Edge of Dartmoor signed with initials and dated '51' (lower right) oil on board 39.5 x 49.5cmFootnote: Provenance With The Froyle Gallery, Hampshire Clifford Fishwick was born in Accrington, Lancashire and received his training at the Liverpool School of Art between 1940-42. In 1947 Fishwick moved to Devon where he began teaching at Exeter College of Art, before being appointed Principal of the College in 1958. Closely associated with St Ives painters, Peter Lanyon, Trevor Bell and Paul Feiler, Fishwick regularly exhibited alongside the Newlyn and Penwith societies. Influenced by the abstraction favoured by his Cornish contemporaries, the mastery of colour and light of Turner, and the structural brilliance of Cezanne, Fishwick’s landscapes, which frequently referred to his West Country surroundings both topographically and culturally, are at once completely individual, whilst also belonging to a broader historical context.Condition report: Oil on artists' board. The support and paint layers are in a good condition overall. There is a light layer of dust across the surface and some white accretions at the lower left corner. The frame is in a good condition.
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Sir Gerald Festus Kelly PRA RHA (1879-1972) Ma Than E Oil on Canvas, 97 x 84cm (38 x 33'') Exhibited: The Royal Academy London, Summer Exhibition 1938, Cat. No. 253; Brighton Exhibition 1938 untraced; The Royal Hibernian Academy 1939, Cat. No. 35 (N.F.S.); ''Sir Gerald Festus Kelly Retrospective Exhibition'', Royal Academy London 1957, Cat. No. 189, where lent by A.P. Reynolds Esq. In correspondence from the artist to the current owners in March 1969 in relation to this painting, Sir Gerald refers to it as ''one of the very best paintings I ever did of a Burmese Girl, who, by the way, was a little duck''. Sir Gerald Festus Kelly was born in London, 1879. He was educated at Eton College followed by Trinity College Cambridge. After his university studies he travelled to Paris where he remained for many years, receiving an artistic training and befriending Degas, Renoir, Monet, Rodin and Cezanne among others. Kelly travelled extensively during his lifetime, choosing exotic locations such as Burma and Africa as well as the closer climes of Italy and Spain for his inspiration. He painted many pictures of beautiful, porcelain-skinned young Burmese ladies, sometimes dancing but often posed as in this portrait, kneeling with a blanket covering their lower body. Although Kelly's choice of subject for his paintings was varied, it was perhaps for his portraits that he became best known, executing several State portraits and many paintings of society ladies and gentlemen, bishops and lords of the time. Brian Kennedy writes in his book 'Irish Art and Modernism 1880-1950' (p.167): Apart from Dermod O'Brien, the other outstanding portraitists year after year were Sir William Orpen (until 1917 when he last exhibited), Sir John Lavery and Sir Gerald Kelly, but as they lived in England their influence was less than it might otherwise have been. Sir Gerald Festus Kelly exhibited over 300 works at the Royal Academy in London from 1909 until 1970 and held the Presidency from 1949-54. This painting was shown at the Royal Academy in 1957 as part of the 'Sir Gerald Festus Kelly Retrospective Exhibition'. In Ireland Kelly exhibited at the Royal Hibernian Academy from 1905-1969, the Oireachtas Art Exhibition in 1932 (No. 9 - Mrs Hamilton - 500 and No. 10 - Celestine del Pino of Trinidad - 600) and also at the Ulster Academy of Arts in 1948 (No. 41 - Her Majesty the Queen). Gerald Kelly received a knighthood in 1945 - no doubt for his astounding talent in representing people and places with extreme delicacy and beauty. He was a highly successful artist during his lifetime but his name seems not to have lived on as it did with his peers Sir William Orpen and Sir John Lavery. Sir Gerald Festus Kelly died in London in 1972. His work is housed in several public collections, among them the National Portrait Gallery, London, the Tate Gallery, London and the Royal College of Music, London. Literature: D. Hudson, 'For the Love of Painting - The Life of Sir Gerald Kelly', 1975; S.B. Kennedy, 'Irish Art and Modernism 1880-1950', Institute of Irish Studies, Queens University, Belfast, 1991; Brian Stewart and Mervyn Cutten, 'Dictionary of Painters in Britain up to 1920.
* Cezanne (Paul, 1839-1906). Guillaumin au Pendu, 1873, etching on cream wove paper, plate size 156 x 117 mm (6.2 x 4.6 ins), sheet size 278 x 188 mm (11 x 7.5 ins), together with: Israels (Joseph, 1824-1911). Huiswaarts (Homeward Bound), etching on cream laid paper, signed in brown ink to lower left, plate size 135 x 95 mm (5.35 x 3.7 ins), sheet size 222 x 156 mm (8.8 x 6.3 ins) plus other 19th century etchings by Richard Redgrave (Ministering Angels, 1857), D.C. Read (The Shepherd, signed in pencil, and In The Mountains), Arthur James Lewis (The Shepherd, Waterfall, 1861 and A Country Walk, 1861), & F. Powell (The Rainbow, 1861)Qty: (9)NOTESCherpin 2 for the first work.
John Maclauchlan Milne, 1885-1957, RSA, Paris, 1912, signed lower right and dated, oil on canvas, 50 x 60cm John Maclauchlan Milne is regarded as a Post-Colourist and was clearly influenced by Cadell, Hunter, Peploe, Cezanne, van Gogh and Paul Gauguin. He exhibited at the Glasgow Institute and the Royal Scottish Academy as well as numerous exhibits in London and New York. Provenance, Purchased by the present owner from Belgrave Gallery in 1974, see image of the invoice
CEZANNE PAUL: (1839-1906) French Artist & Post-Impressionist Painter. A good and rare A.L.S., Paul Cezanne, two pages, 8vo, n.p., Wednesday April 1881, to Monsieur Huijsmans, in French. Cezanne states in full, 'I received before yesterday in the evening the volume you kindly sent to me. I deeply thank you for your kindness. Together with your parcel was attached the one of monsieur Ceard. In the ignorance that I find myself of his address because of my negligence, I would ask you to send to him my gratitude for the testimony of his esteem towards me for the matters related to the mind..´ The paper bears an Original Oxford Mill watermark. Accompanied by the original envelope in Cezanne´s hand. Overall age wear and foxing stains, otherwise G Joris-Karl Huysmans (1848-1907) French Novelist and art Critic. A founding member of the Academy Goncourt and an early advocate of Impressionism.
MATISSE HENRI: (1869-1954) French Artist. An excellent illustrated A.L.S., with his initials H. M., four pages, 8vo, Nice, 6th January 1922, to his wife Amelie, in French. Matisse states that he has received Jean's paintings, including a portrait of Marguerite, a bowl of mandarins and a viola, adding that he has placed them on his wall to replace his own which are currently being packed ('I have the trunk and am trying to roll the biggest paintings around a stick, but haven't quite figured out the right way, and we've had to redo the first one, which I didn't do well, three times') and which he hopes will be sent tomorrow afternoon, remarking 'You can look at them at your leisure once they have been put on their stretcher bars. But don't show the whole lot because the Bernheims [Bernheim-Jeune, one of the oldest art galleries in Paris] could find out about it and reclaim them', further going into more detail about the paintings and his current work, 'The smallest are paintings of 3. One of them is an unprimed one of 4 that is coming back for the gallerists, but I intend to keep it because I worked on it a lot at the same time as a large design on the same subject that I have here. Another small one of 3 which I worked on in at least 15 sessions will not be with the lot because I have not finished it. I work on it 2 ½ to 4 hours every day, and it is going well. I will send it to you separately once it is done, and I hope you will like it. From now until my departure, I will not have enough time to finish what I have started. I am enclosing in my letter 2 photos (no longer present) one of a painting of 30, the nude, and one of a 15, a young girl seated on the arm of a chair, looking at the window'. Matisse returns to the subject of their son, Jean's, paintings, commenting 'I would say that my first impression made me see qualities but I also saw that he is at the peak of his instinctive elan and that he is starting to dissociate the various elements of the painting (colour, design, value). It shows that he has not studied it. For example in the viola…..and in the portrait, and also the mandarins, but the bowl is good. There are good parts in all paintings, next to flaws. He really has to go and see the Chardins at the Louvre, especially the pipe [at this point in the letter Matisse has drawn a small pen and ink sketch representing Jean Simeon Chardin's still life Pipes and Drinking Vessels] the peaches and the glass of wine, the brioche, the grapes, and he will come to understand that the different parts hold each other together and that the tone of one is not lesser than the one next to it (adding in the margin that he would like Jean to do a modelling course, 'He will learn to draw shapes in other ways than he does now….') But I suspect he will like the Rubens better, but in them the tones hold each other together as well. At least he is working, and I will speak to him more when I am back. I will take him to the Antiquities section of the Louvre and the School of B. Arts to show him how to look at antiquities. He should ask for permission to copy the pipe……I can then critique his work when I come back. I will try to make it easy for him to understand' and concludes by writing of his wife's art, 'The music of your painting, represented by red and green and blue-black is good overall [at this point in the letter Matisse has drawn a small diagram, within a square, identifying the juxtaposition of the colours] but the green does not work well next to the blue, nor does the red next to the black. It is normal and work will correct it. Experience, and the study of the masters, the paintings of Cezanne…..' A letter of wonderful content relating to painting and enhanced by the two small illustrations by Matisse. Some extremely light, very minor age wear, VG Amelie Noellie Parayre (1872-1958) Wife of Henri Matisse from 1898 until their divorce in 1939. Matisse and his wife had two sons, Jean and Pierre, and they also raised the artist's illegitimate daughter, Marguerite, who served as a model for the artist and is mentioned in the present letter.
SISLEY ALFRED: (1839-1899) French-born British Impressionist Painter. A fine A.L.S., A. Sisley, one page, 8vo, Moret-sur-Loing, 9th January 1897, to [George] Viau, in French. Sisley announces that he is coming to Paris on Monday and would like to invite his correspondent to lunch in order that 'we will make out together this great list'. The artist concludes by sending his regards to Viau's wife and mother. With blank integral leaf. A letter of good association. Some very light, extremely minor age wear, VG £600-900 George Viau (1855-1939) French Dentist and Art Collector who acquired works by many Impressionist painters including Claude Monet, Paul Cezanne, Edgar Degas, Paul Gauguin, Camille Pissarro, Pierre-Auguste Renoir and Alfred Sisley.
Signed, oil on canvas(51cm x 61cm (20in x 24in))Footnote: Note: ‘Everyone must choose his own way, and mine will be the way of colour’ were the words of artist George Leslie Hunter, reflecting upon his own unique practice.His landscapes, such as Street Scene, Largo offer us a fascinating insight into the Scottish Colourist’s French influences by contemporary artists such as Monet and Cezanne. The warming colours of the buildings in Street Scene, Largo juxtaposed against the cooler tones of the sky are reminiscent of Cezanne’s new colour theory, in which he used the natural properties of warm and cool colours to advance and recede and create a sense of depth. Diverse and experimental, Hunter was always looking outwards and learning from his contemporaries; resulting in an impressive oeuvre which teaches us not just about Scottish life at the beginning of the twentieth century, but also of the intellectual and cultural interchange of artists across Europe.
JULIA MARGARET CAMERON (1815-1879) A RARE AND REMARKABLE SET OF FOUR PHOTOGRAPHS presumably once forming pages from an photograph album, the four large format pages each featuring a single photograph, forming an intact four page booklet, each with a pencil number to the upper corner, the photographs listed below as following the page layout: 'Connor of the Royal Artillery' (Gunner Patrick Connors) with pencil inscription below reading "Winner of the prizes at the Royal Artillery Games, Freshwater" albumen print, 264mm x 206mm 'Julia Jackson looking left downwards', albumen print, 213mm x 166mm 'Mary Hillier and two children', albumen print, 255mm x 198mm 'Julia Jackson profile right', 238mm x 187mm (arched top) Single page dimensions 354mm x 264mm (spread 354mm x 528mm) with string binding still presentProvenance: Frances Byng Stamper and Caroline Byng Lucas, The Ladies of Miller's Caroline Byng Lucas (1886-1967) studied painting and sculpture in London, Paris and Rome during the 1920s and first exhibited works at the Galerie des Jeunes Peintres in Paris in 1928. In the 1930s she studied sculpture under John Skeaping and had solo exhibitions of her paintings at the Lefevre Gallery in 1934 and of her sculptures at the Leicester Galleries in 1939. In 1941, with her older sister Frances Byng Stamper (1882-1968), Byng Lucas established the Millers Gallery in a converted outbuilding at her home in Lewes. The Gallery acted as an arts centre with a programme of exhibitions, concerts and lectures. Although focussed on local artists they also hosted works by Vanessa Bell, Duncan Grant, Robert Colquhoun and Robert MacBryde. Kenneth Clarke was a visitor and E. M. Forster gave readings. The Gallery hosted over 40 exhibitions, which included showing works by Matisse, Cezanne and Pissarro. During the war, John Maynard Keynes, who was establishing the Council for the Encouragement of Music and the Arts at the time, was closely involved with the Gallery. In 1945 the sisters established the Millers Press with the aim of promoting colour lithography. Among the works published were a set of six lithographs by Byng Lucas of Lewes and Brighton. In 1948, in conjunction with the Redfern Gallery, Byng Lucas set up the Society of London Painter-Printers to support artists in producing colour prints. The sisters disbanded the press and gallery in the mid-1950s due to their increasing fraility and died within a few months of each other in 1967. In 1989 the Towner held an exhibition of the work of Byng Lucas and her sister. Both the British Museum and the Victoria and Albert Museum in London hold examples of her prints. Julia Jackson, a niece of Julia Margaret Cameron, who features twice in this group of photographs, was the mother of Virginia Woolf and Vanessa Bell. It is known that both Woolf and Bell owned albums of photographs by Cameron, and given the close links between the Ladies of Miller's and the Bloomsbury Group, it is possible that the pages offered here came from such an album.
Artist: Paul Cezanne (French, 1839 - 1906). Title: "Tête de Jeune Fille". Medium: Original etching with roulette. Date: Composed 1873. Printed later. Dimensions: Overall size: 13 11/16 x 9 7/8 in. (348 x 251 mm). Image size: 5 3/16 x 4 1/4 in. (132 x 108 mm).Lot Note(s): Signed in the plate, lower right. Cream wove paper. Very wide margins. Very fine, well-inked impression. Fine condition. Literature/catalogue raisonne: Cherpin 4; V1160. Comment(s): Michel Melot, "The Impressionist Print" (Yale University Press, 1996) says, "The most elaborate of Cezanne's etchings is the 'Head of a Girl', with the shadow in the background worked over with a roulette. Whereas the landscapes are presented without any reworking, this simple, regular face, seen in close up and head on against quite a strong back light with its attendant shadows, has been made more dramatic: the hair is a tangle of lines, there are acid spots everywhere and the eyes are black dots.". [6946-2-600]
ROBERT GOLDWATER: PAUL GAUGUIN + MEYER CHAPIRO: VINCENT VAN GOGH - PAUL CEZANNE + D CATON RICH: EDGAR DEGAS + DOUGLAS COOPER: HENRI DE TOULOUSE-LAUTREC + WALTER PACH: PIERRE-AUGUSTE RENOIR + JOHN REWALD: CAMILLE PISSARRO, Paris, Nouvelles Editions Francaises [1961], 7 vols, 4to, loose as issued in folders, original slip-cases (7)
Barbara McGivern (Canadian, 1945-2019) 'STILL LIFE WITH RED CLOTH (CEZANNE)' Signed l.r., inscribed with title and dated '94 verso, acrylic on canvas 113 x 90cm Born in Toronto, Barbara McGivern spent time in London and worked initially in television before turning to painting full time back in Toronto, graduating in Experimental Arts from Ontario College of Art in 1988. Her work encompasses many styles from richly coloured abstract works incorporating gold leaf, to works based on her interpretations of impressionist and post-impressionist works seen on her travels to Paris. She stated her aim as ‘to create an explosion of energy, to generate an electric shock to the senses that awakens the uninhibited childlike freedom that is within us all but has perhaps been lying dormant’. McGivern exhibited widely in group and solo exhibitions all over the world, including Toronto, New York, Dubai, Austria, Switzerland and London.
Cased "Les Chefs - D'Oeuvre De L'Impressionnisme", commemorating Impressionist artists from the 19th century to include Van Gogh, Degas, Seurat, Cezanne and many others, comprising fifty silver gilt medallions, each weighing 31.4g, total silver weight approximately 1570g, presented in original wooden case of issue.
Four Art Volumes and a small collection of Art & Architecture related volumes comprising Russell Herts: 'The Decoration & Furnishing of Apartments', 1915, 40 coloured plates, Parker: 'The Study of Gothic Architecture', 1861, inscribed presentation copy by the author, four V&A Museum volumes 'The Panelled Rooms', 1924-1929 including Degas, Cezanne, Gauguin etc
‘the long study you dedicated to shining a light on my endeavours in painting’ CEZANNE PAUL: (1839-1906) French Artist & Post-Impressionist Painter. A good, rare A.L.S., Paul Cezanne, two pages, small 8vo, Alfort, 26th March 1894, to [Gustave Geffroy] ('Monsieur'), in French. Cezanne writes, in full, 'I have read yesterday the long study you dedicated to shining a light on my endeavours in painting. I wanted to express my gratitude for your kindness. Please accept my deepest thanks'. Some very light, extremely minor age wear, VG £6000-8000 Gustave Geffroy (1855-1926) French Journalist & Art Critic, one of the earliest historians of the Impressionist Art movement. In March 1894, as the present letter testifies, Geffroy wrote a sympathetic article in the periodical Le Journal championing the work of Cezanne, who until then had received little praise in critical circles. Their mutual friend, the painter Claude Monet arranged for a meeting between the two in November of that year which ended abruptly due to Cézanne's oft-noted erratic behaviour. Nevertheless, Geffroy continued to write favourably of Cézanne. As an expression of gratitude Cezanne painted Geffroy's portrait, which is now on permanent display in the Musee d'Orsay in Paris.
SISLEY ALFRED: (1839-1899) French-born British Impressionist Painter. A fine A.L.S., A. Sisley, one page, 8vo, Moret-sur-Loing, 9th January 1897, to [George] Viau, in French. Sisley announces that he is coming to Paris on Monday and would like to invite his correspondent to lunch in order that 'we will make out together this great list'. The artist concludes by sending his regards to Viau's wife and mother. With blank integral leaf. A letter of good association. Some very light, extremely minor age wear, VG £600-900 George Viau (1855-1939) French Dentist and Art Collector who acquired works by many Impressionist painters including Claude Monet, Paul Cezanne, Edgar Degas, Paul Gauguin, Camille Pissarro, Pierre-Auguste Renoir and Alfred Sisley
Panofsky (Erwin & Saxl , Fritz). Durers ' Melencolia I', eine quellen- und typen- geschichtliche untersuchung, 1st edition, B.G. Teubner, 1923, monochrome plates, original cloth, lightly rubbed and a little discoloured to spine and outer edges, large 8vo, together with: Wolfflin (Heinrich). Kunstgescichtliche Grundbegriffe, Das Problem der Stil-Entwickelung in der neueren kunst, 1st edition, Munich, 1915, monochrome illustrations, top edge gilt, contemporary red half morocco, rubbed and a little scuffed, large 8vo, plus Worringer (Wilhelm), Abstraktion und Einfuhlung, Ein beitrag zur Stilpsychologie, 4th edition, Munich, 1916, contemporary quarter green cloth gilt, 8vo, and other art history and reference, all printed in German, including A.B.Y. Warburg, Gesammelte Schriften, 2 volumes, B.G. Teubner, 1932, Erich Fidder, editor, Neue Beitrage Deutscher Forschung, Wilhelm Worringer zum 60. Geburtstag, 1943, Festschrift Heinrich Wolfflin, 1st edition, Munich, 1924, Julius Meier-Graefe, Cezanne und sein Kreis, 3rd edition, Munich, 1920, etc., all 20th century publications printed in German, mostly original cloth, mainly 4to/8vo (approximately 150 volumes) (Qty: 5 shelves)
? George Leslie Hunter (Scottish 1877-1931) Still life with marigolds Signed, oil on board (Dimensions: 46cm x 41cm (18in x 16in))(46cm x 41cm (18in x 16in))Footnote: Note: ‘Everyone must choose his own way, and mine will be the way of colour’ were the words of artist George Leslie Hunter, reflecting upon his own unique practice. Focusing for much of his life on landscapes and still life, Hunter worked in a range of mediums. His still life’s of fruit are particularly distinctive, such as his 1925 painting Still Life with Fruit and Pink Rose . Hunter’s typical impasto technique adds a luxuriously textured surface to the composition and visualises the inspiration he found in Matisse and the free, energetic work of the French Fauves. In his Still Life with Marigolds , we again note his vibrant palette and strong brushstrokes, demonstrating a bold and experimental new attitude that he took away from his continental counterparts. His landscapes, such as Street Scene, Largo , and Beached Boats, Lower Largo , offer us fascinating insight into the Scottish Colourist’s French influences by contemporary artists such as Monet and Cezanne. The warming colours of the buildings in Street Scene, Largo juxtaposed against the cooler tones of the sky are reminiscent of Cezanne’s new colour theory, in which he used the natural properties of warm and cool colours to advance and recede and create a sense of depth. Beached Boats, Lower Largo also explores Hunter’s fascination with the effects of light and colour theory, with the sharp contrast of the warmly coloured boat in the foreground against the sombre, muted cool tones of the surrounding water and sky that produces an atmospheric feeling of the cool weather. Diverse and experimental, Hunter was always looking outwards and learning from his contemporaries; resulting in an impressive oeuvre which teaches us not just about Scottish life at the beginning of the twentieth century, but also of the intellectual and cultural interchange of artists across Europe.
George Leslie Hunter (Scottish 1877-1931) Beached boats, Lower Largo Signed, oil on panel (Dimensions: 20.5cm x 28cm (8in x 11in))(20.5cm x 28cm (8in x 11in))Footnote: Note: ‘Everyone must choose his own way, and mine will be the way of colour’ were the words of artist George Leslie Hunter, reflecting upon his own unique practice. Focusing for much of his life on landscapes and still life, Hunter worked in a range of mediums. His still life’s of fruit are particularly distinctive, such as his 1925 painting Still Life with Fruit and Pink Rose . Hunter’s typical impasto technique adds a luxuriously textured surface to the composition and visualises the inspiration he found in Matisse and the free, energetic work of the French Fauves. In his Still Life with Marigolds , we again note his vibrant palette and strong brushstrokes, demonstrating a bold and experimental new attitude that he took away from his continental counterparts. His landscapes, such as Street Scene, Largo , and Beached Boats, Lower Largo , offer us fascinating insight into the Scottish Colourist’s French influences by contemporary artists such as Monet and Cezanne. The warming colours of the buildings in Street Scene, Largo juxtaposed against the cooler tones of the sky are reminiscent of Cezanne’s new colour theory, in which he used the natural properties of warm and cool colours to advance and recede and create a sense of depth. Beached Boats, Lower Largo also explores Hunter’s fascination with the effects of light and colour theory, with the sharp contrast of the warmly coloured boat in the foreground against the sombre, muted cool tones of the surrounding water and sky that produces an atmospheric feeling of the cool weather. Diverse and experimental, Hunter was always looking outwards and learning from his contemporaries; resulting in an impressive oeuvre which teaches us not just about Scottish life at the beginning of the twentieth century, but also of the intellectual and cultural interchange of artists across Europe.
Jan Josefsz. van Goyen (Dutch 1596-1656) An estuary landscape on the Rhine with square tower and tall gallows signal Oil on panel Signed with monogram and dated 1652 lower left 38 x 55.5cm (14¾ x 21¾ in.) Literature: Volhard, Hans, Die Grundtypen der Landschaftsbilder Jan van Goyens und ihre Entwicklung (Frankfurt: 1927, p. 182) Hofsete de Groot, Cornelius, A Catalogue raisonne of the most eminent Dutch painters of the Seventeenth Century: Based on the Work of John Smith (London: Macmillan & Co, 1908-27) no. 811 Beck, Hans-Ulrich, Jan van Goyen, 1596-1656: ein Oeuvreverzeichnis (Amsterdam: van Gendt, 1972) Vol II, no. 706, p. 322. Illustrated.Provenance: Sale, Valadon & Co., New York, 26 February 1902, Lot 207 (sold for $375) Dowdeswell, London UK private collection, Sir Charles Turner, London Sale, Berlin, Germany, 17 November 1908, Lot 29 (sold for Mk 5600) Paul Cassirer, Berlin by 1918 Hungarian private collection, M. von Nemes, Budapest Sale, Munich, Germany, 16 June 1931, Lot 47 (sold for Mk 6900) Belgian Private Collection, Stern, Brussels The present owner's grandfather, private collection, Munich; thence by descent Possibly held in storage in Zurich Private Collection, Holland by 1970s; thence by descent to the present owner Jan van Goyen was born in Leiden in 1596, and trained in Haarlem with Esaias van de Velde. He was one of the pioneers in depicting the naturalistic landscape in early 17th century Holland, travelling extensively in The Netherlands and beyond. Goyen moved to The Hague in 1631, where he remained until his death in 1656. To support his family Goyen worked as an auctioneer, real-estate investor and art advisor. Goyen also turned to dealing in tulip bulbs imported from Turkey, but suffered severe financial losses when the tulip market crashed in 1637.The present lot depicts a watch tower with gallow signal on the Rhine near Lobith and Schenkenschanz, a view that Goyen often repeated (see Beck reference 704 for comparable view, dated 1651). The present lot is a fine example of Goyen's skillfull manipulation of tonal variations. Through a limited colour palette Goyen was able to render natural light and subtle atmospheric effects in shades of brown, green and grey. His use of a low horizon gives the illusion of a broad expanse focusing the eye on the sky. Next to the watch tower is a small tavern in front of which people congregate to chat. Behind the tower is a cannon aimed ready for flight. In the distance sailing and rowing boats can be seen with a church beyond. There is a barge with four fisherman in the foreground and the artist has signed and dated the work 1652 to the side of the barge.The present lot was sold at auction in New York in 1902, where it was acquired by art dealer Charles William Dowdeswell (1832-1915) of London. Dowdeswell owned and ran a frame-making business in Chancery Lane and in 1878, Charles and his son, Walter opened the art dealership Dowdeswell and Dowdeswell. The gallery was one of the first to promote French Impressionism in London and in 1883 hosted the exhibition Societe des Impressionistes. The gallery closed down in 1912, when Walter Dowdeswell joined art dealer Joseph Duveen.Dowdeswell gallery sold the present lot to London collector Sir Charles Turner who subsequently sold the work in Berlin in 1908. In 1918, the work is known to have been with the renowned German art dealer Paul Cassirer (1871-1926) who played a significant role in the promotion of French impressionist and post-impressionist artists in particular Vincent Van Gogh and Paul Cezanne. The work was sold at auction in Munich in 1931, and bought by a private collector in Brussels.It is likely that the present owner's grandfather purchased this work sometime between 1931 and 1936. The owner, who lived in Munich, fled to Zurich from Germany in 1933, as Hitler came into power. In 1936, he put many of his family's possessions in storage before moving to Milan for about a year until Mussolini started making alliances with Hitler. In 1937, he and his family moved again, this time to Argentina, travelling by boat. The Second World War claimed the lives of 11 of his siblings and both his parents. In 1963, he left Argentina and returned to Zurich but unfortunately without his wife who had died after a long battle with cancer. The work was then passed by descent to his son and then eventually to his granddaughter, the present owner.
Sonia Handford (1925-2010): 'Fruits for Africa', oil on canvas, signed lower right, H 92 x W 92 cm. Provenance: The artist's daughter. Note: Born to Russian Jewish parents who settled in England in the early 1900s, Sonia Handford was educated at Clapham County Girls' Grammar School, and later at Wimbledon School of Art (1942-1945) under Lionel Ellis (1903-1988) where she received the 'Painting with Merit' award. She travelled widely during her life, beginning with France, Spain, Italy and Greece and later to Egypt, Russia, and the U.S.A. and exhibited at Wandsworth Town Hall (1963), Moriarty's Wine Bar, West Hampstead (1989) and Shaftesbury Arts Centre (2004). She also had an extensive teaching career at Sydenham School for Girls, Whitechapel Art Gallery, Balls Park College of Education, St. Albans School for Boys and Hampstead Comprehensive. Major influences on her work include: Picasso, Robert and Sonia Delaunay, Cezanne and Van Gogh
Henry Phealan Gibb (1870-1948) British late 19th - early 20th century, still life of Rudbechia in Vase (Black eyed Susan), signed bottom left, oil on board, framed. Measurements 56.2 x 81.5cm, framed measurements 66 x 91cm. Henry Phealan Gibb (1870-1948) was born in Alnwick, Northumberland and studied at the Glasgow School of Fine Art before relocating to France. He remained in Paris from the turn of the 20th Century until the outbreak of the First World War, studying under Jean-Paul Laurens and working with friends such as Henri Matisse and Gertrude Stein. He exhibited across Paris, London and New York, but his 1914 solo in Dublin was closed down by police due to opposition from the Catholic priesthood and his pictures were seized. Gibb was influenced by Cezanne and his style has often been described as earthy. He was forced to return to the UK due to the outbreak of the war, living in poverty for some years until his fortunes began to pick up again during the 1930s. During this time he became a fringe figure among the White Stag Painters.
SISLEY ALFRED: (1839-1899) French-born British Impressionist Painter. A fine A.L.S., A. Sisley, one page, 8vo, Moret-sur-Loing, 9th January 1897, to [George] Viau, in French. Sisley announces that he is coming to Paris on Monday and would like to invite his correspondent to lunch in order that 'we will make out together this great list'. The artist concludes by sending his regards to Viau's wife and mother. With blank integral leaf. A letter of good association. Some very light, extremely minor age wear, VG George Viau (1855-1939) French Dentist and Art Collector who acquired works by many Impressionist painters including Claude Monet, Paul Cezanne, Edgar Degas, Paul Gauguin, Camille Pissarro, Pierre-Auguste Renoir and Alfred Sisley.
δ Paul Cézanne (1839-1906) (after) by Jacques Villon (1875-1963)La Montagne Sainte-Victoire (Ginestet & Pouillon E639) Aquatint printed in colours, 1923, signed, inscribed 'Paul Cezanne', and numbered from the edition of 200 in brown ink, on Arches wove paper, published by Bernheim Jeune, Paris, with margins, plate 438 x 603mm (17 1/4 x 23 3/4in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Sonia Handford (1925-2010): 'Fruits for Africa', oil on canvas, signed lower right, H 92 x W 92 cm. Provenance: The artist's daughter. Note: Born to Russian Jewish parents who settled in England in the early 1900s, Sonia Handford was educated at Clapham County Girls’ Grammar School, and later at Wimbledon School of Art (1942-1945) under Lionel Ellis (1903-1988) where she received the ‘Painting with Merit’ award. She travelled widely during her life, beginning with France, Spain, Italy and Greece and later to Egypt, Russia, and the U.S.A. and exhibited at Wandsworth Town Hall (1963), Moriarty’s Wine Bar, West Hampstead (1989) and Shaftesbury Arts Centre (2004). She also had an extensive teaching career at Sydenham School for Girls, Whitechapel Art Gallery, Balls Park College of Education, St. Albans School for Boys and Hampstead Comprehensive. Major influences on her work include: Picasso, Robert and Sonia Delaunay, Cezanne and Van Gogh.
Four Goebel Artis Orbis chargers including Paul Cazanne Nature Morte Avec Des Fruits Et Des Fleurs number 1180 of 2000, Paul Cezanne Nature Morte Avec Cruche a Fleurs number 624 of 2000, Vincent Van Gough Le Pont de Langois number 570 of 1000 and Claude Monet La Maison de L'Artiste number 185 of 3000, (4)
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