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Lot 384
A Continental silver and enamel circular pill box, the lid and sides decorated with a burnt orange enamel, the underside with engine turned detailing, gross weight 1ozt/35g, diameter 4cm. Additional InformationA light patina of minor scratches and scuffs to the surface of the top but overall OK.
Lot 3841
A 19th century Canton Chinese Famille Rose porcelain meat drainer and bowl of oval form, painted with exotic birds and floral sprays in panels, width of bowl 40cm.Additional InformationLight surface wear and scratches, minor chipping to the rims on each, there is larger chip to the rim on the draining dish.
Lot 3857
A 19th century Irish wine glass, with ogee shaped bowl and faceted stem with shaped base, and shaped foot, height 19.5cm. Additional InformationSome light polishing to the rim, a couple of small nicks and scratches here and there to the faceted section, and minor wear to the edge of the base. There is no pontil mark to the underside.
Lot 387
ASPREY & CO; a pair of Elizabeth II hallmarked silver mounted decanters with pinched bodies, silver marks for London 1968, height 28cm (2).Additional InformationLight tarnishing to the silver, one of the stoppers is slightly offset and does not sit 100% true, light surface wear and scratches. The body of the decanters is 10.5cm wide.
Lot 388
WILLIAM ADAMS LTD; a George VI hallmarked silver twin handled trophy cup with engraved inscription 'Rational Association Friendly Society Juvenile Fund Challenge Cup', on double knop stem, Birmingham 1939, height 25.5cm, approx weight 35.2ozt/1097g.Additional InformationMinor denting to the body, light scratches and scuffs, minor tarnishing.
Lot 3904
ORIS; a waterproof antishock seventeen jewel stainless steel gentleman's wristwatch with date aperture, diameter 34mm, lacking box and papers. Additional InformationLight surface scratches to plexiglass, pitting to case and winding crown, heavy scratches to case back, when wound the watch appears to run although we offer no guarantee.
Lot 3908
IWC (INTERNATIONAL WATCH CO); a gentleman's vintage 'Ingenieur' stainless steel wristwatch with baton markers and date aperture to the circular dial, diameter 37mm, boxed with receipt when purchased from Boodles & Dunthorne in 1975, guarantee card and details of the last service in 2004.Additional InformationTicks when wound and adjusts correctly, no guarantee of working order, minimal give to the bracelet, light surface scratches only to the glass and case. Presented well. The watch number to the back is 2011820.
Lot 3919
LONGINES; a gentleman's 9ct yellow gold vintage wristwatch, with baton markers to the circular dial and with seventeen jewel movement, no.50840895, sold with original box and booklet, coupon guarantee dated 1976, diameter excluding winding crown 32mm. Additional InformationPresented in very good condition, ticks when wound and although no guarantee to be in working order, it does appear to be sound. Replacement bracelet and buckle, very light surface wear to the case.
Lot 3924
ROLEX; a gentleman's vintage stainless steel Oyster Perpetual Datejust wristwatch, diameter excluding winding crown 36cmm, (lacking box and papers).Additional InformationThe bracelet hangs to approx. 7 o'clock. Light surface scratches to case front and back, the watch is not currently in running order. Surface scratches to the glass. We have not removed strap so cannot issue serial number.
Lot 3926
LONGINES; a gentleman's 9ct yellow gold flagship automatic wristwatch with batons to the circular dial with date aperture and seventeen jewel movement no.13545616, diameter excluding winding crown 36mm, presented on Longines leather strap with correct buckle. Additional InformationTicks when wound and hands move correctly but no guarantee of working order. No box or papers, Light surface scratches to the glass and case with further wear to the case back as expected.
Lot 3931
OMEGA; a mid 1950s gentleman's 18ct yellow gold constellation automatic wristwatch, the stepped circular dial set with angled baton markers, diameter 34mm excluding winding crown.Additional InformationOn modern black leather strap but with Omega 9ct yellow gold buckle, very minor surface scratches to the glass and case but this has been well looked after. The vendor's father purchased the watch new and has always been looked after. Everything adjust correctly, ticks when wound but no guarantee of working order. General light surface wear.
Lot 3932
An unusual 9ct yellow gold wristwatch with turquoise and seed pearls to the bezel, the white enamel dial set with Roman numerals and on expandable hinged action 9ct gold bracelet, diameter excluding winding crown 27mm, total approx. 28g.Additional InformationThe case back is stamped 9k, the cuvette is unmarked. Light surface wear and the case is slightly sprung., There is a fine 1mm hairline crack to the dial of the watch.
Lot 3936
OMEGA; a gentleman's stainless steel and gold plated quartz De Ville wristwatch with date aperture, diameter 36mm, replaced bracelet which is also af.Additional InformationSome light surface scratches to both glass, case and back. The hands adjust as does the date aperture but does not appear to be in working order. No box or papers.
Lot 3941
ROLEX, a gentleman's 18ct yellow gold manual wind Cellini wristwatch, the white dial set with batons and Arabic numerals, diameter excluding winding crown 36mm, the case back stamped 5330 A778039, with 18ct gold mesh strap, approx. 107g, complete with Rolex leather strap with 18ct gold clasp, guarantee, booklet and boxes. Additional InformationPresented well with outer card and leather box in good condition, the outer card box with minor scratches, scuffs and marks, light scratches and scuffs to the case and strap, the usual signs of wear, when wound the watch appears to run although no guarantees this is in full working order.
Lot 3942
GENEVE; a lady's 9ct yellow gold quartz wristwatch, with Roman numerals to the circular dial, and subsidiary date aperture, length 17cm, diameter excluding winding crown 32mm, approximately 32.8g. Additional InformationThe watch is currently not working. The bracelet is slightly twisted and misshapen. There is light surface scratches to the glass and general surface wear throughout.
Lot 3945
OMEGA; a lady's 9ct gold wristwatch, the circular dial with baton numerals, with a leather strap, with an Omega Ladymatic yellow metal wristwatch (2)Additional InformationWe cannot guarantee that the watches are in full working order. Both with general light age wear through use. With a box, and no certificates.
Lot 3947
MAURICE LACROIX; a stainless steel quartz wristwatch with baton and Arabic numerals, and date aperture, in box with booklet. Additional InformationThe watch is currently running, though we cannot guarantee that the watch is in full working order. Light scratches and patina to the strap and case consistent with use.
Lot 53
A handsome and modern Omega Planet Ocean Seamaster Professional Co-Axial Chronometer stainless steel wristwatch, black dial with part numerals and batons and date aperture, 45mm, case numbered 84899692, on stainless steel bracelet, quite short, but with one spare link, overall in very good condition with only light useage and scratches to case, glass and bracelet, in red Omega box with a retail tag and outer white card box
Lot 45
Das Paradies des Padmasambhava - der Kupferberg Zangs dog dpal-riTibet, 18./ 19. Jh.64,5 x 43,5 (112 x 74,5) cmDarstellung des Paradieses Zangs dog dpal-ri, das „ Der Kostbare Guru“ Padmasambhava, nachdem er die Menschenwelt verlassen hatte, zu seinem Wohnort nahm. Die letzte Station des Gurus Erdenwandels war das Land Mön in Südtibet, das heute zu Assam gehört. Der Legende nach hinterließ Padmasambhava dort einen Abdruck seines Körpers in einem Felsen und schuf fünf Standbilder als Manifestationen seines Selbst. Auf einem Pferd namens Gung-thang-la verließ er die „Hohe Passebene“ bei Mangyul, an den Nordgrenzen Tibets. Sein Ziel war das Reich der Srin-po Dämonen, um dort den Buddhismus zu verbreiten. Nach der Bekehrung des Königs der Srin-po residierte er in dessen Palast, welcher später als das Paradies und die himmlische Wohnstätte Padmasambhavas angenommen wurde. Der dreistöckige Tempel mit dem goldenen Dach steht auf dem kupfernen Berg Zangs dog dpal-ri, der aus dem Reich der Nagas (Schlangengötter) emporragt. Diesseits des Paradieses, getrennt durch den großen Urozean, in dem die Paläste der Nagakönige und Tiere zu sehen sind, sowie die in den fünf Farben spitz aufragenden Gipfel der Fünf Kontinente, befindet sich das Land der Rakshasi-Dämonen. Eine Vielzahl dieser mannigfaltig gestalteten menschenfressenden Unholde leben dort in den Wäldern, in ihren meist aus Menschenknochen gebauten Palästen. Mit den menschlichen Wesen, die in diesen Bereich hineingeraten, treiben sie ihr blutrünstiges Werk. Nur eine schmale Brücke, die über den Ozean führt, kann die Erlösung im Paradies des Padmasambhava bringen. Gelingt es dem Erlösung Suchenden, den Ozean auf der schmalen Brücke zu überwinden, gelangt er durch die Pforte eines Stupa zum Fuße des heiligen Berges. Dort leben in einsamen, schwer zugänglichen Höhlen und Laubhütten Menschen verschiedener Abkunft, die über heiligen Texten und Büchern in Meditation und praktischen Übungen versunken sind. Am Rande des Bergplateaus befindet sich ein mächtiger Schutzwall, der den heiligen Palast des Padmasambhabva umgibt. Ihm vorgelagert sind eine kleine Schutzmauer, und ein schmaler Wassergraben. Die Mauer, die den heiligen Bezirk umspannt, ist im Sinne eines Mandalas, in den vier Farben der kosmischen Richtungen, vorzustellen. Alle vier Mauern haben Türen, die von den mächtigen Königen der vier Weltgegenden bewacht werden. Das Tor des Ostens, in der Farbe des weißen Bergkristalls, wird von dem Lokapala Dhritarashtra bewacht, dessen Attribut die Laute ist. Das Südtor, in der Farbe des Lapis wird von Virudhaka, mit einem Schwert in der Hand bewacht. Virupaksha trägt einen Stupa als Attribut und bewacht das korallenrote Westtor, das sich, vom Betrachter aus gesehen, hinter dem Palast befindet. Vaishravana ist der Hüter des grünen malachitfarbenen Tores. Er trägt ein Siegesbanner und die juwelenspeiende Ratte in seinen Händen. Der Ankömmling gewahrt den Padmasambhava auf einem Lotusthron sitzend, der alle anderen im Heiligtum Anwesenden überragt. Der Guru residiert in der großen Versammlungshalle im unteren Bereich seines dreistöckigen Golddachtempels, umgeben von seinen beiden Schülerinnen, und seinen acht verschiedenen Erscheinungsformen. Padmasambhava sitzt auf einem Lotusthron in gelöster, königlicher Haltung. Er ist in reiche Gewänder gekleidet und trägt auf seinem Haupt den fünfblättrigen Lotushut. Der symbolreiche Stab (khatvanga) lehnt in seiner linken Armbeuge, und in der linken Hand hält er eine gefüllte Schädelschale (kapala). Sein rechter Arm liegt auf dem rechten Knie und die ausgestreckte Hand umfasst einen goldenen, fünfstrahligen Vajra. Zur Linken und Rechten sitzen seine beiden Gemahlinnen, lHa-lcam Mandarava und mKha’-gro Ye-ses mtsh-rgyal. In der vordersten Reihe der Versammlungshalle, und jeweils hinten links und rechts, haben die acht Emanationen des Padmasambhava ihren Platz eingenommen. Die acht Erscheinungen sind Gestalten die Padmasambhava im Laufe seiner Belehrungen, entsprechend der dabei erlangten Fähigkeiten, angenommen hatte. Die Namen seiner jeweiligen Gestalten weisen auf diese Ereignisse hin. Ganz rechts befindet sich (die Aufzählung erfolgt nicht der chronologischen Ordnung) die zornvolle Erscheinung rDo rje gro lod. In dieser Erscheinung hat Padmasambhava böse Mächte besiegt und belehrt. In der Gestalt des Buddha wird Padmasambhava im Stadium des Eintretens in den Mönchsorden und nach Erhalt der ersten Belehrungen mit dem Namen Sakya-senge, der „Löwe der Sakya“ benannt. Padma rgyal-po wurde er genannt, als er nach der Rückkehr nach Oddiyana, König Indrabhuti unterwiesen hatte. Zu Deutsch lautet dieser Name „Lotus-König“. Mit dem spitzen Hut und dem Gewand des Mönchs bekleidet, lautet sein Name Pemasambha. Als blaue Gottheit, in Vereinigung mit seiner Partnerin erhielt er bei der Meditation über Amitayus den Namen Chi-med pad-ma byung-gnas. Die nächst folgende Form Padmasambhavas ist Blo-ldan mchog-sred, mit weißem Turban, und die Damaru schwingend. Sie steht im Zusammenhang mit seinem Studium bei indischen Heiligen und Unterweisungen, die er in Kashmir erteilt hatte. Den Namen Ni-ma’i od-zer erhielt Padmasambhava, weil er einmal den Lauf der Sonne für sieben Tage angehalten hatte. In der Form des blauen Vajrapani ist er Sen-ge sgra-sgrog „der mit dem Gebrüll des unbesiegbaren Löwen“. Diesen Namen erhielt er, nachdem er seine Widersacher überwunden hatte. Guru Rinpoche, der „kostbare Guru“, ist nach der Trikaya-Lehre, der „Lehre von den Drei Körpern“, die irdische Erscheinungsform des Buddha Amitabha, im Nirmanakaya. Im mittleren Bereich des Golddachtempels befindet sich der Bodhisattva Avalokiteshvara, als Erscheinung des Mitgefühls im Samboghakaya des Amitabha. Avalokiteshvara wird in dieser Ebene von den beiden Bodhisattvas Manjushri und Vajrapani begleitet. Alle drei bilden zusammen die „Trias der Beschützer der Lehre“ und verkörpern Weisheit, Mitgefühl und Kraft. Den am höchsten gelegenen Raum im Palast nimmt Buddha Amitabha, der „Buddha des unendlichen Lichtglanzes“, ein. Hier befindet sich Amitabha im Dharmakaya. Der gesamte Tempelbau ist von einer roten Lichtstrahlung umgeben und von einem fünffarbigen Regenbogen überspannt. Außerhalb dieser Energiestrahlung schweben Dakinis, die von Padmasambhava für die Lehre verpflichtet wurden. Sie halten in ihren Händen Doppletrommel und Vajra. Unterhalb des vom Urozean umspülten Tempelberges, im irdischen Bereich, befindet sich in der Mitte eine Pforte vor der Rahu - der Planetengott - Beschützer und Vernichter, gleichzeitig als Wächter platziert ist. In der angrenzenden Landschaft in der auch die Rakshas hausen, erkennt man Bäume und Stupas als die Leichenstätten, wo menschliche Leichname von Geiern und Schakalen verzehrt werden, und in deren unmittelbaren Nähe Gläubige meditieren. Zwei kleine Tempel links und rechts, in denen Gottheiten residieren, gewähren den Meditierenden Zuflucht. Tempera und Gold auf Baumwollgewebe. Originale Seidensatin-Einfassung, mit Schutztuch. Tempera und Gold auf Baumwollgewebe. Originale Seidensatin-Einfassung, mit Schutztuch.Bedeutende deutsche Privatsammlung, in den 1970er und 80er Jahren gesammelt, großteils bei Schoettle Ostasiatica, Stuttgart erworbenPubliziert: Thangka Kalender 1997, Windpferd Verlag, Monat JanuarLiteratur: Gerd-Wolfgang Essen / Tsering Tashi Thingo; Padmasambhava - Leben und Wirken des Großen Tantrischen Meisters im Spiegel der tibetischen Kunst; DuMont Buchverlag, Köln, 1991: 25ff: Zangdok Palri, The Lotus Light Palace of Guru Rinpoche; Visions of the Buddhist Paradise in the sacred Kingdom of Bhutan; edited by Supawan Pui Lamsam, Kesang Choden, Tashi Wangchuck; Gatshel Publishing, Bangkok, 2012Kleine Abriebe, Altersspuren, Wasserspuren
Lot 6026
Rome, Galleria L'Attico,1968. Catalogue/artists' book in conjunction with the exhibition at Galleria l'Attico, Rome, March 1968. Softcover, stapled, 30 x 21.5 cm, 16 pp. Profusely illustrated with b/w and colour photos and printed handwriting in Italian. Light rubbing to the spine, else a very good and delightful publication.Sculptor, conceptual artist, and stage designer Pino Pascali died in a motorcycle accident in Rome on 11 September 1968 just before turning 33. His first exhibition took place at Galleria La Tartaruga in Rome in 1965 and he participated in the initial Arte Povera exhibitions of the late 1960s.
Lot 1926
Henry Scott Tuke. A memoir. London, Martin Secker, 1933. 1st and only ed. Illustrated. Cl. Ex-library book with traces of use, bookplate. *Early and sought after biographical study by the well-known gay artist's sister. (2) Catherine Wallace. Catching the light. The art and life of H.S. Tuke. Atelier Books, 2018. Cl. w. dust-j. Large 4to. (3) David Wainwright & Catherine Davis. Henry Scott Tuke: Under the canvas. Cl. w. dust-j. Large 8vo. -and 1 more. (total 4)
Lot 6203
(1) Stanley Brouwn: One distance. Eindhoven, Van Abbemuseum, 1981.Softcover, 20 x 20 cm, 64 pp. Edition of 1000 copies. Small spot on backcover, stamp of former owner on title page, else very good.(2) R. Fuchs, Stanley Brouwn: David Röell-prijs. Amsterdam, Prins Bernhard Foundation, 1980. Softcover, 27 x 21 cm, 40 pp. Light soiling on cover, else good. Rare. (total 2)
Lot 2237
Münich, Reuss, 2003. Hc w. dust-j.(2) Sylvia Plachy & James. Ridgeway. Red light: Inside the sex industry. New York, Powerhouse, 1996. Hc. (3) Madonna. Nudes 1979. Berlin, 1990. Sc. (4) C. Marmonnier & A. Varenne. Les années folles des maisons closes. Paris, 2007. Hc. -and 14 more. (total 18)
Lot 6130
(1) From along a Riverbank. Amsterdam, Art & Project, 1971. Softcover, staple bound, 21 x 10 cm, 20 pp. First printing August 1971. Edition of 300. B/w images of leaves found along a riverbank. Very light spotting on cover, interior mint. (2) From Around a Lake. Amsterdam, Art & Project, 1973. Second printing March 1975 edition of 500. Softcover, staple bound, 21 x 10 cm, 20 pp. Colour images of leaves found around a lake. Mint. (total 2)
Lot 1853
New York, Ed. Hemispheres, 1945. Text by Goll, ill. w. 4 orig. drawings by M. Chagall in blue ink. Lim. numb. ed. of 300 copies of which this copy is numb. 156. Signed in pen by both the author and Chagall. In orig. light blue hard cover w. wr. Spine and wr. show some wear, otherwise in excellent condition.
Lot 6204
Amsterdam, Visual Arts Office for Abroad, 1982. Softcover, 27 x 21.5 cm, 32 pp. Catalogue published on the occasion of Brouwn's exhibition at the Dutch pavilion at the Venice Biennale. Features installation photos and reproductions of works. Text by Jan Debbaut in Italian and English. Light toning on cover, otherwise a very good copy of this rare book.
Lot 6125
Includes: (1) Actualité d'un bilan. Softcover, 21 x 27 cm, 136 pp. Artists' assembling/exhibition catalogue with contributions by 29 artists including Daniel Buren (torn pages as issued), Carl André, Robert Barry, Marcel Broodthaers, Huebler, On Kawara, David Lamelas, Sol Lewitt et al. Text by Michel Claura in French and English. As often with this gluebound copy, the interior is loose from cover, but all pages still glued together. Else mint. (2) Robert Barry, It is … it isn’t. First edition. Softcover, 17 x 11 cm. Text based artists' book in b/w, featuring one word on either side of each page. Light toning to cover, else very good. (total 2)
Lot 6306
An Anthology of 13 little art works made by the Secret Society of Diligent Mail Artists/Geza Perneczky. Cologne, self-published, 1988. Cardboard box, 31.5 x 22.5 x 2.5 cm, stapled and taped at the corners as issued. A mounted sheet on the lid doubles as contents sheet and sending label, post stamped and addressed to Gallery A in Amsterdam.The box is numbered No.0229 in red marker on the lower right corner. Contains 14 leafs, 29.5 x 21 cm, including an information page and 13 lithographed sheets with original stamped artworks and collages using sand, ribbons, string, wallpaper, pencil and ink. Each sheet is signed, stamped and numbered 0229 from an edition of 300. The cardboard box shows light rubbing on the extremities and moderate spotting, the artworks are in mint condition.
Lot 2532
20th cent., length 70 cm, constructed w. (painted) light wood, w. 2 webbing seats, orig. paddle and stand.Paint peeling/ flaking off in a few places on the underside. Attractive lightweight model. Added: 2 sm. historic models of Dutch sailing vessels ("platbodems") in need of restoration. (total 3)
Lot 6008
Arnhem, self-published, 1960. Stapled artists' booklet, 13.6 x 10.7 cm, 20 pp. Edition of 120, this one numbered 87/120. Contains 20 blank pages, with text in light grey typography on interior of the covers.Edition, artist's name and address on verso front cover. The text on verso back cover reads: 'wit/ wit is overdaad/ blanc est surabondance/ white is superabundance/ weiss ist übermässig/ wit / wit/ wit is overdaad'. Moderate irregularities on covers, else a fine rare copy.
Lot 6001
London, Royal College of Art, 1958. 27 x 21.5 cm, 48 pp. Original wrapper, fluorescent orange version (the other being fluorescent green) featuring a printed drawing and added cuts made with a sharp object by Fontana (1899 - 1968). First sheet contains a stamp by Dutch Zero artist Henk Peeters, who also seems to have written 'ARK/Fontana' on the spine. Slight scuffing along spine and some minor irregularities on cover. Some of the glue-bound pages in the center part are starting to get loose.ARK (1950-1973) was an academic journal of the Royal College of Art published by students, usually displaying work by graduates. This issue includes a text about Fontana's 'Technical Manifesto' (1947) with some light corrective pencil marks presumably by Peeters. Scarce copy.
Lot 6100
Halifax Canada, Nova Scotia College of Art and Design, 1969. Set of 12 loose cards, 13 x 18 cm, in rubber-stamped manila envelope. Edited by David Askevold, who invited an illustrious group of artists to submit proposals for students at his Projects Class to manifest. Each card consists of one project proposal. Artists include: Robert Barry, Mel Bochner, James Lee Byars, Jan Dibbets, Dan Graham, Douglas Huebler, Joseph Kosuth, Sol LeWitt, Lucy R. Lippard, N.E. Thing Co. LTD., Robert Smithson, Lawrence Weiner. Unmailed envelope with mild spot on verso, light creasing along edges, cards are mint. Extremely rare.
Lot 6011
Amsterdam, Metz & Co, 1963. Published in conjunction with the exhibition that took place from 5 October to 15 November 1963. Cardboard wrapper, stapled, 28 x 21.5 cm, 12 pp. Includes texts by Henk Peeters and Herman de Vries in Dutch, a biography, list of works and price list. Also contains an original collage, white on thick white paper, signed on verso hermandevries 10/10/1963. Dedicated on last page to Maarten J. Israel, 'met een collage en hartelijke dank voor hulp'. Cover toned, interior has moderate browning along extremities. The collage has some light creases along the right margin, else near mint. Very rare.
Lot 6388
Invitation card for the opening of the ‘Monochrome und Feuer’ exhibition at Museum Haus Lange Krefeld. Fully silkscreen printed in blue on recto, black text on white stock on verso, 21 x 9.8 cm.Announces the opening of the show on Sunday Jan 8 1961, with an introduction by museum director Dr. Wembler at 11:30. Followed by a now famous musical performance 'Monotone Sinfonie-Stille’ played by the Städtische Orchestra, conducted by Klein while nude models were rolling in blue paint in order to make imprints on paper. Rare card, probably inserted in the general invitation card for a selected public. Features very light scratches on the Yves Klein blue, some toning on verso, generally a very good copy.
Lot 2
Roderic O'Conor (1860-1940)/Le Loing at Sundown, circa 1902/stamped verso: 'atelier/O'CONOR', oil on canvas, 54.6cm x 65.4cm/Provenance: Studio of the artist, sold Hôtel Drouot, Paris, 7 February 1956; Roland, Browse & Delbanco, London; Lt. Col. M.V.B Hill; by descent/Literature: Jonathan Benington, Roderic O'Conor, a biography with a catalogue of his work, Dublin 1992, p. 202, cat. 101, and reproduced in colour, pl. 34/Exhibited: London, Roland, Browse & Delbanco, Roderic O'Conor paintings; collectors' drawings, 19th and 20th Century , 1957, no. 12; London, Roland, Browse & Delbanco, Roderic O'Conor, a selection of his best work, 1971, no. 9; Browse & Darby, London, Roderic O'Conor 1860 - 1940, 1994, no. 14/Note: Montigny-sur-Loing is a small town on the edge of the forest of Fontainebleau, 75 kilometres to the south-east of Paris. In the late nineteenth Century it could easily be reached by train from the capital and was the point of disembarkation for scores of artists, drawn as they were by the attractions of forest, river, sunshine and youthful camaraderie. O'Conor first discovered the town in the late 1880s when he was a student in the atelier of Charles Carolus-Duran in Paris and spent several summers at nearby Grez-sur-Loing, where fellow Irish painters John Lavery and Frank O'Meara had recently been in residence. O'Conor's fondness for the Loing was such that he returned to the area several times in the mid-1890s, staying either with his friend the American painter Francis Chadwick, or with the English etcher Arthur Heseltine. In August and September of 1902 O'Conor returned again, this time in the company of another American friend, Guy Ferris Maynard. On this occasion, however, his motivation went beyond the renewal of old acquaintances, for he had brought painting materials with him, no doubt welcoming the change in terrain from his usual base in Pont-Aven, Brittany. Short though it was, the move triggered a renewal of his interest in painting landscapes, such that by the time of his return to Brittany in early October he had created a series of tranquil views of the River Loing bordered by trees that were just beginning to show their autumn colours. Many of these paintings, of which Le Loing at Sundown is a typical and fully resolved example, were concerned with the half-light and the mystery of partially revealed forms. They also evinced a breadth of handling that demonstrated O'Conor's proto-Fauve credentials, just as his daring Breton seascapes had done three years earlier. Whilst in swapping the fast-flowing River Aven for the much slower and broader Loing O'Conor may have removed himself from the rugged terrain to which he was accustomed, he remained true to his modernist allegiances. This is especially apparent in the thick and gestural brushstrokes with which he has painted the trees and sky In Le Loing at Sundown, conveying the effects of a breeze. Indeed the large tree at the centre of the Montigny composition has the whipped outlines of the trees in some of his Breton etchings of 1893. To render the failing light he has deployed a palette of bright colours, including pink, purple and two different yellows, exaggerating the local colours of the scene itself. The derivation of this technique, still highly radical in 1902, reverts back to the artist's precocious discovery of Vincent van Gogh (the expressionist gestures) and Paul Gauguin (the exotic palette) a decade earlier. It is perhaps no accident that one of the seminal lessons in modernist painting was given in 1888 on the banks of the River Aven when Gauguin instructed the young Paul Sérusier: "What do those trees look like? You see them as yellow: very well, put on some yellow; and as for that shadow, which looks blue if anything, paint it pure ultramarine! Those red leaves? Take some vermilion!" As O'Conor would have known, the picture painted on that occasion, The Talisman, was famously carried back to Paris and shown to Sérusier's fellow-students at the Académie Julian. It is now one of the treasures of the Musée d'Orsay. Jonathan Benington, August 2022 CONDITION REPORT: The canvas is original with no relining or signs of inpainting. The frame is in overall good condition although to the reverse there is some masking tape which has now come unstuck. The oldest label has screw holes in it where a picture light was attached. Considering its age this painting is in remarkably good condition.
Lot 5
Sir Alfred James Munnings, PRA, RI (1878-1959)/Study For A Horse/signed AJ Munnings lower left/inscribed verso 'study for a horse on left in Why weren't you out yesterday'/oil on board, 48.25cm x 59.5cm/Provenance: An Important Collection of Sporting Pictures sold by order of Messrs. Hutchinson & Co. (Publishers) Limited; Christies, London, 20 July 1951, lot 40 (sold for £105) H.B. Hill, Esq., Gloucester/Exhibited: London, Royal Academy of Arts, Diploma Gallery, 1956, no.45/Note: A preparatory study for 'Why weren't you out yesterday', which was exhibited at the Royal Academy in 1939, five years before Munnings was elected President. One of Munnings' most humorous works (and featuring his wife, Violet, a family-friend, and four of his own horses), 'Why weren't you out yesterday' was based on a portrait of Mrs Cutting and her daughters, members of a prominent New Jersey family, painted in 1935. Munnings said 'so taken I was with the arrangement that I repeated almost the same design on another canvas for my own amusement'. In preparation for larger scale paintings, Munnings would produce studies to test, and figure out elements of each composition. The present work shows the artist doing exactly this, which affords the viewer an insight into his creative process. It is likely that Munnings would have painted the central hunter first, as the one to the right is a more worked-up version, with re-considered elements such as the angle of the head, and twitch of the left ear (communicating the horse's state of alert), both of which feature in the final painting. The hounds have been created with a quick succession of brush strokes that capture the energy and movement of the pack: light brown insinuates heads and rumps, and dashes of white create wagging tails. The red from the huntsmen's jackets beyond, breaks up the composition, a device which John Constable, a fellow Suffolk artist much admired by Munnings, also employed, particularly in his landscapes. The grey beyond strengthens the silhouettes and forms of the hunter and is a colour test for the sky of the final composition. It has been speedily executed with a gradation of colours and a 'zigzag' to the left, giving the implication of a cloud formation. Spontaneity, immediacy, understanding and above all, enjoyment are apparent in this study, and it captures Munnings returning, as he did throughout his life, to two of his greatest passions: horses and hunting. Our thanks go to Tom Rooth for producing this catalogue note CONDITION REPORT: The overall condition of the paint surface looks good. There are some minor flecks and specks of dirt as well as a couple of faint scuffs. The paint surface does look a bit dry and it would benefit enormously form a varnish. The frame has several knocks and surface flakes, I do not think the frame does the painting any favours. The board has a few worm holes to the reverse, these do not appear to the paint surface. I would say this painting has been very little interfered with and it could benefit form a little attention.ARR Artist's Resale Right may apply to the sale of this lot if the hammer price is the equivalent of 1000 Euros or more, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk
Lot 100
12 BOTTLES LOW ALCOHOL WHITE WINESpy Valley Easy Tiger Sauvignon Blanc 2020; Vinho Ligeiro Villa do Mar Atlantic; Yellow Tail Pure Bright Sparkling, Pinot Grigio 2021 and Sauvignon Blanc 2021; Moscato Fragantia No6; Featherweight Pinot Grigio; Giesen Pure LIght Pinot Gris 2021 and Sauvignon Blanc 2021; Finca Consgtancia Luces 5.5% Verdejo-Sauvignon Blanc; Laroche Le Petit Chardonnay; Stoneleigh Lighter Sauvignon Blanc 2021
Lot 194
11 MIXED BOTTLES SPIRITSAntiqua VSOP; Yebiga Prva and Bela Plum Brandy; Phantom Light Distillery Vodka; ICS DK Intertrade Brandy (50cl); Bernard Family Brewery Pivni Palenka (50cl); Dionysian Cellars Brandy (50cl); Libra Da Ponte Grappa of Prosecco 18 Years Old; Edelhof 1514 Fruit and Walnut; Aurvin Divin D'or Brandy
Lot 89
12 BOTTLES LOW AND NON-ALCOHOLIC SPIRITSCaleno Light + Zesty Tropical (50cl); Clean Co Clean R Gold Spiced and Oaky Agave; Kaska Casual (50cl); 7 Sins Sloth (50cl); Noki + Co Juniper (50cl); Ceder's Classic and Pink Rosé (50cl); Lahhen Tagge Distillery Flaneuse (50cl); Gordon's 0.0; Laori Juniper No1 (50cl); Strykk Not Vanilla Vodka
Lot 94
12 BOTTLES LOW AND NON ALCOHOLIC SPIRITSEnnis Distillery Gin (50cl); Endorphin Dealer Institute Edi; Rebels Aperitif Alternative (50cl); Bloom Easip (50cl); Silk Roots Stillers; Vera Aronatico (50cl); Blue Pearl Distillerie Jardin Verde Gin; New London Light Midnight Sun, Aegean Sky and NLL; Trove Valencia Orange with Lime; Fryns Nature
Lot 108
AN AUSTRO-HUNGARIAN SILVER, GILT-METAL AND ENAMEL CHESS SET AND BOARD LATE 19TH / EARLY 20TH CENTURY THE HINGED PLAYING SURFACE OPENS TO A INTERIOR FOR STORAGE,EACH SIDE WITH COATS-OF-ARMS AND KNIGHTS ON HORSEBACK,THE ANGLES WITH SOLDIERS, ON FOUR, PIERCED FOLIATE FEET;THE CHESS PIECES DEPICTING TWO SETS OF LIGHT AND DARK BLUE ENAMELED PAWNS MINOR FAULTS ON ENAMEL
Lot 192
Chinese buffet. Qing dynasty, 19th century.Teak wood.Metal fittings and handles.Signed on the back of the drawers.Wear and tear.Measurements: 78 x 80 x 51 cm.Buffet in light wood. The double front door has a metal lock with espagnolette. It is preceded by two drawers of the same size, arranged in symmetry. The structure, subjected to a rigorous orthogonal order, presents as an organicist counterpoint small carved elements decorating the four corners.
Lot 356
Two antiquarian engravings one by Henrietta Rae, 'Apollo and Daphne', Arlington Proof blind stamp lower left corner, 56cm x 66cm; the other entitled 'Innocence', in oval aperture, 42cm x 35.5cm (2)Extensive foxing and some marks overall to both mount and pictures, scuffs, marks and general light wear to frames as expected
Lot 69
A pair of cast bronze and parcel gilt empire style four-light three-branch candelabra of classical form with scrolling branches, fluted stem and triform base, decorated with paw feet, 54.5cm high (2)Minor marks, dents and scratches due to use, otherwise good condition. Of contemporary manufacture.
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