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Click here to subscribeAntonio Matallana (Spanish, b. 1953). Oil on masonite painting titled "Pot Jaune" (Yellow Pot). Still life depicting a pocket watch, ruler, cigarette paper box, an orange box, a yellow pot, a small cup marked V.F., a pipe, a compass, and numerous matches, of which only one has not been lit. Signed along the left edge of the table. Unframed; Height: 10 3/4 in x width: 8 3/4 in. Framed; Height: 16 in x width: 14 in.
Rotislaw Racoff (Polish, 1904-1982). Oil on board painting titled "Nature morte ‡ l'intÈrieur d'une cabane de pÃcheur." In the foreground there is a still life of a rose in bloom in a glass, a green apple, and a glass jug with leaves sitting on a windowsill. A view of the countryside is seen in the background. Signed and dated 1953 along the lower left corner of the work. Unframed; Height: 13 3/4 in x width: 10 3/4 in. Framed; Height: 18 1/2 in x width: 15 1/2 in.
* FRANCIS PATRICK MARTIN (SCOTTISH 1883 - 1966),OFF THE SCOTTISH COAST oil on canvas, signedimage size 75cm x 100cm, overall size 94cm x 118cm Framed.Note: Born in Anstruther, Franc P Martin studied at the Glasgow School of Art under David Forrester Wilson, 1919 -20. A painter of landscapes, genre subjects and still life in oil and watercolour, he frequently exhibited at the Royal Glasgow Institute, Royal Scottish Academy and Walker Art Gallery, Liverpool. He was also commissioned to produce a number of celebrated posters for the Post Office. He was elected President of The Glasgow Art Club and Secretary of the Royal Glasgow Institute.Condition report: Condition is very good overall, with no visible signs of restoration, damage, or known issues.
* MADELINE RACHEL WELLS RBA (BRITISH 1879 - 1959),THE PALACE OF THE POPES, AVIGNON (PALAIS DES PAPES, AVIGNON)watercolour on paper, signed, titled label image size 50cm x 65cm, overall size 85cm x 100cm Mounted, framed and under glass.Note: Born in India, Madeline Wells studied at Westminster Art School under William Mouat Loudan (1868 - 1925), and at the London School of Art under Sir Frank Brangwyn. She married the artist Robert Douglas Wells, who specialised in landscape and still life painting. They lived in London at St. Albans Studios in Kensington. Madeline Wells became a member of the Royal Society of British Artists in 1915 and was elected a member of the Society of Women Artists in 1923. She exhibited widely over a period of more than thirty years at prestigious venues including The Grosvenor Gallery (London), the Royal Academy and the Walker Art Gallery in Liverpool. Examples of Madeline Wells paintings rarely appear at auction but Christie's (London) sold "Labours of the Vine" by her on 18th November 2015 (lot 413) for £6250 (premium).Listed as a World Heritage Site by Unesco, the Popes' Palace is one of the 10 most visited monuments in France with 650,000 visitors per year. A true symbol of the influence of Western Christianity in the 14th century, this 15,000m2 masterpiece of a monument is the largest medieval fortress and biggest gothic palace of Europe. Built in less then 20 years starting in 1335, the Popes' Palace is the amalgamation of two palaces built by two popes: Benedict XII, who built the Old Palace to the east and north, and his successor Clement VI who built the New Palace to the south and west. In the 14th century, the Popes' Palace was occupied by 7 popes and 2 popes of the Papal Schism before the return of the papacy to Rome. Occupied by the Legates and Vice-Legates starting in the 15th century then transformed into a garrison until 1906, it has undergone various restoration work since. Most recently, the Trouillas Tower has regained its past appearance. The tower houses the 11 stories of the Departmental Archives and its height of 52 metres makes you dizzy as you look up at it from the terrace of the Utopia Manutention Cinema. Offering countless and incomparable riches, as much architectural as pictorial, the Palace plunges visitors into the heart of the splendour of the papal court. A good hour is needed to discover the more than 25 rooms open to the public: the ceremonial halls, the courtroom, the consistory, the chapels with their magnificent frescoes by the famous painter Matteo Giovanetti and the popes' private apartments.
A Yellow-glazed incised 'Dragon' bowlTongzhi six-character mark and of the periodThe rounded sides rising from a short straight foot to a slightly everted rim, incised around the exterior with two five-clawed dragons chasing flaming pearls amidst wisps and billowing waves, applied overall with a rich egg-yolk-yellow glaze, the base glazed white. 14.3cm (5 5/8in) diam.Footnotes:清同治 黃釉刻雲龍戲珠紋盌 青花「大清同治年製」楷書款Provenance: Douglas R.A. Spankie (1929–1974), British First Secretary and Acting Consul-General, Shanghai (1962-1964), acquired during his service in Shanghai, and thence by descent來源：道格拉斯·史本基（1929–1974），1962-1964年任英國駐上海一等秘書及代理總領事，於其任內購自上海，並由後人保存迄今Douglas Spankie was one of an unusual and privileged group of British diplomats who served Her Majesty's Government in China between the time when the Shanghai Consulate was officially closed in 1949, and when it formally reopened in 1985. Based in the diplomatic compound in Shanghai, during his tour he was able to collect a small but interesting group of paintings and works of art. He and his young family were permitted to visit other parts of China; his daughters remember travelling to Beijing to visit the Forbidden City, and attracting great interest from the residents. The girls learned to speak fluent Chinese, the Shanghai dialect, while Spankie spoke Mandarin.Spankie was born in 1929 and posted to Shanghai in 1962. Returning to the UK in 1964, he just missed the extreme violence of the Cultural Revolution. During his tour, he was lucky enough to be able to share in the (admittedly restricted) social and cultural life of Shanghai, even though many of his diplomatic functions were exercised through Scandinavian diplomatic intermediaries since the UK Consulate had no formal position in the PRC. Nevertheless, some of the old pre-Revolution diplomatic niceties were still observed. Low-key celebrations to mark the Queen's Birthday attracted Chinese government attendees and there was a vibrant social life for the Western diplomatic community. Sadly, Douglas Spankie died from cancer at the very young age of 45, before his considerable talents as a diplomat could be redeployed into a full ambassadorial posting after he completed his tour in China. Compare with a very similar pair of yellow-glazed incised 'dragon' bowls, Tongzhi six-character marks and of the period, which was sold at Bonhams London, 10 November 2016, lot 22.For further information on this lot please visit Bonhams.com
AN EXCEPTIONALLY RARE IMPERIAL INSCRIBED TWO-COLOUR CINNABAR LACQUER CARVED BRUSHPOT, BITONGQianlong seal mark and of the periodExpertly carved around the exterior in relief with an Imperial poem in kaishu script titled Xiao yuan xian yong wu shou ('Five verses from the small leisure orchard') in red, on a black square diaper-pattern ground, the rounded rim carved with a zigzag floral design, all supported on a stepped base decorated with black floral honeycomb diaper-ground, raised on five ruyi-shaped carved red lacquer framed feet, the interior and base black lacquered. 12.2cm (4 3/4in) high.Footnotes:清乾隆 御製剔紅「小園閒詠五首」御題詩筆筒「乾隆御製」款 「乾」「隆」印Provenance:Spink & Son Ltd., LondonMrs G. N. Parry (1923-2013), London, acquired from the above on 29 April 1961, and thence by descent來源：倫敦古董商Spink & Son Ltd.倫敦G. N. Parry夫人（1923-2013）舊藏，於1961年4月29日購自上者，並由後人保存迄今Finely carved lacquer brushpots with Imperial poems carved in elegant kaishu script, such as the present example, are very rare, but two examples from the Qing Court Collection, in the Palace Museum, Beijing have been published. The first brushpot, nearly identical to the present lot, is illustrated in The Complete Collection of Treasures of the Palace Museum: Lacquer Wares of the Qing Dynasty, Hong Kong, 2006, pl.32. The second example is illustrated in 200 Objects You Should Know: Carved Lacquer Ware, Beijing, 2008, pl.162. A third example, a closely-related but slightly smaller carved two-colour lacquer brushpot with the same poem, Qianlong seal mark and period, is illustrated by S.Marsh, Brushpots: A Collector's View, Barcelona, 2020, p.80. Only one other very similar example appears to have been sold at auction. Compare with a carved cinnabar lacquer brushpot, with the same poem, Qianlong seal mark and of the period, but with a red colour foot and no key-fret border, which was sold at Sotheby's Hong Kong, 10 April 2006, lot 1526.All the brushpots mentioned above have subtle variations in their design. It has been suggested that these differences are due to having been produced over a period of time; see S.Marsh, ibid.,, p.80. However, only the present lot has the exquisite carving on the mouth rim of a zigzag diaper-pattern, while sharing with one of the two Beijing Palace Museum brushpots the same colour and shaped foot.The poem adorning the present brushpot, entitled 'Five verses from the small leisure orchard' Xiao Yuan Yong Wu shou, was composed by the Qianlong Emperor himself and is recorded in the Anthology of Qianlong Poems Qing Gaozong Yushi Wen Quanji. Le Shan Tang Ding Ben, chapter 27, p.5, which may be translated as:'Five Verses from the small leisure orchard'1In the autumn lake the fish timidly near the bait, such are the affairs of rod and hook. Above the green waters a bamboo rod, a clear breeze rustles the collar of the palm-bark rain cape. The grassy reeds of the outskirt, among the moon and stars. Returning home along in the still night, along the mossy clear path. 2Taking the pine as my home, seeing home where the crane guards the gate. Knowing people and visiting guests, deserve fine grain from the paddies. The ancient spirit of the moon staying the night, the combing breeze through manifold feathers. Up to now, fine servant boys, need not be expensive and lofty. 3How much do you understand the colours of autumn? the reeds and flowers are all now white. The battling wind shakes the moorside at sunset, drinking the dew on the cold isle. Life and vitality knows to be thankful, and not willing to stop anytime. In the vast smoky water, it is best to go by a flat boat.4The pavilion across the river, connected by a bridge. Old autumn with jaded white sky, the red maples in the cold current. Rolling curtains of willow to the night moon, walking in the wind and frost. How I love this path, crossing the water east. 5Of the flowers and trees of the four seasons, my favourite in the garden is the plum blossom. Refusing to yield to the snow, in the breeze several flowers have blossomed. The pure fragrance wafts to the bones, cold and moist with icy cheeks. Alone, the secluded person can appreciate it, inspecting the branches. The poems were written by Prince Hongli, before he became the Qianlong Emperor, and were originally published in the Yuzhi Leshan Tang Quanji. The Leshan Tang was within the Palace where the Qianlong Emperor lived as a Prince, and these poems were published in the second year of his reign. It could be said that the Qianlong Emperor was nostalgic about his earlier time in this palace before he became Emperor, and so wanted brushpots carved with this particular poem. We enter the private realm of the Qianlong Emperor - firstly, through the poem, in his small garden rather than on an ostentatious grand tour, and secondly, through the brushpot, with him seated at his scholar's desk. Although brushpots with calligraphy can be found from earlier reigns, such as the Kangxi period, it was only during the Qianlong period that a brushpot is decorated with the Emperor's own poem. This can be taken as a sign of the Qianlong Emperor's confidence in poetry and classical Chinese literature and furtherance of his image as an accomplished scholar. Indeed, the Qianlong Emperor was a prolific poet and composed thousands of poems that, taken together, construct an image of the Emperor as a wise, erudite yet sensitive ruler. As a Manchu, he was still very much conscious of his perceived 'foreignness' by the Han Chinese elite. His sensitivity to the issue resulted in both a sorcery scare in 1768: a hunt for perceived sorcerers cutting off the Manchu prescribed queues, and literary inquisitions that sought to censor and destroy any text that he considered insulting to the Manchu. See P.A.Kuhn, The Chinese Sorcery Scare of 1768, New Haven, 2009. The Qianlong Emperor's concerns however, had a positive side too, propelling him to forge an identity, given that he was not entirely Han Chinese, to became the custodian, protector and benefactor of that culture. As such, the Qianlong Emperor aimed to show himself as worthy of any educated Han Chinese literatus: learned in the classics and the arts of painting and calligraphy. He therefore surrounded himself with the accoutrements of the scholar, such as brushpots, embellished with his own poems in fine calligraphy. In this series of poems carved on the present brushpot, the description of beautiful scenery and nature parallels the harmony and beauty of a world under his dynasty's rule. Brushpots with these poems, such as the present lot, would instill in the writer the erudition of the Emperor, and similar poems were inscribed on other brushpots in different mediums. See for example, the same poem on an underglaze red and white brushpot, Qianlong, illustrated in Sun Yingzhou de taoci shijie, Beijing, 2003, p.262, no.161.圓口直筒，筒身微斂，筒內髹黑漆，口沿飾紅邊，底部剔紅鐫出回紋一匝，下承四足錦地基座。器身外壁於深色回紋錦地上作剔紅雕刻乾隆... For further information on this lot please visit Bonhams.com
A GROUP OF THREE SATSUMA VESSELSBy Ryozan and Ryokozan, Meiji PeriodComprising: a waisted tripod koro with figures on a riverbank and a still life group, all on a millefleurs ground, metal cover; an ovoid jarlet and cover with figural panels; and a slender baluster vase with ladies and children on a shore.The tallest 12cm (4 3/4in) high (5).For further information on this lot please visit Bonhams.com
JOHN JAMES HAMER (1867-1944), a collection of approximately forty watercolour paintings, to include landscapes and still life studies, some signed with biography and titles label verso, all framed, some glass broken or missing, sizes approximately 13cm x 18cm to 26cm x 36cm, Hamer was headmaster of the School of Art at Huddersfield Technical College 1906-1932
A COLLECTION OF PAINTINGS, comprising a still life oil on canvas of cherries in a wicker basket, indistinctly signed and dated 1911, size approximately 29cm x 19cm, a Michael Crawley watercolour of Longford hall, W.E.J Dean sepia watercolour of sailing boats, unsigned watercolour of a house and church beside a pond, watercolour river landscape unsigned, watercolours of Magnolias and a German scene (7)
CHRISTOPHER HUGHS (BRITISH CONTEMPORARY), a still life of fruits, signed bottom right, oil on canvas, approximate size 28cm x 39cm, together with a signed David Shepherd print of Shetland ponies, signed Alan Ingham print depicting a pastoral farmyard scene and two picture frames (Hughs was a painter for Royal Worcester)
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