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
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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
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.
LUCA GIORDANO (Naples, 1634 - 1705)."Apparition of Christ to Constantine.Oil on panel. Marbled back.Measurements: 115 x 64 cm; 131,5 x 80 cm (frame).This is a splendid work by Luca Giordano, an outstanding representative of the Italian Baroque. It is a markedly scenographic composition in which, most probably, the narrative recorded by Eusebius of Caesarea (ca. 263-30-339) in his Vita Constantini is represented. In it he explains how Constantine was marching with his army when he looked up at the sun and saw a chrism in the sky, just before the battle of the Milvian Bridge against Maxentius in 312. At first Constantine did not know the meaning of the apparition, but the following night he had a dream in which Christ explained to him that he should use the sign against his enemies. Giordano depicts the exact moment when Constantine is fast asleep with the soldiers, while Christ appears to him with the Roman labarum, the banner from which the chrismion will hang.Luca Giordano, the most outstanding Neapolitan painter of the late 17th century and one of the leading representatives of the late Italian Baroque, was a painter and engraver known in Spain as Lucas Jordán, who 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 he continued to send paintings to Spain from there. 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.
FERGUSON (JAMES)The Astronomical Rotula Shewing the Change and Age of the Moon, the Motion of the Sun, Moon and Nodes, with all the Solar and Lunar Eclipses, 5 sheets engraved by J. Mynde after Ferguson, comprising 4 volvelles over a circular scale, working with central thread intact, cut square to size of scale sheet (just within platemark on sides, not touching printed area), slightly frayed at margins, 320 x 320mm., c.1739Footnotes:SCARCE 'ASTRONOMICAL ROTULA' invented and designed by the Scottish scientific instrument maker James Ferguson (1710–1776). Designed to demonstrate the motions and positions of the sun and moon, including the dates when the moon's path crossed the earth's orbital plane and hence the dates of solar and lunar eclipses. Ferguson had 'sent a description to Professor Colin Maclaurin, who suggested a slight correction and volunteered to organize a subscription to enable it to be engraved and published' (ODNB). It is calculated to show the days of all the new and full moons from the years 1752 until 1800.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
GOULD (JOHN) AND RICHARD BOWDLER SHARPEThe Birds of New Guinea and the Adjacent Papuan Islands, Including Many New Species Recently Discovered in Australia, 25 original parts, FIRST EDITION, 320 hand-coloured lithographed plates by and after Gould and W. Hart, some heightened in gum arabic, publisher's 'Binding Notice' tipped into final part, occasional light spotting to a few plates and endpapers, publisher's cloth-backed printed boards with wood-engraved illustration of a Bird of Paradise on the upper covers, some light spotting [Anker 181; Ferguson 10033; Fine Bird Books p.78; Nissen IVB 373; Wood p.365; Zimmer p.262], folio, Henry Sotheran, 1875-1888Footnotes:FINE COPY IN THE ORIGINAL 25 PARTS. The last, and one of the most lavish, of Gould's full-scale works, the subjects including birds of paradise, kingfishers, parrots, honey-eaters, pitas, birds of prey, and other species. The last 12 parts were seen through to completion by the ornithologist Richard Bowdler Sharpe after Gould's death in 1881.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
BRITISH ISLESSPEED (JOHN) The Kingdome of Great Britaine and Ireland, hand-coloured double-page engraved map, inset views of London and Edinburgh, decorated with putti, ships, compass and scale, Royal coat-of-arms, and sea monsters, English text on verso, central vertical strengthened with paper strip on verso, a few small repairs, shaved close to printed rule border, 385 x 520mm., J. Sudbury and George Humble, 1610 [or slightly later]This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
KENT – MANUSCRIPT ESTATE PLAN'A Map of a Farm lying in the Parish of Lydd in the County of Kent Belonging to the Reverd. Mr Richard Monins 1774.', manuscript map by Henry Maxted & Isaac Terry, surveyor, showing field names, footpaths, acreage and ownership, including 'A large wall leading out upon the Foreland', with additional list of acreages, further amendments showing adjacent land purchased by John Monins from neighbouring landowners in ink and pencil, calligraphic title within a floral cartouche in blue, pink and green, fleur-de-lis compass rose; a pair of surveyor's dividers with 'A Scale of Perches' at foot, framed with a black ruled border and embellished with green and yellow wash, on vellum, some dust-staining and loss to edges, rubbed, cockling, 480 x 585mm., 1744; together with a later manuscript map on paper of Dunspring Farm in the manor of Clayhall, Essex (2)Footnotes:The Monins family can trace their roots in the county of Kent to the time of the Conquest and through several marriages, became substantial landowners. The family rose in importance and office, providing several mayors of Dover and Lieutenants of Dover Castle as well as three MP's. The Reverend Richard Monins Easton was rector of Ringwould and Charlton in Kent, the son of Richard Monins, headmaster of King's School, Canterbury, from whom he inherited the living. He had died unmarried at the age of 36 in 1770 so our map would appear to have been commissioned at the bequest of his brother and heir, John Monins (b.1741), whose name also appears. A veteran of the American wars he retired from the army at the death of his brother and took up residence at Woodford in Essex where he had inherited property as well as the advowson of Ringwould. In 1777 he bought a property in Canterbury called the Archbishop's Palace on which he built a mansion called 'The Palace' (www.eastkenthistory.org.uk). The subject of our second map, Dunspring Farm was one of several farms comprising the manor of Clayhall in Essex which had passed into the Monins family through a distant relative, Miss Marland. The property remained in the Monins family until 1918.Provenance: John Monins (1741-1806); thence by descent.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
PHILADELPHIAFOLIE (A.P.) To Thomas Mifflin Governor and Commander in Chief of the State of Pennsylvania this Plan of the City and Suburbs of Philadelphia is Respectfully Inscribed by the Editor, 1794, engraved hand-coloured map by R. Scot and S. Allardice after Folie, dissected into 20 sections mounted on linen, title within decorative border of ivy leaves, index to points of interest, coat of arms held by two female figures, light surface soiling, a couple of sheets slightly loosened, inked 'Pensylvania, 1794' on verso, map 660 x 670mm., overall sheet size 680 x 690mm., [Philadelphia, 1794]Footnotes:The first large-scale map of Philadelphia, covering the area from the Delaware to the Schuylkill rivers. Major locations noted include the 'Jewish Synagogue', 'Jews Grave Yd.', 'African Meeting House', 'Bank of the United States' (and those of North America, and Pennsylvania), 'Peales Museum', 'Circus', 'State House, Congress Hall & City Courth House', 'Presidents House', and 'University'.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Friedrich Brentel (German, 1580-1651) Actaeon being transformed into a stag by Diana at a rocky pool at the edge of a wood, with an extensive river landscape and town with mountains beyondsigned indistinctly within the gold left margin 'Fr [.............]' (lower left) and dated 163 [?8] (lower right)gouache with gum arabic on vellum, laid down18.6 x 26.5cmProvenance: Presumed to have been acquired for the collection at Horseheath Hall, Cambridgeshire sometime before 1792, Thereafter removed to Little Barford Manor and by descent in the Alington family to the late owner Sold by order of the Executors of the Estate of the late Nigel Alington (1947-2018) Friedrich Brentel was born circa 1580 in Lauingen, Bavaria. He later studied under his father Georg Brentel's direction initially as an engraver but went on to become one of the most important draughtsmen and artists in 17th century Strasbourg. Through his successful workshop and with his most famous pupil, Johann Wilhelm Baur (1607-1642) they established the city of Strasbourg as a leading centre for the painting of miniature small scale landscapes and other subjects principally in gouache. The present work with its rich palette of colours and brilliant handling of detail is exceptionally well-preserved, other than the artist's signature which seems to have been deliberately and largely obliterated - possibly to pass it off as by his more valuable pupil, Baur, or to confuse it with the work of the even more valuable artist, Jan (Velvet) Breughel the Elder.Overall in very good condition. Bodycolour with gum arabic heightening on parchment or vellum. Laid down onto good quality wove paper. Some cracking of the pigment layer and very small amount of flaking which shows as white spots. Small areas of black and white lead pigment or graphite mainly on the female figures. Colours have been well preserved. Partially erased inscription bottom left corner. Damaged date bottom right corner. Paper backing discoloured around the edges. Five rust marks on the paper backing from nails holding the picture in its frame. Under raking light, little vertical soft wrinkle left of the centre of the top edge. Slight cockling at the edges.
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