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Clarice Cliff - Coral Firs - A shape 450 Daffodil bowl circa 1932, hand painted with a stylised tree lined coastal landscape with brown and yellow banding, Bizarre mark, width 33cm.

Clarice Cliff - Blue Autumn - An Ivor shape bowl circa 1930, hand painted with a stylised tree and cottage landscape with orange, blue and brown banding, FANTASQUE and Bizarre, width 12cm, restored.

Clarice Cliff - Honolulu - A single handled Lotus jug circa 1932, hand painted with a stylised tree landscape in red, orange and yellow with a black and green tree trunk with matched banding, height 30cm.

Clarice Cliff - Moonlight - A Conical sugar sifter circa 1933, hand painted with a stylised garden landscape with pale green, yellow and black banding, Bizarre mark, height 14cm.

Clarice Cliff - Rhodanthe - A shape 690 preserve pot circa 1935, hand painted with a stylised tree landscape, plain Clarice Cliff mark, height 14cm.

Clarice Cliff - Applique Lucerne - A single handled Lotus Jug circa 1930, hand painted with a stylised landscape with castle and trees and cottage to the reverse below a blue sky with black banding, APPLIQUE and Bizarre mark, height 29cm.

Clarice Cliff - Blue Autumn - A Tankard shape coffee can and saucer circa 1930, hand painted with a stylised tree and cottage landscape with brown, yellow and green bandied saucer, Fantasque and Bizarre marks.

Michael Harris - Isle of Wight - A contemporary cased glass Landscape vase of square section, abstract tonal green and white striated blocks over amber glass with foil inclusions, over clear, engraved signature, height 13.5cm.

Clarice Cliff - Blue Autumn - An Isis vase circa 1930, hand painted with a stylised tree and cottage landscape, double image, between black, red, green and yellow banding, FANTASQUE and Bizarre mark, height 24.5cm, restored.

Clarice Cliff - Inspiration Caprice - A single handled Lotus jug circa 1930, hand painted with a stylised landscape with trees and a pagoda to a hill all in tonal blue, turquoise and ochre glazes, hand written Inspiration Bizarre by Clarice Cliff mark, height 29cm.

Clarice Cliff - Orange Trees & House - A shape 334 sandwich tray, circa 1929, hand painted with a stylised tree and cottage landscape with orange and black banding, Fantasque mark, width 30cm.

Clarice Cliff - Forest Glen - A shape 702 vase circa 1936, hand painted with a stylised tree and cottage landscape beneath a tonal red, black and grey Delecia streaked sky, script signature mark, height 13cm.

Clarice Cliff - Leaf Tree Cafe Au Lait - An Elegant shape basket circa 1931, hand painted with a stylised tree and flower landscape scene over a green stippled Cafe Au Lait ground with orange banding and handles, CAFE AU LAIT and Bizarre mark, height 33cm.

Clarice Cliff - House & Bridge - A single handled Lotus jug circa 1931, hand painted with a stylised landscape with two large trees with bridge and cottages between black, red, orange and yellow banding, FANTASQUE and Bizarre mark, height 29cm.

Clarice Cliff - Orange Trees & House - A twin handled Lotus jug circa 1930, hand painted with a repeat stylised tree and cottage landscape between orange and black banding, Fantasque mark, height 29.5cm.

Clarice Cliff - Blue Firs - A shape 463 cigarette and match holder circa 1933, hand painted with a stylised coastal tree landscape with blue banding, Bizarre mark, height 6.5cm.

Clarice Cliff - Secrets - A condiment set circa 1932, comprising salt, pepper and mustard with chrome plated mounts all to a chrome plated stand, hand painted with a stylised tree and cottage coastal landscape, Bizarre mark. (3)

Clarice Cliff - Red Trees & House - A Leda shape plate circa 1930, hand painted with a stylised tree and cottage landscape scene with red and black banding, Fantasque mark, width 19cm.

A vintage enamel on metal painting capturing a lovely winter landscape. Artist signature on lower right: Betty Chou. Editions number on lower left: 332 of 500. Collectors Guild Exclusive tag on verso. Housed in a thick ornate gilded frame with a beige fabric mat. Sight size: 7.5"L x 9.5"H. Frame dimensions: 13.75"L x 1.5"W x 15.75"H. Artist: Betty Chou (Taiwanese, 20th century)Issued: 20th centuryDimensions: See DescriptionEdition Number: 332 of 500Condition: Age related wear.

Original watercolor and gouache on paper board featuring a sunset on a winter landscape by American artist Dennis Frings who scratched areas of the white paper surface to highlight the trees. Signature on lower right side: Dennis Frings. Housed in a gilded wooden frame with a brown mat. Artwork dimensions: 7.75"L x 9.75"H. Frame dimensions: 18.25"L x 20.50"H x 2"W. Artwork can be unframed and rolled for shipment. Artist: Dennis Frings (American b. 1945)Issued: c. 1980Dimensions: See DescriptionCountry of Origin: United StatesCondition: Age related wear.

Benedict Chukwukadibia Enwonwu M.B.E (Nigerian, 1917-1994)Dancerssigned and dated 'BEnwonwu/ Feb 1940' (lower right) watercolour on paper 38 x 44cm (14 15/16 x 17 5/16in).Footnotes:ProvenanceThe collection of H.J. Savory;by descent;A private collection. The present work is an excellent example of Ben Enwonwu's early and meticulously detailed scene paintings. Contextually, the date to the lower right of the work indicates that the present work was completed only a few years before Enwonwu's first solo show in Nigeria. This exhibition was a hugely pivotal moment and indeed catalysed Enwonwu's career. The realistic narrative presented is a fantastic insight into the early influence of Enwonwu's teacher Kenneth Murray, the original owner of whom, H.J. Savory, was well acquainted. Studying under Murray at Umuahia from 1934, Murray exhibited his student's work at Zwemmer Gallery from July to August 1937. This exhibition attracted great success but the most success was awarded to Enwonwu who was recognised as the most gifted artist of Murray's students. Enwonwu eventually took over from Murray in 1939 as the teacher of Fine Art from the point of his graduation. The present work was completed one year prior to Enwonwu's move to teach art in Benin at Edo College. The present work initially strikes the viewer as more literal in narrative when compared with the metaphysical works that dominate his later career. However, when one observes the surrounding context and timeline in which the present work was created in, it becomes clear that the present work holds a greater and more urgent focus of Enwonwu's personal identity. As the threat of World War II began to seep across Nigeria, consequently Enwonwu had to move location due to Umuahia being used as an army base by the British Colonial government and eventually being transferred to the Calabar region in 1939. Further urbanisation of these areas led to mass deforestation as a result. The gravitas of this deforestation was weighed not only in the destruction of environments, but more significantly, and particularly to Enwonwu at this time, to the spirituality that these rain-forest regions held. Enwonwu had become transfixed with the significance and upholding of religion and spirituality and what it meant to himself personally as a Catholic, and to his Igbo culture. As Professor Ogbechie explains 'The representation of shrines and their constitutive rituals introduced a new concern for landscape into Enwonwu's paintings. Indigenous shrines in the rain-forest region of Enwonwu's Igbo hometown were usually located in sacred groves, where huge trees framed canopies, under which the groves receded into mysterious hollows (p. 56). In paintings such as the present lot, one gains a sense that Enwonwu is motivated by an urgency for preservation. While not as abstract, Enwonwu's motivation to maintain African traditions is thus traceable here as much as they are in his more recent works.BibliographySylvester Okwunodu Ogbechie, Ben Enwonwu: The Making of an African Modernist (Rochester: University of Rochester Press, 2008).For further information on this lot please visit Bonhams.com

Atta Kwami (Ghanaian, 1956-2021)Untitled (Pampaso) signed, titled, dated 'ATTA KWAMI PAMPASO/UNTITLED 2008-2010, Acrylic on linen/ 53 x 78 cm' (verso)acrylic on canvas 53.5 x 78.5cm (21 1/16 x 30 7/8in).(unframed)Footnotes:ProvenanceA private collection.Born in Accra, the geometrical compositions and broad brushstrokes of Atta Kwami's work can be observed to bear a resemblance to the paintings seen on Northern Ghanaian shops, houses, signs and woven textiles. The physical environment bearing evidently a great influence on the artist and, beyond the aesthetic appearance, the concept of art within our living space can also be seen to influence his practice of public installations. A recent, notable installation by the artist which employs these core geometric elements is Dzidzɔ kple amenuveve (Joy and Grace) (2021-2022). This was on view at the Serpentine North Garden from September 2022 to 30th September 2024 as part of the Maria Lassing Prize. This prize was awarded to Kwami just before his death in 2021, for his art historical, printmaking and curatorial practices and was completed by his wife Pamela Clarkson and his friend and collaborator Andy Philpott. Atta Kwami's significance is further evident in the inclusion of his works in major collections globally, such as in the National Museums of both Ghana and Kenya, the National Museum of African Art in Washington; The Metropolitan Museum of Art and the Brooklyn Museum's in New York; and the Victoria & Albert Museum in London.The present work is a masterful display of the phenomenon that the artist coined as Kumasi Realism. In his own words, Kwami described Kumasi Realism as 'an unfolding body of work that draws upon photography, advertising, graphic design, European art history, Ghanaian history and culture, and current social problems.'(Atta Kwami Kumasi Realism 1951-2007: An African Modernism,(London: Ghana Cultural Fund, 2013), p. 336.) In the present work, Kwami reacts to the social political and economic landscape of Kumai and Ghana more widely through his lens and interpretation. The broad planes of colour are reminiscent to the bold energetic graphic designs of advertising posters and buildings in Ghana or, given the title, more specifically Pampaso in the Ashanti Region of Ghana.BibliographyAtta Kwami, Kumasi Realism 1951-2007: An African Modernism,(London: Ghana Cultural Fund, 2013)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Bronwyn Katz (South African, born 1993)ǃXankukua (Orion's Belt) (II), 2020 salvaged bed frames and wool192 x 102 x 28cm (75 9/16 x 40 3/16 x 11 in). Footnotes:ProvenanceAcquired from the White Cube Gallery;A private collection.ExhibitedLondon, White Cube, I turn myself into a star and visit my loved ones in the sky., (May - June 2021).Bronwyn Katz works in a variety of mediums to create her captivating sculptures and installations as well as working with video and performance art. Katz's work focusses on the revival of lost aspects of South African history at the hands of colonialism. A previous exhibition of her work, Salvaged Letter, examines the words of South African language activist Benjamin Kats in 1928 in a letter 'Ta a-b kobab ada kāxu-da, ti khoe-du'e!' ('Do not let our language be lost from us, you my people!'), in which he aimed to save the since extinct '!Ora' language. Responding with visual codes embedded within her sculptures, Katz resists political and social structures that have been enforced by colonialism and led to the demise of core attributes of her South African archival heritage.In the present work, Katz's medium is inspired by her father's job making metal gates. Katz consequentially also developed a deep interest in metal, its properties, and malleability. Sourcing her media in found materials, Katz's compositions are comprised of formal linear and minimalistic tendencies. This conjuncture of poetic symbolism and conceptual abstraction results in a core thematic use of the bed or mattresses in her work. Deconstructing a bed, as is the case in the present work, Katz has previously spoken of this theme in an interview with Mail & Guardian: 'I was living in Jeppestown. A lot of my neighbours were not able to afford the slightest increase in rent. The beds were burnt because it's too big to carry to the next space. Some people were not from Johannesburg. I knew a woman who had to go back to KwaZulu-Natal because she could not take her bed with her. We can talk about the life of a mattress — a trace and a map of whom it had belonged to before — in a very abstract way. In some ways the mattresses look like maps of a place or a landscape, a topographical view of an area. I named these artworks after places, some imaginary, some real ... mostly fictional but typical-sounding South African place names.' (Bronwyn Katz interviewed by Riason Naidoo, 'Katz makes a jump from her mattress', Mail & Guardian: Africa's Better Future, (online article, 16 August 2018)).After graduating from the University of Cape Town in 2015 and receiving the Simon Gershwin Prize, Katz was included in the 12th Dak'Art Biennale in Senegal in 2016. Shortly after, the artist began exhibiting globally in places such as Paris, the Netherlands, Mauritius, Berlin, Cape Town, San Francisco, Marrakech, and London, where the present work was exhibited at the artist's solo show with the White Cube. A co-founder of iQhiya Collective, a network of eleven black female visual artists of varying mediums, Bronwyn Katz advocates for herself and her community.BibliographyBronwyn Katz interviewed by Riason Naidoo, 'Katz makes a jump from her mattress', Mail & Guardian: Africa's Better Future, (online article, 16 August 2018)For further information on this lot please visit Bonhams.com

Irma Stern (South African, 1894-1966)Zululand signed and dated 'Irma Stern 1935' (upper left)oil on canvas82.7 x 98cm (32 9/16 x 38 9/16in).Footnotes:ProvenanceThe collection of Basil Robinson;Acquired by the current owner's family;By descent to the current owner;A private collection.ExhibitedLondon, Grosvenor Gallery, Irma Stern Memorial Exhibition: Paintings of Europe and the African Continent, 1914-1965, 14 March - 15 April 1967, no. 29Cape Town, South African National Gallery, Homage to Irma Stern, 1968, no. 22.LiteratureNeville Dubow, Irma Stern (Cape Town & Johannesburg: C. Struik Publishers, 1974), p. 58 (illustrated)Irma Stern: Expressions of a Journey, exh. cat., Standard Bank Gallery, Johannesburg, 25 September-29 November 2003, p. 158 (illustrated)Brushing up on Stern: featuring works from the permanent collection of the Iziko South African National Gallery, exh. cat., Iziko South African National Gallery, Cape Town, 23 July-1 November 2015, p. 31 (illustrated)Sean O'Toole, Irma Stern: African in Europe European in Africa (Munich, London & New York: Prestel, 2020), pp. 52 & 54 (illustrated)Irma Stern Nudes, 1916-1965, exh. cat., Irma Stern Museum, Cape Town; Sanlam Art Gallery, Bellville, May-September 2021 (illustrated, front and back cover).Zululand was painted at a critical time for Irma Stern's painting of Black African peoples. In an interview conducted in 1933, she recognised that the traditional cultural and social practices of diverse Black communities in South Africa were disappearing (The Cape Argus, 5 July 1933). Soon after, on a visit to Durban in July 1935, Stern wrote to her friends Richard and Freda Feldman in Johannesburg: 'I am trying to find out which places in Zululand would still be okay [to encounter these traditional practices]. It looks to me this is my last trip trying to find things that are dying out, thanks to ourselves' (quoted in Klopper, 2017: p. 50).In the same letter to the Feldmans, Stern noted that she would soon attend 'a large native dance' that was being organised for tourists by the Durban Municipality. Ironically, taking into consideration the anthropological impetus behind her work, it seems that many of her drawings of young women in ceremonial dress were made on this occasion, rather than in the Reserve areas. Moreover, the paintings she composed in her studio after her return to Cape Town, such as The Water Carriers, were assembled from sketches and memories of this occasion. In comparison with the languorous works from Swaziland and elsewhere of the 1920s, these Zululand paintings exhibit a new vigour with their bright colour and forceful modelling. It seems that Stern could not bring herself to record the transformation of African society she was lamenting in her writing and, instead, insisted on the reality of her romanticised Black African idyll in paint. Stern's buying public continued to support her African work, especially her drawings, but voices were being raised against this 'highly idealised image' (see Feldman, 1935). To avoid this criticism, and to continue to discover 'the spirit of Africa at its happiest and most colourful' (quoted in The Cape Argus, 3 April 1926), Stern abandoned Southern Africa, at least for a time, and travelled elsewhere on the continent.The composition of Zululand, which was made at this critical juncture in Stern's career, suggests that the artist changed her conception of the work as she progressed with the work. Stern has chosen the horizontal or landscape format, which is unusual in her depiction of Black African people, to accommodate the collection of four apparently independent head-and-shoulder figures. There appears to be no narrative here nor, unlike The Water Carriers, any occasion on which these people might have been grouped together in real life. They seem, instead, to have been made as four independent studies. Moreover, in another comparison with The Water Carriers, the beadwork and other ethnographic detail is quite summarily rendered. At some point, Stern decided to integrate the composition without, however, developing a high level of finish. She introduced a background of paw-paws and other vegetation to suggest a unitary space; and she tied the figures together in this space by, on the one hand, having the hand of the figure on the right appear to rest on the right shoulder of the figure in front of her; and, on the other, by making a frond of vegetation from the background appear to overlap the left shoulder of the same central figure. These devices explain the work intellectually, but the painting derives its power by rendering the broadly treated figures large in the format of the original shallow pictorial space.Zululand is shown hanging on the back wall of the studio in a photograph of Irma Stern working on her sculpture of a Kneeling Mother and Child that was published in The Cape Times on 29 January 1936: sadly the article accompanying the photograph makes no reference to the painting and there is no critical commentary on the work at this time. In fact, it is unclear whether the work was exhibited during Stern's lifetime, unless it was under the title of Group of Zulu Women which was shown in exhibitions in Cape Town, Johannesburg, and London in 1936 and 1937. It was, however, shown posthumously with the current title at the Irma Stern Memorial Exhibition at the Grosvenor Gallery, London, in March and April 1967. This exhibition included loaned works and works from the artist's estate that were intended for sale by her executors. Those that were not sold were to be consigned for auction at Ashbey's and Lezard's the following year. Zululand (included as work number 29) is priced in an annotated copy of the catalogue at 550 guineas and, since it is not listed as from any other collection, may be presumed to have been sent for sale by the Irma Stern Trust. No purchaser is recorded but the painting is next shown in the Homage to Irma Stern exhibition at the South African National Gallery (1968) – although not included in the subsequent Rand Easter Show iteration of the exhibition – and recorded as in the collection of Basil Robinson. Robinson was the owner of Ashbey's, Stern's original gallery in Cape Town but by that time the city's leading auction house. Robinson appears to have retained the work in his own possession for a while because it is not listed in the catalogue of Ashbey's auction of Irma Stern's estate in April 1968. However, in due course Robinson seems to have sold the painting to the present owner's family.We are grateful to Michael Godby for the compilation of the above footnote. We would also like to extend our thanks to Kathy Wheeler and Mike Bosazza of the Irma Stern Trust for their assistance in our research of the work.BibliographyRichard Feldman, 'Idylls of the Black: An Appreciation of the Work of Irma Stern', The South African Opinion, 17 May 1935 Sandra Klopper, Irma Stern: Are You Still Alive? Stern's Life and Art Seen Through her Letters to Richard and Freda Feldman, 1934-1966 (Cape Town: Orisha Publishing, 2017).For further information on this lot please visit Bonhams.com

Benedict Chukwukadibia Enwonwu M.B.E (Nigerian, 1917-1994)Ogolo titled, signed and dated 'OGOLO/ BEN ENWONWU/ 1989' (lower left); previously signed and dated 'Ben Enwonwu/ Ife 1972' (lower right)oil on canvas205 x 121cm (80 11/16 x 47 5/8in).Footnotes:ProvenanceA private collection.LiteratureS. Ogbechie, Ben Enwonwu: the Making of an African Modernist, (Rochester, 2008). (illustrated colour plate 8).ExhibitedLagos, National Museum, Ben Enwonwu: 70th birthday retrospective exhibition, (July, 1991).Ben Enwonwu executed this monumental painting of the male masquerade figure, Ogolo, two years after the death of his elder brother, Ike Francis Enwonwu. On his brother's passing, the artist became the titular head of the Enwonwu patrilineage. At the funeral, he was required to participate in traditional rituals including a masquerade. Enwonwu later revealed the emotional and creative impact of this spectacle:'I saw the Ogolo among a host of other masquerades during my brother's funeral, and it impressed me a lot. I did a lot of drawings of which I am now painting one after the other. I have focused on the Ogolo masked form that is closely related to the Agbogho Mmuo and Ayolugbe mask. It is part of my recent important works [and] a steady flow of thought and development. I find it extremely beautiful.'Enwonwu's preoccupation with the Ogolo figure during the years 1988 to 1994, can also be explained by his own declining health. He had been diagnosed with cancer in 1986. Confronted by his own impending death, the symbol of Ogolo - a gatekeeper to the spiritual world - became particularly poignant. As Nkiru Nzeguegwu explains, 'By attending to this close relationship between visual representation and cultural beliefs, Enwonwu successfully rescued for posterity the transformative element of creation that is central to Igbo conception of creativity.' Nzeguegwu continues to quote Enwonwu: 'In his view, nka (art, creativity and creative expression) is an 'invocation of ancestral spirits through giving concrete form or body to them before they can enter into the human world'' (p.50).This large oil is one of Enwonwu's greatest expressions of the subject. The composition and posture of the performer are similar to a work depicting the same subject executed in 1988, titled Spirit of Ogolo, (sold in our saleroom in May 2016). The present lot is unusual within the genre in that the artist appears to have painted over another composition. A signature and date are just visible 'Ben Enwonwu / Ife 1972'. This composition is landscape in format, and one can just see the faint outlines of a male Purapakali dance ensemble. The layering of the image contributes to the complexity and movement of the piece and perhaps leaving the original imagery just visible beneath was in fact intentional. As Professor Ogbechie records when referencing the 1991 retrospective exhibition, it 'included new paintings reflecting his reconfiguration of the masquerade motif and revised paintings of some of his earlier pieces along this new thematic focus'. (p. 210).Enwonwu's lifelong interest in dance forms was further fuelled when he met Peggy Harper, a dancer and choreographer who had travelled to Nigeria to study the forms of traditional West African dance. Harper resided in Nigeria from 1963 to 1978, working first in the drama department and the institute of Africa studies at the University of Ibadan and then at the University of Ife. Enwonwu sympathised with Harper's desire to preserve the region's traditional ceremonies. Whilst she incorporated elements into her own performances, combining traditional sequences with contemporary western staging techniques, Enwonwu's paintings from the period provide a visual equivalent.BibliographySylvester Okwunodu Ogbechie, Ben Enwonwu: The Making of an African Modernist (Rochester: University of Rochester Press, 2008). p.198.Nkiru Nzegwu, 'The Africanization Queen: Metonymic Site of Transformation', African Studies Quarterly, Volume 1, Issue 1 (1998), p. 50.For further information on this lot please visit Bonhams.com

William Kentridge (South African, born 1955)Monument I signed and dated 'KENTRIDGE/ 90' (lower right)charcoal on paper119.7 x 148.7cm (47 1/8 x 58 9/16in).Footnotes:ProvenanceA private collection.This image is taken from William Kentridge's second Drawings from Projection film Monument (1990) which thematically explores notions of exploitation, passivity, responsibility, and power. The year that this work was created in was contextually a period of transition from the Apartheid. Kentridge calls into question how the Apartheid will be remembered, commemorated, and even appropriated. Deriving from Samuel Beckett's short play Catastrophe the narrative of the film displays a worker carrying a heavy load outside the city walls before disappearing from sight. Soho Eckstein, the character of a mine owner commonly used by Kentridge in his oeuvre, is presented in this film as the 'civic benefactor' who, after delivering a speech seemingly expressing gratitude, has a statue unveiled presenting an image of the worker, highly celebrated by the surrounding crowd. 'One expects, of course, that the heroic image within the wrapping will turn out to be that of Soho Eckstein himself (Dan Cameron, Carolyn Christov-Bakargiev, J.M. Coetzee, William Kentridge, (London: Phaidon, 1999), p. 57)). However, when the statue starts breathing at the end of the film, therefore resisting the structural control, the viewer is indeed faced with the fact that the representational figure is indeed human. Conceptually, while it may seem that Soho is acting in a position of gratitude and indeed commemorating the labourer, we are reminded of the complex issues of humanity and representation and the continuing social structure issues that remain ongoing. 'By means of this ritualistic, formulaic gesture of homage to the oppression of the poor, the capitalist position of power and dominance would seem to be confirmed, even extended.' (Cooke, p. 41). Correlations are drawn reflectively by Kentridge between himself and the character of Soho in the complexity of representation. However, differing from Soho, Kentridge displays a sense of self-awareness and a refusal of complicity and ignorance in his position as a spectator.The present work, Monument I, captures the moment just prior to the statue's unveiling. As the crowd is gathered awaiting the concealed lonely figure to be revealed, the work crystallises a moment of anticipation. Trumpets, billboards, and speakers of an urbanised landscape contrast the barren landscape that was seen at the beginning of the film. The concealed figure stands tall, central, and concealed from the landscape (from what we understand in the context of the film) that they had physically created. 'The classic antagonism between the masses rising up in solidarity against the oppressive exploiter, which fuels Monument, or the hostile reciprocity between the dominating class and the victimized individual.' (Lynne Cooke, 'Mundus Inversus, Mundus Perversus, William Kentridge, (Chicago: Museum of Contemporary Art and New York: Harry N. Abrams Publishers, 2001), p. 50.)Kentridge's process of re-working and altering a singular drawing numerous times to display animated movement in the film has resulted in this conclusive drawing. 'The technique I use is to have a sheet of paper stuck up on the studio wall and, half-way across the room, my camera, usually an old Bolex. A drawing is started on the paper, I walk across to the camera, shoot one or two frames, walk back to the paper, change the drawing (marginally), walk back to the camera, walk back to the paper, to the camera, and so on. So that each sequence as opposed to each frame of the film is a single drawing. In all there may be twenty drawings to a film rather than the thousands one expects. It is more like making a drawing than making a film (albeit a gray, battered and rubbed about drawing).' (Lecture, 1993, published in Cycnos: Image et Langage, Problemes, Approches, Méthodes, Nice, vol. 11 no.1, (1994), pp. 163-168. Republished in C. Christov-Bakargiev, William Kentridge, William Kentridge, Societe des Expositions du Palais de Beaux-Arts, (Bruxelles 1998), pp. 61-64)BibliographyLilian Tone, William Kentridge Fortuna, (London: Thames & Hudson, 2013)Margaret K. Koerner, Smoke, Ashes, Fable, William Kentridge In Bruges, (New Haven and London: Yale University Press, 2017)Mark Rosenthal, William Kentridge, Five Themes, (New Haven and London: Yale University Press, 2009)Matthew Kentridge, The Soho Chronicles, 10 Films by William Kentridge, (London, New York & Calcutta: Seagull Books, 2015)Carolyn Christov-Bakargiev, William Kentridge, (Brussels: Societe des Expositions du Palais des Beaux-Arts de Bruxelles/Vereniging voor Tentoonstellingen van het Paleis voor Schone Kunsten Brussel, 1998)Dan Cameron, Carolyn Christov-Bakargiev, J.M. Coetzee, William Kentridge, (London: Phaidon, 1999)Lynne Cooke, William Kentridge, (Chicago: Museum of Contemporary Art and New York: Harry N. Abrams Publishers, 2001)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

ARTHUR CROFT MITCHELL (BRITISH, 1872-1956)Still life of white roses in a trumpet shaped vase oil on board 59 x 41cm with an oil of Still life of red, orange and yellow flowers in a vase (verso) Provenance The artist, thence by descent to the present owner; Private collection, UKFootnoteArthur Croft Mitchell was born in 1872 in Birmingham. His maternal grandfather was the church architect John Croft, and his maternal uncle the successful landscape painter Arthur Croft. The latter strongly encouraged Arthur’s aptitude for drawing, and liberated him from other obligations by undertaking the support of his widowed mother and sisters, allowing him to take up the full-time study of art.In 1898, Arthur enrolled at the Slade School, where he studied under Frederic Brown, Henry Tonks and Philip Wilson Steer. Fellow students included Harold Gilman, William Orpen, and the portrait photographer Charles Beresford; Augustus John had graduated the year before but was also a regular visitor. On graduating from the Slade, Arthur spent two years at the Adacemie de la Grande Chaumiere in Paris, where he came under the direct influence of the Impressionists, and where he exhibited in the Paris Salon. Once he had returned from Paris, Arthur based himself in Chelsea and satisfied his romantic nature painting large canvases on themes such as Arthurian myth. Inspired by his love of Vermeer, he also specialised in interior scenes, and he exhibited at the New English Art Club, the Royal Academy Summer Exhibition and the Paris Salon.In 1913, he built a house with a studio at 32 Mallord Street, Chelsea, only to be overtaken by the outbreak of WW1. When Arthur returned to full-time painting in 1920, the war had devastated the art market, and his war work had weakened his eyesight so that he could no longer produce interiors. He turned instead to landscape painting and flower compositions and travelled to Europe on painting trips with friends from his art school days, while continuing to exhibit regularly.At the age of 52, Arthur met his future wife Molly, at the Chelsea Arts Ball. She quickly became his muse, and he painted her portrait many times. They married in 1926 and continued life at 32 Mallord Street, now next door to Augustus John’s home and Studio, although the two men had little in common besides their profession. Arthur found contentment with his new domesticity; the marriage produced two sons, which put an end to trips abroad, but Arthur was content to paint his wife, flower compositions, and the changing seasons in Wimbledon Common, a place he came to love. He lived in Mallord Street until his death in 1956.

ATTRIBUTED TO FRANCIS LEGAT (BRITISH, 1755-1809)Female nude reclining, a landscape beyond signed 'F. Legat' (lower right) watercolour 20 x 26.5cm, ovalCondition reportVertical tear to paper, starting at her mid riff and running down approximately 7cm.Small tear lower centre.Small white mark to left of her head.Small abrasion far right.Small abrasion upper left.Under glass and not examined out of frame.It is painted on paper but do not know how it is attached to the backboard. Do not know whether it is laid down or not.

ARTHUR CROFT MITCHELL (BRITISH, 1872-1956)Portrait of a man oil on canvas 56 x 40.5cm (unframed) Provenance The artist, thence by descent to the present owner; Private collection, UKFootnoteArthur Croft Mitchell was born in 1872 in Birmingham. His maternal grandfather was the church architect John Croft, and his maternal uncle the successful landscape painter Arthur Croft. The latter strongly encouraged Arthur’s aptitude for drawing, and liberated him from other obligations by undertaking the support of his widowed mother and sisters, allowing him to take up the full-time study of art.In 1898, Arthur enrolled at the Slade School, where he studied under Frederic Brown, Henry Tonks and Philip Wilson Steer. Fellow students included Harold Gilman, William Orpen, and the portrait photographer Charles Beresford; Augustus John had graduated the year before but was also a regular visitor. On graduating from the Slade, Arthur spent two years at the Adacemie de la Grande Chaumiere in Paris, where he came under the direct influence of the Impressionists, and where he exhibited in the Paris Salon. Once he had returned from Paris, Arthur based himself in Chelsea and satisfied his romantic nature painting large canvases on themes such as Arthurian myth. Inspired by his love of Vermeer, he also specialised in interior scenes, and he exhibited at the New English Art Club, the Royal Academy Summer Exhibition and the Paris Salon.In 1913, he built a house with a studio at 32 Mallord Street, Chelsea, only to be overtaken by the outbreak of WW1. When Arthur returned to full-time painting in 1920, the war had devastated the art market, and his war work had weakened his eyesight so that he could no longer produce interiors. He turned instead to landscape painting and flower compositions and travelled to Europe on painting trips with friends from his art school days, while continuing to exhibit regularly.At the age of 52, Arthur met his future wife Molly, at the Chelsea Arts Ball. She quickly became his muse, and he painted her portrait many times. They married in 1926 and continued life at 32 Mallord Street, now next door to Augustus John’s home and Studio, although the two men had little in common besides their profession. Arthur found contentment with his new domesticity; the marriage produced two sons, which put an end to trips abroad, but Arthur was content to paint his wife, flower compositions, and the changing seasons in Wimbledon Common, a place he came to love. He lived in Mallord Street until his death in 1956.

ARTHUR CROFT MITCHELL (BRITISH, 1872-1956)The Chess Match oil on canvas 76 x 63.5cm (unframed) Provenance The artist, thence by descent to the present owner; Private collection, UKFootnoteArthur Croft Mitchell was born in 1872 in Birmingham. His maternal grandfather was the church architect John Croft, and his maternal uncle the successful landscape painter Arthur Croft. The latter strongly encouraged Arthur’s aptitude for drawing, and liberated him from other obligations by undertaking the support of his widowed mother and sisters, allowing him to take up the full-time study of art.In 1898, Arthur enrolled at the Slade School, where he studied under Frederic Brown, Henry Tonks and Philip Wilson Steer. Fellow students included Harold Gilman, William Orpen, and the portrait photographer Charles Beresford; Augustus John had graduated the year before but was also a regular visitor. On graduating from the Slade, Arthur spent two years at the Adacemie de la Grande Chaumiere in Paris, where he came under the direct influence of the Impressionists, and where he exhibited in the Paris Salon. Once he had returned from Paris, Arthur based himself in Chelsea and satisfied his romantic nature painting large canvases on themes such as Arthurian myth. Inspired by his love of Vermeer, he also specialised in interior scenes, and he exhibited at the New English Art Club, the Royal Academy Summer Exhibition and the Paris Salon.In 1913, he built a house with a studio at 32 Mallord Street, Chelsea, only to be overtaken by the outbreak of WW1. When Arthur returned to full-time painting in 1920, the war had devastated the art market, and his war work had weakened his eyesight so that he could no longer produce interiors. He turned instead to landscape painting and flower compositions and travelled to Europe on painting trips with friends from his art school days, while continuing to exhibit regularly.At the age of 52, Arthur met his future wife Molly, at the Chelsea Arts Ball. She quickly became his muse, and he painted her portrait many times. They married in 1926 and continued life at 32 Mallord Street, now next door to Augustus John’s home and Studio, although the two men had little in common besides their profession. Arthur found contentment with his new domesticity; the marriage produced two sons, which put an end to trips abroad, but Arthur was content to paint his wife, flower compositions, and the changing seasons in Wimbledon Common, a place he came to love. He lived in Mallord Street until his death in 1956.Condition reportOriginal, unlined canvas; pinholes to the canvas along the right hand border, probably from a previous position on the stretcher, corresponding stretcher marks off the right hand border.  Paint surface has light surface dirt, areas of scuffing, upper right and a few flecks of paint loss to sitter's dress, lower right.  Ultraviolet reveals an uneven varnish and one small speck of retouching, lower centre, otherwise original condition.

ARTHUR CROFT MITCHELL (BRITISH, 1872-1956)Two Worlds (c. 1910) with inscribed label (to back of stretcher) oil on canvas 51 x 61cm Provenance The artist, thence by descent to the present owner; Private collection, UKFootnoteArthur Croft Mitchell was born in 1872 in Birmingham. His maternal grandfather was the church architect John Croft, and his maternal uncle the successful landscape painter Arthur Croft. The latter strongly encouraged Arthur’s aptitude for drawing, and liberated him from other obligations by undertaking the support of his widowed mother and sisters, allowing him to take up the full-time study of art.In 1898, Arthur enrolled at the Slade School, where he studied under Frederic Brown, Henry Tonks and Philip Wilson Steer. Fellow students included Harold Gilman, William Orpen, and the portrait photographer Charles Beresford; Augustus John had graduated the year before but was also a regular visitor. On graduating from the Slade, Arthur spent two years at the Adacemie de la Grande Chaumiere in Paris, where he came under the direct influence of the Impressionists, and where he exhibited in the Paris Salon. Once he had returned from Paris, Arthur based himself in Chelsea and satisfied his romantic nature painting large canvases on themes such as Arthurian myth. Inspired by his love of Vermeer, he also specialised in interior scenes, and he exhibited at the New English Art Club, the Royal Academy Summer Exhibition and the Paris Salon.In 1913, he built a house with a studio at 32 Mallord Street, Chelsea, only to be overtaken by the outbreak of WW1. When Arthur returned to full-time painting in 1920, the war had devastated the art market, and his war work had weakened his eyesight so that he could no longer produce interiors. He turned instead to landscape painting and flower compositions and travelled to Europe on painting trips with friends from his art school days, while continuing to exhibit regularly.At the age of 52, Arthur met his future wife Molly, at the Chelsea Arts Ball. She quickly became his muse, and he painted her portrait many times. They married in 1926 and continued life at 32 Mallord Street, now next door to Augustus John’s home and Studio, although the two men had little in common besides their profession. Arthur found contentment with his new domesticity; the marriage produced two sons, which put an end to trips abroad, but Arthur was content to paint his wife, flower compositions, and the changing seasons in Wimbledon Common, a place he came to love. He lived in Mallord Street until his death in 1956.

ARTHUR CROFT MITCHELL (BRITISH, 1872-1956)Still life of sweet peas in a vase oil on board 35.5 x 30cm Provenance The artist, thence by descent to the present owner; Private collection, UKFootnoteArthur Croft Mitchell was born in 1872 in Birmingham. His maternal grandfather was the church architect John Croft, and his maternal uncle the successful landscape painter Arthur Croft. The latter strongly encouraged Arthur’s aptitude for drawing, and liberated him from other obligations by undertaking the support of his widowed mother and sisters, allowing him to take up the full-time study of art.In 1898, Arthur enrolled at the Slade School, where he studied under Frederic Brown, Henry Tonks and Philip Wilson Steer. Fellow students included Harold Gilman, William Orpen, and the portrait photographer Charles Beresford; Augustus John had graduated the year before but was also a regular visitor. On graduating from the Slade, Arthur spent two years at the Adacemie de la Grande Chaumiere in Paris, where he came under the direct influence of the Impressionists, and where he exhibited in the Paris Salon. Once he had returned from Paris, Arthur based himself in Chelsea and satisfied his romantic nature painting large canvases on themes such as Arthurian myth. Inspired by his love of Vermeer, he also specialised in interior scenes, and he exhibited at the New English Art Club, the Royal Academy Summer Exhibition and the Paris Salon.In 1913, he built a house with a studio at 32 Mallord Street, Chelsea, only to be overtaken by the outbreak of WW1. When Arthur returned to full-time painting in 1920, the war had devastated the art market, and his war work had weakened his eyesight so that he could no longer produce interiors. He turned instead to landscape painting and flower compositions and travelled to Europe on painting trips with friends from his art school days, while continuing to exhibit regularly.At the age of 52, Arthur met his future wife Molly, at the Chelsea Arts Ball. She quickly became his muse, and he painted her portrait many times. They married in 1926 and continued life at 32 Mallord Street, now next door to Augustus John’s home and Studio, although the two men had little in common besides their profession. Arthur found contentment with his new domesticity; the marriage produced two sons, which put an end to trips abroad, but Arthur was content to paint his wife, flower compositions, and the changing seasons in Wimbledon Common, a place he came to love. He lived in Mallord Street until his death in 1956.Condition reportSome undulation to canvas. The canvas has come detached at top of stretcher, so could do with being pulled taught again. You can see where it has slipped.Small spot of paint loss lower right and small crack to paint in same place.Abrasions to edges.Small marks and spots in places.Some dirt.Vertical pale mark to left side.Nothing fluorescing under uv light. 

ARTHUR CROFT MITCHELL (BRITISH, 1872-1956)Two ladies in conversation in an interior oil on canvas 46 x 44cm (unframed) Provenance The artist, thence by descent to the present owner; Private collection, UKFootnoteArthur Croft Mitchell was born in 1872 in Birmingham. His maternal grandfatherwas the church architect John Croft, and his maternal uncle the successfullandscape painter Arthur Croft. The latter strongly encouraged Arthur’saptitude for drawing, and liberated him from other obligations by undertakingthe support of his widowed mother and sisters, allowing him to take up thefull-time study of art.In 1898, Arthur enrolled at the Slade School, where hestudied under Frederic Brown, Henry Tonks and Philip Wilson Steer. Fellowstudents included Harold Gilman, William Orpen, and the portrait photographerCharles Beresford; Augustus John had graduated the year before but was also aregular visitor. On graduating from the Slade, Arthur spent two years at theAdacemie de la Grande Chaumiere in Paris, where he came under the directinfluence of the Impressionists, and where he exhibited in the Paris Salon.Once he had returned from Paris, Arthur based himself in Chelsea and satisfiedhis romantic nature painting large canvases on themes such as Arthurian myth.Inspired by his love of Vermeer, he also specialised in interior scenes, and heexhibited at the New English Art Club, the Royal Academy Summer Exhibition andthe Paris Salon.In 1913, he built a house with a studio at 32 Mallord Street,Chelsea, only to be overtaken by the outbreak of WW1. When Arthur returned tofull-time painting in 1920, the war had devastated the art market, and his warwork had weakened his eyesight so that he could no longer produce interiors. Heturned instead to landscape painting and flower compositions and travelled toEurope on painting trips with friends from his art school days, whilecontinuing to exhibit regularly.At the age of 52, Arthur met his future wifeMolly, at the Chelsea Arts Ball. She quickly became his muse, and he painted her portrait many times. Theymarried in 1926 and continued life at 32 Mallord Street, now next door toAugustus John’s home and Studio, although the two men had little in commonbesides their profession. Arthur found contentment with his new domesticity;the marriage produced two sons, which put an end to trips abroad, but Arthurwas content to paint his wife, flower compositions, and the changing seasons inWimbledon Common, a place he came to love. He lived in Mallord Street until hisdeath in 1956.

ARTHUR CROFT MITCHELL (BRITISH, 1872-1956)Still life of a jug, oranges and other items oil on canvas 46 x 60cm Provenance The artist, thence by descent to the present owner; Private collection, UKFootnoteArthur Croft Mitchell was born in 1872 in Birmingham. His maternal grandfather was the church architect John Croft, and his maternal uncle the successful landscape painter Arthur Croft. The latter strongly encouraged Arthur’s aptitude for drawing, and liberated him from other obligations by undertaking the support of his widowed mother and sisters, allowing him to take up the full-time study of art.In 1898, Arthur enrolled at the Slade School, where he studied under Frederic Brown, Henry Tonks and Philip Wilson Steer. Fellow students included Harold Gilman, William Orpen, and the portrait photographer Charles Beresford; Augustus John had graduated the year before but was also a regular visitor. On graduating from the Slade, Arthur spent two years at the Adacemie de la Grande Chaumiere in Paris, where he came under the direct influence of the Impressionists, and where he exhibited in the Paris Salon. Once he had returned from Paris, Arthur based himself in Chelsea and satisfied his romantic nature painting large canvases on themes such as Arthurian myth. Inspired by his love of Vermeer, he also specialised in interior scenes, and he exhibited at the New English Art Club, the Royal Academy Summer Exhibition and the Paris Salon.In 1913, he built a house with a studio at 32 Mallord Street, Chelsea, only to be overtaken by the outbreak of WW1. When Arthur returned to full-time painting in 1920, the war had devastated the art market, and his war work had weakened his eyesight so that he could no longer produce interiors. He turned instead to landscape painting and flower compositions and travelled to Europe on painting trips with friends from his art school days, while continuing to exhibit regularly.At the age of 52, Arthur met his future wife Molly, at the Chelsea Arts Ball. She quickly became his muse, and he painted her portrait many times. They married in 1926 and continued life at 32 Mallord Street, now next door to Augustus John’s home and Studio, although the two men had little in common besides their profession. Arthur found contentment with his new domesticity; the marriage produced two sons, which put an end to trips abroad, but Arthur was content to paint his wife, flower compositions, and the changing seasons in Wimbledon Common, a place he came to love. He lived in Mallord Street until his death in 1956.

ARTHUR CROFT MITCHELL (BRITISH, 1872-1956)Still life of red and white flowers in a rounded glass vase oil on canvas 35.5 x 43cm Provenance The artist, thence by descent to the present owner; Private collection, UKFootnoteArthur Croft Mitchell was born in 1872 in Birmingham. His maternal grandfather was the church architect John Croft, and his maternal uncle the successful landscape painter Arthur Croft. The latter strongly encouraged Arthur’s aptitude for drawing, and liberated him from other obligations by undertaking the support of his widowed mother and sisters, allowing him to take up the full-time study of art.In 1898, Arthur enrolled at the Slade School, where he studied under Frederic Brown, Henry Tonks and Philip Wilson Steer. Fellow students included Harold Gilman, William Orpen, and the portrait photographer Charles Beresford; Augustus John had graduated the year before but was also a regular visitor. On graduating from the Slade, Arthur spent two years at the Adacemie de la Grande Chaumiere in Paris, where he came under the direct influence of the Impressionists, and where he exhibited in the Paris Salon. Once he had returned from Paris, Arthur based himself in Chelsea and satisfied his romantic nature painting large canvases on themes such as Arthurian myth. Inspired by his love of Vermeer, he also specialised in interior scenes, and he exhibited at the New English Art Club, the Royal Academy Summer Exhibition and the Paris Salon.In 1913, he built a house with a studio at 32 Mallord Street, Chelsea, only to be overtaken by the outbreak of WW1. When Arthur returned to full-time painting in 1920, the war had devastated the art market, and his war work had weakened his eyesight so that he could no longer produce interiors. He turned instead to landscape painting and flower compositions and travelled to Europe on painting trips with friends from his art school days, while continuing to exhibit regularly.At the age of 52, Arthur met his future wife Molly, at the Chelsea Arts Ball. She quickly became his muse, and he painted her portrait many times. They married in 1926 and continued life at 32 Mallord Street, now next door to Augustus John’s home and Studio, although the two men had little in common besides their profession. Arthur found contentment with his new domesticity; the marriage produced two sons, which put an end to trips abroad, but Arthur was content to paint his wife, flower compositions, and the changing seasons in Wimbledon Common, a place he came to love. He lived in Mallord Street until his death in 1956.Condition reportSome pale marks/wavy lines upper left and lower left but these look original to work. A few small spots, marks and dirt.Otherwise looks generally good.

ARTHUR CROFT MITCHELL (BRITISH, 1872-1956)Still life of pink and white daisies in a vase oil on canvas 61 x 51cm Provenance The artist, thence by descent to the present owner; Private collection, UKFootnoteArthur Croft Mitchell was born in 1872 in Birmingham. His maternal grandfather was the church architect John Croft, and his maternal uncle the successful landscape painter Arthur Croft. The latter strongly encouraged Arthur’s aptitude for drawing, and liberated him from other obligations by undertaking the support of his widowed mother and sisters, allowing him to take up the full-time study of art.In 1898, Arthur enrolled at the Slade School, where he studied under Frederic Brown, Henry Tonks and Philip Wilson Steer. Fellow students included Harold Gilman, William Orpen, and the portrait photographer Charles Beresford; Augustus John had graduated the year before but was also a regular visitor. On graduating from the Slade, Arthur spent two years at the Adacemie de la Grande Chaumiere in Paris, where he came under the direct influence of the Impressionists, and where he exhibited in the Paris Salon. Once he had returned from Paris, Arthur based himself in Chelsea and satisfied his romantic nature painting large canvases on themes such as Arthurian myth. Inspired by his love of Vermeer, he also specialised in interior scenes, and he exhibited at the New English Art Club, the Royal Academy Summer Exhibition and the Paris Salon.In 1913, he built a house with a studio at 32 Mallord Street, Chelsea, only to be overtaken by the outbreak of WW1. When Arthur returned to full-time painting in 1920, the war had devastated the art market, and his war work had weakened his eyesight so that he could no longer produce interiors. He turned instead to landscape painting and flower compositions and travelled to Europe on painting trips with friends from his art school days, while continuing to exhibit regularly.At the age of 52, Arthur met his future wife Molly, at the Chelsea Arts Ball. She quickly became his muse, and he painted her portrait many times. They married in 1926 and continued life at 32 Mallord Street, now next door to Augustus John’s home and Studio, although the two men had little in common besides their profession. Arthur found contentment with his new domesticity; the marriage produced two sons, which put an end to trips abroad, but Arthur was content to paint his wife, flower compositions, and the changing seasons in Wimbledon Common, a place he came to love. He lived in Mallord Street until his death in 1956.

ARTHUR CROFT MITCHELL (BRITISH, 1872-1956)Still life of pink roses in a bowl oil on canvas 51 x 61cm Provenance The artist, thence by descent to the present owner; Private collection, UKFootnoteArthur Croft Mitchell was born in 1872 in Birmingham. His maternal grandfather was the church architect John Croft, and his maternal uncle the successful landscape painter Arthur Croft. The latter strongly encouraged Arthur’s aptitude for drawing, and liberated him from other obligations by undertaking the support of his widowed mother and sisters, allowing him to take up the full-time study of art.In 1898, Arthur enrolled at the Slade School, where he studied under Frederic Brown, Henry Tonks and Philip Wilson Steer. Fellow students included Harold Gilman, William Orpen, and the portrait photographer Charles Beresford; Augustus John had graduated the year before but was also a regular visitor. On graduating from the Slade, Arthur spent two years at the Adacemie de la Grande Chaumiere in Paris, where he came under the direct influence of the Impressionists, and where he exhibited in the Paris Salon. Once he had returned from Paris, Arthur based himself in Chelsea and satisfied his romantic nature painting large canvases on themes such as Arthurian myth. Inspired by his love of Vermeer, he also specialised in interior scenes, and he exhibited at the New English Art Club, the Royal Academy Summer Exhibition and the Paris Salon.In 1913, he built a house with a studio at 32 Mallord Street, Chelsea, only to be overtaken by the outbreak of WW1. When Arthur returned to full-time painting in 1920, the war had devastated the art market, and his war work had weakened his eyesight so that he could no longer produce interiors. He turned instead to landscape painting and flower compositions and travelled to Europe on painting trips with friends from his art school days, while continuing to exhibit regularly.At the age of 52, Arthur met his future wife Molly, at the Chelsea Arts Ball. She quickly became his muse, and he painted her portrait many times. They married in 1926 and continued life at 32 Mallord Street, now next door to Augustus John’s home and Studio, although the two men had little in common besides their profession. Arthur found contentment with his new domesticity; the marriage produced two sons, which put an end to trips abroad, but Arthur was content to paint his wife, flower compositions, and the changing seasons in Wimbledon Common, a place he came to love. He lived in Mallord Street until his death in 1956.

ARTHUR CROFT MITCHELL (BRITISH, 1872-1956)A rocky coastline inscribed 'No. 8' (verso) and with artist's label (to back of stretcher) oil on canvas 61 x 51cm Provenance The artist, thence by descent to the present owner; Private collection, UKFootnoteArthur Croft Mitchell was born in 1872 in Birmingham. His maternal grandfather was the church architect John Croft, and his maternal uncle the successful landscape painter Arthur Croft. The latter strongly encouraged Arthur’s aptitude for drawing, and liberated him from other obligations by undertaking the support of his widowed mother and sisters, allowing him to take up the full-time study of art.In 1898, Arthur enrolled at the Slade School, where he studied under Frederic Brown, Henry Tonks and Philip Wilson Steer. Fellow students included Harold Gilman, William Orpen, and the portrait photographer Charles Beresford; Augustus John had graduated the year before but was also a regular visitor. On graduating from the Slade, Arthur spent two years at the Adacemie de la Grande Chaumiere in Paris, where he came under the direct influence of the Impressionists, and where he exhibited in the Paris Salon. Once he had returned from Paris, Arthur based himself in Chelsea and satisfied his romantic nature painting large canvases on themes such as Arthurian myth. Inspired by his love of Vermeer, he also specialised in interior scenes, and he exhibited at the New English Art Club, the Royal Academy Summer Exhibition and the Paris Salon.In 1913, he built a house with a studio at 32 Mallord Street, Chelsea, only to be overtaken by the outbreak of WW1. When Arthur returned to full-time painting in 1920, the war had devastated the art market, and his war work had weakened his eyesight so that he could no longer produce interiors. He turned instead to landscape painting and flower compositions and travelled to Europe on painting trips with friends from his art school days, while continuing to exhibit regularly.At the age of 52, Arthur met his future wife Molly, at the Chelsea Arts Ball. She quickly became his muse, and he painted her portrait many times. They married in 1926 and continued life at 32 Mallord Street, now next door to Augustus John’s home and Studio, although the two men had little in common besides their profession. Arthur found contentment with his new domesticity; the marriage produced two sons, which put an end to trips abroad, but Arthur was content to paint his wife, flower compositions, and the changing seasons in Wimbledon Common, a place he came to love. He lived in Mallord Street until his death in 1956.

ARTHUR CROFT MITCHELL (BRITISH, 1872-1956)The Dawn of a New Age oil on canvas 113 x 151cm Provenance The artist, thence by descent to the present owner; Private collection, UK Exhibited Anglo-German ExhibitionFootnoteArthur Croft Mitchell was born in 1872 in Birmingham. His maternal grandfather was the church architect John Croft, and his maternal uncle the successful landscape painter Arthur Croft. The latter strongly encouraged Arthur’s aptitude for drawing, and liberated him from other obligations by undertaking the support of his widowed mother and sisters, allowing him to take up the full-time study of art.In 1898, Arthur enrolled at the Slade School, where he studied under Frederic Brown, Henry Tonks and Philip Wilson Steer. Fellow students included Harold Gilman, William Orpen, and the portrait photographer Charles Beresford; Augustus John had graduated the year before but was also a regular visitor. On graduating from the Slade, Arthur spent two years at the Adacemie de la Grande Chaumiere in Paris, where he came under the direct influence of the Impressionists, and where he exhibited in the Paris Salon. Once he had returned from Paris, Arthur based himself in Chelsea and satisfied his romantic nature painting large canvases on themes such as Arthurian myth. Inspired by his love of Vermeer, he also specialised in interior scenes, and he exhibited at the New English Art Club, the Royal Academy Summer Exhibition and the Paris Salon.In 1913, he built a house with a studio at 32 Mallord Street, Chelsea, only to be overtaken by the outbreak of WW1. When Arthur returned to full-time painting in 1920, the war had devastated the art market, and his war work had weakened his eyesight so that he could no longer produce interiors. He turned instead to landscape painting and flower compositions and travelled to Europe on painting trips with friends from his art school days, while continuing to exhibit regularly.At the age of 52, Arthur met his future wife Molly, at the Chelsea Arts Ball. She quickly became his muse, and he painted her portrait many times. They married in 1926 and continued life at 32 Mallord Street, now next door to Augustus John’s home and Studio, although the two men had little in common besides their profession. Arthur found contentment with his new domesticity; the marriage produced two sons, which put an end to trips abroad, but Arthur was content to paint his wife, flower compositions, and the changing seasons in Wimbledon Common, a place he came to love. He lived in Mallord Street until his death in 1956.

ARTHUR CROFT MITCHELL (BRITISH, 1872-1956)Still life of pink flowers in a vase on a chest of drawers signed and dated 'Arthur Croft Mitchell 1898' (verso) oil on canvas 76 x 56cm (unframed) Provenance The artist, thence by descent to the present owner; Private collection, UKFootnoteArthur Croft Mitchell was born in 1872 in Birmingham. His maternal grandfather was the church architect John Croft, and his maternal uncle the successful landscape painter Arthur Croft. The latter strongly encouraged Arthur’s aptitude for drawing, and liberated him from other obligations by undertaking the support of his widowed mother and sisters, allowing him to take up the full-time study of art.In 1898, Arthur enrolled at the Slade School, where he studied under Frederic Brown, Henry Tonks and Philip Wilson Steer. Fellow students included Harold Gilman, William Orpen, and the portrait photographer Charles Beresford; Augustus John had graduated the year before but was also a regular visitor. On graduating from the Slade, Arthur spent two years at the Adacemie de la Grande Chaumiere in Paris, where he came under the direct influence of the Impressionists, and where he exhibited in the Paris Salon. Once he had returned from Paris, Arthur based himself in Chelsea and satisfied his romantic nature painting large canvases on themes such as Arthurian myth. Inspired by his love of Vermeer, he also specialised in interior scenes, and he exhibited at the New English Art Club, the Royal Academy Summer Exhibition and the Paris Salon.In 1913, he built a house with a studio at 32 Mallord Street, Chelsea, only to be overtaken by the outbreak of WW1. When Arthur returned to full-time painting in 1920, the war had devastated the art market, and his war work had weakened his eyesight so that he could no longer produce interiors. He turned instead to landscape painting and flower compositions and travelled to Europe on painting trips with friends from his art school days, while continuing to exhibit regularly.At the age of 52, Arthur met his future wife Molly, at the Chelsea Arts Ball. She quickly became his muse, and he painted her portrait many times. They married in 1926 and continued life at 32 Mallord Street, now next door to Augustus John’s home and Studio, although the two men had little in common besides their profession. Arthur found contentment with his new domesticity; the marriage produced two sons, which put an end to trips abroad, but Arthur was content to paint his wife, flower compositions, and the changing seasons in Wimbledon Common, a place he came to love. He lived in Mallord Street until his death in 1956.

ARTHUR CROFT MITCHELL (BRITISH, 1872-1956)The Mandolin Player with inscribed label (to back of stretcher) and inscribed 'No. 1' (verso) oil on canvas 61 x 51cm (unframed) Provenance The artist, thence by descent to the present owner; Private collection, UKFootnoteArthur Croft Mitchell was born in 1872 in Birmingham. His maternal grandfather was the church architect John Croft, and his maternal uncle the successful landscape painter Arthur Croft. The latter strongly encouraged Arthur’s aptitude for drawing, and liberated him from other obligations by undertaking the support of his widowed mother and sisters, allowing him to take up the full-time study of art.In 1898, Arthur enrolled at the Slade School, where he studied under Frederic Brown, Henry Tonks and Philip Wilson Steer. Fellow students included Harold Gilman, William Orpen, and the portrait photographer Charles Beresford; Augustus John had graduated the year before but was also a regular visitor. On graduating from the Slade, Arthur spent two years at the Adacemie de la Grande Chaumiere in Paris, where he came under the direct influence of the Impressionists, and where he exhibited in the Paris Salon. Once he had returned from Paris, Arthur based himself in Chelsea and satisfied his romantic nature painting large canvases on themes such as Arthurian myth. Inspired by his love of Vermeer, he also specialised in interior scenes, and he exhibited at the New English Art Club, the Royal Academy Summer Exhibition and the Paris Salon.In 1913, he built a house with a studio at 32 Mallord Street, Chelsea, only to be overtaken by the outbreak of WW1. When Arthur returned to full-time painting in 1920, the war had devastated the art market, and his war work had weakened his eyesight so that he could no longer produce interiors. He turned instead to landscape painting and flower compositions and travelled to Europe on painting trips with friends from his art school days, while continuing to exhibit regularly.At the age of 52, Arthur met his future wife Molly, at the Chelsea Arts Ball. She quickly became his muse, and he painted her portrait many times. They married in 1926 and continued life at 32 Mallord Street, now next door to Augustus John’s home and Studio, although the two men had little in common besides their profession. Arthur found contentment with his new domesticity; the marriage produced two sons, which put an end to trips abroad, but Arthur was content to paint his wife, flower compositions, and the changing seasons in Wimbledon Common, a place he came to love. He lived in Mallord Street until his death in 1956.Condition reportCraquelure.Small spot of paint loss lower centre.Dirt.Areas of retouching to old small patches of paint loss visible to the naked eye but this looks like it could be the hand of the artist (it doesn't fluoresce). For example just above the head of the lady in purple, to left of figure on mantelpiece.Uneven varnish.Lower stretcher mark visible.Small abrasions to edges.

ARTHUR WARDLE (BRITISH, 1864-1949)A pointer in a landscape inscribed '"Sir" said Johnson to Boswell " There is nothing which has yet been contrived by man by which so much happiness is produced as a good tavern or inn"' (upper margin) watercolour and gouache on paper 38.5 x 26.5cm (unframed) Provenance Property of the artist, thence by family descent Footnote The inscribed quote is recorded in James Boswell's The Life of Samuel Johnson first published in 1791Condition reportThe lower border of the sheet is uneven.  Slight creasing to sheet and media spots to background; horizontal pencil line visible just above horizon.  Otherwise sound with good strong colour.  

ARTHUR CROFT MITCHELL (BRITISH, 1872-1956)Draped Figure with signed and titled label (to back of stretcher) oil on canvas 110 x 76.5cm Provenance The artist, thence by descent to the present owner; Private collection, UKFootnoteArthur Croft Mitchell was born in 1872 in Birmingham. His maternal grandfather was the church architect John Croft, and his maternal uncle the successful landscape painter Arthur Croft. The latter strongly encouraged Arthur’s aptitude for drawing, and liberated him from other obligations by undertaking the support of his widowed mother and sisters, allowing him to take up the full-time study of art.In 1898, Arthur enrolled at the Slade School, where he studied under Frederic Brown, Henry Tonks and Philip Wilson Steer. Fellow students included Harold Gilman, William Orpen, and the portrait photographer Charles Beresford; Augustus John had graduated the year before but was also a regular visitor. On graduating from the Slade, Arthur spent two years at the Adacemie de la Grande Chaumiere in Paris, where he came under the direct influence of the Impressionists, and where he exhibited in the Paris Salon. Once he had returned from Paris, Arthur based himself in Chelsea and satisfied his romantic nature painting large canvases on themes such as Arthurian myth. Inspired by his love of Vermeer, he also specialised in interior scenes, and he exhibited at the New English Art Club, the Royal Academy Summer Exhibition and the Paris Salon.In 1913, he built a house with a studio at 32 Mallord Street, Chelsea, only to be overtaken by the outbreak of WW1. When Arthur returned to full-time painting in 1920, the war had devastated the art market, and his war work had weakened his eyesight so that he could no longer produce interiors. He turned instead to landscape painting and flower compositions and travelled to Europe on painting trips with friends from his art school days, while continuing to exhibit regularly.At the age of 52, Arthur met his future wife Molly, at the Chelsea Arts Ball. She quickly became his muse, and he painted her portrait many times. They married in 1926 and continued life at 32 Mallord Street, now next door to Augustus John’s home and Studio, although the two men had little in common besides their profession. Arthur found contentment with his new domesticity; the marriage produced two sons, which put an end to trips abroad, but Arthur was content to paint his wife, flower compositions, and the changing seasons in Wimbledon Common, a place he came to love. He lived in Mallord Street until his death in 1956.

ARTHUR CROFT MITCHELL (BRITISH, 1872-1956)Still life of flowers in a vase oil on canvas laid on board 41 x 36cm Provenance The artist, thence by descent to the present owner; Private collection, UKFootnoteArthur Croft Mitchell was born in 1872 in Birmingham. His maternal grandfather was the church architect John Croft, and his maternal uncle the successful landscape painter Arthur Croft. The latter strongly encouraged Arthur’s aptitude for drawing, and liberated him from other obligations by undertaking the support of his widowed mother and sisters, allowing him to take up the full-time study of art.In 1898, Arthur enrolled at the Slade School, where he studied under Frederic Brown, Henry Tonks and Philip Wilson Steer. Fellow students included Harold Gilman, William Orpen, and the portrait photographer Charles Beresford; Augustus John had graduated the year before but was also a regular visitor. On graduating from the Slade, Arthur spent two years at the Adacemie de la Grande Chaumiere in Paris, where he came under the direct influence of the Impressionists, and where he exhibited in the Paris Salon. Once he had returned from Paris, Arthur based himself in Chelsea and satisfied his romantic nature painting large canvases on themes such as Arthurian myth. Inspired by his love of Vermeer, he also specialised in interior scenes, and he exhibited at the New English Art Club, the Royal Academy Summer Exhibition and the Paris Salon.In 1913, he built a house with a studio at 32 Mallord Street, Chelsea, only to be overtaken by the outbreak of WW1. When Arthur returned to full-time painting in 1920, the war had devastated the art market, and his war work had weakened his eyesight so that he could no longer produce interiors. He turned instead to landscape painting and flower compositions and travelled to Europe on painting trips with friends from his art school days, while continuing to exhibit regularly.At the age of 52, Arthur met his future wife Molly, at the Chelsea Arts Ball. She quickly became his muse, and he painted her portrait many times. They married in 1926 and continued life at 32 Mallord Street, now next door to Augustus John’s home and Studio, although the two men had little in common besides their profession. Arthur found contentment with his new domesticity; the marriage produced two sons, which put an end to trips abroad, but Arthur was content to paint his wife, flower compositions, and the changing seasons in Wimbledon Common, a place he came to love. He lived in Mallord Street until his death in 1956.

ARTHUR CROFT MITCHELL (BRITISH, 1872-1956)Still life of flowers in a decorated vase oil on canvas 52 x 37cm with an oil of A seated woman wearing a blue dress (verso) Provenance The artist, thence by descent to the present owner; Private collection, UKFootnoteArthur Croft Mitchell was born in 1872 in Birmingham. His maternal grandfather was the church architect John Croft, and his maternal uncle the successful landscape painter Arthur Croft. The latter strongly encouraged Arthur’s aptitude for drawing, and liberated him from other obligations by undertaking the support of his widowed mother and sisters, allowing him to take up the full-time study of art.In 1898, Arthur enrolled at the Slade School, where he studied under Frederic Brown, Henry Tonks and Philip Wilson Steer. Fellow students included Harold Gilman, William Orpen, and the portrait photographer Charles Beresford; Augustus John had graduated the year before but was also a regular visitor. On graduating from the Slade, Arthur spent two years at the Adacemie de la Grande Chaumiere in Paris, where he came under the direct influence of the Impressionists, and where he exhibited in the Paris Salon. Once he had returned from Paris, Arthur based himself in Chelsea and satisfied his romantic nature painting large canvases on themes such as Arthurian myth. Inspired by his love of Vermeer, he also specialised in interior scenes, and he exhibited at the New English Art Club, the Royal Academy Summer Exhibition and the Paris Salon.In 1913, he built a house with a studio at 32 Mallord Street, Chelsea, only to be overtaken by the outbreak of WW1. When Arthur returned to full-time painting in 1920, the war had devastated the art market, and his war work had weakened his eyesight so that he could no longer produce interiors. He turned instead to landscape painting and flower compositions and travelled to Europe on painting trips with friends from his art school days, while continuing to exhibit regularly.At the age of 52, Arthur met his future wife Molly, at the Chelsea Arts Ball. She quickly became his muse, and he painted her portrait many times. They married in 1926 and continued life at 32 Mallord Street, now next door to Augustus John’s home and Studio, although the two men had little in common besides their profession. Arthur found contentment with his new domesticity; the marriage produced two sons, which put an end to trips abroad, but Arthur was content to paint his wife, flower compositions, and the changing seasons in Wimbledon Common, a place he came to love. He lived in Mallord Street until his death in 1956.

ARTHUR CROFT MITCHELL (BRITISH, 1872-1956)Still life of a candle, flowers and a jar and cover oil on canvas laid down on board 45.5 x 36cm Provenance The artist, thence by descent to the present owner; Private collection, UKFootnoteArthur Croft Mitchell was born in 1872 in Birmingham. His maternal grandfather was the church architect John Croft, and his maternal uncle the successful landscape painter Arthur Croft. The latter strongly encouraged Arthur’s aptitude for drawing, and liberated him from other obligations by undertaking the support of his widowed mother and sisters, allowing him to take up the full-time study of art.In 1898, Arthur enrolled at the Slade School, where he studied under Frederic Brown, Henry Tonks and Philip Wilson Steer. Fellow students included Harold Gilman, William Orpen, and the portrait photographer Charles Beresford; Augustus John had graduated the year before but was also a regular visitor. On graduating from the Slade, Arthur spent two years at the Adacemie de la Grande Chaumiere in Paris, where he came under the direct influence of the Impressionists, and where he exhibited in the Paris Salon. Once he had returned from Paris, Arthur based himself in Chelsea and satisfied his romantic nature painting large canvases on themes such as Arthurian myth. Inspired by his love of Vermeer, he also specialised in interior scenes, and he exhibited at the New English Art Club, the Royal Academy Summer Exhibition and the Paris Salon.In 1913, he built a house with a studio at 32 Mallord Street, Chelsea, only to be overtaken by the outbreak of WW1. When Arthur returned to full-time painting in 1920, the war had devastated the art market, and his war work had weakened his eyesight so that he could no longer produce interiors. He turned instead to landscape painting and flower compositions and travelled to Europe on painting trips with friends from his art school days, while continuing to exhibit regularly.At the age of 52, Arthur met his future wife Molly, at the Chelsea Arts Ball. She quickly became his muse, and he painted her portrait many times. They married in 1926 and continued life at 32 Mallord Street, now next door to Augustus John’s home and Studio, although the two men had little in common besides their profession. Arthur found contentment with his new domesticity; the marriage produced two sons, which put an end to trips abroad, but Arthur was content to paint his wife, flower compositions, and the changing seasons in Wimbledon Common, a place he came to love. He lived in Mallord Street until his death in 1956.

ARTHUR CROFT MITCHELL (BRITISH, 1872-1956)Female nude oil on canvas 54 x 74cm (unframed) Provenance The artist, thence by descent to the present owner; Private collection, UKFootnoteArthur Croft Mitchell was born in 1872 in Birmingham. His maternal grandfather was the church architect John Croft, and his maternal uncle the successful landscape painter Arthur Croft. The latter strongly encouraged Arthur’s aptitude for drawing, and liberated him from other obligations by undertaking the support of his widowed mother and sisters, allowing him to take up the full-time study of art.In 1898, Arthur enrolled at the Slade School, where he studied under Frederic Brown, Henry Tonks and Philip Wilson Steer. Fellow students included Harold Gilman, William Orpen, and the portrait photographer Charles Beresford; Augustus John had graduated the year before but was also a regular visitor. On graduating from the Slade, Arthur spent two years at the Adacemie de la Grande Chaumiere in Paris, where he came under the direct influence of the Impressionists, and where he exhibited in the Paris Salon. Once he had returned from Paris, Arthur based himself in Chelsea and satisfied his romantic nature painting large canvases on themes such as Arthurian myth. Inspired by his love of Vermeer, he also specialised in interior scenes, and he exhibited at the New English Art Club, the Royal Academy Summer Exhibition and the Paris Salon.In 1913, he built a house with a studio at 32 Mallord Street, Chelsea, only to be overtaken by the outbreak of WW1. When Arthur returned to full-time painting in 1920, the war had devastated the art market, and his war work had weakened his eyesight so that he could no longer produce interiors. He turned instead to landscape painting and flower compositions and travelled to Europe on painting trips with friends from his art school days, while continuing to exhibit regularly.At the age of 52, Arthur met his future wife Molly, at the Chelsea Arts Ball. She quickly became his muse, and he painted her portrait many times. They married in 1926 and continued life at 32 Mallord Street, now next door to Augustus John’s home and Studio, although the two men had little in common besides their profession. Arthur found contentment with his new domesticity; the marriage produced two sons, which put an end to trips abroad, but Arthur was content to paint his wife, flower compositions, and the changing seasons in Wimbledon Common, a place he came to love. He lived in Mallord Street until his death in 1956.

ARTHUR CROFT MITCHELL (BRITISH, 1872-1956)A woman leaning over a table by a window oil on canvas 39.5 x 50cm Provenance The artist, thence by descent to the present owner; Private collection, UKFootnoteArthur Croft Mitchell was born in 1872 in Birmingham. His maternal grandfather was the church architect John Croft, and his maternal uncle the successful landscape painter Arthur Croft. The latter strongly encouraged Arthur’s aptitude for drawing, and liberated him from other obligations by undertaking the support of his widowed mother and sisters, allowing him to take up the full-time study of art.In 1898, Arthur enrolled at the Slade School, where he studied under Frederic Brown, Henry Tonks and Philip Wilson Steer. Fellow students included Harold Gilman, William Orpen, and the portrait photographer Charles Beresford; Augustus John had graduated the year before but was also a regular visitor. On graduating from the Slade, Arthur spent two years at the Adacemie de la Grande Chaumiere in Paris, where he came under the direct influence of the Impressionists, and where he exhibited in the Paris Salon. Once he had returned from Paris, Arthur based himself in Chelsea and satisfied his romantic nature painting large canvases on themes such as Arthurian myth. Inspired by his love of Vermeer, he also specialised in interior scenes, and he exhibited at the New English Art Club, the Royal Academy Summer Exhibition and the Paris Salon.In 1913, he built a house with a studio at 32 Mallord Street, Chelsea, only to be overtaken by the outbreak of WW1. When Arthur returned to full-time painting in 1920, the war had devastated the art market, and his war work had weakened his eyesight so that he could no longer produce interiors. He turned instead to landscape painting and flower compositions and travelled to Europe on painting trips with friends from his art school days, while continuing to exhibit regularly.At the age of 52, Arthur met his future wife Molly, at the Chelsea Arts Ball. She quickly became his muse, and he painted her portrait many times. They married in 1926 and continued life at 32 Mallord Street, now next door to Augustus John’s home and Studio, although the two men had little in common besides their profession. Arthur found contentment with his new domesticity; the marriage produced two sons, which put an end to trips abroad, but Arthur was content to paint his wife, flower compositions, and the changing seasons in Wimbledon Common, a place he came to love. He lived in Mallord Street until his death in 1956.

EDWIN HENRY BODDINGTON (BRITISH, C. 1836-1905)A mountainous landscape, probably in Snowdonia, Wales signed 'EBoddington' (lower left) oil on canvas 61 x 92cm Provenance The Collection of Mr. Marcus Linell

WILLIAM CHRISTIAN SYMONS (BRITISH, 1845-1911) (6)Still life of white roses oil on canvas 36 x 23cm (unframed) together with Trees by a house, watercolour; Farm buildings overlooking an extensive landscape, watercolour; Study of a house, watercolour; Village scene, watercolour; and View of a village across fields, watercolour, (all unframed) (6) Provenance Property of the artist; Thence by family descent

C*** A*** T*** D***Tribesmen in a mountainous landscape signed with monogram and dated '92' (lower left) watercolour 17.5 x 27cm Provenance Arthur Wardle; Thence by family descent

ARTHUR CROFT MITCHELL (BRITISH, 1872-1956)Ragusa from the Rocks with artist's label (to back of stretcher) oil on canvas 50.5 x 61cm Provenance The artist, thence by descent to the present owner; Private collection, UKFootnoteArthur Croft Mitchell was born in 1872 in Birmingham. His maternal grandfather was the church architect John Croft, and his maternal uncle the successful landscape painter Arthur Croft. The latter strongly encouraged Arthur’s aptitude for drawing, and liberated him from other obligations by undertaking the support of his widowed mother and sisters, allowing him to take up the full-time study of art.In 1898, Arthur enrolled at the Slade School, where he studied under Frederic Brown, Henry Tonks and Philip Wilson Steer. Fellow students included Harold Gilman, William Orpen, and the portrait photographer Charles Beresford; Augustus John had graduated the year before but was also a regular visitor. On graduating from the Slade, Arthur spent two years at the Adacemie de la Grande Chaumiere in Paris, where he came under the direct influence of the Impressionists, and where he exhibited in the Paris Salon. Once he had returned from Paris, Arthur based himself in Chelsea and satisfied his romantic nature painting large canvases on themes such as Arthurian myth. Inspired by his love of Vermeer, he also specialised in interior scenes, and he exhibited at the New English Art Club, the Royal Academy Summer Exhibition and the Paris Salon.In 1913, he built a house with a studio at 32 Mallord Street, Chelsea, only to be overtaken by the outbreak of WW1. When Arthur returned to full-time painting in 1920, the war had devastated the art market, and his war work had weakened his eyesight so that he could no longer produce interiors. He turned instead to landscape painting and flower compositions and travelled to Europe on painting trips with friends from his art school days, while continuing to exhibit regularly.At the age of 52, Arthur met his future wife Molly, at the Chelsea Arts Ball. She quickly became his muse, and he painted her portrait many times. They married in 1926 and continued life at 32 Mallord Street, now next door to Augustus John’s home and Studio, although the two men had little in common besides their profession. Arthur found contentment with his new domesticity; the marriage produced two sons, which put an end to trips abroad, but Arthur was content to paint his wife, flower compositions, and the changing seasons in Wimbledon Common, a place he came to love. He lived in Mallord Street until his death in 1956.

ARTHUR CROFT MITCHELL (BRITISH, 1872-1956)The Death of Arthur signed 'A C Mitchell' (lower left) oil on canvas 142.5 x 172.5cm Provenance The artist, thence by descent to the present owner; Private collection, UKFootnoteArthur Croft Mitchell was born in 1872 in Birmingham. His maternal grandfather was the church architect John Croft, and his maternal uncle the successful landscape painter Arthur Croft. The latter strongly encouraged Arthur’s aptitude for drawing, and liberated him from other obligations by undertaking the support of his widowed mother and sisters, allowing him to take up the full-time study of art.In 1898, Arthur enrolled at the Slade School, where he studied under Frederic Brown, Henry Tonks and Philip Wilson Steer. Fellow students included Harold Gilman, William Orpen, and the portrait photographer Charles Beresford; Augustus John had graduated the year before but was also a regular visitor. On graduating from the Slade, Arthur spent two years at the Adacemie de la Grande Chaumiere in Paris, where he came under the direct influence of the Impressionists, and where he exhibited in the Paris Salon. Once he had returned from Paris, Arthur based himself in Chelsea and satisfied his romantic nature painting large canvases on themes such as Arthurian myth. Inspired by his love of Vermeer, he also specialised in interior scenes, and he exhibited at the New English Art Club, the Royal Academy Summer Exhibition and the Paris Salon.In 1913, he built a house with a studio at 32 Mallord Street, Chelsea, only to be overtaken by the outbreak of WW1. When Arthur returned to full-time painting in 1920, the war had devastated the art market, and his war work had weakened his eyesight so that he could no longer produce interiors. He turned instead to landscape painting and flower compositions and travelled to Europe on painting trips with friends from his art school days, while continuing to exhibit regularly.At the age of 52, Arthur met his future wife Molly, at the Chelsea Arts Ball. She quickly became his muse, and he painted her portrait many times. They married in 1926 and continued life at 32 Mallord Street, now next door to Augustus John’s home and Studio, although the two men had little in common besides their profession. Arthur found contentment with his new domesticity; the marriage produced two sons, which put an end to trips abroad, but Arthur was content to paint his wife, flower compositions, and the changing seasons in Wimbledon Common, a place he came to love. He lived in Mallord Street until his death in 1956.

ARTHUR CROFT MITCHELL (BRITISH, 1872-1956)Ragusa Harbour with artist's label (to back of stretcher) oil on canvas 51 x 61cm Provenance The artist, thence by descent to the present owner; Private collection, UKFootnoteArthur Croft Mitchell was born in 1872 in Birmingham. His maternal grandfather was the church architect John Croft, and his maternal uncle the successful landscape painter Arthur Croft. The latter strongly encouraged Arthur’s aptitude for drawing, and liberated him from other obligations by undertaking the support of his widowed mother and sisters, allowing him to take up the full-time study of art.In 1898, Arthur enrolled at the Slade School, where he studied under Frederic Brown, Henry Tonks and Philip Wilson Steer. Fellow students included Harold Gilman, William Orpen, and the portrait photographer Charles Beresford; Augustus John had graduated the year before but was also a regular visitor. On graduating from the Slade, Arthur spent two years at the Adacemie de la Grande Chaumiere in Paris, where he came under the direct influence of the Impressionists, and where he exhibited in the Paris Salon. Once he had returned from Paris, Arthur based himself in Chelsea and satisfied his romantic nature painting large canvases on themes such as Arthurian myth. Inspired by his love of Vermeer, he also specialised in interior scenes, and he exhibited at the New English Art Club, the Royal Academy Summer Exhibition and the Paris Salon.In 1913, he built a house with a studio at 32 Mallord Street, Chelsea, only to be overtaken by the outbreak of WW1. When Arthur returned to full-time painting in 1920, the war had devastated the art market, and his war work had weakened his eyesight so that he could no longer produce interiors. He turned instead to landscape painting and flower compositions and travelled to Europe on painting trips with friends from his art school days, while continuing to exhibit regularly.At the age of 52, Arthur met his future wife Molly, at the Chelsea Arts Ball. She quickly became his muse, and he painted her portrait many times. They married in 1926 and continued life at 32 Mallord Street, now next door to Augustus John’s home and Studio, although the two men had little in common besides their profession. Arthur found contentment with his new domesticity; the marriage produced two sons, which put an end to trips abroad, but Arthur was content to paint his wife, flower compositions, and the changing seasons in Wimbledon Common, a place he came to love. He lived in Mallord Street until his death in 1956.

ATTRIBUTED TO ARTHUR BAKER (BRITISH, LATE 19TH/EARLY 20TH CENTURY)Three highland cattle in a mountainous landscape oil on canvas 52 x 78cm Provenance Private collection, UK

CIRCLE OF JOHAN HEINRICH ROOSA shepherd with his dog, sheep and a goat in an Arcadian landscape with ruins oil on canvas 63 x 76cm Provenance Private collection, UKCondition reportCanvas relined; craquelure pattern throughout; surface abrasion upper right and lower left; possible retouching, visible to the naked eye off the upper right border; ultraviolet reveals no sign of retouching but an opaque varnish prevents a conclusive reading.  Held in an ornate, plaster gilt with some chips to gilt work.

ARTHUR CROFT MITCHELL (BRITISH, 1872-1956)Resting by the River gouache and watercolour 33.5 x 24.5cm Provenance The artist, thence by descent to the present owner; Private collection, UKFootnoteArthur Croft Mitchell was born in 1872 in Birmingham. His maternal grandfather was the church architect John Croft, and his maternal uncle the successful landscape painter Arthur Croft. The latter strongly encouraged Arthur’s aptitude for drawing, and liberated him from other obligations by undertaking the support of his widowed mother and sisters, allowing him to take up the full-time study of art.In 1898, Arthur enrolled at the Slade School, where he studied under Frederic Brown, Henry Tonks and Philip Wilson Steer. Fellow students included Harold Gilman, William Orpen, and the portrait photographer Charles Beresford; Augustus John had graduated the year before but was also a regular visitor. On graduating from the Slade, Arthur spent two years at the Adacemie de la Grande Chaumiere in Paris, where he came under the direct influence of the Impressionists, and where he exhibited in the Paris Salon. Once he had returned from Paris, Arthur based himself in Chelsea and satisfied his romantic nature painting large canvases on themes such as Arthurian myth. Inspired by his love of Vermeer, he also specialised in interior scenes, and he exhibited at the New English Art Club, the Royal Academy Summer Exhibition and the Paris Salon.In 1913, he built a house with a studio at 32 Mallord Street, Chelsea, only to be overtaken by the outbreak of WW1. When Arthur returned to full-time painting in 1920, the war had devastated the art market, and his war work had weakened his eyesight so that he could no longer produce interiors. He turned instead to landscape painting and flower compositions and travelled to Europe on painting trips with friends from his art school days, while continuing to exhibit regularly.At the age of 52, Arthur met his future wife Molly, at the Chelsea Arts Ball. She quickly became his muse, and he painted her portrait many times. They married in 1926 and continued life at 32 Mallord Street, now next door to Augustus John’s home and Studio, although the two men had little in common besides their profession. Arthur found contentment with his new domesticity; the marriage produced two sons, which put an end to trips abroad, but Arthur was content to paint his wife, flower compositions, and the changing seasons in Wimbledon Common, a place he came to love. He lived in Mallord Street until his death in 1956.

ARTHUR CROFT MITCHELL (BRITISH, 1872-1956)Still life of sweet peas in a vase oil on board 38 x 30cm Provenance The artist, thence by descent to the present owner; Private collection, UKFootnoteArthur Croft Mitchell was born in 1872 in Birmingham. His maternal grandfather was the church architect John Croft, and his maternal uncle the successful landscape painter Arthur Croft. The latter strongly encouraged Arthur’s aptitude for drawing, and liberated him from other obligations by undertaking the support of his widowed mother and sisters, allowing him to take up the full-time study of art.In 1898, Arthur enrolled at the Slade School, where he studied under Frederic Brown, Henry Tonks and Philip Wilson Steer. Fellow students included Harold Gilman, William Orpen, and the portrait photographer Charles Beresford; Augustus John had graduated the year before but was also a regular visitor. On graduating from the Slade, Arthur spent two years at the Adacemie de la Grande Chaumiere in Paris, where he came under the direct influence of the Impressionists, and where he exhibited in the Paris Salon. Once he had returned from Paris, Arthur based himself in Chelsea and satisfied his romantic nature painting large canvases on themes such as Arthurian myth. Inspired by his love of Vermeer, he also specialised in interior scenes, and he exhibited at the New English Art Club, the Royal Academy Summer Exhibition and the Paris Salon.In 1913, he built a house with a studio at 32 Mallord Street, Chelsea, only to be overtaken by the outbreak of WW1. When Arthur returned to full-time painting in 1920, the war had devastated the art market, and his war work had weakened his eyesight so that he could no longer produce interiors. He turned instead to landscape painting and flower compositions and travelled to Europe on painting trips with friends from his art school days, while continuing to exhibit regularly.At the age of 52, Arthur met his future wife Molly, at the Chelsea Arts Ball. She quickly became his muse, and he painted her portrait many times. They married in 1926 and continued life at 32 Mallord Street, now next door to Augustus John’s home and Studio, although the two men had little in common besides their profession. Arthur found contentment with his new domesticity; the marriage produced two sons, which put an end to trips abroad, but Arthur was content to paint his wife, flower compositions, and the changing seasons in Wimbledon Common, a place he came to love. He lived in Mallord Street until his death in 1956.

ARTHUR CROFT MITCHELL (BRITISH, 1872-1956) (2)Still life of roses in a vase oil on canvas 40.5 x 30.5cm together with a watercolour and gouache of Orange flowers in a vase by the same hand, 69.5 x 39.5cm (both unframed) (2) Provenance The artist, thence by descent to the present owner; Private collection, UKFootnoteArthur Croft Mitchell was born in 1872 in Birmingham. His maternal grandfather was the church architect John Croft, and his maternal uncle the successful landscape painter Arthur Croft. The latter strongly encouraged Arthur’s aptitude for drawing, and liberated him from other obligations by undertaking the support of his widowed mother and sisters, allowing him to take up the full-time study of art.In 1898, Arthur enrolled at the Slade School, where he studied under Frederic Brown, Henry Tonks and Philip Wilson Steer. Fellow students included Harold Gilman, William Orpen, and the portrait photographer Charles Beresford; Augustus John had graduated the year before but was also a regular visitor. On graduating from the Slade, Arthur spent two years at the Adacemie de la Grande Chaumiere in Paris, where he came under the direct influence of the Impressionists, and where he exhibited in the Paris Salon. Once he had returned from Paris, Arthur based himself in Chelsea and satisfied his romantic nature painting large canvases on themes such as Arthurian myth. Inspired by his love of Vermeer, he also specialised in interior scenes, and he exhibited at the New English Art Club, the Royal Academy Summer Exhibition and the Paris Salon.In 1913, he built a house with a studio at 32 Mallord Street, Chelsea, only to be overtaken by the outbreak of WW1. When Arthur returned to full-time painting in 1920, the war had devastated the art market, and his war work had weakened his eyesight so that he could no longer produce interiors. He turned instead to landscape painting and flower compositions and travelled to Europe on painting trips with friends from his art school days, while continuing to exhibit regularly.At the age of 52, Arthur met his future wife Molly, at the Chelsea Arts Ball. She quickly became his muse, and he painted her portrait many times. They married in 1926 and continued life at 32 Mallord Street, now next door to Augustus John’s home and Studio, although the two men had little in common besides their profession. Arthur found contentment with his new domesticity; the marriage produced two sons, which put an end to trips abroad, but Arthur was content to paint his wife, flower compositions, and the changing seasons in Wimbledon Common, a place he came to love. He lived in Mallord Street until his death in 1956.

ATTRIBUTED TO WILLIAM STANLEY HASELTINE (AMERICAN, 1835-1900)An extensive landscape with a lake and mountains beyond signed 'W. S Haseltine' (lower left) and with remnants of an old framer's label with a Philadelphia address (to back of frame) oil on canvas 25.5 x 45.5cm Provenance Private collection, UKCondition reportCanvas appears to be lined.Various old small spots of paint loss visible, such as to upper right in sky, which have clearly had retouching to them.Other very small spots of paint loss without retouching in places such as lower right corner.Discoloured/yellow varnish.Fine craquelure.Dirt.Possible small abrasion to centre on hill, appears as a pale spot.Other small abrasions, such as to upper left in sky.Small spots and marks in places.An opaque varnish prevents a reading under uv light.