We found 50839 price guide item(s) matching your search

G Beauvais - A large French Art Deco model of a nude reclining female circa 1925 with bobbed blonde hair with stylised fawns and flowers by her side, craquelure glaze, incised signature and painted Made in France to the underside, length 70cm.

Elly Strobach - Royal Dux - A 1930s/1940s model of a reclining nude, incised signature and printed mark to the base, height 22cm.

Ronzan - A large pedestal bowl modelled as a standing female nude with a towel covering her modesty, holding aloft a shallow bowl, painted mark Ronzan Made in Italy 1332, height 55cm.

Kosta - A 20th Century glass vase of compressed sleeve form with green spot core cased in clear, engraved with a nude female bather stepping out of the waves with arms outstretched, engraved signature, height 20cm.

Oil on board, expressionist nude study, signed Wendy Bratby to the reverse. H.85 W.59.5cm

A pencil sketch of a seated nude woman, in gilt strip frame, a watercolour on silk of foxgloves, in stained wooden frame, and a quantity of prints, including studies of plants, landscapes, a fashion plate print, etc

A ladies Guess wristwatch with nude leather strap. Square gold tone case set with clear crystal stones. White face with gold tone hour markers and hands. Second hand function. In working order.

A TREEN CARVED FIGURE OF A NUDE FEMALE

A bronze model of a female nude seated on a high stool, 26cm, 20th century

A French plaster model of a reclining female nude with accompanying hound and puppy, chamfered wooden base, 52cm wide, 30cm high

WALTER RICHARD SICKERT, ARA (1860-1942) MORNINGTON CRESCENT Signed and inscribed with title, pen and brown ink with black crayon 34.5 x 24cm. Provenance: London, Thos. Agnew & Sons Ltd (label on new backboard) * Dr Wendy Baron observes that this is almost certainly an independent drawing which does not relate specifically to any known painting. It was drawn at 6 Mornington Crescent, where Sickert lodged and painted in rooms on the ground floor from autumn 1905 onwards. In spring 1907 he was able to rent the first floor rooms to use as a studio. He kept his Mornington Crescent studio rooms until around 1912 but tended to use his many other Camden Town painting studios more from 1908-09 onwards. Stylistically, the drawing can most convincingly be dated c.1909, when Sickert drew and painted several isolated studies of the standing nude, often holding the metal footrail of a bed. At that period Sickert used broken dashes of pen and ink and rough hatching to emulate the broken crusty touch of his contemporary oil paintings and to convey the effect of reflected light breaking down the barriers between figure and furniture. The drawing probably represents the model called Sally, painted and drawn by Sickert in several works of c.1909. Her messy hair, and the way she holds her head (bent forward), are similar. We are very grateful to Dr. Wendy Baron for compiling this footnote. ++ Slight time-toning of the paper

•RICHARD COOK (b.1947) NUDE ON A BED, HILDA Signed and dated 82, charcoal and coloured chalks 70 x 93cm. ++ Flaot mounted; good condition

AFTER JEAN PATOU; a modern bronze figure of a nude on circular base, height 37cm, together with a bronze group of two dolphins, unsigned, height 19cm, a bronze model of a fish and coral on circular green marble base, an Austin composition figure of a gamekeeper, height 34cm, together with a mottled glass fish, a three-piece silver plated condiment set and a silver plated trinket box and hinged cover (9).Additional InformationAll three bronze items with general darkened patina throughout with some minor rubbing to raised areas. The composition figure with some small chips and scuffs, the glass fish with some light surface grazes, the plated items with general light age wear.

A 20th century tribal art Ashanti stool, the central carved decoration with a dished seat, height 37cm, length 53cm a 20th century African figure of a kneeling nude lady, height 28cm, a lidded bowl, terracotta vessel and similar figure of a kneeling deity with child (5).

MARTIN WIEGAND; a ceramic figure representing a kneeling nude maiden clutching flowers, with impressed Munchen mark to the underside, height 17cm N.B. Wiegand was an artist at the Meissen factory. Additional InformationLight crazing to the glaze, no obvious faults, chips, or cracks. 

A MEISSEN WHITE GLAZED FIGURE OF A SEATED NUDE IN THOUGHTDesigned by Robert Ullman around 1940, blue crossed swords mark to reverse, Impressed crossed swords mark and Weiss, impressed Q. 239, 32cm highGood condition

A MEISSEN WHITE GLAZED FIGURE OF A SEATED NUDE GAZINGDesigned by Robert Ullmann around 1940, blue crossed swords mark, impressed crossed Sword and Weiss, impressed Q 238, 32cm highGood condition

ARR * Dobson (Frank, 1886-1963). Reclining female nude, circa 1930s, black chalk on pale cream wove paper, signed lower left, 20 x 38.5cm (8 x 15 ins), mount aperture, framed and glazedQty: (1)NOTESProvenance: Private collection, Lincolnshire, England.

* Bouché (Louis Georges, 1896-1969). Reclining Female Nude, oil on wood panel, signed L. BOUCHÉ to upper right corner, with an unfinished study of a seated woman to verso, 40.5 x 51cm (16 x 20ins) framedQty: (1)NOTESProvenance: Private collection, Lincolnshire, England. A native of New York City who spent his teenage years in France, Louis Bouché came from an artistic family, his grandfather being a Barbizon School painter and his father an interior designer. From 1918 to 1931 Bouché was associated with and exhibited at the Daniel Gallery in New York, and between 1921-1926 he managed the BelMaison Gallery, the first to be located in a department store, Wanamakers, in New York. In 1933 he won a Guggenheim Fellowship to travel and study in Europe. In the early 1940s, he taught at the Art Student's League.

* Miniature painting. "Cleopatra" Queen of Egypt, circa 1820-1830, watercolour and bodycolour on ivory, depicting a semi-nude female reclining on a day bed beneath gilt-tasselled crimson draperies, an oval portrait miniature on a chain by her side, and a comport dish with fruit and a book on a nearby table, titled in early manuscript on verso, 5.8 x 7.7cm (21/4 x 31/16 ins), glazed ebonised frame (13.3 x 15.6 cm), together with a portait miniature of a seated lady wearing a pale blue dress, frilled lace collar, and cap, circa 1830s, watercolour on card, 11.5 x 9.7 cm (41/2 x 33/4 ins), framed and glazed (19.1 x 17.3 cm)Qty: (2)

HENRY BIRD; two pencil and crayon studies depicting nude females reclining, 40 x 48cm, unframed, also a watercolour depicting a side profile by Brett Halder, a pencil signed print by Lionel Lindsay, etc (5).

SIR WILLIAM RUSSEL FLINT; a sepia print, nude bathers cavorting in a river by a fallen tree, signed lower right and with Fine Art Trade Guild blind stamp lower left, 30 x 42cm, framed and glazed. (D)Additional InformationThe image is generally clean and bright. The frame with some scuffs.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org

LIMOSIN; an Art Deco chrome spelter figural table lamp, modelled as a nude maiden supporting the circular shade holder, raised on shaped onyx plinth base, impressed signature to the underside, height 38.5cm.Additional InformationWear to the patina and colour on the chrome, very minimal nibbles to the foot rim, overall good condition.

A QUANTITY OF UNFRAMED PENCIL SKETCHES AND PRINTS OF ASSORTED SUBJECTS AND ARTISTS TO INCLUDE PORTRAIT STUDIES, LANDSCAPES, NUDE STUDY ETC. (10)

Michael Hutchings (British, 1918 - 2020), portrait of reclining nude. Oil on board. 56 x 76cm. With portrait of seated man. Oil on board. Initialled and dated lower left 1979. 76 x 52cm.Biography and ProvenanceFaced with a choice between art and medicine as a career after serving in the Second World war, the late Michael Hutchings (1918-2020) became a pathologist, working in London hospitals. However, he never abandoned his first love, painting, and kept an active studio wherever he lived, spending most of his adult live in Barnes, in the south west of the capital.He was an extraordinarily long-lived artist, who witnessed arguably the greatest period of development in Western art across his lifetime. When he was born, Vorticism and Cubism had only recently emerged, and by the time he died, aged 101, we had entered the age of Conceptual art, video art, NFTs and Banksy.Hutchings' contribution to the exploration of painting can largely be summed up in a single word: Colour. For him it was not simply a filler to assist in the expression of form, it was the form itself.Now works from his studio will be offered for the first timein this dedicated auction.The title of the sale pays tribute to his driving belief that it was the artist's job to let the colour express itself: The Michael Hutchings Collection: Let The Colour Do The Drawing.Whether landscapes, portraits, character studies, abstracts and semi-abstracts, Hutchings' mastery of the palette led to the creation of vibrant compositions where line and form were strictly defined by the use of block colour and colour shade. As in nature, he found no need for separate outline.Having trained at Chelsea College of Art and The Slade, as well as the Open College of the Arts, for much of his life he developed his theories and style under his own steam.He used unusual colour combinations and tones to express mood and atmosphere in his paintings, showing how unexpected pairings across the spectrum could produce surprisingly effective results.The range of works in the sale illustrates his consistent mastery of this technique, which not only creates psychological and emotional studies of great depth and sophistication, but also results in some highly attractive and decorative pieces.Born in Frodsham, Cheshire, young Michael was a sensitive child who developed a stammer following an unexceptional, but for him traumatic, classroom experience. The incident gave an early insight into his unusual perception of the world around, which included a highly developed appreciation for natural beauty.It also led to him being treated by the renowned therapist Lionel Logue, celebrated as King George VI's specialist in the multi-Oscar-winning film The King's Speech. Hutchings became friends with Logue's son who visited him in later years.Having studied medicine at Liverpool University, Hutchings signed up for the Army Medical Corps, serving in Italy, Morocco and Austria during the Second World War. During this time, he continued his practice of painting and drawing wherever he went, sending home for materials as he travelled across Europe.It was when he returned from the war and enrolled at Chelsea College of Art and then The Slade that he faced arguably the hardest decision of his life: whether to pursue a career in art or medicine. It is thought family pressure directed him to the latter and that pathology may have allowed him to pursue a career out of the public eye in the quiet of the laboratory and so saved him from exposing his intermittent stammer any more than he needed to.Working first at Whipps Cross Hospital, where he met his future wife Kitty, he moved to St Charles's Hospital in Ladbroke Grove, specialising in haematology, with a particular interest in sickle cell disease.Despite this, art was omnipresent, and after also studying at Putney School of Art and the Open School of Art, he became a member of the Royal Academy and exhibited at a number of shows over the years, where he sold works and won several competitions."He was fairly private and kept his art private generally, but everybody he knew knew he painted," says his daughter Katherine. "If he had gone for art as a career, I think he could have made a name for himself."She recalls him telling the family that painting was his first love, and weekends were spent visiting the latest exhibition. He was especially keen on new developments in art and 'the latest thing'.So important was painting to him that he even chose his children's school, Dartington Hall, because of its devotion to teaching art, says Katherine."Even into his nineties he would take himself off on public transport to the Tate and continued buying paintings," she says. "He only stopped painting about seven or eight years before he died."Hutchings' longevity might have been, in part, the result of his fitness. Continuing to run marathons into his eighties, in his early seventies he came second for his age group in the London Marathon.His was an extraordinary life and he left behind a rich and accomplished body of work that is in this sale now we are privileged to be able to present now-."The volume, range and quality of the works in the sale present a real opportunity to establish an ongoing market for Michael Hutchings. He may not have been able to pursue his first love as a career during his lifetime, but his talent certainly deserves significant recognition now."

Michael Hutchings (British, 1918-2020), seated nude. Acrylic on canvas. Signed and dated lower right 1988. 94 x 63cm.Biography and ProvenanceFaced with a choice between art and medicine as a career after serving in the Second World war, the late Michael Hutchings (1918-2020) became a pathologist, working in London hospitals. However, he never abandoned his first love, painting, and kept an active studio wherever he lived, spending most of his adult live in Barnes, in the south west of the capital.He was an extraordinarily long-lived artist, who witnessed arguably the greatest period of development in Western art across his lifetime. When he was born, Vorticism and Cubism had only recently emerged, and by the time he died, aged 101, we had entered the age of Conceptual art, video art, NFTs and Banksy.Hutchings' contribution to the exploration of painting can largely be summed up in a single word: Colour. For him it was not simply a filler to assist in the expression of form, it was the form itself.Now works from his studio will be offered for the first timein this dedicated auction.The title of the sale pays tribute to his driving belief that it was the artist's job to let the colour express itself: The Michael Hutchings Collection: Let The Colour Do The Drawing.Whether landscapes, portraits, character studies, abstracts and semi-abstracts, Hutchings' mastery of the palette led to the creation of vibrant compositions where line and form were strictly defined by the use of block colour and colour shade. As in nature, he found no need for separate outline.Having trained at Chelsea College of Art and The Slade, as well as the Open College of the Arts, for much of his life he developed his theories and style under his own steam.He used unusual colour combinations and tones to express mood and atmosphere in his paintings, showing how unexpected pairings across the spectrum could produce surprisingly effective results.The range of works in the sale illustrates his consistent mastery of this technique, which not only creates psychological and emotional studies of great depth and sophistication, but also results in some highly attractive and decorative pieces.Born in Frodsham, Cheshire, young Michael was a sensitive child who developed a stammer following an unexceptional, but for him traumatic, classroom experience. The incident gave an early insight into his unusual perception of the world around, which included a highly developed appreciation for natural beauty.It also led to him being treated by the renowned therapist Lionel Logue, celebrated as King George VI's specialist in the multi-Oscar-winning film The King's Speech. Hutchings became friends with Logue's son who visited him in later years.Having studied medicine at Liverpool University, Hutchings signed up for the Army Medical Corps, serving in Italy, Morocco and Austria during the Second World War. During this time, he continued his practice of painting and drawing wherever he went, sending home for materials as he travelled across Europe.It was when he returned from the war and enrolled at Chelsea College of Art and then The Slade that he faced arguably the hardest decision of his life: whether to pursue a career in art or medicine. It is thought family pressure directed him to the latter and that pathology may have allowed him to pursue a career out of the public eye in the quiet of the laboratory and so saved him from exposing his intermittent stammer any more than he needed to.Working first at Whipps Cross Hospital, where he met his future wife Kitty, he moved to St Charles's Hospital in Ladbroke Grove, specialising in haematology, with a particular interest in sickle cell disease.Despite this, art was omnipresent, and after also studying at Putney School of Art and the Open School of Art, he became a member of the Royal Academy and exhibited at a number of shows over the years, where he sold works and won several competitions."He was fairly private and kept his art private generally, but everybody he knew knew he painted," says his daughter Katherine. "If he had gone for art as a career, I think he could have made a name for himself."She recalls him telling the family that painting was his first love, and weekends were spent visiting the latest exhibition. He was especially keen on new developments in art and 'the latest thing'.So important was painting to him that he even chose his children's school, Dartington Hall, because of its devotion to teaching art, says Katherine."Even into his nineties he would take himself off on public transport to the Tate and continued buying paintings," she says. "He only stopped painting about seven or eight years before he died."Hutchings' longevity might have been, in part, the result of his fitness. Continuing to run marathons into his eighties, in his early seventies he came second for his age group in the London Marathon.His was an extraordinary life and he left behind a rich and accomplished body of work that is in this sale now we are privileged to be able to present now-."The volume, range and quality of the works in the sale present a real opportunity to establish an ongoing market for Michael Hutchings. He may not have been able to pursue his first love as a career during his lifetime, but his talent certainly deserves significant recognition now."

Michael Hutchings (British, 1918-2020), reclining nude. Initialled and dated 1990. 51 x 77. And seated male nude Biography and ProvenanceFaced with a choice between art and medicine as a career after serving in the Second World war, the late Michael Hutchings (1918-2020) became a pathologist, working in London hospitals. However, he never abandoned his first love, painting, and kept an active studio wherever he lived, spending most of his adult live in Barnes, in the south west of the capital.He was an extraordinarily long-lived artist, who witnessed arguably the greatest period of development in Western art across his lifetime. When he was born, Vorticism and Cubism had only recently emerged, and by the time he died, aged 101, we had entered the age of Conceptual art, video art, NFTs and Banksy.Hutchings' contribution to the exploration of painting can largely be summed up in a single word: Colour. For him it was not simply a filler to assist in the expression of form, it was the form itself.Now works from his studio will be offered for the first timein this dedicated auction.The title of the sale pays tribute to his driving belief that it was the artist's job to let the colour express itself: The Michael Hutchings Collection: Let The Colour Do The Drawing.Whether landscapes, portraits, character studies, abstracts and semi-abstracts, Hutchings' mastery of the palette led to the creation of vibrant compositions where line and form were strictly defined by the use of block colour and colour shade. As in nature, he found no need for separate outline.Having trained at Chelsea College of Art and The Slade, as well as the Open College of the Arts, for much of his life he developed his theories and style under his own steam.He used unusual colour combinations and tones to express mood and atmosphere in his paintings, showing how unexpected pairings across the spectrum could produce surprisingly effective results.The range of works in the sale illustrates his consistent mastery of this technique, which not only creates psychological and emotional studies of great depth and sophistication, but also results in some highly attractive and decorative pieces.Born in Frodsham, Cheshire, young Michael was a sensitive child who developed a stammer following an unexceptional, but for him traumatic, classroom experience. The incident gave an early insight into his unusual perception of the world around, which included a highly developed appreciation for natural beauty.It also led to him being treated by the renowned therapist Lionel Logue, celebrated as King George VI's specialist in the multi-Oscar-winning film The King's Speech. Hutchings became friends with Logue's son who visited him in later years.Having studied medicine at Liverpool University, Hutchings signed up for the Army Medical Corps, serving in Italy, Morocco and Austria during the Second World War. During this time, he continued his practice of painting and drawing wherever he went, sending home for materials as he travelled across Europe.It was when he returned from the war and enrolled at Chelsea College of Art and then The Slade that he faced arguably the hardest decision of his life: whether to pursue a career in art or medicine. It is thought family pressure directed him to the latter and that pathology may have allowed him to pursue a career out of the public eye in the quiet of the laboratory and so saved him from exposing his intermittent stammer any more than he needed to.Working first at Whipps Cross Hospital, where he met his future wife Kitty, he moved to St Charles's Hospital in Ladbroke Grove, specialising in haematology, with a particular interest in sickle cell disease.Despite this, art was omnipresent, and after also studying at Putney School of Art and the Open School of Art, he became a member of the Royal Academy and exhibited at a number of shows over the years, where he sold works and won several competitions."He was fairly private and kept his art private generally, but everybody he knew knew he painted," says his daughter Katherine. "If he had gone for art as a career, I think he could have made a name for himself."She recalls him telling the family that painting was his first love, and weekends were spent visiting the latest exhibition. He was especially keen on new developments in art and 'the latest thing'.So important was painting to him that he even chose his children's school, Dartington Hall, because of its devotion to teaching art, says Katherine."Even into his nineties he would take himself off on public transport to the Tate and continued buying paintings," she says. "He only stopped painting about seven or eight years before he died."Hutchings' longevity might have been, in part, the result of his fitness. Continuing to run marathons into his eighties, in his early seventies he came second for his age group in the London Marathon.His was an extraordinary life and he left behind a rich and accomplished body of work that is in this sale now we are privileged to be able to present now-."The volume, range and quality of the works in the sale present a real opportunity to establish an ongoing market for Michael Hutchings. He may not have been able to pursue his first love as a career during his lifetime, but his talent certainly deserves significant recognition now."

Michael Hutchings (British, 1918-2020), collection of loose acrylics on board, one grey (abstract), two still lives, two nude studies, and seated couple.Biography and ProvenanceFaced with a choice between art and medicine as a career after serving in the Second World war, the late Michael Hutchings (1918-2020) became a pathologist, working in London hospitals. However, he never abandoned his first love, painting, and kept an active studio wherever he lived, spending most of his adult live in Barnes, in the south west of the capital.He was an extraordinarily long-lived artist, who witnessed arguably the greatest period of development in Western art across his lifetime. When he was born, Vorticism and Cubism had only recently emerged, and by the time he died, aged 101, we had entered the age of Conceptual art, video art, NFTs and Banksy.Hutchings' contribution to the exploration of painting can largely be summed up in a single word: Colour. For him it was not simply a filler to assist in the expression of form, it was the form itself.Now works from his studio will be offered for the first timein this dedicated auction.The title of the sale pays tribute to his driving belief that it was the artist's job to let the colour express itself: The Michael Hutchings Collection: Let The Colour Do The Drawing.Whether landscapes, portraits, character studies, abstracts and semi-abstracts, Hutchings' mastery of the palette led to the creation of vibrant compositions where line and form were strictly defined by the use of block colour and colour shade. As in nature, he found no need for separate outline.Having trained at Chelsea College of Art and The Slade, as well as the Open College of the Arts, for much of his life he developed his theories and style under his own steam.He used unusual colour combinations and tones to express mood and atmosphere in his paintings, showing how unexpected pairings across the spectrum could produce surprisingly effective results.The range of works in the sale illustrates his consistent mastery of this technique, which not only creates psychological and emotional studies of great depth and sophistication, but also results in some highly attractive and decorative pieces.Born in Frodsham, Cheshire, young Michael was a sensitive child who developed a stammer following an unexceptional, but for him traumatic, classroom experience. The incident gave an early insight into his unusual perception of the world around, which included a highly developed appreciation for natural beauty.It also led to him being treated by the renowned therapist Lionel Logue, celebrated as King George VI's specialist in the multi-Oscar-winning film The King's Speech. Hutchings became friends with Logue's son who visited him in later years.Having studied medicine at Liverpool University, Hutchings signed up for the Army Medical Corps, serving in Italy, Morocco and Austria during the Second World War. During this time, he continued his practice of painting and drawing wherever he went, sending home for materials as he travelled across Europe.It was when he returned from the war and enrolled at Chelsea College of Art and then The Slade that he faced arguably the hardest decision of his life: whether to pursue a career in art or medicine. It is thought family pressure directed him to the latter and that pathology may have allowed him to pursue a career out of the public eye in the quiet of the laboratory and so saved him from exposing his intermittent stammer any more than he needed to.Working first at Whipps Cross Hospital, where he met his future wife Kitty, he moved to St Charles's Hospital in Ladbroke Grove, specialising in haematology, with a particular interest in sickle cell disease.Despite this, art was omnipresent, and after also studying at Putney School of Art and the Open School of Art, he became a member of the Royal Academy and exhibited at a number of shows over the years, where he sold works and won several competitions."He was fairly private and kept his art private generally, but everybody he knew knew he painted," says his daughter Katherine. "If he had gone for art as a career, I think he could have made a name for himself."She recalls him telling the family that painting was his first love, and weekends were spent visiting the latest exhibition. He was especially keen on new developments in art and 'the latest thing'.So important was painting to him that he even chose his children's school, Dartington Hall, because of its devotion to teaching art, says Katherine."Even into his nineties he would take himself off on public transport to the Tate and continued buying paintings," she says. "He only stopped painting about seven or eight years before he died."Hutchings' longevity might have been, in part, the result of his fitness. Continuing to run marathons into his eighties, in his early seventies he came second for his age group in the London Marathon.His was an extraordinary life and he left behind a rich and accomplished body of work that is in this sale now we are privileged to be able to present now-."The volume, range and quality of the works in the sale present a real opportunity to establish an ongoing market for Michael Hutchings. He may not have been able to pursue his first love as a career during his lifetime, but his talent certainly deserves significant recognition now."

Michael Hutchings (British, 1918-2020), reclining nude. Mixed media. Initialled and dated lower right 1992. 52 x 50cm.Biography and ProvenanceFaced with a choice between art and medicine as a career after serving in the Second World war, the late Michael Hutchings (1918-2020) became a pathologist, working in London hospitals. However, he never abandoned his first love, painting, and kept an active studio wherever he lived, spending most of his adult live in Barnes, in the south west of the capital.He was an extraordinarily long-lived artist, who witnessed arguably the greatest period of development in Western art across his lifetime. When he was born, Vorticism and Cubism had only recently emerged, and by the time he died, aged 101, we had entered the age of Conceptual art, video art, NFTs and Banksy.Hutchings' contribution to the exploration of painting can largely be summed up in a single word: Colour. For him it was not simply a filler to assist in the expression of form, it was the form itself.Now works from his studio will be offered for the first timein this dedicated auction.The title of the sale pays tribute to his driving belief that it was the artist's job to let the colour express itself: The Michael Hutchings Collection: Let The Colour Do The Drawing.Whether landscapes, portraits, character studies, abstracts and semi-abstracts, Hutchings' mastery of the palette led to the creation of vibrant compositions where line and form were strictly defined by the use of block colour and colour shade. As in nature, he found no need for separate outline.Having trained at Chelsea College of Art and The Slade, as well as the Open College of the Arts, for much of his life he developed his theories and style under his own steam.He used unusual colour combinations and tones to express mood and atmosphere in his paintings, showing how unexpected pairings across the spectrum could produce surprisingly effective results.The range of works in the sale illustrates his consistent mastery of this technique, which not only creates psychological and emotional studies of great depth and sophistication, but also results in some highly attractive and decorative pieces.Born in Frodsham, Cheshire, young Michael was a sensitive child who developed a stammer following an unexceptional, but for him traumatic, classroom experience. The incident gave an early insight into his unusual perception of the world around, which included a highly developed appreciation for natural beauty.It also led to him being treated by the renowned therapist Lionel Logue, celebrated as King George VI's specialist in the multi-Oscar-winning film The King's Speech. Hutchings became friends with Logue's son who visited him in later years.Having studied medicine at Liverpool University, Hutchings signed up for the Army Medical Corps, serving in Italy, Morocco and Austria during the Second World War. During this time, he continued his practice of painting and drawing wherever he went, sending home for materials as he travelled across Europe.It was when he returned from the war and enrolled at Chelsea College of Art and then The Slade that he faced arguably the hardest decision of his life: whether to pursue a career in art or medicine. It is thought family pressure directed him to the latter and that pathology may have allowed him to pursue a career out of the public eye in the quiet of the laboratory and so saved him from exposing his intermittent stammer any more than he needed to.Working first at Whipps Cross Hospital, where he met his future wife Kitty, he moved to St Charles's Hospital in Ladbroke Grove, specialising in haematology, with a particular interest in sickle cell disease.Despite this, art was omnipresent, and after also studying at Putney School of Art and the Open School of Art, he became a member of the Royal Academy and exhibited at a number of shows over the years, where he sold works and won several competitions."He was fairly private and kept his art private generally, but everybody he knew knew he painted," says his daughter Katherine. "If he had gone for art as a career, I think he could have made a name for himself."She recalls him telling the family that painting was his first love, and weekends were spent visiting the latest exhibition. He was especially keen on new developments in art and 'the latest thing'.So important was painting to him that he even chose his children's school, Dartington Hall, because of its devotion to teaching art, says Katherine."Even into his nineties he would take himself off on public transport to the Tate and continued buying paintings," she says. "He only stopped painting about seven or eight years before he died."Hutchings' longevity might have been, in part, the result of his fitness. Continuing to run marathons into his eighties, in his early seventies he came second for his age group in the London Marathon.His was an extraordinary life and he left behind a rich and accomplished body of work that is in this sale now we are privileged to be able to present now-."The volume, range and quality of the works in the sale present a real opportunity to establish an ongoing market for Michael Hutchings. He may not have been able to pursue his first love as a career during his lifetime, but his talent certainly deserves significant recognition now."

Michael Hutchings (British, 1918-2020), pensive woman, nude study. Acrylic on canvas. Initialled and dated '79. 92 x 61cm.Biography and ProvenanceFaced with a choice between art and medicine as a career after serving in the Second World war, the late Michael Hutchings (1918-2020) became a pathologist, working in London hospitals. However, he never abandoned his first love, painting, and kept an active studio wherever he lived, spending most of his adult live in Barnes, in the south west of the capital.He was an extraordinarily long-lived artist, who witnessed arguably the greatest period of development in Western art across his lifetime. When he was born, Vorticism and Cubism had only recently emerged, and by the time he died, aged 101, we had entered the age of Conceptual art, video art, NFTs and Banksy.Hutchings' contribution to the exploration of painting can largely be summed up in a single word: Colour. For him it was not simply a filler to assist in the expression of form, it was the form itself.Now works from his studio will be offered for the first timein this dedicated auction.The title of the sale pays tribute to his driving belief that it was the artist's job to let the colour express itself: The Michael Hutchings Collection: Let The Colour Do The Drawing.Whether landscapes, portraits, character studies, abstracts and semi-abstracts, Hutchings' mastery of the palette led to the creation of vibrant compositions where line and form were strictly defined by the use of block colour and colour shade. As in nature, he found no need for separate outline.Having trained at Chelsea College of Art and The Slade, as well as the Open College of the Arts, for much of his life he developed his theories and style under his own steam.He used unusual colour combinations and tones to express mood and atmosphere in his paintings, showing how unexpected pairings across the spectrum could produce surprisingly effective results.The range of works in the sale illustrates his consistent mastery of this technique, which not only creates psychological and emotional studies of great depth and sophistication, but also results in some highly attractive and decorative pieces.Born in Frodsham, Cheshire, young Michael was a sensitive child who developed a stammer following an unexceptional, but for him traumatic, classroom experience. The incident gave an early insight into his unusual perception of the world around, which included a highly developed appreciation for natural beauty.It also led to him being treated by the renowned therapist Lionel Logue, celebrated as King George VI's specialist in the multi-Oscar-winning film The King's Speech. Hutchings became friends with Logue's son who visited him in later years.Having studied medicine at Liverpool University, Hutchings signed up for the Army Medical Corps, serving in Italy, Morocco and Austria during the Second World War. During this time, he continued his practice of painting and drawing wherever he went, sending home for materials as he travelled across Europe.It was when he returned from the war and enrolled at Chelsea College of Art and then The Slade that he faced arguably the hardest decision of his life: whether to pursue a career in art or medicine. It is thought family pressure directed him to the latter and that pathology may have allowed him to pursue a career out of the public eye in the quiet of the laboratory and so saved him from exposing his intermittent stammer any more than he needed to.Working first at Whipps Cross Hospital, where he met his future wife Kitty, he moved to St Charles's Hospital in Ladbroke Grove, specialising in haematology, with a particular interest in sickle cell disease.Despite this, art was omnipresent, and after also studying at Putney School of Art and the Open School of Art, he became a member of the Royal Academy and exhibited at a number of shows over the years, where he sold works and won several competitions."He was fairly private and kept his art private generally, but everybody he knew knew he painted," says his daughter Katherine. "If he had gone for art as a career, I think he could have made a name for himself."She recalls him telling the family that painting was his first love, and weekends were spent visiting the latest exhibition. He was especially keen on new developments in art and 'the latest thing'.So important was painting to him that he even chose his children's school, Dartington Hall, because of its devotion to teaching art, says Katherine."Even into his nineties he would take himself off on public transport to the Tate and continued buying paintings," she says. "He only stopped painting about seven or eight years before he died."Hutchings' longevity might have been, in part, the result of his fitness. Continuing to run marathons into his eighties, in his early seventies he came second for his age group in the London Marathon.His was an extraordinary life and he left behind a rich and accomplished body of work that is in this sale now we are privileged to be able to present now-."The volume, range and quality of the works in the sale present a real opportunity to establish an ongoing market for Michael Hutchings. He may not have been able to pursue his first love as a career during his lifetime, but his talent certainly deserves significant recognition now."

Michael Hutchings (British, 1918-2020), seated nude. Oil on board. Initialled and dated '78. 96 x 64cm.Biography and ProvenanceFaced with a choice between art and medicine as a career after serving in the Second World war, the late Michael Hutchings (1918-2020) became a pathologist, working in London hospitals. However, he never abandoned his first love, painting, and kept an active studio wherever he lived, spending most of his adult live in Barnes, in the south west of the capital.He was an extraordinarily long-lived artist, who witnessed arguably the greatest period of development in Western art across his lifetime. When he was born, Vorticism and Cubism had only recently emerged, and by the time he died, aged 101, we had entered the age of Conceptual art, video art, NFTs and Banksy.Hutchings' contribution to the exploration of painting can largely be summed up in a single word: Colour. For him it was not simply a filler to assist in the expression of form, it was the form itself.Now works from his studio will be offered for the first timein this dedicated auction.The title of the sale pays tribute to his driving belief that it was the artist's job to let the colour express itself: The Michael Hutchings Collection: Let The Colour Do The Drawing.Whether landscapes, portraits, character studies, abstracts and semi-abstracts, Hutchings' mastery of the palette led to the creation of vibrant compositions where line and form were strictly defined by the use of block colour and colour shade. As in nature, he found no need for separate outline.Having trained at Chelsea College of Art and The Slade, as well as the Open College of the Arts, for much of his life he developed his theories and style under his own steam.He used unusual colour combinations and tones to express mood and atmosphere in his paintings, showing how unexpected pairings across the spectrum could produce surprisingly effective results.The range of works in the sale illustrates his consistent mastery of this technique, which not only creates psychological and emotional studies of great depth and sophistication, but also results in some highly attractive and decorative pieces.Born in Frodsham, Cheshire, young Michael was a sensitive child who developed a stammer following an unexceptional, but for him traumatic, classroom experience. The incident gave an early insight into his unusual perception of the world around, which included a highly developed appreciation for natural beauty.It also led to him being treated by the renowned therapist Lionel Logue, celebrated as King George VI's specialist in the multi-Oscar-winning film The King's Speech. Hutchings became friends with Logue's son who visited him in later years.Having studied medicine at Liverpool University, Hutchings signed up for the Army Medical Corps, serving in Italy, Morocco and Austria during the Second World War. During this time, he continued his practice of painting and drawing wherever he went, sending home for materials as he travelled across Europe.It was when he returned from the war and enrolled at Chelsea College of Art and then The Slade that he faced arguably the hardest decision of his life: whether to pursue a career in art or medicine. It is thought family pressure directed him to the latter and that pathology may have allowed him to pursue a career out of the public eye in the quiet of the laboratory and so saved him from exposing his intermittent stammer any more than he needed to.Working first at Whipps Cross Hospital, where he met his future wife Kitty, he moved to St Charles's Hospital in Ladbroke Grove, specialising in haematology, with a particular interest in sickle cell disease.Despite this, art was omnipresent, and after also studying at Putney School of Art and the Open School of Art, he became a member of the Royal Academy and exhibited at a number of shows over the years, where he sold works and won several competitions."He was fairly private and kept his art private generally, but everybody he knew knew he painted," says his daughter Katherine. "If he had gone for art as a career, I think he could have made a name for himself."She recalls him telling the family that painting was his first love, and weekends were spent visiting the latest exhibition. He was especially keen on new developments in art and 'the latest thing'.So important was painting to him that he even chose his children's school, Dartington Hall, because of its devotion to teaching art, says Katherine."Even into his nineties he would take himself off on public transport to the Tate and continued buying paintings," she says. "He only stopped painting about seven or eight years before he died."Hutchings' longevity might have been, in part, the result of his fitness. Continuing to run marathons into his eighties, in his early seventies he came second for his age group in the London Marathon.His was an extraordinary life and he left behind a rich and accomplished body of work that is in this sale now we are privileged to be able to present now-."The volume, range and quality of the works in the sale present a real opportunity to establish an ongoing market for Michael Hutchings. He may not have been able to pursue his first love as a career during his lifetime, but his talent certainly deserves significant recognition now."

Ladies nude leather handbag by Next, L: 31 cm. P&P Group 2 (£18+VAT for the first lot and £3+VAT for subsequent lots)

George III (1760-1820), Pre-1816 issues, Restrike Pattern Halfpenny, undated, by W.J. Taylor after J.-P. Droz, in bronzed-copper, laureate bust right, eagle’s head below, no lightning shafts and other detail partially repolished, rust less pronounced below g of georgius, rev. nude Britannia seated left on globe, crude paddle behind, edge plain, 14.67g/12h (BMC – [dies of R 14]; Selig –; cf. DNW 134, 900 for similar die-state). Old graze in field in front of portrait and a brushmark by Britannia’s right leg, otherwise brilliant and virtually as struck, extremely rare; not listed by Peck in bronzed-copper £1,200-£1,500 --- Provenance: St James’s Auction 12, 5-6 November 2009, lot 551, recté BMC –

Postcards, a selection of 7 Art Deco period glamour cards illustrated by Suzanne Meunier (3) (2 creased), Xavier Sager Series 130 nos 685 & 688 (ladies sitting on WW1 shell) (vg), Peltier (nude) (vg) & Jarach (lingerie) (vg)

λ Henry Moore (British 1898-1986)Reclining Nude: Crossed FeetBronze with a green patina, mounted on a wooden baseSigned and numbered 5/9 (on the base)11 x 16.5cm (4¼ x 6¼ in.)Conceived in 1980.Provenance:The Goodman Gallery, South AfricaPrivate Collection, London (acquired from the above in 1981)Thence by descent to the present ownersLiterature:Alan Bowness (ed.), Henry Moore, Complete Sculpture: 1980-86, Vol. 5, London, 1988, no. 788, another cast illustrated, p. 36-37Along with the theme of the mother and child, the reclining female figure is a form that dominated Moore's artistic output across his career. He loved the composition both for the essence of the idea as well as the freedom of expression that it afforded him. Unlike a seated figure that required a pedestal or support, or a standing figure which often lacked structural stability, the reclining figure could be presented in any manner and in any position without the incumbrance of other distracting elements. "One is standing, the other is seated and the third is lying down... of the three poses, the reclining figure gives the most freedom, compositionally and spatially... A reclining figure can recline on any surface. It is free and stable at the same time. It fits in with my belief that sculpture should be permanent, should last for eternity." Henry Moore, cited in the Art Gallery Handbook, Art Gallery, New South Wales, Australia, 1994 In contrast to many depictions of the female nude, Moore's work is never overtly erotic or sexualised. Indeed it has more in common with the very early pictorial language of the Neolithic period in Europe or the art of some early central American cultures in which the simplified form is a symbol of fertility. Moore was naturally drawn to these images and whilst his figures are far more than simply maternal depictions, enduring memories of his mother - a tremendously strong woman who raised eight children and who represented a rock of stability for Moore - left a lasting impact on how he viewed the female figure. The present work is typical of Moore's small scale bronzes. The smooth curves of the body dominate the form whilst the more diminutive head, with its lack of naturalistic facial characteristics alludes to a generic stylised form rather than a personalised image. Propped up on both arms, the body creates a contrasting mix of soft curves and sharper angles at the joints, interrupted by the lack of hands and feet. In spite of the simplification of the form the work remains more naturalistic than his earlier abstract sculptures.Similarities can be drawn between some of Moore's pen and ink studies during the 1980s for example reference HMF 80(117), Reclining Nude and HMF 80(115) titled Idea for Sculpture: Reclining Nude. Other sculptures during this period include Reclining Figure: Pointed Legs LH 777 dated to 1979 and moving into 1982 where Moore explored a more upright figure with a fuller chest Reclining Figure: Pointed Head LH827. Quote:"From the very beginning the reclining figure has been my main theme.....The first one I made was around 1924, and probably more than half of my sculptures since then have been reclining figures." Henry Moore, quoted in J. Hedgecoe, Henry Moore, New York, 1968, p. 151Condition Report: In overall good original condition. Some small areas of verdigris notably to the hair and underside of the bronze where it attaches to the base. Would benefit from a light clean. Condition Report Disclaimer

λ Adrian Morris (British 1929-2004)Nude StudyCharcoal with white highlights56 x 30cm (22 x 11¾ in.)Provenance:The Redfern Gallery, London

Jean Marchand (French 1883-1940)Nude with blue necklaceOil on canvasSigned (verso)45 x 35cm (17½ x 13¾ in.)Provenance:Property sold to benefit a charitable trust created by the late William de Gelsey

Franta Belsky, (Czech, 1921-2000) a study of a figure,mid 20th century, 'B 50' mark to reverse, A hand-built figure of a seated nude woman, in patinated, resin and plaster, and terracotta61cm high (ARR)Her neck has some restoration where the head has previously come away, she has some toes missing to her left foot with evidence of previous restoration, surface dirt and scratches throughout.

A Reproduction Cold Painted Bronze Figure Group Depicting Gent Beside Reclining Nude having Hinged Skirt in the Manner of Bergmann, 19cms Long

A bronze medallion, cast with a putti holding ribbons beneath a nude, signed with initials 'MF', the obverse with a nude, 11.2cm diameterCondition report: Good overall - some minor wear to the edges.Please see additional images.

ART DECO STYLE VERDIGRIS NUDE 66CMS (H)

PAIR OF NUDE BRONZES- BOY & GIRL 17CMS (H)

BRONZED NUDE 40CMS

ROSENTHAL NUDE LADY A/F 44CMS (H)

2 SIGNED OIL PAINTINGS - ONE BY JULIE CROFT - 85 X 125 CMS AND ONE BY THOMLINSON - 78 CMS SQUARE - NUDE STUDIES

BRONZE NUDE SCULPTURE 65CMS

CHAMBER POT CONTAINING MIXED ITEMS TO INCLUDE WRIST WATCHES, WHITE METAL TRINKET BOXES, SMALL BRONZE FIGURE OF A NUDE MALE, ASPREYS OF LONDON BOTTLE COLLAR, COLIBRI TABLE LIGHTER ETC

Oil on board painting of nude, reflecting in mirror. Signed John Thompson b1924 d2011. 40 cm x 30 cm unframed

Edward Heeley (1935-2011) and Elizabeth Betty Black one large and two small folios of art including nude studies, sign designs and modern interiors

An Alabaster and metal model as a reclining nude

Signed, framed nude poster (26,5 x 20 cm) of Geri Halliwell. Comes shrink-wrapped in a cardboard frame with metal name plate and foam backing. 50 x 33 cm.

Large Art Nouveau style polyester statue of a nude woman. Size: 185 x 30 x 50 cm. Condition: Good.

Large Art Nouveau style polyester statue of a nude woman. Size: 185 x 30 x 50 cm. Condition: Good.

Anne Williams (British, 20th Century) 'Cornish Fishing Boats' Watercolour, signed to bottom right, framed and glazed, with artist's label verso, framed and glazed, 9in (23cm) x 11in (28cm), together with a limited edition print of a Nude, signed S. Ziuzina (2)

A limited edition Print of a Nude, signed and numbered 41/295

A 19th century classical bronze figure of a nude male on a circular base. 26 cm high.

A carved bone model of a nude female. 9 cm long.

A silver pill box depicting a nude. 3 cm wide.

A print of a Nude Lady, framed and glazed. 21.5 x 75 cm.

A silver pill box depicting a nude. 3 cm wide.