Null Attributed to Harry Fidler, ROI RBA,
British 1856-1935-

Hunting scene, wit…

Description

Attributed to Harry Fidler, ROI RBA, British 1856-1935- Hunting scene, with figures on horseback and hounds on a woodland path; oil on canvas, inscribed verso, 32 x 26.2 cm. Provenance: Private Collection, UK. Note: The present work is heavily reminiscent of Fidler's style, which is defined by thick impasto applied in loose, impressionistic brushstrokes, whilst the rural subject-matter is typical of the artist, whose work frequently depicted horses and dogs. Fidler studied at Hubert von Herkomer's (1849-1914) art school in Bushey, alongside William Nicholson (1872-1949) and Lucy Kemp-Welch (1869-1958).

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Attributed to Harry Fidler, ROI RBA, British 1856-1935- Hunting scene, with figures on horseback and hounds on a woodland path; oil on canvas, inscribed verso, 32 x 26.2 cm. Provenance: Private Collection, UK. Note: The present work is heavily reminiscent of Fidler's style, which is defined by thick impasto applied in loose, impressionistic brushstrokes, whilst the rural subject-matter is typical of the artist, whose work frequently depicted horses and dogs. Fidler studied at Hubert von Herkomer's (1849-1914) art school in Bushey, alongside William Nicholson (1872-1949) and Lucy Kemp-Welch (1869-1958).

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Estim. 80 000 - 120 000 GBP

Henry MORET (1856-1913) L'Averse, Brittany coast, 1902 Oil on canvas, signed lower left Exhibition label on reverse 65 x 92 cm PROVENANCE : Finistère private collection (Estate) EXHIBITIONS : 1966, Paris, Galerie Durand-Ruel, January 5 - 29, 1966, Henry Moret, no. 28. 1994, Paris, Galerie l'Ergastère, May 6 - July 13, 1994, Henry Moret, page 26, reproduction page 27. 2021, Quimper, musée des beaux-arts, June 24 - October 4, 2021, Henry Moret 1856-1913, De Pont-Aven à l'impressionnisme en Bretagne, no. 65 reproduction page 133. BIBLIOGRAPHY : Jean-Yves Rolland and Marie-Bénédicte Baranger, Henry Moret, Plomelin, Éditions Palantines, 2002, reproduction page 96. "The work of Henry Moret (1850-1913), a major painter of the Pont-Aven School, is now well known. But his life as an artist remains something of a mystery. He was a solitary master of his time. So when Wladislaw Slewinski organized a dinner to celebrate Paul Gauguin's return to Le Pouldu in 1894, Moret declined the invitation and preferred to go and work in Groix. His life as a landscape artist, constantly on the move from Houat to Ouessant, remains astonishing. In 1894, he chose Doëlan as his home port, more lively than Le Pouldu, and returned there after his long peregrinations to paint in his studio the drawings and gouaches he had taken on the spot. This gave him a certain stability, and came at a time when the famous Durand-Ruel gallery, from the heroic days of Impressionism, decided to buy his paintings and showcase his work in exhibitions. At the age of 44, Moret was able to lead a life that suited him: Doëlan was also, and perhaps above all, about hunting, fishing and playing cards in the bistro with his local friends. We know almost nothing about his itinerant life and the choices he made over the years, which led him to spend one month in Ouessant and the next in Douarnenez or Groix. He knows the Breton coasts inside out, and perhaps chooses according to the seasons and activities, such as seaweed burning. It also depends on the availability of accommodation and local contacts. So there are "privileged" places where he comes and goes to work. Raguénez en Névez has been one of them, at least since 1896. The site, close to Port-Manech, is easily accessible by boat from Doëlan, avoiding the long detour to Pont-Aven. Painting from the island of Raguénez is interesting for the painter because there's the island in the foreground, then the sea and finally the nearby coast in the background. L'averse, côte de Bretagne is part of a series of four paintings showing the house of the Marrec family, the island's farmers. Moret may well have stayed at this farm, for in his paintings he depicts the house from different angles, and it becomes the major element of the composition. And he seems familiar with the people, as evidenced by the subjects of two paintings. In L'averse côte de Bretagne, we see a man and two women, one with a red headdress, the other white, observing the state of the sea and a heavy shower in the sky. The fisherman is waiting for the weather to calm and has temporarily abandoned his two traps, oars and rigging, waiting to join his dinghy in the shelter below to go fishing. These three people, the man and the two women in different-colored headdresses, can be seen again in another painting, Gros temps à Raguénez (Sotheby's sale, London, June 29, 1994, lot 148), where they are closely observing the crashing waves, no doubt awaiting the arrival of the wreck's seaweed. In contrast to the painting L'Île de Raguénez, Bretagne (Washington, National Gallery of Art), where the house is shown in bright sunshine with a calm sea in an almost idyllic setting, Moret expresses great tension in L'averse côte de Bretagne, symbolically conveying the people's expectation of the violence of the elements. The canvas's foreground is built on a relationship between a strong green and a pink. This has characterized Moret's art ever since he adopted the principles of pontavenian synthetism through contact with Gauguin. The strong lines of the ground in the middle left and of the house fix the viewer's gaze. The whole of the upper part and towards the right are painted differently to convey ephemeral atmospheric effects. Painting rain or a downpour is undoubtedly one of the most difficult things a landscape artist can do. Such a scene and such a landscape may seem simple at first glance, but as the viewer observes, it becomes clear how Moret skilfully plays with a few elements to guide the eye, such as the piles of seaweed in the middle of the picture.

Estim. 12 000 - 14 000 GBP

HELMUT NEWTON (Germany, 1920- California, 2004). "Shoe, Monte Carlo, 1983. Gelatin silver. Later print. Signed, titled, dated in pencil and copyright credit stamp on verso. No edition number. Provenance: McCord Collection, New York. Measurements: 36 x 24.6 cm (image); 40 x 31 cm (frame). An ankle subtly cocked and shod in a high heeled shoe occupies the entire photographic plane in this iconic image by Helmut Newton. As a place associated with glamour and luxury, Monte Carlo provides a perfect backdrop for Newton's exploration of fashion and eroticism. The fetishism of high heels and female ankles are explored by the artist in different contexts. In all of them, through daring and carefully crafted compositions, he redefines the parameters of fashion photography and eroticism, the role of women and power relations. Provocation, anti-voyeurism and female empowerment are often attributes of her photos. Newton was born in Berlin, attended the Heinrich-von-Treitschke-Realgymnasium and the American School in Berlin. Interested in photography from the age of 12 when he bought his first camera, he worked for German photographer Yva (Elsie Neuländer Simon) from 1936.The increasingly oppressive restrictions imposed on Jews by the Nuremberg laws caused his father to lose control of the factory; he was briefly interned in a concentration camp on Kristallnacht, , which eventually forced the family to leave Germany. Newton's parents fled to Argentina. Finally, arriving in Singapore, he found he could remain there, first briefly as a photographer for the Straits Times and then as a portrait photographer. Newton was interned by British authorities while in Singapore and was sent to Australia aboard the Queen Mary, arriving in Sydney on September 27, 1940. He was released from internment in 1942 and worked briefly as a fruit picker in northern Victoria. In April 1942, he enlisted in the Australian Army and worked as a truck driver. After the war in 1945, he became a British subject and changed his name to Newton in 1946. That same year, Newton set up a studio on Flinders Lane in Melbourne and worked in fashion, theater and industrial photography during the postwar period. He shared his first joint exhibition in May 1953 with Wolfgang Sievers,The 'New Visions in Photography' exhibition was shown at the Federal Hotel in Collins Street and was probably the first glimpse of New Objectivity photography in Australia. Newton became associated with Henry Talbot, a German Jew who had also interned at Tatura, and his association with the studio continued even after 1957, when he left Australia for London. The studio was renamed 'Helmut Newton and Henry Talbot'. Newton's growing reputation as a fashion photographer was rewarded when he secured a commission to illustrate fashions in a special Australian supplement for Vogue magazine, published in January 1956. He won a 12-month contract with British Vogue and left for London in February 1957, leaving Talbot to manage the business. Newton left the magazine before the end of his contract and went to Paris, where he worked for French and German magazines. He returned to Melbourne in March 1959 to work with Australian Vogue. Newton and his wife finally settled in Paris in 1961. His images appeared in magazines such as the French edition of Vogue and Harper's Bazaar. He established a particular style marked by erotic and stylized scenes, often with fetishistic subtexts. In 1980 he created the "Big Nudes" series. His "Nude and Clothed" portfolio followed, and in 1992 "Domestic Nudes," which marked the pinnacle of his erotic-urban style, all of these series supported the dexterity of his technical skills. Newton also worked on more fantastical portraits and studies. He did a series of illustrations for Playboy, including illustrations of Nastassja Kinski and Kristine DeBell.

Estim. 9 000 - 12 000 GBP

HELMUT NEWTON (Germany, 1920- California, 2004). "Sylvia Examining Her High Heeled Shoes in My Studio," Paris, 1981. Gelatin silver. Signed, titled, dated and annotated in pencil. Provenance: Maurizio Siniscaldo Gallery, Naples, Italy. Measurements: 54,6 x 40 cm (image). "Sylvia examining her high heels in my studio" is a photograph that reflects many of the themes that define Helmut Newton's way of working: the carefully crafted composition (with the light of a street lamp filtering in from the darkness of the urban night contrasts with the clarity of the nude and the window frame), the fetish element of the stiletto-heeled shoes that Sylvia holds without mannerism.... Newton often explores themes of power, control and fetishism in her work. In this image, the woman's introspective countenance (oblivious to the gaze of male desire) and the naturalness of her posture empower her, rather than reducing her to the stereotypical female object. In doing so, Newton redefines the parameters of erotic and fashion photography: provocation, anti-voyeurism and female empowerment are his attributes. His women do not appear languid as odalisques but defiant, unabashed and without admitting easy voyeurism. In photographs such as this one, she explores the boundaries between the intimate and the public, while carefully planning her compositions to maximize visual impact. Newton was born in Berlin, attended the Heinrich-von-Treitschke-Realgymnasium and the American School in Berlin. Interested in photography from the age of 12 when he bought his first camera, he worked for German photographer Yva (Elsie Neuländer Simon) from 1936.The increasingly oppressive restrictions imposed on Jews by the Nuremberg laws caused his father to lose control of the factory; he was briefly interned in a concentration camp on Kristallnacht, , which eventually forced the family to leave Germany. Newton's parents fled to Argentina. Finally, arriving in Singapore, he found he could remain there, first briefly as a photographer for the Straits Times and then as a portrait photographer. Newton was interned by British authorities while in Singapore and was sent to Australia aboard the Queen Mary, arriving in Sydney on September 27, 1940. He was released from internment in 1942 and worked briefly as a fruit picker in northern Victoria. In April 1942, he enlisted in the Australian Army and worked as a truck driver. After the war in 1945, he became a British subject and changed his name to Newton in 1946. That same year, Newton set up a studio on Flinders Lane in Melbourne and worked in fashion, theater and industrial photography during the postwar period. He shared his first joint exhibition in May 1953 with Wolfgang Sievers,The 'New Visions in Photography' exhibition was shown at the Federal Hotel in Collins Street and was probably the first glimpse of New Objectivity photography in Australia. Newton became associated with Henry Talbot, a German Jew who had also interned at Tatura, and his association with the studio continued even after 1957, when he left Australia for London. The studio was renamed 'Helmut Newton and Henry Talbot'. Newton's growing reputation as a fashion photographer was rewarded when he secured a commission to illustrate fashions in a special Australian supplement for Vogue magazine, published in January 1956. He won a 12-month contract with British Vogue and left for London in February 1957, leaving Talbot to manage the business. Newton left the magazine before the end of his contract and went to Paris, where he worked for French and German magazines. He returned to Melbourne in March 1959 to work with Australian Vogue. Newton and his wife finally settled in Paris in 1961. His images appeared in magazines such as the French edition of Vogue and Harper's Bazaar. He established a particular style marked by erotic and stylized scenes, often with fetishistic subtexts. In 1980 he created the "Big Nudes" series. His "Nude and Clothed" portfolio followed, and in 1992 "Domestic Nudes," which marked the pinnacle of his erotic-urban style, all of these series supported the dexterity of his technical skills. Newton also worked on more fantastical portraits and studies. He did a series of illustrations for Playboy, including illustrations of Nastassja Kinski and Kristine DeBell.

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