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Click here to subscribeBlumenstilleben in barocker ManierUnbekannter Künstler, Öl auf Pappe, 20. Jh., u.r. monogr. "M.K.", rücks. bez., ca. 30x24cm, gerahmt (ca. 41x33cm)Unkown artist, 20th C., still life with flowers in baroque manneroil/cardboard, monogr. "M.K." bottom right, verso marked, ca. 30x24cm, framed (ca. 41x33cm)
FAURE, AMANDUS (Hamburg 1874-1931 Stuttgart), „Stillleben, Frühlingsstrauß“, blühende Zweige verschiedener Obstgehölze und Gartensträucher in Westerwälder Steinzeugkrug, drunter vereinzelte Blütenblätter, u.re. sign. u. dat. 'FAURE 30', Öl auf Leinwand, HxB: ca. 77x64 cm. Normale Altersspuren. Mit Rahmen. | FAURE, AMANDUS (Hamburg 1874-1931 Stuttgart), "Still Life, Spring Bouquet", flowering branches of various fruit trees and garden shrubs in a Westerwald stoneware jug, underneath isolated petals, below right. sign. and dated 'FAURE 30', oil on canvas, HxW: approx. 77x64 cm. Normal signs of age. With frame.
§ DENIS PEPLOE R.S.A (SCOTTISH 1914-1993) STILL LIFE WITH BUDDHA Signed, oil on canvas(61cm x 46cm (24in x 18in))Footnote: Exhibited: The Scottish Gallery, Denis Peploe - Centenary Exhibition 2014, no.3 Note: This painting dates from 1947. When Cadell died in 1937, his sister Jean Cadell gave 23 year old Denis Peploe art materials and scrapbooks from his studio. It has been suggested that the painting of a woman's head on the reverse may be the work of Cadell.
Steyr Mannlicher .308 bolt action rifle, SSG69 - Scharfschützengewehr 69, (Sharp Shooter Rifle 69) with 24 inch barrel, serial number 208411, with five round rotary box magazine, the received fitted with Picatinny rail (rear sight removed from barrel) the muzzle screw cut for moderator, in green synthetic stock.UK RFD OR FIREARMS LICENCE WITH CORRECT VARIATION FOR .308 RIFLE REQUIRED TO BUY THIS LOT.Condition report: The SSG has done a fair amount of work and shows signs of being carried many miles. The bore still has plenty of life in it and there are no faults as such but there is some wear. The stock has been damaged and there are two pieces of the end of the forend either side of the bipod rail which have been restuck. There are fine cracks either side of the main screws which hold the trigger guard assembly to the barrel. There is some wear to the chequering on the forend. The butt has some scratches or surface cracks which look like crazing on a pierce of pottery. There are signs of wear and use to the butt plate and the sling loop set into the stock. The muzzle is threaded for a moderator and the thread cover is not an original piece. The fixed iron sights have been removed and there is a plug fitted to the barrel to cover the whole for which the rear sight was originally fitted. I have been unable to move the screws set into the trigger guard and therefore am unable to access the date of manufacture underneath the barrel.
Still life of flowers in a blue jug signed 'H Raeburn Dobson' (lower right) oil on canvas 60 x 45cmCondition report: Oil on canvas attached to a wooden stretcher. On the reverse of the canvas is an artists' supplier stamp for Roberson & Co. The canvas has good tension and is in plane. The paint layers have been built up in thick layers which are in a good condition overall. Under ultraviolet light, a thin varnish is evident although the surface of the painting has a matte appearance. There are a few glossy accretions and some dirt on the surface of the painting. The gilded frame has been given a decorative, painted finish.
Kitchen still life signed 'Ruffell' (lower right) oil on board 44 x 55cmCondition report: Oil on board. The paint layers have been thickly applied with a palette knife and wide brush. Overall the paint layers are in a good, stable condition. The painting is varnished; where the varnish has pooled in the texture of the brushwork it has become darker and yellowed. The varnish is flaking off in areas in the lower half of the painting, revealing the bright white of the paint below. There is some mould and spotting which has developed on the surface. The wooden frame has been painted off-white and has a grubby appearance.
David Hockney R.A. (British, born 1937)Still Life with Hats, from Twenty Photographic Pictures by David Hockney portfolio, 1973Chromogenic print, initialled and numbered '77/80' (there were also 20 sets in Roman numerals) in ink in the margin, published by Sonnabend Editions, New York23.7 x 17.7cm (9 5/16 x 6 15/16in)This lot is subject to the following lot symbols: Ω ARΩ VAT on imported items at the prevailing rate on Hammer Price and Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Quentin Bell (1910–1996) British, a still life oil study of flowers in a glass, oil on canvas, signed and dated '45, 34.5 cm x 24 cm in a gilt frame.Footnote: Provenance: Private London collector, deceased estate. No purchase records available.Condition report: Small area of possible minor paint loss to lower central area, but no tears or rips to the canvas. Appears in good order.
* CATHLEEN SABINE MANN RP ROI THE MARCHIONESS OF QUEENSBERRY (BRITISH 1896 - 1959), FLORAL STILL LIFE WITH RED GLOVES oil on canvas, signed and dated 1944 61cm x 51cm (approximately 24 x 20 inches, image size) Framed (original) Note 1: The verso of the canvas holds another painting of a continental coastal village. Note 2: Cathleen Mann was born in Newcastle upon Tyne on 31 December 1896 to the Scottish painter Harrington Mann RE RP NEAC NPS (Glasgow 1864 - 1937 New York), the second of his three daughters. Her mother was the American portraitist Florence Sabine Pasley. Harrington Mann gave Cathleen painting lessons in his London studio, as did the portrait painter (Dame) Ethel Walker. Walker continued to tutor Cathleen even while the young artist was studying at Slade School of Fine Art in London. She later trained in Paris. Walker remained an influence on Mann and the two often exhibited together. Mann's art career was put on hold owing to the First World War, when she worked with an ambulance unit. By 1924 Mann had two portraits in the Royal Academy and exhibited there regularly from 1930. Cathleen was both talented and beautiful and on 18th March 1926 she married Francis Douglas, 11th Marquess of Queensberry, becoming his second wife. The marriage led some newspapers to refer to Mann as "the painting peeress", a term she apparently disliked. They had two children, David Douglas, 12th Marquess of Queensberry and a daughter. During the Second World War, Mann was appointed an official war artist, painting portraits of officers such as Adrian Carton de Wiart and the Allied commanders. As well as being reproduced in several publications including "Time Magazine", many of these paintings were exhibited in London and then toured America. She exhibited from 1920 at the Royal Academy, Glasgow Institute, Royal Society of Portrait Painters, the Royal Scottish Academy and the Society of Women Artists amongst others, and held a number of solo exhibitions including at Arthur Tooth Gallery, 1932, the Leicester Galleries, 1937, Reid and Lefevre Gallery, 1938 and 1954. Mann was elected a member of the Royal Institute of Oil Painters and the Royal Society of Portrait Painters. During the 1930s Mann also engaged successfully in costume design for numerous British films. Her work included The Iron Duke (1935) starring George Arliss and Things to Come (1937) starring Raymond Massey. Many of her costume design drawings are held by the Victoria & Albert Museum (London). She and Francis Douglas divorced in 1946 and in the same year she married John Robert Follett, the son of Brigadier-General Gilbert Burrell Spencer Follett, who had been killed in action during the First World War, and Lady Mildred Follet, daughter of Charles Murray, 7th Earl of Dunmore. Follett was a racehorse owner, but died in 1953, aged 46, shortly before Francis Douglas also died. The two deaths seemed to have caused Cathleen to have a nervous breakdown, but she continued to paint. She befriended the artist Sir Matthew Smith and was influenced by his work. During the last ten years of her life she experimented with abstract art, drawings of nude models and sculpture. Cathleen committed suicide on 9th September 1959 by taking an overdose of sleeping pills in her studio on Montpelier Walk, Brompton. Her son said she had recently been diagnosed with another attack of tuberculosis and she left a note stating that she was very worried about the illness. In 1960 a major retrospective exhibition of her work was held at the O’Hana Gallery, London. Cathleen Mann's paintings are held in numerous public collections including: The UK Government Art Collection, The French Government Art Collection, The National Galleries of Scotland, Glasgow Museums & Galleries, The National Portrait Gallery (London), The Imperial War Museum, The Royal Air Force Museum, Ferens Gallery, Leamington Spa Art Gallery & Museum, Sheffield Museum, Russell-Cotes Art Gallery & Museum, Birmingham University, Chelsea & Westminster Hospital, The National Trust, Bolton Museum & Art Gallery and The Victoria & Albert Museum. Her work is also held in numerous noted private collections of the British nobility and in the USA. Following her death, this epitaph appeared in The Times: Mr. H. Rowntree Clifford writes - "Many hundreds of people living in the dock district of south West Ham during the September bombing of 1940 owe their lives to the determination and courage of the late Cathleen Mann. As Marchioness of Queensberry she used her name and the strength of her personality to break through official difficulties and to commandeer transport by both road and rail to carry numbers of helpless and in some cases crippled people to safety. I remember the humble duty she offered to those who were deprived of their families."
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