Johan Barthold Jongkind (Dutch, 1819-1891)Sortie du port de Honfleur (Leaving the port of Honfleur) Signed and dated 'Jongkind 1866' (lower right)Oil on canvas 58 x 80cm (22 13/16 x 31 1/2in).Footnotes:ProvenancePrivate collection, France;Anon. sale, Hotel Drouot, Paris, 11 March 1988, no. 56;Kunsthandel Ivo Bouwman B.V., Den Haag;Private collection, The Netherlands;Kunsthandel Ivo Bouwman B.V., Den Haag.ExhibitedLondon, Stoppenbach & Delestre, French XIXth and XXth Century Paintings, 1989, no. 16.Dordrecht, Johan Barthold Jongkind, 28 October 2017-27 May 2018.LiteratureVictorine Hefting, Jongkind, Amsterdam, 1992, p. 88, illustrated.Anne-Marie Bergeret-Gourbin, Jongkind au fil de l'eau, Paris, 1994, p. 13, illustrated.A. Stein, S. Brame, F. Lorenceau and J. Sinizergues, Jongkind: Catalogue critique de l'ouevre: Peintures, tome I, Paris, 2003, no. 436, illustrated p. 193.Often described as the Father of Impressionism, Johan Jongkind was born in Lattrop, one of ten children, and showed real artist merit from an early age. Jongkind enrolled at the Academie voor Beeldende Kunsten in The Hague in 1836 under the direction of Andreas Schelfhout, and in 1845 was introduced by Schelfhout to Eugène Isabey. The following year Jongkind left for Paris and settled in Place Pigalle, supported by an annual stipend from the Prince of Orange. By 1850, Jongkind was exhibiting at the Paris Salons, but he chose to show his work in the sections devoted to French artists, rather than acknowledge his Dutch heritage. His increasingly avant-garde style, characterised by short rapid brushstrokes (which was to be so influential on the Impressionists) was not popular with the critics, and led to the artist experiencing intense periods of self-doubt which led to alcoholism and financial insecurity. In 1855, following the death of his mother and the withdrawal of the stipend, Jongkind returned to Holland. However, he had not been forgotten by his friends in Paris and in 1860 a group of around 80 artists led by Camille Corot and Charles-François Daubigny arranged a sale of their work to raise funds to enable him to return to France. Upon his return he settled in Montparnasse where he became friends with Joséphine Fesser-Borrhee. This was the beginning of a critical and lifelong relationship that provided the artist both moral and, probably, financial support, and gave him the confidence to pursue his work even in the light of criticism and rejection from the Salon.In 1862 Jongkind became a member of the Société des Aquafortistes. The importance of this society was not only that it promoted etching as a serious art form, but because it also was an early model of cooperation among independent artists whose work straddled the line between mainstream academic taste and experimental exploration. He also met Claude Monet while visiting Normandy. 'His painting' Monet recalled, 'was too new and too artistic in tone to be rightly appreciated in 1862. Also, no one knew less than he how to show one's qualities. He was a good man, very simple, speaking very bad French, and very shy...He asked to see my sketches, invited me to go work with him, explained to me the how and why of his manner and completed the teachings I had received from [Eugène] Boudin. From this moment on [Jongkind] was my true master, and it is to him that I owe the definitive education of my eye.'1Two years later Jongkind was working again with Monet in and around Honfleur - where the present lot was painted in 1866. Monet was impressed by his working method of making sketches en plein air to be used as notes for when back in the studio. Similarly, his habit of painting the same scene at different times of the day or in different weather conditions was to have a profound effect on Monet.Still, Jongkind failed to find favour with the critics in Paris and he was rejected again from the Salon in 1873. He determined to leave the capital and by the 1880s, he was spending the summer months in the south of France where his landscapes, often in watercolour, proved more popular and sales increased. But this respite was short lived as by early 1891, fuelled by alcoholism and depression, his mental state had deteriorated. He was admitted to a psychiatric hospital in Saint-Egrève and died in February 1891.1F. Thiébault-Sisson, 'Claude Monet, an Interview' Le Temps, Paris, November 27, 1900, p. 3.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
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PAULA REGO (PORTUGUESE/BRITISH, 1935-2022)Adjusting the Recipe (2014) signed and numbered in pencil 'Paula Rego 71/75' (in lower margin) etching with aquatint 18 x 21.5cm ARR Contained within a hardbound case, with a book, Stone Soup, by Paula Rego and Cas Willing, signed in ink 'Paul Rego, Cas Willing' and numbered in pencil '71/75', published 2014 by Enitharmon Editions. Bury Place, London, in slipcase as issued
JOAN MIRO (SPANISH, 1893-1983)Femme-Oiseau II (1960) signed and numbered in pencil 'Miro 24/90' (in lower margin) etching and aquatint 35 x 46.5cm ARRCondition ReportThe sheet is slightly discoloured throughout, rippling to outer margins, otherwise good condition overall; framed and under glass, unexamined out of frame.
SIDNEY NOLAN (AUSTRALIAN, 1917-1992)Kelly and Horse signed in coloured chalk 'N' (lower right) etching and coloured chalks 63.5 x 48cm Provenance Private collection, UKCondition reportA few very small minor spots of foxing and very minor marks to margins.A little discolouration to extreme edges of sheet.A slight crease to lower right edge of sheet.Otherwise appears in generally good condition.Frame damaged; three metal strips from front of frame present (but detached), one metal strip from frame missing.Under glass and unexamined out of frame.
PIERRE ADOLPHE VALETTE (FRENCH, 1876-1942) (3)A man with his dog and sheep in a landscape signed 'a valette' (in lower margin) etching 13.3 x 18.3cm together with two other etchings by the same hand; another of a man with his dog and sheep in a landscape, signed in pencil, 13.3 x 18.3cm; and A man resting below a tree with goats, signed in pencil, 13.7 x 21.5cm (3) Provenance Private collection, UK
WILLIAM LEE HANKEY (BRITISH, 1869-1952) (2)The Corniche Staples; An East Coast Village a set of two, each signed 'W Lee Hankey' and bearing artist's stamp (in lower margin) and each inscribed with title (on old label attached to the backboard) one zinc aquatint; the other dry point etching one 19.5 x 24cm; the other 12 x 20cm (2) Provenance Private collection, UK
AUDREY HIND RCA (British, b. 1936) limited edition (25/75) colour etching - Llanddwyn Sands, signed, titled and numbered in pencil, 21 x 29cms, GORDON SMITH watercolour - titled verso 'Snowdon and the Nantlle Hills', signed lower right, 16.5 x 24cmsProvenance: private collection CheshireComments: framed and glazed
A good rare .177" Parker Patent Precision crank wound air pistol, number 64 on the rear of the breech, side plates, trigger, etc, blued finish etched on the right side "The Parker Patent Precision Air Pistol, No 1. bore .177" Calibre Rifled Barrel", and on the left side "Hale & Harris Patent No 13011, Makers A.G. Parker & Co Limited, Birmingham, England", with plain walnut grips. GWO & VGC, retaining virtually all original dull blued finish, the etching clear, (few minor scratches, stains and minor knocks on one side). This is probably as good as they come. £1000-1500
After Francisco Goya (Spanish. 1746 – 1828. Three lithographs from Los Caprichos (The Caprices). Including 'Dónde va mamá?' Printed from Goya's original etching plates. Probably from the 9th edition printed between 1908 and 1912 but maybe earlier. Framed and glazed. Each measure H.48 x W.33 cm.
After Francisco Goya (Spanish. 1746 – 1828). Four lithographs from Los Caprichos (The Caprices). Including 'Hasta la Muerle' (Until he dies). Printed from Goya's original etching plates. Probably from the 9th edition printed between 1908 and 1912 but maybe earlier. Framed and glazed. Each measure H.48 x W.33 cm.
Two maps and a print to include Willem Jansz Blaeu (1571-1638), 'Orcadum et Schetlandiae', hand coloured engraved map of the Scottish Islands; a map of the Kingdom of Galicia after an original by Fernando Ojea for Abraham Ortelius; and an etching of the Royal Hospital at Chelseathe 'Orcadum et Schetlandiae' map 38cm x 50cm; The Kingdom of Galicia map 36cm x 41cmQty: 3'Orcadum et Schetlandiae' in generally good condition with some creases where the fold of the page would have been and minor toning. The Kingdom of Galicia map with notable toning throughout, some foxing and some discolouration. The print in generally good condition.
Late 19th/early 20th Century English School, 'Study of a figure in a river landscape', oil on canvas, unsigned in gilt frame, 39cm x 29cm; Late 19th/early 20th Century English School, 'Cottage by a River', oil on canvas, signed 'B. Medema' (lower left), unframed, 30 x 40cm; Sir Robert Atkyns and Mr J Kip, Kempsford the seat of the Lord Viscount Weymouth for Ancient and Present State of Glostershire, etching on paper, 41.5 x 48.5cm; Jon Anthony, a watercolour of a garden, 25 x 45cm; together with a Victorian three-fold scrap work screen (5)Loss and damages to the frame. Crazing to the canvas, small hole upper centre of the tree. Overall wear and marks.
PICTURES AND PRINTS, a box and loose watercolours, wall mirror, prints, engravings, etc, including a limited edition coloured etching of two setters in a landscape, signed and numbered 27/ 100 in pencil, 27cm x 36.5cm, two aquatints drawn and engraved by William Daniell, titled 'Rowadill in Harris' and 'Duncansby stacks, Caithness', a signed etching of a ploughing team by C. Ackland Hunt, B.H. Sadler watercolour of a cottage, a late 18th century engraving of a 'View of Ashborne', etc (1 box and two loose) (Condition Report: some foxing to the William Daniell prints)
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