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Lot 583
Manner of Simon Pietersz Verelst (1644-1721) DutchStill life of variegated Tulips, Roses, Poppies and raspberries arranged in a glass vase on a stone ledge in a feigned niche oil on canvas, 59.5 by 39.5cmIn an overall good and stable state of preservation. The painting is enclosed to the reverse and is likely of fairly recent age. Some surface dirt and discoloured varnish. Small amount of isolated cracquelure to upper left-hand corner and some stable cracquelure of a more vertical nature within and around the arrangement of flowers in a broadly good and stable state of preservation. Not examined with a UV light.
Lot 584
Oliver Clare (1853-1927)Still life of apples, strawberries and gooseberries on a mossy bank Signed, oil on canvas, together with a further example on canvasboard by the same hand, 17cm by 24.5cm & 13cm by 19cm respectrively (2) Still life of apples (larger) - Covered in a layer of dirt and discoloured varnish. Small loss to upper right hand apple of the three nearest the end of the branch. This is a result of widely spaced craquelure having lifted and which can be seen elsewhere across the fruit in particular. The deteriorated varnish is more pronounced and evident within the linear areas of craquelure. Imperfection or possible patch of intervention (although there is no sign under UV) in upper left hand corner. Small amount of transferred gilt paint along right hand edge top 1/3rd. The canvas is enclosed to the reverse. No specific evidence to suggest under UV but signature possibly strengthened? Second example - Covered in a layer of dirt and discoloured varnish. Rubbing/abrasions to outer edges especially right hand side edge and lower edge with some possible general retouching. The paint is thin in places and as a result the surface or weave of the canvas is evident in some areas, especially left hand side background and background above the bunch of grapes.
Lot 40
Continental School (20th century): Still Life of Flowers in a Pewter Vase, oil on canvas indistinctly signed and dated '72, 60cm x 75cmProvenance: with Omell Galleries, Bury Street, St. James's, London, label versoCondition Report:Very good condition, minor losses to frame otherwise ready to hang
Lot 392
Madeline Fawkes - Still life flowers in a squat-bellied vase, oil on canvas, signed and dated '1950' lower left, 41 x 50.5cmCanvas good and taut.Paint stable and complete.Surface a little grubby. A couple of very small bruises to canvas, one towards left hand side and the other towards right hand side.
Lot 452
Elliott Seabrooke (1886-1950) - Still life flowers in a vase, palette knife oil on board, signed and dated '1928' lower right, with hand-inscribed label verso, 36 x 31.5cmBoard slightly warped.Paint with some areas of fatigue and crazing, mostly to lower centre and right hand side.Otherwise good.
Lot 39
Spanish school, 20th century."Flowers".Oil on panel.Signed "J.Llombart" in the lower margin.Presents restorations. Some lack of paint.Measurements: 23 x 28 cm; 36 x 41 cm (frame).Floral still life based on roses and carnations arranged spontaneously on a table, waiting to be arranged to form a bouquet adorning the ceramic vase that appears next to them. Painting resolved with a realistic and colourful technique.
Lot 105
printed or framed 2012, a set of six colour photographs, Cibachrome prints, each from (1970s?) negatives of manipulated images using pre-digital technology, some or all these prints are from multiple superimposed negatives, five signed in ink on the image, four with photographer's hand written notes taped verso regarding the images and framing, images 31cm x 29.3cm, in identical glazed frames 51cm x 49cm Note 1: These six photographs were selected by Pamela Bone and were displayed together at her in residence in Dorking, Surrey Note 2: : Pamela Bone (Lady Pamela Goodale) Pamela Bone (British, 1925-2021) created a significant body of experimental photographic works between 1952 and 1992. Though some of her works were published and exhibited in her lifetime – and she collaborated with notable figures in the world of film, conceptual art and electronic music during the 1970s – this innovative work is now being re-assessed and appreciated. At her death Bone bequeathed her photographic works to the Victoria and Albert Museum. Martin Barnes, Senior Curator, Photography, at the V&A oversaw the accession of this collection. Pamela Bone’s estate included some multiples and small editions of some of her works, these have been released for sale by auction at Flints. Please note that purchasers acquire the original physical print or artwork, where an image is also held in the V&A’s collection, the V&A holds copyright to reproduction of that image. Martin Barnes has summarised Pamela Bone’s career and work: “Bone attended Guildford School of Art between 1952-54, creating black and white still-lifes and portraiture alongside colour work. In 1953, she also studied in Paris with advertising and portrait photographer André Thevenet and worked in advertising. Her photographs were published in Photomonde, Vogue, Queen and House and Garden magazines. In 1958, she went to stay with a student friend in Calcutta and from there travelled throughout the following year in India, Sikkim and Kashmir. On returning to the UK, she abandoned commercial photography and focussed on independent art practice. She photographed in North Uist, Outer Hebrides and around Dartmoor, for her Dartmoor Trees and River series. She also studied sound recording. From 1965 Bone began experimenting with a conceptual slide show of her transparencies, based around the themes of her travels, the seasons and children, still life and landscape. She applied this approach in her printing methods, which combined and overlayed transparencies and prints from different periods with photograms to create dreamlike, textured impressions of imagined landscapes. This culminated in Circle of Light, (1972) an experimental film created from transparencies by Bone collaborating with filmmaker Anthony Roland, video art and installation artist Elsa Stansfield (1945-2004) and composer Delia Derbyshire (1937-2001) of the BBC Radiophonic Workshop (and who famously recorded the Doctor Who theme tune). A VHS copy of Circle of Light is in the V&A National Art Library (NAL). Bone’s approach to collaging and recombining works became her main approach and is a pre-cursor to contemporary practices of sampling. In 1973, she married Sir Ernest William Goodale, becoming Lady Pamela Goodale, but she continued to sign her artworks with her maiden-name. Bone was a lifelong follower of Christian Science. There were many books by the movement’s founder, the religious leader and author Mary Baker Eddy (1821- 1910) in her library. Bone was shy and reclusive and worked largely in seclusion. She set up a Cibachrome colour processing darkroom in 1981 in an outbuilding at her home in Dorking. This process allowed her to make her own direct colour positive prints from her colour transparencies. She made use of ‘lith’ printing as overlay masking for her cibachromes, and also produced pictures using silks. An exhibition of cibachrome prints, Let There Be Light was shown at West Dean College in 1991. Bone ceased printing in 1992 but began meticulously preserving her works. Towards the end of her life, she produced two limited-edition, hand-printed publications of her photographs, Wings of the Wind (2000) and Seven Doors: Finding Freedom of Expression Through Photography (2009) both in the NAL”
Lot 113
hand printed book, Vol I, 2007,(219pp) numbered one of five, limited to five copies, including poetry, biography and a selection of photographs, and Volume II, numbered three of four hand printed copies, both copiously illustrated with high quality reproductions of Pamela Bone's photography, black-and-white prints by a collotype or similar process, and colour prints, described in vol II as ''scanned and the scans painstakingly retouched before being imaged to plate using stochastic screen ....in order to achieve the maximum level of detail', each photograph separately printed, tipped in and protected with a loose tissue guard, Vol I with some small pencil annotations added by the author, plain paper dust jacket, cloth bound with cloth slip case; volume II 2009, (95pp) continues the biographical account from the 1970s, the 'Circle of Light' movie, further poetry and much detail on experimental techniques in photography, again cloth bound in cloth slip case, each Volume 31.5cm x 28.5cm. Note: Pamela Bone (Lady Pamela Goodale) Pamela Bone (British, 1925-2021) created a significant body of experimental photographic works between 1952 and 1992. Though some of her works were published and exhibited in her lifetime – and she collaborated with notable figures in the world of film, conceptual art and electronic music during the 1970s – this innovative work is now being re-assessed and appreciated. At her death Bone bequeathed her photographic works to the Victoria and Albert Museum. Martin Barnes, Senior Curator, Photography, at the V&A oversaw the accession of this collection. Pamela Bone’s estate included some multiples and small editions of some of her works, these have been released for sale by auction at Flints. Please note that purchasers acquire the original physical print or artwork, where an image is also held in the V&A’s collection, the V&A holds copyright to reproduction of that image. Martin Barnes has summarised Pamela Bone’s career and work: “Bone attended Guildford School of Art between 1952-54, creating black and white still-lifes and portraiture alongside colour work. In 1953, she also studied in Paris with advertising and portrait photographer André Thevenet and worked in advertising. Her photographs were published in Photomonde, Vogue, Queen and House and Garden magazines. In 1958, she went to stay with a student friend in Calcutta and from there travelled throughout the following year in India, Sikkim and Kashmir. On returning to the UK, she abandoned commercial photography and focussed on independent art practice. She photographed in North Uist, Outer Hebrides and around Dartmoor, for her Dartmoor Trees and River series. She also studied sound recording. From 1965 Bone began experimenting with a conceptual slide show of her transparencies, based around the themes of her travels, the seasons and children, still life and landscape. She applied this approach in her printing methods, which combined and overlayed transparencies and prints from different periods with photograms to create dreamlike, textured impressions of imagined landscapes. This culminated in Circle of Light, (1972) an experimental film created from transparencies by Bone collaborating with filmmaker Anthony Roland, video art and installation artist Elsa Stansfield (1945-2004) and composer Delia Derbyshire (1937-2001) of the BBC Radiophonic Workshop (and who famously recorded the Doctor Who theme tune). A VHS copy of Circle of Light is in the V&A National Art Library (NAL). Bone’s approach to collaging and recombining works became her main approach and is a pre-cursor to contemporary practices of sampling. In 1973, she married Sir Ernest William Goodale, becoming Lady Pamela Goodale, but she continued to sign her artworks with her maiden-name. Bone was a lifelong follower of Christian Science. There were many books by the movement’s founder, the religious leader and author Mary Baker Eddy (1821- 1910) in her library. Bone was shy and reclusive and worked largely in seclusion. She set up a Cibachrome colour processing darkroom in 1981 in an outbuilding at her home in Dorking. This process allowed her to make her own direct colour positive prints from her colour transparencies. She made use of ‘lith’ printing as overlay masking for her cibachromes, and also produced pictures using silks. An exhibition of cibachrome prints, Let There Be Light was shown at West Dean College in 1991. Bone ceased printing in 1992 but began meticulously preserving her works. Towards the end of her life, she produced two limited-edition, hand-printed publications of her photographs, Wings of the Wind (2000) and Seven Doors: Finding Freedom of Expression Through Photography (2009) both in the NAL”
Lot 114
hand printed book, Vol I only, 2007,(219pp) numbered three of five, limited to five copies, including poetry, biography and a selection of photographs, copiously illustrated with high quality reproductions of Pamela Bone's photography, black-and-white prints by a collotype or similar process, and colour prints, described in vol II as ''scanned and the scans painstakingly retouched before being imaged to plate using stochastic screen .... in order to achieve the maximum level of detail', each photograph separately printed, tipped in and protected with a loose tissue guard, plain paper dust jacket, cloth bound with cloth slip case, book 31.5cm x 28.5cm Note: Pamela Bone (Lady Pamela Goodale) Pamela Bone (British, 1925-2021) created a significant body of experimental photographic works between 1952 and 1992. Though some of her works were published and exhibited in her lifetime – and she collaborated with notable figures in the world of film, conceptual art and electronic music during the 1970s – this innovative work is now being re-assessed and appreciated. At her death Bone bequeathed her photographic works to the Victoria and Albert Museum. Martin Barnes, Senior Curator, Photography, at the V&A oversaw the accession of this collection. Pamela Bone’s estate included some multiples and small editions of some of her works, these have been released for sale by auction at Flints. Please note that purchasers acquire the original physical print or artwork, where an image is also held in the V&A’s collection, the V&A holds copyright to reproduction of that image. Martin Barnes has summarised Pamela Bone’s career and work: “Bone attended Guildford School of Art between 1952-54, creating black and white still-lifes and portraiture alongside colour work. In 1953, she also studied in Paris with advertising and portrait photographer André Thevenet and worked in advertising. Her photographs were published in Photomonde, Vogue, Queen and House and Garden magazines. In 1958, she went to stay with a student friend in Calcutta and from there travelled throughout the following year in India, Sikkim and Kashmir. On returning to the UK, she abandoned commercial photography and focussed on independent art practice. She photographed in North Uist, Outer Hebrides and around Dartmoor, for her Dartmoor Trees and River series. She also studied sound recording. From 1965 Bone began experimenting with a conceptual slide show of her transparencies, based around the themes of her travels, the seasons and children, still life and landscape. She applied this approach in her printing methods, which combined and overlayed transparencies and prints from different periods with photograms to create dreamlike, textured impressions of imagined landscapes. This culminated in Circle of Light, (1972) an experimental film created from transparencies by Bone collaborating with filmmaker Anthony Roland, video art and installation artist Elsa Stansfield (1945-2004) and composer Delia Derbyshire (1937-2001) of the BBC Radiophonic Workshop (and who famously recorded the Doctor Who theme tune). A VHS copy of Circle of Light is in the V&A National Art Library (NAL). Bone’s approach to collaging and recombining works became her main approach and is a pre-cursor to contemporary practices of sampling. In 1973, she married Sir Ernest William Goodale, becoming Lady Pamela Goodale, but she continued to sign her artworks with her maiden-name. Bone was a lifelong follower of Christian Science. There were many books by the movement’s founder, the religious leader and author Mary Baker Eddy (1821- 1910) in her library. Bone was shy and reclusive and worked largely in seclusion. She set up a Cibachrome colour processing darkroom in 1981 in an outbuilding at her home in Dorking. This process allowed her to make her own direct colour positive prints from her colour transparencies. She made use of ‘lith’ printing as overlay masking for her cibachromes, and also produced pictures using silks. An exhibition of cibachrome prints, Let There Be Light was shown at West Dean College in 1991. Bone ceased printing in 1992 but began meticulously preserving her works. Towards the end of her life, she produced two limited-edition, hand-printed publications of her photographs, Wings of the Wind (2000) and Seven Doors: Finding Freedom of Expression Through Photography (2009) both in the NAL”
Lot 5
Follower of MATEO CEREZO (Burgos, 1637-Madrid, 1666), 18th century."Penitent Magdalene".Oil on canvas.Re-drawn.It presents old restorations.Measurements: 84 x 63 cm; 96 x 75 cm (frame).Devotional painting representing Mary Magdalene penitent. It follows models by Mateo Cerezo, who made several versions of this theme. Specifically, the present one is based on Cerezo's "Penitent Magdalene" in the Rijksmuseum in Amsterdam. The figure, taken half-length, retains the sensuality of the original, with the blouse slipping below her shoulders but modestly covering her bust, which in Cerezo's version was semi-naked. The satiny fabric is folded in naturalistic draperies. The saint, her eyes misty with emotion, gesticulates in repentance before the open book of Scripture. The female canon here is ultimately drawn from Venetian sources, and her silky hair can be compared to that of Titian's women. In contrast to the eroticism that reminds us of her sinful life, the skull and crucifix express the ascetic ideal to which the figure prostrates herself. Intense contrasts of light, typically Baroque, construct the scene and give volume to the young woman's body.Mateo Cerezo trained in Madrid, where he joined Carreño's workshop. He was in great demand by a varied clientele, particularly for his religious painting, although he also tackled other genres. In this respect, the treatise writer and biographer Palomino stated that he produced "still lifes with such superior excellence that no one else could surpass him", a judgement that is fully corroborated by the works in the Museo Nacional de San Carlos in Mexico, which are signed and dated. On the basis of these, Pérez Sánchez attributed to him the Kitchen Still Life purchased by the Museo del Prado in 1970, a work of evident Flemish influence that has sometimes led him to think of Pereda. The works of this artist from Valladolid have also been pointed out as Cerezo's descendants, particularly in his early creations. We know that in 1659 Cerezo was working in Valladolid, where he left somewhat rougher works than those he produced in the following decade. In his works he is a faithful follower of Carreño, with whom he became one of his best collaborators. The master showed him the path he himself later followed, following in the footsteps of Van Dyck and Titian. Thus, Cerezo developed compositions that open out into large, complex scenographies, conceived with a distinguished refinement that is evident both in the work as a whole and in the smallest details. Like the Antwerp master, he endowed his figures with a rich magnificence in their costumes, applying a fluid, light brushstroke, contrasted by a rich play of light. A superb example of all this is the Prado's The Mystical Betrothal of Saint Catherine, signed and dated 1660.
Lot 126
French School, early 19th CenturyA still life of shells with books, a bunch of lilac, primulas and a Jay oil on canvas, unlined56.2 x 46.6cm (22 1/8 x 18 3/8in).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
Lot 13
Claude Joseph Fraichot (Besançon 1732-1803)A still life with fish, artichokes, beans and pans on a tabletop oil on canvas98 x 118.5cm (38 9/16 x 46 5/8in).This lot is subject to the following lot symbols: TPTP Lot 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
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