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Lot 706
Stobwasser Lackdose mit rauer Küstenlandschaft nach Claude Joseph Vernet, lacquer box with rough seascape,Papiermaché, schwarz lackiert, 18./19. Jahrhundert, im Deckel rote Nummerierung 623, in gold beschriftet "D'après un tableau de Vernet", auf Passdeckel eine Küstenlandschaft mit Leuchtturm bei rauer See nach Claude Joseph Vernet (1714-1789), H 2 cm x D 10 cm, feine Lackrisse
Lot 1217
Royal Crown Derby Painted Dish by W.E.J Dean, featuring seascape, 15cm wide (scratches), pair of XIX Century hand painted cabinet plates, Chamberlains Worcester bowl (4).Lot 1217 - Royal Crown Derby Painted Dish - gilt loss to rim, may scratches to image, no visible chips, cracks or restoration. Pair of XIX Century Cabinet Plates - both very fine crazing, minor gilt loss, no visible chips, cracks or restoration. Chamberlains Worcester Bowl - no visible chips, cracks or restoration.
Lot 20
Edwin Hayes (1819 Bristol - 1904 London)Seestück, Öl auf Leinwand, 47 cm x 82 cm, schwer leserlich signiert, craqueliert, partiell leicht retuschiert, minimal fleckig, Provenienz: Galerie Assindia, Essen (verso Galerieetikett)Edwin Hayes (1819 Bristol - 1904 London)Seascape, oil on canvas, 47 cm x 82 cm, hardly legible signed, craquelure, lightly retouched in parts, minimally slightly stained, Provenance: Galerie Assindia, Essen (gallery label on verso)
Lot 190
* BILL WRIGHT RSW RGI DA (SCOTTISH 1931 - 2016), SEA KELP gouache on paper, signedmounted, framed and under glass (slipped in the mount)image size 21cm x 29cm, overall size 42cm x 47cm Note: Bill Wright's talent first became evident when he was a boy, drawing endlessly for amusement while bedbound with illness. He went on to study painting at Glasgow School of Art and became an award-winning watercolourist, constantly inspired by was seascape and ever-changing sky on the Kintyre peninsula where he had a second home. Glasgow-born Wright, the son of a shipyard plater, was brought up in Partick and started his schooling at the city’s Dowanhill Primary before being evacuated to Dunoon during the Second World War. After returning home he attended Hyndland Senior Secondary and despite being discouraged by his parents, who would have preferred him to have a “proper job”, in 1949 he began his studies at Glasgow School of Art. They were interrupted by national service – a duty he felt hindered the progression of his art career. He served at Catterick army garrison but was a pacifist who abhorred war and dismissed the opportunity to be promoted to Sergeant as an army career held no interest. His first teaching post was at East Park School in Glasgow’s Maryhill. He then moved in 1965 to St Patrick’s High School in Dumbarton where he spent two years before becoming art adviser for the area at the age of 36. Over the next two decades he fostered the idea of instilling a cultural interest in art among pupils. He formed working groups to reform teaching of first and second-year students, encouraged forward-looking principal teachers and recruited many young teachers. His ethos was that teachers were not just there to create artists but to give all children a good art experience. He also established a residential art course for school children, at the Pirniehall residential educational facility at Croftamie in Dunbartonshire, where youngsters from different backgrounds could investigate the idea of furthering an art career through experiencing a range of different mediums in an art camp environment. And he is said to have been instrumental in encouraging the implementation of Scotland’s Standard Grade art and design qualification. However, he suffered from the chronic arthritic condition ankylosing spondylitis which, by the age of 55, forced him to take early retirement from his post in the education department of Strathclyde Regional Council. Meanwhile, as he had strived to enthuse youngsters with his own passion for art, he had been elected, in 1977, to the Royal Scottish Society of Painters in Watercolour. A member of the Glasgow Arts Club for many years, he was also an elected member of the Glasgow Institute of Fine Arts and Paisley Art Institute, served as president of the Scottish Artists’ Benevolent Association for 14 years and was a Scottish Arts Council lecturer, touring the country discussing art. But perhaps his own greatest inspiration was the view from a cottage he stumbled upon half a century ago, seven miles from Campbeltown on the Mull of Kintyre. He rented the property at Bellochantuy and set up a studio there where he drew on the vistas stretching 180 degrees, encompassing sea, beach, rocks and sky. He was utterly smitten by the area and was ultimately bequeathed the cottage by the owner who had become a close family friend. Over the years he came to know the area intimately and was fascinated by the constantly changing moods of the sea and light of the sky which formed the majority of his output. One large body of work, "Towards Islay", focused on the view from the back of the cottage. He captured the patterns and waves of the sea, sometimes adding a bird, limpit, mermaid’s purse, rock lines or some seaweed. But at times his works were very abstract and symbolic, concentrating on themes of nature and transience. He was hung in all the major shows in Scotland and in galleries across the country from Aberdeenshire to Edinburgh, Glasgow and south of the border. His work also features in public collections of Stirling and Strathclyde Universities, HRH The Duke of Edinburgh and the Educational Institute of Scotland. And he was recognised with The Laing Prize for Landscape and Seascape and the RSW’s Sir William Gillies Award.
Lot 22
Miles Edmund Cotman (British, 1810-1858), 'Seascape', signed and dated 1831, watercolour, typed label verso for 'Norwich Castle Museum Exhibition of "Norwich School" Pictures 1927', 29 x 36 cm, framed and glazed, frame 54 x 61 cmThe Cotman FamilyPainting sealed in the frame and glazed. Areas of foxing throughout the work and signs that the paper has discoloured with age. The top edge of the paper is visible under the mount, suggesting the paper has been cropped close to the mount. Frame is worn with age, part of gesso top right is missing.Please note the corrected measurements in the description.
Lot 382
A silver medal obverse 'Mitis Et Fortis' with Victory holding a torch in her right hand and a spear and darts in her left hand. Her feet resting on a naked figure with a sheep and lion behind with a seascape beyond with two fleets of galleys, the exurge Procul Hinc Mala Bestia Renis! Jun22 1667 CA'. Reverse, a figure of peace holding a sword in her right hand and a cornucopia of fruit in her right hand with helmet and sword at her feet. A fleet of galleys to the distances, the exurge 'Rediit Concordia Mater Jul 31 Bredae Ao 1667'. The rim with raised inscription 'Numisma Posteritate Sacrum Belga Britannoque Reconciliatis Cum Privil Ordin; Holland: Et West'. 70mm. c.122g. This medal celebrates the peace settlement after the Second Anglo Dutch War of 1665-67 *Condition: A fine example with good tone rubbing to highest points.
Lot 538
A QUANTITY OF PAINTINGS AND PRINTS ETC, to include four Alan Preece landscape oils on canvas, approximate sizes 19cm x 24cm, all framed and glazed, an oil on canvas coastal seascape signed Taylor, a print of Crufts winning dog Olac Moon Pilot, the original was painted by the owner, a Vic Bowcott print depicting Lichfield in 1640, Robert K Calvert print depicting 'The Old Bull Ring',
Lot 672
F. Walters, oil on canvas, Seascape, signed, 20 x 40cm, a watercolour of fisherfolk on the shore by H. Walter, 21 x 27cm, an Italian lake scene and an aquatint beach scene, John Muirhead (1863-1927) and Others, watercolour, 'Hemingford, Abbots', signed, 16 x 25cm, R.Coleman, oil on board, Ploughing scene, two engraved maps and a small Dutch style oil winter scene
Lot 245
TWELVE TSUBA (HAND GUARDS)Edo period (1615-1868), 17th to 19th centuryThe first eleven iron; the first iron with an applied ropework shibuichi rim, with a daikon motif pierced and filled with silver for the root and gold for the leaves; the second oval with two hitsuana, pierced and chiselled with the 'thousand monkeys' design, the seppadai (area around the central opening) with a stylized wave pattern; the third almost circular with two hitsuana, applied with a tree branch in gilt copper; the fourth oval with an applied gilt rim and two hitsuana, pierced and chiselled with chrysanthemum blossoms and leaves; the fifth mokko (four-lobed) with two hitsuana, pierced and inlaid in brass with six floral motifs in Yoshiro zogan style; the sixth elongated oval with one hitsuana, chiselled with a seascape (gilt details), with signature Yamashiro no junin Kaneie; the seventh circular with one hitsuana, chiselled and with worn gilt details depicting waves; the eighth mokko, with two hitsuana, saw-cut with sayagata (key-fret) motifs; the ninth rounded rectangular with one hitsuana, chiselled and with gold details depicting attributes of Kanzan, Jittoku, Daikoku, and others, signed Shoami; the tenth almost circular with two hitsuana, chiselled and inlaid with gold depicting autumn plants and a butterfly; the eleventh circular with one hitsuana, chiselled and inlaid with gilt copper depicting a vine and part of a nomaku (outdoor curtain); the twelfth shibuichi, aori-mokko (with four lobes enclosing four inome [heart shapes]), chiselled and with gilt details depicting dragons and clouds. The smallest: 6.4cm (2½in) high; the largest: 7.8cm (3 1/16in) high. (12).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 14
Limoges, France. Group of seven assorted hand painted porcelain pill boxes in the theme of art and painting, all signed along the underside, including: one paint palette; one Eiffel tower; a painting of a seascape on an easel, further marked along the including "Elda Creations"; one box of crayons containing four porcelain crayons, further marked along the underside with the initials LJ; one painting of a girl reading on an easel with a porcelain tube of yellow paint, further marked along the underside with the initials BS, dated 2002, and editioned number 0129/2500; one painting of a building captioned "Capitole" on an easel, further marked along the underside with Sinclair, dated 2002, and editioned 056/750; one Van Gogh painting on an easel, further marked Sinclair, dated 2001, and editioned 49-500.Height ranges from 1/2 in to 4 in; width ranges from 1 1/2 to 2 3/4 in; depth ranges from 3/4 in to 1 3/4 in.Condition: All boxes are free from chips, losses, or restorations. All open and close smoothly; all clasp shut firmly. There is very light wear throughout, consistent with age and use.
Lot 63
Moorcroft 'Puffin' pattern vase, baluster shaped, designed by Carol Lovett, circa 1997, tubelined with puffins nesting in seascape, 8cm high, boxed and a 'Lamia' pattern small circular dish, circa 1995, tubelined with water lilies and bullrushes, 12cm diameter, each with printed, painted and impressed marks (each boxed) (2)
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