From Album:  Brooker William Still Life 1978 KEYWORDS:   Available 20 Still Life with Dried Flowers 1978 oil on canvas 24 x 20 in / 61 x 50.7 cm signed & dated lower right also signed, titled & dated verso Provenance Thomas Agnew & Sons Ltd, London Morgan Grenfell collection, London Exhibited Thomas Agnew & Sons Ltd, London, William Brooker: Recent Paintings, 23 October – 9 November 1979, no.1 William Brooker: Paintings 1950 -1983, Polytechnic Gallery, Newcastle-upon-Tyne, 20 May – 19 June 1987, travelling to Thomas Agnew & Sons Ltd, London, 23 June – 17 July 1983, no. 49 Matching descriptions: 20 Still Life with Dried Flowers 1978 oil on canvas 24 x 20 in / 61 x 50.7 cm signed & dated lower right also signed, titled & dated verso Provenance Thomas Agnew & Sons Ltd, London Morgan Grenfell collection, London Exhibited Thomas Agnew & Sons Ltd, London, William Brooker: Recent Paintings, 23 October – 9 November 1979, no.1 William Brooker: Paintings 1950 -1983, Polytechnic Gallery, Newcastle-upon-Tyne, 20 May – 19 June 1987, travelling to Thomas Agnew & Sons Ltd, London, 23 June – 17 July 1983, no. 49
		From Album:  Nicholson Winifred WINIFRED NICHOLSON 1893-1981 KEYWORDS:   Available WINIFRED NICHOLSON 1893-1981 Four Pots of Flowers and Two Dolls c. 1925 Oil on canvas 56 x 76 cm Provenance: Helen Sutherland Private collection, Oxfordshire. Exhibited: Crane Kalman Gallery, London Matching descriptions: Four Pots of Flowers and Two Dolls c. 1925 Oil on canvas 56 x 76 cm Provenance: Helen Sutherland Private collection, Oxfordshire. Exhibited: Crane Kalman Gallery, London
		From Album:  Sickert Walter Richard WALTER RICHARD SICKERT, A.R.A 1860-1942 KEYWORDS:   Available WALTER RICHARD SICKERT, A.R.A 1860-1942 Santa Maria della Salute c.1901 Signed lower right Oil on panel 10 x 8 ins / 25.4 x 20.3 cm Provenance: Dr. Robert Emmons; Edward Le Bas; Raymond Mortimer Exhibited: Leicester Galleries, London, June 1929, no. 49; Agnews, London, Paintings & Drawings by Sickert from the collection of Robert Emmons, 1947, no. 64; Royal Academy, London, A Painter’s collection, 1963, no. 142; Fine Art Society, London, Sickert Loan Exhibition, May – June 1973, no.38, touring to Edinburgh, June 1973. Literature: A. Bertram, Sickert, London & New York, 1955, pl. 13; W. Baron, Sickert, London, 1973, pp. 63 & 326 Matching descriptions: Santa Maria della Salute c.1901 Signed lower right Oil on panel 10 x 8 ins / 25.4 x 20.3 cm Provenance: Dr. Robert Emmons; Edward Le Bas; Raymond Mortimer Exhibited: Leicester Galleries, London, June 1929, no. 49; Agnews, London, Paintings & Drawings by Sickert from the collection of Robert Emmons, 1947, no. 64; Royal Academy, London, A Painter’s collection, 1963, no. 142; Fine Art Society, London, Sickert Loan Exhibition, May – June 1973, no.38, touring to Edinburgh, June 1973. Literature: A. Bertram, Sickert, London & New York, 1955, pl. 13; W. Baron, Sickert, London, 1973, pp. 63 & 326
		From Album:  Wells John Matching descriptions: 3. Collage 1941 Pencil, watercolour & paper collage on card Signed, studio stamped & dated verso 121/2 x 151/2 ins 31.5 x 39 cms Wells visited Ben Nicholson and Barbara Hepworth at Carbis Bay near St Ives in the spring of 1940 where he was introduced to Naum Gabo. He was deeply impressed by Gabo’s constructivist ideas and immediately fashioned a three dimensional response that Gabo later described to Nicholson as ‘the perfect first effort in spatial construction’. The present example is an important example of Wells exploring tension and balance in space through the use of a series of collaged geometric shapes interconnected within a linear structure and with the central area of radiating lines. The coloured concentric circles in each shape were created with a small brass turntable, a device used by Wells’ father to make microscope slides, and feature in Wells’ sole surviving relief construction of the period in the Tate collection.
		From Album:  Wells John Matching descriptions: 4. Boat c.1942 Gouache & collage on paper mounted on board 73/4 x 117/8 ins 19.5 x 30 cms Wells visited Ben Nicholson and Barbara Hepworth at Carbis Bay near St Ives in the spring of 1940 where he was introduced to Naum Gabo. He was deeply impressed by Gabo’s constructivist ideas and immediately fashioned a three dimensional response that Gabo later described to Nicholson as ‘the perfect first effort in spatial construction’. The present example is an important example of Wells exploring tension and balance in space through the use of a series of collaged geometric shapes interconnected within a linear structure and with the central area of radiating lines. The coloured concentric circles in each shape were created with a small brass turntable, a device used by Wells’ father to make microscope slides, and feature in Wells’ sole surviving relief construction of the period in the Tate collection.
		From Album:  Wells John Matching descriptions: 6. Untitled c.1944 Gouache & pencil on paper 7 1/8 x 9 1/2 ins 18 x 24 cms During his visits to Carbis Bay Wells used to undertake long coastal walks with Naum Gabo, during which Gabo collected pebbles or bones and talked of their affinity with the constructive process. Gabo’s sojourn in Cornwall appears to have confirmed a new tendency to allow these natural sources into his work, perhaps brought on by the state of the war and the means to which science was being put in it. Wells responded to this romantically inspired modernism through his own interest in natural phenomena and by developing his own formal vocabulary to include a triangular ellipse or pebble form. By presenting multiple aspects of a similar form within the same picture and by drawing interior radiating lines to define space, these works reference the contemporary crystal drawings of Barbara Hepworth, an example of which Wells owned. The use of areas of strong primary colour to indicate an interior space in Variationsalso recalls the jewel like intensity of colour used by Hepworth in her S culpture with Colour Deep Blue & Red, 1940 in the Tate collection.
		From Album:  Hitchens, Ivon 1893-1979 Statue in Courtyard KEYWORDS:   Available Statue in Courtyard circa 1959 Oil on canvas 33 x 60 in : 84 x 152 cm A sculpted female torso in a studio interior was the subject of a painting shown at Hitchens’ first solo exhibition in 1925. Fifty years later the presence of a statue in a landscape painting, lending it an extra dimension and mystery, still appealed to the artist (eg. A Sibylline Courtyard 1974 in the Courtauld Institute collection). There is certainly an extra dimension of mystery in the present painting, since the statue depicted in it is in fact based on a living model, while the river and buildings in the left half seem to be drawn from the imagination. Laying aside the probably unanswerable question of sources, let us accept the painting for what it is: a complex and powerful composition which, somewhat against the odds, imposes itself on the imagination. Both halves of the picture provide a welcome reminder of the too easily overlooked element of drawing in Hitchens’ work. On the left we get a rare glimpse of the detailed structure, or armature, that underlies the sweeping brushstrokes and patches of colour in most of his works; on the right an example of his fluent and vital figure drawing, which can be seen in the many ink or charcoal studies he made in preparation for his large mural paintings in the 1950s and early ‘60s.
		From Album:  Wells, John Matching descriptions: 7. Variations 1944 Pen, ink, pencil & tempera on board Signed, numbered 73 / 3 & inscribed verso 7 x 10 ins 17.75 x 25.5 cms Exhibited: Plymouth City Art Gallery, Mackenzie, Mitchell, Wells,1975, no. 40 Newlyn Orion Gallery, Penzance, 1975, no. 1 During his visits to Carbis Bay Wells used to undertake long coastal walks with Naum Gabo, during which Gabo collected pebbles or bones and talked of their affinity with the constructive process. Gabo’s sojourn in Cornwall appears to have confirmed a new tendency to allow these natural sources into his work, perhaps brought on by the state of the war and the means to which science was being put in it. Wells responded to this romantically inspired modernism through his own interest in natural phenomena and by developing his own formal vocabulary to include a triangular ellipse or pebble form. By presenting multiple aspects of a similar form within the same picture and by drawing interior radiating lines to define space, these works reference the contemporary crystal drawings of Barbara Hepworth, an example of which Wells owned. The use of areas of strong primary colour to indicate an interior space in Variationsalso recalls the jewel like intensity of colour used by Hepworth in her S culpture with Colour Deep Blue & Red, 1940 in the Tate collection.
		From Album:  Wells, John Matching descriptions: 17 Village 1948 Oil & pencil on canvas laid on board Signed, dated, numbered 87/ 17, studio stamped & inscribed verso 11 x 15 1/4 ins 27.5 x 38.5 cms Wells worked as an assistant to Barbara Hepworth from 1949-51, notably on her series of monumental figurative sculptures of the period including Cosdon Head, 1949 in the Birmingham City Art Gallery collection These works combined Hepworth’s interest in pure abstraction with her figure drawings of the preceding few years. Many of her works involved two figures presented together, either the same figure for different viewpoints or entwined in some way. Wells at this time developed an interest in incorporating heads and figures within landscape forms as symbolic of man’s interaction with nature. This rare linear study is also related to a series of etchings made at this time.
		From Album:  Wells, John Matching descriptions: 18 Figures 1950 Pen, ink & watercolour on paper Studio stamp & figure drawing verso 7 x 7 ins 18 x 18 cms Wells worked as an assistant to Barbara Hepworth from 1949-51, notably on her series of monumental figurative sculptures of the period including Cosdon Head, 1949 in the Birmingham City Art Gallery collection These works combined Hepworth’s interest in pure abstraction with her figure drawings of the preceding few years. Many of her works involved two figures presented together, either the same figure for different viewpoints or entwined in some way. Wells at this time developed an interest in incorporating heads and figures within landscape forms as symbolic of man’s interaction with nature. This rare linear study is also related to a series of etchings made at this time.
		From Album:  Wells, John Matching descriptions: 19 Untitled c.1951 Oil on canvas laid on board Signed, numbered 90/ 16, studio stamped & inscribed verso 20 x 16 ins 51 x 40.5 cms This work is drawn from a key series of paintings in which Wells explored cliff faces and flight forms. The most famous of which Aspiring Forms1950 in the Tate collection, is the first in the series of upright compositions inspired by the graceful flight of birds which he observed during his long cliff top walks. The enlarged scale and the softened geometry evident in this work reveal a renewed confidence and ambition at this time. The heavily scraped back paint surface and pale washes of muted colour add to this strong evocation of atmospheric movement. The vertical thrust of the angular forms lends the composition an anthropomorphic aspect with the suggestion of a figure standing to the left.
		From Album:  Heron, Patrick 1920-1999 Greenhouse: Black Plant with Yellow Wall 1955 KEYWORDS:   Sold PATRICK HERON 1920-1999 Greenhouse: Black Plant with Yellow Wall 1955 Signed & dated lower left Oil on canvas 36 x 18 ins 91.4 x 45.7 cm Provenance: Private collection, London Browse & Darby, London Waddington Galleries, London Matching descriptions: Signed & dated lower left Oil on canvas 36 x 18 ins 91.4 x 45.7 cm Provenance: Private collection, London Browse & Darby, London Waddington Galleries, London
		From Album:  Piper , John CH LS 1903-1992 John Piper 1903-1992 KEYWORDS:   sold John Piper 1903 - 92 Portland 1953 Signed Signed, dated and inscribed verso Oil on canvas Size 20 x 24 inches Provenance Emscote Lawn collection Matching descriptions: Portland 1953 Signed Signed, dated and inscribed verso Oil on canvas 20 x 24 inches Provenance: Emscote Lawn collection
		From Album:  Nicholson, Ben 1894-1982 Ben Nicholson 1894-1982 KEYWORDS:   sold Ben Nicholson 1894-1982 Nudes c. 1934 Double-sided drawing Pencil and yellow wash Size: 13 1/4 x 19 3/4 inches Provenance Artist¹s Estate Private collection England Matching descriptions: Nudes c. 1934 Double-sided drawing Pencil and yellow wash 13 1/4 x 19 3/4 ins Provenance: Artist¹s Estate Private collection England

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