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Lot 914
Two framed Prattware pot lids 'The Late Duke of Wellington' and 'The Late Prince Consort', both 6" diameter including frame; together with a Royal Copenhagen figure of a seated shepherd boy whittling a stick 7.5" high, a Vienna type porcelain pedestal dish and cover, 4.5" high, a Dresden green scale vase monogrammed by Klemm, and a pedestal comport
Lot 460
Pair of Burmese carved hardwood hall chairs, the backs with carved opposing dragons over single carved vase splats, the scale carved arms terminating in grotesque masks, the leather upholstered drop in seat pads over carved frieze of further carved dragons, scale carved front legs terminating on grotesque mask feet, 27" wide, 31" deep, 40" high (2)
Lot 1342
A Victorian 18ct gold open fusee pocket watch, B. H. Joseph & Co., London 1875, the 40mm. Roman enamel dial with subsidiary seconds, fronting a fusee movement with foliate chased balance cock and silvered regulating scale, no. 3147, in a 44mm. engine turned case, on a 9ct rose gold fob chain, with key.
Lot 199
Essex. Chapman & Andre, a Map of the County of Essex from an Actual Survey, originally published, 1777, this ed. pub. Chelmsford, Chalk, Meggy & Chalk, 1833, engraved map with contemp. hand colouring, inset maps of Harwich and Colchester 47 x 60cm. together with the frontispiece, 46.5 x 59cm (2) Both from Chapman & Andre's twenty-five sheet large scale map of Essex.
Lot 66
Ayman Baalbaki (Lebanon, born 1975)Untitled (Loss and Destruction) acrylic and mixed media on canvas, framedsigned in Arabic and dated '2010' on the verso, executed in 2010200 x 150cm (78 3/4 x 59 1/16in).Footnotes:Provenance:Property from a private collection, DubaiChristie's, Modern & Contemporary Art, October 2015, lot 107Luce Gallery, Ciel Chargé de Fleurs, Turin, 2010Rose Issa Projects, Ciel Chargé de Fleurs, London, 2009'I have a temper. It doesn't always show but in some situations my temper flares up. It was war and displacement that made me tough. I developed an aggressive and defensive force in me... but the violence I have witnessed was translated into painting,' – Ayman BaalbakiAyman Baalbaki's inimitable depictions of war-torn Beirut are a visceral, aesthetically overpowering testament to the destructive power of conflict, a destruction whose genesis, whilst physical, infiltrates, scars and distorts the collective consciousness of its sufferers.Baalbaki's fixation with conflict is manifest throughout his life and work. Born in 1975, the year of the outbreak of the Lebanese Civil War, his family were forced to flee Rass-el Dikweneh when he was only a few months old. When it came to approaching his work as a painter Baalbaki naturally drew from the deep reservoir of memory formed by these disturbing experiences.Concerned with the link between imagery and memory, Baalbaki uses his art as a haunting aide-memoire to the conflict that has plagued Beirut, reminding people that even in times of relative piece, they should not disregard the deep systemic divisions that gave rise to conflict in the first place. Baalbaki explains that this conceptual initiative is 'based on what Nietzsche called the 'imposition of memory. After the war, whoever had experienced it, tried to erase its effects and impact from his/her memory and surroundings, although the causes of war and its essence [were] still present in the city'.In light of this overarching agenda, Baalbaki's works accordingly focus on the aftermath of conflict, and the remnants of its destructive influence. The gap between the act of destruction and the time of depiction, which Baalbaki's works occupy, is part of a concerted effort to place a reflective emphasis on the theme of war; it is seldom in the eye of the storm where one can truly measure, discern and recognize the effects of destruction, it is only when the impact of war breaches the heat of the battle, permeating into the visual, emotional and psychological landscape that its true imprint becomes manifest.The medium through which this imprint is made palpable by Baalbaki, is through the depiction of Beirut's war torn buildings; these buildings, like the individuals they contained, are perhaps some of the city's most important inhabitants, they are the edifices that signify identity, civilization, the existence of families and homes, they are the structures which give shelter, congregation, life, and industry to a population, they are the building blocks of the communities they house, and it is through their facades that the culture, history and collective narrative of their inhabitants are most immediately recognized.It is these buildings which therefore wear most overtly the wounds of war, and whilst the human impact of conflict lives within the hearts of those who have survived it, and through the memories of those who have the fallen, the visual insignia of conflict is most tangible in the fragmentation of the civic space.It is this fragmentation which Baalbaki seeks to document, reflect on, and ultimately immortalise in his canvases. Executed in a scale which captures both the architectural enormity of the buildings depicted, and the severity of the damage they have suffered, Baalbaki's paintings are striking vignettes of a city whose urban fabric has been punctured and mutilated.Monumental yet deeply personal, vigorous yet unsettlingly brooding, Baalbaki's building is rendered with both a stark brutality and delicate pathos, harnessing both its nurturing and destructive qualities, pointing to its emotionally paradoxical role in Lebanese life; as both part of the city built as a place of shelter, yet at the same time a scene of its greatest tragedies. The tension between these two elements, rendered as it is in monumental format, make this one of Baalbakis most emotive and compelling artworksThis lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP Lots denoted with a 'TP' will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 87
Ardeshir Mohasses (Iran, 1938-2008)Homage to Sani Ol Molk crayon on paper, framedsigned and dated '1977' in Farsi (lower right), executed in 197720 x 22cm (7 7/8 x 8 11/16in).Footnotes:A RARE AND HIGHLY IMPORTANT GROUP OF WORKS BY ARDESHIR MOHASSESS FROM PRIVATE FAMILY COLLECTIONS'I don't believe in an ideal society... as there is no need for me in such a society' - Ardeshir Mohassess'If we are to take 'caricature' to be an ironic exaggeration of facts then Aredshir is most certainly not a caricaturist. At least for us, the neighbours, and fellow-sufferers of the familiar faces in his works, Ardeshir will, in his capacity as an artist, remain a sharp-sighted realist, a portraitist of facts, a painter of history' – Ahmad ShamluProvenance:Property from a private collection, New YorkBonhams has the distinct privilege of presenting works from some of the most significant private collections of Ardeshir Mohasses' inimitable drawings and sketches. Mohassess combined artistic ingenuity with political satire to create shrewd, gripping images that reference and scrutinise key episodes in Iran's turbulent past. Mohasses' professional background as a journalistic cartoonist shaped both the aesthetic and subject matter of his works.Depicted in the form of pictorial vignettes, the miniature size and simple format of his sketches present the viewer with clear, succinct commentaries on a personal scale. The majority of Mohasses' work contains acerbic, alarming and often disturbing imagery chronicling the social and civil turmoil plaguing Iran throughout the 19th and 20th centuries, the present sketches are a unique, highly significant grouping from his most creatively fertile period during the 1970'sArdeshir Mohassess was born in Iran in 1938 and began drawing early in his childhood. In the 1960s, after receiving a degree in political science from Tehran University, he worked as an illustrator for Iranian journals and newspapers. Soon after, his drawings began to appear in major international newspapers and magazines, including The New York Times. In 1976, Mohassess left Iran for what he planned as a temporary stay in the United States. However, with the outbreak of the Iranian Revolution in 1979 Mohassess chose to remain in New York, where he lived until his passing in 2008.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 100
American School (c.1839)Portrait of Moses Waterhouse, small half-length, in a brown coatPen, ink and watercolourWith inscription Esq./Moses Waterhouse Scarbro - Me along the lower edge11.5 x 9cm (4½ x 3½ in.)Most probably in its original green and white painted frame.Provenance:David Wheatcroft, MassachusettsPurchased from the above by the present owner in 2008 To be sold without reserve The Pinkers Collection of British, American and European Folk Art This charming collection of folk art takes its name from a diminutive 17th Century cottage on the Kent coast where it has hung and grown in size over the last twenty years. It includes watercolours and oil paintings from the 17th to the early 20th Century. Many are in their original frames and in remarkably fresh condition. Despite its rural location and the provincial subject matter of the works it is a truly international collection and many of the lots have come from some of the most important collectors and dealers in folk art on both sides of the Atlantic including Robert Young, Denzil Grant and Charles Plante in England and David Wheatcroft, Joan Brownstein and Austin Miller in America.Folk Art has been described as 'the unselfconscious creativity of academically untrained artists' (Robert Young, Folk Art, 1999) and it is this quality that gives many of the works an immediacy and playfulness that has chimed with generations of collectors. Some of the pictures, by journeymen artists, artisans or amateurs are provincial reinterpretations of more sophisticated works, such as the early 18th Century Yate family portraits (lot 122). Others have a joyful disregard of accepted ideas of scale, perspective and colouring, giving them a timeless quality which draws parallels with 20th Century artists including Alfred Wallis and John Nash, such as View from La Moinerie (lot 120) and the American School Portrait of a girl (lot 103) has an Outsider Art quality reminiscent of the Art Brut movement founded by Jean Dubuffet. Regardless of their origins this unique and varied collection is the manifestation of the vision and passion of a true collector.
Lot 101
American School (early 19th century)George WashingtonPen, ink and watercolour12 x 9.5cm (4½ x 3½ in.)Probably Pennsylvania. ProvenanceJoan Brownstein, MassachusettsPurchased from the above by the present owner in 2009To be sold without reserveThe Pinkers Collection of British, American and European Folk Art This charming collection of folk art takes its name from a diminutive 17th Century cottage on the Kent coast where it has hung and grown in size over the last twenty years. It includes watercolours and oil paintings from the 17th to the early 20th Century. Many are in their original frames and in remarkably fresh condition. Despite its rural location and the provincial subject matter of the works it is a truly international collection and many of the lots have come from some of the most important collectors and dealers in folk art on both sides of the Atlantic including Robert Young, Denzil Grant and Charles Plante in England and David Wheatcroft, Joan Brownstein and Austin Miller in America.Folk Art has been described as 'the unselfconscious creativity of academically untrained artists' (Robert Young, Folk Art, 1999) and it is this quality that gives many of the works an immediacy and playfulness that has chimed with generations of collectors. Some of the pictures, by journeymen artists, artisans or amateurs are provincial reinterpretations of more sophisticated works, such as the early 18th Century Yate family portraits (lot 122). Others have a joyful disregard of accepted ideas of scale, perspective and colouring, giving them a timeless quality which draws parallels with 20th Century artists including Alfred Wallis and John Nash, such as View from La Moinerie (lot 120) and the American School Portrait of a girl (lot 103) has an Outsider Art quality reminiscent of the Art Brut movement founded by Jean Dubuffet. Regardless of their origins this unique and varied collection is the manifestation of the vision and passion of a true collector.
Lot 102
Friederich Kuester (American, early 19th century)Presentation Fraktur of `The Ape'Pen, ink and watercolour 10.5 x 8.2cm (4 x 3 in.)Central Pennsylvania.Provenance:David Wheatcroft, MassachusettsPurchased from the above by the present owner in 2006Made by German settlers in Pennsylvania in the 19th Century a Frakturs is defined as manuscript art. The distinctive calligraphic script is often the dominant feature, but many, such as the present work, include drawings of figures, flowers or animals and would often made to be presented as school prizes or gifts in the form of a bookmark. To be sold without reserveThe Pinkers Collection of British, American and European Folk Art This charming collection of folk art takes its name from a diminutive 17th Century cottage on the Kent coast where it has hung and grown in size over the last twenty years. It includes watercolours and oil paintings from the 17th to the early 20th Century. Many are in their original frames and in remarkably fresh condition. Despite its rural location and the provincial subject matter of the works it is a truly international collection and many of the lots have come from some of the most important collectors and dealers in folk art on both sides of the Atlantic including Robert Young, Denzil Grant and Charles Plante in England and David Wheatcroft, Joan Brownstein and Austin Miller in America.Folk Art has been described as 'the unselfconscious creativity of academically untrained artists' (Robert Young, Folk Art, 1999) and it is this quality that gives many of the works an immediacy and playfulness that has chimed with generations of collectors. Some of the pictures, by journeymen artists, artisans or amateurs are provincial reinterpretations of more sophisticated works, such as the early 18th Century Yate family portraits (lot 122). Others have a joyful disregard of accepted ideas of scale, perspective and colouring, giving them a timeless quality which draws parallels with 20th Century artists including Alfred Wallis and John Nash, such as View from La Moinerie (lot 120) and the American School Portrait of a girl (lot 103) has an Outsider Art quality reminiscent of the Art Brut movement founded by Jean Dubuffet. Regardless of their origins this unique and varied collection is the manifestation of the vision and passion of a true collector.
Lot 103
American Naive School (19th century)Portrait of a childPen, ink and watercolourInscribed and indistinctly dated Townley. Aged Seven Month. June 11th 18[??] to the lower edge25.5 x 19cm (10 x 7¼ in.)The sheet is attached to newspaper dated 1829.Provenance:The Estate of Clark and Mary Garrett, Ohio.Olde Hope Antiques, PennsylvaniaPurchased from the above by the present owner in 2005This endearing portrait of a child created in America, most probably in the early 19th Century, is one of the most striking images in this collection. The carefully drawn silhouette and subtle colouring contrasts with the unconsciously naïve flattening of the perspective. It has a static, stiff, doll-like quality but the character of the child shines through. The Pinkers Collection of British, American and European Folk Art This charming collection of folk art takes its name from a diminutive 17th Century cottage on the Kent coast where it has hung and grown in size over the last twenty years. It includes watercolours and oil paintings from the 17th to the early 20th Century. Many are in their original frames and in remarkably fresh condition. Despite its rural location and the provincial subject matter of the works it is a truly international collection and many of the lots have come from some of the most important collectors and dealers in folk art on both sides of the Atlantic including Robert Young, Denzil Grant and Charles Plante in England and David Wheatcroft, Joan Brownstein and Austin Miller in America.Folk Art has been described as 'the unselfconscious creativity of academically untrained artists' (Robert Young, Folk Art, 1999) and it is this quality that gives many of the works an immediacy and playfulness that has chimed with generations of collectors. Some of the pictures, by journeymen artists, artisans or amateurs are provincial reinterpretations of more sophisticated works, such as the early 18th Century Yate family portraits (lot 122). Others have a joyful disregard of accepted ideas of scale, perspective and colouring, giving them a timeless quality which draws parallels with 20th Century artists including Alfred Wallis and John Nash, such as View from La Moinerie (lot 120) and the American School Portrait of a girl (lot 103) has an Outsider Art quality reminiscent of the Art Brut movement founded by Jean Dubuffet. Regardless of their origins this unique and varied collection is the manifestation of the vision and passion of a true collector.
Lot 104
Jacob Maentel (American 1763-1863)Portrait of a man, small full-length, in profile, holding a top hatWatercolour 29.3 x 19cm (11½ x 7¼ in.)Pennsylvania, circa 1810.ProvenanceThe Bischoff CollectionThe Stewart E. Gregory CollectionDavid Wheatcroft, MassachusettsPurchased from the above by the present owner in 2007To be sold without reserveThe Pinkers Collection of British, American and European Folk Art This charming collection of folk art takes its name from a diminutive 17th Century cottage on the Kent coast where it has hung and grown in size over the last twenty years. It includes watercolours and oil paintings from the 17th to the early 20th Century. Many are in their original frames and in remarkably fresh condition. Despite its rural location and the provincial subject matter of the works it is a truly international collection and many of the lots have come from some of the most important collectors and dealers in folk art on both sides of the Atlantic including Robert Young, Denzil Grant and Charles Plante in England and David Wheatcroft, Joan Brownstein and Austin Miller in America.Folk Art has been described as 'the unselfconscious creativity of academically untrained artists' (Robert Young, Folk Art, 1999) and it is this quality that gives many of the works an immediacy and playfulness that has chimed with generations of collectors. Some of the pictures, by journeymen artists, artisans or amateurs are provincial reinterpretations of more sophisticated works, such as the early 18th Century Yate family portraits (lot 122). Others have a joyful disregard of accepted ideas of scale, perspective and colouring, giving them a timeless quality which draws parallels with 20th Century artists including Alfred Wallis and John Nash, such as View from La Moinerie (lot 120) and the American School Portrait of a girl (lot 103) has an Outsider Art quality reminiscent of the Art Brut movement founded by Jean Dubuffet. Regardless of their origins this unique and varied collection is the manifestation of the vision and passion of a true collector. Condition Report: There is discolouration and staining throughout the sheet. The framing edges of the sheet with some darker areas of staining caused by the framing mount. There are also a number of pronounced dark brown stains to the centre left and lower left of the sheet (visible in catalogue and online illustrations). It is not clear what has caused this. There are a number of small tears throughout the sheet including to the extreme right edge (two horizontal tears approx 4cm), the extreme upper edge (approx 1cm above the sitter's head) and the extreme lower left edge (approx 1.5cm). There are a number of small areas of skinning to the sheet throughout and a small area of loss is visible to the extreme lower right and upper left corners. There is very fine craquelure to the darker pigments, predominantly the sitter's clothes and hair. The colour is a little down and there is some evidence of water staining to the hills in the lower left corner. Light undulation to the sheet under the glazed frame. Unexamined out of glazed frame.Condition Report Disclaimer
Lot 105
American School (late 18th century)Two figures by a card tablepen, ink and watercolour 15.5 x 22cm (6 x 8½ in.)Probably New England, circa 1790.Provenance:Joan Brownstein, MassachusettsPurchased from the above by the present owner in 2014An 18th Century card table, the top half-open to reveal a red baize playing surface is flanked by two bust-length portraits of a man and a woman. This intriguing picture was most probably created in New England in the late 18th Century. The Pinkers Collection of British, American and European Folk Art This charming collection of folk art takes its name from a diminutive 17th Century cottage on the Kent coast where it has hung and grown in size over the last twenty years. It includes watercolours and oil paintings from the 17th to the early 20th Century. Many are in their original frames and in remarkably fresh condition. Despite its rural location and the provincial subject matter of the works it is a truly international collection and many of the lots have come from some of the most important collectors and dealers in folk art on both sides of the Atlantic including Robert Young, Denzil Grant and Charles Plante in England and David Wheatcroft, Joan Brownstein and Austin Miller in America.Folk Art has been described as 'the unselfconscious creativity of academically untrained artists' (Robert Young, Folk Art, 1999) and it is this quality that gives many of the works an immediacy and playfulness that has chimed with generations of collectors. Some of the pictures, by journeymen artists, artisans or amateurs are provincial reinterpretations of more sophisticated works, such as the early 18th Century Yate family portraits (lot 122). Others have a joyful disregard of accepted ideas of scale, perspective and colouring, giving them a timeless quality which draws parallels with 20th Century artists including Alfred Wallis and John Nash, such as View from La Moinerie (lot 120) and the American School Portrait of a girl (lot 103) has an Outsider Art quality reminiscent of the Art Brut movement founded by Jean Dubuffet. Regardless of their origins this unique and varied collection is the manifestation of the vision and passion of a true collector.Condition Report: The sheet has been wrapped around a piece of card and the whole thing laid down on a card mount. Staining and discolouration to the sheet including brown spots throughout. There vertical and horizontal crease marks where the sheet has previously been folded into four. At the centre meeting point of these creases in a small pin hole. There are also various areas of skinning and loss along these crease lines. Where the sheet has been folded around the card, there are also small splits to the weaker areas of the sheet. There are two areas of repair to the upper right edge and a further area of possible repair to the lower right edge. There are also some areas of light water stains throughout but this is largely confined to the lower edges. Some fading to the pen detail in the lady's face. With additional general wear commensurate with age and fragility of the paper.Condition Report Disclaimer
Lot 106
American School (19th century)Portrait of a gentleman, bust-length, in a black coatOil on panel30 x 22cm (11¾ x 8½ in.)Provenance:Clark Garrett, OhioOlde Hope Antiques, PennsylvaniaPurchased from the above by the present ownerTo be sold without reserveThe Pinkers Collection of British, American and European Folk Art This charming collection of folk art takes its name from a diminutive 17th Century cottage on the Kent coast where it has hung and grown in size over the last twenty years. It includes watercolours and oil paintings from the 17th to the early 20th Century. Many are in their original frames and in remarkably fresh condition. Despite its rural location and the provincial subject matter of the works it is a truly international collection and many of the lots have come from some of the most important collectors and dealers in folk art on both sides of the Atlantic including Robert Young, Denzil Grant and Charles Plante in England and David Wheatcroft, Joan Brownstein and Austin Miller in America.Folk Art has been described as 'the unselfconscious creativity of academically untrained artists' (Robert Young, Folk Art, 1999) and it is this quality that gives many of the works an immediacy and playfulness that has chimed with generations of collectors. Some of the pictures, by journeymen artists, artisans or amateurs are provincial reinterpretations of more sophisticated works, such as the early 18th Century Yate family portraits (lot 122). Others have a joyful disregard of accepted ideas of scale, perspective and colouring, giving them a timeless quality which draws parallels with 20th Century artists including Alfred Wallis and John Nash, such as View from La Moinerie (lot 120) and the American School Portrait of a girl (lot 103) has an Outsider Art quality reminiscent of the Art Brut movement founded by Jean Dubuffet. Regardless of their origins this unique and varied collection is the manifestation of the vision and passion of a true collector.
Lot 107
Madison Houghton (American 1809-1870)Portrait of a gentleman, shoulder-length, in profilePencil and black and white chalkInscribed Drawn by/..adison/Houghton/June 16, 1831 on the reverse24 x 19cm (9¼ x 7¼ in.)Together with a cut and paste silhouette of a gentleman; and an American School portrait of a young man in profile, watercolour, tondo (3)Provenance:Oscar Poriss at Tarrytown Antiques, New York Purchased from the above by the present owner in 1963 Literature:A. and S.Kern and P. and L.Warwick, The Magazine of Antiques, Four Ohio Nineteenth Century Folk Artists, August 2007, p.94-5, fig.8To be sold without reserveThe Pinkers Collection of British, American and European Folk Art This charming collection of folk art takes its name from a diminutive 17th Century cottage on the Kent coast where it has hung and grown in size over the last twenty years. It includes watercolours and oil paintings from the 17th to the early 20th Century. Many are in their original frames and in remarkably fresh condition. Despite its rural location and the provincial subject matter of the works it is a truly international collection and many of the lots have come from some of the most important collectors and dealers in folk art on both sides of the Atlantic including Robert Young, Denzil Grant and Charles Plante in England and David Wheatcroft, Joan Brownstein and Austin Miller in America.Folk Art has been described as 'the unselfconscious creativity of academically untrained artists' (Robert Young, Folk Art, 1999) and it is this quality that gives many of the works an immediacy and playfulness that has chimed with generations of collectors. Some of the pictures, by journeymen artists, artisans or amateurs are provincial reinterpretations of more sophisticated works, such as the early 18th Century Yate family portraits (lot 122). Others have a joyful disregard of accepted ideas of scale, perspective and colouring, giving them a timeless quality which draws parallels with 20th Century artists including Alfred Wallis and John Nash, such as View from La Moinerie (lot 120) and the American School Portrait of a girl (lot 103) has an Outsider Art quality reminiscent of the Art Brut movement founded by Jean Dubuffet. Regardless of their origins this unique and varied collection is the manifestation of the vision and passion of a true collector.
Lot 108
American School (19th century) A basket of fruitWatercolour and bodycolour 14 x 10.3cm (5½ x 4 in.)Together with a study of a snake; a study of pansies; a study of a Morning Glory flower; and an American School oil, thought to be San Francisco harbour, various sizes. (5)ProvenanceMary Maguire, ConnecticutPurchased from the above by the present owner in 2007To be sold without reserveThe Pinkers Collection of British, American and European Folk Art This charming collection of folk art takes its name from a diminutive 17th Century cottage on the Kent coast where it has hung and grown in size over the last twenty years. It includes watercolours and oil paintings from the 17th to the early 20th Century. Many are in their original frames and in remarkably fresh condition. Despite its rural location and the provincial subject matter of the works it is a truly international collection and many of the lots have come from some of the most important collectors and dealers in folk art on both sides of the Atlantic including Robert Young, Denzil Grant and Charles Plante in England and David Wheatcroft, Joan Brownstein and Austin Miller in America.Folk Art has been described as 'the unselfconscious creativity of academically untrained artists' (Robert Young, Folk Art, 1999) and it is this quality that gives many of the works an immediacy and playfulness that has chimed with generations of collectors. Some of the pictures, by journeymen artists, artisans or amateurs are provincial reinterpretations of more sophisticated works, such as the early 18th Century Yate family portraits (lot 122). Others have a joyful disregard of accepted ideas of scale, perspective and colouring, giving them a timeless quality which draws parallels with 20th Century artists including Alfred Wallis and John Nash, such as View from La Moinerie (lot 120) and the American School Portrait of a girl (lot 103) has an Outsider Art quality reminiscent of the Art Brut movement founded by Jean Dubuffet. Regardless of their origins this unique and varied collection is the manifestation of the vision and passion of a true collector.
Lot 109
English School (18th century)Portrait of a gentleman, small full-length, in a brown coat, seated at a tableOil on canvasA rent card dated 1741 and signed D. Eaton attached verso40 x 30cm (15½ x 11¾ in.)UnframedThe Pinkers Collection of British, American and European Folk Art This charming collection of folk art takes its name from a diminutive 17th Century cottage on the Kent coast where it has hung and grown in size over the last twenty years. It includes watercolours and oil paintings from the 17th to the early 20th Century. Many are in their original frames and in remarkably fresh condition. Despite its rural location and the provincial subject matter of the works it is a truly international collection and many of the lots have come from some of the most important collectors and dealers in folk art on both sides of the Atlantic including Robert Young, Denzil Grant and Charles Plante in England and David Wheatcroft, Joan Brownstein and Austin Miller in America.Folk Art has been described as 'the unselfconscious creativity of academically untrained artists' (Robert Young, Folk Art, 1999) and it is this quality that gives many of the works an immediacy and playfulness that has chimed with generations of collectors. Some of the pictures, by journeymen artists, artisans or amateurs are provincial reinterpretations of more sophisticated works, such as the early 18th Century Yate family portraits (lot 122). Others have a joyful disregard of accepted ideas of scale, perspective and colouring, giving them a timeless quality which draws parallels with 20th Century artists including Alfred Wallis and John Nash, such as View from La Moinerie (lot 120) and the American School Portrait of a girl (lot 103) has an Outsider Art quality reminiscent of the Art Brut movement founded by Jean Dubuffet. Regardless of their origins this unique and varied collection is the manifestation of the vision and passion of a true collector.
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186097 item(s)/page