Circle of MATEO CEREZO (Burgos, 1637-Madrid, 1666)."Penitent Magdalene".Oil on canvas. Re-retouched.It presents repainting and restorations.Measurements: 103 x 85 cm.In this canvas, Mary Magdalene is represented as a penitent in the desert, dressed with a jet robe, on which the red tone of the cloak stands out. Although it is an unusual feature, the young woman, who appears to be absorbed in the Scriptures, does not have long, flowing hair, which alludes to the style of the young woman's life before she met Christ. The saint is depicted next to a perfumer, the Holy Scriptures and the skull. Mary Magdalene is mentioned in the New Testament as a distinguished disciple of Christ. According to the Gospels, she housed and provided materially for Jesus and his disciples during their stay in Galilee, and was present at the Crucifixion. She was a witness to the Resurrection, as well as the one in charge of transmitting the news to the apostles. She is also identified with the woman who anointed the feet of Jesus with perfumes before his arrival in Jerusalem, so her main iconographic attribute is a knob of essences, like the one shown here. While Eastern Christianity particularly honours Mary Magdalene for her closeness to Jesus, considering her "equal to the apostles", in the West the idea developed, based on her identification with other women in the Gospels, that before meeting Jesus she had engaged in prostitution. Hence the later legend that she spent the rest of her life as a penitent in the desert, mortifying her flesh. She was most often depicted in this way in art, especially in the 17th century, a time when Catholic societies were particularly fascinated by the lives of mystics and saints who lived in solitude in the wilderness, dedicated to prayer and penance. The story of this saint serves as an example of Christ's forgiveness, and conveys the message of the possibility of redemption of the soul through repentance and faith.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 work of this artist from Valladolid has also been identified as Cerezo's descendant, 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.
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A 19th century two day mahogany marine chronometerSigned 'Eleve de' Parkinson & Frodsham London #537The three part case with blank brass cartouche to the top lid, the centre section with brass flower button above a later ivory signature plaque, the lower section with inlaid brass escutcheon with an ivory number plaque below and folding handles to the sides. The 3.25 inch silvered Roman dial enclosed by an Arabic minute band, subsidiary power reserve from 0-48 at XII and observatory style seconds dial at VI, signed eleve de Parkinson & Frodsham London No. 537 below the gold spade hands. The spotted movement with four ringed pillars and maintaining power to the chain fusee, free sprung blued steel helical balance spring with diamond endstone and Earnshaw type escapement, cut and compensated bimetallic balance with circular timing weights, with typical bayonet-fitting sprung dust cap in a weighted, scratch-numbered gimballed bowl. Ticking with two winding keys and a case key. 15.5 x 15.5 x 16Footnotes:Purchased 16 August 2002 from Gerald Marsh Antique Clocks, Winchester.There are three people associated with Parkinson & Frodsham that are known to have used the 'eleve' signature. The first is William Edward Frodsham who was the second eldest son of William James, born in 1814. He entered into his apprenticeship with his father in 1823, but tragically drowned in 1825, at the age of 20. Despite this, two marine chronometers are known to exist by him, numbered 1 and 2, and both signed on the dial Eléve of Parkinson & Frodsham. No. 2 accompanied Charles Darwin aboard H.M.S Beagle, and was sold in these rooms in 2014.The second person to use the 'eleve' name was Thomas Cotterell. Thomas Cotterell (also spelled Cottrell) was based at 163 Oxford street as Cotterell & Co. throughout the 1820's-1830's. Cotterell is known to have signed some marine chronometers as Elevé de Parkinson & Frodsham, despite not being listed as an official apprentice. One chronometer is known to be signed as Cotterell and Co., London and Parkinson & Frodsham, meaning it is possible that Cotterell made movements for Parkinson & Frodsham, rather then having been apprenticed to the firm. Further evidence of his association with Parkinson & Frodsham is that several chronometers were entered in the Greenwich trials by T. Cotterell, yet Parkinson & Frodsham literature took credit for the favourable results received. A chronometer made by Cotterell, No. 368, was bought for 80 guineas in 1829 by the government, to be used on the HMS Rainbow 1823, a 28-gun warship. He had several correspondences between 1822-1835 with Greenwich observatory, regarding the Trials and various parties interested in buying his chronometers. Beyond this, very little is known about his life, including when he stopped trading.The third person to consider is Henry Herbert Frodsham, William Edward Frodsham's nephew. Henry Herbert Frodsham was born in 1850 to Henry Frodsham, a Liverpool watch and chronometer maker and brother of the above-mentioned William Edward Frodsham. Henry Herbert served his seven-year apprenticeship with Thomas Robert Russell, completing it in 1871. After his apprenticeship, he was made a manager of Thomas Robert Russell and sent to manage their branch locations in Chile, then Germany, and finally London, where he seems to have established his own shop at 33 Picidilly, staying there between 1881-1884. A deck watch is known by him from this date, and it is signed on the dial Henry Frodsham élève of Parkinson & Frodsham, Change Alley, London. By 1886 Henry Herbert had moved to Bedford, again establishing himself as a watchmaker. In 1897, he went in to business with his wife Catherine, who was an optician, and formed H & C Frodsham, specialising in optics, whilst still offering watch repairs. Henry Herbert Frodsham died in 1915, but H & C Frodsham continued as an opticians under his daughter, Dorothy Frodsham, until her retirement in 1961.It seems likely that this particular chronometer was made by Thomas Cotterell. Cotterell outlived William Edward Frodsham and spent longer working in London then Henry Herbert Frodsham. Cotterell also used a grammatically correct French signature, eleve de, rather then William Edward and Henry Herbert, both of whom used eleve of. Why Cotterell didn't include his name, as he had done on previous examples remains unknown.The trade sticker in the chronometer box is from Liverpool nautical instrument and chronometer maker Alexander Cairns. He is recorded as working at 12-13 Waterloo Road between 1859-1872, having previously worked at 32 Waterloo Road, just up from Waterloo Dock. There is no record of interaction between Cairns and Parkinson & Frodsham. However, the latter had two branches in Liverpool, four wards east, also just up from the docks. It is possible that this chronometer may have been sent from the London workshop to be sold in Liverpool, though this cannot be confirmed.University of Cambridge (2015) Cambridge Digital Library: Papers of John Pond. Available at: https://cudl.lib.cam.ac.uk/search?keyword=Cotterell%2C%20Thomas%20(fl%201822-1835)%20chronometer%20maker&page=1Davidson, S., Linstead-Smith, P. (2016) 'W. E. Frodsham No.1. Another chronometer identified from HMS Beagle's second voyage', Antiquarian Horology, Vol. 37 (3), pgs. 70-80E. C. V. Blyth (1957) 'Trade Offers Under £50', Antiquarian Horology, Vol. 2 (5), p. 94.Harvard University Hilliar's Guide for Strangers and Visitors Through Liverpool 1854. Available at:https://iiif.lib.harvard.edu/manifests/view/ids:10327532Historic Liverpool (2022) 1860: Weekly Dispatch Atlas. Available at: https://historic-liverpool.co.uk/old-maps-of-liverpool/weekly-dispatch-atlas-1860/#2/-87.8/-61.9This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.com
JOAQUÍN PEINADO (Ronda, Malaga, 1898 - Paris, 1975)."Composition with a Pipe", 1943.Oil on canvas.With the label of the Carmen Aranguren Gallery (Seville) on the back.Signed and dated in the upper right corner.Measurements: 22 x 35 cm; 25 x 38 cm (frame).The instability and unrest caused by the Second World War distanced Peinado from easel painting, and he focused on making drawings which he sent to different publishers and which helped him to survive. For this reason this work is of great importance, as it marks the moment when Peinado returned to painting, with a less avant-garde conception, assimilating a "return to order" aesthetic, which was common to many painters due to the political situation of the time. During that period he focused particularly on still lifes, as can be seen in this painting, which has a post-Cubist aesthetic.Joaquín Ruiz-Peinado Vallejo was a Cubist painter, successor of Cézanne and spiritual son of Picasso, and one of the most outstanding representatives of the Spanish School of Paris. He entered the San Fernando School of Fine Arts in Madrid in 1918 and in the following years became a pupil of Cecilio Plá and Julio Romero de Torres, and was awarded a scholarship for three years at the Monastery of Santa María de El Paular, winning the El Paular Painting Prize in 1922. In 1923, once he had finished his studies, he went to Paris, where he settled permanently. There he attended the classes given at the Ranson, Colarossi and La Grande Chaumière academies and at the same time became interested in Cubist painting, an aesthetic he would personalise and maintain in his works. In 1924 he also showed his work at the Salons des Indépendants, Surindépendants and d'Automne. Nevertheless, from the city of the Seine he continued to be part of Spanish artistic life, taking part in the mythical First Exhibition of the Society of Iberian Artists in 1925, and illustrating the magazines "Litoral", "Gallo" and "La Gaceta Literaria", as well as "La flor de California" (1928) by José María Hinojosa. In 1926 he also won the Painting Prize of the Diputación de Málaga. Three years later, in 1929, he took part in two important exhibitions of avant-garde art in Spain: the Exhibition of Paintings and Sculptures by Spanish Residents in Paris, at the Botanical Gardens in Madrid, and the Regional Exhibition of Modern Art, at the Casa de los Tiros in Granada. He was also involved in the performing arts, like other artists of the time, participating in the films "Un perro andaluz" (1929) and "La edad de oro" (1930), by his friend Buñuel, and as a set designer and draughtsman for Feyder's "Carmen" (1925). In 1926 he also took part in the performance of Falla's "El retablo de Maese Pedro" in Amsterdam together with Buñuel, Cossío, Viñes and Ángeles Ortiz. In time, his artistic career would lead him to occupy a prominent position within the School of Paris; he would become director of the Painting Section of the Union of Spanish Intellectuals and later vice-president of the same, and UNESCO would appoint him delegate of the Section of Spanish Painters of the School of Paris. In 1946 he was also one of the organisers of the exhibition "Arte de la España Republicana. Spanish Artists of the School of Paris", held in Prague and, due to its enormous success, later also in Brno. From that date onwards his international exhibitions were frequent, both individual and collective, and he was grouped together with the best French art of the time. However, it was not until 1969 that a retrospective of his work was held in Spain; organised by the Dirección General de Bellas Artes and held at the Museo de Arte Español Contemporáneo in Madrid, this exhibition consecrated his figure in our country. In fact, that same year he was made a member of the Royal Academy of San Telmo in Malaga. His work is currently widely represented in the museum that bears his name in Ronda.
Sir George James Frampton, RA (British, 1860-1928): A rare and apparently unique patinated bronze bust of St. Georgedated 1905the young male saint clad in armour with downcast eyes, his helmet with deep visor adorned with chain mail, his breastplates with two buckled straps, his backplate with a single buckled strap, his right shoulder raised, the arms erased, the rear signed and dated G.FRAMPTON, 1905, 38.5cm high overallFootnotes:Provenance: By family repute gifted by the sculptor to the vendor's great grandfather, John Henry Frederick Bacon, ARA (British, 1865-1914)Thence by descent to the vendor.Frampton and St George:The present lot, dated 1905, appears to be a cast bust reduction study for the smaller than life size bronze figure of St George on the King Edward VII Memorial in Northampton which was unveiled by King George V in 1913. The warrior saint is depicted on the monument as a slender, beautiful young man in elegant armour and there are undoubtedly influences of Frampton's contemporary Albert Gilbert who produced his own figure of St George for the Prince Albert memorial in the chapel at Windsor, dating from some ten years earlier. Frampton's full length figure of St George for the Northampton monument holds his right arm aloft as if indicating a weapon being raised above his head (originally the figure held a long sword, almost the height of the figure - now lost) and includes full armour and shield. Although the offered bust mirrors the pose of the full figure with the indication of an upheld right arm, these are not included in the composition. As such the feature of the neatly erased arms to the bust perhaps suggests that the cast, as a finished composition, may have been taken from the working model, perhaps as a gift. This is also confirmed by its earlier date (1905) in comparison to the monument (1913). In addition the use of St George as figural theme was not unique to the Northampton monument. Frampton's interest in St George as a theme however dates back to the late 1890s as he adapted his figure of the saint from a statuette of St George that surmounted the orb held by Queen Victoria on his famous and highly acclaimed Calcutta Memorial commissioned to commemorate the Diamond Jubilee. Although the statuette differs from the Northampton figure in that the right arm of the former is not raised, its influence is still undoubted. The importance of this small statuette to the overall composition is certainly felt by the writer of The Introduction to Royal Academy Pictures in 1899 who stated that statuette 'is the one power in the art world that sees irresistible, and its influence is daily becoming more convincing.Similarly, Frampton later used his figure of St George from the Northampton monument as the basis of his Maidstone War Memorial, with a near identical St George used in similar pose but holding a flagpole in place of a sword which was inaugurated in 1922. Sir George James Frampton, RA (British, 1860-1928):A key figure in the New Sculpture movement that championed dynamism and physical realism in sculpture, Sir George Frampton is best known today for his statue of Peter Pan, installed in Kensington Gardens.Frampton was born into a family of stone carvers. He initially worked in an architect's office before deciding to follow his father's profession. He studied sculpture at Lambeth School of Art and the Royal Academy Schools, where he met the artist Christine Cockerell. The two married in 1893 and their son, the painter Meredith Frampton, was born the following year. Frampton's reputation rose rapidly and he attracted early acclaim for his skilled use of many different materials, such as in his 1899 polychromatic bust, Lamia. Together with Lord Leighton, Sir Alfred Gilbert and Hamo Thornycroft, his work was seen as part of the 'New Sculpture' movement and was characterised by a sense of dynamism and layers of rich symbolism. After Queen Victoria's death in 1901, Frampton was commissioned to produce a bronze portrait bust to be installed in Calcutta and a full-length statue for memorials in Winnipeg, Merseyside and Leeds. He was elected a Royal Academician in 1904 and knighted two years later. Frampton enjoyed collaborating with architects and carried out decorative friezes for many public and private buildings, including Lloyd's Registry of Shipping, London (1898- 1901).In 1912, Frampton was commissioned by J.M. Barrie to produce a sculpture of Barrie's beloved character Peter Pan, who had first appeared on the stage eight years earlier. Barrie saw the sculpture as a gift for the children of London, and took out an announcement in The Times on the morning of its instalment, reading: 'There is a surprise in store for the children who go to Kensington Gardens to feed the ducks in the Serpentine this morning ... a May-day gift by Mr J M Barrie, a figure of Peter Pan blowing his pipe on the stump of a tree.' Frampton died in 1928 and his son Meredith took over his studio. Two years later, a memorial to him was installed in St Paul's Cathedral, showing a child holding a miniature version of Frampton's beloved Peter Pan.John Henry Frederick Bacon, ARA (British, 1865-1914)The second son of the well-known lithographer, John Cardanall Bacon, John Henry Frederick Bacon established himself in his teenage years as a gifted black-and-white illustrator and undertook a professional tour of India and Burma. He studied at Westminster School of Art, under the painter and art teacher Frederick Brown (British, 1851-1941), and at the Royal Academy Schools, winning the Creswick Prize for Landscape Painting in 1888. A year later, he began to exhibit regularly at the Royal Academy of Art. He was elected an associate of the Royal Academy in 1903.Bacon and his wife lived at Pillar House, Harwell, Berkshire but returned to London in 1899, living in Hampstead before moving to St John's Wood. It was during the 1890s that Bacon moved back to illustrating, working on books and contributing to periodicals. Bacon contributed to some significant editions of the works of Charles Dickens, including Dombey and Son, Little Dorrit and Martin Chuzzlewit for Gresham's Imperial Edition of 1901.Bacon's images helped construct perceptions of nation and empire, as in his most famous paintings – The City of London Imperial Volunteers Return to London from South Africa (1900, Guildhall) and the Coronation Portrait of King George V and Queen Mary (1912, Buckingham Palace). He was awarded the Royal Victorian Order in 1913.It is very likely that Frampton and Bacon were close artistic colleagues and interacted regularly, perhaps especially when Bacon moved back to London. A sketch of Frampton by Bacon dating from 1901 (The Studio Volume 22, The Offices of the Studio Ltd. London 1901) confirms that the sculptor would have sat for the artist around this time. In addition verbal recollections and reminiscences passed down through the Bacon family to the present vendor confirm that members of the Royal Family frequently came for portrait sittings at the family's London home in the early 20th century. As such, given that the bust of St George was probably gifted to Bacon by Frampton, it seems most likely that Frampton and Bacon, with their multiple commissions for Royal monuments and Royal portraits, would have had much in common and may well have even have been close friends if their paths crossed regularly.For further information on this lot please visit Bonhams.com
Weiland, Irma (1908 Hamburg - 2004 ebenda)"Stilleben mit Katze". Öl auf Leinwand, 1951. Signiert und datiert unten rechts. Rückseitig auf Keilrahmen in Kugelschreiber betitelt und nummeriert "No. 3". Ungerahmt. 60 x 80 cm. Malschicht partiell krakeliert und etwas berieben. Pastoses Stilleben der Moderne in starker Schwarz-Weiß-Kontrastwirkung. Still life with black cat. Oil on canvas, 1951. Signed and dated bottom right. Backside on stretcher titled and numbered "3". Unframed. Paint with some craquelure and a bit rubbed. Strong black-and-white-contrast-effect.
Snyders, Frans, Kopie nachStillleben mit Früchtekorb. Öl auf Leinwand, vier reparierte Stellen, Schadstelle li. u., 97,5 x 150 cm, gerahmt im Stuckrahmen. Ra. 116,5 x 173 cm Das Originalgemälde befindet sich im Walraf-Richartz-Museum Köln. Copy after Frans Snyders: still life with fruit basket, oil/ canvas, old repairs, damaged spot lower left, 97,5 x 150 cm, stucco frame: 116,5 x 173 cm
Bremer Künstler, 2. H. 20. Jh.Stillleben mit Blumenstrauß. 1971. Öl auf Hartfaser, verso undeutl. sign., dat., ortsbezeichnet und mit Widmung versehen. Gerahmt. Ra. 70,5 x 60 cm Artist from Bremen, active 2nd half 20th ct.: flower still life, oil/ masonite, enscribed and dedication and location at reverse. Frame. 70,5 x 60 cm
Tomaszewski, Leonard (1913 Warschau - 2002 ebenda)"Kuriatki Bolue" (Mittagsblumenblüten). Öl auf Malpappe, 1983. Signiert unten links. Rückseitig auf Etikett betitelt und datiert sowie mit Künstlerstempel versehen. In weißer Künstlerrahmung. 43 x 48 cm (Ra). Kleine Druckstelle in Bildmitte, Firnis etwas verfärbt. Sensibles Blumenstillleben eines handgepflückten Blütenstrausses in schwarzem Krug. Bolus flower blossoms. Oil on cardboard, 1983. Signed bottom left. Backside on lable titled and dated as well as with artist's stamp. In white artist's framing. Small dent in center, varnish a bit tanned. Sensitive still life of a hand collected bunch of garden flowers.
Martin, I. o. J., 20. Jh.Stillleben mit Gladiolen und Kaktus. Öl auf Leinwand, re. u. sign., Leinwand mehrfach repariert mit Flicken. Firnis stark gebräunt und Oberflächenschmutz. Gerahmt. Ra. 95,5 x 84 cm Flower still life, oil/ canvas, several repaired spots. Varnish tanned, surface dirt. Frame. 95,5 x 84 cm
Monogrammist "AS" (Worpsweder Maler 20. Jh.)Stillleben mit Krug und Früchten, Öl auf Hartfaser, links oben monogrammiert und datiert '90. Klebereste im oberen und rechten Bereich, min. Ausplatzungen am unteren Rand. Ungerahmt. 22 x 36,5 cm Monogrammist AS, still life with jug and fruits, oil on hardboard, signed and dated. Remains of glue in upper and right area, min. chipping at lower margin. Unframed.
Hopf, Eduard (1901 Hanau - 1973 Hamburg)Stillleben mit Afrikana und Maske. Gouache auf Papier, 1944 oder 1949. In Blei unten links signiert und schwer lesbar datiert. Rückseitig weiterer Entwurf der nahezu selben Objektkomposition. Hinter Glas gerahmt. 78 x 106 cm (Ra). Deutlicher gebräunt, Ränder knittrig. Expressives Stillleben mit exotischen Artefakten in der Tradition der KG Brücke und dem Exotismus der 1910er Jahre. Still life with african items and mask. Watercolour on paper, 1944 or 1949. Signed and unclearly dated bottom left. Backside with another, nearly same motif. Framed behind glass. Visibly tanned by the sunlight, margins with small creases. Expressiv still life in tradition of the German Expressionists KG Brucke and the exotism of around 1910.
Höflinger, Albert. 1855 Neustadt-1936 BaselStillleben mit Chrysanthemen. Öl auf Leinwand, sign., verso voll sign. "Albert Höflinger Paris". Druckstelle li. ob. Ecke. Gerahmt. Ra. 96,5 x 72,5 cm Albert Höflinger: still life with chrysanthemum, oil/ canvas, signed, framed. Signed again and located "Paris" at reverse. Pressure mark upper left corner.
Kolks, Wolfgang. Geb. 1935"Tisch mit Seeblick" (Stillleben). Öl auf Leinwand, li. u. sign., Keilrahmen betitelt, Druckstellenschaden am rechten Bildrand. Bildmitte Schadstelle mit abblätternder Malschicht. 83,5 x 99 cm. Gerahmt. Wolfgang Kolks: still life, oil/ canvas, signed, entitled at stretcher. Pressure marks in right rim area. Smaller damaged spot in the center. Frame. 83,5 x 99 cm
Demmel, AlbertStillleben mit Herbstblumen. 1934 (o. 1939). Öl auf Leinwand, re. o. sign. und dat., verso Sammlungsstempel oskar Kornmüller Karlsruhe/ Baden sowie Keilrahmenetikett der Ständigen Kunstausstellung Baden, Lichtentaler Allee und Nummerierung "329". Gerahmt. Ra. 75 x 95 cm Albert Demmel: flower still life, 1939 (or 1934), oil/ canvas, signed and dated upper right, collector's stamp and exhibition label at reverse. Framed. 75 x 95 cm
Korburg, P., 20. Jh.Weiße Lilien mit Ingwertopf. Öl auf Leinwand, 1. Hälfte bis Mitte 20. Jh. Signiert unten rechts. Gerahmt. 63 x 53 cm (Ra). Leichte Krakelur, Klimakante. Reduziertes Stilleben mit starker Raumwirkung. White lilies and ginger pot. Oil on canvas, 1st half or mid 20th century. Signed bottom right. Framed. Some fine craquelure, stretcher marks. Reduced still life with strong deep-view effect.
Unbekannter Stilllebenmaler, 19. Jh.Stillleben mit Poesiealbum, Früchten und Blumenstrauß. Mitte 19. Jh., Öl auf Papier? auf Holz. Schlichter Goldrahmen, 29 x 37,5 cm (Ra). Krakelee, Retuschen in der Bildmitte. unknown still life painter, 19th century. Still life with a poetry album, fruits and a bouquet of flowers. Mid 19th century, oil on paper? on wood. Plain gold frame, 29 x 37,5 cm (Ra). Craquelure, retouching in the centre of the picture.
Unbekannter Künstler, 20. Jh.Mediterranes Stilleben mit Dorade und Crevette. Gouache auf Papier. Unsigniert. Hinter Glas gerahmt. 47 x 62 cm (Ra). Modernes kulinarisches Ensemble aus Meerestieren in einem Körbchen an Zitronen und Lauch, begleitet von einem bauchigen Weinballon vor geöffnetem Fenster mit Blick auf das anbrandende Meer am Sandstrand. Unknown artist, 20th century. Mediterranean still life with sea bream and king prawn. Watercolour on apper. Unsigned. Framed behind glass. Culinaric ensemble accompagnied by lemons and leek in front of the wavy sea on sandy beaches.
Benz-Baenitz, Willy. 1881 Berlin-1957 BremenStillleben mit Porzellanfigur. Öl auf Leinwand, re. u. sign., mehrfach rep. mit Flicken, oberflächlich verschmutzt. Schwerer Stuckrahmen. 108 x 95 cm Willy Benz-Baenitz: still life, oil/ canvas, several repaired spots, surface dust. Stucco frame. 108 x 95 cm
Monogrammist AK (?), Anf. 20. Jh.Stillleben mit gelben Blumen in Vase, 1919, Aquarell, re. u. monogr. und dat., Randschäden (Einrisse) im unteren Blattrand, Einriss re. Blattrand. Hinter Glas mit Pp. gerahmt. Galerieetikett "Girschner Worpswede". 96 x 71 cm Ra. Artist known by monogram AK, 1919: still life, watercolour, monogram and date lower right, margin wear, framed with passepartout and glass. Frame 96 x 71 cm
Povorina, Alexandra. 1885 St. Petersburg-1963 BerlinStillleben mit Krug. Aquarell/ Fettkreide auf Pergamentpapier, re. u. sign., 33 x 21 cm, auf Untersatz mont., hinter Glas gerahmt. 46,5 x 36 cm Still life, watercolour/ crayon, signed lower right. Mounted. Framed with glass. 33 x 21 cm, frame: 46,5 x 36 cm
Helen Bradley (British, 1900-1979)Still Life of Flowers signed 'HELEN BRADLEY' and with fly insignia (lower left)oil on board26.5 x 27cm (10 7/16 x 10 5/8in).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Mary Fedden R.A. (British, 1915-2012)Still Life with Melon and Pears signed and dated 'Fedden 10' (lower left) oil on canvas61 x 51cm (24 x 20 1/16in).Footnotes:ProvenanceThe Artist, from whom acquired directly by the present ownerPrivate Collection, U.K.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Mary Fedden R.A. (British, 1915-2012)Still Life with Lemon and Auriculas signed and dated 'Fedden 1995' (lower left) watercolour, gouache and pencil on paper26.5 x 21.5cm (10 7/16 x 8 7/16in).Footnotes:ProvenanceThe Artist, from whom acquired directly by the present ownerPrivate Collection, U.K.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Donald McIntyre (British, 1923-2009)Still Life of Flowers signed with initials 'DMC' (lower left); further signed and dedicated 'HAPPY CHRISTMAS/PAT + BOB/LOVE TO YOU BOTH/DON + LAUREN' (on Artist's label attached to backboard)acrylic on card22 x 17cm (8 11/16 x 6 11/16in).Footnotes:ProvenanceThe Artist, by whom gifted to the present ownerPrivate Collection, U.K.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
![W Browne [19th Century]-Stormy Weather, Coast of Brittany,:-signed with a monogram and dated WB'78, further signed and inscri](https://cdn.globalauctionplatform.com/76689ac6-356f-471e-a241-aeb700a7151f/eb72aa18-2fec-4076-aecb-aeb700b2ecca/468x382.jpg)
W Browne [19th Century]-Stormy Weather, Coast of Brittany,:-signed with a monogram and dated WB'78, further signed and inscribed on the reverse, oil on board, 20 x 41cm, together with a small oil of Tollard Royal Church, Salisbury, one other English landscape and a still life by different hands, unframed. [4]Please see website for further images of this lot www.bhandl.co.uk
![R P Laurent [20th Century French School]- Still life of apples and jug on a table cloth,:- signed, oil on board, 21 x 26cm, t](https://cdn.globalauctionplatform.com/76689ac6-356f-471e-a241-aeb700a7151f/72b7403d-897b-4e0a-9f9d-aeba00ee05e7/468x382.jpg)
R P Laurent [20th Century French School]- Still life of apples and jug on a table cloth,:- signed, oil on board, 21 x 26cm, together with two paintings of Boissise-la-Bertrand by the same hand, a painting of a fisherman by T. Weber and one other of fishing boats by G. Marrett. [5] Please see website for further images of this lot www.bhandl.co.uk
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