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Lot 331
A LARGE LLADRO LIMITED EDITION BUST FIGURE GROUP 'A True Friend' No 8666, No 615 of 3000, depicting a horse's head and woman bust, in matt finish decorated with enamels and soft pastel shades, sculptor Alfredo Llorens, issued 2013, signed to base by sculptor and designer, approximate height 39cm x width 50cm (Condition:- overall ok, pencil marks to rim of base, mane of horse rubbed/dirty
Lot 718
PAINTINGS AND PRINTS, etc, to include three Jessie Dudley (1872-1930) watercolours of scenes of York (colours faded), two unframed watercolours of sheep in a landscape setting, signed A Watts 1906, Ken Charlton watercolour 'Steel Spans The River Tees' an industrial river scene, Mary Hollinshead pastel landscape, early 20th Century Welsh coastal landscape watercolour, indistinctly signed, needlework pictures etc
Lot 3465
TOM WESSELMANN(Cincinnati/Ohio 1931–2004 New York)Pastel-Nude on the beach. Ca. 1965.Pastell und Bleistift auf Papier.Unten rechts signiert und datiert: Wesselmann ca. 65, sowie verso nochmals signiert, datiert und nummeriert: Wesselmann ca. 65. D6533 #359.19,7 × 23,2 cm.Provenienz:- Sidney Janis Gallery, New York (direkt vom Künstler erworben).- Privatbesitz (seit 1997).- Sotheby's New York, Auktion 15. Mai 2013, Los 258.- Vom heutigen Besitzer bei obiger Auktion erworben, seitdem Privatsammlung Schweiz.Ausstellungen: New York 2010, Tom Wesselmann: Paintings, Steel Drawings, Works on Paper, Maquettes. David Janis Gallery, März - Mai 2010.In seinem Œuvre greift Tom Wesselmann immer wieder Bilder, Waren und Sehnsüchte der amerikanischen Alltagskultur auf. Seine ersten Cartoons erstellt er aus Langeweile an der Heimatfront des Koreakrieges. Später folgen kleinformatige abstrakte Collagen, die Einflüsse von Henri Matisse und Willem de Kooning reflektieren. Das von Wesselmann Anfang der sechziger Jahre entwickelte Motiv der "Great American Nudes" erweist sich als durchschlagender Erfolg, wird fortan zu seinem Markenzeichen und Jahre lang in verschiedenen Variationen von ihm verwendet. "I like to think that my work is about all kinds of pleasure." Mit diesem scheinbar so harmlosen Satz deutet Wesselmann an, dass seine Aktgemälde das Vergnügen reflektieren, das im erotischen Motiv des weiblichen Akts gewöhnlich gesucht wird. Durch den gezielten Mix aus Klischees der Massenmedien mit Gattungen und Motiven der künstlerischen Bildtradition und unter Anwendung der Techniken der Avantgarde bricht Wesselmann mit alten Konventionen erotischer Darstellungen. Im Gegensatz zu seinem Vorbild Henri Matisse, der Erotik subtil nuanciert, wendet Wesselmann sie bewusst ins Vulgäre. Er inszeniert seine Figuren, zuerst posiert ihm Ehefrau Claire, ab den frühen 1980er Jahre seine Assistentin Monica Serra, als Lustobjekte, deren Brustwarzen und Genitalien durch Bikinistreifen hervorgehoben werden und reduziert sie auf reine Projektionsflächen. Da Wesselmanns' ästhetischer Blick stets Vorrang hat, setzt er seine Aktmodelle zumeist in durchdachte Interieurs, etwa vor zusammengeraffte Gardinen oder prall gefüllte Obstschalen. Beim vorliegenden Werk scheint die Dame ihrem Betrachter direkt ins Gesicht zu schauen. Abgesehen davon präsentiert Wesselmann sein Modell flächig-kühl, gesichts- und identitätslos, entzieht ihm jegliche Individualität und lässt es keine Geschichten erzählen. Als einziger Eisbrecher fungiert der rote, lächelnde Mund mit dem strahlenden Weiss der perfekten Zahnreihen, der sich ab 1961 immer wieder in Tom Wesselmanns’ Arbeiten findet."For many years, drawing, especially from the nude, was a desperate attempt to capture something significant of the beauty of the woman I was confronted with. It was always frustrating because the beauty of the woman is so elusive." Tom Wesselmann
Lot 55
SAÏDA BENT SALAH (XXE SIÈCLE)ÉCOLE TUNISIENNE- JEUNE FEMME AU CERF / YOUNG LADY WITH A DEERGouache sur papier signée en français et en arabe en bas à gauche. À VUE: 16 X 12 CM (6 5/16 X 4 3/4 pastel et sanguine sur papier beige, signé en français et en arabe en haut à droite.À VUE: 31,5 X 24,5 CM (12 3/8 X 9 5/8 IN.)
Lot 48
ROBERTO MARCELLO BALDESSARI (1894-1965)Figure in movimento, 1915 signed with the artist's initials R·M·B (lower right); signed, dated and inscribed R·M·B 1915 Venezia (on the reverse)pastel on board41.9 x 27.9 cm.16 1/2 x 11 in.Footnotes:The authenticity of this work has kindly been confirmed by the Archivio Unico per il Catalogo delle Opere Futuriste di Roberto Marcello Baldessari. This work will be included in the forthcoming Roberto Marcello Baldessari catalogue raisonné, currently being prepared by Dott. Maurizio Scudiero.ProvenanceEsterina Marchesini Collection, Padova Private Collection, MilanAcquired directly from the above by the present owner circa 2018This 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 11
Duncan Grant (British, 1885-1978)Portrait of Simon Bussy signed 'D.Grant' (lower right)oil on canvas laid on board73.5 x 62 cm. (29 x 24 3/8 in.)Painted circa 1922-25Footnotes:ProvenanceThe Artist (until 1964)With Wildenstein & Co., London, 12 December 1964, where purchased byMr A. McAlpineWith Gallery Edward Harvane, London, 22 December 1972, where purchased by Lord and Lady Neill, thence by family descentPrivate Collection, U.K.ExhibitedLondon, Wildenstein & Co., Duncan Grant and his World, 4 November-12 December 1964, cat.no.73Stockholm, Prins Eugens Waldemarsudde, Duncan Grant, 5 June-29 August 1999, cat.no.30The French painter Simon Bussy (1870-1954) is especially valued for his striking images in pastel of animals and birds, often studied at London Zoo in Regent's Park on his annual visits to the capital. He also made distinctive pastel portraits such as those of French writers such as Gide and English friends including the mountaineer George Mallory and his brother-in-law Lytton Strachey (the last two in the National Portrait Gallery). He became an intimate of the Strachey family when in 1903 he married Dorothy (see lot 39), who later became the accredited translator of Gide and the author of Olivia. They lived in Roquebrune near Monte Carlo with their daughter Janie, a painter and great friend of the Bell family. Bussy had studied under Gustave Moreau at the Beaux-Arts where he met Matisse and became his lifelong friend. As a young man, Duncan Grant received much advice from Bussy including an introduction to Jacques-Emile Blanche's school La Palette which Grant attended 1906-07 and an important letter of introduction to Matisse in 1911.We are grateful to Richard Shone for compiling this catalogue entry.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 25
Walter Richard Sickert A.R.A. (British, 1860-1942)Portrait of Mrs Barrett signed 'Sickert.' (lower left)oil on canvas50.8 x 40.3 cm. (20 x 15 7/8 in.)Painted in 1906Footnotes:ProvenanceThe Artist, 3 January 1907, from whom purchased byBernheim-Jeune, ParisRt Hon Frederick Leverton Harris, thence by descent toMrs Gertrude HarrisSale; Sotheby's, London, 19 June 1974, lot 66aJ. Moore PollockSir Denis Rickett, thence by family descentPrivate Collection, U.K.ExhibitedParis, Bernheim-Jeune, Exposition Sickert, 10-19 January 1907, cat.no.30 (as Le Canapé rayé)London, Stafford Gallery, 27 June-July 1911, An Exhibition of Pictures by Walter Sickert, cat.no.30 (as The Striped Sofa)LiteratureJames Bolivar Manson, 'Walter Richard Sickert A.R.A.', Drawing and Design, July 1927, p.5 (ill.) (as Portrait)Wendy Baron, Sickert, Phaidon, London, 1973, cat.no.228Wendy Baron, Sickert, Paintings & Drawings, Yale University Press, New Haven and London, 2006, p.320, cat.no.266.1 (ill.b&w) In April 1906 Sickert sent his intimate friend, the society beauty and talented amateur singer Elsie Swinton (Mrs George Swinton), a series of 14 postcards, each containing a cameo sketch in pen and ink, illustrating the paintings on which he had been working in his studio at 8 Fitzroy Street between Good Friday (13 April) and the following Thursday. All were figure subjects set within a room which featured a striped green sofa, a bentwood chair, and a few heavily-framed pictures on the walls. He inscribed each card, some with the timing of his sittings, some with the identities of his four models and several with both. His models were the Belgian Daurment sisters, Hélène and Jeanne, whom he had recently met in Soho; Agnes Beerbohm – elder sister of Max, a talented dress designer, and some ten years earlier one of Sickert's lovers; and a woman identified in three sketches as 'new model'. The new model sat for two head and shoulders strict profile portraits, one on Saturday morning and one on Sunday (New Head of New Model); on Thursday afternoon she sat for a near frontal head wearing a shy smile and a large straw hat which shadowed her eyes. At no other time in Sickert's long career has his precise production over a one week period been so accurately disclosed.The paintings of Aggie Beerbohm in fancy dress and of the racy Daurment sisters are all in character. Not so the three portraits of the 'new model'. Her face and personality seem to have offered Sickert a blank canvas on which he could experiment with old master prototypes. The Thursday afternoon painting (Private Collection) is a free reworking of Rubens's Chapeau de Paille (London, National Gallery); the two profile portraits adapt the well-known Renaissance formula which Sickert regularly returned to from the 1890s to the 1930s. One of the profile heads is on offer here. The other was bequeathed by Roger Fry to the Courtauld Institute of Art. Fry probably bought it from the Savile Gallery where it had been exhibited in February 1928 (31) under the title Portrait of Mrs Barrett. But who was Mrs Barrett? Lillian Browse, in her monograph on Sickert published in 1960 (p.21) had defined her as 'charwoman', a statement which prompted Mrs Barrett's daughter-in-law to inform Miss Browse that her mother-in-law had been a dressmaker, not a charwoman', and that she had died in 1925. This raises the intriguing possibility that Agnes Beerbohm, the dress designer, may have introduced the dressmaker to Sickert. The portrait on offer here is certainly the profile begun on Sunday. The sitter's jacket or blouse on the Sunday sketch is repeatedly annotated 'RED' denoting vertical stripes, consistent with the colour used in this painting, whereas in the Fry version Mrs Barrett wears an olive green blouse, similar in tone and colour to the background wallpaper. The Sunday version is also much enlivened by the introduction of the striped sofa, the title under which it was exhibited at the Galerie Bernheim-Jeune in Paris in January 1907 and at the Stafford Gallery, London in 1911. The red and pink striped jacket worn by Mrs Barrett reappears (together with a pearl necklace) in two more, near full-face, head and shoulders portraits: The Red Blouse (The Carrick Hill Trust, Adelaide) and Le Collier de Perles (Private Collection), the latter identified in the archives of Bernheim-Jeune as La Belle Sicilienne or La Siciliana.Sickert's model, wearing different clothes, also seems to feature in two interiors executed in pastel: Blackmail: Mrs Barrett (National Gallery of Canada, Ottawa); and Mrs Barrett (Tate). Confusion struck when the Ottawa pastel was taken from its frame. Old backing labels and inscriptions were discovered which revealed it had been exhibited at the Salon d'Automne in Paris in 1905 under the title Popolana Veneziana. How can a 'new model' of Easter 1906 have sat for a picture exhibited in autumn 1905? Did Sickert deliberately mislead Mrs Swinton? And why? I have no answers. The confusing plethora of titles is typical of Sickert. He used invented titles to manipulate the characterisation of his Camden Town period models. In the case of the portraits discussed here, fashion may have misled future scholars and collectors. Heavy, upswept, rolled wings of hair are common to Mrs Barrett at Easter 1906, to an extant photograph of Mrs Barrett given by her daughter-in-law to Miss Browse, and to Sickert's 1905 model – whether Sicilian, Venetian or possibly neither. However, it is indisputable that the models for all these pictures are strikingly alike. We are grateful to Dr. Wendy Baron for compiling this catalogue entry.For further information on this lot please visit Bonhams.com
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