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Lot 2123
Venetian scene; circle of Michele Marieschi (1710 - 1743). An atmospheric view on the Grand Canal, Venice under a blue sky with billowing clouds. A framed; apparently unsigned, oil painting on canvas 22" x 36 9/16". Marieschi was initially linked with the world of theatrical sets but under the influence of Canaletto he soon moved towards capriccios and views of Venice. His pupil Francesco Albotto imitated Marieschi's style even after the latter's death which creates problems of attribution particularly during the 1740s. Albotto's staffage was colourful and lively whilst Marieschi's figures were sometimes completed by other specialists like Giovanni Antonio Guardi. Marieschi had a huge popularity with those who collected Canaletto although his palette was lighter than Canaletto's. There were many painters and studios working under the influence of Canaletto, Marieschi and Albotto from the 1730s at least until Canaletto's death in 1768 and this is one of those many Venetian vedute falling within that period.
Lot 1184
British School (19th Century)Portrait of a gentleman, half lengthThe label verso inscribed "Edward Fieschi Heneage MA. DL M.P for Grimsby, born 1802 died 1880, second son of George Robert Heneage of Hainton"Oil on board, 52.5cm by 42cmCondition report: Covered in a thick layer of surface dirt and discoloured varnish. The painting has dropped slightly in the slip. Odd scuffs to the outer edges where it has moved in the frame. Areas of fine craquelure/shrinkage in places, especially to the darker paint surrounding his head and to the left of his head and lower left behind his arm. Small loss centre of right-hand side edge and one to the lower left of his jacket. The odd superficial surface scratch. Not examined with a uv light. Chips and knocks to frame.
Lot 456
Robbie Wraith ARR Framed oil on canvas, signed 'Interior with Glass Jug of Pink Flowers' 91cm x 70cm.CONDITION REPORT:The painting is in very good condition, however there is a cluster of small nibbles/print loss to the upper LHS. No damage to canvas, just print loss? Studio damage? See additional images.
Lot 2454
Marjorie Joy Altaras (British, twentieth century), 'Manchester Ship Canal'. Oil on canvas. Signed lower left. Framed. Image size 39 x 49cm.Condition Report: Generally good condition, with some areas of flaking to the top oil surface, mainly around the top area of the painting, where small areas of paint have come loose and flaked away.
Lot 342
DONALD MCINTYRE RCA (1923-2009) 'The Bens from Mannin Bay Oil on canvas Signed lower right, labelled and inscribed verso 49cm x 59cm Condition Report : there is a fleck of paint, about a fingernail in size missing lower centre - it almost looks like part of the painting as it blends in. Also a rip to the canvas top left. Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Lot 100
Andrew Beer (1862 - 1954) Surprise - An oil on canvas painting of prize winning racing pigeon Surprise . Depicting the blue check pigeon to the foreground on a scenic outdoor background. Signed, titled and inscribed with its racing history as follows; Won 2nd Ashchurch 1st Barnt Green. 3rd Tamworth 6th Derby. 2nd Chesterfield 4th Normanton Winner of Cup for 1st V.B. Average also Oil Painting presented by Mr A Faithful Bristol Central FC 1919 Owner Mr A Holcombe. Consigned by the family of Mr Holcombe. Measures approx; 30cm x 41cm.
Lot 106
NIcholas St John Rosse b1945 - A 20th Century oil on board landscape painting entitled Bossiney Cove depicting three figures on a beach with gull bird resting on the sand, The blue sea with foaming waves crashing on the shore with cliffs and rocks. Signed to lower right corner. Set to a frame. Measures approx 23cm x 69cm. St Adwen Studio label to back with other related labels.
Lot 110
Andrew Beer ( 1862 - 1954 ) Lord Kitchener. An oil on canvas painting of prize winning racing pigeon Lord Kitchener. Depicting the red check pigeon to the foreground on a scenic outdoor background. Signed, titled and inscribed with its racing history as follows; Winner Of Combined Average for Novice 1914. 1st Chesterfield. 1st Rippod & 6th Berwick. Bred 1912 & Flown by owners Messes Holcombe & Bowditch. Bristol Central HS. Consigned by the family of Mr A Holcombe. Measures approx. 30cm x 40cm.
Lot 1037
•LESZEK MUSZYNSKI (POLISH 1923-2012) IBIZA - WALK BY SUNSET Oil on panel board, signed, 24 x 29cm (9 1/2 x 11 1/2") Signed and inscribed with title verso Condition Report: On inspection there may appear to be an area of cracking in the pigment top left corner area but on closer inspection the lines appear to be pigment on top of pigment to give an appropriate purposeful impression by the artist. The painting is in good condition with no significant issues.
Lot 1131
JAMES BIRMINGHAM COLEMAN (BRITISH 19TH CENTURY) THE DAY'S CATCH Oil on canvas, signed, 47 x 61cm (18 1/2 x 24") Condition Report: The painting has been lined and generally there are a number of small scratch mark areas lower half section, a smaller number upper half section and cracking and lifting of pigment upper half section in and around area of the fish in the basket and top left corner area. there is some blooming middle area of left hand section and probable light retouching over significant portion top right quarter section.
Lot 657
‘I will still go and get the vaccine…’ TOULOUSE-LAUTREC HENRI DE: (1864-1901) French Painter, Printmaker and Illustrator. Best remembered for his immersion in the colourful and theatrical life of Paris in the late 19th century, producing elegant and provocative images of the decadent affairs of those times. Rare A.L.S., `H´, three pages, 8vo, n.p., n.d., to his mother `My dear mum´, in French. Toulouse-Lautrec states in part `I have just spent two days at Grenier´s home, splashing.., under the mill´s tower, which does not lack charm. Add to this.. lunches followed by naps and boating and you will have a faint idea of the stupidity to which one arrives, of which Grenier is a perfect example ´. Toulouse-Lautrec further refers to pox and a portrait painting, saying `What you tell me about pox annoys me because I intended and still intend to travel and make the portrait of my cousin Juliette who I dare hoping that this year will accept to pose. I will still go and get the vaccine…I have no intention to go myself, unless I first come to look for you to go via Malromé. I would like to plan a stay of eight days..´ Paper with a Monksburn watermark. G to VG Toulouse-Lautrec and Grenier were fellow students in the Paris atelier of academic history painter Fernand Cormon during the 1880s and became friends. Lautrec lived briefly with Grenier and his mistress, Lili, an actress and model, and made several portrayals of the couple. Toulouse-Lautrec most probably refers in the present letter to Juliette Pascal, who was the wife of Joseph Pascal, a maternal cousin of the French painter. Toulouse-Lautrec painted Madame Juliette Pascal (1871), also At the Piano Madame Juliette Pascal in the Salon at the Chateau Malromé, post-impressionism oil works. The Chateau Malromé is located in the French department of Gironde. It became the home of Toulouse-Lautrec´s mother.
Lot 691
ABSTRACT EXPRESSIONISTS: James Brooks (1906-1992) American Abstract Expressionist Painter. Signed colour 4 x 6 postcard reproduction of his oil painting Boon (1957) housed in the Tate Gallery, London. Signed by Brooks in black ink with his name alone to the lower white border; Conrad Marca-Relli (1913-2000) American Artist associated with the New York School Abstract Expressionists. Signed colour 6 x 4 postcard reproduction of his artwork Summer Noon (1958). Signed ('Marca-Relli') by the artist in blue ink with his name alone to the lower white border. VG to about EX, 2
Lot 1
English SchoolPortrait of Tsar Peter the Great as the Grand Czar of Muscovy, c. 1698 oil on canvas laid down22.5 x 19.8cm (8 7/8 x 7 13/16in).Footnotes:ProvenancePossibly Christie's, London, 17 July 1807, lot 28 (sold by Mallough to Seguier for three pounds) – 'Czar Peter by Rembrandt'.This rare image is connected to Tsar Peter's stay in London during his Grand Embassy of 1698. Furthermore, it relates directly to several engravings of the Tsar made during Peter's visit by the likes of Robert White, William Faithorne and Jacob Gole.Although only Godfrey Kneller's portrait in the Royal Collection is the only official image made of the Tsar during his visit to London, it seems that the appearance of the Russian ruler was captured in another unofficial image. Unlike Kneller's highly westernised depiction, this rare depiction shows the Tsar in the traditional guise of a Muscovite Tsar bedecked in opulent furs, diamonds and a gold threaded cloak. The exotic appearance of the Tsar in traditional Russian dress caught the imagination of Londoners and resulted in the demand for popular images such as this one.Both scholars Anthony Cross (2000) and Dmitrii Rovinskii (1888) were unaware of a surviving painting connected to the aforementioned engravings. Notably, Faithorne's version showing the Tsar in his robes and fur hat bears the inscription that it was 'Drawing by the life Since his Imperial Majesty Came into England'. Rovinskii had connected the engravings to a reworking of Kneller's portrait, however, the reappearance of this painted portrait adds further complexity to this suggestion.Pigment analysis favours a dating to c. 1698 and has identified no later synthetic materials dating from post 1715. Furthermore, the blue pigment in the Tsar's jacket is comprised of the costly natural ultramarine (lapis lazuli).For further information on this lot please visit Bonhams.com
Lot 73
Peter Nilouss (1896-1943)Paris signed in Latin (lower right); signed, inscribed in Cyrillic and numbered '7' (verso)oil on canvas65.5 x 54cm (25 13/16 x 21 1/4in).Footnotes:ProvenanceBertha Goloubovsky, great, great aunt of the present of the present owners, who lived with Nilouss in Paris from the 1920s until his death in 1943Thence by direct descent to a private French collection'Painting is delicate... like pollen on the wings of a butterfly...', Peter NiloussNilouss was born in Baltssky Uyezd and moved as a child to Odessa. He later attended the art classes of Kyriak Kostandi where his precocious ability garnered praise and he went on to study at the Imperial Academy of Arts in Saint Petersburg, exhibiting in the Peredvizhniki exhibitions from 1891. The first stages of his artistic success were governed by independent creativity, his style influenced by everyday urban life. During the Russian Civil War, in 1920, he emigrated to Paris where his artistic focus changed and departed from the credo of the Peredvizhniki, moving towards impressionistic paintings that were occasionally saturated with a delicateness of colour and light. Increasingly Nilouss came to prefer the landscape genre. In his memoir, he recalled that he was a faithful 'wanderer' for thirteen years, and 'then the evolution from extreme realism to individualism began', characterised by his 'mood palette' (P. Nilouss, Autobiographical note, Odessa's page, 1915, 13th June, C.2). Subsequently his 'third period' was characterised by 'symbolic-romantic' and 'retrospective' paintings which portrayed an aestheticizing reality with people strolling through romantic landscapes and streets. During this time Nilouss had come to understand that, for him, romanticism excluded realism, and that the impressionist approach was his way forward. 'It took me nine years. Gradually I concluded that real art is within us, and that you need to draw what you feel. A new painting is distinguished by the fact that it never copies but reincarnates the narrative' (P. A. Nilouss,In search of the uncatchable, Voronezh, 2011, Kvarta, pp. 11-13.) The 'fourth period' of his style revealed a break from romanticism and a move towards a 'modern' style characterised by French street views, still lives and women against the backdrops of landscapes. From a letter to E. Bukorezk in 1933, the artist writes, 'Now I am looking for the motive of the streets and spend a lot of time looking for the narrative.' (P. Nilouss, Letters from emigration, 1920-1937, Odessa, 2008.) The present painting portrays this fourth period of the artist's vision and a probable sketch for the present painting has the title 'La rue Bois-le-Vent',executed in 1934. (P. A. Nilouss, In search of the uncatchable, Voronezh, 2011, Kvarta, pp. 69, image 25).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 64
Petr Petrovich Konchalovsky (Russian, 1876-1956)'A street in Ryazan', 1931 signed in Cyrillic (lower right); verso with painting of a river landscape, stretcher bearing labels including the number '899' from the artist's handlistoil on canvas60 x 73cm (23 5/8 x 28 3/4in).unframedFootnotes:ProvenanceThe collection of the artist, handlist number '899' (according to label on verso)Acquired by a noble European family in Russia between 1960-1970Thence by descentExhibitedMoscow, 1933, The 8th Exhibition of the Works of P.P. Konchalovsky, no. 45Academy of Art USSR, Department of Exhibitions (according to label on verso)LiteratureVystavka kartin, zasluzhennogo deyatelya iskusstv P.P. Konchalovskogo, 1930-1932, Vseros, 1932, eds. N. Maslenikov, V. Nikol'skii, p. 36, no. 45Konchalovsky. Khudozhestvennoe nasledie, Moscow, Iskusstvo, 1964, p. 170, listed as 'zhi 1690, no. 899'A Street in Ryazan is from the series of of 'Ryazan landscapes' referred to by the artist's wife in (O. Konchalovskaya, 'Nash zhiznennyi put' ['Our Life Path'] (1956), in K. Frolova, Konchalovskii. Khudozhestvennoe nasledie, Moscow, 1964, p. 56. Madame Konchalovskaya recalls the journeys the couple made to and from Ryazan to see their son Misha who had been drafted into military service and was stationed there. '[...] we spent that whole cold winter travelling back and forth ... the carriages were unheated and lit with candles.' (ibid.).With Cezanne ever a towering influence from his days in the Knave of Diamonds, in the 1920s Konchalovsky returned to a more traditional style of painting, his palette tamer, his representation less exuberantly expressionistic. By the 1930s, a preoccupation with winter landscapes was apparent, the complex manifestations of the Russian winter providing material for the artist's creative language.A Street in Ryazan displays Konchalovsky's mastery of colour and homage to the fauve palette; the bold orange of the upper side of the building affording no warmth to the composition, rather suggesting the pale light of the winter sun. The juxtaposition of the cool colours with the warm serves to emphasise the bitter cold of the winter, the blue of the snow drifts ambiguous – the sun could be setting or rising, the viewer cannot know. Nevertheless, the painting resonates with the energy of the men who appear to be engaged in building work, their footprints in the snow rendered with two blue strokes. In the foreground, pigeons bob up and down, foraging for food, unbothered by the men or the weather.A comparable work from the 'Ryazan series' is Pier at Ryazan (private collection), numbered '898' on the verso and hence the one prior to the offered lot (number '899') in the artist's handlist. In Pier at Ryazan, the same creative credo of Konchalovsky can be observed: a preoccupation with the energy which humans bring to a landscape, as evidenced by the men in the foreground carrying logs and the smoke issuing from the little wooden hut on the snow-laden riverbank.In the Ryazan series, Konchalovsky appears to be observing man in his context. He shows the monumentality of landscape, emphasised by free, confident brushwork in wide, artistic strokes of thick paint, and against this he shows man: small, unremarkable and yet busy with life. The laconic nature of his landscapes is undercut by the vibrant colours and it is in colour that he shows the impact man has made on landscape. In Oleg's House in Ryazan, 1931, a huge pink house dominates the composition, evidence of how humans can alter their landscape.A Street in Ryazan is emblematic of Konchalovsky's mode of expression in the 1930s. Its highly complex colour permutations undermine the apparent silence and repose of landscape, speaking as it does of the drama and energy of man within nature.For further information on this lot please visit Bonhams.com
Lot 471
A rare and large Royal Worcester plaque by Thomas Scott Callowhill, circa 1875Fully painted using an impasto technique with a river, two young women resting on the grassy bank, mountains in the background below a moody sky, signed 'T.S.Callowhill', the footrim pierced for suspension, 40.8cm diam, impressed factory markFootnotes:Best-known for painting the portrait heads on the Countess of Dudley Service, Thomas Callowhill was an excellent all-round decorator. While at Royal Worcester he experimented with various underglaze techniques and introduced the difficult 'impasto' technique, using coloured clay instead of enamels to replicate the appearance of oil painting.For further information on this lot please visit Bonhams.com
Lot 412
A late 19th/early 20th century reverse oil painting on glass depicting a young emperor sat on a throne, with dragon embellishment and standing phoenix ornaments, the emperor wearing brightly coloured ceremonial gowns painted with dragons and floral images, wearing jade beads and a jewelled crown, with a black background, mounted in a black lacquered frame, overall 59 x 44.5cm.
Lot 520
UNATTRIBUTED; an impressively large oil on canvas depicting nine koi carp feeding together within a pond, with lily pads and water lilies, the painting with bright coloured fish and textured paint technique, indistinctly signed in red lower right, 80 x 132cm, with a thin mirrored border in a large heavy modern pine frame, frame size 103 x 153cm.
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