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Lot 15
The interior of the palace at Madura, with the District Collector conducting business Company School, Madura, South India, circa 1840pencil and watercolour on paper, inscribed (formerly in lower border, now affixed to backboard) The Durbar, in the ruined palace of the Rajahs of Madura (Drawn by a native) 286 x 415 mm.Footnotes:ProvenanceConway Mordaunt Shipley (1824-88), Royal Navy from 1837, travelled in India 1853-54.With Martyn Gregory, London.Private UK collection.ExhibitedFrom China to the West, Martyn Gregory, London 2012-13, cat. no 101 (label on backboard).The Tamukkam Palace at Madura (modern Madurai), a few hundred miles from Madras, was originally built, circa 1670, as the summer palace of the Rani Mangammal, queen regent of the Nadu kingdom. It was later occupied by the Nawab of the Carnatic, and after that by the East India Company from 1801, functioning as the official residence of the District Collector. From 1959 the palace became the Mahatma Gandhi Museum. With its distinctive ogee arches and massive pillars, it was also depicted by Thomas and William Daniell in the late 18th Century.For a group of four Company School works depicting the exterior of the palace, and the temples of Minatchy and Vasanta, at Madura, see Sotheby's, Oriental Manuscripts and Miniatures, 29th April 1998, lots 91-94. These too have identifying inscriptions in English. M. Archer noted that aside from its official status Madura was regarded as a centre for Company officials, who were attracted by its monuments and sculpture. An Indian artist, named Ravanath Naik, appears to have worked in tandem with British amateur painters (Company Drawings in the India Office Library, London 1972, p. 52).For another painting by an Indian artist, depicting Pudu Mandapa, opposite the Meenakshi Temple, and in the collection of Conway Mordaunt Shipley, see India and Iran: Works on Paper, Oliver Forge & Brendan Lynch, March 2022, no. 25.For further information on this lot please visit Bonhams.com
Lot 92
Charles R. Gerrard ARA (British, b. 1892) The Delhi Gate, Delhioil on board, signed C. Gerrard lower right 51 x 61 cm.Footnotes:The Delhi Gate depicted by Gerrard in this painting was built in the 17th Century, comprising one of fourteen such gates built by Shah Jahan within his city walls, having moved his capital from Agra (the city's original name was Shahjahanabad, after its founder). The Delhi Gate stands at the entrance of Daryagani, linking New Delhi city with the old walled city.C. R. Gerrard was Principal of the Sir J. J. School of Art in Bombay from 1936 to 1946, introducing a keen personal observation of 1930s modernist developments in British and European painting, sculpture, graphic design and architecture. He was assisted in this by exiles from the Nazi regime such as Walter Langhammer and Rudi van Leyden, who with Gerrard directed at the School, invigorated the Bombay Art Society and encouraged modernist and art deco European design amongst local architectural practices and in commercial printing. Despite the pupils' necessarily local origins and inability to travel during the war, Gerrard encouraged groupings of pupils to adopt this eye on Western developments.In 1941 a group referred to as the 'Young Turks' held a show featuring the work of P. T. Reddy, M. Y. Kulkarni, A. A. Majeed, C. Baptista and M. Bhople, artists who regarded themselves as being in modernist opposition to the more Victorian and Edwardian style of Dhurandhar, Haldankar, and Trindade. But more notably in the history of modern Indian art the less tentative group known as the Bombay Progressives emerged. This consisted of Francis Newton Souza (whom, however, Gerrard was forced to expel from the School for his connections with the pro-independence movement), H. A. Gade, S. H. Raza, S. K. Bakre, K. H. Ara and M. F. Husain. Some of Gerrard's pupils retained close ties with Bombay (e.g. K. K. Hebbar and Tyeb Mehta) while others, like Souza and Raza, under his influence embarked for Britain and Europe after the war.Gerrard brought the J. J. to maturity: under enlightened predecessors such as Lockwood Kipling, Solomon Gladstone, Cecil Burns and M. V. Dhurandhar a beaux-arts and arts and crafts traditionality had understandably persisted, but with Gerrard the J. J. became modernist.For discussion of Gerrard and his work, his influence on Bakre and others, and the Bombay art scene at this time, see Y. Dalmia, The Making of Modern Indian Art: the Progressives, New Delhi 2001, pp. 27-28, 189, 240-241; and N. Tuli, The Flamed Mosaic: Indian Contemporary Painting, 1997, pp. 196, 200.For further information on this lot please visit Bonhams.com
Lot 270
HORSE & SCOTTISH MILITARY FIGURINES GROUP - to include two composition models of racehorses with jockeys up, 24 x 27cms and 24 x 24cms, Royal Hampshire sculpture by Richard Hanley titled 'The 8th Hussars', 17cms H, 19cms across, along with three composition figurines depicting men in kilts, 16cms H the tallest
Lot 23
Art - Rooses Max "Fifty Masterpieces of Anthony Van Dyck in photo gravure selected from the pictures exhibited at Antwerp in 1899..." Sampson Low Mileston & Company 1900, numerous plates with tissue guards, half vellum with blue and black pictorial boards, gilt titles folio, with boxed set of "Sculpture", four volumes published by Taschen folio, paintings of Edward Sego, paintings of Sir William Russell Flint, John Chancellor's classic maritime painting, Roland, Hilder Sketching Country, Denver, Bernard "Impressionism", Robert Taylor Air Combat paintings... and other oversized volumes (2 boxes)
Lot 7
Miscellaneous volumes to include vol 3 of The Modern Baker Confectioner and Caterer, Kirkland, Walter Perry "Greek and Roman Sculpture"Wallace Budge, Sir "The Rosetta Stone and the Decipherment of Egyptian Heiroglyphs" Merrett, H S "Land and Engineering Surveying""Whitaker's Almanac" for 1981 and 1991Gibbs"A Cotswold Village"Marchand, Leslie A "Byron's Letters and Journals", John Murray 1974, 12 vols, red cloth, gilt titles, djs, etc (1 box and vols)
Lot 88
Saint Joseph with the Child Jesus, painted and gilt wood sculpture, partially painted carved ivory heads, hands and feet, Portuguese, 18th C., fully repainted and gilt wood, missing left hand of the Child Jesus and the fingers of the right hand of Saint Joseph, non-original right hand of the Child Jesus, Dim. - 43,8 cm
Lot 296
The Torah shield (Tas), 925/1000 silver, decoration en relief "Crown, animals and flowers" and engraved with Hebrew inscriptions, central portico with "Ten Commandments" inscriptions containing "Torah" sculpture, English, signs of use, London hallmark (1915), Jacob Rosenzweig maker's mark, without Portuguese marks pursuant to Decreto-Lei 120/2017, of 15 September - art. 2, no. 2, subparagraph c), Dim. - 37 x 23 cm; Peso - 906 g.
Lot 458
Sven BERLIN (1911-1999)A collection of small books.The lot comprises three books. The first is titled 'Tweleve Equations in Stone By Sven Berlin 8.8.88', which contains numerous pages of notes and poetry signed and inscribed by Berlin. The second, titled 'Sculpture', which contains a number of loose drawings of animals. The final book, titled 'Creature- Colour of Ink', also contains a number of ink drawings, all of which are signed and one is dated '88.
Lot 444
Tracy Emin, a signed 1993 'Art in the 20th Century' FDC. Postmarked 11th May 1993. A British artist who produces work in various media including, drawing, painting, sculpture, film and photography. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Lot 58
Sven BERLIN (1911-1999)'Albatross'. Text relating to the sculpture and photos.A folder containing numerous copies of a piece of handwritten text titled 'Notes On Carving The Albatross' and a smaller folder containing a number of photos where Berlin is carving the sculpture.Signed and dated 1991.
Lot 100
ADAM JABIOUSKI (POLISH, B.1902) - A STUDIO GLASS SCULPTURE Blue, pink and transparent glass crystal vase centrepiece, signed to the base 25cm high Condition: Some light shelf wear to the base, a very small nick to the central hole in the base, some very light scratches in places but overall in good condition
Lot 183
Thomas Francois Cartier (1879-1943), Bruellende Loewin, die Skulptur ist Bronze patiniert und auf der Terrasse mit T:Cartier signiert, Hoehe 27 cm, Laenge 52 cm. | Thomas Francois Cartier (1879-1943), Roaring Lioness, the sculpture is patinated bronze and signed T:Cartier on the terrace, height 27 cm, length 52 cm.
Lot 261
Adolphe Itasse e William Bouguereau (séc. XIX)“L’Amour Vainqueur”Patinated bronze sculpture Representing Cupid and Psyche Marked “W. Bouguereau inv.” “The Itasse Sculptor” Griotte marble base with clock Watch with enamel dial decorated with garlands and marked “Susse Frères Paris” (small defects; watch not tested; key missing)
Lot 6052
Catel, Franz Ludwig -- Prozession vor einem in einer Grotte gelegenen Kloster bei Atrani in Richtung Amalfi und den Küstenstreifen bis Capo di Conca.Öl auf Leinwand, doubliert. 90 x 127 cm. Rückseitig auf dem Keilrahmen ein altes Klebeetikett mit handschriftl. Bezeichnung in brauner Feder „N.o 173 / Oelgemälde sehr gutes Bild / Ein Kloster am See [sic] / mit ankommender Prozession“. Wohl um 1838.Der Berliner Maler Franz Ludwig Catel lebte ab Ende 1811 in Rom. Eine Reise mit dem französischen Archäologen Aubin-Louis Millin führte ihn bereits im Sommer 1812 nach Neapel, Kampanien und Kalabrien.1 Fortan spielten Motive aus diesen südlichen pittoresken Landstrichen eine große Rolle in Catels Landschaftsmalerei, die ihn zu einem der erfolgreichsten deutschen Maler des 19. Jahrhunderts in Italien machte.Bereits 1819/20 schuf Catel ein großformatiges Gemälde mit einem Blick aus Amalfi, wo er sich im Laufe seines Lebens immer wieder aufhielt2, für Lord Bristol (Ickworth, The Bristol Collection).3 Auf dem Bild für Lord Bristol geht der Blick aus einem Fischerboot direkt auf den Ort selbst mit dem Dom im Zentrum. Das hier vorliegende Gemälde breitet vor den Augen der Betrachter den Blick aus einer Grotte, in der ein Kloster eingebaut ist, auf den zur Küste hin gelegenen Felssporn des Ortes Amalfi aus. Der Mittel- und Vordergrund der Komposition sind vom Künstler durchaus topographisch genau aufgenommen, die Grotte mit dem Kloster und den dort ankommenden Mönchen und Pilgern scheinen jedoch eher eine Fiktion zu sein, die sich aus den zahlreichen Grotten und Einsiedeleien der Gegend - u.a. die Grotte des Masaniello in Atrani, deren Eingang jedoch in die andere Richtung weist, und die Grotte des westlich gelegenen Kapuzinerkonvents San Francesco bei Amalfi - zusammensetzt.4Sowohl die Malweise der Vegetation, der Felsen, der Architekturen und des von rötlichem Sonnenlicht erstrahlten Himmels, wie auch die typischen Staffagefiguren der ankommenden Klosterbrüder5, der diese erwartenden Pilger sowie der am Boden sitzende Junge links und die am Boden verstreuten antiken Bauteile (Säule, Gebälk und Kapitell) weisen eindeutig auf die Hand Franz Ludwig Catels hin.Im Jahr 1838 stellte Catel auf dem Salon in Paris eine „Vue de la ville et de la côte d’Amalfi, dans le golfe de Salerne“ aus, bei der es sich durchaus um das vorliegende Gemälde handeln könnte, denn stilistisch lässt sich das Bild gut in die späten 1830er Jahre verorten.6Andreas StolzenburgDas Gemälde wird in das in Vorbereitung befindliche Verzeichnis der Werke Franz Ludwig Catels von Dr. Andreas Stolzenburg, Hamburg, aufgenommen.1. Andreas Stolzenburg: „Artiste Prussien, et paysagiste distingué“. Sur les années de formation de Franz Ludwig Catel à Berlin et à Paris, et sur la carrière de peintre paysagiste et de genre à Rome et à Naples à partir de 1811, in: Le peintre, l'écrivain et l'archéologue: Catel, Custine et Millin dans la Calabre napoléonienne, hrsg. v. Bernard Degout und Gennaro Toscano, Ausst.-Kat. Domaine départemental de la Vallée-aux-loups parc et maison de Chateaubriand, (Châtenay-Malabry), Paris 2021, S. 67-75.2. Der Künstler schuf u. a. mehere Bilder mit dem Motiv der Grotte des Kapuzinerkonvents San Francesco bei Amalfi, vgl. Franz Ludwig Catel. Italienbilder der Romantik, hrsg. v. Andreas Stolzenburg und Hubertus Gaßner, Ausst.-Kat. Hamburger Kunsthalle, Petersberg 2015, S. 376-379, Nr. 166-168, mit Abb. 1 und 2 auf S. 376 (Beitrag Andreas Stolzenburg).3. Ausst.-Kat. Hamburg 2015 (Anm. 2), S. 375, Nr. 165.4. Der Standort könnte etwa bei der in Atrani gelegenen Collegiata Santa Maria Maddalena bzw. in den hinter der Kirche aufsteigenden Felsformation zu denken sein.5. Diese Gruppe von Mönchen weist große Ähnlichkeit zu einer anderen auf, die Catel 1834 gemalt hat („Blick aus der Vorhalle des Domes von Amalfi mit einer Mönchsprozession"), vgl. Gemälde des 19. Jahrhunderts, Aukt.-Kat. Wien, Dorotheum, Auktion am 7. Juni 2021, S. 48-49, Nr. 525 (Beitrag Andreas Stolzenburg), weiterhin Stolzenburg 2021 (Anm. 1), S. 72, Abb. 21.6. Explication des ouvrages de peinture, sculpture, architecture, gravure et lithographie des artistes vivans, exposés au Musée Royal, le 1er Mars 1838, Paris 1838, S. 35, Nr. 250 („Vue de la ville et de la côte d’ Amalfi, dans le golfe de Salerne“). Vgl. Wolfgang Becker: Paris und die deutsche Malerei 1750-1840, Studien zur Kunst des 19. Jahrhunderts, Bd. 10, München 1971, S. 103, 452 (Erwähnung einer Medaille 3. Klasse für Catel). Catel gehörte laut Becker in diesem Jahr zusammen mit Andreas Achenbach und Johann Wihelm Schirmer mit zu den ersten deutschen Landschaftsmalern, die im Pariser Salon ausstellten. Catels erste Salonbeteiligung mit einer Landschaft datiert jedoch schon von 1819. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
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67468 item(s)/page