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Lot 207
Property from the Uriarte y Piñeiro Collection JULES ALEXANDRE GRUN (FRENCH 1868–1938) Roses in a vase Signed Grun (lower left) Oil on card 60 x 50cm (23 3/4 x 19 3/4in) Provenance: A. Witcomb & Cia., Buenos Aires Leopoldo Uriarte y Piñeiro, Buenos Aires (purchased from the above in 1938) Museo Nacional de Bellas Artes, Buenos Aires (bequeathed by the above in 1941) Returned to the descendants of the Uriarte y Piñeiro family in 1991 Thence by descent to the present owner Exhibited: Buenos Aires, Salon Witcomb, Exposicion Grun August 1920, no. 48 Buenos Aires, Museo Nacional de Bellas Artes Property from the Arturo and Leopoldo Uriarte y Piñeiro Collection (lots 130, 137 -139, 205 -207, 210, 222, 223) Originally from the Basque country, the brothers, physicians and collectors Arturo and Leopoldo Uriarte y Piñeiro divided their time between Europe and South America. Leopoldo, a respected scientist, dedicated his life to research, studying in depth the bubonic plague. A professor at the University of Buenos Aires, he founded the Instituto Bacteriológico at Muñiz Hospital (now the Instituto Malbran). In acknowledgement of his outstanding contribution to research in his field a prize in his name was established that is still awarded to this day by the National Academy of Medecine. As well as art he was a great bibliophile, and his library was donated by his widow to the National Library, Buenos Aires. Arturo was a clinical doctor and an outstanding surgeon. He founded the Juan Antonio Fernandez Hospital in Buenos Aires, supported a wide range of charitable causes, and on his travels in Europe acquired a wide range of art works. On the death of Leopoldo in in 1941 he donated part of his and his brother’s collection to the Museo Nacional de Bellas Artes, Buenos Aires, where the works remained until 1991, when they were retuned to the descendants of the family.
Lot 2
A pair of early 19th Century Georgian Crown Derby porcelain ceramic flower boughs / vases / planters having central octagonal white cartouche panel hand painted with floral spray still life. Gilded ornate Satyr face masks to side with good gilding throughout the body. Drainage hole to base with flared circular trumpet rim to top. Red painted Nottingham Road factory marks to base with painted numerals. Measures 11cm high x 14cm wide at rim.
Lot 229
A rare and incredible 19th Century Staffordshire Pearlware Maritime interest sailors ' Surprise Mug ' having a black painted frog / toad inside with transfer printed decoration of a ship / boat with sailors script poem to verso reading:A Sailors life's the life for me, He takes his duty merrily, If winds can whistle, he can sing, Still faithful to his friend & king, He gets belov'd by all the ship, And toasts his girl & drinks his flip.No visible damage in good condition commensurate with age. Stunning example.
Lot 292
signed oil on board Exhibited at the South African National Gallery in 1966 PROVENANCEInherited, thence by descent 60 by 35cm Flower Piece is an important work confimed by the original fadedlabel on the reverse, attesting to its inclusion in a major retrospectivePranas Domsaitis 1880 - 1965. This prestigious exhibition openedin November 1966, at The South African National Gallery in CapeTown, where over 200 works had been included. Sourced nationwide from private and public collections, the exhibition sought to honour the oeuvre and life work of the artist and his formativeinfluence on the emerging South African art scene.Domsaitis sought refuge at the end of World War II in Cape Townat the age of 69, where he lived out his artistic life until his deathat 85. He died in 1966, a year prior to the death of Irma Stern whowas 14 years his junior. These two giants of the art world sharedmuch in their artistic development; a background of wide travel, anémigré’s perspective, and defining exposure to the art movementsof inter-war Central Europe. Reflecting the influential avant gardeof the time, they were both schooled in German Expressionism.Their independent ideas and experiences were eventually tocontribute significantly to South African art.Domsaitis had already forged a distinguished career in Europe,exhibiting his work alongside Max Pechstein, Paul Klee, MarcChagall, Oskar Kokoshka and other luminaries of the time. However,in response to the threat of Nazi persecution of 'decadent art',he fled to Austria, eventually settling in South Africa in 1949. Hisintensely spiritual landscapes, religious works and expressioniststill lifes were well received in his adopted country. Decadeslater, in 1989 he was honoured with recognition in his country ofbirth, when the Pranas Domsaitis Gallery opened in the nationalLithuanian Art Museum.Flower Piece, simply presented as a Blanc de Chine jug ofglowing floral colours and impasto forms highlighted in blackagainst a cloudy background, “…possess something of Chagall’senchanting visions, the guileless piety of Roualt. The resonantcolour of Expressionists and the intuitive wisdom of the peasant”as expressed by the art critic Graham Watson. ,Indeed, Domsaitis’s Flower Piece exudes the timeless qualities thatappeal to a new generation of artists as in the floral still life’s ofGeorgina Gratrix, Mia Chaplin and others. - C.K.Alexander, L and Cohen E. (1990).150 South African Paintings Past and Present. Struikhof,Cape Town.Drunga, M. (1981). “Pranas Domsaitis: Rediscovered Scion of Expressionism”, in LithuanianQuarterly Journal of Arts and Sciences, 27 (4).BialopetraviÐienÐ, L. (2001). “Artist Pranas Domsaitis: 1880 – 1965” (Pranas Domsaitis Galleryonline) http://ldmuziejus.mch.mii.lt/PDG/P_Domsaitis_en.htmVerloren van Themaat, E. (1976). Pranas Domsaitis. C. Struik Publishers: Cape Town.
Lot 315
signed and dated 21.2.68 in the plate lithograph in colours, Archers watermarked paper In the last decade of Picasso’s expansive life, theartist explored his child-like curiosity in multipleprints that celebrated the archetype of the clown.With the use of vibrant colour and his masterful freehand, Pablo Picasso managed to capture his ownlove of whimsy and folly.Throughout his prolific career, the artist, who wasonce considered a child prodigy, spoke often of thegenius of childhood. He famously remarked, “It tookme four years to paint like Raphael, but a lifetimeto paint like a child.”(1) Picasso was fascinated withthe freedom of the art of children, the expansiveoriginality and utter lack of self-consciousness.What would become known as the artist’s RosePeriod explored Picasso’s captivation with clowns,saltimbanques and harlequins. Despite the subjectmatter, the earlier period, often referred to as hisCircus Period, was still weighted with a sense ofmelancholia(2). As he unknowingly approachedhis death in 1973, the icon’s work became moreexpressive, experimenting with vivid colour anda multitude of varying styles. His final works,including his clown prints, now stand as testamentto the artist’s perpetual desire for rejuvenation andreinvention, even in his last chapter.1. Daniel. A. Siedell. Who’s Afraid of Modern Art? Essays on Modern Artand Theology in Conversation. Oregon: Wipf and Stock Publishers, 2015,p.1342. Victopria Charles. Pablo Picasso. Ho Chi Minh City: ParkstoneInternational, 2011, p.49
Lot 22
FILIPPO DE PISIS (1896-1956) Natura morta 1953olio su tela cm 30x40 4firmato in basso a destrasul retro: etichetta della Galleria Mereu Genova; timbro della Galleria Russo RomaArchivio dell'Associazione per Filippo de Pisis N.05135Still Life 1953oil on canvas 11 81x15 9 insigned lower righton the reverse: label of Galleria Mereu Genoa;stamp of Galleria Russo RomeArchivio dell'Associazione per Filippo de Pisis n.05135
Lot 63
Thomas Koether (New York, Florida, Europe, Australia, b. 1940) Abstract Painting. Titled: "Breeze" Dated: '90 Oil on Canvas. Signed, titled "Breeze" and dated (1990) verso. Overall Size: 42 x 42 in. In 1960, Koether was accepted to the school of the Art Institute of Chicago at age 20. In 1963 Koether Moved to New York City and started going to the Art Student's League. In June of 1966 he graduated with honors from N.Y.U. and was accepted to the N.Y.U. graduate school of Communications Arts in Cinematography under Haig Manoogian. In 1970, he moved to Paris to take a studio space at the American Center on Boulevard Raspail. In July of '71 Koether went to Italy and did a lot of drawing and watercolors. In Florence he met Italian art restorers and learned a lot about restoration from them. That same year, he participated in a group show at the American Center and sold several pieces, one to director Henry Pillsbury. The work from Ibiza and Paris dealt with attempts to delineate abstraction as a form with his own experience of his own abstractness, landscapes and still-lives of his own psychic and emotional space. This work has a post-psychedelic aspect. In 1974, Koether moved back to New York and worked in N.Y.C. as an art restorer with Roger Ricco Associates. That year, he had a one man show at Ajanta Gallery on East 9th Street. In 1976, Koether moved to Australia and established an art conservation business and worked on the 5 major collections of Oceanic art in Australia. ONE PERSON SHOWS 2001 SRQ ON MAIN, Sarasota, Florida 1996 TAMPA ELECTRIC CO., TECO PLAZA, Tampa, July 1 ? July 31, Marilyn Mars, Curator 1995 KOETHER ? NEW OILS, Nations Bank Executive Headquarters, Sarasota, Florida 1993 MATRIX, Renegade Gallery, East Hampton, New York 1992 KOETHER, A NEW EDGE, Renegade Gallery, East Hampton, New York 1989 AUSTRALIAN ROCK AND WATER, Gochenhaur Gallery, Delray Beach, Florida 1987 TOM KOETHER, EXPATRIATE PAINTINGS, Curator: Nick Pearson, Ashawagh Hall, East Hampton, NY 1988 KOETHER, Recent work from New York, Cape Gallery, Byron Bay, N.S.W., Australia 1986 TOM KOETHER, RECENT PAINTINGS, AUSTRALIAN EXPERIENCE, Ashawagh Hall, East Hampton NY 1985 PAINTINGS FROM EAST HAMPTON, Curators: Dane Dixon and Steve Loschen, Ashawagh Hall, NY 1983 KOETHER, Outback Australian Gallery, Curator: Gate Fynn, 382 W. Broadway, New York, NY 1974 AJANTA GALLERY, New York, New York 1973 St. Croix, Virgin Islands 1972 St. Croix, Virgin Islands 1971 Ars Bar, Ibiza, Spain 1970 Ars Bar, Ibiza, Spain 1969 Ars Bar, Ibiza, Spain 1969 KOETHER, DRAWINGS, Mahogany Inn, St. Croix, Virgin Islands SELECTED GROUP AND JURIED SHOWS 2002 TOM KOETHER, STEVE LOSCHEN RECENT PAINTINGS, Ashawagh Hall, East Hampton, NY 1996 Represented by KLABAL GALLERY, 363 12th Avenue South, Naples, Florida 1995 ART FOR LIFE, Juried Voice Auction, Jurors Marilyn Mars, Arts Impact, and Emily Kass, Exec Director, Tampa Museum 1994 SARASOTA VISUAL ARTS CENTER, Autumn Annual, Juror Tiffani Szilage, St. Petersburg Center for the Arts, Exhibition Coordinator, St. Petersburg, Florida 1994 GREATER TAMPA CHAMBER OF COMMERCE, Executive Exhibition, Juror Marilyn Mars, Arts Impact, Tampa, Florida 1994 KOETHER, ASHAWAGH ?94, Loschen, Najdzionek, Strong/Cuevas, Grove, and Briscoe, East Hampton, NY 1992 SOUTH COBB ART ALLIANCE 7TH NATIONAL JURIED ART EXHIB., Juror: Larry Walker, Prof. of Art at Georgia-State University 1991 KOETHER, GOCHENOUR, Ashawagh Hall, East Hampton, New York 1990 KOETHER, LOSCHEN, Ashawagh Hall, East Hampton, New York 1990 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York 1989 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York 1989 M. CAIN SCULPTURE TOM KOETHER, STEVE LOSCHEN, PAINTINGS, Ashawagh Hall, East Hampton, New York 1989 DRAWING THE LINE, Curator: Kay Jeffed, Tweed River Regional Art Gallery, Murwilumbha, Australia 1989 BLOSSOMS, The Gallery at Bryant Library, Roslyn, New York 1988 HUNTINGTON TOWN ART LEAGUE ANNUAL, Huntington, New York 1988 BEYOND STATUS QUO, The Gallery at Bryant Library, Roslyn, New York 1988 WATER, WATER EVERYWHERE, The Gallery at Bryant Library, Roslyn, New York 1988 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York 1987 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York 1986 PLASTO GALLERY, Mullumbimby, N.S.W., Australia 1986 SOUTHPORT ART SHOW, Southport, Queensland, Australia 1986 GOLD COAST CITY ART INVITATIONAL, Gold Coast City Art Prize, purchase, Gold Coast, Queensland, Australia 1985 ST. ALBANS COLLEGE EXHIBITION, Honorable mention, Southport, Australia 1985 N.P.U. QUEENSLAND EXHIBITION, purchase price, Cape Gallery, Bryon Bay, N.S.W., Australia 1971 LE CENTER AMERICAN, Paris, France.
Lot 66
Thomas Koether (New York, Florida, Europe, Australia, b. 1940) Abstract Painting. Titled: "Factored Blue" Dated: '96. Oil on paper. Signed lower right. Sight size: 21 x 15.5 in. Overall Size: 28.5 x 23 in. In 1960, Koether was accepted to the school of the Art Institute of Chicago at age 20. In 1963 Koether Moved to New York City and started going to the Art Student's League. In June of 1966 he graduated with honors from N.Y.U. and was accepted to the N.Y.U. graduate school of Communications Arts in Cinematography under Haig Manoogian. In 1970, he moved to Paris to take a studio space at the American Center on Boulevard Raspail. In July of '71 Koether went to Italy and did a lot of drawing and watercolors. In Florence he met Italian art restorers and learned a lot about restoration from them. That same year, he participated in a group show at the American Center and sold several pieces, one to director Henry Pillsbury. The work from Ibiza and Paris dealt with attempts to delineate abstraction as a form with his own experience of his own abstractness, landscapes and still-lives of his own psychic and emotional space. This work has a post-psychedelic aspect. In 1974, Koether moved back to New York and worked in N.Y.C. as an art restorer with Roger Ricco Associates. That year, he had a one man show at Ajanta Gallery on East 9th Street. In 1976, Koether moved to Australia and established an art conservation business and worked on the 5 major collections of Oceanic art in Australia. ONE PERSON SHOWS 2001 SRQ ON MAIN, Sarasota, Florida 1996 TAMPA ELECTRIC CO., TECO PLAZA, Tampa, July 1 ? July 31, Marilyn Mars, Curator 1995 KOETHER ? NEW OILS, Nations Bank Executive Headquarters, Sarasota, Florida 1993 MATRIX, Renegade Gallery, East Hampton, New York 1992 KOETHER, A NEW EDGE, Renegade Gallery, East Hampton, New York 1989 AUSTRALIAN ROCK AND WATER, Gochenhaur Gallery, Delray Beach, Florida 1987 TOM KOETHER, EXPATRIATE PAINTINGS, Curator: Nick Pearson, Ashawagh Hall, East Hampton, NY 1988 KOETHER, Recent work from New York, Cape Gallery, Byron Bay, N.S.W., Australia 1986 TOM KOETHER, RECENT PAINTINGS, AUSTRALIAN EXPERIENCE, Ashawagh Hall, East Hampton NY 1985 PAINTINGS FROM EAST HAMPTON, Curators: Dane Dixon and Steve Loschen, Ashawagh Hall, NY 1983 KOETHER, Outback Australian Gallery, Curator: Gate Fynn, 382 W. Broadway, New York, NY 1974 AJANTA GALLERY, New York, New York 1973 St. Croix, Virgin Islands 1972 St. Croix, Virgin Islands 1971 Ars Bar, Ibiza, Spain 1970 Ars Bar, Ibiza, Spain 1969 Ars Bar, Ibiza, Spain 1969 KOETHER, DRAWINGS, Mahogany Inn, St. Croix, Virgin Islands SELECTED GROUP AND JURIED SHOWS 2002 TOM KOETHER, STEVE LOSCHEN RECENT PAINTINGS, Ashawagh Hall, East Hampton, NY 1996 Represented by KLABAL GALLERY, 363 12th Avenue South, Naples, Florida 1995 ART FOR LIFE, Juried Voice Auction, Jurors Marilyn Mars, Arts Impact, and Emily Kass, Exec Director, Tampa Museum 1994 SARASOTA VISUAL ARTS CENTER, Autumn Annual, Juror Tiffani Szilage, St. Petersburg Center for the Arts, Exhibition Coordinator, St. Petersburg, Florida 1994 GREATER TAMPA CHAMBER OF COMMERCE, Executive Exhibition, Juror Marilyn Mars, Arts Impact, Tampa, Florida 1994 KOETHER, ASHAWAGH ?94, Loschen, Najdzionek, Strong/Cuevas, Grove, and Briscoe, East Hampton, NY 1992 SOUTH COBB ART ALLIANCE 7TH NATIONAL JURIED ART EXHIB., Juror: Larry Walker, Prof. of Art at Georgia-State University 1991 KOETHER, GOCHENOUR, Ashawagh Hall, East Hampton, New York 1990 KOETHER, LOSCHEN, Ashawagh Hall, East Hampton, New York 1990 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York 1989 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York 1989 M. CAIN SCULPTURE TOM KOETHER, STEVE LOSCHEN, PAINTINGS, Ashawagh Hall, East Hampton, New York 1989 DRAWING THE LINE, Curator: Kay Jeffed, Tweed River Regional Art Gallery, Murwilumbha, Australia 1989 BLOSSOMS, The Gallery at Bryant Library, Roslyn, New York 1988 HUNTINGTON TOWN ART LEAGUE ANNUAL, Huntington, New York 1988 BEYOND STATUS QUO, The Gallery at Bryant Library, Roslyn, New York 1988 WATER, WATER EVERYWHERE, The Gallery at Bryant Library, Roslyn, New York 1988 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York 1987 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York 1986 PLASTO GALLERY, Mullumbimby, N.S.W., Australia 1986 SOUTHPORT ART SHOW, Southport, Queensland, Australia 1986 GOLD COAST CITY ART INVITATIONAL, Gold Coast City Art Prize, purchase, Gold Coast, Queensland, Australia 1985 ST. ALBANS COLLEGE EXHIBITION, Honorable mention, Southport, Australia 1985 N.P.U. QUEENSLAND EXHIBITION, purchase price, Cape Gallery, Bryon Bay, N.S.W., Australia 1971 LE CENTER AMERICAN, Paris, France
Lot 106
Henry Phealan Gibb (1870-1948) British late 19th - early 20th century, still life of Rudbechia in Vase (Black eyed Susan), signed bottom left, oil on board, framed. Measurements 56.2 x 81.5cm, framed measurements 66 x 91cm. Henry Phealan Gibb (1870-1948) was born in Alnwick, Northumberland and studied at the Glasgow School of Fine Art before relocating to France. He remained in Paris from the turn of the 20th Century until the outbreak of the First World War, studying under Jean-Paul Laurens and working with friends such as Henri Matisse and Gertrude Stein. He exhibited across Paris, London and New York, but his 1914 solo in Dublin was closed down by police due to opposition from the Catholic priesthood and his pictures were seized. Gibb was influenced by Cezanne and his style has often been described as earthy. He was forced to return to the UK due to the outbreak of the war, living in poverty for some years until his fortunes began to pick up again during the 1930s. During this time he became a fringe figure among the White Stag Painters.
Lot 1037
1957 Lambretta Model D, 150 cc. Registration number XAT 132. Frame number 49494 * 150 D. Engine number 150 D *53912*. Sold with the original engine 150 D *54565*. The Model 'D' started life in December of 1951, when a 125cc (123cc) version was introduced. The 'D' was basically an update of the earlier 'C' with many improvements being made. The looks and frame work of the D pretty much stayed the same as the earlier C model, tubular in design, with the same layout for the fuel tank and rear tool box. The engine was a new design, it still had a cast iron cylinder and an air cooled aluminium cylinder head. When production of the 125 D first series ceased in January 1953 a total of 69,000 125 D's had been built. The 125 D models were joined by a larger engine 150cc brother in October of 1954, the larger engine featured the cylinder and flywheel cowls similar to the Lusso models. The D 125 (Mk III) was introduced by Innocenti in May 1955, the main changes were two gear cables fitted as per the second series 150 model. The D 125 (III) was available in three paint schemes these being green, beige or grey. The 150 followed soon afterwards with small changes from the second series 150D; fitment of a battery for parking lights, horn and brake light. This was mounted on the kick start side, on a purpose built tray to the side of the tool box. The exhaust reverted to a single silencer unit, dispensing with the extra silencer as found on the second series. The leg shields sported a D150 badge in chrome, while the Lambretta name was still in the form of stickers on each side of the fuel tank. XAT was originally registered by Jordans of Hull in July 1957 and sold to Peter Curry of Hull on the 15th July, the following year it passed to Patrick Maske in the August. April 1963 saw Walter Gossip owning it, followed by Geoffrey Bartlett in March 1964 and Walter Page in April 1966. It came off the road in 1968 and remained in his shed until he retired and restored it several years ago, using it for runs out. Unused over recent years it will require light recommissioning before use. Sold with the original and several spare/old parts that were replaced during the restoration; there can be few of this model with such a history file and long term ownership. Sold with the R.F. 60, V5C and various spares.
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