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283284 Los(e)/Seite
Los 314
After Egon Schiele (Austrian, 1890-1918) - Self portrait, lithograph, signed and dated '1913' in the plate, visible sheet 26.5 x 17cm, together with three others; portrait of Gerti Schiele, portrait of a girl, two little girls (4)Note: the present works are later copies of prints from Egon Schiele's Handzeichnungen, smaller in size and appear un-numbered
Los 2936
WILLIAM MORISON WYLLIE (SCOTTISH 1820-1895) SELF PORTRAIT Oil on canvas, 52 x 41cm (20.5 x 16") Provenance: The artist's family, and by descent Note: Marine painter, baptised in Forfar. Father of the artists William Lionel Wyllie, Charles William Wyllie and Lionel Percy Smythe Condition Report:In 'country house' condition. Some shrinkage. It is not clear the nature of hazing/bloom, and to what extent this will clean off. We advise getting a conservator to inspect
Los 2667
RALEIGH, SIR WALTER THE HISTORY OF THE WORLD Printed for Walter Burre, London, 1614, folio, rebound in full calf, with "Minde of the Front" leaf, five folding maps and two battle plans, lacking portrait frontispiece The General History of the World, Being an Abridgement of Sir Walter Raleigh. With a Continuation From the Best Historians to the Present Times. Printed for A. Bell, R. Smith and J. Round, London, 1708, 12mo, four volumes bound in contemporary tooled calf, armorial bookplate of Thomas Western Aul. de Clare Cant. and Felix Hall Library labels (5) Condition Report:Available upon request
Los 2665B
HARDY, THOMAS THE WORKSThe "Mellstock Edition", one of 500 sets printed, MacMillan & Co., London, 1919-1920, thirty-seven volumes (one with cover badly water damaged), the first (Tess of the D'Urbervilles) being signed by Hardy, with an engraved frontispiece portrait of the author by William Strang, bound in gilt dark blue cloth, with monogrammed upper covers, 8vo, armorial bookplate of Sir Alexander Kay Muir Bart.Sir Alexander Kay Muir, 2nd Baronet (1868-1951), son of Sir John Muir, Scottish industrialist, founder of Finlay Muir & Co. and Lord Provost of Glasgow 1889-1892. Succeeding as second Baronet in 1903, Alexander Kay Muir held the offices of Justice of the Peace for Glasgow and Perthshire, and High Sherriff of County Waterford.Condition Report:"Most volumes worn to spine at extremities, with some fraying to cloth. Many corners bumper and curled. General shelf-wear and variable fading to spines. Covers generally lightly marked in places. Water damage to covers of volumes IV and XXVIII, with resultant staining to pages. Minor damp-staining to pages elsewhere. Volume XIV with some deep scoring to cover and a tear fully through the board to bottom edge (approx. 1cm in length). Volume XXXIII badly water damaged to lower cover. Pages internally are generally crisp and fairly bright. Some edges are uncut. Occasional light marks and foxing. Largely, endpapers, titles etc. are discoloured/browned/foxed.Please be advised that owing to the extent of the set, we are unable to provide exhaustive condition notes. The above is indicative of the condition of the set overall."
Los 2553
VICTORIA (1837-1901) MAUNDY COINS 1899 Obverse Older crowned and veiled bust ('Old Head') of Queen Victoria left, legend around VICTORIA·DEI·GRA · BRITT·REGINA·FID·DEF · IND·IMP T.B. Reverse Crowned denomination divides date within oak wreath 1/d, 2/d, 3/d and 4/d EDWARD VII (1901-1910) MAUNDY COINS 1906 Obverse Uncrowned portrait of King Edward VII right, legend around EDWARDVS VII D: G: BRITT: OMN: REX F: D: IND: IMP: DES· Reverse Crowned denomination dividing date within oak wreath 1/d, 2/d, 3/d and 4/d EDWARD VII (1901-1910) MAUNDY COINS 1908 Obverse Uncrowned portrait of King Edward VII right, legend around EDWARDVS VII D: G: BRITT: OMN: REX F: D: IND: IMP: DES· Reverse Crowned denomination dividing date within oak wreath 1/d, 2/d, 3/d and 4/d (12) Condition Report:Available upon request
Los 2656
A VICTORIAN PORTRAIT MINIATURE Painted on ivory; the subject, an older lady in sombre (possibly mourning) dress, a gold locket around her neck, her grey hair worn plainly back off the face; housed in a gilt locket mount measuring approx. 5.3cm in height overall Ivory Declaration Reference - Z8SJPC5V Condition Report:Available upon request
Los 2577
WILLIAM IV (1830-1837) 1 SHILLING 1831 Obverse Uncrowned portrait of King William IV right, legend around GULIELMUS IIII D: G: BRITANNIAR REX F: D: Reverse Crown above denomination within wreath, date below ONE SHILLING 1831 Edge plain 5.35 grams 23mm Ø Together with William IV shilling coin 1837 edge reeded 5.51 grams, 1835 edge reeded 5.62 grams, 1836 edge reeded 5.68 grams (4) Condition Report:Available upon request
Los 2579
GEORGE III (1760-1820) 1 SHILLING 1817 Obverse New laureate portrait of King George III right, legend around date below GEOR:III D:G: BRITT:REX F:D: 1817 Reverse Ornate crowned Royal shield overlaid with smaller crowned shield, all within Garter HONI·SOIT·Q MAL·Y·PENSE· Edge reeded 5.53 grams 24mm Ø Together with similar George III shilling coins, 1818 5.55 grams, 1819 5.66 grams, 1820 5.62 grams etc (15) Condition Report:Available upon request
Los 2933
JOHN GRAHAM-GILBERT RSA (SCOTTISH 1794-1866) WILLIAM AND ELIZA KER OF MILNGAVIE, IN A GARDEN Oil on canvas, signed 'J Graham' lower left, dated 1827, 127 x 101.5cm (50 x 40") Exhibited: Edinburgh, Scottish National Portrait Gallery, 'Scottish Groups and Conversation Pieces', 1956 Condition Report:Presents well, in stable condition. Appears to be both strip and wax lined. Shrinkage. Stretcher marks. Localised impact cracking. Minor damages and chips. Under UV, some scattered flaring mostly to background. Very little to the figures.
Los 2601
THE WATCH OF LIEUTENANT-GENERAL SIR JOHN BENNET HEARSEY K.C.B. with classic white dial with black Roman numerals and subsidiary seconds dial is signed Wm. Hughes London, the pair case pocket watch is mounted in bright yellow metal with London hallmarks for 1787, inscribed within the first case General Sir John Bennet Hearsey K.C.B Born 1793, died 1865. The movement with diamond capped foliate pierced flywheel is signed Wm. Hughes London, with the number 4129. With further floral engraving to the movement, diameter outer case 5.5cm, inner case 5cm, weight together including mechanism 151gms. Together with a bright yellow metal marine link fob chain, length 36cm weight without keys 37.8gms; and a large framed print of Hearsey after his portrait by an unknown artist, 1839, measuring approx. 94cm x 76cm externally (3) John Bennet Hearsey (1793 - 1865) - British military officer, Colonel of the 21st Hussars and 3rd Bengal Light Cavalry. A noted amateur naturalist and entomologist. Condition Report:Curiously the carat of the gold is not stamped, hence the bright yellow metal, London hallmarks for 1787 match to both cases. Movement winds and is ticking, has two keys.
Los 2920
JAMES AH HECTOR (SCOTTISH 1868-1940) MISS MARY E POPE AT THE NORTHERN ART CLUB, ABERDEEN, C1914 Oil on board, 29 x 36.5cm (11.25 x 14.25") Note: A label verso states that this portrait was executed during a 2 hour sitting. Provenance: James McBey John R Pope The late Perpetua Pope, Edinburgh Hector was an Aberdeen artist, who studied and later taught at Grays School of Art. His notable sitters included Patrick Geddes. The Popes were a notable Aberdeenshire family Condition Report:Good condition. Minor bowing. Minor surface score
Los 2557
CHARLES I (1625-1649) 1 SHILLING BRIOT'S LATE BUST Obverse Crowned portrait of King Charles I left, denomination behind head legend around, anchor mintmark above CAROLVS·D;G·MAG·BRIT·FR·ET·HIB·REX· XII Reverse Square-topped shield of arms over long cross fourchee, cross to inner circle, legend around, anchor mintmark above CHRISTO · AVSPICE · REGNO . 6.05 grams 30mm Ø Edge smooth Condition Report:Available upon request
Los 2652
AN EARLY-VICTORIAN PORTRAIT MINIATURE LOCKET Painted on ivory; the subject, a fair-haired gentleman wearing a dark coat and cravat, with a flower in his buttonhole; housed in a rolled gold pendant locket with scrolled engraving, dated 19th July 1845 to the centre; measuring approx. 6.5cm in height, exclusive of suspension loop, in a velvet-lined Morocco fitted case Ivory Declaration Reference - ZAPX9LHZ Condition Report:Portrait presents very well, with no apparent damage or restoration. Subject is bright and crisp. Some dust flecks trapped under the glass (visible over the lower portion of the subject's dark jacket). Gilt locket is clean and bright, though lightly scratched generally over its surface. The lid does not sit quite flush with the body when closed. Some tarnish to interior of lid. Morocco outer case is generally scuffed. Cream silk lining a little faded and lightly marked. Overall, an attractive subject and a well executed portrait.
Los 2657
THREE 19th CENTURY WAX RELIEF PORTRAIT MEDALLIONS Depicting members of the Turnbull family, respectively John Turnbull Senior, Died 16th May 1817; Miss Turnbull Senior, Died 16th 1838 - Aged 69; and John Turnbull Junior, Born 3rd May 1765, Died 26th Feb. 1835; housed together upon a red velvet backing within an oblong gilt frame, measuring approx. 52cm x 33.5cm externally Condition Report:Available upon request
Los 2580
GEORGE IV (1820-1830) 1 SHILLING 1821 Obverse Laureate portrait of King George IV left, legend around GEORGIUS IIII D: G: BRITANNIAR: REX F?: D?: Reverse Crowned and garnished shield of arms with national flower emblems around, date below ANNO 1821 Edge reeded 5.54 grams 24mm Ø 1 SHILLING 1824 Obverse Laureate portrait of King George IV left, legend around GEORGIUS IIII D: G: BRITANNIAR: REX F: D: Reverse Crowned Royal shield of arms within Garter legend within, date below HONI·SOIT·QUI MAL·Y·PENSE··· ANNO 1824 Edge reeded 5.6 grams 24mm Ø and anothe 1825 5.66 grams (3) Condition Report:Available upon request
Los 2583
VICTORIA (1837-1901) 1 SHILLING COINS Obverse Uncrowned portrait ('Young Head') of Queen Victoria left, legend around VICTORIA DEI GRATIA BRITANNIAR:REG:F:D: Reverse Crown above denomination within wreath, date below to include three second portrait examples (48) Condition Report:Available upon request
Los 2662
VERTOT, RÉNÉ-AUBERT THE HISTORY OF THE KNIGHTS OF MALTA With LXXI. Heads of the Grand Masters, &c. Engraved by the best Hands in France, from the Original Paintings, Under the Inspection of Mons. Bologne, Director of the Royal Academy of Painting. With Maps by Mons. de Lille, and the Plans and Fortifications of Malta by the Chevalier de Tigne. And a compleat Index to the whole. G. Strahan and others, London, 1728, two-volume folio set bound in full calf, with seventy engraved portraits and five engraved maps (four folding) Condition Report:"Bindings are in a fairly rough state, with covers affixed to spine only by their cords.Volume I with engraved frontispiece portrait of Vertot, 46 further engraved portraits and three maps (two folding). First folding map (Carte des Payes ou Les Chevaliers de St. Jean de Jerusalem) with tears to edges, some discolouration, deeply set creases and a small hole to centre. Pages otherwise with spots of water damage, occasional tears to edges and dog-earing. Taped repairs in places. These flaws aside, they are of a nice bright character. A large loss to the bottom corner of page 425 (not effecting text). Penultimate endpaper apparently torn out and lacking.Volume II - first endpaper torn at hinge and hanging insecurely. Some related later cuttings inserted loose. Pages generally fairly bright with light foxing and discolouration round edges. Occasional marks and tears to edges. Portrait of Claude de La Sangle with much browning/discolouration. One page apparently torn out between plate 50 (portrait of Jean Levesque De La Cassiere) and page 51, however pages are numerically correct. Some portraits foxed. 23 engraved portraits and two folding maps. Ends with colophon - ""Books Printed for and Sold by George Strahan in Cornhill...""Therefore, in total, with the inclusion of the portrait frontispiece of Vertot, 70 engraved portraits and 5 engraved maps (4 folding) are present."
Los 2576
GEORGE IV (1820-1830) 1 SHILLING 1825 Obverse Uncrowned portrait of King George IV left, legend around, date below · GEORGIUS IV DEI GRATIA · 1826 Reverse Crowned lion passant atop crown, legend around, national flower emblems below BRITANNIARUM REX FIDEI DEFENSOR Edge reeded 5.63 grams 24mm Ø together with similar George IV shilling coins 1825, 1826, 1827, 1829, 1826, 1825, 1823 (8) Condition Report:Available upon request
Los 2578
GEORGE III (1760-1820) 1 SHILLING 1816 Obverse New laureate portrait of King George III right, legend around date below GEOR:III D:G: BRITT:REX F:D: 1816 Reverse Ornate crowned Royal shield overlaid with smaller crowned shield, all within Garter HONI·SOIT·Q MAL·Y·PENSE· Edge reeded 5.42 grams 24mm Ø Together with similar George III shilling coins 1817 5.59 grams, a coppered 1818 5.0 grams, 1819 5.37 grams, 1820 5.59 grams (5) Condition Report:Available upon request
Los 387
ACM Christopher Foxley Morris DSO OBE WW2 RAF Battle of Britain fighter ace signed 7 x 5 inch b/w portrait photo and separate biography. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Los 519
Mandella The Authorised Portrait Foreword Kofi Annan Introduction Archbishop Desmond Tutu hardback book, 355 pages. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Los 2201
Four 19th century snuff boxes including ; a circular tortoise shell snuff box with relief carved portrait bust to the lid within an oval gilt metal frame, 4.2cm diameter, a tortoise shell lined wooden circular snuff box with portrait of a gentleman to the lid within a glazed, gilt metal oval aperture, 7.8cm diameter and two further circular wooden snuff boxes with portrait prints to the lid. (4)
Los 2191
A group of small collectables including ; a 19th century silver vinaigrette, a silver bladed mother of pearl folding fruit knife, an 18th century tortoise shell and silver inlaid toothpick box, 8cm wide, a gilt metal miniature chain link purse, a miniature silver patch box with painted portrait to the circular lid and related collectable items. (qty)
Los 164
Beautiful collection of milk glass with raised embellishments and a portrait of a woman that consists of a decanter with a stopper, a tray, and two small dishes. Largest item measures 11.5"L x 7.5"W x 1"H. Issued: c. 1930sDimensions: See DescriptionManufacturer: FostoriaCountry of Origin: United StatesCondition: Age related wear.
Los 21
MANOLO VALDES (N. 1942)Retrato de Amélie IV 2000 signé, titré et daté 2000 au revers huile sur toiles de jutes assemblées, colle, papier, ficelle et agrafes monté sur toile signed, titled and dated 2000 on the reverse oil on assembled burlap canvas, glue, paper, string and staples mounted on canvas 200 x 150 cm. 78 3/4 x 59 1/16 in.Footnotes:Nous remercions le studio Manolo Valdés des informations qu'ils nous ont aimablement communiquées sur cette œuvre. ProvenanceMarlborough Gallery, New YorkCollection particulière, ParisVente : Christie's, Paris, Art Contemporain - Vente du Jour, 8 décembre 2016, lot 204Acquis lors de cette vente par le propriétaire actuelEntre décontextualisation et réinterprétation, l'art de Manolo Valdès, avec une fraîcheur inattendue, nous entraîne dans un monde empreint de matérialité et d'histoires, dans un dialogue transverse avec les chef-d'œuvres de l'art occidental. De ses années Equipo Crónica, l'artiste, délicieusement provocateur, retint la force de l'engagement politique (ce groupe, qu'il fonda en 1964 auprès de Rafael Solbes et d'Antonio Toledo, s'oppose à la dictature franquiste) et, du pop art (génération à laquelle il appartient), la valeur des images.Avec une audace oxymorique, Manolo Valdès revisite le patrimoine artistique (Vélasquez en particulier) et l'informalisme de ses prédécesseurs (Millares, Saura, Tàpies) offrant une expérience visuelle teintée de gigantisme. Joueur, l'artiste international jamais ne craignit se s'attaquer aux « monstres sacrés » (Rembrandt, Picasso, etc.), avec une liberté déconcertante. « Brancusi m'a enseigné que l'on peut faire une tête sans yeux » dit le peintre.C'est lors d'un voyage à Paris, alors qu'il était étudiant, que Manolo Valdès s'éprend des papiers découpés de Matisse, de l'art informel et des œuvres des nouveaux réalistes qui lui révèlent l'attrait pour les matériaux de récupération, de même que la texture écorchée de la « peau des villes » (Restany). La matière, dès lors, de son Œuvre en devient le véritable sujet.Protéiforme, son art sans cesse se réinvente, l'artiste jouant avec la peinture comme d'un nouveau langage, s'attirant la passion des collectionneurs et des institutions (ses œuvres sont présentes au Museo Nacional de la Reina Sofia à Madrid, au Kunstverein à Berlin, au Centre Pompidou à Paris, au MoMA ainsi qu'au Metropolitan à New York).S'inspirant du célèbre tableau que Matisse réalisa en 1913, Le portrait de madame Matisse, le portrait que nous présentons ne retient du chef-d'œuvre que son essence profonde : la femme, la couleur et le parfum du scandale. Les aspérités offrent à ce visage une vitalité nouvelle, les replis, les coutures et les aplats de couleurs venant écorcher sa délicatesse charnelle. Cette effigie fractale et égratignée, sous les mains libertaires et contestataires de Manolo Valdès, semble faire sienne la devise de Beaumarchais : « Sans la liberté de blâmer, il n'est point d'éloge flatteur ».Between decontextualization and reinterpretation, the surprising freshness of Manolo Valdes's art draws us into a world composed of materiality and histories, through a cross-disciplinary dialogue with the masterpieces of Western art. From his years with Equipo Crónica,—a group he founded in 1964 with Rafael Solbes and Antonio Toledo, in opposition with Franco's dictatorship— the delightfully provocative artist retained the strength of his political commitment and, from Pop Art — his generation —the value of images.With oxymoronic boldness, Manolo Valdès revisits artistic heritage (Velázquez in particular) and Informalism as expressed by his predecessors (Millares, Saura, Tàpies), offering a visual experience prone to gigantism. A bit of a gambler, the international artist was not afraid to take on iconic figures (Rembrandt, Picasso, etc.), with disconcerting freedom. 'Brancusi taught me that you can make a head without eyes,' says the painter.It was during a trip to Paris as a student that Manolo Valdès fell in love with Matisse's papiers découpés, Informal art and the works of the New Realists, with whom he discovered his attraction for salvaged materials and the torn textures of 'city skins' (Restany). From then on, the medium became the true subject of his work.His protean art was constantly being reinvented, indeed the artist experimented with paint as if it were a new language, sparking the enthusiasm of collectors and institutions alike (his works can be seen at the Museo Nacional de la Reina Sofia in Madrid; the Kunstverein in Berlin; the Centre Pompidou in Paris; MoMA and the Metropolitan in New York).Inspired by Matisse's famous 1913 painting, Le portrait de Madame Matisse, the portrait we present retains only the essence of the masterpiece: the woman, the colour and the fragrance of scandal. The asperities give this face a new vitality, while the folds, seams and flat colours lacerate its delicate skin. This fractal, scratched effigy, under the libertarian, anti-establishment hands of Manolo Valdès, seems to acknowledge Beaumarchais's motto as his own: 'Without the freedom to criticise, there is no true praise.'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 37
VALERIO ADAMI (N. 1935)L'artiste ému par la grandeur des ruines antiques 1976 signé, titré et daté 10.11.76 / 29.11.76 au reversacrylique sur toile signed, titled and dated 10.11.76 / 29.11.76 on the reverse acrylic on canvas 145.9 x 113.6 cm. 57 7/16 x 44 3/4 in.Footnotes:Provenance Galerie Maeght, Paris Collection particulière, ParisExposition Marseille, Musée Cantini, Adami, œuvres récentes et portraits, juillet - septembre 1977, p. 40, illustré en noir et blancAllusive, serpentine, péremptoire, la ligne, chez Valerio Adami, est mue par un désir aux soupirs indiscrets : sa création relève du lapsus pictural. Dans une perspective énigmatique et accélérée, ses œuvres, articulées en compositions complexes, semblent reposer sur une narration cinématographique. L'ellipse, le montage, les coupes, en son Œuvre se déclinent, au gré des toiles et des dessins, dans lesquels l'espace et la profondeur ne s'appartiennent plus : la ligne, seule, décide.Artiste majeur de la figuration narrative, Valerio Adami fit partie de l'exposition La Figuration narrative dans l'art contemporain en 1965 à Paris (la deuxième consacrée au mouvement), puis de l'emblématique - intitulée en référence à Roland Barthes - Mythologies Quotidiennes II, en 1977 au musée d'Art Moderne de la ville de Paris, organisée par Gérard Gassiot-Talabot, défiant la dérision statique du pop américain par la « précieuse mouvance de la vie », selon les mots du critique d'art. Opposant la narration au récit, en introduisant une dimension temporelle dans une image fixe, ces artistes (Télémaque, Arroyo, Rancillac, Aillaud etc.), avec fièvre et détermination, pimentèrent la peinture d'un nouveau langage.Leurs œuvres, nées de l'effervescence de l'image (publicité, bande dessinée), en détournant la signification première de la représentation, offrent à notre regard un sens inavoué et inattendu, sur fond d'un embrasement inventif et contestataire, en ces années 1960-1970.C'est un découvrant, à l'âge de 17 ans, l'œuvre de Kokoschka Les thermophyles que le jeune Adami pour la peinture se passionne. « Chaque tableau est un précipité chimique de la pensée tracée par la globalité de l'Œuvre » dira le peintre. Considérant l'art comme une rhétorique (ses lectures du peintre Anton Raphael Mengs sont très éclairantes), Valerio Adami explore avec une intensité palpable la condition humaine, cristallisant dans nos petits quotidiens des vérités perdues, qui justifient pourtant à elles seules que l'on vive. Ses personnages, comme autant de voyageurs immobiles, semblent traverser la même histoire, comme s'ils étaient de tous les temps. Dans une poésie exhalant le mystère de ses fables, « le tableau n'est pas fait de la même substance que la vision », dit-il, le peintre nourrit nos cœurs.Dès son installation à Paris en 1970, l'ARC lui organise une exposition au musée d'Art Moderne de la ville de Paris, avant que le Centre Pompidou, quelques années plus tard, lui consacre une importante rétrospective. Ses œuvres ont aujourd'hui rejoint les plus grandes institutions internationales.Appartenant à la même collection, au goût très éclairé, ces trois œuvres incarnent à merveille son esthétique inspirée du cloisonnisme français, de même que sa mythologie personnelle (rare, son autoportrait entre en une conversation intérieure avec le peintre du romantisme noir Johann Heinrich Füssli). Son laboratoire intime, entre exhumation de souvenirs et métamorphose de l'image, révèlent un équilibre d'une délicatesse gracile. Le dessin achevé, par un agrandissement, Valerio Adami offre la vie à la matière, c'est alors que la couleur chante. Traduisant la douleur, l'envie, le mensonge, les teintes légères ou pensives, nées d'une mûre réflexion, s'appliquent, allégoriques. L'allusion, guidée par associations d'idées, épouse dans le secret de son art la métaphore. Ce qui était affleurement est devenu une direction : si la couleur est un langage, la ligne est un état de l'âme.Allusive, serpentine, decisive, the line for Valerio Adami is driven by intrusive sighs of desire: his creative act is a form of pictorial spoonerism. With an enigmatic, accelerated perspective, his works, articulated in complex compositions, bring to mind a cinematic narrative. The ellipsis, montage and cuts in his work are expressed with paintings and drawings in which space and depth are no longer complementary: the line alone decides.A major artist of narrative figuration, Valerio Adami was part of the 1965 exhibition La Figuration narrative dans l'art contemporain in Paris (the second devoted to that movement), then of the emblematic Mythologies Quotidiennes II (in reference to Roland Barthes), in 1977 at the Musée d'Art Moderne de la Ville de Paris. Organized by Gérard Gassiot-Talabot it challenged the static derision of American pop with the 'precious movement of life', in the words of the art critic. Opposing narrative and anecdote, a temporal dimension is introduced into a still image, these artists (Télémaque, Arroyo, Rancillac, Aillaud etc.), at once passionate and determined, spiced up painting with a new language.Their works, born during the rise of the image (advertising, comics), by hijacking the primary meaning of representation, offer our gaze a hidden, unexpected meaning, in an environment of inventive and anti-establishment conflagration in the 1960s-1970s.At the age of 17, Adami's fascination for painting began when he discovered Kokoschka's Thermophyles. 'Each painting is a chemical precipitate of the thought charted within the entire Oeuvre', noted the painter. Considering art as rhetoric (his readings of the painter Anton Raphael Mengs are very enlightening), Valerio Adami explores the human condition with palpable intensity, crystallizing in the trivia of everyday life lost truths, which in themselves justify one's life. His characters, like as many immobile travellers, seem to be transiting through the same stories, as if they were everlasting. In a poem that exudes the mystery of his fables: 'the painting is not made of the same substance as vision', he says - the painter feeds our hearts.As soon as he moved to Paris in 1970, the ARC organized an exhibition for him at the Musée d'Art Moderne de la Ville de Paris, and the Centre Pompidou devoted a major retrospective to him a few years later. Today, his works can be found in many major international institutions.All part of the same highly discerning collection, these three works are a perfect example of his French Cloisonné-inspired aesthetic, as well as his personal mythology (a rare self-portrait in deep conversation with the dark Romantic painter Johann Heinrich Füssli). His intimate laboratory, confronts the exhumation of memories and the metamorphosis of the image, to expose a gracefully delicate balance.Once the drawing is complete, Valerio Adami enlarges it to bring the medium to life, and at once the colours sing. After much reflection he depicts pain, envy, deceit, choosing delicate or pensive hues, applied allegorically. Guided by idea associations, innuendo and metaphor are coupled in the secrecy of his art. What was but an emergence becomes a direction: if colour is a language, the line is a mirror of the soul.This lot is subject to the following lot symbols: AR WAR Goods subject to Artists Resale Right Additional Premium.W Lot is located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com
Los 845
WILLIAM THEED THE YOUNGER (1804-1891) A WHITE MARBLE PORTRAIT BUST OF A LADY DATED 1844 Signed to reverse "W THEED FECIT ROMA 1844" approximately 52cm high, 45cm wide The records show only one portrait bust exhibited by Theed in this year - Lady Elizabeth Culling Smith. Working in Rome he did a lot of private patronage work and it could be that this was someone on the Grand Tour in Rome. Condition Report: Please note the below condition report is the only one available. With weathering (colour variance from exposure), wear, marks, knocks and scratches as per age, handling, use, and cleaning. Surface staining and dirt in crevices. Some denaturing to surface notably to eyebrows and nose and edges of ears. Small edge wear and chips.The above report is supported with additional images which can be sent via a link. Please 'Ask a Question' to request these images. For any further enquiries please contact the department directly.Condition Report Disclaimer
Los 140
GEORGE LESLIE HUNTER (SCOTTISH 1877-1931) THE BEACH, SOUTH OF FRANCE Signed, pen and ink and coloured chalk 34cm x 42cm (13.5in x 16.5in) Sotheby's, Hopetoun House, Scottish Sale 19th April 2004, lot 71;Private Collection, Scotland. Between 1927 and 1929 Hunter spent extensive periods in the south of France, principally from a base in St-Paul-de-Vence. He worked in various locations, including Antibes, Cassis, Nice, Saint Tropez and Juan-les-Pins. He enjoyed the region immensely, writing ‘This is an ideal country to loaf in and I wish I could simply loaf around and enjoy the sunshine and the cooking as most of the people around here do.’ (quoted in Derek Ogston, Leslie Hunter: Paintings and Drawings of France and Italy, Baillieknowe Publishing, Kelso, 2004, p.42).Seduced by the warmth, food and wine of the region, Hunter found bountiful subject matter for works on paper executed in pen, ink and chalk. Waterside vistas, such as that seen in Juan-les-Pins, were full of incident from trees to boats and buildings climbing up distant hills. In his characteristically fluent line, Hunter captured the sunshine, bright colours and casual human presence of scenes such as that depicted in The Beach, South of France. Even the occasional example of a work executed indoors, namely A Sea View from the Balcony, celebrated the natural beauty of the area, the viewer easily imagining themselves seated in the empty chair and gazing out through shutters to the idyllic outlook framed within them.Hunter also turned his attention inland, including to the old hill town of Vence. Environs of Vence is a rare example of a south of France oil. In a letter of September 1927 to his dealer, Alexander Reid, Hunter wrote from St-Paul: ‘Of course, my paintings are the main thing. I may stay down here another month or two and thereby take your advice to finish everything before returning…Have worn a straw hat every day since I landed here.’ (quoted in T. J. Honeyman, Introducing Leslie Hunter, Faber and Faber Ltd, London, 1937, pp.121-122)In this painting, Hunter revelled in the lush vegetation and striking architecture of the town, leading the viewer’s eye into the scene by way of the inviting open road. The suggestion of a man and dog at the lower right provide a sense of scale to the majestic pine trees and distant hill so typical of the area, as Hunter exploited the pull of his textured support at the application of each brushstroke of oil paint. The use of black to provide linear structure in works on paper is also employed here, whilst areas of rich colour from red to yellow and green enliven the towering composition.Environs de Vence was included in Hunter’s landmark solo exhibition at the Ferargil Galleries in New York in 1929, priced at £500. As Bill Smith and Jill Marriner have explained: ‘His New York show represents a watershed on two levels, first, confirmation of his assured, mature style and second, the positive response his latest work generated in a new audience…The American press were favourably impressed.’ (Bill Smith and Jill Marriner, Hunter Revisited: The Life and Art of Leslie Hunter, Atelier Books, Edinburgh, pp.149-150 & 152)The painting also bears labels on the reverse referring to Hunter’s great supporter T. J. Honeyman (1891-1971), who looked after his interests both whilst working for the private gallery Reid & Lefèvre in Glasgow and also once he was appointed Director of Kelvingrove Art Gallery and Museum in the city; his portrait of about 1930 by Hunter is in the gallery’s collection (acc.no. 3658).
Los 130
BESSIE MACNICOL (SCOTTISH 1869-1904) THE VEILED HAT (PORTRAIT OF THE ARTIST'S SISTER) Signed, oil on board 30.5cm x 21cm (12in x 8.25in) The Fine Art Society Ltd, London and Edinburgh, October 1974, no.98/5833;Ewan Mundy Fine Art Ltd, Glasgow where acquired by the present owner.Literature: Ailsa Tanner, Bessie MacNicol: New Woman, privately published 1998, p.80, ill.col.pl.46 The Veiled Hat was described as ‘one of the loveliest pictures Bessie MacNicol ever painted’ by Ailsa Tanner, the artist’s biographer. (Tanner, A., Bessie MacNicol: New Woman, privately published 1998, p.80). Tanner has identified the portrait’s subject as Bessie’s sister Minnie Phoebe MacNicol, on account of her ‘very attractive face and very characteristic, slightly protruding teeth, which betray her identity unmistakeably’. (op.cit. p.80)The sisters’ intimacy is evident in the portrait’s psychological insight. Minnie is dressed in fashionable finery as if ready for a social engagement or a day in town, but her expression suggests a state of reverie, inviting us to wonder what - or who - so preoccupies her. The Veiled Hat is undated, but Tanner suggests that it might have been painted shortly before Minnie’s marriage to theatre worker Victor Lionel Alexander in April 1901, whom she may have met at the Glasgow Athanaeum while studying solo singing. (op.cit, p.80) Perhaps, then, Minnie dreams of Victor. The suggestion of an inner life in a ‘society’-style portrait is characteristic of James Abbott McNell Whistler, whose work MacNicol ardently admired. In late 19th-century Glasgow Whistler’s paintings were revered as the modern ideal of artistic expression, and his influence can be detected in The Veiled Hat’s sensitive interiority, as well as its soft tonality and painterly technique. Indeed, Whistler was likely to have been interested in MacNicol’s work, as she was invited to exhibit at the International Society of Painters, Sculptors and Gravers when Whistler was President in 1898.By the time MacNicol is believed to have completed The Veiled Hat she had been working as an artist for well over ten years, and her technical and compositional confidence is evident in ‘bravura’ flourishes such as the three parallel strokes of cornflower blue articulating the rim of Minnie’s hat, topped with scumbled lavender suggesting sculptural layers of lace and ruffles, or the picture hanging to the upper-left of the composition evoked by a single daub of cream-coloured paint drawn horizontally until the brush was exhausted of pigment. There are also passages of striking subtlety: Minnie’s features are realised with notably spare strokes of paint, so that her face appears diffused through her translucent lace veil, the folds of which are intimated by extending tones from Minnie’s hair or hat through the still-wet paint over her face in fine diagonal strokes. MacNicol was an artist of exceptional talent whose life was tragically extinguished by complications during childbirth at the age of 34. Following the death of her husband Alexander Frew in 1908, his second wife sold all of Bessie MacNicol’s paintings. (Tanner, op.cit., pp.97-101) The dispersal of her oeuvre, the brevity of her career, and her perceived status as a woman artist have resulted in MacNicol’s importance long being overlooked. Fortunately, her stature as a ‘Glasgow Girl’ painter par excellence is now better understood.
Los 141
GEORGE LESLIE HUNTER (SCOTTISH 1877-1931) JUAN-LES-PINS Signed, pen and ink and coloured chalk 30.5cm x 38cm (12in x 15in) Christie's Scotland, The Scottish Sale 30th October 2003, lot 174;Private Collection, Scotland. Between 1927 and 1929 Hunter spent extensive periods in the south of France, principally from a base in St-Paul-de-Vence. He worked in various locations, including Antibes, Cassis, Nice, Saint Tropez and Juan-les-Pins. He enjoyed the region immensely, writing ‘This is an ideal country to loaf in and I wish I could simply loaf around and enjoy the sunshine and the cooking as most of the people around here do.’ (quoted in Derek Ogston, Leslie Hunter: Paintings and Drawings of France and Italy, Baillieknowe Publishing, Kelso, 2004, p.42).Seduced by the warmth, food and wine of the region, Hunter found bountiful subject matter for works on paper executed in pen, ink and chalk. Waterside vistas, such as that seen in Juan-les-Pins, were full of incident from trees to boats and buildings climbing up distant hills. In his characteristically fluent line, Hunter captured the sunshine, bright colours and casual human presence of scenes such as that depicted in The Beach, South of France. Even the occasional example of a work executed indoors, namely A Sea View from the Balcony, celebrated the natural beauty of the area, the viewer easily imagining themselves seated in the empty chair and gazing out through shutters to the idyllic outlook framed within them.Hunter also turned his attention inland, including to the old hill town of Vence. Environs of Vence is a rare example of a south of France oil. In a letter of September 1927 to his dealer, Alexander Reid, Hunter wrote from St-Paul: ‘Of course, my paintings are the main thing. I may stay down here another month or two and thereby take your advice to finish everything before returning…Have worn a straw hat every day since I landed here.’ (quoted in T. J. Honeyman, Introducing Leslie Hunter, Faber and Faber Ltd, London, 1937, pp.121-122)In this painting, Hunter revelled in the lush vegetation and striking architecture of the town, leading the viewer’s eye into the scene by way of the inviting open road. The suggestion of a man and dog at the lower right provide a sense of scale to the majestic pine trees and distant hill so typical of the area, as Hunter exploited the pull of his textured support at the application of each brushstroke of oil paint. The use of black to provide linear structure in works on paper is also employed here, whilst areas of rich colour from red to yellow and green enliven the towering composition.Environs de Vence was included in Hunter’s landmark solo exhibition at the Ferargil Galleries in New York in 1929, priced at £500. As Bill Smith and Jill Marriner have explained: ‘His New York show represents a watershed on two levels, first, confirmation of his assured, mature style and second, the positive response his latest work generated in a new audience…The American press were favourably impressed.’ (Bill Smith and Jill Marriner, Hunter Revisited: The Life and Art of Leslie Hunter, Atelier Books, Edinburgh, pp.149-150 & 152)The painting also bears labels on the reverse referring to Hunter’s great supporter T. J. Honeyman (1891-1971), who looked after his interests both whilst working for the private gallery Reid & Lefèvre in Glasgow and also once he was appointed Director of Kelvingrove Art Gallery and Museum in the city; his portrait of about 1930 by Hunter is in the gallery’s collection (acc.no. 3658).
Los 160
ANNE ESTELLE RICE (AMERICAN 1877-1959) LANDSCAPE WITH TREES Signed, coloured pencil on paper, mounted on cardboard 30.5cm x 23cm (12in x 9in) Hollis Taggart Galleries, New York;Sotheby's Hopetoun House, Scottish Pictures 18th April 2005, lot 120 where incorrectly catalogued as John Duncan Fergusson;Private Collection, Scotland.Exhibited:Hollis Taggart Galleries, New York, The Expressive Fauvism of Anne Estelle Rice, 29 April - 26 July 1997, cat.no. 31 (as ‘Untitled Landscape with Trees’), repr.col.p.42, pl.12 This work has been dated c.1918-20.Groves of trees, particularly those with rhythmically undulating and expressive trunks, feature in several of Anne Estelle Rice’s sketchbooks and paintings. Sinuous tree trunks appear as framing devices in early frieze-like compositions such as Station of Montgeron of 1908-09 but in the drawings and paintings made in Cassis in the South of France and in Corsica, both first visited in 1913, their repeating, muscular forms animate the composition like figures in a landscape. Rice would have been familiar with the comparably undulant trees of André Derain and his Fauve contemporaries, as well as those of Vincent van Gogh who inspired them. In this rare large-scale coloured drawing, the forms of trees are stylized further into repeating patterns of supple verticals, mounded canopies and fan-shaped ferns or shrubs, and the palette restricted to blue, yellow and green. The sheet was executed after World War One when Rice was based in London - she had married the British critic O. Raymond Drey in 1913. From early April to mid-July in 1918, she was working around Looe in Cornwall, where the artist, now pregnant, was joined by Katherine Mansfield and painted the writer’s portrait. Later in the summer, she moved on to Cromer and Wroxham on the Norfolk Broads. There were no funds for a studio during her challenging war and early post-war years. Rice did what she could during spring and summer trips, concentrating on small scale works on paper – drawings and watercolours – that could be made on the kitchen table, and often re-using motifs from earlier sketches.
Los 87
GEORGE LESLIE HUNTER (SCOTTISH 1877-1931) A SEA VIEW FROM THE BALCONY Pen and ink and coloured chalk 44.5cm x 34.5cm (17.5in x 13.5in) T. J. Honeyman, Glasgow;Sotheby's Gleneagles, 29th August 2003, lot 1228;Private Collection, Scotland.Literature:Derek Ogston, Leslie Hunter 1877-1931: Paintings and Drawings of France and Italy, Baillieknowe Publishing, Kelso, 2004, repr.col.p.47, pl.35, cat no.115, p. 93. Information about this work and Hunter's time in the south of France can be found before lot 139.Between 1927 and 1929 Hunter spent extensive periods in the south of France, principally from a base in St-Paul-de-Vence. He worked in various locations, including Antibes, Cassis, Nice, Saint Tropez and Juan-les-Pins. He enjoyed the region immensely, writing ‘This is an ideal country to loaf in and I wish I could simply loaf around and enjoy the sunshine and the cooking as most of the people around here do.’ (quoted in Derek Ogston, Leslie Hunter: Paintings and Drawings of France and Italy, Baillieknowe Publishing, Kelso, 2004, p.42).Seduced by the warmth, food and wine of the region, Hunter found bountiful subject matter for works on paper executed in pen, ink and chalk. Waterside vistas, such as that seen in Juan-les-Pins, were full of incident from trees to boats and buildings climbing up distant hills. In his characteristically fluent line, Hunter captured the sunshine, bright colours and casual human presence of scenes such as that depicted in The Beach, South of France. Even the occasional example of a work executed indoors, namely A Sea View from the Balcony, celebrated the natural beauty of the area, the viewer easily imagining themselves seated in the empty chair and gazing out through shutters to the idyllic outlook framed within them.Hunter also turned his attention inland, including to the old hill town of Vence. Environs of Vence is a rare example of a south of France oil. In a letter of September 1927 to his dealer, Alexander Reid, Hunter wrote from St-Paul: ‘Of course, my paintings are the main thing. I may stay down here another month or two and thereby take your advice to finish everything before returning…Have worn a straw hat every day since I landed here.’ (quoted in T. J. Honeyman, Introducing Leslie Hunter, Faber and Faber Ltd, London, 1937, pp.121-122)In this painting, Hunter revelled in the lush vegetation and striking architecture of the town, leading the viewer’s eye into the scene by way of the inviting open road. The suggestion of a man and dog at the lower right provide a sense of scale to the majestic pine trees and distant hill so typical of the area, as Hunter exploited the pull of his textured support at the application of each brushstroke of oil paint. The use of black to provide linear structure in works on paper is also employed here, whilst areas of rich colour from red to yellow and green enliven the towering composition.Environs de Vence was included in Hunter’s landmark solo exhibition at the Ferargil Galleries in New York in 1929, priced at £500. As Bill Smith and Jill Marriner have explained: ‘His New York show represents a watershed on two levels, first, confirmation of his assured, mature style and second, the positive response his latest work generated in a new audience…The American press were favourably impressed.’ (Bill Smith and Jill Marriner, Hunter Revisited: The Life and Art of Leslie Hunter, Atelier Books, Edinburgh, pp.149-150 & 152)The painting also bears labels on the reverse referring to Hunter’s great supporter T. J. Honeyman (1891-1971), who looked after his interests both whilst working for the private gallery Reid & Lefèvre in Glasgow and also once he was appointed Director of Kelvingrove Art Gallery and Museum in the city; his portrait of about 1930 by Hunter is in the gallery’s collection (acc.no. 3658).
Los 113
SIR HENRY RAEBURN R.A. (SCOTTISH 1756-1823) PORTRAIT OF JULIA KERR Oil on canvas laid down on panel 76cm x 63.5cm (30in x 25in) Christie's, London, 1908;Cottier & Co before 1911;Christie's, 1912;With Agnews, London;P. Jackson Higgs, New York;Sotheby's, New York, 2nd April 1996, lot 95;Sotheby's, New York, 6th June 2008, lot 77.Literature: J. Greig., Sir Henry Raeburn R.A. His life and Works with a catalogue of his pictures, Otto Limited, London, 1911, p.50
Los 109
Forster (E.M.) Howards End, first edition, first issue with "A Stepson of the Soil" featured on last page of advertisements, 4pp. advertisements at end, occasional spotting, 1 or 2 short marginal tears, ink ownership stamp on title, pencil ownership inscription of Eleanor Acland to front free endpaper, light browning to endpapers, hinges starting, original cloth spine faded, spine ends and corners a little bumped, fraying to spine tips, extremities rubbed, some faint marking to upper cover, [Kirkpatrick A4a], 8vo, 1910.*** Forster's elegant portrait of English manners and homes, this copy owned by a suffragist. Eleanor Acland (1878-1933) Liberal Party politician, suffragist and novelist.
Los 130
Richard Fitton M.A.F.A. (British 1990-) "Portrait of Nick Frost" Signed and titled on artist's label verso, oil on board.34 x 24.5cm (framed 48 x 38cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is ornately framed but not glazed. The frame has one or two minor scuffs commensurate with age.
Los 68
John Thompson (British 1924-2011) Self-portrait Signed and monogrammed, mixed media.57 x 40.5cm (framed 71 x 54.5cm)From the Estate of the Artist.Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition. There are some slight undulations running across the paper. The painting is ornately framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
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