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534325 Los(e)/Seite
Los 765
A Mixed Lot of mostly 20th Century electroplated Tablewares including a four-piece Tea Set, Ice Bucket, Rose Bowl, three light Candelabra, pair of Gravy Boats, Trumpet Vase, Coasters and cased wares, various dates and makers (qty) 766. A Mixed Lot comprising: A late 19th Century part cased Dessert Service together with a Crumbs Scoop, a pair of Fish Servers and a cased Silver handled Cake Slice, various dates and makers (qty)
Los 2
Dinky: 23 Series Auto Union with driver and white herring-bone tyres, Hotchkiss, Streamlined Racing Car, Light Tank, fawn 25e Tipper, 25s Six-Wheel Wagon with grey tilt, red and cream Bedford Tipper, Land Rover and Trailer, Trojan Dunlop with maroon hubs, 10253 box of tyres; two Britains field guns; Benbros Stephenson's Rocket, tender P-G (15)
Los 512
Gerry Anderson: Captain Scarlet - Lone Star 1531 Cap Pistol (repainted, photocopied box), Vivid Imaginations Angel Interceptor, Magicar (Triang) Spectrum Patrol Car, Carlton Spectrum Pursuit Vehicle, Vivid Imaginations Light Phaser, pistol, Command Team Set, Captain Black and a Captain Scarlet badge; three Joe 90 packs; two Stingray models; Mac W.I.N. badge; Keele Pottery Supercar egg-cup, G-E (17)
Los 627
Toy Boats: Scalex brown and cream 414S electric 'Derwent' Cabin Cruiser with instructions and accessories 360mm, Wilmot Mansour (Wimco) Jetex light grey electric 'Swan 107' Police Launch with packing slip 380mm in original boxes, Sutcliffe Tiger, VG, boxes generally G, slight scuffing, Sutcliffe F (3)
Los 132
Victorian silver medal, engraved to obverse 'Fife Light Horse' with figure on horseback, the reverse 'Presented by Mrs.Cheape of Wellfield to Trooper Hall as the best Swordsman in Perth Troop 1889', a Queens South Africa Medal (suspension damaged) named to 'W.Hall, Scottish Hosp:', and a miniature Queens South Africa Medal with 'Cape Colony' clasp, ribbon and pin attachment
Los 255
On behalf of the beneficiaries of a Cheltenham estate The following lots were originally owned by Moses Nightingale, who was a Sussex corn merchant and founder of the Hazeldene Orchestra. He was an avid art collector and particularly fond of the work of Henry Herbert La Thangue. By 1919, amongst the vast collection of works that covered the walls of his home at Hazeldene, at least twenty three works can be counted by La Thangue. Further accounts suggest that he acquired many more paintings by this artist after this date. HENRY HERBERT LA THANGUE R.A. (BRITISH, 1859-1929) Provencal Oaks, Bormes, 1913, signed 'H. H. LATHANGUE' lower right, oil on canvas, 21 ½" x 23 ½" (see illustration) Provenance: Purchased by Moses Nightingale Esq. (possibly from the Leicester Galleries, London, 1914); thence by descent Exhibited: London, Leicester Galleries, Exhibition of Paintings by H. H. La Thangue, R.A., April 1914, no. 9 Brighton, City Art Gallery and Museum, Memorial Exhibition of Works by the Late H. H. La Thangue R. A., September 1930, no. 21 Literature: Anon, Watercolours and Oils at Hazeldene, Crawley, Sussex, 1919, no. 105, as Provencal Oaks, Bormes, 1913 La Thangue established a studio at Bormes, a village eight miles from Hyères, during the Edwardian years, just before its 'semi-Moorish streets … mellow with age' began to attract itinerant artists. The New Zealand painter, Sydney Lough Thompson, who visited him in 1915 indicates that he was well established in the village prior to the Great War. Thompson appears to have followed in La Thangue's footsteps, painting in Bormes, St Jeannet and Grasse in the 1920s, one of many artists attracted to the region. A travel writer of the twenties noted that it had 'found favour in the sight of many painters who wish to pursue their art beneath the azure skies of the midi, far from the grey winter of Paris or Brittany' (Capt. Leslie Richardson, Things Seen on the Riviera, 1927, p. 25). Known since 1968 as Bormes-les-Mimosas, the town lies at one end of the 'Mimosa Road' which stretches up the coast to Grasse, centre of French perfume production. As is clear from La Thangue's Royal Academy Diploma picture, collecting flowers for perfume became one of the painter's most important themes (McConkey, A Painter's Harvest, 1978, Oldham Art Gallery, no. 31). Exploring cart tracks to discover neglected hillside gardens became his daily routine in the years preceding his solo exhibition of 1914 and many landscapes resulted. Provencal Oaks, Bormes, included in the Leicester Galleries exhibition in 1914, shows the small evergreen, shallow-rooted Cork or Kermes oaks native to the area (Comerfield Casey, Riviera Nature Notes, 1903, [2004 ed.], p. 47). Other Nightingale acquisitions such as A Provencal Sea, Bormes, shown at the Royal Academy in 1918, and two further works entitled Provencal Landscape, Bormes, show trees of a similar variety. One of these, identical in size to the present work and painted from a slightly more elevated position overlooking the bay, may have been intended as a companion-piece, A Provencal Landscape, Bormes, c. 1913 (sold Christie's 19 June 1997) (fig 1). Commenting on his work in 1905, the critic of The Academy noted that while 'he delights in the brilliant lights and reflections of southern climes…Every touch appears to have been put on with a heavily loaded spatula and…he is scrupulous to give the conflicting colours of reflection…' The effect gave La Thangue's landscapes a characteristically granular quality which, sometimes reminding the viewer of Monet's work, is quite unique. In common with Monet, La Thangue also appears to have been fascinated by the changing light at different times of the day, although he appears not to have painted these phases from precisely the same angles.
Los 257
HENRY HERBERT LA THANGUE R.A. (BRITISH, 1859-1929) An Alpine Village, St. Jeannet, France, signed 'H. H. LATHANGUE' lower left, oil on canvas, 21" x 24" (see illustration) Provenance: Purchased by Moses Nightingale Esq., (possibly from the Leicester Galleries, London, 1914); thence by descent Exhibited: London, Leicester Galleries, Exhibition of Paintings by H. H. La Thangue, R.A., April 1914, no. 22 Brighton, City Art Gallery and Museum, Memorial Exhibition of Works by the Late H. H. La Thangue R. A., September 1930, no. 27 Literature: Walter Sickert, 'Mr La Thangue's Paintings', The New Age, vol XV, no. 1, 7 May 1914, p.18 Anon, Watercolours and Oils at Hazeldene, Crawley, Sussex, 1919, no. 121 as An Alpine Village, St. Jeannett (sic), France, 1912 Osbert Sitwell ed., A Free House! Being the Writings of Walter Richard Sickert, 1947 (MacMillan), p. 272 Anna Gruetzner Robins, Walter Sickert: The Complete Writings on Art, 2002, (Oxford University Press), pp. 364-365 La Thangue was captivated by the picturesque hill villages of Provence and Liguria. St Jeannet, between Vence and Nice was a particular favourite, being painted from a number of vantage points. Nightingale owned at least six works painted in and around the village, two representing rose gardens. In concept, An Alpine Village reiterates La Thangue's earlier December in Provence, (fig 1, unlocated) shown at the Royal Academy in 1901. Both works portray groves lying at the foot of hillside villages. In the later work, he strategically places the tower of the church Saint-Jean-Baptiste, c.1666, as the focal point of the composition. St Jeannet is built on the slope leading to a precipitous coral crag which La Thangue's viewpoint omits. Like Bormes, this ancient village was renowned for its flower and fruit cultivation - particularly its fine local grapes (Guide to the Riviera from Hyères to Viareggio, c. 1930, Ward Lock, p. 82). Edwardian botanists who frequented the area admired its rare flora (Comerfield Casey, Riviera Nature Notes, 1903, pp. 169-73) and for Captain Richardson, writing in 1927, St Jeannet was simply 'a centre of bucolic bliss' (Richardson, 1927, p. 82). A further work, An Aqueduct, (fig 2) probably dating from the 1920s, continues the idea of foreground figure related to background village. The present canvas, is one of a number painted by La Thangue, not all of which have been identified. His painting expeditions along the Riviera into Liguria, Lombardy and across to Venice, cannot be securely documented and landscape locations often remain obscure. In the present instance however, he discovered a beautiful medieval village which had attracted artists since the seventeenth century. The village's name may not have been known to Walter Sickert when he singled out An Alpine Village as one of his selection of favourite works from La Thangue's Leicester Galleries show. In an article written for The New Age journal in May 1914 he wrote, An exhibition is like a library…take down one of the volumes at random, and settle down comfortably to read it, and you may light upon a paradise. Take any one of the following pictures…An Alpine Village (22)…A Sussex Hayfield (41)…Take it home and hang it up in a room where you can see it at breakfast, or while you are dressing. Hang it on a wall at right angles to a window, and more than halfway away from the window. Give it time to convey its message, and you will see how remote that message is from all the din of the aesthetic discussions of the moment. It has taken the whole history of art to produce modern painting, and it has taken the painter more than half a century to develop his skill in self-expression. Such canvases contain a message that will speak to many generations to come, and will certainly last us in pleasure, entertainment, stimulus, for the rest of our short lives. Such pictures were classics. The critics who attacked La Thangue were simply frightened of being despised by Henry Tonks, DS MacColl, Clive Bell or Roger Fry. Yet works like An Alpine Village stood outside the 'din' of 'aesthetic discussions' and were beyond 'the veriest tyro of criticism'. Sickert's eloquent endorsement may well have reinforced Moses Nightingale's confidence in forming his collection.
Los 55
Scotland - Delavoye (Alex M.). Records of the 90th Regiment (Perthshire Light Infantry), original cloth, gilt, 1880; Stirton (John) Glamis. A Parish History, Author's Presentation Copy, inscribed on the half-title to Miss Gordon, original buckram, 4to, Forfar, 1913; Wimberley (Douglas) Gordons of Lesmoir, original cloth, 4to, Aberdeen, [1907]; Tayler (A. & H.) The House of Forbes, original cloth, gilt, 4to, Aberdeen, 1937 - and 9 others including 4 Aberdeen Almanacks. (13)
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534325 Los(e)/Seite