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Click here to subscribeTerence P. Flanagan PPRUA RHA (1929-2011)The King's House, Inishmurray (1981)Oil on canvas, 57 x 91cm (27½ x 35¾'')SignedExhibited: Belfast, Ulster Museum Retrospective, Nov 1995-Feb 1996, illustrated in catalogue p.74.Literature: S. Brian Kennedy, ‘T.P.Flanagan Painter of Light and Landscape’, Lund Humphreys, 2013, illustrated p.116.
William H Bartlett (British, 1858-1932)Returning from the Fair, Co. Galway 'To the periodical Markets, held on the mainland, the inhabitants of the outlying islands are often obliged (owing to the smallness of the boats) to tow their cattle after them.'signed and dated 'WHBARTLETT 1888' (lower right)oil on canvas87.5 x 142cm (34 1/2 x 55 7/8in).Footnotes:ProvenancePrivate collection, South Africa.ExhibitedLondon, Grosvenor Gallery, 1888, no. 21.LiteratureHenry Blackburn, Grosvenor Notes, 1888, 1888, p. 10.The Daily Telegraph, 'The Grosvenor Gallery - Second and Concluding Notice', 2 May 1888, p. 5.Ida Hector, Cheltenham Examiner, 'The Grosvenor Gallery', 2 May 1888, p. 2.Truth, 'The Grosvenor Gallery', 3 May 1888, p. 18.The Graphic, 'The Grosvenor Gallery', 5 May 1888, p. 11.The Athenaeum, 'The Grosvenor Gallery – Second and Concluding Notice', 19 May 1888, p. 638.WH Bartlett, 'Coast Life in Connemara', The Art Journal, 1894, p. 248, illustrated.In the nineteenth century a drama was frequently enacted in the west of Ireland. Having acquired their livestock at local fairs, smallholders, who tenanted land measured in terms of 'a cow's grass', would ferry their cattle to offshore island pastures.1 This perilous task of transporting their purchases across deep treacherous sounds enabled their mainland soil to revive after a hard winter, and while one or two sheep or a young calf might be accommodated in a wooden curragh, or Galway hooker, neither was large enough to take several cattle. These animals had, effectively, to be towed to their new homes, their heads held firmly above the water level as in William Henry Bartlett's Returning from the Fair, Co. Galway. The authenticity of his painting is such that the heave of the long oars breaking the silver-grey waters can almost be felt. Bartlett's first encounter with the west of Ireland came when he accompanied the American painter, Howard Helmick, probably in the summer of 1878.2 So captivated was he, that after spending a winter in Munich, a further session at the atelier Julian, a season at Grez-sur-Loing, and visits to Venice and St Ives, Bartlett returned to Connemara around 1886 to paint The Last Brief Voyage (sold in these rooms, 10 July 2013, lot 115) for the Royal Academy of the following year. This sombre subject, based on an actual burial, sat within an almost lifelong commitment to the hard life endured by peasant farmers of the west. Attending the local fairs where sheep and cattle were exchanged, and witnessing vigils at wayside shrines, 'marked a mile-stone in my artistic life' he later wrote.3Arriving in Roundstone in county Galway, with its majestic backdrop of the Twelve Bens, he recalled that 'my first sight of the beaches nearby made an unforgettable impression'.4 He was instantly charmed by the 'luminous opalescent grey sky' and the 'sea of the tenderest translucent green' – all effects that are seen in the present work.5 Some critics who reviewed the painting when it appeared in the Grosvenor Gallery in 1888, thought this must have been a scene in Scotland, but the light of Connemara was unmistakable. It was left to The Graphic to point out that the occupants were Irish and that the picture was 'firmly painted and effective'. This was translated as 'dash and vigour' in The Daily Telegraph, while The Athenaeum found this 'a capital subject', the treatment of the sea being 'somewhat rough' and 'the designing of the figures...excellent'.The mistaken identity of people and place is, however, not insignificant. So pervasive was the imagery associated with the Irishman and his domain, that the rugged beauties of the Connemara went largely unrecognized. Faced in a prestigious exhibition, surrounded by cognoscenti and London's bourgeoisie, most Grosvenor Gallery visitors would only have the sketchiest idea of life in the estuary at Roundstone or on Galway's offshore islands. The heroism of Synge's Aran Islanders, Yeats's Man from Aranmore, 1905, and Orpen's Nude Pattern, The Holy Well, 1916 (both National Gallery of Ireland) was yet to come. Bartlett noted how superstition led to suspicion when he tried to find models or observe scenes like these. And were it not for the 'entrancing beauty' of the 'strands of pearly white sand' and 'exquisitely delicate green of the sea combined with the lovely blue of the Connemara mountains', he may have returned permanently to the crowded Venetian calli or the val-de-Seine and been less of a painter. Indeed, such was the significance of the present imagery that he looked for it elsewhere in works such as A Breezy Crossing, 1983 (Cartwright Hall, Bradford City Art Galleries and Museums). Crossing the Seine at Caudebec with your flock was however an adventure of different order and while similar scenes could be witnessed in Donegal when Bartlett went there in the early years of the new century, Returning from the Fair, Co Galway, was the classic canvas from which others derived. 1WH Bartlett, 'From and Island in the West', The Art Journal, 1908, p. 258.2The contrast between Helmick's more traditional Wilkie-esque depictions of Irish life and Bartlett's modern, heroic men and women of the west is noteworthy.3William Henry Bartlett, Impressions and Adventures of an Artist, n.d. [c.1920] (unpublished typescript, Private Collection), pp. 55-6.4Ibid.5 WH Bartlett, 'The West Coast of Ireland', in Charles Holme, ed., Sketching Grounds, 1909 (Studio Special Number), p. 120.We are grateful to Professor Kenneth McConkey for compiling this catalogue entry.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Petrus van Schendel (Belgian 1806-1870)The Noordermarkt by Night, Amsterdam signed and dated 'P.vanSchendel/1840' (lower right)oil on panel96.3 x 79.3cm (38 x 31 1/4in).Footnotes:ProvenanceAverilla van Ryswick Lambert (1848-1918), Maryland, USA.Wilton Lambert (1871-1935) and Elizabeth Gorman Lambert (1876-1959) (by descent from the above).Private Collection, UK (by descent from the above).Anon. sale, Sotheby's, London, 16 November 2005, lot 259.With MacConnal-Mason Ltd., London .Anon. sale, Sotheby's, London, 9 July 2019, lot 52.Acquired from the above sale by the present owner.Painted in 1840, during the artist's Hague period (1839-1845) when he really showed what he was capable of, this large panel is a spectacular example of the masterful chiaroscuro technique of Petrus van Schendel. Widely known for night time market scenes illuminated by candlelight, the artist has presented the viewer with a scene of the Noordermarkt in Amsterdam. Situated on the Prinsengracht, the Noordermarkt had been a flourishing market for food, textiles and other commodities since the early 17th century. The tower of the Noorderkirk completed in 1623 can be seen in the background. In a slight departure from his usual subject matter van Schendel has chosen to portray a street vendor offering cutlery, trinkets and other household objects. A woman is shown bargaining over a jewellery box while a young man examines other objects on offer. Throughout the composition various light sources illuminate the mass of people gathered at the market as the moon rises in the distance. A cheese stall can be seen on the right, the relaxed vendor enjoying his pipe as a bonneted woman considers the cheese laid out on the table. Here the direct light source is hidden from the viewer but still illuminates this part of the narrative.We are grateful to Jan de Meere for his assistance in cataloguing this lot.For further information on this lot please visit Bonhams.com
Ramón Tusquets y Maignon (Spanish, 1838-1904)Le Opere, Campiña Romana signed, inscribed and dated 'R Tusquets/Roma 1871.' (lower right)oil on canvas129.5 x 259cm (51 x 102in).Footnotes:ProvenanceEduardo de Carandolet Donado y Castaños, Marqués de Portugalete and Duque de Bailén, Madrid, acquired at, or soon after, the Exposición Nacional de Bellas Artes, Madrid, 1871.Señor Don Gustavo Baüer, Madrid, by at least 1898.Domingos Demarchi, Rio de Janeiro, Brazil and thence by decent to his great grandchildren, the present owners.ExhibitedMadrid, Exposición Nacional de Bellas Artes, 1871, no. 543, where it was awarded a second-class medal.London, Guildhall, Corporation of London Art Gallery, Exhibition of the works by the Prominent painters of Spain, 1901, as The Roman Campagna (Peasants working in the Field), listed as property of Señor Don Gustavo Baüer (exhibition label attached to the reverse).LiteraturePeregrin García Cadena, La Ilustracion de Madrid, vol. 43, p. 292, showing a full-page illustration and p. 334: 'Mr. Tusquets is the one who has surprised this time an episode of that naturalness in the middle of a Roman countryside. Who has not admired that well-ordered composition, that movement so perfectly understood, that impeccable harmony of tone and light, that intelligence of perspective, that general character of truth and naturalness that the photograph of the painting seems to produce? The grouping of the figures, the grandiose effect of the dark light, the delicate accord of the tones and the colours, the refined touch; everything is beautiful in Mr. Tusquets' painting, everything is well expressed, well arranged and executed to perfection.'Manuel Cañete, La Ilustracion Española y Americana, 1871, vol. XXX, p. 524 showing a full-page illustration of the work and vol. XXXVI, p. 614: 'Don Ramon Tusquets, a native of Barcelona, is well placed in the pavilion of Catalan painters. A single painting by him has been shown at the exhibition, but it is worth many, Le Opere Campiña Romana (number 543) is, indeed, a piece of great merit, which none of the other exhibits exceed in quality. It is bewildering therefore the way of distributing the prizes has deprived Tusquets of a first-class medal. Nobody deserved it more, neither for the way of imagining his work, nor for the way of drawing and executing it. The painting of the Roman peasants tilling the land is a new confirmation of the theory so many times demonstrated in practise that the simple representation of nature is enough to produce a beautiful artistic creation, without the need to turn painting into an interpretation of philosophical concepts or abstractions of any genre. What simplicity, what truth, what light, what admirable local colour in the statuesque form of the figures and in the harsh aspect of the landscape! How well understood is the aerial perspective and the gradation of colours. How much harmony in the canvas of Tusquets! There, everything lives with the life of reality and with that of art.'Anon, Correspondencia de Bellas Artes – Raimundo Tusquets, Rome, 24 October 1874, in Revista Europea, no. 38, 1874, p. 93: 'At the Exhibition of 1871 we again saw the appearance of Tusquets' signature in the painting Los Campesinos Romanos. The artist has made a giant step. Nothing so beautiful, nothing so pleasing as that delicious painting, in which one does not know what to admire more - the naturalness and simplicity with which the subject matter was developed or the accuracy of the attitude and expression of the figures; or the correctness or the drawing; or the appropriateness and freshness of the colour; of the diaphanous light and soft atmosphere that bathes it; or the harmony of the whole. That painting was one of the best in that exhibition, and in front of it was constantly seen a group of admirers almost as numerous as the ones that were attracted by La Lucrecia, by Rosales; Santa Clara by Domingo; the Tres de Mayo by Palmaroli, or the Muerte de Seneca by Dominguez.The admirable instinct that leads our people to contemplate the works of art, stopping always in front of the best, without realizing the reason for this, meant that the Tusquets painting had admirers, not just among intelligent people who appreciate and rationalise in detail what the merits and the defects that a painting may have, but among the popular classes that are guided by instinct and appreciate the impression they receive. Nevertheless neither could appreciate that painting well enough because to appreciate it in all its truth, it was necessary to know the country where it was created; it was necessary to have seen these peasants of Roman agriculture engaged in their work; it was necessary to have contemplated these fields with their dark colour, these humid and unhealthy lands; it was necessary have seen this white, soft, pearly light of Roman dawns, a special light that is very different from ours. Everything was captured in that painting with an exactitude, breathtakingly and charmingly beautiful; this could not be gauged by someone in Spain who did not know this country in detail, and yet the picture was admired by all, and Tusquets got an enviable triumph that further strengthened his reputation as an artist. Not even the humorous critic who caused so much hurt to many of the works presented in that exhibition, not speaking of the good qualities of the pictures, but ruthlessly siting any defect, found nothing in the Tusquets that would fuel his scathing jokes. No, I spoke wrong; something occurred in a detail in the background, and precisely in a detail that gave extraordinary truth to the whole, and which the critic had missed seeing to know little of the customs of the Roman peasants.'Alfred George Temple, Modern Spanish Painting, being a review of some of the chief painters and paintings of the Spanish school since the time of Goya, 1898, pp. 48-9: '[Tusquets'] landscapes are very distinctive in character; one of his best examples, rich in colour and firm in delineation, being The Roman Campagna, a large work in the collection of Señor Bauer, in Madrid. Many medals and other distinctions have been awarded to him.'Cien años de pintura en España y Portugal (1830-1930), 1993, p. 72, noting that the work was 'awarded a second-class medal and was acquired by the Marqués de Portugalete.'Photographed by the French photographer Jean Laurent (1816-86), of which there is an example in the Biblioteca Nacional de España, Madrid.Ramón Tusquets' magnificent oil Le Opere, Campiña Romana was painted in Rome, about six years after he had left his Spanish homeland in circa 1865 to live and work in Italy. Keen to maintain his native connections, Tusquets often sent his work to the Spanish exhibitions, of which this was one. It was shown in 1871 at the Exposición Nacional de Bellas Artes, Madrid, where it was awarded a second-class medal. The critics and public alike were unanimous in praising this tour de force for its beauty, harmony, light, colour and naturalism. As some of the reviews noted, Tusquets' achievement drew both on his native artistic heritage and on his more recent understanding of Italian cultur... This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Henry Ryland, RI (British, 1856-1924)Christ in the garden of Gethsemane signed and dated 'HENRY RYLAND/1890' (lower right)pencil137 x 64cm (54 x 25 1/4in).Footnotes:ProvenanceSt Michael's School, Otford (the school's founder and friend of the artist, Rev'd Arthur Tooth).Private collection, UK (acquired from the above).Henry Ryland began his formal training at the South Kensington School of Art before going on to attend the Heatherley School of Fine Art. He completed his training under Gustave Boulanger and Jules Joseph Lefebvre at the Académie Julian in Paris. When looking at Ryland's work, one can sense the influence of his education, as although there is a distinct Britishness to his subjects and composition, there is also a level of detail and quality to his draughtsmanship commensurate with training under two of the finest Orientalist painters in Europe. Throughout his career he turned his hand to a broad spectrum of artwork, including his widely exhibited oils and watercolours, but also as a designer in stained-glass, and illustrator for books and print adverts, notably for Pears soap.The present works (lots 58-60) showcase the truly wonderful quality of Ryland's draughtsmanship – so fine, with light, weight, and form beautifully observed. Not only do these drawings highlight his abilities as an artist but they also epitomise the combination of influences that can be seen to run through much of his career; notably, the neo-Classicism of Sir Lawrence Alma-Tadema, which can be seen in the drapery and robes; the aestheticism of Albert Moore, seen in the tall composition of standing figures similar to Moore's female studies; and finally, the Pre-Raphaelites, and the religious subject matter which they often espoused. These are truly exceptional examples of not only Ryland's skill as a draughtsman, but also his awareness and sensibility towards those other artists working in Britain throughout his career.For further information on this lot please visit Bonhams.com
George Vicat Cole, RA (British, 1833-1893)A cornfield signed with monogram and dated '18VC69' (lower left)oil on canvas51 x 76.5cm (20 x 30 1/8in).Footnotes:ProvenanceSir Eugene Gorman, KBE, MC, barrister and brigadier (1891-1973), circa 1920-50.To his son, Pierre Gorman (1924-2006).To the father of the present owner, thence by descent.Private collection, Australia.The present lot is a stunning example of Vicat Cole's harvest paintings, a series which commenced with the artist's 1860 painting Harvest Time (Bristol Museum and Art Gallery), a work lauded by critics as displaying 'truth to nature, breadth of treatment and general harmonious colouring'.1 The 1860s saw Cole, a pure landscape painter in the manner of John Linnell, working in a style sympathetic to the Pre-Raphaelitism espoused by Ruskin: 'a minute attention to detail and a concentration on bright local colour and direct light with a minimum of shadow'.2Probably painted in the Surrey Hills that Cole knew and loved, the present lot was executed in 1869, by which time the artist was highly regarded, and on the verge of being elected ARA, an accolade not to be understated, given the paucity of landscape painters represented at the time. As Tim Barringer notes, 'Cole was fortunate in laying his claim to Academic honours at a time of popular outcry concerning the Royal Academy's lack of support for English landscape painters.'3 Cole would spend the next decade of his career chasing election to full Academician, which he achieved in 1880.1R Chigwell, Life and Paintings of George Cole, R.A., London, 1896, vol. 1., p. 7.2T J Barringer, The Cole Family: Painters of the English Landscape, Over Wallop, 1988, p. 79.3Ibid. p. 84.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Carl Vilhelm Holsøe (Danish, 1863-1935)Interior with a woman embroidering signed 'C Holsöe' (lower right)oil on canvas58.5 x 54cm (23 x 21 1/4in).Footnotes:ProvenanceWith Richard Green Fine Paintings, London, no. RH 1176.Carl Vilhelm Holsøe, a talented Danish painter of interiors, was born in western Denmark and began his formal training in Copenhagen in 1882. It was during this time that he became acquainted with Vilhelm Hammershøi, a contemporary fellow artist and countryman. Their life-long friendship and association is evident in their influence on each other's work. Holsøe painted landscapes and still lives, but became best known for his realistic interior scenes, mainly of his own household; quite often using his wife, Emile Heise, as the sitter.Holsøe developed a genre of painting faithful to the tranquillity and quiet beauty of the domestic home. The minimally furnished interior compositions often include a figure which is typically turned away from the viewer, with strategically placed objects that reflect Danish modernism of the time. These interior compositions evoked the sensibility of the Dutch masters of the 17th century which reveal a strong structural sense, precise vision and first-hand observation of the room and the light.For further information on this lot please visit Bonhams.com
Jan van Beers (Belgian, 1852-1927)Après le bal signed 'JAN VAN BEERS' (lower left)oil on canvas141 x 251cm (55 1/2 x 98 3/4in).Footnotes:ProvenancePrivate collection, Spain.ExhibitedLondon, Salon Parisien, 1886, as The Awakening Beauty.Paris, Gallery Durand-Ruel, Spring 1888.Jan Van Beers was born in Lier, near Antwerp, in 1852. He studied at the Royal Academy in Antwerp, where he quickly gained a reputation as an exceptionally gifted but eccentric artist. He started his career as a painter of historical scenes like The Funeral of Charles the Good (1876, Petit Palais, Paris) and Emperor Charles V as a Child (1879, Royal Museum of Fine Arts, Antwerp), but also produced a number of genre scenes and portraits. In the late 1870s, Van Beers moved to Paris and gradually started concentrating on modern subjects, often scenes with fashionable and coquettish women, loosely reminiscent of Alfred Stevens' mondaines and demi-mondaines but also frequently with a hint of satire or risqué innuendo. Van Beers's technically brilliant work of the time often combines an extremely detailed and highly finished type of photorealism with passages of more expressive and adventurous brushwork. It brought him commercial success in Paris, London and the rest of Europe, as well as the US, and made him a popular guest at fashionable parties and soirées. Van Beers also found himself, however, in the centre of a string of scandals, which concerned the alleged use of photography in his work and some of his commercial deals and practices. In his later years, Van Beers focused on landscape painting. He died at his country house in Fay-aux-Loges, France, in 1927.Après le bal is a striking example of Van Beers's work during the Parisian years. In 1886 it was exhibited in London, at the Salon Parisien in New Bond Street, as The Awakening Beauty. It was also part of Van Beers's solo-show at the Galerie Durand-Ruel in 1888, now with its present title. The highly suggestive subject of the painting was shocking to the eyes of many contemporary critics. The painting shows a beautiful young woman stretched out on a furry couch, her sumptuous ball dress carelessly thrown aside, her shoes and light-blue silk stockings on the ground in front of her, next to a book with a yellow cover and what seems to be a green cigarette purse. The woman's nakedness (rather than idealised nudity) is emphasised by her pearl choker necklace and the bracelets on her arms. A magnificent feathery fan is attached by a string to one of her bracelets, as if she may still need to cool herself with it. The woman shamelessly meets our gaze with one eye and even seems to stretch out an elegant foot in our direction. There can be little doubt as to what she is: she is a beautiful and seductive coquette, literally shown here as a grande horizontale who has returned from a ball, where she must have attracted as much attention as she does in the painting.Après le bal is more than a titillating depiction of a Parisian demi-mondaine, however. It is also an aesthetic, almost Whistlerian colour experiment. The painting's restrained colour scheme has an extremely limited range: apart from the dark patches on the rug on the couch, colours range from a very pale type of yellow to a soft kind of pink, punctuated only by the green of the purse, the bright yellow of the book cover, the light-blue of the stockings and the red of the woman's mouth. Van Beers was very particular about the sensorial effect the painting would create. At the Salon Parisien in London, where the painting was one of the eye-catchers, it was hung in an especially designed dark alcove, framed by dark green hangings and spotlit from above with an electrical light behind a stretched piece of pink paper.We are grateful to Jan Dirk Baetens for compiling this catalogue entry.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Albert Chevallier Tayler, RBC (British, 1862-1925)The caricature signed and dated 'A. CHEVALLIER TAYLER. 1887.' (lower left)oil on canvas53.5 x 76.5cm (21 x 30 1/8in).Footnotes:ProvenanceWith Williams & Son, London.Private collection, UK (acquired from the above the present owner, circa 1950s).'It is in their studies of interiors no less than in their open-air work that the Newlyn school prove their love of truth'1. So wrote Alice Meynell, the first serious chronicler of the painters in the west Cornwall fishing village in 1889, when addressing the work of Albert Chevallier Tayler. The artist had achieved a notable success at the Royal Academy in 1887, with Bless, Oh God, these Thy gifts to our use (sold Bonhams New York, 4 May 2016, lot 88) portraying a humble mealtime in a fisherman's cottage – a painting that was sometimes referred to as 'Grace before Meat'. Predating Frank Bramley's A Hopeless Dawn (1888, Tate) and Stanhope Forbes's A Village Philharmonic (1888, Birmingham Art Gallery), the telling details and subtilties of light and space made Tayler's work a classic for Mrs Meynell. She noted the singular beauty of the young mother and the accurate observation of the baby 'as it turns its head to sleep'. The Academy painting was immediately purchased by the dealer, Arthur Tooth, who clearly made visual connections between this work and his current stock of contemporary Venetian pictures, headed by those of Cecil van Haanen, Luigi Nono and Ettore Tito2. And while Italian comparisons were made at this time with Bramley's paintings, had Tooth delved deeper into the contents of Tayler's studio, the general affiliation would have been confirmed. In the summer of 1887, the dealer was prepared to sponsor Tayler's trip to Venice. Although, in the following exhibition season, pictures such as A Council of Three (sold in these rooms 23 January 2013, lot 96) and A Dress Rehearsal (Lady Lever Art Gallery, Port Sunlight) were sometimes thought to have been painted during his few months in Venice, the discovery of the present canvas tends to discount this3. While The Caricature shares the same setting as these two later paintings, it is likely to predate the artist's Venice expedition4. Furniture, crockery and prints differ in all three paintings; the samovar and drop-leaf table, seen in the present work, reappear in A Dress Rehearsal, while other details such as stick-back chairs, relate it more closely to earlier works – particularly Bless, Oh God, these Thy gifts to our use5. There are good reasons, therefore, for regarding the present canvas in which the eye is led into the space of the room by a seated figure on the left and debris placed on the floor, as a highly satisfactory prototype. Clearly what appealed to Tooth was Tayler's mastery of such naturalistic details. Few painters were more talented than he in orchestrating the mise-en-scène.The son of a solicitor, Tayler received a scholarship to the Slade School of Fine Art in 1879 where he met Henry Scott Tuke and Thomas Cooper Gotch. Like his classmates he spent the academic year 1881-2 in Paris at the atelier Julian and, in later expeditions to Devon and Normandy, became a summer painting companion of Tuke. In the autumn of 1884, he was one of an important group of painters who congregated in Newlyn and although he did not remain for more than a month, his subsequent arrivals and departures were logged with enthusiasm by Stanhope Forbes6. One other aspect of the present work is, however, both obvious and intriguing. Where other Newlyn maids and fishermen's wives are shown reading a letter or dressmaking, the figure on the right in the present painting is drawing a profile on the wall - perhaps that of her sailor husband, or boyfriend. In her left hand she holds a folded sheet of paper that has been removed from its envelope. The thought behind her drawing is probably contained in the primitive graphic representation on which she is engaged. She could almost be saying to her companion – 'this is what he looks like'. While one Newlyn painter, Fred Hall, was renowned for such simplified profiles of his comrades, Tayler's painting alludes directly to the impact this school of young image-makers must have had on an otherwise, unremarkable Cornish village. Yes, it supported one of the largest fleets on the south coast; yes, it had good access to markets by rail from Penzance and, yes, throughout the halcyon days of the Newlyn painters, its piers were constantly being extended and its harbour deepened to take the draught of steam trawlers, but the record of its life in the domestic sphere it owed to artists like Tayler. In this respect, the picture of an innocent unschooled draughtswoman, watched by her workmate, is both prescient and precise. 1Alice Meynell, 'Newlyn', The Art Journal, 1889, p. 102.2See for instance 'Messrs Tooth's Exhibition', The Era, 15 March 1884, p. 13; 'Mr Tooth's Gallery', The Graphic, 8 November 1884, p. 12. Tooth's interest in Tayler's work is reported by Stanhope Forbes (letter to Elizabeth Armstrong, dated 26 April 1887, Hyman Kreitman Archive, Tate).3A Council of Three and A Dress Rehearsal were shown at the New English Art Club and the Royal Academy respectively. Tayler's departure from Newlyn for his Venetian adventure and his return are reported by Stanhope Forbes (letters dated 14 June 1887 and 24 December 1887, Hyman Kreitman Archive, Tate).4It will for instance be noted that the present work contains a vase of what appear to be small narcissi – i.e. spring flowers. 5Exotic or foreign artefacts brought back by mariners were not uncommon in coastal dwellings – as are the double-page engravings from publications such as The Graphic, that are pinned to walls.6Letters written by Stanhope Forbes (dated 21 September 1884, 26 October 1884, Hyman Kreitman Archive, Tate, plus undated letters) include references to the difficulty Tayler was having in selling his work prior to 1887. It is clear from these that there was a close bond of friendship between Forbes and Tayler.We are grateful to Professor Kenneth McConkey for compiling this catalogue entry.For further information on this lot please visit Bonhams.com
Romanesque pyx. Limoges, France, 13th century.Champlevé enamelled copper.The enamel is faded. The hinge is a later addition.Measurements: 12 cm (height) x 6.2 cm (diameter).Pyx consisting of a cylindrical box with a conical cover, surmounted by a Latin cross. It is decorated with angels framed in circular cartouches on the container and on the lid. These cartouches alternate with interlacing motifs on a cobalt-blue background, elements of Islamic influence typical of Limoges. The lid is hinged at the back with a hinge, and the front has a pin clasp. The host was decorated using champlevé, an enamelling technique used in Romanesque art to decorate jewellery boxes, plaques and vessels. Its name comes from 'raised field', although the process consists of sinking the bottom and then filling it with enamel, which is then polished to produce a smooth, harmonious surface.The pyx or hostiarium is the vessel used to hold the Sacred Form. It is a typological novelty that emerged at the end of the Romanesque period in Limoges, a producer of enamelled silverware. It has its origins in the Greek pyx, a small lidded box that was often used to store jewellery or beauty products. The first hostiariums took the form of a cylindrical box with a conical lid, hinged or linked by a chain. Even in these early examples from Limoges, it was common for them to have a cross-shaped top, although this has rarely been preserved. During the Gothic period, the same structure was maintained, although it could appear with or without a clasp and hinge. Likewise, in the Gothic period, the size of the host was reduced, which indicates a change in its function. It is no longer used during mass, as this function is covered by the ciborium, but is used to give communion to the sick in their homes. The finishing cross, now essential for all Eucharistic pieces, was retained.The Limoges workshop appeared in the last quarter of the 12th century and continued its activity until the 14th century. It flourished again in the 15th century with the new technique of painted enamel. It became the most important enamel workshop, ahead of the Rhineland and Meuse, which disappeared in the 12th century and were dedicated to the production of individual plates on commission, which were then mounted on an object or joined together to form altar frontals. In Limoges, on the other hand, the production of objects, no longer just plaques, decorated with enamels for religious, but also for secular use, began to take off. They were cheaper, copper-based pieces, and very attractive because of the enamelled decoration, which made them a huge and immediate success throughout Europe. Limoges is also mentioned in documents, indicating that it was an important centre known throughout Western Europe. One of the distinguishing characteristics of Limoges is its very shallow background dragging, which does not go beyond two or three millimetres. To depict detail, such fine partitioning is used that it can only be distinguished from the excavated one by close observation through a magnifying glass. In Limoges, the enamels are applied according to the client's taste, filling only the background, only the figures, or both, and the enamels are applied according to the client's taste. As for the colour range, he used that of the Meuse workshops, which was very varied, but added new colours, such as olive green, a light greyish blue or white for the flesh tones. In the long history of these workshops, one of their main successes was precisely the fact that they did not only produce plaques, but also complete pieces.
Romanesque Christ, Limoges workshops. France 12th-13th centuries.Copper with traces of gilded polychromy.It presents a damage in the right hand.Measurements: 22 x 16 x 2 cm .Crucified living Christ with remains of golden polychromy, covered by a long perizonium. With crowned head and glass eyes. There is damage to the right hand. This piece was part of a crucifix or a processional cross.The Limoges workshop appeared in the last quarter of the 12th century and continued its activity until the 14th century. It flourished again in the 15th century with the new technique of painted enamel. It became the most important enamel workshop, ahead of the Rhineland and Meuse, which disappeared in the 12th century and were dedicated to the production of individual plates on commission, which were then mounted on an object or joined together to form altar frontals. In Limoges, on the other hand, the production of objects, no longer just plaques, decorated with enamels, began, above all for religious but also for secular use. They were cheaper, copper-based pieces, and very attractive because of the enamelled decoration, which made them a huge and immediate success throughout Europe. Limoges is also mentioned in documents, indicating that it was an important centre known throughout Western Europe. One of the distinguishing characteristics of Limoges is its very shallow bottom dragging, which does not go beyond two or three millimetres. To depict detail, such fine partitioning is used that it can only be distinguished from the excavated one by close observation through a magnifying glass. In Limoges, the enamels were applied according to the client's taste, filling only the background, only the figures, or both. As for the colour range, he used that of the Meuse workshops, which was very varied, but added new colours, such as olive green, a light greyish blue or white for the flesh tones. In the long history of these workshops, one of their main successes was precisely the fact that they not only made plaques, but also complete pieces, as in the case of the Crucifixion shown here.
Limoges plate; France, 13th century."Angel".Enamel on copper.Both the polychromy and the enamel are missing.Measurements: 7.6 x 13.5 cm (irregular).Trapezoid-shaped plaque, with an iconographic representation of an angel, in copper with gilt polychromy and champlevé enamel. The angel depicted here could belong to the 'army or Hypophany', the watchers of the world, who act as imitators of God by representing the 'beginning' of everything. They vary in their attire, but in general their representation is very similar to that of ordinary angels.Limoges enamelling has a long tradition dating back to the Middle Ages, in particular to the last painting of the 12th century. It will be the most important enamel workshop in France, and owes its success especially to its production of enamel-decorated objects in addition to the usual enamelled plates. Its medieval and Renaissance pieces had their own characteristics, such as a very shallow background dragging or a very fine partitioning for details, as well as an innovative chromatism that included new tones such as light blue-grey or white.
Limoges plate; France, 13th century."Angel".Enamel on copper.Both the polychromy and the enamel are missing.Measurements: 6.7 x 6 cm.Rectangular-shaped plate with a chamfered base, with an iconographic representation of an angel, in copper with gilt polychromy and champlevé enamel. The angel depicted here could belong to the 'army or Hypophany', the watchers of the world, who act as imitators of God by representing the 'beginning' of everything. They vary in their attire, but in general their representation is very similar to that of ordinary angels.Limoges enamelling has a long tradition dating back to the Middle Ages, in particular to the last painting of the 12th century. It will be the most important enamel workshop in France, and owes its success especially to its production of enamel-decorated objects in addition to the usual enamelled plates. Its medieval and Renaissance pieces had their own characteristics, such as a very shallow background dragging or a very fine partitioning for details, as well as an innovative chromatism that included new tones such as light blue-grey or white.
Limoges plate; France, 13th century."Saint Matthew" .Enamel on copper.Both the polychromy and the enamel are missing.Measurements: 6.7 x 6.6 cm .Plate of lobed forms with iconographic representation of an angel, in copper with gilt polychromy and champlevé enamel. The angel is Matthew, because he is the only one who speaks of the genealogy of Christ, the Son of Man, and also represents divine love, sent by the angels (Christ's messengers) to humans.Limoges enamelling has a long tradition dating back to the Middle Ages, in particular to the last painting of the 12th century. It will be the most important enamel workshop in France, and owes its success in particular to its production of enamel-decorated objects in addition to the usual enamelled plates. Its medieval and Renaissance pieces had their own characteristics, such as a very shallow background dragging or a very fine partitioning for details, as well as an innovative chromatism that included new tones such as light blue-grey or white.
Limoges plate; France, 13th century."Saint John".Enamel on copper.Both the polychromy and the enamel are missing.Measurements: 6.3 x 6.4 cm .Plate of lobed forms with iconographic representation of Saint John, in copper with gilt polychromy and champlevé enamel. The eagle symbolises John because this bird is considered a wise and clairvoyant animal that looks directly at the sun when it flies, and the Gospel of John is more abstract and theological than the others.Limoges enamelling has a long tradition dating back to the Middle Ages, in particular to the last painting of the 12th century. It will be the most important enamel workshop in France, and owes its success in particular to its production of enamel-decorated objects in addition to the usual enamelled plates. Its medieval and Renaissance pieces had their own characteristics, such as a very shallow background dragging or a very fine partitioning for details, as well as an innovative chromatism that included new tones such as light blue-grey or white.
Spanish school of the mid-16th century."Sepulchre of Saint Felix Valesius".Oil on panel.Measurements: 37,5 x 27,5 cm; 51,5 x 42 cm (frame).This is a typically Renaissance composition with a multitude of figures arranged around the tomb of Saint Felix Valesius, on which the inscription "The Sepulchre of Saint Felix will work miracles" is included. It is a panel of great compositional clarity, determined by the monumental architecture in which the scene is set, and is imbued with a restrained, solemn religious sentiment. The chromaticism is also typical of the 16th century, with large patches of perfectly studied and toned colour that are brought into relief by the careful use of light.Little is known with certainty about the life of Felix de Valois, as there are hardly any references to him in the Trinitarian chronicles, which are always shrouded in mystery. His existence has even been doubted. However, the pontifical documents addressed to Brother Felix, the Minister, are sufficiently illuminating to assure us of his existence. When John of Mata celebrated his First Mass on 28 January 1193 in the Cathedral of Paris, he received a divine vision which inspired him to begin a new religious Order in the Church. This vision was later reflected in the Mosaic of the Trinitarian Order, called Signum Ordinis Sanctae Trinitatis, which is still preserved on the façade of Saint Thomas in Formis in Rome. John of Mata withdraws to a desert of prayer near Paris, near Meaux, a place called Cerfroid, where he meets a group of hermits, led by Felix. In the tradition of the Order, Felix has always been considered as the first companion of John of Mata in the foundation of the Order.
School of AMBROSIUS BENSON; ca. 1600. (Lombardy, active in Bruges from 1518 - Bruges, 1550)."Madonna and Child.Oil on oak panel.The frame follows ancient models. Carved and ebonised wood, 20th century.It has an Antwerp stamp under the band and has restorations and slight repainting.Measurements: 58 x 43 cm; 82,5 x 67 cm (frame).Ambroisus Benson was one of the so-called masters of the tradition, successor of Van der Goes, and he showed the influence of Van Eyck, Van der Weyden and the Flemish primitives in general. Nonetheless, his work reveals 16th-century features from Italy, such as the triangular composition in the present work. In fact, he was originally from Lombardy, so his painting sometimes has more Italian features. Particularly important was his personal use of colour, with a predominance of maroon tones in contrast to the whites and light tones of the flesh tones, which are thus very much emphasised in the composition. Also typical of his work is the velvety quality of the cloaks. Benson was a painter of religious subjects and portraits and trained with Gerard David in Bruges from 1518, the year in which he became a citizen. However, he had problems with his master that led to legal proceedings and by 1519 he was registered with the Painters' Guild as an independent master. From the following year onwards there was a clear increase in his activity and between 1522 and 1530 he rented between one and three stalls at the annual market to sell his paintings. Benson held high positions in the painters' guild, his works fetched very high prices and he had several apprentices, including two of his sons, Willem and Jan. Although only two signed works by Benson ("Triptych of Saint Anthony of Padua" in the Musées Royaux des Beaux-Arts in Belgium and "The Holy Family" in a private collection) and seven dated works are known, more than 150 paintings have been attributed to him on the basis of stylistic criteria. Benson's workshop produced a significant output and, like that of Adriaen Isenbrandt, his works were generally intended for the Iberian market. His painting was highly appreciated in Spain, although Benson never visited the country. With regard to his language, despite his adherence to tradition he formed, together with Isenbrandt and Jan Provost, the last generation of Bruges painters characterised by a break with the Gothic tradition and the introduction into their style of the innovations of the Italian Renaissance. This influence can be seen in their artistic style and in effects such as monumentality, as their themes and compositions are generally in the Flemish tradition. On the other hand, the variety of themes and formats that characterises his production may be due to the fact that he worked in a workshop with numerous collaborators. In all his works, whether religious themes, portraits or secular works, Benson is an excellent example of the crossover between north and south, between tradition and innovation. His works are now in the world's leading art galleries, including the Museo del Prado, the Metropolitan Museum in New York, the National Gallery in London, the Kunsthistorisches Museum in Vienna, the Thyssen-Bornemisza, the Ashmolean Museum in Oxford and the Bilbao Fine Arts Museum.During the 15th century, the Dutch realist style had a strong influence abroad, especially in Italy, but in the 16th century the situation was reversed. The Italian Renaissance spread throughout Europe, and Antwerp became the centre of the Flemish school, supplanting Bruges and acting as a centre for the penetration of Italian influences. Mannerist influences thus arrived in the Low Countries, superimposed on the 15th-century style. Many painters continued the style of the Flemish primitives, but others were so open to Renaissance influences that they stopped painting on panel.
A SET OF FOUR LOUIS XV GILT METAL THREE LIGHT WALL APPLIQUESMID 18TH CENTURYEach in Rococo taste and with a floral cast sconceseach approximately 43cm high, 36cm wide Provenance: Private collection removed from 9, Royal Crescent, Bath Purchased from Charles Angell, Bath, 30th March 1948 (£35)Condition Report: There are some marks, scratches, knocks, chips, cracks and abrasions consistent with age and use. These have previously been fitted for electricity with remnants of wiring, wire, drill holes, electrical fitments and adapted later large thread screws to nozzles. Will require some remedial work to remove these- and make them usable as candle holders. Traces of old wall paint, some later gilding, dirt, soot. Gilding uniformly rubbed and worn to exposed areas. One branch with old repair- now failed- which will require remedial work. All drilled for wall mounting Please see the additional photographs as a visual reference of condition and which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders. This is particularly true for garden related items. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of description All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
A RARE FLORENTINE SCAGLIOLA PANEL BY LAMBERTO CRISTIANO GORI SIGNED AND DATED EITHER 1752 OR 1782 A Scagliola panel of an Italianate harbour scene, the foreground with merchants and portside figures, castle tower with soldiers beneath, ships beyond, signed to the side of a box slightly indistinctly, "Lambertus Cristianus Gori, Fec: Florenze Anno Dom 1782 (or 1752?)", ink inventory (?) number to reverse, in a later swept gilt frame, provenance as per handwritten note to versovisible panel 37 x 54.5cm, the frame 53 x 71cmProvenance:The collection of His Royal Highness Prince Georg of Denmark 1975Lamberto Cristiano Gori (1730-1801) was apprenticed to the monk Don Enrico Hugford of Vallombrosa, regarded as one of the leading exponents of the art of scagliola in the 18th century. John Fleming in his article 'The Hugfords of Florence' (Connoisseur, October 1955) writes that Hugford's work displays "technical brilliance, his hand revealed by the charming but unvarying colour scheme of salmon pink, pale blue, light sandy brown and smokey grey, which gives his panels the appearance of gouache paintings under thick glass, their surfaces being exceptionally smooth and translucent". In his technical mastery Gori rivalled his master but, unlike him, his work tended to be less inspired by known observable landscapes and more by a leaning toward capricci- freer extemporizing interpretations of the scenes around him.In his article 'Masters of the Art of Scagliola', Country Life, September 29, 1994, Jonathan Cook suggested that Gori was drawing more on the painterly styles of artists such as Vernet and Pannini. The imaginary Mediterranean view of this panel shows similarities in the soft colouring and in the treatment of the figures with the central scene on a pair of scagliola table tops at Woburn Abbey (Bedfordshire) dated 1762 and made also by Lamberto Cristiano Gori and commissioned by the Marquess of Tavistock, eldest son of the 4th Duke of Bedford. For a pair of harbour scenes with similar treatment of the water and buildings, signed by Lamberto Gori, see lot 39 from the "The Collection of Prince and Princess Henry de la Tour d'Auvergne Lauraguais" sold Sotheby's, London, 3 May 2012, £27,500.Condition Report: There are some marks, scratches, knocks, chips, and abrasions consistent with age and use.The later frame with losses, damage and repairs.The panel with what appears to be a slightly discoloured wash- pale yellow tea coloured. There are small areas where a whiter undercolour is visible - possibly from surface abrasion. Traces of prior framing evident from traces of gilding to edges of panel. Edges also showing nibbling and small loss- most noticeable to lower right hand corner that has section approx 1cm replacedPlease see the additional photographs as a visual reference of condition and which form part of this condition report.Condition Report Disclaimer
AN EARLY GEORGE III MAHOGANY WING ARMCHAIR CIRCA 1760 113cm high, 83cm wide, 72cm deep overall Condition Report: There are some marks, scratches, knocks, chips, splits and abrasions consistent with age and use, including to the stretchers and legs.Some of the stretchers are lighter in colour than the legs. There is evidence of worm including to the seat rails. There are cracks and knocks to the legs. There is some joint movement to the arms of the chair - they are intact and robust but not tight and ridgid.The upholstery is slightly more green/yellow than the photograph might suggest. The woven fabric has had light wear, with some subtle sun fading visible only when the hidden side of the cushion is compared with the fabric on the chair back. The piping is intact, there are some marks.We are unable to inspect areas covered in upholstery and so cannot comment on the condition and originality of these areas we are unable to see.Please refer to the additional photographs as a visual reference of condition. Condition Report Disclaimer
A SET OF SIX GEORGE III MAHOGANY DINING CHAIRSCIRCA 1790To include a pair of armchairsTOGETHER WITH FOUR FURTHER CHAIRS OF MATCHING DESIGNS 20TH CENTURY each approximately 100cm high, 57cm wide, 58cm deep overallCondition Report: There are some marks, scratches, knocks, chips, splits and abrasions consistent with age and use.There are some cracks including to some carved splats and legs. There are colour variations to the timber with some sun fading, noticeable to areas including the arms of the chairs and the later chairs are generally darker.There is evidence of worm including to the seat rails.The upholstery of the drop in seats is recent, well cushioned and has had only light use.The underside of the drop in seats are fabric covered - we are unable to inspect areas covered in upholstery and so cannot comment on the condition and originality of these areas that we are unable to see.Please refer to the additional photographs as a visual reference of condition. Condition Report Disclaimer
Y A RARE PAIR OF JAPANESE EXPORT NAGASAKI BLACK LACQUER AND MOTHER-OF-PEARL KNIFE BOXES LATE 18TH/EARLY 19TH CENTURY Of shaped slanting form, decorated overall with birds, flowering stems, each with stepped interiors retaining original matrix and lined with green velvet, fitted with 18th century silver flatware and later silver plate and steel,the boxes 36.5cm high, 22.5cm wide, 20cm deep, weighable silver 67oz.In 1799 the Dutch East India Company's American chartered ship the Franklin of Salem arrived in Nagasaki. Its captain's personal account books record that he brought back a considerable quantity of lacquer, all of it apparently in contemporary European shapes, including '22 lacked knife boxes'. (Charles H.P.Copeland, 'Japanese export furniture', Antiques, LXVI, July 1954, pp. 50-1). As well as the tall urn form knife boxes- the Company was also importing cases in this swept slant box form with the shell inlay distinct from earlier hiramaki-e decorated ware. The Clive Collection at Powis Castle holds a similar shaped example in its collection but with the earlier style of decorative design (Mary Archer and others, Treasures from India: The Clive Collection at Powis Castle, London, 1987, cat. no. 193)For a similar single example in this shape please see Christie's "The Collection of Giorgio Marsan and Umberta Nasi", lot 133, 13th December 2007, sold for £1,750Condition Report: There are some marks, scratches, knocks, chips, cracks and abrasions consistent with age and use.Both have suffered from shrinkage cracks- with some old remedial work, Strong light reveals old touching up to black surface throughout. Edges with some wear, small chips and loss. Interior to one lacking baize to lid and with visible later paper repair. One clasp detached but present- will require remedial work. 1 key. Hinges with later pins. 1 foot loose but present. Please see the additional photographs as a visual reference of condition and which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders. This is particularly true for garden related items. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of description All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
A GILT METAL OCTAGONAL HALL LANTERNIN THE NEOCLASSICAL STYLE, 19TH CENTURY97cm high, 61cm diameterCondition Report: There are some marks, scratches, knocks, consistent with age and use.The glass looks to have been put in at different times with differences in cutting to edges- one panel with clean demilune top. The lantern has a 5 light electric fitting. Gilding fairly heavily rubbed to margins from handling and cleaning, some dirt build up ELECTRICAL GOODS. These are sold as 'antiques' only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician before use. Please see the additional photographs as a visual reference of condition and which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of description All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
AN EARLY GEORGE III MAHOGANY TRIPOD TABLECIRCA 1765 On brass castors 71cm high, the top 37.5cm diameter Condition Report: Marks, knocks, scratches, abrasions consistent with age and useoverall entirely solid and stable the top fixed securely to the stem, the block with an old crack but not making any impact on the appearance or tightness Roller castors are probably original The top with some old light marks including ring marksPlease refer to additional images for visual reference to conditionCondition Report Disclaimer
A GEORGE III MAHOGANY OCTAGONAL TRIPOD TABLECIRCA 1760The top with a finely moulded and crossbanded edge69cm high, the top 75cm diameterCondition Report: Table with marks, knocks, scratches and abrasions commensurate with age and use. Old splits and chips. Some additional dark marks, scratches and ring marks to top. The edge of the top with a sections of banding to one side lacking and some other sections of the edge lifting in places. The hinged arrangement to the underside of the top is an old replacement. There are some plugged holes to the underside of the top where a previous block ran across it. It is likely that the stem inserted directly into this block and the top was not hinged. One runner beneath the top with a split running through it. An area of timber beneath the other stretcher has been split away from the top by a screw. Stem and legs appear to have possibly had a light clean and polish/colour at some point. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
A PAIR OF GEORGE III GILTWOOD AND YELLOW DAMASK UPHOLSTERED OPEN ARMCHAIRS IN THE FRENCH TASTE, CIRCA 1780 each 93cm highProvenance: Private collection removed from 9, Royal Crescent, BathProvenance: Purchased from Charles Angell, Bath, 3rd November 1948 (£36). Condition Report: There are some marks, scratches, chips and abrasions consistent with age and use.Overall the chairs have aged and distressed gilding with discolouration,'bronzed' areas, rubbing in particular to the arms revealing the underlying beech, with cracks and flaking to the gilding showing the gesso and underlying wood.There are some cracks to the wood frame including to the joints and along the grain of the timber. The tips of the legs to one chair reduced and re-tipped. One front leg repaired.There are slots in the seat rails between the back legs (this was an alternative method favoured by Chippendale of securing a purchase for cramps).Some sections of replacement including some seat rails and blocks.There is evidence of old worm including to the seat frames and elsewhere.The upholstery has some fading and light wear but is intact.Please note we have not inspected the frame beneath the upholstery and can't comment on the condition and originality of this area.Please refer to the additional images for a visual reference of condition.Condition Report Disclaimer
†A PAIR OF GILT BRONZE THREE-LIGHT CANDELABRA IN LOUIS XVI STYLE, LATE 19TH CENTURY Each with a circular, tapered, fluted support on hairy paw feet, the curved candle branches cast with acanthus leaves and linked by swags cast with flowerheads and foliage, the whole surmounted by a flaming brûle-parfum cast with drapery swags, on a tripod baseeach 49.5cm high
A SET OF EIGHT REGENCY MAHOGANY DINING CHAIRSCIRCA 1815To include two armchairs 87cm high, 49cm wide, 50cm deep, the armchairs 55.5cm wide, 51cm deepCondition Report: There are some marks, scratches, knocks, chips, splits and abrasions consistent with age and use.There are losses and restorations including some sections of veneer to the crest rails, many of the scroll terminals have been restored and repaired. There is a crack to one back rail and there are some opened joints to some joints of the armchairs.Overall the chairs have been restored with some new seat rails and corner blocks so that they are ready to be used.The upholstery has only had light use.We are unable to inspect areas covered in upholstery and so cannot comment on the condition and originality of these areas we are unable to see.Please refer to the additional photographs as a visual reference of condition. Condition Report Disclaimer
A PAIR OF FRENCH BRONZE AND GILT METAL THREE-LIGHT FIGURAL CANDELABRA IN THE EMPIRE MANNER, POSSIBLY PALAIS ROYALE, CIRCA 1860-80 Each with central winged figure of Nike supporting candleholders, engine turn decorated cylindrical baseeach 50.5cm high, the bases 10.5cm wideCondition Report: There are some marks, scratches, knocks, and abrasions consistent with age and use.Gilding slightly worn and pitted. 1 wing with repair- 1 candle branch with repair around junction point with laurel wreath Please see the additional photographs as a visual reference of condition and which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders. This is particularly true for garden related items. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of description All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
A PAIR OF BRONZE AND GILT METAL THREE-LIGHT CANDELABRA FRENCH LATE 19TH CENTURY Each with putto stem, clutching a wreath in the Louis XVI style, variegated alabaster bases 59cm high, 29cm wide, the bases 14cm wide Condition Report: Bothe with rubbing and some loss to gilded surface and some wear to extremities, the bases- which look to be variegated alabaster- have filling and repairs. Small hole beneath each putto suggesting there may have been further ornamentation- now absent- apparently unmarkedCondition Report Disclaimer
A REGENCY CARRARA MARBLE PEDESTAL PLINTH ATTRIBUTED TO THE CANOVA WORKSHOP FOR THOMAS HOPE CIRCA 1820-1830 With relief decoration in the round of three maenads with thyrsus and a man with wine flask, below characteristic band of squared Greek key band interspersed with flowerheads, stepped base,51.5cm high, top 29.5cm diameterFor an example of very similar Greek key banding please see the column support for "The Hope Venus", workshop of Antonio Canova circa 1822, now in the Leeds Art Gallery collection. This band pattern is also used at the top of the plinth base to Canova's Hercules and Lichas in the Galleria Nazionale d'Arte Moderna in Rome. The frieze design seems to be inspired by the second century marble frieze of the "Borghese Dancers", now in the Louvre.Condition Report: There are some marks, scratches, knocks, chips, and abrasions consistent with age and fairly heavy use. Surface fairly dirty throughout- some looks engrainedLacks plinth top, raised banding with losses throughout most notably to upper edge- both to the greek key band and to the rope twist beading beneath.Strong light reveals a diagonal flaw to one side- this seems to come from a slightly darker inclusion toward the base- with what looks like remedial infill all the way up.Base with stress cracking and old repaired sectionPlease see the additional photographs as a visual reference of condition and which form part of this condition report.Condition Report Disclaimer
AN ITALIAN CARRARA MARBLE LIFE SIZE BUST OF AN AMAZON LATE 18TH CENTURY Head tilted to left, titled to plinth "AMAZONNE", polished socle base61cm high overall, 43cm wideCondition Report: There are some marks, scratches, knocks, chips, and abrasions consistent with age and use.Surface to bust is slightly powdery- not polished like socle base. Loop to right hand shoulder with damage and loss. Edge small chips and losses notably above title panel, shoulder and rear edges. Wax (?) deposits/spatters. Some trace of water trails under strong light. Raised flaw to right hand shoulder, surface dirty and with spotting- some engrained and with some darker vein inclusions visible Please see the additional photographs as a visual reference of condition and which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders. This is particularly true for garden related items. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of description All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
AFTER BERTEL THORVALDSEN (DANISH, 1770-1844), A CARVED FIGURE OF HEBE MID 19TH CENTURYThe Grecian figure emblematic of youth in carved wood with ebonised finish in emulation of bronze, faint traces of greener 'verdigris' effect visible to folds, turned ebonised plinth base55cm high overall, the base 17cm diameterThorvaldsen's figure of the cup bearer to the Gods was executed in Rome in 1816- a more demure clothed version of his first example from 1806. Subsequently copied in marble, porcelain and bronze but seemingly rarely in wood. The exact genus of the wood used has prompted suggestions of Gutta-Percha and limewood but a precise and definite conclusion has yet to be reached.Condition Report: hairline crack running from top of head and through right shoulder and into arm. hairline also visible to her left armold filler visible to what may have been joint sections- upper left arm and left wrist. Also plugged hole to reverse and front at bottom of dress. Some paint loss and wear notably to lower sections notably along left shin and foot. Signs of old retouching visible under strong light notably to front of ewer, and necklineCondition Report Disclaimer
A PAIR OF FRENCH ZINC ROOF FINIALS PROBABLY LATE 19TH CENTURY Of four-handled baluster urn form, acroteria decorative mounts, now fitted as lampseach 100cm high overall including fitments, the bases 89cm high, 33cm wideCondition Report: There are marks, knocks, scratches, scuffs, dents and abrasions consistent with age and use, some to the extremities and edges. The overall finish is matt with some brown 'rust' type colouration to some areas, distressed appearance.Some sections of replacement and losses, there would probably have been finials that would have been removed to fit the light fittings; two of the stylised anthemion finials are missing to each urn and the front missing to another; some tears and splits in particular where the zinc is folded along edges.There is some movement to the sections and holes to the side of each base for the electric cable.Please refer to the additional images for a visual reference of condition. Condition Report Disclaimer
A NORTH ITALIAN SCULPTED WHITE MARBLE TONDO OF THE VIRGIN AND CHILD ENTHRONEDLATER 16TH CENTURYThe Christ Child portrayed seated on the draped Virgin's lap and rendered with pronounced musculatureapproximately 13.5cm diameterA relief of similar subject showing distinct similarities in handling, particularly of the Madonna's relatively full face and hair, appeared at Lempertz, 19th November 2016 (EUR 3,224). Condition Report: There is some natural wear and patination to the marble, it has darkened to a light brown.A section of the side of the panel (beside the Christ child) has an old repair of elliptical form, this appears quite subtly executed.There are a number of small losses around the edge of the relief, these are mostly old though there is one small slightly fresher chip to the rear. There is also a very small chip to the Virgins' right index finger.There is an iron pin to the centre of the rear, possibly remnants of a previous fixture for mounting.Condition Report Disclaimer
A stainless steel Seiko 'Prospex Solar' chronograph diver's watch, 45mm diameter with a blue dial, black chronograph subdials, luminous hands and dot hour markers, and unidirectional rotating bezel, to black rubber strap with deployant clasp, with box and papers, guarantee card dated 19/07/2021, model no. V192-0AD0, serial no. 9O0988Condition report: Currently running. No guarantee as to timekeeping or continued running.In a generally good condition, with some minor scratches to case, and light dirt/wear to the strap.
A cased titanium Vostok 'Almaz Space Station' automatic strap watch,47mm diameter with a grey dial, luminous baton hour markers, centre second sweep and date aperture at '6', with unidirectional rotating bezel, brown leather strap and spare nato style strap, model no. NH35A-320H263, no. 0595/3000, with boxCondition report: Currently running. No guarantee as to timekeeping or continued running.The watch appears to be in an almost unworn condition. Some minor light scratches to case.
A sterling silver kneeling deer brooch, by Georg Jensen, model no. 256, designed by Arno Malinowski, the kneeling deer amongst stylised flowers to an oval frame, Georg Jensen mark 1945 to present, Denmark STERLING, 45 x 35mm, 15.49mm Condition report: Tarnished, more to the reverse.Light marks and scratches, mostly to the deer.The pin closes and the catch holds securely.The pin is bent, but this does not appear to affect its functioning.
A ruby and diamond hexagonal cluster ring, c.1970, with alternating rows of brilliant cut diamonds, between rows of circular mixed cut rubies, all claw set to a straight wire back, open circular shoulders and a plain shank, marked 18C, head 14.50 x 12.65mm, 6.11g. Finger size MA previous insurance valuation dated 23/04/2009 available to view.Condition report: Light surface marks commensurate with its age.Shank slightly creamy - would benefit from re-rhodium plating.All claws present.Gemstones bright and lively.
A white gold sapphire and diamond arched bar pendant,with a central row of princess cut sapphires. Two outer rows of eight cut diamonds, claw set to a concealed bale, suspended on a 9ct gold palmier chain, with a lobster claw clasp. The pendant marked 14K. A stated total weight of: sapphires 1.06ct. Pendant 20.00 x 5.60mm, 4.15gCondition report: Light surface marks commensurate with its age. Diamonds bright and lively.Gemstones bright and lively.Clasp in working order.
A platinum single stone pink sapphire ring,with diamond set shoulders. A princess cut pink sapphire, four claw set at the corners, to a wire collet with split shoulders, micro claw set with rows of brilliant cut diamonds to a plain shank. Stated gemstone weights of: pink sapphire 0.72ct, diamonds 0.26ct total. Head 6.30mm wide, 5.61g.Finger size LCondition report: Light surface marks commensurate with its age. Gemstone bright and lively.Diamonds bright and lively.Small surface reaching inclusion on the sapphire.
Carry On Actor, June Whitfield signed 10x8 black and white photograph. Whitfield DBE (11 November 1925 - 29 December 2018) was an English radio, television, and film actress. Her big break was a lead in the radio comedy Take It from Here, which aired on the BBC Light Programme in 1953. Television roles soon followed, including appearances with Tony Hancock throughout his television career. In 1966, Whitfield played the leading role in the television sitcom Beggar My Neighbour, which ran for three series. She also appeared in four Carry On films: Carry On Nurse (1959), Carry On Abroad (1972), Carry On Girls (1973), and Carry On Columbus (1992). Good condition Est.
A NAPOLEON III GILT AND PATINATED BRONZE CLOCK GARNITURE BY CHARPENTIER & CIE. PARIS, C.1870 the brass eight day drum movement striking on a bell, the backplate stamped 'Charpentier de Bronzes, 200 A Paris', the enamel dial with Roman and Arabic numerals, with pierced gilt hands, signed 'Charpentier & Cie. Bronzier A Paris, Rue Charlot 8', the white marble Louis XVI style case surmounted with two classical figures, one of a man holding a dagger and a lady with a mask, with scrolling leaves and on toupie feet, together with a pair of figural six-light candelabra, each with a cherub seated on a rocky outcrop on a fluted plinth (3) the clock: 45cm high, 69cm wide the candelabra: 65.4cm high
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