Null William Lee Hankey, RWS RI,
British 1869-1952-

City scene with figures on …

Description

William Lee Hankey, RWS RI, British 1869-1952- City scene with figures on a riverbank, with a bridge beyond; pencil and watercolour on gridded paper, signed 'W Lee Hankey' (lower right), 19.6 x 26.8 cm.

418

William Lee Hankey, RWS RI, British 1869-1952- City scene with figures on a riverbank, with a bridge beyond; pencil and watercolour on gridded paper, signed 'W Lee Hankey' (lower right), 19.6 x 26.8 cm.

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Circle of William Lee Hankey (1869-1952) British. "Capo Circeo Lighthouse, Italy", Oil on canvas laid down, 21" x 31" (53.3 x 78.7cm)

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Johanna von Destouches, flower still life spherical glass vase with blooming cowslip and gentian, forget-me-nots and primroses draped on a table, slightly impasto flower painting in friendly colours, oil on panel, early 20th century, signed and inscribed "Johanna von Destouches/München" lower right, on the reverse a photograph of a painting by the artist and an extract from Vollmer, framed and with brass label "Destouches Johanna von geb. 1869 München", dimensions approx. 32 x 39 cm. Artist information: German painter. Painter, watercolourist and poet (1869 Munich - 1956 Munich), daughter of the Munich historian, poet and founder of the Munich City Museum Ernst von Destouches (1843-1916), initially trained as a teacher (modern languages, singing and piano lessons), then studied at the Munich School of Arts and Crafts under Olga Weiß, from 1897 she supplied the exhibitions of the Munich Kunstverein with watercolours, later a pupil of Else Gürleth-Hey, then freelance in her own studio in Munich, participated in various exhibitions in Dresden, Meran, Düsseldorf, Paris, Bremen and Hamburg, in Munich 1909-31 represented in the Glaspalast and 1938-43 at the Great German Art Exhibition in the House of German Art, member of the Munich Artists' Co-operative, active in Munich, source: Vollmer, Saur "Bio-Bibliographisches Künstlerlexikon", Glaspalast catalogues, Dressler, Schweers "Gemälde in deutschen Museen", Bruckmann "Münchner Maler des 19./20th century", Busse, Ries, Bénézit and Wikipedia.

Estim. 200 - 400 GBP

John Gielgud Document Signed for Julius Caesar DS, fourteen pages, 8.5 x 11, June 16, 1952. Agreement between John Gielgud and Metro-Goldwyn-Mayer Pictures for his employment "to portray the role of 'Cassius' in our photoplay now entitled 'Julius Caesar,'" outlining his obligations, compensation, and other terms. Signed at the conclusion in fountain pen by John Gielgud and countersigned by a studio representative; Gielgud also initials an attached rider pertaining to his on-screen credit as a star or co-star. In fine condition. Directed by Joseph L. Mankiewicz and produced by John Houseman, MGM's 1953 adaptation of William Shakespeare's Julius Caesar featured a star-studded cast, with Marlon Brando as Mark Antony, James Mason as Brutus, Louis Calhern as Caesar, John Gielgud as Cassius, Edmond O'Brien as Casca, Greer Garson as Calpurnia, and Deborah Kerr as Portia. The film opened to positive reviews and received five Academy Award nominations, winning for Best Art Direction. Gielgud received the 1954 BAFTA Award for Best British Actor for his role, which received wide critical acclaim; critic David Shipman praised Gielgud as 'negotiating the verse as in no other Shakespeare film to date except Olivier's.'

Estim. 10 000 - 12 000 GBP

FERNANDO GARCIA PONCE (Mérida, Yucatán, 1933 - Mexico City, 1987) Untitled. Oil and collage on canvas. Measurements: 76 x 115 cm. Provenance: Maria Lluisa Borrás Collection, Barcelona. Fernando García Ponce belongs to the generation of the late fifties called the "Generation of the Rupture", since his proposal marked a total distance with the so-called Mexican School. Thus, expressions such as geometrism, abstraction, informalism, neo-figurative, which were almost forbidden artistic expressions in the 60's, began to dominate the art scene. He was born on August 25, 1933 in Merida, Yucatan. When he was 11 years old, his family moved to the capital of the country. In 1952 he entered the National Autonomous University of Mexico to study architecture; he also attended the workshop of the Valencian painter Enrique Climent, who recognized his talent and, although he did not devote himself to teaching, decided to become his teacher. His first paintings date from 1954, they are family portraits, however, two years later, geometry increases significantly in his works. In 1957 he made several trips to Europe and decided to leave architecture to devote himself completely to painting. His first individual exhibition was at the Galería de Arte Mexicano (1959), with 26 oil paintings of still life; in 1960 he made an abstract composition entitled No. 1, a watershed that definitely marks his work. With a series of collages he receives an honorable mention in the Salón de la Plástica Mexicana. In the sixties the term Ruptura arises, which defines a generational group of artists, to which Fernando García Ponce belongs and which marked the new Mexican painting. García Ponce participates again in the Galería de Arte Mexicano and in the Colectiva de Pintura Contemporánea de México y América del Sur (1961). Two years later his painting is already totally abstract and he exhibits 14 works at the Juan Martin Gallery. He also participates in the Colectiva de Arte Actual de América y España, held in Madrid. By 1974 his painting reveals the will to synthesize the cold geometric order. During the summer of 1976 García Ponce travels with his wife Denise and his son Esteban to Paris, then spends a season in Barcelona, where he makes two graphic folders containing 10 serigraphs and 12 lithographs. Upon his return to Mexico, the Museum of Modern Art (1978) organizes a large exhibition of 40 works produced between 1977 and 1978. A year after this event, his wife Denise dies tragically, however, Garcia Ponce remains concentrated and his creativity remains intact; the painting of those years is powerful and extremely inspired. He regularly presents his annual exhibition at the Ponce Gallery and participates in group exhibitions at the Casa de las Americas (Cuba), the Picasso Museum (Antibes, France), the Jornadas Culturales de Colombia, the Carnegie Institute in Pittsburg (USA) and the National Art Center in Ottawa (Canada), among others. At 54 years of age and considered one of the most important artists of the national plastic arts, García Ponce died in his studio (July 11, 1987) of a myocardial infarction.

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