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Lot 106
VICTORIAN ROSEWOOD FIRESIDE FRENCH STYLE CHAIR, having carved relief floral and foliate decoration to the top, floral tapestry upholstery with open and padded arms, serpentine front with carved foliate decoration, standing on cabriole legs.Provenance: believed to have come from Dunraven Castle, Bridgend.(B.P. 24% incl. VAT) CONDITION REPORT: The chair is structurally sound, with no obvious or serious damage, general and minor wear commensurate with age. Some repair to the righthandside front of the upholstery which is missing some of its detail. Some fraying to the edges etc.
Lot 348A
Graham Knuttel, Irish b. 1954"Watching" Tapestry, depicting a fish peering out against in blue background, mounted and framed. (1)Graham Knuttel comissioned works by the Pinton family in Aubusson, who have created tapestries for some of the most prestigious collections in the world, including those of the VaticanProvenance: A gift from the Artist to the Present Vendor.
Lot 694
Edward Atkinson Hornel (Scottish, 1864-1933) Rhythmic study of two girls and a rose-coloured ribbon, to the fore an auburn-haired girl crouches, her gaze tilted upwards towards her dancing companion, the latter captured contrapposto with both arms aloft, her body entwined with the streamer, the scene foiled by the cool azure of a stream partially glimpsed through kaleidoscopic trees, oil on canvas, signed and dated 1917, framed under glass, 50 x 39 cm Born in Victoria, Australia, Hornel was raised and lived almost all of his adult life in Scotland after his family moved to Kirkcudbright in 1866. He studied for three years at the Edinburgh School of Art, and for two further years at Antwerp under the direction of Professor Verlat. Upon his return to Edinburgh in 1885 Hornel met fellow artist George Henry RA (1858-1943) and through this connection began his association with The Glasgow Boys. Combining their interest in the depiction of light with his own experiments in colour and paint application, it was during this period that Hornel developed his distinctive impasto technique of loading and scraping the canvas with the use of a palette knife. This approach is visible in this work, where Hornel has exposed the rough texture of the canvas, and incorporated it into the finished surface. Inspired by the rise in 'Japonisme', the Western take on Japanese art and culture, so prevalent in the avant-garde art scene of the day; in 1893 Hornel travelled to Japan with Henry. They spent eighteen months in the country in order to see and study the environment and become personally in touch with the people, to live their life, and discover the source of their inspiration. This period would prove formative to Hornel's oeuvre, and he became fascinated by the gestures and movement of Japanese dance. Hornel was an avid photographer, and he gleaned a great deal from his associations with Japanese photographers catering to the Western market and producing compositions known locally as 'shashin'. These studies focused on Japanese tradition, costume and feudal customs, and were highly valued for their colours and design. After his return to Scotland in 1894, Hornel honed his approach to painting, using photography as his starting point; taking the twists and turns of the female form found in traditional Japanese poses and translating them into paint. His first exhibition of Japanese paintings was enormously successful, and from the proceeds he purchased Broughton House at Kirkcudbright in 1901. The house came with a studio and he began using photography on a grand scale, utilising local children to move and stand in ways that reflected the specific poses of his Japanese dancers. This influence can be especially seen in this work in the pose adopted by the red-headed girl to the fore in the way she cranes her head and raises her hand towards her neck. The subject of children submerged within a landscape or beside a body of luminous water, such as with this work, is a theme that Hornel would return to frequently. This lack of reality is further endorsed by the equal prominence with which Hornel depicts subject and context, the two interwoven to form a rich tapestry of light and texture. Something the artist would continue to explore right up until his death in 1933.
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