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Click here to subscribeNicholas Verrall R.B.A., R.O.I. (British 1945-) Still life with flowers and fruit, signed, oil on canvas.48.5cm x 54.5cm (19in x 21.5in)Footnote:Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report:The painting is in very good, original condition with no obvious faults to report. The painting is ornately framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
Michael Scott (1931-2016)"Long Down, Dursley, Gloucestershire"Signed, titled verso, oil on board, and a work by Eileen Scott (1929-2015), "Camelia", monogrammed, acrylic on board,60cm by 90cm and 57cm by 44cm respectively; together with a watercolour still life of flowers, indistinctly signed (3)
'CIRCUS SCENES', AN ALBUM BY PU RU (1896-1963), WITH A TOTAL OF 16 LEAVESChina. Ink on paper. The present album consists of eight leaves by the artist, each with a depiction of a different circus act, including acrobats, feats of strength, balancing acts, a tightrope walker, and a trapeze artist, with annotations to each opposite leaf. With silk brocade front and back covers.Inscriptions: The cover titled 'Album with Circus Scenes by Pu Xinshe [Pu Ru]', signed 'Kanbai Wu Ping', with two seals, 'Wu Ping' and 'Kanbai'. Each painted leaf with a title. The last leaf signed 'Xinshe', dated Yiwei year (corresponding to 1955), dedicated to Wang Aiyun (1906-2004), and with a total of ten seals of the artist. Each opposite leaf with an annotation, praising Pu Ru and describing his life and art, inscribed and signed by Jiang Zhaoshen, Zeng Shaojie, Wang Zhuangwei, Chen Hanguang, dated Bingshen year (corresponding to 1956), with another dedication to Wang Aiyun, and a total of nine seals.Provenance: Wu Ping (1920-2019) and thence by descent. Wu, whose style name was Kanbai, was a native of Yuyao in Zhejiang province. He possessed notable talent in the arts of calligraphy, painting, and seal carving, and formerly served as a director of the Department of Painting and Calligraphy at the National Palace Museum, Taipei.Condition: Very good condition with minor wear, soiling, and foxing. Some old wear and traces of use to album cover.Dimensions: Image size ca. 11 x 8 cm (each), Leaf size 15.2 x 11.2 cm (each)Chinese circus acts include a wide range of acrobatic acts, balancing acts and other demonstrations of physical skill traditionally performed by a troupe in China. Many of these acts have a long history in China and are still performed today. While the English term "Chinese circus" has been used to describe Chinese variety arts even in the earliest Western historical texts, the East views the Chinese term 'circus' as an altogether separate, Western style of show. Clowns, for example, belong exclusively to the Western circus. Eastern elements include Shaolin monks, Peking opera characters, and the Monkey King.During the Qin and Han periods, Juedi or Baixi variety shows were popular with the common people. Juedi was originally an entertainment where men wearing horns charged at one another like bulls, but became a general term used interchangeably with Baixi to describe popular entertainment during the Han Dynasty. It consisted of a variety of acts such as conjuring, acrobatics, wrestling, musical performances, dance, martial arts, horsemanship, and juggling. Over the centuries, performances became more elaborate and during the Tang Dynasty, the performing arts were highly popular in the Emperor's court and the acts became even more refined. Eventually, the performing arts lost favor in the Imperial Court and moved back to the common people and most performers performed in the street. Towards the end of the Ming Dynasty (1368-1644), the performers again came off the street and started performing on stage. During the end of the Qing Dynasty (1644-1911), it regained popularity with the Imperial Court and has remained a popular art form to this day.Pu Ru (1896-1963), also known as Pu Xinshe, was a traditional Chinese painter, calligrapher, and nobleman. A member of the Manchu Aisin Gioro clan, the ruling house of the Qing dynasty, he was a cousin to Puyi, the last Emperor of China. It was speculated that Pu Ru would have succeeded to the Chinese throne if Puyi and the Qing government were not overthrown after the 1911 Xinhai Revolution. Pu Ru was reputed to be as talented as the famous southern artist Zhang Daqian. Together, they became known as 'Pu of the North and Zhang of the South'. Pu Ru fled to Taiwan after the Communist Party of China came to power, and was appointed by Chiang Kai-shek as a Manchu representative at the Constitutional National Assembly. In Taiwan, he made a living selling paintings and calligraphy, and taught as a professor of fine arts at the National Taiwan Normal University.Auction result comparison: Compare a closely related handscroll (14 x 119 cm) by Pu Ru with similar depictions at Poly International, 1 December 2019, lot 2113, sold for CNY 1,265,000 (approx. EUR 163,222). 《溥心畲寫馬戲冊》，冊頁八開中國。紙本水墨。冊頁中溥心畲繪製了八頁，分別描繪了八個不同的馬戲場景，包括項象、人獸鬪、走索、戲馬、曡羅漢、蹬椅人、飛人、牛拉車。另外八頁則由一些鑒賞家與藏家的相關詩文。綾綿裱褙。 款識：封面：《溥心畲寫馬戲冊》，堪白吳平；鈴印“吳平”“堪白”最後一頁上書“藹雲先生屬，乙未（1955）五月，心畬。”“藹雲”即為台灣著名收藏家王藹雲（1906-2004）。為冊頁題詞的有江兆申、曾紹傑、陳含光、王壯為，分別落款及鈴印。 來源：吳平 (1920-2019)，保存至今。吳平字堪白，生於浙江餘姚，幼承家學，隨父親習字作畫，筆勢結構成自家風格，後來成爲臺北故宮博物院書畫部主任。 品相：狀況極好，有輕微磨損、污漬和起毛。冊頁封面可見使用痕跡。 尺寸：畫面約 11 x 8 厘米，冊頁 15.2 x 11.2 厘米 拍賣結果比較：比較一件溥心畲的卷軸 (14 x 119 厘米)，見保利2019年12月1日 lot 2113, 售價CNY 1,265,000 (approx. EUR 163,222)。
A RARE CLOISONNE ENAMEL POMEGRANATE-FORM VASE, LATE MING TO EARLY QING DYNASTYChina, 17th century. The globular body rising from the flat gilt-metal base to a bud-form mouth shaped as five flaring petals. Superbly decorated with a continuous pattern of six lotus blossoms, borne on scrolling leafy vines issuing peaches, executed in delicate white, blue, red, and yellow enamels, all against a rich leaf-green ground, the foot with a turquoise ruyi-head band. Provenance: English private collection. Christie's London, 6 June 2000, lot 220. The collection of Asbjorn Lunde, acquired from the above. Asbjorn Lunde (1927-2017) was a New York lawyer and devoted art collector. Over more than 60 years, he built a substantial collection featuring Old Masters, landscape paintings, prints, European sculpture, South Asian painting and sculpture, and Asian decorative arts. Throughout his life, Mr. Lunde supported more than forty museums in New York City, across the United States, and in Europe with loans, gifts, and funding. He was a Fellow and Benefactor at the Metropolitan Museum of Art.Condition: Old wear, traces of use and manufacturing flaws. Expected pitting and losses to enamel overall with associated old fills and touchups. The colors are still strong and the gilt is well-preserved, commensurate with age. Shallow surface scratches and extensive wear to base. The enamels with expected crackling.Weight: 212.5 gDimensions: Height 11.5 cmLiterature comparison: Compare to a very similar cloisonne pomegranate-form vessel dated to the early Qing period in the Palace Museum, Beijing, illustrated in Zhongguo jinyin boli falangqi quanji - 5 - falangqi (1), Beijing, 2002, fig. 141. Compare the lotus decoration on the present lot to the one on a barrel-shaped vase, illustrated in Chinese Cloisonne: The Pierre Uldry Collection, London, 1989, pl. 186. This vase shares its distinct lotus blooms with their curled ends on their leaves and the incorporation of ruyi-shaped petals with the present lot and is dated to the second half of the 17th century.Auction result comparison: Compare a closely related turquoise-ground cloisonne vase, of near-identical form, closely related size (11.7 cm high), and also dated to the 17th century, at Christie's Hong Kong in Through Connoisseurs' Eyes – Ephemeral Flowers, Enduring Art on 3 June 2015, lot 2937, sold for HKD 812,500.明末清初罕見掐絲琺琅纏枝蓮紋石榴式水丞 中國，十七世紀。石榴式，口部呈五瓣狀。通體藍綠色琺瑯釉為地色，飾紅、藍、白、黃六朵纏枝勾蓮紋，花紋飽滿，鎏金光亮。底足處飾綠松石色如意紋。 來源：英國私人收藏。倫敦佳士得2000年6月6日 lot 220；Asbjorn Lunde收藏，購於上述拍賣。Asbjorn Lunde (1927-2017) 是一位紐約律師和忠實的藝術收藏家。 六十多年來，他建立了龐大的收藏，涵蓋古代大師、山水畫、版畫、歐洲雕塑、南亞繪畫和雕塑以及亞洲裝飾藝術。在他的一生中，他通過貸款、禮物和資金支持了紐約市、美國和歐洲的四十多家博物館。 他是大都會藝術博物館的研究員和捐助者。 品相：舊時磨損、使用痕跡和製造瑕疵。預期的點蝕和整體琺琅缺損以及其舊時填充和修補。琺琅顔色仍然濃鬱，鎏金保存完好，與年齡相稱。表面淺劃痕，底座有廣泛磨損。琺琅有預期的開片。 重量：212.5 克 尺寸：高 11.5 厘米 文獻比較：比較一件北京故宮博物院清初掐絲琺琅石榴式器，見《中國金銀玻璃琺琅器全集》- 琺琅器，北京，2002年，圖141；比較一件有相似勾蓮紋的桶形掐絲琺琅器，見Chinese Cloisonne: The Pierre Uldry Collection, London, 1989, 圖186. 這個掐絲琺琅瓶的蓮花和它的枝葉以及如意形口，與此拍品一樣都是來自十七世紀下半葉。 拍賣結果比較：比較一件相近的十七世紀綠松石色地掐絲琺琅水丞 (高11.7 厘米)，見香港佳士得Through Connoisseurs' Eyes – Ephemeral Flowers, Enduring Art 2015年6月3日lot 2937, 售價HKD 812,500。
Oil on canvas. Measurements: 92 x 79 cm (framed) and 77 x 64 cm (canvas). Provenance: important private collection, Spain. After the death of the great painter Ribalta (1628), he became the absolute ruler of the Valencian art scene from a young age, where he preferably worked for numerous convents and religious orders. The large number of commissions that he received has served as a documentary source for the knowledge of his biography. The only period from which we lack news of him is between 1640 and 1647, which has given rise to various speculations about trips to Madrid and Seville. His passage through the Andalusian capital, above all, has become a helpful argument to explain his stylistic concomitance with Zurbarán. His training was developed together with his progenitor, a humble painter from Valladolid established halfway between Cocentaina and Valencia, although the success of Ribalta's achievements would leave a permanent mark on our artist. The family's move to Valencia must have taken place during Jerónimo Jacinto's childhood, probably around 1612. The first known work by him is dated that same year, which shows his precocity. In 1616 he appears registered in the College of Painters of the Mediterranean city, declaring that he had been working with his father for a year. In Valencia he developed the rest of his existence -if we exclude the possible trips mentioned-, painting for the local environment and, as far as we know, leading a comfortable and quiet life. His extensive production reflects the scant evolution of his art. His painting, like his characters, appears out of time, arrested in solemn and symmetrical compositions. His monastic series are the ones that are closest to Zurbarán's work and, as in this one, the monumental verticality of the religious dominates, the meticulous reflection of the fabrics and the intensity and naturalism of the faces, as if illuminated. When painters throughout Spain adhered to the most fully baroque formulas, Espinosa still appears static in the strictest tenebrism, using a strong directed light that illuminates the scene with powerful contrasts. All this speaks to us of a style that is out of date, isolated, self-absorbed, but that responds to the demand for pious art requested by the local clientele. His fervent naturalism also enabled him to make a handful of vivid and analytical portraits. There are nine canvases by Espinosa present in the Prado Museum. Among them, it is worth highlighting La Magdalena penitente, as it is a reflection, not only of Espinosa's painting, but also of the path that her works have traveled in the Prado. His work in the local Valencian environment meant that none of them reached the royal collections until the time of Ferdinand VII, his presence in the Museum being due to modern purchases. Thus, La Magdalena penitente was acquired in 1992 after passing through various collectors. Previously, in 1838, it had been part of the collection of Luis Felipe de Orleans. It is an eloquent testimony to the aesthetics of the painter, with the saint in full ecstasy, illuminated by a harsh overhead light that leads to the stiffness of fabrics and flesh, and is a sign of a piety as simple as it is devout, very much from the 17th century.
Circle of BLAS DE PRADO (Camarena, Toledo, around 1545- Madrid, 1599)."Saint Jerome.Oil on canvas.Relined.Frame of the XVIII century.Size: 130 x 108 cm; 140 x 120 cm (frame).In this canvas the theme of Saint Jerome penitent in the desert is approached through a scenographic and open composition, with a silver illumination that succeeds in the way of enhancing the pathos of the scene. The painting is attributed to Blas de Prado, whose work is characterised by monumental figures, skilfully modelled in contrasting light, as is the case here. The saint is depicted full-length, chiselled by chiaroscuro, with his naked torso and the muscles of his legs partially covered by the draped cloak, which has an intense crimson hue. The saint is depicted in a rocky setting, open to a nocturnal landscape with a waterfall. Next to him we see the lion, lying at his feet, the skull and a crucifix, all enveloped in a nuanced half-light.Blas de Prado was a painter of whom few biographical details are known to date. He worked mainly in Toledo, where there are a number of contracts located around the city and where contemporary sources mention him. It is also known that he worked at court, earning the esteem of Philip II.It is known that he painted portraits, Francisco Pacheco considers him to be the introducer of the still life in Spain (he was Juan Sánchez Cotán's teacher) and, as well as being familiar with Italian production through his work at El Escorial, there are those who defend the possibility of a trip to Italy that would allow him to see the works at first hand, influenced above all by Michelangelo in several of the works that have been preserved.Today his paintings can only be seen in major private collections and institutions such as the Museo del Prado in Madrid, the Museo de Santa Cruz in Toledo, Valencia Cathedral, the Collegiate Church of Santa María la Mayor in Talavera de la Reina (Toledo), the Palacio de Liria (Madrid), drawings in the Uffizzi Gallery in Florence, the Louvre Museum in Paris, etc.
Circle of PIETRO NOVELLI (Monreale, 1603-Palermo, 1647)."Saint Rosalia of Palermo".Oil on canvas. Re-coloured.Size: 114 x 76 cm.A still life placed in the foreground and formed by an open book and a skull, indicates us the subject of the represented scene. On this Vanitas, kneeling and with a pious gesture is the woman mentioned in the book Santa Rosalia. She is comforted by the figure of the Virgin and Jesus, who surround her and in the case of the Virgin even consoles her with his arms. In front of the saint, the figure of Christ is shown as a vision of resurrection. Standing, dressed in a voluminous red cloak, Jesus stretches out his hands towards the saint, showing her the wounds on his hands. The heavenly area is dominated by the presence of God the Father, in the centre, the dove of the Holy Spirit on the left, and on the right, three little loves, one of whom holds a floral garland with which he approaches to crown Saint Rosalie. Rosalia of Palermo was a 12th-century Italian saint whose cult was promoted by the Benedictines. She is considered a protector against infectious diseases, such as the plague, and is also invoked to seek her protection in difficult times. Rosalia lived in solitude, poverty and penance, and according to her hagiography she performed miracles such as the extinction of the plague that devastated her native Sicily. Patron saint of Palermo, she enjoys great devotion in Sicily. Saint Rosalia was an important subject in Italian Renaissance and Baroque painting, particularly in the sacre conversazioni (group images of saints flanking the Virgin Mary) of artists such as Riccardo Quartararo, Mario di Laurito, Vincenzo La Barbara and possibly Antonello da Messina. But it was the Flemish master Anthony Van Dyck (1599-1637), who was caught in Palermo during the plague of 1624, who produced the largest number of paintings of her. Saint Rosalia is usually depicted as a young woman with flowing blonde hair, wearing a Franciscan hood or a crown of flowers and leaning towards the city of Palermo in her peril.In this particular case, the features of Saint Rosalia and the execution of the work bring us closer to the painting of Pietro Novelli, who dedicated several of his works to the saint, notably the one in the collection of the Kunsthistorisches Museum in Vienna and the piece in the San Fernando School of Fine Arts. Pietro Novelli, of Italian origin, achieved great fame as a painter, although he also devoted himself to architecture and was appointed architect to the kingdom. His training was linked to his father's workshop, who was also a painter. His links with Palermo, a place to which he travelled frequently, indicate that he probably attended the school of Vito Carrera. Furthermore, the presence of Van Dyck and the stylistic influence of the master that can be seen in Novelli's painting reinforces the idea that he trained in Palermo.
Ron Coleman (British 20th/21st century) Floral still life studies, both signed, a pair, acrylic on board.each 29cm x 20cm (11.25in x 7.75in)Qty: 2Condition report:The paintings are both in very good, original condition with no obvious faults to report. The paintings are both framed and one is glazed. The frames have some minor scuffs and knocks commensurate with age.
Guy Stocker (British 20th/21st century) Floral still life, signed, acrylic on board.40cm x 29.5cm (15.75in x 11.5in)Footnote:Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report:The painting is in very good, original condition with no obvious faults to report. The painting is ornately framed but not glazed.
A Royal Worcester two-handled square dish, circa 1923, painted by H. Price, signed, with a still life fruit study, flanked by gilt scroll handles, puce printed factory mark to base, length 28cm.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.
A Ridgway porcelain cabinet plate, circa 1845-50, pattern No. 6/2767, painted with a central still life study of a flower basket on a marble ledge beside a pineapple, the cobalt blue rim reserved with salmon pink foliate scrollwork and trellis panels, edged in gilding, diameter 23.5cm (fine starcrack), together with a Ridgway Bates & Company cabinet plate, circa 1856-58, painted with a boy tying a girl's shoe within a gilt overlaid cream border, unmarked, diameter 23.3cm. Note: a similar plate is illustrated by Geoffrey Godden in 'The Illustrated Guide to Ridgway Porcelains', pl. 139.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.
A Royal Worcester cabinet plate, third quarter 20th century, painted by N. Bunegar, signed, with a still life study of fruit within a gilt gadrooned rim, black printed factory mark to base, diameter 27cm.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.
A Royal Worcester gilt ground cabinet plate, third quarter 20th century, painted by J. Skerrett, signed, with a central still life study of fruit within the acid etched gold ground, gilt printed, painted and impressed factory marks, diameter 27.3cm.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.
Dutch School, 19th century,Still life of an urn of flowers, oil on canvas, oval, 81 X 64cm.Alan Bennett (1930-2021) was an enormously respected, Cornwall-based antiques dealer.Alan Bennett started working in the antiques trade in the early 1950s for Parker’s of Blackheath before joining Harrod's Antiques Department. He moved to Cornwall in 1954 and opened his own shop, gradually expanding and offering one of the largest selections of antiques in Cornwall. He was assisted in the business by his wife Winifred, son Justin, and a team of restorers. He retired in April 2007.He was a man of refined manners, always impeccably dressed and he bought pretty, elegant things across the board, Dresden china and pierced silver Bon-Bon baskets but also brightly coloured Staffordshire figures, although it was the furniture that really fed his passion and he specialised in good quality Georgian and later furniture.David Lay reminiscences: "He would sit in the front row bidding with awesome discretion. Nothing as vulgar as a nod or wink. His demeanour told me he was bidding but of course, I knew his taste. I knew when he “should” be bidding. Often Winifred would view with Alan, the perfect couple.Happy memories of a different age. "Through his 50 years in the trade, he amassed an eclectic collection of very good quality art and antiques, many of which we are delighted to be offering here at Lays Auctions across various sales.Condition report: There is general craquelure, slight paint loss and a small area of overpainting, otherwise very good, please see extra images.
Group of Michael Stennett (British 1946-2020) still lifes; to include, still life with flowers, signed and dated 'Stennett 03' (lower right), oil on canvas, 40 x 50cm; still life of flowers in a vase, initialled 'MS' (lower right), canvas laid to board, 23 x 20cm; flower in a glass jar, signed 'Michael Stennett' (lower left), oil on board, 21 x 15cm (unframed); and a drawing of flowers, pencil on paper, signed and dated 'Stennett 2000' (lower left) Provenance: The studio of Michael Stennett
Pablo Picasso (Spanish 1881-1973), an exhibition poster for Picasso Keramik, Louisana, 2018, offset lithograph, unframed, showing Still Life with Fish, Fork and Slice of Lemon, 1955, 42 x 30cmCondition report: The top left with a minor handling crease visible under raking light. Otherwise in good, clean condition.
Embroidered panel. A large and important redwork panel, British, circa 1620, embroidered in very fine wool thread dyed with cochineal beetle red, on a cream twilled fustian ground, with all-over pattern of flora and fauna, the former comprising: pomegranates, magnolia flowers, daffodils, harebells, aquilegia, lilies, and the latter: leopards, parrots, stags, squirrels, hounds, hares, and an elephant carrying a three-turreted castle on its back, fine line border to long sides, the outlines worked in stem stitch, with details in seeding, back, running, and lazy daisy stitches, 2 hand-stitched vertical joins with imagery continuous (each of the 3 widths approximately 49cm), hand-stitched horizontal join 35cm up from lower edge (embroidery not continuous), side and lower edges bound with linen tape (that to left hand edge largely frayed), neatly stitch-mounted to a double layer cream backing, with velcro along top edge, some loss to embroidery and consequently pencil outlines visible in places, but stitching largely intact (although renewed in 1 or 2 small areas with pale brown thread), occasional small marks and some perishing of fustian ground (with stitched areas of consolidation), 2 areas of embroidery carefully cut round and re-mounted on new backing (approximately 23 x 9cm and 59 x 16cm), overall size 216 x 149cm (85 x 58.5ins)Qty: (1)Footnote: Provenance: Private Collection.Exhibited: Royal School of Needlework Exhibition, Irish Linen Centre in Lisburn Museum, May 2009-May 2010. The piece has also been displayed at the Royal School of Needlework at Hampton Court Palace on a number of occasions.Redwork embroidery of the early 17th century is rarely offered for sale even in small fragments, and therefore the importance of this large-scale piece - new to the market - cannot be overstated. Redwork typically features detached but lively motifs regularly spaced in an organised design over a white linen or cotton ground, and was usually carried out by women who used it to decorate domestic furnishings such as bedcovers and hangings, cushions, workbags and curtains, as well as articles of dress.This substantial piece of embroidery, and its two companion pieces (see following lot) are likely to have been originally part of a set of bed hangings. Elaborate hand-work was treasured and handed down, and these pieces may have been modified in the 17th or 18th century in order to repurpose and infuse new life into them. Certainly they were subjected to a quite radical alteration, perhaps by a prudish Victorian owner, when the appendages protruding from the dogs were unstitched, in order to protect the sensibilities of the viewer! The outlines of tiny holes where the needle went through the fabric are still clearly visible, testament to a fascinating tale in the history of this panel.The broadly, but not perfectly, repeating design depicts stylised fruit and flowers, mostly of similar size, and a variety of beasts whose dimensions bear no relation to each other. This lack of proportional scale and freedom of distribution of motifs is typical of other work of the time. Both domestic and professional embroiderers took inspiration from pattern books, such as Richard Schorleyker's A Schole-House for the Needle published in 1624, although other publications such as emblem books, herbals, illuminated manuscripts and bestiaries would also have provided imagery which could be copied or modified for transfer onto cloth. Thus the variation found within the all-encompassing term of 'redwork' is wide, each piece reflecting the individuality of the stitcher.The lone elephant shown to the lower left of the panel is an unusual, and therefore unexpected, inclusion, although the elephant and castle motif was widely known at the time. Indeed, in the mid-14th century the symbol was included on the coat of arms of the city of Coventry. The elephant is associated with a number of attributes, including wisdom, loyalty, chastity, strength and power, so perhaps it is not so surprising that the maker here branched out to include such a magnificent creature.Early redwork pieces, particularly of this size, are few and far between in institutions, but there are two notable examples which bear a strong resemblance to the piece offered here: a bedcover held by The Art Institute of Chicago (reference number 1986.988); and a bed curtain housed in The Metropolitan Museum of Art, New York (40.88a-f). Smaller pieces are held by the Royal School of Needlework, the Embroiderers' Guild, and the V&A.
A LARGE GILT-BRONZE FIGURE OF PADMASAMBHAVA, LATE QING TO REPUBLICTibet, ca. 1850-1950. Heavily cast, seated in dhyanasana atop a double lotus base with beaded upper edge, holding in his right hand a vajra and in his left a skullcup. He is wearing voluminous robes finely incised with cloud designs, the hems with foliate scroll and floral diaper, and richly adorned with jewelry, inlaid with coral and turquoises. The hair in fine strands falling elegantly over the shoulders, surmounted by a peaked Tantric cap with upturned sides topped with a feather and centered by a crescent moon surmounted by a sun.Provenance: UK trade.Condition: Overall in good condition commensurate with age. Few minor nicks, dents, losses, light scratches, and wear to gilt. Some casting irregularities, signs of corrosion, dark spots, remnants of old varnish and pigment, some inlays are lost while others might be later replacements, the trident (which was attached using the tang below his proper left shoulder) is lost. The base retains its original sealplate and, considering the heavy weight of the statue, it can be assumed that the contents of the statue are still present.Weight: 4,944 gDimensions: Height 33.8 cmHis expressive face is marked by remarkably intense eyes, furrowed brows, a fine mustache, and full lips, flanked by long pendulous earlobes. The base sealed and incised with a double vajra.Padmasambhava (literally 'lotus-born' in Sanskrit), also known as Guru Rinpoche among Tibetans, is believed to be one of the principal masters to bring Buddhism to Tibet and to teach the tantras in the 8th century. He is depicted in numerous forms with different names representing outer, inner and secret aspects of his spiritual being, with the change of names following the chronology of his life story. In the 5th century BC, Buddha Shakyamuni arrived as the founder of Buddhism. His teachings were subsumed by the Sutrayana and the Tantryana. In the 8th century, Padmasambhava personified the guru principle, the ritualistic path of Buddhism and the heart of Vajrayana Buddhism. They are exemplified in its flourishing after it was introduced into Tibet and the Himalayas between the 7th and 11th centuries. Because of Padmasambhava's teachings and contribution, he is known as the 'Second Buddha'.Literature comparison: Compare a closely related gilt bronze figure of Padmasambhava, dated to the 17th century, in the collection of the Museum Rietberg in Zurich, inventory number BA 120. Compare a related gilt bronze figure of Padmasambhava, dated 16th-17th century, in the collection of the British Museum, museum number 1992,1214.49.Auction result comparison: Compare a related gilt bronze figure of Padmasambhava, 25.5 cm high, dated 16th-17th century, at Christie's Paris in Art d'Asie on 8 June 2010, lot 355, sold for EUR 46,600. Compare a related gilt bronze figure of Padmasambhava, 26 cm high, dated circa 15th century, at Bonhams London in Fine Chinese Art on 12 November 2015, lot 74, sold for GBP 50,000. 清末至民初大型銅鎏金蓮花生像西藏，約1850-1950年。蓮花生大士結禪定座坐於雙層蓮座上，右手執金剛杵，左手執頭骨杯。他身著交領式僧衣，層層套迭，衣紋自然流暢，繁複華美，帽簷以日月為中心，耳環上鑲嵌綠松石。來源：英國古玩市場。品相：總體狀況良好，與年齡相稱。少量輕微的劃痕、凹痕、缺損和鎏金磨損。一些鑄件不規則，有腐蝕跡象、黑點、舊清漆和顏料的殘留物，一些鑲嵌物丟失，一些可能是後來更換的，三叉戟（左肩下方的柄腳連接）丟失了。底座保留了原來的封印板。考慮到雕像的重量，雕像內部的內容可能仍然存在。重量：4,944 克尺寸：高 33.8 厘米拍賣結果比較：比較一件銅鎏金蓮花生大士像，高25.5釐米，為十六至十七世紀，見巴黎佳士得Art d'Asie 2010年6月8日 lot 355, 售價EUR 46,600。比較一件相似的銅鎏金蓮花生大士像，高26釐米，約十五世紀，見倫敦邦翰思Fine Chinese Art 2015年11月12日 lot 74, 售價GBP 50,000。
'CHRYSANTHEMUMS', LATE QING TO REPUBLIC, TWO PAINTINGSChina, 1850-1949. Ink and watercolors on fabric. One painting with two chrysanthemums borne on leafy stems, one white and the second reddish black. The other painting similarly executed with a single yellow chrysanthemum. Note the highly detailed, naturalistic manner of painting, strikingly capturing the complexity of the flowers. (2)Condition: Good condition with minor wear, soiling, foxing, few small creases and minuscule losses.Provenance: Belgian trade, by repute acquired from a Belgian private collection. Each painting mounted and framed.Dimensions: Image size 32.3 x 31 cm (each), Size incl. frame 51.5 x 51 cm (each)Expert's note: The present lot belongs to a group of complex floral still life paintings which became popular toward the later Qing dynasty during the second half of the 19th century (see auction result comparison), combining a naturalistic treatment with dramatic rendering of the subject, a distinct departure from the more stylized yet restrained flower depictions of earlier times.Auction result comparison: Compare a related painting of a bird and chrysanthemum by the Xuantong Emperor, dated to 1922 by inscription, at Christie's Hong Kong in The Imperial Sale on 29 April 2002, lot 504, sold for HKD 155,350. Compare a related painting of chrysanthemum by Chen Donghu, dated to 1931 by inscription, at Christie's Hong Kong in Fine Chinese Modern Paintings on 28 May 2019, lot 1295, sold for HKD 350,000. 清末民初兩幅《菊圖》鏡心 中國，1850-1949年。布面水墨設色。一幅繪兩朵菊花，枝葉繁茂，一朵是白色的，另一朵是紅黑色的。 另一幅畫一朵黃菊花。細節精美，表現生動，驚人地捕捉到花朵的複雜性。來源：比利時古玩市場，據説來自當地私人收藏。 品相：狀況良好，輕微磨損、汙漬、起毛，少量小摺痕和微小的缺損。 尺寸：畫面各32.3 x 31厘米，總共各51.5 x 51厘米。 拍賣結果比較：比較一件宣統帝的《鳥菊圖》，1922年，見香港佳士得2002年4月29日 lot 504, 售價HKD 155,350；比較一幅陳東湖的《菊圖》，1931年，見香港佳士得Fine Chinese Modern Paintings 2019年5月 28日 lot 1295, 售價HKD 350,000。
AN EMBROIDERED YELLOW SILK POUCH, LATE QING DYNASTYChina, early 19th century. The sachet made from yellow silk and embroidered with a prominent shou medallion amongst numerous auspicious symbols such as bats, butterflies, chimes and lingzhi clouds. With a pleated drawstring top, the neck tied with a pair of strings.Provenance: From a private collection, Texas, USA.Condition: Some wear and loose threads, and some minor splits to the silk mostly at the pleated drawstring section. Overall good condition commensurate with age. The colors still fresh and crisp.Dimensions: Length 12.1 cm, Height 7.6 cmDrawstring purses affirm the nomadic origin of the Manchu, as they probably developed from carrying purses made of leather which often contained pieces of flint needed to strike a flame, fundamental to the Manchu way of life. Silk pouches formed an essential part of the outfit worn by the highest-ranking members of Qing society. These small containers were often suspended from court belts, chaodai, serving as receptacles containing daily necessities, such as aromatic items, tobacco, and other small objects.Auction result comparison: Compare a pair of related 'Dragon' purses, dated to the 19th century, of similar size (11.5 cm), at Bonhams in Fine Chinese Art - Including Imperial and Court Textiles Curated by Linda Wrigglesworth on 2 November 2021, lot 277, sold for GBP 5,355. 晚清黃地五福壽紋刺綉荷包中國，十九世紀初。腰圓式荷包為黃色地，上面綉著蝙蝠、蝴蝶、鈴鐺和如意祥雲等眾多吉祥符號，中央有一個醒目的壽字。可以通過拉動通穿荷包的絲絛開啟。 來源：美國德克薩斯私人收藏 品相：絲絛有些磨損和鬆散，主要在褶襉抽繩部分有一些小裂縫。 總體狀況良好，與年齡相稱。 顏色依然清新明快。尺寸：長12.1 厘米，高7.6 厘米 拍賣結果比較: 比較一對十九世紀的龍紋錢包，11.5厘米，見邦翰思Fine Chinese Art - Including Imperial and Court Textiles Curated by Linda Wrigglesworth 2021年11月2日 lot 277, 售價GBP 5,355。
Gerard Sekoto (South African, 1913-1993)The Bicycle signed and dated 'G SEKOTO/ 73' (lower right); titled 'THE BICYCLE' (verso)oil on board40 x 31.5cm (15 3/4 x 12 3/8in).Footnotes:ProvenanceAcquired in Johannesburg, 1975;Thence by direct descent to the current owner;A private collection, France.The bicycle recurs as a dominant motif in Gerard Sekoto's oeuvre. It appears in the artist's early depictions of daily life in District Six (Cape Town), Eastwood (Pretoria), and the suburbs of Johannesburg (as in his masterly painting Three figures with bicycle. Sophiatown (circa 1940-42) offered in the present sale). Sekoto returned to the theme years later during his self-imposed exile in Paris. Despite the artist's geographical distance from his native country, Sekoto asserted the enduring significance of his experience as a young man living in South Africa: '[a]ll that I do, even outside of South Africa, is still with the eye, the heart and the soul of the lands of my birth' (Sekoto quoted in Lindop, 1988: p. 242). In the 1970s, he drew upon these early memories in a body of work that illustrated painted scenes of everyday life in the townships. As evidenced in The Bicycle, the figure of the cyclist persists in these works but is depicted in Sekoto's later style which embraces a softer colour palette and a more lyrical handling of form than employed in his paintings from the 1940s. While the artist recognised the evolution of his practice across the decades, he also identified a continuity in his approach to painting these scenes of daily life in South Africa. He noted that works from 'both periods still retain the endeavour to express the movement [within the scenes] and the desire to search into the innermost feelings of my subjects' (Sekoto quoted in Lindop, 1988: p. 284).BibliographyBarbara Lindop, Gerard Sekoto (Randburg, SA, 1988).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
Uzo Egonu (Nigerian, 1931-1996)Still Life signed and dated 'Uzo Egonu 80' (lower left)oil on linen144.5 x 107cm (56 7/8 x 42 1/8in).Footnotes:ProvenanceA private collection, UK.Born in 1931, Uzo Egonu left Nigeria at the age of 13 to complete his schooling in England where he then studied fine art and design at the Camberwell School of Arts and Crafts, London between 1949 and 1952. Unlike many of his Nigerian contemporaries similarly educated in Britain, Egonu chose to remain in London where, apart from a year spent in Paris in 1953, he lived and worked for the rest of his life. Still Life (1980) was painted at the height of Egonu's mature period when he had adapted his practice to accommodate changes in his visual perception. Following the critical success of his paintings in Britain in the 1950s and 60s, Egonu embarked upon a decade of printmaking. By 1979, his sight had been severely damaged by toxic fumes emitted from the oxidisation of materials employed in the etching process. His vision was so severely compromised that he had to mix colours from memory and used a rolled black tube to focus his sightline in order to assess the arrangement of elements in a painting. He consequently termed this period of artmaking 'Painting in Darkness' (Egonu quoted in O. Oguibe, 1995: p. 40).Despite the pragmatic challenges faced by the artist, works from this period are rich in colour. Egonu produced a number of still life paintings in the early 1980s with dynamic compositions that evidence a continuation of his experiment with line, form, and perspective. As in the present work, the domestic objects typically employed as the subject of the still life are rendered unfamiliar as they are abstracted beyond recognition. Two rounded forms are connected by grey lines which carry the eye across the canvas, while the depth of field is flattened so that subject and background are expressed as unified tessellated geometric forms. Passages of solid colour are juxtaposed with lively patterns, transforming the everyday scene into a formalist expression of pictorial elements. Egonu's treatment of the still life genre evokes Western modes of modernist abstraction encountered by the artist in London. Crucially, however, this body of work also references the Igbo textile design familiar to the artist from his childhood in Nigeria. This dual referential framework demonstrates the artist's ambition to move beyond the confines of a European modernism, finding African cultures to be 'as rich and engaging [a source] as any other' (Egonu quoted in O. Oguibe, 1995: p. 61). Drawing upon the aesthetics of the Cubist movement, Nigerian ornamentation, and 1960s British Pop Art, the present work rejects naturalism to express Egonu's unique artistic vision. His aptitude for printmaking is reflected in the graphic simplification of form which echoes a series of screenprints created contemporaneously to Still Life in the early 1980s. The prints feature female figures undertaking a range of household activities including reading and darning fabric, illustrating the artist's investigation of domestic themes in this period. The juxtaposition of West-African inspired patterns with geometric fields of solid colour in both his painterly and printmaking practices encapsulate the artist's bold approach to representation in this period. Egonu achieved critical acclaim during his lifetime. His work has been included in several landmark exhibitions including The Other Story at the Hayward Gallery in 1989 which explored the work of black artists living and working in twentieth-century Britain. Today, his work is held in important public institutions including the V&A and the Tate Collection, both in London.BibliographyOlu Oguibe, Uzo Egonu: An African Artist in the West (London, 1995).For further information on this lot please visit Bonhams.com
Italian school, 17th century."Vanitas".Carved and polychrome wood. Brass, bronze and silver.Measurements: 22 x 38 x 11,5 cm,A sculpture is presented in the form of a coffin with the front dominated by a glass that allows the spectator to see inside. In the centre of the piece, a skeleton lies dead on a red and gold bed. Death is not represented in a peaceful way, showing the corpse's passage to eternal life, but is presented in an exacerbated and dramatic way, with a skeleton whose skull has a gesture of terror with its mouth wide open. The body, which is turned so that the viewer can contemplate it more easily, is infested with maggots that crawl all over the bone, coiling around them, even on the face. The presence of the worms, as devourers of flesh, warns the viewer about the temporality of life and of his body as matter, thus delivering a reflection related to eternity and the correct way of life with which the faithful can attain glory.This completely detailed sculptural work, both in the conception of the skeleton and the coffin that preserves it, is part of the genre of vanities, which was so important during the Baroque period. The transience of life was one of the themes that most preoccupied Baroque artists. Vanities denounced the relativity of knowledge and the vanity of the human race subject to the passage of time and death. This genre was particularly popular during the Baroque period, and its title and conception are related to a passage from Ecclesiastes: "vanitas vanitatum omnia vanitas" ("vanity of vanities, all is vanity"). In the 17th century, these moralising still lifes became very frequent as an indispensable complement to preaching and devotion in Europe, in forms and with slightly different intentions in Catholic and Protestant areas.
Early 18th century Dutch school."Still life of flowers".Oil on canvas.Measurements: 68 x 52 cm; 87 x 70 cm (frame).On a background with baroque draperies there is a gilded bronze vase that contains a bouquet of varied flowers, of different colours, accompanied by some stems. Due to its stylistic characteristics, it is possible to observe the artist's taste for capturing naturalism, describing in detail the details of the elements that make up the ensemble with a great interest in capturing the qualities of each of them. The flowers appear full, almost on the point of wilting, in contrast to the Rococo period, in which he preferred to show the flowers half-opened, without that fullness already achieved. The vase is in the centre of the painting, with the usual diagonals of Baroque compositions drawn by the flowers and their stems. The lighting aspect, on the other hand, is key in this work, and reveals the direct influence of the Tenebrist Baroque, which reached these still-life painters of the time.A still life or still life usually depicts inanimate objects, and this pictorial genre can be found in Ancient Egypt and in Greece and Rome. They would make a strong comeback in the Renaissance, thanks, above all, to Northern European painting and its use of oil paint. This technique allowed a much more realistic painting. In these early times, still lifes had a strong religious symbolic content, expressed by the objects they depicted. From the 15th century, with Leonardo da Vinci, Albrecht Dürer, etc., this Christian meaning began to be abandoned, and from the 16th century, interest in still life painting increased until it became a genre in its own right.
Spanish school of the 18th century."Still life with flowers".Oil on canvas.With frame ca. 1830.Size: 94 x 71 cm; 101 x 81 cm (frame).The artist of the present canvas demonstrates his artistic skills with great mastery in composing, with contrasted palette, sensual flowers and bouquets captured in a language fully inscribed in the Spanish baroque, heir of great masters like Juan de Arellano. The composition of the bouquet is typical of the full Baroque, with the flowers fanning out from a vase which, however, is hidden by the voluptuousness of the whole. Directly illuminated by an artificial spotlight, it stands out with three-dimensionality and a certain illusionistic accent, again derived from Baroque models.The origin of the still life genre in Spain can be found in the early years of the 17th century, when it was still approached in a rational and rigorous style, with a Mannerist heritage. However, as the Baroque progressed, still lifes and flower paintings became increasingly more dynamic, the compositions became more open and more naturalistic and theatrical. The flowers of the full Baroque period are shown, as we see here, completely open, almost on the point of wilting and very volumetric, adding dynamism and a sense of scenography to the image, thus leaving behind the static and contemplative mood of the still life of the early Baroque. Other typical features of the traditional Spanish still life, which the artist mastered with mastery, are the careful study of the light, which creates sharp contrasts to enhance the volume of the various elements; the care taken with the qualities of the flowers; and the accentuated realism with an almost illusionistic accent, supported by rigorous drawing and the skilful use of chiaroscuro.
Irene Klestova (British, 1908-1989)Still life of roses in a porcelain vase signed 'I Klestova' (lower left)oil on board20.3 x 24.7cm (8 x 9 3/4in).Footnotes:ProvenanceWith The Unicorn Gallery, Wilmslow.Private collection, UK.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
Harold Clayton (British, 1896-1979)Still life of flowers roses and anemones signed 'Harold Clayton' (lower left)oil on canvas50.8 x 61cm (20 x 24in).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
Harold Clayton (British, 1896-1979)Still life with yellow and pink roses signed 'Harold Clayton' (lower left)oil on canvas50.8 x 40.7cm (20 x 16in).Footnotes:ProvenanceWith E. Stacy Marks, Eastbourne. With Frost and Reed Ltd., London.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
Harold Clayton (British, 1896-1979)Still life with spring flowers in a white urn signed 'Harold Clayton' (lower left)oil on canvas45.7 x 55.9cm (18 x 22in).Footnotes:ProvenanceWith G.M. Lotinga Ltd., London.Anon. sale, Sotheby's, London, 5 December 2001, lot 120.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
Eloise Harriet Stannard (British, circa 1828-1915)Still life with exotic fruit signed and dated 'EHStannard/1899' (lower left)oil on canvas57.1 x 70.2cm (22 1/2 x 27 5/8in).Footnotes:ProvenanceWith Fine Art of Oakham Ltd., Rutland. Private collection, UK.For further information on this lot please visit Bonhams.com
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