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Spark, a 1:18 scale model Alpine A480 Gibson - 3rd 24h Le Mans 2021, Model Number 18S691
SOLD FOR £70
Spark, a 1:18 scale model Alpine A480 Gibson - 3rd 24h Le Mans 2021, Model Number 18S691
Spark, a 1:18 scale model Mercedes AMG GT3 AKKODIS ASP Team - 2nd 24h Spa 2023, Model No. 18SB071
SOLD FOR £75
Spark, a 1:18 scale model Mercedes AMG GT3 AKKODIS ASP Team - 2nd 24h Spa 2023, Model No. 18SB071
Spark, a 1:18 scale model Porsche 911 GT3 R Toksport WRT - 24H Spa 2022, Model No 18SB056
SOLD FOR £75
Spark, a 1:18 scale model Porsche 911 GT3 R Toksport WRT - 24H Spa 2022, Model No 18SB056
Spark, a 1:18 scale model BMW M4 GT3 Team WRT, 24H Spa 2023, Model No 18SB073
SOLD FOR £75
Spark, a 1:18 scale model BMW M4 GT3 Team WRT, 24H Spa 2023, Model No 18SB073
Spark, a 1:18 scale model Mercedes AMG GT3 AMG Team GetSpeed - 2nd 24H Spa 2022, Model No 18SB051
SOLD FOR £75
Spark, a 1:18 scale model Mercedes AMG GT3 AMG Team GetSpeed - 2nd 24H Spa 2022, Model No 18SB051
Annie Soudain (British, b.1949), "Autumn Breeze", watercolour with gouache, signed and dated '97 recto, titled artist's label verso, 37cm x 46cm, within a stained wood frame.
SOLD FOR £80
Annie Soudain (British, b.1949), "Autumn Breeze", watercolour with gouache, signed and dated '97 recto, titled artist's label verso, 37cm x 46cm, within a stained wood frame.
Annie Soudain (British, b.1949), "Dusk", limited edition colour print, signed, titled and editioned 105/250 in pencil, 20cm x 20cm, within an ebonised frame.
SOLD FOR £70
Annie Soudain (British, b.1949), "Dusk", limited edition colour print, signed, titled and editioned 105/250 in pencil, 20cm x 20cm, within an ebonised frame.
James Campbell (1942-2019), "Landscape with Ploughed Field", ceramic tile, signed and titled verso, 16cm x 19cm, within a painted wood frame.
SOLD FOR £180
James Campbell (1942-2019), "Landscape with Ploughed Field", ceramic tile, signed and titled verso, 16cm x 19cm, within a painted wood frame.
Anthony Hodge (British, 1949-2009), View of a Country House, oil on board, signed and dated '99, 46.5cm x 71cm, within a painted wood frame.
SOLD FOR £200
Anthony Hodge (British, 1949-2009), View of a Country House, oil on board, signed and dated '99, 46.5cm x 71cm, within a painted wood frame.
Anthony Hodge (British, 1948-2009), "Figures on the Beach", oil on board, signed recto, titled verso, 44cm x 53cm, within a painted and gilt wood frame.
SOLD FOR £180
Anthony Hodge (British, 1948-2009), "Figures on the Beach", oil on board, signed recto, titled verso, 44cm x 53cm, within a painted and gilt wood frame.
Mary Pym (British, b.1935), "Green, Wiltshire", oil on board, signed recto, titled labels verso, 58cm x 52cm, within a painted wood frame. Provenance: The Wykeham Gallery, Stockbridge, 2003
SOLD FOR £1150
Mary Pym (British, b.1935), "Green, Wiltshire", oil on board, signed recto, titled labels verso, 58cm x 52cm, within a painted wood frame. Provenance: The Wykeham Gallery, Stockbridge, 2003
Don Micklethwaite (British, b.1936), Harbour Scenes, a pair of 20th century oils on canvas, both signed recto, labels verso, each 28cm x 38cm, both within gilt composition frames.
SOLD FOR £85
Don Micklethwaite (British, b.1936), Harbour Scenes, a pair of 20th century oils on canvas, both signed recto, labels verso, each 28cm x 38cm, both within gilt composition frames.
John Brunsdon (British, 1933-2014), "Sussex Downs", etching with aquatint in colours, signed, titled and editioned 121/150 in pencil, 32cm x 34cm, within an aluminium frame.
SOLD FOR £170
John Brunsdon (British, 1933-2014), "Sussex Downs", etching with aquatint in colours, signed, titled and editioned 121/150 in pencil, 32cm x 34cm, within an aluminium frame.
Breon O'Casey (British, 1928-2011), "Fish I", acrylic on paper, signed and dated 2003 recto, titled in ink verso, 25cm x 40cm, within a silvered frame. Provenance: Yew Tree Gallery, Penzance. Note: Fish rank among Breon O'Casey's most enduring and evocative motifs, providing an ideal vehicle through which to explore rhythm, balance and simplified geometric form. Inspired by the maritime landscape and fishing culture of St Ives, these archetypal subjects recur throughout his oeuvre, reflecting his lifelong fascination with reducing natural forms to their essential visual elements. One of the most versatile artists associated with the St Ives School, O'Casey worked as a painter, printmaker, sculptor, weaver and jeweller. The son of the playwright Sean O'Casey, he settled in St Ives in 1959, where he worked alongside Barbara Hepworth and Denis Mitchell and became part of the town's remarkable post-war artistic community. Drawing upon ancient and non-Western art as well as the Cornish landscape, O'Casey developed a highly personal abstract language that united craftsmanship with poetic simplicity.
SOLD FOR £2900
Breon O'Casey (British, 1928-2011), "Fish I", acrylic on paper, signed and dated 2003 recto, titled in ink verso, 25cm x 40cm, within a silvered frame. Provenance: Yew Tree Gallery, Penzance. Note: Fish rank among Breon O'Casey's most enduring and evocative motifs, providing an ideal vehicle through which to explore rhythm, balance and simplified geometric form. Inspired by the maritime landscape and fishing culture of St Ives, these archetypal subjects recur throughout his oeuvre, reflecting his lifelong fascination with reducing natural forms to their essential visual elements. One of the most versatile artists associated with the St Ives School, O'Casey worked as a painter, printmaker, sculptor, weaver and jeweller. The son of the playwright Sean O'Casey, he settled in St Ives in 1959, where he worked alongside Barbara Hepworth and Denis Mitchell and became part of the town's remarkable post-war artistic community. Drawing upon ancient and non-Western art as well as the Cornish landscape, O'Casey developed a highly personal abstract language that united craftsmanship with poetic simplicity.
**Sir Terry Frost (British, 1915-2003) - Trembath Blues, screenprint in colours on Arches wove paper, signed and dated 2000, artist's proof outside of the edition of 300 published by Advanced Graphics, London, 23cm x 27.5cm, within a painted wood frame. **Please note - Artists Resale Rights may be payable on this lot
SOLD FOR £360
**Sir Terry Frost (British, 1915-2003) - Trembath Blues, screenprint in colours on Arches wove paper, signed and dated 2000, artist's proof outside of the edition of 300 published by Advanced Graphics, London, 23cm x 27.5cm, within a painted wood frame. **Please note - Artists Resale Rights may be payable on this lot
Wilhelmina Barns-Graham (British, 1912-2004), "Nocturne", oil on paper laid onto board, signed and dated 1961 recto, titled, further dated 1962 and inscribed with artist's address verso, 25.5cm x 34cm, within a painted wood frame. Provenance: Alan Wheatley Art; David Lay, 30th July 2009. Christie's 25th July 1996, lot no.346. Note: During the 1950s, Wilhelmina Barns-Graham developed an increasingly abstract visual language rooted in close observation of the natural world, progressively reducing landscape to a disciplined vocabulary of geometric form. By the early 1960s she had largely abandoned direct references to landscape, embarking upon a sustained exploration of abstract compositions based on the rhythmic arrangement of squares and circles. Executed during this pivotal period, "Nocturne" belongs to a significant series of works produced between 1960 and 1965 in which Barns-Graham experimented with repeated square forms, often applied using a wooden block or similar implement to create a stamped, rhythmic surface. The careful proportional division of the picture plane, a recurring concern throughout her mature career, is already evident here. Closely related compositions include Time Present and Different (1962; Aberdeen Art Gallery), Dancing Squares (1962-63), In the Wind's Eye (1964) and Cluster (1963), all of which explore the dynamic interplay of repetition, balance and spatial rhythm that characterises this important phase of the artist's oeuvre.
SOLD FOR £1800
Wilhelmina Barns-Graham (British, 1912-2004), "Nocturne", oil on paper laid onto board, signed and dated 1961 recto, titled, further dated 1962 and inscribed with artist's address verso, 25.5cm x 34cm, within a painted wood frame. Provenance: Alan Wheatley Art; David Lay, 30th July 2009. Christie's 25th July 1996, lot no.346. Note: During the 1950s, Wilhelmina Barns-Graham developed an increasingly abstract visual language rooted in close observation of the natural world, progressively reducing landscape to a disciplined vocabulary of geometric form. By the early 1960s she had largely abandoned direct references to landscape, embarking upon a sustained exploration of abstract compositions based on the rhythmic arrangement of squares and circles. Executed during this pivotal period, "Nocturne" belongs to a significant series of works produced between 1960 and 1965 in which Barns-Graham experimented with repeated square forms, often applied using a wooden block or similar implement to create a stamped, rhythmic surface. The careful proportional division of the picture plane, a recurring concern throughout her mature career, is already evident here. Closely related compositions include Time Present and Different (1962; Aberdeen Art Gallery), Dancing Squares (1962-63), In the Wind's Eye (1964) and Cluster (1963), all of which explore the dynamic interplay of repetition, balance and spatial rhythm that characterises this important phase of the artist's oeuvre.
Kyffin Williams (British, 1918-2006), "Llangwyfan Church", limited edition colour print, signed and editioned 48/150 in pencil, 39cm x 47cm, within a painted wood frame.
SOLD FOR £190
Kyffin Williams (British, 1918-2006), "Llangwyfan Church", limited edition colour print, signed and editioned 48/150 in pencil, 39cm x 47cm, within a painted wood frame.
Maurice Canning Wilks (Irish/British, 1910-1984), "Near Ballyclare", watercolour, signed and titled, 12.5cm x 18cm, within a gilt frame.
SOLD FOR £110
Maurice Canning Wilks (Irish/British, 1910-1984), "Near Ballyclare", watercolour, signed and titled, 12.5cm x 18cm, within a gilt frame.
**Cuthbert Fraser Hamilton (British, 1885-1959), Reclining Figure Studies, pastel with pencil, 25.5cm x 15cm, within a painted wood frame. Provenance: The Court Gallery, Somerset; the artist's estate.Note: Cuthbert Hamilton occupies a significant position in the development of British Modernism as one of the principal exponents of Vorticism and an early pioneer of abstract art in Britain. A fellow student of Wyndham Lewis at the Slade School of Fine Art, Hamilton became one of Lewis's closest collaborators, assisting with the decoration of the Cave of the Golden Calf and later signing the Vorticist manifesto and contributing to the inaugural issue of BLAST. He exhibited extensively with the leading avant-garde circles of the period, including the Second Post-Impressionist Exhibition, the London Group, the Rebel Art Centre and the Group X exhibition of 1920. Whilst his early work reflected the angular, mechanistic vocabulary of Vorticism, Hamilton subsequently developed a more organic abstract idiom, continuing to explore non-representational painting after many of his contemporaries had returned to figuration. In parallel, he established Yeoman Pottery in Kensington, employing the future studio potter William Staite Murray as his assistant. Following his marriage in 1920, Hamilton withdrew from artistic practice entirely and never exhibited again. Consequently, surviving works are exceptionally scarce. Examples are held in the collections of the Tate and the Victoria and Albert Museum, and his paintings are rarely encountered on the market. **Please note that Artists Resale Rights may be payable on this lot
SOLD FOR £160
**Cuthbert Fraser Hamilton (British, 1885-1959), Reclining Figure Studies, pastel with pencil, 25.5cm x 15cm, within a painted wood frame. Provenance: The Court Gallery, Somerset; the artist's estate.Note: Cuthbert Hamilton occupies a significant position in the development of British Modernism as one of the principal exponents of Vorticism and an early pioneer of abstract art in Britain. A fellow student of Wyndham Lewis at the Slade School of Fine Art, Hamilton became one of Lewis's closest collaborators, assisting with the decoration of the Cave of the Golden Calf and later signing the Vorticist manifesto and contributing to the inaugural issue of BLAST. He exhibited extensively with the leading avant-garde circles of the period, including the Second Post-Impressionist Exhibition, the London Group, the Rebel Art Centre and the Group X exhibition of 1920. Whilst his early work reflected the angular, mechanistic vocabulary of Vorticism, Hamilton subsequently developed a more organic abstract idiom, continuing to explore non-representational painting after many of his contemporaries had returned to figuration. In parallel, he established Yeoman Pottery in Kensington, employing the future studio potter William Staite Murray as his assistant. Following his marriage in 1920, Hamilton withdrew from artistic practice entirely and never exhibited again. Consequently, surviving works are exceptionally scarce. Examples are held in the collections of the Tate and the Victoria and Albert Museum, and his paintings are rarely encountered on the market. **Please note that Artists Resale Rights may be payable on this lot
Blanche Odin (1865-1957), Still Life with Roses, watercolour, signed, 36cm x 54cm, within a silvered frame. Note: Blanche Odin was among the most accomplished French watercolourists of the late nineteenth and early twentieth centuries, celebrated particularly for her exquisitely observed floral still lifes. She studied under the renowned flower painter Madeleine Lemaire and exhibited regularly at the Salon des Artistes Francais from 1888 to 1946, receiving an Honourable Mention in 1907 and a Third-Class Medal the following year. Odin established a highly successful studio in Paris, attracting numerous pupils while producing an extensive body of commissioned works, especially her celebrated studies of roses. Her paintings enjoyed considerable commercial success during her lifetime and were exhibited in leading Parisian galleries, including the Galerie Georges Petit. Such was her association with the flower that, in 1941, a new variety of rose was named 'Blanche Odin' in her honour. Today, her work is represented in the collection of the Musee Salies, Bagneres-de-Bigorre, to which she donated forty-eight watercolours in 1938.
SOLD FOR £200
Blanche Odin (1865-1957), Still Life with Roses, watercolour, signed, 36cm x 54cm, within a silvered frame. Note: Blanche Odin was among the most accomplished French watercolourists of the late nineteenth and early twentieth centuries, celebrated particularly for her exquisitely observed floral still lifes. She studied under the renowned flower painter Madeleine Lemaire and exhibited regularly at the Salon des Artistes Francais from 1888 to 1946, receiving an Honourable Mention in 1907 and a Third-Class Medal the following year. Odin established a highly successful studio in Paris, attracting numerous pupils while producing an extensive body of commissioned works, especially her celebrated studies of roses. Her paintings enjoyed considerable commercial success during her lifetime and were exhibited in leading Parisian galleries, including the Galerie Georges Petit. Such was her association with the flower that, in 1941, a new variety of rose was named 'Blanche Odin' in her honour. Today, her work is represented in the collection of the Musee Salies, Bagneres-de-Bigorre, to which she donated forty-eight watercolours in 1938.
Walter Richard Sickert (British, 1860-1942), "Le Pollet, Dieppe", ink with watercolour, signed, titled and dated 1900, 27cm x 19.5cm, within a stained wood frame. Provenance: Private collection, USA before 1993; Christie's Modern British & Irish Art, 21st March 2018, lot no.109. Note: Between 1899 and 1900 Walter Sickert produced at least four oil paintings and three drawings depicting this view, traditionally known as *La Maison qui fait le coin* ('The House on the Corner'), a building in Le Pollet, Dieppe's historic fishermen's quarter. Dieppe had become Sickert's second home from 1885 onwards, reflecting the deep and enduring ties between the artist, his family and the French port. His brother, Oswald Sickert, later wrote: 'The Sickerts can't expect other people to see in Dieppe all that it means to them. We have inherited the place from Mother, who came to school here when she was eleven and was happy and well for the first time. Father came here too, years before they were married, and afterwards he did his best work here.' Although closely related to the painted versions of the subject, Wendy Baron has observed that the drawings were probably conceived as finished works in their own right rather than as preparatory studies. A version of the subject in coloured chalks, formerly owned by Sickert's friend, the painter Jacques-Emile Blanche, is on long-term loan to the Chateau-Musee de Dieppe. References: Wendy Baron, "Sickert Paintings and Drawings" (Yale University Press, 2006), p.231, cat nos.120-120.5. Wendy Baron, "Sickert" (Phaidon, 1973) p.15.
SOLD FOR £1350
Walter Richard Sickert (British, 1860-1942), "Le Pollet, Dieppe", ink with watercolour, signed, titled and dated 1900, 27cm x 19.5cm, within a stained wood frame. Provenance: Private collection, USA before 1993; Christie's Modern British & Irish Art, 21st March 2018, lot no.109. Note: Between 1899 and 1900 Walter Sickert produced at least four oil paintings and three drawings depicting this view, traditionally known as *La Maison qui fait le coin* ('The House on the Corner'), a building in Le Pollet, Dieppe's historic fishermen's quarter. Dieppe had become Sickert's second home from 1885 onwards, reflecting the deep and enduring ties between the artist, his family and the French port. His brother, Oswald Sickert, later wrote: 'The Sickerts can't expect other people to see in Dieppe all that it means to them. We have inherited the place from Mother, who came to school here when she was eleven and was happy and well for the first time. Father came here too, years before they were married, and afterwards he did his best work here.' Although closely related to the painted versions of the subject, Wendy Baron has observed that the drawings were probably conceived as finished works in their own right rather than as preparatory studies. A version of the subject in coloured chalks, formerly owned by Sickert's friend, the painter Jacques-Emile Blanche, is on long-term loan to the Chateau-Musee de Dieppe. References: Wendy Baron, "Sickert Paintings and Drawings" (Yale University Press, 2006), p.231, cat nos.120-120.5. Wendy Baron, "Sickert" (Phaidon, 1973) p.15.
Joseph Arthur Palliser Severn (1842-1931), "A Volunteer Camp on Wimbledon Common", watercolour, signed and dated 1868, 19.5cm x 29.5m, within a gilt frame. Provenance: Sotheby's, 18th December 1980, lot no.42.
SOLD FOR £260
Joseph Arthur Palliser Severn (1842-1931), "A Volunteer Camp on Wimbledon Common", watercolour, signed and dated 1868, 19.5cm x 29.5m, within a gilt frame. Provenance: Sotheby's, 18th December 1980, lot no.42.
British School, A View of Lewes with the Castle and St John-sub-Castro Church, early 19th century oil on canvas, label verso, 22cm x 32cm, within a gilt composition frame. Provenance: Clifford Dann auctioneers, 1997. References: Lewes History Group: Bulletin 158, September 2023.
SOLD FOR £150
British School, A View of Lewes with the Castle and St John-sub-Castro Church, early 19th century oil on canvas, label verso, 22cm x 32cm, within a gilt composition frame. Provenance: Clifford Dann auctioneers, 1997. References: Lewes History Group: Bulletin 158, September 2023.
William Frederick Witherington (1785-1865), "View from the Troutbeck Road, looking over the head of Windermere, oil on canvas, signed and dated 1851, 75cm x 109cm, within a gilt composition frame. Exhibited: Royal Academy 1851, cat no. 456. Note: When the present work was exhibited at the Royal Academy in 1851, Witherington appended the quotation, 'How oft...our pace / Has slacken'd to a pause...', taken from William Cowper's poem The Task (1785). The passage celebrates the quiet pleasures of rural life, describing a leisurely walk through the countryside and expressing the poet's deep appreciation of the tranquillity and restorative beauty of the natural landscape. The quotation aptly reflects the serene atmosphere of the present view of Windermere, where the still waters and distant fells evoke the contemplative spirit of Cowper's verse. The painting received a favourable notice in The Athenaeum, where its careful handling and attention to detail were commended. Although Witherington established his reputation painting the landscapes of southern England, from the late 1840s he increasingly turned his attention to the scenery of the Lake District, producing a distinguished series of paintings of the region between 1849 and 1863. The present work belongs to this important phase of his career, when the grandeur of the Cumbrian landscape inspired some of his most accomplished and poetic compositions.
SOLD FOR £1200
William Frederick Witherington (1785-1865), "View from the Troutbeck Road, looking over the head of Windermere, oil on canvas, signed and dated 1851, 75cm x 109cm, within a gilt composition frame. Exhibited: Royal Academy 1851, cat no. 456. Note: When the present work was exhibited at the Royal Academy in 1851, Witherington appended the quotation, 'How oft...our pace / Has slacken'd to a pause...', taken from William Cowper's poem The Task (1785). The passage celebrates the quiet pleasures of rural life, describing a leisurely walk through the countryside and expressing the poet's deep appreciation of the tranquillity and restorative beauty of the natural landscape. The quotation aptly reflects the serene atmosphere of the present view of Windermere, where the still waters and distant fells evoke the contemplative spirit of Cowper's verse. The painting received a favourable notice in The Athenaeum, where its careful handling and attention to detail were commended. Although Witherington established his reputation painting the landscapes of southern England, from the late 1840s he increasingly turned his attention to the scenery of the Lake District, producing a distinguished series of paintings of the region between 1849 and 1863. The present work belongs to this important phase of his career, when the grandeur of the Cumbrian landscape inspired some of his most accomplished and poetic compositions.
John Landon (fl.1798-1827), Landscape with Figures and Distant Coastline, early 19th century oil on canvas, signed, 65cm x 90cm, within a gilt frame.
SOLD FOR £240
John Landon (fl.1798-1827), Landscape with Figures and Distant Coastline, early 19th century oil on canvas, signed, 65cm x 90cm, within a gilt frame.