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283284 Los(e)/Seite
Los 1090
Indian School/Three Studies of Trades People/body colour on mica/each 11cm x 8.5cm/framed as one and a mezzotint portrait of a woman, signed Edmund Wardle CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
Los 1095
Sydney Horne-Shepherd (1909-1993)/Portrait of a Girl/three-quarter length, brushing her hair/signed lower right/mixed media, 33cm x 26.5cm CONDITION REPORT: ARR Artist's Resale Right may apply to the sale of this lot if the hammer price is the equivalent of 1000 Euros or more, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
Los 704
Rare mid-17th century miniature oil on copper, gentleman with white collar, oval, inscribed and indistinctly dated A.D. 1662 (?), with coat of arms verso, in ebonised frame, total size 11 x 9.5cmIn a glazed frame and not examined out of the frame. The portrait has some restoration and overpainting to the face and elsewhere, cracks to the face and collar, some pitting throughout and small losses. The reverse with substantial losses to painted surface
Los 727
19th century ormolu medallion depicting William Pitt, in period glazed fruitwood frame, 17cm diameter, together with an embossed brass box with similar portrait. (2). Provenance: Removed from Portland Place, London, from the Estate of historian and academic Richard Thomas Shannon (1931-2022)
Los 729
Framed set of five 19th century embossed copper medallions, depicting Classical Emporers, in 19th century mahogany frame, total size 19 x 17cm, together with two further impressed copper portrait plaques both framed. (3). Provenance: Removed from Portland Place, London, from the Estate of historian and academic Richard Thomas Shannon (1931-2022)
Los 732
19th century copper medallion depicting Louis XVI, in ebonised wood frame, total size 14 x 14cm, together with a 19th century bronze portrait medallion of Louis XVI, 9.5cm diameter, with suspension loop. (2). Provenance: Removed from Portland Place, London, from the Estate of historian and academic Richard Thomas Shannon (1931-2022)
Los 739
Early 19th century carved oak portrait bust of Louis XVIII in laurel wreath surround, 46cm high. Purchased Ross Hamilton Antiques, 95 Pimlico Road, London SW1, 2006 for £2500. Provenance: Removed from Portland Place, London, from the Estate of historian and academic Richard Thomas Shannon (1931-2022)
Los 747
Seven 19th century Bois Durci portrait roundel plaques, subjects including Queen Victoria, 11cm diameter, also Prince Albert, Alexander II, Napoleon Bonaparte, Empress Eugenia, a large portrait roundel of Napoleon III, framed and George V of Hanover, all with suspension loops. Provenance: Removed from Portland Place, London, from the Estate of historian and academic Richard Thomas Shannon (1931-2022)Scratch to face of Queen Victoria, Napoleon has crack to surround and chip to edge, otherwise just minor wear throughout, see multiple additional images
Los 749
19th century bronze plaque depicting Franz Joseph I of Austria as a Roman Emperor, 15cm high, together with an early 20th century plaster relief plaque of Franz Joseph I of Austria, and a 19th century Bohemian painted glass tankard with portrait medallion of Franz Joseph I of Austria. (3). Provenance: Removed from Portland Place, London, from the Estate of historian and academic Richard Thomas Shannon (1931-2022)
Los 750
19th century Wedgwood style jasperware plaque depicting Prince Antoine, Duc de Montpensier, ormolu rope-twist frame, 15cm diameter, together with four further jasperware portrait plaques. (5). Provenance: Removed from Portland Place, London, from the Estate of historian and academic Richard Thomas Shannon (1931-2022)
Los 752
Pair of 19th century bronze library portrait busts of Lord Brougham and William IV each with publication details for Sam Parker, 1831, 14.5cm high. Provenance: Removed from Portland Place, London, from the Estate of historian and academic Richard Thomas Shannon (1931-2022)No severe damage, just wear and small scratches
Los 754
Berlin white glazed porcelain portrait plaque depicting Frederic the Great, signed and dated to mould 'J G Muller 1786', 8cm diameter, in Papier Mache frame, together with porcelain bust of Louis XVI mounted in gilt rope-twist frame, another depicting Napoleon III and a stone carving probably depicting George III, all framed. (4). Provenance: Removed from Portland Place, London, from the Estate of historian and academic Richard Thomas Shannon (1931-2022)
Los 756
19th century gilt metal portrait relief plaque depicting Frederick I of Wuttemburg, by Galle, trade label to reverse, in glazed gilt frame, 9cm diameter, raised on miniature easel, together with Grand Tour bronze portrait plaque of Caesar, also on a stand, bronzed medallion of Quuen Caroline and a WWI German medallion. Provenance: Removed from Portland Place, London, from the Estate of historian and academic Richard Thomas Shannon (1931-2022)
Los 859
English School, circa 1840s, pair of watercolour portrait miniatures on ivory, three-quarter length depictions of young gentlemen, one described to typed label verso as 'John Thon Sanderson, aged 24 years, 1846', each in glazed gilt frames, 17 x 13cm, together Regency portrait miniature on ivory depicting a woman in white Empire line dress, two other portrait miniatures on ivory. (5). APHA Ref: Pending
Los 1000
*Gerald Spencer Pryse (1882-1956) oil on canvas - Tangier, 51cm x 76cm, apparently unsigned, framed. Gerald Spencer Pryse was born in Ashton and educated at Eton. He was largely self taught but with spells under artists in London and Paris. He won first prize at the Venice International Exhibition in 1907. Early in his career he contributed work to The Strand Magazine, The Graphic and Punch, he produced illustrations for E Nesbit, Henry Fielding and others. A staunch socialist and an active member of the Fabian Society, his work was often politically charged and with humanist themes, demonstrated in posters for various humanitarian relief agencies throughout the first world war and its aftermath. Pryse initially focussed on print-making and was well versed in the techniques of lithography by the outbreak of The Great War. He captured scenes from the battlefields from 1914 and ultimately became the most prolific lithographic artist of World War I. Working initially under the patronage of The Queen of Belgium as a dispatch rider on the Belgian front, his fine draughtsmanship and technical assurance permitted him the freedom to record his observations directly onto huge lithographic stones, which he carried around the Western front line in his Mercedes, commentators at the time described him as ‘’looking like he’d looted a graveyard’”. He later wrote a memoir of this time ‘Four Days: an account of a journey in France made between 28 and 31 August 1914’ published by John Lane in 1932. Pryse also worked with the Indian Army in France and several of his lithographs depict scenes of Indian troops (Indian colonial troops were otherwise almost entirely unreported in the visual records of the conflict). He subsequently served as a Captain in the Queen Victoria’s rifles, during the conflict he lost the sight in one eye and was shot in the hand. He won the Military Cross at Passchendaele, was awarded the Croix de Guerre and was Mentioned in Dispatches. He was, however, torn between his obligation as a soldier and his potential value as an artist in the propaganda unit. His repeated petitions to become an official war artist were protracted, largely due to his military successes and the reluctance of his superiors to release him, his socialist leanings were also a significant stumbling block. In 1917 he finally became an official war artist, one of just 26 British artists to have been awarded the honour during WWI. When his sketches were later exhibited in London they were said to have ‘a freshness and authenticity that were not always apparent in the work of official war artists’, unfortunately much of his work was destroyed during the 1918 German Offensive, and even more destroyed when the Spencer Pryse house was bombed in World War II. Pryse secured prestigious commissions during the war period, including poster designs for military recruitment, the British Red Cross, London Underground and The Labour Party. In 1924 he did a large series of work for the British Empire Exhibition at Wembley, working alongside Frank Brangwyn to produce the official accompanying publication and on a monumental series of posters covered ‘the whole of the Empire in 24 pictures’, designed to convey the extent and marvels of the British Empire. He also produced images for the 1928 and 1932 Olympics. In 1925 he travelled and worked extensively in Morocco where his brother was based. In 1928 he toured West Africa by car and river steamer to record scenes on the Gold Coast and Nigeria for The Empire Marketing Board and in 1930 was commissioned for further works by the Gold Coast Government. Throughout his career he exhibited widely including at the Alpine Gallery, Royal Academy, Royal Scottish Gallery, Leicester Galleries and the Royal Glasgow Institute of Art. His work was acquired by and is held by The British Museum, The Victoria and Albert Museum, The Louvre, The Uffizi, The National Portrait Gallery, The Royal Collection and others. He career was curtailed by the injuries he suffered in the Great War and by the outbreak of WWII he had ceased to paint. Gerald Spencer Pryse, MC died at Cranford House, Stourton, Worcestershire on 28 November 1956 aged 74.Original untouched condition, some water stains to rear, one area coinciding with an area of crazing and inconsistent finish, far left (see images) otherwise ok
Los 1001
*Gerald Spencer Pryse (1882-1956) watercolour - Lokoja Market, 54cm x 78cm, titled verso, unframed.Gerald Spencer Pryse was born in Ashton and educated at Eton. He was largely self taught but with spells under artists in London and Paris. He won first prize at the Venice International Exhibition in 1907. Early in his career he contributed work to The Strand Magazine, The Graphic and Punch, he produced illustrations for E Nesbit, Henry Fielding and others. A staunch socialist and an active member of the Fabian Society, his work was often politically charged and with humanist themes, demonstrated in posters for various humanitarian relief agencies throughout the first world war and its aftermath. Pryse initially focussed on print-making and was well versed in the techniques of lithography by the outbreak of The Great War. He captured scenes from the battlefields from 1914 and ultimately became the most prolific lithographic artist of World War I. Working initially under the patronage of The Queen of Belgium as a dispatch rider on the Belgian front, his fine draughtsmanship and technical assurance permitted him the freedom to record his observations directly onto huge lithographic stones, which he carried around the Western front line in his Mercedes, commentators at the time described him as ‘’looking like he’d looted a graveyard’”. He later wrote a memoir of this time ‘Four Days: an account of a journey in France made between 28 and 31 August 1914’ published by John Lane in 1932. Pryse also worked with the Indian Army in France and several of his lithographs depict scenes of Indian troops (Indian colonial troops were otherwise almost entirely unreported in the visual records of the conflict). He subsequently served as a Captain in the Queen Victoria’s rifles, during the conflict he lost the sight in one eye and was shot in the hand. He won the Military Cross at Passchendaele, was awarded the Croix de Guerre and was Mentioned in Dispatches. He was, however, torn between his obligation as a soldier and his potential value as an artist in the propaganda unit. His repeated petitions to become an official war artist were protracted, largely due to his military successes and the reluctance of his superiors to release him, his socialist leanings were also a significant stumbling block. In 1917 he finally became an official war artist, one of just 26 British artists to have been awarded the honour during WWI. When his sketches were later exhibited in London they were said to have ‘a freshness and authenticity that were not always apparent in the work of official war artists’, unfortunately much of his work was destroyed during the 1918 German Offensive, and even more destroyed when the Spencer Pryse house was bombed in World War II. Pryse secured prestigious commissions during the war period, including poster designs for military recruitment, the British Red Cross, London Underground and The Labour Party. In 1924 he did a large series of work for the British Empire Exhibition at Wembley, working alongside Frank Brangwyn to produce the official accompanying publication and on a monumental series of posters covered ‘the whole of the Empire in 24 pictures’, designed to convey the extent and marvels of the British Empire. He also produced images for the 1928 and 1932 Olympics. In 1925 he travelled and worked extensively in Morocco where his brother was based. In 1928 he toured West Africa by car and river steamer to record scenes on the Gold Coast and Nigeria for The Empire Marketing Board and in 1930 was commissioned for further works by the Gold Coast Government. Throughout his career he exhibited widely including at the Alpine Gallery, Royal Academy, Royal Scottish Gallery, Leicester Galleries and the Royal Glasgow Institute of Art. His work was acquired by and is held by The British Museum, The Victoria and Albert Museum, The Louvre, The Uffizi, The National Portrait Gallery, The Royal Collection and others. He career was curtailed by the injuries he suffered in the Great War and by the outbreak of WWII he had ceased to paint. Gerald Spencer Pryse, MC died at Cranford House, Stourton, Worcestershire on 28 November 1956 aged 74.
Los 1007
*Gerald Spencer Pryse (1882-1956) watercolour - Latuwe, Ondo, 38.5cm x 54cm, titled verso, unframed. Gerald Spencer Pryse was born in Ashton and educated at Eton. He was largely self taught but with spells under artists in London and Paris. He won first prize at the Venice International Exhibition in 1907. Early in his career he contributed work to The Strand Magazine, The Graphic and Punch, he produced illustrations for E Nesbit, Henry Fielding and others. A staunch socialist and an active member of the Fabian Society, his work was often politically charged and with humanist themes, demonstrated in posters for various humanitarian relief agencies throughout the first world war and its aftermath. Pryse initially focussed on print-making and was well versed in the techniques of lithography by the outbreak of The Great War. He captured scenes from the battlefields from 1914 and ultimately became the most prolific lithographic artist of World War I. Working initially under the patronage of The Queen of Belgium as a dispatch rider on the Belgian front, his fine draughtsmanship and technical assurance permitted him the freedom to record his observations directly onto huge lithographic stones, which he carried around the Western front line in his Mercedes, commentators at the time described him as ‘’looking like he’d looted a graveyard’”. He later wrote a memoir of this time ‘Four Days: an account of a journey in France made between 28 and 31 August 1914’ published by John Lane in 1932. Pryse also worked with the Indian Army in France and several of his lithographs depict scenes of Indian troops (Indian colonial troops were otherwise almost entirely unreported in the visual records of the conflict). He subsequently served as a Captain in the Queen Victoria’s rifles, during the conflict he lost the sight in one eye and was shot in the hand. He won the Military Cross at Passchendaele, was awarded the Croix de Guerre and was Mentioned in Dispatches. He was, however, torn between his obligation as a soldier and his potential value as an artist in the propaganda unit. His repeated petitions to become an official war artist were protracted, largely due to his military successes and the reluctance of his superiors to release him, his socialist leanings were also a significant stumbling block. In 1917 he finally became an official war artist, one of just 26 British artists to have been awarded the honour during WWI. When his sketches were later exhibited in London they were said to have ‘a freshness and authenticity that were not always apparent in the work of official war artists’, unfortunately much of his work was destroyed during the 1918 German Offensive, and even more destroyed when the Spencer Pryse house was bombed in World War II. Pryse secured prestigious commissions during the war period, including poster designs for military recruitment, the British Red Cross, London Underground and The Labour Party. In 1924 he did a large series of work for the British Empire Exhibition at Wembley, working alongside Frank Brangwyn to produce the official accompanying publication and on a monumental series of posters covered ‘the whole of the Empire in 24 pictures’, designed to convey the extent and marvels of the British Empire. He also produced images for the 1928 and 1932 Olympics. In 1925 he travelled and worked extensively in Morocco where his brother was based. In 1928 he toured West Africa by car and river steamer to record scenes on the Gold Coast and Nigeria for The Empire Marketing Board and in 1930 was commissioned for further works by the Gold Coast Government. Throughout his career he exhibited widely including at the Alpine Gallery, Royal Academy, Royal Scottish Gallery, Leicester Galleries and the Royal Glasgow Institute of Art. His work was acquired by and is held by The British Museum, The Victoria and Albert Museum, The Louvre, The Uffizi, The National Portrait Gallery, The Royal Collection and others. He career was curtailed by the injuries he suffered in the Great War and by the outbreak of WWII he had ceased to paint. Gerald Spencer Pryse, MC died at Cranford House, Stourton, Worcestershire on 28 November 1956 aged 74.
Los 1014
*Gerald Spencer Pryse (1882-1956) colour lithograph - Tea Picking in Ceylon, issued by the Empire Marketing Board, 77cm x 51cm, unframed. Gerald Spencer Pryse was born in Ashton and educated at Eton. He was largely self taught but with spells under artists in London and Paris. He won first prize at the Venice International Exhibition in 1907. Early in his career he contributed work to The Strand Magazine, The Graphic and Punch, he produced illustrations for E Nesbit, Henry Fielding and others. A staunch socialist and an active member of the Fabian Society, his work was often politically charged and with humanist themes, demonstrated in posters for various humanitarian relief agencies throughout the first world war and its aftermath. Pryse initially focussed on print-making and was well versed in the techniques of lithography by the outbreak of The Great War. He captured scenes from the battlefields from 1914 and ultimately became the most prolific lithographic artist of World War I. Working initially under the patronage of The Queen of Belgium as a dispatch rider on the Belgian front, his fine draughtsmanship and technical assurance permitted him the freedom to record his observations directly onto huge lithographic stones, which he carried around the Western front line in his Mercedes, commentators at the time described him as ‘’looking like he’d looted a graveyard’”. He later wrote a memoir of this time ‘Four Days: an account of a journey in France made between 28 and 31 August 1914’ published by John Lane in 1932. Pryse also worked with the Indian Army in France and several of his lithographs depict scenes of Indian troops (Indian colonial troops were otherwise almost entirely unreported in the visual records of the conflict). He subsequently served as a Captain in the Queen Victoria’s rifles, during the conflict he lost the sight in one eye and was shot in the hand. He won the Military Cross at Passchendaele, was awarded the Croix de Guerre and was Mentioned in Dispatches. He was, however, torn between his obligation as a soldier and his potential value as an artist in the propaganda unit. His repeated petitions to become an official war artist were protracted, largely due to his military successes and the reluctance of his superiors to release him, his socialist leanings were also a significant stumbling block. In 1917 he finally became an official war artist, one of just 26 British artists to have been awarded the honour during WWI. When his sketches were later exhibited in London they were said to have ‘a freshness and authenticity that were not always apparent in the work of official war artists’, unfortunately much of his work was destroyed during the 1918 German Offensive, and even more destroyed when the Spencer Pryse house was bombed in World War II. Pryse secured prestigious commissions during the war period, including poster designs for military recruitment, the British Red Cross, London Underground and The Labour Party. In 1924 he did a large series of work for the British Empire Exhibition at Wembley, working alongside Frank Brangwyn to produce the official accompanying publication and on a monumental series of posters covered ‘the whole of the Empire in 24 pictures’, designed to convey the extent and marvels of the British Empire. He also produced images for the 1928 and 1932 Olympics. In 1925 he travelled and worked extensively in Morocco where his brother was based. In 1928 he toured West Africa by car and river steamer to record scenes on the Gold Coast and Nigeria for The Empire Marketing Board and in 1930 was commissioned for further works by the Gold Coast Government. Throughout his career he exhibited widely including at the Alpine Gallery, Royal Academy, Royal Scottish Gallery, Leicester Galleries and the Royal Glasgow Institute of Art. His work was acquired by and is held by The British Museum, The Victoria and Albert Museum, The Louvre, The Uffizi, The National Portrait Gallery, The Royal Collection and others. He career was curtailed by the injuries he suffered in the Great War and by the outbreak of WWII he had ceased to paint. Gerald Spencer Pryse, MC died at Cranford House, Stourton, Worcestershire on 28 November 1956 aged 74.
Los 1016
*Gerald Spencer Pryse (1882-1956) black and white lithograph - A Coursing Meeting, signed and titled below in pencil, 56cm x 78cm, unframed. Gerald Spencer Pryse was born in Ashton and educated at Eton. He was largely self taught but with spells under artists in London and Paris. He won first prize at the Venice International Exhibition in 1907. Early in his career he contributed work to The Strand Magazine, The Graphic and Punch, he produced illustrations for E Nesbit, Henry Fielding and others. A staunch socialist and an active member of the Fabian Society, his work was often politically charged and with humanist themes, demonstrated in posters for various humanitarian relief agencies throughout the first world war and its aftermath. Pryse initially focussed on print-making and was well versed in the techniques of lithography by the outbreak of The Great War. He captured scenes from the battlefields from 1914 and ultimately became the most prolific lithographic artist of World War I. Working initially under the patronage of The Queen of Belgium as a dispatch rider on the Belgian front, his fine draughtsmanship and technical assurance permitted him the freedom to record his observations directly onto huge lithographic stones, which he carried around the Western front line in his Mercedes, commentators at the time described him as ‘’looking like he’d looted a graveyard’”. He later wrote a memoir of this time ‘Four Days: an account of a journey in France made between 28 and 31 August 1914’ published by John Lane in 1932. Pryse also worked with the Indian Army in France and several of his lithographs depict scenes of Indian troops (Indian colonial troops were otherwise almost entirely unreported in the visual records of the conflict). He subsequently served as a Captain in the Queen Victoria’s rifles, during the conflict he lost the sight in one eye and was shot in the hand. He won the Military Cross at Passchendaele, was awarded the Croix de Guerre and was Mentioned in Dispatches. He was, however, torn between his obligation as a soldier and his potential value as an artist in the propaganda unit. His repeated petitions to become an official war artist were protracted, largely due to his military successes and the reluctance of his superiors to release him, his socialist leanings were also a significant stumbling block. In 1917 he finally became an official war artist, one of just 26 British artists to have been awarded the honour during WWI. When his sketches were later exhibited in London they were said to have ‘a freshness and authenticity that were not always apparent in the work of official war artists’, unfortunately much of his work was destroyed during the 1918 German Offensive, and even more destroyed when the Spencer Pryse house was bombed in World War II. Pryse secured prestigious commissions during the war period, including poster designs for military recruitment, the British Red Cross, London Underground and The Labour Party. In 1924 he did a large series of work for the British Empire Exhibition at Wembley, working alongside Frank Brangwyn to produce the official accompanying publication and on a monumental series of posters covered ‘the whole of the Empire in 24 pictures’, designed to convey the extent and marvels of the British Empire. He also produced images for the 1928 and 1932 Olympics. In 1925 he travelled and worked extensively in Morocco where his brother was based. In 1928 he toured West Africa by car and river steamer to record scenes on the Gold Coast and Nigeria for The Empire Marketing Board and in 1930 was commissioned for further works by the Gold Coast Government. Throughout his career he exhibited widely including at the Alpine Gallery, Royal Academy, Royal Scottish Gallery, Leicester Galleries and the Royal Glasgow Institute of Art. His work was acquired by and is held by The British Museum, The Victoria and Albert Museum, The Louvre, The Uffizi, The National Portrait Gallery, The Royal Collection and others. He career was curtailed by the injuries he suffered in the Great War and by the outbreak of WWII he had ceased to paint. Gerald Spencer Pryse, MC died at Cranford House, Stourton, Worcestershire on 28 November 1956 aged 74.
Los 1026
*Gerald Spencer Pryse (1882-1956) black and white lithograph - Indians and motor buses near Poperinge, signed and titled below in pencil, 34cm x 50cm, unframed. Gerald Spencer Pryse was born in Ashton and educated at Eton. He was largely self taught but with spells under artists in London and Paris. He won first prize at the Venice International Exhibition in 1907. Early in his career he contributed work to The Strand Magazine, The Graphic and Punch, he produced illustrations for E Nesbit, Henry Fielding and others. A staunch socialist and an active member of the Fabian Society, his work was often politically charged and with humanist themes, demonstrated in posters for various humanitarian relief agencies throughout the first world war and its aftermath. Pryse initially focussed on print-making and was well versed in the techniques of lithography by the outbreak of The Great War. He captured scenes from the battlefields from 1914 and ultimately became the most prolific lithographic artist of World War I. Working initially under the patronage of The Queen of Belgium as a dispatch rider on the Belgian front, his fine draughtsmanship and technical assurance permitted him the freedom to record his observations directly onto huge lithographic stones, which he carried around the Western front line in his Mercedes, commentators at the time described him as ‘’looking like he’d looted a graveyard’”. He later wrote a memoir of this time ‘Four Days: an account of a journey in France made between 28 and 31 August 1914’ published by John Lane in 1932. Pryse also worked with the Indian Army in France and several of his lithographs depict scenes of Indian troops (Indian colonial troops were otherwise almost entirely unreported in the visual records of the conflict). He subsequently served as a Captain in the Queen Victoria’s rifles, during the conflict he lost the sight in one eye and was shot in the hand. He won the Military Cross at Passchendaele, was awarded the Croix de Guerre and was Mentioned in Dispatches. He was, however, torn between his obligation as a soldier and his potential value as an artist in the propaganda unit. His repeated petitions to become an official war artist were protracted, largely due to his military successes and the reluctance of his superiors to release him, his socialist leanings were also a significant stumbling block. In 1917 he finally became an official war artist, one of just 26 British artists to have been awarded the honour during WWI. When his sketches were later exhibited in London they were said to have ‘a freshness and authenticity that were not always apparent in the work of official war artists’, unfortunately much of his work was destroyed during the 1918 German Offensive, and even more destroyed when the Spencer Pryse house was bombed in World War II. Pryse secured prestigious commissions during the war period, including poster designs for military recruitment, the British Red Cross, London Underground and The Labour Party. In 1924 he did a large series of work for the British Empire Exhibition at Wembley, working alongside Frank Brangwyn to produce the official accompanying publication and on a monumental series of posters covered ‘the whole of the Empire in 24 pictures’, designed to convey the extent and marvels of the British Empire. He also produced images for the 1928 and 1932 Olympics. In 1925 he travelled and worked extensively in Morocco where his brother was based. In 1928 he toured West Africa by car and river steamer to record scenes on the Gold Coast and Nigeria for The Empire Marketing Board and in 1930 was commissioned for further works by the Gold Coast Government. Throughout his career he exhibited widely including at the Alpine Gallery, Royal Academy, Royal Scottish Gallery, Leicester Galleries and the Royal Glasgow Institute of Art. His work was acquired by and is held by The British Museum, The Victoria and Albert Museum, The Louvre, The Uffizi, The National Portrait Gallery, The Royal Collection and others. He career was curtailed by the injuries he suffered in the Great War and by the outbreak of WWII he had ceased to paint. Gerald Spencer Pryse, MC died at Cranford House, Stourton, Worcestershire on 28 November 1956 aged 74.
Los 1057
English School, circa 1740, oil on canvas, portrait of Lieut. Charles Le Hardy R.N. (1716-1780), half length in silk waistcoat and blue coat, 76.5cm x 63cm, in good period carved gilt frame. N.B. Charles Le Hardy, sometimes known as Charles Hardy, was born in Portsmouth into a notable Jersey family with a strong naval tradition. He entered the Royal Navy aged 16 and was made Lieutenant in 1737 and Captain in 1741. In 1755 he was knighted and appointed Governor of New York, this during a period of heightened tensions and rebellion in the colony and Charles didn't relish the task of quelling the spirit of independence, he entreated the government to find him another position at sea. In 1757 he was promoted Rear Admiral of the Blue, promotions continued and he was made Governor of Greenwich Hospital in 1771 and was M.P. for Portsmouth from 1774, after which he returned to Naval command and in 1779 was made Commander-in-Chief of the Channel Fleet, a year later he died. This portrait is by family descent from the sitter. The canvas has been re-lined some decades ago and areas of overpainting visible under a UV light. Various losses to the frame. An impressive looking portrait.
Los 1058
Jersey School, first half 18th century, oil on canvas - portrait of John Le Hardy (1695-1751), half length, bewigged and in brown coat, 77cm x 64cm, in good period gilt frame. NB: Attached plaque states 'Constable of St. Martins, Captain of a Company of St. Lawrence, Attorney General of Jersey, 1728' (a position which he held until his death in 1751)Canvas is relined, inspection under U.V. indicates a little overpainting but condition is largely original, frame is also of the period and may be original, with some small gilt and gesso losses at the extremities
Los 1059
William Derby (British, 1786-1847) oil on canvas - portrait of James Scarlett, Esq., M.P, signed and dated 'W. Derby/Pinx/1826' and inscribed 'J Scarlett Esq/MP' (on papers centre left); further inscribed with sitters name on exhibition label attached to stretcher verso. 142cm x 113cm (overall frame size 173cm by 141cm)Exhibited Possibly London, Royal Academy, 1826, no. 169. London, Victoria and Albert Museum, 1868. NB: James Scarlett, 1st Baron Abinger was a prominent English lawyer, politician, and judge. In 1835, the title Baron Abinger, of Abinger in the County of Surrey and of the City of Norwich, was created for Scarlett, who was the most successful lawyer at the bar from 1816 when he first joined the inner bar of court until 1834.Scarlett's successes also saw him become an Attorney General and Knight Bachelor, as well as latterly being appointed Lord Chief Baron of the Exchequer in 1834, he presided in that court for more than nine years. There is a lithograph in the National Galleries of Scotland of the same sitter which differs slightly in composition and may be after another version of this painting. Generally good orignal presentable condition, the canvas does not appear to have been re-lined, or if it has it was several decades ago. Under a UV light there are small areas of paint touching up but nothing serious. The stretcher is quite loose in the frame and needs attention. Some losses to the frame but overall an impressive portrait. Please see further images on our website www.reemandansie.com
Los 47
A good large collection of gold plated, silver plated commemorative coins inc USA supersize Liberty Double Eagles, Marshal Islands Aviation, History of British Coinage, King George III Battle of Waterloo, Year of Three Kings piedforts (5), £5 White Note commemoratives, Winston Churchill, Proclamation of Accession, Duke & Duchess of Cambridge, Concorde, various capsulated £5, Titanic, Diamond Wedding photographic Portrait etc.
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283284 Los(e)/Seite