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Lot 717
Initially purchased through Nigel Mansell Sports Cars Ltd, this smart 328 GTS has led a sheltered life covering a mere 2,760 miles from new.The Ferrari 328 GTS and GTB made their worldwide debut at the 1985 Frankfurt Motor Show and its styling was an obvious evolution of the Ferrari 308 Series, however, Pininfarina's Leonardo Fioravanti had softened his previous design and it still remained a popular choice with Ferrari aficionados. Two variants of this mid-engine sportscar were offered, the Gran Turismo Berlinetta Coupé and the Gran Turismo Spider which featured a removable Targa top, offering an exhilarating open-air driving experience and affording the driver and their fortunate passenger unbridled access to the unmistakable howl of the dry-sump Ferrari V8.Under the engine cover is the same transversely-mounted, fuel-injected V8 from the Ferrari 308 Quattrovalvole, with an increase in displacement. By increasing both bore and stroke, the quattrovalvole's capacity was raised to 3,186cc which, together with a higher compression ratio, revised pistons and an improved Marelli engine management system, lifted maximum power to 270bhp at 7,000rpm. Top speed was raised to within a whisker of 160mph (258km/h) and 60mph arrived from a standing start in 5.5 seconds.This superb, right-hand drive 328GTS Targa-topped convertible was supplied by Nigel Mansell Sports Cars in the Isle of Man to a Mr Roy Dowle in March 1990 at a cost of £97,500, which included £1,995 worth of Ferrari luggage, and the original invoice is in the car's history file. Initially registered, G328 AJT, its Manx registration was GMN 328 for 19 years before subsequently returning to its UK registration in July 2011 when it was purchased by our vendor. Having been dry stored for a considerable number of years, it has covered a mere 2,670 miles from new and is described as in generally good condition, although in need of mechanical recommissioning simply because it's spent some time off the road. This classic Ferrari V8-engined sports car has an understandably small history file, containing Isle of Man registration and export documents, its Ferrari leather-bound book pack containing Ferrari pre-owned booklets, owners manual, service booklet and dealership network booklet.A UK-supplied, right-hand drive, GTS is a rare find at this tiny mileage and has been guided to allow for the appropriate engine service to return to manufacturers parameters.SpecificationMake: FERRARIModel: 328 GTSYear: 1989Chassis Number: ZFFWA20C000082244Registration Number: G328 AJTTransmission: ManualEngine Number: 18633Drive Side: Right-hand DriveOdometer Reading: 2670 MilesMake: RHDInterior Colour: Cream LeatherClick here for more details and images
Lot 69006
Othon Coubine (Czech, 1883-1969)Bouquet of lilacs in a vase, 1929Oil on canvas25-3/4 x 21-1/2 inches (65.4 x 54.6 cm)Signed lower right: Coubine PROVENANCE:Galerie Théophile Bríant, Paris;Private collection, Switzerland;Max Müller, Switzerland, acquired from the above, 1930s;Thence by descent to the present owner, 1973.We are grateful to Dr. Rea Michalová, art historian/curator and specialist on the art of Othon Coubine, for his enthusiastic endorsement of the present work and for preparing this thoughtful catalogue essay.Bouquet of lilacs in a vase is an outstanding example of the floral still lifes painted during the 1920s by Otakar Kubín (known in France as Othon Coubine), the most famous and consistent representative of Czech neoclassicism, an art movement known in France as the "retour à l'ordre". The painter's distinctive, lyrical conception of the motif is characterized by a shimmering sense of atmosphere and near-color harmonies that impart a strong emotional vibration to his work. Coubine's attachment to the neo-realist current reflected his personal sensibilities, his response to the post-war atmosphere, and his particular inspiration from the work of French artists Ingres and Corot—all of which combined to earn him considerable fame in France, where he lived permanently from 1912. The abundance of articles and publications written about his work by French and German art historians and critics not long after his arrival in France was a testament to his rapidly growing reputation. The first monograph on Coubine was published in 1922 by the editors of the Italian magazine "Valori plastici" (Plastic Values), which grouped him together with such luminaries as Carlo Carrà, Giorgio Morandi, Arturo Martini, and Gino Severini. Written by Maurice Raynal, a French theorist associated with a group of artists around Galerie de l'Effort Moderne's Léonce Rosenberg, one of the most influential art dealers of the twentieth century, the monograph laid out the philosophy of this group which sought to create a modern, new classicism. Coubine was thus situated directly in the center of this new European movement.The declaration of war [in 1914] dealt a dramatic blow to the artist. He was sent to an internment camp in Bordeaux and, after his release, material misery deprived him of the opportunity to paint in oil. He thus devoted himself during this period to the study of theoretical and philosophical writings at the Bibliothèque Nationale in Paris. In Blaise Pascal's treatise L'Esprit du géometrie ("Spirit of Geometry"), he discovered a justification for his new artistic inclinations. He frequented the Louvre, where he admired the Italian masters of the Quattrocento. It is in his drawings that his transition to classicism is reflected for the first time.The present painting, Bouquet of lilacs in a vase, shows Coubine, in a quest for ideal beauty, "adjusting" nature into configurations that do not naturally occur in it. On a wooden chest of drawers, he placed a simple, undecorated gray-white vase crowned with an expansive arrangement of a beautiful single-species bouquet of lilacs, plants of the olive family, which growing naturally both in France and abundantly in the Czech Republic. Their powerful perfume would doubtless have had an intensely sensory-emotional significance for the artist.Coubine was repeatedly inspired by the enchanting lilacs. For example, the National Gallery, Prague owns Coubine's Bouquet in a vase of 1924, in which the lilacs form a part of a multi-species bouquet; the Moravian Gallery in Brno owns a Bouquet of lilacs which is supplemented by a marigold, the bridal veil and iris.Against a neutral, silvery-gray background (a color tone inspired by the work of Corot), Coubine centrally placed a charming symphony of pastel-purple tones, conjuring the lilac blossoms with an impressionist "staccato," in contrast to the bottle-green heart-shaped leaves. Not only the bouquet itself, but especially the motif of the yellow drapery, which nonchalantly covers the right part of the chest of drawers, expresses the painter's fascination with the "uncanny" in everyday life that permanently surrounds us. HID12701242017
Lot 69041
Jules Adolphe Aimé Louis Breton (French, 1827-1906)Jeune pêcheuse bretonne, Douarnenez, 1878Oil on canvas laid on board22-1/8 x 14-1/2 inches (56.2 x 36.8 cm)Signed and dated lower right: Jules Breton 1878 PROVENANCE:Henry Reinhardt, New York, by descent, 1918;Paul Watkins, Winona, Minnesota, acquired from the above;Christie's, New York, October 27, 2004, lot 130;Christopher-Clark Fine Art, San Francisco, California;Private collection, Las Vegas, Nevada, acquired from the above.Upon the occasion of the painting's sale in 2004, Christie's noted that "this work has been authenticated by Annette Bourrut-Lacouture and will be included in her forthcoming catalogue raisonné, Jules Breton, Painter of Peasant Life."During the late nineteenth century, an era marked by rapid industrialization and urbanization, Jules Breton's bucolic subjects were widely admired for their portrayal of rural life in France. The artist's rustic pastoral scenes depicted a simpler time, offered a reassuring sense of tradition and continuity, and championed the poor and laboring peasant class, for whom the artist had a deep affinity and admiration. Breton's first official artistic recognition came in 1855 for The Gleaners (National Gallery of Ireland), followed soon afterwards with a silver medal at the 1857 Salon for The Blessing of the Wheat in Artois (Musée des Beaux Arts, Arras), which was purchased by the French State. Throughout the ensuing decades, Breton's success continued unabated with awards, critical accolades, and enthusiastic patronage both in Europe and abroad. The artist's works were particularly sought-after in America following the Civil War, leading Breton to quickly become the most popular French artist across the Atlantic. In 1877, Samuel G. W. Benjamin wrote that "popular and artistic opinion is more united in favor of the merits of Jules Breton than upon any other living painter" (Contemporary Art in Europe, New York, 1877, p. 92).For Breton and his contemporaries, the agricultural region of Brittany provided the ideal backdrop for scenes of peasant life, as it does in the present work. The province became a popular destination for artists and tourists alike, when the first railway line from Paris was completed in the 1860s, because the traditional way of life there remained relatively unchanged and thus exceedingly picturesque. Age-old methods of farming and fishing were still in use, and Breton peasants, particularly the women, continued to dress in their distinctive traditional attire with bonnets, aprons, and wooden shoes. Douarnenez, a commune in western Brittany, was the location of a centuries-old fishing port, which provided the artist's inspiration for the present work.Painted in 1878 at the height of the artist's career, Jeune pêcheuse bretonne, Douarnenez depicts a young fisherwoman at end of her work day seated upon the rocky shore. Captured in a moment of reverie, the girl rests her chin on the end of her fishing pole, the fading warm late afternoon sun illuminating one side of her face. Since she is backlit by a sky nearing dusk, which glows near the horizon, the young Breton fisher girl is presented in near-silhouette, a very difficult visual effect to paint. By this period Breton's technique was marked by looser brushstrokes and more casual poses of his sitters, qualities that may have derived from the influence of the Impressionists, whose contemporaneous artistic innovations favored freedom of execution over a more static academic approach. A superb draughtsman and colorist, Breton utilized subtle gesture and muted color to create a tranquil mood in this poetic composition. As is the case with most of his peasant scenes, Breton does not dwell on the hardship of girl's labor in this work, opting instead to evoke a more poetic image of youthful wistfulness. HID12701242017
Lot 69052
Jean Baptiste Robie (Belgian, 1821-1910)Still life with basket of fruitOil on panel17-3/4 x 19-3/4 inches (45.1 x 50.2 cm)Signed lower right: J. Robie PROVENANCE:Hempel Fine Art, Munich, June 26, 2009, lot 515 (as Blumenstilleben);Private collection, Beverly Hills, California.We would like to thank Kathleen de Fays, Archivist, Foundation Jean Robie, for her invaluable cataloguing assistance. HID12701242017
Lot 8240
Lichtenstein, Roy -- Still Life with Crystal Bowl Siebdruck und Farblithographie auf BFK Rives-Rollenpapier. 1976.80,2 x 110,5 cm (96,3 x 125,5 cm).Unten rechts signiert "rf Lichtenstein" und datiert. Auflage 45 num. Ex. Corlett 150.Herausgegeben von Multiples Inc. und Castelli Graphics/New York und gedruckt bei Styria Studio/New York (mit Blindstempel unten rechts) in einer Auflage von 45 +10 A.P. Im Jahr 1961 vollzog sich im Schaffen des amerikanischen Künstlers Roy Lichtenstein ein deutlicher Wandel. An die Stelle seiner frühen, von Kubismus und Konstruktivismus beeinflussten Arbeiten traten nun die von comic strips und Werbung inspirierten Werke, in denen Lichtenstein sowohl die Thematik als auch den Stil seiner Vorbilder auf Malerei und Grafik übertrug und die ihn bereits zu Lebzeiten zu einem der erfolgreichsten Vertreter der amerikanischen Pop Art machten. Prachtvoller Druck mit dem vollen Rand. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Lot 109
Rudolf Petrik * (1922-1991), Stillleben mit Malwerkzeug, Mischtechnik mit Oel und Gouache auf festem Papier, signiert und datiert 44 R. PETRIK rechts unten; rueckseitig mit Nachlassstempel, ungerahmt 39 x 48,5 cm. *dieses Lot unterliegt der Folgerechtsabgabe | Rudolf Petrik * (1922-1991), Still Life with Painting Tools, Mixed media with oil and gouache on strong paper, signed and dated ‘44 R. PETRIK’ at the lower right; verso with estate stamp, unframed 39 x 48.5 cm. *this lot is subject to the resale right levy
Lot 99
Jose Bardasano Baos (1910-1979), Jagdstillleben, Oel auf LeinwandMexiko/Spanien, 20. Jahrhundert, signiert mit Kuenstlermonogramm unten links JB, gerahmt mit Holzrahmen 89 x 69 cm. | Jose Bardasano Baos (1910-1979), Hunting Still Life, Oil on canvasMexico/Spain, 20th century, signed with artist's monogram lower left ‘JB’, framed with wooden frame 89 x 69 cm.
Lot 82
Giovanni Andrea Rocca, Stillleben mit junger Dame, Oel auf Leinwand, 55 x 68 cm. Unten rechts signiert, A Rocca. Rocca ist ein Maler aus Rom, der 1926 mit dem Letzten Abendmahl an der Biennale teilnahm. Gerahmt mit Holzrahmen 77 x 90 cm. | Giovanni Andrea Rocca, Still life with young lady, oil on canvas, 55 x 68 cm. Signed lower right, A Rocca. Rocca is a painter from Rome, who participated in the Biennale in 1926 with the Last Supper. Framed with wooden frame 77 x 90 cm.
Lot 21
Nicholas Condy (1793-1857)Interior of an Irish Inn at BallyboylebooOil on canvas 47 x 63.5cm (18½ x 25”)SignedExhibited: London, Royal Academy, 1843, No. 415Exhibited at the Royal Academy in 1843, Condy’s recently rediscovered depiction of an Antrim interior populated by twenty very different individuals and with a rich variety of objects on display is an invaluable portrayal of Ulster country life in the middle of the nineteenth century. Although he described the picture as Interior of an Irish Cottage at Ballyboyleboo, what is shown is an inn, tavern or shebeen, making it a rare early depiction of an Irish public house. In contrast, however, to the small body of work showing Irish pubs by artists such as Charles Henry Cook, Erskine Nicol and Nathaniel Grogan, which invariably feature the Catholic Irish peasantry in stereotyped attitudes often verging on the caricature – here the clientele seems distinctly more mixed in terms of class and confession with a noticeably military flavour. The primary interaction in the painting is between the doubly amputated figure standing on the right in smart but sober attire and the seated black man at left who has suffered the loss of just one foot and who leans back in his chair as he raises a toast. This is an extraordinarily rare image of racial equality in an Irish genre scene of this date. Where black figures appear at all in Irish painting of the period it is invariably as marginal, often servile, subsidiary figures as, for example, in Erskine Nicol’s The 16th, 17th (St Patrick’s Day), and 18th March (National Gallery of Ireland). It seems likely that equality – or at least the superficial appearance of equality – has been gained through shared endeavour on the battlefield, and that the seated black man is a veteran toasting his former commanding officer. Certainly the deportment and dress of the man standing, very comfortably it must be said, on his double prosthetic limbs, suggests his elevated social position. The gathering includes both army and naval elements. An advertising bill on the right seeks able seamen, while the format of Condy’s signature, ‘Lt. Condy bf 43rd regt’ reminds us that he had begun his career as an army officer, serving in the Peninsular War, and retiring on half-pay at Christmas 1818. Continuing the military theme, a bust of the Duke of Wellington looks down from a shelf at upper left in the somewhat indecorous company of candlestick and brass kettle (and with a canoodling couple directly beneath his gaze). Prints of naval victories adorn the walls while to the side of the chimney hangs a toleware candle box and pair of bellows. A drunken sailor has passed out under the table his clay pipe and glass lying smashed in front of him while a serving woman brings more refreshments to those at table – a punch bowl, small glasses for toasting and pipes. Music is provided by a fiddler in the background.Claudia Kinmonth notes that Condy’s Ulster subjects ‘convey a real sense of how poor people’s homes in Antrim may well have been in the 1840s’ (Claudia Kinmonth, Irish Rural Interiors in Art (2006) p. 94). However, he also mixes Irish and English elements within his work, sometimes reusing still-life motifs or even whole figurative groups with which he was pleased. On the shelf to the left, the silver-plated vessel with a pouring spout and a handle on the side was used for serving hot chocolate, a delicacy unlikely to be widely available in Irish pubs of the 1840s, and indeed it, and other elements of the composition, appear again in Estate Workers in a Kitchen Interior (Mount Edgcumbe House). Similarly, a small work in the Royal Albert Memorial Museum and Art Gallery, Exeter, repeats almost verbatim the seated man shown here smoking a pipe. This is clearly a reduction from the present work, rather than the other way round, as the man’s motivation for turning round and looking upwards is lost when the figure is shown in isolation and removed from its context.Condy’s composition is artfully created and rather than the mere ‘slice-of-life’ recording of an interior and the objects within it, he offers knowing and witty allusions to the art of the past and also perhaps to that of his contemporaries. He relishes the chance to paint textures as different as scaly fish, metal, glass and ceramics and to record the differing way that light falls on each. The beautifully painted still-life in the lower right corner consisting of earthenware jug, crutch and broom resting on a barrel offers a deliberate reference to the art of David Teniers who time and again places a similar grouping of objects with a prominent diagonal formed by a brush or similar object to lead the eye into the composition. Similarly the still-life of fish may reference Teniers’s ‘well-kept kitchen compositions’ (‘de welvoorziene keuken’). The quotation of Teniers would have been recognised widely, as the seventeenth-century Flemish artist was synonymous with ‘low-life’ genre scenes such as this and his work was avidly collected and frequently engraved.Even more fundamental as a source of inspiration, however, was the phenomenally successful career of David Wilkie who applied the compositional dynamics of Teniers to modern-life subjects. Like Wilkie, Condy here deliberately echoes Teniers earthy ‘old master tonalities’ and shows a similar ‘delight in details and in rough irregular surfaces’ (David Solkin, Painting out of the Ordinary, Yale University Press, 2008, p. 12). Wilkie had also introduced a black soldier into his famous Chelsea Pensioners (Apsley House). Unlike Cushendall, the subject of another Ulster work by the artist, there is no townland in Antrim called Ballyboyleboo. It seems to be an Anglicization – exaggerating the Irishness of the name – of Ballyboley. In the rich account of life in Ulster of a couple of decades earlier written by John Gamble (published as Society and Manners in Early Nineteenth-Century Ireland, edited by Brendán Mac Suibhne, Dublin, 2011, p. 280, n. 4), Gamble records how he stopped ‘at a lone public house between Larne and Ballymena’ and enjoyed a session in which tall stories were narrated. Mac Suibhne suggests that this may be ‘the premises now call the Ballyboley Inn’. An earlier building on this site may also be the setting for Condy’s work, though an older inn only a few miles distant at The Battery is also a possible candidate.
Lot 40
Jack Butler Yeats RHA (1871-1957)The Bridge at Skibbereen (1919)Oil on canvas, 46 x 61cm (18 x 24")SignedProvenance: Sold by the artist to Dr Carey, London, 1950; Victor Waddington, London; With Theo Waddington Fine Art; Private Collection, DublinExhibited: Dublin, August 1920, Society of Dublin Painters; Limerick, September 1945, Goodwin Galleries; New York, November 1971, Coe Kerr Gallery, Centennial Exhibition; Dublin, September/October 2004, Douglas Hyde Gallery, Jack B. Yeats Amongst Friends, cat.no. 3; Dublin, October 2010, IMMA ‘The Moderns’; Skibbereen, Co. Cork, July/October 2018, Uillinn, West Cork Arts Centre, Coming Home: Art and the Great Hunger.Literature: Hilary Pyle, Jack B. Yeats: A Catalogue Raisonne of the Oil Paintings, Andre Deutsch, London 1992, No. 116, vol.1In the summer of 1919 Jack B Yeats visited Skibbereen, in Co. Cork, drawing and sketching the surrounding landscape. He wrote to the American collector, John Quinn, telling him that ‘There was good painting ground near to the town. All the creeks and islands of the bay were delightful…’.[1] Yeats produced several oil paintings based on the scenery of Skibbereen and Schull. The Bridge, Skibbereen is the largest and most ambitious of these works and was exhibited at the inaugural show of the newly formed Society of Dublin Painters in 1920.Two boys and two young women stand on a bridge overlooking the river Ilen. Below them is an expansive view of the surrounding hills and the undulating flow of the water through the countryside. Two horses stand in the field below. The bridge is the old metal bridge which spanned the Ilen river and which was removed in 1963 and replaced by the more modern John F. Kennedy Bridge, the following year. The bridge was located beside the West Cork Hotel, a popular destination for tourists.[2] Its stone capstone and metal railings separate the figures from the view, creating an unusual and modern composition. The fashionably dressed young women seem to belong to the more urbane world of travel and fashion than that of the wild nature that extends before them. Their genteel poses are counteracted by those of the youths, one of whom has his arm around his companion’s shoulders, emphasizing their shared elation at observing the horses.The height of the surrounding hills has been exaggerated to create a more dramatic environment but one in which a sense of calm prevails. The outskirts of the town are visible on the hill to the left, with smoke emanating from the chimneys and walled gardens extending down the bank. The distant mountain is made of tones of green and blue and the sky is streaked with salmon pink and grey clouds. This palette is subtly picked up in the pink and blue costumes of the women in the foreground, completing a tightly composed work in which all the components of form and colour subtly compliment and enrich each other.Dr. Roisin Kennedy, May 2022[1] Letter of Jack B. Yeats to John Quinn, 8 October 1919, quoted in H. Pyle, Jack B. Yeats. A Catalogue Raisonne of the Oil Paintings, 1992, I, p.102.[2] I am grateful to Finola Finlay for this information.Dusk is gently setting in, the evening light drawing out and casting pale pink highlights across the clouds. The sunsets’ reflection is captured in the still waters of the river below, while deep blue shadows fall across the rolling hills in the distance. A street of houses stretches off to the left-hand side of the composition and bends swiftly out of view. Smoke can be seen rising slowly from the small townhouses of Skibbereen village. The two boys standing with their backs to us on the bridge appear animated, looking down on a scene below. Their excitement is wonderfully captured in the young boy reaching his arm across his companion to share in his delight. We notice a smile on the other boy’s face with his cheeks lifting in amusement. The boys’ interest seems to be directed at the two horses who are seen grazing in the field beyond. They pay no heed to these on lookers, continuing their evening meal, necks bowed gracefully. The face of the white horse is beautifully rendered by Yeats, the ears tucked back, large eyes searching in the long grass. He even manages to capture the tension of the muscles in the horse’s jaw while eating. Yeats has a wonderful ability to suggest or gesture towards moments in his compositions without fully revealing the whole scene. We are not aware of any relationship between the figures, it seems as they have all by chance happened upon the same vantage spot. The two boys may be visiting the village on holidays, excited by seeing horses in the wild for the first time. Or are local to the town and thrilled at being allowed to stay out later than usual in the summer evenings, stopping by the bridge to visit the paddock. Their excitement does not seem to have affected the two female figures who gaze calmly out into the distance, enjoying the sunset. This work is an excellent example of this earlier period in Yeats style dominated by Romantic depictions of the West coast of Ireland, of its landscape and people. There is a strong use of line in the work and it reflects his time working as an illustrator, sketching in ink and watercolour the experiences of both rural and urban Irish life. While his style will become much more abstracted in the immediate years following this work, in this example the figures are painted with great attention to detail. In particular the features of the woman’s profile, the sharp angle of her jaw and nose, a glimpse of her red hair peeking out from under her hat. For the other figure who is turned away from us, her hat is adorned with a beautiful arrangement of blue summer flowers. He expertly handles the drapery of both women’s coats, showing the cut and folds of the fabric. They complement each other, standing side by side in dusky pink and pale blue. Although the scale of work is extensive, he uses a closely contained composition, placing the figures in the foreground of the picture plain, to create a greater sense of depth and distance to the surrounding landscape. The upright pillar of the bridge juts dramatically out into corner of the work directing our eyeline across the middle of the composition to the town and hills in the distance. There is an openness and breath to the painting. By using the bridge as horizontal plain, Yeats has provided us with a similar vantage point to that of the figures, as if we are standing behind them revelling in the shared twilight spectacle. Niamh Corcoran, May 2022
Lot 256
LICHTENSTEIN, ROYNew York 1923 - 1997Titel: Still Life with Picasso. Aus: Hommage à Picasso. Datierung: 1973. Technik: Farbserigrafie auf festem Velin. Darstellungsmaß: 72 x 53cm Blattmaß: 76 x 57cm. Bezeichnung: Signiert, datiert und nummeriert. Herausgeber: Propyläen Verlag, Berlin/Pantheon Presse, Rom (Hrsg.). Exemplar: 29/90. Die Arbeit ist mit dem Trockenstempel des Druckers Gemini G.E.L., Los Angeles, versehen. Die Arbeit trägt rückseitig den Copyright-Stempel des Künstlers mit dem Nummernvermerk: RL 73-5066.Die hier angebotene Arbeit entstammt dem Mappenwerk »Hommage à Picasso« (Vol. 2) von 1973, für welches mehr als 50 internationale Künstler einen grafischen Beitrag schufen.Provenienz:- Privatsammlung Nordrhein-WestfalenLiteratur:- Corlett, Mary Lee: The Prints of Roy Lichtenstein - A Catalogue Raisonné 1948-1997, New York 2002 (2. Aufl.), WVZ.-Nr. 127 Abb. Roy Lichtenstein USA Pop Art Nachkriegskunst Grafik 1970er Porträt Druckgrafik Farbserigrafie StilllebenErläuterungen zum Katalog
Lot 125
‡Frank O. Salisbury (1874-1962) Still life with delphiniums in a vase Signed Frank O Salisbury (lower right) and signed, inscribed and dated THE BEAUTIFUL/DELPHINIUMS/WERE GROWN BY/BAGNAL & LANGDON/OF BATH/GIVEN TO & PAINTED/BY/Frank O Salisbury/May 30 1948 (to reverse) Oil on canvas 102.6 x 76.9cm Provenance: By descent from the artist
Lot 263
America: The Third Century The complete portfolio of thirteen prints comprising William H. Bailey (American 1930-2020), Still Life with Eggs, Candlestick and Bowl, collotype; James Brooks (American 1906-1992), Concord, silkscreen; Christo (Bulgarian 1935-2020), Texas Mastaba, lithograph with silkscreen and collage on chipboard; Allan D'Arcangelo (American 1930-1998), Beginning, lithograph with silkscreen and embossing; Roy Lichtenstein (American 1923-1997), Bicentennial Print, lithograph with silkscreen; Constantino Nivola (Italian 1911-1988), City, lithograph with silkscreen; Robert Andrew Parker (American b.1927), Sunrise, lithograph; Robert Rauschenberg (American 1925-2008), Deposit, silkscreen with hand colour; James Rosenquist (American 1933-2017), Miles, silkscreen with airbrush; Edward Ruscha (American b.1937), America Whistles, lithograph; Raymond Saunders (American b.1934), Duck Out of Water, lithograph with silkscreen and collage; Ben Schonzeit (American b.1942), Yankee Flam, collotype; and Velox Ward (American 1901-1994), The Home My Daddy Built, collotype Thirteen, each signed by the artist and numbered 83/200, with title and colophon pages, loose (as issued) within the original portfolio box Each 76.3 x 56.3 (sheet); 80.9 x 60.5cm (box) Provenance: Adi Gallery, San Francisco, where purchased by the present private collector, August 1976
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