Null Charles Walter Simpson, RI,
British 1885-1971-

Sunset on the Wolds;

oil o…

Description

Charles Walter Simpson, RI, British 1885-1971- Sunset on the Wolds; oil on paper, signed 'Charles Simpson' (lower left), 36.7 x 52.3 cm. ARR. Provenance: Presented to Henry Arthur Cholmondeley by the Middleton Hunt Committee, 26th August 1928 (according to the frame). Private Collection, UK. Note: Simpson studied at the Bushey School of Art under the equestrian painter Lucy Kemp-Welch (1869-1958), an experience which undoubtedly informed his work as an animal and bird painter, for which he enjoyed considerable success. The present work is typical of Simpson's approach, especially in his loose, impressionistic brushstrokes, evoking the light of the setting sun as it falls on the landscape.

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Charles Walter Simpson, RI, British 1885-1971- Sunset on the Wolds; oil on paper, signed 'Charles Simpson' (lower left), 36.7 x 52.3 cm. ARR. Provenance: Presented to Henry Arthur Cholmondeley by the Middleton Hunt Committee, 26th August 1928 (according to the frame). Private Collection, UK. Note: Simpson studied at the Bushey School of Art under the equestrian painter Lucy Kemp-Welch (1869-1958), an experience which undoubtedly informed his work as an animal and bird painter, for which he enjoyed considerable success. The present work is typical of Simpson's approach, especially in his loose, impressionistic brushstrokes, evoking the light of the setting sun as it falls on the landscape.

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Estim. 20 - 40 GBP

Set of 9 studies on Balzac: Alain, Reading Balzac. Laboratoires Martinet, 1935. Cazauran, "Sur Catherine de Médicis" by Honoré de Balzac. Collection de l'ENS de jeunes filles, 1976. Ponceau, Paysages et destins balzaciens. Paris, Myrte, 1950. Métadier, Balzac homme politique. L'Harmattan, 2006. Vouga, Balzac malgré lui. José Corti, 1957. Bertault, Balzac et la religion. Boivin, 1942. Giraudoux, Le film de la duchesse de Langeais d'après la nouvelle de Balzac. Grasset, 1942, illustrations by Laglenne. Ki Wist, Les manuscrits de premier jet de Honoré de Balzac. Henriquez, 1964. 2 volumes in common cover. Clouzot and Valensi, Le Paris de la comédie humaine. Le Goupy, 1926, half-chagrin with corners. Lot of 12 studies on Balzac: Le Breton, Balzac l'homme et l'oeuvre. Boivin, sd. Faguet, "En lisant les beaux vieux livres". Extract from his 1911 book. Favre, Balzac et le temps présent. Flammarion, 1888. Demi-basane. Faguet, Dix neuvième siècle, études littéraires. Société française d'imprimerie et de librairie, 1900. Half-percaline. Neefs, Balzac, l'éternelle genèse. Manuscrits modernes, 2015. Brunetière, Etudes critiques sur l'histoire de la littérature française. Hachette, sd, seventh series. Dédéyan, Le faustisme romantique de Balzac. Revue des lettres modernes, n°39, Autumn 1958. Pommier, Créations en littérature. Hachette, 1955. Copy with dispatch to the writer André Maurois. Myrdal, Balzac und der Realismus Essays. Bucherei Oberbaum, 1978. Janis Glasgow, Une esthétique de comparaison - Balzac et George Sand. Nizet, 1978. Wedmore, Balzac. London, Walter Scott, 1890. Claudia Schmölders, über Balzac. Diogènes, 1977. Set of 9 studies on Balzac: Barny, Etudes textuelles 3. Volume 63, 1993, 5 texts on Balzac. Pommier, Créations en littératures. Hachette, 1955. Evans, Louis Lambert et la philosophie de Balzac. José Corti, 1951. Chardon, Expliquez-moi Balzac (2 Balzac). Foucher, 1962. Lecour, Généalogie des personnages de la Comédie humaine. Vrin, 1966. One volume and 33 folding plates. Important work. In common folder and slipcase. Voivenel, Autour des femmes et l'amour. Raoul Lion, 1950. Copy enriched with a letter to Dr. Moynier. Ingrid Ulrike Lange, Der Selbstmord in Honoré de Balzacs Comédie humaine. Romanistischer Verlag, 1995. Garnand, The influence of Walter Scott on the works of Balzac. NY, Octagon books, 1971. Weigand, Stendhal und Balzac, essays. Leipzig, Im Inselverlag, 1911. [autographs by Bardèche] Set of 15 studies on Balzac: F Germain - Honoré de Balzac, L'enfant maudit (critical edition). Paris, belles lettres, 1965. Half morocco, fine copy. Bardèche, Balzac romancier. Paris, Plon, 1940. Enriched copy with two typescript letters signed by Bardèche to Charles Gould of Bristol University. Half-percaline. Balzac and Italy. Paris, Des Cendres, 2003. Lucey, Les ratés de la famille - Balzac et les formes sociales de la sexualité. Paris, Fayard, 2008. Guise, Balzac. Nancy, Presses universitaires, 1994. Lotte, Dictionnaire biographique des personnages fictifs de la Comédie humaine. Paris, Jose Corti, 1952. Adamson, The genesis of Le Cousin Pons. Oxford university press, 1966. Swahn, Balzac et le merveilleux - étude du roman balzacien 1822-1832. Lund University press, 1991. Surville, Balzac, sa vie et ses oeuvres. Paris, librairie nouvelle, 1858. Blanchard, Témoignages et jugements sur Balzac. Paris, Champion, 1931. Lotte, Dictionnaire biographique des personnages fictifs de la Comédie humaine. Paris, Corti, 1956. Bérard, La genèse d'un roman de Balzac - Illusions perdues 1837 - du manuscrit à l'édition. Paris, Colin, 1961. Affron, Patterns of failure in La Comédie humaine. Yale university press, 1966. Prendergast, Balzac - Fiction and Melodrama. Edward Arnold, 1978. Vanoncini, Figures de la Modernité. Paris, Corti, 1984.

Estim. 15 000 - 18 000 GBP

VERY BEAUTIFUL "ANTELOPE VALLEY" by Granville Seymour REDMOND (1871-1935) Framed oil on canvas, signed and dated lower left "32". On the back on canvas, localized, dated 1932 and marked "With Love Granville Redmond". A 1971 Russian facsimile of the work by the "Ministry of Culture of the USSR" accompanies it. Provenance: Private collection. Size: 32 x 40 cm Granville Redmond was born on March 9, 1871 in Philadelphia, Pennsylvania. Around the age of two and a half, he contracted scarlet fever, which left him deaf. He attended the California School for the Deaf from 1879 to 1890, where he discovered his artistic talents thanks to his teacher Théophile d'Estrella, who taught him painting, drawing and pantomime. After graduating, he decided to continue studying art and enrolled at the San Francisco School of Design, where he worked for three years with professors Arthur Frank Mathews and Amédée Joullin. There he met artists such as Gottardo Piazzoni and Giuseppe Cadenasso. He became close friends with Piazzoni, who learned American Sign Language. They lived together in Parkfield and Tiburon, California. During his stay in Los Angeles, he befriended Charles Chaplin, who asked him to teach him signs and pantomime. In fact, he used some of these signs, such as "enfant" and "bébé", in the film "Une vie de chien". Thanks to Granville, Chaplin became one of the few actors to act with his mouth closed, without uttering any words. He appears in seven Chaplin films. Impressed by Redmond's skills as a painter, Chaplin collected his paintings and offered him a studio in his film studios, as well as silent roles, such as the sculptor in "City Lights".

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