Sunil Das (Indian, 1939-2015)Untitled (sketch of a Bull)charcoal on paper90x58Provenance: Private UK Collection Footnotes: Sunil Das was an expressionist Indian artist, born in Calcutta in 1939. He joined the Government College of Art & Craft, in Kolkata, in 1955, before winning the French Government Scholarship to study at the École des Beaux-Arts in Paris. During this period he had the chance to travel to Spain, where he spent a couple of months and developed his passion for horses and bulls. Hardly ever painting in loud or warm colours, Sunil Das uses soft brown, mauve and white in the background to bring out the drama of life. Das is the only Indian artist to have won a National Award (the Shiromani Kala Puraskar) while still an undergraduate at the Government College of Art and Craft, kolkata. Besides having been featured in several exhibitions, his works are also a part of the collections of renowned museums such as the National Gallery of Modern Art, New Delhi, the Glenbarra Art Museum, Japan, and the Ludwig Museum, Germany.
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Sunil Das (Indian, 1939-2015)Untitled (sketch of a Bull)charcoal on paper90x58Provenance: Private UK Collection Footnotes: Sunil Das was an expressionist Indian artist, born in Calcutta in 1939. He joined the Government College of Art & Craft, in Kolkata, in 1955, before winning the French Government Scholarship to study at the École des Beaux-Arts in Paris. During this period he had the chance to travel to Spain, where he spent a couple of months and developed his passion for horses and bulls. Hardly ever painting in loud or warm colours, Sunil Das uses soft brown, mauve and white in the background to bring out the drama of life. Das is the only Indian artist to have won a National Award (the Shiromani Kala Puraskar) while still an undergraduate at the Government College of Art and Craft, kolkata. Besides having been featured in several exhibitions, his works are also a part of the collections of renowned museums such as the National Gallery of Modern Art, New Delhi, the Glenbarra Art Museum, Japan, and the Ludwig Museum, Germany.
Paul Cezanne (1839-1906), Watercolor and Sketch on Paper Image Size: 12 1/2 by 17 in. (31 by 43 cm.) All measurements are approximate. Signed (lower right) Paul Cezanne (1839-1906) was a French Post-Impressionist painter whose work had a profound influence on the development of modern art. Cezanne is best known for his landscapes, still lifes, and portraits, which were characterized by their use of geometric forms, bold colors, and a sense of structure and balance. He sought to capture the essence of his subjects rather than their superficial appearance, and his use of repeated motifs and multiple perspectives gave his work a sense of depth and complexity. Cezanne's influence can be seen in the development of modern art, particularly in the works of the Cubists, who were inspired by his use of geometric shapes and his interest in representing multiple perspectives. Today, Cezanne's works are held in major museum collections around the world, and his legacy as one of the most important artists of the 19th century continues to be celebrated. Please read our policy carefully: 1. All items are sold AS-IS, where is with all faults. We do not accept returns or refunds. All sales are final. 2. We will pack and arrange all shipments via UPS. Shipping costs to US address starts with 30 USD and 180 USD to International (depends on size and weight of the package). Packages should be shipped within two weeks after payment is received. Larger packages and international delivery may exceed this period. 3. Your bids signify that you have examined the items as fully as you desire, or that you have chosen not to examine them. Images descriptions are our opinions and should in no way be construed as a guarantee of any kind as to authorship, age, condition, materials, provenance or any other feature of items being sold. 4. If the bidder refuses to pay for the invoice after the successful bidding, the liquidated damages shall be 30% of the amount of the hammer price, which shall be responsible by the buyer.
Ernst Ludwig Kirchner 1880 Aschaffenburg - 1938 Davos Skizze zu 'Strasse mit roter Kokotte' (Straßenszene I). 1914. Bleistiftzeichnung. Verso mit dem Nachlassstempel (Lugt 1570 b) und der handschriftlichen Nummerierung 'B Be/Bb 3'. Auf Zeichenpapier (aus dem Skizzenbuch 37 mit rotem Schnitt). 20,5 x 16,3 cm (8 x 6,4 in), blattgroß. [EH]. • Aus einem Skizzenbuch (mit Rotschnitt). • In den Berliner Straßenszenen der Jahre 1913-15 findet E.L.Kirchner zu einer ungeheuren Steigerung seiner Ausdrucksfähigkeit. • Temperamentvolle Skizze zu dem berühmten Gemälde 'Strasse mit roter Kokotte' (Gordon Nr. 366) in der Sammlung Thyssen-Bornemisza, Madrid. Wir danken Herrn Prof. Dr. Dr. Gerd Presler für die freundliche Auskunft. PROVENIENZ: Nachlass des Künstlers (verso mit dem Nachlassstempel, Lugt 1570 b). Galerie Henze & Ketterer, Wichtrach/Bern. Sammlung Hermann Gerlinger, Würzburg (2001 vom Vorgenannten erworben, mit dem Sammlerstempel, Lugt 6032). AUSSTELLUNG: Schleswig-Holsteinisches Landesmuseum, Schloss Gottorf, Schleswig (Dauerleihgabe aus der Sammlung Hermann Gerlinger, 1995-2001). Ernst Ludwig Kirchner. 90 Zeichnungen für 90 Jahre, Hommage à Roman Norbert Ketterer, Galerie Henze & Ketterer, Katalog 62, 2001, Kat. 40 (m. Farbabb. auf dem Titel, der Rückseite des Kataloges sowie als SW-Abb. auf S. 51). Kunstmuseum Moritzburg, Halle an der Saale (Dauerleihgabe aus der Sammlung Hermann Gerlinger, 2001-2017). Buchheim Museum, Bernried (Dauerleihgabe aus der Sammlung Hermann Gerlinger, 2017-2022). LITERATUR: Hermann Gerlinger, Katja Schneider (Hrsg.), Die Maler der Brücke. Bestandskatalog Sammlung Hermann Gerlinger, Halle (Saale) 2005, S. 338, SHG-Nr. 759. Dieses Blatt ist die Skizze zu einem der Schlüsselwerke in Ernst Ludwig Kirchners Å’uvre. In 'Straße mit roter Kokotte', das sich in der Sammlung Thyssen-Bornemisza, Madrid, befindet, verdichten sich alle Eindrücke, die Ernst Ludwig Kirchner aus der Großstadt Berlin aufgesogen hat. Eindringlich skizzieren die berühmten Straßenszenen Kirchners das Leben in der Metropole Berlin. Im Mittelpunkt stehen dabei die Kokotten, die mit gewagt-geschlitzten Kleidern und großen, Aufmerksamkeit heischenden Federhüten an den Straßenecken auf ihre Freier warten. Genau diese Szenerie zeigt unser Blatt mit rastlosen, schnell hingeworfenen Strichen. Die Darstellung erfasst für Kirchner die Situation so prägnant, dass er sie in der Farbkreide-Tempera-Zeichnung 'Rote Kokotte' (Staatsgalerie Stuttgart) und in dem besagten Gemälde in der Sammlung Thyssen-Bornemisza eindrucksvoll ausarbeiten wird. [EH] Aufrufzeit: 10.06.2023 - ca. 14.11 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONErnst Ludwig Kirchner 1880 Aschaffenburg - 1938 Davos Skizze zu 'Strasse mit roter Kokotte' (Straßenszene I). 1914. Pencil drawing. With the estate stamp (Lugt 1570 b) and the hand-written number 'B Be/Bb 3' on the reverse. On paper (from the sketchbook 37 with red edges). 20.5 x 16.3 cm (8 x 6.4 in), the full sheet. • From a sketchbook (with red edges). • In the Berlin street scenes from the years 1913 to 1915, E.L. Kirchner attained an increased expressiveness. • Spirited sketch for the famous painting 'Strasse mit roter Kokotte' (Gordon no. 366) in the Thyssen-Bornemisza Collection, Madrid. We are grateful to Prof. Dr. Dr. Gerd Presler for his kind support in cataloging this lot. PROVENANCE: From the artist's estate (with the estate stamp on the reverse, Lugt 1570 b). Galerie Henze & Ketterer, Wichtrach/Bern. Hermann Gerlinger Collection, Würzburg (acquired from the above in 2001, with the collector's stamp, Lugt 6032). EXHIBITION: Schleswig-Holsteinisches Landesmuseum, Schloss Gottorf, Schleswig (permanent loan from the Hermann Gerlinger Collection, 1995-2001). Ernst Ludwig Kirchner. 90 Zeichnungen für 90 Jahre, Hommage à Roman Norbert Ketterer, Galerie Henze & Ketterer, catalog 62, 2001, cat. 40 (with color illu on the catalog's front and rear cover and as black-and-white illu. on p. 51). Kunstmuseum Moritzburg, Halle an der Saale (permanent loan from the Hermann Gerlinger Collection, 2001-2017). Buchheim Museum, Bernried (permanent loan from the Hermann Gerlinger Collection, 2017-2022). LITERATURE: Hermann Gerlinger, Katja Schneider (eds.), Die Maler der Brücke. Inventory catalog Hermann Gerlinger Collection, Halle (Saale) 2005, p. 338, SHG no. 759. This sheet is the sketch for one of the key works in Ernst Ludwig Kirchner's oeuvre. All the impressions that Ernst Ludwig Kirchner absorbed in the big city of Berlin find expression in the painting 'Straße mit roter Kokotte' (Street with a Red Cocotte', which is in the Thyssen-Bornemisza Collection in Madrid). Kirchner's famous street scenes hauntingly outline life in the metropolis. The focus is on the cocottes, who wait for their customers on the street corners with daringly slit dresses and large feather hats. Our sheet shows exactly this scenery rendered in restless, swift strokes. For Kirchner, the depiction captured the situation so succinctly that he elaborated it impressively in the color chalk and tempera drawing 'Rote Kokotte' (Staatsgalerie Stuttgart) and in said painting in the Thyssen-Bornemisza Collection. [EH] Called up: June 10, 2023 - ca. 14.11 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.
Ernst Ludwig Kirchner 1880 Aschaffenburg - 1938 Davos Bauer auf der Alp. 1917. Aquarell über schwarze Kreide. Links unten mit feinem Bleistift signiert, rechts unten in Tusche erneut signiert und datiert '17'. Verso betitelt '1 Bauer a. d. Alp 1919'. Auf kreidegrundiertem Papier. 38 x 50 cm (14,9 x 19,6 in), blattgroß. Verso mit einer Skizze eines Berghangs mit Hütte und Wolken, um 1917, Tuschfederzeichnung. [CH/EH]. • Eine der frühesten Arbeiten der Davoser Schaffenszeit: entsteht während Kirchners erstem Aufenthalt auf der 'Stafelalp' oberhalb von Davos. • Verso mit der Tuschfeder-Skizze für das atmosphärische Gemälde 'Stafelalp bei Mondschein' (1919, Museum am Ostwall, Dortmund). • Trotz seines gesundheitlichen Zustands schafft Kirchner eine ausgearbeitete, energisch aufs Papier gebrachte, atmosphärische und farbkräftige Darstellung. • Nach Kirchners Umzug in die Davoser Bergwelt wird das Leben der Bauern eine bedeutende Inspirationsquelle für das Schaffen des Künstlers. • Reizvoller, nah an den Porträtierten herantretender Bildausschnitt. Das vorliegende Werk ist im Ernst Ludwig Kirchner Archiv, Wichtrach/Bern, dokumentiert. PROVENIENZ: Felix Landau Gallery, Los Angeles. Alan Auslander Gallery, New York. Galerie Ilse Schweinsteiger, München. Sammlung Hermann Gerlinger, Würzburg (1986 von der Vorgenannten erworben, mit dem Sammlerstempel, Lugt 6032). AUSSTELLUNG: Zeichnungen, Aquarelle, Druckgraphik, Galerie Ilse Schweinsteiger, München, Frühjahr 1986, Kat.-Nr. 59 (m. Abb.). Schleswig-Holsteinisches Landesmuseum, Schloss Gottorf, Schleswig (Dauerleihgabe aus der Sammlung Hermann Gerlinger, 1995-2001). Kunstmuseum Moritzburg, Halle an der Saale (Dauerleihgabe aus der Sammlung Hermann Gerlinger, 2001-2017). Das andere Ich. Porträts 1900-1950 (Aus den Sammlungen der Staatlichen Galerie Moritzburg, Halle, und der Sammlung Hermann Gerlinger), Staatliche Galerie Moritzburg, Halle (Saale), 6.4.-15.6.2003, Kat.-Nr. 133 (m. Abb.). Expressiv! Die Künstler der Brücke. Die Sammlung Hermann Gerlinger, Albertina Wien, 1.6.-26.8.2007, Kat.-Nr. 137 (m. Abb.). Kirchner im KirchnerHAUS. Originale aus Privatbesitz in seinem Geburtshaus, KirchnerHAUS Museum, Aschaffenburg, 2.10.-20.12.2015, Kat.-Nr. 41 (m. Abb). Buchheim Museum, Bernried (Dauerleihgabe aus der Sammlung Hermann Gerlinger, 2017-2022). LITERATUR: Parke-Bernet, New York, 2391. Auktion, Impressionist and Modern Paintings and Drawings, 8./9.12.1965, Los 102 (m. Abb.). Heinz Spielmann (Hrsg.), Die Maler der Brücke. Sammlung Hermann Gerlinger, Stuttgart 1995, S. 267, SHG-Nr. 388 (m. Abb.). Hermann Gerlinger, Katja Schneider (Hrsg.), Die Maler der Brücke. Bestandskatalog Sammlung Hermann Gerlinger, Halle (Saale) 2005, S. 345, SHG-Nr. 775 (m. Abb.). Aufrufzeit: 10.06.2023 - ca. 15.07 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONErnst Ludwig Kirchner 1880 Aschaffenburg - 1938 Davos Bauer auf der Alp. 1917. Watercolor over black chalks. Signed in pencil in lower left, lower right once more signed in India ink, as well as dated '17'. Titled '1 Bauer a. d. Alp 1919' on the reverse. On chalk-primed paper. 38 x 50 cm (14.9 x 19.6 in), the full sheet. With a sketch of a mountain slope with a hut and clouds on the reverse, around 1917, India ink drawing. [CH/EH]. • One of the earliest works from the Davos days: made during Kirchner's first stay on the 'Stafelalp' above Davos. • With the ink pen sketch for the atmospheric painting 'Stafelalp bei Mondschein' (1919, Museum am Ostwall, Dortmund) on the reverse. • Despite his poor health, Kirchner rendered an atmospheric drawing in strong colors. • After Kirchner had moved to the Davos mountains, the life of the local farmers would serve the artist as an important source of inspiration. • Appealing close-up image section. The work is documented in the Ernst Ludwig Kirchner Archive, Wichtrach/Bern. PROVENANCE: Felix Landau Gallery, Los Angeles. Alan Auslander Gallery, New York. Galerie Ilse Schweinsteiger, Munich. Hermann Gerlinger Collection, Würzburg (with the collector's stamp, Lugt 6032, acquired from the above in 1986). EXHIBITION: Zeichnungen, Aquarelle, Druckgraphik, Galerie Ilse Schweinsteiger, Munich, spring 1986, cat. no. 59 (with illu.). Schleswig-Holsteinisches Landesmuseum, Schloss Gottorf, Schleswig (permanent loan from the Hermann Gerlinger Collection, 1995-2001). Kunstmuseum Moritzburg, Halle an der Saale (permanent loan from the Hermann Gerlinger Collection, 2001-2017). Das andere Ich. Porträts 1900-1950 (From the collections of of the Staatliche Galerie Moritzburg, Halle, and the Hermann Gerlinger Collection), Staatliche Galerie Moritzburg, Halle (Saale), April 6 - June 15, 2003, cat. no. 133 (with illu.). Expressiv! Die Künstler der Brücke. Die Sammlung Hermann Gerlinger, Albertina Vienna, June 1 - August 26, 2007, cat. no. 137 (with illu.). Kirchner im KirchnerHAUS. Originale aus Privatbesitz in seinem Geburtshaus, KirchnerHAUS Museum, Aschaffenburg, Ocotber 2 - December 20, 2015, cat. no. 41 (with illu.). Buchheim Museum, Bernried (permanent loan from the Hermann Gerlinger Collection, 2017-2022). LITERATURE: Parke-Bernet, New York, 2391. Auction of Impressionist and Modern Paintings and Drawings, December 8/9, 1965, lot 102 (with illu.). Heinz Spielmann (ed.), Die Maler der Brücke. Sammlung Hermann Gerlinger, Stuttgart 1995, p. 267, SHG no. 388 (with illu.). Hermann Gerlinger, Katja Schneider (eds.), Die Maler der Brücke. Inventory catalog Hermann Gerlinger Collection, Halle (Saale) 2005, p. 345, SHG no. 775 (with illu.). Called up: June 10, 2023 - ca. 15.07 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.
Konvolut aus vier Zeichnungen: Skizze einer liegenden Dame, Rötel und Kohle, am Passepartout bez. "Watteau", 16,5 x 12,5 cm; Tanzendes junges Mädchen, Figurenstudie, Tusche- und Bleistiftzeichnung, ebenfalls Anlehnung an Watteau, 23 x 14 cm; Wappendarstellung mit Segelschiff, bez. "Armoiries de la Famille Aouga de Cortaillod et de Bosle.", Gouache/Aquarell, 24,5 x 21 cm; Kaiserportrait von Putten und Ornamenten gerahmt, Tuschezeichnung, 6,4 x 17,4 cm, alle Altersspuren. / Composite of four drawings: Sketch of a reclining lady, red chalk and charcoal, inscribed "Watteau" on the passe-partout, 16.5 x 12.5 cm; Dancing young girl, figure study, ink and pencil drawing, also based on Watteau, 23 x 14 cm; Coat of arms depiction with sailing ship, inscribed. "Armoiries de la Famille Aouga de Cortaillod et de Bosle.", gouache/watercolour, 24.5 x 21 cm; portrait of the emperor framed by putti and ornaments, ink drawing, 6.4 x 17.4 cm, all signs of age.
Trading Cards - x4 assorted factory sealed packs of trading cards, including: Captain Scarlet (2015 Unstoppable Cards), Thunderbirds (2015 Unstoppable Cards), Space 1999 (2015 Unstoppable Cards) and Blakes 7 (2013 Unstoppable Cards - sealed, unopened, cellophane slightly torn). Chase cards include autographs, sketch art etc. All unopened.
The Gerald Whitney Collection (Camera Man) - Autograph Albums - three vintage autograph albums containing signatures from various personalities, presenters and actors encountered by Whitney during his career. Autographs include; Gary Lineker, Imran Khan, Lulu, Crystal Palace FC 1970-71 Squad, Cliff Richard, Alfie Bass, Dickie Valentine, The Shadows (Marvin, Welch, Rostill and Bennett), Peter Sellers, Fred Trueman (Cricket), Shaw Taylor, Norman Vaughan, Emergency Ward 10 cast, Alfred Marks, The Bachelors, Bernard Bresslaw, Roger Moore, Bruce Forsyth, Pete Seeger (with a sketch of a banjo), Jimmy Tarbuck, Cilla Black, Britt Ekland, and others. The two brown autograph albums are sparsely filled, the red one more full.
§ JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) SUPPER DANCE Inscribed by Margaret Morris 'J. D. Fergusson / Early Café drawing 1902 / with love & blessings / from Meg & Fergus / Glasgow May 1965' on the backboard, watercolour, brush and ink on paperDimensions:45cm x 31cm (17.75in x 12.25in)Provenance:Provenance:Given by Margaret Morris to James and Martha Arnott in 1965 and thence by descent to the present ownerExhibited:The Fine Art Society Ltd, London, John Duncan Fergusson (1874-1961): A Centenary Exhibition, 10 September-4 October 1974 and tour to Kelvingrove Art Gallery and Museum, Glasgow and The Fine Art Society Ltd, Edinburgh , no.114The Scottish Arts Council Gallery, Edinburgh, The Need to Draw: 20th-Century Scottish Artists at Work, 22 November-14 December 1975, no.22Scottish National Gallery of Modern Art, Edinburgh, The Scottish Colourist Series: J. D. Fergusson, 7 December 2013-15 June 2014Literature:Jean Geddes and Margaret Morris, Café Drawings in Edwardian Paris from the Sketch-books of J. D. Fergusson, Blackie, Glasgow, 1974, repr. b/w p. 25Note: Note: John Duncan Fergusson and Margaret Morris first met Martha Lawrence Grant (1916-96) when the latter attended Morris’s dance classes in Glasgow in the 1930s. She became a vital figure in Margaret Morris Movement (MMM) and was in the process of establishing an MMM school in Aberdeen when World War Two began. At that point, Fergusson was primarily based in Paris, whilst Morris spent most of her time in London; the conflict resulted in their move to 4 Clouston Street, Glasgow.Fergus and Meg, as they were affectionately known, galvanised the city’s art scene. They were founder members of the New Art Club in 1940, which aimed to stimulate debate and to create affordable exhibiting opportunities. Two years later, Fergusson became founding President of the Club’s successor, the New Scottish Group, which staged eight exhibitions of its members’ work between 1943 and 1956.It is believed that Martha met James Fullarton Arnott (1914-82) through the New Art Club. James was an Assistant Lecturer in the English Department at the University of Glasgow, where he was to become Emeritus Professor of Drama. The couple formed a lifelong creative friendship with Fergus and Meg and were married in 1945. Their son Alan was born in 1948 and he has recalled:The impact of Fergus and Meg on the artistic life of post-war Glasgow, and indeed Scotland, was immense. Painters, sculptors, potters, designers, dancers, actors and musicians all thrived in the atmosphere of post-war Glasgow. While Meg and Fergus provided the artistic inspiration, Mum and Dad provided backing, encouragement and support. During James’s illustrious career, he devised the Drama course at the re-opened Royal Scottish Academy of Music and Drama (RSAMD) and in 1966 was appointed the first Head of the Drama Department at the University of Glasgow. Martha helped to establish and run the RSAMD Library, as well as designing and creating costumes for Academy and University productions.With his knowledge of arts funding and art world contacts, James provided vital support in Meg’s launching of the Celtic Ballet, Scottish National Ballet and Scottish Ballet companies. In her turn, Martha taught and danced at MMM Summer Schools and sat for Fergus, not least sharing modelling duties with Meg for his Glasgow-era masterpiece Danu, Mother of the Gods of 1952, now in The Fergusson Gallery, Perth.Alan has further explained:We holidayed in the South of France with them both in the 50s and with Meg in the 60s. They lived in Glasgow (in the West End) and were regular visitors to our houses in Saltcoats and then Glasgow – and we frequently visited them.Following Fergus’s death in 1961, Meg established the J. D. Fergusson Art Foundation to secure his legacy and to support living artists. Martha and James were founding committee members and Alan succeeded James on the committee in 1983. The Foundation’s aims were achieved with the opening of The Fergusson Gallery in Perth in 1992 and the launch of the J. D. Fergusson Arts Award Trust in 1995.Supper Dance (Lot 149) and Kelvin Valley (Lot 148) pay testament to this creative friendship. Both were given to the Arnotts by Meg in the 1960s and are beautiful examples from key periods in Fergus’s career. In 1907, he took the momentous decision to move from Edinburgh to Paris, which he described as ‘simply a place of freedom’. He immersed himself in the artistic, intellectual and social life of the French capital and made his reputation as a leading artist of the twentieth century during the six years he lived there before World War One. He particularly revelled in its bustling café and restaurant scene and Supper Dance is a beautifully accomplished image of the fashionable clientele whom Fergus enjoyed capturing in images of elegance and movement. His fluid draughtsmanship is clear in passages such as the realisation of the female dancer’s gown, whilst a lively composition leads the eye from the champagne in the foreground, to the dancing couple, to another observed in intimate conversation in the background.Kelvin Valley is a jewel of a painting, in which Fergus pays homage to the city which was the location for the final chapter of his international career. The Clouston Street flat overlooked Glasgow’s Botanic Gardens and was joined, via the River Kelvin, to Kelvingrove Park; these green spaces provided inspiration for the artist’s late, lyrical landscapes. He developed a distinct ‘Glasgow palette’ characterised by high-toned shades of green and pink, which were delicately and deftly applied to their supports in a gentle yet confident finale to the images of Princes Street Gardens, the Scottish Highlands and the South of France which preceded them.As Alan has concluded:Fergus was a lovely man. He treated children the same as everyone else and encouraged me to draw. Meg was full of life and energy and retained the strength and grace of a 20-year-old. There was great love and generosity of spirit amongst us all.
Herbert Ward (British, 1863-1919)The charm doctor signed 'Herbert Ward' (to base), inscribed with the foundry mark 'ALEXIS PODIER/FONDEUR PARIS' (to base), bears inscription 'TO LAURIE AND MARGARET BENET/SOUVENIR OF A LASTING FRIENDSHIP/FROM/SARITA WARD' (on plaque attached to marble base) and bears inscription 'THE CHARM DOCTOR/CENTRAL AFRICA/SKETCH BY HERBERT WARD' (on plaque attached to marble base).bronze on a green marble base45.4 (17 7/8) highFootnotes:ProvenanceGifted to Laura and Margaret Benét by Sarita Ward, Herbert Ward's wife.Thence by descent.The American biographer Laura Benét was the sister of poets and Pulitzer prize winners, Stephen Vincent Benét and William Rose Benét. Herbert Ward struck up a friendship with William Rose Benét in Paris and the two families became close.A charm doctor was considered in several Congo tribes to be the connecting link between mortals and spirits. Another cast of 'The Charm Doctor' can be found in the collection of the Smithsonian Institute (USNM no. E23732-0), donated into the collection by the artist's wife and where it is noted to have been exhibited at the Salon Société des Artistes Français, Paris in 1902. There is also another cast of the sculpture, titled 'Le Sorcier' exhibited at the Musée d'arts de Nantes.Herbert Ward longed for adventure, and at the age of 15, he left England to satisfy his curiosities, spending his youth travelling extensively. In 1884, Ward set out for the Congo where he worked for various companies managing the transport of goods and supplies both to and from Europe. A year into his time in the Congo, Ward joined Henry Morgan Stanley's expedition travelling on the rivers across the country. Ward's appreciation and fascination for the Congo and it's people encouraged him to learn local languages and customs, allowing him to develop good relationships with various communities.Ward left Africa in 1889 and began a career as a touring writer and lecturer, where he paid a particular focus to his time in the Congo. Four years later he turned his attention to the Arts and began his formal artistic training. This led him to Paris to pursue bronze casting and his travel journals from the Congo became a source of inspiration for his sculptures. During his time in Paris, both the French Academy and the general public enjoyed his Congolese subjects. His style adopted a more natural depiction of the human figure, but Ward emphasised that his sculptures were not presented as scientific illustrations, rather they were art to share 'the spirit of Africa in the broad sense'. Throughout his artistic career, Ward begun to question colonialism, especially in Africa. During the First World War, Ward served as a Lieutenant in No. 3 Convoy of the British Ambulance Committee where he distinguished himself. However, his efforts during the war weakened his health and he died in 1919.Saleroom notices:Please refer to the online cataloguing of this lot for provenance details.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Andrew Nicholl RHA (Irish, 1804-1886), circa 1846An album of approximately 45 sketches including views from Malta, Gibraltar, Ceylon and Egypt inscribed and dated '45 Sketches by Andrew Nicholl Esq/Royal Hibernian Academian/(A.D.1847) (on first page); the first sketch signed 'A Nicholl' (lower right); most pages variously inscribed and dated (throughout); the last page extensively and exclusively inscribed in pencilpen and ink, pencil and watercolouralbum size 16.9 x 24.1cm (6 5/8 x 9 1/2in).For further information on this lot please visit Bonhams.com
After Captain Robert SmithView from the Strawberry Hill, Prince of Wales's Island; View of the Convalescent Bungalow, Prince of Wales's Island; View of Mount Erskine and Pulo Ticoose Bay, Prince of Wales's Island; View of the Chinese Mills, Penang, hand-coloured aquatints by William Daniell after Smith, mounted, framed and glazed [Abbey Travel, 525, pls. 3,8,9,10], published by W. Daniell, 1821 (4)image to view 44 x 700cm (17 5/16 x 9/16in).Footnotes:Four views of Penang, Malaysia from William Daniell's Panoramic Sketch of Prince of Wales Island, 1821.Provenance: Christie's, 3 October 2006, lot 68.For further information on this lot please visit Bonhams.com
Richard Short (British, 1841-1916)Terra Nova leaving Cardiff, 15 June 1910 signed and dated 'Richard Short/1911' (lower right) and inscribed 'Terra Nova' (lower left)oil on board29.2 x 23.8cm (11 1/2 x 9 3/8in).unframedFootnotes:The present work depicts Terra Nova being towed by tugs from Bute Docks with the town hall and the Royal Hotel (where the celebrated 'farewell' dinner was held on the 13th) in the distance.This is in fact a sketch for the large painting by Richard Short that was commissioned by Alderman W.H. Renwick and W.H. Newton, after a subscription organised by the Cardiff Docks community, reflecting the pride of the City of Cardiff for the role it played in helping fund the Antarctic expedition.In Scott's Last Expedition (1913, vol. 2, p.499) Commander E. Evans acknowledged 'the unbounded hospitality of the Cardiff citizens... who docked and coaled the ship for us, gave freely in money and kind, and made their generosity so felt that Captain Scott promised that Cardiff should be the home port of the Terra Nova'.When the announcement of the deaths of Scott and his companions appeared in the newspapers on 11 February 1913 'the immediate response of the Cardiff Docks men was to accord their respect to the memory of Captain Scott by draping the Union Jack and black crepe over Richard Short's painting of the Terra Nova which occupied pride of place in the Library of Exchange Building' (A.J. Johnson, Scott of the Antarctic and Cardiff). Almost three years to the day, on June 14 1913, Terra Nova arrived back at Cardiff, met by sixty thousand well-wishers, amongst them Kathleen Scott and her son Peter who boarded for a private reunion with the survivors. The figurehead of Terra Nova was later presented to the city by the ship's owners.Short's large oil of Terra Nova was sold at Bonhams, 30 March 2012 'Polar Sale: Scott and Amundsen Centenary', lot 92 for £13,000.For further information on this lot please visit Bonhams.com
Keith Vaughan (1912-1977)Three signed letters from Keith Vaughan to Howard Bliss (1894-1977), May 1950Together with a signed letter from Patrick Heron (1920–1999) to Howard Bliss, January 1953; a signed letter from John Napper to Howard Bliss; and a Christmas card from David Tindle (b.1932) with a watercolour sketch (6)Provenance:Private Collection, Wiltshire
J TROTTER "Musee D'orsay", interior scene with figures in foreground, watercolour sketch, signed lower right, bears inscription verso, 17.5 cm x 12.5 cm, AFTER GEOFFREY SPARROW "Shrew mouse", coloured engraving, signed and titled in pencil, 17.5 cm x 11.5 cm, DANIEL PETTIWARD "Cliffs at Seaton", watercolour study, signed lower left, bears "At The Mall Galleries" label verso, 25 cm x 36 cm, together with another by the same hand and a further watercolour study (5)
George W. Harris A catalogue of the artist's works, no. 158 of 425 copies, Nisbet & Co. Ltd. London, 1930, including a small roughly bound booklet repeatedly annotated in ink "original sketch by George Harris" Jugoslav Scenes by Nora Lavrin A series of dry points with a foreword by Janko Lavrin Stanley Nott Ltd., London, 1935, retaining dust jacket, front endpaper inscribed "With Nora Lavrin's compliments, May 1936" (2) Condition Report:Available upon request
Various vintage toys and collectibles to include Entex Space Invader digital toy, Merlin electronic game, a Sony Walkman, Casio Scientific calculator, Mattel Magic Etch-A-Sketch, playing cards to include Star Wars, Harry Potter style wand, various ball bearing puzzles, postcards, cigarette cards, etc.Condition Report: Cannot guarantee working order of the electronics
Lyonel Feininger, Sketch for Mural (Marine Transportation Building, New York World's Fair)Aquarell, Kohle und Tuschfeder auf elfenbeinfarbenem Bütten mit Wasserzeichen "Canson & Montgolfier France" (angeschnitten). 18,3 x 62,7 cm. Unter Glas gerahmt. Unten links schwarz signiert und datiert 'Feininger 1938'. Darunter vom fremder Hand mit Bleistift bezeichnet "Sketch for Mural". Rückseitig mit dem ovalen Nachlass-Stempel "Feininger Estate" versehen (nicht bei Lugt) und mit Bleistift "119" nummeriert sowie bezeichnet "M39". - Am Rand schwach gebräunt, sonst in guter Erhaltung.Achim Moeller, Direktor des Lyonel Feininger Project LLC, New York – Berlin, hat die Echtheit dieses Werkes, das im Archiv des Lyonel Feininger Project unter der Nummer 1833-02-10-23 registriert ist, bestätigt. Ein Zertifikat liegt der Arbeit bei.ProvenienzMarlborough Fine Art, London, 1996 (mit Etikett auf dem rückseitigen Schutzkarton); Sammlung Walter Brune, DüsseldorfIm Juni 1937 kehrte Lyonel Feininger mit seiner Frau Julia nach über 50 Jahren in Europa zurück nach New York. Die massiven Einschränkungen seiner künstlerischen Arbeit und auch die jüdische Herkunft seiner Frau hatten zu dieser Entscheidung geführt. Für Feininger war es in jeder Hinsicht ein Neubeginn. Abgesehen davon, dass ihm seine Heimatstadt fremd geworden war, war er anfangs auch als Künstler in den USA nahezu unbekannt und musste sich auf eine andere Käuferschicht sowie gewandelte Interessen seitens der Museen einstellen. Um die erste Zeit finanziell zu überbrücken, konnte er im Sommer 1937 am kalifornischen Mills College unterrichten und sich auf die Kontakte seiner deutsch-amerikanischen Agentin Emmy (Galka) Scheyer verlassen, die einige seiner Gemälde verkaufen konnte. Zum entscheidenden Einstieg in sein neues Lebensumfeld verhalf ihm aber der Kunsthistoriker William R. Valentiner, den er aus Berlin kannte und der nun der Direktor des Detroit Museums of Art war. Er vermittelte Feininger 1938 den Auftrag für ein Wandbild an der Fassade des „Marine Transportation Building“, das im Zusammenhang mit der Weltausstellung 1939 erbaut und künstlerisch gestaltet werden sollte. Auch die Ausführung dreier weiterer Bilder für das „Masterpieces of Art Building“ ging auf die Vermittlung von Valentiner zurück. Die genannten Bauten und deren künstlerische Gestaltung waren Maßnahmen der amerikanischen Regierung im Rahmen des „New Deal“, um die Arbeitslosigkeit zu verringern und den Künstlern inmitten der Wirtschaftskrise das Überleben zu ermöglichen. Das Ziel des „Federal Art Project[s]“ war auch die Eröffnung eines Dialogs zwischen Kunst und breiter Öffentlichkeit. Aus diesem Grund wurden für die Wandgemälde bestimmte Themen und eine narrative, realistische Darstellung bevorzugt. Nachdem Feininger im ersten Jahr seiner amerikanischen Zeit kaum gemalt hatte, nahm er den Auftrag für die Wandbilder hocherfreut an. Auch im Hinblick auf die gewünschten maritimen Themen kam ihm das Projekt entgegen. Für die flachen, aber breit gelagerten Gebäude entwarf er die betont querformatigen Aquarelle eines „Dreimasters auf See“ und eines „Passagierdampfers mit Windrose“. In beiden Panoramen brachte Feininger sein Repertoire an Schiffsmodellen auf ein besonderes Format. Die Studie des Dreimasters zeigt auf dunkelschimmernder See ein mächtiges Segelschiff, das von einer Welle getragen hoch aufragt und von leuchtsignalartigen, roten Lichtstreifen vorangetrieben wird. Die vielen diagonal geführten Tuschfederlinien dienten ihm dazu, den dominierenden horizontalen Flächen etwas entgegenzusetzen. Auf dem zweiten Aquarell steht ein Passagierdampfer im Mittelpunkt, gerahmt von Fischkuttern und kleineren Segelschiffen. Eine leichte Schrägstellung des Rumpfes und der diagonal geführte Qualm des Dampfers dynamisieren das in verschiedenen Blautönen gehaltene Aquarell. Da die Pavillons nach Ende der Weltausstellung entweder abgetragen wurden oder verfielen und seine größten Werke bis auf die Entwurfszeichnungen daher nicht erhalten sind, sind die beiden Aquarelle für Feininger-Liebhaber besonders wertvoll.
A collection of nine books:Yves Benoist-Gironière,'Croquis Hippiques, Equestrian Sketches',signed 'Yves Benoist-Gironière' with a small sketch of a horse and jockey on page one, published 1953;Anna Sewell,'Black Beauty, the Autobiography of a Horse',illustrated by Cecil Aldin, Jarrolds Publishers Ltd., London;John Masefield,'Right Royal',illustrated by Cecil Aldin, William Heinemann, London, 1922;David Livingstone-Learmouth,'The Horse in Art',The Studio Ltd, London, 1958;John Masefield,'Reynard the Fox',illustrated by G D Armour, William Heinemann, London, 1921;Cecil Aldin,'Ratcatcher to Scarlet',Eyre & Spottiswoode Ltd, London;Baron & Clive Graham,'Great Horses of the Year 1954-1955',Macgibbon & Kee, London, 1954;C Gifford Ambler,'Ten Little Foxhounds',Hutchinson's Books For Young People, LondonGeorge Ford Morris,'Portraitures of Horses',Fordacre Studios, Shrewsbury, New Jersey, 1952; together with Veronica Paterson Morgan, a pair of limited edition prints (11)
Smartt Bell, Maddison"Barking Man and Other Stories", Ticknor & Fields, New York 1990, signed and dedicated on tp with a little sketch by the author, grey cloth with a red backstrip and black titles, dj not price clipped "Doctor Sleep", Bloomsbury 1992, blue cloth, dj not price clipped"Straight Cut", Ticknor & Fields, New York 1986, signed and inscribed by the author on the half-title, grey cloth, black backstrip with silver titles, dj not price clipped "The Washington Square Ensemble", Andre Deutsch 1983, signed and dated June 1983 by the author on the tp, maroon cloth, dj not price clipped, dj very slight wear "The Year of Silence", Ticknor & Fields, New York 1987, grey cloth with blue backstrip, very slight fading on the base of the backstrip, dj not price clipped and other first editions to include Alasdair Grey, Edward James, George Melly, Jean Cocteau, Michael Dupedin (11)
THEATRE : The London Stage; a collection of the most reputed Tragedies, Comedies, Operas, Melo-Dramas, Farces, and Interludes : 4 vols. Engraved frontispiece, illustrated chapter headings. 8vo. org. linen backed paper covered boards, worn. G. Blane. c1840s With [IRVING, Washington]. The Sketch Book of Geoffrey Crayon. 2 vols, half calf, 8vo, 1822.(6)
BUTCHER, Edmund - The Beauties of Sidmouth Displayed; being a descriptive sketch of its situation, salubrity and picturesque scenery. Also an Account of the Environs. Marbled wrappers. 8vo. Printed for John Wallis, Sidmouth, third edition. n.d. With - The Beauties of Sidmouth Displayed; being a Descriptive Sketch .. (etc). org. boards with paper labels front board loose, title- page defective. Small 8vo. 1810. With two others relating to Sidmouth. (4)
BAKEWELL, Robert - An Introduction to Mineralogy : comprising the natural history and characters of minerals; and a description of rocks ... and the elements of Crystallography. 5 folding plates. Half calf boards detached. 8vo. London, 1819. With - Humble, William. Dictionary of Geology and Mineralogy, org. cloth, 8vo, 1840. With - Murchinson, Sir Roderick and Geikie, Archibald, First Sketch of a New Geological Map of Scotland with explanatory Notes. Colour printed folding map (360 x 280 mm.) printed in colour by A. Keith, Johnston, in cloth covers. Map dated 1865. explanatory notes 1862. With two others.(5)
HARDY, Capt. H. F. H. Good Gun Dogs, Illustrated by G. Vernon Stokes. 16 plates. vellum backed cloth boards. 4to. Limited edition of 200 copies signed by the illustrator and author, lightly soiled. Country Life. 1930. With - A Leicesershire Sketch Book, Illustrated by Lionel Edwards, 4to, org. cloth damp stained. Eyre & Spottiswoode. 1935. With - The Jorrock's Birthday Book. Org. pictorial cloth. 1897(3)
Quantity of Royal and Military items and ephemera including The Strand Coronation King George VI and Queen Elizabeth May 12th 1937 souvenir book, Kings & Queens of Great Britain A genealogical chart showing descent, relationships and coat of arms, Royalty of England poster, Silver Jubilee procession route, Silver Jubilee Royal Tournament and Musical Pageant posters and souvenir programme, Silver Jubilee Programme, Silver Jubilee Royal Map of Succession, Silver Jubilee Thanksgiving order of service, Queens Birthday Parade 1977 orders for rehearsals and parade tickets, vintage Birds Custard advertising poster dated September 1 1945, reproduction Olympic posters (years 1912, 1920, 1924, 1928, 1932, 1936, 1952, 1956, 1960, 1964, 1968, 1972), framed pictures including sketch of Hitler caricature, Lawrence of Arabia sketch with newspaper article, large Union Jack flag, photo of German Airforce pilot Richard Amthor, and others, all generally Fair to Good. (qty)
Steiff pair of teddy bears: (1) Steiff The Artist Bear QVC exclusive, white tag 660986, LE 2500, red brown mohair teddy bear replica of 55PB bear, missing Richard Steiff Sketch Book with reproductions of original drawings from 1894 and missing certificate, slight tobacco odour otherwise Excellent, within Good box, 10.5"/27cm; (2) Steiff Club Event Felix Teddy Bear, white tag 421150, Giengen, Germany Event 2011 - Eve, golden mohair bear, swing label certificate, slight tobacco odour otherwise Excellent, within Good Plus generic Steiff box, 8.25"/21cm; (2).
After Gordon King,two colour prints, Reverie & Alexandra, both signed and from an edition of 750, 46x58cm,another pair of prints, Letters in the sand & Beach Dreamer, signed and from an edition of 850, 31x41cm,and a Commemorative Edition Portfolio of prints "From The Studio...".Qty: 5Condition report:NOt inspected out of the mounts and frames but all four appear in good order. No significant creases, tears, stainings or discolouration. In the portfolio sleeve, 'Studio Pose' has a spot of staining, and the title page and print of the studio sketch both have foxing.
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