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Lot 977
DANIEL FERGUSON (SCOTTISH 1910-1992) FLOWERS IN VASE STILL LIFE Oil on board, signed lower right, 43 x 50cm (17 x 19.75") Condition Report:On close inspection there may appear to be some cracking to the top layer, probably varnish. Some areas with imperfections, mainly across the top where the painting meets the frame, along the bottom there are two significant horizontal areas of roughness. Throughout there may appear to be some residue/marks to the surface, To the bottom left of the flowers there is a circular imperfection /crack, approx 0.5cm wide. The bottom right of the painting has some large diagonal scratches which span from the bottom edge to the right side. Please refer to images.
Lot 251
English school, 19th century oil on canvas still life painting, depicting a meal following a successful hunt, with fruits and a pie spread next to a basket of bottles, beneath a tree with freshly hunted birds tied to it.Unframed; Height: 45 1/4 in x width: 29 in. Framed; Height: 49 1/2 in x width: 32 3/4 in.
Lot 280
Ron Barsano (American, b. 1945). Oil on canvas still life titled "White Rose," depicting a scattered group of roses and oranges laying on a surface in front of a jug. Signed along the lower left. Further signed, titled, and inscribed "Taos" and "#471604, oil 22" x 32" along the verso.Unframed; height: 22 in x width: 32 in. Framed; height: 28 3/4 in x width: 38 1/2 in.
Lot 283
Gerald Stinski (American, 1929-2015). Trompe l'oeil oil on board still life painting depicting two strawberries, one within an eggshell. Signed along the lower left. The painting with an artist's easel.(Painting) sight; height: 4 3/4 in x width: 3 1/2 in. Framed; height: 9 in x width: 8 in. (Easel, closed) height: 11 1/2 in x width: 7 1/2 in.
Lot 285
David Landis Fick (American, b. 1950). Oil pastel and gouache on paper still life depicting a wheel of brie and a cheese knife. Signed and dated 1982 along the lower right.Exhibited: Sikeston Art Show, 2/22/00.Sight; height: 35 1/2 in x width: 47 1/2 in. Framed; height: 37 in x width: 49 in.
Lot 288
Jeff Otis (American, b. 1954). Oil on canvas-laid board titled "Indian Hawthorne and Roses (Ida's Roses)" depicting a still life of pink and red roses and hawthorne in full bloom. Signed along the lower right. Further signed and titled along the verso.Unframed; height: 40 in x width: 20 in. Framed; height: 25 in x width: 29 in.
Lot 81
SIR WILLIAM GEORGE GILLIES C.B.E., L.L.D., R.S.A., P.R.S.W., R.A. (SCOTTISH 1898-1973) STILL LIFE Signed, signed on the stretcher verso, oil on canvas(25.5cm x 51cm (10in x 20in))Exhibited: Compass Gallery, Glasgow, Sir William Gillies - One Man Exhibition, 1970 From the collection of the late Dr Angus Gibson, to be sold to support the University of Edinburgh Art CollectionIt is thought that this painting dates from the early 1950s. It is one of at least ten works which feature the same 'brown poppy-jug' as identified by the artist's biographer Andrew McPherson. We are grateful to Andrew McPherson for his assistance in researching this work.
Lot 436
In the style of ELOISE HARRIET STANNARD - A still life with a multitude of fruit upon a marble-topped table, oil on canvas, a painted oval, bears a name on a label verso (26in x 36⅛in, 66cm x 82.5cm). Relined and restored, profuse craquelure, cupping, bitumen separation, thinnessesCondition Report: as per the lot description.
Lot 959
An assortment of vintage 20th century sewing thimbles to include a cloisonne enamelled frog example, gilt metal stone set examples, filigree work examples, a millefiori glass example a faux malachite example and an Ashford boxed thimble with Royal Worcester style fruit still life. Measures 31mm length.
Lot 96
Delnara, "Summer still life", watercolour, 57 x 38cm, c. 2020. I painted this still life from life in the summer in Turkey. I am very much inspired by the local patterned plates, figs, prickly pears, copper saucepans, and striped towels.This work passed competitive selection and participated in the international exhibition ""Watercolor with Love"" in St. Petersburg.My work here is a single copy of my unique and original handiwork. It is made on special, high-quality 100% cotton paper designed for watercolor from the world’s best manufacturers and has a density of 600 grams/meter. UK shipping £45.
Lot 18
Henry Guillaume Schlesinger (French, 1814-1893)A harem interior signed and dated 'H Schlesinger/1846' (lower right)oil on canvas74 x 93cm (29 1/8 x 36 5/8in).Footnotes:ProvenanceAnon. sale, Sotheby's, London, 19 June 1991, lot 182.Henry Schlesinger was born in Germany and studied at the Academy of Fine Arts in Vienna before moving to Paris and exhibiting at the Salon from 1840. Four years earlier he had visited Istanbul, where he was commissioned to paint several portraits of the sultan, Mahmud II, including one of him wearing western style clothing which is now on display at The Topkapi Palace Museum. This visit was to provide the artist with material which he drew on throughout his career. He was awarded the Legion d'honneur in 1866, the year after he painted The Five Senses, a suite of paintings purchased from the Salon by Emperor Napoleon III, and sold in these rooms (Bonhams, London, 31 March 2021, lot 43).The present lot is a typically sumptuous work by Schlesinger; the central figure, whose role is not entirely clear - although given his extravagant costume and headdress he might be the harem master - is surrounded by a group of beautiful women all vying for his attention. The texture of the drapery is exquisite and would have found favour with the contemporary audience in Paris, who would have responded to the quality of the brushwork and been intrigued by the exotic narrative.This group of eleven women form an arc which draws the viewer into the centre of the composition and concentrates the eye on the man and his wonderful costume. No detail is spared – a parrot can be seen playing with a woman whose hair is adorned with fresh roses presumably picked from the garden visible beyond the green curtain in the background. Another girl holds a mirror up to the man, as he is serenaded by a beauty. A discarded hookah, the bowl still smoking, can be seen in the foreground, the effects clearly visible in the attitude of the dark-haired woman reclining nearby.The mystery and exoticism of the east, something of course that few Europeans had witnessed first-hand, is celebrated in this painting by an artist who understood his audience and presented them with an idyllic vision of life in a harem.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 24
Amelia Goddard (British, 1847-1928)The orange sellers signed and dated 'Amelia Goddard./1875' (lower left)oil on canvas104.5 x 76.5cm (41 1/8 x 30 1/8in).Footnotes:ProvenanceAnon. sale, Van Ham, Cologne, 16 May 2014, lot 701.Acquired at the above sale by the present owner.Amelie Goddard was born in Christchurch, Hampshire, close to the New Forest in southern England but lived most of her life within the boundaries of the national park. Both Amelia and her elder sister Eliza (b. 1840) became artists and travelled to France to further their studies when Amelia was still in her late teens. The sisters would show their work at exhibitions together and the height of their careers came in 1904, when a show entitled The Knot of Grass, composed entirely of Amelia and her sister's work, was held at the Dore Gallery in New Bond Street, London.Much of Amelia's subject matter was drawn from the lives of those who lived within the New Forest, principally gypsy families who had roamed and lived in harmony with the forest for generations. Amelia and Eliza's grandfather, John, had been a doctor who had always been prepared to help the poorer members of society. It was Amelia's experience as a young girl, seeing him tending to the poorest souls of the Forest that formed her close affiliation with these people who existed on the very edge of society.The story of the present lot, considered to be Goddard's masterpiece, was the result of an interesting and surprise commission and is perhaps best told in the artist's own words. In an undated letter (c.1911) to Mr. R A Scott Macie, Secretary of the Gypsy Lore Society the artist wrote:'When I came back from a spell of long study in Paris, in 1875, Dr. Robert Druitt (Physician) an old friend & schoolfellow of my Father's, saw my studio, & gave me a handsome order to do a picture of Egyptian Orange Sellers. He having just returned from that country. He instructed me as to the costumes but left me to choose my models. I was on the verge of going to town to hunt up professional ones, but as Christmas Fair was in full swing, & more of a function in those days than now, I happened to see a van with a splendid Type of woman, & some children, moving off down the street rather quickly, and I ran after putting on my hat, a long distance to overtake them. With some great persuasion I brought her to the studio, then and there and my was, with my Mother came to look at Mrs Selby White. And we 3 agreed she was perfect for what I wanted. It was no easy matter nor small expense to arrange the engaging of her for a month's posing. But through the sincerity of my Parents' desire to help me in Art, it was managed, and she proved herself faithful, honest clean & kind, and a dear friend into the bargain...After my Egyptian picture was finished the White's went off for a long time in another part of the country, and I missed them sadly in my work.'For further information on this lot please visit Bonhams.com
Lot 40
Andalusian School, Circle of MATIAS DE ARTEAGA (Villanueva de los Infantes, Ciudad Real, 1633 - Seville, 1703), 17th century."The Annunciation".Oil on canvas.Retouching.Repainting and restorations.Measurements: 81 x 102 cm; 105.5 x 120 cm (frame).The spatial complexity that the theme of the Annunciation denotes here, making the pedestrian architectural plane coexist with the celestial one, presents clear concomitants with the way in which Matias de Arteaga treated the biblical episodes. It is therefore part of the Sevillian Baroque, in Arteaga's circle. The main scene is set in an interior in which, on the right hand side, the Virgin kneels before a lectern. A vase of lilies, a symbol of Marian purity, stands between her and the archangel who brings her the good news. Saint Gabriel points upwards, where God the Father and the Holy Spirit burst forth in a burst of golden glory. In the background, the urban architecture is depicted, based on sober, perfectly delineated arcades. A Spanish Baroque painter and engraver of the Sevillian school, Matías de Arteaga y Alfaro was able to capture and interpret the dual influence of Murillo and Valdés Leal with his own personality. The son of the engraver Bartolomé Arteaga, while still a child his family moved to Seville, where he trained in his father's studio and in contact with Murillo, whose influence reveals his early work together with that of Valdés Leal, who settled in Seville the same year that Arteaga passed his master painter's examination in 1656. In 1660 he was among the founding members of the celebrated drawing academy promoted by Murillo, among others, of which he served as secretary between then and 1673. In 1664 he joined the Hermandad de la Santa Caridad brotherhood and two years later the Sacramental del Sagrario brotherhood of Seville cathedral, for which he produced a number of works. Around 1680 he is also recorded as working as an appraiser of paintings. He died in 1703, and the inventory of his estate at his death reveals a wealthy lifestyle that included an important library and an engraving studio, as well as over 150 paintings, almost half of which were of religious subjects. Among them were four series of the Life of the Virgin, some of which were expressly said to contain architectural views, such as those in the present work and those in the Museo de Bellas Artes in Seville. The most characteristic feature of his peculiar style is precisely these series of always religious subjects, set in broad landscapes and architectural perspectives taken from prints. Arteaga is represented in the aforementioned Sevillian museum, various Sevillian churches including the cathedral and the Museo Lázaro Galdiano, among others.
Lot 41
Spanish school; 17th century."Saint Sebastian".Oil on canvas. Re-coloured.It presents faults and bad state of conservation.Measurements: 82 x 51 cm; 102 x 71 cm (frame).There is a great classical influence in the conception of this work, an example of this is the way in which the body of Saint Sebastian has been conceived, which has a certain exaggeration of the forms, linked to the mannerism. With regard to the more classical precepts, the posture shows the artist's knowledge of the Praxitelic canon, with the hips slightly raised, bearing weight on the left foot and bringing the right leg forward. The piece not only depicts the figure of Saint Sebastian, but also shows various figures contemplating the martyrdom, although it should be noted that the group on the lower left of the scene are not related to the main figure, so that it suggests that this is a passage linked to the martyrdom, probably the arrest of the saint.Born in Gaul and raised in Milan, Sebastian was a centurion of the first cohort in the time of the emperor Diocletian (late 3rd - early 4th century). Denounced because he exhorted his friends Mark and Marcellinus to remain steadfast in their faith, by order of the emperor he was tied to a post in the centre of the Field of Mars, and served as a live target for the archers who shot him. But he did not die for it. The widow Irene, who wanted to raise his body for burial, noticed that he was still breathing, bandaged his wounds and saved his life. After he was cured, he reappeared before Diocletian to reproach him for his cruelty towards the Christians. He was then scourged, beaten to death in the circus and his corpse was thrown into the Maximian sewer. Shortly afterwards, Saint Sebastian appeared to Saint Lucila in her sleep to reveal to her the location of his remains, and asked her to bury him in the catacombs.
Lot 94
Spanish school of the 17th century. Follower of JUAN DE ARELLANO (Santorcaz, 1614-Madrid, 1676)."Flower vase".Oil on canvas. Re-drawn.Measurements: 61 x 58,5 cm; 71 x 95 cm (frame).Still life of flowers perfectly framed within the full Spanish baroque, with a magnificent treatment of the qualities, the colours and, especially, the effective tenebrist illumination, which gives the flowers a presence and a three-dimensional aspect that reaches an illusionist level, almost like a trompe l'oeil. The flowers, worked in shades of red, ochre and white, emerge from the semi-darkness in a wicker basket, which has been worked with great skill. The skill in the treatment of the piece allows us to relate it to the prolific Juan de Arellano, an artist who specialised mainly in flower paintings and who achieved great skill in composing, with a contrasting palette, sensual bouquets in a language fully in keeping with the Spanish Baroque. After an initial period devoted to religious painting, Juan de Arellano decided to abandon the figure to specialise in the floral genre. In this respect, it is necessary to transcribe the response that the biographer and theoretician. Palomino, when asked about his almost exclusive dedication to flower painting, said: "Because in this I work less and earn more". Palomino also mentions that he may have spent time in Alcalá de Henares before coming to Madrid to work in the workshop of Juan de Solís. Arellano must have perceived the success that flower painting could have at court, where the market for flower painting enthusiasts was largely supplied by imports. In his works we can sense a move away from the tradition of Juan van der Hamen - continued by his pupil Antonio Ponce in a more formal and rigid manner - in a more complicated Baroque direction. His first influences came from Flemish examples, especially Daniel Seghers, thanks to which he was able to endow his works with a meticulous and precious technique that he always retained. He also copied extensively the works of the Roman Mario Nuzzi, known as Mario dei Fiori, one of the best definers of the genre and well known in Spain. From him he took a more lively formulation in his strokes that led him in the profuse and exuberant direction already mentioned. We know that he opened a shop in the centre of Madrid: as early as 1646 he had one in Calle de Atocha. It became one of the most important in the capital, where his works were known and acquired by a large number of noblemen, as is recorded in the abundant inventories that have been preserved. In addition to flower paintings, her studio also produced other genres such as still lifes, portraits, landscapes, allegorical and religious themes. He is known to have collaborated with other artists who painted the figures that Arellano surrounded with his floral compositions, such as Francisco Camilo and Mateo Cerezo. Among his disciples is his son José, who repeated his father's models with a less refined technique that reveals a certain dryness and a more muted chromaticism. His son-in-law Bartolomé Pérez de la Dehesa continued his still lifes of flowers and inherited his sensual interpretation of nature by applying it to more tranquil compositions. In technique, however, he is closer to the Italian painters. The Museo del Prado houses up to eleven canvases by Juan de Arellano. Most of them come from royal collections, as well as from the bequest of Xavier Laffite and the donation of the widowed Countess of Moriles. Of the works in the Prado, Still Life with Fruit is an exception to the artist's speciality, flower painting.
Lot 116
PSYCH/ PROG - REISSUE LP PACK. A superb pack of 10 LPs, reissue pressings of cult/ rare classics from the world of 60s/ 70s prog/ psych. Artists/ titles include Dark - Round The Edges (AK 007), Mighty Baby - A Jug Of Love (SBRLP5026), Andwellas Dream - Love And Poetry (63673), Andromeda - S/T (88 19 69), Ben - S/T (AK247), Pussy - Pussy Plays (101 314), Mellow Candle inc The Virgin Prophet (KSF004), Swaddling Songs (ZN-001), Chillum - S/T (SBRLP5070), Still Life - S/T (AK 237). Condition is generally superb Ex to Ex+/ Sealed.
Lot 35
David Bowie: An Autographed Full Page Typed Letter 'Beckenham Days',circa 1969,an in-depth, insightful typescript letter on plain paper with address David Bowie. 4, Plaistow Grove, Bromley, Kent., letting John Peel know his current movements, ...I find myself in the arms of just about the biggest garden in the world, deep in the heart of (God Forbid) Beckenham. He elaborates on his state of mind and lack of creative successes... I got an itchy bum after the tour so with a guitar and memories of Hermione on my back I thumbed a lift through my mind and got involved with writing. I have walked through no less than fifteen songs in two weeks and some of them were very bad. Bowie later goes on to declare that, I have dropped the whole mime thing as I seem to be becoming too known for that alone. He discusses the current work he and 'Hutch' [John Hutchinson, his guitarist] are collaborating on and dreams for the future, Still no news of records or anything although the guy who got the Led Zeppelin thing together in the States told us we should also find ourselves on ATco [sic] soon.. He discusses meeting John while gigging in London over the summer before having to catch the last train home and signs off, (You must think us out of towners are a crazy bunch...Yes we dance a furious boredom.)...Must leave it at that as I am going to fall off the edge. Love Davie, his name handwritten in blue pen, 8 1/4in x 12in (22cm x 31cm)Footnotes:This letter was sent to John Peel while David Bowie was still establishing himself and on the cusp of his career really taking off. It provides a fascinating insight into this stage of Bowie's life, and the turbulence following the demise of his relationship with his first love, Hermione Farthingale. The couple had an intense twelve-month relationship, living and performing together in the band Features with John Hutchinson. She has commented that she was the one who broke his heart, But I also said to myself, 'am I going to be with David for the rest of my life?' and I didn't think I was actually going to. He was clearly going somewhere and I didn't think I was going to tread that path with him. It was this early and influential love affair that inspired the song 'Letter To Hermione' that was included on Bowie's self-titled second album in 1969.John Hutchinson was Bowie's collaborator and guitarist across three of his bands. He auditioned to back him in David Bowie And The Buzz, he was with him when they formed Feathers, with David and Hermione, and later featured with Bowie in The Spiders From Mars. He has been credited as the guitarist on 'Space Oddity', written in February 1969.For further information on this lot please visit Bonhams.com
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