Spring 2010 Catalogue:1 27/10/09 11:28 Page 1
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De László and Sargent
De László and Sargent Richard Ormond In the year 1907 Philip de László set up as a portrait painter in London and John Singer Sargent retired. Society’s favourite portrait painter, an American, was succeeded by an Hungarian in a seamless transfer of patronage from one to the other. The people Sargent had painted in the early 1900s de László would portray a decade or more later, and occasionally the other way about. Their sitters came from the highest ranks of the British establishment. Both artists sought employment in America, and de László enjoyed a privileged position as court painter to most of Europe’s royal families. Both were cosmopolitan, international in outlook, and masters of high style and painterly panache. They understood their role in giving fresh impetus to the grand tradition of formal portraiture by harnessing a modern sense of psychology and sensibility to the age-old claims of FIG. 1 rank and status. Portraits by Sargent and de László are marked by Philip Alexius de László 1869 - 1937 flowing brushwork and scintillating effects of light and colour that The Duchess of Portland 1912 bring their subjects vividly to life. At the same time their sitters are Oil on canvas, 127 x 101.5 cm Private Collection invested with the aura of wealth and glamour, power and prestige, through the devices of grand design and pictorial invention. “Ask me to paint your gates, your fences, your barns, which I should gladly do, but not the human face”, Sargent told Lady Radnor came to an abrupt end when his celebrated portrait of Mme Gautreau in 1907.1 After twenty years of unparallelled success, he was giving (Metropolitan Museum of Art, New York) caused outrage at the up as a portraitist in order to concentrate on his mural projects Salon exhibition of 1884. -
Philip De László in the Great War by Giles Macdonogh
Philip de László in the Great War By Giles MacDonogh Hungarian-born Philip de László (1869-1937) was a truly international artist who travelled widely in Europe and America and painted many of those who were the major political players in the First World War. He moved from Vienna to London in 1907 with his wife Lucy, née Guinness, and family, and quickly established his reputation there, counting the royal family, aristocracy and members of government amongst his many patrons. This essay examines de László’s situation as a naturalised alien and an artist in the context of the spy furore in Britain during the First World War. Philip Alexius de László in his Vienna studio 1903 Self-portrait with his wife Lucy and their son Henry painted while under house arrest at Ladbroke Gardens Nursing Home 1918 I The Great War was not only the ‘first’ war designated as global, it was the first to have roused an ubiquitous spy fever which placed whole sections of immigrant communities under suspicion of working for the enemy.1 Britain was not unique. In Berlin, those opening days of August were marked by lawless demonstrations against foreigners: the British Embassy was attacked, diplomats were struck, British subjects were locked up in the fortress in Spandau and a great ‘spy excitement’ resulted in rumours about poisoning wells and lakes.2 Germany had a tenth the number of aliens as Britain where most Germans, Austrians, Hungarians and Turks were modest shopkeepers or tradesmen. The grandees attached to embassies left along with the more prominent Germans and Austrians, although many of those indicted for spying for the Axis Powers were Americans of German descent. -
19TH CENTURY EUROPEAN VICTORIAN and BRITISH IMPRESSIONIST ART Wednesday 14 March 2018
19TH CENTURY EUROPEAN VICTORIAN AND BRITISH IMPRESSIONIST ART Wednesday 14 March 2018 19TH CENTURY EUROPEAN, VICTORIAN AND BRITISH IMPRESSIONIST ART Wednesday 14 March at 2.00pm New Bond Street, London VIEWING BIDS ENQUIRIES PHYSICAL CONDITION OF Friday 9 March +44 (0) 20 7447 7447 Peter Rees (Head of Sale) LOTS IN THIS AUCTION 2pm to 5pm +44 (0) 20 7447 7401 fax +44 (0) 20 7468 8201 Saturday 10 March To bid via the internet please [email protected] PLEASE NOTE THAT THERE IS 11am to 3pm visit bonhams.com NO REFERENCE IN THIS Sunday 11 March Charles O’Brien CATALOGUE TO THE PHYSICAL 11am to 3pm Please note that bids should be (Head of Department) CONDITION OF ANY LOT. Monday 12 March submitted no later than 4pm on +44 (0) 20 7468 8360 INTENDING BIDDERS MUST 9am to 4.30pm the day prior to the sale. New [email protected] SATISFY THEMSELVES AS TO Tuesday 13 March bidders must also provide proof THE CONDITION OF ANY LOT 9am to 4.30pm of identity when submitting bids. Emma Gordon AS SPECIFIED IN CLAUSE 14 Wednesday 14 March Failure to do this may result in +44 (0) 20 7468 8232 OF THE NOTICE TO BIDDERS 9am to 12pm your bid not being processed. [email protected] CONTAINED AT THE END OF THIS CATALOGUE. SALE NUMBER TELEPHONE BIDDING Alistair Laird 24741 Bidding by telephone will only +44 (0) 20 7468 8211 As a courtesy to intending be accepted on a lot with a [email protected] bidders, Bonhams will provide a CATALOGUE lower estimate of or in written Indication of the physical £25.00 excess of £1,000 Deborah Cliffe condition of lots in this sale if a +44 (0) 20 7468 8337 request is received up to 24 ILLUSTRATIONS Live online bidding is available [email protected] hours before the auction starts. -
London | 24 March 2021 March | 24 London
LONDON | 24 MARCH 2021 MARCH | 24 LONDON LONDON THE FAMILY COLLECTION OF THE LATE COUNTESS MOUNTBATTEN OF BURMA 24 MARCH 2021 L21300 AUCTION IN LONDON ALL EXHIBITIONS FREE 24 MARCH 2021 AND OPEN TO THE PUBLIC 10 AM Saturday 20 March 12 NOON–5 PM 34-35 New Bond Street Sunday 21 March London, W1A 2AA 12 NOON–5 PM +44 (0)20 7293 5000 sothebys.com Monday 22 March FOLLOW US @SOTHEBYS 10 AM–5 PM #SothebysMountbatten Tuesday 23 March 10 AM–5 PM TO LEARN MORE ABOUT THE PROPERTY IN THIS SALE, PLEASE VISIT This page SOTHEBYS.COM/L21300 LOT XXX UNIQUE COLLECTIONS SPECIALISTS ENQUIRIES FURNITURE & DECORATIVE ART MIDDLE EAST & INDIAN SALE NUMBER David Macdonald Alexandra Roy L21300 “BURM” [email protected] [email protected] +44 20 7293 5107 +44 20 7293 5507 BIDS DEPARTMENT Thomas Williams MODERN & POST-WAR BRITISH ART +44 (0)20 7293 5283 Mario Tavella Harry Dalmeny Henry House [email protected] Thomas Podd fax +44 (0)20 7293 6255 +44 20 7293 6211 Chairman, Sotheby’s Europe, Chairman, UK & Ireland Senior Director [email protected] [email protected] +44 20 7293 5497 Chairman Private European +44 (0)20 7293 5848 Head of Furniture & Decorative Arts ANCIENT SCULPTURE & WORKS Collections and Decorative Arts [email protected] +44 (0)20 7293 5486 OF ART Telephone bid requests should OLD MASTER PAINTINGS be received 24 hours prior +44 (0)20 7293 5052 [email protected] Florent Heintz Julian Gascoigne to the sale. This service is [email protected] [email protected] [email protected] offered for lots with a low estimate +44 20 7293 5526 +44 20 7293 5482 of £3,000 and above. -
Edward Kilenyi, Jr. Materials
Edward Kilenyi, Jr. Materials Kilenyi I Kilenyi Jr. to father ● 49 letters and 1 letter fragment from Kilenyi Jr. to father ● 5 postcards to father ● 19 telegrams to father (1940s) or to mother (North African tour) ● 8 envelopes, 4 with their respective letters and 4 loose 1. Letter to Edward Kilenyi Sr. from Edward Kilenyi Jr., June 1, [1933]. [Budapest]. People mentioned: Ernő Dohnányi, Irén Senn, Elza Galafrés Dohnányi, Alfred Cortot, Pásztor, Arthur Judson, Halli Huberman. 2. Letter to Edward Kilenyi Sr. from Edward Kilenyi Jr., with envelope, July 3, 1933. Paris, Hotel Malherbe. People mentioned: Alfred Cortot, Ernő Dohnányi, Robert Casadeus, Eugene Ormandy. 3. Letter to Edward Kilenyi Sr. from Edward Kilenyi Jr., with envelope, October 1, 1933. Paris. People mentioned: Ethel Kilenyi, Josef Slenczynski, Ruth Slenczynska, [Gerald?] Langelaan and son [George Langelaan]. 4. Letter to Edward Kilenyi Sr. from Edward Kilenyi Jr., with envelope, October 22, 1933. Paris. People mentioned: Rudolf Serkin, Adolf Busch, Joseph Hoffmann. 5. Letter to Edward Kilenyi Sr. from Edward Kilenyi Jr., with envelope, October 10, 1934. Paris, Claridge’s Hotel. People mentioned: Wilhelm Fürtwangler, Joseph Goebbels, Dr. Schiff, Marcel de Valmalète. 6. Letter to Edward Kilenyi Sr. from Edward Kilenyi Jr., January 6, 1935. Milan, Grand Hotel Continental. People mentioned: Ethel Kilenyi, Giacomo Balla, Sir Geoffrey Fry, Elza Galafrés Dohnányi, cousin Laczi. 7. Letter to Edward Kilenyi Sr. from Edward Kilenyi Jr., January 4, 1941. [New York]. People mentioned: Ethel Kilenyi, Fulkerson, Jack Salter, Yehudi Menuhin. 8. Letter to Edward Kilenyi Sr. from Edward Kilenyi Jr., November 15, 1941. [New York]. People mentioned: Jascha Heifitz, Olin Downes, Rudolf Serkin, Claudio Arrau, Moe [Moses Smith], Eugene Stinson, Alexander Greiner, Theodore Steinway, William Steinway, Jack Salter, Giannino Agostinaccho, Frances McLanahan, Ilya, Arthur Judson. -
Philip Alexius De László
For Immediate Release Contact: Emma Cunningham 0208 516 2646 [email protected] Catherine Fenston 0207 389 2664 [email protected] A Brush with Grandeur – Philip Alexius de László H.R.H. The Duchess of York, 1925 © Reserved/The Royal Collection EXHIBITION OF WORKS BY PHILIP ALEXIUS DE LÁSZLÓ, M.V.O., P.R.B.A. (Budapest 1869- London 1937) 6 – 22 January 2004 at Christie’s, 8 King Street, St. James’s, SW1 Admission Free The exhibition is presented by the Hungarian Cultural Centre (HCC) in collaboration with Christie’s and supported by the Hungarian Ministry of Cultural Heritage as part of Magyar Magic: Hungary in Focus 2004, a year long celebration of Hungarian culture in the UK to mark Hungary’s entry to the European Union. London – A groundbreaking exhibition celebrating the artistic career of Philip Alexius de László, the great painter of European Royalty and aristocracy, will take place at Christie’s from 6-22 January, 2004. The exhibition will comprise over 90 oil paintings, including portraits of many members of the British and European Royal families, politicians and other leading men and women of the day alongside sketches, artist’s materials, memorabilia and photographs. It is the first retrospective of de László to be staged since his death in 1937 and will also include examples of his work as a landscape artist. Sandra de Laszlo, one of the curators of the exhibition and author of the catalogue raisonné, said: “De László is now remembered chiefly as a society painter, especially of beautiful women. While this is certainly true, this does not do justice to the range of his talents. -
The Sculpture of Matisse 9
THE SCULPTUREOF MATISSE MoMA 995 c.2 I took up sculpture because what interested me in painting was a clarification of my ideas. I changed my method, and worked in clay in order to have a rest from painting where I had done all I could for the time being. That is to say that it was done for the purposes of organ ization, to put order into my feelings, and find a style to suit me. When I found it in sculpture, it helped me in my painting. It ivas alivays in view of a complete possession of my mind, a sort of hierarchy of all my sensations, that I kept working in the hope of finding an ultimate 1 method, henri matisse Alicia Legg THE SCULPTUREOF MATISSE The Museum of Modern Art, New York Trustees of The Museum of Modern Art Copyright © 1972 by The Museum of Modern Art David Rockefeller, Chairman of the Board; Henry Allen Moe. All rights reserved John Hay Whitney, Gardner Cowles, Vice Chairmen; William Library of Congress Catalog Card Number 73-188667 S. Paley, President; James Thrall Soby, Mrs. Bliss Parkinson. ISBN 0-87070-448-6 J. Frederic Byers III, Vice Presidents ; Willard C. Butcher, Treasurer; Robert 0. Anderson, Mrs. Douglas Auchincloss, Designed by James Wageman Walter Bareiss, Robert R. Barker, Alfred H. Barr, Jr.,* Mrs. Printed in the United States of America Armand P. Bartos, William A. M. Burden, Ivan Chermayeff. The Museum of Modern Art Dr. Mamie Phipps Clark, Mrs. W. Murray Crane,* John de 11 West 53 Street, New York, N.Y. -
Performing Portraiture: Picturing the Upper-Class English Woman in an Age of Change, 1890–1914 by Susan Elizabeth Slattery
Performing Portraiture: Picturing the Upper-Class English Woman in an Age of Change, 1890–1914 by Susan Elizabeth Slattery A thesis submitted in conformity with the requirements for the degree of PhD Graduate Department of Art History University of Toronto ©Copyright by Susan Elizabeth Slattery 2019 Performing Portraiture: Picturing the Upper-Class English Woman in an Age of Change, 1890–1914 Susan Elizabeth Slattery Doctor of Philosophy Department of Art History University of Toronto 2019 Abstract This dissertation examines the use of portraiture by upper-class women of Britain in the period 1890—1914 as a means to redefine gender and class perception and to reposition aristocratic women as nostalgic emblems of a stable past and as symbols of a modern future. Through a range of portraiture practices, upper-class women promoted themselves as a new model for a continuing upper class that fulfilled a necessary social function in the altered circumstances of the new century. The period 1890—1914 was an era of change that challenged the existing social structure in Britain, destabilizing the hereditary entitlement of the ruling class and questioning the continuing role and relevance of the upper class. In the same period, changes in the technology of print and photography meant that, for the first time, there was the ability to disseminate portrait images through mass media on an economical basis, leading to a proliferation of illustrated journals and magazines. These circumstances provided an opportunity for upper-class women to reimagine the social and political potential of portraiture. ii My analysis examines different forms of media through intensive case studies arguing a progression from a traditional static image to a fluid interdisciplinary performative portraiture practice. -
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wdmaqart WOMEN SHOOT WOMEN: Films About Women Artists The recent public television series "The Originals: Women in Art" has brought attention to this burgeoning film genre by Carrie Rickey pag e 4 NOTES FROM HOUSTON New York State's artist-delegate to the International Women's Year Convention in Houston, Texas in a personal report on her experiences in politics by Susan S ch w a lb pag e 9 SYLVIA SLEIGH: Portraits of Women in Art Sleigh's recent portrait series acknowledges historical roots as well as the contemporary activism of her subjects by Barbara Cavaliere ......................................................................pag e 12 TENTH STREET REVISITED: Another look at New York’s cooperative galleries of the 1950s WOMEN ARTISTS ON FILM Interviews with women artist/co-op members produce surprising answers to questions about that era by Nancy Ungar page 15 SPECIAL REPORT: W omen’s Caucus for Art/College Art Association 1978 Annual Meetings Com plete coverage of all WCA sessions and activities, plus an exclusive interview with Lee Anne Miller, new WCA president.................................................................................pag e 19 PRIMITIVISM AND WOMEN’S ART Are primitivism and mythology answers to the need for non-male definitions of the feminine? by Lawrence Alloway ......................................................................p a g e 31 SYLVIA SLEIGH GALLERY REVIEWS pa g e 34 REPORTS An Evening with Ten Connecticut Women Artists; WAIT Becomes WCA/Florida Chapter page 42 Cover: Alice Neel, subject of one of the new films about women artists, in her studio. Photo: Gyorgy Beke. WOMANART MAGAZINE Is published quarterly by Womanart Enterprises, 161 Prospect Park West, Brooklyn, New York 11215, (212) 499-3357. -
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MATISSE: RADICAL INVENTION: 1913–1917 OFFERS UNPRECEDENTED REASSESSMENT OF PIVOTAL MOMENT IN HENRI MATISSE’S CAREER Archival, Art-Historical, and Conservation Research Generate New Understanding of the Artist’s Most Demanding and Enigmatic Works Required Timed-Entry Tickets Available on MoMA.org Matisse: Radical Invention, 1913–1917 July 18–October 11, 2010 The Joan and Preston Robert Tisch Gallery, sixth floor Press Preview: Tuesday, July 13, 2010, 10:00 a.m.—12:00 p.m. RSVP (212) 708-9401 or [email protected] NEW YORK, July 12, 2010—Matisse: Radical Invention, 1913–1917, a large-scale investigation into a pivotal moment in the career of Henri Matisse (1869–1954), presents an important reassessment of the artist’s work between 1913 and 1917, revealing this period to be one of the most significant chapters in Matisse’s evolution as an artist. On view from July 18 through October 11, 2010, at The Museum of Modern Art, the exhibition examines paintings, sculptures, drawings, and prints made by the artist between his return to Paris from Morocco in 1913 to his departure for Nice in 1917. Over these five years, he developed his most demanding, experimental, and enigmatic works: paintings that are abstracted, often purged of descriptive detail, geometrically composed, and dominated by blacks and grays. Comprising nearly 110 of the artist’s works, Matisse: Radical Invention, 1913–1917 is the first exhibition devoted to this period, thoroughly exploring Matisse’s working processes and the revolutionary experimentation of what he called his “methods of modern construction.” Organized by The Museum of Modern Art and The Art Institute of Chicago, the exhibition is curated by John Elderfield, Chief Curator Emeritus of Painting and Sculpture at The Museum of Modern Art, and Stephanie D’Alessandro, Gary C. -
Friends of Art NEWSLETTER Winter 2010
Friends of Art NEWSLETTER Winter 2010 Collectors Group Workshop Betsy Stirratt and Nan Brewer discuss issues in buying student and faculty artwork Approximately thirty people joined the conversation with SoFA Gallery director Betsy Stirratt and IU Art Museum curator Nan Brewer as they discussed many questions and issues surrounding the pur- chase of student and faculty artwork. The SoFA Gallery provided an appropriate background, hung with a semester-opening exhibit of MFA student work. Stirratt spoke of a generalized increase in interest and sale of student work from her gallery over the years. Although the SoFA Gallery does not have a long-term (or exclusive) relationship with its exhibitors and takes a smaller percentage of sales than a commercial gallery, 2009 was the best year ever for the gallery in terms of sales. This is an important part of their op- erating budget. Stirratt said that although the students produce work at a very difficult and demanding point in their careers, buyers may find it rewarding to cultivate a relationship, and students would almost certainly appreciate the interest of a studio visit. In the context of an upcoming Triennial Faculty group exhibit, Nan Brewer circulated a price list for faculty pieces, and discussed the relationship artists must maintain with their galleries, assisted by comments from Chicago gallery owner Thomas Robertello who was attending. Should a buyer haggle over prices? (Not at student shows, please.) What guides a buyer’s decisions? Will the student pieces ever be worth as much as later work? How does one track the progress of a stu- dent’s career? The audience brought up many important issues of relevance. -
19Th Century European, Victorian and British Impressionist Art Wednesday 22 January 2014
19TH CENTURY EUROPEAN, VICTORIAN AND BRITISH IMPRESSIONIST ART Wednesday 22 January 2014 19TH CENTURY EUROPEAN, VICTORIAN AND BRITISH IMPRESSIONIST ART Wednesday 22 January 2014 at 14.00 New Bond Street, London VIEWING BIDS ENQUIRIES PHYSICAL CONDITION OF Sunday 19 January +44 (0) 20 7447 7448 Peter Rees (Head of Sale) LOTS IN THIS AUCTION 11.00 to 15.00 +44 (0) 20 7447 4401 fax +44 (0) 20 7468 8201 Monday 20 January To bid via the internet please [email protected] PLEASE NOTE THAT THERE IS 9.00 to 16.30 visit bonhams.com NO REFERENCE IN THIS Tuesday 21 January Charles O’Brien CATALOGUE TO THE PHYSICAL 9.00 to 16.30 Please note that bids should be (Head of Department) CONDITION OF ANY LOT. Wednesday 22 January submitted no later than 4pm on +44 (0) 20 7468 8360 INTENDING BIDDERS MUST 9.00 to 12.00 the day prior to the sale. New [email protected] SATISFY THEMSELVES AS TO bidders must also provide proof THE CONDITION OF ANY LOT SALE NUMBER of identity when submitting bids. Alistair Laird AS SPECIFIED IN CLAUSE 14 21492 Failure to do this may result in +44 (0) 20 7468 8211 OF THE NOTICE TO BIDDERS your bid not being processed. [email protected] CONTAINED AT THE END OF CATALOGUE THIS CATALOGUE. £25.00 Live online bidding is available Sam Travers for this sale +44 (0) 20 7468 8232 As a courtesy to intending ILLUSTRATIONS Please email [email protected] [email protected] bidders, Bonhams will provide a Front cover: Lot 81 with ‘live bidding’ in the subject written Indication of the physical Back cover: Lot 68 line 48 hours before the auction Deborah Cliffe condition of lots in this sale if a Inside front: Lot 28 to register for this service.