Robert Henri (American, 1865-1929) , "Ballet-Black Crook", 1894, oil on canvas, handwritten title and Henri inventory number "126A3" en verso, unsigned, 16 in. x 12 in., framed; accompanied by a copy of a letter from John C. LeClair, dated Oct. 13, 1964, discussing the work and copies of the Sotheby Parke Bernet catalogue page and invoice. Provenance: Sotheby Parke Bernet Inc., New York, sale 4048, The American Heritage Auction of Americana, Nov. 17-19, 1977, lot 593; The Zigler Art Museum, Jennings, LA. Note: Robert Henri was an American Realist painter who led the Ashcan School, an informal group of artists known colloquially as “The Eight,” whose goal was to “advocate a new kind of ‘democratic art’ and to explore the everyday life of ordinary people in large cities.” Henri thought of himself as a reporter, faithfully documenting the lives of the urban and unglamorous with earnest enthusiasm. While initially quite taken with the style of French Impressionism, he rejected the “optical and plastic ‘sensations’ at [its] core.” Henri aimed to revolutionize what was considered acceptable subject matter for art. In this painting offered here, Henri uses a dark palette reminiscent of Edouard Manet and Edgar Degas. The dimness of the room is amplified due to the harsh light from the orchestra illuminating the dancers, who are clustered in the lower right quadrant of the canvas. Henri captures the frenzy of the stage and elegant movement of the dancers with lively brushstrokes. Ever the meticulous diarist, Henri kept detailed record books of his paintings, which he would label with a code of numbers and letters. This canvas is marked “126 A3” and is listed as “’Ballet-Black Crook’ Phila 1894”. He also made notes about the color palette used here, a “gray greenish light” as well as the composition, “many figures, six prominent.” Ref.: Brown, Milton W., and Theresa C. Brakeley, American Art: Painting, Sculpture, Architecture, Decorative Arts, Photography. New York: Abrams, 1979, pp. 351-353. William Innes Homer – Robert Henri Papers, Helen Farr Sloan Library & Archives, Delaware Art Museum, Wilmington, DE.
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Poe, EA Les Poemes. Trans. Stephane Mallarme, Bruxelles 1888. No. 825 of 850, one of 75 hors commerce for the translator, with signed presentation inscription, "A Victor Margueritte sa maman et son frère". 4to., orig. illus. vellum (very slightly soiled). Portrait and fleuron after Edouard Manet/see illustration Condition Report: NB. Books are not collated unless specified, and are sold 'as seen'
David Hockney/Saltaire Mill's 'Salts Diner Menu' circa 1993/print, 42cm x 30cm/and three David Hockney posters; A Retrospective; The Metropolitan Museum of Art 1988 and Nar Natur, Kunsthalle Würth, Scwäbisch Hall From Manet to Hockney, V & A 1985 Condition Report: Menu badly water stained; Nar Natur poster with creases, otherwise all generally okay
MARCELLO DUDOVICH 1878-1962 Mele Confezioni per signora 1912 ca. Off. G. Ricordi & C., Milano. Litografia a colori. Telato, restauri lungo i margini, pieghe. Qualità B+. 205 x 145 cm Il volto stilizzato quasi a citare i personaggi femminili sottilmente perversi di Beardsley o di Klimt, la figura sottile e slanciata che si erge sullo sfondo quasi astratta, accentuata dalla fantasia orientaleggiante della stoffa della mantella che ricorda fortemente quelle stampe giapponesi che tanto appassionarono Manet. Color lithograph. Backed on linen, restorations among the margins, fold marks. Condition B+. 80,71 x 57,09 in. The stylized face, almost appearing to echo the subtly perverse feminine subjects of Beardsley or Klimt, the slim, elongated figure that rises on the background is rather abstract, accentuated by the almost oriental design of the fabric and cape strongly reminiscent of those Japanese prints that Manet found so fascinating. Bibliografia / Literature Catalogo Bolaffi del Manifesto Italiano, Torino, 1995, pp. 83-86. Curci, Marcello Dudovich. Oltre il manifesto, Milano, 2002, p. 179, tav. 31c. Ginex, Metlicovitz, Dudovich. Grandi cartellonisti triestini, Milano, 2001. Picone Petrusa, I Manifesti Mele, Milano, 1988, p. 203, cat. 33. Scudiero, Marcello Dudovich. Eleganza italiana, New York, 2002. 8000
Louis le Brocquy HRHA (1916-2012) CHILD WITH DOLL, HOMMAGE À JANKEL ADLER, 1949 lithograph; (no. 6 from an edition of 20) signed and numbered lower left 30½ x 20½in. (77.47 x 52.07cm) Collection of George and Maura McClelland The original watercolour and carbon drawing, Child with Doll, sold at Whyte's, 28 April 2008, as lot 53. Child with Doll was made in London in January 1949, at a crucial point in the development of Louis le Brocquy's art. Created between his celebrated Traveller paintings and the Grey Period works, of which A Family, 1951 (National Gallery of Ireland), is the best-known example, Child with Doll includes elements of both series. In form, the ragged toddler who trots along while embracing a smiling doll is reminiscent of the Traveller children who hang on their mother's skirts in paintings such as Tinkers Enter the City, 1947, and Tinkers Break Whitethorn, 1947. Yet in setting and theme Child with Doll presages many of the Grey Period works. Like A Family, Child in a Yard, 1953 (Dublin City Gallery: The Hugh Lane), and several of the other paintings that le Brocquy exhibited at the Venice Biennale in 1956, this image features a child whose humanity is contrasted with its stark surroundings. Dating from the post-war period when atomic catastrophe seemed a very real threat, these works combine the existential angst that dominated the work of le Brocquy's friend, Francis Bacon, with a humanistic celebration of the innocence of youth. Writing in 1950, James White suggested that the toddler in Child with Doll was based on the figure of a girl hugging a doll in The Fair at Bray Head, 1949 (see Lot 146). White wrote that, "the child became ... charged with a meaning of its own as a symbol of the lost children of Europe, wandering through a cruel world with wonder and only half-understanding". When it was recreated as a separate work (Child with Doll), the doll remained with it, as a symbol of yet another future generation that these children carry with them. In short, the child with doll is a parable of recurrent life, springing up through the ruins as fireweed grows on the rubble of a bombed house". (1) Le Brocquy has recalled how he heard of the horrors of the Holocaust first hand from his friend, the French-Jewish art dealer Charles Gimpel. Both the Traveller series and the stark interiors of the Grey Period works have been related to the multitudes of refugees displaced during World War II and its aftermath. (2) The connections between Child with Doll and the horrors of war are strengthened by an inscription on the verso of the original work which reads Homage À Jankel Adler. Born in 1895 into an Orthodox Jewish community in Poland, Adler made his home in Germany until the rise of National Socialism forced him to flee, firstly to France, and then to London. Adler, whom le Brocquy met in London in 1947, soon became both a friend and an inspiration to the young Irish artist. Throughout his long and fruitful career, Louis le Brocquy often acknowledged his artistic influences by creating hommages to their work. While his last shows in Dublin and London included hommages to Velazquez, Goya, Manet and Cezanne, Child with Doll is both one of his earliest hommages and a transitional work that lies at an important crossroads between the Irish orbit of the Travellers and the international arena of the Grey Period.Dr Riann Coulter 1 James White, 'Contemporary Irish Artists (VI): Louis le Brocquy', Envoy, vol. 2, no. 6, Dublin, May 6, 1950, p. 59. 2 See for example Yvonne Scott, Louis le Brocquy Allegory and Legend, exhibition catalogue Hunt Museum, Limerick, 2006, p. 24 P
Heading: (Manet, Édouard)Author: Moreau-Nélaton, ÉtienneTitle: Manet Raconté Par Lui-mêmePlace Published: ParisPublisher:Henri LaurensDate Published: 1926Description: 2 volumes. 153; 153 pp. Profusely illustrated with tissue guarded monochrome plates. (4to) original printed wrappers with portrait illustrations. One of 700 copies. Text in French. Wear, soiling, and spots of foxing to wrappers, darkening to spines, spines fraying at head and heel; vol. 1 binding split and detaching, some toning to page edges; good or better.
Antonio Mancini (Italian, 1852-1930) The artist's mother, Maria Mancini signed along the bottom edge "Mancini" charcoal heightened with white on buff paper 48 x 33cm (19 x 13in) Provenance: Private collection and by descent within an Italian family Other Notes: Antonio Mancini was born in Rome and showed precocious ability as an artist. At the age of twelve, he was admitted to the Institute of Fine Arts in Naples, where he studied under Domenico Morelli (1823–1901), a painter of historical scenes who favoured dramatic chiaroscuro and vigorous brushwork, and Filippo Palizzi (Italian,1818-1899) who founded the Naples Società Promotrice di Belle Arti in 1861. Mancini worked at the forefront of the Verismo movement, an indigenous Italian response to 19th-century Realist aesthetics. His usual subjects included children of the poor, juvenile circus performers, and musicians he observed in the streets of Naples. His portrait of a young acrobat in Il Saltimbanco (1877–78) exquisitely captures the fragility of the boy whose impoverished childhood is spent entertaining pedestrian crowds. While in Paris in the 1870s, Mancini met the Impressionist painters Edgar Degas and Édouard Manet. Mancini devised his own method of portraiture known as his string technique, in which he used this method to square up before starting a portrait. He became friends with John Singer Sargent, who famously pronounced him to be the greatest living painter.Paper is crinkling under the glass.
15th-16th century AD. A triangular-section silver hoop, pie-dish bezel with intaglio motif of two birds beneath a rosette and fronds, asterisk and chevron to each lateral face; the hoop with engraved latin legend: 'nunc autem manet fides spes caritas tria haec maior autem eorum est caritas' (I Corinthians 13:13); translating to: 'And now abideth faith, hope, love, these three; but the greatest of these is love'; Eastern European workmanship. 6.05 grams, 26mm overall, 19.19mm internal diameter (approximate size British S, USA 9, Europe 20.0, Japan 19) (1"). Very fine condition. A large wearable size Property of a gentleman; acquired in the 1990s. Cf. Oman, C.C. Victoria and Albert Museum Catalogue of Rings, reprinted Ipswich, 1993, item 554 .
Circle of Édouard Manet (French, 1832-1883) Portrait of a young girl in a black dress with lace collar, wearing a jet brooch and earrings oil on canvas, in a carved frame 29 x 23cm (11 x 9in) Provenance: Acquired by the vendor, a dealer in Old Master paintings, St James's, London, 1960, and thence within the family Other Notes: This beautiful study of a young girl has variously been attributed to a variety of distinguished artists, but tantalisingly has not yet been positively identified. Possibly lined but it is difficult to be certain. Dark background has been retouched/repainted. (photo of original version available). Painting is in good condition - varnish is clear, glossy and even. A few losses to the frame surface.
Duret (Theodore). Manet and the French Impressionists... Translated by J.E. Crawford Flitch, 1st edition, Grant Richards, 1910, four etched plates by Manet, Morisot and Renoir (two plates), wood-engraved and half-tone illustrations, a few minor spots, top edge gilt, original blue cloth, spine a little darkened, small tears to cloth at foot of lower cover, a few marks, 4to (1)
EDOUARD MANET (FRENCH, 1832-1883), ETCHING & AQUATINT IN BLACK INK, PLATE SIZE: H 3 3/8", W 6 7/8", "OLYMPIA"From the 1st edition issued in 1867 for Emile Zola (size of edition: 600 prints) but vi/vi; paper size: 5 1/4" x 8 3/4"; framed. Purchased from Bellette Hofmann, NYC in the late 1980's; certificate of authenticity from Bellette Hofmann in customer file. French, 1832-1883.As viewed under room light in the unopened frame: appears to be in good condition. Rf, 1-7-2016- For High Resolution Photos visit Dumouchelles website.
Saint-Maurice - Les Quatre Amis réduits a trois, ou histoire d'un Chien, d'un Chat ( Mme de) Les Quatre Amis réduits a trois, ou histoire d'un Chien, d'un Chat, et de Deux Enfans , 8 lithographed plates by Aubry, foxed, contemporary cloth-backed marbled boards, Nepveu, 1824 § Chevalier-Desormeaux ( Mme O . ) Mémoires d'une Petite Chatte, 8 hand-coloured lithographed plates, light foxing, contemporary morocco-backed cloth, spine gilt, g.e., Fonteney & Peltier, [c.1850] § [Fleury-Husson (Jules)], "Champfleury". Les Chats, first edition , plates and illustratio ns after Delacroix, Manet, Mind and others, occasional foxing, cat bookplate of Mary Alice Ercolini, modern cloth, original green pictorial wrappers bound in (defective and repaired), J.Rothschild, 1869 § Adeline (Jules) Le Chat d'après les Japonais, inscribed by the author on half-title (recipient's name erased), plates by the author including 2 etchings, ex-library copy with stamps, contemporary cloth-backed boards, worn, original pictorial wrappers bound in (chipped at edges), Rouen, 1893; all but the last Paris ; and 12 others, v.s. (16)
[Gérard (Jean-Ignace-Isidore)], "J.J. Grandville". - Scènes de la Vie Privée et Publique des Animaux, 2 vol., first edition , wood-engraved pictorial titles and numerous plates and illustrations by Grandville, lacking final plate (supplied in facsimile), occasional light spotting, contemporary green calf-backed marbled boards, spines gilt, a little rubbed, large 8vo, Paris, 1842 § Viger (Madame, fl.1870s) A sketchbook of studies of the cat Grisgris, 22 pages, pen and brown ink, each on thin wove writing paper headed 'Domaine de Beauregard/ Par Versailles (Seine -et-Oise)', various inscriptions throughout, several sheets dated, cloth with printed cat head motif, gilt lettered green morocco label on spine, in marbl ed slip-case, 8vo, circa 1870 § Mégnin (Paul) Notre Ami le Chat, with 5 etchings after Manet ('Le Chat et les Fleurs'), Lambert, Crafty, Gautier and Champfleury, some printed on pink paper, illustrations, upper hinge weak, original pictorial boards, rubbed, a few wormholes to spine, Paris, 1899 § Cherville (G. de) Les Chiens et les Chats d'Eugène Lambert, 6 etchings, illustrations, original pictorial cloth, gilt, a little rubbed and stained, Paris, 1888, and 13 others, French illustrated, 8vo & 4to (18)
![[Fleury-Husson (Jules)], "Champfleury". - Les Chats, fifth edition, Edition de Luxe with chromolithographed frontispiece,](https://cdn.globalauctionplatform.com/0b733d08-d4b8-4eef-89a4-a55b00ba6bec/f5971cc2-d565-4eb4-a770-a8a212babd88/468x382.jpg)
[Fleury-Husson (Jules)], "Champfleury". - Les Chats, fifth edition, Edition de Luxe with chromolithographed frontispiece, 4 etchings and 2 hand-coloured plates , other plates and illustrations, tissue guards, contemporary brown morocco-backed cloth, spine gilt, g.e., rubbed, spine a little worn at head, 8vo, Paris, J.Rothschild, 1870. Including the famous etching Le Chat et les Fleurs by Manet, showing the influence of Japanese woodcuts.
![[MANET (Edouard)]. 2 ouvrages en 3 vol. in-4°. 1) DURET (Théodore). Edouard Manet Sein Leben und sein Kunst.  Traduit du](https://cdn.globalauctionplatform.com/505f26a8-4a28-432d-b558-a55900f7a48d/5f4e0189-69e7-45da-e41a-51f4f9a370e7/468x382.jpg)
[MANET (Edouard)]. 2 ouvrages en 3 vol. in-4°. 1) DURET (Théodore). Edouard Manet Sein Leben und sein Kunst.  Traduit du français par Waldmann-Bremen.  Berlin Cassirer 1910. Complet des 2 gravures originales de Manet: Berthe Morisot et Baudelaire de profil au chapeau vélin ivoire. 2e plat détaché (reliure en mauvais état). 2)  MOREAU-NELATON (Etienne).  Manet raconté par lui-même.  Paris Henri Laurens 1926. 2 vol. in-4° demi-basane rouge. Nombreuses ill. hors-texte. Tirage à 700 ex. celui-ci non numéroté. Dos insolé
MANET EDOUARD: (1832-1883) French Painter. A.N., being a 12mo envelope, hand addressed by Manet, to ´Mademoiselle Eva Gonzales, 11 Place Breda, Paris´. Postmarked in Paris, 27th September 1878. Some light overall age wear. VG. £150-200 Eva Gonzales (1849-1883) French Painter. Manet´s favourite student. Eva Gonzales died at the very early age of 34, six days after her teacher and friend Manet.
Turner (Jane, - editor ) The Dictionary of Art, 34 vol., Grove editor ) The Dictionary of Art, 34 vol., Grove, 1996 § Campbell (Colin) William Nicholson: The Graphic Work, New York, 1983 § Guillaud (J. & M.) Matisse: Le Rythme et la Ligne, embossed stamp on title, Paris & New York, 1987 § Cachin (F.) Manet, 1991 § Birks (Tony) Hans Coper, New York, 1983 § Kenseth (Joy, editor ) The Age of the Marvelous, original wrappers, Hanover, N.H., 1991, illustrations, some colour, the first original cloth or boards, all but the first with dust-jackets, some a little rubbed, labels on spines ; and c.40 others, art, some catalogues, v.s. (Qty)
Autograph letter signed "Renoir" to Julie Manet, 1p (Auguste, French painter, 1841-1919) Autograph letter signed "Renoir" to Julie Manet, 1p., in French, in pencil, 8vo, Paris, Saturday, 12th June 1896, ("Dear Mademoiselle, Next Monday at 9:30 in the morning, I will come with Durand Ruel, it's impossible for me to tell you more. I know that you have lunch at Louvecienne's, so you will have time to catch the 11:15 at St. Lazare, or take the tramway"), on verso, Renoir notes, ( "If you wish, I will inform Madame Baudos that you will not be arriving until 12:15"), folds, browned. Julia Manet (1878-1966), daughter of the artist, Berthe Morisot (1841-1895).
ALEXANDER JAMIESON IS ROI (SCOTTISH 1873 - 1937), FILEY, YORKSHIRE oil on panel, signed, further signed and titled verso 27cm x 44.5cm Framed Note: Painter of landscapes, chiefly views of French towns and gardens, and occasional portraits and genre. Born 23 September 1873 in Glasgow. Studied at the Haldane Academy, Glasgow, and won a Scholarship to Paris 1898. Influenced by Manet and the plein-air painters as well as Constable. Member of the International Society 1904. On the Managing Committee of the A.A.A. 1908. Executed wall decorations at Bridgewater House 1910. Visited Spain 1911. First one-man exhibition at the Carfax Gallery 1912. Served in France 1914-19. Exhibited at Glasgow, the Goupil Gallery and from 1928 at the R.A. Lived at Weston Turville, Buckinghamshire. Died in London 2 May 1937. Records confirm 33 paintings in UK public collections including at Glasgow Museums, The Hunterian, The Fleming Collection, The Ashmolean, The Victoria & Albert and The Tate.
James Palmer, British b.1917- Interior, lady standing at a bar; oil on board, 87x107.2cm Provenance: Purchased directly from the artist by the present owner. Note: The present lot may be inspired by "A Bar at the Folies-Bergère", 1881-2 by Edouard Manet (French, 1832-1883) in the collection of the Courtauld Gallery, London.
Ferdinand Schauss (Berlino 1832-1916) Driade Firmato in basso a destra: Ferd. Schauss Olio su tela, cm 112x189 Sul retro etichetta con iscrizione a inchiostro: Ferdinand Schauss, Professor / Berlin W. Voss Strasse 15 / Dryade / Preiss: 6000 R. Mark Provenienza: Bonhams, Londra, asta 19782, lotto 66. Christie’s, Londra, King Street, asta 6280, lotto 56. L’opera si ispira alla fortunata iconografia della Venere di Dresda di Giorgione, ripresa da Tiziano con la Venere di Urbino e nell’Ottocento da Manet con la sua Olympia. Ferdinand Schauss, formatosi a Berlino presso il pittore de Steffeck e a Parigi da Cogniet, ci riporta al colorismo veneto cinquecentesco e intitola l’opera Dryade. Le driadi erano le ninfe degli alberi, associate fin dall’antichità a Dioniso e portatrici di benefici propiziatori per gli esseri umani. Ferdinand Schauss (Berlin 1832-1916) Dryad. Lower right signatureStarting Price: €12000
MANET EDOUARD: (1832-1883) French Painter. A.N., being a 12mo envelope, hand addressed by Manet, to ´Mademoiselle Eva Gonzales, 11 Place Breda, Paris´. Postmarked in Paris, 27th September 1878. Some light overall age wear. VG. £150-200 Eva Gonzales (1849-1883) French Painter. Manet´s favourite student. Eva Gonzales died at the very early age of 34, six days after her teacher and friend Manet.
Louis le Brocquy HRHA (1916-2012) CHILD WITH DOLL, HOMMAGE À JANKEL ADLER, 1949 lithograph (from an edition of 20) inscribed on reverse with mounting instructions in the artist`s hand, unnumbered and not signed; probably an artist`s proof; the edition numbered twentu plus artist`s proofs 30½ by 20½in. (77.47 by 52.07cm) The original watercolour and carbon drawing, Child With Doll, sold at Whyte`s, 28 April 2008, as lot 53. Child With Doll was made in London in January 1949, at a crucial point in the development of Louis le Brocquy`s art. Created between his celebrated Traveller paintings and the Grey Period works, of which A Family, 1951 (National Gallery of Ireland), is the best-known example, Child with Doll includes elements of both series. In form, the ragged toddler who trots along while embracing a smiling doll is reminiscent of the Traveller children who hang on their mother`s skirts in paintings such as Tinkers Enter the City, 1947, and Tinkers Break Whitethorn, 1947. Yet in setting and theme Child with Doll presages many of the Grey Period works. Like A Family, Child in a Yard, 1953 (Dublin City Gallery: The Hugh Lane), and several of the other paintings that le Brocquy exhibited at the Venice Biennale in 1956, this image features a child whose humanity is contrasted with its stark surroundings. Dating from the post-war period when atomic catastrophe seemed a very real threat, these works combine the existential angst that dominated the work of le Brocquy`s friend, Francis Bacon, with a humanistic celebration of the innocence of youth. Writing in 1950, James White suggested that the toddler in Child with Doll was based on the figure of a girl hugging a doll in The Fair at Bray Head, 1949. White wrote that the child became ... charged with a meaning of its own as a symbol of the lost children of Europe, wandering through a cruel world with wonder and only half-understanding. When it was recreated as a separate work (Child with Doll), the doll remained with it, as a symbol of yet another future generation that these children carry with them. In short, the child with doll is a parable of recurrent life, springing up through the ruins as fireweed grows on the rubble of a bombed house"".1 Le Brocquy has recalled how he heard of the horrors of the Holocaust first hand from his friend, the French-Jewish art dealer Charles Gimpel. Both the Traveller series and the stark interiors of the Grey Period works have been related to the multitudes of refugees displaced during World War II and its aftermath. 2 The connections between Child with Doll and the horrors of war are strengthened by an inscription on the verso of the original work which reads Homage À Jankel Adler. Born in 1895 into an Orthodox Jewish community in Poland, Adler made his home in Germany until the rise of National Socialism forced him to flee, firstly to France, and then to London. Adler, whom le Brocquy met in London in 1947, soon became both a friend and an inspiration to the young Irish artist. Throughout his long and fruitful career, Louis le Brocquy often acknowledged his artistic influences by creating hommages to their work. While his last shows in Dublin and London included hommages to Velazquez, Goya, Manet and Cezanne, Child with Doll is both one of his earliest hommages and a transitional work that lies at an important crossroads between the Irish orbit of the Travellers and the international arena of the Grey Period.Dr Riann Coulter 1 James White, `Contemporary Irish Artists (VI): Louis le Brocquy`, Envoy, vol. 2, no. 6, Dublin, May 6, 1950, p. 59. 2 See for example Yvonne Scott, Louis le Brocquy Allegory and Legend, exhib. cat. Hunt Museum, Limerick, 2006, p. 24.
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