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Lot 559
A BOX AND LOOSE PAINTINGS AND PRINTS ETC, to include unsigned oil on board still life flower studies, six etchings depicting river scenes around Cambridge by Wilfred Ball (1853-1917), two etchings depicting scenes around Carlisle initialled JW, two watercolour silhouettes heightened with gold depicting a male and female figure, indistinctly signed to bottom corners, impressed verso for 'The Hubard Gallery', John Berry illustrations produced for the Education Department depicting soldiers dress uniforms, together with assorted prints etc
Lot 439
SEVEN BOXES AND LOOSE CERAMICS, PICTURES AND SUNDRY ITEMS, to be sold for charity, to include a small Zsolnay Pecs planter, with pierced rim, florally decorated, blue faded factory mark to base and no51, height 10cm (two chips to edge of rim where paint is missing, cracks in glazing), a late twentieth century oil on canvas depicting a Middle Eastern scene of ladies dancing, unframed, indistinctly signed Vien ? lower right, 12.5cm x 99cm (some wear to corners and edges), a framed canvas print of a detail from Francis Bacon's 'Man Turning on the Light', approximate size 89cm x 97cm and a framed still life print of flowers, approximate size 146cm x 96cm, 1981 Royal Wedding first day covers, vintage suitcases, two boxes of modern clothing, etc (7 boxes + loose) (sd)
Lot 577
SEVEN DECORATIVE PAINTINGS AND PRINTS, comprising David James (20th Century) a coastal landscape signed bottom left, oil on canvas, approximate size 48cm x 88cm and a study of a manor house by the same hand, indistinctly signed watercolour still life study of flowers in a vase, two flower prints, box canvas print
Lot 1002
Set of three early 20th century Royal Worcester tea cups and saucers decorated by William Ricketts, each cup with gilt exterior and loop handle, the interior hand painted with a still life of fruit upon a mossy ground, signed Ricketts, each saucer with conforming hand painted decoration, and central gilt circular well and gilt rim, signed Ricketts, each with puce printed mark beneath and date codes for 1917 and 1918, cups D8cm H5.5cm saucers D14cmCondition Report:General light wear commensurate with age, predominantly in the form of surface scratches, and some slight wear to gilding.
Lot 1001
Pair of early 20th century Royal Worcester dishes decorated by Frank Roberts, each of oval form with gilt shaped rim and twin shell handles, hand painted with a still life of fruit upon a mossy ground, signed F Roberts, with puce printed mark beneath and date code for 1918, W31cmCondition Report:General light wear, predominantly in the form of surface scratches, and a few small light scratches and painted decoration.Very slight wear to gilding.
Lot 387
One secret and two humorous Royal Navy communications (1935-1941): 1. 'Report of Operations in Pursuit of the Bismarck' with 28/05/41 cover letter of congratulations from Admiral Jack Tovey to the commanding officers of the Home Fleet (659/H.F. 1325). The first of the 12-page enclosure stamped 'SECRET' and the tenth includes Tovey’s assessment of the sinking in point 28: 'After being torpedoed on both sides, Bismarck sank at 1037 in position 48°09’N, 16°07’W, close to where the action started, with her colours still flying. She had put up a most gallant fight against impossible odds, worthy of the old days of the Imperial German Navy. It is unfortunate that “for political reasons” this fact cannot be made public.’ Tovey goes on to say in point 29 how HMS Dorsetshire and Maori rescued 103 German officers and ratings and were forced to abandon the remaining survivors when ‘Dorsetshire sighted a suspicious object, which might have been a U-boat.' 2. Naval Message dated 30/12/35 – ‘It is a custom in some localities of Alexandria to throw bottles from the windows of houses at about midnight on the 31st December. This is an old custom and although it has no hostile intent but endangers passers by and the broken glass is detrimental to motor tyres. Officers and men who land on the 31st December are to be warned accordingly.' 3. Floyd Gibbons - 'Ear-Shattering Exhibition of John Bull's Might' - dated 21/11/35, 1800 words of truly entertaining and fast-reading copy wired by the intrepid American war correspondent from Alexandria in between his 1934 Mussolini interview and his coverage of the Spanish Civil War. It covers the 'Big Shoot [which] had been scheduled for the purpose of impressing Egypt with Britain's might’. Floyd managed to witness the spectacle, a 31-ship and 60-plane live-round exercise off Alexandria, from the bridge of the newly launched HMS Ajax, because, he said, he was wearing an ‘English sombrero’ (presumably a sun-helmet), which had nearly cost him his life three days before in the Cairo student riots. According to the authors of ‘Grippo’, the 1935-1937 history of the Ajax, Gibbons was inexplicably allowed on board by the Officer of the Watch without an invitation to the British-Press-only affair despite his gangster-like appearance. The leather-faced ace reporter for the Hearst Press, had a rasping voice, boisterous personality and had lost an eye in France during the First War.Once it had been wired to America, Gibbons' copy was distributed to the red-faced commanders of the Mediterranean Fleet. It is quoted in full and the story recounted in 'Grippo - A Record of the First Commission of HMS Ajax (1935-1937)’ under the chapter subtitle 'ENTER FLOYD GIBBONS OR HOW THE BRITISH WERE BALLYHOOED.' www.axfordsabode.org.uk/pdf-docs/ajax09.pdf Provenance - by descent through the family of Capt. Philip Foster Glover RN, Commander of the Ramillies in 1935 and Director of the Signal Department in 1941.
Lot 298
A mixed lot comprising four pictures and a picture frame: 1. Village Scene - oil on canvas, 59.5 x 50 cm. Gilt frame. 2. Moonfleet Manor (Dorset) - watercolour depiction of the setting of J. Mead Falkner's 1898 novel, 'Moonfleet', 24 x 31 cm. Glazed white frame. 3. Still life - Flowers in Vase - oil on canvas, monogrammed MB lower right 29 x 24 cm. Painted frame. 4. Windmill - watercolour, 15 x 24.5 cm, early 20th century. Glazed gilt frame. 5. Gilded frame (68 x 58 cm).
Lot 43
Full title: Carolina Friederica Friedrich (1749-1815): Flower still life with cherries, oil on canvas, dated 1780Description:Work: 40 x 28,5 cm Frame: 41 x 29,5 cm The painting signed and dated (1780?)on the stone base, just below the table top. Carolina was born in 1749 in the then still independent municipality of Friedrichstadt at the gates of Dresden, as one of the six children of Johanna Dorothea Günther and the wallpaper painter and etcher David Friedrich (1719-1766).She was trained by her father and her brother, the history painter Alexander Friedrich (1744-1793). Thanks to her skills, Carolinatook care of the family after the death of her father. After studying in nature, she specialized in still lifes, the quality of which also spread in academic circles. The art-loving Saxon diplomat Christian Ludwig von Hagedorn feared a waste of talent in view of the starving Friedrich family. Therefore, he campaigned energetically for Caroline, so that the Electoral Saxon Art Academy in Dresden awarded her a scholarship for hopeful art talents from 1770. Sponsored by the Saxon Elector Friedrich August III, she became honorary member of the Academy in 1774 and as a still life teacher she was the only woman to teach there since 1783.In contrast to the more matter-of-fact plant depictions of her brother Jacob, Caroline’s tempera brush drawings on toned paper unfold more splendidly and more colorfully, which prompted Duke Franz Friedrich Anton von Sachsen-Coburg-Saalfeld to buy thirty of her paintings. Her sponsor, the Princess Henriette Amalie von Anhalt-Dessau, the youngest daughter of the Old Dessau, also bought several pieces from her. These were incorporated around 1900 in the picture gallery of the Amalienstift Dessau. However, many of her works have remained lost to this day, including her painting 'Allegory of World Peace' with the embroidered motto 'Pax universalis 1800', which symbolized the year of peace in 1800 and attracted a lot of public attention – probably her only work outside the still life genre. Paintings by her hand later came to the collections of King Friedrich August II of Saxony. At the beginning of the 19th century, some of her pictures were included in the catalogs of the Dresden gallery. Today, the Kupferstichkabinett Dresden keeps a considerable number of drawings, watercolours and gouaches. (link)
Lot 20
Full title: Hendrik van Balen (1575-1632): Achilles is recognized among the daughters of Lycomedes, oil on copperDescription:Work: 73 x 46 cmFrame: 92 x 64 cm The painting depicts the discovery of Achilles by Odysseus. Thetis, Achilles' mother, wanted to prevent her son's participation in the Trojan war, and so, dressed in women's clothes, hid him among the daughters of Lycomedes of Skyros. Odysseus, well aware that Achilles was needed to win the war against Troy, managed to discover his true identity through a ruse. Odysseus is depicted here as a merchant who comes to offer beautiful objects, including weapons. While the daughters choose jewels, Achilles opts for the sword. The painter has depicted life at the court of Lycomedes and focuses the attention on Achilles, dressed as a woman, who has just unsheathed the sword. The theme was popular from the Italian renaissance onwards and was occasionally adapted in the Netherlands since the late 16th C. Interpreted allegorically, the Achilles theme illustrates absolute heroic virtue. Despite his mother's precautions, Achilles follows his true calling and will go to battle.Examples from the 17th C. are unusually numerous (e.g. Francken I, Sebastiaan Vranckx, Theodoor van Thulden, etc.). The version of P.P. Rubens (now Madrid, Prado, inv. no. 1661, canvas, 267 x 246 cm), on which Anton van Dijck probably also contributed, undoubtedly exerted a strong influence in the Antwerp artistic milieu. The painting offered must be situated in the same Southern Netherlands tradition. The decorative style of the figures and the enamel-like finish of the whole clearly point in the direction of the Antwerp painter Hendrik van Balen (1575-1632). Van Balen was a renowned painter in the early 17th C. During the performance of the Rosary Cycle in St. Paul's Church in Antwerp (ca. 1617), he received a remarkably higher wage than P.P. Rubens, Jacob Jordaens and Anton Van Dyck. Although he was a skilled painter, by contemporary standards his compositions seem somewhat linear and overloaded. However, the horror vacui is not really disturbing because of the colourful upholstery of the whole. As a theme, the scene presented here fits perfectly in his style idiom. Rubens' example, which was created shortly before 1620, was Van Balen's starting point for the structure of his composition. He has paraphrased Rubens's onset in the right half of his painting (note the backward-facing man in the right foreground and the touch of the left arm by the man further back who may be identified with Odysseus) and extended it to the left with colourful spectacle elements that should evoke the rich court life. Compared to Rubens, the psychological tension in Van Balen's version is less developed. The difference in size between the two paintings also contributes to a different interpretation of the traditional theme.That Hendrik van Balen worked out the theme of Achilles between the daughters of Lycomedes is apparent from a statement in Gerard Hoets' Catalog of Naamlyst van schilderyen met derzelfver pryzen', The Hague, 1752, in which a painting with the theme 'Achilles onder de Maagden, door van Baalen, het landschap van den Fluweele Breugel , zo goet en eel als ooit gezien is' (Achilles among the Virgins by Van Balen, the landscape byJan Breughel, as good as has ever been seen' is mentioned. The work is attributed to Hendrik van Balen and Jan Breughel I (1568-1625). The explicit mention of the landscape may suggest that this is not the version, although 'the landscape'caneventuallyrefer to the lavish still life in the foreground.The painting is accompanied by a certificate fromKatlijne Van der Stighelenof December 1997 (prof. Dr. Katlijne Van der Stighelen (°1959) is a Belgian art historian. She is known for her research and publications on female artists in the Netherlands and portrait painting by the Flemish masters. Katlijne became a doctor in art history at KU Leuven in 1988, with a thesis on Anna Maria van Schurman. She was subsequently appointed associate professor in 1990, professor in 2001, and full professor in 2007 at the same university. In 2002, she held the Rubens Chair at Berkeley University for three months. Since 2003 she is a member of the Royal Flemish Academy of Belgium for Science and the Arts. In 2018 she was curator of 'Michaelina. The leading lady of the baroque', a retrospective that was part of Antwerp Baroque 2018 and was set up in collaboration with the Rubens House and Tourism Flanders, link): "Moreover, the connection should be made with a painting of the same title from the museum of Aix-en-Provence. The painting has been reproduced very little but was associated with Hendrik van Balen some time ago (in the catalogue 'Le siècle de Rubens dans les collections publiques françaises', Paris, Grand Palais, 1977, p. 281, reference is made to the painting at Aix: Achille chez les filles de Lycomède). As far as composition is concerned, the work in question fully corresponds to the painting on offer. There may be two versions of the same theme. The way of working undeniably seems to betray Van Balen's own contribution. The doll-like structure of the women's faces, the recurring dark piercing eyes, the soft and somewhat plump-looking anatomy, the small hands with short parallel fingers: these are all stereotypical characteristics of Hendrik van Balen's mature style. The balanced dosage of the red parts and the frieze-like position of the protagonists are equally characteristic. Taking into account the chronology that appears in the extensive contribution of Ingrid Jost concerning the oeuvre of Hendrik van Balen (Ingrid Jost, 'Hendrick van Balen D. Ä. Versuch einer Chronologie der Werke aus den ersten zwei Jahrzehnten des siebzehnten Jahrhunderts unter besonderer Berücksichtigung der Kabinettsbilder', in: Nederlands Kunsthistorisch Jaarboek, 14, 1963, pp. 83-128), the work can be situated between 1620 and 1630. This dating is also confirmed by the relationship with Rubens' composition, which was created shortly before 1620."
Lot 75
Full title: Volodymyr Miller (1940): Still life with wine, oil on canvas, dated 1998Description:Work: 80 x 60 cm The Ukrainian artist Volodymyr (Vladimir) Miller (Melnikov) (°24 August 1940, Ivanovo, Russia) studied at the Moscow Architectural Institute and was active in the artistic scene in Moscow in the 1970s. In 1986, he moved to Lviv, where he devoted himself to painting.
Lot 11
Full title: Pseudo-Simons: Still life with fruit, a lobster and a Wanli bowl, oil on canvas, second half 17th C.Description:Work: 75 x 60,5 cm Frame: 92 x 80,5 cm A lobster, grapes, hazelnuts, a cut lemon and shrimp on a silver plate, grapes, peaches, plums and cherries on a tazza and strawberries in a porcelain bowl, on a partly-draped table. Mr. Fred Meijer inspected the painting and suggested the artist Pseudo-Simons (verbal communication with Christie's Amsterdam, 7 July 2008). The painting is also included in the RKD-database (link). Pseudo-Simons is an invented name for the painter of more than a hundred unsigned still lifes with fruits and flowers. He was active in Antwerp ca. 1650-1680. During the 20th C., these works were often traded on the art market under the name Michiel Simons, which gave rise to the name Pseudo-Simons. (link) Provenance: - G.M. Clark, Cobourg (according to an inscription on the previous frame). - Christie's Amsterdam, Sale 2802 (Old Master Pictures), 10 November 2008, lot 82.
Lot 71
Full title: Vasily Bozhenko Artemievich (1936): Still life with chestnuts ('Chestnuts'), oil on board, dated 1990Description:Work: ca. 71,5 x 60,5 cm Frame: 79 x 68,5 cm The Ukrainian artistVasily Bozhenko (or Bojenko) Artemievich (°7 February 1936, Novoraysk, Kherson) studied at theDnipropetrovsk Art College (1963-1968) and the Odessa Pedagogical Institute, where he graduated in 1978. Hebecame a teacher of fine art at theBerislavsky Pedagogical School. He has exhibited regularly in Ukraine (Kiev, Odessa, Kherson, Kakhova, Berislav, etc.). In 1996, the Ukrainian television made a film abouthislife and work ('Thank you to the master').
Lot 72
Full title: Maryna Ponomarenko (1978): Still life with fruits, oil on boardDescription:Work: ca. 100 x 92,5 cm Frame: 125,5 x 117,5 cm The Ukrainian artist Maryna (or Marina) Ponomarenko (°1978, Kramatorsk, Donetsk region) studied at the State Art School, where she graduated in 1999 with honours. Since 2001, she is a member of the National Union of Artists. She has exhibited regularly in Ukraine. Her work can be found in various private collections (o.a. Ukraine, Germany, France, Italy, Spain, etc.).
Lot 55
Full title: Jan de Witt (?-?): Still life with grapes, berries and hazelnuts, oil on panel, second quarter 17th C.Description:Work: 53,5 x 37 cm The authorship of Jan de Witt was confirmed in writing by Dr. Violette Doclo on January 24, 2023. The Flemish painter Jan de Witt was active in Antwerp in the second quarter of the 17th C.
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