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Lot 751
* JOHN MACLAUCHLAN MILNE RSA (SCOTTISH 1885 - 1957) A BREEZY DAY oil on canvas, signedframedimage size 41cm x 50.5cm, overall size 57cm x 67cm Provenance: With James Connell & Sons, Glasgow; Private CollectionNote: Seeing Cezanne's work for the first time was a eureka moment for Milne who until then had painted much like his father in a sedate and traditional style. He discovered a completely new freedom and walked the streets and sights of Paris painting what he saw, en plein air and with rapid, bold brush strokes. Above all, he discovered ''colour''. By 1922/3 he had moved to the French village of Lavardin and by 1924 he was in Cassis with Peploe, Cadell and Duncan Grant. Milne is often referred to as ''the fifth Scottish Colourist'' and yet his quality is at least the equal of much of the output of the other four. As well as enjoying the company of the Scottish Colourists and exhibiting alongside them, Milne shared many of their patrons. William Boyd, the Managing Director of Keiller’s marmalade firm, became one of his most important patrons. In Boyd’s home at Claremont, several works by William McTaggart, Peploe, Hunter and Milne were displayed. His collection of French paintings included Monet, Sisley, Van Gogh, Matisse, Bonnard, Vuillard and de Segonzac. Alexander Keiller, head of the marmalade firm, was another important patron. He paid Milne a stipend – so that he could spend the summers in France – in return for paintings. The collector, Matthew Justice, was a close friend of George Leslie Hunter as well as being his agent during the 1920s. Justice owned around a dozen of Milne’s paintings; his sitting-room was hung exclusively with works by Peploe and Milne and his drawing-room contained eleven Peploes, three Marchands, one Hunter and five Milne’s. The Justice collection also included works by Vuillard, de Segonzac, Moreau and Matisse. Justice was friends with William Boyd and James Tattersall, another important patron of Milne. Even though Milne's paintings were widely exhibited in his lifetime at the very best venues to great success, it's probably because he never established a long term relationship with any one gallery or dealer that his paintings have been undervalued for many years. It took until 1987 before the first Milne painting reached the £20,000 mark at auction when ''Busy Paris Street Scene with Figures (1922)'' was sold by Christie's, Glasgow (lot 664, 28th April 1987 £20,000 hammer). The John Maclauchlan Milne Estate is now represented by Tom Hewlett's Portland Gallery (London) and unsurprisingly, his profile and values have been growing. A major exhibition ''Milne And The Colourist Connection'' was staged at Portland Gallery (London) 21st September -13th October 2017. On 30th August 2017 we sold "A Paris Scene (a 35cm x 26.5cm oil on panel) for £25,000 (hammer) and in The Scottish Pictures Auction of 24th September 2021 lot 2005 (Green Pool, Iona) sold for £29,000 (hammer). On 17th April 2022, lot 213 "Cafe Paris" (a 25.5 x 34cm oil on board) sold in The Scottish Pictures Auction for £30,000 (hammer).
Lot 458
* DOROTHEA SHARP ROI RBA (BRITISH 1874 - 1955), STILL LIFE OF FLOWERS IN A VASE oil on board, signed,framedimage size 61cm x 51cm, overall size 72cm x 62cmNote: Dorothea Sharp was born on 10th January 1873 into a Quaker family in Dartford, Kent. The family timber business had been established since 1800 and its success afforded Dorothea a certain financial comfort and independence and even though her parents did not really approve, Dorothea wanted to be an artist from an early age. She enrolled at the Richmond School of Landscape Painting in 1894 under the tutelage of Charles Edward Johnson (1832-1913). Preferring to work in oil, she spent much of her time painting outside making rapid notes in her sketchbook, which she worked up later in the studio. This was to be a method which she refined throughout her career and was ideally suited to her style and choice of subject. Shortly after the untimely death of her father in March 1900, Dorothea set off for Paris with her mother Emily. Here she saw first-hand the work of the Impressionists and in particular that of Claude Monet (1840-1926) which was to have a profound and lasting effect on her work. She wrote in The Student's Book of Oil Painting, published in 1947: 'I think the young painters of this decade little realize what we owe to those great masters of The French Impressionist School.' Sharp also came to know and love the work of some of the American painters who were in Paris at the same time, notably Frank Weston Benson (1862-1951) and Carl Frieseke (1874-1939). Upon her return to England, her reputation grew and the bright and bold depictions of children playing feeding ducks, playing at the seaside or picking flowers became more and more popular. Her colourful compositions were ideal for use as posters, which by the 1930s had become an effective and popular form of advertising. By the 1940s Sharp was famous; she had exhibited widely at many leading galleries (and over a period of 47 years at the Royal Academy alone) and her work had been purchased by an admiring public throughout the Empire. She had travelled extensively from the south of France to Algiers and from St Ives (where she spent the war years with her companion Marcella Smith) to Sussex and her circle of friends included many of the leading artists of the day. Sharp's paintings were in many ways unique, but also reflected the changing style of the times. Her rapid, confident brushstrokes were almost sculptural in the way the paint was applied to canvas, but always bound together by an innate understanding and love of colour. Weakening eyesight and creeping arthritis had begun to take their toll by the 1950s and Dorothea and Marcella moved into Blomfield Road where she died on 17th December 1955.
Lot 936
CHRISTIAN DIOR; a gold tone long link chain necklace with faux pearl detail, length 96cm, and gold tone Monet link bracelet, long link chain bracelet and a pair of gold tone drop faux pearl earrings in a black Furla jewellery case.Condition Report: The Dior chain has some signs of wear to some of the links of the gold tone chain and the faux pearls have some chipping lacquer but otherwise good condition.
Lot 944
SWAROVSKI; a quantity of jewellery including seven sterling silver and crystal rings, two sets of earrings and two starfish brooches, a Swarovski zirconia silver emerald cut pendant with silver chain, both marked 925, boxed, an M Frey Wille enamel gold tone ring with Gustav Klimt design, boxed, a Monet large crystal silver tone ring and a green and clear crystal stick pin.
Lot 1651
A group of paintings and inlaid boards to include: David Betteridge (20th century) - Field view with barns in the distance (1982), signed and dated lower right, 25 x 30 cm; two abstract acrylic paintings by the same artist and one other; a watercolour and two oil landscapes by different artists; After Claude Monet - 'Mohnblumen bei Argenteuil', printed porcelain plaque; with two inlaid wooden plaques including 'Arsenal' emblem, made in Sorrento, 70 x 48 cm (10)
Lot 159
A limited edition print by Neil Allen entitled River Crossing, signed in pencil and numbered by the artist and two further prints after Monet and Degas, largest approximately 66 cm x 85 cm. [3]. [W] NOTE: THIS LOT IS NOT AVAILABLE FOR IN HOUSE SHIPPING, PLEASE CONTACT CLIENT SERVICES FOR A LIST OF SUITABLE COURIERS AND A QUOTE.
Lot 124
Monet hinged cuff with a shell design. Napier Elongated link chain bracelet. Sarah Coventry wreath brooch with leaves and faux pearls. AJC Snowflake brooch polished and matte finish. Chain bracelet: 6.50"L. Bangle: 6.25"cir. Issued: 20th centuryCountry of Origin: United StatesCondition: Age related wear.
Lot 128
Open circle gold tone brooch with square and circle design and decorative edge. Inset each shape is a faceted crystal. The clip back hoop earrings are gold tone with square crystals set in. Brooch backstamp Monet. Earring backstamp Swarovski Swan hallmark. Brooch: 1.50"dia. Earring: 1"L x0.25"W. Issued: 20th centuryCountry of Origin: United StatesCondition: Age related wear.
Lot 184
A Hallmarked Silver Wedgwood Jasperware Brooch, the blue insert depicting cherubs in a lion drawn chariot; together with a Celtic style stone set ring stamped "SILVER", a horseshoe bar brooch, carved shell cameo ring, novelty charm bracelet, glass bead necklace (for restringing/repair), Monet gilt coloured hoop earrigngs, gents cufflinks etc, together with a Medana ladies wristwatch, the signed dial to expanding bracelet :- One Box
Lot 38
Frances Judith Turton (British, 1946-2023) Poppy Fields III, 1991 Oil on wove Signed lower right Framed Measures approx. 80cm x 60cm (31.5" x 23.5") Judith, as she preferred to be called, lived in Ramsgate, Kent, a gifted artist whose work was accepted and sold by the Mall Galleries, London. Her primary influences were works by Monet and the Abstract Expressionist Movement of the mid 20th century, she also took much inspiration from the Kent Coast where she spent most of her working life. An artist who deserved great success and now is considered to be an 'unsung hero'. Offered here is an example of her few remaining works, a picture she displayed and hung in her own home and kept for her personal enjoyment, thus making it both poignant and personal. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 49
Frances Judith Turton (British, 1946-2023) Untitled Oil on board Unsigned Framed (damaged) Measures approx. 90cm x 120cm (36" x 47") Judith, as she preferred to be called, lived in Ramsgate, Kent, a gifted artist whose work was accepted and sold by the Mall Galleries, London. Her primary influences were works by Monet and the Abstract Expressionist Movement of the mid 20th century, she also took much inspiration from the Kent Coast where she spent most of her working life. An artist who deserved great success and now is considered to be an 'unsung hero'. Offered here is an example of her few remaining works, a picture she displayed and hung in her own home and kept for her personal enjoyment, thus making it both poignant and personal. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 26
Frances Judith Turton (British, 1946-2023) September Blue Mixed on board Unsigned Unframed Unglazed Measures approx. 122cm x 152cm Judith, as she preferred to be called, lived in Ramsgate, Kent, a gifted artist whose work was accepted and sold by the Mall Galleries, London. Her primary influences were works by Monet and the Abstract Expressionist Movement of the mid 20th century, she also took much inspiration from the Kent Coast where she spent most of her working life. An artist who deserved great success and now is considered to be an 'unsung hero'. Offered here is an example of her few remaining works, a picture she displayed and hung in her own home and kept for her personal enjoyment, thus making it both poignant and personal.
Lot 317
Hand painted box featuring the most famous Monet Japanese Bridge over the water lily pond. Painted in a 24k gold surround. The interior has Monet's famous straw hat. Atelier De Limoges Peint Main backstamp. Dimensions: 2.75"L x 1.75"W x 0.75"HCountry of Origin: FranceCondition: Age related wear.
Lot 521
FIVE DECORATIVE PAINTINGS AND PRINTS, comprising two John Coy coastal landscape oil on board paintings, both signed and dated (19)83, largest approximately 30cm x 91cm, two signed Terrence Cuneo railway prints - Ffestiniog Workhorses and Cornish Riviera Express (Riviera Express is faded) and a painting after Monet 'Pleasure Boats' signed H. Hawkings (19)78
Lot 23
Claude Monet (1840–1926) was a French painter and one of the leading figures of the Impressionist movement. He is renowned for his innovative approach to capturing light and atmosphere in his paintings, especially in his series of works depicting the same subject under different conditions.Key points about Claude Monet include:1. **Early Life and Artistic Training:** Monet was born on November 14, 1840, in Paris, France. He showed an early interest in art and began his formal training at Le Havre secondary school of the arts. He later studied in Paris, where he met other artists who would become fellow Impressionists.2. **Impressionist Movement:** Monet was a key figure in the Impressionist movement, which emerged in the 19th century as a reaction against academic conventions. The Impressionists aimed to capture the fleeting effects of light and atmosphere, often using loose brushstrokes and vibrant colors.3. **Innovations in Technique:** Monet's innovative techniques included en plein air painting (outdoors), capturing the effects of changing light and weather. His use of broken brushstrokes and a focus on color over detail became hallmarks of the Impressionist style.4. **Series Paintings:** Monet is well-known for his series paintings, where he depicted the same subject in different lighting conditions or seasons. Famous series include "Water Lilies," "Haystacks," "Rouen Cathedral," and "Poplars."5. **Giverny:** Monet lived in Giverny, a small village in Normandy, from 1883 until his death. He cultivated beautiful gardens there, which served as inspiration for many of his later works, particularly the series on water lilies and Japanese footbridges.6. **Japanese Influence:** Monet, like many of his contemporaries, was influenced by Japanese art. He collected Japanese prints and integrated elements of Japanese composition and design into his own work.7. **Exhibitions and Recognition:** Monet exhibited his works at the official Salon in Paris but faced rejection and criticism early in his career. As the Impressionist movement gained recognition, he became celebrated, and his works were exhibited in independent Impressionist exhibitions.8. **Late Years:** In his later years, Monet suffered from cataracts, which affected his vision. Despite this, he continued to paint prolifically. His late works are characterized by a more abstract and expressive style.9. **Legacy:** Claude Monet's influence on modern art is immense. His dedication to capturing the transient qualities of light, his revolutionary techniques, and his commitment to exploring the same subject in various conditions inspired generations of artists.Claude Monet passed away on December 5, 1926, in Giverny, France. Today, his works are celebrated worldwide, and his contributions to the art world continue to be studied and appreciated.Measures 24 x 36.Sold "after" Monet.
Lot 1069
Walter Launt Palmer (1854–1932) was an American Impressionist painter known for his landscapes, particularly scenes of winter and snow-covered landscapes. He was born on November 18, 1854, in Albany, New York.Key points about Walter Launt Palmer include:1. **Artistic Background:** Walter Palmer came from a prominent Albany family. His father, Erastus Dow Palmer, was a well-known sculptor. Walter initially studied art with his father before attending the National Academy of Design in New York City.2. **Impressionist Influences:** Palmer was influenced by the Impressionist movement, particularly the works of French Impressionists like Claude Monet. He adopted the loose brushwork and emphasis on light and color characteristic of the Impressionist style.3. **Winter Landscapes:** Palmer became especially known for his winter landscapes. His scenes of snow-covered streets, houses, and parks are celebrated for their tranquility and the way he captured the effects of sunlight on snow.4. **Subject Matter:** In addition to winter scenes, Palmer painted a variety of subjects, including landscapes, portraits, and interiors. He often depicted scenes from his daily life and surroundings.5. **Exhibitions and Recognition:** Palmer exhibited his works at various prestigious venues, including the National Academy of Design and the Paris Salon. His paintings received positive reviews, and he gained recognition for his contributions to American Impressionism.6. **Membership in Art Organizations:** Palmer was a member of several art organizations, including the American Water Color Society, the Salmagundi Club, and the Society of American Artists.7. **Teaching Career:** In addition to his painting career, Palmer taught art. He was involved in art education in Albany and later became an instructor at the Art Students League in New York City.8. **Legacy:** Walter Launt Palmer's legacy lies in his ability to capture the beauty of winter landscapes and his contributions to the American Impressionist movement. His works are held in various museum collections.Walter Launt Palmer passed away on May 16, 1932, in Albany, New York. Today, his paintings are admired for their atmospheric quality and the way he depicted the serene and often nostalgic aspects of the winter season.Measures 24 x 36 (image), 28.5 x 40.5 (framed).Sold "after" Palmer.
Lot 6
Alfred Sisley (1839–1899) was an English-born Impressionist painter who spent much of his life in France and became a prominent figure within the Impressionist movement. He was born in Paris to British parents and retained British citizenship throughout his life. Sisley's family sent him to London to study business, but he soon abandoned that pursuit to pursue his passion for art.Sisley became associated with the Impressionist movement in the 1860s and formed close friendships with fellow Impressionist painters, including Claude Monet, Pierre-Auguste Renoir, and Frédéric Bazille. Like his contemporaries, Sisley sought to capture the effects of light and atmosphere in his paintings, often depicting landscapes, river scenes, and cityscapes.One of Sisley's notable contributions to Impressionism was his focus on the changing effects of weather and light on the natural world. His works often featured scenes along the Seine River, particularly in and around the town of Moret-sur-Loing.Some well-known paintings by Alfred Sisley include "Snow at Louveciennes," "The Bridge at Moret-sur-Loing," and "Flood at Port-Marly." Despite facing financial struggles during his lifetime, Sisley's contributions to the Impressionist movement are now recognized and appreciated, and his works are displayed in major art museums around the world.Measures 6.5 x 7.5 x 1.0.
Lot 442
Claude Monet (1840–1926) was a French painter and a leading figure in the Impressionist art movement. He was born on November 14, 1840, in Paris, France, and became one of the most influential artists of the 19th and early 20th centuries.Monet's early works were characterized by a Realist style, but he later became a central figure in the Impressionist movement, which was known for its emphasis on capturing the effects of light and atmosphere in outdoor scenes. The term "Impressionism" itself is derived from one of Monet's paintings, "Impression, Sunrise," which was exhibited in 1874 and is considered a seminal work in the movement.One of Monet's notable practices was to paint the same subject at different times of the day and under varying light conditions. This can be seen in his famous series paintings, including the Water Lilies series, Haystacks series, and Rouen Cathedral series. These series showcased his mastery in capturing the changing play of light and color.Monet was a key figure in the development of plein air painting, where artists painted outdoors rather than in a studio, enabling them to capture the fleeting effects of natural light. His use of loose brushstrokes and emphasis on color over detail were groundbreaking and had a profound influence on the course of modern art.Monet continued to paint and produce art until the end of his life. He lived in Giverny, where he created his well-known water garden, which became a major source of inspiration for his later works, particularly the Water Lilies series. Claude Monet passed away on December 5, 1926, but his legacy endures, and his contributions to the world of art continue to be celebrated worldwide.Measures 40 x 60 (image), 48 x 68 (framed).Sold "after" Monet.Oil on canvas.
Lot 192
Utagawa Hiroshige (1797–1858), also known as Ando Hiroshige, was a Japanese ukiyo-e artist of the Edo period. He is considered one of the last great masters of the ukiyo-e tradition, which focused on woodblock prints and paintings depicting scenes from everyday life, landscapes, and kabuki theater.Key points about Hiroshige:1. **Early Life:** Hiroshige was born in 1797 in Edo (modern-day Tokyo), Japan. He initially worked as a fire warden but later pursued a career in art.2. **Ukiyo-e Tradition:** Ukiyo-e, which translates to "pictures of the floating world," was a popular genre of art in Edo-period Japan. Hiroshige became renowned for his contributions to landscapes within this tradition.3. **Fifty-Three Stations of the Tōkaidō:** One of Hiroshige's most famous series is the "Fifty-Three Stations of the Tōkaidō." This series depicts scenes along the Tōkaidō, the main highway between Edo and Kyoto. It was a popular subject for artists, and Hiroshige's interpretation is considered a masterpiece.4. **One Hundred Famous Views of Edo:** Another notable series by Hiroshige is "One Hundred Famous Views of Edo," showcasing scenes of Edo (Tokyo). This series demonstrates his skill in capturing the changing seasons and atmospheric effects.5. **Influence on Western Art:** Hiroshige's works had a significant impact on Western art, especially during the late 19th century when Japanese woodblock prints became popular in Europe. Artists such as Vincent van Gogh and Claude Monet were influenced by Hiroshige's compositions and use of color.6. **Later Works and Death:** Hiroshige continued to produce art throughout his career, creating numerous series and prints. He passed away on October 12, 1858, in Edo.7. **Legacy:** Hiroshige's legacy extends beyond his lifetime. His innovative compositions, masterful use of color, and ability to capture the essence of nature and everyday life left a lasting impact on the world of art. His work is celebrated for its beauty, precision, and contribution to the ukiyo-e tradition.Hiroshige's prints are highly collectible, and his influence on the development of Western art movements, such as Impressionism, further solidifies his place in art history.Measures 24 x 36. Sold "after' Hiroshige.
Lot 530
Charles François Prosper Guérin, 1875 Sens – 1939 ParisKOKOTTENÖl auf Leinwand.65 x 81 cm.Links unten signiert „Ch. Guerin“.In einem großen französischen Café eine sitzende Kokotte in weißem Kleid mit tiefem Dekolleté und großem Hut, hinter ihr die beleuchtete Bar mit Flaschen und einem eleganten stehenden Ober mit Fliege. Vor ihr an der Brüstung zwei weitere, elegant vorbeistolzierende Kokotten mit großen, Feder geschmückten Hüten.Das Werk des Künstlers zeichnet sich aus durch den lebhaften Umgang mit Farbe und Pinsel, der einst als frivol bezeichnet wurde. Er nutzte eine Palette leuchtender Farben, meist aufgetragen in kurzen Strichen in impressionistischer Manier. Guérin war ein Schüler des französischen Symbolisten Gustave Moreau. Er war Bewunderer des Werks der Impressionisten Monet und Renoir, insbesondere aber des Postimpressionisten Cézanne. (1391613) (18))
Lot 520
Paul César Helleu, 1859 – 1927Helleu war auf Portraits spezialisiert und war mit James Abbot, McNeill Whistler, John Singer Sargent und auch mit Claude Monet befreundet.JEUNE FEMME ÉLÉGANTE SUR LE PONT DU BIRD, UM 1900Öl auf Leinwand.81,3 x 60 cm.Links unten signiert „Helleu“.In Profilrahmen.Der große Maler und Meister der Dry-Point-Etchings von denen wir in dieser Auktion zwei Exemplare anbieten, war auf Portraits spezialisiert und war mit James Abbott, McNeill Whistler, John Singer Sargent und auch mit Claude Monet befreundet. Zunächst portraitierte er seine Frau Alice Guérin (1869 -1921), die stets sein Lieblingsmodell blieb, doch schon bald avancierte er zum modischen Portraitmaler- und grafiker. Helleu war vom Meer begeistert und als Segler verbringt er die meiste Zeit auf einem Boot, auf dem er sich von der neuesten Damenmode und der Meereslandschaft inspirieren lässt. Helleus Stil, der sich durch Eleganz und weibliche Anmut auszeichnet, ist sowohl in Paris als auch in London und New York gefragt, wohin er ab 1902 reist und wo auch heute noch zahlreiche Sammler seine Werke schätzen.Provenienz:Christie´s, 25. November 1988, Lot 76.Privatsammlung Paris.Anmerkung:Les Amis de Paul-César Helleu, Werkverzeichnisnummer: APCH HU2-1560.Literatur:F. De Watrigant, Paul -César Helleu, Paris, 2014, S. 217, Farbabbildung auf Seite 216. (1391508) (13) (†)Paul César Helleu,1859 – 1927JEUNE FEMME ÉLÉGANTE SUR LE PONT DU BIRD, CA. 1900Oil on canvas.81.3 x 60 cm.Signed “Helleu” lower left.Provenance:Christie´s, 25 November 1988, lot 76.Private collection, Paris.Notes:Les Amis de Paul-César Helleu, catalogue raisonné: APCH HU2-1560.Literature:F. de Watrigant, Paul-César Helleu, Paris 2014, p. 217, colour ill. on p. 216.
Lot 566
Paul Camille Guigou, 1834 – 1871 ParisFRANZÖSISCHE KÜSTENLANDSCHAFT MIT BLICK AUF DAS RUHIGE MEERÖl auf Leinwand.24 x 35 cm.Rechts unten signiert „Paul Guigou“.In vergoldetem Rahmen.Linksseitig der große, mit Grün bewachsene Küstenstreifen, dessen helle, fast weiße Felsen ins Meer ragen, auf dem lediglich ein kleines Segelboot erkennbar ist. Die Ansicht, die stilistisch durch die Schule von Barbizon, Gustave Courbet und die Impressionisten beeinflusst ist, gibt wohl die Landschaft bei Marseille oder der Côte d´Azur in Südfrankreich wieder.Guigou wurde in Marseille von dem Maler Émile Loubon unterrichtet und stellte erstmals 1859 Gemälde aus. 1863 zog er nach Paris, wo er im Salon de Paris ausstellte. Ab 1865 war er Mitglied der Künstlergemeinschaft Société des aquafortistes. Zu seinen Bekannten gehörten Landschaftsmaler wie Jean-Baptiste Camille Corot und Charles-Francois Daubigny, später in Paris auch Claude Monet, Alfred Sisley und Camille Pissaro. Kleine Rest. (13906714) (18))
Lot 81
A quantity of costume jewellery and other items, mainly late 20th Century brooches, earrings, necklaces, bracelets and pendants to include a Kaiser porcelain pendant, simulated pearl necklaces, a Royal Worcester porcelain pendant in gold tone mount, a glass 'sweetie' pendant, a Sphinx bow brooch, a Dyrberg Kern silver tone charm, dress rings, a thimble, a Sphinx gold tone and blue stone tablet bracelet, a small Stratton pill box and a Monet silver tone and mother of pearl tablet bracelet. Location:R1.3
Lot 217
A quantity of modern costume jewellery, mainly bead necklaces and vintage brooches to include a black Wedgwood example, a Mexican white metal circular brooch, 1980's Masj example, a Sarah Coventry silver tone circular brooch, a Movitex gold tone and white crystal example, a Monet silver tone rope twist brooch, a Miracle silver tone and purple stone brooch, a French I Test International enamelled brooch by Decat, Paris, together with a Carronade gold tone ladies cocktail watch, a 'Danish Design' silver tone bracelet and a Contemporary Rotary stainless steel ladies bangle watch and another. Location:RAB
Lot 337
Wynford Dewhurst RBA (1864-1941) An apple tree branch in blossomsigned lower left 'WYNFORD DEWHURST'oil on canvas53 x 72cmBorn in Manchester as Edward Thomas Smith, the artist changed his name to Wynford Dewhurst whilst studying at the École des Beaux-Arts in Paris. It was in France that he likewise transformed his artistic style from the traditional academic approach of his first teacher, Jean-Léon Gérôme, to the radical Impressionism of Claude Monet. Monet became Dewhurst's most significant mentor and inspiration, as demonstrated by the present painting. Dewhurst dedicated his pioneering account, 'Impressionist Painting: its genesis and development', to Monet; this was the first study of the movement to be published in Britain, in which Dewhurst argued that Impressionism was indebted to the painterly innovations of Turner and Constable. Like water-lilies for Monet, trees in blossom were a favourite subject of Dewhurst who painted numerous variations of the subject. A closely comparable version of the present picture was sold at Christie's, London, 9th June 2000, Lot 77.The painting is executed in oil on canvas support which is unlined. The canvas tension is slightly slack and there are minor undulations around the edges. The paint layers are in a very good condition overall. There is a thin, uneven varnish layer which is artist applied and a light dust layer.Framed 69 x 87cm
Lot 23
12 KunstbücherA. Schlombs, Hiroshige, Taschen, 2010; Joan Miro - La Naissance du monde, Centre Pompidou, 2004; U. Gauss, Marc Chagall - Die Lithographien, Hatje, 1998; H.O. Corfirato - Pranesi Compositions, Tiranti, 1951; S. Rosenthal, Die Nacht, Benteli, 1998; Die Familie Giacometti - Das Tal, die Welt, Mazzotta, 2000; E. Bernard, Erinnerungen an Paul Cézanne, Schwabe, 1917; K. Passuth, Treffpunkte der Avantgarden, 2003; J. Baal-Teshuva - Chagall, Taschen, 2003; O. Berggruen, Yves Klein, Cantz, 2004; C. v. Holst, Claude Monet, Staatsgalerie, 2006; P. Hulten - Niki de Saint Phalle, Hatje, 1995. Altersspuren.
Lot 484
A collection of vintage gold, silver and costume jewellery, and wristwatches, a carved floral crystal on a 9 carat yellow gold flat curb link chain 45cm long, 2.4g; a 935 white metal 40mm paste set floral spray brooch; a turquoise coloured scarab brooch; a rectangular emerald cut smoky quartz white metal dress ring; freshwater and simulated pearls; green plastic bangles; a pair of 9 carat yellow gold paste set horseshoe earscrews; a silver curb link bracelet with various coins; a silver heart shaped locket and chain; gilt metal and wooden necklaces; a Monet gilt brooch; and ladies' quartz wristwatches.Condition report:The ring with the single simulated pearl is not gold.
Lot 1030
Jonathan Harris - A contemporary studio glass vase in the Monet pattern, of compressed ovoid form with wide flat rim, with decoration inspired by Monet's The Bridge Over the Water Lily Pond, whiplash trails in green and yellow and petrol iridescent spotting over the opal ground, engraved signature, height 23cm.
Lot 96
A collection of costume jewellery including Monet gold plated tassel necklace; another gold plated lavalier necklace; other yellow metal chains; two wristwatches; a silver locket and chain; and a yellow metal oval locket pendant, unmarked, probably 9ct gold, approx 12.2g gross, etc Good condition, wear and tear commensurate with age, the gold locket has a pinhole to flower
Lot 70
HENRI FANTIN-LATOUR (FRENCH 1836-1904) ROSES THÉ Oil on canvas Signed and dated 74 (upper right) 44 x 39.5cm (17¼ x 15½ in.)Provenance: Private Collection, Edwin Edwards, London The Lefevre Gallery (Alex. Reid & Lefevre, Ltd.), Glasgow Acquired from the above by the family of the present owner Thence by descentExhibited: Poughkeepsie, New York, Vassar College Art Gallery (now The Frances Lehmann Loeb Art Center), circa 1977-1980 (loaned by the mother of the present owner)Literature: Madame Fantin-Latour, Catalogue de l'Oeuvre complet de Fantin-Latour, Paris, 1911, p. 79, no. 722 (Titled 'Roses') The authenticity of this work has been confirmed by Brame & Lorenceau and it will be included in the forthcoming Catalogue Raisonne of the artist's paintings and pastels currently being prepared. Exquisite still life paintings such as the present work are synonymous with the work of Fantin-Latour. Initially trained by his father who was also a painter, Fantin-Latour went on to study alongside Edgar Degas and Alphonse Legros at the Ecole des Beaux Arts in Paris in the 1850s. The artistic milieu in which he was surrounded comprised Edouard Manet, Pierre-Auguste Renoir and Claude Monet amongst many others that would go on to be instrumental in the Impressionist movement. Fantin-Latour's work at this time comprised many group portraits of his contemporaries, but it was his flower compositions that brought him both critical and commercial success. James Abbott McNeil Whistler was instrumental in encouraging Fantin-Latour to visit London where, in 1862, he exhibited at the Royal Academy for the first time, finding success with a flower composition. He would go on to return and exhibit there almost every year until 1881. Whistler was also pivotal in introducing Fantin to Edwin and Ruth Edwards who would become his most important supporters and patrons, buying many of his still lifes and promoting his work to their friends. Fantin-Latour prioritised simple compositions, focussing his energy on the intricate representation of each element of the flower. The result is almost always a sumptuously rendered harmony of colour imbued with a sublime delicacy and an unparalleled attention to detail. The more complex compositions with both flowers and fruit show him to be the worth successor to Chardin and Courbet, bridging the artistic divide between Realism and Impressionism.Edward Lucie-Smith writes that 'Fantin's flower pieces have a special quality which is well summed up in Jacques-Emile Blanche's description of them: "Fantin studied each flower, its grain, its tissue, as if it were a human face". But this is true with one proviso: he looked at flowers, as he did at faces, with no perceptions. His belief, academic in origin, that technique in painting was separable from the subject to which the artist applied it, enabled him to see the blooms he painted not as botanical specimens, but as things which, though not necessarily significant in themselves, would generate significant art upon the canvas' (Henri Fantin-Latour, New York, 1977, pp. 22-23). Condition Report: Please refer to the department for a condition report on this lot.Condition Report Disclaimer
Lot 62
PHILIP WILSON STEER (BRITISH 1860-1942) THE CASINO, BOULOGNE-SUR-MER Oil on canvas Signed and dated 92 (lower right) 51 x 61cm (20 x 24 in.)Provenance: Private Collection, Thomas Humphry Ward Esq.(1845-1926), Art critic for the Times Newspaper Private Collection, Mrs. Sandwith Private Collection, Adrian McConnel Thence by descent Exhibited: London, The Goupil Gallery, Exhibition of Paintings by P. Wilson Steer, February 1894, no. 1, as 'property of T Humphrey Ward Esq.' Literature: 'Our London Correspondence', Glasgow Herald, 26 February 1894, p. 7 'From Private Correspondence', The Scotsman, 26 February 1894, p. 7 'From our London Correspondent', Manchester Courier, 26 February 1894, p. 5 'Exhibitions', Pall Mall Gazette, 27 February 1894, p. 3 'Exhibition Review, A Modern Painter', The National Observer, 3 March 1894, p. 396 G[eorge] M[oore], 'Mr Steer's Exhibition', The Speaker, 3 March 1894, p. 250 'Art: The Goupil Gallery', Weekly Dispatch, 4 March 1894, p. 6 'Studio and Gallery', Black and White, 10 March 1894, p. 294 'Fine Art: The Goupil', The Morning Post, 10 March 1894, p. 2 George Moore, Modern Painting, 1898 (Walter Scott), p. 242 DS MacColl, Life, Work and Setting of Philip Wilson Steer, 1945 (Faber & Faber), pp. 51, 193 Bruce Laughton, Philip Wilson Steer, 1971 (Clarendon Press, Oxford), p.130, (no 52)Sketches for the present work are included in Steer's sketchbook inscribed Boulogne and dated 1888. The sketchbook is held in the V&A archives under reference E 281 - 1943. Had you been standing on the upper deck of the Folkestone steamer, steering into the harbour at Boulogne-sur-Mer at the turn of the twentieth century, your view on the port side, beyond the guard rail of the jetée de l'est, would take in the plage, and the Second Empire Casino. Sitting in public gardens that contained a saltwater bathing establishment, the lines of the casino prepared you for those of the great exhibition 'palaces' of Paris, a train ride away. A quick scan of your Baedeker would tell you that the casino opened every year for the summer season from 15 June to 15 October and a day ticket would cost you two francs. Since the lights are on in Philip Wilson Steer's view of the building, we can assume that the present canvas must represent a late summer evening. Although dated '92' we know that the painter spent the summer at Cowes in that year. He would have passed through Boulogne in 1887, 1888 and 1889, producing swift sketchbook notes, three of which relate directly to the present work (fig 1). Why, in the 1880s was Boulogne and its environs so admired, and why did it supplant Walberswick in Steer's affections? The answers are various - Dannes, Étaples, Montreuil and one or two other picturesque towns nearby were supporting small colonies of British and American painters, many of whom were working in loosely Impressionist styles, while further down the coast there were the familiar haunts of Monet and Boudin. Boulogne was also one of the main points of access to Paris in the late nineteenth century, its packet-boat service having commenced in 1849. In Steer's case the specific interest in Boulogne is likely to have come first from the early work of Manet that he saw in the artist's posthumous retrospective exhibition in Paris in 1884. 'When the Manet exhibition was held', he told John Rothenstein, 'I had never heard his name. But I went and was very much interested ...The landscapes I liked very much ...' Manet had of course visited Boulogne several times in the 1860s and on one occasion on the plage, had painted the twin piers that form the harbour entrance. Fashionable promenades, these breakwaters with their white handrails had not changed when Steer painted them twenty years later.Passing through the port in the late 1880s, and again in 1891, Steer must have realized that he needed to go no further for one of the most celebrated British Impressionist paintings, Boulogne Sands. Having already painted this beach, looking north to where the hillside rolls gently towards the shore in Boulogne Sands: Children Shrimping, the Casino waterfront was a key location.There is sufficient technical variation between the Tate and Ferens canvases to leave the precise date of most works ascribed to the artist's Boulogne corpus prior to 1891, open to debate. While he was known to be capable of working in several different styles at once, the dabs and dashes of a painting of girls busily building sandcastles on a blustery day, contrast with the serenity of the present townscape - a work that takes the eye beyond the casino to the rising land of the haute ville, and the tower of the Cathédral Notre Dame. At this moment when the noisy children have gone and the casino slowly becomes incandescent, the town sinks into the crepuscular light of evening. Bruce Laughton, Steer's 1960s champion, had not seen the present painting when writing his monograph, and accepted DS MacColl's earlier assessment of it. Recalling the painting in the 1940s and thinking of the celebrated 'nocturnes' of the 1870s, MacColl had reached for the word 'Whistlerian'. It now seems most likely that the artist post-dated Casino, Boulogne '92' at the time it left his studio and when it was recalled for his solo exhibition in 1894, it had passed into the collection of Thomas Humphry Ward (1845-1926), the principal art critic and occasional leader writer on the staff of The Times. Ward apparently 'disliked that it should be known' that he was the painting's owner. George Moore was keen to make something of the fact and in praising the painting he also exposed its purchaser to a wider readership: I like ... The Casino, Boulogne, the property, I note with some interest, of Mr T Humphry Ward, art critic of The Times ... Mr Humphry Ward must write conventional commonplace, otherwise he could not remain art critic of The Times, so it is pleasant to find that he is withal an excellent judge of a picture ... The buildings stand high up, they are piled up in the picture, and a beautiful blue envelopes sky, sea, and land. Nos 1 [the present picture] and 2 show Mr Steer at his best: that beautiful blue, that beautiful mauve, is the optimism of painting, is the peculiar characteristic of Mr Steer's work. Other critics concurred, referring to its 'perfect technique' and the 'decorative charm' of its colour. Painted 'freely and flowingly', the peacefulness of this evening on the French coast was conveyed with splendid spontaneity. It had, more than the overtly 'Impressionist' studies of 1891, a 'unity of vision' that Steer considered one of the essential 'laws' of good painting. He insisted, echoing Whistler, that scenes like that of the casino, may be 'commonplace and ordinary' to the layperson, but it was for the painter to find beauty in them. As one pulled into the harbour of an evening, this called for the subtle palette of warm greys and ochres of a hillside and buildings that surround the ghostly gaming house, framed between the hints of mauve in a peaceful sky and the cool cerulean blues of a rippling tide. Kenneth McConkey
Lot 61
LUCIEN PISSARRO (FRENCH 1863-1944) GIBBET HILL, BROUGH Oil on canvas-board Signed with monogram and dated 1932 (lower right) 33.5 x 41cm (13 x 16 in.)Painted in 1932 from a drawing executed in 1914.Provenance: Anthony d'Offay, London Private Collection, Alan Tapper (acquired from the above in 1977)Exhibited: London, Anthony d'Offay, Lucien Pissarro, 1977, no. 42London, Belgrave Gallery, Masters of Modern British Painting, 1978, no. 13Bradford, Cartwright Hall Art Gallery & London, Belgrave Gallery, Jewish Artists of Great Britain 1845-1945, 1978, no. 15 Literature: Anne Thorold, Catalogue of Oil Paintings of Lucien Pissarro, 1983, no. 490 (illustrated p. 21) Lucien was the eldest son of French Impressionist painter, Camille Pissarro. He benefitted not only from the tutelage of his father but growing up in a milieu surrounded by some of the greatest artists of that period including Claude Monet, Paul Signac and Pierre-Auguste Renoir. Although French by birth, from a young age, Pissarro was drawn to English shores, visiting first as a child in 1870-71 and settling permanently in 1890. He became a British citizen in 1916 and was an integral part of the English art scene of the first half of the twentieth century. His influence is notable in the work of Walter Sickert, Harold Gilman and Spencer Gore. Pissarro is primarily known as a landscape painter and the present oil is a typical example of his work. Between 1913 and 1919, he travelled extensively producing views of Dorset, Westmorland, Surrey, Sussex, Essex and Devon. The present work, although painted some decades later, is based on a drawing from that period. It forms part of a group of works from 1914 depicting the village and landscape around Brough in Westmorland, now Cumbria, of which Wild Boar Fell, Brough is held by Manchester Art Gallery. Condition Report: Light surface dirt throughout. Inspection under UV reveals no obvious evidence of restoration or repair. Overall appears to be in good original condition. Condition Report Disclaimer
Lot 1041
PISSARRO CAMILLE: (1830-1903) French Impressionist painter. A.L.S., C. Pissarro, two pages, small 8vo, Paris, 19th May 1884, to Claude Monet ('Mon cher Monet'), in French. Pissarro writes, in full, 'Rien de nouveau l'affaire de Durand a evidemment ete remise ou modifiee comme je vous le pressentais - Durand est plus tranquille et m'a assure que je pouvais partir, comme bien vous pensez je retourneai a Eragny avec bien peu de ressources affronter les creancieres; au moins je travaillerai un peu' (Translation: 'Nothing new, Durand's case has obviously been postponed or modified as I suspected - Durand is calmer and has assured me that I can leave, as you can imagine I will return to Eragny with very few resources to face the creditors; at least I will be able to work a little'). A letter with good associations. VGClaude Monet (1840-1926) French Impressionist painter.Paul Durand-Ruel (1831-1922) French art dealer associated with the Impressionists, and the first to support Pissarro, Monet and Renoir.
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