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Lot 2074
A 19th century mahogany rectangular tip-top wine table, the top with a moulded edge, raised on a spiral reeded column and tripod cabriole legs, height 69cm, width 67cm, depth 39.5cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 458
A pair of late 19th to early 20th Century Stourbridge cranberry bowl wine glasses engraved with a rope twist horizontal band framed by floral festoon and foliate boughs above a clear crystal stem and foot, height 11.5cm, together with two other similar engraved cranberry bowl drinking glasses, tallest height 13cm. (4)
Lot 464
A 20th Century John Walsh Walsh wine glass, in the Fruiting Vine pattern, the green bowl decorated with a border of engraved fruiting vines before a series of facet cuts above an angular knop to a plain stem, raised to a circular spread foot, acid mark, 15cm, together with three other similar examples, tallest 17cm. (4)
Lot 257
Jasper Geerards, auch „Jasper Geeraerts“, um 1620 – um 1654 Amsterdam STILLLEBEN MIT HUMMER, RÖMER, AUSTERN UND FRÜCHTEN Öl auf Holz. 58,4 x 48,3 cm. Rechts unten Restsignatur und Datierung „1648“.Das vorliegende Gemälde ist abgebildet im RKD unter der Inv.Nr. 0000048900. Vor einem von links nach rechts aufhellendem braunem Hintergrund ein Tisch mit schwarzer, glänzender Decke, auf der sich die sorgsam arrangierten Objekte befinden: eine rundliche Zinnplatte mit einem leuchtend roten Hummer mit schwarzem Auge, dessen Zangen über den Tischrand ragen, eine gelbe Zitrone, drei geöffnete Austern, ein halb gefülltes Römerglas sowie eine Rispe Weintrauben mit Blättern. Qualitätvolle Malerei mit starken gegenüberstehenden Kontrasten in der typischen Manier des bekannten Künstlers. Teils rest., Retuschen.Anmerkung:Der Maler zählt zu den bedeutendsten Künstlern im Bereich des Stilllebens während der Periode des „Goldenen Zeitalters der holländischen Malerei“. Ähnlich wie Abraham van Beyeren (1620/21-1690) spezialisierte er sich überwiegend auf Prunkstillleben. Wahrscheinlich geboren in Antwerpen, als Schüler der Sankt Lukas-Gilde dort 1634 eingetragen. Historisch nicht belegt, doch ganz augenscheinlich hat er bei Jan Davidsz de Heem (1606-1683/84) studiert, der sich 1636 in Antwerpen niedergelassen hatte. 1644 wurde er bereits Meister der Gilde. 1649 ist er als in Amsterdam wohnhaft erwähnt, wo er auch verstarb, wobei sein genaues Todesdatum unbekannt ist. Die Todeseckdaten nennen das Jahr 1649, als er eine Anzeige wegen eines gestohlenen Gemäldes aus seinem Atelier erstattete, sowie Oktober 1654, da seine Frau als Witwe dokumentiert wurde. Seine Hauptwerke dürften in die Zeit um 1615 einzuordnen sein, wobei manche seiner Werke früher de Heem zugeschrieben waren. Werke seiner Hand befinden sich in namhaften öffentlichen Museen, wie etwa in Den Haag (Museum Bredius, „Prunkstillleben mit einem Hummer“). (12903111) (18)Jasper Geerards, also known as “Jasper Geeraerts”,ca. 1620 – ca. 1654 AmsterdamSTILL LIFE WITH LOBSTER, ROEMER WINE GLASS, OYSTERS AND FRUIT Oil on panel.58.4 x 48.3 cm.Signed and dated “1648” lower right. The present painting is illustrated in RKD with no. 0000048900. The painter is considered one of the most important still life painters of the Dutch Golden Age period. Although there is no historical evidence, it is obvious that he studied with Jan Davidsz de Heem (1606-1683/84), who settled in Antwerp in 1636. In 1644 he became master of the guild.
Lot 269
Gillis Mostaert, um 1534 Hulst – 1598 AntwerpenLOT UND SEINE TÖCHTER VOR DEM BRENNENDEN SODOM UND GOMORRHA Öl auf Holz. Teilparkettiert. 41 x 55 cm.Beigegeben Expertise von Dr. Luuk Pijl vom 3. Dezember 2018, das Werk um 1580/1590 datierend. Dargestellt eine Szene aus dem Alten Testament: Nach der Rettung aus dem brennenden Sodom und Gomorrah war Lot mit seinen beiden Töchtern ins Gebirge geflüchtet. Aus Sorge um fehlende Nachkommen und in Ermangelung fehlender Ehemänner wussten sich die jungen Frauen nicht anders zu helfen, als ihrem Vater Wein einzuflößen und sich des Nachts zu ihm zu legen. Auf dem Gemälde sind die drei Figuren sitzend an einem gedeckten Tisch auf der linken Bildseite zu sehen: die Töchter in eleganter Kleidung mit weitem Dekollete, von denen eine ihren Arm liebevoll um den Vater gelegt hat, um ihn zu verführen. Dieser hält bereits einen goldenen Weinbecher in seiner Hand. Die zweite Tochter hinter dem Vater hat nachdenklich über ihr Tun den Kopf auf ihre rechte Hand gestützt. Im Hintergrund, eingebettet in eine Flusslandschaft mit Gebirge, die brennenden Städte mit leuchtenden, hohen gelben und roten Flammen und starkem aufsteigenden Rauch und Qualm, der den nächtlichen Himmel zusätzlich verdunkelt. In der Bildmitte ist zudem eine kleine graue Gestalt zu erkennen: Es könnte sich dabei um die Frau des Lot handeln, die sich bei der Flucht aus Sodom noch einmal umwandte und dadurch zur Salzsäule erstarrte. Malerei, bei der die Feuersbrunst in kräftigen gelb-roten Farbtönen und die Verführung des Lot im Vordergrund stehen. Diese Bibelszene wurde von dem Künstler mehrfach dargestellt. Provenienz: Belgische Privatsammlung. Anmerkung: Der flämische Maler und Zeichner betrieb eine große Werkstatt in Antwerpen. Er war vor allem bekannt für seine Winterlandschaften und seine Szenen mit Feuern und nächtlichen Szenen, die zu den begehrtesten Stücken seiner Zeit gehörten. (1290766) (1) (18)Gillis Mostaert,ca. 1534 Hulst – 1598 AntwerpLOT AND HIS DAUGTHERS, WITH SODOM AND GOMORRAH BURNING Oil on panel. Partially parquetted.41 x 55 cm.Accompanied by an expert’s report by Dr. Luuk Pijl dated 3 December 2018, dating the painting to 1580/1590.This is a depiction of a scene from the Old Testament. After escaping from the burning towns of Sodom and Gomorrah, Lot and his two daughters fled to the mountains. Believing they were the only survivors, the two young women resorted to incest in order to preserve humankind, after making their father drunk with wine.Provenance:Private collection, Belgium.
Lot 54
Sir Thomas Lawrence P.R.A. (Bristol 1769-1830 London)Portrait of Jane Allnutt with her pet spaniel, within a painted oval oil on canvas, unlined61 x 50.4cm (24 x 19 13/16in).Footnotes:ProvenanceLeft by the sitter to her half-brother John Allnutt (1803-1881)Violet Susannah Knox, his daughter Vicesimus John Knox, her sonHolliss Allnutt Knox, his son, and thence by descent to the present ownerThe enchanting subject of this unrecorded portrait by Lawrence is Jane Allnutt (1818-1845), the daughter of one the artist's more significant patrons whose family had made their fortune in the wine and brandy trade in the 18th century. John Allnutt (1773-1863) lived in some style in a palatial home in then-rural Clapham, and used his considerable wealth to buy from the great artists of the day; works by Constable and Turner graced the walls of the family home including the latter's The Devil's Bridge, St. Gothard of circa 1803-4 which bore a label in John's hand recording that he had gifted the painting 'to my daughter Jane.' In addition to a full-length portrait of John by Lawrence, we know he painted several other portraits of the family, amongst which a second study of Jane painted in 1826. Judging from that unfinished portrait (K. Garlick, Sir Thomas Lawrence, 1989, no. 21) we can assume that the present study was painted around 1821-22 when Jane was three or four. Like the 1826 portrait, it has descended through the sitter's family after her death in 1845, the year of her marriage to Henry Carr (1817-1888) at Holy Trinity Church, Clapham. Lionized by the aristocracy, Lawrence was known for his good nature and charm, although his closest friendships were amongst the professional men and their families who were his earliest patrons. Not least of these were the families of John Julius Angerstein, Sir Francis Baring and indeed John Allnutt, who is known to have helped Lawrence in his financial difficulties: £5,000, for example, is said to have been paid to Allnutt following the artist's death.Many of Lawrence's best portraits during the last decade of his life were of children: indeed, his importance in this regard was recently recognised when the National Gallery in London agreed to buy the artist's celebrated Red Boy for £9.3 million. This dazzling tour de force (which was the first painting to be displayed on a British postage stamp) was described by the Gallery this year to be a unique opportunity 'to acquire an exceptionally important painting by one of the finest European portraitists of the early 19th century, which is of outstanding significance for British national heritage.' Previously dismissed as superficial, owing to the apparent facility of his technique, none of Lawrence's followers matched the fresh immediacy of his brushwork, with the possible exception of John Singer Sargent, and today, especially following the 1979 exhibition at the National Portrait Gallery, this great artist's stature has been reappraised: he is now widely believed to have been the finest portrait painter of his generation in Europe. Lawrence's achievement as a painter was based largely on his confidence in his largely self-taught powers as a draughtsman. As appears to have been the case with the present portrait, he usually drew the figure directly on his canvases before applying the paint, rarely producing separate preliminary sketches. His admiration of the great draughtsmen of the past influenced his own work as well as stimulating him to acquire outstanding examples of the work of the Old Masters. Unlike such artists as Sir Joshua Reynolds, who delegated such chores to studio assistants, Lawrence was also remarkable for insisting on choosing the dress, accessories and settings of his sitters with particular regard to the age and concerns of the sitter. This intimate depiction of a close family friend is the perfect example of Lawrence's extraordinary ability and dedication to his art.We are grateful to Peter Funnell and Brian Allen for their assistance in cataloguing this lot.For further information on this lot please visit Bonhams.com
Lot 72
Taxidermy: An Anthropomorphic Red Fox Waiter (Vulpes vulpes), modern, a full mount adult fox in upright position, partly dressed as a restaurant waiter, the raised front legs with folded towel and dickie bow tie around the neck, supporting a circular tray with wine bottle and glasses, mounted upon a split log base, overall height 94cm
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