Sarantis Karavouzis (Greek, 1938-2011)Still Life signé 'KARAVOUSIS' (en bas à droite)huile sur toile27 x 41cm (10 5/8 x 16 1/8in).signed (lower right)oil on canvasFootnotes:ProvenanceBonhams London, The Greek Sale, 24 May 2005, lot 159.Acquired from the above sale by the present owner.This lot is subject to the following lot symbols: * AR* VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
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Nikiforos Lytras (Greek, 1832-1904)Jeune fille au bain huile sur toile82 x 61.5cm (32 5/16 x 24 3/16in).oil on canvasFootnotes:ProvenanceFrom the private collection of W. Robert Morgan (rancher, lawyer, art patron, and founder of the Triton Museum of Art in Santa Clara, California).By familial descent to the previous owner.Private collection, California.ProvenanceW. Robert Morgan collection, Santa Clara, California, and by familiar descent to the previous owner.Private collection, California.ExpositionsAthens, Exhibition Hall of the Parnassos Literary Society, group exhibition, April 21 - May 1885.LittératureEstia magazine, no. 486, April 21, 1885, btw pp. 282-283 (illustrated).Deltion tis Estias, no. 434, April 21, 1885, pp. 1, 2 (mentioned).Epetiris Filotechnon yearbook, Athens 1901 (illustrated).Pinakothiki magazine, no. 42, August 1904, p. 110 (illustrated).Efimeris ton Kyrion magazine, no. 977, April 15-30, 1909, p. 929 (illustrated).K.F. Skokos, Ethnikon Imerologion of the Year 1910, Athens 1910, p. 202 (illustrated). Miniaia Epitheorisis magazine, no. 8-9, February-March 1924, p. 9 (illustrated).Athinai magazine, no. 4, celebratory issue, January 1935, p. 77 (illustrated).N. Athanassoglou-Souyoutzoglou, The Painter Nikiphoros Lytras (1832-1904), doctoral dissertation, Athens 1976, fig. 81 (mentioned).I. Bolis, The Art Exhibitions, The Artists and their Audience in 19th Century Athens, doctoral dissertation, Aristotle University of Thessaloniki, Thessaloniki 2000, p. 167 (mentioned).A. Sarafianos, P. Ioannou ed., Research Issues in Art History, Assini editions, Athens 2016, p. 517 (discussed and illustrated).A wonderful vignette of rural life, Girl washing her hair perfectly illustrates the artist's adherence to traditions deeply rooted in the Greek folk culture. As Lytras used to say, 'the customs of the Greek people brought Independence and must be protected like the apple of one's eye. Artists should devote themselves to genre painting and to works that are related to what stirs, delights and educates the people.'1The two figures are kept close to each other, adhering to the firm compositional structure championed by the masters of the Munich School, especially Karl von Piloty, under whom Lytras studied at the Royal Academy of Fine Arts. In terms of style, however, form is simplified, drawing loosens up and surfaces are handled with broader brushstrokes, achieving unity of effect and pointing to the artist's ability to shift from the descriptive to the pictorial.Despite the secular subject, the scene is endowed with a sense of monumentality and solemn grandeur accentuated by a limited palette of subdued and unvaried hues that perfectly match the austerity of the setting. This evocation of noble sentiment and archaic simplicity promotes a world of everlasting values, conveying to the viewer a sense of nostalgia for an age-old, uncorrupted world of firm beliefs and pure feelings. Often referred to as the Patriarch of Modern Greek painting, Lytras enjoyed an illustrious career, while his works attracted a dedicated and ever-growing clientele. Period records indicate that his paintings were owned by such prominent collectors as A. Benakis, D. Loverdos, Mrs. Serpieri, M. Melas, G. Embirikos, P. Kalligas, G. Stringos and Mrs. Choremis. Many of his works still remain unlocated, known only through old photographs or period references. As noted by art historian E. Gemtou, 'though demand for Lytras's work is constantly rising, the supply is extremely limited.'2 1 Y. Kerofylas, Nikiforos Lytras, Patriarch of Modern Greek Painting [in Greek], Filippotis editions, Athens 1997, p. 57.2 E. Gemtou, 'Lytras in the Art Market' [in Greek], Kathimerini daily, Epta Imeres, March 3, 1999, p. 29.This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com
Nikos Engonopoulos (Greek, 1907-1985)Nu signé en grec et daté '41' (en bas à droite)huile sur toile100 x 120cm (39 3/8 x 47 1/4in).Peint en 1941.signed and dated (lower right)oil on canvasFootnotes:ProvenanceV. Embeirikos collection, Athens.Private collection, Athens.ExpositionsAthens, National Gallery - Alexandros Soutzos Museum, Nikos Engonopoulos retrospective exhibition, April 3-15, 1983, no. 13 (listed in the exhibition catalogue, p. 42).LittératureKathimerini newspaper, February 12, 1989 (illustrated).Sima magazine, no. 1, March-April 1991, p. 62 (listed with comment).K. Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural, exhibition catalogue and catalogue raisonée, Benaki Museum, Athens 2007, no. 297, p. 255 (illustrated), p. 423 (catalogued and illustrated).To Vima newspaper, October 21, 2007, p. A55 (illustrated).D. Connolly ed., Nikos Engonopoulos, The Beauty of a Greek, Ypsilon editions, Athens 2007, p. btw 64-65 (illustrated).Nikos Engonopoulos, exhibition catalogue, Museum of Contemporary Art - Basil & Elise Goulandris Foundation, Andros 2017, p/ 125, fn. 3 (mentioned).I love the bodies of women.With their breasts they eliminate our loneliness.Nikos Engonopoulos Always beautiful, seductive and full of life, the female form was a constant source of inspiration throughout Engonopoulos's career, a fundamental subject in both his painting and poetry. Here, set in a luminous interior against a typically Greek island townscape crowned by the unmistakably Engonopoulean formations of travelling clouds, a voluptuous female nude reclines languidly on a sofa holding a red bud in her left hand (Engonopoulos adored flowers and especially roses) and looking towards a still-life with luscious fruit that discreetly heightens the sensuality of the scene. 'I love the nude body more than the face' the artist noted in an interview. 'I love it because it is the chalice of life. As expressive as life is, even when tired. As sparkling as life is, when young.'1 Equally brilliant is the colour, a key element throughout Engonopoulos' career. Applied side by side, the enamel-like reds and blues invite the viewer to a festive ritual of pure colour. 'Engonopoulos is a wizard with colour, which he handles with conscious daring, unique aptitude and undisputed love.'2 As Errieti Engonopoulou, his daughter, notes, 'for him each colour has its own value, its own voice'3; much the same as in Byzantine art, which Engonopoulos always considered the art form Greeks most closely relate to.4 1 Apogevmatini newspaper, August 2, 1969.2 S. Boulakian, 'The Work of Nikos Engonopoulos' in Greek Painters-20th Century [in Greek], Melissa publ., Athens 1974, p. 262.3 E. Engonopoulou, 'Freedom and Discipline' in Nikos Engonopoulos, The Painter and the Poe, [in Greek], Kathimerini newspaper, Epta Imeres, May 25, 1997, p. 23.4 See Epitheorisi Technis magazine, March 1963, no.99, pp. 193-197.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
Barbara Blanchard (British 20th Century): Children Fishing, oil on board signed with artists address label verso 50cm x 75cm, together with a set of signed watercolours, etchings, various ornithological engravings, silk work, an original still life of flowers, 2001 Firelli Calendar and aerial photograph (15)
Attrib Walter Henry Sweet (British 1889-1943): Thatched Cottages, watercolour signed with initials dated 1916; Mary Chevalier (British 20th Century): ‘Still Life with Bottle’, ink work signed with initials and dated 2014 verso with a selection of other prints, local watercolours and photographs, max 84cm x 31cm (14)
* Pesci (Joseph, 1889-1956). Self portrait of the photographer with his wife, Hungary, 1935, vintage gelatin silver print, photographer's wetstamp and signed presentation inscription to verso, lower margin trimmed with slight rough edge, 155 x 225 mm, together with a colour toned gelatin silver print by Pesci, a still life showing cheese on a plate, similarly signed for Mr Smith to verso and dated 1935, 170 x 230 mmQTY: (2)
* Henry VII (1457-1509), King of England, 1485-1509. Document Signed, 'H.R.', given under the king’s signet at the Palace of Westminster, 18 June 1498, warrant on vellum in English, with the sign manual of Henry VII at head, to Sir Robert Lytton, knight, under-treasurer of England and keeper of our great wardrobe, to deliver clothing and furniture for the use of ‘our dearest second son [Henry] the Duke of York and our right dear and right well-beloved daughters the Ladies Margaret and Mary his sisters’, with descriptive details (see below) of the items to be given to each of the royal children, some age toning, marginal filing hole and later annotation '49', 1 page, verso blank, 145 x 250 mmQTY: (1)NOTE:For Henry: two coats, one of black damask and the other of black satin with sufficient lining; a gown of black velvet lined with black sarcenet; a bonnet of crimson velvet; a paylet [?pallet, a type of headpiece] case of canvas; a featherbed and a bolster; a pair of fustians; two pair sheets of three broads at 12d the ell; a counterpoint and as much black sarcenet as shall suffice for the lining of a gown of crimson velvet. For Margaret: a kirtle of black satin with sufficient lining to the same; a gown of black velvet with an edge of crimson velvet and sufficient lining thereto; three ells ribbon for girdles at 5d the ell; two ounces laces for her kirtle; one thousand pins; for a paylet for her woman; a featherbed, a bolster, two pair sheets of three broads at 8d the ell, a pair of fustians and a counterpane. For Mary: a kirtle of black satin with sufficient lining thereto; three ells ribbon for girdles at 5d the ell; two ounces laces for her kirtle; a bed for the same Lady Mary; a sparver [canopy for a bed or cradle] of green sarcenet, a paylet case of canvas, a featherbed, a bolster, two pair sheets of three broads at 16d the ell, a pair of fustians, a counterpane, two pillows of down and two pillow-beres to the same at 20d the ell. Henry VII’s children spent their earliest years at Sheen on the banks of the Thames, until a fire caused the royal nursery to be moved to Eltham Palace. Prince Henry (1491-1547), the future King Henry VIII, was born on 28 June 1491 and was accordingly just seven years old at the time of the warrant. His elder sister Princess Margaret (1489-1541), born 29 November 1489, was aged eight. She married James IV, King of Scots, on 15 January 1503, and the remainder of her troubled life was dominated by the politics of the Scottish crown. Princess Mary (1496-1533), born in March 1496, was aged two. In August 1514 she was pledged to marry Louis XII of France (1462-1515), who died on 1 January 1515, danced to death, it was said, by his energetic young consort. While still in Paris she surreptitiously married Charles Brandon (c. 1484-1545), Duke of Suffolk, whom the king had sent to escort her back to England. Sir Robert Lytton of Knebworth in Hertfordshire and the Middle Temple was a clerk in the Exchequer by 1470, and served as Under-Treasurer of England from 1497 until his death in 1505.
* Jenner (Edward, 1749-1823). English surgeon and pioneer of smallpox vaccination. A series of 14 Autograph Letters Signed, ‘Edw. Jenner’, three as ‘E. Jenner’ and one as ‘E.J.’, Cheltenham & Berkeley, Gloucestershire, 18 April 1811 to 1 November 1822 & 3 undated, addressed to Edward Davies [his nephew], variously at Eastington, Ryeford, Stanley House and Ebley House, all near Stroud, and one sent to Edward in London, and one undated letter to his sister [Ann], the subjects largely concerning family matters, arrangements for meetings, the poor health of Edward’s mother [Jenner’s sister Ann] and that of his own wife Catherine, with some recommendations for treatments and diet, discussions of his own work and how challenging he finds it, with one direct reference to vaccination (24 October 1811), plus other references to his work and its reception in the wider world, all written on entire letters with integral address panels, many written on all four sides including folds adjacent to address panel, some age wear with many small fold splits and seal tears (one with loss to subscription but not affecting signatures), a total of 43pp., 4to, together with related correspondence and ephemera comprising: Three Autograph Letters Signed from Jenner’s wife Catherine to Edward and Mrs Davies, one dated from New Bond Street, [London], 23 January 1801, two with signatures torn with loss and one with cover worn with loss; Autograph poem by Ann Davies, signed and dated 23 December 1789 (separated along two folds), autograph letter from Ann to her son Edward (torn with loss), a short autograph account of a friend’s illness dated 26 January 1802; two autograph items from ‘W.D’ [William Davies], one a letter to his aunt (torn on folds) and one a copy of a memorandum; an undated letter to Mrs Davies from ‘M. Berkeley’ at Berkeley Castle; plus 2 printed items, a printed list of subscribers for a statue of Edward Jenner in Gloucester Cathedral, and a pamphlet titled Health Heroes: Edward Jenner, Metropolitan Life Insurance Company, 1926QTY: (approx. 20)NOTE:Provenance: By family descent from the family of Edward Davies.An important unpublished archive of letters from Edward Jenner giving a good deal of insight into his family life and work matters. Jenner was one of nine children, six surviving into adulthood. Of these three sisters and two brothers, only Mary (1730-1810) and Ann (1740-1812) survived into the 19th century. By the time the first of these letters was written by Jenner to his nephew Edward, (also a doctor), only Ann was still living. Unsurprisingly, therefore, Jenner shows a great deal of concern for his sister’s health and diet while taking a keen interest in the health of Edward and his family too. Extracts from the letters are given below, further images available on request.Cheltenham, Thursday night, 18 April 1811: ‘… how much I lament the sad account you give me of your poor father's health, and to request in case the haemorrhage returns again, that Mr Darke will inspect the part. By so doing, he will probably discover the bleeding vessel, and by means of a ligature, prevent the further effusion of blood ... ‘.‘You must avoid everything that tends to weaken and employ every means of strengthening your constitution – the sea and its breezes will do great things for you, and I hope take off the susceptibility for cold, which Mrs Davies's nieces are so much acquainted with. As for myself, it is not from the cause you suspect that my tremors have arisen. The long continued, and at times, highly alarming state of Mrs Jenner's health, succeeded by so much attendance on her poor brother, whose disease I felt confident would prove (as it has done fatal), has been as great a load as I could well carry, to say nothing of other professional weights. I am now getting up to my usual pitch of health again. We have had a curious domestic occurrence. Hystericks are as contagious as the plague among young females. Several fell sick – we were obliged to import fresh ones to wait on them. Our new importation became infected and others were necessary to wait on them; so that we got three deep at last. I shall be glad to see William and Mr Lewis on the day you mention …’.Cheltenham, Wednesday night, 23 October 1811: ‘I want much to see you and converse with you about the state of your health and many other things. On Saturday next I propose being at the inn at Painswick at 12 o'clock to meet Mr Darke ... I wish it were in my power to go on to Eastington and stay the night. What a pleasure it would afford me, as I want a long conversation with my friends there … Indeed, I ought to tear myself away from this place, where I am quite overwhelm'd with the incessant variety of my occupations. My lot is harder than that of the medical world in general, as the toils of vaccination are superadded to my ordinary labors. However, things go on smoothly now. Some reports I have lately had from abroad cheer me much and the long expected tangible compliment from Madras is at length arrived. This I had given up for lost. Mrs Jenner is better than I have known her for a long time past. This again is cheering; and as for myself, I have nothing to complain of on the sense of health – so I will grumble as little as possible. The worst of it is my commonly having fifty letters before me unanswered, and no aid from a secretary ... Can you procure me some more health bags? The large sort – the small ones are of no use... ‘.No place or date, postmarked Cheltenham, 6 January 1812: ‘Still, the old story goes forward "no good without an evil tacked onto it". The gratification Mrs Davies must feel in being herself the supporter of her little girl meets with a sad interruption. As the application you have been using so seldom fails when fresh and good, I have been thinking it possible that what you procured may have been readied ineffectual by overkeeping. If the remedy should still exist, pray try the following. Some skins we know will not bear an oily application of any sort without its exciting inflammation; a wash may therefore do better. Take twenty grains of the sugar of lead and dissolve it in two ounces of water. Let the parts affected be washed frequently, or rather sopp'd, with a bit of soft sponge – previously to the child's sucking it may be wash'd off with a little warm water ...‘... It is astonishing to observe how a deviation apparently trifle from the rigid rules I lay down with regard to diet in such cases will turn the balance, and change comfortable health into sickness. Your mother is apt to pick, and just taste, and have the smallest relish of this or that which may be on the table and fancy from the morsels she has taken no harm can ensue. This is all error and must be corrected. Let me entreat you in the gentlest manner, to go and talk to her on a subject, that is not only interesting to her and her family, but to me and mine ... ‘.No place (Dursley Penny Post), Tuesday night, 5 May 1812: ‘I have just received your doleful letter. Your mother still becoming more feeble, your boy ill and your wife out of health. This is a lamentable account indeed. From your description of Edward's case, I see nothing more likely to restore him than the means Mr Darke has pointed out. Before the present week ends I will if possible contrive to see him ... Have you a shower bath? It is what I may probably direct for Mrs Davies. Mrs Jenner has undergone the painful process of an abscess in the ear, but is now convalescent... ‘..........For the rest of the description, please visit our website www.dominicwinter.co.uk
Sanderson (late 20th Century), Still life with champagne bottle and fruit, pastel, indistinctly signed, 46cm x 38cm (Please note condition is not noted. We strongly advise viewing to satsify yourself as to condition. If you are unable to view please request a condition report, which will be provided in writing).
Gerard Chowne, British 1875-1917- Still life of hollyhocks in a twin-handled vase; oil on canvas, signed and dated 'Chowne 1907.' (lower right), 53.7 x 36 cm. Provenance: with R. Robertson & Sons, St Andrews. Private Collection, UK. Note: Chowne worked across genres, producing portraits and landscapes as well as still life paintings. He was undoubtedly best known for his floral still lifes, of which the present work is a particularly charming example. Here, the impasto on the blooming flowers and buds creates a striking sense of depth.
Harold Clayton, British 1896-1979- Still life of primroses, morning glory, and roses in a vase; oil on canvas, signed 'Harold Clayton' (lower left), 45.7 x 50.8 cm. ARR. Provenance: with Richard Green, London, no.RH1229. Private Collection. Note: The present work is a particularly charming example of Clayton's oeuvre, depicting an abundant bouquet of flowers in a low vase. The artist is notable for his highly detailed approach, with his sensitive brushstrokes confidently evoking the delicacy of the flowers and their foliage with a striking realism. His use of a vibrant colour palette here - and indeed in his floral compositions generally - emphasises the rich bounty and beauty of the flowers, especially when set against a plain background.
Oliver Clare, British 1853-1927- Two Still Lifes: Still life of grapes, gooseberries, strawberries, and an apple on a bank; and Still life of plums, raspberries, and a peach on a bank; oils on panel, each signed 'OLIVER CLARE' (lower right), the first 25.8 x 20.9 cm., the second 25.5 x 20.3 cm., two (2). Provenance: Private Collection. Note: The present works are particularly charming examples of Clare's work, and reveal his proficiency as a still-life painter, particularly in his close observation and highly-detailed execution of the abundant fruits presented to the viewer. Clare often imparts his paintings with a vivid sense of freshness and fecundity by adorning the pieces of fruit with almost gem-like droplets of water.
Follower of Hovsep Pushman, American 1877-1966- Still life with a mirrored jewellery box, dahlias and a statuette; oil on canvas, bears signature 'Pushman' (lower right), inscribed 'Atelier Lefebvre Paris' on the upper stretcher bar, 30.2 x 38.2 cm. Note: The present work is painted by an unidentified hand in the style of the Hovsep Pushman. Pushman was an American artist of Armenian descent, who, at the age of eleven, was the youngest pupil ever admitted to Istanbul's Imperial School of Fine Arts. His family emigrated to Chicago in 1896 and he later moved to Paris, where he studied at the Académie Julian, under Jules Joseph Lefebvre (1836-1911), Tony Robert-Fleury (1837-1911), and Adolphe Déchenaud (1868-1926). In America, Pushman was closely associated with the Grand Central Art Galleries, which had been established by Walter Leighton Clark (1859-1935), along with John Singer Sargent (1856-1925), Edmund Greacen (1876-1949) and others, and which represented Pushman from its opening in 1922 until his death. James Cox, former director of the gallery, describes how '[Pushman's] paintings typically featured oriental idols, pottery and glassware, all glowing duskily as if illuminated by candlelight. They were symbolic, spiritual paintings, and were sometimes accompanied by readings, which help explain their allegorical significance. Most important, they were exquisitely beautiful, executed with technical precision'.
Louis Bosworth Hurt, British 1856-1929- Floral still life with chrysanthemums; oil on canvas, signed 'L.B. Hurt' (lower right), 50.2 x 70 cm. Provenance: Private Collection, UK. Note: The present work is an outlier in Hurt's oeuvre, with the artist better known for his sweeping and dramatic paintings of cattle in a Highland landscape. He was a pupil of George Turner (1841-1910), whose idyllic landscapes of the British countryside very much influenced his own output. He exhibited at the Royal Academy eighteen times between 1881 and 1901. Although Hurt was not known for his still life paintings, the present work is strikingly similar in technique to Hurt's other paintings, particularly in its lightness and a looseness of brushstrokes which is characteristic of the artist's approach.
Catherine Colwyn Wells, British exh.1899-1902- Still life with poppies, roses, and foxgloves, with a butterfly and a bird's nest; pencil and watercolour heightened with white on paper, signed 'C. Wells' (lower right), bears inscribed label attached to the backing board, 39.5 x 27.7 cm. Provenance: Private Collection, UK. Note: Wells was based in London, and exhibited once at the Royal Academy, and twice with the Society for Women Artists. The present work is a charming evocation of the vitality and fecundity of the natural world, with the artist not only depicting an array of flowers in full bloom, but also succulent strawberries, and a delicate butterfly which perches on the petals. The bird's nest which sits on the ledge is a further gesture towards the fertility of the scene, suggesting eggs which are yet to hatch, and life which is yet to begin.
![After Frédéric Bazille, French 1841-1870- Young woman with peonies; oil on canvas, signed and dated 'Bruce Graham Clarke [?]](https://cdn.globalauctionplatform.com/688844f1-38a6-44ef-9fcb-b0a800b8d6f8/65a93a64-f428-4ec4-b419-b0ac00d23bf9/468x382.jpg)
After Frédéric Bazille, French 1841-1870- Young woman with peonies; oil on canvas, signed and dated 'Bruce Graham Clarke [?] apres E. Bazille. '89.' (lower left), 45.5 x 53.4 cm. Provenance: Private Collection, UK. Note: The present work is a copy after Bazille's painting which is housed in the collection of the Fabre Museum in Montpellier [18.1.3], whilst another, very similar, version is held by the National Gallery of Art in Washington [1983.1.6]. Bazille painted both of these paintings in the summer of 1870, just months before the outbreak of the Franco-Prussian War, in which Bazille was killed. His depiction of peonies, and the style in which he paints them, has been understood as a nod towards his close friend Édouard Manet (1832-1883), who cultivated peonies, using them for a series of still life compositions in 1864-65.
Attributed to Richard van Bleeck, Dutch c.1670-c.1733- Portrait of a gentleman, bust-length, wearing a brown coat; oil on canvas, in a feigned oval, 76 x 61 cm. Provenance: Cider House Galleries, Bletchingley. Private Collection, UK. Note: Van Bleeck studied under Theodor van der Schuer (1634-1707) and Daniel Haringh (1636-1713), before leaving for London in 1695. He returned to the Netherlands in 1705, producing a celebrated portrait of the still-life painter Coenraet Roepel (1678-1748), which sold for £13,000 at Christie's, London, 7 July 2004 (lot 38). Van Bleeck was back in London by 1715, when he painted a portrait of the playwright and poet William Congreve (1670-1729), and thereafter established a successful portrait practice in the city, mainly among prominent Roman Catholic families.
Manner of Jan Miense Molenaer, Dutch, early 19th century- A Cottage interior with a family seated around a table; oil on panel, 44.1 x 55.7 cm. Provenance: Private Collection, UK. Note: The present work is executed in the manner of the Dutch artist Jan Miense Molenaer (1610-1668), whose output is characterised by his scenes of merry company in an interior. Here, a family group are seated around a table, admiring the plate of meat which seats in the centre, whilst a serving-girl holds a bowl above the table. The only figure who does not appear to be preoccupied with the meal is the mother, seated to the left, who looks directly out at the viewer. The plates and cutlery balance precariously on the edge of the table, very much recalling the tendencies of many 17th-century Dutch still life artists such as Jan Havicksz. Steen (1626-1679).
After Jean Louis Prévost, French c.1760-1810- Still life with tulips, peonies, and daffodils; bodycolour on paper, 25.4 x 32.1 cm. Provenance: Private Collection, UK. Note: Despite not being produced as botanical illustrations for scientific purposes, Prévost's floral still life compositions are known for being minutely detailed and highly accurate. The present work, depicting a colourful array of flowers spilling out of a basket, is highly reminiscent of many of the artist's compositions, and is particularly similar to a print produced by Ambroise Legrand (fl.1797-1814) in c.1805 [Philadelphia Museum of Art no.1961-86-104].
John Gierach Fishing Book Collection, to include: 2 hardback books of Another Lousy Day In Paradise 1996, and Fool's Paradise signed copy 2008, plus a selection of paperback editions: At The Grave Of The Unknown Fisherman 2003, Sex, Death and Fly-Fishing 1990, Trout Bum 1986, Where The Trout Are All As Long As Your Leg 1991, All Fishermen Are Liars 2015, The View From Rat Lake (scarce edition) 1988, Dances With Trout 1994, Standing In A River Waving A Stick 1999, No Shortage Of Good Days 2011, Fly-Fishing In High Country 1984, Fly-Fishing In Small Streams 1989, Even Brook Trout Get The Blues 1992, Death Taxes and Leaky Waders 2000, Still Life With Brook Trout 2006 (box of 16)
Follower of Johann Rudolf Feyerabend, called Lelong (Swiss, 1749-1814)Still life of flowers on a stone ledge with peaches; and Still life of flowers with a fish bowl on a stone ledgeA pair, gouache, tondi each 11cm (4 5/16in). diameter(2)Footnotes:ProvenanceWith Salomon Stodel, Amsterdam (according to labels on the reverse)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
A Dutch Baroque engraved mother-of-pearl, bone and hardstone inlaid slate panel by Dirck Van Rijswijck (1596-1679)Third quarter 17th century Depicting a floral garland with a butterfly on a black marble ground above a variegated stone table top with dragonfly and squirrel, signed to the left-hand corner within a paper scroll, signed and dated: Dirck.Van Riswick, Invenit e Fecit, AD 1665, mounted within a later ebonised frame, 14.7cm wide, 11.5cm high, (5 1/2in wide, 4 1/2in high); the frame: 24cm wide, 21cm high (9 1/2in wide, 8in high)Footnotes:ProvenanceSotheby's, Monaco, Collection Delplace, 15 June 1996, lot 23.Jeremy Ltd, London.Although originally training as a goldsmith, Dirck Van Rijswijck developed his own characteristic style whilst working as a silversmith in Antwerp experimenting with the effects that could be created by the processes of engraving. This led him to perfect an idiosyncratic technique using engraved mother-of-pearl inlay to represent floral still life subjects. He used the natural variations of colour apparent in the shell to suggest the colours and surface textures of the various flowers. In terms of creative output, Rijswijck is recorded as producing a number of these mother-of-pearl inlaid panels depicting vases of flowers with some also incorporating a chained monkey. The fine and detailed engraved decoration to the panel in the present lot demonstrates a similarly high degree of technical skill very representative of Rijswijck's work.Saleroom notices:Please note that this lot is not subject to CITES regulations as previously stated.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
MARK SENIOR (BRITISH, 1864-1927)Still life of roses in a vase signed 'M Senior' (lower right) and signed and inscribed 'a sketch' (verso) oil on panel 21 x 26.5cm Provenance Private collection, UK Provenance: The Estate of the late Professor Jonathan & Mrs Deanna Brostoff, https://www.bellmans.co.uk/story/the-collection-of-professor-jonathan-and-mrs-deanna-brostoff
LANTA SPURRIER (BRITISH, 1905-1981) (4)Thistles signed 'Lanta Spurrier' (lower left) oil on canvas 40 x 76.5cm (unframed) together with three other oils on canvas by the same hand; Still life of a green vase, signed (lower left), 50.5 x 61.5cm; Still life of vegetables by an upturned bucket, 46 x 62.5cm; and Dracaena, signed (lower left) and with artist's label (verso), 51.5 x 61cm (all unframed) (4) ARRFootnoteATALANTA (LANTA) SPURRIER (1905-1981)Was a British painter known for painting en plein air with direct, bold brushwork and a strong sense of colour. She studied at the Chelsea School of Art under Augustus John, by then considered one of Britain’s foremost painters of a broadly impressionistic style. Spurrier subsequently established a studio in Chelsea where she also taught. She later moved to the Surrey/Sussex borders and worked from a studio at South Holmwood, near Dorking. Spurrier travelled widely, painting in France, Switzerland, Austria, Greece and most frequently Italy. Alongside her studio practice Spurrier also worked in commercial art design, mostly book covers and posters, with projects including the National Henry Wood Fund and the London Olympic Games Exhibition.
LANTA SPURRIER (BRITISH, 1905-1981) (4)Bottle Party signed 'Lanta Spurrier' (lower left) and with artist's label (verso) oil on canvas-board 61 x 81.5cm (unframed) together with three other oils on canvas-board by the same hand; Still life of a green bottle and other items, 66 x 51cm; Still life of bottles and terracotta vases, 66 x 51cm; and Still life of a mug, a glass and other items, 51 x 66.5cm (all unframed) (4) ARRFootnoteATALANTA (LANTA) SPURRIER (1905-1981)Was a British painter known for painting en plein air with direct, bold brushwork and a strong sense of colour. She studied at the Chelsea School of Art under Augustus John, by then considered one of Britain’s foremost painters of a broadly impressionistic style. Spurrier subsequently established a studio in Chelsea where she also taught. She later moved to the Surrey/Sussex borders and worked from a studio at South Holmwood, near Dorking. Spurrier travelled widely, painting in France, Switzerland, Austria, Greece and most frequently Italy. Alongside her studio practice Spurrier also worked in commercial art design, mostly book covers and posters, with projects including the National Henry Wood Fund and the London Olympic Games Exhibition.
ARR Raymond Tholer (1859-?)Still Life with Oysterssigned lower rightoil on canvas 24cm x 32.5cm Framed. Generally good condition. The picture surface is stable and there is some light craquelure. Some light staining in places. Canvas appears to have been cleaned fairly recently. Canvas has almost certainly been relined.
To those who wonder - Second World War German airborne Propaganda leaflet. Front of leaflet depicts a flying B17 and dialogue between a grandchild and grandfather discussing the use of machinery in the war. Reverse continues the dialogue "You see, Boy, it won't be more than a years time and we'll have enough of those Flying Forts to darken the sky over Europe. Then it will be machines and not men like your Dad and Uncle Frankie who will decide the war!" ... "But Grandad, will father and Uncle Frankie still be alive then?" demonstrating the importance of life over warfare when machines will become the main protagonist. "ITS MEN and not Material WHICH COUNTS". 15cm x 20cm.
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