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Click here to subscribeA Moorcroft Bird and Berry vase and sundry studio ceramics, the dark blue ground vase with green printed marks and initials, H 16cm, other items to include a near pair of pottery bowls by Deborah Prosser decorated with flowers, a floral-decorated fruit bowl and similar 'petal' rim jug with painted initials 'BS' and a pink, yellow and blue banded fruit bowl and similar small jug tallest 21cm (7)
Janice Tchalenko for Dartington Pottery, a collection of 'Poppy' design table and decorative wares, comprising one large and one small planter, a small vase, 5 dinner plates, 6 side plates, 6 bowls, milk jug, a sugar bowl, 6 mugs, a shaped square two-handled serving dish and a smaller ditto, a circular casserole dish and cover and a teapot
Robert Gwelo Goodman (South African 1871-1939) PROTEAS signed with artist's initials oil on canvas PROVENANCE The Barlow Family of Vergelegen; T Barlow Trust; Sold: Stephan Welz & Co, in Association with Sotherbys; Johannesburg, 11 November 2008, lot 430 108 by 98cm The final exhibition that artist Robert Gwelo Goodman held in Cape Town was at the Argus Gallery from late February until mid-March 1938. On March 12th Germany had invaded Austria, and there was little doubt in the minds of the many who gathered to see his work, of the grim future that awaited the world. No one bought and for the first time, the colossus of the South African art scene had to concede defeat – his exhibition of 52 pictures was a financial disaster. Seventeen of the works included in the fateful exhibition were flower pieces, “…among them was a large picture of Proteas. Lady Bailey (then Miss Stella Chiappini) in decorating the Gallery had set a vase of giant proteas next to this picture. With a smile at the effect, Gwelo asked, ‘So you are putting nature up in competition with me? I must say nature runs me a very good second.’"¹ Such was the nature of Gwelo Goodman in the last years of his extraordinarily successful life in South Africa. It began as the fifteen year old emigrated to Cape Town from Britain with his relatively poor parents. They seized the opportunities in their new country in order to realize the aspirations of their child. Robert Goodman (as he was christened, adopting Gwelo later on in life) had the opportunity of studying art in Cape Town, Paris and London, where he remained until 1915 gaining a considerable reputation abroad, including the prestige of having three landscapes accepted by the Royal Academy. On his return to South Africa he moved in prominent circles and built on his successes as a painter of landscapes, heritage architecture and above all flowers. He developed a strongly personal style of painting adapted from French Impressionism and Pointillism, using loose, short brush-strokes in bright colours, juxtaposed against a dark background to render light effects such as foliage and shadows in a spectacular manner. His tour de force is recognized as the large painting of Cape Town Parade and City Hall against the backdrop of Table Mountain, housed in the Permanent Collection of the Iziko South African National Gallery. In Proteas, a commanding composition of bushy, naturally foraged specimens, illustrates - in shades of pink, cream muted green and browns - the diversity and grandeur of the species. It also demonstrates his botanical insight in the rendering of at least five varieties of Cape flora. Majestic King proteas (p.cynoaroides) are central, surrounded by sugarbush (p.repens), velvet edged (p.neriifolia), leucodendron and pin-cushion (leucospermum cordifolium) varieties set against a calming, unadorned background of dark brown canvas. The present large work was in the possession of the Barlow family at Vergelegen for seventy years, making it likely that it was purchased around the time of his last exhibition in Cape Town in 1938. The artist died a year later, on March 11th 1939. Some of Goodman’s other acclaimed protea pieces² were purchased after his death by the Cape Government for inclusion in the Government Residences amongst them Westbrooke (renamed Genadendal by Nelson Mandela in 1994) and Leeuwenhof in Cape Town - C. K. Berman, E., Art and artists of South Africa, AA Balkema, Cape Town, 1974 Newton-Thompson, J., Gwelo Goodman: South African Artist, Howard Timmins, Cape Town, 1951 Fransen, H., Three centuries of South African Art, Donker, Cape Town, 1982 ¹ Newton-Thompson, J., Gwelo Goodman: South African Artist, Howard Timmins, Cape Town, 1951, p115 ² A similar oil painting, also titled Proteas, is reproduced in colour (plate 100-108) in Newton-Thompson, J., Gwelo Goodman: South African Artist, Howard Timmins, Cape Town, 1951
Jan Catharinus Adriaan Goedhart (Dutch 1893-1975) THE TUQUOISE BOWL signed oil on canvas 98 by 48cm This enigmatic full-length portrait of a beautiful dark-haired young woman may be of the second wife of acclaimed Dutch maritime painter and royal portraitist Jan C.A. Goedhart. “Jenny” van Beusekom was enrolled as a student in the Academy of Music in Amsterdam. She married Goedhart in 1930 in the flush of the artist’s first success after he received a prestigious commission to paint Queen Wilhelmina for the Hulst City Hall in the province of Zeeland. Standing next to an ebonized grand piano with sheet music at the ready, the subject examines a deep turquoise bowl. Dressed formally in a sumptuous white gown and evening gloves, a romantic image is created of a young bride holding a wedding gift. The room is luxuriously appointed with an oriental vase, flower painting and shimmering patterned velvet curtains, creating an ambience of middle-class comfort. Goedhart worked in a ‘realistic-impressionist style’ with an eye for colour and detail, techniques which he adapted from his early training at the Rijks Academy under the tutelage of L. Dake Snr. From the 1930s Goedhart developed into one of the most important Dutch marine painters of the 20th century. His painting of the arrival of the Royal Yacht HMS Britannia for the state visit of 1958 was presented to Elizabeth II on behalf of the Dutch Nation and is presently housed in the Royal Collection. The artist is well represented in Dutch and wider European collections with retrospectives of his work held at the Maritime Museum, Rotterdam (2006) and Museum Rijswijk (2009). The J.C.A. Goedhart Foundation (www.jcagoedhartstichting.nl/index.html) is currently engaged in documenting his portraits and non-marine works. - C. K. Knops, A., Met het oog op de zee, Primavera publications,Leide, 2006 p. 297
A GLASS AND GILT SHERRY DECANTER SUITE a matching set of 6 water glasses, all embossed with stylised Art Nouveau gilded leaves and flowerheads, comprising: a sherry decanter with 8 matching stemmed sherry glasses; and A Pair of Vases, similarly decorated with gilded swags and flower heads, chip to one vasethe decanter 33,5cm high (17)
A SUITE OF MOULDED GLASSES, 20TH CENTURY comprising: 10 champagne flutes, 8 red wine glasses, 16 white wine glasses, 6 sherry glasses, 2 floral posy holders; A Miscellaneous Collection of Cut-Glass, comprising: 6 cut-glass water glasses, a cut-glass water jug and a cut-glass vase; and A Set of Seven Japanese Smokey Glass Plates, circular (57)
A DANISH MOTTLED WHITE GLASS VASE DESIGNED BY OTTO BRAUER FOR HOLMEGAARD, 1960s the cylindrical body with curved shoulders rising into a cylindrical neck with flared mouth, with abstract strokes in sapphire and emerald applied to the body 27cm high PROVENANCE Purchased from Christensen Gallery, Worcester
A LALIQUE 'PENTHIÈVRE' DEEP AMBER AND WHITE STAINED GLASS VASE, CIRCA 1928-1932 the original designed 2 June 1928, Marcilhac number 1011, the body moulded with diamond-patterned angel fish amongst stylised waves, heightened with red staining, stencilled mark 'R. Lalique France' with Marcilhac catalogue number', crack to base 26cm high LITERATURE Marcilhac, F. R., 'Lalique Catalogue Raissoné', Les éditions de l'amateur, 1989, Paris, p. 441, plate no. 1011 René Lalique et Cie., 'Lalique Glass The Complete Illustrated Catalogue for 1932', The Corning Museum of Glass in association with Dover Publications, Inc., New York, 1981, planche 22, plate no. 1011
A LALIQUE 'BACCHANTES' AMBER FROSTED GLASS VASE, 1927-2007 EDITION ANNIVERSAIRE the original designed 22 July 1927, Marcilhac number 997, the body moulded with Neoclassical female dancing nudes, stencilled mark '1927-2007 Edition Anniversaire', 'Lalique Paris' label, inscribed 'Lalique France 1195' to the base 25cm high LITERATURE Marcilhac, F. R., 'Lalique Catalogue Raissoné', Les éditions de l'amateur, 1989, Paris, p. 438, plate no. 997 René Lalique et Cie., 'Lalique Glass The Complete Illustrated Catalogue for 1932', The Corning Museum of Glass in association with Dover Publications, Inc., New York, 1981, planche 20, plate no. 997
A CHINESE FAMILLE ROSE ‘HUNDRED-BATS’ BOTTLE VASE, REPUBLIC PERIOD, 1912 – 1949 the globular body painted with numerous iron-red bats in flight amongst swirling multi-coloured lingzhi-shaped clouds above a band of lappets, a raised gilt fillet encircling the shoulder enamelled with lotus blooms borne on foliate stems interspersed with gilded shou-characters, the waisted neck further painted with bats and clouds below ruyi lappets, pseudo iron-red six-character guangxu mark, age wear 39cm high
A CHINESE GILT AND IRON-RED ‘ABUNDANCES’ VASE, QING DYNASTY, 19TH CENTURY the globular body surmounted by a tall cylindrical neck with banded rim, profusely painted with auspicious symbols including lychees, pomegranates, lotuses, chrysanthemums and butterflies in gilt-highlighted iron-red on a white ground, fritting, minor filled glaze chips, drilled 37cm high
A CHINESE BLUE AND WHITE BALUSTER VASE, QING DYNASTY, 19TH CENTURY the ovoid body rising from a high tapering foot to a slight flaring neck, decorated with three roundels painted with maidens at various pursuits before pavilions within rocky gardens, all reserved on a dense ground of meandering flowers below a band of ruyi heads, the foot painted with plantain lappets, the base with a pseudo underglaze-blue six-character kangxi mark, later hardwood stand 28cm high (2)
A TIBETO-CHINESE COPPER AND WHITE-METAL BOTTLE VASE raised on a high lotus-lappet foot, the bulbous body applied with ‘precious Buddhist emblems’ and floral rosettes set with hardstone cabochons, the neck surmounted with a pair of writhing dragons on a chased ground of scrolling foliage between bands of lappets below a white metal rim, dents, oxidisation, tarnishing 39,5cm high
A CHINESE FAMILLE ROSE ‘MILLE FLEURS’ BALUSTER VASE, LATE REPUBLIC PERIOD, 1912 – 1949 the ovoid body raised on a short foot rising to a flared neck, finely enamelled with a profusion of flowers including lilies, lotuses, chrysanthemums and peonies, the turquoise mouth with a gilt rim, the base with pseudo underglaze-blue six-character qianlong mark, minor wear 23,8cm high
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