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Lot 563
PAINTINGS AND PRINTS, COMPRISING A BERTRAM MORRISH WATERCOLOUR LANDSCAPE, circa early 20th century, signed bottom right, approximate size 27cm x 78cm, a Michael Smith watercolour / gouache depicting a coastal view of Stupe Island in Croatia, a mixed media forest stream landscape, indistinctly signed, three African watercolours signed E Ngoma, four Monet prints and a still life flower print by Emile Vouga, the Morrish painting is in good overall condition with a couple of spots of foxing visible, some damage to the frame
Lot 1548B
MONET; a large 1980s gold tone brooch with matching clip-on earrings and nineteen further pairs of 1980 clip-on earrings, mostly gold tone with enamel or gold and silver tone.Additional InformationAll the earrings are in good condition some with signs of wear but all the clips work and the Monet set is in good condition.
Lot 1387
Reg. no. GWF 997Frame no. MG-551-S17Engine no. 10835 (See note below)Monet Goyon was initially a company formed by Joseph Monet and Adrien Goyon to make invalid carriages for veterans of the first world war and then in 1919 manufactured the Auto Wheel under licence, also made by BSA. It wasn’t until the 1920s that they became famous for good quality, fast road-going motorcycles and their racing bikes that were so successful for many years.This bike was initially a 1936 175cc S17 twin port with a 3-speed gearbox, since when the engine and gearbox have been changed for a 250cc twin port motor and a 2-speed box, presumably when a previous owner had used it for some form of racing, possibly sprint or hill climbing. The present owner is unsure of the engine’s manufacturer and has been told by several people that it could be anything from a Favour twin port racing engine to a R250 Villiers motor. The bike was running but has not been used for some time and will make someone an interesting project.Comes with – a current V5C, its original mudguards, silencers, headlight and a spare carburettor. Also, some old photocopied photographs and a description of what the present owner has done with the bike since ownership.Note: The current V5C has the correct engine number but they did not alter the capacity and it still states 175cc and not 250cc.
Lot 605
THREE BOXES AND LOOSE SUNDRY ITEMS ETC, to include a Westminster chiming mantle clock with pendulum and key, runs and chimes, brass hand bell with improvised clapper, boxed set of Engineering Workshop Practice books by Arthur Judge, plated five branch candelabrum, brass model of a mounted soldier, brass oil lamps, 10x50 Zenith binoculars, soft toys, a pair of Dalian glass vases, cut glass rose bowls and ships decanter, pictures to include two views of Lang Jacks cottage by D Hood, oils on canvas, Monet prints, Print on canvas 'A Game of chance' by Publico de Tommasi etc
Lot 112
A BOX OF ASSORTED COSTUME JEWELLERY AND CUTLERY, to include an assortment of clip on earrings, names to include 'Monet' and 'Napier', a Tissot wristwatch and other fashion wristwatches, a selection of beaded jewellery, white metal teaspoons, one stamped 925, assortment of white metal cutlery, etc
![A Lot of Two Royal Doulton Character Jugs 'Famous Artists Claude Monet & Vincent Van Gogh' [19cm high]](https://cdn.globalauctionplatform.com/627fafc7-d237-4ab6-bdee-aed300c2ca1e/de03ff04-d193-4094-9c62-aed501210ebd/468x382.jpg)
Lot 99
A small quantity of costume jewellery to include a silver coloured Modernist style necklace, a Monet gold tone brooch with white paste stones in the form of a flower, enamelled brooches to include a signed butterfly, vintage agate stone brooches and a Stirling Silver brooch together with a psychedelic tie.Location:
Lot 102
A small quantity of limited edition Halcyon Days enamel Boxes, to include 'Sunflowers' after Monet, 71/250, 'Whistlejacket' after Stubbs, lid broken, 86/250, 'Still Life with Roses and Blue Drapery' after Augustus John, 63/100, one commemorating Da Vinci for the Halcyon Days Collectors Circle, 13/200, together with 'Lulu and Honesty' after Fedden, all boxed (5)
Lot 2
A good Late 19th century French porcelain panelled repeating Carriage Clock in a bamboo style caseHenri Jacot, 5341The typical case with bevelled glass inspection panel and repeat button over four porcelain panels decorated with cherry blossoms in delicate shades of blue against a silvered ground. The white Arabic chapter ring with stylised pierced brass hands. The two train movement with cut and compensated bimetallic balance to a silvered English lever platform escapement striking the hours and halves on a blued steel gong marked FD. Stamped with the Jacot trademark and numbered 5341. Ticking, striking and repeating. Together with a double-ended key for winding and hand-setting. 19cms (7.5ins) high.Footnotes:In 1874 the term 'Japonisme' was coined to encompass all items inspired by the Japanese art that flooded the European market. Woodblock prints were especially collectable and their bold colours, flat plains and stylization influenced many artists such as Monet and van Gogh, but also everyday items such as this carriage clock. A very similar case may be seen on page 47 in 'A Century of Fine Carriage Clocks' by Joseph Fanelli. Based on comparisons with similar clocks, it is likely that this clock was produced between 1878-1882.For a biography of Henri Jacot and his family, see the Appendix.For further information on this lot please visit Bonhams.com
Lot 231A
A large collection of costume jewellery to include Monet necklace and bracelet set, along with vintage paste set brooches, necklaces, glass bead necklaces, faux pearls, clip on earrings, gilt metal chains, bangles, bracelets, along with plastic bead jewellery including necklaces, bracelets etc (1 box)
Lot 1
JOSÉ ROYO (Valencia, 1945)."Young woman embroidering".Oil on canvas.Signed in the lower left corner.Measurements: 61 x 38 cm; 90,5 x 68 cm (frame).A precocious painter, José Royo began his drawing studies when he was only seven years old. After studying with the best masters of his city, he entered the School of Fine Arts of San Carlos, and finally completed his studies travelling around the great museums of the world, immersing himself especially in Goya, Velázquez and the impressionist masters. These influences marked his pictorial development to the point of becoming a master of post-impressionism himself, heir to Renoir, Sorolla, Monet and Bonnard. The decisive change in his life came when the painter and his family decided to move to the countryside; in a small village near Valencia, Royo built the house that would bring light and colour to his work, which would be an exact replica of his iconography and vice versa, a house full of geraniums and orange trees where the light is precious at every moment of the day, in a different corner. However, the essence of the Mediterranean culture that this artist carries within him demanded, more and more insistently, to paint the sea. Royo then found his second paradise in Mallorca, in the Salmunia cove, where he has moved every summer to paint since the seventies. At the same time, his career became increasingly successful, first in Spain and soon throughout Europe. The Mediterranean charm shaped by Royo's virtuosity also seduced the Japanese and then the South American market, although it was above all his success in the United States that consolidated this artist as one of the key figures of our time. On the other hand, Royo's eagerness to investigate has led him to explore other fields such as sculpture or silkscreen printing, always accompanied by public recognition. He has also excelled as a portrait painter, portraying the presidents and High Magistrates of the Spanish Supreme Court, aristocratic personalities and His Majesty Don Juan Carlos I for the Spanish Embassy in Japan. Royo is currently represented in the Diocesan Museum of Barcelona, among other collections.
Lot 593
`…one hundred francs for the Manet subscription´MONET CLAUDE: (1840-1926) French Impressionist Painter. A good A.L.S., `Claude Monet´, one page, 8vo, Giverny par Vernon, 26th November 1889, to an unidentified correspondent, in French. Monet to a painting by Manet, whose widow he is trying to help, stating `Je reçois votre lettre et m´empresse de vous remercier de votre envoi de cent francs pour la souscription Manet´ (“I receive your letter and hasten to thank you for sending one hundred francs for the Manet subscription”) Paper with J. Allen & Sons watermark. Very small scratch to the upper edge and age wear. Bearing two very small areas of paper loss to the blank integral leaf. G When Edouard Manet (1832-1883) passed away, all his paintings were exhibited for sale at the Hotel Drouot, including Olympia (1863) which did not find a buyer. Manet´s widow re-offered the painting six years later because of her difficult financial situation. Monet organized a popular subscription in 1890 to collect funds in order to purchase the painting and donate it to the French state. His initiative found a strong success and support. The French authorities accepted the donation and the painting was first exhibited at the Musée du Luxembourg and later entered the Louvre after a petition of Monet to Clémenceau.
Lot 594
MONET CLAUDE: (1840-1926) French Impressionist Painter. A good and clean A.L.S., `Claude Monet´, two pages, written to the first and third page, purple ink, 8vo, on his printed stationery stating “Giverny par Vernon - Eure”, 5th December 1904, to a friend, in French. Monet explains to his correspondent that he only received few days ago the letter sent to him, saying `..j´ai reçu votre lettre du 28 Novembre que vous aviez adréssé en Seine et Oise, tandis que nous sommes dans l´Eure´ (“…I only have received your letter dated 28th November which you addressed to Seine and Oise, while we are in the Eure..”) Monet further refers to his correspondent´s proposal and to his own day by day, stating `J´accepte de grand coeur ce que vous me demandez bien que je sois dans l´impossibilité de vous aider en quoi que ce soit, vue ma vie retirée et mon éloignement de Paris, de plus j´ai grand peur de me trouver à Londres juste à l´époque du banquet…´ (“I wholeheartedly accept what you are asking me although I am unable to help you in anything, given my retired life and the distance I have taken from Paris, moreover I am very afraid of being in London just at the time of the banquet…”) Letter in very fine condition. EX
Lot 138
* Jean-Marie Toulgouat (French, 1927-2006)Pays de Provencesigned and dated 'Toulgouat 84' l.r., acrylic on cardimage 45 x 46cm, unframedJean-Marie Toulgouat was related to Monet through marriage - his grandfather was married to Suzanne Hoschedé, the daughter of Monet's second wife. Born just nine months after Monet's death, Toulgouat grew up in Giverny close to Monet's home, and surrounded by the countryside and gardens that had inspired Monet's greatest paintings. He was also able to visit and learn from the wonderful collection at Monet's house including works by Pissarro, Renoir, Manet and Cézanne. This developed his impressionistic palette, which is demonstrated here in this beautiful rendering of Provence.Condition ReportOverall size of sheet: 65 x 50cm.Painted area has a bit of minor surface dirt but is generally in good condition, white margins of card have creases at the corners, but these could be hidden by framing and mounting the work.
Lot 68
** Claude Monet (1840-1926) after. & George-William Thornley (1875-1935)La Douane, Effet de l'apres-midi, from Vingt LithographiesLithograph printed in green, circa 1890, signed by both Monet and Thornley in pencil, also with Thornley's blindstamp, printed by Belfond et Cie, Paris, with their blindstamp, published by Mancini, Paris, on Chine appliqué supported on wove paper, with margins, sheet 288 x 386mm (11 3/8 x 15 1/4in)** This lot has been imported from outside the United Kingdom to be sold at auction under temporary importation, and therefore the buyer must pay the import VAT at a rate of 5%. On proof of export outside the United Kingdom, this duty can be refunded.
Lot 67
** Claude Monet (1840-1926) after. & George-William Thornley (1875-1935)Bateaux de Pêche, Étretat, from Vingt LithographiesThe rare lithograph printed in reddish brown, circa 1890, signed by both Monet and Thornley in pencil, with Thornley's blindstamp, from the edition of 25, printed by Belfond et Cie, Paris, with their blindstamp, published by Mancini, Paris, on Chine appliqué supported on wove paper, with margins, sheet 260 x 372mm (10 1/4 x 14 5/8in)** This lot has been imported from outside the United Kingdom to be sold at auction under temporary importation, and therefore the buyer must pay the import VAT at a rate of 5%. On proof of export outside the United Kingdom, this duty can be refunded.
Lot 655
Eugène Boudin, 1824 Honfleur – 1898 DeauvilleENTRÉE DU PORT DE SAINT-VALÉRY-SUR-SOMME, 1891 Öl auf Leinwand. 35 x 57 cm. Unten links signiert „E. Boudin“, datiert „91“ und Vermerk „St Valéry 10 juillet“. In Louis XV-Rahmen mit textilem Ausschnitt.Es ist ein reifes Werk von Boudin, von dem wir wissen, dass er noch 1898 ausstellte, und es zeigt die Essenz seines Schaffens: eine ruhige weite Flusslandschaft mit zentralperspektivisch zusammenlaufenden Ufern, die einerseits von Architekturen gesäumt, andererseits von einer Baumallee bewachsen sind. In dem ruhigen Wasser schimmern die Spiegelbilder der Ufer und verdoppeln so ihre Präsenz ins Flirrende.Eugène Boudin gilt als einer der bedeutenden Vorläufer des Impressionismus. Zehnjährig zog Boudin mit seiner Familie nach Le Havre, wo er später Maler wie Constant Troyon (1810-1865), Jean François Millet (1814-1875) und Eugène Isabey (1804-1886) kennenlernte. Sie ermutigten ihn, sich als Maler selbst zu verwirklichen, worauf er 22-jährig sein Ladengeschäft aufgab und sich ausschließlich als erfolgreicher Maler betätigte. 1851 studierte er in Paris, bevor er mehrere Studienreisen in Europa unternahm. Zu seinen Malerkollegen und Freunden gehörten Gustave Courbet (1819-1877) und Claude Monet (1840-1926). (†)Provenienz: Französische Privatsammlung. Literatur: Das hier angebotene Gemälde ist abgebildet in: Robert Schmit, Eugène Boudin (1824-1898). Catalogue raisonné de l‘oeuvre, Paris 1973, Bd. III, S. 88, Nr. 2808. Ausstellung: Yonkers, Hudson River Museum, September-November 1969, Nr. 24. (1321133) (13)Eugène Boudin,1824 Honfleur – 1898 DeauvilleENTRÉE DU PORT DE SAINT-VALÉRY-SUR-SOMME, 1891Oil on canvas.35 x 57 cm.Signed “E. Boudin” lower left, dated “91” and note “St Valéry 10 juillet”.Provenance: Private collection, France. Literature: The painting on offer for sale is illustrated in: Robert Schmit, Eugène Boudin (1824-1898), Catalogue raisonné de l’oeuvre, Paris, 1973, vol. III, p. 88, no. 2808.Exhibition: Yonkers, Hudson River Museum, September-November 1969, no. 24.
Lot 656
Eugène Boudin, 1824 Honfleur – 1898 DeauvilleLE BASSIN DU COMMERCE À BRUXELLES, 1871 Aquarell und Zeichnung auf Papier. 20,2 x 27,5 cm. Rechts unten signiert „E. Boudin“, verso betitelt und datiert. Im Passepartout, hinter Glas in vergoldetem Rahmen.Blick auf das nach hinten sich verjüngende Handelsbecken, das zur Seitenfassade der Kirche Sainte Catherine führt, und an dessen seitlichen Ufern unterhalb der eng stehenden Gebäude zahlreiche Boote und Segelschiffe liegen, deren Masten in den hohen gelblichen Himmel ragen. Dieser wird belebt durch eine Vogelschar, die einen beflaggten Mast umkreist. Zahlreiche Spiegelungen finden sich im Wasser wieder. Impressionistische Malerei in reduzierter Farbigkeit in der Manier des bekannten Künstlers. Als Freilichtmaler hat sich Boudin überwiegend in seiner angestammten Heimat mit Hafenlandschaften auseinandergesetzt. Er kam in Kontakt mit Malern wie Constant Troyon (1810-1865), Eugène Isabey (1804-1886) und Jean François Millet (1814-1875), die ihn zur Malerei ermutigten. Millet war es auch, der aus der Schule von Barbizon heraus bereits 1845 die Abkehr vom Akademismus einleitete, hin zu einer Philosophie, wie sie auch für Boudin gültig wurde, nämlich, dass die Natur, aus einem ersten Eindruck (Impression) erfahren werden kann, was schließlich der Kunstrichtung den Namen „Impressionismus“ verlieh. Nach dem Akademiestudium 1851 in Paris führten ihn Reisen nach Südfrankreich, Venedig und Flandern, aber immer wieder zurück in die Heimat in der Bretagne und der Normandie. Boudin gehört zu den frühen Freilichtmalern, deren Atelier nun in der freien Natur lag.Eugène Boudin gilt als einer der bedeutenden Vorläufer des Impressionismus. Zehnjährig zog Boudin mit seiner Familie nach Le Havre, wo er später Maler wie Constant Troyon (1810-1865), Jean François Millet (1814-1875) und Eugène Isabey (1804-1886) kennenlernte. Sie ermutigten ihn, sich als Maler selbst zu verwirklichen, worauf er 22-jährig sein Ladengeschäft aufgab und sich ausschließlich als erfolgreicher Maler betätigte. 1851 studierte er in Paris, bevor er mehrere Studienreisen in Europa unternahm. Zu seinen Malerkollegen und Freunden gehörten Gustave Courbet (1819-1877) und Claude Monet (1840-1926).Provenienz: Mareschal Paris. Galerie Schmit, Paris. Edouard & Jeannine Chapet, Paris (1872 von oben erworben). Ausstellung: Galerie Schmit, Paris, Aspects de la peinture francaise XIXe-XXe siècles, 1978, abgebildet im Katalog, S. 72, Nr. 66. (1320391) (18)Eugène Boudin,1824 Honfleur – 1898 DeauvilleLE BASSIN DU COMMERCE À BRUXELLES, 1871Watercolour and drawing on paper.20.2 x 27.5 cm.Signed “E. Boudin” lower right, titled, and dated on the reverse.Provenance:Mareschal, Paris. Galerie Schmit, Paris. Edouard & Jeannine Chapet, Paris (1872 purchased from above).Exhibition:Galerie Schmit, Paris, Aspects de la peinture française XIXe-XXe siècles, 1978, illustrated in cat. p. 72, no. 66
Lot 665
Blanche Hoschedé-Monet, 1865 Paris – 1947 Giverny Die Malerin war Stieftochter und gleichzeitig Schwiegertochter von Claude Monet und stark von diesem beeinflusst.GIVERNY, LE JARDIN Öl auf Leinwand. 73 x 60,5 cm. In vergoldetem Prunkrahmen mit Namensplakette der Künstlerin.Mit Echtheitszertifikat BHM 19-1 von Philippe Piguet, Paris vom 7. April 2015. Blick in den blühenden Garten von Giverny in prächtiger Farbenvielfalt mit schmalem beigen Weg bei strahlendem Sonnenschein. Im Vordergrund weiß-violett blühende Stiefmütterchen, dahinter ein großer Busch mit Margeriten und daneben einige Rosen, im Hintergrund entlang des Weges bläuliche Bepflanzung und diverse Sträucher und den Himmel fast verdeckende Bäume in differenzierten Grüntönen. Farbenfroher Pinselduktus im Stil des Impressionismus.Provenienz: Auktion Sotheby‘s, London, vom 25. Juni 2015, Lot 423. (1302162) (18)Blanche Hoschedé-Monet,1865 Paris – 1947 GivernyGIVERNY, LE JARDINOil on canvas.73 x 60.5 cm.With certificate of authenticity BHM 19-1 by Philippe Piguet, Paris dated 7 April 2015.Provenance:Auction Sotheby’s, London, 25 June 2015, lot 423.
Lot 466
Utagawa Hiroshige 歌川広重 (JAPAN, 1797-1858) ‘Cherry-blossom Viewing at Goten-yama’ (Goten-yama hanami no zu) 1843–47 (Tenpo 14–Koka 4) Oban yoko-e woodblock print From the series Famous Places in the Eastern Capital (Tôto meisho 東都名所) Dimensions (the leaf): 36,5 x 24,7 cm Catalogue raisonné: Sakai, Hiroshige Edo fûkei (1996), list #72.6, pls. 687-688; Ukiyo-e shûka 14 (1981), Hiroshige list, p. 244, horizontal ôban #72.06; Matsuki 1939, #105. Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Notes: Utagawa Hiroshige, was a Japanese ukiyo-e artist, considered the last great master of that tradition. He is best known for his horizontal-format landscape series ‘The Fifty-three Stations of the Tōkaidō’ and for his vertical-format landscape series ‘One Hundred Famous Views of Edo’. The subjects of his work were atypical of the ukiyo-e genre, whose typical focus was on beautiful women, popular actors, and other scenes of the urban pleasure districts of Japan's Edo period (1603–1868). For scholars and collectors, Hiroshige's death marked the beginning of a rapid decline in the ukiyo-e genre, especially in the face of the westernization that followed the Meiji Restoration of 1868. Hiroshige's work came to have a marked influence on western European painting (see, inter alia, Manet and Monet) towards the close of the 19th century as a part of the trend in Japonism. 2. Compare with a related print preserved in the collection of the Museum of Fine Arts (MFA) of Boston, USA, under accession number 21.9852. Click HERE to see the related print. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
Lot 467
Utagawa Hiroshige 歌川広重 (JAPAN, 1797-1858) Kyoto: The Imperial Palace (Kyô, Dairi 京内裏) 1840-42 Chuban yoko-e woodblock print From the series of ‘53 stations of Tokaidō’ (Tôkaidô gojûsan tsugi 東海道五十三次) Printer: Minakuchi Dimensions (the leaf): 21,4 x 15,5 cm Catalogue raisonné: Ukiyo-e shûka 14 (1981), Hiroshige list, p. 236, horizontal chûban #24.56. Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Notes: Utagawa Hiroshige, was a Japanese ukiyo-e artist, considered the last great master of that tradition. He is best known for his horizontal-format landscape series ‘The Fifty-three Stations of the Tōkaidō’ and for his vertical-format landscape series ‘One Hundred Famous Views of Edo’. The subjects of his work were atypical of the ukiyo-e genre, whose typical focus was on beautiful women, popular actors, and other scenes of the urban pleasure districts of Japan's Edo period (1603–1868). For scholars and collectors, Hiroshige's death marked the beginning of a rapid decline in the ukiyo-e genre, especially in the face of the westernization that followed the Meiji Restoration of 1868. Hiroshige's work came to have a marked influence on western European painting (see, inter alia, Manet and Monet) towards the close of the 19th century as a part of the trend in Japonism. 2. Compare with a related print preserved in the collection of the Museum of Fine Arts (MFA) of Boston, USA, under accession number 11.39923. Click HERE to see the related print. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
Lot 468
Utagawa Hiroshige 歌川広重 (JAPAN, 1797-1858) Acts #-2, #3, #4, #5, #6 and #8 1847–52 (Koka 4–Kaei 5) A suite of six (6) oban yoko-e woodblock prints From the series of ‘The Storehouse of Loyal Retainers’ (Chûshingura 忠臣蔵) Dimensions (each leaf, average): 34,5 x 22,7 cm Catalogue raisonné: Ukiyo-e shûka 14 (1981), Hiroshige list, p. 245, horizontal ôban #52.02, #52.03, #52.04, #52.05, #52.06 and #52.08 Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Notes: 1. Utagawa Hiroshige, was a Japanese ukiyo-e artist, considered the last great master of that tradition. He is best known for his horizontal-format landscape series ‘The Fifty-three Stations of the Tōkaidō’ and for his vertical-format landscape series ‘One Hundred Famous Views of Edo’. The subjects of his work were atypical of the ukiyo-e genre, whose typical focus was on beautiful women, popular actors, and other scenes of the urban pleasure districts of Japan's Edo period (1603–1868). For scholars and collectors, Hiroshige's death marked the beginning of a rapid decline in the ukiyo-e genre, especially in the face of the westernization that followed the Meiji Restoration of 1868. Hiroshige's work came to have a marked influence on western European painting (see, inter alia, Manet and Monet) towards the close of the 19th century as a part of the trend in Japonism. 2. Compare with two related prints, #4 and #5, preserved in the collection of the Museum of Fine Arts (MFA) of Boston, USA, under accession numbers 06.897 and 21.9390. Click HERE and HERE to see the related prints. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
Lot 469
AFTER Utagawa Hiroshige 歌川広重 (JAPAN, 1797-1858) ‘Awa Province: Naruto Whirlpools’ (Awa, Naruto no fûha 阿波鳴門の風波) First published in 1855, Second half of 20th century Ōban tate-e woodblock print From the series ‘Famous Places in the Sixty-odd Provinces [of Japan]’ ([Dai Nihon] Rokujûyoshû meisho zue 六十余州名所図絵) Dimensions (the leaf): 39,3 x 27 cm Catalogue raisonné: Jansen, Hiroshige's Journey (2004), #55; Ukiyo-e shûka 14 (1981), Hiroshige list, p. 249, ôban #64.03. Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Notes: Utagawa Hiroshige, was a Japanese ukiyo-e artist, considered the last great master of that tradition. He is best known for his horizontal-format landscape series ‘The Fifty-three Stations of the Tōkaidō’ and for his vertical-format landscape series ‘One Hundred Famous Views of Edo’. The subjects of his work were atypical of the ukiyo-e genre, whose typical focus was on beautiful women, popular actors, and other scenes of the urban pleasure districts of Japan's Edo period (1603–1868). For scholars and collectors, Hiroshige's death marked the beginning of a rapid decline in the ukiyo-e genre, especially in the face of the westernization that followed the Meiji Restoration of 1868. Hiroshige's work came to have a marked influence on western European painting (see, inter alia, Manet and Monet) towards the close of the 19th century as a part of the trend in Japonism. 2. Compare with a related print, dating to 1855, preserved in the collection of the Museum of Fine Arts (MFA) of Boston, USA, under accession number 11.26257. Click HERE to see the related prints. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
Lot 470
AFTER Utagawa Hiroshige 歌川広重 (JAPAN, 1797-1858) ‘Kai Province: Monkey Bridge’ (Kai, Saruhashi 甲斐さるはし) First published in 1853, Second half of 20th century Ōban tate-e woodblock print From the series ‘Famous Places in the Sixty-odd Provinces [of Japan]’ ([Dai Nihon] Rokujûyoshû meisho zue 六十余州名所図絵) Dimensions (the leaf): 39,6 x 25,8 cm Catalogue raisonné: Jansen, Hiroshige's Journey (2004), #13; Ukiyo-e shûka 14 (1981), Hiroshige list, p. 249, ôban #64.23. Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Notes: Utagawa Hiroshige, was a Japanese ukiyo-e artist, considered the last great master of that tradition. He is best known for his horizontal-format landscape series ‘The Fifty-three Stations of the Tōkaidō’ and for his vertical-format landscape series ‘One Hundred Famous Views of Edo’. The subjects of his work were atypical of the ukiyo-e genre, whose typical focus was on beautiful women, popular actors, and other scenes of the urban pleasure districts of Japan's Edo period (1603–1868). For scholars and collectors, Hiroshige's death marked the beginning of a rapid decline in the ukiyo-e genre, especially in the face of the westernization that followed the Meiji Restoration of 1868. Hiroshige's work came to have a marked influence on western European painting (see, inter alia, Manet and Monet) towards the close of the 19th century as a part of the trend in Japonism. 2. Compare with a related print, dating to 1853, preserved in the collection of the Museum of Fine Arts (MFA) of Boston, USA, under accession number 11.26224. Click HERE to see the related print. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
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