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534325 Los(e)/Seite
Los 48
A pair of 1960s' American Pace chairs by Simmons, with oak armrest on tubular steel, brown leather upholstery, makers labels, height 99cmRe-upholstered, slight movement to one chair back, missing strut support to back and whole where support is missing, several plastic screw covers missing. Small tears to leather at top of back on one chairs, light marking to leather.
Los 6
PAUL MICHEL - a 1970s Hollywood Regency style bar coffee table, with lacquered burr wood and ebonised detail, sliding top and mirrored storage interior with glass shelves, makers label to base, closed 131 x 81cm, height 40cmGood condition, two interior glass shelves, good opening action, light signs of use to surfaces.
Los 1220
An early 20th Century light infantry officer's sword by Fenton Brothers Sheffield to the War Office, 79cm blade, the blade etched H A Cotching 4th June 1915, pieced D shaped knuckle guard with leather scabbard. NB - Lieutenant Houghton Aldgate Cotching saw extensive service in World War One including Ypres Salient, Arras and the Somme. On 8/10/16 he was wounded to the abdomen, survived and was later promoted to the Royal Engineers and then chief mechanical engineer on the Haifa railway.
Los 374
A clear glass lamp titled 'Boy Racer' by Ian Pearson Glass Creations, modelled as a car to hold a night light, length 23cm.NB - Donated by Ian Pearson - This piece was created in memory of a young man who was killed in a road accident, intended as a place to hold a night light in his memory.
Los 676
The Velvet Underground & Nico - The Limited Edition, 45th Anniversary Super Deluxe Edition CD boxset, White Light White Heat, B0019246-02, Limited Edition The Velvet Underground & Nico, 45th Anniversary Super Deluxe Edition CD boxset, Loaded (Re-Loaded 45th Anniversary Edition) Super Deluxe Edition CD Boxset, Cotillion – 081227953737, Velvet Underground, UMe – 602547005069, Super Deluxe Edition CD boxset. (4)
Los 705
Madonna - 12 inch collection, various pressings and mixes, to include Like a Virgin/Stay, In The Beginning, Lucky Star, Ray Of Light, Beautiful Stranger, American Pie, Borderline, True Blue/Holiday, Rescue Me, True Blue, Bedtime Story, Like A Prayer, Vogue, Express Yourself, Open Your Heart, Hanky Panky, I'll Remember, Who's That Girl, Crazy For You, Bad Girl, Vogue and several further titles. (66)
Los 707
Madonna - A collection of LPs, to include Like A Prayer, True Blue, Confessions on a Dance Floor (pink vinyl), Ray Of Light, I'm Breathless, Erotica, Who's That Girl, The First Album, Surprise, Music, Like A Virgin, You Can Dance, The Immaculate Collection, MDNA (sealed), various copies including duplicates and pressings. (22)
Los 728
Various artists/genres - A collection of LP and CD box sets, to include The Tabu records CD/LP box set, The Soft Cell Story - Keychains and Snowstorms, CD box set, ELO - Four Light Years three LP box set, Cerrone - Love in Minor C two LP limited edition box set, The Dance Decade 1973-1983, limited edition LP box set, Derek and The Dominos, Layla and other assorted love songs, LP box set, The Crazy World Of Arthur Brown super deluxe edition CD box set. (7)
Los 943
Two Corgi Toys diecast models, 246 Chrysler Imperial in red with light blue interior and driver figure, chrome front & rear bumpers, chrome spun hubs, with golf trolley and bag, and 245 Buick Riviera in gold with red interior, chrome trim, wire wheels and grey plastic tow hook, both in blue and yellow picture boxes. (2)
Los 945
Two Corgi diecast models, 417 Land Rover Breakdown Truck in red with yellow tinplate tilt, silver jib, hook and roof light, spun hubs, and 104 Dolphin 20 Cruiser finished in blue, white hull complete with engine and red and white stripe, with figure, mounted on Wincheon Trailer finished in red with flat spun hubs, both in blue and yellow picture boxes. (2)
Los 297
A melee of top light brown and yellow loose diamonds, mixed cuts, total weight 7.06ct.Please note these diamonds have come from set jewellery and some stones may have defects. It is the buyers' responsibility to ensure the suitability of this lot. All stones have been scanned using LW and SW ultraviolet light to ensure to the best of our ability that these diamonds are of natural origin.
Los 33
A melee of mixed cut top light brown, yellow and white loose diamonds, total weight 6.31ct.Please note these diamonds have come from set jewellery and some stones may have defects. It is the buyers' responsibility to ensure the suitability of this lot. All stones have been scanned using LW and SW ultraviolet light to ensure to the best of our ability that these diamonds are of natural origin.
Los 337
A Victorian mourning brooch, of domed circular form, adorned with a precious coral bead and an old-cut diamond set to the central concave design, with light blue enamel ornaments, encompassed with a frame of white coral beads, outer dome further encircled with applied rope twist decoration and an enameled laurel wreath border, secured to the reverse with a hinged pin and C-catch, with loop bail on the side, inset with display compartment, yellow metal unmarked, testing 14 ct, overall measuring 4.4 cm across, total weight of item19.8 grams.
Los 417
A Vacheron & Constantin aluminium open-face pocket watch reference: 4348, featuring a Swiss-made keyless aluminium movement in an aluminium case measuring 45mm with a white dial featuring aluminium hands and numbers, accompanied with a third-party Albert chain in base metal. The watch comes with a fitted case and original manual.Engraving: "Presented to George Evans by Aluminium Goods Company in recognition of 25 years of loyal service 1928"Model: 4343Serial: 497514Calibre: 439/7The 4348 was made bespoke for Aluminium Goods Limited and gifted to employees for 25 years of service.Creating a watch out of aluminium was a feat in itself not only is the watch rigid and durable its incredibly light with a weight of approximately 21 gramsThe watch appears to be in good working order, no long-term tests have not been performed and accuracy cannot be guaranteed, a full service is advised on all watches and pocket watches once purchased.Surface wear is consistent with age both on the case and glassNo major dents or cracks in the glass.
Los 430
A Tag Heuer Carerra calibre 16 chronograph wristwatch, featuring a swiss-made automatic movement in a steel case measuring 41mm with a blue 'sun ray' dial and three further sub-dials and date aperture at 3 o'clock, surrounded by a ceramic blue bezel and covered with sapphire crystal glass, all on an articulated steel bracelet with safety catch and deployment buckle.Model: CBM2112Serial: RTY2728Caliber: SW 500 - Calibre 16The watch appears to be in good working order, no long-term tests have not been performed and accuracy cannot be guaranteed, a full service is advised on all watches and pocket watches once purchased.Overall good condition with some light scratches and wear
Los 85
A precious opal ring and a five-stone diamond half-hoop ring; the first ring comprises an oval-shaped precious opal cabochon, with a translucent body, displaying play-of-colours effect mainly ranging from green to purple on a light background, approximately measures 10.0 x 6.2 mm, mounted within a surround with twisted rope details, yellow metal marked '9ct', size I; the other ring contains five graduated old-cut diamonds, in coronet settings, flanked by diamond accented shoulders to tapering D-section shank, marked '18ct', size M½; Total weight of items 6.3 grams (2).
Los 137
Jan Sluijters (1881-1957), 'Laantje' / A colourful forest lane, oil on canvas, 47x40 cm, Literature:-Jacqueline de Raad, Digital catalogue raisonné, ‘Oeuvrecatalogus van de schilder Jan Sluijters’, RKD Studies 1998, where erroneously dated 1909. Provenance:-With Kunsthandel G.J. Nieuwenhuizen Segaar, The Hague., signed and dated 'Jan. Sluijters 10' (upper left), After receiving a thorough and classical art education, Jan Sluijters manages to win the prestigious Prix de Rome in 1904. That same year he travels by means of his just received Prix-allowance through Italy and Spain, yet without really getting artistically inspired: it was all the same boring past, while Sluijters longs for the more exciting present. It is only in Paris that he finally finds the answer to his artistic aspirations. Here he becomes captivated by the Post-Impressionists and Fauvists and gets greatly inspired by the work of various modern painters, among whom fellow Dutchman Kees van Dongen. The modern Parisian nightlife, the bright electric and coloured light, the swirling dancers on the café floor must have been mesmerizing for Sluijters. He wants to capture it all in his paintings and at the same time give his spectators the idea of not only watching the scene, but of being part of it as well. With loose brush strokes and bright colours, Sluijters paints lively and exciting café scenes, such as Café Olympia and Bal Tabarin. However, the conservative Prix de Rome jury is not amused and accuses Sluijters of “celebrating the false ingenuity of the latest French trend” and of ‘‘trying too desperately with new colour schemes in his search for raw passion”. With the denouncement of his work comes the announcement that his allowance will be cut short. Back in Amsterdam in 1906, Sluijters receives some negative reviews, being considered to be too avant-garde. For Sluijters the criticism is the very proof that his choice to embrace modernism and to experiment with new styles is the right one. In a letter to a friend he writes “Alas […] a couple more of these refusals and I will become a famous man.” By then he already knows that negative attention is also publicity, what-so-ever. Despite the criticism Sluijters continues to exhibit his work along with that of his contemporaries, like Piet Mondriaan and Leo Gestel, and by doing so contributes greatly to a shift in the rather traditional artistic climate in the Netherlands. For many thinkers and artists, the beginning of the twentieth century also heralded the beginning of a search for new spiritual meaning and for some this meant that real life, as depicted in all its materialistic glory, was too decadent and too superficial. Spiritual depth, according to them, was not to be found in immoral city life, but should be sought after and could only be found in nature and nature alone. Always open to new ideas and looking for new subject matter, Sluijters would often trade Amsterdam for rural Renkum in Gelderland or Heeze in Brabant. For months on end he would paint non-stop in the woods where he, by his own account, found his way back to nature. The ruling thought of the day was that, for putting ‘soul’ into one’s work, the artist should use his senses first and then translate them onto canvas. Colour was used to express the felt sensations, not to depict reality. With all the new techniques and ideas picked up in Paris, intertwined with his new philosophical approach of depicting his surroundings in a more spiritual way, we see Sluijters produce numerous vibrant works in the years 1907-1908. They are beaming and bursting of colourful dots and strokes of bright, unmixed colours, always with the emphasis on the representation of light. However, the peak of this phase is reached in 1910, when Sluijters lives in Laren. Not the depiction of a realistic world is his main concern, but the use of form and colour to express the sensory perception of the world. Or in Sluijters own words: “Als ik bijvoorbeeld de zon zou willen schilderen op het landschap, zou ik dit landschap eerst wel mijn rug willen toekeren, om daarna, wanneer ik de sensatie, welke het glanzen der zon op het landschap in mij opwekte, voel, te gaan componeren in gelen en blauwen en groenen, waaruit ’t landschap tevoorschijn zou komen.” Still trying to gain a modern foothold in traditional Holland, Sluijters, together with his brothers in arms, Jan Toorop, Conrad Kickert, Leo Gestel, Kees Spoor and Piet Mondriaan, establishes ‘The Moderne Kunstkring’ in 1910. The following year the group organizes an exposition. Again Sluijters’ work is badly received in the press and four paintings are even refused by the mayor of Amsterdam to be part of the exhibition: two by Leo Gestel and two by Jan Sluijters, apparently because of their immorality (read: nude female figures). Another art critic attacks Sluijters as follows: “Het valt te betreuren dat deze man, met onmiskenbaar groot talent, niet aflaat met op de meest onbesuisde manier zijn onderwerpen te kiezen en zijn indrukken en passies onbekookt en fel op het doek te werpen”. (“It is to be regretted indeed that this undoubtfully well-talented man would choose his subjects carelessly and then would hurl his impressions and passions onto a canvas raw and fiercely!”) Well, we do not regret it at all, especially not when we look at the present lot ‘Laantje’, that Sluijters made in 1910. Sluijters used to call his colours ‘Gevoelskleuren’ and what a feeling of sheer joy he must have had when walking down this very forest lane! For here is a Summer’s day you will never forget; with unbridled strokes of exploding colours that seem to whirl and twirl over the canvas, Sluijters has created an ever-ongoing dance of light, leaves, sky, wood and sand, in one happy celebration of nature on a glorious day. If there has ever been painted an anti-depressive on canvas it is this very painting. Sources:-Frouke van Dijke a.o., ‘Kleur ontketend: Moderne kunst in de lage landen, 1885-1914’, The Hague 2015.-Jacqueline de Raad, ‘Jan Sluijters, 1881-1957’, Laren 2011.-Carel Blotkamp, ‘Meesters van het licht: luministische schilderkunst in Nederland en Duitsland’, Rotterdam 1996.-Anita Hopmans, ‘Jan Sluijters 1881-1957 : aquarellen en tekeningen, Zwolle 1991.‘Kunst in de Hoofdstad: De tentoonstelling van den Modernen Kunstkring’, In: De Maasbode, 14 October 1911.-‘Geweigerde schilderijen’, In: De Tijd: godsdienstig-staatkundig dagblad, 07 October 1911.
Los 118
Floris Arntzenius (1864-1925), Elegant ladies and children on the beach of Scheveningen, oil on panel, 22,5x34 cm, signed 'Fl. Arntzenius' (scratched, lower right), In 1892, Floris Arntzenius (1864-1925) moved to The Hague and made various paintings and watercolours of numerous streets in The Hague, mostly in gloomy weather conditions. These works were very popular and found many admirers. Besides his well-known rainy street views of The Hague, Arntzenius cultivated other genres. He painted floral still lifes, self-portraits and portraits of members of his household as well as beach scenes, perhaps a lesser-known part of his œuvre. The Scheveningen of Arntzenius is very different from the one of the Hague School painters. In 1894, a storm hit Scheveningen. Boats stranded on the beach, fishermen on donkeys, or net menders in the dunes have given way to elegant ladies and gentlemen resting on rattan beach chairs or under a parasol, chatting or reading the papers with children playing in the sand nearby. Arntzenius' beach scenes have a different feel to those of his Amsterdam contemporary Isaac Israels who depicted his figures directly standing or lying on the sand under a parasol and dressed in bathing suits. The modest size of this painting creates an intimate yet sophisticated character. Arntzenius beautifully captures the light and atmosphere of a sunny day at the beach of Scheveningen and the movement of the waves in the background helps to create a balanced composition.
Los 85
Bolex, Switzerland. H-16 Reflex 16mm camera with a traveling case. Serial number 233184.This set includes: a Weston exposure meter master III Model 737; ROWI traveling photo clip; five insert filters; nine Wratten Gelatin Filters, two open and seven new; a 10 mm field adapter; a viewfinder with 8 focal lengths; two Weston exposure meters guides; two extra viewfinders; two movie camera empty film reels; two light brown leather cases; three lens cap covers; one pro-optic cleaning set; a camera instruction manual; two ball bearings in a case.(Leather box) height: 6 1/2 in x width: 14 1/2 in x depth: 11 in. (Camera, lens attached) height: 9 in x width: 3 in x depth: 10 3/4 in.
Los 14
PAUL KLEE (1879-1940)Gartenbild signed 'Klee' (lower right) and further inscribed and dated '1920/199 Gartenbild' (on the artist's mount)oil, gouache and pen and ink on paper mounted on card10.9 x 34.9cm (4 5/16 x 13 3/4in). (image size) 16.3 x 38.3cm (6 7/16 x 15 1/16in). (sheet size)Painted in 1920Footnotes:ProvenanceLily Klee Collection, Bern (inherited from the artist in 1940, until 1946).Klee-Gesellschaft, Bern.Karl Nierendorf Collection, Cologne, Berlin and New York (acquired from the above in 1947).Karl Nierendorf Estate, New York. Solomon R. Guggenheim Museum, New York (acquired from the above in 1948).Galerie Beyeler, Basel, no. 7027 (acquired from the above).Gallery Stephen Hahn, New York (acquired from the above in 1972).Nantenshi Gallery, Tokyo (acquired by 1977).Fischer Fine Art Ltd., London.Private collection, Japan.Private collection, Japan; their sale, Sotheby's, London, 25 March 2021, lot 145. Private collection, UK (acquired at the above sale).ExhibitedTokyo, Nantenshi Gallery, Paul Klee, 30 May – 14 June 1980.Kamakura, The Museum of Modern Art, Paul Klee and his Travels, 9 February - 31 March 2002, no. 110 (later travelled to Morioka, Tsu and Matsumoto).LiteratureW. Kersten & O. Okuda (eds.), Paul Klee, Im Zeichen der Teilung, exh. cat., Dusseldorf, 1995 (illustrated p. 343).The Paul Klee Foundation (eds.), Paul Klee, Catalogue raisonné, Vol. III, 1919–1922, London, 1999, no. 2546 (illustrated p. 244).C. Rümelin, 'Klees Umgang mit seinem eigenen Oeuvre', in Paul Klee, Jahre der Meisterschaft 1917-1933, exh. cat., Munich, 2001.I thought I had come into the clear in art when for the first time I was able to apply an abstract style to nature.-Paul Klee, 1919Enchantment, nature, the sublime: each are fundamental elements of Paul Klee's alchemical formula. Throughout his storied artistic career, Klee fabricated multitudinous dreamlike, abstract worlds bespeaking his imaginative and expansive world view. In so doing, he defied categorisation, guiding rather than subscribing to the artistic movements within his orbit, among them Cubism, Surrealism, Abstraction and Expressionism. Talented across a wide range of techniques, and an accomplished musician and writer, Klee was a legendary fixture among the faculty of the Bauhaus School, which he was invited to join the year he completed the present work. In Gartenbild, Klee invites the viewer into an abstract arcadia, intimately enclosed within its horizontal composition and twisting fecund forms. Wavering, expressive lines of ink depict undulating hills and lush vegetation that seem to breathe and bloom with a kind of terrestrial passion. The viewer's eye journeys through the winding adventure of this artistic narrative, as the snow-capped mountains beyond – a nod to Ernst Ludwig Kirchner's epic landscapes – grace the scene with a legendary force. Upon this, Klee's loaded brushstrokes of deep, blushing pinks and bright yellows evoke a warm summer's day, with the delicate light greens of the foliage generating a serene, organic tonality. Klee's mastery as a colourist resounds in the coordination of his vibrant palette, tied together in the symphonic harmony of his rhythmic brushstrokes and curling lines. Indeed, like Wassily Kandinsky, music was as important a lodestone to Klee as colour, light and abstraction. In 1917, he wrote, 'polyphonic painting is superior to music in that, here, the time element becomes a spatial element. The notion of simultaneity stands out even more richly' (Klee quoted in M. Baumgartner, A. Hoberg & C. Hopfengart (eds.), Klee & Kandinsky – Neighbours, Friends, Rivals, exh. cat., Munich, 2015). In addition, Gartenbild's unique superimposition of playfulness and enchantment upon symmetry and balance evidences Klee's liberated approach to design thinking, which influenced countless students of the Bauhaus School.The spiritual symbolism and historical significance of the hortus conclusus, or walled garden trope, further elucidates Klee's core artistic principles. Walled gardens in Medieval and Renaissance art, literature and architecture were often associated with ideas of spiritual transcendence, forming sacred spaces through which to commune with the divine. In the centre of such devices, a body of water or 'fountain of life' was often portrayed, hinted at in Klee's delicately rendered pool of blue toward the lower centre. Fittingly, gardening is a transient art, more ephemeral than painting or music, as its masterpieces grow, evolve and disappear. Studies of plants at different stages of growth are a fixture of Klee's comprehensive notebooks, in addition to his paintings and drawings. In Gartenbild, Klee explores these themes with a flourish of self-reflection, as the triple-leafed plants riff on Klee's own name, which translates in English to 'clover'. Klee's abstract approach to the hortus conclusus tradition culminates in a rushing allegory of his own personal cosmology, a testament to his lifelong fascination with growth, cultivation and metamorphosis.Indeed, the present work harks back to Klee's 1914 wanderings in Tunisia with August Macke and Louis Moilliet, which the artist recalled as truly liberating his approaches to nature and colour. In its tranquil, protective atmosphere, it generates a romantic zone far removed from the external realities of war. Holding close significance to the artist, Gartenbild remained in Klee's personal collection, thence passing to his wife Lily Klee upon his death. Soon after, it graced the illustrious collection of the Solomon R. Guggenheim Museum, New York, where it remained until 1972.For further information on this lot please visit Bonhams.com
Los 19
GEORGES KARS (1882-1945)Das Gespräch (In der Loge) signed and dated 'Kars 13' (upper left)oil on canvas 40.8 x 33.6cm (16 1/16 x 13 1/4in).Painted in 1913Footnotes:The authenticity of this work has been confirmed by Rea Michalová.ProvenanceArnold Blome Collection, Bremen.Kunsthandel Uwe Michael, Bremen (acquired from the above). Private collection, Bremen (acquired from the above).ExhibitedMunich, Galerie Neue Kunst – Hans Goltz, Georg Kars: Gemälde und Zeichnungen, 26 October - 15 November 1913, no. 44 (titled In der Loge).Bremen, Kunsthandel Uwe Michael, 1979.Georges Kars was born to a German Jewish family, near Prague, in the Czech Republic in 1882. In 1899, he left for Munich where he befriended Paul Klee, Wassily Kandinsky, Eugen von Kahler and Jules Pascin, also studying with Franz von Stuck. With them, Kars would discuss and debate about Impressionism which had been dominating artistic circles, but now appeared to have limited expressive possibilities. Indeed, Impressionism sought to represent the subject with a realism based on the study of light, whereas Kars and his circle sought a way to represent an inner subjectivity.When Kars arrived in Paris in 1908, he moved to Montmartre, where he spent time with Marc Chagall, Suzanne Valadon, Maurice Utrillo, and Max Jacob. Around them, his work absorbed a Cubist influence but maintained an Expressionist sensibility. Gespräch (In der Loge) depicts a conversation between a man and a woman at the opera in evening dress, but the sharp angles and dramatic colour palette set a strange atmosphere of unease, reflected by the couple's pallid complexions. Their faces and bodies are distorted and exacerbated by diagonal lines that challenge the stability of the work, annihilate perspective, and create a dizzying sense of vertigo.During World War II, after Germany occupied Paris, Georges Kars left for Lyon, and then to Switzerland. After receiving news of the deaths of relatives, he committed suicide in 1942. To this day, Georges Kars remains an important figure of the Montmartre Avant-Garde and of Czech modern artists.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
Los 1483
Ring mit Tahitizuchtperle "Zensation"Weißgold 750/schwarz rhodiniert, Spannring mittig mit graublauer Tahitizuchtperle (D: ca. 12 mm), die Schultern in Pavéefassung besetzt mit insg. 54 Brillanten von zus. 1,37 ct (laut Punze), 1,09 ct/light brown/SI (laut Zertifikat), Feingehaltspunze, Herstellermarke "GELLNER" sowie Karatspunze, säuregeprüft, ges. ca. 11,8 g, RG: 58. Leichte Tragespuren. Zertifikat vom 23.10.2014, Juwelier Lachenmann, Reutlingen.
Los 1481
Fiji-Barockperlenanhänger an CollierketteWeißgold 750, hellgrau changchierend Fijizuchtperle mit natürlichem Farbverlauf in pavéebesetzter Weißgoldfassung, 33 Brillanten von zus. ca. 0,46 ct (light brown), L: ca. 2,8 cm, an Collier aus 5 feinen Flachpanzerketten mit Karabinerschließe, L: ca. 44,5 cm, je mit Feingehaltspunze und Juweliermarke, säuregeprüft ges. ca. 14,56 g. Sichtbare Klebespuren. Laut Zertifikaten gekauft am 23.10.2014 bei Juwelier Lachmann, Reutlingen.
Los 235
Ringo Starr: A Signed Copy Of The 'Postcards From The Boys' Collector's Edition,Genesis Publications, 2003,hardback, 112pp., in light brown Nubuk leather cover within original post-box case, the presentation page signed in black ink by Ringo Starr, together with a sheet of exclusive stamps and postcards in a black envelope, the publication with 108 images reproducing 53 postcards sent by John Lennon, Paul McCartney, and George Harrison, to Ringo Starr, 11 1/4in x 11 3/4in (28.5cm x 30cm)This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 200
Fr. Jack P.Hanlon (1913-1968) Madonna and Child c. 1955, O.O.C., 48cms x 41cms (19” x 16 ¼”). (1) This charming painting of a Madonna and Child by Fr. Jack Hanlon embodies both his instinctive skill with colour, and his ability to introduce religious themes into a broadly Modernist aesthetic. A connection with the religious-themed paintings of Mainie Jellett is clear, but this is to be expected, as early in his career, Hanlon attended classes given by Jellett. The inclusion of figures of farm workers in the background ties in with his aesthetic and also his social beliefs. Although the central figures of Madonna and Child are important, the painting is also a joyful quasi-abstract essay in bright colours, with passages of ultramarine blues, pale yellows, light ochres and purples. Born in Dublin, Jack Hanlon studied at UCD and trained for the priesthood. Coming from a relatively affluent family, he was able to travel regularly on the Continent, including studying with Andre Lhote in Paris, painting on the Cote d’Azur, and even receiving advice from Henri Matisse. In 1936, two years after first exhibiting at the RHA, he joined the Dublin Painters group. After his ordination in 1939, Hanlon’s first clerical appointment was as Chaplain at Arbour Hill Prison. That same year, his art was shown at the World’s Fair in New York. He is best known for his semi-abstract watercolours and gouaches, and for his fresh and lively approach to colour and form. He had his first solo show at the Waddington Galleries in Dublin in 1941, and two years later was a founder, along with Jellett, Norah McGuinness and others, of the Irish Exhibition of Living Art. He was a prolific artist, exhibiting annually with the IELA and Oireachteas shows, and receiving commissions for Stations of the Cross and other mainly religious works of art. His murals include Our Lady of the Sea, painted in 1953 in the chapel of the Irish Naval base on Haulbowline Island, Cork. Provenance: Important Private Collection, West of Ireland
Los 318
John Shinnors (b.1950) c. 1991 “Patrick Sarsfield Signing the Treaty of Limerick,” oils on canvas, Signed lower left ‘John Shinnors’, 109cms x 84cms (43” x 33”). (1) Provenance: A relatively early work in Shinnors’ oeuvre, painted in or around 1991— the two hundredth anniversary of the Treaty of Limerick—this painting depicts a scene in the chequered history of both Ireland and the city of Limerick. Against a backdrop of King John’s Castle, with crowds assembled, banners flying, and lances piercing dark smoke-filled skies, Patrick Sarsfield, 1st Earl of Lucan, and leader of the Irish forces, is about to sign the Treaty of Limerick. Surrounded by a circle of grim-faced victors, he is seated at a table. The signing took place in October 1691. Ostensibly designed to grant to Irish Catholics such rights as they had had prior to the conflict, the wording of the Treaty was in fact vague enough to allow a host of misinterpretations and heralded a century of repression of Catholics in Ireland. It did however permit followers of King James, known as ‘Jacobites’, to flee to the Continent; an exodus which has become known at the ‘Flight of the Wild Geese’. Holding a quill pen, Sarsfield, his head bent, is about to sign the document. With skilled use of paint, using strong contrasts of light and shade, and muted colours, Shinnors conveys a dramatic impression of the historic event. Sarsfield, the table, and the Treaty are highlighted, while the men around are depicted as dark, shadowy figures. Shinnors has even included some of the text, although the words visible are snippets, rather than an actual transcription from the text. Also, on the Treaty document he includes a little cartouche, with portraits of King James II and William of Orange. Born in 1950 in Limerick, John Shinnors attended a Christian Brothers school in the city. In the late 1960’s, after a spell in London, he became a student at the Limerick School of Art, where he studied under Jack Donovan. Leaving the School in 1972, he forged his own individual style, and career, and over the ensuing years has achieved considerable success with his bold and confident paintings that combine elements of realism with abstraction.
Los 128
James Holland, RWS, British 1799-1870- View of a water mill; watercolour heightened with scratching out on paper laid down onto the back board of a red leather album, now dismembered, possibly indistinctly signed with monogram 'JH[?]...R' (lower right), 32.7 x 21.7 cm., (unframed). Provenance: Collection of William Drummond.; Private Collection, UK. Note: For a not incomparable watercolour by the artist, see Dramas of Light and Land: The Martyn Gregory Collection of British Art Sale, Christie's, London, 24 March 2022, lot 51, 'A wooded river landscape, Wales'. Holland travelled widely on the Continent, and is particularly associated with Venice. The present watercolour likely dates to his 1850 tour of North Wales.Please refer to department for condition report
Los 65
Jan Dirksz. Both,Dutch 1615-1652-A wooded landscape with travellers crossing a ford;oil on canvas, 71.9 x 92.2 cm.Provenance: David Garrick (1717-1779), London; his posthumous sale, Christie's, London, 23 June 1823, lot 11, (95 gns, 11 shillings to Rutley).; T. Norris, near Manchester, by 1835.; Anon. sale, Chevallier and Féral, Paris, lot 4 (probably late 19th century; according to a page from an auction catalogue on the reverse).; with Galerie Sanct Lucas, Vienna, by summer 1962.; Anon. sale, Christie’s, London, 17 December 2020, lot 230 (£18,750), where acquired by the present owner.Literature:J. Smith, ‘Supplement to the catalogue raisonné of the works of the most eminent Dutch, Flemish and French painters’, London, IX, 1842, p.736, no.21.; C. Hofstede de Groot, ‘Beschreibendes und kritisches Verzeichnis der Werke der hervorragendsten holländischen Maler des XVii. Jahrhunderts’, Esslingen and Paris, 1926, IX, p.443, no.74.Note: Both is often lauded for his central role in the development of Italianate landscape painting within the 17th-century Netherlands. His approach was heavily shaped by his time in Rome, where he studied the landscapes of the Classical artist Claude Lorrain (c.1600-1682). His landscapes combine familiar figures and motifs to capture the warmth and light of Italy, and the present work is an especially fine example of his style. Indeed the subject of travellers on a path surrounded by tall trees and mountains was a favourite of Both's, and these elements, along with the contrast between the shadowy foreground and well-lit road, appear in several of his works (see for example ‘Rocky landscape with ox-cart’ at the National Gallery, London [NG1917]). Both was clearly a master of depicting light, with the warm, golden tone of the sky here gently highlighting the form of the figures in the landscape and contrasting with the darkness of the earth below. Indeed, apart from these spots of light these figures are almost indistinguishable from the environment around them, creating a sense of harmony between figures and the land which they inhabit. For further examples of the artist’s work, see Rijksmuseum, Amsterdam [no.C109]; Museum of Fine Arts, Boston [no.34.239]; Louvre, Paris [no.1065], and Statens Museum, Copenhagen [no.430].Please refer to department for condition report
Los 130
John Frederick Lewis, RA, POWS, British 1804-1876- On the Terrace at Ischia, Italy; pencil and watercolour heightened with white on grey paper, inscribed and dated 'Ischia. Aug 29' (lower centre), 24.5 x 34.5 cm. Provenance: Lord Northwick sale, Sotheby’s, London, 5 July 1921, lot 150, as 'Ischia.'; Sir Rutherford Allcock.; Brigadier Sir Clinton Lewis.; Captain R. C. Lewis sale, Sotheby’s, London, 17 November 1983, lot 193.; where purchased by Thomas Agnew & Sons, London, no.46699.; where acquired in January 1985.; The Collection of Sir Nicholas Goodison. Exhibited: London, Thomas Agnew & Sons, 112th Annual Exhibition of Watercolours, 1985, no.71. Note: Lewis was in Italy 1838-40. He spent time on the islands of Ischia, Procida and Capri in the Gulf of Naples in August 1838, when the present work was conceived. Photographs: © Christie's Images.The sheet lies flat in the mount. Significant discolouration and browning throughout. Possible spots of light foxing. No evidence of creasing, tearing, or water damage. Very minor marks and some minor surface dirt.
Los 174
Marshall Claxton, British 1813-1881- River landscape with a steamboat; oil on canvas, signed 'M Claxton' (lower left), 30.5 x 51 cm. Provenance: Private Collection, UK. Note: The present work evokes a temperate landscape warmed by a bright and clear light, likely shaped by Claxton’s extensive travels, which included stays in Australia, India, and Egypt. The artist utilises his generous application of various tones of blue in the water and sky to achieve this effect, with a sense of vitality produced by the vibrant flashes of red. Nevertheless, the scene is also imbued with an atmosphere of serenity, particularly through the flat surface of the river and the gentle movement of the steamboat.Please refer to department for condition report
Los 177
Jacob Henricus Maris, Dutch 1837-1899- Dutch canal with sailing boats by a windmill; oil on canvas, signed 'Jacob Maris.' (lower left), 46.5 x 81.2 cm. Provenance: Private Collection, UK. Note: Maris was a central member of The Hague School of painters, along with his brothers Willem and Matthijs. He developed a formidable reputation as one of the key landscape painters of the 19th-century Netherlands, building on the developments of 17th-century artists including Jan van Goyen (1596-1656) and Jacob van Ruisdael (1628-1682), whilst also clearly indebted to the contemporary Impressionist movement, particularly in his loose application of paint. The canvas is taut on the stretcher and sits well within the frame. Appears unlined. The paint surface is stable on the support. Very fine and settled craquelure throughout, with some slightly more heightened horizontal craquelure in places, including one area of horizontal craquelure approx. 4 cm. in between the two masts of the boats. Areas of impasto are well-preserved. Minor marks and some surface dirt generally. Under UV light inspection no evidence of retouching.
Los 195
Alfred de Bréanski Snr, RBA,British 1852-1928-The River Teith; and The Hills of Na Garr;oils on canvas, each signed 'Alfred de Bréanski' (lower right and lower left), each further signed and titled on the reverse, each 40.8 x 61 cm., a pair (2).Provenance: with The Cooling Galleries, London.; where purchased in April 1952.Note: De Breanski Senior was celebrated for his resplendent views of the Welsh and Scottish Highlands, which were often, as in the present works, bathed in a flood of golden light, with water, cattle or sheep, and a solitary figure. He had great affection for the Highlands and, perhaps more successfully than any other artist, caught the atmospheric influences of the undulating landscapes there. Born in London, he made his debut at the Royal Academy in 1872 and continued to exhibit there until 1918. He also exhibited at the Royal Institute of Oil Painters and the Royal Cambrian Academy. His many patrons included the Bishop of Peterborough, who purchased the first picture he exhibited at the Royal Academy, entitled ‘Evening: Softly falls the even light’.Please refer to department for condition report
Los 251
Carlton Alfred Smith, RI, RBA, ROI, British 1853-1946- A lady walking in a garden, holding a basket; pencil and watercolour heightened with white and scratching out on paper, signed 'Carlton A Smith' (lower left), with an oil sketch of a woman seen from behind on the reverse of the card mount, 13.2 x 9.8 cm., two (2). Provenance: Private Collection, UK. Note: Smith specialised in watercolour and oil paintings of genre and rural scenes. He studied at the Slade School of Fine Art and initially worked as a lithographer. He exhibited at the Royal Society of British Artists, the Royal Institute of Painters in Water Colours, the Royal Institute of Oil Painters and also at the Royal Academy of Arts. In the present work, Smith adopts an earthy palette of greens and browns to depict the natural elements of the garden, contrasting these with the cream hues of the lady's dress. A warm light, emanating from the left, highlights her in her surroundings.Window mount is glued to card mount. Please refer to department for condition report
Los 252
Joseph William Carey, RUA, Irish 1859-1937- Villager on a path with a hill top castle beyond; watercolour and bodycolour heightened with touches of white and scratching out on paper, signed and dated 'J.W CAREY / 1893' (lower right), 34 x 24.5 cm. Provenance: Private Collection, UK. Note: Carey was an Irish artist who originally trained as an illustrator, later specialising in watercolours of rural scenes as in the present work. This scene is imbued with a poignant sense of peace and tranquillity, conveyed by the artist’s inclusion of a single figure on the path, and the gentle light of the low-angled sun behind her. Nevertheless, the work avoids any feeling of loneliness, with the artist’s composition drawing the viewer’s attention to the smoke rising from the cottage, implying the activity and warmth of the hearth within.Please refer to department for condition report
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