Lyonel Feininger 1871 New York - 1956 New York Wolken IV. 1934. Aquarell und Tusche. Links unten signiert und betitelt sowie rechts unten datiert. Auf Ingres-Bütten (mit Wasserzeichen). 31 x 47 cm (12,2 x 18,5 in), Blattgröße. [AR]. • Perfektioniertes Zusammenspiel von grafischen Linien und pointierten farblichen Akzenten. • Abstrahierte Wolkenformen über ruhiger See zählen zu Feiningers zentralen Motiven. • Den Frühling und Sommer 1934 verbringt er in Deep an der Ostsee, kurz nach Schließung des Bauhaus und der Machtübernahme durch die Nationalsozialisten. • Noch zu Lebzeiten des Künstlers in Berlin und in den USA ausgestellt. • Seit 43 Jahren in Privatbesitz. Achim Moeller, Direktor des Lyonel Feininger Project LLC, New York – Berlin, hat die Echtheit dieses Werkes, das im Archiv des Lyonel Feininger Project unter der Nummer 1886-10-30-23 registriert ist, bestätigt. Ein Zertifikat liegt der Arbeit bei. PROVENIENZ: Julia Feininger, New York. Privatsammlung. Galleria Castelnuovo, Ascona. Privatsammlung Süddeutschland (1980 von Vorgenanntem erworben). AUSSTELLUNG: Lyonel Feininger - Sonderausstellung: Neue Aquarelle, Kohlezeichnungen und Federzeichnungen, Galerie Ferdinand Möller, Berlin, Feb.-März 1935, Nr. 53 2nd Feininger Exhibition 1937: 35 New Paintings, 130 Drawings and Prints by Lyonel Feininger, Mills College Art Gallery, Oakland, 27.6.-7.8.1937 (Nr. 39 der Transportliste). LITERATUR: Hans Schulz-Vanselow, Lyonel Feininger und Pommern, Kiel 1999, S. 252. 'Ich komme soeben vom Strand herauf, wo ich [.] die Wolken überm Meer gezeichnet habe [.], ein ganzer Kontinent von Sturmwolken [.]. Das Wasser unter Land ganz still [.]. Ich fühle so unzählige Bilder auftauchen in meiner Phantasie, habe eine solche Sehnsucht nach Verwirklichung dieser Visionen [.].' Lyonel Feininger, 9. Sept. 1922, in einem Brief an Julia Feininger. Zit. nach: Werner Timm, Feininger an der Ostseeküste, in: Roland März (Hrsg.), Lyonel Feininger. Von Gelmeroda nach Manhattan, Berlin 1998, S. 305. Aufrufzeit: 09.12.2023 - ca. 19.04 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONLyonel Feininger 1871 New York - 1956 New York Wolken IV. 1934. Watercolor and India ink. Lower left signed and titled, lower right dated. On Ingres laid paper (with watermark). 31 x 47 cm (12.2 x 18.5 in), size of sheet. [AR]. • Perfect interplay of graphic lines and pointed color accents. • Abstract clouds over a calm sea are among Feininger's central motifs. • He spent the spring and summer of 1934 in Mrzezyno on the Baltic Sea, shortly after the Bauhaus closed and the National Socialists came to power. • Exhibited in Berlin and the USA during the artist's lifetime. • Privately owned for 43 years. Achim Moeller, director of the Lyonel Feininger Project LLC, New York – Berlin, has confirmed this work's authenticity, it is registered in the archive of the Lyonel Feininger Project under the number 1886-10-30-23. Accompanied by the certificate. PROVENANCE: Julia Feininger, New York. Private collection. Galleria Castelnuovo, Ascona. Private collection Soutern Germany (acquired from the above in 1980). EXHIBITION: Lyonel Feininger - Sonderausstellung: Neue Aquarelle, Kohlezeichnungen und Federzeichnungen, Galerie Ferdinand Möller, Berlin, Febr.-March 1935, no. 53 2nd Feininger Exhibition 1937: 35 New Paintings, 130 Drawings and Prints by Lyonel Feininger, Mills College Art Gallery, Oakland, June 27 - August 7, 1937 (no. 39 on trasnport list). LITERATURE: Hans Schulz-Vanselow, Lyonel Feininger und Pommern, Kiel 1999, p. 252. 'I have just come up from the beach, where I was drawing [..] the clouds above the water [..], a whole continent of storm clouds [..]. The water lay completely still [..]. I feel so many images emerging in me, I have such a longing for the realization of these visions [..].' Lyonel Feininger, Sept. 9, 1922, in a letter to Julia Feininger. Quoted from: Werner Timm, Feininger an der Ostseeküste, in: Roland März (ed.), Lyonel Feininger. Von Gelmeroda nach Manhattan, Berlin 1998, p. 305. Called up: December 9, 2023 - ca. 19.04 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.
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Hermann Stenner 1891 Bielefeld - 1914 Ilow (Polen) Paris, Eiffelturm mit Seinebrücke. 1912. Tuschpinselzeichnung. Auf Zeichenkarton. 32 x 16,6 cm (12,5 x 6,5 in), Blattgröße. Verso: Kirche am Berg mit Figur und Telegrafenmast, Kohlezeichnung, Hülsewig-Johnen/Nicole Peterlein 1096. [SM]. • In der Darstellung bewusst reduziert und virtuos locker hingeworfene Zeichnung • Vielfach ausgestelltes Blatt aus der für Stenner so wichtigen Zeit in Paris. PROVENIENZ: Nachlass des Künstlers. Privatsammlung München. Galerie Schlichtenmaier, Grafenau. Sammlung Hermann-Josef Bunte, Hamburg/Bielefeld. AUSSTELLUNG: Hermann Stenner. Gemälde, Aquarelle, Zeichnungen, Städtische Galerie,Albstadt, 4.12.1977-29.1.1978, Kat.-Nr. 39. Hermann Stenner 1891-1914, Kunsthalle Bielefeld, 2.6.-25.8.1991; Städtische Galerie, Albstadt, 8.9.-27.10.1991; Galerie der Stadt Sindelfingen, 8.11.-29.12.1991, Kat.-Nr. 49, Abb. S. 132. Hermann Stenner, Schleswig-Holsteinisches Landesmuseum, Kloster Cismar, 31.7.-23.10.2005. Hermann Stenner in der Sammlung Bunte, Egon Schiele Art Centrum, Cesky Krumlov, 30.10.2008-1.2.2009. Wege in die Klassische Moderne. Sammlung Bunte, Schloss Achberg, 17.4.-25.7.2010; Neues Schloss Kißlegg, 18.4.-18.7.2010. Der Westfälische Expressionismus, Kunsthalle Bielefeld, 31.10.2010-20.2.2011, S. 212. Das Glück in der Kunst. Expressionismus und Abstraktion um 1914. Sammlung Bunte, Kunsthalle Bielefeld, 21.3.-3.8.2014, S. 177. Hermann Stenner. Gemälde, Aquarelle und Zeichnungen aus der Sammlung Bunte, Kunsthaus Rietberg - Museum Wilfried Koch, 26.11.2015-31.1.2016, Abb. 32, S. 36. Hermann Stenner: Hymnen an das Leben. Werke aus der Sammlung Bunte, Städtisches Museum Engen + Galerie, 28.2.-2.7.2023; Kunsthaus Apolda Avantgarde, 9.7.-3.9.2023, Kat.-Nr. 60, S. 90. LITERATUR: Jutta Hülsewig-Johnen/Nicole Peterlein, Hermann Stenner. Aquarelle und Zeichnungen, Werkverzeichnis, hrsg. vom Freundeskreis Hermann Stenner e. V., München 2010, WVZ-Nr. 1095, 1096, S. 281 m. Abb. S. 40. Karin von Maur/Freundeskreis Hermann Stenner e. V. (Hrsg.), Der Maler Hermann Stenner im Spiegel seiner Korrespondenz: Briefe 1909-1914, wiss. bearb. von Karin von Maur, Markus Pöhlmann, München u. a. 2006, S. 56. Burkhard Leismann (Hrsg.), Sammlung Bunte: Positionen der klassischen Moderne, Ausst.-Kat. Kunstmuseum Ahlen u. a., Bramsche 2007, S. 327, Abb. S. 59. Kai-Michael Sprenger (Hrsg.), Hermann Stenner 1891-1914. Von Bielefeld nach Meersburg – Ein Maler an der Schwelle zur Moderne, Ausst.-Kat. Schloss Achberg, (Landratsamt) Ravensburg 2007, Kat.-Nr. 67, S. 59. Aufrufzeit: 09.12.2023 - ca. 16.29 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONHermann Stenner 1891 Bielefeld - 1914 Ilow (Polen) Paris, Eiffelturm mit Seinebrücke. 1912. Brush and India ink drawing. 32 x 16.6 cm (12.5 x 6.5 in). Called up: December 9, 2023 - ca. 16.29 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.
Peter August Böckstiegel 1889 Arrode/Westfalen - 1951 Arrode/Westfalen Zwei Bauernmädchen aus Westfalen. 1921. Aquarell und Tuschfederzeichnung. Rechts unten signiert, datiert und bezeichnet. Auf Karton von Schoellershammer (mit dem Trockenstempel). 72,3 x 51 cm (28,4 x 20 in), blattgroß. [SM]. • Entstanden in Arrode bei seiner Familie, wo er jedes Jahr die Sommermonate verbringt. • Großformatige Arbeit von leuchtender Farbigkeit. Das Werk wird in dem zukünftigen Werkverzeichnis der Aquarelle des P. A. Böckstiegel-Freundeskeises in Zusammenarbeit mit David Riedel unter der WVZ-Nr. 163a gelistet. Wir danken dem Museum Peter August Böckstiegel, Werther, für die freundliche Auskunft. PROVENIENZ: Sammlung Clara und Ludwig Kaufmann, Erlenbach (durch Erbschaft in schweizerischem Familienbesitz bis 2021). Sammlung Hermann-Josef Bunte, Hamburg/Bielfeld. AUSSTELLUNG: Peter August Böckstiegel. Expressionismus. Werke aus der Sammlung Bunte, Richard Haizmann Museum, Niebüll, 9.9.-23.10.2022; Schloss Evenburg, Leer, 31.10.2022-10.1.2023, S. 16. Aufrufzeit: 09.12.2023 - ca. 17.11 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONPeter August Böckstiegel 1889 Arrode/Westfalen - 1951 Arrode/Westfalen Zwei Bauernmädchen aus Westfalen. 1921. Watercolor and ink pen drawing. Signed, dated and inscribed in lower right. On Schoellershammer cardboard (with blindstamp). 72.3 x 51 cm (28.4 x 20 in), the full sheet. [SM]. • Made at his family home where he always spent the summer months. • Large work in radiant colors. The work will be listed under the number 163a in a future catalogue raisonné of watercolors, compiled by the P.A. Böckstiegel-Freundeskeis in cooperation with David Riedel. We are grateful to the Museum Peter August Böckstiegel for the kind support in cataloging this lot. PROVENANCE: Clara and Ludwig Kaufmann Collection, Erlenbach (in Swiss family ownership until 2021) Hermann-Josef Bunte, Bielefeld. EXHIBITION: Peter August Böckstiegel. Expressionismus. Werke aus der Sammlung Bunte, Richard Haizmann Museum, Niebüll, September 9 - October 23, 2022; Schloss Evenburg, Leer, October 31, 2022 - January 10, 2023, p. 16. Called up: December 9, 2023 - ca. 17.11 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.
HARDY, Thomas. Notes on Stinsford Church. Original 4pp. original typescript in the form of a letter to the Restoration Committee of the Church, dated April 1909 from the Athenaeum in London, signed in Hardy's hand in ink, 'Yours very truly, Thomas Hardy', with annotations and a small architectural drawing by Hardy. He gives his professional architect's view on how best to preserve the churchTogether with 3pp. of later typed notes about the letter and a fair copy of a typed letter to Hardy thanking him for a poem. Housed in a later tan cloth portfolio with lettering in gilt on upper cover.Together with: HARDY, Thomas. Ancient Earthworks at Casterbridge.Extract comprising pp.281-288 of the English Illustrated Magazine Christmas 1893, with the original wrappers of the magazine, bound in later half blue 3morocco and blue cloth with lettering in gilt on the upper cover. Exlibris of the great Hardy collector Frederick Adams, Jr., sold at Sotheby's 15/12/05Provenance: Property from the library of a Dorset Gentleman.
HONORÉ DAUMIER (1808-1879)Trois spectateurs (Three Spectators) encre et aquarelle sur papier ink and watercolour on paper 10.2 x 12.4 cm.4 x 4 7/8 in.Footnotes:ProvenanceVente, Hôtel Drouot, Paris, 18 novembre 1946, lot 5.Vente, Hôtel Drouot, Paris, 24 mars 1952, lot 4.Collection particulière, Paris (acquis en 1968).Collection particulière, Paris.Vente, Sotheby's, Londres, 29 juin 1988, lot 305.Collection particulière, Royaume-Uni (acquis dans cette vente).William Louis-Dreyfus, Mt. Kisco, New York (acquis en 2009). Louis-Dreyfus Family Collections (par descendance en 2016). Collection particulière, Royaume-Uni. BibliographieK. E. Maison, Daumier Drawing , Londres, 1960, n° 101, illustré n.p.Karl Eric Maison, Honoré Daumier, Catalogue Raisonné des peintures, aquarelles et dessins, vol.II, Londres, 1967, no. 489, illustré p. 167.Dessinateur, illustrateur, graveur, peintre, sculpteur, et surtout caricaturiste d'hommes politiques et des comportements de ses compatriotes, Honoré Daumier a changé la perception que nous avions sur l'art de la caricature politique et sociale, et a malmené avec humour la monarchie en place. En 1831 et 1832, la publication de deux lithographies stigmatisant les vices de la Monarchie de Louis-Philippe, Gargantua et La Cour du roi Pétaud, lui ont valu d'être incarcéré pendant six mois.Cette expérience marque un tournant dans la vie de Daumier. Il réalise dès lors peu de caricatures politiques, excepté Le Ventre législatif, Rue Transnonain et la statuette de Ratapoil (1851-1852), modelée à l'image des partisans d'un régime méprisé par l'artiste. La loi du 29 août 1835 contre la liberté de la presse sonne le glas des caricatures et de la satire politique. L'artiste n'a plus d'autres choix que de dépeindre la société contemporaine, ses mœurs et ses attitudes et s'en donne à cœur joie. Le Charivari, journal fondé par Philipon en 1832, sera son terrain de jeu privilégié et sa plus belle galerie. Cette envie de dénoncer et de relater les évènements de la société lui vient de son expérience familiale et personnelle, tant il a eu l'occasion d'observer les comportements des avocats, des juges, des huissiers, des artistes maudits, des rebus de la société.... Honoré Daumier n'eut pas la célébrité financière nécessaire pour vivre de son œuvre, néanmoins l'histoire de l'art et le marché le considèrent comme l'un des plus grands dessinateurs et peintres de son époque. Les trois spectateurs sont trois observateurs concentrés et happés par le spectacle qu'ils ont en face des yeux. Les témoins d'une audience ? Les participants à un débat politique ? Les spectateurs d'une pièce de théâtre ou d'opéra ? Nul ne sait. Quoiqu'il en soit, le jeu des ombres et des lumières sur les visages, la mise en scène théâtralisée, les expressions des trois spectateurs, l'équilibre parfait de la composition, témoignent du génie caricaturiste et de la confiance du trait de Daumier. On y retrouve ce don extraordinaire de donner vie à un personnage avec une inclinaison des sourcils ou quelques plis sur un front. Les touches de couleur aquarellées appuient l'impression de contraste. Quand la maîtrise technique se marie à l'intensité, l'intelligence et la justesse du message, on peut parler de génie.As a draughtsman, illustrator, engraver, painter, sculptor and, above all, caricaturist of politicians and more generally of his compatriots, Honoré Daumier changed our perception of political and social caricature, and took a humorous swipe at the monarchy in power. In 1831 and 1832, the publication of two lithographs stigmatising the vices of Louis-Philippe's monarchy, Gargantua and La Cour du roi Pétaud, led to him being imprisoned for six months.This experience marked a turning point in Daumier's life. From then on, he did few political caricatures, except for Le Ventre législatif, Rue Transnonain and the statuette of Ratapoil (1851-1852), based on the image of a regime that the artist despised. The law passed on the 29th of August 1835 against press freedom sounded the death knell for caricatures and political satire. The artist now had no choice but to depict contemporary society, its mores and attitudes, and made the most out of it. Charivari, the newspaper founded by Philipon in 1832, was his favourite playground and his best gallery.His desire to denounce and report on events in society stemmed from his family and personal experience, as he had the opportunity to observe the behaviour of lawyers, judges, bailiffs, cursed artists and the scum of society.... Honoré Daumier did not achieve the financial fame needed to make a living from his work, but art history and the market nevertheless consider him to be one of the greatest cartoonists and painters of his time. The Three spectators are three concentrated observers caught up in the spectacle before their eyes. Witnesses to a hearing? Taking part in a political debate? Watching a play or an opera? No one knows. In any case, the play of light and shadow on the faces, the theatrical setting, the expressions of the three spectators, the perfect balance of the composition, all testify of Daumier's genius as a caricaturist and of the confidence of his brushstrokes. It shows his extraordinary gift for bringing a character to life, with a tilt of the eyebrows or a few creases in the forehead. The different touches of watercolour add to the general contrast of light and shades. When technical mastery combines with the intensity, intelligence and accuracy of the message, we can call it genius.This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU.TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com
BLISS, Arthur (1891-1975, composer). Conversations, London, 1922, 4to, original wrappers. Provenance: Edward Wadsworth. FIRST EDITION, NUMBER 2 OF 5 COPIES SIGNED BY THE COMPOSER "RESERVED FROM SALE", and further signed by the publisher. VERY RARE.BLISS, Arthur (1891-1975, composer). Conversations for Flute (and Bass Flute), Oboe (and Cor Anglais), Violin, Viola, and Violoncello. London: Goodwin & Tabb, Ltd., 1922. 4to (260 x 175mm). Printed music notation throughout. Original printed wrappers with woodcut ornament [?] by Edward Wadsworth on the upper wrapper (lightly browned). Provenance: Edward Wadsworth (1889-1949, artist, very small signature in red ink on the upper wrapper beside the woodcut ornament); pencil drawing on the rear endpaper [unsigned] but possibly by Wadsworth. (Please see the illustration.) FIRST EDITION. LIMITED TO 250 COPIES, THIS NUMBER 2 OF 5 SIGNED BY THE COMPOSER "RESERVED FROM SALE", and further signed on behalf of the publisher on the limitation leaf. The five "movements" of the work are titled as follows: 1. The Committee Meeting; 2. In the Wood; 3. In the Ball Room; 4. Soliloquy; and 5. In the Tube at Oxford Circus. VERY RARE.
!["FOUGASSE" [i.e. Cyril Kenneth BIRD (1887-1965), artist]. Drawing the Line Somewhere, London, 1937, 8vo, original buckram, FI](https://cdn.globalauctionplatform.com/6edce4a1-3223-4a0c-83ea-b0c201165cd2/cc59ef14-947a-4e9d-9cfa-b0c20118d8b2/468x382.jpg)
"FOUGASSE" [i.e. Cyril Kenneth BIRD (1887-1965), artist]. Drawing the Line Somewhere, London, 1937, 8vo, original buckram, FIRST EDITION, PRESENTATION COPY, with an original pencil and watercolour drawing signed "Fougasse". And another. (2)"FOUGASSE" [i.e. Cyril Kenneth BIRD (1887-1965), artist]. Drawing the Line Somewhere. London: Methuen & Co. Ltd., 1937. 8vo (186 x 120mm). Half title, illustrations by "Fougasse". Original yellow pictorial buckram lettered in dark blue, pale blue endpapers (spine a little discoloured, some light staining, without the dust-jacket). FIRST EDITION, PRESENTATION COPY, inscribed on the half title "Jane Portal, with [?]lots of author's compliments," with an original pencil and watercolour drawing of a man with an umbrella standing at a bus stop, signed, "Fougasse." With the same artist's Family Group (London, 1944, 8vo, original yellow buckram, FIRST EDITION, PRESENTATION COPY, the half title inscribed in blue ink, "Jane, A Happy Christmas from us both, M. H. & K. B.", with an original sketch in blue ink of two birds, and further signed by the artist on the upper cover. "Fougasse", editor of "Punch" magazine between 1949 and 1953, is perhaps best remembered for his Second World War posters, most notably "Careless Talk Costs Lives". He also designed many posters for the London Underground. (2)Provenance: The Late Lady Williams of Elvel (1929-2023) See Bellmans website article for further details
John Kimpton (British 1961-) "Study - Market Life" Signed, with annotations from the artist on verso, brush and ink.29 x 21cm (framed 57.5 x 47.5cm)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. The frame has some minor scuffs and knocks commensurate with age.
Prince Twins Seven-Seven (Nigerian,1944-77), Pen and ink drawing on cotton - Indistinctly titled and signed 'Painting by Twins 77 BOX 67, OSHOGBA, NIGERIA', 176cm x 72cm, mounted on wooden dowelPurchased by the vendor in Nigeria in the 1960sPrince Twins Seven Seven changed his birth name, Olaniyi Osuntoki, to signal his status as the sole surviving child of his parents' seven sets of twins. In the 1960's he discovered his artistic calling on joining the Oshogbo art school, where the myths of Yoruba culture, many recited by his mother were the subject matter of his works. Using ink and paint, with the colours and patterns reminiscent of traditional textiles.
Nicolaes Berchem, 1620 Haarlem – 1683 AmsterdamLANDSCHAFT IM LICHT EINES SPÄTEN NACHMITTAGS MIT ANTIKEM TEMPEL DER SIBYLLEÖl auf Leinwand.57 x 65 cm.Rechts unten auf einem Stein signiert „N Berchem“.Dieses Gemälde gehört zu einer Gruppe von Bildern im italienischen Stil, die kurz nach der Mitte seiner Laufbahn entstanden. Deutlich inspiriert von den südlichen Landschaften seiner Kollegen und unter Vorbild früherer holländischer Italianisten, insbesondere Jan Asselijn und Jan Both, in Berchems eigener reifer italienischer Manier entstanden. Die Landschaft ist typisch für diesen neuen Stil, vor allem in der Verwendung von Licht und Farbe. Die allgegenwärtigen bernsteinfarbene und braune Tonalität von Berchems Werken aus den 1640er-Jahren wurde durch eine vielfältigere, buntere und hellere Palette mit reich gesättigten Farbtönen und einer größeren Klarheit der Details ersetzt. Die Verwendung von starken Kontrasten von Licht und Schatten evoziert die Intensität des abendlichen Sonnenlichts und lenkt die Aufmerksamkeit des Betrachters auf die Figuren- und Tiergruppe im Vordergrund. Diese Landschaft ist eine unbekümmerte Welt der pastoralen Glückseligkeit, die ein Ideal des Landlebens verkörpert, wie es sich in der zeitgenössischen niederländischen Literatur wiederfindet. Der Anschlag ist schnell und lebendig; bei den Tieren ist eine gewisse Unterzeichnung erkennbar.Das vorliegende Gemälde ist wohl um 1660/70 zu datieren (nach Berchems eventueller Italienreise). In der Mitte seiner Laufbahn hatte er eine Vorliebe für porzellanblaue Himmel und Horizonte, die von einem goldenen Schimmer durchdrungen sind. Später arbeitete er mit seinem Sohn zusammen.Eine Federzeichnung in Verbindung mit ähnlichen Figuren in einer anderen Position wie auf dem vorliegenden Gemälde, befindet sich in der Georges & Maida Abrams Collection, Boston (157 x 201 mm, Soth 9/7/1968, Nr 33).Um eine ähnliche Komposition zu studieren, aber mit Figuren in einer anderen Position, siehe die Zeichnung aus der Sammlung Abrams, Boston (150 x 195 oder 15,7 x 20,1 cm, Soth, 09/07/1968, Nr. 33).Es gibt fünf weitere bekannte Versionen (nicht-autografisches Atelier) oder Kopien:1. Eine alte Kopie nach dem vorliegenden Gemälde (mit einer späteren Signatur unten links) befindet sich in der Glasgow Art Gallery, Graham-Gilbert-Nachlass, 1877 (HdG 118, Öl auf Leinwand, 53 x 64 cm, Kat. 1961, Nr. 569).2. Hofstede de Groot als „autre version“ erwähnt, kopiert nach dem vorliegenden Gemälde mit kleinen Abweichungen: war bei Sotheby‘s, London, 19. April 1972, Nr. 54 (Öl auf Leinwand, 21 ¾ x 25 ¼ inch; 56 x 61,5 cm), Landschaft mit Bauern und Vieh, aus der Sammlung Baronne de Rotschild; zuvor in der Versteigerung Sedelmayer, 1897, 16. November Berlin.3. Lempertz-Auktion, Köln, 3./8. Juni 1959, Nr. 11, Repro, 57 x 63 cm, signiert unten rechts, „Berchem f“. Diese Version weist kleine Unterschiede im Himmel und in den Bäumen auf.4. Dieselbe Gruppe von zwei Frauen und vier Ziegen in einer anderen Landschaft mit Kühen in einer anderen Position, rechts von der stehenden Frau, erscheint auf dem Gemälde im Nationalmuseum in Warschau.5. Sammlung Holscher-Stumpf, Berlin (Verkauf am 05.07.1918 bei Lepke Nr. 88, Taf. 30), signiert unten links auf Felsen im Wasser, Berchem (Öl auf Leinwand, 53,5 x 61 cm)- prov. Coll. Scarisbrick, London, Coll. Earl of Dudley, London- Ausgestellt. Burlington Haus, 1871.Provenienz:Wahrscheinlich Sammlung Linart de Neuville, 1765.Sammlung Charles Offley Esq., 1809.Sammlung Artis Esq., Ramsgate, Esq.Sammlung Dr Max Wassermann, Paris, 1834.Privatsammlung, Gent.Privatsammlung, Luxemburg.Literatur:John Smith, A catalogue raisonné of the works of the most eminent Dutch, Flemish and French painters, Bd. 5, London 1834, S. 48, Nr. 158.HOFSTEDE de GROOT, 1893, p. 137, Berchem, (copy after the present painting) n° 118.WAAGEN, suppl., p. 291.Bildarchiv Foto Marburg, F 4017, Negativ Nr. 1069426. (13814015) (18)Nicolaes Berchem,1620 Haarlem – 1683 AmsterdamLANDSCAPE IN LATE AFTERNOON LIGHT WITH ANCIENT TEMPLE OF SYBILOil on canvas.57 x 65 cm.Signed “N Berchem” on stone lower right.This painting is one of a group of Italian-style paintings created shortly after the artist’s mid-career. Clearly inspired by the southern landscapes of his colleagues and modelled on earlier Dutch Italianates, notably Jan Asselijn and Jan Both and executed in Berchem’s own mature Italian manner. The present painting can probably be dated to ca. 1660/70 (after Berchem’s possible trip to Italy). Midway through his career he preferred porcelain blue skies and horizons steeped in a golden glow. He later worked with his son. A pen and ink drawing associated with similar figures in a different position from the present painting is held at the Georges & Maida Abrams Collection, Boston (157 x 201 mm, Soth 9/7/1968, no. 33).To study a similar composition, but with figures in a different position, see a drawing from the Abrams Collection, Boston (150 x 195 or 15.7 x 20.1 cm (Soth, 09/07/1968, no. 33).There are five further known versions (non-autograph workshop) or copies:1. An old copy after the present painting (with a later signature lower left) held at the Glasgow ArtGallery, Graham Gilbert Estate, 1877 (HdG 118, Oil on canvas, 53 x 64 cm, cat. 1961 no. 569).2. A version mentioned by Hofstede de Groot as “autre version”, copied from the present painting with minor alterations: was at Sotheby’s London, 19 April 1972, no. 54 (oil on canvas: 21 ¾ x 25 ¼ inch; 56 x 61.5 cm), Landscape with Peasants and Cattle, from the Baronne de Rotschild Collection; previously in the Sedelmayer auction, 16 November 1897, Berlin.3. Lempertz auction, Cologne, 3/ 8 June 1959, no. 11, reproduction, 57 x 63 cm, signed lower right, “Berchem f”. This version shows minor differences in the sky and trees.4. The same group of two women and four goats in another landscape with cows in a different position, to the right of the standing woman, appears in the painting held at the National Museum in Warsaw.5. Holscher-Stumpf Collection, Berlin (sold on 5 July 1918 from Lepke no. 88, plate 30), signed lower left on rock in water, Berchem (oil on canvas, 53.5 x 61 cm) – prov. Coll. Scarisbrick, London, Coll. Earl of Dudley, London-exhibited, Burlington House, 1871.Provenance:Probably Linart de Neuville collection, 1765.Charles Offley Esq. collection, 1809.Artis Esq. collection, Ramsgate, Esq.Dr Max Wassermann collection, Paris, 1834.Private collection, Ghent.Private collection, Luxemburg.Literature:John Smith, A catalogue raisonné of the works of the most eminent Dutch, Flemish and French painters, vol. 5, London 1834, p. 48, no. 158.HOFSTEDE de GROOT, 1893, p. 137, Berchem, (copy after the present painting), no. 118WAAGEN, suppl., p. 291.Photo Bildarchiv Marburg, F 4017, negative no. 1069426.
Henrietta Anne Fortescue (British, 1765-1841)The Ponte Lugano with the Tomb of Plautius; A view of the Colosseum, Rome, from the Temple of Peace (Forum of Vespasian); The Temple of Minerva Medica; the first titled, signed, inscribed and dated 'H A Fortescue. Rome. April 17th/ 1817' (lower centre and right); the second titled, signed, dated and inscribed 'Rome/ From the Temple of Peace/ H A Fortescue Jan 23rd 1817' (lower left, centre and right); the third titled, signed, inscribed and dated 'H. A. Fortescue. Feb. 5th: 1817' (lower centre and right); the fourth titled, signed, inscribed and dated 'H A Fortescue Apr 9th: 1817' (lower centre and right)a set of four, pen, ink and wash25.2 x 35.3cm (9 15/16 x 13 7/8in).22.7 x 31.7cm (9 x 12 1/2in.); 19.9 x 29.1cm. (7 3/4 x 11 1/2 in.); 25.2 x 33.1cm. (10 x 13in.) (4)Footnotes:Henrietta Anne Fortescue was the daughter of Sir Richard Hoare, Ist Bt, of Stourhead in Wiltshire. She married Captain Hon. Matthew Fortescue RN in 1795 and was one of the most able pupils of the watercolourist and drawing master Francis Nicholson with whom she shared a lifelong friendship. As she travelled widely and Nicholson never left Britain, he copied a number of her foreign landscapes.For further information on this lot please visit Bonhams.com
David Hockney (b.1937)Drawing with a Camera 1984for Andre Emmerich Gallery, New Yorksigned in ink (lower right)off-set lithograph100 x 69cm, unframed. Scuffs to corners and edges and upon close inspection surface scratches, dents, marks, and discolouration to cream border.Reverse with time staining predominately around the edges.See photos.
Incl. 13 drawings. Comprises a.o.: (1) 'Three figures sitting at a table'. Drawing in black ink, 24 x 16 cm, monogrammed in pen. (2) 'Portrait of a woman'. Drawing in black chalk on thin paper, 28 x 22 cm, monogrammed in pencil. A bit creased and w. sm. tear. (3) 'View of a small room with a man sitting at a stove'. Drawing in black chalk, 32 x 24.5 cm, signed or monogrammed (?) illegibly in lower right corner, tipped-on to mount. Verso w. annotations. -and 10 more drawings/ sketches by Elffers (7x monogrammed). (4) (K.H.R. de Josselin de Jong, a.o.). Front 1944. Zes teekeningen en zes gedichten. Privately and clandestinely publ., 1944, in 100 copies ("Eerste vijftigtal"), letterpress bifolium and 6 plates, loose as issued in the orig. portfolio, obl. 4to. Portfolio dam. Former owner's entry "Jo. Elffers Jan. '45" on inside front wr. Very rare, fragile publication. Colophon: "Het gedicht "Front" is ontleend aan de "Put der Zuchten", een bloemlezing uit de oude en nieuwe Spaanse dichtkunst, Het ontstond in de Spaanse burgeroorlog. De andere gedichten en teekeningen dienden helaas nog anoniem te verschijnen." -and several advertorial items, incl. (sm.) posters ("Help de Post", "Post tijdig!"), a calendar for the months Jan.-June 1944 (printed in 55 copies, another copy present in loose lvs) and 2 more wartime publications. (total 33 in 1 binder)
Pen on paper, 25 x 17 cm. W. short dedicatory note, signed and dated '77. In: Une Epée pour Pierre Dehaye. Publ. on the occasion of Pierre Dehaye's election to L'Académie des Beaux-Arts. The sketch is a drawing of the sword offered to Dehaye on this occasion (sword also des. by Mathieu). Added: A carte de voeux des. by Mathieu (?). Gouache and collage on thick paper, "avec mes meilleurs voeux" written in black ink. Unsigned. W. former bill of sale. Both in very good condition. (total 2)
Incl. New Year's greeting cards, articles, booklets, etc. (1-41) Forty-one New Years' and other greeting cards, var. techniques (collages, drawings, photogr., photomontages), var. places, 1961-2004, mostly postcard-sized, kept in sm. modern album. Very nice collection of lovingly produced, mostly unique greetings, each a small work of art, sent to Guido and Felicia van Deth in The Hague. (42) Alkema, H. De wondere wereld van Cilli Wang. Amst., Theater Instituut, 1996, 147 p., w. ills., orig. wr., 4to. Signed dedication in pen by Wang on title-p.: "Met veel liefde en wensen voor de toekomst". Also w. orig. drawing in black ink, gouache and gold by Wang, mounted on inside front wr. -and 14 others, mostly newspaper clippings but also incl. 4 theatre programmes. Wang was a Jewish dancer, cabaretière, theatre actress and wife of German poet and philosopher H. Schlesinger (d. 1945). They fled to the Netherlands during a tour in Sweden in 1938, after the Anschluss between Austria and Germany. In 1975 she returned to her birthplace, Vienna. (total 56)
Five designs for book covers of N.V. van Munster's Uitgevers-My. Amst., ca. 1930, all approx. 19 x 12 cm, black ink touched w. col. gouache, all signed, 3x w. annotations in pencil, 3x between protective sheets. Comprises: (1) Skolaster, H. In de macht der toovenaars. Incl. a separate sheet indicating where the blue col. should be applied (as done in the drawing). (2) Borius, J. Rond den toren. (3) Gogol, N. Tarass Boulba. (4) Maryan, M. Een eereschuld. (5) Montgomery, F. Saam-gebracht. -and 20 other designs in green and red gouache, depicting Christmas themes, var. sizes, 1x monogrammed "NB", all mounted, partly w. annotations. in red chalk/ pencil on mounts. Comprises a series of 10 capital letters, decorative friezes and scenes from the Christmas story. -and 3 printed booklets w. wr. des. by Baak. Added: 2 orig. book cover designs by unidentified artists. (total 30)
Incl. a series of 22 drawings by the same artist: (1) 'Man falling through the ice, holding on to the ripping dress of the woman in front of him'. Drawing in pen and ink w. watercol., sheet size 26.5 x 17.5 cm, dated "1-2-29" in red pen, under passepartout. A very humorous and skillfully executed skating drawing. (2-23) A series of 22 cartoonesque drawings in black pen and ink. All on sketchbook lvs. measuring 14 x 22 cm, mostly w. 2 or more separate scenes on the leaf, ca. 1920, under 11 passepartouts. Skillful drawings, some erotic in nature, depicting all kinds of scenes, portraits of men and women wearing hats, costumes etc. -and 9 similar others, probably by the same artist, incl. 1 drawing signed illegibly in pen. (total 32)
1923. 20 x 4 cm. (2) Hanging butterfly girl. India ink drawing, mounted on a larger paper sheet. 10 x 7 cm. (2) The same, as a printed picture postcard in colour 'Hartelijk Gefeliciteerd'. -and 8 postcards from the same series. (4) A watercol. drawing of ducklings and their mother in a pond, 22 x 16 cm, incl. the sketch for the drawing. -and three others. (total 16)
1920. Ink, pencil and aquarel on paper. Signed in ink bottom right. 14 x 10 cm. Caricatural drawing on the occasion of a dinner in honour of the sculptor Toon Dupuis (1877-1937), 25 March 1920. On verso in ink: 'Diner ter gelegenheid van zijn gouden bekroning Toon Dupuis aangeboden', followed by the menu.
OKUMURA MASANOBU (1686-1764): 'SHOKI'Japan, 18th century. Woodcut, hand applied with urushi (lacquer) and washes of ink on paper. Mounted on paper. Depicting the demon queller Shoki standing in an animated pose apoplectic with rage with a grimace on his face.Inscriptions: To the left margin, signed 'Hogetsudo, Okumura Bunkaku Masanobu kinzu' 芳月堂、奥村文角政信謹圖 ('This is painted with respect by Okumura Bunkaku Masanobu, the studio name Hogetsudo'). One seal, 'Tanchosai' 丹鳥斎.Image SIZE 63 x 24.6 cm, SIZE incl. mounting 70.5 x 30.3 cmCondition: Shows tears, some wormholes, minor staining, browning, and few losses but still presenting well.Provenance: Van Stockum Gallery, The Hague. Collection of Robert and Isabelle de Strycker, acquired from the above and thence by descent within the same family. Robert de Strycker (1903-1968) was a French engineer who specialized in metallurgy. He was a Stanford graduate, a professor at the University of Leuven, a director of the Institute of Metallurgy at the Universite Catholique de Louvain, and one of the most influential members of the faculty of applied sciences. After World War II, he made large contributions to France's post-war recovery. Robert and his wife Isabelle (1915-2010) first encountered Chinese art at the British Museum during a stay in London in the 1930s. Enamored with the style and beauty, they both decided to study and collect Japanese and Chinese works of art. In 1938 they eventually began to build their collection, buying from Belgian, Parisian, and English dealers. They kept close contact with the famous English collector Sir Harry Garner (1891-1977) and noted Czech collector and expert Fritz Low-Beer (1906-1976). In 1964, the couple lent 174 objects from their collection to the Belgian city of Leuven's museum for an exhibition titled Oude kunst in Leuvens Privebezit ('Old Art in Private Collections in Leuven'), and in 1967 they lent around thirty Japanese objects to the Royal Museums of Art and History in Brussels for their exhibition Kunst van Japan im belgischen Privatverzameingen ('Japanese Art in Belgian Private Collections').Shōki was a scholar of early seventh-century China who committed suicide after being cheated out of the first rank in civil service examinations, yet who was buried with honors after the emperor heard the tragic tale. To show his gratitude, Shōki appeared as an exorcist in a dream of a subsequent Chinese emperor and vowed to quell demons and banish disease. In Japan, auspicious images of Shōki were displayed for the Boys' Day Festival, celebrated on the fifth day of the fifth month.Shōki was generally depicted, based on the iconography, killing a small demon. However, in the Japanese popular cult that reveres him as guardian deity, he was also rendered standing alone in a more iconic mode.Okumura Masanobu (1686-1764) was a Japanese print designer, book publisher, and painter. He also illustrated novelettes and in his early years wrote some fiction. At first his work adhered to the Torii school, but later drifted beyond that. He is a figure in the formative era of ukiyo-e doing early works on actors and bijin-ga. The era Masanobu was born into was a prosperous and creatively fertile one, in which flourished the haiku poets Matsuo Bashō and Ihara Saikaku, the bunraku dramatist Chikamatsu Monzaemon, and the painter Ogata Kōrin. Masanobu was one of the most influential innovators of the ukiyo-e form, and popularizing Western-style perspective drawing. His career saw ukiyo-e evolve from its monochromatic origins to the verge of the full-color nishiki-e revolution of Suzuki Harunobu's time. Masanobu's ukiyo-e was mostly produced in the Kyōhō era. They display the printmaker's sense of line, color, and composition. The subjects are most often humorous and are executed in a lively manner with figures in brightly colored, fashionable clothing.
James Lee Byars (American,1932 -1997) 1,000,000 dollar Gold pencil on black crumpled paper Framed in black 46 x 46cm (18" x 18") In 1986, James Lee Byars "The Figure of Death" was sold for USD761,000. In 2015, Untitled, ink painting on Japanese rice paper was sold for USD125,000. James Lee Byars, one of the most widely recognised American artists from the 1960s to the present, influenced an entire generation of artists in the fields of conceptual and performance art. Born in Detroit in 1932, Byars was always fascinated by Japanese culture, which exerted a deep influence on his artistic practice throughout his life. He lived and worked nomadically, moving between different places and cities, including Detroit, Kyoto, New York, Los Angeles, Berlin, Bern, Venice, and Cairo. Throughout his oeuvre, Byars combined motifs and symbols from Eastern traditions and civilisations, such as elements of Nô theatre and Zen Buddhism, with a deep knowledge of Western art and philosophy, offering a unique personal view on reality and its physical and spiritual entities. Making use of different media, like installation, sculpture, performance, drawing, and speech, the artist created a mystical-aesthetic reflection on the ideas of perfection and cyclicity, and on the human figure—its representation and dematerialization—often involving visitors directly in temporary actions or large-scale interventions. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
MARTI JOSE & ESTRADA PALMA TOMAS: José Martí (1853-1895) Cuban Poet, Writer and Revolutionary Philosopher. Martí is considered a national hero as well as a leading figure in Latin American literature. He became a symbol for Cuba's fight for independence in the 19th century, and is referred to as the ''Apostle of Cuban Independence''; & Tomas Estrada Palma (1835-1908) First President of Cuba 1902-1906, and previously during the Ten Year´s War. Remembered for allowing the Platt Amendment which ensured American dominance over Cuba. An exceptional and very attractive multiple D.S., `José Martí´, and `T. Estrada Palma´, two pages, large folio, New York, 20th January 1895, to Frederick W. Ramsden, in Spanish. The partially printed document bears the printed heading of the New York delegation of the Cuban Revolutionary party, being a title given to contributors in favour of the cause, a patriotic assistance fundraising to finance the war in favour of the Independence and for the Freedom of Cuba. The attractive document, printed in red ink, bears palms and a coat of arms to the front page. The document is signed by Marti and Estrada Palma in their capacity as delegates and is also signed by Gonzalo de Quesada as Secretary of the delegation. The lengthy handwritten text, is a manifesto in favour of Cuban Independence and freedom, against the Spanish occupancy and slavery, concluding with the motto ''Homeland and Freedom''. The document bears beneath the signatures a large black paper seal affixed of the Delegation of the Cuban Revolutionary Party. Small overall minor age wear, with small remnants of a former red wax seal to the lower edge. G to VG The present document is signed by Jose Marti on 20th 1895, only one week before drawing up the Uprising order. A month later, on 24th February, the uprising took place, and three months later Marti was killed at the battle of Dos Rios only a month after having returned to Cuba. Gonzalo de Quesada y Arostegui (1868-1915) was the key architect of Cuba´s Independence Movement with Jose Marti. Appointed Special Commissioner of Cuba to the United States in 1900. He later entered the diplomatic service, becoming minister to the United States. De Quesada authored ''A History of Free Cuba'' (1898) and ''Cuba'' (1905). He also edited Marti's literary works 1900-11.
LANG FRITZ: (1890-1976) Austro-Hungarian born film director whose works include the ground-breaking futuristic Metropolis (1927) and the influential film noir precursor M (1931). An interesting Autograph Manuscript, unsigned (although with his surname LANG and initials F.L. appearing at various stages within the text), fifteen pages (separate leaves), 4to, n.p. (Los Angeles), 2nd March - 11th April n.y. (c.1966). The manuscript, written in English, represents Lang's daily planner whilst making a visit to Los Angeles in the company of the German-French film critic and writer Lotte Eisner, with various events and meetings etc. recorded in a tabular form and divided between day and evening, including telephoning Mary Pickford upon his arrival, receiving calls from Josef von Sternberg ('picked me up at 1 for lunch') and King Vidor, contacting William Wyler, Alfred Hitchcock, Edith Head, Gene Kelly ('will call when he has time'), Billy Wilder, Mervyn LeRoy, George Cukor, Stanley Kramer, John Ford, Lewis Milestone, Vincente Minelli and others, and also including various notes recording his daily activities, 'working on Bogdanovich's interview', 'playing Wartime Underground records of Lang', '10am Dr for Typhoid and Cholera shots', 'Luft called re Sol Lesser rendezvous', 'Staff of LA County Museum debating Homage to Renoir', 'to Larry Edmonds Bookshop….would like to exchange in Paris posters etc., afterwards to Academy Theatre at Melrose Ave', 'Lotte looked at articles and pictures of Fritz Lang', 'Lotte called Arthur Knight: will bring a drawing by Chaplin', 'David Raskin called: he gave “Chaplin drawing” to Arthur Knight but would like to get from C.F. a letter with valuation (to subtract it from his income tax). He will look for a music score of a Chaplin film' etc., and noting the names of various restaurants where they dined in the evenings, and the occasional film they have seen, including Our Man Flint. The final page features a list of expenses incurred by Lang during the trip. Many of the events and names are underlined or circled in bold red ink. A fascinating document illustrating the connections Lang maintained in Hollywood with some of film's legendary directors, producers and actors. Some light age wear, generally VG
LUCE MAXIMILIEN: (1858-1941) French neo-impressionist artist. A good illustrated A.L.S., Luce, three pages, 8vo, n.p., n.d. (‘Mercredi’), to his son Frederick, in French. Luce writes a largely social letter to his son, sending news and mentioning various individuals, in part, ‘J'ai vendu part l'intermediaire de M. Grandhomme le marchand de gravures de la rue St Peres quelques petits panneaux et dessins a un de ses amateurs......j'en profite pour faire des projets de dessins de baigneurs.....Je n'ai pas encore de nouvelles de Signac.....Je ne te parle pas de la guerre. Quelle triste affaire que les evenements russes’ (Translation: ‘I sold through Mr. Grandhomme, the engraving dealer on Rue St Peres, some small panels and drawings to one of his enthusiasts….I took the opportunity to do drawing projects of bathers….I haven’t heard from Signac yet….I’m not talking to you about the war. What a sad affair the Russian events are’). To the final page Luce has drawn three pen and ink sketches, occupying almost the entire space, the first two depicting a man with his two small children, in one carrying one of them on his shoulders and holding the hand of the other, and in the second carrying one of the infants in his arms as the other walks alongside. The third, larger drawing shows the father and children enjoying themselves at the edge of the sea, and with a small boat in the background. Some age wear and overall creasing, about G
DALI SALVADOR: (1904-1989) Spanish surrealist artist. An 8vo half-title page removed from an edition of Dali’s novel Hidden Faces, signed and inscribed in black fountain pen ink by the artist, ‘Pour la Marquise et Marquis de la Falaise, Hommage tres afectueux de Salvador Dali’ and dated 1945 in his hand. To the upper right corner of the page Dali has added an original pen and ink drawing in his hand, the intricate image depicting a horse rider, with spear in hand, galloping towards a small hill, above which floats a mysterious object, and with a shooting star in the skies. Again signed (‘Salvador Dali’) by Dali in a miniscule hand immediately beneath the drawing. The printed title of the novel has also been inked over in Dali’s hand. Irregularly trimmed to the left edge and with some light overall creasing and damp staining, GHenry de La Falaise (1898-1972) Marquis de La Coudraye. French nobleman, translator, film director, producer, actor and war hero. The Marquis was married three times, to the film actresses Gloria Swanson (from 1925-32) and Constance Bennett (from 1931-40) and lastly to the Colonbian socialite Emma ‘Emmita’ Rodriguez Restrepo de Roeder (from 1940 until his death). Hidden Faces (1944) was Dali’s only novel and describes the intrigues of a group of eccentric aristocrats whose extravagant lifestyle symbolises the decadence of the 1930s. Variously set in Paris, rural France, Casablanca and Palm Springs, the characters include the Comte de Grandsailles and Solange de Cleda (who pursue an ultimately doomed love affair) as well as aging widow Barbara Rogers, her bisexual daughter Veronica, Veronica’s sometime lover Betka, and a disfigured United States fighter pilot, Baba.
LLOYD HAROLD: (1893-1971) American film comedian. Vintage signed and inscribed 10 x 8 photograph of Lloyd standing in a full-length pose, in costume as Harold Diddlebock, surrounded by various other actors, many thrusting papers towards the actor, in a scene from the American comedy film The Sin of Harold Diddlebock (1947) which was to be the last film Lloyd starred in. Signed in blue fountain pen ink by Lloyd to a largely light area at the head of the image, further adding a small drawing of his trademark spectacles in his hand beneath his signature. Some light corner and surface creasing, largely to the white borders. About VG
THE TWELVE TASKS OF ASTERIX: An original brown ink concept drawing by animator Harold Whitaker, unsigned, on a 15 x 5 sheet of drawing paper, n.p., n.d. (mid-1970s). The drawings were created for the animated feature film The Twelve Tasks of Asterix (1976), and show a series of images depicting a large strongman going through the process of lifting a barbell. Together with a second, smaller drawing intended as an overlay to the final image in the larger series, being a more accomplished image of the strongman having successfully raised the barbell to his chest. A few light, minor tape stains, otherwise VG Harold Whitaker (1920-2013) British animator whose credits include Animal Farm (1954). The Twelve Tales of Asterix (1976) was the third animated feature film in the Asterix franchise and the only film to be based on an original screenplay. Today it is considered a cult classic.
MCCAY WINSOR: (c.1866/71-1934) American cartoonist and animator, remembered for the comic strip Little Nemo (1905-14, 1924-26) and the animated film Gertie the Dinosaur (1914). A good original black pen and ink drawing signed by McCay, one page, oblong 8vo, n.p., n.d. Within a black bordered box McCay has drawn an ink sketch (with feint pencil lines beneath) of the cigar smoking clown Flip, companion of Nemo, in a head and shoulders pose wearing his top hat. Boldly signed by McCay with his artist's signature and adding Thanks in his hand beneath. Three file holes to the upper edge, not affecting the drawing or signature, VG
ARMAN: (1928-2005) Armand Fernandez. French-born American artist. Black ink signature and inscription, in French, to the base of a 5 x 7 white card, with a neatly affixed colour photograph of one of Arman’s artworks, typical of one of his Accumulations, above the signature. To the left of his signature the artist has drawn a small ink drawing of a paint tube. VG
LE CORBUSIER: (1887-1965) Charles-Edouard Jeanneret. Swiss-French architect, designer and urban planner, a pioneer of modern architecture. An attractive original blue pencil drawing by Le Corbusier, unsigned, one page, 4to, n.p., n.d. The drawing, perhaps a preliminary sketch for a painting, is typical of the Purist style which Le Corbusier co-created with Amedee Ozenfant, in which objects are represented as basic forms without detail. To the verso appear twelve lines of ink text in the architect’s hand, in French, with numerous corrections, in full, `Ceci est un galet - et non pas un plan de ville - avec son fleuve en dehors des murailles – l´artère impériale l´aurait traverse – doublant d´une volonté d´homme – le “chemin des ânes”, nonchalant – venu d´une province – et qui s´en v avers une – autre province. La Plage, inépuisablement offre des galets´ (Translation: ‘This is a pebble - and not a city plan - with its river outside the walls - the imperial artery would have crossed it - doubling with a man's will - the "donkey path", lazy - coming from a province – and which goes to – another province. The Beach, inexhaustibly offers pebbles’). VG
NAPOLEON I: (1769-1821) Emperor of the French 1804-14, 1815. An unusual, rare pen and ink drawing executed in Napoleon's hand, unsigned, on a small irregularly trimmed oblong 12mo piece (12 x 7 cm at its widest and highest points), n.p. (Longwood House, Saint Helena), n.d. (c.1816). In bold, dark fountain pen ink the exiled Emperor has drawn a neat series of abstract geometric doodles. The piece is also annotated in Napoleon's hand with around eight random words, in English, including left, on, can, call and the. An interesting and attractive piece demonstrating Napoleon's desire to master English. Neatly mounted to a slim oblong 8vo page removed from an album. About VG In his Le Memorial de Sainte-Helene the French cartographer and author Emmanuel, comte de Las Cases, who informally acted as Napoleon's secretary whilst the Emperor was exiled on Saint Helena, devotes several passages to Napoleon's wish to learn English, noting that on 16th January 1816 'At about three o'clock, the Emperor summoned me for conversation while he was washing and dressing….He happened to remark that it was scandalous that he could not yet read English….and then ordered me to force him to take a lesson every day'. The first lesson took place the following day, on 17th January, Las Cases observing 'Today the Emperor took his first English lesson. Since my main aim was to make him able to read the newspapers without difficulty, the first lesson consisted only in making him acquainted with an English gazette'. For further information please refer to the interesting essay Napoleon's English Lessons by Peter Hicks at Napoleon.org which also features fascinating illustrations, including a larger page of very similar doodles in the hand of Napoleon.
*** Please note the description of this lot has changed.Smith (Col. Robert, of the Bengal Engineers, artist, architect and engineer, 1787-1873) Two views of Government House, Barrackpore, near Calcutta, two works, brush and ink, traces of pencil under-drawing, each image approx. 315 x 565 mm (12 3/8 x 22 1/4 in), both laid onto contemporary mounts with ruled ink and wash borders, hinged into mounts, both inscribed 'Calcutta' verso, unframed, [circa 1800 or slightly later] (2)Provenance:From the Collection of the Late W.G. and Mildred Archer; thence by descent.*** We are very grateful to Chares Greig for suggesting the correct attribution for the two works to the artist Colonel Robert Smith (1787-1873) after first-hand inspection.
America.- Acosta (Jose de ) The Naturall and Morall Historie of the East and West Indies, first edition in English, A1 present (blank except for signature 'A'), title with woodcut device, woodcut initials and decorations, final blank leaf b4 missing, a few pencil annotations, occasional foxing and soiling, later tree calf, covers detached and backstrip missing, 4to, [Arents Tobacco 67; Church 328; Hill p.3; Howgego A7; JCB (3) II:24; Sabin 131; STC 94], Printed by Val. Sims for Edward Blount and William Aspley, 1604.⁂ "The most convincing, detailed, and reliable account of the riches and new things of America...His work opened the eyes of the rest of Europe to the great wealth that Spain was drawing from America. Eventually Spain grew more secretive in these matters" (Hill).A Spanish Jesuit by training, Acosta first travelled to the Americas in 1570. In addition to notes on the natural history of the places he visited, including Peru (where he crossed the Andes), Panama, and Mexico, Acosta also describes Incan and Aztec customs and natural geographical features, such as tides, lakes, rivers, and mineral resources. He also established several universities in South America, where native languages were carefully studied and recorded, and was responsible for bringing a printing press to Peru in the 1570s.One of two variants, this omitting "the R.F." before the author's name on title.Provenance: William Horton (ink inscription on A1); 'Jo. [?]Hyam Coll. Gon et Cai' (ink inscription on A1).
John Lennon (British, 1940-1980): A Drawing Of Hilary Gerrard,1974,black ink on brown paper, inscribed For Hilary down by the sea with love John X, additionally signed and dated 1974, mounted and framed, 10 3/4in x 8in (27cm x 20cm)Footnotes:Provenance:From the Estate of the late Hilary Gerrard (1933-2023), formerly Business Manager to Ringo Starr from the 1970s onwards.All reproduction rights remain with the Estate of John Lennon.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
John Lennon (British, 1940-1980): A Drawing Of Hilary Gerrard Riding A Sheep,1976,black ink on paper, entitled ''Onward Onward Onward'', signed and inscribed by John Lennon To Hilary love John J.L. 76, mounted and framed, 6 3/4in x 4in (17cm x 10cm)Footnotes:Provenance:From the Estate of the late Hilary Gerrard (1933-2023), formerly Business Manager to Ringo Starr from the 1970s onwards.All reproduction rights remain with the Estate of John Lennon.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
John Lennon (British, 1940-1980): A Drawing Given To Hilary Gerrard,1970s,black ink on paper, a characteristic cartoon self-portrait by John with the sun shining behind a pyramid, signed and inscribed To Hillary with love as per! John, mounted and framed, 9 1/2in x 7 1/2in (24cm x 19cm)Footnotes:Provenance:From the Estate of the late Hilary Gerrard (1933-2023), formerly Business Manager to Ringo Starr from the 1970s onwards. This drawing may well have been executed during, or been inspired by, John and Yoko's trip to Egypt in 1977.All reproduction rights remain with the Estate of John Lennon.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Michael Ayrton (British, 1921-1975)Goat at Cumae signed and dated 'Michael Ayrton/7.5.56' (upper right)ink and wash on paper51 x 30cm (20 1/16 x 11 13/16in).Footnotes:ProvenanceSale; Bonhams, London, 28 November 2006, lot 1, where acquired by the present owner Private Collection, U.K.ExhibitedManchester, February 1957LiteratureC.P. Snow, Michael Ayrton, Drawings & Sculpture, Cory, Adams & Mackay, London, 1966, no. 20, illustratedIn May 1956, while travelling in Italy, Ayrton visited Cumae, just west of Naples - site of one of the oldest Greek colonies in Italy and fabled home of the Cumaean Sibyl, one of the most notable oracles of Antiquity. It was an experience which marked a turning point in his career; the beginning of an involvement with the Greek myths of Daedalus and Icarus, the Minotaur and the Oracle, which he himself described as obsessive, and which defined his art thereafter. Initially, however, it was as much the place itself as its legendary past which fascinated him: for days he sat on a terrace halfway up the slope of the Acropolis, drawing the landscape. This quickly attracted the attention of the local population, especially the small boys who herded the goats belonging to the nearby village. Out of this came a series of drawings of goats, including the present lot. The following year, back in his studio, he painted the large Cumaean Sibyl, a landscape which interweaves mythic past and prosaic present, and in which goats (a traditional feature of both) play a prominent part. The resemblance between the foreground goat and the present lot is clear. This process of overlapping past with present, myth with reality lay at the core of Ayrton's work - he referred to it as a 'kind of temporary truth in split time', and it fed his sense of myth as something that could, and should, be as relevant to contemporary experience as to the ancient world. Things of the world around him, vineyards and archaeological excavations, RAF pilots and astronauts in training - and goats - acted as the anchors he used to bring ancient stories alive for a modern audience. But above all he drew for the joy of drawing (virtually every day of his life from the age of 14 until his death at 54), and he always enjoyed drawing goats.We are grateful to Dr Justine Hopkins for her assistance in cataloguing this lot.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Reginald Brill (British, 1902-1974)Workman's Head pencil, pen and ink and wash on paper, squared for transfer32.5 x 21.5cm (12 13/16 x 8 7/16in).Footnotes:ProvenanceWith The Phoenix Gallery, Lavenham, where acquired by the family of the present owner, circa 1974, and thence by descentPrivate Collection, U.K.'Reginald Brill had quite a distinguished presence – he would now be called charismatic. He was a tall, upright man, who with his beard and air of nonchalance looked the part of the slightly bohemian artist' – Les Duxbury The following collection of works, acquired directly from the retrospective of the artist at Phoenix Gallery in 1974, provide a detailed overview of the artist's unique working methods and conceptual concerns. Described by Judith Bumpus as an English social realist and narrative painter, Brill's work primarily depicts the lives of ordinary people and the landscapes that they inhabit. The Gardener (lot 27), The Stockman (lot 25) and The Working Man (lot 23) showcase this commitment to portraying those who are traditionally overlooked by society. The artist completed his studies at the Slade School of Art between 1920 and 1923 under the tutelage of Henry Tonks, whose commitment to figurative painting can be detected in Brill's work. Reginald Brill's reputation as a painter was cemented when he won a scholarship to the British School of Rome, for the 1927 oil painting The Expulsion in Eden. The following two years in Rome had a lasting impact on Brill's practice. An interest in composition and Renaissance art are evident in Brill's method of producing detailed preparatory drawings prior to executing larger paintings. Lots 17 – 27 include a number of these studies, ranging from the figurative, such as The Gardener (lot 27), to landscapes, such as Study of Buoys and Chains (lot 20). It was also in Rome that Brill developed his characteristic pointilliste or stippled drawing technique, which is most evident in Head Studies (lot 24). Many of the pieces in this collection are keenly observed depictions of Harwich (lots 17-21), a town that is located on the estuaries of the Stour and Orwell rivers. Brill's fascination with Harwich led to the production of a number of preparatory drawings and paintings, in addition to the larger completed oil The Buoys (lot 21). The large oil demonstrates that, although Brill is best known for his figurative works, concerned with depicting working-class people, he was also highly concerned with form and colour. In the words of Judith Bumpus, the buoys at Harwich were 'ready-made still lifes', that were 'a surprising, but perfect, subject for his explorations of colour'. Perhaps best known for his role as Head of Kingston School of Art from 1934 to 1962, recognition of Brill's work faded after his death in comparison to his contemporaries, such as Stanley Spencer, and he is only now beginning to receive the attention that such a varied and influential practice is due. This collection of works offers the opportunity to acquire pieces which have remained in a private collection since Brill's death, on 14 June 1974. Ranging from the deeply personal self-portrait of himself in a library (lot 26), to the compositionally rigorous Study of Buoys and Chains (lot 20), the following lots present a unique opportunity to acquire a work by one of 20th Century Britain's great artists and educators.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Reginald Brill (British, 1902-1974)Head Studies pen and ink and wash on paper34 x 53cm (13 3/8 x 20 7/8in).Footnotes:ProvenanceWith The Phoenix Gallery, Lavenham, where acquired by the family of the present owner, circa 1974, and thence by descentPrivate Collection, U.K.'Reginald Brill had quite a distinguished presence – he would now be called charismatic. He was a tall, upright man, who with his beard and air of nonchalance looked the part of the slightly bohemian artist' – Les Duxbury The following collection of works, acquired directly from the retrospective of the artist at Phoenix Gallery in 1974, provide a detailed overview of the artist's unique working methods and conceptual concerns. Described by Judith Bumpus as an English social realist and narrative painter, Brill's work primarily depicts the lives of ordinary people and the landscapes that they inhabit. The Gardener (lot 27), The Stockman (lot 25) and The Working Man (lot 23) showcase this commitment to portraying those who are traditionally overlooked by society. The artist completed his studies at the Slade School of Art between 1920 and 1923 under the tutelage of Henry Tonks, whose commitment to figurative painting can be detected in Brill's work. Reginald Brill's reputation as a painter was cemented when he won a scholarship to the British School of Rome, for the 1927 oil painting The Expulsion in Eden. The following two years in Rome had a lasting impact on Brill's practice. An interest in composition and Renaissance art are evident in Brill's method of producing detailed preparatory drawings prior to executing larger paintings. Lots 17 – 27 include a number of these studies, ranging from the figurative, such as The Gardener (lot 27), to landscapes, such as Study of Buoys and Chains (lot 20). It was also in Rome that Brill developed his characteristic pointilliste or stippled drawing technique, which is most evident in Head Studies (lot 24). Many of the pieces in this collection are keenly observed depictions of Harwich (lots 17-21), a town that is located on the estuaries of the Stour and Orwell rivers. Brill's fascination with Harwich led to the production of a number of preparatory drawings and paintings, in addition to the larger completed oil The Buoys (lot 21). The large oil demonstrates that, although Brill is best known for his figurative works, concerned with depicting working-class people, he was also highly concerned with form and colour. In the words of Judith Bumpus, the buoys at Harwich were 'ready-made still lifes', that were 'a surprising, but perfect, subject for his explorations of colour'. Perhaps best known for his role as Head of Kingston School of Art from 1934 to 1962, recognition of Brill's work faded after his death in comparison to his contemporaries, such as Stanley Spencer, and he is only now beginning to receive the attention that such a varied and influential practice is due. This collection of works offers the opportunity to acquire pieces which have remained in a private collection since Brill's death, on 14 June 1974. Ranging from the deeply personal self-portrait of himself in a library (lot 26), to the compositionally rigorous Study of Buoys and Chains (lot 20), the following lots present a unique opportunity to acquire a work by one of 20th Century Britain's great artists and educators.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Reginald Brill (British, 1902-1974)Sketch for 'The Artist in His Library' titled 'Sketch for/The artist in his library' (on sheet verso)pen and ink, pencil and wash on paper, squared for transfer38 x 24cm (14 15/16 x 9 7/16in).with a further pen and ink and ink head study of a man, on the reverse, by the same handFootnotes:ProvenanceWith The Phoenix Gallery, Lavenham, where acquired by the family of the present owner, circa 1974, and thence by descentPrivate Collection, U.K.'Reginald Brill had quite a distinguished presence – he would now be called charismatic. He was a tall, upright man, who with his beard and air of nonchalance looked the part of the slightly bohemian artist' – Les Duxbury The following collection of works, acquired directly from the retrospective of the artist at Phoenix Gallery in 1974, provide a detailed overview of the artist's unique working methods and conceptual concerns. Described by Judith Bumpus as an English social realist and narrative painter, Brill's work primarily depicts the lives of ordinary people and the landscapes that they inhabit. The Gardener (lot 27), The Stockman (lot 25) and The Working Man (lot 23) showcase this commitment to portraying those who are traditionally overlooked by society. The artist completed his studies at the Slade School of Art between 1920 and 1923 under the tutelage of Henry Tonks, whose commitment to figurative painting can be detected in Brill's work. Reginald Brill's reputation as a painter was cemented when he won a scholarship to the British School of Rome, for the 1927 oil painting The Expulsion in Eden. The following two years in Rome had a lasting impact on Brill's practice. An interest in composition and Renaissance art are evident in Brill's method of producing detailed preparatory drawings prior to executing larger paintings. Lots 17 – 27 include a number of these studies, ranging from the figurative, such as The Gardener (lot 27), to landscapes, such as Study of Buoys and Chains (lot 20). It was also in Rome that Brill developed his characteristic pointilliste or stippled drawing technique, which is most evident in Head Studies (lot 24). Many of the pieces in this collection are keenly observed depictions of Harwich (lots 17-21), a town that is located on the estuaries of the Stour and Orwell rivers. Brill's fascination with Harwich led to the production of a number of preparatory drawings and paintings, in addition to the larger completed oil The Buoys (lot 21). The large oil demonstrates that, although Brill is best known for his figurative works, concerned with depicting working-class people, he was also highly concerned with form and colour. In the words of Judith Bumpus, the buoys at Harwich were 'ready-made still lifes', that were 'a surprising, but perfect, subject for his explorations of colour'. Perhaps best known for his role as Head of Kingston School of Art from 1934 to 1962, recognition of Brill's work faded after his death in comparison to his contemporaries, such as Stanley Spencer, and he is only now beginning to receive the attention that such a varied and influential practice is due. This collection of works offers the opportunity to acquire pieces which have remained in a private collection since Brill's death, on 14 June 1974. Ranging from the deeply personal self-portrait of himself in a library (lot 26), to the compositionally rigorous Study of Buoys and Chains (lot 20), the following lots present a unique opportunity to acquire a work by one of 20th Century Britain's great artists and educators.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Walter Richard Sickert A.R.A. (British, 1860-1942)La Parisienne indistinctly inscribed (lower edge)pen and ink, wash and gouache on paper27 x 21cm (10 5/8 x 8 1/4in).Painted circa 1924Footnotes:ProvenanceWith Savile Gallery, London, 1927Private Collection, U.K.LiteratureJ. B. Manson, Walter Richard Sickert A.R.A.', Drawing and Design, July 1927, p. 9, illustratedW. Baron, Sickert, Phaidon, London, 1973, no. 387, p. 375W. Baron, Sickert, Paintings and Drawings, Yale University Press, New Haven and London, 2006, p. 478, no. 556.2We are grateful to Wendy Baron for her assistance in cataloguing this lot.For further information on this lot please visit Bonhams.com
Paul Nash (British, 1889-1946)A Wood - Illustration for King Lear, Act 2 Scene III signed with monogram, dated and dedicated '1926/John from Paul' (lower right), titled and inscribed 'Act 2- Scene III/A Wood -/Edgar. I heard myself proclaimed/etc.' (lower left)pen and ink and pencil on paper24 x 18.5cm (9 7/16 x 7 5/16in).Footnotes:ProvenanceWith Peter Nahum at The Leicester Galleries, London, where acquired by the present owner, 7 February 2006Private Collection, U.K.LiteratureW. Shakespeare, The Tragedie of King Lear; Newly Published from the First Folio of 1623, Ernest Benn Ltd, London, 1927, illustrated as a woodcut, plate 1A. Causey, Paul Nash, Clarendon Press, Oxford, 1980, p. 167The present lot is a drawing produced by Paul Nash for the 1927 re-printing of Shakespeare's King Lear. The edition featured a preface by Harley Granville-Barker, and included six set designs by the Artist, in addition to five colour plates. This drawing depicts the Earl of Gloucester's son Edgar, who is hiding in the woods disguised as the beggar 'poor Tom' (2.3.30), in order to escape the man-hunt instigated by his brother Edmund. The graphic, vorticist forms of the woodland echo Nash's larger oils, produced in the same period, such as the 1929 painting Wood on the Downs.For further information on this lot please visit Bonhams.com
Alfred Wainwright (1907-1991), an original pen and ink drawing, "Sgor Gaoith and S Goran Dubh Mor", original sketch very similar to but differing in composition from plate 310 Scottish Mountain Drawings Eastern Highlands volume 5, signed and inscribed with title. 17 x 21 cm (SH). ARR (see illustration).
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