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Click here to subscribeHsiao Domoto (1928-2013, Japanese) Untitled, 1958, oil on canvas, signed and dated 'Domoto 1958 Paris 9 Rue St Didier' on the reverse, framed, 61 x 120cmProvenance: From the Estate of Sir Edward Hulton (1906-1988) and thence by descent through the familyBorn to a family of artists in Kyoto, Hisao Domoto studyied in Paris in the 1950s and became associated with Art Informel, a movement led by critic and dealer Michel Tapié.
Sir Cedric Lockwood Morris (British, 1889 - 1982), The Withypool,1929, oil on canvas, signed and dated lower left, framed, 60 x 70 cmLabel to the reverse: Arthur Tooth & Sons, Ltd dealers in Works of Art 155, New Bond Street, LondonProvenance: From the Estate of Alec Waugh (1898-1981) and thence by descent through the family
Circle of William Powell Frith (1819-1909, British) The Tambourine Girl, oil on canvas, indistinctly initialled lower right, 24 x 19cmBorn in Aldfield, North Yorkshire, Frith was encouraged to take up art by his father, a hotelier in Harrogate. He moved to London in 1835 where he began his formal art studies at Sass's Academy in Charlotte Street, before attending the Royal Academy Schools. Frith started his career as a portrait painter and first exhibited at the British Institution in 1838. In the 1840s he often based works on the literary output of writers such as Charles Dickens, whose portrait he painted, and Laurence Sterne. He was also a member of The Clique, which also included Richard Dadd. The principal influence on his work was the hugely popular domestic subjects painted by Sir David Wilkie. Wilkie's famous painting The Chelsea Pensioners was a spur to the creation of Frith's own most famous compositions. Following the precedent of Wilkie, but also imitating the work of his friend Dickens, Frith created complex multi-figure compositions depicting the full range of the Victorian class system, meeting and interacting in public places. In Ramsgate Sands, Life at the Seaside (1854) he depicted visitors and entertainers at the seaside resort. He followed this with The Derby Day, depicting scenes among the crowd at the race at Epsom Downs, which was based on photographic studies by Robert Howlett. This 1858 composition was bought by Jacob Bell for £1,500. It was so popular that it had to be protected by a specially installed rail when shown at the Royal Academy of Arts. Another well-known painting was The Railway Station , a scene of Paddington station. In 1865 he was chosen to paint the Marriage of the Prince of Wales.Later in his career he painted two series of five pictures each, telling moral stories in the manner of William Hogarth. These were the Road to Ruin (1878), about the dangers of gambling, and the Race for Wealth (1880) about reckless financial speculation. He retired from the Royal Academy in 1890 but continued to exhibit until 1902. Detail of After the Bath, a late nude by FrithFrith was a traditionalist who made known his aversion to modern-art developments in a couple of autobiographies - My Autobiography and Reminiscences (1887) and Further Reminiscences (1888) - and other writings. He was also an inveterate enemy of the Pre-Raphaelites and of the Aesthetic Movement, which he satirised in his painting A Private View at the Royal Academy (1883), in which Oscar Wilde is depicted discoursing on art while Frith's friends look on disapprovingly. Fellow traditionalist Frederic Leighton is featured in the painting, which also portrays painter John Everett Millais and novelist Anthony Trollope. Frith lived a curious domestic life - married to Isabelle with twelve children, whilst a mile down the road maintaining a mistress (Mary Alford, formerly his ward) and seven more children - all a marked contrast to the upright family scenes depicted in paintings like Many Happy Returns of the Day. Frith married Mary on the death of Isabelle in 1880. In his later years he painted many copies of his famous paintings, as well as more sexually uninhibited works, such as the nude After the Bath. A well-known raconteur, his writings, most notably his chatty autobiography, were very popular. In 1856 Frith was photographed at 'The Photographed Institute' by Robert Howlett, as part of a series of portraits of 'fine artists'. The picture was among a group exhibited at the 'Art Treasures Exhibition' in Manchester in 1857.
Follower of Bernardo Strozzi (1582-1644, Italian) The Madonna and Child, oil on board, framed, 25 x 20cmStrozzi was born in Genoa. He was probably not related to the other Strozzi family. In 1598, at the age of 17, he joined a Capuchin monastery, a reform branch of the Franciscan order. When his father died c1608, he left the order to care for his mother, earning their living with his paintings, which were often influenced by Franciscan teachings, for example his Adoration of the Shepherds (c. 1615) . In 1625, he was charged with illegally practicing as a painter. When his mother died c1630, Bernardo was pressured in court by the Capuchin's to re-enter the order. He was briefly imprisoned in Genoa , and upon release fled to Venice to avoid confinement in a monastery in 1631. He became nicknamed all his life as il prete Genovese (the Genoa priest).Saint Christopher, by Strozzi.Early paintings, such as The Ecstasy of St Francis show the dark emotionalism of Caravaggio. But by the second decade of the 17th century, while working in Venice, Strozzi had synthesized a personal style which fused painterly influences of the North (including Rubens and Veronese) with a monumental realistic starkness. For example, in the painting The Incredulity of Thomas, the background is muted, yet Jesus' face, haloed and his outline, misty, in a style atypical of Caravaggio. Never as dark as the Caravaggisti, Venice infused his painting with a gentler edge, a style more acceptable to the local patronage, and one derived from his precursors in Venice, Jan Lys (died 1629) and Domenico Fetti (died 1626), who had also fused the influence of Caravaggio into Venetian art. Examples of this style can be found in his Parable of the Wedding Guests (1630),Christ giving keys of Heaven to Saint Peter (1630), Saint Lawrence distributing Alms at San Nicolò da Tolentino and a Personification of Fame (1635-6). He was also likely influenced by Velazquez (who visited Genoa in 1629-30). After a commission to paint Claudio Monteverdi his fame grew, and his portrait paintings included many of the leading Venetians. His pupils and painter strongly influenced by him included Giovanni Andrea de Ferrari (1598-1669), Giovanni Bernardo Carbone, Valerio Castello and, Giovanni Benedetto Castiglione.
English School, 19th century, Portrait of an angler with his catch on a river bank, circa 1870, oil on canvas, 64 x 51cmThe impact of the Industrial Revolution was first felt in the manufacture of fly lines. Instead of anglers twisting their own lines - a laborious and time-consuming process - the new textile spinning machines allowed for a variety of tapered lines to be easily manufactured and marketed.British fly-fishing continued to develop in the 19th Century, with the emergence of fly fishing clubs, along with the appearance of several books on the subject of fly tying and fly fishing techniques. The Fly-fisher's Entomology by Alfred Ronalds had a great influence on the development of fly fishing when it was first published in 1836.Alfred Ronalds took up the sport of fly fishing, learning the craft on the rivers Trent, Blythe and Dove. On the River Blythe, near what is today Creswell Green, Ronalds constructed a bankside fishing hut designed primarily as an observatory of trout behaviour in the river. From this hut, and elsewhere on his home rivers, Ronalds conducted experiments and formulated the ideas that eventually were published in The Fly-fisher's Entomologyin 1836.He combined his knowledge of fly fishing with his skill as an engraver and printer, to lavish his work with 20 colour plates. It was the first comprehensive work related to the entomology associated with fly fishing and most fly-fishing historians credit Ronalds with setting a literature standard in 1836 that is still followed today.Describing methods, techniques and, most importantly, artificial flies, in a meaningful way for the angler and illustrating them in colour is a method of presentation that can be seen in most fly-fishing literature today.The book was mostly about the aquatic insects-mayflies, caddisflies and stoneflies-that trout and grayling feed on and their counterpart artificial imitations. About half the book is devoted to observations of trout, their behaviour, and the methods and techniques used to catch them. Most of this information, although enhanced by Ronalds' experiences and observations, was merely an enhancement of Charles Bowlker's Art of Angling (first published in 1774 but still in print in 1836).In Chapter IV - Of a Selection of Insects, and Their Imitations, Used in Fly Fishing - for the first time is discussed specific artificial fly imitations by name, associated with the corresponding natural insect. Organized by their month of appearance, Ronalds was the first author to begin the standardization of angler names for artificial flies. Prior to The Fly-fisher's Entomology, anglers had been given suggestions for artificial flies to be used on a particular river or at a particular time of the year, but those suggestions were never matched to specific natural insects the angler might encounter on the water. According to Ernest Schwiebert: "Ronalds is one of the major milestones in the entire literature of fly-fishing, and with his Entomology the scientific method has reached angling in full flower. Ronalds was completely original in its content and research, setting the yardstick for all subsequent discussion and illustration of aquatic fly hatches.
A near eastern white metal christening mug for the Western market of drum form with a scrolled handle . The body engraved with a monogram and art nouveau style interlaced tulips circa 1910, bears foreign marks together with a near eastern circular white niello decoration of a river scene with dhows and a river boat, and a near eastern white metal open salt, gr.wt.262g
Art Deco diamond and pearl platinum and white gold brooch, central cluster of four round old cut diamonds, with 4 small old Swiss cut diamonds to each side, a total diamond weight of approx. 1ct. 2 button shaped pearls, one to each end approx. 7mm diameter. Hinged pin pull out barrel, brooch fittings, 60mm long. Condition Report: Very good, all stones present, settings intact, and no sign of damage or repair. We are unable to provide condition reports for this sale.
Beautifully Carved Chinese Serpentine Jade Art Deco Large Picture Frame. Carved Pierced Panels Topped with Mythical Beasts Surrounded by Flowers and Birds. Measures 16-3/4 Inches Tall, Frame Overall is 1-1/2 Inches Wide to Curved Top of 1-3/4 Wide. Approximately 1mm. Picture area measures 13-3/4 Inches High and 10-1/2 Inches Wide. Jade is Mounted on Metal Frame. Overall Good Condition Repairs, a Hairline crack across Jade Frame Middle Right. Shipping $75.00 (estimate $250-$350)
EXQUISITE Circa 1900 SIGNED "GALLE" CAMEO CUT ART GLASS FLOWER PATTERN VASE. The Vase displays beautifully showing minor wear mainly to base consistent with antique age. The Vase is otherwise in very fine condition as seen with no chips, cracks, repairs or staining to the interior. The Vase is a nice size for display measuring 9-1/2 inches tall by 2-1/4 inches wide across the lower portion or 3/4 inches wide across the top. Maker: EMILLE GALLE, French!
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