Lyonel Feininger 1871 New York - 1956 New York Vorüberziehende Schauer. 1923. Aquarell über Tuschfederzeichnung. Links unten signiert, rechts unten datiert '19. April 1923' sowie mittig betitelt. Auf Japanpapier. 25,4 x 34,3 cm (10 x 13,5 in), Blattgröße. [AR]. • Ungemein fein nuanciertes, dramatisches Seestück aus Feiningers früher Bauhaus-Zeit. • Im wegweisend prismatisch-kubistischen Stil des Künstlers. • Die Strände der Ostsee werden zu Beginn der 1920er Jahre zum Hauptmotiv seiner Meerlandschaften. • Früh ausgestellt in der Einzelausstellung in der Nationalgalerie Berlin. • Seit mehr als 60 Jahren in Familienbesitz. Achim Moeller, Direktor des Lyonel Feininger Project LLC, New York – Berlin, hat die Echtheit dieses Werkes, das im Archiv des Lyonel Feininger Project unter der Nummer 1932-07-31-24 registriert ist, bestätigt. Ein Zertifikat liegt der Arbeit bei. PROVENIENZ: Julia Feininger, Dessau/Berlin/New York (Geschenk des Künstlers). Andreas Feininger, New York (als Geschenk vom Vorgenannten erhalten, bis 1962: Stuttgarter Kunstkabinett). Privatsammlung Süddeutschland. Seither in Familienbesitz. AUSSTELLUNG: Lyonel Feininger, Ausstellung zum 60. Geburtstag, Nationalgalerie Berlin, 19.9.1931-31.1.1932, Kat.-Nr. 68, S. 26. Lyonel Feininger, Kestner-Gesellschaft Hannover, 28.1.-6.3.1932, Kat.-Nr. 73. LITERATUR: Willi Wolfradt, Lyonel Feininger, Junge Kunst, Band 47, Leipzig 1924, Abb. 30. Stuttgarter Kunstkabinett Roman Norbert Ketterer, Stuttgart, 3./4.5.1962, 37. Auktion, Los 101 (m. Abb. Tafel 181, verso auf der Rahmenrückwand m. Etikett). Aufrufzeit: 07.12.2024 - ca. 15.29 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONLyonel Feininger 1871 New York - 1956 New York Vorüberziehende Schauer. 1923. Watercolor over India ink drawing. Signed lower left, dated '19. April 1923' lower right as well as titled bottom center. On Japanese paper. 25.4 x 34.3 cm (10 x 13.5 in), size of sheet. [AR]. • An exceptionally subtly nuanced, dramatic seascape from Feininger's early Bauhaus period. • In the artist's characteristic prismatic-cubist style. • The Baltic Sea beaches were the main motif of his seascapes from the early 1920s. • Exhibited early on in a solo show at the Nationalgalerie Berlin. • Family-owned for more than 60 years. Achim Moeller, Director of the Lyonel Feininger Project LLC, New York - Berlin, has confirmed the authenticity of this work, which is registered in the archive of the Lyonel Feininger Project under the number 1932-07-31-24. The work is accompanied by a certificate of authenticity. PROVENANCE: Julia Feininger, Dessau/Berlin/New York (gifted from the artist). Andreas Feininger, New York (gifted from the above, until 1962: Stuttgarter Kunstkabinett). Private collection, Southern Germany. Ever since family-owned. EXHIBITION: Lyonel Feininger, Ausstellung zum 60. Geburtstag, Nationalgalerie, Berlin, September 19, 1931 - January 31, 1932, cat. no. 68, p. 26. Lyonel Feininger, Kestner-Gesellschaft, Hanover, January 28 - March 6, 1932, cat. no. 73. LITERATURE: Willi Wolfradt, Lyonel Feininger, Junge Kunst, vol. 47, Leipzig 1924, ill. 30. Stuttgarter Kunstkabinett Roman Norbert Ketterer, Stuttgart, May 3 and 4, 1962, 37th auction, lot 101 (illustrated on plate 181, with a label on the reverse of the frame). Called up: December 7, 2024 - ca. 15.29 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.
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Max Clarenbach 1880 Neuss - 1952 Wittlaer Meereslandschaft. 1902. Öl auf Holz. Rechts unten signiert und datiert. Verso handschriftlich nummeriert sowie mit verblasstem (Malerbedarf-)Stempel Düsseldorf. 21,5 x 33 cm (8,4 x 12,9 in). • Stimmungsvolle Meereslandschaft in fein nuancierter Farbigkeit. • Schon 1895 führen ihn erste Studienreisen an die niederländische Nordseeküste. • Max Clarenbach ist Teil der Düsseldorfer Schule und Mitbegründer des 'Sonderbundes' in Düsseldorf. PROVENIENZ: Privatsammlung Süddeutschland. LITERATUR: Sotheby’s, München, Auktion 6.12.1994, Los 177 (m. Abb.). Aufrufzeit: 07.12.2024 - ca. 13.54 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONMax Clarenbach 1880 Neuss - 1952 Wittlaer Meereslandschaft. 1902. Oil on panel. Signed and dated lower right. Handwritten number and a faded Düsseldorf (painting supply) stamp on the reverse. 21.5 x 33 cm (8.4 x 12.9 in). • Atmospheric seascape in subtly nuanced colors. • His first study trips took him to the Dutch North Sea coast as early as 1895. • Max Clarenbach is part of the Düsseldorf School and co-founder of the “Sonderbund” in Düsseldorf. PROVENANCE: Private collection, Southern Germany. LITERATURE: Sotheby’s, Munich, auction on December 6, 1994, lot 177 (illu.). Called up: December 7, 2024 - ca. 13.54 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.
A group of four porcelain and enamel boxes, 19th century, comprising: a Paris gilt-metal-mounted rectangular box painted with rural genre scenes to the lid and sides, within gilt and stamped borders, the interior with a landscape scene, crossed arrows mark possibly for La Courtille to underside, 5.7 x 8.5 x 6.5cm; a gilt-metal-mounted rectangular box painted in coloured enamels with floral sprays and a bird perched on a tree stump, with raised white enamel floral decoration, 3.8 x 9.4 x 5cm; a gilt-metal-mounted Continental elongated oval box, painted to all sides with rural seascape genre scenes, with raised scrollwork decoration to the lid, 4.5 x 15 x 6cm; and a Continental circular box and lid decorated in Viennese style, of dark blue ground with elaborate gilt borders, the lid with a painted mythological scene of three ladies with a cherub, crowned D mark possibly for Helena Wolfsohn to underside, 8.2cm high, 15cm diameter (4)Condition Report: Each of these are in overall poor condition with various damage and defects. The Paris box lid is loose from the mounts, which are heavily tarnished and have verdigris throughout, the porcelain is also scratched and dirty. The rectangular enamel box base is loose from the mounts, which are tarnished, and there are various hairline cracks and minor losses of enamel to base and lid as well as surface wear and dirt. The oval box base is loose from the mounts, which have mild tarnishing, and the porcelain has light wear including marks, scratches and surface dirt. The circular box has been broken and repaired with a large crack through the middle and small holes from missing porcelain, the lid also has two chips to the rim.
* BILL WRIGHT RSW RGI DA (SCOTTISH 1931 - 2016), NIGHT TIME COAST WITH GULLS watercolour on paper, signedmounted, framed and under glassimage size 30cm x 42cm, overall size 54cm x 66cm 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.
* PAM CARTER DA PAI (SCOTTISH 1952 - 2022), ST CYRUS oil on canvas, signed, titled versoframed and under glassimage size 89cm x 89cm, overall size 110cm x 110cmNote: Pam Carter was born in Tanganyika, East Africa to an Austrian mother and Scottish father. At the age of thirteen, she came to Scotland where she schooled at Bearsden Academy. She graduated from Glasgow School of Art in the seventies. "My main inspiration as an artist is in the Scottish landscape and seascape. I enjoy using colour to define contours, structure and changing light sequences. I search out specific viewpoints. I am equally inspired by the rugged isolation of the Western Isles and the dramatic viewpoints of the Eastern coastline. I work predominantly in oil". Pam Carter was unquestionably one of Scotland's most popular and successful contemporary artists. She won numerous awards and prizes, always received significant media attention, has been the subject of many magazine features and had several tv appearances. Her work is widely exhibited but rarely appears at auction. However, in The Scottish Contemporary Art Auction of 17th April 2022 lot 38 "Luskentyre Reflections" a 46 x 51cm oil by Pam Carter sold for £2000 (hammer) and in The Scottish Contemporary Art Auction of 10th July 2022 lot 230 "Gables Geary" sold for £2600 (hammer). Most recently, in The Scottish Contemporary Art Auction of 24th October 2024, lot 47 "West Coast Sunset" (61 x 61cm oil on canvas) by Pam Carter sold for £3600 (hammer).Comment: Pam was a special artist and one who enjoyed wide popularity and substantial commercial success. In all our dealings with Pam over the years, she was always generous with her time and quick to provide the background to paintings we had received from private consignors and filling in gaps about locations, dates etc. Pam's work is instantly recognisable and she had that rare gift, even among the best artists, of being able to use the minimum of brushwork to create the maximum visual effect. Her "lines" were those of the natural environment but she knew exactly how to "see" them and portray them on canvas. Despite her commercial success, or perhaps even because of it, Pam's work probably hasn't yet reached the full audience that it so richly deserves. She exhibited frequently at numerous galleries in Scotland and gallery owners were inevitably in a queue to secure her work. Typically, Pam showed loyalty to those who were the first to support her when she was a relative unknown. Talented artists always wish to be remembered by their work and Pam Carter can be certain of that, but she'll also be remembered with great affection by all those who had the good fortune to meet her or know her.
* BILL WRIGHT RSW RGI DA (SCOTTISH 1931 - 2016), PEACEFUL DAY ACROSS FROM JURA watercolour on paper, signed, titled versomounted, framed and under glassimage size 30cm x 43cm, overall size 55cm x 66cm 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.
* ERIC TIMMS, DRIFTWOOD SEASCAPE oil on canvasframedimage size 40cm x 50cm, overall size 43cm x 53cm Note: Words from the artist's website: My name is Eric Timms and I was born a long, long time ago in a distant land that was held firmly in the grip of dark and evil forces. With my family, brushes and remaining sanity I managed to escape to a land far to the North where it was believed that freedom reigned and that people from every corner of the world lived in peace and harmony. Alas, this was but a myth for this new land was driven by greed and worthless celebrity so I dragged my easel and loved ones further overland and ventured further North to the land of Mystery and "the right to roam". Scotland. I could tell you about all the paintings I have done, about the galleries I have run, but what's the point of that. I could mention the phases and exhibitions I have endured and the people I have taught but I cannot think why. In truth, as any person born in middle of last century will absolutely understand, I have managed to stay alive to deal with all the lofty joys and the deep miseries of being human. We all have our stories to tell and they are best savoured person to person. Now I live on my palette-board with my loving and ravishing wife of many long, long, long years, my devoted wolf-dog Zulu and the opportunity to paint with freedom and true expression.
* PAM CARTER DA PAI (SCOTTISH 1952 - 2022), ROCKS oil on canvas, signed, titled label versoframed and under glassimage size 64cm x 64cm, overall size 83cm x 83cmNote: Pam Carter was born in Tanganyika, East Africa to an Austrian mother and Scottish father. At the age of thirteen, she came to Scotland where she schooled at Bearsden Academy. She graduated from Glasgow School of Art in the seventies. "My main inspiration as an artist is in the Scottish landscape and seascape. I enjoy using colour to define contours, structure and changing light sequences. I search out specific viewpoints. I am equally inspired by the rugged isolation of the Western Isles and the dramatic viewpoints of the Eastern coastline. I work predominantly in oil". Pam Carter was unquestionably one of Scotland's most popular and successful contemporary artists. She won numerous awards and prizes, always received significant media attention, has been the subject of many magazine features and had several tv appearances. Her work is widely exhibited but rarely appears at auction. However, in The Scottish Contemporary Art Auction of 17th April 2022 lot 38 "Luskentyre Reflections" a 46 x 51cm oil by Pam Carter sold for £2000 (hammer) and in The Scottish Contemporary Art Auction of 10th July 2022 lot 230 "Gables Geary" sold for £2600 (hammer). Most recently "West Coast Sunset" (lot 47, The Scottish Contemporary Art Auctio of 24th October 2024) a 61 x 61cm oil on canvas by Pam Carter sold for £3600 (hammer).Comment: Pam was a special artist and one who enjoyed wide popularity and substantial commercial success. In all our dealings with Pam over the years, she was always generous with her time and quick to provide the background to paintings we had received from private consignors and filling in gaps about locations, dates etc. Pam's work is instantly recognisable and she had that rare gift, even among the best artists, of being able to use the minimum of brushwork to create the maximum visual effect. Her "lines" were those of the natural environment but she knew exactly how to "see" them and portray them on canvas. Despite her commercial success, or perhaps even because of it, Pam's work probably hasn't yet reached the full audience that it so richly deserves. She exhibited frequently at numerous galleries in Scotland and gallery owners were inevitably in a queue to secure her work. Typically, Pam showed loyalty to those who were the first to support her when she was a relative unknown. Talented artists always wish to be remembered by their work and Pam Carter can be certain of that, but she'll also be remembered with great affection by all those who had the good fortune to meet her or know her.
One of a kind watercolor and ink on paper by American Abstract Expressionist Betty Parsons who depicts a seascape from the shore where two individuals look at the blue sea. Title and date on lower left side: illegible Hotel, 69. Artist: Betty Bierne Parsons (American, 1900-1982)Issued: 1969Dimensions: 8.25"L x 5.25"HCountry of Origin: United StatesProvenance: Jock Truman and Eric Green, Aventura, FL; Bass Museum of Art, Miami Beach, FL 2000. Condition: Good condition.
A Vienna Sorgenthal period, cabinet cup, cover, and saucer, circa 1803,Painted with a scene of two storks in flight over a seascape with boats in the distance, titled to the underside 'La Reconnoissance' in black script, the cup, cover and saucer with elaborate formal leaf and floral motifs in tooled gilding against a white ground, the cover with beaded gilt rim and pine knop, the cup 6.8cm high, the saucer 14.7cm diam., shield marks, the cup with impressed 18 and 800 the saucer with impressed 39 and 803 (chip to saucer) (3)Footnotes:Provenance:The Twinight CollectionThis 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
A.N. Mordvinov. Seascape. 1849. A romantic seascape with a damp, changeable sky, fishing boats on the shore and sails at sea. Conveys the atmosphere of an elegiac pause. Signature in the lower right corner Count Mordvinov 1849. Painting size: 50 x 73 cm. Attached is an expert opinion from the State Tretyakov Gallery No. K21991316 Width: 100cm, Height: 79cm, Depth: 10cm, Weight: 10kg, Condition: Canvas was duplicated , Material: Canvas, oil, ID: ID-ANTQ-8570
Lyonel Feininger, SeascapeTuschfeder und Aquarell auf Bütten. 17,5 x 28,5 cm. Unter Glas gerahmt. Unten links mit Tusche signiert 'Feininger', rechts zweifach datiert '15.IX.46.' und '23.XI.48.'. Rückseitig mit handschriftlicher Widmung 'To Jeanne from Papileo!'. - Im Passepartout-Ausschnitt minimal gebräunt.Achim Moeller, Direktor des Lyonel Feininger Project LLC, New York - Berlin, hat die Echtheit des Werks bestätigt, das im Archiv des Lyonel Feininger Projects unter der Nummer 1942-10-16-24 registriert ist. Ein Zertifikat liegt der Arbeit bei.ProvenienzJeanne Feininger, New York (geb. Sinon, Geschenk des Künstlers); T. Lux Feininger, New York; ehem. Privatsammlung Bielefeld; seitdem in 3. Generation in FamilienbesitzDas Werk war ein Geschenk an Jeanne Feininger (geb. Sinon, 1914-1949), die erste Ehefrau von T. Lux Feininger, zu ihrem vierten Hochzeitstag am 23. November 1948.
Dame Ethel Walker DBE ARA (British 1861-1951): Seascape Study with Seagulls, oil on canvas laid on board unsigned, old attribution and title label verso along with Whitley Bay framer's label 26cm x 39cm Notes: probably a view at Robin Hood's Bay, where Walker had a cottage.Condition Report: Very good untouched original condition, typical variations of paint thickness, shows no signs of over-paint under UV light
Will McLean MBE RSA RWS, Scottish b.1941 - Seascape/Mother and Child, 1995; mixed media construction, signed, titled and dated along lower edge 'WJ Maclean '95 Seascape Mother and Child', H26.3 x W29.8 x D4.5 cm (ARR)Provenance:with Art First Contemporary Art, London (according to the label attached to the reverse);private collection
Former Bristol Zoo Gardens - a large 20th century carved hardwood sculpture display of a dolphin pod amongst a seascape. Four large carved dolphins, with a naturalistic base. Slight AF - some repaired sections / damage. As displayed at Bristol Zoo Gardens. Measures approx: H140cm x W71cm x D30cm.Note: this lot will be available for collection / courier from our Bath saleroom (BA1 7LR)
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