modern british and irish art - bonhams...modern british and irish art montpelier street, london |...

Modern British and Irish ArtMontpelier Street, London | 16 September 2020

Modern British and Irish Art Montpelier Street, London | Wednesday 16 September 2020, at 1pm

BONHAMSMontpelier StreetKnightsbridgeLondon SW7 1HHwww.bonhams.com

VIEWINGSunday 13 September 11am -3pmMonday 14 September 9am- 4.30pmTuesday 15 September 9am-4.30pmWednesday 16 September 9am - 11am

Viewing is by timed appointment only, please contact Catherine White to confirm date, time and duration. [email protected]

ILLUSTRATIONSFront Cover: Lot 68Back Cover: Lot 74Inside Front Cover: Lot 25Inside Back Cover: Lot 84Frontispiece (Pg 3): Lot 71

SALE NUMBER25891

BIDS+44 (0) 20 7447 7447 +44 (0) 20 7447 7401 [email protected]

To bid via the internet please visit www.bonhams.com

Please note that bids should besubmitted no later than 4pmon the day prior to the auction.New bidders must also provideproof of identity when submittingbids. Failure to do this may resultin your bids not being processed.

Bidding by telephone will only be accepted on a lot with the lower estimate in excess of £500.

Live online bidding isavailable for this salePlease email [email protected] “Live bidding” in the subjectline 48 hours before the auctionto register for this service.

ENQUIRIESJanet HardieSpecialist+44 (0) 20 7393 [email protected]

Catherine WhiteJunior Cataloguer +44 (0) 20 7393 [email protected]

PRESS [email protected]

CUSTOMER SERVICESMonday to Friday 8.30am – 6pm+44 (0) 20 7447 7447

Please see page 2 for bidder information including after-sale collection and shipment

Please see back of catalogue for important notice to bidders

IMPORTANT INFORMATIONThe United States Government has banned the import of ivory into the USA. Lots containing ivory are indicated by the symbol Ф printed beside the lot number in this catalogue.

REGISTRATION IMPORTANT NOTICEPlease note that all customers, irrespective of any previous activity with Bonhams, are required to complete the Bidder Registration Form in advance of the sale. The form can be found at the back of every catalogue and on our website at www.bonhams.com and should be returned by email or post to the specialist department or to the bids department at [email protected] To bid live online and / or leave internet bids please go to www.bonhams.com/auctions/25891 and click on the Register to bid link at the top left of the page.

Bonhams 1793 LimitedRegistered No. 4326560 Registered Office: Montpelier Galleries Montpelier Street, London SW7 1HH +44 (0) 20 7393 3900 +44 (0) 20 7393 3905 fax

Bonhams International BoardMalcolm Barber Co-Chairman, Colin Sheaf Deputy Chairman, Matthew Girling CEO, Patrick Meade Group Vice Chairman,Asaph Hyman, Caroline Oliphant, Edward Wilkinson, Geoffrey Davies, James Knight, Jon Baddeley, Jonathan Fairhurst, Leslie Wright, Rupert Banner, Shahin Virani, Simon Cottle.

Bonhams European BoardSimon Cottle Chairman,Matthew Girling, Jonathan Fairhurst, Harvey Cammell, Philip Kantor, Victoria Rey de Rudder,Catherine Yaïche, Emma Dalla Libera

Sale Information

Cadogan Tate

West Acton Station

Park Royal

StationNorth Acton

Station

Park Royal

Acton Cemetery

iWestern Ave A40

Western Ave A40

Coronation Road

Park Royal Road

Chas

e Ro

ad

Horn

Lan

e

Central Middlesex Hospital

Vict

oria

Road

A4

000

Acton

Ln Acton Ln

BIDS+44 (0) 20 7447 7447 +44 (0) 20 7447 7401 fax [email protected]

To bid via the internet please visit www.bonhams.com

PAYMENTSBuyers+44 (0) 20 7447 7447+44 (0) 20 7447 7401 fax

SellersPayment of sale proceeds+44 (0) 20 7447 7447+44 (0) 20 7447 7401 fax

VALUATIONS, TAXATION & HERITAGE+44 (0) 20 7468 8340+44 (0) 20 7468 5860 [email protected]

CATALOGUE SUBSCRIPTIONSTo obtain any Bonhams catalogue or to take out an annual subscription:Subscriptions Department+44 (0) 1666 502200+44 (0) 1666 505107 [email protected]

SHIPPINGFor information and estimateson domestic and internationalshipping as well as exportlicenses please contact AlbanShipping on: +44 (0) 1582 493 [email protected]

COLLECTION BUYERS COLLECTION & STORAGE AFTER SALE LOTS MARKED TP

All sold lots marked TP will beremoved to Cadogan Tate, 241Acton Lane, London, NW10 7NPFrom 9am Thursday 17 September 2020 And will be available for collection from 9am Friday 18 September 2020 and then every working day between 9am-4.30pm.

Collections are by appointmentonly & a booking email or phonecall are required in advance toensure lots are ready at time ofcollection, photographic id will berequired at time of collection & ifa third party is collecting writtenauthorisation from the successfulbuyer is required in advance.Photographic id of the thirdparty will be requested at thetime of collection.

All other sold lots will remain in the Collections room at Bonhams Knightsbridge until 5.30pm Wednesday 30 September 2020 lots not collected by this time will be returned to the department storage charges may apply.

STORAGE AND HANDLINGCHARGES ON SOLD LOTSRETURNED TO CADOGAN TATE

StorageStorage will be free of charge for the first 14 calendar days from & including the sale dateWednesday 16 September 2020

Charges will apply fromWednesday 30 September 2020

Large Paintings:£6.05 per day + VAT(Note: Charges apply every dayincluding weekends and PublicHolidays) HandlingAfter the first 14 calendar daysfollowing the sale, the followinghandling charges apply per Lot:Large Paintings £45.00+ VAT Loss and DamageExtended Liability cover for thevalue of the Hammer Price willbe charged at 0.6% but will not exceed the total value of all other transfer and storage charges.(Please note: Charges apply every day including weekends and Public Holidays)

VATWill be applied at the currentrate on all above charges.The following symbol isused to denote that VATis due on the hammer priceand buyer’s premium

† VAT 20% on hammer priceand buyer’s premium

* VAT on imported items ata preferential rate of 5% onhammer price and theprevailing rate on buyer’spremium

Y These lots are subject toCITES regulations, pleaseread the information in theback of the catalogue.

Payment in AdvanceAll charges due to Cadogan Tatemay be paid to them in advanceor at the time of collection fromtheir warehouse. Payment maybe made by cash, credit, or debitcard(Please note: Amex is notaccepted).

Information on chargesdue is available by email [email protected] telephone on+44 (0) 800 9886100.

Payment in Advance(Telephone to ascertain amountdue) by: cash, credit or debit card.

Payment at time of collection by:Cash, credit or debit card.

4 | BONHAMSFor details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

1 ARALBERT IRVIN R.A. (BRITISH, 1922-2015)Battersea VI signed and dated ‘Irvin ‘02’ (on canvas overlap) acrylic on canvas 61.5 x 61.5cm (24 3/16 x 24 3/16in). (unframed)

£3,000 - 5,000 €3,300 - 5,600 US$3,900 - 6,600

Provenance With Gimpel Fils, London Private Collection, U.K.

2 ARSTANLEY WILLIAM HAYTER (BRITISH, 1901-1988)Forest signed, inscribed and dated ‘Hayter/alba 61’ (lower right); further signed, titled and dated ‘Forest/Hayter/61’ (on canvas verso) oil on canvas 72 x 60cm (28 3/8 x 23 5/8in).

£2,000 - 3,000 €2,200 - 3,300 US$2,600 - 3,900

1

2

MODERN BRITISH AND IRISH ART | 5For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

3 AR TPALBERT IRVIN R.A. (BRITISH, 1922-2015)Red Anchor signed and dated ‘Irvin ‘81’ (on canvas overlap) acrylic on canvas 214 x 305cm (84 1/4 x 120 1/16in). (unframed)

£7,000 - 10,000 €7,800 - 11,000 US$9,200 - 13,000

Provenance With Carine Campo Gallery, Antwerp Exhibited Antwerp, Carine Campo Gallery, Albert Irvin, 19 November-24 December 1987 Antwerp, Carine Campo Gallery, Albert Irvin, 1989


4 ARTESS JARAY R.A. (BRITISH, BORN 1937)Only Under a Dark Sky signed ‘Tess Jaray’ (on canvas overlap), further signed and titled “only under a dark sky’ Tess Jaray’ (on stretcher bar) oil on canvas 115.5 x 111.5cm (45 1/2 x 43 7/8in). (unframed) Painted in 2003

£3,000 - 5,000 €3,300 - 5,600 US$3,900 - 6,600

Provenance With Purdy Hicks Gallery, London

MODERN BRITISH AND IRISH ART | 7

5 ARMICHAEL CANNEY (BRITISH, 1923-1999)Five Up Five Down signed, titled and dated ‘Five up five down/michael canney 81-83’ (on backboard) alkyd and pencil on board 30 x 30cm (11 13/16 x 11 13/16in).

£2,500 - 3,500 €2,800 - 3,900 US$3,300 - 4,600

Provenance The Estate of the Artist

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

5

6

6 ARMICHAEL CANNEY (BRITISH, 1923-1999)“July 16th” Sixteen Squares titled and dated ‘“JULY 16th”/sixteen squares/Nov 1985’ (on backboard) card relief with alkyd on board 20 x 20cm (7 7/8 x 7 7/8in).

£2,000 - 3,000 €2,200 - 3,300 US$2,600 - 3,900

Provenance The Estate of the Artist


7 ARGRAHAM SUTHERLAND O.M. (BRITISH, 1903-1980)Study for Thorn Structure II gouache, pastel and pencil on paper; with lithograph printed in colours, heightened with gouache and pastel (on the reverse) 69.5 x 49.5cm (27 3/8 x 19 1/2in). (unframed) Painted circa 1970

£2,000 - 3,000 €2,200 - 3,300 US$2,600 - 3,900

Provenance The Artist, by whom gifted to the family of the present owner, and thence by descent Private Collection, France Thorn Structure II is an edition of 75, posthumously produced in 1982, for L’Ultimo Paesaggio folio, Teodorani Editore, Milano. The present work is thought to be a study for this edition, with a working trial proof to the reverse.

(recto) (verso)


8 ARSIR ROLAND PENROSE (BRITISH, 1900-1984)Untitled (for Roy) signed ‘ROLAND PENROSE’ (lower right), inscribed ‘for/Roy’ (upper right) felt-tip pen, collage, ink, watercolour and pencil on paper 37 x 26.5cm (14 9/16 x 10 7/16in). Executed in 1938

£5,000 - 7,000 €5,600 - 7,800 US$6,600 - 9,200

Provenance The Artist, by whom gifted to Roy Edwards Geoffrey Lawson, to whom gifted by the Artist’s son, 1984 With The Mayor Gallery, London Peter Nahum Sale; Christie’s, South Kensington, The Poetry of Crisis; The Peter Nahum Collection of British Surrealist and Avant-Garde Art 1930-1951, 15 November 2006, lot 76, where acquired by the present owner Private Collection

Exhibited Aldeburgh, Peter Pears Gallery, Festival Exhibition, June 2006, no. 19 Literature R. Edwards, Chaka & Other Poems, 1981, frontispiece, illustrated The poet Roy Edwards was a close friend of Roland Penrose, and he also translated Valentine Penrose’s poems from the French (Penrose’s first wife).

10 | BONHAMS

9 ARPETER LANYON (BRITISH, 1918-1964)Study of Brit Asleep stamped with Estate stamp ‘Lanyon’ (on sheet verso) charcoal and crayon on paper 51.5 x 74.5cm (20 1/4 x 29 5/16in). Executed in 1960

£2,000 - 3,000 €2,200 - 3,300 US$2,600 - 3,900

Provenance The Estate of the Artist Their sale; Bonhams, Knightsbridge, 19 July 2011, lot 172 Private Collection, U.K.

10 ARGWYTHER IRWIN (BRITISH, 1931-2008)Section signed and dated ‘Gwyther Irwin 1993’ (lower right); titled and dated ‘Section/1993’ (on backboard) watercolour and pencil on paper 89 x 66cm (35 1/16 x 26in).

£1,000 - 1,500 €1,100 - 1,700 US$1,300 - 2,000

Provenance The Artist’s widow, from whom acquired directly by the previous owner Acquired from the above by the present owner, circa 2016 Private Collection, U.K.

11 ARKENNETH ARMITAGE (BRITISH, 1916-2002)Studies for Sculpture signed with initials and dated ‘KA ‘61’ (lower right) charcoal on paper 41 x 49cm (16 1/8 x 19 5/16in).

£800 - 1,200 €890 - 1,300 US$1,100 - 1,600

Provenance Sale; Christie’s London, 9 May 2007, lot 139 (as Sculpture Design) Private Collection, U.K.


9

10

11


12 ARSTEPHEN GILBERT (BRITISH, 1910-2007)Untitled indistinctly signed and dated ‘Stephen Gilbert 51’ (lower right) oil on canvas 45.5 x 33cm (17 15/16 x 13in). with a further oil painting to the reverse, by the same hand

£2,500 - 3,500 €2,800 - 3,900 US$3,300 - 4,600


13 ARSTEPHEN GILBERT (BRITISH, 1910-2007)Untitled signed and dated ‘Stephen Gilbert 1948’ (lower right) ink on paper 31 x 23.5cm (12 3/16 x 9 1/4in).

£800 - 1,200 €890 - 1,300 US$1,100 - 1,600

The present lot is very similar to Untitled (1948), another work by the Artist in the collection of Tate, London (reference T04933).

12

13


14

15

14 ARDESMOND MORRIS (BRITISH, BORN 1928)The Admiral’s Son signed, signed with monogram, titled, dated and inscribed ‘Desmond Morris/THE ADMIRAL’S SON/1952 / 3’ (on backboard) oil on board 48 x 39.5cm (18 7/8 x 15 9/16in).

£2,000 - 3,000 €2,200 - 3,300 US$2,600 - 3,900

Provenance With The Taurus Gallery, Oxford, where acquired by the present owner, 2010 Private Collection, U.K. Exhibited Oxford, Ashmolean Museum, Exhibition of work by Desmond Morris, Geoffrey Clarke, Scottie Wilson, 27 May-8 June 1952, no. 67 Literature S. Levy, Analytical Catalogue Raisonné 1944-2000, Pandora, Antwerp, 2001, p. 194, no. 1952/3, illustrated

15 ARDESMOND MORRIS (BRITISH, BORN 1928)Cell-Head XIV signed with monogram and dated ‘61’ (lower left); further signed with monogram, titled and dated ‘Cell head XIV/61’ (on sheet verso); further signed, signed with monogram, titled, dated and inscribed ‘CELL-HEAD XIV/1961\46./Desmond Morris’ (on Artist’s label attached to backboard) oil on paper 65.5 x 46cm (25 13/16 x 18 1/8in).

£2,000 - 3,000 €2,200 - 3,300 US$2,600 - 3,900

Provenance With The Taurus Gallery, Oxford, where acquired by the present owner, 2010 Private Collection, U.K. Exhibited Ostend, Museum Voor Moderne Kunst, Desmond Morris, 2002 Literature S. Levy, Analytical Catalogue Raisonne 1944-2000, Pandora, Antwerp, 2001, p. 238, no. 1961/46, illustrated The present lot was the Artist’s first experiment with thrown paint; having thrown it and allowed it to dry, he then painted in the background, allowing a central head to emerge. He commented that he found the result ‘strange, intense and frightening’ (S. Levy, ibid. p. 238).


17

16

17 ARNORMAN BLAMEY O.B.E., R.A. (BRITISH, 1914-2000)Confession and Absolution signed with monogram (lower right) oil on board 101.5 x 75.5cm (39 15/16 x 29 3/4in). Painted circa 1954

£3,000 - 5,000 €3,300 - 5,600 US$3,900 - 6,600

Provenance With Whitechapel Gallery, London, where acquired by the family of the present owner, 1954, and thence by descent Private Collection, U.K. Exhibited Norwich, Norwich Gallery, Norfolk Institute of Art and Design, Norman Blamey, 14 September-10 October 1992; this exhibition travelled to Bath, Victoria Art Gallery and London, The Fine Art Society Literature L. Checketts, Norman Blamey, exh.cat., Norwich Gallery, Norfolk, 1992, p. 68, illustrated on p. 23 Please note that this lot is offered with the signed Norwich Gallery exhibition catalogue and an original letter from the Artist referring to the purchase of the painting, October 1954.

16 ARDESMOND MORRIS (BRITISH, BORN 1928)Portrait of a Thinking Girl signed with monogram and dated ‘55’ (lower right); further signed, signed with monogram, titled and dated ‘Portrait of a Thinking Girl/1955 / 1/Desmond Morris’ (on backboard) oil on board 45 x 33.5cm (17 11/16 x 13 3/16in).

£2,000 - 3,000 €2,200 - 3,300 US$2,600 - 3,900

Provenance With The Taurus Gallery, Oxford, where acquired by the present owner, 2011 Private Collection, U.K. Literature S. Levy, Analytical Catalogue Raisonné 1944-2000, Pandora, Antwerp, 2001, p. 198, no. 1955/1, illustrated

14 | BONHAMS

The following collection of works by Paula Rego spans over fifty years of her creative output and also uniquely lends a very personal insight into the artist through her friendship with fellow artist David Wright. The two met while studying at the Slade School of Fine Art, to which David gained entrance in 1950, following two years of national service with the RAF; they met when he was in his second year, Rego being one year below him. They formed a close and lasting friendship, which the following lots are testament to, and the collection includes not only paintings, drawings, and prints, but also photographs and correspondence which illustrate the depth of their long and warm relationship.

The collection both documents their friendship even from its very early days and shows the development of Rego’s style; Le Weekend (lot 18), painted circa 1952, depicts the two friends on holiday in France together, while the quirky and charming La Toilette (After Wright of Wakefield) (lot 22) and Studies of David Wright and His Life (lot 23), show more personal subject matter. The number of prints in the collection also reflect the artist’s varied and prolific printmaking practice. The collection displays too the diversity of subject matter that Rego explores in her work, from personal experiences to literary sources – for example the print Rub-a-dub-dub (lot 20), from her Nursery Rhymes series – and scenes from her imagination, such as Dreams at Walton Hall (lot 25), in which a large crab scuttles, the stool underfoot comes to life and a ghoulish apparition appears in the background.

One of the most fascinating elements of the collection is the selection of correspondence, books, exhibition catalogues, archive material and photographs which Wright collected over the years (lot 24). Included in this lot are letters and postcards which mention important commissions and exhibitions, detailing her inspirations and working methods, subject matter and media. She writes fluently and at length, in one noting that ‘I have done drawings from my head to begin with concentrating very hard’, going on in another to express her delight in the medium of pastel, describing finding ‘a freedom in this medium never managed before’. Included too in this lot are a number of personal photographs taken by Wright which provide a fascinating snapshot of Rego and their friendship.

The collection provides a rich and compelling record of an artistic and personal kinship between Rego and Wright, who following his time at the Slade, also became an artist, teacher, textile and architectural designer and gallery director; a number of his own paintings can be seen at the Norcroft Centre, in the collection of Bradford University. The pieces not only chart Rego’s development as an artist, displaying her primary focus on figurative subject-matter, but also eloquently demonstrate her rich and varied sources of inspiration.

Paula Rego and David Wright: An Artistic Friendship

David Wright, Paula Rego and friend on holiday together in the early 1950s, possibly Portugal. Photograph by David Wright. © Estate of David Wright. Part lot (lot 24), not sold with copyright


18 ARDAME PAULA REGO R.A. (BRITISH, BORN 1935)Le Weekend signed and titled ‘Le Weekend/Paula Rego’ (on canvas verso) oil on canvas 30.5 x 40.5cm (12 x 15 15/16in). (unframed) Painted circa 1952

£8,000 - 12,000 €8,900 - 13,000 US$11,000 - 16,000

Provenance The Artist, by whom gifted to David Wright, and thence by descent Private Collection, U.K. The present lot was gifted by the Artist to her friend and fellow student at the Slade School of Fine Art, David Wright, when the two were studying there in the 1950s. Wright gained entrance to the Slade in 1950, following two years of National Service with the RAF, and met Rego when he was in his second year there - she was in the year below him - and they went on to share a close friendship until his death in 2013. They often travelled together, and Le Weekend depicts the holiday the two took to France in 1952, the location deftly captured in the title.



19

20

21

20 ARDAME PAULA REGO R.A. (BRITISH, BORN 1935)Rub-a-dub-dub (Rosenthal 116) Etching and aquatint with hand-colouring, 1994, on wove, signed and inscribed ‘A/P’ in pencil, an artist’s proof aside from the numbered edition of 50, printed by Culford Press, London, co-published by the artist and Marlborough Graphics, London, with full margins, 315 x 215mm (12 3/8 x 8 1/2in)(PL)

£1,000 - 1,500 €1,100 - 1,700 US$1,300 - 2,000

19 ARDAME PAULA REGO R.A. (BRITISH, BORN 1935)Untitled (Woman in a Red Dress in Chair) (Not in Rosenthal) Lithograph with hand-colouring, circa 2003, on wove, signed and inscribed ‘A/P A very Happy Xmas dear David and the best/possible New Year 2003/Much love Paula’ in pencil, the full sheet, 309 x 222mm (12 1/8 x 8 3/4in) (unframed)

£800 - 1,200 €890 - 1,300 US$1,100 - 1,600

21 ARDAME PAULA REGO R.A. (BRITISH, BORN 1935)Untitled (Woman with Red Wine) (Not in Rosenthal) Etching with hand-colouring, circa 2006, on wove, signed, numbered and inscribed, ‘7/15 Happy Xmas & 2006 love from Paula Rego’ in pencil, printed and published by Culford Press, London, with full margins, 97 x 142mm (3 7/8 x 5 5/8in)(PL) (unframed)

£600 - 800 €670 - 890 US$790 - 1,100


22

23

22 ARDAME PAULA REGO R.A. (BRITISH, BORN 1935)La Toilette (After Wright of Wakefield) signed, titled, dated and inscribed ‘La Toilette/(After Wright of Wakefield)/Happy Birthday/lots of love/Paula./22/9/93’ (centre right) watercolour, pen and ink and pencil on paper 29.5 x 41.5cm (11 5/8 x 16 5/16in). (unframed)

£5,000 - 7,000 €5,600 - 7,800 US$6,600 - 9,200

Provenance The Artist, by whom gifted to David Wright, and thence by descent Private Collection, U.K.

23 ARDAME PAULA REGO R.A. (BRITISH, BORN 1935)Studies of David Wright and His Life dedicated ‘For David.’ (lower left), signed ‘love Paula.’ (lower right) watercolour, pen and ink and pencil on paper 35.5 x 25.5cm (14 x 10 1/16in). (unframed)

£3,000 - 5,000 €3,300 - 5,600 US$3,900 - 6,600


18 | BONHAMS

24DAME PAULA REGO R.A. (BRITISH, BORN 1935) A quantity of archive material collected by her friend David Wright covering a long period of Rego’s career. Including around two dozen warm and full letters and postcards, mentioning key commissions and exhibitions with background on her inspirations and working methods, media, subject-matter, etc. Also included are thirteen signed and dedicated books and exhibition catalogues, newspaper cuttings, signed first edition stamps (Jane Eyre), approximately 20 photographs, invitations etc.

£6,000 - 8,000 €6,700 - 8,900 US$7,900 - 11,000

Provenance David Wright, and thence by descent Private Collection, U.K.

(part lot)

“I HAVE DONE DRAWINGS FROM MY HEAD TO BEGIN WITH CONCENTRATING VERY HARD”: an evocative series of letters from Paula Rego to David Wright, from the 1990s to his death in 2013. They met in the 1950s when both studying at the Slade School of Fine Art, forming a close and lasting friendship. Wright went on to become an artist, teacher, textile and architectural designer and gallery director. In her letters, Rego discusses amongst much else the Royal College (“the students are under terrifying pressure to ‘SUCCEED’”), her show in Lisbon (“a tremendous success... over 40 thousand people have been to it”), and a trip to the Venice Biennale (“so depressing all that junk... I hope to represent Portugal there in two years time”), 1997; her “commission for an 18thC. chapel in the Presidents palace in Lisbon [the Palace of Belém]. He asked me. Tiny pictures... The story is the life of The Virgin Mary... I can handle pastel and find a freedom in this medium never managed before”, 2002; the film Frida (“I thought Frida absurd. How can you make a film about an artist and not show her working?”), 2003; painting David Hare for the NPG (“he was good to work with and unpretentious and so punctual”) and the President of Portugal (“a disaster. I shall not set foot in Portugal for quite a while I am so ashamed”), 2006; death (“I ask my children not to let there be a memorial service for me at The Slade”), and the Thresholds exhibition she curated at the Whitechapel (“Don’t know the name of the artists but am picking what I like. Some odd works like a schoolroom of vegetables having a lesson”), 2009; and “constructing an altarpiece... for the Foundling Museum” (“it is very difficult painting in oil paint which I have not done for years”), 2009.


25 ARDAME PAULA REGO R.A. (BRITISH, BORN 1935)Dreams at Walton Hall titled and dated ‘Dreams at Walton Hall. 1990’, signed and dedicated ‘For David/A Happy New Year/Much love from/Paula.’ (inside card) pen and ink and watercolour on paper 21 x 15.5cm (8 1/4 x 6 1/8in). (unframed)

£5,000 - 7,000 €5,600 - 7,800 US$6,600 - 9,200


26 ARDAME PAULA REGO R.A. (BRITISH, BORN 1935)Faro in Winter! inscribed ‘Faro in Winter!/I’ve never seen such/shivery dogs - all sore./poor poor things.’ (inside card) pen and ink, watercolour and pencil on paper 19.5 x 15cm (7 11/16 x 5 7/8in). (unframed)

£4,000 - 6,000 €4,400 - 6,700 US$5,300 - 7,900


26

25


29 ARDAME PAULA REGO R.A. (BRITISH, BORN 1935)Melancholia (or Moths) (Rosenthal 118) Etching and aquatint with hand-colouring, 1995, on wove, signed and inscribed ‘A/P’ in pencil, an artist’s proof aside from the numbered edition of 30, printed and published by Culford Press, London, with full margins, 295 x 407mm (11 5/8 x 16in)(PL)

£700 - 1,000 €780 - 1,100 US$920 - 1,300

29

28

27

27 ARDAME PAULA REGO R.A. (BRITISH, BORN 1935)Mother with Big Daughter (Rosenthal 156) Screenprint in colours, 1997, on wove, signed, numbered and inscribed ‘A/P 9/10’ in pencil, an artist’s proof aside from the numbered edition of 100, printed by Gresham Studios, Cambridge, published as part of a portfolio by the National Museum for Women in the Arts, Washington, DC, the full sheet, 750 x 560mm (29 1/5 x 22in) (unframed)

£700 - 1,000 €780 - 1,100 US$920 - 1,300

28 ARDAME PAULA REGO R.A. (BRITISH, BORN 1935)Girl Looking for Something? titled ‘girl looking for something?’ (lower centre) pencil and watercolour on paper 15 x 12cm (5 7/8 x 4 3/4in). (unframed)

£800 - 1,200 €890 - 1,300 US$1,100 - 1,600



31 ARCAREL WEIGHT R.A. (BRITISH, 1908-1997)Portrait of Mrs Fontana signed ‘Carel Weight.’ (lower left); further signed and titled ‘Carel Weight/Mrs Fontana’ (on Artist’s label attached to frame verso) oil on canvas 91.5 x 91cm (36 x 35 13/16in).

£3,000 - 5,000 €3,300 - 5,600 US$3,900 - 6,600

Provenance With The Zwemmer Gallery, London, where acquired by the present owner in the 1960s Private Collection, U.K.


31

30

30 ARCAMERON GALT R.W.S. (BRITISH, BORN 1964)Old Haunt signed with monogram and dated ‘1990’ (lower left) oil on canvas 155 x 174cm (61 x 68 1/2in). (unframed)

£2,000 - 3,000 €2,200 - 3,300 US$2,600 - 3,900

Provenance Sale; Christie’s, London, 22 October 1997, lot 149, where acquired by the present owner Private Collection, U.K.


33 ARKEN HOWARD R.A. (BRITISH, BORN 1932)Model Seated in Sun signed ‘Ken Howard.’ (lower right) oil on canvasboard 22.5 x 18cm (8 7/8 x 7 1/16in).

£800 - 1,200 €890 - 1,300 US$1,100 - 1,600

Provenance The Artist, by whom gifted to the family of the present owner, and thence by descent Private Collection, U.K.

32 ARKEN HOWARD R.A. (BRITISH, BORN 1932)Sarah Allongé, Red and Silver signed ‘Ken Howard.’ (lower right) oil on canvas 51 x 61.5cm (20 1/16 x 24 3/16in).

£1,500 - 2,000 €1,700 - 2,200 US$2,000 - 2,600

Provenance With Galeria Internacional de Arte, Portugal, where acquired by the family of the present owner, 15 October 1990, and thence by descent Private Collection, U.K. Please note that this lot is offered with the original receipt from Galeria Internacional de Arte.

34 ARKEN HOWARD R.A. (BRITISH, BORN 1932)Debora Allongé signed ‘Ken Howard’ (lower right); further signed, dedicated and inscribed ‘To Bernard & Manya/with very best wishes for Christmas/& all my thanks for your continued support in 98/Ken/& Dora’ (on backboard) watercolour on paper 18 x 26.5cm (7 1/16 x 10 7/16in). together with a further watercolour on paper, Seated Model, by the same hand (2)

£800 - 1,200 €890 - 1,300 US$1,100 - 1,600


32

33

34 (one of two)


35 ARROWAN GILLESPIE (IRISH, BORN 1953)Galatea signed, numbered and dated ‘ROWAN 2/9 1982’ (on the base) bronze with a golden patina 74.5 cm. (29 1/4 in.) high Conceived and cast in 1982

£8,000 - 12,000 €8,900 - 13,000 US$11,000 - 16,000

Provenance The Artist With Galleri Cassandra, Norway, 1982, where acquired by Olav Wiik-Hansen Private Collection, Norway Please note that the current work is from an edition of 3 and not 9 as inscribed as the mould was destroyed after the third casting. We are grateful to the Artist for his assistance in cataloguing this lot.


36

37

38

36 ARKEN HOWARD R.A. (BRITISH, BORN 1932)Model Dressing signed and dedicated ‘To Bernard best wishes Ken Howard’ (lower right) gouache and pencil on paper 35 x 44cm (13 3/4 x 17 5/16in).

£1,200 - 1,800 €1,300 - 2,000 US$1,600 - 2,400


37 ARKEN HOWARD R.A. (BRITISH, BORN 1932)Seated Model in White Dress signed ‘Ken Howard.’ (lower right); further signed and dedicated ‘Happy/Birthday/Bernard/from./Ken.’ (on canvasboard verso) oil on canvasboard 21.5 x 12.5cm (8 7/16 x 4 15/16in).

£600 - 800 €670 - 890 US$790 - 1,100


38 ARKEN HOWARD R.A. (BRITISH, BORN 1932)Seated Model signed ‘Ken Howard.’ (lower right); further signed and dedicated ‘Bernard/Happy Birthday/Ken’ (on canvasboard verso) oil on canvasboard 24 x 19.5cm (9 7/16 x 7 11/16in).

£800 - 1,200 €890 - 1,300 US$1,100 - 1,600



39 ARREG BUTLER (1913-1981)Study signed with monogram, numbered and inscribed with foundry mark ‘1/8 Susse Fond. Paris’ (to back of base) bronze with a brown patina 23cm (9 1/16in) high (including integral base) Conceived in 1956

£2,000 - 3,000 €2,200 - 3,300 US$2,600 - 3,900

Provenance Sale; Bonhams, Knightsbridge, 15 November 2011, lot 296, where acquired by the family of the present owner, and thence by descent Private Collection, U.K. Exhibited London, Hanover Gallery, Reg Butler, May-June 1957, no. 27 (another cast) Literature M. Garlake, The Sculpture of Reg Butler, The Henry Moore Foundation in Association with Lund Humphries, Aldershot, 2006, p.147, no. 168, illustrated (another cast)

40 ARBERNARD DUNSTAN R.A., R.W.A., N.E.A.C., H.P.S. (BRITISH, 1920-2017)The Shower, Perth signed with initials ‘BD’ (lower left); titled and dated ‘THE SHOWER,/PERTH/3.85’ (on canvasboard verso) oil on canvasboard 25 x 20cm (9 13/16 x 7 7/8in).

£800 - 1,200 €890 - 1,300 US$1,100 - 1,600

Provenance With New Grafton Gallery, London, where acquired by the family of the present owner, 31 July 1985 and thence by descent to the present owner Private Collection, U.K.

39

40


46

41 ARMICHAEL LEONARD (BRITISH, BORN 1933)Stripped Torso 4 signed with initials and dated ‘ML/80’ (lower centre) pencil on paper 23.5 x 25.5cm (9 1/4 x 10 1/16in).

£800 - 1,200 €890 - 1,300 US$1,100 - 1,600

Provenance With Fischer Fine Art Ltd, London, where acquired by the present owner Private Collection, U.K.

43 ARWILLIAM TURNBULL (BRITISH, 1922-2012)Walking Man signed and dated ‘Turnbull 53’ (lower right) ink on paper 22.5 x 12cm (8 7/8 x 4 3/4in).

£800 - 1,200 €890 - 1,300 US$1,100 - 1,600

Provenance With James Hyman Fine Art, London, where acquired by the present owner in 2005 Private Collection, U.K.

41

42

43

42 ARAUGUSTUS EDWIN JOHN O.M., R.A. (BRITISH, 1878-1961)Study of the Artist’s Son, Edwin, Aged 10 pencil on paper 39 x 25.5cm (15 3/8 x 10 1/16in).

£1,200 - 1,800 €1,300 - 2,000 US$1,600 - 2,400

Provenance Jeremy Rye, from whom acquired by the present owner The present work relates to two paintings commissioned by Sir Hugh Lane for Lindsay House, Cheyne Walk in 1909; The Lyric Fantasy, circa 1913-14 (Collection Tate, London) and Forza e Amore, subsequently over-painted as The Flute of Pan. In The Lyric Fantasy, Sir Caspar John identified the three boys on the far right of the composition as being from left to right, Caspar, Romilly and Edwin (Sir Caspar John quoting Edwin John, letter to the compiler of the Tate catalogue, 17 June 1974).


44 ARJEFFERY CAMP R.A. (BRITISH, 1923-2020)Moonrise over Somerset House signed ‘CAMP’ (lower centre) oil on canvas 51 x 51cm (20 1/16 x 20 1/16in). Painted in 1987

£1,000 - 1,500 €1,100 - 1,700 US$1,300 - 2,000

Provenance With Nigel Greenwood Gallery, London Mr R. E. Spragg, London, by whom acquired in the early 1980s Gifted by the above to the present owner Private Collection, U.K. Exhibited Manchester, Manchester City Art Galleries, Jeffery Camp, no. 58 (details untraced)

45 *CHRISTOPHER WOOD (BRITISH, 1901-1930)Farm, Brittany chalk on paper 20 x 30.5cm (7 7/8 x 12in).

£1,000 - 1,500 €1,100 - 1,700 US$1,300 - 2,000

Provenance With The Redfern Gallery, London, where acquired by the family of the present owner, 10 September 1964, and thence by descent Private Collection, U.S.A.

44

45


46

47

48

47 ARDUNCAN GRANT (BRITISH, 1885-1978)Boxers pen and ink on paper 32.5 x 20.5cm (12 13/16 x 8 1/16in). Executed circa 1924

£1,000 - 1,500 €1,100 - 1,700 US$1,300 - 2,000

Provenance Clarissa Roche, from whom acquired by the present owner Private Collection, U.K. We are grateful to Richard Shone for his assistance in cataloguing this lot.

46 ARDUNCAN GRANT (BRITISH, 1885-1978)Two Nymphs charcoal on paper 61 x 44cm (24 x 17 5/16in). Executed circa 1930-5

£2,000 - 3,000 €2,200 - 3,300 US$2,600 - 3,900

Provenance With The Bloomsbury Workshop, London, where acquired by the present owner, 19 September 1998 Private Collection, U.K.

We are grateful to Richard Shone for his assistance in cataloguing this lot.

48 ARDUNCAN GRANT (BRITISH, 1885-1978)The Lute Player charcoal on paper 56.5 x 36cm (22 1/4 x 14 3/16in). Executed circa 1930

£2,000 - 3,000 €2,200 - 3,300 US$2,600 - 3,900

Provenance With The Bloomsbury Workshop, London, where acquired by the present owner, 11 December 1997 Private Collection, U.K.

We are grateful to Richard Shone for his assistance in cataloguing this lot.


49

50

50 ARDUNCAN GRANT (BRITISH, 1885-1978)Paul Roche signed and dated ‘D.Grant./47’ (lower left), bears inscription ‘MAY 15 ‘47’ (lower right) charcoal and gouache on paper 36.5 x 57cm (14 3/8 x 22 7/16in).

£2,000 - 3,000 €2,200 - 3,300 US$2,600 - 3,900

Provenance Acquired by the family of the present owner in the 1950s, and thence by descent Private Collection, U.K. The present work depicts Paul Roche, and is believed to have been drawn at the Artist’s room at 1 Taviton Street, London. We are grateful to Richard Shone for his assistance in cataloguing this lot.

49 ARMAURICE FEILD (BRITISH, 1905-1988)Portrait of W. H. Auden signed, titled and dated ‘W.H. AUDEN/MAURICE FEILD/1937’ (on canvas verso) oil on canvas 56 x 38cm (22 1/16 x 14 15/16in).

£800 - 1,200 €890 - 1,300 US$1,100 - 1,600

Provenance The Artist, and thence by family descent Private Collection, U.K. Maurice Feild and W. H. Auden were both colleagues and friends, during their time teaching at the Downs School, Colwall during the early 1930s. Feild, an associate of the Euston Road School, later went on to teach at the Slade School of Fine Art in 1954. This portrait was painted in 1937, the same year W. H. Auden visited Spain and took in the horrors of the Spanish Civil War, which provided inspiration for his poem Spain (1937), written and published in the same year.

30 | BONHAMS

Mary Potter (1900-1981)

Mary Potter’s instantly recognisable paintings possess an ephemeral and delicate quality which is quite unique. The following selection of paintings offered here (lots 51-56) highlight her ability to capture the transient nature of her surroundings with her distinctive subtle palette, watery textures and dreamlike landscapes.

After studying at the Slade School of Fine Art under the tutelage of Henry Tonks, collecting several awards during her time there, Potter quickly became involved in the wider British art scene upon graduating, exhibiting with the New English Art Club and the relatively newly-formed Seven and Five Society in 1922.

Moving to Chiswick with her husband Stephen, a writer in 1928, Potter began to absorb the qualities of the Thames into her paintings – of light, transience, and liquidity – characteristics she was to maintain and develop throughout her career. By 1951, she moved with Stephen to The Red House, in Aldeburgh, Suffolk. It is here that she captured the sparsity of the coast and marshes surrounding the area, moving further into abstraction, and established some of her most recognisable traits; her beautifully fluid shapes, muted delicate tones and perhaps most noticeably in the following works, her attention to light and shadow such as in Grasses and Shadow (lot 52), Light Through Leaves (lot 54) and Porch Light (lot 55). Her time in Aldeburgh had a great impact on her painting, and she often captured the changing landscape throughout the seasons, including in Little Flower (lot 53).

After the breakdown of her marriage in 1955, Mary swapped houses with her close friends Benjamin Britten and Peter Pears in 1957, moving into their former residence of Crag House in Aldeburgh, which afforded views of the sea front. She later returned to The Red House in 1963, when Britten and Pears commissioned her a purpose-built studio in the grounds. The move to this studio enabled her to paint on a larger scale and is where a number of the following paintings would have been completed. In 1965, Potter had an important retrospective exhibition of her work at the Whitechapel Art Gallery, which challenged her to create work on a grander scope and scale, enabled by the move to this new studio.

The following group of works show an artist confidently exploring favourite subjects, especially light and the natural environs of Suffolk. Using her characteristic pale, delicate palette, she has an economy of touch which expresses her subjects with deft skill, conjuring harmonious paintings which create a sensation of shifting light and shade.

'[Her paintings] exist in the domain of seeing and feeling; we know that they are exactly

right in the same way that we know a singer to be perfectly in tune'

(K. Clark, Mary Potter Paintings 1938–1964, exh. cat., Whitechapel Art Gallery, London, 1965)


51 ARMARY POTTER (BRITISH, 1900-1981)Yellow Dressing Gown signed and dated ‘Mary Potter/’77’ (on canvas verso) oil on canvas 76 x 81cm (29 15/16 x 31 7/8in).

£6,000 - 8,000 €6,700 - 8,900 US$7,900 - 11,000

Provenance Acquired by the present owner in 1978 Private Collection, U.K. Exhibited London, Serpentine Gallery, Arts Council of Great Britain, Mary Potter: Paintings 1922-80, 23 May-28 June 1981, no. 80 The present lot was inspired by the bedroom the Artist stayed in when visiting Saltwood Castle, Kent, the home of Kenneth Clark. Clark, the influential art historian, museum director and presenter of the famed Civilisation series, was an important influence on the Artist. He described her paintings as ‘enchanting moments of heightened perception’ (K. Clark, Mary Potter Paintings 1938–1964, exh. cat., Whitechapel Art Gallery, London, 1965).

52 ARMARY POTTER (BRITISH, 1900-1981)Grasses & Shadow signed with initials ‘MP’ (lower right); further signed and dated ‘Mary Potter/1973’ (on canvas verso) oil on canvas 76 x 71cm (29 15/16 x 27 15/16in).

£7,000 - 10,000 €7,800 - 11,000 US$9,200 - 13,000

Provenance With New Art Centre, London, where acquired by the present owner, May 1974 Private Collection, U.K. Exhibited London, New Art Centre, Mary Potter, 30 April- 25 May 1974


52

51


54

53

53 ARMARY POTTER (BRITISH, 1900-1981)Little Flower signed and dated ‘Mary Potter/’74’ (on canvas verso) oil on canvas 55.5 x 50.5cm (21 7/8 x 19 7/8in).

£5,000 - 7,000 €5,600 - 7,800 US$6,600 - 9,200

Provenance With New Art Centre, London, where acquired by the present owner Private Collection, U.K. Exhibited London, Serpentine Gallery, Arts Council of Great Britain, Mary Potter: Paintings 1922-80, 23 May-28 June 1981, no. 66 The present lot is thought to be based on the many sketches and watercolours the Artist made of the marshes around Aldeburgh.

54 ARMARY POTTER (BRITISH, 1900-1981)Light Through Leaves oil on canvas 101.5 x 127cm (39 15/16 x 50in). Painted in 1969

£5,000 - 7,000 €5,600 - 7,800 US$6,600 - 9,200

Provenance With New Art Centre, London, where acquired by the present owner in 1972 Private Collection, U.K. Exhibited London, New Art Centre, Mary Potter, 6-29 November 1969, no. 1 Belfast, Ulster Museum, Arts Council of Northern Ireland, Open Painting Exhibition, 30 April-6 June 1970 London, Serpentine Gallery, Arts Council of Great Britain, Mary Potter: Paintings 1922-80, 23 May-28 June 1981, no. 45 Welshpool, Oriel 31, Mary Potter: 1900-1981; A Selective Retrospective, 30 September-11 November 1989 The present work was inspired by the light coming through the beech hedge outside the Artist’s large, north-facing studio window in winter. At the time, her studio was in the grounds of The Red House in Aldeburgh, her former home, which she exchanged with her friends Benjamin Britten and Peter Pears in November 1957; they had been friends for a few years and often played tennis together in the large garden. Pears and Britten commissioned Peter Collymore to build the studio for Potter in 1963.


56

55

55 ARMARY POTTER (BRITISH, 1900-1981)Porch Light signed and dated ‘Mary Potter 1973’ (on canvas verso) oil on canvas 76 x 81cm (29 15/16 x 31 7/8in). (unframed)

£7,000 - 10,000 €7,800 - 11,000 US$9,200 - 13,000

Provenance With New Art Centre, London, where acquired by the present owner circa 1974 Private Collection, U.K. Exhibited London, Serpentine Gallery, Arts Council of Great Britain, Mary Potter: Paintings 1922-80, 23 May-28 June 1981, no. 62

56 ARMARY POTTER (BRITISH, 1900-1981)The Builder signed with initials ‘MP’ (lower right) oil on board 58 x 99cm (22 13/16 x 39in).

£6,000 - 8,000 €6,700 - 8,900 US$7,900 - 11,000

Provenance With Thompson’s Gallery, Aldeburgh, where acquired by the present owner, circa 2000 Private Collection, U.K.


57

58 (one of two)

57 * ARGEORGE CAMPBELL R.H.A. (IRISH, 1917-1979)The Guitar Player signed ‘Campbell’ (lower left) oil on board 46 x 61cm (18 1/8 x 24in).

£1,200 - 1,800 €1,300 - 2,000 US$1,600 - 2,400

58 ARJOSEF HERMAN R.A. (BRITISH, 1911-2000)Figures and a Donkey signed, titled and inscribed ‘“FIGURES AND A DONKEY”/WATERCOLOUR/Josef Herman’ (on backboard) watercolour and ball-point pen on paper 24.5 x 19cm (9 5/8 x 7 1/2in). together with a further watercolour, In the Taverna, by the same hand (2)

£1,200 - 1,800 €1,300 - 2,000 US$1,600 - 2,400


59 ARJOSEF HERMAN R.A. (BRITISH, 1911-2000)Village Street in Wales oil on canvas 71 x 91cm (27 15/16 x 35 13/16in). Painted in 1949

£8,000 - 12,000 €8,900 - 13,000 US$11,000 - 16,000

Provenance With Roland, Browse and Delbanco, London, where acquired by R.D.S. May Esq, by 1952 With Leicester Galleries, London, where acquired by Peter Pears, May 1953 Dr and Mrs H. M. Roland, by 1955 With Ffin y Parc Gallery, Conwy, where acquired by the present owner Private Collection, U.K.

Please see full exhibition details at bonhams.com


60JANKEL ADLER (POLISH, 1895-1949)Nude with Chair and Red Cloth signed and dated ‘Adler 30’ (lower left) sand, primer and oil on board 64 x 49cm (25 3/16 x 19 5/16in).

£10,000 - 15,000 €11,000 - 17,000 US$13,000 - 20,000

Provenance Dr Gottlieb, Dusseldorf Private Collection, Munich Acquired from the above by the present owner Exhibited London, Daniella Luxembourg Art and Agnew’s, Lonely Prophets. German Art from 1910-1930, 2007, no. 36 Munich, Galerie Michael Hasenclever, Variations from the 1920s, 2011 Wuppertal, Von der Heydt-Museum, Jankel Adler und die Avantgarde - Chagall, Dix, Klee, Picasso, 2018, no. 315

For details of the charges payable in addition to the final Hammer Price of each Lotplease refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

61 ARSTEPHEN MANGAN (BRITISH, BORN 1964)The Sunworshippers signed ‘MANGAN’ (lower right); further signed, titled, dated and dedicated ‘‘THE SUNWORSHIPPERS’/2002’ ‘NOV. 2002/STEPHEN MANGAN’ (on frame verso) oil on canvas 81.5 x 92cm (32 1/16 x 36 1/4in).

£1,500 - 2,000 €1,700 - 2,200 US$2,000 - 2,600

Provenance The Artist, from whom acquired directly by the present owner Private Collection, U.K.

62 ARRUSKIN SPEAR R.A. (BRITISH, 1911-1990)Woman With Cat (Portrait of Ida) signed and dated ‘Ruskin Spear 65’ (lower right) oil on board 61 x 51cm (24 x 20 1/16in).

£1,000 - 1,500 €1,100 - 1,700 US$1,300 - 2,000

Provenance Sale; Phillips, London, 26 January 1988, lot 254 (as Woman holding a cat, 1963) Sale; Christie’s, London, 6 March 1998, lot 83 Sale; Sotheby’s, Olympia, 19 May 2004, lot 179, where acquired by the present owner Private Collection, U.K. The present lot is a portrait of the Artist’s niece, Ida, and is based on a photograph of her taken circa the late 1930s. We are grateful to Roger Spear for his assistance in cataloguing this lot.

61

62

38 | BONHAMS


63 ARKEVIN SINNOTT (BRITISH, BORN 1947)Over and Above signed with initials ‘KS’ (lower right) oil on canvas 178 x 140cm (70 1/16 x 55 1/8in). Painted in 2009

£4,000 - 6,000 €4,400 - 6,700 US$5,300 - 7,900

Provenance The Artist, from whom acquired directly by the present owner circa 2012 Private Collection, U.K.


Mary Fedden and Julian Trevelyan: A Painterly Partnership

The partnership of Mary Fedden and Julian Trevelyan is one which lasted for nearly 40 years, from the early 1950s until Julian’s death in 1988. The two met initially at the Slade School of Fine Art, and Mary recalled the first time she saw him: ‘…And I saw this great, six foot four man, coming up the path with Polunin, who was very small. And I thought he looked wonderful. I rushed down to the porter, who was everybody’s friend, and I said, “Connell, who is that man with Polunin?” He said, “Oh, he’s Julian Trevelyan.” And I said, “I am going to marry him!”…Connell said, “Bad luck, old girl, he’s just got married.” And I said, “Oh well, I’m only twenty, never mind!” (Mary Fedden, quoted in Mel Gooding, Mary Fedden, Scholar Press, Aldershot, 1995, p.87). When Julian’s first marriage to his wife Ursula came to an end, Mary and Julian subsequently went on holiday to Sicily together, where they fell in love. They married in 1951 living at Durham Wharf and working in different areas of the studio there, which overlooks the river Thames.

The two artists were to live and work alongside each other there until Julian’s death in 1988, whereby Mary stayed in their home and took over a larger area of the studio. Their partnership was creatively fruitful for both parties, as they became lifetime painting companions, but indeed Mary also credited Julian for deeply influencing her own painting style, noting that: ‘Immediately after the war, I was painting rather heavy still lifes and flower paintings, and although I was to be influenced by Matisse and Braque, it was Julian Trevelyan who really changed the direction of my painting’ (Mary Fedden, quoted in The Artist, March 1955, p.11).

The two travelled widely together, including to Uganda, Italy, France, India, Malta, Russia and America, and this is reflected particularly in Trevelyan’s wide choice of subjects: over the following pages paintings of Gozo, Tuscany and France can be found (lots 73-75). As Mary commented on such works as these: ‘His paintings were the essence of the place. He soaked up the flavour of wherever he was’ (Mary Fedden, quoted in Jose Manser, Mary Fedden and Julian Trevelyan, Life and Art by the River Thames, London, Unicorn Press Ltd, p.88). Similarly, her own paintings reflect a taste for travel, as can be seen in Scilly Landscape (lot 65) and Italian Spring (lot 76).

The following selection of paintings and drawings show in particular Fedden’s aptitude at capturing a range of subjects, from landscapes and animals to still lives. Unusually, the following group contain a number of particularly early works from the 1950s, which rarely come to market, including a number of early landscape paintings such as Landscape with Figures and Horses (lot 68). Particularly interesting is the charming Mother Cat (lot 71), an early example of her fascination with these animals which appear again and again throughout her oeuvre. The evolution in her painting style over time is apparent in comparison with another painting which has a similarly feline subject, Lulu on Purple (lot 78). As Christopher Andrae notes, she is particularly skilful at capturing the essence of these animals: ‘She knows their uncanny ways. In her paintings her cats are often statuesque and commanding, almost frozen as if they are pretending to be part of the still life’ (Christopher Andrea, Mary Fedden Enigmas and Variations, Lund Humphries, 2007, p.124).

The painterly partnership between the two artists, both ensconced in the riverside retreat of Durham Wharf, was productive and fruitful, and both artists were very popular in their own lifetimes. The following selection of works show some of the themes and aspects that united them, such as a shared love of travel, and in particular chart the development of Fedden’s own style from the more thickly outlined forms in her early works to the more streamlined style of her instantly recognisable still lifes, such as The Cane Chair (lot 70) and The Etching Table (lot 69).

40 | BONHAMS


64 ARMARY FEDDEN R.A. (BRITISH, 1915-2012)The Boiled Egg signed and dated ‘Fedden 1974’ (lower left); further signed and titled ‘Mary Fedden/The Boiled Egg’ (on Artist’s label attached verso) oil on board 51.5 x 42cm (20 1/4 x 16 9/16in).

£6,000 - 8,000 €6,700 - 8,900 US$7,900 - 11,000

Provenance The Artist, from whom acquired directly by the family of the present owner, and thence by descent Private Collection, U.K.



66

65 ARMARY FEDDEN R.A. (BRITISH, 1915-2012)Scilly Landscape signed and dated ‘Fedden 1959’ (lower left); titled ‘Scilly landscape’ (on Artist’s label attached to backboard) oil on board 29.5 x 32.5cm (11 5/8 x 12 13/16in).

£4,000 - 6,000 €4,400 - 6,700 US$5,300 - 7,900


66 ARMARY FEDDEN R.A. (BRITISH, 1915-2012)Stella by Moonlight signed and dated ‘Fedden 1963’ (lower left) oil on canvas 50.5 x 40.5cm (19 7/8 x 15 15/16in).

£6,000 - 8,000 €6,700 - 8,900 US$7,900 - 11,000


65

42 | BONHAMS


67 ARMARY FEDDEN R.A. (BRITISH, 1915-2012)Jugs and Eggs 2 signed and dated ‘Fedden 1966’ (lower left); further signed and titled ‘Mary Fedden/Jugs + eggs 2’ (on Artist’s label attached to backboard) oil on canvas 37 x 54cm (14 9/16 x 21 1/4in).

£6,000 - 8,000 €6,700 - 8,900 US$7,900 - 11,000

Provenance With The Redfern Gallery, London, where acquired by the family of the present owner, 10 February 1967, and thence by descent Private Collection, U.K.



68 ARMARY FEDDEN R.A. (BRITISH, 1915-2012)Landscape with Figures and Horses signed and dated ‘Fedden 1956’ (lower left) oil on canvas 50.5 x 76cm (19 7/8 x 29 15/16in).

£15,000 - 20,000 €17,000 - 22,000 US$20,000 - 26,000


44 | BONHAMS


69 ARMARY FEDDEN R.A. (BRITISH, 1915-2012)The Etching Table signed and dated ‘Fedden 1996’ (lower left) pencil on paper 57 x 45.5cm (22 7/16 x 17 15/16in).

£1,000 - 1,500 €1,100 - 1,700 US$1,300 - 2,000


70 ARMARY FEDDEN R.A. (BRITISH, 1915-2012)The Cane Chair signed and dated ‘Fedden 1995’ (lower left) pencil, collage and gouache on paper 46 x 57cm (18 1/8 x 22 7/16in).

£1,000 - 1,500 €1,100 - 1,700 US$1,300 - 2,000


69

70

46 | BONHAMS


71 ARMARY FEDDEN R.A. (BRITISH, 1915-2012)Mother Cat signed and dated ‘Fedden 1956’ (lower left) oil on canvas 45.5 x 35.5cm (17 15/16 x 14in).

£8,000 - 12,000 €8,900 - 13,000 US$11,000 - 16,000

Provenance The Artist, by whom gifted to Private Collection, from whom acquired by the previous owner circa 1980 Private Collection, U.K.



72 ARJULIAN TREVELYAN R.A. (BRITISH, 1910-1988)Piccadilly Circus at Night signed and dated ‘Trevelyan ‘57’ (upper right) oil on canvas 46 x 61cm (18 1/8 x 24in).

£3,000 - 5,000 €3,300 - 5,600 US$3,900 - 6,600

Provenance The Artist, from whom acquired directly by the family of the present owner, and thence by descent Private Collection, U.K. Exhibited London, Barbican Art Galleries, Transition: The London Art Scene in the Fifties, 31 January-14 April 2002

73ARJULIAN TREVELYAN R.A. (BRITISH, 1910-1988)Mérindol, France signed and dated ‘Trevelyan ‘61’ (lower left) oil on canvas 50.5 x 76cm (19 7/8 x 29 15/16in).

£1,500 - 2,000 €1,700 - 2,200 US$2,000 - 2,600

Provenance Acquired by the family of the present owner circa the 1960s, and thence by descent Private Collection, U.K.

72

73

48 | BONHAMS


74

75

74ARJULIAN TREVELYAN R.A. (BRITISH, 1910-1988)Gorge on Gozo signed and dated ‘Trevelyan ‘63’ (lower right) oil on canvas 75 x 90.5cm (29 1/2 x 35 5/8in).

£3,000 - 5,000 €3,300 - 5,600 US$3,900 - 6,600


75 ARJULIAN TREVELYAN R.A. (BRITISH, 1910-1988)Tuscan Landscape signed and dated ‘Trevelyan ‘56’ (lower left) oil on canvas 50.5 x 76cm (19 7/8 x 29 15/16in).

£4,000 - 6,000 €4,400 - 6,700 US$5,300 - 7,900




76 ARMARY FEDDEN R.A. (BRITISH, 1915-2012)Italian Spring signed and dated ‘Fedden 1967’ (lower left); further signed and indistinctly inscribed ‘Mary Fedden/Tombs I’ (on Artist’s label) gouache on paper 34 x 26cm (13 3/8 x 10 1/4in).

£1,000 - 1,500 €1,100 - 1,700 US$1,300 - 2,000


77 ARMARY FEDDEN R.A. (BRITISH, 1915-2012)Composition IV signed and dated ‘Fedden 1969’ (lower left) gouache and ink on paper 23.5 x 32cm (9 1/4 x 12 5/8in).

£1,500 - 2,000 €1,700 - 2,200 US$2,000 - 2,600

Provenance With The Redfern Gallery, London, where acquired by the family of the present owner, 16 February 1967, and thence by descent Private Collection, U.K.

76

77

50 | BONHAMS


78 ARMARY FEDDEN R.A. (BRITISH, 1915-2012)Lulu on Purple signed and dated ‘Fedden 1991’ (lower right) oil on canvas 46 x 36cm (18 1/8 x 14 3/16in).

£4,000 - 6,000 €4,400 - 6,700 US$5,300 - 7,900

Provenance With Fosse Gallery, Stow-on-the-Wold, where acquired by the present owner Private Collection, U.K.



79

79 ARGEOFFREY DASHWOOD (BRITISH, BORN 1947)Goldcrest signed, numbered and inscribed ‘Dashwood 12/24 P.E.’ (on reverse of base) bronze with a green patina 8cm (3 1/8in) high

£1,000 - 1,500 €1,100 - 1,700 US$1,300 - 2,000

80 ARBASIL BLACKSHAW (IRISH, 1932-2016)Foxhounds signed ‘BLACKSHAW’ (lower left) pencil and charcoal on paper laid on card 40.5 x 35.5cm (15 15/16 x 14in).

£1,000 - 1,500 €1,100 - 1,700 US$1,300 - 2,000

81 ARGEOFFREY DASHWOOD (BRITISH, BORN 1947)Bullfinch signed and inscribed ‘Dashwood AC2’ (to base) bronze with a black, red and grey patina 14.5cm (5 11/16in) high

£1,500 - 2,000 €1,700 - 2,200 US$2,000 - 2,600

Provenance With St Barbe Museum and Art Gallery, Lymington, where acquired by the family of the present owner, September 2017, and thence by descent Private Collection, U.K.

Exhibited Lymington, St Barbe Museum and Art Gallery, New Forest Birds: Sculpture by Geoffrey Dashwood, 29 July-23 September 2017

81

80

52 | BONHAMS


82 ARMARY NEWCOMB (BRITISH, 1922-2008)The Charcoal Burners signed and dated ‘Mary Newcomb 78’ (lower right); further signed, titled and dated ‘The charcoal burners/Mary Newcomb/78’ (on board verso) oil on board 58 x 90cm (22 13/16 x 35 7/16in).

£8,000 - 12,000 €8,900 - 13,000 US$11,000 - 16,000



83RICHARD ADAMS (BRITISH, BORN 1960)Summer Guest signed and dated ‘Richard Adams 2020’ (at right edge) gouache and varnished pastel on paper 49.5 x 69.5cm (19 1/2 x 27 3/8in).

£1,000 - 1,500 €1,100 - 1,700 US$1,300 - 2,000

84RICHARD ADAMS (BRITISH, BORN 1960)August House signed and dated ‘Richard Adams 2020’ (at right edge) gouache and varnished pastel on paper 59.5 x 89cm (23 7/16 x 35 1/16in).

£1,500 - 2,000 €1,700 - 2,200 US$2,000 - 2,600

85RICHARD ADAMS (BRITISH, BORN 1960)Winter Visitor signed and dated ‘Richard Adams 2020’ (at right edge) gouache and varnished pastel on paper 50 x 69cm (19 11/16 x 27 3/16in).

£1,000 - 1,500 €1,100 - 1,700 US$1,300 - 2,000

83

84

85

54 | BONHAMS


86 ARJOAN GILLCHREST (BRITISH, 1918-2008)Taking Fish Home signed with initials ‘JG’ (lower right); titled ‘Taking Fish/Home’ (on card verso) oil on card 38 x 30cm (14 15/16 x 11 13/16in).

£2,000 - 3,000 €2,200 - 3,300 US$2,600 - 3,900

Provenance With Wren Gallery, Burford, where acquired by the present owner, 29 September 2008 Private Collection, U.K. Exhibited Burford, Wren Gallery, Joan Gillchrest Memorial Exhibition, 2008

87 ARRICHARD ADAMS (BRITISH, BORN 1960)Harvest Time signed and dated ‘Richard Adams 1987.’ (at right edge) pastel on paper 38.5 x 28.5cm (15 3/16 x 11 1/4in). together with a further pastel on paper, of a man gardening, by the same hand (2)

£800 - 1,200 €890 - 1,300 US$1,100 - 1,600

Provenance The Artist, by whom gifted to the present owner, circa 1985 Private Collection, U.K.

86

87 (one of two)



90 ARFRED YATES (BRITISH, 1922-2008)La Motte-Chalancon signed ‘FRED YATES’ (lower left) oil on canvas 27 x 35cm (10 5/8 x 13 3/4in). Painted in 2006

£1,000 - 1,500 €1,100 - 1,700 US$1,300 - 2,000

88

89

90

88 ARFRED YATES (BRITISH, 1922-2008)Street Scene, Lostwithiel signed ‘Fred Yates’ (lower right) oil on board 46 x 38cm (18 1/8 x 14 15/16in).

£1,000 - 1,500 €1,100 - 1,700 US$1,300 - 2,000

Provenance The Artist, from whom acquired directly by the present owner Private Collection, U.K.

89 ARFREDERICK CUMING R.A., N.E.A.C. (BRITISH, BORN 1930)Budgies signed ‘Cuming’ (lower left) oil on board 24 x 29.5cm (9 7/16 x 11 5/8in).

£1,000 - 1,500 €1,100 - 1,700 US$1,300 - 2,000

Provenance With The New English Art Club, London, where acquired by the present owner Private Collection, U.K.

56 | BONHAMS


91 ARFREDERICK GORE C.B.E., R.A. (BRITISH, 1913-2009)Mountain Torrent, Fornalutx signed twice, titled and dated ‘1972 FREDERICK GORE CBE RA MAJORCA/MOUNTAIN TORRENT, FORNALUTX/F.Gore’ (on canvas overlap) oil on canvas 92 x 71cm (36 1/4 x 27 15/16in). (unframed)

£5,000 - 7,000 €5,600 - 7,800 US$6,600 - 9,200

91

92

92 ARFREDERICK GORE C.B.E., R.A. (BRITISH, 1913-2009)November, Elm Park Gardens signed ‘F.Gore’ (lower left); signed and titled ‘November, ELM/PARK GARDENS/FREDERICK/GORE C.B.E. R.A.’ (on canvas overlap) oil on canvas 61 x 51cm (24 x 20 1/16in). (unframed)

£2,000 - 3,000 €2,200 - 3,300 US$2,600 - 3,900



93 ARJOHN BELLANY C.B.E., R.A., H.R.S.A., L.L.D.(LON) (BRITISH, 1942-2013)Still Life with China Zebra signed ‘Bellany’ (lower right); inscribed (on canvas verso) oil on canvas 153 x 153cm (60 1/4 x 60 1/4in). (unframed)

£2,000 - 3,000 €2,200 - 3,300 US$2,600 - 3,900

94 ARJOAN GILLESPIE (SCOTTISH, BORN 1954)Nude signed ‘Gillespie’ (lower right) oil on board 45 x 32cm (17 11/16 x 12 5/8in).

£800 - 1,200 €890 - 1,300 US$1,100 - 1,600

Provenance With Duncan Campbell Fine Art, London, where acquired by the present owner, July 1998 Private Collection, U.K.

93

94

58 | BONHAMS


95

96

95 ARJOHN BELLANY C.B.E., R.A., H.R.S.A., L.L.D.(LON) (BRITISH, 1942-2013)St Abbs signed ‘Bellany’ (lower right) oil on canvas 91 x 122cm (35 13/16 x 48 1/16in). (unframed)

£5,000 - 7,000 €5,600 - 7,800 US$6,600 - 9,200

96 ARJOHN BELLANY C.B.E., R.A., H.R.S.A., L.L.D.(LON) (BRITISH, 1942-2013)Harbour Scene signed ‘Bellany’ (lower left) oil on canvas 76 x 101.5cm (29 15/16 x 39 15/16in). (unframed)

£4,000 - 6,000 €4,400 - 6,700 US$5,300 - 7,900



97 ARROBERT HARDY (BRITISH, BORN 1952)Figure Group signed ‘HARDY’ (lower right); further signed, titled and dated ‘FIGURE GROUP/HARDY/MAY 2017’ and stamped with Artist’s stamp (on canvas verso) oil on canvas 100 x 70cm (39 3/8 x 27 9/16in).

£1,200 - 1,800 €1,300 - 2,000 US$1,600 - 2,400

98 ARROBERT HARDY (BRITISH, BORN 1952)Statue of Eros - Piccadilly Circus signed ‘HARDY’ (lower left); further signed, titled and dated ‘HARDY/Statue of Eros/-Piccadilly Circus/2015’ and stamped with Artist’s stamp (on canvas verso) oil and pencil on canvas 100 x 73cm (39 3/8 x 28 3/4in).

£1,200 - 1,800 €1,300 - 2,000 US$1,600 - 2,400

97

98

60 | BONHAMS


99

100 (one of two)

99 ARLEONARD ROSOMAN O.B.E., R.A. (BRITISH, 1913-2012)Portrait of Amanda and Christopher Guest signed and dated ‘Leonard Rosoman 1990’ (lower right) acrylic on canvas 101.5 x 139.5cm (39 15/16 x 54 15/16in).

£3,000 - 5,000 €3,300 - 5,600 US$3,900 - 6,600

Provenance Commissioned by the family of the present owner, 1990, and thence by descent Private Collection, U.K.

Literature T. Harrod, Leonard Rosoman, Royal Academy of Arts, London, 2017, pp. 198-201, illustrated on p. 203 (related drawing)

Having struck a friendship in 1979 with Leonard Rosoman, during his time at the Hamptons, Myrna and John Guest commissioned the present work in 1989. Following a number of preliminary drawings, including a full-scale drawing of the present work, Rosoman completed and presented the painting to Myrna and John in 1990, depicting their two children Amanda and Christopher. Tanya Harrod describes how Rosoman ‘empathised with both young people, and arranged his painting almost as an Annunciation. Amanda, standing by a wall of her and Christopher’s paintings, appears to beckon her brother towards a life in art’ (T. Harrod, ibid., p. 199). The setting of the painting is a house in Chelsea, which John Guest (an architect) had designed; the spiral staircase in the centre of the work was a signature feature of many of his designs.

100 ARBOYD & EVANS (BRITISH, BORN 1944 AND 1945)Adventures of a Sleeping Man signed and titled ‘Adventures of a sleeping/Man/Fionnuala Boyd/Leslie Evans’ (on board verso) spray paint on board, in Artist’s frame 59 x 59cm (23 1/4 x 23 1/4in). overall together with a further spray painting on board, Gravity, by the same hands (2)

£800 - 1,200 €890 - 1,300 US$1,100 - 1,600



101 ARDAVID SHEPHERD C.B.E. (BRITISH, 1931-2017)Rhino signed ‘-David Shepherd-’ (lower right) oil on canvas 15 x 15cm (5 7/8 x 5 7/8in).

£3,000 - 5,000 €3,300 - 5,600 US$3,900 - 6,600

Provenance Commissioned directly from the Artist by the present owner, August 2006 Private Collection, U.K.

102 ARDAVID SHEPHERD C.B.E. (BRITISH, 1931-2017)Koala signed ‘David Shepherd-’ (lower right) oil on card 15 x 15cm (5 7/8 x 5 7/8in).

£2,000 - 3,000 €2,200 - 3,300 US$2,600 - 3,900


103 ARDAVID SHEPHERD C.B.E. (BRITISH, 1931-2017)Water Buffalo signed ‘-David Shepherd’ (lower right) oil on canvas 15 x 15cm (5 7/8 x 5 7/8in).

£2,000 - 3,000 €2,200 - 3,300 US$2,600 - 3,900


101

102

103

62 | BONHAMS


104

105

106

104 ARDAVID SHEPHERD C.B.E. (BRITISH, 1931-2017)Cheetah signed ‘David Shepherd-’ (lower left) oil on canvas 15 x 15cm (5 7/8 x 5 7/8in).

£3,000 - 5,000 €3,300 - 5,600 US$3,900 - 6,600


105 ARDAVID SHEPHERD C.B.E. (BRITISH, 1931-2017)Elephant signed ‘David Shepherd-’ (lower right) oil on canvas 15 x 15cm (5 7/8 x 5 7/8in).

£4,000 - 6,000 €4,400 - 6,700 US$5,300 - 7,900


106 ARDAVID SHEPHERD C.B.E. (BRITISH, 1931-2017)Lion signed ‘David Shepherd-’ (lower right) oil on canvas 15 x 15cm (5 7/8 x 5 7/8in).

£3,000 - 5,000 €3,300 - 5,600 US$3,900 - 6,600




107 ARDAVID SHEPHERD C.B.E. (BRITISH, 1931-2017)African Elephants in the Savanna signed ‘-David Shepherd-’ (lower right) oil on canvas 51 x 76cm (20 1/16 x 29 15/16in).

£15,000 - 25,000 €17,000 - 28,000 US$20,000 - 33,000

64 | BONHAMS


108 ARDORIS CLARE ZINKEISEN (BRITISH, 1898-1991)An Afternoon in the Park signed ‘Doris Zinkeisen’ (lower right) oil on canvas 50 x 76cm (19 11/16 x 29 15/16in).

£800 - 1,200 €890 - 1,300 US$1,100 - 1,600

Provenance Acquired by the family of the present owner by 1970, and thence by descent Private Collection, U.K.

109MARK GERTLER (BRITISH, 1891-1939)Trees at Banchory Sanatorium, Scotland signed and dated ‘Mark/Gertler DEC 20’ (lower left) oil on canvas 25.5 x 35.5cm (10 1/16 x 14in).

£2,000 - 3,000 €2,200 - 3,300 US$2,600 - 3,900

The present lot was painted during the Artist’s stay at Banchory Sanatorium in Scotland, where he completed a number of landscape paintings. The artist had some difficulty painting during his stay there, writing to his close friend Kot (Samuel Solomonovich Koteliansky) on 26 November 1920: ‘I started painting a landscape seen from my bedroom window. Somehow it did not go well. I got agitated and hot, so I chucked it in disgust and despair...Today I feel better, especially as I took up my painting again and this time it went better and now I hope to do about an hour’s work a day’.

108

109

66 | BONHAMS


110 * ARALGERNON CECIL NEWTON R.A. (BRITISH, 1880-1968)Kensington Gardens oil on canvas 51.2 x 76.4 cm. (20 1/8 x 30 1/8 in.)

£10,000 - 15,000 €11,000 - 17,000 US$13,000 - 20,000

Provenance The Artist, by whom gifted to Phyllis Chanter, 1940 (the Artist’s sister-in-law), and thence by family descent Private Collection, Australia

Phyllis Chanter was the sister of the Artist’s second wife, and was given the present work as a wedding present upon her marriage to Douglas Chanter. We are grateful to Sir Mark Jones and Nicholas Newton for their assistance in cataloguing this lot. Sir Mark is currently preparing the forthcoming catalogue raisonné of the Artist’s work and would like to hear from owners of any work by the Artist so that these can be included in this comprehensive catalogue. Please write to Sir Mark Jones, c/o Modern British and Irish Art, Bonhams, Montpelier Street, London, SW7 1HH or email [email protected]



111 ARPERCY WYNDHAM LEWIS (BRITISH, 1882-1957)Two Figures in a Restaurant pen and ink and watercolour on paper 11 x 18cm (4 5/16 x 7 1/16in). with a further sketch in pen and ink and chalk to the reverse, by the same hand Executed circa 1909

£1,000 - 1,500 €1,100 - 1,700 US$1,300 - 2,000

Provenance Agnes Bedford, and thence by family descent Private Collection, U.K. The concert pianist Agnes Bedford (1892-1969) was a friend and collaborator of Ezra Pound, and also a very close friend of Wyndham Lewis, especially in the years after he went blind (1951-7). Bedford would read to him, and also assisted him by transcribing some of his writing. She owned a number of works by the Artist, and loaned five of these to the Tate’s 1956 exhibition Wyndham Lewis and Vorticism.

The style of the present lot is closely related to two drawings in the collection of the Victoria and Albert Museum, London; The Theatre Manager and, to a lesser extent, Anthony, both executed in 1909. In the present lot, the sitters in both sketches are unknown, and indeed given their similarity to each other Paul Edwards has suggested that they may be intended as ‘doubles’. At the time, Lewis was working on the first draft of his novel Tarr, which illustrates his interest in the concept of the double during this period: his main reference-point was Dostoyevsky’s novella The Double (1846).

The Theatre Manager has been characterised by Walter Michel as possibly ‘the earliest work outside Paris to show a knowledge of Picasso’s Demoiselles d’Avignon’ (W. Michel, Wyndham Lewis: Paintings and Drawings, Thames and Hudson, London, 1971, p. 48), though Lewis can only have known of the painting through Augustus John’s reports.

The present lot shows the Artist experimenting with a variety of ‘primitivism’ that was proto-cubist. Despite the ephemeral support used - the sketches are executed on both sides of a throwaway receipt - the present lot is an intriguing and important piece showing the influence and development of Cubism in British art.

We are grateful to Paul Edwards for his assistance in cataloguing this lot.

112 ARAUGUSTUS EDWIN JOHN O.M., R.A. (BRITISH, 1878-1961)Family Group; and a Study of Ida Holding a Baby signed ‘John’ (lower centre) pen and ink and wash on paper 22.5 x 26cm (8 7/8 x 10 1/4in).

£1,000 - 1,500 €1,100 - 1,700 US$1,300 - 2,000

Provenance Elizabeth Taylor Collection Her Sale; Christie’s, London, 8 February 2012, lot 330, where acquired by the present owner

Literature J. Rothenstein, Augustus John, London, 1944, no. 74, illustrated The present lot shows Ida and Dorelia with two children, with an additional study of Ida holding a baby to the right. This ink and wash study, along with several others, was executed as preparation for a large oil painting, Family Group, of 1908 (Collection Dublin City Art Gallery, Dublin). For a similar study please see L. Browse, Augustus John Drawings, London, 1941, no. 6.

111 (recto)

111 (verso)

112

68 | BONHAMS


113 ARAUGUSTUS EDWIN JOHN O.M., R.A. (BRITISH, 1878-1961)Mother and Children in a Landscape signed ‘John’ (lower right) pen and ink and wash on paper 25 x 21.5cm (9 13/16 x 8 7/16in).

£1,000 - 1,500 €1,100 - 1,700 US$1,300 - 2,000

Provenance Elizabeth Taylor Collection Her sale; Christie’s, London, 8 February 2012, lot 329, where acquired by the present owner

114 ARAUGUSTUS EDWIN JOHN O.M., R.A. (BRITISH, 1878-1961)Galway Fisherfolk twice signed ‘John’ (lower right) pen and ink and wash on paper 48.5 x 36cm (19 1/8 x 14 3/16in). Executed in 1915

£1,000 - 1,500 €1,100 - 1,700 US$1,300 - 2,000

Provenance With American British Art Centre Inc., New York Elizabeth Taylor Collection Her Sale; Christie’s, London, 8 February 2012, lot 327, where acquired by the present owner

113

114



115WALTER RICHARD SICKERT A.R.A. (BRITISH, 1860-1942)The Leading Lady’s Day Off signed and dated ‘Sickert 1937’ (lower left) oil on canvas 76.5 x 56.5 cm. (30 1/8 x 22 1/4 in.)

£6,000 - 8,000 €6,700 - 8,900 US$7,900 - 11,000

Provenance With Charles A. Jackson, Manchester Dr K.K. Wood Sale; Sotheby’s, London, 14 November 1984, lot 43 Private Collection, U.K. Exhibited Bury, Bury Art Gallery, Steer, Sickert & Epstein Exhibition, 6 February-6 March 1954 Literature W. Baron, Sickert, Paintings & Drawings, Yale University Press, New Haven and London, 2006, no. 658 In 1927, Sickert invented a new genre of subject-matter of unabashedly artificial inspiration: his ‘Echoes’. For the next thirteen years, he translated the black-and-white illustrations of his Victorian boyhood into full-scale paintings in colour: ‘It’s such a good arrangement; Cruikshank and Gilbert do all the work, and I get all the money!’ In fact, his contribution to the process was considerable.

He did not hand-colour black and-white prints, but translated them, with evident verve, into full, modelled, atmospheric colour. His use of ready-made sources anticipates the brazen effrontery of Pop Art by over twenty years. An ‘Echo’ which is helpfully – and unusually - dated, but lacks information on its source. During the 1930s, Sickert – who began his adult career as an actor in repertory - revived his keen interest in the classical theatre. Among his closest friends were two of the leading ladies of the day, Gwen Ffrangcon-Davies and Peggy

modern british and irish art - bonhams...modern british and irish art montpelier street, london |...

Documents