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Lot 375
Still life of Chrysanthemums; a Driving Horse to the reverse signed 'Miles Sharp' (lower right) oil on canvas 59 x 49cmCondition report: Oil on canvas which has an earlier composition of a horse on the reverse. The canvas tension is slightly slack but the picture is in plane overall. The paint layers are in a good, stable condition overall. There is a light scuff near the head of the reflected figurine. The painting is unvarnished and has an intentionally matte surface. There is a light layer of surface dirt. The frame has suffered some wear and losses to the decorative surface.
Lot 41
Thomas Jacques Somerscales (British, 1842-1927)'The Nitrate Ship' oil on canvas99.7 x 130.8cm (39 1/4 x 51 1/2in).Footnotes:ProvenancePrivate collection, UK.ExhibitedLondon, Royal Academy, 1908, no. 914.LiteratureA.A. Hurst, Thomas Somerscales Marine Artist, his Life and Work, Brighton, 1988, col. ill. no. 84, pp. 137-138.M.E. Leek, The Art of Nautical Illustration, a Visual Tribute to the Achievements of the Class of Marine Illustrators, Minneapolis, 1991, pp. 110-111.Born in Kingston-upon-Hull in 1842, Thomas Jacques Somerscales had joined HMS Cumberland as a naval schoolmaster by the time he was 21, a career he pursued on various ships, until he contracted a fever and was discharged from the Royal Navy in Valparaiso in 1869. He soon began teaching in the Artizan School, Valparaiso, and exhibited a series of landscapes in Santiago in 1872. Indeed, for a long time all he painted was landscapes and it is for this genre that he is still best-known in Chile today. There was a fairly close-knit British community, largely Scottish, in Valparaiso, into which Somerscales had been readily accepted. When war broke out between Chile and Peru in 1879, Somerscales began painting the naval battles and there was soon a tremendous demand for marine pictures depicting Chile's recent naval history. This was a turning point in his artistic career and from that time on he became a marine painter first and foremost; indeed, it was to be his sea pictures on which his international reputation was founded. In 1890, his daughter Alice died and this tragic event led to great strains within the family. Added to this, his eldest sons were reaching university age and Somerscales was also thinking of his mother, back in Hull, who had never met his wife and children. At the end of 1892 he sold his house in Valparaiso and returned to England.When he arrived at Liverpool he had been away for nearly 30 years and he was now 50 years old. The enormous reputation which he had enjoyed in Chile had been left behind and he was a completely unknown artist in his own country. In the following year he exhibited his first picture at the Royal Academy, London, which was considered a 'tour de force' by the critics. The question on everyone's lips, however, was 'Who is Thomas Somerscales?' He showed the famous (and oft reproduced) 'Off Valparaiso' at the R.A. in 1899, no.943, which was purchased for the Chantrey Bequest for £250 and is now held in Tate Britain. He continued to visit Chile on and off until 1915, when he returned to Britain for the last time. He died in Hull in 1927.The present work was exhibited at the Royal Academy, London, in 1908 and is arguably the finest canvas of a four-masted barque that Somerscales painted. More of a ship portrait than the artist's usual seascapes, the painting is executed with a far greater sense of realism and a high attention to detail that he reserved for his most impressive works. The vessel is seen running downwind with the staysail drawing aback and the jib blanketed by the square sails which are full and drawing. The mainsail is already clewed up and her cables are shackled to their anchors, spray can be seen dripping from them on her starboard bow. In the great expanse of water, the solitary bird observed off her starboard seems a symbolic reminder of the loneliness of the ocean. With so much rust on her hull, it is likely that she is approaching port in foreign waters after a long period at sea. Captured at the moment the vessel is ascending, this is a remarkable study of the interplay of light and shade on the vessel's hull, her sails and the ocean.For further information on this lot please visit Bonhams.com
Lot 407
A pair of 19th century stipple engravings of children with a cat, in black glass mounts, a pair of oval prints of children, a set of four 19th century coloured hunting prints, in gilt frames, Major E F Humphreys: a signed etching of Barnstaple bridge, 5" x 9 1/2", a pair of coloured engravings of Bideford and Barnstaple, two other engravings, views of Charlton Park and Carlisle Castle, H Young: a modern watercolour, still life of fruit, and four other framed pictures
Lot 247
Two oil on boards depicting still life studies of flowers, 16.5 x 11.5cm and 24 x 19.5cm, together with an oil on board of two young flower sellers, 19 x 24cm (3) Black/gold framed still life: Wear to frame; small scratch to top right of picture.Small still life (1st image): Small loss to paint top centre and imperfection to the surface in the centre where it is raised off canvas.All with wear to frames.
Lot 103
Cecil Kennedy (British, 1905-1997)Still life of flowers with Christmas rosessigned 'Cecil Kennedy' (lower right) oil on canvas 46 x 35.6cm (18 1/8 x 14in).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
Lot 136
Petrus van Schendel (Belgian 1806-1870)Still life of game on a candlelit tablesigned 'P.van Schendel' (lower centre) oil on panel 16.8 x 27.6cm (6 5/8 x 10 7/8in).Footnotes:This work appears to be a study for The poultry stall on the Groenmarkt, The Hague painted in 1868, sold at Bonhams, New Bond Street, 14 March 2018, lot 8 (£60,000) and reproduced in Jan M.M. de Meere's book, Petrus van Schendel (1806-1870) Een leven tussen licht en donker, Primavera, Leiden, 2012 on page 165 (ill. 284) and on page 167, (ill. 285). Van Schendel often made separate studies before, and also after, his completed larger compositions.We are grateful to Dr. Jan de Meere for confirming the attribution to Petrus van Schendel on the basis of photographs.For further information on this lot please visit Bonhams.com
Lot 139
Follower of Gérard van Spaendonck (French, 1746-1822)Still life of flowers with goldfinches oil on canvas 92.7 x 74.3cm (36 1/2 x 29 1/4in).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 162
Paul Désiré Trouillebert (French, 1831-1900)Jeune Orientale signed 'Trouillebert' (lower left)oil on canvas167 x 106cm (65 3/4 x 41 3/4in).Painted circa 1875Footnotes:ProvenanceWith Louise Whitford Gallery, London.Anon. sale, Christie's, London, 24 June 1983, lot 31.Private collection, UK. LiteratureClaude Marumo, Thomas Maier and Bernd Müllerschön, Paul Désiré Trouillebert 1831-1900, Catalogue Raisonné de l'oeuvre peint, Stuttgart, 2004, no. 61 (illustrated in black and white p. 228 and in colour p. 124).Paul Désiré Trouillebert is largely associated with the Barbizon School. He produced a number of landscape paintings during his lifetime, depicting Picardy, Normandy, Brittany and Charente. His use of gentle, relaxed brushwork and silver-grey harmonious hues align his work with that of Jean-Baptiste-Camille Corot. Trouillebert first exhibited at the Paris Salon in 1865 and he received commendation for his 1869 Salon Exhibit Au Bois Rossignolet. He was also a skilled portraitist and still life artist, and produced a series of Orientalist works and nudes. In the present lot, Trouillebert has successfully captured the opulence and exoticism of the genre. The vibrant red cloth of the girl's skirt contrasts with the luscious and tactile fabric of the extensive fur covering. Her long elegant neck is adorned with heavy gold jewels and an Ottoman yataghan sword with a walrus ivory hilt rests in her hands. The sitter, similar to Trouillebert's 1874 Salon exhibit, Servante de Harem, is engaging directly with the viewer, her presence enhanced by the scale of the work. Unlike many other Orientalist views of women reclining and relaxing in lavish harem settings, this figure is upright and vigilant.For further information on this lot please visit Bonhams.com
Lot 165
Jan Hendrik Eversen (Dutch, 1906-1995)Still life with salmon and shrimpssigned and dated 'J.M.Eversen/1968' (lower right) oil on canvas 40.7 x 61cm (16 x 24in).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
Lot 166
Jan Hendrik Eversen (Dutch, 1906-1995)Still life with a bowl of eggssigned and dated 'J.M.Eversen/1968' (lower right) oil on canvas 30.5 x 45.1cm (12 x 17 3/4in).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
Lot 198
Nikola Tanev (Bulgarian, 1890-1962)Still life of flowers bears indistinct signature (lower left)oil on canvas laid to board58.4 x 59cm (23 x 23 1/4in).Footnotes:ProvenanceThe collection of Nadia Kechlibareva, acquired circa 1940. With Otechestvo Art Gallery, Bulgaria. Acquired from the daughter of the above. Private collection, UK. Acquired from the above in 1998.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
Lot 34
Charles Conder (British, 1868-1909)Confidencessigned 'Charles Conder' (lower right) oil on board 29.2 x 32.4cm (11 1/2 x 12 3/4in).There is a preparatory oil sketch for a still life of fruit on the reverseFootnotes:ProvenancePrivate collection, UK.ExhibitedLondon, The Contemporary Art Society, 1911, no. 163. (according to label affixed to backboard).For further information on this lot please visit Bonhams.com
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