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Lot 468
Steadman (Ralph) Sigmund Freud, signed presentation inscription from the author with a drawing a nude woman with a thought bubble "I could look quite decent if I knew which way to sit..." to endpapers, 1979; I Leonardo, signed presentation inscription from the author with a drawing of a cat to half-title, 1983; The Big I Am, signed presentation inscription from the author with a drawing of a face to half-title, 1988, original boards, dust-jackets, fine, 4to (3)
Lot 41
Ken Howard OBE R.A. (1932-2022) British, 'Valerie', depicting a girl reclining nude in a chair, signed and dated lower right 88', watercolour and mixed media on paper, 26 cm x 17 cm, framed and glazed.Private collection. Exhibited at 'RWS Centenary Exhibition, The Arts Club, Dover Street'.Sealed in frame and glazed. Glass needs cleaning, but the painting looks to be in good condition. Partial label on the reverse for Royal Society of Painters in Watercolours Bankside Gallery.
Lot 518
József Rippl-Rónai, 1861 – 1927 KaposvárEr war ein ungarischer Maler des Symbolismus und Spätimpressionismus und ein Wegbereiter der Moderne in der ungarischen Malerei.WEIBLICHER RÜCKENAKTÖl auf Leinwand.80 x 60 cm.Rechts unten signiert „Rónai“.In dekorativem vergoldetem Rahmen.Vor blau-schwarzem Hintergrund, auf einem grünen Tuch sitzend, eine junge Frau in Rückenansicht mit angezogenen Beinen und roten Haaren. Das Licht fällt von links oben aus nicht sichtbarer Quelle auf den Rücken und hebt diesen, gegenüber dem dunklen Hintergrund, nochmals besonders hervor. Rest. (1340755) (18)József Rippl-Rónai,1861 – 1927 KaposvárFEMALE NUDE FROM THE BACKOil on canvas.80 x 60 cm.Signed “Rónai” lower right.
Lot 159
David Buchanan (1914-2004) 'Untitled seated nude', oil on canvas, unsigned, 40cm x 49cm, with another unfinished study to the reverse, also unsignedProvenance: Purchased from a studio sale of the Eynsham artists David, Constance, Lilian and Norman Buchanan. The frame is contemporary to the canvas. Minimal signs of wear to the edges as expected, otherwise seems ok.
Lot 31
Vlaho Bukovac (Croatian, 1855-1922)Portrait of George Hepburn; Portrait of Anne Hepburn a pair, one signed and dated 'B. BUKOVAC 91' (lower left); the other signed, inscribed and dated 'B. BUKOVAC/LIVERPOOL 91' (lower left)oil on canvaseach 122.8 x 88.9cm (48 3/8 x 35in). (2)Footnotes:ProvenanceWith Charles Edwards, London.Private collection, USA (acquired from the above).Thence by descent.The young Dalmatian painter Vlaho Bukovac (1855-1922) studied and made his early career in Paris, enjoying an early triumph at the Salon in 1882 with his nude La Grande Iza (Beljanski Collection, Novi Sad). On the back of this success he was taken up by the English dealers Vicars Bros., who brought him to London, exhibited many of his largest paintings and introduced him to likely patrons. Two of these were shipbuilding engineers and businessmen from the north of England, Samson Fox of Leeds and Richard LeDoux of Liverpool. Besides buying Bukovac's works, these men were soon inviting the artist to their homes, where, Bukovac later wrote in his autobiography, they treated him as a gentleman. They commissioned further pictures from him, and introduced him to their own friends whose portraits Bukovac painted in turn. The patronage and friendship of Fox and LeDoux laid the foundation of Bukovac's lifelong love affair with England.George Hepburn (1841-1909) was evidently a business friend of LeDoux's in Liverpool. Although no direct contact between them is recorded, both were highly successful men at the heart of the city's progressive shipping circles, and both lived in the affluent suburb of West Derby, an area of mansions on the fringes of Liverpool's growing sprawl of working-class terraces. Hepburn and his wife Anne, who were both Scottish, had moved to Liverpool in 1866, where George rapidly made a formidable reputation as a naval architect, first with Robert McAndrew & Co., and then on his own account. According to the author of Liverpool's 'Legion of Honour' (1893), Hepburn since coming to Liverpool had 'designed between 300 and 400 steamers'. Such was his expertise in naval matters, he was in great demand in legal cases involving the loss of ships; the Liverpool Mercury calling him 'The Judge-Maker' because three 'eminent counsel' on whose side he had appeared in trials had been raised to the bench almost immediately afterwards. Reputedly his dour and gruff exterior concealed a heart of gold, a keen sense of humour and a penchant for generous hospitality, and he was an excellent raconteur. He was also a fine shot, although he lost an eye in a shooting accident on the Scottish moors (it is unclear whether this post-dated Bukovac's portrait or whether the artist was allowed to represent a glass eye or disguise the loss altogether; contemporary and later photographs mostly show Hepburn in profile from the left). According to one obituarist, Hepburn 'was one of the first men in Liverpool to have a motor car, and when he drove that then novel equipage through the town, Liverpudlians, agape with amazement at the spectacle of a horseless vehicle, literally mobbed his vehicle'.Little is known about his wife Anne. Her family name was Martin, she was three years older than her husband, and with him she had two daughters, Mary (born in 1872) and Lucy (born in 1878). Less than a year after sitting to Bukovac, in June 1892, she died at the age of 53. Her widower would mourn her for a decent interval, but in March 1895 he re-married the 'charming' Ada Snelson, 'daughter of a Liverpool citizen'. Is there in these contemporary words a hint that Hepburn's first wife had shared his 'Scottish' dourness, but not the more genial qualities to be associated with their domicile?Perhaps unexpectedly, Bukovac's portraits are documented. Hepburn wrote a friendly letter to the artist on 18 August 1891 (now in the archive of Bukovac House, Cavtat, Croatia) in which he writes of the 'high quality' of the two works, evidently recently finished. Later Bukovac recalled of his stay in Liverpool during that summer with Mr and Mrs LeDoux that he had been so showered with hospitality he had managed to do very little painting. There can be no doubt, however, that LeDoux was behind these two works. It is tempting to see him, over a cigar at the club, suggesting the commission to Hepburn as a fine way to mark his fiftieth birthday that year. And from the character of the two works, their scale, their studied accuracy and their subtle insights, there is no doubt that in Bukovac's response, his artistry and professional dedication were fully engaged.We are grateful to Alex Kidson 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 42
Frederic, Lord Leighton, PRA (British, 1830-1896)Sea Echoes oil on canvas51.5 x 44.5cm (20 1/4 x 17 1/2in).Footnotes:ProvenanceW. Gillilan; his sale, Christie's, London, 15 May 1925, lot 121 (bought Sampson).H. Nelson; his sale, Christie's, London, 17 December 1937, lot 15, titled Music of the Sea (bought Mitchell).Anon. sale, Sotheby's, London, 27 January 1960, lot 148. Private collection, UK (acquired from the above).Thence by descent.ExhibitedLondon, Royal Academy, 1862, no. 494.Dublin, Irish International Exhibition, 1907.LiteratureMrs Russell Barrington, The Life, Letters and Work of Frederic Leighton, two volumes, London, 1906, pp. 87-8.Ernest Rhys, Frederic Lord Leighton London, 1898, p. 16.L. & R. Ormond, Lord Leighton, London, 1975, p. 154, cat. no. 81.Leighton's beautiful and sensuous painting Sea Echoes shows a young woman holding a sea-shell to her ear so as to try to hear, or to imagine that she might hear, the sound of waves breaking on the shore. The woman wears a garment of white satin over her shoulder, while her head rests against an embroidered or printed drapery showing luscious white peonies and their stems and leaves. The background of the composition shows a sea-shore and a deep green-blue expanse of ocean, with ominous dark clouds indicating an incoming storm. The model is a woman whose distinctive golden hair and pale complexion and blue eyes are seen in a number of Leighton's paintings of the early 1860s, such as Odalisque (Private collection) and Girl with a Basket of Fruit (Eucharis) (Private collection), shown at the Royal Academy in 1862 and 1863 respectively. It may tentatively be suggested that the person represented was one or other of Leighton's two sisters, Alexandra and Augusta, as there is a distinct family likeness in the physiognomy.The present painting came from a phase of the artist's career when he was striving for a new and personal style. He had first exhibited at the Royal Academy in 1855 when he showed Cimabue's Madonna (Royal Collection), a painting which was met with great enthusiasm, and which was bought by Queen Victoria. However, his subsequent exhibits of narrative type were met with indifference. In 1859 he established himself in London (having lived previously in Germany, Italy and France), and began to explore a type of thematic figurative composition from which the story-telling element was excluded but which instead depended purely upon mood and the elegance of physical type. This was a form of art of a sensuous kind which had been treated previously by French artists among them painters familiar to Leighton from the years that he had lived in Paris in the late 1850s, but which was at first regarded with suspicion by critics and fellow painters in London. Sea Echoes, painted we may assume in circa1861 and exhibited for the first time in the summer of 1862, and in which there is no indication of the circumstances or situation of the young woman represented, is one his very early experiments in this modern style of painting.Sea Echoes may therefore be seen as a product of the artistic movement which has come to be called Aestheticism and for which the theoretical basis lay in German and French art. Leighton sought to conjure sympathy for the experience of the person represented by inviting the spectator to imagine his or her response to their situation or setting. In various paintings of the 1860s he introduced the motif of imagined sounds which might be seen to prompt reflection or indicate mood. In paintings such as Duett (Royal Collection), Rustic Music (Leighton House Museum) and Golden Hours (Private collection), all from the 1860s, he showed figures transported into a realm of delight by the action of making music, or by listening to it, while still more remarkable is the subject Lieder ohne Worte – 'Song without Words' (Tate), of 1860-61, where all appears to be silent and static except for the imagined song of a blackbird. In its reference to sound, Sea Echoes is explicit, but at the same time fanciful. The painting is intended to give pleasure to the viewer by means that represented a radical departure from the solemn realities and portentousness of much the art of a previous generation of British painters.Leighton had been trained in a European academic method, and once again Sea Echoes may be seen as dependent upon the artist's formative experiences in France and Germany. It was his practice to make preparatory chalk and pencil drawings from the nude and draped model. Studies would then follow which would establish the overall format of the intended composition and determine how the figure would be placed. However carefully this process of preparation was undertaken, when once he was ready to work in paint on canvas, Leighton had the skill and confidence to work in a way that was naturalistic and unstilted, with rich colours and freedom of handling that makes the whole thing fresh and spontaneous. The flesh tones and the texture and colour of the woman's hair in Sea Echoes are beautifully captured and appear translucent in the light of the sun. The fabrics of the model's dress and the floral hanging are richly given in paint, whether in the ethereal and floating softness of the garment around her shoulders, arms and bosom, or the gorgeous ornateness of the floral hanging. The outcome is the representation of a languorous and eroticised female figure which is both sensuous and physically enticing.Lastly, the painterly immediacy of the expanse of sea and cloud, and of the glimpse of sandy foreshore, is a reminder that Leighton was – in addition to his primacy in Victorian art in the sphere of figurative art – one of the great landscape painters of the nineteenth century. This was something he refined in plein-air oil sketches, and which were then the inspiration of the landscape elements in his figure compositions. In the present painting, the view of sea and dark clouds is particularly beautiful.This is an important painting which has been untraced since 1960 and which has not appeared in any modern exhibition or publication. It is an important rediscovery and a painting which will take its place in the canon of Leighton's most innovatory early works and of the type of advanced paintings which transformed British art in the period of the Aesthetic Movement. ReferencesLeighton referred to the work in a letter to his father written at the time of its admission to the Royal Academy summer exhibition in 1862: 'Dear Papa, - I think I may confirm the report made to you of the success of my pictures [at the Academy]. Particularly the 'Odalisque' and 'Echoes' [the present work] (by-the-bye, I have just received a letter from somebody who wants to know if they are sold. What the papers say, you will have seen. You will be glad to hear that I have received congratulations on all sides, which gives me the idea of being tolerably secure; at all events, I got no such last year, nor indeed at all since the 'Cimabue.'' (Quoted Barrington II, p. 87)
Lot 167
FLEMING (IAN)Dr. No, FIRST EDITION, FIRST IMPRESSION, FIRST STATE, with the plain black publisher's cloth binding, spine lettered in silver, FINE IN A NEAR MINT PROOF DUST-JACKET, slightly taller than the book and with wider flaps [cf. Gilbert A6a(1.1 or 1.2)], 8vo, Jonathan Cape, 1958Footnotes:A FINE COPY IN A PROOF DUST-JACKET ORIGINATING FROM THE ESTATE OF THE DESIGNER PAT MARRIOTT.The proof dust-jacket corresponds to Gilbert's description of the first impression jacket, but differs slightly in so far as it is some 2mm. taller (196mm.), and has much wider inner flaps which have not been clipped, so that the price appears nearer to the centre of the front flap. A comparison alongside a published jacket also shows that the design and colours appear an exact match except for one small detail, the 'Greek urn' circular device on the spine being bright white as opposed to off-white as described by Gilbert.The design for Dr. No 'shows in a beautifully understated but provocative way, Honeychile Rider nude on the beach... Marriott's initial idea for Dr No was not to Fleming's liking and so she produced an entirely different idea and the result was the jacket that we know and love... This is the most extraordinary jacket for its time not least because Fleming's name, by being printed in black, is barely visible. And then the subdued colours, and indistinct figure and background are contrary to any designs of the period. In its own way, it would have stood out as much as any Chopping cover' (Graham Thomas, 'Pat Marriott - Bond illustrator', on Mid-Century Bond website, 2019).Provenance: Pat Marriott (Patricia Marriott, 1920-2002), designer of the dust-jackets of the first editions of Diamonds Are Forever and Dr. No, and the 1957 'playing card' edition of Casino Royale. Marriott was known as an illustrator of children's books and in 1954 had married Fleming's literary advisor and a director at Cape, Michael Howard, who drew the author's attention to her work; by descent until purchased by the present owner.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
Lot 78
A vintage silver charm bracelet together with charms. The chain bracelet comprised of twisted infinity links united by a spring ring clasp & safety chain. Unmarked, surface test indicate silver. Charms to include; owls, horseshoe, kissing couple, dog, key, police cap, can can dancer, nude lady, four leaf clover, poodle, heart, slippers, traffic man, 21, horse & cart, witch on broomstick, imp & sewing machine. Total weight approx 48.3g. Measures approx 18cm.
Lot 180
After Ferdinand Preiss, patinated bronze study of a dancing lady on tall plinth. 38cm high approx, together with another patinated bronze study of a dancing girl with angel wings on marble base. 27cm high approx. and a small patinated bronze figure of a dancing nude female on tall marble base. 20cm high approx. (All Modern). (3) (B.P. 21% + VAT)
Lot 92
A group of Indian Mughal school portrait paintings, in watercolours and gouache to include: a regal couple in standing pose (14.5 x 10cm approx), a reclining semi-nude courtesan in an interior (11 x 20.5cm approx), and an erotic scene of a couple (23 x 17cm approx). Framed. (4)(B.P. 21% + VAT)
Lot 55
*Item to be collected from Friargate, Derby* A black painted cast plaster model of a recumbent dog, approx 39cm long; a bisque wear figure group of a embracing couple, approx 22cm high; a soap stone figure of a nude and dagger, approx 15cm long; a cast concrete Greek bust, approx 32cm high (4)Condition - wear and tear commensurate with ageObject location - Drawing Room
Lot 137
Camel LPs, nine UK release albums comprising Camel (rainbow labels), Mirage (with Insert - Red White Labels), The Snow Goose (non laminated sleeve - with Insert), Moon Madness (Textured Gatefold Sleeve), Rain Dances (with Inner) , Breathless (with Insert), I Can See Your House From Here (laminated sleeve with Inner), Nude (Gatefold) and The Single Factor (with insert) - various years and conditions
Lot 125
Eric James Mellon (1925-2014) a small nude footed bowl, 2008, bean ash glazes, blue, red and lustre, decorated a female figure to the interior with a mottled grey exterior, painted signature, date and glaze notes to base, 12cm diameter, 7.75cm high CONDITION REPORT: Overall condition appears good.ARR Artist's Resale Right may apply to the sale of this lot if the hammer price is the equivalent of 1000 Euros or more, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk
Lot 148
Two galley proofs of an interview with John Lennon and Yoko Ono, intended for publication in the Daily Mirror c 1968. These examples were sent by journalist Patrick Doncaster to Lennon for review and were returned with annotations and notes in pen by Lennon. To the page marked 'NINE GALLEY TWO' in response to a section on the 'Two Virgins' nude cover Lennon has written in the margin (and subsequently crossed out):"what about your Daily Mirror pin ups for a kick off, And the Sunday masturbation sheets as what i wasn't allowed to (next word hard to make out possibly 'spend') as a kid'Also to top of page 'Its MY baby you gets.. John Lennon Yoko Ono'Also with other annotations and corrections, inc a changing of the wording RE John's father being at sea. Each page is folded, 'Galley One' measures approx 50 x 16cm. 'Galley Two' (with most of text) measures 66 x 15.5cm.From the collection of journalist Patrick Doncaster, who wrote on music at the Daily Mirror from c 1950 - 1970s. Authenticated by Roger Epperson prior to this sale.
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