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Lot 10
Ossias BeertStillleben mit einem Weinglas à la façon de Venise sowie einem Zinnteller mit kandie Öl auf Kupfer. 25 x 35,5 cm.Provenienz1968 bis 1969 Kunsthandel P. de Boer, Amsterdam. - 1983 Privatsammlung, Paris. - 1996 bis 1997 Galerie Sanct Lucas, Wien (ausgestellt auf der TEFAF, Maastricht, März 1996 und 1997). - 1997 bis 1998 Kunsthandel Derek Johns, London (ausgestellt im Salon des Beaux-Arts, Paris, September 1997, mit Abb. im Kat. S. 76. und ausgestellt auf der TEFAF, Maastricht, März 1998). - Auktion Sotheby's, New York, 28.1.1999, Lot 312. - Galerie Edel, Köln, 2002 (ausgestellt auf der TEFAF, Maastricht, März 2002, mit Abb. im Kat. S. 84).AusstellungenUn cabinet imaginaire. Natures mortes et vanités du XVIIème siècle, Vic-Sur-Seille, Musée départemental Georges de La Tour, 10.5.-4.9.2005.LiteraturEdith Greindl: Les peintres flamands de la nature morte au XVIIe siecle, 1983, S. 188, Nr. 28. - Gabriel Diss und Laurent Thurnherr (Hg.): Ausst.-Kat. "Un cabinet imaginaire. Natures mortes et vanités du XVIIème siècle", Vic-sur-Seille, Musée Départemental Georges de La Tour, Bremen 2005, S. 12-13."This is an excellent example of the work of Osias Beert I", schreibt Fred Meijer im Oktober 2020 in einer kurzen Stellungnahme zu dem uns vorliegenden Stillleben, welches er in die Zeit um 1610 datiert. Osias Beert ist neben Jan Brueghel d. Ä. (1568-1625) und Ambrosius Bosschaert d. Ä. (1573-1621) einer der bedeutendsten Stilllebenmaler des frühen 17. Jahrhunderts, der die Entwicklung dieses Genres maßgeblich geprägt hat. Nur wenige seiner Werke sind signiert, keines datiert.Das uns vorliegende Stillleben mit einem Weinglas à la façon de Venise sowie einem Zinnteller mit kandierten Früchten zeigt sich, wie so häufig bei diesem Genre, als Gelegenheit gesellschaftlicher Repräsentation, Zeichen kultivierter Lebensart, Wohlstand und sozialer Stellung seines Auftraggebers. Zu den frühen Süßwaren, die bereits im mittelalterlichen Europa verzehrt wurden, gehörten auch in Zucker kandierte Früchte, die üblicherweise am Ende einer Mahlzeit gereicht wurden. Dabei handelt es sich keineswegs um eine Alltagsspeise, sondern sie demonstrieren den damals betriebenen Delikatessenkult der Oberschicht. Auch das dazugehörige, den lukullischen Genüssen würdige Essgeschirr in Form eines Zinntellers und eines feinen venezianischen Weinglases sind ein Zeichen von Opulenz und Prunk. Süßigkeiten, hier in Form von kandierten Früchten, symbolisieren die Hingabe an die Begierden und die Wollust und mahnen den Betrachter somit zur Bescheidenheit. Auch das Weinglas nimmt Bezug auf die irdischen Freuden.Die Stillleben Osias Beerts d. Ä. sind trotz ihrer teils inhaltlichen Fülle immer von einer ausgesprochenen Klarheit und Ausgewogenheit ihrer Komposition gekennzeichnet. Auch das warme Kolorit und die Inszenierung der Objekte vor dunklem Hintergrund auf einer Tischplatte sind typische Charakteristika seiner Werke.Gemälde von Osias Beert befinden sich in privaten und öffentlichen Sammlungen, unter anderem im Rijksmuseum in Amsterdam, in der Gemäldegalerie in Berlin, im Koninklijk Museum voor Schone Kunsten in Brüssel, im Wallraf-Richartz-Museum in Köln, im Museo Nacional del Prado in Madrid, im Musée du Louvre in Paris sowie in der National Gallery of Art in Washington.Unser Gemälde ist im RKD, Den Haag, als ein eigenhändiges Werk Osias Beerts unter der Nr. 59323 archiviert.Wir danken Dr. Fred G. Meijer für die Bestätigung der Authentizität anhand hochauflösender Fotografien. Ossias BeertStill Life of Sweets on a Pewter Plate and a Façon de Venise Wineglass, on a Wooden Oil on panel. 25 x 35.5 cm.ProvenanceWith P. de Boer, Amsterdam, 1968 -1969;Private collection, Paris, 1983;With Galerie Sanct Lucas, Vienna, 1996 -1997 (exhibited at TEFAF, Maastricht, March 1996 and 1997);With Derek Johns, London, 1997-1998 (exhibited at Salon des Beaux-Arts, Paris, September 1997, with illustr. in cat. p. 76. and exhibited at TEFAF, Maastricht, March 1998);Anonymous sale, Sotheby's, New York, 28 January 1999, lot 312;With Galerie Edel, Cologne, 2002 (exhibited at TEFAF, Maastricht, March 2002, with illustr. in cat. p. 84).ExhibitionsUn cabinet imaginaire. Natures mortes et vanités du XVIIème siècle, Vic-sur-Seille, Musée départemental Georges de La Tour, 10 May - 4 September 2005.LiteratureEdith Greindl: Les peintres flamands de la nature morte au XVIIe siecle, 1983, p. 188, fig. 28;Gabriel Diss and Laurent Turnherr (eds.): Un cabinet imaginaire. Natures mortes et vanités du XVIIème siècle: biographie des peintres de l'exposition, Musée départemental Georges de La Tour, Vic-sur-Seille, exh. cat., Bremen 2005, p. 12-13.“This is an excellent example of the work of Osias Beert I”, wrote Fred G. Meijer in October 2020 in a short statement about the present still life, dating it around 1610. Alongside Jan Brueghel the Elder (1568-1625) and Ambrosius Bosschaert the Elder (1573-1621), Osias Beert is one of the leading still life painters of the early 17th century, who decisively influenced the development of this genre. Only a few of his works are signed and none are known to be dated.As so often with this genre, the present still life with a wine glass à la façon de venise and a pewter plate with candied fruit can be seen as an opportunity for social representation, a symbol of the commissioning party's cultivated way of life, affluence and their social status. Among the early sweet goods that were consumed in medieval Europe were fruits candied in sugar, usually served at the end of a meal. They were in no means an everyday dish, but rather served as demonstration of refinement practiced at the time by the upper class. The accompanying dinnerware in the form of a pewter plate and a fine Venetian wine glass, suitably matched to the delights offered here, are also a sign of opulence and splendour. Sweet goods, in the form of candied fruits here, symbolise abandonment to desire and lust and thus admonish the viewer to remain modest. Even the wine glass refers to earthly pleasures. Despite their sometimes rich content, Osias Beert's still lifes are always characterised by a pronounced clarity and balance in their composition. The warm colouring and the staging of the objects in front of a dark background on a tabletop are also characteristics of his works. Paintings by Osias Beert can be found in private and public collections including the Rijksmuseum in Amsterdam, in the Gemäldegalerie in Berlin, in the Koninklijk Museum voor Schone Kunsten in Brussels, the Wallraf-Richartz-Museum in Cologne, Museo Nacional del Prado in Madrid, the Musée du Louvre in Paris and the National Gallery of Art in Washington.The present painting is registered with the RKD, The Hague, as an authentic piece by Osias Beerts as no. 59323.We are grateful to Dr Fred G. Meijer for his confirmation of the authenticity on the basis of high resolution photographies.
Lot 12
Cornelis KickStillleben mit Römerglas, Orange und Zitronen Öl auf Holz. 43 x 31,5 cm.Signiert Mitte rechts: Corn. Kick.ProvenienzAuktion Sotheby-Mak van Waay, Amsterdam, 30.11.1981, Lot 54.AusstellungenHolländische Malerei aus Berliner Privatbesitz, Berlin, Gemäldegalerie Staatliche Museen Preußischer Kulturbesitz, 1984, Nr. 31.LiteraturJan Kelch: Ausst.-Kat. „Holländische Malerei aus Berliner Privatbesitz“, Berlin 1984, S. 66-67, Nr. 31, mit Abb. – Susanne Rütten, in Ekkehard Mai (Hg.): Das Kabinett des Sammlers, Köln 1993, S. 144-145, Nr. 56, mit Abb.Vor tiefdunklem Hintergrund präsentiert uns der Amsterdamer Stilllebenmaler Cornelis Kick genau sieben Objekte, eng aneinander und nahe an den Rand einer Steinplatte gerückt: ein mit Weißwein halb gefülltes Römerglas, eine Orange, eine Zitrone, ein aufgeschnittenes Zitronenachtel, eine dünne Zitronenscheibe, ein kleiner Zitronenkern und ein Messer, dessen elfenbeinerner Griff leicht über die Tischkante hervorragt. Mit diesen wenigen Gegenständen - hinzu kommen noch einige Wassertropfen - schafft Cornelis Kick eine spannungsreich leicht aus der Mittelachse gerückte Komposition, die insbesondere durch den starken Kontrast der strahlend hell wiedergegebenen Früchte zur dunklen Steinplatte und zum tiefdunklen Hintergrund die Aufmerksamkeit des Betrachters auf sich zieht. Das prachtvolle Römerglas hebt sich vom dunklen Hintergrund vor allem durch die meisterhaft gesetzten Lichtreflexe und -spiegelungen ab: Die obere Hälfte des Kelchs wird lediglich durch linienförmige Lichtreflexe am Rand sowie eine flächige Spiegelung an der Wandung wahrnehmbar, im unteren Teil des Kelchs sind es gelbliche Reflexe, die den Eindruck von Weißwein evozieren, und am Schaft wiederum unzählige winzige, punktförmige Lichtreflexe, die die Darstellung der himbeerförmigen Verzierungen erzeugen.Schon Arnold Houbraken rühmte in seiner 1718/19 erschienenen „De groote schouburgh“ die detaillierte Wiedergabe der Objekte in den Stillleben Kicks. Dennoch gibt der Künstler bis heute Rätsel auf: So wird schon sein Geburtsdatum in der Literatur unterschiedlich mit 1634 oder 1635 angegeben. Neben seiner Tätigkeit als Maler hat Kick möglicherweise einen Laden geführt, sicher erscheint nur, dass er zeitlebens in bzw. vor den Toren der Stadt Amsterdam lebte und zu seinen Schülern die bedeutenden Stilllebenmaler Jacob van Walscapelle und Elias van den Broeck gehörten. Houbraken berichtete in seiner „groote schouburgh“ auch von Portraitdarstellungen des Cornelis Kick („Hy zelf schilderde ook Beelden en Pourtretten“), allerdings sind Bildnisse aus seiner Hand heute nicht mehr nachweisbar. So sind es nunmehr ausschließlich Stillleben, insbesondere Blumenstücke, für die der Künstler bekannt ist, und die wegen ihrer genauen Naturbeobachtung und der brillanten Wiedergabe der Oberflächentexturen und Lichtreflexe geschätzt werden. Insgesamt sind Werke des Künstlers ausgesprochen rar - noch rarer sind seine Stillleben mit Früchten oder kostbaren Gegenständen wie unser vorliegendes Gemälde, das sowohl durch die Monumentalisierung alltäglicher Gegenstände als auch die Atmosphäre der Stille bis heute fasziniert. Cornelis KickStill life with a Roemer, an Orange and Lemons Oil on panel. 43 x 31.5 cm.Signed centre right: Corn. Kick.ProvenanceAnonymous sale, Sotheby-Mak van Waay, Amsterdam, 30 November 1981, lot 54.ExhibitionsHolländische Malerei aus Berliner Privatbesitz, Berlin, Gemäldegalerie, 1984, no. 31.LiteratureJan Kelch: Holländische Malerei aus Berliner Privatbesitz, Berlin 1984, exhib. cat., pp. 66-7, no. 31, reproduced;Susanne Rütten, in Ekkehard Mai (ed.): Das Kabinett des Sammlers, Cologne 1993, pp. 144-145, no. 56, reproduced.The Amsterdam still life painter Cornelis Kick presents exactly seven objects in front of a dark background, placed close together and towards the edge of a stone slab: a Roemer glass half filled with white wine, an orange, lemon, a lemon wedge, a thin slice of lemon, a small lemon pip and a knife with its ivory handle protruding slightly over the edge of the table. With these few objects, as well as a few drops of water, Cornelis Kick creates an exciting composition that is slightly off-centre, and attracts the observer especially through the strong contrast of the bright fruits against the dark stone slab and the deep dark background. The splendid Roemer glass stands out against the dark background particularly through the masterfully placed light reflections and mirroring: The upper half of the goblet is only noticeable by the linear light reflections on its edge as well as a flat mirroring on its side. In the lower part of the goblet, yellow reflections evoke the impression of white wine and countless tiny, dot-shaped points of light on the stem evoke the raspberry-shaped decorations. Arnold Houbraken had already praised the detailed reproduction of the objects in Kick's still life in his De groote schouburgh published in 1718/19. The artist nevertheless poses riddles to this day: His date of birth is listed in the literature as 1634 or 1635; aside his activity as a painter, Kick may have had a shop. The only thing that seems certain is that he lived all his life in or just outside the city of Amsterdam and that his students included the important still life painter Jacob van Walscapelle and Elias van den Broeck. In his De groote schouburgh, Houbraken also reported on Cornelis Kick's portraits (Hy zelf schilderde ook Beelden en Pourtretten), although none are identifiable as by him today. It is therefore exclusively still lifes, especially flowers, for which the artist is known, and which are appreciated for their precise observation of nature and the brilliant reproduction of surface textures and light reflections. On the whole, works by the artist are extremely rare - rarer still are his still lifes with fruits or precious objects such as the present painting which continue to fascinate today through the monumentalising of everyday items and the atmosphere of stillness.
Lot 302
ALBUM - A substantial folio album (450 x 300mm) containing c. 600 autograph letters, envelopes, clipped signatures, clippings, mostly 18th- and 19th-centuries, including letters by Harriet Martineau (3-pages, undated, to an unknown recipient, concluding, "... Pray ask me as many questions as you please, either in person, or through the post. My mother and I shall always be happy to assist you in any way, Yours very truly, H. Martineau"), Humphry Davy (one-page, undated, sense largely irrecoverable, but including, "... I think been instrumental to what may be called a National triumph ...") and many other items including autograph letters by Lord Brougham, Lord Palmerston and Julia Pardoe, and others; clipped signatures of Robert Browning, Lord Byron, Gladstone, Robert Peel, Samuel Rogers, and others. Provenance: The album was compiled by Joseph Mazzinghi (1765-1844), an English composer of Corsican origin. He was the eldest son of Tommaso Mazzinghi, a London wine merchant and violinist who led the orchestra at Marylebone Gardens, published Six Solos for the Violin in 1763 and died in November 1771. John Mazzinghi, probably an uncle, made a number of English translations of librettos for the King's Theatre in the Haymarket, including several by Da Ponte. Felice Mazzinghi (possibly another uncle) published a keyboard sonata in 1765, and five other manuscript sonatas by him are in the British Library. Joseph Mazzinghi himself was very prolific, composing many operas, between seventy and eighty pianoforte sonatas, upwards of two hundred airs for pianoforte, and as many for harp and other instruments; thirty-five or more vocal trios, of which 'The Wreath' is still remembered; and a number of songs. Many of the letters and envelopes in the album are addressed to him, or to his wife.
Lot 911
A PAIR OF GEORGE III SILVER CIRCULAR SALTS, on pad feet, by David & Robert Hennell, London 1764 and 1768, another pair of silver salts, Chester 1928, and a pair of small wine coasters, embossed with repeated stylised foliage and with turned hardwood bases, by Lee & Wigfull, Sheffield 1902 and 1906, 7.5cm wide (6) Condition report: salts have several small dents and dings, and corrosion to the interiors. Coasters are in good condition.
Lot 786
A GEORGE III SCOTTISH SILVER WINE COASTER, with gadrooned border, and hardwood inset base, by William and Patrick Cunningham, Edinburgh 1804, 13.5cm wide; and a silver baluster sugar castor, by S Blanckensee & Son, Chester 1931, 16cm high, 4oz (2) Condition report: coaster has a couple of deep dings/scratches, otherwise ok.
Lot 583
A SILVER PROPELLING PENCIL, by Sampson Mordan & Co, London 1922, 7cm, another Mordan silver pencil, two other silver pencils, a modern silver decanter label for Sherry, a 19th Century novelty pin cushion, modelled as a swing handled bucket, and a cut steel thimble holder of bucket form (7) Condition report: pencils all have some dents/dings. Wine labels and buckets good overall.
Lot 1007
A GEORGE III SILVER MEAT SKEWER, by Richard Crossley, London 1806, with loop handle, 33.5cm long, 3.5oz, together with an 18th Century silver toddy ladle with whalebone twist handle, marks worn, another, hallmarked for London 1729 but lacking wooden handle, a pair of George III silver sugar tongs, by Gabriel Wirgman, London 1791, and a George III wine funnel (upper section only), London 1783 (5)
Lot 759
A PAIR OF SMALL CHINESE FAMILLE ROSE 'HUNDRED ANTIQUES' WINE CUPS 18TH/19TH CENTURY Decorated in enamels and gilt with many precious objects including archaistic vessels, books, flowers, the sanduo and peacock plumes, with geometric bands in iron-red encircling the rims, each with a recessed base, 6.3cm dia. (2)
Lot 717
FOUR CHINESE PORCELAIN ITEMS 17TH CENTURY AND LATER Comprising: a blue and white bowl decorated with the Three Friends of Winter, with a metal band to the rim and a six character Xuande mark to the base, a pair of Republic Period vases decorated with horses and calligraphy, the bases with four character Qianlong marks, and a small enamelled wine cup painted with two figures in a garden, with a hall mark to the base, 20.2cm max. (4) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.
Lot 572
A SMALL COLLECTION OF CHINESE CANTON ENAMEL ITEMS QIANLONG 1736-95 Comprising: a dish painted with a European lady and her attendant, with flowers to the base, two teapots and covers decorated with figures, two small wine cups, two small square dishes, and two bowls and covers painted with archaistic vessels, each with an old paper collection label, 21.5cm max. (13) Provenance: formerly an American private collection; and then a deceased estate, Hampshire.
Lot 127
Nine Italian silver coloured items by Brandimarte, one Florence 1944-68, eight post 1968, all .800 standard, comprising: a pair of models of open-beaked chicks; three wine tasters; two napkin rings; a model of a cooking pan; and a sugar bowl, with a swan finial to the cover, 10cm (4in) diameter; and two further models of chicks, unmarked, 631g (20.3 oz) gross (11)
Lot 22
A late George III silver baluster pedestal wine cooler, liner and collar by Henry Cornman, London 1818, the collar cast and chased with shells, flowers, foliage and C-scrolls on a matted ground, the twin handles modelled as eagles displayed, the front and rear with engraved shields of arms, chased with asymmetric cartouches with panels of massed flowers on matted grounds, the flared pedestal with shells, flowers, foliage, two Green Man masks and framed by scrolls, 25.5cm (10in) high, 4164g (133.9 oz)The arms for Colonel John BOLTON (1756-1837) of Duke Street, Liverpool who in 1797 married Elizabeth LITTLEDALE (1768-1848) daughter of Henry LITTLEDALE of Whitehaven, at St George Hanover Square, Westminster. The blazon: argent, on a chevron gules three lions passant guardant or (Bolton) - impaling - argent, a lion passant gules, on a chief azure three crosses crosslet or (Littledale) John BOLTON was the youngest son of Abraham BOLTON (originally BOULTON) (1714-1764) apothecary of Kings Street, Liverpool by Ann PHILIPSON. He was first apprenticed as a Liverpool - West Indian Merchant and later assumed a prominent role in local Tory politics. In 1803 he raised and equipped 800 men, who became the 1st Battalion of Liverpool Volunteers (Bolton's Invincibles). He took part in a fateful duel in 1805, when a Major Edward BROOKS was killed by BOLTON, but avoided conviction for murder. He later (before 1808) purchased Storrs Hall on Lake Windermere, a building that exists today as a hotel. Condition Report: Marks are well struckSlightly wobblesBent to one side at the foot, has possibly been droppedEngraving is crispSolder to the bottom of the liner and to interiorSigns of solder to the stemCrease to one of the armorialsLiner does not sit flush inside the bodyLight scratches and wear commensurate with age and useCondition Report Disclaimer
Lot 77
VINTAGE & LATER FURNITURE PARCEL, four items including a mahogany circular top table with shaped edge, 43cms H, 58cms D, canework top stool, 44cms H, 52cms W, 37cms D, oak barley twist wine table, 26cms diameter top, 46.5cms H and two reproduction glass top occasional tables with gilt tooled green leather inserts, 55cms H, 53cms W, 39cms D the largest
Lot 260
MODERN CRUISE SHIP COMPLIMENTARY SILVER WARE, two items by Carr's of Sheffield Ltd including a mahogany based wine bottle coaster, dated 1996, inscribed 'Oriana World Cruise 1997' and a pedestal bonbon dish with shaped edge, dated 1997 inscribed 'Oriana World Cruise 1998', 12 x 5cm diameters
Lot 571
A group of various Georgian and other wine and spirit labels three wine labels, port, sherry, Madeira as capital letters, makers mark only, JN, all-over bright-cut engraving; a Victorian whisky label, Hilliard, Birmingham 1855, modelled as a leaf and pierced text; two Scottish George IV wine labels, J Hay, Edinburgh 1821, stamped and engraved for Madeira and Sherry; a pierced and cast label, Sterling mark only, Sherry; a wine label, makers mark only J&WB, J and W Boyd, Glasgow? stamped and engraved Lisbon; a plate on copper crescent label for rum
Lot 1380
Assorted collectables, money boxes, a vintage first aid kit, an oversized wine glass, sealing wax, oversized Grants Gin bottle with label, a magnum/jeroboam champagne Moet & Chandon, a fish cooker, boxed set of fruit knives and forks with bone handles , EPNS soup spoons within a canteen (3 boxes)
Lot 8
Royal Doulton figures Pretty Ladies 'Christmas Day 2008' HN5210, 'Christmas Day' HN5097, with certificate, 'Christmas Day 2008' HN5209 and Royal Doulton figure 'Mistletoe and Wine', limited edition 0883/7500, with certificate (4) Condition ReportThe figures are all without apparent damage or restoration
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