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![Charcoal and pastel of Nude print Women titled 'Diane' Artist Sheldon C Schoneberg set in framing [80x93cm]](https://cdn.globalauctionplatform.com/9911fece-a01f-46c6-a588-b03f00b77271/9e6ab6a5-e60d-45e2-a73c-b03f0117fd05/468x382.jpg)
Lot 2027
A collection of four VIVIENNE WESTWOOD vintage ladies clothing items . An ANGLOMANIA brown and white ethnic-print long-sleeved cotton wrap tunic UK10 * an ANGLOMANIA blue and white ethnic-print long-sleeved stretch cotton tunic UK10 * a RED LABEL pastel colours checked cotton button-down bustier waistcoat blouse with ties UK10 * an ANGLOMANIA black short sleeved cotton blouse UK10 (4 Items)Condition Report: Good condition commensurate with age and use
Lot 202
* De Morgan (Evelyn, 1855-1919). Blindness and Cupidity Chasing Joy from the City, circa 1897, gold coloured pastel and black chalk on dark grey-brown wove paper contemporaneously laid down on backing board (probably by the artist), depicting the robed female figure of Cupidity, carrying a hoard of precious objects, reaching out towards and following the male robed figure of Blindness, the two figures driving out the angel of Joy from the city towards an iron gate with flowers and vista beyond, some small patches of surface abrasion, and a few fox spots to lower edge, 40 x 59 cm (15 3/4 x 23 1/8 ins), framed and glazed (46.5 x 65.3 cm) QTY: (1)NOTE:Provenance: Clayton-Stamm Collection.One of a very small number of works by the artist executed in gold on dark wove paper. Apart from one such study in Leighton House Museum ('Victoria Dolorosa'), almost all other known studies in gold pastel are held by the De Morgan Foundation, and only one, to our knowledge, has ever before appeared at auction ('The Angel of Death', Dominic Winter Auctioneers, Fine Art Sale, 8th November 2018, lot 458). Only a very few artists used this technique, Edward Burne-Jones being one of them. De Morgan bought dry 'cakes' of gold pigment which she ground to make her own paint and pastels, using them to infuse light and warmth into her works. The De Morgan Foundation (DMF) states "These curious artworks are unlike works by any other artists of the period", adding that they "sparkle with a rare luminosity". These studies seem in the main to have been part of De Morgan's prolific and meticulous output of detailed compositional studies for the full-scale oils she executed, although as the DMF says "These pieces can be considered works of art in their own right and it is apparent that Evelyn often sold them as such".The current work is a preparatory study for Evelyn De Morgan's large-scale allegorical oil 'Blindness and Cupidity Chasing Joy from the City', painted in 1897, and now in the DMF (object number P_EDM_0018; Evelyn de Morgan Oil Paintings, DMF, plate 35). The oil painting was exhibited at the Walker Art Gallery in 1898, at Leighton House in 1902-3, and at Wolverhampton in 1907. The two figures of Blindness and Cupidity are chained to each other, and grope their way forward to an iron gate which blocks the way, a theme which De Morgan returned to at the end of her career in 'The Barred Gate' (circa 1918-19). Both pictures, and a number of others by the artist, convey a powerful message about the spiritual desolation of a life devoted to the corrupting influence of materialism and greed.Evelyn de Morgan's wealth of preparatory drawings give the viewer a fascinating insight into the workings of the artist's mind. Of particular interest here is the figure of Cupidity, who is clearly female in the drawing, but which has morphed into a very much more androgenous figure in the oil painting, with a still feminine figure, but more masculine features (indeed, stated as male in the DMF catalogue online). The figures are obviously the artist's main preoccupation here, with the gate and vista to the right not yet delineated, the dynamic attitudes of the dogs yet to be worked out - their presence only alluded to in outline - and various architectural elements only sketchily outlined or absent. Indeed, this approach is typical of Evelyn's studies in gold; the background detail is pared away, and the figures, in all their beauty, come into stark relief.
Lot 197
* De Morgan (Evelyn, 1855-1919). Preparatory study of a female head, for The Captives, coloured chalks and pastel on buff paper, head and shoulders portrait, half-profile turned to the right, of a dark-haired maiden, her head bowed and eyes shielded with her left arm, lightly foxed, visible sheet size 30 x 22.2 cm (11 3/4 x 8 3/4 ins), image size 13 x 17 cm (5 1/8 x 6 3/4 ins), mounted, framed and glazed (41.1 x 31.8 cm)QTY: (1)NOTE:Provenance: English private collection formed circa 1950-1970, thence by descent.The present work is a study for the left hand figure in 'The Captives', held by the De Morgan Foundation ('Evelyn De Morgan Oil Paintings', DMF, plate 62), which shows five classically draped female figures in attitudes of fear in a cave of stalactites and stalagmites amongst writhing dragons. The painting seems to give a message of worldly danger, both physical and spiritual, particularly for women, and the need to resist, a need which is achieved by a shared sisterhood. This study is a typical example of Evelyn's careful preparatory work, showing an accurate delineation of limbs and attitude, and exquisitely drawn features.
Lot 190
* Follower of Jean François Millet (1814-1875). A Woodcutter preparing faggots, circa 1875, pastel over black crayon on laid paper laid to board, bearing signature 'J.F. Millet' lower right, 35 x 27 cm (13 3/4 x 10 5/8 ins), mounted, framed and glazed (36 x 43 cm)QTY: (1)NOTE:The pastel is inspired by Millet's Bucheron preparant les fagots (Woodcutter preparing wood faggots), pastel, 49 x 34 cm, from a private collection and offered for sale at Sotheby's, New York, 24 April 2009, lot 93.
Lot 172
* French 19th Century School, Courtesan in a Boudoir, circa 1840s, watercolour over graphite on laid paper, 23 x 30.4 cm (9 x 12 ins); together with Antonio de la Gandera, Young Girl at Table, pencil heightened with blue crayon, with the stamped signature, and a drawing of a mythical human animal creature verso; plus Auteuil, watercolour, inscribed ‘D. Harding / Auteuil’ verso; and View of a Castle, 19th century, watercolour on wove paper; together with A seated woman, dated ‘1878’, watercolour; plus a pastel portrait, bearing the inscription 'Sickert’, and two pencil drawings of Walter Greaves and three young girls, both bearing the monogram ‘N” and attributions to W. Nicholson on the mounts; together with a drawing of children bearing the signature ‘Kollwitz’QTY: (9)
Lot 196
* De Morgan (Evelyn, 1855-1919). Preparatory study of a female head, possibly for The Passing of the Soul at Death, coloured chalks and pastel on buff paper, head and shoulders portrait, half-profile turned to the left, of a dark-haired maiden, visible sheet size 29.8 x 22cm (11 3/4 x 8 3/4 ins), image size 17 x 16.5 cm (6 3/4 x 6 1/2 ins), mounted, framed and glazed (41.2 x 31.7 cm)QTY: (1)NOTE:Provenance: English private collection formed circa 1950-1970, thence by descent.Possibly a study for the right-hand figure in 'The Passing of the Soul at Death' executed circa 1917-18 ('Evelyn De Morgan Oil Paintings', DMF, plate 68).
Lot 498
Janice Knipe (American, 20th c). Drawing in gray pastel on paper titled "Trees," depicting a grove of trees moving in the wind. An original artist's label is adhered to the verso.Sight; Height: 17 in x width: 25 1/2 in. Framed; Height: 26 1/2 in x width: 35 in.Condition: No visible tears, creases, or losses. The sheet is toned and has light undulation throughout as shown in the listing image. To the lower center, there is a minor foxing began to form; please see the listing image. Framed under plexiglass; not inspected out of frame. The verso could not be inspected. Very light wear to the frame.
Lot 463
Che Tai-yu (b. 1963). Pastel on paper portrait depicting a figure in traditional dress, 1989. Signed "C. Lewis" and dated along the collar of the figure.Sight; height: 22 3/4 in x width 18 in. Framed; height: 37 in x width: 32 in.Condition: No visible tears, creases or losses. There are white accretions along the lower right quadrant of the sheet. Window mat. Framed under glass. Heavy wear to frame, there are losses throughout. Not inspected out of frame.
Lot 505
Scott Seekins (American, 20th/21st c). Pastel on decorative or stained paper drawing titled "Key to the Kingdom" depicting a Corinthian order column or pillar, 1985.Provenance: Distinguished corporate collection, Minnesota.Unframed; height: 35 1/2 in x width: 24 in. Framed; height: 47 1/4 in x width: 33 1/2 in.Condition: No visible tears, creases, or losses. The color is bold and bright, and the surface appears to be stable. To four corners, there are several pinholes that are original to the artistic practice. The sheet is floating on the frame; all four margins are visible. To the top of the center image, there is an approximate 4 inches long diagonal crease line; however, it is original to the artwork. Framed under plexiglass; not inspected out of frame. Very light wear to the frame.
Lot 228
Giuseppe de Nittis, Italian 1846-1884- Portrait of a lady, bust-length, wearing a star brooch; oil on canvas, signed 'De Nittis' (lower right), 51 x 39.7 cm. (unframed). Provenance: Private Collection, UK. Note: Giuseppe de Nittis is often hailed as one of the most significant Impressionist painters from Italy. Early in his career, he was associated with Telemaco Signorini (1835-1901) and the Macchiaioli, a group which, like the French Impressionists, rejected traditional Academic principles which placed history painting above landscape painting and portraiture, instead promoting an approach which embraced a greater realism informed by the practice of painting 'en plein air'. Indeed, de Nittis was a consummate portraitist who worked both in oils and pastels, with his sitters among some of the most important figures in 19th-century French culture, including Émile Zola (1840-1902), Édouard Manet (1832-1883) and Louis Duranty (1833-1880). The features of the sitter in the present work are very close to those of his wife Léontine, as can be seen, for example, in his 1882 pastel portrait entitled 'Winter Day, or Portrait of Madame de Nittis' held at the Pinacoteca Giuseppe de Nittis in Barletta, Italy. We are grateful to Professor Fausto Minervini for confirming the attribution of the present lot based on photographs, and for suggesting a date to between 1867 and 1870.
Lot 318
Pierre Ernest Prins, French 1838-1913- A rural landscape with cypress trees, and buildings on a hill beyond; pastel on paper, signed 'Pierre Prins' (lower left), 29.1 x 19 cm. Provenance: Private Collection, UK. Note: Prins was closely connected with Édouard Manet (1832-1883) through his wife, Fanny Claus (1846-1877), a talented violinist who also modelled for Manet, notably featuring in his 1869 painting 'Le Balcon' [Musée d'Orsay, Paris, RF 2772]. Shortly after Manet produced his first picture in pastels in 1862, Prins also began to work in the medium, and continued to do so throughout his career. Indeed, Prins is now known principally as a pastellist, with most of his prolific output today in the collection of the Musée Carnavalet in Paris. The present work is characteristic of Prins's oeuvre, with the artist's clear outlining of forms and his use of pastel to evoke swirling skies and trees lending the work a distinctly Post-Impressionist accent.
Lot 181
Judith Rothschild (British, 1921-1993)'The Front steps overgrown', pastel on paper, signed lower right, mounted and framed, together with another by the same hand (2)within mount 64.5 x 40.5cm, framed size 86 x 69cmCondition: Both in good overall condition. They have not been examined out of their frame.
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