We found 51094 price guide item(s) matching your search
There are 51094 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
51094 item(s)/page
Lot 373
A large 19th Century Bohemian Biedermeier blue overlay alabaster goblet circa 1830, the ovoid bowl with octagonal panel facets to the exterior above a slice cut baluster form stem and matched foot, relief pastel gilded and enamelled with foliate scrolls, unmarked, height 20cm, damaged. NB - From the collection of Gary D. Baldwin
Lot 842
A John Deacons glass paperweight, of domed form, internally decorated with six large millefiori complex canes in various pastel colours over a white latticino lace ground, cased in clear crystal, diameter 6.5cm, together with two similar smaller examples by the same hand with concentric circles of millefiori canes over green and pink grounds, retains original paper labels, diameter 4.5cm. (3)
Lot 247
A WW1 era pastel portrait of an officer of the Seaforth Highlanders, attributed to Noel Denholm Davis (1876-1950)Glazed and framed - signed ‘Denholm’ lower left.With mid 20th century gallery label verso.Notes: the label is for the Denholm Davis Memorial Exhibition October 12th 1952.The name of the picture is ‘C.A. Pauldon’, which relates to a WW1 officer, Captain C.A. Pauldon of the Seaforth Highlanders.69xm x 56cm approximately.Condition: a little grubby in places to the mount under the glass, and some very light wear to the frame in places.The actual image area is clear.Would benefit from a re-frame.
Lot 36
HENRI GAUDIER-BRZESKA (FRENCH 1891-1915) THE MADONNA OF 'THE MIRACLE' WITH SELF-PORTRAIToil on canvas55 x 43cm; 21 3/4 x 17in74 X 61cm; 29 x 24in (framed)Property from a Deceased EstateProvenance:Mr & Mrs Thomas Leman Hare (commissioned from the artist. Thomas Leman Hare was a publisher and collector and in the 1920s became editor of Apollo magazine)Mrs Genevieve Shillingford (god-daughter of Mrs Leman Hare)Miss Joia Shillingford (daughter of the above)Sale, Sotheby's London, 11th November 1981, lot 242 (sold by the above)A. Leslie (probably purchased at the above sale)Alton Gallery, BarnesPurchased by the late owner from the above prior to 1990Painted in 1912, this is a unique example in Gaudier-Brzeska’s oeuvre both in being painted on canvas rather than paper, and in the silhouette self-portrait holding a brush. The statuette in the foreground of the composition is a plaster Gaudier had recently completed of Madame Carmi in the leading role of the Madonna in The Miracle performed at the London Olympia. The plaster is now in the collection of Kettle's Yard, Cambridge (fig. 1). The present painting was almost certainly executed in the Thameside home of his patrons, Mr and Mrs Leman Hare, on Chiswick Mall. Thomas Leman Hare (1872-1935) was a painter, collector and writer on art, who subsequently became editor of Apollo magazine. Friends of the Leman Hares included fellow art writer Haldane Macfall, painter and illustrator Claud Lovat Fraser and the aspiring young writer Enid Bagnold, who later achieved fame as the author of National Velvet. Gaudier-Brzeska had arrived from his native France with his companion Sophie Brzeska early in 1911 and had entered the orbit of this group in January 1912 after writing to Haldane Macfall in response to an article he had published in the English Review. Gaudier modelled portraits of several of them and contacts with more advanced artists and writers followed notably with the sculptor Jacob Epstein, some of the Camden Town painters and with Roger Fry’s Omega Workshop. In 1914 he was elected to the London Group and emerged as one of the leaders of the short-lived, radical Vorticist Group before his tragically premature death in France aged only 23. Performed from 21 December 1911 to 10 February 1912, The Miracle, produced by the German impressario Max Reinhardt was an extravaganza - part medieval miracle play, part wordless musical pageant involving around 1,700 performers including orchestra and chorus, horses, actors and a set evoking the interior of a medieval church which is probably that sketched on the verso of Gaudier’s canvas (fig. 2). It was a hit which subsequently toured in Europe and the US, was revived in the 1920s and filmed in three versions. It also launched the career of Maria Carmi who incarnated the central figure, a sculpture of the Madonna and the redemptive figure of the nun at the core of the plot.The statuette of Maria Carmi (1880-1957) was one of Gaudier’s earliest commissions. He was paid £5. The commission and the process of its making were described both by Sophie Brzeska in the ‘Journal’ of her life with Gaudier (Cambridge University Library) and by Gaudier himself in a letter, dated 12 February 1912, to Haldane Macfall (National Art Library).In Sophie Brzeska’s account Mrs Leman Hare arrived at their Chelsea lodgings, just as they were packing up to move, to offer Gaudier the commission and to insist that he and Sophie Brzeska accompany the Hares to the final performance who had already seen it eight times; ‘There is a large number of people who admire Maria Carmi as much as we do. So my husband had the idea to ask Lord Northcliffe and a few other gentlemen whether they might not like to contribute to having a bust made of this divine Madonna. Lord Northcliffe was enchanted by the idea. . . We are going to have a copy cast in bronze to offer to Madame Carmi and then fifty or so in plaster which will sell easily.’Two days later Gaudier gave a down-to-earth account in a letter to Macfall, describing the sculpture as a statuette rather than a bust. ‘Off we went as tired as could be, made about sixty sketches of the subject, came back home…at 1 o’clock yesterday, and spent the whole morning putting up the clay for the thing.’ He added ‘Mr Hare gave me a very good idea. He suggested that I should indicate on the plaster cast the different colours gold, red and blue and this I will do.’On 26 February Gaudier was able to report to Macfall that the mould was finished and he expected to be able to cast the piece that evening. A second plain white cast was made, later probably destroyed, but the projected edition never came to fruition.The archive image of the statuette (fig. 1) shows short brush strokes of colour applied in an Impressionist technique although all the colour has now deteriorated to dark brown in this sculpture (Kettle’s Yard, Cambridge). A pastel of The Madonna alone (Private Collection) is more densely pigmented in red, blue, green and ochre (H Brodzky, Gaudier-Brzeska Drawings, 1946, colour frontispiece). One may surmise that Gaudier included the mirrored image of himself as a painter rather than sculptor in his canvas in acknowledgement of Leman Hare’s colour suggestion.We are grateful to Dr Evelyn Silber for her assistance in preparing this catalogue entry. fig. 1, Archival photograph of Gaudier-Brzeska, Mme Carmi as the Madonna in 'The Miracle', plaster, 1912 (courtesy of Kettle's Yard, University of Cambridge)fig. 2, The reverse of the present lot, almost certainly showing the stage set of The Miracle performed at Olympia Exhibition Halls 1911-12
Lot 30
HERCULES BRABAZON BRABAZON (BRITISH 1821-1906) LAKE COMO, TREMEZZOpastel on grey papersigned with initials HBB lower right18 x 28cm; 7 x 11in43.5 x 53.5cm; 17 x 21in (framed) Property from a GentlemanProvenance:Sale, Christie's London, 18 July 1989, lot 152Purchased at the above sale by the present owner
Lot 130
ALBERT GOODWIN (BRITISH 1845-1932)TOMBS OF THE MAMMELUKS, CAIROPen and ink, pastel and watercolour, heightened with whiteSigned (lower right) and inscribed as titled (lower left) 25 x 35cm (9¾ x 13¾ in.)UnframedProvenance:Davis Green, and by descentDavis Green (1880-1931) was a keen collector of works by Albert Goodwin as well as Alfred East and other artists. Many pictures were hung at his home in Wolverhampton, but most of the present collection of Goodwins were kept in an album, never to see the light of day until this auction, so hence their remarkably fresh condition. Davis Green was a successful businessman who, along with his brother Walford (former Conservative MP for Wednesbury 1895-1906), owned the engineering company Lockerbie and Wilkinson in Birmingham. Their most well known product was the penny in the door public toilet door lock that led to the phrase "spend a penny". The very successful business made it possible for him to indulge his passion for collecting art as well as furniture and rugs from the East. Albert Goodwin (1845 -1932) was a British landscape painter best known for his watercolours. As a pupil of Ford Madox Brown (1821-1893), and Arthur Hughes (1832 -1915), and a friend of John Ruskin (1819-1900), his works show the influence of both J.M.W Turner (1775-1851) and the Pre-Raphaelite Brotherhood.In 1860, at just 15 years of age, Goodwin exhibited his first painting at the Royal Academy. Aged 31, he became an associate member of the Royal Watercolour Society (RWS) in 1876. As well as travelling around Europe with the art critic John Ruskin, Goodwin spent much of his career abroad including trips to India, the Middle East as well as to Canada with his nephew, the artist (Paul) Sidney Goodwin (1875-1944) in 1890.Working well into his eighties, Goodwin was a prolific artist and produced over 800 paintings. The wide variety of landscapes that he produced reflect his love of landscape and travel. The style in which the artist worked clearly reflects his admiration for Turner by whom he was strongly influenced.The group of works offered here includes a large cross section of landscapes from the UK, Europe, India and the Middle East , from northern scenes of Bambrough and Whitby, to the Southern coasts of Dorset and Somerset, along the Mediterranean coastlines of Monaco and Amalfi, Goodwin's landscapes record an important insight into late Victorian social history.The Maidstone Museum and Art Gallery have the largest public collection of Goodwin's work.Condition Report: The sheet has been laid down at the four corners with adhesive. There is a vertical folding crease running down the far left edge. One or two small pin holes to the upper margins. Some light surface dirt and scratching throughout the sheet. There is an area of skinning to the middle right edge (approx. 5cm). Colours appear good and there is little discolouration to the sheet.Condition Report Disclaimer
Lot 257
Ahmed Parvez (Pakistani, 1926–1979), Untitled (Vase), signed and dated 'PARVEZ '78' lower left, pastel on paper, framed and glazed, 55 x 35 cm.Note: Ahmed Parvez was born in Rawalpindi, Punjab, Pakistan. He studied at the Government College for Boys in Baramulla, Jammu and Kashmir and later at the Gordon College in Rawalpindi. Interested in the arts since a young age, Parvez was quickly discouraged by his family and found a job at a clearing and forwarding agency in Karachi.He started to paint only in 1952, when he moved to Lahore and started to train in his uncle's architect studio. The same year he won the University of Punjab shield for men at the annual All Punjab Art Exhibition. In 1955, he moved to London, and founded the 'Pakistan Group of painters'. During his time in the UK, Parvez's works were exhibited in several galleries and institutes including the Woodstock Gallery, the Dennis Bowen's New Vision Centre, the Commonwealth Institute, Lincoln Gallery, London and at Oxford's Ashmolean Museum and Bear Lane Gallery. Parvez left London in 1964 and returned to Karachi where he opened a studio and continued to paint and exhibit. He received the President's Pride of Performance Award in 1978.Considered primarily a colourist, Parvez became known for working on small canvases in watercolour and gouache, densely filling the space. S. Amjad Ali has described his work as 'prismatically colourful' and 'marked by bursting nervous energy that expressed itself in vigorous drawing made up of short strokes and sharp turns and twists of the line' (Painters of Pakistan, p. 135).
Lot 73
CHRISTIAN DOTREMONT (1922-1979)'Je suis un gros crétin qui use de pastel' 1965Signé, daté et titré en bas à droitePastel sur papierRechts onderaan getekend, gedateerd en getiteldPastel op papierSigned, dated and titled lower rightPastel on paper27 x 21 cmFootnotes:Provenance / HerkomstFamille de l'artisteGalerie Laurentin, BruxellesCollection privée/ PrivécollectieThis lot is subject to the following lot symbols: ARAR Un pourcentage supplémentaire sera demander aux acquéreurs pour les lots précédés du symbole AR correspondant aux droits de suite aux artistes en vertu de la réglementation de 2006 sur le droit d'auteur. Veuillez vous référer aux conditions de ventes pour plus de détails.De koper is ons een extra premie verschuldigd ter dekking van onze kosten in verband met de betaling van royalty's krachtens de Artists Resale Right Regulations 2006. Zie onze algemene voorwaarden voor meer informatie.An Additional Premium will be payable to us by the Buyer to cover our Expenses relating to payment of royalties under the Artists Resale Right Regulations 2006. See our terms and conditions for further details.For further information on this lot please visit Bonhams.com
Lot 14
LOUIS VAN LINT (1909-1986)Le cirque 1940Signé et daté en bas à gauchePastel sur papierLinks onderaan getekend en gedateerdPastel op papierSigned and dated lower leftPastel on paper22,5 x 32 cmFootnotes:Provenance/ HerkomstCollection privée / Privé collectie, Belgique.This lot is subject to the following lot symbols: ARAR Un pourcentage supplémentaire sera demander aux acquéreurs pour les lots précédés du symbole AR correspondant aux droits de suite aux artistes en vertu de la réglementation de 2006 sur le droit d'auteur. Veuillez vous référer aux conditions de ventes pour plus de détails.De koper is ons een extra premie verschuldigd ter dekking van onze kosten in verband met de betaling van royalty's krachtens de Artists Resale Right Regulations 2006. Zie onze algemene voorwaarden voor meer informatie.An Additional Premium will be payable to us by the Buyer to cover our Expenses relating to payment of royalties under the Artists Resale Right Regulations 2006. See our terms and conditions for further details.For further information on this lot please visit Bonhams.com
Lot 172
DAVID TREMLETT (born 1945)Calc. 6 1990Titré, daté et référencé 'Calc. 6 / 1990 / LC 489/91' sur une étiquette de la galerie Modulo au revers Pastel sur papierAchteraan getiteld, gedateerd en gerefereerd 'Calc. 6 / 1990 / LC 489/91' op een etiket van de galerij ModuloPastel op papierTitled, dated, and numbered 'Calc. 6 / 1990 / LC 489/91' on Modulo gallery label on the backPastel on paper85 x 60cmFootnotes:Provenance/HerkomstMODULO, Centro Difusor del Arte, LisbonCollection privée / Privé collectie, Belgique.For further information on this lot please visit Bonhams.com
Lot 66
GUILLAUME VANDEN BORRE (1896-1984)Composition abstraite 1967Monogrammé et daté en bas à droiteHuile et pastel sur papierRechts onderaan gemonogrammeerd en gedateerdOlieverf en pastel op papierMonogrammed and dated lower rightOil and pastel on paper55 x 45,5 cmThis lot is subject to the following lot symbols: ARAR Un pourcentage supplémentaire sera demander aux acquéreurs pour les lots précédés du symbole AR correspondant aux droits de suite aux artistes en vertu de la réglementation de 2006 sur le droit d'auteur. Veuillez vous référer aux conditions de ventes pour plus de détails.De koper is ons een extra premie verschuldigd ter dekking van onze kosten in verband met de betaling van royalty's krachtens de Artists Resale Right Regulations 2006. Zie onze algemene voorwaarden voor meer informatie.An Additional Premium will be payable to us by the Buyer to cover our Expenses relating to payment of royalties under the Artists Resale Right Regulations 2006. See our terms and conditions for further details.For further information on this lot please visit Bonhams.com
Lot 173
DAVID TREMLETT (born 1945)Man Irangi 1986Titré 'Man Irangi' en bas au centrePastel sur papierGetiteld 'Man Irangi' onderaan in het middenPastel op papierTitled 'Man Irangi' lower middlePastel on paper 151,5 x 100cmFootnotes:Provenance / HerkomstCollection Wilfried & Yannicke Cooreman, PuursGalerij S65, Aalst Collection privée / Privé collectie, Belgique.Une seule autre œuvre de Tremlett en hommage aux Irangis est répertoriée, au Centre Pompidou à Paris. Bataille du Kondoa Irangi, Afrique.Slechts één ander werk van David Tremlett als eerbetoon aan de Irangi's is geregistreerd in het Centre Pompidou in Parijs. De slag bij Kondoa Irangi, Afrika.For further information on this lot please visit Bonhams.com
Lot 76
GILBERT DECOCK (1928-2007)Composition abstraite circa 1962Cachet de l'atelier au dosEncre et pastel sur papierStempel van het atelier op de achterkantInkt en pastel op papierStamp of the studio on the backInk and pastel on paper12 x 15 cmThis lot is subject to the following lot symbols: ARAR Un pourcentage supplémentaire sera demander aux acquéreurs pour les lots précédés du symbole AR correspondant aux droits de suite aux artistes en vertu de la réglementation de 2006 sur le droit d'auteur. Veuillez vous référer aux conditions de ventes pour plus de détails.De koper is ons een extra premie verschuldigd ter dekking van onze kosten in verband met de betaling van royalty's krachtens de Artists Resale Right Regulations 2006. Zie onze algemene voorwaarden voor meer informatie.An Additional Premium will be payable to us by the Buyer to cover our Expenses relating to payment of royalties under the Artists Resale Right Regulations 2006. See our terms and conditions for further details.For further information on this lot please visit Bonhams.com
Lot 34
JAN SAVERYS (1924-2017)Composition abstraite 1951Monogrammé et daté en bas à droitePastel sur papierRechts onderaan gemonogrammeerd en gedateerdPastel op papierMonogrammed and dated lower rightPastel on paper27 x 19 cmFootnotes:Bibliographie / BibliografieJan Saverijs en de groep Art Abstrait», Callewaert Vanlangendonck Gallery, 2016, p. 64.This lot is subject to the following lot symbols: ARAR Un pourcentage supplémentaire sera demander aux acquéreurs pour les lots précédés du symbole AR correspondant aux droits de suite aux artistes en vertu de la réglementation de 2006 sur le droit d'auteur. Veuillez vous référer aux conditions de ventes pour plus de détails.De koper is ons een extra premie verschuldigd ter dekking van onze kosten in verband met de betaling van royalty's krachtens de Artists Resale Right Regulations 2006. Zie onze algemene voorwaarden voor meer informatie.An Additional Premium will be payable to us by the Buyer to cover our Expenses relating to payment of royalties under the Artists Resale Right Regulations 2006. See our terms and conditions for further details.For further information on this lot please visit Bonhams.com
Lot 88
MAURICE WYCKAERT (1923-1996)Composition abstraite 1994Signé et daté en bas à gaucheGouache et pastel sur papierLinks onderaan getekend en gedateerdGouache en pastel op papierSigned and dated lower leftGouache and pastel on paper75 x 85 cmFootnotes:Provenance / HerkomstCollection privée / Privé collectie, BelgiqueThis lot is subject to the following lot symbols: ARAR Un pourcentage supplémentaire sera demander aux acquéreurs pour les lots précédés du symbole AR correspondant aux droits de suite aux artistes en vertu de la réglementation de 2006 sur le droit d'auteur. Veuillez vous référer aux conditions de ventes pour plus de détails.De koper is ons een extra premie verschuldigd ter dekking van onze kosten in verband met de betaling van royalty's krachtens de Artists Resale Right Regulations 2006. Zie onze algemene voorwaarden voor meer informatie.An Additional Premium will be payable to us by the Buyer to cover our Expenses relating to payment of royalties under the Artists Resale Right Regulations 2006. See our terms and conditions for further details.For further information on this lot please visit Bonhams.com
Lot 2
KER-XAVIER ROUSSEL (1867-1944)Nu dans un sous-bois Pastel sur papier Pastel op papier Pastel on paper31 x 36cmFootnotes:Provenance/Herkomst Succession Ambroise Vollard, France. Collection Lucien Vollard, France. Collection privée / Privé collectie, Luxembourg.For further information on this lot please visit Bonhams.com
Lot 605
PICTURES AND PRINTS ETC, to include an unsigned abstract oil on box canvas, approximate size 51cm x 51cm, a Marie Charlot signed oil on canvas depicting female figures on a beach, Sharon Ellis pastel drawing of a cat, assorted prints relating to Nelson and HMS Victory, Lady Gray print 'Scotland Forever', assorted other prints etc
Lot 645
Philipp Klein 1871 Mannheim - 1907 Hornegg/Neckar Aktstudie I. 1907. Öl auf Malpappe. Hofkamp PK009. Rechts oben signiert und datiert. Verso mit div. alten Etiketten, handschriftlich und typografisch nummeriert und bezeichnet. 60 x 45 cm (23,6 x 17,7 in). PROVENIENZ: Nachlass des Künstlers. Privatsammlung Süddeutschland (seit 1979 in Familienbesitz. AUSSTELLUNG: Leipziger Kunstverein (verso mit dem fragmentarischen Etikett). Kollektionen Ulrich Hübner, Philipp Klein, Emil Potter, Emil Rudolf Weiss, Kunstsalon Paul Cassirer, Berlin, 15.4.-7.5.1908. Nachlass-Ausstellung Philipp Klein, Mannheimer Kunstverein, Mannheim, März-April 1909, Nr. 3. Nachlass-Ausstellung Philipp Klein, Kölnischer Kunstverein, Köln 1909. Aquarelle, Handzeichnungen und Holzskulpturen erster Meister: darunter der künstlerische Nachlaß von Philipp Klein-München, Kunsthalle P.H. Beyer & Sohn, Leipzig, Nov. 1912, Nr. 2. LITERATUR: Katalog der Versteigerung einer Sammlung moderner Ölgemälde, Aquarelle, Handzeichnungen und Holzskulpturen erster Meister: darunter der künstlerische Nachlaß von Philipp Klein-München, P. H. Beyer & Sohn, Leipzig, 1.11.1912, Nr. 13 [?]. Philipp Klein gehört zu den Künstlern impressionistischer Prägung, die am Ende des 19. Jahrhunderts für Aufbruchsstimmung im deutschen Kunstbetrieb sorgen. 1892 kommt Klein in die Kunststadt München und beginnt zunächst autodidaktisch zu malen, genährt durch den Austausch mit Künstlerkollegen wie Max Slevogt und Lovis Corinth. Als Privatschüler von Josef Wopfner hält er sich mit diesem am Chiemsee und im Voralpenland auf, reist in die Künstlerkolonien nach Dachau und Worpswede. Interessiert an vom akademischen Ausbildungs- und Ausstellungssystem unabhängigen Kunstschaffen orientiert er sich an der Künstlergruppe 'Die Scholle' um Leo Putz. Wie Putz ist auch Klein an dem Motiv der Frau in der Landschaft fasziniert und erreicht mit solchen Sujets erste Erfolge auf den Münchner und Berliner Jahresausstellungen. 1903 begibt auch er sich nach Berlin wo er sich an den Ausstellungen der Secession beteiligt. In der für die Etablierung der Moderne so zentralen Galerie Paul Cassirers ist er eine feste Größe im Programm. Seine verheißungsvolle Karriere wird durch seinen frühen Tod im Frühjahr 1907 jedoch jäh beendet. Charakteristisch für seine Gemälde ist der frei-bewegte Duktus sowie die pastellene, hellfarbige Palette, die besonders den Frauendarstellungen ihre zarte Sinnlichkeit verleiht. Gerade aufgrund der breiten Strichführung ergibt sich eine volumenhafte Plastizität, die sich auch im oftmals pastosen Farbauftrag widerspiegelt. Der nonchalante Charakter in der Ausführung, zwischen spontaner, freier Studie eines Modells im Atelier des Künstlers, die in ihrer scheinbaren Unfertigkeit dennoch als Gemälde überzeugt, macht hier den besonderen Reiz aus. [KT] Aufrufzeit: 10.06.2023 - ca. 18.30 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONPhilipp Klein 1871 Mannheim - 1907 Hornegg/Neckar Aktstudie I. 1907. Oil on cardboard. Hofkamp PK009. Signed and dated in upper right. With several old labels with hand-written and typographic numbers and inscriptions on the reverse. 60 x 45 cm (23.6 x 17.7 in). PROVENANCE: From the artist's estate. Private collectino Southern Germany (family-owned since 1979). EXHIBITION: Leipziger Kunstverein (with a fragmentarily preserved label on the reverse). Kollektionen Ulrich Hübner, Philipp Klein, Emil Potter, Emil Rudolf Weiss, Kunstsalon Paul Cassirer, Berlin, April 15 - May 7, 1908. Nachlass-Ausstellung Philipp Klein, Mannheimer Kunstverein, Mannheim, March - April 1909, no. 3. Nachlass-Ausstellung Philipp Klein, Kölnischer Kunstverein, Cologne 1909. Aquarelle, Handzeichnungen und Holzskulpturen erster Meister: darunter der künstlerische Nachlaß von Philipp Klein-München, Kunsthalle P.H. Beyer & Sohn, Leipzig, Nov. 1912, no. 2. LITERATURE: Katalog der Versteigerung einer Sammlung moderner Ölgemälde, Aquarelle, Handzeichnungen und Holzskulpturen erster Meister: darunter der künstlerische Nachlaß von Philipp Klein-München, P. H. Beyer & Sohn, Leipzig, November 1, 1912, no. 13 [?]. Philipp Klein is one of the artists with an impressionist influence who created a spirit of optimism in the German art world at the end of the 19th century. In 1892, Klein came to Munich, the then German art capital, and began to paint as an autodidact, nurtured by exchanges with artist colleagues such as Max Slevogt and Lovis Corinth. As a private student of Josef Wopfner, he stayed with him at Lake Chiemsee and in the foothills of the Alps, and also traveled to the artist colonies in Dachau and Worpswede. Interested in creating an art that was independent from the academic training and the exhibition system, he found a home with the artist group 'Die Scholle' around Leo Putz. Like Putz, Klein was also fascinated by the motif of the woman in the landscape and achieved initial success with such subjects at the annual exhibitions in Munich and Berlin. In 1903, he also went to Berlin, where he took part in the Secession’s exhibitions. He was a regular in the program of Galerie Paul Cassirer, which was so important for the development of modern art in Germany. However, his promising career came to an abrupt end when he died early in 1907. Characteristic of his paintings is the freely moving style and the pastel, light-colored palette, which gives the depictions of women their delicate sensuality. Precisely because of the broad strokes, there is a voluminous plasticity, which is also reflected in the often impasto application of paint. The casual execution makes for the special appeal of the present work. [KT] Called up: June 10, 2023 - ca. 18.30 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.
Lot 647
Edward Cucuel 1875 San Francisco - 1954 Pasadena Schöne Stunde. Um 1920. Öl auf Leinwand. Links unten signiert. Verso auf dem Keilrahmen erneut signiert sowie betitelt, nummeriert und mit altem Etikett. 43,5 x 61,5 cm (17,1 x 24,2 in). PROVENIENZ: Galerie Dr. Nöth, Potsdam. Privatsammlung Norddeutschland. Das Werk Edward Cucuels ist ab den 1910er Jahren geprägt durch eine heitere, unbeschwerte Freiluftmalerei, die er zunächst mit seinem Freund und Lehrmeister Leo Putz in Hartmannsberg am Chiemsee betreibt. Hier arbeiten die Maler über vier Jahre hinweg jeden Sommer Seite an Seite. Zentrales Motiv der beiden werden die sogenannten 'Kahnbilder', in denen sie ihre Modelle beim Erkunden der Landschaft auf dem See, in kleinen versteckten Badebuchten oder am Ufer zeigen. Ab 1914 ist Cucuel am Ammersee und anschließend am Starnberger See südlich von München ansässig, wo er eine Villa mit weitläufigem Seegrundstück besitzt. Dort führt er die zuvor gewählte Motivik fort: junge, elegant gekleidete Damen, die lässig drapiert im Grünen, vor allem aber im Dialog mit den glitzernden sanften Wellen des Sees ihrem Freizeitvergnügen nachgehen. Im Stil unabhängiger von Putz werdend, fängt Cucuel seine Motive durch einen ungebrochen flüssig bis flüchtigen Pinselduktus in satten Farbtönen von hoher Leuchtkraft ein. Den besonderen Reiz von Edward Cucuels Gemälden macht ihre spürbare Leichtigkeit und nonchalante Eleganz aus. Die Inszenierung der Modelle lässt die Grenze zwischen Pose und unbeobachteter Spontaneität verschwimmen, in der lockeren Ausführung erscheint die Malerei als angenehmer sommerlicher Zeitvertreib. Häufig verwendet er dabei nicht nur den Pinsel, sondern trägt die Farbe in breiten Strichen mit dem Malmesser auf, wodurch seine Motive trotz der hellen, pastelligen Farben eine solide Körperlichkeit erlangen. Insbesondere die Welt der schönen, unbeschwerten jungen Frau in sommerlicher Seenlandschaft ist eines der erfolgreichsten Motive von Edward Cucuel. Seine Bilder vom Ufer des Starnberger Sees sind Ausdruck einer Lebenshaltung, die gleichzeitig charakteristisch für eine bestimmte Gesellschaftsschicht ist, der der Maler in seiner vom Spätimpressionismus beeinflussten Malweise auf exemplarische Weise huldigt. Die junge, in sommerliches Weiß gekleidete Dame ist ganz in den farblichen Zauber des blaugrau schimmernden Sees eingebunden. Leichte Lichtreflexe auf ihrem luftigen Kleid geben der Szene jenen imaginären Zauber des optisch Entrückten, der für viele Arbeiten Cucuels aus dieser Epoche so charakteristisch ist. [KT] Aufrufzeit: 10.06.2023 - ca. 18.32 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONEdward Cucuel 1875 San Francisco - 1954 Pasadena Schöne Stunde. Um 1920. Oil on canvas. Lower left signed. Once more signed on the reverse, as well as titled, numbered and with an old label. 43.5 x 61.5 cm (17.1 x 24.2 in). PROVENANCE: Galerie Dr. Nöth, Potsdam. Private collection Northern Germany. From the 1910s onward, Edward Cucuel's work was characterized by cheerful, carefree outdoor painting, which he initially pursued with his friend and teacher Leo Putz in Hartmannsberg am Chiemsee, where the painters worked side by side every summer for four years. Their central motif are the so-called 'boat pictures', in which they show their models exploring the landscape on the lake, in small hidden bays or on the shore. From 1914, Cucuel was based on Ammersee and then on Starnberger See south of Munich, where he owned a villa with extensive lakeside property. There he continued the previously chosen motif: young, elegantly dressed women, casually lingering outdoors, but above all, in dialog with the sparkling, gentle waves of the lake, enjoying their leisure time. With an increasing stylistic independence from Putz, Cucuel captured his motifs with an unbroken fluid and fleeting brushwork in rich, highly luminous tones. The special appeal of Edward Cucuel's paintings lies in the noticeable lightness and nonchalant elegance. The staging of the models blurs the line between pose and unobserved spontaneity, owing to the apparently casual execution, painting appears to be a pleasant summer pastime. He often did not only use the brush, but also applied the paint in broad strokes with the putty knife, which gives his motifs a solid physicality despite the light, pastel colors. In particular, the world of the beautiful, carefree young woman in a summery lake landscape is one of Edward Cucuel's most successful motifs. His pictures from the shore of Lake Starnberg are an expression of a way of life that is also characteristic of a certain social class, which the painter pays homage to in his paintings and which was influenced by late Impressionism. The young lady dressed in summery white, is completely immersed in the magical colors of the shimmering blue-gray lake. Slight reflections of light on her airy dress give the scene the magic that is so characteristic of many of Cucuel's works from this epoch. [KT] Called up: June 10, 2023 - ca. 18.32 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.
Lot 81
An early 19thc Pratt ware figure group of a courting couple, back a/f, lady holding a sheet of music, gentleman, arms missing and foot and shoe a/f, (h: 19cm x 9cm) blanc de chine pastel burner, hair line cracks to roof area, etc (h: 16cm x 13cm x 10cm) and three various pastel burner cottages, two with lift off tops, with floral bocage roof design, pale tangerine pastel burners, one of a tower, the other of a detached house, with floral bocage decoration, and a tower pastel burner, chimney restored, (a lot)
Lot 167
§ JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) THE BLUE PINAFORE Signed, pastelDimensions:14.5cm x 10cm (5.75in x 4in)Provenance:Provenance:Acquired in 1955 from The Scottish Gallery, Edinburgh and thence by descent to the Executors of the Late Mrs Anne WalkerNote: Note: The Townhead district of Glasgow and the fishing village of Catterline, on the north-east coast of Scotland, provided the locations and communities which inspired much of Joan Eardley’s oeuvre, revealing her deep sense of place and people in works which have secured her a leading place in British art history.As Fiona Pearson has explained:Eardley was a strong, passionate painter who was totally engaged in depicting the life forces around her, everything from children to nature…Eardley’s deep love of humanity was manifest in images of the resilience of the human spirit among the poor, the old and the very young…[She reminds…] Scots of lost tenement communities and the wild natural beauty of the landscape. (Fiona Pearson, Joan Eardley, National Galleries of Scotland, Edinburgh, 2007, pp.8-9)In 1953 Eardley moved into a studio at 204 St James Road in Townhead, above a scrap-metal merchant’s premises. The area was of mixed residential and light industrial use, was rundown and overcrowded, yet she was drawn to its vibrancy, declaring:I like the friendliness of the back streets. Life is at its most uninhibited here. Dilapidation is often more interesting to a painter as is anything that has been used and lived with – whether it be an ivy-covered cottage, a broken farm-cart or an old tenement. (As quoted in Patrick Elliott and Anne Galastro, Joan Eardley: A Sense of Place, National Galleries of Scotland, Edinburgh, 2016, p.14).Eardley became a familiar figure sketching and photographing in the streets, drawn to the games and squabbles of the neighbourhood’s children and to evidence of lives lived in and amongst its decaying architecture. She worked spontaneously, at speed and often on the modest scale afforded by pocket sketchbooks, using larger sheets, chalks and pastels when developing imagery on return to her studio.Works such as Children Playing Marbles (Lot 166) show how Eardley instinctively empathised with childhood emotions, as a group of youngsters are absorbed in the drama of a competitive game. In The Blue Pinafore (Lot 167) a child is caught in moment of contemplation. Her facial expression is depicted with tenderness and her unselfconscious pose speaks of innocence, whilst the thick application of pastel – sometimes highly coloured – signifies form and the artist’s energetic technique.As Eardley became known in Townhead, so her natural rapport with the local children developed and some came to her studio to sit for her. She recalled:Most of them I get on with…some interest me much more as characters…they don’t need much encouragement: they don’t pose…they are completely uninhibited and they just behave as they would among themselves…They just let out all their life and energy they haven’t been able to at school. (As quoted in Elliott and Galastro, op.cit., p.48)The studio works could be more considered, as seen in Studies of Amanda (Lot 174) and Portrait Study (Lot 173). Boy with Blue Trousers (Lot 172) shows the ease at which she put her sitters, a whirlwind of lines applied over colour fields to define his features, his gap-toothed smile revealing his age and good humour. As a son of Eardley’s dealer, Bill Macaulay of The Scottish Gallery in Edinburgh, Eardley will have known the boy well.Two Children (Lot 169) is a particularly resolved and successful work. Skilful layering and blending of multi-coloured pastels focus attention on the children’s faces, their overlapping pose suggesting the intimacy of siblings. Eardley’s gestural technique communicates the patterning of their clothing, which gives way to free form mark-making.Ginger (Lot 170) is a dignified yet tender portrait. Executed with oil on board, the boy looks directly at the artist (and by extension the viewer). As Christopher Andreae has written about such works:They were portraits not caricatures. She had too much rapport with them for such distortion. And direct, daily experience of them actually meant she knew them well and painted them in their world…she [did not]…let sentimentalism sift sugar over her understanding of these kids. (Christopher Andreae, Joan Eardley, Farnham 2013, p. 127)
Lot 157
FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883-1937) MULL FROM IONA Signed, inscribed verso 'G. W. Service', oil on boardDimensions:37cm x 44.5cm (14.75in x 17.5in)Provenance:Provenance:George W. Service, GlasgowLyon & Turnbull, Edinburgh, Fine Paintings, 3 December 2008, lot 128, where acquired by the present owner Note: Exhibited: Royal Academy of Arts, London, Exhibition of Scottish Art, 6 January-11 March 1939, no. 597 (lent by George Service, incorrectly catalogued as pastel)Note: This painting was one of eight works by Cadell shown in the landmark exhibition of Scottish art held at the Royal Academy of Arts in London in 1939; it was one of three lent by the shipowner George Service. Its entry in the catalogue read: 'A summer scene. Looking from fields in Iona across the Sound to Mull.' Whilst serving in World War One, Cadell wrote to his fellow Scottish Colourist S. J. Peploe:When the War is over I shall go to the Hebrides, recover some virtues I have lost. There is something marvellous about those western seas. Oh, Iona. We must all go together. (quoted in Alice Strang et al, S. J. Peploe, National Galleries of Scotland, Edinburgh, 2012, p.24)True to his word, Cadell introduced Peploe to the Hebridean island, off Scotland’s west coast, in 1920 and they returned there most summers for the rest of their lives. Cadell first visited Iona in 1912, possibly because it was owned by his friend Ivar Campbell’s uncle, the 9th Duke of Argyll. He may also have been encouraged to do so by the fact that his friend John Duncan began painting there in 1903, followed by James Paterson and William Caldwell Crawford.As Alice Strang has explained:Iona has many attractions for the artist…It is low-lying, so the light reflected from the surrounding sea intensifies the colours of the white sand beaches and the green of its pastures. The light shining through the shallow waters at the edge of the shore creates brilliant colours of emerald green, blue and violet. In addition, the light and weather change frequently, as the prevailing winds cause a quick succession of cloudy then clear intervals. Iona is known for its geological diversity and there is a wide variation of colours in its rock formations; the red granite of the Ross of Mull is easily visible across the Sound on the east coast, as is the mountain of Ben More. There are also numerous views beyond Iona, particularly from the north end towards Staffa and the Treshnish Islands. On the island itself the main architectural features are the Abbey, the Nunnery and related buildings, the village and scattered crofts. (Alice Strang, F. C. B. Cadell, National Galleries of Scotland, Edinburgh, 2011, p.77)In 1903 Duncan moved to Edinburgh from America, where he had been teaching art at the Chicago Institute. A visit to Iona helped him to plan for the future and ‘he started by making a vow to devote his time to the realisation of spiritual art and to gather the crops of his imagination rather than let them rot in untended fields.’ (John Kemplay, The Paintings of John Duncan A Scottish Symbolist, Rohnert Park, 1994, p.43). Duncan played a key role in the Celtic Revival which blossomed in the 1890s and Iona provided the setting for some of his most important Symbolist works, which celebrated Celtic mythology; it was also where he is reported to have encountered Gaelic fairy-folk for the first time. Such was the inspiration that the island afforded Duncan, that he was to work there, on and off for forty years, often at the same time as Cadell and Peploe.Duncan’s Cathedral Rock from the North End of Iona (Lot 156) shows a view made famous by the more well-known images of the scene by his Scottish Colourist friends. Cathedral Rock is part of the headland at the extreme north-east corner of the island and is the location of some of its most dramatic geology. The view shown is out to Eilean Annraidh, Staffa and Mull.Auchabhaich Croft first appears in Cadell’s Register of Pictures (Private Collection on long-loan to the National Galleries of Scotland) in 1914 (work no.30), presumably painted during his trip to the island the preceding year. It is one of the crofts situated north of the village and Cadell was to paint it on many occasions, not least as it was not far from Cnoc cùil Phàil, the croft on which he most frequently stayed after the War. The buildings depicted nestled within Auchabhaich Croft, Iona (Lot 153) still exist, albeit extended in various directions. A T. & R. Annan & Sons Ltd label on the painting’s reverse gives it the title ‘Nightfall Iona’ and the image appears to capture the gentle light of the gloaming, as evening falls over the peaceful scene, with its reach to the Paps of Jura in the distance.Mull from Iona (Lot 157) leads the eye from a patchwork quilt of fields across the Sound to the neighbouring island, with particular attention paid to the tumult of weather conditions played out across the sky. This painting formerly belonged to Cadell’s great patron, the shipowner George W. Service, who holidayed on Iona. He reportedly donned a tartan dress jacket for the night of his annual purchase of work by Cadell and appears regularly in the artist’s Register of Pictures from 1913 until 1927.Service would often make multiple acquisitions at a time, usually but not exclusively images of Iona, commissioned portraits of some of his children and supported the artist’s sales in exhibitions such as those mounted by the Society of Eight in Edinburgh. His support sometimes formed the backbone of Cadell’s income, for example when he purchased fourteen works in 1921 for a total of £725, which was 40% of Cadell’s recorded total sales of £1,786 for the year. Two years after Cadell’s death, Mull from Iona was one of three works lent by Service to the landmark Exhibition of Scottish Art mounted at the Royal Academy of Arts in London.Peploe was nearly fifty years old when he first painted on Iona. He was thus able to approach its visual possibilities with the experience of a mature artist and was particularly drawn to the natural beauty of the north end and the views from it. Treshnish Point from Cows Rock (Lot 154) was painted in this area; its dramatic composition sees the beach and protruding rocks occupy all but the upper fifth of the image. Peploe’s technique uses the materiality of oil paint to convey a sense of the texture of sand and weathered rocks, around which inviting paths meander. Between the alluring blue of the sea and the active sky can be glimpsed the west end of Eilean Annraidh in the middle distance and Treshnish Point on the horizon. A closely related painting by Peploe, Iona, Grey Day, is in the collection of Aberdeen Art Gallery and Museums.
Loading...-
51094 item(s)/page