JOHANN ZOFFANY (1733-1810) Edward Townsend Singing 'The Beggar' painted in 1796, oil on mahogany panel, 76.2 x 63.5 cm; 30 x 25 inches, in its original eighteenth-century carved frame.Provenance: Johann Zoffany;Zoffany sale, Robins, 9th May 1811, lot.89;Henry Harris;Harris sale, Robins, 12th July 1819, lot.6;Thomas Wilkinson (1762-1837);Jane Anne Brymer (1804-1870), daughter of the above;William Ernest Brymer (1840-1909) of Ilsington House;Wilfred John Brymer (1883-1957); son of the aboveConstance Mary Brymer (1885-1963), sister of the above;John Hanway Parr Brymer (1913-2005); nephew of the above;Maureen Brymer (1924-2021) by inheritanceExhibited: London, Royal Academy, 1796, no.85 (‘Mr Townsend as the beggar in the pantomime of Merry Sherwood’);London, Royal Academy, Exhibition of Works by the Old Masters, 1893, no.44 (‘An Actor’)Literature: Victoria Manners and George Charles Williamson, John Zoffany RA: His Life and Works 1735-1810, London, 1920, p.276; Mary Webster, Johann Zoffany, New Haven and London, 2011, p.585 Martin Postle, Johann Zoffany RA: Society Observed, exh. cat., New Haven (Yale Center for British Art), pp.44-45, reproducedThis little-known theatrical portrait is one of the finest works by Johann Zoffany from the end of his career. Depicting the comic actor Edward Townsend singing ‘The Beggar’, a song by the playwright John O’Keeffe written and set to music by William Reeve for Merry Sherwood, or Harlequin Forester by William Pearce, an entertainment on the theme of Robin Hood. Zoffany captures Townsend with his mouth open wide in the midst of the song. This unusually animated portrait is rendered with Zoffany’s characteristic attention to the minute details of costume and physiognomy. Zoffany was a pioneer of theatrical portraiture, where individual actors are portrayed in the roles for which they were most celebrated, it is a genre which was uniquely developed in Britain in the eighteenth century. Here the comic singer Edward Townsend is shown on stage singing in the midst of William Pearce’s popular pantomime Merry Sherwood. But rather than merely being an illustration of the entertainment, Zoffany paints a portrait of Townsend en role, exploiting a complex layer of relationships between audience and actor, viewer and painting. Zoffany’s theatrical portraits are regarded as some of his most innovative and beguiling works and only a handful remain in private collections, of which this is one of the finest. Preserved in outstanding condition and painted on a mahogany panel, this portrait has not been on the open market since the early nineteenth century and has not been exhibited in public since 1893.By 1796 Johann Zoffany was at the height of his powers as a portrait painter, particularly paintings of complex conversation groups and interiors scenes, rich with domestic and decorative details. Recently returned from a period spent in India, where he had completed a series of remarkable images of European and Indian sitters, including Colonel Maudaunt’s Cock Match now in the Tate, London. Zoffany re-established himself as one of London’s leading portrait painters. Zoffany had found success in London in the 1760s producing a series of remarkable and hugely popular portraits of famous actors. Zoffany worked particularly closely with David Garrick, commemorating his most celebrated theatrical roles in a series of largely comic portraits.The comic singer Edward Townsend sang The Beggar at the first performance of Pearce’s popular pantomime Merry Sherwood at Covent Garden on 21 December 1795. Townsend made the song popular and it became a favourite peace in his repertoire: he sang it at his benefit on 20 May 1796, and was still rendering it at Covent Garden in June 1800. The entertainment, and Townsend’s performance, were an immediate sensation. The success of the pantomime may well have prompted Zoffany to paint Townsend and to submit the painting for the annual exhibition at the Royal Academy in 1796, where the painting is described in the exhibition catalogue as: ‘Mr Townsend in the Beggar, full of expression and character, and a striking resemblance.’ The painting was hugely admired by contemporaries at the annual exhibition. The critic Anthony Pasquin noted: ‘Mr Townsend, the Comedian in the Character of a Beggar. Zoffany. This portrait is eminently characteristic, with a strict adherence to the minutiae of the stage dress. The countenance partakes of all the muscular whim of the original contour and expression of this supplicating visage.’Robin Simon has noted that in his theatrical portraits, such as this, Zoffany’s: ‘nuanced approach enabled him to create a distinctive effect: that of depicting the actors both in and out of character at the same time. This duality lies at the heart of his achievement; but it also reflects the contemporary practice of a number of leading comic actors who, in a tradition that survives in the British pantomime, would interact, sometimes even verbally, with the audience during performance.’[1] There is a sense that in the present portrait Zoffany has caught Townsend totally absorbed in his performance. It is this duality which made Zoffany’s theatrical portraits so publicly successful.The present painting has not been publicly exhibited since 1893, when it was lent to the Royal Academy’s annual exhibition of old master paintings, as a consequence it has remained largely unknown to scholars. Mary Webster, in her authoritative 2011 monograph on Zoffany, assumed the painting was missing. The present portrait remained in Zoffany’s collection and was included in his posthumous auction in 1811. It was acquired in 1820 by Thomas Wilkinson the son of Jacob Wilkinson who was one of Zoffany’s most important supporters. A Director of the East India Company, Wilkinson acquired The Watercress Girl by Zoffany in 1780 and its pendant, The Flower Girl. Zoffany also painted his portrait in 1782 (The Chequers Trust) and Wilkinson, in turn, was one of those who supported Zoffany’s petition to travel to India. The painting passed to Thomas Wilkinson’s daughter Jane Anne, who married the Reverend William Thomas Parr Brymer, the painting has remained by descent in the Brymer family ever since.
283284 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen
283284 Lose gefunden, die zu Ihrer Suche passen. Abonnieren Sie die Preisdatenbank, um sofortigen Zugriff auf alle Dienstleistungen der Preisdatenbank zu haben.
Preisdatenbank abonnieren- Liste
- Galerie
-
283284 Los(e)/Seite
Nick Hancock Collection - S.H & S Opaque China Robert Burns Commemorative plate, blue and white printed with a portrait of the poet in a raised border, printed marks and old label for K. J. Hancock Collection on base, D26cm a Victorian Spode plate, printed and enameled with foliage, impressed, printed marks and painted 3950H on base, D21cm and a Simpsons Mayflower Commemorative loving cup, H13cm (3)
BOB DYLAN. A reportedly signed LP and five others. 'The Times They Are A-Changing,' signature by marker to front cover, reportedly signed after a gig at Earls Court in 1981 (previous owner letter), CBS 6225, graphite inscription to inner sleeve, VG disc, 1964; 'Street Legal,' CBS 86067, worn and rubbed cover disc G to VG, 1978; 'Self Portrait,' CBS 66250, worn and rubbed cover, owner signature in ink, some paper stuck to otherwise G disc, 1970; 'Blood on the Tracks,' CBS 69097, cover rubbed to edges, light scratches to G disc, 1975; 'Planet Waves,' ILPS 9261; worn and rubbed cover with a split to the bottom, G disc, 1974; 'Before The Flood,' IDBD 1, worn cover rubbed to edges, light scratches to an otherwise G disc, 1974. (6)Dear Mr Fullwood,Thank you for your enquiry and interest in this lot.Photographs have now been uploaded to be viewed on our website.Kind regards,Guy Harandon
An Edwardian rectangular portrait miniature on ivory panel of Mrs A.A.E.L. Barker (Nee Joyce) taken from a portrait of around 1895, 8cm x 11cm (ivory certification number YKHJL363), in a gilt brass surround and two-door tooled leather easel display case, together with an Edwardian oval portrait miniature of a gentleman, 6cm x 7cm approx (ivory certification number 7XPMUW7F), and other miniature painted-over family photographs and vacant miniature cases.Private estate
17th century English School, half length portrait of a lady, unsigned, oil on canvas, 60 x 50 cmrelined and conservedPainting has suffered significant cracking, losses and tears in the past. Canvas has been relined and any impasto lost. Conservation and possibly re-varnishing undertaken to prevent further losses. 1 cm hole to the original canvas by the sitter's cheek. Other bear areas have been filled (but not re-touched), especially down the left side, right bottom corner and bottom of the canvas. Signs of re-touching in the top right area. Frame associated, probably early 20th century. Joints of the frame are opening and cracking of the gesso is evident. Some white gesso is exposed and beading missing throughout the frame. See additional images.
Norah McGuinness HRHA (1901 - 1980)WaterweedsOil on canvas, 122 x 91.5cm (48 x 35¾")Signed; inscribed with title and dated 1968 versoThough this Norah McGuinness painting is clearly of water, weeds and three ducks, its brilliance belongs to its handling of colour and its structure and composition which includes abstract as well as representational qualities. In Waterweeds, the subject matter is familiar but there is nothing everyday about this stunningly beautiful work. Dated, verso, 1968, McGuinness painted this when she was sixty-seven. Her palette frequently features blues and greens and browns, her subject matter favoured landscape, shorelines, bogland and in well-known works such as her early 1930’s painting, The Thames, browns predominate, Garden Green, dated 1962, celebrates several shades of green and Flight, also from 1962, contains different and harmonious blues. Waterweeds not only combines all three of these strong colours but, unusual for McGuinness, the chosen shape here is portrait not landscape and the focus is close-up. Many of McGuinness’s shorescape and landscapes are broad in scope and are bright, light-filled works. This painting has a unique atmosphere and depth.At the centre of the painting, a pair of ducks, behind them a solitary one. They could be, they look like, common male scooter ducks with their black plumage but McGuinness is more interested in capturing their quiet lives rather than offering an ornithological study. Using blocks of colour the water is patterned and the decorative ovoid-like shapes in dark purplebrown and pale green on the water could represent nesting spots. Her strong lines and bold colours resemble stained glass.The varying and speckled tall, strong, green weeds on the right, asymmetrical and striking, add a luxuriantly lush detail. They reach upwards and McGuinness paints some stalks reaching beyond the edge of the painting. Their powerful presence gives the painting its title.The varying brown shape that dominates the top third of Waterweeds could be a stylised shoreline with small pools of water reflecting the sky? Clearly non-representational, what matters is its striking effect, contrasting as it does with the expanse of blue water and those touches of white pick up on the whites in the floating stylised shape lower down as does the use of white at the very top of the painting. This aspect of Waterweeds, with its irregular blue shapes and patches of white and the bold lines, give the painting an abstract quality. At the very top of the canvas the light grey suggests something beyond. Though every detail is not always recognisable in this Cubist influenced work, this does not prevent the work from being a magnificent mood piece. Cubism allows for different perspectives and what McGuinnes achieves here is in keeping with McGuinness’s view that ‘Cubism gets rids of things that are not essential. It is a great simplifying aid and I think in that way its influence is apparent in my work as part of an overall simplification process’ [quoted by Karen E. Brown in her essay ‘Norah McGuinness, W.B. Yeats and the Illustrated Book’]Born in Derry in 1901, McGuinness, against her family’s wishes, chose art and, aged eighteen, attended the Dublin Metropolitan School of Art where she studied under Patrick Tuohy, Oswald Reeves and Harry Clarke and, later, with André Lhote in Paris. In 1923 she was awarded an RDS gold medal and exhibited for the first time at the RHA in 1924. She lived in London and New York – her paintings New York Skyline and East River date from that time – and when she returned to Dublin, in 1937, she worked as a book illustrator, illustrating books by, among others, Laurence Sterne, W.B. Yeats, Elizabeth Bowen and Maria Edgeworth.McGuinness also worked for Vogue and Harper’s Bazaar and inspired by Salvador Dali, who did a window design for Bonwit Telller on Fifth Avenue, she got herself a job designing and dressing New York windows. On returning to Dublin McGuinness decorated Brown Thomas windows for over twenty years. She also designed theatre sets and costumes for Abbey and Peacock productions. In 1950 she and Nano Reid represented Ireland, when Ireland participated in the Venice Biennale for the first time. Her work is held in many important collections including The National Gallery of Ireland, IMMA, the Hugh Lane, the Ulster Museum and the Crawford Gallery.Niall MacMonagle, August 2022
Daniel O'Neill (1920 - 1974)Portrait of Young WomanOil on board, 45 x 35cm (17¾ x 13¾")SignedThe epithet Romantic is often applied to the work of Daniel O’Neill, though that can be misleading. His paintings are indeed romantic, but not in the strict art historical sense of Romanticism and the Romantic movement. Rather they are romantic in the sense that Puccini’s La Bohème is romantic, evoking the bohemian life of artists in the Latin Quarter in Paris, a world of intense emotion and passionate creativity. O’Neill visited and loved this world in 1948, when he stayed in Montmartre, brilliantly capturing the atmosphere in one of his best known paintings, Place du Tertre (now in the Ulster Museum). But imaginatively, artistically, he always seemed to inhabit it.Born in Belfast, the son of an electrician, he followed his father into the trade, working for the corporation’s transport department and the shipyards. But even in his early teens he was drawn to art, studying books in the library and attending night classes at technical college. At work he opted for night shifts, painting during daylight. He was taken up by the fine painter and muralist Sidney Smith and befriended Gerard Dillon, exhibiting with him in Dublin in 1943. The great dealer Victor Waddington put him on contract two years later, establishing him as an artist. He had a natural instinct for simplified, stylised imagery, innate compositional ability, and an eye for drama (little wonder he was commissioned by the Abbey to design the set for a production of Synge’s Playboy).Dreamy melancholy is one of the defining moods of his work, a term that perfectly suits this outstanding, idealised study of a young woman. She looks not back at the viewer but is lost in her own thoughts. The agitated background unmistakably suggests a tempestuous inner life. Quite early on, Cecil ffrench Salkeld noted O’Neill’s exceptional skill at juggling contrasting paint textures in a single composition, marrying the vigorous impasto of brush and palette knife with soft, silky glazes. That skill is used to great effect here in the caressing dialogue between fabric and flesh, figure and ground. In addition, O’Neill illuminates his subject with the expertise of a Hollywood lighting cameraperson.Aidan Dunne, August 2022
Charles Lamb RHA RUA (1893-1964)Portrait of a Fisherman with LobsterOil on canvas, 93 x 87cm (36½ x 34¼")SignedProvenance: In private ownership with the same family since acquiredCharles Lamb was a talented painter whose output encompassed portraits, still-life, Breton subjects, western and northern landscapes, harbour and fishing scenes, as well as depictions of the Famine, and the Claddagh. Fisherman with Lobster is a leading work of Lamb’s mid-career purchased in the 1940s from the artist by Jack McCabe of Portadown. McCabe knew and admired Lamb, and according to his son John, he purchased one of his paintings with his first pay packet (correspondence, 1998). McCabe continued buying works by Lamb when he was a young artist, and they formed the nucleus of the collection, which hung in his wife’s hotel, the Seagoe Hotel, Portadown, in the restaurant that became known as ‘Lambs’. The Lamb Restaurant opened in the early 1980s attended by many of the Lamb family. It was a popular venue and, in its heyday, displayed eleven works by Lamb ranging from northern landscapes painted in Rostrevor and around the River Bann to scenes from the west of Ireland, the largest of which was Fisherman with Lobster (correspondence with Jack McCabe’s wife, 1994). The painting dates to c.1937, when Lamb showed a work listed as The Lobster Man at Newry Feis, which is likely to be Fisherman with Lobster.The portrait is of Pádraic Ghrealís from Rinn, Connemara, known as ‘the lobster man’. He was married to Nan Mhichil Liam Mc Donagh, a close friend of the Lamb household, her portrait is in the National Gallery of Ireland. Ghrealís was a great sailor and deep-sea fisherman, as the portrait shows, earning his livelihood from lobster fishing. The couple had several daughters and four sons who, together with their father, were great rowers. The composition emphasises the large, seated figure, possibly positioned above Caladh Thaidhg harbour, overlooking in the background the small island and village of Lettermullan across from Carraroe. Ghrealís and his wife Nan modelled for other works by Lamb including, a commission from the Haverty Trust in 1934, to paint Pattern Day in Connemara, for University College Galway. The subject is the ancient ritual of the pattern, where a traditional pilgrimage to a site associated with a local saint involved people doing circuits around a holy well with prayers and penance. At the time that Lamb painted Fisherman with Lobster he was living in Carraroe, Co Galway. Born in Portadown, he trained at the Belfast School of Art, winning a scholarship to the Dublin Metropolitan School of Art (NCAD), where he graduated in 1921. Pádraic Ó Conaire, the Galway poet and writer, encouraged him to go to Connemara to find the landscape and skies he wanted to paint. In 1923 he met Katharine, the daughter of Ford Madox Ford, who was studying veterinary medicine in Dublin, and in 1927, after Lamb’s trip to Brittany, the couple were married. They settled in Carraroe, where in 1933, Lamb built a house and studio to accommodate their growing family. In the 1930s he was elected an academician of the Royal Hibernian Academy (RHA) and the Ulster Academy of Arts (RUA). Lamb began painting single figures early in his career. An early example, The Lough Neagh Fisherman, 1921 (Ulster Museum), portrays a young northern fisherman against the backdrop of Lough Neagh. It is a confident study that demonstrated Lamb’s skill at portraiture and helped him to make his mark at the RHA. He developed this portrait style into an idealised form of ‘national type’, which by 1930, included figures from the west of Ireland, singly or in couples, most notably in the well-known iconic painting, The Quaint Couple, 1931 (Crawford Art Gallery, Cork). In Fisherman with Lobster, Lamb employs a golden light on the right of the figure leaving the left in shadow, placing Ghrealís in the foreground to stand out against a brilliant background landscape and blue sky. His hands hold a lobster and pot, and his rugged weather-beaten face betrays a lifetime of fishing. Ghrealís wears a well-used báinín jacket, brown striped geansaí, and black cap. The portrait is a work of great assurance and confident painting, reflecting virtuosity of brushwork in the tonal build-up of the face, the vivid blue sea and green island landscape. This is Lamb at his best illustrating a form of monumental portraiture at which he excelled, depicting the people he felt reflected the ‘national essence’ and, in the process, becoming one of Ireland’s most influential 20th century landscape painters.During Lamb’s subsequent career, he ran a summer school from 1936 to 1950s in Carraroe, attended by numerous important artists, and hosted a summer exhibition where visitors could see and buy his paintings. He illustrated ‘Cré na Cille’ by Máirtín Ó Cadhain (1949) and ‘An Tincéra Buí’ by Séan Ó Coisdealbha (1962). His work was shown internationally in London, Brussels, New York, Boston, and Ottawa, the 1933 Century of Progress Exhibition Chicago, the 1923 Olympic Games Exhibitions in Los Angeles, and 1948 in London. He exhibited at the RA, RUA, RHA, Oireachtas, Aonach Tailteann, Dublin Painters Gallery, and at art societies in Belfast, Cork, Galway, Limerick, Tipperary, and Waterford. Lamb died in 1964 and is buried in Carraroe. Dr. Marie Bourke, August 2022
Charles Lamb RHA RUA (1893-1964)In-shore FishermenOil on canvas, 50 x 60cm (19¾ x 23½")SignedExhibited: Dublin, Hugh Lane Gallery, Charles Lamb Memorial Exhibition 1969Certainly not the first artist to become enchanted by the landscape and its people, a native of Armagh originally, Lamb would eventually make the Gaeltacht village of Carraroe his permanent home. In 1935 he built his own house, known affectionately, as his daughter Lailli Lamb reflects, as ‘Tigh Lamb’ or Lamb’s House (Catalogue Essay ‘My Father’, Lamb in Connemara, Adam’s Exhibition at Clandeboy, 2012). It was also here where Lamb ran an art school during the summer months, teaching painting classes. One can’t help but imagine what the locals made of Lamb and his desire to make them the subjects of his paintings. Though possibly not unused to artists travelling through the region, there must have been a certain amount of apprehension and suspicion towards him. Outsiders are not easily welcomed in these remote places, and it would not be surprising if it took many years before they trusted him entirely. Lamb’s cause was undoubtedly helped by his move to the area with his family. Lamb often depicted fishermen, either as group scenes, observing them going about their work on the shoreline or harbour in Taking in the Lobster Pots (The Armagh County Museum) or as a single figural study in Portrait of a Fisherman with Lobster (lot 49) offered alongside this work in the auction. They also appear in his portraits executed during his time spent in Brittany in 1926/27 where he visited Pont Aven and Audierne. In particular a large-scale portrait entitled The Breton Fisher Boy (Private Collection) in which the young boy stands confidently before the artist, hands tucked into his vest. Behind him appear a sardine fleet, which are immediately reminiscent of the Galway Hookers of Carraroe. In this present example two men finely balanced in their currach, row backwards to the shore line. Lamb has expertly captured the rhythmic movement, as one of the men controls the oars while the other holds out a net pulling in their catch along the way. He uses quick impastoed brush strokes to create a sense of the waves lapping against the boat as it moves through the water while the oars glide across and under its surface. It appears the day’s work has come to an end, with the light slowly starting to fade, casting pale pink highlights that fall along the edge of the boat. The surrounding landscape is a myriad of crosshatched strokes, yellows, pinks and greens while the sky above is a mix of grey clouds. Perhaps the weather is also about to change, as the mountains in the distance turn a midnight blue. He captures the chill and wildness of the Atlantic in the rich blue and green tones.The daily work and traditions of the native people fascinated Lamb. By depicting them in paint, on an expansive scale, he elevated their ordinary lives, celebrating the daily tasks of working the sea as in this example or off the land as in Connemara Harvesters or the weekly custom of the news being read aloud, literacy not a common ability at the time, to a gathering of locals in Hearing the News (1921). There is a real sense as if the men are moving across the surface of the painting, caught for a brief moment by the artist. There is an economy of expression at play, using only small touches of colour to indicate their faces and bodies. This work was included in the Memorial Exhibition held in the Hugh Lane Gallery in 1969, five years after his death. It is reflective of the shift in his career from large-scale portraits towards the broader and more warm toned landscape scenes of his later years. Niamh Corcoran, August 2022
Daniel O'Neill (1920-1974)Girl in the Green MaskOil on board, 46 x 37.5cm (18 x 14¾")SignedProvenance: With Oriel Gallery, Dublin; with Charles Gilmore, Holywood, Co. Down, where purchased by the present owners.Female figures are common in Belfast-born Daniel O’Neill’s oeuvre. His figures often inhabit an air of ambiguity, whether in full portrait or set in serene Irish landscapes. His female subjects are distinct, with their almond eyes cast in shadow, un-naturally slender yet elegant profiles, and dark features more akin to continental Europe than the island of Ireland.Conceptually adrift and open to interpretation, the portraits composed by the artist inhabit many credible subjective readings: maybe the women represent a sister lost in childhood - a life made all too short; the matriarchal anchor of the family, his mother, who creatively encouraged the young artist; relationships past, a marriage to end in divorce; or later in life the birth of his first child, a daughter. For the Catholic minority Belfast boy born into the Irish war of Independence, perhaps his figures were the representation of Ireland herself, mourning those lost in her name and the countless many who emigrated, never to return. Any one of these life story nodes, both personal and political, are credible interpretations of the artist’s work. Nevertheless, any resolve to these narrative uncertainties remains veiled by O’Neill himself and his untimely death in 1974.Remarking on the artist’s personality, Liam Kelly describes him as “something of a mystery man” - a trait of enigma that unfolds all too well on canvas. Although, less so often do his figures quite literally wear this mystery as Girl in the Green Mask does. The darkened green teal mask frames her distinctly O’Neill-style wide eyes, linking to her hairline and backdrop, all awash in darkened turquoise turned teal. The borders between the flattened background, long flowing hair and mask all become mediating zones rather than distinct boundaries. Girl in the Green Mask’s Delphian-like ambiguity seeks no resolve and instead gestures to an alluring melancholy in motion. Does her head tilt in sorrow or in comfort to greet the upward vitalic brush strokes of O’Neill’s flowers; do the flowers come to fall in her arms to embrace or drift upwards fleetingly; the far lines on the corner of her mouth signal a modest smile rising or one which is fading. Girl in the Green Mask is a melancholic pivoting point, but whether to or from is the punctum of unresolve.Aside from a few classes at Belfast College of Art, O’Neill was primarily self-taught and much is owed to the people and places that fostered his creativity into fruition. From his mother to a bygone bohemian Dublin, and not least of all people like Mr Jenkinson - the head of Belfast reference library. Jenkinson bent the rules in lending out O’Neill illustrated books over weekends, resulting in a young Irish artist’s introduction to the European Masters. A creative, fertile ground came to be when Sidney Smith opened up his studio to O’Neill. The result was a space for contemporaries such as Colin Middleton, Markey Robinson and Gerard Dillon to cross paths or creatively weave together as Dillon did in painting several portraits of O’Neill.Professional certainty was ascertained in the 1940s when Victor Waddington signed the artist to his Dublin gallery, allowing him to paint full time; the professional relationship would last until 1970. By his untimely passing in 1974, he had lived and worked in Belfast, Dublin, London, and Paris; exhibited in over twenty overseas group exhibitions; held solo shows in Dublin, Belfast, and Montreal; and had his first retrospective in 1952. In 2022, Karen Reihill curated the artist’s first retrospective in seventy years at Farmleigh Gallery, Dublin, showcasing work borrowed from collections of IMMA, the University of Limerick, and the Ulster Museum. Some work unseen by the public for over 50 years was opened to critics and audiences, old and new, welcoming new interpretations and further canonising the artist to the status of his contemporaries. Simon Bhuiyan, August 2022
Yuri Podlyaski (Russian, 1923-1987). Oil on canvas painting titled "Zhenya," depicting a portrait of a young Soviet Russian girl, 1955. Signed along the lower right. Further signed and titled along the verso.Sight; height: 16 1/2 in x width: 13 1/4 in. Framed; 23 1/4 height: in x width: 20 in.
Heywood Hardy (British, 1843-1933). Oil on canvas painting titled "The Fresh Team," depicting a rural inn with two teams of horses. Signed along the lower left.Hardy was well known for his equestrian paintings and depictions of animals as well as landscapes. While originally a musician, Hardy eventually decided to leave that career behind to become a painter. Stemming from a family of artists, his first two paintings were accepted for exhibition at The Royal Academy in 1864. He studied at the Ecole des Beaux-Arts in Paris before returning to London and beginning his long career of studying wildlife and horses. He was a founder of the Royal Society of Portrait Painters and the Royal Society of Painter-Etchers as well as a member of the Royal Institute of Oil painters and an associate of the Royal Watercolour Society.Unframed; height: 20 in x width: 30 in. Framed; height: 27 1/2 in x width: 37 1/2 in.
Late Qing Chinese ancestor portrait, ink and color on paper, depicting three figures, two women and one man. The central male figure is dressed in a vibrant blue surcoat with a red and gold civil rank badge beneath a pi ling and ling tou collars, a court necklace, and a brimmed hat with a tall finial. The two women are dressed in matching red robes, elaborately decorated in gold with four clawed dragons. 19th century.Huaxin; height: 90 in x width: 35 1/2 in. Scroll; height: 66 in x width: 38 1/2 in.
George Hurrell (American, 1904-1992). A large group of nineteen headshot photographs depicting celebrities and models such as Humphrey Bogart, Marlene Dietrich, Amelia Earhart, Katherine Hepburn, and Elizabeth Taylor. Seven portraits printed by George Hurrell or from the negatives; one large portrait of Marlene Dietrich hand signed and editioned by Hurrell. Also included are celebrity portraits by Clarence Sinclair Bull, Edward Steichen, A.L. Schafer, John Engstead, and Laszlo Willinger.Unframed Photos, each; height: 10 in x width 8 in. Framed Photos; height ranges from 12 in to 28 in; width ranges from 10 in to 23 in.
Wellington Lee (American, 1918-2001). Portrait photograph depicting famed pinup model Bettie Page (American, 1923-2008) nude wearing a witch hat, with a Jack-o-lantern, ca. 1960. Silver gelatin print. Signed, inscribed, and with Wellington Lee's inkstamp along the verso.Provenance: Directly from the artist, 2000; Private collection, Minnesota.Unframed; height: 20 in x width: 15 3/4 in. Matted; height: 28 in x width: 22 in.
Autograph letter dated May 31, 1804, on Republic letterhead of the Ministry of War from Berthier, the Minister of War, to Napoleon Bonaparte. The letter requests that Napoleon approve "...forty-five men necessary to complete the detachment...for the police of the army of Batavia..." and is approved by Napoleon's signature along the upper right. Included is a print of a portrait of Napoleon and one gold franc. With a certificate of authenticity.Sight; (Coin) diameter: 20 mm. (Letter) height: 11 3/4 in x width: 7 3/4 in. Framed; height: 21 1/2 in x width: 25 1/2 in.
A collection of Bohemian blue glass decanters and candleholders made for the Persian Market. The tall decanter H51cm with a pointed stopper, its ovoid body on plain base, the long neck marked with three rings with a flaring flat rim and a long, tapering stopper, having the portrait of Naser al-Din Shah Qajar King of Persia. The ewer / pitcher with enamel and gilt decoration and the two candlesticks H27cm with gilt decoration. Early 20th century. (6)
Jessica Dismorr (British, 1885-1939)Double Portrait pencil and watercolour31 x 24.4 cm. (12 1/8 x 9 5/8 in.)Executed circa 1926Footnotes:ProvenanceThe Artist, by whom gifted toCatherine Giles, thence by descent toFrances StevensonQuentin StevensonWith Mercury Gallery, London, 2 April 1974, where acquired byMr and Mrs ZieglerDr. Denys WilcoxDavid HerbertWith Louise Kosman, Edinburgh, where acquired by the present ownerPrivate Collection, U.K.For further information on this lot please visit Bonhams.com
Italian school; Mid-18th century."Allegory of sleep.Oil on canvas. Re-drawn,It presents faults in the frame.Measurements: 75 x 98,5 cm; 87 x 110 cm (frame).Scene of allegorical character, where the author has portrayed two little angels in the foreground. While one of them is asleep and lying on the right side of the canvas, the other angel kneels beside him and looks directly at the spectator and questions his attention by making a gesture of silence. This feature creates a contextual connection between the work and the viewer. Furthermore, the character increases this idea of complicity by showing the spectator directly the crab he holds in his hand with the intention of using it to interrupt and disturb his companion's sleep. This element brings an anecdotal and innocent sense to the piece, which involves the spectator beyond aesthetic judgement, thus showing a dynamic and markedly scenographic character, with classical subject matter and expressiveness. As has already been mentioned, the artist arranges the angels in the foreground on a flat surface that is barely visible and is largely covered by a canvas, which shows detailed attention to the qualities of the different materials. In an indeterminate background, as it is not clear whether it is an exterior or interior, behind the angel on the left, a large structure can be seen that may be a vase. This is linked to the variety of flowers that have been portrayed, and which are held by the little angel who is asleep.This "Allegory of Sleep" has a series of details that clearly place it within the Italian school of the Baroque period, as can be seen in the painter's treatment of the chromatic range. Another notable element is to be found in the choice of subject matter: the choice of two little angels, whose conception can be related to the classical tradition, although not a feature of the choice of main themes, indicates the degree and taste of decorativism in painting at the time. Allegorical paintings emerged in the Middle Ages with the intention of exalting the qualities and situations of life. This type of portrait was used to exalt the qualities of a particular personage, such as kings, or well-known personalities. In fact, during neoclassicism, this trend came back into vogue. In this particular case, it is not a portrait of a well-known figure, but the painter wanted to reflect the initial concept of the use of allegory in pictorial art.
18th century German school."portrait of a gentleman".Oil on canvas. Re-coloured.With the inscription of the personage "G. Hv. Netz. 1754 - 1783".Measurements: 91 x 68 cm; 96 x 74 cm (frame).German school of the 18th century, of an illustrious personage G. HV Netz, where he appears with the clothes of the epoch in a funny way where the shirt appears him unbuttoned and the smiling face, contrary to what it was used to realize in the epoch with a serious countenance and creating distance with the spectator, this painting, contributes proximity and kindness on the part of the portrayed personage.
Dutch or Flemish school; 17th century."Portrait of a merchant or sailor", c. 1640.Oil on panel. Engatillada.It has a label of provenance: Count Tomar.Measurements: 116, 5 x 85 cm; 142 x 112 cm (frame).The author of this work shows us a royal and magnificent image, following the models established in the portrait of previous epoch, the artist places the protagonist of the scene between two big curtains that contribute a great theatricality to the scene, in the last plane we can appreciate an interior where a frame stands out in which there is the heraldic shield of the family to which the protagonist belongs, This is a symbol of his social relevance and also shows a portrait inherited from earlier aesthetic formulas, as in the Baroque period the background is completely eliminated and replaced by dark tones that help to monumentalise the figure. As for the main figure, he is portrayed almost in his entirety, turned three-quarter length, dressed in his uniform, sword and baton of command, thus consolidating his social importance, already intuited through the coat of arms. As for the technique, it is worth noting the great realism of the face, which shows us a mature person, with a forehead furrowed with wrinkles, and this realism and quality is also reflected in the clothing, with the white collar topped with lace.It was undoubtedly in the paintings of the Dutch school that the consequences of the political emancipation of the region, as well as the economic prosperity of the liberal bourgeoisie, were most openly manifested. The combination of the discovery of nature, objective observation, the study of the concrete, the appreciation of the everyday, the taste for the real and the material, the sensitivity to the apparently insignificant, meant that the Dutch artist was at one with the reality of everyday life, without seeking any ideal that was alien to that same reality. The painter did not seek to transcend the present and the materiality of objective nature or to escape from tangible reality, but to envelop himself in it, to become intoxicated by it through the triumph of realism, a realism of pure illusory fiction, achieved thanks to a perfect, masterly technique and a conceptual subtlety in the lyrical treatment of light. As a result of the break with Rome and the iconoclastic tendency of the Reformed Church, paintings with religious themes were eventually eliminated as a decorative complement with a devotional purpose, and mythological stories lost their heroic and sensual tone in accordance with the new society. Portraits, landscapes and animals, still lifes and genre painting were the thematic formulas that became valuable in their own right and, as objects of domestic furniture - hence the small size of the paintings - were acquired by individuals from almost all social classes and classes of society.
18th century Spanish school."Portrait of Fernando Escobedo".Oil on canvas.With information in the lower area on the gentleman.It shows slight deterioration.Measurements: 206 x 110 cm; 216 x 121 cm (frame).Juan de Escobedo, secretary of Juan de Austria, was born in Colindres (Cantabria) in 1530 and died in Madrid in 1578.Under the protection of Ruy Gómez de Silva, Prince of Eboli, he was appointed secretary to the Treasury Council by King Philip II, and in 1569 he was appointed warden of the castle of San Felipe and the Royal Houses of Santander.In 1574 he was recommended by Antonio Pérez, the king's secretary, to occupy the post of personal secretary to Don Juan de Austria. This choice, made initially with the intention of keeping an eye on Don Juan, proved unsuccessful as he became one of the most loyal supporters of the then governor of the Netherlands. During this period he gathered evidence of the illicit dealings and support for the Flemish rebels of Pérez and Ana de Mendoza de la Cerda, Princess of Eboli, and was denounced by the latter to the King as an instigator of Don Juan's political manoeuvres.When Escobedo threatened Antonio Pérez with divulging his conspiracy unless he supported the pretensions of Don Juan of Austria in the Low Countries, and fearing that he would be denounced, he ordered his assassination on 31 March 1578. Pérez was tried a year later, fleeing first to Aragon to take refuge in his own charter and then across the border to France, but his death sentence could not be carried out.This murky incident of intrigue and conspiracy, one of the darkest of the reign of Philip II and one which has subsequently come to involve the king himself, has been linked to the fact that Don Juan and Escobedo, once the major problems in the Low Countries had been resolved favourably, wrote to the king, telling him of their desire to return to Spain to take charge of the monarch's policy in view of his success. Antonio Pérez, fearful that his double-dealing would be discovered, and manipulating the monarch in his favour, took the opportunity of Juan de Escobedo's return to court to order his death by hired assassins just a few blocks from the old royal palace in Madrid.Today there is a plaque on the corner of what is now Calle de la Almudena and Calle Mayor, very close to Calle de Bailén, which commemorates this event and reads: "In this street they killed the secretary of Don Juan de Austria, Juan de Escobedo, on 31 March 1578, the night of Easter Monday".
After Augustus John O.M., R.A. (1878-1961)Portrait of Euphemia LambA multiple (?)Signed lower right 'John'EuphemiaLamb was an artist model and the wife of the painter, Henry Lamb. She modelled extensively for Augustus John and came to exemplify the sexual freedom of the bohemian lifestyle of the early 20th century. John Maynard Keynes commented that Euphemia had more of a sex life "than the rest of us put together". Property of a Lady Dimensions:(Framed) 16 (H) x 13 in. (W)(Paper) 11 (H) x 6 in. (W)
Attributed to Joseph Wright of Derby (1734-1797), Portrait of a Gentleman Cleric in a Landscape with a Church Beyond Fine carved and gilded 18th Century frame With old inscription verso 'Duke of St Albans' Provenance: Duke of St Albans; Lord Cavendish; Thence by descent Property of a Lady Dimensions: (Frame) 42 (H) x 35 in. (W) (Canvas) 35 (H) x 28 in. (W)
Loading...-
283284 Los(e)/Seite