Peter van Kessel,gest. 1668 RatzeburgLaut RKD tätig 1658 in Bamberg und Würzburg. 1668 in Danzig dokumentiert, dann in Lübeck und Kopenhagen. Arbeitete für den dänischen Hof.BLUMENBOUQUET IN GLASVASEÖl auf Leinwand, auf Karton aufgezogen.80 x 66 cm.Rechts unten mit hebräischer Inschrift über Schädel.In vergoldetem Régence-Rahmen.Wir danken Dr. Fred G. Meijer für die Bestätigung des Künstlers. Er nimmt eine Entstehungszeit in der ersten Hälfte der 1660er Jahre an.Auf einem Steinsockel mit profilierter Deckplatte steht prominent eine balustrierte Glasvase, deren Reflexe sich wirkungsvoll vom Steingrund abheben. Darin befindlich ein locker gestecktes Bouquet aus weißen Lilien, Nelken, Tulpen, Flieder, Wicken und weiteren Blüten nebst einem Zweig Jasmin. Ein Gemälde, das eine sehr ähnliche Komposition aufweist und mit „P.V. Kessel.F“ signiert ist, wurde am 2. November 2004 bei Sotheby‘s, Amsterdam, unter Lot 52 versteigert. Rest. (1350942) (13)Peter van Kessel,born 1668 RatzeburgAccording to the RKD, active in Bamberg and Würzburg in 1658. Documented in Danzig in 1668, then in Lübeck and Copenhagen. He was commissioned by the Danish court.FLOWER BOUQUET IN GLASS VASE Oil on canvas, laid on card.80 x 66 cm.Inscribed on skull in Hebrew lower right. We thank Dr Fred G. Meijer for confirming the named artist. He assumes that it was painted in the first half of the 1660s.
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Chinesische Vase mit GeckodekorHöhe inkl. der Handhaben: 52 cm.China und Frankreich.Über unglasiertem Standring, leicht konisch auslaufender Fuß mit balustriertem Korpus und ausgestellter zylindrischer Mündung. Vergoldete Metallmontierung sowie Reliefauflagen. Die ornamentalen Reliefauflagen auf dem Fuß und auf der Schulter, die Handhaben seitlich als Löwenköpfe gestaltet. Die Mündung ebenfalls mit einem Blattfries dekoriert und mit seitlichen applizierten Eidechsenhandhaben auf vergoldetem Blattrelief. Der Korpus mit feinem Craquelé auf Seladon. (1351625) (13))
Pietra dura-SalontischHöhe: 72 cm. Durchmesser: 97,5 cm.Italien, frühes 19. Jahrhundert.Auf einer profilierten Holzbasis die drei Beine mit Akanthusblattschnitzereien und einem Maskaronsteg zur Mittelvase, über radial zusammenlaufenden Profilen. Darüber die Deckplatte in schwarzem Stein mit Randprofil, darin eingelegt hochfeine Arbeit in Mikromosaiktechnik unter der Verwendung von Malachit und verschiedenen anderen Steinen. Zentrale Darstellung des Petersplatzes mit dem Dom, den Kolonnaden sowie dem im Zentrum stehenden Obelisken, umrandet von Malachit. Darum angeordnet vier Ovalkartuschen mit dem Kolosseum, dem Forum Romanum, dem Pantheon und dem Herkulestempel. Die liegenden Kartuschen verbunden durch hochfein gearbeitete Blütenfestons mit Wicken und Rosen sowie umherflatternden Schmetterlingen. Die Komposition wird gerahmt durch einen Weinlaubkranz, dessen verschiedene Schattierungen ihn dreidimensional wirken lassen. (13517528) (13)Pietra dura salon tableHeight: 72 cm. Diameter: 97.5 cm. Italy, early 19th century.On a profiled wooden base, three legs carved with acanthus leaf mascaron bar to the central vase over radially converging profiles. Surmounted by black stone tabletop with edge profile, with very fine micro-mosaic inlays in malachite and various other stones. Central depiction of St Peter’s Square with the cathedral, the colonnades, and the obelisk at centre, surrounded by malachite. With a surround of four oval cartouches depicting the Colosseum, the Roman Forum, the Pantheon, and the Temple of Hercules. The horizontal cartouches are connected by very finely worked floral festoons with sweet peas, roses, and butterflies. The composition is framed by a wreath of vine leaves, its various shades giving a three-dimensional appearance.
Maurice de Vlaminck, 1876 Paris – 1958 Rueil-la-GadelièreBOUQUET DE FLEURS DANS UN VASE, UM 1924-25Öl auf Leinwand.46 x 38 cm.Rechts unten signiert.In Prunkrahmen.Beigegeben eine Echtheitsbestätigung des Archivs Vlaminck, vom 16. Mai 2019, unterschrieben von Godeliève de Vlaminck, Tochter des Künstlers, in Kopie.Vor fast schwarzem Hintergrund auf einer runden weiß-bräunlichen Platte stehend eine schmale weiße Vase mit Fuß, darin ein Strauß mit weißen und rosafarbenen duftigen Blumen. Stark kontrastreiche Komposition der hellen Blüten vor der dunklen Wand und auf der Vase Farbreflexe, die das Schwarz der Wand wiederholen. Der deutlich sichtbare Pinselduktus ist großzügig und spontan gesetzt, teils bei pastosem Farbauftrag.Anmerkung:Bedeutender französischer Maler der Moderne in dem Kreis französischer Künstler, der vor allem in enger Freundschaft mit André Derain (1880-1954) wirkte und die Entstehung des Fauvismus einleitete. Als Postimpressionist wurde er zeitweise von dem Galeristen Daniel-Henry Kahnweiler betreut. 1955 Teilnehmer der documenta 1 in Kassel. 2008 Würdigung seiner Werke durch eine Ausstellung im Musée du Luxembourg in Paris. Das Gemälde wird unter der Referenznummer 19-00006/2019-05-06 in das Archiv Vlamincks aufgenommen.(1351128) (18)Maurice de Vlaminck, 1876 Paris – 1958 Rueil-la-GadelièreBOUQUET DE FLEURS DANS UN VASE, CA. 1924-25Oil on canvas.46 x 38 cm.Signed lower right. Accomponied by a certificate of authenticity of the Vlaminck archive, dated 16 May 2019, signed by Godeliève de Vlaminck, daughter of the artist, in copy.
Hendrik Andriessen, 1607 – 1655, zug.VANITASSTILLLEBENÖl auf Leinwand. Doubliert.46,5 x 38,5 cm.In dekorativem schwarzen Rahmen.In einer steinernen Rundbogennische die versammelten Vanitasobjekte, zu denen ein großer Schädel und eine stehende Vase mit Blumen gehören. Des Weiteren eine aufgeklappte Taschenuhr mit einem blauen Band, eine brennende Öllampe sowie ein kleines Pfeifchen, neben dem ein Stück Papier mit Tabak liegt. Eine glühende Kordel, von der leichter Rauch aufsteigt, liegt in der unteren linken Ecke der Nische. Malerei in zurückhaltender Farbgebung mit den typischen Objekten, die auf die Vergänglichkeit hinweisen. (1351112) (18))
Venezianischer Spiegel mit KonsoleHöhe Spiegel: ca. 120 cm. Maße Konsole: 93,5 x 72 x 73,5 cm.Venedig, 18. Jahrhundert.Zweiteiliges Salonensemble. Die Konsole mit Volutenfüßen, Maskaronbasis und reicher Blattwerk-, Blüten- und Volutenschnitzerei. Leicht auskragende Deckplatte auf vergoldeten Voluten liegend mit einer rötlichen Marmordeckplatte. Der Spiegel in gleicher Couleur gefasst mit Maskaronschnitzerei und leicht trapezförmig ausgerichteter Spiegelfläche mit teils blau gefasstem Blattwerk und Blüten. Die reiche Vergoldung meist auf den Voluten, die teils mit Textilfestons dekoriert sind. Überfangen durch eine Vase mit Blatt- und Blütenwerkschnitzerei. (1351565) (1) (13)Venetian mirror with console Height of mirror: ca. 120 cm.Measurments of console: 93.5 x 72 x 73.5 cm.Venice, 18th century.Two-part salon set.
Ambrosius Bosschaert d. J., 1609 Arnemuiden/Middelburg – 1645 UtrechtGLASVASE MIT BLUMENGEBINDEÖl auf Kupfer.33 x 25 cm.Gemäß Sam Segal ist das Bild um 1633 einzuordnen.Das Stillleben, ein Dokument der niederländischen Malerei des „Goldenen Zeitalters“, zeigt sich in heller Farbigkeit vor olivbraunem Hintergrund. Unter den überwiegend hellfarbigen Blüten, wie rosafarbene Rosen („Provenceroos“), helle gefiederte Tulpe und hellbaue Iris, Maiglöckchen, finden sich stärker rotfarbene Blumen und ein Frauenschuh. Die Kugelvase durchsichtig, daneben auf der Steinplatte Blütenkopf einer rosafarbenen Rose und eine Anemonenblüte. Die Tulpe erinnert an die „Tulpenmanie“-Börse dieser Jahre, die zu einem Kollaps des Finanzmarktes führte. Dies erklärt, warum die Tulpe hier den zentralen Platz einnimmt. In der feinen Malweise folgt der Künstler zunächst dem Werk seines Vaters, dem Stilllebenmaler Bosschaert d. Ä., bei dem er neben seinen Brüdern Johannes und Abraham seine Ausbildung erhielt und mit ihm zusammen in Breda und Utrecht wohnte und wirkte. Weitere Ausbildung erhielt er wohl von seinem Onkel Balthasar van der Alst in Utrecht, wo er sich 1628 niederließ. Neben Roelandt Savery und van der Aelst zählt der Maler zu den wichtigsten Vertretern seines Faches. Provenienz:Sotheby‘s, London, 23.06.1982.Tajan, Paris, 26.04.1993 (99.000 EUR).Anmerkung:Nicht sämtliche Gemälde seiner Hand weisen eine Signatur auf. Die Eigenhändigkeit des Werkes ist jedoch durch den Eintrag in der RKD gesichert. Zudem ist zu erwähnen, dass das Gemälde nach dem Eintrag in der RKD Den Haag gereinigt wurde. RKD-Eintragsnr. 0000 1909 909. A.R. (13514339) (11)Ambrosius Bosschaert the Younger,1609 Arnemuiden/Middelburg – 1645 UtrechtGLASS VASE WITH BOUQUET OF FLOWERS Oil on copper.33 x 25 cm.According to Sam Segal, the painting dates to ca. 1633. The artist’s authenticity for the present painting is assured by its listing in the RKD. It should also be mentioned that the painting was cleaned after it was listed with the RKD in The Hague. RKD no. 0000 1909 909.Provenance:Sotheby’s, London, 23 June 1982.Tajan, Paris, 26 April 1993 (99,000 EUR).
Vase mit AmorettendekorHöhe: 37,5 cm.Nach einem Model von Augustus Shpis (1817-1904).Kaiserliche russische Manufaktur, Sankt Petersburg, um 1870.Gefußte ovoide Form mit seitlich ansetzenden Maskarons und kannelierten vergoldeten Handhaben. Eingezogene horizontale Schulter mit reliefiertem Blattwerkzierdekor und ausgestellter akanthusblattverzierter Mündung. Die Schulter mit einem Eichenlaubprofil gerahmt. Schauseitig mit Amorettendekor in Landschaft, verso mit einem Blütenbouquet. Rest., minimal besch. Der Deckel fehlend.Anmerkung:Ähnliche Vasen in der Eremitage sind im Werkverzeichnis von Catherine Khmelnitskaya, Augustus Shpis and the Imperial Porcelain Factory, Moskau 2012, S. 80-85 abgebildet. (13503510) (13))
Pietro Gabrini, 1856 Rom – 1926 ebendaGESELLSCHAFT VOR RÖMISCHER VILLAÖl auf Leinwand.110 x 180 cm.Links unten signiert, ortsbezeichnet und datiert „P. GABRINI ROMA MXMXVI“.In vergoldetem Rahmen.Im offenen Vorraum einer prachtvollen römischen Villa mit Säulen und einem in den Fussboden eingelegtem Mosaik auf einem Teppich mit drei Hockern, der sitzende Hausherr in weißer Tunika, neben ihm eine stehende Frau in hellblauem Gewand mit rotem Mantel und goldenem Haarschmuck und eine weitere sitzende Dame. Hinter ihnen weitere Figuren in römisch-antiker Kleidung, wohl den Ausführungen des linksseitig stehenden Mannes aufmerksam und bewundernd lauschend. Dieser weist mit Handgestus auf eine übergroße figurenreiche Skulptur mit einem Pferd hin, die außerhalb des Raumes auf einem rechteckigen Sockel steht. Im Vordergrund links am Boden stehend eine goldene Schale, gefüllt mit rosafarbenen und roten Rosen, von denen einige wenige am Boden liegen. Im Hintergrund links, vorbei an einer Vase mit einer Agave auf der Hausbrüstung, fällt der Blick auf eine Landschaft mit hochragenden Pinienbäumen, die gerade von der Sonne beschienen werden. Detailreiche Malerei mit reicher Interieurausstattung, die auf ein wohlhabendes römisches Ehepaar hinweist. (1301328) (18)Pietro Gabrini,1856 Rome – 1926 ibid.PARTY OUTSIDE A ROMAN VILLAOil on canvas.110 x 180 cm.Signed lower left, with place name and dated “P. GABRINI ROMA MXMXVI”.
dating: 1855 provenance: Kingdom of the Two Sicilies, Straight, double-edged blade (pitting) of hexagonal section, engraved with trophies and floral motifs at the first part, marked 'Napoli 1855' at the base. Brass hilt, shell-guard with crowned coat of arms featuring three lilies, framed by laurel leaves and layed on six flags; the guard with foliage in as-relief, vase-shaped pommel decorated with bees and thunderbolts; horn handle with metal wire binding. Leather scabbard with brass mounts engraved with floral motifs and with remains of gilding. length 94 cm.
Grayson Perry (British 1960-), 'Untitled (Ghost Vase)', unique ink on Chateau Hotels, Netherlands stationary paper, signed in black ink, bearing the Artists ink stamp; 39 x 32.5cm inc frameARR39 x 32.5cm inc frameIn overall good conditionNo knocks or tears to the sheetCreasing can be seen across the entirety of the sheet, predominantly to the corners.Framed in a black frame, float mounted leaving all edges and corners of the sheet visibleThis work has not been examined under the frame.In overall good conditionNo knocks or tears to the sheetCreasing can be seen across the entirety of the sheet, predominantly to the corners.Framed in a black frame, float mounted leaving all edges and corners of the sheet visibleThis work has not been examined under the frame.
Geoffrey Baxter (1922-1995) for Whitefriars Set of three graduated glass bark vases 'Ruby red' pattern no. 9691, the largest vase measures 24cm high, medium measures 19cm high, the smallest measures 15cm high (3)Overall display wear and some scratches, most notably to the base as expected. Otherwise seems ok.
Designed by Michael Harris (1933-1994) for Isle of Wight glass'Aurene' studio glass attenuated bottle vase, with black triangular label to the base, unsigned, 45.5cm high overall Production fault to foot by pontil, looks like a chip, but is not sharp and is not damage, minimal scratches to the base, consistent with age and use. Otherwise seems ok.
Egermann Sklo glassin yellow and pink colourway, each with etched signatures to the base, the vase measures 26cm high overall, the pedestal bowl measures 11cm high x 34.5cm wide (2)With overall wear, some marks and scratches. Consistent with age and use. Signature on the vase is difficult to read. Otherwise seems ok.
Collection of treen and wood turned vesselscomprising of a lignum vitae cup with turned stem, unsigned, 15.5cm overall, a Ray Key kingswood bowl, signed and numbered to the base, 7cm high x 12cm across overall, a Steve Howlett carved vessel, with monogram to the base, 10.5cm high x 13cm across, a pair of turned wooden spill vases on pedestal bases, unsigned, 19cm high and one other unsigned vase, 10cm high overall (6)Provenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Overall wear, marks and scratches, some with signs of display use. Watermarks to the Ray Key bowl and lignum vitae piece.
Collection of Winchcombe pottery comprising of a vase with trailed decoration, impressed seal mark to the footrim, 18.5cm high and a set of three graduated jugs, with iron glaze, with impressed seal marks to the footrim, tallest measures 17cm high, middle jug measures 13cm high, the smallest jug measures 8cm high (4) Overall minimal display wear and light scratches as expected, most notably to the base. Small glaze/firing faults as expected. Otherwise seems ok.
Louis Comfort Tiffany (1848-1933)glass vase, signed and numbered 'L. C. T K1562' to the base, with original paper label, 19cm highProvenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Minimal display wear, some scratches to the base as expected. Otherwise seems ok.
Svend Bayer (b.1946)large wood fired vase, with impressed repeating decoration, with impressed seal mark to the top band of decoration on the shoulder of the vase, 41cm high approx overallMinor firing/glaze faults as expected. Otherwise seems ok. Overall signs of display wear and light use. Minimal glaze/firing faults as expected, otherwise seems ok.
Pair of Carltonware vases with Art Deco bird decoration on blue ground, transfer marks to the base, 12.5cm high and one other Carltonware ceramic vase decorated with a bird and butterflies on a light blue ground with gilt decoration, marked to the base, 11cm high (3)Overall display wear, some small marks and scratches. Crazing to the glaze.
Collection of studio glass comprising of: Mdina and Phoenician paperweights of birds and mushrooms, Gozo glass owl, Hadleand of Norway glass owl, Whitefriars tangerine 'Nailhead' vase, 16.5cm high, tall glass vase and similar bowl etcAt present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a full condition report.
Edward Porter for William De Morgan (1839-1917) pottery vase, decorated with peacocks and leaves, signed with initials 'E. P' and impressed tulip mark to the base, 20cm high overallProvenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.The lip/neck of the vase has damage and restoration. Some hairline cracks. Crazing throughout. Overall wear, display marks and some scratches.
Collection of ceramics comprising of: a Moorcroft pottery 'Pansy' squat vase, with impressed marks and a sticker to the base, 8cm high overall, an Italica Ars ceramic money box in the form of a pig, with painted marks to the base, 13cm high and a studio pottery mug with indistinct potters seal to the base of the handle, 9cm high overall (3)Ear of the pig has been damaged and repaired. The Moorcroft vase has crazing to the glaze. All have some scratches and minmal signs of display wear as expected.
Collection of studio glass comprising of: Mdina textured bark vase, signed 'Mdina' to the base, 15cm high, a Tamara Aladin for Riihimaki Lasi Oy green vase, unsigned, 28cm high overall, an Okra iridescent glass vase signed and dated 2008 to the base, 6cm high overall, an Isle of Wight glass atomiser scent bottle base, with triangular label to the base, 6cm high overall and one other art glass vase, unsigned, 11cm high (5) Overall display wear, some marks and scratches in places. The Isle of Wight atomiser scent bottle does not have a top, it's just the base.
French wheel engraved glass vase 20th Century, decorated with flower and leaves with repeating decoration to the rim, unsigned, with silver mount to the foot, marked 'Saint Yyves, Paris' with indistinct hallmark, 13cm highProvenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Overall wear, marks and scratches. Tiny fleabites to the top rim of the vase. Tiny dent to silver footrim. Otherwise seems ok.
Collection of studio ceramics comprising of: a Leach pottery bud vase, with seal marks to the footrim, 9cm high, a Derek Emms pottery vase, impressed mark to the footrim, 12cm high, a studio pottery vessel with wave decoration, incised 'RJB' to the base, 10cm high overall approx and a studio pottery cup and saucer with impressed swirl mark to the footrim of the cup, saucer 13.5cm across (5)Crazing and minor glaze flaws in places as expected. Overall wear, scratches and some marks as expected,
Louis Gueule at Elge pottery vase with mottled glaze, marked to the base, 21.5cm highProvenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Overall display wear and minor scratches. Minor glaze faults as expected. Marks to the base partially concealed by the glaze.
Albert Chevallier Tayler, RBC (British, 1862-1925)The caricature signed and dated 'A. CHEVALLIER TAYLER. 1887.' (lower left)oil on canvas53.5 x 76.5cm (21 x 30 1/8in).Footnotes:ProvenanceWith Williams & Son, London.Private collection, UK (acquired from the above the present owner, circa 1950s).'It is in their studies of interiors no less than in their open-air work that the Newlyn school prove their love of truth'1. So wrote Alice Meynell, the first serious chronicler of the painters in the west Cornwall fishing village in 1889, when addressing the work of Albert Chevallier Tayler. The artist had achieved a notable success at the Royal Academy in 1887, with Bless, Oh God, these Thy gifts to our use (sold Bonhams New York, 4 May 2016, lot 88) portraying a humble mealtime in a fisherman's cottage – a painting that was sometimes referred to as 'Grace before Meat'. Predating Frank Bramley's A Hopeless Dawn (1888, Tate) and Stanhope Forbes's A Village Philharmonic (1888, Birmingham Art Gallery), the telling details and subtilties of light and space made Tayler's work a classic for Mrs Meynell. She noted the singular beauty of the young mother and the accurate observation of the baby 'as it turns its head to sleep'. The Academy painting was immediately purchased by the dealer, Arthur Tooth, who clearly made visual connections between this work and his current stock of contemporary Venetian pictures, headed by those of Cecil van Haanen, Luigi Nono and Ettore Tito2. And while Italian comparisons were made at this time with Bramley's paintings, had Tooth delved deeper into the contents of Tayler's studio, the general affiliation would have been confirmed. In the summer of 1887, the dealer was prepared to sponsor Tayler's trip to Venice. Although, in the following exhibition season, pictures such as A Council of Three (sold in these rooms 23 January 2013, lot 96) and A Dress Rehearsal (Lady Lever Art Gallery, Port Sunlight) were sometimes thought to have been painted during his few months in Venice, the discovery of the present canvas tends to discount this3. While The Caricature shares the same setting as these two later paintings, it is likely to predate the artist's Venice expedition4. Furniture, crockery and prints differ in all three paintings; the samovar and drop-leaf table, seen in the present work, reappear in A Dress Rehearsal, while other details such as stick-back chairs, relate it more closely to earlier works – particularly Bless, Oh God, these Thy gifts to our use5. There are good reasons, therefore, for regarding the present canvas in which the eye is led into the space of the room by a seated figure on the left and debris placed on the floor, as a highly satisfactory prototype. Clearly what appealed to Tooth was Tayler's mastery of such naturalistic details. Few painters were more talented than he in orchestrating the mise-en-scène.The son of a solicitor, Tayler received a scholarship to the Slade School of Fine Art in 1879 where he met Henry Scott Tuke and Thomas Cooper Gotch. Like his classmates he spent the academic year 1881-2 in Paris at the atelier Julian and, in later expeditions to Devon and Normandy, became a summer painting companion of Tuke. In the autumn of 1884, he was one of an important group of painters who congregated in Newlyn and although he did not remain for more than a month, his subsequent arrivals and departures were logged with enthusiasm by Stanhope Forbes6. One other aspect of the present work is, however, both obvious and intriguing. Where other Newlyn maids and fishermen's wives are shown reading a letter or dressmaking, the figure on the right in the present painting is drawing a profile on the wall - perhaps that of her sailor husband, or boyfriend. In her left hand she holds a folded sheet of paper that has been removed from its envelope. The thought behind her drawing is probably contained in the primitive graphic representation on which she is engaged. She could almost be saying to her companion – 'this is what he looks like'. While one Newlyn painter, Fred Hall, was renowned for such simplified profiles of his comrades, Tayler's painting alludes directly to the impact this school of young image-makers must have had on an otherwise, unremarkable Cornish village. Yes, it supported one of the largest fleets on the south coast; yes, it had good access to markets by rail from Penzance and, yes, throughout the halcyon days of the Newlyn painters, its piers were constantly being extended and its harbour deepened to take the draught of steam trawlers, but the record of its life in the domestic sphere it owed to artists like Tayler. In this respect, the picture of an innocent unschooled draughtswoman, watched by her workmate, is both prescient and precise. 1Alice Meynell, 'Newlyn', The Art Journal, 1889, p. 102.2See for instance 'Messrs Tooth's Exhibition', The Era, 15 March 1884, p. 13; 'Mr Tooth's Gallery', The Graphic, 8 November 1884, p. 12. Tooth's interest in Tayler's work is reported by Stanhope Forbes (letter to Elizabeth Armstrong, dated 26 April 1887, Hyman Kreitman Archive, Tate).3A Council of Three and A Dress Rehearsal were shown at the New English Art Club and the Royal Academy respectively. Tayler's departure from Newlyn for his Venetian adventure and his return are reported by Stanhope Forbes (letters dated 14 June 1887 and 24 December 1887, Hyman Kreitman Archive, Tate).4It will for instance be noted that the present work contains a vase of what appear to be small narcissi – i.e. spring flowers. 5Exotic or foreign artefacts brought back by mariners were not uncommon in coastal dwellings – as are the double-page engravings from publications such as The Graphic, that are pinned to walls.6Letters written by Stanhope Forbes (dated 21 September 1884, 26 October 1884, Hyman Kreitman Archive, Tate, plus undated letters) include references to the difficulty Tayler was having in selling his work prior to 1887. It is clear from these that there was a close bond of friendship between Forbes and Tayler.We are grateful to Professor Kenneth McConkey for compiling this catalogue entry.For further information on this lot please visit Bonhams.com
Anton Hartinger (Austrian, 1806-1890)Flowers in a glass vase and an arrangement of fruit indistinctly signed and dated 'Ant.Hartinger fecit/1837' (lower right)oil on canvas 52.7 x 42.5cm (20 3/4 x 16 3/4in).Footnotes:ProvenanceWith Bond Street Galleries, London.For further information on this lot please visit Bonhams.com
A James I oak joint stool, West Country, circa 1620Having an ovolo-moulded top, rails with central run-moulding and lower edge moulding, and rising-baluster over vase-turned legs, joined all round by plain stretchers, retaining a significant proportion of the turned feet, 42cm wide, 25.5cm deep, 51cm high
![ARMENIAEPHRAIM THE SYRIAN (SAINT) Girk Aghotis: Asatseal Srboyn Ebremi Khourwoyn Asorwots [Prayer Book], text in Armenian, a](https://cdn.globalauctionplatform.com/02e0bfb0-e8cb-4739-96ed-afc500e35fb5/84156c2b-9394-4eb2-b61b-afc500ecc25c/468x382.jpg)
ARMENIAEPHRAIM THE SYRIAN (SAINT) Girk Aghotis: Asatseal Srboyn Ebremi Khourwoyn Asorwots [Prayer Book], text in Armenian, all leaves within typographical border, full-page woodcut portrait of Ephraim on p.2, title with head-piece incorporating vase and flowers with palmette in border (shaved), capital letters formed by human figures, small hole filled to opening to leaves, old stain to final 8 leaves, modern calf [not in BL or Bodleian], 8vo, [Constantinople/Istanbul, Yohanis and Poghos, 1788]Footnotes:Prayers of the fourth century Saint, Ephraim the Syrian, beneath whose frontispiece portrait is a printed note that the book's benefactor is Mateos Aknetsi, from Egin in western Armenia.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
BINDING - FRENCHL'Office de la Semaine Sainte, half-title, light toning, contemporary French red morocco gilt, 'Dubuisson plaque' design centred on a large vase of flowers on covers, spine elaborately tooled in six compartments within raised bands, g.e., 8vo, Paris, G. Desprez, 1758Footnotes:Provenance: Pirot Demolins, ownership inscription on half-title; Lord and Lady Iliffe of Basildon Park; Christie's South Kensington, 2 June 2008, lot 49.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
A GEORGE V SILVER TWIN-HANDLED VASE by John Round & Son Ltd, Sheffield 1912, tall tapering cylindrical, with slender flying C-scroll handles, a bead and rope-twist rim, engraved each side with garland swags and drop pendants, raised on a stepped circular foot. 24cm high overall, 10.7 troy ouncesMarks clear and well struck. Stands upright, slight rocking to base. Foot slightly misshapen, section of rim with surface scratches to top extending approx. 4cm long. Vacant threaded screw hole to base. Light surface marks and scratches commensurate with age and use.
AN ARTS AND CRAFTS SILVER VASE by Williams (Birmingham) Ltd, Birmingham 1905, trumpet form with three curved supports, on a domed circular foot, the whole lightly planished, weighted. 20.3cm highMarks clear and well struck. Stands upright, very slight rocking to foot. A few minor dings throughout. Light surface scratches commensurate with age and use.
AN ELIZABETH II SILVER SHOOTING TROPHY CUP AND COVER by H Phillips, London 1952, the domed cover surmounted by the figure of a dragon, the two-handled pedestal body engraved THE ST GEORGE'S VASE / BISLEY MEETING / 1952. 23cm high, 20.8 troy ouncesThe marks are clear. In generally excellent condition.
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