283287 Lose gefunden, die zu Ihrer Suche passen. Abonnieren Sie die Preisdatenbank, um sofortigen Zugriff auf alle Dienstleistungen der Preisdatenbank zu haben.
Preisdatenbank abonnieren4 Bücher Mercedes-BenzKassette mit 8 historischen Dokumenten in Reproduktionen, 1986; Mercedes Benz S-Class Art Book - Sinn und Sinnlichkeit, 1998; Daimler-Benz Aktiengesellschaft (Hrsg.), Karl Benz und sein Lebenswerk, Stuttgart, 1953; Ingo Seiff, Mercedes Benz - Portrait einer Weltmarke, München, Heyne, 1989. Leichte Altersspuren.
Maler des 20. Jh."Portrait Adolph Schöninger", Halbbildnis eines bärtigen Mannes im Anzug und einer Zigarre in der Hand, unsign., rückseitig bez. "des Verfassers Urgroßvater Schöninger; Adolph Schöninger geb. 1820 in Ludwigsburg, gest. 29 XII 1902", Öl/Karton, HxB: 29/24 cm (oval). Altersspuren, rest. part. ret.. Mit Rahmen.
Portraitmaler des 19. Jh.Ehepaar Seibt aus Dresden, 1x Portrait einer Dame im schwarzem Kleid, und von Schleifen und Blumen ornamentierter Haube, von neutralem Hintergrund 1x Portrait eines Manes mit weißem Hemd und dunkler Jacke, vor neutralem Hintergrund, nicht sign., Öl/Leinwand, HxB: 65/55 cm. Altersspuren, Craquelée, rest., ret., Farbabplatzer. Je mit prachtvollem Rahmen.
Prölss, Friedrich AntonDresden 1855 - 1934 München, deutscher Maler. "Portrait eines bärtigen Mannes", wohl Geigenbauer in Mitenwald Martin Kriner, Brustbildnis vor neutralem Hintergrund, oben rechts sign., Öl/Leinwand, HxB: 35/27 cm. Altersspuren, min. Farbabplatzer und -abrieb. Mit Rahmen.
David Bowie (British, 1947-2016): Self-Portrait (Mustique),2002,lithographic print, signed in pencil by David Bowie and dated '02 and numbered 85/175, on Fabriano paper, 12in x 14¼in (31cm x 37cm)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
AC/DC: An Autographed Pickguard,circa 2000white pickguard signed in blue ink by Angus Young, Malcolm Young, Phil Rudd, Brian Johnson, and Cliff Williams, each adding AC/DC after their name, additionally Angus Young has drawn a self-portrait caricature, 11¼in (28.5cm) longFootnotes:Provenance:Ex-Lot 3, Pop Memorabilia, Christie's South Kensington, 4 Oct 2001.For further information on this lot please visit Bonhams.com
Captain (later Brigadier) Percy Howard Hansen V.C., D.S.O., M.C. 6th (Service) Battalion Lincolnshire Regiment - representative group of thirteen miniature dress medals comprising VC, DSO, MC, WW1 trio, GSM with Palestine clasp, four WW2 medals/stars, George VI Coronation Medal and French Croix-De-Guerre with MID leaves; all with ribbons on pinned bar for wearing; together with display of contemporary tunic ribbon bars for eight medals, framed with Lincolnshire Regiment cap badge, newspaper cutting and London Gazette extract; framed head and shoulder portrait of Hansen in uniform clearly showing his medal bars; and copies of related biographical information. Auctioneer's Note: Extract from the London Gazette 1st October 1915 regarding the VC 'For most conspicuous bravery on the 9th August 1915, at YILGHIN BURNU Gallipoli Peninsular. After the second capture of the "Green Knoll" his battalion was forced to retire, leaving some wounded behind, owing to the intense heat from the scrub, which had been set on fire. When the retirement was effected, Captain Hensen (sic), with three or four volunteers, on his own initiative, dashed forward several times some 300 to 400 yards over open scrub under a terrific fire, and succeeded in rescuing from inevitable death from burning no less than six wounded men.'Condition Report:Medals are modern copies so are in virtually mint condition. Framed ribbon bars are grubby consistent with age and use but Coronation ribbon looks to be a replacement.
Attributed to Henry Brocas Snr. (c1760 - 1837) “Watermill, thought to be the O’Sullivan Flax Mill at Blarney,” c. 1810, watercolour on paper, 66cms x 47cms (26” x 18 ½”). Dating from the early nineteenth century, this watercolour painting of a mill by a river can be confidently attributed to Henry Brocas the Elder. The location of the building (not given on the watercolour), has been identified by Alison Muir, researcher on the history of Irish mills, as likely the five-storey mill that once stood in the village of Blarney, beside the River Martin. Owned by James B. O’Sullivan, this flax mill flourished for several decades. However, today little or nothing remains of the buildings depicted by Brocas, as O’Sullivan’s mill was demolished to make way for the Blarney Woollen Mills. The watercolour is therefore an important document relating to Ireland’s industrial archaeology. The location is idyllic, and the artist clearly intended to represent how nature has been improved through the addition of these buildings and industrial works. Although best known for his portraits, mainly of actors, politicians and lawyers, Brocas also depicted landscapes in watercolour, using a rapid technique of representing leaves and trees that relates to the present work. In this painting, he depicts a range of industrial and domestic buildings, set in a woodland landscape beside a bridge. In the foreground, a party consisting of a man, woman and child, walk along a curving riverside path, viewing the mill and its surroundings. Rising five storeys, the mill is an impressive building, with the top of the waterwheel visible just behind the five arched bridge. It is protected by a high wall, extending along the riverbank. Brocas has enlivened the scene by adding in the figure of a man fishing by the bridge, and three men, also fishing, in a boat. Beside the mill are two bird houses, or dove cots, raised high on poles. Beyond the bridge is a three-storey house, seen from the rear. Another domestic house is visible on the left, a two-storey building with outbuildings attached. On the brow of the hill, behind the mill, is a ruin. At the time this watercolour was painted, there was an early eighteenth-century wing of Blarney Castle falling into ruin. Only a circular tower survives today, some distance from the castle. The windows on this eighteenth century wing correspond to Brocas’s view. On the extreme right in the watercolour is a series of low buildings. Including at least five artists, over two generations the Brocas' were influential in Dublin’s art world. Henry Brocas Snr was born in Dublin in 1762, the fifth son of Robert Brocas and his wife Bridget (neé Taylor) Largely self taught as an artist, in the 1790’s he lived in the Grafton Street area of Dublin, before settling around 1825 in Henry Street. In 1800 he was appointed to teach landscape and decorative painting at the Dublin Society’s Drawing Schools, a post which he kept until his death in 1837. Brocas set an example to students at the School by making sketching tours to beauty spots around Dublin, and sketching scenes from life, rather than working exclusively in the studio. His four sons were pupils at the Dublin Society and also became professional artists, giving the family a long association with the Schools. The family was also associated with the Society of Irish Artists, with the third son, William, serving as President. William was also a member of the RHA, elected in 1860. Brocas’s other three sons were James Henry Brocas, born c 1790, Samuel Frederick, born in 1792, and Henry Jnr, who was born six years later. Samuel Frederick Brocas is best known for his views of Dublin, while James Henry Brocas was a landscape, portrait and equestrian painter: his landscapes and paintings of horses and cattle were shown at exhibitions in Dublin between 1801 and 1816. John Henry studied at the Dublin Society's Drawing Schools, winning awards in 1802 and the year following, as well as a medal for etching. He moved to Cork around 1834. The youngest son Henry Brocas Junior (1798-1873) succeeded his father at the Dublin Society’s Schools, where he taught for around two decades. A detailed account of the Brocas family is given in Patricia Butler, The Brocas Collection, (NLI, Dublin, 1997).
19th Century Irish School 'Head and Shoulder Portrait of Myles Byrne,' O.O.C., depicting a young Gentleman with curled hair, sporting a black velvet jacket and scarf with a harp emblem, approx. 30cms x 23cms (12" x 9") inscribed on reverse, later gilt frame. (1) * Myles Byrne was born in 1780, he was a leader in the Irish Rebellion of 1798 and went on to be Chef de /Bataillon in Napoleon's Irish legion. A native of Wexford, he died in 1862 in Paris.
Aloysius O'Kelly, Irish (1853-1936) "Portrait of an Elegant Young Lady, (possibly Breton)," O.O.P., depicting studio head and shoulders of a Lady with side buns and frilled collar dress, approx. 36cms x 28cms (14" x 11"), Signed lower right, remnants of exhibition label on reverse, gilt frame. (1)
Harry Kernoff, RHA (1900-1974) "Myles na Gopaleen," gouache and charcoal under drawing, a head and shoulders portrait of the Novelist, Playwright and Satirist Brian O'Nolan (1911-1966), wearing shirt and purple tie, with jacket, facing aside, approx. 35cms x 28cms (14" x 11"), signed by the artist and inscribed, mounted, painted frame. (1)
Beatrice Glenavy (1883-1970) Roses, oils on canvas c. 1952, Signed with monogram lower left ‘BG’, 36cms x 25.5cms (14” x 10”) Inscribed on verso ‘Roses £10 Lady Glenavy RHA, Rockbrook House, Rathfarnham’ Set on a folded cloth, with beach and sea in the background, stands a vase containing a bouquet of roses. Cast perhaps in porcelain, or carved in stone, the monochrome vase is shaped like a hand holding a large bud, the base in the form of a wrist with lace cuff, encircled by a bracelet. As well as pink roses, the bouquet also contains green ferns. It is a classic Glenavy still-life, one that combines realistic elements with more ambiguous, even surreal, elements. A painter fond of introducing such touches of the surreal into her landscapes and still-life paintings, Beatrice Glenavy (neé Elvery) was also a sculptor, stained-glass artist, theatre set painter, and illustrator of childrens’ books. Enrolling as a student at the Metropolitan School of Art in Dublin in 1896, she initially studied under the sculptor John Hughes, and later under the painter William Orpen. A gifted artist, Glenavy won three Taylor Scholarships, enabling her to travel to Paris, where she attended Colarossi’s studio. In 1903 she joined An Túr Gloine (Tower of Glass) and made windows for the Convent of Mercy in Enniskillen. Her allegorical portrait of Maud Gonne, Eire, was presented by Gonne to St. Enda’s, the Irish-speaking school set up by Patrick Pearse. In 1910, Glenavy moved to London, enrolling at the Slade School of Art. Two years later she married the barrister Charles Campbell (later 2nd Baron Glenavy), and devoted much of her life thereafter to raising three children, one of whom, Patrick Campbell, became a celebrated writer and broadcaster. An active member of the RHA (she was elected an associate member in 1932, and a full member two years later) Glenavy showed over two hundred works at the Academy. This painting may be the work entitled Pink Roses, exhibited at the RHA in 1952. Glenavy died in Dublin in 1970.
Nano Reid, Irish (1900-1981) "Portrait of a West of Ireland Labourer," O.O.C., depicting head and shoulders young man with red hair wearing collarless shirt and overcoat, approx. 40cms x 30cms (16" x 12"), signed lower right 'N. Reid,' later pine frame. (1) Provenance: Important Private Collection, West of Ireland.
Henry Thomas Alken, British 1785-1851- The fall; oil on canvas, signed and indistinctly dated 'H. Alken. Jun...' (lower right), 36 x 45.6 cm. Provenance: With Arthur Ackermann, London. Note: Henry Thomas Alken was best known for his sporting and animal scenes, with his equestrian subjects and coaching scenes particularly recognisable. His works are held in significant public collections, including in London's National Portrait Gallery, the Courtauld Gallery, and the Yale Centre for British Art. Please refer to department for condition report
After Jacopo Negretti, called Palma il Vecchio, Italian c.1480-1528- Portrait of a young woman known as 'La Bella'; oil on canvas, inscribed 'TITIANUS F.' (lower left), 100 x 74.4 cm., (unframed). Provenance: Private Collection. UK. Note: The present work is a 19th-century copy after the original painting by Palma, of similar dimensions, and currently held in the Museo Nacional Thyssen-Bornemisza, Madrid [no.310 (1959.2)]. Palma's oil was painted in c.1518-20, and combines various elements typical of Venetian Renaissance art. Previously attributed to Titian (c.1485/90-1576), and indeed known in the past as 'La Bella de Tiziano', Palma's work has variously been housed in the Sciarra-Colonna collection, Rome; the collection of Baron Edmond de Rothschild in Château Ferrière; and the Villa Favorita, Switzerland. Please refer to department for condition report
James Rawlinson, British c.1768/69-1848- Portrait of two male figures after the Antique; black chalk on wove paper, 68 x 49 cm. (image) 74 x 55 cm. (sheet), together with 60 further drawings variously in black chalk and pen and brown ink, depicting studies after the Antique, mythological subjects etc., some bound, others held loose within an album, various sizes 74 x 55 cm. and smaller, together with Giovani Folo, Italian 1764-1836- 'Studio del Disegno Ricavato Dall'Estremita Delle Figure Del Celebre Quadro Della Trasfigurazione Di Raffaelle, Delineato Dal Sr Cavalier Vincenzo Camuccini...'; etchings, 31 plates, published 1808, Studio de Folio, Piazza di Spagna numo 13, together with 15 loosely held copies after the engravings by James Rawlinson variously in pen and brown ink and wash, some watermarked 'TURKEY MILLS J. WHATMAN 1818', 45 x 32 cm. (plate), 54 x 41 cm. (sheet) (album). Note: Rawlinson depicted a variety of subjects across a range of mediums, but is perhaps best known as a draughtsman. Despite their theme of Classical sculpture, the present drawings also exhibit something of a similarity to James Barry's (1741-1806) illustrations of Shakespeare's ‘King Lear’, particularly in the simplicity of line used by Barry to convey the sitter's striking profile.Please refer to department for condition report
Sir Edwin Henry Landseer, RA, British 1802-1873- Portrait of Nicholas I of Russia; pencil and grey wash on paper, signed with the artist's monogram (centre right), and inscribed and dated probably by the hand of Alfred Count D'Orsay 'Gore House / 9 aout 1844' (lower right), 27.5 x 21.5 cm. Provenance: Private Collection, UK.; Anon. sale, Bonhams, Oxford, 30 June 2015, lot 262. Note: The present work has been seen and authenticated by Richard Ormond, CBE in 2010. It is Mr Ormond's opinion that the inscription is probably the hand of Alfred, Count D'Orsay, who lived at Gore House in Kensington with his wife Lady Blessington until 1849. The Countess of Blessington was a well known socialite and Gore House, which stood where the Royal Albert Hall does today, was a hub for the social and intellectual elite of her day. Tsar Nicholas I and his family stayed in London from the 1-10 June 1844. They visited Queen Victoria and Prince Albert at Buckingham Palace and Windsor Castle, and The Duke of Devonshire hosted an Imperial banquet in their honour at Chiswick House, which was documented at the time by the Illustrated London News. A lithograph of the present work is in the collection of the British Musuem [inv.1886 28/1], published in 1855 by J. Hogarth of Vincent Books.Please refer to department for condition report
Circle of Ludwig Guttenbrunn, Austrian 1750-1819- Portrait of a gentleman, bust-length, wearing a blue jacket and white stock, in a feigned oval; oil on canvas, bears inscription 'LENDECKE' (on the reverse), 24.7 x 18.6 cm. Provenance: Private Collection, UK.Please refer to department for condition report
Circle of Sir Thomas Lawrence, PRA, British 1769-1830- Portrait of Frederick Gardner of Ashford Lodge, Halstead, Essex; oil on canvas, bears old inscribed labels 'Frederick Gardner of Ashford Lodge, Halstead / Essex. Died 28th October 1827; aet [sic] 63. Married / Mary, daughter of Charles Hurrell of / Brandon Hall, Sudbury, Suffolk' (on the reverse), 76 x 63.8 cm. Provenance: Private Collection, UK (by descent). Please refer to department for condition report
Petrus Johannes van Reysschoot, Flemish 1702-1772- Portrait of a young man, half-length, wearing a red cap, c.1730; oil on canvas, 71.4 x 54 cm. Provenance: Private Collection, UK. Note: The attribution of the present work has been confirmed by Dr Brian Allen and represents an important addition to the oeuvre of van Reysschoot. The identity of the sitter is unknown, though his informal open shirt and cap suggests that he may himself be an artist. It is possible, also, that he relates to the figure of the transverse flute player in the artist’s ‘Elegant Party taking Coffee on a Terrace a formal Garden beyond’, offered at Sotheby’s, London, 24 April 2008, lot 117. A red chalk sketch in the Rijksmuseum additionally bears facial and sartorial similarities [RP-T-1992-93-64(V)] and conceivably represents a preparatory drawing for the present work.A Flemish artist from Ghent, van Reysschoot travelled to England in the 1730s, having won a prize at the Paris Academy in 1730. The present work likely dates to the early years of this decade in London, and, as Brian Allen has pointed out, can be compared in handling to another work from this period, dated 1732, ‘Portrait of a boy in tartan, called Prince Henry Benedict Stuart’ (Wolrige-Gordon Collection, Aberdeenshire). The present work further echoes the grace and animation of the sculpture busts of Louis-François Roubiliac (1702-1762), who Reysschoot had studied alongside in Paris. Van Reysschoot spent a large part of his career in England, which earned him the nickname 'den Engelschman' ('the Englishman'), returning to his native Ghent in the mid-1740s. In England he painted portraits, religious, historical and sporting subjects, and Watteauesque conversational pieces, with many of his works exhibiting the influences of both Francis Hayman (1708-1776) and John Wootton (1686-1764). He had a strong portrait practice amongst the Midlands gentry and was also employed by the family of the Jacobite 4th Duke of Beaufort, as evidenced by the existence of a signed set of portraits there. A portrait by van Reysschoot was sold recently at Sotheby's, London, 5 July 2018, lot 193. Please refer to department for condition report
Daniel Dodd, British fl.1752-1780- Portrait of a gentleman, small full-length, in a brown coat and yellow waistcoat and breeches; oil on canvas, signed and dated 'D. Dodd / Pinxt 1779' (lower left), 61.1 x 51 cm. Provenance: Collection of William Drummond.; Private Collection, UK. Note: Portraits by Dodd generally served to emphasise the grandeur of his sitters, and pay close attention to the rich fabrics in which they are draped. The expansive setting of the present work, with the ruins immediately next to the sitter, recalls the classical landscapes of artists such as Nicolas Poussin (1594-1665). For overall comparison, see the artist's 'Portrait of the Ashby Family of Isleworth and Bromley' which sold at Christie's, London, 12 November 1998, lot 52. Held in a late 18th- / early 19th-century carved and gilded Romney frame. Please refer to the department for the condition report.
Studio of Sir Joshua Reynolds, PRA,British 1723-1792-Portrait of Sir Charles Pratt, latterly 1st Earl Camden, PC (1714-1794), half-length, wearing judicial robes;oil on canvas, 72.5 x 60.5 cm.Provenance: Anon. sale, Sotheby’s, London, 8 April 1992, lot 48 (as by Sir Joshua Reynolds).Exhibited: Camden Town Hall (Mayor’s Parlour), London Borough of Camden, until 2022 (long loan).Literature: David Mannings and Martin Postle, 'Joshua Reynolds: A Complete Catalogue of his Paintings', New Haven/London, 2000, p.382, cat.1475a.Note: The present work is a version of a full-length standing portrait of Sir Charles Pratt, painted in 1764-5, which was reduced in 1968, and which is held at the Guidhall Art Gallery, London [no.40] (Mannings 1475). An additional small full-length version is in an American private collection, since 1925 (Mannings 1475b). Three other compositional variants of the sitter, by Reynolds, are known. One, painted in c.1765-66, resides in a private collection, with a half-length copy held at the National Portrait Gallery, London [NPG459] (Mannings 1476 and 1476a). The second, painted in 1767, is a three-quarter length seated version, which sold at Christie’s, 31 July 1947, lot 94 (Mannings 1477), a copy of which from Bayham Abbey was on the London art market in 1976 (Mannings 1477a). The third, dating to c.1778, also in a private collection, shows the sitter three-quarter length in private dress (Mannings 1478). The present work is probably the ‘Copy of Lord C J Prat [sic]’ mentioned in Reynolds’s memorandum of the week beginning 10 December 1764, which Mannings also mentions under 1475a.Charles Pratt was an English lawyer, judge and Whig politician who was first to hold the title of Earl Camden. As a lawyer and judge he was a leading proponent of civil liberties, championing the rights of the jury, and limiting the powers of the State. He held the offices of Chief Justice of the Common Pleas, Attorney-General and Lord High Chancellor of Great Britain, and was a confidante of Pitt the Elder, supporting Pitt in the controversies over John Wilkes and American independence. However, he clung to office himself, even when Pitt was out of power, serving in the cabinet for fifteen years and under five different prime ministers. During his life, Pratt played a leading role in opposing perpetual copyright, resolving the regency crisis of 1788 and in championing Fox's Libel Bill. He started the development of the settlement that was later to become Camden Town in London. With piercing grey eyes, he is here presented in his role as Lord Chancellor, wearing his red robes of the chief justice with a magnificent chain of office and the ‘SS’ collar. Aside from Reynolds, he was painted by several leading artists of the period, including Nathaniel Dance (NPG336), Thomas Hudson, and Thomas Gainsborough.Please refer to department for condition report
Katherine Georgiana Fonnereau, British 1806-1885- Figures by a river; oil on canvas, bears old inscribed label '1014 / K.G. Fonnereau. / Pinxit / after Bennet of / Paris' on the reverse, 61.5 x 94.6 cm. Note: Fonnereau was a Suffolk-born portrait and landscape artist. She painted portraits of various members of her family and exhibited at the Suffolk Fine Arts Association in August 1850 and at The Great Exhibition of 1851. The present work depicts a romantic river landscape with distant mountains, an imposing edifice atop the hills, and foreground figures and dwellings.Please refer to department for condition report
Attributed to George Mears, British 1826-1906- Barque under full sail in choppy waters; oil on canvas laid down on board, signed with initials 'GM' (lower right), 76.5 x 95 cm. Provenance: Private Collection, UK. Note: Mears specialised in capturing steam and sail ships in oil. He was the official ship portrait painter for the ‘Peninsular and Oriental Steam Navigation Company’ and received illustrious commissions including painting ‘HMY “Victoria and Albert II’”, which is held at the National Maritime Museum in Greenwich [BHC3691]. Please refer to department for condition report
George Catlin, American 1796-1872- Portrait of a lady, seated half-length, in a brown dress and with blue ribbons in her hair; oil on canvas, signed, dated and inscribed 'Catlin Paris / 1841', 45.8 x 38 cm., (unframed). Provenance: The estate of the late designer Anthony Powell. Note: Specialising in portraits of Native Americans, the present work represents a rare offering of the artist's foray into European portraiture. In 1839 Catlin took his works across the Atlantic for a tour of European capitals, spending the majority of his time over the following years in London, Brussels, and Paris. Possibly depicting a family member of the artist, the portrait was painted in Paris in 1841. Please refer to department for condition report
Christian Albrecht Jensen, Danish 1792-1870- Portrait of a gentleman, bust-length, wearing a double-breasted blue coat; oil on canvas, signed and indistinctly dated 'Jensen p / 1831[?]' (centre right), 27.5 x 21.6 cm. Provenance: Private Collection, UK. Note: Jensen was a Danish artist active in the first half of the 19th century, a period which is generally celebrated as the ‘Golden Age of Danish painting’. In his capacity as a portrait painter, he depicted a number of significant figures, including the Danish author Hans Christian Anderson. The present work exemplifies Jensen's approach, with the contrast between the dark, plain background and the sitter's well-lit face, white hair, and sparkling eyes drawing the viewer's attention towards the male subject, imbuing him with a strong sense of character and presence. The small scale of the work further encourages a closer engagement and dialogue between sitter and viewer. Please refer to department for condition report
Friedrich Johann Gottlieb Lieder, German 1780-1859- A Portrait miniature on ivory of a gentleman, bust-length, wearing a black coat and white stock; signed and dated 'F Lieder. p / 1808.' (centre right), 10 x 7.8 cm. Ivory registration submission reference: 9T4AR31Q. Note: Lieder studied at the École des Beaux-Arts and was a student of Jacques-Louis David (1748-1825). In 1816, he was appointed court painter to Friedrich Wilhelm III, and in 1824 became a member of the Vienna Academy. He was known for his academic accuracy as well as his skill in depicting uniforms. The present work is an early example of his work, dated 1808, before his appointment as court painter to Friedreich Wilhelm III. Like much of his work, it is likely of a noble man, with fashionable clothing, and is painted in great detail down to the individual hairs on the sitter’s head as well as the tiny folds and detailing in his clothing.Please refer to department for condition report
François Marie Beaurain, French born c.1768- Portrait of a gentleman, bust-length; oil on canvas, signed 'F. M. Beaurain' (lower right), 61.7 x 50.3 cm. Provenance: Private Collection, UK. Note: Benezit tells us that Beaurain was born in around 1768 in Froimery near to Aumale, and was a pupil of Jean-Jacques-François Le Barbier (1738-1826) and of Jean-Baptiste Regnault (1754-1829) at l'Ecole de l'Académie royale de Paris, where he first studied in March 1790. Please refer to department for condition report
British School, early to mid-19th century- Portrait of a young gentleman, seated three-quarter length, by a column, in a black coat; and Portrait of a young lady, seated three-quarter length, holding a portfolio, a landscape beyond; oils on panel, each 30 x 25.3 cm., a pair (2)., (unframed). Provenance: Private Collection, UK. Please refer to department for condition report
Marie Thérèse Duchateau, French 1870-1953- Portrait of a young woman, seated three-quarter length holding a flowering branch; oil on canvas, signed and dated 'T DUCHATEAU 22' (lower right), 46.5 x 38.4 cm. ARR. Provenance: Private Collection, UK. Note: The present work is characteristic of works by Duchateau, whose output consisted largely of portraits of solitary female figures. A highly affecting portrait which despite the unknown identity of the sitter conveys a powerful sense of her presence. The enigmatic quality of this scene is reinforced by the her abstracted gaze, engaging the viewer in an attempt to decipher the focus of her quiet contemplation. For a comparable portrait, in subject, pose, and softness of handling, see the artist's 'Portrait of a young girl,' executed in 1898, at The Musée des Beaux-Arts de Tours [no.D 1955-5-2]. Held in a gilded composition swept frame. Please refer to department for condition report
British School, mid-19th century- Portrait of a gentleman, bust-length, in a black coat and white stock; and Portrait of a lady, bust-length, in a black dress and white lace bonnet tied with red ribbon; oils on canvas, each 61 x 50.8 cm., a pair (2). Provenance: Private Collection, UK. Each in matching glazed gilded composition Lawrence frames with arched apertures. Please refer to department for condition report.
Circle of Jean-François Portaels, Belgian 1818-1895- Portrait of a lady in Oriental dress; oil on canvas, oval, 63.5 x 52.5 cm. Provenance: Private Collection, UK. Note: Reminiscent of the Orientalist subjects of Jean François Portaels, the present work illustrates a beautiful lady dressed in layers of rich fabrics, a red turban, and a fine necklace of pearls and earrings. Portaels was the first Belgian artist to paint exotic and Orientalist subjects at first-hand, travelling widely through Italy, Morocco, Algeria, Egypt, Lebanon, Judea, Spain, Hungary and Norway. For comparison with his work, see, for example, Anon. sale, Christie’s, London, 13 December 2016, lot 62 (‘Portrait of a lady in Oriental costume). Please refer to department for condition report
Richard Geiger, Austrian 1870-1945- Portrait of a lady holding a ribbon; oil on canvas, signed 'GEIGER.R.' (lower right), bears indistinct stamp to the reverse of the canvas, 85.5 x 67 cm. Provenance: Private Collection, UK. Note: Geiger’s oeuvre is defined by idealised portrayals of female figures. Though he often experimented with different approaches to the subject, depicting his sitters in a range of historical and allegorical settings, his preoccupation with the female figure endures throughout his output. His use of loose and flowing brushstrokes reinforce the seductive confidence which his models exude, with the bold gaze of the sitter in the present work directly engaging the viewer, establishing a sense of intimacy which is heightened by the informality of the sitter’s pose and dress. Please refer to department for condition report
Otto Eichinger, Austrian 1922-2004- Portrait of a Rabbi reading a book; oil on board, signed 'O.Eichinger' (upper left), 26.5 x 20 cm. ARR. Provenance: With The Cooling Galleries, London.; Private Collection, UK. Note: Eichinger’s oeuvre consists largely of portraits of figures, often rabbis, set against a plain dark background. His output is defined by his hyper-realistic approach, which renders his portraits particularly striking. Indeed, this is evident in the present work, with the artist’s fine brushstrokes picking out the strands of the sitter’s hair and the gentle folds of his clothing. Please refer to department for condition report
British School, early 19th century- Portrait of Grandmother Constable; pencil and black chalk on paper laid down on canvas, 60.4 x 51 cm., together with a reproduction photograph of 'Youngest Constable a la great-grandmama' (Miss Constable) albumen print, 1866, by Oscar Gustav Rejlander, held at the National Portrait Gallery (NPG P2011 (34)), two (2). Provenance: Private Collection, UK. Held in a fine gilt and burr wood frame. Please refer to department for condition report
Arthur Boyd Houghton, British 1836-1875- The artist's family in an interior; oil on canvas, signed 'Houghton' (lower left), 20.2 x 25.5 cm. Provenance: Collection of William Drummond.; Private Collection, UK. Note: Presumably painted in the 1860s, the present work evokes the peaceful contentment of everyday familial life, with its small scale further reinforcing the intimacy of the scene. Houghton's father slumbers in a chair, a handkerchief draped over his face, whilst in the background a woman sits by the window reading a book. Both adults appear to ignore one of the painter's children who plays with the newspaper which has slipped from the snoozing grandfather's lap. Two related works 'Jack in the box' and a portrait of Houghton's father sold at Bonhams, London, 31 March 2015, lot 52, in which the bearded man portrayed in both works is clearly the same as the gentleman here. The wicker-back chair, too, relates. Though not reaching 40 years of age, Houghton was a prolific illustrator and painter in 19th-century Britain, and was particularly celebrated for his print illustrations of publications including Don Quixote and Arabian Nights. The present work is testament to his skill as a painter, and he produced over 100 oils throughout his career. An interior scene in oils of the artist's brother and sister sold at Christie's, London, 20 February 2003, lot 261.Held in a gilded composition Neo-Classical style frame. Please refer to the department for the condition report.
Follower of Govaert Flinck, Dutch 1615-1660- A man, head and shoulders, in a brown cloak, velvet cap and gold chain; oil on panel, bears old typed label '1 Head of Bergomaster, by Ferdinand Bol (signed)' on the reverse, 15.8 x 12.4 cm. Provenance: Anon. sale, Christie's, London, 26 September 1980, lot 50 (as 'BOL').; Private Collection, UK. Note: Renowned as one of Rembrandt’s most talented protégés, Flinck was his pupil from 1633 until 1636, when he set up as an independent master. Like many of Rembrandt's best pupils from his early Amsterdam phase such as Ferdinand Bol (1616-1680) and Jacob Backer (1608-1651), Flinck evolved a style that is distinctive and personal, but until at least the end of the 1640s remained palpably Rembrandtesque. The present work is a tronie, or fancy-dress study, based on a real likeness. Rembrandt developed the tronie and painted many of them from his Leiden period onwards, though they fell out of fashion after the 1640s. Flinck, along with many of Rembrandt's pupils from the first decade of his Amsterdam period, continued to produce tronies in large numbers, presumably to meet the great demand for them, and indeed, students and studio assistants as well as friends and family no doubt provided his models. Simon Schama certainly had the Rembrandtesque tronie at the forefront of his mind when he remarked to camera ‘Dutch art has a very large hat department.’ (‘The Face of Britain’, broadcast BBC2, 28th October 2015). This tronie, of an elderly gentleman in exotic dress, is a confident example of the type. The sitter, with his engaging eyes and pleasing countenance, looks towards the viewer. His features are softly modeled by a light that illuminates the scene from the upper left, casting shadows that define his face. In overall type, the painting may be compared with both Flinck’s ‘Head of an Old Man’ in the National Gallery of Ireland, Dublin, c.1642 (NGI.254) and his ‘Bearded Man with a Velvet Cap’, 1645, at the Metropolitan Museum of Art [25.110.27]. See, also, Rembrandt’s ‘Self-portrait’, 1633, in the Louvre, Paris [INV 1745 ; MR 937] for an example of the tronie type developed by the older master. Please refer to department for condition report
Circle of Jan van Scorel,Dutch 1495-1562-Portrait of a young man, half-length, possibly a Reformer;oil on panel, cradled, 57.5 x 44.2 cm.Inscription on the frame reads: 'HÆC ERAT VNDENA FACIES TRIETERIDE VITAE, 1545 / QVOD SVPEREST AEVI TVREGE CHRISTE MEI.' (This was the face of eleven times three years of life, 1545 / What remains of my life, Christ, thou rule.)Provenance:Wardour Street dealer, London, 1856.; Where purchased by Sir John Hay Williams (1794-1859), 2nd Baronet of Bodelwyddan, and of Rhianva, Anglesey.;By descent to the present owner.Literature:Catalogue of Pictures, Rhianva, pp.16-17, which mentions the 1856 Wardour Street provenance.; Lady Sarah (wife of Sir John Hay Williams), 'Memoranda Concerning Rhianva for the use of our children', 1859, pp.27-28.Note: The condition and later interventions upon the present work preclude a definitive reading of its authorship, and it is plausible that van Scorel himself, or his workshop, had a hand in its execution.The date of birth of the subject is given in the somewhat enigmatic inscription in Latin, from which one deduces that the subject was aged 33, and was therefore born in 1512. He is a middle-aged auburn-haired man, with care-worn countenance. Situated behind him is a building, apparently a University, in which a column and church form conspicuous objects. In the distance there is a sea-shore, or lake, with a succession of high headlands. For two similar portraits by Van Scorel, see those at Christ Church, University of Oxford (nos JBS235 and JBS236). Lady Sarah’s Rhianva Memoranda (see literature) was continued latterly by her daughter Margaret, and in a 1916 entry, we read of the restoration of the present work by a ‘Mr. Thomas Tanner’: ‘Later Mr. Lionel Cust and Sybil (nee Lyttleton) were with us. It was a memorable visit to me as Mr. Cust, who is a keen art-critic and keeper of the King’s pictures’ made some comments on some of the pictures at Rhianva, one of which is ‘German Reformer This picture Mr. Cust greatly admired, but it was badly in need of attention, the panel it was painted on was cracking & the paint in danger of peeling off. By Mr. Cust’s advice it was sent to Mr. Thomas Tanner, 19 Easy Row, Birmingham, who restored it beautifully.’
After Sir Anthony van Dyck, Flemish 1599-1641- Portrait of King Charles I, half-length, wearing armour; oil on canvas, bears old ownership label (on the reverse), 73 x 60.8 cm. Provenance: Sir Thomas Witherley MD (1618-1694), Physician in Ordinary to King Charles II (according to a handwritten inscription on an old label verso).; The Rev. Edward J. Taylor, West Pelton Vicarage, Beamish, R.S.O. Durham.; Private Collection, UK. Note: A reduced 17th-century copy after Van Dyck's iconic three-quarter length portrait of King Charles I, datable to circa 1632-33, in the collection of The Duke of Norfolk at Arundel Castle, Sussex (See RKD no.57125). Please refer to department for condition report
After Sir Peter Lely (Studio), Dutch 1618-1680- Portrait of Catherine Sedley, Countess of Dorchester; oil on board, 25.5 x 20.5 cm., (unframed). Provenance: Private Collection, UK. Note: The present work is a 19th-century copy after the portrait of Catherine Sedley by the studio of Sir Peter Lely at the National Portrait Gallery, London [NPG 36]. The identification of the sitter has been disputed, with some 19th-century specialists believing the portrait to depict Nell Gwyn, the famed Restoration actress and mistress of King Charles II. Please refer to department for condition report
Attributed to Anthonie Palamedesz, Dutch 1601-1673- Portrait of a lady, small-half-length, in a green and white dress with white collar, in a feigned oval; oil on panel, 21.5 x 16.2 cm. Provenance: Anon. sale, Christie’s, London, 12 December 1996, lot 310.; The estate of the late designer Anthony Powell. Note: The present work is a remarkably powerful portrait, with its small scale creating a heightened sense of intimacy between the sitter and the viewer. The painting has been executed with incredibly fine brushstrokes, thereby creating a sensitive and life-like depiction, and allowing the artist to evoke a strong sense of the sitter’s presence. The style and subject-matter situate the painting firmly in the context of the 17th-century Netherlands, particularly evident in the elaborate clothing of the sitter, with her sumptuous lace collar recalling those depicted in the portraits of contemporary artists such as Frans Hals (1582-1666). The formal, restrained pose of the sitter imbues her with a sense of gravitas which, along with her rich garments and gleaming pearls, emphasise her status and wealth. Born in Leith, Scotland, Palamedesz’s father was an artist in the service of the Scottish King James VI. His family moved to Delft in the Dutch Republic when Palamedes was still young, and it was there that he received his training under leading portrait painter Michiel Jansz. van Mierevelt (1566-1641) and history and genre painter Hans Jordaens (1555-1630). The panel is secure in the frame and sits well.The paint surface is stable on the support. Some losses to the paint surface, particularly at the left and lower edges and where the feigned oval meets the dark background to the right. Some further areas where the paint appears thin. Some minor scratches, abrasions, marks and surface dirt. The painted details, especially to the sitter's face, hair and dress are very well preserved. Under UV lamp, old retouching to the feigned oval line in the round, to the left corners, to a small area to the right of the sitter's head (her left, either side of the oval line), and some tiny and localised spots to (presumably) soften some of the natural circular irregularities in the panel around the sitter's head. Very little to no retouching to the sitter herself. Overall in very good near original condition.
Circle of Johannes Vollevens the Elder,Dutch 1649-1728-Portrait of a lady, half-length, wearing a brown and white dress with blue cloak, standing in an interior, with an evening landscape beyond;oil on canvas, 32.7 x 26.1 cm.Provenance: with The Brod Gallery, London, November 1967.; Anon. sale, Sotheby's Colonnade, 22 May 1996, lot 74 (as Caspar Netscher).; The estate of the late designer Anthony Powell.Note: This portrait, which dates to c.1680, and is of exceptionally high quality, has thus far evaded a firm attribution. Last selling on the open market in 1996 as by Caspar Netscher, further suggestions have been made of Joannes Vollevens the Elder, Nicolaes Maes (1634-1693), Johannes Mijtens (1614-1670), Jan de Baen (1633-1702), and Michiel van Musscher (1645-1705). We are grateful to Dr Léon Krempel who tentatively suggested an attribution to Vollevens the Elder on the basis of a photograph.Please refer to the department for the condition report.
Mamie Wheaton, British, early-mid 19th century- Portrait of Thomas Benett of Norton Bavant (1588-1654); oil on canvas, signed and dated ‘Maimie. Wheaton / 1836’ (lower right), inscribed ‘Thomas Benett Esqr / married / Elizabeth Moore’ (on the column base lower right), bears stencilled inscription on the reverse, 75.8 x 63.5 cm. Provenance: Private Collection, UK. Note: A 19th-century copy after an original 17th-century portrait of Thomas Benett of Norton Bavant (1588-1654), which once hung in Pythouse (Pyt House) near the village of Tisbury in Wiltshire. The Pyt family lived on the land where the house sits from 1225 until about 1651, when, as Royalist supporters, they were forced to sell in order to pay fines levied against them by Parliament following the Civil War. At this time the family name had been changed to Benett, possibly as homage to the Benedictine Abbey of Shaftesbury. In around 1725 the current Pythouse was built, replacing the earlier Elizabethan house. Thomas Benett (sometimes spelt Bennett or Bennitt) married Elizabeth Moore (1606-1681) in 1616 and the couple had one son, William Benett. The original portrait would have been painted at some point between 1616 and 1654. Please refer to department for condition report
After Sir Godfrey Kneller, Bt, British 1646-1723- Portrait of Joseph Addison (1672-1719); oil on canvas, 91.5 x 71 cm. Provenance: Private Collection, UK. Note: The original Kit-Kat club portrait on canvas by Kneller, dating to c.1712, is housed in the National Portrait Gallery, London [NPG 3193]. The present work is in reverse, and was presumably taken after a printed copy of Kneller's portrait - see, for example, the mezzotint of Addison by John Simon (c.1675-1751), after Kneller, at the British Museum, London [1886,0609.15]. Addison was an essayist and joint founder, with Richard Steele, of 'The Spectator'. He was also a member of the Kitcat Club, the early 18th-century London club with strong political and literary associations. Held in an English 18th-century carved, gilded and pierced frame. Please refer to department for condition report
European School, mid-18th century, Portrait of a gentleman, half-length, in a blue coat with gold brocade; and Portrait of a lady, half-length, in a white dress and blue ribbon; oils on canvas, each 82 x 65.5 cm., a pair (2). Provenance: Percy G Beer, 26 Osborne Road, Southsea.; Private Collection, UK. Held in matching 19th-century gilded composition frames. Please refer to department for condition report
Le Pitture Antiche D'Ercolano E Contorni Incise Con Qualche Spiegazione Tomo Primo, Napoli MDCCLVII, Nella regia stamperia. Vol. I, spine lettered 'Le Pittur Di Erc Tom I', 48.3 x 37.2 x 5.7 cm. (folio). (VAT charged on hammer price) Note: Volume one of an eight-volume series describing the antiquities of Herculaneum. The title-plate is drawn by Vega, with engraving overseen by Puteus. With an additional title-plate reading 'Le Antichità Di Ercolano Esposte'; and a frontispiece portrait of King Charles, captioned as of the King of the Two Sicilies, drawn by Camillus Paderni (c.1715-1781) and engraved by Philippus Morghen (1730-c.1807). The plates give a comprehensive account of Roman wall-painting of the 1st century, and had a significant impact on contemporary Neoclassical designers. See https://www.royalacademy.org.uk/art-artists/book/le-pitture-antiche-dercolano-e-contorni-incise-con-qualche-spiegazione-tomoPlease refer to department for condition report
Loading...
