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628738 Los(e)/Seite
Los 381
Ivana Trump signed 7x5 colour photo. Czech-American businesswoman and former fashion model who was the first wife of Donald Trump from 1977 until 1992. They have three children together, Donald Trump Jr, Ivanka Trump and Eric Trump. Dedicated. Good Condition. All signed items come with our certificate of authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.95, EU from £4.99, Overseas from £7.95
Los 235
A group of mixed pocket and wrist watchesto include Hewlett Packard LED wrist watch, Model 1; a large silver cased pocket watch, Charles Frodsham, inscribed dial and movement, lever movement (Case diameter 65mm); two other silver cased pocket watches; five other cased pocket watches; a fob medal; a small quartz swivel seal (qty)
Los 266
A lady's gold and stainless steel cased wrist watch, Baume et MericerRiviera model, ref. 5231.08, champagne dial with sweep second hand, date aperture, screw down crown, flexible bracelet, deployant clasp; together with a 18ct gold lady's Ondina wrist watch, square champagne dial, baton indicators, integral narrow gold flexible bracelet, fold over clasp (2)Case widths: 25mm & 17mm, dials: 19mm & 14mm
Los 429
A MEISSEN GROUP OF THE OLD WOMAN IN LOVE, LATE 19TH CENTURYthe young swindler supposedly paying court by kissing the hand of the seated old woman as he peers avariciously into her strongbox, shaped oval base, underglaze blue crossed swords mark, incised model No.A46, impressed numbers14.5cm high, some restoration
Los 430
A MEISSEN GROUP OF ICE SKATERS, MID 19TH CENTURYafter an 18th century model, the behatted gentleman kneeling to tie the skate to his companion’s shoe, gilt edged scroll moulded base, blue crossed swords mark, incised model No.36, further incised numerals and painted initial R14.5cm high, some restoration
Los 426
A MEISSEN FIGURE OF A BOY WITH FLOWERS, LATE 18TH CENTURY / EARLY 19TH CENTURYafter a model by Johann Joachim Kändler (1706-1775), modelled standing against a tree stump holding a hat full of flowers in his left hand and a flower posy in his right, incised A.19 to rear, 13.5cm high; together with a Meissen figure of a boy eating grapes, circa 1900, modelled seated, underglaze blue crossed swords, incised and impressed numerals, 12cm high, hand missing (2)
Los 25
* SOUTINE, CHAÏM(1893-1943)*La liseuse endormie, Madeleine Castaing.Oil on canvas, 57 by 41.5 cm.Executed c. 1937. Provenance: Acquired directly from the artist by Marcellin and Madeleine Castaing. Collection of Madeleine Castaing. Impressionist and Modern Art Day, Sotheby’s London, 20 June 2006, lot 340. Important private collection, Europe. Exhibited: L’Or des années folles, 1918–1930, Grand Palais, Paris, 8 February–5 March 1979. Chaim Soutine, 1893–1943, Westfälisches Landesmuseum für Kunst und Kulturgeschichte, Münster; Kunsthalle, Tübingen; Hayward Gallery, London; Kunstmuseum, Lucerne, 1981–1982. Soutine, 1893–1943, Galleri Bellman, New York, 6 December 1983–28 January 1984. C. Soutine, XXXIe Salon de Montrouge. Art contemporain, peinture, sculpture, dessin, Centre Culturel et Artistique, Montrouge, 1986. Chaim Soutine, 1893–1943. I dipinti della collezione Castaing, Galleria Bergamini, Milan, March–April 1987. Soutine, Musée de Chartres, Chartres, 29 June–30 October 1989, No. 69. Chaim Soutine, Galerie Thomas, Munich, 1 April–30 May 2009. Literature: M. Ochse, “Retour de Soutine”, Jardin des Arts, Paris, No. 218, May–June 1973, p. 9, illustrated. Exhibition catalogue, J. Monneret (ed.), L’Or des années folles, 1918–1930, Paris, Société des artistes indépendants, 1979, p. 28, No. 19, illustrated. Exhibition catalogue, Chaim Soutine, 1893–1943, London, Arts Council of Great Britain, 1982, No. 90, illustrated with incorrect orientation. Exhibition catalogue, Soutine, 1893–1943, New York, Galleri Bellman, 1983, No. 19, illustrated with incorrect orientation and size. Exhibition catalogue, C. Soutine, XXXIe Salon de Montrouge. Art contemporain, peinture, sculpture, dessin, Montrouge, Centre Culturel et Artistique, 1986, No. 27. Exhibition catalogue, F. Porzio, Chaim Soutine, 1893–1943. I dipinti della collezione Castaing, Milan, Galleria Bergamini, 1987, No. 15, illustrated and listed. Exhibition catalogue, Soutine, Chartres, 1989, p. 303, illustrated; p. 302, No. 69, listed with the date 1940. M. Tuchman, E. Dunow, K. Perls (eds), Chaim Soutine. Catalogue Raisonné, Cologne, Benedikt Taschen, 1993, p. 760, listed; p. 763, illustrated. Chaim Soutine. The Passion of Painting, Munich, Galerie Thomas, 2009, p. 134, illustrated and listed. M. German, Khaim Sutin. 1893–1943, Moscow, Iskusstvo–XXI vek, 2009, p. 309, illustrated and mentioned in the text; p. 357, listed. K. Carl, Chaim Soutine, London, Parkstone International, 2015, illustrated. Chaïm Soutine’s La liseuse endormie, Madeleine Castaing, now offered for auction, the portrait of a close friend, the collector and the artist’s patron, Madame Madeleine Castaing (1894–1992), is one of the artist’s most expressive portraits. It was painted in the second half of the 1930s, when the relationship between Soutine and his model — who was to become a wellknown bohemian antique dealer, interior designer and was, according to Picasso, “the most alluring” woman in Paris — was already so friendly and enduring that it did not presuppose the traditional official distance between the artist and his patron. They first met in the 1920s, when a wealthy couple Madeleine and Marcellin Castaing — lovers of painting and passionate collectors, who had already a collection, which included works by Modigliani, Rouault, Picasso, Gris and Léger — saw some of Soutine’s works and began to track them down. The Castaings’ support, which remained with Soutine until his dying day, gradually brought them closer together, and after the death of Léopold Zborowski, the artist’s long-time dealer, Madeleine Castaing personally looked after Soutine’s affairs. From 1930 to 1935, the artist spent his summers at the Castaings’ home on their Lèves estate near Chartres. It was here that he painted his masterpieces Woman Entering the Water (1931; after Rembrandt’s Woman Bathing), Siesta (1934), Child in Blue and Chartres Cathedral (1934). Madeleine Castaing posed repeatedly for Soutine both in his workshop near the Parc Montsouris and on her estate. Soutine trusted her implicitly, and she alone was allowed to observe his work in progress. As she once put it, “I am the only person he could bear when he was painting and even when he was pondering the idea for a picture. I was the only person whom he asked for advice about a model or subject.” It comes as no surprise that it is one of the portraits of Madeleine Castaing, dating from 1928 (The Metropolitan Museum of Art), that marked the pinnacle of the artist’s portrait painting. She was later to recall: “I would often sit for him. I could not let slip a single unnecessary word or say anything that disturbed his thinking. A simple phrase might infuriate him. I remember his reaction when, without having the slightest wish to belittle his talent, my husband was trying to find some spiritual connection between one of his latest works and Renoir. Was Soutine aggrieved, or did he sense some affinity himself? But in his anger, he tore up his work anyway.” The main feature of the artist’s interpretation of the image of Madeleine Castaing in this portrait is her almost grotesque appearance. Having dozed off while reading a book, she has let her head fall onto the cushioned edge of the couch, possibly in the blue sitting room at her Lèves estate, which was commandeered by the Nazis in 1940, and has pressed the book to her face on an unconscious impulse. We can see neither the female figure nor the couch as a whole, but only this strange viewing angle in a very narrow vertical section. The upward motion of the disproportionate arms and the pointed nose make the face of the sleeping woman resemble a frightened bird. A large nose, eyebrows raised in surprise, wide, red, half-parted lips and huge eyes covered by bulging eyelids stand out on her thin, highly expressive and temperamental face, seen in profile with taut, smooth cheekbones. Hidden drama and nervous tension are also encapsulated in the canvas’s colour scheme: they cry out from the striking juxtaposition of the intense dark-blue, white, pink and yellow colours. The fair, straw-coloured turmoil of Madeleine’s hair, tossed back beyond the couch, is echoed by the yellowness of her left arm with its dark-blue ropelike veins. The deliberately distorted proportions of the vaguely delineated real-life features, the bright blotches on the face, the grimace of a troubled sleep and the actual angular nature of the composition give rise to a feeling of overabundant expressiveness. One can sense a poignancy and insecurity in the model. The spontaneity of execution, the outward passionate improvisation and the chromatic colouristic movement of the background, all augmented by the vividly expressed individuality of the lady’s appearance, make the portrait so memorable and significant. La liseuse endormie, Madeleine Castaing provides a clear illustration of why the art-loving Madeleine Castaing, who had an extravagant taste, her own inimitable style and artistic flair, particularly cherished the portraits of her that were painted by Soutine. It is precisely when looking at this canvas that one can appreciate the accuracy of Élie Faure’s judgment of the artist, when he spoke of his “supernatural expressiveness of visible life”.
Los 31
* NISSKY, GEORGY(1903-1987)*Reclining Nude, signed with a monogram.Oil on canvas, 93.5 by 92.5 cm.Executed c. 1959. Provenance: A gift from Nissky to the artist Max Birstein, Moscow. Important private collection, USA. Authenticity of the work has been confirmed by the expert Yu. Rybakova. Authenticity has also been confirmed by the expert T. Ermakova. Exhibited: Georgy Grigorievich Nissky. Zhivopis, akvarel, guash, Academy of Arts of the USSR, Moscow, 1963. Niu v sovetskom izobrazitelnom iskusstve, Exhibition Hall of the Moscow Union of Artists, Moscow, 1995. Literature: Exhibition catalogue, Georgy Grigorievich Nissky. Zhivopis, akvarel, guash, Moscow, Academy of Arts of the USSR, 1963, p. 25, listed under the works from 1959. M. Kiselev, Georgy Nissky, Moscow, Izobrazitelnoe iskusstvo, 1972, p. 154, listed under the works from 1959. The painting Reclining Nude, by the famous Soviet landscape painter Georgiy Nissky’s, now presented for auction, is an extremely rare example of his exploring the genre of nude. Both at the anniversary review exhibition of the artist’s work in 1963 and in the latest inventory of his output, Reclining Nude is the sole example of this genre. Although this work is primarily a study, its artistic qualities and history are most remarkable. Nissky, who hardly ever made sketches and very rarely resorted to studies while working en plein air, preferred to create on the canvas a complete, thought-through image. Therefore, it is safe to assume that the idea behind Reclining Nude was by no means coincidental. Nissky painted the work in his studio at the “Artists’ Colony” in Verkhniaia Maslovka Street, probably in a single sitting. He also invited an old friend who now had his own studio next door, Andrei Goncharov, to paint his “real-life study”. Today Goncharov’s Nude Model. In G. Nissky’s Studio (1958) — which is similar to Nissky’s work — is in the collection of the Moscow Museum of Modern Art. It is quite fascinating to compare these two works. Goncharov’s composition, more traditional and painted from an angle, enables him to convey in full detail the complexity of his arrangement. His viewing angle encompasses not only the nude model, but also a ceramic jug on the floor, a small casting of Rodin’s The Thinker on a stool, and the whole variety of fabrics and drapes surrounding the model. Conversely, Nissky chooses a panoramic view from above, as is typical of his landscapes, an arrangement which allows him to include the whole corner of the studio. The nude model is in the centre of the composition, but the actual depicted space expands, drawing in a bookcase, an entire bed, and even a rug over the bed that cannot be seen at all in Goncharov’s work. Although the colour in Nissky’s picture somewhat reflects colour in real life, it has an ornamental function, rather than being an actual, objective representation. The colour planes contrast with each other, while the objects are juxtaposed, lending the canvas a particular flamboyance and dynamism. Speaking of his method, the artist once confided: “I always... want to paint clearly, concisely, simply. I work and literally fall in love with a picture, and I don’t leave it until I finish it.” It seems like, tackling a genre quite far removed from a landscapist’s home turf whilst competing with an artist friend, Nissky got quite involved and, spurning all unnecessary detail, created a generalised and succinct image, imbued with the spirit of his time.
Los 364
Porcelain figurine of Sergeant PrishibeyevAFTER A MODEL BY B. VOROBIEV, LOMONOSOV STATE PORCELAIN MANUFACTORY, LENINGRAD, 1950–1960s Height 16.5 cm. Realistically modelled, wearing white military jacket with gilt buttons over pale green trousers tucked in boots, with characteristic moustache, with blue manufactory mark, incised ‘11’, further numbered ‘22’ in black and stamped ‘2c’ in green.
Los 7
DEINEKA, ALEXANDER(1899-1969)Woman in a Yellow Dress, signed and dated 1955.Oil on canvas, 65 by 83 cm.Provenance: Private collection, Europe. Authenticity certificate from the expert T. Zeliukina. Related literature: For the work Mayakovsky’s Verses, see V. Sysoev (ed.), Alexander Deineka, Leningrad, Aurora Art Publishers, 1982, p. 13, mentioned in the text. Deineka. Zhivopis, Moscow, Interros, 2010, p. 165, illustrated and listed; p. 334, No. 261, illustrated. The portrait Woman in a Yellow Dress, which MacDougall’s is now presenting for auction, was painted by Alexander Deineka in 1955. The artist was, at that time, focusing particularly on female images, and he created several portraits that were seen by his contemporaries as expressing the spirit of the age. In these works the artist is looking in individual features for those that are typical; he seeks not only to convey the appearance of a particular model, but also to create a generalised portrait of the woman of his times. The Portrait of the Architect Tamara Mileshina (1955) and Mother and Sister (1954) are apposite examples, as well as a whole series of portrait or genre-and-portrait compositions in which the principal female figures are unnamed and act as typical representatives of Soviet womanhood at work (The Milkmaid, 1959; Peaceful Construction, 1959–1960; At the Seaside, 1957), on holiday (In the Crimea, 1956; Bathers, 1952) and in sport (The Snow Maiden, 1954; The Race, 1958–1959). This enables the viewer to see each of Deineka’s female subjects as a particular social role — that of mother, young professional, peasant, student or middlebrow housewife — to get a feeling for their personality and hear a familiar personal “history”. Deineka himself is keen to use the “typecast” nature of his subjects, using them for appropriate roles in his large multi-character genre compositions. Accordingly, the present model, slightly self-conscious and focussed, here sitting against the carpet backdrop, also appears as one of the central protagonists in Deineka’s picture Mayakovsky’s Verses (1955, National Gallery of Armenia, Yerevan). But while the portrait is delicate and imbued with lyricism, and the sitter who came round to Deineka’s studio wearing a smart, brightly coloured dress, with her hair and nails done for the occasion, seems to be merely a “neighbour” and one the of his contemporaries, her representation in the picture Mayakovsky’s Verses is pure social satire. Deineka painted the picture at the peak of his powers, when he had long been lauded as one of the foremost masters of Soviet painting and had under his belt commissions for the famous showcase mosaics at metro stations, as well as monumental compositions for Soviet pavilions at international exhibitions. Nevertheless, here he draws on his lengthy earlier experience as a magazine illustrator, deliberately accentuating the features of the sitter. She is endowed with a few extra attributes — a small gold watch and a coquettish topknot on her forehead, protruding from underneath a headscarf, and turns her into an amiable, inquisitive, petty bourgeois woman from Soviet comedy films, who munches her sandwich in a suburban train, while young people in the seats nearby enthusiastically recite Mayakovsky’s poems. But this is merely a tribute to the artist’s concept of the work, whose other protagonists he borrows from his other compositions spanning many years. The portrait presented here is, conversely, an embodiment of another artistic quest. Deineka describes its magnitude in his article Moi raznye sovremenniki (My Various Contemporaries): “I particularly like to focus on the greatness of common people and to discover bigger human qualities in their faces… To be honest, the artist strives to depict the beautiful, wherever it may manifest itself. I find completely uncongenial those… portraits by Western artists in which moronic characters, revolting specimens of the human race, are elevated to the status of art that lays claims to the creation of new concepts of beauty… For my works, I would find my contemporaries in the most diverse conditions. In mines, fields, aboard ships and aircraft, as well as in many, many other places… These encounters were compact encapsulations of life stories. They enriched me. They encouraged me to make discoveries in portraiture. It sometimes happens that you pass along a whole street, and afterwards remember not a single face. This is the fault of the artist: it means that he failed see in the faces something new, unique, relevant…”
Los 323
A bronze alloy model of a French Bulldog, 20th century, cast as standing on its hind legs, with marble socle, 59cm high, together with a bronze alloy model of a hound, cast tethered to a tree stump, on a naturalistically cast base, approximately 45cm high Provenance: Sandridge Park House, Wiltshire
Los 427
After Jean-Antoine Houdon, (French 1741 ~ 1828), a bronze model of Demeter, cast as standing and draped, holding a sickle and with wheat sheaves under her right arm, a watering can in her left hand, the circular base inscribed HOUDON in the maquette, also for the founder, BARBEDIENNE FONDEUR, PARIS, and with a REDUCTION MECANIQUE stamp, 31cm high
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628738 Los(e)/Seite