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![A collection of framed prints and an oil on canvas floral still life, varying image sizes. [7]](https://cdn.globalauctionplatform.com/3b707de1-bbac-4d9e-a077-abc2010cab3f/5fcc340c-ce47-4f1e-8027-abcd015b639f/468x382.jpg)
Lot 39
Edward Ladell (British, 1821-1886)Still life of grapes, bird's nest, pear and cherries in a basket; Still life of roses, grapes and a bird's nest a pair, both signed with monogram (lower left)oil on canvaseach 39 x 31cm (15 3/8 x 12 3/16in)(2)Footnotes:ProvenanceMacConnal-Mason & Son, Ltd., London.M. Newman Ltd., London.Private collection, UK (acquired from the above 10 September 1971).Thence by descent.This lot is subject to the following lot symbols: PP This lot is owned by a private individual. The right of return enjoyed by EU customers is not applicable.For further information on this lot please visit Bonhams.com
Lot 55
John Emms (British, 1843-1912)The Bitch Pack of the Meath Foxhounds signed and dated 'JNO. EMMS/1896' (lower right)oil on canvas111 x 157.5cm (43 11/16 x 62in).Footnotes:ProvenanceHahn Fine Art Galleries, London.Private collection, USA.Anon. sale, Bonhams, New York, 16 February 2010, lot 121.Private collection, UK (acquired from the above sale).A keen huntsman with a consummate interest in the sporting field, John Emms had the rare ability to give real life to his subject. He was at his very best when painting dogs; with confident use of fluid brushstrokes he gives weight and solidity to their different physical characteristics as well as their individual temperaments. We know from contemporary accounts how Emms used to walk to the kennels everyday and return to his studio with one hound after another as he undertook preliminary sketches in working up to the overall composition.Emms was born at Blofield, Norfolk, the son of Henry William Emms, an amateur artist. Emms had two brothers and a sister, who married the brother of Sir William Blake Richmond, PRA. Like many aspiring artists, Emms travelled to London where he became an assistant to Frederic, Lord Leighton, PRA. It was through Leighton that Emms first visited Lyndhurst, when he assisted the former to paint a fresco in Lyndhurst Parish Church. He then made his debut at the Royal Academy in 1866 and proceeded to exhibit elsewhere at the British Institution, Royal Society of British Artists and the New Watercolour Society.In 1872, Emms returned to Lyndhurst where his skill in portraying animals, particularly dogs, as well as his participation in the hunting field and his convivial nature, led to no want of patrons. The Victorian gentleman's love of his horse and dog led to many other commissions including one from the Duke of Newcastle to paint his Clumber spaniels. In 1880 Emms married Fanny Primmer, daughter of a local Lyndhurst gentleman. Soon after their marriage he was working in London but returned in about 1881 to Lyndhurst where he built a large house and studio in Queen's Road.Emms cut a flamboyant figure, always dressed in a long black cloak and matching wide brimmed hat. He and his family led a somewhat bohemian life; when times were good, after selling a painting, he would take Fanny, their three daughters and son up to London to stay in the best hotels and live life to the full. But times were not always good. During the early 1900s Emms suffered a stroke and was unable to work; as a result he took to heavy drinking and the family's finances went into decline. He died in November 1912 aged 71 and is buried in Lyndhurst cemetery.Hunting with Hounds is a tradition in Ireland that goes back to ancient times and features strongly in Celtic literature and legend. There is a pack recorded in the Meath area as early as 1723; the earliest record shows that a Mr Nicholson of Balrath kept a pack of foxhounds at that time, and hounds were kept by the Nicholson family until the beginning of the 19th century. Mr Lowther and Mr Hopkins also kept packs.Historically, the most important hunting establishments in Co. Meath were those of Mr Pollock of Mountainstown, and Mr Gerrard of Gibbstown. In 1813 Messrs Pollock and Gerrard joined packs with kennels at the Castle of Clongill, as the Clongill Hunt, with a subscription, Mr Pollock being Master. At first the Clongill hunted only the north end of the county, but by degrees absorbed the whole. In 1817 the Clongill Hunt became the Meath Hunt. During the War part of the county was lent to the Louth and Ballymacad Hunts, an arrangement which is still partly in operation today. At the time the present lot was painted, the famous John Watson was Master, his mastership spanning from 1891 to 1908.This lot is subject to the following lot symbols: PP This lot is owned by a private individual. The right of return enjoyed by EU customers is not applicable.For further information on this lot please visit Bonhams.com
Lot 429
C DE LAUSAM "Still life with figs and grapes" watercolour signed lower right, together withB GRACE "Frankly Cleo, I'm More Hurt than Angry" an original Punch Magazine illustration, pen and ink, signed lower right, the published page with the cartoon verso, the cartoon has annotations and measurements in pencil around the border together with two prints on glass and a small green painted birdcage
Lot 566
A Sheraton revival Bonheur Du Jour, the fitted cabinet of waterfall design, with ten graduated drawers, above a bureau with fitted interior on tapered supports, united by a lower tiered shelf, with frieze drawer, the verso painted with a still life of fruit and floral swags, dimensions 123cm x 52.5cm x 41cm
Lot 12
Périclès Pantazis (Greek, 1849-1884)Vase with flowers and apples signed 'Pantazis' (lower left)oil on canvas 40.5 x 56 cm.Footnotes:ProvenancePalais des Beaux-Arts, 25 October 1977, no. 395. Private collection, Brussels. Private collection, Athens. LiteratureG. Drakopoulou, Pericles Pantazis in the Context of 19th Century Belgian Painting (dissertation thesis), Athens 1982, p. 145 (listed), p. 115 (illustrated).Y. Kolokotronis, Still Life in Modern Greek Art from the 19th Century to the Present, Pierides Foundation, Thessaloniki 1992, p. 72 (mentioned).O. Mentzafou-Polyzou et al., Pericles Pantazis 1849-1884, Evangelos Averoff-Tositsas Foundation, Athens 1994, no. 184, p. 212 (catalogued), p. 52 (illustrated).For further information on this lot please visit Bonhams.com
Lot 14
Vasilios Chatzis (Greek, 1870-1915)Byzantine naval battle signed in Greek (lower right)oil on card25 x 22.5 cm.Footnotes:ProvenancePrivate collection, Athens.ExhibitedAthens, Art Association, Exhibition of Paintings by the Late Seascape Painter V. Hatzis, March 1915 (possibly).'Two years ago, Vassilios Hatzis undertook to bring back to life an entire historical era, and since then has been engaged in the depiction of the Byzantine fleet. Since there are no previous studies in this field to assist him in his work, his historical research has been, and still is, rather painstaking.'1 1 Kallitechis magazine, no. 18, September 1911, p. 201.For further information on this lot please visit Bonhams.com
Lot 30
Yiannis Tsarouchis (Greek, 1910-1989)Clay vase with flowers signed in Greek and dated '66' (lower right)oil on canvas85 x 70 cm.Footnotes:Whether I paint men or flowers,I must reveal the divine spirit that lies within them.Yannis Tsarouchis Clay vase with flowers is a splendid and truly irresistible still life of highly silhouetted leaves, stems and petals painted in a serene and joyous spirit with a remarkable radiance of iridescent and sensitive colours. This display of enthrallment with colour is akin to the pictorial world of folk art and reminiscent of the powerful immediacy and disarming sincerity of Theofilos's paintings. The whole picture is enchantingly beautiful, speaking to us in a lyrical idiom of quietude, contentment and the joie de vivre.As noted by art critic A. Schina, 'Tsarouchis was not really interested in the descriptive rendering of luxuriant floral arrangements. His flowers are not meant to be flamboyant and decorative. On the contrary, they reflect everyday reality, alluding, with their different colours, fragrances, textures and sense of freshness, to warm human bodies and friendly gazes, while conveying something from the period's zeitgeist.'1 Discussing a similar work in the A.G. Leventis collection,2 art historian E. Arapoglou noted that 'Tsarouchis's compositions are characterized by an element of openness primarily achieved through his flat backgrounds painted in neutral colours. The latter effectively highlight the details of the main theme, in this case the shining part of the clay pot or the fine contours of the irises. Once again, there is an underlying feel of Greek popular iconography in the characteristically stylised arrangement of the leaves and flowers and in the use of the azure and terracotta tones.'31 A. Schina, 'Flowers and Foliage in the Paintings of Yannis Tsarouchis.'2 Compare also Departure with oval mirror, 1970, Yannis Tsarouchis Foundation, Athens.3 The A.G. Leventis Collection, The A.G. Leventis Foundation, Athens 1989, p. 168.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 76
Oil on canvas, and three others, a set of four: 'Chinese New Year procession', 'Military skirmish' and 'Open-air theatre at night,' each in a faux bamboo frame (Dimensions: 49.5cm x 64cm (19.5in x 25.25in)) (Qty: 4) Note: Produced in response to the growing Western demand for ‘exotic’ goods in 18th and 19th centuries, China Trade paintings were made as souvenirs for the European and North American merchants visiting Chinese trade ports. Showing scenes from Chinese life, these paintings portrayed subjects which were likely to be of interest to Western visitors such as Chinese flora and fauna, imperial and bureaucratic scenes, and locations most often visited by foreign merchants such as the factories in Canton, the Pearl River and Macau. Some scenes were even inspired by, or copies of works by, European Old Masters. Catering to Western tastes, the style of these paintings is an amalgamation of Chinese and Western aesthetics. This set of paintings are an unusual combination of subjects in distinctive faux bamboo frames. The first painting depicts dragon-boat racing, although first recorded in the Song Dynasty and still practised world-wide, it is however a rare subject for China Trade painters. The view of competing boats disappearing from view around a headland as crowds of onlookers watch from the cliff-tops would have been a dynamic visual record of life in China for a returning merchant or sea captain. Another surprising composition is the fourth scene, which depicts an armed conflict between warring Chinese factions. It is tempting to suggest that the painting depicts The Taiping Rebellion, the civil war waged between the ruling Qing Dynasty and the Hakka-led Taiping Heavenly Kingdom between 1850 and 1864. However, it is not entirely clear as although some soldiers wear the typical uniform of red jackets and blue trousers of the Taiping forces, by no means all are, and the opposing side’s uniforms are not readily identifiable. This raises further questions as to why Chinese artists, although painting for the export market, would choose to depict such a sensitive subject - an armed insurrection against the ruling dynasty. A conflict contemporary with the height of popularity of China Trade paintings, this scene could have been in commemoration of a successful, important victory for the Qing dynasty – a message to the world that the Qing Dynasty was strong and that this conflict was inconsequential. As these works travelled west, China Trade paintings became bearers of information. While not wholly historically accurate, these scenes operated as valuable vehicles in the construction of reality, providing a wealth of information concerning globalisation, international trade, and daily life in China from the mid-18th to late 19th centuries.
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