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Lot 949
An Emek 1/25 scale model of a Scania 420 tractor unit with covered 40' trailer, decorated in red and grey with in-group livery, together with a JDP Custom Trucks 1/25 scale model of a Road Haulage Association (RHA) Scania 420 tractor unit with 40' box trailer, both models housed in the original packaging
Lot 951
A collection of mixed scale road haulage and public transport diecasts to include a Minichamps 1/50 scale model of a Scania 4x2 tractor unit with trailer, decorated in bronze with Scania livery, a Joel Scania Irizar PB coach together with an Eligor Ref. 111813 Gregory Distribution tractor unit and trailer, and a Corgi Superhaulers Macfarlane Transport Ltd tractor unit and trailer, all in original packaging
Lot 1082
True Scale England boxed Artillery Set comprising of a Bedford 3 Ton Lorry, field gun and associated Dinky Toys Limber, slight rusting to the edges of the tin tilt - very similar to the Dinky Toys No. 621 Army Lorry, Field Gun and Limber - the models are in generally very good condition and come with the original red box with a paper picture label to the box lid (VG-E,BVG)
![[Small Press and Concrete Poetry] S.M.S. (Shit Must Stop) Portfolio 4 & 6 Two issues (of 6 total) of the phenomenal art](https://cdn.globalauctionplatform.com/22e31b51-3022-4a65-8d1e-aea0009b964b/35ffc5e2-dc39-4627-b9d4-aea000d6b358/468x382.jpg)
Lot 6293
[Small Press and Concrete Poetry] S.M.S. (Shit Must Stop) Portfolio 4 & 6 Two issues (of 6 total) of the phenomenal art collection in a portfolio assembled by William Copley in an edition of approx. 2000. Published by The Letter Edged in Black Press, New York and sent to subscribers over the course of 1968. All issues contain around 11-14 small-scale multiples in various media from prints, die-cut assemblages, handwritten letters to cassette tapes. This set includes No.4 and 6 in their original cardboard boxes. S.M.S. 4: Robert Stanley, Arman, Paul Bergtold, John Cage, Hollis Frampton, On Kawara (100 Year Calendar), Roy Lichtenstein (folded hat), Lil Picard (burned bowtie), Robert Watts, Princess Winifred. Missing the poems by Domenico Rotella. Does not contain the tape by La Monte Young and Marian Zazeela (also not listed on the contents list). S.M.S. 6: Richard Artschwager, Bereal, Diter Rot (Chocolate Bar), Betty Dodson, Ferri, John Giorno (Chinese Fortune Game), Toby Mussmann, Adrian Nutbeem, Claes Oldenburg, Mischa Petrov, Jean Reavey, Bernar Venet (record), Paul Steiner. Complete set.
Lot 9
Beauvilliers (Antoine B.) L'Art du Cuisinier, 2 vol. and supplement in 2 vol., first edition, second issue (vol.1 title with signature of the widow Beauvilliers at foot and date amended by hand to 1816), half-titles to all parts, 2 titles with engraved vignette of a working kitchen by Jubin, 9 folding engraved plates, supplement lacking final blank, marginal repairs to first 4 ff. of vol.1 and final 4 ff. of supplement, in case of latter affecting 3 letters at foot of p.35 (without loss of sense) and 3 letters of imprint verso of p.38, first plate trimmed at foot, affecting printed scale, some foxing, mostly in vol.2, occasional spotting or light staining, later half calf, spines gilt and with black leather label, corners worn, rubbed, [Bitting p.31; Cagle 66; Simon BG 183 (first issue); Vicaire 77-78 (note)], 8vo, Paris, House of Pilet, 1814 [1816].⁂ According to Jean Anthelme Brillat-Savarin the French restauranteur Beauvilliers 'was the first to have an elegant dining room, handsome well-trained waiters, a fine cellar and a superior kitchen'. This second issue adds a supplement, which includes vinegars and mustards.
Lot 1216
A Chinese bamboo cased opium/gold balance scale, early 20th century, the fiddle shaped case with inlaid four-character mark, length 35.2cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 708
A rare Ross No.4 Wide Angle Symmetrical (6in.) brass-bound lens No 52080 with wheel-stops; an unusual small 5 x 4 / 5½in. brass-bound lens with iris stops, rack and pinion focusing with distance scale and flange; and four other smaller-scale brass-bound lenses by: Wray, Beck Aldis and Busch. (6)
Lot 1189
Six Boxed diecast models to include 4 Maisto model cars (1:12 scale Jaguar XJ220 1992, Special Edition 1:24 Chrysler Prowler, Special Edition 1:18 Bugatti EB110 & Special Edition 1:18 Alfa Romeo Spider), Hot Wheels 1:18 Maserati Quattroporte and a 1:18 Sun Star Mercedes-Benz 350 SL. (boxes have storage wear, diecast condition excellent)
Lot 1218
Five Boxed Corgi Aviation Archive diecast models to include AA34201 Military Air Power 1:72 CH-47C Chinook, 49403 1:72 EE Lightning F3 limited edition, AA33001 Vought F4U-1 Corsair White 7 1:72, 48902 Military Boeing B29 limited edition 1:144 and a 48805 Military Short Sunderland MKIII limited edition 1:144 scale, together with a Falcon Models Wings of Fame FA726004 and 3 empty Corgi Aviation Archive boxes. (models appear complete but unchecked, boxes good) (9)
Lot 1229
15 Boxed diecast models to include 6x Corgi (including Corgi Classic 06801 VW Camper, 236 Motor School Car in repro box, etc), 4x Vanguards, 4x Cararama 1:50 scale models etc (diecast condition ex, boxes vg) plus 9 unboxed diecast models to include a Corgi Karrier Gamecock and a Corgi F-86 Sabre plane
Lot 1286
Nine Boxed James Bond diecast models to include 4x Beanstalk Radio Control Die Another Day 1:16 scale (2x RDC 160123 Design-A, 2x RDC 160123 Design-A), 2x Beanstalk 1:18 Die Another Day (10012, 10013), RC2 Die An other Day Jaguar XKR, UT Models Goldeneye 1:18 BMW and a Solido 2 CV James Bond 8051 (diecast condition ex, boxes good with some denting to windows)
Lot 1297
Four Boxed Corgi military diecast models with COAs to include 2x Forgotten Heroes Korean War Series I (US 51703 1:43 scale Weapons Carrier & US 51902 1:48 scale H13 Bell Helicopter) & 2x Unsung Heroes Vietnam Series (US 50204 Truck & US50403 "Huey" Helicopter Gunship). (diecast excellent, boxes g to vg)
Lot 272
Airfix - 12 Boxed Airfix model kits, unbuilt with instructions, to include 6x 1/72 scale aircraft (Fiesler Storch, Henschel Hs 126A-1, Red Arrows Hawk, Ju 87B/R Stuka, F-84F Thunderstreak, Lockheed Hercules), 2x 1/48 scale aircraft (Spitfire VB & Hawker Fury), 1:72 Gazelle helicopter, 1/35 15-cwt Truck & Gun, HMS Victory model kit & a 1/144 Space Shuttle
Lot 276
Four boxed diecast metal Russian tanks (T.34.85, CY.100, 3NC.3 and one other with damaged box) plus 2 x unbuilt boxed model kits (Airfix Gun Emplacement HO-OO Scale no. 1707 & a SNAP Self-Propelled Gun 151-149), Airfix OO Scale D.U.K.W plastic model, Airfix U.S. Cavalry 36 piece plastic model set and a boxed Combex Wild West Stockade plastic model set (poor box) (9)
Lot 11
Paul Feiler (British, 1918-2013)Landing Stage, Falmouth signed and dated 'FEILER '51' (lower right); further signed and inscribed 'PAUL FEILER/LANDING STAGE/FALMOUTH' (verso)oil on canvasboard30.5 x 51 cm. (12 x 20 in.)Footnotes:ProvenanceWith Royal West of England Academy, Bristol, 3 January 1953, where acquired by Professor Lawrence Ogilvie, thence by family descent to the present ownerPrivate Collection, U.K.ExhibitedLondon, Leicester Galleries, 1952 (catalogue untraced)Bristol, Royal West of England Academy, Centenary Exhibition, January 1953, cat.no.421London, Redfern Gallery, Paintings by Paul Feiler, 29 January-21 February 1953, no.49 Bristol, Bristol City Art Gallery, 1987-1990 (on loan)Bristol, Royal West of England Academy, A Cornish Perspective, June 2009 Literature The Studio, October 1954 (ill.b&w)In 1937 Paul Feiler abandoned studies in medicine to pursue an art education at the Slade, also attending evening classes at the Euston Road School. Once he was able to fully apply himself to artistic pursuits in the waning years of the war, he quickly carved out a reputation as one of the country's most promising young artists. Examples of his then post-impressionistic styled works were accepted to the Royal Academy's Summer Exhibition and included in group shows at the NEAC, Leicester and Redfern Galleries. In 1949, the very public conversion of his former Euston Road mentor Victor Pasmore to abstraction (see lot 59) had a seismic impact on Feiler's approach. He latterly recalled that Pasmore 'had a great influence on me as far as my changing from being a very willing student doing academic work to becoming a bit of a revolutionary, on a very minor scale... I felt that if he can do it, so can I' (Paul Feiler, Abstract Artists in Their Own Words, BBC films, 2014).Landing Stage, Falmouth (1951), is one of the earliest and most accomplished fruits borne from such influence. Whilst Feiler has retained an element of representational quality with beams of a jetty, a diagonal landing stage and the suggestion of distant roofs, these have been redesigned to form a sophisticated and abstracted interplay of juxtaposed planes and lines. Such interpreted compositions, often as in this case depicting coastal arrangements, became the fundamental concern for Feiler across the next decade. The present painting holds further significance as it represents one of his earliest Cornish works (see following lot), and due to its loan by Lawrence Ogilvie to Feiler's first one-man, critically acclaimed exhibition.Born in 1898 in the remote fishing village of Rosehearty, Scotland, Lawrence Ogilvie attended Aberdeen Grammar School, where his interest in natural sciences began to flourish. He completed degrees in Botany, Zoology and plant pathology at Aberdeen University and Emmanuel College, Cambridge. Upon moving to Bristol in late 1928, he became the leading British expert on cereal and vegetable diseases, particularly vital for advising farmers during WWII and the post-war challenge of feeding Britain.Alongside his acclaimed career in the sciences, Lawrence Ogilvie was a keen supporter of the arts. Notably, Ogilvie was a founding member and a chairman of the Friends of the Bristol Art Gallery and was also on the founding committee of Bristol's Arnolfini Gallery.Further works from the Ogilvie Collection, including Ben Nicholson's St Ives Rooftops (Salubrious) Oct 19 – 51 (Lot 75 £283,250) were sold in these rooms on the 30th May 2012.This 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 38
Sir John Lavery R.A., R.S.A., R.H.A. (1856-1941)Bull fight signed and dated 'J. Lavery 92' (lower right)oil on panel13 x 21.6 cm. (5 1/8 x 8 1/2 in.)Footnotes:ProvenancePrivate Collection, U.K.In 1892 Lavery travelled back from Tangier through Spain with fellow painter Alexander Mann, who noted in letters dated in April and May of that year that despite having a heavy cold, Lavery attended a number of bullfights. It is likely that his interest in this subject was first ignited by close friend Joseph Crawhall's bullfight scenes painted at Algeciras, which were subsequently shown at the Scottish Society of Painters in Watercolours exhibition in Glasgow in 1889. Lavery responds to the scene as an intriguing subject foremost – he found the brutality of the sport unsettling – later commenting to Walter Shaw Sparrow that: 'a curious thing happens when an artist sits down before his subject; material things vanish, only colour and its plots remain, and they look visionary. I have never seen a bullfight, though I have been present at twelve in Madrid and Seville. I don't think I could watch a bullfight, as I am very fond of horses; it is the moving colour that attracts me at this cruel sport' (Walter Shaw Sparrow, John Lavery and his Work, London: Kegan Paul, Trubner, Trench and Co, 1912, p.98).In the present lot, Lavery manages to depict the whole scene quickly and with great skill, captured en plein air by the side of the bullring. Generous brushstrokes convey the expanse of sand filling the ring, with a stripe of orange demarcating the perimeter, beneath a cloudless blue sky. Flashes of colour – the matador's robes in bright green, small accents of red – punctuate the scene. Lavery captures movement with great ease, the matador with flowing purple cape striding into the ring suggested with just a few strokes, and contrasting to the solid, unmoving stance of the bull. Painted on a small scale, this study is expertly executed, with a flourish which echoes that of the scene it describes.We are grateful to Professor Kenneth McConkey for his assistance in cataloguing this lot.For further information on this lot please visit Bonhams.com
Lot 41
Sir William Nicholson (British, 1872-1949)Still Life: Emile's Things signed and dated 'Nicholson/1912' (on the lower left of the mirror)oil on canvas92.2 x 71.4 cm. (36 1/4 x 28 1/8 in.)Footnotes:ProvenanceProbably acquired in the 1920s, or earlier, by the present owner's great auntPrivate Collection, U.K.The title of this unrecorded work by William Nicholson is the one used by the family in whose possession it has been since the 1920s, or earlier. 'Emile' was a dressmakers at 9 Hanover Square in Mayfair London, circa 1927-32, whose clientele was mainly debutantes and their mothers; the business was run by the vendor's great aunt. When and where she acquired the painting is not recorded – perhaps direct from the artist as so far it has not been possible to find any exhibition or other references to this work, whose original title has yet to be discovered.The handling of paint is typical of Nicholson at this period who so evidently enjoys the challenge of depicting surface textures and reflective surfaces. There is a dramatic use of light and shade, together with an equally exciting palette of orange, red and turquoise. The work is particularly interesting as part of Nicholson's search to find a rational for his increasingly large still-life's, and several motifs link it to other works of the period, such as the inclusion of a reflected figure in a still-life as in the untraced Still Life, in the Studio of 1911 (Reed cat.237).The composition with a collection of garments and accessories in front of an oval mirror reflecting a female figure recalls the earlier Souvenir de Marie (Dublin City Art Gallery, The Hugh Lane) of 1906. This was presented by the artist to Sir Hugh Lane with a dedication in 1912, the year in which the present work was executed. It is possible that Lane may have encouraged Nicholson to revisit the subject, here treated on a larger scale and in portrait rather than landscape format, but featuring the same black framed oval mirror. There are fewer items here, whose varied textures are skilfully depicted: a black felt hat with feather and a plaited leather band rests on the pale cream fur lining of a coat with an arm hole opening just discernible. Adjoining is the embroidered white lining of the turquoise silk garment to the right – perhaps an opera coat. A pair of ladies red leather walking shoes, made for a slender foot with an elegant French heel, are standing on the turquoise silk. A disconcerting position, while even more startling is the juxtaposition of the orange organza scarf behind. This is the development of a device that Nicholson had used the previous year in The Black Vase (Bradford Art Gallery) where yellow silk provides a single note of colour. The dried seed heads known as honesty, here in a slender glass vase with another spray resting against the mirror, also appeared in the three other works dating from 1911: The Black Vase and The Chinese Vase both in Bradford Art Gallery, and Honesty in a Staffordshire Jug.Nicholson's prominently displayed signature on a piece of paper tucked into the frame of the mirror can likewise be related to Souvenir de Marie - in the latter there is a label in a more conventional location, foreground right. The reflection of the label in the mirror suggests that this is a black mirror rather than the usual silver-backed one. Black mirrors appear in several still-life's of the period, for example China Figures and Black Mirror (Private Collection) of 1909.Although it was primarily colour and texture that dictated their selection, it is possible that whereas the garments in the Dublin painting are all historic or theatrical costumes, those depicted here are contemporary ones. The woman reflected in the black mirror is wearing contemporary evening dress, but in contrast to the opulence of foreground fabrics her gown is sketched out in white. The artist's interest is obviously more in the garments rather than in the woman, which must be evidence that this is not a portrait. There is also the somewhat imperious look on her face, half lost in shadow. (She has after all usurped the viewer's position in the mirror.) In this same year Nicholson painted the untraced Equestrian Portrait: The Lady in Green (Reed cat.254): a reviewer, Sir Claude Phillips, commented that the sitter regarded the onlooker 'with something that nearly approaches a sneer'. This is most unlike Nicholson and might suggest that he was having difficulties with female sitters at this time. The artist's gift of the Souvenir de Marie to Lane was in part thanks for securing him a major commission in 1912, the portrait of Lady Phillips (Johannesburg Art Gallery). Any other link to this commission would be purely speculative, and the woman in the mirror bears no physical resemblance to Lady Phillips. No doubt several portrait commissions before World War I were abandoned – the details of which are now lost – as female sitters proved difficult and unreliable, unlike the beautiful objects in the still life.The canvas bears the Chenil Gallery stamp found on several of Nicholson's canvases dating from the period 1909-1921. The gallery, which was near the artist's studio in the King's Road, Chelsea, sold artist's materials.We are grateful to Patricia Reed for compiling this catalogue entry.For further information on this lot please visit Bonhams.com
Lot 48
Tristram Hillier R.A. (British, 1905-1983)Selsey Bill signed 'Hillier' (lower left)oil on panel22.6 x 35.6 cm. (8 7/8 x 14 in.)Painted in 1945Footnotes:ProvenanceWith Arthur Tooth & Sons, London, 2 May 1948, where acquired by Colonel F. BarkerHenry Luce III and Claire Booth Luce, thence by descentPrivate Collection, Vermont, U.S.A.ExhibitedLondon, Arthur Tooth & Sons, Paintings by Tristram Hillier, 7 May-1 June 1946, cat.no.28The present work was included in Hillier's exhibition at Arthur Tooth & Son's Bruton Street gallery in summer of 1946. This exhibition, the artist's first with Tooth's, had been slated for 1940 but was delayed due to the war. Many of the works selected for inclusion had to be abandoned by Hillier as he fled from his Normandy studio. Subsequently, these paintings had to be rescued and transported to London at great pains, as it transpired just in time with troops ransacking the Hillier house not long after.The delay to the exhibition resulted in an opportunity for Hillier to showcase the scope of development across the years since his Lefevre exhibition of 1933. Together it grouped a select number of Surrealist compositions such as Variations on the Form of an Anchor (1939, Tate Gallery) with a larger number of dazzling continental scenes such as The Lighthouse (1939, sold in these rooms on 23 November 2016 for £106,250). Hillier also included several recent English scenes in the exhibition, such as the present work, The Forsaken Village (1944) and Lobster Pots (1945). Generally executed on a small scale and demonstrating finely laboured application, these views are all deserted, abandoned even, undoubtedly a reflection of the horrors which the continent had just witnessed. Hillier wrote of the Tooth show - 'My exhibition was as successful as I could have wished. All the pictures were sold, within a few days while the critics were in some cases complimentary and in others exceedingly abusive, so that their reactions were without exception gratifying' (Tristram Hillier, Leda and the Goose, Longmans, London, 1954, p.177).Colonel F. Barker, the works first owner, purchased several works by Hillier, including Étretat (1939), and Chapel at Zarza (1969, sold in these rooms on 22 November 2017).The Estate of Tristram Hillier is preparing a forthcoming catalogue raisonné of the Artist's paintings and would like to hear from owners of any works by Hillier. Please write to The Estate of Tristram Hillier, c/o Modern British and Irish Art, Bonhams, 101 New Bond St, Mayfair, London W1S 1SR or email britart@bonhams.com.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 50
John Piper C.H. (British, 1903-1992)Jackfield by Ironbridge, Shropshire signed 'John Piper' (lower left)oil on canvas71.1 x 91.4 cm. (28 x 36 in.)(unframed)Footnotes:ProvenanceThe Artist's EstateWith Bohun Gallery, Henley-on-ThamesPrivate Collection, U.K.ExhibitedHenley-on-Thames, Bohun Gallery, 40 Years of John Piper, 12 April-4 June 2016Having become a leading British abstract artist in the mid-1930s, John Piper latterly sought to return to a more representational form of art. John Betjeman records that in 1938 he approached Piper to produce a Shell Guide to Oxfordshire, part of a series of guidebooks on the counties of Britain aimed at the car owning tourist. In 1939 Betjeman and Piper began exploring and writing the Shell Guide to Shropshire and, although restricted by the war (publication was delayed until 1951), the artist became well acquainted and fond of the county. The project led Piper back to a childhood interest in architecture, in particular English churches, and he took several photographs, some of which are now in the collection of Tate, including two of St Mary's Church in Jackfield. He also produced several watercolours, which were commended by Betjeman for their accuracy, affection, humour, and feeling for texture and surrounding landscape. The village of Jackfield played an important role in the industrial revolution and as a pottery with its 'Jackfield Ware', a highly vitrified black earthenware decorated with gold flowers and figures. Jackfield by Ironbridge, Shropshire dates to the late 1970s, a time at which the artist painted a number of large-scale oils, and positions St Mary's Church towards the centre foreground of the composition amidst a vibrant palette and surrounded by the steep wooded landscape.This 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 61
Hughie O'Donoghue (British, born 1953)Doolough: Lake of the Sandbanks signed, titled and dated ''DOOLOUGH'/Lake of the Sandbanks./O'Donoghue 2001.' (verso)oil and acrylic on board114.3 x 167.9 cm. (45 x 66 1/8 in.)(unframed)Footnotes:ProvenanceWith Purdy Hicks Gallery, London, where acquired by the present ownerPrivate Collection, U.K.Hughie O'Donoghue was born in Manchester, England and elected as a Royal Academician in 2009. Much of his work, however, is influenced by time spent in his mother's birthplace in Co. Mayo, Ireland. His paintings explore themes of universal human experience, often on an epic scale, they meditate on ideas of truth and the relationship between memory and identity, drawing on history and personal records to create works which resonate with emotional intensity. The present work is one of a group of paintings from the 2001 series Naming the Fields which focused on the townlands in Erris, Co. Mayo. All the paintings contained the human figure suspended within the landscape and were an exploration of remembrance and place.We are grateful to the artist for his assistance in cataloguing this lot.This 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 7
Alfred Wallis (British, 1855-1942)Steamer, Lifeboat and Lighthouse indistinctly signed 'alfred/wallis' (lower left), further signed 'alfred wallis' (centre right)pencil, charcoal and oil on board36 x 53.5 cm. (14 x 21 in.)Footnotes:ProvenanceJim EdeWith The Piccadilly Gallery, London, August 1962, where acquired byDudley Doust, thence by family descent to Private Collection, U.K.Their sale; Bonhams, London, 9 March 2011, lot 6, where acquired by the present ownerPrivate Collection, U.K.ExhibitedLondon, The Piccadilly Gallery, Alfred Wallis, 17 July-11 August 1962, cat.no.46Proportion is integral to the work of Alfred Wallis and understanding the value he placed on each element within his work. Ships, houses, trees, people and fish are not represented with realistic scale. Rather, the 'ancient mariner' would allow whichever aspect of the composition was most important to him to also become the largest. In the present work this takes on poignant meaning, both with the forms depicted and the physical scale of the board itself at 14 x 21 inches.Like most artists, he was often influenced by the events that went on around him, painting things he had seen, such as airships or shipwrecks. Of the latter, one in particular made a lasting impression – the wreck of the SS Alba. The Panamanian freighter had been carrying a cargo of coal from South Wales to Italy and ran aground on Porthmeor Beach during a storm in 1938. The St Ives lifeboat, Caroline Parsons, which was still rowed by lifeboatmen, capsized during the rescue mission and was washed onto the rocks but with her crew surviving the disaster. Wallis made a number of paintings of this subject but was perhaps more personally affected by a subsequent tragedy. Following the loss of the first lifeboat, a second was dispatched from Padstow, called John and Sarah Eliza Stych, and loaned to St Ives. On the night of 23rd January 1939, this boat was called out to help a ship in trouble but capsized three times before being washed onto the rocks at Gwithian, near Godrevy. Just one of the crew of eight survived and sadly there were no survivors of SS Winston. The loss was felt deeply in the community and 'Wallis was so upset by this event that he saved three weeks of his pension – his only means of livelihood at the time – and gave it to the lifeboat fund' (Robert Jones, Alfred Wallis, Artist and Mariner, First Light, 2018, p.186).In the present lot, the lifeboat is large and centre stage, the focus of this substantial painting for the artist. Wallis has painted her unmanned and resting in the calm water at the entrance to a harbour. The work can be seen as a touching tribute from a former seaman (and local man) who was well aware of the danger faced by the lifeboat every time she launched and was filled with quiet admiration for the men that worked her.For further information on this lot please visit Bonhams.com
Lot 68
LUCA GIORDANO (Naples, 1634 - 1705)."Saint Mary Magdalene.Oil on canvas.Period frame.Size: 78 x 60,5 cm; 76,5 x 94,5 cm (frame).At the buyer's request, this lot can be enclosed with a copy of the certificate corresponding to the opinion nº80-177 signed by Mr. Gudiol on October 23, 1980, the original of which is in the Archives of the Institut Amatller.The present composition is undoubtedly the work of the great 17th century Neapolitan artist Luca Giordano, and can be related to the canvases of the same subject housed in the Museo del Prado, the Wallraf-Richartz Museum in Cologne and the Museo Soumaya in Mexico City. Formally, the painting is characterised by the economy of means used to achieve the expressive and luminous effect, by the chromatic synthesis and by the skilful anatomical modelling. Giordano was also influenced by José de Ribera, in whose workshop he trained during the early years of his career, and by the Caravaggesque style he learned during his time in the Eternal City. The present Magdalen is a faithful exponent of Giordano's painting and represents one of the most profusely worked themes of the period: Mary Magdalen in a dark grotto, with the crucifix (symbol of her loyalty to Christ), the prayer book (her link with God) and the Skull (symbol of the fleetingness of life). The saint's uncovered breast stands out, only partially covered by her very long blonde hair, and her eyes filled with tears as she claimed the truth of her repentance. This mode of representation (with the breast visible) was already used by Titian in his famous canvas in the Pitti Palace in Florence.Luca Giordano was the foremost Neapolitan painter of the late 17th century and one of the leading representatives of the late Italian Baroque. A painter and engraver known in Spain as Lucas Jordán, Giordano enjoyed great popularity during his lifetime, both in his native Italy and in Spain. However, after his death his work was often criticised for its speed of execution, which was at odds with the Greco-Latin aesthetic. It is thought that he trained in the circle of Ribera, whose style he initially followed. However, he soon travelled to Rome and Venice, where he studied Veronese, whose influence is evident in his work. This trip was key to the maturing of his style, as were the influences of other artists such as Mattia Preti, Rubens, Bernini and, above all, Pietro da Cortona. In the late 1670s Giordano began his large-scale mural decorations (Montecassino and San Gregorio Armeno in Naples), followed from 1682 onwards by other projects, including the mural paintings in the gallery and library of the Palazzo Medici Ricardi in Florence. In 1692 he was called to Madrid to paint murals in the monastery of El Escorial, where he worked from 1692 to 1694. He then painted the office and bedroom of Charles II in the Royal Palace of Aranjuez, and after these he undertook the paintings of the Casón del Buen Retiro (ca. 1697), the sacristy of Toledo cathedral (1698), the royal chapel of the Alcázar and San Antonio de los Portugueses (1699). However, royal commissions ceased with the arrival of Philip V in 1701 and the beginning of the War of the Spanish Succession, and Giordano returned to Naples in 1702, although from there he continued to send paintings to Spain. Today Giordano's works are housed in the most important art galleries throughout the world, including the Prado, the Hermitage in Saint Petersburg, the Louvre in Paris, the Kunsthistorisches in Vienna, the Metropolitan in New York and the National Gallery in London.
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