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Lot 248
AUDREY JOHNSON (1919-2005) Still life mug of flowers Signed and dated 1985, oil on board, 14cm x 14cm ARR CONDITION REPORT: Condition is good Slight excess varnish drip on right hand side of work Frame slightly scuffed, bashed in a few areas Signed and dated 1985 Bought by Marek (George Murray) and writing by him verso
Lot 111
Ismael González de la Serna, Spanish (BORN CIRCA 1897-1968) Oil on Canvas "Still Life With Guitar" Signed Lower Right. Tag En Verso: Evelyn Aimis Fine Art Delray Beach Fl. Provenance: Sotheby's Arcade 11/6/97 Lot 00057 Sale 1591. Very Good Or Better Condition. Measures 36-1/4 Inches by 28-3/4 Inches. Frame Measures 44-1/2 Inches by 37 Inches. We will not ship this item due to its size. We will happily recommend a list of outside vendors upon request.
Lot 163
Dutch School (19th Century) - A classical vase, shown with a swag of flowers Watercolour Indistinct signature on plinth Framed: 104 x 86 cm. (41 x 34 in) Provenance: Kevin Delahunty Antiques; from whom purchased by Mallett, 2002 Literature: Mallett, 19th Century Catalogue , 2003; Mallett, Rococo , 2004 This vase of flowers is derivative of an archetypal form seen in Dutch and Flemish paintings of the 17th century when flowers and insects had a didactic purpose: to remind us of the perishable and mortal state of man and the brevity and insignificance of our own indulgent pleasures. An antique vase reveals part of the name of the LYCIDAS, a name that is common in ancient Greek pastorals. The vase is adorned with a luxurious variety of spring and summer garden flowers that tumble predominantly to the left, the vase being visible on the right. This still-life as a whole is quite idealised and functions purely decoratively. However, during the 19th century a great interest in professional and amateur botany began, and the flowers drawn here are carefully and truthfully rendered, so that we can recognise clearly the unbelievably comprehensive bouquet of ivy, roses of various varieties, peonies, primroses, pinks, tulips, honeysuckle, daffodils, hyacinths, forget-me-knots, snowdrops, lilac, lobelia, anemones, longi lilies, amaranthus (love lies bleeding) gentians (blue bottom left), violas, violets, dianthus, willow, narcissus, berried ivy, pansies, eidelweis. Lot offered without reserve.
Lot 172
Attributed to James Barbut and Peter Monamy Exotic Ducks and ducklings on... Attributed to James Barbut (c. 1711 - 1788) and Peter Monamy (1689 - 1749) Exotic Ducks and ducklings on the water's edge, with ships at anchor flying the red ensign and firing a salute, and a distant view of a coastal fort (perhaps Walmer Castle, Kent) in the distance Oil on canvas Circa 1745 114.5 x 145.5 cm. (45 x 57 1/4 in) Provenance: Bonhams, London, Old Master Paintings, 9th July, 2008, lot 46 as Studio of Robert Griffier (fl.1738-1773), (£28,800 inc. premium); where purchased by MallettThe present expansive composition may be compared to an open sea view by Robert Griffier of Elizabeth Castle and Saint Aubin's Bay, Jersey (circa 29 1/2 x 41 1/2 in.; commissioned by John Carteret, second Earl of Granville (1680-1763)). The date of the latter painting by Griffier is suggested to have been from circa 1753/45 and completed in 1755. It comprises the same attributes of distant coastline, shipping in a calm and large expanse of water. Works of this genre are exceptionally rare in English painting, and the few examples which survive from the 17th and 18th century owe their origin to a small number of mid-17th century Dutch painters such as Willem Ormea (1611-1665) and his pupil Jakob Gillig (1636-1701); the latter of which painted a number of views of animals, fish and birds on the sea-shore in the foreground with distant prospects out to sea. These were normally done in collaboration with a marine painter: usually Abraham Willaerts in Ormea's case. It seems certain that the present painting is also a collaboration between two hands: the marine painting is very reminiscent of the later work of Peter Monamy, whose style is based on Dutch prototypes. This type of distant coastal prospect is common enough in Monamy's work (notably in the National Maritime Museum), but the addition of the exotic birds animals and shells in the foreground is virtually unique in 18th century England. The carefully observed sea-shells recall the work of the rare English painter James Barbut (c.1711-1788), who exhibited a few still-life oil paintings of seashells, in a style closely related to the present picture, at the Royal Academy in its early years, but who also provided from nature drawings for books on crustaceans, worms etc. illustrative of Linnaean taxonomy. The exotic-looking ducks though seem to derive from prototypes by Adriaen van Oolen (d. Amsterdam 1694) and, ultimately, Melchior d'Hondecoeter, the great Dutch painter of fowl (1636-1695), both of whom frequently painted such subjects.
Lot 47
* A Porcelain Figurine of a Berry Gatherer GARDNER MANUFACTORY, MOSCOW, EARLY 19TH CENTURY Height 21 cm. with underglaze manufactory marks, further incised with a number ‘2’ In the figurines made by Russian porcelain factories the typical 19th century idealisation of folk types was not an attempt to create an impression through stylisation of the models, nor was it artificially lending dignity to the figurines, but rather it was a sincere desire to reproduce reality as it appeared to the patriotic craftsmen. It is for this reason that Russian craftsmen were so often drawn, with such love, to portraying their fellow countrymen. In 1929 the art critic and writer Ivan Lukash remarked: “All images of Empire and styles have left delicate traces of themselves on porcelain and if there was nothing left of Russia, but shards of porcelain, it would still be possible to represent her splendour and nobility, harmonious beauty and manliness, shining strength and appealing femininity Old Russia was not just powdered wigs: she was porcelain too. The little known and half-forgotten art of ceramics harbours the special dignity and charm of the Russian Empire, its unconsciously gentle breathing and very light footfall. Russia was always garlanded in delicate porcelain” (Ivan Lukash, Porcelain Russia. On Exhibition at Sèvres , Paris, 1929. p. 3). In the 19th century the miniature porcelain scene introduces figures of peasants in Russian sleeveless dresses, long shirts and bast footwear. From the mid-19th century the number of “simple folk” characters expands to include various subjects from peasants’ everyday life; so, in this collection there are figures representing an old peasant woman spinning, peasants repairing and making bast shoes, playing the balalaika and pouring tea, peasant children playing outdoor games etc. Moreover, the same much-loved characters were produced both at the Popov factory and the Gardner factory. Thus, the figurines represented in the collection Old Man Making a Bast Shoe (or Peasant Making a Bast Shoe) and Peasant Woman Spinning (The Spinstress) (lot 85) were made at the Gardner and Popov manufactories at the same time and painted in identical manner.
Lot 57
Continental School (late 19th Century) - Still life with tulips and other flowers in an urn, with a pair of exotic birds Oil on canvas Tondo, d. 88.5 cm (34 3/4 in) Provenance: J.D Griffiths (label on reverse) Sale. Sotheby's, London, Old Master and 19th Century Paintings , 25 September 1996 (Lot 172)
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