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Lot 146
Conroy Maddox (British, 1912-2005)Case History signed and dated 'Conroy Maddox. 1970' (lower left); further signed, titled, dated and inscribed 'CASE HISTORY./Collage/Painting 1970./Conroy Maddox.' (on card verso)watercolour and collage on card49.5 x 33cm (19 1/2 x 13in).(unframed)Footnotes:ProvenanceWith Galleria Annunciata, MilanPrivate Collection, MilanThis 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 53
Alfred Aaron Wolmark (British, 1877-1961)Beach Scene signed with initial 'W' (lower right)oil on canvas35.5 x 46.5cm (14 x 18 5/16in).together with a further watercolour painting, of the same subject, by the same hand(2)Footnotes:ProvenanceSale; Sotheby's, London, 3 November 1982, lot 239, where acquired by the present ownerPrivate Collection, U.K.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 67
Jack Butler Yeats (Irish, 1871-1957)The Mysteries of Parissigned with monogram (lower left); titled and dated 'THE/MYSTERIES/OF/PARIS/February/1903' (on sheet verso) watercolour, pen and ink and pencil on paper 13 x 4.5cm (5 1/8 x 1 3/4in).together with a further watercolour painting on paper of a figure on the reverse, and a further hand-coloured print, 'The Post Car', both by the same hand(2)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 11
LÉONARD TSUGUHARU FOUJITA (1886-1968)Maternité signed and inscribed 'Foujita Paris' (lower right)gouache, watercolour, brush, pen and India ink and gold leaf on paper23 x 17.5cm (9 1/16 x 6 7/8in).Executed circa 1957Footnotes:The authenticity of this work has been confirmed by Sylvie Buisson.ProvenanceGalerie Claude Bernard (1957).Private collection.Anon. sale, Christie's, New York, 15 November 1990, lot 147.Sayegh Collection, France.Acquired by the present owner (2020).ExhibitedParis, Musée de Montmartre, Léonard Tsuguharu Foujita et l'École de Paris, 10 April - 23 June 1991, no. 47 (later travelled to Tokyo; titled 'Mère et Enfant').LiteratureS. Buisson, Léonard Tsuguharu Foujita, Vol. II, Paris, 2001, no. 57.92 (illustrated p. 458).Léonard Tsuguharu Foujita may not have converted to Catholicism until 1959, but he took an early interest in painting ecclesiastical subjects from 1917. Maternité was executed circa 1957 and shows the artist's understanding of this traditional religious subject as an intimist and tender depiction of a mother and a child. Born in Japan into a high-ranking Samurai family, Foujita was attracted to Western culture and France in particular at a very early age. As Sylvie Buisson explains, Foujita's love affair with France began very early in Tokyo whilst stood in front of a painting by Claude Monet. As a child, he would also be fascinated by the church that was located on his school path. At school, he studied French with the Marianist brothers, a Catholic branch that looked to the Madonna as a model of faith and spirituality and emphasised the importance of Jesus not only as the Son of God, but as the Son of Mary. A monumental sculpture of the Virgin Mary was placed in the courtyard that he passed daily. Foujita arrived in Paris in 1913 and quickly became a key figure of the bohemian art scene, meeting painters, sculptors and writers of the Montmartre and the Montparnasse districts. Along with his peers Picasso, Soutine, Kisling, Zadkine, van Dongen and Modigliani, he was one of the main figures of the first École de Paris. This term, coined by the art critic André Warnod in 1925, refers to the group of avant-garde artists who came to exercise their talents in the capital between 1905 and 1930. Although all the artists in this movement had their own particular style, they came together around the idea of developing artistic modernity. Foujita's success was almost immediate and his originality soon charmed the public at the Galerie Chéron and Galerie Paul Pétrides. Through meetings in Parisian bars and cabarets he was introduced to the Tout-Paris, the fashionable and affluent elite of the city, and became a well-known figure of this bustling and fascinating milieu of the interwar years. Foujita later returned to Japan to act as an official painter of the Imperial Army during the Second World War. His work was criticised by some of his peers for being war propaganda, but he remained appreciated and protected by wealthy patrons who enabled him to return easily to Paris in the 1950s, accompanied by Kimiyo, his new wife. This was the start of a new era for Foujita, who settled once again in Montparnasse, but to lead a rather quieter life. It was during this more mature and settled period that the present work was executed. Maternité is a gentle and delicate image, reflecting Foujita's unwavering optimism. The present work, with its soft and elegant figures set in a timeless scene, proves that his art remained untouched by the horror of war and man's cruelty. The depiction of the mother and child has always been an important subject in Western art, whose origins are rooted in the religious presentation of the Virgin and Child. The French word 'maternité' emphasises the secular relationship between the woman and her offspring, and indeed in the present work there is no aureole or halo to denote the holiness of the figures. However, the religious connotations remain obvious: the child's outstretched hand, whose two fingers make the distinctive Christian sign of blessing, is an undeniable reference to the religious origins of this subject. For Foujita though, the Madonna, the mother and the woman came together as one entity, hence perhaps the title Maternité, a more secular and universal choice than 'Virgin and Child'. Similarly, the child has a very lively charm, unlike the usual figures of the Christ Child.Delivering an original vision of this traditional subject, Foujita also took inspiration from the past and used artistic codes historically attached to this motif. In the gothic tradition for example, the figures stood out on a golden background, which recalled the supernatural and miraculous character of the subject. This was also used to metaphorically suggest to the viewer that it was from this majestic image that Christian faith radiated. Thus the present work is reminiscent of the static elegance seen in the figures of Giotto and of the Northern Italian schools, which are known to have inspired Foujita. The expressive treatment of the mother's hands in the present work echoes that of artists such as Carlo Crivelli (1435-1495), whose Madonnas cradled their child with exaggeratedly long hands, creating a cocoon for the child and emphasising the figure's protective role. Foujita was similarly inspired by the Italian Renaissance, during which the Virgin was typically painted in a more realistic manner to emphasise the idea that she was first and foremost a mother. The gracefulness of her body was emphasised, giving an impression of serenity and maternal softness to this image of devotion, as in Raphael's Madonna del Granduca. The forms are pure and simple, but the arabesques formed by the figure are strongly accentuated and the neck elongated.Yet Maternité is not devoid of modernity. Of mutual influence, the artists of the Montparnasse circle left a lasting impression upon each other. In the present work, one recalls the long and slender figures of Amedeo Modigliani, whose slim faces and almond eyes bear a strong resemblance to the mother in Maternité. One could also think of Constantin Brâncuși's style, his experimentation in modelling human form and his investigation into purity and cleanliness of line. Although it is more subtle, the influence of the Cubist revolution is also visible in Foujita's use of local colour, which focuses on the subject seen under a flat light with no adjustments for form with shadows or colours. Moreover, the present work is characteristic of Foujita's style from the 1920s onwards. It combines the fine black line reminiscent of the distinctive ink line of traditional Eastern paintings, with an absence of perspective and the sinuous line of traditional Japanese pictorial art. Foujita himself described this dialogue of influence and inspiration in the 1950s - 'My body grew up in Japan, but my painting grew up in France' - as he became a Japanese painter who joined the world of Western painters. His adoption of the name 'Léonard' when he was baptised, as a tribute to Leonardo Da Vinci, confirmed his debt to Italian primitive painting and to the Florentine and Sienese Madonnas of the 15th and 16th centuries. But Foujita remained true to this double culture and strove to blend them both in a style that would remain his. Indeed, regardless of the Western origin of the present subject, the Japanese calligraphic tradition is still evident in the precision and finesse of the l... 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 14
PERE YSERN ALIÉ (Barcelona, 1875 - 1946)."Ballerina".Watercolour on paper.Signed in the lower right-hand margin.Size: 25 x 34 cm; 39.5 x 48 cm (passapartout); 49.5 x 57 cm (frame).Pere Ysern Alié was a disciple of Pere Borrell del Caso in his academy, where with Ramón Riera he formed the nucleus of the group "El Rovell de l'Ou". He made his first appearance at the General Exhibition of Fine Arts in Barcelona in 1894, and in 1896 he travelled to Rome, where he stayed for two years and completed his training with Ramón Tusquets. On his return to Barcelona in 1898 he took part in the Municipal Exhibition of Fine Arts. The following year he settled in Paris, where he exhibited at the Salon des Artistes Français in 1900. He was also a regular participant in the Salon des Indépendants. A clear sign of his international success was his participation, in 1901, in the International Exhibition of St. Petersburg, where the Russian Tsar bought one of his paintings. On his trip to Paris he became fully integrated into Parisian life, as well as into the Catalan circle residing in the city. He frequented the cabarets, making friends with Toulouse-Lautrec and creating a work based on an impressionist style in which he reflected the themes of dances, both classical and Spanish. After settling in Paris, he made occasional visits to Barcelona, where he exhibited his work at the Sala Parés in 1901 and 1903, and took part in the collective exhibition of the Association of Catalan Painters and Sculptors in 1905. In 1927 he returned to Spain, and from then on his presence in Barcelona and Catalan competitions was constant, and his painting was finally appreciated in our country. Today he is mainly represented in the MACBA, as well as in the Luxembourg Museum in Paris, the National Art Museum of Catalonia, the Fundació La Caixa and various private collections.
Lot 24
LUIS ÁLVAREZ CATALÁ (Madrid, 1836 - 1901)."Melancholic young woman".Watercolour and pencil on paper.Testamentary stamp in the upper left-hand margin.Measurements: 20,5 x 14 cm; 45 x 35 cm.(passpartout); 53,5 x 43 cm. (frame).Luis Álvarez began his training in Oviedo, and later went to the San Fernando School in Madrid, where he was taught by Federico de Madrazo. He then went to Rome with Rosales and Palmaroli in 1857, remaining in the Italian capital until 1894, making occasional trips to Madrid. During these years he took part in various exhibitions and was awarded a medal of merit at the Florence exhibition of 1861 and a second-class medal at the National Exhibition in Madrid the following year for his historical painting "Calpurnia's Dream", which was acquired by Isabella II. In 1866 he won a second medal, and later his painting "The Chair of Philip II at El Escorial" was awarded a first-class medal at the Paris Universal Exhibition of 1899, the National Exhibition of 1890 and the Berlin Exhibition of 1891, and was finally acquired by Kaiser Wilhelm II. Although he worked on a variety of themes, his stay in Rome inclined him mainly towards precious painting, with gallant themes of eighteenth-century atmosphere, "de casacón", which was a great success at the time with the public and art dealers. His Asturian roots also led him to apply this précieux style to the rural genre painting of that region. He was also the portraitist of the queen regent Doña María Cristina and the child king Alfonso XIII. In 1898, until his death, Luis Álvarez was director of the Prado Museum. In addition to several new acquisitions for the art gallery, his most important cultural activity was the celebration of the third centenary of Velázquez's birth. One of the most awarded Spanish painters of the 19th century abroad, Luis Álvarez was above all a Romantic painter, who was inspired by historical themes in his paintings.
Lot 147
GEORGIAN SCRAP ALBUM: a fine late Georgian album of scraps, manuscript verse, watercolours and drawings, upper free endpaper inscribed 'a tribute of affection to Fanny ?Ansee from her sister on her birthday June 29th 1835': includes a well executed representation of hieroglyphics 'from an Egyptian painting found by Belzoni in Thebes', with related 17 line verse on opposing page: ink and watercolour drawing captioned 'Jem Holmes barn in Stopples Barn, Arundel Castle in the distance', dated 26th Sept 1826: another drawing in the same hand captioned 'Lane at John Page's Corner in Burpham', dated for the preceding day: small 4to album, original blind stamped brown morocco ornately gilt, aeg. (1)
Lot 1320
Yong Mun Sen (1896-1962) - two Malaysian watercolour paintings, the first depicting a group of figures working in a paddy field, signed and dated 1944, the other with four wicker crab or lobster pots floating on a raft, signed and dated 1949, approx 28cm x 38cm, framed and glazed (some faults). Note: Yong Mun Sen was a Malaysian artist and one of the founders of Nanyang Academy of Fine Arts in Singapore, then Malaya. Although trained in formal brush painting and calligraphy during his schooling in China, he is best known for his watercolours and later oils. He is widely known as the Father of Malaysian painting.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 1263
A small collection of Oriental prints and paintings, 19th century and later, including three Japanese oban tateye prints, each depicting a seated beauty, 36.5cm x 25cm, a booklet titled 'Residential Rhymes' by T. Hasegawa, publisher, Tokyo, and a Chinese booklet containing twenty watercolour painting portraits of standing gentlemen, 25.7cm x 17.2cm, all unframed.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 1142
An Indian Mughal style watercolour painting on paper, 19th century, depicting Guru Gobind Singh riding a white horse with falcon resting on his left hand, accompanied by four standing attendants/guards and a running dog, within a blue ground floral banded surround, 21.5cm x 27.3cm, unframed.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 1143
An Indian Mughal style watercolour painting on paper, 19th century, depicting a figural scene within a pavilion setting, 24cm x 34cm, unframed.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 238
MORGAN MICHELE: (1920-2016) French film Actress. Signed 11 x 15 abstract watercolour by Morgan on a Canson drawing paper. Signed `M. Morgan´ in black ink to the bottom right corner, also dated `Nov 67´, in her hand. Bearing to the verso a second watercolour. From 1970 Morgan spent a large part of her life to her passion, the painting. About VG
Lot 508
LEGER FERNAND: (1881-1955) French painter & sculptor. T.L.S., F Leger, in bold pencil, one page, small 4to, New York, 10th March 1945, to a gentleman. Leger acknowledges that he has 'received your check $600.00 for my painting France reborn' and continues to add 'Will you please note that I have left 80 W. 40th St (the address indicated on your envelope) two years ago. My new studio's address is, for this year, 77 Lexington Avenue'. Slightly irregularly trimmed to the lower edge and lightly mounted, G Leger's work France Reborn, from the United Nations series (1945) is executed in watercolour, gouache and pencil and is currently held in the collection of the Smithsonian American Art Museum having been gifted by the Container Corporation of America in 1984.
Lot 211
Study of an Italian style farmhouse, oil on board, signed Alma and dated 2008, 7 x 26.5cm approx in painted frame, together with an abstract painting on canvas board, painted with thick impasto and tones of pink and mauve, indistinctly signed and with New York impressed mark to back of stretcher, 24.5 x 35cm approx, together with further contemporary pictures and prints including a watercolour landscape signed Christopher Rose? etc, various sizes all framed (7)
Lot 306
An original pen and watercolour painting by famed comic illustrator and graphic novelist Mike Kazybrid, it was produced in 1987 for the centre pages of The Centurians issue 1, by London Edition Magazines, 23" x 17", in chrome frame (Est. plus 21% premium inc. VAT)Artwork in good condition, frame has had a few minor knocks over the years
Lot 108
*** Please note, the description of this lot has changed.Tayler (William, amateur artist and civil servant of the East India Company, lived in India from 1829 until 1867, c. 1808-1892). Lord Elphinstone and Captain Parr riding on elephants, hog-hunting in India, watercolour heightened with white, over black chalk under-drawing, on paper mounted onto canvas, 435 x 655 mm (17 x 25 3/4 in), under glass, some minor surface dirt and browning, in ornate gilt frame, [circa 1830-1840]Provenance:[Possibly Hartnoll & Eyre] Painting for the British, n.d., no. 1 [label with attribution to Captain Parr, and title, affixed to reverse]Engraved:"The Death of the Hog. Dedicated to the Calcutta Tent Club", Drawn by William Tayler Esq. Engraved by F.C. Lewis. [n.d., c.1840.]*** The present work appears to be the original watercolour that F.C. Lewis' rare lithograph was based on. Numerous small differences within the image suggest it is the preparatory work for the print, rather than a copy after; most notably the changes in the hats of the men and the foliage. For several other similar examples of Tayler's watercolours from this period, see the Anne S.K. Brown Military Collection at the Brown University Library, who hold 18 watercolours in their collection (images can be found online via the Library of Congress website, see https://hdl.loc.gov/loc.wdl/wdl.9626).
Lot 718
Oskar Kokoschka, 1886 Pöchlarn – 1980 MontreuxBLUMENSTILLLEBEN Aquarell auf leicht cremefarbenem Velinpapier. Sichtmaß: 44 x 61,5 cm. Auf dem Goldrahmen Künstlernamensschild. Im Passepartout, hinter Glas gerahmt.Aquarell in betontem Querformat. In virtuoser Pinselführung werden hier zartrosafarbene Orchideen mit roten Sprenkelungen, gelbe Narzissen sowie exotische Blüten, eingebunden in großes Blattwerk, gezeigt. Nach rechts hin scheint der Hintergrund in Grau-Brauntönen die Schatten der Blüten anzudeuten. Der Blumenstrauß ist als ein gemaltes Namenstaggeschenk zu verstehen, wie die vierzeilige Aufschrift in Blei in der rechten unteren Ecke erweist „Für James – Zum Namenstag, Geburtstunde/ Hast du immer so oft du einen Halbtoten auferweckt. In Liebe/ Dein O.K., 44, London“. Verso auf der Abdeckung maschinenschriftlicher Aufkleber in Englisch „For Thomas/ for his birthday/ you have so often revived one who was half dead./ With love/ your O.K. 44/ London“. Hierbei handelt es sich wohl um eine frühe Übertragung ins Englische. Daneben Galerieaufkleber mit gedruckter Adresse „Charles E. Slutkin Galleries/ 115 East Ninetysecond Street/ New York 28, N.Y.“. Mit Maschinenaufschrift „Oskar Kokoschka (1886)/ Flower Arrangement with Birds of Paradise. Watercolor“. Des Weiteren zwei kleinere, nicht weiter aussagefähige Aufkleber.Anmerkung: Die Widmung ist mit ziemlicher Sicherheit an „János“ Plesch gerichtet. Er war ein ziemlich exzentrischer Arzt, der in London arbeitete und Kokoschka behandelte. (1301323) (11)Oskar Kokoschka,1886 Pöchlarn – 1980 MontreuxFLORAL STILL LIFEWatercolour on crème-coloured vellum.Sight dimension: 44 x 61.5 cm.Gilt frame with artist’s nameplate.Framed with mount behind glass. Watercolour in elongated portrait format. Delicate pink orchids with red specks, yellow daffodils and exotic flowers bound in large foliage are painted with virtuoso brushstrokes in this painting. The background on the right seems to show the shadows of the flowers in shades of grey and brown. The bouquet can be conceived as a painted gift for a person´s name day, as the four-line pencil inscription in the right lower corner suggests. Typed label in English on the reverse: “For Thomas/ for his birthday/ you have so often revived one who was half dead./ With love/ your O.K. 44/ London”. This is probably an early translation into English. Next to the label there is a gallery label with printed address “Charles E. Slutkin Galleries/ 115 East Ninetysecond Street/ New York 28, N.Y.”. Typed inscription “Oskar Kokoschka (1886)/ Flower Arrangement with Birds of Paradise. Watercolor”. Furthermore, two smaller labels with insignificant information.Notes:The dedication is almost certainly to “János” who is János Plesch . He was a rather eccentric doctor working in London. He treated Kokoschka and hence the wording.
Lot 730
Ernst Ludwig Kirchner, 1880 Aschaffenburg – 1938 Frauenkirch/DavosABSCHIED AM BAHNHOF, 1926 Bleistift/ Aquarell auf Papier. 20,5 x 16,5 cm. Im Passepartout, hinter Glas in teilvergoldetem Rahmen.Schriftwechsel mit Bestätigung vom Ernst Ludwig Kirchner Archiv, Wichtrach, Herrn Dr. Wolfgang Henze, Kurator, vom 26. März 2010 über die Echtheit des Aquarells liegt in Kopie vor. Blick in Nahsicht auf ein Zugabteil auf einem Bahnsteig mit Figuren, die sich verabschieden.Provenienz: Galerie Utermann, Dortmund. Privatsammlung Deutschland. Anmerkung: Das Gemälde wurde am 3. Dezember 2008, Lot 146, von Sotheby‘s, Amsterdam, versteigert. (1300996) (18)Ernst Ludwig Kirchner,1880 Aschaffenburg – 1938 Frauenkirch/DavosFAREWELL AT THE STATION, 1926 Pencil/ watercolour on paper. 20.5 x 16.5 cm.A copy of the correspondence confirming the authority of the watercolour from the Ernst Ludwig Kirchner Archive, Wichtracht, Dr Wolfgang Henze, curator, dated 26 March 2010 is available.Provenance:Galerie Utermann, Dortmund.Private collection, Germany. Notes:The painting was sold at auction on 3 December 2008, lot 146 at Sotheby’s Amsterdam.
Lot 98
Sir James Jebusa Shannon, RA, RBA, RHA (British, 1862-1923)Madge signed vertically 'JJSHANNON' (upper left), dated '1886' (upper left to upper right), inscribed vertically 'MADGE' (upper right)oil on canvas36.8 x 43.2cm (14 1/2 x 17in).Footnotes:ProvenanceF. H. Woodroffe.Christie, Manson, and Woods, 28 June 1907, The Choice Collection of Pictures and Watercolour Drawings of F. H. Woodroffe, Esq., Lot 50 (sold for 130 gns).William Permain (acquired from the above sale).Mrs. J. M. Hanbury, Hylands House, Chelmsford.Christie, Manson, and Woods, 20 November 1964, Lot. 50.With The Fine Art Society Ltd., London.The collection of George and Sonia Segal, USA.ExhibitedLondon, Institute of Painters in Oil Colours, 1885/86, no. 136.London, New English Art Club, 1886, no. 50.Despite the relatively small scale of this simple, yet arresting image, Madge garnered a modicum of critical note when it was shown at two London venues – the Institute of Painters in Oil Colours and the New English Art Club. Although works by the young American-born James Jebusa Shannon had been sporadically exhibited since his 1881 debut at the Royal Academy when he was still a student at the South Kensington School (now the Royal College of Art), 1886 may be considered the breakthrough year in his bid for professional recognition. Indeed, Shannon's paintings could be seen at each major exhibition venue in London throughout that season.Madge stands in contrast to the formal, commissioned portraiture that Shannon usually sent to the Royal Academy and the Grosvenor Gallery. Instead, this and another works of its type (for instance, Estelle, 1886, sold Bonhams, London, 13 July, 2011, Lot 175) were intended to showcase different aspects of Shannon's painterly talent. Here the artist depicts the head and shoulders of a distinct individual whose name provides the painting's title; yet the identity of the sitter is of no matter.Madge confirms Shannon's desire to align his art with what was sometimes called the 'Anglo-French' style, a progressive mode associated with painting techniques inspired by the 'square' brushstrokes of the innovative French artist Jules Bastien-Lepage (1848-1884). The bust-length profile of the young woman is set against a pale, scumbled ground, the rough surface of which is inscribed with the title, artist's name, and date, written in the block-letter manner characteristic of Bastien-Lepage and his followers. The figure's costume reveals Shannon's ambition to demonstrate his facility in defining form using a limited palette of blacks, a practice often employed by fin-de-siècle painters who emulated the art of the Spanish master Velázquez in that respect. The textured, irregular contour of the figure is relieved by the smoothly rendered face in which the warm reds of her cheeks and lips offer the only spots of bright colour. The sitter's olive skin and the prominent fringe of dark hair that signals her adoption of a less carefully coiffed version of the style that had recently come into vogue lend a somewhat exotic impression to the image. In all, the painting possesses an unusual degree of sensuality and conveys a vague hint of the Bohemian lifestyle that Shannon enjoyed at this early stage of his career.In view of the date inscribed on the painting, it is curious that the first critical notice for Madge appeared in December 1885, when a reviewer of the recently opened exhibition of the Institute of Painters in Oil Colours remarked that among the works not to be missed was 'the little head called 'Madge' (136) by Mr. J. J. Shannon, a young artist of ability, who is likely to do very good work in days to come.'1 (This discrepancy points to the possibility that the date was a slightly later addition.) A second critic mentioned the 'clever study of a girl's head, 'Madge' (136), by Mr. J. J. Shannon, whose name is new to me.'2 Just a few months later, the painting again earned mention when it was included in the inaugural exhibition of the New English Art Club, with one writer stating that 'Mr. J. J. Shannon's 'Madge' merits a word of praise.'3Madge was presumably purchased by F. H. Woodroffe directly from the artist and the painting received no further mention until the estate sale of a portion of Woodroffe's collection in 1907 from which it was bought for 130 guineas by the London art dealer William Permain.4 The painting was later owned by Mrs. John (Christine) Hanbury, a director of Truman, Hanbury, and Buxton brewers, and sold by her executors in 1964.5 1'Institute of Painters in Oil Colours', Times, 2 December, 1885. p. 8.2'The Royal Institute', Truth, 24 December, 1885, p. 19.3'Picture Shows', Truth, 15 April, 1886. p. 19.4See Christie, Manson, and Woods advertisement for the June 28, 1907, sale of 'The Choice Collection of Pictures and Watercolour Drawings of F. H. Woodroffe, Esq., deceased, late of 4 Down-street, Piccadilly. W.' (sold by order of the Executors), Morning Post, 24 June 1907, p. 14; also The Scotsman, 29 June, 1907, p. 10.5Typed notation on photograph record for Madge, Witt Photograph Library, Courtauld Institute of Art, London.We are grateful to Professor Barbara Dayer Gallati for compiling this catalogue entry.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 77
W Harford - Highland loch scene, watercolour, signed lower centre, 33cm x 49.5cm, mounted in gilt frame; along with Jo Dollemore - Spring Hedgerow, a landscape painting in acrylics, signed lower right, 16cm x 24cm, mounted in glazed gilt frame together with Barbara Beasley-Southgate - two rural landscapes with farm buildings and horses, pastels, signed lower left and right, each 27cm x 37cm, mounted in glazed gilt framesLocation:
Lot 205
George Goodwin Kilburne(1839-1924)"An Interesting Letter",signed,watercolour,22 x 20cms, framed.The model is the artist's second wife, whom he met at Alma-Tadema's studio in Hampstead. She was Alma-Tadema's favourite model, and appears in many of his pictures. The grandson of George Kilburne still owns the chair also depicted in the painting, and the work comes with a letter asserting such from the gallery.
Lot 242
Harry Stinton(1883-1968)A Lone Pheasant Surveying His Kingdom,signed,watercolour,10.5 x 14.5cms, framed.Harry Stinton, part of the Royal Worcester Stinton Dynasty, was the son of John Stinton junior, and the nephew of James. Between the years 1896 and 1963 he carried on the family tradition, painting Highland subjects on porcelain.
Lot 124
A Qajar silk and metal thread brocade panel with painted details, depicting a Qajar official dressed partly in religious robes and carrying prayer beads Persia, late 19th Centuryrectangular, woven and embroidered with gold metal thread and polychrome silks, the beard, face and hat in polychrome paint, framed 108 x 53 cm.Footnotes:ProvenanceThe collection of Bryan Wilkins (1950-2021), son of Fraser Wilkins (1908-89), Inspector-General of the US Foreign Service 1964-71, US Ambassador to Cyprus 1960-64.Purchased in Baghdad, Iraq, in 1942 (where Bryan Wilkins was born).The identification of the official depicted here is uncertain. It is also peculiar that he wears on the one hand a plain robe associated with religious devotions, but retains the tall black hat so familiar from Qajar full-dress uniforms. The nature of the painting itself is also unusual, combining painted elements with brocade details. It is also possible that the painting is a fragment of a larger, multi-figure work.A possible candidate for its subject is Hajji Mirza Suleyman Khan, Rukn al-Mulk (1838-1912), Chief Secretary to Mas'ud Mirza, Zil al-Sultan, who later appointed him deputy governor of Isfahan. When Hajji Mirza died he was buried in a mosque in Isfahan which he himself had endowed, and portrait tiles were incorporated into its exterior decoration, based on a watercolour portrait by Abu Turab Ghaffari (executed circa 1880-89). For Hajji Mirza and the portrait, see L. Diba, Royal Persian Paintings: the Qajar Epoch 1785-1925, New York 1998, p. 254-55; also G. Fellinger et al, L'Empire des Roses: chefs d'oeuvre de l'art persan du XIXe siecle, Lens 2018, pp. 388-389, no. 389. The portrait combines the full beard, long robe (rather than tunic etc.), and tall hat.This lot is subject to the following lot symbols: * R* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.R This lot is subject to import restrictions when shipped to the United States.For further information on this lot please visit Bonhams.com
Lot 217
The Tomb of Maharajah Ranjit Singh, Lahore by R. Morse (British, late 19th/early 20th Century)watercolour on paper, signed lower left 277 x 390 mm.Footnotes:The mausoleum (samadhi) of the Sikh ruler Maharajah Ranjit Singh lies just within the area of the walled city of Lahore, and the viewpoint of this painting seems to be just outside the walls. Ranjit Singh died on 27th June 1839 and was cremated the next day. Work on the samadhi began in August of the same year, though after inital progress the work became bogged down, largely as a result of internecine faction fighting. By 1849 it had fallen to the British to put up the money to complete the building, which after some delay they did, and the work was completed in 1851. See F. S. Aijazuddin, Lahore: illustrated views of the 19th Century, Ahmedabad 1991, pp. 87-92. For a watercolour painting of the Tomb from a similar viewpoint, by an unknown British artist, dated April 1914, see the sale in these rooms, Bonhams, Islamic and Indian Art, 4th October 2011, lot 427.For further information on this lot please visit Bonhams.com
Lot 255
BEATRICE PARSONS (BRITISH 1870-1955) 'SCENE FROM THE ION BY EURIPIDES', Ion the secret son of Apollo is shooing birds away from the Temple, signed bottom right, title to artist label verso, watercolour on paper, mounted framed and glazed, approximate size 47cm x 33cm (Condition report: the painting is in good overall condition but does have some discolouration to the edges caused by the mount) (artist resale rights apply)
Lot 1040
Christian Richter (Swedish 1678-1732) Portrait miniature, watercolour on vellumHead and shoulder portrait of Carey (n�e Fraser) Countess of Peterborough (1655-1709)Within gilt frame with scrolled crest, bearing Burlington Fine Arts Club exhibition label versoOval 8.5cm x 7cmProvenance Charles Lees Collection: the miniature is accompanied by the original receipt of purchase by Lees for the sum of �20, dated April 9th 1883, from Ernest Renton Jeweller Art Designer and Collector of Curios, 1B Pall Mall Place, London.Charles Edward Lees was a successful British industrialist who curated his collection of paintings and miniatures during the latter half of the nineteenth century. Lees acquired examples by many notable artists with the assistance of known art dealers William and George Agnew. One hundred portrait miniatures from his collection were sold at Bonhams forming The Charles E Lees collection sale in November 1997.ExhibitedBurlington Fine Arts Club London, Exhibition Portrait Miniatures,1889, case 29, no.37Cf. A comparable example sold at Bonhams London, The Albion Collection of Fine Portrait Miniatures, Apr 2004, Lot 11Further miniatures of Carey:Charles Lees Collection, Bonhams, November 1997, Lot 20 - also by RichterEdward Grosvenor Paine Collection, Christie's, October 1980, Lot 40 - by Peter Cross.Portrait Miniatures The Property of a Lady, Bonhams, April 2005, Lot 9 - by Peter CrossCarey Countess of Peterborough was an English courtier, and maid of honour to Queen Catherine from 1674 to 1680.Carey was one of the 'Hampton Court Beauties' painted by leading portrait painter Sir Godfrey Kneller depicting eight of the most fashionable and glamourous ladies of the court of William III. During the early part of his career Christian Richter is believed to have studied under leading Swedish portrait miniaturist Elias Brenner, later working in Berlin and Dresden where he gained a strong following. Upon arrival in London in 1704 Richter began by copying full scale portraits of other popular artists including Michael Dahl and Godfrey Kneller.The antiquary and engraver George Vertue said of Richter's work: 'his Manner of Painting very tender and Curious, his tincts had a great variety his pencil regular and neat, his lines of drawing very just & toucht with freedom'.Condition Report:Good overall condition.Light signs of wear commensurate with age to frame.
Lot 1009
HAZEL NAGL RSW RGI PAI (SCOTTISH b.1953) THE SUNDIAL, BARGALY Mixed media, signed lower left, 28 x 28cm, (11 x 11?) ?For Glasgow Art Club!? and title inscribed to label verso Hazel Nagl is renowned for her sense of colour, space and light in her landscapes and still lifes. Nagl studied Drawing and Painting at the Glasgow School of Art, and she was elected to the Royal Glasgow Institute and to the Royal Scottish Society of Painters in Watercolour. Notable exhibitions and public collections include The Royal Bank of Scotland; Glasgow University; The Fleming Collection and Scottish & Newcastle Breweries. Condition Report:Available upon request
Lot 1039
JOHN KINGSLEY RSW PAI (SCOTTISH b.1956) HILLTOP VIEW Oil on canvas, signed lower left, 84 x 89cm (33 x 35") Born in Glasgow, the prolific Scottish contemporary artist studied drawing and painting at the Glasgow School of Art, graduating in 1977. Kingsley?s inspiration often derives from landscapes, both in Scotland and on the continent, namely Provence in France, and Spain. Awards include the William Bowie Landscape Prize (1991), the Mary Armour Award (1992) and he was an elected member of the Royal Scottish Society of Painters in Watercolour and Glasgow Art Club. Condition Report:Available upon request
Lot 1058
DRUMMOND MAYO RSW (SCOTTISH 1929-2021) THE CATHEDRAL Oil on board, signed lower right, 59 x 68cm (23.25 x 26.75") Title inscribed verso Drummond Mayo developed a distinctive style of painting throughout his career, predominately working in oils, watercolour, and gouache. Mayo taught on the side, and he devoted himself to full time painting in retirement. Former RSW member, he studied at the Glasgow School of Art, and went on to marry fellow artist, Anne Anderson. Condition Report:Available upon request
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