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Lot 1811
Václav Radimský (1867 Kolín/Böhmen/Tschechien - 1946 Gut Pasinka bei Kolín)Auenlandschaft in der NormandiePastelltonig gemalte, frühe Landschaftsimpression. Der an den Akademien in München und Wien ausgebildete Radimský ging 1889 nach Frankreich. Um 1891 zog er über Barbizon nach Giverny, wo er sich der Künstlergruppe um Monet und Pissarro anschloss, die ihn nachhaltig beeinflussten. In der Nähe von Giverny und dem Wohnsitz Monets erwarb Radimský eine alte Mühle und richtete sich dort ein Atelier ein. Zu Hauptmotiven seiner Bilder wurden Flusslandschaften, Gärten, Wiesen und Seerosen, bei denen er die Wirkungen des Lichts in Verbindung mit Wasserflächen schilderte. Ab 1892 stellte er regelmäßig im Pariser Salon aus, es folgten erfolgreiche Ausstellungen in Prag, Wien, Berlin, Düsseldorf und Leipzig, 1900 seine Teilnahme an der Weltausstellung. Öl/Lwd.; L. u. sign. u. dat. (18)92. Verso Malwarenstempel von A. Bouché, Rue de Rennes 133, Paris. 32,5 cm x 46 cm. Rahmen.Oil on canvas. Signed and dated (18)92. Artist supplier's stamp on the reverse.
Lot 261
A group of seven 18th century engravings by De Moncha, after C Monet, c1790, each depicting a Renaissance scene of Classical tragedies, etc, to include 'Calypso au Retour de la Chasse Montre son Depit et sa Jalousie Contre Eucharie et Telemaque', each with plate numbers to the top right, including numbers 1, 2, 8, 9, 10, 11 and one other example, each approx 19 x 24cm, framed and glazed in similar frames, each frame approx 31 x 36cm, together with two larger mezzotints after Luca Giordano (1634-1705) engraved by Richard Earlom, one titled 'A Sleeping Bacchus', the other 'The Judgement of Paris', c1790, each approx 40 x 45.5cm, both framed in similar mounts and frames, frame sizes approx 55.5 x 64cm (9).
Lot 825
LIMOGES (CHARLES FIELD) Restservice - 20. Jahrhundert, Modell ¨Giverny¨, gelb-blaues Streifendekor, bestehend aus 3 diversen runden Schalen, 1 ovalen Schale, 4 Kaffeetassen mit 3 Untertassen, 4 Kuchentellern, 1 Teetasse, 1 Kanne, 1 Milchkännchen, 1 Unterteller, Manufakturmarke, Musee Claude Monet, Giverny
Lot 379
Renoir, Auguste - - Theodore Duret. Histoire des Peintres Impressionistes: Pissaro, Claude Monet, Sisley, Renoir, Berthe Morisot, Cézanne, Guillaumin. Mit 3 Original-Radierungen und 1 Holzschnitt., sowie zahlr. Tafeln u. zahlr. Abbildungen. Paris, Floury, 1919. 149 Bll., 2 S. OBrosch. (etwas bestoßen). Zweite Ausgabe. - Mit den Originalradierungen von Auguste Renoir (Jeunes Filles, Baigneuse), Armand Guillaumin (En Hollande) und dem Holzschnitt von Lucien Pissarro nach einer Zeichnung von Camille Pissarro (La Femme aux Poules). Papierbedingt etwas gebräunt, Schönes Exemplar. With 3 original etchings and 1 woodcut. - Second edition. - With the original etchings by Auguste Renoir (Jeunes Filles, Baigneuse), Armand Guillaumin (En Hollande) and the woodcut by Lucien Pissarro after a drawing by Camille Pissarro (La Femme aux Poules). Paper-conditioned somewhat browned, else fine copy.
Lot 204
LUCIEN PISSARRO (1863-1944) 'A Garden at Bormes' monogrammed and dated '26 lower left, oil on canvas, 46cm x 55cm Provenance: A gift from the Artist, with inscription verso "Tommy & Christine from Lucien & Esther Pissarro". Pissarro was born on 20 February 1863 in Paris. He was the oldest of seven children; the son of Impressionist painter Camille Pissarro and his wife Julie (née Vellay). He studied with his father and—like his siblings Georges and Félix—he spent his formative years surrounded by his father's fellow artists such as Claude Monet and Pierre-Auguste Renoir who frequented the Pissarro home. He was influenced by Georges Seurat and Paul Signac.In 1886, he exhibited at the last of the Impressionist exhibitions. From 1886 to 1894 he exhibited with the Salon des Independents.He first visited Britain in 1870–71 during the Franco-Prussian War. He returned in 1883–84, and in 1890 settled permanently in London. On 10 August 1892 he married Esther Levi Bensusan in Richmond. While renting a cottage at Epping, Essex on 8 October 1893 their daughter and only child, Orovida Camille Pissarro, was born. Orovida also became an artist. He met Charles Ricketts and Charles Shannon, and contributed woodcuts to their Dial. In 1894 he founded the Eragny Press and with his wife and illustrated and printed books until the press was closed in 1914. In 1897 the family moved to 62 Bath Road in Stamford Brook, Chiswick. In 1903 he designed the typeface Brook Type.Pissarro associated with Walter Sickert in Fitzroy Street, and in 1906 became a member of the New English Art Club. From 1913 to 1919 he painted landscapes of Dorset, Westmorland, Devon, Essex, Surrey and Sussex.In 1916 Pissarro became a British citizen. While in Britain he was one of the founders of the Camden Town Group of artists. In 1919, he formed the Monarro Group with J.B. Manson as the London Secretary and Théo van Rysselberghe as the Paris secretary, aiming to show artists inspired by Impressionist painters, Claude Monet and Camille Pissarro. The group ceased three years later.From 1922 to 1937 he painted regularly in the south of France, interspersed with painting expeditions to Derbyshire, south Wales and Essex. From 1934 to 1944 he exhibited at the Royal Academy in London. He died on 10 July 1944, in Hewood, Dorset.In February 1926 Lucien went to Bormes les Mimosa which is on a hill overlooking Le Lavandou on the south coast of France. He painted many oils here and stayed until May when his mother, Julie Vellay passed away.
Lot 213
* JOHN MACLAUCHLAN MILNE RSA (SCOTTISH 1885 - 1957),CAFE, PARIS oil on board, signed image size 25.5cm x 34cm, overall size 46.5cm x 54.5cm Framed and under glass. Label verso: Thomas Murray & Sons, Dundee.Provenance: Private collection, Edinburgh.Note: A rare Paris painting from between 1920 and 1922 when Milne lived in the French capital. Seeing Cezanne's work for the first time was a eureka moment for Milne who until then had painted much like his father in a sedate and traditional style. He discovered a completely new freedom and walked the streets and sights of Paris painting what he saw, en plein air and with rapid, bold brush strokes. Above all, he discovered ''colour''. This very distinct Paris period saw Milne producing some of his most spontaneous and desirable work and usually on smaller scale artist boards. By 1922/3 he had moved to the French village of Lavardin and by 1924 he was in Cassis with Peploe, Cadell and Duncan Grant. Milne is often referred to as ''the fifth Scottish Colourist'' and yet his quality is at least the equal of much of the output of the other four. As well as enjoying the company of the Scottish Colourists and exhibiting alongside them, Milne shared many of their patrons. William Boyd, the Managing Director of Keiller’s marmalade firm, became one of his most important patrons. In Boyd’s home at Claremont, several works by William McTaggart, Peploe, Hunter and Milne were displayed. His collection of French paintings included Monet, Sisley, Van Gogh, Matisse, Bonnard, Vuillard and de Segonzac. Alexander Keiller, head of the marmalade firm, was another important patron. He paid Milne a stipend – so that he could spend the summers in France – in return for paintings. The collector, Matthew Justice, was a close friend of George Leslie Hunter as well as being his agent during the 1920s. Justice owned around a dozen of Milne’s paintings; his sitting-room was hung exclusively with works by Peploe and Milne and his drawing-room contained eleven Peploes, three Marchands, one Hunter and five Milne’s. The Justice collection also included works by Vuillard, de Segonzac, Moreau and Matisse. Justice was friends with William Boyd and James Tattersall, another important patron of Milne. Even though Milne's paintings were widely exhibited in his lifetime at the very best venues to great success, it's probably because he never established a long term relationship with any one gallery or dealer that his paintings have been undervalued for many years. It took until 1987 before the first Milne painting reached the £20,000 mark at auction when ''Busy Paris Street Scene with Figures (1922)'' was sold by Christie's, Glasgow (lot 664, 28th April 1987 £20,000 hammer). The John Maclauchlan Milne Estate is now represented by Tom Hewlett's Portland Gallery (London) and unsurprisingly, his profile and values have been growing. A major exhibition ''Milne And The Colourist Connection'' was staged at Portland Gallery (London) 21st September -13th October 2017. On 30th August 2017 we sold "A Paris Scene (a 35cm x 26.5cm oil on panel) for £25,000 (hammer) and in The Scottish Pictures Auction of 24th September, 2021 lot 2005 (Green Pool, Iona) sold for £29,000 (hammer).
Lot 24
Late 20th Century designer jewellery to include Louis Feraud Bijoux clip on earrings, enamelled brooch with matching earrings with the American dollar sign and another brooch and earrings set in the form of Pierrot masks together with Monet and Charles Jourdan earrings, one single Christian Dior gold tone hoop clip on earring and a Coco Chanel gift bagLocation: RWB
Lot 739
Paintings and prints etc, to include a R Sharps study of the Old Customs House Aldeburgh, oil on board, Edwin Greig Hall watercolour landscape, two M Trench pastel studies of dogs, A D Mynett watercolour of a church, Francis Gair landscape print, two Monet water lily prints together with assorted other prints etc
Lot 111
Wooden frame, foliate decoration, bearing label verso: 'Richard L. Feigen & Co. New York, frame from Claude Monet, 'Arguentil' [sic]', with further '13 NOV 96, sale 8500, lot 25' auction sticker. Frame size 79 x 100cm, to accommodate picture size approximately 61 x 82cm. With second damaged frame, 72 x 83.5cm.Provenance: main frame in lot from a private collector and previous resident of New York. The labels to reverse of frame link the item to Christie's New York 13th November 1996 auction, which featured a number of works by Claude Monet. Auction results, along with matching dimensions, support the claim that the frame may have previously held Monet's oil on canvas work 'Train dans la neige à Argenteuil (1875)', which sold for $1,300,000 in the sale on that date as lot 25 (the same lot number mentioned in the sticker to reverse of frame).
Lot 257
Costume jewellery, a Trifari large ornate cross pendant, Thomas Sabo silver star earrings, a Pandora crown ring, size Q (boxed), a Monet grey faux pearl necklace and matching bracelet (boxed), a collection of Swarovski jewellery to include four bracelets (one boxed), two bangles (one boxed), two pendant and earrings sets (both boxed), two pairs of earrings, and a ring, together with a selection of vintage and modern paste jewelleryCondition Report: Most items in worn condition with some surface scratches
Lot 162A
A large collection of Christie's, Sotheby's, Bonhams and other auction catalogues,predominantly Impressionist, Modern, Post War and Contemporary Art, to include many of the important and notable sales of the last decade, such as The Jeremy Lancaster Collection, 'Dear Monsieur Monet', The Emily and Jeremy Spiegel Collection, 'Hidden Treasures', 'Looking Forward to the Past' etctogether with some books, magazines etc (approx. 200 in seven boxes/ crates)Condition report: All appear to be in good cosmetic order. Some bearing annotations such as achieved prices, unsold etc.
Lot 11
LÉONARD TSUGUHARU FOUJITA (1886-1968)Maternité signed and inscribed 'Foujita Paris' (lower right)gouache, watercolour, brush, pen and India ink and gold leaf on paper23 x 17.5cm (9 1/16 x 6 7/8in).Executed circa 1957Footnotes:The authenticity of this work has been confirmed by Sylvie Buisson.ProvenanceGalerie Claude Bernard (1957).Private collection.Anon. sale, Christie's, New York, 15 November 1990, lot 147.Sayegh Collection, France.Acquired by the present owner (2020).ExhibitedParis, Musée de Montmartre, Léonard Tsuguharu Foujita et l'École de Paris, 10 April - 23 June 1991, no. 47 (later travelled to Tokyo; titled 'Mère et Enfant').LiteratureS. Buisson, Léonard Tsuguharu Foujita, Vol. II, Paris, 2001, no. 57.92 (illustrated p. 458).Léonard Tsuguharu Foujita may not have converted to Catholicism until 1959, but he took an early interest in painting ecclesiastical subjects from 1917. Maternité was executed circa 1957 and shows the artist's understanding of this traditional religious subject as an intimist and tender depiction of a mother and a child. Born in Japan into a high-ranking Samurai family, Foujita was attracted to Western culture and France in particular at a very early age. As Sylvie Buisson explains, Foujita's love affair with France began very early in Tokyo whilst stood in front of a painting by Claude Monet. As a child, he would also be fascinated by the church that was located on his school path. At school, he studied French with the Marianist brothers, a Catholic branch that looked to the Madonna as a model of faith and spirituality and emphasised the importance of Jesus not only as the Son of God, but as the Son of Mary. A monumental sculpture of the Virgin Mary was placed in the courtyard that he passed daily. Foujita arrived in Paris in 1913 and quickly became a key figure of the bohemian art scene, meeting painters, sculptors and writers of the Montmartre and the Montparnasse districts. Along with his peers Picasso, Soutine, Kisling, Zadkine, van Dongen and Modigliani, he was one of the main figures of the first École de Paris. This term, coined by the art critic André Warnod in 1925, refers to the group of avant-garde artists who came to exercise their talents in the capital between 1905 and 1930. Although all the artists in this movement had their own particular style, they came together around the idea of developing artistic modernity. Foujita's success was almost immediate and his originality soon charmed the public at the Galerie Chéron and Galerie Paul Pétrides. Through meetings in Parisian bars and cabarets he was introduced to the Tout-Paris, the fashionable and affluent elite of the city, and became a well-known figure of this bustling and fascinating milieu of the interwar years. Foujita later returned to Japan to act as an official painter of the Imperial Army during the Second World War. His work was criticised by some of his peers for being war propaganda, but he remained appreciated and protected by wealthy patrons who enabled him to return easily to Paris in the 1950s, accompanied by Kimiyo, his new wife. This was the start of a new era for Foujita, who settled once again in Montparnasse, but to lead a rather quieter life. It was during this more mature and settled period that the present work was executed. Maternité is a gentle and delicate image, reflecting Foujita's unwavering optimism. The present work, with its soft and elegant figures set in a timeless scene, proves that his art remained untouched by the horror of war and man's cruelty. The depiction of the mother and child has always been an important subject in Western art, whose origins are rooted in the religious presentation of the Virgin and Child. The French word 'maternité' emphasises the secular relationship between the woman and her offspring, and indeed in the present work there is no aureole or halo to denote the holiness of the figures. However, the religious connotations remain obvious: the child's outstretched hand, whose two fingers make the distinctive Christian sign of blessing, is an undeniable reference to the religious origins of this subject. For Foujita though, the Madonna, the mother and the woman came together as one entity, hence perhaps the title Maternité, a more secular and universal choice than 'Virgin and Child'. Similarly, the child has a very lively charm, unlike the usual figures of the Christ Child.Delivering an original vision of this traditional subject, Foujita also took inspiration from the past and used artistic codes historically attached to this motif. In the gothic tradition for example, the figures stood out on a golden background, which recalled the supernatural and miraculous character of the subject. This was also used to metaphorically suggest to the viewer that it was from this majestic image that Christian faith radiated. Thus the present work is reminiscent of the static elegance seen in the figures of Giotto and of the Northern Italian schools, which are known to have inspired Foujita. The expressive treatment of the mother's hands in the present work echoes that of artists such as Carlo Crivelli (1435-1495), whose Madonnas cradled their child with exaggeratedly long hands, creating a cocoon for the child and emphasising the figure's protective role. Foujita was similarly inspired by the Italian Renaissance, during which the Virgin was typically painted in a more realistic manner to emphasise the idea that she was first and foremost a mother. The gracefulness of her body was emphasised, giving an impression of serenity and maternal softness to this image of devotion, as in Raphael's Madonna del Granduca. The forms are pure and simple, but the arabesques formed by the figure are strongly accentuated and the neck elongated.Yet Maternité is not devoid of modernity. Of mutual influence, the artists of the Montparnasse circle left a lasting impression upon each other. In the present work, one recalls the long and slender figures of Amedeo Modigliani, whose slim faces and almond eyes bear a strong resemblance to the mother in Maternité. One could also think of Constantin Brâncuși's style, his experimentation in modelling human form and his investigation into purity and cleanliness of line. Although it is more subtle, the influence of the Cubist revolution is also visible in Foujita's use of local colour, which focuses on the subject seen under a flat light with no adjustments for form with shadows or colours. Moreover, the present work is characteristic of Foujita's style from the 1920s onwards. It combines the fine black line reminiscent of the distinctive ink line of traditional Eastern paintings, with an absence of perspective and the sinuous line of traditional Japanese pictorial art. Foujita himself described this dialogue of influence and inspiration in the 1950s - 'My body grew up in Japan, but my painting grew up in France' - as he became a Japanese painter who joined the world of Western painters. His adoption of the name 'Léonard' when he was baptised, as a tribute to Leonardo Da Vinci, confirmed his debt to Italian primitive painting and to the Florentine and Sienese Madonnas of the 15th and 16th centuries. But Foujita remained true to this double culture and strove to blend them both in a style that would remain his. Indeed, regardless of the Western origin of the present subject, the Japanese calligraphic tradition is still evident in the precision and finesse of the l... This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 8
LOUIS ANQUETIN (1861-1932)Elégantes, scène de rue signed and dated 'Anquetin 88' (lower right)pastel, charcoal and wash on paper51.3 x 59cm (20 3/16 x 23 1/4in).Executed in 1888Footnotes:The authenticity of this work has been confirmed by Brame & Lorenceau. This work is included in the Louis Anquetin archives.ProvenanceEdouard Borderie Collection, Paris (acquired in 1946).Bernard & Betty French Collection, Kidderminster (acquired from the above circa 1947).Cyril Lavenstein Collection, Kidderminster (acquired from the above in 1956).Private collection, UK (acquired from the above in 1977).Thence by descent to the present owner.Louis Anquetin rose to fame in the late 1880s among the post-Impressionist artists, and was instrumental in the birth of Cloisonnism. Élégantes, scène de rue, executed in 1888, is a prime example of the artist's work from this key period. Anquetin studied at the Beaux-Arts de Paris in the studio of Fernand Cormon. Cormon was a pompier artist who painted large, academic subjects of historical inspiration which were welcomed by the Third Republic and deemed official art. Yet his atelier attracted many avant-garde painters who would radically separate themselves from academism and noble subjects (historical or allegorical), such as Vincent van Gogh, Henri de Toulouse-Lautrec and Émile Bernard. Remaining in this atelier for four years, Anquetin and his peers would inspire each other – the former's influence on van Gogh for example is particularly visible in works such as Avenue de Clichy, cinq heures du soir which preceded van Gogh's famous The Cafe Terrace on the Place du Forum by a year.Paul Gauguin would eventually also join these artists, and van Gogh named the group 'les artistes du petit boulevard'. Translating to 'the artists of the small boulevard', the name referred to the areas they worked around Montmartre, near the Boulevard de Clichy and the Boulevard de Rochechouart. The title was also to distinguish themselves from other well-established artists such as Edgar Degas, Claude Monet, Pierre-Auguste Renoir, Alfred Sisley and Camille Pissarro, who were termed 'les artistes du grand boulevard'. These artists worked in more elegant neighbourhoods and exhibited in major galleries, whereas Anquetin, van Gogh, Toulouse-Lautrec and Bernard would still exhibit in small cafés and restaurants. At the 1888 Salon des Indépendants, the critic Édouard Dujardin announced in the Revue Indépendante that Louis Anquetin had created a new genre, which he termed 'Cloisonnism'. This referred to a new post-Impressionist style of painting with bold and dark contours around flat areas of colours and simplified forms. It is said that the idea came to Anquetin when he was at his parents' house as he looked up outside through a glass door with coloured tiles. Also inspired by the Japanese prints collected by his friend Vincent van Gogh, Anquetin became transfixed by the different shades and colours that this stained glass gave the outside world. Dujardin's article immediately propelled Anquetin to fame. Élégantes, scène de rue was executed during that pivotal year of 1888. In accordance with the technique of Cloisonnism, the main figure in the present work, dressed in green, is delineated by a thick black line that creates a compartmentalisation of the forms whilst following the folds of her garment. Seen from behind, she crosses a boulevard whilst gazing to her right, beyond the composition. A second woman, holding an parasol, looks directly at her, whilst a gentleman seated in a carriage beyond contemplates them both. Anquetin builds the composition through a triangle of looks, which follows the path of each protagonist's gaze as it bounces from one figure to the other. In this enigmatic trio where no interest is reciprocal, the painter relegates the male gaze to the background of the composition and foregrounds instead the female gaze.The contrast between the elegantly depicted central figure and the more caricature-like appearance of the man in the carriage and the woman in purple – whose loud make-up hints she is a prostitute looking for a client - is characteristic of Anquetin's work and seen in works such as Élégante à l'Élysée Montmartre, 1888, in the Art Institute of Chicago. The more carefully constructed figure draws our attention away from the darker elements at play, nonetheless placing Anquetin as an observer of urban life in the late 1880s. Anquetin worked on a thematically linked group of works exploring the morals and behaviours of lesbian relationships, such as the one at the Van Gogh Museum in Amsterdam, which is very similar to the present work. As Richard Thomson explains, 'at the turn of the decade, Anquetin treated this specific theme on a number of occasions, representing the woman in her carriage on the lookout, the eye contact from carriage to pavement, and the pedestrian woman using her tongue to signal a passing vehicle' (R. Thomson, The Troubled Republic: Visual Culture and Social Debate in France, 1889-1900, London, 2004, p. 38). These images were discreet and relied on codes that were mostly insider knowledge, which made them an even more appealing subject for artists like Anquetin or Toulouse-Lautrec who were never reluctant to show controversial subjects at the turn of the century and explore the hidden side of Parisian society. A trip to Belgium and Holland with Henri de Toulouse-Lautrec and Jos Albert in 1894 however, prompted a shift in Anquetin's work towards a more classical style, heavily inspired by Old Masters such as Rubens and Rembrandt. He became a teacher and taught his pupils the 'retour au métier' ('return to the craft'), rather than encouraging them to strive for modernity and experimentation. The present work thus marks a poignant end to his most creative and innovative period.For further information on this lot please visit Bonhams.com
Lot 59
French school, ca.1870-1880."Afternoon at the Beach.Oil on canvas.Size: 40 x 95 cm; 66 x 121 cm (frame).With a landscape framing and a wide panoramic opening, the present canvas resolved with impressionist technique, carried out at the time when this artistic movement was breaking moulds with its way of capturing reality, denotes the influence of painters like Renoir or Monet. The dense forest on the left is thinning with trees as it approaches the sea, opening up on the right with a magnificent marina lined with boats. Elegant women are nestling among the makeshift tents that have been set up for picnics. Others, with their husbands and young offspring, head for the shore, attracted by the sailing boats, breaking up into small groups. The vibrant, impastoed brushstroke captures from nature the web of light and colour filtering through the thick green canopies, breaking up the forms but without losing the referential element: the elegant headdresses, long, long-tailed dresses, cotton aprons, fine lace.... And although the detail is subsumed by the typically Impressionist incandescent light, there remains a certain reluctance to stop describing the quality of the fabrics, the narrative implicit in the gestures, the anecdote of each gesture. This is a coastal landscape, probably Norman, perhaps from the Loire region, which was also immortalised by Renoir in those years when plein air painting reached a high level of development. Outdoor picnics, dances and everyday pleasures were sublimated by the French Impressionists, revolutionising the way of looking.
Lot 546
SARGENT JOHN SINGER: (1856-1925) American artist, considered the leading portrait painter of his generation. A.L.S., John S. Sargent, on two sides of his correspondence card, Tite Street, Chelsea, n.d. ('Monday'), to 'My dear Kelly'. In a typically hasty hand, making some words illegible, Sargent writes concerning some plans which are 'off for the present', remarking 'the fact that Easter is on the 12th of April, is not an objection to the show opening as soon as on the 17th and he asks me to consider this point with you' and adding 'I don't suppose it is amn easy matter to shift the date - but in appointing a date…..I daresay it would be better to have it a fortnight from Easter when more people will have got back. Let me know if, as I suppose, there is no choice of dates for the galleries…..' VG It is possible that Sargent's correspondent was Gerald Kelly (1879-1972) British painter best known for his portraits. In 1901 Kelly moved to Paris, having decided on a career as a painter, and with the assistance of the art dealer Paul Durand-Ruel he visited Monet, Degas, Rodin and Cezanne and also became friendly with John Singer Sargent, Walter Sickert and W. Somerset Maugham.
Lot 547
CASSATT MARY: (1844-1926) American Painter, one of 'Les Trois Grandes Dames' of Impressionism. A.L.S., `Mary Cassatt´, two pages, 8vo, n.p., 14th September, n.y., on the Mesnil-Beaufresne printed stationery, to art critic Achille Segard, in French. Cassatt writes to her biographer regarding one of her paintings, and states in part `…allow the person sent by the Durand-Ruel Gallery to take my painting in your house. I would like to finish what I have to do during my stay here where I have the models and the place to work and October would be a little late if I leave early to the south of France." EX Paul Durand-Ruel (1831-1922) French Art Dealer. Probably the most important commercial advocate of impressionists, providing monetary support to his painters and solo-exhibitions. He counted Degas, Monet, Manet and Renoir among his clients.
Lot 321
A selection of various bangles and vintage brooches. The lot comprises of seventeen bangles and bracelets to include three wooden bangles, two enamelled Michaela Frey bangle, four cuff bangles, two hinged bangles, a multi-colour cube shape bangle, black and silver Austria made bangle, a malachite and gilt metal bangle, carved wooden red bangle, Swatch bracelet, beaded bracelet and three plastic bangles, including an imitation tortoiseshell example. Plus, a a plastic handbag containing various plastic fruit. The lot also includes various vintage brooches, including a Monet and tiger's eye brooch. Three brooches A/F, missing pins to back.
Lot 2612
Monet, Claude, franz. Maler des Impressionismus (1840-1926). Eigh. Brief m. U. "Claude Monet". 21/4 S. Doppelblatt. Mit eigh. Umschlag. 8vo. Giverny 22.XI.1889.An den ihm befreundeten Schriftsteller Gustave Geffroy (1855-1926) in Paris. Nach der Bitte um einen Gefallen kommt Monet auf Geffroys und vor allem seine eigene Arbeit zu sprechen. "... Je suis bien aise de vous savoir travaillant à la bonne heure. Pour moi je ne suis plus que me plaindre et m'en prendre toujours au temps, je passe ma vie à commencer des choses que je ne peuve jamais achever et qui me c'égoute bien à la fin voyant-bien helas qu'il me sera impossible de faire plus que je n'ai fait ...".
Lot 686
Eugène Boudin, 1824 Honfleur – 1898 DeauvilleUN RIVIÈRE AUX ENVIRONS D’ABBEVILLE, 1894 Öl auf Leinwand. Doubliert. 55,3 x 46,4 cm. Rechts unten signiert „E. Boudin“. Verso mit diversen Etiketten und handschriftlichen Vermerken. In Montparnasse-Rahmen.Wasser ist das Lieblingselement des Künstlers, stets ist es Bestandteil der Kompositionen Boudins, der es in Häfen, Küstenlandschaften und eben auch Flusslandschaften thematisierte und in seinen Spiegelungen den Rest des Bildes reflektierte. Anders als in manch anderer Komposition, bei der der Betrachter nur Zaungast am Ufer oder Kai eines Gewässers ist, gleitet hier unser Blick über die Mitte des Flusses gleichsam wie auf einem Boot stehend über die sanften Wellen hinweg und saugt die Dynamik des lebendig dahinfließenden Elementes auf, das sich im Mittelgrund innerhalb einer Flussbiegung hinter einer mächtigen grünen Blätterwand verliert. Das vorliegende Werk wurde von Eugène Boudin nach einer arbeitsreichen Karriere geschaffen, in der bereits ein Grad der Abstraktion erreicht ist, die von seinem Schüler Claude Monet fortgeführt wird.Eugène Boudin gilt als einer der bedeutenden Vorläufer des Impressionismus. Zehnjährig zog Boudin mit seiner Familie nach Le Havre, wo er später Maler wie Constant Troyon (1810-1865), Jean François Millet (1814-1875) und Eugène Isabey (1804-1886) kennenlernte. Sie ermutigten ihn, sich als Maler selbst zu verwirklichen, worauf er 22-jährig sein Ladengeschäft aufgab und sich ausschließlich als erfolgreicher Maler betätigte. 1851 studierte er in Paris, bevor er mehrere Studienreisen in Europa unternahm. Zu seinen Malerkollegen und Freunden gehörten Gustave Courbet (1819-1877) und Claude Monet (1840-1926). (†)Provenienz: A. Diot, Paris. Privatsammlung. Auktion Christie’s, New York, 16. November 1983, Lot 313. Literatur: Das hier angebotene Gemälde wird behandelt in: Robert Schmit, Eugène Boudin, Paris 1984, S. 77, Nr. 3828. (1301333) (13)Eugène Boudin,1824 Honfleur – 1898 DeauvilleEugène Boudin is regarded as an important precursor of Impressionism. UNE RIVIÈRE AUX ENVIRONS D’ABBEVILLE, 1894Oil on canvas. Relined.55.3 x 46.4 cm.Signed “E. Boudin” lower right. Various labels and handwritten notes on the reverse. (†)Provenance: A. Diot, Paris. Private collection.Auction Christie’s, New York, 16 November 1983, lot 313. Literature: The painting on offer for sale in this lot is discussed in: Robert Schmit, Eugène Boudin, Paris 1984, p. 77, no. 3828.
Lot 687
Eugène Boudin, 1824 Honfleur – 1898 DeauvilleLE VIEUX PORT DE TOUQUES, 1890Öl auf Leinwand. 45 x 65 cm Links unten signiert, datiert und ortsbezeichnet. In barockisierendem Rahmen.Keilförmig schiebt sich ein Fluss in die Landschaft und legt somit das linke Ufer in Form einer saftigen grünen Wiese frei. Der Hintergrund sonnenbeschienen mit einem kleinen Dorf mit zwei Kirchtürmen, welches sich in dem ruhigen, jedoch fließenden Gewässer spiegelt. Eugène Boudin gilt als einer der bedeutenden Vorläufer des Impressionismus. Zehnjährig zog Boudin mit seiner Familie nach Le Havre, wo er später Maler wie Constant Troyon (1810-1865), Jean François Millet (1814-1875) und Eugène Isabey (1804-1886) kennenlernte. Sie ermutigten ihn, sich als Maler selbst zu verwirklichen, worauf er 22-jährig sein Ladengeschäft aufgab und sich ausschließlich als erfolgreicher Maler betätigte. 1851 studierte er in Paris, bevor er mehrere Studienreisen in Europa unternahm. Zu seinen Malerkollegen und Freunden gehörten Gustave Courbet (1819-1877) und Claude Monet (1840-1926). (†)Literatur: Robert Schmit, Eugène Boudin, Paris 1973, Volume III, Nr. 2702. (1301337) (13)Eugène Boudin,1824 Honfleur – 1898 DeauvilleLE VIEUX PORT DE TOUQUES, 1890Oil on canvas.45 x 65 cm.Signed lower left, dated and place named.In Baroque-style frame.Like a wedge, a river is painted into the landscape revealing a lush green meadow on the left banks. The sunlit background depicts a small village with two church towers, reflected in calmly flowing water. (†)Literature:Robert Schmit, Eugène Boudin, Paris 1973,vol. III, No. 2702.
Lot 690
Gustave Loiseau, 1865 Paris – 1935 ebenda LA MEULE DE FOIN, 1906 Öl auf Leinwand. 54 x 65 cm. Links unten signiert und datiert. In vergoldetem Prunkrahmen.Im Zentrum des Gemäldes ein großer, gold-gelb leuchtender Heuhaufen vor weiß-blauem regnerischem Horizont. Er steht am Übergang eines rot-braunen Ackerlandes und einer leuchtend grünen Wiese, auf der rechtsseitig im Hintergrund schemenhaft ein Gebäude zu erkennen ist. Durch die Strichführung gekennzeichnet scheint der Regen von rechts oben nach links herabzufallen. Einen starken Kontrast bildet auch der grüne Rasen, der den Heuhaufen besonders hervorhebt und dessen Wiedergabe mit Strichführung linksseitig nach links und auf der anderen Seite in Strichführung nach rechts wiedergegeben wird. Qualitätvolle stimmungsvolle Malerei im Stil des Postimpressionismus, überwiegend in frischen leuchtenden Farben, bei raschem kräftigen pastosem Farbauftrag. Wiedergabe, die auf die Übermittlung von subjektiven Empfindungen zielt.Loiseau war ein französischer postimpressionistischer Maler, vor allem für seine Landschaften und Szenen von Straßen bekannt. 1890 ging er nach Pont Aven in der Bretagne und kam dort in Kontakt mit den Künstlern, insbesondere Paul Gauguin (1848-1903) und Emile Henri Bernard (1868-1941). In den Folgejahren reiste er auch in die Normandie und die Bretagne, wo er die Hügel und Flüsse der Region malte.(†)Provenienz: Galerie Barreiro, Paris. Verkauf Robbin, Granville, Frankreich, am 14. Juli 1990, Lot. 70. Versteigerung Sotheby‘s, London, am 27. Februar 2019, Lot 425. Privatsammlung. Anmerkung: Heuhaufen sind im Werk des Künstlers immer wieder zu finden. Deutlich erkennbar ist der Bezug zu Claude Monet (1840-1926) und seinen Darstellungen von Heuhaufen. (13013118) (18)Gustave Loiseau,1865 Paris – 1935 ibid.LA MEULE DE FOIN, 1906Oil on canvas.54 x 65 cm.Signed lower left and dated. (†)Provenance: Galerie Barreiro, Paris. Sale Robbin, Granville, France on 14 July 1990, lot 70. Auction Sotheby’s London, on 27 February 2019, lot 425. Private collection.
Lot 693
Gustave Caillebotte, 1848 Paris – 1894 Gennevilliers, zug.LE JARDIN, UM 1878 Öl auf Leinwand. 33 x 46 cm. In dekorativem vergoldetem Rahmen.Der erste Eindruck von dem Gemälde ist der einer Fülle von Farben. Vor allem der Vordergrund ist mit einem weichen Pinselstrich versehen, von einem Grün, das nicht versucht, sich von den Pinselstrichen zu lösen, mit denen es ausgebreitet wurde. Die Unschärfe der Behandlung lädt unser Auge dazu ein, darüber hinaus in die Tiefe des Bildes zu fokussieren. Dort tauchen Topfpflanzen auf und noch weiter hinten ein hoher Tisch mit drei Beinen. Wir befinden uns in einem Garten, der von einem Weg mit Blumenkästen durchzogen ist. Das Blumenbeet im Vordergrund erhält so seine volle Bedeutung und seinen Platz. Gustave Caillebotte hat mit seinem schnell gemalten Gemälde einen impressionistischen Eindruck hinterlassen; Farben und verstreut hier und da seine roten Pinselstriche, die nach den Regeln der Perspektive immer weniger werden. Das gleißende Licht der reinen Farben im Vordergrund ist zwar auch auf die der impressionistischen Malweise zuzuschreiben, ist es doch der Blickwinkel, der die Originalität dieser Komposition ausmacht. Der Blickwinkel befindet sich in der Nähe der Blumen im Vordergrund und zeigt uns den Tisch in einer leichten Untersicht. Innovativ, gewagt, wie eine Fotografie gerahmt, fasst dieses Werk auf den Punkt allein die Modernität von Gustave Caillebotte. (†)Provenienz: Privatsammlung A.K., Paris. Anmerkung: Gustave Caillebotte (1848-1894) war ein französischer Maler des Impressionismus. Nach einem Jurastudium begann er im Atelier von Léon Bonnat (1833-1922) zu malen und später an der École des Beaux-Arts in Paris. Nach dem Tod seines Vaters im Jahr 1874 erbte er ein komfortables Vermögen und konnte sich der Malerei widmen. Zu dieser Zeit beginnt er kleine Bildformate des Familienanwesens in Yerres zu malen, bis es 1878 verkauft wurde. Sein erstes Bild im Jahr 1875 war das realistische Gemälde „Les Raboteurs de parquet“ und wurde auf dem Salon wegen seines prosaischen Themas, der Arbeit von Arbeitern, abgelehnt. Caillebotte wandte sich daraufhin dem Impressionismus zu und nahm an den Impressionistenausstellungen von 1876, 1877, 1879, 1880 und 1882 teil. Er unterstützte die Bewegung finanziell und beteiligte sich persönlich an bei der Organisation der Ausstellungen. Er kaufte Gemälde von Monet, Pissarro, Degas, Renoir und Manet und baute so eine außergewöhnliche Sammlung auf, die er nach seinem Tod dem Staat vermachte. Diese Gemälde befinden sich heute im Musée d’Orsay in Paris. Im Jahr 1880 kaufte Caillebotte ein Anwesen in Petit-Gennevilliers am Ufer der Seine, wo er seine impressionistischen Freunde empfing, darunter insbesondere Monet, der sich von seinem Garten inspirieren ließ, um seinen eigenen in Giverny anzulegen. Der Kontakt mit ihm führte dazu, dass der glatte Pinselstrich und die scheinbare Zeichnung der Anfänge verschwanden, und stattdessen setzt er nun auf eine fragmentierte Zeichnung und die Darstellung von Formen und Licht durch die Gegenüberstellung von Farben, wie man sie in diesem Garten bewundern kann. Als Paul Durand-Ruel 1886 in New York eine große Impressionistenausstellung mit 300 Gemälden organisierte, waren auch zehn Bilder von Caillebotte dabei vertreten, was ihn beim amerikanischen Publikum bekannt machte. Sein früher Tod im Alter von 46 Jahren unterbrach den Werdegang eines der originellsten Talente des Impressionismus und brachte ihn um seinen Ruhm, den er erst ein Jahrhundert später erlangte. (1301338) (18)Gustave Caillebotte, 1848 Paris – 1894 Gennevilliers, attributedLE JARDIN (THE GARDEN), CA. 1878Oil on canvas.33 x 46 cm. (†)Provenance:Private collection A.K., Paris.
Lot 696
Eugène Boudin, 1824 Honfleur – 1898 Deauville ROUEN, VUE PRISE DU COURS LA REINE, LE SOIR Öl auf Leinwand. 50,3 x 74,3 cm. Links unten signiert, bezeichnet und datiert „E. Boudin Rouen (18)95“. In dekorativem Rahmen.Die drei Türme, die sich auf der anderen Seite des Flusses erheben, bilden die Skyline der Stadt Rouen. Die beiden Türme, der Butterturm und der Turm von Saint Romain, sind um den zentralen Turm der Kathedrale angeordnet und erheben ihre Silhouetten als Wächter über die Stadt. Von der Stadt führt eine steinerne Brücke über den Fluss auf die andere Uferseite, an der einige Boote ankern. Dieser Kai, von dem aus er uns seine Landschaft offenbart, ist noch sehr ländlich und zeigt die Seine wohl bei Ebbe, an deren Ufer im Vordergrund Fischer zu erkennen sind. Es herrscht der Eindruck von großer Stille, die durch den breiten Wasserspiegel der Seine, der die Farbtöne des Himmels mit seinen watteartigen weißen Wolken reflektiert, herbeigeführt wird. Als Maler der Elemente gelingt es Boudin, die Materialität des Wassers und der Luft zu übersetzen, um uns die Atmosphäre eines späten Tages, in einem schwebenden Moment, wiederzugeben. Eugène Boudin gilt als einer der bedeutenden Vorläufer des Impressionismus. Zehnjährig zog Boudin mit seiner Familie nach Le Havre, wo er später Maler wie Constant Troyon (1810-1865), Jean François Millet (1814-1875) und Eugène Isabey (1804-1886) kennenlernte. Sie ermutigten ihn, sich als Maler selbst zu verwirklichen, worauf er 22-jährig sein Ladengeschäft aufgab und sich ausschließlich als erfolgreicher Maler betätigte. 1851 studierte er in Paris, bevor er mehrere Studienreisen in Europa unternahm. Zu seinen Malerkollegen und Freunden gehörten Gustave Courbet (1819-1877) und Claude Monet (1840-1926). (†)Provenienz: Sammlung M. Michaud, Reims (bis 1899). Sammlung Fontaine-Michaud, Reims. Richard Green. Auktion Christie‘s, New York, Paris, 9. November 2000, Lot 204. Aus obigen Verkauf vom derzeitigen Besitzer erworben. Literatur: Robert Schmit, Manuel Schmit, Eugène Boudin, 1824-1898. Second Supplement to the Catalogue Raisonne of the Paintings, Paris, 1993, Nr. 4044, Abb. S. 85. Ausstellungen: Paris, Ecole des Beaux-Arts, Exposition des Oeuvres d‘Eugène Boudin, 9.-30. Januar 1899, Nr. 314. Osaka, Musée d‘art Kintetsu, Rétrospective Eugène Boudin, 7.-19. Juni 1996, Nr. 67. Galerie Schmit, Paris, Centenaire Eugène Boudin 1824-1898, peintures, pastels & aquarelles, 29. April- 27. November 1998, Nr. 48. (13013332) (18)Eugène Boudin,1824 Honfleur – 1898 DeauvilleROUEN, VUE PRISE DU COURS LA REINE, LE SOIR Oil on canvas.50.3 x 74.3 cm.Signed lower left, inscribed and dated “E. Boudin Rouen (18)95”. (†)Provenance:M. Michaud collection, Reims (until 1899).Fontaine-Michaud collection, Reims.Richard Green.Auction Christie’s, New York, Paris, 9 November 2000, lot 204.Acquired by the current owner at above sale.Literature:Robert Schmit, Manuel Schmit, Eugène Boudin, 1824-1898. Second Supplement to the Catalogue Raisonneé of the Paintings, Paris 1993, no. 4044, ill. p. 85.Exhibitions:Paris, École des Beaux-Arts, Exposition des Oeuvres d’Eugène Boudin, 9 - 30 January 1899, no. 314.Osaka, Musée d’art Kintetsu, Rétrospective Eugène Boudin, 7 - 19 June 1996, no. 67.Galerie Schmit, Paris, Centenaire Eugène Boudin 1824-1898, peintures, pastels & aquarelles, 29 April - 27 November 1998, no. 48.
Lot 697
Eugène Boudin, 1824 Honfleur – 1898 DeauvilleWÄSCHERINNEN AM UFER DER TOUQUES, UM 1885 – 1890 Öl auf Holz. 22 x 33 cm.Rechts unten signiert.Im Zentrum des Bildes fließt ruhig die Touques, deren Ufer beinahe an einen Meeresstrand erinnern. Das gegenüberliegende Ufer ist in der Ferne zu erahnen, wo sich der Flusslauf verliert. Die Figuren, Frauen, die mit dem Waschen der Wäsche beschäftigt sind, stehen im Vordergrund der Komposition. In Rückenansicht dargestellt führen sie den Betrachter in das Bild ein. Hier verweilt der Blick des Betrachters zuerst, bevor er in die Tiefe geleitet wird. Die farbliche Abstufung der Bildkomposition unterstützt diese Tiefenwirkung zusätzlich. Die chromatische Harmonie wird von verwaschenen Blau-und Ockertönen dominiert. Die starken Lokalfarben im Vordergrund beleben die Palette.Eugène Boudin gilt als einer der bedeutenden Vorläufer des Impressionismus. Zehnjährig zog Boudin mit seiner Familie nach Le Havre, wo er später Maler wie Constant Troyon (1810-1865), Jean François Millet (1814-1875) und Eugène Isabey (1804-1886) kennenlernte. Sie ermutigten ihn, sich als Maler selbst zu verwirklichen, worauf er 22-jährig sein Ladengeschäft aufgab und sich ausschließlich als erfolgreicher Maler betätigte. 1851 studierte er in Paris, bevor er mehrere Studienreisen in Europa unternahm. Zu seinen Malerkollegen und Freunden gehörten Gustave Courbet (1819-1877) und Claude Monet (1840-1926). (†)Literatur: Abgebildet in Robert Schmit, Eugène Boudin, Paris 1973, Band III. (1301336) (10)Eugène Boudin,1824 Honfleur – 1898 DeauvilleWASHER WOMEN ON THE BANKS OF THE RIVER TOUQUES, CA. 1885 – 1890Oil on panel.22 x 33 cm.Signed lower right.The waters of the Touques run calmly at the centre of the painting and its banks are almost evoking a beach. The opposite banks can vaguely be made out in the distance where the river course looses itself. The women are busy washing the laundry and are standing in the foreground of the composition. The effect of depth is created by figures leading into the background as well as the painting’s colour gradation. The chromatic harmony is dominated by shades of faded blue and ochre while the strong local colours in the foreground liven up the colour palette. (†)Literature:Illustrated in Robert Schmit, Eugène Boudin, Paris 1973, vol. III.
Lot 19
Ten pairs of vintage clip on earrings including David Grau, Bouchier, Monet, Napier and Avon, all pairs are in gold tone metal with enamelled crystal and diamante embellishments.Additional InformationEach pair of earrings is in very good vintage condition with very few signs of wear to any of them.
Lot 196
Dorothea Sharp ROI RBA (1874-1955) “Sunshine and Shadow” c. 1925 Signed l.l. ‘Dorothea Sharp’ Label on reverse ‘Sunshine and Shadow - Original Painting by Dorothea Sharp ROI ROP’ approx. 36 x 44cms (14” x 17”) In this colourful and painterly depiction of a charming scene, a girl wearing a white dress and yellow cardigan leads a child by the hand across a rocky hilltop, bathed in brilliant sunshine. Around the two figures, goats graze amidst clumps of heather growing in crevices in the rock. Behind the two figures, in the distance, hills extend out to a blue horizon line. Although the scene could well be in Cornwall, it has all the attributes of a Mediterranean landscape, and indeed Sharp travelled extensively in Portugal, Spain and Italy, exhibiting the resulting work at the Royal Academy in London. Born in London in 1874, Sharp initially studied at the Richmond art school, under the landscape painter C. E. Johnson, before moving on to the Regent Street Polytechnic, where she was influenced by the naturalistic Impressionist style of George Clausen and David Murray. This interest in Impressionism led Sharp to Paris, where she studied the works of Claude Monet in detail, working ‘en plein air’ and adapting his technique of pure colours to her own engaging style. Sharp first exhibited at the Royal Academy in 1901, was elected an Associate of the Society of Women Artists two years later, and became a full member of the SWA in 1908. In 1920 she moved to St. Ives in Cornwall, where there was a thriving community of artists, many of them specialising in landscape and figurative work. Settling there with her close friend Marcella Smith, Sharp continued to paint and exhibit at the RA for many years, becoming also a member of other societies, including the Royal Institute of Oil Painters (ROI). Another friend, during a painting trip to the South of France in 1914, was the Canadian painter Helen McNicoll. Sharp’s first solo show was held at the Connell Gallery in 1933. She specialised in depicting children at the seaside, picking wild flowers, or feeding chickens, and while charming, her work avoids the sentimentality of much Victorian art. Depicting an idyllic world of eternal sunshine, Sharp seems to have remained unaffected by dismal events in the world, such as wars and economic depression. Her still-lives of flowers are exceptionally colourful and vibrant.
Lot 359
John Clem Clarke (American, 1936-2021), Rouen Cathedral after Monet, Contemporary oil on canvas, 1968, 238 cm x 160 cm, unframed John Clem Clarke (American, 1936-2021). Rouen Cathedral after Monet, Contemporary oil on canvas, 1968, 238 cm x 160 cm, unframedProvenance of 40 lots in this auction: (and many of the pictures)From the estate of an art enthusiast and collector who lived in New York and died last year aged 85. The items include those from
Lot 401
A quantity of silver and costume jewellery to include a silver charm bracelet, a silver necklace, a Monet necklaces, Lotus simulated pearls etc. CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
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