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283287 Los(e)/Seite
Los 1105
An Early XX Century Yellow Metal Medallion, the front showing a portrait of Elizabeth I and inscribed "coll ss et individ trin reg Elizabeth jvxta dvel 1591", the reverse with a crest and inscribed 'Literis Recentioribus Feligiter Excultis Muriel M Russell 1924, in a fitted West and Son case inscribed "Trinity College Dublin", 5cm diameter.
Los 1228
Letters of Affaires Love and Courtship by the Exquisite pen of Monsieur de Voiture, printed for T. Dring and J. Starkey, London and to be sold at their shops at the George in Fleet Street near Clifford's Inne and Miter in the West end of St Pauls Church, 1657, portrait frontispiece, English by J.D. (John Davies), full calf.Lot 1228 - 1) Splits and losses to top/bottom of spine. 2) Losses to 1st page at bottom. 3) Staining/damp patches throughout. 4) writing to paper edge and back/front of binding. 5) It appears complete but not guarantee given, sold as seen, no returns accepted.
Los 9
FRANK AUERBACH (B. 1931)J.Y.M. Seated V 1989 oil on canvas 50.8 by 40.6 cm. 20 by 16 in. This work was executed in 1989. Footnotes:ProvenanceMarlborough Fine Art Ltd., London (39475.6) Marlborough Fine Art Ltd., New York (NOL 31.388) Campbell-Thiebaud Gallery, San Francisco (FA-108) Acquired directly from the above by the previous owner in 1995Thence by descent to the present owner in 2003Exhibited Campbell-Thiebaud Gallery, San Francisco, Frank Auerbach Recent Work, 1995, n.p., illustrated in colourLiterature William Feaver, Frank Auerbach, New York 2009, p. 311, no. 638, illustrated in colourExecuted in 1989 J.Y.M. Seated V is a strikingly fresh and beautiful portrait of one of Frank Auerbach's most celebrated and recognised sitters. Rendered in a majestic and jewel-like palette of green, purple and red pigment, the intensity of the artist's response to sitter and subject is gloriously brought to life through Auerbach's bravura handling of oil paint, for which he is so well known. His subject, Juliet Yardley Mills, referred to by her friends simply as J.Y.M. or Jym, is from a small group of subjects alongside Estella (Stella), Olive West (E.O.W.), his wife Julia, son Jake, and art historian Catherine Lampert among only a handful of others. Of this intimate group, J.Y.M.'s likeness presides over a host of the artist's most iconic paintings. She first posed for him in 1956 when she was a professional model at Sidcup College of Art and continued to do so for over forty years until 1997. Auerbach completed over seventy portraits and studies of J.Y.M., and this present work was executed over twenty years into their friendship. 'She was brought into the world to be a model, she came and sat, and it was not quite like anything else. It wasn't like painting Stella or painting Julia because it was just that... She took poses that were natural to her, and then I sometimes suggested things and one would go on. It became like a central spine of what one was doing' (the artist in: Catherine Lampert, Frank Auerbach Speaking and Painting, London 2015, p. 184). In this present work, out of the forms and brushstrokes emerges a face, a presence. There is an intense substantiality both to the painting and more particularly to the head itself. Auerbach has scraped at the surface of the painting, in a process where he starts again and again, erasing one day's efforts and beginning with another's. Yet the ghost of the previous forms remains in spirit, making J.Y.M. Seated V an accumulation not only of paint, but of paintings. The contrast between the lush, glistening oil of the head and the softer but rich olive background accentuates this, while also revealing a key part of Auerbach's artistic process that is more recognisable in his portraits painted in the late 80s. The background passages of this work have been applied with a more fluid oil paint, drying relatively matte; the artist employs a sgraffito technique, possibly with the upper end of the brush, scraping wet paint to form features of the face, with other areas partly scraped back more broadly. These swathes of impasto and flurried mark-making result in his subject being brought more powerfully into the foreground, engaging the viewer more intently with her presence. Hailed as one of the most influential painters of the 20th century, Frank Auerbach is celebrated for his expressionistic portraits and cityscapes characterised by his distinctive and gestural impasto technique. Auerbach was born in Berlin in 1931. Arriving in England as a Jewish refugee in 1939, he attended St Martin's School of Art, London, and studied with David Bomberg in night classes at Borough Polytechnic, before culminating his final studies at the Royal College of Art and has since remained in London. His first exhibition was held at London's Beaux Arts Gallery in 1956. Initially he was criticised for his thick application of paint, but found support from the critic David Sylvester, who identified the exhibition as one of the most exciting and impressive first one-man shows by an English painter since Francis Bacon. By the early 1960s, Auerbach had established himself among the ranks of what would later become known as the 'School of London', a group that included Lucian Freud and Francis Bacon. The latter, in particular, shared much of Auerbach's sensibility: the two artists favoured painterly intuition over carefully studied precision, viewing painting as a means of pinning down human sensation. However, despite his affiliation with the School of London artists, Auerbach also sought to engage in the explicit dialogue with the art historical canon, and cites numerous old and modern masters as influences, including Rembrandt, Rubens, Titian, Constable and Picasso. Auerbach would continue to exhibit regularly at the Beaux-Arts Gallery until 1963. From 1965 he first exhibited at the Marlborough Gallery, and today his works have become some of the most internationally collected of a living artist.Auerbach's distortions in his portraits have been likened to Francis Bacon's figures, however perhaps unlike Bacon, a certain warmth emanates from an Auerbach portrait. As seen in J.Y.M. Seated V, his model is perhaps more understood than recognisable, arguably because Auerbach only paints those known closely to him. Still, although she may be somewhat incomprehensible, his prolonged engagement with her throughout the course of her sittings brings out its details, indeed the rapid and vivid strokes as seen here, the individuality of essence awaits, something that is more than a representation. J.Y.M. Seated V is the portrayal of an individual life, there is a contemplative personal eminence that captures the sincerity of Auerbach's long-standing relationship with Mills. Of this dialogue between artist and sitter, Mills has said: 'we had a wonderful relationship because I thought the world of him, and he was very fond of me. There was no sort of romance, but we were close. Real friends'. (Juliet Yardley Mills in Norman Rosenthal and Catherine Lampert (Eds.), Frank Auerbach: Paintings and Drawings 1954-2001, London 2001, p. 26).Frank Auerbach is widely recognised as one of the most inventive and influential painters of the post-World War II era. In 1978, the artist was honoured with a retrospective at London's Hayward Gallery and in 2015, London's Tate Britain, in partnership with Kunstmuseum Bonn, mounted another major retrospective of his work. Today, his paintings reside in the prestigious permanent collections of the Tate Gallery and National Portrait Gallery in London; Museum of Modern Art and The Metropolitan Museum of Art in New York; and the Museo Nacional Thyssen-Bornemisza in Madrid, among many others.Through brilliant colour and a faultless exhibition of Auerbach's charismatic painterly gesture, J.Y.M. Seated V carries a powerful and emotional charge. The work encapsulates a seminal exposition of Auerbach's thoroughly inimitable and compelling portraiture, and is excitingly fresh to the market having remained in the same Private Collection since the early 1990s.This lot is subject to the following lot symbols: * AR â—‹* 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.â—‹ The 'Seller' has been guaranteed a minimum price for the 'Lot', either by 'Bonhams' or a third party. This may take the form of an irrevocable bid by a third party, who may make a financial gain on a successful 'Sale' or a financial loss if unsuccessful.For further information on this lot please visit Bonhams.com
Los 35
ANTONIO SAURA (1930-1998)Portrait 1960 signed and dated 60oil on canvas73.3 by 62.2 cm.28 7/8 by 24 1/2 in.Footnotes:This work is registered in the Archives Antonio Saura Foundation, Geneva, under no. RIMT@VERT.01.1960.This work will be included in the forthcoming Catalogue Raisonné being prepared by the Archives Antonio Saura Foundation, Geneva.ProvenanceBiosca, MadridAcquired from the above by the previous owner in 1961Thence by descent to the present ownerExhibitedNorwich, Norwich Castle Museum, Fine Paintings from East Anglia, 1964, no. 59This 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 13
ALEX KATZ (B. 1927)Yvonne with Flowers 2001 signed and dated 01 on the overlapoil on linen91.6 by 167.9 cm.36 1/16 by 66 1/8 in.Footnotes:ProvenancePace Wildenstein, New York (#34446)Mira Godard Gallery, Toronto (7780)Acquired directly from the above by the present owner in 2014ExhibitedToronto, Mira Godard Gallery, Alex Katz - Paintings & Prints, 2012Executed in his signature style using pared back, bold lines and heightened, vibrant colours, Yvonne with Flowers from 2001 is a truly exceptional work of portraiture by Alex Katz, one of America's definitive painters of the 20th century. Growing up in the New York art world of the 1940s and 50s, when non-representational abstraction dominated the discourse, Katz resisted the dogma of the period and developed his own form of figuration. His direct visual vocabulary, inspired by artists such as Paul Klee, Édouard Manet and Henri Matisse, captured everyday moments from his own life and is instantly recognizable in it's cinematic and refined style. With a recent, highly acclaimed, major career retrospective at the Solomon R. Guggenheim Museum in New York, and with works included in many of the worlds most prestigious museum collections, Alex Katz's artistic vision has been a defiant voice across centuries and continents. He is one of the great American masters.Painted in 2001, and coming to auction for the very first time, Yvonne with Flowers is an elegant large-scale portrait. The sitter is Yvonne Force Villareal, Co-Founder of Art Production Fund, a non-profit organization dedicated to commissioning and producing ambitious public art projects, wife of the artist Leo Villareal and a leading figure in the Maine arts community. Close-cropped against a background of larger-than-life yellow pansies, bright pink carnations and a vivid turquoise blue sky, she gazes out at the viewer, her expression conveys a sense of intimacy and confidence whilst remaining cooly detached at the same time. Typical for the artists work, all extraneous details are stripped away, leaving only the most vital. Yvonne's expression is dispassionate, there is no context or psychological engagement leaving the viewer with an impression bordering on abstraction. In the present work, Katz defines his model's features in his distinctive wet-on-wet brushwork that forces him to finish each work in a single session. Developed from the Renaissance fresco technique of pinning paper to the canvas, and forcing dry pigment through pinholes to create an outline, Katz shapes a vivid human presence with the most minimal of means. The picture is a warm portrayal of Force Villareal, whom Katz has known since the early 1990s and who has since been one of his most painted models after his wife Ada. She features in over 20 paintings, cut-outs and prints of the artist, each depiction revealing a different facet of the sitter. The inclusion of flowers, another one of Katz's career long signature themes, gives the work a fresh springlike quality, similar to Flora in Sandro Botticelli's masterwork Primavera.Offsetting the daringly close crop of the face and flowers with a large canvas, Yvonne with Flowers is evocative of the billboards and cinema screens that influenced the artist in the 1960s. Like a movie still, projected onto a flat cinema screen, the work embodies a distinct Pop aesthetic despite the fact that Katz never saw himself as a Pop artist; if anything he was a precursor to it. Whilst at first, his works with their bold colours and strong close ups seemed to be related to the emerging Pop movement of the 1960s, Katz and his craft-based approach to painting stood apart from the preeminent artistic movements. 'Minimalism was excluding things, but my work was compression,' he told Calvin Tomkins, as for conceptual art, it was 'mostly philosophical ideas, and it comes from universities. A lot of artists don't master their craft until they're thirty-five, but you can be a first-class conceptual artist when you're eighteen' (the artist in: Calvin Tomkins, 'Alex Katz's Life in Art', newyorker.com, 27 August 2018). As for his connection to Pop Art, Katz always painted scenes from his life, friends and family members, not popular culture.Having been featured in nearly 500 group shows internationally and in over 200 solo exhibitions since 1951, Alex Katz has been honoured with numerous retrospectives around the globe. His work has been shown in some of the most prestigious museums in the world, such as the Whitney Museum of American Art, New York, the Tate, London, the Albertina Museum in Vienna and The Guggenheim in Bilbao. His recent career-spanning retrospective at the Solomon R. Guggenheim Museum in New York has been highly praised by critics and enhanced an already strong demand from collectors and institutions internationally. Yvonne with Flowers offers the opportunity to buy a stellar example of the artist's oeuvre, a wonderful addition to any art collection.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 479
* BENNO SCHOTZ R.S.A. L.L.D. (ESTONIAN/SCOTTISH, 1891-1984) BRONZE SCULPTURE standing figure of a female, shaped oval base, signed25cm highNote: Benno Schotz was born to Jewish parents, Jacob Schotz, a watchmaker, and Cherna Tischa Abramovitch, in Arensburg, Russia (now Kuressaare, Estonia) in 1891. He was educated at the Boys Grammar School of Pärnu, Estonia. Later he studied at the Grossherzogliche Technische Hochschule in Darmstadt, Germany. In 1912, he immigrated to Glasgow, where he gained an engineering diploma from the Royal Technical College and from 1914–23 worked in the drawing office of John Brown and Company, Clydebank shipbuilders while attending evening classes in sculpture at the Glasgow School of Art. Schotz became a full-time sculptor in 1923 and subsequently a member of the Royal Scottish Academy, Head of Sculpture at the Glasgow School of Art (a post he held from 1938 until his retirement in 1961), and later, in 1963, Her Majesty's Sculptor in Ordinary for Scotland. His pupils included Hannah Frank, Paul Zunterstein and Inge King (née Neufeld). His homes at West Campbell Street and later Kirklee Road were a focus for meetings of artists, writers, actors, and politicians. His first solo Glasgow exhibition was at Reid's Gallery in 1926 and his first in London at Alex Reid and Lefevre Ltd (Lefevre Gallery) in 1930. He was also a member of Glasgow Art Club, alongside recently arrived refugee artists Jankel Adler and Josef Herman, for whom he organised local Jewish community support. In 1942 he organised the important 'Jewish Art Exhibition' at the Glasgow Institute as an act of Jewish cultural identity during the Second World War. In 1981 Schotz was made a Freeman of the City of Glasgow and in the same year, Gordon Wright published his autobiography, Bronze in My Blood. During his career, Schotz produced several hundred portraits and compositions including figure compositions, religious sculptures, semi-abstracts and modelled portraits, the majority located in Glasgow and the surrounding area. A major retrospective exhibition of his works was held at the Royal Scottish Academy, Edinburgh in 1971. He was Life-President of the Royal Glasgow Institute of the Fine Arts as well as Honorary Member of both the Royal British Society of Sculptors and the Royal Institute of Architects in Scotland. His last sculpture was executed less than six weeks before his death, aged 93. He was a committed Zionist and was buried in Jerusalem. His work is represented in numerous UK collections including The National Galleries of Scotland, Edinburgh City Art Centre, The Kelvingrove Art Gallery, Aberdeen Galleries, The Scottish National Portrait Gallery, BBC Scotland, The Scottish National Gallery of Modern Art, Glasgow Museums & Galleries, The Peoples Palace (Glasgow), The Scottish Jewish Archives Centre, Ben Uri Gallery & Museum (London) and the House of Commons (London). His work is also held in various public collections in Israel. Christie's held a major Studio Sale of Benno Schotz's work in Glasgow in 1997.
Los 10
Rembrandt van Rijn (1606-1669)A Blind Hurdy-Gurdy Player and Family Receiving AlmsEtching and drypoint, 1648, but a later impression of New Hollstein's third state (of five), printing before later rework on laid paper without watermark, platemark 165 x 130 mm (6 1/2 x 5 1/8 in), sheet 170 x 134 mm (6 3/4 x 5 1/4 in), small split to upper left, faint diagonal crease, which is only visible to verso, minor surface dirt (unframed)Literature:Bartsch 176; New Hollstein 243 iii/vTogether with:Collection of eight etchings after Rembrandt, including a copy of Christ Preaching, called "a Petite Tombe", Young man in a velvet cap (Petrus Sylvius?), Portrait of Jan Six, and five landscapes, all unframed (9)
Los 93
δ Robyn Denny (1930-2014)Portrait Series III and VTwo lithographs printed in colours, 1973, both signed in pencil, numbered from the edition of 30, published by Bernard Jacobson Gallery, London, on wove paper, with full margins, each sheet 792 x 593mm (31 1/8 x 23 3/8in) (2)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Los 197
GOOD VICTORIAN SILVER MOUNTED TABLE / VANITY MIRROR FREDERICK FRANCIS, BIRMINGHAM 1853 the cushion frame with small 'portrait' roundels and bright cut foliate detail, the glass with original silvering, the velvet back with substantial pierced silvered stand on wooden block base38.5cm high, 28cm wide
Los 489A
The Royal Mint - Gothic Crown Portrait 2021 UK £5 2 oz Silver Proof Limited Edition Coin, With Box and Certificate. In Mint / Uncirculated Condition. An Excellent Quality Coin. 4006 Only Produced This Being No 1545. Coin Specifications - £5, UK, Alloy 999 Ag, Weight 62.42 grams, Quality Proof. From a Gentleman's Own Private Estate.
Los 478A
Collection of Royalty Coins. Includes 1/ Westminster Mint 2007 5oz Coin With Diamonds Commemorative Coin, WIth Box and Certificate, Limited Edition of Only 1,947, This Being No 011, Cupro-Nickel, Plated In 24 ct Gold Proof Coin, Portraits Queen Elizabeth II Wedding Day Portrait, Mint Condition. 2/ Royal Mint The Coronation Anniversary Ingot & Crown Set Limited Edition, With Box and Certificate, Mint Condition. 3/ Westminster Mint Her Majesty The Queen's 90th Birthday 1926 - 2016 Two Dollar Coin, Copper with 24ct Gold Plating, Proof Like. With Box and Certificate. ( 3 ) Items In Total. From a Gentleman's Own Private Estate.
Los 103
A 19th century portrait miniature on ivory of a lady in Regency dress, 3.7x2.8cm, in a green velvet lined shagreen case; together with a treen case containing a wax seal impression of a crest, with a label for Ash & Sons Jewellers & Goldsmiths, 64 St. James Street London (2)Provenance: the Peto Family, formerly of Chedington Court, Dorset Ivory exemption reference: V1REUC2U
Los 99
Follower of Michiel Jansz. van Mierevelt, a pair of 17th century portrait miniatures on copper of a gentleman and noblewoman, possibly Theodora van Duvenvoorde, faint writing on the reverse of the gentleman reading 'Hervey', each approx. 4x3.2cm, unmounted in a shagreen case (af)Provenance: the Peto Family, formerly of Chedington Court, Dorset
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283287 Los(e)/Seite