15 Kunstbände *Malerei* dabei *Die Schwäbische Malerei um 1900* Thomas Maier u. Bernd Müllerschön, Stuttgart 2000, *RENOIR* Sophie Monneret, DuMont Buchverlag Köln 1990, *WATTEAU 1684 bis 1721*, Hans-Peter Bühler *Anton Braith, Christian Mali* Tiermalerei der Münchner Schule, 1981, *Münchner Maler im 19. Jhd.* Bruckmanns Lexikon der Münchner Kunst, Band 1, 2 und 4, *Antoine Watteau* Donald Posner, 1984, *Velázquez* Josè López-Rey, Werkverzeichnis, Band 1, Maler der Maler, 1999, *Münchner Malerei im 19. Jhd.* Horst Ludwig, Hirmer Verlag München 1978, Broschur teils eingerissen, *Die Deutsche Malerei, von Anton Graff bis Hans von Marées 1760-1870* Helmut Börsch-Supan, Verlag C.H.Beck, Deutscher Kunstverlag, 1988, *Edgar Degas 1834-1917* Bernd Growe, Benedict Taschenverlag, 1991, *Otto Pippel 1878-1960* Hermann Reiner, Babenhausen, 1980, *Die Holländische Marinemalerei des 17. Jhds.* Laurens J. Bol, Klinkhardt und Biermann, Braunschweig, 1973, *Manet* Francoise Cachin, DuMont Buchverlag Köln, alle größtenteils in gutem Zustand, wenig Gebrauchsspuren, diverse Einbände, dabei Taschenbuch, Hardcover, Orig.Leinen, z.T. mit Broschur, alle mit zahlr. teils farbigen Abb., 15 Stk.
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L. S. LOWRY (BRITISH 1887–1976) THE MOURNERS, 1955 signed and dated 19 Dec 1955, pastel on paper 26cm x 36.5cm (10 ¼in x 14 3/8in) The Reverend Geoffrey S. Bennett, by 1966;Sandra Lummis Fine Art, London, from whom acquired by Bernard Kelly, July 1986. Exhibited:Arts Council of Great Britain, L .S. Lowry - Retrospective, 1966, no. 150.Literature:Levy, Mervyn, The Drawings of L. S. Lowry, Jupiter Books, London 1979, pl. 142. Whilst undoubtedly being one of Britain’s most well-known and well-loved artists, L.S. Lowry is also one of our most misunderstood. His popular image is that of an untrained naif painter of ‘matchstick men’, yet this is to ignore entirely the incredible technical and visual sophistication of his work. Lowry was academically trained, as well as being a student of the post-Impressionist master Pierre Adolphe Valette, who taught in Manchester at the beginning of the 20th century. As such, Lowry knew how to draw the weight and balance of a figure, how to convey movement, even if he then chose to express this in a seemingly ‘simplistic’ way. The Mourners is a perfect example of this – no surprise, then, that it was chosen for Lowry’s 1966 Arts Council exhibition, the exhibition that sowed the seeds for his incredible popularity. The sense of the couple’s movement is effortless, as is the sense of the weight of their bodies shifting in their heavy clothes. We can feel the man’s hands in his pockets. And even though viewed from behind, we know exactly where both their gazes fall and as such we can feel where their feelings lie. Furthermore, the space between them, perfectly judged, becomes the emotional heart of the work. And their world – the dirty, smoky city – is evoked entirely through a few intersecting lines and a couple of smudges of pastel. This drawing is pure Impressionism, at its best – not Degas gazing down from the stalls at the ballet, but another genius painter seeing all of human life from the top deck of the no.52 to Pendlebury.
MARK PEARSON (British b.1956)The dancer Britain, 1996 Oil on canvas, the vertical view of a dancer scantily clad in a bright blue and yellow costume, parting a pair of red curtains suggesting either the commencement or ending of a performance, this subject consistent with Pearson’s oeuvre which focusses on the human figure, often in public settings, and his interest in the interrelationship between light, space, and movement, the paint applied thickly in an impressionistic style reminiscent of Degas, ‘Mark Pearson 1996’ inscribed to reverse, framed. Image 28cm x 14cmWith frame 41cm x 26.5cm
An original lithograph on paper entitled Portraits de Manet after French Impressionist artist Edgar Degas. Pulled from the limited edition portfolio Degas, Volume I by Paul Lafond published in 1918 by H. Floury, Paris. Artists name in plate on lower right: Degas. Edition number in graphite on lower left: X/LX. Includes protective sheet with title of work and Collection de M. Ernest Rouart. Artist: After Edgar Degas (French, 1832-1883)Issued: 1918Dimensions: 7.75"L x 10"HCondition: Age related wear. Time stained.
Beautiful high quality dolls in a wide range of styles. Includes: Little Boy Blue, N.1345; Victoria, N.3746, Degas Girl, N.1575; Laurie, (From Little Women) N.1326; Ireland, N.578. Each comes in its original box. Largest doll measures: 8''L x 3''W x 12''H. Largest box measures: 14''L x 9.25''W x 4.5''H. Issued: 20th centuryDimensions: See DescriptionManufacturer: Madame AlexanderCountry of Origin: United StatesCondition: Age related wear.
Suzanne Valadon 1865 oder 1867 Bessines/Haute-Vienne oder Limoges - 1938 Paris La poupée délaissée (Die verlassene Puppe). 1921. Gouache und Pastell auf Malpappe. Links unten signiert und datiert. 103,5 x 75 cm (40,7 x 29,5 in), blattgroß. [KT]. • Entwurf für das Gemälde 'La poupée abandonnée', 1912, heute im National Museum of Women in the Arts, Washington, neben Künstlerinnen wie Frida Kahlo, Gabriele Münter und Meret Oppenheim. • Neben Gauguin, Degas und Toulouse-Lautrec ist Suzanne Valadon eine der faszinierendsten und progressivsten Künstlerpersönlichkeiten der Pariser Moderne. • 2021, -22 und -23 wird Valadon weltweit mit mehreren großen Einzelausstellungen präsentiert, u. a. in der Barnes Foundation, Philadelphia, der Ny Carlsberg Glyptotek, Kopenhagen, und dem Centre Pompidou-Metz, voran gehen zahlreiche Gruppenausstellungen zu Künstlerinnen der Avantgarde mit ihrer Beteiligung. PROVENIENZ: Sammlung Mme Moreau-Buzelin, Paris (bis mindestens 1960). Privatsammlung (um 1970 erworben). Sammlung Schweiz. AUSSTELLUNG: Maurice Utrillo V., Suzanne Valadon, Haus der Kunst, München, 15.6.-11.9.1960, Nr. 224, S. 35 (o. Abb.). Gauguin and the Decorative Style, The Solomon R. Guggenheim Museum, New York, 1966. Fixsterne - 100 Jahre Kunst auf Papier. Adolph Menzel bis Kiki Smith, Schleswig Holsteinische Landesmuseen, Schloss Gottorf, 31.5.-20.9.2009 (ganzs. Fababb. S. 29). PAINTING still ALIVE. On the way to modernity, Centre of Contemporary Art Znaki Czasu, Torun, Polen, 11.11.2018-13.1.2019 (ganzs. Farbabb. S. 111). LITERATUR: Paul Pétridès, L'œuvre complet de Suzanne Valadon, Paris, 1971, WVZ-Nr. D255 (m. Abb. S. 141). - - Sotheby's, New York, Impressionist & Modern Art Day Sale, 8.5.2008, Los 156 (m. Abb.). Aufrufzeit: 07.12.2024 - ca. 15.36 h +/- 20 Min. Dieses Objekt wird differenzbesteuert, zuzüglich einer Einfuhrumsatzabgabe in Höhe von 7 % (Ersparnis von etwa 5 % im Vergleich zur Regelbesteuerung) oder regelbesteuert angeboten (N).ENGLISH VERSIONSuzanne Valadon 1865 oder 1867 Bessines/Haute-Vienne oder Limoges - 1938 Paris La poupée délaissée (Die verlassene Puppe). 1921. Gouache and pastel on cardboard. Signed and dated lower left. 103.5 x 75 cm (40.7 x 29.5 in), the full sheet. [KT]. • Draft for the painting “La poupée abandonnée” from 1912, today in the National Museum of Women in the Arts, Washington, alongside other female artists such as Frida Kahlo, Gabriele Münter, and Meret Oppenheim. • Valadon is one of the most fascinating and progressive artists and personalities in Parisian modernism, along with Gauguin, Degas, and Toulouse-Lautrec. • In 2021, '22, and '23, Valadon was honored in several major solo exhibitions at, among others, the Barnes Foundation, Philadelphia, the Ny Carlsberg Glyptotek, Copenhagen, and the Centre Pompidou-Metz, as well as in numerous group exhibitions on female avant-garde artists. PROVENANCE: Mme Moreau-Buzelin Collection, Paris (until at least 1960). Private collection (acquired around 1970). From a Swiss collection. EXHIBITION: Maurice Utrillo V., Suzanne Valadon, Haus der Kunst, Munich, June 15 - September 11, 1960, no. 224, p. 35 (not illustrated). Gauguin and the Decorative Style, The Solomon R. Guggenheim Museum, New York, 1966. Fixed Stars – 100 Jahre Kunst auf Papier. Adolph Menzelbis Kiki Smith, Schleswig Holsteinische Landesmuseen, Schloss Gottorf, May 31 – Sept. 20, 2009, (full-page illu. on p. 29). PAINTING still ALIVE. On the way to modernity, Center of Contemporary Art Znaki Czasu, Torun/Poland, November 11, 2028-January 13, 2019 (full-page color illu. on p. 111). LITERATURE: Paul Pétridès, L'œuvre complet de Suzanne Valadon, Paris, 1971, cat. no. D255 (illus. p. 141). - - Sotheby's, New York, Impressionist & Modern Art Day Sale, May 8, 2008, lot 156 (illustrated). Called up: December 7, 2024 - ca. 15.36 h +/- 20 min. This lot can be subjected to differential taxation plus a 7% import tax levy (saving approx. 5 % compared to regular taxation) or regular taxation (N).
* DAMIAN CALLAN (SCOTTISH b. 1960), CLOSE-UP KITES oil on board, signed and dated '07, titled verso framedimage size 65cm x 49cm, overall size 78cm x 62cm Note: Edinburgh artist Damian Callan is the author of two books, Paint Like Degas and Paint Like Renoir. His work is exhibited widely in the UK and is held in collections across the world. He has written articles for Artist & Illustrators Magazine and The Artist Magazine and regularly demonstrates drawing and painting techniques at public events in Edinburgh.
Edgar Degas (French, 1834-1917), Sur la Scene No.3. On Stage No.3, (1876-1877), etching, issued by Amboise Voillard in an edition of 150 issued for an exhibition catalogue of the Societe des Amis des Arts de Pau, c.1876/77 with some 40 impressions traced, signed in the plate, 9.5 by 12cm, framed. Note: from the first edition printed from cancelled plate 1910/15. Delteil 32; Reed-Shapiro 24 vi/vi. Provenance: with William Weston Gallery, London
Jean Gabriel Domergue, 1889 Bordeaux – 1962 ParisVENEZIANISCHER KARNEVAL (ELEGANTE DAME), 1918Kreide, Gouache und Aquarell auf Papier.48 x 31,2 cm.Links unten signiert und datiert „Jean Gabriel Domergue 1918“.Im Passepartout, hinter Glas gerahmt.Die Dargestellte schlank und grazil in einem weiten Kleid mit schwarzer Kopfbedeckung und einen langen braunen Stab in den feinen Fingern ihrer rechten Hand haltend. Venezianische Kostüme, wie das der Dargestellten, hatten in der Zeit der Entstehung dieses Werks Hochkonjunktur. Sie wurden für Opern- und Theateraufführungen benötigt, aber auch für exquisite private Maskenbälle und die alljährlichen Venedig-Reisen der betuchten Damen. Eine Dame in vergleichbarem Kostüm ist auch auf anderen Aquarellen und Gouachen des Künstlers zu finden.Domergue war Schüler des Edgar Degas (1834-1917) und des Henri de Toulouse-Lautrec (1864-1901) und machte sich vor allem als Portraitist junger Damen und anmutiger Akte einen Namen. (1420474) (18)Jean-Gabriel Domergue,1889 Bordeaux – 1962 ParisCARNIVAL IN VENICE (ELEGANT LADY), 1918Crayon, gouache, and watercolour on paper. 48 x 31.2 cm.Signed and dated “Jean Gabriel Domergue 1918” lower left.
Jean Gabriel Domergue, 1889 Bordeaux – 1962 ParisPORTRAIT EINER JUNGEN FRAUÖl auf Leinwand.56 x 46 cm.Links unten signiert "Jean Gabriel Domergue".In Louis XV-Stilrahmen mit Textilpassepartout.Die Frau mit Ohrringen, frisierten blonden Haaren, Ohrringen und schwarzem Halsband. Domergue war Schüler des Edgar Degas (1834-1917) und des Henri de Toulouse-Lautrec (1864-1901) und machte sich vor allem als Portraitist junger Damen und anmutiger Akte einen Namen.(1420571) (1) (13))
PAUL SIGNAC (1863-1935)Paris. Le Pont-Marie signé 'P. Signac' (en bas à droite), inscrit et daté 'Paris Mai 1910' (en bas à gauche)aquarelle, gouache et fusain sur papier contrecollé sur cartonExécuté en mai 1910signed 'P. Signac' (lower right), inscribed and dated 'Paris Mai 1910' (lower left)watercolour, gouache and charcoal on paper laid down on cardExecuted in May 1910 20.5 x 25.7 cm.8 1/16 x 10 1/8 in.Footnotes:L'authenticité de cette oeuvre a été confirmée par Marina Ferretti.The authenticity of this work has been confirmed by Marina Ferretti.ProvenanceSuccession de l'artiste.Marlborough Fine Art Ltd., Londres.Collection John et Johanna Meulkens, Pays-Bas (acquis en mars 1996). ExpositionLondres, Marlborough Fine Art, Paul Signac – Watercolours and drawings, novembre-décembre 1986, no. 22, (illustré p. 35).John et Joanna Meulkens ont commencé leur collection dans les années 1980, inspirés par les foires d'art internationales telles que TEFAF et Pictura. Guidés par d'éminents marchands d'art, ils ont élargi leurs intérêts pour inclure un large éventail d'œuvres des périodes impressionniste et post-impressionniste. Ils ont été attirés par des artistes pionniers tels que Jongkind et Boudin, dont l'innovation a influencé l'impressionnisme, ainsi que par Maufra, Signac, Pissarro, Lhermitte (admiré par Van Gogh) et Raffaëlli, ami proche et protégé de Degas. Alors que nous célébrons cette année le 150e anniversaire de l'impressionnisme, le mouvement connaît une résurgence dynamique, avec des expositions mondiales commémorant son impact durable.John et Joanna ont rassemblé leur collection avec un amour profond pour l'art, une volonté de découverte et la joie de capturer la beauté intemporelle - un héritage de passion qui continue d'inspirer.John and Joanna Meulkens began their collection in the 1980s, inspired by international art fairs like TEFAF and Pictura. Guided by leading art dealers, they expanded their interests to include a wide range of works from the Impressionist and Post-Impressionist periods. They were drawn to pioneering artists such as Jongkind and Boudin, whose innovation influenced Impressionism, as well as Maufra, Signac, Pissarro, Lhermitte (admired by Van Gogh), and Raffaëlli, a close friend and protégé of Degas. As we celebrate the 150th anniversary of Impressionism this year, the movement is experiencing a dynamic resurgence, with global exhibitions commemorating its enduring impact.John and Joanna assembled their collection with a profound love for art, a dedication to discovery, and the joy of capturing timeless beauty—a legacy of passion that continues to inspire.For further information on this lot please visit Bonhams.com
Muybridge, Eadweard -- Animal Locomotion. An Electrophotographic Investigation of Consecutive Phases of Animal Movements. 1872-1885. Bound volume with a total of 21 collotypes on plates. Each circa 46 x 60 cm. Each with printed caption, number and Muybridge's copyright on plate. Title page with dedication by Muybridge to "Sir Fredk Leighton Baron P.R.A. with the homage of the author June 1889" and later dedication by Lord Leighton "To Linley Sambourne from an old friend. July 22, 1896" in pencil. Bound in half morocco, cloth-covered album (corners rubbed, some scratches) gilt morocco cover label "Animal Locomotion. By Eadweard Muybridge. 1872-1885. Plates. University of Pennsylvania". University of Pennsylvania, Philadelphia, 1887.Grolier, Truthful Lens, 123. Parr/Badger, The Photobook I, 52. This album features an important collection of Eadweard Muybridge’s groundbreaking “instantaneous photography,” a self-developed technique that enabled high-precision stop-motion images using an early rapid-acting shutter. Initially focusing on horses, Muybridge expanded his repertoire to include athletes, birds, lions, and camels, famously capturing the first image of a galloping horse with all four hooves off the ground in 1872. By 1885, he had amassed over 20,000 photographic negatives, comprising 781 sequential photo plates taken from multiple cameras positioned at carefully planned locations and angles, each illustrating a subject in continuous motion.Muybridge’s handwritten dedication on the title page to Frederic Leighton, one of Victorian England’s celebrated artists, underscores the influence of his movement studies on contemporary artists such as Thomas Eakins, Frederic Remington, Ernest Meissonier, Edgar Degas, and the French inventor Étienne-Jules Marey. Notably, Leighton passed away in 1896, the same year he gifted this particular copy to his “old friend,” the renowned Punch cartoonist Edward Linley Sambourne.The complete eleven-part work Animal Locomotion contains 781 numbered plates. The accompanying Author’s Edition, offered here, featured a removable subscription leaf that allowed subscribers to choose their preferred plates, resulting in varied content across different sets. This copy includes plates 3, 133, 152, 174, 187, 214, 279, 289, 347, 408, 465, 471, 565, 616, 626, 647, 659, 710, 721, 739, and 755. The exceptionally fine collotypes were printed by the Photo-Gravure Company in New York. – Edges of plates time-stained and with some moisture staining, images not affected, images very finely printed and in very good condition.
PICASSO PABLO: (1881-1973) Spanish painter, a co-founder of the Cubist movement. An unusual vintage signed and inscribed colour picture postcard by Picasso, the image, entitled Joies et plaisirs de la Cote-d´Azur, being a photomontage of a blonde pin-up girl wearing a bikini and sitting in a full-length pose with her legs outstretched on a diving board against a backdrop of the bay of Cannes featuring palm trees, golden sandy beaches and hotels etc. Signed by Picasso in bold blue fountain pen ink to a light area of the image, ´Pour Raoul Pellequer, son ami, Picasso´. The verso of the postcard features an A.L.S., Max, by Max Pellequer, n.p. (Cannes), 1st February 1959, to his brother Max, in French. Pellequer writes, in full, ´C´est Picasso qui a voulu choisir cette carte pour toi. C´est la raison pour laquelle je te l´envoie avec mes plus effectues pensees et mes regrets de ne pas vous avoir aupres de nous dans ce pays si plein de bons souvenirs qui a aussi invente la bouillabaisse, que nous avons degustee malheureusement sans vous´ (Translation: ´It was Picasso who chose this card for you. That's why I'm sending it to you with my deepest thoughts and my regrets at not having you with us in this country so full of good memories, which also invented the bouillabaisse, which unfortunately we tasted without you´). The letter is also signed (with their first names) by Francine Pellequer, Jacqueline Roque, the French model, muse and second wife of Picasso, and also by Pablo Picasso himself with a bold black ink signature (´Picasso´). An attractive example of Picasso´s autograph, enhanced by a letter with interesting association. VGMax Pellequer (1903-1973) French banker and art collector who would become Picasso´s private banker, financial adviser and close friend. Pellequer assembled an important collection of artworks in the 1920s and 1930s which included a number of significant early pieces by Picasso, as well as works by Paul Cezanne, Edgar Degas, Paul Gauguin, Henri Matisse, Joan Miro and others. Almost two hundred letters from Pellequer to Picasso are preserved in the Musee National Picasso in Paris.
RENOIR PIERRE-AUGUSTE: (1841-1919) French Impressionist Artist. Exceptional hardcover 4.5 x 6.5 ledger book, 116 pages, containing 14 pages filled out in Renoir´s hand, recording the sales of his paintings, listing those in deposit, where they are, etc.. Written to the front cover `Tableaux´ ("Paintings"). The opening page bears a red pencil annotation, `Durand Ruel´, and the next 14 pages are dated from 1882 to 1885, recording various financial transactions. Several of these entries record amounts received from the sales of his works, and in several instances he writes names or descriptions of the works, such as "Portrait de Mme. C dans un jardin", "Femme nue", "Jeune Kabyle", "Vues Venise", "Saltimbanque", "Naples et Alger", "jardin coquelicot", "Jardin Montmartre", "Samary (Pastel)", and many more. Few other pages with multiple payments records, painting prices, financial transactions, amounts received on account, dates, etc.. In two instances, in 1883, Renoir writes the name `Manet´ presumably referring to his friend and fellow Edouard Manet. These entries provide valuable insight into Renoir's life and work, and as such this ledger represents an important piece for Renoir research. Very small minor age wear, otherwise VG Paul Durand-Ruel (1831-1922) French Art Dealer. Probably the most important commercial advocate of impressionists, providing monetary support to his painters and solo-exhibitions. He counted Degas, Monet, Manet and Renoir among his clients
MORISOT BERTHE: (1841-1895) French Painter. Morisot was married to Eugene Manet, brother of her close friend and colleague Edouard Manet. She was a member of the circle of painters in Paris who became known as the Impressionists. In 1874, she joined the "rejected" Impressionists by the Academie des beaux-arts in the first of their own exhibitions, which included Cezanne, Degas, Monet, Pissarro, Renoir and Sisley, which was held at the studio of the photographer Nadar. A rare and lengthy A.L.S., `B.M.´, with her initials, four pages, 8vo, n.p., n.d., to her niece Paulette, in French. Morisot, in her late years, thanks her correspondent for her letter and explains what is her husband and her own updated health situation, stating in part `Ma chère petite Paulette, je suis bien touchée de ta lettre, j´ai toujours su que tu avais du coeur et que tu répondais à l´affection que ton oncle et moi avons pour toi. Il est beaucoup mieux...mon esprit inquiet va au devant des complications de l´avenir. Ta mère comprendra ici mieux que toi, nous sommes à un âge où une fois touchés par le malheur nous pourrions ne devoir jamais nous relever´ (Translation: "My dear little Paulette, I am very touched by your letter, I always knew that you had a heart and that you responded to the affection that your uncle and I have for you. He is much better...my worried mind goes ahead of the complications of the future. Your mother will understand better than you, we are at an age where once touched by misfortune we may never have to get up again") Further Morisot refers to writing and painting and gives her advice to her niece, saying `J´ai lu ta lettre à ton oncle, elle lui a fait grand plaisir, il a visité l´Auvergne dans sa jeunesse... et a trouvé que tu décrivais parfaitement le pays. Nous sommes deux à te reconnaitre un petit talent littéraire que tu devrais cultiver, tu ne ferais pas tort à la peinture, au contraire, je crois que l´un aide l´autre et je pressens que dans quelques années d´ici, la mode sera aux femmes écrivains. Si on reçoit le Figaro là-bas, demande à ta mère de te laisser lire les fragments de Mémoires par les Goncourt. ils contiennent quelques fois de jolies choses´ (Translation: "I read your letter to your uncle, it gave him great pleasure, he visited Auvergne in his youth... and found that you described the country perfectly. We are the two of us recognizing in you a little literary talent that you should cultivate, you would not do any harm to painting, on the contrary, I believe that one helps the other and I sense that in a few years from now, fashion will be for women writers. If you receive Le Figaro there, ask your mother to let you read the fragments of Memoirs by the Goncourt, they sometimes contain pretty things") Further again Morisot refers to her brother-in-law and to her own day by day, saying `J´ai vu l´oncle Adolphe toujours bavard, se mettant franchement à ma disposition avec un fleuve de paroles assourdissant... en somme je ne suis pas abandonnée, que ta mère se rassure et qu´elle jouisse en paix de son séjour à la campagne, vous devez y avoir de bien belles journées, quelle mine a-t-elle? Elle me disait dans une de ses lettres qu´elle avait été souffrante´ (Translation: "I saw Uncle Adolphe, always talkative, frankly putting himself at my disposal with a deafening river of words... in short I am not abandoned, may your mother be reassured and may she enjoy her stay in peace in the countryside, you must have some very nice days there, how is she feeling? She told me in one of her letters that she had been unwell") VGPaule Marie Gobillard (1867-1945) Niece of Berthe Morisot. She was the elder daughter of Theodore Gobillard (1833-1883) and Berthe´s elder sister Yves Elisabeth Morisot (1838-1893)Eugene Manet (1833-1892) Younger brother of Edouard Manet. Berthe and Edouard were not only colleagues but very close friends. Edouard remained with his wife and Eugene married Berthe Morisot in 1874, in what has often been described as a marriage of convenience. Adolphe Pontillon (1832-1894) Brother-in-law to Berthe Morisot. He was the husband of Berthe´s sister Marie Caroline Morisot (1839-1921)
PICASSO PABLO: (1881-1973) Spanish painter, a co-founder of the Cubist movement. A.L.S., Picasso, one page, 4to, Vallauris (Cote d´Azur), 2nd May 1950, to Max [Pellequer] (´Mon cher Max´), in French. Picasso, in the second letter of the day that he has written to Pellequer, states ´Je viens de recevoir les recus des cheques envoyes a ces messieurs des contributions. Je vous les envoi. Il fait un temps d´ete. Je travaille´ (Translation: ´I've just received the receipts for the cheques sent to these gentlemen from the tax department. I am sending them to you. The weather is summery. I am working´). VGMax Pellequer - French banker and art collector who would become Picasso´s private banker, financial adviser and close friend. Pellequer assembled an important collection of artworks in the 1920s and 1930s which included a number of significant early pieces by Picasso, as well as works by Paul Cezanne, Edgar Degas, Paul Gauguin, Henri Matisse, Joan Miro and others. Almost two hundred letters from Pellequer to Picasso are preserved in the Musee National Picasso in Paris.Picasso had come to live in Vallauris in 1948 and stayed in the seaside commune until 1955. During this time he created a great number of sculptures and paintings, including his mural War and Peace, and also developed a fascination for the techniques of ceramics and linocuts.
Edgar Degas(1834 Paris - 1917 ebenda) nach"Petite danseuse de quatorze ans". OriginaltitelBronze, braun und graugrün patiniert. Bez.; Posthumer, zeitgenössischer Guss, 21. Jh.; Auf einer rechteckigen Plinthe stehende, junge Ballerina, ihre Hände hinter dem Rücken faltend. Die "Kleine Tänzerin" ist die einzige Plastik, die Degas zu Lebzeiten zeigte - 1881 auf der Impressionisten-Ausstellung. Frühe Güsse von 1922 befinden sich im Musée d'Orsay in Paris und Metropolitan Museum in New York. H. 92 cm.After Edgar Degas (1834 - 1917). Dark brown patinated bronze. Posthumous, contemporary cast, 21st century.
Edgar Degas (1834-1917) "Le Bain", pencil signed to the mount by Degas and the publisher Georges William Thornley (1857-1935), with the publisher's stamp, lithograph on Chine Colle paper, laid over green wove paper, 22 x 31.5cms (plate). Provenance: The Redfern Gallery, London, stock No. 2067, purchased January 18th 1963; Thence by descent. Notes: A rare impression from the edition of 25, before the lithographic signature and the publisher's address were added. Published in Quinze Lithographies d'Apres Degas par G. W. Thornley, by Boussod, Valadon & Cie., Paris, on chine appliqué supported on green-toned stiff wove paper as seen here. Degas was very impressed with the lithographic skills of Georges William Thornley, enthusiastically accepting the commission from Boussod & Valadon to work with him to produce this album of lithographs. He undertook an active part in the making of reproductive prints after his paintings.
After Edgar Degas, French 1834-1917 - La masseuse, cast in 1998; bronze, stamped with signature, dated, numbered and with Foundry stamp on the base 'Degas Valsuani, Cire Perdue reproduction 1998 55/C', H39 x W44.5 x D34 cmNote:a copy of a Certificate from the Comité Edgar Degas, Paris accompanies this lot, no.2014-1998-55-C. According to the certificate, Le Comité attests that this work is an authentic edition, authorised by the succession Degas. This bronze was made from a plaster from the original wax executed by Degas.
After Edgar Degas, French 1834-1917 - Cheval au galop sur le pied droit (associé au jockey N.35), cast in 1998; bronze, stamped with signature, dated, numbered and with Foundry stamp on the base 'Degas Valsuani, Cire Perdue reproduction 1998 25/C', H25.5 x L33.3 x D18.3 cm (including base)Note:a copy of a Certificate from the Comité Edgar Degas, Paris accompanies this lot, no.2014-1998-25-C. According to the certificate, Le Comité attests that this work is an authentic edition, authorised by the succession Degas. This bronze was made from a plaster from the original wax executed by Degas.
After Edgar Degas, French 1834-1917 - Danseuse s'avancant, les bras leves, la jambe droit en avant, cast in 1998; bronze, stamped with signature, dated, numbered and with Foundry stamp on the base 'Degas Valsuani, Cire Perdue reproduction 1998 72/C', H69 x W24 x D23.8 cm (including base)Note:a copy of a Certificate from the Comité Edgar Degas, Paris accompanies this lot, no.2014-1998-72-C. According to the certificate, Le Comité attests that this work is an authentic edition, authorised by the succession Degas. This bronze was made from a plaster from the original wax executed by Degas.
Circular powder dish features frosted lid and sides with a clear crystal bottom. Top of box is designed with inspiration from the work artist Edgar Degas, depicting a ballerina with a large skirt looking downwards. Bottom of box reads Lalique Society of America 1989. Issued: c. 1989Dimensions: 3.5"L x 3.5"W x 3"HManufacturer: LaliqueCountry of Origin: FranceCondition: Age related wear.
CÉZANNE (PAUL)Autograph letter signed ('Paul Cézanne'), to Camille Pissarro ('Mon cher Pissarro'), in French, discussing the reception of the second Impressionist Exhibition at Durand-Ruel, mentioning a hostile review by Albert Wolff in Le Figaro and that, even so, Monet sold his La Japonaise for two thousand francs, talking of the sensation caused by the rejection of Manet's works at the Salon, explaining the confusion over a review by the journalist Authier (alias Jean-Lubin) which erroneously described Monet and Pissarro as 'imitators' instead of 'initiators', complaining of the 'aquatic' weather and although his fruits and vines have been ruined by frost, he consoles himself with art and painting ('that's the advantage of art, painting remains'), ending by admitting that he too had received a rejection letter from the Salon, 4 pages on a bifolium, dust-staining, creased at folds, small pin holes where folds join, 8vo (208 x 271mm.), Aix, April 1876Footnotes:'VOYEZ L'ADVANTAGE DE L'ART, LA PEINTURE RESTE': CEZANNE TO PISSARRO ON PAINTING AND THE SECOND IMPRESSIONIST EXHIBITION.This long letter is written at the time of the month-long second Impressionist Exhibition at Galerie Durand-Ruel which began on 2 April 1876. Of the nearly 300 works exhibited, Pissarro showed twelve paintings, Monet eighteen works and Degas twenty-four. The exhibition is particularly known for introducing the artist Gustave Caillebotte, who also put up the majority of the finance. Neither Cézanne nor Manet exhibited although, as our letter reveals, Manet, whom Cézanne reports here as having been rejected from the Salon, chose to exhibit at his own home. It is one of six letters to Pissarro published in John Rewald, Paul Cézanne, Letters, 1941, no.XXXIII, p.100-101, and is also included in Alex Danchev, The Letters of Paul Cézanne, 2013, no.56, p.153. Provenance: Boisseau-Pomez, Troyes, 2 February 2007, lot 2; Artcurial, Paris, 2 April 2019, lot 324.For further information on this lot please visit Bonhams.com
DEGAS EDGAR (1834 - 1917)Edgar Degas signed posthumously cast sculpture in bronze on a marble base with justification of the casting by 'Ebano - Spain'DEGAS EDGAR (1834 - 1917) sculptuur in brons n° 8/48 met bruine patine : "Arabesque" - hoogte : 42 cm - op marmeren sokkel postume gieting getekend en met justificatiebewijs van de gieting door 'Ebano - Spanje'
Verve Magazine. 1939 Verve, an Artistic and Literary Quarterly No. 4 January - March 1939. Published at Rue Ferou Paris by Teriade. Including illustrations, paintings & drawings by Henri Matisse, Rembrandt, Toulouse-Lautrec, Degas, Courbet, Rubens etc, and writings by Jean-Paul Sartre, Georges Bataille, Roger Caillois, etc. Publisher's orig. paper wraps, spine worn and with significant loss, binding strained after the title page, light bumping to extremities, otherwise smart internally. The fourth issue to be released by this important Parisian art magazine, featuring the most prominent writers and artists active in Paris during the early to mid 20th century. Folio.
Four Halcyon Days limited edition enamel boxes, all lids decorated with famous paintings including Two Dancers on the Stage by Edward Degas, limited edition no.4 of 50, Wheatfield near Argenteuil by Alfred Sisley, no.24 of 75, Chasing Butterflies by Berthe Morisot, no.3 of 75 and a Cornfield with Cypresses by Vincent Van Gogh, no.75 of 75, all with certificates of authenticity and contained in fitted boxes, each 8cm wide (4) Condition ReportAll in good condition. General wear and tear.
PAUL GAUGUIN (1848-1903)Autoportrait Pencil and black crayon on paper13.9 x 11.5cm (5 1/2 x 4 1/2in).Executed in Le Pouldu circa 1889-1890Footnotes:Please note that this work will be presented to the Comité Paul Gauguin at the Wildenstein Plattner Institute on 30 September 2024. ProvenanceMarie Henry Collection, Le Pouldu (probably acquired directly from the artist).Léa 'Mimi' Henry Collection, France (by descent from the above); her sale, Drouot, Paris, 16 March 1959, lot 114.Marlborough Fine Art, London, no. 02258 (probably acquired at the above sale).Fritz Gross Collection, London, no. 396 (acquired from the above in November 1960).Private collection, London (by descent from the above).ExhibitedLondon, Marlborough Fine Art, XIX and XX Century European Masters, Paintings, Drawings, Sculpture, Summer 1959, no. 23.Paris, Galerie Charpentier, Cent oeuvres de Gauguin, 1960, no. 64.Munich, Haus der Kunst, Paul Gauguin, 1 April - 29 May 1960, no. 89.Newcastle, Hatton Gallery, Impressionist and Modern: The art and collection of Fritz Gross, 11 May – 9 June 1990, no. 18 (later travelled to Oxford).LiteratureR. Nacenta, 'Gauguin', in Art et style, no. 55, 1960 (illustrated). K. Mittelstädt, Paul Gauguin, Self-portraits, Oxford, 1968, no. 17 (illustrated p. 61).Autoportrait is strongly tied to Paul Gauguin's time in Le Pouldu, a secluded coastal village in Britanny where the artist sought refuge in August 1889. Fleeing the commercialisation of Pont-Aven, Gauguin found a creative sanctuary at Buvette de la Plage, an inn run by Marie Henry (1859-1945) in the village. Along with Meijer de Haan (1852-1895) – whom Gauguin humorously referred to as his 'pupil' in his letters – the inn became a vibrant artistic hub, with its dining room transformed by murals and artworks executed by the two artists, which are still observable today. Marie Henry, who later became de Haan's lover, retained some of Gauguin's works, likely as compensation for his stay, as Gauguin had been living on credit. Passing thence by descent through the Léa 'Mimi' Henry Collection, this piece was subsequently acquired by Fritz Gross (1895-1969), the Austrian artist, architect and art collector. Gross, who escaped Nazi rule and moved to London in 1938, built an impressive collection of Impressionist and Modern art, including pieces by Gauguin, Pablo Picasso, Edgar Degas, Pierre-Auguste Renoir and Henri de Toulouse-Lautrec. His passion for collecting was celebrated in an exhibition dedicated to his collection held at the Ashmolean Museum in 1990.Autoportrait highlights the significance of Le Pouldu to Gauguin's creativity and self-exploration. In a letter to Émile Bernard during the winter of 1889, Gauguin expressed his desire to reinvent himself, stating: 'I hope that this winter you will find in me a new Gauguin... What I am trying to get at is a corner of myself which I do not yet understand' (M. Malingue, Paul Gauguin: Letters to his Wife and Friends, 2003, p. 122). His depiction in simple, native Breton attire reflects this quest for self-discovery and the incorporation of the local culture into his identity.For further information on this lot please visit Bonhams.com
LÉONARD TSUGUHARU FOUJITA (1886-1968)Nu assis signed and dated 'Foujita 1929' and further signed in Japanese (lower right); signed, inscribed and dated 'Paris 1929 Foujita' and further signed and inscribed in Japanese (on the stretcher)oil on canvas81.3 x 53.8cm (32 x 21 3/16in).Painted in Paris in 1929Footnotes:The authenticity of this work has been confirmed by Sylvie and Casimir Buisson, ACRB (Art Cataloguing Research Buisson), Paris. This work will be included in the forthcoming Vol. V of the Léonard Tsuguharu Foujita catalogue raisonné, currently being prepared.ProvenanceGalerie Colette Weil (acquired directly from the artist).Private collection, Germany and UK (probably acquired from the above circa 1930).Private collection, UK (a gift from the above circa 1965). Private collection, UK (a gift from the above circa 1997).'An idea came to me one day: in Japanese painting, there are only a small number of nudes. Even painters like Harunobu or Utamaro only let you see part of the leg or knee and could only express the feeling of the skin in those places. This is what encouraged me to start painting nudes again [...], with the precise objective of representing the quality of the most beautiful material of all: that of human skin.'(Foujita, '17 ans en France', quoted in exh. cat., Foujita, peindre dans les années folles, Paris, Musée Maillol, 2018, p. 119.) The Japanese painter Léonard Tsuguharu Foujita achieved this renewed aspiration to depict the unadorned female figure through a series of paintings known as the 'milky white' nudes. A leitmotiv of the Western artistic canon, this exploration initiated one of Foujita's most prolific and successful bodies of work, much praised by his contemporaries since the early 1920s. The present Nu assis, with her pearly skin and daring pose, was painted at a key moment of the artist's life trajectory, in the twilight of the so-called 'Années folles à Montparnasse' and shortly before he embarked on long travels between Japan and the Americas. In 1929 Foujita was at the highest point of his career: among the most celebrated figures of the École de Paris, he was one of the few artists of this school to achieve commercial success in his lifetime. Together with public acclaim, his luxurious and extravagant lifestyle attracted the attention of the French tax authorities to whom he owed a hefty sum. His following tour in Japan with his wife Lucie Badoul ('Youki') was thus also motivated by the need of exhibiting - and selling - his Parisian works. The museums and the newspapers in Tokyo were thrilled with the return of the local artist-idol after 16 years. In just 70 days, the travelling exhibition attracted more than 70,000 visitors, an unprecedented number for a modern artist. After all, Japan's recent opening to the West with the Meiji Renovation had stimulated a great cultural curiosity towards Europe. That same year he took part in the First Salon of Japanese Painters at Galerie La Renaissance and he chaired the committee for the Art Japonais: école classique contemporaine show at the Musée du Jeu de Paume in Paris.Foujita was effectively an artist suspended between two worlds, masterfully capable of inhabiting and bridging them both. Nu assis stands as a testament to this new blended aesthetic language, harmonising Eastern technique and Western canonical subject matter. At the beginning of the 20th Century, the nude had emerged as a symbol of artistic evolution and renewal, inspiring many contemporary artists to infuse their creative flare into the genre. This included renowned figures such as Henri Matisse, Pablo Picasso, and Amedeo Modigliani, all personally close to Foujita. His originality resided in a graphic technique previously unseen in the Western tradition of oil painting. The precise and delicate outlines of the present figure echo the traditional Japanese sumi-e style. The ink was applied by Foujita using a menso, the thinnest brush in traditional Japanese painting. This fine black line defines the border between the woman's opalescent skin and the pearly background, obtained using a technique Foujita called nyuhakushoku (chalk white, or literally 'milky whiteness'), typical of Japanese lacquerware designs. The mesmerising quality of this iridescent and smooth fond blanc (the exact composition of which he never disclosed), made his late 1920s and early 1930s works to be his most sought-after. Beyond pure technical concerns, the serenity of Foujita's calligraphic line marks an innovative aesthetic language, where the almost monochromatic nude emits an aura of purity and silence. Within this stillness, the model's body seems to pulsate, acting on the viewer's sense of touch. The artist's outstanding draughtsmanship and colourism are evident in the intricately detailed depiction of the model's wavy hair, casting a golden halo around her face. The vibrant muscular quality of her body, in conjunction with the marble-like surface, evokes that same sculptural conception of painting famously defining the oeuvre of Michelangelo (1475-1564), one of the Renaissance masters that Foujita idolised. His fascination with the classical nude can be traced back to his years as a copyist at the Musée du Louvre. One cannot help but notice the resemblance of Foujita's Nu assis to Rembrandt's Bathsheba at her bath (1654), which still hangs within the Louvre, having also inspired artists such as Pablo Picasso, Edgar Degas and Paul Cézanne. The present model's relaxed pose, with her nude torso twisting suggestively toward the viewer as she rests upon her left hand, her thighs outstretched across sensuous white drapery, appear to evoke a direct reference to Rembrandt's Bathsheba. Like her predecessor, Foujita's sitter's face is gently framed with copper-coloured hair, as her surroundings suspend her in an almost dreamlike atmosphere, like a sacred apparition. In this, Foujita achieves a deep assimilation of the finest tradition of Western painting by accomplishing a renewed conception of the nude suffused with melancholy and complexity of thought.Such introspective depiction of the female body also stems from Foujita's profound connections with women, testified to by his lifelong dedication to immortalising them in his art. Experiencing the loss of his mother at just five years old, he received close care and attention from his sister, her friends, and the family's female servants, towards whom he developed a deep personal affinity. Over the course of his life, all five of his wives would pose nude for his paintings. These devoted female models were able to infuse his work with a renewed vitality: 'I use models not only to produce my works but above all the way that food nourishes the body. Also like food, I have tried to absorb as much nutritious substance from them as possible' (Foujita quoted in S. Buisson, Foujita, Inédits, Paris, 2007, p. 127). While most of these pieces are cropped below the breasts, navel, or pubic area, the present work stands out due to its more extensive portrayal of the body, marking it a sublime and daring example of the celebrated 'milky white' nude series.Nu assis was acquired by Foujita's dealer, Colette Weil, directly from the artist and it has remained in the same family collection for almost a century, coming now to the market for the first time. It is a portrait of timeless modernity, where the forms of European Art are encased in a faithfully Japanese outline - a masterful example of the artist's unique capability of transcending the dichotomy between western canon and oriental aesthetics.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
DEGAS, EDGAR (1834-1917) nach, Skulptur: "Petite danseuse de quatorze ans" (Originaltitel; "Kleine Tänzerin von vierzehn Jahren"), Bronze auf Marmorpostament, hellbraun und grün patiniert. Auf einem querrechteckigem Postament stehendes Mädchen mit hinter dem Rücken verschränkten Händen, der rechte Fuß seitlich vorgestellt; der Kopf ist leicht nach hinten geneigt, die Augen sind nahezu geschlossen. Posthumer, neuzeitlicher Guss / Reduktionskopie nach der ursprünglich in Wachs gefertigten und naturalistisch bemalten Tänzerin, die Degas als einzige seiner plastischen Arbeiten zu Lebzeiten ausstellte. Auf der Plinthe vertiefte Künstlerbezeichnung "Degas", bezeichnet "A 77 20" und mit Gießeremblem ("JB / Depose / Bronze Garanti / Paris"). H. 38,5 x B. 18 x T. 13 cm.
Degas, Edgar, franz. Maler und Bildhauer in der Epoche des Impressionismus, einer der bedeutendsten Maler des Fin de Siècle (1834-1917). Eigh. Kommentar (1 Satz) m. U. "Degas" auf einem Gästebuch-Blatt des Bankiers und Kunstsammlers Antoine Lécuyer. 1 S. Folio. O. O. (wohl 1894).Unter den Eintragungen von drei Besuchern der berühmten Kunstsammlung des Picardie-Bankiers Antoine Lécuyer erklärt als vierter Edgar Degas, dass er "un peu aveugle" gewesen sei. Vorher bewundernde Kommentare eines Rodriguez (9.XI.1894), eines J. J. Carlos (13.XI.1894) und eines Vasmèr (29.XII.1894), der u. a. schreibt: "Je remercie bien M. Lécuyer de m'avoir montrer son admirable collection aussi intéressante sur la beauté de la plupart des pièces que par le coté curieuse que présentent d'autres telles que la groupe de docteurs [?] comiques et du coiffeur ...". - Das Musée Antoine Lécuyer in Saint-Quentin (Aisne) präsentiert noch heute die bedeutende Sammlung des Bankiers.
Artist: Edgar Degas (French, 1834 - 1917). Title: "Pianiste et le chanteur". Medium: Original color gravure with pochoir, after the monotype. Date: Composed 1877. Printed 1948. Dimensions: Overall size: 10 3/4 x 9 in. (273 x 229 mm).Pricing: Starting Price: $600 Reserve Price: N.A. Auction Sale Price Estimate: $800/900Lot Note(s): Numbered in pencil, lower left; handstamps verso. Edition of 500. Cream wove Marais "vellum" paper. Wide margins. Fine impression with delicately applied pochoir. Fine condition, very crisp, with a pronounced platemark and the expected light tanning to the sheet. Provenance: Ex-collection Marty Gordon (the legendary print dealer), Martin Gordon, Inc., New York City, his handstamp verso. Comment(s): Degas created a considerable body of monotypes in the late 19th century. A number of them were reduced in size and recreated as original works in 1938 and again in 1948, of which our example is part. The verso bears the handstamp of Edgar Achille Gaston DeGas-Musson (1875-1953), the son of Estelle Angelina Musson DeGas and Jean Baptiste Rene DeGas (the brother of Edgar Degas). [29329-2-600-NA]
Artist: Edgar Degas (French, 1834 - 1917). Title: "Danseuse, vue de dos, les mains sur les hanches". Medium: Original color gravure with pochoir, after the monotype. Date: Composed c1873. Printed 1948. Dimensions: Overall size: 11 3/8 x 9 in. (289 x 229 mm).Pricing: Starting Price: $800 Reserve Price: N.A. Auction Sale Price Estimate: $1,000/1,200Lot Note(s): Signed in the plate, lower right; numbered in pencil, lower left; handstamps verso. Edition of 500. Cream wove watermarked Marais "vellum" paper. Wide margins. Fine impression with delicately applied pochoir. Fine condition, very crisp, with a pronounced platemark and the expected light tanning to the sheet. Provenance: Ex-collection Marty Gordon (the legendary print dealer), Martin Gordon, Inc., New York City, his handstamp verso. Comment(s): Degas created a considerable body of monotypes in the late 19th century. A number of them were reduced in size and recreated as original works in 1938 and again in 1948, of which our example is part. The verso bears the handstamp of Edgar Achille Gaston DeGas-Musson (1875-1953), the son of Estelle Angelina Musson DeGas and Jean Baptiste Rene DeGas (the brother of Edgar Degas). [29327-2-800-NA]
Artist: Edgar Degas (French, 1834 - 1917). Title: "Chanteuse du café-concert". Medium: Original color gravure with pochoir, after the monotype. Date: Composed c1875-1876. Printed 1948. Dimensions: Overall size: 10 11/16 x 9 in. (271 x 229 mm).Pricing: Starting Price: $600 Reserve Price: N.A. Auction Sale Price Estimate: $800/1,000Lot Note(s): Signed in the plate, upper right; numbered in pencil, lower left; handstamps verso. Edition of 500. Cream wove Marais "vellum" paper. Wide margins. Fine impression with delicately applied pochoir. Fine condition, very crisp, with a pronounced platemark and the expected light tanning to the sheet. Provenance: Ex-collection Marty Gordon (the legendary print dealer), Martin Gordon, Inc., New York City, his handstamp verso. Comment(s): Degas created a considerable body of monotypes in the late 19th century. A number of them were reduced in size and recreated as original works in 1938 and again in 1948, of which our example is part. The verso bears the handstamp of Edgar Achille Gaston DeGas-Musson (1875-1953), the son of Estelle Angelina Musson DeGas and Jean Baptiste Rene DeGas (the brother of Edgar Degas). [29328-2-600-NA]
Sir William Rothenstein (lot 76) and Albert Rutherston (lots 77-82)IntroductionRaised in Bradford as two of six children of Jewish immigrants, William and Albert both achieved considerable influence at the very heart of the British art establishment. Amongst their many and remarkable strengths they were painters, printmakers, illustrators, teachers, administrators, gallerists and, in William’s case, an accomplished and prolific writer. William was the first to move south to study under Alphonse Legros at the Slade (1888-89) before attending the Académie Julian in Paris (1889-1893), where he was encouraged by Whistler, Degas and Toulouse-Lautrec and befriended Rodin. Albert followed him a decade later to the Slade, where by then Fred Brown was professor, assisted by Henry Tonks, Philip Wilson Steer and Walter Russell. The youngest student by far, Albert fell in with a gilded set of like-minded spirits, in particular Augustus John and William Orpen. The young trio was dubbed by William ‘The Three Musketeers’. Albert went on to win separate prizes for both drawing and painting and was awarded a Slade scholarship. On his return from France William established himself as a talented portraitist illustrating Oxford Characters in 1896 with twenty-four lithographs. It was one of several collections of portraits depicting men and women of distinction that William would produce. In 1900 William’s painting The Dolls House (after Ibsen’s eponymous play), won a silver medal at the Exposition Universelle in Paris, the same year as his book on Goya was published. Such foreboding influences, however, contrasted with the many happy and light-filled works he produced following his marriage to Alice Knewstub in 1899. For Albert and his fellow ‘Musketeers’ the new century heralded trips to France. There he met Walter Sickert and shared holidays with William, Spencer Gore and Slade teacher Walter Russell. In London Albert thrived on Fitzroy Street and exhibited with William, Sickert, Gore, Russell and Harold Gilman. Sickert recalled their efforts ‘to create a Salon d’automne milieu in London’. Towards the end of the 1910s Albert turned increasingly to decorative designs. In 1911 he collaborated with Roger Fry on large scale murals for Borough Polytechnic and worked on a number of designs for the ballet and theatre. He changed his name to Rutherston in 1916. After the War he married Marjory Holman, taught at Camberwell School of Art, and the Oxford School of Drawing, Painting and Design, and was appointed Master of the Ruskin School of Art (1929-49). A late but important influence in his life was the young model Patricia Koring whom he met in 1938. From the First World War on William’s work revolved around painting, teaching and writing. During 1917-18 he spent six months as an official War artist at the Front (lot 76), and was briefly visiting Professor of Civic Art at Sheffield University. In 1920 he became Principal of the Royal College of Art in London and was knighted in 1931. As well as Goya, among William’s publications were three fascinating volumes of memoirs. William’s sons carved out their own influential paths in the Arts. John (1901-92) his eldest, became director of the Tate Gallery (1938-1964), wrote Modern British Painters (1956) and was knighted in 1952. Michael (1908-1993) became a highly accomplished painter and print maker.SIR WILLIAM ROTHENSTEIN (BRITISH 1872-1945)THE CHURCH OF ST GERY, HAVRINCOURTtitled Havrincourt Church lower left and numbered 29 lower right oil pastel over pencil on paper52 x 36cm; 20 1/2 x 14 1/4in85.5 x 63.5cm; 33 3/4 x 25in (framed)Havrincourt was on the battle front during the First World War. By November 1917 the German ‘Hindenburg Line’ crossed through it, and the village was part of the opening phase of the Battle of Cambrai at the end of the month. The second battle at Havrincourt opened in mid-September 1918, and marked the beginning of the German retreat back to the Belgian-French border. The vast majority of the village was destroyed in the conflict, but much was rebuilt following the Armistice, including the church of St Géry. Rothenstein worked alongside Eric Kennington (1888-1960) as a War Artist, recording in his memoires how 'We worked at Cambrai, Bourlon, Moeuvres, Havrincourt, Lesquières - everywhere the fantastic shapes and colours of ruined houses and shell-shocked trees provided a constant stimulus... No work has ever satisfied me so completely as that which I undertook while acting as a British, and later, as a Canadian, Official Artist. (William Rothenstein, Men and Memories, London, 1932, vol. II, p. 361).
Walter Sickert RA (1860-1942) 'La Maison Blanche, Dieppe', 1902 signed 'Sickert' l.l., oil on board 17.5 x 14cm Provenance: With Arthur Tooth & Sons Ltd., London, no. 2336; Sotheby's, London, 5 April 2001, lot 264; The David and Pam McCleave Collection of Modern British Art. Walter Richard Sickert was a pivotal figure in British avant-garde painting in the late 19th and early 20th centuries. He favoured ordinary people and urban scenes as his subjects, with a preference for the light palette and high-keyed colour of the Impressionists and Post-Impressionists. Sickert’s work was particularly important for links between Britain and France. Not only did he have a profound relationship with French artists like Edgar Degas, he was also a founder member of the New English Art Club, formed as a French-influenced alternative to the Royal Academy. Condition ReportFramed: 27 x 23cm Rubbing to the left edge with a small loss to the extreme top right corner. Under UV light there are some small areas of retouching to the edges of the building in the lower right quarter. Some small spots of overpainting to the pavement and touching up to the bottom of the left edge.
SIR JAMES GUTHRIE P.R.S.A., H.R.A., R.S.W., L.L.D. (SCOTTISH 1859-1930) FIRELIGHT REFLECTIONS Signed and dated 1889, pastel on brown paper 61cm x 72cm (24in x 28.25in) Fulton Bequest, 1933. Exhibited: London, Grosvenor Gallery, Third Pastel Exhibition 1890, no.172, where titled ‘Firelight’;Glasgow, Lawrie’s Gallery, A Series of Fifty Pastels by Mr James Guthrie, March 1891 (?);Palace of the Arts, Empire Exhibition, Scotland, Bellahouston Park, 1938, no.552, repr. b/w p.42;Glasgow and London, The Fine Art Society, Guthrie and the Scottish Realists, 1981-82, no.35, where titled ‘Firelight Reflections’;London, Barbican Art Gallery, Impressionism in Britain, 1995, no.91;London, Tate Gallery, Degas, Sickert and Toulouse-Lautrec – London and Paris, 1870-1910, 2006, no.31;Glasgow, Kelvingrove Art Gallery & Museum, Pioneering Painters - The Glasgow Boys, 2010, no.122 (repr. in catalogue);Assen, Holland, Drents Museum, The Glasgow Boys - Schots Impressionisme, 2015-6, unnumbered, (repr. p.33 in catalogue).
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