3. Moser, op.cit.., pp.58-59, no.53, illustrated in colour on the back cover; Cottington, ibid., illustrated in colour pl.XVI. 4. Moser, op.cit., p.53, no.38; Suzanne Folds McCullagh, ed., Drawings in Dialogue: Old Master through Modern. The Harry B. and Bessie K. Braude Memorial Collection, exhibition catalogue, Chicago, 2006, illustrated in colour p.18, fig.7. 5. Moser, op.cit., pp.52-53, no.37; Antliff and Leighten, op.cit., illustrated in colour p.138, fig.116. 6. Moser, op.cit., p.54, no.40, illustrated in colour p.27 (where dated 1913-1914). The painting was in the collection of Margit and Rolf Weinberg in Switzerland in 1986. 7. Moser, op.cit., p.43. 8. Cottington, op.cit., p.107. 9. Cottington, op.cit., p.111. 10. McCullagh, op.cit., p.162, no.115. The drawing, which measures 633 x 497 mm., is a promised gift to the Art Institute of Chicago. 11. See note 4.
No.39 Herbert James Draper 1. Anonymous sale (‘The property of a gentleman’), London, Knightsbridge, Bonhams and Brooks, 6 December 2000, lot 96; Toll, op.cit., pp.157-159, illustrated in colour p.47, pl.49. 2. The subject of the painting is taken from the legend of Ceyx and Halcyone. One of the daughters of Aeolus, the god of the winds, Halcyone (or Alcyone) was distraught over the loss of her husband, King Ceyx of Thessaly, who had drowned while on a sea voyage. Draper’s painting shows Halcyone preparing to throw herself into the sea to join her husband in death. However, the water nymphs took pity on her and transformed her and Ceyx into kingfishers, the birds seen in the painting above the head of Halcyone. Kingfishers (known as halcyones, or halykon, in Greek) were said to have the power to calm the wind and waves while they nested on the sea during the winter solstice. 3. Three further studies of female nudes by Herbert Draper, preparatory for other figures in Halcyone, appeared on the art market in London in 2003 (London, Julian Hartnoll, A Third and final Catalogue of Drawings by Herbert Draper (18641920), 2003, nos.36-38. One of these is also illustrated in Toll, op.cit., p.157, fig.111). Another study for a nymph in the painting was once with Christopher Wood and is today in a private collection (black and white chalk on grey paper, measuring 10 1/2 x 20 in.). 4. The drawing on the verso of the present sheet, depicting the upper half of a man’s trousers and what appears to be an artist’s palette, is inscribed Ruth T and may depict Draper himself. The artist is known to have given drawing lessons to some of his models, and it may be supposed that the sketch on the verso is by Ruth Torr, who was about fourteen years old when this drawing was made.
No.40 Edmund Dulac 1. R. H. Wilenski, foreword to London, Ernest Brown & Phillips Ltd. (The Leicester Galleries), Catalogue of a Memorial Exhibition of Water Colours and Drawings by Edmund Dulac, December 1953, pp.2-4.
No.41 Georges de Feure 1. ‘Aquarelles de M. Lefeure’, L’Art Français, 31 March 1894; quoted in translation in Ian MIllman, ‘From Baudelaire to Bing: Aesthetic Orientations in the Symbolism and Art Nouveau of Georges de Feure’, in Ian Millman, Georges de Feure 18681943, exhibition catalogue, Amsterdam, Van Gogh Museum, 1993-1994, p.11 2. Philippe Julian, The Symbolists, London, 1973, p.231, under no.40. 3. Ian Millman, Georges de Feure: Maître du Symbolisme et de l’Art Nouveau, Courbevoie, 1992, illustrated p.269. Executed in oil on board, the sheet measures 585 x 730 mm. 4. Ibid., illustrated p.265.