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Preisdatenbank abonnierenCarl Kronberger, 1841 Freistadt – 1921 MünchenPORTRAIT EINES ALTEN SOLDATEN MIT ZWEISPITZÖl auf Holz.22,5 x 17,5 cm.Rechts oben signiert „C. Kronberger“.In vergoldetem Prunkrahmen.Vor dunklem Hintergrund der Soldat mit Schnauzbart, in seiner linken Hand eine Zeitung haltend und mit seinem faltigen Gesicht leicht misstrauisch aus dem Bild heraus auf den Betrachter blickend. Feine realistische Malerei. (1390159) (18))
Jusepe de Ribera, 1588/91 Játiva/Valencia – 1652 Neapel, zug.BILDNIS DES HEILIGEN ANDREASÖl auf Leinwand.99 x 82 cm.Das Gemälde zeigt den Heiligen im Dreiviertelbildnis, jedoch in Lebensgröße. Von links oben beleuchtet, wird die rechte Schulter und vor allem das nach oben gewandte Gesicht in Szene gesetzt. Der Gesichtsausdruck mit weit geöffneten Augen zeigt eine Erregung im Sinne einer Auseinandersetzung mit Gott. Von seinem Attribut, dem X-förmigen Kreuz, ist ein Schrägbalken im dunklen Hintergrund zu sehen. Hier im Bild bedeutet dieses Kreuz allerdings nur ein visionäres Attribut, da der Heilige hier vor seinem Martyrium gezeigt wird. Demgemäß hat er seine Hand wie von göttlicher Botschaft betroffen auf die Brust gelegt. Seine Linke hält einen Stab, daran ein Fisch, der auf seinen ursprünglichen Beruf als Fischer am See Genezareth in Galiläa hinweist.Dem Andreas-Thema hat sich Ribera mehrfach gewidmet. Das selten dargestellte Attribut des Fisches findet sich auch in seinem Andreas-Bild um 1631 im Prado in Madrid.Pérez Sanchez (siehe Literatur) bemerkt, dass die meisten der Märtyrerbilder nicht die Tötung, sondern die Vorbereitung darauf zeigen, mit Wiedergabe der gottesfürchtigen Schicksalsergebenheit. Dieser Aspekt kommt in vorliegendem Gemälde vollends zur Geltung. A.R.Literatur:Alfonso E. Pérez Sanchez, Giorgia Mancini, Jusepe de Ribera (Reihe: I Classici dell‘Arte), Rizzoli/Skira, Mailand 2004, S. 8-12.Vgl. Michael Scholz-Hänsel, Jusepe de Ribera, 1591-1652, Könemann Verlag, Köln 2000. (1360081) (11)Jusepe de Ribera,1588/91 Játiva/Valencia – 1652 Naples,attributedPORTRAIT OF SAINT ANDREWOil on canvas.99 x 82 cm.
Dirck van Baburen, um 1594 Utrecht – 1624 ebenda, zug.PORTRAIT DES APOSTEL JACOBUS DER ÄLTEREÖl auf Leinwand.77 x 63,5 cm.In ornamental reliefiertem Rahmen.Das hier angebotene Gemälde wird beim RKD Den Haag als „Dirck van Baburen zugeschrieben“ unter Nummer 292950 geführt.Vor unbestimmtem Hintergrund das nach links gerichtete Profilbildnis eines älteren Herren mit Pilgerstab. Auf seiner Schulter prangt eine Jacobsmuschel, sein Haupt umspielt ein raumgreifender Nimbus. Van Baburen, der zusammen mit Hendrick ter Brugghen und Geritt van Honthorst zum Kreis der niederländischen Caravaggisten gehörte, war zwar noch 1611 in Utrecht als Schüler des Paulus Moreelse (1571- 1638) verzeichnet, reiste aber alsbald nach Italien, wo er bis 1621 blieb und nach seiner Rückkehr nach Utrecht 1624 starb. 1615 führte er in Parma das Altarbild der Kirche Santa Maria die Servi aus. In Rom, wo Baburen bis 1621 blieb, wird auch das vorliegende Gemälde entstanden sein, das die klassischen Züge Baburens zeigt, der auch vom Einfluss des Jusepe de Ribera (1591-1656) zeugt, der sich sowohl in Parma als auch in Rom aufhielt.Provenienz:Finarte, Mailand, 20. November 1955, Lot 537 (als Dirck van Baburen).Privatsammlung, Italien.Als zugeschrieben an Dirck van Baburen am 23.10.2018 im Dorotheum Wien angeboten. Die Zuschreibung geht zurück auf Paul Huys Janssen, der das Werk in die italienische Frühzeit des Künstlers datierte. Die damalige Beschreibung umfasste folgende Einschränkung: Wayne Franits hat die Zuschreibung an Dirck van Baburen auf Grundlage einer hochaufgelösten Digitalfotografie nicht anerkannt.Literatur:Vgl. X. F. Salomon, The Young Ribera, in: The Burlington Magazine, Nr. 153, 2011, S. 475-478.Vgl. Wayne E. Franits, The Paintings of Dirck van Baburen, Amsterdam/ Philadelphia 2013. (1390111) (13) (†)Dirck van Baburen,ca. 1594 Utrecht – 1624 ibid., attributedPORTRAIT OF THE APOSTLE SAINT JAMES THE ELDER Oil on canvas.77 x 63.5 cm.The painting on offer for sale in this lot is listed at the RKD in The Hague under no. 292950 as attributed to Dirck van Baburen.
Alessandro del Barbiere, auch genannt „Alessandro Fei“, 1538/43 Florenz – 1592 ebendaPORTRAIT EINER ELEGANTEN DAMEÖl auf Holz, ein schmaler Verstrebungsbalken.95 x 73 cm.In Prunkrahmen.Vor dunklem Hintergrund, leicht nach rechts gerichtet das Dreiviertelportrait einer jungen Frau in weißem, mit rotem Damast besticktem Kleid, in der linken Hand ein Taschentuch mit kostbarer Goldborte mit Weintrauben, in der rechten Hand Handschuhe und ein kleines Buch mit Gedichten oder Gebeten haltend. Der große Kragen mit Goldfäden eingefasst, die weiß bestickten Satinärmel mit einem sehr feinen Muster aus kleinen Blumen und geometrischen Figuren. Sie trägt zudem reichen Perlen-, Korallen- und Goldschmuck. Sie hat sorgsam hochgesteckte Haare, die von weißen Schleifen und einer doppelten Perlenkette gehalten werden, zudem hat sie eine hohe Stirn, nach der Mode der Zeit mit rasierten Schläfen. Das Gesicht und der Hals von fast kindlicher Zartheit und mit ihren dunkelbraunen Augen schaut sie aufmerksam aus dem Bild heraus. Feine qualitätvolle Malerei mit starken Hell-Dunkel-Kontrasten.Literatur: Alessandro Nesi: Alessandro Fei – Ritratto di donna e altri inediti. Quaderni di Maniera, Mailand 2020, S. 1-13. Alessandro Nesi führt in seiner Arbeit zahlreiche Vergleichsbeispiele zu dem hier vorliegenden Gemälde auf. (13803131) (18)Alessandro del Barbiere, also known as „Alessandro Fei“, 1538/43 Florence– 1592 ibid.PORTRAIT OF AN ELEGANT LADY Oil on panel, one narrow parquetting slat. 95 x 73 cm.Literature:Alessandro Nesi: Alessandro Fei – Ritratto di donna e altri inediti. Quaderni di Maniera, Mila 2020, p. 1-13. In his book, he provides numerous examples of comparison for the painting on offer for sale here.
Nicolaes Maes, 1634 Dordrecht – 1693 Amsterdam, zug.Der Künstler war ein bedeutender holländischer Maler und einer der besten Schüler von Rembrandt van Rijn (1606-1669).BILDNIS DER JOHANNA VAN DEN BRANDEÖl auf Leinwand.59 x 48 cm.Wir danken Dr. Guido Jansen für die Bestätigung der Autorschaft. Dreiviertelbildnis einer höfischen Dame in einem eleganten Kleid mit weitem Dekolleté vor dunklem Landschaftshintergrund bei untergehendem Licht. Sie hat ein zartes Inkarnat, leicht gerötete Wangen und mit ihren grauen Augen schaut sie würdevoll aus dem Bild heraus. Sie hat lange hellblonde Haare und spielt mit den Fingern ihrer rechten Hand mit ihren Haarlocken. Ihre Zugehörigkeit zum Adel könnte durch ihren wertvollen Perlenschmuck im Ohr und um den Hals angedeutet werden, der die Wirkung des anmutigen Gesichtes noch hebt. Das weiße Kleid mit Spitzenbordüren ist an den Ärmeln sowie am Dekolleté mit Schmuckbroschen versehen, zuletzt über ihre rechte Schulter ein blau glänzendes Tuch tragend. Anmerkung:Dieses qualitätvolle repräsentative Portrait zeigt die typischen Merkmale in der Manier des bekannten Malers.Seine erste Ausbildung erhielt Maes als noch junger Lehrling bei Rembrandt in Amsterdam, dessen Malweise er auch sogleich übernommen hatte. Erst später, nach 1678, wandelte sich seine Malweise nach der Beeinflussung durch Van Dyck. Dies lässt sich vor allem in den nun vorwiegend entstandenen Porträtbildnissen sehen. Nun ging es ihm weniger um die Herausarbeitung von Licht- und Schatteneffekten wie in der Kunst Rembrandts, sondern vielmehr um die Erfassung der Charakteristik der dargestellten Personen. So zeigt der überwiegende Teil seines Oeuvres Herren-, Damen und Kinderbildnisse, zumeist aus adeligen, bzw. gehobenen Bürgerkreisen. (13916933) (19)Nicolaes Maes,1634 Dordrecht – 1693 Amsterdam, attributedPORTRAIT OF JOHANNA VAN DEN BRANDE Oil on canvas.59 x 48 cm.We would like to thank Dr Guido Jansen for confirming the authorship.
Jan Anthonisz van Ravesteyn, um 1570 Den Haag – 1657 ebenda, zug.PORTRAIT EINES ELGANTEN MANNESÖl auf Holz.Im Hochoval 69 x 57 cm.In dekorativem, vergoldeten Rahmen.Wir danken Fred G. Meijer für freundliche Hinweise zur Katalogisierung.Vor grauem, von links nach rechts aufhellendem Hintergrund, das Brustbildnis eines Herren mit schulterlangen Haaren, edlem dunklen Gewand und weißem Flachkragen, der am Rand mit feiner Spitze besetzt ist. Er hat ein feines Gesicht mit leichtem Oberlippenbart und schaut mit seinen Augen aufmerksam aus dem Bild heraus. Repräsentative Darstellung in monochromer Farbgebung. (13916936) (18))
Jusepe de Ribera, genannt „lo Spagnoletto“, 1588/91 Xàtiva/ Valencia – 1652 Neapel BILDNIS EINES LESENDEN PHILOSOPHENÖl auf Leinwand. Altdoubliert.91 x 112 cm.Unten mittig signiert.In teilebonisiertem breitem Rahmen.Beigegeben eine Bestätigung von Prof. Riccardo Lattuada.Ganz in der Auffassung Riberas geschaffenes Dreiviertelbild eines älteren Mannes mit grauen Bartstoppeln in einem Innenraum, der vom schwarzen Hintergrund links zur rechten Seite aufhellt. Der sitzende Gelehrte in dunklem Gewand unter dem der helle Hemdkragen hervorschaut und mit einer schwarzen Kopfbedeckung. Er hält in seinen leicht angehobenen Händen einen handgeschriebenen Brief, den er aufmerksam mit gesenkten Augen liest. Links von ihm auf einer Tischplatte mehrere große alte, wohl wertvolle ledergebundene Bücher, die ihn als Gelehrten ausweisen. Besonders auffällig, wie bei Ribera sehr häufig, der betonte Hell-Dunkel-Kontrast: das von links oben aus nicht sichtbarer Quelle einfallende Licht beleuchtet die linke Gesichtshälfte vor schwarzem Hintergrund, während die Kopfbedeckung vor hellem beigen Hintergrund wiedergegeben wird. Das Gemälde von hoher Qualität. Bevor Ribera nach Neapel ging, studierte er bei Francisco Ribalta (1565-1628) in Valencia. In Rom setzte er sich mit den Werken Raphaels (1483-1520) und Agostino (1557-1602) und Annibale Carraccis (1560-1609) auseinander, in Parma und Modena mit denen von Antonio Allegri Correggio (um 1489-1534). Später stand er stark unter dem Einfluss von Michelangelo Merisi il Caravaggio (1570/71-1610). Die Qualität seiner Bilder erhob ihn zum Hofmaler des Herzogs von Osuna sowie des Königs von Neapel. Im Jahr 1644 wurde er durch den Papst zum Ritter des Christusordens geschlagen. 1630 war er bereits Mitglied der Accademia di San Luca in Rom. Neben Caravaggio ist er der bedeutendste Naturalist der neapolitanischen Malerei mit Betonung des Chiaroscuro. Ein Hauptmerkmal seines Wirkens ist die bewusste Wahl der Darstellung von meist alten, asketisch knochig-schlanken Gestalten wie Einsiedlern oder Philosophen. (1390115) (13) (†)Jusepe de Ribera, also known as „lo Spagnoletto“, 1588/91 Xàtiva/ Valencia – 1652 NaplesPORTRAIT OF A READING PHILOSOPHEROil on canvas. Old relining.91 x 112 cm.Accompanied by a confirmation by Prof Riccardo Lattuada.
Jan Anthonisz van Ravesteyn, um 1570 Den Haag – 1657 ebenda, zug.PORTRAIT EINER DAME IN DUNKLEM KLEIDÖl auf Holz.Im Hochoval: 69,5 x 56,5 cm.In vergoldetem Prunkrahmen.Wir danken Dr. Fred G. Meijer für freundliche Hinweise zur Katalogisierung. Vor dunklem Hintergrund das Brustbildnis der vornehmen Dame nach links in schwarzem Kleid mit weißem flachen Spitzenkragen, zudem mit vier Schleifen und zwei Goldketten verziert. Sie hat ein helles Inkarnat, trägt um den Hals eine doppelreihige Perlenkette und mit ihrem zarten Gesicht, den geröteten Wangen und den dunklen Augen sieht sie aufmerksam aus dem Bild heraus. Qualitätvolle, repräsentative Darstellung, die als Gegenstück zur Darstellung des edlen Herren nach rechts desselben Künstlers zu sehen ist. (13916937) (18))
Englischer Maler des 17. JahrhundertsBILDNIS EINES HÖFISCHEN MÄDCHENSÖl auf Leinwand. Doubliert.79 x 63 cm.In geschnitztem zweifarbigen Rahmen.Ganzfigürliches Portrait eines Mädchens nach links vor dunklem Hintergrund. Vor einen dunkelroten Samtvorhang, bei einer Eisentruhe, diese sichtbar nur dank der vielen vergoldeten Nieten, steht hell angezogen ein stolzes Mädchen. Das Mädchen darf aufgrund der reich gearbeiteten Kleidung mit Samtrock, Mieder, bestickten Ärmeln, Spitzenmanschetten und Spitzenkragen sowie Spitzenhaarschmuck als Mitglied des Hochadels gesehen werden. In der rechten Hand hält sie eine hellblaue Schleife, diese dient als Leine für den rastenden Falken auf ihrer linken Hand. (13916938) (19))
Niederländischer Maler in der Stilnachfolge des Peter Paul Rubens (1577-1640)PORTRAIT EINES ADELIGEN HERRN IM HARNISCHÖl auf feiner Leinwand.73 x 59 cm.Ungerahmt.Halbbildnis nach links, in der typischen Bartmode der Herrenbildnisse des 17. Jahrhunderts. Über den Harnisch ein rotes Umhangtuch gelegt, was den Dargestellten in fürstlichem Rang ausweist. Die Kopfbedeckung eine Pelzkappe, die auf einen polnischen Magnaten weist. (1391123) (11)Dutch school, in the following of Peter Paul Rubens (1577-1640) PORTRAIT OF NOBLEMAN IN ARMOUROil on fine canvas.73 x 59 cm.
Pablo Picasso (Spanish, 1881-1973). Lithograph and linocut in colors titled "Le Danseur" depicting a highly stylized portrait of a figure, 1965. Dated in reverse along the upper edge in plate, May 23, 1965. Pencil signed along the lower right margin; numbered 95/200 along the lower left margin.Provenance: B.C. Holland, Chicago 1991; Private Connecticut Collection, 1991; Private Minnesota Collection.Lot Essay:Pablo Picasso stands as one of the most renowned and prolific artists of the 20th century, whose innovative and groundbreaking work revolutionized the course of Western art. Born in Malaga, Spain, Picasso demonstrated exceptional artistic talent from a young age and received formal training at various art academies. His early works, influenced by Symbolism and the Blue and Rose Periods, showcased his versatility and mastery of traditional techniques.Picasso's career underwent a seismic shift with the advent of Cubism, a movement he co-founded alongside Georges Braque. Cubism shattered conventional notions of perspective and representation, presenting multiple viewpoints simultaneously and breaking objects down into geometric forms. Picasso's seminal work "Les Demoiselles d'Avignon" (1907) marked a turning point in art history, foreshadowing the radical innovations that would follow.Throughout his prolific career, Picasso continued to push artistic boundaries, experimenting with diverse styles and mediums, including sculpture, ceramics, and collage. His involvement with Surrealism and his exploration of African and Iberian art further enriched his artistic vocabulary. Picasso's work often reflected his personal experiences, political convictions, and tumultuous relationships, imbuing his art with emotional depth and psychological complexity.Picasso's influence transcended the confines of the art world, shaping the cultural landscape of the 20th century and beyond. His legacy as a visionary artist, innovator, and provocateur continues to resonate, inspiring generations of artists and sparking dialogue about the nature of creativity and artistic expression. Through his relentless pursuit of innovation and his fearless embrace of experimentation, Picasso left an indelible mark on art history, cementing his status as a titan of modernism and one of the most enduring figures in the pantheon of great artists.Sight; height: 27 3/4 in x width: 22 1/2 in. Framed; height: 39 3/4 in x width: 33 1/2 in.
Alfred Leslie (American, 1927-2023). Large oil on canvas Abstract Expressionist painting titled "The Silver Thistle," painted in cool tones of blue and gray with splashes of red and yellow, 1955. Signed and dated along the lower center. Further signed and titled along the verso.Provenance: Signa Gallery, New York; B.C. Holland Gallery, Chicago; Richard Gray Gallery, Chicago; Private Minnesota Collection.Lot Essay:Alfred Leslie is well known as being one the key figures in the second generation of Abstract Expressionist artists along with Grace Hartigan, Joan Mitchell, and Milton Resnick. He took part in the landmark show "New Talent" organized by Clement Greenberg and Meyer Schapiro at Kootz Gallery in 1950 as well as the "Ninth Street Show" the following year. His first show at Tibor de Nagy Gallery in 1952 was highly praised with one critic writing that the "fresh, romantic, reckless expressionism" made the competition "seem prim and tight by comparison."By the 1960s he began moving away from Abstract Expressionism, favoring figurative paintings, often portraits. His grisaille paintings were realistic, dramatically changed from his work of the previous decade. The subjects were often dramatically lit from multiple angles. In 1966, nearly all of his monochrome works were destroyed in a fire. It was at this point that he began introducing color back into his works.While he would never return to the Abstract Expressionist works of his youth, the figural works of the present would remain influenced by his time with the movement. While the subject matter was rooted in the old master paintings of the past, he introduced modern elements that refreshed the genre and breathed new life into the act of portrait painting.Unframed; height: 78 1/2 in x width: 70 3/4 in. Framed; height: 79 1/2 in x width: 71 3/4 in.
Sophie Tea (British 1993-), 'Stand Tall', 2023, blue italian marble sculpture on a marble base, sculpture: 102 x 55 x 41cm, 142cm tall inc stand, 300kg sculpture: 102 x 55 x 41cm, 142cm tall inc stand In collaboration with the charity ‘Mind,' Sophie has dedicated this piece to raise awareness and funds for the noble cause of promoting mental well-being with ‘Women in Mind’. This branch of Mind is spearheaded by world-renowned philanthropists and actress' Emilia Clarke and Lena Dunham. The piece was recently displayed at the prestigious National Portrait Gallery, a testament to its artistic merit and the importance of its message. By bidding on this sculpture, you will be contributing to the crucial efforts in advancing women's mental health.
• HENRIK INGVAR SØRENSEN (NORWEGIAN 1882-1962) PORTRAIT OF THE ARTIST MICHALOFF WIGDEHLsigned with monogram, dedicated Tu HØ and dated 09 lower right; bears the inscription Michaloff Wigdehl / Tegning av / Henrik Soørensen / 1909 on a label stuck to the backboard black chalk on buff paper21.5 x 15cm; 8 1/2 x 6in 45 x 39cm; 17 3/4 x 15 1/4in (framed)Property of a Private CollectionProvenanceMadeleine Thomas, Oslo (a gift from the artist in the 1950s)By descent from the above to the present owner It has been suggested that Sørensen's inscription Tu HØ above his monogram is most likely a dedication to his fellow painter Hans Ødegaard (Norwegian 1876-1943). The two painters were close; a portrait in oil by Ødegaard of Sørensen is in the National Museum, Oslo.Sørensen's sitter in the present work is the painter Michaloff Wigdehl (Norwegian1856-1921), who grew up in Gildeskål on the remote west coast of Norway, midway between Tromsøe and Trondheim. In the 1890s he attended the Royal Drawing School in Kristiania (modern day Oslo), was taught by Harriet Backer (1898-1901) and befriended Nicolai Astrup (1880-1928). A pupil of Lauritz Tuxen in Copenhagen 1904-05, he visited Berlin, returning thereafter to settle back in Gildeskål. His work is in the Rasmus Meyer Collection, Bergen and the National Gallery, Oslo.Henrik Sørensen was twenty-five years Wigdehl's junior. He studied in Kristiania, Copenhagen and in Paris, first at the Académie Colarossi and subsequently with Matisse (1908-10) alongside Alf Lundeby (see lot 208). He first came to public attention when his painting Varietéartist was purchased by the influential Swedish painter, collector and socialite Prince Eugen. His work is in the National Gallery, Olso and a large wall mural by him is in Oslo City Hall. offered for sale without reserve
• ALF LUNDEBY (NORWEGIAN 1870-1961) SELF PORTRAIT signed Alf Lundeby lower rightoil on canvas39 x31cm; 15 1/4 x 12 1/4in (unframed)Property of a Private CollectionProvenanceMadeleine Thomas, Oslo (a gift from the artist in the 1950s)By descent from the above to the present owner Lundeby grew up in Solør to the north east of Kristiania (modern-day Olso), studied with Harriet backer (1896-97) and travelled in his late 'twenties through Germany and Italy, visiting Munich, Florence, Rome and Siena before wintering in Rome. In 1909 he studied with Matisse in Paris alongside fellow Norwegian painters Axel Revold (1887-1962) and Henrik Sørensen (see lot 201). But it was Italy that drew him back to paint time and again, visiting and staying for extended periods, often years at a time, on at least six different occasions between 1923 and 1952. In Italy he completed his most celebrated works, including From the Palantine (1898) and View towards the Palantine (1899), both in the National Museum, Oslo. Other examples of his work are in public collections in Bergen and Lillehammer. offered for sale without reserve
STUDIO OF HENRY RAEBURN (SCOTTISH 1756-1823) PORTRAIT OF THE FIDDLER NEIL GOWoil on canvas72 x 61cm; 28 1/4 x 24in88 x 78cm; 34 3/4 x 30 3/4 in (framed)Property from a Gentleman, LondonGow (1727-1807) was arguably the most famous Scottish fiddler of the eighteenth century. He came to public attention when he was awarded first prize in a competition judged by John McCraw, a blind musician, who stated that he 'would ken his bow hand amoung a hunder(d) players.' Gow's success brought his music making to the attention of the Duke of Atholl, through whose patronage Gow secured performances for balls and dance parties put on by the nobility which made his reputation as a musician and composer. Raeburn's portrait of Gow, upon which the present work is based, is in the Scottish National Portrait Gallery, Edinburghoffered for sale without reserve
• ZORAN MUSIC (SLOVENIAN 1909-2005) PORTRAIT OF IDA signed Music lower rightlithograph printed in colours 46.5 x 35.5cm; 18 1/4 x 14in (unframed); together with a lithograph of sheep by Walter Sautter (Swiss 1911-1991); a lithograph of a female nude by O. Bauminger (German active 1954); and a lithograph printed in colours of a woman amongst trees, signed in pencil with initials H.A.M.B.(4)Property of a LadyProvenanceHans Gassebner (see Sale, Olympia Auctions London, From the Studio: Works from Fifteen Artists' Estates, 20th March 2024, lots 52-59) A gift from the above to the aunt of the present owner circa 1950offered for sale without reserve
Sir Edward Coley Burne-Jones, Bt., ARA, RWS (British, 1833-1898)Study of the head of Danaë for Danaë and The Tower of Brass and Danaë and the Brazen Tower signed with intitials and dated 'EBJ 1888' (lower right)pencil23.8 x 14.5cm (9 3/8 x 5 11/16in).Footnotes:The sitter of the present lot was Marie Stillman (née Spartali). W. Graham Robertson observed that Stillman was 'Mrs Morris for Beginners...the two marvels had many points in common: the same lofty stature, the same long sweep of limb, the 'neck like a tower,' the night dark tresses and the eyes of mystery, yet Mrs Stillman's loveliness conformed to the standard of ancient Greece.'1Spartali was known to Burne-Jones from the mid-1860s, when she purchased Cupid Discovering Psyche (British Museum Acc. no 1954,0508.8). An unfinished portrait exists begun circa 1880 and her features appear in a number of paintings including The Mill (1870-82, Victoria and Albert Museum), The Last Sleep of Arthur in Avalon (1881-1898, Museo de Arte de Ponce, Puerto Rico) and most notably in Danaë and the Brazen Tower (1887-1888, Kelvingrove Art Gallery and Museum, Glasgow Art Gallery).A similar study, made in 1885 (now in the collection of Amgueddfa Cymru, National Museum Wales, NM Acc. no NMW A 5480), is more like the head in the finished painting, but in the present drawing, made three years later, the artist has appeared to have saught a differing psychological state, with the lips slightly apart and the gaze more apprehensive, using softer shading. It is apparent from comparing the two studies that Burne-Jones preferred to return to the more meditative state of the earlier drawing.1Walford Graham Robertson, Time Was: the Reminiscences of W. Graham Robertson, 1931, p 95.We are grateful to the Committee of the Burne-Jones Catalogue Raisonne Foundation for their assistance in cataloguing this lot. The work is listed in the Burne-Jones catalogue, www.eb-j.org.For further information on this lot please visit Bonhams.com
Henry Barraud (British, 1811-1874)Portrait of The Honourable Robert Boyle, Colonel of the Coldstream Guards on horsebacksigned and dated 'Barraud 1849' (lower left) oil on canvas 58 x 76.5cm (22 13/16 x 30 1/8in).Footnotes:ProvenanceThe family of the sitter, by descent.Robert Edward Boyle (March 1809 – 3 September 1854) was a British soldier and Liberal Party politician.The fourth son of Edmund Boyle, 8th Earl of Cork, and his wife Isabella Henrietta (née Poyntz), he served with the Coldstream Guards and achieved the rank of colonel.At the 1847 general election he was elected unopposed as the Member of Parliament for Frome and was returned unopposed in 1852. That election was later voided after an electoral petition because his position as Secretary of the Most Illustrious Order of St Patrick was deemed to be an office of profit under the crown. He was re-elected unopposed at the resulting by-election in March 1853 and held his seat in the House of Commons until his death in Varna while serving in the Crimean War in 1854 aged 45. He was buried at sea.For further information on this lot please visit Bonhams.com
Samuel Melton Fisher, RA, RWA, PS (British, 1859-1939)Venetian costume makers signed and dated 'S.Melton Fisher.1888.' (lower right); further signed, titled and inscribed with artist's address 'Venetian costume makers/S. Melton Fisher/3575. Calle del Cristo/S.Angelo. Venice' (on artist's label attached to reverse)oil on canvas103.5 x 135cm (40 3/4 x 53 1/8in).Footnotes:ProvenanceAnon. sale, Sotheby's, London, 6 November 1996, lot 325. Private collection, UK. ExhibitedLondon, Royal Academy, 1888, no. 583.LiteratureArt Journal, 1888, p. 128. H. Blackburn (ed.), Academy Notes, 1888, pp. 12 and 77 (sketch illustrated).The Graphic, vol. 38, July-December 1888, illustrated.Alfred Lys Baldry, The Paintings of S. Melton Fisher in The Studio, vol. 42, 1908, pp. 176-181. Christopher Wood, The Dictionary of Victorian Painters, Woodbridge, 1995, p. 171.'The subjects he chose were characteristic of modern Venetian life; his canvases were records of his observation of the people among whom he found himself, and by their brilliant reality and clever statements of picturesque facts gained the approval of everyone who was qualified to judge his work' (Alfred Lys Baldry, The Studio, 1908)Fisher studied at the Lambeth School of Art and Royal Academy Schools between 1876 and 1881, winning a gold medal and a travelling scholarship; travelling to Paris, he studied with Jules Bonnaffé. His work In Realms of Fancy was purchased by the Chantrey Bequest in 1898 and later in his life he returned to portrait and figure painting, possibly for financial reasons.Venice in the late 1800s was a popular destination for many artists; alongside Fisher were artists such as John Singer Sargent, James Abbott McNeill Whistler, Henry Woods and William Logsdail. The unusual beauty and uniqueness of the city was enchanting and for many artists, Venice was restorative and transformative for their practice. Artists in Venice would often focus either on the working-class Venetians engaged in daily activities, which provided a wealth of subject matter, or the complex play of light on the water, architecture and canal views or narrow streets. In the present lot Fisher has chosen to depict a group of women at work making costumes presumably in preparation for a festival. This subject provides the artist with a perfect opportunity to celebrate the light and shade in the room and the rich texture of the materials. The square brushwork is testament to the influence of Bastein Lepage and his British counterparts, in particular Stanhope Forbes and Albert Chevallier Tayler who had travelled to Venice the year before and had first met Fisher in Paris in 1881.For further information on this lot please visit Bonhams.com
Sir Walter Westley Russell, RA, RWS, NEAC (British, 1867-1949)The seaside signed 'WRussell' (lower left)oil on canvas93 x 154.4cm (36 5/8 x 60 13/16in).Footnotes:ProvenancePrivate collection, UK.ExhibitedDunedin, New Zealand & South Seas International Exhibition, 1925-6, no. 25.Sir Walter Westley Russell was born at Forest Gate, Essex on 31 May 1867, third son of William Henry Russell, an artist and bookbinder, and his wife Charlotte Emily née Bradley (1838-1904). He studied at the Westminster School of Art under Frederick Brown (1851-1941) but left in about 1891 when he worked as an illustrator and etcher. He was a teacher and then Assistant Professor at the Slade School of Fine Art between 1895–1927, but served in the Royal Engineers between 1916–1919 working on camouflage. A painter of portraits, landscapes and interiors, he began exhibiting at the New English Art Club in 1893 and became a member in 1895. He exhibited at the Royal Academy from 1898 and had a solo exhibition at Goupil Galleries in 1910. Russell was also a member of the International Society from 1906, the National Portrait Society 1910, and the Royal Society of Painters in Water Colours from 1930. He was elected an Associate of the Royal Academy in April 1920, and became a full Academician in February 1926 and was Keeper from 1927-1942. He lived in Chelsea but often worked in Yorkshire, Sussex and Norfolk.An interesting aside is that Russell also took part in the 1928 Olympic Games in Amsterdam where forty-nine artists from twelve countries submitted work. The Gold medal was awarded to Isaac Israëls with Laura Knight being awarded the silver medal for Boxing in Camp (The Light Heavy-weights). The present scene is very similar to On the Sands (undated, in the collection of Gallery Oldham) with numerous people relaxing on the beach on a summers day. In the present lot, groups of figures are engaged in conversation or languishing in the warm sun. The composition is punctuated with bold areas of colour which stand out against the pebbles on the beach and lead the viewer into the scene.The work was exhibited at The New Zealand and South Seas International Exhibition in Dunedin, New Zealand which ran from 17 November 1925 until 1 May 1926. It was the third such exhibition held in Dunedin, with earlier exhibitions in 1865 and 1889. The 1925 exhibition had over three million visitors.Russell was made a Companion of the Royal Victorian Order in 1931 and knighted on 10 July 1935. He died at 4 Pembroke Road, Kensington, London on 16 April 1949 and a memorial exhibition was held at the Beaux Arts Gallery in 1950.For further information on this lot please visit Bonhams.com
Emma Irlam Briggs (British, 1867-1951)Portrait of a soldier with bandaged head signed 'IrlamBriggs.' (lower left)oil on canvas76.5 x 50.5cm (30 1/8 x 19 7/8in).Footnotes:ProvenancePrivate collection, Canada.The present work is unusual in Briggs's oeuvre, as it is a portrait of a man, a soldier with a bandaged head. While she had produced biblical images with male protagonists, very few of her other paintings had men as their subjects. This piece seems to have the subject of a wounded soldier, but with no distinguishing insignia on his jacket revealing his rank or regiment. It is likely that the handsome young soldier, with his bandaged and bleeding head, is a universal figure, the embattled yet unbowed soldier, possibly as a response to colonial skirmishes or events in the Boer War (1899-1902). Artistic responses to the Boer War in particular reflected not only jingoistic pride but also the public unease at the war fought for ambiguous imperial purposes. The subject of this work could be someone known to Briggs, however the dramatic nature of the injury makes that unlikely. The religious subject matter of her popular works make it possible that the young man is a 'Christian soldier'. Her interest in a military subject might have come from either of her sister Mary's husbands, both of whom had military backgrounds.We are grateful to Kirsty Stonell Walker, Independent Art Historian and Author, for compiling this catalogue entry.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
Frederick Goodall, RA (British, 1822-1904)Portrait of Rica sitting in the bay window of Graeme's Dyke with pencil in hand and sketch book with a kitten oil on panel 55.9 x 45.1cm (22 x 17 3/4in).Footnotes:ProvenanceThe sitter.Bequeathed to her god-daughter, mother of the present owner, thence by descent. Private collection, UK.Alice Federica Goodall, known as Rica, was born in March 1876 which dates this portrait to the early 1880s. Goodall exhibited two portraits of his daughter at the Royal Academy, in 1894 and 1898. In both of these portraits Rica appears a young woman, they are near full-length portraits of her dressed in elegant blue and white dresses and appear in all aspects the work of a proud father.Graeme's Dyke, or Grim's Dyke as it is now known, is a storied house designed and built for Frederick Goodall by renowned architect Richard Norman Shaw between 1870 and 1872 at Harrow Weald. The house was sold by Goodall to Robert Heriot, partner in the private bank C.J. Hambro & Son, in 1880 who owned the property for ten years before it was acquired by Sir William and Lady Gilbert. Gilbert, one of England's foremost dramatists, famous also for his collaborations with Sir Arthur Sullivan, made several architectural additions to the house and created a small home farm in which Jersey cows, pigs and poultry were kept. Lady Gilbert turned her attention to the neglected grounds, creating formal gardens, the results of which can still be seen today. The house is currently used as a hotel and in recent years has been used as a location for filming. It has featured in, among other productions, The Saint (1962), Doctor Who: The Evil of the Daleks (1967), EastEnders (2003) and Little Britain (2004).For further information on this lot please visit Bonhams.com
Emma Irlam Briggs (British, 1867-1951)Portrait of the artist's sister, Mrs F. J. Butts in green signed 'E.Irlam.Briggs' and inscribed 'Mrs F.J. Butts/The Salterns Nr Parkstone/Dorset' (on the reverse)oil on canvas64.2 x 50.8cm (25 1/4 x 20in).Footnotes:ProvenancePrivate collection, UK (acquired from the artist's great nephew).When purchasing a painting by Emma Irlam Briggs in 1937, the curator of the Russell-Cotes Art Gallery and Museum, Norman Silvester (1894-1969), asked Briggs for a brief summary of her life. Despite popularity and success with her portraits, her religious images and her more Pre-Raphaelite works, Briggs apologised that her life had always been 'very uneventful'. It was true that despite early successes with Pre-Raphaelite pieces and a high profile as a religious painter, Briggs had remained a local artist at home, favouring the galleries of Dorset to those in London. However, the Briggs family motto might well have been 'triumph over adversity' as their fortunes were certainly a mixed bag.Briggs was born in Kent on 31st January 1867, the fourth of six sisters. Her father James Briggs was described as never being of stout health, and the family had not settled long in Poole before he died of pneumonia aged only forty-four. He left his wife and his five daughters (the sixth and eldest, Annie, dying in infancy) to make their own way. Eldest sister Ada (1861-1951) became Poole's first female alderman in 1919 and wrote novels. Agnes (1872-1940) was a violinist and a miniaturist. Monica (1871-1901) was interested in botany, tragically drowning while collecting samples of fungi and stones from round the local pond. Mary (1863-1944), acknowledged in the family as the prettiest, married a man old enough to be her father and found herself a wealthy young widow. When Emma caught measles as a child, she lost almost all her hearing, relying on an ear trumpet. Like her sister Agnes, she turned to art, attending the Bournemouth Municipal Art School to begin with, then studying in conjunction with South Kensington, where she won several prizes. She then completed a course at Wimbledon Art College and was offered a scholarship, but was unable to accept it. She instead did a year at St John's Wood Art School, followed by the Royal Academy schools where she was awarded the Landseer Scholarship. Again, she declined the scholarship and instead went to Paris, before returning to Hampshire to begin her career.Briggs's reputation in the twentieth century was that of a religious artist. Her best loved and most reproduced paintings were In Joseph's Workshop or The Workshop at Nazareth (1904), St Joseph's Dream (1906), both still in private hands. She went on to produce ten paintings, including The Divine Son for the interior of St Paul's Church, Cheltenham. However, the beginning of Brigg's career was marked with Pre-Raphaelite subjects and portraits. Possibly her debut exhibition was in Bournemouth in 1886 and she remained an active member of the Bournemouth Art Society alongside other Hampshire artists such as equestrian artist Lucy Kemp Welch (1869-1958). In early reports of her work she went by 'Irlam Briggs' without any hint of gender, which was corrected over time to 'Miss Irlam Briggs'. Her debut at the Royal Academy in 1892 was with a pair of portraits of Petronell and Dorothy Barrett, followed the year after by a portrait of her sister Agnes, known also as The Violinist (1893, Russell-Cotes Art Gallery and Museum, Bournemouth). 1894 saw The Lost Bower, which was accompanied by a couplet by Elizabeth Barrett Browning from the poem of the same name, which marked a start of a series of literary inspired female figures drawn from Shakespeare and poetry, including Juliet (1896), The Blessed Damozel (1900), Elaine and The May Queen (1902). These were interspersed with female portraits and a rare historical piece, again a female figure, a girl resting against a large open Bible, Elizabeth, second daughter of Charles I, died Sept 8, 1650 (1901).With her propensity for female figures and portraiture, it is unsurprising that her sisters were subjects of her art throughout her career. Agnes's portrait was relatively early, with Ada's official portrait as Poole's first woman councillor presented to the corporation in 1927. This image of her sister Mary, as Mrs Frederick John Butts, might have been painted for her marriage in 1889 or possibly after the birth of her daughter Mary Francis Butts (1890-1937), the modernist writer and acolyte of Aleister Crowley (1875-1947). Mary Briggs's marriage to Butts resulted in her living in Salterns, an 18th century house overlooking Poole harbour, with a collection of William Blake watercolours inherited from Frederick Butts grandfather who was a friend of Blake. Once widowed, Mary sold the watercolours, for which her daughter never forgave her. The portrait would naturally predate Mary's second marriage to Frederick Musgrave Colville Hyde, a retired army officer and friend of her first husband and possible father of her son Anthony (1901-1940). Despite only marrying in 1907, as her second husband was a heavy drinker, she was again widowed in 1919.Briggs remained in Poole for the rest of her life, supporting local charities such as the orphan's home and both the Bournemouth and Poole Art Societies, the latter for which she served as honorary assistant secretary. Prints of her religious images remained popular Sunday School prizes and she continued to exhibit locally until the Second World War. She died at home in Dorset in 1951.We are grateful to Kirsty Stonell Walker, Independent Art Historian and Author, for compiling this catalogue entry.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
CARTWRIGHT (JOSEPH)Selections of the Costume of Albania and Greece, with Explanatory Quotations from the Poems of Lord Byron and Gally Knight. Including a Highly Finished Portrait of Ali Pacha, FIRST EDITION, 12 hand-coloured aquatint plates by R. Havell after Cartwright (dated February-June 1822, one watermarked 'J. Whatman 1821'), light off-setting onto blank versos, contemporary half morocco over boards, gilt morocco lettering label ('Greek Costumes') on upper cover, worn with some loss to spine and corners, label scuffed [Colas 544; Tooley 131; cf. Abbey, Travel 134, note; not in Atabey, Blackmer or Lipperheide], folio (460 x 310mm.), R. Havell, [1822]Footnotes:VERY RARE COMPLETE COPY IN THE ORIGINAL BINDING - only one other complete copy traced at auction in the past fifty years.Known primarily for his marine paintings Joseph Cartwright was Paymaster-General of the British forces in Corfu during 1816-1820, publishing his Views in the Ionian Islands in 1821 and this work on his return to Britain in 1822. Published during the campaign for Greek Independence, eight of the plates are accompanied by quotations from works by Byron, including Childe Harold, The Giaour, and Don Juan.Provenance: Charles Richard Fox, ink inscription 'Charles R. Fox 1822', with price '2£-10' on upper cover. Fox (1796–1873) was an army officer, member of the Society of Dilettanti and numismatist whose important collection of 11,500 Greek coins was purchased after his death by the Royal Museum in Berlin. His early interest in coin collecting was strengthened by his travels in Greece and Turkey in 1820 while aide-de-camp to Sir Frederick Adam at Corfu, at which time he would possibly have become acquainted with Joseph Cartwright.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
GERARD (JOHN)The Herball or Generall Historie of Plantes... Very Much Amended by Thomas Johnson, second edition, engraved pictorial title incorporating a portrait of the author, upwards of 2800 woodcut illustrations, without opening and final blanks, the title laid down and re-inserted with small losses at inner margin and lower fore-corner, approximately 10 preliminary leaves with some margins repaired, 16 leaves of index at end with some repairs (5 resulting in loss to letters in lower fore-corner), some damp-staining throughout, nineteenth-century half morocco over marbled boards, worn, joints weakened [ESTC S122175; Henrey 156; Hunt I, 230; Nissen BBI 698], folio (345 x 225mm.), Adam Islip, Joice Norton and Richard Whitakers, 1636Footnotes:Provenance: 'To Miss Hayward, love from Charlotte Sotheby, October 1880', ownership inscription on front free endpaper.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
WILDE (OSCAR)A House of Pomegranates, FIRST EDITION, [LIMITED TO 1000 COPIES], pictorial title, endpapers and other illustrations by Charles Ricketts, 4 plates by Charles Shannon, pictorial endpapers, light spotting, modern cloth [Mason 347], James R. Osgood, 1891; Lord Arthur Savile's Crime & Other Stories, FIRST EDITION, AMERICAN ISSUE, [500 copies], publisher's decorative cloth [Mason 346], New York, Dodd, Mead and Co., 1891; Epigrams & Aphorisms, NUMBER 31 OF 50 COPIES PRINTED ON JAPAN PAPER, publisher's boards, t.e.g., soiled and rubbed, small loss to foot of spine [Mason 641, ordinary copy only], Boston, John W. Luce, 1905; Poems... Together with his Lecture on the English Renaissance (Now first Published), NUMBER 104 OF 250 COPIES, modern cloth, Paris, [no publisher], 1903; The Portrait of Mr. W.H., NUMBER 60 OF 200 COPIES, small rust stains on half-title and final leaf, publisher's blue printed wrappers [Mason 611], Privately Printed, [c.1904]--For the Love of the King, LIMITED TO 1000 COPIES, on hand-made paper, publisher's white buckram gilt, t.e.g., spine soiled, Methuen, [1922]; Letters after Reading. I. Bernaval, NUMBER 4 OF 23 COPIES, signed by the publisher, 1921; Letters after Reading II. Naples and Paris, NUMBER 1 OF 23 COPIES, signed by the publisher, 1921, VYVYAN HOLLAND'S COPIES signed by him on front free endpapers, contemporary morocco-backed buckram gilt lettered on spine, publisher's wrappers bound in, New York, Paul R. Reynolds--HYDE (H. MONTGOMERY, editor) The Trials of Oscar Wilde, second printing, 16 plates, publisher's cloth, soiled, William Hodge, [1948], 8vo; and the chromolithograph of Oscar Wilde ('Oscar') from Vanity Fair, 1884 (10)This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
WIGAN (ELEAZAR)Practical Arithmetick. An Introduction to ye Whole Art... Adorn'd with a Great Variety of Flourishes Perform'd by Command of Hand... to be interleav'd for ye more speedy fitting of youth for Merchandize or Trade, engraved portrait by J. Sturt after I. Closterman dated 1695, 61 engraved calligraphic leaves after Sturt, including title and dedication, some soiling, first few leaves a little damp-stained and softened at edges with slight loss, contemporary panelled sheep, worn around edges with some loss, joints cracking [cf. ESTC R18813, variant issue; cf. Heal, English Writing Masters, p.163], small folio, Sold by ye author, [1696]Footnotes:EXTREMELY SCARCE ARITHMETIC AND PENMANSHIP MANUAL - ONE OF ONLY TWO KNOWN COPIES OF THIS ISSUE.There are two issues of this rare work, ours and the Harvard copy being the only ones traced with the imprint simply reading 'Sold by ye author'; no copies giving this imprint have been found in auction records. The other issue bears the imprint 'sold by I. Lenthall Stationer att the Talbott against St. Dunstans Church in fleet Street'; of this several copies are recorded in institutions and in auction records.Although John Sturt was the leading calligrapher of the time, little seems to be known of Eleazar Wigan. Over twenty years earlier Edward Croker had dedicated his morality and writing manual (Croker's morals, 1675) 'to my Honoured Friend Mr. Eleazar Wigan That Famous Writing-Master; Living at the Hand and Pen on Great Tower-Hill', but as Mark Noble wrote in 1806 (A Biographical History of England, vol. 1, p.310), 'the only publication of Wigan's now known is his 'Practical Arithmetic', in which are given the titles and principal rules for common arithmetic, adorned with flourishes 'by command of hand'... The book was dedicated to the rev. Samuel Hoadly, master of a boarding-school at Hackney, father of bishop Hoadly, who had the education of two of his sons'.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
SHAKESPEARE (WILLIAM)The Works... Collated and Corrected by the Former Editions, by Mr. [Alexander] Pope, 7 vol., FIRST POPE EDITION, engraved portrait of Shakespeare by G. Vertue, title to volume 1 printed in red and black, woodcut head- and tail-pieces, full dark red levant moroco by Charles McLeish (stamped 'C. McL.' inside lower covers), lettered and decorated in gilt within 7 compartments within raised bands, g.e., 4to, Jacob Tonson [-A. Bettesworth, etc.], 1725Footnotes:The first Pope edition, which was also the first quarto edition of Shakespeare's works. Published by Jacob Tonson in six volumes, this set includes the scarce seventh volume of poems published under a different imprint.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
YEATS (WILLIAM BUTLER)The Collected Works in Verse and Prose, 8 vol., FIRST COLLECTED EDITION, limited to 1060 copies, photogravure frontispiece portrait in volumes 1, 5 and 7 with tissue guards as issued, titles printed in red and black, publisher's vellum-backed boards, gilt lettered on spine, t.e.g. [cf. Wade 75-82], 8vo, The Shakespeare Head Press, for Chapman & Hall, 1908This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
DICKENS (CHARLES)The Posthumous Papers of the Pickwick Club, FIRST EDITION IN BOOK FORM, VERY EARLY ISSUE, 43 etched plates (including frontispiece and additional title) by R. Seymour, R.W. Buss and 'Phiz', with half-title and Directions to the Binder leaf, plates with the usual foxing, mostly in margins but heavy and affecting image in some cases, modern red calf gilt, spine with decorative tooling and lettering in gilt, 8vo (212 x 127mm.), Chapman & Hall, 1837Footnotes:AN EXCEPTIONAL COPY OF 'PICKWICK' IN BOOK FORM: WITH ALL THE EARLY ISSUE TEXT POINTS, ALL THE KEY PLATES IN THE FIRST STATE, AND ONE OF 'THE RAREST OF ALL PICKWICK PLATES'.Text:Rather remarkably, this copy has every first issue point noted by Hatton & Cleaver, with the exception of the impossibly rare early page variant ('only twice has it come under writer's notice', Hatton & Cleaver, p.56), being page 261 with the signature mark N2 rather than the correct X2 as in our copy. Plates:The present copy has the vast majority of the plates in the first state recorded by either Johannsen, Miller & Strange or Hatton & Cleaver (or all three), including the Seymour plates, and also has the two Buss plates. A few of the plates are Hatton & Cleaver's 'second plate', but according to Johannsen at least two of these are not genuine second plates but simply have the page number burnished out.Copies with the first plate ('Mr. Pickwick addressing the Club') in the first state are particularly scarce, John F. Dexter suggesting that of the first issue of 400 copies of part 1, 'I very much doubt whether more than 50 impressions in first state were obtained from the first set of steels' (Johannsen, p.2). Also present here is the extremely scarce Plate 14, one of two incorrectly paginated (as 169): 'In point of rarity, however, none exceed the two plates as originally etched for Part 6. To quote again the words of J.F. Dexter, 'they are the greatest rarity known to me in this book'' (Hatton & Cleaver, p.22). Plate 15 has the correct page number (154).List of plates with Johannsen and Hatton & Cleaver references:1. Mr Pickwick Addresses the Club: Plate A, First state, signature faint but visible.2. The Pugnacious Cabman: Plate A, First state, signature legible. 3. The Sagacious Dog: Plate A, the gun with hammer and trigger and no break in the barrel. Johannsen, Miller & Strange and J. Christian Bay all disagree with Hatton & Cleaver's assertion that the first state has the break in the gun.4. Dr. Slammer's Defiance of Jingle: Plate A, First state.5-7: All Plate A, First state.8-9: The two Buss plates.10. The Breakdown: Plate A, First state (the 'NE' in 'NEMO' just visible under magnification).11. The First Appearance of Mr. Samuel Weller: Plate A1 (cane showing a break), First state, with 'NEMO' signature.12. Mrs. Bardell Faints in Mr Pickwick's Arms: Plate A2 (faces slightly retouched), First state.13. The Election at Eatonswill: Plate A1 (staff faintly etched), First state.14. Mrs. Leo Hunter's Fancy-Dress Dejeune: Plate A (with incorrect page number 169, making it 'the rarest of all Pickwick plates'), First state.15. The Unexpected Breaking-Up of the Seminary for Young Ladies: Plate A (correctly paginated 169), First state.16-21. All Plate A.22. Christmas Eve at M. Wardle's: Plate A, First plate.23. The Goblin and the Sexton: Plate B1 (knot in place of a face in tree trunk), First plate.24. Mr. Pickwick Slides: Plate A, First state.25. The First Interview with Mr. Sergeant Snubbin: Plate B1 (no roll of paper), Second plate.26. The Valentine: Plate A2 (with number burnished out), Second plate, first state. This and all following plates have no etched page number.27. The Trial: Plate B1, Second plate, first state.28. The Card Room at Bath: Plate A, First plate.29. Mr Winkle's situation when the door blew to: Plate B1, Second plate..30. Conviviality at Bob Sawyer's: Plate A, First plate.31. Mr Pickwick Sits for his Portrait: Plate B1, Second plate.32. The Warden's Room: Plate A, First plate.33. Discovery of Jingle in the Fleet: Plate A, First plate.34. The Red-nosed Man Discourseth: Plate B1, Second plate.35. Mrs Bardell Encounters Mr. Pickwick in the Prison: Plate A, First plate.36. Mr Winkle Returns under Extraordinary Circumstances: Plate A, First plate.37. The Ghostly Passengers in the Ghost of a Mail: Plate B1, Second plate.38. Mr. Bob Sawyer's Mode of Travelling: Plate A, First plate.39. The Rival Editors: Plate A, First plate.40. Mary and the Fat Boy: Plate A, First plate.41. Mr. Weller and His Friends Drinking to Mr. Pell: Plate A, First plate.42. Frontispiece: Plate A, First plate.43. Etched title: Plate A: First plate.References:Albert Johannsen, Phiz Illustrations from the Novels of Charles Dickens, 1956; Thomas Hatton & Arthur. H. Cleaver, A Bibliography of the Periodical Works of Charles Dickens,, 1933; W. Miller & E.H. Strange, A Centenary Bibliography of the Pickwick Papers, 1936; J. Christian Bay, ('The Pickwick Papers', in Amateur Book Collector I, December 1950, pp.7-8).This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
ORTELIUS (ABRAHAM)Theatre de l'Univers, engraved allegorical title-page, engraved portrait of Ortelius, 119 double-page engraved maps, with 2 additional maps of France (one from the 1579 Ortelius edition, loosely inserted), some browning and soiling, occasional marginal damp-staining, Burgundy map split at central fold and repaired, the text on the reverse of approximately 6 maps cropped, a few corners creased, eighteenth-century marbled boards over original vellum, worn, loss to spine, lower joint split [Koeman III, Ort 32], folio (420 x 270mm.), Antwerp, Christopher Plantin for the author, 1598Footnotes:THE LAST EDITION OF THE 'THEATRUM' TO BE PUBLISHED IN FRENCH. Originally published in 1570 with 53 maps, this French edition was extended to include 119. 'The publication of this atlas [the 1570 first edition] marked an epoch in the history of cartography. It was the first uniformly sized, systematic collection of maps of the countries of the world based only on contemporary knowledge and in that sense may be called the first modern atlas' (Tooley, Maps and Map-Makers, p.30). The Atlas includes Ortelius' famous world map (Typus orbis terrarum), the Americas (Americae sive novi orbis nova descriptio) and maps of Asia, Africa and Europe.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
CAMDEN (WILLIAM)Britannia, Newly Translated into English: With Large Additions and Improvements... by Edmund Gibson, engraved portrait frontispiece, 50 engraved double-page or folding maps, 8 engraved plates of coins, several illustrations in the text, early ownership inscriptions on title and fly-leaves, light offsetting to title, loss to lower right corner and repairs to Bb1, small tears to margins of 2 maps, contemporary tan calf, rebacked, red morocco label to spine, corners worn [ESTC R12882; Chubb CXIII], folio (395 x 240mm.), A. Swalle, A. & J. Churchill, 1695This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
JACKSON (KEITH ALEXANDER)Views in Affghaunistaun... from Sketches Taken During the Campaign of the Army of the Indus, FIRST EDITION, hand-coloured lithographed frontispiece portrait, lithographed pictorial title, dedication and 22 tinted lithographed plates (of 25) by W. L. Walton, T. Allom and others, one map, some spotting, contents loose, publisher's morocco-backed cloth, gilt lettered on upper cover, spine with some loss, worn [Abbey, Travel 506], folio (380 x 280mm.), W.H. Allen, [1841]This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
DOSTOEVSKY (FYODOR)Cabinet portrait photograph by Konstantin Shapiro, SIGNED AND INSCRIBED BY DOSTOEVSKY IN RUSSIAN to Jacob Faddeevich Sakhar beneath the image, albumen print, good tonal range, small neatly repaired hole near the top edge, mount printed recto and verso, light spotting, mount corners rubbed, light spotting and soiling to verso, housed in light tan morocco chemise, 130 x 97mm. (photograph), 160 x 104mm. (with mount), 16 December 1880Footnotes:LAST KNOWN PHOTOGRAPHIC PORTRAIT OF DOSTOEVSKY, SIGNED AND INSCRIBED. The photograph was inscribed in December 1880, in the last few weeks of Dostoevsky's life, who died in early 1881. The recipient and addressee is Yakov Faddeevich Sakhar, a law student at the University of St Petersburg who collected signed photographs of Russian cultural figures. On the 16th December 1880, Sakhar visited Dostoyevsky with a fellow student, E.S. Fedorov-Chzmichov, and both received a signed photograph (F. Dostoyevski, Polnoe sobranie sochinenii, 1972-1990, pp.62-63 and 101-102). Fedorov-Chzmichov's photograph is now in the Dostoyevsky Museum, St. Petersburg (reproduced in Literary Heritage 86, Moscow, 1973, pp. 144-146).According to the 30-volume Academy of Sciences edition of Dostoevsky's works, as of 1990 only sixteen known extant inscribed photographs of Dostoevsky were known, only four of which were not in institutional collections, the present example being one of those. The photograph was taken by Konstantin Shapiro (1839-1900), lyric poet, celebrated photographer and a close friend of Dostoevsky himself. Shapiro was the personal photographer of many Russian royals, officials, writers and composers including Tolstoy, Chekhov and Tchaikovsky.Provenance: Christie's, 30 November 2006, lot 67; Private collection.Saleroom notices:The inscription reads: To Jacob Faddeevich Sakhar/In memory from/Fedor Michailovich Dostoevsky.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
LEWIS (WYNDHAM)Fifteen Drawings, NUMBER 10 OF 250 COPIES, 15 plates after Lewis (7 printed in colours), tipped onto printed grey-blue card mounts with printed device by Edward Wadsworth, loose as issued in publisher's printed portfolio boards, colour design ('Nude 1') after Lewis pasted on upper cover (short tears and creases) [Murrow & Lafourcade A5], folio, The Ovid Press, [1919]Footnotes:Rare complete set of Lewis's Vorticist and early images including a portrait of Ezra Pound, 'Nude I and II', and 'Post-Jazz'. It is believed that fewer than the 250 copies were ever issued.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
ROSSETTI (CHRISTINA)Series of thirty-four autograph letters signed ('Christina G. Rossetti') to Louisa Newsham, invalid and aspiring poet, written over some five years and charting a developing friendship, with Rossetti offering long and detailed critiques of Newsham's work throughout ('...Proclaimest cannot pass muster, I think, in either stanza. Nor do I like 'dearest' applied to Angels, as if giving them preference over saints...'), commenting on her illustrations ('...your 'queen of night in robe of royal blue' - would not a somewhat bluer sky commend itself to the gazer?...'), and on her 'pretty' carol ('...My brother (the poet) would not allow dawn to rhyme with such words as born...'), sympathetic to her ill health ('...I know enough of illness occasionally and of weak health more or less habitually...'), her London home ('...trees on both sides of the house... a source of real pleasure...'), her famous brother Dante Gabriel Rossetti ('...a highly gifted man, and was very attractive withal...'), thanking her for many gifts ('...the beautiful and beautifully packed chrysanthemums with their attendant greenery...'), commenting on the post of Poet Laureate ('...not Mr Ruskin, I wish, as I see no reason why the laurel should leap from poetry to prose however poetical...'), one letter of 10 February 1891 including a poem ('Looking back along life's trodden way'), and much else, each numbered in pencil by Louisa Newsham, no.34 inscribed 'the last' and initialled 'L.N.' on reverse, 105 pages, dust-staining, creased at folds, 8vo (175 x 110mm.), 30 Torrington Square, W.C., 4 February 1889 to 18 May 1894Footnotes:'...I ASSURE YOU MY BROTHER GABRIEL DID, IN OLD DAYS, SO MUCH OF THE SAME KIND FOR MY POEMS... AND HERE I AM AT YOUR SERVICE...': Christina Rossetti advises an aspiring poet.Christina Rossetti describes her relationship with Louisa Newsham in these letters as '...blessed work – blessed to myself... my dear unseen friend...' and her biographer Mary Sandars considered it a '...labour of love... to please and interest an invalid whom she never saw...' (The Life of Christina Rossetti, 1930, p.257). Rossetti usually destroyed her incoming letters so it is often difficult to glean information about her lesser-known correspondents but, in this case much can be discovered about the recipient from Rossetti's replies. It appears that Louisa Newsham lived the quiet life of an invalid in the town of Wisbech, Cambridgeshire: '...It is a sad glimpse you afford of yourself, so suffering and so secluded...', Rossetti writes. Louisa had been moved to write to Rossetti after finding comfort in her poems published in the Watchword (evidently, as shown here, without her knowledge), and sends examples of her own writing to Rossetti for criticism. What is most striking about these letters are Rossetti's careful and extensive replies in which she forensically goes through Louisa's work stanza by stanza and offers her quiet but definitive opinion ('...What disturbs me more is the definiteness of 'daffodils' and comparative indefiniteness of 'flower bells'. Would it be possible and not amiss to substitute for the latter 'silver wind flowers'... Stanza 3 would perhaps gain by changing (l.2) 'streamlets' into 'rivulets', by which means to could be discarded and the 3 lines of the triplet brought into uniformity of the structure...'). She demonstrates the utmost tact and sends her apologies lest her comments offend ('...you must take my criticism only for what it is worth: use it if useful, if not acceptable, reject it without hesitation...'), and cites as an excuse her poet brother Dante Gabriel Rossetti ('...I assure you my brother Gabriel did, in old days, so much of the same kind for my poems, that they came out materially the better for his care...'). Sometimes the encouragement is more guarded ('...Far indeed I am from advising you to thwart your poetic impulse – an undoubted gift for your own solace, and perhaps for the solace of many others...'), but it appears that Louisa did have a long poem published as a devotional greetings card by Mowbray & Co. These detailed letters were written at a particularly busy time for Rossetti, working as she was on an enlarged edition of her poems (1890), The Face of the Deep (1892), Verses, (1893) and a new edition of Sing-Song (1893), as well as managing the household and engaging in extensive correspondence (see Antony H. Harrison, ed., The Letters of Christina Rossetti, Vol. 4, 1887-1894, 2004). From the very beginning they bond over their mutual ill health ('...I have a natural tendency to despondency...') and a love of flowers and nature. Rossetti was the recipient of many gifts of flowers from Louisa over the years ('...Lovely were the flowers when released from their box... I wonder whether your own hands placed the protecting wool round so many of the little choice bunches...'). In return Louisa was sent a photograph of a portrait drawing by Dante Gabriel ('...It was then, I believe, a good deal like me...') together with some autographs including that of D.G. Rossetti and Amelia Opie (not present here). As the relationship develops, more details of the Rossetti household are revealed ('...My home circle is less cheerful than in the old days; consisting as it now does of two very aged Aunts (87 and 80), one bedridden, the other still more seriously diseased. But... I am exactly where I should choose to abide were all the world laid open to my choice...') and her London home ('...not long ago I saw myself described as residing in a dreary London Square; but really I find my... London trees cheerful... I hope you feel the same concerning your moon, stars, sunshine, remote country...'). Her adoption of mourning paper in 1890 and 1893 marks the deaths of her aunts Charlotte and Eliza. All the letters are published in Antony H. Harrison's The Letters of Christina Rossetti, Vol. 4: 1887-1894, 2004, and have been consulted by Rossetti's biographers. Many are undated but have been put into sequence by reference to Louisa Newsham's pencilled numbers on each. The letters derive from the collection of Christina Rossetti's close friend Lisa Wilson but exactly when and how she acquired them is not known. On her deathbed, Rossetti had urged Lisa to be kind and write to Louisa occasionally ('...The announcement of my death may be a shock to her. Write to her at once...', Sandars, p.266). After Rossetti's death, Lisa had requested the return of her own manuscript volume from William Michael Rossetti (see lot 120) and destroyed Rossetti's letters to her to preserve her privacy. She may have requested Louisa return the letters or perhaps she acquired them after Louisa's death. The letters, together with the rest of her Rossetti collection in this sale (see lots 117-121) were passed to her god-daughter Christina Corkran, and has remained in the family since then. Two letters from Rossetti to Louisa dating from 1890 are held in the Wisbech and Fenland Museum.Provenance: Mary Louisa 'Lisa' Wilson (1850-1934, poet, artist and friend of Christina Rossetti); her god-daughter Christina Maude Evelyn Corkran (1903-1979); thence by descent.For further information on this lot please visit Bonhams.com
Miniatur auf Porzellan, 19. Jh. (um 1830/40)Junges Mädchen mit Turban. Polychrome Farben auf Porzellan, oval, verso Pressziffer "16", Buchstabe "E", in Tusche bezeichnet "Fol I. (?)". H. 78 mm, Messing-Stellrähmchen der Zeit mit Schleifenbekrönung. H. gesamt 10,5 cm. Miniature portrait on porcelain, ca. 1830/40, brass frame of the same time period. H. 10,5 cm
Leibl, Wilhelm (1844 Köln - 1900 Würzburg)"Bildnis des Malers Josef Wopfner". Radierung, um 1874. Unsigniert. Oben links in der Platte abweichend der Initialen ligiert monogrammiert. Im Passepartout hinter Glas gerahmt. 10,8 x 8,0 (Pl), 34 x 26,5 cm (Ra). Lichtgebräunt, etwas fleckig. Das unter der Inventarnummer G 835 in der Sammlung des Lenbachhauses München befindliche Blatt weist die Initialen oben links nicht auf. Evtl. handelt es sich hier um eine Sonderauflage oder eine Wiederholung. Portrait of the painter Josef Wopfner. Etching, around 1874. Unsigned. Kind of a monogram in the plate top left corner. Framed behind glass. Tanned by the sunlight, some stains. The copy in the Lenbachhaus Munich shows no such monogram; pres. special edition or made after Leibl.
Dose/ Tabatiere, um 1900-1915.Metall versilbert, Relief-Girlande, Bodenmarke WMF Geislingen. Im Deckel eingelegte Porzellanminiatur Bildnis Napoleon Bonaparte in Umdruck und polychromer Malerei. D. 8 cm. Lidded box with porcelain plaque: portrait of Napoleon Bonaparte. Bottom mark: WMF. D. 8 cm.
Zwintscher, Oskar. 1870 Leipzig - 1916 Dresden.Bildnis einer jungen Frau.1894. Öl auf Leinwand, re. o. sign. und dat. "O. Zwintscher (18)94". Reparierte Schadstelle re. ob. Ecke unter Signatur, kleine Partien abblätternder Malschicht am Rand oben Mitte sowie li. unt. Ecke. zwei winzige Löchlein im Bereich li. ob. Ecke. 81 x 66 cm. Geschnitzter Blattrahmen, altes Rahmenetikett Pietro de Vecchio Leipzig. 105 x 90,5 cm incl. Rahmen. Zur Identität der Dargestellten sagt die "Familienlegende" der Vorbesitzer seit Generationen, dass es sich um die "Mutter der Thomaner" aus Leipzig handele. Obwohl nicht näher zu verifizieren, darf man annehmen, es handelt sich um eine Dame der Leipziger Gesellschaft. Hier wurde Oskar Zwintscher 1870 als Sohn des Musikers Bruno Zwintscher geboren und war als Schüler selbst Mitglied des berühmten Chores. Zur musikalischen Szene der Stadt dürften reiche Familienkontakte der Zwintschers bestanden haben, zumal der Vater als Lehrer für Klavier am Konservatorium arbeitete. Zwintscher begann seine künstlerische Ausbildung 1887 an der Akademie für Buchgewerbe und graphische Künste in seiner Geburtsstadt, bevor er 1890 an die Kunstakademie Dresden wechselte. Ab 1892 ließ sich der Maler dauerhaft in Meissen bei Dresden nieder. Physiognomische Ähnlichkeiten bestehen zu einem Gemälde "Mutter und Kind" aus dem Jahr 1910, das sich im Bestand der Städtischen Galerie Dresden (Inv. 1980/ k 652) befindet. Das 1894 datierte, angebotene Gemälde ist chronologisch und stilistisch dem Frühwerk Zwintschers zuzurechnen. Es dürfte sich um einen Porträtauftrag gehandelt haben. Etwa ein Jahr nach Entstehung des Bildes hielt mit dem Gemälde "Sehnsucht" der Stil des Symbolismus Einzug in das Werk des Malers, mit dem der Name Zwintschers häufig synonym gesetzt wird. Obwohl das angebotene Porträt noch frei von jugendstilhafter Stilisierung und Symbolschwere ist, kündigt sich doch ein Grundzug der Malerei Zwintschers an: die starke Betonung der Augenpartie als Vermittler einer seelischen Verfassung der Melancholie bzw. Vergeistigung. Der Blick der jungen Frau richtet sich am Betrachter vorbei nicht auf einen konkreten Gegenstand, sondern gleichsam nach innen, ins Unergründliche, wohin niemand folgen kann. Provenienz: Familienbesitz Ruth Ribbentrop verh. Kress, 1999 Privatbesitz Bad Oeynhausen, zuletzt als Leihgabe im Stadtmuseum Meißen. Zwintscher, Oskar Portrait of a young woman.1894. Oil on canvas, r. o. signed and dat. "O. Zwintscher (18)94". Repaired damage r. top. corner under signature, small parts of peeling paint layer at upper centre margin and lower left corner. Two tiny holes in the upper left corner. 81 x 66 cm. Carved leaf frame, old frame label Pietro de Vecchio Leipzig. 105 x 90,5 cm incl. frame.
Prunkvase, um 1900.Porzellan, altrosafarbener Fond mit russischgrüner Banderole, reiche ornamentale Gold-und Goldemaildekoration, Ovalmedaillon mit Bildnis Madame Recamier nach Francois Gérard in polychromer Malerei. Goldrand, Innenrand Blattbordüre in Gold. Bodenmarke mit Rose überdeckt, Stempelmarke "KJC Dresden Handmalerei". H. 31,5 cm. Ostentatious porcelain vase, golden ornamental and polychrome painted decoration. Portrait of Madame Recamier after Francois Gérard. Stamp mark: KJC Dresden handpainted. Ca. 1900. H. 31,5 cm.
Glasteller"Graf Zeppelin / Deutschland's Ruhm". Pressglas, Motiv- und Reliefprägung mit zentralem Bildnis des Grafen Ferdinand von Zeppelin. D. 22 cm. Wohl ihm zu Ehren posthum 1917. Glass plate Count Zeppelin. Central motif: portrait of the inventor and engineer. Pres. after his death 1917.
Bednorz, Peter (Paul Thierry)(1960 Dramatal bei Gleiwitz) "Romy - Orange". Mixed media und Malerei auf Leinwand, 2004. Unikat. Signiert und datiert unten rechts. Rückseitig nochmals signiert und ausführlich bezeichnet. Aus der Mappe "Frauen - Künstler". Mit Widmung zur Ausstellung in Galerie Mensing 2005. Ungerahmt. 120 x 90 cm. Großformatiges monochromes Portrait in close-up der Schauspielerin Romy Schneider. "Romy - Orange". Mixed media and painting on canvas, 2004. Unique. Signed and dated bottom right. Backside with notes and signature. From the portfolio "Women - artists". With dedication from an exhibition at Mensing Gallery in 2005. Large monochrome portrait of the famous actress Romy Schneider.
Karaffe/ Flakon, wohl Schreiberhau, Gräflich Schaffgot'sche Josephinenhütte, um 1855.Rosalinfarbenes Glas mit weißem Überfang, zwei eiförmige Medaillons mit exquisit gemaltem Bildnis einer Dame mit Haarnetz bzw. buntem Blumenbukett. Flächenfüllend ornamentales Rankenwerk in Gold. Am Hals Durchschliffdekor, unterhalb des aufgeschmolzenen Wulstrings geschliffene Spitzbogenornamente. Flache Bodenkugel. Kein Stopfen. H. 18,5 cm. Decanter, pink glas with white overlay, polychrom painted portrait of a lady and flowers, gold ornamental decoration. No Stopper. Ca. 1855.
Ecole française, deuxième moitié du XIXe siècle (Carette?)Portrait présumé d'Eugène Boullet signé 'Carette' (en bas à gauche) huile sur toilesigned 'Carette' (lower left)oil on canvas70 x 63cm (27 9/16 x 24 13/16in).Footnotes:Le banquier Eugène Boullet (1843-1923) était connu pour sa riche collection d'orchidées, qui a enrichi le fonds botanique du Jardin des Plantes de Rouen.For further information on this lot please visit Bonhams.com
Edouard Louis Dubufe (French, 1820-1883)Portrait de Frédéric Prat signé 'DUBUFE' (en bas à gauche)huile sur toilesigned 'DUBUFE' (lower left)oil on canvas92 x 73.5cm (36 1/4 x 28 15/16in).Veuillez noter que ce tableau est plutôt de la main de Claude-Marie Dubufe (1790 Paris-1864, La Celle-Saint-Cloud) Please note this lot should has been executed by Claude-Marie Dubufe (1790 Paris-1864, La Celle-Saint-Cloud)For further information on this lot please visit Bonhams.com
• HEDWIG PILLITZ (BRITISH-HUNGARIAN 1896-1987) PORTRAIT OF BARBARA COMYNSoil on canvas82.5 x 65.5cm; 32 1/2 x 25 3/4in(unframed)The painter and writer Barbara Comyns (1907-1992) was born in Bidford-on-Avon, Warwickshire and attended Heatherley School of Fine Art in London. She exhibited alongside her first husband, John Pemberton, with the London Group in 1934 and counted Augustus John and Dylan Thomas among her aquaintances. After the breakdown of her first marriage and subsequent relationship with Arthur Price, Comyns became a cook at a country house in Hertfordshire and began to write a series of vignettes about her childhood. She returned to London with her two children in 1942 and married MI6 agent Richard Strettell Comyns Carr, whose boss was Kim Philby and colleague was Grahame Greene. Greene encouraged Comyns' writing, but due to his association with Philby, Comyns Carr was obliged to quit MI6, and the couple moved to Spain. Comyns subsequently published a string of very successful novels, including Sisters by the River (1947), Our Spoons Came from Woolworths (1950), Who Was Changed and Who Was Dead (1954) and The House of Dolls (1989).
• MARIE-LOUISE VON MOTESICZKY (AUSTRIAN-BRITISH 1906-1996) WOMAN IN PROFILEoil on canvas46 x 32cm; 18 x 12.5in(unframed)Painted in the late 1950s, Schlenker thinks it most likely that the model is Mexican, as Marie-Louise visited Mexico in spring 1956 where she was inspired by Diego Rivera and his depiction of calla lilies, a flower that the sitter carries, its yellow pistil prominently glowing lower left (Schlenker, p. 300). There is an unfinished portrait on the reverse of the canvas. Schlenker no. 161
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