VASARELY, VICTOR (Pécs 1906 - 1997 Paris) "8-4". 1973/75. Oil on canvas. Signed lower left: Vasarely. Also signed, dated, inscribed and numbered verso: number 2830 100 x 100 cm. Pierre Vasarely has confirmed the authenticity of this work, Paris 21. October 2009.
Walter Shirlaw, Illinois / Spain, Scotland, (1838-1909) untitled fishing village, watercolor on paper signed lower left. Biography from the Archives of askART: Walter Shirlaw, born on August 6, 1838, was only three (fourteen according to one obituary) when he came to Hoboken, New Jersey from his place of birth, Paisley, Scotland. As a young man, he found work as a bank note engraver, a profession that he continued in Chicago, where he lived between 1865 and 1870. But already in 1861 he was exhibiting genre paintings at the National Academy of Design. In 1868, Shirlaw was a member of the Chicago Academy of Design, which would become the Art Institute of Chicago, after changing its name from the Chicago Academy of Fine Arts. Shirlaw spent the years 1870-77 in Munich, at the height of the movement led by Wilhelm Leibl in which a low-keyed, dark palette, combined with bold, virtuoso brushwork, were applied to realist subject matter. Michael Quick (in Quick, Ruhmer, and West, 1978, p. 28) defined the time of Shirlaw's arrival (1870-73) as an especially experimental period in progressive German painting. Shirlaw's teachers, however, sided with tradition. The genre painter Arthur Ramberg (1819-1895) and Wilhelm von Lindenschmidt (1829-1895), his successor at the Munich Academy, taught Shirlaw composition. The painter of genre scenes and landscapes, Alexander von Wagner (1838-1919) was Shirlaw's teacher in painting. T. H. Bartlett (in American Artists and Their Works, 1889, vol. 1, p. 23) mentioned that Shirlaw regarded Leibl as too realistic. Shirlaw won a scholarship at the Academy in 1874, the year in which he executed Toning the Bell (Art Institute of Chicago). Meanwhile, he was active as one of the "Duveneck Boys" in Polling. Sheep Shearing in the Bavarian Highlands (Private collection), painted under Lindenschmidt's direction in 1876, is regarded as one of Shirlaw's most important pictures. He exhibited it upon his return to America at the National Academy in the following year; in 1878, it won an Honorable Mention in Paris. In 1877, the second school year of the Art Students League, Lemuel E. Wilmarth announced that he would be returning to teach at the NAD. Frank Waller (1842-1923) took over as president of the ASL, and Shirlaw was hired to teach painting and drawing. The appointment was endorsed by Waller: "In Munich . . . he was regarded as one of the strongest of the American students and had the strong personality which would attract and influence others to have confidence in him, was so genuine in his artistic impulses and in his interest in the development of art in this country. . . ." (quoted by Landgren, 1940, p. 32). The hiring of Shirlaw and William Merritt Chase seemed to signify a preference of Munich over Paris among the members of the Art Students League, however, while Chase was under Leibl's spell, Shirlaw was strictly academic. During the fourth season at the ASL, Shirlaw taught composition. Thomas Wilmer Dewing replaced Shirlaw in this position in 1880. Although an Associate of the National Academy of Design, Shirlaw resigned, explaining that the Academy was too much focused on exhibitions, at the expense of teaching. He turned to the Society of American Artists, a more liberal group founded in June of 1877 in the home of Richard Watson Gilder and his wife Helena de Kay. Shirlaw himself, Augustus Saint-Gaudens, and Wyatt Eaton were the artists-founders of the SAA. Within a year, there were twenty-two members (Fink and Taylor, 1975, p. 80). This new, mostly younger group of painters collectively expressed more liberal aesthetic tastes, compared to the less progressive members of the National Academy. Doll and Richards Gallery in Boston was the setting for Shirlaw's one-man exhibition in 1880. Meanwhile, he was active as an illustrator. The artist published drawings in Scribner's Monthly and Harper's Magazine, and did illustrations for various books. In 1889, Shirlaw visited Crow and Cheyenne reservations to illustrate scenes from the life of these tribes. He was also a muralist and a designer of stained-glass windows. Four murals, representing "The Abundance of Land and Sea," were painted for the dome of the Manufactures and Liberal Arts Building at Chicago's World's Columbian Exposition, where he showed popular favorites Toning the Bell and Sheep Shearing in the Bavarian Highlands, along with a pompous nude entitled Rufina (Century Association, New York). Later (1896-97), he executed Sciences, a mural for the Library of Congress. Walter Shirlaw was an American artist who helped the younger painters promote French impressionism, by founding the Society of American Artists. When Shirlaw died on December 26, 1909, another movement in American art was under way: the Ash Can School, an updated urban American realism, which utilized a painterly technique derived from the Munich School, where Shirlaw was inspired. Sources: Benjamin, S. G. W., Our American Artists [1879]. Boston: D. Lothrop and Co., 1886, pp. 88-103; Sheldon, George William, American Painters. New York: D. Appleton and Co., 1879, pp. 96-98; Benjamin, S. G. W., Art in America: A Critical and Historical Sketch. New York: Harper and Brothers, 1880, p. 207; Bartlett, T. H., 'Walter Shirlaw," American Art Review 2 (1881): 97-102, 145-149; American Artists and Their Works. Boston: Estes and Lauriat, 1889, vol. 1, pp. 19-32; Hartmann, Sadakichi, A History of American Art. Boston: L. C. Page and Co., 1902, vol. 1, p. 232; Caffin, Charles H., The Story of American Painting. New York: Frederick A. Stokes, 1907, pp. 114, 119; Huneker, James Gibbons, "Seen in the World of Art," New York Sun, 12 March 1911, sec. 3, p. 4; LaFollette, Suzanne, Art in America: From Colonial Times to the Present Day. New York: W. W. Norton and Co., 1929, p. 207; Isham, Samuel, The History of American Painting. New York: Macmillan, 1936, pp. 382, 445; Landgren, Marshal, Years of Art: The Story of the Art Students League of New York. New York: Robert M. McBride & Co., 1940, pp. 27-28, 32-34, 42; Weimer, Aloysius G., "The Munich Period in American Art," Diss., University of Michigan, 1940, pp. 151-161; Saint-Gaudens, Homer, The American Artist and His Times. New York: Dodd, Mead and Co., 1941, p. 160; Clark, Eliot Candee, History of the National Academy of Design. New York: Columbia University Press, 1954, pp. 105-106, 130, 172; Hayes, Bartlett H., Jr., American Drawings. Drawings of the Masters Series. Boston: Little, Brown and Co., 1965, pp. 58, 136; Gerdts, William H., The Great American Nude: A History in Art. New York: Praeger Publishers, 1974, pp. 110-111; Fink, Lois Marie and Joshua C. Taylor, Academy: The Academic Tradition in American Art. Washington, DC: Smithsonian Institution Press, 1975, pp. 153-155; National Academy of Design, A Century and a Half of American Art. New York: 1975, pp. 108-109; Sellin, David, American Art in the Making: Preparatory Studies for Masterpieces of American Painting, 1800-1900. Washington, DC: Smithsonian Institution Press, 1976, pp. 53, 58-59; Stebbins, Theodore E., American Master Drawings and Watercolors. New York: Harper and Row, 1976, pp. 212, 214; Quick, Michael, Eberhard Ruhmer and Richard V. West, Munich and American Realism in the 19th Century. Sacramento, CA: E. B. Crocker Art Gallery, 1978, cat. nos. 59-60; Quick, Michael, Artists by Themselves: Artists' Portraits from the National Academy of Design. New York: 1983, pp. 80, 82; Hirschl and Adler Galleries, The Arts of the American Renaissance. New York: 1985, cat. nos. 70-71; Spassky, Natalie, American Paintings in the Metropolitan Museum of Art. New York: 1985, pp. 529-530; Zellman, Michael David, 300 Years of American Art. Secaucus, NJ: Wellfleet Press, 1987, p. 294; Revisiting the White City: American Art at the 1893 World's Fair. Hanover: University Press of New England, 1993, p. 317; American Arts at the Art Institute of Chicago: From Colonial Times to World War I. New York: Hudson Hills Press, 1998, cat. no. 96; James C. Cooke, in Encyclopedia of American Art before 1914. Ed. Jane Turner. London: Macmillan, 2000, pp. 463-464; Dingwerth, Shawn and Leland G. Howard, "Walter Shirlaw: The Other American in Munich," Fine Art Connoisseur 4 (January-February 2007): 48-53. Submitted by Richard H. Love and Michael Preston Worley, Ph.D. watercolor on paper 11 3/4" x 18", 14" x 20 1/2" (sheet)
ANONYMOUS FRIGIDAIRE.
45 7/8x30 1/2 inches, 116 1/2x77 1/2 cm. P.E.M.A., Paris.
Condition B+: restoration and discoloration along vertical and horizontal folds; creases in margins and image.
Sormani French burled Cave a Liqueur set, Napoleon style tantalus decanter set having burled walnut, ebony, and brass inlaid case, m... Sormani French burled Cave a Liqueur set, Napoleon style tantalus decanter set having burled walnut, ebony, and brass inlaid case, marked Vue P. Sormani and Fils Paris, 10 R. Charlot.
ht. 10 1/4 in.; wd. 12 1/2 in.; dp. 9 1/2 in.
Boece, Hector [Boethius] Scotorum Historiae a prima gentis origine...[N.p., n.d., but Paris:] Jodoci Badii Ascensii [1526?] Folio, signatures run: a8, e8, i8, o8, u10, AA-BB8, CC6, a-z8, A-Z8, contemporary vellum, rebacked, with later hand-written label to spine, repairs up to e8 and from 2Y-end, with a1 (title-page) extensively repaired with loss to title and verso, heavily annotated in an early hand, endpapers renewed, lacking clasps Estimate £ 400-600. Sold for £525 (buyer's premium included)
B.P. GRIMAUD “EXPOSITION UNIVERSELLE PARIS 1900 GRAND P...B.P. Grimaud “Exposition Universelle Paris 1900 Grand Prix” Poster. Paris, ca. 1905. Art Nouveau style advertising poster for Grimaud’s grand prize win at the 1900 Paris Exposition. Framed to an overall size of 30 x 22”. Not examined out of frame.
Fine French Cased Gilt Silverplate Christopher Dresser Traveling Tea Set, from an 1879 design by Christopher Dresser (1834-1904), manufactured by Adolphe Boulanger, working Paris, 1869-1899, retailed by Maison Maquet, Paris, including a kettle-on-collapsible-stand (Dresser's shape #2110), h. 9", teapot (Dresser's shape #2109), dia. 3-1/2", spirit burner, dia. 3", cream jug, h. 1-7/8", sugar bowl, dia. 2-3/4", bottle, h. 3-1/2", double tea caddy, dia. 3-1/4", and a pair of teaspoons, l. 4-3/4", along with a pair of Royal Worcester lavender teacups and saucers, 1912-1926, the original bow-style sugar tongs lacking but replaced by pincer-style tongs of later date, all nesting together to fit in a small suede-lined, fitted leather case, h. 7", w. 11-1/2", d. 6", each piece and the case monogrammed "EC". The design of this set, inspired by his 1876-1877 visit to Japan, was one of Dresser's most popular. It was packaged by several retailers including Asprey of London and Leuchars of Paris. This unusual entirely gilt set was sold by Maison Maquet, a Parisian leather goods specialty shop, listed in 1900 on rue de la Paix and in 1904 at Avenue de l'Opera; they also exhibited at the 1914 Panama Pacific International Exhibition in San Francisco. For illustrations of the same model packaged into similar traveling or picnic sets, see Henry Lyons, Christopher Dresser: The People's Designer, 1834-1904 (Woodbridge, Suffolk: Antique Collector's Club, 2005), p. 202, plate 386; Michael Whiteway, Christopher Dresser, 1834-1904 (Milan: Skira, 2001), an exhibition catalogue from the Palazzo della Trienalle, Milan, October 2001-March 2002, p. 88, plate 68; and Stuart Durant, Christopher Dresser (London: Academy Editions, 1993), p. 96.
LOUIS-LéOPOLD BOILLY(French, 1761-1845)
Les Joueurs de Dominos (La Partie de dominos au café de la Régence) (B & Z 1040 P) , unsigned, oil on canvas, 6-5/8 x 8-5/8 in.; gilt wood and composition frame, anthemion decoration, 10-3/8 x 12-1/2 in.
Note: Louis-Léopold Boilly was largely self taught, earning great success painting small portraits in the 'span of two hours,' as he was said to have once bragged. His career and perhaps life was saved when he was reported for his bawdy content to Robespierre and the revolutionary court. He quickly painted The Triumph of Marat to head off this life threatening accusation. Over his lifetime he painted approximately 5,000 portraits and 500 genre scenes. The scenes often incorporated careful depictions of every individual, a product of his portraiture, as he captured them in social gatherings about Paris. This composition is loosely painted, capturing a crowded popular spot known as the Café de la Régence and a group of men in a rather intense game of dominos. It is one of a series of four works in which the others represent the game of chess, checkers, cards. These scenes were subsequently popularized by being produced as lithographs by the printer, Lemercier, in Paris.The attribution has been confirmed by Étienne Bréton and Pascal Zuber, co-authors of the Louis-Leopold Boilly catalogue raisonnée published in 2019.
Literature: H. Harrisse, L. L. Boilly, peintre, dessinateur et lithographe. Sa vie et son œuvre (1761-1845) , Paris, 1898, p. 114, no 348 ; M. Tourneux, Louis-Léopold Boilly, Gazette des beaux-arts, 1er novembre 1898, p. 412 ; P. Marmottan, Le Peintre Louis Boilly (1761-1845) , Paris, 1913, p. 191 ;J. S. Hallam, The Genre Works of Louis-Léopold Boilly, Seattle, 1979, p. 138-139, 278, repr. fig. 168, p. 307.E. Bréton, P. Zuber, Louis–Léopold Boilly (1761–1845) : Le Peintre de la société parisienne de Louis XVI à Louis-Philippe , Paris, 2019, p. 757, n°1040 P, reproduit.
Related Works:Lithograph by Lemercier, Le Jeu de dominos , circa 1836, 1st print in black; colored print., H. 16; L. 21 cm.; Reprinted by Meyer in 1845 (see E. Bréton, P. Zuber, op. Cit. Sup. P. 875, n ° 2023 E, reproduced).
References: https://www.nga.gov/collection/artist-info.975.htmlThis lot is accompanied by a photo-certificate issued by Hazlitt, Gooden & Fox, a letter from Dr. Susan L. Siegfried in The Art Institute of Chicago letterhead dated 1986 requesting the work for exhibition, and a copy of the original receipt dated 1980.
Condition:
lined with wax and linen, crackle, light retouch upper right; frame with losses to composition
Charles F. Chamberlain, Michigan / France, (1871-1947) A View of Paris, oil on canvas on panel signed and with Chamberlain's Estate stamp verso. From the collection of Edward P. Bentley, Art Researcher and Historian, Greenville, Michigan. Chamberlain, Charles Franklin, figures and landscapes in oils; born in Dexter, Michigan, June, 1871; son of Benjamin F. and Almira M.C. Studied in the Detroit Academy; Art Students League; Julien Academy (Paris) with Tony Robert-Fleury and Jules Lefebvre, and also under Aman-Jean, Merson and Collin. Exhibited at the Detroit Art Museum, and with the Society of Western Artists (circuit). Address, Dexter, Michigan. Source: Hosking, Arthur Nicholas, The Artists Year Book, The Art League Publishing Association, Chicago. 1905-06. Charles studied under Tony Robert-Fleury and Jules Joseph Lefebvre while at the Academie Julian in Paris. He really admired Lefebvre and spoke highly and often of him, and he in turn admired Charles' work. November, 1894 "Mr. Stout has been in most of the afternoon showing me about my painting. He has helped me quite a little here and at school. So far Fleury or Lefebvre in any of my drawings has not criticized the character or pose which they say "pas mal" and last week, after Lefebvre had been to my drawing, he next criticized one of the old students who was painting. Told him he do not have the pose or character and referred him to my work as having character and feeling. Lefebvre of course thinks I did not know what he was saying but I understood part of it and got the rest from Mr. S." Source: Chamberlain-Veselovsky, Helen Cacia, Charles Franklin Chamberlain, 1871-1947. Publication available on the Internet: by Shutterfly, 2016. Submitted by Edward P. Bentley, Art Researcher and Historian, Greenville, Michigan. oil on canvas on panel 11 7/8"H x 9 7/8"W (sight), 18"H x 16"W (frame) Provenance: Charles Franklin Chamberlain was born June 12, 1871 in Webster Township, Washtenaw County, Michigan to Benjamin Franklin and Almira (Taylor) Chamberlain. He died March 19, 1947 in Pinckney, Livingston County, and is buried in Dexter, Michigan. He married Cacia Smith Curtiss of Fowlerville, Michigan on April 7, 1912. Cacia was a school teacher in Howell.Charles studied in Chicago, Detroit, New York, and Paris. Charles attended art school at the Detroit Academy, and in 1892-93 went off to study at the Art Students League of New York. It was in Detroit as well as in New York that Charles made many connections in the art world and soon was determined to make his way to Paris to further his studies. Charles' first trip to France was in 1894 and he concentrated his studies at the Academic Julian, Montmartre, Paris as well as at the newer Aman-Jean School. He spent several years in France studying under the old masters, following the impressionist influence of the time.Charles traveled extensively. His home was located near Dexter, Michigan where he operated a chicken and honey farm, being an early practitioner of the concept ???artificial hatching???. In 1919 he received an appointment as instructor in Architectural Drawing, College of Engineering, University of Michigan. He was a member of the Independent Order of Odd Fellows. His later years included overseeing the three Chamberlain farms in Webster Township, as his two brothers had preceded him in death. At the age of 66 he sold out, retired, and bought a home a few miles down the road in the village of Pinckney. There he died at the age of 75.Charles studied in Chicago, Detroit, New York, and Paris. Charles attended art school at the Detroit Academy, and in 1892-93 went off to study at the Art Students League of New York. It was in Detroit as well as in New York that Charles made many connections in the art world and soon was determined to make his way to Paris to further his studies. Charles studied in France 1894-1897 and 1907-08 and he concentrated his studies at the Academic Julian, Montmartre, Paris as well as at the newer Aman-Jean School.
A LARGE NEO-BAROQUE GILTWOOD MANTEL CLOCK, MADE BY P. ROUSSEAU. A. PARIS, 19TH CENTURY: A LARGE NEO-BAROQUE GILTWOOD MANTEL CLOCK, MADE BY P. ROUSSEAU. A. PARIS, 19TH CENTURY. gilt wood mantel clock with black laquerware of acanthus leaves, decorated with floral applique and a goddess reflief sculpture; signed P. rousseau. A. Paris beneath the clock face; height: 61. 5 cm (24 1/4 in. ); width: 29. 5 cm (11 5/8 in. ). . . .
CHAMPLAIN, Samuel de, (1567-1635).Les Voyages du Sieur de Champlain Xaintongeois… Journal tres-fidele des observations faites es descouvertes de la Nouvelle France… Paris: Chez Jean Berjon, 1613. 2 parts in 1. 4to (238 x 178 mm). Engraved double-sheet map Carte Geographique de la Nouvelle Franse (451 x 794 mm)and 10 other engraved folding maps and views by Champlain including Deffaite des Yroquois au Lac de Champlain, and the first map to attempt to record longitude and latitude for the new england coast, with detailed maps of the nauset and chatham harbors in cape cod in 1605 with 13 in-text illustrations. The map facing p. 9 is in its correct state without pasted over correction, while the illustration of an Iroqouis fort is bound at page 234 rather than page 255 as in the Church copy. Contemporary vellum, gilt-stamped supra-libros of Convent of Minims of Paris to upper and lower cover; housed in modern blue half morocco slipcase. Condition: very faint intermittent browning (mostly due to paperstock) and pinhole spotting to a few leaves only, thin worming track in lower margin of pp. 22-26 not affecting text, contemporary ink notation to a few folding plates recording the page they are to face, the Iroquois Fort plate with manuscript note in upper margin; the large folding map with tiny burnhole; front hinge perhaps a trifle tender, lacks old ties. Provenance: Covent of Minims of Paris (inscription, supra-libros); sold by Henry Stevens to Frank Siebert.Acquisition: Siebert sale, Sotheby's New York, 21 May 1999, lot 5, $360,000 via William Reese Company.first edition, the renowned siebert copy of this landmark of french americana and new world exploration, a pioneering work in ethnography and the first accurate mapping of the new england coast. One of the finest copies of this work extant, an unsophisticated tall and wide-margined copy, in a contemporary binding.One of the most important works of the 17th century, remarkable in its content and exceution, being the work of one man -- a gifted naturalist, an artist (trained as a portrait painter in France), a skilled cartographer and sympathetic ethnographer. Samuel de Champlain's account of his voyages of 1604, 1610, 1611 and 1613 are a key exploration narrative, one considerably enhanced by the author's lively illustrations in which he records his mapping of a vast area with unprecedented detail and accuracy, while also depicting the flora and fauna of the New World. The vignettes within the rare Carte Geographique de la Nouvelle Franse are an artist's rendition of new species, giving a hint of the varied and vast natural resources to be found in the New World. Of this monumental cartographic endeavor, Armstrong called the map, "not the work of a bureaucrat, but of a skillful pyschologist, promoter and politician…Champlain's map of 1612 is the most important historical cartography of Canada." The work also contains the only contemporary image of Champlain, in fact, a self portrait; a small figure firing a wheel-lock during an engagement with the Iroquois near present day Ticonderoga(Deffaite des Yroquois au Lac de Champlain). This plate is also important for being the earliest engraved illustration of any New York locale or event Also herein is his visit to present day Cape Cod, two decades prior the the English settlement of the area, with Champlain sailing as far south as Vineyard Sound. Two folding maps detail the Nauset and Chatham harbors (Port Fortune facing p. 132 and Malle Barre facing p. 88 respectively) the latter also noted on the large folding map. Champlain's account of the Cape provides a fine example of the details in both ethography and natural history for which his narrative of voyages is renowned, giving minute detail of the Indian customs in particular: ""Before reaching their wigwams we entered a field planted with Indian corn … The corn was inflower and some five and a half feet in height. There was some less advanced, which they sow later. We saw an abundance of Brazilian beans, many edible squashes of various sizes, tobacco, and roots which they cultivate, the latter having the taste of artichoke. The woods are full of oaks, nut-trees, and very fine cypresses, which are of reddish colour and have a very pleasant smell. There were also several fields not cultivated, for the reason that the Indians let them lie fallow … Their wigwams are round, and covered with heavy thatch made of reeds. In the middle of the roof is an opening, about a foot and a half wide, through which issues the smoke of their fire." A work whose importance is perhaps only surpassed by its scarcity in complete and unsophisticated condition, as found here, as the large folding map is often lacking or defective and other plates are often present only in facsimile. Previous to this copy's appearance in the Siebert sale, the only complete copies offered at auction were from the Dupont and Streeter collections, in 1991 and 1969 respectively, but neither were in this superior condition. J. C. Armstrong, From Sea Unto Sea…Maps of Canada (1982) 7; Streeter sale 6:3630; Bell Jesuit Relations pp. 232--33; Burden 160, 161, 166--81; Church 360; European Americana 613/30; Lande 116; Wroth, Mirror of the Indian 83; Jones, Adventures 67; Harrisse Nouvelle France 27; JCB II: 93; Sabin 11835; www.nps.gov/history/archeology/visit/Champlain)
B.P. Grimaud “Exposition Universelle Paris 1900 Grand Prix” Poster. Paris, ca. 1905. Art Nouveau style advertising poster for Grimaud’s grand prize win at the 1900 Paris Exposition. Framed to an overall size of 30 x 22”. Not examined out of frame.
(3) LOUIS XVI STYLE MARBLE CLOCK & GARNITURES(lot of 3) French Louis XVI style marble mantel set, late 19th c., including: (1) shelf clock, retailed by Maison Baillier, G. Coiffe, Succr., Limoges, with gilt metal urns, floral garlands, enamel fancy dial, Arabic numeral hour markers, time-and-strike movement stamped P. Bonnet & R. Pottier, Paris, marble platform base further raised on cast metal feet, retaining bell and key, lacking pendulum, broken suspension spring, dial glass intact with fracture, approx 18.5"h, 11.75"w, 5.75"d, (2) marble garnitures, approx 12"h, 5.5"w, 3.5"d, 21lbs total
BOUND LATE 1800S & EARLY 1900S 23PC. SHEET MUSIC INCLUDING A HANDWRITTEN MUSIC SCORE FOR TRIO GUITA CELEBRE, VALSE LENTE LONGROISE, LOUIS DIDET. 2/3"H X 11"W X 13 3/4"DBound late 1800s & early 1900s 23pc. sheet music including a handwritten music score for trio Guita Celebre, Valse Lente Longroise, Louis Didet. From the personal collection of Maestro Raymond Leppard (1927-2019). Several pieces of the sheet music is signed either Ginette or Puget. Includes: Simples Fleurs, Valse Elegante pour Piano Mar Maurice Depret, 1901. A Mademoiselle Ginette Puget, Hommage de l'Auteur, Ginette Valse pour Piano par Slipp, Paris. Adore,Valse Lente, E. Legrand, Alphonse Ledue, 1903. Sobra Las Olas. (Uber Den Wellen), Valse., Verlug u. Eigenthum von Friedrich Hofmeister. Leipzig. Handwritten score for Guita, Celebre valse lente longroise, Louis Diovet. Les Blondes Grande Valse Pour Piano, Harry Fragson et Ad. Stanislas Par CH. Raiter, Paris Fiancailles Valse pour Piano Par E. Wesly. Gesungen von Alexander Girardi, Bruder Straubinger, Edm. Eysler, Soseph Weinberger, Liepzig. Repertoire des Bals De L'Opera, Valse Royale par Alfred Margis, Librairie Hachette, Paris, 1902. A mon Ami Rene Lara, Valse Enchentee, par Rodolphe Berger, Enock & Sons, Paris, 1902 Rene Hollard, L. J. Rousseau, Incanto (Enchantment) Valse Pour Piano, Paris, E. Demets. Eternelle Folie, Vers De pierre D'Amor, Music De Y. K. Nazare- AGA. L'Etoile D'Amour, Valse Lente pour piano Sur La Celebre Melodie De P. Delmet, Par Rodolphe Berger, Enock & Sons, Paris, 1902. Repertoire Boldi a ma Niece Ginette, Bloom of Life, Valse Lente par E. Melan, OP: 69, Paris. Souvenirs Roses, Valse pour Piano par Pierre Gast, Encoh, Paris. Dianella Suite de Valses, Gaston LeMaire, Adrien Sporck, Paris. Berceuse de Jocelyn de Benjamin Godard, Choudens, Paris, 1893. Florodora, Valse-Boston, Sur des Melodies de Leslie Stuart, par Maurice Gracey, Paris, 1903, autographed by Leslie Stuart. The Belle of New York Waltz, on Melodies by Gustave Kerkner, Arranged by Charles Coote. Amours Fagiles, Valse Pour Piano sur la chanson de H. Fragson par Ad. Gauwin, Paris, The Bohemians Valse on the successful Opera by G. Puccini, arrangement P. Bucalossi, London. En Un Reve, Valse Lente, Henri Latour, Musique De Edmond Missa, Paris. Un Seul Amour (Just one Girl), Paroles de Ch. Quinel, et J. Guide, Musique de Lyn Udal, Cantee par Mlle. Lucy Jousset, London, 1898. 2/3"H x 11"W x 13 3/4"D Dimensions: 2/3"H x 11"W x 13 3/4"D
LALIQUEFORVILLarge Les Cinq Fleurs perfume with black patina, 1926A couple of minor nicks to the rim and the inner edge of stopperM p. 938, No. 13Raised PARIS-FRANCE R. LALIQUE with remnant of a mark on the back 7 1/2" x 5 1/4"
Auguste Rodin (French, 1840-1917) or Camille Claudel (French, 1864-1943) Tête de rieur (Laughing Man), c. 1891-92 Signed or inscribed "A. Rodin" in the bronze on the left side of the neck, inscribed "·Alexis RUDIER·/Fondeur.Paris." at the base of the back of the neck. Bronze with black patina, height approximately 6 1/2 in. (16.5 cm), depth 5 7/8 in. (15.0 cm), width 5 1/8 in. (13.0 cm), on a marble plinth. Condition: Dust and dirt to interstices. Provenance: Private Philadelphia collection, by descent to the current owner. N.B. The authorship of Laughing Man is an interesting puzzle. For close to 100 years, Laughing Man has been attributed to Auguste Rodin. However, the sculpture has been seen in a new light following the research of Dr. Antoinette LeNormand-Romain for the catalogue raisonné of Rodin bronzes at the Musée Rodin in Paris (2007) and for her book Fateful Encounter (2005) that accompanied a traveling exhibition examining the relationship of Rodin and Camille Claudel. LeNormand-Romain wrote that at the time of Rodin's death plasters in his studio were systematically ascribed to him, but in fact several examples confirm that some plasters had been exchanged between the studios of Rodin and Camille Claudel as part of the normal working process, leading to misattribution. Some works probably by Claudel were later signed as Rodin, particularly when bronzes were being cast from plasters to fulfill the large order from Jules Mastbaum for the Rodin Museum in Philadelphia in 1925-26. (1) LeNormand-Romain ascribed Laughing Man to Camille Claudel in Rodin et le bronze: catalogue des oeuvres conservées au Musée Rodin. (2) It is interesting to note that in an earlier catalogue raisonné dedicated to the sculpture of Camille Claudel (Paris and La Chapelle, 1990), the authors specifically sited Rodin's Laughing Man for its great similarity to the signed Claudel sculpture Tête de Rieuse (Cat.No. 23), establishing a link between the two works. (3) 1. Claudel, Camille, and Auguste Rodin. Camille Claudel & Rodin: Fateful Encounter (Paris: Hazan, 2005), pp. 66-67. 2. Musée Rodin (Paris), and Antoinette Le Normand-Romain. Rodin et le bronze: catalogue des oeuvres conservées au Musée Rodin (Paris: Réunion des musées nationaux, 2007), p. 43. 3. Paris, Reine-Marie, Camille Claudel, and Arnaud de La Chapelle, L'œuvre de Camille Claudel: catalogue raisonné (Paris: A. Biro, 1990), p. 119. Estimate $6,000-8,000 The dust and grime is primarily within the figure's ears and eyes. There is very gentle wear to the patina; the tip of the nose, for instance, is slightly shiny in comparison to the rest of the surface. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Condition requests can be obtained via email (lot inquiry button) or by telephone to the appropriate gallery location (Boston/617.350.5400 or Marlborough/508.970.3000). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Skinner Inc. shall have no responsibility for any error or omission.
IMPORTANT CLOCK "DIANE CHASSERESSE",Louis XVI, the drawing for this design probably by J.D. DUGORC (Jean Dumosthène Dugorc, active 2nd half of the 18th century), the bronzes from a Paris master workshop, probably by P.P. THOMIRE (Pierre Philippe Thomire, 1759-1843), with monogram and mark, the dial signed PHILIPE MOREL A LYON (active 1788 Rue des Augustins), verso dated 1792, Paris. Matte and polished gilt bronze and "Vert de Mer" marble. With figure of Diana with hunting dogs. The clock with enamel dial and anchor escapement striking the 1/2 hours on bell. Exceptionally rich bronze mounts and applications. 80x35x87 cm. Provenance: - E. Chappey collection, Paris. - Paris auction 29.4.1907 (Lot No.935). - Galerie Didier Aaron, Paris. - from a highly important European private collection.
J. Hoffmann (Continental, 19th/20th Century), suite of three oils on panel, consisting of "Two Boatmen Approaching a Parisian Landscape", 8" x 13-1/4", signed lower left "J. Hoffmann 1905", label of P. Mellet, Paris and Louis Journeaux, Paris verso; "Parisian Street Leading to a Cathedral", 10-1/2" x 7", signed and dated lower left "J. Hoffmann 1905"; and "Two Ladies Strolling Down a Parisian Street", 10-1/2" x 7", signed and dated lower left "J. Hoffmann 1905", label of P. Mellet, Paris and Louis Journeaux, Paris verso. Presented in their original matching ivory-painted pine frames with white-painted fillets.
Leonetto Cappiello (Italian, 1875-1942)
Maurin Quina, 1906
Lithographic poster in colors on wove paper, printed by P. Vercasson & Cie, Paris, with text and margins, framed (not examined out of frame).
sight 60 3/4 x 44 1/2in
MARC-LOUIS SOLON (1835-1913) (ATTRIBUTED) FOR FRANÇOIS-EUGÈNE ROUSSEAU (1827-1913), PARIS
PAIR OF PLAQUES, CIRCA 1865 porcelain, pâte-sur-pâte and gilt decorated, depicting Morning and Evening, white metal mount, impressed on reverse E. ROUSSEAU A PARIS, 41 RUE COQUILLIERE, stamped PHILLIPS & PEARCE,155 NEW BOND STREET(2)11.7cm (4 5/8in) wide, 17cm (6 5/8in) highLiterature:Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, pp. 72 & 90 (illustrated).Bumpus, B., Pâte-sur-Pâte: The Art of Ceramic Relief Decoration, 1849-1992, London, 1992, p. 62, pl. 36, (similar examples illustrated).Note: These panels perhaps related to a visit Solon made to Venice in 1867. There are several designs in the Stoke-on-Trent Museum that relate to his visit including the sketches for a pair of plaques titled ‘Morning’ and ‘Evening’. Neither are signed by Solon but both carry Rousseau’s marks.
Charles F. Chamberlain, Michigan / France, (1871-1947) three nude figure studies, crayon on paper signed lower right on mat. From the collection of Edward P. Bentley, Art Researcher and Historian, Greenville, Michigan. tear and crease upper edge. Chamberlain, Charles Franklin, figures and landscapes in oils; born in Dexter, Michigan, June, 1871; son of Benjamin F. and Almira M.C. Studied in the Detroit Academy; Art Students League; Julien Academy (Paris) with Tony Robert-Fleury and Jules Lefebvre, and also under Aman-Jean, Merson and Collin. Exhibited at the Detroit Art Museum, and with the Society of Western Artists (circuit). Address, Dexter, Michigan. Source: Hosking, Arthur Nicholas, The Artists Year Book, The Art League Publishing Association, Chicago. 1905-06. Charles studied under Tony Robert-Fleury and Jules Joseph Lefebvre while at the Academie Julian in Paris. He really admired Lefebvre and spoke highly and often of him, and he in turn admired Charles' work. November, 1894 "Mr. Stout has been in most of the afternoon showing me about my painting. He has helped me quite a little here and at school. So far Fleury or Lefebvre in any of my drawings has not criticized the character or pose which they say "pas mal" and last week, after Lefebvre had been to my drawing, he next criticized one of the old students who was painting. Told him he do not have the pose or character and referred him to my work as having character and feeling. Lefebvre of course thinks I did not know what he was saying but I understood part of it and got the rest from Mr. S." Source: Chamberlain-Veselovsky, Helen Cacia, Charles Franklin Chamberlain, 1871-1947. Publication available on the Internet: by Shutterfly, 2016. Submitted by Edward P. Bentley, Art Researcher and Historian, Greenville, Michigan. crayon on paper 11" x 17", 20" x 26 1/2" (frame) Provenance: Charles Franklin Chamberlain was born June 12, 1871 in Webster Township, Washtenaw County, Michigan to Benjamin Franklin and Almira (Taylor) Chamberlain. He died March 19, 1947 in Pinckney, Livingston County, and is buried in Dexter, Michigan. He married Cacia Smith Curtiss of Fowlerville, Michigan on April 7, 1912. Cacia was a school teacher in Howell.Charles studied in Chicago, Detroit, New York, and Paris. Charles attended art school at the Detroit Academy, and in 1892-93 went off to study at the Art Students League of New York. It was in Detroit as well as in New York that Charles made many connections in the art world and soon was determined to make his way to Paris to further his studies. Charles' first trip to France was in 1894 and he concentrated his studies at the Academic Julian, Montmartre, Paris as well as at the newer Aman-Jean School. He spent several years in France studying under the old masters, following the impressionist influence of the time.Charles traveled extensively. His home was located near Dexter, Michigan where he operated a chicken and honey farm, being an early practitioner of the concept ???artificial hatching???. In 1919 he received an appointment as instructor in Architectural Drawing, College of Engineering, University of Michigan. He was a member of the Independent Order of Odd Fellows. His later years included overseeing the three Chamberlain farms in Webster Township, as his two brothers had preceded him in death. At the age of 66 he sold out, retired, and bought a home a few miles down the road in the village of Pinckney. There he died at the age of 75.Charles studied in Chicago, Detroit, New York, and Paris. Charles attended art school at the Detroit Academy, and in 1892-93 went off to study at the Art Students League of New York. It was in Detroit as well as in New York that Charles made many connections in the art world and soon was determined to make his way to Paris to further his studies. Charles studied in France 1894-1897 and 1907-08 and he concentrated his studies at the Academic Julian, Montmartre, Paris as well as at the newer Aman-Jean School.
Guy Pène du Bois (American/New Orleans, 1884-1958) , "Flowers", 1943, oil on canvas, signed and dated lower right, "James Graham & Sons, New York" label with artist, title and date, 2 handwritten labels and "Shannon's" label on stretcher, 20 1/8 in. x 16 1/8 in., framed Provenance: Collection of Allison Kendrick, The Carroll-Crawford House, New Orleans. Note: A keen observer of class dynamics, Guy Pène du Bois built a successful artistic career documenting the bourgeois lives of the Parisians and Americans he encountered throughout his lifetime. Born to Louisiana writer and journalist, Henri Pène du Bois, Guy inherited his father?s enthusiasm for the French language and culture. In 1905, after spending his early career studying under Robert Henri and William Merritt Chase and alongside fellow students George Bellows and Edward Hopper, he traveled to Paris with his father where his work was exhibited in the Paris Salon for the first time that same year. Due to his father falling ill, he was forced to return to New York in 1906. There, he would go on to become an art critic for the New York Tribune and remain involved in the local art scene, even helping to organize the 1913 Armory Show, which included several of his works. Du Bois would return to Paris in 1924 for a few years to focus on painting, before settling in New York once again to teach at his own art school and the Art Students League in New York. While he was known primarily as a satirist of social scenes, du Bois? painting on offer here is a rare and tender still life. The pink, white and red tones of the flowers glow against the saturated blue background, and the artist?s expert and effortless brushwork is demonstrated in the shading of the vase and the petals of the flowers. Painted later in his life, this 1948 composition is a haunting example of du Bois? mature talent. Ref.: Torchia, Robert. ?Guy Pène du Bois?. National Gallery of Art. Aug. 17, 2018. www.nga.gov. Accessed: Oct. 11, 2021.
VASARELY, VICTOR (Pécs 1906 - 1997 Paris) Kartons. 1974. Oil on canvas. Signed lower right: Vasarely. Also signed, dated, inscribed and with number 2828 verso. 80 x 80 cm. Monsieur Pierre Vaserly, has confirmed the authenticity of this work, Aix-en-Provence, October 2009.
BONNE, Rigobert (1727-1794) - Guillaume RAYNAL (1713-1796)
Atlas de toutes les parties connues du globe terrestre. [Geneva: Jean-Leonard Pellet, 1782?].
4to (255 x 213 mm). Half-title, 24pp. text, 50 hand-colored engraved maps. (Lacks folding tables, some light spotting or offsetting.) Later quarter brown morocco, marbled boards. A fine copy of the atlas to accompany Raynal's L'Histoire Philosophique et Politique des Etablissemens et du Commerce des Europeens dans les Deux Indes, comprising maps by Bonne engraved by Andre.
[Tipped in:]
6 engraved maps hand-colored in outline, comprising: VAUGONDY, Robert de, after. Partie Occidentale de la Carte des Anciennes Monarchies. Paris: Delamarche and Dien, ca 1800. - VAUGONDY, Robert de, after. Partie Orientale de la Carte des Anciennes Monarchies. Paris: Delamarche and Dien, ca 1800. - SANSON, Nicolas, after. Imperii Romani Occidents seilicet et Orientis Tabula.. Paris: Delamarche, n.d. - DELISLE, Guillaume, after. Carte General de la Syrie Palestine Isle de Chypre. Paris: Delamarche, 1764 or later. - Imperii Occidentis Tabula synoptica. N.p.: n.p., n.d. - VAUGONDY, Robert de, after. Carte Générale de l'Amérique divisée en ses principaux états. Paris: Delamarche, 1821.
Paris Cobalt and Gilt Porcelain Corbeille, early 19th c., marked "Manufacture/ de S.M. L'Imperatrice/ P.L. Dagoty/ a Paris", reticulated navette form, intertwined dolphin standard, rectangular plinth base, h. 12 1/4 in., w. 16 1/2 in., d. 9 in. Ref.: Guillebon. Paris Porcelain, 1770-1850. pp. 222-231, mark ill. p. 331, fig. 65.
P. LA COSTE. A Paris Street, signed, oil on panel, 10 x 8 in
George Peter Alexander Healy (American/New Orleans, 1813-1894), "Portrait of a Gentleman, probably Baron Georges-Eugène Haussmann", oil on canvas laid on board, signed "G.P.A. Healy, 1855" lower right, 49 1/4 in. x 35 1/4 in., unframed. $3000/5000 Note: George Healy frequently visited Paris during his lifetime: King Louis Philippe commissioned him to paint portraits in the 1840s, and Healy and his wife lived in Paris from 1853-55. In 1853, Haussmann was appointed Prefect of the Seine and elevated to commander of the Legion of Honor. It is likely that Healy and Haussmann met in Paris and that Haussmann may have commissioned a portrait by Healy to celebrate his new position in the Second Empire and the beginning of the construction of a new Paris. Appointed by Napoleon III to update the infrastructure of the city of Paris, Haussmann began this arduous task that was to become his legacy in 1853. Although his claims to a baronetcy are arguable, Haussmann maintained an air of aristocracy by calling himself "Baron." Additionally, he was highly decorated with many foreign crosses and medals due to his position as Prefect of the Seine. Gustave Claudin, a contemporary of Haussmann's, observed in his writings that Haussmann's coat was usually covered with crosses and medals. The man in this portrait similarly displays ten crosses on his coat, including the French Legion of Honor, the Russian Order of St. Anna, and the Turkish Order of the Medjidie. Although an idealized portrait, the facial features of this sitter indicate a remarkable similarity to those of Haussmann, including the high forehead, the straight, pointed nose, and the distinctive beard without a moustache that Haussmann wore into the 1860s. The "Haussmannisation" of Paris, which included the widening of the streets into grand boulevards, the establishment of sewers for sanitation purposes, the organization of the city into the twenty arrondissements that still exist today, and the addition of parks and monuments, truly shaped the medieval city of Paris into the modern urban metropolis that we know today. References: De Mare, Marie. G. P. A. Healy, American Artist: An Intimate Chronicle of the Nineteenth Century. David McKay Company, New York, 1954. Jordan, David P. Transforming Paris: The Life and Labors of Baron Haussmann. The University of Chicago Press, Chicago, 1995.
Fernand Fernel (Belgian, 1872-1934)
Sodanite, c. 1900
Lithograph in colors on wove paper, printed by P. Vercasson & Cie, Paris, with margins, in apparently good condition aside from the usual folded creases, few spots of foxing, inkstamp in models right forearm, framed (not examined out of frame).
sight 49 x 36in
Johann Samuel Arnhold (1766-1828): Study of Flowers in a Basket: Johann Samuel Arnhold (1766-1828): Study of Flowers in a Basket Gouache on paper, signed 'Arnhold' lower right. 12 1/2 x 16 1/2 in. (sheet), 19 x 22 1/2 in. (frame). p>Sold Christie's, Paris, March 17, 2005, lot 265; Kate de Rothschild, London. Condition Mat staining and some rubbing at the sheet edges under the mat. A repaired tear lower left corner, backed. Sheet edges backed with brown paper tape on the reverse. Otherwise in good condition. Not withstanding this report or any discussion concerning condition of a lot, all lots are offered and sold "as is" in accordance with our conditions of sale.
? SAMUEL JOHN PEPLOE R.S.A. (SCOTTISH 1871-1935) STILL LIFE WITH WHITE JUG AND PEARS
Signed, oil on canvas
18in x 16in (45.7cm x 40.7cm)
Provenance: Sotheby’s Gleneagles, Scottish and Sporting Pictures and Sculpture, 2 September 1998, lot 1479, as ‘Still Life with Pears (The White Jug)’
Portland Gallery, London
Exhibited: London, Portland Gallery, The Scottish Colourists, 14 June-19 July 2002, no.52
London, Portland Gallery in association with The Scottish Gallery, Edinburgh, S. J. Peploe (1871-1935), 7-29 November 2012, no.18, Ill.col.p.29.
Still Life with Jug and Pears of c.1925 reveals Peploe’s mastery of the still life genre, which came to maturity in his practice during the 1920s. He summed up his dedication to the theme, even beyond the landscapes and portraits for which he is also celebrated, in 1929, when he declared: ‘there is so much in mere objects, flowers, leaves, jugs, what not – colours, forms, relation – I can never see mystery coming to an end.’[i]
The still life was the primary focus of the work made in his longest-serving studio, at 54 Shandwick Place in Edinburgh’s West End. Peploe moved there in 1917 after it was vacated by his friend, the artist James Paterson and maintained it until a move to nearby Castle Street in 1934. The Director of the National Galleries of Scotland, Stanley Cursiter, described it thus: ‘the room had a large, high and well-placed window. The scheme of decoration was…kept in a very light key and he surrounded himself with brilliant colours.’[ii]
As Roger Billcliffe has explained: ‘Peploe set himself as a target the perfect still-life painting. It had been his first love and his first serious achievements had been in still-life. His temperament made him ideally suited to the task. His calm reasoning and thoughtful manner enabled him to make a careful analysis of the problems which face the still-life painter and he set about resolving them.’[iii]
A sense of this dedication is clear in a description of visiting Peploe in his studio by his niece, Margery Porter: ‘How well I recollect my Mother and myself climbing those steep stairs and arriving panting at the top to ring his bell in fear and trembling lest our climb had been in vain. But usually he would usher us in wearing a white painting coat and a crownless hat…The studio was a large one, round which I would prowl entranced, after strict warnings not to disturb the still-life group which would almost inevitably be covering the table. My uncle would arrange and re-arrange these groups for perhaps three days before he was satisfied that the balance and construction were perfect, then he would paint them quite rapidly.’[iv]
Alongside a cast of cherished objects, including jugs, plates, bowls and various lengths of fabric, Peploe would introduce flowers or fruit to his still lifes according to the season. The apples and pears of Still Life with Jug and Pears would suggest that it is an autumnal painting. This caused some consternation amongst the purveyors of such produce, as explained by Cursiter: ‘When he selected his flowers or fruit from a painter’s point of view he presented a new problem to the Edinburgh florists. They did not always understand when he rejected a lemon for its form or a pear for its colour and he remained unmoved by their protestations of ripeness or flavour.’[v]
Still Life with Jug and Pears contains all the hallmarks of Peploe’s work of the mid-1920s as he developed from the highly-complex and high-pitched still lifes of earlier in the decade and progressed towards the more raw and expressive style of the early 1930s. There is an overall feeling of dignity in the arrangement, subtle palette and natural lighting of this painting. The depiction of the pears in the foreground is a masterclass in perspective, whilst the warm tones of the apple to the right provide the colour focal point of the composition.
Peploe’s enduring interest in the work of Paul Cézanne is clear, for example in the strength of form created by defined planes of colour, particularly in the fruit. Deliberately distinct brushstrokes convey shadow and reflection. The arrangement of objects is asymmetrical yet perfectly balanced, presided over by the jug. The edge of the table on which they are presented is aligned to the lower horizontal plane of the canvas, as Peploe skilfully plays with notions of reality and representation. Moreover, the cropping, such as of the dish on the left, suggests the space beyond the table and the frame.
Peploe was to explore these concerns further in works such as the related and slightly later Still Life with Jug and Grapes (The Courtauld, London, acc.no. P.1992.XX.1). In this painting, the same jug has taken centre stage in the foreground, drapery plays a more significant role on the table-top and Peploe has extended the sense of distance by including a covered chair in the background. The poise and classical simplicity of Still Life with Jug and Pears has given way to a less polished vigour.
Still Life with Jug and Pears dates from a particularly propitious period in Peploe’s career. During the 1920s his reputation was cemented in Scotland and spread to London, Paris and New York. He had regular solo exhibitions at The Scottish Gallery in Edinburgh and La Société des Beaux-Arts in Glasgow. When the latter business merged with the Lefèvre Gallery in London in 1926, Peploe’s work was also shown there.
In 1923, paintings by Peploe, Cadell and Hunter were shown at the Leicester Galleries in London and again in 1925, joined by the work of John Duncan Fergusson. The four artists were celebrated in an exhibition at the Galerie Barbazanges, Paris in 1924, from which a painting by Peploe was acquired for the French national collection. In 1927, he was elected a full member of the Royal Scottish Academy and the Tate acquired one of his still lifes, meaning that he was represented in the British national collection. In 1928 a solo exhibition of his work was staged at the C. W. Kraushaar Galleries, New York and a room was dedicated to his work in the newly extended Kirkcaldy Museum and Art Gallery.
Corsan Morton, Curator at Kirkcaldy, summed up Peploe’s achievements of the period in his catalogue foreword: ‘It is in his still lifes, his arrangements of flowers, fruit, utensils and so on, that he has of late years achieved a very definite personal style of great beauty, which places him in a class by himself…He handles with distinction everything he touches.’[vi]
[i] As quoted in Stanley Cursiter, Peploe: An Intimate Memoir of an Artist and of his Work, Edinburgh 1947, p.73.
[ii] Cursiter, op.cit., p. 41.
[iii] Roger Bilcliffe, The Scottish Colourists: Cadell, Fergusson, Hunter, Peploe, London 1990, p.51.
[iv] As quoted in Alice Strang et al, S. J. Peploe, Edinburgh 2012, p.23.
[v] Cursiter, ibid., p.55.
[vi] As quoted in Cursiter, ibid., p.63.
Paul Sormani Louis XVI-style Mahogany, Burlwood-veneered, and Ormolu-mounted Game Table: Paul Sormani Louis XVI-style Mahogany, Burlwood-veneered, and Ormolu-mounted Game Table, France, c. 1900, top with panel of bookmatched burlwood set in an inlaid frame of satinwood, ebony, and mahogany, cast bronze edge, opens to felt playing surface, turned legs with burlwood inlay and ormolu mounts, cylindrical feet, two rear legs pull out to reveal narrow drawer and support top, brass maker's label "P. Sormani Rue Charlot Paris, " ht. 29 1/2, wd. 37, dp. 18 1/2 in. . Estimate $2, 000-4, 000 . . Minor age expected wear, wear to felt. . . . Items may have wear and tear, imperfections, or the effects of aging. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Skinner shall have no responsibility for any error or omission.
Jürgensen (Urbain) Principes Généraux de l'Exacte Mesure du Temps par les Horloges first edition with half-title and table at end but lacking the 19 plates p.239 with marginal tear repaired washed modern marbled boards preserving old paper label on spine green edges [Bromley 499; Tardy p.144] Copenhagen 1805; Principes de l'Exacte Mesure du Temps par les Horloges Atlas only second edition 17 engraved plates after Louis Urbain Jürgensen (as issued despite 19 plates in first edition) some foxing all water-stained original lilac printed wrappers folded faded and stained a few small tears at edges [Tardy p.144] oblong folio Paris and St.Petersburg 1838; Allgemeine Grundsätze der genanen Zeitmessung durch Uhren lacking plates severely foxed ex-library copy with old ink stamps modern half calf red calf labels [Tardy p.144] Leipzig 1840; and a bound extract of an article by Charles Kalish on the Jürgensen Dynasty (damp-stained) and a folder of photocopied material including the 19 plates from the 1805 edition 4to & oblong folio (5)
After Auguste-Hyacinthe Debay (French, 1804-1865): After Auguste-Hyacinthe Debay (French, 1804-1865). Le berceau primitif: Eve et ses deux enfants, 1846. bronze. inscribed A. Debay and dated, with F. Barbedienne Fondeur foundry mark and Reduction Mecanique A. Collas seal. Height 23 x width 7 1/8 x depth 8 3/4 inches. . Literature:. Lami, Stanislas. Dictionnaire des sculpteurs de l'ecole francaise au dix-neuvieme siecle. Paris, 1916, pp. 132-134. "The Great Exhibition and its Results, " vol. XIX, The Illustrated London News, October 11, 1851, p. 465, no. 523. . Catalogue Note:. Auguste-Hyacinthe Debay was primarily recognized as a painter during his lifetime, with less than twenty documented sculptures in his body of work. His relatively meager output of sculpture was met with great acclaim, however, with the fountains in the Place de la Concorde and the facade of the Ecole des Beaux-Arts in Paris among his illustrious commissions. Le Berceau primitif made its debut at the Paris Salon of 1845, and depicted Eve cradling her infant sons Cain and Abel. This idealized and intimate moment of maternal affection and domestic tranquility captured in carved marble stood in poignant contrast to the ultimately violent and tragic fate of the two brothers. This contradiction was explicitly rendered in bas-relief along the base of the sculpture, an ominous portent of patricide and original sin. Following its debut at the Salon of 1845, the sculpture was further exhibited at the Great Exhibition of 1851 in London and the Exposition Universelle of 1855 in Paris. href="https://hindmanauctions. com/gavelizer/receipts/296410/2#_ftn1">[1] The Illustrated London News covered the Great Exhibition of 1851, and its review of Debay's "Eve" as they designated it, is worth rehearsing in full: "We have already, in our concluding article on sculpture, favourably noticed the very masterly group of Eve, with the infant Cain and Abel in her lap, exhibited in the Gobelins room, by M. Debay. The idea is poetical and picturesque, and is ably carried out. The First Mother appears to be lost in a revery as to the future destinies of her offspring, the principal incidents of which are foreshadowed to the spectator in the bas-relief sculptures on the pedestal. All things considered, we should be inclined to pronounce this to be one of the finest works of sculpture in the Exhibition. Some people have given it the fanciful title of the "First Cradle" but as that does not do justice to the poetic mystery involved in the conception, we prefer the simpler title by which we have denoted it. " According to Stanislas Lami, the French sculptor and art historian, the sculpture was ultimately purchased by Anatoly Nikolaievich Demidov, First Prince of Donato, and was sold at auction, along with the rest of the Demidov collection, in Florence at the Villa San Donato, the family palace, in 1870 for 13, 500 francs. The present whereabouts of the original sculpture are unknown. "Auguste-Hyacinthe Debay (French, 1804-1865). " Dahesh Museum of Art. https://www. daheshmuseum. org/portfolio/auguste-hyacinthe-debaythe-first-cradle-eve-and-her-two-children/#. XzWbz-hKjIV. "The Great Exhibition and its Results" vol. XIX, The Illustrated London News, October 11, 1851, p. 465, no. 523. Lami, Stanislas. Dictionnaire des sculpteurs de l'ecole francaise au dix-neuvieme siecle. Paris, 1916, p. 133. Condition . For condition inquiries please contact fdcr@hindmanauctions. com
Paul Sormani Napoleon III Kingwood Bureau Plat: lock plate signed "P. SORMANI (1817-1877) PARIS, 10 rue Charlot", third quarter-19th century; black leather writing surface surrounded by shaped ormolu mounted edge, three parquetry drawers in shaped 6 inch apron, four cabriole legs with mounted ormolu chutes and sabots, three false drawers in verso, 29 in. H. , 51 in. L. , 29 1/2 in. W. Condition Age appropriate wear, sun fading to one side, veneer losses
§ JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961)
ROYAN, 1909 oil on board, signed, inscribed and dated verso26cm (10 1/4in), 34cm (13 1/2in)Fergusson painted Royanduring the exceptional period when he lived in France from 1907 until 1914. More than any other British artist, he played a part in the heady creative circles of Paris’s pre-war art world and whilst there made the works on which his international standing is based.Following sporadic attendances at the Académies Colarossi and Julian in the French capital in the late 1890s, Fergusson began his career in Edinburgh. His first solo exhibition was held at the Baillie Gallery in London in 1905. However, as Alice Strang has explained: ‘An increasing interest in developments in contemporary art in Paris and parallel frustration with the conservatism of the art world in Scotland, an inheritance following his father’s death in 1906 and the start of his relationship with the painter Anne Estelle Rice (1877-1959) in Paris-Plage in 1907, culminated in Fergusson’s decision to move to Paris later that year.’ (1)Fergusson declared ‘Paris is simply a place of freedom’ and established himself in a studio in Montparnasse. (2) First-hand experience of the very latest developments in French art, such as those made by the Fauve artists Henri Matisse, André Derain and Kees van Dongen, had an immediate and dramatic effect upon his work, as can be seen in Royan. This encompasses the bold colour, simplification of form and expressive technique which signalled Fergusson’s progression from the Edwardian sophistication of his earlier work to the forefront of the avant-garde.Royan dates from a key year in Fergusson’s career. In 1909 he exhibited at the Venice Biennale for the first time and moved to the inspiring environment of a new light and orderly studio, in the rue Notre Dame des Champs. Moreover, as Kirsten Simister has written: ‘Fergusson’s artistic confidence and ambition reached an all-time high in 1909 when he was elected a Sociétaire of the Salon d’Automne and given an entire wall for his exhibits.’ (3) Election to this progressive exhibiting society was recognition by Fergusson’s peers of his contribution to the modern movement and he recalled: ‘To me, considering myself a revolutionary, this was a very great honour…it had the effect of confirming my feeling of independence, the greatest thing in the world, not merely in art but in everything.’ (4) Rice received the same honour the following year and together they became key figures in the celebrated group of Anglo-American artists who, for example, founded the cutting-edge journal Rhythm in 1911. After three years of encouragement from Fergusson, his fellow Scottish Colourist Samuel John Peploe moved to Paris in 1910, where he lived for two years.Simister continues: ‘In both 1909 and 1910 Fergusson, Peploe and Rice spent summer holidays together painting in Royan and nearby Saintonge, on the west coast of France. The sea and harbour inspired a number of small paintings made outdoors, which make use of stronger colour to heighten the emotional impact and mood of the scene…[Some]…indicate a tighter, more structured organisation of composition, a feature which became more pronounced over the years to come.’ (5) Fergusson had long been stimulated by working en plein air, in locations as varied as Princes Street Gardens in Edinburgh, the Scottish island of Islay and during summer painting trips to France with Peploe from 1904 to 1907. His enjoyment of responding directly and spontaneously to light and weather conditions, as well as to architectural and natural features, is clear in many of the paintings he created outdoors.In 1913, Fergusson left Paris in search of ‘more sun, more colour’ and settled on the Cap d’Antibes. (6) Due to the outbreak of World War One he moved to London, but returned to the French capital for a decade from 1929. World War Two prompted a move to Glasgow, where Fergusson died in 1961.(1) Alice Strang et al, D. Fergusson, Edinburgh 2013, p.16.(2) J. D. Fergusson, Modern Scottish Painting, Glasgow 1943, p.70.(3) Kirsten Simister, Living Paint: J. D. Fergusson 1874-1961, Edinburgh 2001, p. 39.(4) J. D. Fergusson quoted by Margaret Morris in The Art of J. D. Fergusson: A Biased Biography, Glasgow 1974, 2010 edition, p. 53.(5) Simister op.cit., p. 42.(6) J. D. Fergusson, ‘Memories of Peploe’, Scottish Art Review, vol. viii, no.3, 1962, p.31.
Péron, François & Freycinet, Louis
Voyage de découvertes aux terres Australes exécuté par ordre de sa Majesté l'Empereur et Roi, sur les corvettes le Géographe, le Naturaliste et la Goëllette Le Casuarina pendant les années 1800, 1801, 1802, 1803 & 1804. Paris: l'Imprimerie Impériale, 1807-1816. 2 volumes, 4to, [viii (including errata & blank leaf), xv, 496; xxxii, 471], half-titles, engraved portrait, 2 folding tables, some spotting; [with:] Partie historique rédigée par M.F. Péron. Atlas par M.M. Lesuer et Petit. [Paris, undated]. 4to [345 x 252mm.], engraved title and 40 engraved plates [comprising plates 2-41, plate 1 of part 1 being also no. 1 of part 2], 23 coloured, 2 folding, occasional very slight spotting; Atlas. Deuxième partie. Paris, 1811. 4to, engraved title and 14 engraved maps, 2 folding, (small tear at one fold), slight spotting to a few maps;
With
Freycinet, Louis Voyages de découvertes aux terres australes... Navigation et géographie. Paris: l'Imprimerie royale, 1815. 4to, [xvi, 576, [ii]; [with:] Atlas [Partie navigation et historique]. Folio, (565 x 447mm.), engraved title, 32 engraved charts, 25 double-page; Historique. Atlas, deuxieme partie. Paris, 1811. Folio (580 x 410mm.) Engraved title, 14 engraved charts, 2 double-page, mounted on guards, all contemporary quarter red morocco with marbled boards, Northern Light Board gilt stamp at head of spines, Northern Light Board stamp on verso of titles, bindings slightly rubbed and scraped, atlases worn at head and foot of spine, lower joint to 1st atlas partly split, clean horizontal tear to spine, light spotting to a few charts, intermittent foxing to text volumes (7)
Note: First editions. A very attractive set of the complete account of Nicolas Baudin's expedition to Australia with the first detailed and complete map of the Australian continent. Sent by the French government in 1800, with orders to complete the survey of the coasts of Australia, Baudin employed Péron as a naturalist and Freycinet as cartographer.
The expedition reached Van Dieman's Land in 1802 which they surveyed before sailing for Sydney where they spent six months. The expedition then surveyed the entire southern coast of Australia before returning to Mauritius where Baudin died in late 1803. As Péron died before publication was complete the work was finished by Freycinet.
Ferguson 449; 536 and 603; Hill, pp.229-230.
Early First Day Covers, Edward VII, special 1924 Wembley P/Stat. cover with Paris Air First Trip cancel, one d half-penny stamp, 1935 S/Jub. plain, over 40 items
B.P. Grimaud Imperial and Royal playing cards Paris, circa 1858. Comprising a complete deck of 52 hand-colored etched cards. Depicting the Imperial and Royal rulers and their consorts of France, England, Austria and Russia. Ace cards are shown with the coat of arms. Knave of clubs reads "B.P. Grimaud et Cie, Paris" and ace of clubs "Imp. F. Chardon ainè r. Hautefeuille, 30, Paris", 3 1/4 in. H, 2 1/8 in. W
Provenance: Harrie A. Kenter, Amsterdam, The Netherlands
Condition: Additional comments added on 8/17/17: Complete deck-no missing cards. Bulk design is blue and is visible in the photo
Additional comments added on 8/14/17: 48 cards, dirt from wear and use
Wear, rubbing, and smudges consistent with wear and blue reverse. Without rips or tears. Rulers include Napoleon III and Empress Eugenie, Queen Victoria and Prince Albert, Frans Joseph and Empress Elisabeth, Tsar Alexander II and Tsarina Maria Alexandrovna.
SIX CENTRE NATIONAL DE LA RECHERCHE SCIENTIFIQUE BOOKS: MUSICK'S MONUMENT, THOMAS MACE VOLS I & II; MUSIQUE DES INTERMEDES DE LA PELLEGRINA; MUSIQUE DE LA TROUPE DE SHAKESPEARE; LA RESONANCE DANS LES ECHELLES MUSICALES,Six Centre National De La Recherche Scientifique books: Musick's Monument, Thomas Mace Vols I & II; Musique des Intermedes de la Pellegrina; Musique de la troupe de Shakespeare; La Resonance Dans Les Echelles Musicales, La Representation D'edipo Tiranno. From the personal collection of Maestro Raymond Leppard (1927-2019). Full Description of Books: Collection "Le Choeur Des Muses," Thomas Mace Musick's Monument, Reproduction en fac-simile Volume 1, Editions Du Centre National De La Recherche Scientifique, Paris, VII, 1963 and Volume II with Commentaire par Jean Jacquot, Transcriptions par Andre Souris, 1966 Les Fetes Du Mariage de Ferdinand de Medici et de Christine de Lorraine, Florence 1589, I Musique Des Intermedes De "La Pellegrina," Edition Critique par D. P. Walker, Etudes par Federico Ghisi et D. P. Walker, Notes critiques par D.P. Walkder et J. Jacquot, Paris VII, 1963 Colloques Internationaux du Centre National De La Recherche Scientifique Sciences Humaines, La Resonance Dans Les Echelles Musicales, Paris, 9-14 Mai, 1960, Etudes reunies et presentees par Edith Weber, Paris VII, 1960 La Musique De Scene De La Troupe De Shakespeare, The King's Men Sous le regne de Jacques Ier, Edition Critique par John P. Cutts, Preface par Allardyce Nicoll, Editions Du Centre National De La Recherche Scientifique, Paris, VII, 1960 La Representation De'Edipo Tiranno Au Teatro Olimmpico, (Vicence 1585) par Leo Schrade, Etude suivie d'une edition critique de la tragedie de Sophocle par Orsatto Giustiniani et de la musique des choeurs par Andrea Gabrielie, Editions Du Centre National De La Recherche Scientifique, Paris, VII, 1960 1"H x 6 1/2"W x 9 3/4"D (Thomas Mace Musick's Monument Vol !) Dimensions: 1"H x 6 1/2"W x 9 3/4"D (Thomas Mace Musick's Monument Vol !)
VARIOUS BOOKS
ON LALIQUE AND SCENT BOTTLES Invitation to an exhibition 17/8/28Catalogue des Verreries de René Lalique, Paris, March 1932Noel 1934 catalogueMorrison McClinton, K., Lalique for Collectors, New York, 1975Lalique par Lalique, Paris, 1977Morrison McClinton, K., Introduction Lalique Glass, Iowa, 1978Arwas, V., Lalique, London, 1980Garner, P. Glass 1900 Gallé, Tiffany and Lalique, London, 1984Martin, H., A Collection of Figural Perfume & Scent Bottles, Lancaster, 1982Jones-North, J., Perfume, Cologne and Scent Bottles, West Chester, 1986Opalescence Le Verre Moulédes Annes 1920-1930, Banque Bruxelles-Lambert, Brussels, 15 October-29 November 1986Jones-North, J., Commercial Perfume Bottles, West Chester, 1987RenéLalique, maître-verrier, Tokyo Metroplitan Teien Art Museum, 5 April – 29 May 1988Barten, S., RenéLalique Schmuck und Objets D’art 1890-1910, Bonn, 1989Lalique, Beaux Arts, Paris, 1991RenéLalique, Musée des Art décoratifs, Paris, 1991Exhibition of RenéLalique, Odakyu Museum, 28 July – 15 August 1993Mayer Lefkowith, C, The Art of Perfume Discovering and Collecting Perfume Bottles, London, 1994Barille, E., Coty Parfumeur and Visionary, Paris, 1996RenéLalique Flacons 1910-1935, Museum Bellerive, Zurich, 22 May 1996 – 2 March 1997Brunhammer, Y., The Jewels of Lalique, Paris, 1998Collection of the RenéLalique Museum, René Lalique Museum, Suwa, Japan, 2000Zolomij, J. J., Lalique Automobile Mascots, The Ele Chesney Collection, Philadelphia, 2002Warmus, W., The EssentialRenéLalique, New York, 2003Marcilhac, F., R. Lalique 1860-1945 maître-verrier analyse de l’œuvre et catalogue raisonné, Paris, 2004Mortimer, T., Lalique Jewellery and Glassware, London, 2005Thiébaut, P., RenéLalique Correspondance d’un Bijoutier Art Nouveau 1890-1908, Lausanne, 2007Hatch, C., Déco Lalique, Creator to Consumer, Toronto, 2007Passos Leite, M. F., RenéLalique at the Calouste Gulbenkian Museum, Lisbon, 2008Harrison, S., Ducamp, E., Falino, J., Artistic Luxury Fabergé, Tiffany, Lalique, Cleveland Museum of Art, Yale, 2008 TWO COPIESMaritch-Haviland, N. and de Léobardy, C., Lalique-Haviland-Burty Family Portraits, Paris, 2009RenéLalique: A Retrospective, The National Art Centre Tokyo, 24 June -7 September 2009Stamelman, R., Perfume, Joy, Obsession, Scandal, Sin, A Cultural History of Fragrance from 1750 to the Present, New York, 2009Lalique Vases, The New Zealand Collection of Dr Jack C. Richards, Auckland, 2011Booji, L., Lalique in Nederland, The Hague, 2013(33)
Books: Fine art furniture decorative arts and travel guides Bernier Rosamond. MATISSE PICASSO MIRO: AS I KNEW THEM. New York: Alfred A. Knopf 1991. Bridgman George B. BRIDGMAN'S LIFE-DRAWING. London: John Lane the Bodley Head Limited 1926. Neuhaus Eugen. WILLIAM KEITH: THE MAN AND THE ARTIST. Berkeley California: University of California Press 1938. Peters Harry T. CURRIER & IVES: PRINTMAKERS TO THE AMERICAN PEOPLE. Garden City New York: Doubleday Doran & Co. Inc. 1942. Walker Phoebe Flory (et al). WATERCOLOR PORTRAITURE. New York: G.P. Putnam's Sons 1949. Watson Ernest W. COLOR AND METHOD IN PAINTING: AS SEEN IN THE WORK OF 12 AMERICAN PAINTERS. New York: Watson-Guptill Publications Inc. 1946. Weisberg Gabriel P. ART NOUVEAU BING: PARIS STYLE 1900. New York: Harry N. Abrams Inc. 1986. Conrad Barnaby (et al). INTERVIEWS WITH MASTER PHOTOGRAPHERS. New York: Paddington Press Ltd. 1977. Signed by author. Conrad Barnaby. JOHN REGISTER. San Francisco: Chronicle Books 1989. Signed by author. Fowler Don D. THE WESTERN PHOTOGRAPHS OF JOHN K. HILLERS. Washington & London: Smithsonian Institution Press 1989. ARCHITECTURAL MONOGRAPHS: JOHN SOANE. London: Academy Editions 1983. Inscribed: For Millei From the author London April 1984. Chaffers William. MARKS AND MONOGRAMS ON EUROPEAN AND ORIENTAL POTTERY AND PORCELAIN. California: Borden Publishing Co. 1946. With dustjacket. Giacomotti Jeanne. FRENCH FAIENCE. New York: Universe Books 1963. 1st edition. With dustjacket. Honey William Boyer. EUROPEAN CERAMIC ART FROM THE END OF THE MIDDLE AGES TO ABOUT 1815: A DICTIONARY OF FACTORIES ARTISTS TECHNICAL TERMS ET CETERA. London: Faber and Faber Limited 1952. With dustjacket. Schmidt Robert. EARLY EUROPEAN PORCELAIN AS COLLECTED BY OTTO BLOHM. Munchen: F. Bruckmann 1953. Limited edition 355/1500. With dustjacket. Tilmans Emile. PORCELAINES DE FRANCE. Paris: Editions Mondes 1953. CORONATION EXHIBITION:1953. London: The Antique Porcelain Co. Ltd. 1953. IRO-NABESHIMA: THE COLOURED NABESHIMA CERAMIC WARE. Japan: Heian-Do 1954. Limited edition. With dustjacket. STAATLICHE PORZELLAN-MANUFAKTUR: MEISSEN. Berlin:1978. Pamphlet. Aronson Joseph. THE ENCYCLOPEDIA OF FURNITURE. New York: Crown Publishers 1949. Jarry Madeleine. LE SIEGE EN FRANCE: DU MOYEN AGE A NOS JOURS. Paris: Paul Hartmann 1948. With glycin book cover. Oglesby Catharine. FRENCH PROVINCIAL DECORATIVE ART. New York: Charles Scribner's Sons 1951. With dustjacket. Viaux Jacqueline. FRENCH FURNITURE. New York: G.P. Putnam's Sons 1964. With dustjacket. Watson F. J. B. FURNITURE: TEXT WITH HISTORICAL NOTES AND ILLUSTRATIONS. London: William Clowes and Sons Ltd. 1956. M. HARRIS & SONS CENTENARY BOOK. London: M. Harris & Sons 1968. Limited edition numbered 121. Barton John. THE HOLLOW CROWN: THE FOLLIES FOIBLES AND FACES OF THE KINGS AND QUEENS OF ENGLAND. London: Hamish Hamilton 1971. With dustjacket. Fillitz Hermann. SCHATZKAMMER: THE CROWN JEWELS AND THE ECCLESIASTICAL TREASURE CHAMBER. Vienna Kunsthistorisches Museum 1963. Gudiol Jose. THE ARTS OF SPAIN. New York: Doubleday & Co. 1964. With dustjacket. Neuhardt Johannes. SALZBURGS ALTE SCHATZKAMMER: 11 JUNI BIS 15 SEPTEMBER 1967 IN DEN ORATORIEN DES SALZBURGER DOMES. Salzburger Domkapitel 1967. Steingraber Erich (ed). ROYAL TREASURES. London: Weidenfeld & Nicolson 1968. With dustjacket. Zucker Benjamin. GEMMES ET JOYAUX: MYSTERES PASSIONS MAGIES. Editions Saphir 1988. With dustjacket. LOUIS XIV FASTE ET DECORS: MAI-OCTOBRE 1960. Paris: Musee des Arts Decoratifs 1960. TREASURES OF BRITAIN AND TREASURES OF IRELAND. London: Drive Publications Ltd. 1968. 1st edition. With dustjacket. Together with pamphlet. THE COURT OF JEWELS: AN ASSEMBLY OF FABULOUS GEMS FROM THE WORLD-FAMOUS WINSTON COLLECTION. Ambriere Francis. LES GUIDES BLEUS: ALLEMAGNE REBUBLIQUE FEDERALE BERLIN; AUTRICHE; BOURGOGNE LYONNAIS; ITALIE; PORTUGAL MADERE ACORES; and YOUGOSLAVIE. Paris: Hachette 1962 65 68 70 & 72. (6 vols). Two with slipcases. Ambriere Francis. LES GUIDES BLEUS: HOLLANDE; GRECE; and EGYPTE. Paris: Hachette 1956. (3 vols). With dustjackets. Ambriere Francis. LES GUIDES BLEUS ILLUSTRES: VERSAILLES ET LES TRIANONS and MOSCOU LENINGRAD. Paris: Hachette 1953 & 63. (2 vols). Baedeker K. MIDI DE LA FRANCE; NORD-EST DE LA FRANCE; and SUD-EST DE LA FRANCE. Paris: Leipzig 1892 97 and 99. (3 vols). Champigneulle Bernard. VERSAILLES: LE CHATEAU LES JARDINS LES TRIANONS. Paris: Bordas 1949. Chettle G. H. HAMPTON COURT PALACE. London: Her Majesty's Stationery Office 1969. Clyne Douglas. YOUR GUIDE TO PORTUGAL. London: Alvin Redman 1965. With dustjacket. Delalle Ivo. TROGIR. Trogir: L' Association de Tourisme de la Commume de Trogir 1969. Foder Eugene (ed). FODER'S SCANDINAVIA 1970. London: Hodder and Stoughton 1970. With dustjacket. Gebelin Francois. THE CHATEAUX ON THE LOIRE. Paris: Editions Alpina 1950. Joffet Robert. BAGATELLE: HISTOIRE ET GUIDE. Paris: La Maison Rustique nd. Kininmonth Christopher. THE TRAVELLERS' GUIDE TO SICILY. London: Jonathan Cape 1972. Levron Jacques. ANGERS: SON CHATEAU SES MONUMENTS. Paris: B. Arthaud 1952. Muirhead L. Russell. SHORT GUIDE TO PARIS. London: Ernest Benn Limited 1951. With dustjacket. Pillement Georges. LES HOTELS DU FAUBOURG SAINT-GERMAIN. Paris: Editions Bellenand 1950. Segogne d' Henry De. LES CURIOSITES TOURISTIQUES DE LA FRANCE: SEINE ET OISE (2); EURE ET LOIR; and MANCHE. France: Kleber-Colombes 1952. (4 vols). With dustjackets. Vernes Suzanne. GUERMANTES. Paris: Editions Proba 1949. Author signed. ATLAS HISTORIQUE. Munich: Stock 1968. LES GUIDE LEBEY: DE RESTAURANTS DE PARIS. Paris: A. Leconte 1988. With dustjacket. Together with pamphlet. VERSAILLES. 1950-51. BUTTERFIELD & BUTTERFIELD: THE ESTATE OF MICHAEL TAYLOR: SAN FRANCISCO. 1987. With dustjacket. CHRISTIES INTERNATIONAL MAGAZINE: OCTOBER-NOVEMBER 1988; JANUARY-FEBRUARY 1989; and FEBRUARY-MARCH 1989. (3 vols). CHRISTIES: REVIEW OF THE SEASON: 1972-80 & 1988-89. (11 vols). With dustjackets. CHRISTIES: REVIEW OF THE YEAR: 1970/71. With dustjacket. CHRISTIES: CATALOGUE OF MAGNIFICENT JEWELS: 1969 & 1970. (2 vols). COLLECTION LADY KENT: ET A DIVERS AMATEURS. 1959. COLLECTION LOUIS MANTE. 1956. ETUDE COUTURIER-NICOLAY. 1983. SOTHEBY & CO: THIRY RENAISSANCE JEWELS AND WORKS OF ART FROM THE COLLECTION OF THE LATE ARTURO LOPEZ-WILLSHAW. 1970. With dustjacket. SOTHEBY & CO: THE RENE FRIBOURG COLLECTION (vols III & VII). With dustjackets. SOTHEBYS: PARKE BERNET LOS ANGELES: 1976. SOTHEBYS: THE IVORY HAMMER. (vols I & II). SOTHEBYS: THE JEWELS OF THE DUCHESS OF WINDSOR. 1987. With dustjacket. SOTHEBYS: THE PATINO COLLECTION. 1986. With dustjacket. THE BURLINGTON HOUSE FAIR. 1982. THE CONNOISSEUR YEAR BOOK: 1956. With dustjacket. THE GROSVENOR HOUSE ANTIQUES FAIR. 1984. VENTE DES FLORALIES. 1966. (97pcs) Provenance: From the literary collection of a titled French lady. 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MASSIVE MILITARY PHOTOGRAPHIC ARCHIVE, MOSTLY WWI-WWII, AMERICAN, ALLIED, GERMAN, JAPANESE.This archive is a lifelong collection of the consignor who has a publishing company and had hoped to publish photo history books utilizing images from this incredible archive. This dream never came to fruition and a change in life has instead led to the consignment of this treasured photoarchive. Archive consists of about 33,000 vintage and first generation photographic prints and 18,900 negatives, over 500 slides. Also included are five 8mm newsreel films, one 16mm newsreel film (original German newsreel footage of Fallshirmjager troops parachuting into Holland), 25 stereo-cards and miscellaneous ephemera belonging to photographers whose work is now preserved in this photoarchive including letters, correspondence and military service records. A large percentage of this archive is dedicated to WWI and WWII Air Corps and aviation. Many of the groupings are from professional American military photographers, German military photographers and soldiers in the field. A small percentage of this archive is made up of other content including trains, ships, cars (including 1919 Indy Race winners Ralph DePalma & Howdy Wilcox at a race on the Sheepshead Bay, NY track in their winning Indy car), Gar Wood & his co-pilot in executing an Oct. 1930 speed record run in the Harlem River as they ran the incredible speed boat, Miss America VIII, powered by twin Miller V16 supercharged engines, the 1939 World's Fair showing the Lifesaver parachute tower ride later used for paratrooper training at Ft. Benning and many portraits and landscapes of 19teens-1940s that would be perfect for publishers as well as movie costume and movie set designers. The images are concentrated in WWI-WWII era, but there are earlier photos and more military photos from Korean War and even Vietnam War. Many negatives included in this archive are large format and glass plates. Virtually all of the archive has been researched for the historical content, placed in acid free archival sleeves and boxes and labeled. All the 8x10 custom-made, wet-process prints were made by the consignor who has had fifty years of experience working in photo darkrooms. A partial summary of contents includes: WWI Aces Eddie Rickenbacker, Raoul Lufberry and photo positive of his death certificate; Douglas Campbell, Albert Ball-Victoria Cross (V.C.) (in his aircraft and with his squadron), William 'Billy' Bishop-V.C., Georges Guynemer, Irish Ace Edward 'Mick' Mannock-V.C., James McCudden-V.C., Frank Luke (known as the "Balloon Buster") ,WW1 German aces including Hermann Goering, Baron Manfred vonRichtofen (the Red Baron and photo of his death certificate), photos of the Lafayette Escadrille and other historically important WWI squadrons, photo of Quentin Roosevelt's terrible end and his death certificate , 9th AERO, dead WWI tankers, 7 WWI airplane postcards and 5 boxes of Vietnam War color slides. Vintage photos and negatives all taken by Marine tanker John Quas on Iwo Jima, vintage battleships, Bombardier Squadron 97, vintage prints of Spanish-American War era Illinois National Guardsmen also a Spanish-American War era Cavite coastal gun vintage photo. P-39 Airacobra 8x10 1st generation photos, 3175th Signal Service (pre-war or early WWII with shots of General Claire Lee Chenault, Flying Tiger's leader), B-29s, 1936 Olympics, war-time and post-war Europe, Generals, Franklin Delano Roosevelt, 82nd Airborne, 507th Parachute Infantry Regiment (Raff's Ruffians) negatives (no proofs or prints) showing Generals Jim Gavin, Matthew Ridgeway, Dwight D. Eisenhower and others just before D-Day, truly amazing photo negatives of an 82nd A.B., 507th P.I.R squad in full combat gear training prior to D-Day, very young and very old German soldiers surrendering, Guam Photos, 8x10 1st generation enlargements of 8th AAF, 303rd Bomb Group "Hell's Angels" photographed by Milton "Chic" Cantor. Included in this lot of original 4x5 negatives are several shots of 82nd A.B. parachutists watching over German civilians that they made to disinter civilian victims of a Nazi slaughter. The incident is described in "Jumpin" Jim Gavin's autobiography "On To Berlin" but the photo negatives of this incident have never been published. Custom made 8x10 prints from copy negatives of Eastern Front (Operation Barbarossa), WWI glass plate negatives, photo positives and prints of 94th Aero Squadron including Ace Reed Chambers, German & Italian leaders including Hitler looking at bomb damage and Mussolini with the Italian king photos. Pre-WWI & WWII aircraft, aviators, Polish soldiers, European theater and Italy vintage photos of Mussolini death and WWI aircraft. Quad 50 AA crew, guns, battle shots, B-26, 9th AAF 387th BG, 558th BS B26s, scenes, bases, soldiers, Paris (one showing Notre Dame cathedral sandbagged against bomb damage), 3rd Army in Europe, 9th AAF, Generals Hap Arnold, George C. Marshall, P-38s in the Pacific and North Africa and B29s, GIs in Europe, rail guns, Liege Belgium turrets in forts ruined in WWI and WWI monument, P-47 Thunderbolt Tallahassee Lassie 510th FS, 5th AAF crewman burial Okinawa 1945 and DC3s "The Scout" and others. Scenes from India, Burma, Suez Canal taken by WWII Signal corps photographer Robert W. Lavelle with two books of his negatives, truly excellent photographs and 200 1st generation 8x10 custom prints. Very rare Finland combat negatives with custom made, 1st generation B&W prints of the Finnish War of Continuation. The negatives in this amazing and rare lot with original Finnish language-descriptions of each film negative's contents, also English translation of same and over 200 custom 8x10 black and white prints (no negative count, but many rolls of 35mm). The works of WWI photographer L.R. Dold, Co. B, 314 Engineers 89th Div. from Trinidad, Colorado which contains negatives and photos of the Western Front, aerials of trenches, views of Verdun and the cavelike tunnel system, the Meuse River, camouflage roads, barbed wire entanglements on the Western front and much, much more. There are G. Warden Clark's AAF negatives of B-24 noseart and bombing missions over Europe. Some of the most incredible shots in the archive were taken by a Signal Corps photographer attached to the 82nd A.B. 507th P.I.R. and shows scenes such as Generals James (Jumpin' Jim) Gavin, Matthew Ridgeway and Gen. Eisenhower right before D-Day. Over 1,000 photos (most 4x5 and 8x10) The works of WWII photographer of Charles P. Carter 168th Signal Photo Co; the works of A.M. Berkson, Far Eastern Air Force photographer in WWII with the 5th AAF, 38th B.G. original negatives and a three-ring binder of vintage aerial photos showing Japanese bases on New Guinea and New Britain being pounded by U.S. Army Force B25 medium bombers. There are vintage photos in this 38th B.G. archive showing Japanese Navy vessels being destroyed, Japanese air bases demolished, the Japanese stronghold at Rabaul, New Britain being pulverized and Cape Gloucester being gloucesterized. Also great vintage photos of legendary aircraft in this bombing group and their aircrews as well as amazing photos of the natives and their villages. The works of WWII U.S. Navy Photographer, Daniel G. Reiber are in the photoarchive, WWII multiple photo groups: Marine aerial recon, old news photos, Yokosuka Naval Air Base, Army base (possibly Camps Shanks), Japanese surrender on Missouri. Pelileu Andrew Felbinger bombardier 133rd anti-aircraft, Bushmaster "Jake" Jacobsen photos and negatives, vintage photos of a Navy S.W. Pacific P.T. Boat Base; Guadalcanal, 870 Chemical Co., P-40, P-47, B-25s aircrews, B-26s, B-17s and 5th Service Command. WWII Navy and WWI Schuerz negatives and prints, 21 WWII photo albums, two WWI photo albums, Burma China album has negatives (several show Eddie Rickenbacker addressing pilots in the 14th AAF) and 500 South Pacific Coast, 16 negatives. Five WWII Castle newsreel films (news and parades), WWII China B-24 bombers, 14th AAF 308th BG and Chinese evacuating. Negatives and proofs of Luke, William & Ajo AAFB, plus Okinawa and Japan Army Base photos by George Kiener. European theater Battle of the Bulge, unknown photographer, European photos (France Maginot Line), 158th Regimental Combat Team Jake Jacobsen, 8th AAF 389th GB, 566th BS and Tobi and Fana Islands, Japanese surrender, 660 photos. Sino-Japanese War 1930s, air crashes at U.S. Naval Air Station, Japanese Gun in the Admiralty Islands, 5th and 13th AAF, PB4Y1 Tidewater Tiller and 660 vintage photos. Spanish-American War, WWI aircraft 1920s, Coast Guard station in Florida in the late 1930s, German spy ship Schwabenland in an American harbor and album labeled "1939-1940 World's Fair". Gar Wood in Miss America VIII in the Harlem River, Oct., 1930 and Florida Military school. Incredible photographic record of an WWII German Luftwaffe flak unit, photographer unkown, (about 300 negatives, 55mm and 3-1/2"x 2-1/2") in Germany and at the Pas de Calais. The works of a very talented U.S. Navy photographer Billie Greer Smoak from Georgia, WWWII U.S. Navy South Pacific photos, negatives and ephemera (564 photos, 316 negatives). Five 8mm WWII news films by Castle Films News Parade. 795 4x5 vintage negatives from the 1920s-1940s by New Yorker Mr. Elam (his works encompass the time period from the 19teens until the mid 1940s and include the Gar Wood negatives and the Indy winner negatives), WWI, Spanish-American War, WWI ANZAC 112 glass plates, 278 negatives WWII U.S. Army, 1940-1950's, Pvt. Herman Doll, 109th Inf., 46 negatives, WWII 8a8th MP 46 negatives, WWI Rainbow Div., E.H. Brown, 9th AAF C.J. Ginther negatives (some of the best in the archive), Marine Aircraft Group MAG 32, Marine Aircraft Group 13 (both in the South Pacific, some photo negatives of PBY Ctalina known as a "Black Cat") 276 negatives, Pacific WWII, WWII German B&W negatives, Luftwaffe, AA searchlight and 370 negatives MG unit, Europe and war generals and Victory Expo in Paris. Alsolso vintage prints of the liberation of a concentration camp. 351st BG (Heavy) 8th U.S.A.A.F., WWII, 197-4"x5" B&W acetate negatives. All prints and negatives in archival storage sleeves. All negatives are proofed, 49 half proof sheets. Shots include missions, personnel, aircraft, barracks and vehicles. U.S. Navy Photographer S. A. Szabo WWII _ 52 custom made 8"x10" B&W prints (some are vintage), 1 vintage 5"x7" print _ 72-4"x5" acetate negatives 12 of which are accompanied by 4"x5" contact proofs. Most photos are of Navy personnel, especially photo branch, some shots are of Navy aircraft and personnel. S/Sgt. Bob Lavelle, China/Burma/India WWII _ 161 custom made 8"x10" B&W prints with two 4"x5" vintage prints and five 8"x10" vintage prints. 166 2-1/2 x 3-1/2" negatives in two folios, each negative in a numbered glassine sleeve and identified in inventory at front of folio. Shots of people, personnel, RAF PBY, wrecked Japanese aircraft, captured Japanese aircraft spare parts, Gurkhas, temples, scenery, Suez Canal, British AC carrier, newspaper headlines about the war and more. Warren Boyen, European Theater _ 16 custom made 8"x10" 1st generation B&W prints, 78 small vintage prints. 558-35mm B&W negatives, 12 2-1/4" x 3-1/2" B&W negatives. Also an analog, German made photo exposure calculator. Photos include subjects such as convoy to Europe leaving from New York, scenes from England, France, Germany, armored vehicles, men, women, men with women, the Paris Expo under the Eiffel tower after the war with shots of an A 20 Havoc and Hub Zemke's P47, camp life and clubs. 1935 Military Exercises, Pine Camp, N.Y. _ 33 -4"x5" B&W negatives all with proofs (contact prints), men in formation, war game, men in camp, officer's and horses. 35 _ 2-1/4" x 2-1/2" B&W negatives with proofs. German Army, WW1, scenery, soldiers, trenches, trains, Krupp manufactured Big Bertha howitzer in place with crew and with burst barrell and destroyed villages. 7 _ 2-1/4" x 3-1/4" B&W negatives with proofs. U.S. Navy submarine Division 9 rafted up at North river, New York City in May 1920. R & S boats along with Navy ships. Includes 7, 8"x10" custom made 1st generation B&W prints. 89 -35mm B&W negatives with proofs. Family photos of houses, vintage autos, Navy personnel on leave. One custom made 8"x 10" 1st generation B&W print of a new, 1954 2-door Pontiac Chieftan. 16 B&W negatives with proofs, Korean War, U.S. Army, men, camp and helicopters. 6 _ 3"x2" B&W copy negatives with proofs of high ranking Nazi officers like Field Marshall Rommel, General Major Ringel and more. 6 _ vintage WWII prints B-29 Superfortress "Better 'N' Nuttin'" 2 - 4"x5" prints, 3 _ 3 1/8" x 2 1/8" prints. Crew members, aircraft on ground and in flight. Vintage 8"x10" B&W AP Wire photo from U.S. Army Signal Corps Radio Photo of B-25 Mitchell medium bomber "Jeanette" shot up in a raid on Sicily. Unknown Pennsylvania photographer who served in the Army in 1950s and in the Merchant Marine. 52 rolls of 35mm B&W film containing a total of 839 negatives. There are also 93-2-1/2" x 1-5/8" B&W negatives. Images on negatives range from early 1950s to 1961. Subject matter includes airshow at Philadelphia airport in 1955, tanks and half-tracks in Germany 1955, Merchant Marine ships at sea and in port, G.I.'s in Europe on maneuvers, European cities in France, Belgium, Germany, Greece, old cars, gas station in the 1950s, family and babies. 27 - 8"x10" custom made 1st generation prints of Philadelphia air show in 1955. Includes shots a B36 and a B56. 39 B&W 4"x5" negatives. 14th AAF, 308th BG (H) in B24 Liberators. Images are of bombing missions, aircraft in flight, bomb damage to Japanese held targets in China (8-4"x5" negatives with data written on them). 31-4"x5" negatives, also with information, of evacuation of Chinese from Japanese held parts of China. Some damage to a few of the negatives, but very poignant images, excellent focus and exposures show good contrast. Truly a magnificent record of a difficult time in Chinese history. 2 custom made, 1st generation 8"x10", B&W prints. All 31 of the evac negs have been proofed and 2 of the 8 combat mission negs have been proofed. Photos/photo negatives taken by Major Barnett, USAAF who served in the 12th AAF, 321st BG flying in a North American B25D Mitchell Medium bomber. Flew missions and photo recon. Grouping consists of 47-4"x5" B&W negatives with excellent subject matter such as large numbers of captured German troops, some no older than high school age, and gear in Italy. All 47 come with a proof sheet. There are a total of 516 35mm x 25mm B&W negatives, 374 have been proofed and many of these have multiple proofs, 145 have no proof sheets at all. Subject matter includes aircraft in the 12th AAF, wrecked and abandoned German and Italian aircraft and machinery at Bizerte, Tunisia, air recon missions, some personnel, the bombed ruins of Monte Casino, lots of aerials showing the Italian countryside. 36 first generation, custom made B&W 8"x10" prints from some of the 519-35mm x 25mm negatives. 7 vintage B&W aerials of Randolf Field in Texas (1930s), 14 vintage B&W aerial recon photos of target sites in Italy like Milan and Naples. Also some paper ephemera like magazines, military issue pamphlets, post cards and booklets. 1st Marine Division, 7th Marine Regiment, 81mm mortar platoon. Includes 53 8"x10" custom made, 1st generation, B&W prints. 257-35mm B&W negatives showing scenes from Marine basic training, Marines in full gear, Marines graduating from boot camp, small aircraft carrier, aircraft on carrier, jungle camp in Pacific, Okinawa scenes and combat, US Fletcher class destroyer. There are 15 proof sheets showing 221 images so not all the negs are proofed. Pfc. John Quas Jr., photographer was in the 4th Marine Division, 25th Regiment Tank Battalion. He served on Roi-Namur, Saipan, Tinian and Iwo Jima. Includes a photo album with 86 vintage B&W prints of various sizes. Subject matter includes Oahu, Hawaii, troops along with tanks, self propelled guns and artillery on revue; Marines on landing craft heading into the beach at Iwo, Iwo scenes, destroyed Japanese positions, captured Japanese weaponry, Marine tanks ashore, disabled Marine Sherman, Marine Sherman ashore with the landing fleet in the background. Very dramatic
after battle scenes, lots of casualties. There are also 58-30mm x 40mm B&W negatives and 52 custom made, 1st generation 8"x10" B&W prints made from the negatives. 4 vintage B&W 8"x10" prints, one marked on back "Official U.S. Navy Photograph" all in rough shape, fold lines and foxing evident. 1.)photo labeled "Giving first aid to wounded 10th Army man at Okinawa May 30, 1945. 2.) photo labeled "Carrier based planes of third fleet strike Kushiro on Hokkaido _ buildings set on fire plus locomotive _ July 14, 1945 _ The attack occurred during the Third Fleet's daring sweep of the Jap's home islands." 3.) The "Duke of York" pulling into Apra Habor, Guam Admiral Fraser on board to see Nimitz." 4.) Combat Marines on a break gathered around an older man in Marine uniform who appears to be signing autographs. 86 vintage B&W prints, photographer unknown, maybe a Sea Bee, most of the prints are 4"x5" , some are 2"x3 1/8". Most are of Guam, wreckage of battle, destroyed Japanese defenses, destroyed Japanese tanks, U.S. invasion fleet, B-29 bombers, cemetery, bivouacs, Guam scenery, Japanese staff at Guam hospital, also shots of Okinawa invasion wreckage and after battle scenes and sailing back into San Francisco harbor Golden Gate bridge ahead. 15 vintage 4"x 2-3/8" B&W prints of B17s in the 306th Bomb Group "The Reich Wreckers" on Gibralter and in flight. Photos taken by Joseph W. Long of Milford, Michigan. (116 negatives). 5 vintage 3 1/4" x 2" B&W prints of "Joey at Camp Bowie, Texas, 1943." Also 15 2-1/4" x 3-1/4" B&W negatives, all proofed. 77 B&W negatives, all proofed, unknown Army photographer, scenes show camp training, bivouacs, some scenes in Germany, troops on ship heading home. 49 B&W negatives 3 1/8" x 2-1/4" in size with 1 B&W negative 4-1/4" x 2-1/4" in size, all proofed on 16 custom made proof sheets. Photographer unknown, U.S. Army, most show G.I.s in Europe, post war. Scenes in Holland, Germany and France. A number of photos of troops on revue. Several shots of an airfield with numerous aircraft, one is a B-29, plus shots taken from cockpit of B-29 in flight showing inside of cockpit also aerials of Paris. 3 B&W glass negatives 3-1/2" x 2-3/8" in size all proofed on 2 custom proof sheets. Photographer unknown. U.S. Army, WWII era. Locations unknown. G.I. with fuel truck, G.I. in class A uniform, view of equipment storage yard on Marston Mat and bivouac in background. 22 B&W negatives all proofed on 3 custom made proof sheets, photographer unknown, ANZAC troops, scenes of ANZACs in what appears to be North Africa. 37-B&W 4"x5" professional negatives, all custom proofed on 9-8"x10" sheets and two on 4"x5" sheets. 69-4"x5" B&W vintage prints. All by Navy photographer Ensign G.W. Hollenbeck, photographic officer, Utility Squadron VJ 19. Subject matter includes aerial shots of atolls in the South Pacific, the U.S. Fleet at Ulithi atoll, The Battleship North Carolina underway seen from the air, Navy personnel, USO party, P-51D-20 Mustang tail number 44-72558 in the 458th Fighter Squadron/506th Fighter Group "A Neat Package", Beechcraft SN B-2 in flight over the Pacific, Grumman F6F-3 Hellcat on an aircraft carrier, Navy aircraft, Navy aircraft on aircraft carrier, Navy base, life on the base etc. 20-8"x10" vintage prints of aircraft (mostly in flight over the pacific) included in these are several excellent prints of Navy North American PBJ medium bombers in flight with some Chance-Vought F4U Corsairs, great shot of F4-U in flight, great shot of a Navy SBD Douglas Dauntless in flight, Douglas A-26 (Navy target tug designation JD-1) on Marston mat runway. One 5"x7" print of superstructure on an Australian aircraft carrier. 12-3"x2" vintage B&W prints showing Navy life on base in Pacific. 17-3"x 2-1/2" vintage B&W prints of VJ 19 personnel, 3-3 _" _ 2 _" vintage B&W prints showing VJ 19 personnel. Vintage B&W prints of VJ 19 personnel on deck of an aircraft carrier. 10-4"x5" B&W negatives, all proofed on 3-8"x10" sheets. Unknown photographer, U.S. Army basic training. Great shots, all sharp focus, good contrast. One favorite is of soldiers lined up in front of tent with girls smiling and looking out from tent. 139-2-1/4" x 2- 1/4" B&W negatives, all proofed, unknown photographer in either the 45th or the 96th EVAC Hospital. Scenes in Germany and Yugoslavia including U.S. personnel, hospital, wrecked German aircraft, death camp photos, buildings, ovens, etc. 20-4-1/2" x 2-1/2" B&W negatives all proofed, 20-3-1/4" x 2-1/4" B&W negatives all proofed. Photos taken by Lt. S.W. Sloane in the 925 Engineer Aviation Battalion showing scenes in England and North Africa. This unit landed on Omaha Beach in July 1944 and paved the way across Europe for the 9th AAF by building landing fields. Army Air Force personnel, bivouacs, English buildings, a wrecked searchlight on a beach, Army medics and a hospital. From Eastern Europe after the fall of the Iron Curtain, 598-3-1/4" x 2-1/4" B&W negatives, about 100 additional negatives of larger size, custom made 495 8"x10" B&W wet process, continuous tone B&W prints from these negatives. Most likely the combined works of multiple photographers. Subject matter includes ships in Norway port and in ocean, scenes from Holland with Fallshirmjager, Fallshirmjager in jump uniform with weapons, Operation Barbarossa (Eastern Front) scenes of battles, destroyed Russian tanks and after battle scenes, occupied Paris, portraits of Wehrmacht and Luftwaffe ground combat troops on eastern front, some members of a Cossack unit, POWs in a camp, outer perimeter and guard tower of a POW camp, Wehrmacht troops with newly awarded combat badges, scenes from Lithuania, Estonia, Latvia, Feldgendarmerie unit, Luftwaffe radio-teletype communication mobile unit on the eastern front, Wehrmacht troops in captured Bren gun carriers at Dunkirk, German graves in Russia, Russian POWs, Wehrmacht driving school in Germany, destroyed German city, blown bridges, wrecked BF109 on a beach, scenes from a French beach (Le Pilat Plage, De La Cote d'Argent, Wehrmacht troops at a seafood restaurant on the beach), Wehrmacht troops at Nice, France, Wehrmacht troops in Denmark, Luftwaffe funeral ceremony, wreckage of Bf109 and grave of pilot on eastern front (probably the son of General Julius 'Papa' Ringel who commanded the 3rd Mountain Division, 5th Mountain Division, LXIX Corps, Wehrkreis XI and the Army Corps Ringel), Werhmacht life in trenches on the Eastern Front, Wehrmacht target practice, Dornier Do 17Z unit, wrecked and destroyed Russian aircraft, trainloads of Soviet Polikarpov I-16s captured and disassembled, Wehrmacht troops being welcomed in Eastern European towns, JU52M 3M Medical Transport in flight, on ground and unloading "commissbrot" commissary bread, FLAK tower being built, trucks delivering food to troops, troops preparing chickens and cooking chickens, horse drawn covered wagons moving through forest on dirt road, German field artillery with blown barrels, German field artillery in emplacements, German medium field gun _ K.39 149mm being serviced, smoke from combat with soldiers marching toward the battle, Wehrmacht soldiers on the barrel of a Soviet heavy tank that is out of commission and more, More Operation Barbarossa. 275-35mm B&W negatives still in old film containers. 13-35mm color slides making for a total of 288 images. None are proofed. No prints made, unknown photographer. Subject matter includes Eastern Front scenes; Wehrmacht troops in bivouac, blown bridges, family scenes, Wehrmacht officers at a party, stunning portraits of a Soviet P.O.W., Wehrmacht officers in a trench on the Eastern Front, soldiers with horse drawn sled in snow, Wehrmacht in Niewport, Belgium, port scenes, portraits of soldiers, buildings on East Front, after combat scenes, lots of destroyed Soviet tanks, German town, target practice, bridge building, mail delivery to troops, horses, hay delivery and more. The 13 color slides are of a Wehrmacht soldier at home in the country with horses and his lady friend/wife. 281-35mm B&W negatives still in old film containers. None are proofed, no custom made B&W prints. Unknown photographer(s). Subject matter includes: Eastern Front scenes, after battles, blown bridges, wrecked Soviet tanks, oceans of mud and vehicles stuck in same, partisan danger sign, bodies, German graves, Oct. 1941-June 1942, Wehrmacht soldiers in Paris (Eiffel Tower _ Arc de Triomph _ marching on the Champs Elysee), Wehrmacht at Joan of Arc monument, blown artillery pieces, artillery pieces, truck soldiers, soldiers marching, vehicles traveling, villages, horse mounted Wehrmacht soldiers, horse care, scenery. Interestingly there are two rolls of German Agfa 35mm film in this lot which show what appears to be U.S. G.I.s in Germany with St. Bernard dog and puppy, Sherman tank, playing baseball, wrecked industrial plant, wrecked German city and several photos of a flow chart showing Brig. Gen. William R. Woodward. 304 total B&W negatives of German FLAK unit, 168-3-1/2" x 2- 1/4" negatives and 136 55mm x 43mm negatives all in archival sleeves. Accompanied by 285 custom made, wet process, 1st generation 8" x 10" B&W prints. The photo negatives are of a Luftwaffe FLAK unit assigned to a 2 cm FLAK 30. The crew's deployments are shown. They were deployed by a city on a river (Rhine?), then an industrial area, then Pas des Calais. There are shots of English soldier's graves (Dunkirk?), sea mines that washed ashore, life in their quarters, soldiers goofing around (alcohol was almost certainly involved), General inspecting the facilities, bunkers and gun emplacements on the Atlantic wall at the Pas de Calais. A number of negatives are shots of bombs exploding during an Allied bomb raid on the Pas de Calais and then shots of the aftermath, blown trains and buildings. Also shots of a mass burial of German soldiers, date on one of the crosses shows July 1, 1940 as the date of demise. Amazing photos, some of the best in the archive. 26-5"x7" B&W copy negatives of the WWII battles on Saipan. Good, sharp copy negatives depicting the horrors of combat, battlefield deaths and destruction. 500 total WWII East Front/Operation Barbarossa/Norway B&W negatives. Includes 197-3 3/8" x 2-1/4" B&W negatives, 48-2-1/4" x 2-1/4" B&W negative, 302-35mm B&W negatives. 39-8" x 10" custom made, wet process, continuous tone 1st generation B&W prints made from the negatives. Negatives document Wehrmacht-Combat Unit IR 489 with their commander H.H. Behrend. Subject matter is of Wehrmacht and SS troops moving to encircle Leningrad. Army group north sector. 4th Politzei Panzergrendier Division which was fighting with the 269th Infantry Division at the Battle of Luga, 1941. Photos of SS graveyard includes several showing the grave of SS Gruppenfuhrer und Generalleutnant der Schutzpolizei & Commander of the 4th SS Politzei Division Artur Ferdinand Mulverstadt. Also shown are wrecked German aircraft, German STUKA bombing Russian positions, Wehrmacht soldiers advancing into Russia, Wehrmacht assaults on Russian positions, lots of destroyed Russian tanks, German armored columns, German truck convoys, bivouacks, Wehrmacht soldiers with MG 32s in position, blown trains, 70Km from Petersburg, dead Russian soldiers, destroyed Russian equipment, lots and lots of German graves. Also shots of occupied Bergen, Norway (Ole Bulls Plass) ships in Norwegian harbor and underway with German troops on board. Pastoral scenery, German soccer match, troops unloading weapons and more. Incredible lot of photos. 303rd BG (Heavy) 8th U.S.A.A.F. "Hell's Angels" WWII. All shots taken by squadron's official photographer, Milton "Chic" Cantor. 36 custom made 8"x10" B&W prints. 152 WWII German negatives all proofed. Scenes include guest houses, restaurants in Austria, Wehrmacht soldiers with horses, caring for horses, captured African soldiers in French uniform, artillery unit in Russia, Wehrmacht in earthworks, captured French soldiers, wrecked buildings in Russia, soldier's portraits, battle scenes, Catherine the Great's Palace at St. Petersburg/ Leningrad, wrecked Russian tanks, wounded soldiers on train, Russian buildings, camouflaged artillery, Germans sitting on the barrel of a huge Russian artillery piece 1 negative & 1 print WWII 10/24/44 U.S.S. Darter, SS 227 aground on Bombay shoal, S.W. of Palawan, her crew was taken off and she was shelled extensively by the sub Nautilus to prevent the Japanese from salvaging the boat, in this photo she is being used for target practice by U.S.N. aircraft. WWII German, soldier on guard duty, soldier riding horses, soldiers physical training, Bivouac, crossing river on ferry, hospital, Christmas, scenes in Germany, Hermann (otherwise known as Arminius) Monument, Teutoberg Forest, Germany, 95 negatives no proofs WWII German Operation Barbarossa, 82-35mm copy negatives of German advance across Russia destroyed tanks, German armored columns, tank battles, lots of combat photos, 77 B&W 8"x10" prints. WWII U.S. Army, 14" x11", brown embossed leatherette. Album contains 434 vintage photos, 5 photo post cards of Australia, 3 maps, pages from AAF magazine article on Biak Island near New Guinea: start at March 1943 training at Camp Barkley, TX for Medical Reserve Training Corps, then to Australia Camp Perry Park-Brisbane, then to Biak Island, then Philippines; included in this album is a vintage prints of Joe Rosenthal's iconic photo of Marines on Iwo raising U.S. Flag; native women; combat shots on Saipan & New Guinea, combat shots in the Philippines, Iwo Jima; casualty shots; General Yamashita surrender to General Wainright & General Wainright is refusing to shake Yamashita's hand. WWII German Photo Album 8.8 cm flak unit+ (66 photos); German "Eighty-Eight" unit, camouflaged artillery, battery of 8.8s towed by half tracks, high ranking officer, ski troop, LW plane postcard photos, aerials, portraits, 2 death notices, 2 pics of N. Africa or Greece. WWII German, 1427 35mm negatives, 34 custom made 8"x10" B&W prints, covering time period Oct. 1940 to June 1942. Contains shots of Dresden, Germany before it was bombed on some strips; Dresden 1941; family photos; German Judge; tank columns; lots of graves; unit photos; East Front; artillery position; artillery spotters; German officers in field; Paris Eiffel Tower great shots; Germans take France; wrecked French tanks; towns & defenses; big cannons in train yard; shots of Croatia (Zagreb), Austria. Hitler's Operation Barbarossa is well covered in this archive, from the Black Sea to the Baltic. Especially of interest are the Finnish negatives and custom-made, 1st generation wet-process B&W prints made from them showing the part that Finland played in the operation and its War of Continuation against the Soviet military. Over 1,000 sample images and a brief description of the contents are shown in our on-line catalog. Prospective bidders should examine this archive in person. CONDITION: Very good to fine overall. There are images that have damage, though vast majority are fine. Interested parties should examine lot in person. 52429-1
ANNENKOV, Iurii Pavlovich [Georges Annenkoff] (1889-1974).Amerikanskaya krov (sto protsentov) [American Blood : 100%]. By Upton Sinclair. Moscow: “Krasnaya Nov,” 1923. Translated by I. I. Yasinskii. Illustrated by Annenkov. 112 pp., 8vo (200 x 135 mm). Original decorated wrappers designed by Annenkov. Condition: front wrapper detached; some internal soiling. Russian translation of the novel The Story of a Patriot (1920). [Together with 7 other works:] Khmel. Povest[Intoxication. Story]. By Lev Venyaminovich Nikulin. Berlin: “Nakanyne.” 1924.144 pp., small 8vo (185 x 130 mm). With original wrappers designed by Iu. P. Annekov. Condition: wrappers soiled. Passage d’une americaine. By Emmanuel d’Astier. Paris: Au Sans Pareil, 1927. With 8 lithographs by Annenkov. No. 21 of 280 copies on vélin Lafuma. 85 pp. 8vo (210 x 165 mm). Original tan wrappers. Condition: some discoloring and two leaves torn due to the cutting of the pages. Crime a San-Francisco. By Luc Durtain. Paris: Au Sans Pareil, 1927. With 8 lithographs by Iu. P. Annenkov. No. 332 of 650 copies on vélin Lafuma. 89 pp. 8vo (210 x 165 mm). Original aqua wrappers. Condition: some discoloring. Die Eurokokke. By Iwan Goll. Berlin : Martin Wasservogel, [1927]. Illustrated by Iu. P. Annenkov. Original gilt purple boards. Condition: spine sunned and lower portion chipped. Includes a picture of Josephine Baker dancing (p. 41). Extra-muros. By Louis Cheronnet Paris: Au Sans Pareil, 1929. Preface by Jules Romains. With lithographs by Annenkov. Out of series copy initialed by the editor. 187 pp. large 8vo (290 x 230 mm). Rebound in red cloth with the original gray wrappers bound in. Condition: the inscripton on the colophon was removed with some damage to subsequent page.Zolotoi dar[The Golden Gift]. Paris: [Natalie Codray, 1964]. Illustrated with color frontispiece by Annenkov. 65 pp., 8vo (220 x 165 mm). Original decorated wrappers designed by Annenkov. Condition: fraying of original glassine wrappers. inscribed on the front free endpaper in ink by the author and dated 1964. Shagi nemezidy. By N. N. Evreinov. Paris: [Auteurs et Compositeurs Dramatiques], 1956. With vignette on title page and portrait on p. 5 designed by Annenkov. Original red-lettered gray wrappers. Condition: minor wear. (8).
Adolf Schreyer (German, 1828-1899)
Arab Horsemen
Signed "Ad. Schreyer" l.r.
Oil on canvas, 23 1/2 x 33 in. (59.7 x 83.8 cm), framed.
Condition: Lined, subtle canvas deformations, subtle retouch.
N.B. We wish to thank Dr. Christoph Andreas who has kindly confirmed the authenticity of the lot.
Noted Orientalist and genre painter Adolf Schreyer (also referred to as Christian Adolf Schreyer) was born in Frankfurt, Germany, in 1828. After early education at the Institut Staedel in Frankfurt, he studied at the Academy in Düsseldorf, then settled in Vienna in 18. During the Crimean War (1853-1856) Schreyer followed the Austrian Army through the Wallachian frontier as a sketch artist. (1) Schreyer went on to study in Paris and North Africa. In 1859 he traveled extensively in Egypt and Syria, learning Arabic and immersing himself in the culture, and in 1861 he visited Algiers. From 1862 to 1870, Schreyer lived in Paris. He returned to Frankfurt in 1871. He was a member of the Academies in Amsterdam and Rotterdam. His works were awarded medals in Paris in 1864, 1865 and 1867, and in Munich in 1876. Schreyer died in Kronberg in 1899.
Schreyer painted the landscape and culture of foreign lands, from Russia to North Africa. His travels brought him inspiration and also gave his work authenticity. He is regarded as a great painter of horses in all their aspects. (2) His works, well-conceived compositions, brilliantly colored and vigorously painted, were very popular in his time, and were found in major European and American private collections. Schreyer's paintings are found today in major museums in Europe and the United States, including museums in Frankfurt, Cologne, Hamburg, Paris, Boston, and San Francisco.
(1) E. Benezit, Dictionnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs, Librairie Grund, 1976., Vol. IX, p. 439-440.
(2) https://encyclopedia.jrank.org/SAR_SCY/SCHREYER_ADOLF_1828_1899_.html
Originally appearing in Volume V24, p. 378 of the 1911 Encyclopedia Britannica.
The lining is an old glue lining. The retouch is glazes to the sky, plus minor additional dashes below. The canvas would benefit from keying out. There is some minor scattered (but stable) craquelure.
Sévigné, Marie de Rabutin-Chantal, Marquise de Recueil de lettres de Madame la Marquise de Sévigné, à Madame la Comtesse de Grignan, sa fille. Paris: par la Compagnie des Librairies, 1774. 8 volumes, 8vo, contemporary red morocco, gilt decorative border on covers, spines gilt, a.e.g., slight rubbing at a few corners, spines slightly faded, vols 1 and 2 with light crack down the centre of the spines, signature of Mary Bagot, 1779, in vol. 1 and of Margaret Hay 1802 on titles or half-titles, small Selbourne Library stamp to title or half-title versos; Béranger, P.J. de Chansons. Paris: Perrotin, 1861. 16mo, red morocco gilt by David, a.e.g.; [Kempis, Thomas à] De imitatione Christi. Paris: J. Barbou, 1764. 12mo, 5 engraved plates, contemporary red morocco gilt, a.e.g. (10) Estimate £ 300-400. Sold for £375 (buyer's premium included)
ANIMAL BINDINGS, Snake.Thirteen works bound in snakeskin by J. Franklin Mowery. All books bound by J. Franklin Mowery Binders in half python or rattlesnake over cloth with gilt lettered spine labels except where noted. Sold as bindings and not subject to return. Provenance: Harry & Virginia Walton.Il Miracolo della Sacra Imagine di Maria detta della Rondini Successo il di 10 Ottobre 1501. Bologna: Giacomo Monti, n.d. 4to(215 x 150 mm). Girolamo Accoramboni. Tractatus utilissimus de natura & lactis. N.p.: 1538. Half rattlesnake over cloth.Cicero. Commentariorum Xysti Betulen in de Natura Deorum in Paradoxa Anotations. Basileae: Ioannenn Oporinum, 1550. 2 volumes in one. 8vo (170 x 95 mm). Python over African antelope backstrip. A bound group of 9 printed funeral orations. Mostly Paris: 1626-1687. 4to (215 x 170 mm).Selection of plates from Abraham Bosse's Sur La Distinction des Manieres des Peinture. N.p: c.1649. Small folio (180 x 105 mm). 27 engraved double-page plates.La Vie et la Mort du Cardinal de Sante Cecile. Paris: 1648. 4to (210 x 150 mm). 6pp pamphlet numbered 149 and paginated 1329-1340.Moliere. La Critique de l'escole des femmes. Paris: 1674. 12mo (130 x 80 mm). [Bound with:] Le Festin de Pierre and L'Escole des Maris, 1679. Full python. Condition: second work inlaid with large losses. Samuel Johnson. An Argument Proving, That the Abrogation of King James… London: 1692. 4to (195 x 150). A Sermon Preached at the Funeral of her late Majesty Queen Mary… London: 1695. 4to (190 x 150 mm ). Petite Traite de l'Amour des Femmes pour les Sots. [Bound with:] Petit Commentaire sur le titre de la petite brochure;Petite Traite de l'Amour des Femmes pour les Sots. Bagatelle: 1788. 8vo (200 x 120 mm). Half rattlesnake over cloth. Vox Stellarum: or, A Royal Almanack for the Year … 1790. London: 1790. 8vo (175 x 115 mm). M. Gregoire. Observations Critiques sur le Poeme de M. Joel Barlow, The Columbiad… Paris: 1809. 8vo (185 x 125 mm). [Bound with:] M. Gregoire. De la Constitution Francaise d'l'an 1814. Paris: 1814. Le Bonne Petit Souris… Troyes: n.d. 12mo (145 x 85 mm). (13)
FIVE PORCELAIN SWAN FORM TABLE OBJECTS, SEVRES AND P.L....French, 19th/20th century, comprising: four Sevres swan form tea cups, gilt interiors, base rims, and beaks, bases with "M. Imp le de Sevres" marks, 3-1/4 x 4-1/4 in.; four saucers with feather borders, gilt interior, rims, and base rims, bases with "M. Imp le de Sevres" marks, 5-7/8 in.; P.L. D'Agoty swan form vessel with putto finial, gilt accents, base marked "Manufacture de S.M. ... P.L. Dagoty/ A. Paris", 3-7/8 x 5-3/4 in.
Provenance: Collection of a Southern Gentleman
Condition:
some anomalies, surface accretion, some scratching and loss to gilt; one saucer with chip to rim; putto with loss to wings
Art, etching and travel, 12 books including Unger, William, William Leibl & Paul Rajon Foreign Etchings... London: Sampson Low, Marston, Saerle, and Rivington, [n.d.] Folio, number 98 of 100 copies, this on Holland paper, original cloth; "Loti, Pierre" Pêcheur d'Islande. Paris: Calman Lévy, 1893. 4to, contemporary quarter morocco gilt, school library stamp to half title; Brangwyn, Frank Belgium. London, 1916. 4to, number 113 of 260 copies signed by the artist, original cloth gilt; Photograph Album - Italy 36 professional albumen prints of Italian views in blind-stamped morocco album; Greenwood, John F. Twenty-Four Woodcuts of Cambridge, 1926. 8vo, number 194 of 800 copies, original quarter cloth; Robertson, W. Graham French Songs of Old Canada. London, 1904. Folio, number 106 of 350 copies, original quarter cloth; Francis, Réné The Story of the Tower of London. London, [n.d.] 4to, original cloth; Nos Amoureuses Paris: H. Simonis Empis, [n.d.] Folio, contemporary red quarter morocco; and 4 others (12) Estimate £ 300-400. Sold for £350 (buyer's premium included)
ÉDOUARD VUILLARD, (French, 1868-1940), Pink Roses, 1921-22, oil on cardboard, 12 1/4 x 12 1/2 in. , frame: 17 1/2 x 17 1/2 in. : ÉDOUARD VUILLARD. (French, 1868-1940). Pink Roses. 1921-22, oil on cardboard. signed E. Vuillard, l. l. 12 1/4 x 12 1/2 in. , frame: 17 1/2 x 17 1/2 in. . Provenance: - Purchased from the artist by Jos Hessel, Paris and Bernheim-Jeune, Paris (stock no. 23001, Roses roses, March 24, 1922, 2, 500F). - Jos Hessel's share bought by Bernheim-Jeune, Paris, December 19, 1932. - Emile Laffargue, Paris, January 16, 1935, 25, 000F. - Valentine Gallery, New York. - Wildenstein, New York. - F. Valentine Dudensing, United States. - Galerie Hopkins-Thomas, Paris, 1989. - Private American Collection. . . Exhibitions: - London, Cortauld, 1926. - Zurich, Kunsthaus, 1932, no. 161. - Amsterdam, Goudstikker, 1933, no. 343 (ill. ). - Paris, Bernheim-Jeune, 1935-36, no. 65. - Paris, Rosenberg, 1936, no. 31. - Paris, Bernheim-Jenune, 1953, no. 53. - Albi, Musee Toulouse Lautrec, 1960, no. 61. . Literature: - A. Salomon and G. Cogeval, Vuillard, The Innumerable Gaze, Critical Catalog of Paintings and Pastels, Paris, 2003, vol. III, p. 1315, no. XI-34 (illus). . - Art and Decoration, May 1926, p. 63 (illus). . Other Notes: Vuillard, a post-impressionist painter who was part of the Nabis movement, for which he is well known, painted flowers as part of his larger interior scenes and often created small-format still lives as well. This small oil highlights Vuillard's interest in surface, pattern, and color - themes he continuously explored throughout his career. Overall Dimensions Unit: Height: 0. 00 Width: 0. 00 Depth: 0. 00 Weight: 0. 00
Léon Bakst (1866-1924): Costume design for 'Chamberlain' from Don Juan Refutè and Costume design for 'Leparello' from Don Juan Refutè: Two gouache, ink and watercolor on paper, 1907, signed in Cyrillic and dated lower left and right. 9 1/2 x 5 1/8 in. (sheet), 9 3/8 x 6 1/8 in. (sheet), both 18 1/2 x 14 1/2 in. (frame). Literature: Alexander Schouvaloff, Léon Bakst, The Theatre Art, illust. p. 51. Serge Raffalovitch, Paris; Sold Sotheby's, London, June 6, 1979, Lots 13 and 14. Condition Both sheets laid down on paper and with mat and pale light- staining. Chamberlain with tackholes at the corners and tiny nicks and losses at the sheet edges. Leporello with tiny losses at the sheet edges.