CF Porcelaine étrangère Meissen Très rare statuette représentant Joseph Fröhlich debout en habit tyrolien sur une base rectangulaire à pans coupés, il est vêtu d’un pantalon jaune, d’une veste verte décorée de pois blancs et d’une chemise rouge à rinceaux blancs incisés et collerette blanche, il est coiffé d’un chapeau bleu orné d’un ruban jaune, les bretelles noires portant la date en or : 1735 et les initiales J. F, la base à fond marbré rose et filets or sur les bords. Marquée sous la base : épées croisées en bleu. XVIIIe siècle, datée 1735. Hauteur : 25 cm Le cou cassé et anciennement restauré, éclats sur le bord et au sommet du chapeau. Cette statuette datée 1735 et la suivante datée 1738 représentent le bouffon à la Courde Saxe Joseph Fröhlich (1694 1757), originaire du Tyrol, qui fut de 1727 à sa mort le conseiller pour les divertissements et illusionniste de la Cour électorale et royale (Kurtzweiliger und Kurürstlicher und Königlicher Hoftaschenspieler). Un premier portrait de Joseph Fröhlichen buste est réalisé à Meissen par Johann Gottlieb Kirchner vers 1730. Une gravure représentant Fröhlich en pied est publiée en 1729 à Dresde par Christian Friedrich Boetius (fig. 1). En 1900, Karl Berling publie une aquarelle d’une statuette de Fröhlich alors conservée dans la chambre de la Tour à Dresde et datée 1733 (fig. 2) (Karl Berling, Meissner Porzellan, 1900, pl. III, n° 4, p. 13). Cette statuette, disparue depuis 1945, est directement inspiréede la gravure de Boetius. Cette statuette a été rapprochée d’une mention dans les archives de la manufacture de Meissen précisant qu’en 1733 une figure de Joseph est livrée au Prince Royal de Pologne et Altesse Sérénissime Electeur de Saxe (« Für den Königl. Printzen von Pohlen und Littauen und Cour Fürstl. Durchl. zu Sachsen [...] 1. Josephs Figur »). Les archives de la manufacture de Meissen mentionnent qu’en 1736 Johann Joachim Kaendler reprendla figure de Joseph Fröhlich et fournit une nouvelle version retravaillée. Il modifie à nouveau cette figure en 1737 et 1738. Tous les exemplaires répertoriés jusqu’à aujourd’hui sont datés sur les bretelles entre 1736 et 1758 (pour une étude complète des exemplaires connus, classés par année, voir Angela Gräfin von Wallwitz, « Früh Oder Spät ?.Zur datierung von Meissener Porzellanfiguren » in Keramos, no 194-2006, p. 29 68 et également Rainer Rückert, Der HofnarrJoseph Fröhlich, 1998). Notre statuette datée 1735, antérieure au nouveau modèle recréé par Kaendler en 1736, correspond au modèle daté 1733 publié en 1900 par Berling. Un grand nombre de différences la distingue des statuettes postérieures à 1736 et la présence de ces deux sculptures dans la même collection permet d’observer précisément toutes les modifications opérées par Kaendler en 1736 : la position de la tête est moins dans l’axe du corps mais légèrement tournée vers la gauche après 1736, trois doigts sur quatre et non plus deux sur quatre sont repliés, le revers gauche de la veste et les boutons en relief sur le côté droit sont absents dans le modèle antérieur, les plis du pantalon deviennent plus nombreux et plus vifs, les poignés sur les manches s’ouvrent, la collerette ondule davantage et le bouton du pantalon est moins proéminent. Cette figure donne également de précieuses indications sur les couleurs utilisées pour la sculpture à Meissen en 1735
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MFV Porcelaine étrangère Meissen Statuette de la Comedia dell’Arte représentant le Capitaine debout sur une terrasse fleurie, portant un gilet orangé, un pantalon jaune et une redingote blanche, son épée sur le coté gauche, décor polychrome et or. XVIIIe siècle, vers 1744 Modèle de Pieter Reinicke Petit éclat au nœud du chapeau et manque la poignée de l’épée Il est réputé pour ses yeux d’acier, sa moustache hérissée et son épée qu’il faisait trembler de rage sans cesse. Le modèle de cette figure fait partie de la série exécutée pour le Duc de Weissenfels. Bibliographie : Len and Yvonne Adams, Meissen Portrait Figure, Barrie & Jenkins, reproduction p. 213
MFV Porcelaine étrangère Meissen Statuette de la Comédia dell’Arte représentant Narcisse, debout sur une terrasse fleurie, vêtu d’une chemise à fleurs, d’un pantalon rayé, une cape violine et d’un large chapeau, décor polychrome au naturel postérieur. XVIIIe siècle, vers 1744 Modèle de P. Reinicke Hauteur : 14, 5 cm Réparations au coin du chapeau et à la main droit, fêle de cuisson sur la veste, petites reprises aux feuilles. Modèle similaire dans la série exécutée pour le Duc de Weissenfels. Bibliographie : Len and Yvonne Adams, Meissen Portrait Figure, Barrie & Jenkins, reproduction p. 151
OF ROYAL INTEREST - A Queen Victoria Diamond Jubilee pendant with chainthe circular pendant with central glazed locket containing a portrait profile of Queen Victoria, within a border of old European cut diamonds, surmounted by a crown set with similarly cut diamonds and circular cut cabochons, inscribed to reverse 1837-1897, with trace link chain, clasp stamped indistinctlyLengths: pendant 2.6cm (including bale), chain 41cm
A Victorian silver gilt inkstandTW/D/HH London 1882, in the French style, waisted rounded oval, with a well pierced high gallery with cast swags, and ribbons, two oval cartouches with portrait heads, bold scrolling bracket feet, the centre with two blue glass liners with hinged cover and figural finials24cm wide
A George III Nelson commemorative vinaigretteMatthew Linwood, Birmingham 1805, of simple rectangular outline the hinged cover engraved with a portrait of Lord Nelson within an oval cartouche with motto `ENGLAND EXPECTS EVERYMAN WILL DO HIS DUTY`, the gilt interior with hinged pierced grill with Victory and inscribed `VICTORY TRAFALGAR OCR 21 1805`17g
Circle of Antoine Pesne (Paris 1683-1757 Berl in), Portrait of a gentleman, Oil on canvas, 80 x 63.5 cm (31 1/2 x 25 in), Provenance: with Thomas Agnew & Sons. This portrait closely relates to the portrait of Maurice of Saxony by Maurice Quentin de La Tour. (by repute) Christies London, sold by The Earl of Wharncliffe Settled Estates.
Circle of Willem Wissing (Amsterdam 1656-1687 Stamford), Portrait of a Lady, traditionally identified as a member of the Popham Family, Oil on canvas, Oval, 75 x 63 cm (29 1/2 x 24 3/4 in), Provenance: SothebyÕs, The Contents of Littlecote House, Wiltshire, 20th-23rd November 1985, Lot 840 (as Circle of Sir Peter Lely); , where acquired by the current owner.
Follower of Edward Byng , Portrait of a lady, traditionally identified as a member of the Popham Family, Oil on canvas, Oval, 76 x 63 cm (30 x 25 in), Provenance: SothebyÕs, The Contents of Littlecote House, Wiltshire, 20th-23rd November 1985, Lot 837 (as Attributed to Edward Byng); , where acquired by the current owner.
Follower of Edward Byng , Portrait of a gentleman, traditionally identified as a member of the Popham Family, Oil on canvas, Oval, 77 x 65 cm (30 1/4 x 25 1/2 in), Provenance: SothebyÕs, The Contents of Littlecote House, Wiltshire, 20th-23rd November 1985, Lot 838 (as Attributed to Edward Byng); , where acquired by the current owner.
Sir Henry Raeburn R.A. (Stockbridge 1756-1823 Edinburgh), Portrait of a gentleman, possibly Robert Ramsay (1722 - 1806), Oil on canvas, 76 x 63.5 cm (30 x 25 in), Provenance: SothebyÕs London, 22nd February 1978, Lot 351 (bought by Dixon for £160). We are grateful to Duncan Thompson and Brian Allen for confirming the attribution to , Sir Henry Raeburn.
Oil on board Sidney d`Horne Shepherd (1909-1993) Odalisque, signed and inscribed verso by Helen Shepherd, the artists wife, 61 x 91.5cm ("24 x 36") Born in Dundee Shepherd was educated at The Harris Academy, he then attended the Dundee School of Art from 1924-26 and then Glasgow School of Art where in 1927 he won a travelling scholarship and prizes for portrait and landscape. In 1929 he took a painting diploma, winning a post diploma and scholarship and becoming assistant art teacher at Glasgow Art School from 1930-32. A series of portrait commissions took him to London, where in 1937 he became a lecturer at Shoreditch College, until joining the National Fire Service in 1941. He was subsequently drafted by the Ministry of Labour to Napiers Aircraft Factory in Acton working as a tecnical assistant, air agent test and draughtsman, before returning to Shoreditch to resume his duties in 1945. Having been appointed senior art lecturer in 1947 he remaind at Shoreditch until 1954, thereafter he held a number of teaching posts, including:- Ealing School of Art, St Martin`s School of Art and The Sir John Cask School of Art before retiring reluctantly in 1974. He was an exceptional draughtsman and adventurous artist, who enjoyed exploring a wide range of media and his remaining years were spent in West Sussex producing as always an amazing amount of work, mainly watercolours, drawings and monoprints
BANKNOTES - GB Britannia lilac coloured ten shilling notes signed Peppiatt (6); red issue signed Beale (1) signed O`Brien (3); Portrait issue signed Hallam (13) and others; some £1 notes; Bank of Scotland £10; c.1940`s Postal Orders and other items contained in an album together with a small quantity of GB coins
§ SEREBRIAKOVA, ZINAIDA (1884-1967) Portrait of Marietta Frangopulo , signed and dated 1922. Pastel on paper, laid on cardboard, 63 by 49 cm. Provenance: Collection of L.G. Loitsyansky, Leningrad.Private collection, UK.Exhibited: Zinaida Serebriakova, The State Tretyakov Gallery, Moscow, 1986. Literature: B. Ugarov et al, Zinaida Serebriakova. Katalog vystavki: sbornik materialov i katalog ekspozitsii k 100-letiyu so dnya rozhdeniya khudozhnika, Moscow, Sovetskii khudozhnik, 1986, p. 165, listed; p. 168, illustrated.V. Kruglov, Zinaida Serebriakova, St Petersburg, Zolotoi vek, 2004, plate 75, illustrated.The present portrait of the ballerina Marietta Kharlampievna Frangopulo (1901-1979) belongs to Zinaida Serebriakova’s brilliant cycle of theatre works from the years 1922-1924. As early as January 1922 the artist’s mother Ekaterina Nikolayevna Lanceray was writing “This winter we have plunged right into the world of ballet. Zina draws ballerinas about three times a week, when some young ballerina will pose for her... and twice a week Zina takes her sketchbook into the wings to draw ballet dancers”. Here, behind the scenes at what had been the Mariinsky Theatre, the artist also made the acquaintance of a cheerful and sociable young ballerina who in her narrow circle of friends called herself “the free Hellene” (her father was of Greek extraction, a top official in a Petersburg bank). Marietta Frangopulo, soloist at the time with the Academic Theatre of Opera and Ballet, had recently been a fellow student of George Balanchine’s, graduating in 1919 from the Petrograd College of Choreography. She idolised poetry, and gave excellent renditions of the verse of Alexey Apukhtin and Igor Severyanin.The first pencil portrait of Frangopulo by Serebriakova was of her performing an arabesque in a dance class during the winter of 1921-1922: it is now held in the Chuvash State Art Museum. The crowning jewel of the artist’s ballet series, however, is the present portrait of 1922 in which the actress is depicted in a costume made after the designs by Bakst for Diaghilev’s one-act ballet Carnaval set to the music of Robert Schumann. The portrait is in pastel and, as Serebriakova’s daughter Tatiana later wrote: “in a manner uniquely hers, using thickly applied pastel, light hatching and stump-work technique”.In the same year, 1922, her best ballet portraits - Marietta Frangopulo, Lidya Ivanova and Alexandra Danilova in their costumes for the Pas de trois in Nikolai Tcherepnin’s ballet Armida’s Pavilion, E. Svekis in the costume for her character in Sleeping Beauty and a number of others - were shown at the World of Art exhibition in Petrograd. Their resonance was widely felt and Konstantin Somov liked them very much, writing in his diary: “I have been persuading Zina to do a big ballet portrait picture using the sketches I have seen!” Serebriakova followed his advice, and right up until her departure from Russia in 1924 worked passionately and prolifically to “paint ballet”, creating renown for herself as “the Russian Degas” as well as a whole suite of portraits and genre compositions dedicated to the theatrical world. Among them was one further pastel portrait of Frangopulo (1924), which is now the pride of the Museum of the Academy of Russian Ballet.
* PETROV-VODKIN, KUZMA (1878-1939) Still Life. Apples and Eggs , signed with a monogram, inscribed in Cyrillic "S-kand" and dated "1921-VII". Oil on canvas, 35.5 by 47 cm. Provenance: Collection of G. Blokh, Leningrad.Collection of N. Efron, Leningrad.Collection of A. Chudnovsky, Leningrad.Private collection, Europe.Authenticity certificate from the experts N. Aleksandrova and T. Zelyukina.Exhibited: Avantgarde 1900-1930: Tšudnovskin kokoelma Pietarista, Ateneum, Helsinki, 14 October 1993-9 January 1994, No. 53 (label on the reverse).Avantgarde 1900-1930: Tšudnovskin kokoelma Pietarista, Turku Art Museum, Turku, 5 February 1994-6 March 1994, No. 53 (label on the reverse).K.S. Petrov-Vodkin. Izbrannoe, The State Russian Museum, St Petersburg, 1996 (label on the reverse).Literature: V. Kostin, Kuzma Petrov-Vodkin, Moscow, Sovetskii khudozhnik, 1986, No. 64, illustrated; p. 157, listed.Exhibition catalogue, Avantgarde 1900-1930: Tšudnovskin kokoelma Pietarista, Helsinki, 1993, p. 102, No. 53, illustrated.Still Life. Apples and Eggs is one of the most typical and recognisable of Petrov-Vodkin’s works of the early 1920s. It was painted in Samarkand during the summer of 1921 when he was travelling around Central Asia with an expedition organised by the Academy of the History of Material Culture and it very clearly reflects his experimental path from the abstract space of his early years to the metaphysical world of “planetary reality”, full of colour and light.On the table, which is covered with a vivid, rich sky-blue cloth or sheet of paper, there are apples - some red and green, one yellow - and two eggs. At first glance we are struck by the absolute verisimilitude of the depiction: the sharply delineated flattened spheres of the apples, with their light, mauve shadows, and the accurately gauged ellipse of the eggs, warmed by the sun. The modesty of this still life, fairly typical of everyday life in those hard years, did not prevent the artist from creating a serene and exceptionally harmonious piece.In this still life we can sense that special sensitivity and pursuit of the metaphysical essence of objects and phenomena that became the defining element of Petrov-Vodkin’s works of the late 1910s and early 1920s and which resonated with the principles of his Italian contemporaries, Carrà and de Chirico. In its well thought-out haphazardness and in the seemingly random scattering of the fruit across the surface we see the artist’s carefully planned game; he is trying to trace, to get a feel for the inherent interconnection between objects by their very arrangement - the hidden life of inanimate matter. On the one hand, this “magic of corporeality” allows the artist to convey faithfully the concrete attributions of an object (of a greenish, ripe apple, of an egg) but on the other, to create a universalised image of that object, its Platonic eidos: the apple is a generous gift of the earth, the egg a symbol of the eternal beginning of life.Arranging his colour harmonies around the subtle juxtaposition of primary and complementary colours, Petrov-Vodkin achieves a striking vibrancy and richness. The artist is looking at the foodstuffs placed about the table from on high so that their configuration can be accurately rendered and we see them “as if in the palm of our hand”. In this way the artist tries to overcome the one-sidedness of the monocular point of view, considering it neither adequate nor a reflection of genuine knowledge of the object which can and must be viewed from as many angles as possible in order to form a true idea of it. Thus Petrov-Vodkin’s still lifes always have a peculiarly intense character generated by the strong lines of “spherical perspective” which spread throughout the whole space of the canvas. For Petrov-Vodkin, the problem posed by the object is inseparable from the concept of spherical perspective. Although he noted that this acquires an “even greater kinetic sense” in relation to large-scale objects - “landscapes and urban spaces”, which are inconceivable for him without strong “planetary” motion - the apples, matches and violins of his still lifes are connected with planetary motion in exactly the same way. It is no coincidence that a tilted perspective and tilted pictorial axis appear in all of them.The technique based on his “spherical system of perception”, allows Petrov-Vodkin to convey the whole in part, to retain in any still life a sense of the link between the object portrayed and the infinite expanse of the universe. As the artist himself confirmed, it is no coincidence that his study of the object, and by extension his principal work on still lifes, took place during the years of revolution. It seemed to him that without doing this he could not progress further; he could not solve the new artistic challenges he was presented with. Petrov-Vodkin succintly defined this genre, which was so important to him at this period: “The still life is one of the intense conversations the artist has with nature. In it, subject matter and psychology do not hinder the definition of an object in its space. What kind of object is it, where is it, and where am I, the viewer? This is the fundamental question the still life asks of us. And in this there is the great joy of knowing, which is what the viewer takes from the still life.”Petrov-Vodkin had occasionally painted still lifes of flowers and apples earlier in his career, but it was only from about 1918 to 1920 that they became central to his work. During this period he also regularly inserted into his landscapes and portraits the motif of an appletree branch loaded with fruit or of a single fruit or vegetable (Midday, 1917; Portrait of the Artist’s Daughter with Still Life, 1930s). However, thanks to their wonderfully sculptural forms and their graceful draughtsmanship and colour design, each of this artist’s still lifes with apples (Pink Still Life, Apple Tree Branch, 1918; Apple and Cherry, 1917; Apples, 1917; Still Life with Blue Cube, 1918 etc.) proves to be as beautiful and expressive as it is self-contained.Having resolved his major creative challenges of this period in both painting and drawing, Petrov-Vodkin did return from time to time to this genre, but the still life never again reached such heights in his oeuvre. The conciseness and creative concentration of his still lifes from the late 1910s to early 1920s (which invoke fundamental symbols, religious and cultural principles of existence and compassion for spiritual and physical hunger) make them, perhaps, the benchmark standards of Russian art of the post-Revolutionary period, alongside Pavel Filonov’s revolutionary Formula paintings.
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