Sebastian Vrancx, 1573 Antwerpen – 1647 ebenda, zug. FESTBANKETT MIT JAGDSZENE UND SCHLOSSANSICHTÖl auf Leinwand. Doubliert.143 x 202 cm.Um 1595.In aufwendig gearbeitetem, perlmuttverzierten Rahmen.Als Zeitgenosse von Louis de Caullery und Lucas van Valkenborch füllte Sebastian Vrancx eine Sonderstellung aus, und das vorliegende Gemälde wiederum sticht aus den Vergleichsbeispielen der Zeit hervor. Die vorliegende Szene eines Festbanketts in einem Park kann mit einem großen Gemälde ähnlicher Größe (146,5 x 190,5 cm) von Sebastian Vrancx verglichen werden, das im Musée des Beaux-Arts in Rouen verwahrt und auf um 1595 datiert wird „Fête dans les jardins du duc de Mantoue“ (Inv.Nr. 1890. 1.1). Aufgrund des akzentuierten perspektivischen Effekts mit dem großen Banketttisch, kann auch ein anderes Gemälde desselben Künstlers (91 x 126 cm) im Museum der Schönen Künste in Budapest als Vergleich herangezogen werden (siehe Ursula Härting, S. 369, Nr. 1645). Das vornehmliche Thema des vorliegenden Gemäldes, nämlich das Festbankett im Freien, wird vom Maler ganz nah an den Betrachter herangerückt, sodass die Distanz von Bild- und Betrachterraum gering ausfällt bzw. der Betrachter eingeladen ist, am Festmahl teilzunehmen, die Distanz von Ort und Zeit zu überwinden. Besonders ist neben dem kulturhistorischen Wert des Gemäldes mit der dargestellten Kleidung, den Gerätschaften und der Tischkultur auch die Kombination von Festbankett und Jagdszene mit Hirschhatz, die parallel zu einander dargestellt sind und gleichzeitig thematisch aufeinander aufbauen – etwa in Form der Fasanenterrine auf dem Tisch. Wie auch bei den Vergleichsbildern zeigt das Gemälde nicht nur die höfische Festkultur der Renaissance, sondern auch ein Gebäude der Zeit mit in der Zeit typischem parkähnlichem Anwesen. Manchmal lassen sich die Gebäude in Vrancx Schaffen verorten und vielleicht gelingt es auch bei diesem opulenten Werk, das vor Kolorit nur so strotzt, eines Tages das dargestellte Schloss und damit auch den Schlossherrn, der hier besonders prominent in Rot gekleidet dargestellt ist, zu identifizieren.Der Maler, der auch als Begründer des flämischen Militärgenres gilt, war laut dem Biografen Carel van Mander d. Ä. (1548-1606) ein Schüler des Adam van Noort (1562-1641). Er begab sich, wie die meisten seiner Kollegen, 1597 nach Italien, was in der Folge Einfluss auf die Darstellung antiker Ruinen und römischer Bauwerke in seinem Werk nahm. 1600 wurde er Mitglied der Antwerpener Lukasgilde, wo er mit seinen Zeitgenossen wie Jan Brueghel d. Ä. (1568-1625), Frans Francken d. J. (1581-1642) oder auch Hendrik van Balen d. Ä. (1575-1632) befreundet war. So weist sein Werk auch manche Gemeinsamkeiten mit denen dieser Künstler auf. Sein Ruhm führte schon zu Lebzeiten zu Vervielfältigung seiner Bilder in Kupferstichen. Provenienz: Château de Joancy, Frankreich. Sammlung Bernard Collette, Chef des Monuments Historiques.Sammlung des Duc de Tamames, Mesia del Barco, Urgroßneffe von Ferdinand de Lesseps (1805-1894, Diplomat und erfolgreicher Erbauer des Suezkanals). Anmerkung:Das Schloss Joancy, aus dem das hier angebotene Gemälde stammt, wird erstmals im 12. Jahrhundert erwähnt. 1563 wurde nach Abriss das heutige Schloss durch Nicolas Dange de Troyes unter Inspiration durch Sebastiano Serlio errichtet, der von Francois I zum Bau des Schlosses von Fontainebleau geholt worden war. Jüngst wurde das Schloss liebevoll und fachkundig innen wie außen vom Vorbesitzer des Gemäldes renoviert. 1976 war das Schloss Bestandteil einer Reportage des Fernsehsenders Antenne 2 TV.Literatur:Vgl. Ursula Härting, Gärten und Höfe der Rubenszeit. Im Spiegel der Malerfamilie Brueghel und der Künstler um Peter Paul Rubens, Ausstellungskatalog, Gustav-Lübcke-Museum, Hamm, 15. Oktober 2000-14. Januar 2001, Landesmuseum, Mainz, 4. März 2001-24. Juni 2001, München 2000, S. 380-381.Vgl. Thomas Fusenig, Komödianten im Lustgarten. Zur Funktion von Gärten und Gartendarstellungen um 1600, in: Die Gartenkunst, 14, 2002.Rép Magazine L‘Événement. Biennale des antiquaires, mit Farbabb., 22. April 1993, Nr. 3. Hier beschrieben als: „Ein außergewöhnliches Gemälde, außerordentlich dekorativ, reich im Kolorit (.) Dieses Gemälde mit respektablen Abmessungen ist auch wegen seiner damals kaum genutzten Thematik außergewöhnlich: Jagdszenen, Festessen, höfisches und galantes Leben“ (übersetzt aus dem Französischen).Ausstellung: Fontainebleau, Cercle International, Biennale des antiquaires, François 1er et la Renaissance, 26. April -5. Mai 1991. Ecole de Fontainebleau fin du XVIe siècle – début du XVIIe siècle, Les plaisirs de la vie seigneuriale (Stand Vidal – Naquet). (1380171) (13)Sebastian Vrancx,1573 Antwerp – 1647 ibid., attributedBANQUET WITH HUNTING SCENE AND PALACE VIEW Oil on canvas. Relined.143 x 202 cm.ca. 1595.Sebastian Vrancx was accepted into the Guild of Saint Luke in Antwerp in 1600, where he was acquainted with contemporaries such as Jan Brueghel the Elder (1568 - 1625), Frans Francken the Younger (1581 - 1642) and Hendrick van Balen the Elder (1575 - 1632). Hence, his oeuvre shows some similarities with these artists. During his lifetime his reputation led to his paintings being reproduced in copper engravings.
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Matthias Stomer d. Ä., um 1600 – um 1650, zug.DER HEILIGE HIERONYMUSÖl auf Leinwand. Doubliert.72,5 x 93 cm.Stomers Schaffen blieb während den mehr als zwanzig Jahren, die der Maler in Italien zwischen Rom, Neapel und Sizilien verbrachte, mehr oder weniger unverändert. Wahrscheinlich traf er in den späten 1620er-Jahren in Rom ein, möglicherweise um 1628 (siehe Angheli Zalapì, in: Dipinti caravaggeschi, Carrara 2000, S. 48-79, 83-88).Der Heilige Hieronymus ist hier jugendlicher dargestellt, als es ikonografisch Brauch war – rustikal und muskulös, als hätte Stomer einen Tischler oder Arbeiter als Modell angeheuert, im Gegensatz zur üblichen Darstellung des Heiligen Hieronymus als alten Mann mit faltiger Haut. Er trägt einen roten Überwurf, der auch seinen Kopf bedeckt. Seine beiden kräftigen Hände hat er auf einen glänzenden Schädel gelegt. Die Komposition wird allein von ihm beherrscht, der eingetaucht in einen dunklen Raum, vom Schein einer verdeckten Kerze dramatisch beleuchtet wird.Das Werk lässt sich mit ähnlichen Kompositionen des Künstlers vergleichen, deren Protagonisten ebenfalls Einzelfiguren oder bestenfalls Figurenpaare sind, die halbfigurig dargestellt von einer Kerze oder Öllampe erleuchtet werden. Das Bild Christus vor Pilatus aus der Sammlung Koelliker, das 2006 in Ariccia ausgestellt war (Gianni Papi, in: La schola del Caravaggio, 2006, S. 256), zeigt beispielsweise dieselbe Raumlösung mit einem dunklen Bereich, aus dem Licht hervortritt. Ebenfalls vergleichbar ist die Komposition der Gefangennahme Jesu (Sotheby‘s, London, 16. April 1997, Lot 152), welcher im Gebet mit einem Raufbold zu sehen ist und dessen roter Mantel beinahe mit dem hier dargestellten identisch ist. Dem vorliegenden Werk noch näher ist „Der heilige Petrus im Gebet“ (Christie‘s, London, 30. April 2015, Lot 502), der sich eines ähnlichen kompositorischen Kunstgriffs in Form des schwarzen Balkens bedient, der die Öllampe zum Teil verdeckt, aber immer noch zulässt, dass sie die Szene erhellt. Ein solcher Kniff scheint auf eine Erfindung seines holländischen Kollegen, den Caravaggisten Gerrit van Honthorst bzw. Gherardo delle Notti, als der er in Rom gepriesen wurde, zurückzugehen. Derselbe Balken, eingesetzt, um das Licht einer Öllampe teilweise zu verdecken und dadurch gleichzeitig zu betonen, findet sich auch in Stomers „Alter Frau beim Beten des Rosenkranzes“, ehemals in der Sammlung Nicolson in London (siehe Benedict Nicolson, Caravaggism in Europe, Turin 1990, Bd. III, Abb. 1527).Es ist schwierig, Matthias Stomers Schaffen in eine zeitliche Abfolge zu bringen. Es fehlen Datierungen, von denen man ausgehen könnte, zumal nur eines seiner Werke, „Das Wunder des heiligen Isidor“ [Isidro Labrador] in Caccamo, datiert ist mit 1641; darüber hinaus macht es die allgemeine stilistische Uniformität von Stomers Oeuvre schwierig, eine Entwicklung abzulesen.Neu entdeckte dokumentarische Hinweise haben mehr Gewissheit über Stomers neapolitanische Periode gebracht, die bis vor Kurzem aufgrund des Vorhandenseins mehrerer Werke des Künstlers in der Stadt nur angenommen wurde. Man weiß jetzt, dass Stomer ab spätestens August 1635 bis Juli 1638 dort lebte (siehe Marije Osnabrugge, New Documents for Matthias Stom in Naples, in: The Burlington Magazine, 1331, 2014, S. 107f.).Aufgrund auffälliger stilistischer Gemeinsamkeiten mit Werken, die für gewöhnlich in die neapolitanische Zeit des Künstlers datiert werden – etwa mit den beiden ehemaligen Casadei-Bildern „Verkündigung“ und „Anbetung des Jesuskinds“, die jüngst in einer Honthorst-Ausstellung zu sehen waren (Gherardo delle Notti, 2015, S. 240-242, Einträge von Gianni Papi und G. Badino), dem „Tod des Seneca“ im Capodimonte und der „Anbetung der Hirten“ im Museo Filangieri in Neapel –, lässt sich auch das vorliegende Gemälde in den zeitlichen Kontext von Stoms neapolitanischer Periode einordnen.Literatur:Gianni Papi, Tre dipinti di Matthias Stom, in: Gianni Papi, Senza più attendere a studio e insegnamenti. Scritti su Caravaggio e l‘ambiente caravaggesco, Neapel 2018, S. 243-247 (in Kopie vorliegend). (13901110) (18) (†)Matthias Stomer the Elder,ca. 1600 – ca. 1650, attributedSAINT JEROME Oil on canvas. Relined.72.5 x 93 cm.
Dirck van Baburen, um 1594 Utrecht – 1624 ebenda, zug.PORTRAIT DES APOSTEL JACOBUS DER ÄLTEREÖl auf Leinwand.77 x 63,5 cm.In ornamental reliefiertem Rahmen.Das hier angebotene Gemälde wird beim RKD Den Haag als „Dirck van Baburen zugeschrieben“ unter Nummer 292950 geführt.Vor unbestimmtem Hintergrund das nach links gerichtete Profilbildnis eines älteren Herren mit Pilgerstab. Auf seiner Schulter prangt eine Jacobsmuschel, sein Haupt umspielt ein raumgreifender Nimbus. Van Baburen, der zusammen mit Hendrick ter Brugghen und Geritt van Honthorst zum Kreis der niederländischen Caravaggisten gehörte, war zwar noch 1611 in Utrecht als Schüler des Paulus Moreelse (1571- 1638) verzeichnet, reiste aber alsbald nach Italien, wo er bis 1621 blieb und nach seiner Rückkehr nach Utrecht 1624 starb. 1615 führte er in Parma das Altarbild der Kirche Santa Maria die Servi aus. In Rom, wo Baburen bis 1621 blieb, wird auch das vorliegende Gemälde entstanden sein, das die klassischen Züge Baburens zeigt, der auch vom Einfluss des Jusepe de Ribera (1591-1656) zeugt, der sich sowohl in Parma als auch in Rom aufhielt.Provenienz:Finarte, Mailand, 20. November 1955, Lot 537 (als Dirck van Baburen).Privatsammlung, Italien.Als zugeschrieben an Dirck van Baburen am 23.10.2018 im Dorotheum Wien angeboten. Die Zuschreibung geht zurück auf Paul Huys Janssen, der das Werk in die italienische Frühzeit des Künstlers datierte. Die damalige Beschreibung umfasste folgende Einschränkung: Wayne Franits hat die Zuschreibung an Dirck van Baburen auf Grundlage einer hochaufgelösten Digitalfotografie nicht anerkannt.Literatur:Vgl. X. F. Salomon, The Young Ribera, in: The Burlington Magazine, Nr. 153, 2011, S. 475-478.Vgl. Wayne E. Franits, The Paintings of Dirck van Baburen, Amsterdam/ Philadelphia 2013. (1390111) (13) (†)Dirck van Baburen,ca. 1594 Utrecht – 1624 ibid., attributedPORTRAIT OF THE APOSTLE SAINT JAMES THE ELDER Oil on canvas.77 x 63.5 cm.The painting on offer for sale in this lot is listed at the RKD in The Hague under no. 292950 as attributed to Dirck van Baburen.
Wade Guyton (American, b. 1972). Photographic collage titled "The Tomato Lovers" depicting two figures embracing in a red circle layered over a photograph of a tomato plant, 2006. Signed, numbered 48/100, and dated along the verso. The work was designed in 2002 for Texte Zur Kunst, a German contemporary art magazine.Provenance: Galerie Fluegel-Roncak, Nurnberg, Germany; Private Minnesota Collection.Lot Essay:Wade Guyton, along with Kelley Walker, Seth Price, and Tauba Auerbach, is among some of the artists at the forefront of new ideas on appropriation and abstract art utilizing 21st-century digital technology. Indeed, many of Guyton's earlier works harnessed the power of simple inkjet printers. He would feed materials such as book pages, magazines, and blank canvas through the printer, embracing the imperfections that would result from using unconventional materials.Many of his recent works have used headlines from the New York Times, commenting on times of unrest and unease politically and socially. Some of the front pages have been halved or split down the center, signally a rift within the country when juxtaposed with pictures of violence and headlines of recent events.Guyton has exhibited at the Whitney Museum of Art, Kunsthaus Bregenz, Kunsthalle Zurich, as well as the Venice Biennale.Sight; height: 16 1/4 in x width: 11 3/4 in. Framed; height: 25 1/4 in x width: 20 3/4 in.
OZ MAGAZINEA complete run of the 48 issues of the London edition, illustrated throughout, some issues with folding posters (Che Guevera, Robert Crumb, 'Outcry') and inserts (advertisement flyer, and subscription form), publisher's pictorial wrappers, one or 2 creases but generally good, folio, Privately Printed, 1967-1973; together with another near complete set lacking issues 5 and 19 (94)Footnotes:A GOOD COMPLETE RUN OF OZ, the most iconic and controversial counter-culture magazine of the sixties and early seventies, covering subjects such as feminism, gay rights, racism, sex, drugs, rock music and the Vietnam War.The magazine's use of visually striking graphic art and innovative printing techniques (including fold-out posters, metallic foils and new fluorescent inks), and provocative photographic images, was accompanied by equally provocative editorial content. Issue 28 (the 'School Kids' issue), including a very adult Rupert Bear, led to obscenity charges being brought in 1971 against the three editors, a trial described by John Mortimer, counsel for the defence, as 'standing at the crossroads of our liberty, at the boundaries of our freedom to think and say and draw and write what we please'. The three were found guilty, but their convictions were overturned following appeal.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
BORGES (JORGE LUIS)El Aleph, FIRST EDITION, THE AUTHOR'S SIGNED AND ANNOTATED COPY, with the author's signature on the title-page, his ink emendations on 22 pages, the otherwise blank 'Indice' page at the end filled with a list of quotes from the book (this also signed), and underscoring throughout, varying degrees of browning to text, untrimmed in publisher's illustrated olive wrappers over limp boards, extremities rubbed, some staining mainly to spine and lower wrapper [Becco 37; Loewenstein 355; Vallely 112], 8vo, Buenos Aires, Editorial Losada, 1949Footnotes:BORGES'S ANNOTATED COPY OF THE FIRST EDITION OF THE ALEPH, his 'second great gathering of Ficciones, a worthy successor to the first, and the confirmation of Borges' international stature... Borges himself conceded that, along with Ficciones [1944], this was his major book' (Charles Vallely, Jorge Luis Borges. A Catalogue of Unique Books and Manuscripts, Lame Duck Books, 2003). The collection comprises thirteen short stories and an epilogue, including the famous title story, which was first published in the magazine Sur in September 1945, and Deutsches Requiem, a manuscript of which is included in the present sale.In the present copy Borges has underscored words, phrases and sentences on over 50 pages, with authorial deletions and corrections on 22 of them, ranging from a single word to a longer phrase. On the page with the printed heading 'Indice' at the end, he adds a list of 10 phrases taken from the book, with their page references. The corrections and this list appear not to have found their way into modern editions (although it has not been possible to consult the 1952 augmented second edition), but Borges was famous for endlessly revisiting, revising and annotating his manuscripts and books: 'There is no such thing as a first reading; for Borges, a first writing... His texts are always rewritten, never (I think) given once and for all... He insistently declares that texts are not finished, because they need to be completed by generations of readers. I take it that he also thinks that no writer ever really finishes anything' (Daniel Balderston, How Borges Wrote, University of Virginia Press, 2018).Provenance: Private collection.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
BORGES (JORGE LUIS)El jardin de senderos que se bifurcan, FIRST EDITION, AUTHOR'S PRESENTATION COPY TO VICTORIA OCAMPO, inscribed on half-title 'Para Victoria Ocampo, amiga e colaboradora de esta iniciativa feliz, con todo mi agradecimiento y admiración. Jorge Luis Borges. San Isidro, 1942', a little light browning, one short nick to fore-edge of title, untrimmed and partially unopened in publisher's light blue wrappers printed in white, a little light soiling and creasing towards edges, spine slightly faded but otherwise very good [Becco 29; Loewenstein 355; Vallely], 8vo, Buenos Aires, Editorial Sur, 1942 [colophon: 30 December 1941]Footnotes:'ARGUABLY THE MOST IMPORTANT WORK OF MODERN LATIN AMERICAN LITERATURE': INSCRIBED BY BORGES TO HIS 'COLLABORATOR' VICTORIA OCAMPO, THE DEDICATEE OF THE TITLE STORY AND ONE OF THE FIRST LATIN AMERICAN FEMINISTS.'This is Borges's crucial book, arguably the most important work of modern Latin American literature.... it is easy to forget how original, indeed revolutionary, were Borges's procedures, especially in Latin America, which international modernism had yet to penetrate... The light blue wrappers... seem an unmistakable reference to James Joyce's Shakespeare & Co.. Ulysses... of which Borges proclaimed himself the first hispanic explorer in his callow youth' (Charles Vallely, Jorge Luis Borges. A Catalogue of Unique Books and Manuscripts, Lame Duck Books, 2003).El jardín de senderos que se bifurcan ('The Garden of Forking Paths') was Borges's first collection of short stories, most of which had previously been published by Victoria Ocampo in Sur. Although it was critically lauded, the book failed to win the literary prizes many expected, leading Ocampo to dedicate a large part of the July 1941 issue of Sur to a 'Reparation for Borges'. The eight stories in El jardín, augmented by nine new ones, were then published as 1944's Ficciones, the work that would herald the author's international breakthrough. One of new stories was 'Funes el memorioso', a manuscript of which is included in the present sale.A key figure in Borges's life as far back as 1925, Victoria Ocampo (1890-1979) was an Argentinian writer, publisher, feminist and influential intellectual. She was nominated for the Nobel Prize in Literature in 1970, and is perhaps best known for having founded the most important Latin American literary magazine of the time, Sur, in the 1930s. During the same decade she also developed a close friendship with Virginia Woolf following her involvement in Borges's translations of A Room of One's Own and Orlando, but this ended after Ocampo attempted to persuade the camera-shy author to have her photograph taken. She also radically shifted her political views as the decade progressed. Having shown some initial admiration for Mussolini in Italy, she gave her support to the Republicans in the Spanish Civil War, edited an anti-Nazi magazine during World War II, was the only Argentinian to attend the Nuremberg Trials, and spent time in prison for expressing her anti-Peronist views in 1953.In her later life Ocampo became the first woman to be admitted to the Argentine Academy of Letters, and her many famous friends and guests included Stravinsky, Malraux, Tagore and Graham Greene, who dedicated The Honorary Consul to her. 'Elegant and aristocratic, Ocampo was one of the first Latin American feminists, and fought to uphold the rights of women authors; her 'Letter to Virginia' documents her beliefs' (E. Fishburn & P. Hughes, A Dictionary of Borges, Duckworth, 1990).Provenance: Victoria Ocampo, inscribed to her by Borges on half-title; private collection.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
BORGES (JORGE LUIS)Autograph manuscript of his short story 'Deutsches Requiem', signed ('Jorge Luis Borges') at the end, seemingly a corrected final draft of the version published in El Sur and then in El Aleph, with ink corrections, deletions (in some cases giving 3 options for a word and crossing through 2 of them), and re-arrangements of phrases or paragraphs, 8pp., written in black ink on 8 sheets of squared graph paper, recto only, some browning, 8vo (242 x 165mm. and slightly smaller), [c.1946]Footnotes:'MUCHAS COSAS HAY QUE DESTRUIR PARA EDIFICAR EL NUEVO ORDEN' - AUTOGRAPH MANUSCRIPT OF BORGES'S POWERFUL HOLOCAUST NOVELLA.Written at the time of the Nuremberg Trials, first published in the magazine Sur in February 1946, and included in the collection El Aleph three years later (see adjacent lot), 'Deutsches Requiem' is the fictional last testament of Otto Dietrich zur Linde, an unrepentant Nazi concentration camp Commander, torturer and murderer. After being tried and found guilty of crimes against humanity, he reflects on his own sins and those of Nazi Germany whilst awaiting the firing squad. Borges was always keen to stress that he was not solely concerned with the physical horror of the genocide, but also with 'lo trágico del destino alemán', the destruction of German spirit and culture as a whole (Epilogue to El Aleph).Some critics over the years have suggested that the author's technique of putting distance between the reader and the horrific events that took place represented a shying away from the subject. Apart from the fact that 1946 was undoubtedly too soon for such fictional depictions, it is difficult to avoid finding parallels with Michael Glazer's recent Oscar-nominated film, Zone of Interest, which adopts its own distancing technique by setting the entire film outside the camp walls. A loose adaptation of Martin Amis's 2014 novel, the film tells the story from the point of view of the Auschwitz Commandant, Rudolf Höss, and his family. Like the dispassionate zur Linde, Höss is 'less the ideologue and passionate Nazi of his professional career, more of a dispassionate strategist'. Our manuscript would seem to be a near-final draft, written on Borges's famous mathematical graph paper, which was perfectly suited to his methodical and precise methods of composition. The first few pages are written on every other line, with numerous alterations, whilst the second half is more neatly written on every line. Although there are numerous deletions, corrections and markings to indicate that various paragraphs, sentences and phrases are to be re-arranged or swapped (one paragraph is entirely crossed through but rewritten verbatim elsewhere), we can find only one textual difference from the version printed in El Aleph, which adds the final short sentence sentence 'Mi carne puede tener miedo; yo no.' ('My flesh may feel fear; I do not'). One other manuscript of the story is recorded by Daniel Balderston (How Borges Wrote, University of Virginia, 2018), presumably in private hands with no details given.Provenance: Lame Duck Books, purchased 2006; private collection.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
ROYALTY – EDWARD, DUKE OF WINDSORCorrected typescript draft of a long article titled 'The Story of the Education of a Prince by Edward The Duke of Windsor', published as The Education of a Prince in LIFE magazine, December 1947, a working proof heavily amended and with additions and corrections by the Duke of Windsor throughout in red pen, other amendments in pencil by the editor, additional passages typed on separate sheets and tipped in, some pages duplicated, some crossed through with red pen, comprising some 157 ruled yellow carbon paper pages and 18 mimeographed pages, the story written in three parts (Part I 'A Royal Boyhood', from birth to the accession of his father to the throne, Part II 'I, Edward Prince of Wales', from the coronation of George V to the outbreak of war, and Part III 'A Prince at War', on his wartime service and the immediate aftermath), c.175 pages, sections numbered 'Windsor I', 'Windsor II', 'Windsor III' etc., filing hole top left of each page, general dust-staining, marks and discolouration, contemporary red morocco, gilt coronet on upper cover, gilt title on spine within raised bands, gilt dentelles, marbled endpapers, 4to (280 x 235mm.), [n.d. but c.1947]; in a custom-made solander boxFootnotes:'THE POSITION TO WHICH I WAS BORN': EDWARD, DUKE OF WINDSOR WRITES CANDIDLY ON HIS CHILDHOOD & EARLY YEARS FOR AN AMERICAN MAGAZINE.The present typescript had its origins two years earlier when '...Reading LIFE in 1945 in the Bahamas, the Duke of Windsor was impressed by the understanding of Britain shown in a series about his old friend, Winston Churchill. The Duke had a mutual friend call up Charles J. V. Murphy, now a LIFE staff writer, a big, ducal-looking Bostonian who had written the article (with John Davenport). The friend's suggestion: the Duke of Windsor and Reporter Murphy ought to know each other because 'the Duke is thinking of doing some writing himself.' The result of the delayed meeting (Murphy first spent six months in the Pacific as a war correspondent) was a three-part story, written by the Duke and edited by Murphy, on 'The Education of a Prince.' It was published in LIFE in December 1947...' (Time website, 'The Press: Edward & Wallis', 22 May 1950). The sequel, A King's Story, another collaboration with Murphy, took up the story and was published in book form in 1951. As can be seen from our manuscript, Edward went through the proof with a keen eye, making extensive amendments, correcting facts and deleting certain passages. These deleted extracts, struck through firmly with red pen, show hitherto unseen material that was left out of the published version. A constant theme throughout is the overwhelming sense of duty and responsibility of his position and his frustration at the restrictions this brought, despite a life of privilege: '...the concept of duty was drilled into me and I never had the same sense that the days belonged to me alone... My father literally pounded good manners into us...'. The final words of the piece, written in exile after his abdication, are telling: '...I did not spare myself in striving to fulfil all that was expected of me in the position to which I was born...'.Part I begins with his birth and early childhood, with hazy memories of the elderly Queen Victoria ('...She wore shiny black shoes with elastic sides...') and gives an insight into an idyllic childhood at York Cottage on the Sandringham estate ('...an elegant, undoubtedly paternalistic, and self-contained existence...', the Christmas festivities '...Dickens in a Cartier setting...'). As he grows older, the realisation he is now in the public eye becomes more apparent ('...the most significant change has been the disappearance of privacy... I grew up before the age of photography. We were seldom recognised on the street, and when we were the salutation would be a friendly wave of the hand or, in the case of a courtier or a family friend, a polite lifting of the hat...'). Part II, entitled 'I Edward Prince of Wales' opens with his sorrow at the death of his grandfather Edward VII, a kindred spirit ('...the last Englishman to have an uninterruptedly good time...'), and the coronation of George V which he identifies as a turning point ('...I arrived at the end of my boyhood... Henceforth the demands of my inheritance would press upon me ever more fiercely...'). The final part, 'A Prince at War', covers the war years, with much on his frustration at not being allowed to fulfil his potential as a soldier ('...I was to discover that my trophy value exceeded my military usefulness...'). After the war he devoted himself to what he and his brothers described as 'Princing'. A tour of the country after the war opened his eyes to the poverty and discontent among the people after years of conflict. Despite that, in a letter to George V, he assures him, perhaps ironically in light of future events, that the monarchy is still strong: '...there seems to be a regular epidemic of revolutions and abdications throughout the enemy countries... of those that remain I have no hesitation in saying that ours is by far the most solid...'. Provenance: The Duke (1894-1972) and Duchess (1896-1986) of Windsor; presented by Maître Suzanne Blum, the Duchess of Windsor's French lawyer and executrix, to the present owner who had provided important assistance in the administration of the Duchess's estate.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
• EDMOND XAVIER KAPP (BRITISH 1890-1978) Edmond Xavier Kapp (lots 60-71) Oh to be silent! Oh to be a painter! Oh (in short) to be Mr. Kapp (Virginia Woolf) Introduction Widely remembered for his portraiture, in particular his distinctive form of character types (he did not like his work to be describe as caricature), Kapp was a highly versatile artist with an enquiring mind and a love of music. Appreciated in his lifetime also for his poetry and his evolving interest in abstraction, he aspired to write, mixed with the leading artists of the day and attracted the attention of critics and the cognoscenti. The following twelve lots from his estate capture the singularity of his artistic vision and his constant thirst for innovation. Born in Islington, London, the son of Jewish-German parents, Kapp studied in Berlin, Paris and Cambridge, where he had his first exhibition, wrote for Granta and the Cambridge Magazine and attracted the attention of Max Beerbohm. While a 2nd Lieutenant with the Royal Sussex Regiment in the First World War, he sketched portraits of his fellow soldiers to amuse them in the trenches, including the young poet Edmund Blunden, and crossed paths with William Rothenstein at Amiens, a meeting Rothenstein recalls in his autobiography Men and Memories. After the Armistice Kapp held his first one man exhibition at the Little Art Rooms, Adelphi, London, the catalogue introduction written by Beerbohm. Commissions followed, together with the publication of his first book: Personalities published in 1919 and reviewed by Virgina Woolf in her essay Pictures and Portraits. Prominent figures who featured in his early work included Edwin Elgar, Percy Wyndham Lewis and Richard Strauss. Later, after the War, subjects ranged from Albert Einstein (1923) to the Duke of Windsor, the future King Edward VIII (1932); of leading personalities in the arts he captured the characters of Aldous Huxley and Noël Coward. Kapp typically rejected supplying caricatures to newspapers, preferring to choose his own subjects. But he did take on commissions, such as his series Ten Great Lawyers published in 1924 in the Law Society Journal. And his work appeared in a wide variety of periodicals, most notably Time and Tide, output that resulted in the publication of further volumes of his collected portraits, and an exhibition of his work at The Leicester Galleries, the leading contemporary gallery in London of the day. In 1922 Kapp married Yvonne Meyer, journalist, photographer, translator and writer, now best known for her biography of Eleanor Marx. On their honeymoon the young couple visited Beerbohm in Rapallo and settled the following year in Rome where Kapp studied at Sigmund Lipinsky’s art school and under Antonio Sciortino at the British Academy. There too he met the American painter Maurice Sterne who encouraged him to paint in oil. Kapp also developed his interest in lithography as a means to sell limited editions of his more well-known sitters. It led in 1935 to a commission for portraits of twenty-five delegates to the League of Nations in Geneva. Publication of the series brought him to the attention of Pablo Picasso, and the beginning of a close friendship between the two artists. Kapp captured Picasso’s profile in a sketch of him in his studio at 23 Rue La Boetie, Paris in 1938, purportedly the only likeness for which Picasso agreed to sit (collection of the Victoria & Albert Museum). And there are relaxed and informal photos of Picasso in bathing trunks snapped by Kapp in 1948 outside the restaurant Chez Nounou and the Hotel de la Mer in Golfe Juan when holidaying with Picasso in the South of France. During the Second World War Kapp was an Official War Artist; after the War he worked as an Official Artist to UNESCO. He kept a studio at 2 Steeles Studios, Haverstock Hill in Hampstead, North London (lots 67 & 71) and in Beausoleil, near Monaco in the Alpes Maritimes (lot 61), and explored abstraction. String Quartet (lot 71) suggests his interest in synaesthesia and the work of Kandinsky; his playful Dragon Flight (lot 69) invokes the wit of Paul Klee, while the exploration of his medium in Abstract Composition (lot 69) is suggestive of fellow experimental artist Max Ernst.60EDMOND XAVIER KAPP (BRITISH 1890-1978)PORTRAIT OF A LADYsigned Kapp lower left; dated 1958 lower rightoil on canvas92 x 60.5cm; 36 1/4 x 23 3/4in (unframed)
• HEDWIG PILLTZ (BRITISH-HUNGARIAN 1896-1987) Hedwig Pillitz (lots 72-82) Introduction We know frustratingly little of the Hedwig Pillitz who excelled as a portraitist, and we often have scant information on her sitters. But she clearly had a cultured upbringing, was a talented portraitist, and was drawn instinctively to those in the arts - actors, musicians and writers. Born in Hampstead, Hedwig was the eldest daughter of Arpad Armin Pillitz (1867-1947) and his wife Josephine (née Fischer; 1876-1965) who had emigrated to England from Hungary. She had two younger siblings: a sister Doris (1905-1959) and a brother George (1909-1981). The family lived at 80 Canfield Gardens in South Hampstead and the girls attended the nearby South Hampstead High School where Hedwig excelled at art and Doris in music and drama. The sisters’ considerable accomplishments are mentioned in the 1926 South Hampstead High School Magazine Jubilee Number where they are listed as members of the school’s Past and Present Club. Doris was praised for her musical contribution at the Old Girls’ Dinner in July that year, and the ‘Art’ report records that Hedwig had exhibited a landscape in the 1926 ‘Paris Salon’. Elsewhere, under the heading ‘Recent News’ it was noted that Hedwig was showing a flower piece and a landscape at the Autumn Exhibition at the Walker Art Gallery, Liverpool and that Doris had gained a First Class degree in acting at the Central School of Speech Training and Dramatic Art, was the winner of the second year students’ Diction Competition, and had been awarded a prize for verse recital at the 1926 Oxford Recitations. Doris subsequently performed regularly as a cast member at the Old Vic theatre in the 1927-29 season. Meanwhile, Hedwig established her studio at 29 Abercorn Place, St John’s Wood, painting a range of notable sitters, women in particular, including the young artist and future novelist Barbara Comyns (lot 75). With many of Pillitz’s sitters being in the arts, it is unsurprising to find that her only painting in a public UK collection is of an actor: Dorothy Black in the role of Emily Brontë in The Brontes (Victoria & Albert Museum). Hedwig painted Black in the lead role in 1933, the year that the play, written by Alfred Sangster, transferred from Sheffield to the Royalty Theatre, London, and bequeathed it to the museum in her will. All Hedwig’s paintings in the present sale seem to have been painted from the late 1920s through until the 1950s.72 HEDWIG PILLTZ (BRITISH-HUNGARIAN 1896-1987)PORTRAIT OF PADDY GOODMAN VINEsigned PiLLiTZ lower rightoil on canvas61 x 51cm; 24 x 20in(unframed)
After Edward Onslow Ford, English, R.A., 1851-1901, Dancing, a bronze of a half nude figure wearing a slip flowing skirt and studded head-band, the circular tapering base inscribed Onslow-Ford, 80.5cm high overall, the figure - 64cm Footnotes: Note: Born in Islington, London, Onslow Ford originally trained as a painter at Antwerp Academy, 1870, but turned to sculpture while studying at Munich, 1871-4. Amongst his many public commissions are the statues to General Gordon, Chatham (1890, repeated at Khartoum, 1904) and Queen Victoria, Manchester (1901). A close associate of Alfred Gilbert (1854-1934), and a contributor to the New Sculpture movement, he exhibited busts, statuettes and genre pieces at the RA from 1875, and was elected ARA, 1888, and RA, 1895. Originally conceived as a pendent to 'Music', 1890, the figure in 'Dancing' wears a large ornamental headdress with two wings. It was illustrated in the 1890 edition of the Magazine of the Art and later exhibited at the Fine Art Society in 1902. A life-size cast of the work, without headdress is in the Lady Lever Art Gallery, Liverpool. The current lot is a reduction of this sculpture and forms part of an extended series of bronze statuettes of adolescent girls in poses loosely derived from mythology or allegorical themes which includes 'Folly', 'Peace', The Singer', 'Applause' and 'Echo'.
A Japanese Blank Firing Copy of a Luger Pistol, cocks, with detacheable magazine; a Sussex Armoury Blank Firing Copy of a Colt Python Double Action Revolver, with stained beech grips; a Sussex Armoury Die-cast Blank Firing Copy of Six Shot .45 Army Revolver, single action, finished in grey, with hinged loading gate; an MGC Diecast Blank Firing Copy of a .44-40 Long Six Shot Revolver, single action, nickel plated finish, with hinged loading gate (4)1 - Cocks, wear to paint, needs some attention; 2 - Clean, working condition; 3 - Needs a new trigger spring and polishing; 4 - Needs a new trigger spring.
Ephemera, a vintage Dolcis handbag crammed with an assortment of postcards, letters, envelopes and stamps being the correspondence from a daughter to her mother Mrs Budd who apparently worked for the International Banking Corporation in the 1910s and 20s, addresses include London, Paris, Japan and Italy. Also a deposit book, 1911 dated Harrods Estimate for Removals, carte de visite, 1922 Victoria Club For Ladies Grosvenor Place London handbook, Harrods receipts for Carpet Beating, Removals, Storage etc., Army & Navy copper stencil, 1915 Christmas card from Lord Fairfax, also 4 1922 copies of the USA magazine 'Saturday Evening Post', etc. A fascinating lot (mixed cond)
Photographs, a selection of military and aviation photographs to include an album of approx. 330 WW1 images taken in India showing soldiers in uniform, troops, mule drivers, native tailors etc. Aviation images include Vickers Vimy, Gloster Golden Arrow, Supermarine S6B and more. Sold together with a selection of other aviation ephemera to include Scottish BEA timetable, 1911 Flight magazine etc. (gen gd) (qty)
Football autographs, a large one owner collection of signed magazine pages, newspaper cuttings, letters & plain paper, mostly from the 1980's and being obtained by the collector in person or by correspondence direct to players or Clubs. Many signed team group pages inc. WBA, Birmingham City, Norwich, Luton, Huddersfield etc, many individual signatures inc. Pele, Kevin Keegan, Rodney Marsh, Pat Jennings, Ray Kennedy, Martin Peters, Terry Paine, Alan Ball, Allan Clarke and many others, viewing recommended (100s of signatures) (mixed condition, fair/vg)
Tobacco Advertising, a selection of approx. 120 items to include shop display, cigarette packets, coupons, blotter, wrappers, playing cards with advertising backs, magazine advertisements etc. Turkish Blend Cigarettes, Bacon Brothers (Navy Cut, Silver Cut, La Donna Bouquet), Fortnum & Mason tobacco, Papel Trigo, Old Chums Tobacco, Redford & Co (Virgin Leaf, Navy Cut, Upper Crust, American Smoking Mixture, Red Shag etc.) (mixed condition)
Football autographs, Germany, a collection of approx. 130 signed items, mostly cards & promotional photos, many different players & Clubs, noted Sepp Maier signed press photo, a magazine signed to cover by Gerd Muller, Kevin Keegan (Hamburgh promotional photo), Lothar Mattaus (promotional card), Kurt Niedermayer (promotional card) etc (gd/vg)
Tobacco Advertising, a selection of approx. 35 items to include cigarette and tobacco wrappers, magazine advertisements, Egyptian, Turkish and UK cigarette packets etc. Robert Jackson & Co. Captain Coke's Smoking Mixture, Cestrada Golden Ingot, Redford & Co Upper Crust and Navy Mixture, Bacon Brothers New Colony Mixture, Drapkin's Turkish Blend etc. (mixed condition)
Football autographs, Chelsea FC, a collection of approx. 110 signed items, mostly 10" x 8" colour photos, also some signed pictures, magazine extracts etc, mainly 1990's onwards but including some earlier, some signatures on recently produced images from earlier times but with original signatures, noted Charlie Cooke, Vinny Jones, George Weah, Reg Matthews, Ron Harris, George Graham, Frank Lampard, Jose Mourinho etc (mostly gd/vg)
THE CONNOISSEUR: An Illustrated Magazine for Collectors. 5 volumes, a broken run from 1901-1906. 4to, quarter reddish-brown morocco.With CONYBEARE, WJ & HOWSON, JS, The Life and Epistles of St Paul. New edition, 2 volumes, 1862. Tree calf gilt.With a box of antiquarian books, some defective (2 boxes)
A suitcase containing a Victorian leather bound photo album containing various Victorian photos together with a quantity of late 19th/early 20th Century mainly childrens books to include "The Young Peoples Treasury and Little Gleaner" 1895 volume 17 and UNCLE HARRY "Holiday Hours in Animal Land" printed Hazell Watson and Viney, "The Childrens Own Magazine" published The Sunday School Union 1892 etc
WORLD WAR II/DAMBUSTERS INTEREST: After Frank Wootton OBE (1911-1998), 'The Dambusters', Limited edition print on paper published for 617 Squadron to mark the fiftieth anniversary of its formation in 1943, Signed in pencil by surviving Dambusters aircrew George Chalmers DFC DFM, Jim Clay DFC, Basil Feneron, Dudley Heal DFM, Edward Johnson DFC, and David Shannon DSO DFC, and numbered 457/850, with certificate of authenticity, 617 Squadron historian's notes and artist's notes, 49.5cm x 60.5cm, Framed and glazed, With an Atlas Editions die-cast model aircraft Dambuster variant Avro Lancaster bomber as flown by Wing Commander Guy Gibson; a Royal Air Force OFFICIAL DAMBUSTERS EXPERIENCE 70th Anniversary special edition book containing facsimile documents including Guy Gibson's log book; Gibson (Guy), DAMBUSTERS! THE INSIDE STORY OF THE MOST FAMOUS BOMBING RAID OF WWII; and a Dambusters magazine (5)
Sixteen Vanity Fair prints by 'Spy', 'Ape', 'Lib', 'T', 'Nemo' and 'Glick', comprising numbers: 178, 241, 357, 360, 375, 494, 536, 559, 566, 699, 751 and 764 from the 'Statesman' series; numbers 17, 22 and 27 from the 'Sovereigns' series; and number 28 from the 'Princes' series, each with conforming magazine text page verso, in matching glazed frames (No 699 lacking glass), each 38.5cm x 24cm (16) (at fault)
Twenty one Vanity Fair prints by 'Spy', 'Abe', 'Lib' and 'T' from the 'Men Of The Day' series, comprising numbers: 82, 91, 116, 120, 126, 132, 156, 157, 162, 164, 166, 197, 201, 204, 212, 214, 273, 317, 357, 365 and 413, each with conforming magazine text page verso, in matching glazed frames, each 38.5cm x 24cm (21) (at fault)
Twenty two Vanity Fair 'Spy' prints from the 'Men Of The Day' series, comprising numbers: 439, 482, 485 (by Lib), 487, 511, 517, 559, 582, 639, 684, 797, 800, 812 (by Guth), 832, 835, 850, 866, 890, 898, 905 and 929, each with conforming magazine text page verso, in matching glazed frames, each 38.5cm x 24cm (22) (at fault)
Napoleonic Soldiers Collection of 100 plus Stand for display, manufactured by del Prado each soldier has info and dates on the base, sizes vary, these figures came with the Napoleon at War Weekly Magazine. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Penguin Books, approximately 119 paperbacks, various series including Crime Club, Crime Fiction, Miscellaneous, Poetry, Essays & Belles Lettres, Penguin Poets, Fiction & Essays, Mystery & Crime, Penguin Magazine & Penguin Film Review etc. various covers including green and white, orange and white, yellow and white etc. circa 1930s to 1960s The Man in the Dark- Penguin first edition 1936, Spider Web- reprinted 1939, Raffles- Penguin first edition July 1936, Mr Fortune Please- reprinted September 1936, Famous Trial I- Penguin first edition 1941.
Fishing, Angling and Creel magazines from the sixties - 'Fishing' The Magazine for the Modern Angler - 36 editions from 1963-1968 - 1963 x14, 1964 x10, 1965 x1, 1966 x2, 1967 x7 and 1968 x2 'Angling' Magazine x3 1964 x2 and 1965 x1 and 'Creel' magazine x2 1965 x1, 1966 x1, fair-good condition
Further Chronicles of The Houghton Fishing Club 1908-1931. Edited By R P Page, CBE 1932 1st edition. Large 4to (Ppviii, 89. 11 plates inc b/w frontispiece painting of Arthur N. Gilbey by Major H E Morritt, one colour plate, b/w photos. Green cloth with title label on upper board, with cutting about the book taken from Salman and Trout magazine. Front boards show signs of marks/wear - contents good
A LEE ENFIELD NO.4 MARK 2 RIFLE CONVERTED TO .410 SHOTGUN (FIREARM), with 25 1/4" smooth barrel, mk.1 style adjustable sight, manual safety, magazine fixed in place, and grease vile in butt, 44 1/2" overall (Est. plus 24% premium inc. VAT)Condition Report: Generally good, barrel may need a clean and there is some minor scuffing visible near the breach, but I cannot see and pits. Action working. Firearms licence or RFD licence needed to purchase this item, please speak to the auction house before collection.
A BOXED OO GAUGE BACHMANN BRANCHLINE MODEL RAILWAY LOCOMOTIVE USA Class 0-6-0T no. 72 in KWVR Keighley Worth Valley livery, Exclusive to Model Rail Magazine, model no. MR-108, appears in new condition with accessories and instructions, outer cardboard box in good condition, possibility of lightest storage related rubbing/handling marks to outer cover, although item appears new we are unable to confirm all parts and accessories are present
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