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283287 Los(e)/Seite
Los 766
SLAVERY INTEREST: A Pratt ware plate, circa 1820, decorated with a central portrait relief of 'H. Brougham Esq. M.P.' (Lord High Chancellor who played a prominent role in passing the 1832 Reform Act and 1833 Slavery Abolition Act) within a border of continuous flowering blooms, 15cm diameter, with two further pearl ware plates titled 'Fortune Teller', 15.5cm diameter, and 'St. Knuds Kirke I Odense', 17.5cm diameter (3) CONDITION REPORT:Portrait plate: Shows firing pits and frits, star crack centred on bow tie and surface crazing throughout.Fortune Teller plate: Shows a small chip to the rim, surface wear, surface crazing, and firing pits and frits throughout.St Knuds plates: Shows a small chip to the rim, surface wear, surface crazing, and firing pits and frits throughout.
Los 839
A Coalport dessert service, late 19th century, comprising a comport and eight plates, each piece with gilt floral and foliate central motif surrounded by floral swags with classical portrait centres within entwined ribbon and gilt beaded shaped rim, printed maker's marks to bases, the compote 13.5cm high, the plates 23.5cm (9) (at fault)
Los 865
EQUESTRIAN INTEREST: A matched suite of Georgian style glassware, 20th century, comprising: four rummers, the bowls with basal fluting above a cushion shoulder knop, the short faceted stem flaring to a stepped faceted basal knop above a square base, each bowl with engraved horse portrait with swagged banner above titled 'HIGH FLYER', with a pair of decanters and stoppers with matching engraving, the rummers 14.5cm high, the decanters and stoppers 24cm high (6)Condition reportVery minor chip to the corner of one square base, along with very minor nibbles to the stopper rims
Los 366
Prestige Stamp Booklet collection housed in a folder with stamp sheet dated 23rd May 2000 includes Special by Design, Profile on Print and The Definitive Portrait stamp booklets in excellent condition, from The Stamp Show 2000. Good condition. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Los 367
Prestige Stamp Booklet collection housed in a folder with stamp sheet dated 23rd May 2000 includes Special by Design, Profile on Print and The Definitive Portrait stamp booklets in excellent condition, from The Stamp Show 2000. Good condition. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Los 21
VITTORIO ZECCHIN (1878-1947)Matrone signed with the artist's monogram (lower right)oil, tempera, gold leaf and pencil on panel44.9 x 45.1cm (17 11/16 x 17 3/4in).Painted circa 1918-1919Footnotes:We thank Marino Barovier for his assistance in cataloguing this work.ProvenanceNatale Casadio Collection, Bergamo.Ing. Devoti Collection.Elena Castelbarco Collection (gifted from the above, 1943).Private collection, Italy.'Vittorio Zecchin, one of the most exquisite artists in Italy today' – Roberto Papini in Emporium, 1923An influential painter, tapestry maker, furniture and glass designer, Vittorio Zecchin was considered by many as Italy's first truly Modern glass artist and a key figure in the conversation between avant-garde influenced artists and designers in Italy.In the early 1900s Zecchin began to immerse himself in the prevailing artistic trends of Europe and his proximity to the Venice Biennale allowed for an even fuller exposure to these movements. In 1905 he was struck by an exhibition of the Symbolist Jan Toorop and in 1910 he discovered the work of an artist who would prove one of the most influential to his own artistic practice, the Austrian Secessionist Gustav Klimt. That year Klimt had exhibited at the Wiener Werkstätte, he was present at the show and exhibited his works in a room to himself, a room that had a profound effect on Zecchin. Alongside these great, established influences, Zecchin threw himself into his career with other young emerging artists, most notably Umberto Boccioni, Amedeo Modigliani and Teodoro Wolf Ferrari.Through the stylised, symmetrical, gold-trimmed figures we clearly see the influence that Klimt's work had on the impressionable artist. The flat planes, perspective-altering patterns and lack of clear figural outlines in Zecchin's figures are reminiscent of Klimt's portrait Adele Bloch-Bauer I, where the gilded background and patterned figure distorts the creation of realistic space and shadow. Meanwhile, the elegant, elongated faces of the present work with its exaggerated eyes and noses are a clear link to the iconic, surreal visages of Modigliani.Matrone bears great resemblance to a pencil study of the same name held in the collection of the Ca' Pesaro, in Venice. Referencing similar motifs, both works could have well been studies for the silk tapestry of a similar size, Tre teste di donne (Cupole), that was created in Zecchin's Murano workshop and exhibited at Ca' Pesaro in 1919.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 13
MOÏSE KISLING (1891-1953)Portrait signed 'Kisling' (upper right)oil on canvas46.2 x 33.3cm (18 3/16 x 13 1/8in).Painted in 1930Footnotes:This work will be included in Volume IV et Additifs aux Tomes I, II et III of the Moïse Kisling catalogue raisonné, currently being prepared by Marc Ottavi.ProvenanceAdams Gallery, London.Anon. sale, Sotheby's, Johannesburg, 2 November 1976, lot 83.Private collection, South Africa (acquired at the above sale).Thence by descent to the present owner.LiteratureH. Troyat & J. Kisling, Kisling 1891-1953, Vol. II, Turin, 1982, no. 118 (illustrated p. 131).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 6
HENRI MATISSE (1869-1954)Portrait du Violiniste espagnol Massia signed 'Henri . Matisse' (lower right)pencil on paper29.8 x 24.3cm (11 3/4 x 9 9/16in).Executed circa 1913-1914Footnotes:The authenticity of this work has been confirmed by Georges Matisse.ProvenancePrivate collection, US.Anon. sale, Sotheby's, London, 4 April 1974, lot 306.Private collection, Italy (acquired from the above sale).Thence by descent to the present owner.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 10
HENRI MATISSE (1869-1954)Nu (femme) debout, also titled Nu près du paravent signed 'Henri Matisse' (upper right)oil on canvas laid down on panel33.5 x 19.5cm (13 3/16 x 7 11/16in).Painted between late 1905 and early 1906Footnotes:The authenticity of this work has been confirmed by Georges Matisse.Please note this work has been requested for inclusion in the landmark exhibition Matisse: Life & Spirit, Masterpieces from the Centre Pompidou, Paris at the Art Gallery of NSW, Sydney, Australia, 20 November 2021 – 13 March 2022. ProvenanceMichael & Sarah Stein Collection, Paris and San Francisco (acquired directly from the artist through Galerie Druet by 28 April 1906, until at least 1942).James Vigeveno Gallery, Los Angeles (probably acquired from the above in the 1940s).Robert Ardrey & Helen Johnson Ardrey Collection, Oklahoma (acquired from the above in May 1950, until circa 1973-1974).Galerie Yoshii, Tokyo (acquired circa 1973-1974).Shoji Uehara Collection, Japan (acquired from the above on 27 December 1974).Galerie Yoshii, Tokyo (acquired from the above in 1977).Anon. sale, Sotheby's, London, 7 December 1977, lot 28.Private collection, South Africa (acquired at the above sale).Thence by descent to the present owner.ExhibitedParis, Galerie Druet, Henri Matisse, 19 March - 7 April 1906, no. 8.Los Angeles, University of California, Years of Ferment, The Birth of Twentieth Century Art 1886-1914, 24 January – 7 March 1965, no. 34 (later travelled to San Francisco and Cleveland; dated 1904-1905).Paris, Grand Palais, Henri Matisse, Exposition du Centenaire, 21 April - 21 September 1970, no. 80.New York, Museum of Modern Art, Four Americans in Paris, The Collection of Gertrude Stein and her Family, December 1970, no. 15 (later travelled to San Francisco).Tokyo, Galeries Seibu, Exposition les fauves, 15 August - 24 September 1974 (later travelled to Kanazawa).Dalhousie, Nova Scotia, Dalhousie Art Gallery, Aspects of 19th and 20th Century European Art, Part I: Henri Matisse (1869-1954), 23 October 1980 – 4 January 1981.LiteratureA.H. Barr Jr., Matisse, His Art and His Public, New York, 1951, p. 82 (illustrated p. 20).L.M. Golson, 'The Michael Steins of San Francisco: Art Patrons and Collectors', in Four Americans in Paris, The Collections of Gertrude Stein and her Family, exh. cat., New York, 1970, no. 15, p. 43 (illustrated pp. 41, 45 & 117).M. Luzi & M. Carra, L'opera di Matisse, dalla rivolta 'fauve' all'intimismo 1904-1928, Milan, 1971, no. 83 (illustrated p. 88).G-P. & M. Dauberville, Matisse, Vol. I, Paris, 1995, no. 64 (illustrated p. 399).H. Spurling, The Unknown Matisse, A Life of Henri Matisse, Vol. I: 1869-1908, London, 1998, pp. 348 & 352 (illustrated pp. 347 & 383).J.C. Bishop, C. Debray & R.A. Rabinow (eds.), The Steins Collect, Matisse, Picasso and the Parisian Avant-Garde, exh. cat., San Francisco, 2011, no. 112, pp. 133 & 148n15 (illustrated pp. 381, 382, 385, 387 & 411).S. Steinberg, 'Sarah Stein: The Woman Who Brought Matisse to San Francisco', in American Imago, Vol. 68, no. 3, Fall 2011, pp. 521 & 526 (titled 'Nude Woman with Red Hair' and 'Woman with Red Hair').Nu (femme) debout, also titled Nu près du paravent dates from the pinnacle of Henri Matisse's Fauvist period when his unbridled use of colour and handling of pigment was at its most radical and liberated. With an intensity and boldness of palette almost unparalleled in this first Fauve phase of Matisse's oeuvre, Nu (femme) debout stands as a quintessential example of Fauvism, while the manner of execution and figurative subject reveal the artist's tantalising first steps towards his celebrated decorative style. Acquired shortly after completion by arguably the most significant patrons and collectors of his early career, Michael and Sarah Stein, the present work is distinguished by exceptional provenance and remains a rare example of a figurative Fauvist work by Matisse not already housed in a museum collection. Nu (femme) debout also carries the important epitaph of being one of the first three works by Matisse to have ever been seen in America, and there is no doubt that the presentation of this work, along with the astounding promotional efforts of Sarah Stein, helped to secure Matisse's name in the United States, and beyond, as synonymous with the development of modern art in the twentieth century. Nu (femme) debout was painted in the immediate aftermath of the infamous Salon d'Automne of October 1905, the exhibition which appalled the French public and birthed the Fauvist movement. The site of the scandal was the ultimate showcase for modern and contemporary art with room VII, a central room at the Grand Palais, as the arena of the spectacle. Gracing the walls were the radically vibrant paintings that Matisse and André Derain had created in Collioure earlier that summer, along with paintings of a similarly clamorous palette by artists such as Henri Manguin, Albert Marquet, Maurice de Vlaminck and Georges Rouault. Contemporary art critic Louis Vauxcelles referred to the room as the 'cage of wild beasts' ('cage aux fauves'), and thus this cohort acquired its sobriquet. Visitors to the exhibition were aghast at the 'savage' presentation within Salle VII. The paintings employed a hitherto unseen style of execution and defied every prevailing artistic convention. Colour was freed from its mimetic function and applied unfettered, as if directly from the tube, with liberal, even sketchy brushwork. The effect was, as Vauxcelles recorded, 'an orgy of pure tones'. Amongst the various landscapes of Collioure, the painting which caused the greatest uproar was Matisse's portrait of his wife, Amélie - the now iconic Femme au chapeau, which today resides in the collection of the San Francisco Museum of Modern Art. The inclusion of this work within the exhibition not only secured Matisse's position as the leader of the Parisian avant-garde but crucially marked the beginning of a profound relationship between him and the most significant friends and patrons of his early career, the Steins.Leo, Gertrude, Michael and Sarah Stein all attended the vernissage along with, now fabled collectors, Claribel and sister Etta Cone who were friends of Gertrude's and Leo's from Baltimore. The Americans were unique in their quiet admiration for Femme au chapeau. Therese Jelenko, who accompanied the Steins on their visit to the Salon, recalled seeing 'Frenchmen doubled up with laughter before it, and Sarah saying 'it's superb' while Mike couldn't tear himself away' (Four Americans in Paris, The Collections of Gertrude Stein and her Family, exh. cat., New York, 1970, p. 42). Were it not for the pioneering discernment of the family, Matisse would have considered the Salon d'Automne to have been an unmitigated failure. However, in the event, Sarah and her brother-in-law Leo decided to purchase the ground-breaking work for the family. The painting initially resided with Leo and Gertrude before latterly forming part of Michael and Sarah's collection. Up until this moment Matisse had, by and large, been overlooked or dismissed by the French, but the acquisition of Femme au chapeau was to alter the course of Matisse's fortunes, whereby his subsequent friendship with the Steins, most importantly Sarah Stein, not only transformed his financial circumstances, but secured his recognition and legacy internationally. As Matisse's grandson, Claude Duthuit, noted, 'Without the Americans...he would have starved' (Duthuit quoted in J. Bishop, 'Sarah and Michael Stein in America' in The... 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 8
LÉONARD TSUGUHARU FOUJITA (1886-1968)Nu allongé signed and dated 'Foujita, 1932' and further signed in Japanese (lower left)mineral paint and ink on silk laid on paper70 x 100cm (27 9/16 x 39 3/8in).Painted in 1932Footnotes:The authenticity of this work has been confirmed by Sylvie Buisson.ProvenancePrivate collection, Argentina (acquired directly from the artist).Galerie Nichido, Japan (acquired from the above, through Galería Jorge Mara and Galería Bontempo in November 1989).Private collection, Japan (acquired from the above in 2011).LiteratureS. Buisson, T.L. Foujita, Inédits, Paris, 2007, no. C.32.183.H (illustrated p. 23).'[Foujita] represents one of those rare cases... of an artist of non-European race and essence, who has succeeded in becoming important from within the European conception of art... His sharp lines, the vast, blank surfaces, the true synthesis in its representation of theme, the relative coolness, or placidity of expression. All of those elements of his art, finally, leave me in a state of amazement.'-Mario de Andrade, the Brazilian modernist poet and critic, reviewing Foujita's gallery exhibition in Rio de Janeiro, the first stop along his South American tour. Díario Nacional, 20 January 1932.In 1931, Léonard Tsuguharu Foujita embarked on a world tour that would profoundly shift the narratives of his life and art. The close of the Roaring Twenties saw not just the devastating break of his third marriage to Lucie Badoul ('Youki'), but also the first stages of the Great Depression. Dodging the French government's pursuit of exorbitant taxes he had hitherto evaded, Foujita reached an impasse. He fled Paris with his new lover, a beautiful and charismatic young model named Madeleine Lequeux. A member of the thriving bohemian scene of Montparnasse, Madeleine was a hostess at Le Sphinx by day and a performer at the Casino de Paris by night. She is instantly recognisable throughout Foujita's early 1930s oeuvre from her handsome features: golden red hair, piercing blue eyes, a regal nose and a strong, elegant chin. These traits identify her as the resplendent subject of the present work, Nu allongé. The 'Flight of Fou Fou', as the pair's dramatic departure became known, brought them first to Brazil, then to Argentina, Bolivia, Peru, Colombia, Panama, Cuba, Mexico and the United States. Their tour was embellished with all the hallmarks of celebrity – press conferences, dinners with dignitaries, wildly successful solo exhibitions, and large spreads in national newspapers harking the arrival of the 'Foujita phenomenon'. Dancing under the dazzling lights of the Copacabana Grand Ball, the couple turned heads. Foujita cut an arresting figure with his pudding bowl haircut, Chaplin moustache, horn-rimmed spectacles and fashionable suit. Madeleine donned a glamorous, low-cut gown matched only by her vivacious spirit. Foujita worked fervently throughout the journey, as the fame he had garnered in Paris spread swiftly across the globe. His work took on a more dramatic air, as he introduced into his compositions exaggerated poses inspired by the cinema. He frequently captured the idle and intimate moments punctuating their taxing travels, with Madeleine stretching out into languorous poses. The present work is the most mesmerising of that series.A symphony of serene lines and delicate silk, Madeleine lounges, her body directly confronting the viewer while her face turns away, cold and mysterious. The soft ripples of the backdrop and diaphanous sheets flow into the waves of her auburn hair and the dips and curves of her supple form. Madeleine's very substance merges with her surroundings, their subtle gradients of pink, sepia and white in pure harmony with her alabaster skin, opal-coloured eyes and rose quartz lips. A figment of fantasy, her ideally proportioned figure emerges like a human tapestry, the perfect semi-circles of her breasts traced with a compass-like exactitude. A virtuoso trained in the Japanese arts of calligraphy and Nihonga painting, Foujita elucidates her curves with a deft, undulating outline, encased within a halo-like aura of white mineral paint – a technique solely of Foujita's creation. A visual haiku, the present work takes its power and essence from its measurement and simplicity. The entire effect is of a shrine to Madeleine – a gesture of utmost devotion to beauty incarnate. Foujita's eclectic materials and methods are key in his achievement of this unparalleled aesthetic. To invoke his sinuous half-tones and shading, he would stroke the picture plane with a cotton ball loaded with charcoal power, a method related to his estompe drawing technique. Foujita's pale mineral paint seeps directly into the silk, purposefully revealing the fineness of the material and each of its perfectly calibrated threads. The resulting sfumato ('haziness') – an aesthetic extracted from the Italian Renaissance painters Foujita revered – stands in contrast to the impasto layering of vibrant oil paints favoured by his French contemporaries. In paradoxical departure from European influences, he applies sumi-e ink in razor-thin lines with a menso, the thinnest brush in the Japanese painter's repertoire. All of this is finished with Foujita's grand fond blanc: his magical, secret glaze. Likely an emulsion of crushed chalk, white lead, talc, magnesium silicate and flaxseed oil, the glaze conjures up Foujita's nyuhakushoku or 'milky white' effect, its mesmerising quality causing Foujita's 1920s and early 1930s works to be his most sought-after. The present work's spectacle of pearly iridescence and soft grey shading achieves a dual effect: Madeleine exhibits at once the gravitas of a Michelangelo sculpture and the flat, smooth texture of Japanese lacquerware designs.Foujita's confluence of Western chiaroscuro and precise Japanese painting techniques echoes the innovations of Modern Japanese Nihonga painters, such as Yokoyama Taikan, whose monumental silk scroll Metempsychosis graces the permanent collection of Tokyo's National Museum of Modern Art. Nihonga employs traditional Japanese methods – namely the application of ink and mineral paint onto paper or silk – together with elements of Yōga (European-style painting), particularly shading and perspective. Nihonga artists derive pigments from minerals and other organic materials, such as shells, corals and semi-precious stones. Foujita's use of mineral paint in the present work adopts Nihonga to achieve his authentic vision of the grand nu, a distinctly European genre. These intercultural experiments are hallmarks of the increasingly cosmopolitan outlook of Meiji-era Japan, a period of profound cultural change. At the time of Foujita's birth, Japan's identity was swiftly evolving from that of an isolated, feudal society into a modern, industrialised power open to foreign aesthetic, political, scientific and technological ideas. The present work evidently had enormous personal significance to Foujita. His 1931 self-portrait in the National Museum of Fine Art, Argentina, displays a near replica of the present Madeleine's visage and décolletage. This painstaking repetition – down to the gentle curl of hair over her ear, and the taut muscles of her elegant neck – offers a rare glimpse into Foujita's method. The continual copying of one's own designs echoes the tendencies of the Japanese printmakers – such as Katsushika Hokusai – that Foujita was directly inspired by. The practice of... 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 132
Patrick Hennessy (Irish, 1915-1980)Portrait of George Skeates, Verger signed 'Hennessy' (lower left)oil on canvas61 x 50.5cm (24 x 19 7/8in).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 102
Austin Osman Spare (British, 1886-1956)Portrait of Ada Millicent Pain signed with initials and dated 'A.O.S/1926' (lower right); further signed and inscribed with Artist's address 'Austin Osman Spare/52 Becket House Boro' S.E.1' (on Artist's label attached to backboard)chalk on paper42.5 x 28.5cm (16 3/4 x 11 1/4in).Footnotes:ProvenanceSale; Bonhams, Knightsbridge, 19 July 2011, lot 109, where acquired by the present ownerPrivate Collection, U.K.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 22
Clive Barker (British, born 1940)Joe Tilson signed and dated 'Clive Barker 85' (lower right), titled 'Joe Tilson' (lower left)pastel and pencil on paper56 x 38cm (22 1/16 x 14 15/16in).Footnotes:ProvenanceThe Artist, from whom acquired directly by the present ownerExhibitedLondon, National Portrait Gallery, Clive Barker Portraits, 24 July-18 October 1987, no.48This 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 121
Sir Jacob Epstein (British, 1880-1959)Third Portrait of Kitty (with Short Hair) bronze with dark brown patina52.5cm (20 11/16in) high (excluding base)Conceived in 1957Footnotes:LiteratureR. Buckle, Jacob Epstein Sculptor, Faber & Faber, London, 1963, pp. 398-399, pl. 634 and 635, illustrated on p. 399 (another cast)E. Silber, The Sculpture of Jacob Epstein with a Complete Catalogue, Phaidon Press Limited, Oxford, 1986, no. 508, illustrated on p. 224 (another cast)B.A. and E.P. Schinman (ed.), Jacob Epstein; A Catalogue of the Collection of Edward P. Schinman, Fairleigh Dickinson University Press, Rutherford, 1970, p. 57, illustrated (another cast)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 175
John Bratby R.A. (British, 1928-1992)Portrait of a Lady signed 'BRATBY' (lower right)oil on canvas142 x 61cm (55 7/8 x 24in).Footnotes:ProvenanceSale; Sotheby's, Olympia, 19 May 2004, lot 205, where acquired by the present ownerPrivate Collection, U.K.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 48
Keith Vaughan (British, 1912-1977)Portrait dated 'Aug 49.' (upper right), stamped with estate stamp 'K.V.' (on sheet verso)pencil on paper28 x 22cm (11 x 8 11/16in).Footnotes:ProvenanceThe Estate of the ArtistWith Anthony Hepworth, Bath, from whom acquired by the present owner in 2012Private Collection, U.K.At the end of the 1940s, Vaughan adopted a serrated, jagged outline for capturing the human form in life-classes and used it widely in his drawings. This female nude torso was probably made while he was teaching a life class at the Central School of Art. The monumental figure all but fills the picture plane. We are grateful to Gerard Hastings, whose forthcoming book on Keith Vaughan's graphic work will be published by Pagham Press, for compiling this catalogue note.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 107
Duncan Grant (British, 1885-1978)Portrait of a Woman, after Rembrandt signed with initials and dated 'D.G./56' (lower left)oil on board61 x 50cm (24 x 19 11/16in).Footnotes:ProvenancePaul RocheWith The Bloomsbury Workshop, London, where acquired by the present owner in 2012Private Collection, U.K.ExhibitedLondon, The Artist and the Café Royal, Exhibition of Contemporary Paintings (details untraced)We are grateful to Richard Shone for his assistance in cataloguing this lot.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 165
An Austro-Hungarian gem-set pendant and a pearl and garnet cluster ring, the pendant centred with an enamelled portrait of a lady in 18th century dress, within a surround of table-cut garnets, pearls and turquoise cabochons, in pinched collet settings, beneath double headed eagle surmount and gem-set bale, gilt metal mounted, together with a pearl, enamel and garnet cluster ring with partial enamel decoration, (pearls untested), ring size M. (2) £300-£400
Los 393
UKIYO-E: FLOATING WORLDA LARGE COLLECTION OF OVER 150 JAPANESE WOODBLOCK PRINTSTAKESHI KITANO 北野武 (Japan, Born in 1947) A RARE OBAN TATE-E / WOODBLOCK PRINT WITH MICA POWDER BACKGROUND This woodblock print dates back to the Heisei period and pays tribute to Tōshūsai Sharaku (active from 1794 to 1795), with the kabuki portrait of actor Ōtani Oniji III, and Utagawa Kuniyoshi (1798–1861), with the 1844 triptych “Mitsukuni Defying the Skeleton Spectre Invoked by Princess Takiyasha”. It has been designed and issued for the Kitano TV show at only 50 copies. The original creation appears in the “Hani-bi” film in 1997. Very rare woodblock designed for the Kitano TV show at only 50 copies. Takeshi Kitano pays tribute to Tōshūsai Sharaku (active from 1794 to 1795) with the kabuki portrait of actor Ōtani Oniji III and Utagawa Kuniyoshi (1798–1861) with the 1844 triptych “Mitsukuni Defying the Skeleton Spectre Invoked by Princess Takiyasha”. Notes: 1. For the two prints from which that one is inspired, please see an exemplar of the one by Sharaku preserved at the Metropolitan Museum of New York (The MET), The United States of America, under accession number JP2822, and an exemplar of the one by Kuniyoshi preserved at the British Museum under accession number 1915,0823,0.915-916. 2. An identical print has been exhibited at The Cartier Foundation, Paris, France, as part of the exhibition “Beat Takeshi Kitano, Gosse de peintre”, which took place from 2010/03/11 to 2010/09/12.Provenance: PROPERTIES FROM A FRENCH COLLECTOR
Los 228
IN THE MANNER OF VU CAO DAM 武高谈 (VIETNAM AND FRANCE, 1908-2000) A VERDIGRIS PATINA BRONZE BUST OF THE BODHISATTVA AVALOKITESHVARAVietnam, Attributed to a School of Applied Arts, Possibly 1920s / 1930sAffixed to a wooden stand.H (stand incl.): 46 cmNote: This piece might have been done after a bust of Bayon style dating to the 12th century. Ones may identify it as a portrait of King Jayavarman VII. It may have been done by a Vietnamese artist who came to work in Paris and visited the rooms of the Guimet Museum. It is indeed known that Vu Cao Dam took his inspiration from Khmer sculptures preserved in the French National Museum of Asian Arts to conceive his bronze busts.[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- cracks to wooden stand;- a tiny hole to the wooden stand;- faded patina to some parts and minor scratches;- look at the ears, one with a crusty patina and possibly with a chock.
Los 229
VU CAO DAM 武高谈 (VIETNAM AND FRANCE, 1908-2000) ECOLE DES BEAUX-ARTS DE L’INDOCHINE (INDOCHINA FINE ARTS COLLEGE), 7TH PROMOTION (1931) Portrait of a young lady with a blue scarf Circa 1950 Mixed media on silk laid on cardboard Signed to the lower right 33 x 23,8 cm Provenance: From a French Riviera Estate, France, where Vu Cao Dam has been working and living.Notes: 1. Biography: Vu Cao Dam was born in Hanoi in 1908 to a Catholic family of the local bourgeoisie. In 1926, he joined the Fine Arts School of Hanoi (Ecole des Beaux-Arts de l’Indochine), where he studied the art of painting and drawing and from which he graduated in 1931. With the support of his professor, Victor Tardieu (1870-1937), Vu Cao Dam participated in the 1931 edition of Paris International Exhibition following which he settled in France. He was, above all, known for his sculptures, which brought him numerous commissions upon his arrival in Paris. Marked by the Western avant-garde (Fauvism and the Paris School), Vu Cao Dam’s creations lie on the edges of Asian traditions in general, and Vietnamese and Chinese in particular. He was one of the four famous Vietnamese painters who emigrated in Paris, the others being Le Thi Luu (1911-1988), Mai Trung Thu (1906-1981) and Le Pho (1907-2001). 2. Comparison: This painting seems to belong to a series of portraits of young women of similar size painted in the early 1950s. For a portrait of this series at public auction, see Christie’s Hong Kong July 11, 2020, lot 251, painted in 1952 and sold for HKD525.000 BP incl. [INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- silk laid on a wooden panel;- stains;- traces of the frame;- scratches;- veneer stains;- UV / black light checked;- maybe a few old re-paints by the artist (one lower left hair, one front neck, one upper right shoulder = left + right as seen from the person looking at the painting);- a small chock above the forehead in the hairs;- dust;- PROVENANCE: ACQUIRED FROM A FRENCH RIVIERA ESTATE NEAR SAINT PAUL DE VENCE WHERE THE ARTIST USED TO LIVE.
Los 332
UKIYO-E: FLOATING WORLDA LARGE COLLECTION OF OVER 150 JAPANESE WOODBLOCK PRINTSKONISHI HIROSADA 小西廣貞 (c. 1810-1864)Portrait of tattooed character Danshichi Kurobei from the kabuki play “Natsu matsuri naniwa kagami”Chuban tate-e / woodblock print1850’sProvenance: PROPERTIES FROM A FRENCH COLLECTOR
Los 336
UKIYO-E: FLOATING WORLDA LARGE COLLECTION OF OVER 150 JAPANESE WOODBLOCK PRINTSAfter TOYOKUNI III 歌川 国貞 also known as UTAGAWA KUNISADA 三代歌川豊国 (1786-1865)Memorial Portrait of HiroshigeOban tata-e / woodblock printMid 20th century reprint, 1950sCatalogue raisonné: Hinohara, Utagawa Kunisada (Ôta Mus., 2016), p. 81; Marks, Japanese Woodblock Prints (2010), p. 136; Ôta Memorial Museum of Art, Utagawa-ha (Kobijutsu special issue, 1986), #266Note: See a related print preserved at the Museum of Fine Arts (MFA) of Boston, The United States of America, under accession number 21.6988.Provenance: PROPERTIES FROM A FRENCH COLLECTOR
Los 67
THREE EARLY 19TH CENTURY PORTRAIT MINIATURES OF GENTLEMEN, the smallest in an oval gold plated frame with hanging loop attached, the reverse with glazed panel and lock of hair, the miniature not removed from the frame but assumed on ivory, 5.2cm x 4.3cm, frame excluding hanging loop 5.9cm x 5cm, the portrait of the man with brown hair and in an ebonised frame has had the backing paper removed, this portrait is glued onto card and in a gilt card mount but is believed on ivory, miniature approximate size 7cm x 5.5cm, the third miniature of a gentleman with fair hair is sealed at the back and therefore has not been removed from the frame for the purposes of cataloguing, presumed oil on ivory, miniature approximate size 7.2cm x 5.7cm (3)
Los 68
TWO EARLY 19TH CENTURY PORTRAIT MINIATURES IN EBONISED FRAMES AND ANOTHER OF A LATE 19TH CENTURY GENTLEMAN MOUNTED IN A GILT METAL BROOCH, the brooch with green foiled paper backing and glazed, the miniature not removed from the frame but believed on ivory, some damage around lower edges, miniature approximate size 5cm x 4cm, the framed portrait side profile miniature appears to be on ivory, miniature not removed from the frame for the purposes of cataloguing as the back is covered with a label printed PATRONIZED BY HER MAJESTY, HAMLET, Profile Painter To Her Majesty and the Royal Family, No 17, Union Passage, Bath.... miniature 7.2cm x 5.8cm and the portrait of the young boy on ivory which is glued onto a card backing, signed to the lower left P G Dodd 1823, miniature 7.6cm x 5.8cm, the reverse of the frame with impressed crown above partial name. (3)
Los 70
FOUR ASSORTED 20TH CENTURY PORTRAIT MINIATURES, comprising a celluloid framed oval print of a gentleman with hand painted details, miniature 4.7cm x 3.7cm, an Italian portrait of a lady in 18th century costume, piano key frame, s.d., G. Moore, a copy after Perronneau of Girl with cat, oil on plastic and an early 20th century oval portrait of a girl, brass frame, not removed from frame, bears label verso Mini on ivory, Little Maid £85.00 , 6.6cm x 5.3cm (4)
Los 277
Large box containing a large glazed frame containing portrait(photo) of Soldier in Uniform, frame believed Oak, Trench Art Shell case decorated with Royal Horse Artillery Badges, US-MD Military spoon, Spanish Army belt, British Army SA80 Rifle Combi-tool, FAL SLR 1954-1994 Combi tool, 3 British army cleaning kits one marked B Sqn SMG on lid, 2x Army jack knives, chocolate & boiled sweets, Army Ration tin marked JL&CO ltd, German Army post WW2 entrenching tool complete with carrier
Los 66
AN EDWARDIAN PORTRAIT MINIATURE ON IVORY OF A GIRL, MOUNTED IN AN OVAL SILVER FRAME, the frame set with imitation seed pearls and turquoise, fitted with hanging loop, maker G.E.S., Birmingham 1902, miniature 6.2cm x 5cm, frame excluding loop 7.2cm x 6cm, together with another early 20th century silver framed portrait miniature of a young woman, on paper, probably an overpainted print, looks to be watercolour with some areas of overpainting and repair, frame fitted with a hanging loop, maker's mark partially rubbed, London 1909, miniature 7.6cm x 6.3cm, frame excluding loop 8cm x 6.5cm (2) (condition report: the girl has a few fine scratches across the surface, the lady has areas of lifting/repair and a film like substance mainly to the top and bottom)
Los 232
Three portrait miniatures on card, all in leather cases, 19th century, a late Victorian/Edwardian lady, circular, the green leather case stamped 'Walter Jones', 4.5cm diameter, an army officer, oval, in a red leather case, 7 x 6cm and a Victorian lady in a red leather case, 7 x 5.3cm and a leather cased Daguerrotype portrait of a gentleman, oval, 5.5 x 4cm (4)Condition report: 1. Minor wear to case.2. Some foxing and discolouration. Wear to case and ink stains.3. Image faded and some paint loss to dress.4. Minor wear to case.
Los 1095
A RARE JAPANESE WOOD DOLL'S HOUSE MEIJI PERIOD OR LATER, 19TH OR 20TH CENTURY Constituted of three connected structures: the main two-storey building to the left with movable shoji paper walls, the removable roof revealing the upstairs rooms furnished with low cabinets; a small teahouse with railings facing a pond to the centre, and a shrine to the right with a torii-shaped entrance, together with two small Chinese wood carvings of seated ladies, 40cm x 72cm x 31cm. (4) Provenance: from the collection of Cavendish Morton (1874-1939). Morton was a British actor, photographer, and art director. Many of his photographs are today on display at the National Portrait Gallery, London.
Los 1045
TWO JAPANESE LACQUER MEDALLIONS ON COPPER OF FAMOUS EUROPEAN FIGURES EDO PERIOD, LATE 18TH CENTURY The first a portrait of François-Marie Arouet, better known as Voltaire (1694-1778), the French Enlightenment writer depicted half-length with his name written above, the reverse inscribed 'DE VOLTAIRE Né à Paris en 1694', the other plaque decorated with the head of Emperor Constantine II (337-340), his name and titles also written above, the reverse with another long inscription about the Roman ruler, both portraits rendered in gold hiramaki-e on the deep roiro black lacquer ground, both with a ring for suspension to the top, 14.3cm x 14.5cm. (2) The designs for both medallions are taken from European engravings, many from the 18th century encyclopaedic work L'Europe Illustrée, which would have been sent to the Japanese workshops to be copied. The trend for portraits of famous figures was also embraced by Josiah Wedgwood who produced them both in blue jasper and black basalt. See O Impey and C Jörg, Japanese Export Lacquer (1580-1850), pp. 48-57 and pp.216-217 for further examples of medallions depicting European figures.
Los 1098
A SMALL COLLECTION OF JAPANESE MUSICAL INSTRUMENTS MEIJI PERIOD, 19TH CENTURY Comprising of a koto (zither), a biwa (lute) and a kotsuzumi (drum); the koto embellished with details in yosegi-zaiku marquetry, with areas in tortoiseshell painted with tennin and a dragon; the biwa with remnants of painted decoration and a moon inlaid in silver, with a black lacquer wooden case and a silk purse containing two wood plectrums; the drum in leather and wood, decorated with leafy tendrils in gold lacquer on the black ground, approx. 189cm max. (7) Provenance: from the collection of Cavendish Morton (1874-1939). Morton was a British actor, photographer, and art director. Many of his photographs are today on display at the National Portrait Gallery, London. PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.
Los 27
Mid-19th century English School SHOULDER-LENGTH PORTRAIT OF MARY ANN BLIZARD, BORN 1811, WEARING A CORAL BEAD NECKLACE AND LACE-TRIMMED BLUE DRESS Unsigned oil on canvas, 73 x 58cm, in heavy oak frame, together with WILLIAM BLIZARD, WEARING A WHITE STOCK AND DARK COAT, 74 x 61cm, a pair, (2).
Los 117
Charles Buncombe (1795-1830), (attrib.), a late-18th century painted silhouette on card, portrait of an unknown lady, in black and shades of grey, inscribed verso By Buncombe, Newport Isle Wight 1798, Mrs Webb's Great Aunt living at Newport, Isle of Wight, with Collection labels for Nevill Jackson and Christie, 95mm x 75mm, in black wood frame, 140 x 120mm overall.
Los 1094
British School, early 20th c - Portrait Miniature of a Young Woman, half length, in a bonnet with blue ribbons, ivory, oval, 84mm, giltmetal frame applied with roses and a bow, in hinged white shagreen case Good condition, the silk / fabric to the interior of the case stained and slightly frayed
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283287 Los(e)/Seite