19TH CENTURY EUROPEAN VICTORIAN and BRITISH IMPRESSIONIST ART Wednesday 1 March 2017

Total Page:16

File Type:pdf, Size:1020Kb

19TH CENTURY EUROPEAN VICTORIAN and BRITISH IMPRESSIONIST ART Wednesday 1 March 2017 19TH CENTURY EUROPEAN VICTORIAN AND BRITISH IMPRESSIONIST ART Wednesday 1 March 2017 19TH CENTURY EUROPEAN, VICTORIAN AND BRITISH IMPRESSIONIST ART | 33 19TH CENTURY EUROPEAN, VICTORIAN AND BRITISH IMPRESSIONIST ART Wednesday 1 March at 2.00pm New Bond Street, London VIEWING BIDS ENQUIRIES PHYSICAL CONDITION OF Friday 24 February +44 (0) 20 7447 7447 Peter Rees (Head of Sale) LOTS IN THIS AUCTION 9.00am to 4.30pm +44 (0) 20 7447 7401 fax +44 (0) 20 7468 8201 Saturday 25 February To bid via the internet please [email protected] PLEASE NOTE THAT THERE IS 11.00 to 4.00pm visit bonhams.com NO REFERENCE IN THIS Sunday 26 February Charles O’Brien CATALOGUE TO THE PHYSICAL 11.00 to 4.00pm Please note that bids should be (Head of Department) CONDITION OF ANY LOT. Monday 27 February submitted no later than 4pm on +44 (0) 20 7468 8360 INTENDING BIDDERS MUST 9.00am to 5.00pm the day prior to the sale. New [email protected] SATISFY THEMSELVES AS TO Tuesday 28 February bidders must also provide proof THE CONDITION OF ANY LOT 9.00am to 5.00pm of identity when submitting bids. Alistair Laird AS SPECIFIED IN CLAUSE 14 Wednesday 1 March Failure to do this may result in +44 (0) 20 7468 8211 OF THE NOTICE TO BIDDERS 9.00am to 12.00pm your bid not being processed. [email protected] CONTAINED AT THE END OF THIS CATALOGUE. SALE NUMBER Bidding by telephone will only Emma Gordon 23917 be accepted on a lot with a +44 (0) 20 7468 8232 As a courtesy to intending lower estimate or of or in [email protected] bidders, Bonhams will provide a CATALOGUE excess of £1,000 written Indication of the physical £25.00 Deborah Cliffe condition of lots in this sale if a Live online bidding is available +44 20 7468 8337 request is received up to 24 ILLUSTRATIONS for this sale [email protected] hours before the auction starts. Front cover: Lot 51 Please email [email protected] This written Indication is issued Back cover: Lot 58 with ‘live bidding’ in the subject New York subject to Clause 3 of the Notice Inside front: Lot 52 line 48 hours before the auction Madalina Lazen to Bidders. Inside back: Lot 62 to register for this service. +1 (212) 644 9108 [email protected] CUSTOMER SERVICES Monday to Friday 8.30 to 6.00 +44 (0) 20 7447 7447 Please see page 2 for bidder information including after-sale collection and shipment Bonhams 1793 Limited Bonhams International Board Bonhams UK Ltd Directors Registered No. 4326560 Robert Brooks Co-Chairman, Colin Sheaf Chairman, Gordon McFarlan, Andrew McKenzie, Registered Office: Montpelier Galleries Malcolm Barber Co-Chairman, Harvey Cammell Deputy Chairman, Simon Mitchell, Jeff Muse, Mike Neill, Montpelier Street, London SW7 1HH Colin Sheaf Deputy Chairman, Antony Bennett, Matthew Bradbury, Charlie O’Brien, Giles Peppiatt, India Phillips, Matthew Girling CEO, Lucinda Bredin, Simon Cottle, Andrew Currie, Peter Rees, John Sandon, Tim Schofield, +44 (0) 20 7393 3900 Patrick Meade Group Vice Chairman, Paul Davidson, Jean Ghika, Veronique Scorer, James Stratton, Ralph Taylor, +44 (0) 20 7393 3905 fax Jon Baddeley, Rupert Banner, Geoffrey Davies, Charles Graham-Campbell, Matthew Haley, Charlie Thomas, David Williams, Jonathan Fairhurst, Asaph Hyman, James Knight, Richard Harvey, Robin Hereford, David Johnson, Michael Wynell-Mayow, Suzannah Yip. Caroline Oliphant, Shahin Virani, Charles Lanning, Miranda Leslie, Edward Wilkinson, Leslie Wright. Central SALE Middlesex Acton Ln Hospital Park Royal INFORMATION Acton Ln Cadogan Tate Coronation Road W e d s P a te a o r r n R k A v e R e s A o 40 a y h a Park l C Royal iWestern Ave A40 R o Station a 0 d 0 Acton 0 North 4 Cemetery A Acton d Station a o R a i r o t c i V West Acton Horn Lane Station BIDS SHIPPING IMPORTANT NOTICE +44 (0) 20 7447 7447 For information and estimates A surcharge of 2% is applicable +44 (0) 20 7447 7401 fax on domestic and international when using MasterCard & Visa credit To bid via the internet please visit shipping as well as export cards and overseas debit cards. www.bonhams.com licenses please contact Alban Shipping on +44 (0) 1582 493 099 Payment in Advance PAYMENTS [email protected] (Telephone to ascertain amount due) Buyers by: cash, cheque with banker’s card, +44 (0) 20 7447 7447 BUYERS COLLECTION & credit, or debit card. +44 (0) 20 7447 7401 fax STORAGE AFTER SALE All sold lots will remain in the Payment at time of collection by: Sellers Collections room at Bonhams New cash, cheque with banker’s card, Payment of sale proceeds Bond Street for a period of not less credit, or debit card. +44 (0) 20 7447 7447 than 14 calendar days from the sale +44 (0) 20 7447 7401 fax date. Lots not collected by 5.30pm Wednesday 15 March 2017 will VALUATIONS, TAXATION be returned to the department. & HERITAGE Storage charges may apply. +44 (0) 20 7468 8340 +44 (0) 20 7468 5860 fax The following symbol is used [email protected] to denote that VAT is due on the hammer price and buyer’s CATALOGUE SUBSCRIPTIONS premium To obtain any Bonhams catalogue or to take out an annual † VAT 20% on hammer price subscription: and buyer’s premium Subscriptions Department +44 (0) 1666 502200 VAT on imported items at a +44 (0) 1666 505107 fax preferential * rate of 5% on hammer [email protected] price and the prevailing rate on buyer’s premium 19TH CENTURY EUROPEAN, VICTORIAN AND BRITISH IMPRESSIONIST ART Lots 1 - 79 1 EUGÈNE MODESTE EDMOND LE POITEVIN (FRENCH, 1806-1870) A picnic signed and dated ‘Eug. Le Poitevin/1866.’ (lower right), further inscribed with monogram on red case in lower centre oil on canvas 43 x 62.5cm (16 15/16 x 24 5/8in). £4,000 - 6,000 US$5,000 - 7,500 €4,600 - 7,000 6 | BONHAMS 2 ADOLPHE ALEXANDRE LESREL (FRENCH, 1839-1929) A winning hand signed and dated ‘A.A. LESREL 1895’ (lower right) oil on panel 25 x 18cm (9 13/16 x 7 1/16in). £3,000 - 5,000 US$3,700 - 6,200 €3,500 - 5,800 19TH CENTURY EUROPEAN, VICTORIAN AND BRITISH IMPRESSIONIST ART | 7 3 GUSTAVE COURBET (FRENCH, 1819-1877) Paysage du Jura signed ‘G. Courbet’ (lower right) oil on canvas 27 x 35cm (10 5/8 x 13 3/4in). £10,000 - 15,000 US$12,000 - 19,000 €12,000 - 17,000 Provenance with Arthur Tooth and Sons Ltd., London, no.2553 Purchased from the above in February 1951 by the family of the present owner Private collection, UK Exhibited London, Arthur Tooth and Sons Ltd., Paris-Londres: A collection of pictures recently purchased in France, 11 April-11 May 1951, no.5 Liverpool, Central Library Wallasey, An Exhibition of French Pictures from the Collection of Morton D. Oliphant Esq., 12 May-7 June 1958, no.4 Liverpool, Walker Art Gallery, Personal Choice: Paintings and Sculpture from Local Private Collections, 19 July-20 August 1961, no.10 (lent by the family of the present owner) 8 | BONHAMS 19TH CENTURY EUROPEAN, VICTORIAN AND BRITISH IMPRESSIONIST ART | 9 4 LÉON AUGUSTIN LHERMITTE (FRENCH, 1844-1925) Le Labourage signed ‘L.Lhermitte’ (lower right) charcoal 38.5 x 67cm (15 3/16 x 26 3/8in). on two joined sheets £3,000 - 5,000 US$3,700 - 6,200 €3,500 - 5,800 Provenance with Durand-Ruel, Paris, 30 May 1972 with Deschamps, London Robert Rudolph Private collection, UK Literature M. Le Pelley Fonteny, Catalogue raisonné de Léon-Augustin Lhermitte, Pairs, 1991, p.481, no.931 (with wrong dimensions) Painted in 1871, the present lot is a preparatory drawing for the oil held in the Glasgow Museum entitled Ploughing with Oxen (accession no.2229), executed the same year. Lhermitte’s honest and realist depiction of these two peasant farmers is typical of his work, conveying solemnity yet also a certain reverence for their exhausting and thankless work. We are grateful to the Comité Lhermitte for confirming the attribution to Léon Augustin Lhermitte. The work will be included in the Supplement of the Catalogue Raisonné of the artist, currently in preparation by Galerie Brame & Lorenceau and Monique Le Pelley-Fonteny. 10 | BONHAMS 19TH CENTURY EUROPEAN, VICTORIAN AND BRITISH IMPRESSIONIST ART | 11 5 HIPPOLYTE CAMILLE DELPY (FRENCH, 1842-1910) Evening on the Loire signed ‘H C. Delpy.’ (lower right), with artist’s stamp to the reverse oil on panel 52 x 81.5cm (20 1/2 x 32 1/16in). £4,000 - 6,000 US$5,000 - 7,500 €4,600 - 7,000 Provenance with M. Newman, London Private collection, UK 12 | BONHAMS 19TH CENTURY EUROPEAN, VICTORIAN AND BRITISH IMPRESSIONIST ART | 13 6 HIPPOLYTE CAMILLE DELPY (FRENCH, 1842-1910) A tree-lined river landscape, a village beyond signed and dated ‘H.C.Delpy. 96’ (lower right) oil on panel 52 x 81cm (20 1/2 x 31 7/8in). £20,000 - 30,000 US$25,000 - 37,000 €23,000 - 35,000 Provenance with Richard Green Fine Paintings, London Private collection, Spain 14 | BONHAMS 19TH CENTURY EUROPEAN, VICTORIAN AND BRITISH IMPRESSIONIST ART | 15 7 GEORGES WASHINGTON (FRENCH, 1827-1910) The hunt signed ‘G Washington’ (lower right) oil on panel 22 x 41cm (8 11/16 x 16 1/8in). £4,000 - 6,000 US$5,000 - 7,500 €4,600 - 7,000 Provenance Private collection, Greece 16 | BONHAMS 8 ALEXANDER M. ROSSI (BRITISH, 1840-1916) Reflection signed ‘A.Rossi/1896’ (upper right) oil on canvas 77.5 x 55.5cm (30 1/2 x 21 7/8in).
Recommended publications
  • Download Our Guide To
    BEST OF CORNWALL 2020 Marianne Stokes, née Priendlsberger 1855 - 1927 Lantern Light, 1888 Oil on canvas, 82.5 x 102 cm Penlee House Gallery & Museum Purchased by private treaty from Mr & Mrs Allan Amey with assistance from The Art Fund, The MLA/V&A Purchase Grant Fund and the Friends of Penlee A brief and incomplete history of ... art and artists in Cornwall By Andrea Breton Cornwall has always appealed to the creative type; a land of mists and megaliths, it combines a wide variety of landscape, from perfectly sanded coves to dramatic cliffs and breakers; bleak, haunted moors to lush vegetal valleys. There are picturesque harbours and grand country houses set in vast acreages. There are impressive landmarks from the past such as Tintagel Castle, St Michael’s Mount and more standing stones and Neolithic sites than you can shake a stick at. They exist happily alongside the present day futuristic domes of Eden, the stately grey bulk of Tate St Ives, old Mine chimneys (sensibly bestowed with World Heritage status) and the spoil heaps of the clay pits near St Austell. 35 BEST OF CORNWALL 2020 However there is more to Cornwall’s appeal than It was clear that luck landmarks. It is the geographical distance to the rest of was needed. Fortunately, the England; the quirk of geology which makes Cornwall Victorian age was coming somewhat longer than it is wide. Surrounded by the sea, and with it the age of steam it gives the county an all enveloping bright light, allegedly powered travel and the artists’ a couple of lux higher than the mainland.
    [Show full text]
  • Men in the Fiction of D
    il.Lk'q\ "ANOTHER KIND OF LOVE": THE DYNAMICS OF LOVE AND POWER BETWEEN MEN IN THE FICTION OF D. H. LAWRENCE. Kym McCauley B.A. (Hons.) Thesis submitted for the degree of Master of Arts. Department of English The University of Adelaide December 1993 At onde cl, \At f1 Errata. "'Another Kind of Love': The Dynamics of Love and Power Between Men in the Fiction of D.H. Lawrence" by Kym McCauley' p.3 for compliment read comqlement p.10 for Lawrence's' read Lawrence's p.19 for order read establishment p. 20 for advise read advice pp. 22, 23n.,48, 50, 51, 54, 55, 64, 93 and 122 in each instance for Ctitch read Crich p. 35 for Morels' read Morel's p. 36 for lljre drags...fire. read [He drags...fire'] for weeks read week's p. 38 for Morels' read Morel's for fatherc' read father's p. 45 for rclaces read rePlaces p. 51 for Brennen read Brennan p. 52 for womens' read women's p. 53 for womens' read women's for her children read their children p. 59 for contribution read contributions p. 68 for discerned read distinguished p. 100 for principal read PrinciPle p. 107 for Gran Ellis' (second occurrence) read Gran Ellis p. 109 /or Somers (first occurrence) read Somers' Declaration This thesis contains no material which 'has been accepted for the award of any other degree or diploma at any university and, to the best of my knowledge and belief, it contains no material written or published by another person except where reference is made in the text.
    [Show full text]
  • Three Centuries of British Art
    Three Centuries of British Art Three Centuries of British Art Friday 30th September – Saturday 22nd October 2011 Shepherd & Derom Galleries in association with Nicholas Bagshawe Fine Art, London Campbell Wilson, Aberdeenshire, Scotland Moore-Gwyn Fine Art, London EIGHTEENTH CENTURY cat. 1 Francis Wheatley, ra (1747–1801) Going Milking Oil on Canvas; 14 × 12 inches Francis Wheatley was born in Covent Garden in London in 1747. His artistic training took place first at Shipley’s drawing classes and then at the newly formed Royal Academy Schools. He was a gifted draughtsman and won a number of prizes as a young man from the Society of Artists. His early work consists mainly of portraits and conversation pieces. These recall the work of Johann Zoffany (1733–1810) and Benjamin Wilson (1721–1788), under whom he is thought to have studied. John Hamilton Mortimer (1740–1779), his friend and occasional collaborator, was also a considerable influence on him in his early years. Despite some success at the outset, Wheatley’s fortunes began to suffer due to an excessively extravagant life-style and in 1779 he travelled to Ireland, mainly to escape his creditors. There he survived by painting portraits and local scenes for patrons and by 1784 was back in England. On his return his painting changed direction and he began to produce a type of painting best described as sentimental genre, whose guiding influence was the work of the French artist Jean-Baptiste Greuze (1725–1805). Wheatley’s new work in this style began to attract considerable notice and in the 1790’s he embarked upon his famous series of The Cries of London – scenes of street vendors selling their wares in the capital.
    [Show full text]
  • El Arte De Ilustrar Aves, Una Breve Reseña De La Historia Del Arte En La Ornitología
    Múnera-Roldán & Córdoba-Córdoba 1 Boletín SAO Vol. XVII Arte de ilustrar Aves (No. 01) – Julio 2007 – Pag: 1-9 El arte de ilustrar Aves, una breve reseña de la historia del arte en la ornitología Claudia Múnera-Roldán A & Sergio Córdoba-Córdoba B A Instituto de Investigación de Recursos Biológicos “Alexander von Humboldt”, Diagonal 27 # 15-09, Bogotá - Colombia. E-mail: [email protected] B Asociación Bogotana de Ornitología – ABO, Calle 52 A # 9-72 Apto. 201, Bogotá –Colombia. E-mail: [email protected] Resumen La historia de la ornitología a nivel mundial ha estado muy ligada a la historia de la ilustración científica. Desde épocas antiguas la ilustración nos brinda una visión de las aves en la cultura, apoyo en descripciones morfológicas, comportamiento, descubrimiento de especies nuevas y su clasificación, hasta nuestras guías de identificación de aves en campo y obras de gran valor artístico en si mismas. El desarrollo de la imprenta y su evolución ha permitido que los trabajos científicos junto con ilustraciones científicas cumplan su cometido a lo largo de la historia, lo cual ha sido determinante en el desarrollo de la ornitología como ciencia en el mundo. En Colombia, la ilustración ornitológica – científica también ha sido relevante para el desarrollo de la ornitología en el país. Palabras clave : Aves, historia de la ilustración, historia ornitología, ilustración científica. Abstract History of ornithology is bound to history of scientific illustration. Since ancient times illustration has offered us a vision of birds in culture, as support for morphological descriptions, behavior, discovery of new species and bird classifications, up to birding guides and a wealth of artistic works of great value in themselves.
    [Show full text]
  • Direct PDF Link for Archiving
    Brittany M. Hudak book review of Painted Men in Britain, 1868–1918: Royal Academicians and Masculinities by Jongwoo Jeremy Kim Nineteenth-Century Art Worldwide 12, no. 2 (Autumn 2013) Citation: Brittany M. Hudak, book review of “Painted Men in Britain, 1868–1918: Royal Academicians and Masculinities by Jongwoo Jeremy Kim,” Nineteenth-Century Art Worldwide 12, no. 2 (Autumn 2013), http://www.19thc-artworldwide.org/autumn13/hudak-reviews- painted-men-in-britain-1868-1918. Published by: Association of Historians of Nineteenth-Century Art. Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. Hudak: Painted Men in Britain, 1868–1918: Royal Academicians and Masculinities Nineteenth-Century Art Worldwide 12, no. 2 (Autumn 2013) Jongwoo Jeremy Kim, Painted Men in Britain, 1868–1918: Royal Academicians and Masculinities. Farnham, Surrey: Ashgate Publishing, 2012. 194 pp.; 66 b&w illustrations; 4 color illustrations; bibliography; index. $99.95 (Hardcover) ISBN 978-1-4094-0008-0 In E.M. Forster’s 1914 novel, Maurice, the eponymous protagonist visits his family doctor, Dr. Barry. Tormented and distraught, Maurice agitatedly disrobes. Standing nude before the good doctor, he tearfully admits, “I’m an unspeakable of the Oscar Wilde sort.” The physician replies, “Rubbish! Rubbish!” Dismissing even the possibility of Maurice’s homosexuality, the doctor frantically calls for some whiskey. As Jongwoo Jeremy Kim explains in his new book, Painted Men in Britain, 1868–1918: Royal Academicians and Masculinities, it was the enigma posed by Maurice’s naked body that confused the doctor. Maurice was hale, hearty, even virile, all signs pointing to healthy heteronormative pursuits.
    [Show full text]
  • The Borlase Smart John Wells Trust
    THE BORLASE SMART JOHN WELLS TRUST Three artists and three buildings lie behind the formation of the Borlase Smart John Wells Trust, and their remarkable stories also link together the celebrated Artists’ colonies in St Ives and Newlyn. Moonlit Shore 1911. Julius Olsson St Mawes at the Pilchard Season 1812. JMW Turner Awaiting his return 1884. Boys on the shore by St Ives 1887. Helen Schjerfbeck A Fish Sale on a Cornish Beach 1885. Stanhope Forbes Edward Simmons The Trust’s Porthmeor Studios in St Ives and Anchor Art colonies at St Ives and Newlyn: decline in the pilchard fishery, and artists found that Studios in Newlyn are at the heart of their respective the early years the now-redundant net lofts, which were spacious artists’ colonies. They have been occupied by artists and north facing, made excellent studios. The since the 1880s, making them probably the oldest JMW Turner was an early visitor to St Ives in 1811, American Howard Butler created the first studio on working artists’ studios in the country. However followed much later by James Whistler and Walter Porthmeor Beach, possibly Porthmeor Studio 8, and much more significantly they have hosted numerous Sickert in 1884. However it was the French painter other early artists at Porthmeor include Julius internationally influential painters over the past 135 Emile-Louis Vernier who is credited for really Olsson, Sigisbert Bosch Reitz, Edward Simmons and years, an unparalleled artistic inheritance that has led discovering St Ives, and he attracted the attention of Louis Grier. This span of unbroken occupation by to their listing by English Heritage.
    [Show full text]
  • Download Our Exhibition Catalogue
    FOREWORD Published to accompany the exhibition at We are delighted to welcome you to the second exhibition at Two Temple Place, London 26th January 2013 – 14th April 2013 Two Temple Place, Amongst Heroes: the artist in working Cornwall. Published in 2013 by Two Temple Place 2 Temple Place, London, wc2r 3bd The Bulldog Trust launched its Exhibition Programme at our Copyright © Two Temple Place headquarters on the Embankment in 2011. In welcoming the public to Two Temple Place we have three objectives: to raise Raising the Worker: awareness of museums and galleries around the UK by displaying Cornwall’s Artists and the Representation of Industry Copyright © Roo Gunzi part of their collections; to promote curatorial excellence by offering up-and-coming curators the opportunity to design a What are the Cornish boys to do? How Changing Industry Affected Cornwall’s Population high profile solo show with guidance from our experienced Copyright © Dr Bernard Deacon curatorial advisor; and to give the public the opportunity to Trustee of the Royal Institution of Cornwall and Honorary Research Fellow, University of Exeter visit and enjoy Two Temple Place itself. A catalogue record for this publication is available from the British Library Two Temple Place was originally built as an office for William Waldorf Astor in the late 19th century and the Bulldog Trust isbn 978-0-9570628-1-8 have been fortunate to own the house since 1999. For our curators, Designed and produced by NA Creative devising a show for the ornate and intricately decorated space is a huge challenge that calls for imagination and ingenuity.
    [Show full text]
  • A Century of British Painting a Century of British Painting
    A Century of British Painting A Century of British Painting Foreword There’s a passage in Tess of the D’Urbervilles, This year’s exhibition is no exception; where Hardy describes the complete sensory in between Greaves and Spear are works by experience of walking across a field, the thrum Farquharson, Tuke, La Thangue, Hemy, and of insects, motes and sunbeams, the ammoniac Heath, artists whose quiet social realism tang of cows, snail shells crunching underfoot. developed out of the sincere connection It’s a very sensual account, and given that it they held to their part of Britain. Masters at comes from what is still held to be one of the manipulating tone and perspective, these most sentimental novels of the Victorian era, artists never tried to modify the realties of their surprisingly unromantic. Farquharson’s Grey world, only the ‘light’ in which they are seen. Morning immediately struck me as a perfect Following on, are pictures by Bond, Knight, cover illustration for one of Hardy’s novels, Wyllie and other artists who explored realism, which led me to get out my copy of Tess. alongside the possibilities of Impressionism to While I skimmed some favourite passages, his depict rural subjects and the more communal characters began to take on faces painted by narratives of maritime trade: the backbone of La Thangue; as I later learned, when the book the British Empire. Well into the post-WWI was serialised in The Graphic, it was illustrated era, Impressionism would prove the perfect by Hubert von Herkomer. vehicle for depicting city life and genteel The pictures in this catalogue cover privilege; sport and leisure, the development of approximately 100 years.
    [Show full text]
  • Vision and Risk in the Work of Gerard Manley Hopkins
    ‘THE NAKED EYE’: VISION AND RISK IN THE WORK OF GERARD MANLEY HOPKINS HANNAH VICTORIA DUNLEAVY PHD THE UNIVERSITY OF YORK DEPARTMENT OF ENGLISH AND RELATED LITERATURE DECEMBER 2009 1 TABLE OF CONTENTS List of Illustrations ii Acknowledgements iii Declaration iv Abstract v Abbreviations vii INTRODUCTION 1 CHAPTER ONE : LOOKING AT PAINTINGS 18 i … The irises of the present writer’s eyes … 23 ii … the bewildering wealth of beautiful things … ...................................................... 28 iii … Bows of the eyelids. Pencil of eyelashes … ....................................................... 34 iv … it is worth your while to see … ........................................................................... 44 v … branchy between towers … .................................................................................. 52 CHAPTER TWO : LOOKING AT PEOPLE 67 i … treasury of explored beauty … ............................................................................. 68 ii … To what serves Mortal Beauty? ... ....................................................................... 77 iii … The making and the melting crowds … .............................................................. 88 iv … a stirring scene … ............................................................................................. 102 v … my dúty all énded ... ........................................................................................... 110 CHAPTER THREE : PEOPLE LOOKING 122 i… more than one observer, in the sky … ...............................................................
    [Show full text]
  • Imagining the Fishing: Artists and Fishermen in Late Nineteenth Century Cornwall1
    Rural History (2001) 12, 2, 159-178. © 2001 Cambridge University Press 159 Printed in the United Kingdom Imagining the Fishing: Artists and Fishermen in Late Nineteenth Century Cornwall1 BERNARD DEACON Department of Lifelong Learning, University of Exeter, Exeter, UK. Abstract The focus of postmodernist historians on language and representation clashes with the more traditional approach of the social historian to material structures and processes. This article adopts the suggestion of Wahrman that a 'space of possibilities' exists where these apparently competing perspectives might be connected. The concept of a 'space of possibilities' is pursued through a case study of a marginal group, the fishing communities of west Cornwall in the late nineteenth century. The article explores points of contact and contrast between the artistic and the fishing communities, between the painterly gaze and the subjects of that gaze. It is proposed that, while the artistic colonies and their representations might be explained as a result of discourses reproduced in the centre, their specific choice of location in Cornwall can also be related to the local economic and social history that granted them a space of possibilities. Researchers in the social and human sciences have increasingly looked towards the 'margins' over the past two decades. The 'othering' of people and places in the margins and the deconstruction of that 'othering' has been explored with a growing fascination.2 This interest in the 'margins' has been vigorously fanned by the winds of
    [Show full text]
  • The Picture Sale Wednesday 10Th July 2019 at 11Am OXFORD Indian & Islamic Art Thursday 12Th September 2019 | Cheltenham
    Mallams 1788 The Picture Sale Wednesday 10th July 2019 at 11am OXFORD Indian & Islamic Art Thursday 12th September 2019 | Cheltenham Entries Invited Closing date: Friday 23rd August Large Safavid tinned-copper basin Iran, 17th Century Esitimate £800 - 1200 Enquiries: [email protected] 01242 235712 Grosvenor Galleries, 26 Grosvenor Street, Cheltenham GL52 2SG www.mallams.co.uk The Picture Sale 10th July 2019 at 11am Oxford Order of Sale Prints 1-79 Maps 80-90A Miniatures 91-101 Watercolours and Oils 102-511 Frames and Easels 512-520 Viewing Saturday 6th July 9am to 1pm Monday 8th July 9am to 5pm Tuesday 9th July 9am to 5pm Morning of the sale from 8.30am IMPORTANT NOTICE REGARDING FRAMES As a general rule works are sold as framed unless the term ‘unframed’ appears in the catalogue description. Some pictures have been photographed to show the frame, but the majority are not. The absence of a frame in the photograph does not necessarily indicate that the work is unframed. To avoid any possible confusion prospective buyers are respectfully requested to check and satisfy themselves with regards to this matter prior to bidding. Condition reports: [email protected] Important notice: Buyers premium 27% inclusive of VAT on each lot Please note that condition reports are not printed in the catalogue or on our website. However, we are happy to provide them when requested, subject to our terms and conditions of sale. The absence of any reference to condition in any discription doesnot imply the lot is without fault. Auction Bids Mallams 01865 241358 Bocardo House To bid via the internet please go to www.the-saleroom.com 24a St.
    [Show full text]
  • Henry Scott TUKE (York 1858 - Falmouth 1929)
    Henry Scott TUKE (York 1858 - Falmouth 1929) Study of Sea, Sky and Clouds Watercolour. Signed H.S.T. at the lower right. 139 x 214 mm. (5 1/2 x 8 3/8 in.) Henry Scott Tuke worked in watercolour throughout his career, and his skill in the medium was recognized by many of his peers. In 1904 he was elected an Associate of the Royal Watercolour Society (alongside John Singer Sargent, whose work as a watercolourist he much admired) and became a full member seven years later; in all Tuke exhibited a total of 220 watercolours at the Society between 1904 and 1927. As a recent scholar has noted, ‘It was in the medium of watercolour that Tuke showed his real spontaneity and natural impressionism...Like Sargent, Tuke was mainly interested in using watercolour to capture light, in particular light on water. His trip to the Mediterranean in 1892 and to Venice in 1899 produced watercolours that capture the rich colours and brilliant light he saw there. Also they were predominantly executed in a bold, impressionist style.’ Most of Tuke’s watercolours – for the most part drawn in small sketchbooks - are individual studies of boats and sailing ships, or port scenes and seascapes with shipping. Pure seascapes like the present sheet are relatively rare in his oeuvre, however. Among a handful of similarly atmospheric watercolours by the artist is a seascape study, of identical dimensions to the present sheet and possibly from the same sketchbook, which was sold at auction in London in 2014, as well as a slightly larger view of the coast of North Berwick in Scotland, datable to c.1891, in the collection of the Royal Cornwall Polytechnic Society in Falmouth.
    [Show full text]