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Lot 1750
A small collection of items presented by the HM The King of Greece to Miss Christina Manuel, Housekeeper to the Greek Royal Household from 1932 until the Death of the King. A signed photo of Princess Katherine of Greece and Denmark, signed Katherine, 1947, mounted in a large sterling silver easel-backed photograph frame, decorated with floral and shell design, rectangular, 13 3/4in. (35cms).
Lot 89
Ralph Hedley, RBA (1848-1913) "ARS LONGA VITA BREVIS"-AN ELDERLY ARTIST WORKING AT HIS EASEL signed and dated 1901 pen and ink 14.5 x 13.5cms; 5 3/4 x 5 1/4in. EXHIBITED: Laing Art Gallery, Newcastle, Ralph Hedley: Tyneside Painter, November 1990-February 1991 (sold together with original exhibition documents).
Lot 270
John Falconar Slater (1857-1937) A COLLECTION OF MEMORABILIA RELATING TO THE LIFE AND WORK OF THE ARTIST, INCLUDING HIS PERSONAL SIGNED COPY OF HIS ODDS & ENDS FROM AN ARTISTS NOTEBOOK, 1914; COPIES OF THE CATALOGUES OF THE NORTH EAST COAST EXHIBITION, PALACE OF ARTS, 1929, AND LOAN EXHIBITION AT THE LAING ART GALLERY SHARED WITH FELLOW ARTISTS FRANK THOMAS CARTER, GEORGE HORTON AND THOMAS BOWMAN GARVIE, 1934, LISTING HIS EXHIBITS AT SAME; COPIES OF CATALOGUES OF THE ARTISTS OF THE NORTHERN COUNTIES EXHIBITIONS AT THE LAING FOR 1919 AND 1925 INCLUDING HIS EXHIBITS; A REPRINT OF HIS TALK TO THE PEN & PALETTE CLUB, NEWCASTLE, 3RD NOVEMBER, 1917 TOGETHER WITH HIS ORIGINAL TYPESCRIPT BEARING ANNOTATIONS IN HIS OWN HAND; COPIES OF MISCELLANEOUS PRESS CUTTINGS RELATING TO THE ARTIST`S LIFE AND WORK; FAMILY CORRESPONDENCE WITH THE ROYAL ACADEMY CONCERNING HIS EXHIBITS; A UNIQUE COLLECTION OF THIRTEEN STUDIO AND OTHER PHOTOGRAPHS OF THE ARTIST AT VARIOUS STAGES OF HIS LIFE, AGED BETWEEN APPROXIMATELY 40-75 YEARS OLD; A STUDIO PHOTOGRAPH EACH OF FELLOW ARTISTS GEORGE HORTON (WITHIN INSCRIPTIONS ON THE REVERSE) AND JOHN ATKINSON; THE ARTIST`S WATERCOLOUR BOXES, BRUSH CARRIER WITH BRUSHES, AND A SPECIMEN OF HIS PERSONALLY-DESIGNED ABC COLLAPSIBLE SKETCHING EASEL. PROVENANCE: Slater family collection.
Lot 14
* KUSTODIEV, BORIS 1878-1927 Worker and Farmer. Cover Design for the Anniversary Issue of the Magazine "Petrograd" signed and dated 1923 Pencil and watercolour on paper, 27 by 23 cm. "Provenance: Collection of I. Angenitski, KievExhibited: Vsesoyuznaya vystavka proizvedenii B.M. Kustodieva, The Kiev State Museum of Russian Art, label on the reverse.Literature: Etkind, M.G. (ed.), Boris Mikhailovich Kustodiev, Leningrad-Moscow, 1960, p. 205. Etkind, M.G. (ed.), Boris Mikhailovich Kustodiev, Leningrad, Khudozhnik RSFSR, 1967, p. 258. Boris Mikhailovich Kustodiev, Moscow, Sovetski Khudozhnik, 1982, p. 368, No. 2300, listed.Boris Kustodiev’s fame as an outstanding painter sometimes eclipses his evident success in the area of graphic design. However, there is no branch of graphic art in which the artist could not have demonstrated real mastery as a draughtsman and watercolourist. He practised easel-painting — both landscape and portrait graphics — as well as theatre design, book illustration, woodcut printing, magazine covers and propaganda posters. Kustodiev was a genuine virtuoso in all graphic techniques.Executed with the humour and elegance for which he is renowned, the economy of a poster design and a particular “fairground” decorativism unique to Kustodiev, the Cover we now present also has historical and artistic validation. For Kustodiev’s close friend, the artist Vsevolod Voinov, wrote in his diary for 1923 the following: “9 October. Around six o’clock went to Kustodiev’s. Boris Mikhailovich showed me his most recent works and those done in the summer, which I hadn’t yet seen. Among them the cover for the anniversary issue of Petrograd magazine. A splendid watercolour. It shows a peasant and a worker, sitting by a column, above which flies a red flag with the letters ‘USSR’. At the feet of the peasant, a mound of fruit and sheaves of corn. The worker reads aloud from a book. In the background, a village and a town. Cranes, a railway, factories, fields and so on. A beautiful sky with white clouds.” (M.G. Etkind, 1967, p. 258)."
Lot 32
* CHEBOTAREV, KONSTANTIN 1892-1974 Portrait of the Artist`s Wife in an Interior mid-1920s Watercolour and gouache on laid paper, 47.5 by 31 cm. "With a pencil sketch on the reverse.Exhibited: Moscow Union of Artists, 1978, W82, inscribed on the reverse.Konstantin Chebotarev is one of the most interesting Russian masters of the first third of the 20th century. An outstanding representative of the Kazan school, who studied under the brilliant Nikolai Fechin, Chebotarev did not however become a conduit for the graphic ideas of his famous teacher. Having organised in 1917 an avant-garde association — the first in Kazan — of talented young people, called The Sunflower and fought with the White Army under Kolchak as it retreated eastwards (1918-1920), Chebotarev, returning to Kazan thanks to an amnesty, did not stop at that. In 1921 the artist became leader of a left front in art, becoming head of the creative group Vsadnik (The Rider), which not only in name but also in its very essence became the Russian heir to the tradition of the Munich-based Blaue Reiter group. Having fulfilled commissions in various applied areas, such as a series of books and sets of mounted engravings in limited editions (from six to 50 copies), Vsadnik entered the history of Russian art as the only case of a manifesto declaration of innovation in a single segment of figurative art — in graphic design. Chebotarev’s works in the 1920s, and those of his associates, feature many traits reminiscent of the dawn of the century, from the machinery and movement of Balla and Severini to Larionov’s Rayonism and Pechstein’s distorted angles. Apart from rare cases when editions of the Vsadnik group have been presented at auction, this watercolour is the first appearance on the international art market of an easel work by Chebotarev. The model is the artist’s wife and colleague, Alexandra Platunova (1896–1966), a book and magazine designer of such Moscow periodicals of the 1920s as Krasnaya Niva, Krasnaya Panorama, Prozhektor and others. The present work was owned by the artist’s family and was featured in a posthumous exhibition, which took place in 1978 at the Moscow Union of Artists on Begovaya Street."
Lot 57
* LEBEDEV, VLADIMIR 1891-1967 Instructional Poster for "Dynamo" c. 1929-30 Pencil, watercolour and black ink on paper, 33.5 by 46.5 cm. The design of visual propaganda for the young Land of the Soviets was an important, indeed the paramount occupation for all Soviet artists. It was usually top-class, fully-trained professionals who were accepted to work on visual aids in the military and sports areas. Many of these also achieved success with their easel works and participated in art exhibitions across the country. Such was the outstanding Leningrad master Vladimir Lebedev who, as is well known, received commissions from the Dynamo sports society in 1929 and 1930. It was for this organisation that the artist created the instructional poster now on offer. The main requirement of a mass teaching aid of this kind is a thorough knowledge of military subjects and a detailed, delicate draughtsmanship, facilitating speedy and accurate teaching. The Red Army soldiers in Lebedev’s poster are painted in watercolour. Each “pin-point” touch of the brush recreates details of the clothes, of the figures’ bulk, their weapons and even the basics of handling the weapons, easily understood thanks to the use of bodily gesture. Such filigree perfection and finish would be the envy of any disciple of Filonov. This unique work not only demonstrates the highly developed graphic culture of Vladimir Lebedev, his capability as a draughtsman and watercolourist, but is also a valuable document of its time.
Lot 328
GONCHAROVA, NATALIA 1881-1962 Still Life with Magnolias and a Glass signed twice, once with initials Oil on canvas, 67 by 56 cm. "Provenance: Anonymous Sale; Russian Pictures, Sotheby`s London, 22 May 2002, Lot 176. Private collection, UK.Authenticity has been confirmed by Dr. A. Parton.Still life compositions with the branches and blossoms of magnolia were one of Goncharova’s favourite themes during her French period. The artist loved these evergreen flowering trees of southern climes, with their rather long, pointed leaves and flowers with compact, resilient petals, preferring them to any others. Delighting in the powerful decorative principle that nature has incorporated in them, she painted these flowers a great many times — white ones, pink ones; in vases, in jars, sometimes together with fishes, or cups made of fine china, as though drawing a comparison with the calices of the magnolia florets. She even used them as decoration on screens and wall panels. For this reason it is rather difficult to determine when Still Life with Magnolias and a Glass was painted. The still lifes of Goncharova’s Parisian period are in general hard to date. In the various series of canvases the same subject is handled using different styles at different times, from realistic sketching to almost non-figurative compositions. There was no rigid sequence to the way the artist’s creative work evolved. The two components of her talent — dedication to nature and a gift for decoration — gave rise to two trends within her Parisian period. The huge number of spectacular compositions from nature, with "prickly bouquets" of magnolias, roses and branches of flowering cherry and apple were made every time there was a minute to spare, to train the hand. When involved at the beginning of the 1920s on the decoration of Serge Koussevitzky’s Parisian mansion and when working, as early as 1930, on a number of ornamental panels for the houses of M. Kuznetsova and M. Viborg but also when painting her numerous screens, Goncharova made a whole series of pencil and gouache sketches of still lifes and compositions on the theme of flowering plants and fruit, including twigs of magnolia. This was a time when her handling of plant forms transmuted them into flat multi-coloured silhouettes, sometimes put on to surfaces of two contrasting colours so that the break between them as it were imitated the line dividing the panels of a folding screen. Later, it was decorative compositions like these that were used to produce a series of stencils. Their "chequered" style (so called in a review for one of Goncharova’s exhibitions), whilst born out of the task of designing decorations, became transformed when applied to work painted at the easel into a treatment that is well known through such paintings of magnolia as Autumn Flowers and Autumn Flowers, Magnolia.Existing as a constant leitmotif alongside this decorative line in her work, were the small still lifes canvases that Goncharova produced from life in her free time. The composition of these still life paintings from life frequently differed from one to another only in the detail. If one compares the present paintng with Still life with a Cup, it becomes evident that Goncharova used the same plate and jug of flowers but, in her desire to change the mood without changing the bouquet, not merely changed the tablecloth and background, swapping the cup for a wine glass, but used different colours in her palette and transposed the composition into a different chromatic and emotional key. Still Life with Magnolias and a Glass, which is rendered in dense, tactile paint, is a brighter, more festive version of a composition with exactly the same substantiality. Both this work and its darker counterpart with a cup get across the feeling of the objective form of the glass jug and the sprigs of magnolia standing in it. This also serves to reflect the way the artist generally aspires to life, of which Goncharova herself wrote: "while on a path of depicting delightful images, I am able to find further, new combinations of forms, new combinations of colour ... I am also able to search for abstract formulae, but these are just abstract formulae. The real solution can only be in life itself. An unconscious instinct has been pushing me in this direction.""
Lot 167
CHURCHILL, Winston S. (1874-1965). A sheet of glass used by Churchill as a paint palette, approximately 32 samples of oils still present, framed and laid over a card mount with two photographs by J. Luscher of Nyon, of Churchill using the palette whilst painting at an easel in the open air, one with Clementine and their daughter Mary looking on, and labelled 'Vacances de Rt Hon. Mr Winston Churchill Août - Septembre 1947 à Choisi', frame 465 x 635mm. [With] another large print of the second photograph, laid down and signed on the mount,'J. Luscher Nyon', 250 x 311mm. Churchill is shown with two canvases depicting the 'Island of Choisi', his painting which was subsequently featured in a Christmas card printed by The Soho Gallery. (2) View on Christie's.com
Lot 349
A pair of late Victorian silver photograph frames, by H Matthews, Birmingham 1897, of rectangular form, pierced and embossed with foliage and trelliswork, monogrammed, 28.5cm long with red leather easel backs, and a silver watch case, Birmingham 1900, of rectangular form similarly decorated, 11.5cm long (3)
Lot 34
Edwardian silver mounted wooden mantle clock with easel back, the silver embossed with a stylised Art Nouveau image of a lady and child on a swing, silvered dial with black Arabic numerals. Hallmarked Henry Williamson Ltd Birmingham 1906. Height measuring 7 inches (18 cm). Condition: The silver mounted front has general wear and surface marks and scratches and also some tarnishing. The embossed decoration of the lady and child is very worn and there are several small holes in the metal. The embossed rim is also worn with some tiny holes. The silvered dial appears to be okay. Some surface marks to the glass. Hallmarks tarnished but clear. The wooden case has surface marks and scratches and some edge knocks, especially to the corners.
Lot 47
Edwardian silver mounted easel back mirror of shaped rectangular form, the silver entirely embossed with acanthus leaf scrolls with a putto positioned to each corner and top central vacant cartouche. Hallmarked Synyer & Beddoes (Harry Synyer & Charles Joseph Beddoes) Birmingham 1905. Height measuring 9 1/4 inches (23.5 cm). Condition: The mirror displays wear commensurate with the age and use with general scratches, marks and tarnishing. The vacant cartouche has a large dent. Numerous high areas of the embossing are completely rubbed through, particularly above the cartouche. The recesses of the embossing are dirty. The material displays general wear commensurate with the age and use. The hallmarks are clear and legible.
Lot 109
A modern silver mounted photo frame of plain rectangular form and easel back. Hallmarked Carr`s of Sheffield Ltd 1986. Height measuring 4 3/4 inches (12 cm). Condition: The frame is very tarnished. There are general surface marks and scratches all over and also some minor dents. Across the top of the frame there is an evident crease in the metal. The hallmarks are slightly worn but are still easy to read.
Lot 341
Art Nouveau silver mounted miniature photo frame, the stylised border with floral motif with material easel back. Hallmarked Henry Matthews Birmingham 1902. Height measuring 3 3/4 inches (9.5 cm). Condition: Overall the photo frame displays wear commensurate with the age and use with scratches, marks and tarnishing. The material also with general wear in keeping with the age and use with rubbing and discolouration. Some of the pins holding the silver to the wooden and material mounted base are missing and some may well be replacements. There has been crude repairs to the easel back. The hallmarks are clear and legible.
Lot 637
HENRY JOHN YEEND KING, RBA, VPRI, ROI (1855-1924) A FESTIVAL IN BRITTANY signed, 126 x 100cm Yeend King visited Brittany between 1883 and 1886 and his rare surviving pictures of this period are quite unlike the subjects executed in his maturity for which he is well known. He was very knowledgeable of the prettiest villages in Brittany and the best spots for setting up an easel (`A Round in France`, his essay in The Magazine of Art, vol VIII (1885) pp116-120). ++Relined and with some overpainting, The signature strengthened.
Lot 32
HM Queen Elizabeth, The Queen Mother - signed black and white portrait photograph of The Queen Mother wearing a diamond tiara and necklace, Order of The Garter and Royal Family Orders - signed and dated on mount Elizabeth R 1988 in original black Morocco leather frame with gilt embossed crowned ER cipher and easel back, 32cm x 23cm
Lot 34
TRH The Prince and Princess of Wales - signed colour portrait photograph of Their Royal Highnesses holding Princes William and Harry in their arms in the garden of Highgrove signed and dated Charles, Diana 1988 in original green Morocco leather frame with gilt embossed Prince of Wales feathers crest to top and easel back, 24cm x 18cm
Lot 89
Sarah, Duchess of York - signed presentation colour photograph inscribed in mount `Dear Lillian, Thank you so much for all you have done over the last three years. With best wishes, Sarah, The Duchess of York 16.01.2001, in original gilt and blue leather frame with crowned S cipher to top and easel back, 32cm x 23cm
Lot 577
1930s silver three piece condiment set of half moon form in Art Deco-style with blue glass liners (Birmingham 1933), maker TS, approximately 5oz, a George V silver photograph frame of rectangular form with pierced figure and foliate decoration surrounding a heart shaped photograph aperture and purple velvet easel back (London 1915), maker William Comyns, 19cm overall and a single silver napkin ring (qty)
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30753 item(s)/page