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Lot 432
MATISSE HENRI: (1869-1954) French Artist. An excellent illustrated A.L.S., with his initials H. M., four pages, 8vo, Nice, 6th January 1922, to his wife Amelie, in French. Matisse states that he has received Jean's paintings, including a portrait of Marguerite, a bowl of mandarins and a viola, adding that he has placed them on his wall to replace his own which are currently being packed ('I have the trunk and am trying to roll the biggest paintings around a stick, but haven't quite figured out the right way, and we've had to redo the first one, which I didn't do well, three times') and which he hopes will be sent tomorrow afternoon, remarking 'You can look at them at your leisure once they have been put on their stretcher bars. But don't show the whole lot because the Bernheims [Bernheim-Jeune, one of the oldest art galleries in Paris] could find out about it and reclaim them', further going into more detail about the paintings and his current work, 'The smallest are paintings of 3. One of them is an unprimed one of 4 that is coming back for the gallerists, but I intend to keep it because I worked on it a lot at the same time as a large design on the same subject that I have here. Another small one of 3 which I worked on in at least 15 sessions will not be with the lot because I have not finished it. I work on it 2 ½ to 4 hours every day, and it is going well. I will send it to you separately once it is done, and I hope you will like it. From now until my departure, I will not have enough time to finish what I have started. I am enclosing in my letter 2 photos (no longer present) one of a painting of 30, the nude, and one of a 15, a young girl seated on the arm of a chair, looking at the window'. Matisse returns to the subject of their son, Jean's, paintings, commenting 'I would say that my first impression made me see qualities but I also saw that he is at the peak of his instinctive elan and that he is starting to dissociate the various elements of the painting (colour, design, value). It shows that he has not studied it. For example in the viola…..and in the portrait, and also the mandarins, but the bowl is good. There are good parts in all paintings, next to flaws. He really has to go and see the Chardins at the Louvre, especially the pipe [at this point in the letter Matisse has drawn a small pen and ink sketch representing Jean Simeon Chardin's still life Pipes and Drinking Vessels] the peaches and the glass of wine, the brioche, the grapes, and he will come to understand that the different parts hold each other together and that the tone of one is not lesser than the one next to it (adding in the margin that he would like Jean to do a modelling course, 'He will learn to draw shapes in other ways than he does now….') But I suspect he will like the Rubens better, but in them the tones hold each other together as well. At least he is working, and I will speak to him more when I am back. I will take him to the Antiquities section of the Louvre and the School of B. Arts to show him how to look at antiquities. He should ask for permission to copy the pipe……I can then critique his work when I come back. I will try to make it easy for him to understand' and concludes by writing of his wife's art, 'The music of your painting, represented by red and green and blue-black is good overall [at this point in the letter Matisse has drawn a small diagram, within a square, identifying the juxtaposition of the colours] but the green does not work well next to the blue, nor does the red next to the black. It is normal and work will correct it. Experience, and the study of the masters, the paintings of Cezanne…..' A letter of wonderful content relating to painting and enhanced by the two small illustrations by Matisse. Some extremely light, very minor age wear, VG Amelie Noellie Parayre (1872-1958) Wife of Henri Matisse from 1898 until their divorce in 1939. Matisse and his wife had two sons, Jean and Pierre, and they also raised the artist's illegitimate daughter, Marguerite, who served as a model for the artist and is mentioned in the present letter.
Lot 291
Early 19th century clear glass rummer with rounded funnel shaped bowl on short drawn concave knopped stem and moulded square lemon squeezer base, 13.5cm high; also another with barrel shaped bowl, diamond and facet cut banding on short knopped stem and domed circular foot with snapped pontil and one of double ogee form with facet moulded bowl on knopped drawn stem and circular foot with snapped pontil, 15.5cm high.
Lot 227
A GLASS 'GLOBE-AND-SHAFT' DECANTER WITH TRAILED DECORATION AND ENGRAVED WITH A WINDMILL, GRAPES, SHIP AND BIRD, GROUND PONTIL SCAR, 22CM H, LATE 19TH C, A WINE GLASS, THE TALL U-SHAPED BOWL CUT AND ENGRAVED IN JACOBITE STYLE, ON SOLID STEM AND FOLDED FOOT, A VICTORIAN FACET BOWL GOBLET AND A 19TH C CELERY GLASS The lot in good condition
Lot 171
A Whitefriars Knobbly vase, designed by William Wilson and Harry Dyer, in cased meadow green, shape number 9608, 13cm; another similar in ruby red, 13cm; another taller, 18cm; a kingfisher blue bowl, 9846, 15cm diameter; a ruby bowl, 19cm diameter, c.1965; a Whitefriars Molar cased glass vase, designed by William Wilson and Geoffrey Baxter, in ruby red with bubble inclusions, shape number 9409, 10cm high; a lobed ovoid vase in golden amber, with bubble inclusions, 24cm wide; a sea green bowl with bubble inclusions, 20cm diam; another in sapphire, c.1950s; a Carnival Glass shaped circular dish in iridescent purple and green shades on an amethyst ground, 20.5cm diameter; others, a tall reeded cylindrical vase in blue, 29cm; a small amethyst bowl; a small blue bowl with radiating decoration, c.1900 (13)
Lot 174
A Whitefriars Textured Glacier vase, designed by Geoffrey Baxter, of square sided form, 28.5cm, original paper label; others, a cylindrical mug, 13.5cm; a Cooling Tower vase, 15cm; a Dartington squat square sided vase with everted rim, 9cm; a cylindrical bowl, 12cm; a large cut glass fruit bowl, resting on three knurl feet, 30cm diameter; another similar smaller, 19cm diam. (7)
Lot 224
A WMF Bleikristall slab sided rectangular vase, moulded with buttons and lozenges, slight iridescent hue, 25.5cm, paper label; a Rogaska Slovenia large clear cut glass bowl, 31cm diameter, engraved mark; a large knobbly handkerchief vase, Linda Barker's Influence, 32cm, engraved mark; a studio glass vase, unmarked, 23cm; a large Stuart & Sons clear cut glass bowl, designed by John Luxton, decorated with mitre cut leafy stems, 19cm high; a similar clear and frosted glass chimney vase, 24cm (6)
Lot 283
Ceramics and glass - an early 19th century pearl ware blue and white willow variant pattern saucer; Minton table china inc Tiffany & Co, Colman Collamore and Tyndale and Van Roden retailed soup bowls, others plates, coffee pot, Capodimonte figure, Woods and Son Ellers Art Nouveau jar and cover; etched glass fruit bowl etc qty
Lot 33
A mixed lot of silver items, various dates and makers, comprising: a hip flask, by Mappin and Webb, Sheffield 1918, a silver-mounted glass spirit flask, with a pull-off drinking cup, London 1895, a mug, Birmingham 1937, a modern wine coaster, a two handled bowl, (one handle a.f), a cigarette box, another mug, a pierced tazza, three pierced bonbon dishes, an egg cup, a toilet bottle, and an electroplated bottle stopper, approx. weighable 39oz. (qty)
Lot 40
A mixed lot, comprising silver items: a small continental basket, pierced body, dated '1817', with a blue glass liner, a German dish, ribbon and reed border, gilded bowl, a French dish of tapering circular form, plus old Sheffield and electroplated items: a wine funnel, a pair of wine coasters, a set of twelve Christofle small plates, a cream jug, a sauce boat, six napkin rings, two tea strainers, and a small quantity of flatware, approx. weighable 27oz. (qty)
Lot 67
A mixed lot of silver items, comprising: a Victorian bowl, by Gibson and Langman, London 1890, circular form, embossed with signs of the zodiac, plus a silver-mounted glass scent bottle, a set of six cased Italian spoons and an Italian circular box, embossed with a basket of flowers, approx. weight 7.9oz. (4)
Lot 76
A mixed lot of silver items, various dates and makers, comprising: a swing-handled basket, London 1916, tapering wire-work body with birds and flowers and with a blue glass liner, plus a cream jug and sugar bowl, London 1893, a pair of candlesticks, and a metalware jug, of fluted baluster form with a hinged cover, approx. weighable 8.3oz. (6)
Lot 127
An 18th Century wine glass with bell shaped bowl with teardrop on a drawn stem and circular base with folded foot, 16cm high, and two others both with conical bowls, drawn stem and circular bases, 14.5cm high CONDITION REPORT: 127 - Large glass, foot rim has flaw with black deposit to surface, scratches and small flaw to bowl. One of the two similar glasses has a minute rim chip and some scratches to foot.
Lot 131
An ale glass engraved hops and barley, 13.25cm high, another engraved wrythen bowl initialled 'EA' and two other glasses CONDITION REPORT: 131 - Large glass, chip under foot, couple of flaws to foot, bubble to bowl. Medium, tiny rim chip and two footrim chips. Small, two footrim chips. Stirrup cup, rim chip.
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87294 item(s)/page