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Lot 6012
A collection of The Rolling Stones UK press LPs (All include original inserts and printed inner sleeves unless stated) to include (1) Exile On Main St. (COC 69100); (2) Goats Head Soup (COC 59101); (3) It's Only Rock 'N Roll (COC 59103); (4) Metamorphosis (SLK.5212); (5) Black And Blue (COC 59106); (6) Love You Live (COC 89101); (7) Some Girls (CUN 39108); (8) Emotional Rescue (CUN 39111); (9) Tattoo You (CUNS 39114); (10) Still Life (CUN 39115); (11) Under Cover (CUN 1654361, Does not include merchandise insert); (12) Dirty Work (CBS 86321), Conditions are Very Good Plus to Excellent in Very Good to Excellent sleeves. (12)
Lot 398
Maximilian Pfeiler, tätig 1683 – um 1721 Deutscher Blumen- und Früchtemaler. Arbeitete lange in Rom, zusammen gelegentlich mit Francesco Trevisani (1656-1746). 1683 wurde er Mitglied der Malergilde der Prager KleinseiteSTILLLEBEN MIT FRÜCHTENÖl auf Leinwand. Doubliert.65 x 48 cm.In dekorativem vergoldetem Rahmen.Beigegben eine Expertise von Prof. Giancarlo Siestieri, Rom, 06. April 2004, in Kopie. Vor einer Mauerecke, die links den Blick in eine weite bergige Landschaft unter abendlichem Himmel freigibt, eine große Silberplatte, auf der sich Melonenscheiben, dunkle Weintraubenrispen, eine Feige und eine kleine Glasvase mit Blumen befinden. Der farbenfrohe Strauß u.a. bestehend aus Rosen, blauer Ranunkel sowie weiß-gelben und hellblauen Kleinblütlern. Die Platte auf einem weißen Tischtuch stehend, das mit weißer Spitze am Ende verziert ist und wiederum auf einem großen schweren dunkelroten Brokatteppich mit Fransen liegt. Feine qualitätvolle Malerei in äußerst gekonnter naturalistischer Wiedergabe der Sujets. (13513017) (18)Maximilian Pfeiler,active 1683 – ca. 1721STILL LIFE WITH FRUIT Oil on canvas. Relined.65 x 48 cm.Accompanied by an expert’s report by Professor Giancarlo Sestieri, Rome, 6 April 2004, in copy.
Lot 409
Henri-Théodore Fantin-Latour, 1836 Grenoble – 1904 BuréSTILLLEBEN MIT TRAUBEN IN EINER GLASSCHALE SOWIE EINEM KORB MIT KRÄUTERNÖl auf Leinwand.37 x 53 cm.Links oben signiert und datiert „Fantin 82“.In vergoldetem barockisierenden Rahmen.Man kann sich sehr gut vorstellen, wie Henri Fantin-Latour auf seinem Landsitz in Buré im Départment Orne in der Basse Normandie 45-jährig einen Korb mit Kräutern heim bringt um diesen – was für eine ungewöhnliche Motivkombination für Fantin-Latour! – zusammen mit einer gläsernen Schale, gefüllt mit Trauben auf Leinwand zu bannen. Das Ensemble, welches in fein differenzierten Grün- und Brauntönen vor braunem Hintergrund auf einer ebenfalls braunen Tischplatte erscheint, wirkt fast camaieuhaft. Lediglich die Lichtreflexe auf dem Glas und den prallen Trauben und auch auf dem glatten Geflecht des Korbes brechen die in sich verschwimmenden Töne auf und zeichnen so ein scharfes Bild des Dargestellten.Provenienz:Edwin Edwards, London.Kirkman, London.Brame & Lorenceau, Paris ca. 1978.Auktion Sotheby´s, London 30.06.1982, Lot 1.Jan Krugier Fine Art, New York, von dort an Privatsammlung, Kalifornien.Hirschl & Adler Galleries, Inc., New York.Privatsammlung, Kanada.Anmerkung:Henri-Théodore Fantin-Latour war ein französischer Maler, der von seinem Vater, einem Portraitisten, ausgebildet wurde. Er setzte seine Ausbildung an der École des Beaux-Arts in Paris fort, besuchte regelmäßig den Louvre, wo er große Meister kopierte. Hier entwickelte er eine Begeisterung für die venezianische Malerei, vor allem für die von Tiziano Vecellio (1485/89-1576) und Paolo Veronese (1528-1588). Er schloss Freundschaft mit Édouard Manet (1832-1883), Berthe Morisot (1841-1895) und später mit James Abbot McNeill Whistler (1834-1903), der ihn mit nach England nahm und einer Klientel vorstellte, die sich für seine Stillleben, im Speziellen die Blumenstillleben, begeisterte. Außerdem mit dem realistischen Maler Gustave Courbet (1819-187) und den Impressionisten befreundet, behielt er nichtsdestotrotz seinen eigenen Stil und orientierte seine Malerei hin zu Gruppenportraits, wovon die berühmtesten Exemplare im Musée d'Orsay aufbewahrt sind. Später zog er sich in die Normandie nach Buré zurück und widmete sich dort fast ausschließlich seinen Blumensträußen, die er in seinem Garten pflückte.Die Galerie Brame & Lorenceau bestätigt die Authentizität des hier angebotenen Gemäldes. Es wird in das in Arbeit befindliche Werkverzeichnis Catalogue raisonné des peintures et pastels de Fantin-Latour aufgenommen.Literatur:Hardouin-Fugier, Les peintres de Natures Mortes en France au XIXe siècle, Les Éditions de l'Amateur, Paris 1998, S. 192-193 (abgebildet, irrtümlich mit Datierung '68). (1351539) (13) (†)Henri-Théodore Fantin-Latour,1836 Grenoble – 1904 BuréSTILL LIFE WITH GRAPES IN A GLASS BOWL AND BASKET OF HERBSOil on canvas.37 x 53 cm.Signed and dated “Fantin 82” top left.In gilt Baroque-style frame.Provenance:Edwin Edwards, London.Kirkman, London.Brame & Lorenceau, Paris ca. 1978.Auction Sotheby's, London 30.06.1982, lot 1.Jan Krugier Fine Art, New York, from there to aPrivate collection, California.Hirschl & Adler Galleries, Inc., New York.Private collection, Canada.Notes:The Brame & Lorenceau Gallery confirms the authenticity of the painting on offer for sale in this lot. It will be included in the Catalogue raisonné des peintures et pastels de Fantin-Latour which is currently being prepared.Literature:Hardouin-Fugier, Les peintres de Natures Mortes en France au XIXe siècle, Les Éditions de l'Amateur, Paris, 1998, pp. 192-193 (illustrated, erroneously dated '68).
Lot 301
Edwaert Collier, 1640 – 1708, Werkstatt desVANITAS-STILLLEBEN MIT VIOLINEÖl auf Leinwand. Doubliert.69 x 86 cm.Vor mit rotem schweren Brokatvorhang abgedunkeltem Hintergrund eine massive steinerne glänzende Tischplatte, die rechts mit einem Tuch bedeckt ist. Darauf diverse Vanitasobjekte: drei Musikinstrumente mit Notenblatt, davon eine Violine, ein Totenschädel, drei Bücher, ein Tintenfass mit Federkiel und Brief, ein weiterer, aber zerknitterter Brief mit rotem Wachssiegel, eine erloschene Kerze und eine goldene Tischuhr. Feines Arrangement der Objekte mit starker Hell-Dunkel-Betonung. (13013125) (18) (†)Edwaert Collier,1640 – 1708, workshop ofVANITAS STILL LIFE WITH VIOLINOil on canvas. Relined.69 x 86 cm.A solid shiny tabletop is depicted in the foreground with a heavy red brocade curtain behind it and a dark background. The tabletop is covered by a white cloth on the right and holds various vanitas objects. The objects are accurately arranged and painted in strong chiaroscuro.
Lot 288
Frans Sant-Acker, 1648 – 1688STILLLEBEN MIT NAUTILUSPOKAL UND GLÄSERNÖl auf Leinwand. Altdoubliert.82,7 x 67,3 cm.Links unten signiert „F. Sant. Acker“. Keilrahmen mit altem Etikett.In vergoldetem ornamental verziertem Rahmen.Provenienz: Sotheby´s, Amsterdam, 03.05.1999. (13506617) (1) (13)Frans Sant-Acker,1648 – 1688STILL LIFE WITH NAUTILUS CUP AND GLASSES Oil on canvas. Old relining.82.7 x 67.3 cm.Signed “F. Sant. Acker” lower left. Stretcher with old label. Provenance: Sotheby’s Amsterdam, 3 May 1999.
Lot 494
Auguste Herbin, 1882 Quievy – 1960 ParisSTILLLEBEN MIT BIRNEN UND MISTELZWEIGÖl auf Leinwand.38,7 x 61,2 cm.Rechts unten signiert.In dekorativem Rahmen.Auf einer helleren Platte liegend vier größere Birnen vor fächerartigem grünem Hintergrund, der an Dekormalerei erinnert, dazu ein breiter, verästelter Mistelzweig mit weiß glänzenden Beeren. Die Birnen in subtiler Farbigkeit, die in dem Rotakzent der mittleren Birne gipfelt. Malerei in der typischen Manier des Künstlers, die das Gemälde wohl in die Zeit um 1921 datieren lässt.Anmerkung:Der Künstler schuf ein umfangreiches Werk. Stilistisch wurde er beeinflußt vom Impressionismus, Fauvismus, Kubismus und der Abstraktion. Der Kubismus wurde in seinem Werk ab 1910 durch den Kontakt mit Picasso und Juan Gris in Paris sichtbar. 1925 begann er abstrakt zu arbeiten. Die Malerin Geneviève Claisse war in seinen letzten Lebensjahren seine Assistentin und schuf das Werkverzeichnis von Herbins Oeuvre.Literatur:Geneviève Claisse, Herbin. Catalogue raisonné de l‘oeuvre peint, Lausanne 1993, S. 382, Kat.Nr. 585. (1350716) (18)Auguste Herbin, 1882 Quievy – 1960 ParisSTILL LIFE WITH PEARS AND MISTLETOE Oil on canvas. 38.7 x 61.2 cm.Signed lower right. Literature:Geneviève Claisse, Herbin. Catalogue raisonné de l’oeuvre peint, Lausanne 1993, p. 382, cat. no. 585.
Lot 501
Dirk Smorenberg, 1883 Alkmaar – 1960 Oud-LoosdrechtIMPRESSIONISTISCHES BLUMENSTILLLEBEN MIT ZWEI VASEN, 1912Öl auf Leinwand.122,4 x 72 cm.Links unten signiert und datiert „D. Smorenberg 12“.Auf einem kleinen Tisch mit gestreifter Decke eine hohe Glasvase mit einem Blumenstrauß aus Astern mit grünen Zweigen. Daneben stehend eine kleine blau-grüne Kugelvase, die einen großen Strauß enthält. Prachtvolles impressionistisches Blumenbild, teils mit Weiß gemischten Farbtönen und kräftigem pastosen Farbauftrag, bei dem die Farben Blau und Grün in vielen differenzierten Farbabstufungen überwiegen. (1322008) (18)Dirk Smorenberg,1883 Alkmaar – 1960 Oud-LoosdrechtIMPRESSIONIST FLOWER STILL LIFE WITH TWO VASES, 1912Oil on canvas.122.4 x 72 cm.Signed and dated “D. Smorenberg 12” lower left.
Lot 140
Pieter Boel, 1622 Antwerpen – 1674 ParisSTILLLEBEN MIT NAUTILUSPOKAL UND PFIRSICHENÖl auf Leinwand. Doubliert.54,5 x 72 cm.Links unten an der Zarge des Tisches signiert.In vergoldetem Prunkrahmen.Das vorliegende Gemälde ist Beweis für Boels Begabung als Stilllebenmaler; einige Meisterwerke der flämischen Schule des 17. Jahrhunderts stammen von ihm, so zum Beispiel die monumentale Allegorie des weltlichen Lebens im Musée des Beaux Arts in Lille. Bei dem Werk begeistern besonders die Qualität der Pfirsichschale, die Lichtreflexe auf dem Nautilus und die minuziösen Details auf dem Krug sowie die Feinabstimmung der Farbtöne. Diese charakteristischen Elemente sind auch bei dem Stillleben mit Globus, Musikinstrument und kleinem Hund wiederzufinden, das in der Akademie der Bildenden Künste in Wien zu sehen ist.Nach seinen Lehrjahren bei Jan, seinem Vater, wissen wir, dass Pieter Boel Schüler von Frans Snyders (1579-1657) und dann von Jan Fyt (1611-1661) war. Gegen Ende der fünften Dekade verbrachte er einige Zeit in Rom und Genua; 1650 findet sich sein Name allerdings noch in den Listen der Sankt Lukas-Gilde in Antwerpen. Seine letzten Lebensjahre verbrachte er in Paris, wo er Entwürfe für Wandteppiche der Manufaktur Gobelins zeichnete; 1674 wurde er zum Hofmaler von Ludwig dem XIV. Er war ein Spezialist für Jagdszenen und Vanitasdarstellungen, bewundert wurde er jedoch vor allem für seine Tierdarstellungen, seine Blumen und Früchte, wie man es bei Erasmus Quellinus (1607-1678) bereits 1661 nachlesen konnte.Literatur:Vgl. Edith Greindl, Les peintres flamands de nature morte au XVIIe siècle, Sterrebeek 1983. (1351551) (18)Pieter Boel,1622 Antwerp – 1674 ParisSTILL LIFE WITH NAUTILUS CUP AND PEACHES Oil on canvas. Relined.54.5 x 72 cm.Signed below on the apron of the table. The present painting is evidence of Boel’s talent as a still life painter; he created several masterpieces of the 17th-century Flemish school, such as the monumental Allegory of the Vanities of the World held at the Musée des Beaux Arts in Lille.
Lot 139
Joris van Son, 1623 Antwerpen – 1667 ebendaSTILLLEBEN MIT FRÜCHTETABLETT, HUMMER UND AUSTERNÖl auf Leinwand. Doubliert.49 x 65 cm.Links unten an Tischplatte signiert „J. VAN. SON.“In dekorativem Rahmen.Das vorliegende Werk ist besonders typisch für die Auswahl und Anordnung bei van Son und zeigt alle seine herausragenden Qualitäten und sollte somit in seiner künstlerischen Blütezeit – also um 1670 – entstanden sein. Vor braunem Hintergrund auf einer hölzernen Tischplatte, die teils mit einem schweren dunkelgrünem Stoff belegt ist, die sorgsam arrangierten Objekte: eine flaches glänzendes Tablett mit Pfirsichen und geöffneten Austern, rechts daneben eine große Languste, die durch ihre leuchtend rote Farbgebung besonders gegenüber den helleren Früchten und dem dunklen Hintergrund hervorgehoben wird und schließlich ein Korb mit mehreren hellen sowie dunkelblauen Weintraubenrispen mit Glanzlichtern, Haselnüssen und einem Zweig mit Pflaumen. Es bestehen viele Ähnlichkeiten zu weiteren gesicherten Werken van Sons, wie zum Beispiel zu einigen Stillleben mit Früchten und Hummer, ausgehend von jenem im Schwedischen Nationalmuseum in Stockholm bis zu dem im Fitzwilliam Museum in Cambridge, dem in der Galerie De Jonckheere – in Brüssel und Paris – oder jenem, das am 4. Juli 2012 bei Christie‘s in London versteigert wurde. Von unserem Gemälde existiert noch eine weitere, etwas kleinere Version, bei der es sich wahrscheinlich um eine sehr gute Atelierarbeit handelt.Joris van Son war einer der begabtesten Anhänger von Jan Davidsz de Heem. Ebenso wie dieser Meister spezialisierte sich van Son auf Stillleben mit Früchten, Blumen, Krustentieren und vielen weiteren typischen Motiven der flämischen und holländischen Bankettmalerei. Seine Werke schildern detailgetreu, die Kompositionen sind sehr aufwendig und überquellend, die Darstellungsweise ist präzise und die Farbgebung reich und einladend.Anmerkung:Joris van Son war einer der begabtesten Anhänger von Jan Davidsz de Heem. Ebenso wie dieser Meister spezialisierte sich van Son auf Stillleben mit Früchten, Blumen, Krustentieren und vielen weiteren typischen Motiven der flämischen und holländischen Bankettmalerei. Seine Werke schildern detailgetreu, die Kompositionen sind sehr aufwendig und überquellend, die Darstellungsweise ist präzise und die Farbgebung reich und einladend. (1351552) (18)Joris van Son,1623 Antwerp – 1667 ibid.STILL LIFE WITH FRUIT TRAY, LOBSTER AND OYSTERS Oil on canvas. Relined.49 x 65 cm.Signed on tabletop “J. VAN. SON.” lower left. There are many similarities to van Son’s other verified works, such as some Still Lifes with Fruit and Lobster held at the Swedish National Museum in Stockholm, the Fitzwilliam Museum in Cambridge, and Galerie De Jonckheere – in Brussels and Paris – or one that was offered for sale at Christie’s in London on 4 July 2012. There is another, slightly smaller version of the present painting, which is probably a very good work by the workshop. With minor restorations.
Lot 142
Isaak Soreau1604 Hanau – nach 1645 ebendaSTILLLEBEN MIT OBSTKORB UND NELKEÖl auf Holz.47 x 63 cm.Wir danken Dr. Fred G. Meijer für die Bestätigung der Zuschreibung.Auf einer Tischplatte, die nach hinten hin verschattet ist, steht ihm Zentrum ein à jour gearbeiteter Flechtkorb. Darin und darum allerlei Obst wie rote und weiße Trauben, Pfirsiche, Pflaumen und Kirschen. Während das im Petit Palais aufbewahrte Gemälde (Inv.Nr. PDUT01157) eine noch horizontalere Anordnung bietet, bei der ein Korb mit Weintrauben links von einem tiefen Teller aus weißblauem China-Porzellan und rechts von einer Zinnschale mit Pflaumen umgeben ist, findet sich hier links neben dem alles bestimmenden Korb eine Nelke.Isaak Soreau (1604-1644) war ein deutscher Maler, der sich auf Stillleben spezialisierte. Seine Familie war flämischer Abstammung und zog nach Frankfurt, um sich den Anhängern der Reformation anzuschließen. Sein Vater Daniel arbeitete zunächst für den Wollhandel der Familie und später als Maler und Architekt. Isaak wurde im väterlichen Atelier ausgebildet, das 1619 nach dem Tod seines Vaters von Sebastian Stoskopff (1597-1657) übernommen wurde, der seine Ausbildung vervollständigte. 1626 ging Isaak nach Antwerpen, wo er wahrscheinlich ein Schüler von Jacob Van Hulsdonck (1582-1647) war. Als aufmerksamer Beobachter von Blumen und Früchten bewies er eine außergewöhnliche Technik und einen seltenen Scharfsinn. Von einem Werk zum anderen, in dem er die gleiche Komposition wiederholt, nimmt er Details auf oder entfernt bestimmte Früchte, um sie voneinander zu unterscheiden. Soreau wurde in seinen Entscheidungen, die die natürliche Schönheit von Gegenständen und die Wohltaten der Natur hervorheben, von Stoskopff beeinflusst, aber auch von der Opulenz flämischer Stillleben, die er durch den Kontakt mit Van Hulsdonck erhalten hatte. Jahrhunderts von Kunsthistorikern verkannt, ist Isaak Soreau heute bei Liebhabern gefragt und seine Bilder befinden sich in den größten öffentlichen Sammlungen, vor allem in Deutschland, in München und Hamburg.Provenienz:Seit über 40 Jahren in der Sammlung der gleichen Familie. (13515317) (13) (†)Isaak Soreau,1604 Hanau - after 1645 ibid.STILL LIFE WITH FRUIT BASKET AND CARNATIONOil on panel.47 x 63 cm.We would like to thank Dr Fred G. Meijer for confirming the attribution.Provenance:This painting has been held in the same family collection for over forty years.
Lot 165
Ridley (20th Century School) 'Untitled still life of flowers', oil on panel, indistinctly signed and dated (Possibly 1811?) lower right, 24cm x 29cm and another by the same artist, 'Still life with thorn brambles', indistinctly signed and dated (Possibly 1811?) lower right, 23.5cm x 29cm (2)Some losses and wear to the frames. Some wear to the surface of the paint. Otherwise seems ok.
Lot 142
Georg Hann (20th Century English School) 'Untitled still life of flowers', oil on paper, signed anad dated 1939 lower left, 31.5cm x 26.5cmOverall wear and scuffs to the frame. The paper is slightly lifting from under the mount in places. Small tear and loss middle centre left. Some foreign objects under the glass. Overall wear and signs of age, consistent with age as expeted.
Lot 43
Dante Gabriel Rossetti (British, 1828-1882)Study for the portrait of Maria Leathart signed with monogram (lower right); bears inscriptions 'D.G. Rossetti (lower right) and 'No.5' (upper right)pencil33 x 27.6cm (13 x 10 7/8in).Executed in 1862.Footnotes:ProvenanceWilliam Bell Scott.Margaret Rae, née Leathart.By descent to her son, Charles Edward Leathart Rae.To his widow, Kathleen Muriel Rae, later Mrs Robert Catto.Thence by descent.ExhibitedLondon, Burlington Fine Arts Club, Pictures, Designs and Studies by the late Dante Gabriel Rossetti, 1883, no. 138 (lent by W.B. Scott).Newcastle upon Tyne, Laing Art Gallery, Paintings from the Leathart Collection, 1968, no. 63 (lent by Mrs R. Catto).LiteratureH.C. Marillier, Dante Gabriel Rossetti, Illustrated Memorial of his Art and Life, London, 1899 no. 355.Virginia Surtees, The Paintings and Drawings of Dante Gabriel Rossetti (1828-1882), Oxford, 1971, vol. I, no. 334B, p. 171.James Leathart, the Newcastle upon Tyne industrialist, had first expressed a wish that Rossetti should paint a portrait of his wife Maria in the autumn of 1862. At that time Rossetti had recently installed himself at 16 Cheyne Walk in Chelsea, and it seems that the first intention had been that Maria Leathart should sit to him there. However, following the usual postponements and prevarications on Rossetti's part, a plan was made that the artist should travel to Newcastle to work on the portrait at the Leathart family home, 14 Framlington Place, and which he did at the end of the first week of December. Rossetti stayed with William Bell Scott, the fellow artist who had first brought Leathart and Rossetti into contact and who lived at 18 St Thomas's Crescent. Rossetti remained in the north for three weeks, returning to London on the 31 December. Rossetti made a number of portrait sketches of Maria, at least one showing her in profile as well as the present study in which she is seen in three-quarters profile facing to the right. At the same time, he embarked on two broadly similar portraits in oil of her: one in which she was shown with her hands resting on the spine of a book, and the second based upon the present drawing showing her with her hair in an elaborate chignon at the back of her head, and showing her dressed in preparation to go out (see figure 1). Very careful attention was given to the treatment of her hands, which are shown resting on the back of a chair. Rossetti took both versions and the preparatory drawings with him when he returned to London, with the oils to be worked on further in the studio at Cheyne Walk. However, early in the New Year of 1863, the artist despaired of getting a good likeness in the first version and decided to concentrate on that in which Maria's hands rest on the chair, depending we assume on the present drawing to capture the particular likeness of the model and her pose, as well as the details of her dress. While still working on the painting Rossetti wrote encouraging letters to Leathart reassuring him that the consensus view among his circle of friends in London was that he had been successful in capturing the likeness of his absent sitter. Making portraits in oil for clients did not come readily to Rossetti and he was habitually nervous of the response that patrons might make to the works they had commissioned. The finished portrait was with Leathart in Newcastle by the 21 January and seems generally to have been enthusiastically received although with certain reservations, with William Michael Rossetti – the artist's brother – responding to William Bell Scott's account of responses to it by saying: '[Rossetti] infer[s] from your phrase that it is voted rather a good picture than a good likeness'. This finished oil has remained in the collections of the Leathart-Rae family.Perhaps recognising that the preparatory drawings were truer to life than the oil, Rossetti announced that he intended to give the two related sketches, of which the present was the second, to Leathart, in some degree as a compensation for any criticisms that may have been levelled against the finished oil. In a letter of 19 January Rossetti explained that he was sending these 'either both for yourself, or one for Scott as you please'. Leathart did in fact pass the present drawing on to William Bell Scott, and so it remained in his possession until at least 1883 when he lent it to the Burlington Fine Arts Club Rossetti Memorial exhibition, and which he eventually returned to the Leathart family by giving or leaving it to James and Maria Leathart's daughter Margaret. Maria had married James Leathart – twenty years her senior – when she was eighteen in 1858, and was therefore twenty-two years old at the time that Rossetti drew and painted her portrait. She was the daughter of a successful soap manufacturer and onetime mayor of Newcastle, Thomas Hedley. Her marriage to Leathart, who himself had gained considerable prosperity from his employment as manager of the St Anthony's leadworks of the company Locke, Blackett & Co, was therefore a dynastic match of two members of the Novocastrian mercantile middle classes. In 1864 the Leathart family moved to Low Fell in Gateshead, where they lived in a fine house called Bracken Dene, and where they brought up their large family and where was displayed the extraordinary collection of Pre-Raphaelite paintings which James Leathart formed, notable among which were works by Ford Madox Brown, John Everett Millais, Edward Burne-Jones and Rossetti himself.We are grateful to Christopher Newall for compiling this catalogue entry.For further information on this lot please visit Bonhams.com
Lot 42
Frederic, Lord Leighton, PRA (British, 1830-1896)Sea Echoes oil on canvas51.5 x 44.5cm (20 1/4 x 17 1/2in).Footnotes:ProvenanceW. Gillilan; his sale, Christie's, London, 15 May 1925, lot 121 (bought Sampson).H. Nelson; his sale, Christie's, London, 17 December 1937, lot 15, titled Music of the Sea (bought Mitchell).Anon. sale, Sotheby's, London, 27 January 1960, lot 148. Private collection, UK (acquired from the above).Thence by descent.ExhibitedLondon, Royal Academy, 1862, no. 494.Dublin, Irish International Exhibition, 1907.LiteratureMrs Russell Barrington, The Life, Letters and Work of Frederic Leighton, two volumes, London, 1906, pp. 87-8.Ernest Rhys, Frederic Lord Leighton London, 1898, p. 16.L. & R. Ormond, Lord Leighton, London, 1975, p. 154, cat. no. 81.Leighton's beautiful and sensuous painting Sea Echoes shows a young woman holding a sea-shell to her ear so as to try to hear, or to imagine that she might hear, the sound of waves breaking on the shore. The woman wears a garment of white satin over her shoulder, while her head rests against an embroidered or printed drapery showing luscious white peonies and their stems and leaves. The background of the composition shows a sea-shore and a deep green-blue expanse of ocean, with ominous dark clouds indicating an incoming storm. The model is a woman whose distinctive golden hair and pale complexion and blue eyes are seen in a number of Leighton's paintings of the early 1860s, such as Odalisque (Private collection) and Girl with a Basket of Fruit (Eucharis) (Private collection), shown at the Royal Academy in 1862 and 1863 respectively. It may tentatively be suggested that the person represented was one or other of Leighton's two sisters, Alexandra and Augusta, as there is a distinct family likeness in the physiognomy.The present painting came from a phase of the artist's career when he was striving for a new and personal style. He had first exhibited at the Royal Academy in 1855 when he showed Cimabue's Madonna (Royal Collection), a painting which was met with great enthusiasm, and which was bought by Queen Victoria. However, his subsequent exhibits of narrative type were met with indifference. In 1859 he established himself in London (having lived previously in Germany, Italy and France), and began to explore a type of thematic figurative composition from which the story-telling element was excluded but which instead depended purely upon mood and the elegance of physical type. This was a form of art of a sensuous kind which had been treated previously by French artists among them painters familiar to Leighton from the years that he had lived in Paris in the late 1850s, but which was at first regarded with suspicion by critics and fellow painters in London. Sea Echoes, painted we may assume in circa1861 and exhibited for the first time in the summer of 1862, and in which there is no indication of the circumstances or situation of the young woman represented, is one his very early experiments in this modern style of painting.Sea Echoes may therefore be seen as a product of the artistic movement which has come to be called Aestheticism and for which the theoretical basis lay in German and French art. Leighton sought to conjure sympathy for the experience of the person represented by inviting the spectator to imagine his or her response to their situation or setting. In various paintings of the 1860s he introduced the motif of imagined sounds which might be seen to prompt reflection or indicate mood. In paintings such as Duett (Royal Collection), Rustic Music (Leighton House Museum) and Golden Hours (Private collection), all from the 1860s, he showed figures transported into a realm of delight by the action of making music, or by listening to it, while still more remarkable is the subject Lieder ohne Worte – 'Song without Words' (Tate), of 1860-61, where all appears to be silent and static except for the imagined song of a blackbird. In its reference to sound, Sea Echoes is explicit, but at the same time fanciful. The painting is intended to give pleasure to the viewer by means that represented a radical departure from the solemn realities and portentousness of much the art of a previous generation of British painters.Leighton had been trained in a European academic method, and once again Sea Echoes may be seen as dependent upon the artist's formative experiences in France and Germany. It was his practice to make preparatory chalk and pencil drawings from the nude and draped model. Studies would then follow which would establish the overall format of the intended composition and determine how the figure would be placed. However carefully this process of preparation was undertaken, when once he was ready to work in paint on canvas, Leighton had the skill and confidence to work in a way that was naturalistic and unstilted, with rich colours and freedom of handling that makes the whole thing fresh and spontaneous. The flesh tones and the texture and colour of the woman's hair in Sea Echoes are beautifully captured and appear translucent in the light of the sun. The fabrics of the model's dress and the floral hanging are richly given in paint, whether in the ethereal and floating softness of the garment around her shoulders, arms and bosom, or the gorgeous ornateness of the floral hanging. The outcome is the representation of a languorous and eroticised female figure which is both sensuous and physically enticing.Lastly, the painterly immediacy of the expanse of sea and cloud, and of the glimpse of sandy foreshore, is a reminder that Leighton was – in addition to his primacy in Victorian art in the sphere of figurative art – one of the great landscape painters of the nineteenth century. This was something he refined in plein-air oil sketches, and which were then the inspiration of the landscape elements in his figure compositions. In the present painting, the view of sea and dark clouds is particularly beautiful.This is an important painting which has been untraced since 1960 and which has not appeared in any modern exhibition or publication. It is an important rediscovery and a painting which will take its place in the canon of Leighton's most innovatory early works and of the type of advanced paintings which transformed British art in the period of the Aesthetic Movement. ReferencesLeighton referred to the work in a letter to his father written at the time of its admission to the Royal Academy summer exhibition in 1862: 'Dear Papa, - I think I may confirm the report made to you of the success of my pictures [at the Academy]. Particularly the 'Odalisque' and 'Echoes' [the present work] (by-the-bye, I have just received a letter from somebody who wants to know if they are sold. What the papers say, you will have seen. You will be glad to hear that I have received congratulations on all sides, which gives me the idea of being tolerably secure; at all events, I got no such last year, nor indeed at all since the 'Cimabue.'' (Quoted Barrington II, p. 87)
Lot 173
GILL (ERIC) AND JOSEPH CRIBBCribb family archive of original artwork (sculpture and watercolour), manuscripts, and prints by or relating to Joseph Cribb, Eric Gill and his daughters, collected by Joseph Cribb, comprising:CRIBB (JOSEPH) The Crucifixion, with 2 kneeling figures (?Mary and St. John/Joseph), a Dominican monk beside flowering lilies, and a Franciscan monk beside a leopard, STONEWARE RELIEF SCULPTURE PAINTED IN COLOURS, a 'hand and cross' symbol etched on the reverse, 100 x 185 x 24mm., undated CRIBB (JOSEPH) S. Gertrude, pen and watercolour of Gertrude seated reading St. Paul's Epistle to the Ephesians, SIGNED WITH INITIALS AND DATED ('H.J.C. 1930') on image, mounted, framed and glazed, 1930GILL (ERIC) The King Enamoured of Anne, woodcut, mounted, framed and glazed, image to view 320 x 195mm., SIGNED ('Eric G., 1//10') on the image, [1937]GILL (ERIC) The Woman of Samaria, woodcut, mounted, framed and glazed, image to view 130 x 230mm., SIGNED ('Eric G., 6/10') on the image, [1931]GILL (ERIC) Madonna and Child, wood-engraving, mounted, framed and glazed, sheet to view 108 x 68mm., SIGNED with initials ('E.G.') and worn inscription beneath image, [1922]GILL (ERIC) Our Lady of Lourdes, woodcut, printed in black, red, green and yellow, laid down and window-mounted, image to view 315 x 240mm., [1920][GILL (ERIC), after] Madonna and Child, glass painted in black, with image (enlarged from print above) scratched out, framed in lead, image 225 x 165mm., [after 1922]GILL FAMILY. 'The Apple Barn Club Magazine. No. 3 September', MANUSCRIPT with written and watercolour contributions by Gill's daughters Elizabeth, Petra and Joanna, on paper, 30 pages (6 blank) of lined paper including 5 full-page pencil and watercolour drawings, other smaller ones and decorations, one index leaf, one watercolour of a lion by 'Lucanus' (Elizabeth), loose in portfolio wrappers with full-page watercolour and title on upper cover, and watercolour of a bull's head on lower cover (both in an unidentified adult hand), with outer wrappers of grey paper with pen and ink pictorial title label on upper cover, approx. 265 x 240mm., September 1915GILL FAMILY. 'Farm, Field and Fireside Monthly... November [-December] 1918', 2 issues, MANUSCRIPT, with written and watercolour contributions by Gill's daughters Elizabeth, Petra and Joanna, each 12 pages of lined paper, with ink poems illustrated in pen and watercolours, stitched brown paper wrappers with decorative manuscript title and index in ink and colours, approx. 250 x 190mm., November-December 1918together with a small unsigned woodcut print by Gill of the Madonna and Child with Gallows, and 2 framed reproduction portraits of David Pepler and David Jones by Gill (small quantity)Footnotes:Joseph Cribb (1892-1967), 'Gill's first apprentice [since 1906], was still an essential part of workshop life at Ditchling... The overflow of workshop into family relationships... is especially obvious in the story of the close, even intermarried, Gills and Cribbs... Cribb in a sense was an extension of Gill' (Fiona MacCarthy, Eric Gill, 1989).The material in this archive, whether by Cribb, Gill or his daughters, all belongs to the period when Gill settled at Hopkins Crank, a house a few miles outside the village of Ditchling, Sussex between 1913 and 1924, where both men converted to Catholicism, and established the Guild of SS Joseph and Dominic. The religious subject matter of Cribb's sculpture of the Crucifixion and portrait of St. Gertrude, and Gill's engraving of the Madonna and Child are representative both their interests and wide range of working methods.Like the Bronte Sisters, Gill's three daughters, at this time home educated in a 'regime of self-sufficiency' (MacCarthy), produced a series of hand-made magazines, a charming combination of small poems and illustrations (churches, houses, flowers and landscapes). The first volume of The Apple Barn Magazine (April-June 1915) is held at the William Andrews Clark Memorial Library, Los Angeles. We have been unable to trace other examples of Farm, Field, and Fireside.The collection was loaned for exhibition to the Ditchling museum between July 2017 and July 2021.Provenance: Herbert Joseph Cribb (1892-1967); by descent to the present owner.For further information on this lot please visit Bonhams.com
Lot 220
SEBALD (W.G.)An important archive of autograph letters, pictorial postcards, first editions with presentation inscriptions, and other related materials, from the estate of W. G. Sebald's close friend Peter Jordan, comprising:AUTOGRAPH LETTERSEight autograph letters signed ('Max') to Peter, or Peter and Dorothy Jordan, the earliest (22 February 1987) thanking Peter for sending the memoirs of 'your grand-father & your parents [which] make very moving reading' (subsequently used by Sebald as the basis of the Max Ferber/Max Aurach section of The Emigrants), and at length writing about Germany's collective amnesia towards memories of the war and treatment of the Jews, '... most Germans have never wanted to realise what is was that they, collectively, have done or permitted to be done... [and] that there is no way in which the suffering we caused can ever be made good again...'), and 'They literally could not afford to understand. Had they understood, it would have meant their self-destruction...'; (20 August 1992), 'I have just come back (foot-sore) from a long walk through Suffolk. All the way down the coast from Lowestoft to Aldeburgh...' (on which was based The Rings of Saturn), mentioning a visit to the poet Michael Hamburger, the pressure of work ('... relentless these past few months & my nerves are beginning to get frayed...'), problems with the publication of Die Ausgewanderten and technical difficulties of incorporating text and pictures ('...I am waiting, with some trepidation, the results'), and his thoughts on the title and choice of cover illustration to be used on the Dutch edition; (12 February 1993), signed 'Maks' (Russian spelling), thanking Peter for his 'fascinating tales from Russia... Russia always seems to have been beyond comprehension', noting that during his visit to the GDR in the seventies 'It felt like having travelled backward in a time machine... I often think it is the very stuff of memory', followed by a lengthy discussion of his recently published Die Ausgewanderten ('The Emigrants'), 'I don't know either what I should think of the book I have written... interest in it seems to be increasing', that for the main characters ... their history determined their outlook & possibly also that of the narrator. There is, I imagine, an element of elective affinity...', and public readings ('... sometimes people in the audience who seem disappointed that I am not on the verge of suicide...'), and confirming that the book's character Ambros Adelwarth was based on a real person, as were the 'outlandish details in his story... related to me by aunts, & uncles in the states', and mentioning Nabokov's 'Speak Memory' on which Sebald drew for the chapter on Max Aurach; (18 December 1994) on the situation of his teaching life ('The University terms seem to use up one's last reserves... We have had a really hard year. Three colleagues... have died, brain tumor, sheer exhaustion & suicide respectively...'), and expectations of the new Vice-Chancellor ('No doubt she will bring her fabled hatchet along & wreak further havoc... Well, we shall see.'), and commenting on his own writing '... progressing at snail's pace... I am having to do almost each page over & over again & have the gravest doubts now about the whole enterprise...' [presumably referring to the writing of Die Ringe des Saturn, published in 1995]; (26 ?September 1995) enclosing a copy of Die Ringe des Saturn, noting 'I was & still am quite unsure about it', that the English edition of The Emigrants is due for release in the following year, and his back is troubling him '... particularly now that the term has started & one races around like a bluebottle in a jar'; (30 September 1998) reporting that progress on work is slow ('... I have been grinding away here to no great avail. But if I persevere, I may get over this bad patch...), and enclosing a list of 11 books (including works by Joseph Roth, Thomas Bernhard, Elias Canetti, Alexander Kluge, Jean Amery, etc.) 'for your forays into the G.I. Library. All rather different things'; (20 December 2000) apologising for not writing sooner, due to 'having to do a great deal of journeying as I have embarked on research for another book. Mostly... to the area where I grew up, where i have come across some very strange tales..', and mentioning the forthcoming publication of Austerlitz '... associated with the themes of The Emigrants. The title is 'Austerlitz, after the main character!', and that is 'vaguely considering locking myself in the South of France for a while next May...'; (14 April 2001) replying to Peter's comments on Austerlitz, '... I am sorry about the lack of paragraphs. It's an oddity of mine, I know, & I often get taken up about it...', and reminiscing about a dynamiter he had once come across 'blasting out elm stumps (as my grandfather used to do) but was short of this left hand... In lieu he had a steel hook with which he operated very deftly....', 16 pages, ink on paper, 3 on paper headed 'The Old Rectory, Upgate....', 2 headed 'UEA Norwich. School of Modern Languages...', 1987-2001POSTCARDSFive autograph pictorial postcards (a Paul Klee painting, pair of skis, views) signed by Sebald ('Max') to Peter, or Peter and Dorothy Jordan, thanking him for sending 'the postcards. I can probably do something with the Sepia one. Hope the text has arrived!' [presumably relating to pictures to be included in, and proofs of Die Ausgewanderten], publication of Rings of Saturn ('The Saturn book is out now in English but the publishers haven't send me any copies yet...'), mentioning a planned visit to Prague 'for a project I have in mind. Kafka did indeed move around a good deal in Prague...', the reprinting of his article on 'Kafta and the cinema', a visit to Mariánské Lázně in the Czech Republic ('...Part of this town still don't quite seem of this world...', and possibility of taking up skiing again when retired ('... Another four years before I'll be set free'), 8vo, dated 15 October 1991-31 March 2000AUTHOR'S PRESENTATION COPIESNach der Natur [After Nature], inscribed 'For Peter and Dorothy with all best wishes Max, January 1989', Nordlingen, Franz Greno, 1989; Schwindel. Gefühle [Vertigo], inscribed 'For Peter & Dorothy - herzlich - Max', Frankfurt, Eichborn, 1990; Umheimliche Heimat. Essays zur österreichischen Literatur, Salzburg, Residenz, [1991]; Die Ausgewanderten [The Emigrants], inscribed 'For Peter with Gratitude, Max 17 IX 1992', Frankfurt, Eichborn, 1992; Die Ringe der Saturn [Rings of Saturn], inscribed 'For Peter with best wishes & gratefully always Max', Frankfurt, Eichborn, 1995; Logis in einem Landhaus, inscribed 'For Peter always Max', Munich, Carl Hanser, [1998], FIRST EDITIONS, publisher's cloth or boards, the first, third and sixth mentioned in dust-jacketsOTHER BOOKSDie Beschreibung des Unglücks: Zur österreichischen Literatur von Stifter bis Handke, FIRST EDITION OF THE AUTHOR'S FIRST BOOK, Salzburg, Residenz, 1985; The Rings of Saturn, 1998; Austerlitz, 2001; After Nature, 2 copies, 2002; On the Natural History of Destruction, publisher's compliment slip loosely inserted
Lot 568
Eloise Harriet Stannard (British,1829-1915), "Still life of peaches, red currents and black grapes", oil on canvas, signed, 12x13ins, gilt framed.Purchased by the vendors father from Mandell's Gallery in 1984.Very good condition - colours are crisp and vibrant with no loss of paint surface or detrimental craquelure.
Lot 165
*Item to be collected from Friargate, Derby*D. Morris (20th century school), still life vase of flowers, acrylic on canvas, signed, approx 44.5cm x 34.5cm; together with another still life of flowers, unsigned, acrylic on board, approx 49.5cm x 36cm, in a gilt gesso frame approx 67.5cm x 53.5cm (2)Condition - wear and tear commensurate with ageItem location - dispatch room
Lot 117
STANISLAS LEPRI (1905-1980)Sans titre signé et daté 'S Lepri 58' (en bas à droite); inscrit 'C.ssa A.L. Pecci Blunt N°186' (au revers)huile sur toilePeint en 1958signed and dated 'S Lepri 58' (lower right); inscribed 'C.ssa A.L. Pecci Blunt N°186' (on the reverse)oil on canvasPainted in 195825 x 79.8cm (9 13/16 x 31 7/16in).Footnotes:ProvenanceCollection Anna Laetitia 'Mimì' Pecci-Blunt, Rome.Collection particulière, Italie (par descendance).Acquis auprès de celle-ci par le propriétaire actuel.Anna Laetitia Pecci-Blunt (1885-1971), plus connue sous le nom de « Mimì », était une importante collectionneuse d'art en Italie. Née dans une famille noble et lettrée de Pérouse, elle était la filleule du pape Léon XIII (Gioacchino Pecci).Issue de la haute société, Mimì a passé ses années de formation à l'étranger avant de revenir s'installer à Rome. En 1919, elle se maria à un riche banquier américain, Cecil Blunt, et ils s'installèrent à Paris où ils ouvrirent leur maison à leurs amis musiciens, artistes, poètes et danseurs. Des artistes tels que Serge Diaghilev, Jean Cocteau, Marie Laurencin, Salvador Dali et Léonard Tsuguharu Foujita étaient leurs invités réguliers, ce dernier ayant d'ailleurs peint le portrait de la famille Pecci-Blunt en 1923.C'est donc à Paris que son histoire de collectionneuse commença, et où elle se mit à favoriser les échanges entre artistes Italiens et étrangers. La résidence des Pecci-Blunt se transforma en un laboratoire artistique où un mélange excentrique de personnalités royales, intellectuels et célébrités se rassemblait et où de somptueux bals costumés étaient organisés. Leurs maisons en Toscane, à Rome et aux Etats-Unis prirent le même chemin. A la fin des années 1930, Mimì ouvrit finalemt une extension de sa galerie romaine, La Cometa à New York, où elle fut la première à montrer des artistes contemporains italiens, tandis que les artistes Français dominaient largement la scène artistique. Après la libération de l'Europe, sa famille retourna en Italie où Mimì continua d'être une ardeuse militante en faveur des arts jusqu'à sa mort en 1971.Anna Laetitia Pecci-Blunt (1885-1971), better known as 'Mimì', was a distinguished art collector in Italy. She was born into a noble and cultivated family from Perugia, and was the goddaughter of Pope Leo XIII (Gioacchino Pecci).Growing up in high society, Mimì spent her formative years abroad before making Rome her base. In 1919, she married the wealthy American banker, Cecil Blunt. The newlyweds settled in Paris where they opened their home to musicians, artists, poets, and dancers. Artists such as Serge Diaghilev, Jean Cocteau, Marie Laurencin, Salvador Dalí and Léonard Tsuguharu Foujita were frequent guests, the latter portraying the Pecci-Blunt family in 1923.It was in Paris that her life-long journey of art collecting started, and where her passion for fostering the exchange between Italian and foreign artists truly came to life. The Pecci-Blunt residence grew into an artistic hub where an eccentric mix of royals, intellectuals and celebrities would gather, and lavish costume balls were held. Homes in Tuscany, Rome and the United-States followed. In the late 1930s, Mimì opened an extension of her Roman gallery La Cometa in New York, where she was the first to showcase Italian contemporary artists in a scene still largely dominated by French art. After the liberation of Europe, the family returned to Italy where Mimi continued to be an advocate for the arts until her death in 1971.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 75
FOLLOWER OF MEIFFREN CONTE, 18TH CENTURY (2)Still life with a ewer, flowers and other items, a pair, oil on canvas each 100 x 76.5cm (2)Condition reportBoth canvases relined. Traces of craquelure throughout and retouching to frame abrasions, visible to the naked eye, probably from a previous framing. The works are varnished which prevents conclusive reading under ultraviolet. Some areas of light bloom. Held in a matching cut-down frames in fair condition.
Lot 272
ALICE GRANT (BRITISH, 19TH/20TH CENTURY)Still life with Argyranthemum in a vasesigned and dated 'Alice Grant 1889' (lower right), inscribed 'A Study by Alice Grant, Studio 15/ Gloucester Place, South Kensington' (on the artist's label attached to the backboard)oil on board24.5 x 22cmProvenanceBourne Gallery, Reigate, 1979, from whom acquired by the previous owner;Thence by descentCondition reportThe board is sound. Craquelure to the flowers and vase, otherwise paint surface is sound. Ultraviolet reveals traces of retouching, lower left and that the varnish has not been applied above the signature. Held in a plaster gilt frame with some loss to mouldings.
Lot 343
Brother Gilbert Taylor (1916-2004)/Still Life with fruit and vase of flowers/coloured chalks, 33cm x 40cm and/Beached Boat/coloured chalks, 32cm x 47cm CONDITION REPORT: ARR Artist's Resale Right may apply to the sale of this lot if the hammer price is the equivalent of 1000 Euros or more, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
Lot 336
Brother Gilbert Taylor (1916-2004)/Still Life with vase of flowers/signed/watercolour, 34cm x 57.5cm CONDITION REPORT: ARR Artist's Resale Right may apply to the sale of this lot if the hammer price is the equivalent of 1000 Euros or more, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
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