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Lot 8
LOUIS ANQUETIN (1861-1932)Elégantes, scène de rue signed and dated 'Anquetin 88' (lower right)pastel, charcoal and wash on paper51.3 x 59cm (20 3/16 x 23 1/4in).Executed in 1888Footnotes:The authenticity of this work has been confirmed by Brame & Lorenceau. This work is included in the Louis Anquetin archives.ProvenanceEdouard Borderie Collection, Paris (acquired in 1946).Bernard & Betty French Collection, Kidderminster (acquired from the above circa 1947).Cyril Lavenstein Collection, Kidderminster (acquired from the above in 1956).Private collection, UK (acquired from the above in 1977).Thence by descent to the present owner.Louis Anquetin rose to fame in the late 1880s among the post-Impressionist artists, and was instrumental in the birth of Cloisonnism. Élégantes, scène de rue, executed in 1888, is a prime example of the artist's work from this key period. Anquetin studied at the Beaux-Arts de Paris in the studio of Fernand Cormon. Cormon was a pompier artist who painted large, academic subjects of historical inspiration which were welcomed by the Third Republic and deemed official art. Yet his atelier attracted many avant-garde painters who would radically separate themselves from academism and noble subjects (historical or allegorical), such as Vincent van Gogh, Henri de Toulouse-Lautrec and Émile Bernard. Remaining in this atelier for four years, Anquetin and his peers would inspire each other – the former's influence on van Gogh for example is particularly visible in works such as Avenue de Clichy, cinq heures du soir which preceded van Gogh's famous The Cafe Terrace on the Place du Forum by a year.Paul Gauguin would eventually also join these artists, and van Gogh named the group 'les artistes du petit boulevard'. Translating to 'the artists of the small boulevard', the name referred to the areas they worked around Montmartre, near the Boulevard de Clichy and the Boulevard de Rochechouart. The title was also to distinguish themselves from other well-established artists such as Edgar Degas, Claude Monet, Pierre-Auguste Renoir, Alfred Sisley and Camille Pissarro, who were termed 'les artistes du grand boulevard'. These artists worked in more elegant neighbourhoods and exhibited in major galleries, whereas Anquetin, van Gogh, Toulouse-Lautrec and Bernard would still exhibit in small cafés and restaurants. At the 1888 Salon des Indépendants, the critic Édouard Dujardin announced in the Revue Indépendante that Louis Anquetin had created a new genre, which he termed 'Cloisonnism'. This referred to a new post-Impressionist style of painting with bold and dark contours around flat areas of colours and simplified forms. It is said that the idea came to Anquetin when he was at his parents' house as he looked up outside through a glass door with coloured tiles. Also inspired by the Japanese prints collected by his friend Vincent van Gogh, Anquetin became transfixed by the different shades and colours that this stained glass gave the outside world. Dujardin's article immediately propelled Anquetin to fame. Élégantes, scène de rue was executed during that pivotal year of 1888. In accordance with the technique of Cloisonnism, the main figure in the present work, dressed in green, is delineated by a thick black line that creates a compartmentalisation of the forms whilst following the folds of her garment. Seen from behind, she crosses a boulevard whilst gazing to her right, beyond the composition. A second woman, holding an parasol, looks directly at her, whilst a gentleman seated in a carriage beyond contemplates them both. Anquetin builds the composition through a triangle of looks, which follows the path of each protagonist's gaze as it bounces from one figure to the other. In this enigmatic trio where no interest is reciprocal, the painter relegates the male gaze to the background of the composition and foregrounds instead the female gaze.The contrast between the elegantly depicted central figure and the more caricature-like appearance of the man in the carriage and the woman in purple – whose loud make-up hints she is a prostitute looking for a client - is characteristic of Anquetin's work and seen in works such as Élégante à l'Élysée Montmartre, 1888, in the Art Institute of Chicago. The more carefully constructed figure draws our attention away from the darker elements at play, nonetheless placing Anquetin as an observer of urban life in the late 1880s. Anquetin worked on a thematically linked group of works exploring the morals and behaviours of lesbian relationships, such as the one at the Van Gogh Museum in Amsterdam, which is very similar to the present work. As Richard Thomson explains, 'at the turn of the decade, Anquetin treated this specific theme on a number of occasions, representing the woman in her carriage on the lookout, the eye contact from carriage to pavement, and the pedestrian woman using her tongue to signal a passing vehicle' (R. Thomson, The Troubled Republic: Visual Culture and Social Debate in France, 1889-1900, London, 2004, p. 38). These images were discreet and relied on codes that were mostly insider knowledge, which made them an even more appealing subject for artists like Anquetin or Toulouse-Lautrec who were never reluctant to show controversial subjects at the turn of the century and explore the hidden side of Parisian society. A trip to Belgium and Holland with Henri de Toulouse-Lautrec and Jos Albert in 1894 however, prompted a shift in Anquetin's work towards a more classical style, heavily inspired by Old Masters such as Rubens and Rembrandt. He became a teacher and taught his pupils the 'retour au métier' ('return to the craft'), rather than encouraging them to strive for modernity and experimentation. The present work thus marks a poignant end to his most creative and innovative period.For further information on this lot please visit Bonhams.com
Lot 92
MIGUEL VICO HERNÁNDEZ (1850 - 1933)"Women in an Arab Bath", 1906.Oil on canvas.Signed and dated in the lower right corner.Measurements: 83 x 58 cm; 99,5 x 75 cm (frame).In this canvas presented by Miguel Vico, we can appreciate two women in a richly decorated courtyard, whose ornamentation transports us to the interior of a luxurious Arab palace. The painter focuses above all on the depiction of architecture and atmosphere, the essence of which is rooted in Orientalism. This artistic movement was born in the 19th century as a consequence of the Romantic spirit of flight in time and space. Orientalist painters sought to reflect the lost, the unattainable, in a dramatic journey destined from the outset to fail. Like Flaubert in "Salambó", the painters painted detailed portraits of the Orient and imagined pasts, recreated to the millimetre, but ultimately unknown and idealised.Miguel Vico Hernández (1850-1933), born in Granada and trained at the Escuela Superior de Bellas Artes. He entered the paintings "Patio de la Mezquita en el palacio árabe de la Alhambra" ("Courtyard of the Mosque in the Arab Palace of the Alhambra"), "Casa en que habitó el pintor Melgarejo" ("House in which the painter Melgarejo lived"), "Puerta de la sala de las dos hermanas en la Alhambra" ("Door of the Hall of the Two Sisters in the Alhambra") and "Un mendigo" ("A beggar") in the National Fine Arts Exhibition of 1876. Miguel Vico also took part in the Paris Salon for several years, exhibiting "Un centinela árabe" (An Arab sentinel) in 1887 and "Recuerdo de Granada" (Memory of Granada) in 1880. In Madrid he also took part in exhibitions in 1882 and 1883 where he presented "Cercanías de Granada" and "Una calle de Granada".
Lot 513
Sven BERLIN (1911-1999)Bathers surprised by a cometOil on boardSigned, inscribed and dated 198553 x 180cm Condition report: This does have some mould but it seems likely to be a reasonably straightforward fix in conjunction with a necessary clean, there is a scratch and loss of paint from the left-hand figure (see image)This is painted on a wardrobe door the back has the Unknown comet over Mountain. It seems likely that the two could be separated but we are not sure
Lot 266
Good collection of mid 20th C onwards diecast, plastic & tin plate models to include Japanese tin plate Transcontinental Refrigerated Service truck, Triang truck with pale blue cab and pale yellow trailer, OK plastic battery operated car in pale blue (missing battery door), many Matchbox examples etc (two boxes)
Lot 2000
An impressive 19th century Neo-Classical design walnut 2-door cupboard, the 2 finely carved and panelled doors decorated with satyrs and lion masks flanked by Classical figure pilasters, central frieze drawer below with finely carved columns and platform base, width 130cm, depth 51cm, height 176cmGenerally in very good original condition, several of the square wooden blocks from the dentile pediment are missing, no splits or repairs in the panels, would benefit from re-polishing, generally very good
Lot 141
Beautiful silver miniature grandfather clock, 833/000, richly decorated with engravings of, among other things, a sailing ship. Equipped with a sawn door and a hood. with twisted columns, soldered angels and equipped with 2 figures and a stork on the clock. The clock is fitted with a movement, which still needs some restoration. The clock has 2 claw feet and a pendulum. MT.: J. Postmus, Amsterdam. jl.: R: 1927. 7x4x27cm. Total about 205 grams. In good condition.
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