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Lot 457
HENRI LÉON THIÉBAUT (1855-1899), A LARGE BRONZE URN 'LA MER' LATE 19TH CENTURY With pseudo-handle in the form of a merman rising to embrace an nude arching nymph, in his arms, the other in the form of a rearing sea creature, body with a seascape featuring a merman and nymph amongst the waves and birds flying above, a series of scallop shells encircling the foot, with original separate metal interior liner, signed to cast H THIEBAUT and with foundry mark THIEBAULT FRERES PARIS 66.5cm high, approximately 45.5cm wide across the body Henri Léon Thiébaut was the son of Victor Thiébaut and co-director of the Thiébaut Frères foundry which undertook casting work for Sarah Bernhardt, Rodin and Camille Claudel. In this design he would seem to be drawing work from another sculptor Auguste Ledru for whom the firm produced figural urns. For a comparable example of this urn please see, Hotel des Ventes de Senlis SARL, 15th November 2015, Lot 282 (£2,191 excl. BP)
Lot 1718
Valda Bailey (Contemporary), Seascape and coastline view, signed and numbered in pencil, pair of photographic prints, 33 x 44cm Valda Bailey is a freelance photographic artist living in Sussex. Her approach to photography is greatly informed by her background in painting and her influences come as much from artists as photographers. She is largely motivated by colour and form and the tension and dynamism that these components can bring to an image. She makes her images using in-camera multiple exposure which help to create abstract shapes and blur extraneous detail. Her objectives are to portray an emotive interpretation of a scene rather than a literal representation.Her work has been featured in broadsheet newspapers, national and international publications. She has exhibited all over the UK and in 2015 was the first woman to be invited to join six other photographers to exhibit at the biennial Masters of Vision at Southwell Minster. She has images in private collections worldwide and her work has been purchased by notable members of the art and photographic community.
Lot 56
American, 1738-1820Mother and Child, 1783 and Seascape with Ships: a double-sided workRecto (Mother and Child): signed and dated B West 1783 (lr)Recto: watercolor and ink on paper; verso: pencil on paper7 x 4 7/8 inches (17.8 x 12.4 cm)Provenance:Adams Davidson Galleries, Washington, D.C.(Framed 13 1/2 x 11 1/4 inches)Recto: Sheet is tipped to its underlying support in the upper corners. Wear to the edges of the sheet, including a minor loss in the lower left horizontal edge. Minor toning throughout. Scattered staining throughout. Horizontal crease in the upper half. Verso: adhesive staining along the right vertical edge. There are minor scattered specks of dirt resulting in staining.
Lot 74
19th CenturyTwilight SeascapeOil on cradled panel8 1/2 x 13 3/4 inches (21.6 x 34.9 cm)(Framed 17 x 22 inches)Network of drying cracks throughout the sky. Fine abrasion in the center above the moon. Two minor pinhead-sized losses to the sky, including along the vertical right edge and to the center of the left half of the artwork.
Lot 1158
MONET CLAUDE: (1840-1926) French Impressionist painter. A good A.L.S., Claude Monet, two pages (written to the first and third sides of the bifoilium), 8vo, Giverney par Vernon, Eure, 5th September 1924, to [Félix] Fénéon, in French. Monet writes to furnish his correspondent with some information regarding his paintings and photographs, in full, ´Voila les renseignements que je puis vous donner le croquis. La Cotelette, si je ne me trompe est de ma toute jeunesse. 55 ou 56. L´autre croquis (marine) est fait à Pourville en 83. Quand aux photos l´une est fait a Argenteuil vers 73 ou 74 et l´autre la seine a Vetheuil, hiver de 79´ (Translation: ´Here is the information I can give you about the sketch. La Cotelette, if I'm not mistaken, is from my youth. 55 or 56. The other sketch (seascape) was done in Pourville in 83. As for the photos, one was taken in Argenteuil around 73 or 74 and the other on the Seine in Vetheuil in the winter of 79´). A couple of very small, minor neat tears to the right edges of the central horizontal fold, and some extremely light age wear, VGFélix Fénéron (1861-1944) French art critic, gallery owner, writer, and anarchist who coined the term Neo-Impressionism.Monet´s La Cotelette (´The Cutlet´) is listed in Daniel Wildenstein´s Catalogue raisonné of Monet´s works as having been painted by the artist in November 1862 upon his arrival in Paris. The artist made numerous paintings of the cliffs, beach and sea at Pourville in 1882, and had earlier lived at Argenteuil with his family from 1871. The family moved to the village of Vetheuil in the autumn of 1878 where they shared a house with the family of Ernest Hoschedé, a patron of the arts who had commissioned four paintings from Monet.
Lot 1417
LAM WIFREDO: (1902-1982) Cuban artist. An important collection of five illustrated A.Ls.S., Wifredo (3), another with his full signature, and two with his initial W, ten pages (total), 4to and 8vo (1), Caldes de Montbui, May - June 1937 and n.d. (2), to Balbina Barrera, an amateur artist and Lam´s lover, in Spanish. The correspondence comprises -(i) A.L.S., Wifredo (twice), three pages, 4to, Caldes de Montbui, 16th May 1937. Lam writes from the sanitorium where he was recovering after joining the Republican side in the Spanish Civil War, making several references to Barcelona and also stating ´I'm a little nervous but very hopeful that I'll get better soon. The doctor is coming tomorrow and we'll see what he says´, and further adding ´They haven't brought me my paints yet, but when they do, I'll start working on my painting´. Lam closes his letter by writing ´What? Are you going to the beach?´ beneath which he adds an original drawing of a slender woman lying full-length on a beach, with a sailing boat on the sea in the far distance, and the head of a man in profile, evidently a self-portrait, to the right. (ii) A.L.S., Wifredo Lam, two pages, 4to, Caldes de Montbui, 12th June 1937. Having received the paints he was waiting for, Lam writes of a work that he is on the verge of completing, ´I have finished, or will finish this afternoon, a large painting that I really like because, although it has a certain effect, it is not bad for people to see the flaws, as this is proof that you are moving forward and that you are not a proud fool! If you knew how much progress I have made, you would be amazed and filled with joy, because it has taken me a lot of effort to see clearly how to paint´, and continues, ´I think my illness was a consequence of my failed attempts, because every time I paint, I believe you are by my side, and it's true, because your portrait is always watching me from the wall, watching everything I do and every movement I make in front of my paintings!´, further remarking ´Now, don't go thinking that I have a museum, because although I work a lot, I also throw a lot away, as they are only sketches that I do on large sheets of paper, and the materials I use are glue and wall paint, so the work I do is for study and easy to transfer to a final form, as all the problems have been solved´. Lam also writes of his current situation and health, ´My dear, I have some bad news. I can't stay at the nursing home because the doctor told me that my condition is chronic... But now the nursing home is having difficulties and they are dismissing all the patients in one way or another... But I can't give this up for now, and I'll tell you why: Cordón was here and he was very kind and asked me if I wanted to go to Russia, and of course I told him that I would go as long as they would take better care of me there and cure me, even if I had to have an operation, but getting well soon is what matters to me, and we agreed on that. He left for Madrid four days ago, and today I found out about the closure of the premises, which I must tell you has put me in a very bad mood, as I cannot leave Barcelona´. To the lower half of the second page Lam has added an ink illustration which features a horse galloping on a snady beach and with the sea in the distance, a lone woman lying on the sand close to the horse, and two naked lovers in full-length poses, the artist identifying various elements of the drawing, and in the left margin writing ´This is a new painting I have in mind. What do you think?´. (iii) A.L.S., Wifredo, two pages, 4to, Caldes de Montbui, 15th June 1937. Lam provides his lover with an update on his health, and also reflects on the artistic career he has chosen, and his ambitions for the future, in part, ´Today here in Caldes, I'm feeling better, but a little annoyed because I don't know what to do: whether to stay in the nursing home or leave.......I have to keep studying, working on my projects, and I'll talk about this. As you know, all my dreams of going to Paris to study have always failed, and this has always saddened me and lowered my morale, because I know very well that with a little study there, I would gain a great advantage over my competitors......I think that until I fulfil this need, I am and will remain bitter.......Always and at all times, I will do and be as I set out to do when I chose this path in my life, and that is to fight with determination to achieve my goal......I don't like knowing that I have a chronic illness at all, I'm furious´. To the second page Lam has drawn two beautiful illustrations, each featuring full-length naked studies of two lovers, one almost identical to part of the drawing in his previous letter, and the other depicting a lady seated with her back to the viewer, but with her face and breasts reflected in a mirror on the wall opposite, and with her male lover standing in a full-length pose before her. Of the drawings Lam writes ´You can't get any idea of the drawings other than that they all show a man and a woman, but as for their artistic and poetic meaning, of course not, because they are two very carefully studied sketches´.(iv) A.L.S., with his initial W, two pages, 8vo, n.p., n.d. The artist writes of one of his works, which he appears to have sold, ´I saw the man from the painting and he gave me a bad feeling. He treated me very kindly and assured me that everything would be sorted out on Friday. We'll see. For now, he has told me to choose the frame and tomorrow I will take the painting to his house. I think he means business´ and further writes ´If you only knew how much I've dreamed since I was a child of seeing and travelling the world, especially Italy.....If it weren't for the Italian-Abyssinian-English conflict, I assure you that I would already be getting everything ready and I would be seeing you in Italy´. At the foot of the page Lam has added illustrations of several figures, including three heads in profile, and the second page features two light pencil studies by the artist, over which he has drawn two further profile studies, one of a woman, in ink. In the margins Lam writes ´I'm feeling better now, we'll see how I feel later´.(v) A.L.S., with his initial W, two pages, 4to, n.p., n.d. Lam writes a somewhat downhearted letter, stating, in part, ´Don't condemn me, I'm just thinking about loneliness, I'm feeling down, see you soon....Well, tonight I'll write you a long letter because right now I'm feeling the emptiness of loneliness......Don't be angry, I'm very upset, be patient..... I'm fed up. Goodbye, see you tomorrow´. To the first page Lam has drawn an image of a lady standing in a full-length pose wearing a dress and, as the artist notes, a new belt. The second page is dominated by a wonderful self-portrait of Lam standing in a half-length pose, holding a brush in one hand and his palette in the other, with his head turned in profile as he observes the painting that he is working on; a seascape featuring a lighthouse that rests on an easel. In the distance two figures can be seen, with a large bird flying above their heads, and several other figures appear to the right.An exceptional and extremely rare series of illustrated letters. The final letter has a small area of paper loss and a very lengthy split running across almost the whole width of the page, and the letter almost neatly divided into two separate halves. Otherwise VG, 5
Lot 522
Armand Jamar (1870-1946) Three paintings, a Cityscape with Bridge and two Seascapes (1908-1936) oil on canvas'Cityscape with Bridge' (1936)Oil on canvas.Signed and dated lower right.39.5 x 46.5 cm (47 x 53.5 cm)'Seascape' (1908)Oil on canvas.Signed and dated lower right.35.5 x 50 cm'Seascape'Oil on canvas.Not signed.35.5 x 50 cm (41.5 x 56 cm)(46.5 x 39.5 x 0 cm)Armand Jamar (1870-1946) Drei Gemälde, eine Stadtlandschaft mit Brücke und zwei Seelandschaften (1908-1936) Öl auf LeinwandStadtbild mit Brücke" (1936)Öl auf Leinwand.Signiert und datiert unten rechts.39,5 x 46,5 cm (47 x 53,5 cm)Seelandschaft" (1908)Öl auf Leinwand.Signiert und datiert unten rechts.35,5 x 50 cmSeestückÖl auf Leinwand.Nicht signiert.35,5 x 50 cm (41,5 x 56 cm)(46,5 x 39,5 x 0 cm)
Lot 320
William ARKLE (1924-2000) Seascape Oil on canvas, signed, titled verso, 77cm x 51cm, framed 87cm x 61cm. In-house postage is available for £32.50 to a UK address. The William Arkle Gallery is found in Banwell, North Somerset. Tracey Emin once said that it was 'a beautiful enlightening experience to witness William Arkle's vision'.
Lot 143
Lyonel Feininger 1871 New York - 1956 New York Lübecker Bucht. 1922/23. Kreidezeichnung. Links unten signiert und betitelt. Auf Velin. 14,8 x 21 cm (5,8 x 8,2 in), blattgroß. [AR]. Weitere Werke aus der Sammlung Karin & Rüdiger Volhard finden Sie in unserem Online Sale vom 15. Mai bis 15. Juni 2025. • Seestück aus Feiningers früher Bauhaus-Zeit mit Blick auf die 'Lübecker Bucht'. • Abstrahierte Wolkenformen über ruhiger See zählen zu seinen zentralen Motiven. • Inspiration hierzu war ein Aufenthalt am Timmendorfer Strand im Jahr 1922. PROVENIENZ: Sammlung Dr. Richard Doetsch-Benziger, Basel (bis 1958). Nachlass Richard Doetsch-Benziger (bis 1960: Stuttgarter Kunstkabinett). Frankfurter Kunstkabinett Hanna Bekker vom Rath, Frankfurt a. Main (seit spätestens 1962, auf der Rahmenrückwand mit dem Etikett). Sammlung Karin & Rüdiger Volhard, Bad Homburg (1968 von der Vorgenannten erworben). Seither in Familienbesitz. AUSSTELLUNG: Möglicherweise Große Berliner Kunstausstellung, Abteilung der Novembergruppe, Berlin 1924, Kat.-Nr. 871. Jahrhunderthalle Hoechst vom 1.3.-11.4.1992. LITERATUR: Stuttgarter Kunstkabinett, 35. Auktion, Moderne Kunst, 1. Teil, 20.5.1960, Los 115 (m. Abb. Tafel 128). Kunsthaus Lempertz, Köln, Kunst des XX. Jahrhunderts: Gemälde, Plastik, Aquarelle, Handzeichnungen, Graphik, 6./7.12.1963, Los 172. Frankfurter Kunstkabinett Hanna Bekker vom Rath, Frankfurt a. Main, Lagerkatalog, Frankfurt a. Main 1962, Nr. 12. Frankfurter Kunstkabinett Hanna Bekker vom Rath, Frankfurt a. Main, 8. Angebotskatalog, Frankfurt a. Main 1964, Nr. 53 (m. Abb.). Frankfurter Kunstkabinett Hanna Bekker vom Rath, Frankfurt a. Main, 9. Katalog, Frankfurt a. Main 1966, Nr. 47 (m. Abb.). Aufrufzeit: 07.06.2025 - ca. 14.57 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONLyonel Feininger 1871 New York - 1956 New York Lübecker Bucht. 1922/23. Chalk drawing. Signed and titled in the lower left. On wove paper. 14.8 x 21 cm (5.8 x 8.2 in), the full sheet. [AR]. • Seascape from Feininger's early Bauhaus period with a view of the “Lübeck Bay.” • Abstract cloud formations over a calm sea are some of his main motifs. • He was inspired for this work during a stay at Timmendorfer Strand in 1922. PROVENANCE: Collection of Dr. Richard Doetsch-Benziger, Basel (until 1958). Estate of Richard Doetsch-Benziger (until 1960: Stuttgarter Kunstkabinett). Frankfurter Kunstkabinett Hanna Bekker vom Rath, Frankfurt am Main (since at least 1962, on the back of the frame with the label). Karin & Rüdiger Volhard Collection, Bad Homburg (acquired from the above in 1968). Since then in family ownership. EXHIBITION: Possibly Große Berliner Kunstausstellung, November Group section, Berlin 1924, cat. no. 871. Jahrhunderthalle Hoechst, March 1–April 11, 1992. LITERATURE: Stuttgarter Kunstkabinett, 35th auction, Modern Art, Part 1, May 20, 1960, Lot 115 (illustrated on plate 128). Kunsthaus Lempertz, Kunst des XX. Jahrhunderts: Gemälde, Plastik, Aquarelle, Handzeichnungen, Graphik, auction on December 6 and 7, 1963, in Cologne, lot 172. Frankfurter Kunstkabinett Hanna Bekker vom Rath, Frankfurt am Main, inventory catalog, Frankfurt am Main, 1962, no. 12. Frankfurter Kunstkabinett Hanna Bekker vom Rath, Frankfurt am Main, eighth catalog of works offered, Frankfurt am Main, 1964, no. 53 (illustrated) Frankfurter Kunstkabinett Hanna Bekker vom Rath, Frankfurt am Main, ninth catalog, Frankfurt am Main, 1966, no. 47 (illustrated). Called up: June 7, 2025 - ca. 14.57 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.
Lot 270
James Baker Pyne (British, 1800-1870) - Oil on canvas - 'Seascape Fort Rouge, Calais', signed and indistinctly dated lower left, 43.5cm x 60cm, in gilt frameFrame verso with handwritten dedication with vacant envelope which reads 'Seascape - Fort Rouge, Calais, by J.B. Pyne, Bought for Sir Peter Roberts' David Cross Gallery label versoDeceased estate, Somerset
Lot 234
* PAM CARTER DA PAI (SCOTTISH 1952 - 2022), COTTAGE ON THE GREEN, TIREE oil on canvas, signed, titled label verso framed image size 46cm x 51cm, overall size 62cm x 67cm Label verso: Walker Galleries Contemporary Art, Harrogate Note: Pam Carter was born in Tanganyika, East Africa to an Austrian mother and Scottish father. At the age of thirteen, she came to Scotland where she schooled at Bearsden Academy. She graduated from Glasgow School of Art in the seventies. "My main inspiration as an artist is in the Scottish landscape and seascape. I enjoy using colour to define contours, structure and changing light sequences. I search out specific viewpoints. I am equally inspired by the rugged isolation of the Western Isles and the dramatic viewpoints of the Eastern coastline. I work predominantly in oil". Pam Carter was unquestionably one of Scotland's most popular and successful contemporary artists. She won numerous awards and prizes, always received significant media attention, has been the subject of many magazine features and had several tv appearances. Her work is widely exhibited but relatively rarely appears at auction. However, in The Scottish Contemporary Art Auction of 17th April 2022 lot 38 "Luskentyre Reflections" a 46 x 51cm oil by Pam Carter sold for £2000 (hammer) and in The Scottish Contemporary Art Auction of 10th July 2022 lot 230 "Gables Geary" sold for £2600 (hammer). More recently, in The Scottish Contemporary Art Auction of 24th October 2024, lot 47 "West Coast Sunset" (61 x 61cm oil on canvas) by Pam Carter sold for £3600 (hammer). Furthermore, two Pam Carter oil paintings were sold at an auction house in England in March 2025 achieving hammer prices of £3000 and £3800. These and several other auction results reflect the broad appeal and growing interest (and values) of Pam's work.Comment: Pam was a special artist and one who enjoyed wide popularity and substantial commercial success. In all our dealings with Pam over the years, she was always generous with her time and quick to provide the background to paintings we had received from private consignors and filling in gaps about locations, dates etc. Pam's work is instantly recognisable and she had that rare gift, even among the best artists, of being able to use the minimum of brushwork to create the maximum visual effect. Her "lines" were those of the natural environment but she knew exactly how to "see" them and portray them on canvas. Despite her commercial success, or perhaps even because of it, Pam's work probably hasn't yet reached the full audience that it so richly deserves. She exhibited frequently at numerous galleries in Scotland and gallery owners were inevitably in a queue to secure her work. Typically, Pam showed loyalty to those who were the first to support her when she was a relative unknown. Talented artists always wish to be remembered by their work and Pam Carter can be certain of that, but she'll also be remembered with great affection by all those who had the good fortune to meet her or know her.
Lot 191
* BILL WRIGHT RSW RGI DA (SCOTTISH 1931 - 2016), INCOMING TIDE mixed media on paper, signedmounted, framed and under glassimage size 31cm x 43cm, overall size 53cm x 64cm Note: Bill Wright's talent first became evident when he was a boy, drawing endlessly for amusement while bedbound with illness. He went on to study painting at Glasgow School of Art and became an award-winning watercolourist, constantly inspired by was seascape and ever-changing sky on the Kintyre peninsula where he had a second home. Glasgow-born Wright, the son of a shipyard plater, was brought up in Partick and started his schooling at the city’s Dowanhill Primary before being evacuated to Dunoon during the Second World War. After returning home he attended Hyndland Senior Secondary and despite being discouraged by his parents, who would have preferred him to have a “proper job”, in 1949 he began his studies at Glasgow School of Art. They were interrupted by national service – a duty he felt hindered the progression of his art career. He served at Catterick army garrison but was a pacifist who abhorred war and dismissed the opportunity to be promoted to Sergeant as an army career held no interest. His first teaching post was at East Park School in Glasgow’s Maryhill. He then moved in 1965 to St Patrick’s High School in Dumbarton where he spent two years before becoming art adviser for the area at the age of 36. Over the next two decades he fostered the idea of instilling a cultural interest in art among pupils. He formed working groups to reform teaching of first and second-year students, encouraged forward-looking principal teachers and recruited many young teachers. His ethos was that teachers were not just there to create artists but to give all children a good art experience. He also established a residential art course for school children, at the Pirniehall residential educational facility at Croftamie in Dunbartonshire, where youngsters from different backgrounds could investigate the idea of furthering an art career through experiencing a range of different mediums in an art camp environment. And he is said to have been instrumental in encouraging the implementation of Scotland’s Standard Grade art and design qualification. However, he suffered from the chronic arthritic condition ankylosing spondylitis which, by the age of 55, forced him to take early retirement from his post in the education department of Strathclyde Regional Council. Meanwhile, as he had strived to enthuse youngsters with his own passion for art, he had been elected, in 1977, to the Royal Scottish Society of Painters in Watercolour. A member of the Glasgow Arts Club for many years, he was also an elected member of the Glasgow Institute of Fine Arts and Paisley Art Institute, served as president of the Scottish Artists’ Benevolent Association for 14 years and was a Scottish Arts Council lecturer, touring the country discussing art. But perhaps his own greatest inspiration was the view from a cottage he stumbled upon half a century ago, seven miles from Campbeltown on the Mull of Kintyre. He rented the property at Bellochantuy and set up a studio there where he drew on the vistas stretching 180 degrees, encompassing sea, beach, rocks and sky. He was utterly smitten by the area and was ultimately bequeathed the cottage by the owner who had become a close family friend. Over the years he came to know the area intimately and was fascinated by the constantly changing moods of the sea and light of the sky which formed the majority of his output. One large body of work, "Towards Islay", focused on the view from the back of the cottage. He captured the patterns and waves of the sea, sometimes adding a bird, limpit, mermaid’s purse, rock lines or some seaweed. But at times his works were very abstract and symbolic, concentrating on themes of nature and transience. He was hung in all the major shows in Scotland and in galleries across the country from Aberdeenshire to Edinburgh, Glasgow and south of the border. His work also features in public collections of Stirling and Strathclyde Universities, HRH The Duke of Edinburgh and the Educational Institute of Scotland. And he was recognised with The Laing Prize for Landscape and Seascape and the RSW’s Sir William Gillies Award.
Lot 250
* LILIAN NEILSON (BRITISH 1938 - 1998), SEASCAPE oil on canvas, signed versoframed image size 61cm x 91cm, overall size 62cm x 92cm Note: Lil Neilson was a member of the quartet who became known as 'The Catterline School' along with Joan Eardley, Annette Stephen and Angus Neil. Lil Neilson studied at Duncan of Jordanstone College of Art from 1956-60, including a summer school at Hospitalfield House, Arbroath. She completed a post-diploma year tutored by Hugh Crawford and Alberto Morroco in 1960-61 and was awarded a travelling scholarship to France and Italy in 1961-62. On her return she joined Joan Eardley in Catterline: they had become friends in 1960 at Hospitalfield House and Eardley invited Lil to paint in the studio she and Annette Stephen shared in Catterline. Like many other painters and visitors, Lil became enthralled with the place. At this time Lil also worked backstage with Reet Guenigault in theatres including the Traverse in Edinburgh and also in England, returning to Catterline to nurse Eardley when her illness was diagnosed in the new year of 1963. Reet joined them three months later to take over and give Lil a rest, and after Eardley's death in August of that year, Lil bought No 2 South Side, Catterline, to make her home in one half and studio at the other end. Some pictures of this period show Catterline views which Eardley famously painted, especially with the great round moons low in the summer sky. Neilson's foregrounds are less detailed and the viewer's eyes are led upwards towards the sky. Lil continued to work in theatres until 1969, when she returned to Catterline to try to work through the Eardley influences which had been made more than a bitter cup. She felt that she must paint that problem out in Catterline. She spent some time in Norfolk with Gaydon Phillips, but not many paintings of Norfolk exist and she returned to paint in Catterline regularly over the next nine years. She moved permanently to Catterline in 1986 and, once there, Joyce Laing's Pittenweem gallery exhibited some of Lil's work which showed new directions. In 1989, at the influential 369 Gallery, Edinburgh, an exhibition shared with Annette Stephen showed a two-room retrospective of Lil's work. Her last show was 'Certain Days and Other Seasons' (1997) at both Seagate and Aberdeen Art Galleries. Lil pronounced this to be ''the end of my life's work'', prophetically as it turned out, for by August 1997 it became apparent that this private and reticent woman had been working under duress for the past two years as the extent of her disease was discovered. Lil's good friends and neighbours loved and nursed her, enabling her to be in her beloved Catterline until she needed the services of Roxburgh House. Lil Neilson's paintings rarely appear at auction and those which have in recent years have often been small studies and sketches which perhaps explains why her UK auction record price remains the £4600 (hammer) for "Catterline" achieved for lot 1744 in The Scottish Contemporary Art Auction on 15.12.2013.
Lot 608
HÖDICKE, KARL HORST1938 Nürnberg - 2024 BerlinTitel: Nordatlantik in der Wanne. Datierung: 1985. Technik: Polyesterharz auf Leinwand. Maße: 201 x 290cm. Bezeichnung: Signiert, datiert und bezeichnet verso oben: Hödicke 85 Beware the Jabberwook my son! Ork-orka "Spektakel" Seascape "die Atlantikschlacht". Provenienz:- Privatsammlung Berlin (direkt vom Künstler). Voraussichtliche Versandkosten für dieses Los: Absprache nach der Auktion. Erläuterungen zum Katalog Zarina Hashmi Indien Zeitgenössische Kunst Grafik 1970er Rahmen Abstrakt Druckgrafik Holzschnitt
Lot 376
l max cm 25One is rectangular with a brick-red ground, decorated in gold lacquer with a floral landscape and cranes; another is square, featuring fans; a smaller rectangular box, likely of European origin; and a square-shaped box with a red wooden exterior depicting turtles in a seascape, and a black lacquered interior adorned with peacocks.
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