JAKOB JOSEPH ZELGER (SWISS 1812-1885)ALPINE LANDSCAPE WITH SHEPHERD PLAYING AN ALPHORN, AND MOUNTAIN GOATS RESTINGOil on board Signed (lower right)18 x 27.5cm (7 x 10¾ in.)Provenance:Otto Buel, Lucerne, titled Panorma from Rigi KulmPurchased from the above on 27th April 1943, Private Collection, Oskar Reinhart (1885-1965), Winterthur, Switzerland By descent to The Hon. Mrs James Tennant Please note measurements do not include the frame unless otherwise stated. Oskar Reinhart was born in Winterthur, Switzerland in 1885. His father Theodor Reinhart (1849-1919) worked as a textile merchant running Volkart Brothers, which was founded by his wife's family, and facilitated the trade of cotton across the continent mainly from India. Theodor was an active art collector and devoted to supporting the careers of promising artists. By the age of 39 Oskar, inspired by his father, retired from the family firm to focus on building his already established art collection. Reinhart travelled across Europe visiting museums and private collectors devoting his time to art patronage. Reinhart purchased villa Am Römerholz in his hometown which was to become his own private gallery to house his collection as well as his private residence. In 1940 Reinhart donated the Austrian, German and Swiss works of art from his collection to the town of Winterthur which was housed from 1951 in the Museum Oskar Reinhart, now within the Kunst Museum including pieces by Caspar David Friedrich and Adolph Menzel. The rest of the collection was bequeathed to the Swiss Confederation including his home in 1958 and this opened to the public in 1970 and is still available to visit today. The original bequest included over five hundred paintings and several thousand drawings.Reinhart was particularly drawn to French Impressionists and he enjoyed mixing old masters with modern masters arranging displays in order of form and colour rather than period. It was the focus on colour and light used by the Impressionists that sparked Reinharts' interest. Reinhart was conscious of seeking talent and artists with potential in order to support and encourage their careers. The collection on display at Am Römerholz includes works by Pierre-Auguste Renoir, Vincent Van Gogh, Edouard Manet, Paul Cezanne and Alfred Sisley amongst a selection of old masters such as Pieter Brughel the Elder. Condition Report: Some small scattered losses across the surface. Varnish and dirt causing some discolouration throughout. Inspection under UV reveals no obvious evidence of restoration or repair. Please note Dreweatts is not liable for damage to frames. Condition Report Disclaimer
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WILFRIED BUCHMANN (SWISS 1878-1933)FAMILY SEATED IN A RURAL LANDSCAPE Oil on canvas Signed and dated 1912 (lower left)75 x 60.5cm (29½ x 23¾ in.)Provenance:Private Collection, Theodor Reinhart (1849-1919)Thence by descent, Private Collection, Oskar Reinhart (1885-1965), Winterthur, Switzerland By descent to The Hon. Mrs James Tennant Please note measurements do not include the frame unless otherwise stated.Oskar Reinhart was born in Winterthur, Switzerland in 1885. His father Theodor Reinhart (1849-1919) worked as a textile merchant running Volkart Brothers, which was founded by his wife's family, and facilitated the trade of cotton across the continent mainly from India. Theodor was an active art collector and devoted to supporting the careers of promising artists. By the age of 39 Oskar, inspired by his father, retired from the family firm to focus on building his already established art collection. Reinhart travelled across Europe visiting museums and private collectors devoting his time to art patronage. Reinhart purchased villa Am Römerholz in his hometown which was to become his own private gallery to house his collection as well as his private residence. In 1940 Reinhart donated the Austrian, German and Swiss works of art from his collection to the town of Winterthur which was housed from 1951 in the Museum Oskar Reinhart, now within the Kunst Museum including pieces by Caspar David Friedrich and Adolph Menzel. The rest of the collection was bequeathed to the Swiss Confederation including his home in 1958 and this opened to the public in 1970 and is still available to visit today. The original bequest included over five hundred paintings and several thousand drawings.Reinhart was particularly drawn to French Impressionists and he enjoyed mixing old masters with modern masters arranging displays in order of form and colour rather than period. It was the focus on colour and light used by the Impressionists that sparked Reinharts' interest. Reinhart was conscious of seeking talent and artists with potential in order to support and encourage their careers. The collection on display at Am Römerholz includes works by Pierre-Auguste Renoir, Vincent Van Gogh, Edouard Manet, Paul Cezanne and Alfred Sisley amongst a selection of old masters such as Pieter Brughel the Elder. Condition Report: Not relined. A small dent and associated hole just below the man's hand. Patches of craquelure scattered across the surface and stretcher marks visible. Light surface dirt and yellowing varnish throughout.Please note Dreweatts is not liable for damage to frames. Condition Report Disclaimer
H. MÜLLER (20TH CENTURY)STILL LIFE WITH FRUIT AND A STATUEOil on canvasSigned and dated H. Müller 31 (upper right)33 x 41cm (12 x 16 in.)Provenance:Private Collection, Oskar Reinhart (1885-1965), Winterthur, Switzerland By descent to The Hon. Mrs James Tennant Please note measurements do not include the frame unless otherwise stated. Oskar Reinhart was born in Winterthur, Switzerland in 1885. His father Theodor Reinhart (1849-1919) worked as a textile merchant running Volkart Brothers, which was founded by his wife's family, and facilitated the trade of cotton across the continent mainly from India. Theodor was an active art collector and devoted to supporting the careers of promising artists. By the age of 39 Oskar, inspired by his father, retired from the family firm to focus on building his already established art collection. Reinhart travelled across Europe visiting museums and private collectors devoting his time to art patronage. Reinhart purchased villa Am Römerholz in his hometown which was to become his own private gallery to house his collection as well as his private residence. In 1940 Reinhart donated the Austrian, German and Swiss works of art from his collection to the town of Winterthur which was housed from 1951 in the Museum Oskar Reinhart, now within the Kunst Museum including pieces by Caspar David Friedrich and Adolph Menzel. The rest of the collection was bequeathed to the Swiss Confederation including his home in 1958 and this opened to the public in 1970 and is still available to visit today. The original bequest included over five hundred paintings and several thousand drawings.Reinhart was particularly drawn to French Impressionists and he enjoyed mixing old masters with modern masters arranging displays in order of form and colour rather than period. It was the focus on colour and light used by the Impressionists that sparked Reinharts' interest. Reinhart was conscious of seeking talent and artists with potential in order to support and encourage their careers. The collection on display at Am Römerholz includes works by Pierre-Auguste Renoir, Vincent Van Gogh, Edouard Manet, Paul Cezanne and Alfred Sisley amongst a selection of old masters such as Pieter Brughel the Elder.Condition Report: Some areas of fine craquelure. Light surface dirt throughout. Otherwise appears to be in original condition. Inspection under UV no obvious evidence of restoration or repair. Please note Dreweatts is not liable for damage to picture frames.Condition Report Disclaimer
MAURICE ASSELIN (FRENCH 1882-1947)RUE DES RECOLLETS, PARISOil on canvasInscribed in pencil 'M. Asselin Bar Central Rue des Recollets' (on the stretcher)64 x 98.5cm (25 x 38¾ in.)Exhibited:Moderne Galerie Zürich (label on stretcher)Please note measurements do not include the frame unless otherwise stated.Oskar Reinhart was born in Winterthur, Switzerland in 1885. His father Theodor Reinhart (1849-1919) worked as a textile merchant running Volkart Brothers, which was founded by his wife's family, and facilitated the trade of cotton across the continent mainly from India. Theodor was an active art collector and devoted to supporting the careers of promising artists. By the age of 39 Oskar, inspired by his father, retired from the family firm to focus on building his already established art collection. Reinhart travelled across Europe visiting museums and private collectors devoting his time to art patronage. Reinhart purchased villa Am Römerholz in his hometown which was to become his own private gallery to house his collection as well as his private residence. In 1940 Reinhart donated the Austrian, German and Swiss works of art from his collection to the town of Winterthur which was housed from 1951 in the Museum Oskar Reinhart, now within the Kunst Museum including pieces by Caspar David Friedrich and Adolph Menzel. The rest of the collection was bequeathed to the Swiss Confederation including his home in 1958 and this opened to the public in 1970 and is still available to visit today. The original bequest included over five hundred paintings and several thousand drawings.Reinhart was particularly drawn to French Impressionists and he enjoyed mixing old masters with modern masters arranging displays in order of form and colour rather than period. It was the focus on colour and light used by the Impressionists that sparked Reinharts' interest. Reinhart was conscious of seeking talent and artists with potential in order to support and encourage their careers. The collection on display at Am Römerholz includes works by Pierre-Auguste Renoir, Vincent Van Gogh, Edouard Manet, Paul Cezanne and Alfred Sisley amongst a selection of old masters such as Pieter Brughel the Elder. Condition Report: Canvas is unlined. Some light surface dirt. Stretcher marks slightly visible. Some rubbing around the edges. Otherwise in good original condition. Please note Dreweatts is not liable for damage to picture frames. Condition Report Disclaimer
![[CEZANNE Paul]. L. Venturi. Son art - son oeuvre - Catalogue raisonné des peintures. Réimpression. 2 volumes. Alan Wofsy, San](https://cdn.globalauctionplatform.com/f1a92965-c987-4df1-a23a-b01500f0ba00/74c3270e-ee88-4412-9937-b01500f5eda1/468x382.jpg)
Paul Cezanne (1839-1906), Watercolor and Sketch on Paper Image Size: 12 1/2 by 17 in. (31 by 43 cm.) All measurements are approximate. Signed (lower right) Paul Cezanne (1839-1906) was a French Post-Impressionist painter whose work had a profound influence on the development of modern art. Cezanne is best known for his landscapes, still lifes, and portraits, which were characterized by their use of geometric forms, bold colors, and a sense of structure and balance. He sought to capture the essence of his subjects rather than their superficial appearance, and his use of repeated motifs and multiple perspectives gave his work a sense of depth and complexity. Cezanne's influence can be seen in the development of modern art, particularly in the works of the Cubists, who were inspired by his use of geometric shapes and his interest in representing multiple perspectives. Today, Cezanne's works are held in major museum collections around the world, and his legacy as one of the most important artists of the 19th century continues to be celebrated. Please read our policy carefully: 1. All items are sold AS-IS, where is with all faults. We do not accept returns or refunds. All sales are final. 2. We will pack and arrange all shipments via UPS. Shipping costs to US address starts with 30 USD and 180 USD to International (depends on size and weight of the package). Packages should be shipped within two weeks after payment is received. Larger packages and international delivery may exceed this period. 3. Your bids signify that you have examined the items as fully as you desire, or that you have chosen not to examine them. Images descriptions are our opinions and should in no way be construed as a guarantee of any kind as to authorship, age, condition, materials, provenance or any other feature of items being sold. 4. If the bidder refuses to pay for the invoice after the successful bidding, the liquidated damages shall be 30% of the amount of the hammer price, which shall be responsible by the buyer.
Krishna Hawlaji Ara (India, 1914-1985)Untitled (Flowers in a Vase) signed 'Ara' lower rightwatercolour on board, framed76.2 x 55.9cm (30 x 22in).Footnotes:ProvenanceProperty from a private collection, Florida.Acquired from India in the 1930s;Acquired from the Estate sale of the above.The life of K.H. Ara was marked by a constant struggle for survival, yet he persisted with his love for art and desire to paint. His relationship with his father and step-mother were challenging and this forced him to abandon his home for Bombay where he worked as a domestic servant. Caught up in the independence movement, he lost his job after partaking in Gandhi's salt satyagraha, which led to his imprisonment. This represented the beginning of a social and political awareness that eventually led to the creation of the Progressive Artists Group alongside five of the most influential modernist artists in India. Here, Ara found the intellectual and formal encouragement that allowed him to further develop his artistic production and define his style. In 1942 he had his first solo show and in 1944 he was awarded the Governor's Prize at the Bombay Society Annual exhibition. Later in his career, his exhibitions became less frequent, as he dedicated most of his later life to helping upcoming artists. Ara remained in India where he died in 1985.When discussing his artistic production, Ara's lack of formal training is surprising. However, the absence of academic limitations was an advantage that gave his works a raw authenticity. His paintings were free from the structures imposed by the classical standards of the Bengal school and the Western ideals of fine art. Often described as the most intuitive member of the PAG, Ara succeeded in using classical devices to expand the language of his painting, evolving his signature style that loudly emerged from his very early works. Although he is usually compared to Cezanne and Matisse, it would be reductive to think of his work as a mere reflection of Western modernism. Although European modernism represented a source of inspiration, his and the PAG's artistic production was deeply rooted in the historical and social context of 1940s India, the liberation from colonialism and the definition of a newly rediscovered national identity alongside a place of Indian art in the world. Due to his intuitive grasp of the principles of modernism Ara revitalised the entire genre of 'Still Life' in India. Still Life, specifically vases of flowers, represents the hallmark of his artistic production. This painting Untitled (Flowers in a Vase) is an exquisite example of Ara's style and is characterised by a roughness in both drawing and the application of the paint, that seems to overflow from one form to the other. The minimal attention to details and the predominance of colours is evident. Petals merge into each other and yet the choice of different colours makes every single flower stand out in a vibrant bouquet. Particularly significant is the use of white that is frequently applied by the artist to create forms, connect shapes, differentiate the space, and modulate depth and volume. This work demonstrates Ara's ability to turn an apparently till subject into a dynamic triumph of colours.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
Bernard Meninsky, Ukranian/British 1891-1950 - Reclining nude on a couch, 1928; oil on paper laid down on board, signed and dated under slip 'Meninsky 28', 40.8 x 71 cm Provenance: Adam Gallery, Bath; private collection, purchased from the above on the 23rd September 1998 (according to a copy of the original invoice) Note:Bernard Meninsky moved to Britain as a child from Ukraine, living in Liverpool where he first studied art. Meninsky was eventually awarded a scholarship to study at the Slade between 1912-13, following his fellow-Jewish émigré artists Mark Gertler and David Bomberg. His war-time mural ‘The Arrival, 1918’ is now in the Imperial War Museum collection and during the 1920s, he exhibited at the Groupil Gallery and was a celebrated tutor at Westminster School of Art, also becoming associated with the Bloomsbury group during this period. His sensuous and idyllic pastural scenes are a celebration of life and colour, demonstrating the influence of Post-Impressionism and Paul Cezanne on the artist. A memorial exhibition was held at Boundary Gallery for the artist in 2010.
Constantinos Maleas (Greek, 1879-1928)Vue de Lavrio signé en grec (en bas à droite)huile sur carton32.5 x 49cm (12 13/16 x 19 5/16in).signed in Greek (lower right) oil on cardFootnotes:ProvenancePrivate collection, Athens.Bonhams London, The Greek Sale, 9 April 2014, lot 29.Acquired from the above sale by the present owner.An inspired transformation of an ascetic coastal landscape into a powerful visual language of undulating forms, this strikingly beautiful painting, which may have been included in Maleas's 'Attic Seashore' series exhibited in 1920-1921, perfectly justifies the artist's reputation as the quintessential master of the Greek landscape. (Compare Lavrio, 1918-1920, National Gallery - A. Soutzos Museum, Athens). Focusing on shapes and textures rather than realistic details and using richly-layered brushstrokes, sharp outlines and bold colouring, the artist entrusted his subject to the truth of vision, creating a dynamic tension between nature and abstraction, surface pattern and depth. Following in the steps of the great Cezanne who exhorted painters to look for solidity and permanence, he rendered the natural environment not only as coloured patterns of light that would have satisfied an impressionist eye, but also as a complex system of volume, mass and structure, venturing to penetrate into the inner world of the landscape and discover its enduring character and essential content.Similarly, Maleas endeavoured to transcend impressionism in the rendering of space, suggesting recession into depth not by diminution of tonal contrast but through arrangement of form in a sequence of planes. The distant mountains are as lucid and vibrant as the foreground rocks, while both land and sky, with their pronounced materiality and whirling, full-bodied forms, participate equally in the miracle of nature. This emphasis on the curvilinear results in a dynamic and rhythmical work, rich in expressive content, recalling the influential aesthetic writings of P. Yannopoulos: 'The unique lines of the Greek outdoors create beautiful, rounded shapes, occasionally soaring upwards with vigorous, adolescent agility only to return with a seagull's lightness to a gentle rhythm.'11 P. Yannopoulos, The Greek Line. [in Greek], Anatoli magazine, March 1903.For further information on this lot please visit Bonhams.com
* JOSEPHINE GRAHAM (SCOTTISH b. 1930), MOROCCO oil on card, signedmounted, framed and under glassSaveimage size 20cm x 30cm, overall size 43cm x 61cmLabel verso: The Torrance Gallery, Edinburgh.Note: Josephine Graham painted in brilliant colour developing a style containing great use of tonal ranges, giving objects a simple 3D form. Her works are characterised by darker backgrounds, giving way to paler colours, greys and pinks. Her riotous use of bold colour is reminiscent of Matisse, Cezanne and the Scottish colourists.
KARL JOSEF GUNSAM* (Wien 1900 - 1972 Wien) Frauenporträt Öl/Leinwand, 34,5 x 28 cm signiert K. Gunsam, verso Nachlassstempel K. GunsamSCHÄTZPREIS °€ 200 - 400 STARTPREIS °€ 200 Gunsam studierte neben seiner Tätigkeit als Fußballprofi zunächst Malerei an der Akademie Vitti in Paris, dann bei Dobrowsky (dessen Assistent er lange Zeit war) und Kolig an der Akademie der Bildenden Künste in Wien. Später unternahm er Studienreisen nach Frankreich, Italien, Griechenland und in die USA. Ab 1932 Mitglied des Hagenbundes, ab 1945 der Secession. Gemalte Landschaften, Stillleben und Porträts (Cezanne-Verehrer). Er nahm an zahlreichen Ausstellungen in Wien teil. 1958 erhielt er den Titel eines Professors. Gunsam spezialisierte sich auf architektonisch konstruierte Landschaften in kräftigen Farben.Bitte beachten: Der Kaufpreis besteht aus Meistbot zuzüglich des Aufgeldes, der Umsatzsteuer sowie gegebenenfalls der Folgerechtsabgabe. Bei Normalbesteuerung (mit ° gekennzeichnet) kommt auf das Meistbot ein Aufgeld in der Höhe von 24% hinzu. Auf die Summe von Meistbot und Aufgeld kommt die gesetzliche Umsatzsteuer von 13%, bei Fotografien 20% hinzu. Bei Differenzbesteuerung beträgt das Aufgeld 28%. Die Umsatzsteuer ist bei der Differenzbesteuerung inkludiert.
Charles Biederman, born Karel Joseph Biederman (American, 1906-2004). Green, blue, and black ink on paper abstract drawing, 1935. Dated 11/35 along the lower right.Lot Essay:Born to Czech parents in Cleveland in 1906, Biederman was involved in the American art scene for his entire life. He briefly studied at the Cleveland Art Institute and the School of the Art Institute of Chicago (SAIC) before dropping out and moving to New York. It was there that he met and was included in shows with other influential artists of the time including Alexander Calder, John Ferren, George L.K. Morris, and Charles Green Shaw.For nine months from 1936-37 Biederman studied in Paris. It was here that he met and was influenced by leading artists including Picasso, Mondrian, and Miro. He was initially influenced by the works of Fernand Leger before moving away from his style and towards totally abstract, geometric compositions. The movements of Cezanne, Post-Impressionism, and Cubism informed the evolution of his style. And while he started out painting, he abandoned two-dimensional for more sculptural works by 1937.In 1941 he married Mary Moore Biederman and in the following year he moved to Red Wing, Minnesota, where he would spend the rest of his life. In the 1950s, he created the term "Structurism" to help define his works from Constructivism and De Stijl. Many prominent collections around the world contain Structurist Reliefs including The Whitney Art Museum, The Metropolitan Museum of Art, and The Tate, London.In 2004, Beiderman died at the age of 98 and his estate was subsequently given to the Weisman Art Museum on the University of Minnesota - Twin Cities campus. They have organized traveling exhibitions of his works.Sight; height: 13 in x width: 11 in. Framed; height: 17 in x width: 13 in.Condition: No visible tears, creases, or losses. No visible sign of restoration under UV light. Due to the original color of the sheet, it is difficult to discern whether the sheet is toned. There are minute light brown spots throughout; however, it is difficult to discern if it is the original design of the paper or foxing. The color is bold and bright. Along the margins, there is light browning and there are a few areas with light soling. The verso could not be inspected. Not inspected out of frame. Very light wear to the frame.
§ George Kennethson (British 1910-1994) Wave Form, circa 1950s-60s Clipsham stoneDimensions:43cm high, 30.5cm wide, 20cm deep (17in high, 12in wide, 7 3/4in deep)Provenance:ProvenanceThe Estate of the Artist.Note: LiteratureCork, Richard. The Sculpture of George Kennethson, Redfern Gallery, London, 2014, p. 20 illustrated in the background of a photograph of the artist's studio. George Kennethson (or Arthur Mackenzie as he was, Kennethson being the name he adopted in the early 1970s in order to separate his artistic practice from his role as the art master at Oundle School) met Eileen Guthrie in 1931 at the Royal Academy Schools in London. Intriguingly both were painting students, although in George’s case, the teaching at the still very academic Academy mainly had the effect of turning him into a sculptor, something he was already considering by his final year when the pair of them met [although one of his sons recalls Kennethson generously saying that the reason he became a sculptor was that Eileen was by far the better painter].George had come from a cultured, literary family. Eileen’s father and grandfather were architects and her mother was an accomplished pianist, who had studied at the Royal College of Music [Eileen herself had been taught piano by Gustav Holst when she was young]. And so, like many of their circle, Eileen and George were left-wing in their politics, interested in all things avant-garde in art, music and literature, and looked to Paris for inspiration. As young artists they both revered Cezanne. On their first trip together to the French capital, George tracked down the work of sculptors Maillol, Zadkine and Brancusi. And Eileen no doubt sought out the work of Bonnard, whose influence, both in composition and technique, can be traced in her work. They returned, in 1937, where they saw Picasso’s recently completed Guernica, which moved them both, artistically and politically. Like many artists of their generation, their lives and careers were profoundly affected by the Second World War. The Kennethsons were committed pacifists. A year before war broke out, they had moved to the quiet Berkshire village of Uffington, watched over by its ancient, curiously abstract White Horse, cut into the chalk of the nearby Downs, and so in away had already withdrawn from the political storm of the late 30s. The local villagers had no issues with the Kennethsons’ avowed pacifism: they were artists, after all, so they expected them to be different. Whilst they passed the war in rural seclusion, conflict does seep into Kennethson’s sculpture, such as sculptures of travellers, with staffs and backpacks, or men carrying mattresses down to the local forge – images glimpsed out of the studio window, but now transformed into a moving response to the refugees that war inevitably creates. The couple took in both evacuees from the Blitz and the occasional European refugee (and much later in the 1980s, Kennethson returned to this theme as a response to the migrations forced by famine in Ethiopia). But more than this, the War and its aftermath led to little opportunity for artists to sell their work and therefore live by their art – something that was particularly acute for the Kennethsons, who by the late 1940s had five young boys to feed. Art historians have often been critical of British artists ‘retreating’ into teaching or commercial work, whilst their counterparts in America were splashing newly made paint across acres of pristine canvas and changing the direction of modern art forever, and yet this ignores the pressures on British artists, facing a public that was already relatively indifferent to modern art already and which now was broke.It was at this point that Eileen turned her hand to making prints for textiles. She did so with incredible success – artistically at least, as there was almost as little money for interiors and design in post-war Britain as there was for at. Eileen did, however, sell her ‘Flockhart Fabrics’ range – named after her Scottish grandfather - at Primavera, a leading interiors shop on Sloane Street, as well as to family and friends. Their neighbour in Uffington, John Betjeman, also helped them to find stockists, and Eileen’s twin sister Joan would open her London flat to showcase the designs. Lucienne Day, too, introduced Eileen to Amersham Prints, contractors to the government, and her design Bird and Basket was used in 1954 to furnish the Morag Mhor, the first all-aluminium yacht in the country.George lent a hand too, on the production side, contributing to designs, working on the lino-blocks and silkscreens and helping Eileen with the considerable manual work of printing the fabrics by hand. The prints are deceptively simple, strong and sculptural, whilst retaining the required elegance and beauty. The line that one sees in her gouaches and oils find an easy home amongst the repeats of fabric design and motifs that infuse George’s sculpture – birds, leaves, architectonic flower forms – are abstracted from her landscape painting.The family moved to Oundle in 1954, to a house with a large former malting attached, which made for good, if draughty, studios. George would have been surrounded by Eileen’s fabrics – at the long settle by the kitchen table or on one of the armchairs where he would read and draw- before heading out to his studio to carve equally simple forms, with soft curves and sharp edges, into stone and alabaster, so perhaps Eileen’s influence on George’s work shouldn’t be under-estimated. Meeting her late in her life – a decade after George’s death – she would walk amongst the sculptures, laid out on plinths in a cavernous Victorian former malting attached to their house, and place her hands intuitively on every undercut and turn (the wearing of rings was strictly forbidden!). George resolutely worked alone – no assistants, no power tools, only mallets and chisels and cassettes of classical music and operatic arias for company – but the confluence between their work speaks to a shared vision. We are delighted to include in this selection a painting by Eileen alongside a drawing of George’s, both made at their beloved Isle of Purbeck, where they had holidayed (and found inspiration, in the fields, quarries and shore) every year since the late 1930s. Seen side by side, these works could almost be by the same hand. George’s drawings, mainly of the rock formations of the coast that were the source of his material, whilst studies in sculptural form, have a painter’s confident flow: equally, Eileen’s paintings, whilst more concerned with the wider landscape, have a certain sculptural feel to their construction, even though, in the end, they concern themselves more with colour and abstract form, in the manner of Ivon Hitchens or Patrick Heron, both of whom she admired. The last few years have seen something of a revival in interest in George Kennethson’s work. After all, this is an artist whose work sits very comfortably – and beautifully – in Britain’s best small museum, Kettle’s Yard in Cambridge, alongside Constantin Brancusi and Henri Gaudier-Brzeska. There are now two monographs on the artist, the most recent written by the eminent critic Richard Cork. Eileen Guthrie’s work, on the other hand, still remains something of a secret, her last public exhibitions being held almost 40 years ago now. We hope that this brief glimpse will be the beginning of her revival, as well as a testament an artistic partnership that was very much of its time, yet resonates with beauty today.
§ George Kennethson (British 1910-1994) Girl's Back with Curled Hair - Study for Sculpture, circa 1960 ink and wash on paperDimensions:16cm x 12.5cm (6 3/8in x 4 7/8in)Provenance:ProvenanceThe Estate of the Artist.Note: LiteratureHucker, Simon. George Kennethson: A Modernist Rediscovered. London: Merrell Publishers Limited, 2004, p.14, illustrated. George Kennethson (or Arthur Mackenzie as he was, Kennethson being the name he adopted in the early 1970s in order to separate his artistic practice from his role as the art master at Oundle School) met Eileen Guthrie in 1931 at the Royal Academy Schools in London. Intriguingly both were painting students, although in George’s case, the teaching at the still very academic Academy mainly had the effect of turning him into a sculptor, something he was already considering by his final year when the pair of them met [although one of his sons recalls Kennethson generously saying that the reason he became a sculptor was that Eileen was by far the better painter].George had come from a cultured, literary family. Eileen’s father and grandfather were architects and her mother was an accomplished pianist, who had studied at the Royal College of Music [Eileen herself had been taught piano by Gustav Holst when she was young]. And so, like many of their circle, Eileen and George were left-wing in their politics, interested in all things avant-garde in art, music and literature, and looked to Paris for inspiration. As young artists they both revered Cezanne. On their first trip together to the French capital, George tracked down the work of sculptors Maillol, Zadkine and Brancusi. And Eileen no doubt sought out the work of Bonnard, whose influence, both in composition and technique, can be traced in her work. They returned, in 1937, where they saw Picasso’s recently completed Guernica, which moved them both, artistically and politically. Like many artists of their generation, their lives and careers were profoundly affected by the Second World War. The Kennethsons were committed pacifists. A year before war broke out, they had moved to the quiet Berkshire village of Uffington, watched over by its ancient, curiously abstract White Horse, cut into the chalk of the nearby Downs, and so in away had already withdrawn from the political storm of the late 30s. The local villagers had no issues with the Kennethsons’ avowed pacifism: they were artists, after all, so they expected them to be different. Whilst they passed the war in rural seclusion, conflict does seep into Kennethson’s sculpture, such as sculptures of travellers, with staffs and backpacks, or men carrying mattresses down to the local forge – images glimpsed out of the studio window, but now transformed into a moving response to the refugees that war inevitably creates. The couple took in both evacuees from the Blitz and the occasional European refugee (and much later in the 1980s, Kennethson returned to this theme as a response to the migrations forced by famine in Ethiopia). But more than this, the War and its aftermath led to little opportunity for artists to sell their work and therefore live by their art – something that was particularly acute for the Kennethsons, who by the late 1940s had five young boys to feed. Art historians have often been critical of British artists ‘retreating’ into teaching or commercial work, whilst their counterparts in America were splashing newly made paint across acres of pristine canvas and changing the direction of modern art forever, and yet this ignores the pressures on British artists, facing a public that was already relatively indifferent to modern art already and which now was broke.It was at this point that Eileen turned her hand to making prints for textiles. She did so with incredible success – artistically at least, as there was almost as little money for interiors and design in post-war Britain as there was for at. Eileen did, however, sell her ‘Flockhart Fabrics’ range – named after her Scottish grandfather - at Primavera, a leading interiors shop on Sloane Street, as well as to family and friends. Their neighbour in Uffington, John Betjeman, also helped them to find stockists, and Eileen’s twin sister Joan would open her London flat to showcase the designs. Lucienne Day, too, introduced Eileen to Amersham Prints, contractors to the government, and her design Bird and Basket was used in 1954 to furnish the Morag Mhor, the first all-aluminium yacht in the country.George lent a hand too, on the production side, contributing to designs, working on the lino-blocks and silkscreens and helping Eileen with the considerable manual work of printing the fabrics by hand. The prints are deceptively simple, strong and sculptural, whilst retaining the required elegance and beauty. The line that one sees in her gouaches and oils find an easy home amongst the repeats of fabric design and motifs that infuse George’s sculpture – birds, leaves, architectonic flower forms – are abstracted from her landscape painting.The family moved to Oundle in 1954, to a house with a large former malting attached, which made for good, if draughty, studios. George would have been surrounded by Eileen’s fabrics – at the long settle by the kitchen table or on one of the armchairs where he would read and draw- before heading out to his studio to carve equally simple forms, with soft curves and sharp edges, into stone and alabaster, so perhaps Eileen’s influence on George’s work shouldn’t be under-estimated. Meeting her late in her life – a decade after George’s death – she would walk amongst the sculptures, laid out on plinths in a cavernous Victorian former malting attached to their house, and place her hands intuitively on every undercut and turn (the wearing of rings was strictly forbidden!). George resolutely worked alone – no assistants, no power tools, only mallets and chisels and cassettes of classical music and operatic arias for company – but the confluence between their work speaks to a shared vision. We are delighted to include in this selection a painting by Eileen alongside a drawing of George’s, both made at their beloved Isle of Purbeck, where they had holidayed (and found inspiration, in the fields, quarries and shore) every year since the late 1930s. Seen side by side, these works could almost be by the same hand. George’s drawings, mainly of the rock formations of the coast that were the source of his material, whilst studies in sculptural form, have a painter’s confident flow: equally, Eileen’s paintings, whilst more concerned with the wider landscape, have a certain sculptural feel to their construction, even though, in the end, they concern themselves more with colour and abstract form, in the manner of Ivon Hitchens or Patrick Heron, both of whom she admired. The last few years have seen something of a revival in interest in George Kennethson’s work. After all, this is an artist whose work sits very comfortably – and beautifully – in Britain’s best small museum, Kettle’s Yard in Cambridge, alongside Constantin Brancusi and Henri Gaudier-Brzeska. There are now two monographs on the artist, the most recent written by the eminent critic Richard Cork. Eileen Guthrie’s work, on the other hand, still remains something of a secret, her last public exhibitions being held almost 40 years ago now. We hope that this brief glimpse will be the beginning of her revival, as well as a testament an artistic partnership that was very much of its time, yet resonates with beauty today.
§ George Kennethson (British 1910-1994) Waves initialled (lower right), pencil, ink and wash on blue paperDimensions:18cm x 22cm (7 1/8in x 8 5/8in)Provenance:ProvenanceThe Estate of the Artist.Note: George Kennethson (or Arthur Mackenzie as he was, Kennethson being the name he adopted in the early 1970s in order to separate his artistic practice from his role as the art master at Oundle School) met Eileen Guthrie in 1931 at the Royal Academy Schools in London. Intriguingly both were painting students, although in George’s case, the teaching at the still very academic Academy mainly had the effect of turning him into a sculptor, something he was already considering by his final year when the pair of them met [although one of his sons recalls Kennethson generously saying that the reason he became a sculptor was that Eileen was by far the better painter].George had come from a cultured, literary family. Eileen’s father and grandfather were architects and her mother was an accomplished pianist, who had studied at the Royal College of Music [Eileen herself had been taught piano by Gustav Holst when she was young]. And so, like many of their circle, Eileen and George were left-wing in their politics, interested in all things avant-garde in art, music and literature, and looked to Paris for inspiration. As young artists they both revered Cezanne. On their first trip together to the French capital, George tracked down the work of sculptors Maillol, Zadkine and Brancusi. And Eileen no doubt sought out the work of Bonnard, whose influence, both in composition and technique, can be traced in her work. They returned, in 1937, where they saw Picasso’s recently completed Guernica, which moved them both, artistically and politically. Like many artists of their generation, their lives and careers were profoundly affected by the Second World War. The Kennethsons were committed pacifists. A year before war broke out, they had moved to the quiet Berkshire village of Uffington, watched over by its ancient, curiously abstract White Horse, cut into the chalk of the nearby Downs, and so in away had already withdrawn from the political storm of the late 30s. The local villagers had no issues with the Kennethsons’ avowed pacifism: they were artists, after all, so they expected them to be different. Whilst they passed the war in rural seclusion, conflict does seep into Kennethson’s sculpture, such as sculptures of travellers, with staffs and backpacks, or men carrying mattresses down to the local forge – images glimpsed out of the studio window, but now transformed into a moving response to the refugees that war inevitably creates. The couple took in both evacuees from the Blitz and the occasional European refugee (and much later in the 1980s, Kennethson returned to this theme as a response to the migrations forced by famine in Ethiopia). But more than this, the War and its aftermath led to little opportunity for artists to sell their work and therefore live by their art – something that was particularly acute for the Kennethsons, who by the late 1940s had five young boys to feed. Art historians have often been critical of British artists ‘retreating’ into teaching or commercial work, whilst their counterparts in America were splashing newly made paint across acres of pristine canvas and changing the direction of modern art forever, and yet this ignores the pressures on British artists, facing a public that was already relatively indifferent to modern art already and which now was broke.It was at this point that Eileen turned her hand to making prints for textiles. She did so with incredible success – artistically at least, as there was almost as little money for interiors and design in post-war Britain as there was for at. Eileen did, however, sell her ‘Flockhart Fabrics’ range – named after her Scottish grandfather - at Primavera, a leading interiors shop on Sloane Street, as well as to family and friends. Their neighbour in Uffington, John Betjeman, also helped them to find stockists, and Eileen’s twin sister Joan would open her London flat to showcase the designs. Lucienne Day, too, introduced Eileen to Amersham Prints, contractors to the government, and her design Bird and Basket was used in 1954 to furnish the Morag Mhor, the first all-aluminium yacht in the country.George lent a hand too, on the production side, contributing to designs, working on the lino-blocks and silkscreens and helping Eileen with the considerable manual work of printing the fabrics by hand. The prints are deceptively simple, strong and sculptural, whilst retaining the required elegance and beauty. The line that one sees in her gouaches and oils find an easy home amongst the repeats of fabric design and motifs that infuse George’s sculpture – birds, leaves, architectonic flower forms – are abstracted from her landscape painting.The family moved to Oundle in 1954, to a house with a large former malting attached, which made for good, if draughty, studios. George would have been surrounded by Eileen’s fabrics – at the long settle by the kitchen table or on one of the armchairs where he would read and draw- before heading out to his studio to carve equally simple forms, with soft curves and sharp edges, into stone and alabaster, so perhaps Eileen’s influence on George’s work shouldn’t be under-estimated. Meeting her late in her life – a decade after George’s death – she would walk amongst the sculptures, laid out on plinths in a cavernous Victorian former malting attached to their house, and place her hands intuitively on every undercut and turn (the wearing of rings was strictly forbidden!). George resolutely worked alone – no assistants, no power tools, only mallets and chisels and cassettes of classical music and operatic arias for company – but the confluence between their work speaks to a shared vision. We are delighted to include in this selection a painting by Eileen alongside a drawing of George’s, both made at their beloved Isle of Purbeck, where they had holidayed (and found inspiration, in the fields, quarries and shore) every year since the late 1930s. Seen side by side, these works could almost be by the same hand. George’s drawings, mainly of the rock formations of the coast that were the source of his material, whilst studies in sculptural form, have a painter’s confident flow: equally, Eileen’s paintings, whilst more concerned with the wider landscape, have a certain sculptural feel to their construction, even though, in the end, they concern themselves more with colour and abstract form, in the manner of Ivon Hitchens or Patrick Heron, both of whom she admired. The last few years have seen something of a revival in interest in George Kennethson’s work. After all, this is an artist whose work sits very comfortably – and beautifully – in Britain’s best small museum, Kettle’s Yard in Cambridge, alongside Constantin Brancusi and Henri Gaudier-Brzeska. There are now two monographs on the artist, the most recent written by the eminent critic Richard Cork. Eileen Guthrie’s work, on the other hand, still remains something of a secret, her last public exhibitions being held almost 40 years ago now. We hope that this brief glimpse will be the beginning of her revival, as well as a testament an artistic partnership that was very much of its time, yet resonates with beauty today.
§ George Kennethson (British 1910-1994) Father and Child, 1960s English alabasterDimensions:45.7cm high, 33cm wide, 25.5cm deep (18in high, 13in wide, 10in deep)Provenance:ProvenanceThe Estate of the Artist.Note: George Kennethson (or Arthur Mackenzie as he was, Kennethson being the name he adopted in the early 1970s in order to separate his artistic practice from his role as the art master at Oundle School) met Eileen Guthrie in 1931 at the Royal Academy Schools in London. Intriguingly both were painting students, although in George’s case, the teaching at the still very academic Academy mainly had the effect of turning him into a sculptor, something he was already considering by his final year when the pair of them met [although one of his sons recalls Kennethson generously saying that the reason he became a sculptor was that Eileen was by far the better painter].George had come from a cultured, literary family. Eileen’s father and grandfather were architects and her mother was an accomplished pianist, who had studied at the Royal College of Music [Eileen herself had been taught piano by Gustav Holst when she was young]. And so, like many of their circle, Eileen and George were left-wing in their politics, interested in all things avant-garde in art, music and literature, and looked to Paris for inspiration. As young artists they both revered Cezanne. On their first trip together to the French capital, George tracked down the work of sculptors Maillol, Zadkine and Brancusi. And Eileen no doubt sought out the work of Bonnard, whose influence, both in composition and technique, can be traced in her work. They returned, in 1937, where they saw Picasso’s recently completed Guernica, which moved them both, artistically and politically. Like many artists of their generation, their lives and careers were profoundly affected by the Second World War. The Kennethsons were committed pacifists. A year before war broke out, they had moved to the quiet Berkshire village of Uffington, watched over by its ancient, curiously abstract White Horse, cut into the chalk of the nearby Downs, and so in away had already withdrawn from the political storm of the late 30s. The local villagers had no issues with the Kennethsons’ avowed pacifism: they were artists, after all, so they expected them to be different. Whilst they passed the war in rural seclusion, conflict does seep into Kennethson’s sculpture, such as sculptures of travellers, with staffs and backpacks, or men carrying mattresses down to the local forge – images glimpsed out of the studio window, but now transformed into a moving response to the refugees that war inevitably creates. The couple took in both evacuees from the Blitz and the occasional European refugee (and much later in the 1980s, Kennethson returned to this theme as a response to the migrations forced by famine in Ethiopia). But more than this, the War and its aftermath led to little opportunity for artists to sell their work and therefore live by their art – something that was particularly acute for the Kennethsons, who by the late 1940s had five young boys to feed. Art historians have often been critical of British artists ‘retreating’ into teaching or commercial work, whilst their counterparts in America were splashing newly made paint across acres of pristine canvas and changing the direction of modern art forever, and yet this ignores the pressures on British artists, facing a public that was already relatively indifferent to modern art already and which now was broke.It was at this point that Eileen turned her hand to making prints for textiles. She did so with incredible success – artistically at least, as there was almost as little money for interiors and design in post-war Britain as there was for at. Eileen did, however, sell her ‘Flockhart Fabrics’ range – named after her Scottish grandfather - at Primavera, a leading interiors shop on Sloane Street, as well as to family and friends. Their neighbour in Uffington, John Betjeman, also helped them to find stockists, and Eileen’s twin sister Joan would open her London flat to showcase the designs. Lucienne Day, too, introduced Eileen to Amersham Prints, contractors to the government, and her design Bird and Basket was used in 1954 to furnish the Morag Mhor, the first all-aluminium yacht in the country.George lent a hand too, on the production side, contributing to designs, working on the lino-blocks and silkscreens and helping Eileen with the considerable manual work of printing the fabrics by hand. The prints are deceptively simple, strong and sculptural, whilst retaining the required elegance and beauty. The line that one sees in her gouaches and oils find an easy home amongst the repeats of fabric design and motifs that infuse George’s sculpture – birds, leaves, architectonic flower forms – are abstracted from her landscape painting.The family moved to Oundle in 1954, to a house with a large former malting attached, which made for good, if draughty, studios. George would have been surrounded by Eileen’s fabrics – at the long settle by the kitchen table or on one of the armchairs where he would read and draw- before heading out to his studio to carve equally simple forms, with soft curves and sharp edges, into stone and alabaster, so perhaps Eileen’s influence on George’s work shouldn’t be under-estimated. Meeting her late in her life – a decade after George’s death – she would walk amongst the sculptures, laid out on plinths in a cavernous Victorian former malting attached to their house, and place her hands intuitively on every undercut and turn (the wearing of rings was strictly forbidden!). George resolutely worked alone – no assistants, no power tools, only mallets and chisels and cassettes of classical music and operatic arias for company – but the confluence between their work speaks to a shared vision. We are delighted to include in this selection a painting by Eileen alongside a drawing of George’s, both made at their beloved Isle of Purbeck, where they had holidayed (and found inspiration, in the fields, quarries and shore) every year since the late 1930s. Seen side by side, these works could almost be by the same hand. George’s drawings, mainly of the rock formations of the coast that were the source of his material, whilst studies in sculptural form, have a painter’s confident flow: equally, Eileen’s paintings, whilst more concerned with the wider landscape, have a certain sculptural feel to their construction, even though, in the end, they concern themselves more with colour and abstract form, in the manner of Ivon Hitchens or Patrick Heron, both of whom she admired. The last few years have seen something of a revival in interest in George Kennethson’s work. After all, this is an artist whose work sits very comfortably – and beautifully – in Britain’s best small museum, Kettle’s Yard in Cambridge, alongside Constantin Brancusi and Henri Gaudier-Brzeska. There are now two monographs on the artist, the most recent written by the eminent critic Richard Cork. Eileen Guthrie’s work, on the other hand, still remains something of a secret, her last public exhibitions being held almost 40 years ago now. We hope that this brief glimpse will be the beginning of her revival, as well as a testament an artistic partnership that was very much of its time, yet resonates with beauty today.
* JOSEPHINE GRAHAM (SCOTTISH b. 1930), MOROCCO oil on card, signedmounted, framed and under glassSaveimage size 20cm x 30cm, overall size 43cm x 61cmLabel verso: The Torrance Gallery, Edinburgh.Note: Josephine Graham painted in brilliant colour developing a style containing great use of tonal ranges, giving objects a simple 3D form. Her works are characterised by darker backgrounds, giving way to paler colours, greys and pinks. Her riotous use of bold colour is reminiscent of Matisse, Cezanne and the Scottish colourists.
Charles Camoin, 1879 Marseille – 1965 ParisJUNGE FRAU MIT BUNTEM SCHAL, UM 1938Öl auf Papier, montiert auf Tafel.46 x 38 cm.Rechts unten signiert „CH Camain“.In vergoldetem Rahmen.Beigegeben eine Expertise von Mme Grammont-Camoin, Chatillon vom 12. November 1998 sowie eine Bestätigung der Überprüfung des Werks im Art Loss Register, in Kopie. Vor hellem, teils skizzenhaft bläulichem Hintergrund das Brustbildnis einer jungen schönen schwarzhaarigen Frau, die einen orange-roten Schal mit leicht roten und grünen Farbflecken um ihren Hals und ihr tiefgehendes Dekolleté überhängen hat. Sie hat strahlende blaue Augen, einen leuchtend roten, leicht geöffneten Mund und blickt nach rechts seitlich aus dem Bild heraus. Malerei im Stil der Fauves in raschem flottem Pinselduktus, dabei der leuchtende Mund und der Schal gegenüber dem Hintergrund besonders hervorgehoben. Anmerkung:Der französische Maler wird dem Kreis der Fauves zugeordnet, er ging 1896 nach Paris und studierte dort im Atelier von Gustave Moreau (1826-1898), wo er auch Albert Marques (1875-1947) kennenlernte. 1902 machte er die Bekanntschaft mit Cezanne (1839-1906). Er schloss sich den Fauves zwar an, war aber kein überzeugter Fauvist. (1352121) (18)Charles Camoin,1879 Marseille - 1965 ParisYOUNG WOMAN WITH COLOURFUL SCARF, CA. 1938Oil on paper, mounted on board.46 x 38 cm.Signed “CH Camain” lower right.Accompanied by an expert’s report by Mme Grammont-Camoin, Châtillon dated 2 November 1998 and a confirmation of the work’s examination by the Art Loss Register, in copy.
Sam Gilliam (American, 1933-2022). Acrylic on birch plywood titled "The Chartmaking" depicting a colorful abstract composition, 1997. Two pieces are hinged and can swing outwards from the main body of the work. Signed, dated, and titled along the verso.Lot Essay:Sam Gilliam was one of America's foremost Black artists and a leader in the color field and lyrical abstraction movements. He was influenced by German Expressionists such as Emil Nolde, Paul Klee, and Nathan Oliveira. He was additionally influenced by Vladimir Tatlin, Frank Stella, Hans Hofmann, Georges Braque, Pablo Picasso, and aul Cezanne. An artist from an early age, he was always interested in art and eventually studied fine arts at the University of Louisville, admitted as the second class of black undergraduate students to the school.Around 1965, he became the first artist to introduce the idea of an unsupported canvas, draping the paintings from ceilings, walls, and floors. These works were immensely popular and led to exhibitions and commissions worldwide including representing the United States at the 36th Venice Biennale. He moved away from this in later years to focus on jazz-inspired works like his Black Paintings, so-named because they are painted in shades of black. His works shifted once more in the 1980s to resemble the African patchwork quilts of his childhood. Though he was largely overlooked throughout the late 1980s and 1990s, his career saw a resurgence following a retrospective at the Corcoran Gallery in 2005.From then until his death in 2022, his works came into the collections of the Museum of Modern Art (MoMA) and the Metropolitan Museum of Art among others. He also had successful exhibitions including a second show at the Venice Biennale (2017), a large-scale draped painting titled "Yves Klein Blue" in Giardini's central pavilion for the show "Viva Arte Viva," and his first European retrospective in 2018 hosted by the Kunstmuseum Basel.His honors and awards were plentiful including eight honorary doctorates, several National Endowment for the Arts grants, the Longview Foundation Award, and a Guggenheim Fellowship. In 2015 he was awarded the Medal of Art by the U.S. State Department for his longtime contributions to art in embassies and other diplomatic facilities as well as his cultural diplomacy, which showcased his works in over 20 countries during his career.From 1962 until the 1980s, Gilliam was married to Dorothy Butler, the first African-American female columnist at The Washington Post. They had three daughters together. In 2018, after a 35-year partnership, he married Annie Gawlak, owner of the former G Fine Art gallery in Washington, D.C. On June 25, 2022, Gilliam died of renal failure in his home at the age of 88 after a long, varied, and ultimately successful career creating the art that he loved.Height: 22 1/4 in x width: 33 in x depth: 1 3/4 in.Condition: The artwork is in fairly good condition. The surface is stable and there are no losses, breaks, or restorations. Both hinged panels swing open smoothly. All parts are firmly attached and there are no loose panels. Along the left hinged panel along the upper edge there are two star-shaped cracks that project outwards; visible in the lot listing. Along the center panel there is a network of paint accretions that sit on top of the thick resin layer; possibly original to the artistic process. Some light wear throughout the edges, consistent with age and use.
CEZANNE PAUL: (1839-1906) French Post-Impressionist painter. A.L.S., P Cezanne, two pages, 8vo, Le Tholonet, 8th September 1897, to [Emile] Solari, in French. Cezanne states that he has just received l'Avenir Artistique et littéraire which Solari had been kind enough to send to him, and continues to remark 'Votre père viendra manger du canard avec moi, dimanche prochain. Il sera aux olives, (Le canard bien entendu.) - Que ne pouvez-vous être des notres' (Translation: 'Your father is coming to eat duck with me next Sunday. It will be with olives, (the duck of course.) - Why can't you be one of us'), concluding by asking Solari to keep him in his good memory for the future. A couple of very light, minor creases and a few extremely minor stains, only very slightly affecting part of the text and signature, about VGEmile Solari (1873-1961) French novelist and poet, son of Philippe Solari (1840-1906) French sculptor, a contemporary and close friend of Paul Cezanne and Emile Zola.
oil on canvas, signedframedimage size 29cm x 59cm, overall size 43cm x 73cm Provenance: Christies, London, Lot # 169. 3rd March 2005 sold for £5760 (incl Premium)Note: Ken Howard paintings are about three things. It is about revelation, communication and celebration. By revelation he means giving people a way of seeing, revealing the world around them in a way they have never seen before, opening their eyes. By communication he means revealing the world with a personal language, speaking directly in an instantly recognisable style. He wants it to celebrate life whether it be human dignity expressed by Velasquez or Cezanne, or the wonders of nature expressed by Corot or Monet. For Ken his main inspiration was light and it is through light that he wanted to celebrate his world.
Dorothy Mead (1928-1975) oil on canvas - still life after Cezanne, dated '66, 101.5cm x 77cm, framed. Dorothy was born in London in 1928 and trained at the South East Essex School of Art where she met David Bomberg, he recognised her significant talent and she trained under him from 1945-1951, before later attending the Slade School of Art. At the Slade she had considerable academic success, becoming the first woman president of the of the annual exhibiting society, and was awarded the Figure Painting Prize and the Steer Prize. But despite her accolades, she was forced to leave the college and failed to receive a qualification because of her refusal to sit the course on perspective. It was her belief and that of her mentor Bomberg, that this element was invalid in her art, she wrote to William Coldstream declaring ‘perspective is completely alien to me in my work as a painter’. In 1964 the Arts Council England created a series of touring exhibitions titled ‘Six Young Painters’, Dorothy exhibited alongside artists including Peter Blake, William Crozier, David Hockney, Bridget Riley and Euan Uglow. Around this time she joined the London Group of artists, and was their first female president from 1971-1973. She lectured and taught variously at Goldsmiths, Morley College and Chelsea College of Art. Dorothy Mead died in 1975 aged just 46. Her work is held by Tate Gallery, UCL Art Gallery, London South Bank Collection and other institutions. Her work was particularly admired amongst her artistic peers and evokes comparisons to her contemporaries and colleagues Bomberg, Kossoff and Auerbach. Examples are rarely seen in salerooms and this collection, which is by family descent from the artist, represents the largest and most comprehensive collection to appear at auction. Generally good original condition, the canvas has not been lined. Some minor paint shrinkage.
Dorothy Mead (1928-1975) oil on canvas - bathers after Cezanne, signed and dated '65, 102cm x 91.5cm, framed. Dorothy was born in London in 1928 and trained at the South East Essex School of Art where she met David Bomberg, he recognised her significant talent and she trained under him from 1945-1951, before later attending the Slade School of Art. At the Slade she had considerable academic success, becoming the first woman president of the of the annual exhibiting society, and was awarded the Figure Painting Prize and the Steer Prize. But despite her accolades, she was forced to leave the college and failed to receive a qualification because of her refusal to sit the course on perspective. It was her belief and that of her mentor Bomberg, that this element was invalid in her art, she wrote to William Coldstream declaring ‘perspective is completely alien to me in my work as a painter’. In 1964 the Arts Council England created a series of touring exhibitions titled ‘Six Young Painters’, Dorothy exhibited alongside artists including Peter Blake, William Crozier, David Hockney, Bridget Riley and Euan Uglow. Around this time she joined the London Group of artists, and was their first female president from 1971-1973. She lectured and taught variously at Goldsmiths, Morley College and Chelsea College of Art. Dorothy Mead died in 1975 aged just 46. Her work is held by Tate Gallery, UCL Art Gallery, London South Bank Collection and other institutions. Her work was particularly admired amongst her artistic peers and evokes comparisons to her contemporaries and colleagues Bomberg, Kossoff and Auerbach. Examples are rarely seen in salerooms and this collection, which is by family descent from the artist, represents the largest and most comprehensive collection to appear at auction. Generally good original condition, the canvas has not been lined. A couple of minor paint chips.
* GAVIN NICOL DA (SCOTTISH 1927 - 2020),FOG IN THE GORBALS, GLASGOWmixed media on paper, signed, titled labels versoimage size 17cm x 9cm, overall size 37cm x 28cmMounted, framed and under glass.Handwritten artist's label verso. Handwritten label verso.Note: a very rare appearance at auction for the work of the much respected Inverclyde artist.Gavin Nicol was born and educated in Greenock and attended evening classes at Glasgow School of Art while he was at secondary school. After completing his two-year National Service in England, India and Pakistan, he gained a degree from Glasgow School of Art then went on to study at Hospitalfield Summer School and Jordanhill College. Gavin was among the first eight students to be invited to take part in the Royal Society of Arts student competition in Edinburgh and went on to win the prestigious Chalmers-Jervise Prize. He taught part-time in secondary schools and at further education college and also worked as a book illustrator and spent 15 summers living in countries around the Mediterranean. The acclaimed artist was influenced by the works of Cezanne, Braque and Itten, and the colour theories of Chevreul.
After Rowland Hilder, Print of a Country Scene, after Paul Cezanne print Le Lac Dannecy, XIX Century print Table-Blade grinding and a wool work tapestry; A Banner Signed Watercolour, of a Country Scene with Mother and Child, signed bottom right 20 x 30cm, together with a watercolour of a Continental street scene, unsigned and a watercolour of fishing boats, unsigned. (7)
EDOUARD VUILLARD , CUISEAUX, 1868 - LA BAULE, 1940Woman on a sofa (L'Attente)Oil on canvas mounted on panel 75.5 x 41 cmWith her head tilted to one side and a melancholic air, this woman seated on a sofa is letting herself go to her thoughts. Everything in her bearing and dress, hat, coat and fur collar barely unzipped, suggests that she is visiting, waiting to be received. Occupying the centre of the canvas, all in length, she is represented in the centre of the room, in the second plan, as if observed from a point of view that accentuates this feeling of solitude, even of abandonment. Perfectly balanced, the frontal composition organises the planes in a succession of horizontals which gives the work stagnation and flatness, crushing perspective. The wall panelling and the edge of the table superimpose their parallel lines. The bas-relief and the Japanese print hanging in the background align their geometric planes, which are echoed by the table top in the foreground. The sofa, the only organic form, creates a break with its colour, bright red, and its size, occupying the entire width of the canvas. The artist's touch, more and more present as she approaches the foreground, contributes to creating this aspective effect, close to abstraction. Isolated in her world, the young woman seems to be sitting on a cloud, levitating. Vuillard, by asserting his touch, makes painting his true subject.Provenance: Theodore Duret, Paris ; galeire Bernheim Jeune, Paris ; Svensk-Fransk Konstgalleriet, Stockholm ; Carl Matthiessen, Stockholm ; Nore Lungren, Stockholm ; collection Bonnier, Geneva ; Wildenstein & co., New-York ;Stockholm, Svensk-Fransk Konstgalleriet, Uställning ung svensk Konst, 1938 ; Stockholm, Nationalmuseum, France through artists' eyes, 1941 ; Stockholm, Svensk-Fransk Konstgalleriet, French Art : from private collections in Stockholm, 1951, n°74 ; Stockholm, Liljevachs Konsthall, Cezanne to Picasso, French art in Swedish ownership, 1954, n°395, illustré ; Stockholm, Nationalmuseum, Five centuries of French art, 1958, n°173 ; Tokyo, Wildenstein, Bonnard, Vuillard, K. X. Roussel, 1974, n°22 illustrated, Tokyo, Fujikawa Galleries; Osaka, Fujikawa Galleries; Fukoko, Fujikawa Galleries, Masterpieces from 1850 to 1950, 1977, n°14, illustrated; Roslyn, New-York, Nassau County Museum of Art, Long Island Collects, The Figure and Landscapes, 1990; Roslyn, New-York, Nassau County Museum of Art, La Belle Epoque, 1995.Signature: Signed lower left 'E. Vuillard'Bibliography: I. De HOOR, Nägra franska malningar i Carl Matthiessens samling, Konstrevy, 1928, p. 8; I. De HOOR, La collection Matthiessen à Stockholm, L'Amour de l'art, vol. 11, 1930, p. 412, illustrated; Architectural Digest, May-June 1976, p. 64, illustrated in colour; Antoine SALOMON & Guy COGEVAL, Vuillard: Le Regard innombrable, critical catalogue of paintings and pastels, vol. II, Milan, 2003, No. VII-201, p. 644, illustrated in colour.
MIQUEL VILLÀ I BASSOLS (Barcelona 1901-1988)."Landscape", Ibiza, 1952.Oil on canvas.Signed, dated and located on the back.Measurements: 22 x 27 cm; 41 x 46 cm (frame).Miquel Villà i Bassols was a Spanish painter and one of the main representatives of Fauvism in Spain. At the age of 13 his father, a wine merchant, took him with him to Colombia (Bogotá). There he attended the school of fine arts until 1918. In 1920 he discovers Paris, which will be his habitual residence until 1930. In Paris he attends the Colarossi Academy. He made friends with Jean Fautrier, Marcel Duchamp, Togores, Pancho Cossío and the sculptor Pablo Gargallo, who greatly influenced his artistic career. His main influences were Cezanne and, at the beginning of his artistic career, Maurice de Vlaminck. He was also greatly influenced by Rembrandt's last period. From 1930 onwards he lived mainly in Catalonia: Barcelona, Masnou, Puebla de Segur, and spent some periods in Ibiza. In 1985 he was awarded the Cross of Sant Jordi by the Generalitat de Catalunya.
André Derain, French 1880-1954 - Baigneuses dans un paysage, c.1946-50; oil on canvas, signed lower right 'Derain', 25 x 39.2 cm (ARR) Provenance: Stefanos Zifos, Greece and thence by descent to private collection, UK Note: this work is accompanied by the original photo-certificate from The Comité Derain, dated the 14th March 2022, signed by Madame Geneviève J. Taillade. Stefanos Zifos was the son of the grand lady of Athens Irena Manoussi-Maximou. His step father was Alexander Michalinos, a Greek ship-owner who built "Megaron Maximou" in Athens, which today is the residence of the Greek Prime Minister. Zifos spent most of his life in Paris, where he built his art collection and developed an interest in Derain. While most known for his key role in the development of Fauvism alongside Henri Matisse (1869-1954) and Maurice de Vlaminck (1876-1958), after serving in World War I Derain returned to a more classical style of which his work would remain. This change in style can perhaps be seen as a quest to find a timeless art. Bathers is a subject matter Derain explored frequently over the course of his lifetime (see an early example - The Bathers, 1908), popularized by Cezanne. Fresh to market, 'Baigneuses dans un paysage' shows an influence of Jean-Baptiste-Camille Corot in both subject matter and subtle colour palette. He has also imbued this later work with the narrative of Greek mythology (see also Les Bacchantes, c.1945, Troyes, musee d'Art moderne). For a time, he was heralded for upholding a renewed Classicism which led to designing many ballet sets with the Ballet Russes.
Sir Lawrence Gowing CBE RA, British 1918-1991 - Cleo, 1946; oil on canvas, inscribed on the reverse 'L Gowing', 76.5 x 64 cm (ARR) Provenance: with David Gault (according to the label attached to the reverse of the frame); private collection Exhibited: Arts Council of Great Britain, London, 'Lawrence Gowing Retrospective', 1983 (under the title 'Beryl (Judith)' with correct title handwritten in pencil) (according to the label attached to the reverse of the frame) Note: an accomplished portrait and landscape painter, Gowing was a pupil of William Condstream and protege of Bloomsbury art critic Clive Bell. His sitters include Lord Attlee and Lord Halifax. He went on to become an acclaimed art historian and curator, writing books and exhibition catalogues on Vermeer, Hogarth, Cezanne, Turner, Matisse and Lucien Freud. In 1985 he was appointed honourary curator of the Royal Academy of Arts collection.
Alexej von Jawlensky, Blumen im KrugÖl über Bleistift auf leinenstrukturiertem Papier, auf Leinwand aufgezogen. 52,3 x 35 cm (53 x 36 cm). Gerahmt. Oben links blau signiert und datiert 'A. Jawlensky 14'. - In gutem farbfrischen Zustand, mit wenigen winzigen Retuschen.M. Jawlensky/Pieroni-Jawlensky/A. Jawlensky Bianconi Bd. II, Nr. 651 mit Abb. S. 56ProvenienzSelected Artists Galleries (SAG), New York (mit Etikett auf dem Keilrahmen, dort als "Verschiedene Blumen 1915" bezeichnet); Studio Ellen Forest, Roskin, Amsterdam; Willem van Leusden, Amsterdam; Mrs. Selma van Cornewal, Maarssen; Christie's London, Auktion 9. Juli 1965, Lot 93; Privatsammlung New York; Math. Lempertz’sche Kunstversteigerung 497, Köln, 1967, Lot 378; Math. Lempertz’sche Kunstversteigerung 460, Köln, 24. Nov.1972, Lot 460; Privatsammlung RheinlandJawlensky hat während seiner gesamten Schaffenszeit immer wieder Stillleben gemalt. Anfangs angeregt von Paul Cezanne, später in Orientierung an Henri Matisse, fand er um 1911/1912 farblich und kompositorisch zu seinem eigenen Stil. Meist waren es Früchte, Krüge, Statuetten und immer wieder Blumen, die er vor stark gemusterten Wandbehängen arrangierte und mit leuchtenden, von schwarzen Konturen eingefassten Farben malte. Bei den vorliegenden „Blumen im Krug“ verzichtete er auf die Umrisslinien und trug die Farben – seinen „Variationen“ vergleichbar – dünnflüssig und mit breitem Pinsel flockig und weich auf. Die Farben Rot, Violett, Gelb, Blau und Grün umschreiben nur summarisch die Blüten und die bauchige Vase. In den äußeren Bereichen verschwimmen die Grenzen zwischen Blumen und Hintergrund, so dass einzelne Partien bei näherem Hinsehen abstrakt erscheinen. Zur Bedeutung der Blumenstillleben sind Jawlenskys Lebenserinnerungen hilfreich, in denen er gegen Ende seines Schaffens schrieb: „Als ich etwas Erleichterung in meinen Händen fühlte, malte ich gleich große Bilder, nur Stillleben, meistens Blumen. Sie sind sehr schön in den Farben und haben großen Erfolg bei den Menschen.“ (zit. nach: Ausst. Kat. München/Baden-Baden 1983, S. 332).Die heiteren Farben des Blumenstilllebens lassen auf eine friedlich-ruhige Zeit im Leben Jawlenskys schließen. Doch das täuscht – gemeinsam mit Helene Nesnakomoff, der Mutter seines inzwischen zwölf Jahre alten Sohnes, und Marianne von Werefkin musste er nach Ausbruch des Ersten Weltkriegs 1914 als russischer Staatsbürger Deutschland binnen 48 Stunden verlassen.
Zdzisław Majrowski - Constantin Meyro (Polish b. 1952)Au Pair (The Housemaid), 2008Oil on canvasSigned to the bottom leftFramed165 x 109 cm (65 x 43 in)Zdzisław Majrowski - Constantin Meyro is an outstanding representative of Polish contemporary art. European painter of the middle generation. A brilliant continuator of Paul Cezanne (Russian constructivists and Franz Kokoschka). He is an artist whose work is a continuation of the works of masters such as Frans Hals, Diego Velasquez and Manet. Huge diligence and masterfully mastered workshop clearly define the artist's output. His uncompromising attitude and perfectionism are the main components of his unique painting.
‘I am delaying the execution of this project again this year. I am not satisfied with the result obtained’ CEZANNE PAUL: (1839-1906) French Artist & Post-Impressionist Painter. An excellent content and rare A.L.S., Paul Cezanne, two pages, 8vo, Aix-en Provence, 2nd of April 1902, to Monsieur Vollard, in French. Cezanne explains to his artistic agent the reasons why he has not finished a work and his unsatisfaction, stating, `Je me vois dans l´obligation de remettre l´expédition de la toile de vos roses à une époque ultérieure, quoique j´eusse beaucoup souhaité envoyer au salon 1902! Je retarde cette année encore l´exécution de ce projet. Je ne suis pas satisfait du résultat obtenu´ ("I find myself having to postpone the shipment of the canvas of your roses to a later date, although I had very much wanted to send tit to the 1902 exhibition! I am delaying the execution of this project again this year. I am not satisfied with the result obtained") Cézanne further refers to his studies on painting, a concept he would repeat several times during his late life, and mentions also the new workshop built, saying `D´autre part je ne renonce pas à continuer mon étude, qui m´aura obligé à des efforts qui, j´aime à le croire, ne seront pas steriles. J´ai fait construire un atelier sur un petit terrain que j´ai acquis à cette intention. Je poursuis donc mes recherches, et vous ferez part du résultat acquis, sitôt qu´un peu de satisfaction m´aura été donné par l´étude´ ("On the other hand, I do not give up on continuing my study, which will have forced me to make efforts which, I like to believe, will not be sterile. I had a workshop built on a small piece of land that I acquired for this purpose. I am therefore continuing my research, and you will share the result obtained, as soon as a little satisfaction has been given to me by the study") Paper with a crown drawing watermark. With blank integral leaf. Small overall minor creasing with a tear to the fold edge. G Ambroise Vollard (1866-1939) French art Dealer. One of the most important dealers of his time in French contemporary art. He supported many painters such as Cézanne, Renoir, Gauguin, etc…
Art and art history to include Cezanne, Renoir, catalogue of the Constable collection at the Victoria & Albert Museum, European Flower Painters, Vuillard, Van Gogh, a Dictionary of the Artists in Britain since 1945, Corot, Matisse, Flemish painting in 2 vols, Italian painting, Gwen John & Augustus John at the Tate, etc (4 boxes)
Spyros Papaloukas (Greek, 1892-1957)Vue de Karyes, Mont Athos signé en grec (en bas à droite)huile sur carton47 x 41.5cm (18 1/2 x 16 5/16in).Peint en 1923.signed in Greek (lower right) oil on cardFootnotes:ProvenanceEstate of the artist.Private collection, Athens.LittératureSpyros Papaloukas, Sojourn in Mount Athos, Agra editions, Mount Athos 2003, no. 17, p. 85 (illustrated).'Up there, in Mt. Athos, I clearly saw that art in all its great manifestations through the ages has always been about form and colour.'Spyros Papaloukas1Papaloukas's exquisite output during his one-year sojourn in Mt. Athos (1923-1924), which established him as a leading exponent of plein-air painting, is a key chapter in the development of early 20th century Greek art, providing daring answers to some of the period's foremost issues concerning cultural identity.2Here, he treated his subject by fusing the rich Byzantine tradition with the doctrines of modern art. As if he were making a Byzantine mosaic, he emphasized the flatness of the surface and endeavoured to liberate colour from its obligation to describe reality, a perception which was also of pivotal importance to the art of the Nabis, Cezanne and the early 20th c. cubist experiments. Moreover, as the schematic undulations of the landscape ascend, the horizontal tilts into the vertical, echoing the Byzantine backgrounds that tend to unfold upwards instead of receding in depth.Bathed in diffused light and dominated by soft tonalities without intense gradations, the monastic compounds almost lose their structural integrity. Dematerialized, they no longer represent a specific place but seem to reflect the infinite from whence ideal forms originate. As noted by the late Director of the Athens National Gallery M. Lambraki-Plaka, Papaloukas's expertly trained eye reveals the 'eternal becoming' of the world.3 1 As quoted by S. Doukas, Zygos magazine no. 31, May-June 1958, p. 8.2. See A. Kouria, 'Spyros Papaloukas's Athos' in Spyros Papaloukas, Sojourn in Mount Athos [in Greek], Agra editions - Mount Athos 2003, p. 22. 3 See M. Lambraki-Plaka, 'Papaloukas' Painting' in Spyros Papaloukas, Painting 1892-1957 [in Greek], Athens 1995, pp. 33-48.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
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