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Lot 576
A collection of sporting books, including: Country Life Library Of Sport; Big Game Shooting, vol. 1; Sporting Memoirs Of Sir Claude Decrespigny; John Ball: Notes Of A Naturalist In South America; Bell: British Quadrupeds Second Edition; Gilbert White: The Natural History Of Selborne; Mrs. Gray's Mollusca, vols. 2 and 3; and another book titled An Alphabet Of Botany. (8)
Lot 495
A large brass cased moonphase calendar four glass carriage clockThe tooled dial plate with white enamelled chapter ring with Roman numerals, two white enamelled calendar dials and moonphase aperture, the twin fusee movement striking on a bell. 41 cm high. CONDITION REPORTS: Generally in good condition, expected wear, minor chips to three glass panels, pendulum lacking suspension slither, seems to be in working order.
Lot 3741
Published 1878 AD. Robertson, J. D., A Handbook to the Coinage of Scotland, George Bell & Sons, London, first edition; later library binding. 590 grams, 21 x 17cm. (8 1/4 x 6 3/4"). Ex libris Lord Stewartby (Ian Stewart); formerly Gloucester County Library. [No Reserve] Binding rubbed; contents fine.
Lot 50
5th-3rd century BC. A large ceramic bell krater with pedestal base, bell-shaped body, square handles and broad everted rim; the rim with a band of vine-leaves to the underside of the exterior; the body with two figural scenes separated by painted palmettes beneath the handles, running scroll beneath; Side A: a bare-chested male seated on a stool with white garland to the brow, neck and shoulder, white armring and bracelets, right hand extended towards a standing female with stephane and mantle to the left shoulder and arm holding a necklace in the left hand, frond in the right facing a second standing female with fan and frond; Side B: two males in loosely draped robes facing a female with one leg raised. Accompanied by an Art Loss Register certificate. 7 kg, 44cm (17 1/4"). From the estate of a deceased north country collector; acquired over a 30 year period from the early 1970s. South Italian vases are ceramics, mostly decorated in the red-figure technique, that were produced by Greek colonists in southern Italy and Sicily, the region often referred to as Magna Graecia. South Italian vases are divided into five wares named after the regions in which they were produced: Lucanian, Apulian, Campanian, Paestan, and Sicilian. South Italian wares, unlike Attic, were not widely exported and seem to have been intended solely for local consumption. Each fabric has its own distinct features, including preferences in shape and decoration that make them identifiable, even when exact provenance is unknown. Campanian vases were produced by Greeks in the cities of Capua and Cumae, which were settled by Greek colonists fleeing political unrest in the Sicilian city of Syracuse; both cities however remained under native control. Capua was an Etruscan foundation that passed into the hands of Samnites in 426 B.C. Cumae, one of the earliest of the Greek colonies in Magna Graecia, was founded on the Bay of Naples by Euboeans no later than 730–720 BC It, too, was captured by native Campanians in 421 BC, but Greek laws and customs were retained. The workshops of Cumae were founded slightly later than those of Capua, around the middle of the fourth century BC. The range of subjects is relatively limited, the most characteristic being representations of women and warriors in native Osco-Samnite dress. The armor consists of a three-disk breastplate and helmet with a tall vertical feather on both sides of the head. Local dress for women consists of a short cape over the garment and a headdress of draped fabric, rather medieval in appearance. The figures participate in libations for departing or returning warriors as well as in funerary rites. These representations are comparable to those found in painted tombs of the region as well as at Paestum. Fine condition.
Lot 1795
2nd-3rd century AD. A pale blue glass vessel with bell-shaped base and recessed underside, tapering tubular body with everted and folded rim. Cf. Whitehouse, D. Roman Glass in the Corning Museum of Glass, vol.1, New York, 1997, item 259. 57 grams, 15cm (6"). UK art market, acquired prior to 2000. Fine condition.
Lot 1798
1st century AD. A pale blue iridescent glass flask with bell-shaped body, dimple base, tapering neck, flared and rolled rim. Cf. Whitehouse, D. Roman Glass in the Corning Museum of Glass, vol.1, New York, 1997, item 247. 73 grams, 20.5cm (8"). UK art market, acquired prior to 2000. Fine condition, some surface accretion.
Lot 1846
13th-15th century AD. A mixed bronze bell group comprising: one tall with panels of raised pellets; one similar with raised arrowhead motifs; one similar with arrowheads and roundels with Greek text; one flared with pointillé detailing; one hemispherical. 819 grams total, 55-101mm (2 1/4 - 4"). Ex German collection; acquired 1980s. [5, No Reserve] Fine condition.
Lot 2169
6th century AD. A parcel-gilt bronze flat-section bell pendant with raised triangular panel and vertical rib, band of openwork running scrolls to one edge, scrolled loop fragment above; loop and one corner absent. Cf. MacGregor, A. & Bolick, E. A Summary Catalogue of the Anglo-Saxon Collections (Non-Ferrous Metals), Oxford, 1993, items 25.7, 25.8. 20 grams, 59mm (2 1/4"). Found Suffolk, UK. [No Reserve] Fair condition.
Lot 1543
5th-3rd century AD. A mixed group of blackware ceramics comprising: a footed dish with chamfered rim; a squat conical bowl with flared base, rolled rim; a bell-shaped cup with tiered base, loop handle to the shoulder; a small olpe with strap handle to the rear. 367 grams total, 8-13.5cm (3 1/4 - 5"). Property of an East Anglia gentleman; acquired on the London art market. [4] Fine condition.
Lot 1550
5th century BC. A creamware cup with narrow flared base, bell-shaped body and slightly flared rim, strap handle to the rim; circumferential painted concentric lines to the foot, equator and rim. 134 grams, 12cm (4 3/4"). Property of a London collector; acquired in the 1970s. [No Reserve] Fine condition.
Lot 1578
5th-3rd century BC. A mixed group of ceramic blackware vessels comprising: two footed dishes each with chamfered rim; a squat footed bowl; a bell-shaped cup with loop handle to the rim. 599 grams total, 8.5-14.5cm (3 1/4 - 5 3/4"). Property of an East Anglia gentleman; acquired on the London art market. [4] Fine condition.
Lot 1670
1st-3rd century AD. A restrung necklace of mainly very large glass beads, three rock crystal beads; three carnelian beads and a bell shaped glass bead with large white pattern to the front. 187 grams, 26cm (10 1/4"). Property of a professional gentleman, acquired 2011; formerly in a Russian private collection formed before 1950. [No Reserve] Fine condition.
Lot 1697
1st-4th century AD. A group of bronze plumb bob weights, each with a suspension loop and five with a conical shape, one drum-shaped, one bell-shaped, two lozenge-shaped and one tear drop-shaped. 201 grams, 20-50mm (3/4 - 2"). Property of a North London gentleman; previously in an important European collection. [10] Very fine condition.
Lot 1094
A FRENCH GREEN-VEINED MARBLE AND BRONZE MANTEL CLOCK, SCULPTURE BY AUGUSTE MOREAU, CIRCA 1850 BUYERS ARE ADVISED THAT A SERVICE IS RECOMMENDED FOR CLOCKS PURCHASED the 8cm cream enamelled dial with Arabic numerals, the backplate inscribed with a Japy Frère stamp, Japy Frère movement striking on a bell, the stepped marble case surmounted by a maiden in flowing robes, signed 'A. Moreau' on the base, applied with a plaque inscribed 'L'Aurore Par Moreau', the sides applied with trailing foliage, on bracket feet, distress 60cm high
Lot 735
Clément (Joseph Charles Louis) Sénèque (South African 1896-1930) PONT-LA-REDUIT signed with the artist's monogram and dated '20; signed, dated and inscribed with the title on the reverse oil on canvas PROVENANCE from the private collection of the artist's granddaughter 35,5 by 42cm Lot 735 – 739 are a selection of five fine oil paintings from the acclaimed yet brief production of the Mauritian born artist, Clément Sénèque. These works have not previously been offered on the market, having been in Switzerland in the Sénèque family collection since the early 20th century, thus providing a unique opportunity to acquire fresh works by the artist. It is appropriate that in the 21st century the work of Sénèque is enjoying renewed interest and that the impact of his short career has received the scholarly attention of two KwaZulu-Natal art historians, Dr Melanie Hillebrand and Brendan Bell. Trained in Paris at the École des Beaux Arts in architecture and town planning, Sénèque enjoyed recognition in his time as an architect and self-taught painter with a precise eye for architectural structure and details. He admired the work of Frank Brangwyn and locally that of Gwelo Goodman and Pierneef. His verdant landscapes of Kwa-Zulu-Natal, light drenched architectural studies and harbour scenes were most popular in South Africa, eventually earning him the distinction of having his work acquired by all the major local public art collections and the post of chairman of the Natal Society of Arts Sketch Club in 1926. His production was exceptionally brief in South Africa - only five years from 1925-1930 - before he died of pneumonia. “Sénèque’s importance to Natal, despite his relatively short career is immense. Numerous contemporaries and younger artists admired and copied his style, thus producing what might be described as a Natal school of the twenties”. - Melanie Hillebrand On offer are two Natal landscapes; lot 735 is the arresting view of an aqueduct-like stone bridge, partly illuminated in sun, set in a serene landscape of dark, reflective water against a tropical forested landscape, with wild banana fronds and weeping trees against a modulated aqua sky. Although the work is inscribed on the back, Pont-La–Reduit and dated 1920, it is unclear if the inscription is indeed by the artist, as the subject is most likely the KwaZulu-Natal south coast. The second landscape, lot 736, is Chimney Stack and Trees (1926), which presents an unusual view of a distant Durban harbour through a vista of elongated bare trees. A glowing red-orange set of chimney stacks is dramatically illuminated by an early winter sun, the entire composition set against a pale turquoise sky, affirming the artist’s pre-occupation with the sky in his African works. However, “His interest lay in the structural masses of the land and the intersecting lines established by the horizon and vertical forms of buildings.” Less familiar to local audiences are his earlier French Alps and Montagne scenes, painted while on honeymoon in the region, or shortly afterwards. The Durban Art Gallery acquired one such work, Mont Blanc from Sallaches, in 1927. Equally impressive is lot 737, a 1925 work entitled French Alps which was exhibited in the Sénèque retrospective at the Tatham Gallery, Pietermaritzburg in 1969, and was considered to be one of his finest works in notes made to the draft of the introduction to the accompanying catalogue. “In order to add textural interest Sénèque covered his canvas in sackcloth, adding depth to the composition of French Alps. Melanie Hillebrand, in her PHD dissertation argues that, “His bold use of tone gives the mountains a stereoscopic quality.” He produced many paintings, drawings and prints of the French Alps as a result of his happy memories at the time. He returned to Durban, where he encountered difficulties getting established as an architect – although highly regarded – with a young wife and child to support. Despite the challenges, this proved to be the highpoint of Sénèque’s career. Lot 739 is an enchanting vignette of Sacre Coeur (1923) - the iconic Montmartre landmark –which confirms Sénèque’s architectural training and disciplined eye. Ironically, Montmartre was the home to legendry French artists including the Impressionists, to whom Sénèqe was openly hostile, arguing against modernist tendencies. Similar to another work sold in these rooms in February 2012, Nuns Outside Sacre Coeur (c.1926) shows an almost identical view and treatment but with the addition of a passing group of nuns clad in dark habits. Finally, Still Life with Vessels (1930), lot 738, an unusual work for Sénèque so late in his career, is one of his last paintings, as the artist died on 30 April 1930 after a short but important and influential life as a landscape painter in early 20th century KwaZulu-Natal. - Berman, E., Art and Artists of South Africa , A.A. Balkema , Cape Town, 1970 - Hillebrand, M., Art and Architecture in Natal 1910 -1940, Unpublished Thesis, University of Natal, 1986, p 96. Tatham Gallery, Clément Sénèque, Pietermaritzburg, 1969 We are grateful for the kind assistance of Mr Brendan Bell in cataloguing lots 735 – 739
Lot 736
Clément (Joseph Charles Louis) Sénèque (South African 1896-1930) CHIMNEY STACKS AND TREES oil on board PROVENANCE from the private collection of the artist's granddaughter 32 by 19cm Lot 735 – 739 are a selection of five fine oil paintings from the acclaimed yet brief production of the Mauritian born artist, Clément Sénèque. These works have not previously been offered on the market, having been in Switzerland in the Sénèque family collection since the early 20th century, thus providing a unique opportunity to acquire fresh works by the artist. It is appropriate that in the 21st century the work of Sénèque is enjoying renewed interest and that the impact of his short career has received the scholarly attention of two KwaZulu-Natal art historians, Dr Melanie Hillebrand and Brendan Bell. Trained in Paris at the École des Beaux Arts in architecture and town planning, Sénèque enjoyed recognition in his time as an architect and self-taught painter with a precise eye for architectural structure and details. He admired the work of Frank Brangwyn and locally that of Gwelo Goodman and Pierneef. His verdant landscapes of Kwa-Zulu-Natal, light drenched architectural studies and harbour scenes were most popular in South Africa, eventually earning him the distinction of having his work acquired by all the major local public art collections and the post of chairman of the Natal Society of Arts Sketch Club in 1926. His production was exceptionally brief in South Africa - only five years from 1925-1930 - before he died of pneumonia. “Sénèque’s importance to Natal, despite his relatively short career is immense. Numerous contemporaries and younger artists admired and copied his style, thus producing what might be described as a Natal school of the twenties”. - Melanie Hillebrand On offer are two Natal landscapes; lot 735 is the arresting view of an aqueduct-like stone bridge, partly illuminated in sun, set in a serene landscape of dark, reflective water against a tropical forested landscape, with wild banana fronds and weeping trees against a modulated aqua sky. Although the work is inscribed on the back, Pont-La–Reduit and dated 1920, it is unclear if the inscription is indeed by the artist, as the subject is most likely the KwaZulu-Natal south coast. The second landscape, lot 736, is Chimney Stack and Trees (1926), which presents an unusual view of a distant Durban harbour through a vista of elongated bare trees. A glowing red-orange set of chimney stacks is dramatically illuminated by an early winter sun, the entire composition set against a pale turquoise sky, affirming the artist’s pre-occupation with the sky in his African works. However, “His interest lay in the structural masses of the land and the intersecting lines established by the horizon and vertical forms of buildings.” Less familiar to local audiences are his earlier French Alps and Montagne scenes, painted while on honeymoon in the region, or shortly afterwards. The Durban Art Gallery acquired one such work, Mont Blanc from Sallaches, in 1927. Equally impressive is lot 737, a 1925 work entitled French Alps which was exhibited in the Sénèque retrospective at the Tatham Gallery, Pietermaritzburg in 1969, and was considered to be one of his finest works in notes made to the draft of the introduction to the accompanying catalogue. “In order to add textural interest Sénèque covered his canvas in sackcloth, adding depth to the composition of French Alps. Melanie Hillebrand, in her PHD dissertation argues that, “His bold use of tone gives the mountains a stereoscopic quality.” He produced many paintings, drawings and prints of the French Alps as a result of his happy memories at the time. He returned to Durban, where he encountered difficulties getting established as an architect – although highly regarded – with a young wife and child to support. Despite the challenges, this proved to be the highpoint of Sénèque’s career. Lot 739 is an enchanting vignette of Sacre Coeur (1923) - the iconic Montmartre landmark –which confirms Sénèque’s architectural training and disciplined eye. Ironically, Montmartre was the home to legendry French artists including the Impressionists, to whom Sénèqe was openly hostile, arguing against modernist tendencies. Similar to another work sold in these rooms in February 2012, Nuns Outside Sacre Coeur (c.1926) shows an almost identical view and treatment but with the addition of a passing group of nuns clad in dark habits. Finally, Still Life with Vessels (1930), lot 738, an unusual work for Sénèque so late in his career, is one of his last paintings, as the artist died on 30 April 1930 after a short but important and influential life as a landscape painter in early 20th century KwaZulu-Natal. - Berman, E., Art and Artists of South Africa , A.A. Balkema , Cape Town, 1970 - Hillebrand, M., Art and Architecture in Natal 1910 -1940, Unpublished Thesis, University of Natal, 1986, p 96. Tatham Gallery, Clément Sénèque, Pietermaritzburg, 1969 We are grateful for the kind assistance of Mr Brendan Bell in cataloguing lots 735 – 739
Lot 739
Clément (Joseph Charles Louis) Sénèque (South African 1896-1930) LA BASILIQUE DU SACRE COEUR DE MONTMATRE signed and dated 23 oil on board PROVENANCE from the private collection of the artist's granddaughter 40 by 32,5cm Lot 735 – 739 are a selection of five fine oil paintings from the acclaimed yet brief production of the Mauritian born artist, Clément Sénèque. These works have not previously been offered on the market, having been in Switzerland in the Sénèque family collection since the early 20th century, thus providing a unique opportunity to acquire fresh works by the artist. It is appropriate that in the 21st century the work of Sénèque is enjoying renewed interest and that the impact of his short career has received the scholarly attention of two KwaZulu-Natal art historians, Dr Melanie Hillebrand and Brendan Bell. Trained in Paris at the École des Beaux Arts in architecture and town planning, Sénèque enjoyed recognition in his time as an architect and self-taught painter with a precise eye for architectural structure and details. He admired the work of Frank Brangwyn and locally that of Gwelo Goodman and Pierneef. His verdant landscapes of Kwa-Zulu-Natal, light drenched architectural studies and harbour scenes were most popular in South Africa, eventually earning him the distinction of having his work acquired by all the major local public art collections and the post of chairman of the Natal Society of Arts Sketch Club in 1926. His production was exceptionally brief in South Africa - only five years from 1925-1930 - before he died of pneumonia. “Sénèque’s importance to Natal, despite his relatively short career is immense. Numerous contemporaries and younger artists admired and copied his style, thus producing what might be described as a Natal school of the twenties”. - Melanie Hillebrand On offer are two Natal landscapes; lot 735 is the arresting view of an aqueduct-like stone bridge, partly illuminated in sun, set in a serene landscape of dark, reflective water against a tropical forested landscape, with wild banana fronds and weeping trees against a modulated aqua sky. Although the work is inscribed on the back, Pont-La–Reduit and dated 1920, it is unclear if the inscription is indeed by the artist, as the subject is most likely the KwaZulu-Natal south coast. The second landscape, lot 736, is Chimney Stack and Trees (1926), which presents an unusual view of a distant Durban harbour through a vista of elongated bare trees. A glowing red-orange set of chimney stacks is dramatically illuminated by an early winter sun, the entire composition set against a pale turquoise sky, affirming the artist’s pre-occupation with the sky in his African works. However, “His interest lay in the structural masses of the land and the intersecting lines established by the horizon and vertical forms of buildings.” Less familiar to local audiences are his earlier French Alps and Montagne scenes, painted while on honeymoon in the region, or shortly afterwards. The Durban Art Gallery acquired one such work, Mont Blanc from Sallaches, in 1927. Equally impressive is lot 737, a 1925 work entitled French Alps which was exhibited in the Sénèque retrospective at the Tatham Gallery, Pietermaritzburg in 1969, and was considered to be one of his finest works in notes made to the draft of the introduction to the accompanying catalogue. “In order to add textural interest Sénèque covered his canvas in sackcloth, adding depth to the composition of French Alps. Melanie Hillebrand, in her PHD dissertation argues that, “His bold use of tone gives the mountains a stereoscopic quality.” He produced many paintings, drawings and prints of the French Alps as a result of his happy memories at the time. He returned to Durban, where he encountered difficulties getting established as an architect – although highly regarded – with a young wife and child to support. Despite the challenges, this proved to be the highpoint of Sénèque’s career. Lot 739 is an enchanting vignette of Sacre Coeur (1923) - the iconic Montmartre landmark –which confirms Sénèque’s architectural training and disciplined eye. Ironically, Montmartre was the home to legendry French artists including the Impressionists, to whom Sénèqe was openly hostile, arguing against modernist tendencies. Similar to another work sold in these rooms in February 2012, Nuns Outside Sacre Coeur (c.1926) shows an almost identical view and treatment but with the addition of a passing group of nuns clad in dark habits. Finally, Still Life with Vessels (1930), lot 738, an unusual work for Sénèque so late in his career, is one of his last paintings, as the artist died on 30 April 1930 after a short but important and influential life as a landscape painter in early 20th century KwaZulu-Natal. - Berman, E., Art and Artists of South Africa , A.A. Balkema , Cape Town, 1970 - Hillebrand, M., Art and Architecture in Natal 1910 -1940, Unpublished Thesis, University of Natal, 1986, p 96. Tatham Gallery, Clément Sénèque, Pietermaritzburg, 1969 We are grateful for the kind assistance of Mr Brendan Bell in cataloguing lots 735 – 739
Lot 81
Various A COLLECTION OF BOOKS ON EARLY SOUTH AFRICAN ARTISTS Including the following: *Bowler, T. W. PICTORIAL ALBUM OF CAPE TOWN, WITH VIEWS OF SIMONS TOWN, PORT ELIZABETH AND GRAHAMSTOWN. Struik, Cape Town, 1984 *Simons, P. B. THE LIFE AND WORKS OF CHARLES BELL Fernwood, Cape Town, 1998 *Carruthers, J. & Arnold, M. THE LIFE AND WORK OF THOMAS BAINES Fernwood Press, Cape Town, 1996
Lot 888
A SET OF FOUR CHINESE ‘WINTER’ WINE CUPS each of upturned bell-shape, the interiors painted with plants issuing from rocks in under-glaze blue, wild orchid, plum blossom, bamboo, pine and chrysanthemum, all within a double ring, the lip brushed with blue, the exterior in 'café au lait' glaze, four character seal mark, minor wear 7,5cm diameter (4)
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