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Click here to subscribeYANG BIN (XIX - XX). Bambus und Sakura in Blüte. China. Wohl 1997.Circa 70 cm x 132 cm das Blatt. Zeichnung. Tusche auf Reispapier. Links oben bezeichnet.YANG BIN (XIX - XX). Bamboo and sakura in bloom. China. Probably 1997.Approx. 70 cm x 132 cm the sheet. Drawing. Ink on rice paper. Inscribed upper left.
Donald Friend (Australian 1915-1989) "Sketch for Grenada Fishers" Signed, titled and dated 1945, with gallery label - 'The Piccadilly Gallery, London' on verso, ink and wash.36.5cm x 24.5cm (14.5in x 9.75in)Provenance: Christie's, London, Indian Contemporary Paintings, 16th October, 1995, Lot 10.Rosebery's, London, 14th July, 2009, Lot 627.Private collection, UK.The drawing is in very good, original condition. There are some minor spots of foxing across the sheet. The drawing is ornately framed and glazed. The original frame has some minor scuffs and knocks commensurate with age.
Stik (British 1979-) Stik-Man Doodle 2017, original signed doodle in ink by Stik, each unique, acquired in person as part of the signing of first edition copies of 'Organising for Creative People' by Stik and Sheila Chandra, Foyles Charing Cross on 30th August 2017.7cm x 12cm (2.75in x 4.75in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The drawing is in very good, original condition with no obvious faults to report. The drawing is framed and glazed.
Charles Frederick Tunnicliffe (British 1901-1979) Dunnock, initialled, ink on scraperboard.7cm x 4.5cm (2.75in x 1.75in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The drawing is in very good, original condition with no obvious faults to report. The drawing is ornately framed and glazed.
Geoffrey Key (British 1941-) "Figure Study", signed and dated 8.8.90, titled on artist's label verso, ink and wash.28.5cm x 20cm (11.25in x 7.75in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The drawing is in very good, original condition with no obvious faults to report. The drawing is ornately framed and glazed.
Harold Riley (British 1934-) "White Street, Salford", initialled and dated '65, ink, watercolour and pastel.42.5cm x 30cm (16.75in x 11.75in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The drawing is in fair, original condition. The ink and watercolours have faded across the drawing and there are some minor stains across the paper. The drawing is framed and glazed.
Geoffrey Woolsey Birks (British 1929-1993) "Hardley Marshes", unsigned, titled on verso, watercolour and ink.8.5cm x 13cm (3.25in x 5in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The drawing is in very good, original condition with strong colours and no obvious faults to report. The drawing is ornately framed and glazed. The frame has some minor scuffs and scratches commensurate with age.
Harold Riley (British 1934-) "Wellington Street School, Salford", signed, titled and dated 1972, ink, watercolour and pastel.29.5cm x 30.5cm (11.5in x 12in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The drawing is in fair, original condition. The ink and watercolours have faded across the drawing. The drawing is ornately framed and glazed. The original frame has some minor scuffs and knocks commensurate with age.
Harold Riley (British 1934-) "View of Jaffa from Tel Aviv", signed, titled and dated '68, ink, watercolour and pastel.14cm x 24cm (5.5in x 9.5in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The drawing is in fair, original condition. The ink and watercolours have faded slightly across the drawing and there is a stain in the centre of the paper. The drawing is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
A PAIR OF GEORGE III PAINTED AND PARCEL GILT SOFAS IN THE MANNER OF JOHN LINNELL, CIRCA 1780each 94cm high, 200cm wide, 77cm deepProvenance: Probably Tabley House, CheshireThe Property of the Trustees of the Davenport Estate The Davenport heirlooms are linked with those of Tabley House Cheshire through the marriage of Hilda Margaret Davenport with Cuthbert Leicester Warren in the early C20th. When both their son Lt. Col. John Leicester Warren and his sister Margaret, who married General Sir Oliver Leese, died without descendants, the Tabley Estate was sold in order to preserve and settle the inheritance tax on the Davenport Estate. Davenport House was built by Francis Smith of Warwick circa 1723-1727 for Henry Davenport on his ancestral property. It was one of Francis Smith's most prestigious commissions incorporating four pavilions as well as an additional service block in an arrangement derived from Palladio's plans for Villa Mocenigo. Tabley House was the creation of John Carr of York 1760-1767 for Sir Peter Byrne Leicester, 4th Bt. Sir Peter disposed of an Estate at Timogue in Ireland to pay for the new house to replace the old hall at Nether Tabley in the Mere which was maintained up to the C20th for historical reasons. Family tradition has it that the sixteen George III dining chairs were covered in merino sheep hide. The skins provided by a flock of merino sheep were washed ashore from the wreck of a Spanish Armada galleon in the C16th. The dining chairs possibly form part of the initial furnishings scheme supplied by Carr's Yorkshire compatriots Wright & Elwick. Some documentation for this exists in the Cheshire County Records. Sir Peter Burne Leicester 4th Bt. died 1770 leaving his widow in charge of their 8 year old son who was to become Sir John Fleming Leicester, 1st Lord de Tabley d. 1827. Sir John a notable collector of C18th and early C19th British School paintings was a close friend of George IV. Lord de Tabley reorganised the rooms behind the west façade creating a glorious picture gallery in 1807 designed by Harrison of Chester. It is possible that the George III cream painted pair of sofas and single armchair were re-allocated at the time of this reorganisation when four pairs of sofas were supplied by the Regency cabinet maker George Bullock. The pair of George III mahogany framed tub chairs are I believe similarly typical of the first phase of Tabley furnishings. The C18th style mahogany silver table can be seen in situ in the 1923 Country Life article in the Drawing Room. The portrait of Princess Amelia with her groom Spurrier is thought to have been one of the pictures illustrated hanging at Nether Tabley (see Dreweatts Old Master Sale 26th May lot 53). Of the original furnishings of Davenport House possibly only the George II carved and off white painted wall bracket and the walnut wing chair lacking upholstery are the only items that are integral to the house. All other items have long been associated with Davenport but may well have originated from elsewhere. Tabley House is well recorded in the Country Life articles 14th, 23rd and 28th July 1923 as one of Cheshire's finest Palladian Manors by John Carr of York and also Hussey C: English Country Houses of the Mid Georgian Period Antique Collector's Club pages 55-60. Davenport House is similarly recorded in Country Life 27th June and 4th July 1952 and Hussey C: Country Houses of the Early Georgian Period, Antique Collector's Club pages 104-108. These sales are required to assist ongoing repairs, improvements and to secure the preservation of Davenport House.Condition Report: There are some marks, scratches, knocks, chips and abrasions consistent with age and use.The later paintwork and gilding has some wear, craquelure, scratching and knocks.There is evidence of worm; there are recessed clamp marks to the underside of the seat rails either side of the legs; the bottom of the back legs show less sign of wear and age than the underside of the front legs; the frames have holes from upholstery tacks and some marks and stains.The top layer upholstery fabric is removed other than the padded arm ovals. The remaining upholstery is linen covering horsehair; the linen to the sides and back is removed or only partially fixed to the frame. The linen to the back of one sofa has a stamped bale mark in red ink '66 87' and with an ink inscribed monogram 'A ?m'. One sofa has the corner of the inner seat upholstery revealed showing the multiple layers of seat upholstery to the wood frame in sequence: wood frame/ hay / linen / coarse horsehair / linen / horsehair / linen / second layer of linen. There are vestiges of green damask to some of the padded arms, and smaller remains of red fabric.We are unable to inspect some areas covered in upholstery and so cannot comment on the condition and originality of these areas we are unable to see.Please refer to the additional photographs as a visual reference of condition. Condition Report Disclaimer
+ LÊ PHỔ (VIETNAM & FRANCE, 1907-2001) ECOLE DES BEAUX-ARTS DE L’INDOCHINE (INDOCHINA FINE ARTS COLLEGE), 1ST CLASS (1925-1930) La colombe (The Dove) Ink and colors on silk Signed to the lower right Framed with a glass 17,8 x 22,7 cm (as seen in the frame) *****DIMENSIONS SHOULD READ 17,8 x 22,7 CM***** Provenance: - René et Raymonde Altobianchi, antique dealers active in the 1960s-1980s in l’Escarène, near Nice, French Riviera, where Lê Phổ settled after the French army, in which he enrolled in Carcassonne, was defeated by German. Their shop was named ‘César de Peluet’ after the first name of the father of Raymonde. Probably acquired in the 1970s from a local Estate. René Altobianchi was also an ornamental sculptor and was awarded the Medal of the French National Order of Merit for his volunteer role as a technical director of judo, which he practiced along with Yves Klein, a world-renowned artist of the School of Nice prized, notably, for his famous ‘Leap into the void’ and his ‘IKB blue’. + NOTICE TO BIDDERS: This lot has been authenticated by the Wally Findlay Institute, USA. According to them, it will be included in the forthcoming catalogue raisonne of the artist. The buyer will bear the cost of this certificate. Please e-mail the department for further details: yuchen@adams.ie. This lot is stored at CADOGAN TATE PARIS. Please contact CADOGAN TATE at Parc des Docks, Batiment 553B, 50 rue Ardouin, St Ouen, 93400 Paris, France, +33 1 48 20 85 60. Notes: One of the leading figures of modern Vietnamese art, Lê Phổ was born in 1907 in Hà Tây province into a respected Mandarin family, his father being the last viceroy of Tonkin. Showing a predisposition for painting and drawing, he entered the first class of the Indochina School of Fine Arts in 1925. He was soon noticed by the director and founder of the school, Victor Tardieu, for whom he retained a strong attachment throughout his life. In 1931, he came to France to present his works on the occasion of the International Colonial Exhibition. He chose to stay in Paris for a year to attend classes at the École des Beaux-Arts, then undertook several trips to Europe. He returned to Vietnam in 1933 and taught at the Indochina School of Fine Arts in Hanoi. He decided to settle permanently in France in 1937 and quickly became very well known. Why would Lê Phổ have depicted a dove The dove represents purity, gentleness, devotion, beauty and faith but also hope and peace, and that has resonated well across the vast majority of religions and cultures. It may be possible to draw a link between the dove and the Vietnam war, during which the term ‘Dove’ was describing a person who opposed the war, as opposed to ‘Hawk’. In East Asia, the dove is associated with long life and fidelity as doves pair for life. It is also noted that Lê Phổ has depicted young women with birds such as in a painting sold in DROUOT Paris, France, by Fraysse & Associés, 2007-03-21 under lot number 56. Additionally, following the East Asian pictorial tradition, he has depicted birds and flowers, as seen in a painting sold by SOTHEBY’S Singapore, 2011-04-01, under lot number 70. Compare with a related ink and colors on silk by Lê Phổ entitled ‘Three doves’ from the collection of Madame Dorothy Fera Tajasque, wife of Georges Tajasque who served as Chef du Cabinet to Marie Antoine Pasquier, Governor General of French Indochina from 1928 to 1934. This work has been sold at public auction at BONHAM’S Hong Kong, China, 2017-11-27, under lot number 250. LÊ PHỔ (VIỆT NAM VÀ PHÁP, 1907-2001) ECOLE DES BEAUX-ARTS DE L’INDOCHINE (TRƯỜNG CAO ĐẲNG MỸ THUẬT ĐÔNG DƯƠNG, KHÓA 1 (1925-1930) La colombe (Chim bồ câu) Tranh lụa vẽ bằng mực và màu Được ký ở phía dưới bên phải Đóng khung kính 28 x 33 cm (như thấy trong khung) Xuất xứ: - René và Raymonde Altobianchi, những nhà buôn đồ cổ hoạt động trong những năm 1960-1980 tại l'Escarène, gần Nice, French Riviera, nơi Lê Phổ định cư sau khi quân đội Pháp, mà ông đã nhập ngũ tại Carcassonne, bị quân Đức đánh bại. Cửa hàng của họ được đặt tên là “César de Peluet” theo tên cha đẻ của Raymonde. Có lẽ được mua vào những năm 1970 từ một Nhà bất động sản địa phương. René Altobianchi cũng là một nhà điêu khắc trang trí và đã được trao tặng Huân chương Công trạng Quốc gia Pháp cho vai trò tình nguyện viên với tư cách là giám đốc kỹ thuật võ judo, mà ông đã luyện tập cùng với Yves Klein, một họa sĩ nổi tiếng thế giới của Trường Nice được đánh giá cao, nổi bật, với tác phẩm nổi tiếng “Leap into the void” và “IKB blue” của ông. Lưu ý quan trọng đối với các nhà đấu giá tiềm năng: Nhà đấu giá thành công sẽ được cung cấp một giấy chứng nhận tác phẩm thật do Viện Findlay, Hoa Kỳ cấp. Tác phẩm này sẽ được đưa vào danh mục quan trọng của nghệ sĩ hiện đang được chuẩn bị. Người mua sẽ chịu chi phí cho giấy chứng nhận này. Vui lòng gửi e-mail cho bộ phận để biết thêm thông tin chi tiết: yuchen@adams.ie. Ghi chú: Là một trong những gương mặt hàng đầu của nền mỹ thuật Việt Nam hiện đại, Lê Phổ sinh năm 1907 tại tỉnh Hà Tây trong một gia đình quan lại danh giá, cha ông là tổng trấn cuối cùng của Bắc Kỳ. Có thiên hướng về hội họa và vẽ tranh, ông đã vào học khóa đầu tiên của Trường Mỹ thuật Đông Dương vào năm 1925. Ông đã nhanh chóng thu hút sự chú ý của giám đốc đồng thời là người sáng lập trường, Victor Tardieu, người mà ông đã gắn bó suốt cuộc đời. Năm 1931, ông đã đến Pháp để trình bày các tác phẩm của mình nhân Hội triển lãm Thuộc địa Quốc tế. Ông đã chọn ở lại Paris một năm để tham gia các lớp học tại École des Beaux-Arts, rồi thực hiện một số chuyến đi đến châu Âu. Ông đã trở về Việt Nam năm 1933 và giảng dạy tại Trường Mỹ thuật Đông Dương ở Hà Nội. Ông đã quyết định định cư lâu dài tại Pháp vào năm 1937 và nhanh chóng trở nên rất nổi tiếng. Vì sao Lê Phổ lại vẽ một con chim bồ câu Chim bồ câu đại diện cho sự thuần khiết, dịu dàng, tận tâm, vẻ đẹp và sự chung thủy nhưng cũng đại diện cho hy vọng và hòa bình, điều đó đã gây được tiếng vang lớn trong đại đa số các tôn giáo và nền văn hóa. Có thể rút ra mối liên hệ giữa chim bồ câu và chiến tranh Việt Nam, trong đó thuật ngữ “Chim bồ câu” mô tả một người phản đối chiến tranh, trái ngược với “Chim ưng”. Ở Đông Á, chim bồ câu gắn liền với cuộc sống lâu dài và chung thủy bởi vì chim bồ câu khi bắt cặp với nhau thì sống bên nhau trọn đời. Cũng cần lưu ý là Lê Phổ đã vẽ các thiếu nữ với các loài chim như trong một bức tranh bán ở DROUOT Paris, Pháp, bởi Fraysse & Associés, 21-03-2007 theo lô số 56. Ngoài ra, theo truyền thống tranh ảnh Đông Á, ông đã mô tả chim và hoa, như được thấy trong một bức tranh được bán bởi SOTHEBY'S Singapore, 01-04-2011, theo lô số 70. So sánh với một tác phẩm vẽ bằng mực và màu trên lụa có liên quan của Lê Phổ mang tên “Ba con chim bồ câu” trong bộ sưu tập của Quý bà Dorothy Fera Tajasque, vợ của Georges Tajasque, người từng là Trưởng Nội các của Marie Antoine Pasquier, Toàn quyền Đông Dương thuộc Pháp từ năm 1928 đến 1934. Tác phẩm này đã được bán đấu giá công khai tại BONHAM'S Hồng Kông, Trung Quốc, 27-11-2017, lô số 250. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
+ LÊ PHỔ (VIETNAM & FRANCE, 1907-2001) ECOLE DES BEAUX-ARTS DE L’INDOCHINE (INDOCHINA FINE ARTS COLLEGE), 1ST CLASS (1925-1930) Les blanchisseuses ou les lavandières au bord de l’eau, Vietnam (Washerwomen - Laundresses or Laundry Women - along the River, Vietnam) Ink on paper / two paper leaves Signed to the lower right Framed with a glass 25,7 x 35,7 cm *****DIMENSIONS SHOULD READ 25,7 x 35,7 CM***** Provenance: - René et Raymonde Altobianchi, antique dealers active in the 1960s-1980s in l’Escarène, near Nice, French Riviera, where Lê Phổ settled after the French army, in which he enrolled in Carcassonne, was defeated by German. Their shop was named ‘César de Peluet’ after the first name of the father of Raymonde. Probably acquired in the 1970s from a local Estate. René Altobianchi was also an ornamental sculptor and was awarded the Medal of the French National Order of Merit for his volunteer role as a technical director of judo, which he practiced along with Yves Klein, a world-renowned artist of the School of Nice prized, notably, for his famous ‘Leap into the void’ and his ‘IKB blue’. + NOTICE TO BIDDERS: This lot has been authenticated by the Wally Findlay Institute, USA. According to them, it will be included in the forthcoming catalogue raisonne of the artist. The buyer will bear the cost of this certificate. Please e-mail the department for further details: yuchen@adams.ie. This lot is stored at CADOGAN TATE PARIS. Please contact CADOGAN TATE at Parc des Docks, Batiment 553B, 50 rue Ardouin, St Ouen, 93400 Paris, France, +33 1 48 20 85 60. The buyer will bear the cost of this certificate. Please e-mail the department for further details: yuchen@adams.ie. Notes: One of the leading figures of modern Vietnamese art, Lê Phổ was born in 1907 in Hà Tây province into a respected Mandarin family, his father being the last viceroy of Tonkin. Showing a predisposition for painting and drawing, he entered the first class of the Indochina School of Fine Arts in 1925. He was soon noticed by the director and founder of the school, Victor Tardieu, for whom he retained a strong attachment throughout his life. In 1931, he came to France to present his works on the occasion of the International Colonial Exhibition. He chose to stay in Paris for a year to attend classes at the École des Beaux-Arts, then undertook several trips to Europe. He returned to Vietnam in 1933 and taught at the Indochina School of Fine Arts in Hanoi. He decided to settle permanently in France in 1937 and quickly became very well known. The washerwomen installed around the laundries have marked the previous centuries. Washerwomen is a generic term that includes laundresses and laundry women who differ in the nature of the laundry they wash: the formers take care of the fine linen (e.g. costume) whilst the latter clean the less delicate, coarser linen (e.g. rags). This theme inspired many French artists of the 19th century, such as Pierre-Auguste Renoir and Honoré Daumier, with different perspectives: some glorified the hard work of these women whilst others showed their complicity at work. In Blanchisseuse, Lê Phổ, deals with a very Francophile pictorial subject with his Vietnamese soul. Two women are seated on a pier above quiet water: the first one, fronting the spectator, is soaking clothes in her hands, a laundry basin next to her; the second one, at rest and seen from the back, is melancholically staring at the horizon. The slender Vietnamese women wear traditional clothes known as áo dài. The one seen from the back also wears a traditional headdress. Lê Phổ used sweet, soft, curvy, and round lines to magnify the beauty and the femininity of those women (as would have done Jean-Auguste-Dominique Ingres), whom do not seem affected by their work. In doing so, he created an ideal depiction, an iconic vision of washerwomen. Compare with a related oil on canvas by Lê Phổ entitled ‘The Laundry Ladies’ sold at CHRISTIE’S Hong Kong, China, 2006-05-28, lot 72, for €70,910.
Animation Books - a large selection of assorted animation related books, to include titles; The Arts Of David Levine, Pen, Brush And Ink, The Complete Drawing Book, The Art Of Wall-E, Persuasive Images, Chuck Jones - A Flurry Of Drawing, Cartoon Confidential, American Natives by Erich Sokol, and others. All as used by Richard Bazley during his career as an animator.
Léon-Arthur Tutundjian (Armenian, 1905-1968) Abstractink and wash drawingsigned and dated 192821 x 16cmInk off buff coloured paper in good untouched condition, very slight undulation to the paper which is held in a floating mount, one small speck of dirt or paper on the mount but no faults noted, plain wooden frame, label of attribution verso.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 21 x 16cmTutundjian (Armenian, 1905-1968), Léon-Arthur
Artist: Umberto Boccioni [imputée] (Italian, 1882-1916). Title: "Ritratto". Medium: Original pen and ink drawing. Date: Composed c1909-1910. Dimensions: Overall size: 8 1/4 x 7 1/4 in. (210 x 184 mm). Image size: 5 3/8 x 4 1/2 in. (137 x 114 mm).Lot Note(s): Signed lower right. Pale cream wove watermarked paper. Overall fair to good condition; foxing; staining right side. Comment(s): Probably executed several years after his arrival in Milan, where Boccioni had moved in 1907. Ink drawings by Boccioni are rare. [26442-1-2400]
Artist: Charles Baudelaire [imputée] (French, 1821-1867). Title: "Study for 'Portrait de Jeanne Duval'". Medium: Original pen and ink drawing. Date: Composed c1846. Dimensions: Overall size: 7 1/8 x 9 1/4 in. (181 x 235 mm). Image size: 7 x 8 in. (178 x 203 mm).Lot Note(s): Signed upper left, annotated upper right. Light cream laid watermarked paper. Overall good condition; a few fox marks; minor discoloration and edge fading. Provenance: Ex-collection a member of the Feau family, Paris, France; Private collector, Paris. Comment(s): Baudelaire, the celebrated poet, is generally regarded as the father of modern art criticism. His artistic output was extremely small; we have located only nine sales (seven different images) of his work at auction in the past 21 years, all drawings. The finished drawing of Baudelaire's lover Jeanne Duval, of which our example is the preliminary study, was offered at Claude Aguttes, Neuilly-sur-Seine, France on 09/19/2007 (see attached image - #4). [26411-1-400]
Artist: Herge [imputée] (Belgian, 1907-1983). Title: "Tintin Wearing a Quilt, with Snowy". Medium: Ink drawing on paper. Date: Composed c1956. Dimensions: Overall size: 7 13/16 x 6 1/16 in. (198 x 154 mm).Lot Note(s): Signed lower right. Drawn on cream wove paper. Good condition. Comment(s): Georges Prosper Remi, known by the pen name Hergé, was a Belgian cartoonist. He is best known for creating "The Adventures of Tintin," the series of comic albums which are considered one of the most popular European comics of the 20th century. Image copyright © Casterman/Groupe Flammarion. [29839-1-1600]
Artist: Robert "Bob" Kane [imputée] (American, 1915-1998). Title: "Batman". Medium: Pen and ink drawing on paper. Date: Composed 1984. Dimensions: Overall size: 11 1/4 x 8 7/8 in. (286 x 225 mm).Lot Note(s): Signed lower right. Drawn on cream wove paper. Fine condition. Provenance: From the collection of an assiduous and long time collector of Kane material. Comment(s): Robert “Bob” Kane (born Robert Kahn in New York City) was an American comic book writer and artist who co-created, with Bill Finger, the DC Comics character Batman. Kane's work is housed in collections in New York City's Museum of Modern Art and the Whitney Museum of American Art. Image copyright © DC Comics/Warner Bros. [29903-2-800]
Artist: Fernand Leger [imputée] (French, 1881 - 1955). Title: "Femme avec un coq". Medium: Watercolor, gouache, and ink drawing on paper. Date: Composed 1952. Dimensions: Overall size: 14 1/2 x 11 1/2 in. (368 x 292 mm).Lot Note(s): Signed lower right. Painted on cream wove paper. Very good to fine condition. Comment(s): For this image Leger composed at least five works with an almost identical composition but each different in both coloration and minor details. His “Woman with a Bird on a Red Background,” the cover image of “Fernand Leger: Oeuvres de 1905 a 1952” (Christian Zervos) is virtually the same composition, but not identical, to the gouache on paper that sold at Sotheby’s New York, November 3 2011, lot #142. Another gouache on paper with a white background, very similar to our example but with different coloration, is cited by Artnet. Image copyright © Artists Rights Society (ARS), New York. [29931-3-6000]
Artist: Oskar Kokoschka [imputée] (Austrian, 1886 - 1980). Title: "Konflikt". Medium: Original pen and ink drawing. Date: Composed 1920s. Dimensions: Overall size: 7 7/8 x 5 7/8 in. (200 x 149 mm). Image size: 6 1/8 x 5 7/8 in. (156 x 149 mm).Lot Note(s): Signed lower right. Cream wove paper. Condition: foxing in the image, probably removable through conservation; creasing; else very good. Provenance: Private collector, Rivera-Pays-d'-Enhaut, Switzerland. Comment(s): Kokoschka often signed his works from the 1910s-1930s with his full signature. A notable work that expresses much of the same stylistic markers as our drawing is 'Taufe,' which sold for $55,080 (€39,000) on 05/10/2011 at Im Kinsky Kunst Auktionen, Vienna, Austria. Image copyright © Artists Rights Society (ARS), New York. [26424-1-225]
Artist: Leonora Carrington (British/Mexican, 1917-2011). Title: "Sin titulo #1". Medium: Pen and ink drawing on paper. Date: Composed c1969. Dimensions: Overall size: 11 11/16 x 9 1/2 in. (297 x 241 mm).Lot Note(s): Signed lower left. Drawn on cream laid paper. Very good to fine condition. Provenance: Estate of a prominent private collector, Mexico City, acquired directly from the artist in Cuernavaca, Mexico. Comment(s): Image © The Estate of Leonora Carrington/Artists Rights Society (ARS), New York. [30104-2-4000]
Artist: Italian School [17th-18th century]. Title: "Adoration of the Virgin". Medium: Pen and ink with wash drawing. Date: Composed c1670-1710. Dimensions: Overall size: 6 1/4 x 8 5/8 in. (159 x 219 mm). Image size: 5 1/4 x 6 1/4 in. (133 x 159 mm).Lot Note(s): Cream laid paper. Overall good to very good condition. [24544-1-300]
Artist: John Tenniel (English, 1820-1914). Title: "Alice Dropping the White Rabbit [Alice in Wonderland]". Medium: Ink on paper. Date: Composed 1864. Dimensions: Overall size: 7 13/16 x 4 3/4 in. (198 x 121 mm).Lot Note(s): Signed with the monogram, lower left. Light cream wove paper. Very good condition; an unobtrusive soft crease upper right; minor edge coloring; slight wrinkling right and left edges; presents very well. Comment(s): Tenniel’s original illustrations for “Alice's Adventures in Wonderland” are very rare. Our example is the preliminary drawing to the finished drawing that appeared in Charles Lutwidge Dodgson’s (Lewis Carroll’s) famous work of 1865. [29810-1-6000]
Artist: Fernand Leger (French, 1881 - 1955). Title: "Deux femmes". Medium: Mixed media drawing on paper. Date: Composed 1921. Dimensions: Overall size: 10 13/16 x 7 3/8 in. (275 x 187 mm).Lot Note(s): Signed and dated, lower right. Drawn with colored pencil, pencil, charcoal, and pastel on cream wove paper. Good condition; no major condition issues but several minor ones. Collector and gallery ink stamps, verso. Condition report provided upon request. Provenance: If you have a genuine interest in bidding on this work kindly send an email to: provenance@stanfordauctioneers.com for complete provenance information and additional image(s). Comment(s): Leger drawings in his "surrealist mode," especially from this period, are scarce and highly sought after. Image copyright © Artists Rights Society (ARS), New York. [30498-2-16000]
Frank Paul (b.1984) "The Wedding" Signed verso and dated September 18th 2010, pen and ink, 29cm by 20cmSold together with the certificate of authenticity and a copy of "Art of England" magazine, September 2010, issue 73, where the work is illustrated on the front cover Born in 1984, Frank Paul is the son of the artists Lucian Freud and Celia Paul.Doodling in exercise books at school, Paul knew he wanted to become an artist from an early age. He studied German, Russian and Arabic at Cambridge University but his love for drawing never ceased.Influenced by Goya and Dore his drawings do not have individual titles. They are quirky and slightly sinister, reminiscent of story tale illustrations. His exhibitions on his series of the 'A-Z of Omens' and illustrations inspired by the music of Bob Dylan were both sell out shows.He is reputed to be a very private person, shy about his upbringing and association to his father's name. He always felt the desire to draw and never set about to receive his father's approval in regards to his work. However, he did so once via his half sister Bella and Freud's response was 'it's rather good isn't it?'
Graphik-Sammlung, ca. 52-tlg, 20. Jh., überwiegend Landschaften im traditionellen Stil.: 4 Farbradierungen von Günther Hermann, 3 Federzeichnungen, 1930 von Paul Groß, 1 Radierung von Günther Grassmann, 3 Radierungen von Felix Hollenberg, 3 Radierungen von Susanne Hoppe, 2 Farbradierungen von Beate Hübner, 1 Radierung von H.J. Kellers, 2 Radierungen von Ferdinand Kobell, 2 Radierungen von Ernst Kößlinger, 2 kolorierte Radierungen von Klaus Kugler, 1 Farbradierung von Sigrid Häntsch, 7 Radierungen von Theo Hellmerich, 1 Radierung von Prof. Paul Geissler, 1 Radierung von Grezemann, 1 Radierung von Fr. Görlitz, 1 Radierung von Hermann Gattiker, 2 Radierungen von Gusinde, 1 Federzeichnung von Philipp Harth. Die Blattgrößen variieren zwischen ca. 20x27 cm und 53x38 cm. Insgesamt gut erhalten, einige wenige Blätter sind leicht knittrig oder mit Eselsohr. Ausserdem enthalten: 15 Reproduktions- und Kunstdrucke, u.a. aus der Mappe "Kemptner Drucke"| Graphic collection approx. 52-pcs, 20th century, mainly landscapes in the traditional style: 4 color etchings by Günther Hermann, 3 pen and ink drawings, 1930 by Paul Groß, 1 etching by Günther Grassmann, 3 etchings by Felix Hollenberg, 3 etchings by Susanne Hoppe, 2 color etchings by Beate Hübner, 1 etching by H.J. Kellers, 2 etchings by Ferdinand Kobell, 2 etchings by Ernst Kößlinger, 2 colored etchings by Klaus Kugler, 1 colored etching by Sigrid Häntsch, 7 etchings by Theo Hellmerich, 1 etching by Prof. Paul Geissler, 1 etching by Grezemann, 1 etching by Fr. Görlitz, 1 etching by Hermann Gattiker, 2 etchings by Gusinde, 1 pen and ink drawing by Philipp Harth. Sheet sizes vary from about 20x27 cm to 53x38 cm. Overall in good condition, a few sheets are slightly creased or dog-eared. Also included: 15 reproduction and art prints, among others from the portfolio "Kemptner Drucke".
Artist: Walt Disney (American, 1901-1966). Title: "Minnie Mouse Playing Tennis". Medium: Pen & ink drawing on paper. Date: Composed c1950s. Dimensions: Overall size: 11 5/8 x 8 5/16 in. (295 x 211 mm).Lot Note(s): Signed with the initials, lower right. Drawn on cream textured wove paper. Very good condition. Provenance: Private collection, New York City. Comment(s): Disney would occasionally revisit his favorite characters in the form of drawings given to relatives, friends, and other artists, as in our example. Born Walter Elias Disney, he was an American animator, artist, film producer, director, screenwriter, voice actor, entrepreneur, entertainer, international icon, and philanthropist, well known for his influence in the field of entertainment during the 20th century. Image copyright © The Estate of Walt Disney. [29836-2-1600]
Artist: Henri Matisse (French, 1869 - 1954). Title: "Le visage et l'admirateur". Medium: Watercolor with gouache and ink drawing on paper. Date: Composed c1940. Dimensions: Overall size: 9 5/16 x 7 1/16 in. (237 x 179 mm).Lot Note(s): Hand-signed lower left. Drawn on cream wove paper. Very good condition. Provenance: The work comes from the collection of Urbano Quinto and was acquired by him directly from Henri Matisse in 1953 at the Café de l’Hôtel Negresco, Nice, France. A noted Italian author, art dealer, and art collector, Quinto acquired over the years dozens of small works on paper as gifts from artists he knew, including Matisse, Warhol, Twombly, Basquiat, and Haring. The original Letter of Authenticity by Mauro Urbano pertaining to this work accompanies the lot. Comment(s): The small masculine figure in a painter’s smock, gazing at the lovely woman’s face, might well be Matisse himself. Please see the attached image of Urbano Quinto with Halston, Andy Warhol, and Bianca Jagger at Studio 54, New York City, c1977 (courtesy of and copyright © by Hasse Persson). Matisse image copyright © Succession H. Matisse, Paris/Artists Rights Society (ARS), New York. [30394-1-1000]
Artist: Pieter Snayers (Flemish, 1592 - 1667). Title: "Fanged Beast". Medium: Charcoal and color chalk drawing. Date: Composed c1650. Dimensions: Overall size: 5 1/4 x 6 7/8 in. (133 x 175 mm). Image size: 4 1/4 x 5 3/4 in. (108 x 146 mm).Lot Note(s): Signed in ink, lower right. Cream laid watermarked paper. Good condition; skinning verso where removed from old mount; unobtrusive vertical crease; scattered foxing. Comment(s): Snayers was a Flemish Baroque painter known for representations of historical battle scenes. [18809-1-1600]
Artist: LeRoy Neiman (American, 1921-2012). Title: "Femlin Has a Club". Medium: Ink drawing on paper. Date: Composed 1972. Dimensions: Overall size: 7 1/4 x 8 1/2 in. (184 x 216 mm).Lot Note(s): Hand-signed lower center. Drawn on light cream stiff wove paper. Very good to fine condition. Comment(s): The Femlin is a character used on the Party Jokes page of Playboy magazine. Neiman, born LeRoy Leslie Runquist, was an American artist known for his brilliantly colored expressionist paintings and screen prints of athletes, musicians, and sporting events. Image copyright © The LeRoy Neiman Foundation. [30441-1-1600]
Artist: Leonora Carrington (British/Mexican, 1917-2011). Title: "Sin titulo #3". Medium: Ink and watercolor drawing on paper. Date: Composed 1969. Dimensions: Overall size: 14 x 11 3/4 in. (356 x 298 mm).Lot Note(s): Signed and dated, lower left. Drawn on cream wove paper. Very good condition; edge tanning; notebook holes; presents very well. Provenance: Estate of a prominent private collector, Mexico City, acquired directly from the artist in Cuernavaca, Mexico. Comment(s): Image © The Estate of Leonora Carrington/Artists Rights Society (ARS), New York. [30495-2-6000]
Artist: Giacomo Balla (Italian, 1871-1958). Title: "Progetto: Abbigliamento Futuristico". Medium: Watercolor and ink drawing on paper. Date: Composed c1916. Dimensions: Overall size: 12 x 8 1/8 in. (305 x 206 mm).Lot Note(s): Signed lower right. Drawn on cream wove paper. Very good condition; minor marginal darkening, else fine. Comment(s): Balla was a highly important and accomplished artist. In his early 30's he taught Divisionist techniques to Umberto Boccioni and Gino Severini. Influenced by Filippo Tommaso Marinetti, Balla adopted the Futurism style, creating a pictorial depiction of light, movement, and speed. He was signatory to the Futurist Manifesto in 1910, and began designing and painting Futurist furniture, also creating Futurist "anti-neutral" clothing. Image copyright © The Estate of Giacomo Balla. [30159-2-4000]
Artist: Jean Cocteau (French, 1889-1963). Title: "Un dieu grec". Medium: Pen and ink drawing on paper. Date: Composed 1954. Dimensions: Overall size: 11 3/8 x 8 5/16 in. (289 x 211 mm).Lot Note(s): Signed lower center. Drawn on light cream wove paper. Very good to fine condition. Comment(s): Cocteau was a French artist, poet, playwright, novelist, designer, filmmaker, and critic. Image copyright © Artists Rights Society (ARS), New York. [30416-2-1600]
Artist: Italian School [17th-18th century]. Title: "Triumph of Venus". Medium: Pen and ink with pencil drawing. Date: Composed c1680-1720?. Dimensions: Overall size: 4 1/4 x 5 3/4 in. (108 x 146 mm). Image size: 4 1/8 x 5 3/8 in. (105 x 137 mm).Lot Note(s): Cream laid paper. Fair condition with foxing and staining recto and verso. [24543-1-225]
Informel - - Emil Schumacher. (1912 Hagen/Westf. - 1999 Ibiza). G-12/1957. 57. Öl- und Tuschezeichnung auf festem Papier, als Collage montiert auf Sperrholzplatte. 59,7 x 74,6 cm. Signiert und datiert. - Unter Passepartout und im Kastenrahmen gerahmt. Vereinzelt gering wasser- bzw. ölfleckig (werkimmanent). Provenienz: Privatsammlung, Berlin. - Die Arbeit ist in dem durch Dr. Ulrich Schumacher erstellten Werkverzeichnis der Emil Schumacher Stiftung in Hagen unter der Inventarnummer 0/1.288 geführt. Wir danken Herrn Rouven Lotz freundlich für Hinweise. - Bis in die 1950er Jahre war Emil Schumachers Werk noch deutlich gegenständlicher geprägt und der vorherrschende Charakter des Informel noch nicht ausgebildet. Ab der zweiten Hälfte der 50er Jahre setzt Schumachers Entwicklung und Hinwendung zur Auflösung der Bildfläche ein, sodass wir mit der vorliegenden Arbeit eines der ersten Zeugnisse von Schumachers Informeller Malerei haben, in der Form gesprengt wird und neue Form konstituiert wird: "....kann Ihnen sagen, daß es eine sehr schöne möchte sagen poetische Arbeit aus den Jahren ist.... Dieses Blatt hat viel von der Aufbruchstimmung in der ich mich damals befand und ist aus ihr oder anderen Blättern dieser Periode die Reihe von Tastobjekten entstanden die aufsehen erregt haben auch im Ausland (Weltausstellung Brüssel)...". - Emil Schumacher in einem Brief vom 28. Februar 1987 über die vorliegende Arbeit. Oil and ink drawing on strong paper, mounted as collage on plywood board. Signed and dated. - Framed under passepartout and in box frame. Occasionally slightly water- and oilstained (inherent to the work). - Provenance: Privat collection Berlin. - The work is listed in the catalogue raisonné of the Emil Schumacher Foundation in Hagen, compiled by Dr. Ulrich Schumacher, under inventory number 0/1.288. We would like to thank Mr. Rouven Lotz for his kind advice.
Jahrhundertwende - - Wilhelm Heinrich Focke. (1878 - 1974 Bremen). Sammlung von 8 Arbeiten mit Pferde- und Landschaftsmotiven. Verschiedene Techniken, überwiegend Tuschefederzeichnung auf Papier und teils mit Aquarell oder Farbstift überarbeitet. Blattmaße von 10 x 13,5 cm bis 19,5 x 29 cm (Sichtmaß). Mehrheitlich verso mit dem Künstlerstempel. Viele punktuell auf Unterlage, wenige unter Passepartout montiert. Teils verso mit weiteren Zeichnungen bzw. Skizzen. - Teils etwas unregelmäßig an Kanten beschnitten. Vereinzelt mit wenigen, leichten Braunfleckchen. Insgesamt jedoch in wohlerhaltenem Zustand. Schöne Arbeiten mit skizzenhaftem Charakter. Aus der Sammlung Nachlass Helmut Hadré. - Neben der Darstellung von Menschen ist Wilhelm Focke vor allem für seine leidenschaftlichen Pferdedarstellungen bekannt. Schon sein Freund Max Liebermann stellte in typischen Berliner Jargon fest, wie herausragend die Pferdedarstellungen waren, indem er über sie sagte: "...nee Focke, det kann ick nich!" (Zit. n. W. Focke). Collection of 8 works with horse and landscape motifs. Various techniques, mainly ink pen drawing on paper and partly reworked with watercolour or coloured pencil. Mostly with the artist's stamp on verso. Many spot mounted on backing, a few mounted under passepartout. Partly verso with additional skteches.- Partly somewhat irregularly trimmed at edges. Occasionally with a few, light brown spots. At all in a good condition. Beautiful works with a sketchy character. - From the estate collection of Helmut Hadré.
Alfred Kubin. (1877 Leitmeritz - 1959 Zwickledt). Zufallsbekanntschaft. Aquarellierte Federzeichnung auf chamoisfarbenem Papier. 29,5 x 20,5 cm. Monogrammiert. Punktuell unter Passepartout montiert und unter Glas gerahmt. Verso mit Duplikat eines Gerichtsdokumentes einer fremden Person. - Papier altersbedingt leicht und gleichmäßig gebräunt. Einige wenige, leichte Knickspuren, diese zart und unauffällig. 1 Blattkante vertikal leicht unregelmäßig beschnitten. Insgesamt wohlerhalten. Provenienz: - Sammlung Springmann, Wuppertal - Lempertz, 3.12.1960 (Lot 249) - Abgebildet in: Kat. "Kubin. Vermischte Blätter. Zwölf Zeichnungen", Tafel 10, Berlin 1950. Watercolour pen-and-ink drawing on buff paper. Monogrammed. Mounted in spots under passepartout and framed under glass. Verso with a replica of handwritten document by another hand. - Paper slightly and evenly browned due to its age. A few, light crease marks, these delicate and inconspicuous. 1 sheet edge vertically slightly irregularly trimmed. Altogether in good condition. - Provenance: Springmann Collection, Wuppertal; Lempertz, 3.12.1960 (lot 249); illustrated in: catalogue "Kubin. Mixed Leaves. Zwölf Zeichnungen", plate 10, Berlin 1950.
Fluxus - - Nam June Paik. (1932 Seoul - 2006 Miami). Scroll. 1974. Gerissene und collagierte Tuschezeichnung auf leichtem Velin. 50 x 65 cm. Recto z.T. signiert. Unter Glas gerahmt. - Verrutscht sowie mit recto durchschlagenden Spuren der vorherigen Montierung. Paik war ein amerikanischer Fluxus-, Video-, Medienkünstler, Musiker sowie Pionier der Videokunst. Er studierte 1952-56 zunächst Ästhetik, Musik- und Kunstwissenschaft in Tokio. Nach weiteren Studien in München und Freiburg arbeitete er zusammen mit Karlheinz Stockhausen. Ab Anfang der 1960er Jahre wirkte er im Kontext der Fluxus-Bewegung mit. 1979-96 wurde er Professor an der Kunstakademie Düsseldorf. Er erhielt zahlreiche Auszeichnungen für sein künstlerisches Schaffen und ist weltweit in zahlreichen Institutionen vertreten z.B. Berlin, Hamburger Bahnhof; Karlsruhe, ZKM; Paris, Centre Pompidou; Yongin-Si, Paik Art Center. Torn and collaged ink drawing on light wove paper (papier vélin). Recto partly signed. - Slipped and with traces of the previous mounting showing through on the recto.
Rudi Baerwind, 1910-1982 Mannheim, Studium in Berlin, München und Paris, war Schüler von Fernand Leger, hier: Paar am Strand, fast kalligraphischer Umriss der Figuren, spontanerDuktus, zeichnerischer Einfluß Picassos, Tuschfederzeichnung auf Papier, sign. und dat. 50, ca. 43x63cm, u.Gl., R. ca. 66x97cmRudi Baerwind, 1910-1982 Mannheim, studied in Berlin, Munich and Paris, was a student of Fernand Leger, here: couple on the beach, almost calligraphic outline of the figures, spontaneous style, graphic influence of Picasso, pen and ink drawing on paper, sign. and dat. 50, approx. 43x63cm, bottom left, frame approx. 66x97cm
[s and up] Martin Kippenberger Hotel-Hotel-Hotel Cologne, Verlag der Buchhandlung Walther König, 1995. Softcover, orange printed wrappers, 29.5 x 21 x 3.5 cm, unpaginated, illustrated throughout. Published in a limited edition of 500 numbered copies, only copies numbered 31 - 100 are signed by the artist. This is No. '095', (from the total edition of 70 signed copies) monogrammed in red ink and pencil, dated ('95) in felt tip-pen on the title-page.Comprises the second volume of Kippenberger's trilogy 'Hotel-Hotel', 'Hotel-Hotel-Hotel' and 'No Drawing No Cry.' The books each consist of collections of drawings Kippenberger made on stationary from hotels around the world. Iconic and weighty book, 1400 gram. Crisp copy, with a very tiny dent (5 mm) on the corner of the back cover not affecting the inside, otherwise as new.
AMENDED DESCRIPTION - Feliks Topolski (1907-1989). Portrait of a standing man with cloak and sword, possibly a theatrical character. Ink and watercolour on paper. Signed lower right and inscribed 46 years later. Personal inscription by the artist to Ernest Pearce verso. 22.5 x 17cm. Together with a small lithograph of the same figure titled in pencil Gen Franco M Fortinbras (variant drawing 1939) and a card to Ernest Pearce from Phyllis Gorlick King relating the Exhibition of Animal Art at London Zoo 1987, signed (3). Catalogue notes; The collection of Ernest Pearce (1930-2012) a dedicated art collector and connoisseur of the bookplate.His files of letters reveal that he was in regular correspondence with many well-known artists and fellow collectors from the 1950s onwards, sharing with them his in-depth knowledge and often exchanging rare prints and other works of art. Of particular note is his collection of works by the Romanticist artist Samuel Palmer many of which were purchased from Carlos Peacock, author of 'Samuel Palmer, The Shoreham Years' who himself acquired a number from AH Palmer, Samuel's son. Also works by well-known 20thcentury artists, some, unusually, accompanied by personal notes or cards. Finally, of course, his extensive collection of bookplates including British and Continental artists and some illustrious libraries.Ewbank's is delighted to have this opportunity to bring Ernest Pearce's lifelong collection to the market. Provenance: The family of Ernest Pearce.
AMENDED DESCRIPTION - Attributed to Samuel Palmer (British, 1805-1881). Study of a Tree by a stream. Watercolour, pen and ink on paper, laid to card. Inscribed verso and labelled below Samuel Palmer. 13 x 10cm. Together with a graphite drawing of a farm and buildings. Numerous pencil inscriptions. Later inscription verso Mepham Barn?. 14 x 55cm. (2) Catalogue notes; The collection of Ernest Pearce (1930-2012) a dedicated art collector and connoisseur of the bookplate.His files of letters reveal that he was in regular correspondence with many well-known artists and fellow collectors from the 1950s onwards, sharing with them his in-depth knowledge and often exchanging rare prints and other works of art. Of particular note is his collection of works by the Romanticist artist Samuel Palmer many of which were purchased from Carlos Peacock, author of 'Samuel Palmer, The Shoreham Years' who himself acquired a number from AH Palmer, Samuel's son. Also works by well-known 20thcentury artists, some, unusually, accompanied by personal notes or cards. Finally, of course, his extensive collection of bookplates including British and Continental artists and some illustrious libraries.Ewbank's is delighted to have this opportunity to bring Ernest Pearce's lifelong collection to the market. Provenance: The family of Ernest Pearce.
ART HISTORY - GIMPEL FAMILYTwo photograph albums recording the lives, homes and art collection of the Gimpel family of art dealers, containing approximately 150 gelatin silver prints in total (approximately 88 being 80 x 80mm., the others various sizes up to 170 x 230mm.), those in the later album mostly captioned on mounts in white ink, contemporary cloth, rubbed, the later album contents loose, 4to, c.1898 and 1930s (2)Footnotes:René Gimpel (1881-1945) was an influential Parisian art dealer with galleries in Paris and New York City. His father, Ernest (1858-1907), operated E. Gimpel & Wildenstein in New York from 1902-1919.The earlier of these two albums records Gimpel family holidays in 1897 and 1898 in Trouville-sur-Mer, Calvados, where Ernest's gallery had an annex. Various members of the Gimpel family appear at the beach and on the promenade, as do some early motorcars, a bicycle race, a fire engine, and horse races.The later album has the visiting card of Odette Bourdillon pasted in, annotated 'En souvenir de la Rue Spontini 19, Paris' - the hôtel particulier which was home to René and his family. In photographs of the house's interior can be seen: Greuze's portrait of La Marquise Madeleine Barberie de Courteilles (Herzog Anton Ulrich-Museum, Brunswick); an eighteenth-century Coromandel folding screen, looted from Paris by the ERR and restituted on 11 May 1948; landscapes by André Derain from the D.-H. Kahnweiler collection; in the Louis XVI drawing room Monet's Artist's Garden at Vétheuil (NGA, Washington), along with in other rooms his La Barque Rose (private collection), Les Peupliers (Fitzwilliam), and some waterlilies; Angel Zarraga's portrait of Ernest Gimpel; a group of saints by Puvis de Chavannes; a female portrait by Jean Marc Nattier; a pair of Boucher Cupids; a ruin by Hubert Robert; and an arch-topped Corot, amongst others. Family photos show René's wife Florence (née Duveen) show-jumping in the Grand Palais and in Le Touquet in the mid-to-late 1920s, Florence and her sister Eveline (Eva) in the garden of Rue Spontini, Florence's bedroom, another home in rue de Grenelle, yet another in rue de l'Université (dated June 1934), and hunting excursions.Some of Gimpel's business records are held by the Archives of American Art, Smithsonian Institution, whilst family papers are in the archives of Gimpel Fils, the London gallery founded in 1946 by René's sons.For further information on this lot please visit Bonhams.com
TARLETON (SIR BANASTRE) – COMMONPLACE BOOKAutograph poem signed 'Banastre Tarleton' and dated 'January 1825' entitled 'Susan's Abode', comprising eight lines on his house in Lintwardine beginning 'The young, the old, the poor combine, To welcome thee to Lintwardine...' and illustrated by a pen and ink sketch of the house, written in a commonplace book dedicated to 'To/ The Lady Willoughby/ from/ Banastre & Susan Tarleton', with ownership inscription 'Priscilla Tarleton', containing poems and other writings in several hands including that of Susan Tarleton and Banastre Tarleton, a number of verses and illustrations initialled 'B.T.' including a tribute to the late Robert, 4th Duke of Ancaster and Kesteven ('...An eye witness of his conduct in America submits this inadequate testimonial to the noble family of Grimsthorpe Castle...'), also including tributes to Lady Willoughby and the Marchioness of Cholmondeley, 'An acrostic written in a storm on the 8th of February 1816... to the Baroness Willoughby de Eresby, on her birthday...', 'Lines supposed to be written at Waterloo', 'To Lady Tarleton', 'On Women', interspersed with historical notes on the great deeds of the Willoughby family and copies of verses by Byron, Burns, Lady Caroline Lamb, Moore, Scott, Mary Tighe and others; illustrated throughout with some 50 pen, ink and watercolour illustrations and delicate vignettes by the Tarletons to complement the verses, including a decorative floral and foliate frontispiece dedicated to Lady Willoughby depicting her portrait surrounded by putti holding the accoutrements of the Arts, c.130 leaves (c.40 blank), watermark W Turner & Son, a few minor tears and offsetting, contemporary russia blindstamped and gilt with etched brass clasp, silk endpapers, g.e., rebacked preserving original spine, 4to (225 x 180mm.), c.1820'sFootnotes:'THE YOUNG, THE OLD, THE POOR COMBINE, TO WELCOME THEE TO LINTWARDINE': A fine commonplace book of verses and drawings, a joint collaboration between Sir Banastre Tarleton (1754-1833), notorious army officer and politician, made infamous through his exploits in the American Revolutionary Wars as leader of the 'Tarleton Raiders', and his wife Priscilla Susan Bertie Tarleton (1778-1864), fondly dedicated to Priscilla Tarleton's aunt Lady Willoughby,Banastre Tarleton married Priscilla Bertie, the wealthy illegitimate daughter of his friend Robert Bertie, 4th Duke of Ancaster and Kesteven and 20th Baron Willoughby de Eresby (1756-1779), after a whirlwind romance in 1798. After having gambled away his inheritance, Tarleton had purchased a commission in the 1st Dragoon Guards and served with Bertie during the occupation of Philadelphia in the American Wars of Independence, where his ruthless reputation earned him the sobriquet 'Bloody Ban'. When Bertie died young at the age of 22, the young Susan was taken in by her paternal grandmother, Mary Bertie the dowager Duchess of Ancaster and Kesteven at Grimsthorpe Castle. A sketch of the castle accompanied by a verse titled 'An Epilogue' comprises the first item in the book. The couple met in 1798 at Houghton Hall in Norfolk then, as now, the seat of Lord Cholmondeley, Susan's uncle by marriage, and were married three months later. Well-educated, pretty, accomplished in drawing, music and languages, reckless in many ways but disapproving of drinking and gambling, she was a vivacious and popular member of London society. Her marriage to the virtually penniless soldier older than her own father and with a notorious reputation raised many eyebrows at the time but their thirty-five year marriage stood the test. She accompanied him to Portugal, Ireland and throughout postings in England until his retirement and they ended their married life at Leintwardine in Herefordshire, which features several times in our book as an earthly paradise ('...A ray of heav'nly light is thine, Seen in thy works at Lintwardine...'). Their fondness for each other is also evident in several of the verses –- in 'To Lady Tarleton' he writes 'By ambition tormented, by fortune sore crossed/ Without little Sue, I had paradise lost/ Although deep sunk in debt, yet my fame was unstained/ And winning Sweet Susan, I paradise gained/ B.T.', but a flash of the old rake is still evident in his verse 'On Women' - 'You are stars of the night, you are gems of the morn... Her smile is our need, or her bosom our pillow' he writes.As the ownership inscription shows, Susan Tarleton often varied the use of her names. Whilst official documents, including the parish records of her birth and marriage, give it as Susan Priscilla, she also used Susan or Priscilla, as in this volume. Her drawings are highly accomplished and she is also known to have contributed illustrations to be engraved for an anthology of Romantic poetry The Wild Wreath (1804) by Mary Elizabeth Robinson, the daughter of her husband's ex-mistress Mary (Perdita) Robinson. Despite losing two fingers from a musket ball received in his right hand during the Battle of Guildford Courthouse in North Carolina, Banastre Tarleton also appears to have lent his artistic talents to our volume, with many illustrations initialled 'B.T.'. Our volume would appear to be presented to Susan's aunt, Priscilla Barbara Elizabeth Bertie (1761-1828) who became 21st Baroness Willoughby de Eresby in 1780 after her brother Robert's death. It contains many historical tributes to the Willoughby and Bertie families and references the family name in a finely-drawn frontispiece. Susan's other aunt Georgiana Charlotte Bertie (1764-1838) married George Cholmondeley, 1st Marquess of Cholmondeley at whose country seat she met her future husband. It was through this marriage that the Cholmondeleys acquired the hereditary office of Lord Great Chamberlain which had been previously been held by Robert Bertie.Provenance: Private UK Collection.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
WELLS (H.G.) AND DAVID LOWA collection of 9 large original artworks by David Low for H.G. Wells' novel The Autocracy of Mr. Parham, published in 1930, pen, pastel crayon, ink and body colour on drawing paper, captions, proofing corrections and amendments in the margins, each signed ('Low') lower left or right, 435 x 695mm., [1930] (9)Footnotes:The artwork produced by the great British cartoonist David Low for H.G. Wells's political novel The Autocracy of Mr. Parham, published in 1930. Low's striking large format images were greatly reduced in size when published as double-page spreads in the printed novel. Wells's satire of autocracy and fascism, big money and the inadvertent slide into the commencement of a World War brought about by 'the imaginations of a modern British imperialist of the university type' (Wells, Experiment in Autobiography, 1934), was based on recognisable caricatures of figures such as Lord Beaverbrook (Low's employer at the Evening Standard) and Mussolini, and differences in outlook between Britain, America and Europe, themes eloquently illuminated by Low with background of jazz dancing, flappers, grandstanding heads of states, the mobilising of military forces, and their consequences represented by the collapse of Nelson's column in Trafalgar Square. The book was published in London by William Heinemann (July 1930), and in America by Doubleday Doran (June 1930).For further information on this lot please visit Bonhams.com
Attributed to Humphry Repton (British, 1752-1818) The Rows at Chesterinscribed in a later hand 'My Father's drawing of Chester' (lower left, said to have been written by George A Repton)pen and ink with grey wash on paper, unframed22.3 x 27.5cmProvenance:With Squire Gallery, London, May 1954, when sold to Walter Brandt,Thence by descent to his grandson
Manner of Isaac Oliver Portrait of Queen Elizabeth I (1533-1603)inscribed 'Elisabeta D. G. Angliae Ch. V. Sichen fecit' (lower left and right)pen and ink with touches of watercolour on laid paper28 x 18cmProvenance:Walter Brandt and by descent to his grandsonThe present composition is closely based on a drawing of Elizabeth I attributed to Isaac Oliver in the Royal Collection. Since the present image is in reverse of the original design, it most likely derives from a later engraving of this subject.Believed to be 19th centuryDiagonal fold top left corner. Light toning and discolouration to the paper. Slightly loose in its frame. Framed 44 x 33cm
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