LEE UFAN (N. 1936)Dialogue 2008 signé et daté 08 sur la tranche gauche ; signé, titré et daté 2008 au revers huile et pigments minéraux sur toile signed and dated 08 on the left turnover edge; signed, titled and dated 2008 on the reverse oil and mineral pigments on canvas 183 x 227.5 cm. 72 1/16 x 89 9/16 in.Footnotes:ProvenanceGalerie Kamel Mennour, Paris Collection particulière, ParisVente : Versailles Enchères, Versailles, Tableaux Abstraits et Contemporains, Sculptures, 17 décembre 2017, lot 10 Acquis lors de cette vente par le propriétaire actuelD'une beauté cristalline, il émane de cette œuvre l'ampleur et le silence qu'impose tout chef d'œuvre. D'un dénuement monastique, cette toile de grâce s'est élégamment parée et c'est avec lenteur que l'on dépose sur elle son regard, comme un voile s'allongerait sur le temps.S'il privilégie l'immobilité dans ses sculptures, Lee Ufan, dans ses peintures, laisse le geste apparent, lui conférant ce qu'il faut de présence discrète. Le geste, avec délicatesse, s'abandonne à la toile ; pensée que l'artiste hérita de Merleau-Ponty qui prône l'essence nécessaire de la corporéité en art. De ses lectures philosophiques, l'artiste entretient une proximité particulière avec l'Infini de Spinoza, la Chose de Kant, l'Etre d'Heidegger, Topos de Kitaro Nishida. Son art est ainsi fait, de correspondances et d'infini...Si Lee Ufan étudia la poésie, la peinture, la calligraphie en Corée, c'est au Japon, où il déménage en 1956, que s'ancre son art. L'artiste remporte en 1968 le concours de la critique avec son essai Des objets inanimés à l'existence vivante et devient le théoricien du Mono-ha, qui met en exergue la relation topologique entre le lieu et l'objet, de même que l'équilibre de la rencontre avec celui qui regarde l'œuvre.L'artiste participe en 1971 à la biennale de Paris, qui augurera une consécration internationale (biennale de Sydney en 1976, Documenta de Kassel l'année d'après, etc.) ce que corroborent toutes les rétrospectives qui lui seront consacrées : Fondation Mudina (Milan) en 1994, Musée National d'Art Contemporain de Séoul (1994), musée de Leverkusen (1995), etc., de même que la création de musées à son nom (musée Lee Ufan à Naoshima, créé en 2010, l'espace Lee Ufan au Busan Museum of Art, ouvert en 2015, et, plus récemment, le centre d'exposition Lee Ufan dans l'hôtel Vernon à Arles inauguré au printemps 2022.). Son Œuvre, quelque soit le lieu qui l'abrite, se meut en une expérience sensible. Au titre tautologique, Dialogue, de 2008, est la quintessence de son art, empreint d'heureux antagonismes, dans le sens aristotélicien du terme. Le vide apparent et le plein de la touche opalescente, à peine caressée, semblent faire écho à l'abstraction et la matérialité, dans un accouplement à l'indicible harmonie.Nimbé d'une aura singulière, son Œuvre séduit le château de Versailles, qui, pour sa dixième exposition d'art contemporain en 2017, choisit cet artiste qui avait déjà envahi ses jardins en 2014, après qu'il eut exposé dans de prestigieux lieux comme le Guggenheim Museum (New York), la Tate Modern (Londres), le Kunstmuseum (Bonn), le Musée d'Art de Yokoama.Dans une intervention aussi minime que d'une bouleversante intensité, Lee Ufan appose son geste créateur avec le recueillement qui confère à son art son extrême sensibilité. Car cette œuvre, auprès de laquelle semble se reposer la lumière, s'est éprise du souffle de l'invisible et de l'éternité. Le peintre a fait ici du vide sa profession de foi : l'acceptation de la disparition ne permet-elle pas de comprendre le temps ? Of crystalline beauty, the scope and silence this work emanates are the hallmarks of any masterpiece. Of monastic sobriety, grace elegantly adorns this canvas; hence it is with slowness that we gaze upon it, as if a veil were stretched over time.While he favours immobility in his sculptures, in his paintings Lee Ufan leaves the gesture apparent, with just the right amount of subtle presence. The gesture, with delicacy, abandons itself to the canvas; a thought that the artist inherited from Merleau-Ponty, who advocated the necessary essence of physicality in art. From his philosophical readings, the artist maintains a particular closeness to Spinoza's Infinity, Kant's Thing, Heidegger's Being, and Kitaro Nishida's Topos. His art is thus made up of correspondences and infinity...Lee Ufan studied poetry, painting and calligraphy in Korea, but it was in Japan, where he moved in 1956, that his art took root. In 1968, the artist won the critics' competition with his essay From Inanimate Objects to the Existence of Life, and became the theoretician of Mono-ha, which emphasises the topological relationship between place and object, and the tension resulting from the encounter with the viewer.In 1971, the artist took part in the Paris Biennial, which heralded his international consecration (Sydney Biennial in 1976, Documenta in Kassel the following year, among others), as corroborated by all the retrospectives devoted to him: the Mudina Foundation (Milan) in 1994, the National Museum of Contemporary Art in Seoul (1994), the Leverkusen Museum (1995), and so on, as well as the creation of museums in his name (the Lee Ufan Museum in Naoshima, created in 2010, the Space Lee Ufan at the Busan Museum of Art, opened in 2015, and, more recently, the Fondation Lee Ufan at the Hotel Vernon in Arles, inaugurated in spring 2022). Whatever the location, contemplating his Oeuvre is invariably a sensatory experience. With its tautological title, Dialogue, from 2008, is the quintessence of his art, imbued with happy antagonisms, in the Aristotelian sense of the term. The apparent emptiness and yet fullness of the opalescent, barely caressed brushstrokes seem to echo abstraction and materiality, in a coupling of unspeakable harmony.Enveloped in a singular aura, his Oeuvre appealed to the Château de Versailles, which, for its tenth contemporary art exhibition in 2017, chose the artist who had already embraced its gardens in 2014, after having exhibited in such prestigious venues as the Guggenheim Museum (New York), the Tate Modern (London), the Kunstmuseum (Bonn) and the Yokoama Art Museum.In an intervention, at once minimalist and overwhelmingly intense, Lee Ufan applies his creative touch with such reverence it instills his art with a supreme sensitivity. Indeed this piece, along which light appears to settle, is enthralled by invisible exhalations and eternity. Here, the painter has turned emptiness into his profession of faith: for is it not true that to accept disappearance enables us to understand time.For further information on this lot please visit Bonhams.com
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HENRI MICHAUX (1899-1984)Sans titre 1956-1959 monogrammé encre de Chine sur papiersigned with the artist's monogramIndia ink on paper52 x 75.6 cm. 20 1/2 x 29 3/4 in.Réalisé en 1956-1959.Footnotes:L'authenticité de cette œuvre nous a été aimablement confirmée par Franck Leibovici. Cette œuvre sera incluse dans le Catalogue Raisonné en préparation par Micheline Phankim, Rainer Michael Mason et Franck Leibovici.ProvenanceGalerie Daniel Cordier, Paris (n° B32)Collection Elie de Rothschild, FranceGalerie Blanche, StockholmCollection Gerard Bonnier, Stockholm Vente : Stockholms Auktionsverk, Stockholm, Modern Art & Design, 22 octobre 2014, lot 725 Acquis lors de cette vente par le propriétaire actuelThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
JEAN DUBUFFET (1901-1985)Brouette XVIII 1964 monogrammé, titré et daté 64marker et stylo-bille sur papiersigned with the artist's monogram, titled and dated 64marker pen and ball-point pen on paper27 x 21 cm. 10 5/8 x 8 1/4 in.Footnotes:ProvenanceGalerie Beyeler, Bâle (dès 1966)Galerie Burén, StockholmCollection Gerard Bonnier, StockholmVente : Stockholms Auktionsverk, Stockholm, Modern Art & Design, 22 octobre 2014, lot 727Acquis lors de cette vente par le propriétaire actuel ExpositionStockholm, Galerie Burén, Jean Dubuffet: l'Hourloupe, 28 octobre-novembre 1967BibliographieMax Loreau, Catalogue des travaux de Jean Dubuffet Fascicule XX : L'Hourloupe I, Paris 1966, p. 179, n° 404 illustré en noir et blancGerard Bonnier fût directeur général de la maison d'édition suédoise 'Albert Bonnier' de 1953 à 1978. En dehors de sa profession, il s'est profondément impliqué dans la peinture contemporaine, à la fois en tant que collectionneur, mais également en tant que membre du conseil d'administration de diverses organisations artistiques. Il fût notamment président et important donateur de la Société des amis du Moderna Museet de 1961 à 1977. C'est à ce titre qu'il fût nommé membre honoraire de l'Académie Royale suédoise des Beaux-Arts.Gerard Bonnier became managing director of the Swedish Publishing House 'Albert Bonnier' in 1953 until 1978. Apart from his professional work he was deeply involved in contemporary painting, both as collector, board member of various art organisations, he was Chairman of the Friend Society to the Moderna Museet from 1961 to 1977, and as an important donor to Moderna Museet. Because of this, he was awarded an honorary fellowship in the Royal Swedish Academy of Fine Arts.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
GIUSEPPE CAPOGROSSI (1900-1972)Superficie 106 1954 signé et daté 54 ; signé et daté 1954 au revers huile sur toile dans cadre d'artistesigned and dated 54 ; signed and dated 1954 on the reverseoil on canvas, in the artist's frame119 x 161 cm. 46 7/8 x 63 3/8 in.Footnotes:Provenance Galleria Spazio, Rome Collection Luigi Walter Moretti, Rome Puis par descendance au propriétaire actuelExpositions Rome, Galleria Spazio, Caratteri della pittura d'oggi, 1954New-York, The Museum of Modern Art ; Minneapolis, The Minneapolis Institue of Arts ; Los Angeles, Los Angeles County Museum ; San Francisco, San Francisco Museum of Art, The New decade. 22 European Painters and Sculptors, 1955-1956, p. 89, illustré en noir et blancParis, Galerie Rive Gauche, Capogrossi, 1956, n°22Berlin, Maison de France ; Dusseldorf, Stadtisches Museum, Fünf italienische Maler der Galleria La Bussola, Turin und Rom, 1957Rome, New York Art Foundation ; Bruxelles, Palais des Beaux-Arts, New trends in italian art, 1958-1959, n°46Baden Baden, Staatliche Kunsthalle ; Nuremberg, Stadtiche Kunsthalle, Galerie en Europe centrale, Capogrossi, 1967, n°4Lucca, Lucca Center of Contemporary Art, Un mondo visivo nuovo, 2009, p. 39, illustré en couleursMilano, Museo del Novecento, Gallerie d'Italia, New York New York. Arte italiana. La riscoperta dell'America, 2017, n°II.24, illustré en couleursVenise, Peggy Guggenheim Collection, Capogrossi : a retrospective, 29 septembre 2012 - 10 février 2013, p. 244-245, photo in situ Exposition The New decade, illustré en noir et blanc ; p. 246, photo in situ Studio de l'architecte Luigi Walter Moretti, illustré en couleursRome, Galleria Nazionale d'Arte Moderna e Contemporanea di Roma e Musei e Istituzioni italiane, Capogrossi Dietro le quinte, 20 septembre - 6 novembre 2022 p. 94-95, illustré en couleursBibliographie Giulio Carlo Argan, Capogrossi, Rome 1967, p. 158, illustré en noir et blancCarlo Dolcetta, Identità del Segno. Giuseppe Capogrossi percorso antologi-co dal '49 al '72, Vicenza 1997, p. 42–43, illustré en couleursF. Brustolin, AR Magazine, n°125/126 Arte e architettura. Impalpabile incantamento, luglio-agosto 2021, p. 309Peintre figuratif talentueux, c'est en 1949 que Giuseppe Capogrossi opère une réinvention de lui-même. La phase figurative n'est plus, elle n'est ni reniée, ni désavouée, elle est simplement archivée. Il n'y pas eu de crise, mais comme il le dit lui-même, une « libération soudaine ». De peintre il passe à créateur.Dès lors, c'est le signe qui prévaut, ce signe répété inlassablement et indéfiniment, un élément qui devient style, celui de Giuseppe Capogrossi. Le thème de ses œuvres devient unique, décliné dans toutes ses compositions et rythmé par la couleur. Avec ce signe morphème, Capogrossi fait vœu de pureté, il est l'unique présence en mouvement de ses surfaces.L'ambition de l'artiste, comme il l'expliquera, est « d'aider les hommes à voir ce que leurs yeux ne perçoivent pas : la perspective de l'espace dans lequel se meuvent leurs pensées et naissent leurs actions ».D'abord membre de la Nouvelle école romaine de peinture avec Corrado Cagli et Emanuele Cavalli, il acquiert ensuite une importance considérable dans le paysage italien de l'informel. Il participe pendant plusieurs années à la Biennale de Venise et à la Quadriennale de Rome, ainsi qu'aux prix de Bergame en 1939, 1940 et 1942.L'œuvre que nous présentons lors de cette vacation est un des chefs-d'œuvre de l'artiste, restée dans la même collection depuis plus de cinquante ans, caractéristique de ce style si distinctif. Cette apparente légèreté contient en réalité une force inouïe, l'affirmation du signe étant répété et transcendé par des aplats de couleurs vifs et contrastés. La forme ovale du tableau met, ici, tout particulièrement en valeur une énième mise en abyme du morphème.Notre œuvre, exposée maintes fois dans les plus grandes institutions, sera notamment présentée, en 1955, lors de l'exposition The new decade, 22 painters and sculptors, au MoMA (New York) aux côtés des créations des plus grands artistes du XXe siècle, tels que Dubuffet, Soulages, Vieira da Silva, Richier, Bacon, Appel etc., ... Cette exposition, itinérante, aura pour souhait de présenter au public le meilleur de la création contemporaine d'après-guerre.Already a talented figurative painter, in 1949 Giuseppe Capogrossi reinvented himself. The figurative period was no longer; it was neither denied nor disavowed just simply archived. There was no crisis, however, in his own words it was a 'sudden liberation': a transition from painter to creator.From then on, signs prevailed, a sign constantly, indefinitely repeated, an element that would become the signature of Giuseppe Capogrossi. The theme of his works is unique, repeated in all his compositions and punctuated by colour. With this morpheme sign, Capogrossi takes a vow of integrity; it shall be the only moving presence on his surfaces.The artist's ambition, as he explained, is 'to help people perceive what their eyes cannot: the depth of the space in which their thoughts evolve and their actions are born'.Initially a member of the New Roman School of painting with Corrado Cagli and Emanuele Cavalli, he went on to acquire considerable standing in the Italian Informal Art scene. For several years he took part in the Venice Biennale and the Rome Quadrennial, as well as the Bergamo prizes in 1939, 1940 and 1942.The work we are presenting at this sale is one of the artist's masterpieces, which remained in the same collection for over fifty years, characteristic of his distinctive style. Its apparent lightness conceals how incredibly effective it is: the affirmation of the repeated sign is transcended by vivid, contrasting, unmodulated colours. Here, the oval shape of the painting particularly highlights the umpteenth mise en abyme of the morpheme.This oeuvre, which has been exhibited many times in major institutions, was shown in 1955 at the exhibition The new decade, 22 painters and sculptors, at MoMA (New York) alongside works by some of the greatest artists of the 20th century, including Dubuffet, Soulages, Vieira da Silva, Richier, Bacon, Appel etc. The travelling exhibition aimed to present the best of post-war contemporary art to the public.This lot is subject to the following lot symbols: AR WAR Goods subject to Artists Resale Right Additional Premium.W Lot is located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com
EDEN, Anthony (1897-1977), 1st Earl of Avon - Books annotated by, or otherwise associated with, Anthony Eden. Please see the full listing below. Sold not subject to return. (c.60)EDEN, Anthony (1897-1977), 1st Earl of Avon - Books annotated by, or otherwise associated with, Anthony Eden (arranged chronologically) - L. J. TROTTER. Rulers of India. The Earl of Auckland, Oxford, 1893, 8vo, cloth, annotated and underlined in black or red ink throughout [probably not by Eden], bookplate [please see the note regarding bookplates at the end of this lot], J. W. FORTESCUE. The Story of a Red-Deer, London, 1904, 4to, cloth, SIGNED in crayon, "Robert Anthony Eden 1906", and again with initials, bookplate; D. S. MARGOLIOUTH. Mohammed and the Rise of Islam, London, 1905, 8vo, buckram, with some annotation and highlighting by Eden, bookplate; A. F. HORT. The Gospel According to St Mark. The Greek text Edited with Introduction and Notes for the Use of Schools, Cambridge, 1907, 8vo, cloth, SIGNED & INSCRIBED "R. A. Eden, March 1914, Eton College, Windsor" on the front pastedown, with Eden's copious schoolboy annotation to the Greek text; Gustave MERLET (editor). Anthologie Classique des Poètes du XIXéme Siècle, Paris, [n.d.], 8vo, boards, SIGNED "R. A. Eden, [?]E.J.C., Oct. 17th 1914" [the day on which Anthony's older brother, John, was killed in action] and with 2 further dates added in ink, on p.162, "16/6/15" and on p.338 "30th June 1915"; G. E. MITTON. The Lost Cities of Ceylon, London, 1917, 8vo, cloth, with sparse annotation and highlighting, bookplate; Rupert BROOKE. 1914 & other Poems, London, 1918, 8vo, cloth, "Twenty-fourth Impression", bookplate; James BRYCE. Modern Democracies, London, 1921, 2 vols., 8vo, cloth, SIGNED "R. Anthony Eden, Mulberry Walk, Sept, [illegible year]" on front free endpaper, with occasional outspoken annotation by Anthony Eden, for example, on p.135 in vol. one: "!!!Too proud to fight! The worst soldiers ever seen -" and some highlighting to text, bookplate; Anatole FRANCE. Vie de Jeanne d' Arc, Paris, [1921], 2 vols., large 8vo, hessian, wrappers bound in, wrappers signed "R. Anthony Eden, Jan. 18, 1923", with some highlighting mainly to the beginning of vol. one, and an envelope, inscribed by Eden, loosely-inserted, indicating a highlighted quote on p.xxi of the book (the printed passage reading, "Au long d' interminables guerres, la misère et l' ignorance avaient appauvri les esprits et réduit l'homme à une extrême maigreur morale"), with some other notes, bookplate; Maurice PALEOLOGUE. La Russie des Tsars pendant La Grande Guerre, Paris, 1921-23, reprints, 3 vols., 8vo, later buckram, wrappers bound in, wrappers signed "R. Anthony Eden, 1923", and with some highlighting, bookplate; Chateaubriand's Atala [and 2 other works], Vienne, [n.d.], 8vo, boards, SIGNED "R. Anthony Eden, June 5th, [?]1923" on the front pastedown, with emotional printed passages on pp.109-113 highlighted; Lytton STRACHEY. Landmarks in French Literature, London, 1923, 8vo, cloth, with some sparse annotation and highlighting, bookplate; Essays of To-Day and Yesterday. Augustine Birrell, London, 1926, 8vo, original wrappers, the half title with an autograph quotation in ink, possibly in Eden's hand, of the words from "As I Sat Under a Sycamore Tree", inscribed at the foot, "To Goonie [i.e. Lady Gwendeline Spencer-Churchill], Christmas Day, 1926, A. [?]E"; Charles Mauron. The Nature of Beauty in Art and Literature ... Translation and Preface by Roger Fry [upper cover: Hogarth Essays. Second Series], London, The Hogarth Press, 1927, 8vo, original boards decorated by Vanessa Bell, upper board detached, with annotation and highlighting throughout; Henry TAYLOR. The Statesman. An ironical treatise on the art of succeeding, London, 1927, "Reprint Series No. 2", 8vo, cloth, with highlighting throughout, bookplate; Frederick Morton EDEN, 2nd Baronet. The State of the Poor, London, 1928 [but first published in 1797], 8vo, cloth, SIGNED "Anthony Eden 1950"; Langhorne GIBSON & J. E. T. HARPER. The Riddle of Jutland. An Authentic History, London, 1934, large 8vo, folding maps in a pocket at the end, buckram, SIGNED in pencil by Anthony Eden on the front free endpaper, with his annotation on p.335 and some highlighting [Midshipman Nicholas Eden, Anthony Eden's brother, was killed at the Battle of Jutland in 1916], bookplate; Charles HARRINGTON. Plumer of Messines, London, 1935, 8vo, plates and maps, cloth, with some annotation on wartime experiences and highlighting; R. B. MOWAT. Europe in Crisis, London, 1936, 8vo, frontispiece portrait of Anthony Eden, cloth, without annotation, bookplate; Siegfried SASSOON. Sherston's Progress, London, 1936, 8vo, cloth, with Anthony Eden's old armorial bookplate heavily-annotated in pencil indicating colours for "Burke's Peerage, DeBrett" (written in pencil above), and with some sparse annotation and highlighting to the text of the book itself; R. B. MOWAT. The Fight for Peace, London, 1937, 8vo, cloth, with typed compliment slip from the author loosely-inserted, and inscribed by Eden on the front free endpaper, "A friendly book. A. E." but without any further annotation or highlighting; George Macaulay TREVELYAN. Grey of Fallodon, London, 1937, 8vo, cloth, with Eden's annotation and highlighting and a loosely-inserted empty envelope inscribed by Eden on the outside, bookplate; F. Elwyn JONES. The Battle for Peace, London, 1938, 8vo, uncorrected proof copy, wrappers, with Eden's highlighting throughout including, on p.[65] to a printed quotation from a speech made by Hitler in Munich in 1936 in which he (Hitler) stated, "I do not believe there can be peace among the nations until they all have the same law and system of law. That is why I hope that National Socialism will one day extend over the world. This is no fantastic dream, but an achievable object" and again to a printed passage by the author on p.197: "For Hitler's aim is not primarily 'ideological', however much he insists on this in his speeches. Hitler's real aim is a Greater Germany which will dominate Central and South-East Europe"; Johannes STEEL. The Truth About Munich ... A Collection of Broadcasts Given Recently on Station WMCA, New York, 1938, 8vo, stapled (lacks wrappers), with one passage highlighted by Eden; W. MACNEILE DIXON. The Human Situation, London, 1938, 8vo, cloth, reprint, with some annotation by Eden including on p.98 a comment on the German massacre of civilians at Dinant in 1914, "Yes - I saw some of this evidence myself" and highlighting, bookplate; Anthony EDEN. Foreign Affairs, London, 1939, 8vo, cloth, with Eden's sparse annotation and highlighting; Documents concerning German-Polish Relations and the Outbreak of Hostilities Between Great Britain and Germany on September 3, 1939, London, "His Majesty's Stationery Office", 1939, 8vo, wrappers, without annotation; Duff COOPER. The Second World War. First Phase, London, 1939, 8vo, cloth, with Eden's single correction to a year on p.195 (from 1937 to 1938) and one passage of Duff Cooper's printed text quoting his own (Cooper's) article highlighted by Eden on p.207 ("Germany and Italy under their present rulers are determined to dominate by force the whole continent of Europe. If there is a man living who still doubts that fact he should lose no time in consulting a mental specialist"); L. RASKAY. How They Did It. Life Stories. Anthony Eden, London, Pilot Press Ltd., 1939, square 8vo, wrappers, second impression; Thomas MANN. This War, London, 1940, 8vo, cloth, with Eden's annotation and highlighting; Isaiha BERLIN. Karl Marx. His Life and Environment, London, 1939, 8vo, cloth, signed "Clarissa S. Churchill"; Anthony Eden. Address to the Maryland General Assembly, Annapolis, Marsh 26th, 1943, [?Annapolis, 1943], 12mo, wrappers; Your M.P. by Gracchus, London, Victor Gollancz, 1944, 8vo, cloth, dust-jacket, with a printed record of Eden's important votes in...
◆ GEORGE LESLIE HUNTER (SCOTTISH 1877-1931) LES ENVIRONS DE FLORENCE Signed, oil on board Dimensions:46cm x 41cm (18in x 16in) Provenance:Provenance: Alexander Reid Esq, GlasgowThomas M. McInnes Esq, Glasgow by 1923Exhibited: The Leicester Galleries, London, Paintings by S. J. Peploe, F. C. B. Cadell & Leslie Hunter, January 1923, no. 74 (as 'Landscape (Environs of Florence)')Glasgow Art Gallery, Leslie Hunter, 1942National Gallery of Scotland, Edinburgh, Leslie Hunter 1877-1931, June 1942, no.91Literature:Derek Ogston, Leslie Hunter: Paintings and Drawings of France and Italy, Baillieknowe Publishing, Kelso, 2004, listed p.85. Note: Hunter visited Florence in 1922 and 1923. In a letter to his patron, the Dundee dentist John Tattersall, Hunter wrote excitedly: ‘Florence…is a wonderful city – the city itself with all its places of interest would take weeks to see and one could spend months in the galleries, where there are some truly marvellous things, especially by the great Italians, Florentines and Venetians….Then there are the great frescoes in the churches. I can assure you their greatness simply stuns one.’ (quoted in T. J. Honeyman, Introducing Leslie Hunter, Faber and Faber Ltd, London, 1937, p.88).A clue to the possible setting of Les Environs de Florence may be given later in the same letter, when Hunter continues: ‘Settignano is about 3 ½ miles from Florence, so I have been glad to have intervals of nature gazing after regarding these marvels of the mind. It reminds me very much of California here and I feel at home somehow among the olive trees and the orchards…It is all so far removed from what is modern, northern and commercial.’ (op.cit., pp.88-89)Les Environs de Florence was one of five works from the Tuscan trip that were included in the landmark exhibition Paintings by S. J. Peploe, F. C. B. Cadell and Leslie Hunter (working title ‘Three Scottish Artists’) mounted at the Leicester Galleries, London in 1923. This was the first time the work of the three artists was presented together and sowed the seed of the concept of them as a group, soon to be with the addition of J. D. Ferguson, which was to be cultivated over the following years by the Glasgow-based dealer Alexander Reid and his son, A. J. McNeill Reid.Hunter’s biographical note in the catalogue was brief: ‘George Leslie Hunter was born in Scotland. He studied in San Francisco and Paris. He has painted in California and in Scotland and has recently been working in Italy. Mr Hunter is still in the early forties.’ (p.8). He was represented by nineteen works, thirteen of which were unspecified still lifes. Environs de Florence was lent to the Leicester Galleries by Thomas McInnes of Glasgow. He was a younger brother of Hunter’s great friend, the collector William McInnes, whose bequest to Kelvingrove Museum and Art Gallery in 1944 included twenty-three works by the artist.We are grateful to James McNaught, author of ‘The McInnes Collection: William McInnes (1868-1944) and his Role as Patron of the Arts in Glasgow during the First Half of the 20th Century’ and to Kirstie Meehan, Archivist, National Galleries of Scotland, for their help in researching this work.
◆ SAMUEL JOHN PEPLOE R.S.A. (SCOTTISH 1871-1935) STILL LIFE WITH TULIPS Signed, oil on canvas Dimensions:51cm x 51cm (20in x 20in) Provenance:Provenance: Mr & Mrs John B. RankinPrivate Collection ScotlandExhibited: Scottish National Gallery of Modern Art, Edinburgh, S. J. Peploe 1871-1935, 26 June - 8 September 1985, no.78 Note: Still Life with Tulips is a remarkable painting by Samuel John Peploe, in which he brought to bear the Edwardian sophistication of the work with which he made his professional name in turn-of-the-century Edinburgh, the lessons he learnt at the heart of the Parisian art world before World War One and the progress he made during the conflict from which he emerged as a Scottish master of modern art.In an image of striking design, which remains as arresting now as when it was painted, Peploe set up his still-life arrangement in front of a sheer black background. This shows the silhouettes and bright colours of the cloth-covered table, glass vase and tulips to the greatest possible effect. He had used this approach in a celebrated series of still lifes painted in the early 1900s, such as Coffee and Liqueur (Kelvingrove Museum and Art Gallery, acc.no.35.586), Peonies (National Galleries of Scotland, acc.no. GMA 1946) and Still Life (Edinburgh Museums and Galleries, acc.no.CAC4/1964), in which Peploe paid his respects to Dutch Old Masters such as Frans Hals and to Eduoard Manet. Paintings such as these proved extremely popular when included in solo and group exhibitions in Edinburgh and London of the period, establishing Peploe as an artist of note and accomplishment.Encouraged by his friend and fellow Scottish Colourist, John Duncan Fergusson, Peploe spent two key years in Paris from 1910 until 1912. He was welcomed into Fergusson’s avant-garde Anglo-American circle of friends, the Rhythmists, and immersed himself in the very latest developments in French painting, experienced at first hand. Such was the pace of his development that he was elected a sociétaire of the cutting-edge Salon d’Automne in recognition of his contribution to the modern movement. His paintings became bolder in technique, colour and design, their progressive nature quite unlike anything that had been created, or seen, in the Edinburgh art world to which he returned two years later.Declared medically unfit for service during World War One, Peploe used the period for continuing experimentation, when canvas and paints could be sourced. Rich colour, spatial compression and a strong structure became the foundation of his still lifes, with furrowed brushstrokes and pronounced outlines coming to the fore. In 1917, he moved studio to 54 Shandwick Place in Edinburgh, where he was to remain until 1934. The following year, his election as an Associate member of the Royal Scottish Academy secured his place within the Scottish art establishment.As Alice Strang has written ‘The still lifes which Peploe painted during the period between approximately 1918 and 1923 are the works for which he is best known…Peploe changed his technique, adopting an absorbent gesso ground and reducing the amount of medium in his paint. He pushed his use of colour to the extreme and obsessively arranged objects – such as blue-and-white Chinese porcelain vases, filled initially with tulips and then usually with roses; fans; books; fruit in a variety of dishes…to create finely balanced compositions.’ (Alice Strang et al, S. J. Peploe, National Galleries of Scotland, Edinburgh, 2012, p.23)Still Life with Tulips dates from this exceptional immediate post-war period, before Peploe settled into the rose still lifes which he painted, exhibited and sold in great numbers during the 1920s. During this period he worked particularly closely with his other fellow Scottish Colourist, F. C. B. Cadell and the two shared an interest in a style which was to become known as ‘Art Deco’ following the Exposition international des arts décoratifs et industriels modernes held in Paris in 1925.At this point, tulips were Peploe’s preferred flower, often bought from stalls on nearby Princes Street. His enjoyment of their strongly-coloured stems, leaves and heads comes to the fore in their balletic presentation here. Their reaching, curving and swooning qualities, in all directions, is played out in the very frontal plane of the image to the right and in an effusion of movement from the vase. The simplified forms of the boldly-coloured petals play against the black and white planes in front of which they are positioned.Throughout, Peploe plays with notions of the space beyond the canvas, with just the angled corner of the table included, whilst the cropped fan, red tulip above it and emerging tulips to the right allude to a continuation of the narrative beyond the viewer’s gaze. The realisation not only of the translucency of the water in the vase and the stems within it, but also its reflection of the space within which the artist was working, is a tour de force passage.Given the brilliance of his tulip still lifes, it is little surprise that his painting, Tulips, of 1923, was acquired for the British national collection in 1927 (Tate, acc.no. NO4224), the year in which Peploe attained the rank of full Member of the Royal Scottish Academy. His appointment was announced in the Glasgow Herald, which described him as ‘an artist of the new movement, Mr Peploe is outstanding in Scotland, and his work has received recognition in London and abroad as well as at home.’ (10 February 1927) Indeed, Peploe’s legacy is primarily based on his mastery of the still life genre, of which Still Life with Tulips is an exceptional example.
§ SIR WILLIAM MACTAGGART P.R.S.A., R.A., F.R.S.E., R.S.W. (SCOTTISH 1903-1981) THE LIGHTS OF KLAMPENBORG Signed, oil on board Dimensions:71cm x 91cm (28in x 36in) Provenance:Provenance: The Artist's family and by descentExhibited: The Scottish Gallery, Edinburgh, Festival Exhibition, 1966, no.9Scottish National Gallery of Modern Art, Edinburgh, Sir William MacTaggart: A Retrospective Exhibition, 1968, no.59
§ ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965) MARGUERITES IN A WHITE VASE Oil on canvasboard Dimensions:61cm x 51cm (24in x 20in) Provenance:Provenance: Acquired from The Scottish Gallery, Edinburgh in 1965 and thence by descent to the present ownerExhibited: The Scottish Gallery, Edinburgh, Anne Redpath, 19 November - 4 December 1965, no. 20Lyon & Turnbull, Glasgow, Select Works by Anne Redpath and Joan Eardley from Private Collections, 16 March - 10 April 2015Note: This painting dates from c.1964 Note: As the undisputed matriarch of Edinburgh’s art world after World War Two, Redpath’s mature career was characterised by a pattern of regular solo and group exhibitions in Edinburgh, London and elsewhere. Her professional standing continued to grow, not least by becoming the first Scottish woman artist to be elected an Associate member of the Royal Academy of Arts in London in 1960 and with the acquisition of her painting, Landscape at Kyleakin, by the newly established Scottish National Gallery of Modern Art in 1962 (GMA 814).Redpath remained as active as ever in the affairs of institutions such as Edinburgh College of Art, the Society of Scottish Artists and the Royal Scottish Academy, on whose council she served four times between 1953 and 1962. As a result, she was aware of, if not directly involved in, the presentation of contemporary European art in the annual group exhibitions staged in the Scottish capital, including the work of Georges Braque, Oskar Kokoschka and Nicolas de Staël.This keeping abreast of developments in Continental painting can be seen in the expressive handling of paint in the late work Marguerites in a White Vase. Deploying her material and using a palette - based on harmonious tones of white, blue and grey with brightly coloured highlights - as only an artist of great experience and technical ability could achieve, it is an example of the still life genre infused with joie de vivre for which she is renowned.Redpath explained about her works of this period: ‘I think I have always been interested, for instance, in the textural quality of paint and painting and while, in a way they are more abstract to see than they were before, yet they are still quite real and I don’t think they ever will be completely lost in abstraction.’ (quoted by Alice Strang, Queen of Edinburgh: Anne Redpath and her Circle, lecture given at the Scottish National Gallery, Edinburgh on 24 January 2023).Moreover, Terence Mullay declared in his review of her solo exhibition at the Scottish Gallery, Edinburgh in 1960: ‘Anne Redpath’s latest exhibition…confirms her position as one of the finest painters to-day…[Her work]…provides an admirable example of how paint can be handled with enormous verve and can be all the more exciting for being closely controlled…Above all, it is her use of colour that is so moving… Her painting appeals both to the emotions and to the head.’ (Daily Telegraph and Morning Post, 25 August 1960, p. 19) Redpath’s death in 1965 was marked in multiple ways, including memorial displays and exhibitions were mounted by the Royal Scottish Academy, Scottish Gallery and Scottish Art Club. The Scottish Committee of the Arts Council of Great Britain mounted a major touring memorial exhibition of eighty-six works, which opened in Edinburgh later that year, as did an exhibition at the Scottish Gallery in which Marguerites in a White Vase was shown; it was acquired from there by the painting’s previous owner.
William Behnes, English, 1795-1864, a white marble portrait bust of a gentleman, dated 1831, restorations, signed to the reverse W.BEHNES SCULP.LONDON 1831, on a waisted socle and a later associated painted plaster pedestal column, the bust - 72cm high; the pedestal - 109.8cm (2)Footnotes: Note: William Behnes found fame at a young age. He first exhibited at the R.A. in 1815 and quickly accumulated a following with many commissions. The Art Journal, referring to a bust of Clarkson, wrote that they had 'never seen anything finer in modern or ancient art'. While H. Weekes was inclined to rate him as the superior of Chantrey in the field of portrait sculpture. Sadly Behnes, in middle age, fell into financial difficulties and died a pauper.
Wilhelm von Gloeden, German, 1856-1931, a large carbon or matt gelatin silver photograph print of the Greek Doric Temple at Segesta, Sicily, early 20th century, bearing blindstamp and inscription to lower left corner W. van Glöden Taormina 1914, mounted in a glazed moulded wood frame, 68.5 x 98cmFootnotes: Note: A similar example was offered at Christie's London, 7 May 1999, lot 228. The self-styled "Baron von Gloeden" was a German photographer, born into a branch of the noble von Gloeden family but with a falsified Baronetcy. After studying art history in Rostock and at the Weimar Saxon-Grand Ducal Art School, he set up a photographic studio in Taormina in Sicily, initially as a hobby. Photographing from c.1890-1910 and exhibiting his work internationally by 1893, he was famous in his lifetime for landscape photography that helped popularise tourism in Italy, as well as studies of peasants in traditional clothing such as togas. However, it was his nude studies of young men and women that cemented his legacy as "one of the founders of modern homosexual iconography" - Frankel, Nicholas, Oscar Wilde: The Unrepentant Years, Cambridge, Massachusetts, 2017: Harvard University Press, p.166.
L.S. Lowry R.A. (British 1887-1976) Woman pushing child in a pram with dog following Signed and dated 1957, pencil drawing. 10 x 15cm (framed 65 x 69cm) Christie's, 20th Century British Art, 12th July 2006, Lot 108.Christie's, Modern British and Irish Art, 14th December 2012, Lot 402.Clarendon Fine ArtPrivate Collection, U.K. Artists’ Resale Right (“droit de suite”) may apply to this lot. The drawing is in very good, restored condition. The marks visible in the lower half of the sheet, when the drawing was last sold at auction, have now been largely removed. The drawing is ornately framed and glazed.
An Egyptian carnelian pendant of a leg Old Kingdom-First Intermediate Period, 5th-8th Dynasty, circa 2450-2025 B.C.mounted on a modern necklace, 3cm highFootnotes:Provenance:Collection of His Excellency Mamdouh Riaz Bey, Egypt; reputedly mounted by the Nasser Brothers, Cairo, 1950s.Anonymous sale; Piasa, Paris, 28 September 2004, lot 552.W. Arnold Meijer collection, the Netherlands, acquired at the above sale.Cf. an example in the Art Institute of Chicago, acc. no. 1894.861 and the Metropolitan Museum of Art, New York, acc. no. 10.130.2355. Amulets of hands and feet were most commonly worn in bracelets and anklets, as they were thought to protect the limbs of their wearers. The use of carnelian, evoking blood, brought power and vitality to the amulet.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Hugo Charlemont, 1850 Jamlitz, Mähren – 1939 WienBLUMENSTILLLEBEN MIT KRUG UND LAUTEÖl auf Leinwand. Doubliert.120 x 66,5 cm.Verso: Etikett des Auktionshaus im Kinsky sowie Austellungsetikett von „The Edith C. Blum Art Institute. Annandale-on-Hudson, New York, The Bard College Center.“.Vor einem dunklen, uniformen Hintergrund steht eine große, mit Blumen gefüllte Vase, die sich durch eine farbenfrohe Palette vom Rest der Komposition abhebt. Auf dem mit einem roten Tuch bedeckten Tisch liegen eine Laute und ein Glaskrug, ebenso wie ein weißes Tuch. Charlemont gilt als traditioneller naturalistischer Maler, der den Einflüssen des Impressionismus nahe stand, dabei aber seinem kanonischen Stil von Landschaften, Portraits und Stillleben treu blieb.Provenienz: Sotheby‘s London, 19.6 Juni 1985, Lot 159.Privatbesitz, Wien.Leon Botstein (Hrsg.), Linda Weintraub (Hrsg.), Pre-Modern Art of Vienna 1848-1898, New York 1987, S. 115 mit Abb.Ausstellung:Pre-Modern Art of Vienna 1848-1898, The Edith C. Blum Art Institute of Bard College, Annandale-on-Hudson, New York 1987, mit Abb. auf S. 115 des Ausstellungskatalogs. (13810516) (10)Hugo Charlemont,1850 Jemnice, Morivia – 1939 ViennaFLOWER STILL LIFE WITH JUG AND LUTEOil on canvas. Relined.120 x 66.5 cm.Exhibition label from “The Edith C. Blum Art Institute. Annandale-on-Hudson, New York, The Bard College Center”.
Toon Kelder, 1894 Rotterdam – 1973 Den Haag MATERNITÉÖl auf Leinwand.67 x 46 cm.Links unten in Ritzung signiert. Verso auf dem Keilrahmen Etikett James Bourlet & Sons. Ltd. mit Nummerierung.Der Maler zählt zum Kreis der von der Pariser Avantgarde inspirierten Künstler, der in den 20er Jahren einen persönlichen Stil entwickelte. Er war Schüler von Alexander Maasdijk und Frederik Nachtweh. Bis 1945 widmete er sich einer abstrakten Wiedergabe von Personen und Landschaften, die weiblichen Figuren fast immer nach Modell seiner Frau. Später überwog ein rein abstrakter Malstil. Er war Mitglied des Pulchri Studios. Der Künstler lebte und arbeitete in Rotterdam, Paris, Madrid und ab 1911 ständig in Den Haag. Er wirkte als Maler und nach 1946 vermehrt auch als Bildhauer. Werke seiner Hand u.a. im Museum of Modern Art, New York. (13812915) (1) (11))
William Conor RHA RUA (1844-1968) The Currach in the West Oil on canvas board, 43 x 48.5cm (17 x 19") SignedProvenance: The McClelland Collection and on loan to IMMA from 1999 to 2004.Exhibited: Dublin, Irish Museum of Modern Art, Sept 2000 - Jan 2001. Selected Works from the McCelland CollectionLiterature: The Hunter Gattherer - The Collection of George and Maura McCelland at the Irish Museum of Modern Art Fig 19, full page illustration P. 33The early training in the art of the poster and the technical influences of poster art images as understood by the artist are important elements in his creation of an image, and its technical delivery. His periods of work and study in West Kerry on the Blaskets and its vivid culture in the early 20th century lends extra force to what was said of him that, if folk culture and its songs could be translated into painting then this Belfast painter would be a singer of those songs. Making a play on the old man rowing the currach and the young girls, young women in the making, like so much of his work, the foreground composition is dominant, with the ‘’suggestivo’’ of the background setting and capturing the moment. The artist’s capacity to distil a middle distance in a manner learned from his early poster days, the mountain in the background gives the balance and atmosphere to this charming work. The leading edge of the currach, and the oars bring the eye into the composition in a very dynamic way, whose visual speed is arrested by the upright of the male figure and the more serpentine line of the two girls, one of whom is more casually posed to look back at us with that laughing glance which is so typical of his work and conveys great tranquillity and happiness, a moment seen and never forgotten from long ago. Age and Youth, time passing and a wonderful landscape all distil so much of this artist’s best works. Ciarán MacGonigal
Colin Middleton RHA RUA MBE (1910-1983) Opus 1 no. 49 (Group IV The Oracle, 1942) Oil on canvas, 75.5 x 50cm (29¾ x 19½") Signed and dated October 1942; Signed, inscribed with title and dated 11 October 1942 verso Provenance: The McClelland Collection and on loan to IMMA from 1999-2004; Sale, these rooms, Dublin 31 May 2006, lot no. 69; Private Collection; Sale, these rooms, Dublin 6 December 2010, lot no. 121. Exhibited: Irish Museum of Modern Art, Dublin, 'Northern Artists from the McClelland Collection', January/February 2005; Droichead Arts Centre, 'Northern Artists from the McClelland Collection' Literature: 'The Hunter Gatherer- The Collection of George and Maura McClelland at The Irish Museum of Modern Art', full page illustrations p. 69 On occasions the impact of Colin Middleton's realist painting can be dulled by excess, but 'The Oracle' presents us with a starkness and coherence of the central figure and the landscape that is striking. This landscape is dominated by a near-monochromatic group of clouds that float against a cold grey-blue sky, peaceful yet unnatural and slightly disturbing.The strange prehistoric creature confronting the viewer has human attributes sprinkled across its unwieldy body in simply indicated form, recognisably female in a manner we know from Picasso. The form to the left is more ambiguous, a sundial that could be a companion of some sort and which has suggestions of masculinity. Throughout Middleton's work, the female figure is almost invariably the stronger and more dominant element of a composition and here it traps us on the edge of land, barring our way. He often depicts the female archetype as a part of the natural order that sits outside time and change, holding the key to understanding, and this painting could suggest an interpretation along these lines, although the title alone is sufficient warning of the problems of trying to solve such mysteries.Dickon Hall.
Edward McGuire RHA (1932-1986) Pearse Hutchinson Oil on canvas, 132 x 107cm (52 x 42") Signed and dated 1970 Provenance: Collection of John and Harden Jay; Private Collection, DublinLiterature: Brian Fallon and others, Edward McGuire p86, full page illustration, p.87, catalogue raisonne no. 45.Exhibited: Dublin, David Hendrick's Gallery, Claddagh Records' Group Exhibition 1970, cat. no. 24 Irish Exhibition of Living Art 1971, cat. no. 45; Hugh Lane Municipal Gallery The Irish Imagination, 1971, cat. no. 15 (also shown in Washington DC, Philadelphia and Boston) Artist's Choice, Ulster Museum, 1973, cat. no. 6, 6th Festival International, Cagnes-sur-Mer 1974, diploma award; Dublin, Irish Museum of Modern Art, EnVisage: The Face in Contemporary Art, 9th October 2001 - 21st April 2002. This work featured in the 1977 RTE documentary on Edward McGuire. This work was on loan to the Irish Museum of Modern Art from 1993 to October 2008.A superb example of Edward McGuire’s portraiture at its finest, painted at the beginning of a decade in which he completed likenesses of a succession of major Irish literary figures, including Julia O’Faolain, Michael Hartnett, Seamus Heaney, Anthony Cronin, Francis Stuart and Paul Durcan.Born in Glasgow to Irish parents who returned to Ireland and settled in Dublin when he was five years old, Pearse Hutchinson attended Synge St and studied Italian and Spanish at UCD. A friend of John Jordan, he was one of the mid-century Irish literary set and became a fixture in Irish cultural life. But there remained something elusive, even fugitive about him. The word “unconventional” has been used in relation to his talent and fortunes - although he occupied an academic position for a time, he was too restless a spirit to pursue a career as such. That restlessness led to travels and sojourns in Europe, especially Spain, and extended to a linguistic restlessness: he was enamoured of languages and liked to lose himself in the possibilities they opened up. That included his “native” tongue, for he also wrote in Irish, feeling able to express himself more directly in the language. And he was an enthusiastic translator.By the time he painted Hutchinson’s portrait, McGuire was fully mature as an artist. To some extent he had to emerge from his father’s shadow: Edward McGuire senior was a high-profile public figure, a sportsman, senator and businessman (who owned Brown Thomas). His son, surviving the challenges of childhood infirmities, came late to art. Enthused by the painters of the Florentine Renaissance, he eventually developed a meticulous, highly realistic mode of painting, at some remove from the Post-Impressionism his father, who also painted, favoured.McGuire’s studio (its contents now in IMMA) was like a laboratory. Working from precise preparatory drawings he made his highly distinctive paintings there with the aid of an elaborate colour dictionary, many years in the devising. This extraordinary colour recipe book provided him with the formulae for a vast range of tonal colours: rather than shading colour with black or white, he drew on an exactly prescribed mixture of colours, often complementaries, to produce the desired tonality. This painstaking method largely accounts for the exceptionally lustrous, rich quality of his paint surfaces. His painting have all the impact of, especially, Northern Renaissance portraiture, while being thoroughly modern.Aidan Dunne, November 2023
LUCIE RIE (1902-1995)Cylindrical vase with flaring lip, circa 1960Porcelain, manganese and dry terracotta glazesH: 31,3cm. (12.5/16in.); D: 12,5cm. (4.15/16in.)Impressed with artist's sealFootnotes:ProvenanceJ.W.N. van Achterbergh Collection Christie's, Amsterdam, 'World Ceramics, The J.W.N. Van Achterbergh Collection', 1 November 2005, lot 156Acquired from the above by the present ownerLiteratureLucie Rie/Hans Coper: Masterworks by Two British Potters, exh. cat., The Metropolitan Museum of Art, New York, 1994, front cover for a similar exampleT. Birks, Lucie Rie, Ed Catrine, 2009, p. 144 for a similar exampleLucie Rie – A Retrospective, exh. cat., The National Museum of Modern Art, Tokyo, 2010, p. 160 for a similar exampleThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Heid, Hermann -- Nude study of a standing female. Circa 1875. Albumen print. 14 x 9,8 cm. Hermann Heid, a multifaceted Austrian photographer, chemist, and manufacturer, embarked on his photographic journey during the mid-19th century, initially focusing on architectural and industrial photography, which he showcased at the 1864 photographic society exhibition in Vienna. Over time, he diversified his portfolio to include a wide range of photographic subjects, such as portraiture, nature, animals, and nude studies, amassing numerous awards both domestically and internationally. His photographic creations are now preserved in the collections of esteemed institutions such as the Museum of Modern Art, New York and the Rijksmuseum in Amsterdam. – In excellent condition.
Dutton, Allen A. -- Surrealistic collage. 1970s. Vintage gelatin silver print. 19 x 23,2 cm. Mounted to card, with photographer's stamp and annotated in ink on the verso.Born in 1922 in Kingman, Arizona, Allen Dutton studied painting and sculpture at the Art Center School in Los Angeles. He held a variety of teaching posts in public schools in Arizona, before joining the art department at Phoenix College in 1960, where he taught photography and later served as head of the department until 1982. Between 1963-1964, he studied with Minor White and has acknowledged this time to be one of the greatest influences in his photographic development. His work is in the collections of the Museum of Modern Art, Bibliothéque Nationale in Paris and the Corcoran Gallery in Washington DC. – Light crease in upper left corner of photo, crease in upper right corner of mount, otherwise in very good condition.
![[*] Entartete Kunst -- Proscription postcards showing works in the "Entartete Kunst" (Degenerate Art) exhibition. 1937. 6 vin](https://cdn.globalauctionplatform.com/38096143-df28-45b5-8f6b-b0b600a3287b/b5d3cf49-2f7c-4297-aedb-b0b600b6d47c/468x382.jpg)
[*] Entartete Kunst -- Proscription postcards showing works in the "Entartete Kunst" (Degenerate Art) exhibition. 1937. 6 vintage gelatin silver photo postcards. Each circa 9 x 14 cm. The "Entartete Kunst" (Degenerate Art) exhibition holds historical significance as a symbol of the Nazi regime's suppression of artistic freedom, censorship of modern art, and the persecution of artists during the era of National Socialism in Germany. Among the displayed works was Otto Dix's haunting portrayal of four wounded veterans, "Die Kriegskrüppel" (1920), considered a masterpiece of the New Objectivity movement. Unfortunately it went missing in the aftermath of the exhibition. – Corners slightly bumped, otherwise in very good condition.
Man Ray -- Rayographs. 1924/1928. 2 gelatin silver prints, printed 1980s. 27,8 x 20,8 cm (30,6 x 23,8 cm). Both prints annotated in pencil on verso, one print annotated Man Ray in pencil and with the photographer's studio stamp and one with A.D.A.G.P. Paris stamp, both with Tirage original réalisé par Pierre Gassmann stamp and Foto von einem Fotogramm stamp on the verso . Man Ray's rayographs involved placing objects directly onto photosensitive paper and exposing them to light, resulting in ethereal and often abstract compositions. This technique allowed him to explore the interplay of light and shadow, shape and form, in a way that challenged conventional photography. Offered here are two photographs of Man Ray's photograms made by Pierre Gassmann. The original prints of these works are in the collection of the Museum of Modern Art in New York. – Minimal buckling along edges of prints, a few handling marks, otherwise in excellent condition.
A Meissen model of Chiarina from the Ballets Russes in the ballet 'Le Carnaval', circa 1914-23Modelled by Paul Scheurich, wearing a dress with ruffled skirt and floral bodice, holding flowers in both hands, a mask, fan and flowers on the oval base, 26.5cm high, crossed swords mark in underglaze-blue, incised D.286, impressed numeral (small chip to back of base)Footnotes:Paul Scheurich's first models for the Meissen factory were those based on characters from the ballet 'Le Carnaval', which was performed several times by Sergei Diaghilev's Ballets Russes between 1910 and 1912 in Berlin. Diaghilev's company and their performances sparked excitement across Europe in the early 1910s and many great names in music and modern art worked with them throughout the next 20 years, such as Ravel, Debussy, Strauss, Picasso and Braque.Scheurich first brought the models to the factory at the end of 1912 and they were purchased for their production by Max Adolf Pfeiffer in June 1913 for 2500 Marks. Scheurich's decoration suggestions followed in January 1914 and the first completed figures were ready in February of the same year (Johannes Rafael, Paul Scheurich - Porzellane für die Meissener Manufaktur (1995), p.22).For further information on this lot please visit Bonhams.com
Alan Davie (1920-2014)Upsurge No.3, 1952dated '20 8 52' (upper left), signed, dated, and inscribed 'Alan Davie/Aug 52/SPEED SPACE' (to reverse)oil on board 122 x 101cm. Provenance:The Artist's Estate;Private Collection; Bonhams. London, Modern British and Irish Art, 22 June 2022, lot 60. Literature: Alan Bowness, Alan Davie, Lund Humphries, London, 1967, cat.no.147 The present lot is the third in a sequence of works titled Upsurge and subtitled Speed Space, each painted by Davie in 1952. The critic Robert Melville observed that Davie's work of this period relates to the fascination with science fiction prevalent among the artists of the emerging Independent Group, as well as the sacrificial imagery of Francis Bacon. Across the Upsurge pictures, Davie's application of paint is thick, the final image resultant of process rather than design. Upon the acquisition of another work from 1952 (Black Mirror), which matches approach and palette of the Upsurge series, the Tate gallery interviewed Davie. He elaborated on his practice around this date: "The paintings of the period that remain are few — the outcome of violent and mainly destructive work — most of them have many various paintings underneath them... each successive image being the result of the destruction of the previous one (obliteration by a new image, not removal of). At that time I felt the need to produce a work by a flash of intuition — if it didn't come off I did another on top. There is no doubt that many good things were destroyed in the process — but the result could never have been achieved by any other way." (Alan Davie quoted in The Tate Gallery Report 1972–1974, Tate Gallery London, 1975). The painting and board appear in very good condition with no sign of damage or paint loss. The edges of the board have very minor wear consistent with the age. The frame has age and has some wear.
ARR Frederick Edward McWilliam CBE RA (Irish 1909-1992) The Women of Belfast, XI, Figure of a young woman, 1972, signed and numbered 2/5 to the base, bronze, 61 cm highProvenance: Private collection of a Gentleman, purchased from Waddington Galleries, Cork Street, Mayfair by Sir Philip Dunn during which the vendor was present, the sculpture was subsequently gifted to the vendor by Mrs Mary Dunn c.1991McWilliam was born in Bainbridge, County Down and was heavily influenced by childhood memories of violent clashes that occurred in his hometown, including seeing his own father treating a young child who had been shot while caught in the crossfire. His career brought him to London, where he spent most of his adult life, but some of his most acclaimed works focused upon his reactions to events in Ireland during the heights of The Troubles.During the 1970s McWilliam created a series of harrowing female figures in bronze, titled The Women of Belfast, the sculptures represented women as the victims of war. They were inspired by the victims of a particularly brutal bombing of the Abercorn Restaurant in central Belfast on the 4th March 1972. The venue was packed with diners at the time, a bomb exploded at 4.30 in the afternoon, having been disguised in a handbag on the floor. Two young women in their early twenties were killed instantly and over 130 others suffered catastrophic and life-changing injuries.In response to the Abercorn bombing McWilliam created the Women of Belfast series, the female figures memorialise not only the two tragic lives lost, but also represent all the victims who suffered during the height of The Troubles in Northern Ireland. The significance of these sculptures is no less poignant today, exemplifying the innumerable innocents caught up in modern conflicts worldwide.Each of the figurines from the series features a female victim in a different pose, being violently blown through the air. The figure consigned with Halls Fine Art portrays a woman fighting to remain standing, her head bowed, limbs at unnatural angles, her clothing blown forcefully backwards by the sheer force of the explosion. It stands at 61 cm high and McWilliam portrays the whole of her body reacting against the blast. The figure is charged with energy, her body tense, trying to resist against an even more powerful force. Condition:The sculpture and base are bronze. The figure appears in good condition, there are no obvious faults, losses or repairs. The material appears stable- there are no obvious signs of deterioration. There is surface dust present - mostly located in the folds and crevices of the piece. Beneath the base there is what appears to be crack to the surface (see additional image) but it is not deep, the structure is stable and sound.
A PAIR OF GEM-SET AND DIAMOND BROOCHES, BY SABBADINIEach designed as a stylised bee, the bodies respectively set with variously-cut amethysts and yellowish-orange sapphires, further highlighted with brilliant-cut diamonds, mounted in 18K gold, one signed, both with Italian registry mark 963MI, length 2.8cm & 3cmSabbadini is a long-standing Italian Jewellery House, in fact it is the only jewellery house that still manufactures in central Milan. The flagship store on the celebrated Via Montenapoleone, opened in 1998 and was the first and only commercial space created by the legendary architect-designer Renzo Mongiardino. The Sabbadini Jewellery house is celebrated for its tiny stones clustered in seamless pavés around single statement gems and its exquisite enamelling of natural motifs, ranging from flowers to dogs and its signature bees, which founder Alberto designed for his wife Stefania. The jewellery pieces are contemporary and reflect the Sabbadini’s love of modern art. It is a family run business, Stefania helps run the company with their son and CEO, Pierandrea. All jewellery pieces are designed with the 3 elements at their core, to be unique, elegant and precious. Condition Report: Amethysts: of pinkish-purple hue, medium tone, good transparency, overall well matched in colourCitrine: of brownish-orange hue, medium tone, good transparency, overall well matched in colourDiamonds: bright and livelyThe amethyst bee is signed Sabbadini, the other is unsigned, possible that the signature rubbed offClasps secureNormal signs of wear, overall in good conditionTotal gross weight approx. 17.8gFor a similar amethyst bee brooch, see sabbadini website, retails for €12,000.-https://www.sabbadini.com/en/product/sabbadini-bee-brooch-sp2897ab/
JEFF KOONS (NE EN 1955)Monkey Train (Blue)- Hulk Elvis, 2007 Sérigraphie d'encre pigmentaire sur papier SomersetSignée et numérotée 8/40Editée par the American Friends of the Tel Aviv Museum of Art, New York83,5 x 66, 5 cm Silkscreen with archival pigmented inkjet on Somerset paper, signed and numbered 8/40Footnotes:ProvenanceAmis du Musée d'Art de Tel AvivGalerie Jérôme de Noirmont, Paris Exposition« Influence Pop » , Galerie Jérome de Noirmont, Paris, 6 Février au 28 Mars 2009'Popular: Brand, Symbols, Icons. From 1960 to the present day', Galerie Thomas, Münich, 25 novembre 2010 - 19 février 2011. (n° 10/40 exposé)Bibliographie 'Freedom Not Genius - Works from Dabmien Hirst's Murderme Collection', textes de Mario Codognato, Ginevra Elkann, Elena Geuna, Damien Hirst, Editions Other Criteria / Fondazione Pinacoteca Del Lingotto Giovanni e Marella Agnelli, Londres, 2012 ; toile originale reproduite en pleine page couleur, p. 119.'Popular : Brands – Symbols – Icons 1960 – 2010', Galerie Thomas Modern, Munich, Allemagne, 2010 ; oeuvre reproduite en couleur, p. 55.For further information on this lot please visit Bonhams.com
4th century A.D. With a double-edged blade of Illerup-Wyhl Type, narrow parallel cutting edges tapering towards the point; remains of wooden scabbard on the blade and remains of wooden grip on the hilt; accompanied by a crescent-shaped iron chape. Cf. Bishop, M. C. & Coulston, J.C.N., Roman military equipment, from the Punic wars to the fall of Rome, London, 1993; Miks, C., Studien zur Romischen Schwertbewaffnung in der Kaiserzeit, I-II Banden, Rahden, 2007; D’Amato, R., Roman army Units in the Western Provinces, Oxford, 2019; for a very similar specimen see Miks, 2007, no.A146, 67 (Eisbøl). 1.02 kg total, 6.5-94.5 cm (2 1/2 - 37 1/4 in.).From the private collection of a London gentleman, from his grandfather's collection formed before the early 1970s. Accompanied by an academic report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.11924-209661.The iconographic sources indicate that Roman swords changed in the later 2nd and 3rd centuries A.D. Longer swords, which were more popular within Germanic and Celtic cultures and more useful for fighting on horseback, were soon widespread among infantry units and mass-produced in the Roman workshops. They were brought home by foreigners after mercenary or auxiliary service in the Roman army. This, together the possibility of war booty, may explain why a great number of these swords have been found in the distant areas such as Nydam Mose, Eisbøl and Illerup Adal, all in modern Denmark. [2]
2100-1850 B.C. Tapering round-section votive with reserved zigzag bands of dense linear hatching; modern mounting pin. 71 grams, 13.5 cm (5 3/8 in.).From the celebrated personal collection of art formed by the famous anthropologist, artist, and television presenter Desmond Morris. with Christie’s, South Kensington, 14 May 2002, lot 19 (part). [No Reserve]
Mid 7th-6th century B.C. Holes close to the rim for attachment of a lining; the surface executed in repoussé technique, filled by scenes horizontally divided with guilloche of two interlaced serpents; in the lower register two opposed lions (an antithetic pair, a lion and a lioness), both in profile, attacking a boar; the lions with open jaws and prominent muscles; the mane marked, and the tails forming a reversed S-curve between the hind legs; the anterior part of the boar collapsing under the lion's attack; rosettes filling the field and in the upper register, two large bosses separating three semi-human figures, maybe representing evil spirits, advancing in crouching pose with elbows bent and hands palm-upwards, rosettes and fungi in the field, their arms elevated in prayer; restored. See Rawlinson, G.M.A., The five great Monarchies of the Ancient Eastern World, III vol., New York, 1881; Schmidt, E.F., Persepolis II, Contents of the Treasures and other discoveries, Chicago, 1957; Soudavar, A., Iranian complexities, a study in Achaemenid, Avestan and Sassanian controversies, Houston, 1999; Garrison, M., 'Notes on a boar hunt (PFS 2323) in Bulletin of the Institute of Classical Studies vol. 54, No. 2 (2011), pp.17-20; Muscarella, O.W., Archaeology, Artifacts and Antiquities of the Ancient Near East, Boston, 2013. 495 grams, 42 x 25 cm (16 1/2 x 10 in.).From the collection of a West London businessman, formed in the late 1980s-early 1990s. Property of an important West London collector. Accompanied by an academic report by Dr Raffaele D'Amato. Accompanied by a metallurgic analytical report, written by metallurgist Dr Brian Gilmour of the Research Laboratory for Archaeology and the History of Art, University of Oxford, report number 618/129067. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.11982-209461.Our specimen is a well preserved decorative votive plaque of Early Achaemenid age, although some elements could suggest the plaque as belonging to the late Elamite period. Usually these plaques are rectangular in shape and contain one or more figures. One of the predominant figures is the lion, an old symbol of power in Ancient Mesopotamia. It appears often in a similar form, for example in the Achaemenid seals (Schmidt, 1957, pp.42-44), as a hunter. The king of the beasts was considered a worthy foe, but sometimes was used as a symbol of the dynasty. Boars are also visible in seal patterns (Rawlinson, 1881, p. 240; Schmidt, 1957, pp.12,15,40,41,49). The rosette motif is well known in the Achaemenid art, like on Miho's Artaxerxes plate (Soudavar, 1999, p.11) or in decorated architectural fragments left on the ground in Persepolis (Soudavar, 1999, p.20 fig.14), and, more important, in the famous Otane's plaque (Soudavar, 1999, p.29 fig.32; p. 42 fig. 41a-b-c) or on the plaque reporting the Behistun text (Soudavar, 1999, p. 56 fig. 45). The rosette is a representation of solar emblems, and it is already visible in works of the first millennium B.C. (Muscarella, 2013, pp. 682-683, 781), and on the diadems of the Elamite rulers represented in the Achaemenid art. The representation of the Ansh?nite sun flower under a rosette vary in shapes and it is not always clear whether it predates the Darian Persepolitan style. Here, the presence of convex more than concave rosettes points more to a date anterior to Darius' kingdom (522-486 B.C.). The representation of the snakes is singular, considering that there is a general negativity in the Persian ancient culture associated with the word (snake) and the animosity that Zoroastrianism developed towards snakes. However, according to the Sh?hn?meh, the discovery of fire was ushered by the appearance of a magical snake, at which the legendary king Hushang threw a stone; it missed its mark but hit another stone and produced sparks that lit a fire. The Achaemenid Empire dominated the Near East and the eastern Mediterranean for about two centuries, from the mid-sixth to the mid-fourth BC, when it was conquered by Alexander the Great and the last Persian king, Darius III Codomannus, was killed by his generals. It was one of the largest empires in the world and in many ways one of the most successful. Votive plaques were dedicatory offerings in the temple, like a modern ex-voto. The motive of the boar hunt in Achaemenid art is visible on seals, and represents the warriors (lions) hunting the enemy (ibex, boar), a typical war-training exercise for soldiers, commanders and princes. The theme of the boar hunt by Persian warriors has traditionally been associated closely with later Achaemenid glyptic from the western realms of the empire, but in this ancient plaque representation the lions appear symbolically replacing the warriors.
Modern French Culinart Art by Henri-Paul Pellaprat, First Edition 1960, Hardcover. Sold on behalf of Michael Sobell Cancer Charity. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99
Antwerpen, (etc.), (1920). 32 p. 17 photogr. plates showing works by Huszar, Mondriaan, Doesburg, Rietveld, Wright, Oud, etc. Orig. wr. des. by Doesburg. 8vo. Speech by Van Doesburg, in which he develops his ideas about modern art and architecture heading towards an abstract and universal art. Sm. note on half-title. Wr. sl. age-toned as usual, occas. foxing.
Incl. New Year's greeting cards, articles, booklets, etc. (1-41) Forty-one New Years' and other greeting cards, var. techniques (collages, drawings, photogr., photomontages), var. places, 1961-2004, mostly postcard-sized, kept in sm. modern album. Very nice collection of lovingly produced, mostly unique greetings, each a small work of art, sent to Guido and Felicia van Deth in The Hague. (42) Alkema, H. De wondere wereld van Cilli Wang. Amst., Theater Instituut, 1996, 147 p., w. ills., orig. wr., 4to. Signed dedication in pen by Wang on title-p.: "Met veel liefde en wensen voor de toekomst". Also w. orig. drawing in black ink, gouache and gold by Wang, mounted on inside front wr. -and 14 others, mostly newspaper clippings but also incl. 4 theatre programmes. Wang was a Jewish dancer, cabaretière, theatre actress and wife of German poet and philosopher H. Schlesinger (d. 1945). They fled to the Netherlands during a tour in Sweden in 1938, after the Anschluss between Austria and Germany. In 1975 she returned to her birthplace, Vienna. (total 56)
(1) Ritter, P., B. Bakker Schut & H.Th. Wijdeveld. De Bijenkorf, 's-Gravenhage. Uitg. ter herinnering aan de opening op 25 maart 1926. (Amst., Kasteel v. Aemstel, 1926), 123 p., richly ill. w. floor plan cross-sections, num. photogr. ills. of the outside and details on the inside, num. advertisements, layout and orig. cloth-backed dec. boards by Wijdeveld, folio. Sm. tear p. 33, some external imperfections. A good copy. Oldewarris et al. H.Th. Wijdeveld, Art Deco design op paper 61 and 62 (cover and title-p.). Fine monograph published on occasion of the opening of the new building of the department store De Bijenkorf at The Hague on 25 March 1926, one of the highlights of modern Dutch architecture, des. by the architect P. Kramer. -and 7 others, incl. 2 rare privately publ. items by Wijdeveld (one as "Dutchy", 1967) and 2 remarkable issues of Hitweek w. striking layout by Wijdeveld (Dec. 1966). Added: Oldewarris, H. et al, H.Th. Wijdeveld, Art Deco design on paper (2003). (total 9)
Year I, vols. 1-12 and Year II, vol. 2. Haarlem, Kleinmann, 1905-06. Ills. Orig. paper wr. des. by Hana. Rare periodical about modern art, design, applied art and architecture. Articles by a.o. Hana, J. Wormser, K. van Leeuwen, H. Ellens and J. van den Bosch. Overall in good condition. Lacks 5 plates. Added: Wolf, N.H., ed. De Kunst. Een algemeen geïllustreerd en artistiek Weekblad. 55 issues, 1917-19. (total 68)
Mostly French language, ca. 1890-1950, in 4 modern portfolios. The portfolios are all labelled "Le vieux papier" on spine, one of them contains over 40 items concerning the Société Archéologique, Historique & Artistique "Le Vieux Papier" in Paris, incl. invitations/ announcements for dinners and expositions, business cards, menu cards, etc. The other albums contain miscellaneous ephemera, such as entry tickets, train tickets, lottery tickets and advertorial cards (incl. for cars, furniture, interior decorations, works of art, ceramics, glass, tapestries, etc.). (total approx. 300 in 4 albums)
Mostly Dutch, but also incl. a few (pro) German items, ca. 1938-45. A varied collection, also including a number of items produced just after the war. A number of items have a caricatural nature, the collection also includes some modern reference works on this kind of art produced during the war. Incl. a.o.: (1) "Zeer geachte heer Schreuder. Indien mogelijk zouden wij het zeer op prijs stellen indien de kinderen nog even aan de schoolvoeding konden deelnemen, daar wij in het geheel geen aardappelen hebben [signed]." Short letter in pen, dated 16-5-1945. (2) "Geachte heer, gaarne zou ik zien, dat één of meer van mijne kinderen in de komende tijd aan de warme schoolvoeding zouden kunnen deelnemen [signed]. Short letter in pen, dated Amsterdam, 14 mei 1945. (3) "Oorlogswinter 1944-1945." Large fold. plate after L. Visser, the sheet measuring 49.5 x 65.5 cm, publ. by Vondel in Amst., (1945). Caricature showing the difference between fat Germans and starving Dutch people. (4) English language folded silk soldier's map of France, no date. (5-6) Two variants of the game "zoek het 5de zwijn/ where is the 5th pig"; when folded correctly, creates a portrait of Hitler. (7) Passierschein. Der deutsche Soldat, der diesen Passierschein vorzeigt, benutzt ihn als Zeichen seines ehrlichen Willens, sich zu ergeben. Safe conduct. The German soldier who carries this safe conduct is using it as a sign of his genuine wish to give himself up. Sm. folded leaf printed on both sides, w. the printed signature of Dwight D. Eisenhower. Sm. defects. (8) Tentoonstelling van fotografische opnamen van Duitse concentratiekampen en verwoest Arnhem. N.pl., n.publ., n.d. (1945), 32 p., orig. stapled wr. A shocking documentary series of photographs. (9) Hoef, A. v.d. Mijn kamp. Gedichten uit het Concentratiekamp, Amersfoort. Groningen, Werkman, (1945), 32 p., orig. stapled wr. (10) 22 sm. photographs, 8 showing the destruction after the bombing of Rotterdam, 14 Mai 1940. Some duplicates. (total approx. 220 in 1 box)
(1) Minimal Art. The Hague, Haags Gemeentemuseum, 1968. Softcover exhibition catalogue, 21 x 21 cm, 82 pp. Ill. in b/w. Text in English and Dutch. First edition. Essays by Enno Develing and Lucy Lippard. Artists include Carl Andre, Ronald Bladen, Dan Flavin, Robert Grosvener, Donald Judd, Sol LeWitt, Robert Morris, Tony Smith, Robert Smithson and Richard Steiner. Includes artists' biographies and exhibition histories. (2) KunstLichtKunst. Eindhoven, Van Abbemuseum, 1966. Softcover, 26 x 23.5 cm, ca. 160 pp. Ills. b/w. Text in Dutch, English, French and German. Includes the Dutch introduction leaflet. Features an exhibition on the use of light in modern art and sculpture, with an amazing cast of international contemporary artists including Fontana, Dan Flavin, Morellet, Peeters, Colombo, Le Parc, Uecker and Piene. Both copies in very good condition. (total 2)
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