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RG14 2JE
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Tales from The Art Crypt: Works from The Richard Feigen Collection
This is a live online auction with auctioneer. For details on registration, bidding, viewing & condition reports, click “Important information” link.
A curated selection from the esteemed collection of Richard L. Feigen (1930-2021), one of the most legendary art dealers of his generation. Read more!
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Viewing in London (highlights):
23 Jun 2025 10:00 - 16:00 BST
24 Jun 2025 10:00 - 16:00 BST
25 Jun 2025 10:00 - 16:00 BST
Viewing in Newbury (full sale): see below
Auction dates
Jul 02, 2025 02:00 PM BST
Viewing dates
Jun 29, 2025 10:00 AM - 03:00 PM BST
Jun 30, 2025 10:00 AM - 04:00 PM BST
Jul 01, 2025 10:00 AM - 04:00 PM BST
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Featured lots
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10,000 - 15,000 GBP
‡ HERMAN VAN SWANEVELT (DUTCH 1603- 1655)
POLYPHEMUS AND GALATEA; THE JUDGMENT OF PARIS
Oil on canvas, a pair
The former signed and dated 'HVS (in ligature) WANEVELT. / ... 1643' (lower left); the latter signed 'H SWANEVELT. FA. VEN' (lower right)
Each 61 x 75cm (24 x 29½ in.) (2)
Provenance:
Collezione Alfa, no. 69, 70 (according to label on verso)
P.&D. Colnaghi & Co. Ltd. (according to label on verso)
Herner Wengraf, until at least 1974
From whom acquired by Richard L. Feigen
Literature :
A. Sutherland Harris, Landscape Paintings in Rome 1595-1675 , New York, 1985, pp. 29-30
A.C. Steland, Herman van Swanevelt (um 1603-1655) Gemälde und Zeichnungen , Petersberg, 2010, vol. I, nos. G 1 36 A and B, pp. 145, vol. II, reproduced pp. 442 and 443, figs. G 100 and G 101
Having worked for some of the most influential patrons of his time-including Pope Urban VIII Barberini, Cardinal-Duc de Richelieu, and King Louis XIV-Herman van Swanevelt was a highly sought-after artist. He was particularly admired for his naturalistic observation of landscape and his masterful treatment of light, capturing the shifting moods of the day and atmospheric variations.
His stay in Rome from around 1629 to 1641 was crucial to his development. Influenced by painters like Claude Lorrain, Swanevelt refined his approach to light and composition, and began incorporating mythological themes into idyllic natural settings.
This pair of mythological landscapes likely dates to the late Roman period, around the time of his commissions for the King of Spain. The classical figures with elongated limbs and idealized faces, along with the misty, light-filled vistas, closely resemble elements in Landscape with Hermit Preaching, painted for the Buen Retiro (1639-1641) and now in the Museo del Prado, Madrid (inv. no. P005121).
Each painting illustrates a mythological love story ending in tragedy. In The Triumph of Galatea, Ovid recounts how the nymph Galatea escapes the cyclops Polyphemus in favour of her lover Acis, whom Polyphemus later kills in a jealous rage. The Judgment of Paris tells of Paris awarding the golden apple to Aphrodite, who promises him Helen of Sparta-an act that ultimately triggers the Trojan War.
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1
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Estimate
2,000 - 3,000 GBP
‡ CIRCLE OF JACOB SYMONSZ. PYNAS (DUTCH 1583-1631)
REST ON THE FLIGHT INTO EGYPT
Oil on copper
11.5 x 7.5cm (4½ x 2¾ in.)
Provenance:
Sale, William Doyle Galleries, New York, 25 October 1989, lot 52 (as Jacob Pynas)
After examining a photograph, Dr. Astrid Tümpel attributed the painting to the circle of Jacob Pynas (written communication, August 17, 1990). Dr. Rüdiger Klessmann, who viewed the original artwork in person, considered it to be Flemish rather than Dutch, though he did not offer a more precise attribution (oral communication, February 1, 1991).
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1
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1,500 - 2,000 GBP
ATTRIBUTED TO JACOB VAN GEEL (DUTCH CIRCA 1585 - CIRCA 1648)
A WOODED LANDSCAPE
Oil on panel
19.5 x 28.5cm (7½ x 11 in.)
Painted circa 1636.
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1
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4,000 - 6,000 GBP
‡ NICOLAES BERCHEM (DUTCH 1620-1683)
MERCURY BRINGING ARGUS' EYES TO JUNO
Oil on panel
48 x 71cm (18¾ x 27¾ in.)
Provenance:
Sale, Sotheby's Parke Bernet, New York, 3 November 1972, lot 24
Sale, Christie's, 19 April 2007, lot 303, as Nicolaes Berchem (unsold)
Literature:
Listed in the RKD:
https://research.rkd.nl/en/detail/https%3A%2F%2Fdata.rkd.nl%2Fimages%2F227581
Exhibited:
New York, Richard L. Feigen & Co., Landscape painting in Rome 1595-1675 , 30 January - 23 March 1985, no. 5
Marijke de Kinkelder attributed the painting to the early period of the artist's career, suggesting that its stylistic characteristics are indicative of the developmental stages of the artist's oeuvre.
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8
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1
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Estimate
7,000 - 10,000 GBP
‡ ATTRIBUTED TO DOMENICO ZAMPIERI, KNOWN AS DOMENICHINO (ITALIAN 1581-1641)
LANDSCAPE WITH A HERMIT
Oil on canvas
41 x 54cm (16 x 21¼ in.)
Provenance:
Everhard Jabach, Paris, no. 582, by 1696
Manor House Antiques, The Square, Stow-on-the-Wold, Gloucestershire, March 1973
There acquired by Richard L. Feigen
Literature:
Vicomte de Grouchy, Everhard Jabach, collectionneur parisien (1965) in Memories de la Societe de l'Histoire de Paris et de l'lle de France . XXI, 1984, p.278, no. 582
G. Gent, Lost Domenichino is Found and Bought for $392 , New York Times, 19 June 1973, p.32
L. Salerno, Pittori di paesaggio del seicento a Roma, vol. I, Rome, 1976, I. pp. 81,120, cat. no. 19.3
R. E. Spear, Domenichino , New Haven, 1982, vol. I, p.317 (as a copy after Pietro Paolo Bonzi)
L. Salerno, Review of Domenichino by Richard Spear , in ' Storia dell arte' , L. 1984, p.88
A. Brejon de Lavergnee, L'inventaire Le Brun de 1683; La collection des tableaux de Louis XIV , Paris, 1987, p. 297 (as a copy after Domenichino)
C. Whitfield, Les paysage du Domenichio et de Viola in Monuments et memories , LXIX, 1988, p.106, no. 92 (as Grimaldi?)
R. E. Spear, Domenichino addenda , in Burlington Magazine CXXXI, 1989, p.11. no.44 (as a copy after Pietro Paolo Bonzi)
S. Loire, Ecole italianne XV/le siecle. I. Bologne . Musee du Louvre. Department des Peintures , Paris, 1996. pp.214. 216 (as a copy after Domenichino)
Exhibited:
Amherst, Massachusetts, Mead Art Museum, Major Themes in Roman Baroque Art from Regional Collections , 1974, no.83
New Haven, Yale University Art Gallery, Italian Paintings from the Richard L. Feigen Collection , 28 May - 12 September 2010, no. 45 (as Domenichino)
The present work is known in three versions; the lot offered here, a reduced painting in the Louvre (30 x 37cm), and a third larger example (47 x 59cm) in the Galleria Doria-Pamphilj, Rome. The latter example is now generally attributed to Domenichino's follower Pietro Paolo Bonzi. Whilst the present work has been put forward as the prime version by Luigi Salerno and others (see literature), Stephane Loire and Dennis Mahon both argued that the Louvre version is the original.
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1
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Estimate
4,000 - 6,000 GBP
ATTRIBUTED TO CHARLES MELLIN (FRENCH 1597-1649)
PIETÀ
Oil on canvas
106 x 77.5cm (41½ x 30½ in.)
Provenance:
Sale, Ader Tajan, Paris, 26 April 1993, lot 18 (as Attributed to Johann Heinrich Schonfeld, for FF 200,000)
A photograph of the painting was requested in a letter dated 7 November 2006 for possible inclusion in the catalogue of the exhibition held at the Musée des Beaux-Arts de Caen from 21 September to 31 December 2007, Charles Mellin: un Lorrain entre Rome et Naples , curated by Mr. Philippe Malgouyres. However, the photograph ultimately did not appear in the published exhibition catalogue.
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1
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4,000 - 6,000 GBP
CIRCLE OF THOMAS BLANCHET (FRENCH 1614-1689)
PIETÀ
Oil on canvas
53 x 49cm (20¾ x 19¼ in.)
Painted circa 1650.
Provenance:
Dr. Zhan (according to inscription on verso)
Sale, Christie's, London, 9 December 2005, lot 145 (as French School Circa 1640, for £ 69,600)
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1
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Estimate
30,000 - 50,000 GBP
‡ TOMMASO MANZUOLI, CALLED MASO DA SAN FRIANO (ITALIAN 1531-1571)
THE RESURRECTION OF CHRIST
Tempera on panel, with an arched top
31 x 16cm (12 x 6¼ in.)
(mounted) Unframed
Provenance:
Possibly Prince George, Duke of Cambridge (1819-1904) (according to an inscription on verso)
Private collection, England
Sale, London, Phillips, 7 July 1992, lot 47 (as Attributed to Marcello Venusti)
There acquired by Richard L. Feigen
Literature:
A. Wied, in S. Ferino-Pagden, Vittoria Colonna: Dichterin und Muse Michelangelos , exhibition catalogue, Vienna 1997, p. 477
P. Costamagna, " Continuity and Innovation: The Art of Maso da San Friano," in Continuity, Innovation and Connoisseurship: Old Master Paintings at the Palmer Museum of Art , University Park, Pennsylvania 2003, p. 41
L. Kanter and J. Marciari, Italian Paintings from the Richard L. Feigen Collection , New Haven 2010, pp. 118-121, cat. no. 36, reproduced
Exhibited:
New Haven, Yale University Art Gallery, Italian Paintings from the Richard L. Feigen Collection , 28 May - 12 September 2010, no. 36
This finely executed Resurrection of Christ stands as a compelling example of mid-16th century Florentine painting, embodying the stylistic hallmarks of the late Mannerist period. According to Giorgio Vasari, Maso da San Friano (born Tommaso Manzuoli) began his artistic training in the studio of Pier Francesco Foschi and later worked under Carlo Portelli. While his early training was shaped by these artists, Maso's style also reflects the enduring influence of key Florentine painters such as Pontormo and Andrea del Sarto. His figures are distinguished by their refined elegance and bold, expressive use of colour-hallmarks of the Florentine Mannerist tradition-which lend striking monumentality even to works of relatively small scale.
Highly esteemed in his own time, Maso secured prestigious commissions, including two celebrated paintings for the Studiolo of Francesco I de' Medici in the Palazzo Vecchio: The Diamond Mine and The Fall of Icarus , both completed in 1570-71.
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1
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Estimate
10,000 - 15,000 GBP
‡ ATTRIBUTED TO CARLO SARACENI (ITALIAN 1579-1620)
DEATH OF THE VIRGIN
Oil on copper
Stencilled 'L.A.' (to frame's verso, possibly a collector's stencil)
37.5 x 28.5cm (14¾ x 11 in.)
Provenance:
Sale, Christie's, London, 14 December 1979, lot 47 (as F. Saraceni)
Sale, Dorotheum, Vienna, 20 October 2015, lot 54 (as Workshop of Carlo Saraceni, for € 75,000)
Carlo Saraceni produced several compositions depicting the Death of the Virgin . His most renowned interpretation of the subject was commissioned by the Discalced Carmelite friars for the Cherubini Chapel in Santa Maria della Scala, Rome. This painting was intended to replace Caravaggio's earlier version of the same theme, which had been rejected by the friars for its perceived lack of decorum.
Saraceni's first version, completed in 1612, ultimately failed to meet the friars' expectations as well. They requested that the architectural background be replaced with a celestial "glory of angels". Rather than modifying the original canvas, Saraceni sent the painting to Venice and quickly produced a new version, which remains in situ to this day. The first, rejected version was donated to the Metropolitan Museum of Art in New York by Richard L. Feigen in 2019.
Various smaller versions on copper, such as this one, also exist. Feigen owned one such example, which had previously belonged to the artist Sir Peter Lely, as documented in Italian Paintings from the Richard L. Feigen Collection (Yale University Art Gallery, 2010, pp. 140-145, nos. 43 and 44).
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1
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Estimate
2,000 - 3,000 GBP
CIRCLE OF SIMON VOUET (FRENCH 1590-1649)
THE HOLY FAMILY
Oil on canvas
93.5 x 82.5cm (36¾ x 32¼ in.)
Unframed
Painted circa 1640.
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1
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2,000 - 4,000 GBP
NORTHERN FOLLOWER OF MICHELANGELO MERISI, CALLED CARAVAGGIO
MARY MAGDALENE
Oil on canvas
112 x 82.5cm (44 x 32¼ in.)
Unframed
Provenance:
Sale, Sotheby's, New York, 19 May 1994, lot 22 (as Attributed to Jacob van Oost the Elder, for £ 23,000)
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FOLLOWER OF CLAES CORNELISZ MOEYAERT
OLD TESTAMENT SCENE
Oil on panel
39.5 x 51cm (15½ x 20 in.)
Painted circa 1650.
Provenance:
Sale, Auctiones AG, Basel, 26 April 1990, lot 14 (as Anonymous Dutch)
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1
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Estimate
1,500 - 2,000 GBP
SOUTH AMERICAN SCHOOL (17TH/18TH CENTURY)
THE BLACK VIRGIN WITH CHILD OF MONTSERRAT
Oil on panel
26 x 39cm (10 x 15¼ in.)
Featured lot
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1
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4,000 - 6,000 GBP
‡ DUTCH SCHOOL (CIRCA 1600)
SAINT JOHN THE EVANGELIST
Oil on copper, with a shaped top
15.9 x 11.4cm (6¼ x 4¼ in.)
Provenance:
Joseph E. Widener, Lynnewood Hall, Elkins Park, Pennsylvania
Sale, Philadelphia, Freeman's, 20-24 June 1944, lot 449 (together with Saint Matthew the Evangelist, as a 'pair of small Italian paintings, XVIII century')
Schoneman Galleries, New York, 1949 (together with Saint Matthew the Evangelist)
Walter P. Chrysler, Jr., New York, 1950 (together with Saint Matthew the Evangelist, the pendant gifted to the Chrysler Museum, 1971)
Richard de Koetser (the present lot only)
From whom acquired by Richard L. Feigen, 1972
The inspiration for this small copper of Saint John the Baptist comes from an engraving by Lucas van Leyden dating from 1518.
Together with its pendant image of Saint Matthew, the present lot once formed part of the Joseph E. Widener collection in Pennsylvania. The pair stayed together until they were acquired by Walter P. Chrysler in 1950, whereby the new owner donated the second part of the pendant to the Chrysler museum in 1971, while the first half of the pair was acquired by Richard L. Feigen the following year.
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1
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Estimate
1,000 - 1,500 GBP
FRENCH SCHOOL ( CIRCA 1760)
PORTRAIT OF AN ARTIST
Pastel on paper laid down to canvas
53 x 46.5cm (20¾ x 18¼ in.)
Provenance:
Sotheby's, New York, 12 January 1989, lot 154 (as Attributed to Joseph Boze)
Literature:
Jeffares, Dictionary of Pastellists , (online), J.3244
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1
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Estimate
1,500 - 2,000 GBP
JOHN OPIE (BRITISH 1761-1807)
PORTRAIT OF A GENTLEMAN, SAID TO BE DR. GREGORY
Oil on canvas
124.5 x 99.5cm (49 x 39 in.)
Unframed
Provenance:
Agnew's Gallery, London (by 1911)
Literature:
Ada Earland, John Opie and His Circle , London 1911, thought to be the portrait of Dr Gregory listed p.280
For the tentative identification of the sitter as Dr. Gregory, the inventor of Gregory's Powder, see Earland, loc.cit.
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JAMES WARD (BRITISH 1769-1859)
A WAGON PASSING A COTTAGE ON A WINDY NIGHT
Oil on paper, laid down on panel
Signed 'J. Ward' (lower right)
11.5 x 14cm (4½ x 5½ in.)
Provenance:
Captain Claude Ward-Jackson (the artist's grandson)
H. Noel Whiting until 1970
Sidney Sabin, London
Private Collection USA until 2007
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1
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Estimate
1,000 - 1,500 GBP
JOSHUA SHAW (ENGLISH 1776-1860)
A WOODCUTTER AND HIS DOG IN A GLADE
Oil on canvas
61 x 76cm (24 x 29¾ in.)
Provenance:
Sale, Christie's, 14 October 1988, lot 68 (unsold)
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1
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Estimate
1,500 - 2,500 GBP
CIRCLE OF ALEXANDRE COLIN (FRENCH 1798-1875)
THE SHADES OF FRANCESCA AND PAOLO APPEARING TO DANTE AND VIRGIL
Oil on panel
32 x 42cm (12½ x 16½ in.)
Painted circa 1820.
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CONRAD HUBER (GERMAN 1752-1830)
CRUCIFIXION
Oil on canvas
Signed and dated 'Huber Invenit / Pinxit '1818' (lower right)
59 x 69cm (23 x 27 in.)
Provenance
Sale, Sotheby's, Monaco, 2 July 1993, lot 172
Featured lot
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1
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Estimate
2,000 - 3,000 GBP
ATTRIBUTED TO JOHN HAMILTON MORTIMER (BRITISH 1740 - 1779)
SOLDIER HOLDING A SEVERED HEAD
Oil on copper
23.5 x 18cm (9¼ x 7 in.)
Provenance:
Sale, Christie's, London, 9 October 1981, lot ?, (As John Hamilton Mortimer)
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1
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Estimate
4,000 - 6,000 GBP
GILBERT STUART (AMERICAN 1755 -1828)
PORTRAIT OF WILLIAM GEORGE DIGGES LA TOUCHE
Oil on canvas, oval
76 x 63.5cm (29¾ x 25 in.)
Painted circa 1788.
Provenance:
The La Touche Family, Hayle, Cornwall
Sale, Christie's, London, 18 November 1988, lot 138
Gilbert Stuart arrived in Dublin in the autumn of 1787, invited by the Duke of Rutland, then Lord-Lieutenant of Ireland and a noted patron of the arts. Over the next few years, Stuart received numerous prestigious portrait commissions. The current painting is believed to date from around 1788. Stuart also painted the sitter's wife, and this particular portrait was once part of the collection of Miss C.F. Godfrey.
William George Digges La Touche (1747-1803) was the grandson of David Digues La Touche (1671-1745), who was born near Blois, fled to Amsterdam after the Edict of Nantes, and later came to England with the Prince of Orange. He fought in a Huguenot regiment at the Battle of the Boyne and remained in Ireland, where he established himself as a banker. His son-uncle to the present sitter-became the first Governor of the Bank of Ireland. William distinguished himself during the siege of Bassorah in 1775. In 1784, he returned to Ireland to join the family banking firm in Dublin, built a grand residence on St. Stephen's Green, and purchased Sans Souci as a country estate. That same year, he married Grace Puget, daughter of London banker John Puget; they had four sons.
We are grateful to Professor Dorinda Evans for confirming the attribution on the basis of photographs.
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AFTER SIR JOSHUA REYNOLDS
PORTRAIT OF GEORGE COLMAN (1732 - 1794)
Oil on canvas
77 x 64cm (30¼ x 25 in.)
Unframed
Provenance:
The Gow Collection
Sale, Bonhams, Old Master and British Paintings , 7 December 1989, lot 12 (as Sir Joshua Reynolds, for £9,694)
George Colman the Elder (1732 - 1794) was an English dramatist and essayist. Amongst his plays were Polly Honeycomb (1760), and The Jealous Wife (1761). In 1766 he produced The Clandestine Marriage jointly with David Garrick. Colman was acting manager of Covent Garden for seven years. In 1774, he sold his share in the playhouse to James Leake, and used the proceeds to buy a small theatre in the Haymarket.
The original portrait of Colman painted by Reynolds, was painted for the 1st Baron Mulgrave, and was exhibited at the Royal Academy in 1770. It was last sold at Sotheby's on 8 April 1998, lot 101.
Other known copies are in the Garrick Club, London, at Buscot Park, Oxfordshire, and in the National Portrait Gallery, London.
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1
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Estimate
8,000 - 12,000 GBP
‡ RICHARD WILSON (WELSH 1714-1782)
THE WEIR ON THE PO (FIGURES BY A WATERFALL)
Oil on canvas, tondo
23.5 x 23.5cm (9¼ x 9¼ in.)
Painted circa 1766.
Provenance:
The collection of Col. Maurice Harold Grant (1872 - 1962)
The collection of Dr. R.E. Heaphill (according to label verso)
Sale, Christie's, London, Important English Pictures , 21 November 1986, lot 56
Where purchased by Richard L. Feigen
Literature:
Richard Wilson online catalogue raisonnée, no. P197B
W. G. Constable , Richard Wilson, London, 1953, p.211, pl. 98a (perhaps version 3 or 4)
A. French, Gaspard Dughet called Gaspar Poussin 1615 - 75. A French Painter in seventeenth century Rome and his influence on British Art , exh. cat., Kenwood House, London, 1980, no. 73, pp. 88-89
D. Solkin, 'Richard Wilson's Variations on a Theme by Gaspard Dughet', The Burlington Magazine , Vol. 123, No. 940 (July 1981), p.414, no. 21
Exhibited:
Bristol, West Country Treasures , 1967, no. 18
Cape Town, South African National Gallery , Old Masters from a Private Collection, 1975, no. 18, leant by Dr R.E. Heaphill (according to label attached verso)
There are at least eight known versions of this view by Wilson, six of which are oils and two being sketches. It is thought that the view may be based on the composition of two paintings by Gaspard Dughet.
William George Constable noted that the locality of the view depicted in the present lot was uncertain. If it is the river Po, the surrounding country is quite unlike that near Ferrara, or along the greater part of the Po valley. There is no evidence that Wilson ever went to Turin or nearer the source of the river, where there are hills. The title derives from an inscription on one of the other versions of the work, now in the Ashmolean Museum, Oxford.
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THOMAS STOTHARD (BRITISH 1755-1834)
THE TEMPTATION OF HERCULES
Oil on canvas
101 x 127cm (39¾ x 50 in.)
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1
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Estimate
5,000 - 7,000 GBP
‡ FRENCH SCHOOL (18TH CENTURY)
PORTRAIT OF AN ARTIST
Oil on canvas
99 x 80cm (38¾ x 31¼ in.)
Unframed
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1
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50,000 - 80,000 GBP
‡ BARON ANTOINE-JEAN GROS (FRENCH 1771-1835)
PORTRAIT OF CHARLES X, 1825
Oil on canvas
Inscribed ' Portrait de son Altesse Royale Monsieur Comte d'Artois / peint d'après nature en 1817 (sic) / par Antoine Jean Gros / ... / Mad. Augustin Dufresne décédée le 5 janvier 1842 et veuve de Antoine Jean baron Gros a par un article de son testament, supplié son Altesse Royale Monseigneur le duc de Bordeaux de vouloir bien agréer l'hommage de ce tableau' (verso)
81.5 x 65cm (32 x 25½ in.)
Provenance :
Collection of the artist, until his death, 1835
By descent to Mme. Augustin Dufresne (Mme. Gros), until her death, 1842
Bequeathed to Henri d'Artois, duc de Bordeaux, later Comte de Chambord
Comtesse de la Béraudière
Sale, Ader-Tajan, Tableaux Anciens , 15 December 1993, lot 88 (as a portrait of Monsieur Comte d'Artois)
Private collection, USA
Exhibited
Paris, Petit Palais, Gros, ses amis, ses élèves , 1936, no. 93
Literature
J.B. Delestre, Gros, sa vie et ses ouvrages , 2 nd ed., Paris, 1867, p. 269 ; G.D. Delestre, Antoine-Jean Gros 1771-1835 , Paris, 1951, ill. fig. 58
The present work is a preparatory study for the artist's large equestrian portrait of Charles X now in the Museum of Versailles. The sketch, which shows the figure half-length and dressed in military uniform, was executed from life on 29 May 1825, the day of Charles' coronation. The final portrait, in which the king is depicted on horseback as he reviews his troops at Saint Léonard, near Rheims, on May 31, was exhibited at the Salon of 1827. This military review, a custom of French kings, was intended by Charles to emphasise the continuity of the ancien régime.
After the death of Louis XVIII (who died without issue), in September 1824, Charles-Philippe, comte d'Artois, succeeded to the throne as King Charles X. After just five years as King, Charles' reign ended with the July Revolution and the accession of his cousin, the duke of Orléans, as Louis-Philippe, king of the French.
Rheims Cathedral can be seen in the upper right corner of both the sketch offered here, and in the finished painting. The Cathedral was an important symbol of legitimacy and authority with every French king since 1027, aside from Louis XVIII, having been crowned there.
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46
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1
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Estimate
2,000 - 3,000 GBP
‡ ATTRIBUTED TO PIERRE ANDRIEU (FRENCH 1821 - 1892), AFTER EUGÈNE DELACROIX
L'EDUCATION D'ACHILLES
Oil on canvas
35 x 44cm (13¾ x 17¼ in.)
Provenance:
P. Andrieux, Paris
Durand-Ruel, Paris, by 1900
Edward W. Hooper, Cambridge and Boston, by August 1900
Mabel Hooper Lafarge, Connecticut
L. Bancel Lafarge, Nantucket, by descent
Sale, Christie's, New York, 6 February 2007, lot 1 (as Eugène Delacroix, withdrawn)
Literature:
L.R. Bortolatto, L'Opera Completa di Dealcroix , Milano, 1972, no. 409
R. Escholier, Delacroix: Peintre, Graveur, Ecrivain , Paris, 1929, Vol. III, p. 39
J. Meier-Graefe, Eugène Delacroix. Beiträge zu einer analyse , Munchen, 1922, p. 156
L. Johnson, The Paintings of Eugène Delacroix , Oxford, 1989, V, p. 56, no. L222 (as a sketch after Delacroix, possibly by Pierre Andrieu)
A more complete version of this image is in the Getty Museum, Los Angeles
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120,000 - 180,000 GBP
‡ RICHARD PARKES BONINGTON (BRITISH 1802-1828)
LANDSCAPE WITH SUNSET AND FIGURES
Oil on canvas
23 x 35cm (9 x 13¾ in.)
Provenance:
Probably, acquired directly from the artist by Louis-Joseph August Coutan (1779-1830), and by inheritance to his wife Lucienne Hauguet (1788-1838)
Thence by inheritance to her brother Ferdinand Hauguet (d. 1860), and by descent to his son Maurice-Jacques-Albert Hauguet (1819-1883)
Thence by descent, Villa Lucienne, Antibes, until 1996
Talabaron & Gautier, Paris, by 2002
Daniel Katz, London
From whom acquired by Richard L. Feigen, 2003
Literature:
B. Talabaron and B. Gautier, Le Paysage Français de Valenciennes à Bonnington, exhibition catalogue, Paris, 2002, cat. no. 33, reproduced
P. Noon, Richard Parkes Bonnington: The Complete Paintings , New Haven and London, 2008, p. 252, cat. no. 202, reproduced in colour
P. Noon, ed. Richard Parkes Bonnington , exhibition catalogue, New York, 2018, unpaginated, cat no. 8, reproduced in colour
Exhibited:
Paris, Talabardon & Gautier, Le Paysage Français de Valenciennes à Bonington , 18 September - 26 October 2002, no. 33
New York, Richard L. Feigen & Co., Richard Parkes Bonington, 23 October - 18 December 2018, no. 8
Richard Parkes Bonington was born in the village of Arnold just outside Nottingham in 1802, but emigrated to France with his family aged fifteen. He was an artist with a precocious talent, extreme sensibility of colour and a profound fluidity of touch. Bonington is considered a hero of the Romantic movement, his legend secured when he died tragically young, aged only 25, his painting career spanning a single decade. He was revered on both sides of the English Channel and hugely influential upon contemporaries and followers alike. French collectors embraced the 'British' medium of watercolour, in which Bonington painted primarily until his first triumph at the Paris Salon in 1824, enthusiastically. He was also well received by the British Art institutions, perhaps most gratifying to the young artist was the patronage of Sir Thomas Lawrence, President of the Royal Academy, whom he visited a few months before his final illness and untimely death. Lawrence headed the funeral procession in September 1828 and despite spending most of career in France he was celebrated by the British Art establishment as one of their own, the question of his nationality contested for a long while by both English and French commentators.
As we can see in the present painting Bonington excelled in his depiction of the countryside and coastal views, Allan Cunningham in his Lives of the Most Eminent British Painters, Sculptors and Architects , 1830, wrote, 'his chief pleasure was in making drawings of sea-coast and river-side scenery: to blend land with water, and both with cloud and sky, was a favourite scene.' He is revered for his ability to transfer light and atmosphere of Venice and French coastal and countryside scenes onto millboard and canvas distilling the essential qualities of place and time into paint.
This atmospheric oil sketch has been dated by Noon, loc.cit . to the early months of 1826. On 4 April 1826 Bonington left Paris for his tour of Italy with his friend and pupil Baron Charles Rivet, returning to Paris by 6 July. Noon notes the present work's similarity to Landscape with Timber Wagon , Wallace Collection ( op,cit. no. 199) which stylistically shows a familiarity with the works of both J.M.W. Turner (1775-1851) and John Constable (1776-1837) evident in the striking sunset and the characteristic accents of red paint.
The present work is an excellent example of Bonington's technique, applying thin washes of oil paint with the same light touch that he would use in his watercolours and subtly building up the planes of colour to produce the glow of the sunset over the open landscape that gently recedes into a haze on the horizon. Bonington approached oil painting as a watercolourist, his peer Eugène Delacroix (1798-1863) wrote of Bonington's technique to the art historian Théophile Thoré-Bürger in 1861, 'To my mind one can find in other modern artists qualities of strength and precision in rendering that are superior to those in Bonington's pictures, but no one in this modern school, and perhaps even before, has possessed that lightness of touch which, especially in watercolours, makes his works a type of diamond that flatters and ravishes the eye, independent of any subject and any imitation.'
The first owner of the paintings was Louis-Joseph-Auguste Coutan (1779-1830), a close friend of artists Baron Gros (1771-1835) and Delacroix and a successful fabric manufacturer and wholesaler. Toward the end of his life, Coutan spent his fortune decorating his Parisian home on the Place Vendôme with works by living artists both commissioning and purchasing contemporary art with no regard for school or nationality. After his death four paintings by Bonington were listed in his sale in 1830, but others descended through the family until 1996 when purchased by the present owner.
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1
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3,000 - 5,000 GBP
‡ SIR DAVID WILKIE (SCOTTISH 1785-1841)
HENRY WARDEN BROUGHT BEFORE FATHER EUSTACE
Oil on panel
Indistinctly signed (upper right)
36 x 33.5cm (14 x 13 in.)
Painted circa 1830.
Provenance:
William Seguier
His sale, Christie's, London, 4 May 1844, lot 96 (110 gns to Pennell)
Anonymous sale; Christie's, London, 20 April 1990, lot 62
Exhibited:
London, British Institution, 1842, no. 38
Edinburgh, Royal Scottish Academy, 1852, no. 42
Engraved:
C. Fox, 1 December 1830 as the frontispiece to the Waverley Novel, The Monastery, vol. II
inscribed 'Henry Warden brought before Father Eustace / for his preaching of the protestant cause / the judge and the accused met face to face / and in that of both was enthroned the/ noble conscience of rectitude / monastery. Walter Scott'. (on a label, verso)
After Sir Walter Scott was declared bankrupt in 1826, his publisher Robert Cadell undertook to issue a complete edition of the Waverley Novels issued monthly in 48 volumes with new notes and introductions by Scott and a series of 96 frontispieces and title page vignettes commissioned by Cadell with many artists approached to contribute. Wilkie contributed the present work, the subject of which is taken from 'The Monastery' (1820) and was engraved in 1830 and also Breakfast at Milnwood (Old Mortality) .
William Seguier (1771-1843) to whom the picture first belonged, was an artist, Superintendent of the British Institution and first Keeper of the National Gallery. He was instrumental in forming the collections of Sir Robert Peel and the Duke of Wellington, along with the Dutch Old Masters in the collection of King George IV and was appointed by him to be Conservator of the Royal Galleries, a role he also held under King William IV and Queen Victoria.
We are grateful to Alex Kidson for his help in preparing this catalogue entry. The work will be included in Hamish Miles' forthcoming catalogue raisonné of the work of David Wilkie.
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1
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6,000 - 8,000 GBP
‡ SIR DAVID WILKIE (SCOTTISH 1785-1841) THE DEATH OF SIR PHILIP SIDNEY Oil on panel 36 x 25cm (14 x 9¾ in.)
Provenance: Commissioned from the artist by Samuel Dobrée (1759-1827), 1818 Thence by descent to his son Bonamy Dobrée (1794-1863), by 1842 Thence by descent to his son Bonamy Dobrée (1818-1907) Thence by descent to his son Bonamy Dobrée, Jr. (1863-1891) Thence by descent to his son Professor Bonamy Dobrée (1891-1974) By whom sold, London, Sotheby's, 19 June 1957, lot 37 There acquired by Harvey Smythe, London By whom subsequently returned to Sotheby's and to Professor Bonamy Dobrée Thence by descent to Georgina Dobrée (1930-2008), London By whom anonymously sold, London, Sotheby's, London, 14 November 1990, lot 62 There acquired by Richard L. Feigen
Literature: S. Dobrée, The Book of Death , London 1819, n.p A. Cunningham, The Life of Sir David Wilkie , London, 1843, vol. II, pp.7-8, 11-13 D. Wilkie, The Wilkie Gallery , a selection of the best pictures of the late Sir David Wilkie , London and New York, 1848, n.p. engraving reproduced W. Bayne, Sir David Wilkie R.A. , London, 1903, p.79 H.A.D. Miles et.al, Sir David Wilkie of Scotland (1785 - 1841) , exhibition catalogue, Raleigh, 1987, p.85 H.A.D. Miles, Sir David Wilkie 1785-1841 , exhibition catalogue, London, 1994, pp. 63-65. cat. no.16
Exhibited: London, British Institution, 1842, no. 22 (lent by Bonamy Dobrée) Manchester, Art Treasures Exhibition, 1857, no. 267 (lent by Bonamy Dobrée) London, Grosvenor Gallery, 1888, no. 66 (lent by Bonamy Dobrée, Jr.) London, Richard L. Feigen & Co., Sir David Wilkie 1785-1841 , 13 October - 25 November 1994, no. 16
Engraved: Abraham, Raimbach, 1819 William Greatbach, circa 1848-50
This painting was commissioned by Samuel Dobrée, a distinguished bibliophile and collector of modern masters, who had purchased Wilkie's Letter of Introduction, exhibited at the Royal Academy in 1814. In January 1818 Dobrée asked Wilkie for illustrations for his Book of Death , an anthology of the deaths of more than 200 notable persons drawn from Chamber's Encyclopaedia . As the work was of an historical genre Wilkie suggested Thomas Stothard (1755-1834) as a more appropriate artist, but as this was not forthcoming finally Wilkie agreed to help him.
The result was the present painting and The Death of the Chevalier Bayard , though only the present work was used as the basis for an engraving by Raimbach, published in 1819.
The present work shows the influence of Titian upon Wilkie at this date in both composition and particularly in colour palette. In 1817 and 1818, Wilkie was copying works by Titian in private collections or on loan to National Gallery and National Galley of Scotland.
Sir Philip Sidney, poet and diplomat was appointed Governor of Flushing by Queen Elizabeth in 1585, he was shot during the attack on a Spanish convoy, had managed to ride back to camp, but died from his wounds three weeks later. Wilkie in his depiction of the scene technically shows the moment after he has been shot. Dobrée's source for the death was Chalmers's revised edition of The General Biographical Dictionary , XXVII, 1816, p. 510, 'As Sir Philip was returning from the field of battle, pale, languid, and thirsty, with excess of bleeding, he asked for water to quench his thirst - the water was brought, and no sooner reached his lips than he resigned it to a dying soldier, whose ghastly countenance attracted his notice, speaking these words: " This man's necessity is greater than mine."' The noble moral of Sidney's worthiness, even in death, often quoted.
A related drawing was offered Christie's, Scotland, 30 October 2003, lot 8.
We are grateful to Alex Kidson for his help in preparing this catalogue entry. The work will be included in Hamish Miles' forthcoming catalogue raisonné of the work of David Wilkie.
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300,000 - 500,000 GBP
‡ SAMUEL PALMER (BRITISH 1805- 1881)
THE GLEANING FIELD
Oil on canvas
42 x 52cm (16½ x 20¼ in.)
Painted circa 1832-33.
Provenance:
John Giles, a first cousin of the artist (1811-1880)
His sale, Christie's, London, 2 February 1881, lot 620, for 135gns
Bought at the above sale by The Fine Art Society
Possibly William Fothergill Robinson Q.C
Possibly Rev. William Fothergill Robinson, Woodspeen, Newbury
Herbert A. Edwards (1888-1978), Newbury and thence by descent
Private Collection, U.K by 2009
With Lowell Libson
Acquired from the above in 2010
Literature:
Raymond Lister, Catalogue raisonné of the works of Samuel Palmer , London, 1988, no.167
Exhibited:
London, Royal Academy, 1833, no.48
London, Fine Art Society , A Collection of Drawings, Paintings and Etchings by the Late Samuel Palmer , 1881, no.2
The reappearance of this exquisitely painted and highly finished large work on board is an exciting addition to the Palmer's oeuvre , dated to circa 1832-33. It was painted towards the end of his celebrated Shoreham period when Palmer's highly personalised artistic voice that had taken shape at Shoreham from the mid-1820s amongst 'The Ancients' was maturing. It is one of only a small handful of known Shoreham period oils to remain in private hands.
Palmer first visited the village of Shoreham in Kent in 1824 and settled there in 1826 where he remained for nearly ten years. The landscape around Shoreham was the embodiment of Palmer's visions of pastoral life that he had imagined from his reading and it was there that he translated his intensity of vision into drawings or paintings. The valley at Shoreham teamed with an abundance of crops, corn, fruit and hops harvested by hand using age old methods and eschewing the encroachment of modern life. The village scenery was punctuated by the landmarks of rustic life, a small hamlet of primitive cottages, the mediaeval church with its spire, the carpet of fields and populated with a rollcall of village characters, the rhythm of life directed by the seasons. The resulting works which were executed during Palmer's time living at Shoreham are considered his greatest achievements. Palmer, who had first met the visionary artist William Blake (1757-1827) in 1824, was quickly joined by several friends, other devotees of Blake, who formed themselves into a loose group calling themselves 'The Ancients'.
During Palmer's earlier years at Shoreham we see the development of his art and his experimental use of medium, following methods he largely evolved himself. However, by the early 1830s Palmer's companions had largely left the valley and Palmer began to attend to the development of his career due in part to his straightened finances, and as a result the manifestations of his period at Shoreham evolved into a more conventional expression of his vision. Palmer had begun to spend more time in London and submitted work to the Royal Academy in 1830 and 1831 which although rejected was indicative of a desire for wider recognition and engagement the with art establishment. In 1832 the Royal Academy accepted seven works which Palmer had sent in from his recently acquired house in Marylebone, including 'Pastoral' scenes and 'A harvest scene', generic titles which have plagued the future identification of these works. In 1833 Palmer exhibited five works, amongst them 'The gleaning field' (here identified as the present work) and a 'Kentish scene'. The following year Palmer exhibited six pictures at the Royal Academy.
The present work, of exhibition scale and highly finished is the most likely candidate for Palmer's Royal Academy exhibit no. 48 of 1833 'The Gleaning Field' being the only painting by Palmer depicting gleaners as the main subject of the composition. The Gleaning Field , circa 1833 (Tate Gallery, London) is smaller in size with many reworkings in pen and ink and competing motifs of the wagon drawn by oxen and the cottage on the edge of the field.
As a picture intended for exhibition in London at the Royal Academy it is not farfetched to see Palmer's intention for it to convey a message to the London audience. The early 1830s was a period of rural discontent and political unrest and the resulting restlessness was felt in the Shoreham valley. The established way of life in the countryside was in crisis, the boom years of the Napoleonic Wars were over and hardships were felt especially in rural communities through unemployment, the erosion of rights through the continuing enclosure of common grazing land, the passing of the Poor Laws, the imposition of the Church Tithe and increasing mechanisation. There was widespread unrest, most notably marked by the 'Swing' riots of 1830-1 and widespread outbreaks of arson, machine breaking and wage rioting which started in Kent and spread across the whole of southern and eastern England with the military being deployed to support the local law enforcement. The first threshing machine was destroyed on Saturday 28 August 1830. By the third week of October, over one hundred threshing machines had been destroyed in East Kent. The riots spread rapidly through the southern counties of Surrey, Sussex, Middlesex and Hampshire, before spreading north into the Home Counties, the Midlands and East Anglia, moving on as far as Lincolnshire, Yorkshire and Nottinghamshire.
John Giles (1810-80), the first owner of this picture, was Palmer's cousin and a near contemporary. Giles was one of the 'Ancients' and a stockbroker rather than an artist. He managed Palmer's precarious financial affairs and was close to George Richmond and his family and remained a lifelong friend of both men and a great admirer of Palmer's works. Giles died in 1880 and his collection, comprising some 635 lots of which 185 were paintings, was sold by Christie's in 1881. The present work was purchased by the Fine Art Society for the considerable sum of 135 gns in advance of the exhibition they were to devote to the works of Palmer later that year. The picture appears to have been acquired at that time by either George Richmond or his son-in-law, William Fothergill Robinson. Richmond had presented his daughter Julia and Robinson with Palmer's The White Cloud , circa 1833-4 (Ashmolean Museum, Oxford; fig. 2) as an anniversary present and Robinson had also been a purchaser at the Giles' sale acquiring The Bright Cloud, circa 1833-4, Manchester City Galleries.
The Shoreham landscape inspired some of the most intensely original pictures of the British Romantic period, works which distilled Palmer's vision and translated it into a representation which contained all the elements of Palmer's pastoral poetry. The present picture marks a particularly important period in the development of Palmer's vision as well as recording a moment of crisis in the political and economical development of late Georgian England. Its appearance at auction represents a rare opportunity to purchase one of only a handful of Shoreham period oils remaining in private hands.
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3,000 - 5,000 GBP
‡ DOMINIQUE LOUIS PAPETY (FRENCH 1815-1849)
LA JEUNE ROMAINE AU BOUQUET DE FLEURS
Oil on board
Bears signature (lower right)
33 x 24.5cm (12 x 9½ in.)
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3,000 - 5,000 GBP
‡ THÉODORE ROUSSEAU (FRENCH 1812-1867)
LA MARE AUX BICHES
Oil on bevelled panel
Signed (lower left)
15.5 x 20.5cm (6 x 8 in.)
Painted circa 1848-50.
Provenance:
Collection Maurice Kann
Boussod-Valadon, no. 23235 (Getty Research Institute, Los Angeles)
Sale, Wallis & Son, London, 20 October 1894, lot unknown
S.P. Avery, London, 1897
Literature:
M. Schulman, Théodore Rousseau, catalogue raisonné de l'oeuvre peint , Paris, 1999, no. 411
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FRENCH SCHOOL (19TH CENTURY)
A MYTHOLOGICAL SCENE, POSSIBLY APOLLO AND MARSYAS
Oil on canvas
81 x 65cm (31¾ x 25½ in.)
Provenance
Sale, Denis Herbette, Doullens, 15 October 2000, lot unknown (as Ecole Francaise Anonymous 19th Century)
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ALEXANDRE- GABRIEL DECAMPS (FRENCH 1803-1860)
PORTRAIT OF A GUERRIER TURC
Oil on paper laid down on canvas
Signed with initials (lower right), inscribed 'Decamps' (verso)
24 x 17.5cm (9¼ x 6¾ in.)
Unframed
Provenance
Sale, Sotheby's, Monaco, 25 June 1990, lot 705
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2,000 - 3,000 GBP
WILLIAM RIMMER (AMERICAN 1816-1879)
MADONNA
Oil on canvas
Signed (lower left)
152.5 x 73.5cm (60 x 28¾ in.)
Painted circa 1874-1877
Provenance:
Private Collection, Andover, Massachusetts
Sale, Robert W. Skinner Inc., Bolton, Massachusetts, 25 May 1983
Literature:
Jeffrey Weidman, William Rimmer: Critical Catalogue Raisonné (Indiana University, 1982, dissertation), vol.2, pp.655-657, no.106; illustrated, vol.5, p.1559, no.72; related drawing, vol.3, pp.1020-1021, reproduced, vol.7, p.1854, no.CM108
Exhibited:
Brockton, Brockton Art Museum, William Rimmer: A Yankee Michelangelo, 6 October 1985 - 12 January 1986, no. 31. Travelled to the Cleveland Museum of Art, 25 February - 20 April 1986, and the Brooklyn Museum of Art, 6 June - 20 July 1986
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1
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3,000 - 5,000 GBP
JAMES MATTHEWS LEIGH (BRITISH 1808-1860)
THE LAST JUDGEMENT
Oil on canvas
113 x 86.5cm (44¼ x 34 in.)
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AFTER HENRY WILLIAM PICKERSGILL
LORD ELDON AND HIS DOG PINCHER
Oil on board
25.5 x 18cm (10 x 7 in.)
Provenance:
Salander-O'Reilly Galleries, New York
After the picture exhibited at The Royal Academy in 1833 (no.88) and formerly in Merchant Taylors' Hall.
John Scott, 1st Lord Eldon, was one of the greatest lawyers of his generation, a dominant figure in Georgian public life, and ranks among the most important Lord Chancellors in the long history of that office. He is depicted with his constant companion Pincher, a German Spaniel or Deutscher Wachtelhund (German Quail Dog), who belonged to his son the Hon. William Henry John Scott who died in 1832.
Pincher's cherished place at the heart of the Eldon family is shown by his appearance in several family pictures including several by Henry Perronet Briggs (1793-1844). Landseer painted Pincher twice, adding him into one of Briggs portraits and a portrait of the dog himself.
Twiss's contemporary account The Public and Private Life of Lord Chancellor Eldon , 1844, records the vivid account of Eldon's niece Miss Forster of Pincher's theft and subsequent recovery, after a reward was offered, in November 1832. Eldon's devotion to the dog was enduring and Pincher was remembered in the Chancellor's will, 'To Lady Elizabeth and Lady Frances are left also some specific articles; and life-annuities are given to each. Pincher, described as 'my favourite dog,' is bequeathed to Lady Frances, with an annuity of £8 during his life, 'to provide food for the said dog.' After the death of Lady Frances in 1838, Pincher was transferred by Mr. Edward Bankes into the family of the 2nd Earl of Eldon, he died 19 May 1840, and was buried at Encombe in Dorset.
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JOHN GILBERT GRAHAM (SCOTTISH 1794-1866)
PORTRAIT OF MRS. OSWALD OF SCOTSTON
Oil on canvas
Signed and dated '1855' (lower left)
126.5 x 102cm (49¾ x 40 in.)
Unframed
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CIRCLE OF SIR WILLIAM BEECHEY (BRITISH 1753-1839)
A PORTRAIT OF A YOUNG GIRL, SAID TO BE MISS ANNE CAMPEN OF BRISTOL HOLDING A RABBIT
Oil on canvas
90 x 70cm (35¼ x 27½ in.)
Painted circa 1810.
Provenance:
Sale, Bonhams, British and Continental Pictures and Old Master Drawings , 5 July 2005, lot 214 (as Attributed to Sir William Beechey)
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ATTRIBUTED TO HENRY ALKEN JUNIOR (BRITISH 1784-1851)
ON THE SCENT; OVER THE BROOK
Oil on panel, a pair
15.5 x 30cm (6 x 11¾ in.)
One unframed (2)
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CHARLES THOMAS BALE (BRITISH 1849-1925)
STILL LIFE WITH A BASKET OF STRAWBERRIES
Oil on canvas
Signed (lower right)
51 x 76cm (20 x 29¾ in.)
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CHARLES THOMAS BALE (BRITISH 1849-1925)
STILL LIFE WITH A BASKET OF FRUIT AND FLOWERS
Oil on canvas
Signed and dated '1884' (lower left)
51 x 76cm (20 x 29¾ in.)
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1
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500,000 - 700,000 GBP
‡ MAX BECKMANN (GERMAN 1884-1950)
GROSSER STEINBRUCH IN OBERBAYERN (LARGE QUARRY IN UPPER BAVARIA)
Oil on canvas
Signed and dated 0.34 (upper left)
86.5 x 119cm (34 x 46¾ in.)
Painted in Ohlstadt in 1934.
Provenance:
Studio of the artist
Private Collection, Alfred Eisenlohr, Munich (1941-1952)
Thence by descent to Marie Louise Eisenlohr, Munich (1952)
Private Collection, Walter Feilchenfeldt, Zurich, (acquired from the above in 1971)
Kunsthandel Franz Resch, Gauting, (acquired from the above in 1973)
Richard L. Feigen, New York, (acquired from the above in 2001)
Exhibited:
Bern, Kunsthalle Bern, Max Beckmann, Marguerite Frey-Surbek, Martin Christ, Fernand Riard , 1938, no. 19 (as Steinbruch in Bayern)
Pforzheim, Kunst und Kunstgewerbeverein Pforzheim, Max Beckmann Ausstellung , March 1954, no. 24
Karlsruhe, Staatliche Kunsthalle (on loan from 1956-1971)
Tübingen, Tübingen Kunstverein, Max Beckmann Landschaften und Graphik , June-July 1958, no. 4
Hamburg, Hamburger Kunsthalle: Bielefeld Kunsthalle, Bielefeld; Vienna, Kunstforum Wien, Max Beckmann: Landschaft als Fremde, 1998-1999, no. 34
Paris, Centre Georges Pompidou; London, Tate Modern; New York, Museum of Modern Art, Max Beckmann , 2002-2003, no. 96
New York, Richard L. Feigen & Co, Max Beckmann from Private Collections , 2018
Literature:
H. Klinkel in Stuttgart Zeitung , Stuttgart, 26 June 1958, n.p.
E and B. Göpel eds., Max Beckmann, Katalog der Gemälde , Bern 1976, vol I, cat. no. 392, pp. 265-266, vol II. cat. no. 392, pl. 131
Max Beckmann, Abseits der Großstadt-oberbayerische Landschaft , exhibition catalogue, Schlossmuseum, Murnau, 1998, p.56
Industrie und Natur: Zur Geschichte des Hartsteinwerkes Werdenfels im Murnauer Moos , exhibition catalogue, Schlossmuseum, Murnau 2000, pp.9-10 in detail on the front and back cover
Ich kann wirklich ganz gut male: Fredrich August von Kaulbach - Max Beckmann, exhibition catalogue, Schlossmuseum, Murnau, 2002
R. Smith, Max Beckmann , in the New York Times, 6 June 2018, p. CI6
A. Tiedemann, ed. Max Beckmann Catalogue Raisonné der Gemälde, no. 392 https://beckmann-gemaelde.org/392-grosser-steinbruch-oberbayern (accessed on 7 May 2025)
For more details on this work, please follow the below link:
https://www.dreweatts.com/news-videos/large-quarry-in-upper-bavaria-the-political-expressionism-of-max-beckmann-tales-from-the-art-crypt-works-from-the-richard-feigen-collection-14815/
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λ MAXWELL ASHBY ARMFIELD (BRITISH 1882-1972)
STILL LIFE WITH BROKEN EGG
Tempera on board
Signed with monogram (upper right)
15 x 19cm (5¾ x 7¼ in.)
Unframed
Exhibited:
London, The Fine Art Society, October 1971, no. A3/41
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λ‡ PETER ROSE PULHAM (BRITISH 1910-1956)
TROMPE L'OEIL À CLEF
Oil on panel
Signed with initials and dated 1939-1945 (to centre of right edge)
51 x 76cm (20 x 29¾ in.)
Peter Rose Pulham worked initially as a photographer, producing work for Harper's Bazaar in the early 1930s before moving to Paris. He famously photographed Picasso in his studio on the Rue des Grands Augustins in 1936 but became increasingly interested in French surrealism and began painting in the late 1930s, returning to London just before the outbreak of World War II. In 1941, a German bomb hit his studio on Old Church Street in Chelsea, destroying many of his paintings. His later work is heavily influenced by Francis Bacon, with whom he became close friends .
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IVAN ALBRIGHT (AMERICAN 1897-1983)
STILL LIFE IN MAINE
Oil on canvas
Signed (lower right)
50 x 77cm (19½ x 30¼ in.)
Painted circa 1940s.
Provenance:
Sale, Sotheby's, New York, 29 May 1986, lot 231
Exhibited:
Katonah, Katonah Museum of Art, Katonah Collects , April-June 1997
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LEE GATCH (AMERICAN 1902-1968)
FAN AND FOREST
Oil on canvas
Signed (lower right)
30 x 107cm (11¾ x 42 in.)
Painted circa 1940s.
Provenance:
Los Angeles County Museum of Art, Mira Hershey Memorial Collection, no. 47.2
Exhibited:
Los Angeles, Los Angeles County Museum of Art, Valentiner Memorial Exhibition , April-May 1959
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GEORGE MARSHALL COHEN (AMERICAN 1919-1999)
DOMUS (FLESH PAINTING V)
Oil and gesso on board
Signed with initials (lower right); further signed (verso)
45.5 x 61cm (17¾ x 24 in.)
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GEORGE MARSHALL COHEN (AMERICAN 1919-1999)
FIGURE WITH ATTENDANTS
Oil and collage on canvas
Signed (lower left)
76 x 117.5cm (29¾ x 46¼ in.)
Painted in 1953.
Provenance:
The Alan Gallery, New York
Exhibited:
New York, Museum of Modern Art, no. LS-567-52
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‡ MORRIS GRAVES (AMERICAN 1910-2001)
THE CLIFF
Tempera on paper laid down to canvas
136 x 70cm (53½ x 27½ in.)
Provenance:
Private Collection, Charles Laughton (1899-1962), Los Angeles
Sale, Christie's, New York, 11 March 1988, lot 301
Exhibited:
San Francisco, California Palace of the Legion of Honor, Morris Graves Retrospective Exhibition , May 1948, no.652.48
Born in 1910, Graves grew up in the Seattle area. He was a self-taught artist and one of the founding members of the so-called Northwest School of art, a movement that emerged in the 1930s. Along with Mark Tobey, Kenneth Callahan and Guy Anderson, Graves's work was rooted in the landscape of the Pacific Northwest. The present work, with its muted earthy tones and muted light is typical of the artist's style. Graves was also intrigued by Asian mysticism and aesthetics. He visited the region when he worked as a steamship hand on the American Mail Line between 1928-31 and was immediately impressed by the Japanese approach to nature. It was an influence that would continue to permeate his artistic practice in both his choice of materials in the form of ink and fine papers, and subject, including birds and waves. Whilst experiencing some success, it was an article entitled 'Mystic Painters of the Northwest' in LIFE Magazine in 1953 which brought the Northwest group to a national and international audience and, alongside the other three, helped cement Graves's importance in the wider art.
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DONALD KAUFMAN (AMERICAN B. 1935)
GROVES CORNERS
Oil on canvas
Signed, titled and dated 1968 (to canvas overlap)
102 x 102cm (40 x 40 in.)
Unframed
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RAY JOHNSON (AMERICAN 1927-1995)
UNTITLED (ANDY WITH COWS)
Mixed media collage on illustration board
Signed and dated 1976 (lower right)
37.5 x 37.5cm (14¾ x 14¾ in.)
Provenance:
Estate of the artist
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RAY JOHNSON (AMERICAN 1927-1995)
BABY SNOOKS
Mixed media and collage on board
Signed and dated 1971-1991 (to edge of collage); further signed, titled, dated 1972 and inscribed with artist's estate stamp (verso)
38 x 29cm (14¾ x 11¼ in.)
Provenance:
Manny Silverman Gallery, Los Angeles
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λ JEAN-PIERRE GIOVANELLI (FRENCH B. 1936)
NO MILK TODAY
Mixed media assemblage in perspex box
Signed, titled and numbered 6/8
20 x 20 x 8cm (7¾ x 7¾ x 3 in.)
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JAMES ROSENQUIST (AMERICAN 1933-2017)
HOLY ROMAN EMPIRE THROUGH CHECKPOINT CHARLIE
Mixed media with collage and masking tape
Signed, variously inscribed and dated 1994 (to masking tape)
31 x 103.5cm (12 x 40½ in.)
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KIRSTEN KRAA (AMERICAN 1941-2000)
UNTITLED 71
Oil on canvas
Signed (verso)
79.5 x 47cm (31¼ x 18½ in.)
Painted in 1963.
Exhibited:
San Diego, La Jolla Museum of Art
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ELIZABETH HUEY (AMERICAN B. 1971)
THE BURNED OVER DISTRICT
Acrylic and oil on panel
Signed (to stretcher verso)
153 x 183cm (60 x 72 in.)
Unframed
Painted in 2006.
Provenance:
Kinz + Tillou Fine Art, New York
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