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After DAVID TENIERS the Younger
Antwerp 1610 – 1690 Brussels

Teniers was the principle Dutch painter in the genre of what came to be called singeries.

Comical pictures of monkeys aping human behaviour had first appeared in Flemish art in the later 16th century. Teniers had a direct connection with the Breughel family, initiators of the theme, in that he married Anne Breughel, the daughter of Jan (Velvet) Breughel in 1637. Teniers enlarged the repertoire of animals to include, as here, cats.

Teniers recognised the appeal of the image and himself published a print of his painting of the Cat Concert, etched for him to the same size as the painting, in reverse, by his pupil and assistant Coryn Boel (1620-68).

Paul Fürst (1608-1666), a contemporary engraver and publisher in Nuremberg, obviously also knew the picture and published his own version, in the same direction as the original, and also very similar in size to the painting now in Munich/Neuburg.

Cat Concert
260 x 302 mm
Engraving after David Teniers, before 1666, published by Paul Fürst.
Edge-mounted.
Centre crease, some skinning in the lettering.
Other various small defects.

£650

Ex collection The Maxwell Macdonald family.

This ‘musical’ cacophony is overseen (or overheard!) by an owl and the three fish that form the legs of the table. The words added by the engraver below the music on the score the cats are singing from, are a repeated series of “miau”s.

A monkey accompanies on a shawm. Lutes, a bagpipe and another shawm lean against the wall. A dancing master’s kit hangs on the right hand wall, the engraver having moved it from the back wall, and put a violin ‘proper’ there in its place.

David Teniers: An Interior Scene With Cats, Monkeys And Owls Making Music.
Oil painting, c1740, Staats Gemalde , Neuburg.

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SYLVIA ELLEN PACKARD
Born Bramford, near Ipswich 1881 – 1962 Harrow

A landscape painter trained at the Slade School of Art in London, Sylvia Packard was a twin daughter of Sir Edward Packard, a chemical manufacturer (ultimately Fisons) and keen amateur painter.

Sylvia exhibited from 1903-1939 at the Ipswich Art Club, founded by her father, and from 1909 to 1928 at the International Society, the New English Art Club and the Society of Women Artists. In 1916 she took over running the Art Department of the Royal School for Daughters of Officers in the Army, at Bath, a post she held for twenty years, before setting up with a school colleague, Rosalind Ord, a firm of hand-painted tile manufacturers.

Men on Leave, 1918-1919
330 x 247 mm (sheet)
348 x 263 mm (portfolio cover)
The complete portfolio, with 8 original lithographs, each signed in pencil.
Printed on cream textured wove paper.
One sheet (Private B.Miller) with a repaired tear at the foot.

Sold

Portfolio Cover

Only two of the series are entitled in the stone Private B Miller, Queens Westminsters, out since 1914 and Of the Labour Battalion

(Prior to 1917, each infantry division, and the Royal Engineers, had a Labour Battalion, composed of trained soldiers who could fight when needed but were mainly engaged in labour – building and maintaining communications and supply networks.

In January 1917 a specific Labour Corps was founded, which ultimately involved 175 000 men, many recruited from the Empire.) .

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ROBERT R GREENHALF
Born Haywards Heath 1950

Greenhalf studied at Eastbourne and Maidstone Colleges of Art and specialises in wild life, domestic animals and landscape.

The Yellow Horned Poppy
310 x 388 mm
Original colour woodcut.
Signed in pencil, entitled and numbered 13/20.
On cream wove paper.

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GERALD LESLIE BROCKHURST R.A., R.E.
Edgbaston 1890 – 1978 Franklin Lakes, New Jersey

Jeunesse Dorée
Wright Fletcher 80
276 x 226 mm
Etching, 1942.
Signed in pencil and annotated by the artist “1st state”.
A proof prior to the edition of 75.
Annotated by Brockhurst again and initialled at the foot of the sheet “property of the artist. GLB”.
On cream laid paper, very slightly cockled, slight foxing in the margins.

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A portrait of Kathleen Woodward (Dorette), Brockhurst’s second wife.

Brockhurst met the young artist’s model Kathleen Woodward at the Royal Academy Schools when he became a Visiting teacher in 1928, and was smitten.

Through the 1930’s he exhibited a different oil portrait of her each year at the Royal Academy Summer show, and that entitled Orphelia, 1937, was his Diploma work on being elected to the Royal Academy.

Earlier, in 1934, Brockhurst exhibited an oil of Kathleen Woodward with the title Jeunesse Dorée (Gilded youth) but his etching of her with that title is based, in pose and bearing, on his painting Orphelia, though she wears a different dress in the etching.

This plate, the ‘swan song’ of his etching career, is one of only five plates carried out after the couple left England in 1939 and moved to America; the other four being commissioned American portraits.

1942, the year of the etching, was also the year of Brockhurst’s decree nisi when he could re-marry. Having abandoned etching, in the later 1940’s Brockhust made a few lithographs and one of these also was of his second wife.

Ex collection: John Canfield

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