* ARCHIE FORREST RGI (SCOTTISH b. 1950), SYMPHONY oil on canvas, signed, titled label versoframed image size 121cm x 136cm, overall size 136cm x 152cm Exhibition label verso: December 1991, The Portland Gallery, London Note: Archie Forrest is considered to be the leading living Scottish Colourist artist of his generation. Born in Glasgow in 1950 he attended Glasgow School of art between 1969 and 1973 prior to becoming a tutor at the school for seven years. Forrest gave up teaching in 1985 to devote his time to being a full time artist. He was elected a member of the Glasgow Institute of Fine Arts in 1988 and is a regular exhibitor at the Royal Scottish Academy since 1975. The artist has won many prizes and collectors for his work throughout the world. In this "Symphony" Forrest demonstrates his ability to create texture and colour whilst capturing the viewers’ attention with his playful use of perspective and reflection. Forrest’s use of broad and angular marks is reminiscent of Cezanne, while the use of colour place him in the legacy of Scottish Colourists S J Peploe and Cadell. The artist uses his self-portrait to guide us through a variety of his work. Challenging the viewer to look closer for the still life, landscape and portraiture within the picture whilst creating reference to the great Scottish colourists Cadell and J D Fergusson in the portraits on his studio floor. Forrest has created a painting which demonstrates his artistic ability, but also one the viewer can revisit over and over again.
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Joachim Gasquet. Cezanne, portrait frontispiece, further illustrations, original half parchment with spine label, folio, Berlin: Bruno Cassirer Verlag, 1930; John Rewald. Paul Cezanne: The Watercolours, A Catalogue Raisonne, photographic frontispiece, further b/w and colour illustrations throughout, original publishers cloth with slipcase, 4to, London: Thames and Hudson, 1983, and three others, similar, v.s. (5). Provenance: Ex-Libris Robert Lenkiewicz Foundation.Mixed condition.
Charles Biederman, born Karel Joseph Biederman (American, 1906-2004). Painted aluminum 'Structurist Relief' sculpture titled "Untitled (#2)" depicting a three-dimensional geometric abstract composition in bright colors against a solid white background, 1989. Signed, dated 1989 and 1991, and titled along the verso. The artwork comes with a custom-built crate for shipping.Provenance: Private Minnesota Collection.Lot Essay:Born to Czech parents in Cleveland in 1906, Biederman was involved in the American art scene for his entire life. He briefly studied at the Cleveland Art Institute and the School of the Art Institute of Chicago (SAIC) before dropping out and moving to New York. It was there that he met and was included in shows with other influential artists of the time including Alexander Calder, John Ferren, George L.K. Morris, and Charles Green Shaw.For nine months from 1936-37 Biederman studied in Paris. It was here that he met and was influenced by leading artists including Picasso, Mondrian, and Miro. He was initially influenced by the works of Fernand Leger before moving away from his style and towards totally abstract, geometric compositions. The movements of Cezanne, Post-Impressionism, and Cubism informed the evolution of his style. And while he started out painting, he abandoned two-dimensional for more sculptural works by 1937.In 1941 he married Mary Moore Biederman and in the following year he moved to Red Wing, Minnesota, where he would spend the rest of his life. In the 1950s, he created the term "Structurism" to help define his works from Constructivism and De Stijl. Many prominent collections around the world contain Structurist Reliefs similar to the artwork offered here including The Whitney Art Museum, The Metropolitan Museum of Art, and The Tate, London.In 2004, Beiderman died at the age of 98 and his estate was subsequently given to the Weisman Art Museum on the University of Minnesota - Twin Cities campus. They have organized traveling exhibitions of his works.Artwork; height: 43 in x width: 32 in x depth: 10 1/2 in. Crate; height: 55 1/4 in x width: 43 3/4 in x depth: 19 in.
Charles Biederman, born Karel Joseph Biederman (American, 1906-2004). Painted wood wall sculpture titled "Structurist Relief, New York #7," depicting a three-dimensional geometric composition in blue, yellow, and white, 1938. Incised signature, number, and date along the verso. Additionally inscribed "Copyright Charles Biederman 1978 // Made in U.S.A. // All Rights Reserved."Provenance: McCormick Gallery, Chicago; Private Minnesota Collection.Lot Essay:Born to Czech parents in Cleveland in 1906, Biederman was involved in the American art scene for his entire life. He briefly studied at the Cleveland Art Institute and the School of the Art Institute of Chicago (SAIC) before dropping out and moving to New York. It was there that he met and was included in shows with other influential artists of the time including Alexander Calder, John Ferren, George L.K. Morris, and Charles Green Shaw.For nine months from 1936-37 Biederman studied in Paris. It was here that he met and was influenced by leading artists including Picasso, Mondrian, and Miro. He was initially influenced by the works of Fernand Leger before moving away from his style and towards totally abstract, geometric compositions. The movements of Cezanne, Post-Impressionism, and Cubism informed the evolution of his style. And while he started out painting, he abandoned two-dimensional for more sculptural works by 1937.In 1941 he married Mary Moore Biederman and in the following year he moved to Red Wing, Minnesota, where he would spend the rest of his life. In the 1950s, he created the term "Structurism" to help define his works from Constructivism and De Stijl. Many prominent collections around the world contain Structurist Reliefs similar to the artwork offered here including The Whitney Art Museum, The Metropolitan Museum of Art, and The Tate, London.In 2004, Beiderman died at the age of 98 and his estate was subsequently given to the Weisman Art Museum on the University of Minnesota - Twin Cities campus. They have organized traveling exhibitions of his works.Height: 36 in x width: 24 in.
* Camberwell School of Arts & Crafts. Typography, 1939-1951, a small collection of 13 booklets and small posters displayed on 4 large stiff card leaves (56 x 50.5 cm), advertising the typography and bookbinding department of Camberwell School of Arts and Crafts, comprising: The War Work of the School, 1939-1945; Prospectus for Camberwell for 1949-50 &1948-49; Poster advertising typography classes; Jubliee 1898-1948 and Jubilee Order of Proceedings (with monochrome illustrations by Edward Ardizonne); Paul Cezanne on painting, 1948; Typography, 1939-40; Speech by Leonard Daniels, 1948; Tam O'Shanter, 1949; Elegy Written in a Country Churchyard by Thomas Grey, together with two lithographs on paper, laid onto card, titled The Menagerie and The Circus, 23 x 30.5 cm (9 x 12 ins), mounted (56 x 50.5 cm)QTY: (6)
CEZANNE PAUL: (1839-1906) French Post-Impressionist painter. A.L.S., P Cezanne, two pages, 8vo, Le Tholonet, 8th September 1897, to [Emile] Solari, in French. Cezanne states that he has just received l'Avenir Artistique et littéraire which Solari had been kind enough to send to him, and continues to remark 'Votre père viendra manger du canard avec moi, dimanche prochain. Il sera aux olives, (Le canard bien entendu.) - Que ne pouvez-vous être des notres' (Translation: 'Your father is coming to eat duck with me next Sunday. It will be with olives, (the duck of course.) - Why can't you be one of us'), concluding by asking Solari to keep him in his good memory for the future. A couple of very light, minor creases and a few extremely minor stains, only very slightly affecting part of the text and signature, about VGEmile Solari (1873-1961) French novelist and poet, son of Philippe Solari (1840-1906) French sculptor, a contemporary and close friend of Paul Cezanne and Emile Zola.
Charles Vilette, French 1885-1946 - Bois-Colombes, before 1912; oil on board, signed lower right 'C. Vilette', 53.9 x 72.9 cm Provenance: Roger Fry (according to the labels attached to the reverse); Pamela Diamond, by descent; private collection, gifted by the above Exhibited: Grafton Gallery, London, 'Second Post-Impressionist Exhibition', October-December 1912 (according to the annotated label attached to the reverse) Note: the artist exhibited in pivotal exhibitions in the early 20th century, including 'Neue Kunst. Erste Gesamt-Ausstellung' at Hans Goltz, Munich in 1912 (alongside Gabriele Münter, Paul Cezanne and Vincent van Gogh), the 'Second Post-Impressionist Exhibition. British, French and Russian Artists' at the Grafton Galleries, London and 'The Grafton Group. Vanessa Bell, Roger Fry, Duncan Grant. Second Exhibition' at the Galleries of the Alpine Club, London in 1914.
A collection of contemporary artwork to include the following: Gerry Baptist RE (b. 1935) The Iphone Players - After Cezanne Woodblock Print Edition 2/5 Signed and numbered by the artist Measures 38cm x 30cm. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions. Alex Hartley Nowhere Island - 2012 Situations Nowhereisland certificate of citizenship, 2012, a limited edition 28/100, No Where is Land sample, Measures 54cm x 46cm. Nowhereisland is an artistic project by British artist Alex Hartley, made in 2012. It was an artwork that grew from the proposition ‘what if an Arctic island travelled south?’1 The fundamental premise of the project was to create the world’s newest nation, a borderless country with citizenship open to all. The project began in 2004 with a Cape Farewell expedition Hartley made to the High Arctic region of Svalbard. There, his quest was to find and claim a new island.2 Calling upon the practices of nineteenth century exploration, particularly of the Arctic, Hartley kept an expedition journal. Under an entry titled SEARCH, he describes his pursuit: I find myself monitoring the coastline, watching and checking it against the latest maps and charts: searching for the possibility of new land that might have been revealed from within a retreating glacier. In many places, the charts do not match what I am seeing. Massive glacial retreat has created a changed landscape. Days are passing. We are over three-quarters of the way through our expedition and as yet there is no sign of the imagined island for which I am searching. It was important to Hartley that the island be the physical product or evidence of a changing climate. Only then could it appear as ‘new’ territory, previously unmapped and unclaimed. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions. Michael Robinson (b. 1991) Axon & Neuron - 1991 Oil on Canvas Measures 41cm x 46cm With Flowers East Invoice copy. Michael Dover-Robinson was born in 1953 in Lancashire, UK. In 1979 he began studies for a fine art degree, specializing in painting, at Manchester Metropolitan University where he graduated with first class honours and mentions in art history and liberal studies. In 1985 he went on to further painting studies at the Slade school, University college London. The following years were spent painting full time, in London. In 1993, he moved into the world of fine art printing at a big London publishing house. Where he was the studio director and master print maker. Since 2005, he divides his time between England and France composing and playing Jazz music and building guitars. Exhibitions include: The Angela Flowers gallery, London.1988,The Solomon Gallery, London.1986, The Sue Williams gallery, London.1987, The Flower gallery, London.1987, The Bloomsbury theatre, London.1985, The Kingsgate gallery, London.1987, The Arts centre,Chester.1978, Theatre Clwyd, North Wales.1978, The Grundy House museum, Blackpool.1978, The Manchester Print Workshop gallery, Manchester.1977. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
After Gustav Klimt (1862-1918, Austrian), coloured print, 'The Kiss', framed, mounted, and under glass, measuring 50cm x 84cm, & 70cm x 102cm, together with three other coloured prints, to comprise 'Pink Roses, Chinese Vase', after Samuel John Peploe (1871-1935, British), 'Lac d'Annecy', after Paul Cezanne (1839-1906, French), and an Australian aboriginal print (4)
Sam Gilliam (American, 1933-2022). Small acrylic on birch plywood titled "Mark Squared" depicting a colorful abstract composition, 2000. With a three-dimensional element in the form of an irregular-shaped wedge projecting from the lower half of the artwork. Signed, titled, and dated along the verso.Provenance: Private Minnesota collection.Lot Essay:Sam Gilliam was one of America's foremost Black artists and a leader in the color field and lyrical abstraction movements. He was influenced by German Expressionists such as Emil Nolde, Paul Klee, and Nathan Oliveira. He was additionally influenced by Vladimir Tatlin, Frank Stella, Hans Hofmann, Georges Braque, Pablo Picasso, and Paul Cezanne. An artist from an early age, he was always interested in art and eventually studied fine arts at the University of Louisville, admitted as the second class of black undergraduate students to the school.Around 1965, he became the first artist to introduce the idea of an unsupported canvas, draping the paintings from ceilings, walls, and floors. These works were immensely popular and led to exhibitions and commissions worldwide including representing the United States at the 36th Venice Biennale. He moved away from this in later years to focus on jazz-inspired works like his Black Paintings, so-named because they are painted in shades of black. His works shifted once more in the 1980s to resemble the African patchwork quilts of his childhood. Though he was largely overlooked throughout the late 1980s and 1990s, his career saw a resurgence following a retrospective at the Corcoran Gallery in 2005.From then until his death in 2022, his works came into the collections of the Museum of Modern Art (MoMA) and the Metropolitan Museum of Art among others. He also had successful exhibitions including a second show at the Venice Biennale (2017), a large-scale draped painting titled "Yves Klein Blue" in Giardini's central pavilion for the show "Viva Arte Viva," and his first European retrospective in 2018 hosted by the Kunstmuseum Basel.His honors and awards were plentiful including eight honorary doctorates, several National Endowment for the Arts grants, the Longview Foundation Award, and a Guggenheim Fellowship. In 2015 he was awarded the Medal of Art by the U.S. State Department for his longtime contributions to art in embassies and other diplomatic facilities as well as his cultural diplomacy, which showcased his works in over 20 countries during his career.From 1962 until the 1980s, Gilliam was married to Dorothy Butler, the first African-American female columnist at The Washington Post. They had three daughters together. In 2018, after a 35-year partnership, he married Annie Gawlak, owner of the former G Fine Art gallery in Washington, D.C. On June 25, 2022, Gilliam died in his home at the age of 88 after a long, varied, and ultimately successful career creating the art that he loved.Height: 12 in x width: 12 in x depth: 4 in.br/>Condition:The artwork is structurally sound. All pieces are firmly attached. There are no splits, losses, or repairs to the wooden components. Natural bubbles to the paint surface original to the artistic process. Along the lower right of the red panel there are three small spots (the largest measuring 3/4 inch x 3/4 inch) that fluoresce under UV light and appear uneven when compared to the rest of the work which is quite smooth, save for the aforementioned bubbles. This is likely an area of pooled varnish. There is some slight yellow discoloration to the varnish throughout. Some scratches to the metal along the verso of the work.
* Gowing (Sir Lawrence, 1918-1991). An archive of correspondence, handwritten notes, typescript drafts of articles and book chapters, photocopies, printed art history articles, photographs and related documents by, and assembled by, Lawrence Gowing, circa 1950-1990, including approximately 40 autograph letters from Adrian Stokes to Lawrence Gowing, the majority discussing and detailing ideas on art and various aesthetic topics, circa 1952-1972, including a number with original postmarked envelopes, a small group of photographs of Stokes in Venice and Italy, two early albums containing writings and photographic reproductions of works by Vermeer and his contemporaries, with handwritten accompanying notes by Gowing, an offprint article on Degas inscribed to Gowing by Theodore Reff, articles by Richard Wollheim inscribed to Gowing by the author, a typescript copy of a book of chapters on Dutch 17th century painting by Gowing, an article on Vermeer's View of Delft, on Turner and the French rivers, etc., an offprint 'Haydon versus Shee' by Quentin Bell, with presentation inscription by the author to Gowing dated 1960, offprints and related documents from Svetlana Alpers, printed and typescript articles on Matisse and Picasso, including Leo Steinberg's Resisting Cezanne: Picasso's Three Women, circa 1966, mostly contained in envelopes and card folders QTY: (a carton)
George Leslie Hunter (Scottish 1877-1931) The Mill Dam, Fife Oil on canvas, with a portrait of Tom Honeyman (1891-1971) (to the reverse) 63.3 x 76.6cm Provenance: Dr Tom J. Honeyman (1891-1971); By descent; Sotheby's, Gleneagles, Scottish and Sporting Pictures and Sculpture, 5 September 2001, lot 1377; Sotheby's, West Lothian, Scottish Pictures, 15 April 2002, lot 228; Private Collection; By whom sold, Sotheby's, London, The Scottish Sale, 29 September 2010, lot 88; Private Collection, Gloucestershire “Everyone must choose his own way, and mine will be the way of colour” - George Leslie HunterGeorge Leslie Hunter first visited Fife in 1919, and this mill was a favoured and recurring theme, the subject of a series of paintings from the early 1920s. The present work, painted c.1923, demonstrates how he had absorbed the influence of French art, including Matisse and above all Cezanne. The landscape and buildings are executed in rapid brushstrokes of strong colour across the canvas. It is a painting which demonstrates how Hunter would use colour from across the spectrum to build up form.On the reverse of the work is a portrait of Tom Honeyman (1891-1971), which was probably painted seven years after the landscape. Honeyman was originally a doctor but in 1929 abandoned the medical profession to pursue his passion for art, becoming first a dealer, and later the director of Kelvingrove Art Gallery. He was a great supporter of the Scottish Colourists and, above all, of his close friend Hunter. Honeyman wrote the first monograph dedicated to Hunter’s work in 1937, and the latter painted the former on several occasions.
New York: Lamplight Collection of Modern Art, 1975. Hardcover art book featuring Le Cabanon De Jourdan by Paul Cezanne (French, 1839-1906) on the cover. 91-pages of post-impressionism artwork from well-known artists. Georges Seurat, Albert Dubois-Pillet, Paul Signac, and many more. Issued: 1975Dimensions: 9.75"W x 12.25"H x 0.5"DManufacturer: Lamplight Collection of Modern ArtCountry of Origin: United States
New York: Stewart, Tabori & Chang, 1990. Large hardcover art book with its original dust cover featuring Still Life With Drapery by Paul Cezanne (French, 1839-1906) on the front, and The Girlhood Of The Virgin by Francisco de Zurbaran on the back. 653-pages collective artworks from various notable artists. Rembrandt, Aert Van Der Neer, Francois Boucher, and many more. Artist: Colin EislerIssued: 1990Dimensions: 9.75"W x 11.75"H x 1.75"DManufacturer: Stewart, Tabori & ChangCountry of Origin: United States
CEZANNE PAUL: (1839-1906) French Post-Impressionist painter. A.L.S., P Cezanne, two pages, 8vo, Le Tholonet, 8th September 1897, to [Emile] Solari, in French. Cezanne states that he has just received l'Avenir Artistique et littéraire which Solari had been kind enough to send to him, and continues to remark 'Votre père viendra manger du canard avec moi, dimanche prochain. Il sera aux olives, (Le canard bien entendu.) - Que ne pouvez-vous être des notres' (Translation: 'Your father is coming to eat duck with me next Sunday. It will be with olives, (the duck of course.) - Why can't you be one of us'), concluding by asking Solari to keep him in his good memory for the future. A couple of very light, minor creases and a few extremely minor stains, only very slightly affecting part of the text and signature, about VGEmile Solari (1873-1961) French novelist and poet, son of Philippe Solari (1840-1906) French sculptor, a contemporary and close friend of Paul Cezanne and Emile Zola.
![RENOIR PIERRE-AUGUSTE: (1841-1919) French painter. A.L.S., Renoir, one page, 8vo, n.p., n.d., to [Claude] Monet (‘Mon cher Mo](https://cdn.globalauctionplatform.com/c94208ea-33a8-4692-9303-b0af00c363c0/3fd5a414-14ed-4b2f-9603-b0b400db65c9/468x382.jpg)
RENOIR PIERRE-AUGUSTE: (1841-1919) French painter. A.L.S., Renoir, one page, 8vo, n.p., n.d., to [Claude] Monet (‘Mon cher Monet’), in French. Renoir explains that he didn’t meet Mr. Chocquet, who was preoccupied with family matters and had to leave suddenly to return to his country, and continues, in part, ‘Il a pense que tres probablement tu aurais besoin de tes toiles de ta boite etc. Je l'ai tranquillise en le priant de me les envoyer chez moi. Il a ete enchante de la propisition.......Il est donc probable que lorsque tu recevras cette lettre tes bibelots seront chez moi.......En tous cas tu n'ay pas a te presser; tu ne me genes en rien’ (Translation: ‘He thought that most likely you would need your canvasses from your box etc. I reassured him by asking him to send them to my house. He was delighted with the proposal…..It is therefore probable that when you receive this letter your trinkets will be with me…….In any case you don’t have to hurry; you don’t bother me at all’). With two old tape stains to the left, one affecting several words of text (which remain legible), otherwise about GClaude Monet (1840-1926) French Impressionist painter.Victor Chocquet (1821-1891) French government official and art collector, a friend of Renoir whom Chocquet commissioned to paint his portrait. In 1899 when Chocquet’s significant collection was sold at auction it included thirty-two works by Cezanne, eleven by Renoir, eleven by Monet and one each by Pissarro and Sisley. Other artists represented in the collection included Corot, Courbet and Delacroix.
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
Holzmann, Adolf(1890-1968)Halbfigürlicher weiblicher Akt mit Orange, 1912Öl auf Leinwandsigniert und datiert rechts unten74 x 73 cmgerahmtAdolf Holzmann war ein aus der Schweiz stammender Künstler. Er wirkte Ende des 19. und Anfang des 20. Jahrhunderts. Dieser Darstellung des halbbdeckten Akts ist geprägt durch Zurückhaltung und den Einsatz dunkler Farbtöne. Einzig durch die zentral platzierte Orange ist ein leuchtender Farbakzent gesetzt. Das Werk beeindruckt durch die Stimmung und das Kolorit. Das Kolorit erinnert an Cezanne, vor allem durch die strenge Komposition mit der Orange als zentralem Element. Die porträtierte Dame selbst, wendet den Blick ab und begibt sich so in eine Gesamtkomposition.
GUSTAV HESSING* (Czernowitz 1909 - 1981 Wien)Brooklyn Bridge, 1965Gouache und Bleistift/Papier, 48 × 65 cmsigniert G Hessing, datiert 65beschriftet NYSCHÄTZPREIS € 1600 - 3000STARTPREIS € 1600Österreichischer Maler des 20. Jahrhunderts. Stammte aus Czernowitz/Buwokina, studierte 1926 bis 1931 an der Akademie der bildenden Künste bei Ferdinand Andri und Karl Fahringer. 1946 Mitbegründer der Künstlergruppe Der Kreis, ab 1958 Mitglied der Wiener Secession. Arbeiten der Zwischenkriegszeit stilistisch dem Expressionismus zuzuordnen, Einflüsse von Richard Gerstl und Edvard Munch. Ab den 1940er Jahren Hinwendung zur gegenständlichen Abstraktion und später Einflüsse von Kubismus und Surrealismus, im Umkreis von Edgar Jené. Malte vor allem Porträts, Landschaften und Stillleben. Einfluss von Paul Cezanne, im Spätwerk Auseinandersetzung mit dem Tachismus. 1979 Ausstellung in der Österreichischen Galerie Belvedere.Bitte beachten: Der Kaufpreis besteht aus Meistbot zuzüglich des Aufgeldes, der Umsatzsteuer sowie gegebenenfalls der Folgerechtsabgabe. Bei Normalbesteuerung (mit ° gekennzeichnet) kommt auf das Meistbot ein Aufgeld in der Höhe von 24% hinzu. Auf die Summe von Meistbot und Aufgeld kommt die gesetzliche Umsatzsteuer von 13%, bei Fotografien 20% hinzu. Bei Differenzbesteuerung beträgt das Aufgeld 28%. Die Umsatzsteuer ist bei der Differenzbesteuerung inkludiert.
GUSTAV HESSING* (Czernowitz 1909 - 1981 Wien)Stadtansicht, 1963Gouache und Bleistift/Papier, 48 × 64,3 cmsigniert G Hessing, datiert 63SCHÄTZPREIS € 1600 - 3000STARTPREIS € 1600Österreichischer Maler des 20. Jahrhunderts. Stammte aus Czernowitz/Buwokina, studierte 1926 bis 1931 an der Akademie der bildenden Künste bei Ferdinand Andri und Karl Fahringer. 1946 Mitbegründer der Künstlergruppe Der Kreis, ab 1958 Mitglied der Wiener Secession. Arbeiten der Zwischenkriegszeit stilistisch dem Expressionismus zuzuordnen, Einflüsse von Richard Gerstl und Edvard Munch. Ab den 1940er Jahren Hinwendung zur gegenständlichen Abstraktion und später Einflüsse von Kubismus und Surrealismus, im Umkreis von Edgar Jené. Malte vor allem Porträts, Landschaften und Stillleben. Einfluss von Paul Cezanne, im Spätwerk Auseinandersetzung mit dem Tachismus. 1979 Ausstellung in der Österreichischen Galerie Belvedere.Bitte beachten: Der Kaufpreis besteht aus Meistbot zuzüglich des Aufgeldes, der Umsatzsteuer sowie gegebenenfalls der Folgerechtsabgabe. Bei Normalbesteuerung (mit ° gekennzeichnet) kommt auf das Meistbot ein Aufgeld in der Höhe von 24% hinzu. Auf die Summe von Meistbot und Aufgeld kommt die gesetzliche Umsatzsteuer von 13%, bei Fotografien 20% hinzu. Bei Differenzbesteuerung beträgt das Aufgeld 28%. Die Umsatzsteuer ist bei der Differenzbesteuerung inkludiert.
GUSTAV HESSING* (Czernowitz 1909 - 1981 Wien)BlumenGouache/Papier, 47,8 × 64,8 cmsigniert G HessingSCHÄTZPREIS € 1000 - 2000STARTPREIS € 1000Österreichischer Maler des 20. Jahrhunderts. Stammte aus Czernowitz/Buwokina, studierte 1926 bis 1931 an der Akademie der bildenden Künste bei Ferdinand Andri und Karl Fahringer. 1946 Mitbegründer der Künstlergruppe Der Kreis, ab 1958 Mitglied der Wiener Secession. Arbeiten der Zwischenkriegszeit stilistisch dem Expressionismus zuzuordnen, Einflüsse von Richard Gerstl und Edvard Munch. Ab den 1940er Jahren Hinwendung zur gegenständlichen Abstraktion und später Einflüsse von Kubismus und Surrealismus, im Umkreis von Edgar Jené. Malte vor allem Porträts, Landschaften und Stillleben. Einfluss von Paul Cezanne, im Spätwerk Auseinandersetzung mit dem Tachismus. 1979 Ausstellung in der Österreichischen Galerie Belvedere.Bitte beachten: Der Kaufpreis besteht aus Meistbot zuzüglich des Aufgeldes, der Umsatzsteuer sowie gegebenenfalls der Folgerechtsabgabe. Bei Normalbesteuerung (mit ° gekennzeichnet) kommt auf das Meistbot ein Aufgeld in der Höhe von 24% hinzu. Auf die Summe von Meistbot und Aufgeld kommt die gesetzliche Umsatzsteuer von 13%, bei Fotografien 20% hinzu. Bei Differenzbesteuerung beträgt das Aufgeld 28%. Die Umsatzsteuer ist bei der Differenzbesteuerung inkludiert.
GUSTAV HESSING* (Czernowitz 1909 - 1981 Wien)Stillleben, 1967Gouache/Papier, 49 × 63,5 cmsigniert G Hessing, datiert 67verso beschriftet StillebenSCHÄTZPREIS € 1000 - 2000STARTPREIS € 1000Österreichischer Maler des 20. Jahrhunderts. Stammte aus Czernowitz/Buwokina, studierte 1926 bis 1931 an der Akademie der bildenden Künste bei Ferdinand Andri und Karl Fahringer. 1946 Mitbegründer der Künstlergruppe Der Kreis, ab 1958 Mitglied der Wiener Secession. Arbeiten der Zwischenkriegszeit stilistisch dem Expressionismus zuzuordnen, Einflüsse von Richard Gerstl und Edvard Munch. Ab den 1940er Jahren Hinwendung zur gegenständlichen Abstraktion und später Einflüsse von Kubismus und Surrealismus, im Umkreis von Edgar Jené. Malte vor allem Porträts, Landschaften und Stillleben. Einfluss von Paul Cezanne, im Spätwerk Auseinandersetzung mit dem Tachismus. 1979 Ausstellung in der Österreichischen Galerie Belvedere.Bitte beachten: Der Kaufpreis besteht aus Meistbot zuzüglich des Aufgeldes, der Umsatzsteuer sowie gegebenenfalls der Folgerechtsabgabe. Bei Normalbesteuerung (mit ° gekennzeichnet) kommt auf das Meistbot ein Aufgeld in der Höhe von 24% hinzu. Auf die Summe von Meistbot und Aufgeld kommt die gesetzliche Umsatzsteuer von 13%, bei Fotografien 20% hinzu. Bei Differenzbesteuerung beträgt das Aufgeld 28%. Die Umsatzsteuer ist bei der Differenzbesteuerung inkludiert.
Sarah Wood Admiration (AOP), 2023 Oil on Sized Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Sarah grew up in Yorkshire, close to the city of Leeds and the Yorkshire Dales. Since graduating from Wimbledon School of Art, London, Sarah has maintained a professional practice, occupying various studios across London, and now settled in Space Studios, Peckham, London. Following a successful exhibition at Falmouth Art Gallery in Cornwall, curated by Cath Wallace, Sarah's work has been shown and sold through Quantum Contemporary Art, London at art fairs around the world. For many years Sarah has immersed herself in the painting of pears and continues to develop her skills and contemporary style, whilst also applying the same concentration to a series of small flower paintings. The genre of still life painting and particularly painting pears, has dominated Sarah's practice for some time. Looking at the paintings of Cezanne and Morandi, or the more elaborate Dutch still life painters, she has become fascinated by how the depiction of simple everyday objects can convey something more than the things seen. Education BA (Hons) Fine Art Painting, Wimbledon School of Art, London Select Exhibitions/Awards 2023 Exhibitions: Art Palm Beach, USA Art Market Hamptons, USA Quantum at West Horsley Place, Surrey Affordable Art Fair, Hong Kong Seattle Art Fair, USA Royal Academy Summer Exhibition 2023 Always On My Mind 2, Fitzrovia Gallery, London Affordable Art Fair, Battersea, London (October) Gallery Representation Quantum Contemporary Art, London Statement about AOAP Submitted Artwork Painting on such a small scale, on paper, was a challenge, but I followed the same principles as I do for my larger paintings on linen. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Sarah Wood Dependant (AOP), 2023 Oil on Sized Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Sarah grew up in Yorkshire, close to the city of Leeds and the Yorkshire Dales. Since graduating from Wimbledon School of Art, London, Sarah has maintained a professional practice, occupying various studios across London, and now settled in Space Studios, Peckham, London. Following a successful exhibition at Falmouth Art Gallery in Cornwall, curated by Cath Wallace, Sarah's work has been shown and sold through Quantum Contemporary Art, London at art fairs around the world. For many years Sarah has immersed herself in the painting of pears and continues to develop her skills and contemporary style, whilst also applying the same concentration to a series of small flower paintings. The genre of still life painting and particularly painting pears, has dominated Sarah's practice for some time. Looking at the paintings of Cezanne and Morandi, or the more elaborate Dutch still life painters, she has become fascinated by how the depiction of simple everyday objects can convey something more than the things seen. Education BA (Hons) Fine Art Painting, Wimbledon School of Art, London Select Exhibitions/Awards 2023 Exhibitions: Art Palm Beach, USA Art Market Hamptons, USA Quantum at West Horsley Place, Surrey Affordable Art Fair, Hong Kong Seattle Art Fair, USA Royal Academy Summer Exhibition 2023 Always On My Mind 2, Fitzrovia Gallery, London Affordable Art Fair, Battersea, London (October) Gallery Representation Quantum Contemporary Art, London Statement about AOAP Submitted Artwork Painting on such a small scale, on paper, was a challenge, but I followed the same principles as I do for my larger paintings on linen. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Claire Houlihan Piano Player Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Claire is a figurative impressionist painter in oils, acrylic and watercolour who lives in Lancing, West Sussex. Painting often mundane objects and scenes, contrast of light and shadow and themes of emptiness and stillness. Influences include Hopper, Hockney, Cezanne and contemporary American Impressionists. Education The Arts Institute at Bournemouth Brighton College of Technology Select Exhibitions/Awards The Summer Exhibition 2023 Brighton Artist's Open Houses 2022,23 The Sussex Contemporary 2022 Statement about AOAP Submitted Artwork Chandos place is in Covent Gardens, I saw this pretty trio of pastel faced buildings one time, the building says Chandos street but it's actually in Chandos Pl. The piano player was playing on Hove promenade on a mobile box piano. The fluffy cat is a regular visitor to my garden and the yellow door is in one of Hove's regency Squares. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Claire Houlihan Fluffy Cat Pencil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Claire is a figurative impressionist painter in oils, acrylic and watercolour who lives in Lancing, West Sussex. Painting often mundane objects and scenes, contrast of light and shadow and themes of emptiness and stillness. Influences include Hopper, Hockney, Cezanne and contemporary American Impressionists. Education The Arts Institute at Bournemouth Brighton College of Technology Select Exhibitions/Awards The Summer Exhibition 2023 Brighton Artist's Open Houses 2022,23 The Sussex Contemporary 2022 Statement about AOAP Submitted Artwork Chandos place is in Covent Gardens, I saw this pretty trio of pastel faced buildings one time, the building says Chandos street but it's actually in Chandos Pl. The piano player was playing on Hove promenade on a mobile box piano. The fluffy cat is a regular visitor to my garden and the yellow door is in one of Hove's regency Squares. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Claire Houlihan Chandos Place Watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Claire is a figurative impressionist painter in oils, acrylic and watercolour who lives in Lancing, West Sussex. Painting often mundane objects and scenes, contrast of light and shadow and themes of emptiness and stillness. Influences include Hopper, Hockney, Cezanne and contemporary American Impressionists. Education The Arts Institute at Bournemouth Brighton College of Technology Select Exhibitions/Awards The Summer Exhibition 2023 Brighton Artist's Open Houses 2022,23 The Sussex Contemporary 2022 Statement about AOAP Submitted Artwork Chandos place is in Covent Gardens, I saw this pretty trio of pastel faced buildings one time, the building says Chandos street but it's actually in Chandos Pl. The piano player was playing on Hove promenade on a mobile box piano. The fluffy cat is a regular visitor to my garden and the yellow door is in one of Hove's regency Squares. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Claire Houlihan The Yellow Door Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Claire is a figurative impressionist painter in oils, acrylic and watercolour who lives in Lancing, West Sussex. Painting often mundane objects and scenes, contrast of light and shadow and themes of emptiness and stillness. Influences include Hopper, Hockney, Cezanne and contemporary American Impressionists. Education The Arts Institute at Bournemouth Brighton College of Technology Select Exhibitions/Awards The Summer Exhibition 2023 Brighton Artist's Open Houses 2022,23 The Sussex Contemporary 2022 Statement about AOAP Submitted Artwork Chandos place is in Covent Gardens, I saw this pretty trio of pastel faced buildings one time, the building says Chandos street but it's actually in Chandos Pl. The piano player was playing on Hove promenade on a mobile box piano. The fluffy cat is a regular visitor to my garden and the yellow door is in one of Hove's regency Squares. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Constantinos Maleas (Greek, 1879-1928)Côtes de Phaliron signé en grec (en bas à droite)huile sur carton dur29 x 46.5cm (11 7/16 x 18 5/16in).signed in Greek ( lower right)oil on cardboardFootnotes:ProvenancePrivate collection, Athens.Bonhams Greek Sale of 23 May 2006, lot 105.Acquired from the above sale by the present owner.Entrusting his subject to the truth of vision, Maleas transformed an austere stretch of the Attic shoreline into a bold embrace of undulating shapes and forms. Vibrant colours, intense, richly-layered brushstrokes, sharp outlines, and daring juxtapositions of tonalities result in a dynamic and rhythmical work that conveys the artist's emotional response to the landscape. Following in the steps of Cezanne, he rendered the natural environment not only as coloured patterns of light, but also as a complex system of volume, mass and structure, venturing to penetrate into its inner world and discover its enduring character and essential content. The painting may have been included in the artist's 'Attic Seashore' series shown at the Zappeion Hall in March 1920.For further information on this lot please visit Bonhams.com
Nikos Engonopoulos (Greek, 1907-1985)Hommage à Greco signé et inscrit en grec (au revers)huile sur toile100.5 x 36cm (39 9/16 x 14 3/16in).Peint vers 1935-1937.signed and inscribed (on the reverse)oil on canvasFootnotes:ProvenancePrivate collection, Athens.LittératureK. Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural, exhibition catalogue and catalogue raisonée, Benaki Museum, Athens 2007, no. 202, p. 241 (illustrated), p. 409 (catalogued, discussed and illustrated).'As a former student of Parthenis, I was taught a theory 'tirée de Cezanne et du Gréco', and actually, when I was a student, I had copied—with such passion—many parts of his divine Concert of Angels.'N. Engonopoulos1 As noted by artist Argyris Stylianidis, who was a student of Parthenis at the Athens School of Fine Arts from 1930 to 1934, the master used to assign some of his students to copy El Greco paintings at the National Gallery in Athens.2 1 Letter to his wife-to-be Lena Tsiokou-Engonopoulou, September 11, 1959. See N. Engonopoulos, ...and I Love you Madly, Letters to Lena 1959-1967 [in Greek], Ikaros editions 1993/2007, p. 85. 2 Interview by E. Hamalidis, Kathimerini newspaper, July 27, 1997, p. 24. See also K. Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural, exhibition catalogue and catalogue raisonée, Benaki Museum, Athens 2007, p. 409.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
Constantinos Parthenis (Greek, 1878-1967)Alentours de l'Acropole signé et daté 'C. Parthenis 1909' (en bas à gauche)huile sur toile80 x 85cm (31 1/2 x 33 7/16in).Peint en 1909.signed and dated (lower left)oil on canvasFootnotes:ProvenanceSpyros Loverdos collection, Athens.Thence by descent to the present owner.ExpositionsParis, Galerie de la Boétie, Group Techni (Oeuvres d'un Groupe d'Artistes Héllènes), September 1-30, 1919, no. 98.Athens, Athens Technological Institute exhibition hall, Exhibition of Paintings by C. Parthenis, January 26 - February 9, 1966, no. 20 (listed in the exhibition catalogue).Athens, National Gallery - Alexandros Soutzos Museum, Metamorphoses of the Modern, The Greek Experience, May 14 - September 13 1992, no. 6 (illustrated in the exhibition catalogue p. 33). Athens, National Gallery - Alexandros Soutzos Museum, Constantinos Parthenis, Painting an Ideal Greece , June 20, 2022 - April 9, 2023 (illustrated in the exhibition catalogue, p. 163). LittératureC. Parthenis, 1964 Calendar, Heracles-Olympos General Cement Company, Athens 1963 (illustrated).Y. Tsarouchis, 'The Work of Parthenis', speech delivered at the Athens Technological Institute on February 2, 1966 (mentioned). Nea Estia magazine, no. 927, February 15, 1966, pp. 232, 268 (discussed).Eikones magazine, no. 537, February 4, 1966, p. 44 (mentioned).The Greek Painters, 20th Century, vol. II, Melissa editions, Athens 1975, pp. 19-20, 23 (discussed), p. 35, fig. 18 (illustrated).Xydis, Propositions for the History of Modern Greek Art, vol. I, Olkos editions, Athens 1976, pp. 75-76 (discussed).S. Lydakis, The History of Modern Greek Painting (16th-20th Century),The Greek Painters, vol. III, Melissa editions, Athens 1976, p. 363 (discussed).T. Spiteris, Three Centuries of Modern Greek Art 1660-1967, Athens 1979, vol. III, p. 220 (mentioned).C. Christou, Greek Painting 1832-1922, National Bank of Greece edition, Athens 1981, p. 110 (mentioned), p. 161 (listed).A. Kotidis, The Painter C. Maleas (1879-1928), doctoral dissertation, Thessaloniki 1982, pp. 59, 206 ft. ie (mentioned).Landscapes of Greece by Parthenis, 1984 Calendar / February, National Bank of Greece, Athens 1983 (illustrated).C. Christou, Konstantinos Parthenis, Vienna-Paris-Athens, (exhibition catalogue), Foundation for Hellenic Culture - Vienna Academy of Fine Arts, Athens 1995, pp. 23, 24 (mentioned).E. Matthiopoulos, Greek Participation in the Venice Biennales 1934-1940, doctoral dissertation, vol. III, Rethymno 1996, p. 829, ft.199 (mentioned).Dictionary of Greek Artists, Melissa editions, vol. III, Athens 1999, p. 472 (mentioned).A. Kotidis, Constantinos Maleas, Adam editions, Athens 2000, p. 61 (mentioned).A. Kouria, Michalis Economou, Adam editions, Athens 2001, pp. 119, 126 fn.35 (discussed), p. 120 (illustrated).K. Perpinioti-Agazir, Le 'Groupe Tekhni', doctoral dissertation, Université Paris I - Panthéon Sorbonne 2002, vol. I, p. 178 (mentioned), vol. III, 674 (catalogued), vol. reproductions I, pl. LXXVII (illustrated).A. Xydis, Constantinos Parthenis, Ta Nea editions, Athens 2006, pp. 47-50, 97-99 (discussed), pp. 44-45, 46, 47 (illustrated).E. Matthiopoulos, The Life and Work of Costis Parthenis, K. Adam editions, Athens 2008, no. 74, p. 66 (mentioned), p. 418 (catalogued), p. 163 (illustrated).Parthenis is not a painter who depicts nature.He is a painter who interprets nature. Z. Papantoniou1A Parthenis masterpiece, as iconic and breathtaking as Slope and the Port of Kalamata at the Athens National Gallery, Alentours de l'Acropole is a powerful landscape unleashed in paint. The creative force and freedom in the handling of colour finds its match in the boldness of execution, creating a pictorial formulation that lies at the core of his achievement as a painter. Setting his easel outdoors, Parthenis radically simplified nature to concentrate on chromatic and painterly matters. Rather than striving for topographical accuracy or resorting to the picturesque, he relied exclusively on purely pictorial means to capture the exuberance and zest of Attica's nature. Although he painted the view in front of him with complete directness, he did so with a deep understanding of the landscape as a complex entity. The Parthenon, this classical masterpiece and symbol of everlasting value, blends in harmoniously with the violet luminosities and variable pulse of the surrounding landscape, underscoring its infinite and eternal nature. Parthenis treats the monument not as a lifeless relic of ancient glory but as a living organism; a form of eternity constantly reborn in the present. In his hands the Parthenon becomes a verse of lyric poetry. In such an evocative setting inhabited by dematerialised forms and charged with timeless references, painting is lifted to the realm of music, the most immaterial of all arts. Every part of the landscape is animated by colour and lit by grace, endowing the composition with an allegorical evocation, elegiac feel, and universal character. Land, monument and sky come together, with sharp outlines, bold colouring, and cooler and warmer tones producing a rhythmic outcome. To make such an irresistibly beautiful and at the same time well-formulated picture, Parthenis drew from the colour expressionism of the fauves and Cezanne's use of paint as a structural element. While the work of Cezanne taught him compositional discipline, Gauguin and the Pont-Aven School encouraged him to focus on the expressive use of line and elevate the horizon, extending the pictorial surface to the limits of the canvas without the illusion of receding space. Much like the post-impressionists, Parthenis was interested not only in delivering a fabric of brushstrokes and colour marks but also in weaving together light and structure in a unified pictorial experience.Suffused with eternal light, Alentours de l'Acropole transcends the fleeting sensations of the impressionist glance to remould the luminous landscape by means of pure colour's suggestive force. The artist's perceptive handling of the natural environment, combined with a poetic interpretation of visual reality come together in a work of great artistic sensitivity, poetic charm and spiritual uplift. This seminal work claims the eye and provokes the viewer's emotional participation, reflecting the vision of an artist loaded with age-old memories and entranced by the dynamism and boldness of the twentieth century.2 1 Z. Papantoniou, Valkanikos Tahydromos newspaper, May 11, 1920.2 See D. Papastamos, Painting 1930-1940, Astir Insurance edition, Athens, 1981, p. 68.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
Paul Cezanne (Aix-en-Provence 1839 – 1906 Aix-en-Provence)Tête de jeune FilleRadierung mit Roulette. 1873. 13,4 x 10,7 cm (32,5 x 24,9 cm). In der Platte signiert. (17)Venturi 1160. Cherpin 4 III (von III). – Druck in Braun auf festem, etwas getöntem Bütten von „(France)“. – Rückseitig mit leichten Montierungsresten und sehr schön erhalten.
RAYMOND FRANCIS McINTYRE (1879-1933). Street in Saint Valery-sur-Somme, signed with monogram, inscribed as title on a label attached to the backing, oil on board 12 x 10 inProvenance: Private Collection, Hay on Wye. For two comparable works by the artist cf. A Street in Valery-Sur Somme offered for auction at The International Art Centre, Auckland on 22 nd July 2015 and also on the 2nd December 2015; and a 1919 View of a street in Chelsea offered at Dunbar Sloane, New Zealand on 21 July 2010The artist was born in Christchurch, New Zealand in 1879 and studied at the Canterbury School of Art. He studied there under Robert Herdman Smith, and Alfred Walsh. From 1906-1908 he shared a studio with fellow artist Leonard Booth. Between 1899-1908 his distinctive loosely brushed paintings blended influences from Petrus van de Velden with post Impressionism. Seeking further training and experience McIntyre travelled to London in 1909, settling into a rented studio in Cheyne Walk, Chelsea. He was excited by the art of Cezanne, Van Gogh, Utrillo and Matisse and their influences can be seen in his landscape works of the following years. Like the French painters he sought a spontaneity and breadth in the handling of paint. He was taught by William Nicholson, George Lambert and Walter Sickert amongst others. Over the next decade he exhibited frequently at The Goupil Gallery. His street scenes were a subject matter that McIntyre shared with the Camden Town Group, though his actual technique differed widely from those artists. In October 1918 he held a large exhibition at the Eldar Gallery, London; and in 1921 as a member of the Monarro Group, he exhibited at the Goupil Gallery alongside Paul Signac, M.L. Pissarro and Le Maitre. From 1920 onwards McIntyre introduced more river and park scenes into his subject-matter. Thereafter along with Frances Hodgkins and his early friend and fellow student Sydney Thompson he became a New Zealand artist who stayed on in the United Kingdom rather than returning to his home country.Raymond McIntyre was a close friend of Edward McKnight Kauffer (1890-1954) who studied in Paris at the Academy Moderne (1913-1914, and his French street scenes are usually dated to around that time on account of that association; though the example at Minster may date from a few years later. A number of street scenes by McIntyre were exhibited in the 1984 Raymond McIntyre Survey Exhibition'. Auckland City Art Gallery, New Zealand.
§ Zdzislaw Ruszkowski (1907-1991) Landscape from Ireland signed 'Ruszkowski' (lower right) oil on canvas 76 x 50cm Provenance: Sale; Christie's South Kensington, Thursday 11 May 2004, lot 93 Born on July 12, 1907, in Tomaszow, Poland, Zdzislaw Ruszkowski displayed an early affinity for art, no doubt influenced by his father - a painter, who took delight in bringing his son with him on painting expeditions. His formative years were marked by a deep curiosity and passion for painting, leading him to pursue formal education in the field of fine arts. Ruszkowski's academic journey took him to the Cracow Art Academy, where he honed his skills under the guidance of renowned Polish artists. In 1935, he travelled to Paris, where his work would take on a different character and became more explicitly influenced by masters including Titian, Van Gogh, Cezanne and Rembrandt – stylistically disparate, though linked by their dexterous handling of light and colour. It was during this period that Ruszkowski began to develop his unique artistic approach, characterized by a fusion of classical techniques with modern sensibilities.In 1939, interrupted by the outbreak of war, Ruszkowski joined the Polish army in France. Travelling across Europe by foot, Ruszkowski ultimately found himself in Scotland, where he met and married his wife, Jennifer McCormack. Following the war, Ruszkowski and his wife divided their time between London, Cornwall and his studio in Lyme Regis. Whilst he is, perhaps, not a well-known name today, during his lifetime Ruszkowski was able to support his family through his work as an artist, exhibiting alongside the London Group and being represented by galleries including the Leicester Galleries, Roland, Browse & Delbanco and Jablonsky Gallery.Ruszkowski's body of work is a testament to his mastery of various artistic genres. He was a versatile artist, equally adept at portraiture, landscape and still life painting. His signature style combined meticulous attention to detail with a profound emotional depth. Ruszkowski's use of colour and light was particularly noteworthy, as he skilfully captured the nuances of the human form, the grandeur of nature and the subtleties of everyday objects.
* Phelan Gibb (Henry William, 1870-1948). Composition, oil on card, signed ‘Phelan Gibb' lower left, 28.5 x 33.5 cm (11 1/4 x 13 1/4 ins), gilded wood frame, with typewritten label to verso 'Collection of Derwent Wise. Phelan Gibb 1870-1948. Abstraction-probably about 1945. This painting was acquired from Mr. Michael Dawson. It had been given to him by Lucy Wertheim during a period when he worked in her Gallery. She represented his work in her Galley and also was an author of a biography of Phelan Gibb', with additional handwritten inscription by Michael Dawson to the label, dated 23 iv 05', frame 45 x 49.5 cmQTY: (1)NOTE:Provenance: Lucy Wertheim; Michael Dawson; Derwent Wise; Collection of Michael and Megan Dawson.According to the handwritten note added to the typewritten label to verso this painting was offered to Derwent Wise by Michael Dawson as security for a loan, the full text reads: 'Not as I remember it! As I recall, this picture was offered as security on a loan (of £5, I believe) at the time in the early 1950s when we were both students in Whitley Bay. When I came to redeem it several months later, Derwent claimed I had in fact sold it to him.... a view he maintained for over 50 years. Also - I didn't work in Lucy Wertheim's galley in Ashford, Derbyshire - I was introduced to her by a girlfriend who had worked there. Michael Dawson, 23 iv 05'.Harry Phelan Gibb was born in Alnwick, Northumberland, and studied in Newcastle, Edinburgh, Antwerp, and Munich before moving to Paris for 25 years up until the First World War. While there, he exhibited regularly at the Salon d'Automne, and was included in the infamous Armory Show of Modern Art in New York, alongside Picasso, Matisse, Duchamp, and others. In the same year, he held a one-man show at the Bernheim Jeune gallery in Paris, and in Dublin in 1914 an important exhibition of his work was closed down on the eve of its opening due to the opposition at the Catholic Church to numerous studies of nudes included in it. He was rediscovered in the early 1930s by the art dealer Lucy Wertheim, who wrote in her autobiography Adventure in Art: 'The English artist still living whose work probably is of the most permanent value id Phelan Gibb. One day Phelan Gibb will doubtless come into his own, and his finest paintings take their place alongside examples of Manet, Cezanne, Picasso, Kolle and Christopher Wood in international exhibitions of Modern Art' (page 31).
* Phelan Gibb (Henry William, 1870-1948). Still Life with Bowls and Vases of Flowers, circa 1946, oil on canvas, signed ‘Phelan Gibb’ lower left, 50.7 x 61cm (20 1/8 x 24 ins), in an Italian wooden frame, with a label verso typewritten 'Lent by Lucy Werthheim', frame 59.5 x 69 cmQTY: (1)NOTE:Provenance: Lucy Wertheim; Michael Dawson; Derwent Wise; Collection of Michael and Megan Dawson.According to the handwritten note added to the typewritten label to verso this painting was offered to Derwent Wise by Michael Dawson as security for a loan, the full text reads: 'Not as I remember it! As I recall, this picture was offered as security on a loan (of £5, I believe) at the time in the early 1950s when we were both students in Whitley Bay. When I came to redeem it several months later, Derwent claimed I had in fact sold it to him.... a view he maintained for over 50 years. Also - I didn't work in Lucy Wertheim's galley in Ashford, Derbyshire - I was introduced to her by a girlfriend who had worked there. Michael Dawson, 23 iv 05'.Harry Phelan Gibb was born in Alnwick, Northumberland, and studied in Newcastle, Edinburgh, Antwerp, and Munich before moving to Paris for 25 years up until the First World War. While there, he exhibited regularly at the Salon d'Automne, and was included in the infamous Armory Show of Modern Art in New York, alongside Picasso, Matisse, Duchamp, and others. In the same year, he held a one-man show at the Bernheim Jeune gallery in Paris, and in Dublin in 1914 an important exhibition of his work was closed down on the eve of its opening due to the opposition at the Catholic Church to numerous studies of nudes included in it. He was rediscovered in the early 1930s by the art dealer Lucy Wertheim, who wrote in her autobiography Adventure in Art: 'The English artist still living whose work probably is of the most permanent value id Phelan Gibb. One day Phelan Gibb will doubtless come into his own, and his finest paintings take their place alongside examples of Manet, Cezanne, Picasso, Kolle and Christopher Wood in international exhibitions of Modern Art' (page 31).
▴ Claude Venard (French, 1913-1999)Still life of a vase of flowerssigned 'C.VENARD' l.r., inscribed 'No 5' verso and 'FV1081' on the stretcher, oil on canvas130 x 162cmClaude Venard was a highly individual post-Cubist painter known for his still-lifes, landscapes, and eccentric portraits.Influenced by the late work of Cezanne, Picasso and Braque, Venard also reduced motifs to geometric outlines, but marked a revolutionary break with the tradition by embracing a richer, more intense colour palette. He applied paint liberally with a palette knife to enhance the drama of his paintings.Condition ReportFramed: 151 x 183cmThe artwork is framed in a way that exposes the edges of the canvas. One nail used to secure the canvas to the stretcher is missing on the right edge. Canvas a little loose in stretcher to the touch, but stretching it too tightly may be detrimental to the areas of heavy impasto. Indentation to black area in upper left corner. Surface dust and dirt which is pronounced on thick paint. Small patches of craquelure mainly throughout the black and pink painted areas. Currently appears stable with no major losses. On very close inspection some very small losses and craquelure can be seen but nothing that affects overall enjoyment of the work. Some intentional areas of glossiness and some areas with a matt finish. Marked with oil patches to the reverse. Please see additional detail images. Under UV light no obvious retouching shows, some areas fluoresce green but this appears to be some sort of varnish.
Paul Cézanne (1839-1906) after.Le Déjeuner sur L'Herbe (Cherpin 9; Leymarie-Melot 9)Lithograph printed in colours, a fine richly inked impression, 1894 printed in 1914, numbered 36 in pencil, printed by Auguste Clot, Paris, on chine-volant paper, with full margins, sheet 355 x 458mm (13 7/8 x 18in)The present work was produced in homage to Claude Monet's painting of the same title and the lithograph was intended to be published by Vollard in his Album d'Estampes de la Galerie Vollard. Cezanne supervised the production of the maquette, however for unknown reasons the work was not published by Vollard, and it remained unprinted until 1914 when the current edition was pulled by the master printer Auguste Clot.
Tetzen-Lunds, Chr. Samling af moderne fransk malerkunst. 5 S. Mit zahlreichen Abbildungen auf Tafeln. 33 x 24 cm. OHalbleinen. Kopenhagen 1934.Eines von 100 nummerierten Exemplaren des Kataloges der Sammlung Tetzen-Lunds' (1852-1936), die 107 Werke aller Größen der Zeit versammelte, von Cezanne über Picasso, Renoir, van Gogh und Derain bis zu Monet, Matisse und Modigliani. - Wohlerhalten. - Dabei: Hollstein & Puppel. Kunstauktion XL - Sammlung C. Brose Berlin. 111 S., 1 Bl. Mit XXX Tafeln. 28,5 x 21,5 cm. Halbleder d. Z. mit goldgepr. RSchild. Berlin 1928. - Versteigerungskatalog der legendären Sammlung, die auch einen großen Bestand an Werken von Karl Blechen umfasste (154 Losnummern).
Sam Gilliam (American, 1933-2022). Small acrylic on birch plywood titled "Mark Squared" depicting a colorful abstract composition, 2000. With a three-dimensional element in the form of an irregular-shaped wedge projecting from the lower half of the artwork. Signed, titled, and dated along the verso.Provenance: Private Minnesota collection.Lot Essay:Sam Gilliam was one of America's foremost Black artists and a leader in the color field and lyrical abstraction movements. He was influenced by German Expressionists such as Emil Nolde, Paul Klee, and Nathan Oliveira. He was additionally influenced by Vladimir Tatlin, Frank Stella, Hans Hofmann, Georges Braque, Pablo Picasso, and aul Cezanne. An artist from an early age, he was always interested in art and eventually studied fine arts at the University of Louisville, admitted as the second class of black undergraduate students to the school.Around 1965, he became the first artist to introduce the idea of an unsupported canvas, draping the paintings from ceilings, walls, and floors. These works were immensely popular and led to exhibitions and commissions worldwide including representing the United States at the 36th Venice Biennale. He moved away from this in later years to focus on jazz-inspired works like his Black Paintings, so-named because they are painted in shades of black. His works shifted once more in the 1980s to resemble the African patchwork quilts of his childhood. Though he was largely overlooked throughout the late 1980s and 1990s, his career saw a resurgence following a retrospective at the Corcoran Gallery in 2005.From then until his death in 2022, his works came into the collections of the Museum of Modern Art (MoMA) and the Metropolitan Museum of Art among others. He also had successful exhibitions including a second show at the Venice Biennale (2017), a large-scale draped painting titled "Yves Klein Blue" in Giardini's central pavilion for the show "Viva Arte Viva," and his first European retrospective in 2018 hosted by the Kunstmuseum Basel.His honors and awards were plentiful including eight honorary doctorates, several National Endowment for the Arts grants, the Longview Foundation Award, and a Guggenheim Fellowship. In 2015 he was awarded the Medal of Art by the U.S. State Department for his longtime contributions to art in embassies and other diplomatic facilities as well as his cultural diplomacy, which showcased his works in over 20 countries during his career.From 1962 until the 1980s, Gilliam was married to Dorothy Butler, the first African-American female columnist at The Washington Post. They had three daughters together. In 2018, after a 35-year partnership, he married Annie Gawlak, owner of the former G Fine Art gallery in Washington, D.C. On June 25, 2022, Gilliam died in his home at the age of 88 after a long, varied, and ultimately successful career creating the art that he loved.Height: 12 in x width: 12 in x depth: 4 in.Condition: The artwork is structurally sound. All pieces are firmly attached. There are no splits, losses, or repairs to the wooden components. Natural bubbles to the paint surface original to the artistic process. Along the lower right of the red panel there are three small spots (the largest measuring 3/4 inch x 3/4 inch) that fluoresce under UV light and appear uneven when compared to the rest of the work which is quite smooth, save for the aforementioned bubbles. This is likely an area of pooled varnish. There is some slight yellow discoloration to the varnish throughout. Some scratches to the metal along the verso of the work.
Sam Gilliam (American, 1933-2022). Lithograph and etching in colors on handmade paper titled "Lattice III" depicting a bloom of bright colors with an overlay of crisscrossing lines in dark blue, 1982. Pencil signed, dated, and titled along the lower edge.Lot Essay:Sam Gilliam was one of America's foremost Black artists and a leader in the color field and lyrical abstraction movements. He was influenced by German Expressionists such as Emil Nolde, Paul Klee, and Nathan Oliveira. He was additionally influenced by Vladimir Tatlin, Frank Stella, Hans Hofmann, Georges Braque, Pablo Picasso, and aul Cezanne. An artist from an early age, he was always interested in art and eventually studied fine arts at the University of Louisville, admitted as the second class of black undergraduate students to the school.Around 1965, he became the first artist to introduce the idea of an unsupported canvas, draping the paintings from ceilings, walls, and floors. These works were immensely popular and led to exhibitions and commissions worldwide including representing the United States at the 36th Venice Biennale. He moved away from this in later years to focus on jazz-inspired works like his Black Paintings, so-named because they are painted in shades of black. His works shifted once more in the 1980s to resemble the African patchwork quilts of his childhood. Though he was largely overlooked throughout the late 1980s and 1990s, his career saw a resurgence following a retrospective at the Corcoran Gallery in 2005.From then until his death in 2022, his works came into the collections of the Museum of Modern Art (MoMA) and the Metropolitan Museum of Art among others. He also had successful exhibitions including a second show at the Venice Biennale (2017), a large-scale draped painting titled "Yves Klein Blue" in Giardini's central pavilion for the show "Viva Arte Viva," and his first European retrospective in 2018 hosted by the Kunstmuseum Basel.His honors and awards were plentiful including eight honorary doctorates, several National Endowment for the Arts grants, the Longview Foundation Award, and a Guggenheim Fellowship. In 2015 he was awarded the Medal of Art by the U.S. State Department for his longtime contributions to art in embassies and other diplomatic facilities as well as his cultural diplomacy, which showcased his works in over 20 countries during his career. From 1962 until the 1980s, Gilliam was married to Dorothy Butler, the first African-American female columnist at The Washington Post. They had three daughters together. In 2018, after a 35-year partnership, he married Annie Gawlak, owner of the former G Fine Art gallery in Washington, D.C. On June 25, 2022, Gilliam died in his home at the age of 88 after a long, varied, and ultimately successful career creating the art that he loved.Sight; height: 32 x width: 44 1/4 in. Framed; height: 39 1/2 x width: 50 1/4 in.Condition: The artwork is in good overall condition. There are no areas of restoration visible under UV light. The colors are bold and bright. Due to the nature of the paper, it is difficult to determine whether or not there are minor losses along the edge. The print is hinged with framer's tape. There is wear to the frame.
HERMÈS Seidencarré "PROMENADE AU PAYS DE CEZANNE". Akt. NP.: 460,-€. 100% Seide. Paul Cézanne, einer der einflussreichsten Künstler der modernen Malerei gehörte zunächst der impressionistischen Bewegung an. Seine postimpressionistische Werke beeinflussten nachfolgende Künstler und legten den Grundstein für den Übergang von den Kunstkonzepten des 19. Jahrhunderts zu radikal anderen Ausdrucksformen wie dem Kubismus und dem Fauvismus. 2006, zum hundertsten Todestag des Künstlers, gab Hermès eine limitierte orangefarbene Ausgabe der Promenade Au Pays Cezanne von Toutsy zugunsten der LA SOCIÉTÉ PAUL CEZANNE heraus. Handrollierte Säume. 90 x 90 cm. Box anbei. Sehr guter Zustand.| HERMÈS silk scarf "PROMENADE AU PAYS DE CEZANNE". Retail price: 460,-€. 100% silk. Paul Cézanne, one of the most influential artists of modern painting initially belonged to the Impressionist movement. His Post-Impressionist works influenced subsequent artists and laid the foundation for the transition from 19th century art concepts to radically different forms of expression such as Cubism and Fauvism. In 2006, on the centenary of the artist's death, Hermès issued a limited orange edition of Toutsy's Promenade Au Pays Cezanne for the benefit of LA SOCIÉTÉ PAUL CEZANNE. Hand-rolled hems. 90 x 90 cm. Box enclosed. Very good condition.
Art: Series published by BCA '....by himself' including Cezanne, Monet, Vincent, Manet, William Morris, Ed. Naylor (9 Vols) (Please note condition is not noted. We strongly advise viewing to satsify yourself as to condition. If you are unable to view please request a condition report, which will be provided in writing).
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