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Lot 311
A PAIR OF CONTINENTAL PORCELAIN OVAL PLAQUESmodelled in high relief with lovers at a fountain with an amorino, realistically painted in flesh tones and decorated in pastel shades of brown and fawn, heightened in gilt, 34cm h, c1900++In fine condition with minor professional restoration to amorino
Lot 12
§ SEREBRIAKOVA, ZINAIDA (1884-1967) Portrait of Marietta Frangopulo , signed and dated 1922. Pastel on paper, laid on cardboard, 63 by 49 cm. Provenance: Collection of L.G. Loitsyansky, Leningrad.Private collection, UK.Exhibited: Zinaida Serebriakova, The State Tretyakov Gallery, Moscow, 1986. Literature: B. Ugarov et al, Zinaida Serebriakova. Katalog vystavki: sbornik materialov i katalog ekspozitsii k 100-letiyu so dnya rozhdeniya khudozhnika, Moscow, Sovetskii khudozhnik, 1986, p. 165, listed; p. 168, illustrated.V. Kruglov, Zinaida Serebriakova, St Petersburg, Zolotoi vek, 2004, plate 75, illustrated.The present portrait of the ballerina Marietta Kharlampievna Frangopulo (1901-1979) belongs to Zinaida Serebriakova’s brilliant cycle of theatre works from the years 1922-1924. As early as January 1922 the artist’s mother Ekaterina Nikolayevna Lanceray was writing “This winter we have plunged right into the world of ballet. Zina draws ballerinas about three times a week, when some young ballerina will pose for her... and twice a week Zina takes her sketchbook into the wings to draw ballet dancers”. Here, behind the scenes at what had been the Mariinsky Theatre, the artist also made the acquaintance of a cheerful and sociable young ballerina who in her narrow circle of friends called herself “the free Hellene” (her father was of Greek extraction, a top official in a Petersburg bank). Marietta Frangopulo, soloist at the time with the Academic Theatre of Opera and Ballet, had recently been a fellow student of George Balanchine’s, graduating in 1919 from the Petrograd College of Choreography. She idolised poetry, and gave excellent renditions of the verse of Alexey Apukhtin and Igor Severyanin.The first pencil portrait of Frangopulo by Serebriakova was of her performing an arabesque in a dance class during the winter of 1921-1922: it is now held in the Chuvash State Art Museum. The crowning jewel of the artist’s ballet series, however, is the present portrait of 1922 in which the actress is depicted in a costume made after the designs by Bakst for Diaghilev’s one-act ballet Carnaval set to the music of Robert Schumann. The portrait is in pastel and, as Serebriakova’s daughter Tatiana later wrote: “in a manner uniquely hers, using thickly applied pastel, light hatching and stump-work technique”.In the same year, 1922, her best ballet portraits - Marietta Frangopulo, Lidya Ivanova and Alexandra Danilova in their costumes for the Pas de trois in Nikolai Tcherepnin’s ballet Armida’s Pavilion, E. Svekis in the costume for her character in Sleeping Beauty and a number of others - were shown at the World of Art exhibition in Petrograd. Their resonance was widely felt and Konstantin Somov liked them very much, writing in his diary: “I have been persuading Zina to do a big ballet portrait picture using the sketches I have seen!” Serebriakova followed his advice, and right up until her departure from Russia in 1924 worked passionately and prolifically to “paint ballet”, creating renown for herself as “the Russian Degas” as well as a whole suite of portraits and genre compositions dedicated to the theatrical world. Among them was one further pastel portrait of Frangopulo (1924), which is now the pride of the Museum of the Academy of Russian Ballet.
Lot 25
*§ LARIONOV, MIKHAIL (1881-1964) Flowers on a Veranda , signed with initials, further inscribed with the artist`s name and dated 1902 on the reverse. Oil on canvas, laid on board, 54.5 by 97.5 cm. Provenance: Alexandra Tomilina, the artist’s widow, Paris.Private collection, Europe.Exhibited: Larionov-Gontcharova, Galerie Beyeler, Basel, July-September 1961 (label on the reverse).Michel Larionov, Acquavella Galleries, New York, 22 April-24 May 1969, No. 6 (label on the reverse). Literature: Exhibition catalogue, Michel Larionov, Acquavella Galleries, New York, 1969, No. 6, illustrated.Flowers on a Veranda is an outstanding example of Mikhail Larionov’s early work. This idiosyncratic piece has an impeccable provenance which can be traced back to the estate of the artist’ s widow, and is a rare example (even for museum collections) of his works in oil from the early 1900s. Unlike his works in pastel and gouache, very few oils of this period have been preserved, so each is particularly precious.It is most likely that the artist painted Flowers on a Veranda after his year-long exclusion from the Moscow School of Painting, Sculpture and Architecture for sending pieces featuring “obscene content” to an exhibition of student work. Captivated by the experiments of the Impressionists which he had seen in the Moscow collection of Sergei Shchukin, Larionov was then beginning to consider himself a truly independent artist, liberated from academic didacticism. Every summer he would leave Moscow for his maternal grandmother’s home in Tiraspol, Bessarabia, where he had spent his childhood and where he now wholly devoted himself to painting from nature. The significance of these works in the artist’s creative development cannot be overestimated.He converted a wing of his grandmother’s house, with its enormous garden planted with apricot trees, into a studio, and there produced a series of canvasses, paeans to the everyday life unfolding outside his window. His best works of the first half of the 1900s are full of sunshine and greenery and depict pots of flowers, lilac bushes, geese and turkeys strolling about the yard. Stylistically these pieces, including Flowers on a Veranda, are reminiscent of his early works in which we recognise the influence of Borisov-Musatov and the plein air approach to rendering phenomena. Yet these are not studies, in the 19th century sense of the word, but finished pictures painted from nature, which are absolutely consonant with the art of the new century. In Larionov’s work of the 1900s, the question of distinguishing between a preparatory study and a finished picture does not even arise. Rather orangeries, acacias, roses wet from the rain and even pigs grow from the primary elements of a study into an autonomous painting, whilst retaining both the typically small dimensions and the dynamic paint application of a study. Flowers on a Veranda is similar in composition to the well-known 1904 work now in the Russian Museum, Still Life with Beer, in which the characteristic traits of Larionov’s celebrated works of the 1900s first appear. Despite their simplicity, the objects arranged on the veranda create a feeling of dynamic equilibrium. The pot holding the plant with luxuriant foliage emphasises the centripetal movement of the composition towards the corner of the veranda, literally dividing the picture into two practically equal halves. At the same time, the general structure of the picture is defiantly fragmentary: the flowerpots in the bottom row barely protrude from the edge of the canvas and the right-hand corner of the composition is dramatically cropped along both edges. The framing is extremely tight. It is as if the scene has entered the artist’s field of vision quite by chance. Larionov was not sitting down at a table to paint his still life, as Cézanne had done, but standing, and because of his significant height objects seem to retreat downwards, beyond the confines of the picture area. By doing this he creates the impression of dynamism, so important in avant-garde art of the early 20th century, of the motion of the human eye as if it were skimming across the line of plants by the window. The artist has placed an analogous counterpoint in the paint layer of the picture: He counters the firm, stationary mass of the ochre clay pots, the blue table and solid, wood-clad terrace wall, dappled with a pattern of shadow, with the Van Gogh-style light that streams through the window, seemingly “quilted” in thickly-impastoed, multi-directional brush-strokes.The composition is based on two main colours, red and yellow, with the addition of blue and green to reinforce the contrast. Almost everywhere, the blue serves to demarcate the yellow from the red zones. Only where light dominates completely, flooding into the room through the window panes, does a fiery red abut directly on to a bright yellow injecting an extraordinary colouristic force into the composition. The pot plants seem to be indoors but at the same time bathed in bright, exterior daylight. According to Gleb Pospelov, a renowned expert on the artist, “the light in Larionov’s works seemed to shine through a flattened reality. It somehow issued from the phenomenon of life itself… a radiance animated from within which permeated all living things: this was the defining essence of his art. The whole of Larionov’s oeuvre was a benediction on that which was alive and living, the like of which was completely absent from the work of other Russian painters at this time.”Larionov’s paintings were truly unique in European Post-Impressionist art. His dedication to “the living world” was inseparable from his extremely perceptive experiments in “liberating the paint layer”. It is no coincidence that in his pictures of the 1900s the “element” of paint confronts the elements of nature. The energy in Larionov’s best canvasses of the period is created from this very desire for equilibrium in the confrontation of these forces and this is clearly seen in the present lot.In Flowers on a Veranda, with its tendency to generalise the impact of the palette, its fusion of individual brushstrokes into one splash of colour and its decorative resolution of the whole, we clearly see Larionov establishing himself as one of the founders of the Russian avant-garde and as a major artist of the 20th century, head and shoulders above his contemporaries.
Lot 285
Thomas Edward Case (19th Century English School) - Miss Sarah Clayton, half portrait, wearing a black lace trimmed bonnet, pink dress with a white lace trimmed collar, pastel, artists label and sitters details verso, 60 cm x 44 cm. Giltwood and gesso frame Provenance: by family repute from Rudding Park, Yorkshire
Lot 78
Western Hemisphere (America), Tanner, American Atlas, Philadelphia, ca. 1819. 21 x 18”. (HC) A handsome map that shows the Western Hemisphere from Cape Horn to Baffin Bay, and from the Sandwich Isles to the western fringes of Europe and Africa. In North America, the United States is shown with its current northern border until the Pacific Northwest, at which point it shows neither United States nor British claims, as this region was jointly occupied during this period. Alaska is still largely unexplored while Mexico is in control of Texas and the Southwest. In this edition, Baffin Bay is much too wide at the top, and details along both sides are lacking. There is good detail of the islands in the South Pacific including the Dangerous Archipelago. Strong impression on heavy paper with lovely pastel original color. There are two small edge tears in the lower blank margin that do not enter the image and some faint offsetting and minor staining in the image. There are two extraneous creases that span the sheet from top to bottom, where the map appears to have been folded not as issued. (B)
Lot 37
Sean Keating PPRHA HRSA 1889-1977 STUDY FOR `AN BEINSIN LUACHRA` (THE SONG OF THE BUNCH OF RUSHES) Charcoal and pastel, 21" x 20 1/2"(53.2 x 52cm), signed. Provenance: Acquired by Louis and Yvonne Jammet, Paris; by descent to their dughter Raymonde Jammet; by family descent to the previous owner. Jammet`s Restaurant occupied 46 Nassau Street, at the bottom of Grafton Street. It was the epitome of fine French dining, excellent wines and unparalleled service and was described by Vogue magazine as one of Europe`s finest restaurants. It was also the place for the well-heeled locals, visiting dignitaries and stars of the day, including Noel Coward, Elizabeth Taylor, Bing Crosby and John Lennon. Louis Jammet was very good friends with frequent patrons Micheal MacLiammoir and Hilton Edwards, who frequently dined there with Gate Theatre founder Lord Longford. It was obviously one of their favourites as they made Louis Jammet a director of The Gate Theatre in 1964. Jammet`s closed in 1967. The woman in this image, in traditional Connemara costume, can be understood to be Keating`s idea of Irish beauty, beside a seafaring man, who hopes to become her suitor. There can be little doubt that there exists in this work the atmosphere of on-going courting. This was a study for `An Beinsin Luachra`, which was exhibited at The RHA in 1953 (price: £250). The title comes from an old Irish song which refers to the beauty, honor and virtue of true love, expressed as a meeting between two people.
Lot 4
Gerard Dillon (1916-1971) PIERROT AND EASEL pen and ink with gouache and pastel and collage element on paper signed lower right; with inscribed Taylor Galleries label on reverse 16 by 21.25in. (40.64 by 53.98cm) Provenance: Taylor Galleries, Dublin Jim O`Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond and Pat Connor. He was an early supporter and friend of Tony O`Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented here, although some, for example those by Patrick Collins and Gerard Dillon, come from an earlier generation. This outstanding collection represents the powerful imprint of a true collector who was guided not only by his trained eye for quality but by a passion for interesting and authentic artworks. (£3,240-£4,860 approx)
Lot 394
GWR wooden notice board 23" x 33" from Lampeter Station complete with official GWR notice pasted to the front re Offences and penalties dated 1927, turn this notice over and it reveals what is believed to be the last trains over some of these lines and this has been preserved with artist pastel spray for posterity.
Lot 545
Late 20th Century- Rooftops; oil on canvas, signed with monogram `JH`, 80.5x101cm: H Achman, mid-late 20th century- Landscape; watercolour, signed in pencil, 53x73cm: W S Smith, British, mid-late 20th century- "Dungeness"; oil on board, signed, 35.3x46cm: Beryl Travis, British, late 20th century- View of a gate; pastel, signed, 22x31cm: together with a juvenile painting in tempera of a figure with a cart, 46x58.5cm., (5) (may be subject to Droit de Suite)
Lot 635
Willems, Dutch, 19th/20th century- Couple by a beached sail boat; oil on board, signed, 11.5x16.5cm: Jan Bissell, 20th century- Portrait of a man; pastel on coloured paper, signed in red, 27.6x20.5cm: Constance Gertrude Copeman ARE, British 1864-1953- A mill, King`s Lynn 1900; etching, signed in pencil, 15x7.5cm: Mid 20th Century- Portrait of a girl; pastel on buff paper, signed indistinctly, dated 1949, 3.5x22.7cm: together with a quantity of engravings and reproduction prints of various sizes and designs, (a lot) (may be subject to Droit de Suite)
Lot 358
J Stanley-Cary, British act c.1950- "Annabel" study of a dog; pastel and charcoal on grey, signed and titled, 46x61cm: together with two other pastel and charcoal studies of dogs on grey by the same artist, one entitled `Dinah`, the other `Peggy`, in near matching glazed frames, (3) (may be subject to Droit de Suite)
Lot 360
Camilla Shivarg, British b.1953- Portrait of a nude wearing a hat; pastel on buff, signed and dated `90 in pencil, 56x39.5cm: together with six other nude and figure studies in pastel, pen, ink and watercolour by the same artist, various sizes, (7) (may be subject to Droit de Suite) Note: Camilla Shivarg is a figurative painter and sculptor. Trained at Chelsea and Wimbledon and apprenticed to the distinguished sculptor Karin Jonzen, she specialises in portraiture and the nude.
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46300 item(s)/page