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Click here to subscribeHughes Claude Pissarro (French, b. 1935)Le villagePastel on paper14-1/2 x 19-1/2 inches (36.8 x 49.5 cm) (sheet)Signed lower right: H. Claude Pissarro PROVENANCE:Robert Green Fine Arts, Mill Valley, California;Arnold Laub. Esq., Mill Valley, California, acquired from the above, early 1990s;Thence by descent to the present owner, 2013.Lélia Pissarro of Stern Pissarro Gallery has kindly confirmed the authenticity of this work. HID12701242017
Guillaume Seignac (French, 1870-1924)Cupid and PsycheOil on canvas53 x 36 inches (134.6 x 91.4 cm)Signed lower right: G-SEIGNAC PROVENANCE:Private collection, Miami, Oklahoma, acquired circa 1970;Acquired by the present owner from the above.Perhaps the greatest love story of the ancient world, the tale of Cupid and Psyche, symbolizing the power of love and its ability to shape the soul, has provided boundless inspiration for artists across the ages. Trained in the academic style at the École des Beaux-Arts, Guillaume Seignac specialized in allegorical subjects, approaching the present work as part of a broader Platonic tradition, highlighting the concept of love (Cupid) shaping the self (Psyche) instead of pushing the baser sexual aspects of the myth to the forefront. Overtly erotic representations were favored in the earlier Rococo period, with the central figures often depicted as two young and beautiful people of the same age. Seignac avoids that conception entirely in this iteration, going so far as to abstain from excessive use of reds and pinks, the colors of passion, in favor of a cooler, less suggestive palette. Seignac studied under the master academician William-Adolphe Bouguereau from 1889 to 1895, which all but guarantees a familiarity with Bouguereau's Amour et Psyché from 1890. Bouguereau's composition, showing the central figures both as winged babies in a pastel cloudscape, emphasized the innocence of the figures at an early point in the story, after they have fallen into innocent true love, but before the wrath of Venus befalls them; while also presenting a more restrained appeal to the Salon, where contemporary Victorian sensibilities more strongly favored the chaste. Bouguereau's influence on his pupil is evident, but Seignac was not without his own strengths and individualism – the classical curriculum at the École introduced him to the work of Phidias, a legendary master sculptor from antiquity, best known for his exquisite rendering of drapery in marble. Displaying the full strength of his education, and perhaps in purposeful juxtaposition with Bouguereau, a titan of nudity renowned for his rendering of soft alabaster skin, Seignac expressed the human form not by laying it bare, but by revealing it from within and beneath an inspired use of drapery. This method of showing the sensual curvature of the female form without overt nudity allowed him a broad commercial appeal during his lifetime. HID12701242017
Peter Fuchs, Moving (Morning) Mutation, Living Undercover, What a Small Place the World can be!, Bleistift, Oelkreide und Sand, Erde auf Kuvert, 22 x 14,8 cm. Im Passepartout mit Glasrahmen 37, 4 x 29,6 cm. Monogrammiert PF 98, Wien, Oesterreich 1998. | Peter Fuchs, Moving (Morning) Mutation, Living Undercover, What a Small Place the World can be!, pencil, oil pastel and sand, earth on envelope, 22 x 14.8 cm. In passepartout with glass frame 37.4 x 29.6 cm. Monogrammed PF 98, Vienna, Austria 1998.
*Raoul Millais (1901-1999)Sketches of Ascotsigned 'Raoul Millais' in pencil l.l. and inscribed 'Ascot' l.r., pencil and pastel21 x 14cmProvenance: The residual contents of Bixley Manor by instruction of the executors of Sir Timothy Colman KG.*Artist's Resale Right may apply to this lot.Framed size: 38.5 x 31cm. Some yellowing to mount, not viewed out of glazed frame, but generally appears to be in good condition.
English School, 19th century'Forward, Forward';'You brush him up''To him, to him';'Who Whoop'four, each inscribed with title, pencil, oil pastel and bodycolour25 x 35cm (4)Framed size of each: 39 x 49.5cm. Unexamined out of glazed frames, each with dark patches and foxing to the sheet, please see images. Losses to the frames.
Diamonique - fifteen pieces of cubic zirconia, clear an coloured gems all set in silver, two clear solitaire rings and six coloured stone rings size M; a tennis bracelet with 5mm diameter CZ stones, length of bracelet 19cm; a 5mm wide bracelet set with two rows of pastel coloured marquise cut gems, length 19cm; a silver-gilt coral coloured heart pendant overlaid with crystal on a cord ribbon; two pearl pendant and chains and a purple Diamonique pendant and chain, all in turquoise boxes with white ribbon bow to top.Qty: 15
18th Century English School. Half-length portrait of Johnson Atkinson Busfield (1739-1817), senior magistrate of Myrtle Grove, pastel on laid paper mounted on canvas, unsigned, 84cm by 73.5cm, framed & glazed, attractive hand-carved frame bearing manuscript note recording sitter verso and framer's label, James Bourlet & Sons Ltd., London
18th Century English School. Half-length portrait of Elizabeth Busfield (1748-1798), wife of Johnson Atkinson Busfield, pastel on laid paper mounted on canvas, unsigned, 84cm by 73.5cm, framed & glazed, attractive hand-carved frame bearing manuscript note recording sitter verso and framer's label, James Bourlet & Sons Ltd., London
18th Century English School. Half-length portrait of the Rev. Christopher Atkinson (1713-1774), vicar of Thorp Arch and father of Johnson Atkinson Busfield, pastel on laid paper mounted on canvas, unsigned, 84cm by 73.5cm, framed & glazed, attractive hand-carved frame bearing manuscript note recording sitter verso and framer's label, James Bourlet & Sons Ltd., London
18th Century English School. Half-length portrait of Jane Atkinson (1713-1791), wife of the Rev. Christopher Atkinson, pastel on laid paper mounted on canvas, unsigned, 84cm by 73.5cm, framed & glazed, attractive hand-carved frame bearing manuscript note recording sitter verso and framer's label, James Bourlet & Sons Ltd., London
Else Lasker-Schüler Jussuf tanzt! Jussuf tanzt. Orig.-Federzeichnung mit Ölkreide. Signiert. Datiert 4. Nov. (19)21. Festes Papier mit Leinenstruktur. Papierformat 21 : 15,5 cm. - Dynamische eigenhändige Zeichnung von Else Lasker-Schüler - Zeigt ihr Alter Ego 'Prinz Jussuf' tanzend Die Dichterin Else Lasker-Schüler (1869-1945) versteckte sich gerne hinter der Maske des orientalischen „Prinzen Jussuf“. Die Körpersprache des Tanzes, den Wirbel an Bewegung und die Auflösung der Konturen, als dies findet sich eindrucksvoll in dieser kleinen orientalischen Zeichnung wieder. 'Man konnte weder damals noch später mit ihr über die Straße gehen, ohne dass alle Welt stillstand und ihr nachsah: extravagante weite Röcke oder Hosen, unmögliche Obergewänder, Hals und Arme behängt mit auffallendem, unechtem Schmuck', so beschrieb Gottfried Benn das allgemeine Staunen über die wunderliche Erscheinung Else Lasker-Schülers. Dynamic and expressive orig. pen drawing with oil pastel, signed and dated 4 Nov. (19)21. Solid paper with linen structure. Paper size 21 : 15.5 cm. - Browned (slightly stronger in the margins), with 1 repaired tear in the margin, on the reverse of both upper corners with a small repair. Dieses Objekt wird regel- oder differenzbesteuert angeboten.
A. E Spong, mountainside, pastel, signed to the lower right, framed and glazed, 25cm x 35cm, together with an Indian miniature painting, framed and glazed, 10cm x 18.5cm, together with a Japanese floral print, framed and glazed, 23cm x 31.5cm and a Chinese mountainous landscape, print on cloth, framed and glazed, 21cm x 24cm, a limited edition etching of a rural landscape and three further decorative pictures (8)Spong with chip to frame, floral print with creases and tear to the left edge
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