Unusual Antique Murano Tangerine Glass Casket with Smooth Dore Bronze Mounts.

Fabulous Colour !

CONDITION: Good; No Chips or Cracks

Hubert Hennes

‘St Mary’s Church in Newport, Pembrokeshire’

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Watercolour on paper

27.5 x 42 cm

Signed lower right

Carl Nonn

(1876-1949)

‘Ediger on the Moselle’

Watercolour on paper

19 x 17.5cm

Signed lower right

Francesco Gonin was a highly significant painter and figure in Turin and Piedmont in the latter half off the 19th century. His artistic fortune was closely linked to Carlo Alberto’s accession to the throne in 1831 and he maintained a close association with him until his death in 1949. As a result he painted many frescoes and oils that adorned churches, palaces and castles alike. On top of this he was commissioned for many portraits of several keys figures, whom he remained friendly with. The captivating and expressive present figure is that of a Calabrian however. Following the Risgormento Gonin, as with many other artists, portrayed figures across the many regions of the Italy, showing his commitment to the new unification of his nation. A sign too of his close relationship with Carlo Alberti and the House of Savoy.

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Calabria, the Southern most mainland province, was, and remains, a far cry from his native Turin. The Calabrians would have seemed highly foreign and different. Wearing a bandana and hat, coupled with a untamed moustache and goatee, his deeply engaging glare is hard to take your eyes from. With hatching and multiple small strokes, highlighted with body colour. it shows considerable skill as a draftsman. The artist’s approach has a flare that matches that of his subject. This must be considered one his finest drawings.

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Gonin was infant prodigy, becoming a pupil of Carlo Felice Biscarra and Luigi Vacca. His many major frescoes in Piedmont and Lombardy include in the Royal Palace of Turin, the Racconigi Castle, the Carignano Palace, and the Churches of Saint Massimo, Saint Dalmazzo and the Annunciation, all in Turin. His portraits include the Massimo d’Azeglio, Marquises Della Rovere, the Robbiani counts, the Marquise Adele de Sellon Benso di Cavour, General Ettore Perrone di San Martino, Emma Carolina Decker and Colonel Ferdinando Maffei among others. Gonin worked for the House of Savoy even after the death of Carlo Alberto, albeit in a less continuous manner. In 1857 he presented the large canvas Death of Duke Carlo Emanuele II which was purchased by King Vittorio Emanuele II.

Šetelík’s charming view of Prague over the Vltava river under the Charles Bridge to the Cathedral of St. Vitus above captures all the magic of the beguiling gothic city. A highly gifted painter he shows off all his skill here, masterfully capturing the often ungraspable natural phenomena of water, clouds, mist and air and indeed the light above the old city.

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Born in Tábor, Bohemia, Śetelík initially studied law and only additionally to it, trained under the landscape painter Ferdinand Engelmüller. Giving up law to focus solely on painting he moved to Munich to gain experience before returning to Prague to enrol at the Academy of Fine Arts, where he was a student of Rudolf von Ottenfeld. It was here that he rubbed shoulders with other esteemed painters, the likes of Karel Langer and Augustin Satra. In 1929 he received the Grand Prix in the Field of Fine Arts for his Panorama of Prague exhibited at the World Exhibition in Barcelona.

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Fred J. Maher

(1871-1963)

‘Sunset over the Beach’

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Watercolour on paper

31 x 38 cm, 51.5 x  57 cm framed

Signed lower right

Ronald Maddox

(1930-2018)

‘Millennium Tree, The Elephant Oak’

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Pastel and pencil on paper

62 x 39 cm

Signed lower right

Emil Oelieden

(1875-1934)

‘A Town in Flanders’

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Oil on canvas

50 x 40 cm

Signed lower left

Ronald Maddox

(1930-2018)

‘Kew Railway Bridge’

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Watercolour on paper

30.5 x 29cm

Signed lower left

Frans Van Leemputten

(1850-1914)

‘A Sunday Morning in September’

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Pencil and chalk on paper

78 x 64 cm, 98 x 84 cm framed

Signed lower right

Frans Van Leemputten sought to capture, in his work, the lives, plight and dignity of the peasant folk of Central Belgium. By documenting their customs and interactions he showed the strong bonds of these rural communities and the deep religiosity that shaped them. This work is of particular interest as it shows an engagement with Luminism, the avant-garde Belgian Post-Impressionist movement that focused on depicting intense, natural light and its effects on the landscape.

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Prior to Luminisim, there was a generation of painters, Frans among them, who took inspiration from the simplicity, purity, and authenticity of the pre-industrial countryside and a held particular fondness for the Campine region due to its relative isolation. Van Leemputten was renowned for his meticulous attention to detail and observational acuity in recording the clothing, gestures, and daily practices of the working people there and while there is a documentary element to his work there, too, is a quiet spirituality and powerful avowal of the virtues of this way of life.

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Van Leemputten’s early life was closely connected to both rural and artistic traditions. His father, originally a farmer, moved to Brussels in 1852 to work as a painting restorer. He actively encouraged his sons, Frans and his elder brother Cornelius, to pursue artistic training. Van Leemputten took evening classes at the Academy of Fine Arts of Brussels from 1865 to 1873 where he studied under Paul Lauters who pushed Frans to paint directly from nature. His artistic development was further shaped by the influence of Constantin Meunier, who would become a close friend, and also by his reading of Hendrik Conscience, whose novels celebrated the virtues and moral integrity of the people of the Campine.

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Van Leemputten became a member of the drawing society La Patte de Dindon and, in 1872, made his debut at the salon organised by La Chrysalide, a progressive artistic circle that also included figures such as James Ensor, Louis Artan, and Guillaume Vogels. He later joined L’Essor, an association, based in Brussels, founded to counter the prevailing conservative, bourgeois academic institutions. Through his participation in these organisations, Van Leemputten became closely associated with some of the most exciting and novel artists in Belgium at the time. From 1874 onward he regularly submitted works to the Antwerp Salon, and in 1892 he was appointed as a Professor at the Higher Institute of Fine Arts of the Antwerp Academy.