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Lot 42
Antoni Tàpies (Spanish, 1923-2012)El Monument 1951 signed on the reverseoil on canvas120 by 110 cm. 47 1/4 by 43 5/16 in.Footnotes:This work is registered in the Fundació Antoni Tàpies, Barcelona, under no. T-0046.ProvenanceGaleria Artema, BarcelonaAcquired directly from the above by the present ownerExhibitedVenice, XXVI Biennale di Venezia, 1952, no. 87Barcelona, Galeries Laietanes, Antoni Tàpies, 1952, no. 4Barcelona, Galeria Artema, Tapies: Obra 1945-1954, 1978, no. 21, illustrated in black and whiteMadrid, Museo Español de Arte Contemporáneo, Antoni Tàpies - Exposición Retrospectiva, 1980, p. 24, no. 26, illustrated in black and whiteLiteratureAlexandre Ciriri, Tàpies, testimoni del silenci, Barcelona 1970, p. 135, no. 80, illustrated in colourJosep Vallés Rovira, Tàpies Empremta (art vida), 1983, np., illustrated in black and whiteAnna Agustí, Tàpies, The Complete Works Volume 1: 1943-1960, Barcelona 1988, p. 175, no. 388, illustrated in colourA delightful early example of the celebrated Spanish artist's practice, El Monument from 1951 belongs to what has been coined by critic Alexandre Circi as Tàpies' 'Magic Period'. Starting in 1948, Tàpies became heavily influenced by the work of surrealists - in particular, by Ernst, Miro and Klee - and started exploring the possibilities offered by depicting the subconscious' otherworldly imagery. The resulting paintings, which Tàpies' friend, writer Joan Brossa, would often name with fantastical and poetic titles, earned him the respect and admiration of Salvador Dali amongst others. Met with universal critical acclaim, works from the Magic Period truly launched Tàpies' practice in Europe and the United States.In El Monument, a range of mystical motifs imbue the dark canvas with a strange, mystical sense of wonder. The fine structure-like lines delicately scratched into the surface of the painting predate Tàpies' iconic heavily textured works in which he drew large incisions into sand. Even though Tàpies would ultimately abandon the attention to detail displayed in El Monument and other early works in favour of a more process-based approach in the following decades, the Magic Period - and its highly evocative occult potential - still very much sketched the blueprint for Tàpies' highly textural and abstract latest practice. Exhibited at the Venice Biennale in 1952, shortly before the artist married his wife, El Monument was executed at a critical time in his career: 'The years 1952 and 1953 were crucial, both for my love life and for my work. [...] Little by little, almost unconsciously, I had left behind and finally lost the worries that Soviet aesthetic principles, inspired by the famous Jdanov, had caused me... In questions of art and by an inclination that is difficult to explain, my instinct took me more and more along solitary paths I saw the necessity of going deeper in my investigation of the specific possibilities of the visual medium of colour and form in freedom.' (the artist in: A Personal Memoir: Fragments for an Autobiography, Barcelona 2009, p. 264).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
Lot 50
James Campbell (British, 1828-1893)A Pastoral Rehearsal oil on canvas63.5 x 115.2cm (25 x 45 3/8in).Footnotes:ExhibitedLiverpool Academy, 1860, no. 95.Literature Marillier, H.C., The Liverpool School of Painters, London, 1904, p. 84.This recently re-discovered work by the Liverpool artist James Campbell has been identified as his 1860 Liverpool Academy exhibit, A Pastoral Rehearsal. A group of men, women and children are gathered among a grove of trees on the edge of a village to sing and play. Led by the standing figure of a man who raises his right arm and bow to conduct, while holding his fiddle to his grey-bearded chin, and accompanied by a seated 'cellist and a third musician who plays a clarinet, six villagers sit side-by-side to form the choir. On the right, a man seems to gaze as if transfixed by the rhythm of the music and to which he beats time on a tambourine. At the centre, a flaxen-haired child wearing a pale coloured smock and with a school-satchel across his shoulder, holds the score for the violinist and 'cellist. On the left side of the composition, a youth with white shirtsleeves and a black cap rests in a wheelbarrow and holds a younger child – perhaps his sister – on his lap. One further spectator – a dark-haired woman – stands on the left side before a moss-covered drystone wall, holding a piece of embroidery or knitting. As the painting's exhibited title indicates, the folk seen together are preparing for a musical performance, perhaps as part of a wedding or May Day celebration. The various participants seem to be wearing workaday clothes, with the possible exception of the violinist/conductor who wears a shabby frockcoat and check trousers, so it may be assumed that the rehearsal is taking place at the end of the working day and when the children present have been released from school.James Campbell specialised in subjects showing the life of working-class men and women in his native city of Liverpool and surrounding countryside. For biographical information on the artist we depend on a short chapter in H.C. Marillier's The Liverpool School of Painters (1904). According to this source, Campbell studied at the Royal Academy schools in London (although, if this is the case, the academic training received there seems to have left no mark upon him). In 1851, having returned to Liverpool, he entered the Liverpool Academy as a probationer, exhibiting there for the first time the following year. Campbell was elected as an associate of the Liverpool Academy in 1854 and a full member in 1856. In 1857 he contributed to the Russell Place exhibition of Pre-Raphaelite art in London, being represented by works lent from the collection of the Liverpool collector and art entrepreneur John Miller and for which Ford Madox Brown had negotiated. In 1858 Campbell was invited to send works to the exhibition of contemporary British art shown that year in New York, Philadelphia and Boston. That Campbell was regarded in a friendly way by members of the progressive circle of painters is demonstrated by his having subsequently been admitted to membership of the Hogarth Club. Among Campbell's most loyal patrons, in addition to Miller himself, were George Rae, of Birkenhead, and James Leathart, of Gateshead.In the 1850s Campbell sent works to the Liverpool Academy from an address in Brunswick Square, Kirkdale (now part of Liverpool itself and lying to the north of the city centre). Particular works in urban settings by Campbell, such as Twilight – Trudging Homewards (private collection), in which two itinerant musicians, each of them blind, lead one another home at the end of the day, or Dinner in View (Christie's, 6 November 1995, lot 127), also of 1858 and showing gaunt figures dazed by hunger, are amongst the most extraordinary images of deprivation to come down to us from the mid 19th century. On other occasions, Campbell made painting expeditions into the Cheshire countryside, taking lodgings at Eastham Woods on the Mersey western shore, and on other occasions working at Bidston on the Wirral. These were both places favoured by the Liverpool artists in the middle years of the 19th century, and it is likely that the present rustic subject was made in one or other of them. Campbell's career as an artist was cut short by failing eyesight and from which he suffered even while he was still in his thirties. He exhibited at the Liverpool Academy only until 1864, while the following year he showed for the last time at the Liverpool Institution of Fine Arts. He was eventually awarded a pension and the offer of accommodation by the Royal Academy, and for which support his patrons Rae and Leathart had petitioned. The fact that Campbell had such a short working career – hardly longer than a decade and a half – and because he painted in such an exacting and meticulous way, explains why his works are rare.The loving attention to detail that Campbell paid in his figurative subjects owed much to the example of the Pre-Raphaelites. In addition, it seems likely that he studied Dutch genre paintings (and perhaps also French art of the 17th century – on occasions his works seems curiously akin to that of the Le Nain brothers). The way in which Campbell documented the lives of the folk he observed – describing as he did the privations they endured with such humanity – gives his works an idiosyncratic quality that makes them compelling.We are grateful to Christopher Newall for compiling this catalogue entry.For further information on this lot please visit Bonhams.com
Lot 196
Olivia Scholnick (South African 1927-2013)Still LifeOil on canvas Signed lower right 60 x 60cm (23½ x 23½ in.)Provenance:Private Collection, Gerald Levin (1934-2020) Gerald Levin was born in Zimbabwe and arrived in London in 1954. He first worked for Basil Spence and was a founding partner of Renton, Howard, Wood, Levin Architects a firm which became synonymous with arts and theatre projects. Gerald was responsible for designs of the Donmar Theatre in London, Royal Concert Hall in Nottingham, Sadlers Wells and many of the practices acclaimed housing projects included The Prudential Building on Euston Road (London) part of Tolmers Square (London) and Earlstoke Estate (London). Gerald was a member of The Architectural Association, President from 1985-1987 and a Life Member. He supported many Arts organisations including LPO, Donmar and Tate Gallery where he was Chairperson of Patrons of New Art 1990-1993 acquiring works of art for their collections and was a driving force behind the instigation of the Turner Prize. Gerald played the Cello and was part of many small groups of string players. Levin was an avid art collector who had many good friends involved in music, art, theatre and ballet including Maggi Hambling, Keith Milow, Yolanda Sonnabend, Derek Jarman, Jane Joseph and Olivia Scholnick whose works of art filled his Covent Garden flat.
Lot 54
λ Mildred Bendall (British 1891-1974)Still life with jugs, fruit bowl and fanOil on boardSigned lower left58 x 69cm (22¾ x 27 in.)Condition Report: Executed on a thin board, backed with canvas. There is some light craquelure to the lower left corner and to the upper edge and upper right corner. Otherwise in generally good original condition.Condition Report Disclaimer
Lot 1001
JANE BENNIE FYFE (1914-2011) watercolour and pastel, ‘Still Life’, signed lower right, 56x43.5cm, framed and glazed. (D)Additional InformationChips, scratches, knocks to the frame. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
Lot 332
CRAIGIE AITCHISON CBE RA (1926-2009); limited edition signed print, still life, on vermilion, No.78/85, signed lower right, 41 x 32cm, unframed. (D)Additional InformationMinor folding/wear to edges of image, minor scratches to mount, nothing serious. Lots 332, 333 and 334 have come from the same vendor who is an art collector. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
Lot 529
COLIN RUFFELL (Born 1939); oil on canvas, ‘Still life with Oil Lamp’, signed lower right, 89.5 x 59cm, framed. (D)Additional Informationminimal wear with marks and scuffs to frame, the main image appears fine. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
Lot 557
BRIAN NOLAN (Born 1931); oil on board, still life study of flowers in a jar, signed, 40 x 26cm, framed. (D)Additional InformationSome light surface wear and scratches but overall ok. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
Lot 601
DAME ETHEL WALKER (SCOTTISH, 1861-1951); oil on canvas, still life study of floral sprays in a Victorian jug, signed, inscribed verso 'Dec. 14, Cumbo', 61.5 x 51cm, framed. (D)Additional InformationThere is a tiny spot of surface detritus to the left of the lower wing. May benefit from a very light clean, but just light surface wear throughout. Some surface wear to the frame. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
Lot 613
ANDREW TIFT (Born 1968); acrylic on board, 'Suspicious Minds', signed and dated 2008 lower right, overall image size 27 x 51cm. (D) NB: Tift made a series of record sleeve covers and named the sequence "Dopplegangers". On the right is the original physical record cover and on the left is an exact size painting of the record sleeve. They are "still life" studies which depict the life, love and deterioration that the record sleeve has had over the years. Tift also enjoys making Diptychs using two panels side by side. The viewers eyes flick from one to the other, in exactly the same way that they do when the artist is painting them. Additional InformationThe frame has very minimal scratches and scuffs, but the image is in good condition. Please note the image on the left is the original acrylic painting and the image on the right is actually a distressed single record. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
Lot 987
ARTHUR NICHOLLS (BRITISH, LATE 19TH/EARLY 20TH CENTURY); watercolour, still life of fruit, signed lower right, 24 x 17cm, framed and glazed, with receipt of purchase for £300 in 1998 from Saltaire Antiques Centre; this painting was featured on BBC Antique Hunt, the precursor to Bargain Hunt. Additional InformationImage in good condition, frame worn with some chips to gilt.
Lot 26
Attributed to Louise Aimée Ribot (active France, 19th Century)Still life with bread, ceramic bowls, a bottle and a glass of wine bears signature and inscription 'a l'ami Bo**/ t. Ribot' (lower right)oil on canvas32.7 x 40.7cm (12 7/8 x 16in).For further information on this lot please visit Bonhams.com
Lot 163
Circle of Jean-Baptiste Monnoyer (Lille 1636-1699 London)A still life of a basket of tulips roses, orange blossom, a poppy, hyacinths and other flowers, on a stone plinth, beside an apple and grapes in a landscape oil on canvas70.3 x 90.1cm (27 11/16 x 35 1/2in).in a Chippendale style carved and giltwood frameFor further information on this lot please visit Bonhams.com
Lot 307
Pictures and Prints - Roy Merrington, Sunset, Naples Florida oil on canvas, signed and framed; The Courtyard, oil on canvas, signed and framed; The Post Box, oil on canvas, signed and framed; Winter pond, oil on canvas, signed and framed; Sunflowers, still life, oil on canvas, signed and framed. (5)
Lot 745
BRITISH SCHOOL, 19TH C - A RUINED ABBEY, WATERCOLOUR, INDISTINCTLY INSCRIBED WITH INITIALS, 25 X 36CM, ENGLISH SCHOOL, STILL LIFE WITH WALL FLOWERS IN A VASE, OIL ON CANVAS BOARD, 32 X 42CM AND A WATERCOLOUR OF A KESTREL BY ANNE HARTLEY, SIGNED, OVAL, 29 X 22CM (3) Condition report The lot in good condition
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