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Price on request

Presentation: Framed
Signed and dated,
Oil on Canvas, 36 x 25 1/2 inches (91 x 65 cms)

In its original Italiante frame


Exhibited:  A typed label attached to the stretcher reads: 'Cleveland - Chicago / Belgium / Catalogue No. 289'.   It is probable that this refers to the exhibition 'Contemporary Belgian Painting, Graphic Art and Sculpture', which was held at the Art Institute of Chicago,  May 1 - June 1, 1930.

The sitter, Mary Louise McBride, was the second wife of the critic, stage director and writer Homer Saint-Gaudens;  they were married in Pittsburgh in 1929, the year this portrait was painted, so it may be considered as a twentieth-century contribution to the long tradition of 'Marriage Portraits'.   Homer Schiff Saint-Gaudens (1880-1958) was the son of Augustus Saint-Gaudens, the great American sculptor and his wife Augusta Fisher Homer.   The elder Saint-Gaudens was born in Dublin of mixed Irish-French parentage, and met his wife whilst studying in Rome.   Their son, Homer, was born in Roxbury, Massachusettes, where he is buried, but he lived the latter part of his life in Florida (his address in the American Dictionary of National Biography is given asBox 246, Route 2, Miami, FL.).

As a young man Homer Saint-Gaudens served as assistant editor of a New York periodical, The Critic, and then as managing editor of Metropolitan Magazine.   He was stage director for Maude Adams in 'Legend of Leonora', 'Kiss of Cinderella', etc 1908-17, and director of production for 'Beyond the Horizon', 'The Red Robe', and other shows, 1919-21.    He was appointed Assistant Director of Fine Arts at the Carnegie Institute, Pittsburgh in 1921, and promoted to Director the following year, a post he held until 1950, though his time there was interrupted by active service in the 1st Camouflage Unit of the American Expeditionary Force during World War Two.   He was widely decorated for both his war service and his services to art:  he was the recipient of the Legion of Merit, Bronze Star Medal and Purple Heart (USA);  Officier du Legion d'Honneur and Croix de Guerre (with Palm) (France);  Commander of the Hungarian Order of Merit; Chevalier of the Order of Leopold (Belgium).   He was also Corresponding Member of the Royal Academy, London.

His publications include many articles as well as Reminiscences of Augustus Saint-Gaudens and The American Artist in his Times.

Mary Saint-Gaudens outlived her husband dying in 1974, after which the portrait passed to relatives, and remained in family possession until 2008.

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Presentation: Framed
Oil on canvas
27 1/4 x 31 1/8 in. (69.1 x 79.5 cm)

This dancer is possibly Cambodian rather than Burmese.
We are grateful to Nance and Ko Aung for assistance.

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Presentation: Framed
Signed
oil on board 39 1/2 x 29 1/4ins (100 x 74 cm)
Provenance: Private collection, Norfolk
In orginal wooden batten frame with linen slip

This striking composition was painted around 1960 in the basement kitchen of a large house on the canal side near Regent's Park, London. The model was a Nigerian student nurse.   The painting is one of a series of conversation pieces that the artist undertook in the 1960's, which included subjects such as boys on bicycles, queues at bakers, gossiping women in the street.

Reckitt was a highly individual and versatile artist working as a painter, sculptor - in mild steel, wood, and stone - and print maker.  She was born in St Albans, Hertfordshire and studied at the Grosvenor School of Modern Art in late 1930s under lain Macnab, and in 1970-75 at the Roadwater Smithy, Somerset, with Harry and Jim Horrobin.  After training Reckitt worked from home in west Somerset at Rodhuish, Minehead. She carried out commissions for pub signs; wood-engraved book illustrations and single prints; and did sculpture in five Somerset churches and for private commission. She was an honorary member of the Somerset Guild of Craftsmen and SWE and a member of British Artist Blacksmiths' Association. Other group shows included Wertheim Gallery and LG. Had solo exhibitions at Duncan Campbell Contemporary Art and Bridgwater Arts Centre. A retrospective publication, Rachel Reckitt: where everything that meets the eye... appeared in zoos, Hal Bishop's survey of her work, supported by Somerset County Museums Service and the Golsoncott Foundation, accompanying shows in Taunton, Glastonbury and Exeter. Public collections in Salford and Bridgwater hold examples, as do Withycombe, Old Cleeve and Leighland.

We are grateful to Hal Bishop for assistance and the Golsoncott Foundation (who hold Reckitt's copyright).

Exhibited:  Rachel Reckitt, 'Where Everything that meets the eye ... A retrospective', 2001.

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£9,500

Presentation: Framed
Collage from old stamps, bonds and notes
Triptych, two panels 14.5 x 10in  and one 14.5 x 24in.

"Stevenson's Locomotion 1" Commissioned by Southern Railways for the fitting-out of Pullman Saloon Coach 'Phoenix' part of the Golden Arrow train.

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£9,000

Presentation: Framed
inscribed XiX on canvas edge
oil on canvas 45 x 35 ins. (114.3 x 88.9 cm).
Provenance: Napper

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£8,000

Presentation: Framed
Oil on panel 12 x 16 in.

Provenance: The Artists Studio, inventory no. 483

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£6,800

Presentation: Framed
Signed and dated, titled on a label to the reverse,
Egg tempera on a gesso, panel
12 x 10 in. (30.5 x 25.5 cm.)

Exhibited: Society of Women Artists, 1962 (40)

In the artists original narrow limed oak frame

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£6,000

Presentation: Framed
Titled on a label to the reverse
Oil on board
14 1/4 x 21 3/8 ins (36x54.5cms)
Provenance: The Artist's daughter

In its original Alfred Stiles and Sons, Ltd frame, black and gold D-section frame.

Although Mahoney worked independently from mainstream movements, he remained interested in, and open-minded about the contemporary scene. He was especially interested in Surrealism, elements of which are reflected in this painting.

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£3,800

Presentation: Unmounted
Watercolour
25 x 38 in. (64 x 96 cm.)

Provenance: Laporte Corporate Collection

Evan’s early work consisted mostly of photomontages and mural paintings. His large-scale watercolours and gouaches date from 1967 onwards, and many of them were exhibited at the series of solo exhibitions held at the Redfern Gallery from 1979. The influence of Edward Burra is obvious, but Evans’ work remained highly distinctive and the subject matter  contemporary.

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£3,500

Presentation: Framed
inscribed: full page in Punch on reverse
oil on card 11 3/8 x 9 7/8 in. (29 x 25 cms).

This painting  is reproduced as the frontispiece of Pears 1914 book From the Thames to the Netherlands where it is entitled At Middleburg: The Kermis.

We are grateful to Richard Joynson for providing this information.

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£3,500

Presentation: Mounted
Watercolour over pencil
15 1/2 x 23 in. (39.5 x 58.5 cm.)

Provenance: Jeremy Kemp, studio ref no. AK43
This sketch is of the head workings of the great old DORETHEA slate quarry up by NANTLE. The tall building was the pump house with its huge single cylinder beam engine. The steep ramp was used to pull the massive blocks of slate op to the cutting sheds above. The wooden winch heads which hoisted the slate up from the quarry bottom are to the left. As a small boy  the artist's son Jeremy used to love playing up there.  This was a study for  a large mural that  Kemp did to depict the decline of the slate industry in North Wales, around 1940.


We are grateful to Jeremy Kemp for assistance. 

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£2,950

Presentation: Framed
Signed and dated October 1948, inscribed with title to reverse Oil on panel, 8½ x 10½ ins. (26.7 x 21.6 cms.)

1948, the year of this picture, marks Roger's move from realism to highly coloured, geometric abstract pictures and cut-metal sculptures. This transition was partly inspired by the extensive travels that he undertook in Europe, India and Egypt whilst serving in the Royal Air Force during World War II.

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£2,800

Presentation: Framed
Signed with monogram
Chalk on blue paper
24 x 7 1/2 in. (61 x 19 cm).

In a square section gilded oak frame with broad inner slip, glazed


Katie Blackmore was a painter in oil and watercolour who became an associate of the RBA, 1922, full member, 1925, and an associate of SWA in 1924. She was an extensive RBA exhibitor, also showing at RA, RI, RHA, Ridley Art Club, Carfax Gallery, Royal Glasgow Institute of the Fine Arts and Walker Art Gallery, Liverpool. Travels included Italy. Alfred Bell and Company published her pictures The Mushroom Dance and The Enchanted Pool. She was a Lyceum Club member who lived latterly in High Wycombe, Buckinghamshire.

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£1,850

Presentation: Passe-partout

Inscribed with title,
Pencil on tracing paper
14 1/2 x 6 1/8 inch (36.8 x 15.5 cm)

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£850

Presentation: Passe-partout
Pencil and watercolour on paper, 17.5 x 17cm (24.5 x 24.5cm framed)

‘Great advances were made by the artists of the last generation in the treatment of form and of colour, it is doubtful whether the twentieth century will not be marked by certain discoveries’ (James Wood, introduction to R.A. Wilson: Exhibition of Paintings and Colour Studies, exh. cat., Guild of Decorators Syndicate, London, May 1922).

Exploring colour harmony was central to Wilson’s work and a subject on which he wrote and lectured. ‘Colour: its meaning and use, logic,mystery, symbolism and power’ was the title of his BBC radio broadcast talk, in May 1920. His paintings, which go beyond the routine colour studies based on Chevruel’s theories, were much studied by art students of the period, and were part of a wider discourse that was taking place at the time, led by intellectual luminaries such as James Wood.

Literature: Eye-Music, Kandinsky, Klee and all that Jazz, Frances Guy, Pallant House, Chichester, 2007, p. 96-99