Südniederländischer Meister des späten 15. JahrhundertsDarbringung im Tempel Öl auf Holz. 33,5 x 19,5 cm.ProvenienzHenry Wagner. – Auktion Christie’s, London, 16.1.1925, Lot 59 (als Schule von Gerard David). – Sir Thomas Barlow. – Auktion Sotheby’s, London, 20.7.1955, Lot 57. – H. J. Hellema, Laren.AusstellungenManchester, Whitworth Art Gallery, Juni 1947, Nr. 3. – Flemish Art 1300-1700, London, Royal Academy, 5.12.1952-6.3.1953, Nr. 49 (zusammen mit der "Verkündigung", als Jan Provost). – Schaffhausen, Museum zu Allerheiligen, 1955, Nr. 76. – Laren, Singer Museum, Juli 1961, Nr. 104. – Kassel, Staatliche Museen, Gemäldegalerie Alte Meister, Inv.-Nr. 1101 (Leihgabe).LiteraturMax J. Friedländer: Die Altniederländische Malerei, Bd. IX, Berlin 1931, S. 145, Nr. 127 (nur die anderen drei Tafeln). – Max J. Friedländer: Early Netherlandish Painting. Bd. IXb, Leiden 1972, S. 111, Nr. 127, Abb. Tafel 149. – Grete Ring: Additions to the Work of Jan Provost and Quentin Massys, in: The Burlington Magazine 79, 1941, S. 156-160. – Monika Brieskorn, in: Ekkehard Mai (Hg.): Das Kabinett des Sammlers, Köln 1993, S. 63-5, Nr. 25, mit Abb. (als Jan Provoost). – Ron Spronk, in: Friso Lammertse (Hg.): Van Eyck to Bruegel 1400 to 1550. Dutch and Flemish Painting in the Collection of the Museum Boymans-van Beuningen, Rotterdam 1994, S. 217-219, unter Nr. 45, S. 218, Abb. b.Diese feine kleine Tafel illustriert die biblische Darstellung der sogenannten Darbringung im Tempel. Die Szene aus dem Evangelium des Heiligen Lukas enthält theologisch zwei ineinander verwobenen Riten des christlich-jüdischen Glaubens, die Beschneidung Christi und gleichzeitig die Reinigung Mariens.Im Vordergrund sind die Protagonisten zu erkennen, Maria und Christus, und rechts daneben der Priester Simeon mit bischöflicher Pluviale und Mitra. Auf der linken Seite ist der Heilige Joseph zu identifizieren. Hinter ihm stehen eine weibliche Gestalt mit zeitgenössischer burgundischer Haube und ein Mann mit Turban-artiger Kopfbedeckung. Im Hintergrund sind an der Kirchenwand Fragmente eines Polyptychons angebracht: ein Bild von Moses mit den Gesetzestafeln, der als Sinnbild für den Alten Bund zu verstehen ist. Ihm wird typologisch Christus als Begründer des Neuen Bundes zugeordnet. In mariologischer Ausdeutung verweist die Moses-Darstellung auf das jüdische Gesetz der mütterlichen Reinigung, dem sich Maria unterworfen hat.Der Maler platziert die biblische Szene in das Seitenschiff einer gotischen Kirche und fasst die Darstellung in eine gemalte architektonische Goldrahmung ein. Anhand dieses gemalten Rahmens wurde die Verbindung unseres Gemäldes mit drei weiteren Tafeln erkannt, die Max Friedländer 1931 publiziert hat (op. cit.). Diese drei Bilder zeigen weitere Szenen aus dem Leben Mariens: Die “Verkündigung” (heute Museum Boijmans Van Beuningen, Rotterdam), die “Geburt Christi” und “Christus erscheint seiner Mutter” - die beiden letzteren befinden sich heute in nicht bekannten Privatsammlungen. Als viertes konnte schließlich das hier vorliegende Bild hinzugefügt und als Bestandteil eines mehrteiligen Marienaltars identifiziert werden. Friedländer schrieb die Bilder dem jungen Jan Provost zu. Auch Grete Ring schloss sich dieser Zuschreibung an (op. cit.). Zur Zeit von Friedländers erster Publikation befand sich die “Verkündigung” noch in einer Berliner Privatsammlung. Nachdem sie vom Rotterdamer Museum erworben wurde, ist die Zuschreibung an Provost überprüft und verworfen worden. Heute wird das Werk einem namentlich nicht bekannten südniederländischen Meister des späten 15. Jahrhunderts zugeordnet, der dementsprechend auch der Maler der vorliegenden Tafel ist. South Netherlandish School late 15th CenturyThe Presentation of Christ in the Temple Oil on panel. 33.5 x 19.5 cm.ProvenanceHenry Wagner;Anonymous sale, Christie’s, London, 16 January 1925, lot 59 (as School of Gerard David);Sir Thomas Barlow;Anonymous sale, Sotheby’s, London, 20 July 1955, lot 57;H. J. Hellema, Laren.ExhibitionsManchester, Whitworth Art Gallery, June 1947, no. 3;Flemish Art 1300-1700, London, Royal Academy, 5 December 1952 - 6 March 1953, no. 49 (with the Annunciation, as Jan Provost);Schaffhausen, Museum zu Allerheiligen, 1955, no. 76;Laren, Singer Museum, July 1961, no. 104;Kassel, Staatliche Museen, Gemäldegalerie Alte Meister, inv. no. 1101 (on loan).LiteratureMax J. Friedländer: Die Altniederländische Malerei, vol. IX, Berlin 1931, p. 145, no. 127 (only the other three panels);Max J. Friedländer: Early Netherlandish Painting, vol. IXb, Leiden 1972, p. 111, no. 127, reproduced plate 149;Grete Ring: Additions to the Work of Jan Provost and Quentin Massys, in: The Burlington Magazine, LXXIX (1941), pp. 156-160;Monika Brieskorn, in: Ekkehard Mai (ed.): Das Kabinett des Sammlers, Cologne 1993, pp. 63-5, no. 25, reproduced (as Jan Provost);Ron Spronk, in: Friso Lammertse (ed.): Van Eyck to Bruegel 1400 to 1550. Dutch and Flemish Painting in the Collection of the Museum Boijmans van Beuningen, Rotterdam 1994, pp. 217-9, no. 45, pl. 218, fig. b.This small and finely painted panel depicts the Biblical scene known as the Presentation of Jesus at the Temple. The ritual, which is described in the Gospel of Luke, combines two theologically linked rites in Christian and Jewish faith, namely the circumcision of Christ and the purification of the Virgin Mary.The main protagonists of the scene, Mary and Christ, are depicted in the foreground and beside them we see the priest Simeon in a bishop's cope and mitre. Saint Joseph is depicted on the left. Behind him is a figure dressed in a contemporary Burgundian bonnet and a man in a turban-like head covering. In the background we see fragments of a polyptych on the wall of the church, of which one panel depicts Moses with the tablets of the law, which can be regarded as a symbol of the old covenant. Thus, the figure of Christ as the founder of the new covenant forms a typological parallel to this. In the mariological interpretation, the scene signifies the Jewish law of the purification of new mothers that the Virgin complied with.The painter has depicted the Biblical scene taking place in the side aisle of a Gothic church, and surrounds it with a gold architectural motif. This painted surround is what allowed this panel to be linked to three other paintings published by Max Friedländer in 1931 (op. Cit.). The three works also depict scenes from the life of the Virgin Mary: The Annunciation - today in the Museum Boijmans Van Beuningen, Rotterdam -, the Nativity, and Christ appearing to his mother, the latter two are housed in private collections. The present work was identified as a fourth panel from this series and would originally have formed part of a multi-panel altarpiece dedicated to the Virgin Mary.Friedländer attributed this work to the young Jan Provost, and Grete Ring also later agreed with this ascription (op. cit.). At the time of Friedländer's publication, the Annunciation was still housed in a private collection in Berlin. However, following its acquisition by the museum in Rotterdam, the attribution to Provost was re-examined and abandoned. The piece is now attributed to an anonymous southern Dutch master of the late 15th century, who is thus also considered to be the author of the present work.
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Cornelis KickStillleben mit Römerglas, Orange und Zitronen Öl auf Holz. 43 x 31,5 cm.Signiert Mitte rechts: Corn. Kick.ProvenienzAuktion Sotheby-Mak van Waay, Amsterdam, 30.11.1981, Lot 54.AusstellungenHolländische Malerei aus Berliner Privatbesitz, Berlin, Gemäldegalerie Staatliche Museen Preußischer Kulturbesitz, 1984, Nr. 31.LiteraturJan Kelch: Ausst.-Kat. „Holländische Malerei aus Berliner Privatbesitz“, Berlin 1984, S. 66-67, Nr. 31, mit Abb. – Susanne Rütten, in Ekkehard Mai (Hg.): Das Kabinett des Sammlers, Köln 1993, S. 144-145, Nr. 56, mit Abb.Vor tiefdunklem Hintergrund präsentiert uns der Amsterdamer Stilllebenmaler Cornelis Kick genau sieben Objekte, eng aneinander und nahe an den Rand einer Steinplatte gerückt: ein mit Weißwein halb gefülltes Römerglas, eine Orange, eine Zitrone, ein aufgeschnittenes Zitronenachtel, eine dünne Zitronenscheibe, ein kleiner Zitronenkern und ein Messer, dessen elfenbeinerner Griff leicht über die Tischkante hervorragt. Mit diesen wenigen Gegenständen - hinzu kommen noch einige Wassertropfen - schafft Cornelis Kick eine spannungsreich leicht aus der Mittelachse gerückte Komposition, die insbesondere durch den starken Kontrast der strahlend hell wiedergegebenen Früchte zur dunklen Steinplatte und zum tiefdunklen Hintergrund die Aufmerksamkeit des Betrachters auf sich zieht. Das prachtvolle Römerglas hebt sich vom dunklen Hintergrund vor allem durch die meisterhaft gesetzten Lichtreflexe und -spiegelungen ab: Die obere Hälfte des Kelchs wird lediglich durch linienförmige Lichtreflexe am Rand sowie eine flächige Spiegelung an der Wandung wahrnehmbar, im unteren Teil des Kelchs sind es gelbliche Reflexe, die den Eindruck von Weißwein evozieren, und am Schaft wiederum unzählige winzige, punktförmige Lichtreflexe, die die Darstellung der himbeerförmigen Verzierungen erzeugen.Schon Arnold Houbraken rühmte in seiner 1718/19 erschienenen „De groote schouburgh“ die detaillierte Wiedergabe der Objekte in den Stillleben Kicks. Dennoch gibt der Künstler bis heute Rätsel auf: So wird schon sein Geburtsdatum in der Literatur unterschiedlich mit 1634 oder 1635 angegeben. Neben seiner Tätigkeit als Maler hat Kick möglicherweise einen Laden geführt, sicher erscheint nur, dass er zeitlebens in bzw. vor den Toren der Stadt Amsterdam lebte und zu seinen Schülern die bedeutenden Stilllebenmaler Jacob van Walscapelle und Elias van den Broeck gehörten. Houbraken berichtete in seiner „groote schouburgh“ auch von Portraitdarstellungen des Cornelis Kick („Hy zelf schilderde ook Beelden en Pourtretten“), allerdings sind Bildnisse aus seiner Hand heute nicht mehr nachweisbar. So sind es nunmehr ausschließlich Stillleben, insbesondere Blumenstücke, für die der Künstler bekannt ist, und die wegen ihrer genauen Naturbeobachtung und der brillanten Wiedergabe der Oberflächentexturen und Lichtreflexe geschätzt werden. Insgesamt sind Werke des Künstlers ausgesprochen rar - noch rarer sind seine Stillleben mit Früchten oder kostbaren Gegenständen wie unser vorliegendes Gemälde, das sowohl durch die Monumentalisierung alltäglicher Gegenstände als auch die Atmosphäre der Stille bis heute fasziniert. Cornelis KickStill life with a Roemer, an Orange and Lemons Oil on panel. 43 x 31.5 cm.Signed centre right: Corn. Kick.ProvenanceAnonymous sale, Sotheby-Mak van Waay, Amsterdam, 30 November 1981, lot 54.ExhibitionsHolländische Malerei aus Berliner Privatbesitz, Berlin, Gemäldegalerie, 1984, no. 31.LiteratureJan Kelch: Holländische Malerei aus Berliner Privatbesitz, Berlin 1984, exhib. cat., pp. 66-7, no. 31, reproduced;Susanne Rütten, in Ekkehard Mai (ed.): Das Kabinett des Sammlers, Cologne 1993, pp. 144-145, no. 56, reproduced.The Amsterdam still life painter Cornelis Kick presents exactly seven objects in front of a dark background, placed close together and towards the edge of a stone slab: a Roemer glass half filled with white wine, an orange, lemon, a lemon wedge, a thin slice of lemon, a small lemon pip and a knife with its ivory handle protruding slightly over the edge of the table. With these few objects, as well as a few drops of water, Cornelis Kick creates an exciting composition that is slightly off-centre, and attracts the observer especially through the strong contrast of the bright fruits against the dark stone slab and the deep dark background. The splendid Roemer glass stands out against the dark background particularly through the masterfully placed light reflections and mirroring: The upper half of the goblet is only noticeable by the linear light reflections on its edge as well as a flat mirroring on its side. In the lower part of the goblet, yellow reflections evoke the impression of white wine and countless tiny, dot-shaped points of light on the stem evoke the raspberry-shaped decorations. Arnold Houbraken had already praised the detailed reproduction of the objects in Kick's still life in his De groote schouburgh published in 1718/19. The artist nevertheless poses riddles to this day: His date of birth is listed in the literature as 1634 or 1635; aside his activity as a painter, Kick may have had a shop. The only thing that seems certain is that he lived all his life in or just outside the city of Amsterdam and that his students included the important still life painter Jacob van Walscapelle and Elias van den Broeck. In his De groote schouburgh, Houbraken also reported on Cornelis Kick's portraits (Hy zelf schilderde ook Beelden en Pourtretten), although none are identifiable as by him today. It is therefore exclusively still lifes, especially flowers, for which the artist is known, and which are appreciated for their precise observation of nature and the brilliant reproduction of surface textures and light reflections. On the whole, works by the artist are extremely rare - rarer still are his still lifes with fruits or precious objects such as the present painting which continue to fascinate today through the monumentalising of everyday items and the atmosphere of stillness.
Melchior de HondecoeterEnten in bewaldeter Landschaft Öl auf Leinwand (doubliert). 83 x 66 cm.Signiert unten rechts: M. D. Hondecoeter.ProvenienzLord Newborough, Glynllifon, Llanwnda, Caernarfonshire, Wales. - Auktion seiner Sammlung, Christie’s, London, 18.3.1938, Lot 25. - Dort erworben von Vicars Brothers, London - Auktion Sotheby’s, London, 9.12.1987, Lot 94. - Douwes Fine Art, Amsterdam, 1989 (ausgestellt auf der TEFAF, Maastricht, März 1989, S. 57).LiteraturThe Connoisseur, September 1938, S. 445 ff. mit Abb.Melchior de Hondecoeter wird 1636 in Utrecht in eine Familie von Malern flämischer Herkunft geboren, unter denen sein Großvater der Landschaftsmaler Gillis de Hondecoeter war. Melchior beginnt seine malerische Ausbildung bei seinem Vater Gijsbert de Hondecoeter und setzt diese nach dessen Tod 1653 bei seinem Onkel Jan Baptist Weenix fort. Zwischen 1659 und 1663 ist Melchior in Den Haag dokumentiert, bis er 1663 nach Amsterdam zieht und dort Susana Tradel heiratet. In diesen Jahren beginnt er mit dem Malen von Vögeln und Stillleben mit Jagdmotiven sowie totem Wild. Sein reifer Stil lässt sich mit dem Werk des Tier- und Stilllebenmalers Frans Snyders in Verbindung bringen, dessen Gemälde er bewundert und sammelt. Häufig platziert Hondecoeter innerhalb seiner Kompositionen Vögel und andere Tiere am Bildrand, so dass diese vom Rand der Leinwand abgeschnitten sind, wie auch bei der uns vorliegenden Darstellung. Hondecoeter war ein produktiver Künstler und zu Lebzeiten, wie auch heute, hoch angesehen. Seine Werke wurden wegen ihres technischen Könnens und ihrer dekorativen Qualitäten geschätzt und von seinen Zeitgenossen gerne imitiert.Bereits ein Gemälde mit der Darstellung von Wildgeflügel, wie das uns vorliegende Werk, vermag es, auf die Gesellschaftsstruktur der Niederlande in der Frühen Neuzeit hinzuweisen. Aufgrund der Jagdprivilegien des Adels durfte Wildgeflügel zumeist nur von den adligen Pächtern der Wälder oder durch von ihnen ermächtigte Personen gejagt werden. So verwundert es nicht, dass der Jagd und der Beute ein besonderes Prestige zukam, da große Teile der Bevölkerung davon ausgeschlossen waren. Wir danken Dr. Fred G. Meijer für die Bestätigung der Authentizität anhand hochauflösender Fotografien. Melchior de HondecoeterDucks in a Wooded Landscape Oil on canvas (relined). 83 x 66 cm.Signed lower right: M. D. Hondecoeter.ProvenanceLord Newborough, Glynllifon, Llandwrog, Wales;His sale, Christie’s, London, 18 March 1938, lot 25;There acquired by Vicars Brothers, London;Anonymous sale, Sotheby’s, London, 9 December 1987, lot 94;With Douwes Fine Art, Amsterdam, 1989 (exhibited at TEFAF, Maastricht, March 1989, p. 57).LiteratureThe Connoisseur, September 1938, p. 445Melchior de Hondecoeter was born in Utrecht in 1636 into a family of painters of Flemish origin, one of whom, his grandfather, was the landscape painter Gillis de Hondecoeter. Melchior began his painterly training with his father Gijsbert de Hondecoeter and after his death in 1653, continued with his uncle Jan Baptist Weenix. Between 1659 and 1663 Melchior is documented in The Hague until he moved to Amsterdam in 1663 where he married Susana Tradel. It was during these years that he began painting birds and still lifes with hunting scenes and dead game. His mature style can be associated with the work of the animal and still life painter Frans Snyders whose paintings he admired and collected. Hondecoeter often placed birds and other animals around the edge of the picture so they were cropped from the edge of the canvas, as in the present depiction. Hondecoeter was a productive artist and highly regarded during his lifetime, as today. His works were valued for their technical skill and decorative qualities and were readily imitated by his contemporaries.Even a painting depicting wild fowl, as in the present work, is able to indicate the social structure of the Netherlands in the early modern period. Due to the hunting privileges of the nobility, wild fowl was mostly permitted to be hunted only by the noble tenants of the forests or by persons authorised by them. It is therefore not surprising that the hunt and its spoils accorded a special prestige since large parts of the population were excluded. We would like to thank Dr Fred G. Meijer for his confirmation of the authenticity from high resolution photographs.
A FINE GEM-SET AND DIAMOND BRACELET, BY FRED PARIS, CIRCA 1970 - 1980 Of articulated design, composed of four large openwork bombé links set with alternating sapphire, ruby and emerald cabochons highlighted with brilliant-cut diamonds throughout with textured gold detail, mounted in 18K gold, diamonds approximately 10.00cts, signed Fred Paris, with maker's mark 'AV' for André Vassort, French assay marks, with maker's case, length 17cm Fred Samuel (1908-2006) established his jewellery brand in 1936 in Paris, where he spent much of his professional life. Originally from Buenos Aires, born into a family that dealt in precious stones, it was no surprise he conceived a passion for cultured pearls and won recognition as a leading expert in the field. Fred imbued his designs with the energy of South America, saying his creations were inspired by the life, the light, the movement, the energy of the continent. This passion is expressed through the use of coloured gemstones and playful motifs. During World War II, Fred Samuel fled Paris and became an interpreter for the Allies. After the war, the brand changed its name to from Fred Samuel to 'Fred' due to anti-Jewish sentiment in post-war Germany. Describing himself in 1936 as a 'Contemporary Creative Jeweller', he proved this through his striking modern designs, with rounded, curvaceous lines. Fred became famous for jewels designed by Jean Cocteau and for its famous clients, such as Marlène Dietrich and the royal family of Monaco, including princess Grace. In 1966 Fred Paris was the inventor of cable jewellery 'Force 10' (made of stainless steel) and this feature is still very prominent today in ring, bracelet, pendant and necklace designs. As the brand grew, new stores were opened across the world; 1976 Monte Carlo, 1981 Cannes, 2001 Tokyo and 2007 Beijing, Dubai and Bogotá. The company became the property of LVMH in 1996 and Fred collaborated with Kate Moss for the design of an exclusive collection in 2012. Fred Paris designed the iconic 23 heart-shaped ruby necklace interlaced with diamonds, which was gifted to Julia Roberts by Richard Gere in the film Pretty Woman. The last major film for which Fred Paris provided jewellery was Casino Royale starring Daniel Craig, featuring the star collection pendant and earrings. This magnificent bracelet is a unique creation of Fred. n 1995 FRED joined the Moet Hennessy Louis Vuitton LVMH group. In the secluded streets of Paris, shadowed by the celebrity of the great jewellery maisons of France, work the craftsmen whose talents satisfy the constant appetite for glamour. In December 1955, at 34 rue Sainte Anne, André Vassort registered his atelier and soon became one of the most sought-after jewellers in France. He was quickly employed by names such as Boucheron, Van Cleef and Arpels, Mauboussin and FRED. His work adorned their most discerning clients and he became a favourite in carrying out special commissions. Of particular note was the crown that he created under Van Cleef and Arpels for Empress Farah of Iran. Taking six months to complete, the magnificent piece is iridescent with diamonds, emeralds, rubies and pearls, mounted in white gold and set against a backdrop of forest-green velvet. Vassort specialised in working with gold, drawn to the warmth and texture that could be coaxed from the metal, however, he did not shy away from other materials. His understanding of gemstones allowed him to create bold and colourful pieces, exemplified in this lot. Working anonymously for larger houses, a large portion of Vassort's work is unsigned, but, here, we are gifted with his maker's mark 'AV'. When André Vassort closed his workshop in the early 1990s, his name and work were revered within the jewellery industry and his pieces had become synonymous with enduring quality.
A FINE GEM-SET AND DIAMOND PENDANT/BROOCH, BY FRED PARIS, CIRCA 1975 -1980 Designed as a stylised present bow, centring a ruby cabochon within a surround of brilliant-cut diamonds, the ribbons of openwork decorated with alternating sapphire, emerald and ruby cabochons with brilliant-cut diamond highlights throughout, mounted in 18K gold, diamonds approximately 6.00cts total, signed Fred Paris, with maker's marks for André Vassort (partially rubbed), French assay marks, with brooch and pendant fitting, length 6.4cm Fred Samuel (1908-2006) established his jewellery brand in 1936 in Paris, where he spent much of his professional life. Originally from Buenos Aires, born into a family that dealt in precious stones, it was no surprise he conceived a passion for cultured pearls and won recognition as a leading expert in the field. Fred imbued his designs with the energy of South America, saying his creations were inspired by the life, the light, the movement, the energy of the continent. This passion is expressed through the use of coloured gemstones and playful motifs. During World War II, Fred Samuel fled Paris and became an interpreter for the Allies. After the war, the brand changed its name to from Fred Samuel to 'Fred' due to anti-Jewish sentiment in post-war Germany. Describing himself in 1936 as a 'Contemporary Creative Jeweller', he proved this through his striking modern designs, with rounded, curvaceous lines. Fred became famous for jewels designed by Jean Cocteau and for its famous clients, such as Marlène Dietrich and the royal family of Monaco, including princess Grace. In 1966 Fred Paris was the inventor of cable jewellery 'Force 10' (made of stainless steel) and this feature is still very prominent today in ring, bracelet, pendant and necklace designs. As the brand grew, new stores were opened across the world; 1976 Monte Carlo, 1981 Cannes, 2001 Tokyo and 2007 Beijing, Dubai and Bogotá. The company became the property of LVMH in 1996 and Fred collaborated with Kate Moss for the design of an exclusive collection in 2012. Fred Paris designed the iconic 23 heart-shaped ruby necklace interlaced with diamonds, which was gifted to Julia Roberts by Richard Gere in the film Pretty Woman. The last major film for which Fred Paris provided jewellery was Casino Royale starring Daniel Craig, featuring the star collection pendant and earrings. This magnificent bracelet is a unique creation of Fred. n 1995 FRED joined the Moet Hennessy Louis Vuitton LVMH group. In the secluded streets of Paris, shadowed by the celebrity of the great jewellery maisons of France, work the craftsmen whose talents feed the ever-hungry mouths of glamour. In December 1955, at 34 rue Sainte Anne, André Vassort registered his atelier and soon became one of the most sought-after jewellers in France. He was quickly employed by names such as Boucheron, Van Cleef and Arpels, Mauboussin and FRED. His work adorned their most discerning clients and he became a favourite in carrying out special commissions. Of particular note was the crown that he created under Van Cleef and Arpels for Empress Farah of Iran. Taking six months to complete, the magnificent piece is iridescent with diamonds, emeralds, rubies and pearls, mounted in white gold and set against a backdrop of forest-green velvet. Vassort specialised in working with gold, drawn to the warmth and texture that could be coaxed from the metal, however, he did not shy away from other materials. His understanding of gemstones allowed him to create bold and colourful pieces, such as the current lot. Working anonymously for larger houses, a large portion of Vassort's work is unsigned, but, here, we are gifted with his maker's mark 'AV'. When André Vassort closed his workshop in the early 1990s, his name and work were revered within the jewellery industry and his pieces had become synonymous with enduring quality.
PANORAMA OF LONDON - [Frederick BIRNIE (fl. 1787-92) after Robert BARKER (1739-1806) & Henry Aston BARKER (1774-1856). Panorama of the Thames from the Albion Mills near Blackfriars Bridge. London: 1792-3]. Very large hand-coloured aquatint panorama engraved by Frederick Birnie after Robert and Henry Aston Barker, on Whatman-type wove paper, on six sheets, joined, overall dimensions 430 x 3,310mm., the border with a hand-painted grey Greek key-pattern motif, framed and glazed. VERY LARGE AQUATINT VIEW BASED ON THE WORLD'S FIRST PUBLIC PANORAMA. It was the British painter Robert Barker who first coined, and patented, the term "Panorama" from the Greek "Pan" ("All") and "horama" ("View"). The original panorama for public display, on which this series of aquatints was based, formed a near-360-degree view of London, and was enlarged from Robert Barker's son's original drawings made in 1790 and 1791 on the roof of the Albion Mills (shortly before they burnt down) onto a canvas measuring 1,479 square feet. Having initially been on view in a temporary structure, it was later installed in the world's first purpose-built viewing rotunda, designed by George Mitchell, in Cranbourne Street, Leicester Square, in 1793, where it caused a sensation. Viewers flocked to pay 3 shillings to stand on a central platform under a skylight to get the full immersive experience, perhaps analogous nowadays to that of the first IMAX cinema. The panorama later toured Europe. Seizing an opportunity, Frederick Birnie published his set of six aquatints while the panorama was still on show, for which a prospectus had been issued titled: "Proposals for publishing six elegant aquatinta prints, which, if joined, will represent the City of London and the entire surrounding country." When the six sheets are joined, as here, they form a magisterial view across London, some 11 feet across, with St. Paul's rising above the wharves and rooftops at its centre, and the skyline of towers and spires which Canaletto would have recognised. The architectural details are fascinating enough; but much is added to the scene by the teeming activity of the street in the foreground and Blackfriars Bridge, where elegant carriages, tradespeople and stray dogs share the street; the scene is further enlivened by the many and varied boats and barges on the Thames. Included with the lot is a sturdy wooden custom-made protective case for transportation. Abbey Life 460.
Michael Holland (1947-2002)Oil on canvasCross superimposed on bust, 62 x 61cmMichael Holland (1947-2002)Oil on canvasStill life vase and bowl, 45 x 38cm and another by the same artist 81 x 53 cmsOil on plaster panel Still life - bowls, 61cm x 68cm (4) unsigned but directly from the artist's studio. Michael Holland was Head of Art at Birmingham City University
Michael Holland (1947-2002)Oil on canvas,Still life, ruler, knife and paperStill life of jug and with shape and fabric, circa 1984-6, 77 x 61cmanother Michael HollandOil on canvasTwisted paper, 81 x 52cm, and two more, oil on canvas by the same artist, all unframed unsigned but directly from the artist's studio. Michael Holland was Head of Art at Birmingham City University
Edouard Moyse (French, 1827-1908)'La Bénédiction de l'Aïeul' (The Blessing of the Ancestor)signed 'Moyse' l.l., oil on canvas77 x 118cmEdouard Moyse was a Jewish painter from Nancy who specialised in painting scenes of Jewish life.This painting is of the Kiddush, the sanctification/benediction. Although the Sabbath comes round every week, it is nevertheless holier than most of the great religious festivals that occur during the rest of the year; it marks the end of the sixth day of Creation, when God rested from all his labours, and is sanctified with the Shabbat meal usually after synagogue on Friday evening. Shabbat, like all other religiously observed dates, begins, not on Saturday morning, but at sunset on the Friday evening, and ends with the sighting of the first star on Saturday evening.It marks the day when Jews should refrain from all forms of work, physical activity like carrying, playing a sport, entertainment and so on. The day should be spent in contemplation, enjoying family life, and religious study.The pater familias is on the left, reciting or singing the Kiddush, and when he is finished, he sips from the goblet, then pours some into each of the other persons’ glasses - that would include family as well as guests, and indeed many families today, especially Levantine Jews, still set an extra place for an unknown guest. After the wine, the father and the males older than 13 wash their hands, and return to the table to say the benediction over the bread (…and God brought forth bread from the Earth), before breaking the bread - not cutting it, because that would be an act of labour - and giving each person a piece, having sprinkled it with salt, which is to remind us that, on being banished from the Garden of Eden, we had to thereafter labour by the sweat of our brow. In the present painting, the father, while saying the Kiddush, is resting his hand on the Challa, the bread, ready for the next blessing.We are grateful to Joseph Mankowitz for his assistance with the catalogue entry.Condition report: Oil on canvas which has been lined. The canvas tension is good and the picture is in plane. The paint layer is stable overall. There is a scuff in the paint layers and varnish at the lower right corner. Scattered across the picture are darkened spots of age cracks, these are stable but give the painting a slightly mottled appearance in some areas. There are a few localised areas of retouching, mainly located along the left edge. The varnish is clear and even but very brittle, white spots across the surface are actually abrasion in the varnish layer. There is a light layer of dust present and some fly spots. The frame is in a good condition.
*Robert Chailloux (French, 1913-2006)A still life of grapes and peaches with a terracotta jug and blue bowl behindsigned 'Robert Chailloux' l.l., oil on board26 x 34cmProvenance: Gladwell & Company, London (with the original receipt).*Artist's Resale Right may apply to this lot.Condition report: Oil on wooden panel. The support and paint layers are in a very good condition. The varnish is thick, clear and glossy. The frame is sound.
Eugène Cottin (French, 1840-1902)A still life of dead game with a hare hanging on a string, partridge, woodcock, bullfinch, and a tabby cat looking onsigned ‘Cottin D’s (D’apres) / F…Jeann..s’ l.l., oil on canvas, feigned oval90 x 132cmCondition report: Oil on canvas which has not been lined. The canvas tension is fairly good with minor undulations. The paint layer is in a good, stable condition overall. There are areas of retouching around the central elements of the composition, probably covering areas of wear and abrasion. The varnish has yellowed with age but is even and semi-glossy. There is a light layer of surface dirt.
*William Scott RA (1939-1989)'Still life with frying pan and eggs'screenprint in colours, signed and dated 'W. Scott 73' u.l., numbered 11/250 l.l., with blind stamp l.l., on wove papersheet 67 x 89cm, unframed*Artist's Resale Right may apply to this lot.Condition report: The paper has discoloured throughout and is browning at extreme edges. Lower left corner is creased. Soft half-moon handling creases scattered throughout. A small crease next to signature and another top centre. A little dirty. Remnants of tape verso in top corners, which show through. Unframed.
Alfred Frederick William Hayward (1856-1939)oil on canvasStill life of roses in a white vasesigned and dated '1920.5 x 16.5in.CONDITION: Oil on original canvas in good clean condition, canvas remains tight, a fine but stable craquelure runs through most of the paint, signature and date 15 or 19? in the top right corner, housed in a later gilt gesso frame with cracking to the frame in the top right corner, with artist title plaque, label verso for J J Patrickson of Chelsea.
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.
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 ...'.
§ James Fullerton (1946-)oil on canvasStill life of fruit and sunflowers on a table topsigned35.5 x 41in.CONDITION: Oil on original canvas in good untouched condition, under glass in a silvered wood frame so remaining in good clean order, signed lower right, remnant of a gallery label verso.
17th century Dutch schooloil on canvasStill life of figs, lemons, plums, grapes and cherries21 x 16in.CONDITION: Oil on canvas relined within the past 10 years or so, canvas remains tight, paint with two crackle lines running down from 11.30 and 12 o'clock, otherwise a little dirty with scattered craquelure throughout which is starting to lift in some areas along with some blooming of the varnish particularly down the right hand side, housed in an 18th century giltwood frame which is complete but drying out.
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