Nancy Graves (American, 1939-1995). Watercolor and gouache on paper painting titled "Sotospeak Succeed" depicting an abstract composition of Mayan forms and a musical score in bright yellows and oranges, 1993. Signed, dated "XI-19-'93" along the lower center.Provenance: Meredith Long & Company, Houston, Texas; Knoedler & Company, New York; Private Minnesota Collection.Lot Essay:Graves gained prominence in the 1960s and 1970s for her distinctive sculptures, paintings, drawings, and prints that defied categorization. She was a pioneer in combining various mediums, including resin, fiberglass, and metal, to create dynamic and visually arresting works that often explored themes of natural history, anthropology, and the intersection of art and science. Her fascination with animal anatomy and archaeological artifacts frequently informed her art, leading to a unique blend of abstraction and representation. Throughout her career, Graves received numerous awards and honors, including a Guggenheim Fellowship and representation in prestigious institutions such as the Museum of Modern Art and the Whitney Museum of American Art.Sight; height: 28 in x width: 30 in. Framed; height: 36 in x width: 37 1/2 in.
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Joan Miro (Spanish (Catalan), 1893-1983). Color etching and aquatint depicting black, abstract shapes and lines with small bursts of primary colors, from the "Barcelona" suite 1973. Signed along the lower right; numbered "49/50" along the lower left.Provenance: Private Connecticut Collection, 1991; Private Minnesota Collection.Lot Essay:Joan Miro's early works were influenced by Catalan folk art and Fauvism, but it was his encounter with Surrealism in Paris during the 1920s that profoundly shaped his artistic vision. Embracing the Surrealist ethos of unlocking the subconscious mind, Miro developed a unique visual language characterized by biomorphic forms, dreamlike symbols, and vibrant colors. His paintings, such as "The Farm" (1921-1922) and "The Tilled Field" (1923-1924), evoke a sense of poetic spontaneity and primal energy.Throughout his career, Miro continued to innovate, exploring various mediums including painting, sculpture, ceramics, and printmaking. His experimentation with automatic drawing and spontaneous mark-making liberated his artistic process, allowing for a fluid and intuitive approach to creation. Miro's iconic works, such as "The Harlequin's Carnival" (1924-1925) and "The Birth of the World" (1925), exemplify his playful yet profound exploration of form and color.In addition to his artistic achievements, Miro was a committed advocate for social and political causes, particularly during the tumultuous period of the Spanish Civil War and World War II. His art often served as a vehicle for political commentary, expressing solidarity with the oppressed and advocating for peace and freedom. Miro's enduring legacy as a pioneer of Surrealism and a champion of artistic experimentation continues to inspire generations of artists, as his boundless imagination and creative spirit remain as relevant today as ever before. Through his daring exploration of the subconscious and his fearless embrace of spontaneity, Miro transcended artistic conventions, leaving an indelible mark on the trajectory of modern art.Sight; height: 27 1/2 in x width: 41 1/4 in. Framed; height: 41 in x width: 54 3/4 in.
George Morrison (Ojibwe, 1919-2000). Black ink on Strathmore paper depicting a horizon comprised of thousands of lines, 1972. A thread of lines runs through the center of the composition - connecting the upper and lower halves of the drawing - creating a continuous weaving passage. Signed and dated along the lower left. A tag from the Walker Art Center is affixed to the verso.Provenance: Private Minnesota Collection.Exhibition: George Morrison Drawings Dates: 15 April - 27 May 1973; Heard Museum Phoenix, Dates: 23 June - 5 August 1973; Amon Carter Museum of Western Art, Fort Worth Dates: 10 November - 5 January 1974.Lot Essay:Regarded as the founding figure of Native American modernism and among the top American abstract expressionist painters is George Morrison. Also highly regarded as a master collage artist, he assembled large collages of found driftwood and woodcut in framed, puzzle-like forms. In the 1940s, he was formally trained at the Minneapolis College of Art and in the 1950s at the Art Students League in New York before receiving a Fulbright to study in France. Taking his place as part of the modern art movement in New York in the 1950s after World War II, he was friends with Jackson Pollock and Willem de Kooning, regularly exhibiting with de Kooning, Philip Guston, Hans Hofmann, and Franz Kline. Morrison helped bring the New York Modern Art movement to Minnesota, where he was based and worked with pure form via Abstract Expressionism. Later in his career, in the mid-1970s, Morrison shifted to a new theme and started to really explore his heritage when he and his family built a home with an art studio on the Grand Portage Indian Reservation on Lake Superior, naming it Red Rock.Rather than portraying an overt depiction of identity, Morrison was in the process of exploring his identity so he looked to nature, stating “in this search for my own identity, I seek the power of the rock, the magic of the water, the religion of the tree, the color of the wind and the enigma of the horizon.†Translating nature into paintings was Morrison’s way to navigate learning and absorption, and in turn produce self-expression. His token theme was the horizon, taking on dynamic form as colors or shapes in the eternal motion of nature. His inspiration was provided by Lake Superior, observing and documenting the temporary sight of the revered sky meeting landscape that he beheld in the moment.In an interview with Philip Larson conducted for the 1973 Walker exhibition Morrison stated that these drawings were "laid out with precise straight and curved lines, all the same distance apart, and the whole surface is evenly textured. There is an effect of shallow cubist depth made with overlapping lines, and a sense of indefinite space extending outwards from all four sides...I sometimes deliberately create a passage going up diagonally from the bottom left to top right. That it is going through is very obvious - a passage of lines that becomes immersed in other lines, weaving in and out." This ink weaving is clearly evident with the central vertical passage in this work, creating a connection between the top quarter of the painting into the lower half.Sight; height: 23 1/8 in x wide: 23 1/8 in. Framed; height: 25 1/4 in x width: 25 1/4 in.
Samuel Melton Fisher, RA, RWA, PS (British, 1859-1939)Venetian costume makers signed and dated 'S.Melton Fisher.1888.' (lower right); further signed, titled and inscribed with artist's address 'Venetian costume makers/S. Melton Fisher/3575. Calle del Cristo/S.Angelo. Venice' (on artist's label attached to reverse)oil on canvas103.5 x 135cm (40 3/4 x 53 1/8in).Footnotes:ProvenanceAnon. sale, Sotheby's, London, 6 November 1996, lot 325. Private collection, UK. ExhibitedLondon, Royal Academy, 1888, no. 583.LiteratureArt Journal, 1888, p. 128. H. Blackburn (ed.), Academy Notes, 1888, pp. 12 and 77 (sketch illustrated).The Graphic, vol. 38, July-December 1888, illustrated.Alfred Lys Baldry, The Paintings of S. Melton Fisher in The Studio, vol. 42, 1908, pp. 176-181. Christopher Wood, The Dictionary of Victorian Painters, Woodbridge, 1995, p. 171.'The subjects he chose were characteristic of modern Venetian life; his canvases were records of his observation of the people among whom he found himself, and by their brilliant reality and clever statements of picturesque facts gained the approval of everyone who was qualified to judge his work' (Alfred Lys Baldry, The Studio, 1908)Fisher studied at the Lambeth School of Art and Royal Academy Schools between 1876 and 1881, winning a gold medal and a travelling scholarship; travelling to Paris, he studied with Jules Bonnaffé. His work In Realms of Fancy was purchased by the Chantrey Bequest in 1898 and later in his life he returned to portrait and figure painting, possibly for financial reasons.Venice in the late 1800s was a popular destination for many artists; alongside Fisher were artists such as John Singer Sargent, James Abbott McNeill Whistler, Henry Woods and William Logsdail. The unusual beauty and uniqueness of the city was enchanting and for many artists, Venice was restorative and transformative for their practice. Artists in Venice would often focus either on the working-class Venetians engaged in daily activities, which provided a wealth of subject matter, or the complex play of light on the water, architecture and canal views or narrow streets. In the present lot Fisher has chosen to depict a group of women at work making costumes presumably in preparation for a festival. This subject provides the artist with a perfect opportunity to celebrate the light and shade in the room and the rich texture of the materials. The square brushwork is testament to the influence of Bastein Lepage and his British counterparts, in particular Stanhope Forbes and Albert Chevallier Tayler who had travelled to Venice the year before and had first met Fisher in Paris in 1881.For further information on this lot please visit Bonhams.com
Edward Reginald Frampton, ROI (British, 1873-1923)'Or in a clear-wall'd city on the sea Near gilded organ pipes, her hair wound with white roses, slept St.Cecily, An angel look'd at her' signed 'E Reginald Frampton' (lower left)oil on canvas laid to panel94 x 40cm (37 x 15 3/4in).Footnotes:ProvenancePrivate collection, UK.The subject of the present work is taken form Tennyson's poem The Palace of Art, first published in 1832 and extensively revised by the poet ten years later. The poem expresses the spiritual despair of the Soul who isolates herself in her arts and can only be cured by leaving the palace of art for a cottage among men. Frampton would certainly have been familiar with The Palace of Art: St Cecilia published by Edward Moxon in 1857 with engraved illustrations by the Dalziel brothers after original designs by Rossetti.In the introduction to the Frampton Memorial Exhibition catalogue of 1924 the art critic Rudolf Dircks noted that the artist 'was amongst the few distinguished modern painters who sought to express decorative form in his pictures...his spirit moved in the type of legendary or religious subject which lends itself particularly to decorative treatment...' and 'the poetic and decorative fervour' of his works, which were 'all accomplished in detail, beautiful and sensitive in colour'1Frampton had travelled in Italy as a young man and this, combined with his love of the work of Puvis de Chavannes and Edward Burne-Jones informed his art and resulted in easel and mural painting and stained glass characterised by a 'restful and dignified serenity'.2Saint Cecilia is famous in Christian iconography as the patron saint of music and is shown here having fallen asleep whilst playing the organ, the instrument most usually associated with her. Her hair is adorned with a garland of white roses (an attribute often associated with her) and by her feet grow poppies a well-known emblem of oblivion and sleep as her guardian angel looks on.Frampton is known to have painted this subject on several occasions and exhibited versions at The Royal Academy in 1911 and 1917. Writing in The Art Journal in 1907, Rudolf Dircks reflects on Frampton's treatment of the subject 'In St Cecily, have we not a precise and sympathetic interpretation of the lines of Tennyson – in which the full poetic beauty is apprehended pictorially?'1R. Dircks, cited in Memorial Exhibition of Paintings and Water-Colours by the Late E.Reginald Frampton, London, 1924, pp. 3-4.2Aymer Vallance, The Paintings of Reginald Frampton, R.O.I., International Studio, 1919, p. 66.For further information on this lot please visit Bonhams.com
Marc Chagall 1887 Witebsk - 1985 St. Paul de Vence Les fiancés au pied de larbre. 1956-1960 Links unten mit Tusche signiert. Verso Klebeetikett der Galerie Semiha Huber, Zürich. Dort betitelt, datiert und bezeichnet. Gouache. Wachskreide und Tinte auf Papier auf dünne Holzplatte montiert. 33,5 x 26 cm. Papierkanten umlaufend an den Untergrund montiert. Farbabsplitterungen. Rahmen (48 x 41 cm). Zertifikat des Comité Marc Chagall, Paris vom Februar 2024 liegt vor. Marc Chagall verknüpft in seiner Kunst Elemente aus der russischen Volkskunst, der jüdischen Mystik und alten Legenden, schafft aber auch Szenen, die mit Traumbildern kombiniert sind. Es finden sich in seinem Oeuvre oftmals wiederkehrende Motive, wie etwa das Liebespaar, die Mondsichel, der Hahn oder das jüdische Schtetl. Neben Gemälden entstehen umfangreiche Radierzyklen sowie zahlreiche lithografische Arbeiten. In den Jahren 1950-1970 arbeitet Marc Chagall auch an zahlreichen Aufträgen für öffentliche Gebäude. Er entwirft Glasfenster für die Kathedralen von Metz und Notre-Dame in Reims, die Synagoge der Hadassah-Universitätsklinik in Jerusalem und die Stefanskirche in Mainz. Für die Pariser Opéra Garnier malt er ab 1963 ein großformatiges Deckengemälde in der Kuppel über dem Zuschauerraum, ab 1964 entstehen die Wandgemälde für die Metropolitan Opera in New York. Im Jahre 1941 entschließt sich Chagall zur Emigration in die USA. Eine erste umfassende Retrospektive seiner Werke zeigt 1946 das Museum of Modern Art in New York. 1947, nach dem Ende des Zweiten Weltkrieges, kehrt der Künstler nach Paris zurück und lässt sich schließlich 1950 in Saint-Paul-de-Vence nieder, wo er am 28. März 1985 stirbt. Provenienz: Galerie Semika Huber Zürich. (Verso Klebeetikett). Privatbesitz
A Modern Scottish Dirk, the 29cm single edge scallop back steel blade stamped STAINLESS STEEL, ART PEWTER SILVER, GLASGOW, SCOTLAND, the ebonised grip carved with thistles, with faux Cairngorm pommel and leather scabbard with white metal thistle cast mounts; a Modern Sgian Dubh, the 9cm scallop back steel blade with a narrow fuller, with black plastic grip and faux Cairngorm pommel, with white metal mounted leather scabbard (2)K4 & K5
Sammlung von 13 Waffen-BüchernD. Dallas, Boss & Co. - Builders of best guns only, Quiller, 1995; D. Dallas, Purdey - Gun & Rifle Makers, Quiller, 2000; M. Nobili, Lebeau - Courally - Guns & Rifles maker since 1865, Il Volo, 1997; D. Tate, British Gun Engraving, Safari, 2000; M. Nobili, Fine European Gunmakers, Safari, 2002; C. Austyn, Gun Engraving, The Sportsman's Press, 1998; R.L. Wilson, Steel Canvas - The Art of American Arms, Random House, 1995; Holt's - Auctioneers of fine modern & antique guns, 2012; H. Schröder, Jagd-Optik, Landbuch, 1999; 4 Bde. Fine Modern and Vintage Sporting Guns, Gavin Gardiner Limited, 2007/08/09. Altersspuren.
Sammlung von 11 Waffen-BüchernH. Blackmore, A Dictionary of London Gunmakers 1350-1850, Phaidon, 1986; D. Dallas, Boss & Co. - Best Gunmakers, Quiller, 2005; Fine Modern Sporting Guns and Vintage Firearms, Christies, 1996; Holt's - Auctioneers of fine modern & antique guns, 2013; R.L. Wilson, Steel Canvas - The Art of American Arms, Chartwell, 1995; F. Goldschmidt, Künstlerische Waffengravuren - Ferlacher Meister, Journal, 1977; F. Myatt, Die große Enzyklopädie der Feuerwaffen des 19. Jahrhunderts, Buch und Zeit, 1980; C. Austyn, Modern Sporting Guns, The Sportsman' Press, 1994; C. Holmgren, Jagdwaffen und Schiesstechnik, Parey, 1993; A.E. Hartink, Jagdgewehre, Dörfler; E. Joly, Jagd & Jagdwaffen, Heyne, 1998. Altersspuren.
Vinyl Records – LP’s and 12” singles - LP’s, including Nina Simone – The Amazing Nina Simone – OFFICIAL 6002; Nina Simone – Here Comes The Sun – INTS 5025; Sinéad O'Connor – I Do Not Want What I Haven't Got – CHEN 14; Tony Bennett & Count Basie – One Night Stand – ALLR 799; The Linden Singers – Land Of My Fathers – WLP 6046;Billy Idol – Idol Songs - 11 Of The Best – BIK TVD1; Black Sabbath – Black Sabbath – NEL 6002; Pink Floyd – The Final Cut – 14C 064-65042; T-Set – After A Night With You – BLP 034; Stereo Test Record – Hi-Fi Sound – HFS 75; Pink Floyd – Dark Side of the Moon; Deep Purple – Made in Japan; Rod Stewart – Tonight I’m Yours; Eagles – Their Greatest Hits (1971-1975); Dr. Feelgood – Doctors Orders; Slade – Sladest; Jethro Tull – Stand Up; The Ink Spots – The Best Of The Ink Spots; Gerry Brown's Jazzmen – It's Trad Time! With Gerry Brown's Jazzmen; The Kinks – Kinks; others, various artists including Jim Reeves, Leo Sayer, Cliff Richard, The Shadows, Paul Simon, Phil Collins, Barry White, The Moody Blues, Tina Turner, Simon & Garfunkel, Fats Waller, Randy Newman, Bread, The Beach Boys, The Everley Brothers, Simply Red, Elvis Presley, Whitney Houston, Bread, UB40, The Hollies, Monty Python, Neil Sedaka, Chubby Checker, Rod Stewart, Culture Club, Blondie, Don Williams, Kenny Rogers, Rolling Stones, Jerry Lee Lewis, Keeley Smith, Deep Purple, Mike Harding, Art Garfunkel, Walt Disney; 12” singles, including Stimulator – Take Off – tidytwo129, test pressing; ; The Freak – The Bells – tidytwo126, test pressing; Trauma – Trauma Trax – Tidy134T, test pressing; Yoda Inc. – Definitely – TIDY159T; Fat Bastard & Doctor Evil – Stormtrax #1 - DEFSTAR 001; Dark By Design – Severe Punishment; Champion Burns – It's In My Head; Joy Kitikonti – Joyenergizer, white label; Hyperlogic – U Got The Love; Jon Doe – N R G / Frenzy; Anne Savage – Hellraiser / Four Leaf Clover; others, various artists including Simply Red, Soho, Eurythmics, The Family Stands, Robert Palmer, Frankie Goes To Hollywood, Nu Generation, Billy Ocean, Tina Turner, Beats International, Rage, Bomb The Bass, Strength, The Senators, Junior Tucker, Belinda Carlisle, Linx, Phil Collins, Kellee Patterson and Modern Romance (large quantity in three boxes)
Box of books relating to the Ashanti area and culture from the collection of Professor Wilks to include; Berberich; 'Trade routes of the North East Asante Frontier', Gough, Frederic Harrison; 'Ordinances of Ashanti and Northern Territories' 1910, Freeman, Richard Austin; 'Travels and life in Ashanti & Jaman' 1898, Cardinall, A.W; 'In Ashani & Beyond' 1927, two books by Rattray; 'Ashanti Law & Consitution' and 'Religion and Art in Ashanti', 'The History of Ashanti Kings & other writings', Myatt, Frederick; 'Golden Stool Ashanti 1900', 1966 first edition, Busia, K.A ;'Position of the Chief in the modern political system of Ashanti', two copies of Fuller, Sir Francis; 'A Vanished Dynasty Ashanti', 1921, Reindorf, C.C; 'The History of the Gold Coast and Asante', 'Gold Coast and Asianti Reader' Book 1 and 2 by E.J.P Brown, 1929, a book by Thomas Birch Freeman; 'Journal of various visits into the interior of West Africa' and two biographies of him by F.D Walker, F.D and John Millam, 'Bowdich's Mission from Cape Coast Castle to Ashantee' 1873, Beecham, John; 'Ashantee and the Gold Coast' 1841, Skertchly, J.A; 'Belinda the Caboceer or sport in Ashanti' 1876, Tordoff, William; 'Ashanti under the Prempehs 1888-1935', 'The Royal Stools of Ashanti' 1969, 'Memories of my Childhood days in Asante' first edition, Beeton, A.C; 'The Ashantees' etc. (B.P. 21% + VAT)
A GOLDSCHEIDER ART DECO ALABASTER, BRONZE AND MARBLE FIGURAL TABLE LAMP, the patinated bronze lamp post with a seated alabaster Pierrot at its base embracing Columbine, with painted details to their costumes and raised on an oval rouge mottled marble base, with modern shade, maker's stamp to underside, 12" wide, 31 ¼" high including shade (Illustrated) (Est. plus 24% premium inc. VAT)Condition Report: Very minor chips to paint details, otherwise very good.
Nineteen Books on Fishing - Classic Flyfishing Waters of the World 1993, The New Henning's Guide to Fishing in Oregon 1984 Dan Casali and Madelynne Diness, Going Fishing 1946 Negley Farson, Trout Fishing in New Zealand 1979 Rex Forrester, Sporting in Both Hemispheres 2011 J. D'Ewes, A Survey of the Rainbow Trout in Britain and Ireland c1970's Winifred E. Frost, Salmon and Sea Trout Fishing 1972 T.E Dutton, Shooting, Fishing and Gun Book 1976 Sidney Du Broff, Why Trout Usually Win 2013 Graeme Marshall, Fly Fishing 1991 J.R Hartley, Gareth Edwards on Fishing 1984 Tony Pawson, Shadowcasting An Introduction to the Art of Flyfishing 2001 John Dietsch and Gary Hubbell, Modern Salmon and Sea Trout Fishing 1938 Major Kenneth Dawson, The Far From Compleat Angler 1995 Tom Fort, To Cast A Trout Fly 1968 Farlow's and Hardy Brothers, Casts From a Salmon Reel 1948 Major Kenneth Dawson, Salmon & Trout in Moorland Streams 1947 Major Kenneth Dawson, The Little Red Book of Fly Fishing 2010 Kirk Deeter and Charlie Meyers, Davies Trout and Grayling Fishing 1957 W.E Davies - Mixed condition
Twenty Fishing Books and Publications - Trout and Salmon 50th Anniversary Collectors Edition x2, The New Illustrated Dictionary of Trout Flies 1988 John Roberts, A Shephard's Life 1978 W.H Hudson, The Art of Sea Trout Fishing 1989 Charles McLaren, Flyfishing Around the World 1987 Tony Pawson, Modern Fresh & Saly water Fly Fishing 1972 Charles Waterman, Fishing The Wilder Shores 1991 Sidney Spencer, A Hunt Around the Highlands 1973 Michael Brander, trout Lochs of Scotland 1987 Bruce Sandison, The Angler's Companion 1978 Brian Murphy, I Remember Reflections on Fishing in Childhood 1995 Frederick Forsyth, The Fisher's Log Book 1991 Peter Leuver, Salmon Fishing in the Yemen 2007 Paul Torday, Fly Fishing 1991 J.R Hartley, Atlantic Salmon trust Fishing Auction 2010 Brochure, Know The Game Book - Know the Weather, A Thames Companion 1981 Mari Prichard & Humphrey Carpenter, Allcocks Anglers Guide 1968 & 1969 - Mixed condition
Sixteen Books on Fishing - Classic Fishing Lures and Tackle 2000 Eric L. Sorenson, The Way of a Trout 1972 R.P Van Gytenbeek, The Quiet Water Ways 1988 Aylmer Tryon, Angling the World 2009 Roy Tanami, Fly Casting Techniques for the Modern Angler 1984 James Tomlinson, Frank Sawyer Man of the Riverside 1984 Sidney Vines, Grey of Fallodon 1937 George Macaulay Trevelyan, Fly-Tying For Trout 1939 Eric Taverner, Maui and Me A Search for a Fisherman's El Dorado 1963 Temple Sutherland, Travels with an Angle 1987 Ken Sutton, The Art Of Fly Dressing 1970 Bill Tagg, Improve your Flycasting 1995 Lou Stevens, Game Fishing Devices 1979 Douglas C Townsend, Fisherman's Luck 1899 Henry Van Dyke, The Seven Rivers 2001 Dougles Stewart, Little Rivers 1895 Henry Van Dyke - Mixed condition
The remaining personal effects of Sir Samuel Benfield Steele (Medonet, Canada 1848- London 1919): North West and Canadian Mounted Police postcards sent or collected by Miss Flora Steele, eight by C.L.G 'Canadian Art Deeptone Series, photographic card Ex Reg. No 30006, six coloured and three modern photographic cards and a Christmas card, (18).
Child Jesus lying down, partially painted ivory sculpture, Sino-Portuguese or Nippo-Portuguese (Namban Art), 16th/17th C., two toes of the left foot redone, small gluing on the heel of the left foot, the sculpture is placed in a standing position on top of a modern marble stand. Notes: vd. exhibition catalog "A Expansão Portuguesa e a Arte do Marfim. Lisbon: Calouste Gulbenkian Foundation, 1991, p. 92, nº 220. a) This lot is subject to CITES export/import restrictions and is duly certified: nr 21PTLX10640C; b) Several countries prohibit the import of goods that incorporate materials from protected wild fauna and flora species, including, among others, ivory, coral and turtle; c) In Portugal, according to the forecast transposition into the Portuguese legislation of the more recent EU guidance document concerning ivory commerce, the issuing of reexport certifications for non EU countries is suspended; d) We therefore advise potential buyers to inform themselves in advance on the applicable legislation, in particular the customs regulations in force in the countries concerned., Dim. - 9,5 cm
A GROUP OF CLOCKS AND FIGURAL LAMP BASES, comprising a pocket watch and stand, the continental pocket watch stamped 0.800, in a wooden case in the form of a grandfather clock, height 31cm, two figural lamp bases - one in a classical style, the other a modern art deco style lamp, two twentieth century wooden cased mantel clocks and a wooden cased alarm clock (6) (Condition Report: generally appear ok, sd, pocket watch does not wind, lamps untested) - PLEASE NOTE THE MODERN ART DECO LAMP SHADE GOT BROKEN DURING VIEWING SO NOW HAS NO SHADE AS PER NEW IMAGES
CELEBRITY BOOKS - ENTERTAINING (3/3) INCLUDING: Dinner Diaries. Reviving the Art of the Hostess Book, Daniel Cappello, Assouline 2014 A Great party. Designing the Perfect Celebration, Bryan Rafanelli, Rizzoli 2019 Entertaining Chic!. Modern French Recipies & Table Settings for All Occasions, Claudia Taittinger, Rizzoli 2020 You're Invited. Classic, Elegant Entertaining, Stephanie Booth Shafran, Rizzoli 2020 ETC (17) Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
Stag handle; large blade, pen blade, corkscrew, awl, hook. Unspoiled monogram plate. George Wostenholm as a maker of fine cutlery goes back to the early 1700's- by 1751, son Henry had petitioned the Company of Cutlers guild for the use of the term Spring Knife- and so, the modern spring locker folding pocket knife was born. Wostenholm made a name for itself in the 1800's through innovation and quality- their folding utility and hunting knives would be the model by which many others, including the Swiss Army Knife would be judged- and their American bowie knives (George Wostenholm the third was very fond of America and its need for excellent frontier steel) were revered. Three such bowies, turned into works of art by designer Alfred Stevens, would be exhibited to acclaim at the Great London Exhibition of 1851. Wostenholm folding knives could be found on the frontiers of Asia and Antarctica, the battlefields of America, and the pockets of officers and gentleman alike during WW1- and they are still one of Europe's most respected makers of fine cutlery. This unique variant of the usual farrier's knife features a long handle with a stout, distally tapered main spade-point blade, flanked by a small fold out cross cut saw and gut or twinning hook. On the backside, a stout triangular awl, flat-coil corkscrew, and small tapering pen blade is present. Cross jumping on the back tools offers a comfortable grip for the thumb. The lock up on the main blade is nice and tight. German silver hardware, all tooling mirror polished. Stag handle, brass liners. Both blades read, IXL George Wostenholm Sheffield England, at ricasso. A monogram plate is present, but has not been previously engraved. Artist: G. WostenholmDimensions: 5.75"L x 0.75"D x 1.25"HCountry of Origin: England, SheffieldCondition: Age related wear.
Lawson, A.: The Modern Farrier: Or, The Art Of Preserving The Health And Curing The Diseases Of Horses, Dogs, Oxen, Cows, Sheep, & Swine, Sixth Edition Illustrated With Numerous Engravings, Newcastle upon Tyne: Printed By Mackenzie And Dent, St Nicholas' Church-Yard, 1824, half leather over marbled boards, 8vo., together with Skeavington, George: The Modern System Of Farriery, As Practised At The Present Time At The Royal Veterinary College, Printed And Published By The London Printing And Publishing Company-Limited, London And New York, N/D, half leather over marbled boards, 4to. (2)
Lichtenstein, Roy (1923 New York - 1997 ebenda, nach) - "Modern Art", Farblithografie, rechts unten in der Platte signiert mit Copyright-Zeichen, unten links mit Bleistift num. 37/150, unten mittig Trockenstempel des Herausgebers "Styria Studio", verso roter Stempel "Castelli graphics", Blattmaße: 35 x 50 cm, Blatt liegt lose
* Movable Silhouette Fans. A pair of etched fans with movable figures, Paris: Alphonse Giroux, circa 1820s, 2 cardboard handscreen fans, each of elongated octagonal form, with central recessed oval covered by cream gauze (foxed) revealing 2 movable black scissorcut silhouette figures, operated by a paper tab on reverse, one depicting a pair of male figures fencing, the other a woman holding a broom and parrying with a man brandishing fire tongs and shovel, the latter with tab renewed, each within a matching hand-coloured etched border, depicting a young lady and gentleman in evening dress on the left, the latter carrying a shawl over his arm, and on the right a woman carrying a reticule and a gentleman carrying an umbrella, both couples at the top of a flight of steps, with a pair of female Oriental figures in gold seated atop the oval, carrying a jester's stick and parasol respectively, and below, acting as caryatids, a pair of seated male Oriental figures in green highlighted in gilt, reverse of each with narrow green borders etched with scrolling trefoil pattern, second fan with Giroux's engraved label to upper edge 'Rue du Coq St. Honoré No. 7', both sides of each with narrow gold paper edging, turned wooden handles, both lacking upper rivet, each 37.5 x 24.5 cm (14.75 x 9.75 ins)QTY: (2)NOTE:A wonderful pair of articulated fans surviving in very good condition and in working order. Extremely rare; we have not seen another such movable fan, nor have we traced any at auction or in institutions.Alphonse Giroux, known as 'the merchant of the princes', was an important Parisian manufacturer of luxury furniture and objets d'art, whose products were intended for the upper echelons of society. He was operating from 7, Rue de Coq St. Honoré as early as 1799, before moving to Boulevard des Capucines in the middle of the 19th century, and he counted royalty among his clients, including King Louis XVIII and King Charles X. Specialising in paper and artistic supplies, and known for his offering of both modern and old fans, he sold a hugely diverse range of wares, including toys, boxes, souvenirs, lithographs, mirrors, clocks, sewing accessories, fabrics, and items of furniture. Giroux had studied painting under Jacques-Louis David, and he not only collected, exhibited and sold fine art, but he offered a conservation service also, becoming involved in such prestigious projects as the restoration of Notre Dame Cathedral. The firm of Giroux showcased its wares widely at world fairs and exhibitions, and won a number of medals.Alphonse Giroux was in the vanguard of the production of pre-cinema movable devices and photography in Europe at the beginning of the 19th century. In 1818 he filed the patent for the kaleidoscope, which he also called the 'transfigurator'. In June 1833 Alphonse Giroux & Cie. introduced the phénakistiscope in France, becoming one of the first companies to publish the animation device after it was more or less simultaneously invented in Belgium and Austria. His firm also constructed the Giroux Daguerreotype camera in 1839, the first commercially manufactured photographic camera in the world, which was designed by his brother-in-law Louis Daguerre.
Lyonel Feininger1871 New York - 1956 New York - "Manhattan 3" - Farblithografie/Papier. 26,5 x 22 cm, 51 x 33,5 cm. Sign. r. u.: Lyonel Feininger. Rückseitig mit der Stempelaufschrift l. u.: JAHRESGABE DER KESTNER-GESELLSCHAFT 1955. Unter Glas gerahmt. Ränder leicht gebräunt. - Lit.: Prasse L19. Feininger studierte 1888- 92 Zeichnen und Malerei an der Berliner Kunstakademie. Er arbeitet zunächst als Karikaturist, bevor er sich der Malerei zuwendet. 1909 wird er Mitglied der Berliner Sezession. 1911 stellt er in Paris im Salon des Indépendants aus und kommt mit dem Kubismus in Berührung. Im Gründungsjahr des Bauhauses wird er 1919 nach Weimar gerufen und leitet hier bis 1925 die Druckwerkstätten. 1937 siedelt er nach New York um. Auch hier findet er als Künstler schnell Anerkennung. Feininger erhält 1944 eine Retrospektive im Museum of Modern Art und wird 1947 Präsident der Federation of American Painters and Sculptors.
An extensive collection of postcards, early 20th century to modern, emphasis on Derbyshire, art, UK topographical/resorts, plus repro advertising, arranged in eight albums, plus one unused album, together with a collection of cigarette & trade cards in albums (Wills, Player's, Brooke Bond) housed one tin and a shoebox, the whole in one carton
Dod Proctor - A.E. Brain & Co - Foley China - A cup, saucer and side plate with matched teapot and cover for the 1934 Harrods Modern Art for the Table exhibition (Art in Industry) hand painted with stylised flowers and foliage with star and lines, Dod Proctor and Foley mark. (4) NB - This was designed by Dod Proctor for the 1934 Harrods and Art in Industry 'Modern Art for the Table' exhibitions. Marked 'First Edition'. In 1934 Foley China and Clarice Cliff were asked to produce a range of table wares for the exhibitions and notable artists of the day such as Paul Nash, Laura Knight, Duncan Grant, Graham Sutherland, Gordon Forsyth, Ben Nicholson and Barbara Hepworth were invited to submit designs. Due to poor marketing, the public were largely unaware of the designs and after an initial twelve sets were commissioned of each, further production was halted.
John Armstrong - A.E. Brain & Co - Foley China - A small circular side plate for the 1934 Harrods Modern Art for the Table exhibition (Art in Industry) hand painted with two stylised fish with wash line border, John Armstrong and Foley mark, width 16cm. NB - This was designed by John Armstrong for the 1934 Harrods and Art in Industry 'Modern Art for the Table' exhibitions. Marked 'First Edition'. In 1934 Foley China and Clarice Cliff were asked to produce a range of table wares for the exhibitions and notable artists of the day such as Paul Nash, Laura Knight, Duncan Grant, Graham Sutherland, Gordon Forsyth, Ben Nicholson and Barbara Hepworth were invited to submit designs. Due to poor marketing, the public were largely unaware of the designs and after an initial twelve sets were commissioned of each, further production was halted.
Allan Walton - A.E. Brain & Co - Foley China - A pair of cups and saucers for the 1934 Harrods Modern Art for the Table exhibition (Art in Industry) with repeat ellipse and triangle design, Allan Walton and Foley mark, together with a matched side plate. (5) NB - This was designed by Allan Walton for the 1934 Harrods and Art in Industry 'Modern Art for the Table' exhibitions. Marked 'First Edition'. In 1934 Foley China and Clarice Cliff were asked to produce a range of table wares for the exhibitions and notable artists of the day such as Paul Nash, Laura Knight, Duncan Grant, Graham Sutherland, Gordon Forsyth, Ben Nicholson and Barbara Hepworth were invited to submit designs. Due to poor marketing, the public were largely unaware of the designs and after an initial twelve sets were commissioned of each, further production was halted.
Clarice Cliff - John Armstrong - A circular side plate for the 1934 Harrods Modern Art for the Table exhibition (Art in Industry) in the Chaldean pattern with a stylised horse within banded grey borders, John Armstrong and Bizarre mark, plate width 22cm, together with a smaller side plate by Graham Sutherland and a matched saucer with green and black wave line border. (2) NB - This was designed by John Armstrong for the 1934 Harrods and Art in Industry 'Modern Art for the Table' exhibitions. Marked 'First Edition'. In 1934 Foley China and Clarice Cliff were asked to produce a range of table wares for the exhibitions and notable artists of the day such as Paul Nash, Laura Knight, Duncan Grant, Graham Sutherland, Gordon Forsyth, Ben Nicholson and Barbara Hepworth were invited to submit designs. Due to poor marketing, the public were largely unaware of the designs and after an initial twelve sets were commissioned of each, further production was halted.
Clarice Cliff - Dod Proctor - A circular side plate for the 1934 Harrods Modern Art for the Table exhibition (Art in Industry) with stylised fish and seaweed, Dod Proctor and Bizarre mark, plate width 20cm, together with a matched sauce boat. (2) NB - This was designed by Dod Proctor for the 1934 Harrods and Art in Industry 'Modern Art for the Table' exhibitions. Marked 'First Edition'. In 1934 Foley China and Clarice Cliff were asked to produce a range of table wares for the exhibitions and notable artists of the day such as Paul Nash, Laura Knight, Duncan Grant, Graham Sutherland, Gordon Forsyth, Ben Nicholson and Barbara Hepworth were invited to submit designs. Due to poor marketing, the public were largely unaware of the designs and after an initial twelve sets were commissioned of each, further production was halted.
Freda Beardmore - A.E. Brain & Co - Foley China - A cup and saucer for the 1934 Harrods Modern Art for the Table exhibition (Art in Industry), hand painted with a large stylised flower and foliage, Freda Beardmore and Foley mark, together with a Milner Gray trio transfer printed with a convolvulus. (2) NB - This was designed by Freda Beardmore for the 1934 Harrods and Art in Industry 'Modern Art for the Table' exhibitions. Marked 'First Edition'. In 1934 Foley China and Clarice Cliff were asked to produce a range of table wares for the exhibitions and notable artists of the day such as Paul Nash, Laura Knight, Duncan Grant, Graham Sutherland, Gordon Forsyth, Ben Nicholson and Barbara Hepworth were invited to submit designs. Due to poor marketing, the public were largely unaware of the designs and after an initial twelve sets were commissioned of each, further production was halted.
Laura Knight - A.E. Brain & Co - Foley China - An early morning breakfast service comprising teapot, two teacups and saucers, milk, sugar and side plate, for the 1934 Harrods Modern Art for the Table exhibition (Art in Industry), transfer printed and hand coloured in the Dove and Flood pattern, surrounded with white rain drops over a pink lustre ground, printed marks. NB - This was designed by Laura Knight for the 1934 Harrods and Art in Industry 'Modern Art for the Table' exhibitions. Marked 'First Edition'. In 1934 Foley China and Clarice Cliff were asked to produce a range of table wares for the exhibitions and notable artists of the day such as Paul Nash, Duncan Grant, Graham Sutherland, Gordon Forsyth, Ben Nicholson and Barbara Hepworth were invited to submit designs. Due to poor marketing, the public were largely unaware of the designs and after an initial twelve sets were commissioned of each, further production was halted.
Clarice Cliff - Michael Willmer - A circular side plate for the 1934 Harrods Modern Art for the Table exhibition (Art in Industry) with a stylised devil figure, together with a matched Conical coffee cup, Michael Willmer and Bizarre mark, plate width 17cm. (2) NB - This was designed artist Michael Willmer for the 1934 Harrods and Art in Industry 'Modern Art for the Table' exhibitions. Marked 'First Edition'. In 1934 Foley China and Clarice Cliff were asked to produce a range of table wares for the exhibitions and notable artists of the day such as Paul Nash, Laura Knight, Duncan Grant, Graham Sutherland, Gordon Forsyth, Ben Nicholson and Barbara Hepworth were invited to submit designs. Due to poor marketing, the public were largely unaware of the designs and after an initial twelve sets were commissioned of each, further production was halted.
Ernest Proctor - A.E. Brain & Co - Foley China - A cup, saucer and side plate for the 1934 Harrods Modern Art for the Table exhibition (Art in Industry) with repeat coloured wave lines with lustre, Ernest Proctor and Foley mark, together with a matched side plate. (5) NB - This was designed by Ernest Proctor for the 1934 Harrods and Art in Industry 'Modern Art for the Table' exhibitions. Marked 'First Edition'. In 1934 Foley China and Clarice Cliff were asked to produce a range of table wares for the exhibitions and notable artists of the day such as Paul Nash, Laura Knight, Duncan Grant, Graham Sutherland, Gordon Forsyth, Ben Nicholson and Barbara Hepworth were invited to submit designs. Due to poor marketing, the public were largely unaware of the designs and after an initial twelve sets were commissioned of each, further production was halted.
Martha JungwirthEgyptian journey (8 pieces)1978mixed media, watercolour on Schoellershammer-drawing paper; framed2: 9.5 x 20 cm; 4: 9.5 x 20.5 cm; 2: 9.5 x 38.5 cmA Schoellershammer-drawing paper pad, overpainted by the artist, is enclosed.The exhibition catalogue is also enclosed.private property, ViennaSchoellershammer-Zeichenpapiere und Zeichenkartons, Museum of Modern Art Vienna, publication series no. 11 - 1979 exhibition catalogue and insert to the Zweiwegebuch as supplements: In neuer Hinsicht von Otto Breicha, Vienna 1979.
Jean Puy (French, 1876-1960)'Nu couché, la petite italienne' signed 'J Puy' (lower left)oil on canvas31.2 x 47.6cm (12 5/16 x 18 3/4in).Footnotes:ProvenanceModern Art Foundation, Vaduz.Galleria d'arte Pirra, Turin.ExhibitedParis, Galerie Vendôme, Jean Puy, October 1957.Paris, Galerie Mady Bonnard, Jean Puy, 25 April - 24 May 1961.Lyon, Musée des Beaux-Arts, Jean Puy, no. 7.Annecy, Château d'Annecy, Maîtres connus et méconnus de Montmartre à Montparnasse, 1 July - 20 September 1964.Turin, Galleria d'arte Pirra, Maestri del XXe secolo, November - December 1972, no. 16.LiteratureM.T. Maufais, Jardin des Arts, Tallandier, Paris, 1957, p. 768, no. 36.J. P. Crespelle, Les Fauves, Neuchâtel, 1962, p. 260, no. 89.S. Limouzi and L. Fressonnet-Puy, Catalogue raisonné de l'oeuvre peint de Jean Puy (1876-1960), Roanne, 2001, p. 286, no. 30441.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
PHILIP WILSON STEER (BRITISH 1860-1942) THE CASINO, BOULOGNE-SUR-MER Oil on canvas Signed and dated 92 (lower right) 51 x 61cm (20 x 24 in.)Provenance: Private Collection, Thomas Humphry Ward Esq.(1845-1926), Art critic for the Times Newspaper Private Collection, Mrs. Sandwith Private Collection, Adrian McConnel Thence by descent Exhibited: London, The Goupil Gallery, Exhibition of Paintings by P. Wilson Steer, February 1894, no. 1, as 'property of T Humphrey Ward Esq.' Literature: 'Our London Correspondence', Glasgow Herald, 26 February 1894, p. 7 'From Private Correspondence', The Scotsman, 26 February 1894, p. 7 'From our London Correspondent', Manchester Courier, 26 February 1894, p. 5 'Exhibitions', Pall Mall Gazette, 27 February 1894, p. 3 'Exhibition Review, A Modern Painter', The National Observer, 3 March 1894, p. 396 G[eorge] M[oore], 'Mr Steer's Exhibition', The Speaker, 3 March 1894, p. 250 'Art: The Goupil Gallery', Weekly Dispatch, 4 March 1894, p. 6 'Studio and Gallery', Black and White, 10 March 1894, p. 294 'Fine Art: The Goupil', The Morning Post, 10 March 1894, p. 2 George Moore, Modern Painting, 1898 (Walter Scott), p. 242 DS MacColl, Life, Work and Setting of Philip Wilson Steer, 1945 (Faber & Faber), pp. 51, 193 Bruce Laughton, Philip Wilson Steer, 1971 (Clarendon Press, Oxford), p.130, (no 52)Sketches for the present work are included in Steer's sketchbook inscribed Boulogne and dated 1888. The sketchbook is held in the V&A archives under reference E 281 - 1943. Had you been standing on the upper deck of the Folkestone steamer, steering into the harbour at Boulogne-sur-Mer at the turn of the twentieth century, your view on the port side, beyond the guard rail of the jetée de l'est, would take in the plage, and the Second Empire Casino. Sitting in public gardens that contained a saltwater bathing establishment, the lines of the casino prepared you for those of the great exhibition 'palaces' of Paris, a train ride away. A quick scan of your Baedeker would tell you that the casino opened every year for the summer season from 15 June to 15 October and a day ticket would cost you two francs. Since the lights are on in Philip Wilson Steer's view of the building, we can assume that the present canvas must represent a late summer evening. Although dated '92' we know that the painter spent the summer at Cowes in that year. He would have passed through Boulogne in 1887, 1888 and 1889, producing swift sketchbook notes, three of which relate directly to the present work (fig 1). Why, in the 1880s was Boulogne and its environs so admired, and why did it supplant Walberswick in Steer's affections? The answers are various - Dannes, Étaples, Montreuil and one or two other picturesque towns nearby were supporting small colonies of British and American painters, many of whom were working in loosely Impressionist styles, while further down the coast there were the familiar haunts of Monet and Boudin. Boulogne was also one of the main points of access to Paris in the late nineteenth century, its packet-boat service having commenced in 1849. In Steer's case the specific interest in Boulogne is likely to have come first from the early work of Manet that he saw in the artist's posthumous retrospective exhibition in Paris in 1884. 'When the Manet exhibition was held', he told John Rothenstein, 'I had never heard his name. But I went and was very much interested ...The landscapes I liked very much ...' Manet had of course visited Boulogne several times in the 1860s and on one occasion on the plage, had painted the twin piers that form the harbour entrance. Fashionable promenades, these breakwaters with their white handrails had not changed when Steer painted them twenty years later.Passing through the port in the late 1880s, and again in 1891, Steer must have realized that he needed to go no further for one of the most celebrated British Impressionist paintings, Boulogne Sands. Having already painted this beach, looking north to where the hillside rolls gently towards the shore in Boulogne Sands: Children Shrimping, the Casino waterfront was a key location.There is sufficient technical variation between the Tate and Ferens canvases to leave the precise date of most works ascribed to the artist's Boulogne corpus prior to 1891, open to debate. While he was known to be capable of working in several different styles at once, the dabs and dashes of a painting of girls busily building sandcastles on a blustery day, contrast with the serenity of the present townscape - a work that takes the eye beyond the casino to the rising land of the haute ville, and the tower of the Cathédral Notre Dame. At this moment when the noisy children have gone and the casino slowly becomes incandescent, the town sinks into the crepuscular light of evening. Bruce Laughton, Steer's 1960s champion, had not seen the present painting when writing his monograph, and accepted DS MacColl's earlier assessment of it. Recalling the painting in the 1940s and thinking of the celebrated 'nocturnes' of the 1870s, MacColl had reached for the word 'Whistlerian'. It now seems most likely that the artist post-dated Casino, Boulogne '92' at the time it left his studio and when it was recalled for his solo exhibition in 1894, it had passed into the collection of Thomas Humphry Ward (1845-1926), the principal art critic and occasional leader writer on the staff of The Times. Ward apparently 'disliked that it should be known' that he was the painting's owner. George Moore was keen to make something of the fact and in praising the painting he also exposed its purchaser to a wider readership: I like ... The Casino, Boulogne, the property, I note with some interest, of Mr T Humphry Ward, art critic of The Times ... Mr Humphry Ward must write conventional commonplace, otherwise he could not remain art critic of The Times, so it is pleasant to find that he is withal an excellent judge of a picture ... The buildings stand high up, they are piled up in the picture, and a beautiful blue envelopes sky, sea, and land. Nos 1 [the present picture] and 2 show Mr Steer at his best: that beautiful blue, that beautiful mauve, is the optimism of painting, is the peculiar characteristic of Mr Steer's work. Other critics concurred, referring to its 'perfect technique' and the 'decorative charm' of its colour. Painted 'freely and flowingly', the peacefulness of this evening on the French coast was conveyed with splendid spontaneity. It had, more than the overtly 'Impressionist' studies of 1891, a 'unity of vision' that Steer considered one of the essential 'laws' of good painting. He insisted, echoing Whistler, that scenes like that of the casino, may be 'commonplace and ordinary' to the layperson, but it was for the painter to find beauty in them. As one pulled into the harbour of an evening, this called for the subtle palette of warm greys and ochres of a hillside and buildings that surround the ghostly gaming house, framed between the hints of mauve in a peaceful sky and the cool cerulean blues of a rippling tide. Kenneth McConkey
ROGER FRY (BRITISH 1866-1934) THE ROUND TABLE Oil on canvas Signed and dated 1920 (lower right) 76 x 69.5cm (29¾ x 27¼ in.)Provenance: The Mayor Gallery, London Exhibited: London, Courtauld Institute Gallery, Portraits of Roger Fry, 18 September - 14 October 1976, no.22; this exhibition travelled to Sheffield, Mappin Art Gallery, 23 October - 21 November 1976 London, The Belgrave Gallery, Masters of Modern British Painting, 1977, no.1Literature:F. Birrell and D. Garnett, Some Contemporary English Artists, London, 1921, (Illustrated)R. Shone, Bloomsbury Portraits, London, 1976 (Illustrated plate 118, p. 197)R. Shone, The Art of Bloomsbury: Roger Fry, Vanessa Bell and Duncan Grant, London, 1999, p.205, fig.120D. Edwards, Winter Sonata, Virago Modern Classics, London, (front cover illustration)J. Rolls, The Bloomsbury Cookbook, London, 2014, p.232 (illus.) In the Spring of 1920, Roger Fry visited in Vence, staying at Maison Barrière with friends and fellow artists. Amongst this group were the sculptor Marcel Gimond and his wife Julie, both depicted in the present work. Gimond created a number of portrait busts of Fry in the early 1920s. An example of which is now held in London's National Portrait Gallery. The third figure present in Fry's painting, playing a guitar, is the illustrator and Post-Impressionist artist Sonia Lewitska. Lewitska was married to Fry's close friend Jean Marchand. Although present in a small oil sketch of the same scene he is not depicted in the present work. Fry admired Jean Marchand, including his work in both of his groundbreaking exhibitions held at the Grafton Galleries; Manet and the Post-Impressionists, 1910 and The Second Post Impressionist Exhibition, 1912. Through their friendship Marchand became closely associated with the Bloomsbury Group and Fry even dedicated a whole chapter in his 1920 book of essays Vision and Design, observing his move away from cubism; "Having once learned by this process of willed and deliberate analysis how to handle complex forms, he has been able to throw away the scaffolding and to construct palpably related and completely unified designs with something approaching the full complexity of natural forms, through the lucid statement and ease of handling which it actuates testify to the effect of his apprenticeship in Cubism." (R.Fry, Vision and Design, London, 1920, p.282) Although Fry wrote this about the work of Jean Marchand one cannot help but feel that he could have had in mind his fellow Bloomsbury artists Vanessa Bell and Duncan Grant after only recently closing the doors on the Omega Workshop due to lack of funds. Condition Report: The canvas has been relined. Ultraviolet light reveals scattered retouching to the extreme edges consistent with the relining. Otherwise in good condition. Condition Report Disclaimer
λ ALFRED WOLMARK (BRITISH 1877-1961) GAUDIER BRZESKA AT WORK Oil on canvas Signed with monogram and dated 1912 (lower right) 119 x 84cm (46¾ x 33 in.)Provenance: Mrs May Platini, Private Collection, the artist's niece, USAExhibited: New York, Kevorkian Gallery, Alfred Wolmark, 1920, no. 9 London, Ben Uri Gallery, Rediscovering Wolmark: A Pioneer of British Modernism, 2004-05, no. 37 (illustrated in the exhibition catalogue p. 28) Hull, Ferens Art Gallery, Rediscovering Wolmark: A Pioneer of British Modernism, 2004-05, no. 37 (illustrated in the exhibition catalogue p. 28)Literature: Christopher Blake, Modern English Art, London, 1937 (illustrated p. 65) The present work depicts Gaudier Brzeska working on the portrait bust of his close friend Alfred Wolmark. This piece was posthumously cast in an edition of six between 1954-60. Condition Report: Canvas has been relined. Craquelure throughout, most notable in the lighter pigments and larger areas of cracking through the thick impasto. There is possibly some overall discolouration caused by yellowing varnish. Inspection under UV reveals scattered retouching and infilling across the surface. Condition Report Disclaimer
LUCIEN PISSARRO (FRENCH 1863-1944) GIBBET HILL, BROUGH Oil on canvas-board Signed with monogram and dated 1932 (lower right) 33.5 x 41cm (13 x 16 in.)Painted in 1932 from a drawing executed in 1914.Provenance: Anthony d'Offay, London Private Collection, Alan Tapper (acquired from the above in 1977)Exhibited: London, Anthony d'Offay, Lucien Pissarro, 1977, no. 42London, Belgrave Gallery, Masters of Modern British Painting, 1978, no. 13Bradford, Cartwright Hall Art Gallery & London, Belgrave Gallery, Jewish Artists of Great Britain 1845-1945, 1978, no. 15 Literature: Anne Thorold, Catalogue of Oil Paintings of Lucien Pissarro, 1983, no. 490 (illustrated p. 21) Lucien was the eldest son of French Impressionist painter, Camille Pissarro. He benefitted not only from the tutelage of his father but growing up in a milieu surrounded by some of the greatest artists of that period including Claude Monet, Paul Signac and Pierre-Auguste Renoir. Although French by birth, from a young age, Pissarro was drawn to English shores, visiting first as a child in 1870-71 and settling permanently in 1890. He became a British citizen in 1916 and was an integral part of the English art scene of the first half of the twentieth century. His influence is notable in the work of Walter Sickert, Harold Gilman and Spencer Gore. Pissarro is primarily known as a landscape painter and the present oil is a typical example of his work. Between 1913 and 1919, he travelled extensively producing views of Dorset, Westmorland, Surrey, Sussex, Essex and Devon. The present work, although painted some decades later, is based on a drawing from that period. It forms part of a group of works from 1914 depicting the village and landscape around Brough in Westmorland, now Cumbria, of which Wild Boar Fell, Brough is held by Manchester Art Gallery. Condition Report: Light surface dirt throughout. Inspection under UV reveals no obvious evidence of restoration or repair. Overall appears to be in good original condition. Condition Report Disclaimer
λ PAUL NASH (BRITISH 1889-1946) SEAGULL EYE WIND WAVES Wood Printed with artist's address to Bourlet & Sons Ltd., London label (to underside) 52 x 40cm (20¼ x 15½ in.) In the avant-garde English journal Axis no 8 for Early Winter 1937, Paul Nash's object Burnt Offering was reproduced - one of the few images we have of his objects, once quite numerous but now virtually all disappeared. Burnt Offering seems to be a composite object, with what appears to be a turned wooden finial (upside down) or door handle partially destroyed by fire fixed to a concrete or stone base with markings and encrustations that make it look as if it had long been submerged in the sea.Nash's objects were a major presence in the surrealist exhibitions in England in the 1930s. At the 1936 International Surrealist Exhibition at the New Burlington Galleries he showed two objects - untitled, but described as "Designed Object", and one "Found Object Interpreted" whose medium was given as "Vegetable Kingdom" (Marsh Personage). Burnt Offering was also shown at the London Gallery exhibition "Surrealist Objects and Poems" (1937). As Michel Remy says, "Hardly any exhibit has survived from the exhibition", (so far as we know). True to the complexity of the surrealist interest in the object, fifteen categories of object were listed in the catalogue; in "Surrealist objects" Nash exhibited Homes without Hands and Forest; in "Found Objects" Long-gom-pa ("a five-branch root named after a Tibetan runner famous at the time" (Remy); in "Found Objects Interpreted" Goodness How Sad, Encounter of Wild Stones, Not Cricket and Nest of Wild Stones; in "Objects Collages", Aquarium and Only Egg; in "Oneiric Objects" Tree Man; in "Objects for Everyday Use" (with Margaret Nash) Basket for Found Objects; Burnt Offering in "Perturbed Objects"; Moon Aviary in "Constructed Objects".For the Cambridge University Arts Society "Exhibition of Surrealism" (1937) he showed three: Only Egg, The Nest of Wild Stones and Long-gom-pa. In the same exhibition Eileen Agar showed Le père Ubu. In 1938, following the great success of the London International Surrealist Exhibition, Nash showed several works, including Objets aux champs and Objets balancés (probably photographs rather than actual objects, the latter possibly Poised objects [Causey 1973 pl. 27].)Of the twenty-five or so known and named objects, most were dismantled, scrapped, "not made" or have simply melted away. Forest from Roland Penrose's collection (trees made from glove stretchers) and Only Egg "seem to be the only two objects by Nash to have survived", according to the catalogue raisonné. As the Tate catalogue entry for Nash's important photomontage/drawing Swanage, c. 1936 says, "Almost none of these objects survives except as depicted in Nash's work, though he apparently continued to keep and collect objects until his death".It is therefore extraordinarily difficult to place the object in question with any certainty although there is plenty of leeway for the existence of a hitherto unknown "found object" - or possibly "found object interpreted". A typewritten label on the back of the object gives the title "Seagull Eye Wind Waves" and an address for Paul Nash: Whitecliffe Farm, near Swanage, which is where he lived from October 1934 until he moved to the centre of Swanage in 1935. In March 1936 the Nashes left Swanage. So the object (or its collection) would date from roughly the same period as Marsh personage, his first found object, which in some respects, especially visually, it resembles.Whereas Marsh Personage and Long-gom-pa are clearly found "natural" objects, (the latter furze-wood, the former driftwood, "salvaged from a stream", and the first of the found "vegetable" objects), Seagull Eye Wind Waves is "interpreted" and worked on. It is composed of three pieces of wood, each with a strong character: the thickly gnarled outer rim of a hollow tree, which embraces a curved form, perhaps once part of a piece of furniture. This has been carved to enhance its resemblance to outspread seagull wings, and the tip of the top wing becomes a bird head; through a hole in the top of this shape runs a thin, antler-like branch. Perhaps this worn forked stick that has pierced the wooden curve was encountered thus in a curious natural formation, and the curve was then interpreted as wings and the bird's head, crudely carved. Gashes and striations in the side of the wooden base, some circling knots in the wood, some indicating the lines of a torso, must belong to the same intervention. It might have been worked by Nash, or found by him as a piece of rough carving, a kind of primitive interpretation by an unknown hand, with a sense of the phallic and sexual suggestions in the lump of wood and its odd impaling. This would be wholly in line with surrealist taste and there are plenty of examples of such finds. For example the construction made by an aliéné, (a frame filled with broken scissors and other sharp implements) found and exhibited by André Breton. This rural find by Nash is in line with his profound love of the natural world and its innumerable forms. He wrote in Axis (January 1935) "...I find I still need partially organic features to make my fixed, conceptual image. I discern among natural phenomena a thousand forms which might, with advantage, be dissolved in the crucible of abstract transfiguration; but the hard cold stone, the rasping grass, the intricate architecture of trees and waves, or the brittle sculpture of a dead leaf - I cannot translate altogether beyond their own image, without suffering in spirit. My aim in symbolical representation and abstraction, although governed by a purpose with a formal ideal in view, seeks always to give life to a conception within the formal shell..." In my opinion Seagull Eye Wind Waves is a found interpreted object by Paul Nash. Professor Dawn AdesCausey, Andrew and Eates, Margot Paul Nash Paintings and Watercolours Tate 1975Causey, Andrew Paul Nash's Photographs, Document and Image Tate 1973Evans, Myfanwy "Paul Nash 1937" Axis no 8 Early Winter 1937Exposition internationale du surréalisme Exb. cat. Galerie Beaux-arts Paris 1938 Exposition surréaliste d'objets Exb. cat. Charles Ratton Paris 1936Jenkins, David Fraser Paul Nash, The Elements Dulwich Picture Gallery 2010Montagu, Jemima (ed.) Paul Nash, Modern Artist, Ancient Landscape Tate 2003Nash, Paul "For, but not with" Axis 1 January 1935Nash, Paul "Swanage or Seaside Surrealism" Architectural Review November 1936Nash, Paul "The Object", Architectural Review November 1936Nash, Paul Fertile Image Ed Margaret Nash [1951] 1975Nash, Paul Writings on Art ed. Andrew Causey Oxford 2000Paul Nash, Places Exb. cat. South Bank Centre 1989Read, Herbert (ed.) Surrealism 1936Remy, Michel Surrealism in Britain Ashgate 1999Surrealism Exb. Cat. Cambridge University Arts Society 1937Surrealist Objects and Poems London Gallery Ltd. 1937 The International Surrealist Exhibition New Burlington Galleries Exb Cat. 1936 The London Bulletin 1938-1940
λ DORA GORDINE (ESTONIAN 1895-1991) STANDING FEMALE DANCER Bronze with green patina Signed and numbered 2/6 to the base Height 65cm (25½ in.) 'If people really want to know me, let them look at my sculpture, because words are not my medium at all. It is sculpture that is my medium.' Dora GordineDora Gordine's Standing Dancer captures the movement and elegance of the female form. Gordine explored themes of motherhood and womanhood through her bold, strong and yet feminine sculptures, usually cast in bronze. Gordine was initially influenced by a group of artists in her homeland Estonia coined 'Noor Eesti' who followed the concepts and ideals of the Art Nouveau movement. In 1924, Gordine relocated to Paris and was immediately encapsulated by the rich French culture frequently visiting the multitude of galleries, operas and museums.In 1925, Gordine worked for the British Pavilion at the International Exhibition of Modern Decorative and Industrial Arts in Paris, as a mural painter. This opportunity provided her with the means to start producing bronze sculptures again and Gordine went on to exhibit her works at the Beaux Arts Society and the Salon Des Tuileries in 1926 where she presented a head and torso sculpture of a Chinese philosopher which was met with great acclaim. Back in London in 1928, the Leicester Galleries held Gordine's first solo show, which proved to be a great success; all of the pieces selling including one to Samuel Courtauld. In 1936, Dora married the Hon. Richard Gilbert Hare and together they built Dorich House in Kingston Vale which doubled up as their home to showcase their personal collection of Russian Art and furniture but also her studio to create and display her sculptures. Through her husband's connections Gordine became immersed within London's fashionable elite. Figures such as Sir Kenneth Clark, Dame Beryl Grey and Professor Frederick Brown, head of the Slade School of Art all jumped at the opportunity to sit for Gordine. The present lot signifies Gordine's approach to sculpture, she felt sculpture was a tool to depict not only identifiable features but capture the vision of a sitter. The figure stands poised, caught in a moment of movement oblivious to the onlooker. 'You have to imagine what they are like inside and bring out their inner feeling and then put it in a form.' Dora Gordine, BBC Interview, 1972 Condition Report: Light surface dirt throughout otherwise appears to be in good original condition. No obvious evidence of restoration or repair. Condition Report Disclaimer
* Hallwards (Reginald, 1858-1948). Maternity, 1892, oil on canvas laid down on wood panel, signed with a monogram to lower right, with two handwritten labels to verso, one for 'Walker Art Gallery, Liverpool, Autumn, 1892' also with title, artist's address and price, the other label 'Liverpool 1892 Dicksee &...', areas of wear and craquelure, board size 25.5 x 20 cm (10 x 8 ins)QTY: (1)NOTE:Provenance: Mallams Oxford, Modern Art & Design, 18 May 2022, lot 167.Hallwards trained first at the Slade and the Royal College of Art, and then in the late 1880s with the leading Arts and Crafts stained-glass practitioner Christopher Whall at his studio in Dorking. He exhibited his work widely, at the Royal Academy, the New English Art Club and the Royal Society of British Artists.
* Boldrini (Nicolo, active 1540-1566). Landscape with a milkmaid at right and a boy at left, after Titian, circa 1535-40, woodcut on laid paper, some light overall spotting, trimmed to black outer borderline (occasionally with some encroachment to lower left margin, sheet size 373 x 524 mm (14 3/4 x 20 5/8 ins), mounted to modern card at upper left and lower right corners only, window-mounted, 20 th century black and gilt frame, glazedQTY: (1)NOTE:Provenance: Estate of Michael Jaffé (1923-1997) art historian and former director of the Fitzwilliam Museum, Cambridge.Muraro & Rosand 21.
* German Nazarene School. The Coronation of Saint Nicholas of Tolentino, after Raphael, attributed to Joseph von Fuhrich (1800-1876), pencil on laid paper, 23.2 x 15.3 cm (9.2 x 6.1 ins), laid down on modern backing paper, hinge-mounted in modern window mount, inscribed in pencil to lower margin by Michael Jaffé 'Joseph Fuhrich (Keith Andrews)', (mount size 46 x 32 cm), together with Design for a stained glass window, attributed to Johan Anton Alban Ramboux (1790-1866), pencil on cream wove paper, depicting a saint in church robes holding a book and thin staff, within an arched surround, with landscape in the background, pencil annotations in German to right blank margin, sheet size 22.4 x 20 cm (8.85 x 7.9 ins), tipped-on to later grey backing paper, window-mounted, with two small strips of old backing card mounted below with further pencil inscriptions (one giving the name Palma Vecchio), and pencil attribution to the window mount by Michael Jaffé 'Ramboux cf. rare article in Wallraf-Richartz Jahrbuch'QTY: (2)NOTE:Provenance: Michael Jaffé (1923 –1997), art historian and former director of the Fitzwilliam Museum, Cambridge; thence by descent.The first work depicts the lower portion of Raphael's early Baronci altarpiece, The Coronation of Saint Nicholas of Tolentino (1501), showing the saint standing within an arched architectural chapel, flanked by angels with the devil sprawled at his feet. This Nazarene drawing is almost certainly a copy after the version of Raphael's Baronci altarpiece commissioned in 1791 from the artist Ermenegildo Costantini (active 1776–1791) to replace the Raphael which was largely destroyed in an earthquake of 1789 (Copy of Lower Part of Raphael’s Coronation of Saint Nicholas of Tolentino, 1791, now in the Pinacoteca Comunale, Città di Castello) The present drawing may date from Fuhrich's time in Rome between 1827 and 1829.The pencil inscription in German to the right blank margin of the second drawing reads: 'Nasenflugel zu breit / Augen grossartiger / besonders das obere Augenlid / im .... breiter', translating as: 'side of the nose too wide / eyes greater / especially the upper eyelid / in .... wider'. Ramboux trained initially at the Munich Academy in 1815, and then resided in Rome for extended spells between 1817 and 1827, and 1829 to 1841. In 1844 he became curator of the Wallraf Collection at Cologne.
* Atherton (John, 1900-1952). New York World's Fair 1939 by Italian Line, 1939, colour lithograph poster, 'Made in U.S.A. by Grinnell Litho. Co., Inc. N.Y.C.' to lower right, in very good condition, upper margin strengthened to verso, sheet size 76.5 x 51.5 cm (30 x 20 1/4 ins)QTY: (1)NOTE:John Atherton was an American painter, magazine illustrator, writer and designer. His works form part of numerous collections, including the Museum of Modern Art, Whitney Museum of American Art and the Smithsonian American Art Museum.The 1939 World Fair was held New York at the Flushing Meadows Corona Park from 30 April 1939 to 31 October 1940. It was the second-most expensive American world's fair of all time, exceeded only by St. Louis's Louisiana Purchase Exposition of 1904. Many countries around the world participated in it, and over 44 million people attended its exhibits in two seasons
AR * Minton (John, 1917-1957). Green Door, 1935, gouache on board, signed and dated in pencil, a stylised and colourful interpretation (with hints of Geometric Abstraction) of a door, railings, streetlamp, tree branches and wall, image size 35.5 x 24.5 cm (13 3/4 x 9 1/2 ins), framed and glazed (45.5 x 34.5 cm) QTY: (1)NOTE:Provenance: James 'Jock' McHarg (1917-2003), thence by descent. Bonhams, 20th Century British Art, 19 November 2008, lot 3; Dreweatts, Modern and Contemporary Art, 25 October 2023, lot 81.The psychiatrist, university teacher and medical historian James McHarg was one of John Minton's oldest friends. The pair attended Reading School together during the 1930s. McHarg is mentioned in the first chapter of Frances Spalding's biography of the artist, John Minton, Dance till the Stars Come Down. 'Green Door' was painted whilst Minton was studying at St. John's Wood School of Art, alongside fellow student Michael Ayrton.
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