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soldNov. 29, 2020THOMAS CLARK (Britain, Australia, c1814 - 1883) (attrib.) (At the Estate of Madame Pfund, Mount Macedon), c1868, watercolour, 19 x 27.5cm. Provenance: The estate of G. Page Cooper, auction at the Melbourne Town Hall, July 1936. Joshua McClelland
Est: AUD2,000 - AUD3,000THOMAS CLARK (Britain, Australia, c1814 - 1883) (attrib.) (At the Estate of Madame Pfund, Mount Macedon), c1868, watercolour, 19 x 27.5cm. Provenance: The estate of G. Page Cooper, auction at the Melbourne Town Hall, July 1936. Joshua McClelland attended the auction and wrote a review which was published in "The Argus" on July 10, 1936. Clark arrived in Victoria with his family probably in 1852; according to the Examiner and Melbourne Weekly News, 18 August 1860, he had been well known 'amongst us for several years past' and many of his paintings were in squatters' homesteads. Certainly he had several pictures in the exhibition of the Society of Fine Arts in February 1857. His status established, he was commissioned to paint a portrait of Sir Henry Barkly, governor of Victoria in 1856-63, which was presented to the government in 1868 and is now in the National Gallery of Victoria. In 1869-70 he was briefly instructor in figure drawing at the Carlton School of Design. In 1870 Clark was appointed drawing-master in the newly-created School of Design connected with the National Gallery. The Swiss-born Madame Elise Pfund (1833–1921) was the wife of James Pfund, the architect and Victorian Surveyor-General. In 1867 Elise Pfund established Oberwyl, a highly regarded girls’ private school in St Kilda, which continued to operate until 1931. The school was named after her home village in Switzerland, and the institution gained a reputation for its French culture. Together with her husband, Madame Pfund was one of the important patrons of Tom Roberts. Around this time Roberts also painted several portraits of Madame Pfund’s husband, James.
Leski Auctions Pty Ltd
soldOct. 29, 2015Thomas Clark (XX) - Untitled (Abstract) 100 x 121cm
Est: AUD300 - AUD500Thomas Clark (XX) Untitled (Abstract) acrylic on board 100 x 121cm signed lower left
Lawsons
soldOct. 29, 2015Thomas Clark (XX) - Metamorphosis - The Glass Doors 122 x 80cm
Est: AUD200 - AUD400Thomas Clark (XX) Metamorphosis - The Glass Doors acrylic on board 122 x 80cm signed & dated '93 lower left
Lawsons
soldSep. 11, 2015Thomas Clark (British, c. 1814-1883), The Border Neck of Norham Castle, Signed and dated "T Clark 1856" l.r., titled and signed or insc
Est: $1,500 - $2,000Thomas Clark (British, c. 1814-1883) The Border Neck of Norham Castle Signed and dated "T Clark 1856" l.r., titled and signed or inscribed on a handwritten note affixed to the stretcher, identified in an inscription on the front of the frame. Oil on canvas, 27 1/8 x 48 in. (69.0 x 122.0 cm), framed. Condition: Patch reinforcement, retouch, small punctures, rippling, scattered abrasions, surface grime.
Skinner
soldMar. 26, 2009Thomas Clark (British, 1814? -1883) Two London Scenes Near Grays Inn Lane; and From Under...
Est: £300 - £400Thomas Clark (British, 1814? -1883) Two London Scenes Near Grays Inn Lane; and From Under Putney Bridge watercolour One dated '1826' and the other '1819' h:13 w: 21 cm
Cheffinssold
Oct. 11, 2004THOMAS CLARK (1814 - 1883) Sealers Cove, Wilsons Promontory (after Robert Hoddle) inscribed verso 'Sealers Cove, Wilsons Promontory by Robert Hoddle
Est: AUD8,000 - AUD12,000THOMAS CLARK (1814 - 1883) Sealers Cove, Wilsons Promontory (after Robert Hoddle) inscribed verso 'Sealers Cove, Wilsons Promontory by Robert Hoddle Painted by Thomas Clark 1861.' watercolour and pencil, 25.5 x 54 cm.
Leonard Joel- May. 05, 1998
Jean-Francois Millet (1814-1875)
Est: $150,000 - $200,000Chasse aux oiseaux par lumire des torches (Hunting Birds by Torchlight) stamped with signature 'J.F. Millet' (Lugt 1816; lower left) (Robert L. Herbert's 1894G) charcoal heightened with white chalk on rose-gray canvas 22.3/8 x 28 in. (57 x 71 cm.) PROVENANCE Mme. J.F. Millet; Estate sale, Htel Drouot, Paris, 24-25 April 1894, lot 11 Flix Grard (acquired from the above sale) Artemis Gallery, London Acquired by the present owner, 1983 LITERATURE E. Moreau-Nlaton, Millet racont par lui-mme, Paris, 1921, vol. III, pp. 97, 104 and 125 (for discussion of the Philadelphia painting and sketches). R.L. Herbert, Jean-Franois Millet, exh. cat., Grand Palais, Paris, 1975, p. 292. EXHIBITION Boston, Museum of Fine Arts, Jean-Franois Millet, 1984, no. 152. NOTES Hunting Birds by Torchlight is one of the last works of Jean-Franois Millet, the under-drawing of an unfinished painting transformed by the dying artist into an astonishing creation of singular intensity. The composition of Hunting Birds by Torchlight records an event that had been buried in Millet's memory since his childhood in Normandy, some fifty years before; but it is the gestural force with which Millet pulled his figures out of a swirl of light and energy that gives the work such emotional power. From William Low, a young American painter who visited Millet in his Barbizon studio during 1873-1874, we learn that Hunting Birds by Torchlight (along with the related painting, Bird Hunters, Philadelphia Museum of Art, which reverses the composition, fig. 1) depicts a scene out of the artist's early childhood on the Cotentin coast of Normandy. Millet spoke to Low of going out at night with other peasants of his tiny Gruchy hamlet to hunt the flocks of wild pigeons that migrated across the Channel. Carrying great torches to blind the startled birds, and swinging heavy clubs to stun them, the older men brought down the pigeons which children scrambling on the ground gathered up into sacks. For peasants living a hard existence, this communal hunt was one of the few sources of meat in a limited diet. Without Low's testament for McClure's Magazine (May 1896), it would be very difficult to know what to make of Hunting Birds by Torchlight . The maelstrom of flickering torches, waving clubs, and spinning hunters is quite unlike anything else in the solid, stable rural world of Millet's art. For thirty-five years he had struggled to adapt traditional French artistic values emphasizing sculptural forms and clear narrative unity to the untraditional subjects of French peasant life. And side by side with Hunting Birds by Torchlight, Millet worked as well on the monumental Haystacks of the Metropolitan Museum of Art during the last months of his life. Yet in Hunting Birds, the certainties and spatial clarity of those works are set aside for an impenetrable space of shifting light and shadow in which two archetypal Millet subjects, the hard-working peasant and the beautiful birds of the field, come into direct and uneven conflict. As he faced his own death, Millet raged against the inevitability of fate and the blindness that commands so many of man's actions. Millet worked out the positions of the figures in numerous small pen and ink sketches (Collection Cabinet des dessins, The Louvre, Paris; and others now lost) and in two fuller pencil and crayon compositions (Indianapolis Museum of Art and the London art market, 1980s) that record the fury with which Millet slashed in the flickering light of the background. Another under-drawing on canvas shows the figures in a smaller, more compact space. We are grateful to Alexandra Murphy for her assistance in preparing this catalogue entry. fig. 1 Jean Franois Millet, Bird Hunters, 1874 Philadelphia Museum of Art, William L. Elkins Collection SALESROOM NOTICE Please note this drawing has been requested for an exhibition entitled, Drawn in the Light: Jean-Franois Millet. Clark Art Institute, Williamstown, MA (June 18 - September 7, 1999) Van Gogh Museum, Amsterdam (October 26 - January 5, 2000) Frick Art Museum, Pittsburgh (February 10 - April 23, 2000).
Christie's - Sep. 22, 1994
JAMES LIPPITT CLARK (1883-1957)
Est: $3,000 - $4,000A BRONZE FIGURE OF A BEAR inscribed "COPYRIGHT JAS L CLARK 64" and stamped "GORHAMCO FOUNDERS QHF" 7 1/4 in. (18.5 cm.) high, rich brown patina Clark, a renowned taxidermist, was Director of Preparation at the American Museum of Natural History. His studio mounted specimens for Theodore Roosevelt. Clark's sculptural training at the Gorham foundry and at the Rhode Island School of Design, and his experiences on many expeditions to Africa, Asia, etc., are evident in his brilliant installations of The African Hall and The Hall of North American Mammals.
Christie's - May. 26, 1994
JAMES LIPPITT CLARK (1883-1957)
Est: $8,000 - $12,000"WHITE RHINO" AND "BLACK RHINO", TWO BRONZE FIGURES the one inscribed "JAS L CLARK (C) 24" and "KUNST-FNDRY N.Y." stamped "2", the other inscribed "JAS L CLARK sc. (C) 27", "KUNST-FDRY." and stamped "3" the one 6 1/2 in. (16.5 cm.) high, 14 in. (35.5 cm.) long, reddish brown patina, the other 7 1/2 in. (19 cm.) high, 15 in. (38.1 cm.) long, greenish brown patina Clark, a renowned taxidermist, was Director of Preparation at the American Museum of Natural History. His studio mounted specimens for Theodore Roosevelt. Clark's sculptural training at the Gorham Foundry and at the Rhode Island School of Design and his experiences on many expeditions to Africa, Asia, etc., are evident in his brillant installations of The African Hall and The Hall of North American Mammals.
Christie's - May. 26, 1994
JAMES LIPPITT CLARK (1883-1957)
Est: $8,000 - $12,000"WHITE RHINO" AND "BLACK RHINO", TWO BRONZE FIGURES the one inscribed "JAS L CLARK (C) 24" and "KUNST-FNDRY N.Y." stamped "2", the other inscribed "JAS L CLARK sc. (C) 27", "KUNST-FDRY." and stamped "3" the one 6 1/2 in. (16.5 cm.) high, 14 in. (35.5 cm.) long, reddish brown patina, the other 7 1/2 in. (19 cm.) high, 15 in. (38.1 cm.) long, greenish brown patina Clark, a renowned taxidermist, was Director of Preparation at the American Museum of Natural History. His studio mounted specimens for Theodore Roosevelt. Clark's sculptural training at the Gorham Foundry and at the Rhode Island School of Design and his experiences on many expeditions to Africa, Asia, etc., are evident in his brillant installations of The African Hall and The Hall of North American Mammals.
Christie's
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