[§] JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) SELF PORTRAIT Conté and gouache 32.5cm x 24cm (12.75in x 9.5in) Provenance:Compass Gallery, Glasgow June 1975 Note: John Duncan Fergusson was the most international and political of the four Scottish Colourists. The selection of works by him offered in this sale chart some of the interesting early developments of his career. Largely self-taught as an artist, Fergusson was originally based in Edinburgh, and developed his painterly and observation skills on the sights and population of the capital. At this time, he often worked on a small, portable scale, and on board for ease of transport. Fergusson's flâneur approach to life and painting translated perfectly to Paris, when he decided to move to this artistic centre in 1907. It is from this period that many of his characteristic elegant conté sketches of the figures of Parisian café culture date, as Fergusson participated in this scene and captured the personalities he met and observed there - the elegant ladies in elaborate hats, suited and moustachioed gentleman, even musicians with their instruments. The dynamic Self-Portrait is more worked up, with gouache layered over the initial conté lines. Fergusson was never particularly well-off and by depicting himself he saved the cost of a model, while allowing more time to work into the depiction, beyond the simple lines of a quickly observed sketch. The portrait has a sense of drama, in his strong lines, but also in the way he chooses to depict himself, with a bold hat which frames his face and offers a striking contrast with his angular facial structure. Fergusson was interested in contemporary fashions, often making the effort to include fashionable touches in his female studies, particularly hats, so it is interesting to see him turn this particular focus on himself.
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Rolex - a gentleman's steel cased 'Oyster Perpetual Explorer' wristwatch, with black dial with luminous baton and Arabic numerals, centresweep seconds and steel bracelet, calibre 1030, 25 jewel movement numbered N879461. Model Number 6610, serial number 168820. No box or documentation
A large Meissen figure of Count Brühl's Tailor, late 19th century, after the 18th century model by J.J. Kaendler, wearing a tricorn hat , white jacket highlighted in gilt, floral waistcoat, a bag over his shoulder containing tailor's accoutrements, and further items attached to the goat, faint crossed swords mark in blue 44 x 43cm (17 x 17in)
Edward Robert Hughes, RWS (British, 1851-1914) The Nymph Callisto signed lower right "E R Hughes" watercolour, gouache and bodycolour on panel 37 x 28cm (14 x 11in) Exhibited: London, The Royal Society of Painters in Water Colours, No. 3 (date unknown)Other Notes: Edward Robert Hughes was a British painter and watercolourist. He was nephew of the Pre-Raphaelite artist Arthur Hughes and studio assistant to William Holman Hunt. He was also model to Dante Gabriel Rossetti who wrote of one of Hughes' works that it was "exquisite in feeling, poetry, and colour". Hughes exhibited widely including the Royal Academy of Arts and was Vice President of the Royal Society of Painters in Watercolours. Having spent a year studying in Paris, Hughes was as much a Symbolist as a Pre-Raphaelite. He would often experiment with ambitious techniques and paid incredible attention to detail, using, for example, gold to paint fine strands of hair. His work is in public collections including Birmingham Museum and Art Gallery, the Ashmolean Museum, Oxford and the National Trust for Scotland. Callisto, a nymph of King Lycaon, was transformed into a bear and set among the stars as Ursa Major ("the Great Bear") - she was the "bear-mother" of the Arcadians through her son Arcas. Condition report: The panel is bowing slightly, visible in the middle when looking side on. There are three foxing spots - one below Callisto's eye, one on her chin and one in the bluebells. Colours are fresh and good. Old original gilt frame, and the panel is out of the frame at the moment, for viewing purposes. Old exhibition label to the reverse. From the collection of the late Eila Grahame of Claverhouse.
George Earl (British, 1824-1908) Study of Caesar, the King's dog signed lower left "George Earl" oil on canvas 19 x 24cm (7 x 9in) Other Notes: The wire fox terrier "Caesar of Notts" was bred by the Duchess of Newcastle in1898 and presented to King Edward VII in 1903. The King and his dog became inseparable. A medallion inscribed ' Caesar - I belong to the King' was attached to his collar and can been seen in portraits of the dog. Caesar frequently caused problems for the King, escaping in Marienbad whilst chasing white peafowl and on another occasion killing rabbits owned by Lord Redesdale's daughters. The King ordered hardstone models of his favourite dogs and racehorses from the House of Fabergé. Caesar was at the King's side on his Norfolk estate when the initial wax models were revealed by the company. The model of Caesar was made of chalcedony, rubies, enamel and gold, and included Caesar's collar in the design. After the death of the King on 6 May 1910, Caesar refused to eat, and would spend time whining outside the King's bedroom. At one point, he managed to sneak into the King's bedroom and was found hiding under his bed by Queen Alexandra. The Queen encouraged him to eat once more and restored him to his normal self. In 1910, Caesar won the hearts of the nation when he attended the funeral of Edward VII, leading the funeral procession, with a Highlander, walking behind the carriage that carried the King's coffin. He was placed ahead of the Heads of State in the procession, including King George V and eight other Kings - an act of which Kaiser Wilhelm II of the German Empire disapproved. It was about this time that the German firm Steiff started producing their stuffed toy models of the dog. Caesar lived on in the Royal Household, cared for by the Dowager Queen, until his death in 1914. He is immortalised in stone at the feet of the King on the tomb of Edward VII in St. George's Chapel, Windsor Castle. Cleaned at some stage and with a modern wooden frame.
SKB, a model 500 20 bore over/under boxlock ejector gun, No. 563007, the 26" barrels with ventilated top rib, the frame with gane scene and scroll engraving, nitro proof, together with with a BSA model 500 12 bore over/under boxlock ejector gun, No. CM516265, the 26" barrels with ventilated top rib, nitro proof (2)
Ducks - various models of ducks in naturalistic poses, including Staffan Johnson flying duck wall plaque; Beswick pin dish; bookends; Beswick Mallard taking Flight (faults); moorish lustre model of a pair of ducks in flight, plinth base; The Leonardo Collection; qty

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