DOCSLIB.ORG

Modern British and Irish Art New Bond Street, London | 18 November 2020

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Modern British and Irish Art New Bond Street, London | 18 November 2020 Modern British and Irish Art New Bond Street, London | 18 November 2020 Bonhams 1793 Limited Registered No. 4326560 Registered Office: Montpelier Galleries Montpelier Street, London SW7 1HH +44 (0) 20 7393 3900 +44 (0) 20 7393 3905 fax Modern British and Irish Art New Bond Street, London | Wednesday 18 November 2020 at 3pm VIEWING ENQUIRIES REGISTRATION PHYSICAL CONDITION Friday 13 November London IMPORTANT NOTICE OF LOTS IN THIS AUCTION 10am to 5pm Matthew Bradbury Please note that all customers, PLEASE NOTE THAT THERE IS NO +44 (0) 20 7468 8295 irrespective of any previous activity REFERENCE IN THIS CATALOGUE Saturday 14 November with Bonhams, are required to 11am to 5pm [email protected] TO THE PHYSICAL CONDITION OF complete the Bidder Registration ANY LOT. INTENDING BIDDERS Sunday 15 November Christopher Dawson Form in advance of the sale. The MUST SATISFY THEMSELVES AS 11am to 5pm +44 (0) 20 7468 8296 form can be found at the back of TO THE CONDITION OF ANY LOT Monday 16 November [email protected] every catalogue and on our website AS SPECIFIED IN CLAUSE 14 OF 10am to 5pm at www. bonhams.com and should THE NOTICE TO BIDDERS be returned by email or post to the Tuesday 17 November Ingram Reid CONTAINED AT THE END OF THIS specialist department or to the bids 10am to 5pm +44 20 7468 8297 CATALOGUE. [email protected] department at [email protected] Wednesday 18 November As a courtesy to intending bidders, 10am to 1pm James Flower To bid live online and / or leave Bonhams will provide a written +44 20 7468 5862 internet bids please go to Indication of the physical condition Viewing by appointment [email protected] www.bonhams.com/auctions/25853 of lots in this sale if a request is recommended. Please note and click on the Register to bid link received up to 24 hours before the that Bonhams observe social at the top left of the page. auction starts. This written distancing guidelines in our Indication is issued subject to salerooms and we ask that BIDS Clause 3 of the Notice to Bidders. all clients wear masks or face +44 (0) 20 7447 7447 coverings when attending our To bid via the internet please visit viewings or auctions. www.bonhams.com TELEPHONE BIDDING Bidding on telephone will only CUSTOMER SERVICES be accepted on lots with a lower SALE NUMBER Monday to Friday 8.30am-6pm estimate in excess of £1,000. 25853 +44 (0) 20 7447 7447 Please see page 6 for bidder Please note that bids should be information including after-sale submitted no later than 4pm on CATALOGUE collection and shipment. the day prior to the sale. New £25.00 bidders must also provide proof of identity when submitting bids. ILLUSTRATIONS Failure to do this may result in your bid not being processed. Front cover: lot 11 Back cover: lot 47 Live online bidding is available Inside Front cover: lot 12 for this sale Opposite page: lot 65 Please email [email protected] Inside Back cover: lot 22 with ‘live bidding’ in the subject line 48 hours before the auction to register for this service. Bonhams 1793 Limited Registered No. 4326560 Registered Office: Montpelier Galleries Montpelier Street, London SW7 1HH +44 (0) 20 7393 3900 +44 (0) 20 7393 3905 fax Sale Information BIDS BUYERS COLLECTION & STORAGE AND HANDLING VAT +44 (0) 20 7447 7447 STORAGE AFTER SALE CHARGES ON SOLD The following symbols are used To bid via the internet please visit LOTS MARKED TP LOTS TRANSFERRED to denote that VAT is due on www.bonhams.com All sold lots marked TP will be TO CADOGAN TATE the hammer price and buyer’s removed to Cadogan Tate, 241 Storage premium. PAYMENTS Acton Lane, London NW10 7NP Storage will be free of charge for Buyers Thursday 19 November 2020 the first 14 calendar days from & † VAT 20% on hammer price +44 (0) 20 7447 7447 & will be available for collection including the sale date Wednesday and buyer’s premium from 12pm Friday 20 November 18 November 2020. Sellers 2020 and then every working day * VAT on imported items at Payment of sale proceeds between 9.30am and 4.30pm Charges will apply from 9am a preferential rate of 5% on +44 (0) 20 7447 7447 by appointment only. Tuesday 2 December 2020. hammer price and the prevailing rate on buyer’s premium VALUATIONS, A booking email or phone call is Storage Charges TAXATION & HERITAGE required in advance to ensure lots Furniture, Large Pictures & Y These lots are subject to +44 (0) 20 7468 8340 are ready at time of collection. Large Objects: CITES regulations, please +44 (0) 20 7468 5860 fax Photographic ID will be required at £6.05 per day + VAT read the information in the [email protected] time of collection. If a third party (Please note that charges apply back of the catalogue. is collecting on your behalf written every day including weekend & CATALOGUE SUBSCRIPTIONS authorisation is required in advance public holidays) Payment in Advance To obtain any Bonhams from you and photographic ID of the (Telephone to ascertain amount catalogue or to take out third party is requested at the time Handling due) by: cash, cheque with banker’s an annual subscription: of collection. After the first 14 calendar days card, credit or debit card. Subscriptions Department following the sale, the following +44 (0) 1666 502 200 To arrange a collection time please handling charges apply: Payment at time of collection by: +44 (0) 1666 505 107 fax send a booking email to £45.00 +VAT per lot for Furniture, cash, cheque with banker’s card, [email protected] [email protected] or Large Pictures & Large Objects credit or debit card. telephone call to SHIPPING +44 (0) 800 988 6100 to ensure lots Loss and Damage For information and estimates are ready at time of collection. Extended Liability cover for the on domestic and international value of the Hammer Price will shipping as well as export All other sold lots will remain in the be charged at 0.6% but will not licenses please contact Alban Collections room at New Bond exceed the total value of all other Shipping on +44 (0) 1582 493 099 Street free of charge until 5.30pm transfer and storage charges. [email protected] Monday 1 December 2020. Lots (Please note that charges apply not collected by this time will be everyday including weekend & returned to the department. Storage public holidays) charges may apply. Central Middlesex Acton Ln Hospital Park Royal Acton Ln Cadogan Tate Coronation Road W e d s P a te a o r r n R k A v e R e s A o 40 a y h a Park l C Royal iWestern Ave A40 R o Station a 0 d 0 Acton 0 North 4 Cemetery A Acton d Station a o R a i r o t c i V CADOGAN TATE, 241ACTON LANE, LONDON, NW10 7NP West Acton Horn Lane Station Modern British and Irish Art Specialists London Matthew Bradbury Director and Head of Department Penny Day Director Christopher Dawson Department Director and Head of Sale Ingram Reid Senior Specialist James Flower Cataloguer Ireland Kieran O’Boyle Irish Representative 1AR DUNCAN GRANT (1885-1978) Still life with compotier and glass signed with initials ‘D.G.’ (lower right) oil on canvas 41.9 x 31 cm. (16 1/2 x 12 1/4 in.) Painted circa 1916 £20,000 - 30,000 €22,000 - 33,000 US$26,000 - 39,000 Provenance The Artist, until 1970, by whom gifted to Richard Shone With The Mayor Gallery, London, where probably acquired by Christopher Hull, thence by family descent Private Collection, U.K. The opaline compotier depicted was a favourite object at Charleston. It was given to Duncan Grant by Barbara Bagenal (née Hiles), and is still at the house today. It appears in numerous still lifes by both Grant and Vanessa Bell, including the major canvas Interior (c.1918 Ulster Museum, Belfast), a painting of the dining-room at Charleston depicting Bell painting the fruit-filled compotier. We are grateful to Richard Shone for his assistance in cataloguing this lot. For details of the charges payable in addition to the final Hammer Price of each Lot 10 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. MODERN BRITISH AND IRISH ART | 11 2AR DUNCAN GRANT (1885-1978) Portrait of Peter Morris Seated in a Wing Chair signed with initials and inscribed ‘Peter Morris/DG’ (verso) oil on canvas 76.2 x 50.8 cm. (30 x 20 in.) Painted circa 1928 £10,000 - 15,000 €11,000 - 16,000 US$13,000 - 19,000 Provenance Paul Roche With The Parkin Gallery, London Sale; Christie’s, London, 7 March 1986, lot 244, where acquired by the present owner Private Collection U.K. Peter Morris was a painter, great friend and for a brief period lover of Duncan Grant. Grant painted him several times in the late 1920s, and Morris’s sister Dora (later Lady Romilly) was painted by Vanessa Bell (now in the collection of Leeds City Art Gallery). Here Grant depicts Morris in rich and fluent colours positioned in a green upholstered wingback chair, that formerly belonged to Sickert. The chair, along with a similarly upholstered chaise-lounge, came into Grant’s possession when he took over Sickert’s Fitzroy Street studio. We are grateful to Richard Shone for his assistance in cataloguing this lot. For details of the charges payable in addition to the final Hammer Price of each Lot 12 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.
Load more

Recommended publications
  • Bideford Bay (1946) David Bomberg
    Chapter 5: Compositional Effects of Color Color (hue, chroma and value) effect the perception of space… …both 2D… (shapes can be made to seem larger or smaller by altering color) …and 3D (advancing and receding). The size of colored regions also effects the perceived color (larger areas seem brighter). Aerial Perspective or Atmospheric Perspective • (both phrases refer to the same phenomena – they are interchangeable terms) • Several color effects can be described in terms of Aerial perspective. • — Colors tend to be lighter and lower in chroma in the distance. (color moves closer to sky color) • — Contrast in value diminishes in the distance. (value range diminishes in distance) • — Sharp contrasting edge tends to bring (at least) one surface forward. (sharp detail or edges advance forms; blurred forms recede) The Space Between • The physical cause of atmospheric perspective in nature is dust and moisture in the air. • These scattered particles diffuse light, thereby softening the appearance of distant objects and causing their color to move closer to the prevailing sky color. • The Moisture-filled Space Between • Fog is an atmosphere densely filled with moisture – atmospheric perspective can be apparent at a very short distance. • Albert Bierstadt’s 19th c. paintings of the American West were composed to express the vast space open to expansion. • Aerial Perspective • Lighter values, reduced contrast, lower chroma all tend to establish a sense receding (distant) space. • Limited structure and detail are present — there are David Bomberg no linear perspective clues to structure, location, size or distance. Yet there is a definite sense of space— near regions and far regions.
    [Show full text]
  • Old Chiswick Protection Society
    Old Chiswick Protection Society Autumn 2020 Newsletter Old Chiswick Protection Society exists to preserve and enhance the amenities of this riverside conservation area. Even the geese are social distancing! [Photograph: David Humphreys] Chairman’s Message As we look back at the last months, the Old Chiswick Conservation Area has become even more precious to many of us who live here, work here or visit. We have seen and spoken with visitors, previously unfamiliar with our environment and its atmosphere and history, who are enjoying it for the first time. Nature carries on here regardless, and our history continues to be relevant and vital to our future. We can't take anything for granted though. It is only with the support of our members' subscriptions and diligent work that we are here today and can be so proud of what has been achieved by the charity over the last 60 years. Old Chiswick could so easily have looked and felt very different: no Chiswick Eyot, with its unique withy beds and nature reserve; houses where Homefields Recreation Ground South is; an entirely different main road into and out of London, sacrificing more historical buildings; post-war housing instead of Georgian houses along Chiswick Mall. Our community has done much to help others this year, and we continue to build relationships with those like Asahi who are new to the area since taking over Fuller’s Brewery, and who have expressed a wish to become part of the community. We look forward to inviting you to join our AGM this year, which will of course be conducted on line, with the very latest advice on meetings.
    [Show full text]
  • The Joan and Lester Avnet Collection in the Museum of Modern Art : Exhibited, Apr
    A Treasury of modern drawing : the Joan and Lester Avnet Collection in the Museum of Modern Art : exhibited, Apr. 27-July 4, 1978 William S. Lieberman Date 1978 Publisher The Museum of Modern Art ISBN 08707060980 Exhibition URL www.moma.org/calendar/exhibitions/2355 The Museum of Modern Art's exhibition history—from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art A TREASURY OF MODERN I DRAWING THE JOANAND LESTER AVNET COLLECTION Archive MoMA 1210 ft TREASURY OF MODERN DRAWING A TREASURY OF MODERN DRAWING THE JOANAND LESTER AVNET COLLECTION IN THE MUSEUMOF MODERNART WILLIAMS.LIEBERMAN THE MUSEUM OFMODERN ART, NEW YORK 4«-CH'«C lAOrf/) 12-10 MUSEUM OF MODERNART LIBRARY Copyright © 1978 by The Museum of Modern Art All rights reserved The Museum of Modern Art 11 West 53 Street New York, N.Y. 10019 Library of Congress Catalog Card Number: 78-50658 ISBN: 0-87070-609-8 Designed by Steven Schoenfelder Printed by Meriden Gravure Co., Meriden, Conn. Bound by Sendor Bindery, Inc., New York, N.Y. Printed in the United States of America cover Matisse: The Necklace. 1950. Brush and ink, ioVz x i6Vi" frontispiece Feininger: The Town ofLegefeld. 1916. Pen and ink, charcoal, 9 Vi x 12V2" INTRODUCTION 7 ILLUSTRATIONS 35 CA TALOG OF THE COLLECTION 108 Lester Avnet was a devoted son, brother, husband, and father. His life was dedicated to his family; indeed he thought more often of them, always with pride, than he did of himself.
    [Show full text]
  • Levens Hall & Gardens
    LAKE DISTRICT & CUMBRIA GREAT HERITAGE 15 MINUTES OF FAME www.cumbriaslivingheritage.co.uk Abbot Hall Art Gallery, Kendal Cumbria Living Heritage Members’ www.abbothall.org.uk ‘15 Minutes of Fame’ Claims Cumbria’s Living Heritage members all have decades or centuries of history in their Abbot Hall is renowned for its remarkable collection locker, but in the spirit of Andy Warhol, in what would have been the month of his of works, shown off to perfection in a Georgian house 90th birthday, they’ve crystallised a few things that could be further explored in 15 dating from 1759, which is one of Kendal’s finest minutes of internet research. buildings. It has a significant collection of works by artists such as JMW Turner, J R Cozens, David Cox, Some have also breathed life into the famous names associated with them, to Edward Lear and Kurt Schwitters, as well as having a reimagine them in a pop art style. significant collection of portraits by George Romney, who served his apprenticeship in Kendal. This includes All of their claims to fame would occupy you for much longer than 15 minutes, if a magnificent portrait - ‘The Gower Children’. The you visited them to explore them further, so why not do that and discover how other major piece in the gallery is The Great Picture, a interesting heritage can be? Here’s a top-to-bottom-of-the-county look at why they triptych by Jan van Belcamp portraying the 40-year all have something to shout about. struggle of Lady Anne Clifford to gain her rightful inheritance, through illustrations of her circumstances at different times during her life.
    [Show full text]
  • Download Our Exhibition Catalogue
    CONTENTS Published to accompany the exhibition at Foreword 04 Two Temple Place, London Dodo, by Gillian Clarke 06 31st january – 27th april 2014 Exhibition curated by Nicholas Thomas Discoveries: Art, Science & Exploration, by Nicholas Thomas 08 and Martin Caiger-Smith, with Lydia Hamlett Published in 2014 by Two Temple Place Kettle’s Yard: 2 Temple Place, Art and Life 18 London wc2r 3bd Museum of Archaeology and Anthropology: Copyright © Two Temple Place Encountering Objects, Encountering People 24 A catalogue record for this publication Museum of Classical Archaeology: is available from the British Library Physical Copies, Metaphysical Discoveries 30 isbn 978-0-9570628-3-2 Museum of Zoology: Designed and produced by NA Creative Discovering Diversity 36 www.na-creative.co.uk The Sedgwick Museum of Earth Sciences: Cover Image: Detail of System According to the Holy Scriptures, Muggletonian print, Discovering the Earth 52 plate 7. Drawn by Isaac Frost. Printed in oil colours by George Baxter Engraved by Clubb & Son. Whipple Museum of the History of Science, The Fitzwilliam Museum: University of Cambridge. A Remarkable Repository 58 Inside Front/Back Cover: Detail of Kitagawa Utamaro (1753-1806), Komei bijin mitate The Polar Museum: Choshingura junimai tsuzuki (The Choshingura drama Exploration into Science 64 parodied by famous beauties: A set of twelve prints). The Fitzwilliam Museum, University of Cambridge. Whipple Museum of the History of Science: Thinking about Discoveries 70 Object List 78 Two Temple Place 84 Acknowledgements 86 Cambridge Museums Map 87 FOREWORD Over eight centuries, the University of Cambridge has been a which were vital to the formation of modern understandings powerhouse of learning, invention, exploration and discovery of nature and natural history.
    [Show full text]
  • Elements of Innovators' Fame
    Elements of Innovators’ Fame: Social Structure, Identity and Creativity Mitali Banerjee Submitted in partial fulfilment of the requirement for the degree of Doctor of Philosophy under the Executive Committee of the Graduate School of Arts and Sciences Columbia University 2017 © 2017 Mitali Banerjee All rights reserved Abstract Elements of Innovators’ Fame: Social Structure, Identity and Creativity Mitali Banerjee What makes an innovator famous? This is the principal question of this dissertation. I examine three potential drivers of the innovators’ fame – their social structure, creativity and identity. My empirical context is the early 20th century abstract artists in 1910-25. The period represents a paradigmatic shift in the history of modern art, the emergence of the abstract art movement. In chapter 2, I operationalize social structure by an innovator’s local peer network. I find that an innovator with structurally and compositionally diverse local network is likely to be more famous than the one with a homogenous local network. I find no statistical evidence for creativity as a link between social structure and fame. Instead, the evidence suggests that an innovator’s creative identity and access to promotional opportunities are the key drivers of her fame. In Chapter 3, I find that the creativity identity resulting from an innovator’s creative trajectory can lead to obscurity despite early fame and acclaim. The drastic change in the nature of a producer’s output can dilute her identity and cost her her niche. In combination with her peer network characteristics, these dynamics can mean obscurity even for talented and prolific innovators. In chapter 4, I undertake a large-scale analysis of the relationship between creativity and fame.
    [Show full text]
  • R.B. Kitaj Papers, 1950-2007 (Bulk 1965-2006)
    http://oac.cdlib.org/findaid/ark:/13030/kt3q2nf0wf No online items Finding Aid for the R.B. Kitaj papers, 1950-2007 (bulk 1965-2006) Processed by Tim Holland, 2006; Norma Williamson, 2011; machine-readable finding aid created by Caroline Cubé. UCLA Library, Department of Special Collections Manuscripts Division Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 Email: [email protected] URL: http://www.library.ucla.edu/libraries/special/scweb/ © 2011 The Regents of the University of California. All rights reserved. Finding Aid for the R.B. Kitaj 1741 1 papers, 1950-2007 (bulk 1965-2006) Descriptive Summary Title: R.B. Kitaj papers Date (inclusive): 1950-2007 (bulk 1965-2006) Collection number: 1741 Creator: Kitaj, R.B. Extent: 160 boxes (80 linear ft.)85 oversized boxes Abstract: R.B. Kitaj was an influential and controversial American artist who lived in London for much of his life. He is the creator of many major works including; The Ohio Gang (1964), The Autumn of Central Paris (after Walter Benjamin) 1972-3; If Not, Not (1975-76) and Cecil Court, London W.C.2. (The Refugees) (1983-4). Throughout his artistic career, Kitaj drew inspiration from history, literature and his personal life. His circle of friends included philosophers, writers, poets, filmmakers, and other artists, many of whom he painted. Kitaj also received a number of honorary doctorates and awards including the Golden Lion for Painting at the XLVI Venice Biennale (1995). He was inducted into the American Academy of Arts and Letters (1982) and the Royal Academy of Arts (1985).
    [Show full text]
  • Grosvenor School Inspired 15 July
    PRESS RELEASE Grosvenor School Inspired A group exhibition of contemporary linocuts, inspired by the renowned Grosvenor School of Art style 15 th July – 28 th August 2016 Private view: Thursday 14 th July, 6-8pm Looking ahead for Brook’s Budleigh gallery we are excited to announce the upcoming summer exhibition, Grosvenor School Inspired , featuring artists: Paul Cleden, Lisa Takahashi and Andrew Pavitt. The British Grosvenor School of Modern Art was opened in 1925 by Claude Flight and Iain MacNab. Flight taught the art of lino-cutting and MacNab taught wood engraving. Other teachers included Cyril Power who lectured on architecture, Sybil Andrews as Secretary and Lill Tschudi attended as a young Swiss student. Claude Flight, a former engineer, taught students to produce multi-colour linocut prints by using different blocks for each colour. Flight’s work celebrated the speed, movement and hustle of modern life in the 1920s and 30s, with dominant themes of sport and transport. Many contemporary artists attempt to capture the essence of the Grosvenor School by producing these incredibly complex angular linocuts, few however succeed in the way that Paul Cleden, Lisa Takahashi and Andrew Pavitt do. Their prints notably capture the spirit of the genre whilst putting their own individual styling and nuances into the work. ‘My linocuts are in the tradition of Lill Tschudi, Sybil Andrews and Cyril Power, and more recently Michael Rothenstein and Edward Bawden’, quotes exhibiting artist Paul Cleden. ‘ I love to look at figurative movement; consequently sports are often featured because of the dynamic shapes and action, but equally a crowd of rush hour people leaving a train, or people browsing Dorchester market are wonderful inspiration, whenever I see a crowd my sketchbook twitches.’ Paul is an illustrator, printmaker and writer, originally graduated from London, now lives and works in Dorset.
    [Show full text]
  • Art and Life
    Resource Notes – for teachers and group leaders Art and Life is an exhibition of paintings and pottery produced between 1920 and 1931 by artists Ben Nicholson, Winifred Nicholson, Christopher Wood, Alfred Wallis and William Staite Murray. All the artists knew each other personally, exhibited or worked together and shared similar values in terms of making art. Jim Ede, creator of Kettle's Yard, was a friend and a supporter of these artists, who played a central role in shaping his taste and approach to life. Their artwork makes up a key part of the Kettle’s Yard permanent collection. Art and Life shows British painting during a period of change, when representational painting was replaced by a more gestural, ‘felt’ abstraction. Painting was no longer about producing a technically accomplished representation of the real world, but about expressing 'lived' experience, through colour, form and movement. The process of making art came to be about the spiritual as well as the visual; about vitality, Winifred Nicholson, Autumn Flowers on a experience and intuition and re-connecting the Mantlepiece,1932. Oil on wood panel, 76 x person with life through art. 60cm. Private Collection © Trustees of Winifred Nicholson The Artists Winifred and Ben Nicholson grew up in an environment that gave them access to artists, artworks and intellectual society. Although working closely together, Winifred and Ben's paintings were quite different. Winifred's emphasis was strongly on colour and light whereas Ben focused more on line, muted colours and abstract, simple forms. Christopher Wood met the Nicholsons in 1926 and became a close friend, living with them for periods of time in Cumbria and St Ives, Cornwall.
    [Show full text]
  • The Summer Reading Issue
    US $30 The Global Journal of Prints and Ideas July – August 2019 Volume 9, Number 2 The Summer Reading Issue: Recommended Reading for the Print-Curious, from History to Fiction Léon Spilliaert in the Margins • Turning the Pages with Ed Ruscha • Jan Svenungsson • Prix de Print • News THE LARGEST INTERNATIONAL ART FAIR CELEBRATING 500 YEARS OF PRINTMAKING OCTOBER 23–27 2019 JAVITS CENTER I NEW YORK CITY EXHIBITORS Alan Cristea Gallery Goya Contemporary/ Paulson Fontaine Press Alice Adam Ltd. Goya-Girl Press Paupers Press August Laube Buch Graphicstudio/USF Polígrafa Obra Gráfica & Kunstantiquariat Harris Schrank Fine Prints R. S. Johnson Fine Art Bernard Jacobson Graphics Hauser & Wirth Redfern Gallery Ltd. Brooke Alexander, Inc. Hill-Stone, Inc. Ruiz-Healy Art C. G. Boerner Isselbacher Gallery Scholten Japanese Art Carolina Nitsch Jim Kempner Fine Art Shark's Ink. Catherine Burns Fine Art John Szoke Gallery Sims Reed Gallery Childs Gallery Krakow Witkin Gallery Sragow Gallery Cirrus Gallery Kunsthandlung Stanza del Borgo Crown Point Press Helmut H. Rumbler Stoney Road Press David Tunick, Inc. Lelong Editions STPI Dolan/Maxwell Marlborough Graphics Susan Sheehan Gallery Durham Press, Inc. Mary Ryan Gallery Susan Teller Gallery Emanuel von Baeyer mfc-michèle didier Tamarind Institute Flowers Gallery Mike Karstens Tandem Press Flying Horse Editions/UCF Mixografia® The Old Print Shop, Inc. G. W. Einstein Company, Inc. Niels Borch Jensen The Tolman Collection of Tokyo Gallery & Editions Galeria Toni Tàpies - Edicions T Thomas French Fine Art Osborne Samuel Ltd. Galerie Maximillian Two Palms Pace PrintsParagon Galerie Sabine Knust Universal Limited Art Editions, Inc Paramour Fine Arts Gallery Neptune & Brown Ursus Rare Books Paul Prouté s.a.
    [Show full text]
  • The Transatlantic Slave Trade
    1 2 3 4 The Transatlantic Slave Trade 5 6 7 8 9 10 11 [First Page] 12 13 [-1], (1) 14 15 Lines: 0 to 9 16 17 ——— 18 * 455.0pt PgVar ——— 19 Normal Page 20 * PgEnds: PageBreak 21 22 23 [-1], (1) 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 BOB — University of Nebraska Press / Page i / / The Transatlantic Slave Trade / James A. Rawley 1 2 3 4 5 6 7 8 9 10 11 12 13 [-2], (2) 14 15 Lines: 9 to 10 16 17 ——— 18 0.0pt PgVar ——— 19 Normal Page 20 PgEnds: T X 21 E 22 23 [-2], (2) 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 BOB — University of Nebraska Press / Page ii / / The Transatlantic Slave Trade / James A. Rawley 1 2 3 4 The Transatlantic 5 6 7 8 Slave Trade 9 10 11 A History, revised edition 12 13 [-3], (3) 14 15 Lines: 10 to 32 16 17 ——— 18 0.0pt PgVar ——— 19 James A. Rawley Normal Page 20 * PgEnds: PageBreak 21 with Stephen D. Behrendt 22 23 [-3], (3) 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 university of nebraska press 39 lincoln and london BOB — University of Nebraska Press / Page iii / / The Transatlantic Slave Trade / James A. Rawley 1 © 1981, 2005 by James A. Rawley 2 All rights reserved 3 Manufactured in the United States of America 4 ⅜ϱ 5 Library of Congress Cataloging-in-Publication Data 6 Rawley, James A.
    [Show full text]
  • One Hundred Drawings One Hundred Drawings
    One hundred drawings One hundred drawings This publication accompanies an exhibition at the Matthew Marks Gallery, 523 West 24th Street, New York, Matthew Marks Gallery from November 8, 2019, to January 18, 2020. 1 Edgar Degas (1834 –1917) Étude pour “Alexandre et Bucéphale” (Study for “Alexander and Bucephalus”), c. 1859–60 Graphite on laid paper 1 1 14 ∕8 x 9 ∕8 inches; 36 x 23 cm Stamped (lower right recto): Nepveu Degas (Lugt 4349) Provenance: Atelier Degas René de Gas (the artist’s brother), Paris Odette de Gas (his daughter), Paris Arlette Nepveu-Degas (her daughter), Paris Private collection, by descent Edgar Degas studied the paintings of the Renaissance masters during his stay in Italy from 1856 to 1859. Returning to Paris in late 1859, he began conceiving the painting Alexandre et Bucéphale (Alexander and Bucephalus) (1861–62), which depicts an episode from Plutarch’s Lives. Étude pour “Alexandre et Bucéphale” (Study for “Alexander and Bucephalus”) consists of three separate studies for the central figure of Alexandre. It was the artist’s practice to assemble a composition piece by piece, often appearing to put greater effort into the details of a single figure than he did composing the work as a whole. Edgar Degas, Alexandre et Bucéphale (Alexander and Bucephalus), 1861–62. Oil on canvas. National Gallery of Art, Washington, DC, bequest of Lore Heinemann in memory of her husband, Dr. Rudolf J. Heinemann 2 Odilon Redon (1840 –1916) A Man Standing on Rocks Beside the Sea, c. 1868 Graphite on paper 3 3 10 ∕4 x 8 ∕4 inches; 28 x 22 cm Signed in graphite (lower right recto): ODILON REDON Provenance: Alexander M.
    [Show full text]