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John Peter Russell Sold at Auction Prices

Painter, b. 1858 - d. 1930

Australian artist John Peter Russell, born in 1858, was interested in art from a young age. Following his father's death in 1879, he enrolled at the Slade School of Fine Art and continued at Cormon's atelier in Paris where he became friends with Vincent van Gogh. Russell painted van Gogh's portrait that's displayed in the Van Gogh Museum in Amsterdam. In 1886, painter John Peter Russell met Monet on the Brittany island of Belle-Ile. Monet influenced his thinking and work, and from this encounter Russell developed his bold Impressionist style seen in seascapes, landscapes, and portraiture.

Russell made Bell-Ile his home, and he lived there for 20 years until his wife's death. After the First World War, artist John Peter Russell returned to Australia, settling in Sydney. As is often common, it was years before Russell's landscape paintings for sale were fully appreciated. Bring the world into your home with fine landscapes paintings offered for sale online at Invaluable.

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    • JOHN PETER RUSSELL (1858-1930), French Coastal View 1907
      Nov. 29, 2023

      JOHN PETER RUSSELL (1858-1930), French Coastal View 1907

      Est: $7,000 - $9,000

      JOHN PETER RUSSELL (1858-1930) French Coastal View 1907 watercolour on paper 23.5 x 33.5 cm; 39.5 x 48.5 cm (framed) signed and dated lower right: JOHN. RUSSELL./ 07

      Menzies
    • JOHN PETER RUSSELL(1858 - 1930) "ROSE BAY FROM PADDY'S MEADOW"
      Sep. 17, 2023

      JOHN PETER RUSSELL(1858 - 1930) "ROSE BAY FROM PADDY'S MEADOW"

      Est: $2,000 - $6,000

      Important early mixed media watercolour and pencil signed centre left dated 1921 25 cm x 38.5 cm.

      Phillip Caldwell Auctioneers
    • John Peter Russell (1858-1930) Maisons À Belle-Île, 1908
      Aug. 29, 2023

      John Peter Russell (1858-1930) Maisons À Belle-Île, 1908

      Est: $8,000 - $12,000

      John Peter Russell (1858-1930) Maisons À Belle-Île, 1908 signed and dated lower right: 'JOHN RUSSELL 1908' watercolour and pencil on paper 26.0 x 36.0cm (10 1/4 x 14 3/16in).

      Bonhams
    • JOHN PETER RUSSELL, SOUVENIR DE BELLE–ÎLE (MARIANNA RUSSELL WITH GOATS, GOULPHAR, BELLE–ÎLE), 1897
      Aug. 16, 2023

      JOHN PETER RUSSELL, SOUVENIR DE BELLE–ÎLE (MARIANNA RUSSELL WITH GOATS, GOULPHAR, BELLE–ÎLE), 1897

      Est: $1,500,000 - $2,500,000

      JOHN PETER RUSSELL (1858 - 1930) SOUVENIR DE BELLE–ÎLE (MARIANNA RUSSELL WITH GOATS, GOULPHAR, BELLE–ÎLE), 1897 oil on canvas 65.0 x 81.5 cm signed, dated and inscribed with title lower centre: TO. FRIEND. WILL. MALONEY. J. P. RUSSELL. 1897. - SOUVENIR. DE. BELLE. iLE.  signed, dated and inscribed verso: J. P. RUSSELL. / BELLE ILE / 1897. artists’ colourmen stamp verso: Rey & Perrot, Paris framer's label attached verso: R J Stannard, London PROVENANCE Dr William Maloney, Melbourne, a gift from the artist in 1897 Thence by descent Private collection, Melbourne, daughter of the above Thence by descent Private collection, Melbourne EXHIBITED On loan to the National Gallery of Victoria, Melbourne, 1942 - 1943 John Peter Russell: Australian Impressionist, University Art Museum, University of Queensland, Brisbane, 25 February – 19 March 1978; National Gallery of Victoria, Melbourne, 30 March – 6 May 1978; Art Gallery of New South Wales, Sydney, 21 May – 26 June 1978, cat. 35 (partial label attached verso) LITERATURE Galbally, A.,  The Art of John Peter Russell, Sun Books, Melbourne, 1977, cat. 154, pp. 11, 106 RELATED WORK Bergère en blanc avec des chèvres, c.1897, oil on canvas, 110.0 x 178.0 cm, in the collection of the Musée d'Orsay, France, on loan to the Musée des Jacobins, Morlaix, illus. in Jourdan, P. et al., John-Peter Russell, un Impressionniste Australien, Musee des Jacobins, Morlaix, 1997, p. 31 We are grateful to Peter Perry OAM for his assistance with this catalogue entry. ESSAY John Peter Russell holds a unique place in Australian art history as a result of his close association with avant-garde circles in 1880s Paris and his firsthand acquaintance with masters of European Impressionism and Post-Impressionism. As a student at Fernand Cormon’s atelier in Paris in the mid-1880s, Russell worked alongside Émile Bernard, Henri de Toulouse-Lautrec and later, Vincent van Gogh, with whom he established an enduring friendship.1 On a summer break from Paris in 1886, Russell spent several months on Belle-Île, one of a group of small islands off the coast of Brittany. It was here that he met and befriended Claude Monet who he saw working en plein air, famously introducing himself by asking if Monet was indeed ‘the Prince of the Impressionists’. Inevitably flattered, Monet, who was eighteen years Russell’s senior, took a liking to the young Australian and dined with him and his beautiful wife-to-be, enjoying their hospitality and company during his stay on the island. Uncharacteristically, Monet also allowed Russell to watch him work and on occasion, to paint alongside him, experiences that provided an extraordinary insight into the techniques and working method of one of the founders of the Impressionist movement. The influence on Russell was significant and the paintings he made in Italy and Sicily only a few months later show him working in a new style, creating compositions that are made up of strokes of pure high-keyed colour.2 ‘… But when we get to color. The gorse & heather. Yellow & purple, orange boat sails, blue sea. Red rocks, Green sea. All a matter of feeling. Tis in the man with brush & paint pot or it is not.’3  Captivated by the rugged beauty of Belle-Île and attuned to the possibilities that both the environment and the simple, rural way of life presented for his art, Russell – whose inherited wealth meant he didn’t have to find paid employment – bought land overlooking the inlet of Goulphar in 1887. Writing to Tom Roberts, he said, ‘I am about to build a house in France. Settle down for some five years. Get some work done. It will be in some out of the way corner as much as a desert as possible.’4 Around 1884 Russell had met Marianna Mattiocco, probably in the studio of his friend, the British artist Harry Bates (1850 - 99). An Italian beauty, she was the model for Bates’ bas-relief sculpture, Dido, Queen of Carthage, 1885 (National Museum of Wales, Cardiff) and had also possibly modelled for Rodin. Following the birth of the first two of their twelve children (many of whom did not survive infancy), they formalised the relationship, marrying in 1888. Russell commissioned Rodin to sculpt a portrait bust of Marianna early that year – cast in 1889, it was the first of several works which the master modelled on her classical features – and this initiated a longstanding and intimate friendship between the artists. 6 The family moved to Belle-Île in the summer of 1888 and lived there permanently until 1909 - 10 when the house was sold following Marianna’s premature death. Russell developed an intimate knowledge of the island’s geography, both from the land and the sea, and this informed many of his best-known paintings such as Port-Goulphar, Belle-Île, 1887 (Art Gallery of New South Wales) and Rough Sea, Belle-Île, 1900 (National Gallery of Victoria), which capture the distinctive light, changing colours and atmospheric conditions of the area. The island attracted many visitors. Even Sarah Bernhardt bought property and spent her summer holidays on Belle-Île from 1894 - 1922, saying, ‘I like to come every year to this picturesque island, to taste all the charm of its wild and grandiose beauty. I draw new artistic forces from its invigorating and restful sky.’ 7 The young Henri Matisse spent three months on Belle-Île in 1896, fortuitously meeting Russell who introduced him to Monet’s techniques and the work of van Gogh, gifting him one of the pen and ink drawings the Dutchman had sent him from Arles some years earlier. This encounter contributed to a dramatic transformation in Matisse’s approach to colour which his biographer, Hilary Spurling, described as ‘a way of seeing: the first inklings of the pursuit of colour for its own sake that would draw in the end on his deepest emotional and imaginative resources.’8 Russell continued to be inspired by Belle-Île, writing to Rodin in 1890, ‘the colours completely bowl me over. On some days here it’s ravishing but impossible for my poor palette.’ 9 His mastery and expressive use of colour is on full display in So uvenir de Belle-Île, 1897. In the foreground a figure wearing traditional Breton dress leads a pair of goats along the cliff top, brilliantly illuminated by a full moon that sits high in the sky. The dramatic, predominantly purple sky appears to glow and the sensation of the strange ‘in-between’ light of dusk, which teases the eye and makes it hard to focus clearly, is skilfully rendered. The crisp white of the figure’s dress and cap provides a central focal point, highlighting the vivid colours of the surrounding scene: the yellow and greens of the grassy ground, the purple shadows cast by the figure and her goats, and the deep blue tones of the ocean – described by Monet as ‘an improbable sea of colours’ 10– with its distinctive rocky outcrops. While Russell is renowned as a bold and inventive colourist, this is surely one of the most dazzling examples of his work. A contemporary photograph shows Marianna dressed in local costume, posing on the cliff top as Russell, seated at an easel in the foreground, works on the larger, closely related painting, B ergère en blanc avec des chèvres, c.1897 (Musée d’Orsay, France). While the goats do not appear in the photograph, they were family pets and a familiar element of the Russell’s cliff-top home, which consisted of a large stone house and expansive garden, as well as various outbuildings including a studio that opened directly out to the ocean. In addition to highlighting the importance for Russell of working directly from the subject, the photograph and a comparison of the two paintings reveals aspects of his working method; changes in perspective and scale, varied use of colour and compositional choices that in the larger painting, result in a stronger emphasis on the figure who is depicted as an almost heroic representation of traditional rural life. Such subject matter reflects the prevailing influence of Barbizon School painter Jean-François Millet, whose paintings celebrated the nobility of peasant workers and their labour, and a growing awareness at the end of the nineteenth century that this way of life was disappearing. According to Ann Galbally, ‘It was against a background of romanticization of the primitive that [Russell] moved his wife and family to Belle-Île … and to ultimately forswear subject-painting, decorative art, even portrait painting in favour of a painterly identification with his rural surroundings.’11 As the inscription which runs along the bottom of the painting indicates, Souvenir de Belle-Île was a gift from the artist to his friend Will Maloney, an Australian doctor and later in life, long-serving Labor politician. In the summer of 1883 Maloney, Russell, his brother Sydney and Tom Roberts travelled through France and Spain and Maloney, who subsequently worked at hospitals in London, visited Russell in Paris on several occasions. It was on his final visit in 1887, prior to his return to Australia, that Maloney sat for Russell who painted a small portrait of his friend which is now in the collection of the National Gallery of Victoria. An informal study of the young Maloney, the portrait holds particular significance as the first painting made using the Impressionist technique to arrive in Australia.12 Maloney and Russell maintained a correspondence and in 1897, Russell sent this painting to his friend in Melbourne, which has remained in the possession of the Maloney family ever since. 1. Although Russell did not see van Gogh again after he departed for Arles in the south of France in early 1888, their friendship continued via an extensive correspondence. See Galbally, A., A Remarkable Friendship: Vincent van Gogh and John Peter Russell, The Miegunyah Press, Melbourne, 2008 2. Taylor, E., ‘John Russell and friends: Roberts, Monet, van Gogh, Matisse, Rodin’, Australian Impressionists in France, National Gallery of Victoria, Melbourne, 2013, p. 60 3. Russell to Tom Roberts, 5 October 1887 quoted in Tunnicliffe, W., (ed.), John Russell: Australia’s French Impressionist, Art Gallery of New South Wales, Sydney, 2018, p. 53 4. Ibid., p. 193 5. See Onfray, G., translated by Lucie Reeves-Smith , “The most Breton of foreign painters of the era”, John-Peter Russell, Un impressionniste australien, Musée des Jacobins, Morlaix, 1997, pp. 8-9. Galbally, A., The Art of John Peter Russell, Sun Books, Melbourne, 1977, p. 28 and Tunnicliffe, ibid., p. 26 6. See Taylor, op. cit., p. 68 7. Sarah Bernhardt quoted in The summers of Sarah Bernhardt at Les Poulains | Belle-Île-en-Mer Tourist Office – Official Website (belleileenmer.co.uk), accessed 14 July 2023 8. Spurling, H., The Unknown Matisse: A Life of Henri Matisse, Volume One: 1869-1908, Hamish Hamilton, London, 1998, p. 144 quoted in Taylor, op. cit., p. 65 9. Russell to Auguste Rodin, April-May 1890 quoted in quoted in Prunster, U., ‘Painting Belle-Île’, Prunster, U., et al., Belle-Île: Monet, Russell and Matisse, Art Gallery of New South Wales, Sydney, 2001, p. 46 10. Claude Monet to Gustave Caillebotte, 11 October 1886, ibid., p. 19 11. Galbally, A., The Art of John Peter Russell, Sun Books, Melbourne, 1977, p. 47 12. Taylor, op. cit., p. 53 KIRSTY GRANT

      Deutscher and Hackett
    • JOHN PETER RUSSELL, SNOW IN THE ALPS (SWITZERLAND), C.1912 - 15
      Aug. 16, 2023

      JOHN PETER RUSSELL, SNOW IN THE ALPS (SWITZERLAND), C.1912 - 15

      Est: $10,000 - $15,000

      JOHN PETER RUSSELL (1858 - 1930) SNOW IN THE ALPS (SWITZERLAND), c.1912 - 15 watercolour on paper 35.0 x 51.0 cm (sight) signed lower left edge: JOHN. RUSSELL –   bears inscription verso: MG/60 / SNOW IN THE / ALPS PROVENANCE Private collection Christie's, Sydney, October 1971, lot 54 Sir Leon and Lady Trout, Brisbane The Collection of Sir Leon and Lady Trout, Christie's, Brisbane, 6 June 1989, lot 191 Henry Krongold, Melbourne The Estate of Paul Krongold, Melbourne EXHIBITED Master Works from the Collection of Sir Leon and Lady Trout, Queensland Art Gallery, Brisbane, 21 September – 14 December 1977, cat. 38 (label attached verso) Watercolours in the Collection of Sir Leon and Lady Trout, Queensland Art Gallery, Brisbane, 4 May – 6 June 1978 (label attached verso)

      Deutscher and Hackett
    • JOHN PETER RUSSELL, DADONE, C.1900
      May. 03, 2023

      JOHN PETER RUSSELL, DADONE, C.1900

      Est: $90,000 - $120,000

      JOHN PETER RUSSELL (1858 - 1930) DADONE, c.1900 oil on canvas 32.0 x 25.5 cm signed with initials and inscribed with title upper right: Dadone / J.R / FeciT PROVENANCE The artist Thence by descent Jeanne Jouve, the artist’s eldest child and only daughter Private collection, a gift from the above in 1948 Private collection, Paris, purchased in 2000 Sotheby's, Melbourne, 19 September 2005, lot 10 The Reg Grundy AC OBE and Joy Chambers-Grundy Collection (label attached verso) Important Australian Art from the Collection of Red Grundy AC OBE and Joy Chambers-Grundy, Bonhams, Sydney, 26 June 2013, lot 72 Private collection, Melbourne ESSAY John Peter Russell holds a unique place in Australian art history for his close association with avant-garde circles in 1880s Paris and his firsthand acquaintance with masters of European Impressionism and Post-Impressionism. As a student at Fernand Cormon’s atelier in Paris in the mid-1880s, Russell worked alongside Émile Bernard, Henri de Toulouse-Lautrec and later, Vincent van Gogh, with whom he established an enduring friendship.1 On a summer break from Paris in 1886, Russell spent several months on Belle-Île, one of a group of small islands off the coast of Brittany. It was here that he met and befriended Claude Monet who he saw working en plein air, famously introducing himself by asking if Monet was indeed ‘the Prince of the Impressionists’. Inevitably flattered, Monet, who was eighteen years Russell’s senior, took a liking to the young Australian and dined with him and his beautiful wife-to-be, enjoying their hospitality and company during his stay on the island. Uncharacteristically, Monet also allowed Russell to watch him work and on occasion, to paint alongside him, experiences that provided an extraordinary insight into the techniques and working method of one of the founders of the Impressionist movement. The influence on Russell was significant and the paintings he made in Italy and Sicily only a few months later show him working in a new style, creating compositions that are made up of strokes of pure high-keyed colour.2   Captivated by the rugged beauty of Belle-Île and attuned to the possibilities the environment presented for the development of his art, Russell – whose inherited wealth meant he didn’t have to find paid employment – bought land overlooking the inlet of Goulphar in 1887. Writing to Tom Roberts, he said, ‘I am about to build a house in France. Settle down for some five years. Get some work done. It will be in some out of the way corner as much as a desert as possible.’3 Living there permanently until 1909, Russell developed an intimate knowledge of the island’s geography, both from the land and the sea, and this informed many of his best known paintings such as Port-Goulphar, Belle-Île, 1887 (Art Gallery of New South Wales) and Rough Sea, Belle-Île, 1900 (National Gallery of Victoria), which capture the distinctive light, changing colours and atmospheric conditions of his island home. Russell was also a talented painter of portraits and just as his images of the Belle-Île landscape describe areas he knew intimately, so too, the subjects of his portraits are typically people with whom he had a close relationship. His great friend, van Gogh, is the subject of a fine 1886 portrait which is in the collection of the Van Gogh Museum in Amsterdam. Russell’s wife, Marianna – an Italian beauty who had modelled for the sculptor, Rodin – was the subject of numerous works. Her mother also sat for Russell and this intimately-scaled profile portrait depicts her father, Pasquale Mattioco – the colloquial Italian term ‘Dadone’ acknowledging his status as a senior male relative. The artist’s respect for his subject is clear and, as well as rendering the subject’s physical appearance, the portrait speaks to the wisdom and experience of a long life. With an emphasis on shades of blue, with white and grey highlights, the painting recalls Russell’s seascapes, and the image is built up in a series of energetic and assured brush strokes which reflect what Russell scholar, Ann Galbally, described as the artist’s distinctive ‘intensity of vision.’4 1. Although Russell did not see van Gogh again after he departed for Arles in the south of France in early 1888, their friendship continued via an extensive correspondence. See Galbally, A., A Remarkable Friendship: Vincent van Gogh and John Peter Russell , The Miegunyah Press, Carlton, 2008 2. Taylor, E., ‘John Russell and friends: Roberts, Monet, van Gogh, Matisse, Rodin’, Australian Impressionists in France, National Gallery of Victoria, Melbourne, 2013, p. 60 3. Russell to Tom Roberts, 5 October 1887 quoted in Tunnicliffe, W., (ed.), John Russell: Australia’s French Impressionist, Art Gallery of New South Wales, Sydney, 2018, p. 193 4. Galbally, op. cit., p. 15 KIRSTY GRANT

      Deutscher and Hackett
    • John Peter Russell (1858-1930) Santa Marguerita, c.1920
      Apr. 04, 2023

      John Peter Russell (1858-1930) Santa Marguerita, c.1920

      Est: $30,000 - $40,000

      John Peter Russell (1858-1930) Santa Marguerita, c.1920 oil on canvas on board 29.5 x 39.5cm (11 5/8 x 15 9/16in).

      Bonhams
    • John Peter Russell (1858-1930) Rocks, Belle Île, 1907
      Apr. 04, 2023

      John Peter Russell (1858-1930) Rocks, Belle Île, 1907

      Est: $120,000 - $150,000

      John Peter Russell (1858-1930) Rocks, Belle Île, 1907 signed and dated lower left: 'J. P. RUSSELL. 07' oil on board 26.5 x 34.0cm (10 7/16 x 13 3/8in).

      Bonhams
    • JOHN PETER RUSSELL (1858-1930) Belle Isle 1903 watercolour
      Feb. 21, 2023

      JOHN PETER RUSSELL (1858-1930) Belle Isle 1903 watercolour

      Est: $5,000 - $7,000

      JOHN PETER RUSSELL (1858-1930) Belle Isle 1903 watercolour signed, titled and inscribed lower centre: J P RUSSELL TO L. T. C. / BELLE ISLE '03 30.5 x 46.5cm PROVENANCE: Private collection, Sydney

      Leonard Joel
    • JOHN PETER RUSSELL, A BLOSSOM TREE, BELLE-ÎLE, 1887
      Dec. 01, 2022

      JOHN PETER RUSSELL, A BLOSSOM TREE, BELLE-ÎLE, 1887

      Est: $150,000 - $200,000

      JOHN PETER RUSSELL (1858 - 1930) A BLOSSOM TREE, BELLE-ÎLE, 1887 oil on canvas 61.5 x 46.5 cm signed, dated and inscribed lower left: …'To my friend Monsieur Dufour Those friends thou hast, grapple them to thy heart with hooks of steel / Belle Ile 1887/J. P. Russell’ PROVENANCE Monsieur Dufour, France, acquired from the artist in 1887 Private collection  Sotheby’s, Melbourne, 17 April 1989, lot 301  Private collection  Sotheby’s, Melbourne, 19 April 1993, lot 346  Jack Manton, Queensland Thence by descent Jennifer Manton, Sydney Estate of the above, Sydney ESSAY John Russell holds a unique place in Australian art history for his close association with avant-garde circles in 1880s Paris and his firsthand acquaintance with some of the masters of European Impressionism and Post-Impressionism. As a student at Fernand Cormon’s atelier in Paris in the mid-1880s, Russell worked alongside Émile Bernard, Henri de Toulouse-Lautrec and later, Vincent van Gogh, with whom he established an enduring friendship.1 On a summer break from Paris in 1886, Russell spent several months on Belle-Île, one of a group of small islands off the coast of Brittany. It was here that he met and befriended Claude Monet who he saw working en plein air, famously introducing himself by asking if he was indeed ‘the Prince of the Impressionists.’ Uncharacteristically, Monet allowed Russell to watch him work and on occasion, to paint alongside him, experiences that provided the young Australian artist with an extraordinary insight into the techniques and working method of one of the founders of the Impressionist movement. The influence on Russell was significant and the paintings he made in Italy and Sicily only a few months later show him working in a new style, using a high-keyed palette (from which black had been banished entirely) and his compositions made up of strokes of pure colour.2 In addition to showing him how to use colour as a means of expressing a personal response to the subject, Monet’s example also highlighted for Russell the importance of working directly from nature.3   Inherited wealth afforded Russell freedoms that others did not have and inspired by the possibilities of Belle-Île for his art and his life, he bought land overlooking the inlet of Goulphar. Writing to Tom Roberts in October 1887, he said, ‘‘Well my dear TR I’m about finished with studios & will jump out of Paris as soon as possible. The tone of things don’t suit me… I am about to build a house in France. Settle down for some five years. Get some work done. It will be in some out of the way corner as much as a desert as possible.’4 Russell lived on the island until 1909 and the subjects it offered – especially the sea and rugged coastline – encouraged what Russell scholar, Ann Galbally, described as an ‘intensity of vision’ in which experimental brushstrokes and his committed pursuit of pure colour captured the distinctive changing light and atmospheric conditions of the environment.5 Russell had a deep interest in Japanese art and this is reflected in A Blossom Tree, Belle Île, 1887 and a number of other related paintings of spring blossoms made around this time, including The Garden, Longpré-les-Corps-Saints, 1886 (private collection) and Almond Tree in Blossom, 1887 (National Gallery of Victoria). Russell had seen Japanese ceramics and bronzes in the 1879 – 80 Sydney International Exhibition, but a broader interest was stimulated by van Gogh who collected Japanese ukiyo-e woodblock prints (as did his brother, Theo, and Monet) – developing a collection which numbered in the hundreds – and encouraged him to do the same.6 Russell absorbed the lessons of Japanese ukiyo-e design, introducing flattened pictorial space, distortions of traditional perspective and dramatic cropping of subjects to his compositions. Almond Tree in Blossom, 1887 (National Gallery of Victoria) employs bold cropping and a close-up view of the blossom-covered branches, which are flattened in space against a solid but shimmering background of powdered bronze paint, itself a reference to the gilded backgrounds of Japanese screens.7 In this painting, the dramatic reflection of the tree trunk connects the reedy foreground, the central band of water, and the distant grassy bank – with a small cottage pictured just right of the tree – within a tightly compressed space. Prominently positioned at the front of the picture plane and filling the entire top section of the canvas, the blossoming tree and its beauty is Russell’s focus. The delicacy and transience of this seasonal flowering provides a poignant contrast to the dedication Russell inscribed to his friend Monsieur Dufour, which reads, ‘Those friends thou hast, grapple them to thy heart with hooks of steel.’  This painting has a notable provenance, having been one of several works by Russell in the Jack Manton Collection of Australian Impressionist Art. Begun in 1961, the collection aimed to ‘include the best possible example of the chosen artist’s work, capture developmental changes (if any) and show any shift of emphasis in style, period or location’.8 Many paintings from the Manton Collection were subsequently acquired for the permanent collection of the National Gallery of Victoria. 1. Although Russell did not see van Gogh again after he departed for Arles in the south of France in early 1888, their friendship continued via extensive correspondence. See Galbally, A., A Remarkable Friendship: Vincent van Gogh and John Peter Russell, The Miegunyah Press, Carlton, 2008. 2. Taylor, E., ‘John Russell and friends: Roberts, Monet, van Gogh, Matisse, Rodin’, Australian Impressionists in France, National Gallery of Victoria, Melbourne, 2013, p. 60 3. Prunster, U., ‘Painting Belle-Île’, Prunster, U., et al., Belle-Île: Monet, Russell and Matisse, Art Gallery of New South Wales, Sydney, 2001, p. 31 4. Russell to Tom Roberts, 5 October 1887, cited in Tunnicliffe, W., (ed.), John Russell: Australia’s French Impressionist, Art Gallery of New South Wales, Sydney, 2018, p. 193 5. Galbally, op cit., p. 15 6. Tunnicliffe, op. cit., p.39 7. Taylor, op. cit., p. 57 8. Manton, J., ‘Genesis’ in Australian Painters of the Heidelberg School: The Jack Manton Collection, Oxford University Press, Melbourne, 1979, p. 148 KIRSTY GRANT

      Deutscher and Hackett
    • JOHN PETER RUSSELL, FLAME TREES, 1921
      Sep. 14, 2022

      JOHN PETER RUSSELL, FLAME TREES, 1921

      Est: $5,000 - $8,000

      JOHN PETER RUSSELL (1858 - 1930) FLAME TREES, 1921 pencil and watercolour on paper 25.0 x 30.5 cm (sheet) signed and dated lower right (inverted): RUSSELL 21. bears inscription verso: J21 PROVENANCE Mr Alan Greenway, Australia and USA Thence by descent Private collection, California, USA

      Deutscher and Hackett
    • John Peter Russell (1858-1930) Archways, Salerno II
      Aug. 23, 2022

      John Peter Russell (1858-1930) Archways, Salerno II

      Est: $3,500 - $5,500

      John Peter Russell (1858-1930) Archways, Salerno II signed lower left: 'JOHN RUSSELL' chalk and gouache on paper 37.0 x 27.5cm (14 9/16 x 10 13/16in). For further information on this lot please visit the Bonhams website

      Bonhams
    • JOHN PETER RUSSELL, NEW ZEALAND LANDSCAPE, c.1924
      Aug. 16, 2022

      JOHN PETER RUSSELL, NEW ZEALAND LANDSCAPE, c.1924

      Est: $7,000 - $9,000

      JOHN PETER RUSSELL (1858 – 1930) NEW ZEALAND LANDSCAPE, c.1924 watercolour on paper 23.5 x 30.0 cm 44.0 x 51.0 cm (frame) signed with initials lower left: JR PROVENANCE John Alain Stobart Russell, Scotland, the artist’s grandson Sir Leon & Lady Trout, Queensland, by 1977 Philip Bacon Galleries, Brisbane Private collection, Queensland Christie’s, Melbourne, 2 – 3 May 2002, lot 85 The Cbus Collection of Australian Art, Melbourne, acquired from the above EXHIBITED Masterworks from the Collection of Sir Leon and Lady Trout, Queensland Art Gallery, Brisbane, 21 September – 14 December 1977, cat. 42 (label attached verso) Watercolours from the Collection of Sir Leon and Lady Trout, Queensland Art Gallery, Brisbane, 4 May – 6 June 1978, cat. 77 Aspects of the Trout Collection, Philip Bacon Galleries, Brisbane, 1989, cat. 40 on long term loan to Newcastle Region Art Gallery, New South Wales, prior to 2006 (label attached verso) on long term loan to Gippsland Art Gallery, Victoria  LITERATURE Galbally, A., The Art of John Peter Russell, Sun Books, Melbourne, 1977, p. 123, cat.491 (as ‘Landscape: New Zealand’) Rainbird, S., and Bacon, P., Aspects of the Trout Collection, Philip Bacon Galleries, Brisbane, 1989, pl.40, p.100 (illus.)   Nainby, B., Stanhope, Z., and Furlonger, K., The Cbus Collection of Australian Art, in association with Latrobe Regional Gallery, Melbourne, 2009, pp. 50 (illus.), 231

      Deutscher and Hackett
    • JOHN PETER RUSSELL, PINE TREE, BRIGHAM’S CREEK, NEW ZEALAND, c.1924
      Aug. 16, 2022

      JOHN PETER RUSSELL, PINE TREE, BRIGHAM’S CREEK, NEW ZEALAND, c.1924

      Est: $7,000 - $9,000

      JOHN PETER RUSSELL (1858 – 1930) PINE TREE, BRIGHAM’S CREEK, NEW ZEALAND, c.1924 watercolour on paper 24.0 x 31.0 cm (sight) 44.0 x 50.5 cm (frame) bears certificate of authenticity attached verso, signed by the artist’s grandson PROVENANCE John Alain Stobart Russell, Scotland, the artist’s grandson Sir Leon & Lady Trout, Queensland Philip Bacon Galleries, Brisbane Private collection, Queensland Christie’s, Melbourne, 2 – 3 May 2002, lot 71 The Cbus Collection of Australian Art, Melbourne, acquired from the above EXHIBITED Masterworks from the Collection of Sir Leon and Lady Trout, Queensland Art Gallery, Brisbane, 21 September – 14 December 1977, cat. 37 (label attached verso) Watercolours from the Collection of Sir Leon and Lady Trout, Queensland Art Gallery, Brisbane, 4 May – 6 June 1978, cat. 79 Aspects of the Trout Collection, Philip Bacon Galleries, Brisbane, 1989, cat. 42 Overland, Latrobe Regional Gallery, Victoria, 10 March – 15 July 2012 LITERATURE Galbally, A., The Art of John Peter Russell, Sun Books, Melbourne, 1977, p. 121, cat.456 (as ‘Trees, Brigham’s Creek’) Rainbird, S., and Bacon, P., Aspects of the Trout Collection, Philip Bacon Galleries, Brisbane, 1989, pl.42, p.100 (illus.)  Nainby, B., Stanhope, Z., and Furlonger, K., The Cbus Collection of Australian Art, in association with Latrobe Regional Gallery, Melbourne, 2009, p. 231

      Deutscher and Hackett
    • JOHN P. RUSSELL (AUSTRALIAN 1858-1930)
      May. 14, 2022

      JOHN P. RUSSELL (AUSTRALIAN 1858-1930)

      Est: $10,000 - $15,000

      The Doorway oil on cardboard 40.5 x 30.5 cm (16 x 12 in.) framed dimensions: 49 x 39 cm (19 1/4 x 15 3/8 in.) CONDITION Observed in frame, the painting is in good condition. Minor surface soiling present to the center. Folding to the upper left corner. Inspection under UV light shows no sign of restoration. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

      Shapiro Auctions LLC
    • JOHN PETER RUSSELL, TREES, RIVER AND MOUNTAINS, c.1886 – 87
      May. 04, 2022

      JOHN PETER RUSSELL, TREES, RIVER AND MOUNTAINS, c.1886 – 87

      Est: $10,000 - $15,000

      JOHN PETER RUSSELL (1858 - 1930) TREES, RIVER AND MOUNTAINS, c.1886 – 87 oil on wood panel 28.5 x 22.5 cm (irregular) signed lower left: J. RUSSELL PROVENANCE Dr Guy Jouve Moncontour, Brittany, France, by 1978 Joseph Brown Gallery, Melbourne Private collection, Victoria, acquired from the above in April 1979 EXHIBITED John Peter Russell: Australian Impressionist, Rijksmuseum Vincent Van Gogh, Amsterdam, 10 January – 12 February 1978; University Art Museum, University of Queensland, Brisbane, 25 February – 19 March 1978; National Gallery of Victoria, Melbourne, 30 March – 6 May 1978; Art Gallery of New South Wales, Sydney, 21 May – 26 June 1978, cat. 6 (label attached verso) Autumn Exhibition, Joseph Brown Gallery, Melbourne, 5 – 20 April 1979, cat. 43 (illus. in exhibition catalogue, as ‘Trees, river with mountains in background’) LITERATURE Galbally, A., The Art of John Peter Russell, Sun Books, Melbourne, 1977, cat. 42, p. 99 (as ‘Untitled (Trees, River with Mountains in Background)’)

      Deutscher and Hackett
    • JOHN PETER RUSSELL (1858-1930), Orta 1910
      Jun. 30, 2021

      JOHN PETER RUSSELL (1858-1930), Orta 1910

      Est: $5,000 - $7,000

      JOHN PETER RUSSELL (1858-1930) Orta 1910 watercolour on paper 23.0 x 31.5 cm signed, dated and inscribed lower right: JOHN RUSSELL / 10 ORTA

      Menzies
    • John Peter Russell (1858-1930) View of Sydney Harbour, c.1926
      Apr. 22, 2021

      John Peter Russell (1858-1930) View of Sydney Harbour, c.1926

      Est: $4,000 - $6,000

      John Peter Russell (1858-1930) View of Sydney Harbour, c.1926 pencil and gouache on grey paper 27.0 x 38.0cm (10 5/8 x 14 15/16in). For further information on this lot please visit the Bonhams website

      Bonhams
    • POSSIBLY BY JOHN PETER RUSSELL (1858-1930) Boating Scene watercolour
      Dec. 10, 2020

      POSSIBLY BY JOHN PETER RUSSELL (1858-1930) Boating Scene watercolour

      Est: $2,000 - $3,000

      POSSIBLY BY JOHN PETER RUSSELL (1858-1930) Boating Scene watercolour inscribed lower right: JOHN RUSSELL 22 x 49cm, frame size: 58 x 74cm PROVENANCE: The Rothschild Collection, Melbourne

      Leonard Joel
    • John Peter Russell (1858-1930) Australia, Blue boats at Belle lle, Morbihan, watercolour with white highlights, signed lower left, approx 25.5cm x 32.5cm. Label verso ex gallery
      Oct. 25, 2020

      John Peter Russell (1858-1930) Australia, Blue boats at Belle lle, Morbihan, watercolour with white highlights, signed lower left, approx 25.5cm x 32.5cm. Label verso ex gallery

      Est: $3,000 - $5,000

      John Peter Russell (1858-1930) Australia, Blue boats at Belle lle, Morbihan, watercolour with white highlights, signed lower left, approx 25.5cm x 32.5cm. Label verso ex gallery

      Vickers & Hoad
    • JOHN PETER RUSSELL, PORTRAIT OF A MAN, 1886
      Jul. 15, 2020

      JOHN PETER RUSSELL, PORTRAIT OF A MAN, 1886

      Est: $4,000 - $6,000

      JOHN PETER RUSSELL (1858 – 1930) PORTRAIT OF A MAN, 1886 pencil on paper 28.0 x 14.0 cm PROVENANCE Christie's, South Kensington, United Kingdom, 30 November 1989, lot 23 (as ‘Portrait d'homme’) Private collection, New South Wales

      Deutscher and Hackett
    • JOHN PETER RUSSELL (1858-1930) Brigham's Creek (Mount Egmont in the Background)
      Jul. 09, 2020

      JOHN PETER RUSSELL (1858-1930) Brigham's Creek (Mount Egmont in the Background)

      Est: $4,000 - $6,000

      JOHN PETER RUSSELL (1858-1930), Brigham's Creek (Mount Egmont in the Background) watercolour on paper 24.5 x 30.0 cm statements of authenticity from the artist's grandson, John A.S. Russell and Joseph Brown, attached verso

      Menzies
    • John Peter Russell (1858-1930) Coastal landscape
      Mar. 19, 2020

      John Peter Russell (1858-1930) Coastal landscape

      Est: £4,000 - £6,000

      John Peter Russell (1858-1930) Coastal landscape signed(?) 'RUSSELL' (lower right) pencil, coloured chalks and watercolour on paper 91⁄2 x 12in. (24.1 x 30.5cm.) Please note this lot is the property of a private individual. Provenance By descent from the artist to the present owner.

      Christie's
    • John Peter Russell (1858-1930) Sydney - on cliffs
      Mar. 19, 2020

      John Peter Russell (1858-1930) Sydney - on cliffs

      Est: £2,000 - £3,000

      John Peter Russell (1858-1930) Sydney - on cliffs signed (?) and dated 'RUSSELL / /22' (lower right), titled on the reverse pencil and watercolour on paper 97⁄8 x 121⁄8in. (25.1 x 31cm.) Please note this lot is the property of a private individual. Provenance By descent from the artist to the present owner.

      Christie's
    • John Peter Russell (1858-1930) Sydney Harbour
      Mar. 19, 2020

      John Peter Russell (1858-1930) Sydney Harbour

      Est: £3,000 - £5,000

      John Peter Russell (1858-1930) Sydney Harbour signed with initials and inscribed 'ENTRANCE / OF HARBOUR) / TIN HALL(?) / SYD / JR' on the reverse pencil and watercolour on paper 93⁄4 x 121⁄4in. (24.8 x 31.1cm.) There is a study for the same subject on the reverse. Please note this lot is the property of a private individual. Provenance By descent from the artist to the present owner.

      Christie's
    • John Peter Russell (1858-1930) Sunset in the woods
      Mar. 19, 2020

      John Peter Russell (1858-1930) Sunset in the woods

      Est: £1,500 - £2,500

      John Peter Russell (1858-1930) Sunset in the woods signed and dated 'JOHN.RUSSELL. 20' (lower left) pencil, coloured chalks and watercolour on paper laid down on board 103⁄4 x 151⁄4in. (27.3 x 38.7cm.) Please note this lot is the property of a private individual. Provenance By descent from the artist to the present owner.

      Christie's
    • John Peter Russell (1858-1930) Chalets in the snow, at sunset
      Mar. 19, 2020

      John Peter Russell (1858-1930) Chalets in the snow, at sunset

      Est: £1,200 - £1,800

      John Peter Russell (1858-1930) Chalets in the snow, at sunset signed 'RUSSELL' (lower right) pencil and bodycolour on brown paper 10 x 121⁄2in. (25.4 x 31.8cm.) Please note this lot is the property of a private individual. Provenance By descent from the artist to the present owner.

      Christie's
    • John Peter Russell (1858-1930) Alpine landscapes in winter
      Mar. 19, 2020

      John Peter Russell (1858-1930) Alpine landscapes in winter

      Est: £2,000 - £3,000

      John Peter Russell (1858-1930) Alpine landscapes in winter both signed 'Russell' (the first lower right, the second lower left) pencil and watercolour on paper each 61⁄2 x 91⁄2in. (16.5 x 24.1cm.) (2) two Please note this lot is the property of a private individual. Provenance By descent from the artist to the present owner.

      Christie's
    • John Peter Russell (1858-1930) A street in Portofino
      Mar. 19, 2020

      John Peter Russell (1858-1930) A street in Portofino

      Est: £20,000 - £30,000

      John Peter Russell (1858-1930) A street in Portofino oil on canvas laid down on board 18 x 151⁄4in. (45.7 x 38.7cm.) Please note this lot is the property of a private individual. Provenance By descent from the artist to the present owner.

      Christie's
    • John Peter Russell (1858-1930) Portofino
      Mar. 19, 2020

      John Peter Russell (1858-1930) Portofino

      Est: £60,000 - £80,000

      John Peter Russell (1858-1930) Portofino oil on canvas laid down on board 233⁄8 x 187⁄8in. (59.4 x 48cm.) Please note this lot is the property of a private individual. Provenance By descent from the artist to the present owner.

      Christie's
    • JOHN PETER RUSSELL (1858-1930) (Brigham's Creek) New Zealand 1922 gouache on brown paper
      Nov. 26, 2019

      JOHN PETER RUSSELL (1858-1930) (Brigham's Creek) New Zealand 1922 gouache on brown paper

      Est: $4,500 - $5,500

      JOHN PETER RUSSELL (1858-1930) (Brigham's Creek) New Zealand 1922 gouache on brown paper signed, inscribed and dated lower left: RUSSEL/ NZ 22. 25 x 32cm PROVENANCE: Joseph Brown Gallery, Melbourne c.1974 The Factor Collection, Sydney Leonard Joel, Melbourne, 29 August 2010, lot 141A Private collection, Melbourne

      Leonard Joel
    • John Peter Russell 1858 - 1930
      Nov. 25, 2019

      John Peter Russell 1858 - 1930

      Est: $2,000 - $3,000

      John Peter Russell 1858 - 1930 Brittany Coast, Belle Isle, 1915 Watercolour 23 x 30 cm Provenance: Mrs Caroline Russell, Randolph Searing Merrill Jr. Florida U.S.A Collection, no. 291 (Label verso)

      McKenzies Auctioneers
    • John Peter Russell 1858 - 1930
      Nov. 25, 2019

      John Peter Russell 1858 - 1930

      Est: $2,000 - $3,000

      John Peter Russell 1858 - 1930 Coastal Views, most likely Brittany Watercolour Signed and dated 1912 lower left 19 x 24 cm Provenance: Mrs Caroline Russell, Randolph Searing Merrill Jr. Florida U.S.A Collection, no. 230 (Label verso)

      McKenzies Auctioneers
    • JOHN RUSSELL 1858-1930 Maisons sur la Falaise (Le Chateau Anglais) (1889) oil on canvas 38.4 x 61 cm
      Nov. 20, 2019

      JOHN RUSSELL 1858-1930 Maisons sur la Falaise (Le Chateau Anglais) (1889) oil on canvas 38.4 x 61 cm

      Est: $100,000 - $150,000

      JOHN RUSSELL 1858-1930 Maisons sur la Falaise (Le Chateau Anglais) (1889) oil on canvas 38.4 x 61 cm PROVENANCE John Russell Jeanne (Madam Paul Jouve), by descent from the above Monsieur Louis Jouve, by descent from the above in 1948 Joseph Brown Gallery, Melbourne Mr Jack Manton, Melbourne, until The Hans Heysen Collection, Leonard Joel, Melbourne, 19 June 1970, lot 133, ''Houses on the Cliff, 1906'', illustrated Private Collection, Melbourne, acquired from the above EXHIBITED John Peter Russell 1858-1930: Australian Impressionist, Joseph Brown Gallery, Melbourne, 22 August - 11 September 1968, no. 13, ''circa 1906'' John Peter Russell: Australian Impressionist, Rijksmuseum Vincent van Gogh, Amsterdam, 10 January - 12 February 1978, University Art Museum, University of Queensland, Brisbane, 25 February - 19 March 1978, National Gallery of Victoria, Melbourne, 30 March - 6 May 1978, Art Gallery of New South Wales, Sydney, 21 May - 26 June 1978, no. 23, ''Maison sur la falaise'' (label verso) Masterpieces of Australian Impressionism, Bonhams & Goodman, Melbourne, 24-26 July 2009, no. 11 LITERATURE Ann Galbally, The Art of John Peter Russell, Sun Books, Melbourne, 1977, cat. 73, ''Maisons sur la falaise'', p. 101

      Smith & Singer
    • RUSSELL John Peter (1858-1930), 'Orta, Novarese, Italy,' 1910., W/Clr, 29x21cm
      Nov. 16, 2019

      RUSSELL John Peter (1858-1930), 'Orta, Novarese, Italy,' 1910., W/Clr, 29x21cm

      Est: $1,200 - $2,500

      RUSSELL, John Peter (1858-1930) 'Orta, Novarese, Italy,' 1910. Inscribed upper left with title, & 'John Peter Russell Fecit Sept 10 1910.' W/Clr 29x21cm

      Davidson Auctions
    • Attributed to John Peter Russell (1858 - 1930) - French Street Scene 24 x 18cm
      Oct. 24, 2019

      Attributed to John Peter Russell (1858 - 1930) - French Street Scene 24 x 18cm

      Est: $800 - $1,500

      Attributed to John Peter Russell (1858 - 1930) French Street Scene watercolour 24 x 18cm inscribed verso

      Lawsons
    • JOHN PETER RUSSELL (1858-1930), Still Life Interior Scene
      Sep. 26, 2019

      JOHN PETER RUSSELL (1858-1930), Still Life Interior Scene

      Est: $4,000 - $6,000

      JOHN PETER RUSSELL (1858-1930), Still Life Interior Scene , watercolour on paper, 36.0 x 51.5 cm, signed lower right: JOHN. RUSSELL, Sotheby's, Melbourne, 1987 Private collection, Melbourne

      Menzies
    • JOHN PETER RUSSELL, (1858 – 1930) , COTTAGES, BELLE-ÎLE, c.1907, watercolour and pencil on paper
      Aug. 28, 2019

      JOHN PETER RUSSELL, (1858 – 1930) , COTTAGES, BELLE-ÎLE, c.1907, watercolour and pencil on paper

      Est: $10,000 - $15,000

      JOHN PETER RUSSELL, (1858 – 1930) , COTTAGES, BELLE-ÎLE, c.1907, watercolour and pencil on paper SIGNED: signed lower centre: JOHN RUSSELL DIMENSIONS: 26.0 x 36.5 cm PROVENANCE: Private collection Sotheby’s, Melbourne, 25 August 1998, lot 36 (as ‘Returning Home, Village in Brittany, c. 1888’) Private collection, Sydney RELATED WORK: [Landscape with road and cottages, Belle-Ile], 1907, watercolour on cardboard, 25.4 x 33.2 cm, in the collection of the National Gallery of Australia, Canberra Houses, Belle-Ile, 1908, watercolour on paper, 27.5 x 39.0 cm, Deutscher~Menzies, Melbourne, 22 November 1998, lot 255, formerly in the collection of the artist's daughter, Jeanne Jouve, France

      Deutscher and Hackett
    • JOHN PETER RUSSELL‎, (‎1858 - 1930‎)‎, ROCHER AU CHIEN, CLOS MARION, BELLE ÎLE‎, ‎1897‎ , oil on canvas‎
      Apr. 10, 2019

      JOHN PETER RUSSELL‎, (‎1858 - 1930‎)‎, ROCHER AU CHIEN, CLOS MARION, BELLE ÎLE‎, ‎1897‎ , oil on canvas‎

      Est: $300,000 - $500,000

      JOHN PETER RUSSELL‎, (‎1858-‎1930‎)‎, ROCHER AU CHIEN, CLOS MARION, BELLE ÎLE‎, ‎1897‎ , oil on canvas‎ SIGNED: signed, dated and inscribed lower left: TO FRIEND LTC J.P. RUSSELL ’97 DIMENSIONS: 63‎.‎5‎ x ‎81‎.‎0 ‎cm‎ PROVENANCE: Lionel T. Crawshaw, gift from the artist Thence by descent Harold Crawshaw, Estoril, Portugal Artarmon Galleries, New South Wales (label attached verso) Private collection, Melbourne Thence by descent Private collection, Melbourne RELATED WORK: Auchien rocks, Clos Marion, Belle-Ile, oil on canvas, 52.0 x 61.5 cm, Nock Art Foundation, Hong Kong, illus. in Tunnicliffe, W. (ed), John Russell: Australia’s French Impressionist, Art Gallery of New South Wales, Sydney, 2018, p. 90 ESSAY: From a three-month visit in 1886 with Marianna to purchasing land and building a large house there the following year, John Russell’s response to the wild beauty of Belle-Île was passionate. The pounding seas and rugged, rocky coastlines of this island off the coast of Brittany captured his imagination resulting in Rocher au Chien, Clos Marion, Belle-Île, 1897 and many other masterly paintings of both storm and calm. It was a passion shared with others. Claude Monet (1840 1926), shortly after meeting Russell on Belle-Île, wrote to Gustave Caillebotte: ‘I am in a superbly wild country, a heap of terrible rocks and an improbable sea of colours’.1 Monet canvases of Belle-Île numbered nearly forty. Most were of the sea and coast, a memorable example being Storm off the Coast of Belle-Île, 1886 in the collection of the Musée d’Orsay, Paris. Russell’s own series of these lively seas and majestic rocks, mostly undated, peak in the late nineties through the turn of the century, highlighted in the visually exciting Rough Sea, Belle-Île, 1900 (Joseph Brown Collection, National Gallery of Victoria, Melbourne). In Russell’s watercolours, of which he was a master, the aqueous feel is even greater as he pictures seas rough, as in Storm, Belle-Île, 1905, or peaceful, as in Belle-Île, 1905. Both are in the Art Gallery of New South Wales, Sydney. Added to this is the brilliance of his palette, highlighted in an explosion of primary colours in Red Sail, Port Goulphar, c.1900, (Musée d’Orsay), dominant red sails, yellow gorse and sparkling blue sea enveloped in summer light. Russell’s works of Belle-Île and elsewhere reflect the typical interests of the Impressionist especially the seasons and other changing moods of nature embracing painting en plein air to capture the transient effects of light and movement. Our painting, Rocher au Chien, Clos Marion, Belle-Île is possibly the largest of the series involving this particular engagement of rocks and seas. Ann Galbally illustrates another in her earlier book on Russell.2 A third, Auchien Rocks, Clos Marion, Belle- Île, belongs to the Nock Art Foundation, Hong Kong. Light modifies colour as morning changes to twilight then darker skies. Series paintings were in vogue. The 1890s is also the time of Monet’s paintings of poplars, haystacks and Rouen Cathedral. And in 1903-05 Claude Debussy composed his great impressionistic orchestral work La Mer.3 In our group of paintings, Russell’s admiration of the music of Richard Wagner resounds in the clash of titanic forces, turbulent seas and immovable rocks. An absence of human presence adds to the mood of natural grandeur, powerful, windswept forces conjured up through the virtuosity and spontaneity of his brushstrokes. To see the sound of wind and feel the crash of stormy seas, salt laden in your face, speaks of Symbolism and tells of yachtsman Russell’s love of the sea. A painting given by one artist to another is always special, as i

      Deutscher and Hackett
    • JOHN PETER RUSSELL (1858-1930), Cliffs at Goulphar Bay 1907
      Mar. 28, 2019

      JOHN PETER RUSSELL (1858-1930), Cliffs at Goulphar Bay 1907

      Est: $40,000 - $60,000

      JOHN PETER RUSSELL (1858-1930), Cliffs at Goulphar Bay 1907 watercolour, gouache and pastel on paper on board 38.0 x 47.5 cm signed and dated lower left: JOHN RUSSELL/ 07 Mr Bradley Williams, New Zealand Thence by descent, private collection, New Zealand Sotheby's, Melbourne, 25 August 2008, lot 44 (as Chalk Cliffs at Goulphar Bay) Private collection, Melbourne The Lost Impressionist, Australian High Commission, Australia House, London, 6 February - 28 February 1976 John Russell: Australia's French Impressionist, Art Gallery of New South Wales, Sydney, 21 July - 11 November 2018 Tunnicliffe, W., John Russell: Australia's French Impressionist, Thames & Hudson, Sydney, 2018, pp.169, 222, 223, 228 & 260 (illus. pp. 169, 222 & 223)

      Menzies
    • JOHN PETER RUSSELL (1858-1930) Archways, Salerno II chalk and gouache on paper
      Dec. 10, 2018

      JOHN PETER RUSSELL (1858-1930) Archways, Salerno II chalk and gouache on paper

      Est: $2,000 - $4,000

      JOHN PETER RUSSELL (1858-1930) Archways, Salerno II chalk and gouache on paper signed lower left: JOHN RUSSELL 37 x 27.5cm PROVENANCE: Joseph Brown, Melbourne, 1981

      Leonard Joel
    • John Peter Russell (1858 - 1930) - Belle-Île en Mer 22 x 31cm
      Nov. 29, 2018

      John Peter Russell (1858 - 1930) - Belle-Île en Mer 22 x 31cm

      Est: $3,000 - $5,000

      John Peter Russell (1858 - 1930) Belle-Île en Mer pastel on paper 22 x 31cm signed lower right

      Lawsons
    • John Peter Russell (1858-1930)
      Nov. 21, 2018

      John Peter Russell (1858-1930)

      Est: $2,000 - $3,000

      A Felice Souvenir of Macks Island, New Zealand, 1922, watercolour on paper, signed l.r.c. 'John Russell' inscribed and dated l.m. 'A Felice Souvenir Of Macks Island, N.Z. 1922'

      Shapiro Auctioneers
    • JOHN RUSSELL 1858-1930 Ariadne 1883 oil on canvas on board 109.5 x 292.3 cm
      Nov. 20, 2018

      JOHN RUSSELL 1858-1930 Ariadne 1883 oil on canvas on board 109.5 x 292.3 cm

      Est: $550,000 - $750,000

      JOHN RUSSELL 1858-1930 Ariadne 1883 oil on canvas on board signed and dated 'JOHN P. RUSSELL / 1883' lower right 109.5 x 292.3 cm PROVENANCE Mr Edward Combes, Sydney, acquired from the artist Moreton Family, acquired from the above Webb Family, acquired from the above Private Collection, Sydney Joseph Brown Gallery, Melbourne Private Collection, Melbourne, acquired from the above, in 1973 EXHIBITED Third Exhibition, Art Society of New South Wales, Sydney Town Hall, Sydney, 20 March 1883, no. 246 Autumn Exhibition 1973: Recent Acquisitions, Joseph Brown Gallery, Melbourne, 26 March - 11 April 1973, no. 12, 'Reclining Figure', illustrated John Peter Russell: Australian Impressionist, Rijksmuseum Vincent van Gogh, Amsterdam, 10 January - 12 February 1978, University Art Museum, University of Queensland, Brisbane, 25 February - 19 March 1978, National Gallery of Victoria, Melbourne, 30 March - 6 May 1978, Art Gallery of New South Wales, Sydney, 21 May - 26 June 1978, no. 3, 'A Balneatrix' LITERATURE 'Art Society of New South Wales', The Sydney Daily Telegraph, Sydney, 22 March 1883, p. 3 'Art Society of New South Wales', The Sydney Morning Herald, Sydney, 31 March 1883, p. 5 The Illustrated Sydney News, Sydney, 12 May 1883, p. 17 (illustrated) The Sun, Melbourne, 29 March 1973, (illustrated) Ann Galbally, The Art of John Peter Russell, Sun Books, Melbourne, 1977, cat. no. 9, plate iii, p. 97, 'A Balneatrix' Pat Symons, 'The Art of an Expatriate', The Age, Melbourne, 15 April 1978, (illustrated) Ann Galbally, A Remarkable Friendship: Vincent van Gogh and John Peter Russell, The Miegunyah Press, Melbourne, 2008, plate 16, pp. 51, 52, 265, 307, 'Ariadne' Wayne Tunnicliffe (ed.), John Russell: Australia's French Impressionist, Art Gallery of New South Wales, Sydney in association with Thames and Hudson Australia, 2018, pp. 100-101 (illustrated), 102 (illustrated), 238

      Smith & Singer
    • JOHN RUSSELL 1858-1930 Le Forte d'Antibes (1891) oil on canvas 50 x 61 cm
      Nov. 20, 2018

      JOHN RUSSELL 1858-1930 Le Forte d'Antibes (1891) oil on canvas 50 x 61 cm

      Est: $350,000 - $550,000

      JOHN RUSSELL 1858-1930 Le Forte d'Antibes (1891) oil on canvas signed 'J.R.' lower right 50 x 61 cm PROVENANCE Jeanne Jouve, Brittany, by descent from the artist Louis Jouve, France, by descent from the above in 1948 Joseph Brown Gallery, Melbourne Private Collection, Melbourne Australian Paintings, Leonard Joel, Melbourne, 24 May 1978, lot 305, 'Antibes', illustrated Sir Leon and Lady Trout, Brisbane The Collection of Sir Leon and Lady Trout, Christie's Australia, Brisbane, 7 June 1989, lot 171, illustrated (cover) Private Collection, Melbourne, acquired from the above EXHIBITED John Peter Russell 1858-1930: Australian Impressionist, Joseph Brown Gallery, Melbourne, 22 August - 11 September 1968, no. 6, illustrated Masterpieces of Australian Impressionism, Bonhams & Goodman, Melbourne, 24-26 July 2009, no. 12 Into Light: French Masterworks from the Musée de la Chartreuse, Art Gallery of Ballarat, Ballarat, 23 June - 9 September 2018 LITERATURE Ann Galbally, The Art of John Peter Russell, Sun Books, Melbourne, 1977, cat. no. 106, p. 103

      Smith & Singer
    • JOHN PETER RUSSELL , (1858 – 1930) , BOIS DE BOULOGNE, PARIS, 1905 , watercolour and pastel and pencil on paper
      Aug. 29, 2018

      JOHN PETER RUSSELL , (1858 – 1930) , BOIS DE BOULOGNE, PARIS, 1905 , watercolour and pastel and pencil on paper

      Est: $6,000 - $8,000

      JOHN PETER RUSSELL , (1858 – 1930) , BOIS DE BOULOGNE, PARIS, 1905 , watercolour and pastel and pencil on paper SIGNED: signed, dated and inscribed with title lower left: BOIS DE B. P. JANUARY. 1905 – JOHN RUSSELL DIMENSIONS: 24.0 x 33.0 cm PROVENANCE: Private collection, Paris Private collection, Sydney

      Deutscher and Hackett
    • John Peter Russell (1858 - 1930) Australia - Portrait of Dr R. Russell Jones of Sydney
      Mar. 05, 2018

      John Peter Russell (1858 - 1930) Australia - Portrait of Dr R. Russell Jones of Sydney

      Est: $25,000 - $30,000

      Certificate of authenticity attached verso ‘Portrait of Dr. R Russell Jones of Sydney/ (Nephew of the artist)/This oil painting on wood panel, approx. 9” x 7 ½”/….my grand uncle on the island of/ …Ile off the coast of Brittany. It is/ portrait of my father, who had left Australia to study medicine in England./ John Russell Jones/ 155 Belmore Road/ Randwick N.S.W.’

      Colville Auctions
    • JOHN PETER RUSSELL, (1858 - 1930), FISHERMAN, BELLE-ÎLE (PÊCHEUR BELLE-ÎLE), 1905, oil on canvas
      Nov. 29, 2017

      JOHN PETER RUSSELL, (1858 - 1930), FISHERMAN, BELLE-ÎLE (PÊCHEUR BELLE-ÎLE), 1905, oil on canvas

      Est: $600,000 - $800,000

      JOHN PETER RUSSELL, (1858 - 1930), FISHERMAN, BELLE-ÎLE (PÊCHEUR BELLE-ÎLE), 1905, oil on canvas SIGNED: signed, dated and inscribed with title along bottom edge: AU DOCTEUR - FOREST - DE - FAYE - SON - RECONNAISSANT - J.P. RUSSELL - BELLE - ISLE - 1905 - DIMENSIONS: 66.5 x 81.5 cm PROVENANCE: Claude Pelissié, France Sotheby Parke-Bernet, Paris (label attached verso) Private collection, Melbourne Deutscher Fine Art, Melbourne Private collection, Sydney, acquired from the above in 1997 EXHIBITED: Belle Île: Monet, Russell & Matisse in Brittany, Art Gallery of New South Wales, Sydney, 24 November 2001 - 3 February 2002 then touring: Queensland Art Gallery, Brisbane, 14 February - 21 April 2002, cat. 39B LITERATURE: Prunster, U., et. al, Belle Île: Monet, Russell & Matisse in Brittany, Art Gallery of New South Wales, Sydney, 2001, cat.39B, p. 127 RELATED WORK: Mon ami 'Polite (Père Polyte), 1900, oil on canvas, 54.5 x 65.5 cm, in the collection Art Gallery of New South Wales, Sydney, illus. in Belle Île: Monet, Russell & Matisse in Brittany, Art Gallery of New South Wales, Sydney, 2001, cat. 21, p. 92 Fisherman in blue (Pechêur en blue), c. 1904 - 06, oil on canvas, 81.5 x 82.0 cm, in the collection of Musee de Morlaix, France/Dépôt de Musee du Louvre, Fonds Orsay, Paris, illus. in Belle Île: Monet, Russell & Matisse in Brittany, Art Gallery of New South Wales, Sydney, 2001, cat. 31, p. 102 ESSAY: John Peter Russell holds a rare place in Australian art history for his close association with avant-garde circles in 1880s Paris and his firsthand acquaintance with some of the masters of European Impressionism and Post-Impressionism. As a student at Fernand Cormon's atelier in Paris in the mid-1880s, Russell worked alongside Émile Bernard, Henri de Toulouse-Lautrec and later, Vincent van Gogh, with whom he established an enduring friendship.1 On a summer break from Paris in 1886, Russell spent several months on Belle-Île, one of a group of small islands off the coast of Brittany. It was here that he met and befriended Claude Monet who he saw working en plein air and, recognising his painting style, famously introduced himself by asking if he was indeed 'the Prince of the Impressionists'. Inevitably flattered, Monet, who was eighteen years Russell's senior, took a liking to the young Australian and dined with him and his beautiful wife-to-be, Marianna, enjoying their hospitality and company during his stay on the island. Uncharacteristically, Monet allowed Russell to watch him work and on occasion, to paint alongside him, experiences that provided the younger artist with an extraordinary insight into the techniques and working method of one of the founders of the Impressionist movement. The influence on Russell was significant and the paintings he made in Italy and Sicily only a few months later show him working in a new style, using a high-keyed palette (from which black had been banished entirely) and his compositions made up of strokes of pure colour.2 In addition to showing him how to use colour as a means of expressing a personal response to the subject, Monet's example also highlighted for Russell the importance of working directly from nature.3 Belle-Île is part of the accurately named La Côte Sauvage, buffeted by almost constant westerly winds blowing in from the Atlantic Ocean. With a rugged landscape as yet untouched by tourism and the inevitable accompanying development, it offered little in the way of obvious picturesque views but 'instead ... the challenge of a raw confrontation with nature for which there was no tradition of painterly representation'.4 Russell and Monet were both liberated and excited by the task of representing 'the solid

      Deutscher and Hackett
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