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Lot 593
A Collection Of Various LPs to include:Jimmy Hendrix: Moods, Roots Of Hendrix, Cosmic Turnaround, The Spirit Of Hendrix.Frampton Comes Alive.Gary Moore, Still Got The Blues.A Collection Of Five Steve Winwood LPs To Include;Back In The High Life, Roll With It, ARC OF A Diver, Talking Back To The Night and Refugees Of The Heart.Also To Include Four Yes LPs; Relayer, Going For The One, Close To The Edge and The Yes Album.Duran Duran, Rio.Roy Orbison.Elvis Costello and the Attractions.Sad Cafe.Mike Rutherford.Police.Peter Green.Hothouse Flowers.
Lot 206
A Collection of Continental Porcelain, including a Herend coffee pot and cover, Sèvres style fluted bowl, similar wine cooler, Kaiser platter with a Flemish style still life, and a Bavarian centrepiece with swan formed handles (5)Coffee pot - 21cm high, good condition, no damage or repairFluted bowl - 29.5cm diameter, no damage or repair, gilt wearWine cooler - 17.5cm high, ground flat chip to the inner rimPlatter - 32cm diameter, good condition, no damage or repairCentrepiece - 34cm wide, good condition
Lot 209
UTAGAWA HIROSHIGE: TILE KILNS AND HASHIBA FERRY, SUMIDA RIVERBy Utagawa Hiroshige I (1797–1858), signed Hiroshige gaJapan, dated 1857 (Ansei 4), 4th monthColor woodblock print on paper. Vertical oban. Signed Hiroshige ga, censor's seals: aratame, Snake 4; publisher Uoya Eikichi. Titled Sumidagawa Hashiba no watashi kawaragama (Tile Kilns and Hashiba Ferry, Sumida River), number 37 in the series Meisho Edo hyakkei (One Hundred Famous Views of Edo).A scene at the Sumida River with the billowing smoke of the Imado ceramic tile kilns, by the Hashiba crossing.SIZE of the sheet 37 x 24.6 cmCondition: Good condition with some mounting residue, creasing, minor material loss, slight fading of colors, otherwise presenting well.Utagawa Hiroshige (also referred to as Ando Hiroshige) is recognized as a master of the ukiyo-e woodblock printing tradition, having created 8,000 prints of everyday life and landscape in Edo-period Japan. Much of Hiroshige's work focuses on landscape. Inspired by Katsushika Hokusai's popular Thirty-Six Views of Mount Fuji, Hiroshige took a softer, less formal approach with his Fifty-Three Stations of the Tokaido (1833–34), completed after traveling that coastal route linking Edo and Kyoto. Hiroshige's prolific output was somewhat due to his being paid very little per series. Still, this did not deter him, as he receded to Buddhist monkhood in 1856 to complete his brilliant and lasting One Hundred Famous Views of Edo (1856–58). He died in 1858, 10 years before Monet, Van Gogh, and a lot of Impressionist painters became eager collectors of Japanese art.Museum comparison:A closely related print is in the collection of the British Museum, museum number 1906,1220,0.649. Another closely related print is in the collection of the Art Institute Chicago, reference number 1925.3749.Auction comparison:Compare a closely related print sold at Christie's, Japanese and Korean Art Including the Collection of David and Nayda Utterberg, 22 March 2022, New York, lot 181 (sold for USD 4,410). Compare an identical print sold at Christie's, Japanese and Korean Art, 20 September 2022, New York, lot 215 (sold for USD 2,772).
Lot 210
UTAGAWA HIROSHIGE: NIHONBASHI, VIEW OF DAWN CLOUDSBy Utagawa Hiroshige I (1797–1858), signed Hiroshige hitsuJapan, dated 1855 (Ansei 2), 7th monthColor woodblock print on paper. Vertical oban. Signed Hiroshige hitsu, censor's seals: aratame, Hare 7; publisher Tsutaya Kichizo (Koeido). Titled Nihonbashi, Shinonome no kei (Nihonbashi: View of Dawn Clouds), number 1 in the series Gojusan tsugi meisho zue (Illustrated Guide to Famous Places along the Fifty-three Stations).Nihonbashi bridge with storehouses, Edo Castle to the right and Mt. Fuji at the upper left.SIZE of the sheet 36.1 x 25.3 cmCondition: Shows wear, fading, mounting holes, and browning of paper commensurate with age, otherwise presenting well.Utagawa Hiroshige (also referred to as Ando Hiroshige) is recognized as a master of the ukiyo-e woodblock printing tradition, having created 8,000 prints of everyday life and landscape in Edo-period Japan. Much of Hiroshige's work focuses on landscape. Inspired by Katsushika Hokusai's popular Thirty-Six Views of Mount Fuji, Hiroshige took a softer, less formal approach with his Fifty-Three Stations of the Tokaido (1833–34), completed after traveling that coastal route linking Edo and Kyoto. Hiroshige's prolific output was somewhat due to his being paid very little per series. Still, this did not deter him, as he receded to Buddhist monkhood in 1856 to complete his brilliant and lasting One Hundred Famous Views of Edo (1856–58). He died in 1858, 10 years before Monet, Van Gogh, and a lot of Impressionist painters became eager collectors of Japanese art.Museum comparison:An identical print is in the collection of the Freer Study Collection in the National Museum of Asian Art, Smithsonian Institution, accession number FSC-GR-705.1. Another identical print, with a British Museum seal, is in the collection of the British Museum, museum number 1915,0823,0.722.
Lot 2954
JAMES STUART PARK (SCOTTISH 1862-1933) STILL LIFE OF MIXED ROSES Oil on canvas, signed lower left, feigned oval, 49 x 59cm (20 x 24") Provenance: The Property of a Scottish Collector Condition Report:Presents in fair condition. Some shrinkage and craquelure. Under UV, some minor scattered flaring. Signature may have been strengthened. Canvas sealed to rear
Lot 133
Janice Walton (British) Untitled - Still life with a vase and a bowl 1999 Oil on canvas Signed at bottom left Framed 56 x 64cm (22" x 25") Janice Walton is a Devon based artist, trained at Dundee's Duncan of Jordanston College and at Edinburgh Art College. Her unique style has developed over the years, rich in atmosphere, merging imagination with reality. The work encapsulated in this website covers her up to the minute portrait / figurative, scenic, seascape, wildlife and commissions portfolio.Her commissions include a large six panel installation at the Burgh Island Hotel in Devon, a wonderful Art Deco Hotel. The Wildlife gallery is drawn from her South African experiences in game parks, where she spends part of the year painting and sketching. Her life and portrait work has evolved the human form using line supported by colour. The result is a fragmented image held together with accurate observation and true perspective. Janice's scenic and seascape work embraces new techniques and styles using oil on canvas and pastel on glass paper. Walton's work continues to "push the boundaries" as her work aims to create a vision beyond realism. We hope you enjoy the experience of visiting this website.
Lot 163
Gail Lilley (20th Century) Pear at the Lake, 1993 Pastel on paper Signed to front Framed & glazed 28 x 34 cm ( 11 x 13 1/2 ") Gail Lilley is an American artist. The artist's work has been offered at auction multiple times. Painting is not just a hobby for Gail Lilley, but a total job commitment. How does the wife of Peter Lilley, Secretary of State for Social Security, fit her work in with a demanding schedule? She concedes: 'It is tough sometimes but I don't go out to lunches; I have a sandwich at the easel. Peter is very good too and has lived off tomatoes on toast for weeks.' Gail held a one-day exhibition of her 'tablescapes' at 33 St James's Street and, when one reproachful buyer asked why it could not go on for longer, she replied: 'There doesn't seem any point in having a long exhibition since it sells out on the first day.' Still life with garlic, sold at Woolley & Wallis in 2020. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 84
Janice Walton (British) Untitled - Still life with two vases and a dish 1999 Oil on canvas Signed at bottom right Framed 75 x 105cm (29.5" x 41") Janice Walton is a Devon based artist, trained at Dundee's Duncan of Jordanston College and at Edinburgh Art College. Her unique style has developed over the years, rich in atmosphere, merging imagination with reality. The work encapsulated in this website covers her up to the minute portrait / figurative, scenic, seascape, wildlife and commissions portfolio.Her commissions include a large six panel installation at the Burgh Island Hotel in Devon, a wonderful Art Deco Hotel. The Wildlife gallery is drawn from her South African experiences in game parks, where she spends part of the year painting and sketching. Her life and portrait work has evolved the human form using line supported by colour. The result is a fragmented image held together with accurate observation and true perspective. Janice's scenic and seascape work embraces new techniques and styles using Oil on canvas and pastel on glass paper. Walton's work continues to "push the boundaries" as her work aims to create a vision beyond realism. We hope you enjoy the experience of visiting this website. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 96
John Yardley (b. 1943) Untitled still life with flowers Watercolour on paper Signed in pencil, bottom right Framed & glazed 58 x 40cm (23" x 16") John Yardley was born in 1933 in Yorkshire. For 40 years, he pursued a career in banking while painting in his spare time. It was not until 1986 that he took up painting full time, just after the Alexander Gallery in Bristol discovered his work and started selling it in considerable quantities. He found early inspiration from the works of Edward Seago and Edward Wesson, and under Wesson's mentorship developed his own unique style. John Yardley watercolor paintings for sale cover many subjects, including street scenes, buildings, landscapes, and seascapes. The artist frequently used people going about their daily activities as a focal point of his art. He prefers strong colours, especially burnt umber, French ultramarine, and raw sienna. In 1990, Yardley was elected a member of the Royal Institute of Painters in Water Colours. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 281
New York: Stewart, Tabori & Chang, 1990. Large hardcover art book with its original dust cover featuring Still Life With Drapery by Paul Cezanne (French, 1839-1906) on the front, and The Girlhood Of The Virgin by Francisco de Zurbaran on the back. 653-pages collective artworks from various notable artists. Rembrandt, Aert Van Der Neer, Francois Boucher, and many more. Artist: Colin EislerIssued: 1990Dimensions: 9.75"W x 11.75"H x 1.75"DManufacturer: Stewart, Tabori & ChangCountry of Origin: United States
Lot 42
Acrylic on board painting depicting an interior still life scene of a slanted couch and rickety fan. The off-kilter appearance of the furniture and landscape through the window gives this painting an eerie and dreamlike quality. Signed by the artist in the lower right corner. Wood frame with gold finish and floral scroll details. Matt Lively is an American painter, muralist, and sculptor based in Richmond, Virginia. Sight size: 14.75"W x 14.75'H; frame: 22"W x 22"H x 1.75"D. Artist: Matt Lively
Lot 44
Acrylic on board painting featuring a still life scene of two meshed metal patio chairs with potted daisies on a table. The background is a rolling green golf course with eerie yellow clouds overhead. Signed in the right corner by the artist. Dark wood frame. Matt Lively is an American painter, muralist, and sculptor based in Richmond, Virginia. Sight size: 14.75"W x 14.75"H; frame: 18.25"W x 18.25"H x 1"D. Artist: Matt Lively
Lot 86
Pair of still life watercolor paintings depicting a white flower stem in a vial with persimmon and a seashell with a fig. Each signed Block Lxx in pencil. Irving Block (American, 1910-1982) was an artist and educator in Los Angeles, California, and was involved with the important New Deal Federal Art Project in the 1930s. Block's work is collected within several public institutions including the Smithsonian Museum of American Art. Unframed. Mounted within canvas-lined illustration boards. Persimmon painting measurements (with illustration board): 12"W x 16.5"H; Seashell painting measurements (with illustration board): 16"W x 15"H. Artist: Irving Block
Lot 98
This outstanding color lithograph was made with over 20 colors, a technique that Theo Tobiasse developed in the early 1980s in France. It represents a group of tubular women encircling a large still life with fruits and a cart filled with nude individuals in the distance. Tobiasse bypassed the laws of perspective and used colors in an expressive style that conveys an ethereal moment. Written on the lower right side: L'Enfant clown aux yeux graves qui chante l'eternelle blessure de l'Exil (The child clown with serious eyes who sings the eternal wound of Exile). Signature in pencil on lower right: Th. Tobiasse. Numbered on lower left: 16/250. Housed in a dark wood frame with an off-white mat. Sight size: 29"L x 42"H. Frame size: 38"L x 51"H x 0.60"W. Artist: Theo Tobiasse (Israeli-French, 1927-2012)Issued: 1982Edition Number: 16 of 250 Country of Origin: France
Lot 59
Frederic Leighton, 1st Baron Leighton P.R.A., R.W.S., known as Sir Frederic Leighton (British, 1830-1896): An important bronze figure of 'An Athlete Wrestling A Python'The posthumous cast published by Ernest Brown and Phillips at the Leicester Galleries, circa 1909On rectangular naturalistic base, signed, dated and numbered to one side F. LEIGHTON 1877 XVI, and inscribed to the base verso PUBD BY ERNEST BROWN & PHILLIPS AT THE LEICESTER GALLERIES, LEICESTER SQUARE, LONDON., brown patina, raised on a corresponding verde antico shallow square plinth, the bronze, 52cm high, 34m wide, 29cm deep, the marble plinth, 2.5vm high, 31cm wide, 22cm deepFootnotes:ProvenanceAcquired by Sunderland businessman, Paul Wayman, circa 1920Thence by family descent to the present owner. Although Leighton's fame as a renowned and celebrated painter was firmly established by the close of the third quarter of the 19th century, his success in sculptural terms did come until 1877 when he debuted his work 'Athlete Wrestling with a Python' at the Royal Academy. At the time of exhibition, it was also alternatively known to reviewers as 'An Athlete Strangling a Python' and 'An Athlete Struggling with a Python'. Whichever title its reviewers used, the finished work was held to great acclaim by both critics and the public and it catapulted Leighton to an international spotlight, later leading him to be proclaimed as 'the father of the English New Sculpture movement'. However, even though he only returned to the medium of sculpture on two subsequent occasions with his figures of 'Needless Alarms' and 'The Sluggard', both of which also proved highly successful, it was this sculpture that defined him for posterity to both critics and the public alike. Influenced by antique Greek sculpture and particularly 'The Laocoön' which formed part of the Vatican sculpture collection, the work represents a dramatic life and death scene of a classical male nude contending a python which is coiled around his left thigh and whose head is held at bay by his rigidly outstretched arm. Leighton's powerful and complex design commands a sense of suppressed energy and opposing forces momentarily balanced at a point of supreme tension. Although the realism of the figures anatomy was undoubtedly influenced by the sculptors of antiquity and the Renaissance including the work of Michelangelo, it also owned a debt to contemporary French sculpture which gave it a naturalism far removed from the uniform excesses of the neo-classical works produced by sculptors of a generation before.The model for the work was the professional sitter, Angelo Colorosi who was a leading figure in the Italian group of professional male models in the later 19th century. From contemporary interviews which Leighton made with the Studio magazine in the early 1890's, he confirmed he originally modelled the piece as a small-scale clay figure. However, the decision to turn it into a large-scale bronze was made on the encouragement of either the sculptor Jules Dalou (French, 1838-1901) who was in exile in London during that time or perhaps his contemporary, Alphonse Legros (French, 1837-1911). Assisted by Leighton's protégé, Thomas Brock (British, 1847-1922), the full-size model was first modelled in plaster and then cast in bronze by Cox & Son before it was exhibited at the Royal Academy. Its influence was also far reaching to the new generation of emerging New Sculpture artists including the young Brock, Hamo Thorneycroft, Edward Onslow Ford, George Frampton and interestingly, Alfred Gilbert, who's first work, a figure of 'Icarus' was coincidentally commissioned by Leighton. The sculpture's popularity was sealed when it was purchased on behalf of the Tate by the Chantrey Bequest in 1877 and it won the gold medal when it appeared at the prestigious Exposition Universelle in Paris the following year. A monumental marble replica of the sculpture was subsequently commissioned by the wealthy Danish brewer Carl Jacobsen for the museum bearing his name in 1882 and much of the carving for this work was done by the New Sculpture sculptor Frederick Pomeroy (British, 1856-1924) at the start of his career whilst still working in Brocks studios.Reductions of the bronze were posthumously published in edition casts of two similar sizes between 1903-1910. The first edition was published by Arthur Collie. The second edition was published by Ernest Brown and Phillips at the Leicester Galleries. In 1909, The Magazine of Art announced that the Leicester Galleries were to publish Leighton's 'An Athlete Struggling with a Python' in an unspecified limited edition. The offered lot appears to be a relatively early cast from this second edition.Frederic Leighton was the son of doctor and began his artistic education in Italy when he travelled to Rome and Florence in 1840 before becoming a pupil of Zanetti and meeting the American sculptor Hiram Powers. Moving to Frankfurt in 1844 he studied under the Nazarene painter E. J. von Steinle at the Institut Staedel before travelling to Brussels and Paris then finally returning to Rome in 1852.Surrounded by a group of ex-patriot writers and artists such as Thackeray, Browning and Gibson, he established his reputation as a painter with his work 'Cimabue's Madonna carried in Procession' which was exhibited at the Royal Academy in 1855 and subsequently purchased by Queen Victorian and Prince Albert for the Royal Collection.At the Royal Academy, Leighton progressed from ARA in 1864 and RA in 1868 to become President in 1878. At the same time in keeping with his growing stature he also began work on his house, no. 2 Holland Park Road (now the Leighton House Museum) in 1865. In public life, he was the only sculptor to receive a barony being created a baronet in 1886 and Baron Leighton of Stretton in 1896.Related LiteratureStephen Jones, Christopher Newall, Leonée Ormond, Richard Ormond, Benedict Read, Frederic, Lord Leighton, Eminent Victorian Artist, 1996, Harry N. Abrams, Inc, Pub. with The Royal Academy of Arts, London, p. 182-183.Peyton Skipwith, Sir Alfred Gilbert & The New Sculpture, British Sculpture 1850-1930, The Fine Art Society in association with Robert Bowman, p. 72-75.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 1124
MANDELA NELSON: (1918-2013) President of South Africa 1994-99. Nobel Peace Prize winner, 1993. An excellent content T.L.S., `N. Mandela´, one page, 4to, n.p. [Johannesburg], 17th April 2004, on his personal printed stationery, to Dr. Ivan May. The lengthy letter bears the printed heading ''Nelson R. Mandela'' beneath a logo. Mandela refers to his nation ten years anniversary after his accession to Presidency, to the elections, to the situation and to the future of South-Africa, and states in part `There could have been no more appropriate way for South Africans to celebrate the first decade of democracy so vividly as those wonderful election days in April 1994. The nation came together in the physical act of voting on those days; it is proper that we marked a decade in the life of democratic South Africa by once more coming out voting for our national and provincial legislatures. We had many challenges and obstacles in our national life over this past decade and the problems ahead remain large and daunting. Too many people in our country are still suffering the hardships and deprivations of poverty. One of the root causes of that poverty is the absence of jobs; nothing can be more of an assault on a person´s dignity than the inability to find work and gainful employment. Accompanying poverty are myriads of social ills – illiteracy, homelessness, exposure to preventable diseases, general penury and social vulnerability. And the threat of HIV/AIDS looms large in virtually all aspects of our national life. What we can say, though, is that we now have the weapon and the protection of democracy to face and tackle those problems and challenges… Because of our democracy – non-racial, non-sexist, accommodating of diversity – we have managed over this decade to cement the unity of our nation… The growth, consolidation and sustained health of our democracy are the responsibilities not only of leaders, but also of each and every citizen… Every political party and organisation has a responsibility to keep our democracy alive, our people united and our country progressing towards peace and prosperity…´ Further and before concluding `We have much to be proud of as we look back on a decade of democracy and democratic nationhood. We have often referred to as a miracle nation. That should make us humble and inspire us as we start a next decade on the long road of consolidating our freedom and building a better life for all our people…´ Accompanied by the original envelope, postmarked and stamped. EX Dr. Ivan Raymond May (1947-2010) A pioneer in the corporate marketing and cause-related marketing. May was a scholar, MBA, and a close collaborator, teacher and lecturer, to universities. A philanthrope who received worldwide awrds for his continuous work and help to the disadvantaged.
![[SCHUMANN ROBERT]: (1810-1856) German composer and pianist of the Romantic era. SCHUMANN CLARA (1819-1896) German pianist and](https://cdn.globalauctionplatform.com/c94208ea-33a8-4692-9303-b0af00c363c0/dd96fca2-eea7-4b03-a3ed-b0bd011ca9cf/468x382.jpg)
Lot 395
[SCHUMANN ROBERT]: (1810-1856) German composer and pianist of the Romantic era. SCHUMANN CLARA (1819-1896) German pianist and composer of the Romantic era, wife of Robert Schumann from 1840 until his death. A fine Autograph Letter ‘Signed’, Robert, three pages, 8vo, Endenich, 14th September 1854 (written later), to his wife, in German. The closely written letter is Clara Schumann’s contemporary autograph transcript of the first letter that her husband wrote to her following his self-admission to the mental asylum at Endenich, stating, in part, ‘How happy I am, beloved Clara, to recognise your handwriting; thank you, that you write to me these days…..May I see you once more and speak! But the journey is still too long. I would like to know so many things about you, how your life is going…..and whether you always play wonderfully, whether Marie and Elsie are always making progress, whether they sing as well – whether you still have the Klems piano – where are the collections of my scores (the printed ones), our album, which contains the autographs of Goethe, Jean Paul, Mozart, Beethoven, Weber and many letters addressed to you……Do you still have all the letters I wrote to you and the love verses, which I sent to you from Vienna to Paris? Could you send me maybe something interesting…..I also miss a lot music paper, sometimes I would like to write some music. My life is very simple, and I only rejoice in the beautiful view of Bonn…..I would like to know, dear Clara, if you took care of my clothing and if you perhaps could send me cigars. I care very much to know. Write to me still more the details of the children, whether they are still playing Beethoven, Mozart……and how are Ludwig, Ferdinand and good Eugenie. Oh, how I would still like to hear your wonderful art! It seems like a dream, last winter in Holland, the splendid reception you were given, especially in Rotterdam…..how you played so grandly the Concerto in E-flat major, Beethoven’s Sonatas in C major and F-flat, Chopin’s Etudes, Mendelssohn’s Lieder ofme Worle, and also my new piece for Concerto in D. Do you also remember a theme in E-flat major, which I had heard at night, and the Variations I wrote from it? Could you send them to me and maybe some of your own compositions as well? So many questions and so many favours I ask…..If you want to spread a veil over this or what I ask, do so. Be well, beloved Clara and dear children, and write to me soon!’. A letter of extraordinarily poignant content, transcribed by Clara with the probable intent of giving it to Johannes Brahms with whom the Schumann’s maintained a close relationship. VGIn late February 1854 Robert Schumann’s melancholic depressive symptoms increased and the composer attempted to commit suicide. As a result he asked to be placed in an asylum for the insane and was admitted to Dr. Franz Richarz’s sanatorium in Endenich, a quarter of Bonn, in March 1854 and remained there until his death in July 1856 at the age of 46. It was not until September 1854 that Schumann enquired about his family, as reflected in the present letter, although he was forbidden from seeing Clara during his confinement. However, Brahms was allowed to call upon him. Clara finally visited her husband two days before his death. Robert appeared to recognise her but was able to only speak a few words.
Lot 648
VAN DONGEN KEES: (1877-1968) Dutch Painter, a member of the Fauves. A curious and fine A.L.S., `Kiki´, two pages, 8.5 x 11, Naples, Wednesday morning, n.d., on his printed heading of 5 rue Juliette Lambert, to his wife, in French. Van Dogen reports how are his recent days in Naples, stating `Réveillé par le commandement. Hotel Santa Lucia. Naples. Ben mon vieux c´est du Madame à la Jamaique, J´écoute et j´obéis. Donc (je dors encore un peu et le plombier est entrain de m´arranger un robinet pour que j´ai de l´eau chaude dans mon petit fourbi) il ne se pase rien ici sinon qu´il fait un froid de canard presque froid à allumer le feu´ (Translation: “Awakened by the commandment. Hotel Santa Lucia. Naples. Well, my old man, this is like a Madame in Jamaica. I listen and I obey. So (I'm still sleeping a little and the plumber is fixing a tap for me so that I have hot water in my little closet) nothing is happening here except that it's freezing cold, almost cold. to light the fire”) Van Dongen further refers to his work as writer, referring to his work on Rembrandt, and states `De froid, d´ennui et de tristesse je travaille mais le coeur n´y est pas… je travaille à ce Rembrandt, mais plus j´avance plus cela me paraît bête, je fais aussi de la peinture, c´est moins bête…´ (Translation: “With cold, boredom and sadness I work but my heart is not in it... I work on this Rembrandt, but the more I advance the more stupid it seems to me, I also paint, it's less stupid…”) Further again and before concluding, Van Dongen says `Je mange bien à la maison et je dors comme un ange. Je t´embrasse et je vais engueuler… qui ne m´a pas encore livré mes cadres…´ (Translation: “I eat well at home and I sleep like an angel. I kiss you and I am going to yell… who has not delivered my paintings yet to me…”) VG Kees Van Dongen wrote Rembrandt, based on Rembrandt´s life, which was published in 1943.
Lot 723
SAND GEORGE: (1804-1876) French novelist. An excellent autograph manuscript signed, George Sand, thirty pages, 8vo, n.p., n.d. (1872), in French. Sand’s manuscript, with various corrections and deletions, is written in the wake of the publication of Hugo’s collection of poems L’Annee terrible and states, in part, ‘Voici un poete sublime, le poete de la France. Il est veritablement la voix de la partie, et c'est pour cela qu'en parlant de lui on sent qu'on s'adresse a la France elle-meme dont il est l'ame et l'expression, le dechirement terrible, l'organe souverain......je sens pour lui quelque chose de plus que de l'admiration, je sens que je l'aime......Quand le poete sans rival qujourd'hui monte sur le coursier aile pour interroger le ciel sur les destinees de la terre, il depouille sa personnalite reelle, il oublie son propre nom, il se spiritualise, il est le penseur et le poete, il exerce son sacerdoce, il joue son role, il rompt avec l'usage, il meprise le bon ton, il depasse le bon gout. il use de son droit qui est de monter autant qu'une pensee peut monter au-dessus d'une situation, une aspiration au-dessus d'un fait, une volonte au-dessus d'un obstacle.....Il a le delire sacre des pythonisses, il s'eleve a la manifestation de l'espirit degage de tout ce qui pese sur nous. Il prend une place dont personne ne peut etre jaloux, puisque personne n'eut ose la prendre, et que nul ne peut lui contester puisqu'il peut seul l'occuper......Ceci dit une fois pour toutes et ce divin orgueil accepte comme une pretention, non legitime chez le poete en general mais legitime chez celui-ci, voyons si la lucidite est a la hauteur de l'emotion et si ce voyant inspire, qui semble percer l'inconnu, a la vision nette des choses connues......oui et non. Oui, au point de vue de l'eternelle philosophie; au point de vue immediatement historique, non.....son veritable nom serait le passionne, car tout est passion chez lui: la haine et l'amour, la mansuetude et la colere, l'indignation et la pitie; son organe visuel est fait de passion comme son sens intellectuel; son esprit a la faculte de se dilater au point d'embrasser l'univers dans une etreinte gigantesque, et des lors tout se dilate et devient colossal dans son appreciation.....d'une mouche il fait un monstre, d'une fourmi un elephant......il y a une troisieme voix que le genie de l'antithese n'a pas daigne entendre: c'est la voix juste......quand malgre soi on est reste debout entre les deux cadavres, doit-on traiter l'un de martyr et l'autre d'assassin? Ils se sont egorges l'un l'autre, martyrs tous les deux ou assassins tous les deux, il n'y a pas a dire.....il n'a pas fletri avec son energie accoutumee les chefs et les membres de cette bande; il s'est contente de dire qu'il ne les approuvait pas.....il n'eut eu de cris de colere que contre la repression et de cris de pitie que pour les infames qui tentaient de detruire Paris apres l'avoir deshonore...... son esprit a eu une defaillance de lumiere, les etoiles en ont bien!......c'est que je le place plus haut que vous, les amis de sa gloire litteraire, ne songez a le placer. Pourvu qu'il chante, vous etes ravis, et lui, il veut etre quelque chose de plus que le chantre, il veut etre quelque chose que je lui accorde de toute mon ame. Il veut etre le penseur du siecle. Il l'est, je vous l'ai dit, il est la voix de la patrie, il resume en lui toute son histoire, il en subit toutes les ivresses et toutes les tortures, tous les dechirements et toutes les aspirations.......Lui, il a vu les choses en grand, en gros quelquefois, jamais en petit. Mais ce qu'il a bien vu, personne ne l'a vu comme lui. il a vu tres loin devant lui, et il a dit des verites souveraines que rien ne pourra detruire.......Des siecles passeront sur nos desespoirs et l'espoir fleurira encore dans le monde. Alors on lira ce poete et on tiendra bien peu de compte de ce qui offense les delicats d'aujourd'hui. Ce sera encore un livre de vie pour les jeunes; les traces de nos malheurs seront effacees, nos ruines seront ensevelies dans des oeuvres de renaissance, nos drames d'un jour seront contemples comme des reves et racontes comme des legendes; nos monceaux de livres seront juges, oublies pour la plupart, un nom restera eclatant, attache a la robe funebre du XIX siecle comme une etoile au manteau de la nuit et ce nom ce sera celui de l'auteur de l'Annee terrible’ (Translation: ‘Here is a sublime poet, the poet of France. He is truly the voice of the party, and that is why in speaking of him we feel that we are addressing France itself of which he is the soul and the expression, the terrible heartbreak, the sovereign organ……I feel for him something more than admiration, I feel that I love him…..When the poet without rival today mounts the winged steed to question heaven about the destinies of earth, he strips away his real personality, he forgets his own name, he spiritualises himself, he is the thinker and the poet, he exercises his priesthood, …...his spirit had a failure of light, the stars certainly did!......that’s because I place him higher than you, the friends of his literary glory, would think of placing him. As long as he sings, you are delighted, and he wants to be something that I grant him with all my soul. Centuries will pass over our despairs and hope will still flourish in the world. So we will read this poet and we will take very little account of what offends today’s delicate people. It will still be a book of life for young people; the traces of our misfortunes will be erased, our ruins will be buried in works of rebirth, our one-day dramas will be contemplated like dreams and told like legends; our heaps of books will be judged, forgotten for the most part, a name will remain dazzling, attached to the funeral dress of the 19th century like a star to the mantle of night and this name will be that of the author of l’Annee terrible’). A manuscript of fascinating and wide-ranging content in which Sand displays her admiration for the genius of Hugo as a poet, brushing aside criticisms that have been made of his personality and preferring to concentrate on the immense stature of the writer, nevertheless daring to examine the lucidity of his political judgement, where disagreements are bluntly expressed as she criticises Hugo for not having castigated Versailles and Communards equally (‘should we treat one as a martyr and the other as a murderer?’), although ultimately concluding by offering her praise of Hugo with beautiful lyricism. Written to the rectos of the pages only, a number of the bifoliums are neatly stitched together. Some very light, extremely minor age wear, generally VG Hugo’s series of poems L'Annee terrible (1872) would be his penultimate major poetic collection. The works deal with the Franco-Prussian War, the trauma of his losing his son Charles, and with the Paris Commune. Covering the period from August 1870 to July 1871, a group of poems encapsulates each month, blending Hugo’s anguish over personal tragedies with his despair at the predicament of France. The relationship between Sand and Hugo, two of the outstanding literary figures of the 19th century, was of a particular character; indeed they never met and only first came into direct contact, by letter, in 1855. They had differing political views (Sand condemned in harsh terms the Paris Commune) but nevertheless their relationship evolved during their lifetimes and are quick to support and defend each other as soon as one is attacked. In 1876 it was Hugo who delivered the famous funeral eulogy of Sand, ‘I mourn a dead woman, I salute an immortal…..’OWING TO RESTRICTIONS IMPOSED BY THE SALEROOM THE COMPLETE DESCRIPTION FOR THIS LOT CAN NOT BE DISPLAYED. PLEASE CONTACT IAA EUROPE FOR FURTHER INFORMATION.
Lot 744
LOUYS PIERRE: (1870-1925) French poet and writer. A.L.S., Pierre Louys, four pages, 8vo, n.p., 10th March 1906, to [Albert Carre] (‘Cher monsieur’), on black bordered mourning stationery, in French. Louys writes a lengthy letter expressing his concerns over a musical stage production of his first novel Aphrodite, in part, ‘Je suis revenu assez preoccupe de ce que vous m'avez dit au sujet du Phare. La mauvaise volonte de M. Jusseaume n'est pas douteuse et il l'a d'ailleurs temoignee des avant hier…… Si Mr. Jusseaume ne se sentait pas pique de la critique que nous lui avons faite, il aurait promis son decor pour vendredi ou samedi au besoin……. Si les spectateurs de la Generale en sont prives on pourra du moins essayer ce decor le 20 et le poser le 21 pour la premiere. Je n'en demande pas plus. Dans cette piece a laquelle vous avez donne tant de soins depuis plusieurs mois et qui vous devra tant si elle reussit, vous avez ete bien seconde par les interpretes, par la maitresse de ballet, par le costumier et en general par tous les collaborateurs que vous inspiriez de vos conseils; mais le decorateur nous a trompes. La toile du 4e acte est mal venue. Celle du 3e acte sera peut-etre applaudie, mais c'est peut-etre aussi la plus invraisemblable. Avec ses colonnes couplees et ses ouvertures larges elle ne me rappelle rien que de contemporain (le Grand Palais de l'Avenue Alexandre, le decor du 1er acte des ventres Dores etc) et je ne crois pas qu'il soit possible de la realiser autrement qu'avec le ciment arme ou les poutres de fer que les anciens ignoraient egalement. Ce n'est pas antique. Sur le decor du Phare nous sommes tout a fait d'accord vous et moi pour le trouver insuffisant. Cette semaine et la semaine suivante je recevrai des journalistes……. je m'occupais des details archeologiques de la piece, c'est moi qu'on rendra responsable de ce Phare s'il est critique comme je le crains Que pourrais je repondre? Je puis bien encore soutenir le 3e decor contre ma propre opinion, et ne pas insister. Mais le Phare colossal d'Alexandrie.....comment soutiendrais je ce practicable de 4m de large qui tiendrait tout entier dans un salon? Je ne pourrai pas trouver un argument pour le defendre. J'insiste donc une fois de plus - puisque nous en avons exactement le temps, pour que vous commandieza M. Jusseaume (ou a un autre peintre, je ne tiens pas a lui) ce mur de droite grace auquel la construction actuelle ne sera plus qu'un avant corps d'un monument vingt fois plus considerable. Tous les decors d'Aphrodite sont inventes; seul, le Phare est historique. Il ne faudrait pas que sur ce decor las precisement nous soulevions les critiques de tous les gens competents - surtout quand nous nous entendons pour trouver les critiques justes’) Translation: ‘I came away quite concerned about what you told me about the Lighthouse. The bad will of Mr. Jusseaume is not in doubt and he also testified to it the day before yesterday……If Mr. Juessaume did not feel piqued by the criticism we gave him, he would have promised his décor for Friday or Saturday if necessary……if the general spectators are deprived of it, we will at least be able to try this décor on the 20th and install it on the 21st for the premiere. I ask no more. In this piece to which you have given so much care for several months and for which we will owe you so much if it succeeds, you have been greatly supported by the performers, by the ballet mistress, by the costume designer and in general by all the collaborators who take inspiration from your advice; but the set designer deceived us. The tableaux of the 4th act is unwelcome. That of the 3rd act will perhaps be applauded, but it is also perhaps the most improbable. With its coupled columns and its wide openings it reminds me of nothing but contemporary (the Grand Palais on Avenue Alexandre, the setting of the first act of Les Ventres Dores etc.) and I don’t believe it is possible to make it any other way than with reinforced cement or iron beams which the ancients also ignored. It’s not ancient. On the décor of the Lighthouse, you and I completely agree that we find it insufficient. This week and the following week I will receive journalists…..I took care of the archaeological details of the piece, it is me who will be held responsible for this Lighthouse if they are as critical as I am and I fear it. What could I answer? I can still support the 3rd setting against my own opinion, and not insist. But the colossal Lighthouse of Alexandria…..how would I support this 4m wide platform which would fit entirely in a living room? I won’t be able to find an argument to defend him. I therefore insist once again – since we have exactly the time, for you to commission Mr. Jusseaume (or another painter, I do not care about him) this right wall thanks to which the current construction will no longer be more than a front part of a monument twenty times more considerable. All of Aphrodite’s settings are invented; alone, the Lighthouse is historic. We should not raise criticisms from all competent people on this tired setting – especially when we agree to find the criticisms fair’). VGAlbert Carre (1852-1938) French theatre director, opera director, actor and librettist, for over fifty years a central personality in the theatrical and musical life of Paris.Aphrodite – A musical drama in five acts and seven tableaux was composed by Camille Erlanger and adapted from Louy’s novel by Louis de Gramont. It received its premiere at the Opera Comique in March 1906.Louy’s first novel Aphrodite – Ancient Manners was published in 1896 and provided a description of courtesan life in Alexandria. Considered a mixture of both literary excess and refinement, it was the best-selling work by any living French author of the time.
Lot 746
CREVEL RENE: (1900-1935) French writer associated with the Surrealist movement. Rare A.L.S., with his initials R.C., one page, 4to, Davos-Platz (Graubunden, Switzerland), n.d. (1934), to Michel Simon, in French. Crevel states that he is still undergoing his cure, remarking 'Qouiqu'il y ait mieux a faire que de compter ses crachats, quand le monde est ce qu'il est' (Translation: 'Although there's better things to do than count your spit, when the world is what it is'), adding that he will have his examination on Monday, but there were still signs of bacteria four days ago, 'Tres peu. Mais trop pour me facher une vie dont un mois sera encore consacre a ce sale pays' (Translation: 'Very little. But too much to hurt me in a life of which a month will still be devoted to this filthy country') and concluding by asking 'Pourquoi Lausanne? Faites-vous la tuberculine?' (Translation: 'Why Lausanne? Do you do tuberculin?'). Accompanied by the original envelope hand addressed by Crevel. Autograph letters signed by Crevel are rare as a result of his suicide at the young age of 34. Some very light, extremely minimal age wear, VGRene Crevel was diagnosed with tuberculosis in 1924 which resulted in him frequently being absent from Paris in order to visit sanatoriums, particularly in Switzerland.
Lot 765
LEOPARDI GIACOMO: (1798-1837) Italian poet and philosopher. An extremely rare A.L.S., Giacomo, one page, 4to, Bologna, 20th February 1826, to his father (‘Carrissimo Sig. Padre’), in Italian. Leopardi thanks his father for a gift of figs which ‘sono qui applauditissimi e graditissimi, e quantunque in casa io non fossi solito di mangiar de'fichi, adesso, non so come, trovo che sono pure una cosa di un sapore eccellente’ (Translation: ‘are highly applauded and very welcome here, and although I wasn’t used to eating figs at home, now, I don’t know how, I find that they are also something with an excellent flavour’) and adding that he has been supplied with sufficient enough to be able to share them, remarking that very little (and only bad) cheese is made around Bologna, and venturing the possibilities of selling their own cheese and produce in the area, ‘Veramente non si puo scusare l'indolenza della nostra provincia nel mettere a profitto i tanti generi squisiti che essa possiede, e che eccedono il consumo dell'interno: giacche i formaggi non sono il solo capo che manca in altre parti d'Italia, e che sarebbe ben accolto, ma noi abbiamo ancora molti e molti altri capi che da noi non si stimano e non si trovano a vendere perche soprabbondano, e altrove sarebbero ricercatissimi’ (Translation: ‘Truly, we cannot excuse the indolence of our province in making the most of the many exquisite products that it possesses, and which exceed internal consumption: since cheese are not the only item that is lacking in other parts of Italy, and which would be well received, but we still have man, many other items that are not esteemed here and cannot be found for sale because they are overabundant, and elsewhere they would be highly sought after’), further suggesting wine as another product for consideration, ‘E i nostri vini. che noi mandiamo solamente a Roma e in piccola quantita, mentre ne abbiamo tanta abbondanza, non si venderebbero qui nel Bolognese a preferenza di questi vini .......pessimi della provincia, tutti ingrati al gusto, e scomunicati generalmente da tutti i medici?’ (Translation: ‘And our wines, which we only send to Rome and in small quantities. While we have such an abundance of them, would they not be sold here in the Bolognese area in preference to these…..terrible wines from the province, all unpleasant to the taste, and generally excommunicated by all doctors?’) and commenting on the financial advantages and that landowners would have the opportunity to sell their goods at convenient prices. Leopardi concludes by referring to the weather he is experiencing, ‘Qui continuano le giornate temperate, che mi han fatto tornare in vita da una vera morte, perche le pene che ho provate in quest'inverno non sono descrivibili’ (Translation: ‘Here the temperate days continue, which brought me back to life from a true death, because the pain I have felt this winter cannot be described’) and sends tender greetings to his mother and other family members, as well as Dr. Masi and the surgeon Prosperi. With address panel to the verso, bearing the remnants of a papered seal. Autograph letters of Leopardi are extremely rare as a result of his death at the untimely age of 38 during the cholera epidemic of 1837. Some light age wear and very minor staining and a small area of paper loss to the lower left corner. About VGCount Monaldo Leopardi (1776-1847) Italian philosopher, nobleman, politician and writer, one of the main Italian intellectuals of the counter-revolution. Father of Giacomo Leopardi. The relationship between Monaldo Leopardi and his son was profound and bound by reciprocal affection, as witnessed in the present letter (Giacomo closes ‘Mi ami, mi benedica e mi creda sempre suo affettuosissimo figlio’ Translation: ‘Love me, bless me and always believe me to be your most affectionate son’) however the two also had completely opposed temperaments with an entirely different conception of life.
Lot 830
EINSTEIN ALBERT: (1879-1955) German-born theoretical physicist, Nobel Prize winner for Physics, 1921. A very fine, rare Autograph Manuscript Signed, Albert Einstein, one page, 8vo, n.p., n.d. The working manuscript, penned in bold, dark fountain pen ink, features over ten lines of scientific equations and calculations in his hand, with just one line of German text. Signed by Einstein with his full signature at the foot of the page, adding a line of text in his hand, in German, immediately beneath, 'Aus dem Friedhofe begrabener Hoffnungen' (Translation: 'From the graveyard of buried hopes'). Together with Elsa Einstein (1876-1936) Cousin and the second wife of Albert Einstein, married from 1919-36. T.L.S., Elsa Einstein, one page, 8vo, Bayard Lane, Princeton, 20th October 1933, to a lady ('Chere madame'), most probably Juliette Adant, wife of Professor Arthur de Groodt, on the printed stationery of the Peacock Inn, in French. Einstein writes 'C'est avec beaucoup de plaisir que je vous retourne les petits feuilles signes. Mon mari vous remercie pour les aimables lignes que vous lui avez ecris' (Translation: 'It is with great pleasure that I return the small, signed sheets to you. My husband thanks you for the kind lines you wrote to him') and adds that they have only been in America for a few days, observing 'Princeton est une petite Universite d'une grande charme en style anglais, une vraie copie d'Oxford. Nous sommes encore dans un hotel, mais en peu de temps nous demenageons dans une maison, qui est situee excessivement belle au milieu des grands jardins avec une vue splendide. Nous avons loues cette maison pour une demie annee. Nous voulons mener ici une vie surtout calme et tres loin de chaque publicite. Le professeur ne veut rien que faire son travail scientifique' (Translation: 'Princeton is a charming little university in the English style, a true copy of Oxford. We are still in a hotel, but in a short time we will move into a house, which is exceedingly beautifully located in the middle of large gardens and with a splendid view. We have rented this house for half a year. We want to lead a mostly calm life here and very far from publicity. The professor wants nothing but to do his scientific work'), further thanking her correspondent for all of their kindness, and also for offering to keep a trunk and small suitcase in their home until they return next year, 'Je vous remercie de tout mon coeur pour cette faveur. La malle contient des choses, qui sont de grande importance pour moi' (Translation: 'I thank you with all of my heart for this favour. The trunk contains things which are of great importance to me'). Whilst Einstein clearly created many such pages of scientific formulae during his career, they remain highly sought after by collectors, and signed examples are of exceptional rarity. Furthermore, the present example is greatly enhanced by both Einstein's handwritten observation (reflecting on the possibility of what he wished to have achieved with his calculations) and the fine accompanying letter of provenance from Elsa Einstein. Some very light, minor creasing to the page of calculations and a couple of very small, neat tears to the edges, one only very slightly affecting one small part of an equation. VG, 2Juliette De Groodt-Adant (1892-1964) Belgian writer, wife of the Flemish doctor Arthur de Groodt (1883-1952). In March 1933 Albert and Elsa Einstein returned to Europe from America and learned that Hitler had seized power and that the Gestapo had raided their Berlin apartment, confiscating many possessions. Landing in Antwerp, Belgium, Albert Einstein immediately visited the German consulate and surrendered his passport, formally renouncing his German citizenship. At the invitation of Arthur de Groodt and his wife (who counted Rabindranath Tagore amongst their friends) Albert and Elsa Einstein stayed for a few days at Cantecroy Castle before Juliette De Groodt-Adant suggested that they hire two cottages in De Haan, the Villa Savoyarde for the Einsteins and the Maisonette for themselves. The Einstein's stayed in the West Flanders municipality for six months before departing for London in September 1933. On 3rd October 1933, Einstein delivered a speech on the importance of academic freedom before a packed audience at the Royal Albert Hall in London. Four days later he returned to America with his wife and took up a position at the Institute for Advanced Study, noted for having become a refuge for scientists fleeing Nazi Germany. Einstein's association with the Institute at Princeton University would last until his death in 1955.
Lot 6200
(Interior Design, Georgina Fairholme, John Fowler.) Five books on interior design, art etc. from the estate of the interior designer Georgina Fairholme (1921-2019,) protégé of decorator John Beresford Fowler (1906-1977), founder of the esteemed London firm of Colefax & Fowler, some with autograph letters signed from John Fowler to Georgona Fairholme loosely inserted, others signed & inscribed by Fowler to Fairholme or by the author to Fairholme. Items include Richard Hampton Jenrette: 'Adventures With Old Houses', foreword by HRH The Prince of Wales, Charleston, Wyrick & Company, 2005, 1st edition, content includes 1 Sutton Place North (p.33-41), New York town house purchased by Richard H. Jenrette in 1972. Jenrette decided that he wanted a distinctly British look for the interiors, so he called New York designers Harrison Cultra (1941-1983) and Georgina Fairholme (1927-2019) for a “quick fix on this grand English-style Georgian house.” (p.37.) With 25 mainly black & white photographs of the interior of the property loosely inserted, Cultra-Fairholme inkstamps verso, together with 2 Autograph Letters Signed from John Fowler to Georgina Fairholme 1974, "...My Dear Georgina. It was so nice to hear from you and to hear that you are doing well & enjoying it. I am so glad...I am better thank you but feel weak & very tired but i'm getting better I am sure. I probably work too hard both for the N.T. & now that P.[rince] Charles has decided to make Chevening his home there is a great deal to do & organise. I saw him there last week & he's so thrilled with the possibilities of the house it's very fine & we must make it really nice; he's such a dear fellow...I shall much look forward to seeing you when you are over & I do hope you will come for a weekend here. No more now as i've got to go up to London this morning. I hate it! Lots of Love J.", 39 lines, 2 leaves, The Hunting Lodge, Odiham, Hampshire headed paper, original hand written addressed postally used envelope, with another 23 line ALS from Fowler to Fairholme similar period, plus original Typed Letter Signed from the firm Sibyl Colefax and John Fowler Ltd., 10th September 1964, to Georgina Fairholme offering her the job as advertised, signed D.J. Nuttman, secretary, all loosely inserted in the book, original pictorial wraps; plus John Fowler and John cornforth: 'English Decoration in the 18th Century', L, Barrie & Jenkins, 1974, 1st UK edition, 20 page ALS from John Fowler to Georgina Fairholme c.1970's loosely inserted, together with some other associated cuttings and ephemera incl. John Fowler in memoriam Order of Service 24th November 1977 etc., orig. cloth gilt, dust wrapper (d/w worn); plus Stalker & Parker: 'A Treatise of Japanning Varnishing and Guilding 1688', L, Alec Tiranti, 1960, John Fowler's copy with his ownership signature dated Jan. 1961 at head of FFEP, subsequently signed & inscribed by Fowler to Georgina Fairholme beneath and dated October 1970, orig. boards gilt, Stella Margetson: 'Leisure and Pleasure in the Eighteenth Century', L, Cassell, 1970, 1st edition, signed & inscribed on FFEP from Fowler to Fairholme Christmas 1970, orig. cloth, dust wrapper, plus Erica Brown: 'Interior Views - Design at Its Best', NY, Viking Press, 1980, 1st edition, signed & inscribed by the author to Georgina Fairholme on FFEP "For Georgina With love - & admiration Erica Brown", orig. cloth gilt, dust wrapper. Interior designer John Beresford Fowler CBE (1906–1977) joined the decorating and antiques firm Thornton Smith, where he painted Chinese-style wallpaper (sold as 18th century originals), and learned other paint decoration techniques, such as marbling and graining, and subsequently decorated furniture for Peter Jones. He established his own business on the Kings Road in Chelsea in 1934, and then went into business with Sybil Colefax, founding Colefax & Fowler. Nancy Lancaster employed him to help with the decoration of her own rooms but became fascinated with decoration herself. At the end of World War II she bought the firm that became Colefax and Fowler from the retiring Colefax. He leased the Hunting Lodge at Odiham in Hampshire from the National Trust in 1947, and his simple but elegant decorative scheme made a great impact. Fowler was involved in the redecoration of dozens of substantial country houses and town houses, including Radbourne Hall, Daylesford House, Tyninghame House and Grimsthorpe Castle. He also worked on decorative schemes for Buckingham Palace, Holyroodhouse, Chequers, Chevening, Christ Church, Oxford, and the Bank of England. In the 1960s and '70s Fowler was still engaged in major commercial projects but increasingly preferred to work with the National Trust. By the time of his death in 1977, at the age of 71, John Fowler was recognized as the éminence grise of English decoration.Georgine Fairholme was born in London, 18 August 1927, and attended St Martin’s School of Art in London. She subsequently worked at interior designer Joy King’s Elizabeth Eaton shop in Belgravia before joining the esteemed London firm Colefax & Fowler in 1964, where she became a protégé of decorator John Fowler, founder of the firm. She re-located to New York to work in the firm’s Manhattan office and later joined Rose Cumming, in whose studio she presumably met the designer Harrison Cultra (1941-1983.) Together they formed the Cultra-Fairholme partnership, clients included Richard H. Jenrette and Jacqueline Kennedy Onassis amongst others. Following the dissolution of the partnership, in 1978 she opened her own firm in New York City in a fiercely competitive sector but ran a book with many famous and notable clients including Jacqueline Kennedy Onassis, Mr. and Mrs. Paul Mellon as well as Mr. and Mrs. John Hay “Jock” Whitney. In 1986, Architectural Digest called Fairholme the “doyenne of English Country Style.” In addition to designing interiors, she designed furniture, china, fabrics and wall coverings. On retirement she moved to Italy thence for the last 17 years of her life to Lavenham, Suffolk. She died in Bury St Edmunds 27 August 2019 – soon after her 92nd birthday. Provenance by descent
Lot 910
A collection of fruit painted Royal Worcester, each piece with a still life study of fruit, signed by various artists including Moseley, Bee, Price, Hale, Bagnall, and others, comprising: ten coffee cans, ten saucers, milk jug, sugar bowl, and oval cake plate, various printed marks in puce and blue.
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