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Lot 394
A Flemish School, 19th Century, floral still life Oil on Panel, signed lower right "Shaerbergh 1861?", ebonised cushion frame, 34.5cm x 26.5cm CONDITION REPORT: Private provenance from a titled house in Worcestershire. Fairly good overall condition with some minor cracking to paint surface although only really visible on close quarters, some minor vertical scratches to top left otherwise fairly good overall condition commensurate with age.
Lot 424
Dutch School, late 18th century floral still life, Watercolour on paper, depicting an 18th century Chinoiserie two-handled vase containing Tulips, Chrysanthemums, Carnations etc., maple cushion framed and glazed, 50cm x 36cm CONDITION REPORT: A little watermark to the lower edge of the paper, colours have faded somewhat, there are what appears to be two vaguely discernible horizontal paper fold lines behind the glass, the maple frame is dark and patinated with some scratch marks etc., commensurate with age (see images).
Lot 441
An early 20th century gilt framed and glazed Oil on Panel still life Study "Heralds Of The Spring" indistinctly signed lower right (possibly Maud), 26.25cm x 23.25cm CONDITION REPORT: Looks generally very good overall, the painting is behind glass, the frame exhibits general darkening and wear commensurate with age.
Lot 144
Randolph Brooks, American (20th century) "Strawberries in a Cup" Still Life Oil on Masonite Signed Lower Left. Dated 1968. Good condition. Measures 7" H x 9" W, frame measures 11" H x 13" W. Provenance: Property of Irving Cowan and the late Marjorie Friedland Cowan, Hollywood, Florida. Thoroughbred horse breeder/owners, Breeders? Cup winners, Hollywood Wildcat and War Chant. Former owners of The Diplomat Hotel, Hollywood. Shipping $68.00 (estimate $300-$500)
Lot 223
Pair of Royal Worcester Gilt Hand Painted Ewer. Depicts a gilt scroll motif, still life fruits and decorative handles. Signed on underside, artist signed Richard Sebright. Chip to wing on one ewer, hairline crack with paintloss on body. Measures 13-1/4" H. Provenance: Property of Irving Cowan and the late Marjorie Friedland Cowan, Hollywood, Florida. Thoroughbred horse breeder/owners, Breeders’ Cup winners, Hollywood Wildcat and War Chant. Former owners of The Diplomat Hotel, Hollywood. Shipping $125.00 (estimate $400-$600)
Lot 248
A Royal Worcester 'Painted Fruit' vase by William Ricketts, dated 1912, of inverted baluster form with scrolled handles and moulded classical details picked out in gold, painted with a still life of autumn fruit including an apple, pear, grapes and a strawberry, signed Ricketts, the reverse with blossom, 20.2cm high, puce mark, shape number 1937 (cover lacking) CONDITION REPORT: Some gilding rubbing, surface scratches, otherwise the overall condition is good
Lot 190
William Moorcroft, a pair of mugs, green and yellow, each with tubelined still life, one with a basket of fruit, the other with cornucopia, impressed signature marks and underglaze blue monograms,11cm high (2)Note: from the property of William Moorcroft, thence by descent to the current owner
Lot 722
Frans David Oerder (South African 1867-1944) STILL LIFE WITH FLOWERS signed oil on panel 40 by 60cm Though Frans Oerder had spread his subject matter somewhat evenly over the genres of still life, portraiture and landscape before, it was only from 1910 that his still lifes came into their own. This is likely the result of his marriage to Gerda Ptilo in the same year, who was a painter of flowers. Following their wedding, Oerder initiated a series of works in which he experimented in capturing flowers of varying forms in an array of compositions. In Europe, these were to become some of his most celebrated works. Lot 722 depicts a round bowl brimming with yellow daisies, red poppies, white anemones and sprigs of fern and eucalyptus leaves. The somewhat hasty brushstrokes seem to almost highlight the transient nature of cut flowers. This appears to be emphasized even further by the exposed panel, lending the work an unfinished feel. The artist’s signature on the raw wood, however, suggests that the work was, in fact, complete, almost as if it were a reminiscence of the light studies carried out hastily by the impressionists just some decades earlier. - Berman, E., Art and Artists of South Africa, A. A. Balkema, Cape Town, 1974, p 212-214 - Scott, F. P., Frans David Oerder (1867 –1944), in Our Art 1, Cape & Transvaal Printers Ltd., 1968, p 85-90
Lot 733
Nita (Pauline Augusta Wilhelmina) Spilhaus (South African 1878-1967) STILL LIFE WITH CARNATIONS signed with the artist's monogram oil on board 52 by 42cm The outbreak of the First World War marked the beginning of a difficult period for Nita Spilhaus, a German immigrant and fond painter of statuesque trees in luscious Cape landscapes. Due to her German heritage, Spilhaus was cast down by the society that she had made her home, and after her brother was accused of being a German conspirator, she was asked by the police not to paint outdoors. As a plein airist at heart, Spilhaus, now bound to her studio, took reluctantly to painting portraits and still lifes instead of her usual verdant landscapes. Flowers soon became Spilhaus’s favourite still life subject. She chose to paint small, delicate flowers over large, decorative ones. Still Life with Carnations, lot 733, illustrates the skilled craft of Spihaus’s blooms, which, as Esmé Berman asserts, possess ‘a sparkle of clean bright colour.’ Art critic, Magda Sauer, comments further on Spilhaus’s flower renditions that, “no-one has produced better their fragile grace and freshness.” - Berman, E., Art and Artists of South Africa, A. A. Balkema, Cape Town, 1974, p 281 & 282 - Elliot, P., Nita Spilhaus, Peter Elliot, Cape Town, 2015 - Sauer, M., Nita Spilhaus in Our Art 1, Lantern, Pretoria, 1959, p127 – 131
Lot 735
Clément (Joseph Charles Louis) Sénèque (South African 1896-1930) PONT-LA-REDUIT signed with the artist's monogram and dated '20; signed, dated and inscribed with the title on the reverse oil on canvas PROVENANCE from the private collection of the artist's granddaughter 35,5 by 42cm Lot 735 – 739 are a selection of five fine oil paintings from the acclaimed yet brief production of the Mauritian born artist, Clément Sénèque. These works have not previously been offered on the market, having been in Switzerland in the Sénèque family collection since the early 20th century, thus providing a unique opportunity to acquire fresh works by the artist. It is appropriate that in the 21st century the work of Sénèque is enjoying renewed interest and that the impact of his short career has received the scholarly attention of two KwaZulu-Natal art historians, Dr Melanie Hillebrand and Brendan Bell. Trained in Paris at the École des Beaux Arts in architecture and town planning, Sénèque enjoyed recognition in his time as an architect and self-taught painter with a precise eye for architectural structure and details. He admired the work of Frank Brangwyn and locally that of Gwelo Goodman and Pierneef. His verdant landscapes of Kwa-Zulu-Natal, light drenched architectural studies and harbour scenes were most popular in South Africa, eventually earning him the distinction of having his work acquired by all the major local public art collections and the post of chairman of the Natal Society of Arts Sketch Club in 1926. His production was exceptionally brief in South Africa - only five years from 1925-1930 - before he died of pneumonia. “Sénèque’s importance to Natal, despite his relatively short career is immense. Numerous contemporaries and younger artists admired and copied his style, thus producing what might be described as a Natal school of the twenties”. - Melanie Hillebrand On offer are two Natal landscapes; lot 735 is the arresting view of an aqueduct-like stone bridge, partly illuminated in sun, set in a serene landscape of dark, reflective water against a tropical forested landscape, with wild banana fronds and weeping trees against a modulated aqua sky. Although the work is inscribed on the back, Pont-La–Reduit and dated 1920, it is unclear if the inscription is indeed by the artist, as the subject is most likely the KwaZulu-Natal south coast. The second landscape, lot 736, is Chimney Stack and Trees (1926), which presents an unusual view of a distant Durban harbour through a vista of elongated bare trees. A glowing red-orange set of chimney stacks is dramatically illuminated by an early winter sun, the entire composition set against a pale turquoise sky, affirming the artist’s pre-occupation with the sky in his African works. However, “His interest lay in the structural masses of the land and the intersecting lines established by the horizon and vertical forms of buildings.” Less familiar to local audiences are his earlier French Alps and Montagne scenes, painted while on honeymoon in the region, or shortly afterwards. The Durban Art Gallery acquired one such work, Mont Blanc from Sallaches, in 1927. Equally impressive is lot 737, a 1925 work entitled French Alps which was exhibited in the Sénèque retrospective at the Tatham Gallery, Pietermaritzburg in 1969, and was considered to be one of his finest works in notes made to the draft of the introduction to the accompanying catalogue. “In order to add textural interest Sénèque covered his canvas in sackcloth, adding depth to the composition of French Alps. Melanie Hillebrand, in her PHD dissertation argues that, “His bold use of tone gives the mountains a stereoscopic quality.” He produced many paintings, drawings and prints of the French Alps as a result of his happy memories at the time. He returned to Durban, where he encountered difficulties getting established as an architect – although highly regarded – with a young wife and child to support. Despite the challenges, this proved to be the highpoint of Sénèque’s career. Lot 739 is an enchanting vignette of Sacre Coeur (1923) - the iconic Montmartre landmark –which confirms Sénèque’s architectural training and disciplined eye. Ironically, Montmartre was the home to legendry French artists including the Impressionists, to whom Sénèqe was openly hostile, arguing against modernist tendencies. Similar to another work sold in these rooms in February 2012, Nuns Outside Sacre Coeur (c.1926) shows an almost identical view and treatment but with the addition of a passing group of nuns clad in dark habits. Finally, Still Life with Vessels (1930), lot 738, an unusual work for Sénèque so late in his career, is one of his last paintings, as the artist died on 30 April 1930 after a short but important and influential life as a landscape painter in early 20th century KwaZulu-Natal. - Berman, E., Art and Artists of South Africa , A.A. Balkema , Cape Town, 1970 - Hillebrand, M., Art and Architecture in Natal 1910 -1940, Unpublished Thesis, University of Natal, 1986, p 96. Tatham Gallery, Clément Sénèque, Pietermaritzburg, 1969 We are grateful for the kind assistance of Mr Brendan Bell in cataloguing lots 735 – 739
Lot 736
Clément (Joseph Charles Louis) Sénèque (South African 1896-1930) CHIMNEY STACKS AND TREES oil on board PROVENANCE from the private collection of the artist's granddaughter 32 by 19cm Lot 735 – 739 are a selection of five fine oil paintings from the acclaimed yet brief production of the Mauritian born artist, Clément Sénèque. These works have not previously been offered on the market, having been in Switzerland in the Sénèque family collection since the early 20th century, thus providing a unique opportunity to acquire fresh works by the artist. It is appropriate that in the 21st century the work of Sénèque is enjoying renewed interest and that the impact of his short career has received the scholarly attention of two KwaZulu-Natal art historians, Dr Melanie Hillebrand and Brendan Bell. Trained in Paris at the École des Beaux Arts in architecture and town planning, Sénèque enjoyed recognition in his time as an architect and self-taught painter with a precise eye for architectural structure and details. He admired the work of Frank Brangwyn and locally that of Gwelo Goodman and Pierneef. His verdant landscapes of Kwa-Zulu-Natal, light drenched architectural studies and harbour scenes were most popular in South Africa, eventually earning him the distinction of having his work acquired by all the major local public art collections and the post of chairman of the Natal Society of Arts Sketch Club in 1926. His production was exceptionally brief in South Africa - only five years from 1925-1930 - before he died of pneumonia. “Sénèque’s importance to Natal, despite his relatively short career is immense. Numerous contemporaries and younger artists admired and copied his style, thus producing what might be described as a Natal school of the twenties”. - Melanie Hillebrand On offer are two Natal landscapes; lot 735 is the arresting view of an aqueduct-like stone bridge, partly illuminated in sun, set in a serene landscape of dark, reflective water against a tropical forested landscape, with wild banana fronds and weeping trees against a modulated aqua sky. Although the work is inscribed on the back, Pont-La–Reduit and dated 1920, it is unclear if the inscription is indeed by the artist, as the subject is most likely the KwaZulu-Natal south coast. The second landscape, lot 736, is Chimney Stack and Trees (1926), which presents an unusual view of a distant Durban harbour through a vista of elongated bare trees. A glowing red-orange set of chimney stacks is dramatically illuminated by an early winter sun, the entire composition set against a pale turquoise sky, affirming the artist’s pre-occupation with the sky in his African works. However, “His interest lay in the structural masses of the land and the intersecting lines established by the horizon and vertical forms of buildings.” Less familiar to local audiences are his earlier French Alps and Montagne scenes, painted while on honeymoon in the region, or shortly afterwards. The Durban Art Gallery acquired one such work, Mont Blanc from Sallaches, in 1927. Equally impressive is lot 737, a 1925 work entitled French Alps which was exhibited in the Sénèque retrospective at the Tatham Gallery, Pietermaritzburg in 1969, and was considered to be one of his finest works in notes made to the draft of the introduction to the accompanying catalogue. “In order to add textural interest Sénèque covered his canvas in sackcloth, adding depth to the composition of French Alps. Melanie Hillebrand, in her PHD dissertation argues that, “His bold use of tone gives the mountains a stereoscopic quality.” He produced many paintings, drawings and prints of the French Alps as a result of his happy memories at the time. He returned to Durban, where he encountered difficulties getting established as an architect – although highly regarded – with a young wife and child to support. Despite the challenges, this proved to be the highpoint of Sénèque’s career. Lot 739 is an enchanting vignette of Sacre Coeur (1923) - the iconic Montmartre landmark –which confirms Sénèque’s architectural training and disciplined eye. Ironically, Montmartre was the home to legendry French artists including the Impressionists, to whom Sénèqe was openly hostile, arguing against modernist tendencies. Similar to another work sold in these rooms in February 2012, Nuns Outside Sacre Coeur (c.1926) shows an almost identical view and treatment but with the addition of a passing group of nuns clad in dark habits. Finally, Still Life with Vessels (1930), lot 738, an unusual work for Sénèque so late in his career, is one of his last paintings, as the artist died on 30 April 1930 after a short but important and influential life as a landscape painter in early 20th century KwaZulu-Natal. - Berman, E., Art and Artists of South Africa , A.A. Balkema , Cape Town, 1970 - Hillebrand, M., Art and Architecture in Natal 1910 -1940, Unpublished Thesis, University of Natal, 1986, p 96. Tatham Gallery, Clément Sénèque, Pietermaritzburg, 1969 We are grateful for the kind assistance of Mr Brendan Bell in cataloguing lots 735 – 739
Lot 739
Clément (Joseph Charles Louis) Sénèque (South African 1896-1930) LA BASILIQUE DU SACRE COEUR DE MONTMATRE signed and dated 23 oil on board PROVENANCE from the private collection of the artist's granddaughter 40 by 32,5cm Lot 735 – 739 are a selection of five fine oil paintings from the acclaimed yet brief production of the Mauritian born artist, Clément Sénèque. These works have not previously been offered on the market, having been in Switzerland in the Sénèque family collection since the early 20th century, thus providing a unique opportunity to acquire fresh works by the artist. It is appropriate that in the 21st century the work of Sénèque is enjoying renewed interest and that the impact of his short career has received the scholarly attention of two KwaZulu-Natal art historians, Dr Melanie Hillebrand and Brendan Bell. Trained in Paris at the École des Beaux Arts in architecture and town planning, Sénèque enjoyed recognition in his time as an architect and self-taught painter with a precise eye for architectural structure and details. He admired the work of Frank Brangwyn and locally that of Gwelo Goodman and Pierneef. His verdant landscapes of Kwa-Zulu-Natal, light drenched architectural studies and harbour scenes were most popular in South Africa, eventually earning him the distinction of having his work acquired by all the major local public art collections and the post of chairman of the Natal Society of Arts Sketch Club in 1926. His production was exceptionally brief in South Africa - only five years from 1925-1930 - before he died of pneumonia. “Sénèque’s importance to Natal, despite his relatively short career is immense. Numerous contemporaries and younger artists admired and copied his style, thus producing what might be described as a Natal school of the twenties”. - Melanie Hillebrand On offer are two Natal landscapes; lot 735 is the arresting view of an aqueduct-like stone bridge, partly illuminated in sun, set in a serene landscape of dark, reflective water against a tropical forested landscape, with wild banana fronds and weeping trees against a modulated aqua sky. Although the work is inscribed on the back, Pont-La–Reduit and dated 1920, it is unclear if the inscription is indeed by the artist, as the subject is most likely the KwaZulu-Natal south coast. The second landscape, lot 736, is Chimney Stack and Trees (1926), which presents an unusual view of a distant Durban harbour through a vista of elongated bare trees. A glowing red-orange set of chimney stacks is dramatically illuminated by an early winter sun, the entire composition set against a pale turquoise sky, affirming the artist’s pre-occupation with the sky in his African works. However, “His interest lay in the structural masses of the land and the intersecting lines established by the horizon and vertical forms of buildings.” Less familiar to local audiences are his earlier French Alps and Montagne scenes, painted while on honeymoon in the region, or shortly afterwards. The Durban Art Gallery acquired one such work, Mont Blanc from Sallaches, in 1927. Equally impressive is lot 737, a 1925 work entitled French Alps which was exhibited in the Sénèque retrospective at the Tatham Gallery, Pietermaritzburg in 1969, and was considered to be one of his finest works in notes made to the draft of the introduction to the accompanying catalogue. “In order to add textural interest Sénèque covered his canvas in sackcloth, adding depth to the composition of French Alps. Melanie Hillebrand, in her PHD dissertation argues that, “His bold use of tone gives the mountains a stereoscopic quality.” He produced many paintings, drawings and prints of the French Alps as a result of his happy memories at the time. He returned to Durban, where he encountered difficulties getting established as an architect – although highly regarded – with a young wife and child to support. Despite the challenges, this proved to be the highpoint of Sénèque’s career. Lot 739 is an enchanting vignette of Sacre Coeur (1923) - the iconic Montmartre landmark –which confirms Sénèque’s architectural training and disciplined eye. Ironically, Montmartre was the home to legendry French artists including the Impressionists, to whom Sénèqe was openly hostile, arguing against modernist tendencies. Similar to another work sold in these rooms in February 2012, Nuns Outside Sacre Coeur (c.1926) shows an almost identical view and treatment but with the addition of a passing group of nuns clad in dark habits. Finally, Still Life with Vessels (1930), lot 738, an unusual work for Sénèque so late in his career, is one of his last paintings, as the artist died on 30 April 1930 after a short but important and influential life as a landscape painter in early 20th century KwaZulu-Natal. - Berman, E., Art and Artists of South Africa , A.A. Balkema , Cape Town, 1970 - Hillebrand, M., Art and Architecture in Natal 1910 -1940, Unpublished Thesis, University of Natal, 1986, p 96. Tatham Gallery, Clément Sénèque, Pietermaritzburg, 1969 We are grateful for the kind assistance of Mr Brendan Bell in cataloguing lots 735 – 739
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