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Lot 1643
EBERHARD. E. (Maler/in 19./20. Jh.), "Stillleben mit drei Chrysanthemen in Glasvase", u.re. Ritzsign. u. -dat. 1913, Öl/Malkarton, oval, HxB: ca. 47x34 cm (52x39 cm mit Rahmen). Wenige äu. min. Farbabplatzer. Mit Rahmen. Leichte Alters- u. Beriebspuren. Verso Etikett: Kunsthandlung Chr. Bühler, Stuttgart mit Bez.. | EBERHARD. E. (19th/20th century painter), "Still life with three chrysanthemums in glass vase", signed and dated 1913, oil / cardboard box, oval, HxW: ca. 47 x 34 cm (52 x 39 cm with frame). Few minor chips of color. Framed. Minor signs of age and abrasion. Verso label: Kunsthandlung Chr. Bühler, Stuttgart.
Lot 2140
M*** Worsley (British, 20th Century) (6)Still life of flowerssigned 'M Worsley' (lower left)watercolour26.5cm; 29cmtogether with a pair of watercolour signed 'G Prowse', one of an interior scene, the other of a house garden, each 22 x 30cm; an indisticntly signed watercolour of am arch in a garden; and a pair of prints of tulipsThe two tulip picture are both modern
Lot 35
Franco (Pierre) Petit traité, contenant une des parties principales de chirurgie, laquelle les chirurgiens hernieres exercent, ainsi quil montre en la page suivante, first edition, collation: A-I8 (G³ mislabelled H³), woodcut illustrations, manuscript date to title, title holed and repaired, very slightly affecting woodcut device, contemporary ink ownership names to front free endpaper and title, second neatly crossed out, corner torn from G² just touching text, small modern biro mark to rear pastedown, contemporary limp vellum, lightly marked, spine discoloured with tiny hole, still overall a very clean and fresh copy, 8vo (160 x 103mm), housed in custom morocco box, Lyon, Antoine Vincent, [1556].⁂ Pierre Franco, creator of the suprapubic lithotomy cataract operation and the surgical repair of hernia, is considered to be one of the greatest surgeons of the Renaissance and a forerunner of urology. This work is absent from many major medical collections which regard the expanded second edition of 1561 as the first, yet this edition includes the first recorded description of an operation for strangulated hernia, and so marks itself as a milestone in Renaissance surgical practice. Franco was hugely influential by lauding open operations, and wanted to return them to the realm of regular surgical practice, rather than allowing itinerant practitioners known as 'inciseurs' or 'cutters' to attempt untrained procedures. The treatment of cleft lips amounts to four chapters, in which he recommends that after two days the eschar must be loosened with fresh butter before suturing. Franco also describes in minute detail the technique of radical operation for inguinal hernia. Like all who preceded him after the time of Celsus (except William of Salicet), he would remove the testicle as part of the usual procedure. Yet for patients with one testis he later devised an operation in which the organ was spared, and this life-saving procedure became part of the surgical armamentarium. Though a contemporary of Ambroise Paré, Franco is often neglected from the medical history canon, yet Paré's first book, his Dix Livres de Chirurgie, 1564, plagiarises much of Franco's work on lithotomy and cystostomy, which Paré only later acknowledged in 1575. No other copies listed on ABPC/RBH, and we know of no other copy having appeared in commerce. OCLC list copies in US at Chicago, Harvard, Mayo Clinic, Minnesota and NLM.Provenace: signature of F. Athenosiis on title and P. Guisonii to endpaper, from the library of Jean Blondelet.
Lot 261
Arthur Wardle (British 1864-1949)An Idyll of Summer Oil on canvasSigned (lower right), numbered 329 (verso)108 x 153cm (42½ x 60 in.)Exhibited:London, Royal Academy, 1900, no. 329 Illustrated:Royal Academy Pictures, 1900, p. 15 Arthur Wardle was one of the most highly regarded and versatile animal painters of the late nineteenth and early twentieth century. He exhibited at the Royal Academy for over fifty-five years and showed An Idyll of Summer in 1900 when he was thirty five. Many of his works show animals, mostly dogs, in their natural environments, but a number of his pictures, including many of his most important exhibition pieces, include humans, such as his 1895 Royal Academy exhibit A Fairy Tale, (Christie's 11 July 2013, lot 4, £337,875). He was an academic artist by temperament and he would have been very conscious of the tradition of a hierarchy of subjects, 'history painting' representing the highest form of artistic expression followed by portraiture, genre, landscape, animal painting and still life. By making animals the protagonists of 'historical' subjects he was having the best of both worlds, claiming the pictorial high ground while remaining true to his field of expertise. Occasionally he would attempt a classical theme, 'history' in its purest form. More often Wardle opted for inventions of his own such as An Idyll of Summer which, while being a bucolic celebration of youth, may also allude to the mythological figure of Cygnus, who appeared in many myths, most of which led to his transformation into a swan. Wardle may be thinking of either Cygnus, the handsome son of Apollo who, together with his mother Thyrie, was transformed into a swan, or possibly Cygnus son of Poseidon. In this tale, he was abandoned on a beach as a baby and subsequently rescued by fishermen who, inspired by a flock of swans flying overhead and his pale complexion, called him Cygnus. He would go on to gain a reputation as a warrior during the Trojan Wars and on his death Poseidon transformed him into a swan.Condition Report: Relined. A few areas of concentrated craquelure, scattered throughout. There appears to be an L-shaped area of repair approx. 7cm long in the upper left quadrant. One or two smudge marks to the outer edges. There is a small area of loss, approx. 2mm below the boy's left foot in the reeds. One or two spots of surface dirt scattered throughout. Inspection under UV reveals retouching to the repaired area, previously mentioned and also to the lower right corner. The presence of a green masking varnish may be concealing evidence of further retouching or repair. The work is overall in good condition ready to hang. Condition Report Disclaimer
Lot 364
Attributed to Stephen Elmer (British 1717-1796)Still life with dead gameOil on canvasBears signature and date (lower left)73 x 92cm (28½ x 36 in.)UnframedCondition Report: The canvas has been relined. There is a horizontal tear in the upper left corner (approx. 10cm) with some associated flacking, although the canvas has not been punctured. Losses and abrasions to the edges. Inspection under UV reveals some fluorescence of the signature. There is some evidence of retouching although this is hard to read as there is a heavy masking varnish.Condition Report Disclaimer
Lot 375
Thomas Ellis (British exh.1842-1856) Still life with roses and raspberriesOil on canvasSigned with monogram lower centre61 x 52cm (24 x 20¼ in.)Condition Report: The canvas has been relined. The paint is wearing thin in places and there is retouching to the outer edges visible in natural light. There is rubbing to the framed edges. Ultraviolet light reveals heightening and possible alteration to the monogram and scattered retouching throughout, notably to the lower quadrant.Condition Report Disclaimer
Lot 377
Oliver Clare (British 1853-1927)Still life with grapes and fruit on a bankOil on boardSigned (lower right)24.5 x 32cm (9½ x 12½ in.)Provenance:Beaton Brown Fine Paintings, LondonCondition Report: This work appears to be in good original condition and is ready to hang. Condition Report Disclaimer
Lot 378
Oliver Clare (British 1853-1927)Still life with grapes and gooseberriesOil on boardSigned (lower right)17 x 24cm (6½ x 9¼ in.)Condition Report: Very light craquelure and surface scratches can be seen in a natural light. Otherwise the work appears to be in good original condition and the work is ready to hang. Condition Report Disclaimer
Lot 291
§ Kate Chapman (British 1912-2000)Still life of a melon in a bowl signed 'katie Chapman' (lower right) oil on board, mounted on board, unframed 36 x 27cmFootnote: Dark, industrial valleys and lines of terraced houses stretching into the distance, George Chapman’s paintings are unmistakable. The work of his wife, Kate, however, is largely unknown and has been sadly neglected. It was in 1946, whilst studying at the Norwich School of Art, that Kate Chapman (née Ablett) met her future husband. After marrying in 1947, Kate dedicated herself to her husband’s burgeoning career and her rapidly growing family. Although she had abandoned any aspirations of pursuing a career as an artist, she continued to paint, often using George’s discarded canvases, with her favoured subjects including rural landscapes, portraits of the couple’s three children and scenes of domestic life. The antithesis of her husband’s characteristically brooding style, Kate Chapman’s work is defined through her use of bold, joyful colours and her naïve treatment of scale and perspective. As more works surface, Kate will no doubt emerge as Kate Chapman the artist, rather than Kate Chapman the wife.
Lot 13
After Jean-Baptise Monnoyer (1636-1699) Franco-Flemish, still life with mixed flowers in a bronze urn, oil on canvas, 83 cm x 62.5 cm in a giltwood frame.Condition report: The painting has been re-lined and maybe re- varnished at some time during the 20th centuryI can not see any evidence of old patches or repairs to the paintworkI have used a UV light to view the canvas, this picks out foliage and details almost invisible to natural light.The painting came from an established private Oxfordshire/Cotswolds collection of items that were being sold as the owner had moved into a nursing home and the very large family home was being cleared..I hope the above helps
Lot 14
Paul de Longpré (1855-1911) French, a still life study of flowers (poppies and daisies), with attendant honey bees, watercolour, signed and dated 1898, 75 cm x 41 cm, glazed in a wooden frame.Footnote: Provenance: From a private Hertfordshire collection, no written history present.Condition report: Possibly a little faded from the original condition, otherwise good.
Lot 48
Late 19th or early 20th century school, a large and vibrant still life study of flowers in an urn, a bird's nest with eggs to the foreground, unsigned oil on canvas, 75 cm x 62 cm in a walnut veneer and gilt frame.Condition report: Painting has been re-lined and possibly varnished, but is in good, clean condition.
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77111 item(s)/page