Rainer Fetting - - 1949 Wilhelmshaven - lebt und arbeitet in Berlin Strilitzien + Rittersporn. 1999. Öl auf Rupfen. Verso signiert, datiert und betitelt sowie mit den Maß- und Technikangaben und der Werknummer 'F 378' bezeichnet. 160 x 120 cm (62,9 x 47,2 in). [CH]. • Zeitgenössische, expressive Interpretation des klassischen Blumenstilllebens. • Ausgewogene, leuchtend-farbkräftige Komposition aus eleganten, exotischen Strelitzienblüten und abstrakt-getupften Blütenblättern des Rittersporns mit strahlendem Komplementärkontrast. • Die Arbeiten Rainer Fettings befinden sich heute in zahlreichen bedeutenden Museen und Sammlungen, u. a. im Städel Museum, Frankfurt am Main, und in der Berlinischen Galerie Museum für Moderne Kunst, Berlin. Die Authentizität der vorliegenden Arbeit wurde vom Künstler bestätigt. Wir danken für die freundliche Auskunft. PROVENIENZ: Privatsammlung Berlin. Aufrufzeit: 19.06.2021 - ca. 17.13 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONRainer Fetting -1949 Wilhelmshaven - lebt und arbeitet in Berlin Strilitzien + Rittersporn. 1999. Oil on burlap. Verso signed, dated and titled as well as inscribed with the technique and the work number 'F 378'. 160 x 120 cm (62.9 x 47.2 in). [CH]. • Contemporary expressive interpretation of the classic flower still life motif. • Balanced composition in radiant colors with elegant bird-of-paradise flowers in a strong complementary contrast with the abstract larkspur petals. • Works by Rainer Fettings are in possession of many important museums and collections, among others, the Städel Museum, Frankfurt am Main and the Berlinische Galerie Museum für Moderne Kunst, Berlin. This work's authenticity has kindly been confirmed by the artist to whom we are very grateful. PROVENANCE: Private collection Berlin. Called up: June 19, 2021 - ca. 17.13 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.
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British School (19th century), Sister on rocks next to the sea, oil on board, approx 39cm x 29cm; together with an unsigned watercolour of ruins by the lake, approx 27cm x 46cmRobert Cox, still life, signed oil on canvas; Tony Sheath, limited edition print 23/850, signed in pencil, approx 39cm x 46.5cm; watercolour, signed with monogam IB, dated '89, approx 11cm x 12cm (5)
Major-General William Arbuthnot (1838-1893) a very large collection of over 300 pieces of correspondence relating to the death of his first wife Alice Charlotte Pitt-Rivers (1842 - 1865) who was tragically killed by lightning during the couple's wedding tour whilst ascending the Schilthorn Alp, near Mürren in Switzerland.The eldest son of Archibald Francis Arbuthnot and the Hon. Gertrude Sophia Gough, William was educated at Eton before he enlisted in the Army Rifle Brigade in 1856, serving during the Indian Mutiny. He married his first wife, the Hon. Alice Charlotte Pitt-Rivers (the fourth daughter of the George Pitt-Rivers, 4th Baron Rivers, and Lady Susan Georgiana Leveson-Gower) on 26 April 1865.A newspaper clipping included in the collection describes the unfortunate event in vivid detail:"Tidings of a lamentable and extraordinary incident have come to us from Switzerland, by which names that belonged to the 'fashionable' paragraphs of London Society, pass into the dark and solemn hierarchy of sorrow. One of the 'marriages in high life', which have helped to make the season gay, was celebrated lately between the fourth daughter of Lord Rivers and Mr. Arbuthnot. The bride was young and beautiful, the bridegroom envied and happy; and when they started for a wedding tour on the Continent, the last thought in the mind of those who loved them would have been that their new felicity was to be a thing of days, cut short by a momentary stroke. The travellers had arrived at Interlachen, the well-known and picturesque little Swiss town buried in the Bernese Alps. On Thursday morning they set out on horseback, with a guide, to ascend the Schelthorn, one of the mountain peaks overhanging the village. The weather was fine, the expedition without danger; two fortune-blessed human creatures could not have appeared more secure in their enjoyment of this beautiful and wonderful world, and of those delights which are attached to young affection. They rode about half-way up the mountain till the path was too steep for horses; and then they alighted, walking some distance further. The sky, meanwhile, had become clouded; but the great Alps are always exchanging shadow and sunshine upon their crests, and the guide saw nothing to fear in the gloom that had come over the peak. Presently Mrs Arbuthnot, feeling a little tired, sate down to rest, while her husband and the man proceeded some distance further up the ascent, but never out of sight or hearing of their companion. In a few minutes, however, a furious thunderstorm broke above their heads, and they descended as quickly as possible to the spot where they had left Mrs Arbuthnot. She was still there, but she was dead- a flash of the lightning had struck her, and killed her instantaneously! The bright and happy bride who ascended the mountain so joyously in the morning was carried down in the afternoon a corpse; and, a bitter mockery of the 'mastery' of man over the power of Nature! the young husband, made in one awful moment a widower, had to transmit the news of his misery to the hundred friends at home by that same subtle agency which, from the thunder-cloud, had slain the sweet life of his bride. The electric force that had done the deed, now flashed intelligence of its own work to England"The letters belonging to William mainly date from the two years spanning 1865-1867, with a large proportion of the 1865 correspondence within the collection comprising of condolence letters, and as such, they have been written on black edged mourning paper. In the Victorian era it was customary for individuals mourning a family member to use mourning paper for the months and even years following the death, the thickness of the black border slowly reducing as the mourning period progressed. The majority of the letters have been written by his mother Gertrude Arbuthnot and father-in-law George Pitt-Rivers, with other senders including his brother Robert Arbuthnot, Henry Pitt-Rivers, Lord Granville George Leveson-Gower, Rev. Francis William Bourdillon and many other notable individuals.As well as William's green leather-bound passport containing a Safe Passage Request by Earl Russell, Viscount Amberley, one other particularly interesting part of the collection is the correspondence revolving around-and documents pertaining to- the creation of a memorial headstone for Alice to be placed on the mountain. An architect named Henry Hirschgartner of Bern appears to have been responsible for this, and there are numerous letters, invoices and blueprints that detail the extraordinary care and precision with which this task was undertaken. The end result of these meticulous plans can be seen in the included photographs of the erected memorial, as well as the large hand inked blueprint measuring 137x64cm. There are also a quantity of telegrams from the days immediately following the tragedy, including the telegram sent on June 22nd from William to Lord Granville breaking the news of his niece Alice's death.Also included within the collection are documents and letters belonging to Alice from before her marriage to William. These items include baptism certificates, poetry and childhood letters sent to and from her mother at Rushmore, and letters addressed to her then-fiancé William. One particularly bittersweet item in the collection is an article printed on silk detailing the wedding from the Dorset Country Chronicle and Somersetshire Gazette of Thursday, April 27th, 1865:"Loud and hearty were the rejoicings on April 26, 1865, in the neighbourhood of Rushmore Park, for never did a lovelier April morning smile upon a fairer or more joyous scene than that which was witnessed in the union of Alice Charlotte Pitt, fourth daughter of the Right Hon. Lord and Lady Rivers, of Rushmore Lodge, with Capt. William Arbuthnot (14th Hussars), of Hyde Park Gardens, London...we may say they have carried with them the heartiest wishes of all for their lasting happiness and prosperity- a wish in which we cordially and heartily join"Provenance: From the estate of Major-General William Arbuthnot thence by descent through the family
§ Raymond Campbell (British, b.1956). Still life of a bottle of Richebourg wine, signed lower right. 38 x 19cm. Framed. With Artique Gallery label verso. Please note that Artists Resale Right maybe additionally payable on top of the hammer price for this lot, where above the threshold, up to a maximum of 4% of the hammer price, visit www.dacs.org for more information.
Enzo Plazzotta (Italian, 1921-1981)Adam partially signed and dated '1967' (on the base)black marble152.4cm high (60in high).UniqueFootnotes:ProvenanceThe Artist, by whom gifted to the present ownerPrivate Collection, U.K.ExhibitedGeneva, Galerie Chedal, November-December 1967London, Grosvenor Gallery, June-July 1970LiteratureCarol Plazotta and Richard O'Conor, Enzo Plazzotta, A Catalogue Raisonné, Trefoil, London, 1986, p.183, cat.no.M4The post-war works of Enzo Plazzotta eschew the period's fashion for modernism, remaining resolutely classical. Italian born and London based, Plazzotta's sculpture will be familiar to many through the several public works still situated on London's streets, such as the lyrical statue of dancer David Wall prominently displayed on Millbank. The present large black marble carving of Adam draws its posing from Michelangelo's famous Sistine Chapel fresco central section The Creation of Adam (c.1508-1512). In both, the figure's nude physique is contrasted against roughhewn rock; his index finger reaches skyward capturing the moment when God confers the divine spark of life upon him.The present work is unique in this material, with two further carvings of the subject executed in White and Statuario marble. Only twenty-two marbles by Plazzotta are recorded, with the examples of Adam being the largest. An edition of nine (plus an artist's edition) were planned to be cast into bronze in 1975, with the present Black marble carving used for the mould, but records suggest only three examples were ever cast. A Bronze cast of Adam is in the collection of the Spencer Museum of Art, Kansas.This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP Lot 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
Royal Worcester Ex Artist Brian Cox Signed and Hand Painted Pair of Lidded Fruit Vases ' Fallen Fruits ' Still Life to All round the Vase - Grapes, Peaches, Raspberries and Apples Leaves, Embellished with Gold Borders. Each Vase Stands 9.5 Inches - 23.75 cms Tall. Both 1st Quality and Mint Condition.
Jordi Nunez Segura (Bn 1932) Naked Directions, signed, graphite and charcoal sketch, 46cm x 37cm; another larger; Nudes Multiple Positions, preparatory sketch, signed, 64.5cm x 50cmAutograph - Best Wishes, George Montgomery, 6-23-89George Montgomery was an American actor, painter, director, producer, writer, sculptor, furniture craftsman, and stuntman who is best remembered as an actor in Western films and television. Pictures & Prints - Elizabeth Turner (nee Eyre) Abstractions Still Life Flowers, monogrammed, oil on board, 50cm x 40cm; E Nevil, Near Dorking, signed, watercolour, 19cm x 28cm; Jack Wilde, Nant Ffrancon, Snowdonia, signed, watercolour, 25cm x 35cm (3)
J.A. Stourton (British 20th Century) Still Life with Maize, Peaches and Grapes, oil on panel, signed bottom right, measurements 51 x 40.5 cm, frame 69 x 59 cmCondition report: The painting is an oil on panel, framed without glazing. The frame has general wear and tear including some cracks lower right, the joints appear sound. The panel is in good condition- no warping or splitting. The paint condition is well preserved and the surface appears stable.
Denby Sweeting (1936-2020) Still Life of Poppies with a Sparrow and her Nest, oil on panel, signed centre bottom, measurements 62 x 54 cm, frame 84 x 76 cm, handwritten artist note verso- Lauren's Lilac and Flamingo-prepavor oriental poppies, peacock butterflies house sparrow and fallen nest. Together with a paired still life by the same hand (2)
James Stuart Park (1862-1933) oil on board, still life flowers in vase, 60 cm x 49 cm, framed, signed. ARR (see illustration). CONDITION REPORT: The painting is under glass and appears to be in generally good condition. There is some very slight discolouration around the extremities of the panel which may indicate surface marks caused by slight dampness. These are minimal and of little consequence. The main body of the painting is in good order and the signature clear. The gilt frame has some signs of wear, there are numerous losses, chips and there has been a fair bit of overpainting. Re-framing in a more modern manner would be helpful. We have no specific provenance with the picture.
Dahl, Roald. Autograph letter on Gipsy House letterhead bearing Croxley Script watermark, 2 August 1989. "Dear Miss Wotton, I'm feeling well-disposed today so I'm sending you just one of the many many papers etc. that have been written about my work. This South African one seemed fairly intelligent. But you must send it back to me. Personal prejudice? No writer in the world has ever written without personal prejudice. Never shelter children from the world. But basically 'the content' of any children's book is of no importance other than that it enthrals the child - and thus it teaches or seduces him or her to 'like' books and to become a fit reader - which is vital if that child is going to amount to anything in later life. The book-reading child will always outstrip the non-book-reading child in later life. There are very few messages in these books of mine. They are there simply to turn the child into a reader of books. Damn it all, they are mostly pure fantasy. Have you read the latest one, 'Matilda'? It seems to have broken every sales record in the history of hardback publishing. Now do send back to me the enclosed. Roald Dahl". Some light creasing, a couple of nicks at edges, a few tiny spots of discolourationProvenance: Our vendor has kindly provided the following account of the letter's history:'I wrote to Roald Dahl speculatively as a young student, aged 20, when I was writing a dissertation on his work for my BA Hons degree in Literature and Linguistics at Portsmouth Polytechnic in 1990. I was staging a mini rebellion by focussing on controversial elements (ie violence) of Dahl's books for children, as fellow students opted for a serious approach to the likes of Kafka, Shakespeare and Homer. I stumbled across Dahl's address listed in the back of an old library book; security was clearly rather more relaxed in those days. On a whim I asked him questions which intrigued me regarding his style and attitude towards children's literature, never really dreaming of a response. So I was amazed to receive a chatty double-sided, handwritten A4 reply (plus another dissertation which he lent me), presumably written in his famous garden shed, discussing the importance of reading for children and referring to his newly published book Matilda (now a movie, West End musical etc, of course). As he indicated himself, it was unusual for him to reply to letters like mine, so I really struck lucky! With the happy-go-lucky optimism of youth I don't think I fully appreciated my good fortune. But since then I've enjoyed and treasured the letter for over 30 years and the time has come to share it, for others to read and enjoy his wise words which are dashed off in his wonderfully inimitable, flamboyant style. As the youngest of six children, I always battled with naughty decrepit hand-me-down hairy ponies, so proceeds will go towards a horse to compete whilst I'm still courageous enough and young enough to bounce a bit. I like to think Dahl, with his no-nonsense attitude, would approve of "get up and go".'
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