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Lot 36
Edmund de WaalCylinder, circa 2000Porcelain, pale blue celadon glaze with unglazed band around the interior rim, and pinched ridge with blue stain.12.6 cm high, 11 cm diameterImpressed with artist's marks.Footnotes:ProvenanceAcquired directly from the artist by the present ownerAn Important Collection of Edmund de Waal By Emma Crichton-Miller Arts writer, editor, journalist and contributor to the 2014 Edmund de Waal monograph. The turn of the millennium marked a decisive shift in the work of the acclaimed potter and writer, Edmund de Waal. Until then, de Waal had become known amongst a growing band of admirers for his mastery of single thrown porcelain vessels fired in a pale blue celadon glaze. Each unique, these represented variations on a range of forms - cylinders, bowls, lidded jars, tea pots, bottles - which owed some of their lineage to ancient Chinese, Japanese and Korean examples and some to the High Modernist tenets of Bauhaus directors Walter Gropius and Ludwig Mies van der Rohe. Some of these pots veered more steeply towards abstraction, others were modestly practical. While they might increasingly have been grouped in what de Waal referred to as 'cargoes' at selling exhibitions at Egg in Kinnerton Place, in 1996, London, and the Scottish Gallery, in Edinburgh, in 1998, these were sold individually as items of craft. From 2000 onwards, however, and certainly by 2005, the date of the two leaning vessels in this collection, titled as a single work, 'In a Dark Wood' (lot 56), de Waal's principal preoccupation has been the creation of conceptual art works from assemblies of pots. This collection of pots (lots 36-58) all made between 2000 and 2005 thus marks a precious and fertile moment in de Waal's career. It was the period when he was beginning to articulate, both in writing and in exhibitions of his and others' work, his growing interest not so much in what a pot might be but what it might express. In 1999 de Waal, who, born in 1964, has been making pots since the age of five, was invited to show his work at High Cross House in Devon. The pioneering Modernist house, designed by the Swiss–American architect William Lescaze and completed in 1932, was commissioned by the noted philanthropist Leonard Elmhirst, founder of the Dartington Hall Trust. This was to be his first public exhibition. But rather than simply exhibiting his pots alongside works from the Trust's collection, de Waal seized the opportunity to use the whole house as a space for an intervention, creating an entirely new body of work in response to its specific architectural qualities. These pots were distinguished by a small square mark, to underline their new purpose and identity, as opposed to the oriental marks the artist had been using and which you can also see here on these later pots. De Waal wrote in the catalogue that the exhibition reflected his own realisation, that the 'real life' of pots is considerably more fluid than the 'functionalism' ascribed to them. That many pots made ostensibly for use actually had more symbolic meanings and that their display was highly charged. Even kitchen cupboards could act as condensed still lives of objects.' Their primary symbolic function, perhaps, is as vessels. De Waal is an artist committed to the vessel form. He said in an interview in 2004, what happens when you throw a pot, is that 'what you're doing is actually, of course, making an inside and an outside simultaneously, which doesn't happen in very many other places in art. You're making a volume in a very short period of time, you're creating an internal space'. These internal spaces echo our own intuitive feeling of being containers - explaining the special kinship human beings have felt with vessel forms throughout human history. In the shift we see between 1999 and 2005, however, de Waal's focus on the internal space within the pot enlarged to encompass an interest also in the external spaces between pots and then between pots and the architectural spaces they inhabit. All were capable of being activated to express ideas - from concrete images of cargo ships laden with porcelain from the Far East to the most abstract philosophical, musical or poetic ideas. This larger focus became explicit in 2002, when de Waal produced an entire Porcelain Room for the Geffrye Museum in east London. Inspired equally by the idea of the ornate Kunstkammer or Cabinets of Curiosities baroque princes built to house their porcelain and other treasures and the minimalist, constructivist art of Donald Judd and Carl André, de Waal created an entire environment. He wrote at the time, 'I tried to create an installation in which the pots define the structure of the space. The room pushes at the architectural elements, opens up the walls and the floor and the ceiling and the windows as places for the pots to be'. As he has said, 'It was a no-going-back moment. I couldn't return to discrete, domestic pots'. So the discrete pots we see here, poised on the cusp between functional domestic ware and symbolic objects to be deployed and understood in a larger conceptual framework, have a particular poignant potency. They are transitional pieces. As if to underline their momentousness, in 2007 the collector acquired at auction the aptly named pair of elongated leaning vessels, 'In a Dark Wood' (lot 56), created in 2005. The title echoes the opening lines of the first canto of Dante's epic poem, The Divine Comedy: 'In the middle of the journey of our life, I came to myself, in a dark wood, where the direct way was lost'. For the five years during which these pots were made, de Waal had been in the middle of the journey of his own life, wrestling with the direction his work should take. By 2005, he knew.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 2159
David Willetts (British, b.1939). 'Distant Shores', still life depicting three bottles, oil on board. 18 x 20cm. With Thumb Gallery label verso. Framed. From the Trevor Baxter collection of contemporary art. Trevor Baxter was a character actor perhaps best known for his cult role as Professor George Lightfoot in Dr. Who in 1977. He also appeared in shows and films including Z-Cars (1968), and Sky Captain and the World of Tomorrow (2004). Trevor, who was a passionate collector of contemporary art, sadly passed away in 2017. Condition Report: Generally good condition overall, with some fairly minor marks and surface scratches to board.
Lot 2179
Macdonald. Still life / abstract. Acrylic on board. 47.5 x 78.5cm. Framed. From the Trevor Baxter collection of contemporary art. Trevor Baxter was a character actor perhaps best known for his cult role as Professor George Lightfoot in Dr. Who in 1977. He also appeared in shows and films including Z-Cars (1968), and Sky Captain and the World of Tomorrow (2004). Trevor, who was a passionate collector of contemporary art, sadly passed away in 2017.
Lot 2183
George Gault (British, 1916-2011). 'Still Life' of a vase of flowers. Oil on card. Signed, inscribed and dated 1996 verso. 20 x 15cm. Framed. From the Trevor Baxter collection of contemporary art. Trevor Baxter was a character actor perhaps best known for his cult role as Professor George Lightfoot in Dr. Who in 1977. He also appeared in shows and films including Z-Cars (1968), and Sky Captain and the World of Tomorrow (2004). Trevor, who was a passionate collector of contemporary art, sadly passed away in 2017Condition Report: Generally good condition overall, with some very minor surface wear. Might benefit from a slight clean.
Lot 2214
D. Bunny, landscape with farm workers to foreground. Oil on board. Signed lower left. Image size 11 x 17cm. With two further pictures: twentieth-century European school, landscape with mother and child to foreground, watercolour, framed and glazed, 11 x 14cm; twentieth-century European School, abstract still life, oil and mixed media, framed and glazed, 10 x 13cm. (3)From the Trevor Baxter collection of contemporary art. Trevor Baxter was a character actor perhaps best known for his cult role as Professor George Lightfoot in Dr. Who in 1977. He also appeared in shows and films including Z-Cars (1968), and Sky Captain and the World of Tomorrow (2004). Trevor, who was a passionate collector of contemporary art, sadly passed away in 2017.
Lot 117
George Morrison (American (Ojibwe), 1919-2000). Still life in oil on canvas depicting two apples, corn, a vase of flowers, an empty bottle, a mirror, and a basket gathered on a table. Signed along the lower right.Unframed; Height: 20 1/2 in x width: 26 1/4 in. Framed; Height: 26 1/2 in x width: 32 1/4 in.
Lot 13
Wooden handled case with a hinged lid. Impressed along both sides with the image of a still life.Provenance: Collection of the James J. Hill Reference Library.Certain individuals are prohibited by law to purchase items in this auction. Descendants of James J. Hill within three generations (Great Grandchildren and closer) are not allowed to purchase items. Additionally, board members of the foundation and their families (spouses, children, spouses of children, grandchildren) are also prohibited from purchasing items.Height: 17 1/2 in x width: 19 in x depth: 5 1/2 in.
Lot 140
Eugene Larkin (American, 1921-2010). Pair of woodblock prints. One print of trees signed in pencil along the lower right and titled "Spring" in pencil along the lower left. One abstracted print of a still life of a jug with flowers on a table. Signed and numbered 29/60 in pencil along the lower right; dated June 1955 along the lower center; and titled "Spring Flowers" in pencil along the lower left.(Spring Flowers) Sight; Height; 27 1/2 in x width: 16 in. Framed; Height: 29 3/4 in x width: 18 1/4 in. (Spring) Sight; Height: 19 3/4 in x width: 13 3/4 in. Framed; Height: 27 3/4 in x width: 20 3/4 in.
Lot 349
* LADY CAROLINE KININMONTH RSA (SCOTTISH 1907 - 1978),HIGHLAND VILLAGEoil on canvas, signedimage size 74cm x 100cm, overall size 89cm x 115cm Framed.Note: Painter in oil of landscapes and flowers. Lady Kininmonth studied art at Edinburgh College of Art, 1926–30, under D M Sutherland and David Alison. She was married to the distinguished Scottish architect Sir William Kininmonth. She exhibited at the RSA (1940 - 75, 25 pictures) and SSWA and her work is held by Edinburgh University and the Scottish Arts Council. Lived in Edinburgh. Her work rarely appears at auction but a 75 x 62cm Still Life by Caroline Kininmonth was sold by Bonhams (Edinburgh) for £1300 (lot 53, 16.10.2003).
Lot 63
Joseph Heard (British, 1799-1859)Douglas Bay, Isle of Man, c. 1840 oil on canvas67 x 107cm (26 3/8 x 42 1/8in).Footnotes:ProvenanceWith N.R. Omell Gallery, London, as 'Douglas Harbour with Douglas bay and the coast to the north, Isle of Man'.A.S. (Sam) Davidson Esq., acquired from the above, likely in the early 1970s, and thence by family descent.LiteratureA.S. (Sam) Davidson, Marine Art & Liverpool, Wolverhampton, 1986, pp. 52-53, illustrated p. 56 as number 56a together with a key to the various landmarks in the picture.In this book Sam Davidson wrote of this painting:'It is not signed or dated but was inscribed on the canvas as being the work of Joseph Heard, and the style certainly bears out the attribution. As a composition it is most attractive and somewhat unusual for Heard, in that the sea and the shipping are subsidiary to the main topographical interest. In passing it might be noted that the painting shows the birth place of the Royal National Lifeboat Institution. In large measure this resulted from the efforts of Sir William Hillary who was responsible amongst other things for erecting the 'Tower of Refuge' on the Conister Rock clearly shown in the middle of the bay.Possibly the picnic party in the foreground might have resulted in a call for advice or assistance from brother Isaac. The hand of the marine painter is however clearly apparent in the detail of the vessels, especially the I.O.M. Packet and also the depicting of a gentle offshore breeze approaching from the north. This is indicated by the smoke from the distant steamer's funnel and the smacks in the middle distance whose sails are already filling. Those off the Pier Head are still becalmed but the breeze is already stirring the flag on the elevated tower of Fort Ann in the foreground.' ..........................................................................The Isle of Man and the RNLI -The Isle of Man will always be synonymous with the RNLI, for it was here in Douglas Bay during the early part of the 19th century that Sir William Hillary, the founder of the RNLI, witnessed at first hand, the plight of seafaring folk. The waters surrounding the island can be notoriously inhospitable. In 1787 the Manx fishing fleet was caught in ferocious weather on the night of 21 September and 50 ships and 161 crew were lost in Douglas Bay. No-one had gone to their rescue, nor did it seem possible that anyone could have helped saved lives. No one, that is, except Sir William Hillary when he came to live in the Isle of Man in 1808 and heard accounts, not only of the tragic events of 1787, but of many other losses caused as flimsy boats struggled against in gales in the Irish Sea. William Hillary was born in 1771 and brought up on a small farm in Wensleydale. In the 1790s he was appointed equerry to Prince Augustus Frederick, the sixth son of King George III. with whom he travelled to the Mediterranean. Returning to live in Liverpool he was made a baronet in 1805. Sir William's first wife was an heiress whose wealth he had used to fund an army against the threatened Napoleonic invasion of England. The marriage broke up, and a considerably poorer Sir William came to live in Douglas, Isle of Man, renting a house at the top of Prospect Hill. He entered the commercial world of the Island, re-married to a Manx woman, Amelia, and inherited money from his elder brother Richard. It was while mixing with the seafaring community around Douglas that Sir William learned of past tragedies, which moved him to, in his words, 'a powerful interest'. If there is one event in Sir William's life which served as the catalyst for the founding of the RNLI it was 6 October 1822, the day the Royal Navy cutter Vigilant was caught in a storm off Douglas Bay and, in an attempt to avoid another vessel, ran onto St Mary's Isle, or Conister Rock as is it now known. Sir William came down to the harbour to see what could be done to save Vigilant's crew. There had been no lifeboat at Douglas since the wrecking of the Atholl in 1814, but Sir William borrowed a small rowing boat, and with some Naval officers, rescued Vigilant by towing her into Douglas Bay. As the storm gathered strength. Sir William offered cash rewards for more volunteers to help other schooners in difficulty, resulting in the saving of 97 lives.Overwhelmed –The seeds were sown in Sir William's mind of the desperate need for some form of life saving society. 10 weeks later a second incident convinced him even more when the 18-gun brig Racehorse foundered on rocks at Langness Point. Five boats were dispatched, rescuing some of the crew, but on the final run one boat was overwhelmed, claiming the lives of nine men. By now Sir William saw only too clearly the need for a national life-saving movement. He believed the three key areas for such a movement should be: the design and building of suitable lifeboats; their automatic manning by trained crews; and the payment of compensation to volunteers who were injured or pensions to bereaved families. By February 1823 Sir William had prepared his historic proposition, entitled: 'An appeal to the British nation on the humanity and policy of forming a National Institution for the preservation of lives and property from shipwreck' which he directed to the First Lord of The Admiralty. Response to his appeal was slow at first, but when it was recirculated some months later, to politicians, diplomats and leading businessmen of the day, it met with greater success. The result was the momentous meeting at the tavern in Bishopsgate on 4 March 1824, the day the 'National Institution or the Preservation of Life from Shipwreck' was formed with King George IV as its patron. 30 years later this body became the Royal National Lifeboat Institution. Under his guidance Douglas received two new lifeboats, one from the newly formed Institution, the other bought with money from insurers, but Sir William also saw the need for lifeboat stations at strategic points around the Island. With Sir William as president, the Isle of Man District Association of what was to become the RNLI was formed in January 1826, with the first station established in Douglas, followed by Castletown in 1827, Peel in 1828, and Ramsey in 1829. And all the while, ships were faced with the perils of the Irish Sea. On 19 October 1825 the steam packet City of Glasgow was caught in a storm outside Douglas harbour and Sir William offered fishermen £5 each to go with him in the new Douglas lifeboat, Nestor. He mustered a crew of seven and Sir William and his crew, along with Douglas' second lifeboat, True Blue, rowed out to save those on board. The rescue earned Sir William a second medal, the first having been awarded in 1825 in recognition of his work for the Institution. During the first five years of the Institution's existence 45 lifeboats were provided around the UK coast, four of which were stationed in the Isle of Man.Foundered -Sir William received a number of awards for bravery, the most memorable following the mission to save those on board the packet St. George on 20 November 1830, an event which nearly cost the 59-year-old Sir William his life. Sir William commanded the Douglas lifeboat as it set out in a fierce gale to help the ship which had foundered on Conister Rock. Dashed against St. George the lifeboat lost its rudder and six of its oars. Sir William was washed overboard with some of the crew and had to be hauled onto the packet's deck. No one perished, but Sir William was badly injured - six broken ribs and a crushed chest bone. The heroic rescue was recognised by the award of four medals - two gold and two silver - with one of the golds to Sir William. The St. George incident prompted Sir William to construct the Tower of Refuge - the landmark in Douglas Bay - as a sanctuary for shipwrecked mariners. ... For further information on this lot please visit Bonhams.com
Lot 72
Peter Monamy (London 1681-1749)The venerable HMS Eagle making ready to sail from her offshore anchorage, probably at the Nore oil on canvas83 x 122.5cm (32 11/16 x 48 1/4in).Footnotes:ProvenanceAdmiral Sir John Peter Lorne Reid GCB CVO (1903-1973), Bolton.Private collection, UK.Whilst not a retrospective in the accepted sense, this work depicts an elderly 3rd rate, a vessel seemingly from an earlier age, past her prime and in her twilight years. The overly high stern, in conjunction with the elegant side windows of her stern galleries, are both features more typical of the ships-of-war dating to the reign of Charles II and the navy of Samuel Pepys during his hugely influential tenure as Chief Secretary to the Admiralty. Notwithstanding her outward appearance however, the vessel is clearly flying the new 'Red Ensign' introduced into the fleet after the Act of Union with Scotland in 1707 and which alone confirms her longevity. Almost certainly one of Pepys's celebrated 'Thirty Ship Programme' of 1677, a surprisingly large number of those ships (built between 1678 and 1680) were still in service in 1707, although by then all of them would have been altered, repaired or, in some cases, completely rebuilt to reflect the continual ravages of the sea, battle damage or to incorporate periodic changes in armament. As the largest 'class' within the 1677 Programme, the twenty 3rd rates - of which Eagle was one - have since been described by some naval historians as 'the best-looking sailing ships ever completed', but attempting to name a specific vessel within the twenty is complicated by the fact that 'the individual ship design was in each case left to the builder.'It is usual to identify these majestic ships by a careful study of their highly ornate stern carvings which usually include either royal ciphers, regal initials, or other similarly characteristic details. Unfortunately, this handsome bow view robs us of those clues although the distinctive side panes of the stern gallery windows shown here are strikingly similar to those featured on the splendid but short-lived Coronation, a large 2nd rate launched at Portsmouth in 1685. It is interesting to speculate therefore that this vessel might also be a Portsmouth-built ship which narrows the field considerably and offers up two possibilities, namely the Eagle and the Expedition. Of the two, the more likely candidate is the Eagle which, having been repaired and reconditioned at Chatham in 1699-1700, then served with distinction during the War of the Spanish Succession, mostly in the Mediterranean, and was part of Sir George Rooke's fleet which famously took Gibraltar in 1704. By 1707, Eagle was in Sir Cloudesley Shovell's squadron in the Mediterranean which, whilst returning home for the winter, was wrecked on the Isles of Scilly on 22nd October that year due to faulty navigation. This error resulted in one of the most spectacular disasters in the long history of the Royal Navy and this painting may well be a memorial to the loss of a fine old ship and all those who perished in her.Peter Monamy was born in London in 1681, the youngest son of a Guernsey man. Throughout his career he was heavily influenced by the works of Willem van de Velde, the Younger and other North European, Dutch and French masters. Monamy was himself a collector of Van de Velde's drawings and these influenced his development as a maritime painter resulting in numerous commissions from mercantile and naval patrons, including the famous Channel Island's naval families, the Durrels and the Saumarezs. In 1726, he was elected a Liveryman of the Company of Painter-Stainers, to which he presented a very large painting of the 'Royal Sovereign at anchor' which still remains in their collection. Although his paintings usually depict actual ships, they rarely record specific events as, up until 1739, his career coincided with a long period of peace. From the 1730s until his death, Monamy was at the centre of London's artistic life and was a friend and companion of Hogarth, sometimes collaborating with the celebrated younger artist. Despite his many commissions however, he was never particularly prosperous and also painted decorative pictures specifically for commercial galleries and dealersFor further information on this lot please visit Bonhams.com
Lot 221
* FRANCIS PATRICK MARTIN (SCOTTISH 1883 - 1966),OFF THE SCOTTISH COAST oil on canvas, signedimage size 75cm x 100cm, overall size 94cm x 118cm Framed.Note: Born in Anstruther, Franc P Martin studied at the Glasgow School of Art under David Forrester Wilson, 1919 -20. A painter of landscapes, genre subjects and still life in oil and watercolour, he frequently exhibited at the Royal Glasgow Institute, Royal Scottish Academy and Walker Art Gallery, Liverpool. He was also commissioned to produce a number of celebrated posters for the Post Office. He was elected President of The Glasgow Art Club and Secretary of the Royal Glasgow Institute.Condition report: Condition is very good overall, with no visible signs of restoration, damage, or known issues.
Lot 127
Northern European School of the 18th century."Saint Sebastian".Etching on vellum with hand-illuminated border.Slight damp stains.Measurements: 18,5 x 15 cm.A beautiful and subtle border of flowers in the purest baroque style frames an etching engraved composition. It is a scene starring Saint Sebastian. Born in Gaul and raised in Milan, Sebastian was a centurion of the first cohort in the time of 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 34
Follower of PAUL DE VOS (Antwerp, 1591/95 - 1678); 17th century."The Fox Hunt.Oil on canvas. Re-coloured.It has repainting and restorations.It has xylophagous damage on the stretcher.Measurements: 99,5 x 158,5 cm.During the 17th century in Flanders there was an increasing demand for paintings to decorate the houses of the bourgeoisie. Apart from portraits and large canvases with religious, historical or mythological themes, artists specialised, painting medium-sized works which gradually increased in format, with still lifes, animals, landscapes and genre scenes. Paintings reproducing collectors' cabinets of the period are explicit in this respect, to the point of giving rise to a new, independent genre of painting. Undoubtedly, the future of this type of painting would have been different without Rubens, whose art revolutionised the Flemish art scene by introducing a new, fully Baroque approach and bringing a sense of unity and opulent sumptuousness to the ordered and encyclopaedic collection of his countrymen's precious depictions. The specialists, either indebted to his manner or subordinate to his work, worked along new lines, adding an accessory object, a landscape or a decorative background to their compositions. Within 17th-century Flemish still-life painting, two trends can be distinguished, the static, represented by Clara Peeters and Osias Beert, and the dynamic, with Frans Snyders and Paul de Vos.This work belongs to the second of these schools, which is characterised by following the Rubensian Baroque in a purely dynamic sense. Dynamic still lifes are characterised by compositions full of pronounced diagonals, as we see here, and by the frequent presence of live animals interacting with the objects in the still life, captured in full movement. As we see here, the compositions form zigzags that provide movement, while the objects (here, animals) accumulate, reflecting opulence, without any clarity. These painters often sought to reflect the violence of the animal, which is particularly clear here. Specifically, within this type of animal painting derived from the dynamic still life, the present work is particularly close to the painting of Paul de Vos, a painter trained with Snyders and therefore very close to him in his early works, although throughout his career he incorporated innovative features into his work, with various variations on hunting scenes, the genre in which he specialised. Vos was more velvety in his textures than Snyders and was characterised by a greater development of the landscape, particularly in his hunting scenes. In addition, he used a personal chromaticism based on warm tones, ranging from ochres to earthy tones, but lighter and paler than Snyders. His technique is also looser, blurring the contours and rich textures of Snyders in favour of a more atmospheric and diffuse overall appearance. Vos's work is also more dramatic and tense, as he always preferred scenes of great violence, often depicting animal struggles in a bloody and ferocious manner. His images are therefore highly pathetic, particularly evident in his hunting scenes, which are endowed with a dramatic quality that is also reflected in his illustrations of fables featuring animals. He also took a different approach to the anatomy of animals, depicting them in a less naturalistic manner, with more elongated bodies.
Lot 93
JUAN SÁNCHEZ COTAN (Orgaz, Toledo, 1560 - Granada, 1627)."Immaculate Conception.Oil on canvas. Relined.It has slight repainting.Exhibitions: "The Baroque in painting". CajaSur, Cordoba, December 2004 - January 2005.Bibliography: Pareja López, Enrique: "El Barroco en la pintura". Exhibition catalogue. Publications Obra Social y Cultural Cajasur, 2004. pp. 176-177.Sizes: 145.5 x 104 cm; 169 x 128 cm (frame).This oil on canvas represents the Virgin as a young woman with long golden hair in a prayerful attitude, a common iconographic model in this Counter-Reformation period. All the elements surrounding the Virgin correspond to the titles of honour glossed in the litanies. The colours used by the painter also correspond to a pre-established symbolism: the tunic is in hyacinth, the colour of purity, and the mantle is an intense sky blue, the colour of eternity.It should be related to the Inmaculada painted by Sánchez Cotán around 1617-1618 for the Cartuja de la Asunción in Granada, published in Orozco Díaz, E.: Las Vírgenes de Sanchez Cotán. Granada, 1954, pp. 54-58, nº 12 and Orozco Díaz, E.: El Museo de Bellas Artes de Granada. Guides to the Museums of Spain. Num. XXVI, Madrid, 1966, p. 42. This one of the Cartuja is the clear model of the Inmaculada which we present here; Orozco says of it... He repeated it many times, either as a literal copy, or with slight variations, in large and small. It must have pleased the city and left its mark... so it is not surprising to find Immaculate Conception inspired by the one in the Charterhouse like the one we present here.As for its style, we can appreciate some archaic features for its time, such as the hieratic and frontal nature of the figure. However, the quality of Cotán's painting in the small details such as the gemstones on the cloak, the vegetal embroidery on the tunic and the flowers, all link the work to the proto-baroque naturalism which the painter so masterfully captured in his still lifes.Juan Sánchez Cotán worked in Toledo, where he had an important clientele, until 1603, when he entered the Carthusian monastery as a lay brother and settled in Granada. The bulk of his oeuvre from that time onwards consisted of paintings of religious subjects, particularly the very numerous ones he produced for the charterhouse in Granada, although he also produced portraits and landscapes. However, he is best known for his still lifes, especially since the exhibition "Floreros y bodegones en la pintura española" ("Vases and Still Lifes in Spanish Painting") was held in Madrid in 1935, which was a key event in the critical reappraisal of the Spanish still life and made Sánchez Cotán one of its cornerstones. Sánchez Cotán enjoyed a comfortable life in Toledo, commissioning religious paintings for churches as well as other minor works, such as painting the arms of the archbishop of Toledo on a cobbler's armoury. However, the documentation does not mention any disciples or assistants. It was also around this time that he produced the aforementioned copies of Venetian works, as well as some landscapes. His works from this period reveal a fully developed, refined and gentle style derived from the painters of the El Escorial school, which remained virtually unchanged throughout his career. Works by Sánchez Cotán are now in the Museo del Prado, the Museo de Bellas Artes in Granada, the Museo de San Diego in California, the Art Institute of Chicago, the Barbara Piasecka Johnson Collection in Princeton (USA), the Bowes Museum in Durham, UK, and other collections.
Lot 264
Jonas Wood (American, born 1977)Large Shelf Still Life Offset lithographic poster printed in colours, 2017, on wove, stamped with the artist's name, title, date and exhibition verso, from the edition of an unknown size, published on the occasion of 'Shio Kusaka & Jonas Wood' exhibition by Voorlinden Museum, Netherlands, the full sheet printed to the edges, 585 x 585mm (23 x 23in)(SH)(unframed)For further information on this lot please visit Bonhams.com
Lot 328
Marjorie Procter (British, 1918-2012),Three botanical studies: "Autumn Crocus" (oval mounted), "Crocus" and "Tiger Lily",Pencil, ink and watercolour on paper,Each signed lower right, 22cm x 28cm, 23cm x 18cm and 54cm x 24cm,In matching glazed frames,With a further watercolour botanical study by Norma Pinder, a Victorian watercolour still life with flowers, a chrysanthemum print on fabric and four floral prints on paper (10)
Lot 345
Attributed to Georgiana Elizabeth Ormerod (British school, 19th century),Still life with grapes, chillis and pepper,Watercolour on paper,Signed "G.E. Ormerod" and dated "1872" lower centre, 19cm x 27cm,Unframed,With Eleanor Anne Ormerod (British, 1828-1901), still life with grapes, melon and rose, watercolour on paper, monogrammed "EAO" and dated "1863" lower right, 26cm x 20cm, unframed, and C. Nerwich (British school, early 20th century), still life with fruit in a bowl, watercolour on board, signed and dated "1905" lower right, 18cm x 23cm, unframed (3)
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