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Los 1
JOSÉ ROYO (Valencia, 1945)."Young woman embroidering".Oil on canvas.Signed in the lower left corner.Measurements: 61 x 38 cm; 90,5 x 68 cm (frame).A precocious painter, José Royo began his drawing studies when he was only seven years old. After studying with the best masters of his city, he entered the School of Fine Arts of San Carlos, and finally completed his studies travelling around the great museums of the world, immersing himself especially in Goya, Velázquez and the impressionist masters. These influences marked his pictorial development to the point of becoming a master of post-impressionism himself, heir to Renoir, Sorolla, Monet and Bonnard. The decisive change in his life came when the painter and his family decided to move to the countryside; in a small village near Valencia, Royo built the house that would bring light and colour to his work, which would be an exact replica of his iconography and vice versa, a house full of geraniums and orange trees where the light is precious at every moment of the day, in a different corner. However, the essence of the Mediterranean culture that this artist carries within him demanded, more and more insistently, to paint the sea. Royo then found his second paradise in Mallorca, in the Salmunia cove, where he has moved every summer to paint since the seventies. At the same time, his career became increasingly successful, first in Spain and soon throughout Europe. The Mediterranean charm shaped by Royo's virtuosity also seduced the Japanese and then the South American market, although it was above all his success in the United States that consolidated this artist as one of the key figures of our time. On the other hand, Royo's eagerness to investigate has led him to explore other fields such as sculpture or silkscreen printing, always accompanied by public recognition. He has also excelled as a portrait painter, portraying the presidents and High Magistrates of the Spanish Supreme Court, aristocratic personalities and His Majesty Don Juan Carlos I for the Spanish Embassy in Japan. Royo is currently represented in the Diocesan Museum of Barcelona, among other collections.
Los 26
VENANCIO VALLMITJANA BARBANY (Barcelona, 1826/28 - 1919)."Maternity".Terracotta.Signed on the lower right front part of the base.Measurements: 55 cm high.Brother of the sculptor Agapito Vallmitjana, he began his training with him at the School of Fine Arts of La Lonja in Barcelona, where they were disciples of Damià Campeny. Venancio was awarded the school prize in 1844. Between 1853 and 1854, together with his brother, he made the statues of the Evangelists for the altar of the church of San Justo in Barcelona, which was to be his first major commission. In 1856 Venancio was appointed professor at the La Lonja School, and two years later he was commissioned to create the allegorical figures for the façade of the Bank of Barcelona, a work which until then, for reasons of prestige, had been left to Italian sculptors. His teaching work is particularly noteworthy, as he was the teacher of outstanding sculptors such as Pablo Gargallo. Queen Isabella II visited the brothers' workshop in 1861 and commissioned a portrait of him and a Saint George. Venancio took part alone in the National Exhibition of Fine Arts in Madrid in 1864, and with his brother in the editions of 1867 and 1876. In 1890 he again took part alone and won a first medal. They both travelled to Manchester in 1872 to portray Lord Stanley and his wife, and Venancio later travelled alone to Paris, where his work aroused the interest of the French public. The Vallmitjana brothers were among the best representatives of Catalan sculpture of their time, and their work was characterised by Romantic reminiscences and a marked realist detail. They also stood out for the great naturalism of their work. Agapito favoured a restrained pathos, while Venancio, undoubtedly more brilliant, was characterised by greater spectacularity and a taste for anecdotes. Venancio was the only one of the two who worked with glazed ceramics applied to sculpture. Venancio Vallmitjana is represented in the Lázaro Galdiano Museum, the Army Museum in Madrid, the Gaudí House Museum, as well as public works in Barcelona, Madrid and Valencia.
Los 48
Circle of FEDERICO DE MADRAZO Y KUNTZ (Rome, 1815 - Madrid, 1894)."Portrait of a Knight belonging to the Order of Santiago", c. 1850.Oil on canvas. It presents slight jumps in the painting.Measurements: 101 x 82 cm; 140 x 100 cm (frame).Oval portrait whose protagonist is shown to the spectator through a long bust, and very slightly turned because in spite of his posture, his rigidity stands out, which seems to give him a certain frontality with respect to the spectator. The most notable feature of his figure is his clothing, where we can see the large cross that indicates his membership of the order of Santiago. Proud of his rank, he wears a white cloak which highlights the vermilion of his cross and therefore his social status. A characteristic - In this portrait, as in the rest of Federico de Madrazo's work, the artist emphasises the personality of the sitter, carrying out a psychological study of the model. He applied a short, precise brushstroke to the drawing, bringing luminosity to the flesh tones.The son of the painter José de Madrazo, who was also in Rome serving Charles IV in exile, Federico de Madrazo moved with his family to Madrid when his father was appointed court painter to Ferdinand VII in 1819. Shortly afterwards the Royal Museum of Paintings was inaugurated, an institution that was to play a key role in Federico de Madrazo's life. During his childhood and youth he visited it frequently with his father, who was in fact responsible for the museum's lithographic establishment from 1826 and its director from 1838 to 1857. A precocious painter, Federico de Madrazo joined the San Fernando Royal Academy of Fine Arts as an academician of merit at the age of sixteen. During his youth he founded the magazine "El Artista" with his brother Pedro, which was an important Romantic novelty and in which Federico was responsible for the illustrations. In 1832 he took a scholarship to Paris to study painting with Ingres, a friend of his father's. There he acquired a Romantic style in the style of his father. There he acquired a romantic style in the French manner. In 1840 he continued his training in Rome, where he came into contact with the Nazarenes and in particular with Overbeck, which strengthened his drawing skills, already important in his style thanks to what he had learned from his father and Ingres. An illustrative work of this Nazarene influence on Madrazo is Las Marías en el sepulcro ("The Marys at the Sepulchre"). Two years later he returned to Spain, having become a painter of great prestige, much sought after as a portraitist by the Madrid aristocracy. He was Queen Isabella II's court painter and was the great official portraitist of the time. His portraits were characterised by the simplicity and naturalness of his models, and by a distant serenity, intimately linked to Romantic sentiment. He was also director of the Museo del Prado, a post he held, albeit on an interrupted basis, for thirty years until his death. He also directed the San Fernando Royal Academy of Fine Arts. He had a brilliant career as a history painter and, especially, as a portraitist, achieving great prestige in the artistic circles not only of Madrid but also of Paris and Rome. His production evolved from a painting dominated by purism of line and painstaking detail towards a more fluid and spontaneous technique, with greater expressive depth. Federico de Madrazo is currently represented in the Museo del Prado, the Museo Nacional del Palacio de Versalles, the Museo de Bellas Artes in Bilbao, the Fundación Lázaro Galdiano and the Museo Romántico in Madrid, among others.
Los 4
Attributed Jean Claude Francois Joseph Rosset, known as Rosset père (French, 1706-1786): A pair of carved Carrara marble busts of the Baron de Montesquieu and his wife Jeanne Lartique (2)the sitters looking to dexter and sinister, both clad in loose classical style drapery, Madam de Montesquieu wearing a draped scarf about her head, raised on integral circular socles, 24.7 and 26.7cm high (2)Footnotes:Provenance:Acquired by a private UK collector, Sotheby's, London, 4 July 1996, European and Works of Art from the Collection formed by the British Rail Pensions Fund, lot 84.Exhibited::Museum of San Antonio, Texas.Literature:U. Fischer, Une Famille des Sculpteurs et Peintres Courtois: Les Rosset, 1919, Paris.Perhaps remembered for his greatest literary work 'Esprit de Lois' (published 1784) and as one of the key figures of the French Enlightenment, Baron de Montesquieu (1689-1755) was a man of letters and one of the foremost philosophers of his day.Joseph Rosset was the eldest member of what became a family dynasty of sculptors. Originating from St Claude in Eastern France, he and his sons, Jacques-Joseph Rosset (1741-1826), François-Marie Rosset (1743-1824) and Claude-Antoine Rosset (1749-1818) often worked together producing a numerous portrait busts and statuettes of famous figures of the day, most notable that of Voltaire. Joseph Rosset is generally thought to have produced many of the basic models which they worked on and it is likely that they continued to reproduce these models after his death.For further information on this lot please visit Bonhams.com
Los 78
A rare and interesting James II leaded bronze measure, of bushel capacitycirca 1685-1688the rim struck four times with the dagger mark for London, and four times with an 'I' beneath a crown, the body engraved with the coat of arms of JEFFREYS to one side, and the crest of JEFFREYS to the other, both within leafy mantling, with angular lug handles and raised on three lion's paw feet, 50cm rim diameter x 17.5cm highFootnotes:The arms engraved on this bushel measure are as follows ermine, a lion rampant sable, a canton of the last; the crest a demi-lion or jessant a laurel wreath proper. Both were borne by George Jeffreys, 1st Baron Jeffreys of Wem (1645-1689) otherwise known to history as Judge Jeffries. Engraved beneath a baron's coronet, they must date from 1685 or thereafter when Jeffreys was raised to the peerage as 1st Baron Jeffreys of Wem. This conforms with the verification marks to the measure's rim, one of which is a crowned I (J), for James II, who succeeded his brother Charles II in the same year. Jeffreys was born at Acton Park near Wrexham in Denbighshire. His elevation to the peerage in 1685 was the culmination of a distinguished legal career. Jeffreys entered the Inner Temple in 1663 and was called to the bar in 1668. He obtained his first public legal office in 1671, when he was elected common serjeant of London. In 1677, he was knighted and made king's counsel. Shortly afterwards, he was appointed Recorder of London, the city's highest legal office. It was shortly afterwards that he opened the treason case against Edward Coleman, and he presided - with others - over the trial of conspirator William Ireland, both accused as part of the Popish Plot unleashed by Titus Oates. Jeffreys, as recorder, pronounced sentence. In 1679, James, then duke of York, asked Jeffreys to serve as his solicitor-general and in 1681, the King made Jeffreys a baronet. Two years later, he was appointed Chief Justice of the King's Bench and was sworn a member of the Privy Council. In 1684, he was engaged in prosecuting members of the Rye House Plot, including Sir Thomas Armstrong. On 16 May 1685, Jeffreys was raised to the peerage, his title taken from the Shropshire manor he had acquired the year before. In July, he and four other judges were sent on assizes in the west of England, to try rebels captured after the battle of Sedgemoor following Monmouth's rebellion. Jeffreys has been pilloried for his part in the death of Lady Alice Lisle, an elderly widow accused of treason for giving shelter to a few of the rebels. Cross-examined vigorously by Jeffreys, she was executed, but it has been noted by scholars in recent years that it was James II who denied her mercy. Approximately two hundred rebels were executed and another thousand were transported to the West Indies. On his return to London, in September 1685, Jeffreys was made Lord Chancellor.Jeffreys did not endorse the King's attempts to seek toleration for Catholics by remodelling county benches and urban corporations, and his influence appears to have waned slightly thanks to the rising influence of Catholics at court. In April 1687, he refused to sign James' first declaration of indulgence. However, in 1688, he was present when the Prince of Wales was born and, in July 1688, when Jeffrey's son John married Lady Charlotte, the heir of Philip Herbert, seventh earl of Pembroke, the king was present at Bulstrode, the estate purchased by Jeffrey's in the 1670s and rebuilt (after a fire) in the mid-1680s.His fortunes followed those of James II, and Jeffreys, caught trying to flee the realm, died in prison in 1689. In his will, he explained that he had been 'in hopes not withstanding my long indisposition of belly [he had been ill for some years]...' of recovering 'soe much strength as to have been able to have vindicated myself...'. He left five children, three from his first marriage and two from his second. His son, John, left a single surviving daughter, Henrietta Louisa, later Countess of Pomfret.Despite his reputation for cruelty and vindictive judgments, Jeffreys was also celebrated as a very able lawyer, and a master of cross-examination who presided ably in civil cases. None of his decrees as Lord Chancellor were later reversed.It is, perhaps, of interest that two similar bushel measures survive at Erddig, not far from Acton Park, where Jeffreys was born and grew up. One (NT114768) is dated 1663 and the other (NT1147687), 1716. The latter is inscribed for John Meller, 'Farmer of the Toll' within the town of Wrexham, and dates from the year he acquired Erddig from Joshua Edisbury. Both measures have more typical stylised paw feet. Interestingly, Sir Godfrey Kneller's (1646/9-1723) portrait of George Jeffreys, together with a portrait of his brother (NT1151315), Sir Thomas Jeffreys, hang at Erddig and were reputedly acquired by the Yorke family (then owners of Erddig) in the late 18th century.For further information on this lot please visit Bonhams.com
Los 87
Edwin Whitney-Smith (British, 1880-1952): 'The Baltic Fountain', an important and impressive patinated and polished bronze figural fountain commissioned for the Baltic Shipping Exchange, London, 1907cast by the A. B. Burton Foundry, Thames Dittonthe female nude probably representing a sea nymph, holding aloft a model of a galleon in her upheld hands, standing on a shell and rockwork plinth issuing four sea serpent head spouts, signed and dated within the cast E. Whitney Smith, 1907, above a circular dished basin, raised on an octagonal open plinth cast with seaweed and foundry inscription A. B. Burton, Founder, Thames Ditton, the spreading circular base cast with sea scallop shells above a capitalised Latin presentation inscription to the outer border translating as 'This fountain was given by Edward Power and Edward John Power, father and son, well known/distinguished merchants (67) who for many years were members of the Baltic co/council/consigliore and who were its leaders 1907.', 281cm high x 136cm diameter approximatelyFootnotes:Bonhams is delighted to offer the Baltic Exchange fountain in our 'Fine Decorative Arts: Through the Ages' sale.The fountain, which formerly sat in the lobby of the Exchange's headquarters at 38 St Mary Axe, London however cannot be housed in the new designs of the building.Earlier this year the sale of the fountain was postponed while alternative options were investigated. One of these options was to donate the fountain to the National Maritime Museum in Greenwich. However, it was then concluded that the piece was 'outside the Museum's collecting remit'. The amount raised will go towards funding a new Baltic Exchange lifeboat at Salcombe for the Royal National Lifeboat Institute (RNLI).'The Royal Academy Exhibition', The Building News, April 26th, 1907, Vol 92, p. 607.'Of the other works in the Central Hall, Mr. E. Whitney Smith's 'Drinking Fountain,' No. 1664, is the most delicately beautiful, with its fanciful base of seaweed, and its group of large shells surrounding a rock, on which a nude figure stands, holding the hull of an ancient galleon in her outstretched arms;...' Edwin Whitney-Smith: Born in Bath, Somerset, Edwin Whitney-Smith studied sculpture at Bath and Bristol Schools of Art. He also worked as assistant to William Harbutt, the inventor of plasticine and headmaster of Bath art school. Smith subsequently moved to London and began exhibiting at the Royal Academy and Paris Salon. Shortly afterwards, he began to hyphenate his name and thereafter styled himself as 'Whitney-Smith'. He received many commissions for portrait busts as well as creating small statuettes and, as was typical of his generation, a number of war memorials. Amongst his portrait sitters of note were the art critic Adrian Stokes, the painter Sir Alfred Munnings and perhaps also very pertinently given the maritime theme of the offered lot, the Liverpool shipping magnate, Sir William Forwood. In spite of several Academician proposals by prestigious sculptors and artists of the day during his career (including the sculptors Frederick William Pomeroy, Henry Alfred Pegram and Francis Derwent Wood in 1922 and the artists Samuel John Lamorna Birch and William Russell Flint in 1935), he was unsuccessful in being elected to the Royal Academy although ironically, the renowned sculptor Sir William Reid Dick, who was an early assistant in his studio in the early 1900s went on to secure his own membership two years after Whitney-Smith's death in 1954. The A. B Burton Foundry, Thames Ditton:As one of Great Britain's leading firms of bronze founders, the Thames Ditton Foundry operated from 1874 to 1939 under various owners producing numerous fine major statues and monuments. Established by Cox & Sons, a large firm of ecclesiastical furnishing suppliers, it cast ornaments and statues in bronze for sculptors and commercial suppliers. From 1902 to 1933 the firm came under the sole ownership of Arthur Bryan Burton (1860-1933). Originally apprenticed to Cox & Sons, Burton had later opened his own foundry in Kingston but returning in 1897 to become a co-owner with Arthur John Hollinshead. Burton served as a councillor on Surbiton Council, deacon of Surbiton Park Congregational Church, Sunday school teach, benefactor of the Scout Movement and a Special Constable during World War I.Works of particularly note cast by A. B. Burton from the same period include George Frederic Watts's Physical Energy in Kensington Gardens dating from the same year as the Baltic Exchange fountain, Adrian Jones equestrian statue of the Duke of Cambridge in Whitehall dating from 1909 and the forty-ton Quadriga on the Wellington Arch in Hyde Park Corner dating from 1910-11 which is one of the largest bronzes ever cast in Britain.The Baltic Exchange:Baltic Exchange Ltd, a community of hundreds of shipping companies and tracker of maritime transportation markets, was based at 24-28 St Mary Axe in the City of London. The exchange can trace its roots back to 1744 in Threadneedle Street. It was incorporated as a private limited company in 1900.In the early 20th century the firms main premises designed by Smith and Wimble and completed by George Trollope & Sons were opened in 1903. The building had an impressive and distinctively Cathedral-like trading hall housing an unusual stained glass war memorial completed after the first world war (now in the permanent collection of the National Maritime Museum). The building was subsequently used as a film location for a number of period drama films including Howards End, released in 1992.In 1992 on 10 April, the facade and parts of the building were badly damaged by an IRA bomb attack which very sadly saw three people killed and ninety one injured. The fountain suffered some minor damage in the attack but was later re-instated in the replacement modern premises which were rebuilt on land adjacent to the original site.This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Los 89
Sir George James Frampton, RA (British, 1860-1928): A rare and apparently unique patinated bronze bust of St. Georgedated 1905the young male saint clad in armour with downcast eyes, his helmet with deep visor adorned with chain mail, his breastplates with two buckled straps, his backplate with a single buckled strap, his right shoulder raised, the arms erased, the rear signed and dated G.FRAMPTON, 1905, 38.5cm high overallFootnotes:Provenance: By family repute gifted by the sculptor to the vendor's great grandfather, John Henry Frederick Bacon, ARA (British, 1865-1914)Thence by descent to the vendor.Frampton and St George:The present lot, dated 1905, appears to be a cast bust reduction study for the smaller than life size bronze figure of St George on the King Edward VII Memorial in Northampton which was unveiled by King George V in 1913. The warrior saint is depicted on the monument as a slender, beautiful young man in elegant armour and there are undoubtedly influences of Frampton's contemporary Albert Gilbert who produced his own figure of St George for the Prince Albert memorial in the chapel at Windsor, dating from some ten years earlier. Frampton's full length figure of St George for the Northampton monument holds his right arm aloft as if indicating a weapon being raised above his head (originally the figure held a long sword, almost the height of the figure - now lost) and includes full armour and shield. Although the offered bust mirrors the pose of the full figure with the indication of an upheld right arm, these are not included in the composition. As such the feature of the neatly erased arms to the bust perhaps suggests that the cast, as a finished composition, may have been taken from the working model, perhaps as a gift. This is also confirmed by its earlier date (1905) in comparison to the monument (1913). In addition the use of St George as figural theme was not unique to the Northampton monument. Frampton's interest in St George as a theme however dates back to the late 1890s as he adapted his figure of the saint from a statuette of St George that surmounted the orb held by Queen Victoria on his famous and highly acclaimed Calcutta Memorial commissioned to commemorate the Diamond Jubilee. Although the statuette differs from the Northampton figure in that the right arm of the former is not raised, its influence is still undoubted. The importance of this small statuette to the overall composition is certainly felt by the writer of The Introduction to Royal Academy Pictures in 1899 who stated that statuette 'is the one power in the art world that sees irresistible, and its influence is daily becoming more convincing.Similarly, Frampton later used his figure of St George from the Northampton monument as the basis of his Maidstone War Memorial, with a near identical St George used in similar pose but holding a flagpole in place of a sword which was inaugurated in 1922. Sir George James Frampton, RA (British, 1860-1928):A key figure in the New Sculpture movement that championed dynamism and physical realism in sculpture, Sir George Frampton is best known today for his statue of Peter Pan, installed in Kensington Gardens.Frampton was born into a family of stone carvers. He initially worked in an architect's office before deciding to follow his father's profession. He studied sculpture at Lambeth School of Art and the Royal Academy Schools, where he met the artist Christine Cockerell. The two married in 1893 and their son, the painter Meredith Frampton, was born the following year. Frampton's reputation rose rapidly and he attracted early acclaim for his skilled use of many different materials, such as in his 1899 polychromatic bust, Lamia. Together with Lord Leighton, Sir Alfred Gilbert and Hamo Thornycroft, his work was seen as part of the 'New Sculpture' movement and was characterised by a sense of dynamism and layers of rich symbolism. After Queen Victoria's death in 1901, Frampton was commissioned to produce a bronze portrait bust to be installed in Calcutta and a full-length statue for memorials in Winnipeg, Merseyside and Leeds. He was elected a Royal Academician in 1904 and knighted two years later. Frampton enjoyed collaborating with architects and carried out decorative friezes for many public and private buildings, including Lloyd's Registry of Shipping, London (1898- 1901).In 1912, Frampton was commissioned by J.M. Barrie to produce a sculpture of Barrie's beloved character Peter Pan, who had first appeared on the stage eight years earlier. Barrie saw the sculpture as a gift for the children of London, and took out an announcement in The Times on the morning of its instalment, reading: 'There is a surprise in store for the children who go to Kensington Gardens to feed the ducks in the Serpentine this morning ... a May-day gift by Mr J M Barrie, a figure of Peter Pan blowing his pipe on the stump of a tree.' Frampton died in 1928 and his son Meredith took over his studio. Two years later, a memorial to him was installed in St Paul's Cathedral, showing a child holding a miniature version of Frampton's beloved Peter Pan.John Henry Frederick Bacon, ARA (British, 1865-1914)The second son of the well-known lithographer, John Cardanall Bacon, John Henry Frederick Bacon established himself in his teenage years as a gifted black-and-white illustrator and undertook a professional tour of India and Burma. He studied at Westminster School of Art, under the painter and art teacher Frederick Brown (British, 1851-1941), and at the Royal Academy Schools, winning the Creswick Prize for Landscape Painting in 1888. A year later, he began to exhibit regularly at the Royal Academy of Art. He was elected an associate of the Royal Academy in 1903.Bacon and his wife lived at Pillar House, Harwell, Berkshire but returned to London in 1899, living in Hampstead before moving to St John's Wood. It was during the 1890s that Bacon moved back to illustrating, working on books and contributing to periodicals. Bacon contributed to some significant editions of the works of Charles Dickens, including Dombey and Son, Little Dorrit and Martin Chuzzlewit for Gresham's Imperial Edition of 1901.Bacon's images helped construct perceptions of nation and empire, as in his most famous paintings – The City of London Imperial Volunteers Return to London from South Africa (1900, Guildhall) and the Coronation Portrait of King George V and Queen Mary (1912, Buckingham Palace). He was awarded the Royal Victorian Order in 1913.It is very likely that Frampton and Bacon were close artistic colleagues and interacted regularly, perhaps especially when Bacon moved back to London. A sketch of Frampton by Bacon dating from 1901 (The Studio Volume 22, The Offices of the Studio Ltd. London 1901) confirms that the sculptor would have sat for the artist around this time. In addition verbal recollections and reminiscences passed down through the Bacon family to the present vendor confirm that members of the Royal Family frequently came for portrait sittings at the family's London home in the early 20th century. As such, given that the bust of St George was probably gifted to Bacon by Frampton, it seems most likely that Frampton and Bacon, with their multiple commissions for Royal monuments and Royal portraits, would have had much in common and may well have even have been close friends if their paths crossed regularly.For further information on this lot please visit Bonhams.com
Los 543
Künstler (Kopist?) im Stil des 17. Jh.Öl auf Leinwand (doubliert), "Gelehrten- bzw. Evangelisten-Portrait", wohl 18./19. Jh.; unsigniert; vor dunklem Hintergrund die frontal dem Betrachter zugewandte sitzende Dreiviertelgestalt eines weißhaarigen und -bärtigen alten Mannes in dunkelbrauner eremitenartiger Gewandung mit einer Schreibfeder, links auf einem angedeuteten Tisch mit schemenhaft erkennbaren Schriftstücken; typisches Bildsujet eines Gelehrten-/ Evangelisten-/ Philosophen- oder Einsiedler-Portraits, das als Typus seit dem 17. Jh. ausgehend von der niederländischen Kunst im Umkreis v. Rembrandt, Jan Lievens oder Salomon Koninck vor allem auch im 18. Jh. noch in zahlreichen Variationen durch verschiedene Künstler Verbreitung fand; craqueliert u. in der rechten Bildhälfte vermutlich durch Flüssigkeitseinwirkung teils stark schadhafte Malschicht/Oberfläche (restaurierungsbedürftig!), verso entsprechend stark leinwandfleckig; Bildmaße ca. 118 x 100 cm; Rahmung 20. Jh. (Rahmenmaße 129 x 111,5 cm).Gewicht ca. 10,12 kg.
Los 311
3 verschiedene Krüge, Westerwälder Steinzeug, spätes 16. u. 17. Jh.Steinzeug, salzglasiert und teils kobaltblau gefasst; variierte Henkelkrugformen mit geritzten und reliefierten Dekoren; 1 Zylinderbauchkrug m. reich gegliedertem Renaissance-Reliefdekor, u.a. umlaufende Arkadenbordüre m. Wappen der deutschen Kurfürstentümer und Kaiserwappen, am Zylinderhals Portrait-Medaillons und Ziffern, darunter Jahreszahl "1589", am Hals alte Risse und Bestoßungen, Höhe 28,5 cm, unterseitig alte Nummerierung "497 N93" u. Rest eines alten Sammlungs-Papieretiketts; 1 x in Kugelbauchform auf Standring m. eingezogenem Hals u. Maskaronrelief, schauseitiges Wappenmedaillon mit Jahreszahl "1590" u. Weinrankendekor, an Hals u. Henkel alte Klammerreparaturen + Bestoßungen, Höhe 21 cm; 1 x mit Ranken-, Blüten u. Vogel-Dekor, Höhe 23 cm; Provenienz von Zylinderbauchkrug + Kugelbauchkrug lt. in Kopie vorliegender Sotheby's-Schätzung Nr. 70281040 aus dem Jahr 2017 (Schätzwert-Angabe umgerechnet je ca. 800-1000 €) ehem. Slg. Dansette/Brüssel (frühes 20. Jh.). Gewicht 3,02 kg.
Los 97
Brosche / Anhänger mit Achat-Kamee und Collierkette, um 1900.585/- Gelbgold. Gesamtgewicht ca. 27,9 g. Hochoval. Achat-Kamee mit seitlichem antikisierenden Portrait einer jungen Dame aus dem Empire.Breiter, schlichter Fassungsrand. Rückseitige Broschierung und Anhängeröse. Maße der Brosche ca. 51,2 x 41,7 mm. Höhe ca. 9,7 mm.Feine Panzerkette aus 585/- Gelbgold. Gesamtlänge ca. 63 cm.
Los 222
Damen-Bildnisminiatur, wohl England (Umkreis Christian Friedrich Zincke ?), 18. Jh.Farbige weiß gehöhte Brust-Bildnismalerei vor grauem Hintergrund mit (wohl späterer) vergoldeter Anhängerfassung; in ovalem Format fein gemaltes Portrait einer wohl adligen Dame mit dunkler Haube (Witwentracht?) in schwarzem Kleid mit weißem pelzartigen Kragen im Stil des 17. Jh. (erinnernd an entsprechende Portraits Königin Maria Stuarts von Schottland); unsigniert; verso geschlossene vergoldete Metallmontierung mit Anhängeröse, frontal etwas gewölbt verglast, Maße ca. 3,7 x 3 cm.Gesamtgewicht ca. 9,9 g.
Los 759
Rahmen mit Porträtfotografie, um 19008 cm Holz-Profilleiste, schwarz gelackt, mit verkröpften Ecken, Innenleiste in Gold abgesetzt, verglast. Min. Lackschäden. 73 x 60,5 cm (Lichtmaß), 92,5 x 79,5 cm (Außenmaß). Beigeg.: Porträt eines Herrn, Gelatinesilberabzug auf Albumin, retuschiert, sign., dat. "Wilh. Schroers Lehrte/ 1902". Mit Passepartout. Frame with portrait photograph, signed and dated "Wilh. Schroers Lehrte 1902", lacquered in black. Outside mat size 92,5 x 79,5 cm
Los 642
Unleserl. sign., 1. H. 20. Jh. (?)Damenbildnis. Farbkreidezeichnung auf kreppähnlichem Papier, re. o. sign. (unleserl.), mehrere hinterlegte Einrisse. 55 x 46 cm (Bl), hinter Glas gerahmt. Ra. 82,5 x 72,5 cm Portrait of a lady, chalkdrawing, signed (unclearly) upper right, rim tears repaired. Framed with glass and passepartout. Frame 82,5 x 72,5 cm
Los 569
Janssen, Horst (Hamburg 1929 - 1995)"Selbstportrait elegisch". Radierung, 1982. Unten rechts in der Platte signiert und datiert. Unterhalb der Darstellung in Blei signiert. Trockenstempel Edition Rothe, herausgegeben von der Griffelkunst-Vereinigung Hamburg. Hinter Glas in breitem Plattenrahmen. 73 x 61 cm (Ra). WVZ Kruglewsky 62. Melancholy self-portrait. Etching, 1982. Signed and dated in the plate lower right corner. Signed in pencil below the motif right. Framed behind glass.
Los 473
Mayr-Schwaben, Peter Paul, 1908 Legau - 1987 KemptenPorträt. 1942, Öl auf Leinwand, links oben signiert und datiert. Holzrahmen, 61 x 51 cm (Ra). Porträt eines jungen Mädchens mit Zöpfen und Apfel vor einem Gartenzaun. Kleinere Fehlstellen, Krakelee, Farbkreidekritzel auf Apfel. Mayr-Schwaben, Peter Paul, 1908 Legau - 1987 Kempten Portrait. 1942, oil on canvas, signed and dated upper left. Wooden frame, 61 x 51 cm (Ra). Portrait of a young girl with plaits and apple in front of a garden fence. Smaller missing parts, craquelure, colour chalk scribble on apple.
Los 638
Weishahn, O. (spätes 19. Jh.)Bildnis eines Herren mit Bart und Brille. Kohlestiftzeichnung, partiell gehöht, 1895. Signiert und datiert auf Schulterhöhe rechts. Gesamtflächig auf Untersatz montiert. 62 x 49 cm (ges). In den Randbereichen mit Verlusten durch ehemalige Montierung eines Passepartouts. Portrait of a man with beard and glasses. Charcoal drawing, highlighted, 1895. Signed and dated at right shoulder. Mounted. The margins with losses of surface and material due to the remounting of a former passepartout.
Los 442
Porträtmaler, um 1900Herrenbildnis (Brustbild). Öl auf Leinwand, min. Druckstelle an unt. Rand, im Rahmen d. Zt. mit rundem Bildausschnitt gerahmt. Ra. 54,5 x 54,5 cm Pendant zu Damenbildnis, Los [3027-9] Portrait of a man, oil / canvas, frame of the same time with round cutout. 54,5 x 54,5 cm
Los 135
Monogrammist AB, Mitte 20. Jh.Bildnis einer Dame in grüner Bluse. Öl auf Sperrholz, 1955. Monogrammiert und datiert oben rechts. Ungerahmt. 80 x 55 cm. Etwas berieben. Modernes, leicht nachdenkliches Portrait einer Sitzenden; stylistisch in starker Anlehnung an Picasso und die klassische Moderne. Monogrammed AB, Mid 20th century. Portrait of a Lady in green blouse. Oil on ply wood, 1955. Monogrammed and dated top right. Unframed. Paint a bit rubbed. Modern portrait in slghtly melancholy mood; resembling of classic modern art around Picasso.
Los 336
Lindner, Hans. 1883 Zschopau - 1944 NiederwarthaJagdhund, lebensgroß. Öl auf Leinwand, li. u. monogr., verso Nachlassstempel. Sichtbare Schadstelle mit Leinwandperforation am linken Bildrand, weitere kleinere Stellen im Randbereich. Einfache Schutzleiste. 107 x 82 cm Hans Lindner: portrait of a hunting dog, oil/ canvas, monogram lower left, artist's estate stamp at reverse. Damaged spots at rim area. 107 x 82 cm
Los 265
Unbekannter Künstler, 19./20. Jh.Portrait eines jungen Mannes im Stil Rembrandt van Rijns. Öl auf Malpappe, wohl spätes 19. Jh. Unsigniert. Gerahmt. 55 x 48 cm (Ra). Malträger verwölbt. Oberfläche sichtbar berieben und mit Kratzspur über der Nasenpartie sowie einzelnen Fehlstellen. Wohl historisierendes Selbstportrait eines jungen Malers in Anlehnung an die farblich sehr reduzierten Bildnisse des niederländischen Altmeisters in szenischer Beleuchtung. Unknown artist, 19th/20th century. Portrait of a young man in style of Rembrandt van Rijn. Oil on cardboard, pres. late 19th century. Unsigned. Framed. Board wavy. Paint clearly rubbed, scratch across the nose, some small losses. Maybe self-portrait of a young artist in Rembrandt style.
Los 707
Nutting, Joseph. 1660-1722 LondonMary Somerset, Duchess of Beaufort. Kupferstich nach R. Walker, im Schriftrand gestoch. Bez. "The Most Noble Mary Dutchess of Beaufort, Daughter to Arthur Lord Capell (...)". Beschnitten, mont., gebräunt, großer brauner Fleck re. ob. Ecke. Hinter Glas gerahmt. Ra. 44 x 31 cm Portrait Mary Somerset, Duchess of Beaufort. Copper etching by Joseph Nutting after R. Walker. margins cut, lacks of condition. Framed with glass. Frame: 44 x 31 cm
Los 269
Biedermeier-Maler, Mitte 19. Jh.Bildnis einer Dame mit Spitzenhäubchen. Öl auf Leinwand, Mitte 19. Jh. Unsigniert. Ungerahmt. 54 x 47 cm. Starke Krakeluren und Frühschwundrisse mit deutlichem Farbverlust. Restaurierungsbedürftig. Farblich verhaltenes Portrait einer Dame in Schwarz mit Taschenuhr, Granatbrosche und Spitzenhäubchen. Portrait of a Lady with lace cap. Oil on canvas, mid 19th century. Unsigned. Unframed. Strong craquelures with losses of paint. To be restored.
Los 293
Monogrammist WA/ AW, tätig 1. Viertel 19. Jh.Bildnis eines Herren mit weißem Jabot. Öl auf Leinwand, 1823. Unten links monogrammiert und datiert "21/5 (18)23". Gerahmt. 76 x 65 cm (Ra). Leinwand doubliert. Zwei kleinere Retuschen in unterer Hälfte. Krakelee. Unknown painter, active ca. 1825. Portrait of a Gentleman with white collar. Oil on canvas, 1823. Monogrammed "AW/ WA" and dated "21/5 (18)23" in lower left hand corner. Framed. Canvas relined. Two smaller retouches in lower section. Craquelure.
Los 741
Porträtmaler, USA, Mitte 19. Jh.Bildnis einer Schriftstellerin. Öl auf Leinwand, verso Stempel "S (...) TWilliams Broadway New York", reparierte Schadstelle im Bereich des Mundes, Klimakante, Kratzer, partiell kl. Schadstellen. 61 x 51 cm, ohne Rahmen. Portrait painter, probably american, mid 19th ct.: portrait of a woman writer. Oil/ canvas, stamp at reverse: S (...)TWilliams Broadway New York". Old repaired spot, scratches. No frame. 61 x 51 cm
Los 413
Zach-Dorn, Camilla, 1859 Braunschweig - 1951Portrait eines kleinen Kindes. 1909, Öl auf Leinwand, rechts oben signiert und datiert. Holzrahmen, 49,5 x 63,5 cm (Ra). Darstellung eines liegenden Kleinkindes in der Krippe mit beeindruckendem Naturalismus und viel Liebe zum Detail im Gesicht. Zach-Dorn, Camilla Portrait of a small child, oil on canvas, signed and dated, framed. Depiction of a reclining infant in the cot with impressive naturalism and great attention to detail in the face.
Los 164
Marx, A. Tätig um 1920Bildnis des bayrischen Oberjägers Leo Dorn (1835 Oberstdorf-1915 Bad Hindelang). 1920. Öl auf Pappe, am unt. Rand sign. und dat., verso ausführl. bez.: "Adlerjäger/ Leibjäger S(einer). K(önigl.). H(oheit) Prinzregent Luitpold von Bayern". Starke Erhaltungsmängel. Gerahmt. Ra. 85 x 70 cm Portrait of the bavarian eagle hunter Leo Dorn, 1920, oil/ cardboard, signed, dated, enscribed at reverse. Lacks of condition. Frame. 85 x 70 cm
Los 418
Porträtmaler, um 1900Damenbildnis (Brustbild). Öl auf Leinwand, im Rahmen d. Zt. mit rundem Bildausschnitt gerahmt. Oberflächlich angestaubt und Fliegenschmutz. Ra. 54,5 x 54,5 cm Pendant zu Los [3027-1] A ladie's portrait, oil/ canvas, surface dust and dirt. Frame of the same time with round cutout. 54,5 x 54,5 cm
Los 584
Porträt einer Dame, Mitte 18. Jh.Darstellung einer Frau im weißen Kleid, versunken in einer nachdenklichen Pose, weiße Lilien auf ihrem Schoß. Öl auf Leinwand, doubliert, mehrere Retuschen sowie zwei Schadstellen. Prunkrahmen, 94 x 115,5 cm (Ra) Portrait of a lady, oil on canvas, doubled, several retouchings and two damaged areas. Framed.
Los 181
Behrendt, Erich. 1899 Wehlau (Ostpr.)-1983 ErlangenSelbstbildnis im Malerkittel. Öl auf Malpappe, li. u. sign. 60 x 51 cm. Gerahmt. Ab 1918 Ausbildung Staatliche Kunstakademie in Königsberg (Arthur Degner), anschließend Umzug nach Berlin. Dort stark von Künstlern des Blauen Reiters beeinflusst; 1945 Verlust des Ateliers und aller dort gelagerten Arbeiten. 1951 Umzug nach Hamburg und freischaffende Tätigkeit, v. a. als Illustrator und Zeichner. Ab 1967 lebte und arbeitete Behrendt in Langlau/Mittelfranken. Beherendt, Erich, Sefl portrait, oil on painting board, signed, framed.
Los 417
Monogrammist CBH, 20. Jh.Portrait einer jungen Frau, vermutlich Teilkopie nach Rubens oder anderem barocken Künstler. (19)41, Öl auf Malpappe. In der Spitze am Ausschnitt monogrammiert und datiert. Gerahmt, 56 x 50,5 cm (Ra). Im Halsbereich und an der Nase min. beschädigt. Monogrammist CBH Portrait of a young woman, probably partial copy after Rubens or other baroque artist. (19)41, oil on painting cardboard. Monogrammed and dated in the lace at the cut-out. Framed. Min. damaged in the neck area and at the nose.
Los 173
Unbekannter Künstler, 20. Jh.Portrait Johann Wolfgang von Goethe (Kopie nach J.K. Stieler, 1828). Öl auf Leinwand. Unsigniert. Rückseitig unlesbar bezeichnet. Gerahmt. 93 x 80 cm (Ra). Kleine Druckstelle mit Retusche oben rechts. Großformatige Wiederholung des berühmten Goethe-Portraits des bayrischen Hofmalers Joseph Karl Stieler (1781-1858) von 1828, heute in der Sammlung der Neuen Pinakothek München (Inventarnummer WAF 1048). Als Auftragswerk König Ludwig I. von Bayern nimmt es nicht wunder, dass der große deutsche Dichter statt eines eigenen Werkes ein vom bayrischen König verfasstes Gedicht von 1818 in den Händen hält. Unknown artist, 20th century. Portrait of the German poet J.W. von Goethe. Copy after the famous portrait by JK Stieler, Munich 1828. Unsigned. Backside with remarks, not readable. Framed. Small bruise top right.
Los 79
unbekannter PorträtistPorträt eines bärtigen Mannes mit ausdrucksstarkem Blick. Öl auf Leinwand, rechts unten undeutlich signiert, verso in Blei "Dr. Kühnel". Gerahmt, 42,5 x 36,5 cm (Ra) unknown portraitist Portrait of a bearded man with expressiv look. Oil on canvas, illegible signed, framed.
Los 183
Monogrammist AB, Mitte 20. Jh.Kubistisches Mädchen-Bildnis. Öl auf Hartfaser, 1958. Unten rechts geritzt monogrammiert und datiert. Ungerahmt. 55 x 46 cm. Abstrakt aufgelöstes Frontalbildnis in spannender, taktiler Pastosität und Farbstruktur. Vom Werk Paul Klees inspiriert, typisches Beispiel der Modernen-Rezeption in dern 1950er und 1960er Jahren. Monogrammed AB, mid 20th century. Cubistic portrait of a girl. Oil on fibre board, 1958. Monogrammed and dated bottom right. Unframed. Abstracted portrait in interesting paint structure. Inspired by Paul Klee, typical for the reception of modern painting in the 1950ies/60ies.
Los 256
Lampe, Amanda (20. Jh.)Mädchen mit drei Kätzchen. Öl auf Sperrholz, wohl erste Hälfte 20. Jh. Signiert unten rechts. Schmuckrahmen. 66 x 57 cm (Ra). Kinderbildnis eines blonden Mädchens im blaukarierten Kleidchen, einen kleinen Korb mit drei unterschiedlich gemusterten Katzen haltend. Girl with three kittens. Oil on plywood, pres. first half 20th century. Signed bottom right. Ornamental frame. Children's portrait of a small girl in bkue dress holding a basket with three young cats in various fur colours.
Los 431
Unbekannt, Mitte 20. Jh.Herrenbildnis. Unvollendet im Zustand der Unterzeichnung, im Bereich des Kopfes teils in Öl ausgeführt. Auf Pappe. Verso v. fremder Hand bezeichnet "F. Mackensen". Gerahmt. Ra. 66,5 x 56,5 cm Portrait of a man, unfinished, oil/ charcoal/ on board, enscribed at reverse "F. Mackensen". Framed. 66,5 x 56,5 cm
Los 1
Henry Lamb (British, 1883-1960)Sketch for Family Groupoil and pencil on board 23.5 x 24.5cm (9 1/4 x 9 5/8in).Footnotes:ProvenanceWith The Leicester Galleries, London, where acquired byGerald Kelly R.A., November 1931Mrs Marjorie ParrWith Anthony d'Offay, London, where acquired by the present owner, 1983Private Collection, U.K.ExhibitedLondon, The Leicester Galleries, Recent Paintings by Henry Lamb, November 1931, no. 42 (as Sketch for Portrait Group)London, Art Exhibitions Bureau, A Painter's Choice (details untraced)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
Los 155
Sir Stanley Spencer R.A. (British, 1891-1959)Portrait of a Woman pencil on paper33.5 x 23.5cm (13 3/16 x 9 1/4in).Footnotes:ProvenanceWith Stanley Spencer Gallery, Cookham, Cookham Festival, where acquired byMiss V. M. Broadway, 25 May 1967Sale; Sotheby's, London, 25 March 2015, lot 163, where acquired by the present ownerPrivate Collection, U.K.ExhibitedCookham, Stanley Spencer Gallery, Sir Stanley Spencer Exhibition, 12-21 May 1967, no. 6054This 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
Los 164
Sherree Valentine-Daines (British, born 1959)Self-portrait signed with initials 'SEVD' (lower right)oil on board50 x 35.5cm (19 11/16 x 14in).Footnotes:ProvenanceThe Artist, from whom acquired directly by the present ownerPrivate Collection, U.K.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
Los 165
John Bratby R.A. (British, 1928-1992)Portrait of Jean Cooke signed 'BRATBY' (lower right)oil on canvas92 x 71.5cm (36 1/4 x 28 1/8in).Footnotes:ProvenanceWilfred TomlinsonThis 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
Los 172
Celia Paul (British, born 1959)Self-Portrait watercolour and pencil on paper, laid on canvas44.5 x 45cm (17 1/2 x 17 11/16in).Painted in 2004Footnotes:ProvenanceWith Marlborough, London, where acquired by the present owner, 2004Private Collection, U.K.ExhibitedSheffield, Graves Art Gallery, Celia Paul Paintings and Works on Paper, 19 March-11 June 2005Chichester, Pallant House Gallery, Gwen John and Celia Paul: Painters in Parallel, 6 October 2012-3 February 2013, illustratedThis 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
Los 8
Austin Osman Spare (British, 1886-1956)Portrait of a Man Wearing a Cap signed with initials, dated and inscribed 'AOS/PXT/35' (lower right)chalk on paper 41 x 30.5cm (16 1/8 x 12in).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
Los 9
Austin Osman Spare (British, 1886-1956)Portrait of a Man signed with initials, dated and inscribed 'aos/PXT/35' (lower right)chalk on paper 63.5 x 42cm (25 x 16 9/16in).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
Los 215
UNMOUNTED DIAMONDThe portrait-cut diamond, weighing 1.95 caratsFootnotes:Please note this lot has VAT at the prevailing rate on both Hammer Price and Buyer's Premium.This lot is subject to the following lot symbols: ††VAT at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 216
TWO UNMOUNTED DIAMONDSTwo portrait-cut diamonds, weighing 1.73 carats totalFootnotes:Please note this lot has VAT at the prevailing rate on both Hammer Price and Buyer's Premium.This lot is subject to the following lot symbols: ††VAT at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 1337
Circle of Andrew Plimer (1763-1837), Miniature portrait of Mrs Page,: on ivory, dated 15th Nov. 1817 to verso, length of pendant 3.6cm, together with foxtail-link chain, stamped '9C', length of chain ca. 41cm, total weight ca. 6.2gms accompanied by fitted, case. (*Ivory Licence application number QH955XXQ)
Los 1465
A set of six small Wedgwood black basalt oval portrait-reliefs of Roman Emperors from the twelve Caesars: depicting 'Nero/Domitian/Claudius/Augustus/Vitellius and Tiberius', impressed upper case marks and titles, late 18th/early 19th century, 5 x 4cm in ebonised frames [one frame chipped].*Notes Literature Robin Reilly and George Savage 'Wedgwood the Portrait Medallions' page 354 Class VI.
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