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Lot 179
Neil Canning ARBA (British born 1960, modern St Ives School), 'Still Life with Harbour', Welsh cottages from a windowsill with jug and fruit, oils on board, signed, inscribed verso dated 1990, 62 x 31cm approx. Framed and glazed. Provenance: Swansea deceased estate. (B.P. 21% + VAT) In good condition.
Lot 586
Alfred-Arthur de Brunel de Neuville (French, 1852-1941),Still life with fruit spilling from a broken basket,Oil on canvas,Signed lower left,51cm x 62.5cm,Framed (at fault) CONDITION REPORT:The picture shows some holes and wear to the lower right quadrant. The frame shows losses to the moulding of the lower edge.
Lot 650
Follower of Jakob Bogdani (Hungarian, 1660-1724),Still life of flowers with hen,Oil on canvas,44cm x 62.5cmm,Gilt framed CONDITION REPORT:The paint surface shows craquelure throughout, but no visible losses. Examination under UV reveals no visible evidence of restoration or repair, however a note on the framer's label verso indicates that the work was cleaned and reframed in 1961.
Lot 28
KURT SCHWITTERS (1887-1948)Still life with penny signed with the artist's initials and dated 'KS 41' (lower right); signed, inscribed and dated 'Kurt Schwitters 3 St. Stephen's Crescent London W2 1941 (painted in Douglas) Isle of Man' (on the reverse)oil and collage on board laid down on the artist's mount32.8 x 24.9cm (12 15/16 x 9 13/16in). (image size); 56.3 x 44.9cm (22 3/16 x 17 11/16in). (with the artist's mount)Painted in Douglas, Isle of Man, in 1941Footnotes:ProvenanceDr. Walter Dux Collection, UK (a gift from the artist).Thence by descent to the present owners.ExhibitedManchester, City of Manchester Art Gallery, New Movements in Art, 19 September – 18 October 1942, no. 62.London, The Modern Art Gallery, Paintings and Sculpture by Kurt Schwitters, December 1944, no. 1b.Hanover, Sprengel Museum Hanover, Aller Anfang ist MERZ – Von Kurt Schwitters bis heute, 20 August – 5 November 2000, no. 168 (later travelled to Dusseldorf and Munich).LiteratureI. Ewig, 'Raoul Hausmann & Kurt Schwitters, Correspondance 1946-1947', in Les Cahiers du Musée national d'art moderne, no. 76, Summer 2001 (illustrated p. 58).K. Orchard & I. Schulz, Kurt Schwitters, Catalogue raisonné, Vol. III, 1937-1948, Hanover, 2006, no. 2771 (illustrated p. 295).Still life with penny and Vielen herzlichen Dank! were both formerly in the collection of Dr. Walter Dux, a close friend and patron of Kurt Schwitters. A wealthy Hanover industrialist, Dr. Dux had emigrated to London from Nazi Germany and was a crucial source of support for Schwitters during his exile in the United Kingdom. Schwitters and Dr. Dux reportedly established their friendship in Hanover whilst belonging to the same fraternity. Following the deterioration of the political situation in Germany under Hitler's regime in the 1930s, both Schwitters and Dux made plans to flee the country. Dux arrived in London in 1934 having purportedly rented a group of train carriages to transport all the family's belonging across the continent. Once in the UK, the Dux family sponsored and vouched for a number of other Jewish families who had also made their escape. Meanwhile, Schwitters' situation in Germany was becoming increasingly untenable. By early 1937 he was officially wanted by the Gestapo and in July of the same year his Merz works were included in the infamous Entartete Kunst exhibition in Munich. Schwitters fled to Norway in early 1937 to join his son Ernst who had moved there the year prior; father and son would remain there until the German invasion of Norway in 1940 and they eventually arrived in the United Kingdom in the summer of that year. As an enemy alien, Schwittters was detained in various internment camps in Scotland and England before arriving at Hutchinson camp in Douglas on the Isle of Man a month later. Still life with penny was painted during his confinement on the island in 1941. Despite the meagre quality and paucity of artist materials, it was an immensely prolific period for Schwitters who remained resourceful in his practice and repurposed building materials and even porridge to create his paintings and sculptures. With its hand-made mount, Still life with penny shows the determination of Schwitters to continue making work for public preview and sale. He contributed to an art exhibition held at the camp and produced over 200 works during his 16 month imprisonment, including many commissioned portraits which helped to sustain him and his son. Following his release from the camp in November 1941 Schwitters moved to London. It was there that he reconnected with Dr. Dux, who provided much needed succour at a time when Schwitters was living in the penury of exile and struggling to make a commercial success of his work. Schwitters made almost weekly visits to Dr. Dux where he was drawn into his social circle. Writing to friends in Hanover in 1944, Schwitters reported that he had 'made really good friends' thanks to Dr. Dux's introductions. When Schwitters had nowhere to stay he was able to live rent free with the Dux family in Richmond, Dr. Dux also provided the artist with a weekly sum 'for paints'. Later, when Schwitters had moved to Ambleside in 1945, he and his companion Edith 'Wantee' Thomas were supported by a monthly stipend from Dr. Dux. Vielen herzlichen Dank! [Many many thanks] is a memento of their friendship and the great appreciation that Schwitters held for his fellow émigré. On the verso of the work, in Schwitters' hand, is the inscription: 'This picture is called 'Vielen herzlichen Dank!' It has been painted by Kurt Schwitters 1944 and dedicated to Dr. Walter Dux on Christmas 1944.' Schwitters expressed his gratitude by gifting many paintings and sculptures to Dux over the course of his time in the UK. A major collection of works from the British period was also entrusted to the doctor for safekeeping, which later passed into the possession of Ernst Schwitters following his father's death. A group of letters now preserved in the Tate Archive between Dr. Dux, Ernst Schwitters and Edith Thomas, testify to the close relationships between the Schwitters and Dux families.For further information on this lot please visit Bonhams.com
Lot 12
GIORGIO MORANDI (1890-1964)Natura morta signed 'Morandi' (lower left); signed indistinctly 'Morandi' (on the reverse)oil on canvas43.8 x 50.4cm (17 1/4 x 19 13/16in).Painted in 1954Footnotes:ProvenanceDanilo Lebrecht (Lorenzo Montano) Collection, Verona (acquired directly from the artist circa 1954-1958).Thence by descent; their sale, Christie's, London, 30 November 1976, lot 67.Private collection, South Africa (acquired at the above sale).Thence by descent to the present owner.LiteratureL. Vitali, Morandi Catalogo generale, Vol. II, 1948-1964, Milan, 1977, no. 921 (illustrated).Giorgio Morandi occupies something of a unique position in the canon of Italian twentieth century art. His images of stillness act as a bridge between Metaphysical art's quest to capture the unsettling and enigmatic, and the elevation of the everyday found in Arte Povera. Despite living an extremely simple, inward-looking existence for the most part of his life, Morandi's renown extended far and wide in the Post-War period. Natura morta, painted in 1954, is a sublime example of the Bolognese painter's finest work from this crowning decade. When Alfred H. Barr Jr. (the pioneering American curator) travelled to Italy in 1948 sourcing works for his 1949 exhibition of Twentieth Century Italian Art at the Museum of Modern Art, New York, he was told by all that the greatest living painter in Italy was Morandi. His deceptively simple arrangements of bottles, dried flowers, cans and tins – the markings removed so as to further evoke a sense of timelessness – are synonymous with a contemplative minimalism that belies the agonising preparation that Morandi would undertake before completing each composition. Born in Bologna in 1890, Giorgio Morandi lost his father in 1909 and assumed the position as head of the family, living the rest of his life in their house in via Terrazza with his two sisters Dina and Maria Teresa. After attending the Belle Arti in Bologna, Morandi explored briefly the stylistic breakthroughs of Futurism, but the influence of Paul Cézanne and Jean-Baptiste-Siméon Chardin that he had explored at school continued to impact his work more keenly. Indeed, one cannot ignore the resonance of Cézanne's words when looking at Morandi's deliberately structured canvases: 'Treat nature by means of the cylinder, the cone, and the sphere... Lines parallel to the horizon give breadth... Lines perpendicular to the horizon give depth' (Paul Cézanne writing to Émile Bernard in 1904, in J. Rewald, (ed.), Paul Cézanne Letters, New York, 1976, p. 301). Morandi found in the still life genre the possibility to explore almost all that he wished to express about the human condition, collating over the years a cast of inanimate characters that would appear again and again in his canvases. The silk flowers, cigar tin and sugar bowl that gathered dust on the shelves of his studio on via Terrazza represented not liveliness but something more lasting: 'There is something in these still lifes that goes beyond, I will not say the subject, but the very fact of their being paintings, and quietly sings of humanity' (Cesare Brandi quoted in Exh. cat., Giorgio Morandi, London, 2009, p. 12). Morandi's stylistic development outwith the Academy in Bologna began with his discovery of his contemporaries in the Italian avant-garde. Having left Bologna briefly to serve in active duty in the First World War, Morandi suffered a breakdown in 1915 and was summarily discharged. This period of personal hardship and physical retreat saw the beginning of an interest in the developments made by Giorgio de Chirico and Carlo Carrà in Metaphysical painting, which Morandi explored through a series of still life paintings that display the same intense shadows and sense of disquiet that the one finds in de Chirico's piazze or Carrà's mannequins. Works from this period (1918-1922) very much sowed the seeds of what would come later, and represent Morandi's last great shift in style. From the mid-1920s onwards he retained this interest in the emotive and anthropomorphic power of the still life but began to develop an almost minimalist style and his famed approach to process. Initially displaying slivers of light and shade between the dust-covered objects, Morandi's compositions became more and more dense towards the beginning of the 1950s, with the familiar characters huddling ever-tighter together in a poetic defence. This is typified by the present work, Natura morta, where Morandi groups his bottles, tins and vessels in a close formation where almost no shadows fall between them, and the horizon line sits unbroken behind them. No clutter or hint of life beyond the studio exists in the scene: the composition is unabashedly a construct. The restrained palette of greens, greys and putties amplifies this sense of contemplative simplicity. Morandi placed the greatest importance in the process of selecting and assembling these groups of seemingly mundane objects to populate his still lifes. While the painting of the canvases themselves took comparatively little time, what occupied his mind was the process itself. He described his process to the painter Josef Herman in 1953, just a year before painting the present work: 'In a low voice, as though to no one in particular, he mused: 'What do people look for in my bottles?' I looked at him and he now looked at me. 'It is already forty years since I looked for some element of classical quiet and classical purity, a moral guidance perhaps more than an aesthetic one.' Then he changed the direction of his meditation. 'It takes me weeks to make up my mind which group of bottles will go well with a particular tablecloth. Then it takes me weeks of thinking about the bottles themselves, and yet often I still go wrong with the spaces. Perhaps I work too fast? Perhaps we all work too fast these days?'' (J. Herman, 'A Visit to Morandi', in L. Klepac, Giorgio Morandi, The dimension of inner space, exh. cat., Sydney, 1997, pp. 26-27). The present work not only exemplifies Morandi's Post-War refinement of the principles that he developed in the 1920s and '30s, but comes from a distinguished line of provenance. Natura morta was acquired from Morandi by the Italian writer and poet Danilo Lebrecht (better known as Lorenzo Montano, the pseudonym Lebrecht assumed in 1918) sometime in the late 1950s. Lebrecht had himself taken a role in the development of the Italian avant-garde, writing for the influential magazine Lacerba and founding publications such as Il Mese. Just as Morandi did, Lebrecht enjoyed his greatest acclaim during the late 1940s and 1950s. In 1958, around the time that he acquired this work, he was awarded the Premio Bagutta, one of Italy's highest literary accolades.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 170
Mary Fedden R.A. (British, 1915-2012)Still Life with Quince Jelly signed and dated 'Fedden 1994' (lower left)gouache and pencil on paper22 x 16cm (8 11/16 x 6 5/16in).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 171
Mary Fedden R.A. (British, 1915-2012)Still Life with Quince Jelly and Orange Flower signed and dated 'Fedden 1994' (lower left)gouache, pencil and collage on paper18.5 x 25cm (7 5/16 x 9 13/16in).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 261
A MASSIVE JAPANESE IMARI CHARGERJapan, Edo to Meiji period, 19th centuryOf shallow circular form, decorated in red, blue and gilt against a white ground, centred with still life group and eight radiating panels, within a gilt edged rim.D: 54,7 cm[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- UV / black light checked;- scratches and wears, minor;- faded gilt decoration to some parts.
Lot 347
Nicole Hornby/Botanical Studies/three watercolours, various sizes and/19th Century English School/Still Life with Seashells/watercolour, 19cm x 25cm CONDITION REPORT: Condition information is not usually provided in the description of the lot, but is available upon request. Further images and some condition reports can be viewed on our online catalogue at www.chorleys.com
Lot 454
Arthur Dudley (1864-1915)/Still Life, Red Roses/watercolour, 36cm x 54cm CONDITION REPORT: Condition information is not usually provided in the description of the lot, but is available upon request. Further images and some condition reports can be viewed on our online catalogue at www.chorleys.com
Lot 491
Irene Wyatt (1903-1987)/Still Life of Poppies in a Jug/oil on board, 48cm x 38cm CONDITION REPORT: ARR Artist's Resale Right may apply to the sale of this lot if the hammer price is the equivalent of 1000 Euros or more, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.ukCondition information is not usually provided in the description of the lot, but is available upon request. Further images and some condition reports can be viewed on our online catalogue at www.chorleys.com
Lot 492
20th Century English School/Rhododendron/inscribed and dated May '65/oil on board, 63cm x 29.5cm and another still life with flowers CONDITION REPORT: Condition information is not usually provided in the description of the lot, but is available upon request. Further images and some condition reports can be viewed on our online catalogue at www.chorleys.com
Lot 1040
CLASSIC ROCK - LP COLLECTION. A superb selection of around 57 LPs. Artists/ titles include Quee inc Jazz (EMA 788, embossed sleeve still has poster attached), It's A Hard Life (12QUEENP, picture disc), The Works, The Game, Live Killers, A Night At The Opera, A Day At The Races, A Kind Of Magic, Live Magic. Kiss inc Dynasty (CALH 2051). Whitesnake inc Live At Hammersmith (MPF1288, includes obi strip), Ready An Willing, Lovehunter. Jimi Hendrix inc The Singles Album, The Essential Jimi Hendrix. The Byrds - History Of The Byrds. Pierre Moerlen's Gong - Time Is The Key, Jethro Tull - Stormwatch, Slade - Alive. Eagles inc On The Border, Their Greatest Hits, The Best Of. Meat Loaf (x5), Ten Years After, Steve MMiller Band, Jefferson Starship, Creedence Clearwater Revival, Hudson Ford, Rogue. Condition is generally Ex to Ex+.
Lot 1071
THE ROLLING STONES - CD COLLECTION. An extensive collection of around 200 CDs by The Rolling Stones. Titles include Half Stoned, Miss Stone, Interviewed, Ultra Rare Trax, Stone Free, Rock And Roll Circus, Get Your Leeds Lungs Out, Rough Dirty And Irresistible, Cocaine On A Dentist Chair, Happy Birthday Nicky, Ten Licks From Forty Licks, Jukebox, Having A Laugh In Brixton, The Best Of Knebworth, Stripped Companion, Rarities, Early Stitches, Still Life, Beggars Banquet, Flowers, Through The Past Darkly, Exil Aux Abattoirs, Toad's Place, From Now To Then, Ex Stone, Aftermath, 12x5, Tattoo You, Self-Titled, Singles Collection, Goats Head Soup, Forty Licks, Brussels Affair 1973, Bridges To Babylon. CDs appear to be in Excellent condition.
Lot 98
A collection of pictures to include a 19th century still life, oil on canvas, 28cm x 50cm, indistinctly signed, mounted in a gilded frame; a further 19th century still life of gooseberries, oil on canvas, 19cm x 25cm, mounted in a gilded gesso frame; an early 20th century village scene with a haycart signed M Morris and dated 1907, 24cm x 29cm, mounted in a gilded gesso frame; two portraits and two further picturesCondition report: At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a full condition report
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