(Chiari, Brescia 1877 - Cavaglio Spoccia, Verbania 1950)Cm 50x37 | In 19.69x14.57Oil on canvasBorn April 7, 1877, in Chiari, he was a pupil of G. Bertini and V. Bignami at the Brera Academy, where he exhibited for the first time in 1900 Rispha protecting the bodies of his children, which won the Gavazzi prize. In the early years of his career he enjoyed considerable success. In 1903 he won another prize in Milan with Christ and the Adulteress (Milan, Galleria d'arte moderna) and completed a cycle of wall decorations in the Church of the Friars on Via Farini; in the same year the Galleria d'arte moderna in Milan received L'onomastico del Parroco in tempera and pastel as a gift. Leaving biblical and historical subjects behind, he devoted himself to genre painting and portraits. In 1917 he won a gold medal in Milan with La Violinista.His Self-Portrait is at the Piacenza Gallery and two portraits of benefactors are at the Ospedale maggiore in Milan. At the Catholic University is Contardo Ferrini in A Glory of Angels, which was his last work of any renown. Interest in his painting waned after 1925, but he was always an honorary member of the Brera Academy, even when he retired to live near Cannobbio. He died in Cavaglio Spoccia, (Verbania) on Nov. 9, 1950. He mainly made use of a very virtuoso careful palette knife technique, completing his works without brush finishing, achieving effects of compact hues and glaze. He took no interest in the artistic problems that were being debated around him, adhering to the program of anecdotal verism that he soon set for himself.
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Wojciech Fangor (1922 Warschau - 2015 ebenda) (F)'Circle', Pastellkreide auf Papier, 65 cm x 50 cm Blattmaß, signiert, 75 datiert, partiell leicht knickfaltig, montiert, verso leicht fleckig, Provenienz: Galerie Chalette, New York (verso Galerieetikett)Der aus Warschau stammende Künstler Wojciech Fangor arbeitete mit Farbe. Eben dies ist das Hauptelement seiner Kunst. Sicherlich wuchs der Künstler auch in politisch schwierigen Situationen auf, wie dem 2. Weltkrieg. Sein Kunstunterricht, den er beim Portraitmaler Tadeusz Pruszkowski und bei dem Maler und Bildhauer Felicjan Szczesny Kowarski erhielt, erlaubte ihm dafür den Zugang zu einer anderen Welt. Mit den Jahren wandte sich der Künstler den verschiedenen Kunststilen zu und entwickelte selbst eine Hinwendung zum sozialistischen Realismus. Die optische Kunst löste ihn jedoch von allen motivischen Geschehen und bewies sich in mehreren erfolgreichen Ausstellungen. Sein 'Positive Illusory Space' beinhaltete leuchtende Farben und kaum zu erkennende Konturen. An diesem 'Space' arbeitete der Künstler seit den 1950er Jahren und blieb dabei. Ebenso gehört auch die vorliegende Pastellzeichnung zu diesem Repertoire des Künstlers und zeigt in der eigenen Einfachheit die Schönheit und Eleganz abgestimmter kolorierter Linienführungen.Wojciech Fangor (1922 Warsaw - 2015 ibid.) (F)'Circle', pastel on paper, 65 cm x 50 cm sheet dimension, signed, dated 75, partially slighty creased, mounted, slightly stained verso, Provenance: Galerie Chalette, New York (gallery label verso)The Warsaw-born artist Wojciech Fangor worked with colour. This is the main element of his art. Certainly, the artist also grew up in politically difficult situations, such as the Second World War. His art lessons, which he received from the portrait painter Tadeusz Pruszkowski and the painter and sculptor Felicjan Szczesny Kowarski, allowed him access to another world. Over the years, the artist turned to different styles of art and developed a taste for socialist realism himself. Optical art, however, detached him from all motivic events and proved itself in several successful exhibitions. His 'Positive Illusory Space' included bright colours and barely discernible contours. The artist worked on this 'Space' since the 1950s and stuck to it. Likewise, the present pastel drawing also belongs to this repertoire of the artist and shows in its own simplicity the beauty and elegance of coordinated coloured lines.
Early 20th century Oil on board of landscape scene, 29 x 24cm, gilt framed, Watercolour titled 'A grey day above Grahamstown' signed EMJS, 19 x 33.5cm, framed and glazed, Daniele Mandelli (21st century) Oil on Board of a Steam Train titled ‘ There and Back ‘, Humorous Political Painting titled ‘ Mr Benn!, would you please keep your grubby little hands away from my private sector ‘ signed Arthur and dated 8.XII.74 and Virginia Powell Pastel titled ‘ Cows on a Winter Morning, Somerset (5)
MALER DES XIX JAHRHUNDERTS "Zwei Portraits, Marie Antoinette und Marie Therese de Siziles" Pastell/ Papier, HxB: 45/37 cm. Alterspuren, min. fleckig. Rahmen, HxB: 57/38 cm.| PAINTER OF THE XIX CENTURY "Two Portraits, Marie Antoinette and Marie Therese de Siziles".Pastel/ paper, HxW: 45/37 cm. Traces of age, min. stained. Frame, HxW: 57/38 cm.
ROSENTHAL Figur einer Tänzerin "Frühling", 1938. Entwurf von Dorothea Charol um 1915, Spitzentänzerin, die Arme nach oben gestreckt auf rundem Sockel mit Aststütze, Presssigné 'D. Charol' auf Sockel, naturalistische Staffage in zarten Pastelltönen, Firmenstempel von 1938, H 28, 5 cm, Altersspuren.| ROSENTHAL figure of a dancer "Spring", 1938. Design by Dorothea Charol around 1915, top dancer, arms stretched upwards on a round base with branch support, presssigné 'D. Charol' on a base, naturalistic staffage in delicate pastel tones, company stamp from 1938, H 28.5 cm, signs of age.
Circa 1900-1920 Canadian Sunshine and Shadow Log Cabin Bed Cover also known as Barn Raising, incorporating shirt and dress fabrics in pretty floral and checked pastel cottons for sunshine and brown florals, checks and turkey red for the shadows, the centre of each has a red wool 'tuft', creating illusion of bands of diamonds on point. pink floral sprigged cotton to the reverse and edged in brown,160cm by 170cm Several small tears and repairs overall to the patchwork, some discolouration and slight wear, reverse has discolouration and fading overall.
![19th Century pastel on paper with a wooden back depicting a lady of that era.[28x23cm]](https://cdn.globalauctionplatform.com/af8fc866-e169-46df-b17b-b00700a04249/629dcdee-ec91-4121-bbd6-b00700ecbd9a/468x382.jpg)
An early 20th century Central Persian Islamic Kashan floor carpet rug in pastel green shades. The rug having a central panel decorated with intricate foliate & floral patterns in ochre & blues enclosed within a series of graduating outer borders with similar patterns in darker shades. Tassels to ends. Measures approx. 333cm x 230cm.
Yiannis Tsarouchis (Greek, 1910-1989)Jeune homme au girlande signé en grec et daté '87' (en bas à gauche)pastel sur papier maron50 x 32.5cm (19 11/16 x 12 13/16in).Peint en 1987.signed in Greek and dated (lower left) pastel on brown paperThis 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
Yiannis Tsarouchis (Greek, 1910-1989)Jeune homme tenant une branche d'olivier signé en grec (en bas à droite)pastel sur papier maron67 x 49cm (26 3/8 x 19 5/16in).signed in Greek (lower right) pastel on brown paperFootnotes:ProvenanceAcquired directly from the artist by the present owner.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
* PAT DOUTHWAITE (SCOTTISH 1939 - 2002), UNTITLED pastel on paper, signed and dated '87mounted, framed and under glassimage size 84cm x 60cm, overall size 106cm x 82cmProvenance: The Corrymella Scott Gallery.Note: "She should no longer be seen as an exotic maverick but acknowledged as one of the true originals of Scottish art." A concluding comment on Pat Douthwaite’s 1993 solo exhibition, made by The Scotsman’s art critic Edward Gage. The ‘maverick’ label is often attached to Douthwaite to encompass a variety of the artist’s more striking traits: her troubled personality, the restless, nomadic lifestyle that took her across the world in search of subjects and meaning and her complete disregard for anything that did not further the development of her artwork, despite it making her a difficult figure to manage and work with. A good example is an incident in which she broke into a house and stole back one of her paintings from a buyer whom she did not consider worthy of owning her work. This demanding, uncompromising commitment and all-encompassing focus on her work paid off. She developed and sustained a distinctive, signature style characterised by raw feeling and idiosyncratic lines. Douthwaite was fascinated by historical heroines including Greek deities, Mary Queen of Scots and the aviator Amy Johnson and often depicted them as well as herself. Her images of women remain the most powerful and popular of her works, truly encapsulating the pain and suffering women can experience and endure. This exploration of suffering means there is a violence in the work, yet Douthwaite often manages to retain fun, playful touches in their execution. Born in Glasgow in 1934, Douthwaite’s first exposure to creative expression was in the form of dance classes at the dancing school run by Margaret Morris, the bohemian partner of the Scottish Colourist John Duncan Fergusson. She eventually discontinued dancing and decided, aged twenty-four and with no artistic training, to become a painter. Douthwaite showed her work to Fergusson, who recognised her talent and encouraged her endeavours, though he suggested she avoid art school, as he had done. Thus, both Morris and Fergusson had a major impact on Douthwaite’s creative endeavours. Douthwaite’s ever-present wanderlust quickly took over and she left Glasgow to join an artistic community within William Crozier’s house in East Anglia. An informal artistic training in itself, she was surrounded by fellow artists including Robert Colquhoun, Robert MacBryde and Crozier himself. In her lifetime, her work was recognised and championed by key figures in the Scottish art world; including Richard Demarco, who mounted her first major exhibition in Scotland in 1967; Douglas Hall, the former Director of the Scottish National Gallery of Modern Art and the artist and critic Edward Gage. Following her death, her popularity continues to increase as ever more collectors are drawn to her distinctive, expressive style and tales of her mysterious, maverick personality. The prestigious Scottish Gallery (Edinburgh) have long promoted Pat Douthwaite's work and her most recent solo show "Pat Douthwaite, On The Edge" was staged by the gallery between 4th and 27th February 2021.
* ANTHONY ORME (BRITISH b. 1945), UNTITLED pastel on paper, signedmounted, framed and under glassimage size 47cm x 32cm, overall size 80cm x 65cm Note: Anthony Orme was born in Manchester in 1945, to an extensive family of eight. On leaving school, he was apprenticed as a copper plate and steel die hand engraver. To gain this position, he had to prove his artistic ability and produced many sketches at that time to qualify. Later on in life, he decided that the art side of his work had a greater pull and he became a full time, professional painter. Over the years, Anthony pursued his art with passion and determination, which has come to typify this self-belief that a combination of talent, hard-work and a modicum of luck, will in the end, produce a very positive driving force. When not travelling abroad to paint, Anthony works from his Manchester studio producing paintings from live models. His paintings are held in private and corporate collections throughout the UK and abroad.
* ALLY THOMPSON (SCOTTISH 1955 - 2016), EVENING DREAM pastel on paper, signed, titled versomounted, framed and under glassimage size 53cm x 73cm, overall size 102cm x 120cmNote: Ally (Alasdair Neil Renwick) Thompson, was a Scottish painter of the New Glasgow Boys generation alongside Peter Howson, Ken Currie, Adrian Wisniewski and the late Steven Campbell. Born in Glasgow, he studied at Glasgow School of Art from 1975 to 1980, gaining a B.A. First Class Honours in Fine Art, and a diploma in postgraduate studies with high commendation and a travelling scholarship. In 1989, a solo exhibition of his work at the Barbizon Gallery (Glasgow) was visited by the international art promoter Norbert Binotti, who then brought Thompson to international prominence with a one-man show in New York and major exhibitions in Paris. Ally lived and worked periodically in Provence in the 1990s. He subsequently steadily consolidated his international reputation with exhibitions in Britain, Europe and North America, appearing in galleries such as Flowers East in London and Gallery Albert 1er in Paris. A close friend of Peter Howson, with whom he was a fellow student at the Glasgow School of Art, both men and their work were almost equally unknown when they shared one of their first exhibitions, a two-man show at the Art School itself in 1984. Ally Thompson was naturally shy in new company rather than a bold and forthright salesman of his own work. He painted in several distinctly different styles, from surrealist to abstract to expressionist landscape and much in between, making him hard to categorise and package for promoters and critics. Visiting his studio in the early 1980s Alec Mather, a successful Lanarkshire businessman, was one of the first of several almost surrogate father figures in Thompson's life. He offered to pay Ally twice what he was asking for one his paintings on condition that the young artist gave up his day job as a school teacher. Thompson never looked back creatively. Alec Mather remained a friend, patron and supporter for the rest of the artist's life. Outside of Scotland, through the friendship and support of Norbert Binotti and (after his untimely death) Norbert's brother Claude, Thompson found an invigorating new audience for his work in New York, Paris and the South of France. For all his non-materialist philosophy, Thompson was not above a bit of name-dropping on occasion, and like any Glaswegian boy Ally was suitably astonished to sometimes find himself in the company (and painting collections of) the likes of Bob Geldof, Petula Clark, Richard Jobson, Picasso's son Claude and even France's President Mitterand.
* ERIC BRUCE MCKAY (BRITISH 1907 - 1989), A STREET IN A VALBONNE, FRANCE oil on canvas, signed, further signed and titled verso framedimage size 61cm x 51cm, overall 76cm x 65xm Note: Eric Bruce McKay was a painter and draughtsmen, in oil, watercolour and pastel, born in London 25th September 1907. He studied at the Hampstead School of Art, London County Council Art School and in Italy. For much of the 1930’s he ran the Carmelite Studio in Fleet Street. He exhibited at the R.O.I, N.E.A.C. and in North America. He eventually settled in Eastbourne where he was a prominent member of the Arts Club. His work is held by the Towner Art Gallery, Eastbourne.
* ALISON MCGILL (SCOTTISH b. 1974), FADING LIGHT pastel on paper, initialled, titled and dated 2015 labels versomounted, framed and under glassimage size 17cm x 22cm, overall size 34cm x 39cm Artist's label verso. Label verso: The Scottish Gallery, Edinburgh.Note: Alison McGill lives and works in Edinburgh and has been a practicing artist since graduating from Edinburgh College of Art in 1998. Her central subject is the Scottish landscape and shores, which she creates in her distinctive abstract style. As a student, under the tutelage of Victoria Crowe, Alison first experimented in mixing wax and paint to create heavily impastoed textures and painterly surfaces. The mastery of technique in allowing the wax to flow and evolve has been honed and developed over years of practice; excavating and melting the layers of the painting to reveal multiple layers of melded colours, to capture earth contours, rock strata and impressions of the land in its elemental state. In the hands of Alison McGill the landscape moves from real, observed locations to lyrical abstraction. Alison is represented by The Scottish Gallery (Edinburgh).
* KEITH BOWEN (BRITISH b. 1950) SUNFLOWERS AND MELONS pastel on paper, signed, titled label versoframed and under glassimage size 37cm x 25cm, overall size 55cm x 42cmLabel verso: The Open Eye Gallery, EdinburghNote: Keith Bowen was born in Denbighshire, North Wales in 1950. He studied Graphic Design at the Faculty of Art & Design, Manchester Polytechnic between 1969 and 1972. He has exhibited extensively and received justifiable acclaim. Amongst a host of awards, Keith has twice received the Gold Medal for Fine Art at the Royal National Eisteddfod of Wales. In 1997 he was awarded an Honorary Fellowship of the University of Wales. Two Royal Mail Stamps and two books, ‘Snowdon Shepherd’ and ‘Among the Amish’ feature his paintings of the countryside. Keith writes of his work: “For the first time at the age of twelve, I stood on the top of Snowdon; I had found something that I wanted to do and somewhere that I wanted to be. Forty-five years later, I am still stumbling around the Welsh hills, and I still feel that initial excitement and fascination with the place. However, these days, I am as likely to visit those remote places that are away from the high peaks, places that are neglected and unremarkable, the forgotten, old and strange back country: Y Cefn Gwlad". Collections include: The National Library of Wales, The National Trust, National Postal Museum, Oriel Ynys Mon (Llangefni), Denbighshire County Council and Leicestershire County Council. Keith Bowen's pictures appear at auctions infrequently but on 16th July 2022 Rogers & Jones (Cardiff) sold two of his pastels (lots 411 & 412) for £2000 & £4200 (both hammer).
Thomas William Hammond (British, 1854-1935), 'The Casquets', pastel, laid onto board, signed lower right, modern hollow gilt frame15¼ x 29¼in. (38.75 x 74.25cm.).* Hammond is recorded as exhibiting 'The Casquets' at the RA in 1909, and this is presumed to be a preliminary sketch of the finished work. * Condition: The frame is not glazed, which has led to light surface dirt and a smudge to the pastel to the lower right corner. Would benefit from glazing to protect the surface. The two-piece sheet has a horizontal join approx. 2in. above the horizon and it does show due to surface dirt along the join. A faint horizontal indented line is visible approx. 2in. below the top margin.
English School (19th century), A portrait of a lady in a white dress, holding a pink rose, three quarter length, oval pastel, original gilt frame with losses, 18 x 13in. (45.75 x 33cm.). * Condition: * Some mould spotting to surface. Probable old restoration around left side of face. Losses to frame and cresting damaged.
Adrian Paul Allinson ROI, RBA (British, 1890-1959), "La Ciotat", South of France, pastel and charcoal, signed lower left, titled in pencil on label on reverse, framed, 13 1/8 x 17 7/8in. (33.3 x 45.4cm.).* Provenance: Label on reverse for the Redfern Gallery, 20 Cork Street, London * Condition: Good condition.
Alison Lambert (British, b.1957), 'Linus', portrait, charcoal and pastel on layered, textured paper, signed and dated 2003 lower right, inscribed and dated verso, box framed and glazed, 30¾ x 30½in. (78.2 x 77.5cm.)* Provenance: Jill George Gallery, Soho, London * Condition: Very good condition, with no faults
Joan Mitchell (1925-1992) American, Untitled, signed in pencil, pastel on paper, 49 x 39 cm, framed (unglazed), frame 73.5 x 63.5 cmPurchased from a private collector in the USA in 1998. Copy of receipt available dating the pastel to approximately 1975. Galerie Chalette New York 1977.Pastel mounted and framed, but frame not glazed. Paper attached to mount by clear sticking tape at the top only. The work itself is in good condition, with some wear to the frame. All known provenance provided in the catalogue description.
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