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534297 Los(e)/Seite
Los 312
â–´ Lionel Slater (20th century) Portrait of Walt Disney, c.1940s signed 'LIONEL/SLATER' l.r., oil on canvas 76.5 x 64cm, unframedCondition ReportSurface dirt with abrasions, scuffs, and small losses- please refer to illustration. The stretcher is slightly warped and the canvas tension is loose to the touch. Not examined under UV light, for a full report please contact the department.
Los 75
A gilt-metal six-light chandelier, late 19th century, French, the central column and branches decorated with leaves, leading to scrolled arms with integral drip pans, converted to electricity, 80cm wide105cm high Provenance: Acquired at the déballage of Cannes racecourse, c.1995.Condition ReportNeeds re-wiring. Losses to the gilt metal finish. PAT test fail 15.2.24
Los 276
Nina Pavlovna Volkova (1917-1993) A young girl wearing a headscarfinscribed in Cyrillic and dated '1945' verso, oil on canvas laid on board36 x 26.5cmCondition ReportFramed: 47 x 38cmCraquelure. Small losses predominantly to the bottom left corner, left edge and the girl's cheek. The paint is starting to flake slightly in these areas.The canvas has a small pierced hole on the bottom right corner. Light scuffs and abrasions to the surface. Not viewed under UV light or out of glazed frame. For a full report, please contact the department.
Los 321
â–´ Romain de Tirtoff ('Erté') (Russian-French, 1892-1990) 'Les Rois des Légendes, Homme Noble'stamped 'ERTE/ROMAIN DE TIRTOFF' in ink with blind stamp l.l., inscribed with title and 'No.37' on Erté headed paper verso, gouache and gold and silver paint28 x 18cmProvenance: Purchased in Nice, France, c.1994, from the estate of Erté's chauffeur.Condition ReportFramed: 46.5 x 36.5cmTime staining with some discolouration to the extreme edges. Light creasing. Patches of brown paper have been stuck down in the top and bottom corners on the right side, please see images. Stamped numbers to the top corners. Not viewed out of glazed frame.
Los 302
A present from King George V: a pair of 9ct gold and enamelled cufflinks, Birmingham 1929,each of oval form, enamelled with the cypher of King George V, complete with the original tooled leather box, 'Plante.12, Bury St London, S.W.',19 x 13mm, 9.59g,together with a Master of the Household, Buckingham Palace, 1933, Christmas card, anda Royal letter to Gower,'The King says you may fish in the Balmoral water this Autumn' (4)Gifted to King George V's valet 'Gower' who was in the service of three monarchs: Queen Victoria, King Edward VII and George V. Acquired from Gordon Savage, the founder editor of the Antiques Trade Gazette and Kensington Church Street dealer, in 1974.Condition ReportEnamel appears in good order. Very minor surface scratches. Some wear and surface marks to the case. Light spotting/marks to the paperwork.
Los 191
Sergei Dumenko (Ukrainian, 1909-1992) 'Battle for Muldavia', with Second World War Russian and German forcessigned and dated '1970' l.r., titled and inscribed in Cyrillic verso, oil on canvas45 x 149cmCondition ReportFramed: 47.5 x 152cmThe canvas is a little loose to the touch with some slight undulations. Craquelure in areas. There are some vertical ridges to the top half where cracks in the paint are starting to emerge. Some small losses. A 2cm scratch to the right of the top edge. Not examined under UV light, for a full report please contact the department.
Los 330
Thomas Diffley (20th century) A surrealist scene with three nudes on a beach with umbrellas and sculpture, in the manner of Salvador Dali signed 'T Diffley' l.r., oil on canvas 71 x 91cm, unframedCondition ReportSpots and speckles of light surface dirt. Rubbing and some small losses to the edges. There is a small area above the wrist of the figure on the left where the paint is a little unstable and is starting to crack. Not examined under UV light, for a full report please contact the department.
Los 253
M... Leelle(?) (French, 19th century) 'Magot', a tethered dogindistinctly signed u.l., dated '1890' u.r., oil on canvas65 x 81cm Provenance: The collection of P Dacla, Barbizon, France.Condition ReportFramed: 74.5 x 90.5cmThe painting is executed in oil on canvas. A hole to the middle left edge. Two further smaller holes to the lower half of the left edge. Craquelure starting to emerge in places. Small losses and abrasions, flaking to the paint in the lower right corner. Light surface dirt. Not examined under UV light. Please contact the department for a full condition report.
Los 193
Willy Mokrozhitsky (1928-2006) Figures at an airfieldinscribed in Cyrillic and dated '1970' verso, oil on canvas board34.5 x 46cmCondition ReportFramed: 46 x 56cmPinholes to the corners. Small losses and rubbing to the edges and corners but presents well overall. Not viewed out of glazed frame or under UV light, for a full report please contact the department.
Los 6
A specimen-wood-inlaid clothes brush, c.1680, English, inlaid with tulips,8cm long5.5cm deep excluding bristlesFormerly in the collection of Bill Brown.Condition ReportSome splits. Wear and losses to the finish. Some wear to the staining. Loss of bristles. Please see the additional images in natural light highlighting the issues mentioned.
Los 112
Mary Cummins (20th century) Apples, oranges and lemonstwo still lifes, oil on canvas laid on board13 x 27cm and 16 x 23.5cm;together with a further study of lemonssigned with initials l.r., watercolour16 x 24cm (3)Provenance: The collection of Dr Fox.Condition ReportFramed: 19.5 x 33cm, 22 x 29.5cm and 22.5 x 30cmLight surface dirt. The oil painting of the apples and lemons has pinholes to the bottom right corner and there are some fine vertical cracks starting to emerge along the top and bottom edges. The edge of the canvas is visible in the bottom left corner. There is a faint white vertical line 8cm in length to the upper right quarter of the watercolour study of lemons. Not viewed under UV light or out of the glazed frames, for a full report please contact the department.
Los 187
A pair of erotic drawings, mid-20th century, watercolour over pencil, pen and ink, with indistinct pencil inscriptions,14 x 9cm (2)One of the pictures has been drawn on scrap paper of a British military roster, which might indicate the artist was serving in the forces. Part of the collection was sold in half-share to extraordinary New York dealer and collector Doug Taylor, who spent years trying to unravel and research these drawings. Some were exhibited at the New York Armoury Show and some sold, but alas, Doug died before uncovering the complete story of them.Condition ReportFramed: 19.5 x 14cmTime staining with light surface dirt. The upper right corners of both have been cut diagonally and are missing. Not viewed out of glazed frames.
Los 87
A gilt-metal twelve-light chandelier, 19th century, French, with four scrolled three-branch arms and a central column,74cm diameter92cm highCondition ReportWear and losses to the gilded finish throughout. One drip pan missing. Three of the fixed scrolled sections to the bowl have sections missing.
Los 111
A mid-century painting of a scrapyard crane, indistinctly signed l.r., oil on board,92 x 56cmCondition ReportFramed: 99 x 64cmLight surface dirt with some minor scuffs and abrasions. Some scattered patches of retouching are visible. Not examined under UV light, for a full report please contact the department.
Los 308
â–´ V V Schack (German, 20th century) A surrealist-style portrait of Countess Kühlmann-Stumm, half-length, in a blue dress holding a piece of coral signed 'V.v. Schack' and dated '1960' l.r., oil on canvas 79 x 60cm Provenance: Purchased from the Kühlmann-Stumm family. It was acquired from the attics of Schloss Ramholz, Schlüchtern, Germany, June 2010. Condition ReportFramed: 94.5 x 76.5cm The paint has a very textured surface. There are some areas where the paint has been less thickly applied and the canvas texture is visible beneath but in our opinion this appears to be the intention of the artist, rather than a later issue with condition. Some minor losses but overall presents well. Not viewed under UV light. Please contact the department for a full report.
Los 103
â–´ Louis Eugène Glasser (French, 1897-1986) Two snowy mountain scenesoil on board17.5 x 26cm and 19 x 26cm;together with a painting of statue beside a lake by the same handoil on card19.5 x 26cm (3)This lot also includes a number of 'Société des Artistes Indépendants' membership cards, signed by the artist and dated between 1925 and 1937.Condition ReportFramed: 28 x 34.5cmOne of the mountain scenes has a couple of tiny black dots to the sky. There are some areas of the sky in the lakeside scene where the board behind shows through, but in our opinion this looks to be the intention of the artist rather than a later issue with condition, please see images. Overall the works present well and appear to be in good condition. Not examined under UV light or viewed out of glazed frames. For a full report please contact the department.
Los 335
â–´ Tim Goodchild (contemporary) Costume design sketch for 'La Traviata' signed and dated 'T. Goodchild 83' l.r., inscribed with title and 'Act I Guest Violettas Party' u.r., further inscribed 'Royal Danish Opera, Copenhagen' l.c., mixed media40 x 26cm;Costume design sketch for 'Swan Lake, Act I'signed and dated 'T. Goodchild 88' l.r., inscribed with title u.l., further inscribed 'Moscow Classical Ballet' u.r., mixed media35.5 x 56cm (2)Condition Report'La Traviata': Framed, 62 x 47cm. The sketch has been cutout and stuck down to a sheet of paper behind, which bears the signature and inscriptions. Light cockling and creasing with a further 10cm horizontal crease mark which crosses the subject's arm. We believe the media used to be watercolour over pencil heightened with white, pen, coloured pencil and collage with dress fabric.'Swan Lake, Act I': Framed, 62 x 80cmThe sketches have been cutout and stuck down to a sheet of paper behind, which bears the signature and inscriptions. Light cockling and creasing to the cutout image, with heavier creasing and discolouration to sheet of paper behind. Some small dirty marks. We believe the media used to execute the design is pencil and watercolour heightened with white over a printed base, with collage.
Los 181
▴ Louis Raemaekers (Dutch, 1869-1956) 'The German Tango (From East to West and West to East I Dance with Thee)'c.1916, signed 'Louis Raemaekers' l.l., charcoal over watercolour 46 x 34cmProvenance: The Arnold Fellows Collection.During the First World War, Raemaekers was an outspoken critic of Germany. Despite living in the Netherlands (which were neutral during the war), he feared the German government and, in the face of serious threats, fled to England, where he produced a number of anti-war political cartoons for the British War Propaganda Bureau which were used in a series of propaganda posters.The macabre drawing 'The German Tango (‘From East to West and West to East I Dance with Thee’), depicts a skeleton representing Death dancing with a young woman wearing the Imperial Crown of Germany. A 1916 collection of Raemaeker's cartoons contains the following commentary by John Buchan:'It is the profoundest symbol of the war. In a hot fit of racial pride, Death has been welcomed as an ally. And the dance on which Germany enters is no stately minuet with something of tragic dignity in it. It is a common vulgar shuffle, a thing of ugly gestures and violent motions, the true sport of degenerates. Once begun there is no halting. From East to West and from West to East the dancers move. There is no rest, for Death is a pitiless comrade. From such a partner, lightly and arrogantly summoned, there can be no parting. The traveler seeks a goal, but the dancers move blindly and aimlessly among the points of the compass. Death, when called to the dance, claims eternal possession. The idea is that in a fit of racial pride, death has been welcomed as an ally. Once begun, there is no stopping the dance, which goes on for ever across the world.'Condition ReportFramed: 72 x 55cmLight cockling and time staining. Not viewed out of glazed frame.
Los 110
John Crampton Walker (Irish, 1890-1942) A schooner on a misty morningsigned and dated 'J. Crampton Walker 22' l.l., oil on canvas54 x 73cm Condition ReportFramed: 71 x 88cm The painting is excecuted in oil on canvas. Surface dust and dirt, some thining to the paint at the bottom of the mast to the right side of the ship. Not viewed under UV light. Please contact the department for a full condition report.
Los 322
â–´ Romain de Tirtoff ('Erté') (Russian-French, 1892-1990) 'Le Reveil des Elegantes Parisiennes, Jupe en Feilles Rouge set Braunes'stamped 'ERTE/ROMAIN DE TIRTOFF' in ink with blind stamp l.l., inscribed with title, numbered and dated 'No1/3-II-1919/No.185' on Erté headed paper verso, gouache and gold paint28 x 19.5cmProvenance: Purchased in France, c.1994, from the estate of Erté's chauffeur.Condition ReportFramed: 48 x 37.5cmTime staining with some foxing starting to emerge, please see images. A strip of discolouration to the paper along the right edge. Light creasing. Patches of brown paper have been stuck down in the top and bottom corners on the right side, please see images. Stamped numbers to the top corners. Not viewed out of glazed frame.
Los 305
â–´ Cecil Beaton (1904-1980), a set of three photographs from the film 'Anna Karenina' featuring Vivien Leigh, each stamped 'CECIL BEATON PHOTOGRAPH' and numbered verso,24 x 24cm (3)Provenance: Acquired c.2004 from the estate of the artist Anthony Wizard, who worked with the film-maker Sir Alexander Korda.Condition ReportFramed: 28.5 x 27.5cmLight time staining. There is some unevenness to the finish in places evident when examined under raking light but overall the photographs present well.
Los 108
A Gothic gilded-brass four-light chandelier, 19th century, the ceiling rose and frame decorated with pierced trefoil motifs, with four applied cast-brass gargoyles,72cm wide70cm highProvenance: Formerly in the collection of William Clegg and Harvey Ferry, c.1998.Condition ReportWear and loss to the gilded brass. Fittings missing, with threaded hole to the mouth of each gargoyle. Overall good order, with minor knocks commensurate with age.
Los 168
â–´ Robin Jacques (1920-1995) A French naval officersigned and dated 'Robin Jacques 43' u.l., pen and ink and watercolour43 x 37cmCondition ReportFramed: 63 x 55cmTime staining and light cockling. There is some acid discolouration from the mount in the lower left corner. Not viewed out of glazed frame.
Los 405
§ Pierre Paulus (1881-1959) A river and dock scene with tug boats and derricks, probably the Thames docksindistinctly signed lower left with pencil inscription on reverseoil on canvas71 x 92 cmThe address inscribed to the stretcher (1 Durham Villas, Kensington), corresponds to the registered address of the artist as published in Volume 34, Issue 1 of the Musées Royaux des Beaux-Arts de Belgique artist dictionary, published 1988.The canvas is in plane though surface tension is slightly slack. The painting is framed but not glazed and is quite loose in the frame. Under UV light there appear to be some areas of overpainting (see additional images). There are numerous areas of paint loss (most notable to the lower left quadrant), some areas of raised paint and a fine network of cracks in the lower right hand quadrant. Likewise, there are some minor scattered accretions, some slight yellowing of the palest passages of paint and a light layer of ingrained dirt across the surface, most notably to the edges and corners where debris and dirt has accumulated. The work has been indistinctly signed and inscribed in the lower corners and is further inscribed with the artist's registered address to the reverse.
Los 66
§ Quentin Bell (1910-1996), a painted pottery plate, hand-painted with a central floral design and with radiating petals to the border, painted signature to underside25.5cm diameterThere are some sings of surface scratching, whether intentional, it is difficult to determine. Some light crazing, but free from chips, cracks or repair.
Los 544
Jenny Holzer (1953-) Inflammatory Essays; a series of ten one signed 'Jenny Holzer' (lower right) offset lithographs on coloured paper each 42.5 x 42.5cm Each print is framed and glazed. Framed dimensions are: 54 x 54cm.Each print appears to have been adhered to the backboard at the corners, as a result four of the ten prints have light coloured marks at the corners caused by the adhesive. Similarly, two of the prints (pale yellow and pale green) have slight acid mat burns at the outermost edges. Would benefit from reframing as each print shows some minor undulation. Peach coloured print with a small knock to top edge, and orange print with some very minor scattered accretions. Otherwise in nice condition. See additional images. Each print is framed and glazed. Framed dimensions are: 54 x 54cm.Each print appears to have been adhered to the backboard at the corners, as a result four of the ten prints have light coloured marks at the corners caused by the adhesive. Similarly, two of the prints (pale yellow and pale green) have slight acid mat burns at the outermost edges. Would benefit from reframing as each print shows some minor undulation. Peach coloured print with a small knock to top edge, and orange print with some very minor scattered accretions. Otherwise in nice condition. See additional images. These have come from a Cambridge-based gallery.
Los 470
§ Richard Smith CBE (1931-2016) Two of a Kind IIa (yellow line on green)signed and dated 'R. Smith 78' (lower right); numbered 57/80etching on folded paper with paperclips, unframed70.5 x 78.5cmNumerous shallow handling creases visible throughout under raking light, some deeper creases in the central panel and along the lower edge. Left hand side with deckled edge. The paper support is slightly toned though this is even and uniform. There are a small number of handling marks, but in overall good condition.
Los 6
Poissons, an R. Lalique opalescent shallow glass dish, model 3263, relief moulded with a repeating pattern of swirling sardines radiating around a bubbled centre, wheel-etched mark to underside27.5cm diameterAn air vubble to the rim and some light surface wear and scratching, in good overall condition.
Los 288
A small Ercol drop-flap occasional table, together with a three-tier etagere 71 x 91 x 32cm; and a wall-mounted plate rackThe table in generally good condition, noting only minor surface wear from use, the buffet similarly good, a little wobbly and again with with light surface wear. THe plate rack with a couple of small chips to edges, otherwise generally good.
Los 329
Henri Gaudier-Brzeska (1891-1915) Reclining Nudeink24.5 x 37cmProvenance:Collection of Alan Barlow (1926-2005)Not examined out of the frame, margins obscured by mount so not available for inspection. Some very minor undulation noted to the right hand side of the paper support. The paper support slightly toned throughout, though this is even and uniform in nature. There are some light scattered accretions throughout and to the mount, one or two thunderflies caught along the mount beneath glass. The most notable accretion is in the top right quadrant and is located on a small abraded area of paper, which is slightly lighter in appearance. Lines are slightly faded, but overall good. Some very slight acid mat burn around the mount.
Los 77
§ Chana Orloff (1888-1968), Le Retour, 1945, an impressionistically modelled bronze of a seated male in thought, signed and dated in the bronze, foundry mark for Susse Foundeur to the reverse, unnumbered from the edition of 10 55.5cm high Provenance: Acquired from the artist by David Spier, and thence by descent within the family. The eighth of nine children, Ukrainian-born French-Israeli sculptor, Chana Orloff, left an indelible mark on the landscape of modernist art during the early 20th century. Although best known for her bronze creations, Orloff demonstrated throughout her career her technical proficiency in media including wood, stone, marble and cement.After working and living in Palestine from 1905, in 1910 Orloff's artistic journey took a transformative turn in Paris. Previously pursuing dress-making, in Paris she discovered a passion for sculpture amidst pioneering luminaries including Modigliani, Soutine, Zadkine and Chagall. Despite a brief return to Palestine, Orloff embraced Paris as her home and artistic sanctuary. By 1920, Orloff's works were beginning to garner international acclaim and by 1925 her significance as an artist was acknowledged by the French government, who made her a Chevalier of the Legion of Honour. World exhibitions, including a dedicated room at the Petit Palais in 1937, shortly followed.Following the conclusion of World War II, Orloff returned to France to find her studio sacked and her sculptures mutilated. The present lot, Le Retour, or The Return, marks a significant departure from Orloff’s previous works and demonstrates the profound psychological impacts of warfare, both personally and collectively. Abandoning her characteristic curves and smooth edges, the Le Retour exploits and tortures the medium to express the anxiety of the sitter, which is further echoed by his pensive pose. Having completed the work, Orloff waited for eighteen years before finally exhibiting the work at the Katia Granoff gallery in 1963. In good overall condition with even dark patination, some light abbrasions around the footrim. Un-numbered, but according to the vendor, purchased in Paris in 1971 as part of the edition of ten.
Los 354
§ Frank Auerbach (1931-) Primrose Hill Landscapesigned and dated 1971 to the reverse, further inscribed 'to Lauren / from / Frank'pencil22.5 x 26cmProvenance:Private Collection, UKMarlborough Gallery, LondonRichard Salmon, LondonPrivate Collection, LondonGDW Projects, LondonCaptured in charcoals, pastels and oils, in all weathers and at all times of day, Primrose Hill Park has not only become one of Auerbach’s most enduring and multifaceted subjects, but has become a character in its own right, appearing in many guises over a period of three decades.Auerbach's documentation of this iconic parkland began in 1954, marking the commencement of a compelling artistic journey. Driven by an almost compulsive need, he continually returned to Primrose Hill, meticulously recording its ever-changing environment. The outcome of his extensive experimentation and keen observations is an extraordinary body of work, ranging from small sketches to bold canvases. The Primrose Hill works, characterised by their almost sculptural quality, showcase a level of confidence and immediacy that can only be achieved through obsessive familiarity.Beyond the confines of his canvases, Auerbach's association with Primrose Hill is deeply rooted in his personal and professional life. Having called this neighbourhood home for many decades, the local community, architectural elements and the ebb and flow of daily life have significantly influenced and shaped his artistic vision. Auerbach's commitment to capturing the essence of this place goes beyond a mere formal exercise; it represents a profound personal connection to his immediate surroundings. As he himself expressed, "This part of London is my world. I've been wandering around these streets for so long that I have become attached to them, and as fond of them as people are of their pets."Not examined out of the frame. Appears to be stuck to mount at each corner. Artist appears to have trimmed the left hand edge very slightly. At the centre of the top edge there is a pinhole, where the work has previously been pinned up in the studio. The pin hole in encircled by a slightly abraded ring caused by the pin. Likewise, around and above the hole is a small area of discolouration (see image four). There is some other slight areas discolouration visible at the top right and both bottom corners, likely caused by the agent used to adhere the corners to the backboard (image 9 and 10). There are two small indentations to the paper support on the left hand edge and, under raking light, some light handling creases visible. Otherwise in overall nice, clean condition.
Los 9
Daphne, a Lalique frosted glass powder jar, the hinged top with gilt metal mounts and modelled with a nude maiden with flowing hair, acid-etched marks to underside 5 x 8cm; together with a Lalique vide poche modelled with a long-tailed bird (A/F), etched mark to underside 9cm diameter (2) The box is in good condition, noting only very light rubbing to the gilt metal mounts. The tail of the bird has been broken off and re-glued (neatly).
Los 490
§ David Hockney OM, CH, RA (1937-) Remember That You Cannot Look At the Sun or Death for Very Longnumbered 2690/3000 to the reverselithograph printed in colours with screenprint in yellow, printed and published by Circa, London, unframed89.5 x 25.5cmProvenance:With Circa Economy, London, with the accompanying Certificate of AuthenticityIn very nice overall condition, some light handling creases towards the top and a light dog-ear crease over the top left corner, otherwise good
Los 471
§ Richard Smith CBE (1931-2016) Garden Citysigned and dated 'R.Smith 76' (lower centre); numbered 10/50etching and collaged string, unframed70 x 76.5cmDeckled edges to all sides. Pigment has retained well on the paper support. On the left hand fold there is a small pin hole (see images) and a small brown accretion. There are some other minor accretions elsewhere, though these do not interfere with the image and are mostly localised to the edges. Under raking light there are two creases to the left hand panel, they are running parallel to each other (approx 5cm apart). Sheet is slightly toned, though this is uniform and even throughout.
Los 271
Two mid-century Atomic/Sputnik coat hooks, one 'W'-shaped with five hooks of varying colours, the other 'V'-shaped with three hookslongest 72cm wideThe W shped is totally original with only light wear/patination as expectedThe V shaped frame has been repainted in the past but exhibits nice patina. Hooks are in original paint
Los 458
§ Francis Bacon (1909-1992) Studies of the Human Body, 1980signed 'Francis Bacon' (lower right); numbered 197/250offset lithograph100 x 64.5cmNot examined out of the frame. Margins are obscured by the frame so not available for inspection. The glazing displays old yellowed remnants of sellotape to the exterior. The image itself is quite faded, most noticeable along the right hand side and top right corner. Some very light handling creases visible along the white lower border. Otherwise appears in good order.
Los 302
A contemporary Italian brass uplighter in the Modernist style, the rake-adjustable lamp raised on two slender brass uprights and rectangular base, with dimmable switch, together with a chrome-plated adjustable reading lampbrass lamp 182cm high, chrome lamp 160cm maxBrass lamp;Excellent condition with a bright,even finish and only minor scuffing to the surfaces commensurate with light useChrome lamp' Some light pitting to the chroe on the base otherwise very good. Grey twisted flex and floor switch
Los 17
A Daum Nancy cameo glass 'Wild Vine' plafonnier, the mottled and frosted orange body overlaid and acid-etched in shallow relief with a design of autumnal leaves and berries, cameo signature to body39.5cm diameterIn good condition, a few air bubbles within the glass and some light scuffs and marks commensurate with age, some very minor fritting around drill holes as one would expect. Metal mounts appear original, chains present but no ceiling rose.
Los 39
Eric Ravilious for Wedgwood, an Edward VIII commemorative coronation mug, 1937, printed in black over blue banding with the date and 'ER' monogram flanking the Royal Coat of Arms, printed and impressed marks to underside, further hand-painted 'CL6203 / A' to the underside10 x 11cmSome errant paint marks to the underside and handle, one or two very light glaze scratches, but otherwise in very nice condition.
Los 434
Charles Hodge Mackie RSA, RSW (1862-1920) The Ducal Palace, Venice, 1911 signed in the plate and bearing the dedication 'To Walter Sickert' woodblock 42 x 54cm Despite his strong connection to Edinburgh, travel served as a crucial wellspring of inspiration for the Scottish artist, Charles Hodge Mackie. In the early stages of his career, financial constraints initially confined his excursions to the local countryside. As his financial circumstances improved, he extended his explorations to rural areas in East Lothian, Fife and the Borders where he engaged in direct landscape painting from nature.By the 1890s, Mackie's artistic horizons underwent further expansion. A pivotal moment occurred in 1892 when he ventured to Brittany and encountered Paul Sérusier, the leader of Les Nabis. This encounter propelled him to subsequent visits to Paris, where he engaged with prominent Symbolist artists, prompting Mackie to experiment with Symbolism in his own artistic practice.Between 1903 and 1904, Mackie embarked on a tour of Spain and increased his time spent in France, portraying scenic farms in Normandy and Picardy. In contrast to his Symbolist period, these later works showcased a more nuanced treatment of color and light, aligning with the preferences of the discerning Scottish art market.However, Venice emerged as a profound fascination for Mackie, marking a significant juncture in his career during his inaugural visit in 1908. Supported by patrons such as Andrew Carnegie, Ernest Auldjo Jamieson, and John James Cowan, Mackie embarked on several extended trips to Venice between 1908 and 1914. During these visits, he produced an extensive body of work, including oil paintings, watercolors, and a notable series of three colored woodcut prints inspired by Venetian vistas.In addition to his versatile artistic portfolio, influenced by his extensive travels and collaborative spirit with fellow artists, Mackie is also esteemed for his contributions to the local artistic community. As a founder member and chairman of the Society of Scottish Artists, he played a pivotal role in fostering and shaping the artistic landscape in his region.
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534297 Los(e)/Seite