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283284 Los(e)/Seite
Los 117
A pair of 19th century Sevres style porcelain plates, each decorated with a courting couple, within a green border, 24cm diameter, together with a pair of Paris porcelain flasks, each decorated with a portrait, on a blue celeste ground and an early 20th century Vienna cabinet cup and saucer (5)
Los 27
An early 20th century English officer's home service helmet, circa 1910, for the West Suffolk Regiment Volunteer battalion, with a braided strap and surmounted by a gilt spike, together with a portrait of W.J. Perkins Jnr., in full dress uniform, inscribed and dated December 1913, 15 x 9cm, a War of 1914-1918 despatch from General Sir G. F. Milne, for gallant and distinguished services, to Capt. W.J. Perkins O.B.E., M.C., Surrey T Regiment, issued by Churchill and dated March 1919 and two othersOverall the helmet looks to be complete and original. It is dirty and marked with age/use. Some of the fabric is worn and marked, inside and out, with small holes. Slight losses to the borders. Metal parts are tarnished. Was collected from a local house clearance in Suffolk, so unrestored.
Los 296
English School, 19th century, a naive portrait of lions and cubs, oil on canvas, 50 x 60cmOverall painting style is naive. Surface is dirty, with a fine crazing within the paint. Canvas is stained on the reverse and has a small narrow repair visible towards the bottom, approximately 4cm long. Frame looks old and is in reasonable condition, but has been overpainted. Collected from a local house move, so unrestored.
Los 4
English school, 19th century, head and shoulders portrait of a gentleman, wearing a black coat, oil on canvas, 73 x 67cmA 4cm wide dent with some paint loss, on his jacket, just below the white of his shirt. Another dent in the canvas on the left hand side. Looks to have been relined, framed and cleaned in recent years, so otherwise the condition is ok, with just light signs of age as expected. Not signed, as far as we can see. Removed from a house clearance in Essex, where it had been for some time.
Los 85
Bailey's Stardust by David Bailey 2010 First Edition Hardback Book with 272 pages published by National Portrait Gallery Publications, London good condition. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99
Los 1531
the twelve panel tester carved with stylised foliate motifs with a later cornice, raised on stiff leaf carved bulbous columns, with gadrooning and square section lower parts, the headboard with upper twin recessed panels profusely carved with stylised foliage and thistles within an arcade and flanked by male figures, surmounted by a pair of grotesque creatures, the central cartouche dated 1636, with a further three panels below, the central strapwork panel with lion mask and flanked by 16th century portrait medallions, all between figures with ionic style capitals, on stile feet, height 240cm, length 214cm, width 148cm *See Christie's South Kensington, 4th November 1998 Lot 833 **sold with a recently purchased and virtually unused Hypnos Adagion firm mattress. *CR Repairs and alterations throughout.
Los 61
An Elizabeth II Silver-Gilt Plate, by Toye, Kenning and Spencer, Birmingham, 1977, Number 11 from a Limited Edition of 500, commemorating the silver jubilee of Queen Elizabeth II, the front engraved and patinatined with a portrait of Her Majesty, the back engraved with an inscription, in case and with certificate, 25.5cm diameter, 14oz, 435gr
Los 16
REMEDIOS VARO (1908-1963) WITH POSSIBLE ADDITIONS BY ÓSCAR DOMÍNGUEZ (1906–1957) & ESTEBAN FRANCÉS (1913–1976)Composition surréaliste (tableau collaboratif) bears the signature and date 'Ó. Dominguez 1935' (lower left), further indistinctly signed (lower left) and indistinctly signed and dated (upper right)oil on copper20.4 x 13.9cm (8 1/16 x 5 1/2in).Painted circa 1935Footnotes:We are grateful to Dr. Salomon Grimberg for his assistance in cataloguing this work, with regards to the artistic input of Remedios Varo. We would also like to thank the Asociación en Defensa de Óscar Domínguez, including Mélodie Bonnat, and Josefina Alix for their assistance cataloguing this work.ProvenancePrivate collection, Paris; their sale, Blanchet & Associés, Paris, 19 October 2022, lot 43.Acquired at the above sale by the previous owner. Acquired from the above by the present owner.On a warm August evening in a Montparnasse studio, a lively gathering of artists was taking place. The year was 1938 and the studio belonged to Óscar Domínguez, an exuberant young painter from Tenerife. He and his guests were acolytes of a vanguard cultural movement known as Surrealism. Its tenets promoted the omnipotence of dreams, the sovereignty of collaborative experimentation, and sexual freedom as a precondition to unbridled artistic expression. In attendance were the artists Yves Tanguy and Georges Hugnet, as well as the writers Paul Éluard and Benjamin Péret. The centre of the group's attention had turned to the vivacious and attractive Remedios Varo, a vigorously talented Spanish artist who lived an openly polyamorous lifestyle. Somewhat unsurprisingly for a strong-willed woman in a predominantly male setting, her romantic and sexual life became the topic of debate. The antagonist was Esteban Francés, a Catalan artist six years her junior, whose adoration of Varo was sometimes marred by his complicated and jealous persona. He openly criticised her for her multiple relationships, despite the fact that he was part of one such ongoing tryst. Domínguez - another of Varo's lovers - rose gallantly to defend her, but he swiftly lost control and flew into a towering rage. Suddenly concerned, their friends intervened in the ensuing tussle. Victor Brauner - a Romanian artist with whom Varo would later reside – restrained Francés' arms. The strong and thickset Domínguez twisted free from his own captors, grabbing a glass and launching it at Francés. But in the chaos, the glass struck the face of the unfortunate Brauner and ripped his eye straight from its socket.The complex layers of this group dynamic form a necessary backdrop to understanding the total enigma which is the present work. Spontaneous, disturbing and eerily auspicious, Composition surréaliste (tableau collaboratif) is a painting partially authored by Varo, and for which one can surmise possible contributions from both Francés and Domínguez. Completed around two years before the shocking incident in Montparnasse, this small painting on copper is psychically charged, foreshadowing the love, violence and strife that would descend upon its creators. Indeed, the artists of the Surrealist milieu possessed an uncanny knack for artistic divination. Domínguez had, around seven years prior to the brawl, completed a disturbing self-portrait in which his hand was mutilated, his arm veins severed. Twenty-seven years later, after an unsuccessful exhibition, he was discovered in the bathtub of his Montparnasse studio, having slit his wrists. (Brauner, too, completed a captivating and gruesome self-portrait around seven years prior to his injury, with a gaping hole in place of his right eye. This was one of his many artistic explorations of one-eyedness from the early 1930s).Varo believed wholeheartedly in such premonitions. She approached her art and her life constantly attuned to magic and mysticism, with a dash of psychoanalysis mixed into the heady cauldron of her stimuli. For Varo and her friends, the spontaneity and surprise of collaborative compositions conjured up the magic of the unexpected, resulting in fascinating works that are iconic to the story of Surrealism. The present work is key in this regard. Upon the shifting tectonic folds of a barren volcanic landscape, distorted, nude, puppet-like figures engage in sexual and sadistic behaviour. Their jagged, jaunty stances and smiling faces generate a sinister hue of contradictions - the true elixir of Surrealism. Blood-red biomorphic gourds menstruate and sprout wriggling, sperm-like, sinuous roots, evoking a twisted mix of gore and desire. To the centre, a nude woman, possibly pregnant, is showered in droplets of white liquid, the bars of her figurative prison cell suspending her over a gaping abyss. At the base of the scene, an embryonic form within a drop of liquid rises from a seashell like a child of Venus, cowering in anguish at the terrifying realm it has entered. In the foreground, the severed head of Gerardo Lizarraga, Varo's husband, looks on passively, encased in a perilously hanging box. Although the scene lacks a cohesive narrative, its vignettes generate the rhythm and flow of a hallucinatory vision, one that gains its vitality through its juxtapositions. This engrossing disjointedness arises in part from the work's collaborative nature. Collective creativity was core to the Surrealists' toolkit, as they believed such collaborations could release the individual from the biases of conscious thought, thereby accessing a shared subconscious realm. This ideal came to fruition in the summer of 1935 in Barcelona, a critical chapter in the story of Surrealism and a catalyst for the present work. During that time, Varo, Francés, Domínguez and their fellow Surrealist Marcel Jean devoted themselves to the game of cadavre exquis ('exquisite corpse'). A game of words that the Surrealists transformed into a visual exercise, cadavre exquis involved one player creating a collage or drawing, obscuring their design and passing the paper to the next player, who would add their own image. This resulted in a fascinating series of works, many of which were composed vertically so as to generate the head, body and limbs of a quasi-humanoid form. The vitality of these spontaneous works led the group to evolve related exercises allowing for fuller, more cohesive compositions that were still grounded in hasard objectif ('objective chance'). Thence grew the jeu de dessin communiqué ('game of shared drawing'), whereby a player would draw an image and show it to the next participant for a brief instant, who would then interpret it in their own spontaneous composition, inviting contributions from the ensuing players. The imagery that Varo and her friends thus conjured would often comprise biomorphic entities with zoological and humanoid features, sometimes in erotic or tortuous positions, who were somehow connected to the features and objects of their surrounding terrain. On rare occasions, paintings would be created in this fashion, started by one artist and then re-worked or even partially erased by the ensuing collaborators. The present work is a unique token of this fervent period, offering a privileged glimpse into this captivating artistic methodology. Many of the group's paintings and drawings from this time have been lost, due in part to the surrounding turmoil of the Spanish Civil War, as well as their free circulation among other artists by post and itinera... This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 17
SALVADOR DALÍ (1904-1989)Rideau-chevelure semi-humain séparé par une fermeture éclair (Hairy half-human curtains separated by a zipper) signed 'Dalí' (lower right)pen and India ink on card27 x 22cm (10 5/8 x 8 11/16in).Executed circa 1937Footnotes:The authenticity of this work has been confirmed by Nicolas Descharnes.ProvenanceJohn U. Sturdevant Collection, Palm Beach (acquired by 1971).Daniel Varenne Collection, Switzerland.Thence by descent to the present owner.ExhibitedBaden-Baden, Staatliche Kunsthalle, Dalí, Gemälde, Zeichnungen, Objekte, Schmuck, 29 January – 18 April 1971, no. 139.LiteratureHouston Chronicle, 13 February 1937 (detail illustrated p. 9 with the caption: 'A Pair of 'Hairy, Half-Human Curtains Separated by a Zipper' Will Be a Feature of One of M. Dalí's Rooms Fifty Years From Now. In the Doorways of an Apartment These Curtains Will Be Hung to Warn a Person of the Fate That May Await in the Next Room. They Will Quiver and Shake at the Sign of Danger, and Caress the Oncomer If Joy or Good Fortune Waits Within'), later reproduced in Detroit Free Press, 18 February 1937; Florence (S.C.) News, 21 February 1937; Birmingham (ALA.) News-Age, 21 February 1937; Tulsa (OKLA.) Tribune, 21 February 1937).Exh. cat., Dalí, Paris, 2012 (illustrated p. 252).Rideau-chevelure semi-humain séparé par une fermeture éclair presents a rectangular doorway, entrance through which must be made through a zippered curtain of flowing hair. The hard vertical and horizontal ink strokes forming the flooring, skirting and architrave juxtapose sharply with the organic waves of hair which drape gently to the floor. Drawn circa 1937, the work is closely related to Dalí's magnificent oil and collage work, Singularitats of 1935-1936 – which was featured on the front cover of the catalogue for the 2022 exhibition Salvador Dalí: Myth and Singularity at the Museum of Cycladic Art in Athens. The finished composition picks out features in blood-red pigment against an inky black background and shows the curtained doorway of the present work to the left of an eerie landscape. Here, the door is situated on a small box-like red building, a certain faded elegance recalled by a triangular pediment and cracking exterior. The zip and curtains of hair conjure obvious sexual overtones, as does the intrigue of what is to be found within the box, guarded by a feathery silhouette to the right, and a flamboyant, goddess-like woman to the foreground.The concept of the door as a sexual gateway was revisited by Dalí in 1939 when he constructed the Dream of Venus installation at the New York World's Fair, transforming the pavilion into an erotic funhouse which was entered through a monumental pair of gartered legs. Dalí explored the use of different materials in the 1930s to enhance the erotic associations of an artwork, believing, in Dawn Ades' opinion, that 'the erotic can find expression in a variety of ways, most obviously via the gaze and the touch. The object as incarnation of desire is realised in, for instance, the fur pom-poms on Dalí's Venus de Milo with Drawers' (D. Ades, 'Eroticism', in Dalí/Duchamp, exh. cat., London, 2017, p. 108). Created in 1936, Dalí's version of the famous Venus de Milo was provocatively adorned with tactile mink tufts to her forehead, bare breasts, stomach, and uncovered knee.It is thought that the artist was a virgin when he first met his wife at the age of 25 ('until Gala entered his life, Dalí was clearly afraid of young women, with the fear of fascination' – R. Descharnes & G. Néret, Salvador Dalí, The Paintings, Vol. I, 1904-1946, Cologne, 2007, p. 70) and was rumoured to prefer masturbation or voyeurism more than the act of consummation. A fixation with sexuality played out across his oeuvre, noticeably in the late 1920s-1930s, a period which spawned controversial works such as Le grand masturbateur (1929) – Dalí's 'main obsession at that time can best be termed desire' (ibid, p. 145).The Mae West Room in the Dalí Theatre-Museum in Figueres (opened in 1974) revisits the idea of hair as curtain. Dalí constructed an apartment with the help of designer Òscar Tusequets, which, when viewed through a reducing lens, conjured the face of the Hollywood film star. Her out-scale hair was lavishly arranged to form a grand theatre-like curtain, framing the tableau formed by the furniture and paintings beyond. The concept came from the artist's collage of 1934-1935, Le visage de Mae West qui peut être utilisé comme appartement surréaliste, whose curtain-like hair and red tones echo elements of Singularitats.The present work was executed in the midst of Dalí's most successful years, following his marriage to Gala in 1934 and his celebrated debut in New York. During his trip to the US in 1934, Dalí held six solo exhibitions and delivered a lecture at MoMA. He embraced his fame, going out of his way to court publicity: 'Dalí liked going into drugstores with an immense loaf tucked under his arm, ordering fried eggs, and then eating them with a small piece of bread cut off the loaf – to the great amusement of anyone who happened to be there at the time [...] Before they departed, Caresse Crosby threw a Dream Ball in Dalí's honour. The Americans vied to out-Dalí each other. Dalí confessed that even he (who was so rarely impressed by anything) was astounded by the riotousness of the ball at the 'Coq Rouge'' (op. cit, p. 235).Despite his individual success, Dalí maintained a dialogue with his fellow Surrealists, most notably René Magritte, whose 1966 sketch Le Viol ('The Rape') undoubtedly echoes the present work. The composition by the same name to which it refers was painted in 1934, preceding Dalí's Singularitats, and depicts a female face formed by her torso, a triangle of pubic hair taking the place of her mouth, the whole framed by her auburn hair. When the painting was exhibited at the Palais des Beaux-Arts de Bruxelles in the year of its execution, it was deliberately excluded from the exhibition catalogue and displayed behind a velvet curtain, in an area reserved for adults only. The portrait is believed to allude to the artist's mother's tragic suicide by drowning when Magritte was just fourteen – she was discovered with her face veiled by her gown, her naked body exposed. The peep-show nature of the presentation of Le Viol in 1934 leads us to question what is behind the curtain in the present work, shown to be the portal to a red booth in the larger composition. Eroticism was intrinsically linked with danger and uncertainty for Dalí, as the enticement of sexual promise in Singularitats is threatened by the eerie setting, filled with unknown and inexplicable objects. An animate object is draped in red cloth to the lower left, while the Dalínian clock melts to the lower right, and the faceless female figure morphs into foliage. Choosing to focus solely on the curtained doorway in Rideau-chevelure semi-humain séparé par une fermeture éclair, Dalí invites the viewer to step through to an alluring unknown.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 18
SALVADOR DALÍ (1904-1989)Visage féminin pour l'hologramme 'Submarine Fisherman' signed 'Dalí' (lower left)oil on glass11.4 x 14cm (4 1/2 x 5 1/2in). (within the mount)Painted in 1972Footnotes:The authenticity of this work has been confirmed by Nicolas Descharnes.ProvenanceDr. Maury P. Leibovitz Collection, Connecticut (possibly acquired directly from the artist through M. Knoedler & Co., circa 1972).Private collection, US, UK and Greece (by descent from the above in 1992).Private collection, UK (by descent from the above).ExhibitedNew York, M. Knoedler & Co., Holograms Conceived by Dalí, 7 April - 13 May 1972 (as part of the hologram installation titled 'Submarine Fisherman').LiteratureS. & L. Lissack, Dalí in Holographic Space, Charleston, 2013 (illustrated p. 12; illustrated pp. 18 & 23 as part of the hologram installation titled 'Submarine Fisherman').S. Lissack, 'Dalí in Holographic Space, Salvador Dalí's contributions to art holograms', in Spie. The international society for optics and photonics, online article, January 2014 (illustrated as part of the hologram installation titled 'Submarine Fisherman').Salvador Dalí's enthusiasm for holography was proudly declared in his introduction to the catalogue for the important 1972 Knoedler Gallery exhibition dedicated to his holographic exploration: 'all artists have been concerned with three-dimensional reality since the time of Velázquez, and in modern times, the analytic cubism of Picasso tried again to capture the three dimensions of Velázquez. Now with the genius of Gabor, the possibility of a new Renaissance in art has been realized with the use of holography. The doors have been opened for me into a new house of creation' (Dalí quoted in Exh. cat., Holograms Conceived by Dalí, New York, 1972, p. 1).This interest started in the late 1940s with the discovery by British-Hungarian scientist, Dr. Dennis Gabor, that a three-dimensional image could be recorded on a two-dimensional space. It took several years and a few technical advancements before holograms finally took the shape they have today: a transparent photographic plate which has recorded a phenomenon of diffraction of light of a three-dimensional object. Then, when illuminated at a certain angle by a beam of light, the plate reproduces a relief image of the photographed object. This major discovery earned Dennis Gabor the 1971 Nobel Prize in Physics.Coincidentally, that year also marked Dalí's introduction to holography, when South African artist Selwyn Lissack approached him at the St. Regis Hotel in New York. Lissack recalls Dalí's immediate enthusiasm for the medium and what seemed like the endless possibilities it created, with laser lights now becoming the artist's brush. The hotel suite at the St. Regis became Lissack and Dalí's impromptu studio office as 'Dalí was thrilled with the notion of working with a medium which gave him the ability to create beyond the confines of linear space' (S. Lissack, 'Dalí in Holographic Space', in SPIE. The international society for optics and photonics, online article, 1 January 2014).The present work, Visage féminin pour l'hologramme 'Submarine Fisherman', is part of Dalí's second holographic work, executed under the guidance of Selwyn Lissack: Submarine Fisherman. It consisted of a holographic installation mixing different media: first, a holographic plate of a diver was isolated in a metallic box with laser. This was then incorporated within another larger box which had a separate source of lighting shining onto a transparency of Pablo Picasso's masterpiece, Les Demoiselles d'Avignon. This second box projected the image around the hologram – contained within the first box - like stained glass. Finally, Dalí painted an oil portrait of a Catalan girl on a glass plate – the present work – which he superimposed over the holographic plate. The multi-layered result showed the portrait of the Catalan girl projected over the hologram of a diver in the sea, superimposed on the reproduction of Les Demoiselles d'Avignon. The superposition of the oil portrait and the hologram was measured by Dalí so that the nose of the girl would coincide with the elbow of the diver in the holographic image projected. Dalí thus produced a three-dimensional image while mixing media and merging artistic and scientific dimensions, at the crossroads of painting, sculpture, and photography. Selwyn Lissack, who witnessed the creation of Submarine Fisherman, recalls that he 'stood mesmerized as Dalí created a perfect merging of three-dimensional space on a two-dimensional plane' (S. & L. Lissack, Dalí in Holographic Space, Charleston, 2013, p. 23).Dalí's choice of imagery for the final hologram was no coincidence and the individual images each have their own importance. Picasso's Les Demoiselles d'Avignon depicts prostitutes in a Spanish brothel on Avignon Street in Barcelona, and Dalí's Catalonian face is thought to be one of the young girls, her visage certainly reminiscent in appearance to the figures in Picasso's work, with her abstracted features and Cubist appearance. For Dalí, the underwater world, with its deep and dark waters, was the place of all buried secrets and a perfect metaphor for the human subconscious. As such, the diver is projected onto the Picasso, which we can interpret as a materialisation of the deeply buried sexual desire in the human psyche. This interpretation is further confirmed by the luscious red lips which recall Dalí's lifelong obsession with Mae West, a sex-symbol and an often recurring motif in his oeuvre. Visage féminin pour l'hologramme 'Submarine Fisherman' is an extremely rare piece, as Dalí only ever conceived of six other holograms. Thus, creating a new way of painting using light and technology and contributing to a new artistic paradigm, Dalí's process recalled the Renaissance geniuses who had been revolutionising painting with camera obscuras. The Nobel Laureate Dr. Gabor himself saw in Dalí, 'a genius [...], creating a new art of which old, great painters may have dreamed, but which could only be realized by combining art with the most modern technology' (Gabor quoted in Exh. cat., Holograms Conceived by Dalí, New York, 1972, p. 2).This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 23
ERNST LUDWIG KIRCHNER (1880-1938)Tänzerin pencil on paper14.9 x 20.6cm (5 7/8 x 8 1/8in).Executed circa 1927Footnotes:This work is registered in the Ernst Ludwig Kirchner Archive, Wichtrach/Bern. This work will be included in the forthcoming Ernst Ludwig Kirchner catalogue raisonné of works on paper, currently being prepared.ProvenanceLise Gujer Collection, Davos, no. 260 (probably acquired directly from the artist).Elke Dröscher Collection, Hamburg.Private collection, Basel; their sale, Auktionshaus Zofingen, Zofingen, 2 December 2017, lot 2091.Anon. sale, Germann Auktionshaus, Zurich, 4 June 2019, lot 307. Gilden's Arts, London.Private collection, Milan (acquired from the above in 2020).The present work formed part of the personal collection of Lise Gujer, a Swiss-French painter and textile maker. Kirchner and Gujer met in Davos in 1921, thence forming a close personal dynamic which led to a fascinating series of artistic collaborations. The two artists completed over 30 vibrant fabric and wool compositions based on Kirchner's paintings, including Life (1922), which currently adorns the permanent collection of the Städel Museum, Frankfurt. As an homage to his creative compatriot, Kirchner completed a captivating double portrait of himself with Gujer, circa 1931. In it, the personal and artistic harmony between the two artists is embodied in their shared facial patterns of teal, pink and beige, punctuated by the bright red accents of their attires. One can discern Gujer's particular fondness for Kirchner's sketches of dancers, as a beautiful selection of such works remained in her personal collection until after her passing in 1967.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 29
MARIE LAURENCIN (1883-1956)Portrait de jeune femme de trois quarts vers la droite signed with the artist's initial 'M' (centre right)watercolour, pen and ink, black pencil and pencil on paper8.9 x 6.6cm (3 1/2 x 2 5/8in). (shaped)Executed in 1912Footnotes:ProvenanceYvonne Chastel-Crotti Collection, Paris.Ninette Lyon Collection, Paris.André Salmon Collection, Paris.Anon. sale, Hôtel Drouot, Paris, 2 July 1980, lot 78.Hazlitt, Gooden & Fox, London.Private collection, London (acquired from the above on 24 May 1996).ExhibitedLondon, Hazlitt, Gooden & Fox, Nineteenth Century French Drawings and some Sculpture, 13 June – 12 July 1996, no. 39 (titled 'Autoportrait').LiteratureD. Marchesseau, Marie Laurencin, Catalogue raisonné de l'oeuvre, Vol. II, Peintures, Céramiques, Oeuvres sur papier, Paris, 1999, no. PP0202 (illustrated p. 321).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 8
CARL MOLL (1861-1945)Der Park von Schönbrunn mit Blick zur Gloriette signed 'C. Moll' (lower right)oil on panel34.3 x 35.6cm (13 1/2 x 14in).Painted circa 1910Footnotes:ProvenanceArthur Schnitzler Collection, Vienna (acquired directly from the artist on 6 December 1913).Heinrich & Lilly (née von Strakosch-Feldringen) Schnitzler Collection, Vienna (by descent from the above in 1931). Private collection, Vienna and US (by descent from the above). Private collection, Los Angeles (by descent from the above).Exhibited(Probably) Vienna, Galerie Miethke, Kollektiv-Ausstellung Max Kurzweil und Carl Moll, March 1911.LiteratureA. Schnitzler, 'Samstag, 6. Dezember 1913', in Tagebuch, December 1913.C. Cabuk, Carl Moll. Monografie und Werkverzeichnis, online catalogue, no. GE 256 (illustrated).Depicting the immaculately pruned Baroque gardens of Schönbrunn Palace, a UNESCO World Heritage site and to this day one of Vienna's most iconic, scenic and important cultural locations, the present works are undeniably bursting with Austrian cultural significance. Painted by Carl Moll circa 1910, the works have not been seen publicly in more than a hundred years, remaining as cherished heirlooms in the Schnitzler family since the day they were acquired directly from the artist by Arthur Schnitzler, on Saturday 6 December 1913.Widely unacknowledged outside of his native Austria, Arthur Schnitzler was in fact arguably one of the most important European authors of the twentieth century. A contemporary of Sigmund Freud, Ludwig Wittgenstein and Stefan Zweig, his writings were landmarks of European Modernism. As an accomplished doctor in his pre-writing years and as a regular correspondent with Freud, Schnitzler was fascinated by the human psyche. He often explored dreams and the unconscious in his writings; most notably, he was the first German-speaking writer to pen fiction using the Freudian stream-of-consciousness technique. As a subject for his writings, Schnitzler sought to dissect and comment on the hypocrisy of bourgeois life in Vienna, simultaneously exploring society's hidden impulses and motivations. As had been done to his infamous contemporary, Egon Schiele, he was in fact branded a pornographer after the release of his play Reigen, in 1900. Perhaps his depiction of a supposedly morally superior Viennese society exposed and shown to be as promiscuous and sexually driven as the common man, cut too close to the bone. After his death in 1931, Schnitzler's works were subsequently subjected to the Nazis, who deemed them Entartete ('Degenerate') and burned them. Stanley Kubrick's final film, Eyes Wide Shut, is based on Schnitzler's 1926 novella, Traumnovelle.As Arthur Schnitzler was to literary modernism, Carl Moll was a leading proponent of the Austrian avant-garde. A founding member of the Wiener Secession and close friend of Gustav Klimt, he was an integral artist to the development of Modernism in Austria at the turn of the century. Whilst certainly remaining more conservative in his style, opting to emulate more the French Impressionists and Pointillists, he was nevertheless a very prominent proselytiser for younger, more Expressionistic, artists. He would thoroughly encourage important galleries such as the Belvedere to show Modern Austrian art and was extremely active in supporting these displays, even after his separation from the Secession in 1905 with Klimt and other important members. One of his most notable contributions to the exhibition scene was the first Viennese show of Vincent van Gogh's work. Moll clearly appreciated the young artist's skill and in fact included Van Gogh's Portrait of the artist's mother in his 1906 self-portrait. He placed the work above a version of George Minne's Small Kneeling Youth, a beautiful marble figure, clasping themselves under the burden of sorrow at the dawn of the Modern age.The present two works are classically Modern-Austrian in their square format, a shape favoured by the Secessionist artists and immortalised by Moll, as well as the likes of Klimt, Schiele and Koloman Moser. Indeed, the present panels are particularly reminiscent of the small 'jewel-like' Bretter that Schiele was gifted by Arthur Roessler during his time in Krumau and Neulengbach, in 1911. These smaller panels enabled Schiele to engage in a more spontaneous working method due to their manoeuvrable size; especially the ability to work en plein air. This immediacy and intention to capture the light and the moment is especially prevalent in both of these depictions of Schönbrunn. In lot 8, identified by the edge of the famous Gloriette building in the south of the gardens, Johann Wilhelm Beyer's 1777 statue of Bacchantin and the long westward shadows cast over the tall hedgerows, Moll has evidently set up his easel near the Taubenhaus, on the edge of the wide Grosses Parterre that runs between the hilltop and the palace. He quietly captures a serene summer's morning, with people ambling their daybreak stroll; a pair of elegantly dressed ladies in their summer blouses seated in the centre, perhaps quietly discussing the latest in the Viennese art scene. A more solitary but nonetheless tranquil view in lot 9, the gentle flow of one of the two Najadenbrunnen fountains can be seen, caught in a ray of sun, whose beams have trickled through the branches to dapple the shaded foreground. It is most likely the Östlicher Najadenbrunnen, or Eastern Naiad Fountain, just down from the Taubenhaus.The palace was originally intended as a hunting lodge, however swiftly developed into a palatial residence over the course of the eighteenth century. Evidenced in its popularity to the present day it has remained a favoured recreational amenity for the Viennese populace since its creation. Its connection to the Imperial Monarchy of Austria-Hungary meant that the subject was particularly en vogue for collectors of the time and in fact Moll was focusing on the gardens of Schönbrunn in the 1910-1911 period for an exhibition at the Galerie Miethke, Kollektiv-Ausstellung Max Kurzweil und Carl Moll. The present two works are part of this group and were most likely shown in the exhibition, though their number in the catalogue is difficult to discern. Other panels from the series are held by the Neue Galerie Graz, Van Gogh Museum, Amsterdam, and other private collections, with works from Moll's entire oeuvre held in almost all of Austria's leading public collections.Arthur Schnitzler, whilst focusing his written themes on cross-examining the conservative classes of high-brow Vienna, clearly was also taken by the beauty of these works shortly after their creation. Having kept a meticulous diary from the age of 17 until two days before his death in 1931, his flowing dialogue offers us a snapshot into his visit to Moll's studio with his wife, Olga Gussmann: '6/12 With O. at Antiquitäten Berger's. - Then at Moll Hohe Warte, in the studio. His pictures (Schönbrunn, Venice, Göding) very fine. Choice? [...] We took five pictures with us, want to keep 2 of them. [...] Julius, Helene, Richard Paula Gustav with us in the evening. The Moll pictures were very pleasing.' (A. Schnitzler, 'Samstag, 6. Dezember 1913', in Tagebuch, December 1913). It was in fact Schnitzler's dedication to note writing that later saved the life of his then ex-wife, Olga (listed as 'O.' in the aforementioned diary). With the rise of the Nazis and the subsequent persecution of Jews and those deemed Entartete, she escaped Vienna by convincing Cambridge University - the guardians of Schnitzler's notes and archives - that she was the only person who could... This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 170
GUDGEON THOMAS W. The Defenders of New Zealand. 620pp. Col. frontis & many portrait & other plates incl. double page Plan of Taurangaika. Quarto. Orig. pict. black & maroon morocco gilt, a good copy. Auckland, 1887; also Sir Robert Stout, Musings in Maori-Land, A Jubilee Volume, quarto, 1890. (2).
Los 285
BROOKES WARWICK (Artist). A Memoir with Portrait & Selection of Permanent Photographs from his Drawings & Sketches. Short letterpress memoir (very foxed) & mounted photograph plates of his works of art on card leaves. Large quarto. Dark half morocco. Bookplate of Walter Henry James with a slipped in letter to him from Warwick Brookes. N.d.
Los 12
INDIA: DUBOIS (Abbe Jean Antoine): 'A Description of the Character, Manners and Customs of the People of India; and of their institutions, religious and civil...' Madras, Asylum Press, 1862: albumen print portrait of the author from a painting, 3 lithographic plates: contemporary half calf with red morocco label rubbed and worn, joints partially cracked, 8vo. (1)
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