BRITISH 1870-1951) CLASSICAL NUDE RECLINING BY THE SEA WITH A GALLEON IN THE DISTANCE with the artist’s estate stamp and inventory number 321 on the reverse; oil on canvas; 46 x 61cm; 18¼ x 24in (unframed)
£2,000-3,000
56
WILFRID DE GLEHN RA (BRITISH 1870-1951) BATHING NYMPHS AND BACCHANTES with the artist’s estate stamp and inventory number 326 on the reverse; oil on canvas; 56.5 x 76cm; 22¼ x 30in (unframed)
£3,000-5,000
57
WILFRID DE GLEHN RA (BRITISH 1870-1951) THE BIRTH OF VENUS with the artist’s estate stamp and inventory number 302 on the stretcher; oil on canvas; 61 x 92cm; 24 x 35¼in (unframed)
£3,000-5,000
59
WILFRID DE GLEHN RA
(BRITISH 1870-1951)
STUDY OF HANDS HOLDING GRAPES with the artist’s estate stamp and inventory number 1096 on the reverse; oil on board; 22.5 x 31cm; 8¾ x 12¼in (unframed)
According to a note on the reverse, the present work is a fragment from a full-length portrait painted circa 1890 destroyed in the London Blitz in 1941.
£600-800
58
WILFRID DE GLEHN RA (BRITISH 1870-1951)
THE WORSHIP OF VENUS AND ADONIS with the artist’s estate stamp and inventory number 387b on the reverse; oil on canvas; 112 x 87cm; 44 x 34¼in (unframed)
£4,000-6,000
60
WILFRID DE GLEHN RA
(BRITISH 1870-1951)
PORTRAIT OF A YOUNG LADY IN A BLACK DRESS
signed Wd de Glehn upper right; with the artist’s estate stamp and inventory number 131b on the reverse; oil on canvas; 53.5 x 46.5cm; 21 x 18¼in (unframed)
£1,000-1,500
62
61
WILFRID DE GLEHN RA (BRITISH 1870-1951)
SELF-PORTRAIT
with the artist’s estate stamp and inventory number 255 lower right; oil on canvas; 60 x 44.5cm; 23½ x 17½in (82 x 67cm; 32¼ x 26½in framed)
£600-800
WILFRID DE GLEHN RA (BRITISH 1870-1951)
PORTRAIT OF JANE EMMET DE GLEHN
signed W G de Glehn upper left; oil on canvas; 91 x 71cm; 35¾ x 28in (unframed)
£800-1,200
63
WILFRID DE GLEHN RA (BRITISH 1870-1951)
WOMAN READING A LETTER, AFTER JOHANNES VERMEER watercolour; 46 x 37cm; 18¼ x 14½in (58 x 50cm; 23 x 19¾in framed)
£200-300
64
WILFRID DE GLEHN RA (BRITISH 1870-1951)
CHRIST AT THE WELL, BIOT, FRANCE
with the artist’s estate stamp and inventory number 2270 on the reverse; oil on canvas; 51 x 61cm; 20 x 24in (unframed)
Painted circa 1930.
£600-800
65
WILFRID DE GLEHN RA (BRITISH 1870-1951)
FOUR SKETCHES FROM LIFE: TWO SEATED FEMALE NUDES (I); A SEATED MODEL, FACE TURNED AWAY (II); RECLINING NUDE, TURNING AWAY (III); RECLINING NUDE, WITH ELBOW UP (IV) with the artist’s estate stamp and inventory numbers on the reverse: 750 (i), 1088 (ii); signed with initials lower left (iii) signed with initials lower right (iv); sanguine on squared paper (i); sanguine (ii-iv); 45 x 58cm; 17¾ x 22¾in (i); various sizes (ii-iv) (all unframed) (4)
£600-800
66
WILFRID DE GLEHN RA (BRITISH 1870-1951)
FOUR SKETCHES FROM LIFE: A FEMALE NUDE HOLDING A LAMP (I); TWO STANDING FEMALE NUDES (II); THREE STUDIES OF A SLEEPING FEMALE NUDE (III); THREE STUDIES OF A RECUMBENT FEMALE NUDE (IV) all with the artist’s estate stamp and inventory number on the reverse: 853 (i), 775 (ii), 748 (iii) and 772 (iv); sanguine (i-iv); sanguine heightened with touches of white (iv); approximately 38 x 56cm; 15¼ x 22in (i-iii); 59 x 48cm; 23¼ x 19in (iv) (all unframed) (4)
£500-700
67
WILFRID DE GLEHN RA (BRITISH 1870-1951)
FOUR SKETCHES FROM LIFE: A KNEELING FEMALE NUDE (I); A NUDE LEANING FORWARD (II); TWO FEMALE NUDES, FRONT AND IN PROFILE (III); TWO NUDES WITH ONE RECLINING ON A DRAPE (IV) all with the artist’s estate stamp and inventory number on the reverse: 879 (i), 749 (ii), 762 (iii) and 773 (iv); sanguine (i, ii & iv); sanguine, pencil and wash (iii); all approximately 38 x 56cm; 15 x 22in (all unframed) (4)
£500-700
68
WILFRID DE GLEHN RA (BRITISH 1870-1951)
FIVE SKETCHES FROM LIFE: FOUR SEATED FEMALE NUDES, ONE ON A SWING (I); THREE DANCING BACCHANTES (II); FOUR DANCING BACCHANTES (III); A FEMALE NUDE
KNEELING (IV); THREE NUDES SEATED (V)
all with the artist’s estate stamp and the inventory number on the reverse: 695 (i), 696 (ii), 697 (iii), 693 (iv), 684 (v); titled, signed and dated Studies for dancing Bacchantes / W. Glehn / 1908 lower right (iii); all sanguine with touches of white chalk on paper; all approximately 48 x 63cm; 19 x 24¾in (all unframed) (5)
£500-700
69
WILFRID DE GLEHN RA (BRITISH 1870-1951)
THREE SKETCHES FROM LIFE: STANDING NUDE POSING WITH KNEE BENT (I); SEATED NUDE WITH LEG UP (II); NUDE IN PROFILE WITH ARMS ON THE SIDE (III)
all with the artist’s estate stamp and inventory number on the reverse: 810 (i), 895 (ii) and 884 (iii); black chalk and grey wash (i); sanguine (ii & iii); approximately 39 x 56cm; 15½ x 22in (i & iii) and various size (all unframed) (3)
£400-600
71
70
WILFRID DE GLEHN RA (BRITISH 1870-1951)
FOUR SKETCHES FROM LIFE: STUDIES FOR MERCURY AND PAN, 1936 (I); SEATED MALE NUDE, STUDY FOR ‘THE POET’, 1936 - RECTO; STUDIES OF A STANDING FEMALE NUDE - VERSO (II); MALE NUDE SEATED FROM THE BACK (III); TWO STUDIES OF MALE FIGURE LEANING DOWN (IV)
all with the artist’s estate stamp and inventory number on the reverse: 858 (i), 856 (ii), 792 (iii) and 700 (iv); sanguine (i & ii); pencil (iii); pastel (iv); all approximately 48 x 62cm; 19 x 24¼in (all unframed) (4)
£500-700
WILFRID DE GLEHN RA (BRITISH 1870-1951)
THREE SKETCHES FROM LIFE: TWO FEMALE NUDES FOR A DECORATIVE PANEL (I); FOUR VIGNETTES FOR THE BATHERS (II); STUDY OF A FEMALE NUDE IN A CLOUD (III)
all with the artist’s estate stamp and the inventory number on the reverse: 1026 (i), 886 (ii) and 866 (iii); each sanguine on paper 48 x 60cm; 19 x 23½in (i); approximately 38 x 57cm; 15 x 22½in (ii & iii) (all unframed) (3)
£300-500
72
WILFRID DE GLEHN RA (BRITISH 1870-1951)
THREE SKETCHES FROM LIFE: TWO STUDIES OF A SEATED FEMALE NUDE (I); TWO STUDIES OF A STANDING FEMALE NUDE, ONE WITH ARMS OUTSTRETCHED - RECTO; TWO STUDIES OF A FEMALE NUDE WITH RIGHT LEG BENTVERSO (II); SKETCHES FOR PORTRAIT AND FEMALE TORSO - RECTO & VERSO (III)
all with the artist’s estate stamp and inventory number on the reverse: 826 (i), 848 (ii) and 785 (iii); all pencil; pencil and grey wash (verso, ii); all approximately 38 x 57cm; 15 x 22½in (all unframed) (3)
£400-600
73
WILFRID DE GLEHN RA (BRITISH 1870-1951)
STUDY FOR PORTRAIT OF A LADY IN PROFILE (I); STUDIES OF FEMALE NUDE RECLINING - RECTO; NUDE RESTING, STUDY - VERSO (II); SLEEPING FEMALE NUDE (III); SEATED NUDE (IV)
signed, dated and inscribed WG de Glehn / 1925 / Study for portrait lower left; signed with initials lower right (ii-iv); all with the artist’s estate stamp and the inventory number on the reverse: 724 (i), 833 (ii), 731 (iii) and 811 (iv); all pencil on paper; various sizes (all unframed) (4)
£400-600
75
74
WILFRID DE GLEHN RA (BRITISH 1870-1951)
NINE VIGNETTES FOR DECORATIVE PANELS AND LUNETTES (I); DECORATIVE FEMALE NUDE STUDIES FOR STATUE CARTOUCHE (II); STANDING FEMALE NUDE WRITING (III) all with the artist’s estate stamp and the inventory number on the reverse: 678 (i), 1259 (ii) and 1258 (iii); pencil, pen and ink and sanguine on nine pieces of paper laid down on one sheet of paper (i); sanguine on paper (ii & iii); various sizes (all unframed) (3)
£300-500
WILFRID DE GLEHN RA (BRITISH 1870-1951)
NYMPHS BATHING IN THE POOL AT WORMINGFORD (I); MODEL
WEARING 19TH CENTURY DRESS, TWO POSES (II); TWO MODELS SEATED IN 19TH CENTURY DRESS, STUDY FOR L’ILE JOYEUSE (III) signed, dated and titled Study for l’ile joyeuse / WG de Glehn / 1909 lower right (iii); all with the artist’s estate stamp and the inventory number on the reverse: 698 (i), 682 (ii) and 683 (iii); sanguine and white chalk on paper (i); sanguine on paper (ii & iii); all approximately 48 x 68cm; 19 x 26¾in (all unframed) (3)
£200-300
76
WILFRID DE GLEHN RA (BRITISH 1870-1951)
STUDY FOR APOLLO AND DAPHNE WITH TREES (I); FIGURES BATHING, STUDY FOR AN OVAL DECORATIVE PANEL (II); TWO STUDIES FOR ‘THE BATHERS’ (III) all with the artist’s estate stamp and the inventory number on the reverse: 717 (i), 699 (ii) and 676 (iii); signed WG de Glehn lower right (iii); sanguine heightened with touches of white gouache (i); sanguine, pencil and white chalk (ii & iii); various sizes (all unframed) (3)
£300-500
78
77
WILFRID DE GLEHN RA (BRITISH 1870-1951)
IRELAND
with the artist’s estate stamp and inventory number 123 on the reverse; oil on canvas; 51 x 61cm; 20 x 24in (unframed)
£1,200-1,800
WILFRID DE GLEHN RA (BRITISH 1870-1951)
THE HILLSIDE, PROVENCE
with the artist’s estate stamp and inventory number 494 lower left; watercolour over traces of pencil on paper; 33 x 53cm; 13 x 21in (48¼ x 67in mounted; unframed)
£400-600
79
WILFRID DE GLEHN RA (BRITISH 1870-1951)
VALLEE DU VAR, FRANCE
with the artist’s estate stamp and inventory number 492 on the reverse; watercolour over traces of pencil on paper; 31 x 51cm; 12¼ x 20in (58¼ x 77½in framed)
The Var river flows through the Alpes-Maritimes in the south-east of France.
£400-600
80
JANE DE GLEHN (BRITISH-AMERICAN 1873-1961)
GATTIERES, MORNING signed and titled GATTIERES. A.M / JANE DE GLEHN on the reverse; oil on board; 38 x 48cm; 15 x 19in (unframed)
Gattières is in the Alpes-Maritimes in the south-east of France.
⊕
£400-600
81
JANE DE GLEHN (BRITISH-AMERICAN 1873-1961)
SUNSET, SOUTH OF FRANCE signed Jane de Glehn lower right; with the artist’s estate stamp and inventory number 211B on the reverse; oil on board; 38 x 60cm; 15 x 23½in (unframed)
⊕ £250-350
83
JANE DE GLEHN
(BRITISH-AMERICAN 1873-1961)
SHADE AND CYPRESSES AT ST CASSIENS, CANNES with the artist’s estate stamp and inventory number 411 on the reverse; oil on board; 38 x 48cm; 15 x 19in (unframed)
⊕ £400-600
85
JANE DE GLEHN
(BRITISH-AMERICAN 1873-1961)
A SKETCHBOOK OF LIFE-DRAWING STUDIES OF WOMEN, SEATED AND STANDING AND RECLINING NUDES
all with the artist’s estate stamp and inventory number 1266; seven sketches, six blank pages, one page cut; sketchbook in hardback with beige cloth boards; black and red chalk heightened with white on paper; 46 x 33.5cm; 18¼ x 13¼in (7)
⊕ £200-300
82
JANE DE GLEHN
(BRITISH-AMERICAN 1873-1961)
NEAR ROUNDSTONE, CONNEMARA, IRELAND
signed and titled Jane de Glehn / Near Roundstone / Connemara. Ireland on the reverse; with the artist’s estate stamp and inventory number 157 on the reverse; 45.5 x 51cm; 18 x 20in (unframed)
⊕ £400-600
84
JANE DE GLEHN
(BRITISH-AMERICAN 1873-1961)
PROVENCE, AFTERNOON SHADE with the artist’s estate stamp and inventory number 407 on the reverse; oil on board; 38 x 48cm; 15 x 19in (unframed)
⊕ £400-600
86
JANE DE GLEHN (BRITISH-AMERICAN 1873-1961)
A PATIENT AT ARC-EN BARROIS (I); HESTER EMMET, THE ARTIST’S NIECE - RECTO -, SKETCHES OF HESTER ASLEEP - VERSO - (II); TWO STUDIES OF HANDS (III); PORTRAIT OF MERCY WEBB (IV)
signed, dedicated and dated To my friend B. Whitchurch Howell / Jane de Glehn / Jan 1916 / arc en Barrois; black chalk, heightened with touches of red and white on paper; 31.5 x 25cm; 12¼ x 10in (i); signed and dated Jane de Glehn / Aug 1922 lower right; with the artist’s estate stamp and inventory number 1275 (recto); pencil on paper; 39 x 27cm; 15¼ x 10½in (ii); with the artist’s estate stamp and inventory numbers 1270 & 1271; both sanguine on paper; both 22.5 x 31cm; 8¾ x 12¼in (iii); signed and dated Jane de Glehn 1920 lower right; pencil no card; 25.5 x 20cm; 10 x 8in (iv) (all unframed)
Provenance: (i) Bernard Whitchurch Howell (a gift from the artist; Howell, d.1973, trained at St Bartholomew’s Hospital and served as Temporary Captain in the Royal Army Medical Corps during the First World War. After the War he became a leading orthopaedic surgeon and was President of the Orthopaedic Section of the Royal Society of Medicine, and a member of the British Orthopaedic Association.)
⊕ £200-300
87
JANE DE GLEHN (BRITISH-AMERICAN 1873-1961)
SIX PORTRAITS OF CHILDREN INCLUDING PETER ASLEEP (I); PHILIP, MARCH 1912 (II); NINA, 1943 (III); NINA TEBBITT, 11 MONTHS (IV)
titled and dated Peter / Oct 1939 lower centre (i); signed, titled and dated J.E.G. / Philip / March 1912 lower right (ii); signed, titled and dated Nina / 11 months / Jane de Glehn / 1943 lower left (iii); titled Nina Tebbitt / 11 months lower left; sanguine on paper (i); pencil, red and white chalks on paper (ii & iii); pencil, red, blue and white chalks on paper (iv); all approximately 35 x 25cm; 13¾ x 10in; with two other drawings of children (all unframed) (6)
⊕ £200-300
88
JANE DE GLEHN (BRITISH-AMERICAN 1873-1961)
PORTRAIT OF WILFRID DE GLEHN IN PROFILE WEARING A BOATER AND HOLDING BRUSHES AND A PALETTE (I); PORTRAIT OF A YOUNG MAN IN PROFILE (II); STUDIES FOR TWO MEN’ S PORTRAITS (III); PORTRAIT OF EVA RAPHAEL IN PROFILE (IV)
inscribed Arthur Blunt lower centre (iii); inscribed Eva Raphael lower centre and signed J de G lower right (iv); with the artist’s estate stamp and inventory number on the reverse: 1264 (iii); 1269 (iv); pencil (i); pencil, red and white chalk (ii); pencil heightened with white (iii); pencil and red chalk (iv); various sizes; including two other portrait drawings (inventory numbers 1267 & 1268) (all unframed) (6)
⊕ £200-300
PIETRO LAZZARI (LOTS 89-97)
Enlivening, fresh and rich… lyrical handling of colour, rhythm and general form
(James Johnson Sweeney, curator of the Museum of Modern Art, New York and director of the Solomon R. Guggenheim Museum)
Pietro Lazzari trained in Rome with the sculptor Francesco Jerace (1853-1937) before serving as a soldier at the Front during the First World War. After the Armistice he studied at the Scuola di Arti Ornamentali in Rome, became an illustrator for the local newspaper Il Messaggero and had his first exhibition at the ‘Theatre of the Independents’ in Rome. Mixing with the Italian Futurists, including Balla, Boccioni, Marinetti and Severini, he spent time in Paris, but with the rise of Facism in 1925 he made the first of several visits to the USA, before settling there permanently in 1929.
In 1926 his work was included in an exhibition of nine European artists alongside Picasso, Modigliani, Gauguin, Douanier Rousseau and Jules Pascin at the New Gallery, New York. Working for the Works Progress Administration (WPA), that commissioned projects as part of the New Deal during the Depression, Lazzari shared a studio with Mark Rothko. In 1935 his work was selected for the major survey exhibition Abstract Painting in America at the Whitney Museum of American Art. Among the other sixty-five artists represented were works by Arthur B Davies, Charles Demuth, Arthur Dove, Arshile Gorky, Marsden Hartley, John Marin, Georgia O’Keefe and Max Weber. The same year Lazzari was commissioned by a newspaper to make court room sketches during the trial of Gruno Hauptman, convicted of the kidnapping and murder of Charles Lindbergh Jr., the twenty-month old son of the celebrated aviator.
In 1936 Lazzari became one of a raft of artists commissioned by the United States Section of Fine Art to produce murals and sculpture for federal buildings across the country. Like the WPA, the programme was aimed to bolster work during the Depression and engage artists with local
communities. Over six years Lazzari completed four large scale projects. Judging an early example of his mural work Max Weber singled out Lazzari for an award, commenting how the artist had the ‘touch of an uncommon personality’. Bleeding Civilian, a life-size concrete polychrome by Lazzari was featured in the Artists for Victory exhibition at the Metropolitan Museum, New York that opened at the end of 1942 when the USA entered the War.
1942 also marked the end of the government funded programme and Lazzari relocated to Washington DC where he first taught at the American University and was represented by Caresse Crosby at her eponymous Modern Art Gallery. In 1947 he showed at the Venice Biennale and was taken on by the influential Betty Parson’s Gallery in New York. Parsons recalled that Lazzari ‘has a very original feeling for materials of all kinds… [and] is a magnificent draughtsman’. From the American University he became head of art at Dumbarton College (1948-50), and in 1950 received a Fulbright Fellowship.
During the 1960s he produced a series of sculptures of leading humanitarian figures including Pope Paul VI (Vatican Collection) and Eleanor Roosevelt (Franklin Roosevelt Library, New York). Throughout the post-War years his work was shown widely in commercial galleries and public exhibitions in Europe and the USA including at the Corcoran Biennal, the Rome Quadriennal, the Institute of Chicago, the Museum of Modern Art, New York and the Musée d’Art Moderne, Paris. In later years Lazarri continued to teach, holding posts at the Graduate School of the US Department of Agriculture and the Corcoran School of Art, George Washington University.
90
89
PIETRO LAZZARI (ITALIAN-AMERICAN 1895-1979)
A COLLECTION OF CARICATURES AND PORTRAIT SKETCHES
six signed by the artist; one extensively inscribed in Italian upper centre; pencil on paper; various sizes (largest 26.5 x 23cm; 10¼ x 9in) (7)
Drawn in the 1920s.
⊕ £100-150
PIETRO LAZZARI (ITALIAN-AMERICAN 1895-1979)
SEVEN CARICATURES AND PORTRAIT SKETCHES
five signed; pencil on paper; various sizes (largest 27.5 x 20cm; 10¾ x 8in) (all unframed) (7)
Drawn in the 1920s.
⊕ £100-150
91
PIETRO LAZZARI (ITALIAN-AMERICAN 1895-1979)
SIX CARICATURES AND PORTRAIT SKETCHES
two signed by the artist; one inscribed in Italian upper right; five pen and black ink on paper; one pencil on paper; various sizes (largest 27.5 x 19cm; 10¾ x 23in) (6)
Executed in the 1920s.
⊕ £100-150
92
PIETRO LAZZARI (ITALIAN-AMERICAN 1895-1979)
SIX CARICATURES AND PORTRAIT SKETCHES
five signed by the artist; pencil on paper; various sizes (largest 27 x 19cm; 10½ x 23in) (6)
Drawn in the 1920s.
⊕ £100-150
93
PIETRO LAZZARI (ITALIAN-AMERICAN 1895-1979)
ELEVEN CARICATURES
one inscribed IMPRESSIONI PARIOLI upper right; charcoal, pencil and pen and ink on paper; smallest 16 x 12.5cm; 6¼ x 5in; largest 27 x 19.5cm; 10½ x 7¾in (all unframed) (10)
Executed in the 1920s.
⊕ £100-150
95
PIETRO LAZZARI
94
PIETRO LAZZARI (ITALIAN-AMERICAN 1895-1979)
CITY DWELLERS
signed LAZZARI lower right; oil on canvas; 67cm x 56.5cm; 26¼in x 22¼in (84cm x 73cm; 33in x 28¾in framed)
Painted circa 1945.
⊕ £150-250
(ITALIAN-AMERICAN 1895-1979)
SIX FIGURE STUDIES
two signed LAZZARI lower left; two signed LAZZARI lower centre; one inscribed NEW YORK lower right five pen and ink and pencil on paper, one watercolour; smallest 16.5 x 12.5cm; 6½ x 5in; largest 27 x 18.5cm; 10¾ x 7¼in (all unframed) (6)
Executed in the 1920s.
⊕ £100-150
96
PIETRO LAZZARI
(ITALIAN-AMERICAN 1895-1979)
A COLLECTION OF CARICATURES INCLUDING THREE BOXING SKETCHES
five signed LAZZARI; the three boxing sketches inscribed L’ARBITRO MAZZIA; BARBARESI LAPORTE and LAPORTE BARBARESI; each pen and ink on paper; various sizes (largest 32.5 x 22cm; 12¾ x 8½in) (6)
Executed in the 1920s.
⊕ £100-150
97
PIETRO LAZZARI
(ITALIAN-AMERICAN 1895-1979)
CITY FIGURES
oil on canvas mounted on board; 91 x 76cm; 35¾in x 30in (unframed)
Painted circa 1945.
⊕ £100-150
HANS FEIBUSCH (LOTS 98-125)
To stand before an empty wall as in a trance… to let shapes cloudily emerge, to draw scenes and figures, to let light and dark rush out of the surface, to make them move outward or recede into the depths, this was bliss.
(Hans Feibusch)
The son of a Frankfurt dentist, Feibusch fought for the Kaiser in the First World War, emerged alive from the Russian Front, and studied with Carl Hofer in Berlin and with Emil Othon Friesz and André Lhote in Paris. Come the 1930s he had a dealer in Berlin, had exhibited widely, and been awarded the German Grand State Prize for painting by the Prussian Academy of Arts. But Hitler’s rise to power threatened it all. In a meeting of the Frankfurter Künstlerbund which he attended in 1933, a new member appeared in Nazi uniform, jumped on a table and pointing at the Jews with his riding crop said: ‘You’ll never show again’. It was the moment Feibusch determined to emigrate.
Arriving in London Feibusch had his first oneman exhibition at the Lefevre Gallery, and was soon a member of the London Group. Further exhibitions with Lefevre followed; then in 1938 he completed his first large scale mural: Footwashing in the Methodist Chapel, Colliers Wood. It was a commission that would result in Feibusch becoming the leading muralist in Britain. Working both for the Church of England and local municipalities, over the next thirty-five years he decorated some forty plus churches, civic buildings and private houses across England and Wales. His work contributed hugely to the re-generation of public buildings after the War and the debate on art in public places. But it also took him away from
the Mayfair-centric contemporary art world and its critics, and thus to a large extent out of the eye of the commercial art world. After his last exhibition at the Lefevre Gallery in 1951 he didn’t have another gallery show until the late 1970s.
Instead Feibusch threw himself into large scale mural projects, designing the decorations for the tea room at the Victoria & Albert Museum in 1946, and championed by George Bell, Bishop of Chichester, embarked on a series of commissions to decorate bomb-damaged churches that were being restored and re-built after the War. Feibusch also wrote Mural Painting a treatise on the history, theory and technique of the art in 1946, and contributed the foreward to the catalogue of the first exhibition of the Society of Mural Painters held in 1950.
A consummate draughtsman, whether sketching his surroundings (lots 98-101), or studying the model before him (lots 102, 104, 107), he captures each scene with a fine eye for detail. And as a gifted colourist, he responded to the light of his surroundings with a breathtaking freshness and immediacy. But above all it is the manner in which he places the human form at the heart of his work with such ease and fluidity that leaves an abiding impression on the viewer and makes his work so compelling today.
99
HANS FEIBUSCH
(GERMAN-BRITISH 1898-1998)
LAKE VIEW NEAR THE ARTIST’S COTTAGE IN BROCKWEIR, WYE VALLEY, GLOUCESTERSHIRE gouache on paper; 38.5 x 53.5cm; 15¼ x 21in (unframed)
Painted circa 1960-63.
⊕ £200-300
101
HANS FEIBUSCH
(GERMAN-BRITISH 1898-1998)
MEDITERRANEAN LANDSCAPE, PROBABLY TAORMINA, SICILY signed with initials and dated 48 lower left; gouache and pencil on paper; 39.5 x 53cm; 15½ x 21in (unframed)
Painted circa 1949-52.
⊕ £200-300
98
HANS FEIBUSCH
(GERMAN-BRITISH 1898-1998)
LANDSCAPE FROM THE ARTIST’S COTTAGE IN BROCKWEIR, WYE VALLEY, GLOUCESTERSHIRE gouache on paper; 40 x 53cm; 15¾ x 21in (unframed)
Painted circa 1960-63.
⊕ £200-300
100
HANS FEIBUSCH
(GERMAN-BRITISH 1898-1998)
MEDITERRANEAN LANDSCAPE, PROBABLY TAORMINA, SICILY inscribed indistinctly in the margin; gouache and pencil on paper; 39 x 52cm; 15½ x 20½in (unframed)
Painted circa 1949-52.
⊕ £200-300
103
HANS FEIBUSCH
(GERMAN-BRITISH 1898-1998)
PASTORAL CLASSICAL SCENE, DESIGN FOR A PRIVATE HOUSE
gouache and pencil on card; 30.5 x 73cm; 12 x 28¾in (unframed)
There is a painting in gouache of a woman balancing a basket on her head on the reverse.
⊕ £150-250
102
HANS FEIBUSCH
(GERMAN-BRITISH 1898-1998)
SKETCHES OF KNEELING FIGURES AND A SKETCH OF A HEAD
(i) signed with initials and dated HF 36 lower left; (ii) signed with initials and dated HF 42 lower right; all pencil on paper; 44.5 x 34cm; 17½ x 13½in - sheet (i); 34.5 x 21cm; 13½ x 8¼in - sheet (ii); 23.5 x 17cm; 9¼ x 6¾in (iii) (all unframed) (3)
⊕ £200-300
105
HANS FEIBUSCH
(GERMAN-BRITISH 1898-1998)
STUDY FOR THE MURAL AT NEWPORT CIVIC CENTRE, SOUTH WALES, 1960-63 DEPICTING THE BURNING OF NEWPORT CASTLE, THE BATTLE OF AGINCOURT AND THE SURRENDER OF RAGLAN CASTLE
pencil, pen and red ink on paper; 37.5 x 69cm; 14¾ x 27in (unframed)
⊕ £100-150
104
HANS FEIBUSCH
(GERMAN-BRITISH 1898-1998)
PORTRAIT OF A WOMAN - RECTO; STUDIES OF A SEATED FIGURE - VERSO signed with initials and dated 89 lower right; charcoal and white chalk on blue paper; 50 x 65cm; 19½ x 25½in (unframed)
⊕ £150-250
106
HANS FEIBUSCH (GERMAN-BRITISH 1898-1998)
A BATTLE SCENE, DESIGN FOR A TOWN HALL (RECTO); TWO ANGELS (VERSO)
titled Design for a Town Hall / “A Scene from the Local History” lower left; signed and dated with initials 48 lower right; signed Hans Feibusch in the lower right margin (recto); gouache and pencil on card (recto); gouache on card (verso); 66.5 x 48cm; 26¼ x 19in (unframed)
⊕ £200-300
107
HANS FEIBUSCH (GERMAN-BRITISH 1898-1998)
A SLEEPING CENTURION
black, red and white chalks on grey paper; 63.5 x 48cm; 25 x 19in (unframed)
⊕ £150-250
108
HANS FEIBUSCH (GERMAN-BRITISH 1898-1998)
STUDY FOR THE BATTLE OF AGINCOURT, NEWPORT CIVIC CENTRE
charcoal and white chalk on paper; 63 x 48cm; 25 x 19in (unframed)
Executed circa 1960-63.
⊕ £100-150
109
HANS FEIBUSCH (GERMAN-BRITISH 1898-1998)
THE ARREST OF JESUS
dated 4.2.61 lower centre; inscribed for Terence Mullaly lower left; signed and further dated 19th June 1961 / Hans Feibusch lower right; charcoal and white chalk on blue paper; 65.5 x 50cm; 25¾ x 19¾in (unframed)
⊕ £120-180
111
HANS FEIBUSCH
110
HANS FEIBUSCH (GERMAN-BRITISH 1898-1998)
NELLY AND HILDA
signed with initials and dated 50 lower right; charcoal and white on burgundy paper; 65 x 39cm; 25½ x 15¼in (79 x 53cm; 31 x 21in framed)
Nelly and Hilda were Feibusch’s two step-daughters.
⊕ £150-250
(GERMAN-BRITISH 1898-1998)
MALE FIGURE IN CLASSICAL DRESS (RECTO); FOUR STUDIES OF MALE FIGURES (VERSO)
dated recto 20.4.60 lower centre; charcoal and pastel on blue paper; 63 x 49cm; 25 x 19¼in (unframed)
⊕ £150-250
113
112
HANS FEIBUSCH (GERMAN-BRITISH 1898-1998)
STANDING MAN IN A TOGA
signed with initials and dated 58 lower centre; charcoal and coloured chalk with blue wash on paper; 62.5 x 49cm; 24½ x 19¼in (unframed)
⊕ £150-250
HANS FEIBUSCH (GERMAN-BRITISH 1898-1998)
CHRIST GIVING BENEDICTION pastel on paper; 63 x 48cm; 24¾ x 19in (unframed)
⊕ £150-250
115
114
HANS FEIBUSCH (GERMAN-BRITISH 1898-1998)
MEDIEVAL FIGURES - A KNIGHT, A GENTLEMAN AND TWO LADIES
signed with initials and dated 58 lower right; charcoal and pastel on paper; 44.5 x 57cm; 17½ x 22½in (unframed)
⊕ £180-250
HANS FEIBUSCH (GERMAN-BRITISH 1898-1998)
THREE FIGURES
charcoal, red and white chalks on paper; 64.5 x 48cm; 25½ x 19in (unframed)
⊕ £180-250
116
HANS FEIBUSCH (GERMAN-BRITISH 1898-1998)
TWO MALE FIGURES
charcoal and pastel with white chalk on paper; 56 x 69cm; 22 x 27¼in (unframed)
⊕ £180-250
117
HANS FEIBUSCH (GERMAN-BRITISH 1898-1998)
STUDIES FOR BIBLICAL FIGURES, POSSIBLY ADAM (RECTO) AND EVE (VERSO)
signed with initials and dated 55 lower centre - recto; pencil and pastel on paper; 63.5 x 48cm; 25 x 19in (unframed)
⊕ £120-180
118
HANS FEIBUSCH
(GERMAN-BRITISH 1898-1998)
A HOST OF SEVEN ANGELS
signed with initials and dated 86 lower left; charcoal and pastel on paper; 40 x 50.5cm; 15¾ x 19¾in (unframed)
⊕ £200-300
119
HANS FEIBUSCH
(GERMAN-BRITISH 1898-1998)
A STILL LIFE OF FLOWERS WITH LILIES IN A VASE AND PURPLE RIBBON
signed with initials and dated 89 lower right; coloured pastel on paper; 48 x 64cm; 18¾ x 25in (66 x 81cm; 26 x 31¼in framed)
⊕ £150-250
121
HANS FEIBUSCH (GERMAN-BRITISH 1898-1998)
YOUNG MAIDEN AND THE UNICORN resin; height 28cm; 11in
⊕ £300-500
120
HANS FEIBUSCH
(GERMAN-BRITISH 1898-1998)
JESUS SURROUNDED BY A HOST OF ANGELS signed with initials and dated 94 lower right; charcoal and coloured pastel on paper; 51 x 78cm; 20 x 30¾in (72 x 98cm; 28¼ x 38½in framed)
⊕ £200-300
123
HANS FEIBUSCH
(GERMAN-BRITISH 1898-1998)
PEGASUS
resin; height: 34cm; 13½in
⊕ £300-500
125
122
HANS FEIBUSCH (GERMAN-BRITISH 1898-1998)
MOSES AND THE BURNING FIRE
signed with initials and indistinctly dated lower right; charcoal and coloured pastel on paper; 43 x 66cm; 17 x 26in (64 x 85cm; 25 x 33½in framed)
Executed circa 1990.
Exhibited: Chichester, Pallant House Gallery; London, Ben Uri Art Gallery; Northampton, Museum and Art Gallery; Eastbourne, Towner Art Gallery; Newport, Museum & Art Gallery, Hans Feibusch, The Heat of Vision, 1995-97, no. 83, illustrated in the catalogue
⊕ £300-400
124
HANS FEIBUSCH (GERMAN-BRITISH 1898-1998)
STILL LIFE WITH SUNFLOWERS, A JUG, BOOKS AND FRUIT
signed with initials and dated 82 lower right; oil on canvas; 90 x 60cm; 35½ x 23½in (104 x 74cm; 41 x 29in framed)
⊕
£300-500
HANS FEIBUSCH (GERMAN-BRITISH 1898-1998)
THREE ANGELS
signed with initials and dated 92 lower right; pastel on paper; 63 x 48cm; 24¾ x 18¾in (83 x 67cm; 32½ x 26¼in framed)
⊕ £200-300
Hull aptly summed up his work as ‘a tension of objects in space’. And at his solo ‘come-back’ exhibition at Adrienne Resnick Gallery in 1989 Resnick described him as ‘a giant, both physically and as an artist’.
Hull’s reputation flourished in the 1950s, when he established himself as one of the leading abstract painters of the post-War years in Britain. His first one-man exhibition was at the Brook Street Gallery in 1949 where Herbert Read gave the opening address. In 1951 he designed a mural for the Dome of Discovery at the Festival of Britain and started showing regularly with Gimpel Fils (1951-56). Elsewhere in London he exhibited with the Redfern Gallery and at the ICA and took part in the renowned This is Tomorrow exhibition at the Whitechapel Art Gallery in 1956; the same year Gimpel held a joint exhibition of Hull and Roger Hilton’s work. Abroad he showed with Galerie de France, Paris, Passedoit Gallery, New York (together with Peter Lanyon and William Gear), and at the Carnegie Institute, Pittsburgh.
JAMES HULL (LOTS 126-132)
But in 1960 Hull turned his back on painting full time after winning a competition to design the interior of the Daily Mirror building. He spent the next ten years as a full-time design consultant for the International Publishing Corporation (IPC), before moving with his family to Ibiza where he designed jewellery. After the death of his daughter in a car accident in the early 1970s he left to embark on a solo travel odyssey. Over the next few years he held down a variety of jobs, including as a consultant designer for NASA’s space shuttle building in the USA. Returning to London in 1980 he took up painting once more. It took him a few years to re-establish himself, but by the end of the decade his work was starting to get traction once again, first at the Strickland Gallery in 1986, and then with Adrienne Resnick Gallery and Whitford & Hughes in 1989. His death a year later was all too premature.
James Hull (right) with Adrienne Resnick
Catalogue cover of Hull’s joint exhibition with Roger Hilton at Gimpel Fils in 1956
126
JAMES HULL (BRITISH 1921-1990)
COMPOSITION I. 90
signed and dated HULL / I. 90 lower left; gouache, wax crayons and house paint on card; 48.5 x 70cm; 19 x 27½in (unframed)
⊕ £300-500
127
JAMES HULL (BRITISH 1921-1990)
COMPOSITION X 84
signed and dated HULL X 84 lower right; gouache on paper; 70.5 x 99.5cm; 27¾ x 39¼in (unframed)
⊕ £100-200
128
JAMES HULL (BRITISH 1921-1990)
COMPOSTION VIII 84
signed and dated HULL VIII 84 upper right; gouache and pencil on paper; 70 x 99.5cm; 27½ x 39¼in (unframed)
⊕ £100-150
129
JAMES HULL (BRITISH 1921-1990)
COMPOSITION VI 84
signed and dated HULL VI 84 lower right; gouache on paper; 52 x 70cm; 20½ x 27½in (75.5 x 92.5cm; 29¾ x 36½in framed)
⊕ £100-150
130
JAMES HULL (BRITISH 1921-1990)
COMPOSITION VII 84
signed and dated HULL VII 84 upper right; gouache on paper; 70.5 x 100cm; 27¾ x 39½in (unframed)
⊕ £100-150
131
JAMES HULL (BRITISH 1921-1990)
COMPOSITION VIII 84 - DOUBLE SIDED
signed and dated HULL VIII 84 upper right - recto; gouache and pencil on paper - recto & verso; 70 x 99.5cm; 27½ x 39¼in (unframed)
⊕ £100-150
132
JAMES HULL (BRITISH 1921-1990)
COMPOSITION VII 84
signed and dated HULL VII 84 upper right; gouache and pencil on paper; 59.5 x 81cm; 23½ x 31¾in (unframed)
⊕ £100-150
MICHAEL KENNY (LOTS 133-140)
My own drawings on paper exist in parallel to the sculpture; ...stone, metal, charcoal, paper are simply manifestations of the same matter. They are interchangeable. Draw with stone and carve with charcoal on paper.
(Michael Kenny)
In his work Kenny challenged the physical boundaries of sculpture whilst searching for a visual language that would offer timeless aesthetic contemplation. From his earliest days he explored the idea of sculptural form not as predominantly vertical but as horizontal, rejected the idea that sculpture needed a base on which to be presented, and considered the space around a piece as important as the solid object itself, exploring the tension between representation and abstraction.
His sources ranged from Japanese rock gardens in which forms rise from the ground and a restricted area gives the illusion of the infinite, to the ever-repeating patterns of Islamic geometry that offered a metaphor for the eternal. But Reg Butler, who taught Kenny at the Slade in London, called Kenny the ‘Liverpool Italian’ in reference to his fascination with the existential modelling of Alberto Giacometti and Medardo Rosso, to which might be added the hieratic interests of two other Italians: Giacomo Manzu and Marino Marini. Certainly there is an innate mood of classical austerity in his out-put. Kenny himself wrote: ‘The feeling in my sculpture is contemporary in its essence... an anonymity, a vulnerability, an absence of personal identity; ambiguity and aloneness.’
This sense of formal detachment is as evident in the line of simple geometric shapes in Shadows (lot 133) as it is in his drawing Linda (lot 136) who lies naked, supine and vulnerable at the far back of the composition. Compositionally the works also register Kenny’s interest in the horizontal, with an emphatic base line being a feature of virtually all the lots, as well as his fascination with the stage. In several of the titles too Kenny reinforces his interest in absence as well as presence, whether via
Shadows or Ex Nihilo (out of nothing); Americium (a radioactive metal) Eunoe 2 (a reference to the washing of souls in the fifth river of the dead in Dante’s Divine Comedy), or most overtly Empty Space (lots 133-135, 137 & 140).
Born in Liverpool, the only child of an engineer, Kenny first studied at Liverpool College of Art together with John Lennon and Stuart Sutcliffe before attending the Slade in London, where he was taught by Reg Butler, and later returned as a visiting tutor. In the 1980s he was Head of Fine Art at Goldsmiths’ College and in 1995 became Head of the City and Guilds Art School.
Kenny had his first solo exhibition in Oxford in 1964, followed by shows in London at the Hamilton and Hanover Galleries and his work included in the Battersea Park Outdoor Sculpture Exhibition in 1967. Further afield in the early 1970s his work was shown in Edinburgh, Milan and Buenos Aires and featured in Documenta 6 in Kassel, Germany in 1977. The same year he was the subject of a one-man exhibition at the Serpentine; in 1978 he had a solo show with Annely Juda and then at the Roundhouse in Camden in 1979. In the early 1980s two exhibitions of his work were held at the Tokyo Gallery in Japan; in 1985 a large retrospective of his work was mounted at the Wilhelm-Lehmbruck Museum, Duisberg, Germany and the following autumn the Royal Academy showed his stone sculpture, reliefs and drawings. In the early 1990s Kenny was artist-in-residence at the Dulwich Picture Gallery. He was appointed a Royal Academician in 1986 and served as the Academy’s treasurer for a number of years.
133
MICHAEL KENNY RA (BRITISH 1941-2000) SHADOWS
signed Michael Kenny- 84. on the base lower right; signed and dated Michael Kenny ‘84 on the underside of the base; titled initialled and dated SHADOWS 1984 / MK on a label on the underside of the base; brass, aluminium and painted metal; height (including base): 19cm; 7½in / length (including base): 38cm; 15in / width (including base): 24.5cm; 9½in
⊕ £700-900
134
MICHAEL KENNY RA (BRITISH 1941-2000)
EX NIHILO
signed, titled and dated Michael Kenny - 85. EX NIHILO upper centre; numbered II lower left; acrylic, gouache, chalk pastel and pencil on paper; 101 x 77cm; 39¾ x 30¼in (107.5 x 89cm; 46¼ x 35in framed)
⊕
£600-800
135
MICHAEL KENNY RA (BRITISH 1941-2000)
AMERICIUM-STUDY
signed and dated Michael Kenny, ‘87 upper right; titled AMERICIUM-study, upper left; oil pastel, chalk pastel and pencil on paper; 70 x 70cm; 27½ x 27½in (89.5 x 89cm; 35¼ x 35in framed)
⊕
£400-600
136
MICHAEL KENNY RA (BRITISH 1941-2000)
LINDA
signed and dated Michael Kenny ‘87 lower right; titled LINDA lower left; chalk pastel and pencil on paper; 38 x 45cm; 15 x 17¾in (56 x 63cm; 22 x 24¾in framed)
⊕
£300-500
137
MICHAEL KENNY RA (BRITISH 1941-2000)
EUNOË 2
signed and dated Michael Kenny ‘91 centre right; titled EUNOË 2 centre left; acrylic, chalk pastel and pencil on paper; 76 x 101.5 cm; 30 x 40 in (95 x 120cm; 37½ x 47¼in framed)
⊕
£500-700
138
MICHAEL KENNY RA (BRITISH 1941-2000)
FOREIGN FIELDS V
signed and dated Michael Kenny - ‘91 lower left; titled FOREIGN FIELDS. V lower right; oil pastel, chalk pastel and pencil on paper; 77 x 101cm; 30¼ x 39¾in
(86.5 x 112cm; 34 x 44in framed)
⊕ £500-700
139
MICHAEL KENNY RA (BRITISH 1941-2000)
MILK AND HONEY II
signed and dated Michael Kenny, ‘95-96 upper right; titled MILK AND HONEY II upper left; signed, titled inscribed and dated MICHAEL KENNY / MILK AND HONEY, II, / oil on canvas, / 46 x 60cm 1993 on the label on the reverse; oil on canvas; 46 x 61cm; 18 x 24in (56 x 71.5cm; 22 x 28in framed)
⊕
£600-800
140
MICHAEL KENNY RA (BRITISH 1941-2000)
EMPTY SPACE
signed and dated Michael Kenny ‘89 lower right; titled EMPTY SPACE lower left; numbered I upper left; pastel, pencil and glitter on paper; 75 x 101cm; 29½ x 39¾in (unframed)
⊕ £300-500
LEO DAVY (LOTS 141-152)
There have been those who seem to have been artists, almost it appears from the day of their birth; such people are incapable of deviating from their natural and compulsive obsession in a world of their own, a world in which their lives are entirely consistent with their work and their being are one and the same thing. Leo Davy was one of these.
(Sir Kyffin Williams)
Born on Ilkley Moor, West Yorkshire, Davey was one of nine children. He refused to attend school with his siblings and instead was home schooled by his painter-art teacher father and musician mother. He became an accomplished artist and pianist early in his life and aged fourteen entered one of his drawings into a National Newspaper Art Competition; he won and enrolled in the Kingston School of Art under Reginald Brill. Unable to be conscripted due to his inherited deafness, in 1942 he started at the Slade which had been evacuated to Oxford during the Blitz. One of only a few male students and with a keen interest in philosophy, Davy often attended lectures at the university and made several friends among the philosophy students. Art was for him a philosophical enquiry. It was at the Slade that Davy met Kyffin Williams who had been invalided out of the army. Both men later became teachers and lived for a while in Highgate North London where Williams became Head of Art at Highgate School. But Davy left teaching to concentrate on his art.
Often described as an outsider and unconventional in his approach to life he communicated best
through his work. His art was a very personal manifestation of himself - his maxim being ‘to paint as only I can paint.’ Determined not to make a living from his painting he worked as a toolmaker and tomato picker while living in an abandoned coastguard’s cottage in Lancing and later became an accomplished framer and gilder, firstly in London and then living on the North Cornwall coast with his wife Antonia. Davy spent most of his life surviving with very little money, moving from garret to garret in London - the archetypal bohemian artist. For the majority of his life he shied away from the art world and was hostile to showing his work. In fact, he rarely exhibited at all and sometimes turned down prospective purchasers. However, in 1950 Davy’s work was included in a summer show at Gimpel Fils alongside the preeminent artists of the day including William Gear, Victor Pasmore, Prunella Clough, Alan Davie and Patrick Heron. Having spent most of his life refusing to travel in his later life he did visit Paris twice with Antonia. He was mesmerised by the city. Davy died unexpectedly of a heart attack at his home in North Cornwall in 1987.
144
141
LEO DAVY (BRITISH 1924-1979) RED AND NAVY ON WHITE signed LEO DA.. on the reverse; oil on board; 36.5 x 32.5cm; 14¼ x 13in (unframed)
Painted in the early 1950s.
⊕ £300-500
142
LEO DAVY (BRITISH 1924-1979)
TRIANGULAR FORMS, YELLOW, BLACK AND WHITE
signed LEO DAVY 53 lower left; oil on board; 61 x 41cm; 24 x 16in (unframed)
⊕ £300-500
143
LEO DAVY (BRITISH 1924-1979)
INTERLOCKING FORMS, YELLOW AND RED signed LEO DAVY 52 lower right; oil on board; 58.5 x 24cm; 23 x 9¼in (unframed)
⊕ £250-350
LEO DAVY (BRITISH 1924-1979)
ELEMENTS DU SANS HUMAIN
signed, titled, inscribed and dated Elements du sans humain / spirochetes leucocytes polynucléaire! / LEO 54 upper right; oil on paper; 50 x 76cm; 19¾ x 30in (71 x 95.5cm; 28 x 37½in)
⊕ £400-600
146
LEO DAVY (BRITISH 1924-1979)
145
LEO DAVY (BRITISH 1924-1979) HEAD
oil on board; 60 x 44.5cm; 23½ x 70½in (81.5 x 66cm; 32 x 26in framed)
Painted in 1950.
Literature: Leo Davy: A Passion to Paint, exh.cat., Piano Nobile, London, 2010, p. 22, no. 11, illustrated
⊕ £400-600
INTERLOCKING FORMS, GREEN AND BLACK oil on board; 63.5 x 49.5cm; 25 x 19½in (unframed)
Painted in the 1950s.
⊕ £400-600
148
LEO DAVY (BRITISH 1924-1979)
BLACK ON RED RHYTHMS
147
LEO DAVY (BRITISH 1924-1979) RED, BLACK AND WHITE VERTICALS
inscribed indistinctly on the reverse; oil on board; 63.5 x 34cm; 25 x 13½in (unframed)
Painted in the 1950s.
⊕
£350-450
oil on board; 61 x 25.5cm; 24 x 10in (unframed)
Painted in the 1950s.
⊕ £300-400
150
LEO DAVY (BRITISH 1924-1979)
149
LEO DAVY (BRITISH 1924-1979)
RECTANGULAR FORMS, RED, GREEN, BLACK AND WHITE oil on board; 40.5 x 35.5cm; 16 x 14in (unframed)
Painted in the 1950s.
⊕ £250-350
FIGURATIVE FORMS, BLACK AND WHITE oil on board; 35.5 x 36cm; 14 x 14¼in (unframed)
Painted in the 1950s.
⊕ £200-300
151
LEO DAVY (BRITISH 1924-1979)
ADJACENT VERTICALS AND HORIZONTALS, YELLOW, GREEN, RED AND BLACK signed LEO 53 lower right; signed and dated LEO DAVY 53 / FEB march on the reverse; 32 x 43cm; 12¾ x 17in (unframed)
⊕ £200-300
152
LEO DAVY (BRITISH 1924-1979)
DYNAMIC FORMS, RED, BLACK AND WHITE oil on board; 34.5 x 30.5cm; 13½ x 12in (unframed)
Painted in the 1950s.
⊕ £200-300
LESLIE MARR (LOTS 153-164)
Marr was born in Durham into a family of engineers and shipbuilders and studied Engineering at Cambridge. He began to paint while with the RAF in the Middle East during the Second World War. Short on supplies, he procured some brushes and paint and purportedly used his kit bag as canvas to depict the landscape around him.
On his return to London he enrolled in art school in Pimlico. But uninspired by the conventional approach offered, a chance encounter with David Bomberg’s stepdaughter, Dinora Mendelsohn, led Marr to seek the more vivacious and anything but ‘run-of-the-mill’ teaching style that Bomberg espoused at Borough Polytechnic in South London.
Bomberg’s innovative non-academic approach to painting centred around discovering what he called ‘the spirit of the mass’. It was a method that had been fuelled by his pre-War painting expeditions to far flung and isolated destinations: the rugged landscapes of Palestine, the volcanic gorges of Ronda in Spain, and the mountains of Cyprus. And his ideas had a profound influence on a number of his students, Leon Kossoff (1926-2019) and Frank Auerbach (1931-2024) amongst them, as well as Marr himself. Bomberg’s non-conventional
style spawned The Borough Group, founded in 1946 by Cliff Holden (1926-2020). Among its members were Bomberg himself, his wife Lillian Holt (1898-1983), Dinora Mendelson (1924-2010), Dorothy Mead (1928-1975), Edna Mann (1926-1985), Miles Peter Richmond (1922-2008), Dennis Creffield (1931-2018) and Marr.
After marrying in 1946, Marr and Dinora travelled to Cyprus with Bomberg. Painting there together Marr’s work flourished, and he would later describe his time in Greece as the point at which he achieved the ‘enlightened’ state. But with the break-up of the Group in 1950 Marr turned to other interests, including as a photographer, film maker and Formula 1 driver before returning to painting after Bomberg’s death in 1957.
Re-connecting with Bomberg’s original approach, Marr travelled far and wide to seek out wild and isolated landscapes - as far afield as New Zealand - and used extreme contrasts and thrusting diagonals to depict untamed Nature. In the present sale these wild landscapes include range from the Himalayas (lot 154) to views across the rugged landscapes of Scotland (lots 155 & 156).
154
LESLIE MARR (BRITISH 1922-2021)
TENGA VALLEY, HIMALAYAS
signed and dated Marr ‘86 lower left; signed and inscribed L.Marr / VIEW FROM TENGA on the stretcher; oil on canvas; 51 x 61cm; 20 x 24in; (unframed)
⊕ £150-250
153
LESLIE MARR (BRITISH 1922-2021)
THOSE BLUE REMEMBERED HILLS
signed and dated Marr / JAN. 2019 lower left; oil on canvas; 71 x 122cm; 28 x 48in (unframed)
⊕ £250-350
156
LESLIE MARR (BRITISH 1922-2021)
GLEN ETIVE, SCOTTISH HIGHLANDS
oil on canvas; 71.5 x 123cm; 28¼ x 48½in (unframed)
⊕ £150-250
155
LESLIE MARR (BRITISH 1922-2021)
LOOKING TOWARDS SUILVEN & CANSIP, SCOTTISH HIGHLANDS
signed and dated Marr 1953/2014 lower left; oil on canvas; 77 x 155cm; 30¼ x 61in (unframed)
⊕ £200-300
158
LESLIE MARR (BRITISH 1922-2021)
CYTHERA REVISITED
signed and dated Marr / DEC. / 2011 lower left; signed Marr on the overlap; oil on canvas; 71.5 x 92cm; 28¼ x 36in (unframed)
⊕ £250-350
157
LESLIE MARR (BRITISH 1922-2021)
ANXIETY. IMAGINARY
oil on canvas; 102 x 153cm; 40¼ x 60¼in (unframed)
Painted in 1972.
⊕ £300-500
160
LESLIE MARR (BRITISH 1922-2021)
SCOTLAND
signed and dated Marr / 06 / 05 lower left; oil on canvas; 71 x 91cm; 27 3/7 x 36in (unframed)
⊕ £250-350
159
LESLIE MARR (BRITISH 1922-2021)
CARLO REMEMBERED
signed and dated Marr / MAY / 2016 lower left; oil on canvas; 77 x 102.5cm; 30½ x 40¼in (unframed)
⊕ £250-350
161
LESLIE MARR (BRITISH 1922-2021)
SELF-PORTRAIT WITH AEROPLANE AND WINDMILL
signed and dated Marr / MARCH / 2012 lower left; signed Marr on the overlap; oil on canvas; 76.5 x 64cm; 30¼ x 25¼in (unframed)
⊕ £150-250
162
LESLIE MARR (BRITISH 1922-2021)
POPPIES
signed and dated Marr / JUNE / 2009 lower left; oil on canvas; 71.5 x 91.5cm; 28 x 36in (unframed)
⊕ £150-250
164
LESLIE MARR (BRITISH 1922-2021)
163
LESLIE MARR (BRITISH 1922-2021)
FLOWERS WITH BIRD
signed and dated Marr. ‘66 / ‘03 lower left; oil on canvas; 76.5 x 63.5cm; 30¼ x 25in (unframed)
⊕ £100-150
THE FIRTH OF CLYDE AND HARRIS (I & II)
signed Marr lower left; dated 88 lower right (i); signed Marr lower left; dated 66 / 75 lower right (ii); each brush, ink, watercolour and wash on paper; 14.5 x 19cm; 5¾ x 7½in (i); 15.5 x 23cm; 6 x 9in (ii) (both unframed) (2)
⊕ £60-80
MICHAEL UPTON (LOTS 165-176)
Tiny, intimist interiors and exteriors exquisitely coloured like some latter day Vuillard
(John Russell Taylor)
Upton grew up in Birmingham where he attended the College of Art before joining the Royal Academy Schools in 1958. In London he became close friends with David Hockney and Patrick Proctor, shared a flat with nascent pop artist Peter Phillips, and was awarded an RA Leverhulme Scholarship. His work was featured in the influential annual ‘Young Contemporaries’ exhibitions that Phillips masterminded over four years (1959-63). The reviewer of the 1962 show in The Times commented: ‘The exhibition fairly bubbles with bright ideas and visual excitement... its weird mixture of impudence, whimsicality and beautifully tender painting is well exemplified by Derek Boshier [and] Michael Upton...’
A year later, however, after completing six identical canvases, Upton abandoned painting entirely, turning instead to conceptual art. He spent 1967-68 in New York, the recipient of a grant from the Cassandra Foundation. Others who received grants from the Foundation included John Cage, Bruce Nauman, Christo, Eduardo Paolozzi and Richard Hamilton. Increasingly Upton’s interests lay in performance, and in the 1970s he founded London Calling with Peter Lloyd Jones which became an influential part of London’s performance art scene. One of his works included burying a number of his paintings on a Dorset hillside. But at the end of 1970s Upton returned again to painting, taking up a teaching role at the RA Schools.
In this later period Upton’s preference was for small scale works. He often used photocopy or newspaper print as the support and he regularly produced series of images, similar to stills from a reel of film. Upton considered them ‘conceptual paintings’, and gained a new fan for his work in John Russell Taylor the influential art critic in The Times. In a review of 1979 Russell Taylor enthusiastically described Upton’s paintings as ‘tiny, intimist interiors and exteriors exquisitely coloured like some latter day Vuillard’, and in his review of the British Council touring exhibition Picturing People, British Figurative Art since 1945, he singled out Upton as one of a handful of ‘highly sophisticated stylists’. Also won over to Upton was the critic Mel Gooding who commented on Upton’s ‘subtle allusiveness (hints of Piero, Vermeer, Sickert) ...another way of deepening the game, of adumbrating the mystery. An art of intimations’.
As his work evolved so Upton also gave it more loaded political messaging, inspired in part by both his earlier pop art years and current events. But following retirement and his retreat to Mousehole, Cornwall in 1996 his artistic focus shifted to the innate beauty of the local landscape and coastal views became his primary focus (lots 173-175).
166
MICHAEL UPTON (BRITISH 1938-2002)
CAFE
oil over pencil on board squared-up; 18 x 26cm; 7 x 10¼in (40 x 48cm; 15¾ x 19in framed)
⊕ £120-180
167
MICHAEL UPTON (BRITISH 1938-2002)
FIGURES IN AN INTERIOR
pastel on printed paper laid down on board; 27 x 42cm; 10¼ x 16½in (unframed)
⊕ £80-120
168
MICHAEL UPTON (BRITISH 1938-2002)
INTERIOR
oil on card; 35 x 25cm; 13¾ x 9¾in (unframed)
⊕ £80-120
165
MICHAEL UPTON (BRITISH 1938-2002)
MAN IN A CAFE
pencil and brown wash on card; 26 x 26cm; 10¼ x 10¾in (unframed)
⊕ £80-120
170
MICHAEL UPTON (BRITISH 1938-2002)
169
MICHAEL UPTON (BRITISH 1938-2002)
DOMESTIC INTERIOR oil on prepared paper; 27 x 20cm; 10½ x 8in (unframed)
⊕ £100-120
STACK OF CANVASES (SERIES OF THREE) each oil on paper laid on board; all 17 x 23cm; 6¾ x 9in (all unframed) (3)
⊕ £150-250
172
MICHAEL UPTON (BRITISH 1938-2002) IN THE OPERATING THEATRE oil on newsprint laid down on board; 24 x 38cm; 9½ x 15in (unframed)
⊕
£60-80
171
MICHAEL UPTON (BRITISH 1938-2002)
GIVING THE ANAESTHETIC oil on prepared paper laid down on board; 22 x 30cm; 8¾ x 11¾in (unframed)
⊕ £60-80
174
MICHAEL UPTON (BRITISH 1938-2002)
173
MICHAEL UPTON (BRITISH 1938-2002)
SEVEN STUDIES OF CORNISH LANDSCAPES INCLUDING ST MICHAEL’S MOUNT
each pencil, watercolour and gouache on paper; various sizes, largest 21 x 29.5cm; 8¼ x 11¾in (all unframed) (7)
⊕
£80-120
EIGHT STUDIES OF LANDSCAPES INCLUDING A COASTAL VILLAGE AND A COUNTRY HOUSE WITH FORMAL GARDENS
each pencil, watercolour and gouache on paper; various sizes, largest 19 x 20.5cm; 7½ x 8 in (all unframed) (8)
⊕
£80-120
176
MICHAEL UPTON (BRITISH 1938-2002)
STUDY OF A MAN
175
MICHAEL UPTON (BRITISH 1938-2002)
EIGHT STUDIES, INCLUDING HILLS ON THE NILE, EGYPT, SANCTUARY WOOD, CORNWALL AND TEXACO PORTOBELLO ROAD
some inscribed with location; pencil, watercolour and gouache on paper; largest 14½ x 20cm; 5¾ x 7¾in (all unframed) (8)
⊕
£80-120
watercolour and pencil on paper; 20 x 13.5cm; 8 x 5¼in (41 x 35cm; 16¾ x 13¾in framed) (3)
Together with two unframed screenprints of the same subject.
⊕ £60-80
JOHN MILLER (LOTS 177-183)
Miller’s paintings embody the mystery of human perception that is beyond the bandwidth of everyday experience.
(Patrick Duffy)
John Miller’s fascination with the interplay of colour pervades his canvases big and small, capturing intensely painterly, enigmatic and deeply spiritual depictions of sea, coast, skies and interiors.
The son of an architect who fostered his son’s creative streak, Miller grew up in south London and briefly attended Croydon School of Art before working in the theatre. Conscripted in 1949 he was posted to Malta for his National Service. The island ignited Miller’s love of boundless skies, vast seas, and coasts drenched in sunlight. After being demobbed he studied at the Regent Street Polytechnic while being articled to the architectural practice of Milner & Craze.
The firm specialised in church architecture, and it was when working on the buildings of the shrine of Our Lady of Walsingham in Norfolk that Miller met his partner to be Michael Truscott. A subsequent assignment when newly qualified took Miller to Penzance to survey a church whose foundations lay in one of the earliest Cornish monasteries. As Ian Collins noted, for Miller ‘The revelation was Cornwall itself’ (Ian Collins, ‘Tribute to John Miller’, in John Miller, New Horizons, Messum’s exhib. cat., 2021, np).
Moving to Cornwall in 1958, Miller and Truscott first rented a cottage above the cliffs at St Buryan, and later a house and studio in Penzance before buying Sancreed House in 1964, the former Rectory adjacent to St Sancreed church in West Penwith, inland from Newlyn and Penzance. In the garden Miller constructed a studio and five chalets for long term lets to pay the mortgage, properties that over the following three decades attracted a rich medley of friends and lodgers.
Elected to the Newlyn Society of Artists in the early 1960s, to which he later served as chairman
and architect, Miller had a succession of solo exhibitions at the Newlyn Art Gallery. His first one man show in London was in 1976, and from 1982 he enjoyed a string of sell-out exhibitions with Messum’s in Mayfair. Indeed, the 1980s was a busy decade. He supplied book illustrations for cookery writer Marika Hanbury-Tenison, collaborated with Henry Moore and John Piper on a joint exhibition in Gloucester and witnessed Prince Charles unveiling his painting Cornubia, Land of the Saints in Truro cathedral. He also revived his acting talents to co-star in A Breath of Fresh Air, a film about the pioneers of the Newlyn School of painters. Close friends included writer David Cornwell who wrote under the nom de plume of John Le Carré. Among his patrons was leading chef Gary Rhodes who commissioned a suite of oils to adorn one of his restaurants.
The 1990s was no less busy, with evermore exhibitions and demands on his time. But a stylistic turning point in his work came with the death of his mother who had come to live at Sancreed House after his father had died. His new focus became ‘interior landscapes’ featuring a spectral outline of a figure surrounded by a field of colour with minimal pictorial elements, a juxtaposition of the familiar with the sublime (see lot 182).
In the mid-1990s Miller and Truscott sold Sancreed House to live by the sea at nearby Lelant on the Hayle Estuary, St Ives (lot 181). Miller’s need to be surrounded by the elements was existential, a requirement which also determined much of his frequent travels with Truscott, including to such destinations as Venice, Jordan, Corfu, Greece, Goa, and Israel as well as the nearby Scilly Isles.
177
JOHN MILLER (BRITISH 1931-2002)
LANDSCAPE
with the artist’s stamp on the reverse; oil on canvas; 43 x 38cm; 16¾ x 15in (53 x 48cm; 20¾ x 18¾in framed)
⊕ £250-350
178
JOHN MILLER (BRITISH 1931-2002)
AUTUMN LANDSCAPE
signed and titled on the reverse; oil on canvas; 51 x 36cm; 20 x 14in (61 x 46cm; 24 x 18in framed)
⊕ £250-350
179
JOHN MILLER (BRITISH 1931-2002)
LANDSCAPE
with the artist’s stamp on the mount; gouache on paper; 44 x 35cm; 17¼ x 13¾in (70 x 59cm; 27½ x 23¼in framed)
⊕ £150-250
181
JOHN MILLER (BRITISH 1931-2002)
LELANT SEA CHANGE
with the artist’s stamp on the mount lower right; gouache on paper; 43 x 36cm; 17 x 14in (69 x 61cm; 27 x 24in framed)
⊕ £150-250
183
JOHN MILLER (BRITISH 1931-2002)
CARN BREA - SUNRISE
180
JOHN MILLER (BRITISH 1931-2002)
SPANISH LANDSCAPE
signed and titled on the reverse; oil on canvas; 61 x 71cm; 24 x 28in (71 x 81cm; 28 x 31¾in framed)
⊕ £300-500
182
JOHN MILLER (BRITISH 1931-2002)
INTERIOR WITH FIGURE
with the artist’s stamp on the mount lower right; gouache on paper; 51 x 33cm; 20 x 13in (77 x 58.5cm; 30¼ x 23in framed)
⊕ £200-300
with the artist’s stamp on the mount lower right; watercolour and gouache on paper; 23 x 38cm; 9 x 15in (58.5 x 73cm; 23 x 28¾in framed)
⊕ £80-120
BERNARD MYERS (LOTS 184-283)
Under the influence of Islamic tiles and textiles, and Indian and Tibetan painting I set out to teach myself colour. My work at this time was mainly abstract and loosely based on astronomical and optical diagrams. Gradually I turned to realism via still life, working very precisely...
(Bernard Myers)
Trained as a gunner in the RAF during the Second World War, Bernard Myers studied at St Martin’s School of Art, Camberwell and the Royal College of Art. Fellow students included John Bratby and Jack Smith, Frank Auerbach and Leon Kossoff. After graduating ARCA in 1954, Myers taught, variously at Camberwell, Hammersmith and Ealing art schools, and was senior lecturer in drawing at the Architectural Association School. He returned to the RCA to teach for the following two decades, punctuated in 1968 and 1971 by stints as Visiting Professor at the Indian Institute of technology, New Delhi. His final teaching post was as Chair of Design Technology at Brunel University (1979-85).
Students at the RCA treasured Myers’ good advice. James Dyson remembered him as ‘cheerful, irrepressible [and] rather dapper… with a tweed suit and bowtie…’ But as well as being upbeat Myers was also appreciated for his considerable range of mind and intellect. On being made a Fellow, in his welcome speech the Dean noted that Myers ‘…must without doubt be the most versatile graduate ever to emerge from the Painting School. Since joining the College in 1961 he has been, by virtue of an encyclopaedic knowledge which comfortably bestrides the boundaries between the humane and the technological, and of his superlative gifts as a teacher, in demand by virtually every School and Department within the College…’
The plus side for Myers was that teaching left him free to practise his own art exactly as he wished.
As he noted: ‘Some artists find that teaching interferes with their work. I find it clarifies my work.’ Indeed, he had an unstoppable compulsion to paint, incessantly exploring a wide range of subject matter, in particular the landscapes he encountered on his varied travels from Dieppe and Venice to Walberswick and Scotland (lots 224-253), the still-lifes he worked on in his studio (lots 184, 186, 188, 190, 192, 194-204, 206, 208), the nudes he painted in weekly life-classes, and his not infrequent forays into abstraction, precipitated in part by his fascination with space (lots 185, 187, 189, 191, 193, 209, 213).
In the 1950s he married Pamela Fildes, granddaughter of the painter Sir Luke Fildes, celebrated for his painting The Doctor of 1891 (Tate Britain). They lived first in Windsor and then in Kensington before moving in 1974 into one of the studios overlooking the Thames at St Peter’s Wharf, purpose built by Julian Trevelyan, next to Hammersmith Terrace (lots 214-223, 254-263, 277 & 278). Myers had several one-man shows in the West End, the first at the New Art Centre in 1969; his last with Austin Desmond Fine Art in 1991. He wrote two books on Goya, others on the history of sculpture and How to Look at Art, and co-edited
The Macmillan Encyclopedia of Art (1979). He also penned articles for The Artist (May 1988) on his highly original approach to pastel (lots 184-193 & 204-213), and Artists and Illustrators (1995) on his Venice views (lots 234-253 & 269-273).
185
BERNARD MYERS (BRITISH 1925-2007)
COSMIC SHAPES
184
BERNARD MYERS (BRITISH 1925-2007)
STILL LIFE WITH FRUIT AND FLOWERS ON RED TABLECLOTH
signed B Myers lower right; oil pastel on paper; 56 x 76cm; 22 x 30in (unframed)
⊕ £200-300
oil pastel on paper; 58 x 72.5cm; 23 x 28½in (unframed)
with the studio inventory number 0433 on the reverse
⊕ £150-250
187
BERNARD MYERS (BRITISH 1925-2007)
COSMIC REFLECTIONS I
186
BERNARD MYERS (BRITISH 1925-2007)
STILL LIFE WITH FLOWERS AND FRUIT
signed B Myers lower right; pastel on paper; 56 x 76cm; 22 x 30in (unframed)
with the studio inventory number 1052 on the reverse
⊕ £200-300
signed and dated ‘75 lower right; oil pastel on paper; 56 x 76cm; 22 x 30in (unframed)
with the studio inventory number 0425 on the reverse
⊕ £150-250
188
BERNARD MYERS (BRITISH 1925-2007)
STILL LIFE WITH HYDRANGEAS IN A VASE
signed B Myers lower right; oil pastel on paper; 56 x 76cm; 22 x 30in (unframed)
with the studio inventory number 0413 on the reverse
⊕ £200-300
190
BERNARD MYERS (BRITISH 1925-2007)
STILL LIFE WITH FLOWERS, FRUIT AND JUG
signed B Myers lower right; oil pastel on paper; 56 x 76cm; 22 x 30in (unframed)
189
BERNARD MYERS (BRITISH 1925-2007)
PLANETARY COMPOSITION IV
oil pastel on paper; 56.5 x 71cm; 22¼ x 28in (unframed)
⊕ £150-250
with the studio inventory number 0403 on the reverse
⊕ £200-300
192
BERNARD MYERS (BRITISH 1925-2007)
AUTUMNAL STILL LIFE
signed B Myers lower right; oil pastel on paper; 56 x 76cm; 22 x 30in (unframed)
191
BERNARD MYERS (BRITISH 1925-2007)
COSMIC REFLECTIONS II
signed and dated ‘75 lower right; oil pastel on paper; 56 x 76cm; 22 x 30in (unframed)
with the studio inventory number 0424 on the reverse
⊕ £150-250
with the studio inventory number 1045 on the reverse
⊕ £200-300
193
BERNARD MYERS (BRITISH 1925-2007)
SPHERES IN SUSPENSION
signed B Myers lower right; oil pastel on paper; 76 x 56in; 30 x 22in (unframed)
⊕ £150-250
195
194
BERNARD MYERS (BRITISH 1925-2007)
STILL LIFE OF FLOWERS IN A GLASS VASE
signed with initials lower right; signed on the reverse B Myers; oil on canvas; 28 x 20.5cm; 11 x 8in (38.5 x 31cm; 15¼ x 12¼in framed)
with the studio inventory number 0340 on the reverse ⊕ £150-250
BERNARD MYERS (BRITISH 1925-2007)
STILL LIFE OF FLOWERS IN A VASE
signed B Myers on reverse; oil on board; 51 x 61cm; 20 x 24in (unframed)
with the studio inventory number 0311 on the reverse ⊕ £150-250
197
196
BERNARD MYERS (BRITISH 1925-2007)
STILL LIFE WITH BLUE FLOWERS AND IRISES IN A VASEA PAIR
both signed B Myers lower left; each oil pastel on paper; each 53 x 36cm; 21¼ x 14in (each 72 x 25cm; 28 x 20½in framed) (2)
with the studIo inventory numbers 0333 and 0331 on the reverse ⊕ £200-300
BERNARD MYERS (BRITISH 1925-2007)
STILL LIFE WITH LILACS AND IRISES - A PAIR
both signed with B Myers lower right; both oil pastel on paper; each 35.5 x 24.5cm; 14 x 9½in (each 51 x 39cm; 20 x 15¼in framed) (2)
with the studio inventory numbers 0332 and 0330 on the reverse ⊕ £180-250
198
BERNARD MYERS (BRITISH 1925-2007)
STILL LIFE WITH COSMOS AND A PLATTER OF FRUIT oil on canvas; 71 x 92cm; 28 x 36¼in (87 x 107cm; 34¼ x 42¼in framed)
with the studio inventory number 0241 on the reverse ⊕ £200-300
200
BERNARD MYERS (BRITISH 1925-2007)
APPLES AND PEARS
199
BERNARD MYERS (BRITISH 1925-2007)
STILL LIFE ON YELLOW WITH BLUE VASE
signed with initials lower left; oil on paper; 55 x 75.5cm; 21¾ x 29½in (unframed)
with the studio inventory number 070 on the reverse ⊕ £150-250
signed with initials lower right; oil on canvas; 33 x 23cm; 13 x 9in (44 x 34cm; 17¼ x 13½in framed)
with the studio inventory number 0348 on the reverse
⊕ £100-150
202
BERNARD MYERS (BRITISH 1925-2007)
A BOUQUET OF CYSTUS IN A VASE
201
BERNARD MYERS (BRITISH 1925-2007)
STILL LIFE OF FLOWERS IN A VASE
signed with initials lower right; oil on canvas; 30.5 x 40.5cm; 12 x 16in (unframed) with the studio inventory number 0320 on the reverse ⊕ £100-150
signed with initials lower left; signed and titled Cystus / Bernard Myers on the reverse; oil on board; 45.5 x 35cm; 18 x 13¾in (unframed) with the studio inventory number 0380 on the reverse
⊕
£100-150
203
BERNARD MYERS (BRITISH 1925-2007)
STILL LIFE WITH FLOWERS oil on canvas board; 30 x 40.5cm; 11¼ x 16in (unframed)
with the studio inventory number 0366 on the reverse
⊕ £100-250
205
BERNARD MYERS (BRITISH 1925-2007)
A DOVE AND WOODPIGEON
signed B Myers lower right; oil pastel on paper; 56 x 76cm; 22 x 30in (unframed)
⊕ £120-180
207
BERNARD MYERS (BRITISH 1925-2007)
A COCKEREL AT DAY BREAK
signed B Myers lower right; oil pastel on paper; 56 x 76cm; 22 x 30in (unframed)
⊕ £120-180
204
BERNARD MYERS (BRITISH 1925-2007)
ORNAMENTAL CABBAGE FLOWERS
signed B Myers lower right; oil pastel on paper; 56 x 76cm; 22 x 30in (unframed) with the studio inventory number 0417 on the reverse ⊕ £180-250
206
BERNARD MYERS (BRITISH 1925-2007)
PURPLE STILL LIFE WITH SKETCHBOOK, FRUIT AND FLOWERS
signed B Myers lower right; oil pastel on paper; 53 x 72cm; 21 x 28½in (unframed) with the studio inventory number 0414 on the reverse
⊕ £200-300
208
BERNARD MYERS (BRITISH 1925-2007)
STILL LIFE WITH SKETCHBOOK, GREEN APPLES AND HYDRANGEAS
signed B Myers lower right; oil pastel on paper; 56 x 76cm; 22 x 30in (unframed)
with the studio inventory number 0234 on the reverse
⊕ £200-300
210
BERNARD MYERS (BRITISH 1925-2007)
SPHERES IN COSMOS
oil pastel on paper; 55.5 x 63.5cm; 22 x 25¼in (unframed)
⊕ £120-180
212
BERNARD MYERS (BRITISH 1925-2007)
COSMIC RAINBOW
209
BERNARD MYERS (BRITISH 1925-2007)
PLANETARY COMPOSITION II
oil pastel on paper; 54 x 71cm; 21½ x 28in (unframed)
⊕ £150-250
211
BERNARD MYERS (BRITISH 1925-2007)
PLANETARY COMPOSITION
oil pastel on paper; 56.5 x 70cm; 21 1/3 x 27½in (unframed)
⊕ £150-250
oil pastel on paper; 56 x 76cm; 22 x 30in (unframed)
⊕ £150-250
213
BERNARD MYERS (BRITISH 1925-2007)
PLANETARY COMPOSITION III
signed and dated ‘74 lower right; oil pastel on paper; 56.5 x 69.5cm; 22¼ x 27¼in (unframed)
⊕ £120-180
215
214
BERNARD MYERS (BRITISH 1925-2007)
SUNLIGHT ON THE THAMES THROUGH TREES
signed with initials lower left; oil on canvas; 71 x 71cm; 28 x 28in (unframed)
with the studio inventory number 0276 on the reverse ⊕ £250-350
BERNARD MYERS (BRITISH 1925-2007)
HAMMERSMITH, EVENING
signed and inscribed Hammersmith Evening / B. Myers on the reverse; oil on board; 40.5 x 51cm; 16 x 20in (unframed)
with the studio inventory number 0369 on the reverse ⊕ £150-250
217
216
BERNARD MYERS (BRITISH 1925-2007)
HAMMERSMITH BRIDGE
signed with initials lower right; oil on paper; 55 x 75cm; 21¾ x 29½in (unframed)
with the studio inventory number 0851 on the reverse ⊕ £150-250
BERNARD MYERS (BRITISH 1925-2007)
THE THAMES UNDER MOONLIGHT
oil on board; 38.5 x 54cm; 15¼ x 21¼in (unframed) with the studio inventory number 028 on the reverse ⊕ £100-150
218
BERNARD MYERS (BRITISH 1925-2007)
RIVER STUDY, THE THAMES oil on canvas; 61 x 77cm; 24 x 30¾in (unframed)
with the studio inventory number 0275 on the reverse ⊕ £200-300
220
BERNARD MYERS (BRITISH 1925-2007)
219
BERNARD MYERS (BRITISH 1925-2007)
REFLECTIONS ON THE THAMES oil on canvas; 63.5 x 77cm; 25 x 30in (unframed) with the studio inventory number 0272 on the reverse ⊕ £200-300
SAILING BOATS ON THE THAMES oil on paper; 55 x 75cm; 21¾ x 29½in (unframed) with the studio inventory number 0861 on the reverse ⊕ £150-250
222
BERNARD MYERS (BRITISH 1925-2007)
TOWER BRIDGE AT DUSK
221
BERNARD MYERS (BRITISH 1925-2007)
TREES BY THE THAMES signed B. Myers on the reverse; oil on canvas; 71 x 92cm; 28 x 36¼in (78 x 98cm; 30¾ x 38½in framed) with the studio inventory number 0362 on the reverse ⊕ £200-300
signed with initials lower right; oil on paper; 55 x 75cm; 21½ x 29½in (unframed)
with the studio inventory number 0614 on the reverse
⊕ £150-250
223
BERNARD MYERS (BRITISH 1925-2007)
SOUTHBANK OF THE THAMES, HAMMERSMITH signed with initials lower right; oil on paper; 55 x 75cm; 21¾ x 29½in (unframed)
with the studio inventory number 1164 on the reverse ⊕ £150-250
225
BERNARD MYERS (BRITISH 1925-2007)
ROOFTOPS, DIEPPE
224
BERNARD MYERS (BRITISH 1925-2007)
SAINT JACQUES CATHEDRAL, DIEPPE
signed with initials lower right; inscribed Dieppe on the reverse; oil on paper; 55 x 75cm; 21¾ x 29½in (unframed)
with the studio inventory number 0903 on the reverse ⊕ £100-150
signed with initials lower right; oil on paper; 55 x 75cm; 21¾ x 29½in (unframed)
with the studio inventory number 0888 on the reverse
⊕ £80-120
227
BERNARD MYERS (BRITISH 1925-2007)
THE PROMENADE, DIEPPE
226
BERNARD MYERS (BRITISH 1925-2007)
SWIMMERS, DIEPPE
signed with initials lower right; oil on paper; 55 x 75cm; 21¾ x 29½in (unframed)
with the studio inventory number 0892 on the reverse ⊕ £80-120
signed with initials lower right; oil on paper; 55 x 75cm; 21¾ x 29½in (unframed)
with the studio inventory number 0889 on the reverse ⊕ £80-120
228
BERNARD MYERS (BRITISH 1925-2007)
MARCHE DE DIEPPE
signed with initials lower right; oil on paper; 55 x 75cm; 21¾ x 29½in (unframed)
with the studio inventory number 0913 on the reverse ⊕ £100-150
230
BERNARD MYERS (BRITISH 1925-2007)
SOUTHWOLD BEACH, SUFFOLK
229
BERNARD MYERS (BRITISH 1925-2007)
BOATS ON THE BEACH, WALBERSWICK
signed with initials lower right; inscribed Walberswick on the reverse; oil on paper; 55 x 75cm; 21¾ x 29½in (unframed)
with the studio inventory number 1266 on the reverse ⊕ £80-120
signed with initials lower right; oil on paper; 55 x 75cm; 21¾ x 29½in (unframed)
with the studio inventory number 1255 on the reverse ⊕ £80-120
232
BERNARD MYERS (BRITISH 1925-2007)
JETTY AND DOCK, WALBERSWICK
231
BERNARD MYERS (BRITISH 1925-2007)
THE LIGHTHOUSE, SOUTHWOLD
signed with initials lower right; oil on paper; 55 x 75cm; 21¾ x 29½in (unframed)
with the studio inventory number 1257 on the reverse ⊕ £80-120
signed with initials lower right; inscribed Walberswick on the reverse; oil on paper; 55 x 75cm; 21½ x 29½in (unframed)
with the studio inventory number 1268 on the reverse
⊕ £80-120
233
BERNARD MYERS (BRITISH 1925-2007)
WALBERSWICK, SUFFOLK
signed with initials lower right; oil on paper; 55 x 75cm; 21¾ x 29½in (unframed)
with the studio inventory number 1267 on the reverse ⊕ £60-80
235
BERNARD MYERS (BRITISH 1925-2007)
THE ACCADEMIA BRIDGE, VENICE
234
BERNARD MYERS (BRITISH 1925-2007)
THE DOGANA, VENICE
signed with initials lower right; oil on paper; 55 x 75cm; 21¾ x 29½in (unframed)
with the studio inventory number 0645 on the reverse ⊕ £150-250
signed with initials lower right; oil on paper; 55 x 75cm; 21¾ x 29½in (unframed)
with the studio inventory number 0651 on the reverse
⊕ £150-250
237
BERNARD MYERS (BRITISH 1925-2007)
RIO DE ROALE, VENICE
236
BERNARD MYERS (BRITISH 1925-2007)
THE ARSENALE, VENICE
signed with initials lower right; oil on paper; 55 x 75cm; 21¾ x 29½in (unframed)
with the studio inventory number 0631 on the reverse
⊕ £150-250
signed with initials lower right; oil on paper; 55 x 75cm; 21¾ x 29½in (unframed)
with the studio inventory number 0628 on the reverse
⊕ £150-250
238
BERNARD MYERS (BRITISH 1925-2007)
THE LIGHTHOUSE OF SAN GIORGIO MAGGIORE, VENICE
signed with initials lower right; oil on paper; 55 x 75cm; 21¾ x 29½in (unframed)
with the studio inventory number 0646 on the reverse ⊕ £150-250
240
BERNARD MYERS (BRITISH 1925-2007)
239
BERNARD MYERS (BRITISH 1925-2007)
VIEW OF SAN GIORGIO MAGGIORE, VENICE
signed with initials lower right; oil on paper; 55 x 75cm; 21¾ x 29½in (unframed)
with the studio inventory number 0639 on the reverse ⊕ £150-250
THE CAMPANILE, SAN MARCO AND THE DOGE’S PALACE AT DUSK, VENICE
signed with initials lower right; oil on paper; 55 x 75cm; 21¾ x 29½in (unframed)
with the studio inventory number 0668 on the reverse ⊕ £150-250
242
BERNARD MYERS (BRITISH 1925-2007)
241
BERNARD MYERS (BRITISH 1925-2007)
SAN MARCO FROM THE DUCAL PALACE, VENICE
signed with initials lower right; oil on paper; 55 x 75cm; 21¾ x 29½in (unframed)
with the studio inventory number 0669 on the reverse ⊕ £150-250
THE LIBRERIA AND THE STATUE OF ST THEODORE ON THE MOLO, VENICE
signed with initials lower right; oil on paper; 55 x 75cm; 21¾ x 29½in (unframed)
with the studio inventory number 1311 on the reverse ⊕ £100-150
243
BERNARD MYERS (BRITISH 1925-2007)
THE DOGE’S PALACE AND THE CAMPANILE, VENICE signed with initials lower right; oil on paper; 39 x 55cm (unframed)
with the studio inventory number 0139 on the reverse ⊕ £150-250
245
BERNARD MYERS (BRITISH 1925-2007)
PALAZZO CA’ DARIO, VENICE
244
BERNARD MYERS (BRITISH 1925-2007)
VENICE, THE ARSENALE
signed with initials lower right; oil on paper; 55 x 75cm; 21¾ x 29½in (unframed)
with the studio inventory number 0670 on the reverse ⊕ £150-250
signed with initials lower right; oil on paper; 55 x 75cm; 21¾ x 29½in (unframed)
with the studio inventory number 1313 on the reverse ⊕ £150-250
247
BERNARD MYERS (BRITISH 1925-2007)
ZATTERE, VENICE
246
BERNARD MYERS (BRITISH 1925-2007)
THE GRAND CANAL: SANTA MARIA DELLA SALUTE AND THE DOGANA, VENICE
signed with initials lower right; oil on paper; 55 x 75cm; 21¾ x 29½in (unframed)
with the studio inventory number 0664 on the reverse ⊕ £150-250
signed with initials lower right; oil on paper; 55 x 75cm; 21¾ x 29½in (unframed)
with the studio inventory number 0647 on the reverse ⊕ £150-200
248
BERNARD MYERS (BRITISH 1925-2007)
VENICE, ON THE LAGOON
signed with initials lower right; oil on paper; 55 x 75cm; 21¾ x 29½in (unframed)
with the studio inventory number 0643 on the reverse ⊕ £100-150
250
BERNARD MYERS (BRITISH 1925-2007)
249
BERNARD MYERS (BRITISH 1925-2007)
THE ROOFS OF VENICE
signed with initials lower right; oil on paper; 39 x 55cm (unframed)
with the studio inventory number 1320 on the reverse ⊕ £100-150
THE GRAND CANAL FROM CAMPO SAN VIO
signed with initials lower right; oil on paper; 55 x 75cm; 21¾ x 29½in (unframed)
with the studio inventory number 0632 on the reverse ⊕ £100-150
252
BERNARD MYERS (BRITISH 1925-2007)
ZATTERE AI GESUATI, VENICE
251
BERNARD MYERS (BRITISH 1925-2007)
VIEW OF MURANO, VENICE
signed with initials lower right; oil on paper; 55 x 75cm; 21¾ x 29½in (unframed) with the studio inventory number 0627 on the reverse ⊕ £100-150
signed with initials lower right; oil on paper; 55 x 75cm; 21¾ x 29½in (unframed)
with the studio inventory number 0644 on the reverse
⊕ £80-120
253
BERNARD MYERS (BRITISH 1925-2007)
ZATTERE, VAPORETTO STATION, VENICE
signed with initials lower right; oil on paper; 55 x 75cm; 21¾ x 29½in (unframed)
with the studio inventory number 0666 on the reverse ⊕ £120-180
255
BERNARD MYERS (BRITISH 1925-2007)
254
BERNARD MYERS (BRITISH 1925-2007)
HAMMERSMITH BRIDGE LOOKING DOWN STREAM TOWARDS THE HARRODS DEPOSITORY
signed with initials lower right; oil on paper; 55 x 75cm; 21¾ x 29½in (unframed)
with the studio inventory number 1152 on the reverse ⊕ £150-250
HAMMERSMITH BRIDGE FROM CHISWICK RIVERSIDE
signed with initials lower right; oil on paper; 55 x 75cm; 21¾ x 29½in (unframed)
with the studio inventory number 0849 on the reverse ⊕ £150-250
257
BERNARD MYERS (BRITISH 1925-2007)
SUMMER VIEW OF THE THAMES, BARNES oil on canvas; 76 x 102cm; 30 x 40¼in (unframed) with the studio inventory number 0279 on the reverse ⊕ £250-350
256
BERNARD MYERS (BRITISH 1925-2007)
THE TOWER OF ST PETER’S, HAMMERSMITH
signed with initials lower right; oil on paper; 55 x 75cm; 21¾ x 29½in (unframed) with the studio inventory number 1276 on the reverse ⊕ £120-180
258
BERNARD MYERS (BRITISH 1925-2007)
RIVER VIEW
signed Bernard Myers and titled on the reverse; oil on board; 50.5 x 61cm; 20 x 24in (unframed)
with the studio inventory number 0287 on the reverse ⊕ £200-300
260
BERNARD MYERS (BRITISH 1925-2007)
FIGURE ON THE RIVERBANK, HAMMERSMITH BRIDGE
259
BERNARD MYERS (BRITISH 1925-2007)
SCULLER ON THE THAMES
signed with initials lower right; signed Bernard Myers on the reverse; oil on paper; 55 x 75cm; 21¾ x 29½in (unframed)
with the studio inventory number 0584 on the reverse ⊕ £150-250
signed with initials lower right; oil on paper; 55 x 75cm; 21¾ x 29½in (unframed)
with the studio inventory number 1179 on the reverse ⊕ £120-180
262
BERNARD MYERS (BRITISH 1925-2007)
SCULLERS ON THE THAMES, HAMMERSMITH
261
BERNARD MYERS (BRITISH 1925-2007)
ST PETER’S CHURCH, HAMMERSMITH
signed with initials lower right; oil on paper; 55 x 75cm; 21¾ x 29½in (unframed) with the studio inventory number 1275 on the reverse ⊕ £100-150
signed with initials lower right; oil on paper; 55 x 75cm; 21¾ x 29½in (unframed)
with the studio inventory number 1181 on the reverse
⊕ £150-250
263
BERNARD MYERS (BRITISH 1925-2007)
TREES BY THE THAMES oil on canvas; 35.5 x 44cm; 14 x 17¼in (42 x 51cm; 16¾ x 20in framed)
with the studio inventory number 0359 on the reverse ⊕ £200-300
265
BERNARD MYERS (BRITISH 1925-2007)
264
BERNARD MYERS (BRITISH 1925-2007)
HAZY LIGHT ON WESTMINSTER AND BIG BEN
signed with initials lower right; oil on paper; 55 x 75cm; 21½ x 29½in (unframed)
with the studio inventory number 0612 on the reverse ⊕ £150-250
BIG BEN AND WESTMINSTER BRIDGE, LONDON
signed with initials lower right; oil on paper; 55 x 75cm; 21¾ x 29½in (unframed)
with the studio inventory number 0605 on the reverse
⊕ £150-250
267
BERNARD MYERS (BRITISH 1925-2007)
BLACKFRIARS BRIDGE, LONDON
266
BERNARD MYERS (BRITISH 1925-2007)
TOWER BRIDGE LODGE
signed with initials twice lower left; oil on paper; 55 x 75cm; 21¾ x 29½in (unframed)
with the studio inventory number 0613 on the reverse ⊕ £150-200
signed with initials lower right; oil on paper; 55 x 75cm; 21¾ x 29½in (unframed)
with the studio inventory number 0610 on the reverse
⊕ £100-150
268
BERNARD MYERS (BRITISH 1925-2007)
WESTMINSTER BRIDGE AND THE HOUSES OF PARLIAMENT
signed with initials twice lower right; oil on paper; 55 x 75cm; 21¾ x 29½in (unframed)
with the studio inventory number 0613 on the reverse ⊕ £150-250
270
269
BERNARD MYERS (BRITISH 1925-2007)
SANTA MARIA DELLA SALUTE, VENICE
signed with initials lower right; oil on paper; 55 x 39cm (unframed) with the studio inventory number 1318 on the reverse ⊕ £100-150
BERNARD MYERS (BRITISH 1925-2007)
DISTANT VIEW OF VENICE
signed with initials lower right; oil on paper; 55 x 75cm; 21¾ x 29½in (unframed)
with the studio inventory number 1185 on the reverse ⊕ £150-250
272
BERNARD MYERS (BRITISH 1925-2007)
BOATYARD, SAN TROVASO, VENICE
271
BERNARD MYERS (BRITISH 1925-2007)
MURANO, VENICE
signed with initials lower right; oil on paper; 55 x 75cm; 21¾ x 29½in (unframed) with the studio inventory number 0672 on the reverse ⊕ £100-150
signed with initials lower right; oil on paper; 37.5 x 55cm; 14¾ x 22¾in (unframed)
with the studio inventory number 1321 on the reverse
⊕ £100-150
273
BERNARD MYERS (BRITISH 1925-2007)
VIEW OF A HILLTOP CHURCH, ITALY
signed with initials lower right; oil on paper; 55 x 75cm; 21¾ x 29½in (unframed)
with the studio inventory number 0842 on the reverse ⊕ £100-150
275
274
BERNARD MYERS (BRITISH 1925-2007) SELF-PORTRAIT
oil on canvas board; 40.5 x 30.5cm; 16½ x 12in (unframed)
with the studio inventory number 0374 on the reverse ⊕ £60-80
BERNARD MYERS (BRITISH 1925-2007)
HOLY TRINITY CHURCH, BLYTHBURGH, SUFFOLK
oil on paper; 55 x 75cm; 21¾ x 29½in (unframed)
with the studio inventory number 1253 on the reverse
⊕ £80-120
277
BERNARD MYERS (BRITISH 1925-2007) MOORINGS, HAMMERSMITH
276
BERNARD MYERS (BRITISH 1925-2007) MOORINGS, WALBERSWICK
signed with initials lower right; inscribed Walberswick on the reverse; oil on paper; 55 x 75cm; 21½ x 29½in (unframed)
with the studio inventory number 1268 on the reverse ⊕ £80-120
signed with initials lower right; oil on paper; 55 x 75cm; 21¾ x 29½in (unframed)
with the studio inventory number 1184 on the reverse
⊕ £100-150
278
BERNARD MYERS (BRITISH 1925-2007) HAMMERSMITH BRIDGE FROM THE RIVERBANK, BARNES
oil on paper; 55 x 75cm; 21¾ x 29½in (unframed)
with the studio inventory number 1187 on the reverse ⊕ £150-250
280
BERNARD MYERS (BRITISH 1925-2007)
279
BERNARD MYERS (BRITISH 1925-2007)
WHITE CLIFFS, DIEPPE
signed with initials lower right; oil on paper; 55 x 75cm; 21¾ x 29½in (unframed)
with the studio inventory number 0890 on the reverse ⊕ £80-120
THE ROYAL OBSERVATORY, GREENWICH oil on paper; 55 x 75cm; 21¾ x 29½in (unframed)
with the studio inventory number 1270 on the reverse
⊕ £100-200
282
281
BERNARD MYERS (BRITISH 1925-2007)
JURA COASTLINE AND THE PAPS OF JURA (I & II)
each signed with initials lower right; each signed and inscribed Jura / B Myers on the reverse; each oil on paper; each 53 x 73cm; 21 x 20¾in (both unframed) (2)
⊕ £80-120
BERNARD MYERS (BRITISH 1925-2007)
(I) ISLE OF SKYE; (II) SHEEP SHEERING, SKYE
each signed with initials lower right; (i) signed and inscribed Skye / B Myers on the reverse; (ii) signed and inscribed B Myers / Shetland / Shearing Skye on the reverse; each oil on paper; (i) 53 x 73cm; 20¾ x 28¾in; (ii) 73 x 53cm; 28¾ x 20¾in (both unframed) (2)
⊕ £80-120
283
BERNARD MYERS (BRITISH 1925-2007)
(I) CATTLE, SKYE; (II) SHEEP AND HOUSES, SKYE
each signed with initials lower right; (i) signed and inscribed Skye / B Myers / Skye on the reverse; (ii) inscribed Skye on the reverse; each oil on paper; 53 x 73cm; 20¾ x 28¾in (both unframed) (2)
⊕ £80-120
IMPORTANT INFORMATION FOR BUYERS
SECTION
A
1. INTRODUCTION
The following notes are intended to assist Bidders and Buyers, particularly those who are inexperienced or new to our saleroom. The sale of goods at our auctions are governed by our Terms of Sale (for Live Auctions or Online Auctions as applicable), our Privacy Policy, the Important Information for Buyers, and any notices that are displayed in our saleroom or announced by the Auctioneer (in the case of a Live Auction) or displayed on any Listing for a Lot in our Online Auction catalogue (in the case of an Online Auction) (collectively, the “Terms and Conditions of Business”). The Terms and Conditions of Business are available for inspection on our Website and at our saleroom on request. Our staff will be happy to help you if there is anything in our Terms and Conditions of Business that you do not fully understand. Please make sure that you read the applicable Terms of Sale carefully before bidding. If your bid is successful, you will be obliged to comply with our Terms of Sale.
2. AGENCY
As Auctioneers we usually act on behalf of the Seller whose identity, for reasons of confidentiality, is not normally disclosed. If you buy at auction your Contract for your purchase of the goods is with the Seller, not with us as Auctioneer.
3. ESTIMATES
Estimates are designed to help you gauge what sort of sum might be involved for the purchase of a particular Lot. Estimates may change and should not be thought of as the Lot’s value or predicted sale price. The lower Estimate may represent the Reserve price (the minimum price for which a Lot may be sold) and will not be below the Reserve price. Estimates do not include the Buyer’s Premium or VAT (where chargeable). Estimates are prepared some time before the auction and may be altered by a saleroom notice or announcement by the Auctioneer before the auction of the Lot (for Live Auctions), or on the Listing for a Lot in our Online Auction catalogue before the auction of the Lot (for Online Auctions). They represent a matter of opinion and are not definitive.
4 BUYER’S PREMIUM
The Terms of Sale oblige you to pay a Buyer’s Premium at 25% on the Hammer Price of each Lot purchased. The Buyer’s Premium is subject to VAT at the standard rate (currently 20%).
5. VAT
The following paragraphs are intended to give general advice on VAT for items purchased at auction. We have covered the common situations, and this may not be comprehensive. We are unable to offer Tax advice and we suggest you seek independent advice if you require clarifications or further information.
5.1 Items in our catalogue may be marked in the following ways:
(a) (†) indicates that VAT is payable by the Buyer on both the Hammer Price and the Buyer’s Premium. VAT will be chargeable at the standard rate (presently 20%) for most Lots. Qualifying books will be charged at 0%. This imposition of VAT is likely to be because the Seller is registered for VAT within the UK and is not operating the Dealers’ Margin Scheme on their consignment to us.
(b) (‡) indicates that the Lot has been imported from outside the UK using customs Temporary Admissions procedures. Import VAT of 5% (reduced rate due to nature of the Lot) is due on the Hammer Price and an amount in lieu of VAT at 20% will be included in the Buyer’s Premium. This VAT on the Buyer’s Premium cannot be itemised separately on our invoices. The successful Bidder and therefore Buyer of the Lot will become its importer.
(c) (Ω) indicates that the Lot has been imported from outside the UK using customs Temporary Admissions procedures. Import VAT of 20% (higher rate) is due on the Hammer Price and an amount in lieu of VAT at 20% will be included in the Buyer’s Premium. This VAT on the Buyer’s Premium cannot be itemised separately on our invoices. The successful Bidder and therefore Buyer of the Lot will become its importer.
(d) Lots which do not display one of the above symbols (referred to herein as unmarked Lots) have no VAT payable on the Hammer Price. This is because such Lots are sold using the Auctioneers’ Margin Scheme. Therefore, an amount in lieu of VAT at the standard rate is included within the Premium and will not be shown separately on our invoice or be recoverable as input Tax.
5.2 For the items marked (‡) or (Ω), Buyers registered for VAT in the UK should notify us as soon as possible after the sale so that we can correctly instruct our shipping agents to complete the import into the UK under the Buyer’s VAT registration and HMRC can issue a form C79. The charge on our invoice for the import VAT is not sufficient evidence to make a claim for the import VAT.
6. REFUNDS OF VAT
6.1 For Buyers from outside the UK, the VAT charged on the Hammer Price and Buyer’s Premium or included in lieu of VAT in the Buyer’s Premium can be refunded so long as the Buyer has:
(a) registered to bid with an address outside the UK; and (b) discussed with us the proof of export we require and the timeframes to complete the export.
6.2 Once we are satisfied that the requirements referred to in Clause 1.6.1 have been met, and with the proof of export provided, the following VAT will be refunded:
(a) For Lots marked (†): The VAT on the Hammer Price and on the Buyer’s Premium.
(b) For Lots marked (‡) and (Ω): the import VAT and, the VAT in lieu in the Buyer’s Premium.
(c) For unmarked Lots: the amount in lieu of VAT in the Buyer’s Premium.
6.3 To enable us to refund the VAT charged correctly we normally require the use of our international shippers to assist with the required paperwork. For private Buyers, we will only be able to refund the VAT if our shippers are used for the export of the Lot outside the UK.
7. REINVOICING SALES
For unmarked Lots, you can request a Lot to be reinvoiced outside the Auctioneers’ Margin Scheme. VAT at 20% will be charged on the Hammer Price and the VAT on the Buyer’s Premium will be itemised separately on our invoice. This will enable a VAT registered business to reclaim all the VAT. Please note that the item will no longer be eligible to be sold in the Margin Scheme. We recommend you seek advice before proceeding. Requests must be made within 6 months of the sale and certain conditions apply.
8. INSPECTION OF GOODS BY THE BUYER
As we act on behalf of the Seller, we are dependent on information provided by the Seller about their goods. We may inspect Lots and will act reasonably in taking a general view about them. However, we are normally unable to carry out detailed examinations of Lots to check their condition in the way a Buyer would do. You will have the opportunity to inspect the goods (upon request). Where a Lot is made available for inspection, we strongly recommend that you inspect any Lots that you are interested in prior to bidding at the auction. Please carefully note the exclusion of liability for the condition of Lots set out in the Terms of Sale for Online Auctions at Clause 22.5 and the Terms of Sale for Live Auctions at Clause 18.5.
9. GOODS WITH ELECTRICAL COMPONENTS
These are sold as “antiques” for their historical and decorative attributes, and for collection and display only. They are not intended for use. If you buy goods with electrical components and intend to use them, you must ask a qualified electrician to check them for compliance with safety regulations before you use them.
10. ENDANGERED SPECIES
If you intend to buy goods which contain endangered species, you need to find out if there is a prohibition on the purchase of goods of that character. For goods containing elephant ivory, you also need to satisfy yourself that they have been correctly registered or certified and meet the exemption conditions under applicable legislation.
11. EXPORT OF GOODS
If you intend to export goods you must find out:
11.1 whether an export licence is needed; and
11.2 if there is a prohibition on exporting goods of that character outside of the UK or on importing goods of that character in your intended country of import such as because the goods contain prohibited materials such as elephant ivory or other protected flora and fauna.
12. BIDDING
Bidders will be required to register with us before the auction starts. We Reserve the right to impose a deadline prior to the auction by which you must register or by which we must receive a commission bid. If you wish to bid on high value Lots this deadline may be several days before the auction in order to allow us sufficient time to carry out the necessary checks. Lots will be invoiced to the name and address on the registration form. Please enquire in advance about our arrangements for telephone or online bidding. You will need to provide us with proof of your identity in a form acceptable to us and such other information as we may require. Please note that we may refuse to register you if you do not provide us with all the information and documentation that we ask for or at our discretion.
13. BIDDING PLATFORMS
We offer free online bidding directly through our Website (www.olympiaauctions.com). You may also bid using an independent Bidding Platform. Bidders using an independent Bidding Platform or service should note that the platform may impose an additional fee or charge, which will be added to the total amount payable in the event your bid is successful. Please refer to the terms and conditions on the relevant independent platform for rates.
14. FINANCIAL CHECKS
As Auctioneers we may have to conduct various checks into our customers under the Money Laundering Legislation, under sanctions legislation and other related legislation. Unless we confirm we already have this information, on registration to bid you will be required to provide the following:
(a) For individuals, official photo identification (driving licence, passport or equivalent) and proof of address (if this is not included in your ID document).
(b) For corporate entities, the certificate of incorporation (or equivalent) with the entity’s official name, registered number (if any) and registered address, as well as details and ID documentation for directors and beneficial owners of the entity.
(c) For trusts and estates, details and ID documentation for executors/trustees and details of beneficiaries: please contact us for further information.
14.1 You may be asked for further information if we deem this necessary.
14.2 If you are bidding for another person (your Principal) you will be required to provide the above information for yourself and your Principal, along with a signed letter from your Principal authorising you to bid on his/her behalf.
14.3 If you require further information about ID requirements, please contact enquiries@olympiaauctions.com. If we deem that you have not provided sufficient information for us to complete our anti-money laundering, terrorist financing and sanctions checks to our satisfaction, we may refuse to register you to bid and we may postpone completion of or cancel any Contract made by you and the Seller in the event you have made a successful bid.
15. COMMISSION BIDDING
You may leave commission bids with us indicating the maximum amount to be bid against a Lot (excluding the Buyer’s Premium and/or any applicable VAT). We will execute commission bids as cheaply as possible having regard to the Reserve (if any) and competing bids. If two Buyers submit identical commission bids, we may prefer the first bid received (where this can be reasonably ascertained). Please enquire in advance about our arrangements for the leaving of commission bids by telephone or fax/email or via our Website or online Bidding Platform.
16. METHODS OF PAYMENT
Olympia Auctions welcomes the following methods of payment, most of which will facilitate immediate release of your purchases.
16.1 Online: www.OlympiaAuctions.com/payments
16.2 Bank Transfer: Payments must be received from a bank account held in the name of the person or entity named on the invoice for the Lot.
HSBC Bank Plc, 38 High Street, Dartford, Kent, DA1 1DG IBAN No: GB39HBUK40190422033119
BIC: HBUKGB4B Sort Code: 401904
Account No: 22033119
Account Name: Olympia Auctions
16.3 Sterling Bankers Draft: Drawn on a recognised UK bank.
CATALOGUING PRACTICE SECTION B
1.
Please note that all measurements are approximate and that illustrations are not to scale. The condition of a Lot is not usually included in catalogue descriptions, and no assumptions should be made in the absence of this information. Condition reports are available on request.
2. CERAMICS
Obvious faults may be recorded in italics at the end of a description for ceramics.
3.CLOCKS AND WATCHES
All Lots are sold “as is” and the absence of any reference to the condition of a clock or watch does not imply that the Lot is in good condition and without defects, repairs or restorations. Most clocks and watches have been repaired in the course of their normal lifetime and may now incorporate parts not original to them. Furthermore, we make no representation or warranty that any clock or watch is in working order. As clocks and watches often contain fine and complex mechanisms, the Bidder should be aware that a general service, change of battery or further repair work, for which the Buyer is solely responsible, may be necessary. The
16.4 Cheque: Usually any cheques will need to be cleared before you can take the goods away. We require seven days to clear sterling cheques unless special arrangements have been made in advance of the sale.
16.5 Cash: £6,000 and “card holder not present” payments above £2,000 cannot be accepted.
16.6 Credit Card payments in person: Payments above £6,000 cannot be accepted.
16.7 Debit card payments in person: Payments are without limit.
17. COLLECTION AND STORAGE
Please note what the applicable Terms of Sale say about collection and storage (see Clause 13 of the Terms of Sale for Live Auctions and Clause 15 of the Terms of Sale for Online Auctions). It is important that you pay for and collect goods promptly. Any delay may involve you having to pay storage charges. You (or your agent) must bring photographic ID for collection. Please note that collection may be made during working hours only, usually Monday to Friday 09:30 to 17:00.
18. POTENTIAL CANCELLATION RIGHTS
If you purchase a Lot in an Online Auction as a Consumer in the UK or EU from a Seller who is a Trader, you may have a right to cancel your purchase of that Lot from the day of the auction up to the day which is 14 days after the date on which you take possession of the Lot. You may also have the right to cancel Services provided by us. Further information is set out in the Terms of Sale for Online Auctions.
Bidder should be aware that the importation of watches such as Rolex, Frank Muller and Corum into the United States is highly restricted. These watches may not be shipped to the USA and can only be imported personally.
4. DISPLAY ACCESSORIES
Please note that armour stands and many of the display mounts used in the catalogue(s) and the sale exhibition(s) do not form part of the Lot unless stated in the catalogue, though they may be made available to the successful Buyer of the relevant Lot(s). Please contact us for prices and further details.
5. FIREARMS
Please note that all bore sizes are approximate.
6. JEWELLERY
It is common practice for many gemstones to be treated by a variety of methods to enhance their appearance and the international jewellery trade has generally accepted these methods. Although heat enhancement of colour is usually permanent, in some cases this could affect the durability of a gemstone. Oiled gemstones may need re-oiling after a
certain period. If no gemmological report is published in the catalogue, prospective Buyers should be aware that the gemstones or pearls could have been enhanced by some method.
7. PHOTOGRAPHS
In addition to the explanations set out below regarding categorising terms for works, please note the following. The date given is that of the image (negative). Where no further date is given, this indicates that the photographic print is vintage (the term “vintage” may also be included in the Lot description). A vintage photograph is one which was made within approximately 5–10 years of the negative. Where a second, later date appears, this refers to the date of printing. Where the exact printing date is not known, but understood to be printed later, "printed later" will appear in the Lot description.
Unless otherwise specified, dimensions given are those of the piece of paper on which the image is printed, including any margins. Some photographs may appear in the catalogue without the margins illustrated.
All photographs are sold unframed unless stated otherwise in the Lot description.
8. PICTURES
A work catalogued with the name(s) or recognised designation of an artist, without any qualification, is, in our opinion, a work by the artist. In other cases, the following expressions with the following meanings are used:
(a) “Attributed to”: means in our opinion it is probably a work by the artist in whole or in part.
(b) “Studio of ” or "workshop of ”: means in our opinion a work executed in the studio or workshop of the artist, possibly under his supervision.
(c) “Circle of ”: means in our opinion a work of the period of the artist and showing his influence.
(d) “Follower of ”: means in our opinion a work executed in the artist's style but not necessarily by a pupil.
(e) “Manner of ”: means in our opinion a work executed in the artist's style but of a later date.
(f) “After”: means in our opinion a copy (of any date) of a work of the artist.
(g) “Signed”, “dated”, “inscribed”: means in our opinion the work has been signed, dated or inscribed by the artist. The addition of a question mark (?) adds an element of doubt.
(h) “Bears signature”, “bears date”, “bears inscription”: means in our opinion the signature, date, inscription or stamp is by a hand other than that of the artist.
9. SILVER, GOLD AND PRECIOUS METALS
Weights may only be accurate to within 5 grams. Weights shown as “(* oz)” are in troy ounces and usually rounded down to the full ounce.
10. THE FOLLOWING SYMBOLS MAY BE USED IN OUR AUCTION CATALOGUES:
(a) () indicates a Lot with no Reserve.
(b) (✧) indicates a “Premium Lot”. For Premium Lots, you must complete the required Premium Lot preregistration application and deliver to us such necessary financial references, guarantees, deposits and/or such other security as we may in our absolute discretion require, as security for your bid. Our decision as to whether to accept any pre-registration application shall be final.
(c) (◉) indicates items that have been identified at the time of cataloguing as containing organic material which may be subject to restrictions regarding import or export, such as a CITES certificate. The absence of the symbol is not a warranty that there are no restrictions regarding import or export of the item. We accept no liability for any Lots which may be subject to restrictions but have not been identified as such. Please refer to section A, paragraph 10 above.
(d) (⊕) indicates a Lot that may be subject to Artist’s Resale Right.
(e) (○) indicates “Guaranteed Property”. The seller of lots with this symbol has been guaranteed a minimum price from one auction or a series of auctions. This guarantee may be provided by Olympia Auctions or jointly by Olympia Auctions and a third party. Olympia Auctions and any third parties providing a guarantee jointly with Olympia Auctions benefit financially if a guaranteed lot is sold successfully and may incur a loss if the sale is not successful. A third party providing a guarantee jointly with Olympia Auctions may provide an irrevocable bid, or otherwise bid, on the guaranteed property. If the Guaranteed Property symbol for a lot is not included in the printed or pdf auction catalogue (where applicable), then Olympia Auctions will notify bidders that there is a guarantee on the lot by one or more of the following means: the lot’s specific webpage will be updated to include the guaranteed property symbol, a notice will be added to the Olympia Auctions webpage for the auction, or a pre-sale or pre-lot announcement will be made indicating that there is a guarantee on the lot. If every lot in a sale is guaranteed, a Special Notice will be included to this effect and this symbol will not be used for each lot.
(f) (∏) indicates “Monumental”. Lots with this symbol may, in our opinion, require special handling or shipping services due to size or other physical considerations. Buyers are advised to inspect the lot and to contact Olympia Auctions prior to the sale to discuss any specific shipping requirements.
(g) (W) indicates property stored and to be collected from off-site storage. Please note that property can only be released once payment has been received in full and cleared funds. If you are sending your own authorised agent to collect property from Olympia Auctions on your behalf, please provide a letter of authorisation, a copy of your paid invoice and photographic ID.
(h) (#) Book sales. Although these items are not free from VAT, Olympia Auctions is able to use the margin scheme and VAT will not normally be charged on the hammer price. Olympia Auctions must bear VAT on the buyer’s premium and hence will charge an amount in lieu of VAT at the standard rate on this premium. This amount will form part of the buyer’s premium on our invoice and will not be separately identified.
Spring / Summer 2026
Olympia Timed: Paintings, Works on Paper and Sculpture
Timed sale: Sunday 22nd March |
Viewing: Sunday 15th March, Monday 16th March, Tuesday 17th March
Olympia Timed: Spring
Timed sale: Sunday 29th March |
Viewing: Sunday 22nd March, Monday 23rd March, Tuesday 24th March
Chinese and Japanese Works of Art
Live sale: Wednesday 6th May |
Viewing: Sunday 3rd May, Monday 4th May, Tuesday 5th May
European Works of Art, Objects & Silver
Live sale: Wednesday 13th May |
Viewing: Sunday 10th May, Monday 11th May, Tuesday 12th May
Jewellery & Watches
Live sale: Thursday 14th May |
Viewing: Sunday 10th May, Monday 11th May, Tuesday 12th May
Indian, Islamic, Himalayan and South-East Asian Art
Live sale: Wednesday 20th May |
Viewing: Sunday 17th May, Monday 18th May, Tuesday 19th May
Modern & Contemporary African & Middle Eastern Art
Live sale: Wednesday 3rd June |
Viewing: Sunday 31st May, Monday 1st June (Drinks), Tuesday 2nd June
Fine Paintings, Works on Paper and Sculpture
Live Sale: Wednesday 10th June |
Viewing: Sunday 7th June, Monday 8th June, Tuesday 9th June
The London Sale
Live Sale: Wednesday 8th July |
Viewing: Sunday 5th July, Monday 6th July, Tuesday 7th July
Please note sale dates are subject to change
Please see our website for up-to-date information
enquiries@olympiaauctions.com | https://www.olympiaauctions.com 25 Blythe Road, London WI4 0PD
