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Lot 381
A fine and large coffee can by John Brewer, circa 1795Painted with a still life of an upturned basket, a watering can and a bunch of grapes, a small bird perched on the strawberries which spill from the basket, framed within a formal gilded border and reserved on a green ground, 7.4cm high, crown, crossed batons and D mark and pattern 245 in puceFootnotes:ProvenanceDoris Wheatley CollectionDaniel CollectionDerek Gardner CollectionG C Bond CollectionThe description of this pattern in the Derby pattern book reads 'Fruit by Complin with Tom Tit and Bull finch before Dark Landskip'. However, the hand of John Brewer appears to be more likely for this exampleFor further information on this lot please visit Bonhams.com
Lot 727
Attributed to Jacobus Linthorst (Dutch, 1745-1815), Still life of an urn of spring flowers on a marble table, with a wine glass, bird's nest and fruit, oil on canvas, unsigned, in a fine 18th century carved frame, 49 x 38in. (124.5 x 96.5cm.). * Provenance: Purchased in the late 1960s from a Mr. Wilson, as part of a property purchase in St Peter Port, Guernsey.
Lot 632
Bryan Pearce (British 1929-2007), "Hayle Harbour" signed, oil on board handwritten label verso, inscribed Hayle Harbour by Bryan Pearce, Chylowen St Ives Cornwall. Provenance - purchased directly from the artist circa 1963 and then by descent from the original owner to the present owner (see illustration). ARRWalter Bryan Pearce was born in St Ives in 1929. At a young age he was diagnosed with phenylketonuria and was encouraged by his parents to take up painting in watercolours and drawing. His artistic career showed a wide range of mediums, ranging from his careful use of watercolour in his early years, to his more self assured use of oil paint in the 1950s, and then later, his more dramatic and sophisticated interpretations using conte crayon. In 1953, he was encouraged to attend the St Ives School of Painting, where he studied under portrait and still life painter Leonard Fuller. He remained there until 1957. The St Ives School was heavily inspired by the landscape of West Cornwall, and its artists used the shapes, colours, and forms of the region as inspiration for their artwork. Pearce, himself, specialised in paintings of St Ives and surrounding areas such as Penwith. He saw his hometown as a 'sanctuary of ever-present sun' and this can be seen in his artwork, which is recognisable for its very flat perspective and vibrant colour with bold outlines. In his oil painting of Hayle Harbour, these qualities can be visualised in a very naive manner. Walter Bryan Pearce was a revered figure in West Cornwall and exhibited extensively there, and other galleries around Britain. In 1957, for example, he began exhibiting regularly at Penwith Gallery, St Ives. He then had his first solo exhibition at the Newlyn Gallery in 1959, after becoming a member there. Other galleries he exhibited at include the New Art Centre, the Victor Waddington Gallery in London, the Beaux Arts Gallery in Bath, and the Oxford Museum of Modern Art. Following his death in 2007, his works featured in an exhibition at the Tate St Ives, and today some hang on the walls of galleries including Kettle's Yard in Cambridge. CONDITION REPORT: The oil on board 31 cm x 50 cm, the frame 39 cm x 59 cm. This painting is structurally sound with a stable paint surface. When studying the paint surface there is the occasional small spot of dirt in line with age. There are also occasional scuff marks to the edge of the board with one sizeable one 0.5 cm in height bottom left. The original board is attached/glued down to a backboard which has then been framed in the latter half of 20th century. To the rear of the painting there is a label which is inscribed with the artists name and title. The dimensions of the oil on panel are 31 cm x 50.5 cm. The dimensions of the entire picture to include the frame are 39.5 cm x 59 cm.
Lot 131
Allan D'Arcangelo; William Bailey; Raymond Saunders; Velox Ward, Four works from America: The Third Century Portfolio, 1975: Beginning; Still Life with Eggs, Candlestick and Bowl; Duck Out of Water; The Home My Daddy Built; Concord; (i) lithograph and screenprint on wove, signed, dated and numbered 83/200 in pencil, (ii) collotype on wove, signed and numbered 83/200 in pencil on the reverse, (iii) lithograph and screenprint with collage additions on wove, signed and numbered 83/200 in pencil, (iv) collotype on wove, signed and numbered 83/200 in ink, each published by APC Editions, each printed by Styria Studio, Inc., New York, each sheet approx.: 76.3 x 57 cm (unframed) (4)Please refer to department for condition report
Lot 18
Adeline Trier - Still Life with Magnolias in a Blue Vase, oil on canvas, signed and dated 1914, 32cm x 32cm, within a gilt composition frame.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 4
Andor Basch - Still Life of Flowers on a Tablecloth, 20th century oil on board, signed recto, Rowley Gallery label verso, 45cm x 54cm, within a stained wood frame.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 49
Franco - Still Life with Fan, Palm Fronds and Vase, 20th century diptych oil on canvas, signed, each 109cm x 88.5cm, both within metal and wood 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 10
Franz Xaver Pieler - Still Life with Flowers in an Urn with Butterflies and Insects, early 20th century oil on canvas, signed, 85cm x 69.5cm.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 28
G. Noble, British School - Still Life of Flowers in a Glass Vase, mid-20th century oil on canvas, signed, 48m x 63cm, within a painted and gilt composition frame.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 249
LICHTENSTEIN, ROYNew York 1923 - 1997Titel: Still Life with Pitcher and Flowers. Untertitel: Aus: Six Still Lifes. Datierung: 1974. Technik: Lithografie und Serigrafie auf Bütten. Darstellungsmaß: 76 x 114,5cm Blattmaß: 93 x 131cm. Bezeichnung: Signiert, datiert und nummeriert. Herausgeber: Multiples, Inc., and Castelli Graphics, New York (Hrsg.). Exemplar: 30/100. Rahmen: Rahmen. Die Arbeit weist Einrisse, z.T. fachmännisch hinterlegt, und Feuchtigkeitsflecken im linken Blattrand auf.Das Blatt ist unten rechts mit dem Trockenstempel des Druckers, Styria Studio, New York, versehen. Die Arbeit trägt rückseitig den Copyrightstempel des Künstlers und des Herausgebers.Provenienz:- Unternehmenssammlung DeutschlandLiteratur:- Corlett, Mary Lee: The Prints of Roy Lichtenstein - A Catalogue Raisonné 1948-1997, New York 2002 (2. Aufl.), WVZ.-Nr. 130, Abb. Erläuterungen zum Katalog
Lot 813
RUSKIN SPEAR CBE, RA, BRITISH (1911-1990) OIL ON CANVAS LAID ON BOARD still life of mushrooms, signed and dated 1952.47cm high 69cm wideUnder a uv light there is a small crack to the board on the right hand side which has been touched over and another small area which overpaint on the opposite side. See extra images uploaded. The rest of the picture is in good untouched condtion.
Lot 817
AN 18TH CENTURY DUTCH STILL LIFE - OIL ON TIN PANEL depicting an arrangement of flowers - leaf moulded gilt frame28cm 35cm wide In good untouched condition, the varnish has crazing to the surface, the frame is original. The painting is on tin, please see the extra images uploaded. 35cm wide and 27.5cm high without frame. There has been an area touched up under the flowers, visible under the blacklight image(uploaded). There is craquelure to the surface but it is stable. To the very bottom edge in the center there is a very small loss of paint. The painting has not been cleaned. Minor losses to the gilding on the frame.
Lot 388
Paul Zwietnig-Rotterdam (born 1939),’’nobody knows at what point in life a night bow appears’’, black ink on paper, signed and dated 2015, on the reverse description by the artist, 43,5 x 35,5 cm, Dedication from the Artist to Casper David Friedrich (1774-1840)On February 28, 1982, at the invitation of the Boston Art Society, I gave a lecture on the elements of abstract formalism in contemporary art, using as the central image, radiating the rays of the sublime, the 1810 Night Arch by C.D. Friedrich, who I claimed is a clear pictorial invention, a formal invention that exists only in the imagination and has little or nothing in common with the real of the physical phenomenal world, like the spirals in Van Gogh's sky or the red ones Trees by Mondrian etc. come from the focus on the immediacy of the pictorial object. It is amazing how directly and without hesitation Friedrich holds the edges of the picture together with the white sheet. The image hangs on the white line like a wire. All the contents of the presentation relate to the immediacy of the surface. In addition to the visual parameters that I highlighted in my lecture, it probably always came back to the fact that Friedrich invented the Nachtbogen to keep the picture in a high degree of abstraction, that painting is an art of stillness and invention is that new forms and formal contexts are involved in the development of the world. Immediately after the lecture, which ended at about 10:00 p.m., Rebecca and I got in the car and three hours later we reached our home in North Blenheim. The house stands on a wide plateau on a hill with a deep view of the valley. Left and right the hilly mountain ranges of the Adorandecks. No light far and wide, only stars, moon and everything white covered with snow. We get out of the car and stretch our feet with a few steps up the hill. And as we turn around: a great white streak rises in the firmament, a white arc appears across the valley, stretching from mountain to mountain, just as Frederick depicted in his picture. The white nightbow was there for at least a minute. We didn't know what to say - I secretly said thank you Friedrich - knowing that we received a message from the afterlife. In 1982 I made a nightbow drawing that is now in the Leopold Collection, and oddly enough it was only a year ago that I became interested in the subject again. Although repetitions in art get on my nerves, I have made 5 nightbow drawings so far because "no one knows when a nightbow will appear" and it is interesting that the drawings are different and only have in common the white line that runs above the formal one composition rises. I only told one or two friends about the nightbow event, told it two years ago to the physicist whose name is Humuk and worked for the Atomic Energy Commission, has a PhD from MIT, gave me physics classes. He understood. that the question is not how the white nightbow came about through the moon, but the question why it appeared at the very moment when I was still living in my nightbow lecture and needed the real nightbow in the middle of the snowy landscape. It now only has to be decided, said the physicist, whether this nightbow appeared in my brain or actually in the firmament. But because Rebecca admired the brilliance of the white line in the starry sky and how fantastic it is to be personally connected to the universe, I can humbly report about the nightbow. It was a wonderful event, it was a fantastic gift.
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