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Lot 589
Follower of Georgius Jacobus Johannes van OsA still life of a pigeon, finches, a powder horn, nasturtiums, holly, lantanas and other flowers in a roemer on a wooden ledge oil on canvas47 x 40cmCondition report: Oil on canvas which has been lined. The canvas tension is good, there is a deformation in at the lower left corner. The paint layers are stable overall, at the upper left corner are a few damages and a localised areas of fine flaking in the background. Drying cracks have formed in some of the darker paint passages. There are localised areas of overpaint which are well matched to the original. The varnish is clear and even.
Lot 180
Muriel Wheeler - Still Life of Pink Lilies in a Vase, 20th century oil on canvas, signed recto, inscribed and with labels verso, 59.5cm x 49cm, within a painted composition frame.Buyer’s Premium 24.5% (including VAT @ 0%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.
Lot 156
Modern British or French School - Two Figures conversing at a Table laden with a Bowl of Fruit and a Vase of Flowers, early/mid-20th century oil on canvas, with a still life study of fish and fruit verso, 54cm x 64.5cm.Buyer’s Premium 24.5% (including VAT @ 0%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.
Lot 56
R.H.R., British School - Still Life with Rhubarb, Trout and Duck, late 19th century oil on canvas, signed with initials, 54cm x 74.5cm, within a gilt composition frame.Buyer’s Premium 24.5% (including VAT @ 0%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.
Lot 152
Brian Davies - Still Life with Champagne, Oysters and Grapes, 20th century oil on canvas, signed, 50cm x 59.5cm, within a stained wood and gilt frame.Buyer’s Premium 24.5% (including VAT @ 0%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.
Lot 31
Dante Alighieri, The Divine Comedy, Inferno, Canto XXV, in Italian, the underlayer of a manuscript palimpsest on parchment, the leaves later reused to produce a manuscript breviary[Italy, mid fourteenth century (perhaps 1330s or 1340s), and fifteenth century]To view a video of this lot, click here. Two leaves, the first leaf a palimpsest with remains of the foot of a single column in upper part of leaf, with 7 lines of fine Italian vernacular hand (a vernacular rotunda) on recto and 11 lines in same on verso (these easily readable with UV light, and visible in margins in ambient light), with initials offset in margins as common for medieval verse, the later breviary text added over that in the fifteenth century and in a single column of 23 lines of a squat late gothic bookhand (textualis formata) with much lateral compression, rubrics in red, initials in red or dark blue; the second leaf as before but without palimpsest underlayer, some areas of discolouration through use, scuffing to ink on recto of second leaf, else in good condition, 135 by 97mm.; both in separate fascicule-like paper bindings (these added for Salt, see below) Almost certainly one of the very earliest witnesses to Dante's Divine Comedy, written within a decade or so of the composition of this grand and important work; here offered on the 700th anniversary of the poet's death Provenance:1. The Dante manuscript here was copied in Italy, probably soon after after the author composed the work. The text was completed in 1321, and the professional scribal hand with its broad nib and simple angular initials ornamented with hairline strokes, most closely resemble those of Florence, Biblioteca Medicea Laurenziana, Ashburnham 828, dating to 1335 and the earliest extant manuscript of the text, as well as Piacenza, Biblioteca Comunale, MS. 190, which was copied in Genova in 1336. Moreover, one variant reading on a leaf from the same parent manuscript now in King's College (see below) suggests the inclusion of the parent manuscript in Petrocchi's group 'c' of the antica vulgata manuscripts, almost all of which trace their origin to a lost early version of the text (Salt, p. 473). Then in the fifteenth century these leaves were partly scrubbed clean and bisected laterally and reused as bifolia in the production of a Breviary, with saints such as Abundius (fifth-century bishop of Como) in its Litany, suggesting use in the northern Italian border region.2. Frank R. Brown, of Histon, bookseller based in Cambridge, in business in the 1930s and 1940s.3. Dr. George Salt (1903-2003) of Cambridge, entomologist, calligrapher and collector, these leaves his MSS. 14 and 15: his calligraphic notes on the paper bindings of these fragments, including the information that he bought the entire Breviary in a dilapidated state from Brown in Cambridge on 18 April 1936. Salt published a short report in 1985 on the underlying palimpsest text visible on approximately 56 leaves of that codex, after gifting the bulk of the volume to King's College, Cambridge (their Salt collection, codex 3, given on 21 January 1983). However, he retained the present two leaves, noting the palimpsest leaf here as "A single leaf of the breviary ... remains in my own collection, its conjoint missing". These two leaves in Sotheby's, 17 December 1991, lots 6 and 7 (the latter part of item k there).4. The Schøyen Collection of London and Oslo, their MS. 1543. Text:Dante Alighieri (c. 1265-1321), the foremost poet of the Italian language, stands at the head of a small and select gathering of medieval literary authors of sublime importance and impact. He is the most important medieval Italian author and his works all but founded the modern Italian language. This cutting here is from the grand and exquisitely beautiful Divine Comedy, probably the most important literary work of the entire Middle Ages. It was completed by 1321 in the last months of the author's life and found immediate fame. Literary echoes of it are legion and found throughout European literature from the fourteenth century to today, from Boccaccio's evident devotion in his Trattatello in laude di Dante, to T.S. Eliot's statement "Dante and Shakespeare divide the world between them. There is no third". Jorge Luis Borges declared it "the best book literature has achieved". That preserved here is Canto XXV:118-126 and 145-151, describing the eighth circle of hell, and thus the sins and punishment of thieves.Over 800 medieval manuscripts and fragments have now been recorded by the 'Dante online' project, but they are of extreme rarity in private hands, and no codex has appeared on the open market now in nearly forty years. Fragments and cuttings are still far from common, with Sotheby's selling a damaged leaf with a miniature that was recovered from a binding, on 1 December 1998, lot 16. Another text leaf recovered from a binding was sold in our rooms, 4 December 2018, lot 29, and most recently yet another text leaf recovered from a binding emerged in 2017 in the London trade and then sold by Christie's, 14 July this year, lot 8, for £87,500. Published:G. Salt, 'An Unrecorded Palimpsest of Dante's Inferno', Transactions of the Cambridge Bibliographical Society, 8:4 (1985), pp. 471-476.
Lot 752
AA WORLD-CHANGING DOCUMENTUnited States Declaration of Independence. An original engraved facsimile copy of the Declaration of Independence of 4 July 1776, N.B. On careful examination The Auctioneers believe that this item is a copy of the Peter Force Edition of 1833, not 1823 as stated in printed catalogue.This copy with direct provenance to Charles O’Conor, the distinguished Irish-American attorney and politician. Measurement: 30.5 in (77cm) x 25.5 in (65cm) "We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness.—That to secure these rights, Governments are instituted among Men, deriving their just powers from the consent of the governed,—That whenever any Form of Government becomes destructive of these ends, it is the Right of the People to alter or to abolish it, and to institute new Government, laying its foundation on such principles and organizing its powers in such form, as to them shall seem most likely to effect their Safety and Happiness."We, therefore, the Representatives of the United States of America, in General Congress, Assembled .. do, in the Name, and by Authority of the good People of these Colonies, solemnly publish and declare, That these united Colonies are, and of Right ought to be Free and Independent States .. and that as Free and Independent States, they have full Power to levy War, conclude Peace, contract Alliances, establish Commerce, and to do all other Acts and Things which Independent States may of right do.”The Declaration followed a period of stressed relations with Great Britain over trade and other matters. It was drafted mainly by Thomas Jefferson, with amendments by Benjamin Franklin, John Adams and others, and was adopted on 4 July 1776 by delegates from 13 States assembled in the Second Continental Conference. It provided the essential basis for the Treaty with revolutionary France agreed in 1778. It is no exaggeration to say that this document changed the world, marking a decisive turn away from the era of unchallenged imperial expansion and the subjection of colonial peoples, and was thereafter a shining beacon to subject peoples everywhere, most notably the Irish. Three of the 56 signatories were born in Ireland, with a further 8 of Irish descent.The Declaration of Independence was initially published as a broadside, printed by Robert Dunlap, in which form it was widely distributed and read to the public. The source copy used for this printing has been lost. The best-known version is a signed copy that is displayed at the National Archives in Washington, D.C., and which is popularly regarded as the official document. In 1820, when the ink on the Archives copy was seen to be fading, Congress commissioned the engraver William J. Stone to execute a full-scale facsimile, printed in 1823 in 200 copies on parchment, and issued to surviving signatories (including Jefferson and Adams) and other distinguished personalities. It was issued to Charles O’Conor of New York, a son of Thomas O’Conor of the O’Conor Don family of Roscommon. Charles' father, Thomas was sworn into the United Irishmen by Wolfe Tone personally, and went to America after the failure of the 1798 Rebellion.Charles O’Conor (1804-1884) was born in New York, and was called to the Bar in 1824. He quickly made his name as a trial lawyer; after his success in a major divorce and alimony case, he was presented with two silver vases - one by a group of 30 leading New York ladies, the other by sixty members of the Bar. Both vases are now in the New York Law Institute Library.He was active in Irish support groups, including one intended to support a Fenian rising in Ireland, and for many years he was a major figure in Democratic politics. He was U.S. Attorney for the southern district of New York 1853-54. After the Civil War he was senior counsel for the Southern leader Jefferson Davis in his trial for treason. In the 1870s he was prominent in the successful campaign against William (Boss) Tweed of Tammany Hall. In 1872 he was nominated for the Presidency of America by a southern Democratic group. He declined the nomination, but his name still appeared on the ballot paper – the first Catholic to receive such a nomination. After the 1876 election, he was advocate for his friend Samuel Tilden in his unsuccessful attempt to claim the Presidency, having won a plurality of the popular vote.The present engraving came to light recently in a country house in the West of Ireland, where presumably it was brought by Charles O’Conor on a visit to his ancestral homeland. Of the 200 original copies issued, a recent census (Coleman 1991*) could find only 31 surviving, of which institutions held 19 and only 12 (to which the present copy can be added) were in private hands.An exceptionally rare and important document, truly one that has changed the world.A superb memorial to a very distinguished Irish-American, and a confirmation and celebration of the Irish contribution to the constitutional development of the United States. In excellent condition.Provenance: Charles O’Conor of New York [1804-1884]; by unbroken family descent.*W.R. Coleman, ‘Counting the Stones – a Census of the Stone Facsimiles of the Declaration of Independence’. Manuscripts vol. 43 no. 2 pp 97-105.With acknowledgements to Wikipedia.N.B. On careful examination The Auctioneers believe that this item is a copy of the Peter Force Edition of 1833, not 1823 as stated in printed catalogue.
Lot 810
NINETEENTH CENTURY SCRAPBOOK : " Edith Mary Seale. 1893" Containing eight pages of cut-out silhouettes, pencil sketches and watercolours of rural scenes one signed Sidney Shepherd 1848. As well as the usual multitude of steel engravings and cut out scraps from magazines, there are three rather attractive original Chinese still life botanical watercolours on rice paper. 4to, morocco front board loose.
Lot 442
‡David Jones CH, CBE (1895-1974) Still life by the window Signed and dated David Jones/30 (lower right) Pencil, watercolour and bodycolour 49 x 64cm Provenance: Anthony d'Offay, London; From whom purchased by Mrs Peter Rowland, 1980; By descent to The Muro Collection Exhibited: London, Anthony d'Offay, David Jones 1895-1974, May-June 1975
Lot 63
‡Frank O. Salisbury (1874-1962) Still life with pink pearl rhododendrons in a vase Signed Frank O Salisbury (lower right) and signed and inscribed NO.22/PINK PEARL/RHODODENDRON/GROWN & PAINTED/BY/FRANK O.SALISBURY (to reverse) Oil on canvas 91.8 x 71.2cm Provenance: By descent from the artist
Lot 530
‡George Leslie Reekie (1911-1969) Still life with roses and fruit; Still life with dahlias in a vase Two, the former signed and dated REEKIE 1968 (lower right); the latter signed and dated REEKIE 1969 (lower right) Both oil on canvas 42.5 x 63.5cm; 47.8 x 57.8cm (2) Provenance: Both with Frost and Reed
Lot 154
Circle of Roderic O'Conor Still life with apples, a pear and a bowl Stamped with studio stamp atelier/O CONOR (on the reverse) Oil on canvas 33.5 x 46.3cm Provenance: Sotheby's, London, British Impressionist, Post-Impressionist and Modern Paintings, Drawings and Sculpture, 15 May 1985, lot 60 (as Roderic O'Conor); Private Collection, LondonWe are grateful to Jonathan Bennington for his assistance cataloguing the present work. In his considered opinion there is uncertainty over the work's authorship.
Lot 527
‡K. Bousfield (Late 20th Century) Still life with a vase of flowers, a coffee-pot and a jar; Winter landscape with a figure pulling a sled; Landscape with a cottage by a stream Three, each signed K Bousfield, two dated 1985, one dated 86 Each oil on canvas Largest 52.9 x 62.3cm; Smallest 41 x 45.7cm (3)
Lot 358
‡Toby Ward NEAC (b.1965) Still life with onions and shallots on a tabletop Signed BGT Ward (lower left) Oil on board 19.8 x 25cm Provenance: Armed Forces Art Society, 1993; Woolley and Wallis, Salisbury, Modern British & 20th Century Art, 4 December 2018, lot 23; The Collection of Tom Coates NEAC, RP, RWS and Mary Jackson NEAC, RWS
Lot 51
Félix Vallotton (Swiss 1865-1925) Fleurs d'arbustes dans un pot de Quimper Signed and dated F.VALLOTTON 12 (lower right) Oil on canvas 81.2 x 65.5cm Provenance: Acquired from the artist by Galerie Druet, Paris, 1912 (no.7075); Mme. Babut, La Rochelle; Me. Grandin, Paris, Drouot Rive-Gauche, 26 March 1979; Galerie Fischer, Lucerne, 1 June 1979, no.468; Antiquorum, Geneva, 5 April 1982; Private Collection, Paris; Christie's, London, Impressionist and modern paintings and sculpture, 24 June 1985, lot 7; Private Collection, London Literature: Félix Vallotton, Livre de raison, LRZ. 855, 'nature morte, fleurs d'arbustes roses et jaunes avec verdures, dans pot de Quimper blanc, posé ainsi qu'une lettre sur table recouverte d'une soie bleue, fond d'atelier vert-gris (T.25)'; Marina Ducrey in collaboration with Katia Poletti, Félix Vallotton (1865-1925): L'oeuvre peint, catalogue raisonné (Milan/Lausanne/Zurich), vol. iii, p.524, no.909 Félix Vallotton took an increasing interest in still life painting throughout the 1910s. In 1919 he wrote 'More and more I take pleasure in the world of things; the perfection of an egg, the plumpness of a tomato, the intricate shapes of a hydrangea give me plenty of problems awaiting a solution. I approach them without pedantry and try hard to remain a painter'. (Félix Vallotton, Documents pour une biographie et pour l'histoire d'une oeuvre (Lausanne, 1975), p.245).
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77111 item(s)/page