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Lot 100
JANE GRAVEROL (1905-1984)Le trait de lumière signé et daté 'Jane Graverol 1959' (en bas à droite) ; signé, inscrit et daté '1959 Jane Graverol Trait de lumière' (au revers)huile sur isorelPeint en 1959signed and dated 'Jane Graverol 1959' (lower right); signed, inscribed and dated '1959 Jane Graverol Trait de lumière' (on the reverse)oil on masonite Painted in 1959 80 x 60cm (31 1/2 x 23 5/8in).Footnotes:ProvenanceCollection particulière, Belgique. Collection particulière, Belgique (acquis auprès de celle-ci par le propriétaire actuel circa 1990). BibliographieL. Scutenaire, Peintures de Jane Graverol in Les Lèvres nues, Bruxelles, 1962 (illustré p. 16).R. de Solier, Jane Graverol, Bruxelles, 1974 (illustré p. 136)ExpositionBruxelles, Galerie Isy Brachot, Salon d'Automne, 18 octobre - 4 novembre 1968.«Pour moi le surréalisme est mon évasion du monde – c'est la recherche d'un passé indéfinissable vers l'infini que nous cherchons follement sans l'atteindre – et la vision des choses établies et qui pourraient ne pas être – qui pourrait être autre et que le commun des mortels ne peut imaginer.» Jane Graverol mérite d'être reconnue comme étant l'un de plus grands peintres surréalistes. Elle a grandi auprès d'un père écrivain et peintre symboliste Alexandre Graverol. Après avoir étudié à l'Académie des Beaux-Arts d'Etterbeek, elle fréquente l'Académie Royale des Beaux-Arts de Bruxelles, où elle a pour professeurs Montald Constant et Jean Delville. Dès la fin des années 1930, sa peinture se rapprochera des préceptes du mouvement surréaliste qu'elle n'intègrera qu'en 1940. L'un de ses premiers contacts avec le groupe remonte à 1936, lorsqu'elle rencontre E.L.T. Mesens à Paris. En 1949, Graverol fait la connaissance des membres fondateurs du surréalisme belge que sont Louis Scutenaire, Camille Goemans, Marcel Lecomte ; elle obtiendra ensuite le soutien de René Magritte qui lui organisa une exposition en 1950, lui témoignant d'une sincère amitié. Sa relation amoureuse avec Marien renforça encore plus son implication dans le groupe. En 1952, elle fonde avec André Blavier la revue Temps mêlés à Verviers ; et à partir de 1954, elle anime avec Mariën et Paul Nougé Les Lèvres nues, autre revue défendant avec ardeur les engagements révolutionnaires du surréalisme. Dès les années 1950, la presse qui commente ses expositions la compare à Magritte, mais aussi à de Chirico dont elle assume l'admiration. Le travail de Graverol n'a pas la dimension conceptuelle et philosophique du travail de Chirico dont hérita Magritte. Résolument poétique, davantage ancré dans un univers onirique et surnaturel, il est également empreint d'un climat symboliste dans lequel baigne l'enfance de l'artiste au contact de la peinture de son père. Toutefois, son œuvre partage avec celle de Magritte et de Delvaux une série de caractéristiques issues de l'univers Chiricien, du moins au cours des premières années de sa carrière. Comme de Chirico, et avide des Métamorphoses d'Ovide, Jane Graverol est fascinée par les mythes et l'esthétique antique qu'elle redécouvre lors de son voyage en Grèce en 1961 et que l'on retrouve dans plusieurs de ses compositions. Graverol s'apparente aux plus grandes que sont Leonora Carrington, Leonor Fini, Key Sage, Toyen, Dorothea Tanning ... Par le biais d'une technique aussi lisse que précise, Graverol bouleverse les perceptions du réel, initiant des sentiments répondant tant au domaine de l'étrange qu'à celui de la poésie. Elle avouera «mes toiles sont des rêves éveillés, des rêves conscients». Elle associe également ces objets quotidiens à des éléments fantasmagoriques, ou les extrait de leur contexte habituel pour leur attribuer une nouvelle fonction. Si le caractère surnaturel de cette toile reste poétique, il n'en relève pas moins que l'artiste joue sur la rencontre de deux espaces contraires, l'intérieur et l'extérieur. Comme le dévoile cette toile, le personnage féminin de la peinture de Graverol est placé sous le signe de la dualité : la clarté et les ténèbres, la douceur et la sévérité, l'érotisme et la monstruosité de créatures sans visage. Cette œuvre est une ode à la liberté semblable à la représentation féminine qu'elle réalisa dans l'Esprit Saint. C'est également une ode à l'évasion et à une certaine forme d'indépendance féministe. La tension émanant de ce tableau est un voyage vers l'intérieur malgré l'étau représenté par la roche qui enferme la femme dans un ensemble semble-t-il hermétique. Cette toile est l'alliance parfaite de la technique au service du rêve conscient. Les toiles de cette qualité sont extrêmement rares et méritent d'être présentées auprès des plus grands. Comme Delvaux une immuable poésie ressort de ces toiles, comme Magritte elle représente des rêves éveillés, comme De Chirico elle emmène son lecteur vers une interprétation plus subtile qu'une image figée.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 151
MAX ERNST (1891-1976) & MARIE-BERTHE AURENCHE (1906-1960)Portrait d'André Breton signé 'Marie Berthe Max Ernst' (en bas à droite)huile sur toile Peint en 1930signed 'Marie Berthe Max Ernst' (lower right)oil on canvasPainted in 193060 x 73cm (23 5/8 x 28 3/4in).Footnotes:L'authenticité de cette œuvre a été confirmée par Dr Jürgen Pech. Cette œuvre sera incluse dans le prochain supplément du catalogue raisonné de Max Ernst, actuellement en préparation.ProvenanceCollection André Breton, Paris (don des artistes en 1930); vente de sa succession, Calmels Cohen, Paris, 14 avril 2003, lot 4076. Collection particulière, Milan (acquis dans cette vente).ExpositionsParis, Galerie Pierre Colle, Exposition surréaliste, sculptures - objets - peintures – dessins, 7 - 18 juin 1933, no. 16.La Coruña, Fundación Pedro Barrié de la Maza, Surrealismo, Max Ernst y sus amigos surrealistas, 10 juin - 12 septembre 2004, no. 62.BibliographieA. Breton (éd.), Le surréalisme au service de la révolution, 15 mai 1933, no. 5 (illustré). M. Eigeldinger, André Breton, essais et témoignages, Neuchâtel, 1950 (illustré p. 47). A. Breton, Poésie & autre, Textes choisis et présentés selon l'ordre chronologique par Gérard Legrand, Paris, 1960 (illustré p. 97). R. Benayoun, Érotique du Surréalisme, Paris, 1965 (illustré p. 74).Association Atelier André Breton, André Breton: The Collection, catalogue en ligne (illustré).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 101
JANE GRAVEROL (1905-1984)Hommage à Papin signé 'Jane Graverol' (en bas à gauche); signé et inscrit 'Jane Graverol Bruxelles' (au revers)huile sur toilePeint en 1968 à Bruxellessigned 'Jane Graverol' (lower left); signed and inscribed 'Jane Graverol Bruxelles' (on the reverse)oil on canvasPainted in 1968 in Bruxelles89 x 70cm (35 1/16 x 27 9/16in).Footnotes:ProvenanceCollection Jacques Schroeder.Collection particulière, Belgique (acquis auprès de celui-ci en 1984).BibliographieR. de Solier, Jane Graverol, Bruxelles, 1974 (illustré p. 27).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 158
LEONOR FINI (1907-1996)Portrait féminin no. 44 signé 'Lenor Fini' (en bas à droite)huile sur carton Peint en 1950signed 'Lenor Fini' (lower right)oil on cardPainted in 195072 x 52.2cm (28 3/8 x 20 9/16).Footnotes:ProvenanceCollection, Eros Renzetti, Rome (don de l'artiste).Collection particulière, Italie (par descendance).BibliographieR. Overstreet, Léonor Fini, Catalogue raisonné of the oil painting, Zurich, 2021, no. 425 (illustré p. 248).For further information on this lot please visit Bonhams.com
Lot 149
MAN RAY (1890-1976)Pain peint Catalogue de l'exposition Man Ray qui s'est tenue à la Galerie Alexandre Iolas à Paris en 1973-1974. Titre, 13 planches et affiche pliée d'après Man Ray, plats de couverture bleus et ruban verts, réduction du Pain peint montée sur la couverture (hauteur : 192mm ; 7 3/4 in.), in-quarto (240 x 172mm; 9 7/16 x 67 11/16in).Paris, Alexandre Iolas, 1973.Pain peint, une baguette peinte en bleu, a été conçu pour la première fois en 1958 et réutilisé dans ce catalogue d'exposition de 1973-1974. Title, 13 plates and folding poster after Man Ray, publisher's blue boards and green ties, a miniature blue baguette (height: 192mm; 7 3/4 in.), mounted on the upper cover, 4to (240 x 172mm; 9 7/16 x 67 11/16in).Paris, Alexandre Iolas, 1973.Pain peint, a painted blue baguette, was first conceived in 1958, and re-used in this 1973-1974 exhibition catalogue.Footnotes:ProvenanceMan Ray, Paris.Jacqueline Barsotti-Goddard, Royaume-Uni (don de l'artiste).Collection particulière, Londres (par descendance).BibliographieJ.-H. Martin, B. Hermann, R. Krauss et Man Ray, Man Ray, Catalogue raisonné, Sculptures et objets, Objets de mon affection, Paris, 1983, no. 127 (illustré p. 154).R. Penrose, Man Ray, Londres, 1975, p. 203, no. XX.A. Schwarz, Man Ray, The Rigour of Imagination, Londres, 1977, p. 369, no. 322 (la version originale en couleurs illustrée p. 184).This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com
Lot 179
PHILIP WILSON STEER (BRITISH, 1860-1942)Portrait of Sybil, Lady Eden (1867-1945), nee Greyoil on canvas51.5 x 47cmProvenanceWith Philip Wilson Steer at his death;Acquired privately from the Steer executors by the sitter's son, R. Anthony Eden, Lord AvonExhibitedBirmingham Museum and Art Gallery, Paintings and Drawings from the Collection of Lord Avon, 11th January - 20th March 1966, no. 20LiteratutreLaughton, 182
Lot 53
HENRY PIERCE BONE (BRITISH, 1779-1855) (2)Portrait miniature of the artist's son, George Bone (b. 1814); Portrait miniature of his wife, Rebecca (nee Davies), a pairthe first inscribed ‘George, / youngest Son of Henry Pierce / Bone and Ann Maria Long / his wife; born Feby. 17th 1814. / Jany. 1850. Painted from Life / by HP. Bone, Enamel Painter to / Her Majesty, HR.H. Prince / Albert &cv&c’, the second inscribed ‘Rebecca, / youngest daughter of James / Davies & Sarah Ann Knaggs, his / Wife. Born Novr. 28 1820. / Jany 1850. Painted from Life / by Henry Pierce Bone, Enamel Painter to Her Majesty, HR.H. / Prince Albert &c &c’ (on the counter-enamels)enamel on copperoctagonal, 11.5 x 9cmin rectangular gilt-metal mounts within velvet-lined box frames(2)ProvenanceThe artist Henry Pierce Bone;By descent to his son George Bone;By descent to his daughters Georgina, aka Gina and Alice Bone;Gifted to Richard Henry Egerton Russell by his Aunt and Godmother Phyllis Rosalind Leigh Hunt;Thence by family descentFootnoteGeorge Bone was one of seven children of Henry Pierce Bone and his wife Anna Maria. He married, circa 1842, Rebecca Davies, daughter of James Davies and his wife, Sarah Ann, née Knaggs. They had two daughters; Georgina Davies Bone (also known as Gina) and Alice Bone. Henry Pierce Bone was the eldest son and pupil of the enamel painter Henry Bone, R.A. (1755-1834) and his wife Eliabeth, née Van der Meulen (d. c. 1830). After some initial training in the art of painting in oil and enamels by his father, he entered the Royal Academy School at the age of sixteen. After his father’s death in 1834, he concentrated on oil painting and the production of enamels and he began to produce copies of works by Old Masters and of portraits of the Spencer family, some of which were painted ad vivum. He followed in his father’s footsteps as enamel painter to Queen Adelaide, to Victoria, Duchess of Kent, and to Queen Victoria and Prince Albert, however he was never admitted to the Royal Academy. On 14 October 1805 he married Anna Maria Long, the daughter of a Clerkenwell watchmaker. They had four sons and three daughters. Henry Pierce Bone died on 21 October 1855 and the following year 172 of his enamels were sold at Christie’s. Condition reportGeorge Bone:Some surface dirt.A few very small minor marks to his forehand but these look like they were caused in production and are original to the work.Some pale mottled grey spots in places, these could just be variation to the varnish.Appears to be in generally good original condition.Frame in need of repair.Rebecca Bone:Enamel surface uneven but this is original to the work and would have been caused in firing.Some surface dirt and very small dots/marks in places.Some other small spots, mostly upper right and upper left background but these look like they would have been caused in production.Appears to be in generally good original condition.Frame in need off repair.
Lot 137
R. W. FOLKARD (BRITISH, 19TH CENTURY)A grey and chestnut horse with a foal signed and dated 'R. W. Folkard Pinx 1834' (lower right) oil on canvas 71 x 92cmCondition reportThe canvas has been heavily relined. There are traces of craquelure throughout the paint surface and some light surface dirt; also slight discolouration to the varnish. Ultraviolet reveals traces of old retouching to frame abrasions. Held in a maple frame in fair condition.Provenance; Local private collection, for circa twenty years.
Lot 52
HENRY PIERCE BONE (BRITISH, 1779-1855)Portrait miniature of the artist's father, Henry Bone R. A. (1755-1834)inscribed ‘Henry Bone R.A. / Enamel Painter to George 3rd, / George 4th & William 4th. / London March 1845. Painted by his / son Henry Pierce Bone Enamel / Painter to Her Majesty & H.R.H. Prince / Albert, the Queen Dowager & HRH. / the Duchess of Kent. From an / Oil Picture painted by him (Henry / Pierce Bone) in 1805. / Born Feb. 6th 1755. Died Dec. 17th 1834.’ (on the counter-enamel)enamel on copperoctagonal, 14 x 11.5cmin a rectangular gilt-metal mount within velvet-lined box frameProvenanceThe artist Henry Pierce Bone;By descent to his son George Bone;By descent to his daughters Georgina, aka Gina and Alice Bone;Gifted to Richard Henry Egerton Russell by his Aunt and Godmother Phyllis Rosalind Leigh Hunt;Thence by family descentFootnoteThe sitter was a Cornishman, born in Truro in 1775. As a teenager he went to Plymouth to paint on china at the Cookworthy factory and later went on to paint watch cases, shirt buttons, brooches and pins for Messers Randle, Jackson and White in Paternoster Row, London. In 1781 he exhibited an enamel portrait of his wife at the Royal Academy and, two years later, a self-portrait. He continued to work for London jewellers and painted during his spare time, working mainly on his Royal Academy diploma piece ‘Nymph and Cupid’ which caught the eye of the Prince of Wales. By 1801, his success as an enamel painter was made official with his appointment to Enamel Painter to the Prince of Wales, and to George III. He was elected a Royal Academician in 1811. Henry Pierce Bone was the eldest son and pupil of the enamel painter Henry Bone, R.A. (1755-1834) and his wife Eliabeth, née Van der Meulen (d. c. 1830). After some initial training in the art of painting in oil and enamels by his father, he entered the Royal Academy School at the age of sixteen. After his father’s death in 1834, he concentrated on oil painting and the production of enamels and he began to produce copies of works by Old Masters and of portraits of the Spencer family, some of which were painted ad vivum. He followed in his father’s footsteps as enamel painter to Queen Adelaide, to Victoria, Duchess of Kent, and to Queen Victoria and Prince Albert, however he was never admitted to the Royal Academy. On 14 October 1805 he married Anna Maria Long, the daughter of a Clerkenwell watchmaker. They had four sons and three daughters. Henry Pierce Bone died on 21 October 1855 and the following year 172 of his enamels were sold at Christie’s.Condition reportTwo faint horizontal scratches upper left and another scratch lower left (please see additional photos online).Possible bloom, or uneven varnish or surface dirt resulting in dull pale grey spots visible in various places, mostly to upper area above head, left and right background and lower jacket area.The present work will be on view at Cromwell Place, SW7 2JE, 21 & 22 March, 11am-5pm
Lot 104
Charles I (1625-1649), Threepence, 1644, Oxford mint, narrow crowned Rawlins bust left, R below, mark of value behind, rev. declaration in three lines, three lis above, date below, 1.27g, (N.2471, S.2994). Attempted piercing at 9 o'clock on inner circle, otherwise nicely toned and very fine or better.
Lot 89
Charles I (1625-1649), Unite, Tower mint, group A, first bust left in coronation robes, high double arched crown, mark of value behind, R of CAROLVS struck over rotated R, rev. square topped shield with plain garnishing, mm. lis (at the end of legend on rev.), 8.95g, (N.2146, S.2685, Brooker -). Full, round and well struck with an orange gold tone. A most attractive specimen, good very fine or better, the dies not represented in Brooker, die sinkers error unpublished.
Lot 468
Autograph Book / Muddy Waters / Winston Churchill plus, a wonderful autograph book containing some superb autographs all on one side of page including Montgomery of Alamein, Muddy Waters, Winston Churchill, Jimmy Cagney, Enid Blyton, Benjamin Britten, Aldous Huxley, William Walton, William Saroyan, Aldo Ray, Violet Bonham Carter, Ronald Searle, Don Shirley, Buddy Greco, Rebecca West, E R Forster and more many with dedication to Ray, very good condition - see lot 454 for more details of provenance - As per our Terms and Conditions and with particular reference to autograph material or works, it is imperative that potential buyers or their agents have inspected pieces that interest them to ensure satisfaction with the lot prior to auction; the purchase will be made at their own risk. Special Auction Services will give indications of provenance where stated by vendors.
Lot 575
Sealed TDK Cassette Tapes, large number of mainly Sealed TDK Cassette tapes comprising thirteen Golden SD, twenty MA-60, ten SA-90, eleven MA-90, sixteen MA-R90, six SA-X90, a Boxed MA-R Quartz TMQ001,one SA-C60, one AD-X90, One D90, three normal MC60, two metal MC60 plus a Maxell GX Black 45 and four packs of labels
Lot 372
19th century glass rummer, the ogee bowl engraved with a peacock and monogram on short concave stem and circular foot with polished pontil, 10.5cm high; also a Robert Ellison square decanter with engraved decoration of pheasants flying through trees and inscription "D. J-S Kingfield Shoot" with oak leaf spray, signed R. Ellison, 25.5cm high. (2).
Lot 192
A group of jewellery, comprising: an 18ct gold diamond and sapphire cluster ring, with textured hoop, ring size N; a 9ct rose gold ring with engraved initials, size K; three oval cabochon moonstone dress studs, signed R&G, Paris to the reverse; a cultured pearl stickpin, unmarked; and a small assortment of tumble polished gemstones and freshwater baroque pearls, the gemstones including tourmalines and citrine (a lot)Condition Report: Sapphire and diamond cluster ring in good condition. Diamonds of good commercial quality, approx. 0.02 points each. Minor nicking and scratching to hoop commensurate with light wear. Dress studs unmarked, acid tested positive for 18ct gold. Stamped BT SGDG to reverse of fittings. Good condition. Signet style ring with signs of wear. Thinning to hoop and wear to engraved initials. Gross weight including gems and stick pin approx. 41.3g. Gross weight excluding gems and stickpin approx. 13.5g
Lot 57
A group of six Continental rings, comprising: an Austrian amethyst and cubic zirconia three stone ring, ring size L¼; an Austrian single stone cubic zirconia ring, stamped 585, ring size Q; a five stone ruby ring, stamped 585, ring size S; a single stone amethyst ring, stamped 585, ring size R; a cubic zirconia, sapphire and ruby ring, stamped 585, ring size M½; and a three stone cubic zirconia ring, stamped 585, ring size L½ (6)Condition Report: Total gross weight 13.43g (6)Amethyst and cubic zirconia ring - Austrian mark worn, acid tested as approximately 14ct gold.
Lot 233
A group of jewellery, comprising: a moonstone cluster ring, the hoop with London hallmarks, 1980, approximate ring size P-Q; three single stone opal rings, one with a two row wire hoop, approximate ring sizes K½, Q, R; a 9ct gold opal triplet cluster ring, London hallmarks, 1981, ring size N; a single stone cultured pearl ring, approximate ring size O; a diamond and turquoise set bow-shaped panel, later mounted as a ring, approximate ring size K½; an 'M' initial; and a propelling pencil, extended length 7.4cm (9)Condition Report: Total gross weight 31.80g.Chips to all of the opals. The larger opal cracked, with a later peg repair.Surface marks/scratches/tarnish to mounts. Some later mounting and alterations.A/F
Lot 96
A group of five gold rings, comprising: a 9ct gold patterned wedding ring, approximate ring size O; a 9ct gold opal triplet ring, approximate ring size N; a 9ct gold signet ring, approximate ring size R; an 18ct gold signet ring, approximate ring size U; and a 9ct gold diamond and sapphire cluster ring, approximate ring size O (5)Condition Report: 9ct gold gross weight approximately 14.3g, 18ct gold gross weight approximately 3.5g.Surface marks/scratches/tarnish.18ct gold signet ring shank worn, solder join visible to shoulder.
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