WILLEM CLAESZ. HEDA (UMKREIS)(um 1594 Haarlem um 1682)Stillleben mit Römerglas, Zitrone und Oliven sowie einer Taschenuhr auf einem Zinnteller.Öl auf Holz.38,5 × 55,5 cm.Provenienz:Schweizer Privatbesitz.Dr. Fred G. Meijer identifiziert dieses Bankettstillleben anhand einer Abbildung und wofür wir danken, als eine Arbeit, die im Einfluss von Willem Claesz. Heda um ca. 1630 in Haarlem entstanden ist. Die Komposition lässt sich mit dem signierten und 1630 datierten Stillleben von Willem Claesz. Heda, heute in einer Privatsammlung, vergleichen (siehe RKD Nr. 220449). Als mögliche Autoren können Hans van Sant (um 1631–1652) oder Pieter van Berendrecht (1616–1662) genannt werden. Circle of WILLEM CLAESZ. HEDA(c. 1594 Haarlem c. 1682)Still life with rummer, lemon and olives, as well as a pocket watch on a pewter plate.Oil on panel.38.5 × 55.5 cm.Provenance:Swiss private collection.Our thanks to Dr. Fred G. Meijer who, having viewed an illustration of the work, has identified this still life as having been influenced by Willem Claesz. Heda and produced in Haarlem circa 1630.
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JOHANNES HANNOT(1633 Leiden 1684)Stillleben mit Zitrusfrüchten, Austern und Hummer.Öl auf Leinwand.Rechts auf der Steinplinthe schwer leserlich monogrammiert: J. (H).86 × 71 cm.Provenienz:- Privatsammlung Niederlande bis 2003.- Kunsthandel Peter de Boer, Amsterdam (verso Etikett).- Europäischer Privatbesitz.Johannes Hannot spezialisierte sich auf Stillleben, vorwiegend mit Früchten, und arbeitete zeit seines Lebens in Leiden. Er war auch als Weinhändler tätig. Seine Stillleben errinnern stark an Jan Davidsz. de Heem (1606–1683). Sein erstes datiertes Stillleben stammt von 1654. Das hier angebotene Stillleben ist im RKD, Den Haag als ein eigenhändiges Werk von Johannes Hannot archiviert. JOHANNES HANNOT(1633 Leiden 1684)Still life with citrus fruits, oysters and lobster.Oil on canvas.Barely legibly monogrammed to the right on the stone plinth: J. (H).86 × 71 cm.Provenance:- Private collection, The Netherlands until 2003.- Art trade, Peter de Boer, Amsterdam (label verso).- European private collection.This still life is archived at the RKD, The Hague, as by the hand of Johannes Hannot.
ANNE VALLAYER-COSTER(1744 Paris 1818)Stillleben mit Pfirsichen, Pflaumen in einem Flechtkorb und einem Schinken. Um 1763–1765.Öl auf Leinwand.Unten rechts signiert und schwer leserlich datiert: Melle Vallayer 17(63).54,8 × 77,4 cm.Provenienz:Privatsammlung, Basel.Ausstellung:Washington 2002/Dallas 2002–2003/New York 2003, Anne Vallayer-Coster. Painter to the Court of Marie-Antoinette, National Gallery of Art, Washington D. C., 30.6.–22.9.2002/Dallas Museum of Art, 13.10.2002–5.1.2003/The Frick Collection, New York, 21.1.–23.3.2003, Nr. 1.Literatur: Eik Kahng und Marianne Roland Michel: Anne Vallayer-Coster. Painter to the Court of Marie-Antoinette, New Haven/London 2002, S. 41, Kat.-Nr. 1, Abb. 5.Das hier angebotene Gemälde aus langjährigem Basler Privatbesitz ist eines der frühesten bekannten Werke der Künstlerin Anne Vallayer-Coster, deren Stil sich in ihren frühen Jahren an das Œuvre des berühmten Stilllebenmalers Jean Siméon Chardin (1699–1779) anlehnt. Als Tochter eines Goldschmieds und einer Miniaturmalerin wurde Vallayer-Coster bereits mit 26 Jahren als eine von wenigen Frauen 1770 in der prestigeträchtigen Académie royale de peinture et de sculpture aufgenommen und wurde unter anderem von Denis Diderot (1713–1784) und der französischen Bourgeoisie als Ausnahmekünstlerin gefeiert. Wenige Jahre später, um 1784, galt sie als renommierteste Stilllebenmalerin Frankreichs. Sie studierte vermutlich in jungen Jahren unter dem berühmten Landschaftsmaler Claude Joseph Vernet (1714–1789) und spezialisierte sich auf Stilllebendarstellungen, später insbesondere auf Blumenbouquets. Zu ihren Auftraggebern zählten unter anderem Königin Marie-Antoinette (1755–1793) und Prinz de Conti (1717–1776), einer der wichtigsten Sammler der zweiten Hälfte des 18. Jahrhunderts, sowie Kaiserin Josephine de Beauharnais (1763–1814) im Anschluss an die Französische Revolution.Bei dem angebotenen Küchenstillleben, das Vallayer-Coster als knapp 20-Jährige malte, wird die schnelle und spontane Malweise ihres Frühwerks deutlich, die von einer monochromen Farbpalette geprägt ist. Letztere, sowie die Auswahl der dargestellten Objekte – Pfirsiche, ein Pflaumenkorb, ein Schinken auf einem Steinteller und ein Krug auf einem Tisch – sind offensichtlich an Chardins charakteristischen Beobachtungen des täglichen Lebens angelehnt, so beispielsweise seine "Fastenmahlzeit“ von 1731, die sich im Musée du Louvre befindet (Inv.-Nr. 3205, Öl auf Leinwand, 33 × 41 cm).Das kürzlich in einer Basler Privatsammlung wiederentdeckte Stillleben stellt eine bedeutende Ergänzung im Œuvre von Anne Vallayer-Coster dar und steht als Frühwerk exemplarisch für die stilistische Entwicklung einer der bedeutendsten Malerinnen des 18. Jahrhunderts. ANNE VALLAYER-COSTER(1744 Paris 1818)Still life with peaches and plums in a basket, and a ham. Circa 1763–1765.Oil on canvas.Signed lower right and barely legibly dated: Melle Vallayer 17(63).54.8 × 77.4 cm.Provenance:Private collection, Basel.Exhibited:Washington 2002/Dallas 2002–2003/New York 2003: Anne Vallayer-Coster. Painter to the Court of Marie-Antoinette, National Gallery of Art, Washington D. C., 30.6.–22.9.2002/Dallas Museum of Art, 13.10.2002–5.1.2003/The Frick Collection, New York, 21.1.–23.3.2003, no. 1.Literature: Eik Kahng und Marianne Roland Michel: Anne Vallayer-Coster. Painter to the Court of Marie-Antoinette, New Haven/London 2002, cat. no.1, fig. 5, p. 41.
A genuine, ex-Camel Trophy, Defender that has enjoyed a busy life.This diesel Defender 110, was 1 of 27 units built by Land Rover's Special Vehicles Division for the 1998 Tierra Del Fuego Camel Trophy, which saw vehicles and competitors cover 6,000 – 8,000km from Santiago to UshuaiaR158 CDU, still finished in its distinctive Sandglow, was the support vehicle for the Netherlands National Team entered by Rob Visser and Joost StandtLots of off-road equipment, including the unique Safety Devices internal/external roll cage, Brownchurch roof-rack, snorkel and winchUsed by Kings School Canterbury Rowing Club from 2000 - 2013 as a working vehicle and, pleasingly, they left the original period decals from the Camel Trophy sponsors in placeAfter a busy life, CDU has been taking a well-earned rest in a private collection for the past eight yearsComplete with MOT valid until August 2022. 179,849 miles from new and ready for a few moreSpecificationMake: LAND ROVERModel: DEFENDER 110Year: 1998Chassis Number: SALLDHM67WA140806Transmission: ManualEngine Number: 23L31558BDrive Side: Right-hand DriveOdometer Reading: 179849 MilesMake: RHDInterior Colour: GreyClick here for more details, condition report and images
ETHELWYN SHIEL 'Still life of Poppies', in a bowl with fritillary butterfly, oil on canvas, signed and dated 1987, 40cm x 50cm, in a mahogany finished frame with gilt slip, together with a similar still life of late spring and early summer flowers in a bowl with a Chalkhill Blue butterfly, 75cm x 60cm in a gilt decorated frame (2)Condition report –Both by the same artist, both oil on canvas.
BRIAN DAVIES; oil on canvas, still life study of grapes, peach and etched glass on a shelf, signed, bears Gramby Gallery of Bakewell label verso, 25 x 35cm, framed. (D)Additional InformationBasically in good condition.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
ATTRIBUTED TO GEORGE AUGUSTUS HOLMES R.B.A (fl. 1852-1911) oil on canvas - still life of primroses and violets in a vase, inscribed in pencil to the stretcher, 'Primroses 1868, Geo. A. Holmes', 38 x 30cms (oval) Provenance: Pembrokeshire deceased estate. Auctioneer's Note: George Holmes mainly painted genre scenes depicting everyday rural life of farm labourers, cottage interiors etc. Still lives were not his mainstream, but we can compare this composition to a very similar work depicting a child smelling the scent of a vase of primroses and violets entitled with four line stanza: 'But they who come mid frost and flood, Peeping from bank, or root of tree, The primrose and the violet-bud, They are the dearest flowers to me.' This latter work, also painted in an oval format and similarly dated 1868, features a white porcelain vase with a near identical composition of flowers, and was sold at Christie's South Kensington in 2002. Our work is unsigned on the canvas (he usually signs with initials) and may be a preliminary study for the Christie's larger (45 x 56cms) work. Presentation & Condition: framed in a period, but replacement, gilt composition frame with original slip, glazed. Frame bears paper label inscribed 'Ed. Holmes...'. Back has paper removed, paint beginning to crack at the base around the foot of the vase
LÉONARD TSUGUHARU FOUJITA (1886-1968)Nature morte à la couture signed and dated 'Foujita, 1929' and further signed in Japanese (lower left)oil on canvas16.3 x 22cm (6 7/16 x 8 11/16in).Painted in 1929Footnotes:The authenticity of this work has kindly been confirmed by Madame Sylvie Buisson. This work will be included in Vol. IV of the Léonard Tsuguharu Foujita catalogue raisonné currently being prepared.ProvenanceGalerie Colette Weil, Paris. Private collection, France (acquired from the above in 1929).Thence by descent to the present owners.ExhibitedParis, Musée Maillol, Foujita, peindre dans les années folles, 7 March – 15 July 2018, no. 101.During les Années folles in Paris, there were many colourful figures who lead the avant-garde artistic scenes of Montmartre and Montparnasse, but few as flamboyant and recognisable as Léonard Tsuguharu Foujita. Arriving from Japan just before the First World War, Foujita threw himself into the fashionable circles of Parisian life throughout the twenties, and became known for his unique dress sense as well as for his ethereal and other-worldly canvases. Foujita designed and made his own clothes, and would often be spotted at Brasserie La Coupole with his fellow artist Kawashima in matching couture. Foujita famously stayed up all night creating a beautiful blue silk blouse for the artist and model Fernande Barrey: his creation won the affections of the beautiful Barrey, who he would go on to marry. Painted the year after their divorce, Foujita here depicts the tools of his passion for dress-making: the buttons, threads, scissors and thimble. They are displayed with a solemn contemplation, not just scattered tools but holy relics. Foujita imbues the objects with a loftiness worthy of the traditional subjects of still-life painting, like freshly cut flowers or abundant fruits. He communicates clearly his affection for the collection of precious sewing implements, enveloping them in the same careful grey and black sfumato that the artist used at this time for his monumental nudes.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
PIERRE-AUGUSTE RENOIR (1841-1919)Paysage (Repos sous l'arbre, Cagnes-Sur-Mer) signed 'Renoir' (lower right) oil on canvas32.1 x 41.2cm (12 5/8 x 16 1/4in).Painted circa 1910Footnotes:This work will be included in the forthcoming Pierre-Auguste Renoir Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc.ProvenanceAmbroise Vollard Collection, Paris (acquired directly from the artist before 1919).Private collection; their sale, Piasa, Paris, 27 June 2007, lot 11.Private collection, Portugal (acquired at the above sale).Thence by descent to the present owners.ExhibitedMarseilles, Musée Cantini, Renoir, Peintre et Sculpteur, 8 June - 15 September 1963, no. 27.LiteratureA. Vollard, Pierre-Auguste Renoir, Paintings, Pastels and Drawings, San Francisco, 1989, no. 702 (illustrated p. 176)G-P. & M. Dauberville, Renoir, catalogue raisonné des tableaux, pastels et aquarelles, Vol. IV, 1903-1910, Paris, 2012, no. 2931 (illustrated p. 150).Painted around 1910, the present work issues from a time of great success for the mature Renoir, who by the early twentieth century was firmly established as one of the leading artists of the Impressionist movement. Paysage (Repos sous l'arbre, Cagnes-Sur-Mer) depicts the countryside around Les Collettes, the farm the artist and his family moved to in search of a warmer climate, and upon the advice of his doctor to aid the rheumatism which had struck at the height of his career. Located on the hillside overlooking the medieval town of Cagnes on the Mediterranean coast, Renoir was so captivated by Les Collettes' rural nature that he left the original buildings untouched and instead built a new house and studio in the grounds for his family to move into in 1908.Renoir's interest in the landscape genre was reignited by the lush coastal landscape which became a rich source of inspiration, with his vibrant depictions of the olive groves, sun-drenched garden and endless blue skies hailed as amongst the most radiant of his oeuvre. The strong Mediterranean sunlight encouraged Renoir to brighten his already vivid palette and led to an increasing use of red and umber in all its nuances to capture the ruddy Provencal earth. The scarlet of the figure's skirts in the present work is answered in the red tree trunk behind her and the warm glow the sun casts on her face, while the cool blue shadows of her blouse echo the arching sky overhead. The trees around her softly curve inwards, acting as a framing device and reinforcing the sense of the figure's gentle absorption into the landscape around her. The burnt ground, verdant greens and brilliant blue sky of a Mediterranean summer can be felt in the composition, whose whole appears enveloped in a warm golden tone, perhaps denoting late afternoon and a time for repose. In capturing a moment of everyday life, the artist seeks to ennoble and elevate it: 'I love painting that has something of the eternal...but unspoken; an eternity of the everyday, captured on the nearest street corner; the maid stops cleaning her pots for a moment and suddenly becomes Juno on Mount Olympus!' (G. Adriani, Renoir, Cologne, 1999, p. 43). Renoir typically eschewed black as a colour and instead, as beautifully illustrated in the present work, modelled shadows with emerald greens and deep russets, allowing the eye to dance across the composition uninterrupted. Albert André described the artist's practice thus: 'He prepares areas of the canvas that will be luminous by applying pure white directly onto the canvas. He reinforces shadows and half-tints in the same manner. He almost never mixes the colors on his palette, which is covered with oily squiggles of almost pure tones' (Albert André quoted in A. Wofsy, Renoir's Atelier, San Francisco, 1989, foreword). A sense of continual movement is further evoked in the composition through Renoir's bold, loose brushwork, whereby the ground is enlivened just as much as the trees with their wonderful impasto. Despite this modern approach to colour and brushwork, Renoir would remain somewhat apart from his Impressionist contemporaries who painted the modern world as they saw it, unembellished and un-idealised. Renoir's oeuvre maintained a distance from artistic doctrine, politics or the developments in photography and cinema which influenced so many others. His timeless compositions offered a refuge from the contemporary world and indeed, by the time the present work was painted, Renoir was increasingly looking back to eighteenth century classicism. Upon settling on the shores of the Mediterranean he rediscovered his love of classical antiquity, as well as his early interest in artists such as Watteau, Fragonard and Delacroix, whose works he had studied at the Louvre as a young student. Renoir told Albert André that the distant mountains at Cagnes reminded him of Watteau's backgrounds, just as the true blue of the sky recalled the velvet-like firmaments of the older master's compositions. Renoir's travels through Europe in the mid-1880s and his study of the ancient painters also had a profound effect on his work. He sought to add an increasing monumentality and delineation to the more dappled and transitory compositions which had defined his early Impressionist years and rearranged the topography of the landscape before him to instil balance and harmony. Renoir acknowledged his admiration of and debt to eighteenth century art when discussing his Cagnes landscapes with René Gimpel in 1918: 'A painter can't be great if he doesn't understand landscape. Landscape, in the past, has been a term of contempt, particularly in the eighteenth century; but still, that century that I adore did produce some landscapists. I'm one with the eighteenth century. With all modesty, I consider not only that my art descends from a Watteau, a Fragonard, a Hubert Robert, but also that I am one with them' (Renoir, exh. cat., op. cit., p. 277).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Clare (John) The Village Minstrel, and other Poems, 2 vol., half-titles, engraved portrait frontispiece (lightly spotted and offset onto title), with 4pp. publishers' catalogue at end of vol.2 but not in vol.1 and without engraved frontispiece in vol.2, vol.2 with numerous pencil annotations to lower margins, some initialled "E.L.E." (Eliza Emmerson), foxing (mostly to vol.1), near uniform original brown boards, printed paper labels (vol.1 with "second edition"), uncut, rubbed, joints worn and split, spine of vol.1 worn and chipped, for Taylor and Hessey...and E.Drury, 1821; The Shepherd's Calendar; with Village Stories, and other poems, half-title, engraved frontispiece (foxed and offset onto title), advertisement leaf at end (lacking tip of lower outer corner), occasional spotting, upper hinge broken with endpaper almost detached, original cloth-backed boards, paper label, uncut, rubbed, split to lower joint, spine worn at head, John Taylor, 1827; The Rural Muse, Poems, engraved frontispiece and vignette title (water-stained), wood-engraved illustration of the author's birthplace on p.171, advertisement leaf at end, some spots or marks, original green cloth, paper label, rubbed, upper cover damp-stained, Whittaker & Co., 1825, first editions, all with later ink stamp book-label of E.Goodfellow of Helpston to front free endpapers; and a copy of the second or third edition of Clare's Poems Descriptive of Rural Life and Scenery lacking half-title and title, 8vo et infra (5)⁂ Complete collection of Clare's published works, with several interesting associations: The annotations in the first are by his patron Eliza Emmerson, who promoted his first book of poetry, Poems Descriptive of Rural Life and Scenery (1820), and arranged the publication of his last,The Rural Muse, in 1835. On p.144 of vol.2 beneath the poem 'To the Rural Muse' the annotation reads, "This lovely poem was first written to me, in a letter from the author. E.L.E.". The Goodfellows of Helpston were a farming family, still active in the area. John Clare was born in Helpston (formerly Helpstone) in Northamptonshire in 1793. The first poem in his first work Poems Descriptive of Rural Life and Scenery of 1820 is titled 'Helpstone": "Hail, humble Helpstone!....Oh, happy Eden of those golden yearsWhich memory cherishes, and use endears,Thou dear, beloved spot!...".
Whistler (Rex, 1905-1944) Still life with Peaches and Tapestry, oil on canvas board, signed on reverse and inscribed 'Peaches & Tapestry, in the dining room, no. 3 Foro Romano/ Sat: July 6th & 7th finished/ 1929', 25.5 x 35.5 cm (10 x 14 in), fine craquelure throughout, some minor abrasions at extremities, framed, 1929Provenance:Sotheby's, London, Modern British and Irish Paintings, Drawings and Sculpture, 20th November 1991, lot 160Private collection, UK
Collection of Worcestershire and Staffordshire enamel boxes to include a painted still life of fruit signed S. Smith, 1996 & 1997 year box and others, together with four Royal Worcester porcelain pill boxes, three from the Connoisseur collection and a Millennium pill box (11) - Condition Report Lot 109 is in good condition and all hinges are good.
Royal Worcester miniature hand-painted jug decorated with a Pheasant in a woodland setting dated 1912, H6.5cm, a Kingsley Enamels limited edition miniature baluster vase, painted with a still life of fruit by N. Creed together with a miniature Davenport Imari pattern bowl (3) - Condition Report Some losses to the gilding. General wear to earlier pieces.
*CYRIL VICTOR PARKER (1897-1984) 'Rye, Sussex, from the New Winchelsea Road' signed and dated 1946 lower right, watercolour, 33cm x 45.5cm (unframed but mounted). C V Parker was a painter of landscapes and floral still life who lived in Ealing most of his life, worked as a customs officer and was a member of the Royal Institute of Painters in Watercolour. Work by Cyril Parker is in Her Majesty’s Government Collection and was purchased from the Civil Service Art Club and the Customs & Excise Art Club and he was a member of both Clubs and a member of the Wapping Group of Artists.
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