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Click here to subscribeMichael Zichy 1827-1906 zugeschrieben Biblische Szene, Pinselzeichnung in schwarzer und grauer Tusche, monogrammiert Zichy 1872, gerahmt mit Glas und Passpartout, 48 x 48 cm. | Michael Zichy (1827-1906) attributed Biblical scene, brush drawing in black and gray ink, monogrammed Zichy 1872, framed with glass and mount, 48 x 48 cm.
A collection of Sailor Japan pens, including two black bodied fountain pens with 21ct gold nib engraved "1911, 21K, 875, Sailor"; one yellow bodied fountain pen with 14k gold nib engraved "1911, 14K, 585, Sailor"; a blue bodied fountain with nib marked MF; and a black bodied soft brush pen for calligraphy (5)Further info: it appears two of the fountain pens have been inked, the brush pen is clean
A collection of pens, including Conway Stewart no.286, with 14ct gold nib; Conway Stewart 84 with 14ct nib; Conway Stewart 58, with 14ct nib; Swan Blackbird with 14ct gold nib; Faber-Castell; Waterman; Mabie Todd & Co Blackbird with 14ct nib; Kaweco Sport fountain pen; Pentel Japan twist-erase and a Pentel brush pen; Pilot Japan ball point; together with propelling pencils including Cunard White Star Line Queen Elizabeth; etc
HELEN FRANKENTHALER (1928-2011)Untitled circa 1958-1961 signedoil on paper laid on canvas68 by 104.5 cm.26 3/4 by 41 1/8 in.This work was executed circa 1958-1961.Footnotes:ProvenancePrivate Collection, SwedenSale: Sotheby's, New York, Contemporary Art Part II, 2 November 1994, Lot 125Chac-Mool Gallery, Los AngelesAcquired directly from the above by the previous owner in 1999Thence by descent to the present ownerInspired by a fervent period of artistic experimentation after the Second World War, a fresh generation of American artists broke away from the genre of landscape and historic paintings which dominated in the early decades of the twentieth century. Helen Frankenthaler, Sam Francis and Kenneth Noland were amongst this new generation of artists who shared the visual vocabulary of abstraction and Bonhams is delighted to present a wonderful selection of six works by the artists from a Private Family Collection from a Knightsbridge Residence.A master of Abstract Expressionism, Helen Frankenthaler created a singular visual vocabulary over her six-decade career. A New York native, Frankenthaler received her earliest art instruction from Rufino Tamayo and fraternised with other New York School artists including Grace Hartigan, Willem de Kooning, Jackson Pollock, Lee Krasner and Robert Motherwell amongst others. Untitled (circa 1958-1961) was created during a formative period in Frankenthaler's career, only a few years after she created her breakthrough piece Mountains and Sea in 1952 and invented her 'soak-stain' technique. Using this technique, Frankenthaler would pour or drip turpentine-thinned oil paint over an unprimed canvas. Untitled from 1994 hails from the last decades of Frankenthaler's career, a period when the artist's confident and virtuosic approach to colour is evident from the nuanced layers of green followed by touches of magenta and yellow. Both pieces embody the intimate and kinetic quality to Frankenthaler's oeuvre; whilst the pigmented, organic forms in the earlier work are reminiscent of the 'push and pull' compositional format in Hans Hoffman's works, despite the translucency of the hues in Untitled from 1994, there is a palpable dimensionality which pervades the entire surface. In Lot 2 the different shades of oil paint unfurl and collect into darker and lighter pools as they are poured across the canvas. The nebulous, uncontrolled shapes within the scene alludes to Frankenthaler's major source of inspiration - throughout her career, Frankenthaler was fascinated by natural landscapes and by the idyllic forested hillsides of the Northeastern United States. Parts of the canvas are left bare to emphasize the gestural nature of the composition and the texture of the artist's brush. The natural element in Lot 6 is heightened further by the handmade paper the artist incorporates into the work. Upon closer inspection, the mix of blue, white and grey hued plant fibres is apparent. The naturally undulating edges of the paper complement the spontaneity of how the wet pigments bloom across the paper to create suggestions of a seascape on a windy day. In many examples of Frankenthaler's work, the sense of push and pull is heightened by the halo effect created by pigments travelling towards the periphery of the wet surface or separating from the oil paint medium. All three works in this outstanding collection are a testament to Frankenthaler's openness to experimentation and honest approach to painting, a process which allowed the artist to constantly start each work with a renewed and inquisitive perspective. Each one of these artist's pioneering artistic practices contributed to the Colour Field Abstraction movement. In Sam Francis's canvases there is a lyrical fluidity to the composition and colour is enhanced by ample negative white space. These techniques were inspired by Francis's encounters with Tachiste artists in Paris and Zen calligraphers in Japan in the 1950s and 1960s respectively, and can be seen in For Baudelaire from 1985 and Untitled from 1983. Kenneth Noland's approach centred around rhythmically arranged patterns of colours, clean lines and geometric shapes. A seminal moment in Noland's career was his visit to Helen Frankenthaler's studio in 1953 where he witnessed her technique of staining her canvases with heavily diluted paint.In these six works by Post-War American artists Helen Frankenthaler, Sam Francis and Kenneth Noland, there is an immortal freshness and an acute sensibility to the interplay of colour, light and textures. Helen Frankenthaler and Sam Francis are amongst the most important names in Colour Field Painting whilst Kenneth Noland went on to pioneer the Hard-edge Painting movement. Their works can be found in the collections of some of the most prestigious international institutions including the Museum of Modern Art, New York, the Centre Pompidou in Paris, the Tate Gallery in London and the Peggy Guggenheim Collection in Venice amongst many others.For further information on this lot please visit Bonhams.com
A Hallmarked Silver Shaving Mug, possibly Grey & Co (marks rubbed)., London, of typical form, the hinged domed lid with internal shaving brush support (220grams); A Victorian Hallmarked Silver Travel Shaving Brush, (marks incomplete) (unscrewing to become a cylindrical case containing the brush), overall open length approximately 15cm; A Hallmarked Silver Cylindrical Shaving Stick Case, D&F, Birmingham 1901, 7.5cm long. (3)
JOAN MIRÓ (1893-1983)Étude pour 'Ubu Roi' signed 'Miró.' (lower right)wax crayon, brush and ink on paper32.8 x 50cm (12 15/16 x 19 11/16in).Executed circa 1953Footnotes:Please note that this work will be presented to the Association pour la Défense de l'oeuvre de Joan Miró (ADOM) on 29 September 2022.ProvenanceTériade Collection, Paris.Private collection, Greece (by descent from the above).This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
PABLO PICASSO (1881-1973)Femme assise et gentilhomme dated '10.11.70.' (lower right)brush, pen, India ink and wash on paper23.7 x 31.8cm (9 5/16 x 12 1/2in).Executed on 10 November 1970Footnotes:The authenticity of this work has been confirmed by Claude Picasso.ProvenancePrivate collection, France (a gift from the artist circa 1970-1973).Heinz Berggruen Collection, Paris and Berlin (acquired from the above). Anon. sale, Sotheby's, London, 9 February 2005, lot 214. Private collection, UK (acquired at the above sale).ExhibitedSan Francisco, John Berggruen Gallery, Picasso, The Berggruen Album, 4 March – 10 April 2004, no. 19 (later travelled to New York).'Every painter takes himself for Rembrandt' – Pablo PicassoFemme assise et gentilhomme is an exquisite work on paper by Pablo Picasso. Representing two of the most defining subjects of his oeuvre, the artist's model and the musketeer, this work is an iconic example from Picasso's mature period and stands testament to the artist's desire to confirm his place alongside the greatest painters of the Western art historical canon. In the final years of Picasso's life, swashbuckling seventeenth century mousquetaires occupied the artist's output. Immediately identifiable by the long pipe, broad brimmed hat and imperial moustache, the musketeer in the present work is highly evocative of Golden Age portraiture, most notably that of Rembrandt - an artist whom Picasso deeply revered. The musketeer would come to operate both as a signifier of the great Old Masters and as a psychological substitute for the artist himself.In the mid-1960s, Picasso, whilst recovering from surgery, devoured literary classics such as Shakespeare, and Alexandre Dumas' The Three Musketeers. Simultaneously, Picasso studied Otto Benesch's landmark publication of Rembrandt's drawings, as there was a revived interest in the great master on the occasion of the three hundredth anniversary of his death. Picasso grew fonder of Rembrandt's work and saw an opportunity to dive into the mind of his mighty predecessor. A projection of the Night Watch appeared on the walls of his studio, through which Picasso was able to transport himself into the adventurous world of chivalrous noblemen. Like Rembrandt, Picasso was also keen on inserting himself into his works, taking on various guises and approaching his output with a brilliant sense of wit and skill. He increasingly started to relate to the Dutch master, and throughout the final chapter of his life, Rembrandt's artistic universe remained an important source of inspiration for Picasso, as if Rembrandt was 'an all-powerful God-figure whom Picasso had to internalize before he died' (J. Richardson quoted in Late Picasso, exh. cat., Tate, London, 1988, p. 34).In Femme assise et gentilhomme, Picasso subtly disrupts the traditional power dynamics between artist and subject. The musketeer and model behold each other with an uncompromising gaze, but the imposing and elevated position of the female subject lends her a regal air, while the musketeer archetype adopts a more submissive, courtly persona. It is a subtle homage to some of Picasso's earliest works from his artist and models series, which are known to represent Rembrandt and his wife Saskia. The present work was originally part of a sketchbook containing twenty-six drawings which were executed over a period of eight days in November 1970. Completed wholly in India ink, Picasso underscores his mastery of the medium in the present work and thereby affirms his position as one of the greatest draughtsmen of the twentieth century. Alongside its art historical significance, the present work is also distinguished by an exceptional pedigree. Femme assise et gentilhomme was once owned by Heinz Berggruen, an art dealer but - most of all – a close friend to the artist and a passionate collector. He acquired Femme assise et gentilhomme from a private French collection and kept it in his personal collection until his death. Berggruen made a name for himself as a gallery owner in Paris in the post-war era. Originally born into a German-Jewish family, Berggruen lived in Berlin until his early adulthood before fleeing to the US in 1936 where he would spend nearly a decade, holding various artistic positions at public institutions and art journals. After Europe's liberation, he decided to return to the continent and settled in the French capital in 1947. He started a gallery and found his true calling as a dealer. Berggruen quickly ranked as one of the most prominent figures within Parisian artistic circles, with artists like Van Gogh, Cézanne, Matisse, Klee, Arp and Giacometti included in his stable. Picasso, however, would have more impact on Berggruen than any other and would become of great significance to the art dealer, both personally and professionally. The artist entered Berggruen's world in 1951, having already enjoyed a sixty-year long career and celebrated as one of the most famous artists alive. Introduced through their mutual friend Tristan Tzara, Berggruen met Picasso in his studio on the rue des Grands-Augustins. Berggruen recalled that 'in physical terms alone, Picasso was an impressive sight. His wonderful, clear-cut face, his magnificent, large, magnetic eyes, his stocky, athletic body – it was as if every part of him had been cast from the same mould, as if he were his own, self-created masterpiece. During our very first encounter I already found myself enchanted by this man' (H. Berggruen, Highways and Byways, Guildford, 1996, p. 184).After their first encounter, a lifelong friendship was born, and Picasso was added to Berggruen's roster of artists. It marked the beginning of a collecting journey for Berggruen, during which he found some of the finest works and collections from the artist's all-embracing oeuvre. One of the most notable collections that passed through Berggruen's hands was Gertrude Stein's collection of Blue and Rose Period works. To this day, Stein is widely regarded as the first collector to champion Picasso's work. Berggruen's gallery became a hub for American collectors and was frequently visited by influential figures such as Alfred J. Barr and Nelson Rockefeller. For Berggruen, collecting and selling often went hand in hand: 'In my days as an art dealer I was always looking for ways to perfect, enrich and consolidate my Picasso collection. Or, to put it differently, over some thirty years some of the most significant Picassos passed through my hand, and I was all too often confronted with the decision as to whether I should see or keep a drawing, a watercolour of a painting' (H. Berggruen, op. cit., p. 179).On his frequent visits to Picasso in the South of France, Berggruen would bring Picasso news 'from the big world outside' and show Picasso his latest trouvailles. Their last encounter took place in 1969, but Berggruen would remain under the great artist's spell well after that. In the span of thirty years, Berggruen amassed a profound and carefully selected body of works, spanning from the Blue Period all the way through to 1973, the year of Picasso's death: 'by consistently and persistently collecting Picasso's works, I attempted to create an impression of the cosmos of this man, who, like no other, carried within him the lebensgefühl (life-feeling) of an entire century' (H. Berggruen, op. cit., p. 184).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
CRUZEIRO SEIXAS (1920-2020)Untitled (after Assim ficámos a saber que o deserto sabe escrever, ler e contar) indistinctly signed (lower right) and indistinctly signed again (lower centre, below the image)gouache, brush and India ink on a printed base on paper26.2 x 19.1cm (10 5/16 x 7 1/2in). (image size)35.4 x 25cm (13 15/16 x 9 13/16 in). (sheet size)Executed in 2009Footnotes:ProvenanceAcquired directly from the artist by the present owner in January 2010.ExhibitedLisbon, Perve Galeria, Recordatório, 2 December 2010 - 22 January 2011.Lisbon, Perve Galeria, Homenagem a Cruzeiro Seixas, 9 February – 24 March 2012.Lisbon, Atmosfera m, Os Surrealistas, 26 June – 7 September 2019. Lisbon, Atmosfera m, Sociedade Nacional de Belas-Artes and Casa da Liberdade - Mário Cesariny, Ciclo de Celebração do Centenário de Cruzeiro Seixas, 19 September 2020 – 12 February 2021, no. CS094.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
LÉONARD TSUGUHARU FOUJITA (1886-1968)Jeune fille au chat signed 'L. Foujita' (lower left)brush, pen, ink, wash and black pencil on paper22.7 x 17.3cm (8 15/16 x 6 13/16in).Executed in 1965Footnotes:The authenticity of this work has been confirmed by Sylvie Buisson. This work will be included in the forthcoming Vol. V of the Léonard Tsuguharu Foujita catalogue raisonné, currently being prepared.ProvenanceSuccession Kimiyo Foujita, Paris; her sale, Cornette de Saint Cyr, Paris, 27 March 2013, lot 355.Private collection, France (acquired at the above sale).This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
LÉONARD TSUGUHARU FOUJITA (1886-1968)Nu assis (Jacqueline Barsotti-Goddard) signed and dated 'Foujita 1929' and further signed in Japanese (centre right); signed and dated 'Foujita 1929' and further signed and inscribed in Japanese (on the stretcher)oil on canvas64.8 x 100.2cm (25 1/2 x 39 7/16in).Painted in Paris in 1929Footnotes:The authenticity of this work has been confirmed by Sylvie and Casimir Buisson. This work will be included in the forthcoming Vol. IV of the Léonard Tsuguharu Foujita catalogue raisonné, currently being prepared.ProvenanceGalerie Mantelet (Colette Weil), Paris (acquired directly from the artist in 1929).Private collection, France (acquired from the above in 1929).Thence by descent to the present owner.ExhibitedMoscow, The Pushkin State Museum of Fine Arts, Les muses de Montparnasse, 15 July – 3 October 2021, no. 183.The living body, the naked and natural body, the body stripped of artifice, the woman captured in her truth, her simplicity, her beauty, the woman: that was what fascinated Foujita. He put her at the very centre of his art, and she embodied the origin of the world. Mother, lover, confidante, and muse all at once, Foujita considered her a mediating figure between the human and the divine, a Renaissance-like conduit to God. Officially, Foujita had five wives. However, he admitted to having had thousands of models, visible in numerous studies, drawings, engravings, and paintings made of one or the other, populating his oeuvre. The angelic yet melancholic face of the present subject belongs to one of these muses, well-known among the artists of the Montparnasse: Jacqueline Goddard. In demand by fellow artists Kisling, Pascin, Derain, Matisse, Giacometti, Man Ray and Picasso, it was Foujita's house at the Parc Montsouris that Goddard favoured. Enchanted by this Art Deco, bucolic villa, she was adopted as a sister by Youki Foujita, the artist's wife and fellow muse.Jacqueline's modern look, Grecian profile, long neck and tousled hair made her one of the legendary models of Montparnasse from an early age. She was an orphan: her French mother died when she was young, whilst her father, André Barsotti, was a talented Tuscan sculptor who died three years before the present work was painted. If Foujita's name now evokes elegance, delicacy and contemplation, it is mainly due to his nudes. Painting Nu assis (Jacqueline Barsotti-Goddard) connected him not only to his past loves, the masters of the Italian Renaissance, such as Michelangelo and Botticelli, but also to his Japanese roots, and to the floating world of printmaking (Ukiyo-e), where modest nudity appears with great sensual intensity. The present work was one of the crown jewels of the Colette Weil gallery, with which Foujita had close ties in 1929, and was acquired by one of the gallery's patrons. The West and the East come together in Nu assis (Jacqueline Barsotti-Goddard), as Foujita transformed a young woman into a modern goddess of love. The contour of the shapes is perfect, the anatomy is irreproachable, and the body is harmonious. Everything flows in a smooth transition, reminding us of the firmness of a sculptural bronze and the polish of marble. The classic face evokes that of Simonetta Vespucci, the model for Botticelli's Venus in The Birth of Venus. Her muscular body seems to descend straight from the ceilings of the Sistine chapel, like a female version of an Ignudo painted by Michelangelo.The nude was an important theme for Foujita because it connected him to nature and to universal beauty. It also allowed him to follow in other great artists' footsteps: in addition to the masters of the Sistine, one sees the influence of Goya, Manet, Rodin, Canova, Ingres and even his contemporaries Modigliani, Matisse and Van Dongen. Even though Foujita's art did not belong to any specific time or school, it remained full of references, and if he broke the rules, it was because he knew them so well. In 1929, Foujita was at the highest point of his career. His milky white backgrounds and range of soft, creamy colours had already established his reputation around the world. Like Degas, Foujita considered that a well-drawn painting was always a well-painted painting. Indeed, his mastery culminated in the way he drew the outline: dipping his brush in black, he stretched the lines on the canvas without hesitation, in a single movement. Those lines were firm and assured, but also delicate and sensitive, which created balance and harmony. The traditional and stable triangular composition, which connects the head to the left hand and the heel of the foot, is balanced by the hair, which allows the painter to let his flat brush slide on the silky canvas. The strands of hair come to life and frame the face, effortlessly and freely resting on the neck like an opalescent mother-of-pearl. Despite the Western model, subject and medium, Foujita allowed his Eastern heritage to express itself, blending both cultures together. As in all his paintings, the figure floats slightly, as if suspended in weightlessness, between rest and action. This Japanese notion of suspension, interruption, and emptiness, which can be found in painting as well as in architecture and in Japanese craftsmanship, is the Ma. It influenced Foujita, who explored the space between the lines, outside and inside the figure. Evoking Japanese metaphysics and aesthetics, which sanctify the idea of breathing, the artist painted the time of breathing, between inspiration and exhalation. Goddard's gaze in the present work is lost in the distance: the beautiful thinker meditates. She holds her breath like Foujita. Another Japanese notion comes into play: the katabokashi, or the fading of the form. If the Ma connects the forms while separating them, the katabokashi is a clever network of greyness, barely visible, which emphasises and translates the Ma. It animates the lower section of the painting and gives it life. It corresponds to the lighter white halo that surrounds the body and allows it to stand out against the background. To achieve this effect, Foujita rubbed cotton wool barely dipped in black or grey pigment. Another Japanese aesthetic and spiritual concept used by the artist was the wabi-sabi: the veneration of the beauty of imperfect things, the magic of their patina and their ageing process. Evoking the wear and tear of time on the surface of the painting, Foujita highlighted the impermanence of life and beauty. To achieve this effect, he used cotton wool soaked in grisaille made of black soot and dry oil. Then, he scattered the pigment inside the small air bubbles that dried and broke on the surface of the canvas. This gave the illusion that the painting had been shaped by time. Foujita embraced his ancestral roots but turned to the West to enrich his artistic vocabulary in this East/West hybrid work. His ability to oscillate between these two cultures, to feed on them and to transcend them was due to his love for art and life rather than aesthetic satisfaction. All his life, he believed in the invisible power of art without borders, embodied by the Montparnasse, which brought together the best avant-gardes from all over the world. Transcending the world, escaping time, and connecting with the gods of creation was Foujita's artistic goal from an early age. Sylvie BuissonArt HistorianAuthor of the forthcoming Volume IV of the Léonard Tsuguharu Foujita catalogue raisonné, in collaboration with Casimir Buisson, expert for the artist at the French ... This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
ANDRÉ DERAIN (1880-1954)Le coq signed 'derain' (lower right)watercolour, brush and India ink on paper26.9 x 20.8cm (10 9/16 x 8 3/16in).Executed circa 1940sFootnotes:The authenticity of this work has been confirmed by the Comité André Derain.ProvenanceTériade Collection, Paris.Private collection, Greece (by descent from the above).This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
* JOHN MACLAUCHLAN MILNE RSA (SCOTTISH 1885 - 1957),GARDENS, PARISoil on board, signed and dated '22image size 35cm x 45cm, overall size 46cm x 56cm Framed. Label verso: Doig, Wilson, & Wheatley, Edinburgh. Note: A rare Paris painting from 1922 when Milne lived in the French capital. Seeing Cezanne's work for the first time was a eureka moment for Milne who until then had painted much like his father in a sedate and traditional style. He discovered a completely new freedom and walked the streets and sights of Paris painting what he saw, en plein air and with rapid, bold brush strokes. Above all, he discovered ''colour''. This very distinct Paris period saw Milne producing some of his most spontaneous and desirable work and usually on smaller-scale artist boards. By 1922/3 he had moved to the French village of Lavardin and by 1924 he was in Cassis with Peploe, Cadell and Duncan Grant. Milne is often referred to as ''the fifth Scottish Colourist'' and yet his quality is at least the equal of much of the output of the other four. As well as enjoying the company of the Scottish Colourists and exhibiting alongside them, Milne shared many of their patrons. William Boyd, the Managing Director of Keiller’s marmalade firm, became one of his most important patrons. In Boyd’s home at Claremont, several works by William McTaggart, Peploe, Hunter and Milne were displayed. His collection of French paintings included Monet, Sisley, Van Gogh, Matisse, Bonnard, Vuillard and de Segonzac. Alexander Keiller, head of the marmalade firm, was another important patron. He paid Milne a stipend – so that he could spend the summers in France – in return for paintings. The collector, Matthew Justice, was a close friend of George Leslie Hunter as well as being his agent during the 1920s. Justice owned around a dozen of Milne’s paintings; his sitting-room was hung exclusively with works by Peploe and Milne and his drawing-room contained eleven Peploes, three Marchands, one Hunter and five Milne’s. The Justice collection also included works by Vuillard, de Segonzac, Moreau and Matisse. Justice was friends with William Boyd and James Tattersall, another important patron of Milne. Even though Milne's paintings were widely exhibited in his lifetime at the very best venues to great success, it's probably because he never established a long-term relationship with any one gallery or dealer that his paintings have been undervalued for many years. It took until 1987 before the first Milne painting reached the £20,000 mark at auction when ''Busy Paris Street Scene with Figures (1922)'' was sold by Christie's, Glasgow (lot 664, 28th April 1987 £20,000 hammer). The John Maclauchlan Milne Estate is now represented by Tom Hewlett's Portland Gallery (London) and unsurprisingly, his profile and values have been growing. A major exhibition ''Milne And The Colourist Connection'' was staged at Portland Gallery (London) 21st September -13th October 2017. On 30th August 2017 we sold "A Paris Scene (a 35cm x 26.5cm oil on panel) for £25,000 (hammer) and In The Scottish Pictures Auction of 27th April 2022, lot 213 "Cafe, Paris" (a 25.5cm x 34cm oil on board by Maclauchan Milne sold for £30,000 (hammer). Both examples being from the same period (1920 - 1922) when John Maclauchlan Milne walked the streets of the French capital and cemented his place as one of Scotland's finest painters of the 20th century.
ROBERT GEMMELL HUTCHISON RSA RBA ROI RSW (SCOTTISH 1855-1936),WHITING BAYoil on board, signed, titled label versoimage size 32cm x 25cm, overall size 45cm x 37cm Framed. Label verso: The Fine Art Society Ltd., London.Note: Robert Gemmell Hutchison was a Scottish Naturalist landscape painter, best known for his seascapes. Born in 1855 in Edinburgh, Scotland, he studied art at the Board of Manufacturer’s School. Working in both oils and watercolours with broad brush strokes, Hutchison often painted children in his Impressionistic, muted landscapes, shown as sitting by the sea or feeding gulls while interacting with their environment. Hutchison was a member of The Royal Society of British Artists, The Royal Institute of Oil Painters, The Royal Society of Painters in Watercolour and The Royal Scottish Academy.
* JOHN CUNNINGHAM RGI (SCOTTISH 1927-2000),RAISED BEACHES, COLONSAYoil on canvas, signed, titled label versoimage size 40cm x 76cm, overall size 57cm x 92cm Framed. Artist's label verso.Note: The artist's long obituary in The Glasgow Herald in 1998 began "Dr John Cunningham's death at the age of 72 robs Glasgow of one of its most endearing, well-known and colourful art-world stalwarts". Born in Lanarkshire in 1926, Cunningham attended Glasgow School of Art (GSA) in 1953. From 1967 to 1985, he was a Senior Lecturer at GSA, thus having close contact with several generations of young painters for two decades. John lived in a magnificent and spacious studio flat in the centre of Glasgow which was designed by Sir John Burnett expressly for the use of an artist, and which had previously been owned by other artists including John McGhie and David Gauld. The vision of his paintings was an expression of the man. John Cunningham was a large, charismatic character who loved life abundantly and whose paintings reflected his joy and passion for colour and contrast, displaying bold, confident brush-strokes along with subtle sensitivity. This gives his work a wonderful freshness and vitality with the immediacy of the moment captured. In 1980 he was elected to the Royal Glasgow Institute of the Fine Arts (RGI) and in 1990 he was awarded an Honorary Doctorate from the University of Strathclyde. He received numerous prestigious awards during his long career. He exhibited throughout the UK also in New York and Hong Kong, and his work is in many public (including Glasgow Galleries & Museums and The Hunterian), corporate and private collections.
SIR JAMES GUTHRIE PPRSA (SCOTTISH 1859 - 1930),INTERIOR OF AN ARTIST'S STUDIOoil on canvas, signedimage size 58cm x 76cm, overall size 82cm x 100cm Framed.Comment: We cannot be certain that this picture is of Guthrie's studio but it's hard to believe that he would paint the studio of another artist.Note: Guthrie became one of the leading painters in the group of artists called the Glasgow Boys. His early works of rural subjects painted with broad square brush strokes show the strong influence of French painters such as Bastien-Lepage. Guthrie was born in Greenock and trained as a lawyer before turning to art. After brief but stimulating periods in London and Paris, he committed himself to painting directly from nature in Scotland. Guthrie also experimented with pastel drawings and established a reputation as a successful portrait painter. Best known in his own lifetime for his portraiture, he painted the great and the good and his portraits hang in the palaces of Royalty and the stately homes of the nobility around Scotland and the UK. However, over time Guthrie has become better known as an exceptional painter of Scottish Realism. His A Hind's Daughter, To Pastures New (aka The Goose Girl), A Funeral Service in the Highlands and Old Willy: A Village Worthy are among the most recognised images in the history of Scottish painting. He was elected President of the Royal Scottish Academy in 1902 and was knighted the following year. Guthrie's paintings are held in every significant Scottish public collection. Guthrie's "In the Orchard" a 152 x 178cm oil on canvas was sold on 13th November 2011 (lot 120) by Sotheby's, London for £601,250 (premium).
* WILLIAM MACDONALD (SCOTTISH 1883 - 1960),HOUSES AT RONDAoil on canvas, signedimage size 55cm x 45cm, overall size 79cm x 69cm Framed.Provenance: exhibited Royal Scottish Academy 1928 no 168.Note: William Macdonald was an Edinburgh painter who had trained in Paris and Madrid. He was a close friend of Cadell and Peploe and was a well established figure on the Edinburgh art scene by the early years of the 20th century. In 1925 he married fellow artist Beatrice Huntington and the couple settled in Edinburgh in 1928. Their gracious New Town flat in Hanover Street remaining their home for the rest of their lives. It housed a collection of paintings by both artists as well as works by their friends and contemporaries. Cadell painted a now well-known portrait of Macdonald (Portrait of a Man in Black) in the early to mid-twenties. He depicted his sitter as a smart and debonair character and by all accounts Macdonald was a stylish and handsome individual, at complete ease in any company. Macdonald's particular affinity for the arid landscapes of southern Spain had earned him the nickname William 'Spanish' Macdonald. Beatrice shared his love of travel and together they explored the Continent, returning frequently to the French Riviera and to southern Spain, choosing as their base the picturesque Mediterranean fishing village of Cassis in the South of France where they sometimes stayed with Samuel Peploe and his family. Kirkcudbright was another favoured location and they visited regularly staying with Jessie M King and EA Taylor. Macdonald often focussed on the juxtaposition of human architecture with monumental nature and "Houses at Ronda" reflects this with large trees in the foreground and imposing buildings behind. Like several Scottish artists before and after him, he appears to have had what we might nowadays describe as "environmental concerns". His broad brush strokes and strong compositional structure show colourist influences and yet Macdonald had a style which was distinctly his own. The Macdonalds spent much of the World War II years in Canada allowing them to continue to paint. Both William and Beatrice exhibited widely both at home and abroad throughout their lives.
EVELYN MARY DUNBAR (1906-1960). BANJULELE GIRL (sic). (d) Signed with initials, inscribed with title, charcoal and watercolour, unframed, Sheet 56.5 x 39cm,;, with a watercolour illustration for `Needlecraft Exhibition` (1928), initialled, image 35 x 25cm.; and an ink and brush cartoon of a couple in a Mayfair arcade, signed and captioned, 31.5 x 25cm., all unframed (3). * Generally rather grubby, foxed, creased etc. **BP 22.5% inc VAT + Lot Fee of £8
CHINESE AGATE BRUSH WASHER. Late 19thc, carved in relief around the rim and to the underside with various leaves and flowers (9cms across). Also with another brush pot with a small aperture, carved in relief with flowers and scrolling branches (5.5cms high). (2). * Brush washer, generally seems fine with a couple of scratches to the inside., , Brush pot, has a crack which runs across the body, and other small cracks in places. **BP 22.5% inc VAT + Lot Fee of £8
ROYAL DOULTON; a rare figure, HN1401 'Chorus Girl', marked 'Harlequinade', (early version), impressed date 2.5.29 (pre-production date), introduced 1930, withdrawn 1938, height 20cm.Footnote: For a similar figure please see page 233 of 'The Royal Doulton Figures Book' by Eyles, Dennis and Irvine (Third Version)Additional InformationThe figure is presented well very, with no chips, cracks or restoration, there is a possibility the black column has possibly been over painted, as we can see brush strokes and some areas of the black paint to the base are thin with the clear glaze showing, pin head paint losses to base, very minor crazing to the underside of dress,
HENRY MATTHEWS; an Edward VII hallmarked silver mounted jewellery box, the oval cover with repoussé decoration of Reynold's angels, Birmingham 1906, together with a hallmarked silver bonbon dish, a cut glass dressing table with hallmarked silver cover and a silver and enamel mounted brush, also a Chinese opium pipe (5).
A pair of late 19th century Chinese blue and white double gourd vases and covers, height 15cm, and a Chinese blue and white brush pot, height 10.5cm (3).Provenance: private collection, North Yorkshire. Additional InformationThe pair of vases both have small chips to the rim, one finial has also been repaired. One of the vases has a chip and section repaired to the neck. Both have fritting around the foot rim. the brush pot has pitting flaws throughout, chips and fritting to the foot rim.
Sir Max Beerbohm, British 1872-1956 - Rodin (RHD1242), 1914; pencil, brush and wash, 32 x 20 cm (ARR) Provenance: Mrs Eva Reichmann (the Artist's sister-in-law), by descent Note: One of a series entitled 'Simple lessons in the art of drawing M. Rodin', Merton College, Oxford (ref: RHD 1241) Please refer to department for condition report
A collection of treen, to include a Birnham Wood box, with an inscription from Macbeth to the hinged cover and a maker's Royal Warrant mark to the foil interior, 10cm long, five burrwood snuff boxes, a cylindrical box and cover, with a tortoiseshell, lined interior, 8cm diameter, a 'Super Fine Tooth Powder' box and cover, 6.5cm diameter, a small clothes brush with a hinged leather handle, 8.5cm long, two bottle cases with hinged covers enclosing bottles and stoppers and four further pieces (14)Provenance: The Estate of Sir Jack and Lady Baer.Condition ReportSome wear.
Fireplace furniture,a brass and steel fender,19th century,140cm long16cm high,three steel and brass fire irons,George III style,poker 78cm long anda hearth brush and a brass door stop,surmounted by Cupid on a steel base,45cm high (6)Provenance: The Estate of Sir Jack and Lady Baer.Condition ReportFender - a little wear, one side 'wing' a little bent.Irons - expected use.Door stop - one screw missing where brass top meets iron base.
A MIXED LOT:-. a Victorian christening bowl, on 4 ball feet, initialled and inscribed, a George V mounted wooden brush, initialled, an Elizabeth II sugar caster, 6 coffee spoons (A/F), 3 teaspoons, a pair of sugar tongs, three condiment spoons (majority of spoons initialled/crested), a small vase (loaded base) and a pepperette; the caster 7.5" (19cm) high; 14.1oz weighable silver (lot). **BP: 22.5% (inc VAT) + Lot Fee of £8
A MIXED LOT:-. a letter opener (loaded handle and later base-metal blade), crested, a George V shoe horn, crested and initialled, by Pairpoint Brothers, London 1924, a George V cannister with a cover, inscribed and monogrammed, by George Neal & George Neal, London 1920 and a George IV travelling shaving brush, crested and initialled, by John & Archibald Douglas, London 1823; the letter opener 11.25" (28.5cm) long; 10.1oz weighable silver (4). **BP: 22.5% (inc VAT) + Lot Fee of £8
A LATE VICTORIAN EMBOSSED SUGAR BOWL AND CREAM JUG. with scroll borders and decorated in relief with foliate scrolls, Deykin & Harrison, Birmingham 1897, together with two tortoiseshell mounted brushes, one by Charles Henry Dumenil, London 1923, the other London 1929 (no maker's mark); the largest brush 8.75" (22.3cm) long; 6.1oz weighable silver (4). **BP: 22.5% (inc VAT) + Lot Fee of £8
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