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Click here to subscribeEDWIN A PENLEY "River landscape at sunset with figures in a row boat in foreground mountains rising in distance" watercolour heightened with white and body colour, signed and dated 1875 lower left 17 cm x 47 cm, together with a modern still life study of "Copper vessel, vegetables, etc, on a shelf", oil on canvas, unsigned, 20 cm x 25.5 cm (2)
SARAH BEFFIN (1784-1850) "Peach, grapes, hazelnut and walnut", a still life study, watercolour, inscribed, signed and dated to base "Drawn by Mifs S Beffin Feby 5th 1806", framed and glazed with glazed panel verso with printed article inscribed "At the Talbot Inn, the wonderful woman who is without exception the greatest curiosity exhibited since the creation of the world, Mifs Beffin - a young woman 21 years of age who was born without arms or legs who never was exhibited before last March. She is only 37" high and a very comely appearance; she is by no means deficient in good sense and has an exceeding good temper; she displays a great genius and is a lover of the fine arts but what makes her so worthy of the public notice is the industrious means she has invented and practiced to obtain the use of her scissars, knife, needle, pen, pencil & c. She cuts and makes great parts of her own cloaths, sews well and writes well. She has of late taken to drawing; in which art she is extremely delighted and likely to be equally successful, all of which she performs principally with her mouth.However strange this may appear, yet every person who honours her with their presence will be pleasingly astonished with her extraordinary gifts: in short she is considered by all who have seen her to be worthy of encouragement as any production of nature ever exhibited. The reader may easily think it impossible she should be able to do what is inserted in this bill, but if not true, the proprietor will forfeit one hundred guineas", together with a further newspaper clip from "John O' London's Weekly Nov 8 1924 - An Artist Without Arms - The Miniatures of Sarah Beffin.....", 11.5 cm x 15 cm CONDITION REPORTS Paper is discoloured throughout. Some signs of foxing. There are insect / thunder bugs between the glass and picture. There is a white mark to the right hand side corner of the picture - unsure what this is. Paper appears to be slightly wrinkled. There is a small hole / pin head mark near the shell of the hazelnut. The glass itself is very dirty. Frame has losses throughout. Has clearly been re-sealed, etc. at some point. General wear and tear conducive with age and use. See images for further detail.
This lot contains 5 items Item 1- Diary for 1904 alliance Assurance Co Ltd. 3" x 4¼". A small diary with entries of the activities of the owner throughout 1904 in legible handwriting. Excellent condition in thick card covers. Item 2 - A bound volume 4½" by 7" of a "Private Diary" from September 1915 to April 1916. An interesting notebook of 100 plus pages of a diary kept, probably, by a young lady who writes the following entry: "In Canterbury, almost every soldier you set eyes upon is a mere boy - absolutely - and some of them - Oh well - What I meant to say was it is perfectly atrocious to think of these boys being killed so young. Heaps of them are only 16 and some 15, like George Luland, but still we must trust God and believe what he does is all for the good in the end." The writer of this diary would appear to live in Kent. An interesting diary of a civilian's attitude to the First World War. A unique item. Excellent condition. Item 3 - C & J Penny's Improved Diary 1927 No 10. Published by Straker and Cranes Diary Co Ltd, London 3¾" by 6". Numerous entries by the Assistant Scout Leader, Richardson Chalk Farm. "Life Saving Scout Troop". Excellent condition in publisher's card covers, titled in black. Item 4 - Timothy Whites and Taylors Ltd, Dispensing Chemist and Household Store. Diary and notebook for 1944, Diary kept by Penelope Marjorie Ferguson W.R.N.S. fully written by a member of the Wrens during an important year for the Navy in WW2. Publisher's red boards, titled in black. Lacks spine. Item 5 - The Perennial Diary Circa 1900-1920. An important diary with entries for the first two decades of the 20th century. An excellent copy in publisher's brown boards, titled in gilt. These perennial diaries are quite rare. This lot contains 5 volumes. From single vendor Book and Magazine collection. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
†WILLI HOLTMANN (1908-1984); oil on canvas, still life of bottle, glass, candle and portrait of monk in the background, signed, 58 x 49cm, framed. †Condition Report: This lot may qualify for Artist Resale Rights. For further information, please visit https://www.dacs.org.uk or https://artistscollectingsociety.org
Edith Davies, Prendergast Place (Haverford West ?), signed, watercolours. 25x25cm approx. Together with another probably in the same hand of a stone outbuilding, signed E Davies oils on board. 33x35cm approx. and Mauri E Sheppard, still life study of a horse chestnut tree through a window, gouache on board. 36x28cm approx. Framed. (3) (B.P. 21% + VAT)
Krishna Hawlaji Ara (India, 1914-1985)Untitled (Flowers in a Vase) signed 'Ara' lower rightwatercolour on board, framed76.2 x 55.9cm (30 x 22in).Footnotes:ProvenanceProperty from a private collection, Florida.Acquired from India in the 1930s;Acquired from the Estate sale of the above.The life of K.H. Ara was marked by a constant struggle for survival, yet he persisted with his love for art and desire to paint. His relationship with his father and step-mother were challenging and this forced him to abandon his home for Bombay where he worked as a domestic servant. Caught up in the independence movement, he lost his job after partaking in Gandhi's salt satyagraha, which led to his imprisonment. This represented the beginning of a social and political awareness that eventually led to the creation of the Progressive Artists Group alongside five of the most influential modernist artists in India. Here, Ara found the intellectual and formal encouragement that allowed him to further develop his artistic production and define his style. In 1942 he had his first solo show and in 1944 he was awarded the Governor's Prize at the Bombay Society Annual exhibition. Later in his career, his exhibitions became less frequent, as he dedicated most of his later life to helping upcoming artists. Ara remained in India where he died in 1985.When discussing his artistic production, Ara's lack of formal training is surprising. However, the absence of academic limitations was an advantage that gave his works a raw authenticity. His paintings were free from the structures imposed by the classical standards of the Bengal school and the Western ideals of fine art. Often described as the most intuitive member of the PAG, Ara succeeded in using classical devices to expand the language of his painting, evolving his signature style that loudly emerged from his very early works. Although he is usually compared to Cezanne and Matisse, it would be reductive to think of his work as a mere reflection of Western modernism. Although European modernism represented a source of inspiration, his and the PAG's artistic production was deeply rooted in the historical and social context of 1940s India, the liberation from colonialism and the definition of a newly rediscovered national identity alongside a place of Indian art in the world. Due to his intuitive grasp of the principles of modernism Ara revitalised the entire genre of 'Still Life' in India. Still Life, specifically vases of flowers, represents the hallmark of his artistic production. This painting Untitled (Flowers in a Vase) is an exquisite example of Ara's style and is characterised by a roughness in both drawing and the application of the paint, that seems to overflow from one form to the other. The minimal attention to details and the predominance of colours is evident. Petals merge into each other and yet the choice of different colours makes every single flower stand out in a vibrant bouquet. Particularly significant is the use of white that is frequently applied by the artist to create forms, connect shapes, differentiate the space, and modulate depth and volume. This work demonstrates Ara's ability to turn an apparently till subject into a dynamic triumph of colours.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
Stuart Smith, British active c.1945 - Still Life, Provence, c.1945; gouache and pencil on paper, 22.3 x 15.8 cm (ARR)Exhibited:England & Co., London, 'Jack Bilbo & The Moderns', 1st - 30th November 1990, no.70 Literature:England & Co., London, 'Jack Bilbo & The Moderns', November 1990, cat. no.70
Roland Oudot, French 1897-1981 - Floral still life, 1931; oil on canvas, signed and dated lower left Roland Oudot 1931', 80 x 65 cm (ARR) Note: this beautiful still life composition is typical of interwar painting in Europe, the handling of paint and flattened colour reminiscent of British artists such as Christopher Wood, Winifred Nicholson and Cedric Morris during this period. There is a work in a public UK collection at The Wilson Art Gallery & Museum in Cheltenham, gifted via the Tate and Contemporary Art Society. Oudot exhibited with Arthur Tooth & Sons Gallery, London and Wildenstein & Co. Gallery in London.
James Noble, British 1919-1989 - Piccadilly Roses; oil on canvas, signed lower left 'James Noble', 40.5 x 30.5 cm (ARR) Note: with gallery stock label attached to the reverse, numbered '..N.603'.Like his contemporary, Cecil Kennedy, Noble was infatuated by the Dutch still life tradition, creating highly refined compositions.
Archibald Ziegler, British 1903-1971 - Still life of apples on a blue and white platter; oil on canvas, signed lower right 'Ziegler', 41.5 x 61.5 cm (ARR) Provenance: Rena Behrman and thence by descent Note: Rena Behrman (1909-2017) helped to aid the escape of more than 1000 Jewish refugees from Europe to Britain during the Second World War. Items from her collection were donated to the British Museum. Born to a family of Jewish immigrants from Lithuania, the artist exhibited at important London galleries including the Lucy Wertheim Gallery in 1937, the Leger Gallery in 1948 and the Ben Uri Gallery in 1947, 1950, 1959 and 1968. There was a recent exhibition of his work in his home neighbourhood of Hampstead at Burgh House, London in 2018.
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