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Lot 382
Ewan McClure (Scottish Born 1975) ARRFramed oil on canvas'The Red Teapot Still Life' (And Squirrel) 58cm X 74cm Provenance McEwen Gallery, BallaterEwan McClure is a mid-career well respected Scottish artist and has works in the Robert Fleming Collection andThe Royal Scottish Academy in Edinburgh
Lot 474
Laurence Biddle (British 1888-1968) Gilt framed oil on canvas 'Still Life of a Bowl of Flowers' 31.5cm x 31.5cm Provenance with Porteous - Allison Street, Glasgow, old label verso Condition reportShould read on paper, some paint loss and bubbling, cracking to the paint. and some water marking
Lot 46
Suiveur de Karel van Vogelaer, dit Distelbloom (Maastricht 1653-1695 Rome)Nature morte aux fleursFollower of Karel van Vogelaer, called Distelbloom (Maastricht 1653-1695 Rome)Still life of flowers bears initials 'K.V' (lower left)oil on canvas95.5 x 69cm (37 5/8 x 27 3/16in).For further information on this lot please visit Bonhams.com
Lot 52
Jacob Marrel (Frankenthal 1614-1681 Francfort-sur-le-Main)Nature morte avec un panier de fruits, des coquillages et un lézardJacob Marrel (Frankenthal 1614-1681 Frankfurt-am-Main)Still life with a basket of fruit, sea shells and a lizard signed with monogram 'JM* f' (lower right, possibly strengthened)oil on panel74 x 49cm (29 1/8 x 19 5/16in).Footnotes:Provenance:With Julius Böhler, Munich, 1981, where purchased by the present ownerJacob Marel was apprenticed to the Frankfurt still life artist Georg Flegel until he moved to Utrecht in the early 1630s and trained under Jan Davidsz. de Heem. Here he also came under the influence of the Bosschaert family and Roelandt Savery, all of whom were active in Utrecht at that time. The basket, shells and fruit in the present work are clearly inspired by Balthazar van der Ast's still life, from circa 1635, now in Vancouver Art Gallery, Canada (inv.no. 83.27), which may have been painted before the artist left for Delft. Marrel moved to Frankfurt in 1650 and tutored Abraham Mignon, for whom he later arranged training in Utrecht with de Heem. He continued to travel between Utrecht and Frankfurt throughout his life, forming an important link between two early centres of interest in flower painting.For further information on this lot please visit Bonhams.com
Lot 1216
Jacqueline Gougis, French 1926-2021- Floral still life; oil on canvas, signed 'J. GOUGIS' (lower right), signed on the reverse, 100 x 81 cm (ARR)Condition Report: The canvas is secure on the stretcher and sits well within the frame. Unexamined out of frame. Paint surface is stable on the support. Light marks and surface dirt generally. Otherwise in very good condition overall.
Lot 1244
Elise Claudine Arntzenius, Dutch 1902-1982- Floral still life; watercolour and gouache on paper, signed bottom left 'E.C. Arntzenius' and inscribed on the reverse, 18.9 x 24 cm (ARR)Condition Report: Framed, mounted, and glazed, and unexamined out of frame. Minor marks and scuffs to the frame generally. The sheet lies flat within the mount. Very minor craquelure to some of the spots of gouache. Evidence of minor abrasions in areas. Possible minor marks and spots of foxing in areas. Otherwise in good condition overall.
Lot 391
The Second Afghan War Medal awarded to Lieutenant T. J. O’D. Renny, 4th Punjab Infantry, who was mortally wounded on 14 December 1879, while forcing the Zawa Pass during the expedition against the Zaimukhts Afghanistan 1878-80, no clasp (Lt. T. J. O’D. Renny, 4th Pun, Infy.) minor edge bruise, otherwise good very fine and rare £1,200-£1,600 --- Thomas John O’Dwyer Renny was born at Mussoorie on 15 August 1846, third son of Colonel Robert Renny, C.B., Bengal Staff Corps. He entered H.M.’s Service on 11 April 1868, as an Ensign in the 31st Foot, but was transferred on the same day to the 36th Foot, and being in India when he was gazetted, he joined the latter regiment at Peshawar in the succeeding June. In November 1869 he accompanied the regiment to Rawal Pindi, and, on 28 October 1871, he was promoted to the rank of Lieutenant. On 5 January 1872, he was appointed Second Wing Subaltern in the 4th Punjab Infantry, on probation for the Bengal Staff Corps, into which he was subsequently admitted with effect from that date. He joined this regiment at Abbottabad, and at that station from February 1873 to April 1874 he officiated as Quarter-Master of the corps, acting also as Adjutant, in addition, from the month of January. In April 1874 he was appointed First Wing Subaltern, and, still officiating as Adjutant, he, in December of that year, marched with the regiment to Kohat, at which station he continued officiating as Adjutant of the corps until February 1870. From September 1876 to May 1877 he again officiated as Quarter-Master, and during this period a reorganisation of regimental appointments having taken place, his permanent appointment received the designation of “Wing Officer”. In August 1877 he took part with the regiment in a raid into the country of the Jowaki Afridis, carried out in reprisal of Jowaki incursions into British territory, and in the following winter, as Adjutant of the regiment (to which post he was permanently appointed in November 1877'), he served with the corps throughout the arduous operations against that troublesome clan (India Medal and Clasp). On the termination of this campaign he accompanied the regiment to Edwardesabad, arriving there in April 1878, and during the cold season of 1878-79 he was actively employed with the corps in protecting the Tank border against the Mahsud Waziris, who had at that time been making a series of unusually daring raids into British territory. In the autumn of 1879, on the renewal of the Afghan War, he accompanied the regiment to the Kuram Valley, and in December of the same year he took part with it in the expedition against the Zaimukhts, a tribe which had been conspicuously troublesome in its plundering and murdering incursions on the line of communications. In the operations which followed he unfortunately lost his life, having, on the 14th December, fallen mortally wounded, shot through the head in the assault of Zawa, the Zaimukht stronghold. He died of his wound on the following day, in camp at Chinarak, whence his remains were afterwards removed to Kohat, and there interred.
Lot 124
A Great War ‘Palestine operations’ M.M. group of four awarded to Sergeant H. Thomas, Royal Munster Fusiliers, late Oxfordshire and Buckinghamshire Light Infantry Military Medal, G.V.R. (20084 Cpl. -L.Sjt:- H. Thomas. 6/R.M. Fus:); 1914-15 Star (17059 Pte. H. Thomas. Oxf. & Bucks. L.I.); British War and Victory Medals (17059 Sjt. H. Thomas. Oxf. & Bucks. L.I.) suspension ring bent on VM, good very fine (4) £600-£800 --- M.M. London Gazette 10 April 1918. Howard Thomas attested for the Oxfordshire and Buckinghamshire Light Infantry at Swansea, and served initially with them during the Great War in the Balkan theatre of War from 16 October 1915. Posted on attachment to the 6th Battalion, Royal Munster Fusiliers, he was awarded his Military Medal for his gallantry with the 6th Battalion in Palestine on 27 December 1917. The Regimental History states: ‘On 27 December [1917] ... useful information as to the ground was obtained, with Sergeants Hyde and Thomas, and Private O’Connor showing particular gallantry.’ In addition, Chindwin to Criccieth: the life of Colonel Godfrey Drage, gives the following account: ‘Meanwhile the main Turkish army was still close to Jerusalem on the north-east and with plenty of fight left in them. At midnight on 26-27 December they attacked down the Nablus Road and gave the 60th Division a pretty good battle which soon involved the 53rd Division as well. At daylight the 74th Division attacked. By noon they were threatening the enemy’s flank and by the evening we were all set for a victory. The 10th Division were covering them to the north and at first we hadn’t much to do, but in the late afternoon we came up to a position known (for obvious reasons) as “Machine-Gun-Hill” and it looked like being a tough nut to crack. Our two Dublin battalions ahead of us were pinned to the ground by the heaviest fire I’d ever met. It was clear that a full dress attack would have to be mounted on the morrow and so I sent Captain Keevil forward with Lieutenant O’Keefe and two platoons of “D” Company to reconnoitre the ground as far as possible before dark. We managed to keep down the Turkish fire directly in front of us while Keevil was crossing the open and then they vanished amongst the rocks and hillocks. Almost at once there was a volley of shots. I could distinguish two Lewis-guns firing hard and hear some shouts. “Poor devils”, I thought, “that’s the end of that. I’ve lost a lot of good men just when I’II be needing them.” Then back trailed an amazing procession-at least it amazed me because the first four figures wore fur coats and because Keevil’s command seemed to have nearly doubled its strength. They reached our line safely and told their tale. Just as we lost sight of them, they’d bumped up against a strong-point well out in front of the main Turkish position and promptly rushed it. Accounts of hand-to-hand fighting are bound to be a bit confused, but Sergeants Hyde and Thomas had done extra good work, while Private O’Connor had charged the nearest machine-gun and bayonnetted the two Turks behind it. They’d come back with 4 Turkish officers and 19 other ranks, Private O’Connor’s machine-gun and both our own casualties - one wounded and one dead.’ Thomas was presented with his Military Medal by H.R.H. the Duke of Connaught on 20 March 1918. Subsequently transferring to the 2nd Battalion, Royal Munster Fusiliers, he was discharged Class Z at the end of the War.
Lot 170
Five: Lieutenant-Colonel C. G. Nurse, Indian Army, late Royal Irish Fusiliers. A man of many languages and a well respected entomologist, whilst serving in the Army and beyond, he discovered various species, giving much of his collection to the Natural History Museum, where it still resides Egypt and Sudan 1882-89, undated reverse, 1 clasp, El-Teb-Tamaai (Lieut: C. G. Nurse. 2/R. Ir: Fusrs.); 1914-15 Star, naming erased; British War and Victory Medals (Lt. Col. C. G. Nurse); Khedive’s Star, dated 1884, unnamed as issued, contact marks, nearly very fine and better (5) £500-£700 --- Provenance: Dix Noonan Webb, December 2011. Charles George Nurse was born in Barnham, Suffolk, c.1862. He was commissioned into the Royal Irish Fusiliers as a Second Lieutenant on 22 January 1881 and was advanced to Lieutenant in July the same year. Serving with the Regiment in India, he was variously listed in the Army Lists as an Interpreter or Station Staff Officer, Kolapore. He served with the 2nd Battalion Royal Irish Fusiliers in the Sudan Expedition of 1884, seeing action at the battles of El-Teb and Tamaai. In December 1884 Lieutenant Nurse was seconded to the Indian Staff Corps, and in March 1885 he was appointed to the Bombay Staff Corps, serving with the Zaila Field Force during 1890, combating the activities of the ‘Mad Mullah’ in Somaliland. He was promoted Captain in the Indian Staff Corps in January 1892, and Major in January 1901. Appointed Lieutenant-Colonel in the 113th Infantry in January 1907, he retired from the Indian Army on 23 January 1909. Nurse returned to action with the onset of the Great War, being reappointed Lieutenant-Colonel from retirement. Attached to the 3rd Battalion, Bedfordshire Regiment, he served on the Western Front from 12 May 1915. Latterly living at ‘Redcote’, Rusthall Park, Tunbridge Wells, Kent, he died on 5 November 1933. Nurse was a well known and respected entomologist who wrote many articles on the subject, discovering a number of unknown species. His Obituary in The Entomologist’s monthly magazine, Volume 70 1934, states: ‘C. G. Nurse, elected a Special Life Fellow in 1932, became a Fellow in 1895. He was a keen entomologist who began to collect butterflies and moths when a boy at school. Indian Lepidoptera in 1892 and Indian Hymenoptera in 1897 contributing many papers on the latter Order to the Bombay Natural History Society.’ Nurse donated and later left to the Natural History Museum a large collection of insects he had collected, where they still reside today: ‘By the will of the late Lieutenant-Colonel C. G. Nurse, the Trustees of the British Museum (Natural History) have received a bequest of 3,000 Indian insects mostly obtained at Quetta, Deesa and Jubbulpore, where Colonel Nurse served with the Indian Army. Colonel Nurse was one of the small band of naturalists among military officers who devoted their leisure to the study of entomology, and was an enthusiastic collector of Hymenoptera, forming a large and valuable collection which he presented to the Museum a few years ago. The present bequest comprises the remainder of his Indian insects and includes about 1,450 Diptera (two winged flies), 1,300 butterflies, 130 dragon-flies and some others; of these the most valuable are the Diptera. The collection is especially rich in species of the family Bombyliidae, most of which are parasitic in the larval state on bees or wasps. Colonel Nurse discovered and described fourteen species of this family which were new to science, and types of these are in the collection, as well as specimens of a number of other flies which were not previously represented in the Museum. Some interesting butterflies and other insects from Aden are included.’ Sold with copied research.
Lot 198
KATE HARRIS (1878-1949) FOR WILLIAM HUTTON & SONS LTD. CENTREPIECE, LONDON 1900 silver, with green glass liner, hallmarked London 1900, stamped MAPPIN & WEBB, incised 46587Dimensions:48.5cm wide, 18.5cm highNote: Note: Kate, or Katie, Harris, is broadly considered one of the most important designers for the London-based firm, William Hutton & Sons. From 1899 to around 1905, she produced exquisite designs for artistic silver. We are pleased to offer this wonderful selection of pieces, which demonstrate the exquisite breadth of work she produced for the firm, and which is still very much sought-after by collectors.Sinuous botanical motifs and enchanting organic forms dominate her work, serving both a decorative and structural purpose for the piece itself. Perhaps Harris’ best-known designs, however, are those featuring a classically stylised figural form, typically austere in feeling and with fewer erotic overtones than Continental Art Nouveau counterparts. The skilled craftsmanship needed to bring these designs to life showcases the sheer elegance and simple beauty that is now synonymous with Harris’ work.The period between 1880 and 1914 offered fresh opportunities to women artists in training and employment, and there was a growing number of women artist-designers' names published in popular art magazines at the time. Harris gained critical acclaim after regularly featuring in The Studio Magazine; soon several companies began to retail her popular silverwares, including Goldsmiths and G. L. Connell. While Harris may have been one of Hutton & Sons brightest talents, it was commercial standard practice for designs to be attributed to the firm itself, and not the individual designer. As a consequence, even successful artists would remain largely anonymous and it became challenging, particularly for women, to forge a prosperous artistic career. Though her biography remains vague, her accomplishments in silverware design are continually recognised and reflected in the high prices her work commands in the art market today.
Lot 388
ABRAHAM BRUEGHEL (1631-C.1690). His circle. STILL LIFE OF SUMMER FRUITS. Bears stylised initial `A` lower left, oil on canvas, unframed 73 x 60cm. Provenance: Country house auction, c.1970, (£80); Private Collection, Somerset. *CR Lined; replaced stretcher; some craquelure; scattered retouching over old minor damages etc; the lower section, notably the bottom right corner, apparently unfinished.
Lot 397A
JAN VAN KESSEL THE ELDER (1626-1679). STILL LIFE OF A BOWL OF FLOWERS WITH BUTTERFLIES AND A DRAGON FLY. Oil on canvas, a fragment 63 x 45cm. This composition is a fragment (from the upper right) of a painting that was last recorded with Galerie Robert Finck in Brussels in 1963. Literature: K. Ertz & C. Nitze-Ertz: `Die Maler Jan van Kessel` (Lingen, 2012), no.593 (complete painting shown). * We are grateful to Dr. Fred Meijer for his assistance with the cataloguing of this lot. *CR Lined; scattered retouching, including some over old small losses; some craquelure.
Lot 214
Circle of Oliver Clare - Still Life of a Birds Nest, Flowers and Leaves, and Still Life of Fruit and Leaves, a pair of 19th century oils on canvas, one indistinctly signed, each 20cm x 30cm, both within gilt composition frames.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 209
Unity Couzens - 'Iris', oil on canvas-board, signed and dated '71 recto, titled artist's label verso, 16cm x 24cm, together with a 20th century oil on canvas-board, Study of Sunflowers, and a watercolour, Still Life of Fish, both by different hands.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 82
After Joseph Nigg - Still Life of Flowers in an Urn on a Ledge with Fruit, 19th century chromolithograph, 60.5cm x 48.5cm, within a painted wood frame. Provenance: the property of Donald Church.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 279
British School - Still Life Arrangement of Flowers, 19th century watercolour, 42cm x 34cm, within a gilt frame, together with three further 19th century botanical watercolours by different hands, and a 19th century botanical engraving. Provenance: the property of Donald Church.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 208
Judith Davis - 'Seated Nude', 20th century charcoal with pastel, signed recto, titled artist's label verso, 50cm x 34cm, within a stained wood frame, together with a still life watercolour by the same hand, a charcoal and chalk figure study by Gay Carlisle, and a watercolour portrait of the artist David Birch by Margaret K. Banks.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 1082
Full title: Frans Mortelmans (1865-1936): Still life with fruit and wine, oil on canvasDescription: Work: 56,5 x 45 cm Frame: 71 x 58,5 cm Ref.: - Frans Mortelmans 1865-1936, Stichting Mortelmans, Antwerp, 2022, p. 294, 057 (3 perziken, wijnglas, 2 flessen wijn op dienblad - 3 pêches, verre avin, 2 bouteilles de vin sur plateau - 3 peaches, wineglass, 2 bottles of wine on tray) for a similar, but slightly smaller work.
Lot 1083
Full title: Frans Mortelmans (1865-1936): Still life of flowers, oil on canvasDescription: Work: 146 x 114 cm Frame: 165,7 x 133,7 cm Ref.: - Frans Mortelmans 1865-1936, Stichting Mortelmans, Antwerp, 2022, p. 388, B182 (Roze en witte rozen, witte seringen in vazen op tafel - Roses roses et blanches, lilas blancs dans vases sur table - Pink and white roses, white lilacs in vases on table).
Lot 958
Full title: James Ensor (1860-1949): 'Portrait de Leon Rinskoff futur baron du rat mort', mixed media on paper, ostend, dated 1903Description: Work: 16,7 x 13,6 cm Frame: 31,5 x 24,4 cm The work bears the lettering 'Portrait de Leon Rinsko(i)ff futur baron du Rat Mort', is dated 1903 (ostende) and signed by James Ensor. Leon Rinskopf (19 November 1862, Ghent – 13 June 1915, Deauville) was director of the ostend Conservatory (1891-1914) and a close friend of James Ensor. Rinskopfstudied at the Royal Conservatory of Ghent and obtained several awards. From 1882 to 1885 he was assistant teacher of piano at the Royal Conservatory of Ghent. In addition to his task as director of the Conservatory,he mainly made a name for himself as a conductor. When Emile Perier passed away as first conductor of the Kursaal orchestra, Leon Rinskopf was appointed as his successor. He also took over the artistic direction of the Kursaal. He invited well-known foreign conductors and in 1906 Camille Saint-Saëns and Richard Strauss personally conducted their compositions at his invitation. He also regularly featured Belgian composers such as Jan Blockx, Peter Benoit, Sylvain Dupuis, Charles Mestdagh, Florimond Van Duyse and others. At the outbreak of the First World War, Rinskopf fled to France. He died in Deauville on June 13, 1915 in the Hotel Normandy. In 1921, on February 3, the heirs made a donation to the city of ostend of fifty bonds with a nominal value of one hundred francs each, the interest of which was to be used for the award of a three-yearly prize ‘Leon Rinskopf for the higher grade piano. This price still exists. (link) The dead rat in the top right corner is a reference to the 'Compagnie du Rat Mort'.In 1896, a group of sixteen exuberant ostend men, including James Ensor, all members of Cercle Coecilia, went to Paris. They thought it would be nice to put the flowers outside and they had a great time in the Montmartre quarter of the French capital. ‘Au Moulin Rouge’, ‘Le Ciel’ as well as ‘L'Enfer’ were on their program, and late at night or early in the morning they ended up in the ‘Rat Mort’. The director of this cabaret was a Belgian. In the “Rat Mort” the orchestra had already left at this point, but the pianist and some nice dancers provided a fitting epilogue to the unforgettable, festive Parisian night. once back in ostend, the Parisian adventures were explained in scents and colours in the ‘Cercle Coecilia’ for the slightly shocked ‘senateurs’, the older ‘wise men’ of the circle. on that occasion, Monteville, supported by James Ensor and Emil Bulcke, proposed organizing a humorous evening by a 'Compagnie du Rat Mort', which of course consisted of the 'Parisiens' and a few other jokers, but on the understanding that anybody could attend the evenings of laughter. Specifically, they thought of organizing crazy and masked balls and eccentric concerts, as well as the establishment of carnival groups. February 21, 1898 marked a milestone in the life of the 'Compagnie' : that day Rat Mort's first ball took place in Kursaal in ostend. It was an immediate success and was the harbinger of a long series of superb Shrovetide balls. Naturally, James Ensor left his mark on the conception of the first ‘Bal du Rat Mort’, which has since remained an Ensorian dance party in spirit. (link) Ref.: - Part of the exhibition 'Joodse sporen in oostende', Venetiaanse Gaanderijen oostende, 15 June - 24 September 2000. - Zahava Seewald, Joodse sporen in oostende, Antwerp, 2000. Provenance: - Private collection, Belgium. '
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