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Lot 319
λ An unusual 19th century Japanese ivory and gilt lacquered brise fan, both sides similarly decorated in various tones of fine gold lacquer work with scenes of daily life, with oriental figures in a landscape, this fan is smaller than those normally associated with this type of work and also has only one ribbon hole per stick, these traits are more commonly found in Chinese fans of the period, 20cm long (boxed)
Lot 3172
Amended description A collection of 25 walking sticks and canes in various materials including a stick the top carved with a Chinese style headover a figure and beast to the other end, another with horn pommel and burr wood shaft, a measuring stick, a shooting stick and whip and two brass stick stands
Lot 3174
Ebonised walking cane with ivory pommel and handle and collar marked 18 c makers mark TP, a cane with floral carved ivory handle, a walking stick with ivory buckle detail to handle and another cane with ivory pommel (all pre 1947)PLEASE NOTE: THIS ITEM CONTAINS OR IS MADE OF IVORY. Buyers must be aware that regulations of several countries, including USA, prohibit the import of ivory, or any goods containing ivory. Ewbank’s advise prospective purchasers who intend to ship this lot to another country that they must familiarise themselves with the relevant import/export regulations prior to bidding. They are responsible for their shipping arrangements and the onus is therefore on them to organise their own shipping.
Lot 182
An English porcelain desk stand, probably Minton, the shaped rectangular body moulded with three oak tree and acorn reserves; a taper stick; and inkwell and cover of conforming pattern rest in wells formed by coiled branches, decorated in pale green with gilded highlights and Summer flower reserves; and a Chamberlains Worcester drum inkwell of puce ground and decorated with roses in bright pink, 35.5 cm max approx
Lot 1066
ERCOL FURNITURE including a light elm dining table with rounded corners (151cms by 84), and a set of 8 stick back dining chairs (including 2 carvers). Also with a light elm bookcase with 2 shelves to the top section and cupboards below (163cms) high, and a light elm Hi Fi Cabinet with lift up lid and drawer to the base (98.5cms). Also with an additional darker colour Ercol dining chair. (12)
Lot 617
A QUANTITY OF JEWELLERY including a Victorian circular pearl set locket pendant, a 15ct gold stick pin mounted with a circular cut diamond, an opal and gold stick pin, another gem set stick pin, a 9ct gold foliate engraved wedding band, 4.9 grams, size O 1/2, an 18ct gold foliate engraved band ring, 3.1 grams, size O, a 9ct gold and garnet ring, size N 1/2, a 9ct gold rope link necklace, 17.5 grams, a silver half hunting cased pocket watch and various other items
Lot 637
A VICTORIAN GOLD AND GEM SET HEART AND SCROLL BROOCH together with a Victorian garnet, chrysoberyl and gold circular brooch, 3cm dia., an amethyst and gold clip, an agate and gold brooch, 6.5cm long, a peridot, rose-cut diamond and pearl set gold brooch, 6cm long, a gold stick pin mounted with coral, half pearls and a rose-cut diamond and a pearl and diamond stick pin
Lot 1098
A mid 20th Century Beritex rubberoid advertising figure of a cobbler, for 'Phillips, Stick-A-Soles and Heels', height 31.5cm, width 20cm and depth 10cm, S/D, together with a Pett 'Jane's Calendar', advertising Halesowen Motor Works, with interchangeable paper inserts, each with a month to each side, height 10cm and width 14cm. (2)
Lot 55
An early 19th century Japanese netsuke from Edo period. Signed "Hichibun" o "Isshi" on the base. In carved ivory portraying a standing man over a wine pumpkin while holding two peaches with his left hand and a stick with the right one, 5,50 cm. high. With an expert's report issued by the Spanish Federation of Antique dealers attached.
Lot 45
A Deruta maiolica charger, circa 1530Painted in blue and lustre, the cavetto with a huntsman carrying a game-bird and hare on a stick over his shoulder, set in an abstracted landscape with scrolling foliage, the border with stiff foliate elements alternating with scale patterns, 40cm diam, (tight crack from rim to close to centre)Footnotes:Provenance: Orselli Collection;Private collection, ItalyFor further information on this lot please visit Bonhams.com
Lot 432
MATISSE HENRI: (1869-1954) French Artist. An excellent illustrated A.L.S., with his initials H. M., four pages, 8vo, Nice, 6th January 1922, to his wife Amelie, in French. Matisse states that he has received Jean's paintings, including a portrait of Marguerite, a bowl of mandarins and a viola, adding that he has placed them on his wall to replace his own which are currently being packed ('I have the trunk and am trying to roll the biggest paintings around a stick, but haven't quite figured out the right way, and we've had to redo the first one, which I didn't do well, three times') and which he hopes will be sent tomorrow afternoon, remarking 'You can look at them at your leisure once they have been put on their stretcher bars. But don't show the whole lot because the Bernheims [Bernheim-Jeune, one of the oldest art galleries in Paris] could find out about it and reclaim them', further going into more detail about the paintings and his current work, 'The smallest are paintings of 3. One of them is an unprimed one of 4 that is coming back for the gallerists, but I intend to keep it because I worked on it a lot at the same time as a large design on the same subject that I have here. Another small one of 3 which I worked on in at least 15 sessions will not be with the lot because I have not finished it. I work on it 2 ½ to 4 hours every day, and it is going well. I will send it to you separately once it is done, and I hope you will like it. From now until my departure, I will not have enough time to finish what I have started. I am enclosing in my letter 2 photos (no longer present) one of a painting of 30, the nude, and one of a 15, a young girl seated on the arm of a chair, looking at the window'. Matisse returns to the subject of their son, Jean's, paintings, commenting 'I would say that my first impression made me see qualities but I also saw that he is at the peak of his instinctive elan and that he is starting to dissociate the various elements of the painting (colour, design, value). It shows that he has not studied it. For example in the viola…..and in the portrait, and also the mandarins, but the bowl is good. There are good parts in all paintings, next to flaws. He really has to go and see the Chardins at the Louvre, especially the pipe [at this point in the letter Matisse has drawn a small pen and ink sketch representing Jean Simeon Chardin's still life Pipes and Drinking Vessels] the peaches and the glass of wine, the brioche, the grapes, and he will come to understand that the different parts hold each other together and that the tone of one is not lesser than the one next to it (adding in the margin that he would like Jean to do a modelling course, 'He will learn to draw shapes in other ways than he does now….') But I suspect he will like the Rubens better, but in them the tones hold each other together as well. At least he is working, and I will speak to him more when I am back. I will take him to the Antiquities section of the Louvre and the School of B. Arts to show him how to look at antiquities. He should ask for permission to copy the pipe……I can then critique his work when I come back. I will try to make it easy for him to understand' and concludes by writing of his wife's art, 'The music of your painting, represented by red and green and blue-black is good overall [at this point in the letter Matisse has drawn a small diagram, within a square, identifying the juxtaposition of the colours] but the green does not work well next to the blue, nor does the red next to the black. It is normal and work will correct it. Experience, and the study of the masters, the paintings of Cezanne…..' A letter of wonderful content relating to painting and enhanced by the two small illustrations by Matisse. Some extremely light, very minor age wear, VG Amelie Noellie Parayre (1872-1958) Wife of Henri Matisse from 1898 until their divorce in 1939. Matisse and his wife had two sons, Jean and Pierre, and they also raised the artist's illegitimate daughter, Marguerite, who served as a model for the artist and is mentioned in the present letter.
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