Otis Kwame Kye Quaicoe (Ghanaian, born 1990)Portrait of James Jones, circa 2017 signed 'KwameKye' (lower right)acrylic on canvas102 x 76cm (40 3/16 x 29 15/16in).(unframed)Footnotes:Provenance Purchased from the artist directly;A private collection.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
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Sir Henry Raeburn RA (British, 1756-1823)Portrait of a gentleman, reputedly Alexander Bonnar oil on canvas76.7 x 63.7 cm. (30 3/16 x 25 1/16 in.)Footnotes:ProvenanceSale; Leo Spik, Berlin, 9 June 1983, Lot 353This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Robert Colquhoun (British, 1914-1962)Sacha resting (self portrait) ink sketch21 x 30.7 cm. (8 1/4 x 12 1/16 in.)Footnotes:ProvenanceWith Cyril Gerber Fine Art, GlasgowThis 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
James Paterson PRSW RSA RWS (British, 1854-1932)Mrs Monteith, half-length, in black signed 'James Paterson A.R.S.A./Moniaive 1896' (mid left), further inscribed 'Mrs Monteith/Moniaive./James Paterson./1894-1896' (verso)oil on canvas71 x 53.5 cm. (27 15/16 x 21 1/16 in.)Footnotes:ProvenanceSale; Bonhams, Edinburgh, 26 August 2005, lot 1075In 1884 Paterson moved to the Dumfriesshire village of Moniavie and became friends with many members of the local community, including the Monteiths.This is a portrait of Mrs Ellen Maria Monteith (née Neve) (1845–1912), who went on to build Glenluiart. This impressive Arts and Crafts house was built in 1900 and was designed by Ellen's brother, the architect William West Neve. The fact that Mrs Monteith was the driving force behind the build was not the norm in late Victorian times. Ellen was widowed in 1886 after her husband Reverend John Monteith (1837–1886), the local minister, was killed in a tragic accident. As the manse was a tied house, she had no option but to move out. In 1899, after her father died and left her the substantial sum of £16,933, her plans for a house in the Glen started to take shape in the form of Glenluiart.University of Glasgow Special Collections have a photographic glass slide negative in their archive, 'Family friend Mrs Monteith sitting in the studio Kilniess with fan and china jar with paintbrushes in background. Photograph by James Paterson.' So it is possible that Paterson painted Mrs Monteith on more than one occasion.For further information on this lot please visit Bonhams.com
George Leslie Hunter (British, 1877-1931)Portrait of Arthur Leyden signed 'Hunter' (upper right)oil on canvas61.2 x 50.5 cm. (24 1/8 x 19 7/8 in.)unframedFootnotes:ProvenanceArthur Leyden and thence by descentLiterature & MediaBill Smith and Jill Marriner, Hunter Revisited, the Life and Art of Leslie Hunter, Atelier Books, Edinburgh, 2012, p.68Palin on the Colourists, Directed by Eleanor Yule, First aired on BBC 2, 2000; BBC DVD, 2008 BBC Worldwide Ltd. Having experimented with Manet's technique of opaque paint on a light ground in still life, Hunter moved on to tackling portraits. Datable to circa 1913, this is one of two portraits in the Leyden Collection when Arthur and his brother, John sat for Hunter. It is a misconception that Hunter did not execute portraits until the last two years of his life; quite the opposite in fact, he did so throughout his career, often showcasing his latest technique and focus. The problem was finding willing sitters. There is the early painting of Hunter's Mother from circa 1908 in the style of Whistler, right down to the addition of a monogram signature (Bill Smith and Jill Marriner, Hunter Revisited, the Life and Art of Leslie Hunter, Atelier Books, Edinburgh, 2012, Illustrated Plate 25, p.48). However, this portrait of Leyden is refreshingly different and modern in tone, as is Hunter's increasingly adept use of fluid brushwork and colour to build form, contours and personality. There is no denying Arthur's expression is confident, interested and engaged with his cousin the artist. In Michael Palin's interview from 2000, Arthur's daughter Peggie says of the portrait:'This is a portrait of my father that I like very much, because I feel him, it's...he's strong.... it's just him.'(Palin on the Colourists, Directed by Eleanor Yule, First aired on BBC 2, 2000; BBC DVD, 2008 BBC Worldwide Ltd).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
George Leslie Hunter (British, 1877-1931)Portrait of John Leyden in a white ruff signed 'Hunter' (upper right), inscribed indistinctly to label by another hand 'Painted 1913/ Mr Leyden/ Uddingston' (verso)oil on canvas35.6 x 30.5 cm. (14 x 12 in.)Footnotes:ProvenanceArthur Leyden and thence by descentLiterature Bill Smith and Jill Marriner, Hunter Revisited, the Life and Art of Leslie Hunter, Atelier Books, Edinburgh, 2012, p.68Hunter wanted to do portraits à la Manet and he needed sitters, regardless of their circumstances. The family story to this portrait of Arthur's younger brother, John Leyden (1879-1923) is that because John had broken his back, Hunter put him in a ruff to support his head. Historical records confirm that two years before, John was diagnosed with a neurological disorder that led to spinal cord damage.As to whether any device was worn by John and the ruff stemmed from Hunter's imagination is debatable. Hunter's imagination often transformed objects into something else, such as painting onions as oranges, when they were in short supply during WW1.While Man with White Ruff showcases Hunter playing with opaque paint on a light ground à la Manet, a similar approach can be found in a series of six bust-length portraits, the sitters dressed in historical costume; at least one picture is dated 1914. There is another family story from a young cousin of Hunter's who sat for him around this time. She explained Hunter wanted to paint her long Titian-coloured hair and insisted on dressing her in a purple cloak and for additional effect, a big black hat like one made famous by Lady Emma Hamilton (c.1765-1815), Lord Nelson's mistress. The painting is now lost but it does suggest that Hunter may have studied portraiture by George Romney (1734-1802). Equally, Hunter's portraits in historical costume could have been inspired by his enjoyment of the theatre, a characteristic that surfaced from time to time in his work up until his death in 1931.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Moritz von Schwind (1804-1871)Portrait of a lady in an oval niche, signed and dated 1857, pencil, 16 x 14cmLots 120 -142, a collection of 19th/early 20th century Austro-Hungarian Sketches and Watercolours.Labels attached to some of the collection verso indicate that they were in the collection of Hugo Friedmann a Jewish Viennese art collector the bulk of whose collection was taken by the Nazi government in 1938, and who later perished in 1945 a few months after his liberation from a concentration camp.Most, if not all, were contained in a portfolio marked ‘Denkmalamt’ which is available to inspect during the pre-sale view.
Josef Gisela (1851-1899)A cloaked figure, signed with initials, charcoal, 30 x 21cm; and six further figure studies to include: Siegmund L'Allemand - Cavalryman, 16 x 13cm; male nude attributed to Franz Barberini, 21 x 18.5cm; Franz Kruger - portrait of a lady, 11 x 9.5cm; Franz Seraph von Lembach - seated figure, 15 x 11cm; Adalbert Franz Seligmann - seated and cloaked figure, 24 x 16cm; and a pen and ink study of Christ appearing to Roman soldiers, 14.5 x 19.5cm (7)Lots 120 -142, a collection of 19th/early 20th century Austro-Hungarian Sketches and Watercolours.Labels attached to some of the collection verso indicate that they were in the collection of Hugo Friedmann a Jewish Viennese art collector the bulk of whose collection was taken by the Nazi government in 1938, and who later perished in 1945 a few months after his liberation from a concentration camp.Most, if not all, were contained in a portfolio marked ‘Denkmalamt’ which is available to inspect during the pre-sale view.
John Everett Millais (1829-1896)Portrait of William Baliol Brett, First Viscount Esher (1815-1889), fully robed and seated in a chair, signed with monogram, oil on canvas, 126 x 101cmLight surface craquelure. Paint slightly blistered in some areas and re-touches in areas. Scattered spots of paint loss. The frame with minor losses.
English school (late 19th/early 20th century)Head and shoulders portrait of a child, indistinctly signed, pencil and colour chalks, 28 x 21cmLots 240 to 259 are from the estate of Edward Baldwin, grandson of Prime Minister Stanley Baldwin, and the fourth Earl of Bewdley. Stanley Baldwin was from an extraordinary family: Rudyard Kipling was his first cousin, Edward Burne-Jones and Edward Poynter were both uncles, his mother Louisa was a novelist, and her siblings included the famous Macdonald sisters. Edward Baldwin was an only child and spent much of his life as sole custodian of these pictures, dating mainly from the late Victorian era.
John Seymour Lucas (1849-1923)Portrait of Stanley Baldwin reading a paper, signed and dated 1919, oil on canvas, 39.5 x 31cmLots 240 to 259 are from the estate of Edward Baldwin, grandson of Prime Minister Stanley Baldwin, and the fourth Earl of Bewdley. Stanley Baldwin was from an extraordinary family: Rudyard Kipling was his first cousin, Edward Burne-Jones and Edward Poynter were both uncles, his mother Louisa was a novelist, and her siblings included the famous Macdonald sisters. Edward Baldwin was an only child and spent much of his life as sole custodian of these pictures, dating mainly from the late Victorian era.
After Dante Gabriel Rossetti (1828-1882)Study for Bower Meadow, photogravure, inscribed in ink to the margin 'Best Wishes, May Morris Christmas 1910', 16 x 11cm; together with another after William Morris and Edward Burne-Jones - 'The Song While She Eats' from Cupid and Psyche (X 4); and a portrait print of D.G. Rossetti (6) * May Morris was the daughter of artist William Morris, who was painted by Rossetti
English school (early 19th century)Portrait of a young boy wearing white stock and blue jacket, on ivory, 6 x 5cm oval; and a further watercolour miniature of a similar sitter, 8.5 x 7cm oval (2) * Ivory submission registration reference EUYJVEVSQty: 5Miniature - has some minor patchy brown staining and small marks.Watercolour - discoloured, with brown stains and creases, glass chipped to edge.
Hinton Gibbs (act. 1790-1822)Silhouette portrait of a lady wearing a cornette cap and facing left, reverse painted onto glass, printed 'H Gibbs Profile Painter' to backing paper verso, 8.5 x 7cm oval; another by the same hand inscribed with sitter's details verso and dated January 17th 1823, 8.5 x 7cm oval; and one further (3)Some browning/discolouration to the backgrounds. One has a scratch or split to the black across the face. Some minor patchy light brown staining. Not examined out of the frames.
Samuel Metford (1810-1896)The artist's scrapbook comprising his own cut card designs, pencil drawings and watercolours, subjects to include: mounted troopers; Cameron Highlanders; Hussars; figure studies; African Americans; Irish Dragoon guards; portrait silhouettes; West Country topographical views etc; bound in green morocco with gilt lettering to spine, quarto (30 x 23cm); together with further loose cut-outs and silhouettes, mainly annotated; hand-written rhymes; an 1863 ten dollar note and business cards etc Samuel Metford, born in Glastonbury into a Quaker family. He operated both in England and America where he settled for a ten year period c.1830's and returned twice later on in his lifetime
λ ELWIN HAWTHORNE (BRITISH 1905-1954)PORTRAIT OF LILIAN Oil on canvasSigned and inscribed Lilian (to stretcher and overlap verso)35.5 x 27.5cm (13¾ x 10¾ in.)Painted in 1935-36, the portrait depicts Lilian Leahy who became the artist's wife in 1937.Provenance:Estate of the ArtistThence by descent to the present owner
λ AUGUSTUS EDWIN JOHN (BRITISH 1878-1961)PORTRAIT OF A BEARDED GYPSY CharcoalSigned (upper right)31 x 23cm (12 x 9 in.)Provenance:Sale, Tennants, Leyburn, 23 March 2019, lot 242Acquired from the above by the current ownerCondition Report: Unexamined out of glazed frame. Diagonal crease from the upper edge to the centre of the right edge. The sheet has come loose from the mount at the right edge. This may benefit from a reframe. There is a small tear to the lower left edge which appears to have been laid down. Slight nick/loss to the lower right corner. Condition Report Disclaimer
ARTHUR AMBROSE MCEVOY (BRITISH 1878-1927)PORTRAIT OF AUGUSTUS JOHNOil on canvasSigned (lower right)67 x 54cm (26¼ x 21¼ in.)Condition Report: The canvas is not relined and is slightly slack on the stretcher. There is an area of craquelure and paint loss along the lower edge as visible in the catalogue illustration. Inspection under UV light reveals retouching to the lower corners and at the lower part of the left and right edges. Together with a few a other spots scattered across the lower 1/5 of the painting. The varnish is slightly discoloured throughout. The remaining areas of the painting are in overall good condition. Condition Report Disclaimer
PHILIP ALEXIUS DE LÁSZLÓ (HUNGARIAN 1869-1937)EGYPT, A GIRL CARRYING A POT ON HER HEAD, AT KARNAK NEAR LUXOROil on canvasSigned and dated Karnak 1929 III (lower right); further signed and dated Karnak 1929 III (verso) 81 x 60cm (31¾ x 23½ in.)Provenance:In the possession of the artist on his deathThence by descentPrivate Collection, Tim Rootes and Obby Waller, Barton Hill House, GloucestershireLiterature:Studio Inventory, p. 9 (50)Owen Rutter, Portrait of a Painter, London, 1939, p. 371This portrait is included in the Philip de László Catalogue Raisonné [no. 4938], currently presented in progress online: www.delaszlocatalogueraisonne.com De László travelled to Cairo in January 1929 to paint King Fouad I of Egypt and his son Prince Farouk. When the commission was completed, the artist journeyed with his wife and son, Paul, up the Nile visiting Karnak, Luxor and Edfu and Aswan. Unusually, the present work was completed in his studio upon his return to London using a sketch made in-situ.Condition Report: The canvas has not been relined. Light surface dirt throughout. Clusters of small pinholes to the corners and further pinholes to the centre of the left and right edge. Evidence of retouching running down the upper left edge to the centre of the left edge, visible in natural light. Inspection under UV reveals a green varnish and scattered retouching to the sky. Most prominent is the retouching associated with that mentioned above. Condition Report Disclaimer
λ SIR ALFRED MUNNINGS (BRITISH 1878-1959) A DOUBLE SIDED SKETCH, STUDY FOR LORD IVOR CHURCHILL R. A. 1923; ON THE REVERSE A STUDY FOR PICTURE OF LORD IVOR CHURCHILL & THE 9TH DUKE OF MARLBOROUGHOil on panel Signed (lower left), inscribed and dated 1923 (upper left); the reverse signed and inscribed (upper right)29.5 x 40.5cm (11½ x 15¾ in.) Provenance:Acquired directly from the artist Sir Jack Jarvis, Private Collection Thence by descent to his daughter, Vivian, Private Collection Thence by descent, Private Collection, UKThence by descent to the present ownerThe present lot is a double-sided study by Sir Alfred Munnings for one of his most important commissions. It began one day whilst sat next to Charles Spencer-Churchill, 9th Duke of Marlborough in The Other Club, a political dining society that was founded in 1911. Churchill expressed his admiration for traditional composition in painting and how he much desired to commission a hunting picture of himself together with his son Lord Ivor Churchill on horseback and more specifically a grey horse as suggested by Lord Ivor. It was decided, and so both Charles Spencer-Churchill and Lord Ivor Churchill made way to Glebe Place in London to sit for Munnings in his studio. 'A signpost to Melton was the thing, we must have a signpost in it ! Changing horses, four greys, with the second horseman in full rig; what a subject ! Mind you put me on the best horse' the Duke exclaimed. The commission is described at length in the second volume of Munnings' memoirs. The work was exhibited at the Royal Academy in 1924 in a review recorded in the Connoisseur it was commented 'More plaudits for the equestrian portrait of the Duke of Marlborough and Lord Ivor Spencer Churchill, but also for the muscular energy and movement of 'The Grey Horse'. The finished piece has remained in the Blenheim Palace collection ever since. This rare panel depicts three studies of Lord Ivor Churchill in his sumptuous hunting pinks and top hat. Munnings' swift, loose marks plan out the composition, experimenting with different positions of Churchill's head and hands upon the reigns. Sir Alfred Munnings has used very light, fast white strokes under the sitter to represent the horse. On the reverse of the panel the artist makes plans for the final composition which features Lord Ivor Churchill on grey horse in the far right corner, Charles Spencer-Churchill in the centre and two further greys with their handler to the left. The panel's chamfered edge suggests that Munnings was most likely using one of his slotted study boxes to work on the panel either in situ at Blenheim or back in his studio where both Lord Churchill and Charles Spencer-Churchill sat for Munnings. A number of other studies for this commission are known to have been carried out by Sir Alfred Munnings, four of which came up for auction in 2006 at Christie's New York. However, it is believed that this double sided sketch, which has not been on the market before now, was purchased direct from Munnings by Sir Jack Jarvis, who was knighted for services to racing and was one of the country's leading trainers. The work was then passed through descent to the present owner. We are grateful to the Curatorial staff at The Munnings Art Museum for their assistance in preparing this catalogue entry.
λ DAVID BOMBERG (BRITISH 1890-1957)PORTRAIT OF LADY SEATED, THOUGHT TO BE LILIAN, THE ARTIST'S WIFE Oil on canvas Signed and dated 31 (lower left)93 x 72cm (36½ x 28¼ in.)Provenance:Arthur A. Stambois, Private Collection (possibly purchased directly from the artist in 1936)Stanley Mann, Private Collection (purchased from the above in 1961)By descent to his wife, Eithne Maureen Mann (nee Milne) (1937-2018), Private Collection By descent to the present ownerExhibited:London, Whitechapel Gallery, Jewish Painters in London, 15 August 1943, p. 4 (illustrated in the exhibition catalogue) Condition Report: The canvas has not been relined. Light surface dirt. May benefit from a light clean. Inspection under UV reveals an area of retouching to the the upper right corner which corresponds to a patch repair visible verso. Three spots of further retouching to the upper left quadrant. There is scattered retouching along the right hand edge. In overall good condition. Condition Report Disclaimer
λ DAVID BOMBERG (BRITISH 1890-1957)PORTRAIT OF ETHEL Oil on canvas Signed (lower right); further signed, titled, and dated 1931 to stretcher (verso)61 x 51cm (24 x 20 in.)Provenance:J. Issacs, Private Collection Arthur A. Stambois, Private CollectionStanley Mann, Private Collection (purchased from the above in 1961)By descent to his wife, Eithne Maureen Mann (nee Milne) (1937-2018), Private Collection By descent to the present ownerExhibited:London, Bloomsbury Gallery, Exhibition of Sixty Imaginative Compositions, Spanish and Scottish Landscapes and Other Work by David Bomberg, November 1932, no. 35 (Ethel)Condition Report: The canvas has not been relined. Very light surface dirt throughout. Inspection under UV reveals a patch of retouching to the centre of Ethel's chest which corresponds to a small repaired tear approx. 1.5cm visible verso. Condition Report Disclaimer
λ DAVID BOMBERG (BRITISH 1890-1957)SELF-PORTRAIT Oil on boardSigned and dated 37 (lower left)59 x 49cm (23 x 19¼ in.)With another self-portrait study verso.Provenance:Arthur A. Stambois, Private CollectionStanley Mann, Private Collection (purchased from the above in 1961)By descent to his wife, Eithne Maureen Mann (nee Milne), Private Collection (1937-2018)By descent to the present ownerCondition Report: At the centre of the extreme right edge there is a small area of paint shrinkage and associated craquelure. Inspection under UV reveals no evidence of restoration or repair. The reverse unexamined out of glazed frame. Condition Report Disclaimer
λ DAVID BOMBERG (BRITISH 1890-1957)PORTRAIT OF A GENTLEMAN Oil on canvas Signed and dated 42 (lower right)61 x 51cm (24 x 20 in.)Provenance:Arthur A. Stambois, Private CollectionStanley Mann, Private Collection (purchased from the above in 1961)By descent to his wife, Eithne Maureen Mann (nee Milne), Private Collection (1937-2018)By descent to the present ownerCondition Report: The canvas has not been relined. Inspection under UV reveals no obvious evidence of restoration or repair. In good original condition. Condition Report Disclaimer
λ DAVID BOMBERG (BRITISH 1890-1957)PORTRAIT OF A GENTLEMANOil on canvas Signed and dated 42 (lower right)61 x 50.5cm (24 x 19¾ in.)Provenance:Arthur A. Stambois, Private CollectionStanley Mann, Private Collection (purchased from the above in 1961)By descent to his wife, Eithne Maureen Mann (nee Milne), Private Collection (1937-2018)By descent to the present ownerCondition Report: The canvas has been relined. Inspection under UV there is some evidence of retouching to the extreme left and right edge. Appears to be in good original condition. Condition Report Disclaimer
λ NINA HAMNETT (BRITISH 1890-1956)PORTRAIT OF ALAN PRYCE-JONESRed chalk Signed (lower right)33 x 27cm (12 x 10½ in.)Lieutenant Colonel Alan Payan Pryce-Jones (1908-2000) was a notable journalist and book critic. His political career developed after he joined the Liberal Party in 1937 and went on to become vice-president of the St. Marylebone Liberal Association and Prospective Liberal Parliamentary Candidate for Louth in Lincolnshire. Pryce-Jones became editor of The Times Literary Supplement from 1948-1959 and trustee of the National Portrait Gallery 1950-1961. Condition Report: Unexamined out of glazed frame. Very slight undulation to the sheet and light staining throughout. A very small spot of foxing to the upper left corner. Condition Report Disclaimer
λ JACOB EPSTEIN (AMERICAN/BRITISH 1880-1959)FOURTH PORTRAIT OF DOLORES BronzeHeight (including base): 46cm (18in.)Conceived in 1923. Provenance:Ruskin Galleries Ltd., Stratford-on-AvonJohn R. Brown, Private Collection, Stratford-on-AvonThence by descent to the present owner Literature:Evelyn Silber, The Sculpture of Epstein, Oxford, 1986, no. 135, p. 135 (illustration of another cast)Condition Report: Light surface dirt throughout. Head free-standing on floating wooden stand attached to marble base. In good original condition.Height of sculpture excluding base is 24.5cm Some rubbing and loss to the edges of the marble base. Glue residue to the right side corner of the base. Condition Report Disclaimer
λ FRANK DOBSON (BRITISH 1886-1963)PORTRAIT OF A YOUNG WOMAN Red chalk34.5 x 23.5cm (13½ x 9¼ in.)Provenance:The Artist's EstateGillian Jason Gallery, London Condition Report: Executed on white wove paper. There are a few pastel smudges, possibly original and a couple of light handling creases. Otherwise, the work looks to be in good original condition. Under glass and unexamined out of frame.Condition Report Disclaimer

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