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ISENBRANT, ADRIAEN ISENBRANT, ADRIAEN um 1490 Antwerpen - vor 1551 Brügge Werkstatt / Schule Titel: Kreuzabnahme. Fragment (?). Technik: Öl und Tempera auf Holz. Maße: 30 x 23cm. Rahmen/Sockel: Rahmen. Das Gemälde ist in der Datenbank des RKD, Den Haag, unter der Abbildungsnummer 44895 verzeichnet. Provenienz: Kunstmarkt, England (1930er Jahre); Firma D. Katz, Dieren; über Alois Miedl Auktion H.W. Lange, Berlin, 04.12.1940, Lot 209; Privatbesitz, Deutschland. Der Veräußerer und die Erbengemeinschaften Nathan und Benjamin Katz haben sich hinsichtlich eventuell bestehender Restitutionsansprüche geeinigt. Seitens der Erbengemeinschaften Nathan und Benjamin Katz werden keine weiteren Ansprüche hinsichtlich dieses Werkes geltend gemacht. Das vorliegende Gemälde ist als Fragment einer größeren Komposition zu betrachten, welche in der Werkstatt des Adriaen Isenbrandt ausgeführt wurde. Der noch unbekannte Lehrling nahm sich wahrscheinlich die Kreuzabnahme von Isenbrandt zum Vorbild, die derzeit in Oxford am Ashmolean Museum of Art and Archaeology aufbewahrt wird (Öl auf Holz, 37 x 28 cm). Bei dem Oxforder Gemälde drängen sich um die Christusfigur herum der heilige Johannes der Evangelist, die Muttergottes und Maria Magdalena zusammen, die den linken Arm Christi hält. In unserem Fragment wird der Arm Christi, von dem nur ein Teil zu sehen ist, erhoben: Es deutet die fehlende Figur der Magdalena an. Wir danken Guido de Werd, Köln, der die Zuschreibung des vorliegenden Gemäldes auf Grundlage einer hochaufgelösten Digitalfotografie bestätigt hat. Erläuterungen zum Katalog Adriaen Isenbrant Flandern Niederländische/ Flämische Schule 16.Jh. Originale Religiöse Darstellung Andachtsbild Leben Christi ISENBRANT, ADRIAEN ISENBRANT, ADRIAEN ca. 1490 Antwerp - before 1551 Bruges Workshop / School Title: The Descent from the Cross. Fragment (?). Technique: Oil and tempera on wood. Measurement: 30 x 23cm. Frame/Pedestal: Framed. Provenance: Art market, England (1930s); Private ownership, Germany. The assignor and the communities of inheritors Nathan and Benjamin Katz have reached an agreement regarding possible existing restitution claims. The communities of inheritors Nathan and Benjamin Katz have not asserted any further claims with regard to this work. The painting is registered in the RKD database under number 44895. The present painting is to be regarded as a fragment of a larger composition, executed in Adriaen Isenbrandt's workshop. The still unknown apprentice probably took Isenbrandt's Descent from the Cross as his model, which is in Oxford at the Ashmolean Museum of Art and Archaeology (oil on wood, 37 x 28 cm). In the Oxford painting, St. John the Evangelist, the Holy Mother of God and Mary Magdalene, holding Christ's left arm, crowd around the figure of Christ. In our fragment the only partly visible arm of Christ is raised: It indicates the missing figure of Magdalene. We are grateful to Guido de Werd, Cologne, for confirming the attribution of the present painting on the basis of a high-resolution digital photograph. Explanations to the Catalogue Adriaen Isenbrant Flanders 16th C. Old Masters Religious Art Devotional painting Life of Christ

CZACHÓRSKI, LADISLAUS VON CZACHÓRSKI, LADISLAUS VON 1850 Grabowczyk/Lublin - 1911 München Titel: Träumendes Mädchen. Technik: Öl auf Leinwand. Maße: 36 x 57cm. Bezeichnung: Signiert und datiert unten rechts: Czachorski 1896. Rahmen/Sockel: Rahmen. Provenienz: Privatsammlung, Europa. Auf ganz andere Weise als die beiden vorherigen Gemälde (Lot 1195, Lot 1196) fesselt der Blick des "träumenden Mädchens", das durch den Betrachter hindurch zu schauen scheint. Man kann sie gleichsam "unbemerkt" beobachten, jedes Detail dieses so faszinierend haptisch gemalten Gemäldes genießen - das Bild vor ihrem inneren Auge jedoch bleibt das Geheimnis der Träumerin. Die junge Dame hatte sich sicher zunächst aufrecht auf das Polster mit schräger Rückenlehne gesetzt um mit Nadel und Faden die reiche Stickerei zu vervollständigen, die sie im Schoß hält. Nun ist der junge Körper auf dem Sitz nach vorne gerutscht, der Kopf ruht auf der Kante der Rückenlehne und sie träumt mit offenen Augen, die Nadel noch in der Hand. Es ergibt sich ein reizvoller, heller, diagonaler Bogen in verschiedenen Rosa-, Creme-, und Weiß-Tönen vor dem dunklem Grün der Tapisserie im Hintergrund und des Sitzpolsters. Aufgenommen wird dieses helle Farbspiel von dem üppigen Blumen-Bouquet in der oberen rechten Ecke des Bildes sowie von einer weiß blühenden Zimmerpflanze in der unteren linken Ecke. Kompositorisch und inhaltlich reizvoll erdacht, überzeugt der Maler dieses Gemäldes, der gebürtige Pole Ladislaw Czachorski mit seiner faszinierenden Technik, die ihn als einen Großmeister der Historienmalerei seiner Zeit ausweist. In diesem kleinen Gemälde zeigt er, dass er seinem Lehrer, dem großen Carl von Piloty qualitativ nicht nachsteht. Der gebürtige Pole Czachorsky kam nach einer ersten Ausbildung in Warschau mit einer Zwischenstation an der Dresdener Akademie nach München. Hier wurde er Schüler Pilotys, der die Münchener Kunstszene und besonders die Historienmalerei prägte. Neben Genrebildern und Portraits spezialisierte Czachorski sich auch auf Shakespearsche Szenen-Motive. Bereits in jungen Jahren wurde Czachorski von Publikum und Kritik gefeiert, so erhielt er 1879 bei der 2. Internationale Kunstausstellung im Münchener Glaspalast eine Goldmedaille für ein Hamlet-Gemälde. Seine Bildnisse junger Damen, oft in historischen Kostümen und in reich dekorierten Boudoirs waren bei Käufern so beliebt, dass sie bis zu zwei Jahre Wartezeit in Kauf nahmen um ein Werk des Künstlers zu erhalten. Auch der heutige, mit ganz anderen Sehgewohnheiten "gesättigte" Betrachter des "träumenden Mädchens" kann diese Faszination erleben, wenn das Auge in dem taktilen Versprechen schwelgt, das der Künstler mit der delikaten Ausführung der verschiedensten nebeneinander präsentierten Materialien gibt. Czachorski widmet der Oberflächengestaltung aller Details im Bild dieselbe Aufmerksamkeit und ist darin Eugen de Blaas eng verwandt. Der Blick der jungen Träumenden lässt den Betrachter mit all der Pracht alleine, vermag ihn aber das allzu menschliche, der Zeit entrückte Gefühl des Tagträumens wieder empfinden zu lassen. Erläuterungen zum Katalog Ladislaus von Czachórski Polen Münchner Schule 2.H. 19.Jh. Gemälde Bürgerliches Leben Malerei CZACHÓRSKI, LADISLAUS VON CZACHÓRSKI, LADISLAUS VON 1850 Grabowczyk/Lublin - 1911 Munich Title: Dreaming Girl. Technique: Oil on canvas. Measurement: 36 x 57cm. Notation: Signed and dated lower right: Czachorski 1896. Frame/Pedestal: Framed. Provenance: Private collection, Europe. The gaze of the "dreaming girl", who seems to look through the viewer, captivates in a completely different way than the both paintings by Eugen von Blaas (Lot 1195, Lot 1196). One can observe her "unnoticed", as it were, and enjoy every detail of this fascinatingly haptically painted painting - the image in front of her inner eye, however, remains the secret of the dreamer. The young lady had certainly sat upright on the upholstery with a sloping backrest at first to complete the rich embroidery with needle and thread, which she holds in her lap. Now the young body has slid forward on the seat, her head rests on the edge of the backrest and she dreams with her eyes open, the needle still in her hand. The result is a charming, light, diagonal arch in various shades of pink, cream and white against the dark green of the tapestry in the background and the seat cushion. This light play of colours is taken up by the lush bouquet of flowers in the upper right-hand corner of the image and by a white flowering houseplant in the lower left-hand corner. The painter of this painting, the Polish-born Ladislaw Czachorski, is convincing in composition and content with his fascinating technique, which proves him to be a grandmaster of history painting of his time. In this small painting he shows that he is not inferior in quality to his teacher, the great Carl von Piloty. Czachorsky, who was born in Poland, came to Munich after his first training in Warsaw with a stopover at the Dresden Academy. Here he became a student of Piloty, who influenced the Munich art scene and especially history painting. Besides genre paintings and portraits Czachorski also specialised in Shakespearean scene motifs. Already at a young age Czachorski was celebrated by the public and critics, e.g. in 1879 he received a gold medal for a Hamlet painting at the 2nd International Art Exhibition in Munich's Glass Palace. His portraits of young ladies, often in historical costumes and in richly decorated boudoirs, were so popular with buyers that they had to wait up to two years to receive a work by the artist. Even today's viewer of the "dreaming girl", "saturated" with completely different viewing habits, can experience this fascination when the eye revels in the tactile promise the artist makes with the delicate execution of the most varied materials presented side by side. Czachorski devotes the same attention to the surface design of all the details in the image and is closely related to Eugen de Blaas in this respect. The gaze of the young dreamer leaves the viewer alone with all the splendour, but is able to make him feel the all too human feeling of daydreaming, removed from time. Explanations to the Catalogue Ladislaus von Czachórski Poland Munich School 2nd half of 19th C. Paintings Bourgeois Life Painting

SAFTLEVEN, HERMAN SAFTLEVEN, HERMAN 1609 Rotterdam - 1685 Utrecht Titel: Scheuneninterieur. Technik: Öl auf Holz. Maße: 57 x 71,5cm. Bezeichnung: Monogrammiert und datiert links auf dem Pfosten: CS (?) / 1672. Rahmen/Sockel: Rahmen. Provenienz: Privatbesitz, Deutschland. Die Arbeit ist in der Online-Datenbank des RKD, Den Haag, unter der Abb.Nr. 258898 verzeichnet. Erläuterungen zum Katalog Herman Saftleven Niederlande Niederländische Schule 17.Jh. Originale Stillleben Malerei Interieur SAFTLEVEN, HERMAN SAFTLEVEN, HERMAN 1609 Rotterdam - 1685 Utrecht Title: Barn Interior. Technique: Oil on wood. Measurement: 57 x 71,5cm. Notation: Monogrammed and dated left on the post: CS (?) / 1672. Frame/Pedestal: Framed. Provenance: Private ownership, Germany. The work is listed in the online databank of the RKD, The Hague, under the ill. no. 258898. Explanations to the Catalogue Herman Saftleven The Netherlands Dutch School 17th C. Old Masters Still Life Painting Interior

BEYEREN, ABRAHAM HENDRICKSZ VAN BEYEREN, ABRAHAM HENDRICKSZ VAN 1620 Den Haag - 1690 Overschie Titel: Stillleben mit Fischen. Technik: Öl auf Leinwand. Montierung: Doubliert. Maße: 65 x 77cm. Bezeichnung: Monogrammiert mittig auf der Tischkante: AB f. Rahmen/Sockel: Rahmen. Provenienz: Privatbesitz, Deutschland. Erläuterungen zum Katalog Abraham Hendricksz van Beyeren Niederlande Niederländische Schule 17.Jh. Originale Fische Malerei Küchenstück BEYEREN, ABRAHAM HENDRICKSZ VAN BEYEREN, ABRAHAM HENDRICKSZ VAN 1620 The Hague - 1690 Overschie Title: Still Life with Fish. Technique: Oil on canvas. Mounting: Relined. Measurement: 65 x 77cm. Notation: Monogrammed middle of the edge of the table: AB f. Frame/Pedestal: Framed. Provenance: Private ownership, Germany. Explanations to the Catalogue Abraham Hendricksz van Beyeren The Netherlands Dutch School 17th C. Old Masters Fish Painting Kitchen Scene

BLAAS, EUGEN VON BLAAS, EUGEN VON 1843 Albano Laziale - 1931 Venedig Titel: Zwei Venezianerinnen. Der Ring. Technik: Öl auf Leinwand. Maße: 107 x 66cm. Bezeichnung: Signiert und datiert unten rechts: Eugen von Blaas / 1896. Rahmen/Sockel: Rahmen. Provenienz: Privatsammlung, Eurpoa. Für Künstler war es schon immer ein vorrangiges Anliegen, menschliche Gemütszustände, Stimmungen und Erfahrungen in ihren Bildern festzuhalten und für den Betrachter erkennbar und wiedererlebbar zu machen. Gemälde mit Motiven aus dem alltäglichen Leben boten dafür unerschöpfliche Themen und diese Genrebilder faszinieren bis heute, stoßen sie doch ein Fenster in die Vergangenheit auf und lassen den Kunst-Genießer direkten Anteil an der historischen Atmosphäre nehmen. Dabei können die Betrachter der Gemälde in unterschiedlichster Weise von den dargestellten Personen "angesprochen" werden. Sie können neutrale Zuschauer einer Szene sein, die Rolle eines Voyeurs einnehmen oder sogar mit einem Modell in eine spezielle Art von Kommunikation treten. Entscheidend hierfür ist der Blick, mit dem die Personen im Bild aus diesem hinaus eine Kontaktaufnahme suggerieren - oder eben nicht. Den großen Reiz solcher Darstellungen können wir in drei Gemälden (Lot 1195, Lot 1196, Lot 1197) zweier Hauptmeister der Salonmalerei der zweiten Hälfte des 19. Jahrhunderts nachempfinden, die in dieser Auktion angeboten werden: Eugen von Blaas' 1896 datiertes Gemälde "Zwei Venezianerinnen" (Der Ring) zeigt zwei hübsche junge Frauen, die - vor dem Hintergrund der venezianischen Stadt-Kulisse - scheinbar eine Pause beim Wasserholen einlegen mussten, denn es gibt eine Neuigkeit: Den rechten Ringfinger der Stehenden ziert ein offenbar neuer Ring, den sie der Freundin, die sich auf eine, den vorderen Bildraum begrenzende Mauer gesetzt hat, präsentiert. Meisterlich charakterisiert der Maler die frisch Verlobte: Die kontrapostische Gewichtsverlagerung, die auf der Hüfte aufgestützte Linke mit dem abgewinkelten Ellenbogen, die Arm- und Handhaltung der demonstrierten Rechten machen Stolz und auch ein wenig Selbstgefälligkeit der Dargestellten deutlich. Ein Detail wie die leuchtend roten Strümpfe und auch die Mimik der jungen Frau bekräftigen deren kecken Eindruck. Die auf der Mauer sitzende Freundin dagegen, wirkt deutlich zurückhaltender in ihrem Wesen. Sie schaut von ihrem erhöhten Sitz auf das neue Schmuckstück herunter und hält dabei die beringte Hand der Freundin. Ihr Gesicht liegt im Schatten und es entsteht der Eindruck als sei sie leicht errötet. Ihre Linke ruht auf der Schulter der Freundin, ihre Beine hat sie züchtig übereinandergeschlagen. Sie freut sich über die große Neuigkeit und genießt den intensiv freundschaftlichen Moment an dem auch der Betrachter des Gemäldes teilhaben darf. Hintergrund und Umgebung der Szene sind farbig stark zurückgenommen. Beige und ockerfarbene Stadthäuser, Bäume im zart rosa Frühlingsflor, eine marode, teils verputzte Mauer und der graue Steinboden im Vordergrund kontrastieren nicht allein im Colorit zu den beiden jungen, adretten und leuchtend farbig gekleideten Signorinas. Auch inhaltlich hat der Maler Eugen von Blaas den Kontrast der Jugend vor der alten Stadtsilhouette in seinem Werk immer wieder thematisiert. Die beiden jungen Frauen verkörpern geradezu den Frühling, die Verlobung markiert den Aufbruch in eine neue Lebensphase, die ehrwürdige Stadt hat aber schon vieler solcher Frühlinge gesehen. Der 1843 geborene Eugen von Blaas (auch Eugenio de Blaas) war Sohn des höchst erfolgreichen und populären österreichischen Malers Carl von Blaas, der für seine Verdienste um die Kunst das erbliche Adelsprädikat verliehen bekam. Vom Vater wurde Eugen von Blaas, ebenso wie sein Bruder Julius, früh gefördert und unterrichtet und zu den besten Maler-Kollegen an die Akademien in Rom und Venedig geschickt. Eugen von Blaas, der später selbst als Professor an diesen Akademien lehrte, beherrschte das malerische Handwerk meisterlich und verblüffte die Zeitgenossen besonders auch durch seine Fähigkeit, alle Details seiner Gemälde mit derselben minutiösen Sorgfalt zu gestalten, wodurch er eine fast fotorealistische Plastizität erzeugte. In dem hier angebotenen Bild wandte von Blaas einen weiteren Kunstgriff an: Die Details im Vordergrund sind penibel in technischer Perfektion ausgeführt, dem Inkarnat der jungen Damen hat der Maler ebenso viel Aufmerksamkeit gewidmet wie den verschiedenen Stofftexturen, dem schartigen Mauerwerk oder den Metall- und Steingutgefäßen im Vordergrund. Die Welt jenseits der Mauer liegt aber in einem leichten Dunst, dem venezianischen Sfumato. Durch diese Raffinesse fokussiert Eugen de Blaas den Blick des Betrachters auf den Vordergrund und hebt dessen Plastizität noch verstärkt hervor. Erläuterungen zum Katalog Eugen von Blaas Deutschland Romantik 19.Jh. Gemälde Venedig Malerei Genre BLAAS, EUGEN VON BLAAS, EUGEN VON 1843 Albano Laziale - 1931 Venice Title: Two Venetian Women. The ring. Technique: Oil on canvas. Measurement: 107 x 66cm. Notation: Signed and datedEugen von Blaas / 1896. Frame/Pedestal: Framed. Provenance: Private collection, Europe. For artists it has always been a primary concern to capture human moods, moods and experiences in their images and to make them recognisable and re-experienceable for the viewer. Paintings with motifs from everyday life offered inexhaustible themes and these genre images are still fascinating today, as they open a window to the past and allow the art lover to take a direct share in the historical atmosphere. The viewers of the paintings can be "addressed" in various ways by the people depicted. They can be neutral spectators of a scene, take on the role of a voyeur or even enter into a special kind of communication with a model. The decisive factor here is the gaze with which the persons in the painting suggest a contact out of the painting - or not. The great appeal of such representations can be felt in three paintings by two main masters of salon painting of the second half of the 19th century, which are offered in this auction: Eugen von Blaas' painting "Zwei Venezianerinnen" (The Ring), dated 1896, shows two pretty young women who - against the background of the Venetian city scenery - seem to have had to take a break to fetch water, because there is a novelty: the right ring finger of the standing woman is decorated with an apparently new ring which she presents to her friend who has sat down on a wall which borders the front image space. The painter masterfully characterises the newly engaged woman: the contrapuntal shifting of weight, the left supported on the hip with the elbow bent, the arm and hand posture of the demonstrated right make pride and also a little complacency of the sitter clear. A detail such as the bright red stockings and also the facial expressions of the young woman reinforce her perky impression. The friend sitting on the wall, on the other hand, seems much more reserved in her na Full description on lot-tissimo.com

HAMILTON, CARL-WILHEM DE HAMILTON, CARL-WILHEM DE 1668 Brüssel - 1754 Augsburg Titel: Zwei Gemälde: Waldbodenstillleben mit Schmetterlingen und Reptilien. Technik: Jeweils Öl auf Leinwand. Montierung: Auf Holz gelegt. Maße: 39 x 28,5cm. Rahmen/Sockel: Rahmen. Proveneinz: Privatbesitz, Deutschland. Erläuterungen zum Katalog Carl-Wilhem de Hamilton Flandern Niederländische/ Flämische Schule Deutsche Schule 17./18. Jh. Originale Stillleben Malerei Tiere HAMILTON, CARL-WILHEM DE HAMILTON, CARL-WILHEM DE 1668 Brussels - 1754 Augsburg Title: Two Paintings: Forest Floor Still Lifes with Butterflies and Reptiles. Technique: Each oil on canvas. Mounting: Laid down on wood. Measurement: 39 x 28,5cm. Frame/Pedestal: Framed. Provenance: Private ownership, Germany. Explanations to the Catalogue Carl-Wilhem de Hamilton Flanders German School 17th/18th C. Old Masters Still Life Painting Animals

SCHREYVOGEL, CHARLES SCHREYVOGEL, CHARLES 1861 New York - 1912 Hoboken Titel: The Last Drop. Trapper mit seinem Pferd. Technik: Bronze auf Maße: 30 x Bezeichnung: Bezeichnet auf der Plinthe: Copyrighted 1903 by / Char. Schreyvogel. Literatur: Catalogue of the Collection of the Museum of Western Art, Denver 1983, S. 110, Abb. 76 (abgebildet ist ein weiterer Guß der Serie); G.A. Reynolds: American Bronze Sculpture: 1850 to the Present, Newark 1984, S. 23. S. Campbell: The American West - People, Places, and Ideas. New York 2001, Abb. 62 (abgebildet ist ein weiterer Guß der Serie); L.D. Rosenfeld: A Century of American Sculpture - The Roman Bronze Works Foundry, New York 2002, S. 138. Ein Trapper mit seinem Pferd, zusammen teilen sie sich den letzten Rest des Wasservorrats. Diese archetypische Version des Lonesome Cowboy als modellierte und in Bronze gegossene Figurengruppe diente dem Künstler ursprünglich lediglich als Studienvorlage, nach der er um die Jahrhundertwende das gleichnamige Gemälde "The Last Drop" entwickelte, heute im Tacoma Art Museum (Tacoma, Washington). Charles Schreyvogel, geboren und gestorben in den USA, kam in den Jahren 1886-1890 zum Studium nach München, wo er bei seinem Landsmann Carl Marr lernte, der später Direktor der Akademie wurde. Zurück in Hoboken reiste er ab 1893 mehrfach in den Westen der Staaten in die dortigen Indianerreservate. Die Motive, die er dort fand, wurden zu seinem Lebensthema, für das er noch heute hoch angesehen und gesucht ist. Er wurde zum Maler der Indianer und Cowboys, der das Leben im amerikanischen Wilden Westen dokumentierte. Viele seiner Werke werden heute in den dortigen Museen ausgestellt. Die Bronze "The Last Drop", eine von nur sehr wenigen dreidimensionalen Bildwerken des Künstlers, brachte es vom reinen Studienobjekt zu eigener Berühmtheit. Die in der New Yorker Gießerei gefertigte und nummerierte Auflage findet sich in zahlreichen Museen der USA, u.a. im Rockwell Museum of Western Art, Corning, New York und im Museum of Western Art, Denver, Colorado. Erläuterungen zum Katalog Charles Schreyvogel USA Münchner Schule 2.H. 19.Jh. Bronzen Pferde Bronze Reiter / Reiterin SCHREYVOGEL, CHARLES SCHREYVOGEL, CHARLES 1861 New York - 1912 Hoboken Title: The Last Drop. Trapper with his horse. Technique: Bronze on Measurement: 30 x Notation: Inscribed on the plinth: Copyrighted 1903 by / Char. Schreyvogel. Literature: Catalogue of the Collection of the Museum of Western Art, Denver 1983, p. 110, ill. 76 (illustrated is another casting from the series); G.A. Reynolds: American Bronze Sculpture: 1850 to the Present, Newark 1984, p. 23. S. Campbell: The American West - People, Places, and Ideas. New York 2001, ill. 62 (illustrated is another casting from the series); L.D. Rosenfeld: A Century of American Sculpture - The Roman Bronze Works Foundry, New York 2002, p. 138. A trapper with his horse, together they share the last remnants of the water supply. This archetypal version of the Lonesome Cowboy as a group of figures modelled and cast in bronze originally served the artist merely as a study model, after which he developed the painting of the same name, "The Last Drop", at the turn of the century, now in the Tacoma Art Museum (Tacoma, Washington). Charles Schreyvogel, born and died in the United States, came to Munich between 1886 and 1890 to study under his countryman Carl Marr, who later on became director of the academy of arts. Back in Hoboken he travelled from 1893 several times to the western part of the states to the Indian reservations there. The motifs he found there became his life theme, for which he is still highly regarded and sought after today. He became the painter of the Indians and cowboys, who documented the life in the American Wild West. Many of his works are exhibited in the museums there today. The bronze "The Last Drop", one of only very few three-dimensional pictorial works by the artist, went from being a mere study object to becoming famous in its own right. The numbered edition, produced in the New York foundry, can be found in numerous museums in the USA, including the Rockwell Museum of Western Art, Corning, New York and the Museum of Western Art, Denver, Colorado. Explanations to the Catalogue Charles Schreyvogel USA Munich School 2nd half of 19th C. Bronzes Horses Bronze Horseman / Horsewoman

FLEGEL, GEORG FLEGEL, GEORG 1563 Olmütz - 1638 Frankfurt/Main Titel: Stillleben mit Fischen in einer Schüssel, einer erlegten Taube und Früchten. Vermutlich Teilstück eines großen Küchenstilllebens. Technik: Öl auf Holz. Maße: 35 x 38,5cm. Rahmen/Sockel: Rahmen. Gutachten: Ingvar Bergström, Göteborg 25.05.1993; Sam Segal, 19.11.1993. Literatur: A.-D. Ketelsen-Volkhardt: Georg Flegel 1566-1638. München 2003, S. 224f., Nr. 34, mit Abb. Provenienz: Privatbesitz, Deutschland. Ingvar Bergström hat das vorliegende Gemälde 1993 als bis dahin unbekanntes Werk als eine charakteristische Arbeit Flegels erkannt und datiert es vorsichtig in dessen Frühzeit. Ebenso beurteilt Sam Segal es auch als ein authentisches Werk, das er z.B. durch die weiche Behandlung des Vogels in eine Nähe zu Beispielen Flegels in Prag und Nürnberg stellt. Anne-Dore Ketelsen-Volkhardt wiederum vergleicht es vorsichtig mit der Karlsruher Version einer Vorratskammer, die sie in ihrem Werksverzeichnis unter der Katalognummer 73 aufführt. Erläuterungen zum Katalog Georg Flegel Deutschland Deutsche Schule 16./17. Jh. Originale Küchenstück Malerei Fische FLEGEL, GEORG FLEGEL, GEORG 1563 Olmütz - 1638 Frankfurt/Main Title: Still Life with a Bowl of Fish, a Dead Dove and Fruit. Probable part of a large kitchen still life. Technique: Oil on wood. Measurement: 35 x 38,5cm. Frame/Pedestal: Framed. Certificate: Ingvar Bergström, Göteborg 25.05.1993; Sam Segal, 19.11.1993. Literature: A.-D. Ketelsen-Volkhardt: Georg Flegel 1566-1638. Munich 2003, p. 224f., no. 34, with ill. Provenance: Private ownership, Germany. Ingvar Bergström recognized the present painting in 1993 as a previously unknown work with the characteristics of Flegel's work and carefully dates it to his early years. Sam Segal also judges it to be an authentic work, which he places in proximity to examples of Flegel's work in Prague and Nuremberg, for example, through the soft manner of the bird. Anne-Dore Ketelsen-Volkhardt in turn carefully compares it with the Karlsruhe version of a pantry, which she lists in her catalog raisonné under the catalog number 73. Explanations to the Catalogue Georg Flegel Germany German School 16th/17th C. Old Masters Kitchen Scene Painting Fish

BECK, JACOB SAMUEL BECK, JACOB SAMUEL Erfurt 1715 - 1778 Titel: Jagdstillleben mit Vögeln. Technik: Öl auf Leinwand. Montierung: Doubliert. Maße: 66,5 x 81,5cm. Bezeichnung: Bezeichnet unten rechts: Bezeichnung: Beck pinx. Rahmen/Sockel: Rahmen. Provenienz: Privatbesitz, Deutschland. Erläuterungen zum Katalog Jacob Samuel Beck Deutschland Deutsche Schule 18.Jh. Originale Vögel Malerei Jagd BECK, JACOB SAMUEL BECK, JACOB SAMUEL Erfurt 1715 - 1778 Title: Hunting Still Life with Birds. Technique: Oil on canvas. Mounting: Relined. Measurement: 66,5 x 81,5cm. Notation: Inscribed lower right: Beck pinx. Frame/Pedestal: Framed. Provenance: Private ownership, Germany. Explanations to the Catalogue Jacob Samuel Beck Germany German School 18th C. Old Masters Birds Painting Hunting

Carrington (Dora, painter, 1893-1932).- Brenan (Gerald, writer and Hispanic scholar, 1894-1987) Diary and Papers Relating to D[ora] C[arrington] 1925-1926, duplicated typescript with autograph corrections and signed by Brenan, presentation copy from the author to Ralph Partridge, inscribed "This copy left with R.S.P." [Ralph Sherring Partridge], 124pp., slightly browned, browned, spring loaded cloth boards, sm. 4to, [c. 1920's].⁂ Gerald Brenan's impassioned account of his unhappy relationship with Dora Carrington. The root of all this unhappiness lay with the relationship of Dora Carrington with Lytton Strachey, who had met during during the First World War and developed into a close and unbreakable bond, despite Strachey's homosexuality. In 1917 they set up home together, and in 1918, Ralph Partridge came to live with them. Strachey fell deeply in love with Partridge and Carrington married him in 1921 in order to stay close to Strachey. Partridge's closest friend was Gerald Brenan who became Carrington's lover, and whose relationship seems to have fluctuated according to Carrington's feelings about Strachey's and Partridge's behaviour. Lytton Strachey died in January 1932 of undiagnosed stomach cancer and a few weeks later Dora Carrington shot herself."CRD made love to me because R[alph] was in love with her; when I fell entirely in love and R. out, she left me for him, assisted by an unconscious jealousy of Frances [Marshall]. She [Carrington] will always be the same, restless, irritable, loving only those who do not love her, and turning quickly away from those who do. No one more unfit for social life could be found, and yet why do I still say that she is good, affectionate, gentle?" - Brenan.Brenan's diary mentions other members of the Bloomsbury Group, including Virginia Woolf, on her character, "Wherever Virginia goes, she undoes a knot like a Lapland witch and lets out a war", and her novels, "She conceives the characters clearly, different thoughts occupying their minds, yet they all speak in one tone. The peculiarity of V's novels lies in no part of the book being adapted for action...her characters are bundles of images - mostly memories: those abstracts qualifications which throw light on how they may be expected to behave under varying circumstances are absent: and, as nothing whatever does happen in the course of the book, and in V.'s conception of the world nothing, apparently, ever can happen, one does not miss anything".Provenance: (1). Reginald Sherring Partridge (1894-1960), worked for Leonard Woolf and Virginia Woolf, married first Dora Carrington and then Frances Marshall (2). Richard Heron Ward (1910-69), writer.

In the manner of Jan van HUYSUMStill life of flowersOil on panel, in a stylised carved giltwood frame23.5 x 18.5cmCondition report: Framed size: 44 x 38.5cm (irregular)

Flowers, still lifeOil on canvas Indistinctly signed 61 x 52.5cmCondition report: There are no evident condition issues.

J. Leach, A still life watercolour daffodils in a jug

James P. MICHAEL (XX)Still life, oil on boardtogether with a second still life.

Two portfolios of watercolours from the archive of architect, artist and poet Gavin Pomeroy. Including architectural drawings, architectural, architectural watercolours, landscape and abstract watercolours, linocuts, prints etc. together with poems, architectural magazines, sketchbooks etc. and two Russell Flint prints.William Gavin Ingram Pomeroy 4 April 1929Born in Newlyn his family moved to Mousehole when his grandfather died. The Pomeroy’s owned many properties in Mousehole and were market gardeners. They owned the meadows flanking Raginnis Hill in Mousehole. His mother Ann nee White’s family were the White’s from Newlyn who built many properties in Newlyn including Eden Terrace.A great all-rounder academically, artistically, musically and also a good sportsman. Gavin played in local teams becoming captain of the junior teams in the 1940’s – football and cricket.His mother was very musically gifted and was the accompanist for Mousehole Male Voice Choir for over 30 years. Ann worked for a local solicitors and also taught the piano and organ. Gavin inherited his mother’s musical talent – he sang his first solo at the age of 14, eventually joined Mousehole Male Voice Choir – still a member (maybe still the vice-chair). And up until his recent ill health was in demand both in Cornwall and around Devon as a soloist. Gavin played the piano and violin.In his primary school, he was awarded a board school scholarship and went to what became Humphry Davy Grammar School for boys.In 1947 he started as an articled architectural student with Geoffrey Bazeley & Associated, Chartered Architects, 15/16 Alverton Street, Penzance.During his time as a student with Bazeley’s, Gavin took a correspondence course all about building, with the International Correspondence Schools Ltd. This involved doing drawings, lettering and answering a comprehensive range of questions covering all trades.In 1951 Gavin travelled to Plymouth to study architecture at the School of Art Department of Architecture in Palace Court. He boarded with a local lady and in later years married his landlady’s daughter Joy Richings, whose family were from Berneray in the Outer Hebrides (his nephew on his wife’s side and family still live there).Around 1955 Gavin was called up for National Service and deployed to Chatham Barracks, Kent where he was taken on as a draughtsman in the Sappers. He designed the gates for the barracks that were built there.He married in 1955 and he joined the choir at Plymouth Methodist Central Hall.Bazeley’s opened a branch in St Austell and later in Plymouth, Gavin headed up both.He became a part-time lecturer for Plymouth School of Architecture in the evenings and in 1964 was offered a full-time position. Gavin’s wife encouraged him to take this change of direction in his architectural career. Whilst working at the Polytechnic, Gavin successfully completed a 2 year Master’s Degree in architecture at Bath University. By the time he retired in 1999, Gavin was the senior lecturer in architecture at what was then Plymouth Polytechnic and is now Plymouth University.Throughout his life, Gavin never stopped sketching, painting (particularly watercolours and pastels that he either kept or gave to family and friends) and writing poetry.The Mousehole Archive has Pomeroy family history and Gavin’s niece has some of his paintings and some recent family history.Sadly, Gavin now has dementia but has clearly lead a very artistic and interesting life.

Margaret MORCOMPolyanthus from St Anthony Village, still lifeOil on canvasSigned30 x 40cmTogether with two oils by Keith Elvin and a small seascape oil by Helen Betty (4)

An illuminated AA Garage sign. Height 72cm overall.Condition report: This sign seems to have been a working sign at some point in its life. As the photo shows there is rust and ware to the case. The Perspex is in good order with no cracks. The applied logo under the Perspex has worn away in some places. One side of the sign has faired a lot better than the other, although is still in decent order.

Duncan Grant (British, 1885-1978)Still life with compotier and glass signed with initials 'D.G.' (lower right)oil on canvas41.9 x 31 cm. (16 1/2 x 12 1/4 in.)Painted circa 1916Footnotes:ProvenanceThe Artist, until 1970, by whom gifted toRichard ShoneWith The Mayor Gallery, London, where probably acquired byChristopher Hull, thence by family descentPrivate Collection, U.K.The opaline compotier depicted was a favourite object at Charleston. It was given to Duncan Grant by Barbara Bagenal (née Hiles), and is still at the house today. It appears in numerous still lifes by both Grant and Vanessa Bell, including the major canvas Interior (c.1918 Ulster Museum, Belfast), a painting of the dining-room at Charleston depicting Bell painting the fruit-filled compotier.We are grateful to Richard Shone for his assistance in cataloguing this lot.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Duncan Grant (British, 1885-1978)Still Life with Black Bottle and an Auerbergine oil on board56 x 63.4 cm. (22 x 25 in.)Painted in 1926Footnotes:ProvenanceWith London Artists' AssociationSale; Christie's, London, 11 November 2010, lot 128LiteratureW.G. Constable, Duncan Grant, British Artists of Today VI, London, 1927, pl.15 (as Still Life)The present work was painted in the artist's studio at 8 Fitzroy Street. For a period in the early to mid 1920s Duncan Grant painted a series of still lifes in a sober, close-toned palette, which were influenced by Chardin, by Spanish still lifes Grant had seen in Spain in 1923, and with the painting of French contemporaries Grant knew and admired such as Derain and Segonzac. We are grateful to Richard Shone for his assistance in cataloguing this lot.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Ivon Hitchens (British, 1893-1979)Dahlias in a Grey Vase oil on canvas75 x 50.8 cm. (29 1/2 x 20 in.)Painted circa 1936Footnotes:ProvenanceEstate of the ArtistWith Jonathan Clark & Co, London, 24 September 2004, where purchased by Ross D. Siragusa Jr., from whom acquired by the present ownerPrivate Collection, U.K.Please note that this work has been authenticated by John Hitchens, the artist's son, and bears studio stamp (verso)Whilst Ivon Hitchens is primarily recognised for the abundance of landscape work he executed from his home in the Sussex countryside, still life painting formed an important part of his artistic output. The studio still life work from the 1930s, of which examples rarely appear at auction and the present work forms part of, differs to what would become a more charged and abstract style in later years.Hitchens' flower pieces and still lifes owe much to the influence of Georges Braque who, along with Cézanne, played a major role in his development. The present work is a striking example and incorporates a carefully selected floral bouquet with expressive palette. Hitchens' ability to successfully transcribe what we may consider a traditionalist subject within a modernist and clearly defined pictorial space make this work highly appealing.We are grateful to Peter Khoroche for his assistance in cataloguing this lot.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Dame Barbara Hepworth (British, 1903-1975)Seated Figure and Reflection signed and dated 'Barbara Hepworth. Dec. 1947' (lower right)oil and pencil on card35.5 x 36 cm. (14 x 14 1/4 in.)Footnotes:ProvenanceDr Andrew RevaiPauline Hayward, thence by family descentPrivate Collection, U.K.ExhibitedLondon, The Lefevre Gallery, Paintings by Barbara Hepworth, Paintings by L.S. Lowry, April 1948, cat.37Apparently unseen in public for over seventy years, this sublime drawing by Hepworth, Seated Figure and Reflection, is among her earliest pieces from a series of figurative drawings begun late in 1947 which introduced her surgical works of 1948-49.They are commonly referred to as 'drawings' rather than paintings as the employment of gesso and oil are used to prepare the board, remaining secondary to the draughtsmanship. In the present lot a subtle, pale green wash has been applied to the ground which brings the picture to life. The pencil lines are purposeful and delicate, with areas of sensitively applied shading to indicate form, such as under the thighs and breasts.In 1966 Alan Bowness remarked:'The earliest of the figure drawings were done at the end of 1947 and in 1948. In each case we have two views of the same model. One subsidiary to the other. There is no suggestion of a fixed pose – which the artist dislikes intensely. She asks the model to move about naturally, pausing or resting at certain moments, but never taking up an artificial position. By preference she has used trained dancers on holiday, rather than professional artists' models. In the 1930s she had often watched dancers at work, and even drew ballet subjects, but as with Degas the interest was not in ballet as such, but in the nature of human movement.' (Alan Bowness, Barbara Hepworth, Drawings from a Sculptor's Landscape, Cory, Adams & Mackay, London, p.20).Unlike most of the drawings from this period both studies of the same model carry equal weight. They are as its title suggests, reflected, but at the same time could be engaged in dialogue, separated by playful curvy lines which mirror those of the naked bodies. This sense of movement is paramount and expertly conveyed by the artist's rhythmic lines, from the waves of the hair to the overlapping marks of their legs. Nothing in this exquisite study seems still or fixed.We are grateful to Dr Sophie Bowness and Jenna Lundin Aral for their assistance in cataloguing this lot.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

RICHARD DURANDO TOGO (ARGENTINIAN b.1910), FLORAL STILL LIFE oil on board, signed 34cm x 24cm Framed

GEORGE HOUSTON RSA RSW (SCOTTISH 1869 - 1947), DUNTRUNE CASTLE oil on canvas, signed 71cm x 91cm Framed Provenance: Private Glasgow collection. Acquired J&R Edmiston Auctioneers, 166A Bath Street, Glasgow 18 September 1968 (lot 44) where catalogued "Wooded Landscape and Loch". Note: Duntrune Castle is located on the north side of Loch Crinan and across from the village of Crinan in Argyll, Scotland. In 1562 Donald McGillespic Vic O'Challum received the lands of Poltalloch from Duncan Campbell of Duntrune in return for certain services. Two hundred years later, the O'Challums (now anglicised to Malcolm) bought out the Campbells. Today their direct descendants still occupy Duntrune and farm the land. Situated at the narrows between deep water and a tidal loch, Duntrune was built to guard the glens of Kilmartin and Kilmichael from seafaring marauders. Always a Campbell stronghold in those days, it was never the scene of a major conflict, and is now accepted as the oldest continuously inhabited castle in Scotland. The vaulted rooms on the ground floor date from the 12th Century, and the remainder of the keep from the 16th. The ghost is well-authenticated, handless piper, whose musical warning "Cholla mo Run, Seachain a Dun" saved his master Colkitto McDonald from a Campbell ambush. Four thousand years before the first Campbell, neolithic man gave up a nomadic hunting life to settle where the land drained easily and responded to his simple implements. The Scots of Dalriada came later, attracted not only by the fertility of the area, but also because it was central to their kingdom and all outposts were easily reached. So it is today. (This text from the Duntrune Castle website, with the kind consent of the Malcolm family of Duntrune).

* JOHN MILLER RSA PRSW (SCOTTISH 1911 - 1975 STILL LIFE WITH A PAINTING oil on board, signed 38cm x 48cm Framed and under glass Label verso: The Open Eye Gallery, 75-79 Cumberland Street, Edinburgh. Note: John Miller was born in Glasgow and studied at the Glasgow School of Art under W.O. Hutchison in 1936 and at Hospitalfield Art College in Arbroath under James Cowie in 1938. Miller joined the staff at the Glasgow School of Art in 1944 and remained there until his death. He visited France where he as greatly influenced by French painting and the landscapes there. He was known for his coastal scenes painted around the Clyde and for his glowing still lifes, of which Still Life with Painting is a fine example. Miller was elected to the Royal Scottish Society of Watercolour Artists in 1952, becoming its President from 1970-74, and was elected to the RSA in 1966.

LOUISE ELLEN PERMAN (SCOTTISH 1854 - 1921), FLORAL STILL LIFE oil on canvas, signed 46cm x 76cm Framed Note: Louise Ellen Perman (Mrs James Torrance) was born in Glasgow and studied at the Glasgow School of art 1881-90. She was a painter of flowers and worked mainly in oils although she also did some watercolours. In 1908 White Roses was bought by the Luxembourg in Paris. In 1911 she married the artist James Torrance and they moved to Helensburgh where she lived until her death. She held several exhibitions, often showing in conjunction with Jessie Algie, Jessie Marion King and Anne Muir. She exhibited 28 floral oil paintings at the Royal Scottish Academy between 1885-1920.

* HERBERT DAVIS RICHTER (BRITISH 1874 - 1955), STILL LIFE WITH FLOWERS IN A VASE AND A CONTINENTAL FIGURE GROUP oil on canvas, signed 77cm x 64cm Framed

* MARY C DAVIDSON RSW (SCOTTISH d 1950), FLORAL STILL LIFE oil on canvas 51cm x 62cm Framed

Constantinos Parthenis (Greek, 1878-1967)Mountaneous Landscape, Macedonia signed and inscribed 'PARTHENIS/MACEDOINE' (lower right)oil on canvas18 x 18 cm. Footnotes:ProvenanceGiven as a gift from the artist to Sofia Laskaridou and thence by descent to the present owner.Following his seven-year stay in Vienna, Parthenis came to Athens for the first time in the summer of 1903 to participate in the Athens International Exhibition, where he was awarded a silver diploma. His first Greek landscapes date from that time. The next year he travelled for four months in the region of Macedonia, which was still under Ottoman rule, perhaps due to his father's Macedonian roots. There, he made many landscape pictures, including views of Mount Pangaion, in a neo-impressionist style.1In a 1904 issue of the Pinakothiki journal we read: 'The music of colours, first introduced by Klimt, was taken up only by Parthenis among Greek artists.'2 In these enchanting landscape gems, the poetic atmosphere, subtle colour harmonies, absence of human figures, solemn remoteness and sharp brushstrokes that transform the canvas into a gleaming tapestry of colour touches, leave no doubt that Parthenis had assimilated the achievements of the great Viennese symbolist.During his spell in Vienna (1895/6-1903), the artist probably travelled to Paris in 1900 on the occasion of his participation in the Exposition International Universelle,3 and met the young painter Sophia Laskaridou (1882-1965), who was studying at the Académie Julian (1900-1901). In his first solo exhibition in Athens in 1901, Parthenis showed a series of remarkable portraits of beautiful Sophia, whom he was possibly in love with.41 See Pinakothiki journal, December 1904, p. 198. See E. Mathiopoulos, 'Costis Parthenis' [in Greek] in Costis Parthenis, Epta Imeres - Kathimerini weekly magazine, July 27, 1997, p. 4; The Greek Painters, vol. II, 20th Century, Melissa editions, Athens 1975, pp. 14, 19, 29; E. Mathiopoulos, The Life and Work of Costis Parthenis [in Greek], K. Adam editions, Athens 2008, p. 36. 2 'Painting' [in Greek], Pinakothiki journal, January 1904, p. 224.3 See E. Mathiopoulos, 'Costis Parthenis' [in Greek] in Costis Parthenis, Epta Imeres - Kathimerini weekly magazine, July 27, 1997, p. 3,4 D. Iliopoulou-Rogan, Sophia Laskaridou (1882-1965) [in Greek], Livanis editions, Athens 2007, pp. 36, 47. This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Constantinos Parthenis (Greek, 1878-1967)Dreamy landscape signed and dated 'C.P./903' (lower right)oil on canvas laid on card 33 x 28 cm.Footnotes:ProvenanceGiven as a gift from the artist to Sofia Laskaridou and thence by descent to the present owner.Following his seven-year stay in Vienna, Parthenis came to Athens for the first time in the summer of 1903 to participate in the Athens International Exhibition, where he was awarded a silver diploma. His first Greek landscapes date from that time. The next year he travelled for four months in the region of Macedonia, which was still under Ottoman rule, perhaps due to his father's Macedonian roots. There, he made many landscape pictures, including views of Mount Pangaion, in a neo-impressionist style.1In a 1904 issue of the Pinakothiki journal we read: 'The music of colours, first introduced by Klimt, was taken up only by Parthenis among Greek artists.'2 In these enchanting landscape gems, the poetic atmosphere, subtle colour harmonies, absence of human figures, solemn remoteness and sharp brushstrokes that transform the canvas into a gleaming tapestry of colour touches, leave no doubt that Parthenis had assimilated the achievements of the great Viennese symbolist.During his spell in Vienna (1895/6-1903), the artist probably travelled to Paris in 1900 on the occasion of his participation in the Exposition International Universelle,3 and met the young painter Sophia Laskaridou (1882-1965), who was studying at the Académie Julian (1900-1901). In his first solo exhibition in Athens in 1901, Parthenis showed a series of remarkable portraits of beautiful Sophia, whom he was possibly in love with.41 See Pinakothiki journal, December 1904, p. 198. See E. Mathiopoulos, 'Costis Parthenis' [in Greek] in Costis Parthenis, Epta Imeres - Kathimerini weekly magazine, July 27, 1997, p. 4; The Greek Painters, vol. II, 20th Century, Melissa editions, Athens 1975, pp. 14, 19, 29; E. Mathiopoulos, The Life and Work of Costis Parthenis [in Greek], K. Adam editions, Athens 2008, p. 36. 2 'Painting' [in Greek], Pinakothiki journal, January 1904, p. 224.3 See E. Mathiopoulos, 'Costis Parthenis' [in Greek] in Costis Parthenis, Epta Imeres - Kathimerini weekly magazine, July 27, 1997, p. 3,4 D. Iliopoulou-Rogan, Sophia Laskaridou (1882-1965) [in Greek], Livanis editions, Athens 2007, pp. 36, 47. This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Constantinos Parthenis (Greek, 1878-1967)Harmony signed 'C.Parthenis' (lower left)oil on canvas125 x 50 cm.Painted c. 1940-41.Footnotes:The artwork bears the artist's son signature on the reverse and the date 26/7 on the stretcher.ProvenanceN. Parthenis collection, Athens.Private collection, Athens.LiteratureL'Art Contemporain et le Monde Grec, Actes du XVIIIe Congres de l'Association Internationale des Critiques d'Art (AICA), Athens 1984, p. 151 (mentioned).A. Kotidis, On Parthenis, University Studio Press, Thessaloniki 1984, p. 36 (mentioned).A. Kafetsi, Drawings by Constantinos Parthenis in the National Gallery, exhibition catalogue, National Gallery - Alexandros Soutzos Museum, Athens 1989, p. 58 (mentioned).E. Mathiopoulos, The Life and Work of Costis Parthenis, K. Adam editions, Athens 2008, no. 283, p. 427 (catalogued), p. 343 (illustrated).In 1939, the Minister-Governor of Athens Kostas Kotzias and Mayor Ambrosios Plytas, wishing to complete the City Hall's decoration program, decided to commission the great Parthenis to decorate the spacious southwest room on the first floor. The painter negotiated and agreed to be paid 800,000 drachmas—a huge amount for the time. Following a vote by the city council, the contract was signed on April 18, 1940, providing a period of twenty months for the delivery of twelve independent canvases. While Parthenis kept his end of the agreement, the Municipality of Athens, due to the outbreak of the Greek-Italian war and the German occupation that followed, was unable to honour the contract. After the war, in the early 1950s, the Municipality of Athens, under Mayor Kostas Kotzias, showed a renewed interest in acquiring the canvases at the cost agreed before the war. However, especially after the dramatic devaluation of the drachma on April 9, 1953, the agreed upon amount had lost almost all of its real value. Parthenis saw the proposed deal as a mockery of his work and turned it down without hesitation. As a result, the works remained in his workshop and out of public view until the artist's passing in 1967. 1Translated into evocative symbols, these highly idealised and allegorical works are absorbed in a world purified of any kind of brutality, a world that soars loftily in the heights of ideals, while their sensitive lines, translucent colours and abstractive formal vocabulary endow them with a highly poetic and spiritual content. Through a sophisticated formulation of style, which fully utilised the entire Greek aesthetic tradition while reading elegantly like a piece of undiscovered mythology, Parthenis managed to create a work of visual poetry, a world as much Greek as universal. Harmony2 is personified by a young woman in a knee-length dress and pleated cape standing on a short pedestal like an ancient Greek kore and playing the violin against a starry night sky. Her body posture and overall compositional design echo Maurice Denis's La Damoiselle élue, a 1892 work inspired by the namesake cantata by Claude Debussy and based on a text by Pre-Raphaelite poet and painter Dante Gabriel Rossetti.3 Once in close contact with symbolist circles, Parthenis was thoroughly familiar with the work of Puvis de Chavannes, Gustave Moreau, Odilon Redon and, especially, Maurice Denis, who sought to reinvest art with a deeper, more spiritual meaning. The idealistic atmosphere of the French painter's works, and the highly stylised rendering of the human figure, had a strong impact on Parthenis throughout his career.In this evocative setting, the young violin4 player takes on an allegorical meaning, identified with the idea of music as a symbol of universal order, harmony and peace. As noted by Z. Papantoniou, 'by dematerialising form and giving shape to ideas, Parthenis creates a musical quality; in other words he lifts painting to the realm of music, the most immaterial of all arts.5 Parthenis himself was an ardent lover of classical music and, accompanied by his wife, he often attended Sunday concerts and recitals by great performers at the Municipal Theatre, the Olympia and the Kentrikon music halls.61 See E. Mathiopoulos, The Life and Work of Costis Parthenis [in Greek], K. Adam editions, Athens 2008, pp. 91, 97-98; A. Kotidis, On Parthenis [in Greek], University Studio Press, Thessaloniki 1984, pp. 21-22; A. Kotidis, 'The Dialectic of Power in the Case of Costis Parthenis' [in Greek] in Constantinos Parthenis (1878-1967), exhibition catalogue, Vafopouleio Cultural Centre, Thessaloniki 1984, p. 43; A. Kotidis, 'The Influence of Hellenic Art in the Work of C. Parthenis', L'Art Contemporain et le Monde Grec, Actes du XVIIIe Congres de l'Association Internationale des Critiques d'Art (AICA), Athens 1984, p. 151.2 A pencil drawing in the collection of the National Gallery - Alexandros Soutzos Museum, Athens (no. 7843).3 See A. Kafetsi, Drawings by Constantinos Parthenis in the National Gallery [in Greek], exhibition catalogue, National Gallery - Alexandros Soutzos Museum, Athens 1989, p. 66.4 Compare Dawn (Aurora), Bonhams Greek Sale, May 19, 2009, lot 29, and Still life with violin, Bonhams, Greek Sale, December 12, 2006, lot 85.5 Z. Papantoniou, 'The Art of Parthenis' [in Greek], Patris daily, January 19, 1920.6 K. Iliadis, The World of Art in the Period Between the Wars [in Greek], Athens 1978, p. 101.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Stephanos Daskalakis (Greek, born 1952)Still life with summer fruits signed in Greek and dated '91' (lower right)oil on canvas130.5 x 173 cm. Painted in 1991.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Yiannis Spyropoulos (Greek, 1912-1990)Still life with blue horse signed in Greek (lower right)oil on canvas45 x 35 cm. This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Panagiotis Tetsis (Greek, 1925-2016)i. Pomegranatessigned in greek (lower right) oil on canvas50.5 x 18.5 cm.ii. Still lifesigned in greek (lower right)pastel on paper30.5 x 49 cm.(2)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Georgios Gounaropoulos (Greek, 1889-1977)Still life signed and dated 'G. Gounaro/61' (lower center)oil on panel 73.5 x 60.5 cm. Painted in 1961.Footnotes:Provenance K. Dimitriadou (based on note on the reverse).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

A DERBY PART DESSERT SERVICE, CIRCA 1815-20 painted by Thomas Steel with panels of fruits and flowers arranged on a ledge, with gilt broad line rims and foliate borders, comprising: four dessert plates, a pair of sauce tureens and covers, a two-handled basket on short pedestal foot, a shell shaped dish, a cordate shaped dish and a shaped lozenge dish, red painted crown, crossed batons and D marks basket 30cm wide, cracks and wear (12) Thomas Steel (or Steele, 1772-1850), greatly prized for his still life painting, was trained by John Davenport, moving to Derby in about 1815, then on to Minton in 1832. See John Twitchett, 'Derby Porcelain', London, 1980, p.257, No.353, for a similar dessert-service.

MOIRA GAY HUNTLY RI, PS (1932 - ) - STILL LIFE WITH SWISS CHEESE PLANT II, SIGNED, SIGNED AGAIN AND INSCRIBED ON THE ARTIST'S LABEL ON THE BACKBOARD, PASTEL, 48 X 44CM Good condition

A ROYAL WORCESTER PLATE, 1964-71, PAINTED BY J. SMITH, SIGNED, WITH AN ALL OVER STILL LIFE OF RIPENING FRUIT BEFORE A WOODLAND BANK, IN SHAPED GILT GADROONED RIM, 27CM DIAM, PRINTED MARK, C55 Professionally restored crack

ENGLISH SCHOOL, MID 19TH C - STILL LIFE WITH PARTRIDGE APPLES AND GRAPES, OIL ON ARTIST?S BOARD, 29 X 39CM, GILT ROSSETTI FRAME There is an old attribution to Richard Ansdell RA, on the frame. Good, unrestored condition, beneath glass, varnish somewhat yellowed with age. Long undisturbed in the present, probably original frame

A ROYAL WORCESTER PIN TRAY, 1938, PAINTED BY FREEMAN, SIGNED, WITH AN ALL OVER STILL LIFE OF FRUIT BEFORE A WOODLAND BANK, RIM GILT, 9CM DIAM, PRINTED MARK Good condition

A ROYAL WORCESTER GINGER JAR AND COVER, POST-1963, PAINTED BY FREEMAN, SIGNED, WITH A CONTINUOUS STILL LIFE OF FRUIT BEFORE A WOODLAND BANK, RIMS GILT, 17CM H, PRINTED MARK, SHAPE 2826 Both in good condition, no restoration

ELLA COATES (1884-1937) - STILL LIFE WITH LILAC, SIGNED (ELLA) AND DATED 1906, OIL ON BOARD, 35.5 X 49.5CM Dirty from long term storage but in untouched original condition in later white painted frame

A ROYAL WORCESTER OCTAGONAL PIN TRAY, 1938, PAINTED BY FREEMAN, SIGNED, WITH AN ALL OVER STILL LIFE OF FRUIT BEFORE A WOODLAND BANK, RIM GILT, 10CM L, PRINTED MARK Good condition

A PAIR OF ROYAL WORCESTER PLATES, POST-1964, PAINTED BY FREEMAN, BOTH SIGNED, WITH AN ALL OVER STILL LIFE OF FRUIT BEFORE A WOODLAND BANK, IN SHAPED GILT GADROONED RIM, 27CM DIAM, PRINTED MARK, PATTERN C55 Both in good condition

Pair of early 20thC oils on thick wood, 1 depicting a racehorse, the other, still-life with fruit, one is signed "Rex",Both measure approx 18 x 20 cm

Indistinctly signed 1970s still-life oil on canvas, framed60 x 47 cm

Attributed to James PATERSON (1854-1932), large still-life oil on canvas, signed, wood framed,61 x 71 cm

Large, Frank SIMCOCK (born 1929) oil on board, "Still-life with bottles", signed verso, framed,76 x 49 cm

Large, modernist watercolour "still-life" initialled & dated K.H. (19)91, in modern thin wood frame and is glazed,55 x 74 cm

circle of Winifred NICHOLSON (1893-1981) oil on board, "Still-life composition", unframed,Inscribed verso, "Bankshead-1974-WN".Previous owner before WN was supposedly a friend of WN & was said to have received the painting as a gift directly from the artist.51 x 63 cm

circa 1900 unsigned, unusual still-life oil on artist board, unframed,48 x 23 cmDamage to top quarter

FRANS YKENS (FLEMISH 1601-1693) STILL LIFE WITH ROSES, TULIPS AND CARNATIONS IN A GLASS VASE oil on cradled panel(67cm x 46cm (26in x 18in))Footnote: Note: During the late-sixteenth to early-seventeenth century, the Netherlands experienced a great cultural shift with mass urbanisation and the rise of a new middle class. This shift brought about an emphasis on the home, with families seeking to demonstrate their new-found wealth, status, and power. Thus, a new genre of art was born: the still life. These richly symbolic, often allegorical, works of art functioned both as a fine decorative object and a status symbol, with luscious local and exotic flowers, fruit, and insects included in various arrangements that required an educated, elite viewer to understand the symbolism that lay within. One such artist who made a name for himself in the field of still lifes was Frans Ykens (1601- 1693). Born in Antwerp, Ykens began his artistic formation under his uncle Osias Beert the Elder (1580- 1623), who was a pioneer in the development of flower and banquet paintings. He travelled France for around twelve years until he was admitted as a master of the painter’s Guild of St Luke in 1631. Four years later, Ykens married fellow flower painter Catarina Floquet, who was also from an artistic family. Ykens achieved great success throughout his long and varied career, and counted numerous prominent figures as his patrons; including the Queen of Poland, the Archduke Leopold of Austria, and the artist Peter Paul Rubens, who listed six pieces by Ykens in his inventory. Ykens’ painting Still Life in a Glass Vase is an excellent example of seventeenth century Dutch still lifes. This elegant painting depicts a variety of flowers, including roses (a symbol of transience and love), carnations (a symbol of love), and a tulip (a symbol of nobility), arranged together in a glass vase. The harmonious palette of reds, pinks, and whites light up against their dark background in a serene and sophisticated manner. His work was influenced by the artists Daniel Seghers and his pupil Jan Philip van Thielen, most notably in their exceptionally fine detail and the almost sculptural quality found in the work of Seghers. Seghers influence is particularly evident in Still Life in a Glass Vase when considered with his painting A Vase of Flowers, currently in the Fitzwilliam Museum in Cambridge. When looking at these paintings together, we can note the way in which Ykens was inspired by the contrasting palette of dark and light colours, and the elaborate bouquets of Seghers. It is also interesting to note the similarities of the glass vase, which Ykens used in several of his works. Throughout his career, Ykens produced important still lifes that offer fascinating insight into seventeenth century Dutch society. He had numerous important patrons during his lifetime, and his pieces continue to be highly desirable, with works of art in important international public institutions such as the Museo del Prado, Utah Museum of Fine Arts, and Museum of Fine Arts, Ghent. The present work has been authenticated by Sam Segal.

18TH CENTURY ITALIAN SCHOOL STILL LIFE oil on canvas(78.cm x 66cm (31in x 26in))

Adolfo Feragutti Visconti (1850 - 1924)Still Life, Leaves and Berriessigned, inscribed **bon ami Kayser [Kaiser]?, oil on mahogany panel, 17cm x 36cm

Modern British School A Pair, Still Life, Bowls on a Ledge and Flowers in a Vase oils on boards, 36cm x 36cm

Betty Taylor (early 20th century) Still Life, Flowers in a Vase signed, watercolour, 38cm x 27cm

Joanna Woods. The Japanese Enemy, watercolour, 21cm x 16cm, another watercolour of a Japanese Enemy by the artist, still life with figs, and other botanical pictures and prints.

L. Cass. Still life with fruit, watercolours, 27cm x 43cm, a pair, and a textured print signed Pilkington.

Hilda Waller. Still life with flowers and clamshell oil on canvas, unframed 50cm x 61cm (AF), an Eastern school shipping scene signed B.Lu, various other pictures to include shipping scenes signed F. Reed and A.M Brese, etc.

A gilt framed still life oil on board of flowers, frame size 44 x 54cm.

A GILT FRAMED OIL ON CANVAS STILL LIFE STUDY OF FLOWERS