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Lot 152
MARC CHAGALL (RUSSIAN-FRENCH 1887-1985) De Mauvais Sujets, 1959 color etching with acquatint plate mark: 36.5 x 27 cm (14 3/8 x 10 5/8 in.) signed, inscribed with edition number 4/5 and dedicated Pour M. George Blaizot along lower edge This work is accompanied by the original cancelled copper plateLITERATUREPatrick Cramer, Marc Chagall. The Illustrated Books: Catalogue RaisonnŽ (Geneva: Alan Wofsy Fine Arts, 1995), p. 35Eberhard W. Kornfeld, Das graphische Werk. Verzeichnis der Kupferstiche, Radierungen und Holzschnitte Band 1: Werke 1922-1966 (Bern: Kornfeld und Klipstein, 1970), pp. 106-15LOT NOTESGeorges Blaizot, son of Auguste Blaizot, was a French bookseller and publisher.
Lot 298
CHAGALL MARC: (1887-1985) Russian-born French Artist. A good signed 7 x 9 photograph by Chagall, the attractive image depicting the artist seated on the floor, in a full length pose, with his mural paintings works to the background. Signed `Marc Chagall´ in brown ink to the lower white border, dated 1971 in his hand. Ink signature very slightly light in some areas. One very small stain to the lower border, not affecting the signature. Extremely small trace of former affixing to the verso, otherwise G £400-600
Lot 297
CHAGALL MARC: (1887-1985) Russian-born French Artist. L.S., `Chagall´, one page, small 4to, Boulogne sur Seine, 7th January 1929, to Monsieur Ridder, in French. The letter is in the hand of Chagall´s second wife Vava. Chagall responds to his correspondent, stating `I receive today the remaining photographs and the poem of Apollinaire.. he was the one who suggested the first large exhibition of the whole of my works in Berlin during the Spring 1914…´, further requesting new photographs for the entitled ones `Atelier 1910´, ´L`auto portrait´ and `Crucifix´. Overall small creasing with a small tape trace to the upper left edge, not affecting the text or signature. G £150-200Valentina Brodsky (1905-1993) Known as “Vava”. Second wife of Chagall 1952-85.
Lot 299
CHAGALL MARC: (1887-1985) Russian-born French Artist. A good A,L.S., `Marc Chagall´, one page, 4to, blue paper, Boulogne sur Seine, 2nd October 1926, to an unidentified correspondent, in German. Chagall receives a work commission and responds in part `I thank you very much for your kind proposal. But I am infinitely sorry again because I have at today´s date so many work orders that I am not able physically to accept any further. And time is still so short. And I work very slowly. It´s really bad..´ With two file holes to the left border. VG £800-1200
Lot 292
signed oil on board Exhibited at the South African National Gallery in 1966 PROVENANCEInherited, thence by descent 60 by 35cm Flower Piece is an important work confimed by the original fadedlabel on the reverse, attesting to its inclusion in a major retrospectivePranas Domsaitis 1880 - 1965. This prestigious exhibition openedin November 1966, at The South African National Gallery in CapeTown, where over 200 works had been included. Sourced nationwide from private and public collections, the exhibition sought to honour the oeuvre and life work of the artist and his formativeinfluence on the emerging South African art scene.Domsaitis sought refuge at the end of World War II in Cape Townat the age of 69, where he lived out his artistic life until his deathat 85. He died in 1966, a year prior to the death of Irma Stern whowas 14 years his junior. These two giants of the art world sharedmuch in their artistic development; a background of wide travel, anémigré’s perspective, and defining exposure to the art movementsof inter-war Central Europe. Reflecting the influential avant gardeof the time, they were both schooled in German Expressionism.Their independent ideas and experiences were eventually tocontribute significantly to South African art.Domsaitis had already forged a distinguished career in Europe,exhibiting his work alongside Max Pechstein, Paul Klee, MarcChagall, Oskar Kokoshka and other luminaries of the time. However,in response to the threat of Nazi persecution of 'decadent art',he fled to Austria, eventually settling in South Africa in 1949. Hisintensely spiritual landscapes, religious works and expressioniststill lifes were well received in his adopted country. Decadeslater, in 1989 he was honoured with recognition in his country ofbirth, when the Pranas Domsaitis Gallery opened in the nationalLithuanian Art Museum.Flower Piece, simply presented as a Blanc de Chine jug ofglowing floral colours and impasto forms highlighted in blackagainst a cloudy background, “…possess something of Chagall’senchanting visions, the guileless piety of Roualt. The resonantcolour of Expressionists and the intuitive wisdom of the peasant”as expressed by the art critic Graham Watson. ,Indeed, Domsaitis’s Flower Piece exudes the timeless qualities thatappeal to a new generation of artists as in the floral still life’s ofGeorgina Gratrix, Mia Chaplin and others. - C.K.Alexander, L and Cohen E. (1990).150 South African Paintings Past and Present. Struikhof,Cape Town.Drunga, M. (1981). “Pranas Domsaitis: Rediscovered Scion of Expressionism”, in LithuanianQuarterly Journal of Arts and Sciences, 27 (4).BialopetraviÐienÐ, L. (2001). “Artist Pranas Domsaitis: 1880 – 1965” (Pranas Domsaitis Galleryonline) http://ldmuziejus.mch.mii.lt/PDG/P_Domsaitis_en.htmVerloren van Themaat, E. (1976). Pranas Domsaitis. C. Struik Publishers: Cape Town.
Lot 50
Nano Reid (1900-1981)Artist in the Country (1973)Oil on board, 50 x 60cm (19¾ x 23½)SignedProvenance: With The Dawson Gallery, Dublin.Exhibited: The Dawson Gallery, solo exhibition, Dublin 1973, Catalogue No.10; 'Nano Reid Retrospective', Dublin and Belfast 1974/5, Catalogue No.94, illustrated p.22; Arts Council of Ireland, 'The Delighted Eye', 1980, Catalogue No.72; Belltable Arts Centre, 'Towards the World's Edge', Limerick 1981, Catalogue No.29.In his memoir A Passion for Collecting, Patrick Murphy recalls that in 1973 he wandered into a solo exhibition of Nano Reid’s at the Dawson Gallery and was ‘greatly smitten by the exceptional quality of these late paintings’ (1). He quickly sold some shares in order to buy two paintings, one of which was Artist in the Country (2). Murphy recalls that these purchases marked the beginning of his relationship with the Dawson Gallery and its proprietor Leo Smith who told him ‘At last, you have discovered where to find the best pictures in Ireland’ (3). Anne Margaret (Nano) Reid (1900-1981) was born in Drogheda, the daughter of a publican. She attended the Sienna Convent in the town before winning a scholarship to the Metropolitan School of Art, Dublin, where she was taught by Sean Keating and Patrick Tuohy. The artist Hilda van Stockum, who befriended Reid at art school in Dublin, recalled her as ‘a fierce red-head, staring with keen green eyes behind spectacles, she was uncompromising, blunt and desperately looking for truth’ (4). Reid furthered her art education in Paris at the Academie de la Grand Chaumiere and in London at the Central School of Art and Chelsea Polytechnic before returning to Dublin. From 1934, she exhibited regularly with the Dublin Society of Painters and began to establish a reputation particularly for her portraits many of which featured her friends from Dublin’s literary circles. Despite finding critical success and, along with Norah McGuinness, representing Ireland at the Venice Biennale in 1950, as Brian Fallon has recently argued, Reid is not as well-known as she deserves to be largely because she was an innovator and ahead of her time: ‘Nano Reid is a major Irish painter, a thorough-going original and innovator, and that it is precisely this originality which has worked against her in certain quarters' (5). As works such as Artist in the Country and Boyne Fishing suggest, Reid often flouted the traditional laws of perspective and depicted some elements of the composition from above while other parts, particularly figures, are illustrated more conventionally. Today we can see her approach to perspective as a direct legacy of Cubism which she would have encountered both in Paris in the 1920s and through the work of Irish artists including Jellett, Hone and Swanzy.Reid’s handling of paint and her preference in works such as Boyne Fishing and The Farm Hand to render her subjects in loose, energetic brush strokes that deposited thin layers of paint in a distinctive earthy palette of olive green, grey, umber and ochre, also sets her apart from her Irish contemporaries and suggests the influence of expressionism as manifested in Germany and particularly France. Patrick Murphy recalls that Artist in the Country is a portrait of painter Kit Elliot in her kitchen. The figure of the artist bent over her work occupies the left hand corner of the canvas, a black cat on a chair sits in the centre and three red hens can be seen in the garden outside. Cats often appear in Reid’s work and Brian Fallon argues that the ‘airborn animals’ that feature in her work ‘probably derive from Chagall’ (6). While the painting is primarily green, unusually flashes of cobalt blue and areas of light pink and mauve help to define the forms and suggest a domestic interior. Although her influences were international, Reid’s subject matter was often personal and linked to her home in Drogheda and the Boyne Valley. James White, Director of the National Gallery of Ireland, (1964-1980) believed that ‘the surroundings of Drogheda had a big influence on Nano.’ She told the journalist Martin Dillon in 1974 , ‘What started me off was an interest in the prehistoric Irish remains. An interest grew up around all that and the natural thing was to paint it. … I looked around me more and painted what appealed to me in an emotional way. The thing is I have to have a subject that I feel about and the only ones I feel about are those places (Boyne Valley). There is no use in trying to paint a place I have no feeling for. The essence of a place is very important to me’ (7). Although Reid’s images of Drogheda and the Boyne Valley were not intended to be documentary, paintings such as Boyne Fishing constitute a valuable record of the town and its inhabitants and record and preserve customs ways of life that are long gone. Murphy bought Boyne Fishing directly from Reid during a visit to Drogheda at the invitation of Nano and her sister. It appealed to him for its ‘anarchic energy and subtle execution.’ (8) Boyne Fishing shares its subject matter with the earlier work Salmon Fishing in the Boyne which is more representational and clearly depicts the fisher men, their currachs and nets. In the The Farm Hand Reid, depicts another image of everyday work in the rural landscape. Despite being loosely sketched, in both The Farm Hand and Boyne Fishing, Reid has captured the effort, focus and strain in the men’s limbs and stance. Although her family ran a pub in town, the sight of men and women working in the fields would have been familiar to Reid and she enjoyed elevating these manual labourers to heroic figures rooted in the landscape. The Boyne Valley was of central importance to Reid but she also painted other areas of Ireland including Connemara, where she stayed on the island of Inishlacken with her friend Gerard Dillon, and West Cork. In The West Cork Mountains (1949) Reid has captured the barely tamed vegetation of the Ireland’s south west coast where the verdant green flora is punctuated by dark pink Fucshia and the vibrant yellow of buttercups and whins. Patrick Murphy recalls first seeing The West Cork Mountains (1949) at Reid’s retrospective organised by the Arts Council in 1974 and that the ‘stroke of searing yellow paint atop the mountains smote me to the heart’ (9). The work belonged to William O’Sullivan, librarian of Trinity College Dublin, but Murphy vowed then that if it ever came up for sale, he would try to buy it. In 2001 he realised that ambition and acquired this work which he thought ‘had magic its makeup’ (10). Dr Riann Coulter(1) Patrick Murphy, A Passion for Collecting: A Memoir by Patrick J Murphy, Hinds, Dublin, 2012, p. 113.(2) Murphy, A passion for Collecting, 2012, p. 69-70.(3) Murphy, A passion for Collecting, 2012, p.115.(4) Hilda van Stockum, Dublin art school in the 1920s (part 1), Irish Times, 6 March 1985)(5) Brian Fallon, ‘Sophisticated Primitive’ Irish Arts Review, Autumn 2019 Vol. 36., No. 3 , p. 75. (6) Fallon, p. 76. (7) Nano Reid interviewed by Martin Dillon, BBC Northern Ireland, 1974, hand written transcript in Reid Archives, Highlanes Gallery, Drogheda. (8) Murphy, p. 166-167.(9) Murphy, p. 331-332.(10) Murphy, p. 331-332.
Lot 131
*After Marc Chagall (French-Russian, 1887-1985) 'THE LAMENTATIONS OF JEREMIAH' Lithograph printed in colours, from the 'Bible' series, printed by Mourlot Frères, Paris, published in 'Verve' magazine volume VIII, numbers 33 & 34, on wove paper, the full sheet printed to the edges; with four more lithographs printed in colours by the same hand 'THE MEETING OF RUTH AND BOAZ'; 'THE FACE OF ISRAEL'; 'DAVID SAVED BY MICHAEL'; 'THE ANGEL' largest 35.3 x 26.2cm, unframed (5) *Artist's Resale Right may apply to this lot.
Lot 141
*After Marc Chagall (French/Russian, 1887-1985) DRAFTS FROM THE 'JERUSALEM WINDOWS' SERIES Seven offset lithographs printed in colours, 1962, including REUBEN, SIMEON, LEVI, JUDAH, DAN, NAPHTALI and ZEBULUN, all double sided, from the book 'The Jerusalem Windows' by Chagall and Jean Leymarie, published by George Braziller Inc. in association with Horizon Magazine, on wove paper, the full sheets each sheet 32.5 x 24.7cm, unframed (7) *Artist's Resale Right may apply to this lot.
Lot 130
*After Marc Chagall (French-Russian, 1887-1985) 'ESTHER' Lithograph printed in colours, from the 'Bible' series, printed by Mourlot Frères, Paris, published in 'Verve' magazine volume VIII, numbers 33 & 34, on wove paper, the full sheet printed to the edges; with four more lithographs printed in colours by the same hand 'AHASUERUS SENDING VASHTI AWAY'; 'JOB AT PRAYER'; 'MOSES RECEIVING THE TEN COMMANDMENTS'; 'LES MUSICIENS VAGABONDS' largest 35.3 x 26.4cm, unframed (5) *Artist's Resale Right may apply to this lot.
Lot 142
*After Marc Chagall (French/Russian, 1887-1985) DRAFTS FROM THE 'JERUSALEM WINDOWS' SERIES Six offset lithographs printed in colours, 1962, including GAD, ASHER, ISSACHAR, ZEBULUN, JOSEPH and BENJAMIN, all double sided, from the book 'The Jerusalem Windows' by Chagall and Jean Leymarie, published by George Braziller Inc. in association with Horizon Magazine, on wove paper, the full sheets each sheet 32.5 x 24.7cm, unframed (6) *Artist's Resale Right may apply to this lot.
Lot 550
Three ebonised framed and glazed colour advertising posters promoting Marc Chagall, one dated June 1962, each approx. 33.5cm x 24.5cm (3) In ouropinion the prints are original dating from the date of the events. Upon close inspection they are very slightlydiscoloured giving the impression of age.
Lot 31
Marc Chagall, French/ Russian (1887 - 1985) Color Etching and Aquatint on Imperial Japan Paper "The Painter in front of the Easel 1975-76" Pencil Signed and Numbered 6/25 on Lower Margin. Published by Editions Maeght, Paris. Original invoice included. Measures 18" H x 13-1/2" W, frame measures 28-1/2" H x 24-1/4" W. Condition: Some toning and very light foxing Estimate: $2000.00 - $4000.00 Domestic Shipping: $165.00
Lot 5
NO RESERVE Chagall (Marc).- Sorlier (Charles) Marc Chagall: The Illustrated Books, text in English and French, Paris, 1990 § Kamensky (A.) Chagall: The Russian Years 1907-1922, 1989 § Forestier (Sylvie) Les Chagall de Chagall, Paris, 1988 § Chagall (Marc) Arabian Nights..., Munich, 1988, illustrations, many colour, original cloth with dust-jackets, the last also with slip-case; and 9 others on Chagall, 4to (13)
Lot 2200
Andy Warhol (American, 1928 - 1987). "Baron Philippe Rothschild". Color offset lithograph with gold and blind embossing. c1975. Signed in black marker, center left. Edition unknown, presumed very small. Very light cream wove paper with gold embossing and letterpress. Full margins. Fine impression. Very good to fine condition with crisp corners; the label has never been affixed to a bottle. Literature/catalogue raisonne: Paul Marechal, “Andy Warhol Ephemera…Catalogue Raisonne, 1950-1987.” Lyon, France: Les amis du Musee de l’Imprimerie, 2018, Section 14, no.53. Overall size: 6 x 4 in. (152 x 102 mm). A limited number of these labels were printed exclusively for distribution to friends, suppliers, etc., and were not intended to be used on the bottle. Chateau Mouton Rothschild is a wine estate located in the village of Pauillac in the Medoc, 30 miles northwest of the city of Bordeaux, France. It produces one of the world's greatest clarets. In 1946 the vineyard began the tradition of having each year's label designed by one of the world's great artists or sculptors of the day (Picasso, Chagall, Miro, etc.). For the 1975 vintage label, Warhol juxtaposes two different images of Baron Philippe Rothschild. Image copyright © Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York. [28401-1-400]
Lot 191
Aleksandr Yakovlevich Golovin (Russian, 1863 - 1930). "Set Design". Mixed media (watercolor, gouache, pen, pencil). c1910-20. Signed with the initials "A.G." in Cyrillic on the support mount, lower right, recto. Supple, wove paper. Overall condition very good to fine. The drawing is affixed to the original support mount. The drawing itself has no holes, tears, foxing, etc. The colors are very fresh. There is some minor surface soiling middle left, else just very nice. Image size: 11 x 16 in. (279 x 406 mm). Works by Golovin of this caliber are rare. Aleksandr Golovin studied at the Moscow College of Painting, Sculpture and Architecture initially as a student of architecture and later as a painter. He lived and worked in Moscow as an interior painter, furniture designer and decorator tradesman, and in 1900, in collaboration with Konstantin Korovin, he designed the interior décor of the Russian Empire pavilion at the Paris World’s Fair. Golovin moved to St. Petersburg in 1901, where he worked prominently as a stage designer until the Russian Revolution of 1917. He was the leading designer for the theaters in St. Petersburg at this time, and an important contributor to the legendary Ballets Russes, which commissioned the most esteemed choreographers, dancers, musicians and stage designers of the era, including Natalia Gontcharova, Mikhail Larionov, Marc Chagall, George Braques, Joan Miró, Max Ernst, Henri Matisse, and Pablo Picasso. Please note: this work is being exhibited in an exhibition frame and is being sold unframed. [18217-4-8000]
Lot 2416
A Georges Braque lithograph Mourlot print circa 1959, A Mark Chagall lithograph Mourlot print circa 1959, A Henri Matisse print circa 1935, a Paul Klee print, an Elisabeth Frink print circa 1975, an Eric Gill engraving circa 1938, 2 Henry Moore Shelter sketch prints circa 1940, (8 in total, all mounted but unframed).
Lot 89
δ Marc Chagall (1887-1985)L'Echo (Mourlot 340; see Cramer Books 46)Lithograph printed in colours, 1960, from the edition of 250, on Arches wove paper, as included in 'Daphnis and Chloé', printed by Mourlot, published by Tériade, Paris, the full sheet, 422 x 642mm (16 5/8 x 25 1/4in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 83
δ Marc Chagall (1887-1985)Four Lithographs (Mourlot 126, 141, 142, 366)Four lithographs printed in colours, 1956-1962, three from 'Bible' one from 'Jerusalem Windows', each on wove paper, 355 x 260mm (14 x 10 1/4in) (and smaller) (4) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
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