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Lot 335
Fischer (Stefan). Hieronymus Bosch, The Complete Works, Köln: Taschen, 2013, numerous colour illustrations, original cloth in dust jacket and original folding book box, folio, together with;Porzio (Francesco), La Natura Morta in Italia, 2 volumes, Milan: Electa, 1989, numerous colour & monochrome illustrations, original uniform cloth in dust jackets & slipcase, large 4to, plus,Thuillier (Jacques & Jacques Foucart), Rubens' Life of Marie De' Medici, New York: Harry N. Abrams, 1967, numerous colour & monochrome illustrations, original cloth in price-clipped dust jacket & slipcase, covers lightly rubbed to head & foot with minor tears & loss to the head of the spine, folio, andCherry (Peter), Luis Meléndez, Still-Life Painter, Fundación de Apoyo a la Hisoria del Art Hispánico, 2006, numerous colour & monochrome illustrations, original cloth in dust jacket, large 4to, plus other old master art reference books, mostly original cloth in dust jackets, some paperback editions, G/VG, 4to/folioQTY: (29)
Lot 129
Alan Furneaux - Still Life with Fish and Tulips on a Table, early 21st century oil on board, signed, 35.5cm x 46cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 1
Georges Porcel - Still Life with Fruit and Delft Vase, 20th century oil on canvas, signed, 43.5cm x 53cm, within a painted wood frame.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 211
HAROLD HARVEY (BRITISH, 1874-1941)Comradessigned and dated 'Harold Harvey 06' (lower left), titled on the stretcheroil on canvas30.5 x 36cmProvenanceBlanche Ker, nee Bewes, of Gnaton Hall, Yealmpton, Devon, married to Major General Charles Arthur Ker, and thence by descent to the present ownerUnlike many members of the Newlyn colony of artists, Harold Harvey actually came from Cornwall. He trained under Norman Garstin who gave painting and drawing classes alongside the famous Stanhope Forbes school. A naturally talented artist from a wealthy Penzance family of bankers, Harvey painted 'Sport on the Shore, a Crab Race' around 1890 whilst still in his mid-teens. Harvey furthered his studies between 1894 and 1896 at the Academy Julien and the Atelier Colarossi in Paris, schools which promoted the practise of painting 'en plain air', where artists worked outside, with the aim of capturing a subject's essence as faithfully and rapidly as possible. The present work, painted in 1906, is a fine example of this, where a moment from everyday life in Newlyn is evoked with a beautiful and serene simplicity.Condition reportOriginal canvas. The paint surface has scattered spots of dirt a couple of tiny flecks of paint loss in the sky, upper right and to the figure's waist; some dirt to frame abrasions. Ultraviolet reveals no sign of retouching or restoration. Held in an ebonised frame with shot slip which is lose with extensive losses.
Lot 413
GERALD NORDEN (BRITISH, 1912-2000)Still life of a jug, feather and a ball of stringsigned and dated 'Norden 70' (lower right)oil on board25.5 x 30.5cmARRProvenanceThe Trafford Gallery, Mount Street, LondonPrivate collection, UKCondition reportSome surface dirt and small spots in places. Some media spots.Appears in generally good condition.Inspection under UV reveals no signs of retouching.
Lot 415
GERALD NORDEN (BRITISH, 1912-2000)Still life of apples and nutssigned and dated 'Norden 70' (lower left)oil on board15.5 x 21.5cmARRProvenanceThe Trafford Gallery, Mount Street, LondonPrivate collection, UKCondition reportA little surface dirt, including a very small brown mark upper right and a small dark spot lower right. These could be media spots.Appears in generally good condition.Inspection under UV light reveals no signs of retouching.
Lot 416
GERALD NORDEN (BRITISH, 1912-2000)Still life of eggs by a candlesigned and dated 'Norden 68' (lower left)oil on board25.5 x 17.5cmARRCondition reportCraquelure visible, mostly to centre right (to lower right of bottle). What looks like a small spot of paint loss with infilling to lower right of bottle (in the area with craquelure).A little surface dirt.Inspection under UV light reveals some retouching, mostly to the right side, starting above right edge of plate, up to the upper right quarter. Also some other retouching to background areas, behind lower section of candle and upper left
Lot 112
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 12
Circle of PETER PAUL RUBENS (Siegen, Germany, 1577 - Antwerp, Belgium, 1640)."Atalanta and Meleager.Oil on canvas. Re-tinted.It has restorations.It has a frame following ancient models.Measurements: 61 x 110 cm; 81 x 128 cm (frame).This work follows the models established by Peter Paul Rubens, in one of the works that belongs to the collection of the Prado Museum in Madrid, known as Atalanta and Meleager, hunting the boar of Calidon. The painting narrates one of the stories in Ovid's Metamorphoses, which tells how Diana sent a wild boar to Calidonia with the intention of ravaging the place. The son of the King of Calydonia, Meleager, and his beloved Atalanta, who were assisted by Castor and Polux, organised a hunt to destroy the boar.Both in the dynamic composition of the scene, in which all the figures are in active movement, and in the anatomical conception of the figures, the piece is highly reminiscent of works by the artist Peter Paul Rubens, such as the piece in the Museo del Prado, "Diana and her Nymphs Surprised by the Satyrs". Peter Paul Rubens was a painter of the Flemish school who nevertheless competed on an equal footing with contemporary Italian artists and was of major international importance, given that his influence was also key to other schools, as in the case of the transition to the full Baroque in Spain. Although born in Westphalia, Rubens grew up in Antwerp, where his family originated. His mother, Maria Pypelincks, was a very important figure in his life. She gave him a courtly and cultural education, which included the study of Latin and Greek, as well as the Bible. It was in fact his mother who brought him into contact, while still very young, with the best painters of the day. Rubens had three teachers, the first of whom was Tobias Verhaecht, a painter with a precise and meticulous technique who had travelled to Italy and who taught the young artist the first artistic rudiments. It is also possible that Rubens travelled to Italy influenced by this first master. The second was Adam van Noort, a Romanist painter who was also oriented towards Italian influence but whose language was still Mannerist and who must also have influenced the young artist to visit Italy. Finally, his third teacher was Otto van Veen, the most notable and last of them. After completing his training Rubens joined the Antwerp painters' guild in 1598. Only two years later he travelled to Italy, where he remained between 1600 and 1608.
Lot 690
BERGSTRÖM, I. Dutch still-life painting in the 17th c. (1956). Prof. ill. 4°. Ocl. -- Chr. WHITE & Ch. CRAWLEY. The Dutch and Flemish Drawings at Windsor Castle. (1994). 4°. Ocl. w. dust-j. -- G. EWALD. Johann Carl Loth 1632-1698. 1965. 4°. Ocl. -- F.C. WILLIS. Die Niederländische Marinemalerei. (1911). 4°. Cont. hcf. -- (4).
Lot 155
W Sam***,Still life with samovar,oil on relined canvas, indistinctly signed,69x74cm.Condition report:Relined, no signs of significant repairs to the canvas, some overpainting, including a large area near the cup, some extremities of other objects and periphery of the canvas, in a gilt frame. The stretcher with what appears to be 'W.H. Milnes, 28 Rue Verdu...." in pen.
Lot 625
Edith Margaret Harms (British, 1868-1943)'Gatherer Sunshine', still life of roses, watercolour, signed to lower right, bearing inscribed label verso, framed,overall 58 x 76cm, within frame 38 x 55 Condition: Unexamined out of frame - frame with some knocks - work in apparently good order. Loose within frame. Some losses to edges of work, minor foxing visible.
Lot 651
Mary Fedden RA (British, 1915-2012)'Still life of pink and red flowers in a vase', oil on canvas, signed and dated to lower left corner 'Fedden 194*', framed, overall 88cm x 63cm, within frame 76.5cm x 50.5cmCondition: Painting would benefit from cleaning, original frame has been later painted yellow original white paint visible below. Losses visible across work, staining and surface dirt. This painting was a gift from Mary Fedden to the vendors mother, a friend of the artist.
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