George Keyt (Sri Lankan, 1901-1993)Untitled (Girl with Ball) signed and dated 'G Keyt 67' upper middleoil on canvas, framed83.8 x 51.1cm (33 x 20 1/8in).Footnotes:ProvenanceAcquired from Sotheby's, Indian and Southeast Asian Art, New York, 1st April 2005, lot 142.An Anglo-Dutch of Burgher origin, Keyt grew up in Sri Lanka and attended Trinity College, Kandy. He had a consuming passion for literature and poetry, specifically Shakespeare and also devoted time to drawing and art. For a short period Keyt worked for a firm of photographers, manually enhancing the negatives with a brush. It was here that his friend, photographer Lionel Wendt, and later the leader of the '43 Group, of which Keyt was a founding member, noticed Keyt's skill and encouraged him to pursue art. Aged 26 in 1927, Keyt devoted himself to art and undertook a course on painting with the painter George de Niese. Keyt was also influenced by C.F. Winzer, the Ceylon Government's inspector of art in schools who rejected the naturalistic styles of painting favoured by art teaching that emulated Western Victorian and Edwardian traditions.By the early 1930s, the Cubism that would forever alter the character of his paintings began to emerge in his work. He broke away from academic naturalism and embraced modernism with bold colourful fervour. Upon seeing the 1932 and 1933 issues of French art magazine Cahiers d'Art featuring Cezanne, Picasso and Braque his passion for modernism was cemented. In the two works on offer in this auction we can see how he married modern European practises with ancient South Asian fresco techniques found at Ajanta and Sirgirya and subject matter that was largely rooted in local tradition. His works depicted women, children, villagers, dancers, tradesmen and gods often drawn from Hindu and Buddhist mythology.Pablo Neruda perhaps best summed up Keyt in his 1930 review of the exhibition at Zwemmer Gallery in London, in which Keyt works were featured alongside Picasso and Braque,'Keyt, I think, is the living nucleus of a great painter. In all his work there is the moderation of maturity, the beautiful stability of achievement – qualities most precious in so young an artist. Magically though he places his colours, and carefully though he distributes his plastic volumes, Keyt's pictures nevertheless produce a dramatic effect, particularly in his paintings of Sinhalese people. These figures take on a strange expressive grandeur, and radiate an aura of intensely profound feeling.' (M. Russell, George Keyt, Marg Publications, Bombay, 1950)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
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George Keyt (Sri Lankan, 1901-1993)Untitled (Woman with a Vase) signed 'G Keyt' 71 upper leftoil on canvas, framed98 x 60.3cm (38 9/16 x 23 3/4in).Footnotes:ProvenanceAcquired from Plate Loft Gallery, Sri Lanka in 2005.'The lyric painting of George Keyt is sensuous Indian poetry brought to canvas. Like earlier Indian painters of Rajasthan and the Punjab Hills, and M. F. Husain after him, Keyt takes as his primary theme woman as the focus of man's concern. He paints her in flat planes, with bounding lines and rich warmth of colour. His idiom occasionally carries in it a hint of Picasso but is, once again, in direct line with the traditional styles of Central India, Mewar, and Basohli. But the originality of Keyt's inspiration is undoubted, and his work remains uniquely his own.' (R. Bartholomew and S. S. Kapur, Husain, Abrams, New York, 1972, p. 27)For a similar work sold at Sotheby's see Indian and South East Asian Art, New York, 29th March 2006, lot 10.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
Vivan Sundaram (Indian, B. 1943)Untitled (Composition) signed and dated 'Vivan August '91 lower rightengine oil and charcoal on paper, framed55.3 x 74.8cm (21 3/4 x 29 7/16in).Footnotes:ProvenanceAcquired directly from the artist in 1991/1992.Note: This work is on the artist's website under his 'Engine Oil and Charcoal drawings' series.Born in Shimla in 1943, Sundaram studied painting at both Maharaja Sayajirao University, Baroda (1961-65) under KG Subramanyan and at the Slade School of Art, London (1966-69). At the latter, he also studied the History of Cinema. Sundaram's career has spanned decades and he is known for being India's first installation artist. He works across mediums and scales and addresses issues pertaining to politics, familial and societal history and memorialisation. His early works embodied geometric abstraction and included elements of kitsch and pop art and his enduring interest in cinema led him to incorporating principles of collage/montage. It was in the 1990s however that he began working with unconventional materials, in response to the Gulf War (1990-1991) and created his 'Engine oil and charcoal on paper' series. The work in the present lot is from this series. In it he contrasts charcoal smudges with burnt oil to explore materiality and surface. This series marks a turning point in his career as it proves to be the catalyst for him to start working with photography, video art and installation; the Gulf War was the first televised war and clearly impacted him.His retrospective, 'Step inside and you are no longer a stranger' was held at KNMA, New Delhi in 2018, and featured works from 50 years of his career. He has exhibited his works at numerous shows worldwide including those in London, Paris, Amsterdam, Budapest, Copenhagen, New York, Dallas, Montreal and Vancouver and in the Biennales of Taipei, Shanghai, Sharjah, Sydney, Berlin, Havana and Johannesburg. He is the founding member of the Kasauli Art Centre, the Safdar Hasmi Memorial Trust (SAHMAT) and the Journal of Arts & Ideas, and is the editor of the 2010 two volume book on his maternal aunt, Amrita Sher-Gil, titled Amrita Sher-Gil: a self-portrait in letters & writings.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
Prabhakar Kolte (Indian, B. 1946) UntitledUntitled signed and dated 'Kolte 04' in Devanagiri upper rightoil on board, framed48 x 58.4cm (18 7/8 x 23in).Footnotes:ProvenanceAcquired from Art & Deal Gallery, India in 2006.Born in Nerur Par, Maharashtra in 1946, Kolte obtained his Diploma in Painting from Sir J.J. School of Art in 1968, where he later taught between 1972-1994. As an abstract artist, he is primarily concerned with the intangible, rejecting visual images and favouring colours and brushstrokes. Often referred to as the Indian Paul Klee, the Swiss born German artist known for his writings and works on colour theory, Kolte too uses a dominant colour in the background, such as red as seen in the present lot and blends it with lighter coloured geometric figures in austere blues, greys, greens and whites, which he subsequently covers up with splashes of more colour, to obscure any identifiable image whilst simultaneously lightning up the surface of the work. His style is best described in his own words when he says that his 'works reflect a state of vision that does not symbolise anything but itself. It is neither representative, interpretative, expressive nor illustrative.'For a similar work sold at Sotheby's see Indian Art Including Miniatures and Modern Paintings, New York, 22nd March 2007, lot 115.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
Nabibakhsh Mansoori (Indian, B.1966)Everything your Heart Desires signed in Devanagiri and dated 'Nabibakhsh Mansoori 27 XII 2019' and dated, medium, size and year versooil on canvas71 x 106.8cm (27 15/16 x 42 1/16in).Footnotes:ProvenanceArcher Graphic Studio, Ahmedabad.Born in Idar, Gujarat, Mansoori obtained his Diploma in Fine Arts (Drawing & Painting) from the Sheth C.N College of Fine Arts, Ahemdabad. He subsequently obtained his Post Diploma in Fine Arts (Creative Painting) from Maharaja Sayajirao University, Baroda. His works are exuberant and feature layered and skewed imagery. He employs multiple view points in his works, as if one is looking at them through a prism, convex or concave lens which entices the viewer to look at it repeatedly from different perspectives; he came across this multiplicity of viewpoints in his childhood when his father gave him a prism, convex and concave lens and he viewed the rivers and rivulets in his village through these mediums and married them with the colours he could see.He uses both oils and acrylics as his medium and the dramatic use of light coupled with the unconventional perspective and the use of crisp bold colours are his trademark. His works have been exhibited in bot group and solo exhibitions in London, Mumbai, New Delhi, Hyderabad, Chandigarh and Ahmedabad, and he has been the recipient of various awards including the 1998 Gujarat State Lalit Kala Akademi Award for Painting.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
Mohammad Iqbal (Bangladeshi, B.1967)The Holy Circle - 28 signed and dated 'M Iqbal 2022' lower rightacrylic on canvas73 x 73cm (28 3/4 x 28 3/4in).Footnotes:Born in Chuadanga, Bangladesh, Mohammad Iqbal obtained his BFA from the Faculty of Fine Art, University of Dhaka, Bangladesh in 1987 and earned his MFA from the same university in 1989. He completed an ME (Master of Education), from Aichi University of Education, Japan in 2003, and obtained his PhD in Fine Arts on Oil painting from the Faculty of Fine Art, Tokyo University of the Arts, Japan in 2010.The present work comes from Iqbal's series titled 'Holy Circle' which he started in 2010. The series is best described in his own words:'Facial expression of the human being is my prime interest. I tried to express the emotions of human nature —sorrow, happiness, melancholy, illness and laughter through face. My paintings do not expose any particular child's face. In fact, I have tried to make them universal and impersonal. Usually the faces are drawn from my imagination and recollection of the past. From top to bottom, the backgrounds in my paintings are created with ten to twelve layers of oil colour.Round and curvy dot-like background shapes in almost all my paintings are my unique trait and style. These dot-like shapes symbolize the air and environmental pollution. These round-dotted shapes or bubble-like forms spread all over the background, parts of my aesthetic style, project the man-made imbalances in nature. Again, this symbol is a reflection of the urge to create a secured livelihood, a good future, a beautiful habitat and a war-free and pollution-free environment for the children. Furthermore, the dotted shapes in my paintings have become the symbol of my dispute.' (Mohammad Iqbal, September 2022)His works have been exhibited in Bangladesh, India, Australia, the Maldives, England, the USA, Japan, Germany and Nepal. His works are part of the collections of the Bangladesh Shilpakala Academy (National Art Gallery), Dhaka; Contemporary Art and Cultural Center, Osaka, Japan; Galerie de L'Alliance Francaise, Dhaka and the Lalitkala Akademy (National Academy of Art), New Delhi; India.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
Jamal Ahmed (Bangladeshi, B. 1955)Untitled (Bathing) signed and dated Jamal '19 lower rightacrylic on canvas, framed181.3 x 146.4cm (71 3/8 x 57 5/8in).Footnotes:ProvenanceAcquired directly from the artist in 2019.ExhibitedUSA, Eye for Art, 'Jamal Ahmed Solo Exhibition,' 30th October-29th November 2019.Jamal Ahmed is an artist and professor at the University of Dhaka and was awarded the Ekushey Padak in 2019, Bangladesh's second highest civilian award in recognition for his contribution to the Fine Arts. He graduated from the Faculty of Fine Arts from the University of Dhaka in 1978 and then undertook a course at the Academy of Fine Arts in Warsaw from 1980-1982. He subsequently studied oil painting at the University of Tsukuba in Japan from 1982-1984 and also earned his post graduate degree from there in 1986. He adopted acrylics as his main medium in the mid 1980s. The imagery depicted in his works is that of his native Bangladesh. They are wistful and nostalgic portrayals of women and the beauty of Bangladesh as evidenced in this lot. His works have been exhibited in India, Pakistan, London, Japan the USA and Norway, and his works are also held at the National Art Gallery in Bangladesh.For similar works sold in these rooms, see Modern and Contemporary South Asian Art, London, 24th May 2022, lots 70, 71 and 73 and Modern and Contemporary South Asian Art Online Only, 4th-14th July 2022, lot 16.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
Sayed Haider Raza (Indian, 1922-2016)Les Rochers signed and dated 'Raza 69' lower centre, further signed, dated, titled and inscribed Raza/P_782 '69/Les Rochers/10F and 'SHR-26' verso and 'YK520 CIN' on the stretcheroil on canvas54.7 x 46cm (21 9/16 x 18 1/8in).Footnotes:CELEBRATING SAYED HAIDER RAZA'S BIRTH CENTENARY AND 75 YEARS OF THE PROGRESSIVE ARTISTSProvenanceAcquired by the owner from Galerie Lara Vincy, Paris (acquired directly from the artist;Private Collection, France (acquired from the above)Christies, South Asian Modern & Contemporary Art,11th June 2012, lot 55.Acquired by the current owner from the above.LiteratureAnne Macklin (ed.), SH Raza, Catlogue Raisonné 1958-1971 (Volume I), Vadehra Art Gallery & he Raza Foundation, New Delhi, 2016, p. 173 (illustrated)A fascinating aspect of Raza's long career lies in how he evolved at least three different modes of abstraction – and their particular reflection on his own life and experiences.At the time of painting these small works, Raza was going through one of the most significant periods of his painterly career. His stint at the JJ school, the early years in Paris and his exposure the life of an artist in post war Europe was already behind him. This phase may well have started during the early 1960s, when he travelled to the University of California at Berkeley from France and experienced for the first time the works of Sam Francis, Mark Rothko and other leading American abstract expressionists, who lent their work the primacy of colour. Completely devoid of any structure, allowing for a fluid evocation of emotion, their work led Raza to move dramatically beyond the School of Paris influences that he had hitherto been exposed to. As he allowed himself greater painterly freedom in the unfolding decade of the sixties, Raza's work was to become more gestural, the brushwork looser, and the painterly affect that he sought more emotive. Yet nothing about this confluence of impressions was simple or direct. An artist of his time who responded spontaneously to the great wave of abstraction that swept the West in the 1950s and 60s, Raza also had nurtured a slew of memories that tied him inextricably with his homeland. As he describes it, the dense forests surrounding Mandla, a district in Madhya Pradesh where his father served as a forest officer were an overwhelming memory, of a sensorium of sounds, shadow and movement, unknown and mysterious to the young child. The weight of the night as it descended on the forest – innocent of electricity, as the villagers returned to their homes - was occasionally broken by the dances and singing of the Gond tribals by firelight, which etched deeply on his impressionable mind. Years later, as he engaged with a more liberated, and spontaneous mode of painting, Raza reverted to that childhood memory, making his works rich with an inchoate movement, and the irrepressible pulsation of life. There was also the memory of Kashmir, which Raza visited in 1947, its rich explosion of colours and its landscape, the subject of a wealth of miniature paintings.Les Rochers (1969)The two small paintings on view cohere in terms of Raza's treatment; whether these are preparatory works for larger canvases or complete in themselves, they bear the dynamism and energy of this phase. In the earlier work titled Les Rochers (1969) Raza allows a heavy overhang of darkness to seemingly merge with the large rock like forms, making one indistinguishable from the other. The sense of a looming darkness, kindled by embers of colour that seem to rise at the base of the work suggests the deepening of shadow over the landscape, like the closing in of the night.About this time Raza was to make a series of works drawing upon the rich tones of Rajasthani paintings – red, black, white and yellow—which not only drew from the burning sands of the Malwa region and the blazing sun of the desert but the passionate music of Rajputana, and the rich symbolism of Tantric painting. Here we have the first inklings of the Bhanu mandala, or the form of the blazing sun – black, or red, and its associative form, the bindu, in paintings like Terre Rouge (1968). There is also the preoccupation with darkness, the pitch black of the night which will be fractured or broken through with shards of colour, in paintings like Les Rocher (1969) and La Nuit (1971). It is remarkable that Raza's paintings, devoid of all living forms – other than the Naga, or the cosmic serpent which wraps around the circumference of the earth, invoke life through the sheer vitality of colour.What the energy and spirit of these works indicate is Raza's exploration of primordial elements that appear to mark the beginnings of creation. The first few verses of the Rig Veda (c.1750 BE) are dedicated to the five elements that imbue the life force. On the earth -to-sky painted surface, even in the smallest works, he engages the power and mystery of the elements, drawing them into a great, cosmic churn. Indian art had never dedicated itself entirely to the landscape, and Raza stands like a solitary figure, closer to the Romantic poets of the 18th and 19th centuries, to Rilke and Lawrence in the sweeping agonistes that he draws from nature.The GroundMind you are, ether you areAir you are, fire you areWater you are, Earth you areAnd you are the Universe, mother...Saundaryalahiri verse 28It is against this background, of a vibrant evocation of the primal forces of wind, ether, fire and water, that the question of the ground arises. On what premise, both conceptual and artistic, is Raza grounding his work? While the paintings of the late 1960s and 70s fall under the broad rubric of the landscape, there is very little of the recognizable elements of nature on view. Instead, Raza seems to depend entirely on the energy of his brush strokes, and the sheer magic of colour to invoke a sensorial effect, of the seasons and the intensity of an Indian summer. It is in the churning, and the unexpected appearance of the circle, the square or a suggestion of a triangle in such works, that Raza is also preparing the ground for another mode of abstraction. This would lead him further into a recessed visual space, not to the Vedic pronouncement on the Panchamahabhutas or primal elements, but to the yantra, and its geometric symbolism. Codified by Adi Shankara in the Saundaryalahiri,(c 8th century) the geometry of the yantra is loaded with the signification of life giving energies. In secularizing them into a highly evolved geometric abstraction, Raza creates a unique language, which abandons concepts of time and space to create their own ground – of metaphysical reading perhaps, but also sheer visual pleasure.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
Dushyant Patel (Indian, B.1987)Untitled (Landscape) signed and dated in Gujarati 2021 lower right and signed, dated, medium, size and year versooil on canvas, framed30.3 x 30.3cm (11 15/16 x 11 15/16in).Footnotes:ProvenanceArcher Graphic Studio, Ahmedabad.Born in Ahmedabad, Patel obtained his Diploma in Painting from the Sheth C.N College of Fine Arts, Ahmedabad and subsequently obtained his Post Diploma in Printmaking from the University of Baroda, Vadodara. Heavily influenced by Hockney and Dali, his works have a surreal quality to them. This can be seen through the two landscapes in this auction, in which he attempts to draw out emotion and the two watercolours through which he explores the relationship between male and female; the metaphorical house seated on the dog, and the flowers on the donkey.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
Jules Pierre van Biesbroeck (Belgian, 1873-1965)Mother and child; Sisters two works, both signed 'JBiesbroeck' (lower left); both with artist's exhibition labels (on the reverse)oil on panelone 85.5 x 34.5cm (33 11/16 x 13 9/16in); the other 86 x 28.5cm (33 7/8 x 11 1/4in). (2)Presented in the artist's original frames.Footnotes:Born in Italy in 1873, Jules Pierre Van Biesbroeck was the son of the painter Jules Evarist Van Biesbroeck. The family re-settled in Ghent when Jules was two, and like his father, he studied at the Academy of Fine Arts in Ghent, exhibiting his first painting at the age of just 14. On his Salon debut in 1888, Van Biesbroeck created a scandal with his large scale work, Le lancement d'Argos, which depicted nude figures, which had to be covered with drapery in order to be shown. Despite this, the young artist received 'special mention'.Van Biesbroeck was recognised for both his painting and sculpture, receiving awards and recognition throughout his career, as well as regular commissions. He was chosen to represent Belgium at the Universal Exhibition in Paris in 1900. Fleeing Belgium on the onset of the First World War, the artist settled in Bordighera in Northern Italy.Van Biesbroeck's first exposure to Orientalism came with a visit to North Africa in 1926, followed by a visit to Algeria in 1927, which radically altered the artist's style. The artist lived and worked in Algiers from 1929-1938, establishing a studio, 'La Volière', which became famous throughout the city.In 1938 Van Biesbroeck returned to Ghent where he remained until his death in 1965.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
Hilda Fearon (British, 1878-1917)On the beachsigned 'H.Fearon' (on stretcher); bears signature (lower left) oil on canvas 40.9 x 53.6cm (16 1/8 x 21 1/8in).Footnotes:ProvenancePrivate collection, UK.Hilda Fearon, born in 1878, began her studies in 1897 when she enrolled at the Slade School of Art before going on to study in Dresden under artist Robert Sterl. In 1900, Fearon moved to Cornwall which at this time had become one of the most important artistic hubs in the UK. With the extension of the Great Western Railway in the mid to late 1800s, Cornwall became much more accessible, and it was primarily the quality of light which encouraged the influx of artists including Henry Scott Tuke, Lamorna Birch and Julius Olsson. Fearon too wanted to explore the picturesque quality of Cornwall and so moved to St Ives for inspiration and to paint en-plein air. It was working under Algernon Talmage which had the most profound impact on her art. When she arrived Talmage and Olsson had already established their own Cornish School of landscape, figure and sea painting.Fearon enjoyed success in her life and regularly exhibited at the Royal Academy. However, tragically she died prematurely at the age of only thirty-nine in 1917. Today, her work can be found in the Tate Gallery, London. This particular composition relates to Fearon's 1906 painting 'The boating party' which was sold for £30,000 at Woolley & Wallis, Salisbury, on 2nd April 2008.For further information on this lot please visit Bonhams.com
Marcus Stone, RA (British, 1840-1921)'Sain et Sauf' (Safe and Sound) signed and dated 'MARCUS STONE/1875' (lower left)oil on panel26.3 x 39.4cm (10 3/8 x 15 1/2in).Footnotes:Marcus Stone was an historical genre painter and illustrator. A great friend of Dickens, he illustrated Our Mutual Friend and Great Expectations for the author in the 1860s. The present work is a meticulously scaled down version of his 1875 Royal Academy exhibit Sain et Sauf, later sold at Christie's New York on 19 April 2005, lot 71 for $160,000.The scene depicts the joyful moment when a French soldier returns home from battle to his beloved wife who is in bed after the birth of their child; hence both husband, wife and newborn are 'safe and sound'. Whilst he embraces his wife, his daughter points at her new sibling and the dog tries to get closer to his master. A copy of La Patrie lies on the bed symbolising the wife's patriotism and also indicating on a more human level her fruitless search for news of her husband. Although no specific battle or date is referred to this is most likely Stone's comment on the Franco-Prussian War of 1870. Many French artists such as James-Jacques-Joseph Tissot had fled the Paris Commune of 1871 and during the 1870s London had many French refugees to whom this picture would have appealed.When the painting was exhibited at the Royal Academy in 1875, it was well received and the critic for the Art Journal noted, '...There is wonderful life and vigour too, in Marcus Stone's Sain et Sauf (130), which is the name he gives to a young soldier's return to his wife and child.' (Art Journal, 1875, p. 217.)Alfred Lys Baldry, in Marcus Stone, His Life and Work wrote '...He touched, however, a lighter note next year in 'Sain et Sauf', using, instead of sorrowful regret, the joy of a moment of meeting between a husband and wife who had scarcely hoped to see one another again. The setting for his idea was found abroad, for it was the interior of a modern French cottage that he depicted, with a soldier returning safe and sound from the wars to take up again his home-life in the bosom of his family. The story had no lack of dramatic meaning, and vividness with which it was told was not a little helped by the complete manner in which every detail and every accessory of the mise-en-scene were studied and set down, and by the care with which subordinate interests were connected with the main plot.' (A. L. Baldry, 'The Life and Work of Marcus Stone, R.A.', The Art Annual, 1896, p. 20.)For further information on this lot please visit Bonhams.com
William H Bartlett (British, 1858-1932)Boys shrimping in the Venetian Lagoonsigned and dated 'WHBarlett 84' (lower right) oil on canvas 47 x 81.9cm (18 1/2 x 32 1/4in).Footnotes:ProvenanceAnon. sale, Sotheby's, London, 16 January 1973, lot 182.Private collection, UK. Purchased from the above sale, thence by descent.Bartlett visited Venice in the winter 1882-3 and the present painting was probably worked up from sketches and studies made during his trip.For further information on this lot please visit Bonhams.com
Henri Farré (American, 1871-1934)Le cygne; jalouse indiscretion - The swan signed and dated 'HFarré/1909' (lower right)oil on canvas181 x 231cm (71 1/4 x 90 15/16in).Footnotes:ProvenanceAnon. sale, Sotheby's, London, 19 March 1986, lot 119.ExhibitedParis salon, Société des Artistes Français, 1909, no.658.LiteratureCatalogue illustré du Salon, 1909, p.83 (illustrated b/w).Born in Foix in 1871, Farré studied at the Ecole des Beaux Arts in Paris. The present work shows the influence of the French Impressionist and Post-Impressionist movements with the sumptuous use of colour and dappled sunlight.The painting was a noted exhibit at the Salon of 1909. At the onset of war, Farré enlisted and was quickly promoted to observateur-bombardier. He flew in the cockpits along with the pilots of the famed Lafayette Escadrille and was able to capture and record a first-hand view of aerial combat. He received the Légion d'honneur and the Croix de Guerre from France for his war efforts. After the Frist World War, he settled in Chicago and married the heiress Marguerite Grassino. Lieutenant Henri Farré died in Chicago on 6 October, 1934, at the age of sixty-three.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Ramiro Arrue (Spanish, 1892-1971)Maisons dans la Montagnesigned 'RAMIRO/ARRUE' (lower right) oil on board 37.5 x 45.7cm (14 3/4 x 18in).Footnotes:ProvenanceGifted by the artist to the present owner's grandfather.It is thought that the artist gifted the painting in exchange for credit at the vendor's grandfather's store.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
William Gershom Collingwood (British, 1854-1932)Wetherlam in Spring, Coniston Fellssigned 'W.G.COLLINGWOOD' (lower right) oil on canvas 61.3 x 91.7cm (24 1/8 x 36 1/8in).Footnotes:The painting was on loan to Brantwood, a historic house museum in Cumbria, which was once the home of John Ruskin. The work hung in the drawing-room for the past five years until July 2022.For further information on this lot please visit Bonhams.com
Paul Armitage (20th Century)/Cornish Landscape/oil on board, 91cm x 86.5cm/Provenance: purchased from Innocent Fine Art 2006/see illustration CONDITION REPORT: This painting is slightly rough around the edges in places but otherwise condition is good. framedARR 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
Domenico Robusti, called Domenico Tintoretto/Saint Francis Receiving the Stigmata/oil on canvas, 141cm x 102.5cm/Provenance: With Thos. Agnews & Sons, London, 1985 (as by Jacopo Tintoretto); from whom acquired by CG Hoare, CMG, CBE; thence by descent/Exhibited: London, Agnew's, Coronation Exhibition of thirty-five Masterpieces of Venetian Painting, 1953, no. 34 (as by Jacopo Tintoretto); Kings Lynn, Fermor Art Gallery, The Collection made by CG Hoare MC, and family, 1970, no. 5 (as by Jacopo Tintoretto)/Literature: P Rossi, Per la grafica di Domenico Tintoretto. II, Arte Veneta, 1984, XXXVIII, p. 60, reproduced plate 6/Note: Though long attributed to Jacopo Tintoretto, the attribution to his son, Domenico, was first proposed by Paola Rossi in 1984 (see Literature) CONDITION REPORT: The painting has been cleaned and the paint is thin in places and there are signs of overpainting to the black foliage and to the saints right hand, other than this the painting looks ok under UV light.
Peter Tosh: Artwork for the 1983 album “Mama Africa” by Mervin Palmer together with the issued album and single. Mixed medium painting (oil, watercolour and photography) which is larger than the issued lp. According to Mervin Palmer (artist), EMI wanted to provide their own artwork but was overruled by Peter and so he painted the cover while travelling on the tour bus during the world tour. (Provenance the George Rab Archive)
Streets of Fire: Artwork by Cream for the 1984 film and soundtrack album together with the issued lp and film poster. Large oil painting on card 29”x21”. This the master image that was used to produce promotional material for the film and so is in full colour. (Provenance the George Rab Archive)
* NEIL DALLAS BROWN (SCOTTISH 1938 - 2003), SEA BLUSH (HARBOUR) oil on panel, signed verso, titled and dated 1995/6 label verso overall size 123cm x 53cm Unframed, as intended. Artist's labels verso. Note: Neil Dallas Brown was born in Elgin, Moray and studied at Dundee College of Art, Patrick Allan Fraser School of Art in Arbroath and the Royal Academy Schools. He won a travelling scholarship to the continent and a number of notable awards and prizes. In 1967 he visited New York with a Scottish Arts Council bursary; in 1970 took part in the Arts Council of Northern Ireland Open winning a major prize; and in 1981 won a bursary to the Scottish Arts Council studio in Amsterdam. From 1968-78 he was visiting lecturer at Dundee's Duncan of Jordanstone College of Art, then joined Glasgow School of Art where he taught for some 20 years. He lived in Fife until his death in 2003. Dallas Brown participated in dozens of group shows but also had a series of prestigious solo shows, notably at Compass Gallery in Glasgow, a series in the late 1960s at Piccadilly Gallery in London, a touring retrospective in 1975 from Stirling University, Perth Art Gallery 1987, Thackeray Gallery London in 1989 and Glasgow School of Art 1998. Birds and humans featured in Dallas Brown's pictures, which are tinged with mystery, menace and surrealism. He said ''Painting is love. Painting is an affectionate devotion''. More than 50 of Neil Dallas Brown's paintings are held in major public collections in the UK including at Glasgow Museums & Galleries, Fife Council, Hospitalfield (Arbroath), The Glasgow School of Art, Edinburgh City Collection, Nottingham Art Gallery, The Walker Art Gallery (Liverpool), Aberdeen Museums & Galleries, Dundee Museums & Galleries, The Fleming Collection (London), Paisley Museums & Galleries and The Scottish National Gallery of Modern Art.
ALFRED DE BREANSKI oil on canvas - cattle watering in a Perthshire landscape at sunset, signed with monogram and dated 1870Dimensions: 29 x 49cmsProvenance:private collection Caerphilly, consigned via our Cardiff officeCondition Report:compare with a very similar painting, possibly its pair, sold Mallams 19-10-16 lot 497
Attributed to Peter La Cave (British 1769-1811): a pair of framed oil on canvas rural landscapes to include a gentleman transporting a cow and calf on horse back and one similar with donkeys (2), 35 x 45cm exc frame, in gilt frames, one painting marked 'La Cave 1806'. Antique repair to one - see photos. Some knocks / damages as expected.
‡ EURGAIN EVANS oil on board - industrial landscape with colliery buildings and standing figures, entitled verso on Industrial Wales Exhibition label 'Cwm Parc'Dimensions: 68 x 63cmsProvenance:private collection Ceredigion, consigned via our Carmarthen officeAuctioneer's Note:the artist was born in Betws-y-Coed and studied at The Royal Academy, this painting was exhibited at the 7th exhibition of Contemporary Welsh Paintings, Drawings and Sculpture, 1966, organised by the Arts Council of Great Britain - Welsh Committee Condition Report:framed
‡ EDWARD (ED) POVEY oil on canvas - entitled verso 'A Woman With a Crown of Thorns and a Table', dated September '98Dimensions: 38 x 33cmsProvenance:private collection Carmarthenshire, consigned via our Carmarthen office, purchased directly from the artist October 1998, cleaned and conserved by Rachel Howells Painting Conservation StudioCondition Report:framed and glazed, no problems
‡ EVELYN WILLIAMS oil on canvas - nude couple in an embrace, signed and dated verso 1992Dimensions: 61 x 51cmsProvenance:private collection Carmarthenshire, consigned via our Carmarthen office, purchased from the artistAuctioneer's Note:This painting is illustrated p. 117 of the monograph 'Evelyn Williams - Works and Words', 1998Condition Report:framed
‡ SIR KYFFIN WILLIAMS RA oil on canvas - two Welsh Black cattle in a landscapeDimensions: 54.5 x 75cmsProvenance:private collection of Mr and Mrs C MacFarlane-Barrow, Scotland. Mrs Mary Anne MacFarlane-Barrow, nee Grisewood, shared a house with the artist in Maida Vale, London, between 1955 and 1958. Sir Kyffin was teaching at Highgate School and the vendor was studying at St Thomas’s Hospital. The painting was given as a personal gift to the vendor from the artistCondition Report:framed, ready to hang
1914 STAR BAR TRIO AND PLAQUE to Lieutenant Edmund Swetenham Durh Li 1914 Star, with original bar. Correctly impressed Lieut E Swetenham Durh L I Pair, correctly impressed Lieutenant E Swetenham Memorial Plaque Edmund Swetenham Condition GEF. Housed in a contemporary frame. Included with the group; are his Memorial Scroll and Buckingham Palace Slip. An original Oil Painting of the recipient that was commissioned after his death. Edmund Swetenham was the only son of Clement and Louisa. He was born in Somerford Booths, Cheshire, on the 30th of April 1890. The family lived at Somerford Booths Hall, which was built in 1612. Clement had been a Lieutenant Commander in the Royal Navy Lieutenant Swetenham was educated at Eastman's RN Academy and Army School, Stratford on Avon. He then gained a place at Sandhurst and was commissioned into the Durham Light Infantry on the 19th of April 1910 as a Second Lieutenant. Edmund was based in Colchester at the time of the 1911 census. In January 1914, he was made Lieutenant. A member of the 2nd Bn, he landed in France on the 8th of September 1914. Less than two months later, on the 27th of October, he was killed by a sniper while in the trenches near Rue du Pont de Bois, Armentières. The sniper also killed 2nd Lieutenant Vaughan and wounded two other officers. Edmund is remembered on The Ploegsteert Memorial. After his death, Edmund's Colonel sent the following letter to his father, "Your son only left here a few weeks ago, full of keenness at being able to serve his country at the front, and to hear so soon of his death is a great blow to all of us. He was very popular both with his brother officers and men, and he was one of the keenest and smartest soldiers." Interestingly his mother, Louisa, died under German Occupation in WW2. At the time of the 1939 census, she was living in Kensington but moved to Beau Séjour Route de Moirmont St. Aubins, Jersey, shortly after. She died at the Bon Air Nursing Home in St. Saviour, Jersey, on the 13th of December 1944.
A 19th Century oil on canvas religious ecclesiastical portrait painting picture study depicting a priest in black robe holding rosary bead with Heraldic crest to top right. The sitter resting arm on table / altar with Corpus Christi, Statue of Mary, Memento Mori skull and book / bible. The top left depicting a painting of one of the Stations of the Cross. Set to a later Fine Art Trade Guild frame. Measures approx; 57cm x 47cm (frame) 49cm x 38cm.
A 19th century oil of board of a portrait painting study of a young girl in a red dress holding a cat. Manner of Ammi Philips, a prolific American itinerant folk art portrait painter active from the mid 1810s to the early 1860s in Connecticut, Massachusetts, and New York. In craved wood frame, 39cm x 34cm.
A 19th Century oil on board Religious Biblical Ecclesiastical panel painting depicting Christ kneeling with various Religious / official figures. Christ depicting centre with orb hanging above from ceiling with figures either side. Panel is split and has early repair. Measures approx 37cm x 49cm.
An early 20th Century large oil on canvas portrait picture painting study depicting a young gentleman in black jacket seated on shepherds hook armchair. The sitter facing forward with blue tie. Set to a large gilt gesso frame with Cardiff framers label to verso. Measures approx; 113cm x 93cm. 90cm x 69cm.
William Skilling (American/British, 1862-1964). Oil on canvas painting titled "Cheetah in a Red Harness," depicting the large wildcat with a studded red harness around its waist, red ties around its head, and a collar with a gold chain attached to a pillar. Signed along the lower right. Skilling, who lived and worked in San Francisco, California, was known for his portrait and landscape paintings, particularly those of animals.Sight; height: 47 1/2 in x width: 59 in. Framed; height: 54 x width: 65 1/2 in.
William Skilling (American/British, 1862-1964). Oil on canvas painting depicting a zebra standing in a landscape next to a red marble pillar. Signed along the lower right. Skilling, who lived and worked in San Francisco, California, was known for his portrait and landscape paintings, particularly those of animals.Height: 48 in x width: 60 in.
Roger Antoine Duvoisin (Swiss/American, 1900-1980). Oil on canvas painting depicting a crowd visiting an Asian inspired garden. This work is a study for the March 20, 1937 issue of the "New Yorker" magazine with small differences to the final outcome. Included is the aforementioned cover of the issue.Sight; height: 28 1/2 in x width: 20 1/2 in. Framed; height: 36 in x width: 28 1/2 in.
Charles Bosseron Chambers (American, 1880-1964). Oil on canvas painting depicting a portrait of Escamillo from Bizet's Opera "Carmen," ca. 1920s. This dramatic portrait, framed in wonderful ornate gold gilt frame, is a large, engaging, and exceptional example.Lot Essay:C. Bosseron Chambers, the famed illustrator of epic and Christian scenes, was dubbed ‘the religious Rockwell.’ Chambers’ "Light of the World" image was as famous and popular a print as Maxfield Parrish’s "Daybreak." He was known for figurative works in an illustrative manner, with many of them being either portraits or works with religious themes.An illustrator and teacher as well as painter, Chambers was born in St. Louis, Missouri on May 1882. His father, a young Irish captain in the British Army, was a convert to the Catholic Church and his mother was the daughter of a French family long established in St. Louis.Charles, the youngest of several children, was sent to the Preparatory and Grammar Schools connected with St. Louis University in his earliest years, and his education in his chosen art was begun under Louis Schultz of the Berlin Royal Academy, with whom he spent six years. His next master was Aleis Hrdliczka of the Royal Academy of Vienna, and he later studied with Johannes Schumacher of Dresden for six years.After matriculating at St. Louis University, Chambers began his professional career at Palm Beach, Florida, a place chosen because of his mother’s failing health.From this period in his artistic productions date the fantastic figure compositions exhibited at the St. Louis Exposition, together with portraits of Colonel Mitchell for the Missouri Historical Society; Joseph Jefferson, the great American actor; young Master Haven; Henry Phipps; Henry M. Flagler; Mrs. Voorhis and others.In 1916 he moved to New York City, and established himself in the Carnegie Studios, Carnegie Hall, where he occupied a splendid atelier. Here he produced the Light of the World, the most popular religious painting of the early 1900s in the USA.He was a member of the Society of Illustrators, established in 1901 in New York City, and the Salmagundi Club, an early important art club in New York City. He illustrated Sir Walter Scott’s, Quentin Durward, in the Scribner Classics for Young People.His work was exhibited at the well-known John Levy Galleries in New York City in the 1930s, and his work is now in several public collections in St. Louis and Chicago, including Chicago’s St. Ignatius’s Church, Missouri Historical Society in St. Louis, and the Osceola Club in St. Augustine, Florida.Sight; height: 30 in x width: 23 in. Framed; height: 39 in x width: 32 3/4 in.
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