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Click here to subscribeRegency design giltwood and gesso wall mirror, the carved eagle pediment holding a gilt sphere and chain in its beak, perched atop a rocky plateau on an acanthus leaf capital with a twin scrolling base with rosettes and extending oak leaves, the circular convex plate within a moulded frame with applied spherical mounts, the carved apron decorated with extending foliage and petal dropDimensions: Height: 97cm Length/Width: 60cm
JEAN-BAPTISTE-CAMILLE COROT (1796-1875)Gênes. Un bout de la ville et les Apennins cachet de la vente Corot (L. 460, en bas à gauche) et timbre de l'atelier de l'artiste (L. 3905, verso, sur le chassis)huile sur papier, marouflé sur toilestamp of the Corot sale (L. 460, lower left) and the artist's red wax seal (L. 3905, on the stretcher, on the reverse)oil on paper, laid down on canvas24.5 x 40 cm (9 5/8 x 15 3/4 in)Footnotes:让-巴蒂斯·卡米耶·柯洛(1796-1875)热那亚，城市的一部分和亚平宁山脉纸上油画，全纸粘贴在帆布上ProvenanceVente posthume de Corot, mai 1875, no 84 (1000 francs pour M. Brame)M. Brame.Vente Paton, avril 1883, no 46 (pour 1005 francs).Vente, Paris, 9 mars 1886 (900 francs).Paul Chéramy, sa vente Paris, Galerie Georges Petit, 6-7 mai 1908, p. 81, lot 120.ExpositionParis, Didier Imbert Fine Art, '20 ans de Passion' Alain Delon, Peintures, Printemps 1990, no 4, ill.BibliographieA. Robaut, L'oeuvre de Corot, catalogue raisonné, Paris, 1965, vol. II, p. 106, no 302, ill.Corot voyage plusieurs fois en Italie, pour y travailler en plein air pendant la belle saison. Ses premiers séjours datant des années 1820, Corot passe le plus clair de son temps à Rome ou dans les environs, alors qu'en 1834 il reste dans la partie nord de la péninsule, ne descendant pas en-deça de Florence. Après avoir quitté Paris vers la fin du mois de mai 1834 en compagnie du peintre Jean-Charles Denis Grandjean, il s'arrête à Gênes où il reste jusqu'à la mi-juin. Il passe ensuite six semaines en Toscane, entre Volterra et Florence, puis trois semaines à Venise et termine son voyage par les lacs de Garde et de Côme (voir P. Galassi, Corot en Italie : La Peinture de plein air et la tradition classique, Paris, 1991, pp. 213-214). La plupart des sites qu'il visite offrent à l'artiste de nouveaux sujets de peinture. Dans le chef-lieu de la Ligurie, il réalise trois vues de la Superbe, les trois à la fois denses et finement observées (le présent tableau, une version conservée au Chicago Art Institute, inv. 1937.1017 et une Vue depuis le Palais du Prince, vendue à Drouot, Hôtel des ventes de Montpellier Languedoc, le 8 mai 2021, lot 6, voir Y. Taillandier, Corot, Paris, 1990, p. 14). A la différence des deux autres versions, l'œuvre de la collection Delon ne montre pas le centre de la ville et ses palais baroques, privilégiant plutôt le paysage valonné des Apennins qui entourent la ville. Toute la composition est baignée d'une brume bleuâtre. Au premier plan, des vignes ; à gauche, un cloître blanc avec des galeries supportées par des colonnes ; plus loin, au fond, formant une note délicate, une villa indiquée par une touche rose brique à droite, la vue sur la vallée avec une route tortueuse et des maisons; au fond, des montagnes.Corot travelled to Italy several times, working in the open air during the summer months. His earliest visits date from the 1820s, when he spent most of his time in and around Rome; returning in 1834, he remained in the northern part of the peninsula, not going below Florence. After leaving Paris towards the end of May 1834, in the company of the painter Jean-Charles Denis Grandjean, Corot stopped in Genoa, where he stayed until mid-June. He then spent six weeks in Tuscany, between Volterra and Florence, followed by three weeks in Venice, and ended his journey by visiting Lakes Garda and Como (see P. Galassi, Corot en Italie: La Peinture de plein air et la tradition classique, Paris, 1991, pp. 213-214). Most of the sites he visited offered the artist new subjects for painting. In the capital of Liguria, Corot produced three views of the Superba, all three dense and finely observed (the present painting, a version in the Chicago Art Institute, inv. 1937.1017, and a View from the Prince's Palace, sold at Drouot, Hôtel des ventes de Montpellier Languedoc, on 8 May 2021, lot 6, see Y.Taillandier, Corot, Paris, 1990, p. 14). Unlike the other two versions, Alain Delon's work does not show the centre of the city and its baroque palaces, favouring instead the rolling Apennine landscape surrounding the city. The entire composition is bathed in a bluish mist. In the foreground, vineyards; on the left, a white cloister with galleries supported by columns; further back, forming a delicate note, a villa indicated by a touch of brick pink; on the right, the view of the valley with a winding road and houses; in the background, mountains.For further information on this lot please visit Bonhams.com
A collection of mixed ceramics to include; An early Crown derby purple mark sugar bowl and cover (cracked and chipped), numbered 500, six Imari patterned cups and saucers with matching side plates, all bearing crossed 'X' mark and capital H to reverse, a pair of small modern Royal Worcester bone china simple white fish in shell centrepieces. Along with a Doulton Chantilly dish, an Old Trentham Sprays dish, a Spode coffee cup, Crown Ducal bowl, a Royal Winton jug, a Czechoslovakian tea bowl (cracked), a small gilt Chinese style bowl marked Empire, a Limoges style three stemmed vase and Limoges style patch/trinket box/pot, and two small base metal cased pieces - one an Icon style with mother and baby ceramic tile to centre and transfer printed Tahj Mahal to centre of other.
Christopher Wood (British, 1901-1930)Spring Flowers in a Jug oil on canvas laid on board28 x 20.7 cm. (11 x 8 1/8 in.)Painted in 1928Footnotes:ProvenanceRex Nan KivellWith The Redfern Gallery, London, March 1942William MasonPrivate Collection, U.K.ExhibitedLondon, The New Burlington Galleries, Christopher Wood: Exhibition of Complete Works, 3 March-2 April 1938, cat.no.307LiteratureEric Newton, Christopher Wood 1901-1930, The Redfern Gallery, London, 1938, p.73, cat.no.331Painted in 1928, Spring Flowers in a Jug, belongs to a time when Christopher Wood was working closely with both Ben and Winifred Nicholson. The three had become increasingly close friends and spent much time together in London with Wood exhibiting alongside Winifred at the Seven & Five exhibition at the Beaux Arts Gallery during February of that year. As Spring dawned, an invitation to visit Bankshead, their farmhouse near Brampton in Cumbria, arrived and offered with it the opportunity to accelerate his learning and rejuvenate in the country. Writing to his mother, Wood noted that 'This is a dear old farmhouse. My room is lovely with great beams going up into the roof and across the room, all whitewashed and a huge window across the end, a box bed with a pretty blue cover, a table, a row of pots of tulips and little hyacinths and outside some ducks and a little farmyard like Beatrix Potter things' (Christopher Wood quoted in Richard Ingleby, Christopher Wood, An English Painter, Allison & Busby, London, 1995, p.181). The stay was to have a crucial impact on his hosts too with Winifred describing how 'he came in March, his arrival was like a meteor' (ibid, p.181).The work they produced during this time has been described as sharing the same spirit with a multitude of ideas flowing back and forth. Ben Nicholson and Wood explored the necessity of elimination in their drawing, a lesson which the latter had started to learn whilst in Rome in 1925 and taught by Jean Cocteau and Picasso. Many of these works, incorporating box shaped farm buildings and an assortment of trees and animals, are almost impossible to differentiate and reflect the intimacy of the working relationship. However, it was to Winifred that the artist appears to have been closest and they shared a deep appreciation of colour along with a spiritual connection that would extend beyond his untimely death. It is through their respective depictions of flowers that the influence of one another is most evident, the present work being a striking example.Whilst both artists were well versed in more formal still life arrangements, they were most successful when working with bunches of wild flowers placed informally within a mug, jug or glass as can be seen in the present composition. Although Wood is not known to have painted any floral pictures at Bankshead itself, he spent much time observing Winifred and upon his return to Paris in April, he was focused on exploring the subject, requesting she send him bunches of spring flowers in the post. Several pictures, including Still Life, Bankshead (Private Collection), which depicts colourful flowers sent in one such package by Winifred emerged from the French capital. Placed in a blue glass to Winifred's influence, they are set within a composition drawn from Ben Nicholson's Walton Wood Cottage No 1 (Scottish National Gallery of Modern Art) with the wood itself and cottage almost identical but a heightened sense of colour throughout to give a unique identity. Spring Flowers in a Jug combines the strong influence of both Ben and Winifred from this important moment and is a visual record of the significant relationship between the three artists. The patterned complexity of the soft and muted background echoes the compositions of Ben whilst the flowers radiate in Winifred's own words as 'sparks of light, built of and thrown out into the air as rainbows are thrown, in an arc', set to Wood's own painterly gestures (Winifred Nicholson, quoted in Jovan Nicholson, Art and Life 1920-31, exh.cat., Dulwich Picture Gallery, London, 2013, p.33).We are grateful to Robert Upstone for his assistance in cataloguing this lot. He is currently preparing the forthcoming catalogue raisonné of the artist's work and would like to hear from owners of any work by the artist so that these can be included in this comprehensive catalogue. Please write to Robert Upstone, c/o Bonhams, Modern British Art Department, 101 New Bond Street, London, W1S 1SR, or email britart@bonhams.comFor further information on this lot please visit Bonhams.com
Paar Kerzenleuchter im Empire-StilFrankreich, um 1840. Bronze schwarz patiniert, teils vergoldet. H 25 cm. Klassizistische Bronzeleuchter mit 3 blattbesetzten Volutenfüßen auf der 3-seitigen Plinthe, geriffelter Schaft mit Blattansatz und -kapitell sowie Vasentülle Leicht berieben/verschmutzt. Pair of candlesticks in Empire styleFrance, c. 1840. Bronze black patinated, partly gilded. H 25 cm. Classical bronze chandelier with 3 foliate volute feet on the 3-sided plinth, fluted shaft with leaf base and capital and vase spout Slightly rubbed/dirty. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Allegorie der Bildhauerkunst und Allegorie der ArchitekturUngemarkt, wohl Closter Veilsdorf, 2. H. 18. Jh. Polychrom bemalt. H 11,5 und 12 cm. 1x an einem Postament mit Büste stehender Putto mit Hammer und Meisel. /1x an einer Säule stehender Putto mit Werkzeug und einem Kapitell zu seinen Füßen Meisel und Hammerstiel bestoßen, 1x rechter Arm geklebt. Allegory of sculpture and allegory of architectureUnmarket, probably Veilsdorf monastery, 2nd h. 18th c. Polychrome painted. H 11,5 and 12 cm. 1x at a pedestal with bust standing putto with hammer and chisel. /1x at a column standing putto with tools and a capital at his feet Chisel and hammer handle bumped, 1x right arm glued. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
SLAVÍČEK, Jan(1900 - 1970) Prag von der Burg ausÖl/Malkarton. Links unten signiert, verso bezeichnet/betitelt. 1955. 24 x 35 cm. Gerahmt47,5 x 58,5 cm. Blick über die Dächer der tschechischen Hauptstadt im hellen Sonnenschein Tschechischer Maler, Bruder von Jiří Slavíček, studierte in Prag, unternahm mehrere Studienreisen durch Europa und Russland. Literatur : https://en.wikipedia.org/wiki/Jan_Slav%C3%AD%C4%8Dek. SLAVÍČEK, Jan(1900 - 1970) Prague from the castleOil/painted cardboard. Signed lower left, inscribed/titled on verso. 1955. 24 x 35 cm. Framed47.5 x 58.5 cm. View over the roofs of the Czech capital in the bright sunshine Czech painter, brother of Jiří Slavíček, studied in Prague, made several study trips through Europe and Russia. Literature : https://en.wikipedia.org/wiki/Jan_Slav%C3%AD%C4%8Dek .*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
CROMWELL (OLIVER) - GLOUCESTERSHIREExemplification under the Great Seal of the Lord Protector referring to the letters patent granted by Henry III to the Abbot and monks of the Abbey of Flaxley, in English and Latin, docketed 'An Exemplification at the Request/ of William Boeve[y] Esq from Oliver Cromwell/ Abbotts Woods...'; decorated initial letter 'O', surrounded by elaborate strapwork and foliate design with capital letters on the upper line; signed at foot as examined by William Glascock and Thomas Bulstrode as Masters of Chancery in Ordinary; with the Great Seal of the Protectorate in brown wax, held by red and white silk and string ties, obverse depicting the coat of arms flanked by the lion and unicorn, reverse depicting Oliver Cromwell on horseback, seal complete, images worn, on one skin of vellum, initial and first line slightly rubbed, light dust-staining particularly at folds, pin holes to vertical edges, 432 x 740mm., seal 145mm. diameter, Westminster, 22 June 1657Footnotes:Flaxley Abbey in the Forest of Dean is a former Cistercian monastery, founded in 1151 by Roger Fitzmiles, 2nd Earl of Hereford, allegedly on the spot where his father was killed in a hunting accident. Henry II and Henry III used the abbey as a hunting lodge and, as this document shows, Henry III gave a grant to Flaxley Abbey of Abbot's Woods in 1227. After the Dissolution, the Abbey and lands were granted to Sir William Kingston, Constable of the Tower of London, who oversaw the execution of Anne Boleyn. James Boevey (1622-1696), a London merchant, lawyer and philosopher, purchased the Abbey in 1648 with his half-brother William, the 'William Boeve' mentioned in our document.For further information on this lot please visit Bonhams.com
The Waterloo medal awarded to Lieutenant Henry Vassall Webster, 9th Light Dragoons, aide-de-camp to the Prince of Orange at the battle of Waterloo, and the officer who famously brought the news of the French arrival at Quatre Bras to the Duchess of Richmond’s Ball at Brussels, subsequently eulogised by Lord Byron in his poem ‘The eve of Waterloo’ Waterloo 1815 (Lieut. Henry V. Webster, 9th Reg. Light Drag.) fitted with steel clip and ring suspension, contact pitting overall, otherwise nearly very fine £10,000-£14,000 --- Henry Webster (1793-1847) was responsible for an event made memorable by Lord Byron, with an appropriate measure of poetic licence. The first two stanzas of the nine constituting The eve of Waterloo are: There was a sound of revelry by night, And Belgium’s Capital had gathered then Her Beauty and her Chivalry, and bright The lamps shone o’er fair women and brave men; A thousand hearts beat happily; and when Music arose with its voluptuous swell, Soft eyes looked love to eyes which spake again, And all went merry as a marriage bell, But hush! Hark! A deep sound strikes like a rising knell! Did ye not hear it? ̶ No; ‘twas but the wind, Or the car rattling o’er the stony street; On with the dance! Let joy be unconfined; No sleep till morn, when Youth and Pleasure meet To chase the glowing Hours with flying feet ̶ But hark! ̶ that heavy sound breaks in once more, As if the clouds its echo would repeat; And nearer, clearer, deadlier than before! Arm! Arm! It is ̶ it is ̶ the cannon’s opening roar! Whether cannon could be heard is not known. But it is known that the news of the French arrival at Quatre Bras was brought to the ball by a Battle man, resulting in the rapid withdrawal of all soldiers there to the battle threatened at Quatre Bras. This was in the night of 15-16 June and not, as suggested by the poem’s title, 17 June. The man was Henry Vassall Webster of the Abbey family. One writer states that Webster had been invited to the ball but was unable to attend: ‘Between 11pm & midnight, Wellington went to the Duchess of Richmond’s Ball, he could not have been there long when (about 1am) Lt Henry Webster of the 9th Light Dragoons, attached to the Prince of Orange’s staff, arrived. Breathless and covered in dust and foam, he was carrying urgent news. The message Webster was carrying had left Braine-le-Comte at 10.30pm covering the distance to Brussels at high speed. He had ridden first to Wellington’s H.Q. in the Rue Royale in Brussels. Finding that the Duke of Wellington and the Prince of Orange had already left for the Ball, a servant led him to its venue. They reached there after midnight. Here Webster handed the despatch to the Prince of Orange. The letter, from (Maj. Gen. Jean-Victor) Constant Rebecque contained the news that the French, who had crossed the Sambre river, invading Belgium early that morning, had that evening broken through to Quatre Bras. Communications with the Prussian H.Q. in Sombreffe were therefore threatened. Napoleon was on the point of successfully driving a wedge between the two wings of the Allied forces which he then hoped to defeat in detail. A perplexed Prince of Orange passed the news to a dumfounded Duke. Now, and only now, did Wellington accept the seriousness of the situation.’ Webster himself wrote later: ‘I was in my saddle without a second’s delay; and, thanks to a fine moon and two capital horses, had covered the ten miles I had to go within the hour! Such was the crowd of carriages, that I could not well make my way through them on horseback; so I abandoned my steed to the first man I could get hold of, and made my way on foot to the porter’s lodge.’ The message clearly related to the possibility of Napoleon’s men advancing to cut off Wellington from Brussels and to force his withdrawal to the Channel ports. The bringer of the news was Henry Vassall Webster, son of the erratic Sir Godfrey who died in 1800 and brother of the fifth baronet of Battle Abbey. At the time he was a Lieutenant in the 9th Light Dragoon Guards and A.D.C. to the Prince of Orange. By 1824 he was a Captain, then Lt-Colonel and finally a full Colonel in 1831; he was knighted in 1843. Along the way he collected various medals, including the Waterloo Medal, and three non-British knighthoods: Willelm of the Netherlands, and the Tower and Sword and St Bento d’Avis, both of Portugal. Born at Naples in February 1793, he had joined the Light Dragoon Guards as a Cornet in March 1810. He was promoted Lieutenant in June 1811 and was slightly wounded at Vittoria in June 1813, where he served as an extra A.D.C. to Major-General Brisbane. Like his parents, Webster later became involved in a divorce, still in 1824 a difficult matter to achieve. Henry Baring M.P. accused him of seducing his wife. Webster did not defend himself and suffered damages of £1,000; Baring’s divorce took place in 1815. By this time Webster had married Grace Boddington at St George’s, Hanover Square, and they were to have two children. On 19 April 1847 he committed suicide at his house in Upper Brook Street, Mayfair, by cutting his throat with a penknife. The doctors attending the body attested to his unsound mind, and the coroner’s jury agreed a verdict: ‘That the deceased, Sir Henry Webster, died from the effects of wounds inflicted on himself while labouring under temporary insanity.’ His body was interred in the Webster vault at St Mary’s, Battle.
Thailand, Kingdom, Order of the Crown, 3rd (1941) issue, Officer’s breast badge, silver-gilt and enamel, unmarked, with rosette on riband; Order of the White Elephant, Silver Merit Medal (2); Order of the Crown, Silver Merit Medal, in case of issue; Loyal Medal for 25 Years’ Service, Rama VIII issue, silver; Rama VI Coronation Medal 1911, silver (2); Commemorative Medal for the 150th Anniversary of Bangkok as Capital 1932, silver (2); together with an unidentified Thai medal; and a Laos Medal of the Reign, silver, generally very fine (11) £80-£100
Abyssinia [Ethiopia] Parkyns, Mansfield Life in Abyssinia: being notes collected during Three Years' Residence and Travels in that Country. London: John Murray, 1853. First edition, 2 volumes, 8vo, 18 plates, folding map, 13 text illustrations, mottled calf, spines gilt, red and black morocco lettering pieces, signatures to endpaper of Reginald Huth, 20th April 1910Note: Note: A fine copy.Parkyns spent over three years in Abyssinia, which he described in his travel book Life in Abysssinia : being notes collected during three years' residence and travels in that country. The first edition of the book was published in two volumes by the English publisher John Murray in 1853. It was dedicated to Lord Palmerston, and made many references to and comments on the famous Scottish traveller James Bruce, who had travelled to Abyssinia between the years 1768 and 1773. For the second edition, published in 1868, the author wrote a completely new introduction dealing with recent Abyssinian history and methods of government at the time of the Abyssinian expedition commanded by Robert Napier, 1st Baron Napier of Magdala. In short, Parkyns described the political changes which had occurred after he left the country. He was hoping to offer the Victorian reader "a tolerably accurate idea of Abyssinia and Abyssinians". The book consists of 41 chapters which are divided into two volumes. Each of them covers different subjects, including travel, manners and customs. The first volume describes the journey from the coast to the capital and Parkyns's visit to the northern provinces, encounters with others, learning local languages and gaining new experiences. The second volume describes Abyssinian manners and customs, natural history and Parkyns's route from Adoua to Abou Kharraz on the Blue Nile. In total there are 33 illustrations after Parkyns's own watercolours. A map at the end of the books shows a part of Abyssinia and Nubia to illustrate Parkyns's journeys. In the introduction to his book Parkyns stated that it was neither a scientific work nor an entertaining one, but a faithful account of what he witnessed and experienced during his time in Abyssinia. Parkyns was particularly interested in learning about Abyssinian customs and its natural history. He took careful observations on native birds that he had never seen before. He believed that by identifying with the natives he could attain the best results, so on leaving Massawa he decided to eschew European comforts and throughout his time in Abyssinia he wore only Abyssinian clothes, walked barefoot, had an Abyssinian hairstyle, and ate whatever was offered to him. He gave detailed descriptions of, amongst other things, Abyssinian manners and customs, habits, personal appearance, births and marriages, deaths and funerals, religion and superstitions.Provenance: Reginald Huth (1853-1926), Collector of Coins and Medals, son of Charles Frederick Huth, art collector.
Honours and decorations Presented to David Storrier, CPO to the Duke and Duchess of Windsor MBE: presented to David Storrier, in original case, with certificate signed by Queen Mary, dated 1944;Royal Victorian Medal (Silver): presented to David Storrier, in original case, with certificate signed Elizabeth R., dated 1946;Silver Jubilee Medal: For the jubilee of King George V and Queen Mary, with accompanying letter dated 6th May 1935, presented to David Storrier;Coronation Medal: For the coronation of King George VI and Queen Elizabeth, with accompanying letter dated 12th May 1937, presented to David Storrier;Korpsabzeichen der Österreichischen Bundesgendarmerie [Corps-badge for the Austrian federal police]: presented to David Storrier by district inspector for Schloss-Enzefeld, Hans Mathiasch;Policia de la Capital Federal: Italian police badge, presented to David Storrier;Masonic Regalia: David Storrier's masonic apron, gloves and rosettes in original green leather case, embossed 'Bro. David Storrier, Skelmersdale Lodge, No. 1658';The Royal Masonic Institution for Girls: Honorary badge dated 1927, with Masonic pin, and certificate presented to David Storrier in recognition for his services rendered as Steward when a large sum of money was raised;Eastern Command School of Instruction: Silver medalProvenance:From the collection of David Storrier, Close Protection Officer to the Duke and Duchess of WindsorNote: Note: David Storrier was a highly decorated officer, his proudest achievement being the Royal Victorian Medal. He was also a member of the Masonic Lodge, being inducted into the Lodge in the same ceremony as Edward, Prince of Wales.
Bust of Alexander the Great, Hellenistic period, 4th-1st century BCA fine-grained marble bust of Alexander the Great, the head slightly tilted upwards, with the facial features showing a tense mouth and pensive brow. The hair is arranged in locks showing the characteristic sweep of curls to the front known as the anastole style.18cm highProvenance:The collection of Dr and Mrs Rowland Campion, thence by descent to the vendor.Exhib. The Australian Institute of Archaeology, 1972Footnote:The work is provincial, and the most likely place of manufacture is Alexandria, capital of Ptolemaic Egypt. The bust closely resembles that in the Acropolis Museum of Athens, which was made during the lifetime of Alexander by the famed sculptor Leochares, around 340 BC. Leochares was noted for the sculptural decoration on the Mausoleum at Halicarnassus, one of the Seven Wonders of the World, as well as the Diana of Versailles and the Belvedere Apollo.For a similar example see: The Egyptian Museum, Cairo, accession no. cg 27476Condition:Presumed broken from a larger figure or bust. Nose tip restored/filled. General surface pitting/wear throughout.
A quantity of London Transport, railway, etc related badges and publications. Including 5x cap badges; 2x London Transport, 2x British Railways and a London Country. Plus other badges and a commorative coin celebrating 150 years of London's buses. London Transport postcards and maps from the 1950s-70s. 7x Ian Allan and Capital Transport books relating to Routemaster buses. A history of London General. Bus publicity images. 3x Ian Allan ABC books. London Transport; 'Carried On' book pub. in 1945 detailing the history of LT during WW2. A 1983 LT Horse-Drawn Bus Service commorative booklet from 1979. GC-VGC. £30-50
A painted plaster Corinthian capital,with three tiers of overlapping acanthus leaves, the upper sprays surmounted with multiple volutes scrolling outwards, the stepped abacus with concave edges,29cm wide 29cm deep24cm highCondition ReportThe item of a distressed aesthetic, with multiple chips to the edges and scratches to the top.
Brussels, Vercruysse/L'Etat Belge, 1966. Lim. ed., no. 46 of 115 and signed by the artist in the colophon, loose in quires as issued, 30 handcol. plates by Klein, historiated capital letters beginning each of the 30 sections. Half leather portfolio w. gilt centerpiece in cardboard slipcase. Large folio. Fine copy.
Etched view, 16 x 21 cm, by Abraham Bloteling (1640-90). "I. van Ruisdael inv.", "A. Bloteling fecit", titled and numb. 3 in the plate, from the series of 6 "Amstel-gesichies", mounted at upper margin. W. monogram and note ("J. Rendorp's sale 1825 N. 13") of William Esdaile (1758-1837) in pen in lower right corner (Lugt 2617), and an unidentified collector's mark "Z" verso (2x). Good, contemp. impression w. narrow margins. For further reference, see: Catalogue of a Capital Collection (...). (Samuel Sotheby, 1825). -and 8 others, incl. 2 views from Fouquet and five 18th cent. historical prints (1 handcol.). (total 9)
OHASHI SAN'EMON: A MASTERFUL PAIR OF BRONZE TAKAOKA SHO-FORM KORO (INCENSE BURNERS)By Ohashi San'emon (Sanzaemon, 1851-1895), signed Dai Nihon Teikoku Toyama Ken Takaoka Shi Ohashi San'emon seizoJapan, Takaoka, late 19th century, Meiji period (1868-1912)Each censer multi-tiered and set on a hexagonal base surmounted by six flared feet formed as baku. An open-worked structure with six roof tiles showing various beast masks, ho-o and shachihoko (dragonfish) supports the large container for incense in the shape of a sho (Buddhist reed instrument) with dragon handles and further decorated in masterful iro-e takazogan as well as shakudo and gold hirazogan with ho-o birds, various instruments and mon-emblems.Each with an incised inscription and signature to the base: Dai Nihon Teikoku Toyama ken Takaoka Shi OHASHI SAN' EMON seizo [Made by Ohashi San'emon, Takaoka City, Toyama Prefecture, Great Imperial Japan].HEIGHT each 49 cmWEIGHT 7,333 g & 7,565 gCondition: Very good condition with minor wear and traces of use.Provenance: Private collection in Massachusetts, Boston.Ohashi San'emon was born in 1851 and died in 1895, his most active period was between 1875-1895 and his contemporary metal artists were Kakuha Kanzaemon IX (Kakuha Zenjiro), Yokoyama Yazaemon II (1845-1903) and Kanamori Soshichi (1821-1892), who were pioneering doki (Japanese bronze ware) based in Takaoka, Etchu Province and Kaga Province, present-day Toyama and Ishikawa prefectures. They made many fine bronze items for domestic and foreign exhibitions and for the oversea markets.The history of casting copper alloys in Takaoka, the provincial capital of Etchu (present day Toyama Prefecture), is reputed to date to the early Edo period, the industry encouraged by the local feudal government as a source of income. Around 1830, new sales venues were developed, extending from Edo city to the northernmost part of the Japanese archipelago, eventually expanding to overseas export markets during the Bakumatsu era.Auction comparison:Compare an inlaid bronze vase by Ohashi Sanzaemon at Bonhams, Fine Japanese Art, 13 September 2017, New York, lot 1059 (sold for 16,250 USD). Also compare a pair of bronze Takaoka vases, by Yazaemon II, at Bonhams, Tradition, Travel, Transition - Japanese Art across the centuries, 4 November 2021, London, lot 139 (sold for 12,750 GBP).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.
TOSHITERU: A FINE SHAKUDO TSUBA WITH DEERBy Takeshi Toshiteru, signed Toshiteru with kakihanJapan, Tanaka school, c. 1850, Edo period (1615-1868)The shakudo marugata tsuba of tanto size, beautifully worked with an ishimeji ground, decorated in iro-.e takazogan of gold, copper, shibuichi and silver, depicting two deer standing on a craggy outpost with clouds and pine below, the verso with a silver full moon partly obscured by clouds and further pines on a hilly landscape below. Signed to the front TOSHITERU with kakihan (artist's cursive monogram) and with a lengthy inscription to the back: 於東府城南、芝海里作之 Tofu jonan nite, Shiba kairi tsukuru kore [This is made at the Shiba bay area, the south of Edo Castle, Tokyo (Eastern capital)].HEIGHT 6.1 cm, LENGTH 5.6 cmWEIGHT 82 gCondition: Very good condition, minor expected wear, few minuscule nicks.The artist is listed in the Haynes Index of Japanese Sword Fittings and Associated Artists on page 2075 (H 010593.0) and was a pupil of the Tanaka school.
[The Football Association]. 'The Inaugural Match Played by the Members of the Association in Battersea Park.' An account of the first ever match played by members of the Football Association at Battersea Park, 2 January 1864 [pre-dating what is currently recorded as being the first match played under Football Association rules on 9 January 1864], including a list of the XIII rules, and a printed diagram of the pitch. 'A game of football was played in Battersea Park on Saturday, January 2nd, at which I should have liked to have seen all the readers of the "Boys' Journal" present. This, however, not being possible, I shall endeavour to provide them with the best substitute I can by describing the capital game upon the true principles of football, which I saw played there. The players were the members of the Association founded for establishing football rules; and therefore, the game played was regulated by the laws which were printed in my last article [p.53 in this book]...This was the inaugural match, played by the rules of the Association...The following diagram represents the ground and position of the players at the commencement, and at different stages of the game. It also makes clear the intricate points in the play. Any boy who studies it carefully will perfectly understand football, and, indeed, be fit for a captain among his fellows.' Describing and listing the XIII rules, the author makes clear the split from rugby, 'The original rules IX and X have been, I am very glad to say, omitted, because they were opposed to the true principles of football. How should it be natural or right to seize the ball and carry it, and to wilfully go up to a playfellow and kick at his legs with either the toe or the heel of such boots as are worn in winter?' The Boys' Journal: A Magazine of Literature, Science, Adventure, and Amusement, Vol. II, London: Henry Vickers, [1863-64], bearing owner inscription of 'William Hotham, York 1863', and a small ownership plate for the same. Octavo, publisher's gilt pictorial cloth, pp. [vi], 448 [plus Agency and Correspondence sections], illustrated with numerous wood-engravings, internally very well-preserved, clean & bright, covers discoloured & worn. The football sections appear on pp. 51-54 & 144-146
A 'BAND OF BROTHERS' BROOCH the brooch with the words 'WE ARE A BAND OF BROTHERS' stamped out along the outer border, with entwined capital 'B's in a central motif, measuring approximately 4cm wide and marked for silver on the reverse; together with an '835' silver filigree bracelet, a pair of faux pearl clip back earrings stamped '835' and a costume brooch set with marcasites
* CHARLES JAMIESON MFA PAI PPAI (SCOTTISH b. 1952), STORE BAY, TOBAGO mixed media on paper, signed and titledmounted, framed and under glass image size 24cm x 23cm, overall size 49cm x 47cm Note: Charles Jamieson was born in 1952. He studied art at the Glasgow School of Art from 1969 to 1974. This was followed by further studies at Texas Christian University in Fort Worth. Charles is the Former Chairman of the Aspect Prize and Past President of the Paisley Art Institute. Jamieson's work is held in many collections in Great Britain, USA, Italy, Australia, the Middle East, the Caribbean, Denmark, South Africa and Hong Kong including: Ernst & Young. Prudential, Clydebank Museum, Aspect Capital Ltd, Caledonian Breweries. Lord and Lady MacFarlane, John Le Carre, Harry Enfield, Keeley Hawes, Kirsty Wark, DWF, R.I.C.S & The Kuwait Royal Family.
PAUL FISCHER (DANISH 1860-1934)ON THE JETTYOil on canvasSigned (lower left)38 x 53.5cm (14¾ x 21 in.)Provenance:Anthony Mitchell Fine Paintings, Nottingham, October 1986Paul Fischer's formal art education lasted a short while, studying at the Royal Danish Academy of Art in Copenhagen for only two years. He was largely taught by his father, who was a painter himself before turning to the manufacturing of paints and lacquers later on in his career. From 1884-1902 Fischer regularly exhibited at Charlottenborg's Spring Exhibition, but as he became increasingly well-travelled, painting in Scandinavia, France and Italy, he also exhibited all over Europe, notably in the Paris Salon. Staying in Paris from 1891-1895, he studied the works of the French Impressionists which would influence his harnessing of light on his return to Copenhagen.While Fischer's early works depict the intricate city life of Denmarks's capital - Fischer quickly gained renown as 'Copenhagen's painter' (Københavns maler) - from 1890 he also turned his attention to tranquil beach and lake scenes, a real juxtaposition to his crowded depictions of the hustle and bustle of the city. These included bright, sunny bathing scenes at Hellerup and Løkken, as well as elegant ladies looking out in thought over the waters of Båstad, Falsterbo and Hvalstad in Sweden. Indeed, the beach was becoming an increasingly popular place for Danish artists to depict. From the 1870's a group of Scandinavian artists known as the Skagen Painters even developed an artist's colony at Skagen, a popular tourist destination whose scenic nature and local milieu inspired many to paint en plein air in emulation of the French Impressionists. Condition Report: The canvas has not been lined. Fine craquelure scattered throughout, with two heavier areas to the right of the sitter, and to the sea left of the jetty edge (both visible in catalogue and online illustration). The paint in these areas is not flaking, but may benefit from stabilisation in order to prevent future lifting. Otherwise the work appears to be in good original condition. Inspection under UV reveals no evidence of retouching or repair. Unexamined out of glazed frame. Condition Report Disclaimer
RICHARD CATON WOODVILLE (BRITISH 1856-1927)THE RELIEF OF LUCKNOW BY GENERAL SIR HENRY HAVELOCK (1895)Oil on canvasSigned and dated '1895' (lower left)181 x 304cm (71¼ x 119½ in.)Provenance:Sale, Sotheby's, London, Important British and Irish Paintings, Watercolours and Drawings, 29 November 2001, lot 28Barnwell Manor, Northamptonshire, Windsor House AntiquesExhibited:Royal Academy, London, 1896, no. 486At a time of simmering resentment at colonial rule, with the British East India Company's annexation of lands including the Kingdom of Oudh in 1856, of which Lucknow was the capital, crippling taxation and religious intolerance, the Indian Rebellion, or the First War of Independence (also referred to as the Indian Mutiny) was sparked in May 1857, by an incident among angered Indian soldiers serving the British East India Company stationed at Meerut. It was quickly joined by Bengal Infantry regiments and civilians, spreading across north and north-east India including to the cities of Delhi, Agra, Kanpur, and Lucknow.Caton Woodville's painting of 1895 shows British soldiers and Indian allies grouped by the walls of a ruined building, perhaps the British Residency itself. The British general Sir Henry Havelock (1795-1857), with Sir James Outram (1803 - 1863) (technically commanding officer, but who had insisted that Havelock should remain in command until the Residency was taken), reached Lucknow on 26 September 1857 - and this is the moment represented in the present painting. At the time of Havelock's arrival, the British garrison at Lucknow had been under siege for five months, and Sir Henry Lawrence, Commander at the Residency during the onset of the attack, had died. Approximately a thousand British troops and 700 loyal sepoys held the Residency, and with them were about 150 women and children of the garrison, after it had been surrounded by hostile forces in July 1857. They were besieged by a force of around 60,000 rebels, including 10,000 British-trained soldiers. The governor Henry Lawrence had been killed in the initial engagement, and had been succeeded by General Inglis, and many other lives were lost in the heavy fighting for the city.An excerpt from the contemporary account of General Inglis was given in the 1896 Royal Academy exhibition catalogue: "The annals of warfare contain no brighter page than that which will record the bravery, fortitude, vigilance, and patient endurance of hardships, privation and fatigue, displayed by the garrison of Lucknow". In the event, however, the forces led by Havelock had insufficient strength to be able to evacuate the Residency and thus he himself was caught within the besieged city.Reinforcements under Sir Colin Campbell (1792-1863) were brought into the campaign, and eventually on 16 November the siege was lifted. Cholera had swept through the embattled Residency, and Sir Henry Havelock died of disease and exhaustion on the very morning of the withdrawal of hostile forces. Fighting continued into the early months of 1858, and it was not until 21 March of that year that the British had regained possession of the city and surrounding area.Condition Report: The canvas has been relined. Fine craquelure throughout. UV reveals very minimal retouching scattered throughout.Condition Report Disclaimer
Firminger (Rev. W. K.). Thacker's Guide to Calcutta, 1st edition, Calcutta: Thacker, Spink & Co., 1906, xiv, 271 pp., 6 pp. adverts, and 55 pp. publisher's catalogue at rear, folding plan of Calcutta loosely inserted to rear pastedown, 14 monochrome plates after photographs, one or two old oval ink stamps ('Capital', Calcutta), rear hinge loosened, original dark blue cloth-backed pictorial boards, spine lettered in gilt, rubbed and slight wear to edges, together withMalleson (Colonel G. V.). Seringapatam Past and Present. A Monograph, reprinted, London: Luzac & Co., Madras: Higgin Botham & Co., 1909, viii, 79pp, 3 pp. advertisements at end, some scattered spotting, original cloth-backed printed boards, some marks, plusKarkaria (R. P., editor). The Charm of Bombay, An Anthology of Writings in Parise of the First City in India, with a foreword by H. E. Lord Willingdon, Governor of Bombay, 1st edition, Bombay: D. B. Taraporevala, Sons & Co., 1915, XXVII, 627 pp., original gilt-and blind-stamped red cloth, very lightly rubbed, all 8voQTY: (3)
Nelson (A. E.). Guide to Chikalda with a selection of papers relating to the Gawilgarh Fort, Nagpur: Government Press, 1925, title and final leaf somewhat toned, original green cloth lettered in gilt, a little rubbed, together with Husain (Mohammed Ashraf). A Guide to Fatehpur Sikri, & An Historical Guide to the Agra Fort (based on contemporary records), & A Guide to the Buildings and Gardesn Delhi Fort [by G. Sanderson], together 3 volumes, Delhi: Manager of Publications, 1937, plates after photographs, some folding plans, Agra Fort with folding plan (restrengthened to verso of folds), loosely contained in pocket at rear, all original blue cloth-backed printed boards, a little rubbed and frayed to extremities, light soiling to covers, third volume with spine discoloured, plusNeve (E. F.). The Tourist's Guide to Kashmir, Ladakh, Skardo, & c., edited by the late Major Arthur Neve, revised by Doctor E. F. Neve, 16th edition, Lahore: Civil and military Gazette Press, 1938, folding colour map at end, ownership inscription to front endpaper dated June 1940, original red cloth gilt, spine covered with adhesive red tape, 8vo, and other various guides to Indian cities and towns, monuments, etc., including F. J. McBride, Sikandra 1840-1940, Sikandra Press, 1940, in frayed and slightly worn dustwrapper, W. Allsup, Notes on Walking Around Shillong, 1934, D. M. Reid, The Story of Fort St. George, Madras: Diocesan Press, 1945, H. A. Newell, Calcutta, the First Capital of British India, an illustrated guide, Calcutta: Caledonian Printing Company, circa 1920 (rebound in modern quarted black morocco)QTY: (40)
* Hearsey (Hyder Young, 1782-1840). View of Almora, Uttar Pradesh, Northern India, circa 1815, watercolour with pencil, and pen and brown ink on Whatman laid paper (watermarked J Whatman 1804), inscribed (presumably by the artist) to lower blank margin: ALMORAH No.4, left blank margin with contemporary paper restrengthening to verso, 33.5 x 53.5 cm (13 1/4 x 21 ins), hinged to upper margin in modern window mount, with modern pencil note to backing card, 'English School, very early 19th century, view in Northern India, inscribed below the drawing, paper watermarked Whatman 1804, note in book from which these were taken stated that they were drawn during Col. Moercheson's survey', framed and glazedQTY: (1)NOTE:Provenance: Private Collection, Gloucestershire, UK.Almora, the capital of Kumaon, sits on a saddle-ridge of the Himalayas, 5494 feet above sea level. The town was captured by the Gurkhas in 1790, who constructed a fort on the eastern extremity of the ridge. Almora was the scene of a British victory which terminated the war with Nepal in April 1815, and which resulted in the evacuation of Kumaon by the Gurkhas and the annexation of the province by the British. The British Library holds a number of watercolour views by Hyder Hearsey of the lower reaches of the Himalayas, including two which are captioned Almorah No.1 and Almorah No.5, as in the present work. Two similar views of Almora, also on the same scale, were offered at Christie's, London, Exploration and Travel with Visions of India, 21 September 2000, lot 283.Hyder Young Hearsey was the son of Captain Harry Hearsey, an English officer in the Maratha service who fell at the head of his cavalry regiment in the battle of Merta, in 1790. Hyder was educated in England, and at an early age followed in his father's footsteps, being appointed a cadet in the Maratha service before his seventeenth birthday, and receiving promotion a few months later to the rank of ensign, for good service in the field. He was kindly treated by General Perron, the French commander-in-chief of the Maratha army, but, like other Englishmen in that service, soon found his position uncomfortable, and entered the army of the celebrated George Thomas, Raja of Hansi. With the outbreak of the Nepal War in 1814, Lord Moira, Governor General, decided to attack Kumaon as a diversion from a number of unsuccessful advances towards Kathmandu. Hearsey was in command of a small body of irregulars and advanced in February 1815 from Pilibhit up the Kali into the hills, capturing Champavat in March 1815. Underestimating the fighting power of the Gurkhas, he was wounded, captured and imprisoned at Almora until its surrender at the end of April 1815. Hearsey accompanied two expeditions, through the hill country and in to Tibet, to discover the source of the Ganges. The first was in 1808 with Lieutenant Webb and Captain Raper. During the second, in 1812, he and William Moorcroft became the first Europeans to reach the sacred lake of Manasarowar.
An 18th century gold posy ring, the plain gold band of D-section, inscribed to the interior ‘Heaven is my happynes’ in script with conjoined ‘s’, with maker’s mark ‘TT’ in capital letter, probably for Thomas, ring size I½. £800-£1,000 --- Provenance: Ex UK collection. Condition Report Outline of ring slightly off round, a small nick to the exterior of the band, interior script and maker’s mark clear. Weight 1.9gm.
A pair of large gilt and patinated bronze candelabra,late 19th century, French Empire-style, each with a flaming urn finial above six scrolling branches and a reeded tapering column, raised on three paw supports and a tripartite base,83cm high (2)Provenance: Farm House, Farm Street, London W1.Condition ReportLight wear. Measure 54cm to top of capital. Both are structurally sound and ready for use.
A pair of patinated and gilt-metal column table lamps, 20th century, each with a Corinthian capital and a stepped square base, 14.5cm wide14.5cm deep43cm high (2)Condition ReportPat Test Passed. The lamps are electrified and are in working condition. There are signs of wear to the bases but overall in good cosmetic condition, intact and ready for use.
A pair of Brocatelle marble Tuscan columns,late 19th century/early 20th century, each with a square and turned marble base and capital, probably Maurin Green,137cm high including base and capital (2)Condition ReportMinor chips and rubbing to edges of column. One base with significant repairs. Columns to check when photographed.
A pair of rouge marble pedestals,20th century, each square top supported by a Corinthian capital on a tapering turned column, on a square green-veined marble base with foliate cast gilt-bronze mounts, tops 25cm square123.5cm high (2)Condition ReportOne top with 4cm chip to one corner. one column with small area of scuff/damage. Small chip to corner of one base. Otherwise in good cosmetic order with minimal traces of wear and use. Sit stable and ready for use.
A William and Mary-style walnut side table by Howard & Sons, early 20th century, with a moulded rectangular top and turned supports united by an 'X' stretcher, 53cm wide36cm deep71cm highCondition ReportSome slight marks, scratches and blistering to top veneers. Corner joins are pulling apart slightly to front top. Crack/split to top back edge. Some small veneer repairs to the apron. Minor scuffs and marks to supports. Front left support missing moulded capital. Split to back right support moulded capital. A little wobble but joints stable. Overall in good cosmetic and structural condition and ready for use. See additional photos.
A historicist Revival oak library bookcase, outswept cornice with gadrooned capital above a pair of leaded bullion and sheet glass doors enclosing three shelves, the base with a linenfold panel door, carved throughout with masks, stylised flowers and lunettes, plinth base, 230cm high, 126.5cm wide, 58cm deep
A late 19th century oak library bookcase, outswept cornice with gadrooned capital above a pair of glazed doors enclosing two adjustable shelves, the projecting base with three short drawers above three panel doors, the central carved and applied with a horned Green Man mask, the whole carved and applied throughout with flowers and leaves, skirted base, 220cm high, 134.5cm wide, 54cm deep
A George III mahogany secretaire chest on stand, in the manner of William Vile, later retailed by Muirhead Moffat & Co, Glasgow, stamped, rectangular top with moulded edge above a blind fretwork capital and two long drawers, the upper with fall front enclosing a the well fitted interior finely carved, small door, small drawers and pigeonholes, brass swing handles, batwing escutcheons, carry handles to sides, shaped apron, cabriole legs carved to the knees with acanthus and a stylised bell husk, ball and claw feet, 96cm high, 121cm wide, 65.5cm deep, c.1775
An Edwardian Adam Revival mahogany floor-standing corner display cabinet, moulded cornice with pendant capital above a pair of leaded glazed doors enclosing two shelves, the slightly projecting lower half with a pair of flame-veneer centred doors, outswept forelegs, shaped stretcher, 170cm high, 62.5cm wide, 40cm deep, c.1905
A large George III Revival mahogany break-centre library bookcase, moulded cornice with meandrous capital, above astragal glazed doors, the projecting base with panel doors applied with reentrant mouldings and draught-turned roundels, bracket-form base, 213.5cm high, 215cm wide, 51.5cm deep
RARE STATUETTE D'UN BODHISATTVA EN BRONZE DORÉÉpoque Kangxi (1662-1722)A RARE GILT-BRONZE FIGURE OF A BODHISATTVAKangxi (1662-1722)Finely and heavily cast seated in lalitasana, the right leg stretched out over the base, the left leg drawn in, with her right arm held in varadamudra and her left arm in vitarkamudra, wearing a long diaphanous dhoti elaborately decorated with finely incised scattered floral roundels and with chased and engraved lotus scroll borders, flowing over his legs and gathered in folds around his feet, the chest bare and covered with an ornate necklaces with beaded festoons, a similarly beaded belt around his waist, the face rendered with a benevolent expression accentuated with slightly downcast eyes and a gentle smile, framed by a pair of pendulous earlobes, the hair drawn up in an ornately braided high chignon, seated on a separate, heavily cast lotus pedestal made of rows of overlapping lotus petals, the base sealed with a gilt-metal plate incised with a double vajra. 23.5cm (9 1/4in) high. (2).Footnotes:THE PROPERTY OF A DISTINGUISHED EUROPEAN FAMILY 歐洲顯赫家族藏品清康熙 銅鎏金菩薩坐像Provenance:Acquired by the parents of the present owners, and thence by descent來源:現任藏家父母獲得，並由後人保存迄今This exquisitely cast small gilt-bronze figure of a bodhisattva, possibly representing a Tara, belongs to an important group of bronzes of similarly refined quality and jewel-like size that were made with separate lotus bases, with bands of raised lotus flowers skillfully worked and chased in repoussé. Three gilt-bronze figures of different iconography, two of almost identical size, one slightly larger, and very similar style and quality in the Palace Museum collection, Beijing, are placed on identical, separately-cast stands with layered lotus petals surrounding the base, see The Complete Collection of Treasures of the Palace Museum – 60 - Buddhist Statues of Tibet, Hong Kong, 2002, pp.239-41, no.228 (Amitayus), no.229 (Vajradhara) and no.230 (Green Tara) (Figs. 1-3). We can therefore assume that these figures were all made in the same workshop associated with the palace, and probably made for the Qing court.Several other examples of figures on similar bases have been sold at auction, compare, for example, a figure of Avalokiteshvara sold in Christie's Hong Kong, 28 November 2012, lot 2265, and a second figure of Amitayus, sold Christie's Hong Kong, 30 May 2018, lot 2867, and a third figure (possibly with a matched stand) sold Christie's New York, 13 September 2019, lot 857. Yet another figure is recorded on Himalayan Art Resources (himalayanart.org) as item no.8084, previously sold in Sotheby's New York, 16 and 17 March 1988, lot 196.The present figure with its slightly stiff posture, attenuated features, the drapery, tall braided chignon and the shape of the base shares stylistic characteristics with gilt-bronze sculpture from areas of Inner Mongolia outside the Qing capital in Beijing, especially Buddhist figures created in or around the thriving Buddhist center of Dolonnor. During the Qing period, the Kangxi, Yongzheng and Qianlong emperors patronized Dolonnor as a center of Buddhist learning and artistic production. The Mongolian master, lama and artist Zanabazar assimilated his khanate into the Qing empire at Dolonnor in 1691. The Dolonnor monastery and its workshops workshops produced both solid cast, hollow cast and repoussé figures and objects for Mongolian and Tibetan patrons as well as for the Qing court. Compare, for example, a gilt-bronze figure of Tara attributed to Dolonnor, dated to the 18th century, sold at Christie's New York, 16 September 2014, lot 261, and another figure of Tara, attributed to Dolonnor, which was sold at Christie's New York, 20 March 2019, lot 674.For further information on this lot please visit Bonhams.com
STÈLE DE VISHNU EN GRÈS BEIGEINDE CENTRALE, XE/XIE SIECLE129.6 cm (51 in.) highFootnotes:A BUFF SANDSTONE STELE OF VISHNUCENTRAL INDIA, 10TH/11TH CENTURY印度中部 十/十一世紀 砂岩毗濕奴石碑Provenance:With Claude de Marteau, Brussels, by 1970sThe primary form of Vishnu appears in this sculpture in his iconic frontal form (sampada) with his head framed by a lotus nimbus in a presentation testifying to his role as preserver of balance. Shown with four arms, carrying a conch-shell trumpet, a chakra, and a clublike mace, his lower right arm extends in the gesture of generosity. He wears the garments of a prince including a tall crown (kiritamukuta), a sacred thread (yajnopavita) running down his chest, jewellery, sashes, and dhoti. Set within a palatial frame (parikara), Vishnu is flanked by columns and capitals surrounded by animated depictions of the deity's avatars.Of these emanations, Vishnu's entourage illustrates his great power in both the celestial and relative realms. Featured in this stele are his various forms including the Matsya the fish, Kurma the tortoise, Varaha the boar, Narasimha the man-lion, Vamana the dwarf, Parashurama the Brahmin, Rama the prince amongst others. Garland bearers, elephants, vyalas, and makaras decorate and enliven these celestial scenes. These acts of multiplicity illustrated in diminutive forms around Vishnu, emphasize his powerful position to descend from the heavenly realms to restore natural order to the world. Another depiction featuring Vishnu within this celestial setting from Uttar Pradesh sold at Christie's, New York, 16 September 2014, lot 237, and suggests the popularity of this iconographic program from the region. A fragmentary figure of Vishnu Allahabad shows a similar crown type (Trivedi, Stone Sculpture in the Allahabad Museum, New Delhi, 1996, cat.8, p. 85) as does a bust from Central India (Pal, The Sensuous Immortals, Los Angeles, 1978, no. 84), illustrating commonalities of style within this region. Elements of the dress and treatment of the nimbus compare to another stele of Surya identified from Uttar Pradesh (Pal, Art From the India Subcontinent, New Haven, 2003, no. 77, p. 118). Further, the architectural arrangement, including the capital types and tiered registers along the sides show similarities to another Central Indian stone depicting a Yakshi sold at Sotheby's, New York, 19 March 2016, lot 1314.This lot is subject to the following lot symbols: WW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com
FRAGMENT DE BAS-RELIEF REPRÉSENTANT LA SCÈNE DE L'ÉCHANGE DE VÊTEMENTS EN SCHISTE GRISANICENNE RÉGION DE GANDHARA, IIE/IIIE SIÈCLE32.7 x 34.5 cm (12 7/8 x 13 5/8 in.) Footnotes:A GREY SCHIST PANEL OF THE EXCHANGE OF CLOTHESANCIENT REGION OF GANDHARA, 2ND/3RD CENTURY犍陀羅 二／三世紀 片岩太子易衣圖石碑Published:Isao Kurita, Gandharan Art, Vol. I, Tokyo, 1998 & 2003, p. 89, no. 164.Provenance:With Claude de Marteau, Brussels, by 1970sThe panel's intriguing subject recalls Siddhartha's encounter with a group of hunters in a forest following his departure from the capital of Kapilavastu. Here, the prince swaps his royal outfit for a simpler attire provided by the hunter closest to him. He is joined on the far right by the Buddhist protector Vajrapani wielding a thunderbolt (vajra). Stylistically, the panel is closely related to several gathered by British soldiers and displayed at the Guide Mess at Mardan before being presented to the British Museum (see Ingholt, Gandharan Art in Pakistan, 1957, nos. 16, 26 & 50; see no. 46 for another example of the present panel's subject).This lot is subject to the following lot symbols: WW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com
STATUE D'UN BODHISATTVA EN SCHISTE GRISANICENNE RÉGION DE GANDHARA, VERS IIIE SIÈCLE115 cm (45 1/4 in.) highFootnotes:A GREY SCHIST FIGURE OF A BODHISATTVA ANCIENT REGION OF GANDHARA, CIRCA 3RD CENTURY犍陀羅 約三世紀 片岩菩薩像Published:Isao Kurita, Gandharan Art, Vol. II, Tokyo, 1998 & 2003, p. 15, no. 17.Provenance:With Claude de Marteau, Brussels, by 1970sThis majestic figure of a standing bodhisattva evokes both strength and grace. He bears the qualities of a youthful prince, indicated by his jewelry and noble, smooth physiognomy. His pronounced musculature, circular nimbus, and lofty expression convey an idealized image of a divine and enlightened being. He likely represents Maitreya, who in Mahayana Buddhism is destined to succeed Shakyamuni as the next and final Buddha. Maitreya in Gandharan art is frequently depicted with a loosely folded topknot, a right hand raised in the gesture of reassurance (abhaya mudra), and a water flask that was presumably clutched by the lost lowered left hand. Reflecting the cosmopolitan attitude of Gandharan art, which fused Indic content with Iranian and Greco-Roman aesthetics, Maitreya is carved with long wavy locks, standing with a gentle contrapposto in the right knee. Located in what is today northwest Pakistan and southern Afghanistan, the ancient region of Gandhara was once a vibrant economic and cultural hub with an integral position within both overland and maritime silk routes around the 1st century BCE. The vast influx of wealth and commerce enabled Gandhara's urban centers to serve as the crossroads connecting China, Central Asia, the Indian peninsula, and the Mediterranean. However, Gandhara's advantageous geography meant the region fell repeatedly to invasion from powerful ancient empires. Alexander the Great conquered the ancient capital of Taxila in 326 BCE and the region was, for a brief time, absorbed into the Macedonian empire. After the death of Alexander, the Mauryans subsequently ruled for approximately one hundred and fifty years (c. 305-180 BCE). Greco-Bactrian invasions around 180 BCE then turned the region into an independent Indo-Greek kingdom (c. 185-97 BCE). One of its most famous rulers, King Menander I (r. 165/55-130 BCE), became a great patron of Buddhism and is still remembered for his dialogues with the Buddhist sage Nagasena, as recorded in the Milinda Panha, 'The Questions of Menander'. The Kushans, who were originally of Central Asian descent and adopted Greek and Iranian elements in their material culture, later established themselves in Gandhara in the early 1st century CE. The most accomplished of these kings was Kanishka I (r. 127-151 CE), who not only ruled a vast empire extending from Bactria to Pataliputra in Northeast India, but also followed the tradition of religious patronage set by the Indo-Greek kings and actively engaged in the creation and transmission of Buddhist literature, architecture, and art. It was during this cultural landscape of stone monuments and statuary, particularly once Mahayana Buddhism attained popularity in Gandhara by the late 2nd/early 3rd century CE, that images like the following sculpture were instrumental in the eastern transmission of early Buddhist art. Other standing images of Maitreya with similar attributes and stylistic features are found in several museum collections, published in Zwalf, A Catalogue of the Gandharan Sculpture in the British Museum, 1996, p. 38, nos. 51 & 52; Dye, The Arts of India: Virginia Museum of Fine Arts, 2001, p. 97, no.7; and Behrendt, The Art of Gandhara in the Metropolitan Museum of Art, 2007, p. 54, no. 42. For instance, the beaded jewelry adorning the present sculpture's hair and the floral medallions carved on the sides of the platform closely relate to the example in the Metropolitan Museum of Art, New York (13.96.17). Moreover, the acanthus leaves decorating the front of the present figure's platform, the large tassel hanging by the left arm, the sharp angular folds suspended over the left leg, and the deep ripples of the robe around the raised right forearm are striking in appearance to the example in Virginia. Also located beneath Maitreya's feet is an iconic trope illustrating a seated bodhisattva venerated by a congregation, as seen on two Gandharan statues of the Buddha, one sold at Bonham's, Hong Kong, 2 December 2021, lot 1036, and the other also from the Claude de Marteau Collection, Part 1, sold at Bonhams, Paris, 14 June 2022, lot 26.This lot is subject to the following lot symbols: WW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com
STATUETTE D'UNE DIVINITÉ D'ACCOMPAGNATRICE DE MAHACHAKRA VAJRAPANI EN ALLIAGE DE CUIVRE DORÉTIBET, XVE/XVIE SIÈCLEHimalayan Art Resources item no. 4806 21.6 cm (8 1/2 in.) highFootnotes:A GILT COPPER ALLOY FIGURE OF A MAHACHAKRA VAJRAPANI RETINUE FIGURETIBET, 15TH/16TH CENTURY西藏 十五/十六世紀 銅鎏金大輪金剛手伴神像Provenance:With Claude de Marteau, Brussels, by 1970sThis intriguing gilt bronze is one that is rarely encountered in Tibetan sculpture. Wrathful in appearance with one face and four arms, he supports his female consort in a passionate embrace while simultaneously displaying the gesture of demon subjugation with his principal pair of hands. This particular mudra, together with the vajra and staff that he holds in his secondary hands, identifies him as one of four guardian deities who protects Mahachakra Vajrapani's sacred mandala abode, and was likely once part of a sculptural set. For reference, see two thangkas of Mahachakra which illustrate these attendant deities, one sold at Christie's, New York, 21 September 2005, lot 124 (HAR 21949), and another in the Margot and Tom Pritzker Collection (HAR 58322). Mahachakra Vajrapani is a meditational deity (yidam) who can serve as the focus of one's tantric practice, bestowing both power and spiritual attainment. As indicated by the coiling snakes adorning the retinue figure's body, snakes are key to Mahachakra Vajrapani's wrathful symbolism, conveying his role of subduing harmful forces and converting 'poisonous' emotions into virtue (cf. van Alphen, in Bonhams, Hong Kong, 29 November 2016, lot 108). Likewise, the present retinue figure tramples two sprawling demons underfoot, signifying his own ability to remove all obstacles, either physical or mental, that could potentially impede a practitioner's path towards enlightenment. The present lot bears the stylistic hallmarks of Sonam Gyaltsen, who was a master craftsman active in Shigatse in the 15th century. Characteristics of his workshop style include the finely incised details decorating the couple's clothing, the jeweled swags adorning their waists, and the pointed, five-lobed leaves comprising the crowns and armbands. These features are shared by two images of Mahachakra Vajrapani, one from the Philip Goldman Collection (HAR 12079) and another sold at Christie's, Paris, 16 December 2022, lot 173 (HAR 24853). However, the wide, bulbous modelling of the lotus petals do not reflect the hand of Sonam Gyaltsen himself, suggesting that the present work was made in a closely related atelier. A gilt bronze figure of Songtsen Gampo in the Capital Museum, Beijing, who sits atop a similar type of lotus base, possibly hints that the two originate from the same workshop (The Goddess of Mercy in Buddhism, 2008, pp. 230-1, no. 24; HAR 59803).For further information on this lot please visit Bonhams.com
August Macke 1887 Meschede/Sauerland - 1914 Perthes-lès-Hurlus (Frankreich) Sonnige Straße mit Hund. 1911. Aquarell auf Papier, auf Karton aufgezogen. Heiderich Aquarelle 136. Vriesen A 61-62. 28 x 34 cm (11 x 13,3 in), blattgroß. [AR]. • Kraftvolles, die Wärme des Sonnenlichts einfangendes Aquarell des großen Koloristen August Macke. • Im Entstehungsjahr 1911 gehört er zu den ersten Mitgliedern des 'Blauen Reiters'. • Mit ihren farbintensiven und flächigen Formen zeigen seine Arbeiten dieser Zeit deutlich den Einfluss von Franz Marc, mit dem er eng befreundet ist. • Vergleichbar farbstarke Aquarelle von 1911 werden nur sehr selten auf dem internationalen Auktionsmarkt angeboten (Quelle: artprice.com). Mit einer Echtheitsbestätigung auf der Rahmenrückwand von Dr. Wolfgang Macke, Nachlass August Macke, Bonn, vom 14. September 1966. PROVENIENZ: Nachlass des Künstlers (verso auf der Rahmenrückpappe mit dem Stempel). Prof. Friedrich Brie, Freiburg i. Breisgau (Schwager von Elisabeth Erdmann-Macke). Dr. Renate Brie, Freiburg i. Breisgau (1957, Tochter des Vorgenannten). Privatsammlung Norddeutschland (um 1960 erworben, seither in Familienbesitz). AUSSTELLUNG: August Macke-Aquarelle, Städtisches Kunsthaus, Bielefeld, Juni/Juli 1957, Kat.-Nr. 61. Deutsche Kunst des 20. Jahrhunderts, Augustiner Museum, Freiburg i. Breisgau, 1962, Kat.-Nr. 74. Meisterhaft gelingt es August Macke im vorliegenden Aquarell, die Atmosphäre eines sonnigen Nachmittages einzufangen. In einer aus dem Leben gegriffenen Momenthaftigkeit zeigt er eine mit Kind spazierende Mutter, während ein wachsamer Hund im Vordergrund sich unmittelbar für einen Sprung bereit macht und zeitgleich ein Bauernwagen aus dem Hintergrund gemächlich heranrollt. Einer der bekanntesten deutschen Maler des Expressionismus wird 1887 im sauerländischen Meschede geboren. August Macke verlässt gegen den Willen des Vaters 1904 die Schule und beginnt eine Ausbildung an der Königlichen Kunstakademie in Düsseldorf. Parallel belegt er ab 1905 Kurse an der Düsseldorfer Kunstgewerbeschule und verlässt im November 1906 die Akademie schon vorzeitig. Auf einer Reise in die französische Hauptstadt kommt Macke 1907 mit der à la Savoir-vivre flanierenden Pariser Bevölkerung in Kontakt. Er studiert hier in den Straßen und Parks, beschäftigt sich mit den verschiedenen Zentren einer Komposition und der flächigen Erfassung räumlicher Tiefengestaltung. Die sichtbaren Pinselstriche ordnen sich reduzierten Flächenformen unter und so reifen seine Darstellungen zu flüchtigen Schauspielen für das Auge. In Paris trifft Macke auch auf die Malerei des Impressionismus, welche ihn nicht nur fasziniert, sondern ebenso nachhaltig beeinflusst. Doch besonders die Malerei von Henri Matisse und der 'Fauves' bestärkt Macke in seinem Streben, die Formen und Farben überschaulich zu halten und so für das Auge eine eigene, bildliche Realität zu schaffen. Das vorliegende Aquarell ist ein schönes Beispiel, in dem sich die von Macke fein ausgearbeiteten Prinzipien wundervoll zusammenfügen. Nur zwei Jahre später, im Jahr 1909, lernt Macke am Tegernsee Franz Marc kennen, mit dem ihn eine fruchtbare Künstlerfreundschaft verbinden wird. Im Jahr 1911 tritt Macke der Münchener Künstlergruppierung 'Der Blaue Reiter' bei und im gleichen Jahr entsteht auch das Aquarell 'Sonnige Straße mit Hund'. Gekonnt verbindet Macke erlernte Farb- und Konstruktionsprinzipien zu einer bewegten Szenerie. Fast schon geheimnisvoll eröffnet Macke hier eine Welt, in der sich sogleich in den Köpfen der Betrachtenden eine eigene Geschichte zu entwickeln beginnt und der Moment des sonnigen Nachmittages greifbar wird. Viel zu früh fällt der nur 27-jährige August Macke 1914 an der Westfront in Frankreich und sein vielseitiges Œuvre beschränkt sich auf nur zehn Jahre, doch was bleibt sind seine atmosphärischen Inszenierungen, in denen sich Form und Farbe beeindruckend zusammenfügen. [AW] Aufrufzeit: 10.06.2023 - ca. 14.48 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONAugust Macke 1887 Meschede/Sauerland - 1914 Perthes-lès-Hurlus (Frankreich) Sonnige Straße mit Hund. 1911. Watercolor on paper, laid on cardboard. Heiderich Aquarelle 136. Vriesen A 61-62. 28 x 34 cm (11 x 13.3 in), the full sheet. [AR]. • Powerful watercolor in which the great colorist August Macke captured the warmth of the sunlight. • When the work was made in 1911, he was one of the first members of the 'Blauer Reiter'. • With its colorful two-dimensional forms, the work testifies to the influence of his close friend Franz Marc. • Comparable watercolors from 1911 are very rare on the international auction market (source: artprice.com). With a certificate of authenticity from Dr. Wolfgang Macke, August Macke Estate, Bonn, from September 14, 1966, on the reverse. PROVENANCE: From the artist's estate (with the stamp on the reverse). Prof. Friedrich Brie, Freiburg i. Breisgau (Elisabeth Erdmann-Macke's brother-in-law). Dr. Renate Brie, Freiburg i. Breisgau (1957, the above's daughter). Private collection Northern Germany (acquired around 1960, ever since family-owned). EXHIBITION: August Macke-Aquarelle, Städtisches Kunsthaus, Bielefeld, June/July 1957, cat. no. 61. Deutsche Kunst des 20. Jahrhunderts, Augustiner Museum, Freiburg i. Breisgau, 1962, cat. no. 74. August Macke succeeded in capturing the atmosphere of a sunny afternoon in the present watercolor with great mastery. In a scene taken from real life, he shows a mother walking with her child, while a watchful dog in the foreground gets ready to jump and a farm wagon slowly rolls up in the background. One of the best-known German expressionist painters was born in Meschede in the Sauerland in 1887. August Macke left school against his father's will in 1904 and began training at the Royal Art Academy in Düsseldorf and simultaneously took classes at the Düsseldorf School of Applied Arts, however, he left the academy early in November 1906. On a trip to the French capital in 1907, Macke came into contact with the Parisian savoir-vivre. He studied people idly strolling streets and parks and was occupied with the different centers of a composition and the two-dimensional account of spatial depth. The visible brushstrokes are subordinate to reduced surface forms, making his depictions mature visual spectacles. In Paris, Macke also encountered impressionist painting, which fascinated him so much that it had a lasting impact. Especially the paintings of Henri Matisse and the 'Fauves' encouraged Macke to pursue his endeavor to create a visual reality of its own. The present watercolor is a beautiful example in which Macke's principles come together in a most beautiful way. Just two years later, in 1909, Macke met Franz Marc, with whom he developed a fruitful artistic friendship. In 1911 Macke joined the Munich artist group 'Der Blaue Reiter' and in the same year he created the watercolor 'Sonnige Straße mit Hund” (Sunny Street with Dog). Macke skillfully combined the principles of color and construction that he had learned to create a moving scenery. Almost mysteriously, Macke opens up a world in which a story of its own begins to develop in the mind of the viewer and the moment of the sunny afternoon becomes tangible. The only 27-year-old August Macke died much too early on the western front in France in 1914 and his oeuvre is limited to just ten years, but what remains is a legacy in which form and color exist in perfect harmony. [AW] Called up: June 10, 2023 - ca. 14.48 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.
Philipp Klein 1871 Mannheim - 1907 Hornegg/Neckar Aktstudie I. 1907. Öl auf Malpappe. Hofkamp PK009. Rechts oben signiert und datiert. Verso mit div. alten Etiketten, handschriftlich und typografisch nummeriert und bezeichnet. 60 x 45 cm (23,6 x 17,7 in). PROVENIENZ: Nachlass des Künstlers. Privatsammlung Süddeutschland (seit 1979 in Familienbesitz. AUSSTELLUNG: Leipziger Kunstverein (verso mit dem fragmentarischen Etikett). Kollektionen Ulrich Hübner, Philipp Klein, Emil Potter, Emil Rudolf Weiss, Kunstsalon Paul Cassirer, Berlin, 15.4.-7.5.1908. Nachlass-Ausstellung Philipp Klein, Mannheimer Kunstverein, Mannheim, März-April 1909, Nr. 3. Nachlass-Ausstellung Philipp Klein, Kölnischer Kunstverein, Köln 1909. Aquarelle, Handzeichnungen und Holzskulpturen erster Meister: darunter der künstlerische Nachlaß von Philipp Klein-München, Kunsthalle P.H. Beyer & Sohn, Leipzig, Nov. 1912, Nr. 2. LITERATUR: Katalog der Versteigerung einer Sammlung moderner Ölgemälde, Aquarelle, Handzeichnungen und Holzskulpturen erster Meister: darunter der künstlerische Nachlaß von Philipp Klein-München, P. H. Beyer & Sohn, Leipzig, 1.11.1912, Nr. 13 [?]. Philipp Klein gehört zu den Künstlern impressionistischer Prägung, die am Ende des 19. Jahrhunderts für Aufbruchsstimmung im deutschen Kunstbetrieb sorgen. 1892 kommt Klein in die Kunststadt München und beginnt zunächst autodidaktisch zu malen, genährt durch den Austausch mit Künstlerkollegen wie Max Slevogt und Lovis Corinth. Als Privatschüler von Josef Wopfner hält er sich mit diesem am Chiemsee und im Voralpenland auf, reist in die Künstlerkolonien nach Dachau und Worpswede. Interessiert an vom akademischen Ausbildungs- und Ausstellungssystem unabhängigen Kunstschaffen orientiert er sich an der Künstlergruppe 'Die Scholle' um Leo Putz. Wie Putz ist auch Klein an dem Motiv der Frau in der Landschaft fasziniert und erreicht mit solchen Sujets erste Erfolge auf den Münchner und Berliner Jahresausstellungen. 1903 begibt auch er sich nach Berlin wo er sich an den Ausstellungen der Secession beteiligt. In der für die Etablierung der Moderne so zentralen Galerie Paul Cassirers ist er eine feste Größe im Programm. Seine verheißungsvolle Karriere wird durch seinen frühen Tod im Frühjahr 1907 jedoch jäh beendet. Charakteristisch für seine Gemälde ist der frei-bewegte Duktus sowie die pastellene, hellfarbige Palette, die besonders den Frauendarstellungen ihre zarte Sinnlichkeit verleiht. Gerade aufgrund der breiten Strichführung ergibt sich eine volumenhafte Plastizität, die sich auch im oftmals pastosen Farbauftrag widerspiegelt. Der nonchalante Charakter in der Ausführung, zwischen spontaner, freier Studie eines Modells im Atelier des Künstlers, die in ihrer scheinbaren Unfertigkeit dennoch als Gemälde überzeugt, macht hier den besonderen Reiz aus. [KT] Aufrufzeit: 10.06.2023 - ca. 18.30 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONPhilipp Klein 1871 Mannheim - 1907 Hornegg/Neckar Aktstudie I. 1907. Oil on cardboard. Hofkamp PK009. Signed and dated in upper right. With several old labels with hand-written and typographic numbers and inscriptions on the reverse. 60 x 45 cm (23.6 x 17.7 in). PROVENANCE: From the artist's estate. Private collectino Southern Germany (family-owned since 1979). EXHIBITION: Leipziger Kunstverein (with a fragmentarily preserved label on the reverse). Kollektionen Ulrich Hübner, Philipp Klein, Emil Potter, Emil Rudolf Weiss, Kunstsalon Paul Cassirer, Berlin, April 15 - May 7, 1908. Nachlass-Ausstellung Philipp Klein, Mannheimer Kunstverein, Mannheim, March - April 1909, no. 3. Nachlass-Ausstellung Philipp Klein, Kölnischer Kunstverein, Cologne 1909. Aquarelle, Handzeichnungen und Holzskulpturen erster Meister: darunter der künstlerische Nachlaß von Philipp Klein-München, Kunsthalle P.H. Beyer & Sohn, Leipzig, Nov. 1912, no. 2. LITERATURE: Katalog der Versteigerung einer Sammlung moderner Ölgemälde, Aquarelle, Handzeichnungen und Holzskulpturen erster Meister: darunter der künstlerische Nachlaß von Philipp Klein-München, P. H. Beyer & Sohn, Leipzig, November 1, 1912, no. 13 [?]. Philipp Klein is one of the artists with an impressionist influence who created a spirit of optimism in the German art world at the end of the 19th century. In 1892, Klein came to Munich, the then German art capital, and began to paint as an autodidact, nurtured by exchanges with artist colleagues such as Max Slevogt and Lovis Corinth. As a private student of Josef Wopfner, he stayed with him at Lake Chiemsee and in the foothills of the Alps, and also traveled to the artist colonies in Dachau and Worpswede. Interested in creating an art that was independent from the academic training and the exhibition system, he found a home with the artist group 'Die Scholle' around Leo Putz. Like Putz, Klein was also fascinated by the motif of the woman in the landscape and achieved initial success with such subjects at the annual exhibitions in Munich and Berlin. In 1903, he also went to Berlin, where he took part in the Secession’s exhibitions. He was a regular in the program of Galerie Paul Cassirer, which was so important for the development of modern art in Germany. However, his promising career came to an abrupt end when he died early in 1907. Characteristic of his paintings is the freely moving style and the pastel, light-colored palette, which gives the depictions of women their delicate sensuality. Precisely because of the broad strokes, there is a voluminous plasticity, which is also reflected in the often impasto application of paint. The casual execution makes for the special appeal of the present work. [KT] Called up: June 10, 2023 - ca. 18.30 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.
§ JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) SUPPER DANCE Inscribed by Margaret Morris 'J. D. Fergusson / Early Café drawing 1902 / with love & blessings / from Meg & Fergus / Glasgow May 1965' on the backboard, watercolour, brush and ink on paperDimensions:45cm x 31cm (17.75in x 12.25in)Provenance:Provenance:Given by Margaret Morris to James and Martha Arnott in 1965 and thence by descent to the present ownerExhibited:The Fine Art Society Ltd, London, John Duncan Fergusson (1874-1961): A Centenary Exhibition, 10 September-4 October 1974 and tour to Kelvingrove Art Gallery and Museum, Glasgow and The Fine Art Society Ltd, Edinburgh , no.114The Scottish Arts Council Gallery, Edinburgh, The Need to Draw: 20th-Century Scottish Artists at Work, 22 November-14 December 1975, no.22Scottish National Gallery of Modern Art, Edinburgh, The Scottish Colourist Series: J. D. Fergusson, 7 December 2013-15 June 2014Literature:Jean Geddes and Margaret Morris, Café Drawings in Edwardian Paris from the Sketch-books of J. D. Fergusson, Blackie, Glasgow, 1974, repr. b/w p. 25Note: Note: John Duncan Fergusson and Margaret Morris first met Martha Lawrence Grant (1916-96) when the latter attended Morris’s dance classes in Glasgow in the 1930s. She became a vital figure in Margaret Morris Movement (MMM) and was in the process of establishing an MMM school in Aberdeen when World War Two began. At that point, Fergusson was primarily based in Paris, whilst Morris spent most of her time in London; the conflict resulted in their move to 4 Clouston Street, Glasgow.Fergus and Meg, as they were affectionately known, galvanised the city’s art scene. They were founder members of the New Art Club in 1940, which aimed to stimulate debate and to create affordable exhibiting opportunities. Two years later, Fergusson became founding President of the Club’s successor, the New Scottish Group, which staged eight exhibitions of its members’ work between 1943 and 1956.It is believed that Martha met James Fullarton Arnott (1914-82) through the New Art Club. James was an Assistant Lecturer in the English Department at the University of Glasgow, where he was to become Emeritus Professor of Drama. The couple formed a lifelong creative friendship with Fergus and Meg and were married in 1945. Their son Alan was born in 1948 and he has recalled:The impact of Fergus and Meg on the artistic life of post-war Glasgow, and indeed Scotland, was immense. Painters, sculptors, potters, designers, dancers, actors and musicians all thrived in the atmosphere of post-war Glasgow. While Meg and Fergus provided the artistic inspiration, Mum and Dad provided backing, encouragement and support. During James’s illustrious career, he devised the Drama course at the re-opened Royal Scottish Academy of Music and Drama (RSAMD) and in 1966 was appointed the first Head of the Drama Department at the University of Glasgow. Martha helped to establish and run the RSAMD Library, as well as designing and creating costumes for Academy and University productions.With his knowledge of arts funding and art world contacts, James provided vital support in Meg’s launching of the Celtic Ballet, Scottish National Ballet and Scottish Ballet companies. In her turn, Martha taught and danced at MMM Summer Schools and sat for Fergus, not least sharing modelling duties with Meg for his Glasgow-era masterpiece Danu, Mother of the Gods of 1952, now in The Fergusson Gallery, Perth.Alan has further explained:We holidayed in the South of France with them both in the 50s and with Meg in the 60s. They lived in Glasgow (in the West End) and were regular visitors to our houses in Saltcoats and then Glasgow – and we frequently visited them.Following Fergus’s death in 1961, Meg established the J. D. Fergusson Art Foundation to secure his legacy and to support living artists. Martha and James were founding committee members and Alan succeeded James on the committee in 1983. The Foundation’s aims were achieved with the opening of The Fergusson Gallery in Perth in 1992 and the launch of the J. D. Fergusson Arts Award Trust in 1995.Supper Dance (Lot 149) and Kelvin Valley (Lot 148) pay testament to this creative friendship. Both were given to the Arnotts by Meg in the 1960s and are beautiful examples from key periods in Fergus’s career. In 1907, he took the momentous decision to move from Edinburgh to Paris, which he described as ‘simply a place of freedom’. He immersed himself in the artistic, intellectual and social life of the French capital and made his reputation as a leading artist of the twentieth century during the six years he lived there before World War One. He particularly revelled in its bustling café and restaurant scene and Supper Dance is a beautifully accomplished image of the fashionable clientele whom Fergus enjoyed capturing in images of elegance and movement. His fluid draughtsmanship is clear in passages such as the realisation of the female dancer’s gown, whilst a lively composition leads the eye from the champagne in the foreground, to the dancing couple, to another observed in intimate conversation in the background.Kelvin Valley is a jewel of a painting, in which Fergus pays homage to the city which was the location for the final chapter of his international career. The Clouston Street flat overlooked Glasgow’s Botanic Gardens and was joined, via the River Kelvin, to Kelvingrove Park; these green spaces provided inspiration for the artist’s late, lyrical landscapes. He developed a distinct ‘Glasgow palette’ characterised by high-toned shades of green and pink, which were delicately and deftly applied to their supports in a gentle yet confident finale to the images of Princes Street Gardens, the Scottish Highlands and the South of France which preceded them.As Alan has concluded:Fergus was a lovely man. He treated children the same as everyone else and encouraged me to draw. Meg was full of life and energy and retained the strength and grace of a 20-year-old. There was great love and generosity of spirit amongst us all.
ROBERT BROUGH R.A., A.R.S.A. (SCOTTISH 1872-1905) BRETON WOMEN SITTING ON A BEACH Oil on canvas laid down on boardDimensions:46cm x 61cm (18in x 24in)Provenance:Provenance: Bequeathed by the Artist to John Russell GreigHis Studio sale 1905 (no.76) as 'Brittany Peasants', where acquired by Dr. Norah Wattie, GlasgowExhibited:Aberdeen Art Gallery, Aberdeen, Robert Brough ARSA, 18 February-25 March 1995, no. 38, illustrated in colour on back coverIn the catalogue for the 1995 Aberdeen Art Gallery exhibition, Jennifer Melville stated: 'In Breton Women Sitting on a Beach Brough sets the silhouettes created by such local costumes against a glowing pink sand - coming as close to Gauguin's flat patterns as in any work.'Note: Note: In around 1900 a young Aberdonian artist named Robert Brough arrived in London. A rising star whose recent paintings had prompted a media frenzy, Brough felt compelled to relocate to the English capital to further develop his artistic career. Chelsea was the beating heart of London’s art world; accordingly, Brough took a lease at Rossetti Studios in Flood Street.Despite his youth, Brough already had the experience and credentials to mark him as an artist of consequence. He had trained in Paris at the Académie Julian, where in 1894 he shared lodgings with the Scottish Colourist S. J. Peploe (1871-1935), and following this spent a period working in Brittany, inspired by Paul Gauguin (1848-1903). He was charmed by the traditional way of life of the Breton people, and by the distinctive quality of light and vivid colouring of the landscape.Both Gauguin and Brough assimilated the tenets of the Synthesist movement, a painting style which prioritised the use of flat planes of harmonious colour and of rhythmic, pattern-inflected composition over more naturalistic representation. Brough’s Brittany work firmly acknowledges Syntheticism but is tempered by an observational grounding, owing to his fascination with the Breton peoples’ lives and customs. His paintings from this period constitute a sensitive record of a traditional people, rendered with an innovatively modern, almost post-Impressionist eye.Jennifer Melville observed that ‘In Breton Women Sitting on a Beach Brough sets the silhouettes created by [the] local costumes against a glowing pink sand - coming as close to Gauguin’s flat patterns as in any work’. (Jennifer Melville, Robert Brough, Aberdeen Art Gallery, 1995, p.21)Upon returning to Aberdeen in 1894, Brough began to earn a living as a portrait artist. He soon attracted commissions from notable families in the area, particularly those involved with the arts. His style retained the compositional brilliance of his earlier work, but his technique became increasingly dynamic and ‘sweeping’ owing to his confident application of licks of oil pigment. Sweet Violets dates to 1897, when Brough was establishing himself as an accomplished society portraitist, and is one of the artist’s masterpieces. His characteristically flamboyant brushwork delineates the elegant profile and fashionable attire of his subject, Barbara Staples, whom Brough had secured permission to paint after a meeting in Aberdeen. Affixed under Staples’ spectacular hat is a delicate patterned veil, through which her pink lips and cheeks are visible. She holds aloft a jar of violets, with their purple hues reflected at her throat and cuffs, inviting comparison between the beauty of the sitter and the flowers she holds. Sweet Violets and a companion painting titled Fantaisie en Folie (now in the Tate collection) implement a similar palette and portray their sitter in profile against a plain background, which Thomas Cooper suggests may have been informed by John Singer Sargent’s Madame Gautreau Drinking a Toast (1882-1883). (Thomas Cooper, ‘A Monstrous Imagining of Matter and Spirit: Robert Brough’s Fantaisie en Folie (1897)’, Immediations, Courtauld Institute of Art on-line journal, vol.4, no.3, 2018, accessed 10 May 2023) Brough’s companion portraits were exhibited widely to exceptional acclaim, rendering the young artist something of a critical phenomenon.Sweet Violets was acquired by Alexander Ogsten and hung in his home at Ardoe House, Aberdeen, for many years. So enamoured was Ogsten with the painting that he declined the many offers he received for it - including those made by Barbara Staples’ husband. Eventually the portrait was exhibited in a Munich gallery in 1960, where Staples’ family were able to purchase the picture and return it to the family. They, in turn, refused to accept any offer that was made for it, and for a long time it remained a family treasure. In the 1990s an article appeared in Country Life magazine searching for Brough’s lost masterpiece, and the Staples family responded explaining that the portrait was in their collection, and that the sitter was their grandmother. In 1995 Sweet Violets was included in Aberdeen Art Gallery’s Brough exhibition, after which it was loaned to, and ultimately purchased by, the present vendor.The success of Sweet Violets and Fantaisie en Folie encouraged Robert Brough to move to London. He promptly joined the Chelsea Arts Club, where he met Sargent, one of his artistic heroes. The pair became close friends, developing a mentor-protégé relationship and taking nearby Chelsea studios. Thanks in part to Sargent’s support, Brough’s painting career flourished year upon year.Young, ambitious, and precociously talented, Brough was on an impressive professional trajectory, yet was unable to reach the soaring heights for which he appeared to be destined on account of a tragic accident. On 20th January 1905 Brough was travelling by train from Perth to London when a major crash occurred. He suffered serious burns and died the following day, with his mother and Singer Sargent at his bedside. His life, and extraordinary potential, was thus curtailed.Throughout his life Brough was successful and well-known; his obituary recorded that he combined ‘the dash of Sargent and the beautiful refinement of Velazquez.’ (The artist W. G. Robb quoted in an obituary in a Scottish newspaper, 1905) Despite this, his early death appears initially to have prevented him from being fully admitted to the canon of great painters in the history of Scottish art. This is largely due to the brevity of his career: relatively few artworks survive and he had less time than most to crystallise his artistic legacy. Fortunately, recent reviews of Scottish painting have done much to reinstate Brough’s status as a painter of remarkable quality, who worked at the forefront of innovative artistic movements, both in Britain and in France.Robert Brough’s artworks appear on the market infrequently, and Lyon & Turnbull is therefore particularly delighted to be offering two tour-de-force oils, both of exceptional importance and each dating to key moments in his career.
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