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Lot 300
Pears Print entitled 'The cause of many troubles', a still life of an earthenware jug, pewter mug, copper tankard, a pistol, picture and other objects, inscribed with the title and bearing the Pears Print trademark; together with three further coloured prints possibly published for Pears, study of two spaniels, a study of dogs, a cottage scene and a small embroidery depicting figures fishing from a stone bridge, various sizes *The five pictures are contained within a decorative wooden frames in the Gothic revival style, also four further black and white later reproductions, views of the City of Malta all inscribed, each 10" x 14.25" (9)
Lot 283
Hans Nowak (1922-1996 German) - Poppies, an oil on canvas still life of a vase of flowers, signed lower left, Chiltern Galleries label verso 62cm x 51cm in gilt frame; and Ewald Wallentin (B.1923 German) - Flowers in a blue bowl, an oil on canvas still life of a vase of flowers, signed lower left, Chiltern Galleries label verso 61cm x 61cm in a gilt frame Location: RWF
Lot 285
Morris - Still life of grapes and plums, a porcelain bowl and a brass jug, oil on canvas, signed lower right 51cm x 60cm in a gilt frame; and a smaller companion by the same hand, still life on board of a basket of grapes and plums, with grapes, leaves, plums, cherries and peaches to the side, signed lower left 31cm x 41cm framed; and I Biachi - still life of fruit and a jug on a table with a blue cloth, signed lower left 31cm x 41cm in a gilt frame, each with certificate of authenticity and one with sales receipt Location: LWM
Lot 678
PIETER GERRTISZ. VAN ROESTRATEN (c.1631-1700) A STILL LIFE DEPICTING A PAINTING OF A CRUCIFIX UPON A TABLE LITTERED WITH DOCUMENTS AND BOOKS, A PURSE OF SILVER COINS, A COVERED CUP, SEALING WAX, A POCKET WATCH AND A SNUFFED CANDLE Signed P Roestraten on the edge of the ledge, oil on canvas 62 x 73.5cm. ++ Lined; a little thin and with some wear; scattered retouching; fine craquelure; small damages lower centre, right and upper right Provenance: New York, Sothebys; New York, March 13th 1985, lot 12; New York, Habsburg, June 18th 1989, lot 81/43; London, Phillips, July 6th 1993, lot 261 (where purchased by the owner)
Lot 121
§ PETER HOWSON O.B.E. (SCOTTISH 1958-) NIJINSKY Signed lower left, oil on canvas(181cm x 121cm (71in x 41.5in))Footnote: Note: The 1980s and 90s saw an extraordinary, internationally recognised breakthrough of artistic talent in Scotland, and critics and collectors alike remain intrigued by its sudden and spectacular eruption. In many respects, these artists were both the product and visual representation of a Scotland which, having reached the bottom of its post-industrial slump, picked itself up and reinvented itself with extraordinary vigour; transforming into a vital force once again. Glasgow’s successful rehabilitation was the epicentre, and it is not surprising, therefore, to find that its famous Art School became the nexus of the new wave of artistic talent. Though it was derided at the time, Scottish art schools never gave up on life drawing throughout the 1970s and 80s, so when the focus of art re-centred on the figurative tradition, Scottish artists were well placed to convincingly and skilfully innovate upon the past. This was combined with influential teachers, namely in the form of Sandy Moffat who did much to encourage the move away from the painterly, colourist orthodoxy of the still life and landscape tradition that typified Scottish art for so long; instead advocating an expressive and figuratively focused art, with a bent towards examining social issues. Crucially, a receptive and supportive gallery network evolved, ready to support this wave of young talent. Howson, chose to work on a monumental scale to ape the scale of traditional history painting. He consciously subverts it by elevating the insalubrious subject matter of his brawlers and dossers, magnifying his grotesqueries to heroic proportions. Howson tapped into his lived experience in the military and as a bouncer in the dive bars of Glasgow’s city centre to find his subjects. Lifting figures from memory, he pumped them up into exaggerated and overgrown character archetypes, through whom he examined the most toxic aspects of masculinity in order to reveal its ugly, destructive truth. Though the acerbic, grotesque social commentary of Weimar Republic artists like George Grosz and Otto Dix are clear reference points, Howson’s work is in fact brimming with pathos. He allows his characters a tragic heroism, and his message is clear that they are just as much the victims of the violent systems they embody. Here, in this relatively early work from 1991, he takes ‘Nijinsky’, the much-lauded early 20th century ballerina, as his subject. Howson created a series of four monumental works on this theme, of which this is likely one. On this series, the critic Peter Jenkins commented: “Nijinksy I see as a heroic figure: clumsy yet nimble, his macho prance is a dance of defiance; his leaden, booted feet may hold him down, but his head is in the clouds, jaw jutting; like a dancing bear, he is a noble beast made an object of derision…” Howson, as was the case for several of his peers, found swift and remarkable success with his work entering significant collections soon after graduation. In 1993 he was commissioned by the Imperial War Museum as their official war artist to cover the Bosnian conflict.
Lot 407
LESLIE GREENWOOD (BRITISH, 1907-1987) (6)Still life of flowerssigned 'Leslie Greenwood' (lower right)watercolour30.5 x 22cmtogether with four other floral watercolours by the same hand, all signed, the largest 30.5 x 22cm, the smallest 16 x 12cm; and a further floral watercolour by another hand, 30.5 x 24.5cmARR(6)
Lot 172
Muriel Wheeler - Still Life of Summer Flowers in a Vase, oil on canvas, signed with initials and dated 1951, 46.5cm x 37.5cm, together with another work by the same hand, Still Life of Flowers in a Vase, oil on board, signed and dated 1954 verso, 21.5cm x 15.5cm, within a gilt composition 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 106
C. Stuart - Still Life of Flowers in a Vase with Butterflies, oil on panel, signed, inscribed and dated 1881 verso, 35.5cm x 26cm, within a gilt composition 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 201
Will Longstaff - Still Life Study of Summer Flowers in a Vase, 20th century oil on canvas, signed, 63cm x 76cm, within a gilt composition 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.
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