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Lot 1324
Eight Coalport Age of Elegance figures, including Blenheim Palace, Tapestry, Command Performance and Easter Bonnet, together with five Coalport Beau Monde figures, including Tamara and Katherine.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 1512
Box of Bric a Brac, including a dressing table set of brush, mirror and clothes brush with tapestry backs, a Poole Pottery 6" Scenic Plate No. 437, an Alfred Meakin child's bowl, a Wedgwood Mrs Tiggywinkle plate, and a Wedgwood Oakapple Wood plate, a small brass oil lamp, a small Cornish Kitchen blue and white striped pot, and a child's doll with closing eyes. etc.
Lot 21
VITTORIO ZECCHIN (1878-1947)Matrone signed with the artist's monogram (lower right)oil, tempera, gold leaf and pencil on panel44.9 x 45.1cm (17 11/16 x 17 3/4in).Painted circa 1918-1919Footnotes:We thank Marino Barovier for his assistance in cataloguing this work.ProvenanceNatale Casadio Collection, Bergamo.Ing. Devoti Collection.Elena Castelbarco Collection (gifted from the above, 1943).Private collection, Italy.'Vittorio Zecchin, one of the most exquisite artists in Italy today' – Roberto Papini in Emporium, 1923An influential painter, tapestry maker, furniture and glass designer, Vittorio Zecchin was considered by many as Italy's first truly Modern glass artist and a key figure in the conversation between avant-garde influenced artists and designers in Italy.In the early 1900s Zecchin began to immerse himself in the prevailing artistic trends of Europe and his proximity to the Venice Biennale allowed for an even fuller exposure to these movements. In 1905 he was struck by an exhibition of the Symbolist Jan Toorop and in 1910 he discovered the work of an artist who would prove one of the most influential to his own artistic practice, the Austrian Secessionist Gustav Klimt. That year Klimt had exhibited at the Wiener Werkstätte, he was present at the show and exhibited his works in a room to himself, a room that had a profound effect on Zecchin. Alongside these great, established influences, Zecchin threw himself into his career with other young emerging artists, most notably Umberto Boccioni, Amedeo Modigliani and Teodoro Wolf Ferrari.Through the stylised, symmetrical, gold-trimmed figures we clearly see the influence that Klimt's work had on the impressionable artist. The flat planes, perspective-altering patterns and lack of clear figural outlines in Zecchin's figures are reminiscent of Klimt's portrait Adele Bloch-Bauer I, where the gilded background and patterned figure distorts the creation of realistic space and shadow. Meanwhile, the elegant, elongated faces of the present work with its exaggerated eyes and noses are a clear link to the iconic, surreal visages of Modigliani.Matrone bears great resemblance to a pencil study of the same name held in the collection of the Ca' Pesaro, in Venice. Referencing similar motifs, both works could have well been studies for the silk tapestry of a similar size, Tre teste di donne (Cupole), that was created in Zecchin's Murano workshop and exhibited at Ca' Pesaro in 1919.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 18
ÉDOUARD VUILLARD (1868-1940)Madame Vuillard en peignoir rouge stamped with the artist's signature 'E Vuillard' (lower right)oil on canvas66.7 x 55.8cm (26 1/4 x 21 15/16in).Painted circa 1911Footnotes:ProvenanceThe artist's studio. Charles-Auguste Girard Collection, Paris. Private collection, France. LiteratureA. Salomon & G. Cogeval, Vuillard, The Inexhaustible Glance, Critical Catalogue of Paintings and Pastels, Vol. II, Paris, 2003, no. IX-39 (illustrated p. 1049).Édouard Vuillard is celebrated for his Intimist paintings of domestic interiors inhabited by his family and those of his inner circle. In the present painting, Madame Vuillard en peignoir rouge, Vuillard returned to arguably his most favoured subject, that of his mother. Vuillard never married and remained close to his mother until her death in 1928. She was a figure to whom Vuillard returned to paint throughout his career and it was through her many portrayals that he was able to hone and develop his formal style, both during his allegiance to the ground-breaking Nabis group and beyond. Painted circa 1911, Madame Vuillard en peignoir rouge issues from Vuillard's mid-career, a moment when he was enjoying both critical and commercial success. Many contemporary commentators observed Vuillard's fortunate position in being able to select the work that he enjoyed without the necessity to take on onerous commissions. Indeed, fellow painter Walter Sickert even confided that he envied Vuillard's 'liberty'. In 1908 Vuillard had settled permanently with his mother in Clichy, northwestern Paris. It was a district that he knew well, and he was delighted with the airy apartment which offered him a bird's eye view of Place Vintimille (now Place Adolphe-Max). Unburdened by financial constraints, Vuillard was free to paint his preferred subjects and, as so often, he turned to those closest to him. The present painting continues the subject matter of his earlier Nabis paintings, where, in contrast to other members of the Nabis group who preferred esoteric subjects to communicate their Synthetist visions, Vuillard turned to domestic, even mundane observations to reveal latent mystery and sentiment. Writing in his journal in 1893, Vuillard posed the rhetorical question: 'Why is it in the familiar places that the mind and sensibility find the greatest degree of genuine novelty?' (E. Vuillard quoted in B. Thomson, Vuillard, Oxford, 1988, p. 44). Seated in a yellow and green armchair, Madame Vuillard is depicted here within the cluttered Clichy apartment, surrounded by the oriental rug, patterned textiles, and richly upholstered furniture so typical of the bourgeois salons of France's Third Republic. Despite her central positioning, little attention is given to Madame Vuillard's physiognomy, and she is depicted without detail by the same energized brushwork that Vuillard employs throughout the composition. This formal simplification was in accordance with the Nabis' philosophy, which sought to represent a symbolic distillation of experience. Consequently, a faithful representation of the subject was suppressed to heighten the emotional import of the composition. As Vuillard explained, 'a woman's head just produced in me a certain emotion, I must make use of this emotion alone and I must not try to remember the nose or the ear, they're of no importance' (E. Vuillard quoted in B. Thomson, ibid, p. 28). In Madame Vuillard en peignoir rouge, Vuillard subordinates the figure of his mother and foregrounds an emphasis on line, pattern and colour. The resulting effect serves to unify the disparate elements of the scene and pull them together into one plane, lending the whole composition a rich, tapestry-like texture. Famed as a colourist, Vuillard's palette in the present work is notable for its boldness and inventiveness. The carmine and hot pinks of Madame Vuillard's housecoat are echoed in the burgundy of the chest, as well as the swirling lilacs and mauves to the carpet and striped tablecloth. Meanwhile, Vuillard offsets these warm tones with flashes of cooler pigments. The citrus yellow of the armchair and emerald cushions of the chair next to the fireplace chime in the upholstery of the large square-backed chair to the foreground, whose jarring black contours are so reminiscent of Cloisonnism favoured by the Nabis. As contemporary critic André Gide observed '[Vuillard] never puts forward one colour without excusing it with subtle and precious repetition' (A. Gide quoted in B. Thomson, op. cit., p. 72).While disruption of the picture space and a deliberate blurring of the boundaries between background and foreground firmly looks back to Vuillard's involvement with the Nabis and their predilection for flat, two-dimensional art, Vuillard's embracing rather than reductive view of the subject marks a development from his more austere compositions of the 1890s. In the present work he takes care to denote small details of the room, from the herringbone diagonals of the parquet flooring to the fall of light on the cloth atop the nesting table or the satin lustre of the lemon armchair - considered observations which can be attributed to Vuillard's use of photography as an aide-mémoire to guide his later compositions.It is very likely that Vuillard acquired his first Kodak box in 1897. Thereafter, he became an avid champion of photography and used it enthusiastically to assist and influence his creative process. Vuillard had no interest in posed subjects or picturesque views but rather used the medium to make photographic records as tools to enable him to better understand his subject. In the present work, the documentation of detail alongside the abrupt cropping of the armchair to the lower right and alert posture of Madame Vuillard, poised as if to stand, suggests a moment of captured stasis and that Vuillard may have worked directly from a photographic source. Vuillard remained committed to genre subjects and particularly depictions of domesticity throughout his career, even at a time when the prevailing avant-garde, notably the Fauves, began to experiment with idyllic and Arcadian themes. Madame Vuillard en peignoir rouge is testament to the enduring fascination that Vuillard held for these quotidian, intimate spaces where, by returning to those most familiar to him, he was able to fully explore the formal potential of his compositions: 'In Vuillard's paintings the same models are featured again and again: children grow up and leave home, Lucy Hessel's hair turns grey, memories are evoked as one era succeeds another' (B. Thomson, op. cit., p. 110).For further information on this lot please visit Bonhams.com
Lot 8
LÉONARD TSUGUHARU FOUJITA (1886-1968)Nu allongé signed and dated 'Foujita, 1932' and further signed in Japanese (lower left)mineral paint and ink on silk laid on paper70 x 100cm (27 9/16 x 39 3/8in).Painted in 1932Footnotes:The authenticity of this work has been confirmed by Sylvie Buisson.ProvenancePrivate collection, Argentina (acquired directly from the artist).Galerie Nichido, Japan (acquired from the above, through Galería Jorge Mara and Galería Bontempo in November 1989).Private collection, Japan (acquired from the above in 2011).LiteratureS. Buisson, T.L. Foujita, Inédits, Paris, 2007, no. C.32.183.H (illustrated p. 23).'[Foujita] represents one of those rare cases... of an artist of non-European race and essence, who has succeeded in becoming important from within the European conception of art... His sharp lines, the vast, blank surfaces, the true synthesis in its representation of theme, the relative coolness, or placidity of expression. All of those elements of his art, finally, leave me in a state of amazement.'-Mario de Andrade, the Brazilian modernist poet and critic, reviewing Foujita's gallery exhibition in Rio de Janeiro, the first stop along his South American tour. Díario Nacional, 20 January 1932.In 1931, Léonard Tsuguharu Foujita embarked on a world tour that would profoundly shift the narratives of his life and art. The close of the Roaring Twenties saw not just the devastating break of his third marriage to Lucie Badoul ('Youki'), but also the first stages of the Great Depression. Dodging the French government's pursuit of exorbitant taxes he had hitherto evaded, Foujita reached an impasse. He fled Paris with his new lover, a beautiful and charismatic young model named Madeleine Lequeux. A member of the thriving bohemian scene of Montparnasse, Madeleine was a hostess at Le Sphinx by day and a performer at the Casino de Paris by night. She is instantly recognisable throughout Foujita's early 1930s oeuvre from her handsome features: golden red hair, piercing blue eyes, a regal nose and a strong, elegant chin. These traits identify her as the resplendent subject of the present work, Nu allongé. The 'Flight of Fou Fou', as the pair's dramatic departure became known, brought them first to Brazil, then to Argentina, Bolivia, Peru, Colombia, Panama, Cuba, Mexico and the United States. Their tour was embellished with all the hallmarks of celebrity – press conferences, dinners with dignitaries, wildly successful solo exhibitions, and large spreads in national newspapers harking the arrival of the 'Foujita phenomenon'. Dancing under the dazzling lights of the Copacabana Grand Ball, the couple turned heads. Foujita cut an arresting figure with his pudding bowl haircut, Chaplin moustache, horn-rimmed spectacles and fashionable suit. Madeleine donned a glamorous, low-cut gown matched only by her vivacious spirit. Foujita worked fervently throughout the journey, as the fame he had garnered in Paris spread swiftly across the globe. His work took on a more dramatic air, as he introduced into his compositions exaggerated poses inspired by the cinema. He frequently captured the idle and intimate moments punctuating their taxing travels, with Madeleine stretching out into languorous poses. The present work is the most mesmerising of that series.A symphony of serene lines and delicate silk, Madeleine lounges, her body directly confronting the viewer while her face turns away, cold and mysterious. The soft ripples of the backdrop and diaphanous sheets flow into the waves of her auburn hair and the dips and curves of her supple form. Madeleine's very substance merges with her surroundings, their subtle gradients of pink, sepia and white in pure harmony with her alabaster skin, opal-coloured eyes and rose quartz lips. A figment of fantasy, her ideally proportioned figure emerges like a human tapestry, the perfect semi-circles of her breasts traced with a compass-like exactitude. A virtuoso trained in the Japanese arts of calligraphy and Nihonga painting, Foujita elucidates her curves with a deft, undulating outline, encased within a halo-like aura of white mineral paint – a technique solely of Foujita's creation. A visual haiku, the present work takes its power and essence from its measurement and simplicity. The entire effect is of a shrine to Madeleine – a gesture of utmost devotion to beauty incarnate. Foujita's eclectic materials and methods are key in his achievement of this unparalleled aesthetic. To invoke his sinuous half-tones and shading, he would stroke the picture plane with a cotton ball loaded with charcoal power, a method related to his estompe drawing technique. Foujita's pale mineral paint seeps directly into the silk, purposefully revealing the fineness of the material and each of its perfectly calibrated threads. The resulting sfumato ('haziness') – an aesthetic extracted from the Italian Renaissance painters Foujita revered – stands in contrast to the impasto layering of vibrant oil paints favoured by his French contemporaries. In paradoxical departure from European influences, he applies sumi-e ink in razor-thin lines with a menso, the thinnest brush in the Japanese painter's repertoire. All of this is finished with Foujita's grand fond blanc: his magical, secret glaze. Likely an emulsion of crushed chalk, white lead, talc, magnesium silicate and flaxseed oil, the glaze conjures up Foujita's nyuhakushoku or 'milky white' effect, its mesmerising quality causing Foujita's 1920s and early 1930s works to be his most sought-after. The present work's spectacle of pearly iridescence and soft grey shading achieves a dual effect: Madeleine exhibits at once the gravitas of a Michelangelo sculpture and the flat, smooth texture of Japanese lacquerware designs.Foujita's confluence of Western chiaroscuro and precise Japanese painting techniques echoes the innovations of Modern Japanese Nihonga painters, such as Yokoyama Taikan, whose monumental silk scroll Metempsychosis graces the permanent collection of Tokyo's National Museum of Modern Art. Nihonga employs traditional Japanese methods – namely the application of ink and mineral paint onto paper or silk – together with elements of Yōga (European-style painting), particularly shading and perspective. Nihonga artists derive pigments from minerals and other organic materials, such as shells, corals and semi-precious stones. Foujita's use of mineral paint in the present work adopts Nihonga to achieve his authentic vision of the grand nu, a distinctly European genre. These intercultural experiments are hallmarks of the increasingly cosmopolitan outlook of Meiji-era Japan, a period of profound cultural change. At the time of Foujita's birth, Japan's identity was swiftly evolving from that of an isolated, feudal society into a modern, industrialised power open to foreign aesthetic, political, scientific and technological ideas. The present work evidently had enormous personal significance to Foujita. His 1931 self-portrait in the National Museum of Fine Art, Argentina, displays a near replica of the present Madeleine's visage and décolletage. This painstaking repetition – down to the gentle curl of hair over her ear, and the taut muscles of her elegant neck – offers a rare glimpse into Foujita's method. The continual copying of one's own designs echoes the tendencies of the Japanese printmakers – such as Katsushika Hokusai – that Foujita was directly inspired by. The practice of... This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 105
Edward McKnight Kauffer (American, 1891-1954)Woman with a Lyre signed and dated in reverse 'E. mcKnight Kauffer/1937' (lower right)gouache on paper, laid on linen229.5 x 89cm (90 3/8 x 35 1/16in).Footnotes:ProvenanceThe Artist, from whom acquired directly by the family of the present owner circa 1937/38 and thence by descentPrivate Collection, U.K.The present lot relates to the woven wool tapestry of the same design at the Victoria and Albert Museum, London.For further information on this lot please visit Bonhams.com
Lot 569
A stained beech tapestry loom with turned upright and spindle turned thread basket to each support, on splay feet, 118cm wide CONDITION REPORT: Very wobbly on base, central stretcher revolves and needs tightening. One basket missing a bobbin to gallery, screw stretchers operable, compete with wing nuts.
Lot 629
CLASSIC ROCK & POP/ REGGAE - LPs. A quality collection of 34 LPs. Artists/ titles include Bob Marley inc Shakedown (ALA 1982), Survival (ILPS 9542), 20 Greatest Hits, Bob Marley And The Wailers (AR 30004, picture disc). Various - By Invitation Only, Janis Joplin - Anthology (CBS 22101), Isaac Hayes - Shaft (STXD 4004), Carole King - Tapestry, Steely Dan - Greatest Hits. Santana inc Abraxas, Borboletta, Caravanserai. The Moody Blues inc Octave, On The Threshold Of A Dream, To Our Children's Children, In Search Of The Lost Chord. War Of The Worlds, The Mamas & The Papas, John Fogerty, Styx, Meat Loaf, Rod Stewart, Eagles, Peter Frampton, Go Champs Go, Elton John, The Beach Boys, Status Quo. Condition is generally VG to Ex.
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