A collection of four French commemorative medals, comprising: 1855 Visit of Queen Victoria, portrait bust of Napoleon III by Albert Barre, Obverse portrait of a seated Queen Victoria, 'La Ville de Boulogne-sur-Mer en Memoire Des 18 et 27 Aout 1855', copper, 5.9 cm diameter, 'Battle of Montenotte 1796', portrait bust of Napoleon Bonaparte by Jeuffroy & Gayrard, obverse with 'Victory', copper, 4 cm diameter, 1868 Maritime Exhibition, Le Havre, portrait of Napoleon III by Hamel & Trotin, copper, 5.8 cm diameter and a Revolution commemoration, 'Prise de la Bastille - 14 Juillet 1789', obverse reading 'Le Donjon de Vincenne', Rogat 1844, copper, 4 cm diameter.Qty: 4
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283284 Los(e)/Seite
A pair of Continental oval paintings on plaques depicting an 18th Century Gentleman and Lady, each signed indistinctly ??post, gilt frames with velvet backing, approx 7cm long together with 19th Century oval portrait of a young Lady with white hat and ruff, signed B? mid right, oil on card, approx 6cm long framed and an enamel oval brooch painted with two 17th Century boys, 9ct gold backing, approx 4.5cm long (4)
Dyck, Anthony van - nach -- nach. Selbstbildnis des Künstlers im Dreiviertelprofil.Öl auf Leinwand. 58,3 x 45,5 cm (oval). Verso auf dem Keilrahmen alte Bestandsnummern.Aus seinen Jahren am englischen Hofe sind insgesamt drei Selbstbildnisse von Anthony van Dyck bekannt, wobei das von unserem Künstler wiederholte als das späteste gilt und um 1640 datiert wird (heute National Portrait Gallery London, Inv. NPG 6987). Der Künstler inszeniert sich im modischen Gewand, wohl beim Akt des Malens, da der Faltenverlauf an seiner rechten Schulter einen erhobenen Arm suggeriert, der möglicherweise einen Pinsel hält. Unsere qualitätvolle und maßgleiche Wiederholung überzeugt durch samtenen Pinselduktus und stammt ebenso wie das Original aus englischem Adelsbesitz. Da die chromatischen Valeurs denen von van Dyck sehr nahestehen, darf eine Kenntniss der Vorlage aus direkter Anschauung zumindest angenommen werden.Provenienz: Sammlung John James Dudley Stuart Townshend, 6th Marquess Townshend (1866-1921), Raynham Hall, Norfolk (dort im Billiard Room).Dessen Auktion, Christie's, London, The Townshend Heirlooms, Auktion am 7. März 1904, Los 129 (für 22 Guinees an Foster). - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
No reserve - 14K Yellow gold ring set with a cameo with a profile portrait of a lady. Set with a cameo in molded glass (approx. 18 x 12.9 mm). Hallmarks: 585 Dutch assay mark. In good condition. Ring size: 18 mm / 57 mm. Center width: approx. 20 mm. Weight: 4.83 grams. This lot is auctioned without reserve price. This lot will be auctioned without reserve price.
No reserve - 14K Yellow gold vintage ring set with shell cameo and cultured pearls. Set with a cameo with a portrait of a woman (14.75 x 11.5 mm.) and cultured pearls (Ø 2.8 mm). In good condition. Hallmarks: 585 Dutch assay mark, ATG. Ring size: 19 mm / 60 mm. Weight: 6.73 grams. This lot is auctioned without reserve price. This lot will be auctioned without reserve price.
No reserve - 14K Yellow gold enameled L. Clément Limoges pendant. Enamel portrait of a lady, set with rose cut diamonds and a cultured pearl as a pampel. In fair condition, two diamonds are missing. Hallmarks: 585 Dutch assay mark. Signed on the back: L. Clément for Louis Clément (1882-1977). LxW: 4.1 x 1.5 cm. Weight: 2.31 grams. This lot is being auctioned without a reserve price. This lot will be auctioned without reserve price.
No reserve - Antique 14K yellow gold souvenir brooch / pendant with portrait photo behind glass. With floral decor and one oval cut coral (Ø 5 mm) and black enamel. Front tests as 14K gold, back is metal. In good condition. LxW: 3.8 x 3 cm. Weight: 11.71 grams. This lot will be auctioned without a minimum price. This lot will be auctioned without reserve price.
Alexandre Evgenevich Yakovlev (Massachusetts / Russian Federation, France, Africa, Germany, Japan, 1887 - 1938) Portrait of an Asian man said to likely be Russian painter, writer, archaeologist, theosophist, philosopher, and public figure Nicholas Roerich (1874-1947) by repute. Sanguine and ink on paper. Signed and dated lower left. Provenance: Millon & Associes SAS Auction, Paris, 30 Jun 2008, Lot 57 (Price Realized: $30,610). Size: 19 x 15 in.
Hand decorated bone china modeled as a lively portrait of a festive duo dressed warmly as they perform their carols on a frosty winter’s night. Royal Doulton backstamp. Includes original box. Box measures: 7"L x 9"W x 6.5"H. Includes certificate of authenticity. Artist: Neil FaulknerIssued: 2017Dimensions: 7.5"H x 5.5"WManufacturer: Royal DoultonCountry of Origin: EnglandCondition: Age related wear.
This grouping includes The Little Straw Pig, The Little Sticks Pig, from the Historical Series Moor with Spanish Horse, and Portrait of the Artist. Three of these items have their original boxes which measure 3"L x 2.5"W x 2.25"H. Manufacturer: Goebel OlszewskiCountry of Origin: USACondition: Age related wear.
This Portrait of America series includes a wooden base with glass cover and 6 tiny pewter depictions of some of the most iconic convers from The Saturday Evening Post done by Norman Rockwell. Covers include Bottom Drawer, No Swimming, Doctor and Doll, Check Up, Marbles Champion, and Bottom of the Sixth. This item has a base included which measures 11"L x 4.5"W x 2"H. Issued: 1988Dimensions: 11"L x 4.5"W x 5.75"HManufacturer: Goebel OlszewskiCountry of Origin: USACondition: Age related wear.
MAN RAY (EMANUEL RADNITZKY)1890 Philadelphia - 1976 ParisTitel: Lee Miller. Datierung: Ca. 1930. Technik: Gelatinesilberabzug (Vintage). Montierung: Auf leichtem Karton kaschiert. Maße: 11,5 x 8,5cm. Bezeichnung: Künstlerstempel verso auf dem Rückkarton. Rahmen: Passepartout. Wir danken Frau Eva Meyer-Zerbib, Man Ray Association Paris, für die freundliche, wissenschaftliche Unterstützung.- Intimes und sinnliches Portrait seiner Geliebten und Muse Lee Miller - Lee Miller war Schauspielerin und Model und wurde bekannt durch ihre eindrücklichen Fotografien als Kriegskorrespondentin im 2. Weltkrieg - Seltener und gut erhaltener Vintage- Abzug aus der Zeit um 1930 Provenienz:- Privatsammlung Nordrhein-WestfalenDer Amerikaner Man Ray ist wohl einer der bedeutendsten Fotografen des 20. Jahrhunderts. Vermutlich im Rahmen seiner ersten Einzelausstellung lernt Man Ray Marcel Duchamp kennen. Nachhaltig beeindruckt von der Begegnung freunden sich die beiden an und wenige Jahre später folgt er Duchamp nach Paris. Der erhoffte Durchbruch als Maler bleibt jedoch aus und so beginnt Man Ray ab 1922 mit der Portraitfotografie. Er portraitiert in dieser Zeit zahlreiche Größen wie Braque, Picasso und Matisse. Die vorliegende Arbeit zeigt die Amerikanerin Lee Miller, die Man Ray im Rahmen der Modefotografie zunächst als Model kennenlernt. Sie wird seine Schülerin und geht eine Liebesbeziehung mit ihm ein. Die Beziehung hält aber nur kurz. Die anfängliche Faszination Man Rays von der selbstbewussten, unabhängigen und intelligenten Amerikanerin schlägt schnell um in eine destruktive Obsession, die in Form von zunehmend sexualisierten Sujets auch beginnt, sich in Man Rays Oeuvre niederzuschlagen. 1932 trennt sich das Paar und Miller geht zurück in die Vereinigten Staaten. Gegen Ende des Zweiten Weltkriegs beginnt sie für die US-Army als Militärkorrespondentin zu arbeiten und wird als Kriegsfotografin unter anderem durch die Dokumentation der Befreiung der Konzentrationslager Buchenwald und Dachau weltberühmt. Aufsehen erregte auch ein gestelltes Foto ihres Kollegen und kurzzeitigen Lebensgefährten David E. Scherman, welches Lee Miller in der Badewanne von Hitlers Privatwohnung in München zeigt. Voraussichtliche Versandkosten für dieses Los: Absprache nach der Auktion.Erläuterungen zum Katalog
HOCKNEY, DAVID1937 BradfordTitel: "Stage". Datierung: 1964. Technik: Mischtechnik auf Papier. Maße: 35,5 x 28cm. Bezeichnung: Betitelt, monogrammiert und datiert unten rechts: Stage. DH. 64. Rahmen/Sockel: Rahmen. Provenienz:- Privatsammlung Nordrhein-Westfalen- Frühes Werk aus seiner Zeit in Los Angeles, wohin der Künstler 1964 übersiedelte - Mit wenigen Elementen dargestellte, menschenleere Theater-Bühne, die unverkennbar die Handschrift des Künstlers trägt - Während seiner Zeit in Californien gelingt Hockney der internationale Durchbruch - Hockney zählt zu den bedeutendsten Künstlern und hat einige der einprägsamsten und einflussreichsten Werke des 20. Jahrhunderts geschaffen David Hockney zählt zu den gefragtesten Künstlern weltweit. Spätestens seitdem im Jahr 2018 sein Gemälde "Portrait of an Artist (Pool with Two Figures)" für über 90 Millionen Dollar versteigert wurde ist er aus dem Olymp des Kunstmarktes nicht mehr wegzudenken. In der vorliegenden, sehr frühen Arbeit von Hockney aus dem Jahr 1964 wird bereits deutlich, warum sich Hockney zu einem der bedeutendsten Künstler unserer Zeit entwickeln wird. Die Zeichnung bildet den Ausgangspunkt seines künstlerischen Werkes und diente Hockney oft dazu, spontane Gestaltungsideen festzuhalten, auszuformen und schließlich in letzter Konsequenz als Malerei zu realisieren. Die vorliegende Zeichnung ist dabei bereits stark ausgearbeitet und deutlich treten die Charakteristika der Pop-Art - zu deren bedeutendsten Vertretern Hockney zählt - zum Vorschein. Ein Fransenvorhang, in unterschiedlichen Blaustufen schraffiert, schwebt über einer kleinen Bühne. Die roten Ornamente im Vorhang lassen den Betrachter unweigerlich an die "Flowers" seines Pop-Art-Kollegen Andy Warhol denken. Der Vorhang scheint den Blick auf das in der Bildmitte befindliche Quadrat nur widerwillig freizugeben und erst bei genauerem Hinsehen offenbart sich dem Betrachter ein gleichartiges Rechteck, welches fast gänzlich hinter dem Vorhang verborgen ist.Die vorliegende Arbeit zeigt eindrucksvoll, wie es Hockney mit einfachsten Mitteln gelingt, in seinen Arbeiten eine gesamte Geschichte zu erzählen. Mit simpel gehaltenen Elementen erzeugt Hockney eine unwahrscheinliche Dramatik und zieht den Betrachter in den Bann seines Werkes. Voraussichtliche Versandkosten für dieses Los: Absprache nach der Auktion.Erläuterungen zum Katalog
CORINTH, LOVIS1858 Tapiau/Ostpreußen - 1925 ZandvoortTitel: Stillleben Metall. Datierung: 1910. Technik: Öl auf Leinwand. Maße: 77 x 50cm. Bezeichnung: Signiert und datiert rechts mittig: LOVIS CORINTH 1910. Rahmen/Sockel: Modellrahmen. Provenienz:- Dr. Pater, Königsberg- Stadträtin Lemmel, Königsberg- Dr. A. Sonnenburg, Berlin- Gemälde-Galerie C. Nicolai, Berlin (Aufkleberfragment)- Galerie Franz Brutscher, München- Galerie Aenne Abels, Köln (Aufkleberfragment)- Privatsammlung Ausstellungen:- Kunstsammlung Stadt Königsberg, 1924- Galerie Aenne Abels, Köln 1956 Literatur: - Berend-Corinth, Charlotte: Lovis Corinth - Die Gemälde, Werkverzeichnis, neu bearbeitet von Béatrice Hernad, München 1992 (2. Aufl.), WVZ.-Nr. 440, Abb.Drei Metall-Gegenstände hat Lovis Corinth hier auf einem Tisch arrangiert. Sie geben dem Stillleben den Namen. Eine Messingkanne, ein glänzend aufpolierter Zinntopf mit Deckel und eine bronzene Figur bilden den Dreiklang, mit dem der Maler sich selbst herausforderte und mit dem er seine virtuosen Fähigkeiten unter Beweis stellte. Ergänzt werden diese Drei durch die ebenfalls harte, durch den Prismenschliff aber ganz anders das Licht reflektierende, blaue Bleikristall-Vase mit zwei üppigen, hellrosa-farbenen, großblütigen Chrysanthemen. Eine ockergelbe Wand schließt den Innenraum, in dem sich dieses Arrangement befindet, in der Tiefe ab. Andere Elemente im Hintergrund sind nur vage angedeutet. Ihre Farbwerte sind für die Komposition wichtig, sie lenken aber nicht von der Konzentration auf den Vordergrund ab.Die Lichtquelle, die das Arrangement in ein warmes Licht taucht, liegt schräg rechts, außerhalb des Bildraums. Mit kühnen Pinselstrichen modelliert Corinth die glänzenden Gefäße. Die Farben Rot, Braun, Gelb und Weiß, pastos und additiv aufgetragen, ergeben das brillante Messing, in dem sich die bronzene Figur spiegelt. Das kühle Blau, Schwarz, Weiß und graue Mischtöne nutzt er für das Zinngefäß, wobei sich auch hier Reflektionen der rotbraunen Tischplatte in der Wandung spiegeln. Ganz anders gibt Corinth die optische und haptische Beschaffenheit der Bronze wider. Es gibt hellere Partien, mit mehr Grün-Anteil, sparsam mit Weiß und Gelb gehöht und dunklere, schwärzliche Bereiche, die dem Licht abgewandt sind. Ein starker Schattenwurf auf dem Sockel markiert den Lichteinfall deutlich. Die obere Bildhälfte dominieren die beiden fedrigen Blütenköpfe, die wie ein Feuerwerk das Licht bündeln.Die wie zufällig auf dem Tisch versammelten Objekte haben als Gesamtkomposition eine ungemein starke Präsenz. Sie berühren jeweils fast die Grenzen des Bildraums; ganz nah hat der Künstler den Bildausschnitt gewählt, ein minimaler Farbraum trennt die Objekte von der Realität außerhalb des Bildes.Dieses eindrucksvolle Stillleben malte Lovis Corinth 1910, auf dem Zenit seines Ruhms. Der Sohn eines gutbürgerlichen Gerberei- und Landwirtschafts-Unternehmers aus der Ostpreußischen Provinz hatte in Königsberg, München, Antwerpen und Paris die bestmögliche künstlerische Ausbildung genossen. Nach einer ersten Phase in Berlin, Ende der 1880er Jahre, ließ Corinth sich zunächst in München nieder. Dort geriet er jedoch mehr und mehr in die Flügelkämpfe des Kunstbetriebes. Und Berlin zog ihn an. Dort zeigte er seit Anfang der 1890er Jahre erfolgreiche Ausstellungen in den Galerien Fritz Gurlitts und Eduard Schultes. Sein Freund Walter Leistikow vermittelten ihm einträgliche Portrait-Aufträge der Berliner Gesellschaft und 1901 übersiedelte Corinth endgültig in die Reichshauptstadt. Im selben Jahr stellte er in der Galerie Paul Cassirers aus und wurde Mitglied der Berliner Sezession, bald schon deren Vorstandsmitglied. Die Zusammenarbeit mit Paul Cassirer gestaltete sich besonders erfolgreich. Zum einen vermittelte der Galerist und Verleger Ausstellungen Corinths in andere deutsche Städte, zum anderen verkaufte er fertige Bilder des gefeierten Meisters direkt aus dem Atelier. In Paul Cassirers Galerie begegnete Corinth aber auch den Arbeiten von Cezanne und Manet, die ihn begeisterten. In seiner Pariser Zeit waren die modernen impressionistischen Strömungen von dem jungen Kunststudenten noch nicht wahrgenommen worden.Heute wird Lovis Corinths Kunst gerne mit dem Etikett des Spät-Impressionismus versehen. Tatsächlich sah er selbst seine Wurzeln als kraftvoll die Form auflösender Kolorist aber eher in seiner Auseinandersetzung mit den "Alten Meistern" des 17. Jahrhunderts, mit Rubens, Rembrandt und vor allem Frans Hals: "Der Frans Hals hat genauso gemalt, der Kerl, wie ich. Ich brauche mich gar nicht zu verstellen" schrieb er 1907 an seine Frau. (in: Brief Lovis Corinth an Charlotte Berend-Corinth, 7.9.1907, zitiert nach: (in: Brief Lovis Corinth an Charlotte Berend-Corinth, 7.9.1907, zitiert nach: Ausst.-Kat. Lovis Corinth und die Moderne, Musée d'Orsay, Paris/Museum der bildenden Künste, Leipzig/Kunstforum Ostdeutsche Galerie, Regensburg, Bielefeld 2008, S. 35).)Ein großer Unterschied zu den Impressionisten ist allerdings, dass Lovis Corinth immer auch Historienmaler war. Mythologische, antike oder christliche Geschichten setzte er nicht überhöht, sondern naturalistisch mit seinem flirrend kraftvollen Pinselduktus in Szene. Dabei waren die Gestalten von Bacchus und seinem Gefolge für Corinth ein immer wieder bearbeitetes Thema. Im Gott des Weines und des Rauschs sah Corinth wohl auch sein "alter Ego"; mehrfach hat er sich selbst als Bacchus portraitiert.Die bacchantische Seite Corinths, des unangepassten Normensprengers, findet sich auch in diesem Gemälde. Denn bei der Statuette handelt es sich um die Bronze-Replik eines antiken, ein Öllicht tragenden Silens, der in Pompeji gefunden wurde (Foto). In mindestens zwei weiteren Stillleben hat Lovis Corinth diese Leuchter-Figur verwendet, die für ihn vermutlich eine spezielle Bedeutung hatte. Dieses Stillleben mit seinem teils eruptiven Pinselduktus ist ein deutlicher Beleg für die Bedeutung, die Lovis Corinth für die moderne gegenständliche Malerei in Deutschland hat. Voraussichtliche Versandkosten für dieses Los: Absprache nach der Auktion.Erläuterungen zum Katalog
VALADON, SUZANNE1865 Bessines/Frankreich - 1938 ParisTitel: "Les jardins de la rue Cortot". Datierung: 1922. Technik: Öl auf Leinwand. Maße: 117 x 90cm. Bezeichnung: Signiert und datiert unten links: Suzanne Valadon 1922. Betitelt und nochmals signiert verso oben rechts: Les jardins du 12 de la rue Cortot à Paris Suzanne Valadon. Daneben bezeichnet: No 1 d'office. Rahmen/Sockel: Modellrahmen. Provenienz:- Privatsammlung- Sammlung Bernés, Marouteau & Cie, Paris- Privatsammlung SchweizAusstellungen:- Galerie Georges Petit, Paris 1932- Pinacothéque de Paris, 2009Literatur: - Pétridès, Paul: L'oeuvre complet de Suzanne Valadon, Paris 1971, WVZ.-Nr. P258, Abb. (hier abweichend betitelt)- Ausst.-Kat. Valadon - Utrillo, Pinacothéque de Paris, 2009, Kat.-Nr. 103, S. 310, Abb.- Suzanne Valadon zählt zu den bemerkenswertesten und radikalsten Künstlerinnen der Pariser Moderne, deren bedeutendes Werk zurecht wieder neue Aufmerksamkeit erhält- Ansprechendes postimpressionistisches Gemälde mit sattem Kolorit und kräftigem Pinselstrich- Dargestellt ist das berühmte Atelierhaus und der Garten in der Rue Cortot am Montmartre, wo Valadon mir ihrem Sohn Maurice Utrillo und ihrem Lebensgefährten André Utter lebte- Werke der Künstlerin sind in vielen internationalen Sammlungen vertreten, u.a. Musée d'Orsay und Centre Pompidou, Paris, Metropolitan Museum of Art, New York, und British Museum, LondonEin beschaulicher, harmonischer Augenblick ist in diesem Bild festgehalten: Ein Mann sitzt im Schatten eines Pavillons im üppigen Garten hinter einem Haus und liest die Zeitung. 1922, als die Malerin Suzanne Valadon dieses Bild ihres lesenden Ehemanns André Utter im Garten des Hauses 12, rue Cortot malte, war sie 57 Jahre alt, eine beachtlich erfolgreiche Malerin und eine prägende Persönlichkeit des Künstlerviertels Montmartre in Paris. Der Weg dorthin war allerdings überaus stürmisch und eine Karriere als Künstlerin war der so nonkonformen Frau nicht vorgezeichnet.Marie-Clémentine Valadon, wie sie ursprünglich hieß, entstammte dem Proletariat. Seit ihrer Kindheit musste sie mit Gelegenheitsarbeiten zu ihrem Lebensunterhalt und dem ihrer alleinerziehenden Mutter beitragen. Ihr Traum, als Akrobatin zum Zirkus zu gehen, scheiterte nach einem Unfall.Als ihr Körper heranreifte wurde sie Künstlermodell, zunächst für Puvis de Chavanne, dann für Auguste Renoir (vgl. Abb. 2) und Henri de Toulouse-Lautrec, deren Geliebte sie auch wurde. Mit heute weltberühmten Portraits aus der Hand von Renoir und Toulouse-Lautrec ist Suzanne Valadon vielleicht DAS Gesicht des Impressionismus. Toulouse-Lautrec war es, der ihr vorschlug, ihren Vornamen zu ändern und er erkannte und förderte auch Valadons künstlerisches Talent.Schon als Kind hatte Suzanne Valadon gerne gezeichnet. Während der Modell-Sitzungen, ihrer Zeit in den Ateliers und in Gesellschaft der Künstler konnte sie deren Techniken genau beobachten und wurde Zeugin ihrer Gespräche. Dieses "Privat-Studium" setzte sie autodidaktisch um und die Zeichnungen der Zwanzigjährigen beeindruckten den alten Edgar Degas, dessen Einschätzung Henri de Toulouse-Lautrec vermittelt hatte. Er wurde der erste Käufer von Valadon-Zeichnungen, brachte ihr Drucktechniken bei und wurde Valadons Mentor.Zu diesem Zeitpunkt war Suzanne Valadon selbst schon Mutter eines unehelichen Sohnes. Wer der Vater des kleinen Maurice war, wusste Valadon nicht. Nach einigen Jahren erst bekannte sich der spanische Kunstkritiker Miquel Utrillo zu dem Jungen, der später selbst als Maler der Signatur seiner Gemälde als "Maurice Utrillo,V" den Anfangsbuchstaben seiner Mutter zufügte. Es brauchte einige Zeit, bis Suzanne Valadon von ihrer Kunst leben konnte. Die Ehe mit einem Bankier brachte vorübergehend materielle Sicherheit, doch brach sie aus dem bürgerlichen Korsett wieder aus und ging 1909 eine Liaison mit dem 21 Jahre jüngeren Maler André Utter ein, der ein Freund ihres Sohnes war und ihr seinerseits Modell stand. Mit ihm, den sie zu Beginn des ersten Weltkriegs heiratete, und ihrem Sohn Maurice Utrillo bezog sie 1912 eine gemeinsame Wohnung und Atelier in der No. 12-14 Rue Cortot, einem der ältesten Häuser auf dem Montmartre. Hier hatte sie schon in den 1890er Jahren mit ihrem ersten Ehemann gewohnt.In diesem von Gärten umgebenen Gebäudekomplex aus dem 17. Jahrhundert, unterhalb der Kirche Sacre-Coeur und mit Blick auf die Weinberge des Montmartre haben viele Künstler wie Auguste Renoir, Émile Bernard oder später Raoul Dufy gelebt. Heute steht das Haus und seine Gärten Besuchern offen und beherbergt das Musée de Montmartre inklusive des rekonstruierten Ateliers der Gemeinschaft Valadon/Utter/Utrillo. Auch der Garten-Pavillon, Utters Refugium in diesem Gemälde, wurde wieder aufgebaut (vgl. Abb. 1).Die drei Individualisten, mit stärksten Abhängigkeiten von einander, galten bald als "Trio infernale" auf dem Montmartre. Besonders Maurice Utrillos Alkohol-Sucht und seine damit einhergehende Gewalttätigkeit brachten fortwährend Konflikte. Nichtsdestotrotz war die Zeit in der Rue Cortot die fruchtbarste und erfolgreichste in Suzanne Valadons Leben. Sie beteiligte sich an Gruppenausstellung, hatte selbst Einzelausstellungen u.a. in den renommierten Galerien Berthe-Weill oder Bernheim-Jeune. André Utter wurde mehr und mehr zu ihrem und Maurice Utrillos Manager, denn auch der Sohn erfuhr seit den 1910er Jahren starken Zuspruch von Publikum und Kunstmarkt. Der Moment, den Suzanne Valadon in diesem Gemälde eingefangen hat, erschließt sich in diesem historischen Kontext. Der lesende André Utter ist hier allerdings innerhalb der Komposition von Haus und Garten so klein dargestellt, dass es sich nicht um ein Portrait handelt. Suzanne Valadons so spezieller, eigener Stil, das Nebeneinander von stark konturierten Elementen und dem völlig aufgelösten Farbteppich im Bereich des wuchernden Pflanzenmeeres wird hier deutlich. Die gereifte Künstlerin lässt den Betrachter in ihrer so typischen Manier teilhaben an einem seltenen Moment der Ruhe und Harmonie. Voraussichtliche Versandkosten für dieses Los: Absprache nach der Auktion.Erläuterungen zum KatalogFür dieses Objekt fällt eine zusätzliche EinfuhrUSt-Umlage an, da es aus dem Drittland temporär eingeführt wurde (AGB §V5.2).
JACQUET, ALAIN1939 Neuilly-sur-Seine - 2008 New YorkTitel: Portrait of a Man. Datierung: 1964. Technik: Serigrafie auf Leinwand. Maße: 163 x 114cm. Bezeichnung: Signiert und datiert verso oben links: Alain Jaquet 1964. Aus einer Auflage von 30 Exemplaren in 7 Variationen. Provenienz: - Galerie Thelen, Essen (lt. Einlieferer)- Privatsammlung Nordrhein-WestfalenAusstellungen: - Kunsthalle Köln, 1968Literatur:- Ausst.-Kat. Ars multiplicata, Vervielfältigte Kunst seit 1945, Kunsthalle Köln, Köln 1968, Kat.-Nr. 208, Abb. Voraussichtliche Versandkosten für dieses Los: Absprache nach der Auktion.Erläuterungen zum Katalog
David Robilliard, British 1952-1988 - Portrait, 1984; acrylic on paper, signed with initials and dated lower left 'DR 84', 20.7 x 29.3 cm, together with a self portrait pencil on paper by the same artist, 14 x 10.3 cm (2) (ARR) Provenance: with Rob Turfnell Gallery (according to the label affixed to the reverse); private collection
Saied Dai RP NEAC,Persian/British b.1958 - Reflection, 2005; oil and gesso on panel, signed, monogrammed and dated on the reverse 'Saied Dai 2005', 68.3 x 49.3 cm (ARR)Note:Dai was selected to paint the official portrait of Theresa May for the Parliamentary Art Collection, which was unveiled in September of this year with great acclaim. His portrait of Dame Monica Margaret Mason is the collection of the National Portrait Gallery.
Saied Dai RP NEAC, Persian/British b.1958 - A Little Homage, 2006; oil and gesso on board, signed with monogram lower right, also signed, monogrammed and dated on the reverse 'Saied Dai 2006', 46 x 30.5 cm (ARR) Provenance:with Petley Fine Art, London (according to the label attached to the reverse);private collection, UKNote:Dai was selected to paint the official portrait of Theresa May for the Parliamentary Art Collection, which was unveiled in September of this year with great acclaim. His portrait of Dame Monica Margaret Mason is the collection of the National Portrait Gallery.
Gould's self portrait for a Sette menu of 1920R.T.Gould, original print, Good Master Hydrographer, (from Sette of Odd Volumes, 1920) in gilt frame print marked in pencil in Malcolm Gardner's hand: 'Gould (by himself)'. Along with six Sette menus illustrated by Gould, a 1989 Antique Collectors' Club edition of The Marine Chronometer Its History and Development, a 2nd edition of Oddities (Bles 1944) and a copy of John Harrison and his Timekeepers (1935, this copy 1991). (10)For further information on this lot please visit the Bonhams website
Freddie Mercury: An Autographed Polaroid of Freddie in London Taken By Robert Rosen,1980,colour Polaroid of Freddie in a head and shoulders pose, signed by Freddie in green ink along the lower half, signed and dated by the photographer on the reverse, 3 1/2in x 4 1/2in (7.5cm x 10cm)Footnotes:Provenance:Offered by Australian photographer Robert Rosen. This photograph was taken by Robert in London between 1975-1985 when he worked freelance for Rolling Stone, NME and other music papers. He was also a society, portrait and catwalk photographer for Ritz Newspaper, Avant Garde Magazine, Root, Fashion Weekly & POL and freelanced for daily newspapers during this time. Robert returned to Australia in 1985 and continued his work with Harper's Bazaar, Vogue, Mode & Elle and the Sunday Telegraph, Sydney.For more information, please see footnote to Lot 214This 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
Robert Rosen: A Large Group of Vintage Polaroids Taken by Rosen and Signed by Various Film/Music/TV Stars,1980s-00s,approximately 340 colour Polaroids, each signed in various inks by the celebrity featured in the images, notable people include; David Bowie, Bill Wyman, Cliff Richard, Grace Jones, Donovan, Elton John, Sting, Zandra Rhodes, Mary Quant, Sylvester Stallone, Terence Stamp, Vera Lynn, Marianne Faithful, Pete Townsend, Charlie Watts (unsigned), Shirley Bassey, Audrey Hepburn, Stevie Knicks, Andrew Ridgeley, Rudolf Nureyev, Luciano Pavarotti, BB King, Joan Rivers, Jackie Collins, Ronnie Barker, Rowan Atkinson, Whoopie Goldberg, Diana Rigg, Tom Selleck, Mel Gibson, Kylie Minogue, Olivia Newton-John, Nicole Kidman, Ru Paul, Cate Blanchette, Yoko Ono, David Essex, Phil Lynott, Phil Collins, The Village People, David Hockney, Andrew Logan, Karl Lagerfeld, Joe Cocker, John Hurt, Edward Bell, Duggie Fields, Patrick Hughes, Naomi Campbell, Ossie Clark, Malcolm McLaren, Celia Birtwell, Grayson Perry, Peter Blake, Thierry Mugler, David Bailey, Martin Sharp, Paloma Picasso, Jean Shrimpton, Diana Ross, Ella Fitzgerald, Etta James, Issey Miyake, Marcel Marceau, Francis Bacon, Dean Martin, Bob Geldof, Michael York, Helmut Newton, Herb Ritts, Joan Collins, Carrie Fisher, Tom Stoppard, Lewis Morley, Anita Ekberg, Bill Gibb, David Attenborough, Kenny Rogers, Kenny Everett, Christopher Reeve, Jean Paul Gautier, Ronnie Corbett, Diana Dors, Tony Curtis, Joanna Lumley, Geraldine Chaplin, Omar Sharif, Ian McKellen, Michael Caine, Penelope Keith, Muhammad Ali, Les Dawson, Jane Asher, Janet Street-Porter, Bette Midler, Bonnie Tyler, Jerry Hall, Boy George, Quentin Crisp, William Burroughs, Andrew Lloyd-Webber, Deborah Kerr, Nina Simone, Leo Sayer, Lulu, David Hemmings, Barry Lategan, Nico, Vanessa Redgrave, among many others, all signed and dated on the reverse by the photographer, split across two leather-bound albums, sold without copyright or any reproduction rights, each 3 1/2in x 4in (9cm x 10cm), (Qty)Footnotes:Provenance:Offered by Australian photographer Robert Rosen.During 1975-1985 Rosen worked as a freelance photographer in London for Rolling Stone, NME and other music papers. He was also a society, portrait and catwalk photographer for Ritz Newspaper, Avant Garde Magazine, Root, Fashion Weekly & POL and freelanced for daily newspapers during this time. In 1985 Robert returned to Australia and continued his work with Harper's Bazaar, Vogue, Mode & Elle and the Sunday Telegraph, Sydney.Robert Rosen is one of Australia's foremost social photographers and an astute observer of Sydney and London society. He has covered social events for the past 30 years and through his lens brings us tantalizing shots of global celebrities. These are not the stiff poses and uncomfortable smiles captured by most social photographers. It is clear Rosen's subjects are willing participants, resulting in images that exude warmth and wit. This fascinating series of Polaroid photographs records the glamour, the personalities, the drama and the fun of London, Paris and Sydney social events. The images are also important social documents, recording key personalities among the world's social set‚ a mix of actors, rockstars, stage and screen stars and creatives. A visual history of his work appears in his latest book Glitterati. David Bowie Polaroid, London, 1981.'This polaroid was taken at a party at Regine's nightclub on top of a building in Kensington London. I spotted Bowie in the garden and nervously went up to him and asked if I could take his photo and do a Polaroid of him. He agreed but wanted us to go somewhere a little more secluded. I took the Polaroid and all the while I'm thinking, he's going to remember me as the photographer who'd taken his photo at the Blitz Club without his permission about six months before. He was asking me questions about my attire, especially the Andrew Logan mirror bowtie I was wearing. He then said ' Ahh, Robert Rosen with the looking glass bowtie.' I smiled and showed him the Polaroid that by now had fully developed. But it had my fingerprints across the top of it as I'd been nervously holding it too hard whilst talking to David. I suggested we take another one, but he said 'No I like it, it's art' and he signed it.'- Robert RosenThe Charlie Watts Polaroid is the only unsigned photograph in the collection. When Rosen asked Watts to sign it, his excuse for not doing so was because John Lennon had passed away that day.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
Phil Collins: An Autographed and Used Drumskin,probably 1980s,a Remo Weather King Diplomat Batter head signed and inscribed by Phil Collins in blue marker pen, thanks for all your help! luv Phil Collins and with his characteristic cartoon self-portrait, 10 5/8in (27cm) diam.This lot is subject to the following lot symbols: ††VAT at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com
Phil Collins: Handwritten Lyrics For The Song Two Hearts With Signed And Illustrated Message from Phil Collins,1988,comprising; a page of Acapulco Plaza letterheaded paper, with twelve lines of handwritten lyrics for the song Two Hearts in blue ink, together with a sheet of white paper written later and signed by Phil Collins, These lyrics were written by me during the making of 'Buster' in Mexico. They're incomplete... but that adds to their authenticity!! Thanks for your generosity, Phil Collins, with illustrated self-portrait of Collins on the drums, both in the same glazed frame, each page 7 1/4in x 10 1/4in (18.5cm x 26.5cm)21 3/4in x 16 1/2in (55cm x 42cm) framedFootnotes:Provenance:Donated by Phil Collins to a charity auction at 'The Swingin' 60's' Variety Club Property Industry Ball, 9th November 1996.Acquired directly by the current owner who attended this event.Phil Collins' mention of 'Buster' refers to the production of the 1988 romantic comedy film, which Collins starred in alongside Julie Walters. Collins played the role of Buster Edwards who was involved in The Great Train Robbery, and was arrested after hiding in Mexico for three years.For further information on this lot please visit Bonhams.com
Paul & Linda McCartney: Three Autographed Polaroids of Paul & Linda in London Taken By Robert Rosen,1982,three colour Polaroid photographs; the first of Paul holding his Champagne glass in front of his face, signed by Paul in blue ink to the lower half; the second of Paul and Linda kissing (unsigned); the third of Linda holding the Polaroid taken previously, signed by Linda in red ink to the lower half, each signed and dated by the photographer on the reverse, 3 1/2in x 4 1/2in (7.5cm x 10cm) each, (3)Footnotes:'There was a Music Awards Party at Abbey Road, the famous recording studio. It was 1982 and I crashed it. Paparazzi were outside, it was snowing and they were there freezing with their zoom lenses. My snappy was in my pocket, the security guy saw me and because I always liked to dress well must have mistaken me for a pop star. He said, 'Hurry up inside the awards are starting,' and whisked me through the doors. Next thing I know I am inside standing next to Paul and Linda McCartney. We began a conversation and I asked to take a shot, they were in a joyous mood and most accommodating as you can see. On the third click they kissed - I got it! That photo went worldwide and I sent them a print to say thank you. Six months later I bumped into them again, but didn't assume they would remember me; however Linda called to me, 'Darling are you ignoring us? Come on, give me a hug.' It meant so much to me, maybe more than anything, that she loved that photograph.'- Robert RosenProvenance:Offered by Australian photographer Robert Rosen. This photograph was taken by Robert in London between 1975-1985 when he worked freelance for Rolling Stone, NME and other music papers. He was also a society, portrait and catwalk photographer for Ritz Newspaper, Avant Garde Magazine, Root, Fashion Weekly & POL and freelanced for daily newspapers during this time. Robert returned to Australia in 1985 and continued his work with Harper's Bazaar, Vogue, Mode & Elle and the Sunday Telegraph, Sydney.For more information, please see footnote to Lot 214.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
Joan Baez: A Gulf Winds Promo Album Signed And Illustrated By Joan Baez,circa 1976,the plain card cover signed and inscribed in ballpoint To Hillary - I'm unabashedly pleased with my efforts on this hunk of vinyl - Hope you enjoy it. Love from your chauffeur, Joan Baez, and with a drawing, possibly a self-portrait, of a woman sitting on a beach, the vinyl with purple A&M Limited Edition label, 12in x 12in (30.5cm x 30.5cm)Footnotes:Provenance:From the Estate of the late Hilary Gerrard (1933-2023), formerly Business Manager to Ringo Starr from the 1970s onwards.For further information on this lot please visit Bonhams.com
John Lennon: A Signed And Inscribed Copy Of The Penguin John Lennon,Penguin Books, 1969,paperback, signed and inscribed to the inside page in black ink by John Lennon To Hilary, with love, John, 1974, with self-portrait illustration within a drawn speech bubble, 5in x 7 3/4in (12.75cm x 19.75cm)Footnotes:Provenance:From the Estate of the late Hilary Gerrard (1933-2023), formerly Business Manager to Ringo Starr from the 1970s onwards.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
John Lennon (British, 1940-1980): A Drawing Given To Hilary Gerrard,1970s,black ink on paper, a characteristic cartoon self-portrait by John with the sun shining behind a pyramid, signed and inscribed To Hillary with love as per! John, mounted and framed, 9 1/2in x 7 1/2in (24cm x 19cm)Footnotes:Provenance:From the Estate of the late Hilary Gerrard (1933-2023), formerly Business Manager to Ringo Starr from the 1970s onwards. This drawing may well have been executed during, or been inspired by, John and Yoko's trip to Egypt in 1977.All reproduction rights remain with the Estate of John Lennon.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Mick Jagger: An Autographed Polaroid of Mick in Sydney Taken By Robert Rosen,1988,colour Polaroid photograph of Mick Jagger in a head and shoulders pose, signed by Jagger in black ink across the lower half, also signed and dated by the photographer on the reverse, 3 1/2in x 4 1/2in (7.5cm x 10cm)Footnotes:Provenance:Offered by Australian photographer Robert Rosen.This photograph was taken by Robert in Sydney when he was a society, portrait and catwalk photographer for Harper's Bazaar, Vogue, Mode & Elle, the Sunday Telegraph, Sydney and other daily newspapers.For more information, please see footnote to Lot 214This 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
Karl Weschke (German, 1925-2005)Cape Cornwall indistinctly signed and dated 'Weschke 1960' (lower right); further signed and dated 'Karl Weschke 1960' (on canvas verso)oil on canvas121.5 x 121.5cm (47 13/16 x 47 13/16in).Footnotes:ProvenanceThe Estate of the ArtistWith Jonathan Clark & Co, London, where acquired by the present ownerPrivate CollectionExhibitedLondon, The Mattheisen Gallery, Karl Weschke, 1960, no. 17 Germany, Kunstsammlung Gera, Karl Weschke, 2001, no. 8, p. 68, illustratedLiterature J. Lewison, Karl Weschke: Portrait of a Painter, Petronilla Silver, Penzance, 1998, p. 54, illustrated'The move to Cape Cornwall in 1960 encouraged a deepening relationship between Weschke and his environment. Living in isolation and facing out towards the Atlantic, he became increasingly aware of the impact of the weather. He invested his observations of the land and sea with a sense of humanity, sometimes anthropomorphising and often mythicising them'. – J. Lewison, Karl Weschke: Portrait of a Painter, Petronilla Silver, Penzance, 1998, p. 55-56This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Reginald Brill (British, 1902-1974)Study of Buoys watercolour on paper24 x 34cm (9 7/16 x 13 3/8in).Footnotes:ProvenanceWith The Phoenix Gallery, Lavenham, where acquired by the family of the present owner, circa 1974, and thence by descentPrivate Collection, U.K.'Reginald Brill had quite a distinguished presence – he would now be called charismatic. He was a tall, upright man, who with his beard and air of nonchalance looked the part of the slightly bohemian artist' – Les Duxbury The following collection of works, acquired directly from the retrospective of the artist at Phoenix Gallery in 1974, provide a detailed overview of the artist's unique working methods and conceptual concerns. Described by Judith Bumpus as an English social realist and narrative painter, Brill's work primarily depicts the lives of ordinary people and the landscapes that they inhabit. The Gardener (lot 27), The Stockman (lot 25) and The Working Man (lot 23) showcase this commitment to portraying those who are traditionally overlooked by society. The artist completed his studies at the Slade School of Art between 1920 and 1923 under the tutelage of Henry Tonks, whose commitment to figurative painting can be detected in Brill's work. Reginald Brill's reputation as a painter was cemented when he won a scholarship to the British School of Rome, for the 1927 oil painting The Expulsion in Eden. The following two years in Rome had a lasting impact on Brill's practice. An interest in composition and Renaissance art are evident in Brill's method of producing detailed preparatory drawings prior to executing larger paintings. Lots 17 – 27 include a number of these studies, ranging from the figurative, such as The Gardener (lot 27), to landscapes, such as Study of Buoys and Chains (lot 20). It was also in Rome that Brill developed his characteristic pointilliste or stippled drawing technique, which is most evident in Head Studies (lot 24). Many of the pieces in this collection are keenly observed depictions of Harwich (lots 17-21), a town that is located on the estuaries of the Stour and Orwell rivers. Brill's fascination with Harwich led to the production of a number of preparatory drawings and paintings, in addition to the larger completed oil The Buoys (lot 21). The large oil demonstrates that, although Brill is best known for his figurative works, concerned with depicting working-class people, he was also highly concerned with form and colour. In the words of Judith Bumpus, the buoys at Harwich were 'ready-made still lifes', that were 'a surprising, but perfect, subject for his explorations of colour'. Perhaps best known for his role as Head of Kingston School of Art from 1934 to 1962, recognition of Brill's work faded after his death in comparison to his contemporaries, such as Stanley Spencer, and he is only now beginning to receive the attention that such a varied and influential practice is due. This collection of works offers the opportunity to acquire pieces which have remained in a private collection since Brill's death, on 14 June 1974. Ranging from the deeply personal self-portrait of himself in a library (lot 26), to the compositionally rigorous Study of Buoys and Chains (lot 20), the following lots present a unique opportunity to acquire a work by one of 20th Century Britain's great artists and educators.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Reginald Brill (British, 1902-1974)Buoys at Harwich annotated with colour notes; titled 'Buoys/At/Harwich' (on sheet verso)ball-point pen and pencil on paper31.5 x 22cm (12 3/8 x 8 11/16in).Footnotes:ProvenanceWith The Phoenix Gallery, Lavenham, where acquired by the family of the present owner, circa 1974, and thence by descentPrivate Collection, U.K.'Reginald Brill had quite a distinguished presence – he would now be called charismatic. He was a tall, upright man, who with his beard and air of nonchalance looked the part of the slightly bohemian artist' – Les Duxbury The following collection of works, acquired directly from the retrospective of the artist at Phoenix Gallery in 1974, provide a detailed overview of the artist's unique working methods and conceptual concerns. Described by Judith Bumpus as an English social realist and narrative painter, Brill's work primarily depicts the lives of ordinary people and the landscapes that they inhabit. The Gardener (lot 27), The Stockman (lot 25) and The Working Man (lot 23) showcase this commitment to portraying those who are traditionally overlooked by society. The artist completed his studies at the Slade School of Art between 1920 and 1923 under the tutelage of Henry Tonks, whose commitment to figurative painting can be detected in Brill's work. Reginald Brill's reputation as a painter was cemented when he won a scholarship to the British School of Rome, for the 1927 oil painting The Expulsion in Eden. The following two years in Rome had a lasting impact on Brill's practice. An interest in composition and Renaissance art are evident in Brill's method of producing detailed preparatory drawings prior to executing larger paintings. Lots 17 – 27 include a number of these studies, ranging from the figurative, such as The Gardener (lot 27), to landscapes, such as Study of Buoys and Chains (lot 20). It was also in Rome that Brill developed his characteristic pointilliste or stippled drawing technique, which is most evident in Head Studies (lot 24). Many of the pieces in this collection are keenly observed depictions of Harwich (lots 17-21), a town that is located on the estuaries of the Stour and Orwell rivers. Brill's fascination with Harwich led to the production of a number of preparatory drawings and paintings, in addition to the larger completed oil The Buoys (lot 21). The large oil demonstrates that, although Brill is best known for his figurative works, concerned with depicting working-class people, he was also highly concerned with form and colour. In the words of Judith Bumpus, the buoys at Harwich were 'ready-made still lifes', that were 'a surprising, but perfect, subject for his explorations of colour'. Perhaps best known for his role as Head of Kingston School of Art from 1934 to 1962, recognition of Brill's work faded after his death in comparison to his contemporaries, such as Stanley Spencer, and he is only now beginning to receive the attention that such a varied and influential practice is due. This collection of works offers the opportunity to acquire pieces which have remained in a private collection since Brill's death, on 14 June 1974. Ranging from the deeply personal self-portrait of himself in a library (lot 26), to the compositionally rigorous Study of Buoys and Chains (lot 20), the following lots present a unique opportunity to acquire a work by one of 20th Century Britain's great artists and educators.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Reginald Brill (British, 1902-1974)Chains signed 'Reginald Brill' (lower right); further signed 'Reginald Brill' (on frame verso)oil on board28 x 22cm (11 x 8 11/16in).Footnotes:ProvenanceWith The Phoenix Gallery, Lavenham, where acquired by the family of the present owner, circa 1974, and thence by descentPrivate Collection, U.K.'Reginald Brill had quite a distinguished presence – he would now be called charismatic. He was a tall, upright man, who with his beard and air of nonchalance looked the part of the slightly bohemian artist' – Les Duxbury The following collection of works, acquired directly from the retrospective of the artist at Phoenix Gallery in 1974, provide a detailed overview of the artist's unique working methods and conceptual concerns. Described by Judith Bumpus as an English social realist and narrative painter, Brill's work primarily depicts the lives of ordinary people and the landscapes that they inhabit. The Gardener (lot 27), The Stockman (lot 25) and The Working Man (lot 23) showcase this commitment to portraying those who are traditionally overlooked by society. The artist completed his studies at the Slade School of Art between 1920 and 1923 under the tutelage of Henry Tonks, whose commitment to figurative painting can be detected in Brill's work. Reginald Brill's reputation as a painter was cemented when he won a scholarship to the British School of Rome, for the 1927 oil painting The Expulsion in Eden. The following two years in Rome had a lasting impact on Brill's practice. An interest in composition and Renaissance art are evident in Brill's method of producing detailed preparatory drawings prior to executing larger paintings. Lots 17 – 27 include a number of these studies, ranging from the figurative, such as The Gardener (lot 27), to landscapes, such as Study of Buoys and Chains (lot 20). It was also in Rome that Brill developed his characteristic pointilliste or stippled drawing technique, which is most evident in Head Studies (lot 24). Many of the pieces in this collection are keenly observed depictions of Harwich (lots 17-21), a town that is located on the estuaries of the Stour and Orwell rivers. Brill's fascination with Harwich led to the production of a number of preparatory drawings and paintings, in addition to the larger completed oil The Buoys (lot 21). The large oil demonstrates that, although Brill is best known for his figurative works, concerned with depicting working-class people, he was also highly concerned with form and colour. In the words of Judith Bumpus, the buoys at Harwich were 'ready-made still lifes', that were 'a surprising, but perfect, subject for his explorations of colour'. Perhaps best known for his role as Head of Kingston School of Art from 1934 to 1962, recognition of Brill's work faded after his death in comparison to his contemporaries, such as Stanley Spencer, and he is only now beginning to receive the attention that such a varied and influential practice is due. This collection of works offers the opportunity to acquire pieces which have remained in a private collection since Brill's death, on 14 June 1974. Ranging from the deeply personal self-portrait of himself in a library (lot 26), to the compositionally rigorous Study of Buoys and Chains (lot 20), the following lots present a unique opportunity to acquire a work by one of 20th Century Britain's great artists and educators.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Reginald Brill (British, 1902-1974)The Buoys signed 'Reginald Brill' (lower right)oil on board59 x 72cm (23 1/4 x 28 3/8in).Footnotes:ProvenanceWith The Phoenix Gallery, Lavenham, where acquired by the family of the present owner, circa 1974, and thence by descentPrivate Collection, U.K.'Reginald Brill had quite a distinguished presence – he would now be called charismatic. He was a tall, upright man, who with his beard and air of nonchalance looked the part of the slightly bohemian artist' – Les Duxbury The following collection of works, acquired directly from the retrospective of the artist at Phoenix Gallery in 1974, provide a detailed overview of the artist's unique working methods and conceptual concerns. Described by Judith Bumpus as an English social realist and narrative painter, Brill's work primarily depicts the lives of ordinary people and the landscapes that they inhabit. The Gardener (lot 27), The Stockman (lot 25) and The Working Man (lot 23) showcase this commitment to portraying those who are traditionally overlooked by society. The artist completed his studies at the Slade School of Art between 1920 and 1923 under the tutelage of Henry Tonks, whose commitment to figurative painting can be detected in Brill's work. Reginald Brill's reputation as a painter was cemented when he won a scholarship to the British School of Rome, for the 1927 oil painting The Expulsion in Eden. The following two years in Rome had a lasting impact on Brill's practice. An interest in composition and Renaissance art are evident in Brill's method of producing detailed preparatory drawings prior to executing larger paintings. Lots 17 – 27 include a number of these studies, ranging from the figurative, such as The Gardener (lot 27), to landscapes, such as Study of Buoys and Chains (lot 20). It was also in Rome that Brill developed his characteristic pointilliste or stippled drawing technique, which is most evident in Head Studies (lot 24). Many of the pieces in this collection are keenly observed depictions of Harwich (lots 17-21), a town that is located on the estuaries of the Stour and Orwell rivers. Brill's fascination with Harwich led to the production of a number of preparatory drawings and paintings, in addition to the larger completed oil The Buoys (lot 21). The large oil demonstrates that, although Brill is best known for his figurative works, concerned with depicting working-class people, he was also highly concerned with form and colour. In the words of Judith Bumpus, the buoys at Harwich were 'ready-made still lifes', that were 'a surprising, but perfect, subject for his explorations of colour'. Perhaps best known for his role as Head of Kingston School of Art from 1934 to 1962, recognition of Brill's work faded after his death in comparison to his contemporaries, such as Stanley Spencer, and he is only now beginning to receive the attention that such a varied and influential practice is due. This collection of works offers the opportunity to acquire pieces which have remained in a private collection since Brill's death, on 14 June 1974. Ranging from the deeply personal self-portrait of himself in a library (lot 26), to the compositionally rigorous Study of Buoys and Chains (lot 20), the following lots present a unique opportunity to acquire a work by one of 20th Century Britain's great artists and educators.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Reginald Brill (British, 1902-1974)Workman's Head pencil, pen and ink and wash on paper, squared for transfer32.5 x 21.5cm (12 13/16 x 8 7/16in).Footnotes:ProvenanceWith The Phoenix Gallery, Lavenham, where acquired by the family of the present owner, circa 1974, and thence by descentPrivate Collection, U.K.'Reginald Brill had quite a distinguished presence – he would now be called charismatic. He was a tall, upright man, who with his beard and air of nonchalance looked the part of the slightly bohemian artist' – Les Duxbury The following collection of works, acquired directly from the retrospective of the artist at Phoenix Gallery in 1974, provide a detailed overview of the artist's unique working methods and conceptual concerns. Described by Judith Bumpus as an English social realist and narrative painter, Brill's work primarily depicts the lives of ordinary people and the landscapes that they inhabit. The Gardener (lot 27), The Stockman (lot 25) and The Working Man (lot 23) showcase this commitment to portraying those who are traditionally overlooked by society. The artist completed his studies at the Slade School of Art between 1920 and 1923 under the tutelage of Henry Tonks, whose commitment to figurative painting can be detected in Brill's work. Reginald Brill's reputation as a painter was cemented when he won a scholarship to the British School of Rome, for the 1927 oil painting The Expulsion in Eden. The following two years in Rome had a lasting impact on Brill's practice. An interest in composition and Renaissance art are evident in Brill's method of producing detailed preparatory drawings prior to executing larger paintings. Lots 17 – 27 include a number of these studies, ranging from the figurative, such as The Gardener (lot 27), to landscapes, such as Study of Buoys and Chains (lot 20). It was also in Rome that Brill developed his characteristic pointilliste or stippled drawing technique, which is most evident in Head Studies (lot 24). Many of the pieces in this collection are keenly observed depictions of Harwich (lots 17-21), a town that is located on the estuaries of the Stour and Orwell rivers. Brill's fascination with Harwich led to the production of a number of preparatory drawings and paintings, in addition to the larger completed oil The Buoys (lot 21). The large oil demonstrates that, although Brill is best known for his figurative works, concerned with depicting working-class people, he was also highly concerned with form and colour. In the words of Judith Bumpus, the buoys at Harwich were 'ready-made still lifes', that were 'a surprising, but perfect, subject for his explorations of colour'. Perhaps best known for his role as Head of Kingston School of Art from 1934 to 1962, recognition of Brill's work faded after his death in comparison to his contemporaries, such as Stanley Spencer, and he is only now beginning to receive the attention that such a varied and influential practice is due. This collection of works offers the opportunity to acquire pieces which have remained in a private collection since Brill's death, on 14 June 1974. Ranging from the deeply personal self-portrait of himself in a library (lot 26), to the compositionally rigorous Study of Buoys and Chains (lot 20), the following lots present a unique opportunity to acquire a work by one of 20th Century Britain's great artists and educators.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Reginald Brill (British, 1902-1974)Head Studies pen and ink and wash on paper34 x 53cm (13 3/8 x 20 7/8in).Footnotes:ProvenanceWith The Phoenix Gallery, Lavenham, where acquired by the family of the present owner, circa 1974, and thence by descentPrivate Collection, U.K.'Reginald Brill had quite a distinguished presence – he would now be called charismatic. He was a tall, upright man, who with his beard and air of nonchalance looked the part of the slightly bohemian artist' – Les Duxbury The following collection of works, acquired directly from the retrospective of the artist at Phoenix Gallery in 1974, provide a detailed overview of the artist's unique working methods and conceptual concerns. Described by Judith Bumpus as an English social realist and narrative painter, Brill's work primarily depicts the lives of ordinary people and the landscapes that they inhabit. The Gardener (lot 27), The Stockman (lot 25) and The Working Man (lot 23) showcase this commitment to portraying those who are traditionally overlooked by society. The artist completed his studies at the Slade School of Art between 1920 and 1923 under the tutelage of Henry Tonks, whose commitment to figurative painting can be detected in Brill's work. Reginald Brill's reputation as a painter was cemented when he won a scholarship to the British School of Rome, for the 1927 oil painting The Expulsion in Eden. The following two years in Rome had a lasting impact on Brill's practice. An interest in composition and Renaissance art are evident in Brill's method of producing detailed preparatory drawings prior to executing larger paintings. Lots 17 – 27 include a number of these studies, ranging from the figurative, such as The Gardener (lot 27), to landscapes, such as Study of Buoys and Chains (lot 20). It was also in Rome that Brill developed his characteristic pointilliste or stippled drawing technique, which is most evident in Head Studies (lot 24). Many of the pieces in this collection are keenly observed depictions of Harwich (lots 17-21), a town that is located on the estuaries of the Stour and Orwell rivers. Brill's fascination with Harwich led to the production of a number of preparatory drawings and paintings, in addition to the larger completed oil The Buoys (lot 21). The large oil demonstrates that, although Brill is best known for his figurative works, concerned with depicting working-class people, he was also highly concerned with form and colour. In the words of Judith Bumpus, the buoys at Harwich were 'ready-made still lifes', that were 'a surprising, but perfect, subject for his explorations of colour'. Perhaps best known for his role as Head of Kingston School of Art from 1934 to 1962, recognition of Brill's work faded after his death in comparison to his contemporaries, such as Stanley Spencer, and he is only now beginning to receive the attention that such a varied and influential practice is due. This collection of works offers the opportunity to acquire pieces which have remained in a private collection since Brill's death, on 14 June 1974. Ranging from the deeply personal self-portrait of himself in a library (lot 26), to the compositionally rigorous Study of Buoys and Chains (lot 20), the following lots present a unique opportunity to acquire a work by one of 20th Century Britain's great artists and educators.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Reginald Brill (British, 1902-1974)The Stockman pencil on paper, squared for transfer21.5 x 16cm (8 7/16 x 6 5/16in).Footnotes:ProvenanceWith The Phoenix Gallery, Lavenham, where acquired by the family of the present owner, circa 1974, and thence by descentPrivate Collection, U.K.'Reginald Brill had quite a distinguished presence – he would now be called charismatic. He was a tall, upright man, who with his beard and air of nonchalance looked the part of the slightly bohemian artist' – Les Duxbury The following collection of works, acquired directly from the retrospective of the artist at Phoenix Gallery in 1974, provide a detailed overview of the artist's unique working methods and conceptual concerns. Described by Judith Bumpus as an English social realist and narrative painter, Brill's work primarily depicts the lives of ordinary people and the landscapes that they inhabit. The Gardener (lot 27), The Stockman (lot 25) and The Working Man (lot 23) showcase this commitment to portraying those who are traditionally overlooked by society. The artist completed his studies at the Slade School of Art between 1920 and 1923 under the tutelage of Henry Tonks, whose commitment to figurative painting can be detected in Brill's work. Reginald Brill's reputation as a painter was cemented when he won a scholarship to the British School of Rome, for the 1927 oil painting The Expulsion in Eden. The following two years in Rome had a lasting impact on Brill's practice. An interest in composition and Renaissance art are evident in Brill's method of producing detailed preparatory drawings prior to executing larger paintings. Lots 17 – 27 include a number of these studies, ranging from the figurative, such as The Gardener (lot 27), to landscapes, such as Study of Buoys and Chains (lot 20). It was also in Rome that Brill developed his characteristic pointilliste or stippled drawing technique, which is most evident in Head Studies (lot 24). Many of the pieces in this collection are keenly observed depictions of Harwich (lots 17-21), a town that is located on the estuaries of the Stour and Orwell rivers. Brill's fascination with Harwich led to the production of a number of preparatory drawings and paintings, in addition to the larger completed oil The Buoys (lot 21). The large oil demonstrates that, although Brill is best known for his figurative works, concerned with depicting working-class people, he was also highly concerned with form and colour. In the words of Judith Bumpus, the buoys at Harwich were 'ready-made still lifes', that were 'a surprising, but perfect, subject for his explorations of colour'. Perhaps best known for his role as Head of Kingston School of Art from 1934 to 1962, recognition of Brill's work faded after his death in comparison to his contemporaries, such as Stanley Spencer, and he is only now beginning to receive the attention that such a varied and influential practice is due. This collection of works offers the opportunity to acquire pieces which have remained in a private collection since Brill's death, on 14 June 1974. Ranging from the deeply personal self-portrait of himself in a library (lot 26), to the compositionally rigorous Study of Buoys and Chains (lot 20), the following lots present a unique opportunity to acquire a work by one of 20th Century Britain's great artists and educators.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Sir Kyffin Williams R.A. (British, 1918-2006)Nude with Margaretha Trip oil on canvas122 x 91.5 cm (48 x 36 in.)Footnotes:ProvenanceAcquired by the family of the present owner in the 1950s, thence by descentPrivate Collection, U.S.A.The present work depicts a detail taken from Rembrandt's Portrait of Margaretha de Geer, Wife of Jacob Trip. One of a pair of portraits of a husband and wife, one of the richest couples in the Netherlands in the 17th Century. Notably, the portrait of Margaretha does not portray the sitter facing to the side, to mirror that of her husband, but she instead gazes directly out towards the viewer, implying that she is the more engaged of the two.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Reginald Brill (British, 1902-1974)Sketch for 'The Artist in His Library' titled 'Sketch for/The artist in his library' (on sheet verso)pen and ink, pencil and wash on paper, squared for transfer38 x 24cm (14 15/16 x 9 7/16in).with a further pen and ink and ink head study of a man, on the reverse, by the same handFootnotes:ProvenanceWith The Phoenix Gallery, Lavenham, where acquired by the family of the present owner, circa 1974, and thence by descentPrivate Collection, U.K.'Reginald Brill had quite a distinguished presence – he would now be called charismatic. He was a tall, upright man, who with his beard and air of nonchalance looked the part of the slightly bohemian artist' – Les Duxbury The following collection of works, acquired directly from the retrospective of the artist at Phoenix Gallery in 1974, provide a detailed overview of the artist's unique working methods and conceptual concerns. Described by Judith Bumpus as an English social realist and narrative painter, Brill's work primarily depicts the lives of ordinary people and the landscapes that they inhabit. The Gardener (lot 27), The Stockman (lot 25) and The Working Man (lot 23) showcase this commitment to portraying those who are traditionally overlooked by society. The artist completed his studies at the Slade School of Art between 1920 and 1923 under the tutelage of Henry Tonks, whose commitment to figurative painting can be detected in Brill's work. Reginald Brill's reputation as a painter was cemented when he won a scholarship to the British School of Rome, for the 1927 oil painting The Expulsion in Eden. The following two years in Rome had a lasting impact on Brill's practice. An interest in composition and Renaissance art are evident in Brill's method of producing detailed preparatory drawings prior to executing larger paintings. Lots 17 – 27 include a number of these studies, ranging from the figurative, such as The Gardener (lot 27), to landscapes, such as Study of Buoys and Chains (lot 20). It was also in Rome that Brill developed his characteristic pointilliste or stippled drawing technique, which is most evident in Head Studies (lot 24). Many of the pieces in this collection are keenly observed depictions of Harwich (lots 17-21), a town that is located on the estuaries of the Stour and Orwell rivers. Brill's fascination with Harwich led to the production of a number of preparatory drawings and paintings, in addition to the larger completed oil The Buoys (lot 21). The large oil demonstrates that, although Brill is best known for his figurative works, concerned with depicting working-class people, he was also highly concerned with form and colour. In the words of Judith Bumpus, the buoys at Harwich were 'ready-made still lifes', that were 'a surprising, but perfect, subject for his explorations of colour'. Perhaps best known for his role as Head of Kingston School of Art from 1934 to 1962, recognition of Brill's work faded after his death in comparison to his contemporaries, such as Stanley Spencer, and he is only now beginning to receive the attention that such a varied and influential practice is due. This collection of works offers the opportunity to acquire pieces which have remained in a private collection since Brill's death, on 14 June 1974. Ranging from the deeply personal self-portrait of himself in a library (lot 26), to the compositionally rigorous Study of Buoys and Chains (lot 20), the following lots present a unique opportunity to acquire a work by one of 20th Century Britain's great artists and educators.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Reginald Brill (British, 1902-1974)The Gardener pencil on two sheets of paper, squared for transfer49 x 19.5cm (19 5/16 x 7 11/16in).Footnotes:ProvenanceWith The Phoenix Gallery, Lavenham, where acquired by the family of the present owner, circa 1974, and thence by descentPrivate Collection, U.K.'Reginald Brill had quite a distinguished presence – he would now be called charismatic. He was a tall, upright man, who with his beard and air of nonchalance looked the part of the slightly bohemian artist' – Les Duxbury The following collection of works, acquired directly from the retrospective of the artist at Phoenix Gallery in 1974, provide a detailed overview of the artist's unique working methods and conceptual concerns. Described by Judith Bumpus as an English social realist and narrative painter, Brill's work primarily depicts the lives of ordinary people and the landscapes that they inhabit. The Gardener (lot 27), The Stockman (lot 25) and The Working Man (lot 23) showcase this commitment to portraying those who are traditionally overlooked by society. The artist completed his studies at the Slade School of Art between 1920 and 1923 under the tutelage of Henry Tonks, whose commitment to figurative painting can be detected in Brill's work. Reginald Brill's reputation as a painter was cemented when he won a scholarship to the British School of Rome, for the 1927 oil painting The Expulsion in Eden. The following two years in Rome had a lasting impact on Brill's practice. An interest in composition and Renaissance art are evident in Brill's method of producing detailed preparatory drawings prior to executing larger paintings. Lots 17 – 27 include a number of these studies, ranging from the figurative, such as The Gardener (lot 27), to landscapes, such as Study of Buoys and Chains (lot 20). It was also in Rome that Brill developed his characteristic pointilliste or stippled drawing technique, which is most evident in Head Studies (lot 24). Many of the pieces in this collection are keenly observed depictions of Harwich (lots 17-21), a town that is located on the estuaries of the Stour and Orwell rivers. Brill's fascination with Harwich led to the production of a number of preparatory drawings and paintings, in addition to the larger completed oil The Buoys (lot 21). The large oil demonstrates that, although Brill is best known for his figurative works, concerned with depicting working-class people, he was also highly concerned with form and colour. In the words of Judith Bumpus, the buoys at Harwich were 'ready-made still lifes', that were 'a surprising, but perfect, subject for his explorations of colour'. Perhaps best known for his role as Head of Kingston School of Art from 1934 to 1962, recognition of Brill's work faded after his death in comparison to his contemporaries, such as Stanley Spencer, and he is only now beginning to receive the attention that such a varied and influential practice is due. This collection of works offers the opportunity to acquire pieces which have remained in a private collection since Brill's death, on 14 June 1974. Ranging from the deeply personal self-portrait of himself in a library (lot 26), to the compositionally rigorous Study of Buoys and Chains (lot 20), the following lots present a unique opportunity to acquire a work by one of 20th Century Britain's great artists and educators.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

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