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Lot 24
URBANO FOS (Tarragona, 1615 - Valencia, 1658)."Saint Roque".Oil on canvas.Size: 96 x 65 cm; 130 x 98 cm (frame).The image of San Roque was represented by Urbano Fos, who even became known as the "Master of San Roque" before his real identity was discovered. The present work, with the image of Saint Roch as the main subject of the canvas, reveals Fos's qualities and virtuosity as a painter of images of the saint. It shows solid colouring and brushstrokes applied with confidence in the construction of the volumes, which appear in the foreground highlighted by a lateral light evoking a tenebrist style that falls on the figure of the saint and the dog. In the background there is a light mountainous landscape with a wide sky and swirling clouds. The main figure is static, with a lost gaze, ecstatic and absorbed in his thoughts.Urbano Fos's personality and work became known in 1938, when Delphine Darby assigned to the so-called "Master of Saint Roch" a group of works previously attributed to Francisco Ribalta. The most significant of these, the San Roque of the Castellón Town Hall, was later presented as the sure work of Urbano Fos, whom other documents made it possible to link to Pedro Orrente and Jerónimo Jacinto Espinosa, whose influences he would have assimilated. In 1635 he was already working in Castellón, where three years later Espinosa and Orrente appraised some paintings he had done for the co-cathedral church of Santa María, one of which could be that of San Miguel and San Roque. In 1648 he was paid for two works executed for the hermitage of the Virgin of Lledó near Castellón: a lost Annunciation and a crucified Christ that is still in place. A year later he is documented as having painted three canvases for the hospital for the apes in Castellón, known as the Casa Blanca, including a Saint Roch. In 1650 he was in Segorbe, working in the Valdecristo Charterhouse on a series of scenes from the life of Saint Bruno. From there he moved to Valencia, where he devoted himself to theology, obtaining the title of doctor and the position of pavorde in the cathedral, as he stated in his will. The document also records the painter's comfortable financial situation and his extensive library, all of which consisted of religious works.
Lot 32
16th century Spanish school."Saint Sebastian".Oil on panel. Cradled. Measurements: 80 x 54 cm, 93,5 x 66,5 cm (frame).In this work the saint is represented tied to the tree, being appreciated the arrows nailed on his body. Young and athletic in appearance, as is normal in the representation of Saint Sebastian, he raises his gaze to heaven, accepting his martyrdom with serenity and faith. As is common in Spanish imagery, the scene is depicted with great drama, seeking to convey the saint's suffering, his physical pain, to the faithful through the depiction of his posture. The polychromy seeks naturalism in the flesh tones.There is a strong classical influence in the conception of this work, an example of which is the way in which the body of Saint Sebastian has been conceived, with a certain exaggeration of the forms, linked to Mannerism. With regard to the more classical precepts, the posture shows the artist's knowledge of the Praxitelic canon, with the hips slightly raised, bearing the weight on the left foot, and bringing the right leg forward as in the present work.The painting depicts the figure of Saint Sebastian.Born in Gaul and raised in Milan, Sebastian was a centurion of the first cohort in the time of the emperor Diocletian (late 3rd - early 4th century). Denounced because he exhorted his friends Mark and Marcellinus to remain steadfast in their faith, by order of the emperor he was tied to a post in the centre of the Field of Mars, and served as a live target for the archers who shot him. But he did not die for it. The widow Irene, who wanted to raise his body for burial, noticed that he was still breathing, bandaged his wounds and saved his life. After he was cured, he reappeared before Diocletian to reproach him for his cruelty towards the Christians. He was then scourged, beaten to death in the circus and his corpse was thrown into the Maximian sewer. Shortly afterwards, Saint Sebastian appeared to Saint Lucila in her sleep to reveal to her the location of his remains, and asked her to bury him in the catacombs.
Lot 71
French or Flemish school of the 18th century."Still life with lute".Oil on canvas.Period frame and stretcher.Measurements: 80 x 64 cm; 108 x 90 cm (frame).The still lifes with musical instruments emerged as a genre in the 17th century in all Europe, although it was in the Flemish school where it took more importance. In this still life of the French or Flemish school, the influence of Flanders is evident, but also the affinity with a genuinely French aristocratic language. A theatrical curtain is drawn back to reveal a table on which a still life of sumptuous objects rests next to a lute and sheet music. The skilful use of transparencies and glazes is expressed in the gleam of the enamel and gilt bronze of the chalice, as well as the precious stones that adorn the small jewellery box. A silver urn embossed with festoons is decorated with obsidian inlay. The candlestick, carved with masks, recalls the symbolism of candles in Baroque still lifes associated with the transience of life and vanitas. In this painting, however, moralising symbolism is subsumed by sensualist pre-eminence. All the objects rest on a draped canvas, which subtly absorbs the play of chiaroscuro. Behind the parapet, a landscape opens up in a wide atmospheric perspective: a river meanders capriciously through the valley, surrounded by promontories with peaks bluish in the evening light.
Lot 77
A George IV gothic revival painted and parcel gilt bergere attributed to GillowsCirca 1825, probably after a design by William PordenThe hexagonal arm terminals each comprised of three tiers, each tier with five blind cusped ogee arches surmounted by a foliate boss, above a blind trefoil and quatrefoil seat frame flanked by lozenge embedded rosette angles, on four acanthus wrapped legs each with a lower section comprising five blind cusped ogee arches, signs of old screw holes and batten-carrying holes to the rails, approximately: 76cm wide x 94cm deep x 95cm high, (29 1/2in wide x 37in deep x 37in high)Footnotes:An identical bergere is illustrated in F. Collard, Regency Furniture, 1985, Woodbridge, p. 175. As with the offered lot, this carved giltwood example dates to circa 1825. Both of these are closely comparable to at least two of the armchairs which feature among the superb gothic revival furniture shown inside the Drawing Room at Eaton Hall, as depicted in one of J.C. Buckler's series of prints called 'Views of Eaton Hall', produced in 1826. The opulent and fantastical 'gothic' extravaganza that is Eaton Hall is also discussed in G. Acloque and J. Cornforth, 'The Eternal Gothic of Eaton', Country Life, Vol. CXLIX, Part I No. 3844, 11 February, pp.'s 304-7; Part II No. 3845, 11 February 1971, pp.'s 360-4. Whilst the aforementioned Buckler print appears in F. Collard, Regency Furniture, p. 172.In 1803 the architect William Porden (c.1755-1822) began work on Eaton Hall, where the Grosvenor family lived. And the project, certainly in architectural terms, seems to have been finished during the 1820s. It was evidently completed by 1826 since Mrs Arbuthnot opined the same year that Eaton Hall was: 'the most gaudy concern I ever saw. It looks like the new bought and new built place of a rich manufacturer... the house decorated with a degree of gorgeousness that is quite fatiguing & takes away all appearance of real grandeur.' See Ibid, p. 182. It is fascinating to note that this exact same model of bergere appears on one of the pages of the vast range of scrapbooks assembled by the renowned English decorator, David Hicks. This same excerpt is also included in a book entitled David Hicks Scrapbooks, which was edited by his son Ashley and published by Vendome Press. However this colour photograph of the chair actually first featured in a 1954 article in 'House and Garden' magazine, which arguably was what really kickstarted the career of David Hicks in the first place.This famous early period of David Hicks is described in some detail in a brilliant online article, once again with House and Garden, from 7 October 2017, see https://www.houseandgarden.co.uk/article/david-hicks-scrapbooksDavid Hicks (1929-1998)In 1951, as a 22 year old art student, David Hicks met up with John Fowler to discuss the possibilities of pursuing a career as a decorator. However their talk quickly turned to some flats on the King's Road, where Fowler then lived, and it wasn't long before Hicks decided to move into the one vacant flat belonging to Fowler which was located there.Despite this initial acquaintance, it seems that Hicks could not get a job working for Fowler and this led inevitably to the former moving out of the King's Road flat. Subsequently David transferred to 22 South Eaton Place, in SW1, where he resided with his mother in a William IV period house just within the bounds of Belgravia. Hicks started upon his first, and what turned out to be one of his most important, decorating schemes at this particular address.In instigating this project, a long period of preparation comprised of studying period interiors, visiting museums and galleries, along with sketching and collecting magazine pictures came to fruition for Hicks. His decision was to counter the well established 'country house' look promoted by John Fowler with his own bold and unique style, yet still to achieve this through the use of antiques and old patterns.As opposed to the apparent 'prettiness' of Fowler's output at that time, Hicks developed a striking colourist's approach to decoration. This was no doubt due to his background which included the fact that he had lost his brother in the war, had undergone two years' military conscription and hailed from country 'hunting' stock, all of which combined to produce a vivid element of masculinity or masculine boldness in his work.Also, having studied set design, David Hicks's style was always enjoyably theatrical especially in its dramatic contrasting of colours, whether between different rooms or even within the same space. A good example of this was in his completed interiors at South Eaton Place, where visitors or guests would move from the intentional colour-clashing of the drawing room to the entirely monochrome dining room, the latter with its hexagon-designed wallpaper.When everything was finished at the house in 1953, David then asked everybody he knew to come over and see its impressive new interiors. Among those acquaintances who visited was a veteran of the Second World War and hero of the North African campaign called Peter Coats. Following the cessation of hostilities Coats was appointed Viceroy of India, but he had only fairly recently become the gardening editor of the magazine, House and Garden, upon his own trip to 22 South Eaton Place.Peter Coats adored the house so much that in the course of just a week organised for it to be photographed for House and Garden. But perhaps more significantly he immediately began informing all of his own friends about David Hicks, the brilliant young man with a supreme talent, among other things, for interior decoration and design. As a consequence of all of this, the telephone at the Belgravia property started to ring much more frequently, effectively indicating the beginning of a great career for Hicks.From thereon the work and commissions accumulated rapidly, and 1954 was a year of huge activity. At that time, Hicks's important clients even included two good friends of Peter Coats, Mrs Rex Benson and Mrs Douglas Fairbanks Jr. The latter was a Hollywood celebrity whilst the former, who was the ex-wife of the famous publisher Conde Nast, actually resided in London. Ashley Hicks recalls a time when Mrs Benson, in conversation with his father, informed the latter: 'I've had Syrie Maugham and John Fowler; I want something new...' And the rest, as the saying goes, is history.See House and Garden, 7 October 2017, for more details or online at https://www.houseandgarden.co.uk/article/david-hicks-scrapbooksThis lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 684
PSYCH/PROG/ROCK - LP COLLECTION. Essential albums with this collection of 12 x collectable LPs. Including Edgar Broughton Band - Sing Brother Sing (SHVL 772, og unboxed labels, 'Gramophone Co' label rim text - VG+ some light storage marks/VG+, with insert), Ten Years After - S/T (early UK stereo, Deram SML 105 red/white label design 'Made In England The Decca Record Co Ltd' label test, 2W/1W matrix endings - VG+/VG glue unstuck though an easy repair), If - If (ILPS 9129, UK og pink label white i - VG+/G+ sleeve), Pink Floyd - DSOTM (SHVL 804, UK 2nd pressing A3/B3 - VG+/VG no posters or stickers), The Rolling Stones (x4) - No. 2 (mono unboxed LK 4661 2A/1A - VG/VG flipback 'blind man'), Some Girls (celebrity inner), Still Life and Made In The Shade, Fever Tree (x2) - Creation (US og Uni 73067 - VG+/VG) and For Sale (Ampex A-10113 US og) and The Electric Flag (x2) - An American Music Band (UK S 63462) and A Long Time Comin' (UK 63294). Condition elsewhere is generally VG to Ex.
Lot 759
JAZZ - CONTEMPORARY/ FUSION - LP COLLECTION. A quality collection of around 52 jazzy LPs. Artists/ titles include Donald Fagen - Kamakiriad (9362-45230-1), John McLaughlin inc Devotion, The Inner Mounting Flame, Natural Elements, ShaktiThe Best Of, Adventures In Radioland, Live At The Royal Festival Hall, Friday Night In San Francisco, Passion Grace And Fire. Miles Davis - Siesta, Pat Metheny Grup inc Still Life Talking, Letter From Home, Offramp, Secret Story, Rejoicing, Absolutely Live, The Road To You, Bright Size Life. Dick Morrissey/ Jim Mullen inc Cape Wrath, Happy Hour, Thumbs Up, Badness. David Sanborn, Max Middleton. Deodato inc Prelude, Love Island. Gato Barbieri, Jan Garbarek, Eric Gale. Condition is generally VG+ to Ex+.
Lot 963
ELVIS - LPs / COMPS / PICTURE DISKS / PRIVATE PRESSINGS COLLECTION. A collection of 52 x mainly Compilations / Picture Disks / Private Pressings by Elvis. Titles include A Portrait In Music, Record Covers, Elvis' Greatest Shit!, A Canadian Tribute, The Hillbilly Cat, Today, Tomorrow and Forever, All the Best, Elvis' Gold Records, The Elvis Tapes, Interview (Picture Disk), Love Is Still Burning, Eternal Elvis, Good Times (Never Seemed So Good), Rock and Roll Star, Elvis' Witchcraft Album!, The Entertainer 1954-1976 and A Dog's Life. Condition is often clean VG+ to Ex+ (later titles) and VG to Ex (earlier titles).
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