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Lot 354
A good collection of costume jewellery, to include; A Trifari gilt metal necklace;A Christian Dior gilt metal `CD` monogram brooch; A pair of coloured enamel and paste set oval earrings; A Chanel style, black enamel and paste, circle link bracelet; A heavy gilt metal Monet style necklace; A millefiori green glass bead necklace, and further items. (a lot)
Lot 488
A good collection of 1980`s costume jewellery, to include; A Nina Ricci gilt and silvered metal necklace; A pair of Givenchy green paste earrings; A Butler & Wilson gilt and paste moon brooch; A pair of Monet heart shaped earrings; A silver and quartz dress ring; a further collection of earring and necklaces. (a lot)
Lot 984
A North Italian walnut and ivory Lit en Bateau, circa 1810, the scroll panelled ends inlaid with Romanesque scenes to a border of dancing Putto and mother of pearl trailing flowers and carved swan neck sides and Northern Italian lions and Egyptian swans, 214cm (84in) long, 138cm (54in) wide, 127cm (50in) high Provenance: Mrs Hunter, the Palazzo Barbaro, Venice, and by descent. In the late eighteenth century John Sargent Curtis (a relative of the well-known painter John Singer Sargent) bought one of the two adjoining Barbaro palaces on the Grand Canal in Venice. The Curtis` s restoration of the Palazzo Barbaro provided a haven for an artistic community as vibrant and colourful as the palazzos might have seen in the time of the Italian Renaissance. Curtis and his wife played host to famous and glamorous writers, artists and musicians such as Henry James, Whistler and Claude Monet. In the early nineteenth century this North Italian sleigh bed was sold by John Curtis to John Singer Sargent`s friend, the acclaimed English hostess, Mrs. Hunter, in whose house the Novelist Edith Wharton and French actress Rejane argued over who would sleep in the room in which this bed was kept. Set in the headboard and the foot of the bed are highly decorative scenes of cupids and mythological classical gods. Northern Italian lions interlaced with vines proudly circle dancing lovers and sleeping damsels. Two highly ornamental Egyptian swans stretch their necks down the bed posts as if to guard those sleeping in the bed
Lot 373
* Sharp (Dorothea, 1874-1955). On the French Coast, oil on canvas, signed lower left, 61 x 51cm (24 x 20ins), old printed label with handwritten details of John Magee, Fine Art Dealer, West Belfast, to verso, framed. Provenance: John Magee, Belfast; Private Collection. Dorothea Sharp is best known for her landscapes and naturalistic studies of children. She studied landscape painting at art school in Richmond, continuing her studies at Regent Street Polytechnic, and then in Paris. Sharp exhibited widely, at the Royal Academy, the Royal Society of British Artists (to which she was elected in 1907), the Royal Institute of Painters in Oil-Colours (to which she was elected in 1922), and at the Society of Women Artists (of which she was vice-president). For much of her life Dorothea Sharp lived in London, although she lived in St. Ives between 1940 and 1946. She travelled widely in the 1920s and 1930s, visiting Cornwall, the South of France, Spain, Portugal and Italy, views of which appeared in her Royal Academy exhibits. Dorothea Sharp epitomizes the movement known as ‘British Impressionism’. Having studied and painted in France she was clearly aware of Monet and the Impressionists; the clarity of light in her works, her novel use of colour, and the spontaneity of her brushwork, define her as a significant figure in twentieth century British painting, and her works are now exhibited in museums around the world. (1)
Lot 4
Art reference -- Thomson, B. Vuillard. 1988; Tucker, P.H. Monet at Argenteuil. 1982; House, J. Monet. Nature into art. 1986; Ives, C. Pierre Bonnard, the graphic art. New York, 1990; Cogeval, G. Vuillard. Washington, 2004; Rewald, J. The history of Impressionism. 1980; Terrase, M. Bonnard at Le Cannet. 1988; Young, A.M. Charles Rennie Mackintosh (1868-1928). 1968; Cogniat, R. Bonnard. [N.d.]; Shone, R. Sisley. 1992; Schwartz, G. Rembrandt. 1985; Preston, S. Vuillard, [N.d.] ; Ayres, J. The artist`s craft. 1985; Shanes, E. Turner`s picturesque views in England and Wales. 1979; Shone, R. The post-impressionists. 1980; mostly with dust-jackets; Werner, A. Degas pastels. 1969; Wilson, M. The National Gallery, London. 1981; Laclotte, M. Painting in the Musée d`Orsay. 1986; and c. 6 boxes of art books, hardbacks and paperpacks & exhibition catalogues (quantity)
Lot 80
SHEPHERD (DAVID) An Artist in Conservation, 1993, black cloth and d.j; HILL (DAVID)-Turner on The Thames, River Journeys in the Year 1805, BCA 1993, blue cloth and d.j.; HERBERT (ROBERT L) Impressionism, Art, Leisure and Parisian Society, 1988, red cloth and d.j.; KENDALL (RICHARD ed) Monet by Himself, 1989, black cloth and d.j.; GAGE (JOHN) J M W Turner, A Wonderful Range of Mind, 1987, blue cloth and d.j., MCCONKEY (KENNETH) British Impressionism, 1989, purple cloth and d.j., and LANGDON (HELEN) Claude Lorraine, 1989, green cloth and d.j. (7)
Lot 155
A quantity of costume jewellery, including: a pair of Attwood & Sawyer earclips, cased; a Miracle paste set necklet with matching earclips; a Trifari brooch; a Monet bracelet; a Monet chain and bracelet set, these with tags still attached; a Monet paste pendant on chain; a Coalport china brooch in a case; a Dorene paste set pendant; a lorgnette; marcasite items; a Victorian agate panel bracelet, two lady`s bracelet watches and other items Visit www.dnfa.com for condition reports
Lot 570
Linda le Kinff b.1949- Seated woman; lithograph printed in colours and with metallic, signed in pencil, numbered 128/200, 65x50cm: together with a collection of framed reproduction prints after various hands to include Monet, Matisse, Laszlo Ritter, Folts, Sue Wales and Van Gogh, mostly in decorative matching glazed frames, (25) (may be subject to Droit de Suite)
Lot 226
ANNE SINGER: PAUL MAZE THE LOST IMPRESSIONIST, 1983, 1st edn, 4to, orig cl, d/w + JOHN ELDERFIELD: HENRI MATISSE A RETROSPECTIVE, NY 1992, 1st edn, 4to, orig cl gt + JOHN HOUSE: MONET NATURE INTO ART, Yale University Press 1986, 4to, orig cl, d/w + JEAN CLAY: MODERN ART 1890-1918, New Jersey 1978, 1st edn, 4to, orig cl gt, d/w + ANETTE KRUSZYNSKI: AMEDEO MODIGLIANI, Munich and NY, 1996, 1st edn, orig cl, d/w + SUSAN COMPTON: CHAGALL, Royal Academy of Arts 1985, 1st edn, 4to, orig pict wraps (6)
Lot 572
A 9ct gold pair of hoop earrings together with a 9ct gold ring, a Victorian Celtic brooch in agate with white metal mounts and a filigree dress clip set with opals plus a mixed collection of costume jewellery and bead necklaces to include a 1940's glass and bone necklace, Venetian glass beads, cameo brooch, Monet earrings, amethyst coloured brooch etc
Lot 255
On behalf of the beneficiaries of a Cheltenham estate The following lots were originally owned by Moses Nightingale, who was a Sussex corn merchant and founder of the Hazeldene Orchestra. He was an avid art collector and particularly fond of the work of Henry Herbert La Thangue. By 1919, amongst the vast collection of works that covered the walls of his home at Hazeldene, at least twenty three works can be counted by La Thangue. Further accounts suggest that he acquired many more paintings by this artist after this date. HENRY HERBERT LA THANGUE R.A. (BRITISH, 1859-1929) Provencal Oaks, Bormes, 1913, signed 'H. H. LATHANGUE' lower right, oil on canvas, 21 ½" x 23 ½" (see illustration) Provenance: Purchased by Moses Nightingale Esq. (possibly from the Leicester Galleries, London, 1914); thence by descent Exhibited: London, Leicester Galleries, Exhibition of Paintings by H. H. La Thangue, R.A., April 1914, no. 9 Brighton, City Art Gallery and Museum, Memorial Exhibition of Works by the Late H. H. La Thangue R. A., September 1930, no. 21 Literature: Anon, Watercolours and Oils at Hazeldene, Crawley, Sussex, 1919, no. 105, as Provencal Oaks, Bormes, 1913 La Thangue established a studio at Bormes, a village eight miles from Hyères, during the Edwardian years, just before its 'semi-Moorish streets … mellow with age' began to attract itinerant artists. The New Zealand painter, Sydney Lough Thompson, who visited him in 1915 indicates that he was well established in the village prior to the Great War. Thompson appears to have followed in La Thangue's footsteps, painting in Bormes, St Jeannet and Grasse in the 1920s, one of many artists attracted to the region. A travel writer of the twenties noted that it had 'found favour in the sight of many painters who wish to pursue their art beneath the azure skies of the midi, far from the grey winter of Paris or Brittany' (Capt. Leslie Richardson, Things Seen on the Riviera, 1927, p. 25). Known since 1968 as Bormes-les-Mimosas, the town lies at one end of the 'Mimosa Road' which stretches up the coast to Grasse, centre of French perfume production. As is clear from La Thangue's Royal Academy Diploma picture, collecting flowers for perfume became one of the painter's most important themes (McConkey, A Painter's Harvest, 1978, Oldham Art Gallery, no. 31). Exploring cart tracks to discover neglected hillside gardens became his daily routine in the years preceding his solo exhibition of 1914 and many landscapes resulted. Provencal Oaks, Bormes, included in the Leicester Galleries exhibition in 1914, shows the small evergreen, shallow-rooted Cork or Kermes oaks native to the area (Comerfield Casey, Riviera Nature Notes, 1903, [2004 ed.], p. 47). Other Nightingale acquisitions such as A Provencal Sea, Bormes, shown at the Royal Academy in 1918, and two further works entitled Provencal Landscape, Bormes, show trees of a similar variety. One of these, identical in size to the present work and painted from a slightly more elevated position overlooking the bay, may have been intended as a companion-piece, A Provencal Landscape, Bormes, c. 1913 (sold Christie's 19 June 1997) (fig 1). Commenting on his work in 1905, the critic of The Academy noted that while 'he delights in the brilliant lights and reflections of southern climes…Every touch appears to have been put on with a heavily loaded spatula and…he is scrupulous to give the conflicting colours of reflection…' The effect gave La Thangue's landscapes a characteristically granular quality which, sometimes reminding the viewer of Monet's work, is quite unique. In common with Monet, La Thangue also appears to have been fascinated by the changing light at different times of the day, although he appears not to have painted these phases from precisely the same angles.
Lot 256
HENRY HERBERT LA THANGUE R.A. (BRITISH, 1859-1929) A Sussex Hayfield at Graffham, 1912, signed 'H. H. LATHANGUE' lower left, oil on canvas, 25 ½" x 29 ¼" (see illustration) Provenance: Purchased by Moses Nightingale Esq. (possibly from the Leicester Galleries, London, 1914); thence by descent Exhibited: London, Leicester Galleries, Exhibition of Pictures by H. H. La Thangue, R.A., April 1914, no. 41 Brighton, City Art Gallery and Museum, Memorial Exhibition of Works by the Late H. H. La Thangue R. A., September 1930, no. 24 Literature: Walter Sickert, 'Mr La Thangue's Paintings', The New Age, vol XV, no. 1, 7 May 1914, p. 18 Anon, Watercolours and Oils at Hazeldene, Crawley, Sussex, 1919, no. 108 as Sussex Hayfield at Graffham, Sussex, 1912 Osbert Sitwell ed., A Free House! Being the Writings of Walter Richard Sickert, 1947 (MacMillan), p. 272 Anna Gruetzner Robins, Walter Sickert: The Complete Writings on Art, 2002, (Oxford University Press), pp. 364-365 While he spent his winters during the Edwardian years in Provence and the regions of northern Italy, La Thangue returned to England to work in the fields around his home at Graffham in Sussex between hay cutting in June and the grain and fruit harvests of September. He had moved the relatively short distance from Bosham to Graffham in 1898 because the new location offered a greater range of possibilities, and immediately he began a series of striking figure pieces with Love in the Harvest Field, shown at the Royal Academy in 1899 (unlocated). La Thangue first moved to Sussex in 1890, on the advice of James Charles, who also lived at Bosham. Charles, a figure and landscape painter from Warrington in Cheshire, shared La Thangue's early Bradford patrons. Both artists looked to France for inspiration and both were influenced by work of Bastien-Lepage and Léon Lhermitte, also popular with West Yorkshire collectors. Lhermitte in particular set out to document la vie rustique and by 1900, was in the midst of a long series of harvest scenes that La Thangue would have been familiar with (fig 1). Known primarily as a figure painter, La Thangue closely observed the freer and more informal style in Charles' harvest scenes around the turn of the century. Suspicious of the picturesque seductions of his more conventional contemporaries like Alfred East and David Murray, he slowly developed his own approach to landscape painting after he moved away from Bosham. By the time of his solo exhibition at the Leicester Galleries in 1914, this process was complete and the rich texture of works like A Sussex Hayfield at Graffham separates it from the looser paint structures of Charles's Windy Weather, (fig 2). Where most landscape painters, including Charles and Lhermitte, favoured open country, La Thangue used foreground trees to help place his figure and take the eye successfully to the hay-cart in the middle distance. Moses Nightingale, a Sussex corn merchant, having purchased two pictures, On Lavington Down and A Ligurian Mill Race, shown at the Royal Academy in 1901 and 1905 respectively, returned to collecting around 1914. La Thangue, who by then had secured full membership of the Royal Academy, was staging a solo exhibition at the Leicester Galleries. An earlier generation of Nightingales, hailing from Rotherham, had donated a substantial collection to the town, including an early Landscape Study by the artist. However, Moses Nightingale was to become La Thangue's most important patron, listing twenty-three works in a catalogue of the watercolours and oils at Hazeldene, his house in Crawley. Following the painter's death, Nightingale lent generously to his memorial exhibition at Brighton Art Gallery and the Royal Academy 'Late Members' exhibition in 1933. Thereafter he split his collection between members of his family. Coming three and half years after Roger Fry's celebrated Manet and the Post-Impressionists exhibition, and coinciding with the scandalous exposure of the Vorticists and the Italian Futurists, La Thangue's Leicester Gallery landscapes must have looked traditional, even by Camden Town School standards. Despite their compositional strength, his landscapes were greeted with faint praise in The Times (20 April 1914, p. 12) and attacked by Laurence Housman in The Manchester Guardian (18 April 1914, p. 10). While reservations were also expressed by The Athenaeum and The Connoisseur, The Academy praised La Thangue's honesty and the 'daring' of his 'handling and mastery of colour' (McConkey, 1978, p. 13). It was Walter Sickert however, who cited the present work in a glowing review that swept away all reference to the current turmoil in contemporary art. What would have appealed to Sickert in the present work? In his review, Sickert referred to Monet and Cezanne, now familiar to British audiences. La Thangue was not their follower, but he did possess their dedication to developing 'a series of colour relations…grading from russet towards ruby' on which he was able to 'build…a series of beautiful and interesting sensations of nature'. This was his unique discovery, and it did not depend on clever quotation from 'the gamut of Monet'.
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