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Click here to subscribeGeorges Braque (1882-1963) after.Still life with Lemons and PipeCollotype printed in colours, circa 1960, signed in pencil, an artist's proof numbered from the edition of 30, the edition was 300, printed and published by Guy Spitzer, Paris, with his blindstamp, on wove paper, with full margins, sheet 560 x 755mm (22 x 29 3/4in)
Bella-Ann E. H. Hood (Bristol) - Four watercolours - Comprising: Still life with book ('Flowers of the Field') and jar of ferns, signed and dated 6/99, 26.5cm x 39.5cm; still life with cut baguette, dated 9/99, 29cm x 44cm; Two watercolours of flowers, 'Clematis on Trellis', 1996, 44cm x 29cm, and 'Dutch Iris', 1996, 34cm x 24.5cm, together with a pastel still life with lemon and lime, (5)
OO / HO Miscellaneous Railway Items to include Peco 2 x SL92XX L/H small radius point, PL10E point motor, PL41 rail cleaner, Dapol LMS electrically operated distant signal in original packaging, Hornby Railways R449 Coach Lighting Unit, Ratio 5069 GWR 20-ton Brake Van Kit, box of Merit Lineside Accessories, Peco overall roof kit (unchecked for completeness), 3 x Homes of Yesterday and Today building kits (100-8, 100-9 and 100-10) 2 are still shrink-wrapped, HO 2 x Roundhouse North American Passenger Cars (late Fraser and white pass combination cars), Life-Like 1382 American Outline Police Station Building Kit, Roco 5022 double track point assembly comprising 4 x points and 4 x straight track sections enabling switching of tracks, condition Good Plus in individual boxes contained in Poor outer box, Linka 8001 building set in original box but unchecked for completeness along with reproduction metal sign for station masters office door. (qty)
Vinyl – 11 Rolling Stones albums one box set and one 10” to include: The Rolling Stones – Around And Around (Original French 1964), Their Satanic Majesties Request (Original UK 3D cover, Stereo wit Red Flame Inner), Their Satanic Majesties Request (UK Stereo Re-issue Boxed Decca Logo), Aftermath (Original UK Mono), Out Of Our Heads (Original UK Mono), The Rolling Stones (Original UK Mono Flip back Cover “Carol” credits, 2A / 3A matrices), Big Hits - High Tide And Green Grass (Original UK Mono, Gatefold Sleeve), Through The Past Darkly (UK Stereo Boxed Logo), No Stone Unturned (Original UK). Still Life (UK 1982 Picture Disc + Gatefold Cover CUNP 39115), Some Girls (Dutch 1978 Orange Vinyl), The Great Years (4 Lp Box Set with Booklet), Living In A Ghost Town (UK / EU 2020 10” Limited Edition Single Sided Orange Vinyl) Sealed. Condition VG to VG+ overall.
§ Andreas Gyula Bubarnik (Hungarian, 1936-2010), still life with glass of white wine, flagons and fruit on a marble ledge, oil on panel, signed lower left, 56.5 x 46cm, in a gilt frame.Please note that Artist's Resale Right may be additionally payable on top of the hammer price for this lot, where the price is above the threshold of Euros 1,000, up to a maximum of 4% of the hammer price. Please visit www.dacs.org.uk for more information.
Andreas Gyula Bubarnik (Hungarian, 1936-2010), still life with pewter tankard and fruit, oil on panel, signed lower left, 37 x 27.5cm, framed, bearing Quay Gallery, Dorset label to the reverse. Please note that Artist's Resale Right may be additionally payable on top of the hammer price for this lot, where the price is above the threshold of Euros 1,000, up to a maximum of 4% of the hammer price. Please visit www.dacs.org.uk for more information.
William E. D. Stuart (British, c.1826-1873), still life with grapes, pineapples and apples with landscape to background, oil on canvas, signed lower right, 79 x 79cm, framed.Condition Report: Very good condition overall. Picture surface stable, with mild craquelure throughout. Very few surface scratches and blemishes. The canvas was relined and remounted at some point in the mid twentieth century. The picture has been examined outside its frame; the composition is intended to be circular, bordered by white underpainting beneath the frame (which exactly matches the outline of the visible image).
§ Andreas Gyula Bubarnik (Hungarian, 1936-2010), still life with blue and white jug and peaches, oil on panel, signed lower right, 38 x 28cm, in a modern gilt frame, bearing Quay Gallery, Dorset label to the reverse.Please note that Artist's Resale Right may be additionally payable on top of the hammer price for this lot, where the price is above the threshold of Euros 1,000, up to a maximum of 4% of the hammer price. Please visit www.dacs.org.uk for more information.
Collection of oil on ivorine and watercolour on paper still life miniatures, including the following artists: Robert Hughes, Elizabeth Bosson, Wendy Zollinger, Iris Huckvale, Christine Hart-Davies, Florence Young, among others, sample size 6 x 7cm. (qty)Catalogue note: please be aware that none of these miniatures include ivory.Condition Report: Two Robert Hughes pictures in the lot, with numbers and titles as follows:6817, By the Windows4966, Polyanthus.
A group of items comprising: large wooden-framed mirror (80 x 130cm), two further oval mirrors, old mirror frame with oil on board insert, 1930s painted plaster figure of a woman and hunting dog (slight loss to leg unseen from front), three large framed prints, resin mirrored wall sconce, modern resin 'Vittorio Tessaro' wall plaque and a framed oil on metal still life
Christopher Penny (b.1947) Dead Tree, pencil signed framed limited edition coloured lithograph 137/200, together with William Geldart, Manchester Town Hall, pencil signed limited edition print, Violent Bellingham (20th century) Daffodils, still life, watercolour on paper together three other pictures .H.69 W.55cm. (largest)
Christopher Wood (British, 1901-1930)Spring Flowers in a Jug oil on canvas laid on board28 x 20.7 cm. (11 x 8 1/8 in.)Painted in 1928Footnotes:ProvenanceRex Nan KivellWith The Redfern Gallery, London, March 1942William MasonPrivate Collection, U.K.ExhibitedLondon, The New Burlington Galleries, Christopher Wood: Exhibition of Complete Works, 3 March-2 April 1938, cat.no.307LiteratureEric Newton, Christopher Wood 1901-1930, The Redfern Gallery, London, 1938, p.73, cat.no.331Painted in 1928, Spring Flowers in a Jug, belongs to a time when Christopher Wood was working closely with both Ben and Winifred Nicholson. The three had become increasingly close friends and spent much time together in London with Wood exhibiting alongside Winifred at the Seven & Five exhibition at the Beaux Arts Gallery during February of that year. As Spring dawned, an invitation to visit Bankshead, their farmhouse near Brampton in Cumbria, arrived and offered with it the opportunity to accelerate his learning and rejuvenate in the country. Writing to his mother, Wood noted that 'This is a dear old farmhouse. My room is lovely with great beams going up into the roof and across the room, all whitewashed and a huge window across the end, a box bed with a pretty blue cover, a table, a row of pots of tulips and little hyacinths and outside some ducks and a little farmyard like Beatrix Potter things' (Christopher Wood quoted in Richard Ingleby, Christopher Wood, An English Painter, Allison & Busby, London, 1995, p.181). The stay was to have a crucial impact on his hosts too with Winifred describing how 'he came in March, his arrival was like a meteor' (ibid, p.181).The work they produced during this time has been described as sharing the same spirit with a multitude of ideas flowing back and forth. Ben Nicholson and Wood explored the necessity of elimination in their drawing, a lesson which the latter had started to learn whilst in Rome in 1925 and taught by Jean Cocteau and Picasso. Many of these works, incorporating box shaped farm buildings and an assortment of trees and animals, are almost impossible to differentiate and reflect the intimacy of the working relationship. However, it was to Winifred that the artist appears to have been closest and they shared a deep appreciation of colour along with a spiritual connection that would extend beyond his untimely death. It is through their respective depictions of flowers that the influence of one another is most evident, the present work being a striking example.Whilst both artists were well versed in more formal still life arrangements, they were most successful when working with bunches of wild flowers placed informally within a mug, jug or glass as can be seen in the present composition. Although Wood is not known to have painted any floral pictures at Bankshead itself, he spent much time observing Winifred and upon his return to Paris in April, he was focused on exploring the subject, requesting she send him bunches of spring flowers in the post. Several pictures, including Still Life, Bankshead (Private Collection), which depicts colourful flowers sent in one such package by Winifred emerged from the French capital. Placed in a blue glass to Winifred's influence, they are set within a composition drawn from Ben Nicholson's Walton Wood Cottage No 1 (Scottish National Gallery of Modern Art) with the wood itself and cottage almost identical but a heightened sense of colour throughout to give a unique identity. Spring Flowers in a Jug combines the strong influence of both Ben and Winifred from this important moment and is a visual record of the significant relationship between the three artists. The patterned complexity of the soft and muted background echoes the compositions of Ben whilst the flowers radiate in Winifred's own words as 'sparks of light, built of and thrown out into the air as rainbows are thrown, in an arc', set to Wood's own painterly gestures (Winifred Nicholson, quoted in Jovan Nicholson, Art and Life 1920-31, exh.cat., Dulwich Picture Gallery, London, 2013, p.33).We are grateful to Robert Upstone for his assistance in cataloguing this lot. He is currently preparing the forthcoming catalogue raisonné of the artist's work and would like to hear from owners of any work by the artist so that these can be included in this comprehensive catalogue. Please write to Robert Upstone, c/o Bonhams, Modern British Art Department, 101 New Bond Street, London, W1S 1SR, or email britart@bonhams.comFor further information on this lot please visit Bonhams.com
Julian Trevelyan R.A. (British, 1910-1988)Kiln Firing at Night signed and dated 'Trevelyan.'43' (lower left)oil on canvas56.2 x 45.7 cm. (22 1/8 x 18 in.)Footnotes:ProvenanceWith Alex Reid & Lefevre, LondonPrivate Collection, U.K.Julian Trevelyan first visited Stoke-on-Trent in 1937, and immediately felt an affinity with the place. As he was to write in 1955, 'the concentration of smoking kilns, like so many monstrous bottles, the canals, the gaping chasms from which the clay had been extracted – all of these produced in my mind a ferment of ideas and I drew like one possessed' (Julian Trevelyan, Indigo Days: The Art and Memoirs of Julian Trevelyan, Scolar Press, Aldershot, 1957, pp.86-7). The town, teeming with activity, provided a rich source of inspiration – from the constant stacking of the kilns, to the crackling fires of the furnaces and the smoke that bellowed from them, everywhere he looked there was visual stimulation.This new source of inspiration prompted a turn away from Surrealism and collage, and back to painting. This was to prove a formative experience for him, and he later commented: 'I think I was about twenty-eight [in 1938] when I found that for the first time I was painting my own pictures without trying to please anyone but myself...they were visions of my own world...and that was all that mattered. The smoking furnaces of the potteries and the desolate landscape of slag heaps and derelict slums of Stoke-on-Trent made a deep impression on me. I became myself beside the murky canals, and from then on life was easier'. (Julian Trevelyan, letter to his wife Ursula, quoted in Philip Trevelyan, Julian Trevelyan Picture Language, Lund Humphries, Farnham and Burlington, 2013, p.118).In 1939, however, War broke out again and in the autumn of that year he joined Stanley William Hayter working on industrial camouflage, taking on commissions to conceal factories from enemy aircraft. In October 1941, Trevelyan received his call-up and became a Lieutenant in the Corps of Royal Engineers. Like all those serving in the army, Trevelyan was obliged to wear an identification disc in case he was killed in service, each one carrying the name, number and religion of each soldier – characteristically true to his artistic calling, he wrote 'Surrealist' under the latter and noted: 'I used to wonder what rites would have been performed at my burial by a conscientious commanding officer' (Julian Trevelyan, op. cit., pp.138-9).During his time in the army, which included a tour of duty to North Africa and the Middle East, opportunities and materials for painting were limited, and his mental health deteriorated, eventually resulting in him being returned to civilian life after spending time being treated in a north London institution. From 1943, he was able to return to painting and significantly to his richest source of pre-war inspiration, Stoke-on-Trent, which forms the subject of the present lot. Evocatively titled Kiln Firing at Night, here the dark kiln is dramatically lit from within by flames that lick the sides, orange sparks visibly escaping amidst the smoke that bellows from the chimney. Fed by three men who are evidently hard at work, stripped down to just trousers and caps in the intense heat, stoking the fires and carrying coal to feed it - with further kilns visible in the background - there is a sense of the relentless cycle of work that would have kept the potteries in production at all hours of the day and night. Representing a welcome return to an important subject – and fond pre-war memories of freedom and productivity, uninhibited by camouflage or touring duties and the monotony of army life – Kiln Firing at Night hails from an important period in Trevelyan's life when he could return to the sanctuary of Durham Wharf. Life, however, was still complicated by the ongoing war – and indeed in late 1943 a large unexploded bomb landed in the garden next to Durham Wharf during the night, which must have been doubly alarming given the recent arrival in August of that year that their son, Philip. The present lot thus shows the artist's determination to carry on amid the challenges of life during the war, and his continued passion for painting.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Ivon Hitchens (British, 1893-1979)Tree, Sky & Ragwort (Giant Oak Series) oil on canvas40 x 106.2 cm. (15 5/8 x 41 3/4 in.)Painted in 1978Footnotes:ProvenanceThe Artist's EstateWith Waddington Galleries, London (as Tree, Sky & Ragwort (Giant Oak Series) aka Open Country with Ragwort), 25 March 1993, where acquired byMiss Elizabeth CreakHer Estate Sale; Bonhams, London, 28 May 2014, lot 66With The Redfern Gallery, London, where acquired by the present ownerPrivate Collection, U.K.ExhibitedLondon, Waddington Galleries, Ivon Hitchens, A Retrospective of Paintings, 3 March-3 April 1993, cat.no.14 (col.ill and cover detail)London, The Redfern Gallery, Spring Exhibition: Modern British Art, 13 March-31 May 2019, unnumberedLiteraturePeter Khoroche, Ivon Hitchens, Andre Deutsch, London, 1990, pl.98 (col.ill)Please note that this work has been authenticated by John Hitchens, the artist's son, and bears a studio stamp (verso).Tree, Sky & Ragwort (Giant Oak Series) was one of the very last works that Hitchens' completed prior to his death in 1979, and his mastery of colour and form is plain to see. Filled with the speed and energy of a lifetime's experiment and practice and distilled into the simplest of visual languages, the work celebrates the landscape of the artist's beloved Sussex, that was the touchstone for much of his output.Hitchens' work, particularly from the forties onwards, barrelled towards further abstraction, culminating in the evocative landscapes of his later work that epitomise the artist's oeuvre. His landscapes in particular can at times be quite challenging to decipher with their sweeping fields of vivid colour and abstract shapes and planes. These shifting patchworks of colour invite the participation of the viewer, as we are drawn in to examine the form and surface of each work. Patrick Heron once said when describing one of Hitchens' woodland paintings in 1955, 'the tree is paint, and the paint is tree.' (Patrick Heron, quoted in Ivon Hitchens: Forty-Five Paintings, foreword by Alister Warman and Caroline Collier, Serpentine Gallery, London, 1989, p.5). In this work, the giant oak dominates the centre of the canvas. Boldly painted in deep browns and brilliant purples, put to canvas in sweeping painterly gestures, Hitchens brings to life the dark and brooding maturity and majesty of the tree, and draws the viewer into the landscape through this focal point. The oak is framed by the suggestion of a still-watered pond to the left, and the swathes of blues and orange above that hint at a sky at sunset. Flashes of the bright yellow of Ragwort flowers are licked at intervals across the canvas in languorous brushstrokes, at once almost entirely removed from the initial subject matter, and yet wholly anchored to it.As Hitchens so succinctly stated, 'nature contains everything, really' (ibid., p.6). An evergreen source of inspiration for the artist even until his later years, Tree, Sky & Ragwort (Giant Oak Series) perfectly illustrates the boundless enthusiasm Hitchens had for his beloved landscape.We are grateful to Peter Khoroche for his assistance in cataloguing this lot.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Französischer Design-Tisch mit Stillleben. 1950er Jahre. Signiert "C. de Savigny".Messing, Email. Ca. 48 x 108 x 47 cm. Design-Couchtisch mit Keramikfliesen und polychromer Emailmalerei mit Gläsern und Flaschen. Metall mit Korrosionsspuren.Shipping not available.French design table with still life. 1950s. Signed "C. de Savigny".brass, enamel. Approx. 48 x 108 x 47 cm. Design coffee table with ceramic tiles and polychrome enamel painting with glasses and bottles. Metal with traces of corrosion.Shipping not available..*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Altmeistergemälde: Großes JagdstilllebenÖl/Leinwand. Unsigniert. Um 1700. 121 x 99 cm. Gerahmt135 x 114 cm. Qualitativ hervorragende Darstellung der Beutevögel mit Gewehr an einem Baum in weiter Gebirgslandschaft unter wolkigem Himmel Leinwand doubliert, ein kleines Loch. Provenienz : Fürsten Reuß j.L., Schloss Osterstein Gera. Shipping not available Old Master Painting: Large Hunting Still LifeOil / canvas. Unsigned. Circa 1700. 121 x 99 cm. Framed135 x 114 cm. Quality excellent depiction of prey birds with rifle on a tree in wide mountain landscape under cloudy sky Canvas doubled, a small hole. Provenance : Princes Reuss j.L., Osterstein Castle Gera. Shipping not available.*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
ARNOLD, Gerhard(* 1938 Ludwigshafen) Junge FrauÖl/Malkarton. Rechts unten signiert. 30 x 20 cm. Gerahmt41 x 31 cm. Darstellung einer Frau in blau-weißem Kleid vor nicht näher erkennbarem Hintergrund Stillleben-, Genre- und Landschaftsmaler. ARNOLD, Gerhard(* 1938 Ludwigshafen) Young womanOil / cardboard. Signed lower right. 30 x 20 cm. Framed41 x 31 cm. Picture of a woman in blue and white dress against an indistinct background Still life, genre and landscape painter. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
KÖSELITZ, Rudolf(1861 Annaberg - 1948 München) Die kleine EvaÖl/Leinwand. Rechts unten signiert, verso bezeichnet/betitelt. 68 x 56 cm. Gerahmt83 x 70 cm. Junges Mädchen im Schatten eines Baumes mit einem Apfel und den weißen Enten auf der blühenden Wiese daneben Leinwand doubliert. Deutscher Genre- und Stilllebenmaler. KÖSELITZ, Rudolf(1861 Annaberg - 1948 Munich) The Little EvaOil/canvas. Signed lower right, verso inscribed/titled. 68 x 56 cm. Framed83 x 70 cm. Young girl in the shade of a tree with an apple and the white ducks in the flowering meadow next to it Canvas doubled. German genre and still life painter. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
KÜNDIG, Reinhold(1888 Uster/Kanton Zürich - 1984 Thalwil/Hirzel) Winter am WaldrandÖl/Leinwand/Karton. Rechts unten signiert. 18 x 24 cm. Gerahmt31 x 37 cm. Schneeschmelze nahe dem Wald im hellen Sonnenschein Schweizer Landschafts- und Stilllebenmaler, studierte in Düsseldorf, Paris und München. Literatur : Thieme/Becker. KÜNDIG, Reinhold(1888 Uster / Canton Zurich - 1984 Thalwil / Hirzel) Winter at the edge of the forestOil / canvas / cardboard. Signed lower right. 18 x 24 cm. Framed31 x 37 cm. Snow melting near the forest in bright sunshine Swiss landscape and still life painter, studied in Düsseldorf, Paris and Munich. Literature : Thieme/Becker. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
ARNOLD, Gerhard(* 1938 Ludwigshafen) WinterlandschaftÖl/Malkarton. Links unten signiert. 20 x 30 cm. Gerahmt30 x 40 cm. Bauernhaus am Waldrand im tiefen Schnee unter grauem Himmel Leichte Altersspuren. Stillleben-, Genre- und Landschaftsmaler. ARNOLD, Gerhard(* 1938 Ludwigshafen) Winter LandscapeOil / cardboard. Signed lower left. 20 x 30 cm. Framed30 x 40 cm. Farmhouse at the edge of the forest in the deep snow under a gray sky Slight signs of age. Still life, genre and landscape painter. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
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