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Lot 109
A COLLECTION OF COSTUME AND OTHER JEWELLERY Including; an 18th century cut steel cluster button; several paste set solitaire and dress rings and earrings; a paste swag necklace; a gold-plated Indian elephant brooch, a stylised fish brooch, a hammered-scroll brooch, and a black enamel and paste crouching tiger brooch; all by Monet; and may other items
Lot 152
A Royal Crown Derby Old Imari pattern plate; a Goebel Artis Orbis limited edition plate "Claude Monet" Femm a l'ombrelle 1782/2000; other decorative plates including Royal Worcester, Coalport, Royal Albert, Royal Crown Derby, Wedgwood etc.; a Depos tureen & cover gilded & decorated with cherubs; Royal Worcester Spode Palissy Game Series tureen & cover; etc.
Lot 320
Volumes on art including the History of Art in three volumes, YTBA within slipcase, Bakst After Theatre and Dance, Michelangelo's World, An Illustrated History of Fashion, Monet, Botticelli, the Art Fraud detective and also Funke, Cornelia "Ink Spell" the chicken house 2005 green cloth, dust jacket not price clipped, Larson Rief "The Selected Work of TS Spivet" Harvill Seker 2009, and other volumes (1 box)
Lot 5242
Costume Jewellery - a Tiffany style necklace, marked 925; a Napier gilt metal collar; a Monet gilt metal brooch; a pair of Trifari clip earrings; a string of simulated pearls; a pair of Lisner earrings; a Mexican silver brooch; a modernist silver brooch; a Stratton compact boxed, unused; others similar; etc
Lot 190
A tray of modern and vintage costume jewellery, to include a pair of cuff bangles with oval panel to front supporting large moulded floral sprays, a Vera Wang yellow and white metal pendant and chain, giant faux pearl earrings by Arabesk, Park Lane earclips, Kigu enamel brooch, plastic deco style clip, Monet earclips, a Morgan watch etc.
Lot 685
* JOHN MACKIE (SCOTTISH b 1953 - ), TUSCANY ORCHARD pastel on paper, signed 52cm x 65cm Framed and under glass. Note: John Mackie was born in Glasgow in 1953. John studied drawing and painting at the Glasgow School of Art (1973-76) where he was introduced to the works of Monet, Renoir and Pissarro. In particular the influence of Monet can be seen in his own painting style. Mackie won the W H Shanks Award for drawing in 1976 and was later awarded a major Travelling Scholarship from The Scottish Arts Council (1976/77) which he used to work and live for a period in America and Canada. On his return he lived and painted in Italy and France where he was inspired by the landscape and cities around Tuscany, Umbria and Chianti. In France, he spent time in Paris where he discovered the wealth of material in the everyday scenes around cafés and bistros, especially around the districts beside Place du Tetre and The Champs Elysees. Mackie has exhibited widely in various galleries across the UK and in over 30 years has built a considerable body of collectors. He has exhibited successfully at the Royal Scottish Academy and also internationally in the USA, Germany, London, Ireland and elsewhere.
Lot 1078
c.1927 Monet Goyon ZC, 147 cc. Registration number not UK registered. Frame number not found. Engine number Villiers W3389. Monet Goyon were formed by engineer Joseph Monet and his wealthy backer Adrien Goyon on the 2nd April 1917, initially with a 117 cc motorized wheel attachment, followed by a range of mainly utility motorcycles sized between 150cc and 500cc. The firm relied heavily on proprietary engines, with 2-strokes (as seen here) sourced from Villiers Engineering Company Ltd, and ohv/ohc singles supplied by MAG in Switzerland. Monet Goyon is regarded as one of France's better-known brands of motorcycle, and managed to survive until 1959. They briefly entered the difficult field of engine manufacturing in the early 1930s, with a 350cc side valve, and then made a much greater effort after the War with a range of two-strokes and four-strokes extending from 98cc through to 345cc. Monet Goyon were occasionally active in the competition field. This example was sold by Lewis Martin of Chambres, France in 2015 to Grant Bird of Colchester and his son then commenced the restoration, which included the frame and tinware, together with a full engine rebuild. As with machines of this age and rarity it is hard to find original parts and many had to remanufactured. Unused since, our vendor also has a spare restored engine that will be included. Sold with the French documents.
Lot 1645
•STUDIO OF MIGUEL CANALS (1920-1995) A SNOWY STREET (STYLE OF CLAUDE MONET) Bears signature Cla...., Canals studio stamp verso, oil on canvas 33 x 43cm.; with a portrait of a boy, in the style of Frederic Leighton, Canals studio stamp verso, oil on canvas, 39.5 x 31.5cm. (2) ++ Each with some craquelure and rubbed areas, the latter noticeably more affected.
Lot 560
7 Books, Paul Klee Making Visible by Tate Trust 2013 Hardback, British Art in the 20th Century by Susan Compton 1987 Paperback, Master Paintings from The Philips Collections, Washington by Dacs 1988 Paperback, Monet in the 20th century by Paul Hayes Tucker 1999 Paperback, Giotto to Durer Early Renaissance Painting in the national gallery by Jill Dunkerton 1991 Paperback, Chagall the lithographs by Hatje 1960 Hardback, The Art of Lord Leighton by Christopher Newall 1995 Paperback.
Lot 45
Claude Monet (1840-1926) and George Thornley (1857-1935)Trois Barques sur la Grève (Lugt 225d)Lithograph printed in colours, circa 1892, signed by both Monet and Thornley in pencil, from the edition of 25, on Chine appliqué, published by Belfond & Cie, Paris, with full margins, image 209 x 262mm (8 1/4 x 10 1/4in) (unframed)
Lot 406
Emile Claus (Belgian, 1849-1924) A PASTORAL SCENE WITH CHILDREN AND CATTLE BY A POND Signed l.r., oil on canvas 53 x 92cmA superb picture by the Belgian artist Emile Claus (1849-1924) will feature in Sworders’ June 25-26 Fine Interiors auction. The picture, measuring 53 x 92cm, was purchased by the seller's grandfather before the Second World War.Emile Claus is celebrated as the pre-eminent artist of Belgian Impressionism and one of the founders of the group ‘Vie et Lumiere’ in 1904. Impressionism came late to Belgium but Claus began to fall under its spell, particularly the paintings of Monet and Pissarro, from the late 1880s.His early development, however, was characterised by a greater naturalism, partly influenced by the Barbizon landscape painters in France but also, more tellingly, by the work of Jules Bastien-Lepage.He embraced the prevailing taste for plein-air painting when he moved to Astene by the river Lys in 1883. The views of the river from his cottage ‘Zonneschijn’ (‘Sunshine’), formerly a hunting pavilion, in Eastern Flanders, were the inspiration for countless works throughout the rest of his life. Few of the landscapes from this early period are dated, but parallels between our painting and other river scenes, such as ‘Le Bateau qui passe’ of 1883, which also depicts children on a riverbank, point to a date for our picture soon after his arrival in Astene.This beautiful pastoral scene, in which the tranquillity of the water and the soft mists beyond the grazing cattle suggest early morning, is suffused with a gentle lyricism. It combines careful attention to detail with a mastery of light which pre-figures his conversion to the greater freedoms of Impressionism in the decades that followed.
Lot 762
Bryan Hancox - Spring cleaning - Robin at its Nest, signed limited edition coloured print, 36 x 45cm, together with a further coloured print of a young woman in a red dress, three coloured prints after Claude Monet of water lilies, a set of four coloured prints of Winchester city scenes, etc, various sizes, all framed
Lot 36
GUSTAVE LOISEAU 1865 - 1935: CLIFFS IN ÉTRETAT 1901 Oil on canvas and paperboard 63 x 80 cm Stamp on back: "Coll . Dr. Stefan Ossusky/ 17 Av. Charl. Floquet/ Paris" Cliffs in Étretat is a unique example of French Post-impressionism and represents the oeuvre of one of its leading exponents, Gustave Loiseau. Works by this artist, attractive for collectors and viewers alike, appears only rarely on the Czech art market.Since the 1890s the name of this exceptionally sensitive landscape artist has been connected with the Brittany artists’ colony surrounding Paul Gauguin, known as the Pont-Aven School. However, Loiseau never built on its modern artistic vision and new directions (Synthetism and Cloisonnism); on the contrary, he remained faithful to Impressionism in its purest form. He continued the tradition of outdoor landscape painting, discovering the fleeting magic of the landscape in its transience, transformations in color, and light and dark moods in an effort to capture its natural beauty, as seen in paintings by Claude Monet and Camille Pissarro. He gradually created his own specific style of pointillist painting, the characteristic application of pure spots of color one next to another, emphasizing the essential interaction of light, clear, bright and yet unburdened color, and the airy mood of the depicted scene. He developed these principles in seemingly everyday scenes of the Breton and Norman landscapes, where he spentthe summer months. Loiseau is often called a natural talent who did not follow the directions of the period or the recommendations of others, instead carving his own path of unique sensual experience from the seen world. His extraordinary talent and painterly qualities earned him many admirers in 1890s Paris, including the prominent gallerist and primary patron of the French Impressionists Paul Durand-Ruel. He fully defended his uniqueness in around 1910, when he sparked a sensation with his special method of cross-like brushstrokes reminiscent of hatching (“en treillis” / “touche croisée”).The painting offered here, from the collection of an important Czechoslovak diplomat during the First Republic and ambassador in Paris, Stefan Osuský, may be considered a beautiful, profoundly poignant and highly valuable work that corresponds to a unique understanding of Impressionism in all respects, corresponding to the artist’s expression “I am led by instinct and I am proud that I am not like the others.”
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3415 item(s)/page