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Lot 47
ALAN TINLEY (b.1946). A modernist study of a seated young woman by a vase of flowers, signed and dated 1978 lower left, oil on canvas, framed, 70 x 60 cm, together with a still life study of daffodils in a vase 'Yellow Daffodils', limited edition number 52 of 75, print on paper, signed and dated 1978 in pencil lower right, framed and glazed, 60 x 47 cm, and two abstract studies, one signed and dated 1972 verso, oils on canvas, framed, largest 56 x 46 cm (4)
Lot 104
*Glassware. Mixed glassware, including large stemmed wine glass engraved with a pheasant and at the foot 'The Shooting Party', 17cm high, another engraved Lewes and East Grinstead Railway Company, 'Presented to Robert Hardy 31.7.82', 16.5cm high, a pair of tumblers engraved 'Siegried Farnon, Skeldale House' and 'James Herriot, Skeldale House', 9.5cm high, plus other glassware The British film 'The Shooting Party' directed by Alan Bridges and based on the book by Isabel Colegate was released in 1985. Set in 1913 it demonstrated the life contrast between English aristocrats, gathered for pheasant shooting and the local rural poor, who served as 'beaters'. A terrible accident occured at the commencement of filming, where all the male lead actors, including Paul Scofield, Robert Hardy, Edward Fox & Rupert Frazer were thrown from a horse-drawn shooting-brake which had lost control and overturned. Rupert Frazer jumped off without great harm. The other actors were catapulted into a pile of scaffolding. Robert Hardy stood up and realised to his amazement that he was unhurt. He looked across to see Edward Fox stand up, "turn completely green and collapse in a heap". He had broken five ribs and his shoulder-blade. He then noticed that Paul Scofield was lying very still on the ground, "and I saw that his shin-bone was sticking out through his trousers". As the film took place in October due to the partridge-shooting season, the filmmakers had to make a choice to either delay filming for a year, or re-cast. James Mason was therefore subsituted to play Paul Scofield's part to enable filming to continue. (9)
Lot 272
A PAIR OF PAINTINGS BY LEV MESHBERG (RUSSIAN 1933-2007)comprising:a) Still Life with Flowers in a Vase, 1987, oil on board, 43 x 35 cm (17 x 13 3/4 in.), signed with monogram and dated lower right;b) Still Life with Antique Bottles, 2001, oil on board, 20 x 25 cm (7 7/8 x 9 7/8 in.), signed with monogram lower right
Lot 369
Giovanni Francesco Barbieri il Guercino (Italian, 1591-1666) Portrait of an Italian Cane Corso seated within a stone window opening, a mountainous landscape beyond oil on canvas 55.50 x 76.20 cmProvenance: Acquired by the vendor's great great grandfather in Rome in 1850; and thence by family descentOther Notes: This previously unrecorded painting is an exceptionally rare example of Guercino’s paintings of an individual animal and survives in excellent condition.In a valuation of the picture from the last century, it was given a generic attribution to Guercino. Guercino’s authorship was recently proposed by John Somerville and subsequently fully endorsed by Nicholas Turner on first-hand inspection of the painting, both before and after its recent cleaning by the Hamilton Kerr Institute (report available and also online). The attribution to Guercino has also been endorsed by Francesco Petrucci who has described it as “un vero capolavoro, molto impressionante, di grande potere inventivo e di qualità pittorica, incontestabilmente del Guercino, come giustamente riconosciuto da Nicholas Turner”.The style points to a date towards the beginning of the painter’s transitional period (circa 1625-1630) when his work began to show an increasingly classical influence, following his return to Cento in 1623 after a short stay in Rome (1621-1623).Though the painter included dogs in portraits and other compositions, Guercino’s only surviving animal painting hitherto was his famous portrait of the Aldrovandi Dog (Fig. 1) in the Norton Simon Museum, Pasadena, California, which is generally dated circa 1625.The present picture was probably executed at about the same time. Neither painting is recorded in Guercino’s Account Book (which was only started in January 1629).The robust physique and head of the dog has indicated to both the Kennel Club of Great Britain and its Italian counterpart, the Ente Nazionale della Cinofilia Italiana, that this dog is a Cane Corso, the progenitor of the present day Italian Mastiff. This was, and still is, a breed traditionally used as guard dogs and for hunting. The Italian name, Cane Corso, derives from the Italian word corso meaning ‘street’ or ‘way’. The ancient forebear of the Cane Corso was praised by the Romans for its courage, nobility and strength. When the Romans invaded Britain they found a mastiff-type dog already here and were so impressed, they took some back to fight in the Roman arenas. Over the centuries and certainly since Guercino’s own time, the breed has been bred - both in Italy and elsewhere - to have much longer legs and an even larger head. Today its overall greater size is reflected in its name ‘Mastiff’, rather than that of Cane Corso. In this painting, the dog is silhouetted against the sky and seems to be watching over a walled patch of ground, with flat open country beyond. Its owner must have held it in some affection, presumably commissioning Guercino to paint this dramatic close-up likeness of it. The animal’s body fills the foreground space and further emphasis is given to its commanding physical presence by the breath-taking description of the subtly changing colour and texture of its coat, its glistening eyes and the heavy jaws from which lolls its slightly moist, pink tongue.In the great Norton Simon picture, the dog is a brindle mastiff and though the Aldrovandi family coat-of-arms decorates its large collar, we do not, as here, know the animal’s name. The sweeping landscape in the Aldrovandi painting, against which the dog stands so majestically, competes with it for the viewer’s attention. To the right, the flat countryside may represent the Aldrovandi’s estates of Castello della Giovannina outside Cento, the distant tower perhaps that of the old castle. Guercino may have painted the Aldrovandi Dog as a gift for his friend and patron, Conte Filippo Aldrovandi, to whom he was much indebted. Whatever the circumstances, the Aldrovandi Dog is, in effect, two paintings - a portrait of a dog belonging to Guercino’s friend and a landscape that may allude to one of his estates.The combination of the two seems exceptional and had the picture been painted for one of Guercino’s regular clients (and after he began an account book in 1629), we can speculate that probably he would have been charged a double-price - for the animal and the landscape.The present painting, however, is a portrait of a dog without ‘extras’ and does not belong to the same category as the more deluxe Aldrovandi Dog in Guercino’s product range. The canvas is smaller and there is no extensive landscape background - only a glimpse of a distant countryside with trees and hills appearing between the animal’s left foreleg and the line of the wall to the right, giving a sense of context to the animal. Both pictures, however, share the life-like treatment of the dog, seen from a low viewpoint against a sinking horizon.The brushwork of the dog in the present picture is rapid, intuitive and brilliant. An idea of how the painter freely improvised the handling of the dog’s honey-coloured coat may be observed in the zig-zagging line running parallel to the lowest of the rolls of flesh at the creature’s neck - indicated with the pointed wooden end of the brush in the wet paint. The brio with which the dog is painted, with a heavily laden brush, contrasts in texture to the smooth, thinly-painted compositional framework - such as the parapet on which the dog sits and the wall to either side. These neutral areas serve as a foil to the picture’s dominating central motif. Contrasting thickly-painted key figures in a composition with thinly-painted backgrounds is a consistent feature of Guercino’s working method.Midway between these two types of paint application is the fluffy white cloud that billows out from behind the dog in the Cheffins picture. The cloud bridges foreground and background space. At the base of the cloud - where it is seen against the animal’s body and the wall - the white paint is thickly applied and creates a strong contrast with these two areas. The white paint also hides rejected trials for the contour of the animal’s back and rump. As the cloud ascends in the sky, it becomes wispy and the paint texture lightens as the form mingles with the adjacent open sky. The spontaneous brushwork with which this floating mass of moisture is represented is an extraordinary performance, showing Guercino’s handling at its very best and at the same time it plays a practical role in holding compositional space together.In the Aldrovandi Dog and the Cheffins Cane Corso, Guercino painted the soft fur of the different dogs with wonderful command of his means, as well as summarising with great understanding their physical traits. In the present picture, the impasto in the painting of the dog is set against a mostly neutral background. Yet the personality of each animal is strikingly different; the Cheffins dog has an alert but biddable and affectionate countenance, so well understood by the artist. The Norton Simon dog is depicted as if akin to his owner’s social status, a great, grand and elegant hunting hound.Dottore Francesco Petrucci has requested the loan of the painting for his forthcoming exhibition, ‘Cani in Posa’, to be held at La Veneria Reale, Turin, from 18 October 2018 to 29 January 2019.We are grateful to Dr Nicholas Turner for his help in compiling this catalogue entry.Fig. 1 Giovanni Francesco Barbieri, il Guercino - Aldrovandi Dog - oil on canvas - © The Norton Simon Foundation, California, USA Condition report: Hamilton Kerr report and high resolution images available on request
Lot 417
§ Martin Aronson Liljegral (Swedish, 1869-1954) Still life of Lilac and Yellow Roses in a green glass vase signed lower right "Martin Aronson-Liljegral" oil on board 42 x 26cm (16 x 10in) Under glass and some craquelure can be seen. Two small scuff marks upper right-hand corner. Dirt under the glass.
Lot 422
§ Augustus Edwin John, OM, RA (British, 1878-1961) Still life with shells oil on canvas 48 x 58cm (19 x 23in) Provenance: From the collection of Romilly John, the artist's son; Edgar Hesslein, New York, by 1922 Sotheby's London: The Welsh Sale, Tuesday, October 19, 1999 [Lot 243], (with Lot 238 from the same vendor) Exhibited: (Apparently) New York, Brooklyn Museum, Loan Exhibition, 1922 Other Notes: Romilly John (1906–1986) was in the RAF, briefly a civil servant, then a poet, author and an amateur physicist The Nautilus Shell appears in several Augustus John compositions. Condition appears fine - one area at the back of the painting where painting may have been on a damp wall - lot 238 as well in previous sale ?
Lot 190
Mary Fedden (1915-2012) Still life of flowers, with house in the background, 1948 signed and dated (lower left) oils on canvas 76cm x 51cm.Reference: This still life is one of the first paintings Fedden completed after the War when she moved in 1946 to Redcliffe Road, with her friend Maise Meiklejohn. The success of these paintings led to Fedden's first exhibition at the Mansard Gallery in Heals.
Lot 431
A 19th Century carved light oak Bookcase, the cornice and carved frieze over two glazed doors, flanked by two carved figures over a base with two frieze drawers with dogs head handles, and two panel doors carved with oval panels of animal still life, with panel sides, plinth base and ball feet, 213cms (84") x 143cms (56 1/2") wide. (1)
Lot 128
A collection of early 19th century miniature portraits in watercolour and pencil, to include a group of four painted on card and mounted on paper 'A Likenefs In This Style 2/6' written below, a portrait print inscribed in ink to verso 'James Steel Tunstall, 'a primitive Methodist Preacher 1826', two floral still life greeting cards in watercolour, a pencil portrait signed Jessie Lunch 22.6.09, two signed silhouettes and an ink drawing in memory of William Knott who was killed at New York Swan River, Sept 21 1836 as he was fighting a fire on his own premises, by a native thrown a spear at him
Lot 12
*Chinese Watercolours. A group of ten fine watercolour and gouache Chinese landscape and costume studies on album leaves, heightened with gum arabic, mid-19th century, including a Chinese junk in a harbour, a bridge and buildings over a river, a seated Emperor and Empress, figures in an interior and figures in a garden, a still life of fruit and flowers, etc., many with blind embossed decorated borders (as issued by Rock & Co., London), five with fine watercolour decorative borders, incorporating birds, insects and flowers, central image size 8.5 x 14.5 cm (3.25 x 5.7 ins) or similar, sheet size 28.5 x 23.5 cm (11.25 x 9.25 ins) (9)
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77111 item(s)/page