Marion Piper New Garden 3, 2021 Acrylic and Pencil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.)Education 2012 - BA Hons. Fine Art Buckinghamshire New University 1985 - BA Hons. Carpet Design and Related Textiles, Wolverhampton School of Art Exhibitions/Awards 2020 MK Calling 2020, MK Gallery, Milton Keynes WAY OUT, La Grange Gallery, Cernay Les Reims, France Grey | Grey (Matter), Divisible Projects, Ohio, USA A Little Painting Show, The Brunswick Gallery, Leeds 2019 READER, Magdalen Art Space, Oxford Object Meditation, curated by Tom Wilmott, After Nyne Gallery, London Coventry Biennial 2019, Parmar & Piper A Hybrid Painting Project, Coventry Be Absolutely Concrete! Hase29, Osnabrück, Germany Unfinished Business, Ex Libris Gallery, Newcastle University Drawing Now, ICA, Maine, USA Shortlisted and exhibited for 2017 Creekside Open 2017, selected by Alison Wilding, APT Gallery, London, U.K. 2016 Jerwood Drawing Prize show, Jerwood Space, London Selected by MK Gallery for CVAN (South East) Platform Graduate award 2012 (finalist) https://afternynecontemporary.com About the postcard artworks The four postcards I have submitted are inspired by the work of Édouard Manet and Bauhaus artist and weaver Gunta Stölzl. This is an ongoing exploration into the process of design and pattern, and the practice and theory of painting."
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Marion Piper New Garden 4, 2021 Acrylic and Pencil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Education 2012 - BA Hons. Fine Art Buckinghamshire New University 1985 - BA Hons. Carpet Design and Related Textiles, Wolverhampton School of Art Exhibitions/Awards 2020 MK Calling 2020, MK Gallery, Milton Keynes WAY OUT, La Grange Gallery, Cernay Les Reims, France Grey | Grey (Matter), Divisible Projects, Ohio, USA A Little Painting Show, The Brunswick Gallery, Leeds 2019 READER, Magdalen Art Space, Oxford Object Meditation, curated by Tom Wilmott, After Nyne Gallery, London Coventry Biennial 2019, Parmar & Piper A Hybrid Painting Project, Coventry Be Absolutely Concrete! Hase29, Osnabrück, Germany Unfinished Business, Ex Libris Gallery, Newcastle University Drawing Now, ICA, Maine, USA Shortlisted and exhibited for 2017 Creekside Open 2017, selected by Alison Wilding, APT Gallery, London, U.K. 2016 Jerwood Drawing Prize show, Jerwood Space, London Selected by MK Gallery for CVAN (South East) Platform Graduate award 2012 (finalist) https://afternynecontemporary.com About the postcard artworks The four postcards I have submitted are inspired by the work of Édouard Manet and Bauhaus artist and weaver Gunta Stölzl. This is an ongoing exploration into the process of design and pattern, and the practice and theory of painting."
ÉDOUARD MANET (French 1832-1883) A PRINT, "Baudelaire en Face," 1868, etching on wove paper, signed in plate, text "l'eint et Grave par Manet 1865. Imp a Salmon." 3 1/2" x 3" Note: After an 1862 photograph by Félix Nadar. Provenance: Exhibited in "AN ART HISTORIAN COLLECTS: The David E. Brauer Collection" at the Mobile Museum of Art, Mobile, Alabama February 7 - November 29, 2020. Estate of David E. Brauer, Houston, Texas. Condition: Generally in very good condition, wear commensurate with age. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS." NO REFUNDS will be issued based on condition.
Original vintage film advertising poster for a 1959 French comedy film titled in French Le Dejeuner Sur L'Herbe - Picnic on the Grass, with an artwork of a painting by artist Pierre-Laurent Brenot, and features a nude young woman clutching a white robe, against a blue and green painted background . The film was written and directed by Jean Renoir, starring Paul Meurisse, Fernand Sardou and Catherine Rouvel. The title is taken from the painting of the same name by Eduoard Manet. Brenot was a French painter who also had a great activity in fashion and advertising. He is also known as the father of the French pin-up. Good condition, folds, repaired tears, small tears, small paper losses, creasing, minor descolouration. Country of issue: France, designer: Brenot, size (cm): 155x117, year of printing: 1959
Carl Schuch 1846 Wien - 1903 Wien Schilffeld mit Kahn (Ferch am Schwielowsee). 1881. Öl auf Leinwand. Verso auf der Leinwand mit Signaturfaksimile sowie bezeichnet 'Nachlass 153' und 'Ferch 1881 / K. Schuch pinx. / quod testat / K. Hagemeister'. Verso auf dem Keilrahmen handschriftlich nummeriert und bezeichnet. 43 x 68 cm (16,9 x 26,7 in). PROVENIENZ: Nachlass Carl Schuch. Kunsthandlung Eduard Schulte, Berlin (verso mit dem Stempel auf der Leinwand). Galerie Paffrath, Düsseldorf. Privatsammlung Süddeutschland. AUSSTELLUNG: Galerie Eduard Schulte, Berlin, 28.9.-31.10.1912, Nr. 23 ('Schilflandschaft'). Orangerie ’83. Deutscher Kunsthandel im Schloss Charlottenburg, Berlin, 15.9.-25.9.1983, S. 183, Nr. 67/1 (mit Farbabb.). Carl Schuch 1846-1903, Ausst.-Kat. hrsg. von Gottfried Boehm, Roland Dorn und Franz A. Morat, Städtische Kunsthalle, Mannheim, 8.3.-19.5.1986 und Städtische Galerie im Lenbachhaus, München, 11.6.-11.8.1986, S. 234f., Nr. 64 (mit Farbabb.). Carl Schuch verbringt erstmals 1878 den Sommer in Ferch am Schwielowsee. Nachdem ihm Karl Hagemeister im Winter des Vorjahres einige Zeichnungen seiner Heimatstadt Werder geschickt hatte, begibt sich der, rastlos auf der Suche nach neuer landschaftlicher Inspiration, ins märkische Seenland, wo er eines Tages unerwartet bei Hagemeister eintrifft. Seit 1876 hält sich Schuch in Venedig auf, wobei er für die Sommermonate immer auf der Suche nach einem Studienplatz ist. Hagemeister, der den vielgereisten und umtriebigen Künstler zwar durchaus als „Mann von Welt“ wahrnimmt, organisiert für die beiden ein Sommerquartier in dem kleinen abgeschiedenen Dörfchen Ferch. Dort will er sich mit Schuch der Intimität und dem lyrischen Naturempfinden in der Nachfolge der französischen Schule von Barbizon sowie dem kraftvollen Ausdruck Gustave Courbets, die sie beide bewundern, malerisch widmen. Vor allem Schuch ist zu dieser Zeit interessiert an einem auf die malerische Essenz reduzierten, idealen – jedoch nicht idealisierten – Landschaftsausdruck: „Möglichst einfache Natur, die nichts enthält als das Problem. Das ist freilich weit entfernt von den hübschen Bildchen, die die Philister verlangen, und bleiben noch dazu auch größtenteils Versuche und Studien“ (zit. nach: Karl Hagemeister, Karl Schuch, Berlin 1913, S. 95). Die beiden arbeiten die nächsten Jahre bis in den Spätherbst hinein zusammen, wobei Hagemeister die Zeit zwischen 1879-1882 insgesamt als die arbeitsreichste Schuchs nennt. Bis 1882 besucht Schuch Hagemeister regelmäßig. Es entstehen zahlreiche gemeinsame Motive und Ausblicke, darunter bspw. der von Ferch nach Werder führende Steg über einen Kanal, an dessen Einmündung in den Schwielowsee wohl eine Bootslände liegt. Den Steg am schilfüberwucherten Ufer nimmt Schuch während seiner drei Aufenthalte in Ferch wieder und wieder zum Anlass für kompositorische und farbliche Studien, die seine intensive malerische Reflexion über die Gattung der Landschaftsmalerei zeigen. Architektur und menschliches Eingreifen in die Natur dienen ihm dabei als Elemente der Bildkonstruktion: „ein anderes Mal nimmt Schuch einen großen Havelkahn, mit Deckgrünbude auf dem Hinterteil, als stabile Sache zum Ausgang für die übrige Landschaft. Dieses Stück, nur Skizze (Schulte) ist wundervoll in seiner tonigen Breite und Weichheit.“ (Hagemeister, Schuch, S. 100). Die Einfachheit des Motivs gibt Schuch die Möglichkeit, sich nur mit dem malerischen Problem des bildlichen Arrangements in Form, Farbe und Duktus zu beschäftigen. Weitere Studien derselben Ansicht befinden sich im Germanischen Nationalmuseum, Nürnberg, sowie in der Österreichischen Galerie Belvedere, Wien. Im Vergleich der Versionen wird der faszinierend experimentelle Charakter der Ansichten deutlich. Nur wenige zeitgleiche Maler setzen sich so reflektiert und analytisch sowohl in Theorie als auch in der Praxis mit der Moderne und deren Bildproblematiken auseinander wie Schuch; so verwundert es nicht, dass das Museum für Kunst und Kulturgeschichte Dortmund ihn in der Ausstellung „Cézanne – Manet – Schuch. Drei Wege zur autonomen Kunst“ von 2000 mit diesen beiden Wegbereitern der Moderne zusammenführt. [KT] Aufrufzeit: 12.12.2020 - ca. 16.06 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONCarl Schuch 1846 Wien - 1903 Wien Schilffeld mit Kahn (Ferch am Schwielowsee). 1881. Oil on canvas. Verso of the canvas with signature in facsimile and inscribed 'Nachlass 153' and 'Ferch 1881 / K. Schuch pinx. / quod testat / K. Hagemeister'. Verso of the stretcher with hand-written numbers and inscriptions. 43 x 68 cm (16.9 x 26.7 in). PROVENANCE: Estate of Carl Schuch. Art trader Eduard Schulte, Berlin (with the stamp on verso of the canvas). Galerie Paffrath, Düsseldorf. Private collection Southern Germany. EXHIBITION: Galerie Eduard Schulte, Berlin, September 28 - October 31, 1912, no. 23 ('Schilflandschaft'). Orangerie ’83. Deutscher Kunsthandel im Schloss Charlottenburg, Berlin, September 15 - September 25, 1983, p. 183, no. 67/1 (with color illu.). Carl Schuch 1846-1903, ex. cat. published by Gottfried Boehm, Roland Dorn and Franz A. Morat, Städtische Kunsthalle, Mannheim, March 8 - May 19, 1986 and Städtische Galerie im Lenbachhaus, Munich, June 11 - August 11, 1986, pp. 234f., no. 64 (with color illu.). Called up: December 12, 2020 - ca. 16.06 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.
Eugene Laurent Vail (1857-1934) 'Leonie' Etaples c.1887 or 1893 Oil on canvas, 65 x 54.5cm (25½ x 21½'') Original exhibition label verso with artist's name, title and number 26 Eugene Vail was a cosmopolitan artist of American-French background. He was one of a close-knit circle of young painters in the ateliers in Paris and at the artists' colonies of Grez-sur-Loing, Concarneau and Etaples during the 1880s. He was a close friend of Irish artists Frank O'Meara and John Lavery. His pictures enjoyed great success at the Paris Salon and he was awarded the Legion d'Honneur. Eugene Laurent Vail was born of an American father and French mother in St. Servan, near St. Malo, Brittany, in 1857. He gained and engineering degree at the Stevens Institute of Technology, Hoboken, New Jersey. He worked as a cartographer on a scientific expedition in the West of America. Vail was also a keen sportsman and had an interest in theatre and art. He began to study at the Art Students' League, New York, in the studios of William Chase and Carol Beckwith. He travelled to Paris c.1882 and became a pupil at the Academie Julian. He became a close friend of John Lavery's there. In March 1882, he entered the Ecole des Beaux Arts, studying in the atelier of Cabanel. He was also a pupil of Collin and Dagnan-Bouveret. Vail first exhibited in the Paris Salon in 1883. In common with many of his contemporaries, Vail was impatient to paint from nature. Many years later, Lavery acknowledged the influence of his comrade in introducing him to Grez: I came to know Gres-sur-Loing through Eugene Vail. We were both at the Academie Julian and we decided to go there to spend the weekend. I remained there for nine months. Hawkins also met Frank O'Meara there. In 1883, Vail first exhibited at the Paris Salon. In the same year he visited Brittany: Pont-Aven, and Concarneau, in the company of American students Harrison and Simmons. Vail favoured marine and harbour subjects. His best-known Breton painting, 'Le Port de la Peche, Concarneau' (Musée des Beaux Arts, Brest), is a large, low-key study of the harbour and fishing boats. Although sombre in tone, there is a glowing twilight atmosphere, that was, perhaps, to influence Charles Cottet's paintings of Brittany. The picture was exhibited at the Salon in 1884. It was purchased by the French State for the Musée Luxembourg. In 1887, Vail moved to Etaples, Pas-de-Calais. He spent the winter there, lodging with his friends from Grez, O'Meara and Scottish artist Middleton Jameson. Although less well known than the great art colonies, and less picturesque than Concarneau, Etaples was convenient to reach, being close to Boulogne, and living was cheaper there than at Grez. O'Meara wrote: Etaples is a very convenient place - lots of motifs about, plenty of models and studios to be had cheap. French artist, Cazin, a native of Pas-de-Calais, gained inspiration from the landscape around Etaples. Amongst the artists there in Vail's time were Jameson and O'Meara, French painters Boudin and Tattegrain, the Belgian Faradyn, the Americans Walter Gay and Birge Harrison, Dudley Hardy and a contingent from Cork: William G. Barry, Egerton Coghill and Edith Somerville. Sarah C. Harrison was there in 1890 and E.M. Synge and Frida Moloney in 1909. A large number of British and Australian artists continued to work there up to the First World War. While O'Meara studied figures at the harbour and Barry and Coghill painted woodland scenes, O'Meara wrote to Lavery that: Vail is painting the deck of a fishing boat in a heavy sea, life-size, and I think that it will be very fine. Vail exhibited at the Salon again in 1886 and in 1888, when he was awarded a 3rd class medal. His work was praised by Albert Wolff, art critic of 'Le Figaro'. Vail served on the international jury of the Exposition Universelle in Paris in 1889. Four of his pictures were also exhibited there and he received a gold medal. Some of Veil's paintings were known for their dark tonality. Like Welden Hawkins, some of his subsequent work became more decorative and Symboliste, showing the influences of Whistler, Japonisme and the Nabis. Vail may have visited Etaples again c.1893, for his painting 'Soir d'Automne Etaples', which was exhibited at the Salon in 1894. Veil was awarded the Legion d'Honneur in 1894. Six of his paintings were exhibited at the Salon Nationale in 1899 and his work was praised by Gabriel Mouray in 'The Studio'. The present portrait shows an attractive young woman, wearing a headscarf or bonnet and she is viewed in profile. On the reverse of the stretcher, the words 'Leonie' and 'Etaples' are written, probably by the artist himself. Leonie evidently is the name of the model. The word 'Etaples' and an art supplier's stamp 'Caron Cousin. Peintre Couleurs et Toiles - Etaples' on the back of the canvas, indicate that the picture was painted in this town, probably c.1887 or c.1893. Leonie has a fine profile and healthy red cheeks, set against the simple white costume which she is wearing. Vail enjoyed a profile view, as can be seen in 'A Breton Sunday', c.1890 (National Museum of American Art, Smithsonian Institution), which shows a pious woman in scarf, standing in front of a harbour. On the one hand, 'Leonie' has the heroic quality of a peasant woman viewed in profile by Realist painter Jules Beton, for example 'Repose', 1864 (Musée des Beaux Arts, Arras) and 'Jeanne Calvet', 1865 (Francine Clarke Art Institute, Williamstown). But, on the other hand, Leonie is an ordinary country girl, whose rosy colouring reveals her hardworking, healthy life in the open air and by the sea. Her face is well modelled, with the dress indicated in a simple manner, with relaxed, criss-cross brushstrokes. Vail follows the 'Academie Julian' manner, combining a carefully represented face against a more sketchy treatment of clothing. But this relaxed manner also suggests the influence of Impressionist painters, such as Manet and Berthe Morisot. Julian Campbell
Pablo PicassoPetit Déjeuner sur l'herbe, d'après Manet Original-Farblinolschnitt auf Velin mit Wasserzeichen "Arches" 34,9 x 26,9 cm (62,5 x 44,1 cm) Signiert und nummeriert. Exemplar 20/50. Herausgegeben von Galerie Louise Leiris, Paris 1963. - In guter Erhaltung. Im Passepartout-Ausschnitt etwas gebräunt.Baer 1328 III B.a.; Bloch 1096 Pablo PicassoPetit Déjeuner sur l'herbe, d'après Manet Colour linoleum cut on wove paper with watermark "Arches" 34.9 x 26.9 cm (62.5 x 44.1 cm) Signed and numbered. Proof 20/50. Published by Galerie Louise Leiris, Paris 1963. - In fine condition. Slightly browned in mat opening.Baer 1328 III B.a.; Bloch 1096
Großer Anhänger mit 3 verschiedenen Symbol-Anhängern, Juwelier Wempe, by Kim, Hamburg, 21. Jh. Großer Anhänger mit 3 verschiedenen Symbol-Anhängern, Juwelier Wempe, by Kim, Hamburg, 21. Jh. 750/- Gelbgold. Gesamtgewicht ca. 25,6 g. Große ovale Federöse (27,3 x 13,5 mm) mit roséfarbenem Streifenachat (26,9 x 18,4 x 7,6 mm), kleiner Emaille-Blüte mit Diamant-Anhängseln ( 10,7 mm) und naturalistisch geformtem Anhänger mit Devise "Tempus Fugit -Amor Manet" (die Zeit vergeht, die Liebe bleibt). Maße ca. 18,7 x 13,3 x 6,5 mm.
Ernst Eitner Ernst Eitner 1867 Hamburg - 1955 Hamburg-Hummelsbüttel "Stickerinnen" L. o. signiert. Rücks. auf dem Keilrahmen auf Etikett betitelt, bezeichnet und nummeriert No. 2.1913. Öl auf Lwd. 60,5 x 80,5 cm. Min. besch. Rahmen besch. Mit einem Stipendium der Stadt Hamburg studierte Eitner 1887-91 an der Kunstakademie in Karlsruhe unter Gustav Schönleber, im Anschluss einige Monate an der Akademie in Düsseldorf. In Hamburg unterrichtete Eitner 1894-1909 an der Damenmalschule von Valesca Röver (später Gerda Koppel) und war 1897 Mitbegründer des "Hamburgischen Künstlerclubs". Unter dem Titel "Manet des Nordens" wurde dem Künstler 2017 anläßlich seines 150. Geburtstags eine Ausstellung im Jenisch Haus, Hamburg, gewidmet. Ernst Eitner Ernst Eitner 1867 Hamburg - 1955 Hamburg-Hummelsbüttel Embroiderers Signed upper left. Titled, inscribed and numbered 2.1913 on the label on the stretcher verso. Oil on canvas. 60.5 x 80.5 cm. Minor damage. Damage to frame.
MANET EDOUARD: (1832-1883) French Painter. An excellent A.L.S., `E. Manet´, two pages, 8vo, n.p., Thursday, n.d., to Monsieur Guillemet, in French. Manet refers to one of his paintings and states in part `My dear Guillemet, I count on you to make my painting be sold well. Proust will take care of his portrait..´ Manet further refers to comparative grievance, and congratulates himself before concluding. A cleanly written letter. VG
Manet, Edouard: Le garçon et le chien Le garçon et le chien. Radierung in Schwarzbraun auf Bütten. 20,1 x 14,2 cm. (1862). Guérin 17 II, Harris 11 III. Wz. Schriftzug "Van Gelder" (Fragment). Die Radierung geht nicht wie üblich auf ein Gemälde Manets zurück. Der dargestellte Junge namens Alexandre starb auf tragische Weise - durch Selbstmord - im Atelier Manets. Auf ihn bezieht sich Baudelaires Erzählung "La Corde", die Manet gewidmet ist und später in die "Petites Poèmes en prose" einging. Mit dem radierten Rahmen. Prachtvoller, markanter Druck mit dem vollen Rand, wohl nur im oberen rechten Rand ganz minimal angeschnitten. Schwache Altersspuren, unten mit einer typographischen "13" in Rot, sonst tadellos. Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Mahmoud Said (Egypt, 1897-1964)Le Chômeur (The Vagabond) oil on canvas, framedsigned 'M.SAID' and dated '1946' (lower left), further signed, dated and titled 'Le Chômeur' in Arabic and English on the verso, executed in 194680 x 70cm (31 1/2 x 27 9/16in).Footnotes:'LE CHOMEUR' A MASTERPIECE BY MAHMOUD SAID FORMERLY EXHIBITED AT THE LOUVRE FROM THE COLLECTION OF RENOWNED ACTRESS LEILA SHEIRProvenance:Property from the collection of the renowned actress Leila Sheir, Cairo,The artists collection until 1964, thence by descent to Nadia Mahmoud Said, the artists daughteracquired from the above by Raouf Abou Esbe circa 1977 and gifted to his wife, the present ownerExhibited: Paris, Musee des Arts Decoratifs, Louvre, Egypt Exhibit, 1949, No 757Alexandria, Solo exhibition at the Amitiés Françaises, 1950Guezireh Palace, Cairo, Retrospective Exhibition: Mahmoud Said, 1951, No.100 Alexandria, Museum of Fine Arts, Mahmoud Said, 1960, No.53Alexandria, Museum of Fine Arts, 1964, Mahmoud Said, No.131Literature: Boctor, Gabriel. Artistes contemporains d'Egypte: Mahmoud Saïd. Cairo: Editions Aladin, 1 October 1952, (illustrated);Guézireh, Société des Amis de l'Art sous le Patronage de S.M. Le Roi, Catalogue de la rétrospective des oeuvres de Mahmoud Saïd. 1921-1951Makarius, La Revue Du Caire, 1951, No.142Rassem, 1952, plate 23 Al-Sharouni, 1965, p.76 (illustrated)Mustafa, 1966 (illustrated)Abu Ghazi, 1972 (illustrated)Dawastashy, Esmat. Mahmoud Saïd: Memorial Book on the Pioneer ofContemporary Egyptian Painting – On the 100th Anniversary of his Birth, Cairo: Ministry of Culture - The Cultural Development Fund. 1997, no. 43 (illustrated No.172)Abdul Salam, 2009, p.151Al-Shafei, Rawya Ossama. Artist Mahmoud Saïd: An Artistic and Analytical Study. MA Thesis. Faculty of Fine Arts of Alexandria, 2012, illustrated fig 157Valerie Didier Hess and Hussam Rashwan, Mahmoud Said: Catalogue Raisonne Volume 1, Paintings, Skira Editore, 2016, illustrated on page 252Note: The present work is included in the Artists Catalogue Raisonne; Valerie Didier Hess and Hussam Rashwan, Mahmoud Said: Catalogue Raisonne Volume 1, Paintings, Skira Editore, 2016, illustrated on page 252'In Said's works where people are present, we see them expressing their pleasures and dreams' we witness feminine intrigues, the murmurs of street peddlers, the frenzies of the 'Zar'. In this fabulous Egypt, where the women are golden, the sea is indigo and the palm trees are as loaded as the fishermen's nets – miraculously, a witness seems to have come from another world: he is the Chomeur Lightning bolts that sting the sky of Alexandria's Corniche point to the distress of his grey jacket, of his abandoned hands, recalling that he is an Egypt that no magic brush can transfigure. In an atmosphere of enchantment, one sunbeam almost transforms his ragged clothing into a brocade, transforms a puddle into a lake of bliss, transforms a horizon of hovels and mud into a city of Venetian prestige. The beam fades before an ageing face, marked by discouragement. There is poetry in his rags, whose holes withstand the cold wind, and he who wears them refuses to bow to humiliation Witness the Chomeur of Mahmoud Said: is this not, within this retrospective, which is one of the paramount display in Egyptian art history, an example of Egyptian arts ability not only to transform the aspect of things, but also the gaze which falls upon them? ' Laura Makarius 'Witness the Chomeur of Mahmoud Said: is this not, within this retrospective, which is one of the paramount display in Egyptian art history, an example of Egyptian arts ability not only to transform the aspect of things, but also the gaze which falls upon them? ' Laura MakariusBonhams have the rare privilege of presenting one of the most iconic and moving works by the doyen of Egyptian art, Mahmoud Said, ever to come to the market. Poignant, enigmatic and graceful, Le Chomeur or the Vagabond, is the archetypal synthesis of Said's inimitable portraits of noble Egyptian peasants and is specifically identified by leading art critics of the time as a seminal masterpiece within his oeuvre.Said's empathetic and stylized representations of Egyptian daily life, pronounced so touchingly in the present work, would later be regarded as the supreme expression of Egyptian artistic heritage in the twentieth century.Tender and ennobling in its portrayal of the dignified Egyptian peasant, the present work is evidence of an artist, who belying his aristocratic heritage and classical artistic training, captured the true spirit of the age in his penetrative renderings of the Egyptians and their everyday plight.The present work comes to market with a distinguished provenance; originally in the collection of the artists daughter, it was subsequently acquired by the renowned Egyptian Actress and fashion icon Leila Sheir, who was crowned Miss Egypt in 1964. Published in over a dozen books and journals, and exhibited numerous times during the artists life, Le Chomeur's immense significance is underscored by its inclusion in a major exhibition at the Louvre in Paris in 1949 which commemorated Franco-Egyptian culture Never before presented at auction, Le Chomeur is an extremely rare example of a major portrait coming to market. With the majority of Said's work held by institutions or in permanent collections, the current sale presents collectors with one of the few remaining opportunities to acquire a pivotal work by the artist. THE WORKThe composition is permeated by a sense of mystery which is most palpable in the sitter's inscrutable and solemn downward gaze. Reflective, demure, and exuding a sense of dignified simplicity - the sitter can be interpreted equally as a weary, sombre figure as he can a source of wisdom.In imbuing his Vagabond with a sense of humble wisdom, Said follows in a distinct European tradition in portraiture, in particular the works of Diego Velázquez, Goya and Eduoard Manet, whose paintings of world-weary 'beggar-philosophers' fit into the common intellectual notion of the social outcast as a seer possessing rare insight.A dark, almost surreal air envelops the backdrop; gloomy and desolate, the landscape is a visual metaphor for the Chomeur's hardship; yet, in stark contrast to his sullen mood, figures in the background continue their daily work; fishermen by the harbour and sailing boats in the sea remind us that our figure is an outcast from the daily activity of working life. The movement towards a vernacular, humanized art-form marked not only an artistic shift for Said, but a shift from his own aristocratic milieu. What we see in Le Chomeur is the apotheosis of Said's artistic agenda: which was his ache for capturing the ineffable nobility of the common Egyptian.Characterised by an atmosphere of nostalgia and longing, in Said's depiction we get a purified symbol of the beauty and dignity of Egypt and its people. Well documented, widely exhibited, and with a provenance that testifies to its brilliance, Le Chomeur survives as one of the most elegant and iconic examples of Mahmoud Said's work.THE WISE VAGABONDPoor beggars and vagabonds have often been depicted to underscore the virtues of simplicity and the pure heartedness of those which have no material ties in the world, heavily influenced by the popularity of Stoic philosophy throughout Western thinking. Beggars proved to be a highly rewarding subject for painters, draughtsmen and sculptors. The artists could portray various emotions and generate pathos by introducing dramatic gestures and solemn facial expressions, and lavish attention on rendering a variety of texture... This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
TING, Walasse. One Cent Life. Bern: E. W. Kornfeld, 1964. Folio. 68 lithographs including examples by Andy Warhol, Sam Francis, James Rosenquist, Robert Indiana, Robert Rauschenberg, Roy Lichtenstein, Pierre Alechinsky, Claes Oldenberg, Jim Dine and others. Loose as issued in original cloth-covered boards, pictorial dust jacket designed by Machteld Appel (minor losses to spine ends); original cloth slipcase (some minor rubbing). Provenance: Alma and Sam (presentation inscriptions and letter, see below). LIMITED EDITION, number 202 of 2,000 copies. PRESENTATION COPY, INSCRIBED BY TING in two acrostic poems to Sam and Alma: "to Splendor Ambassador & Man from Walasse Summer 1970"; "America Lovely Mermaid Alma." Manet to Hockney 135; A Century of Artist Books pp. 208-9. [Laid in:] Autograph letter signed ("Walasse"), to Alma and Sam. N.p., 20 July 1970. 1 page, 4to, on pink sheet. In full: "Dear Alma & Sam Thank so much for the most beautiful party in flint it is just like the Painting Raining Sunshine, I love your house, full of sunshine on hundred thousand flower garden maybe I should sending you 2 dozen lively butterflies let they fly in your house love. Enclosed a Book was published 6 years ago." Property from the Collection of Michael and Kay MeletFor condition inquiries please contact Gretchen Hause at gretchenhause@hindmanauctions.com
Artist: Edouard Manet (French, 1832 - 1883). Title: "Chat et les Fleurs". Medium: Etching with aquatint. Date: Composed 1869. Printed later. Dimensions: Overall size: 13 x 8 1/8 in. (330 x 206 mm). Image size: 8 x 6 in. (203 x 152 mm).Lot Note(s): Signed in the plate, lower left. Cream wove paper. Very wide margins. Fine impression. Excellent condition. Literature/catalogue raisonne: Guerin 53; Harris 65. Comment(s): This print has sold as high as $863 at auction (Swann Galleries, NYC, Discovery Sale: Prints & Drawings, Sale #1993, 01/22/2004, lot #76). [2919-3-400]
Artist: Pablo Picasso (Spanish, 1881 - 1973). Title: "Bal Olympic: Vrai bal sportif costume (Programme) [Picasso *one original lithograph*, Manet, et al] [Portfolio/Book] [program for the 1924 Ball organized by the Union des Artistes Russes in Paris]". Medium: Original lithographs. Date: Composed 1924. Dimensions: Image size: 11 1/4 x 9 3/4 in. (286 x 248 mm).Lot Note(s): Several lithographs signed in the plate. All lithographs with artist credit. Small edition?. Heavy wove paper. Fine impressions. Fine condition. Comment(s): The second ball of the Union of Russian Artists in Paris. 12 pages. The printed program is a typographical and artistic masterpiece. Includes Pablo Picasso's original lithograph "Mercure: Etude de Danseur" executed by Picasso after the pencil drawing of the same name, and apparently found only in this program (see: Online Picasso Project, 24:199 for the drawing). Other original lithographs by and after Manet, Vassilieff, Fotinsky, Granovsky, Barthe, and Chatzman. Contains extensive listings of events and contributors. Undoubtedly produced by Francois Bernouard, Paris, like that for the Bal Travesti/Transmental, though the program carries no credit. Highly important and rare. Picasso image copyright © Artists Rights Society (ARS), New York. [19198-2-1200]
NO RESERVE French Art.- Gauthier (Maximilien) Achille et Eugène Devéria, modern cloth, original printed wrappers bound in (lightly spotted), Paris, 1925 § Gustave Courbet, original wrappers, Paris, 2008 § Tinterow (G.) & others. Manet/Velázquez: The French Taste for Spanosh Painting, original wrappers, New York, 2003 § Wilson-Bareau (J., editor) Manet by himself, 1991 § Ribeiro (A.) Ingres in Fashion, New Haven & London, 1999, plates and illustrations, some colour, the last two original boards with dust-jackets; and c.25 others on nineteenth century French art, 4to & 8vo (c.30)
ART BOOKS. 'The Paintings of L. S. Lowry- Oils & Watercolours'; also books on Manet, Monet's garden & a companion to the Tate Gallery (4) Good, pre-owned condition. WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.
Picasso (Pablo).- Balzac (Honoré de) Le Chef-d'Oeuvre Inconnu, number 127 of 240 copies on Rives, from an edition limited to 350, wood-engraved illustrations and 13 etchings by Picasso (the first an illustrated table to suite of 12) printed by Louis Fort, etchings with tissue guards, loose in wrappers, all loose as issued in original printed cream wrappers with wood-engraving on each cover, uncut, glacine wrapper (stain to lower wrapper), original cloth-backed board folder and slip-case (very slightly rubbed), [Artist & the Book 225; Artist & the Book in France p.339; From Manet to Hockney 92], 4to, Paris, Ambroise Vollard, 1931.⁂ "Balzac's story involves an artist who laboured for ten years to produce a picture epitomising feminine beauty, which was then meaningless to anyone but himself." (From Manet to Hockney)
MANET EDOUARD: (1832-1883) French Painter. A curious A.L.S, `Ed. Manet´, two pages, to a 4.5 x 3.5 card, n.p., Saturday 4th February, n.y. [1882], to Emile Blémont, in French. Manet strongly wishes to collect back some sketches and explains to his correspondent `Although I do not care about my sketches more than what they deserve, I think it would be a polite gesture if these gentlemen return them to me the earliest..´ Bearing a Blémont Foundation collection ink stamp. VG Emile Blémont (1839-1927) French Poet and Playwright.
CASSATT MARY: (1844-1926) American Painter, one of 'Les Trois Grandes Dames' of Impressionism. A.L.S., `Mary Cassatt´, two pages, 8vo, n.p., 14th September, n.y., on the Mesnil-Beaufresne printed stationery, to art critic Achille Segard, in French. Cassatt writes to her biographer regarding one of her paintings, and states in part `…allow the person sent by the Durand-Ruel Gallery to take my painting in your house. I would like to finish what I have to do during my stay here where I have the models and the place to work and October would be a little late if I leave early to the south of France." EX 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.
A quantity of art books including Gaugin, Manet, Degas & Turner from 'The History and Techniques of the Great Masters' series by Linda Bolton, 'The Age of the Impressionists' by Denis Thomas, 'The Art of Impressionists' by Horst Keller, all with dust covers, two Pan book: 'Temptation' and 'Arthur Rackham' both edited by David Larkin and a soft back edition of 'Gustav Klimt 1862-1918, 'The World in Female Form' by Gottfried Fliedl, published by Benedikt Taschen.
Henry Moore O.M., C.H. (British, 1898-1986)Reclining Figure: Pointed Legs signed and numbered 'Moore 7/9' (on the bronze base)bronze with a brown patina22.9 cm. (9 in.) long (including the bronze base)Conceived in 1979Footnotes:ProvenanceWith Adler Fielding Gallery, Johannesburg, from whom acquired byPrivate Collection, U.S.A.LiteratureAlan Bowness, Henry Moore: Volume 5, Sculpture and Drawings, Sculpture 1974-80, Lund Humphries, London, 1983, p.45, cat.no.LH777 (ill.b&w., another cast)'From the very beginning the reclining figure has been my main theme', Moore has declared. 'The first one I made was around 1924, and probably more than half of my sculptures since then have been reclining figures'' (H. Moore, quoted in A. Wilkinson (ed.), Henry Moore, Writings and Conversations, Aldershot, 2002, p.212).The recumbent female form was a theme Henry Moore returned to throughout his nearly sixty-year career. 'The human figure is the basis of all my sculpture,' Moore professed, 'and that for me means the female nude.' Most of Moore's female figures are positioned seated or reclining, a configuration that initially stemmed from Moore's use of stone as his preferred medium and the structural weakness of the material in a standing figure's ankles. 'The reclining figure gives the most freedom, compositionally and spatially. The seated figure must have something to sit on. You can't free it from its pedestal. A reclining figure can recline on any surface. It is free and stable at the same time. It fits in with my belief that sculpture should be permanent, should last for an eternity' (D. Mitchinson, (ed.), Henry Moore Sculpture, with Comments by the Artist, London, 1981, p.86).The beautifully modulating form for the present work exemplifies Moore's mastery of the bronze medium. Propped on her forearms with her attention directed to her left and legs facing a contra-direction, Reclining Figure: Pointed Legs is animatedly alert and captures an instant of the figure's movement. The motion evoked by the form's curvilinear shape endows the figure with a plasticity that seemingly defies the bronze medium. Although reclining, this brilliantly dynamic sculpture presents dramatic profiles when seen from various viewpoints. The points of the figure's head, breasts, and attenuated arms and legs are counterbalanced by the soft curves of the woman's arching back, stomach, and propped legs.The recumbent woman is an artistic trope harkening to Ingres, Delacroix, Manet, among others, and references the Orientalist fantasy of the odalisque, a nude or partially clad harem girl. However, while most of Moore's reclining women are nude, Moore scholar David Sylvester argues: 'though they lie with knees apart or thighs apart, their overall pose doesn't betoken the availability commonly implied in reclining female nudes' (D. Sylvester, Henry Moore, Tate Gallery, London, 1968, p.5). Moore's women are in contradiction to the voyeuristic gaze of his predecessors. 'I am not conscious of erotic elements in [my work], and I have never set out to create an erotic work of art,' Moore stated. 'I have no objection to people interpreting my forms and sculptures erotically...but I do not have any desire to rationalize the eroticism in my work, to think out consciously what Freudian or Jungian symbols may lie behind what I create' (quoted in A. Wilkinson, ed., Henry Moore: Writings and Conversations, Berkeley, 2002, p.115). 'These reclining women are not the reclining women of a Maillol or a Matisse,' Will Grohmann wrote. 'They are women in repose but also something more profound...the woman as the concept of fruitfulness, the Mother Earth. Moore, who once pointed to the maternal element in the 'Reclining Figures', may well see in them an element of eternity, the 'Great Female', who is both birth-giving nature and the wellspring of the unconscious... To Henry Moore, the 'Reclining Figures' are no mere external objects; he identifies himself with them, as well as the earth and the whole realm of motherhood' (W. Grohmann, The Art of Henry Moore, London, 1960, p.43).'I want to be quite free of having to find a 'reason' for doing the Reclining Figures,' Moore declared, 'and freer still of having to find a 'meaning' for them. The vital thing for an artist is to have a subject that allows him to try out all kinds of formal ideas—things that he doesn't yet know about for certain but wants to experiment with, as Cézanne did in his 'Bather' series. In my case the reclining figure provides chances of that sort. The subject matter is given. It's settled for you, and you know it and like it, so that within the subject that you've done a dozen times before, you are free to invent a completely new form-idea' (quoted in J. Russell, Henry Moore, London, 1968, p.48).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Roger Fry (British, 1866-1934)Portrait of E.M. Forster oil on canvas73 x 60 cm. (28 1/4 x 23 5/8 in.)Painted in 1911Footnotes:ProvenanceThe ArtistEdward Morgan Forster (1879-1970)Florence Barger, thence by family descentWith Anthony d'Offay Gallery, London, 1984Private Collection, U.S.A.ExhibitedLondon, Alpine Club Gallery, Paintings and Drawings by Roger Fry, January 1912, cat.no.2 (as A Novelist)London, Arts Council, The Arts Council Gallery, Vision and Design: The Life, Work and Influence of Roger Fry, 17 March-16 April 1966, cat.no.10; this exhibition travelled to Nottingham, University Art Gallery, 27 April-22 May, Leeds, City Art Gallery, 28 May-18 June, Newcastle upon Tyne, Laing Art Gallery, 25 June-16 July, Manchester, City Art Gallery, 23 July-13 August 1966London, Courtauld Institute Gallery, Portraits by Roger Fry, 18 September-14 October 1976, cat.no.6, pl.3; this exhibition travelled to Sheffield, Mappin Art Gallery, 23 October-21 November 1976London, Anthony d'Offay Gallery, The Omega Workshops: Alliance and Enmity in English Art 1911-1920, 18 January-6 March 1984, cat.no.23LiteratureQuentin Bell, Bloomsbury, Futura Publications Ltd., London, 1974, pp.48-9 (ill.b&w.)S.P. Rosenbaum, The Bloomsbury Group: A Collection of Memoirs and Commentary, Croom Helm, 1975Philip Nicholas Furbank, E.M. Forster: A Life, Volume One, The Growth of the Novelist 1879-1914, Secker & Warburg, London, 1977, pp.205-7 (front cover illustration)Frances Spalding, Roger Fry, Art and Life, University of California Press, California, 1980, pl.51Richard Shone, The Art of Bloomsbury: Roger Fry, Vanessa Bell and Duncan Grant, Tate Gallery Publishing Ltd., London, 1999, p.93, fig.80 (ill.b&w.)Wendy Moffat, E.M. Forster. A New Life, Bloomsbury, London, 2010, p.106The sitter in this arresting portrait needs little introduction. In 1911 Edward Morgan Forster (1879-1970) had recently reached a new audience and a breadth of critical acclaim with his fourth novel Howards End, published in 1910. He was not, however, a well-known figure in the London literary world. He lived comfortably with his widowed mother in Weybridge, invariably stayed in a club if he visited London for a night and kept to a relatively small circle of friends. Several of these he had met through the Cambridge University society known as The Apostles. Friends from an earlier generation at King's College included the writer Goldsworthy Lowes Dickinson (1862-1932) and Roger Fry (1866-1934). Dickinson and Fry were close friends and both followed with great interest Forster's career, beginning with his first novel Where Angels Fear to Tread (1905). Over the years, Fry seems to have read everything Forster published. There was great praise for A Passage to India (1924) – 'a marvelous texture – really beautiful writing,' he wrote to Virginia Woolf, although he had reservations about the intrusive mysticism towards the end of the novel (as well as in other writings by Fortser). The novel was translated into French by Fry's friend Charles Mauron whom Forster came to know well and whom he appointed as his French translator. (He also translated Woolf's Orlando). And a few months before his death, Fry read Forster's biography of Dickinson:'it's beautifully done, I think', he wrote to Gerald Brenan, 'and it was a desperately difficult thing to do' (implying that the British public were not yet ready for male foot fetishism).Very early on, before Fry and Forster came to know one another, Forster admired a series of Adult Education lectures on art that Fry gave in Cambridge, in his pre-Post-Impressionist years. Later, in an early draft of A Room with a View, Forster included a character called Rankin (later dropped from the novel), an art historian attending tea-parties in Florence at which Florentine attributions were a leading topic and 'pictures were snatched from one great name and thrust upon another, or slighted and left as doubtful [. . . ] or utterly damned as the work of a clever forger who flourished in the middle of the nineteenth century at Hamburg'. In her recent book Roger Fry and Italian Art (London 2019), Caroline Elam gives an excellent, detailed account of Fry and Forster and the influence of the former's aesthetics on the latter (although Forster was never entirely converted to Fry's full-on formalism). Fry drew curious endpapers and a non-figurative cover for Forster's book of short stories The Celestial Omnibus, published in the same year as the present portrait was painted. Just as Fry was completing the picture (painted in his house at Guildford), Forster wrote to a friend, that he appeared to be 'a bright healthy young man, without one hand, it is true, and very queer legs, perhaps the result of an aeroplane accident, as he seems to have fallen from an immense height on to a sofa' (letter to Florence Barger, 24 December 1911). Actually Forster liked the picture and bought it but, after it was shown in Fry's one-artist exhibition in 1912, he gave it to his great friend Florence Barger and it was not seen again in public for well over fifty years. This is an important work in Fry's development as a painter and is certainly among his most accomplished portraits. Forster is depicted as both alert and yet slightly ironic in expression, finding himself plopped down among Post-Impressionist-seeming fabrics. Earlier in the year Fry had been in Turkey with Clive and Vanessa Bell and had sent a mass of textiles, mostly from Brusa, the historic centre for Turkish textile production, back to England. Some may well feature among the variety shown here and would have influenced Fry's own designs; the patterned cushion by Forster's left shoulder pre-figures textiles he designed for the Omega Workshops a year or so later. Frances Spalding has rightly drawn attention to the faceting and angularities of Forster's head (which Lytton Strachey called 'triangular'), almost certainly derived from Picasso's 1909 portrait of Clovis Sagot, which Fry had included in his momentous exhibition Manet and the Post-Impressionists held in London in 1910-11. In the same exhibition was Matisse's 1908 Girl with Green Eyes which also appears to have guided aspects of Fry's work here – the simple frontality of a figure seen against a busy but essentially flat background. The green modeling on Forster's face is further indebted to Matisse's recent portraits of his wife and himself.A number of painted and sculpted images of the men and women associated with Bloomsbury have become canonical and are frequently reproduced. Among them are, of course, several works by Grant and Bell (such as portraits of Virginia Woolf of 1911-12); Strachey by Henry Lamb; Maynard and Lydia Keynes by William Roberts. Forster was often photographed but not much painted – two portraits of him by Carrington and Vanessa Bell, and drawings by Grant, William Rothenstein and Paul Cadmus. The present portrait deserves to be better known, commemorating as it does, not only a warm personal friendship but also the association of two highly influential figures from the early twentieth century whose reputations have not dimmed.We are grateful to Richard Shone for compiling this catalogue entry.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
2019 Viu Manet Reserva Malbec Rose Valle de Colchagua, Chile 12x75 From a historic estate in the heart of the famous Colchagua Valley. This bright and light rose with fresh aromas of summer red fruits and white peaches is sensational . The palate is fresh, fruity, and well-balanced. An easy drinking rose that will last through to the summer of 2022 if you can resist that long. Serve well chilled with friends, whatever the weather. Fantastic value. Tasted by Dreweatts - December 2019
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