George Chinnery (1774-1852) Macau street scene, with Santa Casa Misericordia and the Leal Senado Inscribed and dated September 10 (18)36, pen, ink and pencil, 19.5cm by 27.5cm Exhibited: Martyn Gregory, London, A China Voyage, catalogue 79, 2003, no.21George Chinnery (1774-1852) was an English artist who lived and worked profusely in India and China. Chinnery is remembered for his portraits painted in British India and more commonly for his sketches of eastern scenes, namely Macau. His works can be found in venerable institutions including the Victoria and Albert Museum, Yale Center for British Art, Tate, and the National Portrait Gallery.Enrolling at the Royal Academy Schools in 1792 and following the growing presence of the British East India Company in India, Chinnery left for India from London in 1802. On arrival in India on the 21st December 1802, Chinnery settled in Madras and then to Calcutta in 1807. Chinnery’s move was a condition of so many young London-trained artists who sought lucrative portrait commissions in British India. Chinnery’s talent soon rewarded him with a firm position in the echelons of the expatriate community, and rather impressively as the foremost British portraitist in India.Despite illustrious clientele, Chinnery fled British India in 1825, leaving behind a debt of 30,000 rupees. On the 29th September 1825, Chinnery landed at Macau on the south coast of China and would live here until his death in 1852. Forfeiting the high reputation and grand commissions that he enjoyed in India, Chinnery was in a precarious position, and as a by-product his work was significantly different. Chinnery’s work produced in his Macau years is not only historically important – on par with William Hodges’ and Thomas and William Daniell’s images of India – but, in almost every sense, better, more nuanced, delicate, and responsive. It is Chinnery’s Macau sketches which line the collection of the V&A.Macau was a hive of trading activity set in a backdrop of European architecture reflecting the Portuguese colonial influence in Macau. Chinnery produced beautifully delicate watercolours and pencil sketches of Macau’s barbers, fisherman, food-vendors, gamblers, and architecture. Daily life in Macau was now Chinnery’s preferred subject.In Macau street scene, with Santa Casa Misericordia and the Leal Senado, Chinnery sketches a wide foreground to stage the residents of Macau, notably the gamblers and street vendors. As a medium, pen and ink is a style demanding every line capture a dozen details. It is a precise, calculated medium. As such, Chinnery demonstrates his talents as a draughtsman; his concern for detail shines as he takes time to use minimal lines to sketch Macau’s residents in refreshing detail. This is in stark contrast to the lightly drawn Portuguese buildings of the Santa Casa Misericordia and the Leal Senado that we see in the background. Despite Macau’s seemingly dominant European architecture, Chinnery sketches a Macau which here is predominantly Chinese, rather than European. Chinnery provides a fascinating glimpse into Macau in the early 19th century through his assiduous sketching.
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William F Yeames RA (1835-1918)"Dr Harvey and the children of Charles I at the Battle of Edgehill"Signed, oil on canvas, 161cm by 107cmExhibited at the RA 1871, No.81"The Young Princes accompanied their father the King, whilst he waged war with Parliament. At the outset of the Battle of Edgehill, their tutor Harvey, the famous discoverer of the circulation of blood, took them to a place of safety, as he thought, and all absorbed in his meditations, sat down, pulled out his books, and plunged into his studies. It was only when the bullets whistled about their heads that he became aware of the danger to which his young charges were exposed." - Royal Academy accompanying note (1871)Literature: James Dafforne, 'The Works of William Frederick Yeames, A.R.A.', in Art Journal, 1871, p.100William Frederick Yeames was born in Russia to a British consular official. He was educated in Dresden following the death of his father where he first began to study painting.The Yeames family moved to London in 1848 where William began studying anatomy. In 1852 Yeames made a career defining trip to Florence where he learned from and made copies after Renaissance luminaries such as Benozzo Gozzoli, Andrea del Sarto and Raphael. On his return to London Yeames set up his studio in Park Place and began associating with other artists who became known as the St John’s Wood Clique. He was made an associate of the Royal Academy in 1866.Yeames did not exist as a stereotype of the bohemian artist, instead he lived a civilised and comfortable existence with a smart house in London and holidays to Hever Castle and the Devon coast.He is best known for his 1878 painting “And When Did You Last See Your Father” which is in the collection of the Walker Art Gallery, Liverpool. In it a group of Parliamentarians question a Royalist household and a young boy in partiular as to the whereabouts of the head of the house. Yeames' fascination with British history, and the Civil War in particular can be seen in both his seminal masterwork and the fine example in this sale.
William Crabb (1811-1876) ScottishPortrait of Captain Thomas Whyte (1782-1848)Signed and dated 1838, oil on canvas, 90cm by 70cm Inscribed to partial label verso William Crabb, otherwise known as 'Crabb of Laurencekirk' was a Scottish painter of portraits and historical scenes.Crabb trained at the Trustees Academy, the precursor to the Edinburgh College of Art which educated prominent painters including Sir David Wilkie RA and Sir William Allan RA. In 1835, secretary to the Trustees James Skene remarked there is not an eminent name in the history of art in Scotland not to have trained at the Trustees Academy. Crabb’s work soon attracted the attention of Sir Francis Grant, President of the Royal Academy from 1866 to 1878. Grant employed Crabb as an assistant in London and he was tasked with painting draperies in Grant’s works.Likened to Sir Henry Raeburn, Crabb excelled at portraiture; his portraits were lauded and recognisable for their ‘decided style’, and ‘powerful colour’.Crabb would regularly exhibit his portraits at the Royal Academy, and his Fitz-James and Rodericj Dhu after the Combat was exhibited at the Edinburgh International Exhibition of 1886. Crabb’s portraiture can be found in many historic Scottish houses, and indeed in the collections of the Royal Scottish Academy of Art and Architecture, University of Edinburgh, The Merchant's Hall of The Company of Merchants of the City of Edinburgh, The Stewartry Museum, and Leeds Civic Hall.The collection of portraits of the Whyte family were painted by Crabb in 1838 and are a fine example of Crabb’s aptitude for portraiture. At the head of the family, is Captain Thomas Whyte (1782-1848), who was the husband of Jane (née Jean) Lyall, and father to Eliza Napier Whyte who married Surgeon James Smith RN (1796-1865). Crabb paints them all in an emphatic, romantic, and dramatic manner. In Pigot and Co.’s national commercial directory of “the whole of Scotland” and its “Nobility, Gentry and Clergy”, published in 1837, a year prior to Crabb’s portraits, a “Whyte Capt. Thomas, 115 High St” of Montrose, Forfarshire is listed. Captain Thomas Whyte is also mentioned at residing in 115, High Street in Montrose in 1846. Given, Montrose’s proximity to Crabb’s native Laurencekirk, and of Montrose’s and nearby Dundee’s strong shipping industry, it is quite possible that Thomas Whyte was involved in the increasing industrialisation of these coastlines of Scotland, and therefore involved in the increasing mercantile prosperity.In fully restored condition. Relined, cleaned and re-varnished. The surface is slightly flattened as a result of the restoration process. Some deterioration to the varnish slightly pitting in places. Certain amount of splashes which have a chalky or varied quality at and around his right shoulder within the background to the left of his right shoulder and running across and through his right arm and lower left-hand corner in the main. Slight stretcher shadow. Areas of mostly small-sized stable cracquelure. Odd minor surface scuff. Appears to be encapsulated bristle brush running vertically within the paint just left of his cane below handle approx 1cm in length. Fairly high gloss finish to varnish. Three patches of retouching towards upper left-hand corner, immediately below this within the background and a further notable patch to the left of this running along the left-hand side edge approx 30cm from upper left-hand corner. Further patch of retouching and strengthening lower right-hand corner which is probably the largest of those mentioned approx 7cm dia. Further retouches to the lower left corner in general. Retouches to lower edge right-hand side and corner. Concentrated patch of retouching to the upper right-hand corner and mostly running along right-hand side edge which is irregular but overall 45cm in length and approx 7cm in width. Finer and more sporadic retouches and strengthening to gentleman's hair, eyelids and some of the outline definition/shadows around the cravat. Other sporadic less notable retouches elsewhere within the background, parts of his jacket and elements of gentleman's hand. Some restoration has deteriorated and is visible by eye.
Owen Bowen ROI, PRCam A (1873-1967)"River Wharfe Wattle Syke" Signed, oil on canvas, 50cm by 60cmBorn in 1873 in Leeds, England, Bowen was educated during at Leeds School of Art before working as a pottery designer and lithography apprentice. Although Bowen painted on the continent, he was mostly known for his impressionist still lifes and landscapes of Yorkshire. Bowen settled in Leeds and established his own school of painting there. Prior to his death in 1967, Bowen became president of the Royal Cambrian Academy and regularly exhibited his work there and throughout England. Several northern public galleries including Leeds, Liverpool, Rotherham, and Rochdale hold his work.In an overall good and original state of preservation. Some surface dirt and discoloured varnish. Minor rubbing/abrasion to some edges. Large sized essentially horizontal cracquelure which remains stable at present mostly to sky. Slight push mark to the canvas, back to front within the cops of vegetation right-hand side of the river which has not presented any losses of paint or perforation to canvas. The canvas is visible in some areas by application of the paint especially the extremity of the lower edge and mostly within lower right-hand side of the river.
Herbert Royle (1870-1958)Canal scene on a blustery daySigned, with fragments of an original artist's label verso, oil on canvas, 39.5cm by 59.5cm Provenance: Provenance: Jays Fine Art Dealers, Cambridge Gallery, SouthportEx collection Mrs Scruton, Scarisbrick, OrmskirkPrivate Collection, North West Born in 1870 in Manchester, Herbert Royle trained at the Harris Institute in Preston, Southport School of Art and with John Buxton Knight. He lived at Southport, Bolton Abbey and latterly at Nessfield near Ilkley. His landscapes of Wharfedale and the Scottish Highlands are widely appreciated. Royle was a member of MAFA, Liverpool Academy and Sandon Studios Society. He exhibited at the RA, RBA, RSA and extensively at the Walker Art Gallery in Liverpool. His works are held in several public galleries including Manchester City Art Gallery, The Harris Museum and Art Gallery, Lancashire, and The Stanley & Audrey Burton Gallery, University of Leeds.
A Russian Silver Table-Lighter in the Form of an Indian Elephant, by Fabergé, With Imperial Warrant, St Petersburg, 1899-1908, Workmaster Julius Alexander Rappoport, With Scratched Inventory Number realistically modelled and depicted standing with one rear leg raised as if walking, with an overall textured finish, the head hinged to reveal the compartment for fluid, the trunk hollow to accommodate a wick11.5cm wide, 7cm high, 10oz 16dwt, 337grProvenance:By family tradition purchased by Stanley Elliott (1892-1956) and by descent.Stanley Elliott (1892-1956) was born into a life of comfort in Grange Moor, near Wakefield, in West Yorkshire. His father, Benjamin, carried on the business of Lockwood and Elliott which had been founded by his father (Stanley’s grandfather) George, in the middle of the 19th century. The company was involved in coal mining, most notably the Shuttle Eye colliery, which was opened around 1862 on the site of an older smaller operation. Shuttle Eye had two shafts, and at the peak of its operation under the ownership of Lockwood and Elliott, a staff of nearly 200 men. In the 20th century, by this time under the control of Benjamin’s sons Stanley, George and Ralph the firm became Elliott’s Collieries Ltd. and added other mines, such as Lepton Edge and Gregory Spring to its portfolio. Besides coal mining, the family had interests in businesses as varied as the manufacture of bricks and gravel works. Stanley and his brother George also owned between them some 123 houses.Sadly few invoices for the works of art and chattels purchased by Stanley have been retained in the family archives. The family history however recalls him as a well-travelled man who enjoyed visiting salerooms to acquire items to fill Ingle Court, the house he had built for himself in Lepton near Huddersfield in 1932. Equally the presence of 20th century dealers' inventory numbers, minutely engraved under one foot, suggests the possibility that he may have purchased the table-lighter directly from a dealer rather than at auction. One invoice that does exist, dated 2nd May 1935, from Old Russia Antiques and Jewellery Limited, 1177 St Catherine Street West, Montreal suggests the latter as a strong possibility and reveals Stanley as, at least a minor, Russophile. Either way, he was a lifelong smoker of a pipe and cigars, so he was likely attracted to the lighter both as a charming object and something that he could use. Another invoice records the purchase of a Triumph Dolomite Saloon car in ‘mistletoe green’ which was purchased on 25 November 1937 for £310 19s 3p, the equivalent of around seven months' salary for a skilled tradesman at the time.Fabergé produced a menagerie of zoomorphic table-lighters, often made by his workmaster Julius Alexander Rappoport, as with the present example. They obviously had a great appeal to the royal families of Europe as there are many examples with a royal provenance known, for example, one in the form of a chimpanzee which was sold from the collection of S.A.R. La Principessa Reale Maria Gabriella di Savoia (Christie's, London, 27 June 2007, lot 19) and another in the form of a frog which was previously owned by Queen Anne of Romania (Christie's, London, 4 June 2018, lot 235). While these table-lighters were made in the form of many different animals, including a rhinoceros, a lizard and a fish, the elephant was a theme that Fabergé was to return to time and again. They are depicted in many different poses, from seated with the wick emerging from the top of the head to seated, as if begging, with the wick contained in the trunk, as in the present example.Marked on tail with Cyrillic Fabergé mark below royal warrant, workmasters mark and Kokoshnik mark. One ear further marked with workmasters mark and 88 standard mark. Engraved under one back foot with scratched inventory number, possibly '13155'. Other feet with later dealers scratched inventory numbers. There is some overall surface scratching and wear, consistent with age and use. The wear is noticeable as a softening to the high points. There are some minor bruises.
A James I Parcel-Gilt Silver Apostle Spoon, by Daniel Cary, London, 1622 the silver-gilt finial cast as Saint Andrew, holding a Saltaire, with Saint Esprit nimbus, the back of the bowl prick engraved with initials 'RH'18cm long, 2oz 1dwt, 64grThe present spoon would have originally been part of a set of twelve, each depicting an Apostle and presumably a thirteenth, depicting the Master. Other spoons from this same set have appeared on the market, for example, one depicting Saint Matthias sold initially from the Britton Smith Collection, Bonhams, London, 21 November 2007 (£6,240) and subsequently Woolley and Wallis, Salisbury 28 October 2015. Another example, depicting Saint Simon Zelotes, was also sold by Woolley and Wallis, 25 April 2017 (£5,500). The latter example had been purchased from Tessiers on New Bond Street probably in the 1950s so the set had been broken up by then. At least a further three, but very probably four examples, are now in the collection of the Cleveland Museum of Art, from the bequest of John L. Severance (museum numbers 1942.803-806). These four depict Saint James the Greater with a pilgrim staff (1942.803); Saint Bartholomew with a knife (1942.804); Saint Paul with a sword (1942.805) and Saint Peter with a key (1942.806). Except for the example depicting Saint Peter, each of the above-listed spoons is prick engraved with the initials 'RH' as in the present example. The Saint Peter example from the Cleveland Museum of Art seems to match the other examples well and is most likely from the same set, though it has had the prick engraved initials erased, as well as having the bowl gilded, at some point after the set was broken up. A final example, now in the Holburn Museum, Bath, said to depict Saint James the Greater (museum number S206) is also probably from the same set, though it is also lacking the prick engraved initials. This example is also later gilded so it is likely that the original initials were removed and the spoon gilded at some point subsequent to the set being split up. Marked in bowl with leopard's head. The back of the handle with maker's mark, lion passant and date letter. There is some very minor wear to the marks but overall they are clear for the age of the spoon. There is some surface scratching and wear to the spoon overall with the wear most noticeable as a softening to the gilding and the high points on the Saint Andrew finial.
An Art Deco Diamond and Rock Crystal Broochrealistically modelled as a bow, the central old cut diamond within a border of rose cut diamonds, to tapered rock crystal plaques flanked by graduated rows of rose cut diamonds, in white claw and millegrain settings, total estimated diamond weight 0.80 carat approximatelymeasures 4.9cm by 2.0cmThe principal diamond is chipped, otherwise in good condition commensurate with age. It fastens with a pin and trombone catch. The pin is stamped indistinctly and with an 'A', in our opinion would test as gold and silver. The principal diamond measures 4.08mm x 3.95mm x 2.54mm approximately. The approximate qualities of the diamonds are; colour J/K/L, clarity I1/I2/I3. Gross weight 7.7 grams. CR made 08.02.23.
An Edward VII Silver Syphon-Stand, by Goldsmiths and Silversmiths Co. Ltd., London, 1907, In the Manner of Kate Harris cylindrical and on spreading foot, with turned-wood base, with two scroll handles, the rim pierced with Art Nouveau-style foliage scrolls18.5cm highFully marked near handle and further stamped with design registration number 'Rd361039'. There is some overall surface scratching and wear, consistent with age and use. There are a number of breaks and repairs to the foliage scrolls. The gross weight including the wood base is 18oz 3dwt, 565gr.
LeCoultre: A Lady's Art Deco 18 Carat Two Colour Gold Square Shaped Wristwatch, signed LeCoultre, circa 1930, manual wound lever movement signed Vulcain Bouret, silvered dial with Arabic numerals, square shaped seconds dial, 18 carat white and yellow gold case with hinged lugs, hinged back cover numbered 803895, inside back cover with maker's mark Vulcain Bouret Swiss and convention mark 0.75018k22mm wideCase with surface scratches, lugs with minor dents, later strap and buckle, dial centre with small scratches, dial with slight staining in parts, hand setting correctly and winding smoothly, balance is swinging slowly. movement in going order.
A Three-Piece Victorian Silver Coffee-Service, by Charles Edward Nixon, Sheffield, 1900, Retailed by Northern Goldsmiths Co., Newcastle in the Art Nouveau-style, each piece with spiral-fluting, the shaped base and foot each chased with foliage and flowers, comprising a coffee-jug with wood handle and finial; a cream-jug and a sugar-bowlthe coffee-pot 27cm high, total gross weight 38oz 6dwt, 1,192gr (3) Each piece fully marked near rim and engraved underneath with retailers name. The coffee-jug further part marked inside cover. The marks are generally clear, though the maker's mark is somewhat poorly struck on some pieces. There is some surface scratching and wear overall, consistent with age and use. The wood handle with some loss to the finish. The finial on the coffee-jug perhaps lacking a spacer.
A Four-Piece Edward VIII and George VI Silver Tea-Service, by Walker and Hall, Sheffield, 1936 and 1937 each piece in the Art Deco-style, tapering decagonal and on conforming foot, with zig-zag border, comprising a teapot; a hot-water jug, each with ebonised angular handle and stepped disk finial; a cream-jug and a sugar-bowlthe hot-water jug 18.5cm high, total gross weight 45oz 9dwt, 1,414gr (4)Each piece fully marked near handle. The teapot and hot-water jug each further part marked inside cover. The bases stamped with maker's name. The marks are generally clear. The hot-water jug is 1936 and the remaining pieces are 1937. There is some overall surface scratching and wear, consistent with age and use as well as some minor dings. The cover on the teapot is very slightly bruised.
Tänzerin "Humoreske"/ Lo Hesse,Art Deco, Rosenthal um 1922. Entw.: Constantin Holzer-Defanti. Bewegte Standfigur in exot. Hose, einen Arm über d. Kopf gelegt, Ellbogen spitz nach oben zeigend, d. andere Hand angewinkelt erhoben. Auf gewölbtem Rundsockel. Am Boden grüner Firmenstempel m. "Bavaria", Sign. "C-Holzer-D.", Pressnr. 1 x kl. Finger bestoßen. H 30,4 cmart deco, bunt, farbig, Constantin Holzer-Defanti, Firmenstempel, Frau
Gr. Vase mit Vogeldekor,Amphora um 1920. Heller Scherben, bunt glasiert. Hoher Korpus, leicht gebaucht, d. kl. Halsring flankiert v. ringförm. Henkeln. Wandung umlaufend m. großflächig mattiertem Fond, darin Ritzdekor, schauseitig m. Vögeln zw. Früchtezweigen, verso stilis. Blüte. Hals u. Stand m. glatt-kobaltblauem Fond, am Stand abgegrenzt durch stilis. Kranz. Am Boden ov. Stempel "Amphora, Made in Czecho-Slovakia", Pressnr. u. Malerzeichen. H 53,3 cmart deco, bunt, farbig, Früchte, Keramik, Österreich, Ritzdekor, Tschechoslowakei, Vogel, Zweige
Kl. Tischuhr, Cartier, Art Déco um 1925.Messing vergoldet/Nephrit. Handaufzug. Gehäuse-Nr. 10962987. Innen Nr. 1835987. Quadrat. Nephrit-Platte m. abgerundeten Ecken besetzt m. 4 Korallen in schw. Emaille-Rahmen. Lünette aus weiß-gold emailliertem Ornament- Band. Rd. silberfarbenes guillochiertes Zifferblatt m. schwarzen röm. Ziffern. Goldfarbene Zeiger. H 7,3, B 7,3 cm. Insg. 208 g. Uhr läuft. Orig. Cartier-Lederbeutel vorhanden. Nephrit verso minim. bestoßen, Emaille teilw. m. minim. Def., Standfuß locker.
Gr. runde Schale, Art Deco, Hanau um 1930.800er Silber. Gemarkt "H. Schmid, Hanau" m. Meistermarke. Flach gemuldete Schale m. breitem, heruntergezogenem Rand auf weitem Schaftring u. glattem Scheibenfuß. Oberfläche m. leichtem Hammerschlag, minim. berieben. D 32,3 cm 1.196gDrache, Hammerschlag, H. Schmid, schlicht
Gr. Art Déco-Tisch, Frankreich um 1930.Massiv Palisander u. Palisander furniert. Schwarze Glasplatte. Breite Zarge auf u-förmigem, doppeltem, schwarz lackiertem Fußgestell auf hohem abgeschrägtem Sockel m. angesetzten Metallkanten. H 74 cm B 181 cm T 105 cm. Holzplatte an d. Rändern mit Furnierschäden, Gebrauchsspuren.
Brillant-Anhänger/Brosche, Art-Déco-Stil.18 kt WG, besetzt m. zahlr. kl. Brillanten v. zus. ca. 3,50 ct. Durchbrochen gearbeiteter filigraner Anhänger m. floraler u. ornamentaler Verzierung u. 10 herabhängenden Elementen. Zusätzl. Gliederkette in 14 kt WG m. Karabinerverschluss. Anhänger-L 8,5 cm. Ketten-L 39,5 cm. Insg. 17,7 g.
Art Déco-Deckenlampe.8-flammig. Breiter verchromter Metzallreif m. 4 Leuchterarmen m. mattierten Glasschirmen. 4-faches halbhohes Gestänge m. rundem Deckenabschluss u. Kettenaufhängung. D 68 cm H 80 cm. Dazu Paar 2-flammige Wandappliken. Metall verchromt, m. mattierten Glasschirmen. D 30 cm.
Kl. Damenarmbanduhr m. Diamanten,Art Déco um 1920. Platin, besetzt m. 52 kl. Altschliff-Diamanten. Handaufzug. Rechteckiges ziseliertes Gehäuse m. durchbrochen gearbeiteten ornamentalen Bandansätzen. Rechteckiges silberfarbenes Zifferblatt m. schwarzen arab. Ziffern. Gebläute Zeiger. Sep. Sekundenanzeige. Schwarzes Ripsband m. Schieber. D m. Krone 1,5 cm. Insg. 21,5 g. Uhr läuft. Div. Diamanten bestoßen, minim. Gebrauchsspuren.
Zigaretten-Etui, Art Deco,St. Petersburg 1929. 875er Silber, innen vergoldet. Beschaumarke f. 1927-'58 (f. St. Petersburg/ Leningrad), kyrill. Meistermarke. Rechteckiger Korpus m. abgerundeten Kanten, vollflächig umlaufend fein gerippt in versch. breiten Streifen. Klappdeckel m. vergoldeter Daumenrast m. kl. blauem Cabouchon. Innen Sign.-Gravur (wohl lat. Buchstaben) m. Dat. "17.12 29." Oberflächen leicht berieben, Boden m. leichter Delle. L 10,4 cm 185ggerippt, Gravur, Leningrad, Russland, vergoldet
"Ballade" / Krokodil mit Gitarre,Rosenthal 1929. Entw.: Gustav Oppel. Weiß glasiert. Auf Felssockel stehendes Tier, d. Gitarre spielend, d. Kopf m. zum Singen geöffnetem Maul weit in d. Nacken gelegt. Auf d. um d. Sockel geringelten Schwanz sitzt ein Frosch u. hält einen Hut auf. Sockel verso sign. "G. Oppel", am Boden grüner Firmenstempel m. "Selb-Bavaria" (f. 1929), Pressnr. H 20,6 cmart deco, Firmenstempel, Frosch, Gustav Oppel, Instrumente, Karikatur, Tiere, weiß
Lapislazuli-Emaille-Brosche, Art Déco, Juw.Theodor Fahrner, Pforzheim Anf. 20. Jh. 935er Silber vergoldet, besetzt m. 3 Lapislazulis u. Emaille in Hell- u. Königsblau. Rautenförm. Brosche m. hängendem dreieckigen Element in geometr. Ausarbeitung, teilw. m. Granulierung. Verso bez. "935" u. m. Meistermarke. L 7,2 cm. Insg. 17,8 g. Emaille m. Fehlstelle, Vergoldung teilw. berieben.
Kl. Damenarmbanduhr m. Saphirenu. Diamanten, Art Déco um 1920. Platin, besetzt m. 8 rechteckig facettierten Saphiren u. 40 kl. Altschliff-Diamanten. Handaufzug. Ovales Gehäuse u. Bandansätze m. Edelsteinbesatz u. feinen Ziselierungen. Ovales silberfarbenes Zifferblatt m. schwarzen arab. Ziffern u. ornamentalem Mittelteil. Schwarzes Ripsband m. filigranem Schieber. D m. Krone 1,7 cm. Insg. 12,9 g. Uhr läuft. 3 Saphire bestoßen, minim Gebrauchsspuren.
Kl. Tischuhr Cartier, Frankreich,Art Déco um 1925. Messing vergoldet. Handaufzug. Werk-Nr. 3988. Gehäuse-Nr. 1236. Quadrat. Gehäuse aus wohl braunem Achat besetzt m. 12 kl. Korallen. Achteckiges blau emailliertes Ziffernblatt. Lünette aus GG-Montierung m. schwarzem Emaille, röm. Ziffern zeigend. Verso klappbarer Standfuß, bez. "Cartier 2300 Made in France". 7,3 x 7,3 cm. Insg. 228 g. Uhr läuft. Glas locker, Korallen teilw. bestoßen, Vergoldung teilw. berieben u. angelaufen.
Bronze sign. DenisFolie-Tänzerin mit Kugeln, Art Deco, Frankreich um 1930. Dunkel patiniert. Auf einem Bein stehender Frauenakt, in gekrümmter Haltung d. andere Bein angezogen, d. Arme m. gr. Onyx-Kugel weit nach vorn u. hinten ausgestreckt. Auf kl. quadrat. Stand, Kante verso sign. "Denis", u. quadrat. grüner Marmorplatte. Oberflächen leicht berieben, Onyx m. Rissen. Ges.H 24,9 cmFrau, Marmor, Max Le Verrier, Onyx, Signatur, Tänzerin
Kakadu, Nymphenburg 1972.Entw.: Luise Terletzki-Scherf. Auf kl. Ast sitzender Vogel, d. Kopf m. geöffnetem Schnabel seitl. gewandt. Auf kl. Podest m. ausschwingen- den Füßen, an 1 kl. Press-Rautenmarke. Reduziert staffiert. Am Boden grünes Rauten- schild, Pressnr., Sign. "L. Scherf", Monogr. "LS". H 16,9 cmart deco, Firmenstempel, LS, Luise Terletzki-Scherf, München, Papagei, Rautenschild, Vogel
6-flamm. Leuchter, Art Deco,Schwäbisch Gmünd um 1930. 835er Silber. Fa. Grimmiger. Weiter Rundfuß, mittig erhöht m. kl. Kuppel, darum herum 6 nach oben schwingende, sich zu Tüllen weitende Volutenarme m. Vierkant-Querschnitt. Oberfläche leicht berieben. D 34,3 cm 780gGrimminger, rund, schlicht, Stern, Voluten
Diamant-Brosche, Art Déco um 1920.Platin, mittig besetzt m. 1 gr. Diamant im Übergangsschliff v. ca. 3 ct (Farbe leicht getönt/Reinheit vvsi-vsi) umgeben v. zahlr. kl. Diamant-Rosen. Filigrane vierpaßige Brosche m. durchbrochen gearbeiteten Ornamenten. Verso kl. klappbare Anhänger-Öse. L 3,5 cm. Insg. 8,9 g.
Multiple Martin Kippenberger1953 Dortmund - 1997 Wien "Italienischer Teller" 1997 verso im Porzellan monogr. u. dat. MK 97 verso mit dem Etikett: "edition dokumenta x edition Exemplar Nr. 68/150", D. 26 cm In der original Kartonschachtel; Galerienetikett: Galerie Andreas Brüning, Düsseldorf / Art Chicago in the Park.
Bronze "Nach dem Bade",Art Deco, um 1920. Rotbraun patiniert. Stilisiert erfasste, stehende Frauenfigur, sich in elegantem Schwung in ein langes Tuch hüllend, dessen Schwung sich bis in d. spiralig erfassten Wellensockel m. scharfen Kanten zieht, Kopf seitl. gewandt. Unsign., Standkante m. Gießerstempel "Brandstetter München". Patina partiell leicht berieben. H 35,4 cmAkt, Brandstetter, München, Expressionismus, Frau, Futurismus, geschweift, geschwungen, Tuch
Full title: Volodymyr Kovalov (1984): 'Evening', acrylic on canvas, dated 2022Description:Work: 50 x 40 cm The Ukrainian artist Volodymyr Kovalov (°2 June 1984, Kharkiv) studied at the Kharkiv State College of Art (1999-2004) and the Kharkiv State Academy of Design and Arts (2004-2010). Since 2012 he is a member of the National Union of Artists of Ukraine. He has exhibited regularly in Ukraine (since 2003) and also in Montenegro (2010, 2016), China (2012), France (2012), USA (2019, California Museum of Fine Art, California; Paul Scott Gallery, Scottsdale) and Serbia (2022 ). His work can be found in various private collections (a.o. Ukraine, China, USA, France, Germany, Montenegro, Switzerland, Russia), as well as in the collections of the National Art Museum of Ukraine and the California Museum of Fine Art. For more information, check Instagram.com/kovalovvn/" target="_blank">Instagram (@kovalovvn) and Facebook.
Full title: Peter Thijs (1624-1677): Christ carrying the cross, oil on canvasDescription: The description below is incomplete, the full description can be found on our website: www.coronariauctions.com Work: 157,5 x 120 cmFrame: 192,5 x 154 cmThe painting is accompanied by a certificate from Katlijne Van der Stighelen of December 1997 (prof. Dr. Katlijne Van der Stighelen (°1959) is a Belgian art historian. She is known for her research and publications on female artists in the Netherlands and portrait painting by the Flemish masters. Katlijne became a doctor in art history at KU Leuven in 1988, with a thesis on Anna Maria van Schurman. She was subsequently appointed associate professor in 1990, professor in 2001, and full professor in 2007 at the same university. In 2002, she held the Rubens Chair at Berkeley University for three months. Since 2003 she is a member of the Royal Flemish Academy of Belgium for Science and the Arts. In 2018 she was curator of 'Michaelina. The leading lady of the baroque', a retrospective that was part of Antwerp Baroque 2018 and was set up in collaboration with the Rubens House and Tourism Flanders, link).According to her, it is a contemporary copy after the painting with the same name by Antony van Dijck in the Antwerp Saint Paul's Church (ninth painting in the Rosary cycle, which consists of 15 paintings). In the publication of Jacobus de Wit (De kerken van Antwerpen (schilderijen, beeldhouwwerken, geschilderde ramen, enz., in de XVIIIe eeuw beschreven door Jacobus de Wit, Uitgaven der Antwerpsche Bibliophilen, nr. 25, Antwerp-’s Gravenhage, 1910, p. 57) the author speaks already about a copy after Van Dijck's original: 'Den volgenden klynen autaer tegens den Choor, heeft eene Cruysdraeginge door: A. Van Dyck geschildert, die eertyds tegen over den Predick-stoel gestaen heeft, onder de 15 Misterien van den Roosen Crans, daar nu een Copye in desselfs plaatse staet. Aen den Andere kant van het ocksael. Deze Schilderye is nu wederom, sedert eenighen tydt, op syn oude plaetse gebraght, en de Copye in den Autaer gestelt.’According to a 19th-C. 'Beschrijvinghe van de Cloosters, Autaeren, Epitaphiën, Schilderijen en Beelden, ende andere Variteyten in de Stadt van Antwerpen', Van Dijck's original no longer hangs in the cycle, but is on the altar of the Holy Cross ('Stuck verbelt de cruysdraeginge, een copije naer het stuck in h. cruysautaer, geschildert door eenen broeder Preekheere Thijssens'). This information is undoubtedly based on now disappeared source material from the archives of the Saint Paul's Church (see also: M. Robbroeckx, The fifteen Rosary paintings of the Sint-Pauluskerk in Antwerp, unpublished. Lic. Verh, Ghent, 1971-1972, p.15 ). If one traces the name Thyssens for the period in question in the guild lists of the Antwerp Guild of Saint Luke, one can find the name of a father and a son August Tyssens. Neither appears to have ever been 'Predikheer'. In 1631 a certain 'Augustyn Tysen, handelaer' (merchant) is registered. In the year 1653 the name of 'Augustyn Tysens, painter. Wynmeester', appears again (as the son of the preceding one). In a footnote, however, it is noted that he died on June 18, 1675 and came from the Saint-Andrew parish. Moreover, in 1669 'de huysvrouw van den jongen Augustyn Tyssens, (schilder)' was buried. In 1674/75 the painter himself dies and the death debt of a second wife is paid. His collection of paintings is known thanks to the publication of J. Denucé (De Antwerpsche “konstkamers”. Inventarissen van kunstevrzamelingen te Antwerpen in de 16e en 17e eeuwen, Antwerpen, 1932, pp. 264-267, per 14 juni 1675).On the basis of the information cited, it is therefore obvious to conclude that with regard to the copies it can also be said that 'Predikheer Tyssens' must be a mystification for the Antwerp painter Peter Thys (as also appeared earlier with regard to the piece in the KMSK in Antwerp). It is therefore this prolific baroque painter who may be referred to as the maker of the copy. It is probably no coincidence that theAntwerp Predikheren ordered a copy of Van Dijck's original from one of the most 'Dijckian' painters of the time. This observation is also confirmed by a remarkable affinity between the style idiom of Peter Thys and the execution of the painting. Study of the copy convinced me of the great stylistic qualities of the maker. The copy was certainly executed after Van Dijck's death as Peter Thys did not become master until 1645. Thus the copy can be placed in the mature 1650s/60s.
Full title: Carolina Friederica Friedrich (1749-1815): Flower still life with cherries, oil on canvas, dated 1780Description:Work: 40 x 28,5 cm Frame: 41 x 29,5 cm The painting signed and dated (1780?)on the stone base, just below the table top. Carolina was born in 1749 in the then still independent municipality of Friedrichstadt at the gates of Dresden, as one of the six children of Johanna Dorothea Günther and the wallpaper painter and etcher David Friedrich (1719-1766).She was trained by her father and her brother, the history painter Alexander Friedrich (1744-1793). Thanks to her skills, Carolinatook care of the family after the death of her father. After studying in nature, she specialized in still lifes, the quality of which also spread in academic circles. The art-loving Saxon diplomat Christian Ludwig von Hagedorn feared a waste of talent in view of the starving Friedrich family. Therefore, he campaigned energetically for Caroline, so that the Electoral Saxon Art Academy in Dresden awarded her a scholarship for hopeful art talents from 1770. Sponsored by the Saxon Elector Friedrich August III, she became honorary member of the Academy in 1774 and as a still life teacher she was the only woman to teach there since 1783.In contrast to the more matter-of-fact plant depictions of her brother Jacob, Caroline’s tempera brush drawings on toned paper unfold more splendidly and more colorfully, which prompted Duke Franz Friedrich Anton von Sachsen-Coburg-Saalfeld to buy thirty of her paintings. Her sponsor, the Princess Henriette Amalie von Anhalt-Dessau, the youngest daughter of the Old Dessau, also bought several pieces from her. These were incorporated around 1900 in the picture gallery of the Amalienstift Dessau. However, many of her works have remained lost to this day, including her painting 'Allegory of World Peace' with the embroidered motto 'Pax universalis 1800', which symbolized the year of peace in 1800 and attracted a lot of public attention – probably her only work outside the still life genre. Paintings by her hand later came to the collections of King Friedrich August II of Saxony. At the beginning of the 19th century, some of her pictures were included in the catalogs of the Dresden gallery. Today, the Kupferstichkabinett Dresden keeps a considerable number of drawings, watercolours and gouaches. (link)
Full title: Victoria Yakimova (1972): Winter landscape, oil on canvas, dated 2005Description:Work: 80 x 40,5 cm The Ukrainian artist Victoria Yakimova (°6 March 1972, Memerovo, Russia) studied at the children's art school in the city of Zhytomyr and graduated in 1991 from the Crimean Art School named after Samokish. In 1992, she moved to Bakhchisarai. As a member of the National Union of Artists of Ukraine, she is a welcome guest at numerous national and international exhibitions.
Full title: Ksenia Logvinenko (1993): 'Rododendron', acrylic on canvas, dated 2022Description:Work: 50 x 50 cm The Ukrainian artist Ksenia Logvinenko (°13 December 1993, Okhtyrka, Sumy region) studied at the Kharkiv State College of Art (2009-2013) and the Kharkiv State Academy of Design and Arts (2013-2018). Since 2012 she has exhibited in various cities in Ukraine, as well as in Montenegro (2016-2017), Poland (2022), Switzerland (2022, Art Basel), Serbia (2022) and Italy (2022, Biennale di Venezia). Her work can be found in various private collections (a.o. Ukraine, China, USA, France, Germany, United Kingdom, Poland, Montenegro, Croatia, Turkey, Switzerland and Russia). One of her works is part of the collection of the Sudkovsky Museum in Ochakiv, Ukraine. For more information, check Instagram.com/logvinenkoart/" target="_blank">Instagram (@logvinenkoart) and Logvinenko.54" target="_blank">Facebook.
Full title: Hendrik van Balen (1575-1632): Achilles is recognized among the daughters of Lycomedes, oil on copperDescription:Work: 73 x 46 cmFrame: 92 x 64 cm The painting depicts the discovery of Achilles by Odysseus. Thetis, Achilles' mother, wanted to prevent her son's participation in the Trojan war, and so, dressed in women's clothes, hid him among the daughters of Lycomedes of Skyros. Odysseus, well aware that Achilles was needed to win the war against Troy, managed to discover his true identity through a ruse. Odysseus is depicted here as a merchant who comes to offer beautiful objects, including weapons. While the daughters choose jewels, Achilles opts for the sword. The painter has depicted life at the court of Lycomedes and focuses the attention on Achilles, dressed as a woman, who has just unsheathed the sword. The theme was popular from the Italian renaissance onwards and was occasionally adapted in the Netherlands since the late 16th C. Interpreted allegorically, the Achilles theme illustrates absolute heroic virtue. Despite his mother's precautions, Achilles follows his true calling and will go to battle.Examples from the 17th C. are unusually numerous (e.g. Francken I, Sebastiaan Vranckx, Theodoor van Thulden, etc.). The version of P.P. Rubens (now Madrid, Prado, inv. no. 1661, canvas, 267 x 246 cm), on which Anton van Dijck probably also contributed, undoubtedly exerted a strong influence in the Antwerp artistic milieu. The painting offered must be situated in the same Southern Netherlands tradition. The decorative style of the figures and the enamel-like finish of the whole clearly point in the direction of the Antwerp painter Hendrik van Balen (1575-1632). Van Balen was a renowned painter in the early 17th C. During the performance of the Rosary Cycle in St. Paul's Church in Antwerp (ca. 1617), he received a remarkably higher wage than P.P. Rubens, Jacob Jordaens and Anton Van Dyck. Although he was a skilled painter, by contemporary standards his compositions seem somewhat linear and overloaded. However, the horror vacui is not really disturbing because of the colourful upholstery of the whole. As a theme, the scene presented here fits perfectly in his style idiom. Rubens' example, which was created shortly before 1620, was Van Balen's starting point for the structure of his composition. He has paraphrased Rubens's onset in the right half of his painting (note the backward-facing man in the right foreground and the touch of the left arm by the man further back who may be identified with Odysseus) and extended it to the left with colourful spectacle elements that should evoke the rich court life. Compared to Rubens, the psychological tension in Van Balen's version is less developed. The difference in size between the two paintings also contributes to a different interpretation of the traditional theme.That Hendrik van Balen worked out the theme of Achilles between the daughters of Lycomedes is apparent from a statement in Gerard Hoets' Catalog of Naamlyst van schilderyen met derzelfver pryzen', The Hague, 1752, in which a painting with the theme 'Achilles onder de Maagden, door van Baalen, het landschap van den Fluweele Breugel , zo goet en eel als ooit gezien is' (Achilles among the Virgins by Van Balen, the landscape byJan Breughel, as good as has ever been seen' is mentioned. The work is attributed to Hendrik van Balen and Jan Breughel I (1568-1625). The explicit mention of the landscape may suggest that this is not the version, although 'the landscape'caneventuallyrefer to the lavish still life in the foreground.The painting is accompanied by a certificate fromKatlijne Van der Stighelenof December 1997 (prof. Dr. Katlijne Van der Stighelen (°1959) is a Belgian art historian. She is known for her research and publications on female artists in the Netherlands and portrait painting by the Flemish masters. Katlijne became a doctor in art history at KU Leuven in 1988, with a thesis on Anna Maria van Schurman. She was subsequently appointed associate professor in 1990, professor in 2001, and full professor in 2007 at the same university. In 2002, she held the Rubens Chair at Berkeley University for three months. Since 2003 she is a member of the Royal Flemish Academy of Belgium for Science and the Arts. In 2018 she was curator of 'Michaelina. The leading lady of the baroque', a retrospective that was part of Antwerp Baroque 2018 and was set up in collaboration with the Rubens House and Tourism Flanders, link): "Moreover, the connection should be made with a painting of the same title from the museum of Aix-en-Provence. The painting has been reproduced very little but was associated with Hendrik van Balen some time ago (in the catalogue 'Le siècle de Rubens dans les collections publiques françaises', Paris, Grand Palais, 1977, p. 281, reference is made to the painting at Aix: Achille chez les filles de Lycomède). As far as composition is concerned, the work in question fully corresponds to the painting on offer. There may be two versions of the same theme. The way of working undeniably seems to betray Van Balen's own contribution. The doll-like structure of the women's faces, the recurring dark piercing eyes, the soft and somewhat plump-looking anatomy, the small hands with short parallel fingers: these are all stereotypical characteristics of Hendrik van Balen's mature style. The balanced dosage of the red parts and the frieze-like position of the protagonists are equally characteristic. Taking into account the chronology that appears in the extensive contribution of Ingrid Jost concerning the oeuvre of Hendrik van Balen (Ingrid Jost, 'Hendrick van Balen D. Ä. Versuch einer Chronologie der Werke aus den ersten zwei Jahrzehnten des siebzehnten Jahrhunderts unter besonderer Berücksichtigung der Kabinettsbilder', in: Nederlands Kunsthistorisch Jaarboek, 14, 1963, pp. 83-128), the work can be situated between 1620 and 1630. This dating is also confirmed by the relationship with Rubens' composition, which was created shortly before 1620."
Full title: Peter Thijs (1624-1677): Zephyr, oil on panelDescription:Work: 43,5 x 31,6 cm Zephyr (Zephyros or Zephyrus) is a Greek mythological figure. He was one of the four winds (Anemoi), and was the personification of the west wind, the gentlest of the winds. Zephyr is known as the fructifying wind, the messenger of spring.The Romans equated him with Favonius. (link) Peter Thijs (or Pieter Thys) became a master in Antwerp's Guild of St. Luke in 1644 and from around 1647 worked for Archduke Leopold William in Brussels and the House of Orange in The Hague. He executed allegorical and mythological compositions for both courts and was also active as a portrait painter. Later in his career Thijs concentrated mainly on religious compositions for the Antwerp religious community but also painted mythological scenes and portraits for individuals and the art trade in Antwerp. From the the beginning of his career, Thijs was greatly influenced by the later work of Van Dyck. This may be related to the fact that his early patrons were rulers whose taste was formed by Van Dyck's refined courtly style. Furthermore,Thijsalso was a student of Van Dyck. Inaddition, he also enjoyed his education in the workshops of Gonzales Coques and Artus Deurweerders. (link)
Full title: Willem Geets (1838-1919): Artist at work in the first real academy for women in Belgium, oil on canvasDescription:Work: 172 x 100,5 cm As a child, Willem Geets already had a clear drawing talent. He started his artistic studies at the Academy in Mechelen, later at the Academy of Antwerp. In Antwerp he was taught by, among others, Nicaise De Keyser, one of the most important painters of Flemish romanticism. He also received lessons from Léon Cogniet in Paris (1861-1863). In 1869 he was appointed director of the Academy in Mechelen. This institution played a major role in the training of sculptors for the Mechelen decorative furniture industry. He remained in office until 1891. His incomprehension of artistic innovation at his Academy was legendary. In 1886 he founded the Lucasgilde, an association for visual artists in Mechelen. Willem Geets is best known for his historical paintings. (link) Academies have long been a man's world. Men did not use female models until the mid-19th C. For the presence of women among the students we even have to wait until the end of the 19th C. (T. De Doncker,Hupsicheyt en hantgedaet. Kunstacademie en ambachtsgilden te Gent ca. 1748-1800, Ghent, 2013, p. 103; C. Goldstein, Teaching Art: Academies and Schools from Vasari to Albers, Cambridge, 1996, p. 162; M. Sterckx, "Agorafobie of 'agorafilie'? Publiek beeldhouwwerk van vrouwelijke makelij in Parijs, Londen en Brussel, 1750-1950”, in: Stadsgeschiedenis, III, 2008, 1, p. 2). The combination of a female model and a female artist makes the work presented here iconic and of great historical importance.
Full title: Pseudo-Simons: Still life with fruit, a lobster and a Wanli bowl, oil on canvas, second half 17th C.Description:Work: 75 x 60,5 cm Frame: 92 x 80,5 cm A lobster, grapes, hazelnuts, a cut lemon and shrimp on a silver plate, grapes, peaches, plums and cherries on a tazza and strawberries in a porcelain bowl, on a partly-draped table. Mr. Fred Meijer inspected the painting and suggested the artist Pseudo-Simons (verbal communication with Christie's Amsterdam, 7 July 2008). The painting is also included in the RKD-database (link). Pseudo-Simons is an invented name for the painter of more than a hundred unsigned still lifes with fruits and flowers. He was active in Antwerp ca. 1650-1680. During the 20th C., these works were often traded on the art market under the name Michiel Simons, which gave rise to the name Pseudo-Simons. (link) Provenance: - G.M. Clark, Cobourg (according to an inscription on the previous frame). - Christie's Amsterdam, Sale 2802 (Old Master Pictures), 10 November 2008, lot 82.
Full title: Flemish school, in the manner of Jheronimus Bosch (ca. 1450-1516): The magic scene, oil on panel, third quarter 16th C.Description:Work: 58 x 52 cm Our painting is made after the work 'The Conjurer', which is part of the collection of the Musée Municipal in Saint-Germain-en-Laye.There are different opinions about the Saint-Germain-en Laye work, since there are five known versions of the magician (Israel Museum, Jerusalem; Philadelphia Museum of Art, Private collection California; Musée Municipal, Saint-German-en-Laye; Coronari Auctions; link). Bosch connoisseur Charles de Tolnay attributed the copy in Saint-Germain-en-Laye to Bosch with some reserve. "Having had several occasions to re-examine the panel," he wrote, "I am inclined to regard it as an original." According to him, all other versions are derived from this panel. In 1958, the various versions of 'The Conjurer' were published and discussed by art historian Lotte Brand Philip. According to her, the Saint-Germain Magician is a non-faithful, highly simplified copy of a lost tondo, which had the same "additions" as a copy of 'The Conjurer' in Philadelphia. According to De Tolnay, however, the additions were not Bosch's, but were devised between 1540 and 1560. He also assumes that this is a youth work by Bosch. Later art historians are more cautious, as Max Friedländer described it as 'perhaps only an old copy', although he admits that the best example is in Saint-Germain. According to Ludwig von Baldass, this is a copy of an early work by Bosch. Dendrochronological research has now shown that it was created around 1502 at the earliest and therefore cannot be youth work. Bosch connoisseur Bernard Vermet therefore thinks that the work very likely originated in the vicinity of Bosch, which would be an indication of the existence of a studio. (link)The painting depicts how people are fooled by lack of alertness and insight, creating a 'spellbinding tension'. Theconjureron the right of the image captures his apt and diverse audience with a game ofcups and balls. The central character and true focus of the image is the man of rank in the forefront who leans in and is fixed on the pearl in the conjurer's hand while unaware of being relieved of hismoney purse. Bosch depicts the conjurer as a common criminal, luring in the prey. Beasts are used in the painting to symbolize human traits that allow for deception and victimization. Thelittle owlfrom the basket at the conjurer's waist signifies his intelligence. Frogsjumping out of the mouth of the central character represent the extent to which the victim let go of reason and gave in to bestial impulses. The child engrossed in our victim and the man stealing the money purse seems to exemplify theFlemishproverb: 'He who lets himself be fooled by conjuring tricks loses his money and becomes the laughing stock of children.' Another Flemish proverb, published and widely distributed ca. 1480 in Bosch's hometown of's-Hertogenboschabout the time of this painting, is: 'No one is so much a fool as a willful fool.' (link) In other words, the main theme of the work is credulity. In French, the work is called 'L'Escamoteur', which means both magician and pickpocket. The frogs probably illustrate the saying 'swallow a frog', which also refers to extreme credulity.(link)De Tolnay describes it as follows "At first one thinks they are witnessing a humorous incident of the well-known kind: a cunning magician makes frogs jump from the mouth of a simpleton, who does not notice that an accomplice of the magician is meanwhile robbing him of his purse. The stupidity and glee on the faces of the bystanders, their ridiculous seriousness, make an extremely comical impression on the outsider who sees through the game. But the anecdotal theme is overshadowed by the inner intentions of the artist: the group wholly succumbed to the magician's suggestive power becomes a symbol of humanity, defenseless at the mercy of ridiculous sorcery." (C. de Tolnay, Hieronymus Bosch. Het volledige werk, Alphen aan den Rijn, 1984, pp. 86-89).On an engraving by Balthasar van den Bosch from the mid-16th C., the representation is also clarified by the following caption:Och wat vintmen coenskens in tswerelts rondenDie door den guijckelsack wonder connen brouwenEn doen tuolck spouwen met hare loose vondenwonder op de tafele waer dore sij huijs houwendaeroen betrouwse niet tot gheene stondenwant verloordi oock borse tsoude brouwen. (link)Finally, what our version makes very exceptional is the coat of arms with the lion rampant on the robe of the figure on the far right. The appearance of the coat of arms of Flanders is particularly unique. The same representation occurs only rarely, among others in the judgment of Cambyses by Gerard David (The skinning, above the door in the background). It also shows that the work was more than likely commissioned. (link)
Full title: Pavlo Bedzir (1926-2002): Trees, mixed media on paper, dated 1996Description:Work: ca. 70 x 48,5 cm Frame: 86 x 64,5 cm The Ukrainian artist Pavlo Bedzir (°1926, Kalyny, Zakarpattia region) was trained by the artist Berecz Vilmos József (°1915). In 1946, he graduated from the Painting Department of the Uzhhorod College of Applied Arts, where his teachers were Fedir Manaylo, Ernest Kontratovych and Adalbert Erdeli. In the 1950s and 60s, an informal avant garde club was formed around the artist. Later on, he was persecuted by the Soviet power authorities for freethinking. In 1968, he joined the National Union of Artists of Ukraine. In 1996 winner of the I. Bokshai and A. Erdeli awards. His works are kept a.o. in the Transcarpathian Art Museum.
Full title: Vasily Bozhenko Artemievich (1936): Still life with chestnuts ('Chestnuts'), oil on board, dated 1990Description:Work: ca. 71,5 x 60,5 cm Frame: 79 x 68,5 cm The Ukrainian artistVasily Bozhenko (or Bojenko) Artemievich (°7 February 1936, Novoraysk, Kherson) studied at theDnipropetrovsk Art College (1963-1968) and the Odessa Pedagogical Institute, where he graduated in 1978. Hebecame a teacher of fine art at theBerislavsky Pedagogical School. He has exhibited regularly in Ukraine (Kiev, Odessa, Kherson, Kakhova, Berislav, etc.). In 1996, the Ukrainian television made a film abouthislife and work ('Thank you to the master').
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