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Lot 1650
A pair of Royal Worcester side plates, circa 1929, painted by Moseley, signed, each with a still life of fruit, puce printed mark to bases, diameter 16.3cm.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.
Lot 298
Dickens (Charles) The Life and Adventures of Nicholas Nickleby, first edition, without publisher's imprint to plates and with 'sister' for 'visitor' on p.123, engraved portrait frontispiece and 39 plates by Hablot K. Browne, occasional foxing, mostly to plates, original first state olive-green fine-diaper cloth, light fading to spine and covers, recased, spine ends and corners strengthened and repaired, still an attractive copy overall, [Smith I, pp. pp.40-43; Eckel, pp.64-66], 8vo, 1839.
Lot 497
Astronomy.- Wing (John, surveyor and almanac maker, of Pickworth, Rutland, nephew of Vincent Wing, astronomer, astrologer, and land surveyor, 1619-68, bap. 1662, d. 1726) Astronomia Nova Britannica, or The New British Astronomy Containing an Exact Theorie of the Coelestial Motions, according to the Genuine and most Rational Systems of the World, wherein the Sun is Centre of the Planetary Orbs... Deduced from Astronomia Britannica Published in Latine by Mr V. Wing..., manuscript, title and 163pp. (pp. 1-30 mostly text, pp. 30-160 mostly tables), a few ink diagrams, pp. 74-75 glued together and a corrective slip glued over p. 102, several ff. loose, a few small tears to edges, browned, contemporary panelled calf, extensively rubbed, lacks tail of spine, sm. 4to, dated in another hand at end 1691, but probably late 1680s, see ODNB note below, [c. 1688].⁂ A unique copy of an unpublished 17 century astronomical treatise."At the end of the 1680s, [George Parker, a rival astrologer] alleged, [John] Wing had tried to rush into print a manuscript entitled 'Astronomia nova Britannica', which he had been forced to abandon when Henry Coley exposed it as only half completed. Wing had then reworked the manuscript as Scientia stellarum, which he had published despite John Flamsteed's warning that it was itself full of crude errors. Wing issued a pained rebuttal of all these charges in his almanac for 1704, pointing out that his project was essentially an English summary of his uncle's Astronomia Britannica, and claiming that Flamsteed, on whose astronomical observations it drew, had commended it." - Oxford DNB.Vincent Wing, "taught himself arithmetic, surveying, and dialling by the age of twenty, mastered Latin, and acquired a competence in Greek. He spent the rest of his life practising as a surveyor and diallist in the east midlands... . Wing's fame rested primarily on his achievements in astronomy, as a champion of the new astronomical systems of Copernicus and Tycho Brahe. Wing's last and most important work, Astronomia Britannica (1669), appeared shortly after his death. This was a large-scale Latin treatise on the size, distance, and motions of the planets according to the Copernican system, documented by numerous observations by Tycho Brahe, Bullialdus, Gassendus, and other continental astronomers, and by Wing himself and a group of English astronomers with midlands connections, notably Samuel Foster, John Palmer, and John Twysden. This volume, aimed at a European as well as English readership, was the most significant English astronomical work of its time and made a considerable impact both in England and on the continent." Wing's nephew, John, "was the son of Moses Wing (bap. 1629, d. 1697?), Vincent Wing's brother. He was a surveyor at North Luffenham, before moving in 1683 to Pickworth, in Rutland, near Stamford, where he practised and taught surveying and all branches of mathematics, including dialling, laying out enclosures, building plans, and music. Like his uncle before him, he also used his almanacs to popularize the new astronomy. He explained and defended Copernicanism, noting in 1690 that many people still adhered to the Ptolemaic system, and wrote brief essays on tides, gravity, the periodicity of comets, and the possibility of other solar systems and inhabited planets within the universe." - Oxford DNB. Inscription at end reads: "14th Jan 1691 at 5 h 30 P.M. qr in to Holland."
Lot 599
Late 19th or early 20th Century Continental serpentine fronted painted and gilded display cabinet, in the Sheraton Revival taste, the moulded cornice over Vitruvian scroll frieze and twin astragal glazed doors enclosing arrangement of two long shelves between acanthus capped fluted columns, over twin fielded cupboard doors painted with still life studies over anthemion frieze, the sides with painted decoration on a green ground, raised on acanthus capped baluster supports, 117cm x 39cm x 193cm high
Lot 493
Kingsley Enamels - Worcester Superb Quality Ltd and Numbered Edition Hand Painted Enamel LIdded Box ' Fallen Fruits ' Still Life - Peaches, Blackberries, Blackcurrants, Pears and Apples, With Embellished Gold Rims. Signed N. Creed. Ext Royal Worcester Artist, This Box Is No 100 of 250 Boxes Issued. 1st Quality and Mint Condition. 2.5 Inches - 6.25 cms Diameter & 1,25 Inches - 3.70 cms High.
Lot 810
Chinese 19th Century Canton - Famille Rose Large and Impressive Footed Bowl. c.1840. Decorated with Painted Enamel Images of Figures In Domestic Scenes, Also Extensive Floral Still Life to Panels, All Aspects of Condition Are Excellent. Height 4.5 Inches - 11.25 cms & Diameter 11 Inches - 27.5 cms.
Lot 883
Grand duchess Olga Alexandrovna of Russia (1882-1960) - still life of roses in a vase upon a small table beside a sunlit window, signed Olga, dated 1922, pencil and watercolour, 7.5" x 5.75" ** The artist was the youngest child of Emperor Alexander III of Russia and younger sister of Emperor Nicholas II. She was raised at the Gatchina outside St. Petersburg. She escaped revolutionary Russia with her second husband and their two sons in February 1920 and joined her mother The Dowager Empress in Denmark, all remained in exile, after The Dowager Empress's death in 1928 Olga and her husband purchased a dairy farm in Ballerup near Copenhagen. She led a simple life raising her two sons working on the farm and painting and during her lifetime painted over two thousand works of art, which provided extra income for both her family and the charitable causes she supported.
Lot 904
Dutch School (20th century) - still life of spring an summer flowers consisting of roses, tulips and other blooms with grapes, pears, pomegranates and plums in the foreground, the flowers contained within a pottery urn decorated with blue flowers, oil on canvas, unframed, 27.5" x 35" ** The work bears the initials VB-B
Lot 915
Sir William Newenhan Monague Orpen, KBE, RA, RHA (1878-1931) - a still life of mushrooms falling from a basket, signed also extensively inscribed on a later label verso with biographical details on the artist, oil on canvas, 18" x 24.5" - ** Provenance - exhibited at the Ealing Gallery, summer exhibition 14th June 1992, the work is illustrated on the brochure, sold together with the original receipt, the cost price being £2400, also a further insurance document relating to the picture also dated 1992 for £3000, the work was number 25 in the summer exhibition
Lot 12
Joy Packenham (Irish), a still life study of tulips in a vase, watercolour, 36.5 cm x 27 cm (Royal Institute of Watercolour Painters label to verso, with artist's name), together with Rose (early 20th century), Mediterranean Harbour scene, watercolour, signed, 28 cm x 38 cm, each framed and glazed.Qty: 2
Lot 29
Duncan Grant (British, 1885-1978)Still Life with Fruit and a Jug signed and dated 'D.Grant/-/60' (lower right)oil on paper laid on board38.2 x 79.2 cm. (15 x 31 1/4 in.)Footnotes:ProvenanceThe Artist, circa 1965, where acquired byPrivate CollectionTheir sale; Christie's, London, 2 March 1979, lot 97 (as Still Life with Fruit and Jug on a Table)With The Belgrave Gallery, London, where purchased by the family of the present ownerPrivate Collection, U.K.In his later years, Duncan Grant frequently included works of art in his still lifes. They ranged from sculpture (Stephen Tomlin's bust of Virginia Woolf; Private Collection), furniture (the Omega Workshops screen in his studio at Charleston), to Japanese art (a Sharaku textile, Private Collection) to Matisse (Still life with Matisse, Royal Collection). More often, he uses designs by himself as backgrounds for flowers and fruit. The present work shows a decorative design pinned to the wall and is highly typical of Grant's decorative designs of the 1950s and 1960s. This still life was probably painted in Grant's and Vanessa Bell's London flat rather than at Charleston.We are grateful to Richard Shone for compiling this catalogue entry.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
Lot 37
William Scott R.A. (British, 1913-1989)Four Pears signed and dated 'W. SCOTT 76' (verso)oil on canvas63.5 x 76.2 cm. (25 x 30 in.)Footnotes:ProvenanceWith Gimpel Fils, LondonWith Offer Waterman, London, where acquired by the present ownerPrivate Collection, U.K.ExhibitedRio de Janeiro, Museum of Modern Art, Color en la Pintura Britanica, 9 November 1977-February 1979, cat.no.25; this exhibition travelled to Brazil, Gallery 'B' Fundacao, Cultural de Distrito Federal, 13-22 December 1977, São Paolo, Museo de Arte de São Paolo, 14 February-12 March 1978, Buenos Aires, Museo de Bellas Artes, July 1978, Caracas, Museo de Bellas Artes, 3 September-1 October 1978, Bogotá, Museo de Bellas Artes, Moderno, November 1978, Mexico City, 9 January-February 1979 (cat.nos.803, 804, 806)London, Roundhouse Gallery, Irish Art in the Seventies: The International Connection, 26 February-23 March 1980, cat.no.63LiteratureSarah Whitfield (ed.), William Scott Catalogue Raisonné of Oil Paintings, 1969-1989, Thames & Hudson in association with the William Scott Foundation, London, 2013, p.193, cat.no.804 (ill.b&w)Following its completion in 1976, Four Pears was extensively exhibited in South America during the late 1970s (see exhibition history), alongside Three Pears and Five Pears, painted the same year. In all three canvases the green fruits are presented upright and on white plates, juxtaposed with simply described bowls for company. The William Scott Catalogue Raisonnè of Oil Paintings comments on the present work:'The title and date of this untraced work are recorded on a Gimpel Fils stock card. The composition echoes that of Three Pears (cat.no. 803). Both works relate to An Orchard of Pears, No. 10 (cat.no. 816), one of the paintings in the Orchard of Pears series.The history of the painting is unknown following its inclusion in the exhibition, Irish Art in the Seventies: The International Connection, in the first quarter of 1980.' (Edited by Sarah Whitfield, Volume 4, William Scott, Catalogue Raisonné of Oil Paintings, 1969-1989, Thames & Hudson, London, 2013, p.193)The three aforementioned pear paintings, all 25 x 30-inch canvases, preceded Scott's comprehensive An Orchard of Pears series of 1976 or 1977. The group were shown together in 1977 at an exhibition, Real Life, staged as a Peter Moores Liverpool Project. The renowned art critic Edward Lucie-Smith wrote a poem for the catalogue, titled Five Morsels in the Form of Pears, which contained many sexual references and guided the reader to consider the fruits on display in this manner. With their luscious shapes, suggestive leaning and prominent stalks it doesn't require much imagination to interpret the pears of the present canvas as sexual metaphors. The William Scott Catalogue Raisonné of Oil Paintings introduces An Orchard of Pears series, thus:'The inspiration for the An Orchard of Pears series was the vigorous pear tree growing outside the artist's studio at Coleford, a photograph of which is included in Gallery Kasahara 1977, with the artist standing beside it holding one of the fruits. As Scott told Walter Moos, in a letter dated 5 January 1978, 'I became a little obsessed with the tree on my studio wall last summer.' That obsession had started the previous year, and continued into 1977, but signs had begun appearing as early as March 1975 when Scott sent Walter Moos 'a group of drawings based on the theme of the fruit.' These drawings have not all been identified but at least one was a composition with two pears.In addition to the series An Orchard of Pears, Scott painted seven works titled Still Life of Pears, which he showed as a group at the Dawson Gallery, Dublin, in 1977.' (Op.cit. p.196)We are grateful to the William Scott Foundation for their assistance in cataloguing the present work.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
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