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Lot 2344
A Victorian overlaid pink glass oil lamp enamel painted with birds. COLLECT ONLY.Burner wick divider is split, no wicks, no other visible damage.Font is slightly lighter pink than base.colour's good, bright & well painted.Lamp height 35.5cm (not including burner).Height including chimney & shade 65cm.
Lot 146
Tom Brown (British 1933-2017) "Wilson's Antiques, Manchester" Signed, pastel.36cm x 43cm (14.25in x 17in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The drawing is in very good, original condition. There are one or two minor spots of lighter pigment across the paper and some minor mould under the glass and across the mount. The drawing is framed and glazed.
Lot 168
J. McGregor (British 20th century) "Industrial Town (Stockport)" Signed and dated '62, titled on artist's label verso, oil on board, together with a pencil sketch of the same scene by the artist, initialled, with annotations.45cm x 90.5cm (17.75in x 35.5in) and 13cm x 18.5cm (5in x 7.25in)The painting is in very good, original condition. The varnish has yellowed universally across the painting as highlighted by a lighter strip along the top of the painting. The painting is framed but not glazed. The frame has some minor scuffs and knocks commensurate with age. The drawing is in very good, original condition with no obvious faults to report. The drawing is unframed.
Lot 33
Maggie (Maria Magdalena) Laubser (South African, 1886-1973)Indian Girl signed 'M.Laubser' (lower left)oil on canvas on board 60 x 56cm (23 5/8 x 22 1/16in).(framed)Footnotes:ProvenanceMr G de Leeuw, South Africa;Dr T A Redelinghuys, South Africa;A private collection, South Africa.ExhibitedMacFayden Hall, Pretoria, Maggie Laubser, September 1939.LiteratureBouman, A.C., Huisgenoot: 1 January 1943: 7. (illustrated)Bouman, A.C., Forum 2(2): 26 August 1939: 8. (illustrated)Mariais, D., Maggie Laubser, her paintings, drawings and graphics (Johannesburg and Cape Town: Perskor, 1994) (illustrated) p, 243.Bouman, A.C., Painters of South Africa, (Cape Town: De Bussy, 1949), p, 80. (illustrated)With the present work featured in her 1939 solo exhibition at MacFayden Hall following a number of previous successful exhibitions and her recent election to the New Group founded by Gregoire Boonzaier, Maggie Laubser had defied her previous critical reception and prevailed to leave an acclaimed artistic legacy.Beginning her career as a landscape artist, Maggie Laubser's development into portraiture did not eradicate her use of environmental motifs given the addition of plants that frame the sitter in the present lot. This compositional theme of a background of Fauna was ever present in the portraits executed by the artist during her travellers to KwaZulu Natal in 1936. It was during this trip that the artists style changed, stepping away from naturalist depictions and towards works that had dream-like almost conceptually surrealist qualities, such as the present lot. This romanticised work featured portraits of women set against a background of exotic plants native to the area, displaying the sitter's relationship to their national context contributing to the observers understanding of the identity of the subjects.'Her most exotic departure was a painting trip towards the middle of 1936 to Natal where she recorded with romantic lyricism the shy, wide-eyed wonder of young Indian girls.' Johan van Rooyen, 'Maggie Laubser', (Cape Town and Johannesburg: South African Art Library, Strike Publishers, 1974), p.17)The tranquillity in the current painting could be argued to reflect qualities of German Expressionism, perhaps inspiring Laubser during her travels throughout Germany, specifically Berlin from 1922 to 1924. Perhaps most influenced by Karl Schmidt-Rottluff and the Brücke movement, who characterised their style by non-traditional uses of colour, we can see the presence of a bright palette and simplified form given the broad use of brushstrokes within the present work. Coherent with her style of flattening her works or eradicating naturalistic approaches to portraiture, Laubser aimed at creating idealised works motivated by aesthetic beauty.'Whatever the object on my canvas, it must be a vision of that object, whether one recognises it or not; or whether it has that misty form in dreams, it must only represent the final spiritual shape of the object'(Laubser: What I remember, 1963:4)The presence of both a human and plant correlate with the artist's Christian Scientist beliefs and holding respect for everything that lives. Beyond aesthetic motifs, Laubser's treatment of colour, specifically that of the colour yellow, could also be credited to her spiritual beliefs. These religious convictions informed her use of yellow to signify spiritual intellect. Furthermore, the presence of light and dark is formulated by the addition of the colour yellow reflected on the left side of the sitter, applied to both her skin and clothes. Marking out the following quotation from The Human Aura and the Significance of Colour left in her estate, it is clear that Laubser must have taken great influence from these passage:'The brightest, clearest yellow betokens the highest and purest type of intellect...The lighter shades of yellow are quieting in the extreme to an overwrought nervous condition, and people who generate aura of that hue accomplish often a great deal in the direction of healing by their quiet regulating presence.' (W.J. Colville, The Human Aura and the Significance of Colour, (Chicago: Occult Publishing, 1909), p. 35).This present work, indicative of the artist's portraits between the 1920's to the 1930's, is stylistic of that time in her broad brushstrokes and vivacious palette, reflective of her appreciation for the richness of life and spiritualistic views on nature stemming from her dedicated religious beliefs and influence from her exploration expeditions.Bibliography Johan van Rooyen, Maggie Laubser, (Cape Town and Johannesburg: South African Art Library, Strike Publishers, 1974), p. 17.Elizabeth Delmot, South African National Gallery, Maggie Laubser- Early work from the silberberg collection, (Cape Town: December 1987)W.J. Colville, The Human Aura and the Significance of Colour, (Chicago: Occult Publishing, 1909)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
Lot 80
A Princess Mary 1914 Christmas Tin, with contents comprising a packet of twenty cigarettes, a packet of tobacco, greetings card and portrait photograph of Princess Mary, with a brass cigarette lighter by The Park Mfg. Co.Tin has a circular hole to the front fascia of the base, and two punched holes to the underside of the base as though it has been fixed into something at some time.
Lot 98
A Quantity of Militaria, including a lightweight camouflage ridge tent with black-out lining, a vintage backpack frame in black tubular steel with leather straps and folding canvas support, six various kit bags, a moquito net, puttees, webbing pistol holsters, belts, spats, rucksack, two water canteens, a machete by S & J Kitchin Ltd., Sheffield, the blade stamped with a broad arrow and dated 1945, with crushed leather scabbard, drill cartridges, a cigarette lighter etc.
Lot 61
Circle of Guglielmo Cortese, called il Borgognone (1628-1679) Battle between Christian and Ottoman cavalry oil on canvas 95 x 142.5cmProvenance:Private Collection, LondonThe painting is executed in oil on a linen canvas support which has been lined. The canvas tension is adequate and the picture is in plane. The paint layer is stable and secure overall. The darker areas of the picture have suffered from wear and abrasion which has been extensively overpainted. Small areas of damage and abrasion have also been overpainted in the sky. The overpaint has darkened overtime, especially in the lighter paint passages. The varnish is even and semi-glossy but has slightly yellowed with age.
Lot 27
James Lawson Stewart (1841-1929) The North End of Old London Bridge from the Westsigned with monogram (lower right) and inscribed with title (to the reverse)watercolour on paper37.5 x 72.5cm58.5 x 93.5cm framedThe paint is stable and generally the paper is in good condition. There are some areas of discolouration, particularly in the lighter areas of the sky. In the centre of the picture, there is a small scratch or tear (please see photos), approximately 5cm. The item has not been examined out of its frame.
Lot 118
§ Raoul Millais (1901-1999) Three horses in a landscape signed ‘Raoul Millais’ (lower left) oil on board 24 x 28.5cmProvenance:With Richard Green Ltd, London, 1968,From the estate of the late Julie Cecil (1942-2022)Framed 37 x 42cmThe painting is executed in oil on a piece of hardboard with the textured side at the reverse. The board is in plane and the paint layers are in a good, stable condition overall. Drying cracks have formed in the darker paint passages. These cracks develop as the paint layers dry, contracting and revealing the lighter ground layers below. The paint layers appear to be unvarnished. There is a light layer of surface dust present.
Lot 59
Follower of Simone Pignoni Hebe, cupbearer of the gods, holding a drinking ewer and flowers oil on canvas 84.5 x 69cmProvenance:Private Collection, LondonThe painting is executed in oil on a canvas support which has been lined. The canvas tension is stiff and there are minor undulations around the edges of the picture. The paint layers are stable but have suffered from wear and damage in the past. Old varnish residues appear green in the dark background. There is extensive overpaint across the surface, applied in a brushy manner and slightly darkened overtime. In the flesh paint, retouchings have become lighter. The varnish is clear and even.
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