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Lot 84
Hiram Powers (American, 1805-1872): A very rare and early carved white marble ideal portrait bust of Ginevra, (first version)The serene maiden clad in classical drapery to her shoulders, her loosely dressed coiffure with trailing chignon adorned with a pearl diadem, the rear signed H POWERS Sculpt, raised on a swept circular socle, supported on rouge marble plinth, 70.3cm high overallFootnotes:ProvenancePrivate UK family collection, Clevedon, Somerset, England. Acquired sometime in the late 1960s and by repute purchased at a Bristol (England) house sale, thence by descent. Arguably the greatest and most influential American Neoclassical sculptor of the nineteenth century, Hiram Powers achieved international recognition for his near life-size marble figure of The Greek Slave, which at the time became one of the most famous Orientalist works of art in the world. The figure was subsequently taken on a tour of America in the late 1840's, as well as holding pride of place in the United States contribution to the Great Exhibition of 1851 in London.With humble beginnings in the state of Vermont, Powers moved with his family to Cincinnati in Ohio when he began to assist the Russian émigré sculptor Frederick Eckstein, training in the rudiments of sculpture. Whilst a pupil at Eckstein's Academy in the late 1820s, he began to produce portrait busts whilst also taking up commissions on the East coast of the country. By 1837 he had secured funding from a Colonel John S. Preston allowing him to relocate to Florence, Italy. Although originally intended as a temporary move, his love of the city with its rich artistic tradition, its proximity to the marble quarries of Carrara and Seravezza, and the influence and the encouragement of an Anglo-American expatriate community of sculptors led to him making Florence his permanent home. Initially trained in the skill of marble carving by a fellow Florentine expatriate sculptor, Horatio Greenough, Powers subsequently expanded his workshop, employing a variety of skilled craftsmen to assist in moulding, casting and carving. With a significant and successful high-profile business, wealthy American and European clients flocked to his studio, commissioning both portrait and 'ideal' bust subjects. In addition, Powers also went on to influence further generations of artists and sculptors living in Florence. As a Swedenborgian or 'New Churchman', Powers believed that 'the legitimate aim of art should be spiritual and not animal' and that the natural body was merely a veil over the soul and spiritual body. This belief inspired him to create 'ideal' sculpture based on subjects from history, religion, philosophy and mythology. Representing an archetypal beauty, these 'ideal' subjects were at the time highly regarded and considered to be the pinnacle of the artist and sculptors most worthwhile and creative endeavour. Powers first serious venture into 'ideal' sculpture was his bust of Ginevra dating from this earliest time in Florence in 1837-8. It was inspired by the poem 'Italy' by the English poet Samuel Rogers (1763-1855), which told the story of a young bride who vanishes on her wedding night and is then found dead in a chest more than fifty years later still wearing her wedding ring bearing her name. The bust, finely carved in a high Neoclassical style, depicts the doomed bride as a goddess clad in drapery with a pearl adorned diadem. It was later paired with a pendant work by Powers depicting perhaps his most famous 'ideal' female bust, that of Proserpine, the Roman goddess which was begun in 1839 but not completed until 1843. Proving to be immensely popular, Powers produced Proserpine in different versions, some with more simplified bases and in reduced edition sizes up until 1873. However, although Ginevra was a more short-lived and hence rarer composition, a second perhaps less severe version which was modelled some twenty years later by the sculptor whilst visiting his daughter in England which was possibly more suited to the tastes of the time and appears to have been more widely reproduced with a number of replica copies apparently ordered by English clients.Of the very limited number of known commissioned marble replica's of the first edition of the bust (the original plaster being presumed destroyed), these are listed in Richard P. Wunder's, Hiram Powers, Vermont Sculptor, 1805-1873, volume II, Catalogue of Works but include no documented English commissions. Only two are apparently of a comparable but slightly larger size including their circular socles, measuring 30 inches (76cm) high. One, which is signed 'HIRAM POWERS Sculpt' includes a dedication to 'N Longworth Esq' and is now in the Cincinnati Art Museum (acc. No. 1893.63) whilst the other, also signed 'HIRAM POWERS Sculpt' is now in the Clermont Museum, Clermont State Park, New York State (acc. No. X154a). Of the other listed replicas, all are apparently smaller in size at 24 inches (61cms) high, although it seems likely that the heights of these busts are recorded without the addition of socle bases. Of this group, four are listed as 'not located', whilst the final one, an unfinished bust found in Powers studio at the time of his death is now in the collection of Washington, DC NMAA SI (acc. No. 1968.155.23). Of the busts which are 'not located', these are as follows:1.) Ordered by George Tiffany, Baltimore, Md. 2.) Ordered by Stephen Clarendon Philips, Salem. Mass. 3.) Ordered by Dr Alban Goldsmith, New York. 4.) No details given.Given that the offered bust is also approximately 24 in. (61cm high) without its socle, it seems possible that it could be one of these unlocated busts, the most likely candidate being the fourth example where no details of the commission are provided. However, although it could be that the bust made its way to England directly from Power's studio in Florence given that the majority of Powers early commissions came from his fellow country men, it is also possible the bust may have come to Bristol in England by way of an Anglo-American family connection given Bristol's strong shipping links to the US, perhaps via the flourishing tobacco trade in the 19th century. Related LiteratureR. P. Wunder, Hiram Powers Vermont Sculptor, 1805 -1873, Newark, Delaware, 1990, p. 153-157.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 41
Adrian Stokes (British, 1902-1972)Still Life with Bottles signed with initials and dated 'ADS '71' (on canvas overlap)oil on canvas51 x 53cm (20 1/16 x 20 7/8in).Footnotes:ProvenanceThe Artist, and thence by descent to the present ownerPrivate Collection, U.K.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 42
Adrian Stokes (British, 1902-1972)Still Life I signed with initials and dated 'ADS 62' (on canvas overlap)oil on canvas50.5 x 53.5cm (19 7/8 x 21 1/16in).Footnotes:ProvenanceThe Artist, and thence by descent to the present owner Private Collection, U.K.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 77
Mary Fedden R.A. (British, 1915-2012)Still Life with Blackbird signed and dated 'Fedden 1985' (lower right)graphite, chalk and gouache on paper75.5 x 55cm (29 3/4 x 21 5/8in).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 96
John Bellany (British, 1942-2013)Still Life with Lucky Bamboo signed 'Bellany' (lower right)oil on canvas122 x 91.5cm (48 1/16 x 36in).(unframed)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 58
Gouden broche, Biedermeier, met een voorstelling van een stilleven met bloemen uitgevoerd in Zwitsers email. De zetrand gedecoreerd met email (besch.) en bezet met robijn en parels bruto 11,8 gr., h. 54,3 x b. 39,3 mm [1] Gold brooch, Biedermeier, depicting a still life with flowers in Swiss enamel. The bezel decorated with enamel (damages) and set with ruby ??and pearls
Lot 46
‘It can’t be that my life’s work is destroyed by the French’ RIEFENSTAHL LENI: (1902-2003) German film director. A significant and interesting correspondence collection comprising two A.Ls.S. and nine T.Ls.S. (several with holograph additions), Leni Riefenstahl, sixteen pages (total), 4to, various places (Munich etc.), January 1952 - December 1958, the majority to Christian Bourcier de Carbon (and, indirectly, Henri Langlois), in German. Riefenstahl writes on a variety of subjects, including her work and the efforts she made to recover her films reels, which had been confiscated by the French government at the end of World War II and retained at the Cinematheque Française, thanking De Carbon for supporting her in the return of her films, explaining that she intends to go to Paris personally 'as soon as possible to bring about the handover there and I would be happy if I could ask for your help. In order to obtain my French entry permit, it is necessary for me to receive an official invitation….from you as soon as possible (by express) so that I can receive my entry visa from the French consulate in Munich in a few days' (26th January 1952), further stating, in part, 'Many weeks have now passed since my stay in Paris and unfortunately the return of my material to the Austrian Embassy has still not become a fact…..If all these efforts are unsuccessful, then the last resort I see is either a civil suit against Monsieur Petitjean, a French film officer who at the time brought the material to France without permission and without a mandate from the French military government, or that I have to file a complaint with the International Court of Justice in The Hague' (19th March 1952), 'On 4th April I finally have my world premiere of 'Blauen Licht' in Munich….I wanted to go to Kitzbuhel over Easter and from there to Breuil to test the ski area there for my film 'Die roten Teufel'' (1st April 1952), 'Unfortunately I haven't received any sign of life from you since we were last together in Munich and wonder whether you are in Paris and whether you are aware of the outrageous article about me in the magazine 'Samedi Soir' of 10th May 1952. This article took over the pictures of the Munich 'Revue', made the same claims and published more fictional and forged Streicher letters. As a result, the already officially confirmed transfer of my films to the Austrian Embassy was thwarted at the very last hour…..I ask you to treat the contents of this letter as confidential. It is only intended to show you the base means by which my enemies in France are trying to prevent the return of my property. This new setback has made my current situation even more difficult, but I hope to be able to resolve the matter through a lawsuit. For this process I now need an absolutely flawless translation of the article from 'Samedi Soir' and I would be particularly grateful if you would have the same made, as I have no money to pay for the translation…..I will give you back your expenses after the case has been won…..My lawyer will ask the newspaper 'Samedi Soir' to bring a correction. If the newspaper does not do this, I will be forced to sue 'Samedi Soir' and again I would like your advice on which French lawyer I should hire?' (1st June 1952), 'Above all, I would like to tell you that your faith and the trust you have placed in me have given me a lot of strength. On the day of your visit in Munich I was really completely devastated by the mean slanders of the 'Revue'. Your encouragement helped me a lot. The next day I flew to Berlin and had the strength to face a big public hearing in Berlin to refute all allegations against me, although the chairman of the court was a Jew, he possessed the necessary objectivity to conduct the proceedings fairly, I was acquitted on all counts and fully rehabilitated. This was a great victory and will also help me to fend off further attacks. For your information I am enclosing a newspaper report from which you can see the means by which an attempt was made to destroy me. I am also enclosing the copy of the Berlin verdict, which is of particular value because the most severe verdicts are pronounced in Berlin. As a result of this Berlin verdict, I am now in a position to sue the illustrated magazine 'Revue' for defamation and professional damage. So I will once again have to endure a lawsuit, but I am convinced that I will win it and then the way for my future work will be free….I wrote to Mr. Borst today to find out how far my 'Tiefland' affair has progressed…..I cannot understand why the handover has still not taken place. If you are still in Paris, I would be indebted to you if you would ask Mr. Borst, or even better, Mr. Langlois directly, when the handover will take place, It can't be that my life's work is destroyed by the French' (5th June 1952), 'It has been a long time since we last spoke. In the meantime my 'Tiefland' film has begun in Germany and Austria with a very strong response from the press and so far I am very satisfied with the artistic success. If you don't have the opportunity to see it in a cinema somewhere, it will be my great pleasure to show you the film on your next visit to Munich. Only now can I fully immerse myself in the realisation of my ski film 'Die roten Teufel'…..I would now be interested, dear Mr. de Carbon, whether you are still interested in any way in co-financing the film…..I think it's going to be big business and it's worth investing capital in, It would also make the work easier because, if francs are available to me, I could finance French skiers and workers and possibly also some outdoor shots in French territory' (9th June 1954), the later letter of 1958 regarding a proposed ballet based on Das blaue Licht (1932, 'The Blue Light') in which Riefenstahl had appeared as an actress in the role of Junta, with Rosella Hightower suggested for the same role, Riefenstahl asking 'Is this prima ballerina a household name?'. Together with a few associated carbon copies of letters, two original envelopes, a small series of handwritten notes by Riefenstahl, and several French newspaper articles relating to the director. Some light overall age wear and a few letters with small tears and creasing to the edges, G to generally VG, Sml. Qty.Christian Bourcier de Carbon (1912-?) French civil and industrial engineer who invented the de Carbon hydraulic shock absorber in 1953, also establishing the De Carbon Company in the same year.Henri Langlois (1914-1977) French film archivist and cinephile, a pioneer of film preservation and co-founder of the Cinematheque Française.Towards the end of World War II the French government confiscated all of Riefenstahl's editing equipment, along with the production reels of Tiefland. After years of legal wrangling, these were returned to her, but the French government had reportedly damaged some of the film stock whilst trying to develop and edit it, with a few key scenes missing. Riefenstahl edited and dubbed the remaining material and Tiefland premiered in Stuttgart in 1954, however it was denied entry into the Cannes Film Festival. In the 1950s and 1960s the director attempted to make many other films, but was continually met with resistance, public protests and sharp criticism. Although both film professionals and investors were willing to support her work, most of the projects she attempted were stopped owing to ever-renewed and highly negative publicity about her past work in Germany, and Tiefland would subsequently remain as her last feature film.
Lot 890
‘The present end on the bull piece is OK if anything should happen to me as things sometimes do’ HEMINGWAY ERNEST: (1899-1961) American novelist, Nobel Prize winner for Literature, 1954. An excellent A.L.S., Ernest Hemingway, three pages (separate leaves), 4to, Finca Vigia, San Francisco de Paula (Havana), Cuba, 2nd June 1960, to Edward K. Thompson. Hemingway thanks his correspondent for their letter and informs him 'Finally finished 108,746 words of first draft….It is being typed and will start correction, cutting and any necessary re-write', adding that he will have to go to Spain 'to get what I need for the end and to check certain things nobody will write or tell me on the telephone' and explaining 'They have put through a really severe decree about tampering with the bulls horns making the breeders responsible even if it is done after the bulls leave the ranches', suggesting that if the decree is enforced he does not believe that Luis Miguel will fight in Spain during the summer. Hemingway returns to the subject of his piece, 'When I have the present MSS in shape (we you) can decide how long the Antonio - Luis - Miguel piece originally contracted for should run now…..Bill Lang said you would like to see all of it rather than have me cut the part that was contracted for. This is OK with me as long as it does not change the fact that the article was contracted for and that I am giving more than I contracted to deliver. This must be worked out as I only took an advance to bind the contract. This is not meant to sound stuffy', also remarking 'The present end on the bull piece is OK if anything should happen to me as things sometimes do' and concluding 'Please check with me if you want to use any work sheets or MSS. Photostat as Bill Lang suggested so nothing will be run that, out of context, might make me trouble in Spain with work still pending there'. Accompanied by the original envelope. A letter of good content for its literary references relating to Hemingway's fascination with bullfighting. A few small, very minor staple holes and rust marks to the upper left corner of each page, VGEdward Kramer Thompson (1907-1996) American writer and editor who was employed as the managing editor of Life magazine from 1949-61. Will Lang Jr. (1914-1968) American journalist, a bureau head for Life magazine and friend of Hemingway.Luis Miguel Dominguin (1926-1996) Spanish matador who, in 1959, became engaged in a bullfighting rivalry with his brother-in-law Antonio Ordonez (1932-1998) which was chronicled by Hemingway. In 1959 Hemingway had been commissioned by Life magazine to write a series of bullfighting articles which were supposed to be no more than 10,000 words. The manuscript grew much larger and Hemingway sought the assistance of A. E. Hotchner in order to reduce the work to 40,000 words (it eventually became 30,000 words and was published in three consecutive installments by Life during September 1960). Scribner's also agreed to a full-length book version of almost 130,000 words which was published posthumously in June 1985 under the title The Dangerous Summer.
Lot 289
Attributed to Rodrigo Moynihan (1910-1990)Still life with books and bottles on a chest, oil on canvas, 60 x 90cmProv. From an Oxford College.Exh. Leicester City Museum and Art Gallery Dec 1962 to Jan 1963 according to a College Paintings Catalogue Entry from 1963 (please see extra image)Not lined. There is a tear approx 4" long to the lower left area, and two further tears to the left area, all with associated paint loss. Surface scratches and scuffs. Left edge of canvas is worn and holed, with some flaking paint and frame abrasions. Surface dirt/dust and mould.
Lot 290
Attributed to Rodrigo Moynihan (1910-1990)Still life of bottles and a glass vase, inscribed verso 'R Moynihan Still Life', oil on canvas, 39 x 59.5cmProv. From an Oxford College.Purchased Trinity Term 1962 and listed in College Paintings Catalogue entry from 1963 (please see extra image)Area of paint loss to top of vase area, and some minor scratches and scuffs. Good overall.
Lot 349
* Claridge (20th century)Still life of oranges and peel on a board and newspaper, signed, mixed media, 25.5 x 39.5cm; together with an etching landscape by W.P. Robin (2)There is a water stain to the mount. Small area of paint loss to right hand orange. Etching has minor time staining and is slightly wrinkled to the top of the sheet.
Lot 3066
A collection of The Rolling Stones LPs to include titles (1) The Rolling Stones (1964 UK, Mono, LK.4605, B1X); (2) No. 2 (1965 UK, LK.4661); (3) Out Of Our Heads (1965 UK 1st, LK.4733); (4) Goat's Head Soup (1973 UK, COC 59101); (5) The Rolling Stones - Undercover (1983 UK, CUN 1654361); (6) Emotional Rescue (1980 UK, CUN 39111, No Poster); (7) It's Only Rock 'N' Roll (1974 UK, COC 59103); (8) Still Life [American Concert 1981] (1982 UK, CUN 39115); (9) Big Hits [High Tide And Green Grass] (UK Repress, TXS.101); (10) Through The Past, Darkly [Big Hits Vol. 2] (1969 UK, LK.5019); (11) Made In The Shade (1975 UK, COC 59104); All conditions vary from Fair to Good with generally Fair To Good sleeves. (11)
Lot 3138
Rock LPs by The Beatles, Rolling Stones and The Who to include The Beatles, Abbey Road (PCS 7088) - 1969 UK release with YEX 749-2/YEX 750-1 matrix - Good Plus in generally Very Good laminated sleeve; Rolling Stones, Dirty Work (CBS 86321) - Very Good Plus including sleeve; The Rolling Stones, Big Hits (High Tide and Green Grass) (TXS 101) - UK re-issue with booklet - Very Good Plus in Very Good gatefold sleeve; Rolling Stones, Under Cover (CUN 1654361) - Very Good Plus to Excellent including sleeve; Rolling Stones, Still Life (CUN 39115) - generally Very Good in Very Good Plus gatefold sleeve; The Who, Collection (IM DP4) - Good Plus to Very Good (chip to one outer edge) in generally Very Good Plus gatefold sleeve; The Who, The Story of The Who (2478 091) - Very Good including gatefold sleeve and The Who, Tommy Part Two (2406 008) - Very Good Plus including sleeve. (8)
Lot 77
John Watson - Still Life with Flowers in a Vase, 20th century lithograph, signed, dated '87 and editioned 152/250 in pencil, 74.5cm x 55.5cm, together with another Still Life lithograph, signed Hawthorne.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 51
William Scott - 'Blue Still Life', lithograph in colours on wove paper, printed by Curwen Studio, London, published for PSA Supplies Division by Editions Alecto Ltd., London 1975, sheet size 75.5cm x 96.5cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 50
William Scott - 'Blue Still Life', lithograph in colours on wove paper, printed by Curwen Studio, London, published for PSA Supplies Division by Editions Alecto Ltd., London 1975, sheet size 75.5cm x 96.5cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
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