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Lot 101
A Chinese blue and white baluster vase with landscape decoration, 8" high, and a similar bowl, 9 1/4" diaCondition:The vase's top rim has numerous frits and the base has a firing fault.The bowl has three hairline cracks, a couple of other small cracks to the main body and a few small chips to the top rim.
Lot 115
A Japanese satsuma bulbous flared rim vase with figure and flower decoration, 16" high, a similar baluster vase and a pair of cloisonne vases, 6" highCondition:Crazing, gilding and decoration losses to both Satsuma vases.One cloisonne vase has a loss and an abrasion (see images) other vase is free of damage. Both of the cloisonne vases have misshapen top and bottom rims.
Lot 110
A Chinese dish, decorated bats and a character with reverse floral decoration, six-character mark to base, 7 3/4" dia, a pair of contemporary vases, a famille rose shaped edge plate and other itemsCondition:Plate with bat decoration has a hairline crack to outer rim and small rubbing/losses to decoration.Small sprinkler bottle vase is cracked.Celadon pots lid has a small crack and the interior rim has small cracks too.Small shaped dish has decoration losses and a restored section in the rim.Shaped plate is restored, chipped, cracked and has decoration losses.The pair of vases both have chips and cracks to their top rims.
Lot 138
A Chinese brass two-handled censor with six-character mark to base, 7" wide, a pair of brass vases with engraved decoration, 4 1/2" high, another similar and a brass front leather bound book coverCondition:The Censor weighs 826gCensor: Small dents to main body and nicks to top and bottom rim. general wear.Pair of vases both have misshapen rims.Single vase has numerous dents to main body and slightly misshapen rims.The book cover has some general wear and tear, the spine is slightly ripped around the top and bottom sections.The inside covers are also ripped, stained and have losses.
Lot 104
JOHN WILLIAM GODWARD (BRITISH 1861-1922)A BIRTHDAY PRESENTOil on canvasSigned and dated 'J. W. Godward 97' (lower left)46 x 56cm (18 x 22 in.)Provenance: Messrs. Thomas McLean, London 21 September 1897Private Collection, UKLiterature:McLean letter to Godward (21 Sept 1897) Mio-Turner CollectionSwanson, Vern Grosvenor, The Eclipse of Classicism¸ 1997, p.195Swanson, Vern Grosvenor, The Eclipse of Classicism¸ 2018, p.275John William Godward (1861-1922) was one of the last of the classical painters of the Victorian age. Slightly younger than his better-known counter parts: Sir Frederic Leighton (1830-1896), Lawrence Alma-Tadema (1836-1912), and John Poynter (1836-1919) he was working in the dawn of a new, modernist era at the end of the 19th century, one which had little place for the Classical ideals of Antiquity which had dominated art for the last 500 years. His career has been described by Swanson as the 'Eclipse of Classicism'. The author goes on to expand that Godward's career 'offers the clearest example of the demise of classical Greco-Roman subject painting' (Swanson, p.8). As a reclusive genius, and someone who almost certainly had Asperger's Syndrome, little is known about Godward's private life. This is partly due to his strict family upbringing and somewhat overbearing mother, Sarah Eboral, who outlived her son by 13 years, dying at the age of 100 in 1932. When Godward moved to Italy with one of his models in 1912, his family broke contact with the artist, destroyed many papers, and removed his image from family pictures. Indeed, only one photo of the artist is thought to exist. Although little is known about the young artist's schooling, as the eldest of five children, by all accounts Godward came from a respectable bourgeois family and ideal Victorian home. It is therefore likely that his family would have been able to afford to send him a private school, as was common for middle class children at that time. What is certain, is that there was pressure for all the Godward children to follow their father's lead into the family profession of insurance, investing and banking. Although his siblings all seem to have succeeded in this expectation, John William did not. Between 1879 and 1881, it is believed Godward studied under the architect William Hoff Wontner (1814 - 1881). This apprenticeship seems the likely source for Godward's ability to render perspective and architectural elements, as well as being able to realistically depict marble and porphyry. It was around this time that Swanson believes Godward turned his aspirations to becoming a fine artist. Whether Godward received any formal art training is purely a matter of speculation as there are no records, but given his family's insistence that he follow in his father's footsteps into the work of business, it seems unlikely that he would have had access to any instructional study. We do know however that by 1881, Wontner had died, and his son William Clarke had taken over the family business. By 1885, Wontner and Godward had become best friends, and the former had taken a post at St. John's Wood Art School. It is perhaps not too much of a leap then, to assume that at least some instruction was taken from his friend. It is most likely that Goward's exposure to specifically Graeco-Roman subject painting came through seeing contemporary work at the Royal Academy or Royal Society of British Artists. In 1887, his own debut work, A Yellow Turban, (No. 721) was accepted into the Royal Academy Summer Exhibition. He continued to exhibit with the Royal Academy until 1905. It was also during 1887, that Godward exhibited for the first time at the RBA, with a painting called Poppaea (No. 401). Three years later, he was officially elected as a member of the organisation. In 1888, Godward exhibited his oil, Ianthe (No. 941), at the Royal Academy. Upon seeing the painting, he was approached by the infamous art dealer Arthur Tooth who asked whether he might include it in his own Winter Show of that year. In addition to Ianthe, Godward produced nine further paintings for Tooth's show. His relationship with Tooth ultimately failed to extend beyond the exhibition however, as he decided to proceed with another dealer and Tooth's next-door neighbour, Thomas Miller McLean (1832-1909). Throughout his career Messers. Thomas McLean would deal hundreds of oils for the artist with great success.The present lot is no exception, and together with another work from the previous year, Winding the Skein (Sawnson, p.69, illustrated), is one of only a handful of works from this period to include more than one figure. Here, in a marble walled garden, we see the skill in which the artist depicts the red and grey tones in the smooth creamy stone set against a planter of poppies and blooming oleanders. Classical motifs are arranged throughout the work, including a small bronze statue of Venus, a white marble carving of Pan pulling a thorn from a hoofed Satyr, a variation of the sculpture in the Pio-Clementine Museum, and to the right of the work, a bronze vase atop a round marble table with lion monopodia leg. Centre stage are two figures dressed in beautiful turquoise and purple tunics. One woman seated on a tiger skin, a common motif in Godward's work, is presented with a birthday gift by her attendant: a beautiful Portland cameo glass vase. The first decade of the new century was one of the best for Godward as an artist. Imperial interest grew as prosperity throughout the British Empire rose. However, by 1911, the art scene in Britain had changed significantly, and this would shortly be echoed throughout the whole of society with the start of the Great War. The founding of the Camden Town Group in 1911, followed by the death of Alma Tadema in 1912, and the emergence of the Vorticist movement just before the start of World War I in 1913-14, as well as the Great War itself, marked the beginning of the end of the Classicist painters. It was amongst this backdrop that Godward moved to Rome, perhaps believing that he could escape the new dawn on the horizon which was already a reality in London. In Italy he found a seductive blend of ancient, medieval, and classical cultures. Unsurprisingly, little is documented of Godward's time in Italy, however by 1916, the new way of painting which he had so hoped to escape in London had made its way to the Continent. Nonetheless, Godward stayed in Rome until 1921. He spent most of his time working out of a studio at the Villa Strohl-Fern despite the villa's one hundred or so studios being filled with younger, more modern looking artists. He returned to England briefly in 1919, to attend his nephew's funeral and again in 1920 to attend his brother's wedding. Returning to Rome, his mood was low. The following year his health deteriorated, affected by Spanish influenza and depression. As a result, he only produced five paintings. This reduced to two in 1921. London was much more hostile to his art than Rome had been, and his depression and ill health did not improve once home. He became a recluse, and failing to feed himself properly, soon became malnourished and fell ill to a peptic ulcer. Rather than continue in his misery, and see his art suffer further at his inability to paint, the artist committed suicide on 13 December 1922, aged 62.
Lot 48
FOLLOWER OF JEAN-BAPTISTE MONNOYERROSES, VIOLETS, DAFFODILS IN A GLASS VASE ON A STONE LEDGEOil on canvas 53.5 x 44cm (21 x 17¼ in.)Provenance:Anonymous sale; Dorotheum, Vienna, 18 April 2012, lot 797, as Simon HardiméSale, Christie's, Amsterdam, 25-26 November 2014, lot 92Private collection, Blaisdon Hall, GloucestershireCondition Report: The canvas has an old re-lined. Stretcher marks visible. Fine craquelure throughout however the surface pigment seems stable. Some light surface dirt. Rubbing and abrasions to the framing edges with some very small specks of flaking to the right framing edge. Inspection under UV reveals light scattered infilling and retouching throughout, with a cloudy masking varnish potentially hiding further restoration. Additional provenance:Anonymous sale; Dorotheum, Vienna, 18 April 2012, lot 797, as Simon HardiméCondition Report Disclaimer
Lot 56
MARIA GEERTRUIDA SNABILIE (DUTCH 1776-1838)TULIPS, ROSES, PEONIES AND OTHER FLOWERS IN A VASE ON A STONE LEDGEOil on panelSigned with initials and dated `B. S. 1838' (lower right)60.5 x 46.5cm (23¾ x 18¼ in.)Provenance:Kunsthandel Richard Polak, The HagueSale, Christie's, Amsterdam, 26 November 2014, lot 175Private collection, Blaisdon Hall, GloucestershireCondition Report: Light surface scratches throughout with some heavier abrasions to the lower framing edge. Light surface cracking scattered throughout, but this is minimal. Inspection under UV reveals light scattered retouching and traces of a green cloudy varnish. Ready to hang.Condition Report Disclaimer
Lot 2033
Elizabeth II hallmarked silver mounted cut glass decanter, Birmingham 1973, maker Charles S Green & Co Ltd, height 44cm, hallmarked silver rimmed glass vase, Birmingham 1925, maker John Grinsell & Sons, height 13cm and two likely silver topped cut glass bottles, each marked S.Mordan & Co. height 11cm
Lot 2117
Hallmarked silver items comprising trumpet vase, height 17.5cm, two silver mounted scent bottles, hand mirror with Reynold's angels decoration, part belt buckle, wine bottle ticket formed as a winged cherub's head and two silver topped pots, together with a silver plated jug by John Grinsell & Sons and a pair of mother of pearl mounted opera glasses
Lot 2122
Hallmarked silver items comprising cased set of Mappin & Webb cased set of seal top spoons, Victorian squeeze to open snuff box, Birmingham 1899, width 7cm, three peppers and a small candlestick, 88g weighable silver, together with a WMF vase decorated with children in front of a windmill, height 12.5cm
Lot 186
A brass chambu lota holy water vase, North India, 18th century, Of globular form on short flaring foot, the neck with a coiled ring rising to a flaring mouth, the incised decoration divided in four horizontal bands depicting ceremonial symbols and avatars of Vishnu, the lowermost band showing the Descent of the Ganges, 16 cm. high.Provenance: Private UK CollectionFootnotes: Lotas are water vessels employed for washing one's hands at mealtimes or for religious purposes. Their shape is reminiscent of a rounded fruit, presumably derived from the early use of hollowed-out fruit for the purpose of water vases. This particular type of globular lota is called a chambu, the form of which is a flattened sphere with a constricted neck. The chambu is associated with religious ceremonies and the holy city of Benares on the Ganges. It was previously believed that all chambus were made in Benares as containers for Ganges water. However, the presence of inscriptions in southern Indian languages on other examples, in addition to the wide stylistic variations, indicate regional traditions. (M. Zebrowski, Gold, Silver and Bronze from Mughal India, London, 1997, pp.26, 207-223).
Lot 185
A brass lota (water vase), India, 18th century, on flared foot, the bulbous body rising to tapering neck with neck ring and wide flared mouth, decorated to body with engraved hatched design, above and below with incised stripes from mouth to shoulder, 19 cm. high.Provenance: Private UK Collection
Lot 99
A painting of a prince, Jaipur, North India, circa 1890, gouache on paper heightened with gold, shown on a terrace under a columned pavilion hung with pink fabric, seated on a European style chair and wearing a black robe trimmed with gold embroidery, the table behind him with a mirror and before him a table with blue floral tablecloth, books and a vase of flowers, 25.5 x 20.5cm. and a modern manuscript illustration of polo players (2) (VAT charged on hammer price)
Lot 257
Ahmed Parvez (Pakistani, 1926–1979), Untitled (Vase), signed and dated 'PARVEZ '78' lower left, pastel on paper, framed and glazed, 55 x 35 cm.Note: Ahmed Parvez was born in Rawalpindi, Punjab, Pakistan. He studied at the Government College for Boys in Baramulla, Jammu and Kashmir and later at the Gordon College in Rawalpindi. Interested in the arts since a young age, Parvez was quickly discouraged by his family and found a job at a clearing and forwarding agency in Karachi.He started to paint only in 1952, when he moved to Lahore and started to train in his uncle's architect studio. The same year he won the University of Punjab shield for men at the annual All Punjab Art Exhibition. In 1955, he moved to London, and founded the 'Pakistan Group of painters'. During his time in the UK, Parvez's works were exhibited in several galleries and institutes including the Woodstock Gallery, the Dennis Bowen's New Vision Centre, the Commonwealth Institute, Lincoln Gallery, London and at Oxford's Ashmolean Museum and Bear Lane Gallery. Parvez left London in 1964 and returned to Karachi where he opened a studio and continued to paint and exhibit. He received the President's Pride of Performance Award in 1978.Considered primarily a colourist, Parvez became known for working on small canvases in watercolour and gouache, densely filling the space. S. Amjad Ali has described his work as 'prismatically colourful' and 'marked by bursting nervous energy that expressed itself in vigorous drawing made up of short strokes and sharp turns and twists of the line' (Painters of Pakistan, p. 135).
Lot 147
An assortment of Indian metalwork items, India, late 19th-early 20th century, comprising two copper lotas, a brass anklet, a large repousse work ewer, a small vase and a teapot (6)Provenance: Private Collection of J.P. Losty (1945-2021), formerly curator of Indian Visual Materials at the British LibraryThe above vessels were collected by J.P. Losty whilst a student in India.
Lot 172
A silver-inlaid bidriware vase (surahi), Hyderabad, Deccan, India, late 18th-early 19th century, of bulbous form on a splayed foot with long flaring neck with a pronounced ring at top and bottom, profusely inlaid, decorated with oval cartouches containing floral sprays and rope design border, the neck with diagonal bands in between bands of leaves, the foot with inlaid repeating petals, 25cm. highProvenance: Private UK Collection
Lot 157
A copper-inlaid bidri dish and a silver-inlaid bidri vase, India, Deccan, 19th century, the dish of rounded form with slightly curved rim, inlaid with a band of alternating sections with flowers and foliage, around a central rosette d.: 16.8 cm; the vase on a short, round foot, the tapering body with neck ring and slightly flared mouth, with floral and animal design, h.: 15cm (2)
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653685 item(s)/page