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Lot 3376
§ Raymond Campbell (British, b. 1956), 'The Pick of the Bunch', still life with grapes and wine bottles, oil on panel, signed lower right, framed, 50.5 x 61cm. Please note that Artists Resale Right may be additionally payable on top of the hammer price for this lot, where the price is above the threshold of Euros 1,000, up to a maximum of 4% of the hammer price, visit www.dacs.org for more information
Lot 2001
Richard Ayling (b.1950). Pear. Still life in an Interior. Oil on board, 1993. Signed and titled verso. 16 x 21cm.Catalogue notes; The collection of Ernest Pearce (1930-2012) a dedicated art collector and connoisseur of the bookplate.His files of letters reveal that he was in regular correspondence with many well-known artists and fellow collectors from the 1950s onwards, sharing with them his in-depth knowledge and often exchanging rare prints and other works of art. Of particular note is his collection of works by the Romanticist artist Samuel Palmer many of which were purchased from Carlos Peacock, author of 'Samuel Palmer, The Shoreham Years' who himself acquired a number from AH Palmer, Samuel's son. Also works by well-known 20thcentury artists, some, unusually, accompanied by personal notes or cards. Finally, of course, his extensive collection of bookplates including British and Continental artists and some illustrious libraries.Ewbank's is delighted to have this opportunity to bring Ernest Pearce's lifelong collection to the market. Provenance: The family of Ernest Pearce.
Lot 2022
Shimshon Holzman (Israeli 1907-1986). 'Arabesque', still life with fruit. Watercolour, signed lower left. 50 x 70cm.Catalogue notes; The collection of Ernest Pearce (1930-2012) a dedicated art collector and connoisseur of the bookplate.His files of letters reveal that he was in regular correspondence with many well-known artists and fellow collectors from the 1950s onwards, sharing with them his in-depth knowledge and often exchanging rare prints and other works of art. Of particular note is his collection of works by the Romanticist artist Samuel Palmer many of which were purchased from Carlos Peacock, author of 'Samuel Palmer, The Shoreham Years' who himself acquired a number from AH Palmer, Samuel's son. Also works by well-known 20thcentury artists, some, unusually, accompanied by personal notes or cards. Finally, of course, his extensive collection of bookplates including British and Continental artists and some illustrious libraries.Ewbank's is delighted to have this opportunity to bring Ernest Pearce's lifelong collection to the market. Provenance: The family of Ernest Pearce.
Lot 2036
Jackie Simmonds (b.1944). Still Life with Flowers and Blue Vases. Pastel, signed lower left. 36 x 46cm. Catalogue notes; The collection of Ernest Pearce (1930-2012) a dedicated art collector and connoisseur of the bookplate.His files of letters reveal that he was in regular correspondence with many well-known artists and fellow collectors from the 1950s onwards, sharing with them his in-depth knowledge and often exchanging rare prints and other works of art. Of particular note is his collection of works by the Romanticist artist Samuel Palmer many of which were purchased from Carlos Peacock, author of 'Samuel Palmer, The Shoreham Years' who himself acquired a number from AH Palmer, Samuel's son. Also works by well-known 20thcentury artists, some, unusually, accompanied by personal notes or cards. Finally, of course, his extensive collection of bookplates including British and Continental artists and some illustrious libraries.Ewbank's is delighted to have this opportunity to bring Ernest Pearce's lifelong collection to the market. Provenance: The family of Ernest Pearce.
Lot 2109
6 ex libris Gianni Mantero. A Herald, wood engraving by Bruno Bramanti, signed. Nude, wood engraving by Johannes Britze. Figures in a Middle Eastern Landscape, wood engraving by Gian Luigi Boldi. Still Life in a Landscape and Nudes in a tree both attributed to Italo Zetti and one other by an unknown artist. (6). Catalogue notes; The collection of Ernest Pearce (1930-2012) a dedicated art collector and connoisseur of the bookplate.His files of letters reveal that he was in regular correspondence with many well-known artists and fellow collectors from the 1950s onwards, sharing with them his in-depth knowledge and often exchanging rare prints and other works of art. Of particular note is his collection of works by the Romanticist artist Samuel Palmer many of which were purchased from Carlos Peacock, author of 'Samuel Palmer, The Shoreham Years' who himself acquired a number from AH Palmer, Samuel's son. Also works by well-known 20thcentury artists, some, unusually, accompanied by personal notes or cards. Finally, of course, his extensive collection of bookplates including British and Continental artists and some illustrious libraries.Ewbank's is delighted to have this opportunity to bring Ernest Pearce's lifelong collection to the market. Provenance: The family of Ernest Pearce.
Lot 14
Ben Nicholson O.M. (British, 1894-1982)Involved Still Life signed and dated 'Nicholson/1968/-70' (lower right)pencil and wash over a printed base43.5 x 37.6 cm. (17 1/8 x 14 3/4 in.)Footnotes:ProvenanceWith Galerie Schlégl, Zurich, where acquired by the present ownerPrivate Collection, South AfricaThe pared-back simplicity yet ultimate sophistication and balance of Ben Nicholson's work is his supreme achievement. In the present work, where pencil and wash are layered over a printed base, the eye is led through and over a multiplicity of undulating lines, which weave together, intermingle and then depart again, swinging out and over the margins of the plate mark. For a 'still life', the composition is remarkably dynamic and encourages the viewer's gaze to rove around the image, never settling, always finding new rhythms to follow. Still life was a recurrent subject for Nicholson, one he returned to time and time again, and Involved Still Life is an example of the most refined realisation of his constant study of this subject, a synthesis of form and abstraction. The title is subtle yet says so much: it calls the viewer in to the subject, and we feel the movement that he has captured. Using the simple motif of two vessels, Nicholson nevertheless manages to create a composition which plays with space and creates an incredible depth.Cubism was an important influence for Nicholson and the multiplicity of lines that he has used here gives a sense of this all-over, all-at-once viewing. The use of several perspectives has the effect of recalling the experience and memory of the object, not just its image. As Nicholson commented: 'Cubism once discovered could not be undiscovered, and so far from being that 'passing phase' so longed for by reactionaries it (and all that its discovery implied) has been absorbed into human experience as we know it today' (Ben Nicholson, quoted in Ben Nicholson: A Retrospective Exhibition, exh. cat., Tate Gallery, London, 1955, n.p.). The result is a method of drawing which rises above the purely representational and becomes experiential.The base for the present work is an example of the etching 2 Sculptural Forms (1967) from the Twelve Etchings suite, a copy of which is in the Tate's collection.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 34
Duncan Grant (1885-1978)Still life with apples signed and dated 'D. Grant/60' (lower right)oil on canvas laid on board34 x 43.5 cm. (13 3/8 x 17 1/8 in.)Footnotes:ProvenanceProbably the Artist's Estate or Clarissa Roche, by whom gifted toCaroline Durston, thence by descent to the present ownerPrivate Collection, U.K.We are grateful to Richard Shone for his assistance in cataloguing this lot.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
Lot 35
Sir Matthew Smith (British, 1879-1959)Still Life with Green Leaves signed with initials 'MS' (lower right)oil on canvas58.5 x 72.5 cm. (23 x 28 1/2 in.)Painted in the 1940sFootnotes:ProvenanceWith Lefevre Gallery, LondonWith The Mayor Gallery, London, 1957Private Collection, U.K.LiteratureJohn Gledhill, Catalogue Raisonné of the Oil Paintings of Matthew Smith, Lund Humphries, Farnham, 2009, p.221, cat.no.582 (ill.b&w)We are grateful to John Gledhill for his assistance in cataloguing this lot.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
Lot 4
Alfred Wallis (British, 1855-1942)Mount's Bay with St Michael's Mount signed 'A WALLIS' (lower right)oil on panel23.5 x 33 cm. (9 1/4 x 13 in.)Footnotes:ProvenanceBen Nicholson and Dame Barbara Hepworth, by whom gifted toMiss Misomé PeileWith Crane Kalman Gallery, London, May 1986, where acquired by the family of the present ownerPrivate Collection, U.K.ExhibitedLondon, Tate Gallery, Alfred Wallis, organised by the Arts Council of Great Britain, 30 May-30 June 1968, cat.no.34; this exhibition travelled to York, City Art Gallery, 6-28 July, Aberdeen, Aberdeen Art Gallery, 3-25 August, Kendal, Abbot Hall Art Gallery, 31 August-22 SeptemberMount's Bay with St Michael's Mount enjoys distinguished provenance having formerly been in the collection of Ben Nicholson and Barbara Hepworth. The duo were married in 1938 and moved to St Ives the following year just before the outbreak of war, at the invitation of Adrian Stokes and his wife Margaret Mellis. Nicholson however, together with Christopher Wood, had 'discovered' Wallis a decade prior and he was to become the elder artists greatest champion, both buying and promoting his work among some of the most progressive artists, intellectuals and collectors in 1930s Britain. Of that first encounter, Nicholson said 'In August 1928, I went over for the day to St Ives with Kit Wood: this was an exciting day, for not only was it the first time I saw St Ives, but on the way back from Porthmeor beach we passed an open door in Back Road West and through it saw some paintings of ships and houses on odd pieces of paper and cardboard nailed up all over the wall, with particularly large nails through the smallest ones. We knocked on the door and inside found Wallis, and the paintings we got from him then were the first he made.' (Exh.cat., Two Painters, Works by Alfred Wallis and James Dixon, Merrell Holberton London, 1999, p.105).Wallis's unique approach to perspective and the immediacy of his painting sparked a period of intense experimentation for Ben, clear in his exploration of material and proportion during this pivotal period. An inscription verso shows that the work passed from the Nicholson/Hepworth collection to that of Misome Peile. Peile was born in Hampshire into a naval family and studied art under Leonard Fuller at the St Ives School of Painting from 1939-43, where presumably she encountered the 'St Ives set'. She was an invited member of Newlyn Society of Artists and, in 1949, a founder-member of Penwith Society of Arts.The present lot depicts Mount's Bay, so named for the presence of St Michael's Mount, and is a stretch of coastline that features repeatedly in the artist's work. Wallis, as a seaman, would have held great appreciation for the bay, understanding the shelter it offered vessels in bad weather, then as it still does today. The location is identifiable by the Mount itself, upper centre, and the Lizard lighthouse, top right. A large ship with full sails dominates the composition whilst a gaff-rigged cutter bobs alongside in the choppy waters and the crew of both vessels can be seen working on board. Alfred Wallis went to sea at an early age and worked as an Ordinary Seaman on merchant sailing ships for at least sixteen years. Crew lists show that at 19 or 20 years of age he sailed from Penzance to Newfoundland on a Westcountry schooner, Pride of the West, and returned on a Devon ship 'Belleaventure' a brigantine similar to the sailing ship that is the main subject of this painting. Wallis was an experienced seaman. He knew the ropes. Climbing the rigging in all weathers, day or night to make sail adjustments and taking his turn at the ship's wheel were all part of his life aboard ship and he shows this in this painting.With its vivid hues of green and blue, painterly application and map-like composition, the present work is a tour de force by one of Britain's best loved artists, a fact endorsed by the eminent nature of the previous ownership.For further information on this lot please visit Bonhams.com
Lot 41
Sir William Nicholson (British, 1872-1949)Still Life: Emile's Things signed and dated 'Nicholson/1912' (on the lower left of the mirror)oil on canvas92.2 x 71.4 cm. (36 1/4 x 28 1/8 in.)Footnotes:ProvenanceProbably acquired in the 1920s, or earlier, by the present owner's great auntPrivate Collection, U.K.The title of this unrecorded work by William Nicholson is the one used by the family in whose possession it has been since the 1920s, or earlier. 'Emile' was a dressmakers at 9 Hanover Square in Mayfair London, circa 1927-32, whose clientele was mainly debutantes and their mothers; the business was run by the vendor's great aunt. When and where she acquired the painting is not recorded – perhaps direct from the artist as so far it has not been possible to find any exhibition or other references to this work, whose original title has yet to be discovered.The handling of paint is typical of Nicholson at this period who so evidently enjoys the challenge of depicting surface textures and reflective surfaces. There is a dramatic use of light and shade, together with an equally exciting palette of orange, red and turquoise. The work is particularly interesting as part of Nicholson's search to find a rational for his increasingly large still-life's, and several motifs link it to other works of the period, such as the inclusion of a reflected figure in a still-life as in the untraced Still Life, in the Studio of 1911 (Reed cat.237).The composition with a collection of garments and accessories in front of an oval mirror reflecting a female figure recalls the earlier Souvenir de Marie (Dublin City Art Gallery, The Hugh Lane) of 1906. This was presented by the artist to Sir Hugh Lane with a dedication in 1912, the year in which the present work was executed. It is possible that Lane may have encouraged Nicholson to revisit the subject, here treated on a larger scale and in portrait rather than landscape format, but featuring the same black framed oval mirror. There are fewer items here, whose varied textures are skilfully depicted: a black felt hat with feather and a plaited leather band rests on the pale cream fur lining of a coat with an arm hole opening just discernible. Adjoining is the embroidered white lining of the turquoise silk garment to the right – perhaps an opera coat. A pair of ladies red leather walking shoes, made for a slender foot with an elegant French heel, are standing on the turquoise silk. A disconcerting position, while even more startling is the juxtaposition of the orange organza scarf behind. This is the development of a device that Nicholson had used the previous year in The Black Vase (Bradford Art Gallery) where yellow silk provides a single note of colour. The dried seed heads known as honesty, here in a slender glass vase with another spray resting against the mirror, also appeared in the three other works dating from 1911: The Black Vase and The Chinese Vase both in Bradford Art Gallery, and Honesty in a Staffordshire Jug.Nicholson's prominently displayed signature on a piece of paper tucked into the frame of the mirror can likewise be related to Souvenir de Marie - in the latter there is a label in a more conventional location, foreground right. The reflection of the label in the mirror suggests that this is a black mirror rather than the usual silver-backed one. Black mirrors appear in several still-life's of the period, for example China Figures and Black Mirror (Private Collection) of 1909.Although it was primarily colour and texture that dictated their selection, it is possible that whereas the garments in the Dublin painting are all historic or theatrical costumes, those depicted here are contemporary ones. The woman reflected in the black mirror is wearing contemporary evening dress, but in contrast to the opulence of foreground fabrics her gown is sketched out in white. The artist's interest is obviously more in the garments rather than in the woman, which must be evidence that this is not a portrait. There is also the somewhat imperious look on her face, half lost in shadow. (She has after all usurped the viewer's position in the mirror.) In this same year Nicholson painted the untraced Equestrian Portrait: The Lady in Green (Reed cat.254): a reviewer, Sir Claude Phillips, commented that the sitter regarded the onlooker 'with something that nearly approaches a sneer'. This is most unlike Nicholson and might suggest that he was having difficulties with female sitters at this time. The artist's gift of the Souvenir de Marie to Lane was in part thanks for securing him a major commission in 1912, the portrait of Lady Phillips (Johannesburg Art Gallery). Any other link to this commission would be purely speculative, and the woman in the mirror bears no physical resemblance to Lady Phillips. No doubt several portrait commissions before World War I were abandoned – the details of which are now lost – as female sitters proved difficult and unreliable, unlike the beautiful objects in the still life.The canvas bears the Chenil Gallery stamp found on several of Nicholson's canvases dating from the period 1909-1921. The gallery, which was near the artist's studio in the King's Road, Chelsea, sold artist's materials.We are grateful to Patricia Reed for compiling this catalogue entry.For further information on this lot please visit Bonhams.com
Lot 43
Walter Richard Sickert A.R.A. (British, 1860-1942)Mother and Daughter: Lou Lou I Love You signed 'Sickert' (lower right)oil on canvas46.2 x 35.5 cm. (18 1/8 x 14 in.)Painted in 1911Footnotes:ProvenanceSale; Christie's, London, 17 March 2016, lot 27, where acquired by the present ownersPrivate Collection, U.S.A.In 1908, in a letter to a friend, Sickert described the 'trompe l'œuil hat all the coster girls wear here with a crown fitting the head inside and expanded outside to immense proportions'. He was fascinated by these distinctive wide-brimmed straw hats, dubbed 'American sailors', and fascinated by the life stories of those who wore them. Two 'divine' coster girl models sat for him, almost always separately. The paintings in which one or other feature include L'Americaine (Tate, London) and The New Home (W. Baron, Sickert Paintings and Drawings, New Haven and London, 2006, pp.368-70, cat.no.350).In 1911, Sickert returned to the theme of coster women in Camden Town bed-sits. He had spent the intervening period painting some of his most controversial interiors, many given the 'Camden Town Murder' title, in which he had juxtaposed a nude female figure and a clothed man within dilapidated North London bedrooms. Sickert thought of these two-figure paintings as modern 'conversation pieces' in which he exploited the psychological as well as the compositional potential. Their narrative remained ambiguous, but they implied a context both sordid and brutish. In 1911, while still gripped by the conversation piece theme, he sought a different tone. This time he chose to draw and paint his coster models together. The narratives remained ambiguous but their mood is quiet and domestic. The models dressed in their coats with moth-eaten fur collars are squashed into a shallow space, restricted on all four sides and tightly overlapping each other. In Two Women (Harris Museum, Preston) one woman sits on a bed, the other stands, while they engage in grave and intimate conversation; in a variant called The Flower Girl; Two Women (Private Collection) one woman sits on the bed staring out of the picture while the other cheekily bends over to peek behind her, in a pose which for all the world anticipates a modern 'selfie'. The present work relates closely to Mother and Daughter (ibid, pp.380-1, cat.no.368), exhibited with the Camden Town Group in December 1911. It shows the two models sitting facing away from each other on opposite sides of a bed, each wrapped up in her own thoughts.We are grateful to Dr. Wendy Baron for her assistance in cataloguing this lot.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 52
Workshop of LUIS DE MORALES "El divino" (Badajoz, 1509 - Alcántara, 1586)."Pietà".Oil on panel.Size: 44 x 30 cm; 51 x 38 cm (frame).The Virgin Mary embraces the inert body of Jesus, with a sad expression; Christ's olive complexion harmonises with his mother's gesture. Despite the fact that Christ is dead, his face retains the signs of torture: his mouth half-open, the drops of blood trickling down his forehead. These features introduce us to the great drama expressed in this image in which a mother picks up the inert body of her son. The artist shows us a concentrated scene, with both protagonists in the foreground, showing the difference between life, which can be seen in the Virgin's tense hands, and death, reflected in Christ's body, which falls under its own weight. This purity and mysticism reveal the influence of Luis de Morales (Badajoz, 1515-1586), whose elegant, schematic style manages to convey the drama in a simple, superbly executed manner. The iconography of the Virgin of Sorrows or Dolorosa does not appear in the Gospels; it is a creation that arose from the exaltation of pathos at the end of the Middle Ages. However, the episode would always take place after the death of Christ, either with her Son on the cross, after the Descent from the Cross (with the body on her lap), or with the pain suffered by a mother in solitude. In this case it is the suffering of the martyrdom and death of her son.Luis de Morales, a painter of great quality and marked personality, is perhaps the best of the Spanish painters of the second half of the 16th century, with the exception of El Greco. His training poses serious problems, although Palomino makes him a disciple of the Flemish painter Pedro de Campaña, who lived in Seville between 1537 and 1563. Certainly the meticulousness and detail of his brushstrokes and the conception of the landscape are Flemish in origin, and most of his iconic themes are of late medieval tradition. But he painted human types and used a colouring and sfumato related to the Lombard tradition of a Bernardino Luini and a Cristoforo Solario, whom he probably met not on a trip to Italy but possibly to Valencia, in order to catch up with the innovations of the Leonardesque Fernando Yáñez and Fernando de Llanos and the Raphaelesque Vicente and Juan Masip. However, the most personal aspect of his painting lies in the tormented, almost hysterical atmosphere in which his figures breathe, more focused on an intense inner life than on action, full of melancholy and ascetic renunciation and characteristic of the climate of tense religiosity imposed in 16th-century Spain by the reform movements, from the less orthodox Erasmianism and Alumbradism to the more genuine mysticism and Trentism. Morales, called the Divine by his first biographer, Antonio Palomino, because he painted only religious subjects with great delicacy and subtlety, reached his peak from 1550 to 1570, when he painted numerous altarpieces, He painted numerous altarpieces, triptychs and isolated canvases that were widely distributed because they satisfied the popular religiosity of the time, although some of his canvases contain quotations and information of literary erudition, the result of his contact with enlightened clients, primarily the bishops of the diocese of Badajoz, in whose service he worked. On the other hand, his presence in the monastery of El Escorial, called by Philip II, is not documented, although it seems that the latter acquired some of his works to give them as gifts. The enormous production and the continuous demand for his most frequent and popular iconographic themes obliged him to maintain a large workshop in which his two sons, Cristóbal and Jerónimo, collaborated; a workshop responsible for many copies that circulate and are still considered to be Morales's autograph works.
Lot 87
Flemish or Italian master; mid-17th century."Scene from the Commedia dell'Arte".Oil on canvas. Re-tinted.Attached pictorial analysis issued by Icono, I&R, restoration and technical studies of easel painting.It has an export permit and condition report issued by Icono Restauración.It has restorations.Measurements: 116 x 144 cm.During the 16th century most of the painting reflected biblical themes, in which the authors approached the stories of the gospels to the spectators through the clothes of the models, who adopted attitudes contemporary to the time. The uniqueness of this work lies in the fact that the subject matter is based on popular reality and everyday life. However, it is not the typical tavern scenes, where the different strata of society were represented, but is dedicated to the theatre. Specifically to the Comedia Dell'arte", an enlightening fact, since during this historical period the artistic genres were more closely linked than ever before. The characters we see are archetypes taken from the aforementioned theatrical genre, in fact, we can recognise the figure of Coviello, located in the foreground on the right, while the central characters, who appear without masks and stand out for their soft, gentle and youthful features, could represent Florindo and Rosaura, a couple in love who are common in the performances of the "Comedia dell'arte".The figures in the scene seem to show a specific moment that has been captured by the viewer in the manner of a photograph. Their expressive gestures, the way they interact and the emotion on their faces distance this painting from the forced stagnation of the figures common in Flemish painting of the period, thus revealing the Italian influence. One feature that reveals the great complexity of this painting is the composition, in which the artist plays with an apparently simple frieze-like arrangement in which he introduces a typically Baroque cross or crossbrow that enhances the dynamism of the scene, leaving the central figures in the centre to take centre stage. Despite the great profusion of figures and their monumentality, the artist introduces a sense of spatiality that is particularly reflected in the arrangement of the still life in the foreground. This still life reflects the painter's technical skill in capturing with great realism the casserole with the milk or, for example, the eggs hanging on Coviello's chest. Even the presence of the cat, who is the only character who remains static, but is nonetheless humanised through the detail of the collar. The lighting is clearly reminiscent of Caravaggist painting, which also dealt with this type of subject matter, as did other painters such as Jan Cossiers and Johan Liss.
Lot 121
TARLETON (SIR BANASTRE) – COMMONPLACE BOOKAutograph poem signed 'Banastre Tarleton' and dated 'January 1825' entitled 'Susan's Abode', comprising eight lines on his house in Lintwardine beginning 'The young, the old, the poor combine, To welcome thee to Lintwardine...' and illustrated by a pen and ink sketch of the house, written in a commonplace book dedicated to 'To/ The Lady Willoughby/ from/ Banastre & Susan Tarleton', with ownership inscription 'Priscilla Tarleton', containing poems and other writings in several hands including that of Susan Tarleton and Banastre Tarleton, a number of verses and illustrations initialled 'B.T.' including a tribute to the late Robert, 4th Duke of Ancaster and Kesteven ('...An eye witness of his conduct in America submits this inadequate testimonial to the noble family of Grimsthorpe Castle...'), also including tributes to Lady Willoughby and the Marchioness of Cholmondeley, 'An acrostic written in a storm on the 8th of February 1816... to the Baroness Willoughby de Eresby, on her birthday...', 'Lines supposed to be written at Waterloo', 'To Lady Tarleton', 'On Women', interspersed with historical notes on the great deeds of the Willoughby family and copies of verses by Byron, Burns, Lady Caroline Lamb, Moore, Scott, Mary Tighe and others; illustrated throughout with some 50 pen, ink and watercolour illustrations and delicate vignettes by the Tarletons to complement the verses, including a decorative floral and foliate frontispiece dedicated to Lady Willoughby depicting her portrait surrounded by putti holding the accoutrements of the Arts, c.130 leaves (c.40 blank), watermark W Turner & Son, a few minor tears and offsetting, contemporary russia blindstamped and gilt with etched brass clasp, silk endpapers, g.e., rebacked preserving original spine, 4to (225 x 180mm.), c.1820'sFootnotes:'THE YOUNG, THE OLD, THE POOR COMBINE, TO WELCOME THEE TO LINTWARDINE': A fine commonplace book of verses and drawings, a joint collaboration between Sir Banastre Tarleton (1754-1833), notorious army officer and politician, made infamous through his exploits in the American Revolutionary Wars as leader of the 'Tarleton Raiders', and his wife Priscilla Susan Bertie Tarleton (1778-1864), fondly dedicated to Priscilla Tarleton's aunt Lady Willoughby,Banastre Tarleton married Priscilla Bertie, the wealthy illegitimate daughter of his friend Robert Bertie, 4th Duke of Ancaster and Kesteven and 20th Baron Willoughby de Eresby (1756-1779), after a whirlwind romance in 1798. After having gambled away his inheritance, Tarleton had purchased a commission in the 1st Dragoon Guards and served with Bertie during the occupation of Philadelphia in the American Wars of Independence, where his ruthless reputation earned him the sobriquet 'Bloody Ban'. When Bertie died young at the age of 22, the young Susan was taken in by her paternal grandmother, Mary Bertie the dowager Duchess of Ancaster and Kesteven at Grimsthorpe Castle. A sketch of the castle accompanied by a verse titled 'An Epilogue' comprises the first item in the book. The couple met in 1798 at Houghton Hall in Norfolk then, as now, the seat of Lord Cholmondeley, Susan's uncle by marriage, and were married three months later. Well-educated, pretty, accomplished in drawing, music and languages, reckless in many ways but disapproving of drinking and gambling, she was a vivacious and popular member of London society. Her marriage to the virtually penniless soldier older than her own father and with a notorious reputation raised many eyebrows at the time but their thirty-five year marriage stood the test. She accompanied him to Portugal, Ireland and throughout postings in England until his retirement and they ended their married life at Leintwardine in Herefordshire, which features several times in our book as an earthly paradise ('...A ray of heav'nly light is thine, Seen in thy works at Lintwardine...'). Their fondness for each other is also evident in several of the verses –- in 'To Lady Tarleton' he writes 'By ambition tormented, by fortune sore crossed/ Without little Sue, I had paradise lost/ Although deep sunk in debt, yet my fame was unstained/ And winning Sweet Susan, I paradise gained/ B.T.', but a flash of the old rake is still evident in his verse 'On Women' - 'You are stars of the night, you are gems of the morn... Her smile is our need, or her bosom our pillow' he writes.As the ownership inscription shows, Susan Tarleton often varied the use of her names. Whilst official documents, including the parish records of her birth and marriage, give it as Susan Priscilla, she also used Susan or Priscilla, as in this volume. Her drawings are highly accomplished and she is also known to have contributed illustrations to be engraved for an anthology of Romantic poetry The Wild Wreath (1804) by Mary Elizabeth Robinson, the daughter of her husband's ex-mistress Mary (Perdita) Robinson. Despite losing two fingers from a musket ball received in his right hand during the Battle of Guildford Courthouse in North Carolina, Banastre Tarleton also appears to have lent his artistic talents to our volume, with many illustrations initialled 'B.T.'. Our volume would appear to be presented to Susan's aunt, Priscilla Barbara Elizabeth Bertie (1761-1828) who became 21st Baroness Willoughby de Eresby in 1780 after her brother Robert's death. It contains many historical tributes to the Willoughby and Bertie families and references the family name in a finely-drawn frontispiece. Susan's other aunt Georgiana Charlotte Bertie (1764-1838) married George Cholmondeley, 1st Marquess of Cholmondeley at whose country seat she met her future husband. It was through this marriage that the Cholmondeleys acquired the hereditary office of Lord Great Chamberlain which had been previously been held by Robert Bertie.Provenance: Private UK Collection.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 212
MANTEL (HILARY)A twentieth century pine desk belonging to Hilary Mantel, the rectangular top above a kneehole enclosed by nine drawers, on a plinth base, INSCRIBED BY MANTEL inside the central drawer 'Hilary Mantel / her desk till 2022', 137cm wide x 65cm deep x 79cm high, together with various contents such as a wax seal, several Hilary Mantel bookmarks, a box of 'Mirror and the Light' pencils, a small mounted promotional print of the 'Wolf Hall' and 'Bringing up the Bodies' dramatisations at RSC, programmes for the same, and 5 signed paperbacks of Mantel titles (small group)Footnotes:THE DESK AT WHICH WOLF HALL WAS WRITTEN. In an accompanying autograph letter letter addressed to the buyer of the present lot ('Dear owner'), Dame Hilary Mantel writes, 'This desk was made for me in Holt, in Norfolk,' before she moved to Woking. 'Soon after, its real work began - 15 years on the Wolf Hall trilogy, beginning in Surrey, continued in Devon, & concluded here, in the room from which I write to you.'Mantel wrote all her novels since the 1994 A Change of Climate on this desk, including Wolf Hall, Bring Up the Bodies and The Mirror and the Light. Elsewhere, she has remarked that the desk 'has served me well and has a great record of turning out prize winners' - Wolf Hall won both the Man Booker Prize and the National Book Critics Circle Award. In the present letter, she concludes that she is relocating to Ireland, so 'It's time for the desk to move on - battered tho' it is, it still has life in it... The proceeds of the sale will buy books for children who need them.'The desk is being sold to support the work of the prestigious Budleigh Salterton Literary Festival in local schools. The Festival takes authors free of charge into schools to engage children in reading for pleasure, and this year is also providing as many children as it can in the region with a free book.Provenance: Hilary Mantel.For further information on this lot please visit Bonhams.com
Lot 248
Manner of Andrea Scacciati A still life of flowers including peony, tulips and lilacs in a basket on a ledge with pomegranates and plumsoil on canvas170 x 120cmThe painting is executed in oil on a linen canvas support which has been lined. The picture is in plane and the paint layers are stable. There is a network of age cracks across the surface. There are a few, small scattered losses in the dark background. Localised areas of overpaint appear glossy compared to the original paint layers. The varnish is semi-matte and even with a light layer of surface dirt.
Lot 253
Circle of Anna Airy, RI, ROI (British, 1882-1964) Still life of rosesoil on canvas49.5 x 59.5cmFramed 71.5 x 81.5cmThe painting is executed in oil on a linen canvas support which is unlined. The canvas tension is slightly slack and stretcher bar marks have started to form. The paint layers are in a good condition overall. The picture is unvarnished. There are some glossy patches in the dark background at the upper right which could be retouching.
Lot 329
Circle of Mason Chamberlin, RA (British, 1727-1787) Portrait of a gentleman, half length, believed to be Charles Jennens (1700-1773) in brown, in a feigned ovaloil on canvas laid down to board, in a fine period carved and giltwood frame73.5 x 61cmProvenance: By descent from the presumed sitter to his sister Elizabeth Hanmer (1705-1777) through the male line of her only daughter Esther, Viscountess Curzon (d. 1764) and subsequently the Earls Howe at Gopsall Hall, Leicestershire until 1918,Sale on the premises at Gopsall Hall, Messrs. Trollope, 5th Day of Sale, 21st October 1918, presumably lot 1191, as 'Godfrey Kneller, A half-length portrait of a gentleman wearing a wig and light coat and vest, within an oval (canvas 29.5 x 24in)';By 1935 in a private collection (as by Kneller) - see illustrationSALEROOM NOTICE We are grateful to the present Earl Howe who has expressed doubt that this is in fact a portrait of Charles Jennens Junior (1700-1773). Instead, he proposes that it is more probably his father – also Charles (1662-1747) – pointing out on the one hand that the chin in the present portrait does not have the dimple that is seen in all the other portraits of Charles Junior. Also, the folds of skin below the chin are unlike Charles Jennens’ throat and neck in the image of him at about the same age by Mason Chamberlin in the Foundling Museum. Also, the present sitter’s nose is somewhat more ‘hooked’ than that of Jennens Junior. A further argument that this is more likely to be Charles Jennens Senior is that the longer wig and coat he is wearing are not of the 1770s which is what it would need to be if this is of Charles Jennens Junior at this age. Likewise, the frame of the present painting and which has every possibility to be the original, dates from the middle of the century and not the third quarter. As it is not known what Charles Jennens Senior looked like as no other portraits of him are known, the proposition it is him has to be conjecture, but the provenance of the picture, its date and the age of the sitter make it a very distinct possibility. Another perhaps more subjective reason that it is more probably the father and not the son, is that though he too was very wealthy - unlike his son who was flamboyant and generally richly attired in his known portraits - Jennens Senior was a country lawyer and Justice of the Peace and the more casual and modest appearance of the sitter in this painting is in keeping with what is known about Jennens Senior who is unlikely to have sat to a London portraitist anyway, hence the uncertain attribution here, which may point to an accomplished provincial painter. ORIGINAL CATALOGUE ENTRY We are grateful to Dr Brian Allen for proposing this is a portrait of Charles Jennens on the basis of the close facial resemblance to the 1771 Mason Chamberlin portrait of him (see below) which is supported by its descent at Gopsall until 1918 (see Provenance). Charles Jennens (1700-1773) was the grandson of Sir Humphrey Jennens (1629-1690) of Erdington in Warwickshire, who had made his fortune as an ironmaster. Jennens - whose father, also Charles (1662-1747) had married Elizabeth Burdett - was brought up at Gopsall Hall in Leicestershire which had been built in the Jacobean style. When a cousin William Jennens (1701-1798) died intestate he left in today’s money in excess of £250 million and Charles himself was to become one of the richest commoners in England. It was at Balliol College, Oxford where Jennens’ lifelong interest in literature and music was formed. Though a devout Protestant, he was unwilling to swear allegiance to the Hanoverians whilst the descendants of King James II were still alive and as a consequence, he never held any public office. Instead, he indulged his wide interests and used his vast wealth to form one of the best collections of Old Master and contemporary British paintings in Britain for the great Palladian mansion he rebuilt at Gopsall (demolished 1951). For his largesse and extravagance Jennens was known as Suleyman the Magnificent after the 16th century Ottoman sultan. It is however as a patron of music that Charles Jennens is best known today, particularly of Georg Friedrich Händel (1685-1759). Their friendship was such that they collaborated on libretti for many works, including Saul, Belshazzar, L’Allegro, il Penseroso ed il Moderato, but most notably Jennens wrote the text for the Messiah, first performed in Dublin in 1742. Jennens commissioned the great portrait of Händel by Thomas Hudson that like the present painting descended in the Curzon family, but has since 1968 been in the National Portrait Gallery, London. Jennens’ huge musical library including hundreds of manuscripts of Händel’s music was left to his first cousin once removed Heneage Finch, 3rd Earl of Aylesford (1715-1777) which is today preserved in the Watson Music Library in Manchester. Jennens also commenced the first critical edition of Shakespeare’s works and carried on an extensive correspondence with the classical scholar Edward Holdsworth (1684-1746) in whose memory he erected an Ionic temple at Gopsall. An old label (see illustration) still affixed to the reverse of the painting indicates that it seems to have remained at Gopsall with the descendants of the sitter’s sister until the sale of the house and estate in 1918 to Samuel James Waring. A sale of some of the contents took place at Gopsall over eleven days by Messrs. Trollope in October 1918. Only four other portraits of Jennens are known – one of him three-quarter length seated by Mason Chamberlin of 1771 now in the Gerald Coke Handel Collection at the Foundling Hospital Museum; one by Nathaniel Dance in a private collection; and one by Hudson of him three-quarter length standing that was sold in Sotheby’s in 1997 and is now in the Handel House Museum. The fourth and earliest, dated 1747 and also by Hudson, is in a private collection. The present work, probably of Jennens towards the end of his life circa 1765-70, is possibly the most informal and intimate of the known portraits of this extraordinary man and polymath to whom the world of music in particular is so indebted. At his death, his fortune and most of his property passed to his sister Elizabeth Hanmer (1705-1777) whose daughter Esther (d. 1764) married Assheton Curzon, 1st Viscount Curzon of Penn (1730-1820) on 21st February 1756. The painting is executed in oil on a canvas support which has been laid onto a piece of hardboard. The picture is well adhered and in plane. The paint layers are in a stable condition overall. There is a network of age cracks which are slightly raised, but sound. Overpaint is mainly located on old areas of damage in the background which have been crudely repaired. Residues of old varnish and dirt are present in the texture of the brushstrokes. The varnish is even and semi-glossy with a layer of dirt across the surface including fly spots. Framed 97 x 84cm
Lot 532
A Crimean War medal group of three, and hand written diary, to Captain (later Major) Michael Stocks, Royal Dragoons, with clasps for Sebastopol, Inkermann and Balaklava; Turkish Crimea medal (named); and Order of the Medjidie badge named to reverse 'Major Stocks Royal Dragoons 1858'; with miniature medals, and a portrait miniature (probably an overpainted photograph) of Stocks wearing the medals, within a rosecut diamond frame with gilt back, dated 1861 to reverse, in original box. Together with his Crimea War diary, 1854-55, oblong 12mo, written in ink, bound in morocco leather, detailing the voyage from Liverpool, travel and everyday military life with events and actions, a second smaller size volume bound in from May 23rd 1855, to October 19th 1855, ending 'and so closes the diary of Michael Stocks..., Captain Royal Dragoons'. Also a Russian pressed metal medallion with old note 'This medal was taken from the body of a dead Russian on the field of Inkerman the day after the Battle, by Major Stocks, Royal Dragoons, Crimea 1854' in leather boxProvenance:Wood Hall, Hilgay, NorfolkThe diary includes a description of events on the day of the 'Charge of the Light Brigade' on October 25th 1854. "..Thank God I am here to write this, we all as usual turned out half an hour before day break, and when it got light the guns on the advanced field works thrown up by the turks began to fire, an aide de camp came gallloping in to us to say we were to advance, as the enemy were approaching in large numbers, so on we went near the field works, the enemy still continued to move on & the round shot came into us (spent balls) but still with sufficient force to do damage, one ball came rolling down the hill straight where I stood, I saw it was coming right to me, so put the spurs into my horse and only just in time, for it went close behind me and broke the legs of two horses, the next took a long hop and hit a man on the head and he never moved more... The enemy had advanced.. took one of the hills from the turks... after a time up comes their cavalry part of which made a dash where the 93rd flanked by turks were waiting to receive them, and as soon as they saw them coming away went the turks leaving the 93rd to stand the brunt of it... and sent the Huzzars to the right, at the same time another body of cavalry came at us, the Greys - 6th were ordered to meet them... however they soon sent them off with a flea in their ear & our horse artillery opening on them quickened their pace, we then advanced to the top of the hill and saw their army in the valley ... it was near 12 o clock and all remained at status quo for a couple of hours, when an order from Lord Raglan was brought to Lucan to attack the enemy which he did by sending the light cavalry into the greatest trap that ever was made, we and the Greys advanced first and then somebody said let the light cavalry go on, and on they went ... to take some guns in front, we followed at a trot, they went at a gallop and we saw nothing more of them until we saw them coming back by ones and twos some mounted but mostly dis-mounted, such a smash never was seen , they were murdered it seems they got & took - killed the gunners at the guns but could not keep them, the infantry played on them and when they looked round they found their way stopped by cossacks, then they cut their way through and about 40 came back in a body, the French Cavalry came down at this time and cleared the opposite hills of the guns but for us now we got about three parts of the way and the shot & shells & bullets came down on us like hail, every second I expected to get one, when luckily Scarlett gave the word Halt. "
Lot 321
Kenya 1945 Settlement Handbook A comprehensive guide to the colony with a very wide range of advertisements, maps and travel information. Illustrated with many photographs. Another booklet "Kenya The Life is Still Worth Living" Good condition, some marks on the front cover of the settlement handbook.
Lot 1665
Full title: Jean Bilquin (1938): Still life, oil on canvasDescription:125,5 x 95 cmAbout this sale: Paul De Grande is one of the major dealers of antique furniture, fine sculptures and decorative arts in Europe. In 1974, he moved to the Castle of Snellegem near Bruges. From there, he catered to the rich and famous, important decorators and museums around the world. Entering a new chapter, Paul has decided it is time to part with his private collection and part of his trade stock. This sale presents a unique opportunity to clinch a piece of this wonderful personality's history. Paul's main focus has always been on Renaissance sculpture, French and Italian furniture and pieces of museal quality. He has had sales with Christies and Sotheby's in the past. He's also an important personality on various Belgian tv shows.
Lot 1911
Full title: Floris Jespers (1889-1965): Still life, oil on cement boardDescription:Work: 53 x 25 cmÊ Frame: 56 x 28 cmAbout this sale: Paul De Grande is one of the major dealers of antique furniture, fine sculptures and decorative arts in Europe. In 1974, he moved to the Castle of Snellegem near Bruges. From there, he catered to the rich and famous, important decorators and museums around the world. Entering a new chapter, Paul has decided it is time to part with his private collection and part of his trade stock. This sale presents a unique opportunity to clinch a piece of this wonderful personality's history. Paul's main focus has always been on Renaissance sculpture, French and Italian furniture and pieces of museal quality. He has had sales with Christies and Sotheby's in the past. He's also an important personality on various Belgian tv shows.
Lot 3095
GEORGE DEAKINS; oil on board, still life of flowers in a vase, signed and dated lower right, 54 x 44cm, framed. (D)Additional InformationThe image lightly grubby throughout, frame with minor wear.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
Lot 3104
UNATTRIBUTED; oil on panel, cattle in landscape setting, apparently unsigned 18 x 21cm, in an ornate gilt frame, together with an unsigned oil panel, still life of flowers, 54 x 40cm, and a further oil on canvas of a Bavarian gentleman with a grey beard smoking a pipe, indistinctly signed, possibly Dalen (3).
Lot 47
ISMAEL GONZÁLEZ DE LA SERNA (Guadix, Granada, 1898 - Paris, 1968).Untitled, 1937.Mixed media on panel.With stamps from private collections: E. James and Daniel-Henry Kahnweiler.Presents label of the Clovis Gallery, Paris.Measurements: 39 x 46,5 cm; 57 x 64 cm (frame).In the year this piece was made, 1937, Ismael González took part in the Spanish Pavilion at the International Exhibition in Paris, thus proving his worth as a painter and establishing his career in the eyes of the critics and the public. However, although this was a good professional period, the ravages of the war had left a strong impression on the artist that is reflected in his painting. This work is an example of this, as we can see how he gradually eliminated his Cubist influence and introduced a much more expressive and tragic chromatic range. In this still life, the main motif, the fruit bowl, still retains this cubist heritage both in form and in the artist's treatment of shadow. However, the space with the background open to the outside, the score and the presence of the letters show us a compositional conception with a classical heritage. Ismael González de la Serna began his art studies in Granada and completed them in Madrid, at the San Fernando School of Fine Arts. In his early years he developed an eclectic pictorial style, drawing on Impressionist, Symbolist and Modernist sources. One of the first examples of his youthful language can be found in the illustrations he made for his childhood friend Federico García Lorca, in what was to be his first book, "Impresiones y paisajes" (1918). That same year, Ismael de la Serna held his first exhibition in Granada, and shortly afterwards he presented his works at the Ateneo in Madrid. In 1921 he moved to Paris in order to broaden his artistic horizons, joining the circles of the School of Paris. Among his Parisian friends was Pablo Picasso, who influenced his work but was, above all, the Granada painter's protector. During this period De la Serna's style was permeable to the influences of the avant-garde, particularly Cubism and Expressionism, which he worked in a highly personal manner. Likewise, the initial influence of Impressionism was always evident in his work. The year 1927 marked the beginning of a period of strong influence on his work, which began with the painter's solo exhibition at the influential Paris gallery of Paul Guillaume. This exhibition was followed by many others, both in Paris and in Berlin, Brussels, Copenhagen, Granada and Mexico. In 1928 he was commissioned by the director of "Cahiers d'Art", Christian Zervos, to illustrate a special edition of twenty sonnets by Góngora. The key to his recognition lies in his sensual interpretation of the forms of Cubism, based on the relevance of a drawing with a sinuous and highly decorative line, combined with strong chromatic contrasts. With a marked spatial sense and without ever abandoning figuration, De la Serna mainly depicted still lifes, in which he emphasised the sensory aspect of his painting with metaphorical sensory references such as music, fruit or open windows. He also worked on landscapes and portraits. After inaugurating the activities of the Asociación de Artistas Ibéricos in Madrid with a solo exhibition in 1932, the painter embarked on new avenues of artistic experimentation which, after the Second World War, led to a more schematic and simplified style of painting, close to contemporary abstract solutions. Ismael de la Serna is represented in the Patio Herreriano Museum in Valladolid, the Reina Sofía Museum in Madrid, the Fine Arts Museums of Granada and Seville, the ARTIUM in Vitoria, the Popular Museum of Contemporary Art in Vilafamés and the Museum of Modern Art in Paris, among many others.
Lot 1263
A PAIR OF DARTE FRERES, PARIS, POT POURRI VASES AND PIERCED COVERS (4)Circa 1820Each painted with a still life of flowers against a deep blue ground gilt with columns and arches, raised on four gilt paw feet and square base, red stencilled mark Darte Palais Royal No 21, 14.5cm highOne vase with two restored areas around the rim. One cover has a haircrack two parallel firing/haircracks to the inner flange, each approx. 1.5cm length. The covers are of slight different form, one with a smaller but taller central nozzle. Some overall wear to the gilding
Lot 319
OLIVER CLARE (BRITISH, 1853-1927)Still life with strawberries and peachessigned 'OLIVER CLARE' (lower right)oil on board21 x 29cmCondition reportMinor abrasion to upper centre edge, but this is right at the edge of the work, where it meets frame. Also some gilding on the paint surface in the same area, to edge only, where frame meets the painting. Overall appearance is generally good.Nothing appears to fluoresce under UV light.
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