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Click here to subscribeA watercolour, AB, thatched cottage, monogrammed and dated 1936, 35 x 27cm, plus frame and glazed, a watercolour, Marion Henshaw, Golden Summer, still life, signed, 34 x 25cm, plus frame and glazed, an oil painting on board, townscape, 39 x 31cm, and an oil painting, on board, Bliss, harbour scene, 34 x 53cm, plus frame and glazed
Topple, or Grandstand, 2006 oil on linen 56 x 61cm Footnote: Craig Wylie is an accomplished figurative painter. His subjects, whether figure, portrait, or still life, are painted with a high degree of verisimilitude and exude a distinct, colour rich, painterly density. Wylie was born in Zimbabwe in 1973. He studied Fine Art at Rhodes University, South Africa, graduating with Distinction. Since moving to the UK in 1998 he has exhibited in solo and group shows in the UK and across the world. As well as numerous private collections, Wylie’s work is held in the public collections of the National Portrait Gallery, London; the National Gallery of Zimbabwe; the Neuer Kunstverein Aschaffenberg, Germany; and the Museum for Modern Art, Krakow, Poland. Amongst other awards Wylie has won the prestigious BP Portrait Award at the National Portrait Gallery, London.
After Michael (Mike) R. Hoar ARCA, (British, 1943-2017): 'Dried Flowers', still life colour print, signed and indistinctly dated, 14 by 19cm, mounted, glazed and framed, 40.5 by 44cm, together with a single sheet with four colour reproductions of Uppingham, after the same artist, unsigned, each 14.5 by 10.5cm, mounted but unframed, 49.5 by 36cm. (2)
Norman Douglas Hughes (British, late 20th century): 'Chrysanthemums' still life, pastel on board, signed, 39 by 49cm, framed, 49.5 by 60cm, together with two fire screens, each with a hand painted still life panel signed 'N. Douglas Hughes', one with stand, 67 by 8 by 70cm high, still life panel 59 by 60cm, the other without stand, 76 by 4 by 67cm, still life panel, 57.5 by 70cm. (3)
AN IMPORTANT WHITE MARBLE STELE OF BUDDHA, MAUDGALYAYANA AND SARIPUTRA, NORTHERN QIChina, 550-577. Carved from a single piece of marble, the central figure of Buddha is seated in dhyanasana on a throne supported on two chilong, his left hand held in abhayamudra, the face in a serene, meditative expression with downcast eyes and a benign smile.Provenance: Collection of Colonel Paul Kuhlo (1866-1943) and thence by descent in the same family. A noted German private collection, acquired from the above. Colonel Paul Kuhlo was the Commander of the Imperial German East Asian Marine Detachment and a Japanese prisoner of war from 1914 to 1919. During the sunset of his life, he collected Chinese and Japanese stamps, Asian antiques, and transcribed parts of his hand-written diary.Condition: Good condition commensurate with age, extensive wear, weathering, age cracks, losses, one horizontal crack with old filling.Dimensions: Height 62 cm, Width 42 cm, Depth 11 cmWith a modern display stand. (2)Buddha is flanked by two Avalokiteshvara, followed by his two main disciples, Maudgalyayana and Sariputra, and two Guanyin, the latter four standing on lotus pedestals borne on vines issuing from the chilongs’ mouths. The upper section is carved with two bodhi trees, while the lower section shows a boshan lu (hill censer) flanked by two Buddhist lions.The Northern Qi dynasty (550-577) was one of the most vibrant periods in the history of Chinese art, both religious and secular, as its openness towards foreigners, their ideas, beliefs, and goods immensely enriched the local cultural climate. It was within this cosmopolitan climate that Buddhist sculpture experienced perhaps its most glorious moment. While in the Northern Wei dynasty (386-534), manners of depiction were adapted from traditional South and Central Asian prototypes, in the Northern Qi they had matured and developed into distinctive native styles. However, they still emanate the seriousness of strong religious beliefs, which were rooted in the political instability of the mid-sixth century and had not yet moved towards the pleasant and more decorative imagery of the Tang dynasty (618-907).The present stele is carved in the simplified style of carving in white marble found in Quyang, Hebei province, and is particularly notable for the sensitively carved face of the main figure. The disciples and bodhisattvas are carved in shallower relief and with even more restraint in detailing, creating a sense of harmony and veneration.The Palace Museum, Beijing, holds 251 pieces of similarly carved sculpture from Xiude Temple in Quyang which was excavated in 1953-54. Of these Xiude Temple figures, more than 100 are inscribed with Northern Qi reign names, but not all of them.Auction result comparison: Compare with a considerably smaller stele dated by inscription to the year 540 at Christie’s New York in Treasures of the Noble Path: Early Buddhist Art from Japanese Collections on 14 September 2017, lot 806, sold for USD 68,750, and a considerably larger stele dated to the Tang dynasty at Christie’s London in Fine Chinese Ceramics and Works of Art on 55 November 2013, lot 386, sold for GBP 98,500.北齊重要大理石雕釋迦佛目犍連與舍利弗 中國, 550-577年。釋迦佛由一塊大理石雕刻而成，他成迦趺座坐在寶座上，手施無畏印，臉部表情沉靜，雙目低垂，微笑著。 來源： Paul Kuhlo上校（1866-1943）藏品，在同一個家庭世代相傳。 一個著名的德國私人收藏，從上述收藏獲得。 Paul Kuhlo上校是德意志帝國東亞海軍陸戰隊司令官，1914至1919年成爲日本戰俘。他在日本時，收集了中國和日本郵票，亞洲古董，並抄寫了部分手寫日記。圖片：保羅·庫洛上校（1866-1943）品相：自然老化的狀況與年齡相稱，廣泛的磨損，自然裂縫，風化，一條橫向裂縫，有舊時填充物修補。 尺寸：高 62 厘米, 寬42 厘米, 深 11 厘米 現代底座。 釋迦佛四周可見兩位觀音和目犍連與舍利弗。蓮座上纏枝環繞，上半部分雕刻有兩棵菩提樹，下半部分顯示了兩頭佛教獅子以及兩側的博山爐。 北齊（550-577）是中國藝術史上最活躍的時期之一，無論是宗教的還是世俗的，因為它對外國人的思想、信仰和商品的開放極大地豐富了當地的文化氣候。 正是在這種國際化的氣候中，佛教雕塑經歷了最輝煌的時刻。 在北魏時期（386-534），其描繪方式是根據傳統的南亞和中亞原型改編而成的，而在北齊時期，它們已經成熟並發展成為獨特的本土風格。 然而，他們仍然散發出強烈的宗教信仰的嚴肅性，這些宗教信仰植根於六世紀中葉的政治動盪，尚未走向唐朝（618-907）令人愉悅和更具裝飾性的形象。這座佛碑與在河北省曲陽市發現的漢白玉佛像雕刻風格極爲相似，尤其是面孔雕刻細節部分。 門徒和菩薩刻有淺淺的浮雕，在細節上有更多的體現，營造出一種和諧和崇高的感覺。北京故宮博物院保存著251件來自曲陽修德寺的雕塑，這些雕塑是在1953-54年間發掘的。 在這些修德寺人物中，有100多個都刻有北齊王朝的名字，但並非全部。 拍賣結果比較： 一件尺寸較小，年代刻540年的石雕，售于紐約佳士得Treasures of the Noble Path: Early Buddhist Art from Japanese Collections 拍場，2017年9月 14 日, lot 806, 售價USD 68,750, ；一件尺寸較大唐代石碑售于倫敦佳士得 Fine Chinese Ceramics and Works of Art 拍場，2013年11月5日，lot 386, 售價GBP 98,500.
AN EXCEPTIONAL AND VERY LARGE CANTON ENAMEL ‘SCHOLARS’ DISH, EARLY 18TH CENTURYChina. This piece is notable for its imposing size, the broad surface of which has been delicately rendered with a rich scene of scholars, literati and pupils observing an artist working on a scroll, painted with bamboo springing from craggy rockwork, the yet unfinished oeuvre being the talk of the gathering.Provenance: From a private estate in Pennsylvania, USA. The backside with an old collector’s label inscribed “C-09” and a second label with the inscription “Canton Enamel Charger 22” Diam. (18TH C) #78 (10.15.K)”. Condition: The foot rim with a hole drilled for suspension. The center with circular hairlines along the foot and two old fillings, each the size of a coin. The outer border with an old, restored section of ca. 10-15 cm, barely extending into the yellow border, mirrored at the back. Minuscule firing flaws, pitting, hairlines, dents, losses and fills. The metal mounts with a fine, naturally grown patina. Old wear and traces of use. Overall, in good condition, especially considering the magnificent size of 2.365 cm², with less than 60 cm² of restored area, equivalent to only 2.5% (!) of the total surface.Weight: 3.7 kg Dimensions: 55 cm Furthermore, we find a building with a terrace, a garden with scholar’s rocks, an imposing Ming dynasty altar table with a bitong and various brushes, an inkstone and several garden stools, as well as a peaceful lake and mountains in the far distance completing the inspiring scene.The cavetto with a dense scroll of pink peonies and lavender-colored lotus against an Imperial yellow ground, all within two circumferential bands of leaves and vines. The reverse shows a neatly painted still life of two peaches, lingzhi, flowers and a single bat against a white ground. The border with a band of grapes.The present dish is among the earliest examples of the successful combination of Western imaging techniques with traditional Chinese motifs during the first half of the 18th century. The subtle gradations of tone and the rendering of light and shade are particularly successful in the central panel, where cautious shading is introduced along the walls and canopy of the building. Even these few shades already give the composition a certain three-dimensional depth, heretofore unknown in Chinese painting. Moreover, the similarly rendered pink flowers are depicted in full bloom and appear to loom out from the contrasting yellow background. The fusion of East and West is therefore not only found on a technical level, but also in the stylistic approach to this painting, where the Chinese tradition of outlining has cleverly been combined with the European pursuit of naturalism through shading. Wares that combine a finely enameled scholarly motif on the interior with a vibrant yellow ground exterior were also produced in porcelain and celebrate the newly developed Famille Rose palette of the early eighteenth century. Tang Ying (1682–1756), as of 1728 the superintendent of the Imperial Kilns at Jingdezhen, notes in his work “A Brief Account of Ceramics”, that yangcai (Western color) enamel wares should be classified as combining falang glazes with Western painting styles (see the National Palace Museum exhibition catalog, Stunning Decorative Porcelains from the Qianlong Reign, Taipei, 2008, pp. 32-40).Painting in enamels on copper is essentially a Western art that gained prominence in northern Europe during the Renaissance and flourished in China under the reign of the Qianlong emperor. Once the piece was shaped, the copper was prepared with a ground of plain enamel to receive the painting in glassy pigments which then bonded to it by firing. The resulting clear and brilliant contrast of colors, which allowed for ornate decoration, was particularly suited to the young Qianlong emperor's taste for the opulent and exotic. The technique was first introduced to Guangzhou by Jesuit missionaries who entered the port with samples of Limoges wares from Europe around 1700. It was then presented to the Palace Workshop between 1714 and 1716 by the enamel factories in Guangzhou, who supplied versatile artisans dedicated to developing and improving the standard of the imperial Enamel Workshop (see Yang Boda in the catalog to the exhibition Tributes from Guangzhou to the Qing Court, Art Gallery, The Chinese University of Hong Kong, Hong Kong, 1987, page 63).Curator’s Summary: The frugal use of shading points to an early date during the first period of enamel production, which can possibly be even narrowed to 1710-1725. After this period, shading became more sophisticated and stippling was introduced. It is even possible that this monumental work, obviously conceived to impress, and difficult to make with the limited production capacities of the time, was among the few large template pieces presented to the Imperial Palace Workshop between 1714 and 1716 by the enamel factories in Guangzhou. This would explain the lasting albeit simplified reappearance of closely related scholarly motifs in later imperial works. Overall, the present dish must therefore not only be regarded as extremely rare, but also as an important contributor to what was later to become the most sophisticated producer of enamel wares in the history of mankind: The Imperial Palace Workshops in Beijing. Literature comparison: A similar use of yellow ground with multi-colored floral scrolls along panels containing depictions of scholars in garden landscapes can be seen on a Qianlong hand-warmer – with a red enamel six-character Qianlong seal mark within a single square – in the collection of the National Palace Museum, Taipei (illustrated in Enamel Ware in the Ming and Qing Dynasties, p. 243, no. 134) although the frames of the panels on the hand-warmer are in red tones and created using more sophisticated abutted S- and C-shaped elements. The use of imperial yellow grounds ornamented with multi-colored floral scrolls was much admired by the court in the Qianlong reign and can be seen on a number of items in a range of forms preserved in the collections of the Palace Museum, Beijing, and the National Palace Museum, Taipei.A scene of scholars in a garden setting, related to the one on the present plate, appears on a Qianlong enameled tea container in the collection of the State Museum of Oriental Art, Moscow (illustrated by Marina Neglinskaya in Kitayske raspisnie zmali, Moscow, 1995, cat. 38), although in the case of the Moscow piece, one scholar is playing the qin while another listens, and a servant approaches with refreshments. The enamels on the Moscow tea container are less rich than those on the present plate and the hand-warmer from the National Palace Museum Collection, and the dominant color in the background is blue rather than yellow, but it is interesting to note that the style was appreciated by the European elite as well as those in China.Auction result comparison: Compare with a closely related but much smaller plate at Christie's Hong Kong in Important Chinese Ceramics and Works of Art on December 1st 2010, lot 3229, sold for HKD 350,000.十八世紀初廣州銅胎畫琺琅開光文人賞畫圓盤 中國. 尺寸宏偉，盤内開光，繪畫精美，文人及其學生欣賞一位畫家在捲軸上作畫的場景，四周山水湖泊以及院内假山竹林。 來源： 美國賓夕法尼亞州私人遺產。盤底有老藏家的標簽 “C-09” 以及第二個標簽 “Canton Enamel Charger 22” Diam. (18TH C) #78 (10.15.K)”。 品相： 完整中文品相報告請至www.zacke.at查看。其餘中文敘述請至www.zacke.at查看。
Pinchus Krémègne (Russian, 1890-1981)Les Toits de Paris,vue depuis la Ruche signed 'Kremegne' (lower left)oil on canvas73 x 100cm (28 3/4 x 39 3/8in).Painted c. 1915Footnotes:LiteratureWaldemar George, Krémègne, Éditions Le Triangle, Paris, 1920, p. 15.Pinchus Krémègne attended the School of Fine Arts in Vilnius to study sculpture. In 1912, he left for Paris and settled in La Ruche. Soutine followed his advice and met him there a year later. In 1914, Krémegne sculpted and exhibited three artworks at the Salon des Indépendants. In 1915, he gave up sculpture and concentrated solely in the art of painting. From 1916, he spent his time in Montparnasse where he met Kikoine, André Derain, Maurice de Vlaminck, and Max Jacob. The art dealers Chéron, Zborowski and Paul Guillaume were his first collectors. During World War II, he took refuge in Turenne and returned to Paris following the Liberation. Finally, Krémegne decided to settle in Cérét and remained there until his death in 1981.Les Toits de Paris, vue depuis la Ruche view overlooks theslaughterhouse at Vaugirard, which Marc Chagall mentions in his autobiography My Life: 'Over there, further away, the cattle were being slaughtered, the cows were bellowing, and I painted them. I can still hear their screams in the night as their heads were being chopped off and I remembered an image from Russia; that of my grand- father's butcher's shop'.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
Henryk Berlewi (Polish, 1894-1967)Grand Nu signed 'H. Berlewi' (lower left)charcoal and watercolour on paper83 x 46cm (32 11/16 x 18 1/8in).Painted c. 1920Footnotes:This work will be included in the artist's catalogue raisonné authored by Isabel Schröer.Painter, graphic designer, typographer and critic, Henryk Berlewi was a major figure of constructivist art in Poland during the 1920s. He studied at the Academies of Fine Arts in Warsaw (1904-1909), Antwerp (1909-1910) and Paris (1911-1912). In 1913, Berlewi went back to Warsaw to pursue his studies at the School of Design. During World War I, he discovered Futurism and Dadaism. In 1921, he met El Lissitzky and followed him to Berlin where he abandoned figurative art for pure constructivist abstraction. In 1924, Berlewi published his manifest Mechano-Faktura (Mechano-Faktur: rhythm of geometric shapes and pure colors, which give the illusion of vibration and movement) in the Der Sturm journal. The same year, his first solo exhibition was held at the Austro-Daimler automobile showroom in Warsaw. In 1926, Berlewi put an end to his research on Mechano-Faktura to return to figurative art and theatre sets. In 1927, he settled in Paris and between 1928 and 1938, he travelled to Belgium and painted portraits of political and literary figures. At that time, he found out that he was critically ill and stopped all artistic activity. In 1942, he left Paris, took refuge in Nice and joined the Resistance (1943-1944). He only rediscovered a taste for art in 1947. He wished to 'reintroduce the subject' and produced still life composition inspired by the French masters of the 17th century.In 1957, the exhibition on the precursors of abstract art in Poland at the Galerie Denise René in Paris prompted him to resume his research on Mechano-Faktura which is today viewed as one of the key sources of Op art.For further information on this lot please visit Bonhams.com
Henryk Berlewi (Polish, 1894-1967)Self-Portrait signed 'HenrykBerlewi' and titled 'SelfAutoportrait' (centre), inscribed and dated '1911' (lower right)pencil on paper29 x 22cm (11 7/16 x 8 11/16in).Painted in 1911Footnotes:This work will be included in the artist's catalogue raisonné authored by Isabel Schröer.LiteraturePeintres Juifs de l'École de Paris 1905-1939, Éditions Denoël, Paris 2000, p. 64.Jewish Artists of the School of Paris 1905-1939, Somogy Editions d'Art, Paris 2015, p. 62.Stories of Jewish Artists of the School of Paris 1905-1939, Les Étoiles Éditions, 2020, p. 71.Painter, graphic designer, typographer and critic, Henryk Berlewi was a major figure of constructivist art in Poland during the 1920s. He studied at the Academies of Fine Arts in Warsaw (1904-1909), Antwerp (1909-1910) and Paris (1911-1912). In 1913, Berlewi went back to Warsaw to pursue his studies at the School of Design. During World War I, he discovered Futurism and Dadaism. In 1921, he met El Lissitzky and followed him to Berlin where he abandoned figurative art for pure constructivist abstraction. In 1924, Berlewi published his manifest Mechano-Faktura (Mechano-Faktur: rhythm of geometric shapes and pure colors, which give the illusion of vibration and movement) in the Der Sturm journal. The same year, his first solo exhibition was held at the Austro-Daimler automobile showroom in Warsaw. In 1926, Berlewi put an end to his research on Mechano-Faktura to return to figurative art and theatre sets. In 1927, he settled in Paris and between 1928 and 1938, he travelled to Belgium and painted portraits of political and literary figures. At that time, he found out that he was critically ill and stopped all artistic activity. In 1942, he left Paris, took refuge in Nice and joined the Resistance (1943-1944). He only rediscovered a taste for art in 1947. He wished to 'reintroduce the subject' and produced still life composition inspired by the French masters of the 17th century.In 1957, the exhibition on the precursors of abstract art in Poland at the Galerie Denise René in Paris prompted him to resume his research on Mechano-Faktura which is today viewed as one of the key sources of Op art.This lot is subject to the following lot symbols: NMT ARNMT Motor vehicle lot originates from or is registered in another EU member state and has travelled less than 6,000km from new. Accordingly HMRC and the DVLA classify such machines as 'New Means of Transport' under the Nova Scheme and are subject to VAT at 20% on the hammer price.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Isaac Pailes (French, 1895-1978)Still life signed 'Pailes' (upper left)oil on canvas73 x 50cm (28 3/4 x 19 11/16in).Painted c. 1913Footnotes:Isaac Pailes grew up in a family of goldsmiths. His maternal grandfather was a wood engraver. At the age of thirteen, following in the footsteps of his grandfather, Isaac took an interest in engraving and in sculpture. His first sculptures are exhibited in museums in Kiev. In 1910, he enrolled in the School of Fine Arts in Kiev, where he met Issachar Ryback and Max Kaganovitch, who became his dealers forty years later. With his father's help, Isaac Pailes arrived in Paris in 1913. He shared a room with Mané- Katz and studied sculpture for a year at the Ecole des Beaux-Arts in Paris. One year later, he decided to return to Kiev and stole money from in the Russian embassy to go to Russia via London, Norway, Sweden, and Finland. When the Revolution broke out in Russia, he was sent to the Crimean front. As he refused to fight, he escaped and managed to embark on a ship without any papers or ticket. In exchange for a gold ring, the captain dropped him off in Constantinople. Pailes' dream was to return to Paris where he arrived in 1919 and went straight to the café La Rotonde to meet his friends Michel Kikoine and Isaac Dobrinsky. Initially, he worked as a model in order to earn his living. In 1920, he gave up sculpture for painting and started to collect tribal art. He then got in touch with the art lovers of the time: police chief Zamaron and dealers Paquereau and Georges Bernheim. Attached to his Slav origins, Pailes participated in the activities of the Russian Artists Society, which was set up by Russian artists in Montparnasse and presided by Wildhopff. When World War II broke out, Pailes settled in the Pyrénées - Orientales and later in the Auvergne region. He then joined a group of Resistance fighters in Rochefort. Following the Liberation, he returned to his studio in Montparnasse and continued to paint. In 1948, Isaac Pailes produced his first abstract works.For further information on this lot please visit Bonhams.com
Nathan Grunsweigh (Polish, 1880-1943)L'hotel du Sans-Souci signed 'Grunsweigh' (lower right)oil on canvas60 x 73cm (23 5/8 x 28 3/4in).Painted c. 1930Footnotes:ExhibitedParis, Musée du Montparnasse, 2005.Jerusalem, Yad Vashem Museum, 2006. LiteratureArtistes d'Europe, Montparnasse déporté, Éditions Musée du Montparnasse, Paris, 2005, p. 124.Jewish Artists of the school of Paris 1905-1939, Somogy Éditions d'Art, Paris, 2015, p. 146.Until very recently, little was known about Nathan Grunsweigh. He was born in Krakow in 1880, and between 1901 and 1915 he migrated to Antwerp, Belgium. A few years later, he settled in the western suburb of Le Vésinet, France, with his wife Fanny and their three children. His work revolved around the landscapes of his neighbourhood and Le Vésinet: the villas by the park, the lake, the Croissy bridge, or Le Select, cinema near the train station.In 1926, he had an exhibition at the Gallery Pierre, where he exhibited around twenty paintings of landscapes of the suburbs and still life. Gustave Kahn wrote of him in the Mercure de France on June 15, 1926 'Grunsweigh 'paints the suburbs of Paris with love.''For further information on this lot please visit Bonhams.com
Nathan Grunsweigh (Polish, 1880-1943)Select cinema signed 'Grunsweigh' (lower left)oil on canvas64.5 x 49.5cm (25 3/8 x 19 1/2in).Painted c. 1920Footnotes:ExhibitedParis, Musée du Montparnasse, 2005.Jerusalem, Yad Vashem Museum, January - June 2006.LiteratureArtistes d'Europe, Montparnasse déporté, Éditions Musée du Montparnasse, Paris, 2005, p. 24.Until very recently, little was known about Nathan Grunsweigh. He was born in Krakow in 1880, and between 1901 and 1915 he migrated to Antwerp, Belgium. A few years later, he settled in the western suburb of Le Vésinet, France, with his wife Fanny and their three children. His work revolved around the landscapes of his neighbourhood and Le Vésinet: the villas by the park, the lake, the Croissy bridge, or Le Select, cinema near the train station.In 1926, he had an exhibition at the Gallery Pierre, where he exhibited around twenty paintings of landscapes of the suburbs and still life. Gustave Kahn wrote of him in the Mercure de France on June 15, 1926 'Grunsweigh 'paints the suburbs of Paris with love.''For further information on this lot please visit Bonhams.com
Vladimir Naiditch (Russian, 1903-1980)Still life au gibier et au poisson signed 'V. Naiditch' (lower right)oil on canvas81 x 100cm (31 7/8 x 39 3/8in).Footnotes:Vladimir Naïditch studied drawing at the School of Applied Arts in Moscow and exhibited for the first time at the age of fourteen. He moved to Paris around 1920 and pursued his scientific studies at the Lycée Janson-de-Sailly and the Sorbonne University. He devoted his spare time to visit museums and galleries. Naïditch and his brother were partners in an alcohol distilling company, which enabled him to paint while enjoying financial stability. From 1927 to 1929, he studied at the Grande Chaumière and Colarossi academies. He studied with André Lhote and befriended the Russian artists of Montparnasse, Jean Pougny, Mikhail Larionov, Kostia Terechkovitch, Ossip Lubitch, and Lazare Volovick. From 1930 to 1938, Naiditch's work was being recognised with Baron Edmond de Rothschild showing interest in his paintings. In 1940, he travelled to the United States via Cuba and settled in America. His exhibitions in New York and in Rhode Island found great success. When he returned to Paris in 1946, Naiditch returned to his old studio, which had been ransacked and destroyed by the Nazis.For further information on this lot please visit Bonhams.com
Georges Goldkorn (Polish, 1905-1961)Still life signed 'Goldkorn' (lower left); further signed and dated (on verso)oil on canvas81.2 x 65cm (31 15/16 x 25 9/16in).Painted in 1949Footnotes:ProvenanceAcquired directly from the artist's studio.LiteratureAlain Bosquet, Goldkorn, Éditions Le Musée de Poche, Paris, 1975, p. 7.Georges Goldkorn grew up in a Hassidic family and followed religious studies in a Yeshiva prior attending high school at the age of 15. After graduating, he followed the advice of the expressionist painter Henryk Gottlieb and joined the Academy of Fine Arts in Krakow. In 1927 he enrolled at the Royal Academy of Brussels. A year later, he took classes taught by Isidore Opsomer and Rik Wooters at the Higher Institute for Fine Arts in Antwerp. In 1940, the invasion of Belgium forced him to move to France. During the Second World War, he enlisted in the Polish army and was detained in the Gurs internment camp. Goldkorn managed to escape and joined the Resistance in Lyon. After the war, he settled in Paris and grew a reputation as a figurative painter. Expanding his oeuvre, in 1956, Golkorn produced eighteen etchings and nine wood engravings for Images de Sefarad, a book on the history of Spanish Judaism, prefaced by Jean Cassou and Cecil Roth, published by Caracteres. Goldkorn also illustrated Philon d'Alexandrie (Philo of Alexandria), published by Marcel Bruker in 1962.For further information on this lot please visit Bonhams.com
Bennett Oates (British, 1928-2009)Still life of flowers signed and dated 'Bennett Oates 73' (lower left)oil on board 68.6 x 63.5cm (27 x 25in).Footnotes:ProvenanceWith E. Stacy-Marks Ltd., Eastbourne, no. B740A. Private collection, UK.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
Irene Klestova (British, 1908-1989)Still life of rosessigned 'I Klestova' (lower left) oil on board 24.2 x 19.7cm (9 1/2 x 7 3/4in).Footnotes:ProvenanceWith Frost & Reed Ltd., London. Private collection, UK.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
William Duffield (British, 1816-1863)Still life of fruit and game with a claret jug and steinsigned and dated 'William Duffield/1855' (lower left) oil on canvas 71.1 x 91.4cm (28 x 36in).Footnotes:ProvenanceAnon. sale, Christie's, London, 16 June 2005, lot 154. Private collection, UK. For further information on this lot please visit Bonhams.com
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