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Lot 382
Attributed to Cecil Kennedy (1905-1997) Still life of flowers in a glass vase Bears signature, oil on panel, 42cm by 60cm Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business . The painting has received a significant amount of retouching and overpainting throughout large and consistent swathes of the background. There is further fairly heavy handed, albeit less comprehensive, retouching and strengthening to various elements of the floral display and vase focusing more on areas of detail, shadows and definition. Much of the repainting and overpainting has deteriorated and has a different characteristic to other parts. Areas of isolated fine to large sized craquelure and pronounced crazing throughout surface. Some surface dirt and discoloured varnish. Rubbing to parts of outer edges. Sold as found.
Lot 397
Robert Chailloux (1913-2005) French Still life of peaches, cherries, a stoneware flagon and a glass Still life of strawberries, a terracotta dish and a jug Signed, oil on panel, 25.5cm by 33cm (2) Artist's Resale Rights/Droit de Suite may apply to this lot . Each in an overall good and stable state of preservation. The example featuring the strawberries has approx 4 small effectively ovoid splashes of varnish? which sit slightly proud of the surrounding surface. Some relatively light dirt and discoloured varnish to each. Not examined with a UV light.
Lot 402
Continental School (19th century) Still life of Roses, Carnations and Honeysuckle arranged in a gadrooned vase on a stone ledge Indistinctly signed, oil on canvas, 72.5cm by 60cm See illustration . In fully restored condition. Rather stiffly re-lined, cleaned and re-varnished. The surface is somewhat flattened by the restoration process. Much of the background has been fairly comprehensively retouched and overpainted with a possible other phase of more delicate restoration to old flaked paint. There is a linear area of overpainting just left of the far left hand side white blossom which is approx 3 cm in length. The indistinct signature maybe strengthened or added. The upper section of the urn also appears to have been overpainted as have elements of the foot and general decoration applied to the vase. Whilst a large degree of the left hand side of the ledge has been strengthened/overpainted, the far right third displays retouching more in line with pronounced crazing, whilst some of the general outlining of the flowers and shadows of central parts definitions etc.., appear to have received some general restoration. The degree of intervention compared to the background is seemingly less systematic. Varying sized stable craquelure throughout. The paint is thin/abraded in areas. Some surface dirt and discoloured varnish. For more information please contact the department.
Lot 449
Manner of Jean-Baptiste Monnoyer (1636-1699) French Still life of flowers including Iris, Tulips, Roses and Poppies arranged in a metal urn on a ledge Oil on canvas, 66.5cm by 51cm See illustration . In fully restored condition. Somewhat stiffly re-lined, cleaned and re-varnished. The general surface of the canvas and brushwork has been flattened by the restoration process. There is mild evidence of overpainting and retouching within the background in general. A diagonal line of retouching is apparent approx 12 cm down from upper right hand corner and is approx. 3-4 cm in length. Further mild evidence of strengthening and retouching to elements of blooms, such as the upper part of the chrysanthemum left and above centre, parts of the variegation of the Tulips on the right hand side, shadows of the Rose lower right, larger parts of the burgundy blooms resting on the ledge, general shadowing amongst the flowers, the dark markings of the butterfly etc... Surface dirt and discoloured varnish. Some minor surface scuffs/abrasions alongside right hand edge lower half and odd further scuff amongst the floral arrangement and elsewhere. Canvas slightly loose in frame with some abrasions to edges in general as a result etc...
Lot 265
A Papier-Mâché Mounted Scrap Book, circa 1860, the cover painted with a still life of fruit and with a nautilus shell vase within foliate gilt border, the title page inscribed Miss Mary Hebblethwaite, the pages with various illustrations, script and applied photographs and postcards, 37cm by 30cm; and A Brass Easel-Back Stand, cast with scrolls, 94cm high (2)
Lot 89
A Stephenson & Hancock Porcelain Plaque, by Frederick Chivers, circa 1935, of circular form, painted with a still life of flowers, signed, 9.5cm diameter, framed; and A Similar Plaque, painted by William Mosley, of circular form, painted with a flowerspray, signed, 6cm diameter, framed (2) . Both plaques in good condition. Frames with minor wear.
Lot 336
PAINTINGS AND DRAWINGS, ETC, from the studio of Michael Haswell, to include nude studies, still life, landscapes, pastels and oils, together with paintings by various artists including Bryan Ward, Anuk Nauman, Di Lorriman, Jo Cox and Mary Salmon, portraits, landscapes, etc, various mediums, all framed, largest size approximately 50cm x 88cm, including frame
Lot 550
T. ALOXANDER (20TH CENTURY), a still life study of various cut flowers in a ceramic vase, signed bottom right, oil on canvas, framed, approximate size 75cm x 100cm, together with Jennifer Winship mark limited edition print of a mother and child looking at a river, signed to margin, framed and a faded Michael Lyne signed hunting print
Lot 583
PAINTINGS AND PRINTS ETC, to include F.Maud Robertson still life of flowers in a vase, signed bottom right, Edith M. Elliot flowers and foliage, signed top right, both painted in oils, late 19th century landscape, unsigned oil on canvas, A.L.Vernon crystoleum, dog portraits by Roger Felton, watercolours of Cannock Chase by H. Cresel 1937, Roger Felton horse racing watercolour, together with assorted amateur paintings and assorted prints, largest size approximately 55cm x 96cm including frame
Lot 591
A QUANTITY OF PICTURES AND PRINTS ETC, to include still life flower studies in pastel, signed W.T. Bayliss, pastel portraits by Mary Bullock, continental courtyard oil on board, indistinctly signed, still life table setting signed Jane Powell, watercolour on paper, assorted print reproductions of paintings, pastels, watercolours and picture frames
Lot 610
Attributed to William Jones of Bath (fl.1764-1777)oil on canvasStill life of currants, grapes, peaches and strawberries beside a basket, on a ledgesigned and dated 177918 x 15.25in. unframed.CONDITION: Oil on canvas cleaned and relined with the past 10 - 20 years or so, canvas remains tight, paint possibly a little dirty but otherwise looks to be in good order, signed and dated near 4 o'clock, not framed, an inscription on the stretcher 'Mrs Horton Pekys Picture ...'.
Lot 692
Dutch School (17th century)oil on canvasStill life of a flowers in an urn upon a pedestal25.5 x 21.5in.CONDITION: Oil on canvas relined 20 - 30 years ago or more, canvas remains tight, paint looks a little dirty with some blooming in the varnish to the left of the lower flowers, no sign of any signature, housed in an old gilt gesso frame which has some losses, fragment of an old label verso.
Lot 100
Brian Sanders (British, B. 1937) "Side Trawler -- Fishing Boat" Watercolor on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover for the Great Britain 18p Side Trawler stamp issue of September 23, 1981. Just off North America's Atlantic Coast extends a wide continental shelf, in some areas reaching as far as five hundred miles from the shore. Large areas of this shelf form underwater plateaus where the fishing grounds are among the best in the world. Annually, fishermen from Canada, the United States and Europe take about nine billion pounds of fish from this area. The Trawler pictured in this artwork is one craft which sails the icy waters of the North Atlantic in search of fish. Once the men locate their prey, they lay out their trawler nets. A huge flat funnel net is dragged on rollers along the seabed while the net's mouth is kept open by water pressure on two door-shaped objects called otter boards. The noise of the net disturbs the fish and they attempt to escape. However, they soon tire and are hopelessly trapped in the net's funnel. Because areas the men fish are so treacherous, they equip their boat with steam hoses and axes which they use to remove ice from the decks and riggings. Should the heavy ice be allowed to build up, the craft would surely capsize. Even though modern trawlers are fitted with many safety devices which offer some protection, it is still quite common for a vessel to be lost at sea without a trace. Although working in the North Atlantic is a dangerous life, the fish are so plentiful that men gladly brave the fearsome hazards of icy, storm-tossed seas to reap great catches. Image Size: 12 x 14.25 in. Overall Size: 16 x 22.25 in. Unframed. (B06850)
Lot 325
Don Balke (North Carolina, B. 1933) "Alaska Brown Bear" Signed lower right. Original Watercolor painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover for the U.S. Wildlife of the 50 States 22c Brown Bear/Alaska stamp issued June 13, 1987. Although several species of Brown Bears are native to a number of regions around the world, the largest of these -- and indeed the world's largest living terrestrial carnivore -- is the Alaska Brown Bear. Also known as the Kodiak Bear, these Bears may reach nine feet in length and weigh more than three-quarters of a ton. Preferring a solitary life, when spring arrives, these huge Bears shuffle along well-worn trails to salmon-rich streams where they feed after the winter's hibernation. Frequently, the Bears will quarrel over territorial fishing rights. After disputes are settled, they get down to the business of catching fish. Fishing techniques differ between individuals. Some aggressive Bears wade out among the fish and squat down so that the current boils over them, and when a fish passes by, an effortless head nod or paw swipe yields a meal. Others prefer to wait by the banks for fish darting close to shore so a powerful brown paw can pin it down. Still other Bears refuse to fish at all, preferring to sneak off with an unwary neighbor's catch. One of the most unpredictable and dangerous animals man can encounter in the wild, the Alaska Brown Bear is, nonetheless, a stirring sight. Image Size: 13.5 x 14.5 in. Overall Size: 14 x 17 in. Unframed. (B10607)
Lot 33
Thomas Koether (New York, Florida / Europe, Australia, born 1940) Titled: "Tangier Boudoir" Dated: '98 Oil on canvas. Signed lower right. Overall Size: 31.25 x 31.25 in.In 1960, Koether was accepted to the school of the Art Institute of Chicago at age 20. In 1963 Koether Moved to New York City and started going to the Art Students League. In June of 1966 he graduated with honors from N.Y.U. and was accepted to the N.Y.U. graduate school of Communications Arts in Cinematography under Haig Manoogian. In 1970, he moved to Paris to take a studio space at the American Center on Boulevard Raspail. In July of ’71 Koether went to Italy and did a lot of drawing and watercolors. In Florence he met Italian art restorers and learned a lot about restoration from them. That same year, he participated in a group show at the American Center and sold several pieces – one to director Henry Pillsbury. The work from Ibiza and Paris dealt with attempts to delineate abstraction as a form with his own experience of his own abstractness – landscapes and still-lives of his own psychic and emotional space. This work has a post-psychedelic aspect. In 1974 Koether moved back to New York and worked in N.Y.C. as an art restorer with Roger Ricco Associates. That year, he had a one man show at Ajanta Gallery on East 9th Street. In 1976, Koether moved to Australia and established an art conservation business and worked on the 5 major collections of Oceanic art in Australia. ONE PERSON SHOWS2001 SRQ ON MAIN, Sarasota, Florida1996 TAMPA ELECTRIC CO., TECO PLAZA, Tampa, July 1 – July 31, Marilyn Mars, Curator1995 KOETHER – NEW OILS, Nations Bank Executive Headquarters, Sarasota, Florida1993 MATRIX, Renegade Gallery, East Hampton, New York1992 KOETHER, A NEW EDGE, Renegade Gallery, East Hampton, New York1989 AUSTRALIAN ROCK AND WATER, Gochenhaur Gallery, Delray Beach, Florida1987 TOM KOETHER, EXPATRIATE PAINTINGS, Curator: Nick Pearson, Ashawagh Hall, East Hampton, NY1988 KOETHER, Recent work from New York, Cape Gallery, Byron Bay, N.S.W., Australia1986 TOM KOETHER, RECENT PAINTINGS, AUSTRALIAN EXPERIENCE, Ashawagh Hall, East Hampton NY1985 PAINTINGS FROM EAST HAMPTON, Curators: Dane Dixon and Steve Loschen, Ashawagh Hall, NY1983 KOETHER, Outback Australian Gallery, Curator: Gate Fynn, 382 W. Broadway, New York, NY1974 AJANTA GALLERY, New York, New York1973 St. Croix, Virgin Islands1972 St. Croix, Virgin Islands1971 Ars Bar, Ibiza, Spain1970 Ars Bar, Ibiza, Spain1969 Ars Bar, Ibiza, Spain1969 KOETHER, DRAWINGS, Mahogany Inn, St. Croix, Virgin IslandsSELECTED GROUP AND JURIED SHOWS2002 TOM KOETHER, STEVE LOSCHEN RECENT PAINTINGS, Ashawagh Hall, East Hampton, NY1996 Represented by KLABAL GALLERY, 363 12th Avenue South, Naples, Florida1995 ART FOR LIFE, Juried Voice Auction, Jurors Marilyn Mars, Arts Impact, and Emily Kass, Exec Director, Tampa Museum1994 SARASOTA VISUAL ARTS CENTER, Autumn Annual, Juror Tiffani Szilage, St. Petersburg Center for the Arts, Exhibition Coordinator, St. Petersburg, Florida1994 GREATER TAMPA CHAMBER OF COMMERCE, Executive Exhibition, Juror Marilyn Mars, Arts Impact, Tampa, Florida1994 KOETHER, ASHAWAGH ’94, Loschen, Najdzionek, Strong/Cuevas, Grove, and Briscoe, East Hampton, NY1992 SOUTH COBB ART ALLIANCE 7TH NATIONAL JURIED ART EXHIB., Juror: Larry Walker, Prof. of Art at Georgia-State University1991 KOETHER, GOCHENOUR, Ashawagh Hall, East Hampton, New York1990 KOETHER, LOSCHEN, Ashawagh Hall, East Hampton, New York1990 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York1989 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York1989 M. CAIN SCULPTURE TOM KOETHER, STEVE LOSCHEN, PAINTINGS, Ashawagh Hall, East Hampton, New York1989 DRAWING THE LINE, Curator: Kay Jeffed, Tweed River Regional Art Gallery, Murwilumbha, Australia1989 BLOSSOMS, The Gallery at Bryant Library, Roslyn, New York1988 HUNTINGTON TOWN ART LEAGUE ANNUAL, Huntington, New York1988 BEYOND STATUS QUO, The Gallery at Bryant Library, Roslyn, New York1988 WATER, WATER EVERYWHERE, The Gallery at Bryant Library, Roslyn, New York1988 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York1987 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York1986 PLASTO GALLERY, Mullumbimby, N.S.W., Australia1986 SOUTHPORT ART SHOW, Southport, Queensland, Australia1986 GOLD COAST CITY ART INVITATIONAL, Gold Coast City Art Prize, purchase, Gold Coast, Queensland, Australia1985 ST. ALBANS COLLEGE EXHIBITION, Honorable mention, Southport, Australia1985 N.P.U. QUEENSLAND EXHIBITION, purchase price, Cape Gallery, Bryon Bay, N.S.W., Australia1971 LE CENTER AMERICAN, Paris, France
Lot 448
Howard Koslow (1924 - 2016) "Elephant" Signed lower left. Original Acrylic painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting is the original painting which appeared on the Fleetwood First Day Cover of the 29? Elephant stamp issued April 6, 1993. "Hold your horses, here come the elephants!" This familiar cry signaled the start of the fabulous circus parade. Although cavorting clowns, prancing horses and blaring trumpets entertained the spectators, perhaps the most awe-inspiring attraction was the promenade of elephants. Lumbering two-by-two, linked by trunk and tail, these massive creatures slowly made their way down crowd-lined streets. Often turbaned "mahouts" -- Asian elephant trainers -- added to the animals' mystique as the exotic herds paraded along the route. The Grand Cortege revealed just a glimmer of what was to come. For the real show was under the big top, and there was still much to be done before showtime. In the early days of the circus, elephants played an integral part in setting up the "tent city." Their tremendous strength was a valuable asset that was employed at each stop. The harnessed pachyderms strained against heavy chains connected to the center kingpole. Their herculean efforts would eventually pull the pole and its bale rings into position as the tent began to take shape. Caring for the elephants was a huge task, but often a young circus fan would lend a hand. An industrious child could earn a free pass by hauling water to the thirsty creatures, though just being close to such a great curiosity was probably payment enough. "To see the elephant," a common 19th-century expression connoting sophistication and a vast knowledge of life, sums up the magnitude of this enormous creature's effect on its devoted public. Image Size: 14 x 12 in. Overall Size: 20.25 x 17.5 in. Unframed. (B14173)
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