Morris (F. O.). A History of British Birds, 6 volumes, 1st edition, London: Groombridge and Sons, 1851-57, 358 hand-coloured lithographed plates, some spotting, bookplate of Sir George Albert Wade to front pastedown of each volume, contemporary green half calf, rubbed and scuffed, spines faded, with some wear to head and foot of spines, a little loss to the spine of first volume, 8vo, together withThe Shooter's Hand-Book being the Treatise on Shotting from 'The Rod and the Gun', by the author of 'The Oakleigh Shooting Code', Edinburgh: Adam & Charles Black, 1842, several engraved plates, original publisher's dark green blind stamped cloth gilt, a little rubbed and slight fraying to head and foot of spine, plusThe Field Book; or Sports and Pastimes of the British Isles by the author of 'Wild Sports of the West', London: Effingham Wilson [1833], wood-engraved illustrations to text, bookplate of Sir George Albert Wade to front pastedown, original blind-stamped green cloth, gilt decorated spine, rubbed and some minor marks, cracked on upper inner hinge, 8vo, and other various natural history, including Philip Rickman, Bird Sketches and some Field Observations, 1938, Tom Iredale, Birds of Paradise and Bower Birds, 1950, R. Bowdler Sharpe, Sketch-Book of British Birds, 1898 (in original publisher's cloth binding), J. E. Harting, A Handbook of British Birds, 1872, Mrs. Hugh Blackburn, Birds from Moidart and Elsewhere, 1895, J. H. Gurney, Early Annals of Ornithology, 1921, Henry Seebohm, Siberia in Europe: a visit to the valley of the Petchora in North-Eats Russia, 1880 & The BIrds of Siberia, a record of a naturalist's visits to the valleys of the Petchora and Yenesei, 1901, William MacGiooivray, A manual of British Ornithology, part II, Water Birds, 1842, three volums from Jardine's Naturalist's Library (Ornithology, volume III, Gallinaceous Birds, 1836, Entomology, volume V, Foreign Butterflies, 1837, and Ornothology, volume VII, Birds of Western Africa, 1837), etcQTY: (3 shelves)
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Cuffee (Paul). Memoir of A Man of Color..., Written expressly for, and originally printed in, The Liverpool Mercury, Liverpool: Printed and Sold by Egerton Smith and Co., 1811, 12 pp., advertisement to title verso, some spotting and light browning, heaviest at front and rear, stitched as issued, slim 12mo QTY: (1)NOTE:Sabin 17850. A scarce memoir of the renowned pan-Africanist Captain Paul Cuffee, published in his lifetime. Paul Cuffe, also known as Paul Cuffee (1759-1817), was a businessman, whaler and abolitionist. The son of an emancipated African slave and Wampanoag Indian, Cuffe was an influential figure in America’s first back-to-Africa movement. He became a leader in the cause of African colonization, making several trips to Sierra Leone with extensive efforts to settle freed slaves. This rare biographical sketch, reprinted from The Liverpool Mercury, contains an outline of his life, struggles and successes, recording the difficulties he faced as one of the first African-American captains. ‘Thither he sailed, but on his arrival the people were filled with astonishment and alarm. A vessel owned and commanded by a black man, and manned with a crew of the same complexion, was unprecedented and surprising…’ (p. 9). Earlier in the account are related his encounters with ‘Refugee Pirates, who chased and seized both him and his vessel; robbed of everything he returned home penny less, but without sinking under this discouragement’ (p. 5). Cuffee is often considered the founder of the first racially integrated school in America; ‘[he] worked in earnest and had a suitable house built on his own ground, which he freely gave up to the use of the public, and the school was opened to all who pleased to send their children. How gratifying to humanity is this anecdote! and who that justly appreciates human character would not prefer Paul Cuffee, the offspring of an African Slave, to the proudest statesman that ever dealt out destruction amongst mankind?’ (p. 8). The account ends by noting that he has been received into the Society of Friends (or Quakers).
Bell (W. D. M.). The Wanderings of an Elephant Hunter, 1st edition, London: Country Life, 1923, monochrome frontispiece, and 80 plates, including many after photographs, bookplate of Sir George Albert Wade and bookseller's ticket of Rowland Ward Ltd., 197 Piccadilly, London to front pastedown, original mustard cloth-backed grey boards, rubbed and some light soiling, large 8vo, together withParkinson (John). The Dinosaur in East Africa, an account of the giant reptile beds of Tendaguru, Tanganyika Territory, 1st edition, London: H. F. & G. Witherby, 1930, bookplate of Sir George Albert Wade to front pastedown, 12 full-page plates, mostly after photographs, and several sketch maps, original black cloth gilt, spine very lightly faded, 8vo, plusWard (Rowland). The Sportsman's Handbook to Practical Collecting, Preserving, and Artistic Setting-Up of Trophies and Specimens. To which is added a Synoptical Guide to the Hunting Grounds of the World, 6th edition, London: The Author, 1891, & Rowland Ward's Sportsman's Handbook to Collecting and Preserving Trophies & Specimens, edited by J. B. Burlace, 11th edition, London: Rowland Ward, 1923, bookplate of Sir George Albert Wade to front pastedown of each volume, original gilt-decorated brown morocco (rubbed and some light wear), and original mustard cloth respectively, 8voQTY: (4)NOTE:Czech, p. 15 (Bell). The author's first book, giving an account of his early elephant hunting days in the Karamojo region.
Crawford (Allan). C. R. Ashbee, Architect, Designer & Romantic Socialist, 1st edition, New Haven and London: Yale University Press, 1985, numerous monochrome illustrations, mostly after photographs, original cream cloth in dustwrapper, 4to, together with The Work of Henry Ospovat with an appreciation by Oliver Onions, 1st edition, London: St. Catherine Press, 1911, several tipped-in colour plates, monochrome and tinted plates and illustrations, original brown cloth gilt, some marks and light soiling, 4to, plusHall (Elton Wayland). Frederick Garrison Hall, Etchings, Bookplates, Designs, with a biographical sketch by Ariel Hall & a personal memoir by Henry P. Rossiter, Boston: Boston Public Library, 1972, monochrome illustrations, original rust-orange cloth gilt, 4to and other mostly modern art reference, biography, design interest, etc., all 20th-century publications, mainly 4to/8voQTY: (6 shelves)
Basappa (P. Stephen). A Guide to Seringapatam and its Vicinity. Historical and Traditional, 1st edition, Bangalore: H. R. Missee at the Town Press, 1897, 2 sketch maps (one folding, torn with repairs), browned, original boards, rebacked, some toning to covers, 8vo, together with Brown (Percy). Tours in Sikhim and the Darjeeling District, 2nd edition, Calcutta: W. Newman & Co., 1922, folding maps and charts, illustrations, some light spotting,, previous owner signature, original wrappers, a few water stains, 8vo, plus Harrop (P. Beresford). Thacker's New Guide to Simla, Simla: Thacker, Spink & Co., 1925, folding map contained in rear pocket (pocket torn), folding section, adhesive tape residue marks front and rear, original cloth-backed boards, spine toned, small worming to joints, a few stains, 8vo, with others related including Thacker's Guide too Calcutta, by Rev. W. K. Frominger, 1906, The Nilgiri Guide and Directory, by J. S. C. Eagan, 2nd edition, 1916, and Benares: Past and Present by Dr. A. S. Altekar, 1943 QTY: (19)
Browne (Anthony). Gorilla, 1st edition, London: Julia MacRae Books, 1983, colour illustrations, some minor wear, original boards, some minor loss & wear, oblong 4to, Willy's Pictures, 1st edition, London: Walker Books, 2000, signed with a sketch by the author, original boards, 4to, The Shape Game, 1st edition, London: Doubleday, 2003, signed by the author to the title page, original boards in dust jacket, 4to, Animal Fair, 1st edition , London: Walker Books, 2002, signed by the author to pp.1, original boards, oblong 4to, all with colour illustrations, together with:Pienkowski (Jan), Haunted House, London: William Heinemann, 1979, Robot, 1st edition, 1981, Botticelli's Bed & Breakfast, 1st edition, London: Kingfisher, 1996, all with colour pop-up illustrations, original boards, large 8vo, plusSatoshi (Kitamura, illustrator), Ned and Joybaloo, by Hiawyn Oram, 1st U.K. edition, London: Andersen Press, 1983, signed with a sketch by the author to the front endpaper, 4to, A Creepy Crawly Song Book, by Hiawyn Oram & Carl Davis, 1st edition, 1993, signed with a sketch by the author to the publication page, 4to, Goldfish Hide and Seek, 1st edition, 1997, signed with a sketch by the author to the publication page, oblong 4to, Points of View with Professor Peekaboo, by John Agard, 1st edition, London: The Bodley Head, 2000, signed with a sketch by the author to the half-title, 8vo, all with colour & monochrome illustrations, all original boards, and other modern illustrated literature & related reference, including Chris Beetle's catalogues, mostly original boards/cloth, some in dust jackets, 8vo/4toQTY: (3 shelves)
* EDWARD ASHTON CANNELL (BRITISH 1927 - 1994), AFTER RAIN ON THE THAMES watercolour on paper, signed, titled label versomounted, framed and under glassimage size 50cm x 75cm, overall size 72cm x 95cmNote: Edward Ashton Cannnell was born in Port Erin in the Isle of Man in 1927. He commenced his art training at the Isle of Man Art School and continued his studies at Liverpool College of Art. He was qualified as a teacher and had spent 20 years in the field of art education when in 1973 he decided to devote all his time to his painting. He was a member of the Langham Club, the London Sketch Club, the Art Club of the Royal Society of Painters in Watercolours, the United Society of Artists. He was a fellow of the Royal Society of Arts and a former chairman of the Arts Society of Paddington. He has carried out commissions for British Petroleum, Bass International, Foyles and Cassells. He exhibited regularly in London, including the Royal Institute of Painters in Watercolours, the Royal Society of British artists and the Royal Society of Marine Artists.
FRANK CRAWFORD PENFOLD (AMERICAN 1849 - 1921), SKETCH - WOMAN READING A FRENCH BOOK oil on panel, signedframedimage size 20cm x 16cm, overall size 28cm x 23cm Note: artist, teacher, lecturer, known for marine/seascape, genre, landscape, and portrait paintings, especially of the Brittany region of France. Penfold came from a family of artists, the son of the portrait painter, William Penfold (English born-American, 1827-1875), who was active in Lockport and Buffalo, New York and his mother, Maria Chubbuck (née Chapman) Penfold (1828-1919) married September 19, 1847, was also an accomplished artist. He had six younger siblings to include, brothers, John Penfold (1850- ), William Chapman Penfold (1853-1928) who became a fresco artist in Erie, PA, Charles Chubbuck Penfold (1854-1911) who designed engraved and manufactured fine jewelry in Buffalo, NY, beginning in 1872, and sisters Ida Parmelia Penfold-Thayer (1854-1934), Lillian "Lillie" Penfold-Baker (1857-1915) and Marie Dollie Penfold (1867-1927). Frank’s father originally wanted him to become an engraver, but one day at school Frank drew a sketch of the old schoolhouse in Lockport, NY in the back of an atlas. The principal at the time, Mr. Porter was charmed with the sketch and asked Frank to paint it on canvas. Frank and his younger brother used to clean up their father’s studio every evening, washing brushes and palettes, and unknown to his father, saved enough paint from his father’s palette to finish the piece. Mr. Porter was pleased with the painting and had it framed and exhibited. From that time forward Frank trained with his father in portraiture and other painting styles. One of his earliest known portraits was of "Addison Roberts" of Hornell, NY, husband of Marie (née Helmer) Roberts, painted in 1873. It was was also noted on the back of the painting that Penfold was listed as an artist in Buffalo and Paris. Frank had moderate success while living in Buffalo but decided to further his studies abroad. Around 1877, he travelled to France and later settled in Pont Aven, Brittany where he also taught in the artists’ colony. He studied in Finistère, Brittany, France and also trained at the Académie Julian in Paris in 1884. He occasionally returned to Buffalo, NY and in 1891, taught a class at the Buffalo Fine Arts Academy, Albright Art Gallery. On November 22, 1897, Frank married Jeannie "Jennie" Gerard (née Green-Wells [Wells adopted last name]) Redfern-Corbett-Penfold (1849-1921) at her home in Johnson Park, Buffalo, NY with whom he had an adopted daughter (from Jeannie's brother, Charles Edward Green, whom she and Frank later legally adopted on June 3, 1912), named Jane "Jennie" May Green Penfold-Harkness-Pinnington (1892-1970). Frank Penfold remained an influential figure in the Buffalo art scene and also helped organize the Municipal Art League in Chicago, IL in 1901. He was a member of the Buffalo Society of Artists and served as President in 1896, Buffalo, NY. He alternated between two homes, one in Pont Aven, France where he maintained a studio in Concarneau, Finistère, Bretagne, France and another at 32 Johnson Park, Buffalo, NY.
* EDWARD ASHTON CANNELL (BRITISH 1927 - 1994), ON THE RIVER watercolour on paper, signedmounted, framed and under glassimage size 53cm x 72cm, overall size 77cm x 94cmNote: Edward Ashton Cannnell was born in Port Erin in the Isle of Man in 1927. He commenced his art training at the Isle of Man Art School and continued his studies at Liverpool College of Art. He was qualified as a teacher and had spent 20 years in the field of art education when in 1973 he decided to devote all his time to his painting. He was a member of the Langham Club, the London Sketch Club, the Art Club of the Royal Society of Painters in Watercolours, the United Society of Artists. He was a fellow of the Royal Society of Arts and a former chairman of the Arts Society of Paddington. He has carried out commissions for British Petroleum, Bass International, Foyles and Cassells. He exhibited regularly in London, including the Royal Institute of Painters in Watercolours, the Royal Society of British artists and the Royal Society of Marine Artists.
* EDWARD ASHTON CANNELL (BRITISH 1927 - 1994), HAZY SUNLIGHT watercolour on paper, signed, titled versomounted, framed and under glassimage size 36cm x 52cm, overall size 55cm x 70cmNote: Edward Ashton Cannnell was born in Port Erin in the Isle of Man in 1927. He commenced his art training at the Isle of Man Art School and continued his studies at Liverpool College of Art. He was qualified as a teacher and had spent 20 years in the field of art education when in 1973 he decided to devote all his time to his painting. He was a member of the Langham Club, the London Sketch Club, the Art Club of the Royal Society of Painters in Watercolours, the United Society of Artists. He was a fellow of the Royal Society of Arts and a former chairman of the Arts Society of Paddington. He has carried out commissions for British Petroleum, Bass International, Foyles and Cassells. He exhibited regularly in London, including the Royal Institute of Painters in Watercolours, the Royal Society of British artists and the Royal Society of Marine Artists.
* EDWARD ASHTON CANNELL (BRITISH 1927 - 1994), LONDON BRIDGE watercolour on paper, signedmounted, framed and under glassimage size 34cm x 51cm, overall size 54cm x 69cmNote: Edward Ashton Cannnell was born in Port Erin in the Isle of Man in 1927. He commenced his art training at the Isle of Man Art School and continued his studies at Liverpool College of Art. He was qualified as a teacher and had spent 20 years in the field of art education when in 1973 he decided to devote all his time to his painting. He was a member of the Langham Club, the London Sketch Club, the Art Club of the Royal Society of Painters in Watercolours, the United Society of Artists. He was a fellow of the Royal Society of Arts and a former chairman of the Arts Society of Paddington. He has carried out commissions for British Petroleum, Bass International, Foyles and Cassells. He exhibited regularly in London, including the Royal Institute of Painters in Watercolours, the Royal Society of British artists and the Royal Society of Marine Artists.
JOHN NASH (BRITISH 1893-1977) ⊕ PRIMEVAL FOREST, BUTLEY (RENDLESHAM FOREST)signed and dated John Nash / 1955 lower leftwatercolour over pencil on card55 x 45.5cm; 21 3/4 x 18in82 x 70.5cm; 32 1/4 x 27 3/4in (framed)Property from a Private Collector, West LondonProvenancePurchased from the artist by the grandfather of the present owner in the mid-1950sExhibitedLondon, The Royal Academy, Summer Exhibition, 1961Worthing, Worthing Art Gallery, John Nash, 1971After his relocation in 1944 to Colchester following the Second World War, Nash spent the rest of his life painting the English countryside. A stone's throw from Nash's permanent residence in Wormingford, Rendlesham Forest would become a frequent source of inspiration for the artist where he would depict specific trees, flora and fauna from the area, such as Rendlesham Woods and Dead Fir Tree, Rendlesham Forest, both works on paper executed in 1969.Four watercolours by John Nash from a Private Collection (lots 34-37) IntroductionPainter, wood engraver, lithographer and illustrator, Nash is best known much celebrated for his landscape paintings and observations of the natural world.As a boy he moved with his family from urban London to the Buckinghamshire countryside near Iver Heath, a village boasting a gentle terrain of rolling hills, acres of fields, and verdant trees which would inform his visual vocabulary for the rest of his life. Here Nash befriended fellow artist Claughton Pellew (1890-1966) who was to encourage his interests in watercolour and painting the natural world.Schooled at Wellington College, Berkshire, Nash was dissuaded from studying at art school by his brother Paul Nash (1889-1946) who was attending the Slade and found the rigid structure of formal training oppressive. Instead, John studied botany, an interest he had nurtured since childhood after winning a botany prize and subsequently calling himself an ‘artist plantsman’. During the First World War Nash served in the Artist's Rifles on the front lines, and although deterred from recording his experiences at the time, he began to materialise his experiences from memory when he returned to England in 1917. He was appointed an Official War Artist in 2018, the same year that he completed his oil Over the Top (Collection of the Imperial War Museum), of soldiers clambering from their trenches to engage with the enemy. That same year too Nash married Christine Kühlenthal whom he had met eighteenth months prior. Before he returned from the war, the couple pledged they would marry if he came back alive and, privately, that their shared life would be at once both intimate and free. In their ideal future, each might well have other ‘outside loves’ and their alliance was to be a convention-defying undertaking. Their wedding gave legal form to a relationship that would endure for fifty-eight years; a deep personal commitment, but not an acceptance of ties that bind.After the War Nash became the first art critic of the London Mercury magazine, held his first solo-exhibition at the Goupil Gallery in 1921, and associated with several small artistic circles including the London Group and the Cumberland Market Group in Camden. During the Second World War, Nash was again appointed a War Artist, this time serving as a Captain in the Royal Marines. After the War he and Christine moved to Essex. He joined the staff of the Royal College of Art, taught alongside Henry Collins, Cedric Morris, Lett Haines and Roderic Barrett at Colchester Art School and founded the Colchester Art Society of which he later became President.Throughout his married life his excursions into the countryside to work en plein air were frequently accompanied by his wife who would find suitable vistas. Nash would then make a sketch on the spot as the basis of a work that he would later complete in his studio. The support of the endlessly forbearing Christine would make possible a career of great richness spanning six decades. As John Rothenstein. art historian and Tate Director, recalled, half a haystack interested him as much as a mountain range, and half of his best works can be traced to locations within walking distance of his long-term homes in the Chilterns and the Stour Valley.
EDWARD COLEY BURNE-JONES (BRITISH 1833-1898) PORTRAIT OF A YOUNG WOMAN, THOUGHT TO BE ANNE MARIA JONES—RECTO; TWO CARICATURES OF WILLIAM MORRIS—VERSO inscribed POETA NON FIT verso coloured chalk and pencil on paper 50 x 35.5cm; 19 3/4 x 14in (sheet) 67 x 55cm; 26 1/4 x 21 3/4in (framed) Property from a London Collector Provenance Sir Edward Poynter RA (a gift from the artist. Poynter, 1836-1919, was an artist, served as the President of the Royal Academy from 1896-1918 and was the brother-in-law of Edward Coley Burne-Jones) Alfred Baldwin (a gift from the above. Baldwin, 1841-1908, was Poynter’s brother-in-law, a businessman and politician and the father of the future Prime Minister, Stanley Baldwin. Poynter, Burne-Jones and Baldwin all married daughters of George Browne Macdonald - Agnes, Georgina and Louisa respectively - to form part of a remarkable family circle; another Macdonald sister, Alice, married John Lockwood Kipling, father of Rudyard Kipling) Thence by descent to the present owner Anne Maria Jones (also known as Augusta or Gussie) was one of three sisters from Hull who made a living in London as artist’s models. Celebrated for her strong profile and wealth of golden hair, she posed for several important pictures by Burne-Jones in the 1860s, including the watercolour Astrologia of 1865 and the oil Princess Sabra in the Garden (Musée d’Orsay, Paris). Other artists for whom she sat included Albert Moore, James Abbott McNeill Whistler and members of the Pre-Raphaelite brotherhood. On the reverse of the present drawing are two humorous caricatures by Burne-Jones of his closest friend William Morris. One of the sketches is inscribed 'Poeta non Fit' (the poet is not yet done) and depicts the great designer and writer pompously leaning against a pedestal and orating to an unseen audience. The other sketch depicts him slumped in his chair and continuing to orate with little care about whether he is being listened to. Both Burne-Jones and Poynter were very fond of Morris but had also had to endure interminably long evenings in which he had insisted on reading to them at length from his epic poems and translations. Burne-Jones' wife Georgina admitted that she sometimes had to bite her fingers or stick pins in herself to ward off sleep when Morris was in a particularly verbal mood. The caricatures were clearly shared with Poynter to tease Morris. There are other examples in the British Museum which similarly poke fun at Morris and his speeches.
JOHN NASH (BRITISH 1893-1977) ⊕ HIGH TOR, THREE CLIFFS BAY, GOWER PENINSULAsigned and dated John Nash 1939. lower right watercolour over pencil on paper44 x 57cm; 17 1/2 x 22 1/.2in70 x 81.5cm; 27 1/2 x 32 1/4in (framed)Property from a Private Collector, West LondonProvenancePurchased from the artist by the grandfather of the present owner circa 1940ExhibitedLondon, Royal Academy, Summer Exhibition, 1967Worthing, Worthing Art Gallery, John Nash, 1971Nash's visit to the Gower Peninsula near Swansea in Wales in 1939 was the first of many he made to the region. In 1956 the Peninsula became the first area in the UK to be designated an 'Area of Outstanding Natural Beauty'. Four watercolours by John Nash from a Private Collection (lots 34-37)IntroductionPainter, wood engraver, lithographer and illustrator, Nash is best known much celebrated for his landscape paintings and observations of the natural world.As a boy he moved with his family from urban London to the Buckinghamshire countryside near Iver Heath, a village boasting a gentle terrain of rolling hills, acres of fields, and verdant trees which would inform his visual vocabulary for the rest of his life. Here Nash befriended fellow artist Claughton Pellew (1890-1966) who was to encourage his interests in watercolour and painting the natural world.Schooled at Wellington College, Berkshire, Nash was dissuaded from studying at art school by his brother Paul Nash (1889-1946) who was attending the Slade and found the rigid structure of formal training oppressive. Instead, John studied botany, an interest he had nurtured since childhood after winning a botany prize and subsequently calling himself an ‘artist plantsman’.During the First World War Nash served in the Artist's Rifles on the front lines, and although deterred from recording his experiences at the time, he began to materialise his experiences from memory when he returned to England in 1917. He was appointed an Official War Artist in 2018, the same year that he completed his oil Over the Top (Collection of the Imperial War Museum), of soldiers clambering from their trenches to engage with the enemy.That same year too Nash married Christine Kühlenthal whom he had met eighteenth months prior. Before he returned from the war, the couple pledged they would marry if he came back alive and, privately, that their shared life would be at once both intimate and free. In their ideal future, each might well have other ‘outside loves’ and their alliance was to be a convention-defying undertaking. Their wedding gave legal form to a relationship that would endure for fifty-eight years; a deep personal commitment, but not an acceptance of ties that bind.After the War Nash became the first art critic of the London Mercury magazine, held his first solo-exhibition at the Goupil Gallery in 1921, and associated with several small artistic circles including the London Group and the Cumberland Market Group in Camden. During the Second World War, Nash was again appointed a War Artist, this time serving as a Captain in the Royal Marines. After the War he and Christine moved to Essex. He joined the staff of the Royal College of Art, taught alongside Henry Collins, Cedric Morris, Lett Haines and Roderic Barrett at Colchester Art School and founded the Colchester Art Society of which he later became President.Throughout his married life his excursions into the countryside to work en plein air were frequently accompanied by his wife who would find suitable vistas. Nash would then make a sketch on the spot as the basis of a work that he would later complete in his studio. The support of the endlessly forbearing Christine would make possible a career of great richness spanning six decades. As John Rothenstein. art historian and Tate Director, recalled, half a haystack interested him as much as a mountain range, and half of his best works can be traced to locations within walking distance of his long-term homes in the Chilterns and the Stour Valley.
JOHN NASH (BRITISH 1893-1977) ⊕ LANDSCAPE - RECTO; BARN AND SHEEVES OF WHEAT - VERSO signed John Nash lower right - recto; signed and inscribed Evening strong low sun / John Nash lower right - verso; both sides with additional annotations by the artistwatercolour over pencil on two joined sheets of paper35.5 x 46.5cm; 12 x 18 1/4in51.5 x 66cm; 20 1/4 x 26in (framed as one)(2)Property from a Private Collector, West LondonProvenancePurchased from the artist by the grandfather of the present ownerFour watercolours by John Nash from a Private Collection (lots 34-37) IntroductionPainter, wood engraver, lithographer and illustrator, Nash is best known much celebrated for his landscape paintings and observations of the natural world.As a boy he moved with his family from urban London to the Buckinghamshire countryside near Iver Heath, a village boasting a gentle terrain of rolling hills, acres of fields, and verdant trees which would inform his visual vocabulary for the rest of his life. Here Nash befriended fellow artist Claughton Pellew (1890-1966) who was to encourage his interests in watercolour and painting the natural world.Schooled at Wellington College, Berkshire, Nash was dissuaded from studying at art school by his brother Paul Nash (1889-1946) who was attending the Slade and found the rigid structure of formal training oppressive. Instead, John studied botany, an interest he had nurtured since childhood after winning a botany prize and subsequently calling himself an ‘artist plantsman’. During the First World War Nash served in the Artist's Rifles on the front lines, and although deterred from recording his experiences at the time, he began to materialise his experiences from memory when he returned to England in 1917. He was appointed an Official War Artist in 2018, the same year that he completed his oil Over the Top (Collection of the Imperial War Museum), of soldiers clambering from their trenches to engage with the enemy. That same year too Nash married Christine Kühlenthal whom he had met eighteenth months prior. Before he returned from the war, the couple pledged they would marry if he came back alive and, privately, that their shared life would be at once both intimate and free. In their ideal future, each might well have other ‘outside loves’ and their alliance was to be a convention-defying undertaking. Their wedding gave legal form to a relationship that would endure for fifty-eight years; a deep personal commitment, but not an acceptance of ties that bind.After the War Nash became the first art critic of the London Mercury magazine, held his first solo-exhibition at the Goupil Gallery in 1921, and associated with several small artistic circles including the London Group and the Cumberland Market Group in Camden. During the Second World War, Nash was again appointed a War Artist, this time serving as a Captain in the Royal Marines. After the War he and Christine moved to Essex. He joined the staff of the Royal College of Art, taught alongside Henry Collins, Cedric Morris, Lett Haines and Roderic Barrett at Colchester Art School and founded the Colchester Art Society of which he later became President.Throughout his married life his excursions into the countryside to work en plein air were frequently accompanied by his wife who would find suitable vistas. Nash would then make a sketch on the spot as the basis of a work that he would later complete in his studio. The support of the endlessly forbearing Christine would make possible a career of great richness spanning six decades. As John Rothenstein. art historian and Tate Director, recalled, half a haystack interested him as much as a mountain range, and half of his best works can be traced to locations within walking distance of his long-term homes in the Chilterns and the Stour Valley.
OTTO GUTFREUND (CZECH 1889-1927) NATURE MORTE stamped and numbered 36 by the artist's estate on the reversepen, ink and wash on paper27 x 22cm; 10 1/2 x 8 3/4in54 x 47cm; 21 1/4 x 18 1/2in (framed)Executed between 1910-19 on the reverse of a piece of Moravian Insurance Company headed paper that features the crest of the Margraviate of Moravia, a crown land that in 1918 became one of the five founding territories incorporated into the newly formed country of Czechoslovakia. Gutfreund made a number of sketches in pen and ink on such letterheaded papers, using the loose sheets as other artists would a sketchbook. His use of this specific paper has become a helpful way of verifying such works. The angular oblongs in the sketch that jut into empty spaces on the page as if three dimensional constructions are a graphic depiction of Gutfreund’s interest in creating three-dimensional works from flat pieces of wood between 1910-1920. He termed this exploration of space ‘consistent abstract constructivism’, and both his drawings and sculptures during this period reflect his determined shift towards Cubism.Gutfreund was one of the pre-eminent fathers of Czech Modernism. Born in Northern Bohemia, he studied pottery in Bechyně before enrolling in the School of Decorative Arts, Prague where he explored figurative and ornamental modelling. In Prague, he met the French sculptor Antoine Bourdelle who encouraged him to enrol in his Académie de la Grande Chaumière in Paris. After working with Bourdelle he returned to Prague in 1910, and the following year co-founded Skupina výtvarných umělců (Group of Creative Artists), a collective informed by Western European avant-garde art that promoted Czech Modern artists to an international audience. In 1914 he was invited by Herwarth Walden to exhibit with Der Sturm in Berlin, and returned to Paris where he met Picasso, Gris, the poet Apollinaire and the dealer Daniel-Henri Kahnweiler. During the War he served in the French Foreign Legion seeing action on the Somme, but was interned in a French prison camp near Avignon for two years. In 1920 he returned to Prague where he developed a more naturalist figurative style.
RONALD SEARLE (BRITISH 1920-2011) ⊕ EVOLUTION - SKETCH FOR LE MONDEsigned and dated Ronald Searle 2001 lower right; signed, titled and dated Ronald Searle Evolution (Le Monde: 3 Oct 2001 / first edition) lower leftpen and ink on paper47 x 33.5cm; 18 1/2x 13 1/4in75 x 57cm; 29 1/2 x 22 1/2in (framed)Property from a Private Collector, West LondonProvenanceChris Beetles Gallery, LondonAcquired from the above circa 2014A master of modern caricature, Ronald Searle's unique approach has had a tremendous influence on the work of other graphic artists. Since 1995, Searle has applied his sardonic trade to the coveted editorial page of the French daily newspaper Le Monde, for which the present lot is a preliminary sketch. The deceptive simplicity of his lines, shading and overexaggerated facial contortions produce arresting images that are rife with Searle's signature dark, satirical wit.
JOHN NASH (BRITISH 1893-1977) ⊕ LANDSCAPE UNDER SNOWsigned John Nash. lower leftwatercolour on paper52.5 x 36.5cm; 20 3/4 x 14 1/2in57 x 74cm; 22 1/2 x 29 1/4in (framed)Property from a Private Collector, West LondonProvenanceCommissioned from the artist by the grandfather of the present owner in the late 1950sExecuted in the 1950s, the current owner's grandfather commissioned Nash to paint the present subject after receiving a Christmas card from the artist of the view. Opening the Christmas missive he was immediately captured by the harmonious composition, the snow-capped trees, rolling hills blanketed by white powder and the mauve shadows cast across the landscape in the card, and asked Nash to develop the composition into a larger format. Nash duly obliged, scaling up the drawing and adding washes of watercolour to fully realise the image that has become a stand-alone depiction of an idyllic winter's morning.Four watercolours by John Nash from a Private Collection (lots 34-37) IntroductionPainter, wood engraver, lithographer and illustrator, Nash is best known much celebrated for his landscape paintings and observations of the natural world.As a boy he moved with his family from urban London to the Buckinghamshire countryside near Iver Heath, a village boasting a gentle terrain of rolling hills, acres of fields, and verdant trees which would inform his visual vocabulary for the rest of his life. Here Nash befriended fellow artist Claughton Pellew (1890-1966) who was to encourage his interests in watercolour and painting the natural world.Schooled at Wellington College, Berkshire, Nash was dissuaded from studying at art school by his brother Paul Nash (1889-1946) who was attending the Slade and found the rigid structure of formal training oppressive. Instead, John studied botany, an interest he had nurtured since childhood after winning a botany prize and subsequently calling himself an ‘artist plantsman’. During the First World War Nash served in the Artist's Rifles on the front lines, and although deterred from recording his experiences at the time, he began to materialise his experiences from memory when he returned to England in 1917. He was appointed an Official War Artist in 2018, the same year that he completed his oil Over the Top (Collection of the Imperial War Museum), of soldiers clambering from their trenches to engage with the enemy. That same year too Nash married Christine Kühlenthal whom he had met eighteenth months prior. Before he returned from the war, the couple pledged they would marry if he came back alive and, privately, that their shared life would be at once both intimate and free. In their ideal future, each might well have other ‘outside loves’ and their alliance was to be a convention-defying undertaking. Their wedding gave legal form to a relationship that would endure for fifty-eight years; a deep personal commitment, but not an acceptance of ties that bind.After the War Nash became the first art critic of the London Mercury magazine, held his first solo-exhibition at the Goupil Gallery in 1921, and associated with several small artistic circles including the London Group and the Cumberland Market Group in Camden. During the Second World War, Nash was again appointed a War Artist, this time serving as a Captain in the Royal Marines. After the War he and Christine moved to Essex. He joined the staff of the Royal College of Art, taught alongside Henry Collins, Cedric Morris, Lett Haines and Roderic Barrett at Colchester Art School and founded the Colchester Art Society of which he later became President.Throughout his married life his excursions into the countryside to work en plein air were frequently accompanied by his wife who would find suitable vistas. Nash would then make a sketch on the spot as the basis of a work that he would later complete in his studio. The support of the endlessly forbearing Christine would make possible a career of great richness spanning six decades. As John Rothenstein. art historian and Tate Director, recalled, half a haystack interested him as much as a mountain range, and half of his best works can be traced to locations within walking distance of his long-term homes in the Chilterns and the Stour Valley.
Middle East.- Bracebridge (Selina) Panoramic Sketch of Jerusalem Taken from the roof of the Governor's Palace, 16th December 1834, first edition, lithograph title and 5 plates, title heavily dust-soiled, plates creased and with some mostly marginal soiling, ledges slightly frayed, disbound but remnants of original stitching, [Blackmer 190; Bobins IV, 1302; Not in Abbey], oblong folio, Graf & Soret, 1834.*** A complete copy of this rare work, in need of some TLC. ‘Selina Bracebridge (née Mills) was a pupil of Samuel Prout; her husband was the Bracebridge celebrated in Washington Irving’s Bracebridge Hall. She and her husband travelled in the Levant in the mid-1830s [when this panorama was drawn in December 1833] and were settled for some years in Athens … In 1854 the Bracebridges were in the Crimea; Mr Bracebridge was Florence Nightingale’s uncle’ (Blackmer).
Thompson (Sir Henry) A Catalogue of Blue and White Porcelain forming the Collection of..., one of 220 copies, presentation copy from the author to his daughter with ink sketch of a vase on front free endpaper, half-title, 26 plates by J.M. Whistler and Thompson, gutta percha perished and many leaves loose, original decoartive cloth, gilt, t.e.g., others uncut, slightly rubbed, 4to, 1878.
![Exceptionally Rare Report on Dublin Bay, 1800 [Bligh, (Wm.), Pagte (Thos. Hyde), & Rennie (John) et al.] The Directors Ge](https://cdn.globalauctionplatform.com/549da13f-ed0e-4f30-b9f1-b22d00cc78d4/d3a6c56e-c7ea-4683-83e7-b23001035583/468x382.jpg)
Exceptionally Rare Report on Dublin Bay, 1800 [Bligh, (Wm.), Pagte (Thos. Hyde), & Rennie (John) et al.] The Directors General of Inland Navigation in Ireland, to whom in Pursuance of the Act of the 40th Year of his Majesty's Reign, the Improvement of the harbour of Dublin is committed, have caused the following Reports to be printed, with a Map annexed to each, upon which is delineated a Sketch of the Works proposed by the several Reports to be constructed for the Purpose. The Sketch will elucidate the Report, and give a general idea of the Design. With six folding maps each outlying in red the proposals from the engineers. Dublin 1801, folio pp. 84., cont. full tree calf, upr. joint cracked, spine worn, new mor. label. Very good copy of an extremely rare volume. * The most comprehensive report is that of Captain William Bligh of the 'Bounty' fame. He had great skill as a marine surveyor and hydrographer. The Inlaid Navigation Board secured his services to survey and sound the bay and river estuary. By December, 1800, in appalling weather, he had carried out the most extensive and accurate survey ever accomplished of Dublin Bay. Following on these reports the Directors general submitted their findings to the Lord Lieutenant, Hardwicke, in 1804. The proposals of Page, Rennie and Bligh were not accepted. The Board were seeking a long-term solution, saying: we must not limit our views to alterations of the Harbour calculated for ships of particular build or buthen, for particular times of tide or for particular winds.; The Great North Wall or the Bull Wall as outlined in this report by Captain Daniel Corneille was eventually chosen and constructed between 1819 and 1824. (1)
Manuscript: Smith (John Chaloner) A manuscript Notebook containing various engineering works from 1898-1901. It includes surveys for works such as the Polawaddy Road Bridge in Belmulet Union, and the Ring of Rath na Sonaid on Tara Hill (with a sketch), 8vo. In full mor., as a m/ss., w.a.f. With the author's bookplate. (1) * John Chaloner was an inspector in the O.P.W. and his expertise was in water levels (his research formed the basis of the Shannon Hydro Programme.)
Smith (W.S.) Historical Gleanings in Antrim and Neighbourhood, sm. 8vo, Belfast (A. Mayne & Boyd) 1888, First Edn., 154pps; Shanes Castle, A Sketch, Belfast 1881, First Edn., 22pps; also A Ramble: in Search of the Curious and Interesting, Belfast 1883, 29pp; Gossip about Lough Neagh, Belfast 1885, map, 55pps., bound together in full leather gilt text, ornate spine. As pamphlet.(1)
![Rare Survey Map of County Westmeath Irish Map: [County Westmeath] Larkin (William) A Survey of Westmeath with a Sketch](https://cdn.globalauctionplatform.com/549da13f-ed0e-4f30-b9f1-b22d00cc78d4/63574d68-3697-4f0e-a5d8-b2300101a0f7/468x382.jpg)
Rare Survey Map of County Westmeath Irish Map: [County Westmeath] Larkin (William) A Survey of Westmeath with a Sketch of the Adjacent Country, 4 parts (linen backed), L. (W. Faden, pub.) 1808, engd. cartouche, 139cms x 204cms (55" x 80 1/2"), in custom marble boards slipcase, mor. label. Scarce. (1)
1st Earl Amherst (William Pitt), four letters from Lord Amherst to Lady Amherst from Grosvenor Street, London to Hillsborough, Dublin; discussing the events at Waterloo, including the false news of Napoleon’s surrender, the death of Blucher, the fate of acquaintances Paolo Ruffo di Bagnaria, Prince of Castelcicala, Sir William Ponsonby and Frederick Howard, along with descriptions of other social engagements and news, letters date from 18th June, 20th June, 30th June, and 4th August 1815, all signed ‘A’; Countess Amherst (Sarah), two letters dated June 5th and June 6th 1826, addressed to lady Amherst, the first discussing the conclusion of the war with the Burmese, congratulations on the fall of Bhurtpore (Siege of Bharatpur), and how it was discussed at a dinner with the Duke of Wellington, with quotations relayed by her nephew who was in attendance, the second likely by Mary Jenkinson, Countess of Liverpool, the wife of Robert Jenkinson, 2nd Earl of Liverpool, who was the current prime minister; plus a sketch of the siege of ‘Burhtpoor.’; and 1st Earl Amherst (William Pitt) and Countess Amherst (Sarah), a large collection of letters between the married couple, and also in correspondence with friends and acquaintances, to include: Lady Palmerston, the Count de Menon, José Bonifácio de Andrada e Silva, Thomas Cooke, John Lows, Nathaniel Bristed, Duchess of Leeds, Countess of Plymouth, Lady Malmesbury, and more, in most cases Lady Amherst being the recipient with a number of letters in French, the collection dating mostly between 1790-1820.Note: William Pitt Amherst, first Earl Amherst of Arracan (1773-1857), His Majesty's Envoy to the Emperor of China, 1816.
The Iron Giant (1999) - Richard Bazley (lead animator) - Bazley's personally owned original 1999 VHS tape of the movie. Signed to both the cover and cassette tape itself - Bazley adding a sketch of The Giant to the cassette. Exclusive to this auction. Richard Bazley is an Emmy-nominated film director and a storyboard artist. Although now a Director of Live Action and animation, his background is in animation and his credits include Disney’s Pocahontas, Hercules, Tarzan and a lead animator and sequence director on the Warner Bros. film The Iron Giant which was released in 1999. Set during the Cold War in 1957, the film centers on a young boy named Hogarth Hughes, who discovers and befriends a giant alien robot. With the help of a beatnik artist named Dean McCoppin, Hogarth attempts to prevent the U.S. military and Kent Mansley, a paranoid federal agent, from finding and destroying the Giant.
The Iron Giant (1999) - an original A3 'mini-quad' poster of the BAFTA winning animated film 'The Iron Giant', signed and sketched by lead animator Richard Bazley, with a sketch of The Giant to the centre in white ink. A3. Signed exclusively for this auction. Richard Bazley is an Emmy-nominated film director and a storyboard artist. Although now a Director of Live Action and animation, his background is in animation and his credits include Disney’s Pocahontas, Hercules, Tarzan and a lead animator and sequence director on the Warner Bros. film The Iron Giant which was released in 1999. Set during the Cold War in 1957, the film centers on a young boy named Hogarth Hughes, who discovers and befriends a giant alien robot. With the help of a beatnik artist named Dean McCoppin, Hogarth attempts to prevent the U.S. military and Kent Mansley, a paranoid federal agent, from finding and destroying the Giant.
The Iron Giant (1999) - Richard Bazley - A Super7 Reflection made Iron Giant MOC carded action figure of The Giant. Signed by lead animator Richard Bazley in white ink to the front, including a sketch of The Giant. Sealed, as new. Measuring approximately 23cm x 15cm. Richard Bazley is an Emmy-nominated film director and a storyboard artist. Although now a Director of Live Action and animation, his background is in animation and his credits include Disney’s Pocahontas, Hercules, Tarzan and a lead animator and sequence director on the Warner Bros. film The Iron Giant which was released in 1999. Set during the Cold War in 1957, the film centers on a young boy named Hogarth Hughes, who discovers and befriends a giant alien robot. With the help of a beatnik artist named Dean McCoppin, Hogarth attempts to prevent the U.S. military and Kent Mansley, a paranoid federal agent, from finding and destroying the Giant.
A notebook of Titanic interest with poems and sketches, including an entry dated 14th April 1912 with a sketch of the Titanic, 16 x 10.2cmtogether with two blank White Star Line baggage labels,one listed 'wanted' the other 'Not wanted on voyage'15.5 x 12.3cm (2)Condition ReportWith handling creases to the pages, some cocking to some. Minor foxing. Some pages dogearred
ILLUSTRATED: James, Grace: Green Willow and other Japanese Fairy Tales. Macmillan, 1910, 1st. Edn. With 40 tipped-in colour plates. Gilt pictorial boards, little rubbed, VG; SIGNED LIMITED Edn: Donald McKay (ill): Mark Twain's The Adventures of Tom Sawyer, Random House, 1930, Limited edn. #21 of 2000 copies, Signed by McKay. Leather backed pictorial boards and slipcase. Vg; Sporting Pictures at Lavington Park - The Rt Hon Lord Woolavington. Privately Printed, 1927. Full vellum, with a typed letter, Signed from Lord Woolavington, dated March 12, 1928 and tipped-in to the front pastedown. PLUS: A typed letter, Signed from John Macdonald-Buchanan to Roy Heron, dated 23 Sept, 1997 (loosely inserted); newspaper cutting concerning Captain John Macdonald-Buchanan; etc; Stratton, Helen (ill); The Arabian Nights' Entertainments. Blackie, no date (1906) School prize label to front blank, dated. Folio, Pictorial boards; Phil May's Sketch-Book. 1895, 1st. Folio. Covers rubbed; Phil May's ABC. 1897, 1st. Folio. Pictorial boards, little rubbed; Gibson, C D: Our Neighbours. New York, 1905, 1st. Edn. Oblong folio. Original pictorial boards, tear and damp stain, o/w Good+; Yeats, John: N. W. 1: The Camden Town artists, a social history. 2007, Inscribed & Signed to Roy Heron. Wrappers, Fine; Edmund Dulac's Picture-Book for the French Red Cross. Hodder & Stoughton, (1915). 20 tipped-in plates (19 coloured). 4to. (2 copies); PLUS: Coloured mounted plate by Frank Adams; + Cecil Aldin: 20 colour plates from his: Zoo Babies. (Qty)
Cecil ALDIN (ill): Byron, May: Cecil Aldin's Merry Party. Tabitha's Tea Party. Henry Frowde, no date (1921)? 1st. Edn. With five colour plates, including a double-page one. Pictorial boards, rubbed and spine chipped with loss; Just Among Friends, Pages from My Sketch Books. New York, Charles Scribner's sons, 1934, 1st. Edn. 4to. DW. Very Good+; La Journee d'un chien. 1903, 1st. French edition, With 28 Colour Plates. Folio, Good+; Dogs of Character. Eyre & Spottiswoode, 1927, 1st. Edn. DW. 4to. Very Good+; An Artist's Models. Witherby, 1930, 1st. Edn; Dogs of Every Day. Eyre & Spottiswoode, 1933, 1st. Edn. 4to. Cover rubbed. (6)
WWI Medals - pair awarded to Lieutenant Hubert William John Edwardes of the Machine Gun Corps. Comprising War Medal (LIEUT. W. J. EDWARDES) and Victory Medal (ditto), with ribbons. Supplied with a large folder of research which includes typed life history, copied service documents, London Gazette copied pages, a sketch of Edwardes, and some history on his brother.
WWI Medal - War Medal issued to one Lieutenant George Cliffe Hatch of the Royal Navy. Died 2nd August 1918, whilst serving on HMS Vehement, as the vessel struck a mine during the Battle Of Heligoland Bight. Officially impressed LIEUT. G. C. HATCH R.N, with ribbon. Supplied with some research including a copied sketch of the sinking, copied service records, war graves details, etc.
EGERTON, WILBRAHAM: AN ILLUSTRATED HANDBOOK OF INDIAN ARMS BEING A CLASSIFIED AND DESCRIPTIVE CATALOGUE OF THE ARMS EXHIBITED AT THE INDIA MUSEUM: WITH AN INTRODUCTORY SKETCH OF THE MILITARY HISTORY OF INDIA William H. Allen, London 1880, 162 pages, 15 black and white plates with 33 in-text illustrations, covers detached; together with Robinson, Russell, Oriental Armour (Arms and Armour Series), Herbert Jenkins, 1967; and Reid, William, Historia de las Armas (3 volumes) Provenance From the library of William 'Bill' Reid, CBE (1926-2014)
Andy Warhol 1928 Pittsburgh - 1987 New York Goethe. 1982. Bleistiftzeichnung. Verso mit dem Nachlassstempel und der handschriftlichen Nummerierung '115.145' sowie der handschriftlichen Bezeichnung 'VF'. Auf festem Zeichenpapier (mit Wasserzeichen 'HMP'). 75,5 x 102,5 cm (29,7 x 40,3 in), Blattgröße. Warhols Pop-Art-Porträts wurden vom 9. Juni bis zum 6. Oktober dieses Jahres mit einer umfassenden Ausstellung in der Neuen Nationalgalerie, Berlin, gefeiert. [CH]. • Der Star der amerikanischen Pop-Art porträtiert eine Ikone der Weltliteratur. • Die Porträts verschiedenster Berühmtheiten gehören zu den bekanntesten Werken Andy Warhols und durchziehen sein gesamtes künstlerisches Schaffen. • Als Vorlage dient Warhol hier das von J. H. W. Tischbein 1787 geschaffene Porträt des weltbekannten Dichters im Städel Museum, das er während eines Frankfurt-Besuchs im Jahr 1980 kennenlernt. • Warhol übersetzt das Motiv mit klarer und kräftiger Linienführung in eine beinahe lebensgroße Zeichnung. • Bewusst, statt spontan: Die Zeichnung trägt nicht die Flüchtigkeit einer schnell dahingeworfenen Skizze in sich, sondern eine intensive Auseinandersetzung mit Warhols individuellen künstlerischen Ideen. • Das Motiv verarbeitet er später in großformatigen Darstellungen auf Leinwand und eine berühmte Folge von Serigrafien. • 2019 zeigt die New York Academy of Art unter dem Titel 'Andy Warhol: By Hand' eine Ausstellung seiner Zeichnungen und verhilft dem Medium damit zu neuer Aufmerksamkeit. PROVENIENZ: Nachlass des Künstlers (verso mit dem Nachlassstempel). Privatsammlung Deutschland. Vom heutigen Eigentümer vom Vorgenannten erworben. LITERATUR: Jörg Schellmann (Hrsg.), Andy Warhol. Unique, München 2014, S. 64 (m. ganzs. Abb.). Aufrufzeit: 07.12.2024 - ca. 17.22 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONAndy Warhol 1928 Pittsburgh - 1987 New York Goethe. 1982. Pencil drawing. With the estate stamp and the handwritten number “115.145”, as well as with the handwritten inscription “VF” on the reverse. On firm paper (with watermark 'HMP'). 75.5 x 102.5 cm (29.7 x 40.3 in), size of sheet. From June 9 to October 6 this year, a major exhibition at the Neue Nationalgalerie in Berlin celebrated Warhol's Pop Art portraits. [CH]. • The star of American Pop Art portrays an icon of world literature. • His portraits of celebrities are among Andy Warhol's most famous works. • Warhol based the present portrait on J. H. W. Tischbein's 1787 painting on display at the Städel Museum. He became acquainted with the painting on a visit to Frankfurt in 1980. • Warhol rendered the motif with clear, bold lines in an almost life-size drawing. • Intentional rather than spontaneous: The drawing does not have the fleeting quality of a swiftly jotted sketch. Instead, it results from an intensive examination of Warhol's artistic ideas. • He would later work with the motif in large-format depictions on canvas and a famous series of serigraphs. • In 2019, the New York Academy of Art presented an exhibition of his drawings entitled “Andy Warhol: By Hand,” which drew increased attention to the medium. PROVENANCE: From the artist's estate (with estate stamp on the reverse). Private collection, Germany. Acquired from the above by the current owner. LITERATURE: Jörg Schellmann (ed.), Andy Warhol. Unique, Munich 2014, p. 64 (illustrated). Called up: December 7, 2024 - ca. 17.22 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.
Ernst Ludwig Kirchner 1880 Aschaffenburg - 1938 Davos Drei Frauenakte. Um 1915. Tuschfeder über Bleistift. Verso mit dem Nachlassstempel des Kunstmuseums Basel (Lugt 1570 b) und der handschriftlichen Nummerierung 'F Be / Bg 20'. Auf chamoisfarbenem Velin. 49,5 x 36,8 cm (19,4 x 14,4 in), blattgroß. Verso mit der Bleistiftskizze einer liegenden weiblichen Figur mit daneben sitzender männlicher Figur: 'Sitzende und liegende Figurenstudie', um 1914 (vgl. das Gemälde 'Zwei Freunde im Gespräch', 1914, Buchheim Museum, Bernried). Die Kopfbedeckung des Aktes erinnert zudem an die fotografisch festgehaltene illustre Szene mit Werner Gothein, Erna Schilling, Gerda Schilling (?) und Hugo Biallowons in Kirchners Atelier in der Körnerstraße 45 in Berlin (vgl. Roland Scotti, Ernst Ludwig Kirchner. Das fotografische Werk, Berlin 2005, Kat.-Nr. 71). [CH]. • Aus der gesuchten Berliner Schaffenszeit. • Die Darstellung des Menschen und insbesondere den Akt bezeichnen die 'Brücke'-Künstler als 'die Grundlage aller bildenden Kunst'. • Mit dynamischer Linienführung vermittelt der Künstler die Unmittelbarkeit dieser Atelierszene. • Verso findet sich eine in lebendigem Strich komponierte Bleistiftskizze einer liegenden weiblichen Figur mit Hut und daneben sitzender männlicher Figur. • Im darauffolgenden Jahr entsteht das motivisch eng verwandte Gemälde 'Der Tanz zwischen den Frauen' (1915, Pinakothek der Moderne, Bayerische Staatsgemäldesammlungen, München) mit nahezu schwarzem Hintergrund. • Zu dieser Zeit entstehen auch seine heute berühmtesten Gemälde, die Berliner 'Straßenszenen' (1913–1915), in denen Kirchner mit ähnlicher Figurendichte das dichte Treiben der modernen Großstadt widerspiegelt. Das vorliegende Werk ist im Ernst Ludwig Kirchner Archiv, Wichtrach/Bern, dokumentiert. PROVENIENZ: Nachlass des Künstlers (Davos 1938, Kunstmuseum Basel 1946). Stuttgarter Kunstkabinett Roman Norbert Ketterer, Stuttgart (1954). Galerie Meta Nierendorf, Berlin (1966). Sammlung Berman, Allentown (wohl 1986 erworben, Christie's, London). Gagosian Gallery, New York (auf der Rahmenrückpappe m. d. Galerieetikett). Sammlung Schweiz. AUSSTELLUNG: Ernst Ludwig Kirchner. Aquarelle, Pastelle, Handzeichnungen, Galerie Meta Nierendorf, Berlin, 1961/62, S. 30, Kat.-Nr. 151 (m. Abb.). Fixsterne. 100 Jahre Kunst auf Papier. Adolph Menzel bis Kiki Smith, Stiftung Schleswig-Holsteinische Landesmuseen, Schloss Gottorf, 31.5.-20.9.2009, S. 37 (m. ganzs. Abb., auf d. Rahmenrückpappe m. d. Ausstellungsetikett). Painting Still Alive. On the Way to Modernity, Centre of Contemporary Art, Torun (Polen), 11.11.2018-13.1.2019, S. 132 (m. ganzs. Abb.). LITERATUR: Christie's, London, Impressionist and Modern Watercolors and Drawings. Modern Paintings, Drawings and Sculpture, 2.12.1986, Los 250 (m. Abb.). Aufrufzeit: 07.12.2024 - ca. 14.22 h +/- 20 Min. Dieses Objekt wird differenzbesteuert, zuzüglich einer Einfuhrumsatzabgabe in Höhe von 7 % (Ersparnis von etwa 5 % im Vergleich zur Regelbesteuerung) oder regelbesteuert angeboten (N).ENGLISH VERSIONErnst Ludwig Kirchner 1880 Aschaffenburg - 1938 Davos Drei Frauenakte. Um 1915. Pen and India ink over pencil. With the estate stamp of the Kunstmuseum Basel (Lugt 1570 b) and the handwritten number “F Be / Bg 20” on the reverse. On creme wove paper. 49.5 x 36.8 cm (19.4 x 14.4 in), the full sheet. With a pencil sketch of a reclining female figure with a seated male figure next to her on the reverse. The nude's headdress is reminiscent of a photo of an illustrious scene with Werner Gothein, Erna Schilling, Gerda Schilling (?) and Hugo Biallowons in Kirchner's studio at Körnerstraße 45 in Berlin (see Roland Scotti, Ernst Ludwig Kirchner. Das fotografische Werk, Berlin 2005, cat. no. 71). [CH]. • From the sought-after Berlin period of creation. • The “Brücke” artists describe the representation of the human being, and in particular the nude, as “the essence of all visual art”. • With dynamic lines, the artist conveys the immediacy of this studio scene. • With a vibrant pencil sketch of a reclining female figure wearing a hat and a seated male figure on the reverse. • The following year, he painted the very similar “Der Tanz zwischen den Frauen” (Dance between Women) (1915, Pinakothek der Moderne, Bavarian State Painting Collections, Munich). • At this time, he also created his most celebrated paintings, the Berlin “Street Scenes” (1913-1915), in which Kirchner reflects the hustle and bustle of the modern city with a similar density of figures. PROVENANCE: From the artist's estate (Davos 1938, Kunstmuseum Basel 1946). Stuttgarter Kunstkabinetzt Roman Norbert Ketterer, Stuttgart (1954). Galerie Meta Nierendorf, Berlin.(1966). Berman Collection, Allentown (presumably acquired in 1986, Christie's, London) Gagosian Gallery, New York (with the gallery label on the back of the frame). From a Swiss collection. EXHIBITION: Ernst Ludwig Kirchner. Aquarelle, Pastelle, Handzeichnungen, Galerie Meta Nierendorf, Berlin, 1961/62, p. 30, cat. no. 151. Fixsterne. 100 Jahre Kunst auf Papier. Adolph Menzel bis Kiki Smith, Stiftung Schleswig-Holsteinische Landesmuseen, Schloss Gottorf, May 31 - September 20, 2009, p. 37 (with full-page ill., with the exhibition label on the back of the frame). Painting Still Alive. On the Way to Modernity, Center for Contemporary Art, Torun (Poland), November 11, 2018 - January 13, 2019, p. 132 (with full-page ill.). LITERATURE: Christie's, London, Impressionist and Modern Watercolors and Drawings. Modern Paintings, Drawings and Sculpture, December 2, 1986, lot 250 (illu.). Called up: December 7, 2024 - ca. 14.22 h +/- 20 min. This lot can be subjected to differential taxation plus a 7% import tax levy (saving approx. 5 % compared to regular taxation) or regular taxation (N).
Franz von Lenbach 1836 Schrobenhausen - 1904 München Gabriele Lenbach im Grase knieend. Um 1902/03. Öl auf Malpappe. Verso mit dem von Lolo von Lenbach signierten, nummerierten und betitelten Nachlassstempel vom 19. Februar 1937. 77 x 57 cm (30,3 x 22,4 in). Verso mit der Skizze einer Frauenfigur. • Intime und gelöste Darstellung der jüngsten Tochter Franz von Lenbachs. • Hier zeigt sich Lenbachs eigener Porträtstil, der die persönliche Individualität in den Vordergrund stellt. • Mit seinen Porträts steigt der Künstler zum Malerfürsten der Münchner Gesellschaft des späten 19. Jahrhunderts auf. • Seit drei Generationen in Familienbesitz. PROVENIENZ: Privatsammlung Hessen (seit drei Generationen in Familienbesitz). Aufrufzeit: 07.12.2024 - ca. 13.28 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONFranz von Lenbach 1836 Schrobenhausen - 1904 München Gabriele Lenbach im Grase knieend. Um 1902/03. Oil on cardboard. With the estate stamp on the reverse, signed, numbered and titled by Lolo von Lenbach on February 19, 1937. 77 x 57 cm (30.3 x 22.4 in). With a sketch of a female figure on the reverse. • Intimate and casual portrayal of Lenbach's youngest daughter. • This painting showcases Lenbach's portrait style, which focuses on the sitter's individuality. • With his portraits, the artist became Munich society's “painter prince” in the late 19th century. • Family-owned for three generations. PROVENANCE: Private collection, Hesse (family-owned for three generations). Called up: December 7, 2024 - ca. 13.28 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.
Deutsche Nachkriegsmoderne Norbert Prangenberg (1949 Rommerskirchen - 2012 Krefeld)o.T. 1989. Mischtechnik mit Aquarell über Bleistift auf leichtem Velin. 29,5 x 41,5 cm. Verso signiert, datiert und ortsbezeichnet sowie weiterer, skizzenartiger Zeichnung. - Technikbedingt leicht gewellt, insgesamt gut erhalten. Die Farben frisch. Mixed media with watercolour over pencil on light wove paper. Signed, dated and localized on verso, here also with further sketch-like drawing. - Slightly wavy due to technique, overall well preserved. The colours appearing fresh and luminous.
Surrealismus - - Mac Zimmermann. (1912 Stettin - 1995 Hart bei München). Sammlung von 12 Arbeiten mit Darstellungen von Theaterfigurinen und Bühnenbildentwürfen. Vermutl. 1950er- 1970er Jahre. Je Mischtechnik, mit Gouache, teils collagiert, Kugelschreiber, u.a. Maße von 23,5 x 33 cm bis 16,5 x 12,5 cm. Zwei Arbeiten signiert und datiert. Teils auf Unterlage montiert. - Die Arbeiten mit entwurfhaftem Charakter, teils mit Anmerkungen, kl. Einstichlöchlein oder leicht unregelmäßig beschnitten sowie punktuell atelierspurig. Insgesamt sehr gut. Gehaltvolle Sammlung an Arbeiten aus dem bühnenbildnerischen Schaffen des Künstlers, die Farben teils leuchtend. Mac Zimmermann, ein deutscher Grafiker, Maler und Bühnenbildner. Seine Werke zeichnen sich durch meist durch eine komplex arrangierte, surrealistische Atmosphäre aus. In seinen Bühnenbildentwürfen arbeitete der Künstler mit verzerrten Formen, lebhaften Farben und unkonventionellen Materialien und schuf hierdurch einen ästhetischen Ausdruck, welcher die Fähigkeit besaß, das Publikum bei Betrachtung in eine andere Realität zu entführen. Durch die Kombination von alltäglichen und fantastischen Motiven fordert er eine Reflexion über die Wahrnehmung der Wirklichkeit und die Absurdität des menschlichen Daseins. In Zimmermanns Arbeiten wird der Zuschauer eingeladen, die Grenzen zwischen Traum und Wirklichkeit zu hinterfragen, was seine Bühnenbilder zu einem faszinierenden Erlebnis macht. Collection of 12 works with depictions of theatre figures and stage designs. Presumably 1950s-1970s. Each mixed media, with gouache, partly collaged, ballpoint pen, a.o. Two works signed and dated. Partly mounted to card. - The works with a sketch-like character, some with annotations, small pinholes or slightly irregularly trimmed as well as studio marks in places. Very good overall. Rich collection of works from the artist's stage design oeuvre, the colours partly vibrant. - Mac Zimmermann, was a German graphic artist, painter and stage designer. His works are usually characterised by a complexly arranged, surrealistic atmosphere. In his stage designs, the artist worked with distorted shapes, vivid colours and unconventional materials, creating an aesthetic expression that had the ability to whisk the audience away into another reality. By combining everyday and fantastic motifs, he encourages reflection on the perception of reality and the absurdity of human existence. In Zimmermann's works, the viewer is invited to question the boundaries between dream and reality, which makes his stage and costume designs a fascinating experience.
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