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Lot 127
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.
Lot 154
* 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.
Lot 367
* 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.
Lot 152
* 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.
Lot 274
* 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.
Lot 98
* 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.
Lot 157
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.
Lot 37
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
Lot 216
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
Lot 132
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.
Lot 18
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
Lot 462
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
Lot 180
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)
Lot 20
CONSTANTINOS VOLANAKIS (1937-1907)Scène de port signé 'C. Bolanachi' en bas à gauchehuile sur toile54 x 67,5 cm. (21 1/4 x 26 3/8in.)signed 'C. Bolanachi' lower leftoil on canvasFootnotes:ProvenanceAcquired by the family of the present owner c. 1950s.A masterwork from the artist's German period—as indicated by the signature in Latin characters (Bolanachi)—Scène de port showcases the defining elements of Volanakis's art. Virtuoso brushwork, immediacy of execution, sense of space, remarkable precision of detail, harmony of proportion and unity of effect come together to create a moving composition of austere beauty. The suggestion of the atmosphere, the low horizon that gives full value to the spaciousness of the sweeping sky, and the trenchant design are reminiscent of the great 17th c. Dutch seascape masters, especially Simon de Vlieger, his pupil Jan van de Cappelle and the outstanding Jan Van Goyen.Though his cultivation of a near monochrome stems from the School of Munich, Volanakis, who was raised on the island of Crete and had experienced open horizons and the constantly changing sea, could not limit himself to strict academic tenets, allowing himself to demonstrate a freer exercise of his technical abilities and perceive the seascape and portscape as complex entities with unlimited expressive potential. Here, his exquisite dual portrait—of a stately steamship and a handsome seaside scene—underlines the very nature of the port as a connecting link between the physical world and the man-made environment, as a peaceful refuge and bustling centre, a point of arrival and departure.¹ Rich in rhythm, realistic description and supplementary themes, this serenely luminous painting shows Volanakis's predilection for certain iconographical and compositional schemes regarding his handling of port views. The ship is the main subject, while all port-related references and supplementary themes are pushed to the sides and the background. The focal point is enlivened by the action surrounding the ship.² It takes the eye a while to explore the painstaking details, from the rigging of the three-masted vessel to the brilliant patchwork of the embarking passengers captured in vivid colours and handled with impressionistic verve. Transient gleams and shiny luminosities lead the viewer's eye towards the distant horizon, far beyond the peaceful port to the vast expanses of the sea.Despite the wealth of detail, the human figures become an integral part of the whole, almost absorbed by their surroundings and the natural environment in a romantic notion of art echoing Claude Lorrain, the great 17th century master of imaginative landscapes. As noted by Professor M. Vlachos, who prepared the artist's monograph, 'by the end of the 1860s, Volanakis, well versed in maritime themes, thoroughly familiar with the German studio art and fully acquainted with the types and styles of Dutch seascape painting, ventured to include in his iconography borrowings from Claude Lorrain, Claude Joseph Vernet, Delacroix, and Ivan Aivazovsky.³ Furthermore, the clash of pronounced verticals and diagonals which enhances the sense of movement, the extreme foreshortening of the two moored boats on the foreground that takes full advantage of the shallow space, the wonderful reflections that flicker on the still waters and, above all, the sense of eminent departure that echoes the achievements of Canaletto, are all creatively combined in a harmonious composition of exceptional quality and great value.¹. See Th. Christou, 'Portscapes by Greek Artists from the Late 19th to the Mid-20th Century' in The Ports of Hellenism, Aenaon editions, Athens 2004, p. 69.². See M. Vlachos, The Painter Constantinos Volanakis, doctoral dissertation [in Greek], Athens 1974, pp. 127-129.³. M. Vlachos, 'Constantinos Volanakis (1837-1907)' in Constantinos Volanakis. The Father of Greek Seascape Painting [in Greek], exhibition catalogue, V & M Theocharakis Foundation of Fine Arts and Music, Athens 2018, p. 17.For further information on this lot please visit Bonhams.com
Lot 4346
Kleine Seelandschaft, wohl Belgien/Niederlande, um 1900 Öl auf Holz. Kleine Hafenszene zur Abendzeit. Im Vordergrund wird ein Kapitän zum Boot bzw. zum Ufer gefahren, am Horizont erkennt man einige weitere Segelschiffe. Links unten signiert "H. LeGrand". Im profilierten Rahmen aus Holz mit durchbrochener Messingauflage. Gesamtmaße ca. 19 x 25 cm. A small seascape, probably Belgium/Netherlands, ca. 1900 A small seascape, probably Belgium/Netherlands, ca. 1900 Öl auf Holz. Kleine Hafenszene zur Abendzeit. Im Vordergrund wird ein Kapitän zum Boot bzw. zum Ufer gefahren, am Horizont erkennt man einige weitere Segelschiffe. Links unten signiert "H. LeGrand". Im profilierten Rahmen aus Holz mit durchbrochener Messingauflage. Gesamtmaße ca. 19 x 25 cm. Condition: II
Lot 4352
Robert Erbelding (1891 - 1965) - Seelandschaft im Jugendstil, deutsch, um 1910 Pastellzeichnung auf Papier. Eindrucksvolle Landschaft beim Sonnenaufgang mit hohen Kiefern. Rechts unten signiert "Erbelding". In Passepartout und einem versilberten Profilrahmen aus Holz, hinter Glas. Gesamtmaße 45 x 53 cm.Robert Erbelding (1891 - 1965) studierte an der Kunstakademie Düsseldorf und war ein deutscher Maler und Grafiker. Robert Erbelding (1891 - 1965) - Seascape in Art Nouveau Style, German, circa 1910 Robert Erbelding (1891 - 1965) - Seascape in Art Nouveau Style, German, circa 1910 Pastellzeichnung auf Papier. Eindrucksvolle Landschaft beim Sonnenaufgang mit hohen Kiefern. Rechts unten signiert "Erbelding". In Passepartout und einem versilberten Profilrahmen aus Holz, hinter Glas. Gesamtmaße 45 x 53 cm. Robert Erbelding (1891 - 1965) studierte an der Kunstakademie Düsseldorf und war ein deutscher Maler und Grafiker. Condition: II +
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