Pierre-Auguste RenoirJunger Mann im Wald von Fontainebleau1866Öl auf Papier auf Leinwand27 x 21,8 cmPrivatsammlung, Mailand;italienischer Privatbesitz2002 Palermo, Palazzo dei Normanni, Renoir e la luce dell'impressionismo, 06.06.-31.07.;2002 Mailand, Fondazione Mazzotta, Renoir e la luce dell'impressionismo, 19.09.-17.11.;2002/03 Rom, Palazzo Montecitorio-Parlamento Repubblica Italiano, Renoir e la luce dell'impressionismo, 11.12.-08.01.;2004 Ancona, Mole Antonelliana, I percorsi dell'impressionismo da Renoir a Toulouse-Lautrec da Gauguin a Monet, 25.06.-31.10.;2003/04 Mexiko Stadt, Museo Dolores Olmedo Patino, L'Impressionismo, Dezember-MärzRenoir e la luce dell'impressionismo, a cura di Maithé Vallès-Bled u. Vincenzo Sanfo, Ausstellungskatalog, Palazzo dei Normanni/Fondazione Antonio Mazzotta/Palazzo Montecitorio, Palermo/Mailand/Rom 2002/03, Mailand 2002, Abb. S. 36;I percorsi dell'Impressionismo da Renoir a Toulouse-Lautrec da Gauguin a Monet, a cura di Vincenzo Sanfo, Ausstellungskatalog, Ancona 2004, Abb. S. 48Bis 1864 besucht Pierre-August Renoir die private Malschule von Charles Gleyre in Paris. Dort trifft er auf Alfred Sisley und Claude Monet. Die jungen Künstler lassen sich um diese Zeit von den Meistern der Schule von Barbizon, wie zum Beispiel Gustav Courbet und Jean-Baptiste-Camille Corot beeinflussen. Die Barbizonisten sind die Ersten, die hinaus in die Natur gehen, um direkt vor dem Motiv zu arbeiten und die reine Ateliermalerei zugunsten einer Pleinairmalerei aufgeben. Über seinen Studienkollegen Sisley, mit dem ihn bald eine enge Freundschaft verbindet, lernt Renoir Jules le Coeur kennen. Der aus einer wohlhabenden Familie stammende Architekt und Maler, wird zu einem Wegbegleiter und Förderer. Ab April 1965 sind Renoir und Sisley häufig zu Gast in dessen Haus in Bourron-Marlotte am südlichen Rand des Waldes von Fontainebleau. Gemeinsam durchstreifen die Freunde die Gegend auf der Suche nach geeigneten Motiven. Bei einer dieser Wanderungen wird auch vorliegendes Bild des jungen Mannes im Wald entstanden sein. Das relativ kleine Format lässt den Schluss zu, dass es sich hier nicht notwendigerweise um ein im Atelier nach Zeichnungen gemaltes Bild handelt, sondern Renoir es direkt in der Natur, im Wald von Fontainebleau in Öl gemalt hat.Vor unseren Augen entfaltet sich ein wunderbares Licht- und Schattenspiel. Der Künstler hat sich auf einer Lichtung platziert und einen am Waldrand sitzenden jungen Mann malerisch festgehalten. Das Sonnenlicht an diesem Spätsommertag – das Gras der Lichtung ist nach einem heißen Sommer schon bräunlich gefärbt – scheint hell auf die Stämme der Laubbäume, die den Sitzenden gekonnt einrahmen. Auch im dichten Blattwerk leuchten einzelne Stellen durch die einfallenden Strahlen besonders hell, während andere im Schatten, in sattem Dunkelgrün erfrischende Kühle verheißen. An einigen wenigen Stellen blitzt links das intensive Blau eines klaren Sommerhimmels durch das Blätterdach. Der junge Mann hat die Knie angezogen und ein weißes Blatt darauf platziert: ist es ein Künstlerkollege, der ebenfalls zeichnerisch ein stimmungsvolles Motiv im Wald von Fontainebleau festhält, um es später im Atelier in Öl zu malen, oder ist es ein Lesender, der hier gezeigt wird? Wir können es nicht mit Sicherheit feststellen. In jedem Fall ist es dieses Spontane, Zufällige des Moments, das Renoir festhalten möchte. Hier manifestiert sich bereits eines der grundlegenden Prinzipien des Impressionismus. Es geht um einen momentanen, vergänglichen und auch möglichen Veränderungen unterworfenen Sinneseindruck, den Maler wie Renoir für uns festhalten wollen. Mit ihrer Lichtmalerei, die ihre Wurzeln in der Pleinairmalerei der Schule von Barbizon hat, entfernen sie sich von der konventionellen Landschaftsmalerei des 19. Jahrhunderts. Auf den Leinwänden der Impressionisten, zu deren Hauptvertretern Pierre-Auguste Renoir zweifellos gezählt werden muss, wird ein Spiel aus Licht und Farben entfesselt. Die Frische und Natürlichkeit dieser neuen Art von Malerei, in der Figur und Landschaft miteinander verwoben werden, offenbart sich bereits in frühen Werken wie jenem "Jungen Mann im Wald von Fontainebleau".(Sophie Cieslar)
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Rudolf RibarzSchafherde in Rhynsburg (Rijnsburg/Südholland)Öl auf Holz44,5 x 54 cmSigniert rechts unten: RibarzKunsthandel Giese & Schweiger, Wien;Privatsammlung, WienDer in Wien geborene Rudolf Ribarz sollte, dem Vater folgend, einen kaufmännischen Beruf ergreifen, jedoch erhielt er bereits als zwölfjähriger Unterricht bei dem Wiener Maler Josef Holzer. Dieser, Schüler der Akademie unter Thomas Ender und Franz Steinfeld, stand noch ganz in der Tradition des Biedermeier.Dem Vater zuliebe absolvierte Ribarz die Handelsakademie, entschied sich dann aber doch für die weitere künstlerische Ausbildung an der Wiener Akademie. Er besuchte die Klasse Albert Zimmermanns, der die Landschaftsschule von Steinfeld übernommen hatte.1869 brachte die Erste Internationale Kunstausstellung in München, an der Ribarz mit drei Gemälden beteiligt war, die Konfrontation mit der französischen Landschaftsmalerei eines Gustave Courbet, Camille Corot, Jean Francois Millet und Claude Monet. Von der französischen Malerei begeistert, beschloss der junge Künstler in Paris seine Ausbildung fortzusetzen. Es folgten intensive Studienjahre zunächst in Italien, Brüssel und ab 1875 endlich in Frankreich.In Paris pflegte er freundschaftliche Kontakte zu jenem Künstlerkreis, der vom aus Wien stammenden Kunsthändler Charles Sedelmayer vertreten wurde, dies waren u. a. Eugen Jettel, Otto von Thoren, Vaclav Brozik und Mihaly Munkácsy. Mit seinem Freund Jettel, den er bereits an der Wiener Akademie kennengelernt hatte, unternahm Ribarz Studienreisen in die Normandie und nach Holland. Hier entwickelte er seine eigene, sehr subtile Handschrift. Mit Hilfe einer zum Teil sehr reduzierten Farbpalette, schuf er Werke mit beeindruckendem Stimmungsgehalt.Rudolf Ribarz fand mit seiner Kunst international Anerkennung, und er stellte sowohl im Pariser Salon, wie auch in München, Wien, Berlin und auf den Weltausstellungen in Paris, Chicago und Antwerpen aus. Als er nach 16 Jahren in Paris, 1892 in seine Geburtsstadt zurückkehrte, war er ein gefeierter Künstler und konnte seine Karriere in Wien ohne Probleme fortsetzen. In den 1880er Jahren fand ein Wechsel in seiner Motivwahl statt und Ribarz spezialisiert sich auf Darstellungen von Blumen und Früchten. Dies war auch mit ein Grund für seine Berufung als Professor an die Wiener Kunstgewerbeschule, wo er zwischen 1892 und 1899 die Klasse für Blumenmalerei leitete. (MS)
Abraham Mintchine (Ukrainian/Russian, 1898-1931)Interior of a studio (Siesta)signed in Latin (lower right) oil on canvas 38.5 x 55cm (15 3/16 x 21 5/8in).Footnotes:ProvenancePurchased from Crane Kalman Gallery, London, by B. I. Harris Esq. on May 1960 (according to the label on verso)Acquired from the above by Jacques Spreiregen (1894 - 1982) Thence by descentExhibitedWorthing Art Gallery, Sussex, Impressionism to Surrealism, no. 2, 1970 (according to the label on verso)Jacques (Jakob Henryk) Spreiregen was born in 1894 in Warsaw into a Jewish family. To escape the Tsarist regime in Poland, in 1910, the family emigrated to France, where he changed his name to Jacques Henry Sergene. During the First World War, a young Spreiregen moved to England and began working as a headwear manufacturer and importer of basque berets. Having joined the British Army, he was sent back to France to serve in the Medical Corps before returning to England after the war. In 1938, the Kangol brand was born and owing to the exceptional popularity of its berets, soon became the official supplier of the British Army during the Second World War. As a philanthropist and collector, Spreiregen is known to have built an extraordinary collection of 20th century art led by European avant-garde masters such as Paul Cezanne, Claude Monet, Pierre Bonnard, Pablo Picasso, Mark Chagall, Mikhail Larionov and Natalia Gontcharova. Maintaining close ties with France, he was avid in his support of the community of Jewish artists in Paris, which included Chaïm Soutine, Pinchus Krémègne, Abraham Mintchine and Maurice Blond, and acquired the majority of his collection directly from the artists' studios. This remarkable collection was exhibited several times during Spreiregen's lifetime: in January 1960, at the Rouen Museum of Fine Arts, at the Katia Granoff Gallery in Paris (May – June 1963) and at the Brook Street Gallery in London in December 1963.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
![[Subculture] Cocksure, Love Lights a.o. Lot containing 7 obscure pornzines: (1) Love Lights. San Francisco's erotic Art newsp](https://cdn.globalauctionplatform.com/22e31b51-3022-4a65-8d1e-aea0009b964b/32b509ea-ef76-4492-98c2-aea000dac391/468x382.jpg)
[Subculture] Cocksure, Love Lights a.o. Lot containing 7 obscure pornzines: (1) Love Lights. San Francisco's erotic Art newspaper. Issue 50 vol. 3, 1976. (2) Tits and Ass. Vol. 1, no. 1. Other Dimensions, New York, 1969. Newsprint, tabloid, 24 p. Ed. John Busby, Asst. ed. Paul Love, Art director Frank Mezano. (3) Fun. New York, c. 1969. First issue. Ed. Marv Grafton. (4) Bang. Vol. 1, nos. 1 & 2, New York, 1969 (=all published?). (5) Cocksure. Voyeur Publ., New York, 1969. Ed. William Alien. Photos Charles DeGaulle, Entertainment. Mary Contrary, Art Pierre Monet; (6) For adults Only. Vol. 1. No. 1., New York, 1969.(total 7)
Kunst. Konvolut mit 9 Werken von verschiedenen Autoren. Verschiedene Größen und Formate. (11) * Vorhanden sind: Die Russischen Sammler. Monet bis Picasso. 120 Meisterwerke. 1993. / Erika Hanfstaengl. Wassily Kandinsky. 1981. / G. Irmscher. Amor und Aeternitas. Das Trionfi - Lavabo Chr. Jamnitzers für Kaiser Rudolf II. 1999. / Thrakien, Region Ostmakedoniens. Dt. von W. Schürmann u. Marliese Kornoutos. 2004. / Christoph Voll. Skulptur zwischen Expressionismus und Realismus. 2007. / Zwischen Orient und Okzident. Schätze des Kreml von Iwan dem Schrecklichen bis Peter dem Großen. 2012. / Russen und Deutsche. 1000 Jahre Kunst, Geschichte und Kultur. Katalog. 2012. / Als die Royals aus Hannover kamen. Königl. Theater! - Britische Karikaturen a. d. Zeit der Personalunion der Gegenwart. 2014. / Verborgene Schätze aus Wien. Meisterwerke von Dürer bis Hundertwasser u. a. Kunsthalle Würth. 2017. Zustand: Alle Bände innen leicht fleckig, vereinzelt Notizen u. Anstreichungen, insgesamt etwas berieben und bestoßen.
Selection of costume jewellery, including a turquoise and silver bangle, a necklace signed Monet, a Trifari serpent bangle, a necklace and earring set signed CH, bead necklaces by Jaeger, a quantity of jewellery signed Daniel Swarovski, a necklace by Napier, four gold plated bangles, a Michael Kors watch and a Lacoste watchCondition Report: All in used condition
A large selection of silver and costume jewellery, including six bracelets, a 'Diamonique' pin, an amethyst and marcasite earrings and brooch set, eleven chains, two pendants and chains and twenty-seven gem set rings, all in silver, two bead necklaces with silver clasps, together with a selection of costume jewellery including necklaces, bracelets and a brooch by Butler & Wilson, all boxed, a Christian Dior necklace, a Swarovski ring and bead necklace, five pairs of earrings signed Grossé, and a selection of brooches, earrings, necklaces and bangles by Monet including a boxed necklace, bracelet and earrings set and other itemsCondition Report: Silver gross weight 501.18 gramsAll in worn condition
ROYAL DOULTON; eight large character jugs, D6838 'The Auctioneer', numbered 641 and with box, D6287 'Falstaff', D7019 'Jesse Owens', with certificate, D7150 'Claude Monet', D6807 'The Antique Dealer', numbered 156, D6498 'The Lawyer', D6874 'The Fortune Teller' (Character Jug of the Year 1991, with certificate), and D6335 'Long John Silver'.
![Kings of Mercia, Coenwulf (798-821), Penny, Gp IV, Sigestef, [–]vvlf rex m, around diademed and draped bust right, rev. +si[–](https://cdn.globalauctionplatform.com/1ea0ffeb-8ed4-4612-bb8e-aea0011ef661/c00d8c50-d472-4c67-a45f-aea101067a6c/468x382.jpg)
A SELECTION OF COSTUME JEWELLERY, to include a gold-plated swivel fob set with bloodstone and carnelian, a gold-plated albert chain, a gold-plated portrait brooch of an oval from depicting a gentlemen playing a flute with a green hat on, together with a 'Monet' yellow metal chain, various beaded necklaces, bracelets, fob watch, boxed ball point pen, bangle, a ladies 'Rotary' watch, a boxed paste set costume bangle, a 'Butler & Wilson' flamingo brooch, rabbit brooch, an 'Attwiood & sawyer' leopard brooch, an unmarked teddy brooch, three pairs of non-pierced earrings, a three strand imitation pearl necklace etc (condition report: some of the paste are missing from the Butler & Wilson brooches)
A BOX OF ASSORTED COSTUME JEWELLERY, to include a Christian Dior gold tone and imitation pearl necklace and earring set, signed 'Chr.Dior', together with signed 'Christian Dior' box, a selection of clip on earrings, names to include Monet, Napier, Grosse, a selection of badges, two jewellery boxes and additional items,
Charles-François Daubigny 1817 Paris - 1878 Paris Bords de l'Oise, Temps d´Orage. 1874. Öl auf Leinwand. Hellebranth 381. Rechts unten signiert und datiert. Verso auf der Rahmenrückpappe mit diversen Etiketten, dort bezeichnet und nummeriert. 38 x 67 cm (14,9 x 26,3 in). PROVENIENZ: Sammlung Alfred-Emmanuel Beurdeley (1847-1919), Paris (bis 1920, verso mit dem Etikett). Privatsammlung Frankreich. Privatsammlung Baden-Württemberg (1980 erworben). AUSSTELLUNG: Exposition centennale de l'Art français, Institut français, Sankt Petersburg, März 1912, Nr. 232. Daubigny, Galerie Barbizon, Paris, März 1971, Nr. 2753 (mit dem Etikett). LITERATUR: Galerie Georges Petit, Paris, Collection de M. A. Beurdeley. Tableaux modernes, tableaux anciens. Sculptures, tapisseries anciennes [..], Auktion 6.-7.5.1920, Los 27 (mit dem Etikett). Ein Großteil des Schaffens Charles Francois Daubignys entwickelt sich im Dialog mit der Oise, einem in Belgien entspringenden malerischen Fluss, der nördlich von Paris schließlich in die breitere Seine mündet. In Paris ansässig, stellt Daubigny ab 1838 regelmäßig im Salon aus. Eine erste Landschaft aus Barbizon, wo er sich der Künstlergemeinschaft und vor allem Camille Corot, den er sehr bewundert und mit dem ihn später eine Freundschaft verbindet, angeschlossen hatte, folgt 1844. Besonders in der sogenannten Schule von Barbizon entwickelt sich eine neue Landschaftsauffassung, in der romantische und realistische Elemente harmonisch zusammenfließen. Wundervoll zu beobachten ist dies in den kleinen Gemälden Daubignys. Eine fließende Ruhe und lyrische Atmosphäre entsteht in seinen Flusslandschaften, die er als einer der ersten unmittelbar vor dem Motiv anfertigt. Dazu hatte er sich ein kleines Atelierboot, getauft „Le Botin“, eingerichtet, mit dem er auf der Oise zwischen Cergy, Pontoise, Valmondois und L’Isle Adam zu den unterschiedlichsten Tages- und Jahreszeiten unterwegs ist. Daneben richtet er sich ein Haus mit Atelier in Auvers-sur-Oise ein. An der Oise findet er zu einer lockereren und freien Malweise, die mit ihrem Interesse an Atmosphäre, Licht und Wetterstimmungen zum Impressionismus hinzuführen beginnt. Als Mitglied der im Allgemeinen eher konservativen Salonjury ab 1866 spricht er sich für die Malerei der jüngeren Generation des Realismus und Impressionismus aus, bis die wiederholte Ablehnung der Werke Claude Monets ihn dieses Amt aufgeben lässt. An der ersten Ausstellung der Impressionisten 1874 nimmt er allerdings nicht teil und präsentiert seine Werke weiterhin im offiziellen Salon. Paul Cézanne, Claude Monet, Auguste Renoir und Vincent van Gogh bringen seiner Malerei große Wertschätzung entgegen, der ein gedämpfter, poetischer Zauber und eine berührende Intimität innewohnt. [KT] Aufrufzeit: 11.06.2022 - ca. 15.44 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONCharles-François Daubigny 1817 Paris - 1878 Paris Bords de l'Oise, Temps d´Orage. 1874. Oil on canvas. Hellebranth 381. Lower right signed and dated. Verso with several labels, there inscribed and numbered. 38 x 67 cm (14.9 x 26.3 in). PROVENANCE: Collection Alfred-Emmanuel Beurdeley (1847-1919), Paris (until 1920, verso with the label). Private collection France. Private collection Baden-Württemberg (acquired in 1980). EXHIBITION: Exposition centennale de l'Art français, Institut français, St. Petersburg, March 1912, no. 232. Daubigny, Galerie Barbizon, Paris, March 1971, no. 2753 (with the label). LITERATURE: Galerie Georges Petit, Paris, Collection de M. A. Beurdeley. Tableaux modernes, tableaux anciens. Sculptures, tapisseries anciennes [..], auction May 6-7, 1920, lot 27 (with the label). Called up: June 11, 2022 - ca. 15.44 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.
Paul Madeline 1863 Paris - 1920 Paris Im Garten. Um 1900/1910. Öl auf Leinwand. Links unten signiert. Verso auf dem Keilrahmen handschriftlich nummeriert. 54 x 65 cm (21,2 x 25,5 in). PROVENIENZ: Privatsammlung Norddeutschland. Privatsammlung Schleswig-Holstein (1981 vom Vorgenannten erworben, seitdem Familienbesitz). Paul Madeline wächst in Paris auf und studiert dort schließlich an der École des Beaux-Arts. Er begeistert sich vor allem für die Landschaft und schließt sich malerisch den Impressionisten an, von denen er Gleichgesinnte wie Claude Monet und Armand Guillaumin bei einem Aufenthalt in der reizvollen Flusslandschaft bei Crozat im Limousin kennenlernt. Sein Interesse gilt ebenso der Freilichtmalerei, der Erkundung des Lichts und der Farben der Natur, die er in unterschiedlichsten Regionen Frankreichs einfängt. Besonders die blühenden, frischen Gärten des Sommers rücken in sein Blickfeld, möglicherweise inspiriert von Monet, der ab 1893 vermehrt seinen von kleinen Bächen durchzogenen Garten in Giverny malt. Madelines Landschaften in der freien Natur erwecken ebenso oftmals den Eindruck eines Gartens, sind sie doch von variantenreicher Anordnung der Vegetation und dem harmonischen Arrangement der Szenerie geprägt. Er bedient sich dabei oft einer grün-bläulich-violetten Palette, die seinen Werken eine farbliche Gesamtharmonie verleihen. So auch in dieser idyllischen Gartenlandschaft, in der sich vor allem in der einen Großteil des Bildes ausmachenden Rasenfläche eine reine Malerei in der Erkundung der grünen, gelblichen und bläulichen Farbtöne im Spiel des Lichts Bahn bricht. Madeline stellt regelmäßig im Salon des artistes français sowie im Salon d’automne aus und wird von der Galerie Durand-Ruel, der Galerie der Impressionisten, vertreten. Werke von diesem so subtilen Postimpressionisten befinden sich in zahlreichen französischen Museen. [KT] Aufrufzeit: 11.06.2022 - ca. 16.30 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONPaul Madeline 1863 Paris - 1920 Paris Im Garten. Um 1900/1910. Oil on canvas. Lower left signed. Verso with the number. 54 x 65 cm (21.2 x 25.5 in). PROVENANCE: Private collection Northern Germany. Private collection Schleswig-Holstein (acquired from the above in 1981, ever since family-owned). Called up: June 11, 2022 - ca. 16.30 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.
RAOUL DUFY (Le Havre, 1877 - near Forcalquier, 1953)."Landscape of Sicily", 1922.Watercolour and gouache on paper.Work reproduced in the Catalogue raisonné of the artist Aquarelles et gouaches-Supplémet, No. As-0402.Work exhibited at the Galerie Yhoshii (Paris).Signed in pencil in the lower right corner.Measurements: 50.5 x 64.5 cm; 83.5 x 99 cm (frame).The consequences of the First World War and the subsequent interwar period meant a halt in the development of the avant-garde and a return to classicism. In Dufy's case, his unmistakable fluid and colourful aesthetic remained his personal hallmark. However, he undertook a trip to Italy, where he found inspiration in the Mediterranean landscape and the remains of ancient civilisations. The present work belongs to the aforementioned period and depicts a view of Sicily conceived in great depth, which the artist achieves by delimiting the sides through a reduced chromatic tone, while in the central area he deploys a whole play of intense, brilliant colours that make up the landscape. This type of composition was common during his trip to Italy and can be seen in other works by the artist such as "View of the Theatre at Taormina" and in the painting in the MoMA's collection, a watercolour dated the same year as the present work, which shows a view of Taormina, also on the island of Sicily.Raoul Dufy was a Fauvist and Cubist painter, graphic artist and textile designer known for his highly colourful decorative style, which was much appreciated for ceramics, textiles and architectural decorations. In 1895 he began attending art classes at the Ecole des Beaux-Arts in Le Havre, studying the work of Eugène Boudin at the city's museum. In 1900 a scholarship allowed him a short training at the École des Beaux-Arts in Paris, where he met Georges Braque, and, two years later, he began to exhibit (Berthe Weill Gallery in Paris). He began his career with a style influenced by the Impressionist landscape painters (especially Monet and Pissarro). In 1905, on seeing Henri Matisse's "Luxe, Calme et Volupté" at the Salon des Indépendants that year, he turned his work towards Fauvism, adding a vigorous stroke. Towards 1909, contact with Paul Cézanne led him to a more subtle technique. In 1920, after having already experimented with Cubism, he developed his personal approach to this trend, with skeletal structures in a particular perspective, using baths of colour with brushstrokes (in a manner he called "tachygraphic"). Thematically, his predilection for sailing boats, festivals, musical events, horse racing, outdoor activities, flowers, musical instruments and nudes is clear. His work is preserved in important private collections and museums such as the Musée d'Art Moderne de la Ville de Paris, the Van Abbemuseum, the McNay Art Museum, the Art Gallery of Ontario, etc.
ELISEO MEIFREN ROIG (Barcelona, 1857 - 1940)."Sunset".Oil on panel.Signed in the lower right-hand corner.Measurements. 17 x 28 cm; 30 x 40 cm (frame).In this dedicated landscape Meifren recalls the work of Monet, surely influenced by the work "Impression of the Rising Sun". In both pieces one can appreciate the subtlety of the effects of light on the surface of the sea. However, Emigren configures the image with a very personal aesthetic language; diluting the colour more and dilating the brushstrokes.Eliseo Meifrèn is considered one of the first introducers of the Impressionist movement in Catalonia. He began his artistic training at the Barcelona School of Fine Arts, where he was a disciple of Antonio Caba and Ramón Martí Alsina, with whom he began to produce romantic landscapes of academic style. After completing his studies in 1878, he moved to Paris in order to broaden his artistic knowledge, and there he became acquainted at first hand with "plen air" painting, which was to have a powerful influence on his Parisian landscapes of those years. It was also in Paris that he coincided with the public debut of Impressionism. A year later he made a trip to Italy, during which he visited Naples, Florence, Venice and Rome, where he came into contact with the circle of Catalan artists formed by Ramón Tusquets, Arcadio Mas i Fondevila, Enrique Serra, Antonio Fabrés and Joan Llimona, among others. That same year, 1879, he took part in the Regional Exhibition in Valencia, where he won a gold medal. Back in Barcelona in 1880, he made his individual debut in 1880 at the Sala Parés in Barcelona, where he continued to exhibit regularly from then on. During these years he was a member of the Modernist group and frequented Els Quatre Gats. In 1883 he returned to Paris, where he produced numerous drawings and watercolours with views of the city and its cafés, which earned him a warm reception from the French critics and public. In the late 1980s he returned to Barcelona and continued to show his work at the Sala Parés, as well as at the Centre de Aquarelistes. In 1888 he was also a member of the jury for the Universal Exhibition held in Barcelona. In 1890 he returned to the French capital for the third time, where he took part in the Salon des Beaux-Arts and the Salon des Indépendants of 1892, together with Ramon Casas and Santiago Rusiñol, artists with whom he had formed the Sitges pictorial group the previous year. In the following years Meifrèn submitted his works to numerous official exhibitions and competitions, including the National Exhibitions of Madrid and Barcelona, and was awarded third medals at the Paris Universal Exhibitions of 1889 and 1899, a silver medal at the Brussels Universal Exhibition of 1910, a grand prize at the Buenos Aires Universal Exhibition of the same year, a medal of honour at the San Francisco International Exhibition of 1915 and a grand prize at the San Diego Exhibition the following year. He also won the Nonell Prize in Barcelona in 1935. In 1952, Barcelona City Council dedicated a retrospective exhibition to him, held at the Palau de la Virreina. His initial landscapes, characterised by an academic and romantic concept, would later evolve towards an impressionist language; having abandoned Romanesque preciosity, his would be a technique of loose brushstrokes and a clear palette, in which the luminous conception approached symbolist premises, within the orbit of Modesto Urgell. He is currently represented in the Museo del Prado, the Museo Nacional de Arte de Cataluña, the MACBA in Barcelona and the Thyssen-Bornemisza, among many others.
Omar El-Nagdi (Egypt, 1931-2019)Gaza oil on canvas, four panelssigned and dated, executed in 2009250 x 900cm (98 7/16 x 354 5/16in).250 x 225 cm per panelFootnotes:A MONUMENTAL NINE METRE QUADTYCH BY OMAR EL NAGDI DEPICTING THE 2009 GAZA WARProvenance:Property from the Artist's EstateExhibited:Arts-Mart Gallery, Omar El Nagdi: Fragments of a Luminary Cairo, February-March 2016 This monumental and highly significant painting captures the unimaginable hardship, fear and anguish of the Palestinian civilians during the Gaza War which was also better known in the Muslim world as the Gaza Massacre. This three-week armed conflict between The Israeli Defence Forces and the Gaza Strip Palestinian paramilitary groups began on the 27th of December 2008 and ended on the 18th of January 2009 with a unilateral ceasefire. The unrelenting attack on Gaza resulted in over a thousand Palestinian and thirteen Israeli deaths. Omar El-Nagdi found the persecution and the brutal assault on his Palestinian brothers and sisters deeply unsettling and distressing. The ongoing massacres by the Israelis, deeply affected the Egyptian artist and urged him to react to these monstrosities by impulsively expressing himself in this profound composition. Suffering has been an enduring theme in art for centuries, and the tradition of painting violence, pain and oppression has long been a source of expression for artists experiencing conflict.The artist communicates a deep and painful reality; this painting serves as a reminder and reflections of Palestinian history and the ongoing struggle. The historic moment of the 1948 Palestinian exodus also known as the Nakba in Arabic led to the displacement of hundreds of thousands of children and the ongoing war left many casualties. Towering and striking, the present work was painted two months after the conflict ended in 2009 and is one of the finest examples of the artist reacting almost concurrently to the world around him. A seminal piece of artistic activism, in the vein of some of the greatest recorded works in history like Picasso's 'Guernica' and Goya's 'Disasters of War'. In his treatment of conflict, Nagdi clearly recalls Goya, whose set of 82 etchings were inspired by the scarring effect of the Franco-Spanish Peninsular War of 1807.Whilst divergent in form and composition, what Nagdi absorbs from Goya is the jarred, fragmented aesthetic that reflects the tumult of wartime discord. Goya was said to capture scenes in 'agonised haste', and accordingly, the idea of the turbulence of conflict depicted with a ghoulish, monster like aesthetic is heavily incorporated in Nagdi's work. El-Nagdi transcribes literally the chaos of war, isolating each disproportioned figure onto the canvas yet bringing them all together through the agony expressed in their faces.Hopelessness, grief and despair are apparent in the body language of the men, women and children seen in this work. His figures, or rather creatures, appear inhuman and resemble fictional characters rather than people, showing how the sufferings and torturing of war has stripped them bare of their humanity and dignity. Each movement, each body part and each facial expression screams out from the canvas; the hands reaching out in despair and the frightened bulging eyes of the helpless victims.Omar El Nagdi was born in Cairo in 1931 and studied at the Faculty of Fine Arts of Helwan University. Nagdi continued his training in Russia and Italy, eventually graduating from the Academy of Venice in 1967. A prodigious pioneer in Egyptian art history, In the 1960s, Nagdi exhibited in Europe alongside the Western masters Claude Monet, Pablo Picasso and Salvador Dali. His works were soon after acquired by leading institutions around the world. An active member of Cairo's art community and of the Liberal Artists' group headed by Taha Hussein, Nagdi was an extraordinary painter and who equally excelled as a film director and music composer.A multi-disciplinary artist, Nagdi worked with sculpture, oil, watercolour and mosaics. Inspired by the diverse cultures that he encountered in rural Egypt, he fused in his works the Pharaonic and Islamic iconography with Cairo's urban culture idioms and Western aesthetics. His works visually enigmatic and captivating and inspired by folk art and traditions are reflections on everyday life in Egypt. His paintings are sufficient proof of his exceptional gifts for symbolic design and the splendid use of colour. Through his expressive textures, colours and symbolic elements, his works offer a communication that is deeply felt.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
![Kings of East Anglia, Æthelstan (825-40), Penny, [Ipswich], Eadnoth, edelztan re+, draped bust right, breaking inner circle,](https://cdn.globalauctionplatform.com/7e751905-027c-4dfd-84b1-ae920115662e/422ccaaa-8373-4700-80d1-ae9300dbd333/468x382.jpg)
Kings of East Anglia, Æthelstan (825-40), Penny, [Ipswich], Eadnoth, edelztan re+, draped bust right, breaking inner circle, rev. +eadnod monet around cross-crosslet, 1.28g/8h (Naismith E30a, same dies; SCBI BM 833, same dies; Pagan BNJ 1982, p. 58; N 434; S 948). Nearly extremely fine, struck on a full round flan, free from the usual porosity and retaining a light earthen patina consistent with being a field find; the third and finest known example of this excessively rare and attractive issue £8,000-£10,000 --- Provenance: Found near Amesbury (Wiltshire), 6 March 2022 (EMC 2022.0109) Naismith’s corpus records just two examples of Æthelstan portrait pennies struck by Eadnoth, from two obverse and two reverse dies. The present coin, which is seemingly only the third known example, was struck from the same dies as the coin now housed within the British Museum. It is the finest in terms of preservation. Æthelstan was a king of the independent Kingdom of East Anglia which emerged following the end of Mercian Supremacy in 825. Unfortunately, the paucity of contemporary written sources means that we know little about events in the region during the first half of the ninth century. The Anglo-Saxon Chronicle relates that in 825 the Mercian King Beornwulf, after his disastrous defeat at the battle of Ellendum against King Ecgberht of Wessex, was slain by an anonymous king of the East Angles. Beyond this, little interest was shown by the Chronicle’s compiler towards the East Anglian kings or their activities. This fact, coupled with a complete absence of surviving charters from the area, means that we must turn to the numismatic evidence for answers. The identity of the first independent king of East Anglia is made clear from the hoard record, with the Middle Temple hoard being particularly informative. The large group, deposited at some point during the 840s, contained 243 early ninth century coins produced under various kings across England. Included within were some 39 pieces of Æthelstan. No coins of any other independent East Anglian ruler were present, making Æthelstan’s primacy clear. The name Eadnoth, the moneyer responsible for the striking of the coin offered for sale here, first appears on pennies of the Mercian king Offa in the 780s and then on coins of the obscure local king Eadwald who usurped power in East Anglia for a brief period during the late eighth century. Following this Eadnoth signed no coins during the first two decades of the ninth century, despite the productive nature of the East Anglian mint under the supervision of the Mercian Kings Coenwulf and Ceolwulf. Finally the name reappears in c.824 on the coins of the last Mercian rulers to exercise power within the region, Beornwulf and Ludica, before continuing onto the coinage of the independent king Æthelstan. Given that several decades lapsed between these episodes of the minting activity we ought to consider the possibility that these are two different moneyers by the same name. Elsewhere, attempts have been made to detect familial connections between successive moneyers operating within the same area who share similar names. The case of Eadnoth may provide another good candidate for such a scenario, and it is possible that the Eadnoth who struck our coin was a relative, perhaps even a son, of Offa’s moneyer. In common with all of Æthelstan’s portrait coins, the present specimen was struck at the beginning of the monarch’s reign, as part of an issue that probably lasted until c. 830. Æthelstan portrait pennies were completely absent from the Middle Temple Hoard. From this some have inferred that these early coins must had dropped out of circulation by this point. However, the same hoard contained numerous pennies struck under Æthelstan’s Mercian predecessors, Coenwulf, Ceolwulf and Beornwulf. It is difficult to believe that all of Æthelstan’s portrait pennies ceased to circulate on account of wear, damage and loss whereas those of earlier rulers consistently did not. We should not dismiss the possibility that Æthelstan’s Portrait coinage was officially called in and deliberately withdrawn from circulation in a renovation monetae. Such a policy was seemingly employed by the Kings of Wessex during the second half of the Ninth century to help bring uniformity to their currency and led to a total absence of earlier coins in hoards deposited after the reform’s instigation. It is notable that following the short episode of iconographical variation early in Æthelstan’s reign all of the East Anglian coinage, continuing throughout the reigns of his successors Æthelweard and Eadmund, was of a generally consistent design. If such a reform was implemented it would help to explain why the portrait pennies of Æthelstan remain so excessively rare, despite the general increase in ninth century coins discovered and excavated over the previous two decades. Works cited Blunt, C.E., Lyon, C.S.S., and Stewart, B.H.I.H., 1963. ‘The coinage of southern England, 796–840’, BNJ 32, 1–74. Pagan, H.E., 1982. ‘The Coinage of the East Anglian Kingdom from 825 to 870’, BNJ 52, 41-83. Pagan, H.E., 1986. ‘Coinage in southern England, 796-874’ in M.A.S. Blackburn (ed), Anglo-Saxon Monetary History: Essays in memory of Michael Dolley (London), 45-66. Naismith, R., 2011. The Coinage of Southern England 796–865, BNS Special Publication 8, 2 vols. (London). Naismith, R., 2012. Money and Power in Anglo-Saxon England: the Southern English Kingdom 757-865 (Cambridge). Stenton, F., 1971. Anglo-Saxon England. Third Edition (Oxford).
Pierre-Auguste Renoir, "Baigneuse"nackte junge Frau beim Baden im See, siehe Delteil 23, Radierung, Entstehung der Platte um 1910, posthumer Abzug, Darstellungsmaße ca. 16,5 x 11 cm, unter Passepartout montiert, Blattmaße ca. 33,5 x 25,5 cm. Künstlerinfo: eigentlich Pierre-Auguste Renoir, frz. Maler und Radierer (1841 Limoges/Limousin bis 1919 Cagnes-sur-Mer/Côte d' Azur), ab 1845 Kindheit in Paris, ab 1854 Lehre und Tätigkeit als Porzellanmaler, studierte 1861-64 Malerei bei Charles Gleyre, beeinflusst von Gustave Courbet und Diaz de la Peña, später fand sein Interesse an Raffael und Jean-Auguste-Domenique Ingres Niederschlag in seiner Kunst, unterhielt Freundschaft zu Claude Monet, Alfred Sisley, Frédéric Bazille und Édouard Manet, beschickte ab 1864 den Pariser Salon, unternahm Studienreisen nach Algerien, Italien (Palermo) und auf die Insel Guernsey, zunächst in Paris freischaffend, 1907 Umzug nach Cagnes-sur-Mer an der Côte d' Azur, Quelle: Thieme-Becker, Bénézit und Wikipedia.
Mixed 20th century costume jewellery to include a vintage Scooter, Paris orange and brushed silver coloured metal necklace, a pair of Mod Dep Art Deco style clip on earrings, a string of Monet faux pearls with gold tone clasp, white metal jewellery, a Sekonda ladies cocktail watch, a pair of Skalli earrings, a Scenes of Copenhagen brushed gold tone open chain necklace and an early 20th Century silver gents signet ring with the makers initials C.L.& S (Charles Lyster & Son). Location:RWB
A 9ct yellow and white gold Paula Bolton Monet Reflections ring together with a matching pair of earrings, the ring set with a 7 x 4.5mm oval opal doublet, a 2.2mm round moonstone cabochon, and a 2.3mm amethyst cabochon, size M, gross weight 5.7g, hallmarked 9ct, London, the earrings each set with a 7 x 4.2mm oval opal doublet and a 2mm round amethyst cabochon, earring diameters 15mm, gross weight 6.9g, hallmarked 9ct, LondonOpen doublets are chipped.Amethyst is chipped in ring.
UTAGAWA KUNIYOSHI (1798-1861) KATSUSHIKA HOKUSAI (1760-1849) WATANABE SEITEI (1851-1918) EDO PERIOD, 19TH CENTURY Four framed and glazed Japanese woodblock prints by Kuniyoshi, three from the series Tsuzoku Suikoden goketsu hyakuhachinin no hitori (108 Heroes of the Popular Water Margins, c.1827-30), each print depicting one of the eponymous characters, all approx. 37.5cm x 25.8cm; the fourth from the series Kisokaido rokujoku tsugi no uchi (Sixty-Nine Post Stations of the Kisokaido, c.1852) and depicting Princess Yaegaki with her fox friends, all approx. 31.7cm x 22.8cm; together with two printed albums, the first by Hokusai and entitled Denshin Kaishu, Hokusai Gaen (A Garden of Pictures by Hokusai, c.1820), vol.2, 22.6cm x 15.7cm; the other by Seitei, entitled Bijutsu sekai (Art World, 1892), vol.19, a publication produced to promote Japanese Art, with illustrations after Kuniyoshi, Okyo, Masanobu and others, 24.9cm x 16.1cm. (6) Provenance: from the collection of John Peter Russell (1858-1930), purchased from Siegfried Bing by repute, and thence by descent. Russell was an Australian Impressionist and a friend of Van Gogh's, painting the first oil portrait of the artist, now at the Van Gogh Museum in Amsterdam. He also painted with Claude Monet, and Henri Matisse credited Russell for introducing him to Impressionism. He married Anna Maria Antonietta Mattiocco, one of Rodin's favourite models, in 1888. Cf. W Tunnicliffe, John Russell: Australia's French Impressionist, pp.38-39 where Russell's interest for Japanese art and his print collecting are discussed. The book was published as a guide to the exhibition dedicated to John Russell held at the Art Gallery of New South Wales, Sydney, in 2018.
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