After Pierre Bonnard (20th century) "Le Chat" bearing the artists initials within the image, also bearing a label verso, black and white etching, 17.5 x 11.5 cm, **Authentication label to the reverse from Templeton and Rawlings Ltd, 56, Kendal Street, London, W2, another etching after Edouard Manet Cat amongst pot plants, together with a large collection of various pictures of Cat's by or after Donald Plenderleith, 1956, "Reclining Cat", three Oil Paintings by, J**Mare, Geldart, a signed artists proof by, Charles Frederick Tunnicliffe, another proof signed Richard Bawden, Cat on a windowsill, another by Sheila Robinson, "2nd Black Taby" a Joan Hassall proof, No 2/20, etching of a cat looking at a Robin, an Oil Painting by, Ken Evans-Laude, Cat on a lawn, with a rake nearby, a proof by Daphne Sandham, No 22/30, and other decorative pictures of cats, various sizes, (a collection)
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Elliott Daingerfield (American, 1859-1932), "Sisters and Their Kitten in a Parlor", 1883, oil on canvas, signed and dated lower left, "Sotheby`s, New York" label en verso, 16 in. x 24 in., framed. Provenance: New York collector Note: This fine painting of two sisters neglecting their music studies (preferring instead to play with their kitten) is a rare example of Daingerfield`s domestic interiors that combines the quiescent parlor settings of a Vermeer with the Impressionist style of Mary Cassatt, Berthe Morisot, even Édouard Manet`s portraits of the Bellelli family (1857-1860). The leaded windows, convex wall mirror (which reflects the parlor setting in miniature), mandolin, arrangement of alchemy-like bottles, and placement of the oriental rug as a table covering are a reprise of 17th century Dutch interiors. On the other hand, the absence of pictorial depth, the decorative rendering of the rug, and brushwork are distinct attributes of Impressionist painting. Clearly, the young Daingerfield painted this work around the time he joined the prestigious Holbein Studios and began having his work exhibited at the National Academy of Design, where he met his greatest mentor, George Inness, with whom he would later study landscape painting.
The following five lots are by the artist Périclès Pantazis, Greek 1849-1884, Pantazis was Greek Impressionist painter, he studied painting at the Athens School of Fine Arts from 1861 to 1871 under Nikiforos Lytras. After a year in Munich he went to Paris where he was taught by Gustave Courbet and Antoine Chintreuil. In 1873, with a reference letter from Manet, he moved to Brussels. A notable Greek wine businessman Jean Économou commissioned a large number of paintings. In Belgium, Pantazis became a member of an anti-academic artistic group called Circle de la pâte (meaning the circle of colour), and a member of Les XX. In 1878 he represented Greece at the International Art Biennalle of Paris. He died before he turned 35 years old from chronic tuberculosis. Périclès Pantazis, Greek 1849-1884- The Scholar; oil on canvas, signed, 45.5x42cm
[MALLARMÉ (Stéphane)]. Berthe Morisot (Madame Eugène Manet). Avec un portrait photogravé d’après Édouard Manet. Paris : Durand-Ruel, 1896. — Plaquette in- 8, 16 pp. , (1 f. blanc), 44 pp. , (1 f.), couverture imprimée. Maroquin janséniste bleu à long grain, dos à nerfs, cadre de maroquin bleu à l’intérieur, tête dorée, non rogné, couverture conservée (Devauchelle).{CR}{CR}Galantaris, Verlaine, Rimbaud, Mallarmé, n° 274. {CR}Édition originale de la préface de Mallarmé pour le catalogue de l’exposition consacrée à l’œuvre de Berthe Morisot (1841-1895), qui s’est tenue à Paris chez Durand-Ruel du 5 au 21 mars 1896.{CR}Il s’agit de la première exposition rétrospective des œuvres de Berthe Morisot, organisée à l’occasion du premier anniversaire de sa mort, à laquelle prirent part non seulement Mallarmé et Durand-Ruel mais également Degas et Rouart, avec l’aide de Julie, fille de l’artiste.{CR}Le catalogue est illustré d’un portrait de Berthe Morisot d’après Édouard MANET.{CR}Très bel exemplaire, parfaitement conservé, en reliure de Devauchelle.
Charles BAUDELAIRE. 1821-1867. Écrivain poète. L.A.S. à Paul Meurice. Hôtel de Dieppe, rue d’Amsterdam, (juillet 1859). 1 pp. bi-feuillet in-8, 2 ratures, adresse au verso ; joint un portrait à l’eau-forte de l’écrivain par Manet. Après avoir épuisé les ressources de sa mère et de ses éditeurs, Baudelaire semble être dans la gêne et au désespoir avant de s’adresser à ses amis pour mendier sa subsistance ; Je suis profondément honteux et désolé de faire ce matin avec vous comme notre ami Morel. Un libraire absent, un avoué absent, des amis absents, et la nécessité de trouver un peu d’argent pour les attendre ! Si vous pouvez vous dépouiller de 50 F ou même moins pour 4 ou 5 jours, ce serait un bien grand service. Mais il est possible que cela vous gêne, et cette idée ajoute à ma mauvaise humeur (…). Baudelaire observe qu’il lui écrit plutôt que d’aller le voir, obligé de rester ici à travailler (…).
![Mary CASSATT. L.A.S., Villa Angeletto, Grasse Dimanche [20 ? avril 1913], au critique d’art Achille Segard ; 4 pages in](http://lot-images.atgmedia.com/SR/15978/2906995/20-2014516162051_468x382.jpg)
Mary CASSATT. L.A.S., Villa Angeletto, Grasse Dimanche [20 ? avril 1913], au critique d’art Achille Segard ; 4 pages in-8 (petit deuil). Intéressante lettre à propos de l’exposition cubiste de l’Armory Show. Elle a répondu à beaucoup de « demandes d’information sur les cubistes et autres farceurs, qui viennent de faire une exposition à New York, où la foule s’est précipitée en telles nombres que le succès d’argent a été grande, $50 000 (250 000 frs) d’entrées. Gertrude Stein a fait la préface du catalogue, une de cette famille juive des Stein qui sont venus de San Francisco à Paris pour apprendre aux Français ce que c’est que l’art, en poussant Matisse et d’autres au dépense de Degas, Manet et les vrais peintres. L’habileté de ces gens-là et l’anarchie qui règne partout les a permit de se faire une position »… Quant au livre que Segard lui consacre, elle souligne qu’elle ne peut le juger « comme une œuvre d’art […] Vous m’aviez imposée une tâche, je devais corriger les erreurs, cela m’a ôter tous mes moyens, et comment se juger soi-même, tout le temps je me disais suis-je comme cela ? Sans doute, oui – mais je ne me vois pas comme cela, le sentiment que vous voyez dans ma peinture vient inconsciament. Quand je peins je suis préoccupée du dessin de la couleur des compositions »… Elle reviendra probablement à Paris à la mi-mai : « Jusqu’à présent nous n’avons eu qu’un temps froid, peu de soleil »…
ENSEMBLE DE DEUX LITHOGRAPHIES comprenant : RENOIR Pierre Auguste (1841-1919) Les Laveuses 1ère pensée 1900-1910 lithographie en noir sur papier Ingres (insolation et petites rousseurs feuille libre et traces de tâches) non signée 47 5x62 5 cm. BIBLIOGRAPHIE Delteil52 G760 Les gravures des Impressionnistes Manet Pissarro Renoir Cézanne Sisley œuvre complet M. Melot Arts et Métiers Graphiques 1971 sujet similaire décrit et reproduit sous le n°R58 RENOIR Pierre Auguste (1841-1919) Femme au cep de vigne variante 1904 lithographie en noir sur Chine 1ere variante avant la signature estampée (rousseurs) non signée 17 5x12 cm. BIBLIOGRAPHIE Delteil 45 Les gravures des Impressionnistes Manet Pissarro Renoir Cézanne Sisley œuvre complet M. Melot Arts et Métiers Graphiques 1971 sujet similaire décrit et reproduit sous le n°R45
Édouard MANET LE CORBEAU SUR LE BUSTE. Planche de la série des 4 illustrations (et un ex-libris) pour la traduction du livre Le Corbeau d’Edgar Pöe par Mallarmé. (Guérin 86 B ; Harris 83 d). 480 x 318. Lithographie. Épreuve de l’état définitif sur chine. Traces de plis, petits accidents dans les bords, légères rousseurs. Feuillet : 550 x 380.
COQUIOT, Gustave.- Les Pantins de Paris. Illustrations de J.L. Forain.Paris, Auguste Blaizot, 1920.Pet. in-f° (pet. rouss. sur le f. de justif. et le titre).Relié par Marius Michel : plein maroquin brun, plats cernés d`un listel de maroq. vert sapin et de filets dorés avec dans les angles un motif décoratif mosaïqué en maroq. moutarde et rouge, dos à 4 nerfs et caissons sertis d`un listel de maroq. brun et de filets dorés, doublures de tissu broché orange et jaune serti comme les plats mais avec un autre motif de décoration dans les coins, gardes de même tissu, doubles gardes de papier marbré, tranches dorées sur témoins, couv. et dos cons. (dos de la rel. passé). Sous étui bordé (lég. us.).Est. : 650/ 800 €Premier livre illustré par Forain, soit 134 compositions en noir ou en couleurs jouant avec le texte. Tirage à 250 ex. num., un des 50 du seul tirage de tête sur Japon feutré (n° 5), accompagnés de :- 1 suite de toutes les illustrations en noir ou en couleurs, sur Chine.Jean-Louis Forain (Reims 1852-1931 Paris) fut l`ami de Verlaine et Rimbaud, fréquenta Manet et Degas (avec qui il partage son amour des danseuses) mais son sens de l`ironie le fit aller vers la satire et cela jusqu`à la caricature grossière comme dans "Pssst... !", le journal antisémite en 1898 qu`il fonda avec Caran d`Ache. Il est engagé volontairement pendant la guerre 14-18 et participe pendant l`hiver 1920 avec d`autres artistes à la République de Montmartre dont il sera président de 1923 à sa mort.
2 portraits d`écrivains français, par Rodin Manet.Est. : 300/ 400 €RENOIR, Aug.- Portrait de Victor Hugo. Pointe sèche, 22 x 16 cm, sur papier vergé. État définitif avec remarque, imprimé par Clément à Paris.— MANET, Édouard.- Portrait de Baudelaire de profil. Eau-forte, 11 x 9 cm, sur papier pelure à grandes marges. État avec la mention d`impression par A. Salmon.
Paul VERLAINE. Les Poètes maudits. Paris, Vanier, 1884. In-12, bradel percaline taupe avec motifs de fines feuilles entrecroisées, couverture (Reliure de l`époque)., ÉDITION ORIGINALE du premier ouvrage en prose de Verlaine, ornée de 3 portraits hors texte gravés sur bois représentant Tristan Corbière en 1875, année de sa mort, Arthur Rimbaud d`après la photographie de Carjat en 1871 et Stéphane Mallarmé d`après le tableau de Manet, les 3 portraits redessinés par Alexandre Blanchet et tirés sur Chine. C`est également le premier livre du poète publié par Léon Vanier. Au-delà de sa rareté, cette édition est très importante puisqu`elle est la première édition en librairie de 6 poèmes d`Arthur Rimbaud : " Voyelles ", " Oraisons du soir ", " Les Assis ", " Les Effarés ", " Les Chercheuses de poux " et " Le Bateau ivre ". , Tirage à 253 exemplaires sur vélin blanc. , Exemplaire portant un envoi autographe signé sur le faux-titre : à François Coppée / son vieil ami / Paul Verlaine., Publiés chez le même éditeur Lemerre dès 1866 avec les Poèmes saturniens pour Verlaine et Le Reliquaire pour Coppée, les deux poètes se fréquenteront souvent et resteront liés autant par l`amitié que par la poésie. Ainsi par exemple, cet article Qui veut des merveilles qu`ils écrivirent en collaboration pour la revue Le Hanneton., Verlaine aura néanmoins quelques réflexions amères devant le succès de son ami : à la première de Le Passant en 1869, il s`écriera : Encore une nouvelle porte qui s`ouvre devant Coppée, encore une nouvelle porte qui se ferme devant Verlaine !
Paul Marsan dit DORNAC (1858-1941), Ludovic HALÉVY, écrivain et dramaturge (Paris, 1834 - Paris, 1908), en 1891, Épreuve d`époque sur papier albuminé montée sur support cartonné., Mention de la série imprimée en rouge sous l`image. Mention à la mine de plomb au dos : "Ludovic Halévy (Acad. Franç.)"., 20,6 x 25,5 cm (8.1 x 10 in.), Cet auteur de livrets d`opérettes recevait chez lui, 22 rue de Douai, le tout Paris artistique et littéraire, lors des "Jeudis de Ludovic" où se côtoyaient Degas, Moreau, Manet ou encore Maupassant. Il fut élu à l`Académie française en 1884.
Paul Marsan dit DORNAC (1858-1941), Stéphane MALLARMÉ, (Paris, 1842 - Valvins, 1898), poète, assis devant son portrait peint par Manet, le 22 avril 1893, Épreuve d`époque sur papier citrate., Timbre sec du photographe en bas à droite. Mention à la mine de plomb au dos : "Mallarmé"., 17,8 x 12,8 cm (7 x 5.1 in.), Mallarmé pose ici, assis, une cigarette à la main, à côté de son portrait peint par Edouard Manet en 1876 et aujourd`hui conservé au musée d`Orsay. Amis intimes, le poète et le peintre furent également collaborateurs, Manet ayant illustré de gravures "L`Après-midi d`un faune"., Joint : une enveloppe contenant une lettre autographe de Stéphane Mallarmé à James McNeill Whistler : "Paris le 11 décembre. Cher Ami, Monsieur Pol Marsan, qui a entrepris une galerie photographique des Contemporains chez eux, comprenant tous nos amis dans leurs intérieurs, me prie de vous le présenter. Je le fais avec grand plaisir, certain qu`il donnera à Paris un très bel et intéressant aspect du Maître peintre et de son installation admirable, qui manque à nos vitrines. Votre Stéphane Mallarmé".
Scottish Colourist School (20th century) - still life after Samuel John Peploe (1871-1935), oil on canvas, cleaned and relined, inset moulded gilt frame, bears a signature bottom right 'FCB Cadell', inscribed verso to stretcher 'Cadell's Copy Of Peploe?', approx 54x44cm (illustrated) NB: Francis Campbell Boileau Cadell (1883-1937) and Samuel John Peploe (1871-1935) were part of a famous group of painters known as the 'Scottish Colourist's'. They spent time in France early on in their careers and had direct contact with French painting from Manet and The Impressionists to Matisse and the Fauves, they shared a preference for bright colours and pronounced brush work. It is known that Cadell and Peploe made regular trips together to France and Iona to paint together.
Lot d`ouvrages sur la peinture:, - Album d`art rétrospectif, Drogues et peintures, Manet, Corot, Ingres, Delacroix, Prud`hon, David, Courbet, Laurens, Puvis de Chavannes, Degas, Monet, Daumier, Renoir, Toulouse-Lautrec, Millet, Géricault, Ary Scheffer, Pavis, Meissonnier, Tapisier, Menneret, Kvapil, Chapelain-Midy, Antral, Le Sidaner, Renefer, ZIngg, Maurice Denis, Clément Serveau, Bonnard, Romanet, Devambez, Oudot, Paul de Lassence., On y joint croquis de route de Sandoz: Maroc, Algérie, Tunisie, Sahara (manque la page de titre)
Antonio Mancini (Albano Laziale 1852 - Rome 1930) UN JEUNE VIOLONISTESur sa toile d’origine92 X 73,5 CMLocalisée, signée et datée en haut à droite : PARIS / A. Mancini 78Accidents Formé à Naples auprès de Filippo Palizzi et Domenico Morelli, Antonio Mancini se lie d’amitié avec Vincenzo Gemito, relation essentielle dans la suite sa carrière. Il incarne rapidement le véritable renouvellement de la peinture Napolitaine sous influence de son naturalisme hérité du Seicento. Son œuvre se caractérise par des sujets tirés du monde des saltimbanques, des musiciens, comme notre tableau l’illustre, souvent peuplé d’enfants issus des rues Napolitaines mis en scène dans l’atelier. Il envoie à Paris un premier tableau au salon de 1872 puis y présente des oeuvres régulièrement jusqu’à l’Exposition Universelle de 1878. Après son retour à Naples où sa santé mentale se dégrade, il s’installe définitivement à Rome en 1883 et bénéficie du mécénat de figures importantes comme Hendrick Willem Mesdag ou Daniel Sargent Curtis, cousin du peintre John Singer Sargent qui déclara d’ailleurs au sujet de Mancini qu’il était le meilleur peintre du monde (cf. Portrait de Mancini par Sargent, toile, 67 x 50,5 cm, Rome, Galleria Nazionale d’Arte Moderna). Même s’il n’effectue que deux séjours à Paris, en 1875 puis entre mars 1877 et le printemps 1878, son oeuvre reste fortement marquée par sa visite de la capitale française. En effet, dès son arrivée à Paris en 1875, c’est par l’intermédiaire du comte Albert Cahen mécène et musicien belge très puissant et entiché de l’artiste, que Mancini rencontre le marchand Goupil. Ce dernier s’occupe de sa carrièreMême après son retour en Italie. Grâce à lui, Mancini rencontre un vif succès à Paris et fréquente Degas, Boldini ou Manet…Localisé à Paris et daté de 1878, peint sur une toile marqué du cachet du marchand parisien Rey, notre tableau se rattache aux tableaux de l’artiste présentés à l’Exposition Universelle, parmi lesquels Le saltimbanque (toile, 204 x 111 cm, Philadelphia, Philadelphia Museum of Art), Le pauvre écolier (toile, 130,5 x 97,5 cm conservé à Paris, musée d’Orsay), le Jeune Bacchus (toile, 58 x 40 cm, conservé au Museo Nazionale della Scienze e della Tecnica Leonardo Da Vinci, Milan). Autant par le modèle, le visage en partie dans l’ombre, que par le cadrage serré, frontal et intense, notre tableau est à rapprocher d’Un enfant avec des soldats de plomb (toile, 75 x 63 cm, Philadelphia, Philadelphia Museum of Art) datable des années 1876. La figure de notre tableau est le modèle préféré et jeune protégé de Mancini, Luigi (dit Luigiello) Gianchetti, orphelin des Abruzzes. Il l’accompagnera même lors de son séjour parisien d’où sa présence sur de nombreuses toiles de cette période : on le retrouve comme modèle dans des tableaux aujourd’hui célèbres, Le saltimbanque, Le pauvre écolier, ou Le jeune homme à la guitare (panneau, 82 x 65 cm, collection particulière). Mancini élève ici au rang de type universel cette figure, à la beauté insolente et frondeuse, issue de la misère napolitaine, réinvestie de ses souvenirs nostalgiques amour du cirque, de la musique ou jeux de l’enfance.
Estampes modernes Édouard Manet (1832-1883) (d’après) Le Déjeuner sur l’herbe. 1929. Gravé par Jacques Villon. 620 x 495. Ginestet et Pouillon 668. Impression en couleurs. Très belle épreuve sur vélin fort, numérotée et signée à la mine de plomb par Villon. Marges. Tirage à 200 épreuves. Bernheim-Jeune éditeur. Cadre.
India and the Punjab – Mahatma Gandhi A rare large portrait drawing from life of Mahatma Gandhi by Clare Winsten c1930. Provenance – from the estate of Clare Winsten’s daughter Ruth Harrison. Drawing titled – Gandhi Meditation. A very rare drawing of the great Mahatma Gandhi (1869-1948) is often referred to as the father of the Indian Nation. Clare Winsten (1894-1989) was an Anglo-Jewish artist illustrator portraitist and sculptor. Clare Winsten came to the Slade as a student in 1910 the year when Roger Fry’s “Manet and the Post-Impressionists” exhibition changed the views of many artists in London and caused others dismay as life-long convictions were brusquely challenged. She showed academic and artistic talent early at school gaining a scholarship to the Female School of Art. The artist`s daughter Theodora recalls my parents life-time active involvement in social humanitarian causes as well as the arts brought them into touch with likeminded people from many spheres. This affinity produced portraits of among others D H Lawrence Montessori Catherine Lonsdale Mahatma Gandhi Bernard Shaw.... My parents first met Mahatma Gandhi in the 1930s when living at Hampstead (and this) led to a remarkable series of paintings and drawings. There was such an empathy between them that Clare was invited to be there whenever she wanted She also sketched Gandhi during his visit to England for the Round Table Conference of 1930-31. Pencil on woven paper 11 x 13 inches image. 12 x 15.25 inches in frame overall. A very rare drawing of Gandhi from life.
India and the Punjab – Mahatma Gandhi A rare portrait drawing from life of Mahatma Gandhi by Clare Winsten c1930. Provenance – from the estate of Clare Winsten`s daughter Ruth Harrison. Drawing Titled – Gandhi Meditation. A very rare drawing of the great Mahatma Gandhi (1869-1948) is often referred to as the father of the Indian Nation. Clare Winsten (1894-1989) was an Anglo-Jewish artist illustrator portraitist and sculptor. Clare Winsten came to the Slade as a student in 1910 the year when Roger Fry’s “Manet and the Post-Impressionists” exhibition changed the views of many artists in London and caused others dismay as life-long convictions were brusquely challenged. She showed academic and artistic talent early at school gaining a scholarship to the Female School of Art. The artist’s daughter Theodora recalls my parents life-time active involvement in social humanitarian causes as well as the arts brought them into touch with likeminded people from many spheres. This affinity produced portraits of among others D H Lawrence Montessori Catherine Lonsdale Mahatma Gandhi Bernard Shaw.... My parents first met Mahatma Gandhi in the 1930s when living at Hampstead (and this) led to a remarkable series of paintings and drawings. There was such an empathy between them that Clare was invited to be there whenever she wanted She also sketched Gandhi during his visit to England for the Round Table Conference of 1930-31. Pencil on woven paper Signed in ink by Clare Winsten 6 by 9 inches image. 12 by 15.25 inches in frame overall. A very rare drawing of Gandhi from life.
India and the Punjab – Mahatma Gandhi A rare large portrait drawing from life of Mahatma Gandhi by Clare Winsten c1930. Provenance – from the estate of Clare Winsten`s daughter Ruth Harrison. Drawing Titled – Gandhi Meditation. A very rare drawing of the great Mahatma Gandhi (1869-1948) is often referred to as the father of the Indian Nation. Clare Winsten (1894-1989) was an Anglo-Jewish artist illustrator portraitist and sculptor. Clare Winsten came to the Slade as a student in 1910 the year when Roger Fry`s “Manet and the Post-Impressionists” exhibition changed the views of many artists in London and caused others dismay as life-long convictions were brusquely challenged. She showed academic and artistic talent early at school gaining a scholarship to the Female School of Art. The artist`s daughter Theodora recalls my parents life-time active involvement in social humanitarian causes as well as the arts brought them into touch with likeminded people from many spheres. This affinity produced portraits of among others D H Lawrence Montessori Catherine Lonsdale Mahatma Gandhi Bernard Shaw.... My parents first met Mahatma Gandhi in the 1930s when living at Hampstead (and this) led to a remarkable series of paintings and drawings. There was such an empathy between them that Clare was invited to be there whenever she wanted. She also sketched Gandhi during his visit to England for the Round Table Conference of 1930-31. Pencil on woven paper mounted signed in ink. 15 x 11 in. (38 x 28 cm.). A very rare drawing of Gandhi from life
Alexander Jamieson (1873-1937) Figures standing on a terrace before a palace thought to be Versailles, Paris signed and dated 1910 bottom right further signed and dated 1910 on the reverse and signed on the stretcher with artist`s address as 34 Thurloe Square, London oil on canvas 63.5 x 80cm. Alexander Jamieson was a painter of landscape, French towns and gardens and occasional portraits and genre subjects. Born in Glasgow where he studied at the Haldane Academy; he won a scholarship to Paris in 1898. He was influenced by the plein air painters and by the work of Manet. His first one man show was at the Carfax Gallery in 1912. He served in France, 1914-1919, and after the war exhibited in Glasgow at the Goupil Gallery and from 1928 at The Royal Academy. He lived at Weston Turville, Buckinghamshire.
Edouard Manet (1832-1883) Les Gitanos (Harris 18) etching, 1872, on watermarked laid paper, a good impression of the second, final state, from the edition of unknown size, published by A. Cadard & F. Chevalier, Paris, with their blindstamp, wide margins, pale time staining, remains of paper tape at the top and right sheet edges verso, a few scattered foxmarks, minor soiling and soft handling creases in the margins, otherwise in good condition P. 317 x 234 mm., S. 530 x 365 mm. View on Christie's.com
Graham F Young - "The Teacup Poisoner" (1947-1990), Copy of Manet`s The Gypsy Women, oil on canvas signed, Stamped 21 Sep 72, Parkhurst Prison and signed in pen Young G PROVENANCE; Graham Young was known as the "tea-cup poisoner". In 1962 he was convicted of the poisoning and attempted murder of his father, sister and a friend who all survived. His step mother had died of poisoning but no evidence could be produced because she had been cremated. He was sentenced to 15 years but released after only 9. After release he poisoned about 70 workmates by lacing their tea and two of them died. He was then given a life sentence in 1972 and died in prison in 1990. This lot was gifted by Young to a fellow prisoner. 12 x 10in. (30.48 x 25.40cm)
GOERING, MAX. Italian Painting of the Sixteenth Century, 1936; TROCHE, E.G. Painting in the Netherlands in the 15th & 16th Centuries, 1936; ROGER-MARX, La Gravure Originale en France de Manet, 1939; Catalan Art from the 9th to the 15th Centuries, 1937; & 9 others, art. With GOLDSCHEIDER, L. Etruscan Sculpture. Phaidon, 1941 and 13 other Phaidon art books, all in d.w`s (27)
CHRISTOPHER LLOYD: CAMILLE PISSARRO, 1981, 1st edn, 4to, orig cl, d/w + JEAN ADHEMAR: TOULOUSE-LAUTREC HIS COMPLETE LITHOGRAPHS AND DRYPOINTS, 1970, 4to, orig cl, d/w + W HOFMANN: GUSTAV KLIMT, 1974, obl, 4to, orig cl gt, d/w + JEAN-PAUL CRESPELLE: THE FAUVES, 1962, 1st edn, 4to, orig cl gt, d/w, s-c + SARAH CARR-GOMM: MANET, 1992, 1st edn, 4to, orig cl, d/w (5)
HENRY HERBERT LA THANGUE R.A. (BRITISH, 1859-1929) A Sussex Hayfield at Graffham, 1912, signed 'H. H. LATHANGUE' lower left, oil on canvas, 25 ½" x 29 ¼" (see illustration) Provenance: Purchased by Moses Nightingale Esq. (possibly from the Leicester Galleries, London, 1914); thence by descent Exhibited: London, Leicester Galleries, Exhibition of Pictures by H. H. La Thangue, R.A., April 1914, no. 41 Brighton, City Art Gallery and Museum, Memorial Exhibition of Works by the Late H. H. La Thangue R. A., September 1930, no. 24 Literature: Walter Sickert, 'Mr La Thangue's Paintings', The New Age, vol XV, no. 1, 7 May 1914, p. 18 Anon, Watercolours and Oils at Hazeldene, Crawley, Sussex, 1919, no. 108 as Sussex Hayfield at Graffham, Sussex, 1912 Osbert Sitwell ed., A Free House! Being the Writings of Walter Richard Sickert, 1947 (MacMillan), p. 272 Anna Gruetzner Robins, Walter Sickert: The Complete Writings on Art, 2002, (Oxford University Press), pp. 364-365 While he spent his winters during the Edwardian years in Provence and the regions of northern Italy, La Thangue returned to England to work in the fields around his home at Graffham in Sussex between hay cutting in June and the grain and fruit harvests of September. He had moved the relatively short distance from Bosham to Graffham in 1898 because the new location offered a greater range of possibilities, and immediately he began a series of striking figure pieces with Love in the Harvest Field, shown at the Royal Academy in 1899 (unlocated). La Thangue first moved to Sussex in 1890, on the advice of James Charles, who also lived at Bosham. Charles, a figure and landscape painter from Warrington in Cheshire, shared La Thangue's early Bradford patrons. Both artists looked to France for inspiration and both were influenced by work of Bastien-Lepage and Léon Lhermitte, also popular with West Yorkshire collectors. Lhermitte in particular set out to document la vie rustique and by 1900, was in the midst of a long series of harvest scenes that La Thangue would have been familiar with (fig 1). Known primarily as a figure painter, La Thangue closely observed the freer and more informal style in Charles' harvest scenes around the turn of the century. Suspicious of the picturesque seductions of his more conventional contemporaries like Alfred East and David Murray, he slowly developed his own approach to landscape painting after he moved away from Bosham. By the time of his solo exhibition at the Leicester Galleries in 1914, this process was complete and the rich texture of works like A Sussex Hayfield at Graffham separates it from the looser paint structures of Charles's Windy Weather, (fig 2). Where most landscape painters, including Charles and Lhermitte, favoured open country, La Thangue used foreground trees to help place his figure and take the eye successfully to the hay-cart in the middle distance. Moses Nightingale, a Sussex corn merchant, having purchased two pictures, On Lavington Down and A Ligurian Mill Race, shown at the Royal Academy in 1901 and 1905 respectively, returned to collecting around 1914. La Thangue, who by then had secured full membership of the Royal Academy, was staging a solo exhibition at the Leicester Galleries. An earlier generation of Nightingales, hailing from Rotherham, had donated a substantial collection to the town, including an early Landscape Study by the artist. However, Moses Nightingale was to become La Thangue's most important patron, listing twenty-three works in a catalogue of the watercolours and oils at Hazeldene, his house in Crawley. Following the painter's death, Nightingale lent generously to his memorial exhibition at Brighton Art Gallery and the Royal Academy 'Late Members' exhibition in 1933. Thereafter he split his collection between members of his family. Coming three and half years after Roger Fry's celebrated Manet and the Post-Impressionists exhibition, and coinciding with the scandalous exposure of the Vorticists and the Italian Futurists, La Thangue's Leicester Gallery landscapes must have looked traditional, even by Camden Town School standards. Despite their compositional strength, his landscapes were greeted with faint praise in The Times (20 April 1914, p. 12) and attacked by Laurence Housman in The Manchester Guardian (18 April 1914, p. 10). While reservations were also expressed by The Athenaeum and The Connoisseur, The Academy praised La Thangue's honesty and the 'daring' of his 'handling and mastery of colour' (McConkey, 1978, p. 13). It was Walter Sickert however, who cited the present work in a glowing review that swept away all reference to the current turmoil in contemporary art. What would have appealed to Sickert in the present work? In his review, Sickert referred to Monet and Cezanne, now familiar to British audiences. La Thangue was not their follower, but he did possess their dedication to developing 'a series of colour relations…grading from russet towards ruby' on which he was able to 'build…a series of beautiful and interesting sensations of nature'. This was his unique discovery, and it did not depend on clever quotation from 'the gamut of Monet'.
Eva Gonzales (1849-1883) Vase De Fleurs Oil on canvas laid on panel Signed lower right 59cm x 72cm Provenance: Purchased from Arthur Tooth & sons by The Right Hon. Lord Radcliffe, P.C., C.B.E in 1961 for 3200 pounds and thence by descent Eva Gonzales (19th April 1849-6th May 1883) Eva Gonzalès first received critical acclaim at the age of twenty when she exhibited three paintings and was the subject of another by Edouard Manet, at the Paris Salon in 1870. Despite being known as never exhibiting with the Impressionist painters in their controversial exhibitions, she was considered part of the group due to her painting style. Gonzales met Manet in 1869, and he became her main influence in the arts, although her mother was an accomplished musician and her father was a well known novelist. She became Manet's first and only student and became a close friend. Her career was cut short when she died in childbirth at the age of thirty-four, exactly six days after the death of her teacher, Manet.
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