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283284 Los(e)/Seite
Los 1421
Donald Sinclair SWAN (1918-2004) Portrait of a Young GirlGraphite24cm x 17cmTogether with another graphite portrait signed T. Thurston, an unsigned oil on stretched canvas of fisherman on and below a bridge and an oil on board titled Pendant Pear, indistinctly-signed to the verso, 30cm x 16cm
Los 1475
19th Century British School Portrait of a LadyOil on panelInscribed to verso 'Mrs Brodie (Spanish) painted about 1840 by her son aged about 18 at the time - he became President of the Birmingham Academy'49cm x 39cmAreas of craquelure, small losses, canvas has been laid onto the board, stretcher marks on the canvas. the picture has not been examined out of the frame.
Los 160
After Andrew Plimer a portrait miniature of Mrs Ormsby Hamilton. Painted on ivory, inscribed to verso Killiney Castle, Co Dublin, 8X6.5cm, oval.Ivory exemption certificate number AQWVS7H1, please note we are unable to post this lot outside of the UK.Ivory exemption certificate number AQWVS7H1. No obvious signs of damage unexamined out of frame.
Los 905
A Doulton Lambeth commemorative jug circa 1900. Inscribed In commemoration of the hoisting of the flag at Pretoria June 5th 1900 decorated with a portrait of Queen Victoria below the National flowers and flanked by the Union flag and the Royal Standard, height 21cm.There is an overglazed chip on the rim which would appear to have happened at the time of manufacture, an image of the affected area is on Lay's website.
Los 391
Pictures and Prints (15) and group of FDCs including: Roses, a Beautiful Floral Colour Watercolour framed by Jerry Parslew Kings Lynn Norfolk, glazed, The Laughing Cavalier by Frans Hals painting as a textured print in a gold colour frame, glazed and ready to hang. 35cm x 42cm, Artist initial EL. 37cm x 47cm, "Cherries" Limited edition printed etching, 1 of 12 signed by artist Simon Poppy 1995. Simon attended St Martins School of Art and Goldsmiths University London. His art practice is in etching, painting and lithography; exploring space and light in nature and architecture, 47cm x 47cm, Beautiful Floral Colour Watercolour framed by Jerry Parslew Kings Lynn Norfolk, glazed, Attractive colour pastel portrait of a lady in a pink shawl, nicely framed in wooden frame and ready to hang, modern. Artist initial PC 09. 45cm x 53cm, Antique Etching by William Monk depicting the grand entrance and gates of a stately home, 1901 Monk. On thick card 15" x 11 3/4". Some foxing and toning, small tear at the top, Pencil and watercolour study of an overturned wicker basket and apples. Framed and glazed. Signed by the artist, 41cm x 50.5cm etc. Also First Day of Issue Covers. 1993 The Definitive Portrait (1), 1997 (8) and 1998 (8) from the collection of Baroness Betty Boothroyd typed addresses to "The Rt Hon Betty Boothroyd MP Speaker of the House of Commons, London, SW1A 0AA" (17) Proceeds to the Maternity Bereavement Suite Charity at QE Hospital Kings Lynn. Buyer Collects.
Los 254
A large 19th Century Bohemian glass vase in the manner of Moser or Neuwelt, the slender trumpet form above a large knop and invert baluster, raised to a domed circular foot, cased in opal over clear and cut back and foliate scroll and panel design with hand enamelled flowers and foliage with gilded highlights, height 41cm, together with a similar period goblet with a female portrait panel and flowers opposing, later refooted. (2)
Los 307
A pair of 20th Century Berlin Design clear crystal glass tumblers from the Old Masters of Music series, each of faceted form with stiff leaf detail and a relief moulded portrait of Mozart and Beethoven above a strawberry diamond collar and faceted foot, impressed Berlin Bear mark, height 11cm. (2)
Los 636
DYCK, ANTON VAN1599 Antwerpen - 1641 LondonWerkstatt Titel: Angebliches Porträt der Elizabeth Howard. Datierung: Um 1638-1640. Technik: Öl auf Leinwand. Montierung: Doubliert. Maße: 108 x 85cm. Rahmen/Sockel: Rahmen. Rückseitig:Auf dem Keilrahmen Siegel Sammlung Henkel.Provenienz:Vermutlich Edward Hyde, 1st Earl of Clarendon (1608-1674), und durch Erbfolge auf seinen Sohn;Vermutlich Henry, 2nd Earl of Clarendon (1638-1709), erwähnt bei Cornbury, Wiltshire, circa 1683-8 (als "14 Mrs. Howard"), und durch Erbfolge auf;Vermutlich Henry Hyde, 4th Earl of Clarendon (1672-1753); in dem Teil der Clarendon-Sammlung, der nach dem Tod des 4. Earl im Jahr 1753 durch Erbschaft auf seine Tochter überging;Vermutlich Catherine, Duchess of Queensberry and Dover (gest. 1777), und durch Erbfolge auf;Vermutlich William Douglas, 4th Duke of Queensberry (1724-1810), und ging durch Vereinbarung (1810) auf;Archibald, 1st Lord Douglas (d. 1827), at Bothwell Castle, Lanarkshire, und durch Erbfolge auf seine älteste Tochter und Miterbin;Jane Douglas (gest. 1859), die heiratete Henry Scott, 2nd Lord Montagu of Boughton (1778-1845), und durch Erbfolge auf ihre Tochter;Lucy Elizabeth Scott-Montagu, die heiratete Cospatrick Alexander Douglas-Home, 11th Earl of Home (1799-1881), und durch Erbfolge auf;Charles Cospatrick Archibald Douglas-Home, 13th Earl of Home (1873-1951); Auktion, Christie's, London, 20.06.1919, Los 105;P. and D. Colnaghi and Company (London);Frankfurther Kunsthandel;Kommerzienrat Fritz Henkel;Privatbesitz, Frankreich. Literatur:Lady T. Lewis, Lives of the friends and contemporaries of Lord Chancellor Clarendon: Illustrative of portraits in his Gallery, London 1852, Band III, S. 255;L. Cust, Anthony van Dyck, an historical study of his life and works by Cust, London 1900, S. 276. Nr. 102 (als "Mary Howard, from the collection of the Earl of Home, Bothwell Castle"); Catalogue of Historical Portraits the property of the Rt. Hon. The Earl of Home ., 1919, (als "Portrait of Mrs. Mary Howard. Exhibited on the Grovesnor Gallery");R. Gibson, Catalogue of portraits in the Collection of the Earl of Clarendon, London 1977, S. 143.Ausstellungen:Exhibition of the works of Sir Anthony van Dyck - Grosvenor Gallery, London (England), 1887 , Nr. 48, als "Mrs. Mary Howard (Lent by the Earl of Home)";Ausstellung alter Malerei aus Privatbesitz Kunstverein (Düsseldorf), Düsseldorf , 1929-06-01 - 1929-07-15 , Nr. 25, (ausgeliehen aus Kommerzienrat Fritz Henkel). Die vorliegende Arbeit ist aufgeführt und dokumentiert in der Online-Datenbank des RKD, Den Haag, unter der Abb.Nr. 66056 (als Anton van Dyck).Das Genre des Porträts hatte im Ancien Régime, also in einer Zeit ohne Internet, Instagram und Reproduktionsmittel, einen ähnlichen Zweck und eine ähnliche Bedeutung wie die Fotografie heute. Es musste die mehr oder weniger idealisierten Züge der porträtierten Person wiedergeben und gleichzeitig deren Charakter, Ambitionen und Wünsche vermitteln.Die Funktion des Porträts war in erster Linie die der Darstellung, aber auch die der Propaganda, der Übermittlung eines Bildes und schließlich die des Geschenks, da es im Allgemeinen einen Prototyp eines Exemplars gab, der dann vom Künstler selbst oder von seiner Werkstatt - sofern er eine hatte - oder von anderen Künstlern, die nicht direkt mit ihm verbunden waren, kopiert wurde. Bei Künstlern, die sich auf Porträts spezialisiert haben oder die sich in einer bestimmten Phase ihrer Karriere diesem Genre widmeten, sieht man oft mehrere Versionen desselben Porträts, die entweder identisch aussehen oder Variationen aufweisen.Das vorliegende Werk fasst zusammen, was soeben gesagt wurde: Es handelt sich um das vermeintliche Porträt einer Dame, wahrscheinlich von Elizabeth Howard, aus der Werkstatt von Anton Van Dyck. Van Dyck experimentierte im Laufe seines kurzen Lebens mit allen Gattungen der Malerei: Nach seiner Übersiedlung nach London im Jahr 1632, wo er als Hofmaler tätig war, wurde er zum Liebling der englischen Aristokratie und zum führenden Porträtmaler für Karl I. Zahlreiche Porträts stammen aus der englischen Zeit, sowohl vom König und seiner Familie als auch von Adligen und Höflingen. Seine Porträts waren sehr gefragt und selbst die bereits fertiggestellten und ausgelieferten wurden von der Werkstatt wiederholt. Von den Prototypen wurden Kopien angefertigt und an Verwandte oder Freunde weitergegeben. Das hier angebotene Porträt, das eine elegante und gutsituierte Dame in orangefarbenem Gewand und braunem Vorhang zeigt, ist eine Replik eines Van Dyck-Portraits aus den Jahren 1638-1640, das sich in Antwerpen in einer Privatsammlung befindet. Der Meister beauftragte seine Werkstatt, die im Stil Van Dycks unterrichtet und geschult war, mit der Anfertigung eines zweiten Portraits, das mit dem ersten identisch war und wahrscheinlich als Schenkung oder als Präsentation für gesellschaftliche Zwecke gedacht war. Das Mädchen wurde hypothetisch als Elizabeth Howard, Hofdame der Königin Henrietta Maria, zweite Frau von Algernon Percy, 4. Earl of Northumberland, Urenkelin von Thomas Howard, dem ersten Herzog von Suffolk erkannt. Das vorliegende Porträt zeigt die Frische und Zartheit des Vandyckschen Stils und demonstriert, dass die Werkstatt eines so berühmten und gefeierten Künstlers auch in der Lage war, Werke von höchster Qualität zu schaffen. Dieses Gemälde wurde oft mit dem Original (in Antwerpener Privatsammlung) verwechselt, weshalb es schwierig ist, die genaue Herkunft des Werks zu rekonstruieren. Wir haben uns daher auf die Reste der Etiketten auf der Rückseite gestützt, die von den Ausstellungen zeugen, in denen es gezeigt wurde, sowie auf die entsprechenden Ausstellungskataloge.Anton van Dyck Niederlande Flämische Schule 17.Jh. Originale Historische Personen Malerei PorträtErläuterungen zum Katalog
Los 146
Jan Sluijters (1881-1957), A portrait of ceramist Willem C. Brouwer, oil on canvas, 93,5x77 cmPainted in 1926., Exhibited:-Amsterdam, Stedelijk Museum, 'Jan Sluijters', 26 January-26 February 1927, no. 30.-Leeuwarden, Gemeentelijk Museum Het Princessehof, 'W.C. Brouwer (1877-1933), Aarden vaatwerk, tuinaardewerk, bouwaardewerk', 19 January-12 March 1980. Literature:-E. Ebbinge, 'W.C. Brouwer (1877-1933), Aarden vaatwerk, tuinaardewerk, bouwaardewerk', Leeuwarden 1980, p. 19.-Jacqueline de Raad, Digital catalogue raisonné, ‘Oeuvrecatalogus van de schilder Jan Sluijters’, RKD Studies 1998.Provenance:-With Kunsthandel D. Sala, The Hague.-Auction, Phillips, Amsterdam, 23 October 1978, lot 122.-Private Collection, Zandvoort., signed 'Jan Sluijters' (scratched lower right), This portrait of famous ceramist Willem C. Brouwer (1877-1933) was commissioned for the 25 year anniversary of the 'Fabriek van Brouwer's Aardewerk'. The painting was offered to him by several famous architects in 1926.In a postcard from Jan Sluijters to Willem C. Brouwer (13 October 1926), Jan Sluijters writes the following: 'Zeer geachte Heer, Zeer gaarne zal ik eens met U kennis maken om daarna een portret van U te maken. Ik ben altijd thuis van 9 - 3 1/2 uur, maar indien U mij even vooraf bericht is mij dat 't aangenaamst. U schrijft van een olieverf-portret. De heer Kromhout sprak van een teekening en liet mij overigens vrij in de keuze van 't materiaal. Weet U zeker, dat Kromhout van een olieverf beeltenis gesproken heeft? Enfin komt U eerst maar eens kijken, dan kunnen we een en ander mondeling afdoen. Hoogachtend ... Jan Sluijters'.
Los 147
Jan Sluijters (1881-1957), 'Portugeesche Bedelaar', oil on canvas, 117x82 cmPainted on April 5th of 1933., Exhibited:-Amsterdam, Kunstzaal van Lier, 'Hollandsche Schilders op Reis'.Literature:-A. Plasschaert and A.E. van den Tol, 'J. Raphäel bij van der Pelt - Van Daalhoff bij Kleykamp - Jan Sluyters bij van Lier', in De Groene Amsterdammer, 8 July 1933.-NRC, 20 October 1933, ill. p. 2: '... Buitendien zeer goed ziet, dat Sluyters in een uitnemend figuurstuk, uitbeelding van een Portugeeschen bedelaar, werk van verleden zomer en dus mede een der nieuwste - het was in Juli jl. op de tentoonstelling "Hollandsche schilders op reis" in de Kunstzaal Van Lier te Amsterdam [...]'.-Jacqueline de Raad, Digital catalogue raisonné, ‘Oeuvrecatalogus van de schilder Jan Sluijters’, RKD Studies 1998. Provenance:-With Kunstzaal Van Lier, Amsterdam/Blaricum, 1933.-Kunstzaal Esher Surrey, The Hague, October 1933.-With Kunsthandel M.L. de Boer, Amsterdam, inv. no. 12870., signed and dated 'Jan Sluijters 33' (upper left); signed and titled 'Jan Sluijters Portugeesche Bedelaar' (on the stretcher), There exists an interesting photograph of Jan Sluijters posing in his Amsterdam studio. We see Sluijters as an already well-established painter, confidently seated on a couch covered in colourful exotic carpets, wearing his painter’s work coat. There is a striking, huge painting on a painter’s easel next to him, representing an old man with distinguished facial features, but in ragged clothes. The painting is known as ‘The Portugeesche Bedelaar’. Although Jan Sluijters very much disliked travelling, he undertook several study trips. In the spring of 1933 he went with his wife, Greet, to Portugal to join his friend and colleague Ernst Leyden and his wife Karin who were renting a house for a couple of months. There has been much speculation about how “The Portugese Beggar” was created. Some have even suggested that the two artists would have painted the large canvas together, as for a while Ernst Leyden used to work in the same loose style as Sluijters. However, there are two interesting publications of 1934 with notes and drawings by Karin Leyden, who was an accomplished artist herself. She writes in detail about her stay in Portugal and illustrates her story with drawings. One of the drawings shows Jan Sluijters and Ernst Leyden viewed from behind, painting, with each artist standing before his own easel. On the left side of the drawing is the model for our beggar, clearly the same as the one that we find in oil on the canvas on sale: same position, same physical features. With the help of Karin Leyden’s drawing we are able to date the start of the painting: April 5, 1933. Sluijters must have finished the painting quite quickly, for once home in the Netherlands, it can already be admired in July 1933 at Kunsthandel van Lier, Amsterdam, as part of the exhibition “Hollandsche Schilders op Reis”. Later, in autumn of that same year, the painting can be seen in Kunstzaal Esher Surrey, The Hague. The reviews are very favourable and especially the “Portugese Beggar” receives much praise by the art critics, calling the work ‘‘Powerful and expressive” and applauding Sluijters’ use of colour. All this is more than correct: with the “Portugese Beggar”, Sluijters shows us once again his supremacy in rendering a human being to canvas. In a simple and subdued colour scheme, in accordance with the unpretentiousness of the beggar, Sluijters has depicted an impressive figure. We see not just a simple beggar with pleading open hand and the obligatory attributes like a cane and ragged clothes, we also see a human being with noble features and a history to tell. It is instantly clear why Sluijters became one of the most asked-for portrait painters of the last century. Sources:-Jacqueline de Raad a.o., ‘Jan Sluijters: 1881-1957’, Laren 2011.-Karin Leyden, ‘Portugeesch Paradijs’, 1934.-Karin Leyden, ‘Uit een brief van Karin Leyden’, In: Op de Hoogte, geïllustreerd maandblad, August 1933, pp. 241-243.
Los 82
Jan Sluijters (1881-1957), A portrait of a baby boy, watercolour and pencil, heightened in white, on paper, 24,5x21 cm, Provenance:-With Kunsthandel M.L. de Boer, Amsterdam, inv. no. 14051, as: 'Jantje', where acquired by the family of the present owners., signed 'Jan Sluijters' (lower centre), Lots 56-83: A Distinguished Collection
Los 162
Group of four 19th c. portrait paintings. Three depict young boys; two in a naive or folk art style. With one portrait of a man with a high collar.(Unframed) height ranges from 12 in to 30 in; width ranges from 9 in to 25 in. (Framed) height ranges from 15 3/4 in to 37 3/4 in; width ranges from 12 3/4 in to 30 1/2 in.
Los 35
Group of two German porcelain portrait plaques. One depicts Madame Recamier (1777-1849), dressed in an elegant Regency style. This plaque is marked "Made in Germany" along the reverse, with an additional German inscription. The other plaque depicts a nude woman. Both housed in ornate gilt frames.(Nude) Unframed; height: 4 3/4 in x width: 3 1/2 in. Framed; height: 11 3/4 in x width: 7 1/2 in. (Woman in Dress) Unframed; height: 5 1/4 in x width: 4 in. Framed; height: 11 1/4 in x width: 8 3/4 in.
Los 42
Sevres style French old Paris porcelain plate. Painted with a portrait of Mademoiselle Gabrielle Emilie Le Tonnelier de Breteuil, Marquise du Chatelet (better known simply as Emilie du Chatelet) (French, 1706-1749), a French natural philosopher and mathematician. She is framed by three floral bouquets surrounded by gilt scrollwork against a turquoise blue (bleu celeste) ground. Marked along the underside with Sevres marks indicating a firing date of 1837 and a painting date of 1844.Diameter: 9 1/4 in.
Los 11
MAX PECHSTEIN (1881-1955)Bildnis Charlotte Cuhrt signed and dated 'Pechstein 1910' (lower left)oil on canvas175.8 x 85.4cm (69 3/16 x 33 5/8in). shapedPainted in 1910Footnotes:ProvenanceMax Cuhrt Collection, Berlin (commissioned from the artist in 1910).Private collection, Germany (by descent from the above).Private collection, Europe (acquired from the above in 2008).Anon. sale, Ketterer, Munich, 11-13 June 2015, lot 221.Private collection, Switzerland (acquired at the above sale). ExhibitedBerlin, Galerie Maximilian Macht, Neue Secession, III. Ausstellung, February - April 1911, no. 33 (titled 'Bildnis L.C.').Vienna, Österreichische Galerie Belvedere, 2009-2014 (on loan).LiteratureJ. Sievers, 'Die Neue Sezession in Berlin', in Der Cicerone, no. 3, 1911, p. 178. A. Soika, Max Pechstein, Das Werkverzeichnis der Ölgemälde, Vol. I, 1905-1918, Munich, 2011, no. 1910/62 (illustrated p. 275).A. Soika, 'Max Pechstein's Rahmen', in Unzertrennlich, Rahmen und Bilder der Brücke-Künstler, exh. cat., Berlin, 2020, pp. 430-431 (illustrated p. 431).Uniting his dynamic Expressionistic style with the luxurious design and architecture of pre-war Berlin, Max Pechstein's Bildnis Charlotte Cuhrt stands as a testament to familial love, creative collaboration, and a city at the precipice of artistic revolution. In 1910, Berlin was in a state of flux. Having recently become the capital of the newly unified Germany in 1871, the city held an aura of optimism and ambition, as booming innovations in science, medicine and technology brought with it a rapidly growing population and economy. New buildings in a grandiose, Neoclassical style sprung up in Berlin's affluent neighbourhoods, while participants of the city's vibrant nightlife enjoyed opportunities to revel, re-identify, and exchange ideas with Berlin's coterie of avant-garde thinkers. This burgeoning Weltstadt ('World City') – thriving before the decades of war and catastrophe that would soon take hold – was therefore a metropolis of contradictions, one in which the young Max Pechstein found his footing as a stalwart of Expressionism and its subgroups.Having recently completed his studies at the Royal Art Academy in Dresden, Pechstein met the artist Erich Heckel in 1906, who was captivated by the vitality and chromatic intensity of Pechstein's works. Heckel invited Pechstein to join Die Brücke ('The Bridge'), a newly established collective of young German artists seeking to establish links between the primordial and primitive on one hand and the conceptual and radical on the other. Together with his energetic peers – among them Karl Schmidt-Rottluff, Ernst Ludwig Kirchner and Emil Nolde – Pechstein's creative experiments came to define Expressionism, a fluid term denoting the depiction of intense emotion through non-naturalistic forms and highly saturated colours. In this, Die Brücke were directly influenced by the Fauves ('Wild Beasts'), a movement catalysed by the shocking experiments in colour and form by Henri Matisse, André Derain and other members. Pechstein was first exposed to Fauve art in 1908 at the Salon des Indépendants in Paris, thence forming a friendship with Kees van Dongen, whose mastery as a colourist further liberated Pechstein and Die Brücke's emphases on chromatic supremacy.In 1906, the young Pechstein – then enjoying the first blushes of artistic success – also drew the attention of the architect Bruno Schneidereit, who saw his works at the Third German Decorative Arts Exhibition in Dresden. Following this meeting was a series of fruitful collaborations between Pechstein and Schneidereit, within which Pechstein would create designs to accompany Schneidereit's plans for opulent apartment buildings in Berlin's wealthy neighbourhoods. Pechstein in turn completed a series of portraits of the architect: Männerbildnis – Bruno Schneidereit (The Courtauld Gallery, London) echoes the vigorous handling and bold palette of Bildnis Charlotte Cuhrt. Through his friendship with Schneidereit, Pechstein was introduced to Max Cuhrt, a magistrate secretary who with Schneidereit became one of Pechstein's foremost patrons. With Pechstein's new studio space in a Schneidereit-designed building in Charlottenburg, and the financial backing of these two benefactors, Pechstein was given the means through which to fully delineate his highly influential style.Bildnis Charlotte Cuhrt, an exquisite full-length portrait depicting Max Cuhrt's daughter, was commissioned at the height of Pechstein's involvement with Die Brücke. A symphony of vibrant, seductive colour fields and dynamic brushwork, the portrait truly exemplifies Pechstein's proficiency as a colourist, one who deftly juxtaposes complementary and opposing tones to conjure up emotive tension. Looking out earnestly with the slightest hint of a smile, Charlotte Cuhrt radiates with the optimism and naïveté of youth. The crimson of her dress bleeds out into the rich carpet, whose striking yellows and greens – favoured tones of the Fauves and the Expressionists – are mirrored in her blonde hair, as well as the chair and the wardrobe beyond. The arch-like structure of the picture was formatted so that the portrait could be affixed to a Schneidereit-designed piece of furniture in the family's Berlin apartment. Standing alone, however, this shape imparts a certain spiritual intensity, framing Charlotte within a domestic altar. The portrait thereby stands a statement of utmost devotion to familial love and the beauty of youthful innocence.In his designs for the Cuhrt family's apartment, Schneidereit's aim was to create a spectacular Gesamtkunstwerk, or total sensory artwork. A foundational concept appearing across many Modernist movements – from Art Nouveau to Arts and Crafts – this design goal was espoused by the Wiener Werkstätte ('Vienna Workshop'), who encouraged collaborations between furniture and interior designers with fine artists and architects. Aesthetic harmony between all facets of a building – its accessories, furnishings, textiles, wallpaper and architectural plans – took hold in palaces, villas and government buildings across twentieth century Europe. In the present work, Schneidereit's architectural endeavours are illustrated in the grand, Neoclassical wardrobe behind Charlotte, as the exterior of the home becomes inseparable from its interior. Furthermore, this element generates an off-centre caesura, as the portrait's asymmetrical composition highlights not just the sitter but the design elements of the home with a strictly Modern sensitivity. The blank yet vivid green wall holds as much dramatic force as the carpet, wardrobe and protagonist.The summer of 1910 was a particularly productive period for Pechstein, especially concerning his depiction of human bodies and psychological states. Sunning by the lakes of Moritzburg near Dresden with his friends Heckel and Kirchner, Pechstein completed a range of nudes and portraits of the people he met there, relishing the fact that they were not professional models who were constrained by habitual studio poses. In harmony with their surroundings, the three Die Brücke artists traded techniques and philosophies that culminated in some of their most raw and intense masterworks. In Pechstein's 1910 painting, Mädchen auf grünem Sofa mit Katze (Museum Ludwig, Germany), Pechstein captures the sitter Marzella Sprentzel's gentle innocence as she lounges, her gaze a... This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 20
CHAÏM SOUTINE (1893-1943)La femme en rouge au fond bleu signed 'Soutine' (lower right)oil on canvas75.4 x 55cm (29 11/16 x 21 5/8in).Painted circa 1928Footnotes:ProvenanceJos Hessel Collection, Paris.Jacques Laroche Collection, Paris.Georges Keller Collection, New York and Davos (acquired by 1943).Carroll Carstairs Gallery, New York (acquired by 1949).Mr & Mrs Walter Ross Collection, New York (acquired from the above by 1957); their collection sale, Parke-Bernet Galleries, New York, 21 October 1964, lot 38.McRoberts & Tunnard Gallery, London (acquired at the above sale).Perls Galleries, New York (acquired by 1967).Alex Maguy, Paris (acquired by 1972, until 1973).Private collection, Japan; their sale, Sotheby's, New York, 5 November 1981, lot 233.Perls Galleries, New York (acquired at the above sale).The Roland Collection (acquired from the above in 1985); their sale, Dorotheum, Vienna, 24 November 2020, lot 12.Acquired at the above sale by the present owner.ExhibitedNew York, Bignou Gallery, A Selection of Paintings of the Twentieth Century, 8 February - 20 March 1943, no. 16 (titled 'The Red Dress').New York, Bignou Gallery, Exhibition of Paintings by Soutine, 22 March - 16 April 1943, no. 15 (titled 'The Red Dress').Montreal, Montreal Museum of Fine Arts, Manet to Matisse, An Exhibition of 19th and 20th Century French Paintings, 27 May - 26 June 1949, no. 39 (titled 'Femme en rouge' and dated 1932).New York, Perls Galleries, 24 Major Acquisitions, 27 February - 6 April 1968, no. 21 (titled 'Jeune femme au fond bleu').New York, Perls Galleries, Chaïm Soutine (1893-1943), 11 November - 13 December 1969, no. 18.Paris, Alex Maguy, Présence de la peinture, 2 June - 12 July 1972.Tel Aviv, Tel Aviv Museum of Art, 1996.LiteratureConnoisseur, vol. 172, no. 693, November 1969 (illustrated p. ccxvii).P. Courthion, Soutine, peintre du déchirant, Lausanne, 1972, fig. B (illustrated p. 258; titled 'La femme du cordonnier II' and dated 1926-1927).A. Soutine, Journal de l'amateur d'art, 1973 (illustrated p. 14).Exh. cat., The Evelyn Sharp Collection, New York, 1978, p. 90.M. Tuchman, E. Dunow & K. Perls, Chaïm Soutine (1893-1943), Catalogue Raisonné, Vol. II, Cologne, 2001, no. 123 (illustrated p. 692).IFAR Journal. vol. 10, no. 3/4, 2008/2009, p. 57 (illustrated on the inside back cover).In La femme en rouge sur fond bleu, Chaïm Soutine portrays a woman with unparalleled emotion and intimacy. Despite the artist's choice to leave the sitter anonymous, he renders her familiar to anyone as he translates raw emotions onto the canvas. The present work is the quintessence of Soutine's portraits: it blends the most important colours in Soutine's work (red and blue) and brings together the artist's modern and traditional artistic influences in a consummate psychological portrait.Chaïm Soutine was born in 1893 in Smilovitchi, a small town of the Russian Empire mainly populated by observant Jews. At the age of thirteen, he secretly drew a portrait of the village rabbi, transgressing the ban on depicting the human face, and was beaten by the rabbi's son for it. He spent two weeks in hospital, and the Soutine family obtained twenty-five roubles in compensation which enabled him to leave the Smilovitchi ghetto and the painful childhood memories he had there. Soutine used the money to take drawing classes in Minsk, before enrolling at the Vilnius School of Fine Arts. He then arrived in Paris in 1912 and moved to La Ruche (The Beehive), a hub of artist studios whose name came from its cylindrical shape where low studio rent and free models attracted many artists who had recently emigrated to Paris with little money. Among others, Marc Chagall, Ossip Zadkine, Alexander Archipenko, Constantin Brâncuși, and Diego Rivera, would come and stay at La Ruche, which soon became the epicentre of the École de Paris, a term that paradoxically came to designate the scene formed at the beginning of the 20th century and until the Second World War by artists from all over the world, who converged in the French capital. Soutine had no resources and worked as a labourer in a Renault factory and at the Grand Palais to make ends meet. In 1914, an incurable stomach ulcer prevented him from being mobilised, despite his desire to do so. In 1915, Soutine met Amedeo Modigliani and the two artists formed a solid friendship that would withstand all odds. In 1916, Modigliani introduced him to his dealer Léopold Zborowski, who would go on to also represent Soutine. Zborowski financed Soutine's career and trips to the South of France, in Céret, Cagnes and Vence, but without commercial success.Modigliani's death in 1920 was a terrible setback for Soutine. His physical and mental health deteriorated drastically and he chose to live apart from the artistic community. For almost two years, he painted intensely and kept a very close circle of friends and relationships; mainly Zborowski and Paulette Jourdain, Zborowski's assistant and former model of Modigliani. Jourdain became an important friend, confidante, and model for Soutine. It is almost certain that she is the sitter for La femme en rouge sur fond bleu.Jourdain, who also sat for André Dunoyer de Segonzac, Ossip Zadkine, and Moïse Kisling, was the model for one of Modigliani's very last portraits in 1919. It is highly likely that Soutine was inspired by the Portrait de Paulette Jourdain, which bears many similarities with La femme en rouge sur fond bleu, such as the same fontal position, stately manner, and clasped hands.In 1922, the American collector Albert Barnes noticed the artist's work and bought almost a hundred paintings from Soutine, who became rich and famous overnight. He was now an established painter and had a daily salary of 25 francs from Zborowski, with a car and a driver, and became a fashionable and eccentric Parisian. And yet, despite his newfound introduction to bourgeois society, Soutine became preoccupied with the still-life genre, surrounding himself with dead carcasses in his studio to paint his celebrated series of Bœufs écorchés (Slaughtered oxen, circa 1925). He would visit slaughterhouses to buy dead carcasses of oxen to hang in his studio to paint. Soon the flies swarmed, and the neighbours complained about the smell. Paulette Jourdain recalls that when the police turned up, Soutine hid, terrified. But Jourdain defended the painter, arguing that his work was not done and that he needed to keep them for a while longer. She would sit for portraits for Soutine next to these dead carcasses in the studio while he painted her and would endure the smell and the flies for hours. Indeed, there are strong connections between Soutine's masterpiece of the Carcasse de bœuf (1925) and the present work: they share the same vivid palette, with the main subject painted in red hues and standing out against a blue background with impassioned brushstrokes that unbalance the perspective and stability of the scene. Both subjects occupy the centre of similar-sized canvases, while the colour and treatment of the flesh and blood of the flayed ox recalls that of the sitter's skin and dress. In the words of Cynthia Zarin, 'like Caravaggio, who painted some of the most disturbing and beautiful pictures in the world, and whom these portraits call to mind, Soutine was interested in the agencies of the flesh. In the snarl of paint on the canvas, you can feel his hand on the brush' (C. Zarin, 'The Time Travelling Portraits of Chaïm Soutine' in The New Yorker, 21 March 2018, n.p.). Moreover, like the Bœufs écorch&... This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 2107
Fetting, Rainergeb. 1949 in Wilhelmshaven, Bildhauer und Maler, Stud. an der Hochschule für Künste in Berlin, Mitbegründer der Gruppe "Neue Wilde|Junge Wilde|Moritzboys" zu denen u.a Salomé (Wolfgang Ludwig Cihlarz) gehörte. "Selbst", Portrait des Künstlers, unten rechts sign. und dat., unten links bet. und num. 10/100, Farbserigraphie/Papier, HxB: 100/70 cm. Guter Zustand. Mit verglastem Rahmen.
Los 2368
Watzelhan, CarlMainz 1867 - 1942 Wiesbaden, Portrait- und Landschaftsmaler, Stud. an der Düsseldorfer Kunstakad.. "Strickendes Mädchen in holländischer Tracht", versunken in ihre Handarbeit an einem Fenster sitzend, unten rechts sign., Öl/Leinwand, HxB: 67/52 cm. Part. kl. Ret.. Mit Rahmen.
Los 2090
Balkenhol, Stephangeb. 1957 in Fritzlar, Bildhauer, Stud. an der HFBK in Hamburg, Prof. an der AdbK in Karlsruhe. 9 Figuren- und Tierdarstellungen: "Wal", "Badewanne", "Ritt auf dem Straußenvogel", "Reiter und Pferd", "Löwen", "Affenbande", "Portrait Mann" und 2x "Portrait Frau", jeweils mit Bleistift sign., Lithographien/Papier, HxB: bis 30/20 cm. Guter Zustand.
Los 225
4 Bücher Mercedes-BenzKassette mit 8 historischen Dokumenten in Reproduktionen, 1986; Mercedes Benz S-Class Art Book - Sinn und Sinnlichkeit, 1998; Daimler-Benz Aktiengesellschaft (Hrsg.), Karl Benz und sein Lebenswerk, Stuttgart, 1953; Ingo Seiff, Mercedes Benz - Portrait einer Weltmarke, München, Heyne, 1989. Leichte Altersspuren.
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