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Donnington Priory RG14 2JE Newbury, United Kingdom
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Lot 13 - ANGELA CONNER (BRITISH B. 1935), ANDREW CAVENDISH, 11TH DUKE OF DEVONSHIRE - ANGELA CONNER (BRITISH B. 1935)ANDREW CAVENDISH, 11TH DUKE OF DEVONSHIRE Painted plaster 45cm (17½in.) High Angela Conner and Andrew Cavendish, the 11th Duke of Devonshire, became close friends after being introduced by Angela Conner's brother-in-law and playwright, John Osborne. From that first meeting, he was a keen collector of her work, at one point owning over forty of her sculptures, including busts of prominent British politicians, royalty, writers, and celebrities, as well as larger garden sculptures. Impressed by her work, Conner was then asked to produce portraits of the Duke of Devonshire himself and his Family, which were exhibited in 1975 at the Chatsworth Theatre Gallery alongside pictures by Lucian Freud. Cavendish was a British aristocrat and politician, best known for his contributions to the preservation and management of historic properties and cultural institutions in England. In addition to inheriting and restoring Chatsworth House in Derbyshire, he served as chairman of the Historic Houses Association and the Georgian Group, organisations dedicated to the preservation of historic buildings and landscapes in England. He was also actively involved in politics, serving as a Member of Parliament for almost twenty years and holding various government positions, including Minister of State for Commonwealth Relations. 'It's rather extraordinary how I came to meet her. I'd been to the theatre and [...] sat next to a lady who i'd never met before who said she was a sculptor, and just beginning to sculpt. Shes done a head of Roy Strong and I said I'd love to go and see it. [...] And that's how it all started.' The Duke of Devonshire, 3rd January 2001, from an interview with Helen Dempsey Provenance: Direct from the artist's studio collection

Estim. 400 - 600 GBP

Lot 20 - ANGELA CONNER (BRITISH B. 1935), PAUL MELLON - ANGELA CONNER (BRITISH B. 1935)PAUL MELLON Painted plaster40cm (15½in.) High Executed in 1986. Angela Conner had the ability to capture not only the character of the person but encapsulate in clay, wax and bronze elements of what lies beneath. Conner executed the present bust whilst visiting New York. The pair were sat in a basement room away from the humdrum and chaos of the streets of New York. Angela Conner recalls how Paul Mellon entertained her throughout the sitting with humorous stories. One of which that stands out in Conner's memory was a time when Mellon was hunting in Norfolk and Licolnshire, he fell off his horse so regularly into the wettest of muddy ditches that he was nicknamed 'The Water Mellon.' Paul Mellon was an American philanthropist and art collector, amassing one of the most important and extensive art collections of the 20th century. Mellon's collecting interests were wide-ranging, spanning European and American art from the Renaissance to the modern era. He had a particular affinity for British art, with a focus on 18th-century British painting, including works by artists such as J.M.W. Turner, George Stubbs, and Thomas Gainsborough. Mellon's dedication to British art led to his pivotal role in the establishment of the Yale Centre for British Art in New Haven, Connecticut, which houses his remarkable collection and serves as a hub for scholarship and research in the field. A cast of this bust is currently on display at the Yale Centre for British Art and the National Gallery of Art, Washington. Provenance: Direct from the artist's studio collection

Estim. 400 - 600 GBP

Lot 60 - λ ALAN REYNOLDS (BRITISH 1926-2014), STRUCTURE: RED AND GREEN - λ ALAN REYNOLDS (BRITISH 1926-2014)STRUCTURE: RED AND GREENOil on board51 x 48cm (20 x 18¾ in.)Painted circa 1960.Provenance:Thomas Agnew & Sons Ltd., LondonChristened early in his career as the golden boy of Neo-Romanticism by Bryan Robertson, Alan Reynolds was held in international acclaim for his beautifully executed paintings of Kentish orchards, hop fields, grasses and teasel heads. His work was bought by the Tate Gallery in London, the National Gallery of Victoria in Melbourne and the Fleischman Collection in Pittsburgh. With sell out exhibitions to international institutions and respected collectors alike it shocked the London art scene of the 1960s when Reynolds became an abstract artist. He first exhibited his non-figurative work at the Redfern Gallery in 1960. This transitional exhibition saw him using an earthen palette, reminiscent of his earlier landscapes on paired down geometric forms and constructions. Although this was seen as a seismic shift in his output, for Reynolds it was a natural progression in his oeuvre and something that he had hinted at as far back as 1953 when he referred to painting as a problem of solving equations; tonal, linear, and so on. The subject or motif must be transformed and become an organic whole. Poetry is never absent from Nature, but alone it cannot constitute a work of art. It must be reconciled with the elements of design and composition. Laying emphasis on the formal values in a work will therefore result in a degree of abstraction.The present work manages to seamlessly synthesise nostalgia with contemporary doctrines in a rare example from this period in which Reynolds first moves into abstraction

Estim. 10 000 - 15 000 GBP

Lot 87 - EUGENE BOUDIN (FRENCH 1824-1898), TROUVILLE, LE PORT, LE MATIN - EUGĖNE BOUDIN (FRENCH 1824-1898)TROUVILLE, LE PORT, LE MATINOil on canvasSigned (lower left)32 x 46cm (12½ x 18 in.)Painted in 1881. Provenance:Cyrus J. Lawrence, New YorkGaleries Durand-Ruel, New York (acquired from the above, 16 April 1895)A.A. Crosby, New York (acquired from the above, 27 January 1904)Galeries Durand-Ruel, New York (acquired from the above, 5 January 1905)M. Henkel, New York (acquired from the above, 27 December 1905)Galeries Durand-Ruel, New York (acquired from the above, 15 August 1906)Coudray, Paris (his sale, Hôtel Druout, Paris, 12 June 1908, lot 7)Max Lévy, Paris (acquired at the above sale)Sale, Sotheby's, London, 1st July 1964, lot 67Acquired from the above by the present ownerLiterature:Robert Schmit, Eugène Boudin 1824-1898, Paris, 1973, vol. II, no. 1542 (illustrated in black and white)This work is recorded in the Archives Eugène Boudin at Galerie Brame & Lorenceau.The Normandy coast was a favourite subject matter of Eugene Boudin. Having grown up in Honfleur and then Le Havre, he was familiar with the many seaside towns which became increasingly popular with fashionable Parisians wanting to escape the crowded city. Boudin's first depictions of Trouville date from the early 1860s. Encouraged by his friend Johan Barthold Jongkind, he is one of the first artists to practice plein air painting and is credited by his life-long friend, Claude Monet, as being instrumental in his early development as an artist. The present work, painted in 1881, typifies Boudin's approach to landscape painting with its quintessential brooding skies filled with energy and movement. An excerpt from his diary in 1856, demonstrates that, even as a young artist honing his craft, the sky was paramount to his art.'To swim in the open sky. To achieve the tenderness of clouds. To suspend these masses in the distance, very far away in the grey mist, make the blue explode. I feel all this coming, dawning in my intentions. What joy and what torment!'Corot was so impressed with Boudin's ability to depict the sky that he called him 'King of the Skies'. His preoccupation with the sky meant that, as with the current work, it frequently occupied more than half the composition. In referencing the time of day in the title of the work, Boudin reveals his enduring interest in the subtleties of light and weather at different times of the day and in different seasons, often noting exact atmospheric conditions at the time of painting.Unlike Boudin's many depictions of Trouville as a fashionable resort, the present work belongs to a body of work that focusses on the port, devoid of the groups of stylish visitors that are frequently at the centre of the artist's work. Instead Trouville, Le Port, Le Matin is an exemplary study of the play of light through the clouds onto the water, an example of Boudin's mature impressionistic style.

Estim. 30 000 - 40 000 GBP

Lot 92 - WALTER RICHARD SICKERT (BRITISH 1860-1942), THE RIALTO BRIDGE - WALTER RICHARD SICKERT (BRITISH 1860-1942)THE RIALTO BRIDGEOil on canvasSigned (lower left)65.5 x 49.5cm (25¾ x 19¼ in.)Painted circa 1901.Provenance: Gaston Bernheim, ParisJacques Rodriguez-Henriques, Paris Sale, Sotheby's, London, 1 May 1991, lot 15Acquired from the above sale by the present ownerLiterature: Wendy Baron, Sickert Paintings & Drawings, New Haven and London, 2006, p. 263, no. 165 (illustrated)Sickert first visited Venice in 1894 with his wife Ellen. Although there is no record of him painting during this brief stay, he was known to have referred to it as the loveliest city in the world and it undoubtedly enthralled him as he was to return for more extended visits, inspiring him to paint some of his most important and critically acclaimed works.In May 1896 Sickert returned to Venice and took as his studio a flat at 940 Calle dei Frati, keeping it for all his subsequent visits. A few minutes' walk to the Accademia and Grand Canal, just north of the Zattere, Sickert visited and painted the famous buildings and sites of Venice, returning to the same spot on numerous occasions to repeat the process at different times of the day. Indeed, repetition was a key feature of Sickert's work in general but notably in his views of Venice and Dieppe. In Venice, he painted version after version of the façade and piazza at San Marco, the Santa Maria della Salute, the Rialto Bridge and the Scuola di San Marco. His dedication to revisiting the same locations echoes the architectural series of works produced by the Impressionists and, in particular bear comparison with Monet's series of paintings of Rouen Cathedral. However, unlike the Impressionists, he was not overly interested in recording the passing of time and light on his subject matter but rather to disentangle from nature the illumination that brings out most clearly the character of each scene. (W. Sickert, French Pictures, Knoedler's Gallery, Burlington Magazine, July 1923, pp.39-40).Consequently, Sickert's paintings were frequently executed in his studio from drawings and small oil sketches. He showed scant interest in the effect of changing atmospheric conditions. Instead, he used this repetition to explore variations in colour and tone, experimenting with the handling of paint and the different emotional responses that these variations provoked.The most important of these were a small number of pictures depicting Venice at nightfall. These are reminiscent of the works of his earlier teacher, James McNeill Whistler, who famously painted London and Venice at night, referring to them as Nocturnes or Symphonies. Whistler used musical terms in the title in order to appeal directly to the viewer's senses without the need for narrative or subject. This synthesis of individual artistic disciplines appealed to a deeper, more visceral emotion than mere aesthetics. Although Sickert does not use the same language as his master the intent is very similar.In the present work Sickert depicts the unmistakable site of the Rialto Bridge from the Grand Canal, however he is not exploring Canalettos's topographical splendour or indeed Monet's fleeting light dancing on the water and reflecting on the Palazzos; he is appealing directly to the viewer's senses. Through the carefully chosen colours and tones, he creates a deep emotional response that transcends the obvious beauty of the subject and in turn impels the viewer to look beyond the subject and reflect on his own personal reaction to the painting.It is not Sickert recording his experience before the subject, but rather it is the experience of standing before the painting itself and it is this that makes this work as contemporary today as it was when it was painted over 100 years ago in the loveliest city in the world.

Estim. 100 000 - 150 000 GBP

Lot 97 - DERWENT LEES (AUSTRALIAN 1884-1931), A TREE AMONGST DUNES - DERWENT LEES (AUSTRALIAN 1884-1931) A TREE AMONGST DUNESOil on panelSigned and dated 1911 (lower right)25.5 x 35cm (10 x 13¾ in.) Provenance: Sale, Sotheby's, London, 11 December 1968, lot 257 From a Private Collection To be included in the forthcoming Derwent Lees Catalogue Raisonne by Lynn Davies, currently being prepared by Lund Humphries, for publication 2025. Born in Tasmania, Australia, Lees moved to London in 1905 and studied at the Slade School of Fine Art with Henry Tonks and Frederick Brown. After completing his studies, he stayed on to teach for a decade, working on and off whilst his artistic career took off, with works exhibited at the Goupil Galleries and the Chenil Gallery, Chelsea, in 1914.Between 1910 and 1912, Lees spent most of his time painting with artists and friends Augustus John, Ambrose McEvoy, and James Dickson Innes in North Wales and Spain. During the winter months, they would go to Collioure, a small fishing village on the Mediterranean in the south of France, a hub for artists in the early twentieth century, popular with Picasso, Matisse, Derain, and Braque. There, Lees was the only Australian artist introduced to Fauvism, subsequently completing a series of vivid landscapes. Some of his works from this time can now be found in the Tate Gallery, London. In 1913, Lees married Edith, known at Lyndra, who frequently modelled for John but then became the subject in Lee's own works. Specifically, she featured in a series of works completed in Aldbourne, Wilshire, which depict her amongst nature. In the same year, three of his paintings exhibited internationally as the only Australian artist represented at The Armory Show, which sold out in New York, Chicago, and Boston. His artistic career was cut short due to mental health problems, which sent him to hospital in Surrey until his death in 1931. But this did not limit the success of his works. During this time, the Redfern gallery held a retrospective exhibition, with Leeds and Manchester Galleries purchasing his works. Currently, his works are owned by many public collections, including the National Gallery Australia, The Glynn Vivian Art Gallery in Wales, and the National Gallery of Victoria in Melbourne.

Estim. 10 000 - 15 000 GBP

Lot 98 - DERWENT LEES (AUSTRALIAN 1884-1931), COLLIOURE - DERWENT LEES (AUSTRALIAN 1884-1931) COLLIOURE Oil on panel Signed and dated 12 (lower right)25 x 35.5cm (9¾ x 13¾ in.) Provenance: Redfern Gallery, LondonThomas Agnew & Sons Ltd., LondonFrom a Private Collection To be included in the forthcoming Derwent Lees Catalogue Raisonne by Lynn Davies, currently being prepared by Lund Humphries, for publication 2025. Exhibited:Sherborne, Sherborne House, Going Modern - Being British, 2004, cat. no. 26Born in Tasmania, Australia, Lees moved to London in 1905 and studied at the Slade School of Fine Art with Henry Tonks and Frederick Brown. After completing his studies, he stayed on to teach for a decade, working on and off whilst his artistic career took off, with works exhibited at the Goupil Galleries and the Chenil Gallery, Chelsea, in 1914.Between 1910 and 1912, Lees spent most of his time painting with artists and friends Augustus John, Ambrose McEvoy, and James Dickson Innes in North Wales and Spain. During the winter months, they would go to Collioure, a small fishing village on the Mediterranean in the south of France, a hub for artists in the early twentieth century, popular with Picasso, Matisse, Derain, and Braque. There, Lees was the only Australian artist introduced to Fauvism, subsequently completing a series of vivid landscapes. Some of his works from this time can now be found in the Tate Gallery, London. In 1913, Lees married Edith, known at Lyndra, who frequently modelled for John but then became the subject in Lee's own works. Specifically, she featured in a series of works completed in Aldbourne, Wilshire, which depict her amongst nature. In the same year, three of his paintings exhibited internationally as the only Australian artist represented at The Armory Show, which sold out in New York, Chicago, and Boston. His artistic career was cut short due to mental health problems, which sent him to hospital in Surrey until his death in 1931. But this did not limit the success of his works. During this time, the Redfern gallery held a retrospective exhibition, with Leeds and Manchester Galleries purchasing his works. Currently, his works are owned by many public collections, including the National Gallery Australia, The Glynn Vivian Art Gallery in Wales, and the National Gallery of Victoria in Melbourne.

Estim. 12 000 - 18 000 GBP

Lot 99 - DERWENT LEES (AUSTRALIAN 1884-1931, ALDBOURNE, WILTSHIRE - DERWENT LEES (AUSTRALIAN 1884-1931) ALDBOURNE, WILTSHIRE Oil on panel Signed (lower left) 40 x 51cm (15½ x 20 in.) Painted circa 1910. Provenance: The Redfern Gallery, London Private Collection, Lord Ivor Spencer-Churchill (acquired from the above on 7 April 1930)Thomas Agnew & Sons Ltd., London From a Private Collection To be included in the forthcoming Derwent Lees Catalogue Raisonne by Lynn Davies, currently being prepared by Lund Humphries, for publication 2025. Born in Tasmania, Australia, Lees moved to London in 1905 and studied at the Slade School of Fine Art with Henry Tonks and Frederick Brown. After completing his studies, he stayed on to teach for a decade, working on and off whilst his artistic career took off, with works exhibited at the Goupil Galleries and the Chenil Gallery, Chelsea, in 1914.Between 1910 and 1912, Lees spent most of his time painting with artists and friends Augustus John, Ambrose McEvoy, and James Dickson Innes in North Wales and Spain. During the winter months, they would go to Collioure, a small fishing village on the Mediterranean in the south of France, a hub for artists in the early twentieth century, popular with Picasso, Matisse, Derain, and Braque. There, Lees was the only Australian artist introduced to Fauvism, subsequently completing a series of vivid landscapes. Some of his works from this time can now be found in the Tate Gallery, London. In 1913, Lees married Edith, known at Lyndra, who frequently modelled for John but then became the subject in Lee's own works. Specifically, she featured in a series of works completed in Aldbourne, Wilshire, which depict her amongst nature. In the same year, three of his paintings exhibited internationally as the only Australian artist represented at The Amory Show, which sold out in New York, Chicago, and Boston. His artistic career was cut short due to mental health problems, which sent him to hospital in Surrey until his death in 1931. But this did not limit the success of his works. During this time, the Redfern gallery held a retrospective exhibition, with Leeds and Manchester Galleries purchasing his works. Currently, his works are owned by many public collections, including the National Gallery Australia, The Glynn Vivian Art Gallery in Wales, and the National Gallery of Victoria in Melbourne.

Estim. 8 000 - 12 000 GBP

Lot 100 - DERWENT LEES (AUSTRALIAN 1884-1931), MOUNTAIN LANDSCAPE - DERWENT LEES (AUSTRALIAN 1884-1931) MOUNTAIN LANDSCAPE Oil on panel 25 x 35.5cm (9¾ x 13¾ in.) Provenance: Private Collection, Arthur Crossland Sale, Sotheby's, London, 11 December 1968, lot 258 From a Private Collection To be included in the forthcoming Derwent Lees Catalogue Raisonne by Lynn Davies, currently being prepared by Lund Humphries, for publication 2025. Born in Tasmania, Australia, Lees moved to London in 1905 and studied at the Slade School of Fine Art with Henry Tonks and Frederick Brown. After completing his studies, he stayed on to teach for a decade, working on and off whilst his artistic career took off, with works exhibited at the Goupil Galleries and the Chenil Gallery, Chelsea, in 1914.Between 1910 and 1912, Lees spent most of his time painting with artists and friends Augustus John, Ambrose McEvoy, and James Dickson Innes in North Wales and Spain. During the winter months, they would go to Collioure, a small fishing village on the Mediterranean in the south of France, a hub for artists in the early twentieth century, popular with Picasso, Matisse, Derain, and Braque. There, Lees was the only Australian artist introduced to Fauvism, subsequently completing a series of vivid landscapes. Some of his works from this time can now be found in the Tate Gallery, London. In 1913, Lees married Edith, known at Lyndra, who frequently modelled for John but then became the subject in Lee's own works. Specifically, she featured in a series of works completed in Aldbourne, Wilshire, which depict her amongst nature. In the same year, three of his paintings exhibited internationally as the only Australian artist represented at The Amory Show, which sold out in New York, Chicago, and Boston. His artistic career was cut short due to mental health problems, which sent him to hospital in Surrey until his death in 1931. But this did not limit the success of his works. During this time, the Redfern gallery held a retrospective exhibition, with Leeds and Manchester Galleries purchasing his works. Currently, his works are owned by many public collections, including the National Gallery Australia, The Glynn Vivian Art Gallery in Wales, and the National Gallery of Victoria in Melbourne.

Estim. 10 000 - 15 000 GBP
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