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Lot 330
PALVIN BARBARA: (1993- ) Hungarian Model. A Victoria´s Secret Angel. Signed colour 8 x 10.5 photograph by Palvin, the image showing the top model standing in a sensual half nude full length artistic pose. Signed in bold blue ink `Barbara´ to a clear area of the image adding a heart sketch immediately beneath her signature. EX £100-120
Lot 337
VODIANOVA NATALIA: (1982- ) Also known as Supernova. Russian Model and Philanthropist. Signed 8 x 10 photograph by Supernova, the image depicting the Russian model standing nude in a sensual three quarter length pose. Signed in bold black ink across the image, adding above her signature a sketch. VG £100-150
Lot 427
GAULTIER JEAN PAUL: (1952- ) French Haute Couture Fashion Designer. Signed colour 8 x 10 photograph by Gaultier, the image depicting the French artist standing in a profile pose and wearing an artistic and spectacular hat. Gaultier also adds a sketch above the signature in his hand. A large bold black ink signature beneath a face sketch to a clear area of the image. VG £80-100
Lot 434
MADAME SANS-GÊNE: (1753-1835) Catherine Lefebvre, born Catherine Hübscher, Duchess of Dantzig. Wife of French Marshal François Joseph Lefebvre. Best known by her nickname of “Madame Sans-Gêne” attributed to her by the dramatist Victorien Sardou. An excellent set of documents including a rare D.S., `Duchess de Dantzig´, at the base of the letter and beneath an annotation in her hand `A voucher as receipt´, one page, 4to, Paris, 4th October 1822, in French. The Duchess acknowledges having received 4000 Fcs from M. Malraison as payment of the interest on the 150.000 Fcs loan she gave him. With tax stamps. Matted in beige, framed in wood and glazed to an overall of 10 x 12,5. Together with François Joseph Lefebvre (1755-1820) French Marshal of Napoleon. Duc of Dantzig. D.S., Lefebvre, with one line annotation in his hand, one page, folio, Germany, 11th November 1796, on the printed stationery of the 11th regiment of dragons. Lefebvre in his capacity as General approves the report received from Captain Georges Collot about the troops position. Countersigned by Joseph Bouvier des Eclaz. Also including an A.L, by Marshal Lefebvre, in the third person, one page, 8vo, n.p., 26th January, n.y., to General Foy, stating `Marshal Duc of Dantzig asks Lieutenant Foy to kindly attend dinner with at home..´ With blank address leaf. Also including Jacques Faizant (1918-2006) French Cartoonist, best known for his caricatures in the newspaper Le Figaro and Match Point magazine. A colourful signed original sketch, Jacques Faizant, 13 x 10 drawing paper, the original ink drawing showing the Duc and Duchesse of Dantzig, dressing with their gala uniform and dress. Faizant has added Madame Sans-Gêne funny comment, in pencil, `And first of all, even if you are a Marshal, you have to take off your cap when you talk to your lady!´. Also including Jane Sourza (1902-1969) French Actress. Signed programme, 24 pages, 8vo, 19th October 1959, being the Victorien Sardou´s comedy Madame Sans-Gêne, with Sourza playing the main role, and signing alongside her photograph. Accompanied by original entrance tickets for the performance. Also including Victorien Sardou (1831-1909) French Playwright and Author of the historical comedy Madame Sans-Gêne (1893). A.L.S., V. Sardou, on a his personal printed stationery 4.5 x 3.5 card. Also including Gloria Swanson (1899-1983) American Actress. A good signed and inscribed 10 x 8 photograph `To Peter, Greeting, Gloria Swanson´, the image depicting Swanson in a scene of Madame Sans-Gêne (1925). G to VG, 8 £500-800Joseph Bouvier des Eclaz (1757-1830) French General of Cavalry. The present sketch by Faizant was published by Jour de France the 21st December 1996.
Lot 452
MATISSE HENRI: (1869-1954) French Artist and renowned Painter. A leading figure in modern Art. An excellent A.L.S., `H Matisse', with drawing, one page, 4to, n.p., n.d. [1949-50], [to his son?], in French. The letter bears at the heading a sketch in Matisse´s hand, depicting a child face with a crown on his head, and states in part `Happy father and mother of this beautiful child! Thank you for thinking in showing to us this masterpiece.. All goes well here, good health, the chapel goes well too..´ and further concluding `I give up wanting to understand people…´ Written and drawn in bold blue ink by Matisse, an attractive document with sketch. About EX £4000-6000The present letter is probably written to his son Pierre Matisse (1900-1989) and refers to one of Matisse´s grandchildren. The chapel Matisse refers to is the Chapelle du Rosaire at Vence, a village between Nice and Antibes in the south of France. He worked on the chapel project using the cut-out method from 1948 to 1951. Matisse was diagnosed with abdominal cancer in 1941 and surgery left him chair and bed bound. Painting and sculpture became almost impossible physical challenges which made him turn to creating cut paper collages and decoupages with the help of assistants. His closest collaborator was Monique Bourgeois, a student nurse who helped Matisse after his surgery, also his model, who became a nun in 1946, and the reason of this chapel work by Matisse. Bourgeois joined Matisse in Vence and helped him to achieve his chapel painting project.
Lot 474
HERGÉ: (1907-1983) Georges Prosper Remi. Belgian Cartoonist. Best known for creating the series of comics The Adventures of Tintin. T.L.S., Hergé, one page, folio, Brussels, 27th October 1976, on the "Studios Hergé" printed stationery, to J.R. Paques, in French. The letter bears at the heading an attractive embossed sketch of Tintin and his dog Milou alongside the company name. Hergé thanks his correspondent for his kind letter and his enthusiastic words for the Tintin magazine and for the film Moi, Tintin (1976). Accompanied by the original printed stationery envelope. EX £600-900
Lot 476
FAIZANT JACQUES: (1918-2006) French Cartoonist, best known for his caricatures in the newspaper Le Figaro and Match Point magazine. A colourful signed original sketch, Jacques Faizant, folio, drawing paper, the original ink drawing showing a Painter working on the outside building walls while he watches the inside of a bathroom where a tanned naked woman has a bath. Faizant has added the painter´s funny comments, in pencil, `Ah!.. I can see that you enjoyed a good weather.´ The sketch was published at the end of summer holidays. VG £300-400The present sketch was published by Jour de France the 6th September 1976.
Lot 477
FAIZANT JACQUES: (1918-2006) French Cartoonist, best known for his caricatures in the newspaper Le Figaro and Match Point magazine. A good signed original colour sketch, Jacques Faizant, folio, drawing paper, the original ink drawing showing Jacques Chirac and Raymond Barre jumping from an airplane. Faizant has added above the personages the funny comments `First arriving..´ says Chirac and Barre responds `..is the one who opens the parachute the last! I was going to say so!´ The sketch was edited at the time of the 1988 Presidential struggle. VG £300-400The present sketch was published by Jour de France the 19th March 1988.
Lot 478
QUINO: (1932- ) Joaquin Salvador Lavado. Argentine Cartoonist. Best known for his worldwide comics trip Mafalda. Signed and inscribed oblong 8vo comic, `Quino´, the ninety six pages comic is the Mafalda number 4. Cleanly and boldly signed to the front free endpaper, Quino adding a sketch of Guille, Mafalda´s brother, also adding the year 1991 in his hand. EX £80-100
Lot 521
CAMPBELL ROY: (1901-1957) His name being Ignatius Royston Dunnachie Campbell. South African Poet. A controversial figure, widely considered one of the best poets of the 20´s and 30´s. An excellent signed black ink drawing with annotation, `Roy Campbell´, twice, oblong 4to, the attractive drawing being a Bullfighting scene, showing a bullfighter horse rider confronting the bull, the whole beneath a bull head sketch. Signed in bold black ink `By Roy Campbell, with drawings by Roy & Teresa Campbell´. Annotated at the base of the page `Dear Poet, Forgive me, I forgot to add the autobiographic information on the other envelope.´ Framed in wood and glazed to an overall size of 12 x 9 (30 x 23 cm). VG £200-300 It has often been suggested by critics and his own daughters that his support for Franco´s Nationalists during the Spanish Civil War caused him to be blacklisted from modern poetry anthologies.
Lot 33
JOSEPH MALLORD WILLIAM TURNER (1775-1851) "Tancarville", a coastal landscape with town in the background, figures in the foreground, watercolour heightened with white, unsigned, inscribed verso and discussed in a letter dated 19th February 1951 to Mr Humphrey Neame, signed by Gerald Agnew, 14 cm x 16.5 cm CONDITION REPORTS The piece appears to have been cut from a sketch book with edges in places trimmed, though down the left hand side rather roughly, then glued down onto card. It appears this removal and gluing down happened some time ago judging from the newspaper beneath the tape to the edging verso and the discolouration to the card. Condition - the image itself appears to be in good order apart from the edging has no apparent major damage or discolouration, certainly not visible to the naked eye. Provenance: from a local private source, the piece bought by the Vendor's father, Humphrey Neame, a prominent eye surgeon of Harley Street at the time, some time prior to 19th February 1951, from a gallery (unspecified) as a Turner sketch, submitted to Gerald Agnew prior to 19th February 1951 for inspection, a copy of his letter/thoughts dated 19th Feburary 1951 attached. The piece was subsequently in the 1980's inspected by Sotheby's and more latterly by another major London Auction Room who felt that the work was a study for a finished watercolour in the British Museum, there being two "colour beginnings" in the Turner bequest for Tancarville and felt that this was likely to be one of those. Having inspected many examples of similar sketches/works, particularly that of "Margate Setting Sun 1806/7" ex Finberg in the Tate collection, we would concur with these findings as the treatment/brush strokes and colours appear to be replicated in several other works, not only of Tancarville but others too - see images for further details
Lot 154
Peter Sellers / The Pink Panther, original life plaster cast of Peter Sellers' face - masks were made from the cast and appeared in the 1982 film 'The Trail Of The Pink Panther'; from Peter Mullins, production designer on the film, plus the original ink sketch of 'The Pig Farm' from the 1993 film 'Son of The Pink Panther', signed and date 1992 Peter Mullins, production designer on the film, sold with two prints with the same image
Lot 96
George Campbell RHA (1917-1979)Farmers at Bus Stop, RhondaOil on board, 75 x 62.5cm (29½ x 24½'')Signed; signed again and inscribed with title Exhibited: ‘George Campbell, Directions’ the Gallery 22, November, 1978, Cat No. 2 Attracted to Andalucía’s warm climate and low cost of living, Campbell annually traveled to Spain where he frequented Malaga’s La Buena Sombra, a large Inn where locals gathered to discuss literature, music and art. During his visits, Campbell liked to walk around the city making sketches of the people going about their daily lives, singing, dancing, shopping, selling tickets or waiting for trains and buses. Campbell first visited Ronda in the 1950s and returned to the prehistoric city in the 1960s and 70s to seek out subject matter. ‘Farmers at Bus Stop, Ronda’ was probably executed from a sketch when he traveled to the city in the late 1970s. The exhibition at The Gallery 22 in November, 1978 was to be Campbell’s last solo show in Dublin. Months earlier Campbell had contributed to the group exhibition with friends, Arthur Armstrong and Richard Kingston at the newly opened gallery by the Minister for Health, Charles J Haughey. In the mid 1970s Campbell introduced a new softness into his work. Gentle fluent strokes replaced abstract shapes. Colour continued to suggest mood, but an element of mystery emerged from his subjects by changing how he handled paint. Ruined buildings, landscapes in Connemara and figurative paintings were stripped back and forms emerged with less detail. The posture of the men leaning against a wall and the single man standing are central to this work. Commenting on Campbell’s final works, Arthur Armstrong stated that Campbell enjoyed breaking down his paintings into ‘little bits of pure magic.’ (George Campbell RHA, A Tribute, RTE, 1979)By 1978, Campbell enjoyed the status of being a celebrity in Spain and Ireland from media appearances. Wishing for a quieter life, he purchased land in Laragh, Co. Wicklow with a view to spending longer periods away from the city of Dublin. For the first time since the early 1950s George and Madge Campbell did not go to Andalucía for the winter months. With their new house in Laragh almost finished, they went on a three-week holiday instead around the North of Spain. Speaking to a writer during the exhibition, George commented on his life as a painter ‘Well I have always regarded myself as a worker painter…. I don’t see painting as a kind of thing apart. It is part of my life, part of my whole fabric part of breathing and reading and eating and sleeping and walking and moving…’ (The Irish Times, 10/11/78, pg.10) Six months later, George Campbell died suddenly from a brain hemorrhage and was buried in Laragh, on a quiet tree-lined hill overlooking Glendalough.Karen ReihillOctober, 2017
Lot 128
STUDIO OF FRANCOIS BOUCHER (FRENCH 1703 - 1770),YOUNG COUNTRY GIRL DANCINGblack, red and white chalk on greyish-buff50.5cm x 36cmFramed and under glassLabel verso: John Mathieson, EdinburghNote: The 'original' image, now in the collection of the Ontario Gallery of Art, is the same height as this example, but is 6.5cm narrower and appears to have been trimmed. As a result, this one is better proportioned, but is "coarser" in its drawing, again indicating the hand of a student. The original spine fold of the sketch book from which it has been removed now appears as a horizontal crease. Boucher's pupils at the time of the creation of this image included David and Fragonard.
Lot 29
SIR THOMAS LAWRENCE P.R.A. (BRITISH, 1769-1830) PORTRAIT STUDY OF A GENTLEMAN Pencil, pen and ink and sepia wash on paper 11.5cm x 8cm (4.5in x 3in) Provenance: Spink and Sons, London. From a sketch book of 100 drawings, four of which were studies for Royal portraits at windsor and were sold to the Royal Collection
Lot 4097
Local Interest - Kirke White (Henry, of Nottingham), Clifton Grove, A Sketch In Verse, With Other Poems, Dedicated (by Permission) to Her Grace the Duchess of Devonshire, first edition, N. Biggs [...], London 1803, xiv, 102pp, later 19th century quarter-black morocco and marbled boards, gilt-embossed title to spine within two raised and beeded bands, contemporaneous ink MS owner's inscription to title-page Margaret Elizabeth Ev**y Nov 23 1808, 16mo
Lot 301
Ω A Regency rosewood and satinwood banded library table, circa 1815, attributed to Gillows, the rectangular top with a shallow frieze and inverted corners, above twin trestle uprights decorated with crossbanding and on downswept sabre legs terminating in lappet cast gilt metal caps and casters, 75cm high, 110cm wide, 60cm deepProvenance: Rockbeare Manor, Exeter, DevonThis table can be attributed to Gillows of London and Lancaster who made particular use of the downswept end-supports on many of their tables. A related calamander-banded writing-table by Gillows, has similar ends filled with spindles and relates to a sketch dated 1818 in their Estimate Sketch Books, number 2079 (G. Wills, Craftsmen and Cabinet-Makers of Classic English Furniture, Edinburgh, 1974, pp. 117-118, figs. 108-109). A closely related calamander sofa table attributed to Gillows, from Castle Hyde, Fermoy, Co. Cork, was sold anonymously, in these Rooms, 8 July 1993, lot 99. The distinctive oak leaf cast castors are a design know to have been used by Gillows. Cites Regulations Please note that this lot (lots marked with the symbol Ω in the printed catalogue) may be subject to CITES regulations when exported from the EU. The CITES regulations may be found at www.defra.gov.uk/ahvla-en/imports-exports/cites
Lot 860
Edward Julius Detmold (British 1883-1957)/Strawberries/watercolour, 14cm x 21cm/a pencil sketch of budgerigars attributed to the same and another still life depicting flowers Condition Report: In good condition, they are both mounted, glazed and framed.ARR Artist's Resale Right may apply to the sale of this lot. For further information please ask Chorley's or visit www.dacs.org.uk
Lot 1375
18th century pencil sketch after Guircino - bearded figure and child, dated 1782, 18th century male nude study, John Hayter chalk drawing depicting three figures at a piano, 19th century pen and ink sketch of a nude archer, study of a nun and one other pencil sketch of a man (6) CONDITION REPORT The image of the bearded man and child has some water damage on the right hand side and some marks to the paper, the other images are in good condition
Lot 50
SIR WILLIAM HAMILTON (1730-1803) BritishAn 18th century pencil sketch and foot notes relating to building excavations of Pompeii, sent to the Society of Antiquaries, dated 1775.Note: Sir William Hamilton served as British Ambassador in Naples (1764-1800) and his second wife, Lady Emma Hamilton, was famously known as the mistress of Lord Nelson. CONDITION REPORTS: Generally good condition with expected wear, further pencil sketching to the reverse
Lot 148
A Boyar cape, possibly for the character Igor-Svyatoslavich-the-Brave, designed by Nicholas Roerich for Diaghilev's 1914 production of 'Prince Igor', stamped to the interior, 'Property of Sir Joseph Beecham' and also handwritten 'Prince Igor, Boyars, Sketch 4, Russell', numbered 268, of ochre linen painted with linked patterned roundels, adorned with pearl beads, and domed beaten metal discs, brass clasp, edged in brown stencilled velvet and lined in pink cotton stencilled with black undulating bands, roundels and stripesSerge Diaghilev's Prince Igor was premiered in Paris in 1909, with Feador Chaliapin in the role of Galitsky and costumes designed by Nicholas Roerich. The impresario Gabriel Astruc who had backed this production over-stretched himself by building the new Theatre de Champs Elysees and went bankrupt. In 1910 Sir Joseph Beecham (the pharmaceutical giant and father of renowned conductor - Thomas) came to Diaghilev's aid by sponsoring a season in London's Drury Lane theatre, but as he was more interested in opera than ballet it was agreed that in addition to the ballets that Diaghilev would produce four operas - one of which was 'Prince Igor'. With this new funding Diaghilev was able to transport from Russia the small army of orchestra, chorus and soloists required for his lavish opera productions. He staged highly successful annual opera seasons at London's Drury Lane Theatre and the Victoria & Albert Museum holds posters for productions of 'Prince Igor's' Polovtsian dances on March 1st and June 22nd 1913 with principal dancers Mme. Sophie Fedorova and M. Adolf Bolm. In 1914 Diaghilev reprised the full Paris opera production in four acts with prologue with conductor Thomas Beecham, starring Chaliapin who was paid £400 a night (a fortune at the time) in the role of Vladimir/Khan Konchak and Bolm and Tchernicheva as principle dancers. It premiered on 8th June, 1914 at the Theatre Royal, Drury Lane.Roerich was again invited to provide the full set and costumes beginning work in late 1913 and finishing in early 1914. They corresponded with stage director Alexander Sanin's vision: 'Christian feelings, beliefs intermingling with elements of paganism'.The costumes reflected Roerich's interest in Russian folk art and nomadic tribal history. He used patterns inspired by Central Asian folk dress and textiles and incorporated braids and trimmings purchased from southern Russian nomadic tribal traders at markets in St Petersburg. The vibrantly patterned costumes perfectly combined with Borodin's savage rhythms. Designer and friend Orest Allegri wrote to Roerich (who was unable to attend the first night):'Prince Igor was mounted last night to a full house. It was a staggering success. The British were screaming with delight'.Beecham's opera company struggled through the war years and Roerich was never fully paid for his work. In 1920 the company went bankrupt which resulted in a 'fire sale' of all the company's scenery and costumes. Jacques Rouche, the director of the Paris Opera at the time went to the sale and acquired scenic material from Beecham-Diaghilev productions, notably costumes designed by the artist Leon Bakst for Boris Godunov, which are now in the Moulins archives. There is a 'Prince Igor' costume with identical stamp in the collection of the Victoria & Albert Museum S.77-1998 CONDITION REPORT: exterior is generally good condition, lacking half of the brass closure clasp
Lot 149
A Boyar cape, designed by Nicholas Roerich for Diaghilev's 1914 production of 'Prince Igor', stamped to the interior, 'Property of Sir Joseph Beecham' and also handwritten 'Keen, Boyars, Sketch 4', no 273, of pink linen painted with linked patterned roundels, adorned with small shells and beaten metal discs, beaten discs clasp, edged in brown stencilled velvet and lined in pink cotton stencilled with black undulating bands
Lot 153
A pair of Tartar trousers, designed by Nicholas Roerich for Diaghilev's 1914 production of 'Prince Igor', stamped to the interior, 'Property of Sir Joseph Beecham' and also handwritten 'Prince Igor Soldiers, sketch 2', no 236, of pale pink linen, cut wide and loose, with painted grey spots and lines, draw-string to waist
Lot 288
The Shirley Hex/Philip Treacy for John Galliano black taffeta 'turban' hat, Autumn-Winter, 1989-90, un-labelled, with coiled and wired looped panels of taffeta, 56cm, 22in longThe idea for this hat came from elaborate padded 1870s hair pieces as shown by a xerox in one of the studio sketch pads. CONDITION REPORT: Good condition, some of the taffeta pleats which form the headband need re-tacking in place here and there (minor).
Lot 304
An Yves Saint Laurent sari-style gold lamé gown, Autumn-Winter 1991-2, Rive Gauche labelled and size 40, the cropped asymmetric bodice and low-slung skirt exposing the midriff, with hood formed from a panel which drapes around the neck, bust approx 96cm, 38inThis design is well documented and was modelled by Carmen Kass on the catwalk show for this collection. Identical examples have been exhibited in retrospectives at the Petit Palais/Musée des Beaux-Arts de la Ville, Paris, March 11th-August 29th 2010 (see exhibition catalogue p.358) and the Denver Art Museum, March 25th-July 8th 2012. For a sketch of the gown, see 'Yves Saint Laurent Style', Fondation Pierre Bergé-Yves Saint Laurent, p.137. CONDITION REPORT: Good condition, a few floating threads to lamé (minor)
Lot 368
Victor Edelstein sketch of Princess Diana's black velvet evening gown, dated Autumn, 1988, signed and annotated in pencil with fabric details, back and front views in black and red gouache, 33 by 23cm, 13 by 9in in mount The matching dress was sold as lot 75 in the Christies auction of the Princess' dresses, 25th June 1997. She had worn it to the premiere of 'Dangerous Liasons'. CONDITION REPORT: Good condition
Lot 369
Victor Edelstein sketch of Princess Diana's bottle green velvet evening gown, dated Autumn 1985, signed and annotated in pencil with fabric details, back and front views in green gouache, 33 by 23cm, 13 by 9in in mount KTA sold the matching velvet evening gown as lot 1, 17th March 2013. The dress had little finger prints on the skirt, possibly left by a young Prince. CONDITION REPORT: Good condition
Lot 370
Victor Edelstein sketch of Princess Diana's emerald green satin ball gown, dated 1986, signed and annotated in pencil, 'Double Duchess Satin, Designed for HRH Princess of Wales', green gouache, 33 by 23cm, 13 by 9in in mount The Princess wore the matching gown for an official portrait by Terence Donovan. CONDITION REPORT: Good condition
Lot 373
Victor Edelstein sketch of Princess Diana's midnight blue ball gown, dated Autumn 1985, signed in pencil, black and blue gouache with front and back details to show construction, 33 by 23cm, 13 by 9in in mount Probably one of the most famous of Princess Diana's dresses. She wore the velvet gown when she memorably danced with John Travolta at the White House. The dress was sold as lot 79 in the Christies auction of the Princess' dresses, 25th June 1997.and again by KTA as lot 10, 17th March 2013. CONDITION REPORT: Good condition
Lot 17
Sir Frank Brangwyn RA, RWS, RBA (1867-1956) ''The Meat Market, Bruges'' (1906) Signed in pencil, an etching, together with an interesting collection of other unframed prints and drawings, some by other hands, including; ''Barge Builders, Hammersmith'' (1904), ''Buttress of the Pont- Neuf'' (framed) (1921), a wood block print ''Jerusalem Church, Bruges'', a signed pen and ink study of a windmill drawn in an autograph book, a signed pencil sketch ''Java Head'', a further watercolour sketch depicting Industrious figures on a ship deck and a framed, signed and dedicated photograph of the artist in his Ditchling studio, 12cm by 8cm and various other sizes (a collection) See illustration Provenance: Gifted by the artist from his studio to his chauffeur Thence by descent Gifted to the current owner *Artists' Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business
Lot 86
Dame Laura Knight RA, RWS, RE, RWA, PSWA, DBE (1877-1970) Cupid holding a bow and arrows Signed, mixed media, 32cm by 39.5cm Provenance: The Late Gordon Cameron Jackson OBE This sketch has affinities with the artist's costume sketches for Les Roses (1924) See Illustration *Artists' Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business
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