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Lot 103
John Duncan RSA RSW (British, 1866-1945)The Rainbow inscribed 'The Rainbow' (verso), bears further inscription to original backing panel 'THE RAINBOW/JOHN DUNCAN' (verso)watercolour22.3 x 17.3 cm. (8 3/4 x 6 13/16 in.)Footnotes:ProvenanceWith Cyril Gerber Fine Art, GlasgowFor further information on this lot please visit Bonhams.com
Lot 115
William Crosbie RSA RGI (British, 1915-1999)Maintenant sans Peur inscribed and indistinctly dated (verso), also bears inscription 'Pre estate no.145 - estate no.81'oil on panel22 x 30 cm. (8 11/16 x 11 13/16 in.)Footnotes:ProvenanceWith Ewan Mundy Fine Art, GlasgowThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 80
George Leslie Hunter (British, 1877-1931)Etaples, 1914 signed 'Hunter' (lower right), inscribed by Arthur Leyden with his New York business address in pencil (verso)oil on panel23.5 x 29 cm. (9 1/4 x 11 7/16 in.)Footnotes:ProvenanceArthur Leyden and thence by descentExhibitedParis, Les Peintres Écossais 1930-1935, Mona Bismarck Foundation, 2004, No. 47Hunter painted on the northern coast of France in 1913 and 1914. In a letter from Scottish artist and Paris correspondent to The Studio, Edward Archibald Taylor (1874-1951) to Dr T.J. Honeyman, he sheds some light on Hunter's artistic progress:'...he had been where Cézanne had worked etc, and he...showed me a number of chalk drawings in colour he had done, quite a departure from the things he had originally shown me.' (Bill Smith and Jill Marriner, Hunter Revisited, the Life and Art of Leslie Hunter, Atelier Books, Edinburgh, 2012, p.56)Almost certainly Hunter was referring to where Paul Cézanne (1839-1906) painted in the vicinity of Paris, rather than in Provence. These earlier works by Cézanne from 1873 to 1875 focused on the pictorial patchwork formed by the colour in the landscape, houses and rooftops. Likewise in Étaples, Hunter's beach scenes also form a patchwork but this time the bold colour blocks and flattened perspective are post-impressionist in conception, marking a fundamental shift in Hunter's treatment of Nature.Hunter went ahead with his painting trip to Étaples in August 1914. Arthur had planned to join him for a holiday but with the outbreak of war in Europe he backed out of it; a good decision as it turned out when Hunter duly landed himself in trouble. His biographer, T.J. Honeyman writes: 'Hunter's sketching excursions led the excited authorities to look upon him with suspicion. His fresh complexion and blonde hair probably assisted the spy maniacs in their search for Teutonic agents, and he was arrested. He was not actually locked up, and while the local gendarme was engaged in searching his credentials, Hunter, in a panic made his escape and eventually reached Paris.'(T.J. Honeyman, Introducing Leslie Hunter, Faber & Faber Ltd, London, 1937, pp.61-62)A year later in 1915, armed with this picture as a souvenir of the trip to Étaples that never was, Arthur moved to New York as the sole agent for Staines Linoleum. The address of the new business at 295 Fifth Avenue, the famous Textile Building is written on the reverse of the panel.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 82
George Leslie Hunter (British, 1877-1931)Landscape in Fife signed 'L Hunter' (lower right)oil on panel12.17 x 21.6 cm. (4 13/16 x 8 1/2 in.)Footnotes:ProvenanceArthur Leyden and thence by descentHunter's passion for the Fife landscape inspired him from 1919 until 1926. The rolling countryside, traditional buildings with red-tile roofs, distinctive east-coast villages and shores opened up real possibilities to express the colour sensations forming in his work and released a flurry of painting activity in him.Landscape in Fife dates from circa 1921-22 and it was a period when Hunter was making immense strides in his sense of colour and form. He wrote in December 1920 to his friend, Matthew Justice that he was concerned entirely with the animation of the landscape (Bill Smith and Jill Marriner, Hunter Revisited, the Life and Art of Leslie Hunter, Atelier Books, Edinburgh, 2012, p.84).By 1922, the work of French artist Édouard Vuillard (1868-1940) came under Hunter's scrutiny from a number of sources, including at art dealers and a number of examples that various friends had bought for their respective collections. Hunter was fascinated by Vuillard's sense of pattern to the point that the motif is no longer the focus.Colour chords and form animate the landscape, lively brushwork captures the textures inherent in Nature and along with his new-found sense of pattern that goes beyond the motif, these are the essentials that Hunter brings together in Landscape in Fife.Arthur most likely purchased this painting during his Scottish visit in 1924.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 84
George Leslie Hunter (British, 1877-1931)Cottages in Fife signed 'Hunter' (lower right)oil and charcoal on panel12.6 x 21.7 cm. (4 15/16 x 8 9/16 in.)Footnotes:ProvenanceArthur Leyden and thence by descentThe Fife landscape was bringing out the best in Hunter and his sensitivity to the moods of nature was allowing him to exploit its natural beauty in all seasons. Hunter's confidence and artistic advances after 1919 were also coming from the deeper understanding of Cézanne's principles on colour and form and moreover his ability to put them into practice. Cottages in Fife dates from circa 1921-23 when his use of colour blocks arranged across the canvas surface united with the wonderful sense of pattern he found in the Fife landscape.Hunter painted a much-sought-after series of views of the Mill Dam, near Ceres. He also painted a series of views called 'Village in Fife', some of which were exhibited at Reid & Lefèvre's Glasgow Gallery in December 1923. The critic from the Glasgow Herald writes:''A Fifeshire Village' and other pictures of similar themes, which are delightfully rendered with the fullest resource of the palette, express the generous bounty of nature and......all pervading sunlight.'Glasgow Herald, 19 December 1923As to the exact location of Cottages in Fife, it could be one of two places. The buildings in Cottages in Fife correspond quite closely in date and style to both those in in the Mill Dam series, and in the series of Village in Fife, albeit from a different perspective. Cottages in Fife was most likely purchased by Arthur during his Scottish visit in 1924. This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 119
Frederick Victor Bailey (1919-1997)Still life - a vase of mixed flowers with grapes and nut alongside, upon a table ledge, signed and dated 1979, oil on panel, 71 x 53cmCondition good. Colours bright and vibrant. The frame with minor knocks and scratches. Very fine hairline crack to panel upper left more discernible from viewing closely and in a raked light.
Lot 229
18th century Dutch schoolA harbourside town with windmills, fishing boats and cathedral, oil on panel, 45 x 67cmRepaired horizontal split to panel, with wedge joints to the back. Associated retouching, and further retouching/repainting to the sky visible under UV. Some fine cracking to the paint surface is places, which is beginning to lift/flake a little, particularly to the right side of the work. Paint surface appears a little thin/worn under UV in the lower areas. Minor surface dirt/dust.
Lot 500
Dutch school (17th/18th century)A fishing boat at sea with man o' war yonder, oil on panel, 35 x 47.5cmThere is a horizontal split through the panel, with old wedge joints to the back. Some overpainting/retouching to the sky, some minor scratches and abrasions, and marks. Surface dirt and heavy discolouration to the varnish. Not examined under UV.
Lot 562
Attributed to Thomas Barker of Bath (1769-1847)An extensive landscape with figures and cottage, oil on panel, 45 x 62.5cmIn good condition overall. There is a flake of paint loss to the sky upper left, and some minor dirty marks, including a line mark near to the top edge, above the tree. Minor surface dirt and varnish discolouration. Not examined under UV light.
Lot 128
λ AUGUSTUS JOHN (BRITISH 1878-1961)VIEW ALONG THE COAST AT ÉTANG DE BERREOil on panelInscribed (verso)23.5 x 32.5cm (9¼ x 12¾ in.)Painted in 1910.Provenance:The Adams Gallery, LondonSpink, London, stock no. K2 5106Private Collection, Tim Rootes and Obby Waller, Barton Hill House, GloucestershireJohn first travelled to the lagoon of L'Étang de Berre in 1910. He was so enchanted with the region between Marseilles and Arles that he chose to rent a house, Villa Ste. Anne, in the small fishing village of Martigues, nestled on the banks of L'Étang. The family visited frequently until 1928.For Augustus, the beauty of the translucent sunlight against the shimmering water and pale hills beyond inspired him to embark upon a series of sketches on panel, some studies for larger paintings. "After a necessary interval spent in observation and experiment, I attuned my eye at last to the marvellous light of this region, and a series of panels attest, I think, to the beneficial effect of it upon my palette"Augustus John, Chiaroscuro, London, 1952, p. 107The resulting body of work, forty-eight small oil panels of 'Provençal Studies' of which at least three depicted L'Étang de Berre, was exhibited in London in November-December 1910. In his book on the artist, Michael Holroyd describes how "The oil sketches at the Chenil Gallery revealed, for the first time, a gift for colour. The pale hills of Provence with their olives and pines and their elusive skies, the summer light across the Étang mysteriously moving with sun and shade, seemed to have brought Augustus into a more vivid contact with nature". Michael Holroyd, Augustus John, London, 1996, p. 339Whilst the present two works (lots 128 and 129) do not seem to have featured in the Chenil Gallery exhibition, they undoubtedly belong to this body of work. Mont Sainte Victoire appears in the background of the painting 'Children Paddling', oil on panel, dating from 1910 (Private Collection), and included in the Tate Gallery catalogue 'Gwen John and Augustus John', 2004, no 59.We are grateful to Rebecca John for her kind assistance in cataloguing these lots. Condition Report: Very light surface dirt. Otherwise in good original condition. Condition Report Disclaimer
Lot 129
λ AUGUSTUS JOHN (BRITISH 1878-1961)ÉTANG DE BERRE - LA MONT SAINTE VICTOIREOil on panelInscribed (verso)23.5 x 32.5cm (9¼ x 12¾ in.)Painted in 1910.Provenance:The Adams Gallery, LondonSpink, London(Possibly), Sale, Phillips, London, 24 January 1989, lot 81Private Collection, Tim Rootes and Obby Waller, Barton Hill House, GloucestershireJohn first travelled to the lagoon of L'Étang de Berre in 1910. He was so enchanted with the region between Marseilles and Arles that he chose to rent a house, Villa Ste. Anne, in the small fishing village of Martigues, nestled on the banks of L'Étang. The family visited frequently until 1928.For Augustus, the beauty of the translucent sunlight against the shimmering water and pale hills beyond inspired him to embark upon a series of sketches on panel, some studies for larger paintings. "After a necessary interval spent in observation and experiment, I attuned my eye at last to the marvellous light of this region, and a series of panels attest, I think, to the beneficial effect of it upon my palette"Augustus John, Chiaroscuro, London, 1952, p. 107The resulting body of work, forty-eight small oil panels of 'Provençal Studies' of which at least three depicted L'Étang de Berre, was exhibited in London in November-December 1910. In his book on the artist, Michael Holroyd describes how "The oil sketches at the Chenil Gallery revealed, for the first time, a gift for colour. The pale hills of Provence with their olives and pines and their elusive skies, the summer light across the Étang mysteriously moving with sun and shade, seemed to have brought Augustus into a more vivid contact with nature". Michael Holroyd, Augustus John, London, 1996, p. 339Whilst the present two works (lots 128 and 129) do not seem to have featured in the Chenil Gallery exhibition, they undoubtedly belong to this body of work. Mont Sainte Victoire appears in the background of the painting 'Children Paddling', oil on panel, dating from 1910 (Private Collection), and included in the Tate Gallery catalogue 'Gwen John and Augustus John', 2004, no 59.We are grateful to Rebecca John for her kind assistance in cataloguing these lots. Condition Report: In good original condition. Condition Report Disclaimer
Lot 136
λ SIR ALFRED MUNNINGS (BRITISH 1878-1959) A DOUBLE SIDED SKETCH, STUDY FOR LORD IVOR CHURCHILL R. A. 1923; ON THE REVERSE A STUDY FOR PICTURE OF LORD IVOR CHURCHILL & THE 9TH DUKE OF MARLBOROUGHOil on panel Signed (lower left), inscribed and dated 1923 (upper left); the reverse signed and inscribed (upper right)29.5 x 40.5cm (11½ x 15¾ in.) Provenance:Acquired directly from the artist Sir Jack Jarvis, Private Collection Thence by descent to his daughter, Vivian, Private Collection Thence by descent, Private Collection, UKThence by descent to the present ownerThe present lot is a double-sided study by Sir Alfred Munnings for one of his most important commissions. It began one day whilst sat next to Charles Spencer-Churchill, 9th Duke of Marlborough in The Other Club, a political dining society that was founded in 1911. Churchill expressed his admiration for traditional composition in painting and how he much desired to commission a hunting picture of himself together with his son Lord Ivor Churchill on horseback and more specifically a grey horse as suggested by Lord Ivor. It was decided, and so both Charles Spencer-Churchill and Lord Ivor Churchill made way to Glebe Place in London to sit for Munnings in his studio. 'A signpost to Melton was the thing, we must have a signpost in it ! Changing horses, four greys, with the second horseman in full rig; what a subject ! Mind you put me on the best horse' the Duke exclaimed. The commission is described at length in the second volume of Munnings' memoirs. The work was exhibited at the Royal Academy in 1924 in a review recorded in the Connoisseur it was commented 'More plaudits for the equestrian portrait of the Duke of Marlborough and Lord Ivor Spencer Churchill, but also for the muscular energy and movement of 'The Grey Horse'. The finished piece has remained in the Blenheim Palace collection ever since. This rare panel depicts three studies of Lord Ivor Churchill in his sumptuous hunting pinks and top hat. Munnings' swift, loose marks plan out the composition, experimenting with different positions of Churchill's head and hands upon the reigns. Sir Alfred Munnings has used very light, fast white strokes under the sitter to represent the horse. On the reverse of the panel the artist makes plans for the final composition which features Lord Ivor Churchill on grey horse in the far right corner, Charles Spencer-Churchill in the centre and two further greys with their handler to the left. The panel's chamfered edge suggests that Munnings was most likely using one of his slotted study boxes to work on the panel either in situ at Blenheim or back in his studio where both Lord Churchill and Charles Spencer-Churchill sat for Munnings. A number of other studies for this commission are known to have been carried out by Sir Alfred Munnings, four of which came up for auction in 2006 at Christie's New York. However, it is believed that this double sided sketch, which has not been on the market before now, was purchased direct from Munnings by Sir Jack Jarvis, who was knighted for services to racing and was one of the country's leading trainers. The work was then passed through descent to the present owner. We are grateful to the Curatorial staff at The Munnings Art Museum for their assistance in preparing this catalogue entry.
Lot 203
λ ROBERT OSCAR LENKIEWICZ (BRITISH 1941-2002) TEMPTATION OF SAINT ANTHONYOil on canvas, triptychSigned, titled and inscribed Project 18 (to reverse of right hand canvas)261 x 310cm (102¾ x 122 in.)Painted in 1993.Condition Report: The canvas has not been relined and is slightly slack. There is light surface dirt throughout. Evidence of a diagonal surface scratch to the lower 1/3 of the right panel. Inspection under UV reveals no obvious evidence of restoration or repair. Condition Report Disclaimer
Lot 39
MALCOLM DRUMMOND (BRITISH 1880-1945)LANDSCAPE, DONEGAL Oil on panel 25 x 35cm (9¾ x 13¾ in.)Provenance:Mrs Malcolm Drummond, Private CollectionD. Hackman, Private Collection Maltzahn Gallery Ltd., London Sale, Christie's, London, 20 September 1990, lot 185Sale, Sotheby's, London, 3 March 1999, lot 64Exhibited:London, Maltzahn Gallery Ltd., May 1974Condition Report: The paint surface is dirty. Ultraviolet light reveals scattered retouching notably to the lower right corner, along the edges as well as in the sky. Otherwise, in generally good condition, may benefit from a light clean.Condition Report Disclaimer
Lot 40
λ HENRY LAMB (BRITISH 1883-1960)ERRIGAL, DONEGAL, COUNTY DONEGAL, IRELAND Oil on panel 23.5 x 31.5cm (9¼ x 12¼ in.)Painted in 1913.Provenance:Private Collection, acquired directly from the artist in Ireland, September 1913Sale, Christie's, London, 22 June 1962, lot 101Sandra Lummis Fine Art, London Condition Report: Pin hole to the upper left and lower left corner. Layer of varnish causing some discolouration and surface dirt throughout. There are two faint vertical lines running down the middle of the panel, possibly uneven varnish. Would benefit from a clean. Inspection under UV reveals no obvious evidence of restoration or repair. Condition Report Disclaimer
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