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Lot 19
Fragment with Werner von Ellerbach, Deflorationes Sanctorum Patrum or Honorius Augustodunensis, Speculum Ecclesiae, in Latin, manuscript on parchment [Germany (probably south), probably first half of twelfth century] Rectangular cutting (cut laterally across a leaf), with remains of single column of 11 lines of a small and precise proto-gothic bookhand, using tall tongued 'e' as a capital and an extremely late use of the et-ligature as an integral part of '&iam' and '&enim' (this feature most probably locating this in the first half of the twelfth century when a handful of examples can still be found in German manuscripts, see the leaf in our rooms, 8 July 2020, lot 32, for discussion), recovered from reuse in a binding and hence with folds, small holes and stains, overall good condition and on good and heavy parchment, 63 by 175mm. From the collection of Roger Martin (1939-2020) of Grimsby. The identification of this cutting as one of two distinct texts requires some explanation. Werner von Ellerbach (d. 1126) was a Benedictine monk of St. Blasius in the Black Forest, and was among the brethren sent from there in 1093 to establish a daughter-house at Wiblingen, near Ulm in Baden-Württemberg, where he became its abbot. Honorius Augustodensis (c. 1080-1154) was most probably a German monk (not of Autun as his name suggests, but another similarly named site as yet to be conclusively identified), who seems to have travelled to Canterbury and met Anselm and by the end of his life lived among the Irish monks of the Regensberg Schottenkloster (see E.M. Sanford in Speculum, 23, 1948, pp. 397-425; he may well have been Irish himself). The distribution of the early manuscripts of his work, as well as its impact in other texts supports the link to Regensberg and its vicinity. These authors were, for a decade or two, contemporaries and close neighbours, and they may have even known each other. Certainly, Honorius knew of Werner's Deflorationes Sanctorum Patrum, as a large collection of preaching material (the part here Migne, Pat. Lat. 157, cols. 1019-20), and copied sections of it into his own preaching manual, the Speculum Ecclesiae (Pat. Lat. 172, cols.1043-44) so that the readings here agree almost perfectly with both (the only variation is that of the repetition of the last three words on the verso here, due to scribal eye-skip). It is hoped that another binding-fragment from the same parent codex can be traced and be used to make a conclusive identification, but even without that both authors occupy important places as among the earliest definitively German authors. They are preceded by Hrabanus Maurus (d. 856) of Mainz, and his pupils Walafrid Strabo and Gottschalk of Fulda, as well as Hrotsvit of Gandersheim (d. 973), and are immediate forerunners of Hildegard of Bingen (1098-1179). Moreover, whichever text this is, this cutting may well contain the earliest witness to it, perhaps standing closest to the author's own copy. Manuscripts of both works are of extreme rarity on the market, with Werner's Deflorationes Sanctorum Patrum traceable in the vast Schoenberg database in only one manuscript copy (a part of the text in a compendium of c. 1500 sold on behalf of J. Ritman in Sotheby's, 17 June 2003, lot 34), and to that should be added a copy of the second half of twelfth century, ex. Phillipps, sold Sotheby's, 15-18 June 1908, lot 42, and now Berlin, Staatsbibliothek, Preussicher kulturbesitz, MS. theol. lat. fol. 699. No witness of Honorius' Speculum Ecclesiae can be traced in sale records by us.
Lot 37
Attributed to Jean-Baptiste Monnoyer (Lille 1636-1699 London)Peaches, grapes and melon on stone carvings with a ewer and a carpet oil on canvas80.7 x 107.8cm (31 3/4 x 42 7/16in).unframedFootnotes:Seldom signed, similar still life compositions of this period have been alternatively given to Nicolas de Largillière, Pierre Dupuis and Jean-Baptiste Monnoyer. A canvas sold by Sotheby's, 3 Dec 1989, on canvas, 85 x 158 cm., lot 339 which Dominique Brême attributed to de Largillière at the beginning of his Parisian career circa 1680-1685 (but which Michel Faré attributed to Pierre Dupuis) was subsequently given to Jean-Baptiste Monnoyer by Didier Aaron. Similarly, a Still Life with Pears, Pomegranates and Watermelons on a frieze (Sotheby's, New York, 12 January 1989, lot 106) was for a long time thought to be by Pierre Dupuis; while Fruits et ruines d'architecture, which hung in the French Embassy near the Holy See, was incorrectly ascribed to Alexandre-François Desportes by the Louvre in 1933. These three works have been dated to the beginning of Monnoyer's career, between 1665 and 1675.This lot is subject to the following lot symbols: αα Buyers from within the UK: VAT is payable at the prevailing rate on just the Buyer's Premium (NOT the Hammer Price). Buyers from outside the UK: VAT is payable at the prevailing rate on both Hammer Price and Buyer's Premium. If a Buyer, having registered under a non-UK address, decides that the item is not to be exported from the UK, then they should advise Bonhams immediately.For further information on this lot please visit Bonhams.com
Lot 50
Master of the Grotesque Vases (Italy, active early 17th Century)A still life of a foxglove, tulips, narcissi and other flowers in a gilt bronze mounted vase with butterflies on a book; and A still life of primroses, tulips, narcissi and other flowers in a gilt bronze mounted vase with a kingfisher on a stone ledge a pair, oil on canvas76 x 59cm (29 15/16 x 23 1/4in). (2)Footnotes:The 'Master of the Grotesque Vases' refers to a group of artists active in Italy in the 17th century, one of whom is thought to be the young Giacomo Recco (Naples 1603-1653).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 51
Attributed to Juan van der Hamen y León (Madrid 1596-1632)A still life with a basket of quinces on a wooden table and damsons hanging from strings on either side oil on canvas39.6 x 57.8cm (15 9/16 x 22 3/4in).Footnotes:Only a handful of artists in Spain would have been capable of painting this hitherto unknown early still life which may, with its centrepiece flanked by fruit hanging from strings, be compared to the unsigned Still life of a Faience Fruit Bowl with Passion Fruit, Crab Apples and Pears, which was thought by the distinguished van der Hamen scholar, the late William B. Jordan to be the artist's work and date from circa 1621 (oil on canvas, 54 x 65 cm., Serra de Alzaga collection, Valencia; see W. B. Jordan, Juan van der Hamen y León and the Court of Madrid, New Haven, 2006, no. 6). The wooden table is unusual in the oeuvre of this artist who more often went on to employ light coloured marble ledges; but a similarly coloured wooden table was employed by Hamen y León in his early Still Life of Sweets and Glassware, in the Museo del Prado which is oil on canvas, signed and dated, 1622 (op. cit. no. 4). It was during this early period that this master established the working pattern of his studio practice and like most early still life painters in Europe, he established a range of picture formats, compositional types and favoured objects that became his stock in trade. Jordan, after 40 years of research on the artist, wrote in his monograph: 'Most of the compositional types for which Van der Hamen is best known are represented by superb examples dated 1621 and 1622.'Adopting some of the essential compositional devices employed by Sánchez Cotán, such as the hanging of fruit and game from strings, van der Hamen fashioned a type of still life uniquely suited to his public at court. In doing this he is believed to have been aware of developments in still life painting outside of Spain as well – such as could be seen in the works of north Italians such as Panfilo Nuvolone and Fede Galizia, or those of Flemish masters like Osias Beert the Elder, Clara Peeters and Frans Snyders. 'Although his fame today has been eclipsed by the long career of Velásquez,' in Jordan's words 'Van der Hamen's star was very bright when his Sevillian rival was just finding his way at the court of the young King Philip IV. When that fire was unexpectedly extinguished at the age of thirty-five, some of his contemporaries, such as the playwright Juan Pérez de Montalvan, lamented the passing of 'the greatest Spaniard of his art who ever lived'.'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 139
Wilfred Gabriel de Glehn (British 1870 - 1951)Hydrangeas by the studio windowsigned with monogram (lower right); studio stamp (on stretcher verso) oil on canvas, oval 87.6 x 66.3cm (34 1/2 x 26 1/8in).Footnotes:ProvenanceWith David Messum, London.ExhibitedLondon, David Messum, Wilfrid de Glehn, RA John Singer Sargent's Painting Companion, Exhibition 1998, 1998, no. 12.LiteratureD. Messum, Wilfrid de Glehn, RA John Singer Sargent's Painting Companion, Exhibition 1998, exh. cat., London, 1998, no. 12 (illustrated in colour).In the background, this painting depicts a view of the River Thames and Chelsea Embankment taken from the window of de Glehn's studio in his London house at 73 Cheyne Walk. The house was sadly destroyed during World War Two by a parachute bomb in April 1941 resulting in de Glehn and his wife moving permanently to their Manor House at Stratford Tony. In two other works by de Glehn both depicting the drawing-room of his Manor House, one entitled Head of the Household, and the other My Drawing Room, Stratford Tony, this oval still life of blue flowers can be seen hanging on the wall to the left of the window.The importance of De Glehn's work was recognised during his lifetime as he held numerous one man-shows at Durand Ruel in New York and Paris, The Carfax Gallery, The Fine Art Society, Goupil Gallery, Leicester Galleries, Barbizon House, and Knoedler's in London, and Vose Galleries in Boston. It has been suggested that this painting could have been exhibited at the New English Art Club in 1906, as Hydrangeas, no 123.For further information on this lot please visit Bonhams.com
Lot 147
Irene Klestova (British, 1908-1989)Still life of white rosessigned and inscribed 'Irene Klestova/Paris' (lower right) oil on board 24.5 x 19cm (9 5/8 x 7 1/2in).Footnotes:ProvenanceWith Frost and Reed Ltd., London, no. 46963.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
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