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Lot 303
(See English version below)Lesser Ury (Birnbaum/Posen 1861 – 1931 Berlin). „Am Kanal, Holland“. 1913Pastell auf Pappe. 50,8 × 71,3 cm ( 20 × 28 ⅛ in.). Unten links signiert und datiert: L. Ury 1913.Mit einem Gutachten von Dr. Sibylle Groß, Berlin, vom 18. November 2020. Das Pastell wird aufgenommen in das Werkverzeichnis der Gemälde, Pastelle, Gouachen und Aquarelle von Lesser Ury von Dr. Sibylle Groß, Berlin (in Vorbereitung). [3281] Provenienz: Zickel (wohl Zickel Gallery, New York, bis 1954) / Schaeffer Galleries, New York (erworben 1954 bei Parke-Bernet Galleries, New York) / Alexander und Adele Grinstein, Detroit (erworben 1955 bei Schaeffer Galleries, bis 2020 in Familienbesitz) / Privatsammlung, USAWir berechnen auf den Hammerpreis pauschal 30% Aufgeld und 7% verauslagte Einfuhrumsatzsteuer.Lesser Ury (Birnbaum/Poznań 1861 – 1931 Berlin). ”Am Kanal, Holland”. 1913Pastel on cardboard. 50,8 × 71,3 cm ( 20 × 28 ⅛ in.). Signed and dated lower left: L. Ury 1913.Accompanied by a certificate by Dr. Sibylle Groß, Berlin, dated 18 November 2020. The pastel will be included in the catalogue raisonné of paintings, pastels, gouaches and watercolours of Lesser Ury by Dr. Sibylle Groß, Berlin (in preparation). [3281] Provenance: Zickel (presumably Zickel Gallery, New York, until 1954) / Schaeffer Galleries, New York (acquired in 1954 at the Parke-Bernet Galleries, New York) / Alexander and Adele Grinstein, Detroit (acquired in 1955 at the Schaeffer Galleries, until 2020 in family collection) / Private Collection, USAWe charge 30% premium and 7% import tax on the hammerprice.
Lot 449
(See English version below)Paul Paeschke (1875 – Berlin – 1943). Der Potsdamer Platz bei Nacht. Um 1929Pastell auf Papier. 36,7 × 48,5 cm ( 14 ½ × 19 ⅛ in.). Unten rechts signiert: P. Paeschke. Auf der Rückpappe ein Aufkleber mit dem Stempel in Rot: NACHLASS / PAUL PAESCHKE; darunter mit Feder in Schwarz beschriftet: B. 357. / Potsdamer Platz.[3414] Gerahmt. Wir berechnen auf den Hammerpreis 30% Aufgeld.Paul Paeschke (1875 – Berlin – 1943). Potsdamer Platz by night. Circa 1929Pastel on paper. 36,7 × 48,5 cm ( 14 ½ × 19 ⅛ in.). Signed lower right: P. Paeschke. On the cardboard backing a label with the stamp in red: NACHLASS / PAUL PAESCHKE; inscribed beneath in pen and black ink: B. 357. / Potsdamer Platz.[3414] Framed. We charge 30% premium on the hammerprice.
Lot 118
Emile Pequignet ladies chronometer wristwatch, the mother-of-pearl dial with three subsidiary dials, enamelled baton hands and eight small round brilliant cut diamonds, a further thirty-six small round brilliant cut diamonds set to the bezel, original pastel pink strap together with additional cream strap, together with certificates, guarantee and box
Lot 7
(See English version below)Lesser Ury (Birnbaum/Posen 1861 – 1931 Berlin). „Hofjägerallee im Tiergarten, Berlin“. 1920er-JahrePastell auf Pappe. 34,7 × 49,5 cm ( 13 ⅝ × 19 ½ in.). Unten links signiert: L. Ury.Mit einem Gutachten von Dr. Sibylle Groß, Berlin, vom 6. Mai 2021. Das Pastell wird aufgenommen in das Werkverzeichnis der Gemälde, Pastelle, Gouachen und Aquarelle von Lesser Ury von Dr. Sibylle Groß, Berlin (in Vorbereitung). [3007] Provenienz: Leo Kern, Mainz (erworben vor 1936, bis vor kurzem in Familienbesitz, USA)Wir berechnen auf den Hammerpreis pauschal 30% Aufgeld und 7% verauslagte Einfuhrumsatzsteuer.Lesser Ury (Birnbaum/Poznań 1861 – 1931 Berlin). ”Hofjägerallee im Tiergarten, Berlin”. 1920sPastel on cardboard. 34,7 × 49,5 cm ( 13 ⅝ × 19 ½ in.). Signed lower left: L. Ury.Accompanied by a certificate by Dr. Sibylle Groß, Berlin, dated 6 May 2021. The pastel will be included in the catalogue raisonné of paintings, pastels, gouaches and watercolours by Lesser Ury by Dr. Sibylle Groß, Berlin (in preparation). [3007] Provenance: Leo Kern, Mainz (acquired before 1936, until recently in family collection, USA)We charge 30% premium and 7% import tax on the hammerprice.
Lot 600
(See English version below)Otto Freundlich (Stolp/Pommern 1878 – 1943 Sobibor/Polen). „Komposition“. Um 1931Pastell auf Velourspapier. 45 × 31,8 cm ( 17 ¾ × 12 ½ in.). Unten rechts monogrammiert: OF. Auf der Rückpappe zwei Etiketten der Ausstellungen Köln/Kiel 2000 und Köln/Basel 2017 (s.u.).Heusinger von Waldegg 256. [3459] Provenienz: August Sander, Köln (seitdem in Familienbesitz)Wir berechnen auf den Hammerpreis 30% Aufgeld.Otto Freundlich (Stolp/Pomerania 1878 – 1943 Sobibor/Poland). ”Komposition”. Circa 1931Pastel on flock coated paper. 45 × 31,8 cm ( 17 ¾ × 12 ½ in.). Monogrammed lower right: OF. On the cardboard backing two labels of the exhibitions Cologne/Kiel 2000 and Cologne/Basel 2017 (see below).Heusinger von Waldegg 256. [3459] Provenance: August Sander, Cologne (thence by descent to the present owner)We charge 30% premium on the hammerprice.
Lot 106
SIR HENRY RAEBURN R.A. (SCOTTISH 1756-1823) THREE-QUARTER LENGTH PORTRAIT OF LADY CARNEGIE Oil on canvas(127cm x 102cm (50in x 40in))Provenance: Sir Andrew Agnew , Bart Sir John Reid, Glasgow and thence by family descentFootnote: Exhibited: On loan to the National Gallery of Scotland, 1921-28 Stedelijk Museum, Amsterdam, British Art 1936, no.140 Royal Academy, London, Scottish Art, 1939 Aberdeen Art Gallery, Festival Exhibition, Paintings from North East Homes Literature: James L Caw, Catalogue of the Collection of Pictures belonging to John Reid, James Maclehose and Sons Ill p.6 Note: Lady Agnes Carnegie (1763-1860) was born in Edinburgh in 1763. Her father, Andrew Elliot, was the last Governor of New York under British rule, and when Agnes was twelve months old the Elliot family relocated to New York. When American independence was acknowledged in 1783 the Elliot family returned to Scotland, and later that same year Agnes married Sir David Carnegie, MP for Kincardineshire and deputy governor of the British Linen Company. The couple and their twelve children lived between Kinnaird Castle and their house in Gloucester Place, London. Agnes was herself a talented pastel artist. This enigmatic portrait of Lady Agnes Carnegie was made c.1810, when Raeburn was at the height of his powers. The subtle, muted palette is a signature of Raeburn’s, as is the soft, glowing illumination of the subject. Raeburn’s ability to evoke texture and light is as remarkable as his talent for capturing his sitter’s personality, evidencing his interest in Enlightenment principles of observation: he insisted that his sitter remained before him throughout the painting process. In this portrait Lady Carnegie looks towards the viewer with soft, smiling poise, and while her presence feels gentle her fine clothing and jewellery declare her status as a wealthy and influential individual. Raeburn’s mastery for descriptive brushwork is evident throughout this portrait, demonstrated by the delicate, ephemeral ruff at her throat, contrasted with the startling dimension and precision of her lace cuffs. Also of note is the light playing on the silken stripes of Lady Carnegie’s ivory headdress. Today Henry Raeburn (1756-1823) is celebrated as one of the greatest Scottish portrait painters. Son of an Edinburgh yarn-boiler, Raeburn was apprenticed in his teens to jeweller and goldsmith James Gilliland. Despite having received little training, his formidable talent as a portrait painter was soon recognised, and he quickly moved from painting miniatures to creating large oils on canvas. Under the sponsorship of Sir Joshua Reynolds, Raeburn relocated to Italy in 1785 to study the Old Masters and hone his craft. Two years later he returned to Edinburgh, taking a property on George Street. The work he produced forthwith cemented his legacy as Scotland’s finest portrait artist. This portrait comes from the collection of John Reid (1861-1933), a son of James Reid of Auchterarder, who founded the Hyde Park Locomotive Works in Glasgow. The Reid family were early collectors of Barbizon and Hague school paintings, and also owned several important Old Masters. French and Dutch paintings were well-represented in John Reid’s personal collection, and he also developed a fine selection of British paintings, including this remarkable Raeburn portrait.
Lot 140
ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) DUTCH COFFEE Signed, pastel on buff paper(51cm x 41cm (20in x 16in))Footnote: Exhibited: Royal Academy of Arts, London 1939, Exhibition of Scottish Art Note: In his painting Robert Gemmel Hutchison strove for an essential truth: to capture a common humanity in his subjects. His charming compositions provide an insight into the late nineteenth and early twentieth-century taste for scenes of Scottish rural and domestic life. Dissatisfied with his apprenticeship as a seal engraver, the seventeen-year-old Hutchison secured a place at the Manufacturer’s School of Art in Edinburgh, where he studied under William McTaggart. Here, Hutchison cultivated an admiration for McTaggart that would endure for the rest of his life, and which in part inspired Hutchison’s loose painterly technique and interest in everyday rural life. Hutchison developed a successful artistic career – he exhibited regularly at the R.A. and R.S.A., and was elected to a number of prestigious institutions throughout the UK. He is remembered today as an important Scottish painter of the early twentieth century. Hutchison’s painting is distinguished by its considered deployment of colour: while in certain areas paint is applied in a more meditative, studied and precise manner, in other areas the application comprises of dynamic and frenetic flicks of vibrant colour. His connections with British Impressionism are clear, particularly when his figures are situated outdoors, where he demonstrates a remarkable ability to convey an immersive atmosphere through his varied brushwork. Look, for example, to the warm rays that dapple the smock of The Young Gardener, which Hutchison has conjured with careful, spare touches of pale yellow paint. Despite being composed of yellow, green and blue strokes, the surrounding foliage appears fully-realised, and seems almost to rustle with life. In On the Dunes, Holland and Dutch Coffee, Hutchison’s distinctive vision is applied to scenes of Dutch life. These are of particular interest given Hutchison’s enduring fascination with the Hague School. Hutchison visited Holland in 1905, and was profoundly inspired by the paintings he encountered there, which he felt captured the reality of daily rural life without idealisation or romanticisation. He was particularly struck by the work of Jozef Israëls (1824-1911), who painted scenes from the lives of fishermen, peasants or children. Upon his return to Scotland, he committed to painting en plein air with a looser, lighter, more painterly approach. He eschewed the sorrow that permeated Israëls’ painting in favour of more optimistic compositions rendered in lighter, softer tones. The selection of Hutchison paintings on offer demonstrate his innate ability to compose impressionistic strokes of colour into scenes that feel at once intimate and poignant.
Lot 163
§ JOAN EARDLEY R.S.A (SCOTTISH 1921-1963) GIRL WITH STRIPED JERSEY Pastel on glass paper(26.5cm x 23cm (10.5in x 9in))Footnote: Exhibited: The Scottish Gallery, Edinburgh, Festival Exhibition 1964, no.71 Note: In this, the centenary year of the artist’s birth, Lyon & Turnbull are delighted to dedicate a section of our bi-annual Scottish Paintings & Sculpture sale to the wonderful work of Joan Eardley.As an audience we find ourselves increasingly intrigued by Eardley as the years pass. Perhaps this is because the passage of time has done little to dim the eloquent ‘truthfulness’ of her work, or the fact we now understand fully how we have been robbed of a significant talent by her untimely early death. What could this extraordinary artist have gone on to achieve with more time?It is also, perhaps, because through her work we can see tangible glimpses of the singular woman herself. What we know of this artist’s personality from the accounts of her small but close circle of friends is transcribed vividly in paint and charcoal. There is a raw passion to her work, as well as a brusque but acute sensitivity and pathos towards her fellow humans; a determination in the marks she made, and a single-mindedness evident in the subjects that drew her intense focus.With works representing each of the key areas of her oeuvre, the selection offered here for sale help to tell the story of this extraordinary woman’s life. ********************************************************** Eardley was devoted to Glasgow, particularly to the fast-disappearing areas to the east which were being torn down and re-developed. She recognised that the sense of community which had thrived within the tenement closes and backcourts was vanishing along with the old buildings and subsequently dedicated herself to capturing what remained in her artworks. Nothing represented this essence for Eardley more than the local children: “…they are Glasgow – this richness Glasgow has – I hope it will always have – a living thing, an intense quality – you can never know what you are going to do but as long as Glasgow has this I’ll always want to paint.”Eardley had an attic studio at 21 Cochrane Street, now long since demolished. It was extremely basic, consisting only of a large free-standing stove, a cooker, a workbench and sink. It did, however, have a glazed ceiling and outer wall making it perfect for painting. It was here that the majority of her famous depictions of the local street children were painted. She had her favourites amongst them – those that would come knocking on her door asking to be painted – and they recur as recognisable characters in her drawings. ******************************************************** Catterline, a tiny row of fishermen’s cottages hunkered on the wild North East Scottish coast, became the foil to the scenes of urban decay and scrambling clusters of children playing in the streets. Here her work found an expanse of elemental scenery and wild, wind-lashed textures to tempt her brush. Again favouring almost spartan living conditions; the simplest of furniture, the light of old oil lamps, Eardley would spend weeks at a time alone here, trudging doggedly out into the elements to paint en plein air. The work produced here is often tumultuous; the artist revelling in the battle to distil the landscape’s essence even as it tries its best to evade her. Crashing waves, tangled grasses and heaving skies characterise these works which again capture the duality that is at the root of her work: her ferocious skill married with an un-replicable sensitivity to her environment. ******************************************************** By 1961, Joan Eardley's ill health was keeping her indoors in her Catterline cottage for periods and she wasn't always able to paint en plein air in the elements. Consequently, only a very small clutch of still lifes exist, dating exclusively to this short time period between 1961 and her death at the age of 42 in 1963. Though Eardley resented her periods of confinement, these oils nonetheless burst with all the wild texture and vitality of her landscapes of the surrounding cornfields and meadows. Taking a traditionally feminine genre of painting, Eardley individualised her approach to the subject and the result is both striking and beautiful. The layers of scumbled paint and the myriad ways in which she applies it are a visual feast for the eyes, not to mention a demonstration of her distinctive prowess as a painter.
Lot 176
(See English version below)Osmar Schindler (Burkhardtsdorf 1867 – 1927 Dresden-Wachwitz). Selbstbildnis unter einer Gaslampe. Pastell auf Papier. 40,5 × 31,2 cm ( 16 × 12 ¼ in.). Unten links mit dem Stempel: Nachlass Prof. Osmar Schindler 1867-1927.Unregelmäßig beschnitten. [3509] Gerahmt. Provenienz: Aus dem Nachlass des KünstlersWir berechnen auf den Hammerpreis 30% Aufgeld.Osmar Schindler (Burkhardtsdorf 1867 – 1927 Dresden-Wachwitz). Self-portrait under a gas lamp. Pastel on paper. 40,5 × 31,2 cm ( 16 × 12 ¼ in.). Lower left the stamp: Nachlass Prof. Osmar Schindler 1867-1927.Unevenly trimmed. [3509] Framed. Provenance: From the estate of the artistWe charge 30% premium on the hammerprice.
Lot 363
A black and white photograph album of the construction of the Victoria Falls Bridge once belonging to engineer Georges Camille Imbault,circa 1903containing 24 black and white photographs mostly depicting the construction, some showing the falls and the locals, with pastel writing to the interior 'Imbaut's photos of Zambisi Bridge'each photo approximately 11.5 x 9cmCondition: Some faded with time as one would expect. All fairly good clear images.George Imbault was Chief Site Construction Engineer for the Cleveland Bridge Engineering Company who was responsible for the construction of the Sambeisi or Victoria Falls Bridge. The current owners grandfather is believed to have worked as an engineer on the bridge.
Lot 111
A Carlton Ware Art Deco lozenge shaped dish, the centre decorated with a tree in pastel tones on a cream ground, blue printed mark and impressed marks to base, 30cm wide; an Art Deco style vase, decorated with roses in pink and foliage, impressed mark '75M MADE IN ENGLAND', to base, 16cm high (2)
Lot 2
Kim Eshelman, "This Moment", unframed pastel on archival card, 11.75 x 15.5in, c. 2021. This Moment was recently featured in the May issue of LandEscape Contemporary Art Review, along with an in depth interview with the artist. Light and shadow create a dramatic yet airy landscape, while the limited palette helps create a sense of atmosphere and space. Located in USA, UK delivery £55.
Lot 3
Kim Eshelman, "The River Now", unframed pastel on mounted board, 16 x 12in, c. 2021. The River Now was recently featured in the May issue of LandEscape Contemporary Art Review, along with an in depth interview with the artist. This painting is typical of Kim’s use of vibrant color and ability to paint emotions instead of landscapes. Rich in texture, this piece was creating with layers of marble dust, pumice, and pastel. Found objects were used to scrape into the surface to create unique additional textures. Located in USA, UK delivery £55.
Lot 4
Kim Eshelman, "A New Beginning", unframed pastel on archival card, 12.5 x 9.5in, c. 2021. A New Beginning was created on New Year’s Day 2021. A departure from the artist’s usually chromatically rich palette, this piece is economical in its strokes yet rich with nuanced emotion. The masterly technique of the artist is on display with marks laid down quickly and confidently. Located in USA, UK delivery £55.
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46300 item(s)/page