Books, Manuscripts and Music from Medieval to Modern

Kay Nielsen The Dream of the Marquise, 1918 ink, graphite, and gouache on paper (251 x 357mm. unframed; 509 x 583mm. framed), heightened with gold, signed and dated by the artist in pencil on lower right, mounted, framed, and glazed, lightly toned, chips, loss, and wear to frame This illustration depicts costume designs for Michel and Vera Fokine’s production of the ballet La Reve de la Marquise, performed in New York and Stockholm in 1921. Kay Nielsen was brought up around the theatre – both his parents were actors – and he produced costume and set designs for a number of ballets in Denmark and America in the 1910s and early 20s, mostly in collaboration with the director Johannes Poulsen. PROVENANCE: Exhibited Brooklyn Museum, 14 April to 10 May 1925; Index of American Watercolor Exhibitions, 1900-1945, p. 238

View 1 of Lot 352: Kay Nielsen | "The Dream of the Marquise", ink and gouache drawing, 1918, signed

kay nielsen | "the dream of the marquise", ink and gouache drawing, 1918, signed

Kay Nielsen "The Devil's mirror...broke into a thousand pieces..." , 1923 340 x 250mm. (frame 545 x 433mm.), pencil and watercolour, SIGNED BY THE ARTIST ON LOWER RIGHT, framed and glazed, slight browning at upper margin Original illustration for "The Snow Queen", in Fairy Tales by Hans Andersen (1924). "Nielsen drew twelve watercolours for the book, each one within a delicate border of motifs relating to its subject" (White). PROVENANCE: Excerpt from Arne Bruun Rasmussen Copenhagen auction catalogue taped to verso of frame; from the collection of the late Colin White LITERATURE: Reproduced as a colour plate in Fairy Tales by Hans Anderson. London, 1923; reproduced in Colin White, Kay Nielsen: A Biography, forthcoming, fig.148

View 1 of Lot 294: Kay Nielsen | Original illustration for Fairy Tales by Hans Andersen ("The Devil's mirror... broke into countless pieces"), 1923, signed by the artist

kay nielsen | original illustration for fairy tales by hans andersen ("the devil's mirror... broke into countless pieces"), 1923, signed by the artist

[Kay Nielsen] Costume Design for The Jewel Bearer, Aladdin, 1917-1919 240 x 130mm. (frame 540 x 437mm.), pencil and gouache, heightened with gold, framed and glazed "The story of Aladdin was an invitation to a designer to lose himself in fantasy and dreams. 'Colouring and gold almost bordering on debauchery' commented The Studio on seeing some of the original studies for the costumes. Nielsen's method of costume design was very different from that of Edmund Dulac.... Nielsen was less meticulous about his preparatory work.... He knew instinctively what was important and what could be omitted in a design" (White). PROVENANCE: From the collection of the late Colin White LITERATURE: reproduced in Colin White, Kay Nielsen: A Biography, forthcoming, fig.123, and discussed on pp. 147-151

View 1 of Lot 295: [Kay Nielsen] | Costume design for The Jewel Bearer, Aladdin, 1917-1919

[kay nielsen] | costume design for the jewel bearer, aladdin, 1917-1919

Kay Nielsen Suliman, c. 1918 pencil and watercolour design on paper (219 x 148mm.; 317.5 x 400mm. inc. frame) heightened with gold, annotation to mount (shoe design), mounted, framed and glazed, laid down on brown paper, some very light foxing, minor cracking and discolouration of yellow paint, some fading of gold paint on clothing This drawing was produced for Johannes Poulsen's production of Aladdin, showing a costume design for the character of Suliman. Poulsen produced the play in Copenhagen in 1918. PROVENANCE: Sotheby's, 23-24 May 1983, Lot 712.

View 1 of Lot 284: Kay Nielsen | Suliman, ink and watercolour drawing, c. 1918

kay nielsen | suliman, ink and watercolour drawing, c. 1918

Kay Nielsen "The Karaval" watercolour and gouache on paper (349 x 253mm. unframed; 562 x 448mm. framed), heightened with gold, signed and dated by the artist on lower right, mounted, framed, and glazed, typed note explaining origin of the story of "The Karaval" on slip of paper headed Scott & Fowles New York in envelope taped to rear of frame, frame becoming fragile with wear and chips at extremities

View 1 of Lot 277: Kay Nielsen | "The Karaval", watercolour and gouache drawing, 1929, signed

kay nielsen | "the karaval", watercolour and gouache drawing, 1929, signed

Kay Nielsen "Each Was Delicious in Her Own Different Way", original illustration for Rosanie and the Inconstant Prince 315 × 275 mm. (frame 632 x 510 mm.), pencil, pen, ink, and watercolour, SIGNED AND DATED BY THE ARTIST ON LOWER LEFT ("KAY•NIELSEN•1912"), framed and glazed, worming to back of frame (not affecting illustration) This fine watercolour was reproduced to illustrate "Rosanie and the Inconstant Prince" in Arthur Quiller Couch's In Powder and Crinoline. Kay Nielsen worked in London between 1911 and 1916 and In Powder and Crinoline was the first major book he illustrated. The stylised postures of the figures owe much to the world of the theatre, and in particular the "spectacular presentations of Diaghilev's Ballets Russes... the world of fairy tale come true. The compliment that Nielsen paid it was to people his illustrations for In Powder and Crinoline with the dancers of the ballet" (White). For another original illustration for the same work, see lot 296. PROVENANCE: bought from The Leicester Galleries by R. Cory Esq. in December 1913: purchase note and gallery label to back of frame; From the collection of the late Colin White EXHIBITION: "Ernest Brown & Phillips: The Leicester Galleries" label, and excerpt from exhibition catalogue, [December 1913], Item no.19 ("Nielsen's first exhibition at the Leicester Galleries opened in November 1913 to coincide with the publication of In Powder and Crinoline. Some fifty drawings and watercolours were on display" (White)) LITERATURE: Reproduced as a colour print in Powder & Crinoline, London, [1913]; reproduced in Colin White, Kay Nielsen: A Biography, forthcoming, fig.63

View 1 of Lot 299: Kay Nielsen | Original illustration for In Powder and Crinoline ("Each Was Delicious in Her Own Different Way"), 1912, signed and dated by the artist

kay nielsen | original illustration for in powder and crinoline ("each was delicious in her own different way"), 1912, signed and dated by the artist

Kay Nielsen "A Look, a Kiss and He was Gone", original illustration for Rosanie and the Inconstant Prince 315 x 275mm. (frame 635 x 508 mm.), pencil, pen, ink, and watercolour, SIGNED AND DATED BY THE ARTIST ON TOP RIGHT ("KAY | NIELSEN | 1912"), framed and glazed, old 1½ inch closed tear at centre of illustration This fine watercolour was reproduced to illustrate "Rosanie and the Inconstant Prince" in Arthur Quiller Couch's In Powder and Crinoline. Kay Nielsen worked in London between 1911 and 1916 and In Powder and Crinoline was the first major book he illustrated. The stylised postures of the figures owe much to the world of the theatre, and in particular the "spectacular presentations of Diaghilev's Ballets Russes... the world of fairy tale come true. The compliment that Nielsen paid it was to people his illustrations for In Powder and Crinoline with the dancers of the ballet" (White). For another original illustration for the same work, see lot 299. PROVENANCE: from the collection of the late Colin White EXHIBITION: "Ernest Brown & Phillips: The Leicester Galleries" label, and excerpt from exhibition catalogue, [1913], "Item no.19" ("Nielsen's first exhibition at the Leicester Galleries opened in November 1913 to coincide with the publication of In Powder and Crinoline. Some fifty drawings and watercolours were on display" (White)); Bearne's Torquay, "'Other Worlds': an Exhibition of Illustrators' Works in the Realms of Fairies, Fantasy and the Future", 31 July to 11 August 1989, item no. 53: label LITERATURE: Reproduced as a colour print in Arthur Quiller Couch, Powder & Crinoline, London, [1913]; reproduced in Colin White, Kay Nielsen: A Biography, forthcoming, fig.59

View 1 of Lot 296: Kay Nielsen | Original illustration for Powder and Crinoline ("A Look, a Kiss and He was Gone"), 1912, signed and dated

kay nielsen | original illustration for powder and crinoline ("a look, a kiss and he was gone"), 1912, signed and dated

Kay Nielsen "The Dream of the Marquise", 1918 ink, graphite, and gouache on paper (253 x 350mm. unframed; 509 x 583mm. framed), heightened with gold, signed and dated by the artist in pencil on lower left, mounted, framed, and glazed, chips, loss, and wear to frame This illustration depicts costume designs for Michel and Vera Fokine’s production of the ballet La Reve de la Marquise, performed in New York and Stockholm in 1921. Kay Nielsen was brought up around the theatre – both his parents were actors – and he produced costume and set designs for a number of ballets in Denmark and America in the 1910s and early 20s, mostly in collaboration with the director Johannes Poulsen. PROVENANCE: Exhibited Brooklyn Museum, 14 April to 10 May 1925; Index of American Watercolour Exhibitions, 1900-1945, p. 238

View 1 of Lot 353: Kay Nielsen | "The Dream of the Marquise", ink and gouache drawing, 1918, signed

Kay Nielsen The Dream of the Marquise, 1918 ink and gouache on paper (251 x 357mm. unframed; 509 x 583mm. framed), heightened with gold, signed and dated by the artist in pencil on lower right, mounted, framed, and glazed, lightly toned, chips, loss, and wear to frame PROVENANCE Exhibited Brooklyn Museum, 14 April to 10 May 1925; Index of American Watercolor Exhibitions, 1900-1945, p. 238

View 1 of Lot 278: Kay Nielsen | "The Dream of the Marquise", ink and gouache drawing, 1918, signed

Kay Nielsen "The Dream of the Marquise", 1918 ink and gouache on paper (253 x 350mm. unframed; 509 x 583mm. framed), heightened with gold, signed and dated by the artist in pencil on lower left, mounted, framed, and glazed, chips, loss, and wear to frame PROVENANCE Exhibited Brooklyn Museum, 14 April to 10 May 1925; Index of American Watercolour Exhibitions, 1900-1945, p. 238

View 1 of Lot 279: Kay Nielsen | "The Dream of the Marquise", ink and gouache drawing, 1918, signed

Books and Manuscripts: 19th and 20th Century

Kay Nielsen (attrib.) The Flying Trunk, c.1912 Ink and watercolour drawing on paper (224 x 176mm.), gilt detailing, signed top left 'Kay Nilsen' [sic], mounted, framed and glazed AN EARLY KAY NIELSEN ILLUSTRATION OF A HANS CHRISTIAN ANDERSEN FAIRYTALE. Kay Nielsen's first exhibition was at the London gallery Dowdeswell & Dowdeswell in July 1912. It was dominated by The Book of Death, a series of ten illustrations heavily influenced by Beardsley, but included other works. Although no copy of the ephemeral exhibition catalogue is known to survive, the current work almost certainly featured in that exhibition. The Dowdeswell label affixed to the rear of the frame indicates that this is one of two illustrations of 'The Flying Trunk'. A second illustration of the same story is reproduced in a review article, 'Kay Nielsen's Drawings', by Marion Hepworth Dixon (The International Studio, December 1913, pp.116-25 (p.119)). Not only does Dixon mention that 'The Flying Trunk' had featured in the 1912 exhibition, but the reproduced illustration depicts the young man dressed as he is in the current drawing and was no doubt the partner of the current drawing. The other 'Flying Trunk' illustration was dated 1912 and the current drawing is presumably of the same date. This was shortly after the artist's move to London and the works were probably produced for the Dowdeswell exhibition. The anomalous signature may be a result of the artist experimenting with an anglicised version of his name for an English audience, but no other example of this spelling has been found. PROVENANCE: Exhibition label to rear of frame, Dowdeswell & Dowdeswell Gallery, [July 1912?]

View 1 of Lot 108: Kay Nielsen | The Flying Trunk, ink and watercolour drawing, c.1911

kay nielsen | the flying trunk, ink and watercolour drawing, c.1911

[Kay Nielsen] Costume designs for Scaramouche 199 x 522mm. (frame 384 x 702mm.), pencil, pen, ink, and watercolour, framed and glazed, back of frame becoming loose Costume designs for Leilon, Blondelin, and Musicians. "Nielsen dressed all the characters in the play: the dandies, the musicians, the guests and, above all, Scaramouche and his troupe, like the dolls and puppets in the illustrations for In Powder and Crinoline" (White). This production of Scaramouche was first performed on 12 May 1922 at the Royal Theatre in Copenhagen. PROVENANCE: from the collection of the late Colin White LITERATURE: partly reproduced in Colin White, Kay Nielsen: A Biography, fig.135

View 1 of Lot 297: [Kay Nielsen] | Costume designs for Scaramouche, 1921

[kay nielsen] | costume designs for scaramouche, 1921

[Kay Nielsen] Costume Design for Hindu Dancer, Aladdin 205 x 100mm. (frame 539 x 436mm.), pencil and watercolour, heightened with gold, framed, drawing with old crease at lower margin "The story of Aladdin was an invitation to a designer to lose himself in fantasy and dreams. 'Colouring and gold almost bordering on debauchery' commented The Studio on seeing some of the original studies for the costumes. Nielsen's method of costume design was very different from that of Edmund Dulac.... Nielsen was less meticulous about his preparatory work.... He knew instinctively what was important and what could be omitted in a design" (White). LITERATURE: reproduced in Colin White, Kay Nielsen: A Biography, forthcoming, fig.125, and discussed on pp. 147-151

View 1 of Lot 298: [Kay Nielsen] | Costume design for Hindu Dancer, Aladdin, 1917-1919

[kay nielsen] | costume design for hindu dancer, aladdin, 1917-1919

[Kay Nielsen] "The Swineherd", preliminary ideas for illustration 470 x 395mm. (comprising 5 sections of paper pasted together to form one sheet); ( frame 736 x 601mm.), pencil, mounted, framed, and glazed "A large preliminary pencil study for the illustration gives a fascinating insight into how Nielsen planned his work. In it two scenes from the story are interwoven, in much the way that a Renaissance painter might show several episodes from a biblical narrative on the same canvas. The scene of rejection, with certain differences from the finished watercolour in the palace wall and the princess’s pose and dress, fills the lower third of the drawing. The upper two thirds, though, show the earlier episode of the first kiss bestowed by the princess on the Swineherd in the pig yard surrounded by the maids of honour, with the Emperor staring over the wall, and the palace and the city in the background. This upper part was never used in the book and Nielsen’s decision to concentrate on the more moving scene of the rejection was surely correct" (White). PROVENANCE: from the collection of the late Colin White LITERATURE: cf. Fairy Tales by Hans Andersen. London, 1923; reproduced in Colin White, Kay Nielsen: A Biography, forthcoming, fig.148, discussed on p.174

View 1 of Lot 300: [Kay Nielsen] | Pencil study for "The Swineherd" in Fairy Tales by Hans Andersen, c.1923

[kay nielsen] | pencil study for "the swineherd" in fairy tales by hans andersen, c.1923

Fairy Tales. Hodder and Stoughton, [1924]

nielsen, kay--andersen, hans.

English Literature, History, Children’s Books & Illustrations

297 by 258mm., fine ink and watercolour drawing heightened with gilt, signed and dated lower left "KAY NIELSEN 1912", mounted, framed and glazed

"prince souci and princess minon-minette on the fan" (for in powder and crinoline)

4to, number 138 of 500 copies signed by the artist, 25 coloured plates and other illustrations by Kay Nielsen, original pictorial vellum gilt, illustrated end-papers, top edge gilt, very minor browning and occasional spotting, slight browning and spotting to end-papers, minor soiling to vellum, upper cover very slightly bowed, lacking silk ties

east of the sun and west of the moon. hodder & stoughton, [1924]

4to, first edition thus, 12 coloured plates and other illustrations by Kay Nielsen, original pictorial cloth gilt, illustrated end-papers, dust-jacket, some spotting, head and foot of spine slightly bumped, dust-jacket slightly frayed at head and foot of dust-jacket, minor adhesive tape repairs to reverse

fairy tales by hans andersen. hodder and stoughton, [1924]

4to, first edition, 25 coloured plates and other illustrations by Kay Nielsen, original pictorial cloth gilt, illustrated endpapers, some minor spotting and browning, two small marks to upper cover, extremities slightly rubbed

east of the sun and west of the moon. hodder & stoughton, [1914]

The Art of Illustration

137 by 115mm., ink drawing, unsigned, mounted, framed and glazed

“the nightingale”

4to, number 215 of 500 copies signed by the artist, 26 coloured plates and other illustrations by Kay Nielsen, original pictorial green vellum gilt, top edge gilt, some browning and spotting, covers slightly bowed, rubbed at extremities, lacking ties, ownership inscription

in powder and crinoline. hodder & stoughton, [1913]

137 by 115mm., ink drawing, unsigned, mounted, framed and glazed, some very minor soiling

“the swineherd”

“the snow queen”

“great claus and little claus”

4to, first trade edition, 25 coloured plates and other illustrations by Kay Nielsen, original pictorial blue cloth, some minor spotting, extremities slightly bumped, stain on upper cover

378 by 257mm., ink and watercolour drawing, signed and dated centre left, mounted, framed and glazed

original design for frontispiece to in powder and crinoline

4to, number 459 of 500 copies signed by the artist, 12 coloured plates and other illustrations by Kay Nielsen, original pictorial blue cloth gilt, dust-jacket, bookplate, head and foot of spine bumped, dust-jacket frayed at extremities, loss to spine of dust-jacket with adhesive tape repairs on reverse

fairy tales. hodder and stoughton, [1924]

“the shirt collar”

“the shepherdess and the chimney sweep”

138 by 115mm., ink drawing, unsigned, mounted, framed and glazed

"the red shoes"

144 by 104mm., ink drawing with gouache corrections, unsigned, mounted, framed and glazed, some very minor soiling

Results for "Kay Nielsen"