Twins Seven Seven, Nigerian 1944-2011 - The Lost Mask, 1989; oil and beadwork on assembled panel, signed titled and dated on the reverse 'Prince Twins Seven Seven Mask 1989' and further annotated 'cut out of "Stare" ', 52.2 x 43 cm: together with an etching on paper by the same artist 'The Anti Bird Ghost' (2) Literature: Henry Glassie, 'Prince Twins Seven-Seven: His Art, His Life In Nigeria, His Exile In America', Indiana University Press, 2010, illus. p. 294 ('The Lost Mask, 1989') Note: the first work was cut from a wrecked theatre set. Beaded works are rare for the artist; a technique honed by his colleague Jimoh Buraimoh.Twins Seven-Seven is one of the best know artists of the Oshogbo School, using his experience as a singer and dancer to create his highly individual vision. His work has been exhibited across the world, including the Pompidou Centre, Paris, Houston Contemporary Arts Museum, MoMA, New York, the National Museum of African Art, Washington, D.C. and the National Modern Art Gallery in Lagos.
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Ato Delaquis, Ghanaian b.1945 - Great Table - Top Market; acrylic on canvas, signed lower left 'Ato Delaquis' and signed again and titled on the reverse, 122 x 245.5 cm (unframed) Provenance: private collection; Arthouse Contemporary, Modern and Contemporary Art, Lagos, 22nd November 2010, lot 27; private collection, purchased from the above sale
John Bellany CBE RA HRSA, Scottish 1942-2013 - Self-portrait, 1984; charcoal on paper, signed and dated upper left 'Bellany 84', 57.5 x 40 cm (ARR) Provenance: private collection, UK Note: One of the most celebrated Scottish artists of the 20th century, Bellanys deeply symbolic work contains an unrivalled intensity and power. Using a distinctly Scottish iconography, Bellany works explore questions of the human condition, Celtic history and our relationship with the sea. Alongside Alexander Moffat and the poet Hugh MacDiarmid, Bellany sought to create a renaissance in Scottish culture from the 1960s. Inspired by the symbolism of Alan Davie, his work has also been highly influential on a generation of artists, including Damien Hirst who has been a major collector of his work. Bellanys work is held in collections across the world, including the Tate, the Museum of Modern Art, New York and the National Galleries of Scotland. Recent exhibitions of his work have been held at Fortnum & Masons in 2017 and the National Gallery of Scotland in 2012-13.
Roger Hilton CBE, British 1911-1975 - Untitled; pencil on paper, 20.7 x 13.5 cm ( ARR) Provenance: Waddington Gallery, London; Alistair McAlpine Esq., McAlpine Collection No. 61 (according to the label and stamp on the reverse of the mount); Monika Kinley; Erhard Stern (known as Edward) and thence by descent Note: Lord Alistair McAlpine (1942-2014) was a politician, major art collection and occasional dealer. He donated his collection of Modern British sculpture, which he amassed over his lifetime, to the Tate, Russian Futurist books to the British Library and antiquities the British Museum.
John Bellany CBE RA, Scottish 1942-2013 - Two figures by a harbour; ink on paper, signed lower left, 82.7 x 57.8 cm: together with another work on paper by the same artist 'Mary Rose, 1983' of a similar size (2) (ARR) Note: one of the most celebrated Scottish artists of the 20th century, Bellanys deeply symbolic work contains an unrivalled intensity and power. Using a distinctly Scottish iconography, Bellany works explore questions of the human condition, Celtic history and our relationship with the sea. Alongside Alexander Moffat and the poet Hugh MacDiarmid, Bellany sought to create a renaissance in Scottish culture from the 1960s. Inspired by the symbolism of Alan Davie, his work has also been highly influential on a generation of artists, including Damien Hirst who has been a major collector of his work. Bellanys work is held in collections across the world, including the Tate, the Museum of Modern Art, New York and the National Galleries of Scotland. Recent exhibitions of his work have been held at Fortnum & Masons in 2017 and the National Gallery of Scotland in 2012-13.
Alan Davie CBE RA HRSW, Scottish 1920-2014 - Study for 'Alan Davie: Drawings'; gouache on paper, signed upper left 'Alan Davie', 29 x 50.8 cm (ARR) Note: the present lot is the study design for the cover of the book 'Alan Davie: Drawings' published on the occasion of the exhibition at the Scottish National Gallery of Modern Art, Edinburgh, 8th February-20th April 1997, written by Patrick Elliot.
Katy Moran, British b.1975 - Geneva Got Me 1, 2006; acrylic on canvas, signed and dated on the reverse 'Katy Moran 06', 38.1 x 46.3 cm (unframed) (ARR) Provenance: Stuart Shave/Modern Art, London, MA-MORAK-00054 (label attached to the reverse of the stretcher); private collection, purchased from the above on the 18th October 2006, invoice no.01565 (according to the copy of the original invoice)
Frederick Gore CBE RA, British 1913-2009 - Leicester Square at Night; oil on canvas, signed lower left 'F Gore', 60 x 71.5 cm (ARR)Provenance:Bonham's, London, Modern British, Irish and East Anglian Art, 19th November 2013, lot 205; Christie's, London, Modern British and Irish Art, 15th July 2015, lot 43;
Laurence Stephen Lowry RA, British 1887-1976 - Ringley Bridge, Bolton, 1960; pencil on paper, signed with initials lower right 'L S L 60', 10.2 x 11.4 cm (ARR) Provenance: private collection, gifted by the artist; Christie's, London, British Art on Paper, November 2001, lot 161; private collection, purchased from the above; Christie's, London, Modern British and Irish Art, 14th December 2012, lot 405; Clarendon Fine Art, London, 2013; private collection, purchased from the above Note: Lowry drew this view a number of times and a more detailed view is in the collection of Salford Art Gallery (see M. Levy, 'The Drawings of L.S. Lowry, Public and Private', no.103, illus.). The present work was most likely drawn on an envelope.
Henry Cliffe, British 1919-1993 - Woman with flowers (with figure studies on the reverse); gouache on paper, with pencil on paper on the reverse, 38 x 28 cm (ARR) Provenance: private collection, purchased directly from the Estate of the Artist; Roseberys, London, Modern British & Contemporary Art, 25th May 2022, lot 102 (part lot); private collection, purchased from the above
Claudio Bravo, Chilean 1936-2011 - Portrait of an elegant woman in pink dress, 1966; pastel on paper, signed upper left 'Claudio Bravo' and dated in Roman numerals upper right 'MCMLXVI', 99 x 71 cm Provenance: the Sitter, South of Spain, gifted by the artist; private collection, by descent Note:Bravo established himself in Madrid as a society painter, known for his technical skills, inspired by the Spanish Baroque style. He is celebrated for his hyperrealist paintings of wrapped packages, recently as a Google Doodle in 2019.His works in the collections of The Metropolitan Museum of Art, New York; ; Rufino Tamayo Museum of International Contemporary Art, Mexico City; Museum of Modern Art, New York; and The Museum of Fine Arts, Boston.
John Copnall, British 1928-2007 - Big White Diamond I, 1986; oil on diamond-shaped canvas, signed, titled and dated on the reverse 'John Copnall Big White Diamond I 1986', 215 x 215 cm (unframed) (ARR) Provenance: the Estate of the Artist; private collection, UK; Bonhams, London, Modern British and Irish Art, 13th July 2022, lot 176; private collection, UK, purchased from the above
Ansel Krut, South African b.1959 - Man Eating His Own Intestines, 2006; oil on canvas, signed and titled to the stretcher 'Ansel Krut Man Eating His Own Intestines', 152 x 121.5 cm (unframed) Provenance:with Stuart Shave/Modern Art, London, MA-KRUTA-00003 (according to a copy of the original invoice);private collection, London, purchased from the aboveNote:works by the artist are in public collections in the UK including the Yale Centre for British Art and the British Council Collection. Recent solo exhibitions have included 'Verbatim' at the Jerwood Gallery, Hastings in 2014.
Balraj Khanna, Indian b.1940 - Two lovers, 1978; oil on canvas, signed and dated lower right 'Balraj 78', 60 x 90.4 cm Provenance: Erhard Stern (known as Edward) and thence by descent Note: a painter and author, Khanna is known for the books 'The Punjab and the Punjab Way of Life, 1976' and 'Nation of Fools, 1984' which won the Winifred Holtby Prize. Like his friend Francis Newton Souza, he moved to the UK and exhibited widely, including at the New Visions Centre in 1965, the Serpentine Gallery in 1979 and The Museum of Modern Art, Wales in 1994. His works are in public collections including the Arts Council and Bradford Museum and Galleries.
John Copnall, British 1928-2007 - Benalmadena Mountainside, 1959; oil on board, signed and dated upper left 'John Copnall 59', titled and dated on the reverse 'Benalmadena Mountainside 59', 61 x 91 cm (ARR)Provenance:with Austin/Desmond Fine Art, London (according to the label attached to the reverse);with Louise Kosman Modern British Art (according to the label attached to the reverse);private collection, London
Wilhelm Sasnal, Polish b.1972 - Nadwozie typu coupé, 1999; oil on canvas, signed, titled and dated on the reverse 'Wilhelm Sasnal Soz-III/821/03 1999', 40.5 x 40.5 cm (unframed) (ARR) Exhibited: Art Forum Berlin, 26th - 30th September 2002 (according to the label affixed to the reverse)Note:Sasnal draws from every day imagery, in found photos, advertisements and pop culture, and paints it through a lens of simplification or distortion, exploring themes of mass culture and politics. Sasnal's work is in the collections of the Guggenheim Museum, New York, Tate Modern, London and Museum of Modern Art, New York.
Geoffrey Clarke RA, British 1924-2014 - Untitled; metal and slate, signed with monogram lower right 'GC', H43.5 x W37 x 2.3 cm (ARR) Provenance: Askew Art, London (according to the copy of original invoice); a Collector of Modern British Art, purchased from the above 16th January 2014 and thence by descent
Paul Feiler, British 1918-2013 - Mean Dower, 1959; mixed media on paper, signed, titled and dated on the reverse of the frame 'Paul Feiler Mean Dower 1959', 53.3 x 41.5 cm (ARR) Provenance: Bloomsbury Auctions, 21st June 2012, lot 6 (according to the copy of the original label); a Collector of Modern British Art and thence by descent
WHITEREAD RACHEL: (1963- ) English artist, the first woman to win the Turner Prize (1993). Signed colour 8 x 10 photograph, the image depicting her sculpture Untitled (Stairs) (2001) in the Tate Modern, London. Signed by Whiteread in black ink with her name alone to the base of the image. A pencil note in the hand of a collector to the verso indicates that the signature was obtained in person at the Belvedere 21 Museum of Contemporary Art in Vienna. EX
WINSLET KATE: (1975- ) English actress, Academy Award winner for Best Actress in 2008 for her role as Hanna Schmitz in The Reader. Signed colour 8 x 10 photograph of the actress in a head and shoulders pose in costume as Sylvia Llewelyn Davies from the biographical fantasy film Finding Neverland (2004). Signed by Winslet in bold blue ink with her name alone to a clear area of the image. A printed sticker neatly affixed to the verso indicates that the signature was obtained in person at a screening of Woody Allen's film Wonder Wheel (in which Winslet starred in the role of Ginny Rannell) at the Museum of Modern Art on 14th November 2017. EX
GAUGUIN PAUL: (1848-1903) French Post-Impressionist painter. A rare and very interesting lengthy Autograph Manuscript draft article by Gauguin, four pages, folio, n.p., n.d. [late 1889], in French. The draft article is untiltled, although would later be published as "Huysmans et Redon". Gauguin responds in this article to Huysmans's writing on visual arts, stating in part `Huysmans est un artiste, son mouvement d´impulsion se traduit dans une expulsion en littérature. Beaucoup de peintres voudraient être musiciens ou litérateurs. Lui voudrait être peintre. Il l´aime la peinture. A différentes époques des critiques ont paru de lui.... Depuis il s´est fait un grand changement en lui car il a soif d´art et ne craint pas de marcher sur ses erreurs. Nous l´en félicitons´ (Translation"Huysmans is an artist, his impulse movement translates into an expulsion in literature. Many painters would like to be musicians or men of letters. Huysmans would like to be a painter. He loves painting. At different times critics have appeared about him... Since then a big change has taken place in himself because he is thirsty of art and do not fear to walk on his own errors. we do congratulate him for this") Further Gauguin criticises the terms on which Huysmans has written about Odilon Redon and disputing Huysmans's understanding of other artists ancient and modern including Francesco Bianchi, and referring to Rembrandt and Rapahel, states in part `Je ne vois pas en quoi Odilon Redon fait des monstres - Ce sont des êtres imaginaires. C´est un rêveur, un imaginatif.... Voyez l´oeuvre de Rembrandt de Raphael et quelle relation intime entre tous ses modèles femmes et hommes et son portrait...´ (Translation: "I don't see how you can say that Odilon Redon makes monsters - They are imaginary beings. He is a dreamer, an imaginative.... See the work of Rembrandt, Raphael, and what an intimate relationship between all his female and male models and his portrait..."). Further again, Gauguin refers extensively to Gustave Moreau `...Son mouvement d´impulsion est bienloin du coeur, aussi il aime la richesse des biens matériels...´ (Translation "...His impulsive movement is very far from his heart and he loves the richness of material wealth..." and refers also to Puvis de Chavanne with some unconnected notes at the end `Coco de mer - Coco a deux parties qui s´entrouvent comme le sexe femelle d´où sort un énorme fallus qui va se piquer en terre pour germer. Les habitants l´ont considéré lontemps comme le fruit défendu de l´arbre de la science du mal et du bien´ (Translation "...Coconut in two parts which open like the female genitalia, from which emerges an enormous phallus which embeds itself in the earth to germinate. The inhabitants have long considered it as the forbidden fruit of the tree of the knowledge of good and evil") An extremely interesting thoughts by Gauguin, saying in differents parts of his manuscript `...Je veux dire par là que le peintre ne opeut illustrer un livre et vice versa. Il peut décorer son livre oui, y ajouter d´autres sensations qui s´y rattachent... De la laideur - Question brûlante et qui est la pierre de touche de notre art moderne et de la critique.... D´un volcan vous en refroidissez la lave et d´un sang bouillonant vous en faites une pierre. Fût-elle un rubis ...mais on veut des rubis et on les vend aux trafiquants de diamants! En somme Gustave Moreau est un beau ciseleur. En revanche Puvis de Chavannes ne vous sourit pas... La simplicité la noblesse ne sont plus d´époque. Que voulez-vous éminent critique d´art, ces gens là seront un jour de leur époque....´ (Translation: "By this I mean that the painter cannot illustrate a book and vice versa. He can decorate his book yes, add other sensations attached to it... Of ugliness - A burning question and which is the touchstone of our modern art and criticism.... Of a volcano you cool the lava and from boiling blood you make a stone. Was it a ruby...but we want rubies and we sell them to diamond traffickers! In short, Gustave Moreau is a great engraver. On the other hand, Puvis de Chavannes does not smile at you... Simplicity and nobility are no longer of the times. What do you want, eminent art critic, these people will one day be of their time...") A letter of excellent contant and association. Extremely small tears to the bottom edge of the second page, otherwise G to VGIn the present letter, Gauguin criticises the art criticism of the "decadent" critic Karl-Joris Huysmans. These typically combative notes, attacking the taste of the great literary champion of the Impressionists, were written when Gauguin was back in Paris after his fraught sojourn with Van Gogh in Arles, and was beginning to turn his mind to Tahiti. At the heart of his argument is the figure of Odilon Redon, who was in fact a friend of both men. Huysmans had written some of the first positive reviews of Redon's art, which had played a vital role in establishing him in the art world. Both Redon and Gauguin had exhibited in the 8th Impressionist exhibition of 1886, and by the late 1880s Redon was one of the few artistic contemporaries of whom Gauguin spoke with unambiguous respect. Gauguin is responding to a chapter of Huysmans's "Certains" on Redon entitled "Le Monstre" (1889). To Huysmans, Redon was an artist of fantasy, creating distorted monsters to express modernity - a visual equivalent of contemporary decadent and symbolist literature. Gauguin refutes this, claiming that Redon's imagination is an expression of nature. This article was dated by Guérin, who notes that it was first published in Les Nouvelles littéraires, 7th May 1953. Interestingly, the manuscript shows significant differences from the published text, with a number of important sentences silently omitted or re-ordered. Karl-Joris Huysmans (1848-1907) French Novelist and art Critic. A founding member of the Academy Goncourt and an early advocate of Impressionism.Odilon Redon (1840-1916) French Painter. Best known for his Dreamlike works inspired by Japanese art.Gustave Moreau (1826-1898) French artist, an important figure in the Symbolist movement.Pierre Puvis de Chavannes (1824-1898) French painter.
STEADMAN RALPH: (1936- ) British illustrator, best known for his collaboration with the American writer Hunter S. Thompson. An extensive correspondence collection of forty-two A.Ls.S. (the majority to the versos of postcards, many featuring images of Steadman's work) and nine T.Ls.S., Ralph, sixty-six pages (total), 4to and smaller, various places (Maidstone, Kent, France and Italy), March 1980 - January 1997, all to Tom Maschler. The substantial, and often amusing, correspondence covers a wide range of subjects, including Steadman's work, in part, 'Many thanks for your letter and your marvellous enthusiasm. I am very happy that Cape & your good self are prepared to take me on with a project that hardly has any bones yet.....I doubt if I will begin Leonardo for 2 or 3 months but that does not prevent me reading about my subject and making notes which is how I set about the book on Freud' (18th March 1980), 'It's fascinating sitting in spots where the old boy [Leonardo da Vinci] might have sat. I was unable to lie on his bed or use the secret tunnel used by Francois I to visit him daily' (25th April 1981), ' "Bloody good!!" he said when he caught sight of the first drawing. "How many more are there?" "How many do you want?" "That depends" "On what?" "How many disciples turn up - can you manage another eleven - No problem' (31st August 1982), 'If he can sell 5000 copies there must be another 50,000 who would buy it if they only knew about it - at least. There is a huge army of committed fans over there [America] but I don't think they know the book exists. All I know is when I did a signing the queue went down the street - New York & West coast. Maybe they were all my fans and there aren't any more but do you believe that. Anyway, one of these days we'll blast through the bullet proof barrier & wonder why we worried' (21st December 1984), 'When Glasgow Art Gallery asked for copies of "I Leonardo" to sell during the course of my exhibition there, they were informed that you are now completely out of the 2nd edition. Surely it is worth a reprint even for this country only' (3rd May 1985), '...[I] have been asked to front a T.V. show on our attitudes to animals (J. G. Ballard, Brian Aldiss etc to be interviewed) I've just been to a bullfight, so I'm on dodgy ground' (28th September 1995). 'I will be researching the ways of cannibals - where they were - who they ate - who tasted best and what their favourite sauces are. Did they have head chefs - table manners - religious symbolism & belief in the powers allotted to various parts of the body......Are we in fact missing a vital part of our diets which no amount of lamb or pig can assuage?.....It's a wide & wonderful subject Tom, and in the metaphysical sense we act like cannibals today in this dog eat dog society of ours' (19th October 1995), 'I have read The Mildenhall Treasure - it is a fine TRUE tale of trust and paranoic avarice. Though, Butcher's wife knew. I love the descriptive atmospherics as much as [Roald] Dahl's grasp of human nature. It could be special, but why, I ask myself am I illustrating Dahl, when I could be hurling myself into Rabelais' (16th June 1996), 'I was thrilled to hear from you again. We have now reorganised the answering machines especially for you so that if you want to sing a song, tell me a story, or recite a piece of concrete poetry, you know I will hear it in future' (n.d., although 1996), 'Two things in defence of the "Snags". Defence one: Children love repetition. Defence two: Childrem don't recognise sophistication; only the inherent spirit of fun, the game itself played out between parent & child. I know. It has been tried out on a nursery school full of children and they ask for more. Defence three even: It is a great way to learn punctuation & a wonderful way to read pictures....' (18th June 1996), 'I am in search of magic - in search of Roald Dahl. What made him tick?' (26th November 1996), 'Over the last few months I have been doing some strange but intriguing, and funny!, pictures in the evenings on my knee (on paper of course) which I call my knee jobs. They seem like the basis for a book though I don't quite know how or why' (6th January 1997), 'Cannibals at the moment are rife in the world of publishing, literart meat-eaters, retail/wholesale packagers, remainderers of books which are in their prime, even 'Animal Farm' which is No. 3 in the best 100 books of the 20th century - trashed because 'its sale has gone down to a trickle' and who, I wonder, is prepared to admit blame?......Unless the book smells like a Body Shop and leaps off the shelf to bite you up the arse, what chance do new books have, except one on cannibals who might like a piece of arse for supper' (19th January 1997), 'I hope that our chat yesterday settled the final touches for our collaboration to reincarnate one of Roald Dahl's wonderful true stories' (29th April 1999), 'Here is something to get your teeth into. The spider's mouth is the hole at the back of Dahl's chair - it needs my cryptic explanation' (n.d.), 'I have avoided planning new booksm but I have not been idle.....I have been involved in a modern dance based on the last years of Picasso....I have done the centenary portrait of T. S. Eliot for The Poetry Society celebration in September. That led to a curiosity to see how I could portray his face in paint & I completed 6 paintings of his visage. He has a strange face......Channel 4 are keen to do a film about my Welsh speech based on the 'BOYO' tapestry and I am making a 10 minute short based on a conversation I invented between Marcel Duchamp & Luis Bunuel......I have always felt that the people who do well out of my book signings are the book shops since I give more of a performance that a mere 'Jeffrey Archer' type signing' (n.d., although 1993). Several of the letters are illustrated with a small caricature alongside the signatures. Some very light, minimal age wear, VG, 51Tom Maschler (1933-2020) British publisher who, from 1960, was head of the publishing company Jonathan Cape for more than three decades. Maschler was also instrumental in establishing the Booker Prize in 1969.
Charles Higgins ('PIC'), Scottish 1893-1980 - Against the Odds, 1965; ink and decalcomania on card, signed lower right 'Pic' and signed, dated and titled on the reverse, 10.1 x 26.7 cm: together with 2 other unframed works on paper by the same artist, 'Dec Floe Landscape, 1959', and 'Something is making me a little uneasy, 1970' (3) (unframed) (ARR) Provenance: the Estate of the Artist Note: writer and painter Charles Higgins painted under the pseudonym of PIC and created some of the most extraordinary and enigmatic British paintings of the 20th century. Setting mythological and fantastical imagery within imagined landscapes, PIC's work transports the viewing through time and the imagination, demonstrating the same visionary zeal as figures such as Marc Chagall, Cecil Collins and Leonora Carrington. His work was exhibited in some of the most important British galleries of the 20th century, including the Wertheim Gallery during the 1930s, Gimpel Fils during the 1940s and 50s and Jack Bilbo's celebrated The Modern Art Gallery in the 1940s.
Henry Gibbs Massey, British 1860–1934 - Porcelain and Oranges; oil on canvas, signed lower right 'Henry Massey', 53 x 51.2 cm (ARR) Exhibited: National Society Royal Institute Galleries, London (according to the label attached to the reverse) Note: the artist studied in Paris, before travelling to the Pont-Aven region made famous by Gauguin and the Post-Impressionists, and a gentle influence of Modern French painting can be read across his work. The artist wwas Principal at Heatherley's School of Art in London from 1907-34. His 1919 watercolours were amongst the first depictions of the continental war graves and the newly constructed military cemeteries. These watercolours were exhibited at Guildford Cathedral in 2014 in its Great War Commemorative exhibition.
Anne Estelle Rice, American/British 1877-1959 - The dancer, c.1920; watercolour and pencil on paper, inscribed on the reverse 'in the R. G.' and bears inscription 'Estelle Rice', 29.4 x 22.4 cm (ARR) Provenance: Tom Bell Fine Art, Troon (label attached to the reverse of the frame); Bonhams, London, Encore Modern Art on Stage, 29th November-10th December 2021; a private collector of Bloomsbury related art, purchased from the above
Charles Higgins ('PIC'), Scottish 1893-1980 - Child's Ski Dream, 1964; gouache on paper, signed lower right 'Pic' and signed, titled and dated on the reverse, 10.7 x 15 cm: together with 2 other unframed works on paper by the same artist, 'Medieval Imagery, 1959', and 'Surreal portrait, 1979' (unframed) (3) (ARR) Provenance: the Estate of the Artist Note: writer and painter Charles Higgins painted under the pseudonym of PIC and created some of the most extraordinary and enigmatic British paintings of the 20th century. Setting mythological and fantastical imagery within imagined landscapes, PIC's work transports the viewing through time and the imagination, demonstrating the same visionary zeal as figures such as Marc Chagall, Cecil Collins and Leonora Carrington. His work was exhibited in some of the most important British galleries of the 20th century, including the Wertheim Gallery during the 1930s, Gimpel Fils during the 1940s and 50s and Jack Bilbo's celebrated The Modern Art Gallery in the 1940s.
Frank O. Salisbury, British 1874-1962 - Ten portraits: Hugh Bullock, worked on Wall Street, connected with the pilgrims trust?, son of Calvin Bullock; Mrs Joy Allpress, authority on antique and period decoration; Col. Robert James Blackham, army physician, barrister, author, political and Clark of the glaziers company (later Major General); Rev. Dr. Samuel Leslie Parke Cadman, leading American churchman, NBC religious broadcaster. Author, pastored central congregational church in Brooklyn, President of Federal council of churches of Christ, two; Rev Sidney Arthur Alexander, Canon of St Pauls Cathedral, painting commemorates 40 years of service with a study on reverse of the Rt Hon 7th Lord M ??, 1943; Bishop Asbury, aka 'The prophet of the Long Road led American Methodism from 1784, portrayed as though he was 39, 1957; Dr N.M. Butler, President of Columbia, Nobel peace Prize, President of Carnegie endowment for international peace, 1931; Steven Baker, Chairman of Manhattan Bank, 1931; Sir Charles John Bartlett, Chairman of Vauxhall Motors Ltd. Luton. Resident of Harpenden, Herts, 1954; chalk and pastel on paper,64.5 x 50.7 cm and smaller (unframed) (10) (ARR) Provenance: The Walpole Society, donated by Philip Mould & Company on behalf of a private collector Note: Frank O. Salisbury was one of the leading society portrait painters of his day. The son of a plumber and glazier, he was drawn to art at an early age and throughout his career painted many important figures in the cultural and political sphere, including Queen Elizabeth II and Sir Winston Churchill. His portraits of Dame Maud McCarthy and Prince Edward, Duke of Windsor (King Edward VIII) are currently on display as part of the inaugural display at the newly reopened National Portrait Gallery in London. Salisbury also painted large-scale ceremonial, historical and religious scenes, many of which are now in public collections. Salisbury painted in a classical but lively style, bringing his sitters to life while remaining vehemently opposed to modern methods. The works for sale with Roseberys include portraits of glamourous society figures, politicians, eminent businesspeople, and members of the aristocracy. Interesting examples include portraits of Will Keith Kellogg, founder of the eponymous cereal company, Her Highness the Ameera of Bhahwalpur and Mrs Dunlap Hopkins, President of the Women’s School of Design in New York. There is also a highly moving study of a Nurse in Wartime uniform. Alongside these portraits, there is also a collection of large-scale studies for religious scenes. These works have remained unseen for several decades and were recently donated to The Walpole Society by Philip Mould & Company on behalf of a private collector.
Henry Gibbs Massey, British 1860–1934 - Parliament square; watercolour and gouache on paper, 36.7 x 25.8 cm: together with 2 other works on paper by the same artist, 1 unframed, of a similar size and medium (3) (ARR) Provenance: the Estate of the Artist Note: the artist studied in Paris, before travelling to the Pont-Aven region made famous by Gauguin and the Post-Impressionists, and a gentle influence of Modern French painting can be read across his work. The artist wwas Principal at Heatherley's School of Art in London from 1907-34. His 1919 watercolours were amongst the first depictions of the continental war graves and the newly constructed military cemeteries. These watercolours were exhibited at Guildford Cathedral in 2014 in its Great War Commemorative exhibition.
Jean Marchand, French 1883–1941 - Seascape, high tide; oil on board, signed and dedicated lower left 'a ma cheri Edith J Marchand' and further annotated on the reverse, 22.2 x 27 cm Provenance: Dreweatts, Newbury, Modern & Contemporary Art, 12th Ocober 2021, lot 132, artwork sold to benefit a charitable trust created by the late William de Gelsey; a private collector of Bloomsbury related art Note: This is a wonderful example of the artist's later style, similar to the work of Albert Marquet in its gently modern depiction of the coastal landscape, evoked in careful tones of blue and a fluid brushstroke. Marchand was included in pivotal Modernist exhibitions in France and Britain in the early 20th century, including Roger Fry's 'Manet and Post-Impressionism' in 1910 and another in 1912. The artist became associated with the Bloomsbury group around this time and his solo show at Carfax Gallery in 1919 was highly praised by Clive Bell. Works by the artist are in public collections across the UK, including Charleston, Tate and the Courtauld Gallery.
Henry Gibbs Massey, British 1860–1934 - British Military Cemetery; watercolour and gouache on paper, signed lower left 'H. G. Massey', 27.5 x 37.5 cm: together with 2 other works on paper by the same artist, 1 unframed, of a similar size and medium (3) (ARR) Provenance: the Estate of the Artist Note: the artist studied in Paris, before travelling to the Pont-Aven region made famous by Gauguin and the Post-Impressionists, and a gentle influence of Modern French painting can be read across his work. The artist was Principal at Heatherley's School of Art in London from 1907-34. His 1919 watercolours were amongst the first depictions of the continental war graves and the newly constructed military cemeteries. These watercolours were exhibited at Guildford Cathedral in 2014 in its Great War Commemorative exhibition.
Nina Hamnett, British 1890–1956 - The Lounge Lizard, 1917; ink on paper, signed with initials and dated lower right 'NH 17', 16.5 x 108 cm (ARR) Provenance: Sandra Lummis Fine Art, London (according to the label attached to the reverse of the frame); Dreweatts, Newbury, Modern and Contemporary Art, 19th October 2022, lot 78; a private collector of Bloomsbury related art Note: Hamnett was notorious for her bohemian lifestyle and powerful portraits, depicting the artistic circle around her that included figures such as Henri Gaudier-Brzeska, Ossip Zadkine and Horace Brodzky. She worked for Roger Fry's Omega Workshop and was dubbed the 'Queen of Bohemia'. Her work was recently the focus of an acclaimed exhibition at Charleston Farmhouse, the home of Vanessa Bell and Duncan Grant, in 2021. Sandra Lummis sold works by Vanessa Bell and John Nash to the British Museum.
Blair Hughes-Stanton, British 1902-1981 - Girl with a Guitar, 1929; oil on canvas, 41.4 x 65.5 cm (ARR) Provenance: the Estate of the Artist Note: Blair Hughes Stanton was one of the most acclaimed artists in Britain during the interwar era, known for his role in the revival of wood engraving in Modern art. He studied under Leon Underwood at his Brook Green School alongside Henry Moore and Eileen Agar, where he developed a unique visual language, creating works that were a celebration of love and physicality. Alongside his first wife, Gertrude Hermes, Hughes Stanton became a much sought-after book illustrator, his wood engravings featuring in books by his friend D.H. Lawrence and T.E. Lawrence's 'Seven Pillars of Wisdom'.
Kenneth Hall, British 1913-1946 - Untitled (Yellow figure), c.1942; oil on canvas, signed lower right 'Hall', 40.7 x 29.3 cm (unframed) (ARR) Provenance: the Estate of Basil Rakoczi Note: this piece was probably painted by the artist around 1942 when he was living in Dublin. He was experimenting with different forms and looking to develop a technique of painting that reflected the sense of expressionism and symbolism that he and Rakoczi were experimenting with. At times a troubled figure he sometimes viewed the world as amorphous and shifting, nothing clearly defined. This chimed with his intellectual view on society as needing to move to a natural state of anarchy. Basil Rákóczi (19081979) and his partner, Kenneth Hall (19131946), founded The White Stag Group of modernist artists in 1935. Influenced by Surrealism and founded in London, they moved to Ireland in late 1939, following the start of the Second World War. There the Group flourished, gaining both local and continental members, including Nano Reid and Patrick Scott. Rakoczi and Halls work brought modernism to Dublin and they gained a sizeable and positive reputation for their work, which focused on psychological states and esoteric myth and symbols. Instrumental to both artists careers, was the influential dealer Lucy Wertheim, who ran a celebrated gallery in Mayfair during the 1930s, one of the spaces focused on young artists working in a Modern idiom. Wertheim promoted major figures such as Barbara Hepworth, Christopher Wood, Frances Hodgkins and Henry Moore at an early age, but she is perhaps most known for her support of a diverse group of lesser known artists, many of whom worked in either expressionistic or faux-naïve styles. An exhibition of Wertheims legacy 'A Life in Art & Reuniting the Twenties Group' was recently on display at Towner Eastbourne, UK, including works by both Hall and Rákóczi in 2022.
Blair Hughes-Stanton, British 1902-1981 - Myth IV, 1936; tempera on canvas, inscribed with initials, title and date on the reverse of the stretcher 'BHS Myth IV 1936', 51 x 61 cm (ARR) Provenance: the Estate of the Artist Note: Blair Hughes Stanton was one of the most acclaimed artists in Britain during the interwar era, known for his role in the revival of wood engraving in Modern art. He studied under Leon Underwood at his Brook Green School alongside Henry Moore and Eileen Agar, where he developed a unique visual language, creating works that were a celebration of love and physicality. Alongside his first wife, Gertrude Hermes, Hughes Stanton became a much sought-after book illustrator, his wood engravings featuring in books by his friend D.H. Lawrence and T.E. Lawrence's 'Seven Pillars of Wisdom'. The Myth series of paintings relates to the artist's relationship with Ida Graves, poet, novelist and associate of the Bloomsbury Group, with whom Hughes-Stanton started the Gemini Press in 1933. Their first book together was 'Epithalamion: a poem'.
Duncan Grant, British 1885-1978 - Parrot Tulips, c.1957; oil on board, signed lower right 'Duncan Grant', 56 x 38.4 cm (ARR) Provenance: with The Leicester Galleries, London (according to the label attached to the reverse); J. C. Greer, purchased from the above c.1957 (according to the label attached to the reverse); the Collection of Bernard Sheridan (1927-2007) and thence by descent Exhibited: The Leicester Galleries, London, 'Duncan Grant', 1st May 1957, no.37 (according to the label attached to the reverse) Note: this work was likely completed at Grant's home in Charleston, with a nude painting by the artist in the background. Grant used this compositional device of placing a still life in front of an image of a nude throughout his career, for example 'Mimosa, 1930' and 'Still Life with Matisse, 1971'. The wilting tulips echo the folds of the nude, creating a natural rhythmic quality to the work. The late 50s were important for the artist as a large retrospective of his work was held at the Tate in 1959. Duncan Grant was a central member of the Bloomsbury Group, closely associated with seminal figures in early 20th century British culture such as Virginia Woolf, Vanessa Bell, E.M. Forster and Lytton Strachey, alongside the art critic Roger Fry, the latter having a particularly strong impact on Grant's artistic approach. Grant's works can be found in a wide number of collections throughout the country, including the Tate Britain and the V&A in London, the Ashmolean Museum in Oxford and the Scottish National Gallery of Modern Art in Edinburgh.
Three Eastern European teddy bears, comprising of a 1950s grey art silk from Hungry, with the shipping stamps, a modern larger artist teddy bear with black art silk, clear and black glass eyes, brown stitched nose mouth and claws, swivel head and jointed limbs and another (some thinning to small brown bear) -from the Susan Collard Collection
AN ENAMEL BRACELET BANGLE AND NECKLACE, BY FREY WILLE, the bangle of hinged design, applied with various colour of enamel with Egyptian Art motifs, signed Frey Wille, inner circumference 16cm; the necklace with similar motifs, enamel applied on a half-round pendant plaque, to a reeded suspension tube and a burgundy multiple silk-cord necklace, signed Frey Wille, length 46cmFrey Wille creates modern collections of jewellery using artistic designs as their source of inspiration.Founded by Michaela Frey in 1951, a Viennese artist, drawn to the sophisticated craftsmanship of enamelling, brought about numerous collections dedicated to famous artist, such as Claude Monet, Gustav Klimt, Vincent Van Gogh, Paul Gauguin and Friedensreich Hundertwasser amongst many others. Frey Wille is a world-wide company and run by Friedrich Wille. Their iconic style is much appreciated by art enthusiasts. Condition Report:Normal signs of wearSilk-cord with signs of wearBangle signed M Frey Wille STotal gross weight approximately 80 gramsFor a similar bangle of different enamel pattern, retail price on Frey Wille website €1,180FREYWILLE - Clasp Bangle Ballerina - Pharaoh Egypt - Independent Collection - DREAMS OF THE ARTISTS - JewelleryFor a similar pendant, set on a chain rather than silk cord necklace, retail price on Frey Wille website €754FREYWILLE - Pendant Small Half-Moon - Pendants - JEWELLERY TYPES - Jewellery
A LADY’S STAINLESS STEEL QUARTZ ‘HUNDERTWASSER’ WRISTWATCH, BY FREY WILLE, the golden circular dial with golden dot hour and 12 o’clock indicators, black hands, within a round case, to a bangle bracelet applied with various colour of enamel and link bracelet, dial signed Frey Wille, numbered, case 24mm (including crown), inner circumference 15cm Frey Wille creates modern collections of jewellery using artistic designs as their source of inspiration.Founded by Michaela Frey in 1951, a Viennese artist, drawn to the sophisticated craftsmanship of enamelling, brought about numerous collections dedicated to famous artist, such as Claude Monet, Gustav Klimt, Vincent Van Gogh, Paul Gauguin and Friedensreich Hundertwasser amongst many others. Frey Wille is a world-wide company and run by Friedrich Wille. Their iconic style is much appreciated by art enthusiasts. Condition Report: Normal signs of wearDial additionally signed Swiss MadeReverse of case signed Frey Wille Swiss Made CH/P 1.302Watch movement not running at the time of cataloguingTotal gross weight approximately 40.3 gramsFor a similar watch with different enamel pattern, retail price on Frey Wille website €2,850FREYWILLE - Jewellery Watch Piccadilly Circus - Hundertwasser - Hommage à - DREAMS OF THE ARTISTS - Jewellery
A GROUP OF JEWELLERY ‘HUNDERTWASSER AND GUSTAV KLIMT’, BY FREY WILLE, comprising; a bangle, créole earrings and ring applied with various colours of enamel, signed Frey Wille, maker’s mark, inner circumference on bangle 17.2cm, length of earrings 2cm, ring size M Frey Wille creates modern collections of jewellery using artistic designs as their source of inspiration.Founded by Michaela Frey in 1951, a Viennese artist, drawn to the sophisticated craftsmanship of enamelling, brought about numerous collections dedicated to famous artist, such as Claude Monet, Gustav Klimt, Vincent Van Gogh, Paul Gauguin and Friedensreich Hundertwasser amongst many others. Frey Wille is a world-wide company and run by Friedrich Wille. Their iconic style is much appreciated by art enthusiasts. Condition Report: Normal signs of wearSigned Frey Willie Made in AustriaTotal gross weight approximately 78.3 gramsFor a matching ring, retail price on Frey Wille website €465FREYWILLE - Ring Ultra - Hundertwasser - Hommage à - DREAMS OF THE ARTISTS - JewelleryFor a similar bangle with different enamel pattern, retail price on Frey Wille website €1,410FREYWILLE - Clasp Bangle Royal - Hundertwasser - Hommage à - DREAMS OF THE ARTISTS - JewelleryFor a pair of similar creole earrings with different enamel pattern, retail price on Frey Wille website €1,075FREYWILLE - Earrings Mini-Creoles - Hundertwasser - Hommage à - DREAMS OF THE ARTISTS - Jewellery
A ‘CLAUDE MONET’ PENDANT NECKLACE AND A PAIR OF EARRINGS EN SUITE, BY FREY WILLE, the pendant of rectangular undulating design, applied with various colours of enamel, to a snake-link necklace, length 45.8cm; and a pair of creole earrings of matching design, length 1.9cm; both signed Frey Wille, maker’s markFrey Wille creates modern collections of jewellery using artistic designs as their source of inspiration.Founded by Michaela Frey in 1951, a Viennese artist, drawn to the sophisticated craftsmanship of enamelling, brought about numerous collections dedicated to famous artist, such as Claude Monet, Gustav Klimt, Vincent Van Gogh, Paul Gauguin and Friedensreich Hundertwasser amongst many others. Frey Wille is a world-wide company and run by Friedrich Wille. Their iconic style is much appreciated by art enthusiasts. Condition Report: Normal signs of wearNecklace is slightly worn and bentEarrings additionally signed 'Made in Austria'Neckchain signed 'Made in Germany'Total gross weight approximately 25 gramsFor a matching ring, retail price on Frey Wille website €465FREYWILLE - Ring Ultra - Hundertwasser - Hommage à - DREAMS OF THE ARTISTS - JewelleryFor a similar bangle with different enamel pattern, retail price on Frey Wille website €1,410FREYWILLE - Clasp Bangle Royal - Hundertwasser - Hommage à - DREAMS OF THE ARTISTS - JewelleryFor a pair of similar creole earrings with different enamel pattern, retail price on Frey Wille website €1,075FREYWILLE - Earrings Mini-Creoles - Hundertwasser - Hommage à - DREAMS OF THE ARTISTS - Jewellery
AN ENAMEL ‘DIVA VINCENT VAN GOGH’ BANGLE, BY FREY WILLE, the gold-plated broad bangle depicting an array of colours, signed, inner circumference 19.5cmFrey Wille creates modern collections of jewellery using artistic designs as their source of inspiration.Founded by Michaela Frey in 1951, a Viennese artist, drawn to the sophisticated craftsmanship of enamelling, brought about numerous collections dedicated to famous artist, such as Claude Monet, Gustav Klimt, Vincent Van Gogh, Paul Gauguin and Friedensreich Hundertwasser amongst many others. Frey Wille is a world-wide company and run by Friedrich Wille. Their iconic style is much appreciated by art enthusiasts.Condition Report:Normal signs of wearSigned ©FreyWille, made in AustriaTotal gross weight approximately 62.1 gramsFor a matching bangle, retail price on Frey Wille website €1,075: FREYWILLE - Bordered Bangle Diva - Vincent van Gogh - Hommage à - DREAMS OF THE ARTISTS - Jewellery
TWO BOXES OF DECORATIVE GLASS ITEMS, to include a small Whitefriars kingfisher blue jug, two ribbed optic water jugs approximately 15cm tall, Wedgwood carafe, champagne flute, vase and candle holder, Kingfisher blue lemonade jug with six matching glasses, Alsterfors Glasbruk bud vase, Dartington FT88 vase, two studio glass bud vases with indistinct signatures dated 1982, three slag glass items, Mdina paperweight, art nouveau style jug with part missing metal mounts, modern ribbon trail vase, sand cast glass ammonite sculpture, vases and bottle with silver mounts bottle is missing stopper, decanters etc
Bedeutende Skulptur ''Weibliche Hände sich auf weiblichem Körper bewegend'' Herstellung in den 1970er Jahren, Prof. Peter Jacobi, Ploesti, Rumänien 1935 - lebt und arbeitet in Wurmberg bei Pforzheim Aus Diabas Granit. 18,3x57x41 cm. Statement des Künstlers zur Skulptur: ''In den frühen 70er-Jahren hatte ich eine Folge von Auktionen mit weiblichen Modellen in meiner Bildhauerklasse realisiert. Eines der Themen waren die ''sich bewegenden Hände auf dem Körper'' in einer langen Belichtungszeit fotografisch aufzunehmen, so dass Vermischungen diverser Handformen in den Fotos entstanden sind. Die Grundidee war, durch Überlappung der Handformen an eine der kubistischen Thesen von Pablo Picasso heranzutreten ''Die Skulptur durchdringt sich selbst''. Die anderen Thesen des Kubimus, die Picasso an seinen frühen Gitarrenskulpturen erfunden und demonstriert hat, waren Negativ- und Positivformen in einem Werk zu vereinen. Des Weiteren hat Picasso die Negativform, spriche das Resonanzloch der Gitarre, in eine Positivform umgewandelt. Das Ziel war, Ausgansfotos zu finden, um Skulpturen zu kreieren. Diese Fotos wurden dann zeichnerisch weiter interpretiert. Als dann sich die Idee einer Skulptur zeigte, modellierte ich in Ton die ersten Vorstufen der späteren Granit- oder Marmorskulpturen. Danach entstand ein Gipsabguss des Tonmodells. Mit einem klassischen Punktiergerät konnte ich jeden Punkt auf dem Gipsmodell fixieren. Dann wurde das Gerät auf den rohen Stein gesetzt und das Steinmaterial soweit abgetragen, bis der gleiche Punkt feststand. Diese Punktierung erfoglte in einer größeren Anzahl, bis ich dann in freier Interpretation das Werk in Stein ausformte. In dieser Werkserie vereinigen sich konzeptuelles Denken mit einem körperlichen, erotischen Ausdruck.'' 2022 erwarb die Tate Gallery of Modern Art in London ein Werk von Peter Jacobi und von Ritzi Jacobi. Vgl. Peter Jacobi, Katalog nach der Ausstellung ''Bilderfahrzeuge - eine Peter Jacobi Retrospektive'', S. 164-167
Bedeutende Skulptur ''Inliegend / Enclosed'' Herstellung Ende der 1970er Jahre, Prof. Peter Jacobi, Ploesti, Rumänien 1935 - lebt und arbeitet in Wurmberg bei Pforzheim Schwarzer Marmor. 12,5x39x47 cm. Statement des Künstlers zur Skulptur: ''Die Vorstellung in der Architektur und in der Skulptur imaginäre Räume oder auch reell existierende Räume vorzustellen und zu gestalten ist seit jeher ein Thema des bildnerischen Denkens. Im weitesten Sinne wird auch die Idee der Grabgestaltung thematisiert. Bei einigen Skulpturen der inliegenden Serie ist eine strenge Umrahmung der oberen Fläche realisiert. So entsteht ein freies Mittelfeld, das durchaus die Abdeckung eines imaginären, im Stein liegenden Raumes, sein könnte. Bei der in der Auktion 300 befindlichen Skulptur ''Inliegend'' ist einen Abdeckung mit Querbalken gemacht. Hier ist ein konkreter Innenraum durchaus vorstellbar, wobei das Licht durch die Spalten zwischen den Balken durchdringt. Diese Vorstellung hat bei mir die Realisierung des zentralen Gedenkraums im Holocaust-Denkmal in Bukarest vorausgesehen. Diese Serie enthält durchaus auch die Möglichkeit in sehr viel größeren Formaten im freien, flachen Raum, eine ähnliche Gestaltung zu schaffen, die eindeutig auf das ''Darunterliegende'' hinweist. 2022 erwarb die Tate Gallery of Modern Art in London ein Werk von Peter Jacobi und von Ritzi Jacobi. Vgl. Peter Jacobi, Columns Memorials, S. 73 sowie Peter Jacobi, Katalog nach der Ausstellung ''Bilderfahrzeuge - eine Peter Jacobi Retrospektive'', S. 130/131
Mappe m. 4 PrägedruckenRobert Michel 1897 Vockenhausen - 1983 Titisee "MEZ" 1980 auf dem Vorsatz handsign. RMichel je m. Bleistift bez. u. dat. "MEZ" 1919/20 - Weimar 1980 Exemplare 18/100 auf dem Vorsatzblatt im Druck m. d. Rundstempel "Heimatmuseum of Modern Art" auf Bütten, je 76 x 57 cm (Blattmaße) Edition Hoffmann, Friedberg 1980. In der Original Halbleinenmappe.
An Art Deco 18ct white gold 1.05ct solitaire diamond ring, platinum-topped, claw set with modern round brilliant-cut diamond, colour approx F/G, clarity approx I1/I2, diamond weight calculated from dimensions: 6.40 x 4.19mm, size P, 4gNo damage, diamond quite bright and fiery with numerous obvious internal inclusions through a loupe, shank has 1 small join mark, marks clear, stamped 18ct and Plat
An exceptional Art Deco lavender star sapphire and diamond ring, circa 1930, centrally claw set with 32ct oval cabochon star sapphire flanked by pave set old-cut diamond shoulders, total diamond content approx 1ct, apparently unmarked, sapphire measures approx: 17.81 x 15.44 x 11.05mm, size J, 14.5gNo damage, 1 shoulder diamond has been replaced with a modern round brilliant-cut diamond, 6 ray star is very bright and obvious even in low light, sapphire has very light surface abrasions commensurate with age and 1 very faint surface reaching fracture which is mostly hidden beneath a claw, diamonds very bright and fiery, shank has possibly been re-sized and starting to wear slightly thin, unmarked
A modern 14ct white gold grey Tahitian pearl and diamond cluster cocktail ring, in Art Deco style, centrally set with 10.9mm whole pearl within modern round brilliant and baguette-cut diamond surround, setting height 18.9mm, size L, 7.5gNo damage or repair, all stones present, diamonds generally included with fractures and a few small surface chips only visible through a loupe, shank wearing slightly thin with a well concealed join mark, engraved 14k
An Art Deco 18ct gold diamond crossover ring, maker HW Ltd, circa 1920, set with round and rose-cut diamonds, total diamond content approx 0.2ct, setting height 6.5mm, size K, 1.8gNo damage or repair, all stones present, 1 principal stone is a modern round brilliant-cut, mark clear, stamped 18ct
Björn Wiinblaad, "Hausmusik", Mischtechnik, gerahmtBjørn Wiinblaad, 1918 Kopenhagen - 2006 Lyngby, dänischer Maler, Designer, Bühnenbildner und bildender Künstler, hier: Interieur mit einer vierköpfigen Familie der Mozart-Zeit bei der Hausmusik, Deckfarbe (Gouache) & Aquarell, ca. 32 x 22 cm, verso bez., unter P.partout verglast gerahmt Bjørn Wiinblaad studierte von 1940 bis 1943 Malerei und Illustration an der Königlich Dänischen Kunstakademie in Kopenhagen, 1945 richtete er seine erste eigene Ausstellung aus.1952 eröffnete der Künstler seine eigene Werkstatt mit 13 Mitarbeitern, später betrieb er die Fabrik „Det blå hus“ (Blaues Haus) in Kopenhagen. Er war mit seinen Werken in Museen von Dänemark, Stockholm, Schweden, Deutschland und Italien vertreten, sogar im Museum of Modern Art, New York. An der Universität Boston erhielt er eine Professur für Design. Seine erste Ausstellung in New York war 1954 bei Georg Jensen. Es folgten weitere Ausstellungen in den Vereinigten Staaten. Bis zuletzt stellte er jährlich weltweit bis zu sechs große Einzelausstellungen zusammen.1956 begann seine Arbeit für kunstindustrielle Firmen. Seit 1957 war Wiinblad über 49 Jahre Chefdesigner der Rosenthal AG. Als er seinen Freund Gianni Versace für Rosenthal holte, prägte dieser den Satz „Wiinblad ist der Versace des Nordens“.
Kronleuchter des Art Deco, deutsch 1920er Jahre, im originalen BestzustandModernistische vierarmige Deckenlampe mit opakweißen Kugeln und einer nach unten abschließenden Schale, Messing-Montur mit schöner Patina, deutsche Glühbirnen-Fassungen, Dm 60 cm, H 70 cm, bester Originalzustand, modern verkabelt, Elektrifizierung nicht geprüft
Harold Ambellan, Frauenkopf & 3 Tänzer, Zeichnung & Zeichnung/Aquarell um 1960/70, beide gleich gerahmtHarold Ambellan, 1912 Buffalo/USA - 2006 Arles/Frankreich, amerikanisch-französischer Maler und Bildhauer, hier: Picasso-esker Frauenkopf und 3 Tänzer, Fettstift-Zeichnung, 38 x 30 cm, r. u. sign. // Fettstift-Zeichnung aquarelliert, 45 x 58 cm, l. u. sign., beide in gleichen weißen RahmenWährend seines Studiums der Bildhauerei und Bildenden Künste in Buffalo erhielt Harold Ambellan 1930 ein Stipendium der Art Student League. Er war auch einer der Künstler, die 1938 in der Gruppenausstellung „Subway Art“ im Museum of Modern Art vorgestellt wurden. Ambellan wurde 1941 zum Präsidenten der Sculptors Guild of America gewählt, im selben Jahr, in dem seine Arbeiten in Gruppenausstellungen sowohl im Metropolitan Museum of Art in New York als auch in der Academy of Fine Arts in Philadelphia ausgestellt wurden. Obwohl er mit den Künstlern Jackson Pollock, Willem de Kooning und Marc Rothko befreundet war blieb Ambellan sowohl in seiner Skulptur als auch in seiner Malerei dem Figurativen verpflichtet.1954 übersiedelte Ambellan nach Frankreich. Nachdem Ambellan mehrere Jahre in Montparnasse, einer der bedeutendsten Künstlergemeinden von Paris, gelebt hatte, beschloss er, sich in Antibes an der Côte d'Azur niederzulassen. 1980 zog er in die provenzalische Stadt Arles um, wo er bis zu seinem Lebensende lebte und arbeitete
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