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534310 Los(e)/Seite
Los 5
ENGLAND A collection of 40 England programmes 6 Homes and 34 Aways 1947-1996. Homes v Scotland 1947,1949,1951,1953 and 1955 plus Euro 1996 opening match v Switzerland. Aways v Wales 1947,1949,1951953,1955,1957, 1959,1961,1963,1965,1967, 1970 and 1972, Scotland 1948,1950,1952,1954,1956,1958,1960 and 1966, Germany 1965, Norway, Denmark, Poland 1966, Germany 1968, Holland 1969, Malta 1971, Cyprus 1975, Luxembourg 1977 (WCQ), Norway 1981 (WCQ) and Ireland and Soviet Union (Euro 1988). Light duplication. Generally good
Los 514
CHELSEA A collection of 3 single sheet home programmes all Football League South from the 1943/44 season v Luton Town (team changes, scorers), Crystal Palace (small piece missing with minimal text loss, score, scorers and team changes with scores at back. only fair) and Brighton & Hove Albion (light horizontal fold). As described
Los 13
LÉONARD TSUGUHARU FOUJITA (1886-1968)Femme allongée, Youki signed and dated 'Foujita 1923' and further signed in Japanese (lower left); signed 'Foujita' and further signed, inscribed and dated in Japanese (on the stretcher)oil on canvas50 x 61.2cm (19 11/16 x 24 1/8in).Painted in Paris in December 1923Footnotes:ProvenancePrivate collection, ParisPrivate collection, Paris (a gift from the above in the 1930s).Thence by descent to the present owners.ExhibitedParis, Palais à la Porte Maillot, Salon des Tuileries, 1924.Paris, Musée de Montmartre, Léonard Tsuguhuaru Foujita et l'Ecole de Paris, 10 April - 23 June 1991, no. 14 (later travelled to Tokyo). Dinard, Palais des Arts du Festival, Foujita, le maître japonais de Montparnasse, 27 June - 25 September 2004, no. 51.Kawamura, Kawamura Memorial DIC Museum of Art, Léonard Foujita et ses modèles, 17 September 2016 - 15 January 2017, no. 16 (later travelled to Iwaki, Niigata & Akita).Paris, Musée Maillol, Foujita, peindre dans les années folles, 7 March - 15 July 2018, no. 79. LiteratureF. de Miomandre, 'Foujita', in L'Art et les artistes, Paris, Vol. XXIII, no. 120, October 1931 (illustrated p. 14; titled 'Femme couchée' and dated '1924').S. Buisson, Léonard Tsuguharu Foujita, Vol. II, Paris, 2001, no. 23.30 (illustrated pp. 29 & 187).In the three decades from the Meiji Restoration until the turn of the century in 1900, Japan had changed in the most profound way. Closed off to the Western world throughout the Tokugawa shogunate, Japan had maintained the purity of its traditions in a way that seemed unimaginable to its contemporaries in the melting pot of central European culture. This was certainly true of the Arts, as painters and craftsmen revived and refined the ancient styles of painting, wood-blocking and porcelain production. When Japan threw off this self-imposed isolation in the 19th Century, a new wave of painting was promoted by the government to reflect the cultural rebirth and global reintegration: yoga, or Western, style. Artists were now encouraged to travel to Europe, seeking an exchange with their French, Dutch and Italian counterparts, returning to Japan well-versed in the aesthetic developments they had encountered there. One young artist who set off on this journey of discovery was Tsuguharu Foujita. However, he did not return to Japan shortly after his training in Paris: he went on to become one of the leading figures of the European avant-garde. By blending both Eastern and Western canonical traditions, and elevating them with a talent entirely of his own, Foujita remains one of the most significant figures to emerge from this period of cultural exchange. Born not long after the reopening of Japan to the West, Foujita trained as a yoga painter at the Tokyo National University of Fine Arts and Music, and shortly thereafter moved to France with the intention of immersing himself in the art and culture of Paris, the epicentre of the international art scene. Perhaps Foujita's intentions were never to return to Japan bringing with him an understanding of the current French practice, but it soon became clear upon his arrival that he would not be satisfied with mere artistic reportage. Within a decade of his arrival in 1910, Foujita had attained critical success, and was a leading light of the Montparnasse scene, alongside his friends and fellow artists Amedeo Modigliani, Chaïm Soutine, Pablo Picasso and Fernand Léger. The end of the First World War in 1918 brought with it a new dawn in Paris. As Fernand Léger described it, 'man could finally lift his head, open his eyes, look around him and enjoy once again a taste for life' (Léger, quoted in S. Buisson, Léonard Tsuguharu Foujita, ACR Edition, Vol. I, Paris, p. 80). The Grand Palais reopened the following year, after spending the war as a barracks, and a Salon d'Automne was organised in which Foujita took part alongside some of the great names of the day: Matisse, Bonnard, Marquet. Foujita became a regular fixture at the annual Salons, and through these occasions he began to gain greater and greater acclaim. After the heartache of losing his close friends Amedeo Modigliani and Jeanne Hébuterne in 1920, Foujita threw himself ever more fervently into the practice of his art. He gained critical success for his serene still-lifes, and portraits embodying both his Eastern traditions and the most thrilling elements of the avant-garde. By the time the current work, Femme allongée, Youki, was exhibited in the Salon des Tuilieries in 1924, Foujita was at the very height of his 'golden-age'. Painted in 1923, the present work is one of the most alluring of Foujita's grands nus: a series of medium and large-scale canvases depicting the odalisque of the European tradition, seen through the prism of the Japanese painter's unique vision. Around 1920 Foujita moved away from the brighter palette he had adopted during the 1910s, and developed a restrained palette of greys, browns, blacks and creamy whites. Foujita even created a technique called nyhakushoku, or 'milky white', that he used to paint the serene tones of his nudes' skin. He employed these almost monochrome hues with devastating effect: in the present work, Foujita has used a smoky black to depict the background of the bedroom, throwing his sitter's alabaster skin into stunning contrast. Upon close study the subtle variations in her skin tone become clear, the shell-pink of her nipples and lips, and the shadows highlighting her breasts. The warm brown of her wavy hair identifies the sitter as Lucie Badoud, or 'Youki' as she was called affectionately by Foujita. The close perspective takes the viewer into the bed itself, enveloped in the soft grey ripples of the bed linens and the darkness of the intimate space Foujita has created. Youki gazes directly at the viewer, as if looking in to the eyes of her lover. The Japanese writer Teiichi Hijikata remarked that 'the skin [of Foujita's nudes] has the smooth and sparkling surface of porcelain, containing all the charm of white with none of the coldness' (Hijikata, quoted in S. Buisson, ibid., p. 96).Foujita had noted that the nude was all but absent from Japanese art, and that he had made a conscious decision to focus on the subject, looking to the greats of the Western canon, for whom the female nude had been a cornerstone since the Italian Renaissance. In 1921 the artist travelled to Italy, and encountered many of the great Western paintings so admired throughout the centuries. Painters like Michelangelo, Titian and Raphael were to become as important for Foujita's artistic development as Picasso and Modigliani had been during the preceding decade. It is likely, for instance, that Foujita would have seen The Venus of Urbino during this formative trip, and one cannot behold Femme allongée, Youki without recalling the direct gaze and gently downward tilting face of Titian's golden-haired beauty. Foujita's obsession with the female nude during the early 1920s can be seen partly as a response to his discovery of the Old Masters, but also as a conceptual choice very much tied to his Japanese heritage. Foujita applied the Japanese concept of Geidō, which means 'the way of art', to his practice. This concept encompassed the idea of an artist only attaining greatness through an apprentice-like devotion to perfecting technique. He believed that only through applying himself with an almost monkish devotion to his practice, could he then introduce an element of individuality and creative greatness to his work. This goes some way to explain Foujita's somewhat repetitive 'self-copying', as Sylvie Buisson refers to it, (S. Buisson, op. cit., p. 92), where the artist returned ... This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 16
RAOUL DUFY (1877-1953)Le retour des régates signed, inscribed and dated 'Deauville Raoul Dufy 1933' (lower left)oil on canvas46.7 x 110cm (18 3/8 x 43 5/16in).Painted in Deauville in 1933Footnotes:ProvenanceM. Bignou Collection (by 1936).Perls Galleries, New York, no. 3311.Anon. sale, Christie's, New York, 8 May 2002, lot 300.Kunsthandel Frans Jacobs, Amsterdam.Private collection, The Netherlands (acquired from the above on 24 October 2002). ExhibitedToledo, The Toledo Museum of Art, European Section of the Thirty Third Carnegie International Exhibition of Paintings, 1 March – 19 April 1936, no. 78. LiteratureM. Laffaille, Raoul Dufy, catalogue raisonné de l'oeuvre peint, Vol. II, Geneva, 1973, no. 864 (illustrated p. 351).Le retour des régates was executed in Deauville in 1933 and stems from one of Raoul Dufy's most iconic subjects. Boat races were painted by the artist on numerous occasions throughout both France and Great Britain: in fact, the subject first appeared in Dufy's work in 1907 and remained an important theme throughout his practice. Executed on a canvas measuring over a metre long, Les retour des régates is one of the largest regatta scenes ever to appear at auction and was painted at the height of the artist's career.In the early twentieth century, Deauville developed into a go-to resort for high society due to its proximity to Paris. With a racecourse, a casino and a harbour, the small town provided entertainment throughout the year. The many festivities that were held established an influx of tourists and formed the ideal environment for Dufy to paint en plein air. The artist could observe the pastimes of the French upper-class from behind the easel, and the joyous and dynamic atmosphere allowed him to experiment with movement and colour. Born on the northern coast of France in the city of Le Havre, the artist was fascinated by the ocean from a young age as he would stand on shore watching the activities around the water's edge. Dufy considered the sea as a backdrop for lively spectacles, and it formed the ultimate location to observe the ever changing light effects: 'Unhappy the man who lives in a climate far from the sea, or unfed by the sparkling waters of a river!...The painter constantly needs to be able to see a certain quality of light, a flickering, an airy palpitation bathing what he sees' (Dufy, quoted in D. Perez-Tibi, Dufy, New York, 1989, p. 158).Dufy scrutinised the boat racing theme over the course of his career, which resulted in an array of works on the subject. It allowed the artist to experiment with various structures and colour arrangements in his compositions and he mastered a uniquely free and dynamic style. In the present painting Le retour des régates, the viewer observes the sailing boats returning to the harbour after racing on a sunny day at sea. Dufy captures the scene as seen through the eyes of the sailors in the advancing boats, giving the viewer the sensation that they too are within the composition. With the wind blowing in their sails, the boats navigate towards maritime flags situating the harbour with the shore emerging in the background. Instead of carefully delineated details, Dufy employed bold and rigorous brushwork to create stylized forms on the two-dimensional picture plane. A dazzling palette of blue hues accentuate the sky and sea, evoking the atmospheric climate of his lively design. The present work is proof of the artist's masterful colour technique. In an interview with Pierre Courthion, Dufy elaborated on his choice of colour: 'Blue is the only color which keeps its own individuality across the spectrum. Take blue with its different nuances, from the darkest to the lightest; it will always be blue, whereas yellow darkens in shadow and fades out in lighter parts, dark red becomes brown and when diluted with white, it isn't red any more, but another color: pink' (Dufy quoted in P. Courthion, Raoul Dufy, Geneva, 1951, p. 52).Le retour des régates captures the spirit and influence of the Fauves, with whom Dufy exhibited following his encounter with Henri Matisse's seminal work Luxe, Calme et Volupté at the Salon des Indépendants in 1905. Being exposed to such daring work encouraged the young artist to experiment with a wider palette. As Dufy himself emphasised: 'colour captures the light that forms and animates the group as a whole. Every object or group of objects is placed within its own area of light and shade, receiving its share of reflections and being subjected to the arrangement decided by the artist' (Dufy quoted in D. Perez-Tibi, op. cit., p. 150).The 1930s are regarded as the apex of Dufy's career, as his work started to receive institutional attention and was widely acknowledged across continents. In 1932 the Musée de Luxembourg in Paris acquired one of his works for their permanent collection, and by 1936 Dufy received several important public commissions in Paris, most notably the mural for the Exposition Internationale des Arts et Techniques dans la Vie Moderne. In the same year, the present painting Les retour des régates was included in the thirty-third edition of the prestigious Carnegie International exhibition, held in the Toledo Museum of Art in Ohio. This show was initiated in 1896 by industrialist and philanthropist Andrew Carnegie and was the first exhibition with an international allure in North America. In 1936 the show served as an annual survey to identify international trends in avant-garde art to inspire and educate the public. Dufy's work was exhibited alongside paintings by artists such as George Braque and Pierre Bonnard. Other participants of the Carnegie International included Camille Pissarro, Salvador Dalí and Jackson Pollock.Raoul Dufy's spirited and bright compositions remain intrinsic to the art historical discourse of today, particularly his regatta paintings. Comparable works to Les retour des régates can be found in major public collections including the Musée d'Arte Moderne de la Ville in Paris, the Tate Modern in London and the National Gallery of Victoria in Melbourne.For further information on this lot please visit Bonhams.com
Los 126
19th Century sampler, the rose edge with a central house raised on a hill filled with swans, a cat and a dog, the text above "Keep thy heart with all diligence for out of it are the issues of life. For the just is as a shining light that shineth more and more unto the perfect day" the text below " The Covenant of Free grace. Was made with Christ our Head. And stor'd with precious promise. By which our Souls are fed. Hence all our blessings flow. And balm forevery fear. O may by Experience know how precious Lord they are" above further flowers and two deer, 30cm x 52cm
Los 1
Signed and dated 1877, oil on canvas.59.5cm x 90cm (23.5in x 35.5in)Condition report: The painting is in good, restored condition. Under UV light there is evidence of cleaning and extensive overpainting. A thick coat of varnish has been applied across the painting. There is craquelure across the surface of the painting. The painting is ornately framed but not glazed. The frame has knocks and losses.
Los 106
Imperial Russian Laquered hinged box, painted with agricultural workers, the interior painted red and bearing gilt Imperial Eagle mark and makers mark, circa 19009.5cm wide Condition report: Crazing and a small flake to the painted decoration. Light crazing to the black. There is an internal crack close to the hinge.
Los 13
Signed, titled on verso, watercolour.15cm x 22cm (6in x 8.5in)Condition report: The painting is in good, original condition with strong colours. There are some minor spots of foxing across the painting and some very light time staining and yellowing around the edges of the sheet near the mount board. The painting is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
Los 147
An Edward VII silver hip flask, of typical form, hallmarks for G & J W Hawksley, Sheffield, 1909, length 11cm, gross weight 3ozt.Condition report: Overall condition fair Stopper deficientLight dents throughout, heavier dents to cornersHallmarks partially worn but legibleNumbered 495 .1. to underneathLid does not close flush
Los 179
A Victorian silver cheroot cutter/vesta case/double sovereign holder, with personal inscription to front, hallmarks for George Unite & Sons, Birmingham, 1900, dimensions 5.3 x 5.8cm, gross weight 2.55ozt.Condition report: Overall condition goodLight scratchesSmall dent over Dublin letteringOpens and closes correctly
Los 192
A silver enamel trinket box, of circular outline, the pink and opalescent guilloche enamel with white enamel borders, and silver gilt interior, foreign assay marks, worn, stamped 925, diameter 4.9cm, gross weight 1.94ozt.Condition report: Overall condition good Only very light scratches to enamel, otherwise in good conditionHallmarks illegible
Los 196
A pair of Victorian silver candlesticks, each designed as a knopped and slightly tapering stem with square spreading foot, hallmarks for Henry Wilkinson & Co., Sheffield, 1843, height 30cm.Condition report: Overall condition good to fairOne candlestick - one corner of base slightly upturned- light scratches and nicks, some losses and wear to areas of baseOther - Small dent to stem
Los 2
Unsigned, oil on canvas.71cm x 62.5cm (28in x 24.5in)Condition report: The painting is in fair, restored condition. There are numerous patches visible on the reverse of the painting and some minor flecks of paint loss across the canvas. Under UV light there is evidence of cleaning and extensive overpainting. The painting is ornately framed but not glazed. The frame has knocks and losses commensurate with age.
Los 22
Signed, oil on canvas.44cm x 95.5cm (17.25in x 37.75in)Condition report: The painting is in good, restored condition. The painting has been re-lined and there is a patch visible on the reverse of the canvas. Under UV light there is evidence of cleaning and overpainting. The painting is ornately framed but not glazed. The frame has some knocks and losses.
Los 222
A George III silver mug, of slightly tapered form, with scrolling handle and circular spreading foot, hallmarks for Richard Richardson II, Chester, 1762, height 7.8cm, gross weight 3.93ozt.Condition report: Overall condition good to fairA few small dents in placesMarks clearSome light scratches to base
Los 24
Signed, titled on gallery label - 'Nigel Stacy-Marks Ltd' verso, oil on canvas.74.5cm x 105cm (29.25in x 41.25in)Condition report: The painting is in good, restored condition. The painting has been re-lined. Under UV light there is evidence of cleaning and extensive overpainting. There is craquelure across the surface of the painting and one or two small chips of paint loss in the lower third of the canvas. The painting is ornately framed but not glazed.
Los 25
Signed and dated 1867, oil on canvas.49cm x 78.5cm (19.25in x 31in)Condition report: The painting is in good, restored condition. The painting has been re-lined. Under UV light there is evidence of cleaning and extensive overpainting. There is craquelure across the surface of the painting. The painting is framed but not glazed. The frame has knocks and losses.
Los 27
Signed and dated 'Madras 1912', oil on canvas.61cm x 52cm (24in x 20.5in)Condition report: The painting is in good, restored condition. Under UV light there is evidence of cleaning and overpainting. There is some minor craquelure across the surface of the painting. The painting is ornately framed but not glazed.
Los 28
Unsigned, titled on label verso, oil on canvas.75cm x 62.5cm (29.5in x 24.5in)Condition report: The painting is in fair, restored condition. Under UV light there is evidence of cleaning and overpainting and there are several patches visible on the reverse of the canvas. The varnish has been applied very thickly across the painting and there are numerous dints, holes and tears across the canvas. There is craquelure across the surface of the painting and some surface scuffs and scratches. The canvas appears to be slack on its stretcher and has the resultant stretcher marks visible running parallel to the edges of the canvas. The painting is framed but not glazed. The frame has the odd minor knock and loss commensurate with age.
Los 3
Unsigned, oil on canvas.52cm x 67.5cm (20.5in x 26.5in)Condition report: The painting is in fair, restored condition. The painting has been re-lined. Under UV light there is evidence of cleaning and overpainting. There is some craquelure across the surface of the painting. There are numerous holes across the canvas and flecks of paint loss. The painting is ornately framed but not glazed. The frame has some knocks and losses commensurate with age.
Los 341
A set of six Queen Anne style light oak dining chairs, comprising four single and two open arm carvers, each with vase-shaped flat back with central flower head, inlaid decoration, close nailed burgundy leather upholstered seats, cabriole foreleg supports united by turned stretchers.Condition report: Re-finished and varnished to a high standard with fresh upholstery.
Los 36
Unsigned, possibly a fragment from a larger painting, oil on canvas.30.5cm x 26cm (12in x 10.25in)Condition report: The painting is in good, restored condition. The painting has been re-lined. Under UV light there is evidence of cleaning and overpainting. The painting is ornately framed but not glazed.
Los 387
Victorian light oak Wellington chest, top drawer stamped 'Bulstrode, Cambridge', rectangular box top above seven graduated drawers, each with turned handles, hinged locking bar, blind base.Bulstrode Cabinet Makers were well known for supplying furniture to the Cambridge Universities.width 58cm (23"), height 120cm (47"), depth 47cm (18")Condition report: Top with split, while all handles are present, one has damage, drawer linings oak, used condition.
Los 40
Unsigned, oil on canvas.57.5cm x 90cm (22.75in x 35.5in)Condition report: The painting is in good, restored condition. The painting has been re-lined. Under UV light there is evidence of cleaning and overpainting. There is some minor craquelure across the surface of the painting. The painting is ornately framed but not glazed. The frame has the odd minor knock and loss commensurate with age.
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534310 Los(e)/Seite