The recumbent tiger with a shaped oval panel to its back, decorated with broad brush strokes in ochre, black and russet on a cream ground, the base unglazed, stencilled collection number 52200 to the baseLength: 33cmHeight: 9cmA similar tiger-form pillow, is illustrated by Jiena Huo in Fire and Earth: Chinese Ceramics (3500 B.C. - 1400 A.D.) in the Museum of East Asian Art, Cologne, 2008, p 187, no. 147, where it is dated Jin Dynasty, 12th century. The author notes that this type of pillow is probably from Changzhi, in Shanxi, where other pillows of this type have been found. This type of pillows were believed to protect against evil and to have helped women give birth to sons相似磁州窯虎枕見霍潔娜《火與土：中國早期陶瓷》科隆東亞藝術博物館 2008年，圖147 ，頁187。其作者認為此類型虎枕產於山西長治，用於保佑孕婦生得男孩不受邪惡侵擾。Another similar Cizhou tiger pillow was sold at Christie’s New York, 13th September, 2014 lot 835, Masterpieces of Cizhou Ware: The Linyushanren Collection另一相似虎枕見紐約佳士得2014年9月13日拍品835號。PROPERTY FROM THE DIANA M. STAINOW COLLECTION (1926 - 2019) Please note lots 16 – 54, Stainow Collection to be sold at no reserve清注意拍品16 號至54號 斯坦諾收藏 均為無底價起拍 DIANA M. STAINOW 收藏 私人財產(1926-2019)Originally a native of Boston, in her youth she studied painting and drawing at the School of the Museum of Fine Arts, Boston. In 1954, she married Gregory Stainow and had three children, where they lived in Paris until their divorce in 1979. After some ‘itinerant’ years where she lived amongst other places London, Paris and Hong Kong, she devoted herself to collecting art, writing, further travel and family. As an artist she travelled the world bringing home treasures to incorporate into her paintings, with a particular interest in non-Western Culture, particularly Chinese and Celtic art.(An extract taken from The Boston Globe 19th October 2019.) 黛安娜 斯坦諾 波士頓人,年輕時曾在波士頓美術博物館學院學習繪畫. 1954 年,她與格雷戈里· 斯泰諾結婚,育有三個孩子,後來居住在巴黎,直到 1979 年離婚,在倫敦.巴黎和香港等地都有 居所,由於對藝術的熱愛 她致力於收藏藝術品,寫作,以及熱愛旅行和家庭.作為一名藝術家,她周遊世界,將所見所藏珍寶 融入她的畫作 中,同時也對非西方文化特別感興趣,尤其是對中國和凱爾特藝術.居所，由於對藝術的熱愛 她致力於收藏藝術品、寫作，以及熱 愛旅行和家庭。作為一名藝術家，她周遊世界，將所見所藏珍寶融入她的畫作中，同時也對非西方文化特別感興趣，尤其是對 中國和凱爾特藝術。TO BE SOLD WITHOUT RESERVE無底價起拍Condition ReportOverall the tiger pillow is in good condition for its age. The base with a cleaned area and a number ‘52800' written in black ink. The cream pillow section well crazed, with a y-shaped hairline confined within this area, approx 10cm long. The left eye of the tiger with some glaze loss, revealing the buff body. Now patinated, overall the glaze finely crazed, with some discolouration. An area of glaze loss by the tigers front left paw, approx. 2.5cm, where it meets the base.
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KENNETH MORE – ‘REACH FOR THE SKY’, 1956, ‘THE ADMIRABLE CRICHTON’, 1957, ‘SINK THE BISMARK’, 1960 & ‘THE GREENGAGE SUMMER’, 1961 – DIRECTOR’S SCRIPTS, SCRAPBOOKS AND RELATED MATERIAL FOR FOUR FILMS STARRING KENNETH MORE (QTY)Comprising:-ReachFor The Sky, 1956: two director’s scripts, the first comprising 147 pp. of unboundmimeograph typescript, contained within a green hard cover folder, the frontwith cloth labels inscribed in an unknown hand LEWIS GILBERT / “REACH FORTHE SKY’, the title pages inscribed in ballpoint pen in an unknown hand LEWISGILBERT, dated August, 1955, some pages annotated in pencil inGilbert’s hand, some pages with script amendments on pink paper pasted to thepage; the second comprising 146 pp of mimeograph typescript bound in orangecard covers, the front printed REACH FOR THE SKY / Revised Script /27-5-1955, some pages annotated in pencil in Gilbert’s hand; a two-page‘Revised Shooting Schedule’, 4 November 1955, inscribed in an unknown hand inpencil on the first page Lewis Gilbert; an ‘Information Folder’, 103 pp.of mimeograph typescript bound in faded green paper covers, the front coverprinted with the document’s contents, including Who’s Who / PersonalityProfiles, Special Features, the title page annotated in pencil in Gilbert’shand, with a compliments slip from Zena Courtnee, Publicity Division, J. ArthurRank Organisation; a collection of publicity material including two WorldPremiere programmes, Odeon Leicester Square, 5 July 1956, a Gala Performanceprogramme, 19 July 1956, Odeon Brighton; 25 black and white publicity stillswith corresponding typescript paper labels (all detached), majority – 19 x 24cm.; eight black and white Front of House stills, all – 20 x 25 cm.; andrelated material; and two scrap books containing press cuttings, one containingfour black and white stills; a double-sided 12-inch acetate, the green SoundSystem label inscribed in blue ink in an unknown hand Reach For The Sky/ Reel 1 Music / Reel 14 Music (label partially torn on both sides) inoriginal paper cover, and later related material;-TheAdmirable Crichton, 1957: the director’s ‘Shooting Script’, 106 pp. ofmimeograph typescript bound in a red hard cover folder (pages have becomeloose) the front gilt-stamped DIRECTOR, the title page annotated inpencil in various hands with contact information, some pages annotated inpencil and ballpoint by Gilbert; a loose sheet of lined A4 paper attached tothe inside front cover, inscribed with a pencil drawing of a map roughly basedon the island of Grand Bermuda where the film was shot (the island being thebasis for the fictional South Seas island in the plot), the map inscribed withvarious locations including Jungle (Devonshire Marsh), Oyster Creek(Admiralty House Cave) and Bay of Arrival (Grape Bay); and adouble-sided 10-inch acetate, the Stage Sound label with typescriptdetails either side The Admirable Crichton / Music 1 / Music 2 / Music 3;-SinkThe Bismark!, 1960: the director’s ‘1st Draft Screenplay’, 116pp of mimeograph typescript bound in blue card covers, the front cover with typescriptpaper label,“SINK THE BISMARK” / 1st Draft Screenplay by EDMUNDH. NORTH, the title page dated October 24, 1958, unannotated; twosouvenir premiere programmes held inside blue velour hard covers with gold colouredthread, the covers gilt-stamped with the film’s title (gilt faded), thepremiere held in the presence of the Duke of Edinburgh (no date or locationgiven); a scrapbook of press cuttings, and related material; and-TheGreengage Summer, 1961: the director’s copy of the ‘Screenplay’, 146 pp. ofmimeograph typescript bound in black card covers, the front cover withtypescript paper label THE GREENGAGE SUMMER, the title page dated April30th, 1959, a few pages annotated in pencil in Gilbert’s hand; ablack and white still of Lewis and Hylda Gilbert filming with Kenneth More;four 12-inch acetates, variously labelled Titles, Dance 1, Dance 2, Dance 3;and a scrap book (a lot)PhotographsSold Without CopyrightConditionReport: ReachFor The Sky Script,Aug 1955 – pages loose, edges discoloured and worn some with tears, the ‘to theright side; Script May 1955, overall good, covers worn with small tears;RevisedShooting Schedule: pages are very tatty, the second page with paper loss;Information Folder: overall good, lower right corner of cover missing;Publicity Material: overall very goodTheAdmirable Crichton Script– overall good, pages unbound and worn with age, interior metal binders withsome rusting; acetate: label torn, edges worn on vinyl revealing metal beneathSinkThe Bismark Script– overall good, front cover top right corner missing, some creasing, some rustto metal binding pins; souvenir programmes: the programmes inside the foldersare in very good condition, the folders showing some wear, the gilt on thecovers is faded, and the tassels on the gold string have unwoundGreengageSummerOverallvery goodBellmans is grateful to Wallace and Hodgson for their assistance with cataloguing the Lewis Gilbert Film Script and Production Archive.
ANTONI TÀPIES (Barcelona, 1923-2012).Untitled, ca.1950.India ink on paper.Signed in the lower right corner.Attached certificate issued by the Comissió Tàpies with ref. T-9943.Measurements: 45,5 x 31 cm; 77 x 60 cm (frame).This important drawing by Tàpies belongs to the first stage of Dau al Set (1948-1955), years in which the artist was permeable to a diversity of avant-garde manifestations, especially surrealism and literature linked to the unconscious and magical realism. This is evident in this composition populated by objects of ambivalent interpretation and suggestive hermetic echoes: the pyramid, the solar eclipse, the crescent moon, the muse on the divan, the enigmatic being with a masculine body, the dragon with the Japanese theater mask... The coded clues branch out and intertwine in rich palimpsests, already hinting at the semantic and mystical deployment that will characterize Tàpies' painting.Co-founder of "Dau al Set" in 1948, Tàpies begins to exhibit in the Salones de Octubre in Barcelona, as well as in the Salón de los Once held in Madrid in 1949. After his first solo exhibition at the Layetanas Galleries, he travels to Paris in 1950, with a scholarship from the French Institute. In 1953 he had a solo exhibition at Martha Jackson's New York gallery. From then on, his exhibitions, both collective and individual, were held all over the world, in outstanding galleries and museums such as the Guggenheim in New York or the Museum of Modern Art in Paris. Since the seventies, anthologies have been dedicated to him in Tokyo, New York, Rome, Amsterdam, Madrid, Venice, Milan, Vienna and Brussels. Self-taught, Tàpies has created his own style within the avant-garde art of the 20th century, combining tradition and innovation in an abstract style but full of symbolism, giving great importance to the material substratum of the work. It is worth mentioning the marked spiritual sense given by the artist to his work, where the material support transcends its state to signify a profound analysis of the human condition. Tàpies' work has been highly valued internationally, being exhibited in the most prestigious museums in the world. Throughout his career he has received numerous awards and distinctions, including the Praemium Imperiale of Japan, the National Culture Award, the Grand Prix de Painting in France, the Wolf Foundation of the Arts (1981), the Gold Medal of the Generalitat de Catalunya (1983), the Prince of Asturias Award for the Arts (1990), the Picasso Medal of Unesco (1993) and the Velázquez Prize for the Plastic Arts (2003). Antoni Tàpies is represented in major museums around the world, such as the foundation that bears his name in Barcelona, the Reina Sofía in Madrid, the Guggenheim in Berlin, Bilbao and New York, the Fukoka Art Museum in Japan, the MoMA in New York and the Tate Gallery in London.
Adrian Keith Graham Hill,Four figures,signed and dated '50, pencil drawing,28x23cm;three other pencil drawings, by the same hand, Momentus Decision, 30x23cm; Folly, 30x22cm; Night Before the 'Op', 25x19cm; pen and ink drawing, Restless Day, 25x34cm; two unframed pencil drawings by the same hand, first one titled 'Probably Influenced by Weather Forecast' and 'A Little Dreamlike', sheet size of each 25x36cm; together with Adrian Hill, A Beginner's Book of Watercolour Painting, 1959.
Ɵ AN ARCHITECTURAL DRAWING OF THE CHIEF SECRETARY'S LODGE, PHOENIX PARK, DUBLINPencil, ink and watercolourInscribed to the front 'Plan of the Chief Secretary's House in the Phoenix Park'42cm x 54cm, unframed; and a smaller plan of the second floor (2)Catalogue Note:Now known as the Deerfield Residence, the home of the American Ambassador to Dublin, the house was begun in 1774 as the residence for Sir John Blaquiere, 1st Baron Blaquiere, then Chief Secretary for Ireland and taken over to become the Chief Secretary's Dublin residence in the late 18th century. Extensive renovations to the house and property were made by the U.S. Government in 1952. In the 1970s, the grounds were christened the name Deerfield by the wife of a United States ambassador on account of the number of deer who roam in the open parkland around the mansion. Condition Report: Folded and some damage to the edges and general browning of the paperCondition Report Disclaimer
PHOTOGRAPHS: a group of fifteen items, including a small wedding photograph album, 1925. comprises: ALTON, PARIS: Sacheverell Sitwell and Georgia Doble's wedding photograph album, October 25, 1925. 8vo., (215 x 182mm), buff- coloured, decorative card covers, string ties, with the studio printed name and address lower right, Alton, 20 rue Gauthey, contains nine bromide prints (including oval inset image to front), mounted to single sides of eight brown card leaves, the images mostly 11 x 8cms, the album 21.5 x 18cm overall, with two small b/w. photographs of Reresby and Francis Sitwell loosely inserted, the images (Reresby), 15 x 19.3cm, (Francis), 19 x 6.5cm; A MODERN POET AND HIS BRIDE, The Sketch, 21 October, 1925. a reproduction b/w. photographic print, depicting Sacheverell Sitwell and his new bride Georgia Sitwell (nee Doble), in the doorway of St. George's Anglican Church, Paris, the image 23.5 x 18cm, printed label to verso,'The Illustrated London News Picture Library London, Ref. Sketch October 21st 1925'; FREDERICK. W. SCHMIDT. (German, active 1900s). Frederick Dawson, the Pianist, c.1930's. bromide print on photographer's grey card mount, manuscript title in pencil beneath, 'Frederick Dawson Esquire / the Pianist / (1868-1940)', further signed in pencil by the photographer lower right, 'F. W. Schmidt / Manchester', the image 23.8 x 18.8cm, within a paper folder with the studio printed stamp and address to front, F.W. Schmidt, 6 St. Ann's Square, Manchester, 43.5 x 27cm overall. Frederick Dawson, was a British pianist and teacher. Dawson was a child prodigy who by the age of ten could play the complete Bach 48 preludes and fugues. He studied with Anton Rubinstein, Halle and Dannreuther. Frederick Dawson pursued a successful career in his homeland and Europe, also touring with soprano Adelina Patti. He also taught at the Royal Manchester College of Music and at the Royal College of Music in London; EMIL OTTO HOPPE. (German, 1878 - 1972). Osbert Sitwell, 1918. bromide print part mounted on brown card, signed in black ink lower right, the image 19.3 x 14cm, numbered in pencil to verso of photograph 14697a / 2, photographer's printed label to verso of mount, titled and numbered in pencil '14697a Osbert Sitwell', with the studio address 7 Cromwell Place, South Kensington, 36 x 24.8cm overall. Emil Hoppé was the undisputed leader of pictorial portraiture in Europe, photographing many leading literary subjects and figures from the art world. In the early 1920s he was invited to photograph Queen Mary, King George, and members of the royal family. Emil Hoppe took on a lease in 1913 of 7 Cromwell Place, occupying all thirty-three rooms of the previous home of Sir John Everett Millais. National Portrait Gallery Exhibition. The Sitwells: 14/10/94 - 22/1/95. Catalogue No. 2.10; O.G. RYLANDER. Colonel Hon. Henry Hely Hutchinson, c. 1860s. two albumen prints mounted on card, one signed in pencil lower left, the images 19.5cm x 15cm, and 2.3 x 15cm, overall 48 x 355cm and 457 x 32.7cm. Colonel the Hon. Henry Hely Hutchinson (1790-1874) was the nephew of the celebrated General, Lord Hutchinson (later 2nd Earl of Donoughmore); ANON. Georgie Doble. ca. 1930s. two bromide prints, the first image - depicting the sitter in an evening dress wearing pearls, the image 30 x 24cm, (38.5 x 29.7cm overall within wood frame), the second image - pink-tinted, depicting Georgie wearing a scarf, the image 32.5 x 25cm., (45.5 x 37.8cm within a modern black frame) both framed and glazed; DR. GREGORY HARLIP. (Eastern European, active 1930s- 1950s). Lord Berners, c. 1940s. a black and white print, signed in the print lower right, 23.7 x 17.7cm, ink stamp to verso, 'Copyright by Harlip London'. Harlip was a photographic studio specialising in celebrity portraits, based at 161 New Bond Street, Mayfair, London, managed by Dr Gregory Harlip, and later his widow Madame Monte Harlip, both of Eastern European origin. Lord Berners (Sir Gerald Tyrwhitt Wilson, 14th Baron, 1883-1950), was a British composer, novelist, painter and aesthete. He established a close friendship with all three Sitwells. Lord Berners collaborated with Sacheverell in 1926, for the Diaghilev ballet, 'The Triumph of Neptune'. In 1931, Sacheverell dedicated his book 'Spanish Baroque Art' to Lord Berners; ANON. Pearl Argyle, c. 1935. a black and white photograph, depicting the young dancer with her arms behind her back, 21 x 15.9cm, framed and glazed. Pearl Argyle (1910-1947) was a dancer and actor. Her career included leading roles in productions for the Ballet Rambert and Vic-Wells Ballet (now the Royal Ballet). Frederick Ashton described her as 'the most beautiful woman of her generation'. Sacheverell Sitwell first met Pearl Argyle in 1933, and became infatuated by her beauty, and whilst aware he did not love her, Pearl relished in Sacheverell's sophistication and the influence he was able to wield in the ballet on her behalf. UNKNOWN. A Gentleman. bromide print, 'Clifford Coffin' in pencil to verso, 24.5 x 19.7cm; UNKNOWN: Jean Costa, c. 1940s. a black and white photograph, captioned in pencil to verso, 'M. Constantine Achillopoullo, Commonly known as A. Costa; or 'Soldat Jean Costa' of the Free French Army in Africa. Born (about) 1908. 22.2 x 19.5cm, within a clear protective sleeve, with NPG label; and a photographic print of a drawing of a lady by Augustus John, signed in the print, 24.5 x 17cm. (Qty. 15). Provenance: The Sitwell Family Collection, Weston Hall. Condition Report: Condition Report Disclaimer
GIOVANNI BATTISTA TIEPOLO (ITALIAN 1696-1770) A LARGE GROUP OF PUNCHINELLI Pen, ink and wash 23.9 x 37.5cm (9¼ x 14¾ in.) Provenance: The Henry Oppenheimer Collection Sale, Christie's, The Henry Oppenheimer Collection, 14th September, 1936, lot 185 (A) (part lot) Where purchased by Sir Osbert Sitwell, 5th Bt. And thence by descent. Literature: G. Knox, 'Domenico Tiepolo's Punchinello Drawings: Satire, or Labor of Love?' in Satire in the Eighteenth Century, (J.D. Browning Ed.) New York, 1983, p. 138, fig. 5. G. Knox, 'The Punchinello drawings of Giambattista Tiepolo', in Interpretazioni Veneziane studi de storia dell'arte in oncore di Michelangelo Muraro, (D. Rosand Ed.) Venezia 1984, p. 441, fig.5. V. Sears Goldman, April 2012, 'The Most Beautiful Punchinelli in the World': A comprehensive Study of the Punchinello Drawings of Giovanni Battista Tiepolo, (unpublished doctoral dissertation), Princeton University, New Jersey, pp. 390-393, no. 4, fig. 4. We are grateful for Professor Bernard Aikema for confirming the authenticity of this work from a photograph. Catalogue Note: This drawing is from a distinctive group of documented Punchinello drawings by Giovanni Battista Tiepolo (1696-1770); related drawings by Tiepolo of the same period, depicting large groups of Punchinelli include: A large group of Punchinelli cooking (École des Beaux-Arts, Paris, no. 393); A large group of Punchinelli (private collection, Zurich); Punchinelli preparing a meal of gnocchi and parmesan cheese (Baron Dominique-Vivant Denon; Vivant-Denon sale, Pérignon, Paris, 1-19 May 1826, lot 543; most recently, Christie's, New York, 31 January 2013, lot 75, USD 542,500 inc. premium) (Sears Goldman, op. cit., pp. 393-397, no. 5; pp. 420-422, no. 10; pp. 423-429, no. 11). Punchinello was the buffoon character of the 17th century commedia dell'arte, a subject that Tiepolo embraced from the late 1720s through to the early 1760s, primarily in drawings, executing about thirty-six, but also in at least two paintings, and etchings. Tiepolo's interest in Punchinello was most likely stimulated when he was in Verona working on the illustrations for Scipione Maffei's Verona Illustrata (c. 1725). The drawing offered here dates from the early 1730s; it retains the fine delicate line of the earlier drawings but includes two tones of painterly wash, the wash less evenly applied than in slightly later drawings (Sears Goldman, op. cit., p. 376). Tiepolo, in contrast to his son Domenico, who shows Punchinelli engaged in everyday activities in his Divertimento per li Regazzi, portrays his Punchinelli making and eating gnocchi, and suffering from the excesses of overindulgence. The subject derives from a regional festival, venerdì gnoccolare, which took place in Verona on the last Friday of Carnival. Young boys from the poorest district of San Zeno, dressed up in costume, and gathered at the Palazzo del Podestà to invite the mayor to the town square for a glass of wine and a plate of gnocchi, followed by a town fiesta of eating and drinking until dawn. This drawing depicts a jumbled group of Punchinelli; two figures on the right are engaged in the cooking and presentation of gnocchi, but most have surrendered to the gnoccolonità that affects unlucky Punchinelli after the feast - several are drunken or ill (Sears Goldman, op. cit., p. 390). Some of the figures in this drawing can be found in other Tiepolo Punchinello drawings. For example, to the left of the drawing is a prostrate Punchinello with a protruding stomach lying on top of his hat; a similar Punchinello is depicted in Drunken Punchinello in the Musée de Picardie, Amiens (M.P. 975-6) and Two Punchinelli in the Fondazione Giorgio Cini, Venice (30.082). The Punchinello slumped over on the ground in the centre of the present drawing has its counterpart in Punchinelli cooking gnocchi (formerly Tito Miotti, Udine) and Three Punchinelli gathered around a gnocchi pot (Kennedy Onassis estate sale, Sotheby's, New York, 24 April 1996, lot 250). The composition of the present drawing is additionally related to a disegno di Pulcinella senza Pulcinella (c. 1724) by Tiepolo in the Staatliche Museen zu Berlin (inv. 11772). A toppled gnocchi pot or Punchinello hat, a wine flask, and a walking stick lie in the foreground. The use of scattered objects in the front appears in other Tiepolo drawings, for example, La folla e i serpenti, but in the world of Punchinello these symbols of the venerdì gnoccolare are represented differently: Punchinello's hat, a fallen quiver of arrows; the wine flask, a ceramic pot with a grotesque carved mask, Punchinello's walking stick suggesting a makeshift caduceus, a serpent-encircled staff (A. Rizzi, Mostra del Tiepolo: disegni e acqueforti, Milan, 1971, p. 17, no. 9; G. Vigni, Disegni del Tiepolo, 2nd ed., Trieste, 1972, pp. 53-54, no. 6). George Knox, the Tiepolo art historian, suggests that this drawing is among the earliest of the Punchinello drawings because of its fine line and delicate, even use of wash (Knox, op. cit., p. 441; G. Knox, Tiepolo: A Bicentenary Exhibition, no. 6). He further proposes that this drawing may be linked stylistically with the studies for the Villa Loschi at Biron, executed around 1734 (Knox, op. cit., p. 441). The present drawing, and others of this period, undoubtedly mark the moment that Tiepolo's draftsmanship assumes its mature form (G. Knox, Tiepolo: A Bicentenary Exhibition, 1770-1970; Drawings, mainly from American Collections, by Giambattista Tiepolo and the Members of His Circle, Cambridge, Mass., Fogg Art Museum, Harvard University, 1970, no. 13). Scipione Maffei (1675-1755), a Veronese writer, art critic and collector, was possibly the patron of the Punchinello works (Knox, op. cit., pp. 439-446). Tiepolo visited Verona twice, around 1730 when he worked with Maffei on Verona Illustrata, and nearly thirty years later in 1760 to paint the ceiling of the Palazzo Canossa. By the middle of the 18th century, however, Punchinelli drawings were collected outside Verona; in 1761, Count Francesco Algarotti's wrote to Pierre-Jean Mariette that he had 'les plus belles polichinelles du monde de la main de notre célèbre Tiepoletto' (Knox, 1984, op. cit., p. 444). Moreover, many artists made copies after Tiepolo's drawings, whether in pen and ink or as prints. Some of these were direct copies; others, such as the artist Georg Friedrich Schmidt's (1712-1775) 1751 etching, after Three Punchinellis cooking gnocchi, was based principally on the drawing but contributed new elements as well (Sears Goldman, op. cit., p. 364). Henry Oppenheimer, F.S.A. Click here for full description.
At Gueux Hairpin, French Grands Prix, Rheims, 1938 Mixed media. A large, vertical format, work, mounted but unframed. Image size 50 x 36.5cm. Signed Nevin 1938 lower left. The illustration was reproduced in The Motor for June 28, 1938, the relevant page being taped to the back of the artist's board. Together with an unsigned mixed media sketch for an oil painting by the artist of the 1906 Paris-Pekin Race, mounted but unframed, image size 30 x 42.5cm, and a framed, mounted and glazed vertical format pen-and-ink drawing on tinted paper inscribed Bon Jour! Monsieur Bugatti along the lower margin and signed Frederic Nevin, Molsheim 1926 lower right. There is a tear across the lower part, barely affecting the image, otherwise all three items are in good condition. (3)
Palmer Tyres An advertising colour Print, 45 x 35 cms; a Hupp-Yates Electric Car advertisement, 39 x 28 cms; a Strand Magazine colour printed cover for March 1905, 22 x 15 cms; A Napier limousine advertisement, 23 x 16 cms; and a 1979 pen and ink drawing entitled 'GD H.P. Locomotive, Winner 1908, Vanderbilt Cup Race, Driver Geo Robertson, signed E.A.P lower right, 9 x 14 cms, all framed and glazed (5)
Unframed Drawings A collection of seven horizontal format drawings in various media, including a mounted drawing incorporating a self-portrait of the artist and Rodney Walkerley, Sports Editor of The Motor, at Brooklands in 1938, signed Frederic Nevin lower right, image size 20 x 29cm. Good condition. Two other, mounted but unframed, drawings are of the 1930 RAC TT, including Alfas Nos. 9 (Campari) and 10 (Nuvolari), image size 22 x 29.5 cm, and an undated image of a scene from a Monaco Grand Prix, image size 36.5 x 43,5cm, the sheet with several crease marks. Four other drawings in large format are mounted on card, two of unidentified locations, the other a 1930s TT scene and a pen-and-ink drawing of a Bugatti in the 1925 Targa Florio, this signed Frederic Nevin lower right (the other three are unsigned). (7)
Joe Staton (American, b.1948) 'Jurassic Pork' Ink on Paper Undated, signed lower right, depicting a dinosaur-like pig rearing on its hind legs, matted and framed under glass; together with (2) Valerie and Jonathan Nicklow (American, 20th / 21st century) miniature mixed media works, each signed lower right, matted and framed under glass and having 'Booty Mountain Arts' sticker to the reverse Property from: a Chicago, Illinois (Gold Coast) estate Height: 16 3/4 inches, Width: 13 inches (Staton sight)Frame Size: 20 inches by 16 1/4 inches Condition: Very Good, some toning to Staton drawing; no condition issues to Nicklow pieces noted Disclaimers: not examined out of the frames Category: Fine Art > American Paintings Estimated Sale Time: 12:11 pm (America/Chicago) Shipping Status: Leonard Auction Shipping Quote Sales Tax (United States Only): Kansas (6.5%), New Jersey (6.625%), Pennsylvania (6%), Washington (10.5%) Download High Resolution Photographs:Photograph #1Photograph #2Photograph #3Photograph #4
Mike Lash (American, b.1961) Artwork Assortment Approximately (20) items including 1988, signed en verso 'Foot Fetish' felt-tip on gessoed board in a green wood frame; 1989, signed en verso 'I'm much To well adjusted To make great art' felt-tip on salvaged metal-framed laminate counter and backsplash; 1989, signed en verso 'Picture' chalk on plywood; undated, unsigned chalk on plywood having attached sunglasses; 1989, signed en verso 'Jimmy Swimming' felt-tip on blue foam board; 2003, signed en verso 'Study for Flounder boy' oil on plywood mounted to stretcher; (2) 1987 silver ink on mat board; other pencil and felt-tip drawings on cardboard; (2) copies of 'The Myth of Stability' 1988, signed, #87/500 and #88/500, staple-bound wraps; an exhibition card for a 1988 show at Artemisia Gallery, Chicago; (2) copies of a printed drawing; (3) signed copies of spiral bound 'Calendar Calendar' 2011; papers including an ARTnews review, an anonymous review and a signed letter offering a free painting to the addressee Property from: a Dixon, Illinois estate Height: 22 3/4 inches, Width: 30 1/4 inches (felt-tip on laminate)Frame Size: 24 1/2 inches by 31 1/2 inches Condition: Very Good to Good, frame of 'Foot Fetish' loose at miters; edge wear to plywood and mat boards; one silver ink on mat board having apparent bleach splashes near top edge; discoloration and soil to some items; salvaged materials show wear; paper items may have folds and edge wear Disclaimers: not examined out of frame Category: Fine Art > American Paintings Estimated Sale Time: 12:21 pm (America/Chicago) Shipping Status: Leonard Auction Shipping Quote Sales Tax (United States Only): Kansas (6.5%), New Jersey (6.625%), Pennsylvania (6%), Washington (10.5%) Download High Resolution Photographs:Photograph #1Photograph #2Photograph #3Photograph #4Photograph #5Photograph #6Photograph #7Photograph #8Photograph #9Photograph #10Photograph #11Photograph #12Photograph #13Photograph #14Photograph #15Photograph #16Photograph #17Photograph #18Photograph #19Photograph #20Photograph #21
Mixed Artists Artwork Assortment (4) items including F. F. Long (American, 20th century) 'Dream Watchers' reverse-painted acrylic on Plexiglas, 1990, signed and dated lower right, depicting a surrealistic composition including multiple figures in a fantastical landscape, framed; an abstract oil on panel signed 'Owen' lower left, in a wood frame; Bruce Forsyth abstract oil on canvas, signed lower right, in a wood frame; and an unsigned ink and marker on paper nude figure study, in a wood frame under glass Property from: a Chicago, Illinois (Gold Coast) estate Height: 38 1/2 inches, Width: 30 1/2 inches (Long sight)Frame Size: 40 1/4 inches by 32 1/2 inches Condition: Very Good, light dirt accumulation; fading to drawing; scuffs and scratches to frames; no other condition issues to artworks noted Disclaimers: not examined out of the frames Category: Fine Art > Other Estimated Sale Time: 1:51 pm (America/Chicago) Shipping Status: Leonard Auction Shipping Quote Sales Tax (United States Only): Kansas (6.5%), New Jersey (6.625%), Pennsylvania (6%), Washington (10.5%) Download High Resolution Photographs:Photograph #1Photograph #2Photograph #3Photograph #4Photograph #5
Ferdinand Becker (active 1793-1825) "Elterwater near Langdale Pikes'"(c.1790)Inscribed in ink, pencil, ink and watercolour, together with two further examples by the same hand to include "Near Low Wood Inn, Windermere" and "Windermere", 18.5cm by 28cm (3) Private Collection, UKFootnote: External appraisal and further research has now firmly identified these atmospheric early views of The Lakes as by the artist Ferdinand Becker, a drawing-master based in Bath. Though detailed information on this historically interesting figure is scarce, modern scholarship now considers it likely that he is also the author of works historically ascribed to an 'Edmund Becker' - a confusion perhaps resulting from an early misreading of Ferdinand Becker's signature or other such recording error. It is known that Ferdinand Becker visited Cumbria in or around 1795 - and that related drawings (possibly including the works offered here) were displayed in an exhibition of his work in Bath in 1796. For further information on Becker and his part in early artistic responses to the Lake District and it's scenery see Cecilia Powell and Stephen Hebron, Savage Grandeur and Noblest Thoughts: Discovering the Lake District 1750-1820, (Wordsworth Trust: 2010), pp. 77-79,143,175. The Tate Gallery holds other examples of Becker's work which can be seen online at https://www.tate.org.uk/art/artists/ferdinand-becker-2557Condition report: Elter Water near Langdale Pike - Some general staining throughout sheet. Colour depth appears broadly good although executed in the artist's characteristic subtle palette and overall impression possibly slightly muted by the impact of time staining. Small amount of tiny-sized dark spots in the sky and elsewhere which may even be ink splashes. Subtle slight cockle to lower edge, not examined out of the frame. Windermere - In a comparable condition to the former accepting a diagonal crease to the upper right-hand corner and vertical discoloured line running approximately 0.5cm from the far edge which suggests residual adessive to reverse and/or evidence of some evidence of discoloured restoration. One or two tiny foxing spots. No real evidence of cockling. Not examined out of the frame. Near Low Wood - In broadly comparable condition to the first, time staining slightly more evident towards the outer edges next to mount. NO evidence of cockling. Not examined out of the frame.
Italian School - Figure Studies, possibly Hercules, late 17th/early 18th century pen and ink on laid paper, 24cm x 17cm, within a stained wood frame, together with an ink drawing attributed to Sam Bough, an ink drawing by E. Spencer and one further ink drawing by Robert Drury.Buyer’s Premium 24.5% (including VAT @ 0%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.
Richard Parkes Bonington - Church Interior, pencil, signed to label verso, 7.5cm x 7.5cm, within a stained wood frame, together with an ink drawing by Benedictus Antonio van Assen, an illustrated letter by Joseph Kirkpatrick and one other drawing, all within frames.Buyer’s Premium 24.5% (including VAT @ 0%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.
Edmund Becker - 'Lowdore' (Lodore Falls, Keswick), late 18th/early 19th century pen, ink and wash, 23cm x 18cm, within a gilt frame, together with a monochrome wash drawing by William Alexander and one further watercolour by Francis Oliver Finch.Buyer’s Premium 24.5% (including VAT @ 0%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.
![[MANUSCRIPT - CIPHERING]. EVANS, Cadwallader. Ciphering Book of a Colonial Schoolboy. [Philadelphia], 6 April-26 July 1763. &](https://cdn.globalauctionplatform.com/972f54cb-c6fc-4bf1-9d72-adc10131c7e7/5998b82a-47f8-40a9-9e2b-adc201259bda/468x382.jpg)
[MANUSCRIPT - CIPHERING]. EVANS, Cadwallader. Ciphering Book of a Colonial Schoolboy. [Philadelphia], 6 April-26 July 1763. Folio (330 x 210 mm). 37 II. Manuscript in English, in ink, with diagrams, comprising Geometry and Trigonometry (ff.1-6), land surveying (ff.7-19), and plain, traverse, oblique and Mercator sailing (ff.20-37). With an elaborate surveying map, compass, and several diagrams. (Some mostly marginal chipping or tearing occasionally affecting text, small losses to the corners of two leaves.) Original red linen over boards, hand-lettered "C. E." on upper cover. (Upper hinge broken A portion of the surveying exercise appears to come from William Leybourn's The Compleat Surveyor (see the fourth edition, published 1679, pp. 292-294). Evans personalizes his ciphering book on the first page, including a drawing of his rooster, "Belon is Narr Cock's Father or the Bony Cock a Doodle Doo." The drawing includes the rooster's spurs, with a note: "Spurr um up my Boy." Evans also includes an aphorism about doing good deeds. Selections from the Property of Dr. Eugene Vigil, Antiquariat BotanicumFor condition inquiries please contact lesliewinter@hindmanauctions.com
This lot will be auctioned on Thursday, November 11th. The auction will begin at 3:00pm BST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on November 9th or November 10th.An "after the explosion" concept sketch hand-drawn by illustrator Jack Johnson for the production of Jeremiah Chechik's comedy sequel National Lampoon's Christmas Vacation. Uncle Lewis (William Hickey) ignited a line of sewage under the Griswolds' yard, exploding Santa's sleigh. This design concept sketch featuring the Griswold family home in the fallout from the explosion is rendered in ink and gouache on beige drawing paper. It exhibits minimal edge wear and tears from handling. Dimensions: 35.75 cm x 43.25 cm (14" x 17")Sold without copyright; see notice in Buyer's Guide. Estimate: £700 - 900 Ω
This lot will be auctioned on Thursday, November 11th. The auction will begin at 3:00pm BST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on November 9th or November 10th.A "Thank You" cartoon drawing, a set of three stickers and a coaster from the production of Irvin Kershner's Star Wars: The Empire Strikes Back. This lot comes from the personal collection of renowned production manager Philip Kohler, who worked as a location manager on the film.Gifted to Kohler as a thank you for his work, the cartoon is sketched in black ink on white card and labelled "Finse 1979." The back is titled "From All The Crew On Star Wars 2" and autographed by several crew members. One sticker shows Darth Vader's helmet engulfed in flames, and the coaster features the film's title artwork. There are minor marks, creasing and discolouration present on the cartoon, with notable wear on the Darth Vader sticker. Dimensions (drawing): 21.5 cm x 30.5 cm (8½" x 12"); (largest sticker): 13.5 cm x 8.5 cm (5¼" x 3¼"); (coaster): 9.5 cm x 9.5 cm x 0.2 cm (3¾" x 3¾" x¼") Estimate: £300 - 500 M
This lot will be auctioned on Thursday, November 11th. The auction will begin at 3:00pm BST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on November 9th or November 10th.A hand-drawn Tatooine market sketch by Ralph McQuarrie for Kevin J. Anderson's book The Illustrated Star Wars Universe. Considered the foremost artist from the Star Wars film franchise, McQuarrie also contributed art for the book. This preliminary sketch for an illustration of a Jawa junk market on Tatooine is also featured in the 2016 publication Star Wars Art: Ralph McQuarrie by Abrams. It is rendered in ink, coloured pencil, and graphite on drawing paper. The sketch exhibits significant tears on the edges and corners, creasing, some discolouration, and smudging from handling. Dimensions: 51 cm x 30.5 cm (20" x 12")Sold without copyright; see notice in the Buyer's Guide. Estimate: £2,000 - 3,000 Ω
This lot will be auctioned on Tuesday, November 9th. The auction will begin at 3:00pm BST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on November 10th or November 11th.A preliminary concept sketch of "Mary Poppins" hand-drawn by Tony Walton for the production of Robert Stevenson's family musical Mary Poppins. Magical nanny Poppins (Julie Andrews) took the children in her care on a series of fantastical adventures, including one on a rooftop with a group of chimney sweeps. This drawing was rendered in ink on illustration paper by costume designer Tony Walton during pre-production. It depicts an iteration of Poppins in her signature hat and long flowing skirt with her signature parrot-head umbrella in one hand and carpet bag in the other. The paper is hand-labeled "CHIMNEY SEQUENCE" and "MARY POPPINS". The illustration has been set in a poster board border with a backing. It exhibits signs of wear from age and use including some creasing throughout. Dimensions: 56.5 cm x 45 cm (22¼" x 17¾")Sold without copyright; see notice in the Buyer's Guide Estimate: £3,000 - 5,000 Ω
This lot will be auctioned on Tuesday, November 9th. The auction will begin at 3:00pm BST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on November 10th or November 11th.A concept illustration of Roger Rabbit, Jessica Rabbit, and Baby Herman hand-drawn by Richard Williams from the production of Robert Zemeckis' Oscar®-winning detective comedy Who Framed Roger Rabbit. Animation director Williams won two Academy Awards® for his work on the movie, including a Special Achievement Award. Williams originally donated this lot to the "Lots of Ink" charity auction organised by the Animation Art Gallery in 2001. Rendered in pencil and coloured crayon, the sketch is signed by Williams and presented in a brown wooden frame with string on the reverse for wall mounting. It exhibits minimal wear, and the lot is accompanied by a handwritten letter of authenticity from Williams stating that this is "the last drawing I ever do of Roger/Jessica Rabbit". Dimensions: 67.5 cm x 58.5 cm x 2.5 cm (26½" x 23" x 1")Sold without copyright; see copyright notice in the Buyer's Guide. Estimate: £5,000 - 7,000 M
This lot will be auctioned on Wednesday, November 10th. The auction will begin at 3:00pm BST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on November 9th or November 11th.Concept artwork and location photographs from Russell Mulcahy's fantasy action-adventure Highlander.The four watercolour-and-ink artworks by production designer Allan Cameron depict the village where Ramirez (Sean Conner) urged Connor MacLeod (Christopher Lambert) to leave his wife Heather (Beatie Edney). The four photographs show the village set in Glen Nevis, Scotland. The photographs and one drawing are adhered to black paper. Also included is a black-and-white copy of concept artwork of The Kurgan (Clancy Brown) experiencing the Quickening. There are small tears on the black paper, while some of the adhered items have begun to peel. Dimensions (largest sheet): 77 cm x 47 cm (30¼" x 18½"); (smallest artwork): 24 cm x 34.5 cm (9½" x 13½")Sold without copyright; see copyright notice in the Buyer's Guide. Estimate: £150 - 250 M
*ADRIAN HILL (1895-1977) 'The Black Line, Oppy Sector, 1918' First World War trench scene with two soldiers surveying the field, signed, titled and dated lower left, watercolour and ink, 29cm x 43cm.Adrian Hill was a British 20th Century artist who was most famous for his work as a war artist and his pivotal role in the creation and promotion of art as therapy. He studied at the St. John's Wood Art School and later at the Royal College of Art, going on to teach at the Hornsey School of Art and Westminster School of Art. Hill was elected President of the Royal Institute of Oil Painters in 1968 and his art style combined elements of impressionism and surrealism. He served in the Honourable Artillery Company during World War One, the first artist to be commissioned by the Imperial War Museum to record first-hand conflict on the Western Front. During a period of convalescence whilst suffering from tuberculosis he began to teach drawing and painting to other patients, including injured soldiers and was instrumental in setting up an art programme as art therapy for patients. He also set up a scheme with the British Red Cross to lend copies of famous pictures to hospitals and organised a lecture series, as well as writing many books about painting and drawing, and in the 1950s and early 1960s presented a BBC children's television programme called Sketch Club
Charles Samuel Keene (1823-1891), two gentlemen in conversation, resting on a gate with their shotguns by their sides, pen and ink drawing on card, with white gouache highlights, artist's printed monogram to lower left, 12cm x 9.5cm, framed and glazed, with Rowley Gallery label to the verso CONDITION REPORT: Please note - Descriptions do not include condition reports. Please contact us to if you require further information or images.PLEASE CONSIDER SHIPPING COSTS BEFORE BIDDING. THE COST OF SHIPPING MAY AFFECT YOUR DECISION TO BID.
SIR KYFFIN WILLIAMS RA pen and ink - two figures, entitled 'Father and Son', signed verso and dated 6.3.99 (behind frame but copy applied), 9 x 13cms Provenance: deceased estate, specially drawn and donated by the artist to Macmillan Cancer Research charity fund-raiser, vendor's mother won the picture at the event, auction proceeds to the same charity without commission charged Comments: charming drawing with son looming large over his father, both with similar nose and wearing flat caps, neatly framed and glazed, no condition issues Please note that this lot may be subject to Droit de Suite at 4% of the hammer price (Please see terms / enquire)
Kitagawa Utamaro (1753-1806), Utagawa Kuniyoshi (1798-1861), Utagawa Toyokuni III (1786-1865), Tosa school and othersEdo period (1615-1868) to Meiji era (1868-1912), 19th to early 20th century100 prints and 20 paintings comprising; 100 prints of various formats (majority oban), sizes and subjects, including yakusha-e, musha-e, bijinga, kaika-e and some facsimiles by various artists, including a yotsugiri tate-e of Bijin menso juttai no zu (Ten Types of Women's Physiognomy) by Utamaro and a chuban of Furyu junikagetsu no uchi shichigatsu (Fashionable 12 Months: Seventh Month) by Toyomasa, variously published and variously signed; 19 paintings, in ink on paper by members of the Tosa School, possibly depicting passages from Tsurezuregusa (Essays in Idleness) written by Yoshida Kenko between 1330 and 1332, unsigned; one small watercolour drawing of an ema (small wooden plaque), unsigned. The smallest: 18.7cm x 12.5cm (7 3/8in x 4 15/16in); the largest: 39cm x 25.5cm (13 3/8in x 10 1/16in). (120).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Fidelma Cadmus Kirstein (American, 1906-1991). Ink and watercolor drawing on paper depicting a young girl standing in a bedroom, holding the edge of her nightgown skirt. Signed and dated 1925 along the lower left. Image size; height: 6 7/8 in x width: 5 1/4 in. Matboard size; height: 14 in x width: 10 in.
18th century Venetian old master pen and ink drawing on laid paper. Depicting Venus on a cloud, surrounded by a group of frolicking putti. Provenance: Walter Schatzki, New York, January 8, 1971; Private Minnesota Collection. Sight; Height: 9 1/4 in x width: 6 3/4 in. Framed; Height: 15 3/4 in x width: 12 3/4 in.
δ SIR FRANK BRANGWYN (BRITISH, 1867-1956) Burnham on Crouch Pen, ink and watercolour Signed and inscribed 'Frank Brangwyn Burnham on Crouch' (lower right) 8¼ x 13¼in. (21 x 33.5cm.); together with another signed pen and ink drawing by Frank Brangwyn The Pot Hunter, illustrated in Herbert E. Julyan's 'Sixty Years of Yachts' (2)Provenance: Phillips, London, 12th October 1987, lot 100Condition report: Signature faded. Good overall condition but coud do with a clean.
A LOGBOOK FOR H.M.S. ACTIVE BY JOHN JAMES ALLEN, RN, 12 NOVEMBER 1822 TO AUGUST 1824 signed on the title page, 164ff., three pen and wash drawings, one folding, seven maps all but one folding and 13 pen and wash illustrations in the text, contemporary vellum, the cover titled in pen John James Allen RN and with a pen and ink drawing of H.M.S. Active, two sketches of officers and two figures duelling, together with another drawing of Active on the back cover, rather discoloured, 4to, containing two fine drawings of Havana and Veracruz
Ink on PaperChina , dated 1892Dimensions: 166 cm x 47 cm"Reading under banana leaves"Ren Bonian was a famous painter in the late Qing dynasty and good at drawing flowers, birds and figures. This picture was painted in the fall of 1892. It shows an old man giving a lecture under a banana tree, while a young man is listening carefully with a stack of books in his hand. The whole work is in the simplicity and tranquility of brushstrokes.
GEORGE CUNNINGHAM (Sheffield Artist, 1924-1996) *ARR Enjoying a Smoke, pen and ink drawing, signed lower right, bears Hibbert Brothers titled label verso, sold with original receipt dated 1994 and with a book of his work entitled 'More George', this picture is illustrated on page 73, 16 x 17.5cm. (2)
initialled and dated (lower right), and inscribed 'For Molly' (lower left), pen, ink and pastel on paper 27.8cm x 21.4cmProvenance:A gift from the Artist to Jack & Molly Pritchard, England and thence by descent to the present owners.Footnote: “We might well call the scope of his contribution ‘Leonardian,’ so versatile and colorful it has been.” (Walter Gropius, 1946) Described by the art critic Peter Schjeldahl as “relentlessly experimental” due to his innovative work in painting, drawing, photography, sculpture, writing, theatre and film, László Moholy-Nagy was the epitome of what the Bauhaus represented working alongside the likes of Walter Gropius and Marcel Breuer. In 1937, on the recommendation of Gropius, Moholy-Nagy moved to Chicago and became the director of the newly formed IIT Institute of Design known as the ‘New Bauhaus’. It would go on to become one of his most significant accomplishments and what historian Elizabeth Siegel named ‘his overarching work of art’. The present work is dated 1938, a year after he moved to Chicago. It was a gift to Isokon Furniture Company founder Jack Pritchard and his wife Molly. Moholy-Nagy and his wife Sibyl moved to the Lawn Road Flats in London (also known as the ‘Isokon Building’), where the Pritchards were resident, after arriving in Britain from Germany in May 1935. Moholy-Nagy designed numerous promotional materials for Isokon, including the logo for the Isokon firm itself, based on the outline of a plywood chair. Composition uses the vocabulary of de Stijl and Constructivism in its primary colors, line and simple geometric forms. It embodies the abstract language that Moholy-Nagy was aiming towards in his intention to be free from elements redolent of natur,e in order to work only with the particular characteristics of colours and their inter-relationship. In this way Moholy-Nagy is investigating a number of the themes in this work that he had been exploring in London prior to his move to America. By exploring the limitless potential of colour and simple forms, he hoped to instil Composition with a sense of the enigmatic and emotion, stating 'My belief is that mathematically harmonious shapes, executed precisely, are filled with emotional quality, and that they represent the perfect balance between feeling and intellect' ('Abstract of an artist', in R. Motherwell, ed., Lázsló Moholy-Nagy, Documents of Modern Art, New York, 1947).
NO RESERVE Bol (Cornelis), Attributed to. Landscape with the ruined church of Muiderberg, after Jan Van Goyen (1596-1656), point of the brush and ink, monochrome wash, on laid paper without watermark, ruled ink borderline, sheet 115 x 190 mm (4 1/2 x 7 1/2 in), under glass, some toning and surface dirt, framed.Provenance:Anonymous collector's ink stamp 'BL' verso [not in Lugt]E.J. Otto, Berlin [according to printed label on reverse, but without any collector's mark to sheet]Brod Gallery, London [according to inscription on reverse]Literature:Gerson, H., 403/4 as 'After van Goyen' [according to inscription on reverse]⁂ The present sheet is recorded on the RKD - Netherlands Institute for Art History database [see no. 262537], and is described as "Attributed to Cornelis Bol". The van Goyen drawing that it is after is located in the Kupferstichkabinett der Staatlichen Museen zu Berlin, Berlin [inv./cat.nr 12260].
Attributed to Ithell Colquhoun (British 1906-1988) Abstract compositioninscribed and dated 'Ithell - 45' (lower right)pastel and ink44 x 49.5cmCondition report: Please note the change of cataloguing to an attribution. We believe the drawing to be by the hand of the artist, but the signature and the date to have been later added by a different hand. The surface of the paper is slightly toned with some minor undulation along the top and right hand edge. In some areas the original pencil design is visible. Otherwise in good, clean condition.
§ § Hock-Aun Teh (Malaysian-Scottish 1950-) A letter from homesigned with monogram (centre right); artist's label to the reverseacrylic on board81 x 113cmFootnote: A self-described “kampung boy” at heart, Malaysian born artist, Hock-Aun Teh, has gained international acclaim for his vigorous and dynamic abstract compositions, which have been exhibited throughout Asia and Europe and are held in public collections including The National Visual Arts Gallery in Kuala Lumpur, National Art Museum of China, Beijing and Glasgow’s Gallery of Modern Art, Glasgow. Born to Chinese parents in, Sungei Gedong, a remote Malaysian village, in 1950, Teh spent his early childhood training in traditional Chinese ink painting and calligraphy, before being accepted to study at The Glasgow School of Art in 1970. The first person of Asian descent to graduate from Glasgow’s Drawing and Painting Department, Teh’s work has been praised for its anomalous fusion of the delicacy and lyricism of traditional calligraphic lines with the gestural hyper-masculinity associated with abstract expressionism.Condition report: The frame is quite loose. The surface with a light layer of dust. A few fibre inclusions beneath the paint layer. Thr right hand side with a small abrasion and subsequent paint loss and the lower edge with a larger abrasion (approx 10cm) with paint loss.Overall there is a scattering of very minor surface accretions, but overall in good condition. See additional images.
Denzil O. Ibbetson (British, 1775-1857)Study of Napoleon Bonaparte leaning against a gun on board HMS Northumberland en route to St Helena bears inscription below by John Des Fontaine 'A correct likeness of General Buonaparte taken on board H:M:S: Northumberland on her Passage to the Isld. St. Helena in 1815/ J:DesF:'pen, brown ink and watercolour on Whatman paper21 x 13.8cm Footnotes:Provenance:The Lacquer Chest, London, from whom acquired by the present private owner in 1995.Napoleon was taken to St Helena on HMS Northumberland in the care of Admiral George Cockburn, arriving there in October 1815. An account of the voyage can be found in the journal of Cockburn's secretary, J.R. Glover which was published in 1893. Also on the ship was Denzil Ibbetson who was Commissary officer on Saint Helena during Napoleon's exile, (one of the few British officers to remain there throughout Napoleon's incarceration) and who produced a number of sketches of the captive both en route to and after his arrival on the island; notably he painted Napoleon's death-bed portrait. In the present drawing Napoleon has a somewhat disconsolate expression as he leans on a gun carriage wearing a petit chapeau, uniform coat, knee breeches and buckled shoes. Another version of the sketch, in mirror image but without the gun or watercolour, was sold, Art+Objects, New Zealand, 29 June 2010, 'Napoleon's Final Days', lot 9. This composition also appears to be the original for George Cruikshank's rare etching which shows Napoleon in two positions, (British Museum print 1978, U.838). Ibbetson seems to have done a number of versions of the sketches that he made of Napoleon and he gave them to friends and colleagues on the island; John Des Fontaine was a landowner on St Helena.For further information on this lot please visit Bonhams.com
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