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![HEMINGWAY & KARSH: [HEMINGWAY ERNEST] (1899-1961) American Novelist, Nobel Prize winner for Literature, 1954 & KARSH](http://lot-images.atgmedia.com/SR/35396/2795500/614-2010641945_468x382.jpg)
Lot 614
HEMINGWAY & KARSH: [HEMINGWAY ERNEST] (1899-1961) American Novelist, Nobel Prize winner for Literature, 1954 & KARSH YOUSUF (1908-2002) Canadian Photographer. A fascinating archive of eight T.Ls.S. etc., between Mary Hemingway and Yousuf Karsh, including a typed manuscript with extensive holograph corrections in pencil in the hand of Ernest Hemingway, one page, 4to, n.p. (Cuba), n.d. (c. 3rd June 1957), being the working draft of a letter from Mary Hemingway to Hector Allard, Canadian Ambassador to Cuba, in part (the holograph corrections by Ernest Hemingway are marked in bold), ‘I am sorry to have to inform you that Mr. Karsh, the Canadian photographer, who came to our house and photographed Mr. Hemingway this year after long insistence by the Canadian Embassy, is breaking the agreement under which my husband consented to pose….The proposal was that a resulting photograph was to be used in a book of portraits….At no time was there any mention nor any hint that the photographs would be sold commercially…unless authorised…Mr. Karsh…voluntarily promised to send us prints of all the photographs so that we might veto the use of those which were unsuitable or silly or unlike Ernest. Mr. Karsh has sent us no prints to ok or reject nor….even a note to acknowledge our hospitality. We hear from London that he has sold and was (sic) published not only a picture of Ernest but also some sort of story in the Daily Express….This sort of unethical behaviour is very bad when a man comes sponsored by his government. Mr. Hemingway would never have consented to pose for unauthorised pictures if he had imagined they were to be peddled about to any buyer…’ A carbon copy of Mary Hemingway’s final letter, reflecting her husband’s corrections, is present, along with Hector Allard’s response in the form of a T.L.S., Hector Allard, two pages, 4to, Havana, Cuba, 5th June 1957, to Mrs. Hemingway, on the printed stationery of the Canadian Embassy, stating that he was ‘somewhat startled’ to read her letter and explaining that he has already contacted Karsh and awaits his reply. The archive includes six T.Ls.S., Yousuf Karsh and Yousuf, from Karsh on his printed stationery, ten pages (total), 8vo, Ottawa, Canada, 28th February 1956 to 8th October 1957, most to Mary and Ernest Hemingway, the first to Canadian Ambassador Harry Scott, thanking him for trying to arrange a sitting with Hemingway and commenting ‘Yes, I sensed that he would be somewhat reticent, judging by all that I have read and heard…I do not feel that the door is entirely closed, and I should be delighted to receive a “go ahead” signal from you at any time’, in the letters to the Hemingway’s Karsh expresses his pleasure at having had the opportunity to photograph the writer and hopes that they will feel ‘that our efforts have been crowned with success’ and further commenting ‘I found photographing Ernest Hemingway to be a most stimulating and rewarding experience….The small snaps are sent only for your amusement and to show you that even professionals never totally get over the urge to take advantage of certain situations’ and in a further letter responds directly to the Hemingway’s complaint lodged with Hector Allard, hoping that the photographs have now reached them, and adding ‘I recall a conversation between Mr. Hemingway and Solange when he assured her that such photographs would be welcome for publication and, as far as we were aware, there were no restrictions as to when and how they should be released. After all, my whole life and reputation has been built on the achievement of the great men and women of our time and I have never…(released)…anything that does not bespeak the stature of my subject…’ In subsequent letters Karsh thanks Mary Hemingway for her understanding letter and, in one dated 21st August 1958, presumably regarding Karsh’s request for Ernest Hemingway to write a foreword to a book, which he evidently declined to do, the photographer writes ‘I was fully aware that I was “shooting for the stars” in expressing, through you, to Ernest, my desire….Yet I feel impelled to send you this further note just in case there is a slight ray of hope….whilst I know full well that no money can adequately compensate Ernest for his precious time and talent I would like to suggest a fee of $1000.…May I suggest that you just hand this letter to Ernest and, if he still feels a “savage” resentment at the intrusion, tell him that I am willing to fly to Cuba so that he may throw me to the lions. If Ernest should change his mind, I have had one former experience of another great man doing just that-Winston Churchill, who, at the conclusion of our photographic meeting delivered the potent statement: “You can even make a roaring lion stand still to be photographed”. So in that event, the boy Yousuf (and I do feel very much the infant) will, in sure confidence, approach the giant Hemingway, whom he holds in such high regard…’ Also included in the archive are a few related telegrams etc. The letters provide an interesting insight into how the two great artists dealt with their work; Hemingway’s reticence and delegation of business to his wife and Karsh’s persistence and flattery. Generally VG, 14
Lot 114
WILLIAM MCCANCE (SCOTTISH 1894-1970) STILL LIFE WITH MELON Signed and dated `27, oil on canvas 41cm x 51cm (16in x 20in) Exhibited: Reading Museum and Art Gallery 1960 Dundee City Museum and Art Galleries 1975 McKechnie Institute Girvan, Ayrshire Arts Festival 1986 Provenance:Artist`s family
Lot 177
GEORGE LESLIE HUNTER (SCOTTISH 1877-1931) STILL LIFE WITH FRUIT AND ANEMONES Signed, oil on board 41cm x 31cm (16in x 12in) Provenance:Estate of the Late Mrs Hilda Millar Mrs Millar was the widow of James Morrison McChlery. This painting is one of a group of four Hunters acquired by Morris McChlery in London in the late 1960`s. One painting from the group was gifted by Mrs Millar in memory of her husband to the City of Glasgow following the death of her husband in 1969 and is held in the City`s Kelvingrove Collection.
Lot 59
ALEXANDER ALLAN RSW (Scottish 1914 - 1972) Still life with birds and sunderland plate mixed media, signed and dated 1971 45cm x 35cm Note : Born Dundee. Trained Dundee, London, Hospitalfield. Elected RSW 1965. Scottish Council travel grant to study in Italy 1968. Part-time lecturer at Dundee College of Art. One-man shows Dundee University 1960. Glasgow 1958, 1963, 1966. Edinburgh 1960, 1964, 1970. Loomshop Gallery, Lower Largo 1971. Collections include : Scottish Arts Council, Nuffield Foundation, Graves Art Gallery, Sheffield, Edinburgh Corporation, Dundee Corporation, Ross and Cromarty, Dunbarton, and private collections in Britain and USA.
Lot 78
* NORMAN KIRKHAM RGI (Scottish b 1936 - ) Still life with red hat, Oil on canvas., Signed `Norman Kirkham` 72 x 91cm (28 x 35 1/2 inches) * Exhibited: Royal Academy Summer Exhibition, 1986, No.193. R.A Label Verso. Note : Studied at Glasgow School of Art from 1953-1958.Prizes and Awards: D W T Cargill Award RGI 1985 and 1992; Macfarlane Charitable Trust Award RGI 1985; Clydesdale Bank Award RGI 1986; The Teachers Whisky Travel Scholarship RGI 1992; The Alexander Stone Foundation RGI 1994. Collections include: HRH The Duke of Edinburgh, Macfarlane Charitable Trust, Arthur Andersen, Teachers Whisky, and works in private collections in America, United Kingdom, Europe, South Africa and Hong Kong. Regular Exhibitor: RA, RSA, RP and RGI Roger Billcliffe Fine Art; Barclay Lennie Fine Art; Compass Gallery; MacAulay Gallery; Fosse Gallery; Torrance Gallery; Frames Contemporary Gallery, Perth; John Martin, London; Seen Gallery, London; Richard Hagen; Open Eye Gallery, Edinburgh; Gallery International East Grinstead; The Blythswood Gallery, Glasgow; Richmond Hill, London; Thompson`s, London; Solo exhibition Glasgow Art Club 2002.
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