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Lot 559
TWO SIGNED LIMITED EDITION PRINTS presented in ornate gilt frames, an impressionist Monet style pond, indistinct signature, mounted, framed and glazed, approximate size 108cm x 92cm including frame, a flower filled terrace overlooking the sea, indistinct signature 55/95, framed, size 107cm x 90cm including frame
Lot 563
FRAMED LIMITED EDITION SIGNED PRINTS, to include a hand embellished Venetian scene by Viktor Shvaiko, 82/250, Mediteranian landscape by Waltraud Schwartzber K286/350, boats at low tide by Constantine Cherkas and and impressionist Monet style picture of a pond, indistinct signature, largest size including frame is approximately 77cm x 94cm
Lot 141
? George Leslie Hunter (Scottish 1877-1931) Still life with marigolds Signed, oil on board (Dimensions: 46cm x 41cm (18in x 16in))(46cm x 41cm (18in x 16in))Footnote: Note: ‘Everyone must choose his own way, and mine will be the way of colour’ were the words of artist George Leslie Hunter, reflecting upon his own unique practice. Focusing for much of his life on landscapes and still life, Hunter worked in a range of mediums. His still life’s of fruit are particularly distinctive, such as his 1925 painting Still Life with Fruit and Pink Rose . Hunter’s typical impasto technique adds a luxuriously textured surface to the composition and visualises the inspiration he found in Matisse and the free, energetic work of the French Fauves. In his Still Life with Marigolds , we again note his vibrant palette and strong brushstrokes, demonstrating a bold and experimental new attitude that he took away from his continental counterparts. His landscapes, such as Street Scene, Largo , and Beached Boats, Lower Largo , offer us fascinating insight into the Scottish Colourist’s French influences by contemporary artists such as Monet and Cezanne. The warming colours of the buildings in Street Scene, Largo juxtaposed against the cooler tones of the sky are reminiscent of Cezanne’s new colour theory, in which he used the natural properties of warm and cool colours to advance and recede and create a sense of depth. Beached Boats, Lower Largo also explores Hunter’s fascination with the effects of light and colour theory, with the sharp contrast of the warmly coloured boat in the foreground against the sombre, muted cool tones of the surrounding water and sky that produces an atmospheric feeling of the cool weather. Diverse and experimental, Hunter was always looking outwards and learning from his contemporaries; resulting in an impressive oeuvre which teaches us not just about Scottish life at the beginning of the twentieth century, but also of the intellectual and cultural interchange of artists across Europe.
Lot 143
George Leslie Hunter (Scottish 1877-1931) Beached boats, Lower Largo Signed, oil on panel (Dimensions: 20.5cm x 28cm (8in x 11in))(20.5cm x 28cm (8in x 11in))Footnote: Note: ‘Everyone must choose his own way, and mine will be the way of colour’ were the words of artist George Leslie Hunter, reflecting upon his own unique practice. Focusing for much of his life on landscapes and still life, Hunter worked in a range of mediums. His still life’s of fruit are particularly distinctive, such as his 1925 painting Still Life with Fruit and Pink Rose . Hunter’s typical impasto technique adds a luxuriously textured surface to the composition and visualises the inspiration he found in Matisse and the free, energetic work of the French Fauves. In his Still Life with Marigolds , we again note his vibrant palette and strong brushstrokes, demonstrating a bold and experimental new attitude that he took away from his continental counterparts. His landscapes, such as Street Scene, Largo , and Beached Boats, Lower Largo , offer us fascinating insight into the Scottish Colourist’s French influences by contemporary artists such as Monet and Cezanne. The warming colours of the buildings in Street Scene, Largo juxtaposed against the cooler tones of the sky are reminiscent of Cezanne’s new colour theory, in which he used the natural properties of warm and cool colours to advance and recede and create a sense of depth. Beached Boats, Lower Largo also explores Hunter’s fascination with the effects of light and colour theory, with the sharp contrast of the warmly coloured boat in the foreground against the sombre, muted cool tones of the surrounding water and sky that produces an atmospheric feeling of the cool weather. Diverse and experimental, Hunter was always looking outwards and learning from his contemporaries; resulting in an impressive oeuvre which teaches us not just about Scottish life at the beginning of the twentieth century, but also of the intellectual and cultural interchange of artists across Europe.
Lot 15
William John Leech RHA ROI (1881-1968)The Bridge in Regent's Park (c.1935)Oil on canvas, 49 x 60cm (19¼ x 23½'')SignedAway from France and living in London, Leech turned to locations for landscape subjects, which were close at hand. Regent’s Park was a short walk downhill from his studio at 4 Steele’s Studios, Haverstock Hill, N.W.3 and he began a series of paintings, which is possibly Leech’s longest, comprising over twenty works. The first painting titled ‘The Bridge, Regent’s Park’ was exhibited at the R.H.A in 1935 and judging from its price, it was more likely to have been a watercolour. This was a common practice for Leech, working en plein air, and then developing the work in oils, on a larger scale, in his studio. He wrote to Leo Smith in January 1953, telling him that he was still painting in Regent’s Park at that time; ‘By the way, I am getting £60 for “The Bridge”. This fact may encourage your customer. I ….am now working in Regent’s Park again, which is really lovely when it is fine.’ The influence of Monet is again apparent in this Regent’s Park series, in particular with Monet’s scene at ‘Giverny, Morning Mists’, 1897 (N.Carolina Museum, Raleigh, USA). Leech painted in Regent’s Park throughout the year, even in the winter months as in this work. Here, he focuses on the main arch of the bridge heightened by the diagonal formed by the fence in the foreground which frames the water and which is repeated in the railings on the parapet of the bridge. The reflections of both in the browns and grey blues of the water and the ochres of the bank and the umbers of the tree trunks, suggest early winter with a silvery grey reflected sky. Although this work had labels on the back of the frame, denoting ‘No.2. Back Gardens’, this is a completely different work, which Leech exhibited at the R.H.A in 1944, from 20, Abbey Road, London, N.W.8, his partner, May Botterell’s flat. Leech kept to a small range of canvas sizes, which allowed him to reuse frames from unsold works. When Steele’s Studio was badly damaged, several times during the 2nd World War, Leech used 20 Abbey Road as his studio address. Dr Denise Ferran, October 2019.
Lot 12
A large folio group of exhibition posters,:- including Max Ernst Museum Ludwig Kohl 1990 & 91, The Museum of Modern Art New York, Rene Magritte, Osterweil Art Expo West 80, Paul Klee, Andy Warhol Go West-Go East With a Truck 1986, Stephen Bartlett CCA Galleries, Walter Lindner Verkerke Gallery, Dieter Kimmel Verkerke Gallery, Markus Baumann Musee d'Orsay Paris, Monet, Robert Offord, Matisse, Heinrich Schmid, Lionel Deriaz, etc.
Lot 338
Group of jewellery including a hardstone necklace with lapis lazuli, cultured pearl necklaces, small gold mermaid charm, and other items . CONDITIONmermaid charm stamped 14 ct, weight 2 grams, measuring approximately 1.5 x 0.8cmdouble row open work bead necklace and earring set by Monet Please see ewbanks.co.uk for condition reports and further images
Lot 220
A group of cultured pearl and faux pearl necklaces, comprising a double strand, each 8mm, with silver clasp set with a large square cut blue stone, 12mm, 72cm long, a double strand by Vendome, the gold plated clasp set in a spiral form with paste, 50cm long, a double strand by Monet , with gold plated clasp, 44cm long, a triple spiralled 41cm long, strand of pink and white pearls with magnetic clasp, an Edwardian single strand of graduated pearls, 8 to 3mm, with silver clasp set with a lozenge shaped blue stone, 50cm, a single strand, each 10 by 5mm, with silver plated and paste set clasp, 83cm long, a single strand by Vendome with silver plated clasp, 44cm long, and a single long strand, each 6mm, with gold plated clasp, a/f string broken near clasp, 163cm long, together with a red leather box branded for George Tarratt Ltd Leicester. (9)
Lot 132
A COLLECTION OF VICTORIAN AND LATER COSTUME JEWELLERY INCLUDING A CARVED 'BULLSEYE' AGATE OVAL PENDANT an oval locket; a Victorian foliate-engraved silver oval brooch; a fruiting vine brooch; a Monet gold-plated chain; a pair of marcasite flower-and-leaf articulated pendent earrings, a similar pair of scroll and flower-head pendent earrings, a marcasite double-clip brooch, a similar spray brooch, a similar ship brooch and a similar lady's bracelet watch; a Regency bracelet watch; various imitation-pearls; brooches and other items including a Georgian paste buckle adapted as a brooch; two marcasite brooches; two pairs of marcasite pendent earrings and a watch
Lot 97
NARCISSE VIRGILE DIAZ DE LA PENA (FRENCH 1807-1876) Girl on a Swing, oil on panel 47.3 x 36 cm (18 5/8 x 14 1/8 in.) signed on an old label on verso We are grateful to Michael Klaa for confirming the authenticity of this work. This painting will be included in the Catalogue Raisonne prepared by him Born to Spanish political refugees in Bordeaux, France, Narcisse Diaz de la Pena found himself orphaned and penniless at ten years old. While still a child, he lost his leg from a viper bite and he gained local recognition for both his wooden leg and his exceptional skill as a painter.In 1836, Diaz met Theodore Rousseau and the two became friends, neighbors, and fellow artists in the village of Barbizon. Rousseau had a strong influence on Diaz, even giving him lessons on how to paint trees. Diaz remained popular throughout his career, he had active followers and was creating works for private patrons. He reached the height of his fame in 1855 and was regarded as a master landscapist who fully understood and used the lure of the forest of Fontainebleau. In 1863, Diaz met Claude Monet, Auguste Renoir, Alfred Sisley and Frederic Bazille, who admired his brilliant colors; his late landscapes very likely influenced the impressionists.
Lot 281
MONET CLAUDE: (1840-1926) French Impressionist Painter. A.L.S., `Claude Monet´, one page, 12mo, Caudebec en Caux, 19th August 1913, written in bold purple ink, to Blanche, in French. The letter bears the printed heading "Cette lettre vient de Chez Les Zoaques qui se trouvent à Yainville-Jumièges dans la Seine-Inférieure. Monet states in part `My dear Blanche, Thank you, have received your letter and the telegram.. I hope that Jean´s pain is gone although the weather is changing a lot.. life here is always delicious..´ Folded letter, with address to the verso, stamped and postmarked. Very small overall minor age wear, otherwise VG £2500-3500
Lot 282
MONET CLAUDE: (1840-1926) French Impressionist Painter. A good A.L.S., `Claude Monet´, two pages, 8vo, Paris, 8th January 1908, written in pencil to the first and third page of the double 8vo printed stationery of the Hotel Terminus in Paris, to Gustave Geffroy, in French. Monet states in part `I would have wanted to tell you about my emotions for the admirable painting, my wife also would have been happy to congratulate you, but we are old, my wife was tired…´ further saying `We will be shortly going back home, and I have again intended to go and tell you how many beautiful things I found in these ten paintings, and to thank you for the joy we have experienced.´ Accompanied by the original printed stationery envelope, post-stamped. Folded, with overall creasing and tear to the fold. G £3000-4000
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