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Lot 179
British School, early to mid 19th century- Still life of flowers; oil on paper laid down on board, 45 x 36 cm. Provenance: Private Collection, UK. Note: The present work is reminiscent of the accomplished still-life flower compositions of Eloise Harriet Stannard (1829-1915). This is particularly apparent in this anonymous artist's undeniable debt to 17th-century Dutch still-life painting and in their particularly fine brushwork, which, akin to the works of Stannard, produces an especially luminous surface.Please refer to department for condition report
Lot 237
Antoine Vollon, French 1833-1900- Still life with a cauldron, pewter jug and harness; oil on canvas, signed 'A. Vollon' (lower right), 55.5 x 45.6 cm. Provenance: Anon. sale, Sotheby's, London, 28 March 1990, lot 380 (sold for £7,773).; An important Private Collection, UK. Note: In his day, Vollon was hailed as a second Jean-Baptiste-Siméon Chardin (1699-1779), the French master of still-life compositions. The present work exhibits Vollon's technical virtuosity in describing the surface, light, and textures of the cauldron, pewter jug, and harness. In theme, palette, and broad handling, his still-lifes further reflect the influence of his mentor Théodule Ribot (1823-1891).Vollon began his career in Lyon as a student at the local École des Beaux-Arts from 1850-52. After moving to Paris in 1859 he became interested in genre subjects due to the encouragement of Ribot and François Bonvin. In 1863, the Salon des Refusés counted him among the exhibitors, and two years later he was accepted into the official Salon, where he would continue to exhibit regularly. Recognition of his distinguished career arrived in 1897 when he was elected as a full academician of the Académie des Beaux-Arts.Please refer to department for condition report
Lot 294
G. de Casteljau, French, late 19th century- Still life of melon, pears, peaches, and grapes; oil on panel, signed 'G. de Casteljau.' (lower left), 69.5 x 94 cm. Provenance: Private Collection. Note: Presumably painted around the turn of the 19th/20th century.Held in a parcel gilded and ebonised cassetta frame with laurel leaf sight edge. Please refer to department for condition report
Lot 303
Gerald A. Cooper,British 1898-1975-Still life of summer flowers in a glass vase - hollyhocks, roses, and nasturtians;oil on board, signed 'Gerald Cooper' (lower right), 60.5 x 50.6 cm. ARR.Provenance: Private Collection, UK.Note: The present work, as in much of Cooper’s output, is clearly drawing on the works of 17th-century Dutch artists such as Ambrosius Bosschaert II (1609-1645). Such an approach is evident both in its composition, with the bright and bountiful flowers set against a dark background, and in its execution, with the detail of Cooper’s fine brushwork imparting the painting with a striking verisimilitude. Cooper’s choice of flowers, which can be found in an English country garden, evokes a sense of domesticity which contrasts with the works of his Dutch antecedents, which typically centred on the depiction of fantastical combinations of expensive and exotic blooms.Please refer to department for condition report
Lot 55
Pieter van Noort, Dutch 1622-1672- Spaniel and dead game in a landscape; oil on canvas, signed 'P v Noort' (lower centre), 104.5 x 135.5 cm. Provenance: An important Private Collection, UK. Note:The present work is a particularly large-scale and striking example of the artist’s still-life painting. Van Noort was born in Leiden and from 1648 was registered as a member of the Leiden Guild of St Luke. He was followed by Isaac van Duynen (1628-c.1680) and his works can today be found in the Rijksmuseum, the Dordrechts Museum, the Mauritshuis, and the De Fundatie in Zwolle. His talents in painting are fully demonstrated in the present work, with his fine brushstrokes convincingly conveying the texture of the animals’ feathers and dog’s fur, and his bright pigments serving to enliven the scene. For a similar work by his hand, see Anon. sale, Sotheby’s, London, 6 December 2018, lot 167. Please refer to department for condition report
Lot 57
Johannes Christianus Roedig,Dutch 1750-1802-Still life with fruit and flowers on a pewter plate and a glass of wine on a draped table;oil on panel, bears signature ‘J:D:DE:HEEM:f' (lower right), bears printed 'Thomas Baring' label on the reverse, bears further labels on the reverses of the panel and frame, 37 x 47.8 cm.Provenance:[Almost certainly] William Jones of Clytha, Clytha Castle, 1790s.;His estate sale, Christie's, London, 1852, as by Jan Davidsz. de Heem.;Where purchased by Thomas George Baring, later 1st Earl of Northbrook (1826-1904).;M. Bernard, by 1945 (probably the London dealer Montague Bernard).;From whom purchased by Arthur Tooth & Sons, London, no.1246;The Hon. Michael Langhorne Astor (1916-1980), no.141.; Estate of the Hon. Michael Langhorne Astor sale, Sotheby's, London, 8 July 1992, lot 322, as Manner of Jan Davidsz. de Heem.; Private Collection, UK.Literature:A Descriptive Catalogue of the Collection of Pictures Belonging to the Earl of Northbrook, 1889, no.47 (illustrated), as by Jan Davidsz. de Heem (see https://www.wikidata.org/wiki/Wikidata:WikiProject_sum_of_all_paintings/Catalog/Earl_of_Northbrook_collection,_1889).; RKD - see https://rkd.nl/en/explore/images/277082.Note:The present work was painted after 1785. It was almost certainly purchased by William Jones of Clytha in the 1790s when he was furnishing Clytha Castle in Monmouthshire, the building of which was completed in 1790. After entering the Northbrook Collection in 1852, it most probably remained there until 1929 at least, when, after the death of Francis Baring, the 2nd Earl, it would have been amongst the numerous works sold by his widow in dispersals between 1929 and 1945. By 1945 it was with a M. Bernard who sold it to Arthur Tooth, with the work still ascribed to de Heem. Records next emerge from Sotheby’s in 1992 when it was sold as part of the estate of the Hon. Michael Langhorne Astor (who himself possibly purchased it from Arthur Tooth), where it was catalogued as 'Manner of Jan Davidsz. de Heem'. Around this time, following research by Dr Fred Meijer, it was re-ascribed and fully attributed to Roedig. The attribution is based in part on a closely related work by Roedig – also signed as by de Heem – which last appeared at Christie’s, Amsterdam, 14 November 1991, lot 166. In an extensive catalogue note to a pair of floral still life works by Roedig that sold at Bonhams, London, 9 December 2009, lot 81 (for £1,196,000) – establishing Roedig as an important if overlooked artist - Dr Meijer suggests that the present work and others are probably examples of deliberate forgeries by Roedig. Interestingly, as Dr Meijer has pointed out, the ‘forged’ paintings are clearly by Roedig and make no concentrated effort, other than the signatures, to imitate de Heem.By the end of his career, however, Roedig had clearly emerged as a fully established and highly respected Dutch painter in his own right, with his fame extending as far as Saint Petersburg. Indeed, from correspondence between Roedig's son and the nineteenth-century art historian Adriaen van der Willigen, we know that the artist sold a large number of his works to Russia during his lifetime, which explains why so few remained in his native Holland. For example, in 1783, Count Alexander Stroganoff commissioned two paintings from the artist which he then gave to Empress Catherine the Great. The present work therefore provides a rare opportunity to acquire an example of Roedig's work of this high calibre.Consistent with his reputational rise perhaps is the existence of examples of his paintings which are indeed signed under his own name. In addition to the Bonhams 2009 pair, see, for example, his Still life which sold at Sotheby's, Amsterdam, 1 December 2009, lot 68 (£54,750), which is strikingly similar to the present work, featuring the same halved peach and bunch of white grapes. The Fitzwilliam Museum in Cambridge owns three of his signed works. One, ‘Basket of flowers with fruit’, shares distinctive similarities with the present work, particularly in the grapes, ears of wheat and morning glory flowers (PD.41-1966).We are grateful to Dr Fred Meijer for confirming the attribution of the present lot. Please refer to department for condition report
Lot 195
After Joris van Son,Still life of fruit and flowers oil on canvas65 x 54cmProvenance: Bracken Knoll, Highgate, London, N6.Condition ReportThe painting is executed in oil on canvas support which has not been lined. The canvas tension is slack and there are undulations across the surface. At the lower edge of the picture is an old tear which has been repaired from the reverse with a canvas patch. The damage to the front of the picture has been filled and retouched. The paint layer has a network of age cracks, visible in the darker paint passages. Overall the paint layer is stable. The varnish is degraded and yellowed, becoming opaque with age. There is a layer of surface dirt present.
Lot 814
Tom Crowell/Still Life/flowers and fruit on a ledge/signed/oil on panel, 49cm x 39cm CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
Lot 849
P Godding (20th Century)/Still Life of Flowers/oil on board, 61cm x 51cm/and a botanical watercolour signed V Nash CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
Lot 881
Arthur Dudley (1864-1915)/Still Life/with basket of peaches, grapes, plums and a stoneware jug/signed/watercolour, 32.5cm x 82.5cm CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
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