Null George Lennard Lewis,
British 1826-1913-

Coastal scenes with fishing vesse…

Description

George Lennard Lewis, British 1826-1913- Coastal scenes with fishing vessels and figures; watercolours on paper, one signed and dated 'L LEWIS / 94' (lower right), each 23 x 51.5 cm, a pair (2). Provenance: Private Collection, UK. Note: George Lennard Lewis came from a family of artists, as the son of the watercolourist George Robert Lewis (1782-1871) and the cousin of John Frederick Lewis (1804-1876). Lewis's travels around Europe undoubtedly influenced his output, with the artist repeatedly returning to the coastal landscapes for which he is best known.

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George Lennard Lewis, British 1826-1913- Coastal scenes with fishing vessels and figures; watercolours on paper, one signed and dated 'L LEWIS / 94' (lower right), each 23 x 51.5 cm, a pair (2). Provenance: Private Collection, UK. Note: George Lennard Lewis came from a family of artists, as the son of the watercolourist George Robert Lewis (1782-1871) and the cousin of John Frederick Lewis (1804-1876). Lewis's travels around Europe undoubtedly influenced his output, with the artist repeatedly returning to the coastal landscapes for which he is best known.

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Estim. 14 000 - 15 000 GBP

HANNAH COLLINS (United Kingdom, 1956). "Kitchen. La Laboral Gijón". 2006 Digital print on canvas. Diptych. With Joan Prats gallery stamp on the back. Provenance: Joan Prats Gallery. Barcelona. Measurements: 192 x 274 cm. This photograph was part of the solo exhibition "A future Life", held in 2006 at the Joan Prats gallery in Barcelona. Hannah Collins' photographic work is a reflection on the passage of time and the presence of the human trace in different environments. Her photographs of interior spaces reveal an implicit, latent social history. For the artist, fleeting glimpses of cities do not provide a full understanding of their existence. Far from the documentary character, her scenes consciously mix that reality with a fiction that gives them a new meaning. The dreary, institutional "Kitchen" shown in this photograph is part of the artist's research on migrant lives and memory. It is worth linking it to a later series she would present at LABoral Centro de Arte y Creación Industrial in Gijón (2017), entitled "The Fragile Feast", which focused on kitchen photography, and opened a dialogue between culinary art and photographic art. A British artist and filmmaker, Hannah Collins studied at the Slade School of Fine Arts in London, and later extended her training in the United States thanks to a Fullbright scholarship (1978-79). Throughout her career she has held important solo exhibitions in leading art galleries and art centers in Europe and America, and has participated in group exhibitions held at the Victoria & Albert Museum in London (1987, 1989, 1989, 1989). Albert Museum in London (1987, 1989, 1989, 1995, 2002), the Centre National des Arts Plastiques in Paris (1989), the Museum of Modern Art in Kyoto (1990), the Fundació Joan Miró in Barcelona (1992, 1998), the Museo Español de Arte Moderno in Madrid (1994, 2008), the Saatchi Gallery in London (1994), the Helga de Alvear Gallery in Madrid (1999), the Tate Modern in London (2000), the Centre Georges Pompidou in Paris (2006) and the Kulturhaus in Vienna (2011), among others. Based between London and Barcelona, in 1993 she was nominated for the Turner Prize, in 1991 she won the European Photography Award and in 2004 the Olympus Award. She is currently represented at the Tate Modern in London, the Centre Georges Pompidou in Paris, the MNCA Reina Sofía in Madrid, the MACBA in Barcelona and other public and private collections in Europe and America.

Estim. 4 000 - 6 000 GBP

Benjamin Rush War-Dated Autograph Letter Signed on George Washington and British Movements: "Our town is alive with news. The minute guns were fired this morning. It threw the city into confusion." Revolutionary War-dated ALS signed “B. Rush,” three pages on two adjoining sheets, 7.25 x 12, April 14, 1777. Addressed from Philadelphia, a handwritten letter to his wife, Julia, in part: “I am sorry to inform you that I could not get a single fish, nor an ounce of fresh meat in market this morning owing to their both being all bought up before Azariah came to town. I am glad to hear that our new Levee behaves so well. I think the less Molly and he dispute about politicks the better. Such disputes especially among ignorant people generally confirm predjudices and increase Obstinacy. Perhaps by a different course of behavior to him he may be induced to refuse to be exchanged, and may continue with us as long as we want him. Our town is alive with news. The minute guns were fired this morning. It threw the city into confusion. An express has just arrived who says there are nine Men of War in the river. This Acc't makes it certain that Phila. is the object of the enemy. We expect every moment to hear of our bay being crowded with transports filled with British and Hessian soldiers. Major General Lincoln (a Massachusetts Bay man), was surprised and taken prisoner a few nights ago near Bound Brook in New Jersey together with 200 men by a party of the enemy. Our brother came to town last night. He positively sets off early tomorrow morning to Mr. Bartrams...agreeable to his duty and our mother's orders. As everything is now turned topsy turvy in town, I fear you will not spend your time agreeably here. I think you had better set off tomorrow morning for Grame Park. It will not however do to spend a week there, as I know not how soon Gen'l Howe’s progress up the Delaware may make it necessary to fly with you to Maryland. Suppose you leave Mrs. Pamper at Capt. Allison's and call for her in a day or two. I fear I shall not be able to come for you. I enter upon the care of a military hospital tomorrow, and shall have a hundred things to do that are important to ourselves as well as the public. Enclosed is an Evening Post. Gen Washington's letter is a masterpiece. It has raised his character higher than ever in the opinion of Congress and his friends. The Congress have settled my appointment in the Army so as to be perfectly agreeable to me. They have made me Joint Physician and Surgeon General with Dr. Jones of Virginia of the middle department. You may depend upon my care and tenderness in conducting you to Mr. Halls as soon as the danger is more imminent. Much love to our brother and sister.” Rush adds a postscript: “Keep up the spirits of our brother and sister. All is for the best and all will end well...The counsels of Heaven must be fulfilled. ‘Clouds and darkness are before him, but righteousness and judgment are the habitation of his throne.’” In very good to fine condition, with seal-related paper loss near the hinge.

Estim. 150 - 200 GBP

BARRÈS (Maurice). Fine set of 6 works, 6 in-8 vol. in uniform contemporary bindings, red half-chagrin with corners, gilt fillets, ornate smooth spine, tan morocco title page, gilt head, covers preserved: - Les Amitiés françaises. Paris Félix Juven, 1903. EO. Autograph letter from the author to his friend, writer, journalist and politician Hugues Le Roux (1860-1925), on the title page. - Scenes & doctrines of nationalism. Paris, Félix Juven, 1902. EO. Stamp at bottom of last pages. - Amori et dolori sacrum. The death of Venice. Paris,Félix Juven, 1902. EO. - Their figures. Paris, Félix Juven, 1902. EO. - La colline inspirée. Paris, Émile Paul, 1913. EO. Exemplaire n°439 sur vélin. - Colette Baudoche. Paris, Georges Crès, 1918. Copy no. 129 on Arches paper, engraved frontispiece.

Estim. 12 000 - 13 000 GBP

ANTONI CLAVÉ I SANMARTÍ (Barcelona, 1913 - Saint Tropez, France, 2005). "Red and black composition", circa 1962. Oil and gouache on lithographed paper mounted on canvas. Attached is a certificate issued by the Antoni Clavé Archives. The work is registered in the Antoni Clavé Archives, Paris. No : 62TMPMT18. Signed in the lower right corner. Size: 57 x 77 cm; 67 x 87 cm (frame). On a dark background the intensity of the red stands out, reaching a contrast of colours, which brings vivacity to the composition and awakens the spectator's gaze. Through the play between red and black, a resource often used by Antoni Clave, the artist deploys a whole set of elements, apparently random, which come together to form a baroque composition. Antoni Clavé is one of the most important figures in Spanish contemporary art. Trained at the San Jordi School of Fine Arts in Barcelona, Clavé initially devoted himself to advertising graphics, illustration and the decorative arts. In 1936 he took an active part in the Civil War, joining the Republican ranks, which led him to go into exile in France at the end of the war. That same year, 1939, he exhibited the drawings he had made on the battlefields. He settled in Paris, where he met Vuillard, Bonnard and Picasso. From this period onwards, Clavé began to develop a work marked by a different, less classical style. During this period his figures gradually lost their precision and form, giving way to the lines and a personal range of colours and textures that were to become the main features of his works from that time onwards. He already enjoyed great international prestige at the time when he began to be recognised in Spain, after his exhibition at the Sala Gaspar in Barcelona in 1956. In the 1960s he paid homage to El Greco, and his painting at this time reveals the influences of that master, as well as those of the Baroque painters. The theme of the knight with his hand on his chest takes on special relevance, a reference that will be repeated in Clavé's future works. This period is characterised by the definitive transition to abstraction. In the 1970s Clavé's work continued to evolve, using various techniques such as collage and inventing new ones such as "papier froissé", the result of a chance use of aerosol on crumpled paper. In 1978, the Musée National d'Art Moderne in Paris, now the Centre Georges Pompidou, devoted a retrospective to him that made him one of the most prestigious artists of his generation. His latest works are characterised by the recreation of textures within abstraction, with a profuse use of papier froissé. He was awarded prizes at the Hallimark in New York in 1948, at the Venice Biennale in 1954 and at the Tokyo International Biennale in 1957. In 1984 the Spanish state recognised his artistic value with the exhibition of more than one hundred of his works in the Spanish pavilion at the Venice Biennale. That same year he was awarded the Gold Medal of the Generalitat de Catalunya. Clavé's work can be found, among many others, in the Bilbao Fine Arts Museum, the Tate Gallery, the Modern Art Museum in Paris and Tokyo, the British Museum and the Reina Sofía Museum in Madrid.

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