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Roderic O`Conor (1860-1940)LA MAISON DU PENDU AU POULDU, BEACH WITH CLIFFS AND A YACHT, 1893 and DEUX FEMMES DE PROFIL DANS UN PAYSAGE (SET OF 3)etching; (2); lithograph; (1)the first, stamped within the image lower right; inscribed [1/30 / Tirage 81] in pencil in the margin lower right; the second, signed and dated in the plate; the third signed in the plate lower leftLandscaPortraite5.5 by 9in., 13.75 by 22.5cm.Deux Femmes de Profil dans un Paysage: Purchased by Mervyn & Pat Solomon, 1984La Maison du Pendu au Pouldu: Musée de Pont-Aven, 1984, catalogue no. 78 (another edition) (illustrated p.53)Deux Femmes de Profil dans un Paysage: L`École de Pont-Aven dans les Collections publiques et privées de Bretagne, Musée Des Beaux-Arts, Quimper, Rennes, Nantes, 1978-1979, catalogue no. 74 (illustrated); Musée de Pont-Aven, 1984, catalogue no. 84 (illustrated p.53); `Roderic O`Conor 1860-1940`, Barbican Art Gallery, London, Ulster Museum, Belfast, National Gallery of Ireland and Whitworth Art Gallery, Manchester, from September 1985 to May 1986 (all other editions)La Maison du Pendu au Pouldu:Johnston, Roy, Roderic O`Conor 1860-1940, Barbican Art Gallery, London and Ulster Museum, Belfast, 1985, catalogue no. 102 (illustrated p.113); Benington, Jonathan, Roderic O`Conor, Irish Academic Press, Dublin, 1992, catalogue no. 419, illustrated p.56Deux Femmes de Profil dans un Paysage:Jaworska, W., kregu Gauguina malarze szkoly Pont-Aven, Warsaw, 1969; English translation, Gauguin and the Pont-Aven School, Boston, 1972, p.224 (illustrated); Johnston, Roy, Roderic O`Conor 1860-1940, Barbican Art Gallery, London and Ulster Museum, Belfast, 1985, catalogue no. 114 (illustrated p.113)The lithograph within this lot is one of only two examples known in this medium. It is thought to have been printed in 1898. Dimensions of Beach with Cliffs and a Yacht, 1893 and Deux Femmes de Profil dans un Paysage, 9.75 by 15.25 and 7.50 by 6.75ins., respectively.An edition of Deux Femmes de Profil dans un Paysage can be found in the collection of Musée Des Beaux-Arts, Quimper.This group of eleven oil paintings and etchings by Roderic O`Conor spans thirty years of the artist`s career, encompassing many of his favourite subjects and deploying the entire repertoire of expressive gestures and marks and the high-keyed palette for which he has become famous. The collection moves in time as well as place: from the windswept rocky coastline of Finistère in 1893 (see lots 42 & 44), to the shaded, tree-lined roads near Barbizon in 1902, to the life models and domestic objects of O`Conor`s Parisian studio, and finally to the craggy peaks of the Côte d`Azur. There is even a work that melds the normally distinct genres of figure and landscape, namely the lithograph Two Women in Profile in a Landscape (lot 42), the descriptive title of which belies its innovative conception and its boldly simplified forms.O`Conor`s experimental rigour pervades this entire group of works - he was never a man to go for the easy option of academic realism. With their impulsive, whipped lines, the four etchings evince the clash of the elements on the storm-torn coast of Brittany, an alien and barren terrain that acquires, at the hands of O`Conor, the appearance of a lunar landscape. When he positions the horizon line lower down the copper plate, he manages to make even the clouds appear tortured. At this early date (1893), the Irishman was looking to Van Gogh for inspiration, especially the rhythmic bands of pure colour that energised the Dutchman`s St Remy and Arles landscapes. In 1908 O`Conor would pay verbal tribute to Van Gogh`s paintings as wonderful examples of expression of character pushed to the point of hallucination." Just a few years earlier, on a visit to Montigny-sur-Loing, he articulated the foliage, sky and grassy bank of his oil painting, Avenue of Trees (lot 39) with alternating stripes of colour, just as he had done a decade earlier in Pont-Aven.Whilst the predominant mood of these early works might be characterised as controlled anarchy, at least in the handling of paint, O`Conor was also capable of extracting subtlety and understatement from his colours. This is nowhere more apparent than in Chrysanthemums (lot 38), dating from 1896, when he was rethinking his art in the solitude of the little Breton town of Rochefort-en-terre. Here the feathery touch and carefully orchestrated colour harmonies (red predominating) recall no-one so much as Auguste Renoir, who visited Pont-Aven with his family in 1892 and was eulogised in the exchange of letters between Armand Seguin and O`Conor later in the decade. Similarly, the way O`Conor contrasts the softly blended brushstrokes describing the limbs and torso of the nude in Nu allongé (lot 37) with a more painterly approach in the foreground recalls Renoir`s late paintings of bathers.O`Conor`s affinity for the primitive life Brittany offered sometimes found an echo in pictures from his early years in Paris. In Nature morte (lot 36) of 1909, hand-painted Breton faïence, a white napkin and some fruit are partnered with an English posset pot, creating a homely assemblage that recalls, in its carefully articulated geometry, Cézanne`s famous admonition to "treat nature by means of the cylinder, the sphere, the cone." A few years later in date, the small panel painting Montagne Sainte-Victoire (lot 43) demonstrates how the lure of the South, as celebrated in Cézanne`s landscapes of his native Aix-en-Provence, became too much for O`Conor to resist. Here, using colour modulations at the expense of detail, he achieves the monumental, notwithstanding the small scale. In the years following the WWI, O`Conor continued to paint female models and still lifes, albeit without returning to the Post-Impressionist idiom of his pre-war years. This new development is demonstrated to good effect in Seated Model (lot 40), where the dramatic transverse lighting and the use of the palette knife to accentuate the modelling of forms are in keeping with the methods of the so-called École de Paris - painters such as Dunoyer de Segonzac, Chaïm Soutine and Maurice de Vlaminck. In the background of O`Conor`s portrait one can just glimpse his cast of Daumier`s bronze sculpture, Les emigrants, as if by way of homage from one dedicated interpreter of the human clay to another.Jonathan BeningtonFebruary 2013"

Roderic O`Conor (1860-1940)HOUSE ABOVE THE CLIFF, SUNLIGHT THROUGH THE CLOUDS and LE VERGER, c.1893 (SET OF 3)etching; (1) etching and drypoint; (2)the first with Barbican Art Gallery exhibition label on reverse; the second signed and dated in the plate lower right; inscribed [2/30/ Tirage 81] in pencil in the margin lower right; third signed in the plate lower leftLandscaPortraite10.5 by 13.25in., 26.25 by 33.125cm.(First) possibly, Hôtel Drouat Salle I, Paul Renard;The Collection of Mervyn & Pat Solomon(First) Pont Aven 1984 (another edition); London, 1985 (another edition)(Second) `L`estampe en Bretagne`, Musée des Beaux-Arts, Nantes, 1974, catalogue no. 145; Quimper, 1978, no. 72); Pont-Aven, 1984, no. 71; London, 1989, no. 0.7; Paris, 1989, no. 134 (other editions)Benington, Jonathan, Roderic O`Conor, Irish Academic Press, Dublin, 1992, catalogue nos. 441 and 430, respectively (both illustrated p.55); Johnston Roy, Roderic O`Conor, catalogue de l`oeuvre grave, Musée de Pont-Aven, 1999, no. 15 (illustrated)Le Verger was conceived in 1893. The original plate for the present work was sold at Hôtel Drouot, 17 November 1975 (lot 172, no. 4). From that plate later re-strikes were made in 1981 by Paul Prouté S.A. in an edition of 100. Dimensions of second title: 10.50 by 13.25in.This group of eleven oil paintings and etchings by Roderic O`Conor spans thirty years of the artist`s career, encompassing many of his favourite subjects and deploying the entire repertoire of expressive gestures and marks and the high-keyed palette for which he has become famous. The collection moves in time as well as place: from the windswept rocky coastline of Finistère in 1893 (see lots 42 & 44), to the shaded, tree-lined roads near Barbizon in 1902, to the life models and domestic objects of O`Conor`s Parisian studio, and finally to the craggy peaks of the Côte d`Azur. There is even a work that melds the normally distinct genres of figure and landscape, namely the lithograph Two Women in Profile in a Landscape (lot 42), the descriptive title of which belies its innovative conception and its boldly simplified forms.O`Conor`s experimental rigour pervades this entire group of works - he was never a man to go for the easy option of academic realism. With their impulsive, whipped lines, the four etchings evince the clash of the elements on the storm-torn coast of Brittany, an alien and barren terrain that acquires, at the hands of O`Conor, the appearance of a lunar landscape. When he positions the horizon line lower down the copper plate, he manages to make even the clouds appear tortured. At this early date (1893), the Irishman was looking to Van Gogh for inspiration, especially the rhythmic bands of pure colour that energised the Dutchman`s St Remy and Arles landscapes. In 1908 O`Conor would pay verbal tribute to Van Gogh`s paintings as wonderful examples of expression of character pushed to the point of hallucination." Just a few years earlier, on a visit to Montigny-sur-Loing, he articulated the foliage, sky and grassy bank of his oil painting, Avenue of Trees (lot 39) with alternating stripes of colour, just as he had done a decade earlier in Pont-Aven.Whilst the predominant mood of these early works might be characterised as controlled anarchy, at least in the handling of paint, O`Conor was also capable of extracting subtlety and understatement from his colours. This is nowhere more apparent than in Chrysanthemums (lot 38), dating from 1896, when he was rethinking his art in the solitude of the little Breton town of Rochefort-en-terre. Here the feathery touch and carefully orchestrated colour harmonies (red predominating) recall no-one so much as Auguste Renoir, who visited Pont-Aven with his family in 1892 and was eulogised in the exchange of letters between Armand Seguin and O`Conor later in the decade. Similarly, the way O`Conor contrasts the softly blended brushstrokes describing the limbs and torso of the nude in Nu allongé (lot 37) with a more painterly approach in the foreground recalls Renoir`s late paintings of bathers.O`Conor`s affinity for the primitive life Brittany offered sometimes found an echo in pictures from his early years in Paris. In Nature morte (lot 36) of 1909, hand-painted Breton faïence, a white napkin and some fruit are partnered with an English posset pot, creating a homely assemblage that recalls, in its carefully articulated geometry, Cézanne`s famous admonition to "treat nature by means of the cylinder, the sphere, the cone." A few years later in date, the small panel painting Montagne Sainte-Victoire (lot 43) demonstrates how the lure of the South, as celebrated in Cézanne`s landscapes of his native Aix-en-Provence, became too much for O`Conor to resist. Here, using colour modulations at the expense of detail, he achieves the monumental, notwithstanding the small scale. In the years following the WWI, O`Conor continued to paint female models and still lifes, albeit without returning to the Post-Impressionist idiom of his pre-war years. This new development is demonstrated to good effect in Seated Model (lot 40), where the dramatic transverse lighting and the use of the palette knife to accentuate the modelling of forms are in keeping with the methods of the so-called École de Paris - painters such as Dunoyer de Segonzac, Chaïm Soutine and Maurice de Vlaminck. In the background of O`Conor`s portrait one can just glimpse his cast of Daumier`s bronze sculpture, Les emigrants, as if by way of homage from one dedicated interpreter of the human clay to another.Jonathan BeningtonFebruary 2013"

Two trays of mostly 19th century ceramics including pink lustre teawares, Quimper teapot, Delft, etc

Removed from an old cottage - twenty one pieces of Henriot Quimper fiance hand painted pottery to include 2 jugs (peches) preserve pot & cover plates cups & saucers pin tray and a sabot

"A pair of Stoke on Trent pottery trumpet shaped vases decorated with gilt & blue flowers, 29cm; a Quimper dish; and Torquay Ware (qty)"

A porcelain casket by T Goode & Co, London hand painted with birds amongst foliage, two Dresden ewes, a quimper hand warmers in the form of a book and heart, a pair of continental scent bottles decorated with a landscape scenes, a Delft casket decorated with sailing ships, etc

A Quimper ware twelve piece oyster serving set, French, circa 1950 22cm diameter

A Quimper faience figure of St Yves and a continental jardiniere

A Bretby `Cloisonne` jardiniere; a pair of Booths Jacobean vases; a Quimper vase; on Asiatic pheasant meat plate. (5)

A large and interesting collection of china, ceramic and glass to include liberty`s cups, bunnykins, Quimper, ruby glass, etc

Three Quimper ware plates, Staffordshire cow creamer, other decorative china, together with a brass framed circular mirror.

Six Continental plates to inc. quimper examplePlease visit www.boningtons.com for a fully illustrated catalogue

Sel. 19th c. & later ceramics inc. Quimper lady

Sel. Quimper tableware inc. bowls

FRANCE 1887-XIXe ET DEBUT XXe : - Semur-en-Auxois, Christ au pilier encadré Nîmes, Montpellier, inondations, côte, Marseille (album) Cathédrale, Etang-la-Ville, Pont Marly, etc. - Paris, Cannes, La Rochelle, Le Havre Nice, Fontainebleau (par Quinet), Nîmes, Montpellier, Aigues-Mortes - Auguste Collard, Nautis tirage sur papier salé avec mention manuscrite au dos - Montpellier, la Croix de Fer, " La Babote ", 1879, 12 x 17 cm encadré - Trémolat, Mention "Compagnie d`Orléans, J. Duclos. Quimper" 1878, encadré Album voyage Paris-Montpellier, Cette, tirages légendés Album sur Paris et sur des Militaires Lot comprenant 6 sous sections

A quantity of Sevres tea wares comprising seven trios, two bread plates, two continental Quimper tea cups and saucers, seven Royal Worcester trios and a quantity of HM Southerland china tea wares in the "Rural Scenes" pattern including five trios, milk jug, sugar bowl and bread plate

A pair of late 19th century Continental Majolica vases, incised with scrolling foliage in brown on a cream ground, impressed G & St Mark, a Quimper style Majolica candlestick (to repair), a similar faience menu holder, and three Continental porcelain figures, modelled in 18th century dress

A large quantity of Quimper ceramics to include plates, bowls and dishes decorated with stylised pink flowers

A quantity of Quimper and Breton pottery including plates, jugs, cups and saucers, traditionally decorated with plowers or peasant figures. (24)

Two boxes of various decorative ceramics and other items, including: blue and white transfer decorated part-tea service, a gaudy Welsh jug, Quimper-type plates and other items.

Quimper plate, Delft tiles, 19th c. glasses etc

Quimper small teapot figure decorated with griffin, similar cup and two similar trinket dishes

A collection of Henriot Quimper wares to include a fan, teapot, jugs, bowls and dishes (28)

Two trays of decorative ceramics including Quimper, sardine plate etc

A Quimper cider jug, a copeland jug and a Bohemian glass vase

19th century French Quimper ware figured table salt in the form of male and female figures back to back carrying basin, allover floral decoration, the base with vignette "1792"

Victorian ceramics incl Dresden dish, Masons jug, Quimper etc

A pair of Quimper portrait plates and a Copeland & Garrett transfer printed plate with Chinoiserie scene. (3)

Four blue and cream Quimper soup bowls and saucers and pottery cups and saucers

Quimper pottery Toby jug, the figure holding a pipe and jug

Quimper inkwell in the form of a chair (a/f) and a gilt metal mounted porcelain inkwell

A BLUE AND GOLD DECORATIVE QUIMPER PLATE WITH MARKS TO THE BACK HB F.176 P

QUIMPER FRENCH FAIENCE TRIVETS, TWO, W 8" X 8": hand painted, motif of roosters.

Large quantity of Staffordshire tableware and a Henriot quimper cockerel design meat plate together with three pieces of Torquay motto ware.

A fine and large Porquier-Beau Quimper stand, late 19th century, formed as a six-sided star and painted with large butterflies within pink flowered sprays, yellow line rim, PB monogram to the reverse, 38cm.

Six Henriot Quimper Circular Leaf Decorated Plates

René BEAUCLAIR & HB QUIMPER - ODETTA Vase biconique en grès, col à gradins, décor de frises géométriques, émaux verts, ocre, bruns et beiges. Signatures émaillées "HB Quimper", "René Beauclair", "675-1360". Haut. 31 cm Bibliographie : Bernard Jules Verlingue, "Odetta", Catalogue édité par l`association des amis du musée de la faïence, 1999, modèle reproduit sous la référence 1360. Veuillez cliquer ici pour voir le film

Five items of Quimper

Pair of impressive French Quimper vases with dragon handles, coat of arms and figure decoration, 39cm high

Three old Quimper pottery figures of dancing couples, marked - Henriot Quimper, France

Selection of old Quimper pottery jugs, vases, bowls, model of a pig, teaware, etc (27 pieces)

A soda glass dump paperweight, second half of the 19th Century, internally decorated with a flower in a vase, two late 20th Century Belleek vases, three decanters and stoppers, a Quimper dish and two Continental figure groups (faults).

Three Quimper ware jugs, Quimper ware bowl, Forengers dishes, (a box).

A Quimper French Plate, a Builth Wells Coffee Pot and a Staffordshire Cottage.

"Quimper earthenware circular bowl with 2 lobed handles, painted with 2 figures in a garden, similar bowl, jug and a jar with cover"

Two Quimper fish shaped bowls

Heriott, Quimper, France, a pottery dish with cover; together with a `butter pail` and cover and an oval small jardiniere stamped Rouen

Quimper circular bowl, lobed outline, two Quimper plates and other pottery.

A Norwegian sterling silver miniature rowing boat, a/f, a golfing hip flask a/f, a 1950`s Quimper treen box by Paul Fouillen and various other items

A HAND PAINTED PORQUIER-BEAU QUIMPER CANDLE HOLDER CIRCA 1904 DEPICTING A COUNTRY COUPLE.

A Yorkshire or Scottish pottery figure of girl with nest, circa 1840; a blue painted jug and stand, a Quimper ware bowl and a George V and Mary Commemorative mug (5).

HB Quimper Paire de serre-livres en faïence polychrome représentant une bretonne à l`oie et un joueur de biniou Haut. 16,5 cm - Larg. 16,5 cm - Prof. 10,5 cm

NICOT L.H. - HB Quimper Les Commères Groupe en faïence polychrome. Signé sur la terrasse Haut. 38 cm - Larg. 34 cm - Prof. 21 cm

ODETTA - HB Quimper Vase en grès à décor de motifs géométriques vert vif et marron sur fond vert bouteille. Signé et numéroté Haut. 26 cm

BOUVIER - HB Quimper Paire de serre-livres en faïence polychrome représentant un couple de bretons (restaurations) Haut. 22 et 23 cm

PORSON Henriette, 1874-1963- HB Quimper Fillette de Plougastel à l`oiseau Groupe en faïence polychrome, signé sur le coude et à l`intérieur Haut. 28 cm Voir la reproduction

FOUILLEN Paul - Henriot Quimper Bannette en forme de barque en faïence polychrome à décor d`un profil de breton (petit manque à la poupe) Long. 25,5 cm

HB Quimper Grand et beau vase de forme urne à deux anses à décor sur une face d`un couple d`amoureux bretons devant un ruisseau, sur l`autre d`un bouquet de roses et épis de blé (très belle qualité d`éxécution) Haut. 60 cm

HB Quimper Vase de forme pansue en faïence polychrome à décor perlé et dans un médaillon de trois danseuses bretonnes devant un puits (très beaux émaux) Haut. 41 cm

A Quimper ware bowl with a Dutch figure fishing, marked `Quimper IB`, 8¾in. (22.5cm.) diameter,