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Click here to subscribeTwo papier mâché pen boxes or 'qalamdans', 19th century, from Qajar, Iran, one example decorated with a battle scene, the other with a lady in a landscape,largest 23cm long,together with a papier mâché egg,20th century, decorated with floral motifs,6cm high (3)Condition ReportWith some scratches and marks throughout commensurate with use and age.
A vibrant collection of twelve Chinese snuff bottles, each showcasing unique designs, techniques, and motifs. The assortment includes porcelain and enamel forms, with subjects ranging from birds, dragons, and tigers to figural portraits and floral arrangements. Notable examples include a blue enamel bottle with a raised white crane in landscape, a fish-form cloisonne piece with gilt accents, and a molded porcelain bottle adorned with flowering branches in relief. Several bottles bear painted reign-style marks. This eclectic group highlights a mix of traditional Chinese artistic styles and export ware from the 20th century.Dimensions: Tallest bottle measures approximately 3.25"HCondition: Age related wear.
This finely modeled porcelain figurine by Royal Doulton portrays an English Setter proudly holding a pheasant in its mouth, rendered with lifelike detail and realistic naturalistic painting. The dog stands alert on a grassy, textured base evoking a rugged upland landscape. The underside of the figurine is marked with the statement: Property of Royal Doulton and Title to the Property Remains with the company at all times"indicating it was likely a company prototype, promotional model, or showroom piece. Measures 6.75"H. Issued: 20th century Dimensions: See DescriptionCountry of Origin: EnglandCondition: Age related wear.
Hannah Barlow (1851-1916) for Doulton Lambeth, a pair of stoneware vases, late 19th century, each incised with a central belt depicting dogs in a landscape, framed by decorative bands of stylised foliage, incised manufacturer's marks and maker's monograms, 41cm high (2)Condition ReportStructurally the vases appear sound. A few minor chips to the footrim of one example. Some rubbing, scratches, and very minor chips - particularly to the tube lining. Some pitting throughout and rubbing to the dogs. There are no signs of restoration under UV light. Subject to these points, the vases appear in good overall condition and present well.
Knud Kyhn (Danish, 1880-1969) for Royal Copenhagen, two plates, mid-20th century, glazed stoneware,the larger example decorated with a tiger pursuing a bird, with printed marks, numbered '21445' and incised 'KK',24cm diameter,the smaller example decorated with a deer in a wooded landscape, with printed marks, numbered '21214' and incised 'KK',18.7cm diameter (2)Condition ReportStructurally sound. There are scuffs, marks, and surface dirt to both plates commensurate with age and use. Remnants of adhesive label to the reverse of both plates. Minor pitting and crazing.
An unusual antique Japanese export lacquer cabinet, the doors from the early to mid Edo period (1615-1868) with engraved brass shaped hinges and lock plate, decorated with a red and gilt lacquer landscape, the cabinet carcass likely later around mid-late 19th century to re-purpose a damaged cabinet, hand written label to reverse, 100cm x 26cm x 105cm
1980 South African Krugerrand containing 1 troy ounce of fine gold, encapsulated in a protective slab. The obverse bears a left-facing portrait of Paul Kruger, former president of the South African Republic, surrounded by the bilingual inscription "SUID-AFRIKA SOUTH AFRICA" in Afrikaans and English. The reverse features a springbok antelope, a national emblem of South Africa, depicted in motion above a textured landscape. The year "1980" is divided on either side of the antelope as "19" and "80," while the inscription "FYNGOUD 1 OZ FINE GOLD" along the lower rim indicates the coin's gold purity and weight. Struck by the South African Mint, this coin was instrumental in establishing the global presence of modern gold bullion issues. Case: 2.25"L x 0.5"W x 3.25"H. Gold coin diameter: 32.8 mm.Issued: 1980Dimensions: See DescriptionCountry of Origin: South AfricaCondition: Age related wear.
SNOW WHITE AND THE SEVEN DWARFS (1937) - Grumpy Original Production Pencil Drawing - An original production animation drawing of Grumpy from Walt Disney's Snow White and the Seven Dwarfs, the studio's groundbreaking first full-length animated feature from 1937, a film that forever changed the landscape of animation and cinema.While Disney rarely credited individual animators on specific drawings, it's worth noting that some of Disney's greatest talents shaped Grumpy's personality: Fred Moore, Frank Thomas, and particularly Bill Tytla, whose expressive draftsmanship brought complex emotions to life. Tytla, one of Disney's legendary "Nine Old Men," was especially admired for his work on Grumpy, giving the character surprising depth.The drawing shows Grumpy in a moment of startled irritation, clutching the edge of a curtain or blanket as he turns his head sharply, a classic Grumpy pose filled with attitude and tension.Rendered in graphite with red pencil underdrawing, this piece provides a fascinating insight into the Disney animation process. The red pencil, often used by assistants or cleanup animators, was essential for blocking movement, refining shapes, or clarifying volumes before the final graphite line went down. The circular, rough construction lines around the face and body helped the animators maintain proportion and fluidity across frames. The curtain or drapery seen drawn behind Grumpy was likely part of the background staging, and the animator included it here to ensure correct interaction with the environment.The paper is original Disney five-hole punched animation paper, and the number "248" in the lower right corner refers to its frame number within the scene. As a piece of Disney history, this is not only a collectable but a beautiful piece of animation art that embodies the technical brilliance, charm, and pioneering artistry of Snow White. Dimensions: 25.5 cm x 30.5 cm (10" x 12")Sold without copyright; see copyright notice in the Buyer's Guide.This item will ship from our LA facilityVAT Status: US
SNOWMAN, THE (1982) - Framed Original Hand-Drawn Production Scene Autographed by Raymond Briggs - A framed original hand-drawn production scene from the beloved British animated film The Snowman, signed by Raymond Briggs.The Snowman has become a landmark of British animation: BAFTA-nominated, beloved by generations, and broadcast every Christmas since its debut. This signed production scene is not only a beautifully observed landscape, but a rare and evocative example of a revolutionary animation process.This beautifully composed scene shows a bird's-eye view of a typical British country village, with hedgerows and rooftops covered in snow as the Snowman and James soar overhead.Produced by John Coates at TVC and directed by Dianne Jackson, The Snowman broke with traditional cel techniques, featuring hand rendering on the surface of the production cels and the traditional hand painting on the reverse. This scene, drawn entirely on paper in coloured pencils, preserves the soft, pastel textures of Briggs's original illustrations. The result is a film and artwork, with an instantly recognisable visual style. "104" and "Seq 9 SC 3" have been handwritten in blue pencil at the bottom of the image.The Snowman creator and writer Raymond Briggs has signed the card border, which overlays the image, using black ink. The lot comes displayed within a wooden frame. Dimensions (framed): 32.5 cm x 42.5 cm (12.75" x 16.75")Sold without copyright; see copyright notice in the Buyer's Guide.The autographs in this lot have been professionally authenticated by expert Garry King; see notice in the Buyer's Guide.VAT Status: M
‡ ATTRIBUTED TO DOMENICO ZAMPIERI, KNOWN AS DOMENICHINO (ITALIAN 1581-1641)LANDSCAPE WITH A HERMIT Oil on canvas 41 x 54cm (16 x 21¼ in.) Provenance: Everhard Jabach, Paris, no. 582, by 1696 Manor House Antiques, The Square, Stow-on-the-Wold, Gloucestershire, March 1973 There acquired by Richard L. FeigenLiterature: Vicomte de Grouchy, Everhard Jabach, collectionneur parisien (1965) in Memories de la Societe de l'Histoire de Paris et de l'lle de France. XXI, 1984, p.278, no. 582 G. Gent, Lost Domenichino is Found and Bought for $392, New York Times, 19 June 1973, p.32 L. Salerno, Pittori di paesaggio del seicento a Roma, vol. I, Rome, 1976, I. pp. 81,120, cat. no. 19.3 R. E. Spear, Domenichino, New Haven, 1982, vol. I, p.317 (as a copy after Pietro Paolo Bonzi) L. Salerno, Review of Domenichino by Richard Spear, in 'Storia dell arte', L. 1984, p.88 A. Brejon de Lavergnee, L'inventaire Le Brun de 1683; La collection des tableaux de Louis XIV, Paris, 1987, p. 297 (as a copy after Domenichino) C. Whitfield, Les paysage du Domenichio et de Viola in Monuments et memories, LXIX, 1988, p.106, no. 92 (as Grimaldi?) R. E. Spear, Domenichino addenda, in Burlington Magazine CXXXI, 1989, p.11. no.44 (as a copy after Pietro Paolo Bonzi) S. Loire, Ecole italianne XV/le siecle. I. Bologne. Musee du Louvre. Department des Peintures, Paris, 1996. pp.214. 216 (as a copy after Domenichino)Exhibited: Amherst, Massachusetts, Mead Art Museum, Major Themes in Roman Baroque Art from Regional Collections, 1974, no.83 New Haven, Yale University Art Gallery, Italian Paintings from the Richard L. Feigen Collection, 28 May - 12 September 2010, no. 45 (as Domenichino)The present work is known in three versions; the lot offered here, a reduced painting in the Louvre (30 x 37cm), and a third larger example (47 x 59cm) in the Galleria Doria-Pamphilj, Rome. The latter example is now generally attributed to Domenichino's follower Pietro Paolo Bonzi. Whilst the present work has been put forward as the prime version by Luigi Salerno and others (see literature), Stephane Loire and Dennis Mahon both argued that the Louvre version is the original. Condition Report: Canvas appears to have a wax relining and presents a subtle craquelure. In addition, there are a few slight superficial scratches in the varnish in the tree in the upper right corner and the lower left corner UV light reveals and evenly applied varnish a few retouches in the lower section of the waterfall as well as meticulous restoration in the sky with two patches of approx 4cm in width. In addition, there are a few small meticulous restorations in the foliage of the tree to the right. Finally, there is extensive restoration to the right border such restoration if of crosses the whole right border and is of about 4cm in width.Condition Report Disclaimer
JACOB VAN GEEL (DUTCH CIRCA 1585 - CIRCA 1648) A WOODED LANDSCAPE Oil on panel Signed (lower centre, below frame) 19.5 x 28.5cm (7½ x 11 in.) Painted circa 1636. Condition Report: The panel presents an evenly applied varnish across, as well as a few dirt stains. UV light reveals a few small dotted meticulous retouches in the lower left corner, and a few patches in the foliage to the right border slightly fluoresce, but might be caused by the varnish fading. On a whole, the picture appears to be in good condition. Condition Report Disclaimer
‡ SAMUEL PALMER (BRITISH 1805- 1881) THE GLEANING FIELD Oil on canvas 42 x 52cm (16½ x 20¼ in.) Painted circa 1832-33.Provenance: John Giles, a first cousin of the artist (1811-1880) His sale, Christie's, London, 2 February 1881, lot 620, for 135gns Bought at the above sale by The Fine Art Society Possibly William Fothergill Robinson Q.C Possibly Rev. William Fothergill Robinson, Woodspeen, Newbury Herbert A. Edwards (1888-1978), Newbury and thence by descent Private Collection, U.K by 2009 With Lowell Libson Acquired from the above in 2010 Literature: Raymond Lister, Catalogue raisonné of the works of Samuel Palmer, London, 1988, no.167Exhibited: London, Royal Academy, 1833, no.48 London, Fine Art Society, A Collection of Drawings, Paintings and Etchings by the Late Samuel Palmer, 1881, no.2 The reappearance of this exquisitely painted and highly finished large work on board is an exciting addition to the Palmer's oeuvre, dated to circa 1832-33. It was painted towards the end of his celebrated Shoreham period when Palmer's highly personalised artistic voice that had taken shape at Shoreham from the mid-1820s amongst 'The Ancients' was maturing. It is one of only a small handful of known Shoreham period oils to remain in private hands. Palmer first visited the village of Shoreham in Kent in 1824 and settled there in 1826 where he remained for nearly ten years. The landscape around Shoreham was the embodiment of Palmer's visions of pastoral life that he had imagined from his reading and it was there that he translated his intensity of vision into drawings or paintings. The valley at Shoreham teamed with an abundance of crops, corn, fruit and hops harvested by hand using age old methods and eschewing the encroachment of modern life. The village scenery was punctuated by the landmarks of rustic life, a small hamlet of primitive cottages, the mediaeval church with its spire, the carpet of fields and populated with a rollcall of village characters, the rhythm of life directed by the seasons. The resulting works which were executed during Palmer's time living at Shoreham are considered his greatest achievements. Palmer, who had first met the visionary artist William Blake (1757-1827) in 1824, was quickly joined by several friends, other devotees of Blake, who formed themselves into a loose group calling themselves 'The Ancients'. During Palmer's earlier years at Shoreham we see the development of his art and his experimental use of medium, following methods he largely evolved himself. However, by the early 1830s Palmer's companions had largely left the valley and Palmer began to attend to the development of his career due in part to his straightened finances, and as a result the manifestations of his period at Shoreham evolved into a more conventional expression of his vision. Palmer had begun to spend more time in London and submitted work to the Royal Academy in 1830 and 1831 which although rejected was indicative of a desire for wider recognition and engagement the with art establishment. In 1832 the Royal Academy accepted seven works which Palmer had sent in from his recently acquired house in Marylebone, including 'Pastoral' scenes and 'A harvest scene', generic titles which have plagued the future identification of these works. In 1833 Palmer exhibited five works, amongst them 'The gleaning field' (here identified as the present work) and a 'Kentish scene'. The following year Palmer exhibited six pictures at the Royal Academy. The present work, of exhibition scale and highly finished is the most likely candidate for Palmer's Royal Academy exhibit no. 48 of 1833 'The Gleaning Field' being the only painting by Palmer depicting gleaners as the main subject of the composition. The Gleaning Field, circa 1833 (Tate Gallery, London) is smaller in size with many reworkings in pen and ink and competing motifs of the wagon drawn by oxen and the cottage on the edge of the field. As a picture intended for exhibition in London at the Royal Academy it is not farfetched to see Palmer's intention for it to convey a message to the London audience. The early 1830s was a period of rural discontent and political unrest and the resulting restlessness was felt in the Shoreham valley. The established way of life in the countryside was in crisis, the boom years of the Napoleonic Wars were over and hardships were felt especially in rural communities through unemployment, the erosion of rights through the continuing enclosure of common grazing land, the passing of the Poor Laws, the imposition of the Church Tithe and increasing mechanisation. There was widespread unrest, most notably marked by the 'Swing' riots of 1830-1 and widespread outbreaks of arson, machine breaking and wage rioting which started in Kent and spread across the whole of southern and eastern England with the military being deployed to support the local law enforcement. The first threshing machine was destroyed on Saturday 28 August 1830. By the third week of October, over one hundred threshing machines had been destroyed in East Kent. The riots spread rapidly through the southern counties of Surrey, Sussex, Middlesex and Hampshire, before spreading north into the Home Counties, the Midlands and East Anglia, moving on as far as Lincolnshire, Yorkshire and Nottinghamshire. John Giles (1810-80), the first owner of this picture, was Palmer's cousin and a near contemporary. Giles was one of the 'Ancients' and a stockbroker rather than an artist. He managed Palmer's precarious financial affairs and was close to George Richmond and his family and remained a lifelong friend of both men and a great admirer of Palmer's works. Giles died in 1880 and his collection, comprising some 635 lots of which 185 were paintings, was sold by Christie's in 1881. The present work was purchased by the Fine Art Society for the considerable sum of 135 gns in advance of the exhibition they were to devote to the works of Palmer later that year. The picture appears to have been acquired at that time by either George Richmond or his son-in-law, William Fothergill Robinson. Richmond had presented his daughter Julia and Robinson with Palmer's The White Cloud, circa 1833-4 (Ashmolean Museum, Oxford; fig. 2) as an anniversary present and Robinson had also been a purchaser at the Giles' sale acquiring The Bright Cloud, circa 1833-4, Manchester City Galleries. The Shoreham landscape inspired some of the most intensely original pictures of the British Romantic period, works which distilled Palmer's vision and translated it into a representation which contained all the elements of Palmer's pastoral poetry. The present picture marks a particularly important period in the development of Palmer's vision as well as recording a moment of crisis in the political and economical development of late Georgian England. Its appearance at auction represents a rare opportunity to purchase one of only a handful of Shoreham period oils remaining in private hands.
PIERRE BONNARD (FRENCH 1867-1947) PAYSAGE Pencil Stamped Bonnard (lower left) and with initials (lower right) 11 x 15cm (4¼ x 5¾ in.)With a study of a still life, stamped with initials, verso.Provenance: Sale, Christie's, South Kensington, 2 December 1996, lot 15This work is recorded in the Bernheim-Jeune Archives under no. 196-0716B 42/42. Condition Report: A double sided drawing, framed with both sides visible. The drawing on the verso has left a faint impression on the recto. Both sides are faintly discoloured. The landscape (recto) has a faint crease to the lower right corner and some slight staining to the same area. There is also large spot of brown staining to the upper right quadrant. This is also visible to the drawing verso. Also verso, there are some further spots of foxing and evidence of handling creases to the lower left quadrant. Unexamined out of glazed frame.Condition Report Disclaimer
‡ NICOLAES BERCHEM (DUTCH 1620-1683) MERCURY BRINGING ARGUS' EYES TO JUNO Oil on panel 48 x 71cm (18¾ x 27¾ in.) Provenance: Sale, Sotheby's Parke Bernet, New York, 3 November 1972, lot 24 Sale, Christie's, 19 April 2007, lot 303, as Nicolaes Berchem (unsold) Literature: Listed in the RKD: https://research.rkd.nl/en/detail/https%3A%2F%2Fdata.rkd.nl%2Fimages%2F227581 Exhibited: New York, Richard L. Feigen & Co., Landscape painting in Rome 1595-1675, 30 January - 23 March 1985, no. 5 Marijke de Kinkelder attributed the painting to the early period of the artist's career, suggesting that its stylistic characteristics are indicative of the developmental stages of the artist's oeuvre. Condition Report: Panel is cradled. Middle joint slightly visible on the surface. Panel presents thin layer of dirt and varnish. Few superficial scratches to varnish, left border and right border as well as a few losses of paint. UV light reveals small 2cm retouch just above the golden throne a few slight retouches to the foliage in the upper right corner and most significantly a thin infilling along the joints at the centre and lower section.Condition Report Disclaimer
‡ HERMAN VAN SWANEVELT (DUTCH 1603- 1655) POLYPHEMUS AND GALATEA; THE JUDGMENT OF PARIS Oil on canvas, a pair The former signed and dated 'HVS (in ligature) WANEVELT. / ... 1643' (lower left); the latter signed 'H SWANEVELT. FA. VEN' (lower right) Each 61 x 75cm (24 x 29½ in.) (2) Provenance: Collezione Alfa, no. 69, 70 (according to label on verso) P.&D. Colnaghi & Co. Ltd. (according to label on verso) Herner Wengraf, until at least 1974 From whom acquired by Richard L. Feigen Literature: A. Sutherland Harris, Landscape Paintings in Rome 1595-1675, New York, 1985, pp. 29-30 A.C. Steland, Herman van Swanevelt (um 1603-1655) Gemälde und Zeichnungen, Petersberg, 2010, vol. I, nos. G 1 36 A and B, pp. 145, vol. II, reproduced pp. 442 and 443, figs. G 100 and G 101 Having worked for some of the most influential patrons of his time-including Pope Urban VIII Barberini, Cardinal-Duc de Richelieu, and King Louis XIV-Herman van Swanevelt was a highly sought-after artist. He was particularly admired for his naturalistic observation of landscape and his masterful treatment of light, capturing the shifting moods of the day and atmospheric variations.His stay in Rome from around 1629 to 1641 was crucial to his development. Influenced by painters like Claude Lorrain, Swanevelt refined his approach to light and composition, and began incorporating mythological themes into idyllic natural settings.This pair of mythological landscapes likely dates to the late Roman period, around the time of his commissions for the King of Spain. The classical figures with elongated limbs and idealized faces, along with the misty, light-filled vistas, closely resemble elements in Landscape with Hermit Preaching, painted for the Buen Retiro (1639-1641) and now in the Museo del Prado, Madrid (inv. no. P005121).Each painting illustrates a mythological love story ending in tragedy. In The Triumph of Galatea, Ovid recounts how the nymph Galatea escapes the cyclops Polyphemus in favour of her lover Acis, whom Polyphemus later kills in a jealous rage. The Judgment of Paris tells of Paris awarding the golden apple to Aphrodite, who promises him Helen of Sparta-an act that ultimately triggers the Trojan War. Condition Report: Polyphemus and Galatea CR: The canvas has been relined and presents a subtle craquelure across the surface. UV light reveals a thin vertical restoration passing thought the whole left border, as well as a horizontal one of about 8 cm to the upper border. Extensive professional retouching is scattered in the section of the sky, and in the lower left corner, in the dark parts of the water. The Judgment of Paris: The canvas has been relined, and presents superficial abrasions to the varnish in the left border. UV light reveals scattered retouching in the sky, as well as scattered restoration to the foliage, and trees, some of which of about 3 cm in width. Additionally, there are various meticulous dotted retouches in the figures in the foreground, most notably the second figure from the left. Condition Report Disclaimer
‡ JOSEPH MICHAEL GANDY (BRITISH 1771-1843) CLOUD STUDY; A SKY; LANDSCAPE WITH CLOUDS, NOVEMBER 26 182[?], 9 O'CLOCK Pencil and watercolour The first signed (verso); the second inscribed with title (verso) and indistinctly inscribed (recto), the third inscribed with title (verso) Each image approx. 13.5 x 19cm (5¼ x 7¼ in.) One unframed (mounted) (3) Provenance Maria Poole, née Westmacott (daughter of the sculptor Richard Westmacott) Thence by descent
PAVEL TCHELITCHEW (RUSSIAN 1898-1957) MOUNTAIN LANDSCAPE Gouache on paper 46.5 x 28.5cm (18¼ x 11 in.)Provenance: Alexandra Zaossailoff (the artist's sister), Paris Sale, Sotheby's, New York, 25 October 1984, lot 72 Condition Report: The sheet is not laid down, but hinged at the upper corners. There are drawing pin holes in the corners and centre of the upper edge and the lower edge is irregular, the sheet is slightly discoloured overall from acidic housing and there is some light surface dirt. Condition Report Disclaimer
‡ RICHARD PARKES BONINGTON (BRITISH 1802-1828) LANDSCAPE WITH SUNSET AND FIGURES Oil on canvas 23 x 35cm (9 x 13¾ in.)Provenance: Probably, acquired directly from the artist by Louis-Joseph August Coutan (1779-1830), and by inheritance to his wife Lucienne Hauguet (1788-1838) Thence by inheritance to her brother Ferdinand Hauguet (d. 1860), and by descent to his son Maurice-Jacques-Albert Hauguet (1819-1883) Thence by descent, Villa Lucienne, Antibes, until 1996 Talabaron & Gautier, Paris, by 2002 Daniel Katz, London From whom acquired by Richard L. Feigen, 2003Literature: B. Talabaron and B. Gautier, Le Paysage Français de Valenciennes à Bonnington, exhibition catalogue, Paris, 2002, cat. no. 33, reproduced P. Noon, Richard Parkes Bonnington: The Complete Paintings, New Haven and London, 2008, p. 252, cat. no. 202, reproduced in colour P. Noon, ed. Richard Parkes Bonnington, exhibition catalogue, New York, 2018, unpaginated, cat no. 8, reproduced in colourExhibited: Paris, Talabardon & Gautier, Le Paysage Français de Valenciennes à Bonington, 18 September - 26 October 2002, no. 33 New York, Richard L. Feigen & Co., Richard Parkes Bonington, 23 October - 18 December 2018, no. 8 Richard Parkes Bonington was born in the village of Arnold just outside Nottingham in 1802, but emigrated to France with his family aged fifteen. He was an artist with a precocious talent, extreme sensibility of colour and a profound fluidity of touch. Bonington is considered a hero of the Romantic movement, his legend secured when he died tragically young, aged only 25, his painting career spanning a single decade. He was revered on both sides of the English Channel and hugely influential upon contemporaries and followers alike. French collectors embraced the 'British' medium of watercolour, in which Bonington painted primarily until his first triumph at the Paris Salon in 1824, enthusiastically. He was also well received by the British Art institutions, perhaps most gratifying to the young artist was the patronage of Sir Thomas Lawrence, President of the Royal Academy, whom he visited a few months before his final illness and untimely death. Lawrence headed the funeral procession in September 1828 and despite spending most of career in France he was celebrated by the British Art establishment as one of their own, the question of his nationality contested for a long while by both English and French commentators. As we can see in the present painting Bonington excelled in his depiction of the countryside and coastal views, Allan Cunningham in his Lives of the Most Eminent British Painters, Sculptors and Architects, 1830, wrote, 'his chief pleasure was in making drawings of sea-coast and river-side scenery: to blend land with water, and both with cloud and sky, was a favourite scene.' He is revered for his ability to transfer light and atmosphere of Venice and French coastal and countryside scenes onto millboard and canvas distilling the essential qualities of place and time into paint. This atmospheric oil sketch has been dated by Noon, loc.cit. to the early months of 1826. On 4 April 1826 Bonington left Paris for his tour of Italy with his friend and pupil Baron Charles Rivet, returning to Paris by 6 July. Noon notes the present work's similarity to Landscape with Timber Wagon, Wallace Collection (op,cit. no. 199) which stylistically shows a familiarity with the works of both J.M.W. Turner (1775-1851) and John Constable (1776-1837) evident in the striking sunset and the characteristic accents of red paint. The present work is an excellent example of Bonington's technique, applying thin washes of oil paint with the same light touch that he would use in his watercolours and subtly building up the planes of colour to produce the glow of the sunset over the open landscape that gently recedes into a haze on the horizon. Bonington approached oil painting as a watercolourist, his peer Eugène Delacroix (1798-1863) wrote of Bonington's technique to the art historian Théophile Thoré-Bürger in 1861, 'To my mind one can find in other modern artists qualities of strength and precision in rendering that are superior to those in Bonington's pictures, but no one in this modern school, and perhaps even before, has possessed that lightness of touch which, especially in watercolours, makes his works a type of diamond that flatters and ravishes the eye, independent of any subject and any imitation.'The first owner of the paintings was Louis-Joseph-Auguste Coutan (1779-1830), a close friend of artists Baron Gros (1771-1835) and Delacroix and a successful fabric manufacturer and wholesaler. Toward the end of his life, Coutan spent his fortune decorating his Parisian home on the Place Vendôme with works by living artists both commissioning and purchasing contemporary art with no regard for school or nationality. After his death four paintings by Bonington were listed in his sale in 1830, but others descended through the family until 1996 when purchased by the present owner. Condition Report: The canvas has not been lined and is a little slack and starting to undulate. Rubbing and abrasions to the framing edges, with some very minor spots of loss. Craquelure throughout. Inspection under UV light reveals some very light in-filling, which has been sensitively done, and is largely confined to the lower half of the canvas. The attached backboard verso, has not been removed whilst completing this condition report.Condition Report Disclaimer
‡ JOSEPH MICHAEL GANDY (BRITISH 1771-1843) CLOUDY STUDY ALONG THE COAST, JULY 3 1822, 5 O'CLOCK; WINTER SKY, DECEMBER 1 1821, 8 O'CLOCK; TWILIGHT LANDSCAPE, NOVEMBER 17 1821, 9 O'CLOCK; CHANGE OF WIND Pencil and watercolour Each variously inscribed and dated (the latter inscribed only) 10.5 x 19cm (4 x 7¼ in.) (4)
IVAN ALBRIGHT (AMERICAN 1897-1983) LANDSCAPE WITH ROLLING HILLS Watercolour and gouache Signed (lower right) 30 x 45cm (11¾ x 17½ in.)Provenance: Sale, Hindman Auctions, Chicago, 15 May 2014, lot 260 Condition Report: Unexamined out of glazed frame. There is some discolouration noticeable to the lower edge. There is a crease and possible partial tear running off the right hand side of the lower edge (4cm) and a further light crease running off the centre of the upper edge (approx. 6cm). Otherwise in generally good condition.Condition Report Disclaimer
‡ JOSEPH MICHAEL GANDY (BRITISH 1771-1843) PEVENSEY; COASTAL LANDSCAPE NEAR MARGATE; SEASIDE LANDSCAPE Pencil and watercolour The first titled (verso); the third variously inscribed (verso) Each approx.11.5 x 19cm (4½ x 7¼ in.)Together with a fourth work Attributed to Hannah Gandy, Still life with Oyster and Flowers, watercolour and pencil, 11.5 x 19cm, all Unframed (mounted) (4)
This exquisite limited edition porcelain sculpture titled The Proposal is a masterwork by Hungarian-American artist Laszlo Ispanky. Crafted in the USA by Ispanky Porcelains, this piece captures a tender romantic moment with a kneeling man and seated woman adorned in Renaissance-style attire, all set within a detailed natural landscape. The figurine is beautifully hand-painted with fine floral and scenic accents, showcasing Ispanky's signature artistry in composition and finish. Marked on the base with the Ispanky signature and underside stamped in red with the Laszlo Ispanky logo and edition details, this is number 69 of only 350 pieces made.Artist: Laszlo Ispanky (American/Hungarian, 1920-2010)Issued: c. 1990Dimensions: 13"L x 13"HEdition Number: 69 of 350Country of Origin: USACondition: Age related wear.
This hand-painted charger plate by Andrea by Sadek features a distinctive Gold Imari design with a central landscape tableau framed by richly detailed floral and geometric borders. The vivid composition includes stylized trees and rocky outcrops, accented by traditional Japanese motifs in shades of cobalt blue, burnt orange, and gold against a white field. The outer rim showcases classic floral sprays over a red and blue patterned ground. Made in Japan, this piece bears both the Gold Imari mark and original Andrea by Sadek sticker. Measures approximately 18.25"Dia. Box measures approximately 19"L x 19"W.Dimensions: See DescriptionCondition: Age related wear.
*Francis Plummer (1930-2019) oil on board - Figures and musicians in a temple with moonlit landscape beyond, 71cm x 91cm, unframedVarious paint scuffs and chips around the outer edges, an area also within the left side of the figure in the green dress. The right side above the figures has an area of what appears to be damp/mildew which does rub off when dampened.
Thomas Remnant Charleton (1756-1849) watercolour, extensive landscape, indistinctly titled verso, 56 x 86cmThe images do have some vertical line reflections from the glass but also general time staining to the paper which has resulted in a brownish tint. Some foxing and general time fading but still a good large watercolour
A large antique Chinese Qing period blue and white porcelain vase, painted with panels containing landscape scenes and flowers, 43cm highGlaze is heavily scratched and worn around rim and neck, to both interior and areas of exterior. There are a couple of rim chips which have been worn smooth, and some similar areas to the neck of the vase. Some scratching to glaze on body of vase.
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