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Lot 1
A very rare pair of façon de Venise ewers, French (Nevers) or possibly Spanish, second half 17th centuryIn rich amethyst glass and of attractive small size and globular bottle shape, the tall necks with everted rims, applied in opaque white glass with flattened pincered scroll handles issuing from trailed vermicular collars, the swan-like spouts also in opaque white, 13.2cm high (2)Footnotes:ProvenancePrivate Dutch CollectionA very similar pair of this rare class of ewers, also in amethyst glass but splashed with opaque white, is illustrated and discussed by Anna-Elisabeth Theuerkauff-Liederwald, Venezianisches Glas der Veste Coburg (1994), pp.392 and 401, nos.433-4, alongside another in opaque white on pp.401-2, no.435. These are shown together with a Dutch still life dated 1661 in the Museum Mayer van den Bergh in Antwerp, which features a ewer of very similar form in clear glass, suggesting a 17th century date. Another in amethyst flecked with white in the Decorative Arts Museum in Prague is illustrated by Benátské Sklo, Venetian Glass (1973), fig.44, no.174. Their attribution is problematic, but an amethyst-blue glass example from the J Geyssant Collection has been attributed to Nevers by Jacqueline Bellanger, Verre d'usage et de prestige, France 1500-1800 (1988), p.286.These distinctive ewers are closely related to a rare class of flasks in amethyst glass flecked with white, including one from the Riaño Collection in the Victoria and Albert Museum (inv. no.248-1873) for which Theuerkauff-Liederwald suggests a Spanish origin based on the circumstantial provenance.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 360
European School, 20th centuryStill life of a fish and bowlindistinctly signed and dated '1903' u.r., oil on canvas53 x 92cmCondition ReportFramed size: 71 x 111cm. A hole that has been patched from the back leaving small dent, craquelure throughout, a couple of spots of paint flaking and paint loss, not seen under uv light, please contact department for a full report.
Lot 526
six-colour gravure print68,5 by 68,5cm; 78,5 by 78,5 by 4,5cm including framing The butterfly in the art of Damien Hirst I always say my work is about life, but I don’t know, I suppose it does dwell on the dark side – Damien Hirst Hirst’s use of the butterfly in his artworks draws and expands upon the shared cultural meaning that these creatures symbolise in the human psyche. Light, beautiful, ephemeral, butterflies have caught the imagination of human beings throughout time. Representative of the human soul for the ancient Greeks and Chinese Daoists, the butterfly later became a symbol of the resurrection of Christ and an icon for the possibility of regeneration and renewal. By the 17th century, the changes brought about by early capitalism and the dawning industrial revolution saw artworks such as Vanitas Still Life, by Dutch artist Maria van Oosterwijck, and Gainsborough’s The Painter’s daughters Chasing a Butterfly, introduce the butterfly as a cautionary symbol. The 20th century saw the butterfly take on yet another layer of symbolic meaning. Amid the harsh realities of a post-World War II world, a brutal take on the seemingly innocent Victorian-era hobby of butterfly collecting saw controversial French artist Jean Dubuffet using the ripped-off wings of butterflies in his artworks. Critics were scathing, but the notion of the butterfly as symbolic ‘harbingers of disaster’ appeared to take root. The work of Damien Hirst incorporates and expands on all these themes, bringing them very much into the 21st century. Hirst uses butterflies to explore the borderlands between life and death, religion and science, beauty and horror. His first controversial solo exhibition, In and Out of Love, was followed in 2006 by I am Become Death, Shatterer of Worlds, an epic work of two thousand seven hundred pairs of real butterfly wings arranged in an explosion of colour reminiscent both of cathedral stain-glass windows and the awe-full beauty of an atomic detonation. The work on offer here, lot 526 is a section of Hirst’s kaleidoscopic black butterfly-patterned wallpaper created from his painting Valley of Death, executed in 2010. Hirst’s 2021 Relics and Fly Painting exhibition at Gagosian’s Britannia Gallery saw the interior walls of the exhibition space clad floor to ceiling with this wallpaper. In its complexity of overlapping black butterfly wings with highlights of iridescent blue, it is at once dark and transcendent – a masterful balance of Hirst’s major themes. “Damien Hirst is an artist whose incredible gift has been to find deep poetry and philosophy for the way we live our lives in the most direct re-workings of pre-existing objects and media. As he himself has declared, ‘I think I’ve got an obsession with death, but I think it’s like a celebration of life rather than something morbid. You can’t have one without the other.’” (Hirst & Burn, pg 21) J.J. White, Katie, A Brief, Fluttering History of Butterflies in Art, From Symbols of Regeneration to Reminders of the Fleetingness of Life, March 18, 2022news.artnet.com/art-world/a-history-of-butterflies-in-art-2085638 accessed 30 May 2022Matthew Wilson, Butterflies: The Ultimate Icon of our Fragility, September 2021bbc.com/culture/article/20210915-butterflies-the-ultimate-icon-of-our-fragility accessed 30 May 2022Christies, lot essay, October 2010christies.com/en/lot/lot-5363059Patrick Barkham, Damien Hirst’s Butterflies: Distressing but Weirdly Uplifting theguardian.com/environment/2012/apr/18/damien-hirst-butterflies-weirdly-uplifting accessed 20 May 2022Hirst D, and Burn G , On the Way to Work, London: Faber and Faber, 2001
Lot 333
Tom Elliot (British, b.1965), Three still-life paintings in acrylic, to include: 'Already Broken', 2006, acrylics on board, titled, signed and dated bottom left, laminated preparatory sketch and annotations verso., 81 x 40 cm, framed; Tom Elliot (British, b.1965), 'Lucas' Marbles', acrylic on canvas, 2004, signed and dated bottom left, 31 x 26 cm, framed; and Tom Elliot (British, b.1965), 'Broken China', acrylics on board, 2011, signed and dated bottom right, annotations on commissioner and media verso., 26 x 26 cm, framed (3)
Lot 512
Melvyn Petterson (b.1947) Signed Limited Edition Drypoint Etching titled ' Hainton Track Snow ', no. 21/50 together with Jordi Vall Escriu (b. 1928) Coloured Lithographic Print of Still Life Flowers on a Window Sill, signed and limited edition no. 101/200, 65cm x 47cm and a Madame Lily Bollinger Print
Lot 523
E . Margaret Richards (Royal Institute of Oil Painters) Still Life Oil Painting on Canvas titled Winter Plant and dated 1978, 60cm x 50cm together with Oil Painting on Canvas of a Country House in a Landscape indistinctly signed, 61cm x 76cm and another Oil Painting signed U Slade and dated 1972
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