AVEL·LI ARTIS-GENER (1912-2000). "HORSE-DRAWN CARRIAGE AND CRANES".
Watercolour …

Description

AVEL·LI ARTIS-GENER (1912-2000). "HORSE-DRAWN CARRIAGE AND CRANES". Watercolour and coloured pencil on paper. Signed. The reverse still retains part of the cardboard sheet to which it was attached at the corners. 23.2 x 26.7 cm (unframed). This lot will not be included in our post auction sale.

898

AVEL·LI ARTIS-GENER (1912-2000). "HORSE-DRAWN CARRIAGE AND C

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Estim. 400 - 600 EUR

William Callow, An der englischen Küste bei lebhafter See am Fuß einer Schlossruine anlandende Matrosen, watercolour over graphite, signed "W. Callow" and dated "1905" lower left, on the back of the frame label and here titled "Bamboro Castle Northumberland" and inscribed "Exhibited: RWS Summer 1905,Nr. 33", matted and framed behind glass, mat cut-out approx. 29 x 44 cm. Artist information: English landscape painter, graphic artist and watercolourist (1812 Greenwich to 1908 Great Missenden), apprenticed to the painter Coply Fielding, 1825-27 apprenticed to Thales and Theodor Fielding, worked as an engraver in Paris from 1929, art teacher to the family of King Louis-Philippe I from 1831, returned to London in 1841 and admitted to the Royal Watercolour Society, moved to Buckinghamshire in 1855, numerous study trips to various European countries, source: Thieme-Becker and Wikipedia.

Estim. 35 000 - 40 000 EUR

JOSEPH MARIONI (Cincinnati, Ohio, 1943). "Yellow painting. 2001. Acrylic on canvas. Signed, titled and dated on the back. Size: 107 x 102 cm. From the seventies onwards, Joseph Marioni began an aesthetic exploration of the limits of painting. In monochrome paintings such as this one, there is a special tension between colour, light and support: Marioni repeatedly applies layers of satin colour on the painting in such a way that, depending on the incidence of light and the viewer's position, they reveal the underlying layers of colour. The painting of the American painter Joseph Marioni falls within the sphere of influence of the New York Radical Painting group, with which he shares above all the research into the parameters of painting. Joseph Marioni's works, created in a characteristic manner since 1970, combine to form a conceptual oeuvre with a resounding aesthetic that allows us to ask fundamental questions about the genre of painting. Marioni has participated in numerous solo and group exhibitions in the United States and Europe. His works are represented in major private and public collections, including the Whitney Museum of American Art in New York, the San Francisco Museum of Art, the Kolumba (Museum) in Cologne, the Kunstmuseum Wolfsburg, the Kunstmuseum Basel and the Kunstmuseum St. Joseph Marioni lives and works in New York. Solo exhibitions (selection): 2006: Peter Blum Chelsea, New York, USA 2007: Liquid Light, Wade Wilson Art, Houston, USA 2007: University Art Gallery, University of Massachusetts, New Bedford, USA 2008: Liquid Light, McNay Art Museum, San Antonio, USA. 2008: Drawing Color - between Black and White, Mark Müller Gallery, Zurich, Switzerland 2009: Beneath the Seen, Wade Wilson Art, Houston, USA 2010: Baronian-Francey, Brussels, Belgium 2011: 90 Years of New: Joseph Marioni, The Phillips Collection, Washington, USA 2012: Painting, Hengesbach Gallery, Berlin, Germany 2013: Marioni/MacPherson, UQ Art Museum, St Lucia, Queensland, Australia

Estim. 250 - 500 EUR

UTAGAWA HIROSHIGE: VIEW OF KONODAI AND THE TONE RIVER UTAGAWA HIROSHIGE: VIEW OF KONODAI AND THE TONE RIVER By Utagawa Hiroshige (1797-1858), signed Hiroshige ga Japan, 19th century, Edo period (1615-1868) Color woodblock print on paper. Vertical Oban. Signed Hiroshige ga. Title Konodai Tonegawa fukei (View of Konodai and the Tone River), number 95 from the series Meisho Edo hyakkei (One Hundred Famous Views of Edo). View of the cliff Konodai overlooking the Tone River with sailing boats plying the river at sunset. A few visitors admire the view from the heights beneath pine and maple trees with autumn foliage, Mt. Fuji in the distance at center right. Boats sail along the river below, with a few houses along the water's edge. The Konodai or "Provincial Capital Bluff" served as a regional military center in early times as it was easily defended. SIZE of the sheet 34.5 x 22.8 cm Condition: Very good condition with minor wear. Detailed impression and vivid colors. Trimmed margins and some stains. Utagawa Hiroshige (1797 – 1858) (also referred to as Ando Hiroshige) is recognized as one of the last great masters of the ukiyo-e (“pictures of the floating world”) woodblock printing tradition. His style can be characterized in the genre of landscape print, innovated by his early contemporary Hokusai (1760-1849). Hiroshige can be attributed to having created over 5,000 prints of everyday life and landscape in Edo-period Japan. Inspired by Katsushika Hokusai’s popular Thirty-Six Views of Mount Fuji, Hiroshige took a softer, less formal approach with his Fifty-Three Stations of the Tokaido (1833–34), completed after a trip he made between Edo and Kyoto, which is acclaimed to be perhaps his finest achievement. He made numerous other journeys within Japan and issued a series of such prints, expressing in great detail the poetic sensibility inherent in the climate and topography of Japan and its people. He died in 1858, 10 years before Monet, Van Gogh, and a lot of Impressionist painters became eager collectors of Japanese art. Museum comparison: A closely related print is in the collection of the Museum of Fine Arts, accession number 21.9498. Auction comparison: Compare a closely related woodblock print at Christie’s, Japanese and Korean Art, 16 March 2021, New York, lot 84 (sold for 4,375). Compare a closely related woodblock print at Bonhams, Polish and Poise: Japanese Art Across the Centuries, 12 May 2022, London, lot 366 (sold for GBP 1,785).

Estim. 500 - 1 000 EUR

A JADE DISH AND A JADE FIGURE OF GUANYIN, 19TH CENTURY A JADE DISH AND A JADE FIGURE OF GUANYIN, 19TH CENTURY China, late Qing Dynasty (1644-1912). The first a small dish with shallow sides neatly divided into eight petals, the stone of a spinach-green tone with icy speckles. The second carved as Guanyin seated, holding in her left hand a ruyi scepter and wearing a long flowing robe. The serene face with heavy-lidded eyes below arched eyebrows and full lips forming a subtle smile, the hair arranged in a high chignon beneath the cowl, the semi-translucent stone of a deep celadon tone with scattered white and brown shadings and some russet veins. Condition: Very good condition with some surface wear and little nibbling to edges, the stones with natural fissures and inclusions. Provenance: French private collection. The Guanyin figure was formerly in the collection of the late Michael Sherrard CBE, QC, who had acquired it before 2000. Michael Sherrard (1928-2012) was an English barrister in fraud and company law who was considered one of the great recent influences on the legal profession. He was involved in numerous high-profile cases in both English and East Asian courts, particularly Hong Kong and Singapore. Together with Linda Goldman, he wrote a memoir titled “Wigs and Wherefores: A Biography of Michael Sherrard QC”. Sherrard was an enthusiastic collector of Chinese art, especially jade carvings. Weight: 161 g and 203 g Dimensions: Width 14.7 cm (the dish), Height 11.2 cm (the figure)

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