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283287 Los(e)/Seite
Los 116
A Boer/Great War group of four medals, to include Queen's South Africa (1899-1902) 3rd type reverse with S.A. 1901, 1902, Orange Free State and Cape Colony clasps, naming 3421 PTE. F. SKIPP. RL: FUS:, 1914 Mons Star, British War and Victory, L-1082 SJT. F. SKIPP. 1/R. FUS., together with an Edwardian silver double sided portrait pendant showing Frederick Skipp and his wife. (5)
Los 75
Leopold III of Belgium, (1901-1983), 3/4 length pencil portrait, signed indistinctly and dated 1941 London, mounted on board, 56 x 46cm, together with various military photographs to include N.C.O.s 26th Course (Rifle) Eastern Command School of Musketry Hythe, "A" Battery The Chestnut Troop Royal Horse Artillery and 4th Battalion Suffolk Regiment "B" Company etc. (6)
Los 74
A collection of portraits and other memorabilia connected to the life and times of Horatio Nelson, 1st Viscount Nelson, including several portrait engravings (x7), and a reproduction page of the logbook of HMS Euryalus recording Nelson's famous signal at the Battle of Trafalgar.Qty: 10R.C. Friske Collection
Los 33
LAWRENCE, TE: SEVEN PILLARS OF WISDOM. A TRIUMPH. [London, Privately Printed, 1926.SUBSCRIBERS' OR “CRANWELL†EDITION. 1 of 170 COMPLETE COPIES, inscribed 'Complete copy I.XII.25, TES' by Lawrence on p. xix, together with his ink correction of the artist for 'The gad-fly' plate from Roberts to 'K'[ennington]. Frontispiece portrait of King Feysal, 66 plates (mostly colour) & text illustrations after Roberts, Eric Kennington, Paul Nash, Blair Hughes-Stanton, Nicholson and others, decorative initials by Edward Wadsworth, endpapers by Kennington, 4 folding maps. This includes the ‘Prickly Pear’ plate not called for in the list of illustrations but, as usual, doesn’t have the Nash line drawings as called for in the list on pp. 92 and 208.4to., IN A RARE FULL VELLUM BINDING, with gilt border and lettering on spine, all edges gilt, later red cloth chemise and slipcase. O’Brien notes that copies were bound differently by several different binders, copies bound in full vellum are extremely rare. Vellum very lightly soiled, border of ‘Camel-march’ plate shaved at left margin. Lawrence bought his Dorset retreat Cloud’s Hill in 1924 in order to finish his account of the war which became Seven Pillars of Wisdom. Reference: O’Brien A040
Los 91
AN INTERESTING COLLECTION OF LETTERS FROM DANTE GABRIEL ROSSETTI TO THEODORE WATTS-DUNTON dating from 1887 to 1881, chiefly concerning updates on Rossetti's works of the time, including a drawing of Mrs Stillman (Marie Spartali Stillman (1844-1927)), but also highlighting Rossetti's loneliness in his latter years, 13 letters in total, 11 with original envelopes, all with typed transcriptions (available upon request)Provenance: Kerrison Preston Esq. and by descentKerrison Preston Esq. (1884-1974) practised as a solicitor in Bournemouth, Hampshire (now Dorset) from 1909 to 1949. He was a noted connoisseur with a collection including Pre-Raphaelite works by Rossetti and Burne-Jones, which were saved for the nation by Duke’s in 2007 and now form part of the collection of the Ashmolean Museum in Oxford. Gabriel Charles Dante Rossetti (12 May 1828 – 9 April 1882), generally known as Dante Gabriel Rossetti was an English poet, illustrator, painter, and translator, and member of the Rossetti family. He founded the Pre-Raphaelite Brotherhood in 1848 with William Holman Hunt and John Everett Millais. Rossetti was later to be the main inspiration for a second generation of artists and writers influenced by the movement, most notably William Morris and Edward Burne-Jones. His work also influenced the European Symbolists and was a major precursor of the Aesthetic movement.Theodore Watts-Dunton (12 October 1832 – 6 June 1914), from St Ives, Huntingdonshire, was an English poetry critic with major periodicals, and himself a poet. He is remembered particularly as the friend and minder of Algernon Charles Swinburne, whom he rescued from alcoholism and persuaded to continue writing. Watts-Dunton had considerable influence as the friend of many of the leading men of letters of his time; he enjoyed the confidence of Tennyson and contributed an appreciation of him to the authorized biography. He was in later years Dante Gabriel Rossetti's most intimate friend (Rossetti made a portrait of Watts in pastel in 1874).
Los 1037
JOHN FREDERICK LEWIS RA (BRITISH 1804-1876) PORTRAIT OF A GENERAL Charcoal and pastel with white, indistinctly signed and inscribed 'General...., Constantinople', 40 x 28cm (15.75 x 11") Condition Report:The work has been framed using old fashioned non-reflective glass and there appears to be foxing spots upper and lower right areas and to a lesser degree right margin areas, left margin area at middle and this is what may appear to be some general light discolouration
Los 1075
SIR JOHN WATSON GORDON PRSA RA (SCOTTISH 1788-1864) PORTRAIT OF A GENTLEMAN (LORNE CAMPBELL B.1792-D.1859) Oil on canvas, 74 x 62cm (29 x 24.25") (Oval) Inscribed with the name of the sitter on a label verso Condition Report:On inspection the rectangular canvas has been framed in and an oval, stretcher bar lines are visible on each of the four sides and there is evidence of small amounts of retouching.
Los 1076
SIR DANIEL MACNEE FRSE PRSA (SCOTTISH 1806-1882) PORTRAIT OF A GENTLEMAN IN BLACK CRAVATE Oil on canvas, signed, 91.5 x 71cm (36 x 28") Condition Report:On inspection the canvas has been lined very mild craquelure evident and some amounts of retouching work seems probable perhaps more so over the darker passages
Los 758
A 14K GOLD AND ENAMEL PENDANT the enamel plaque is in the Limoges style, a portrait of a Elizabethan lady, with 22k gold leaf detail to the enamel, signed Karin. Dimensions of plaque 3.6cm x 2.7cm, dimensions of the pendant 4cm x 4.2cm including bail. Weight 16.1gms Condition Report:Available upon request
Los 762
A DOUBLE SIDED PORTRAIT MINIATURE LOCKETstamped 15ct to the bail, the portrait of a lady surrounded by split pearls. The portrait of the little girl has the inscription 'From Teddy & Evie to Lala Feb 1903.' In original box from Hamilton & Inches, Edinburgh. Dimensions 5.5cm with bail x 4cm. Weight 23.2gmsCites certificate obtained. If you would like to re-sell this item you will also have to obtain a Cites certificate at https://www.gov.uk/guidance/declare-ivory-you-intend-to-sell-or-hire-outCondition Report:There is a crack to the glazing above the lady's head. No pearls missing, light general wear
Los 811
A FRENCH SILVER PORTRAIT LOCKETof a little girl in a coral necklace, in a gilded diamante set frame, diameter 3.3cm, weight 16.8gms, together with a child's coral bead necklace, length 36cmCites certificate obtained. If you would like to re-sell this item you will also have to obtain a Cites certificate at https://www.gov.uk/guidance/declare-ivory-you-intend-to-sell-or-hire-outCondition Report:Available upon request
Los 985
TAMARA DE LEMPICKA (POLISH 1898-1980) SELF PORTRAIT Gouttelette print, stamped Chelsea Green Editions and numbered 30/100, 58.5 x 43cm (23 x 17") To be sold with Certificate of Authentication which is numbered and signed by the artist's granddaughter, Victoria De Lempicka Condition Report:Available upon request
Los 321
Group of modern prints. Includes one Norman Rockwell (American, 1894-1978) print depicting a boy with his dog and a medicine bottle; one Bertrand Dorny (French, b. 1931) abstract print; two Salvador Dali (Spanish, 1904-1989) prints, "Portrait of Picasso," and "The Virgin of Guadalupe"; and a portfolio of four abstract prints by Lebandang (Vietnamese/French, 1921-2015).Prints; height ranges from 24 1/2 in to 30 in; width ranges from 18 1/2 in to 22 in. Portfolio; height: 32 in x width: 22 1/2 in x depth: 1 1/2 in.
Los 270
Oil on canvas portrait of distinguished Minneapolis businessman Eder H. Moulton (1844-1927), by Eugene E. Sprigier. He is depicted seated, holding a monocle, against a dark background.Provenance: Distinguished corporate collection, Minnesota.Unframed; height: 42 1/4 in x width: 34 in. Framed; height: 48 1/2 in x width: 40 1/2 in.
Los 87
El-Fayum portrait of a lady. Ancient Egypt, Er-Rubayat period, P. Romano, ca. 121-245 AD.Wood and pigments.In good state of preservation.Carbon 14 test attached.Provenance:- Found in er-Rubaiyat, Egypt, before 1903.- Theodor Graf (1840-1903), Vienna.- Private collection of engineer Claes A. Philip (1912-2000, Sweden), acquired by inheritance. He was a passionate collector of antiques, old paintings, Asian works of art, European furniture and decorative arts. His eclectic home was spectacularly presented in Trollesund Säteri until 1965, thereafter at his home in Stockholm. Behind the frame is a label as an exlibris of the collection, as well as a handwritten note cataloguing the piece.Enclosed are old photographs of the piece in the collector's home, as well as a copy of the collection's inventory page with the piece.Publications:-PARLASCA, Klaus. Ritratti di Mummie. Repertorio d'arte dell'Egitto Greco-Roman. Volume IV. Rome. Series B.N.823 fig. 3.Size: 34 x 17.5 cm.The present panel was part of the first collection of portraits of El Fayum assembled by the Viennese antiquarian Theodor Graff in the late 1880s, an important compilation that introduced this genre of portraiture to the Western world. Theodor Graff was a carpet and art dealer who, in 1887, acquired more than 300 portraits of mummies such as the one presented here. He exhibited the pieces in various places in Europe and America to great public acclaim, selling them to various institutions and private collectors. The success of his collection led him to supply portraits to the most important international museums, from the British Museum in London to the Metropolitan in New York.The Fayum portraits are realist-style paintings on wood that originally covered the faces of mummies from the Roman province of Egypt. They are part of the tradition of panel painting, a highly respected discipline in the classical world, and are the only major ensemble of this tradition that has survived to the present day. It was continued in the Byzantine and Western traditions of the post-classical world, including Egyptian Coptic iconography.They have been found throughout Egypt, but are most common in the Fayum region, and date from the Roman period, from the 1st century BC onwards. Although it is not known for certain when their production ended, research suggests that it was around the middle of the 3rd century. Often, given the realism of these portraits, they can be dated by the type of hairstyle, jewellery or clothing.These portraits covered the faces of mummified bodies, complementing the traditional cartonnage of Egyptian mummies. They usually depict a single person, showing the face or head and upper torso, always with a frontal view. Stylistically, these images are directly inherited from the Greco-Latin tradition rather than the Egyptian one. In fact, the population of the Fayum area grew considerably as a result of a wave of Greek immigration during the Hellenistic period.In terms of technique, there are two groups of portraits: those painted in encaustic, using wax, and those painted in tempera, although they are always on wood.These works are of exceptional historiographical interest as they illustrate the meeting point between Greek painting, Roman realist portraiture and Ancient Egyptian religion. In fact, the Egyptians believed that their funerary portraits should be as realistic as possible so that they could be clearly recognised after death.
Los 105
HARRINGTON MANN R.P., R.E. (SCOTTISH 1864-1937) STUDY OF CATHLEEN MANN Signed, oil on canvasboard(41cm x 30.5cm (16in x 12in))Mann's daughter Cathleen was born in Newcastle in 1896. She was taught by her father, his friend the artist Ethel Walker and trained at the Slade School of Fine Art in London. Cathleen became an established artist in her own right and was elected to the Royal Society of Portrait Painters and the Royal Institute of Oil Painters. Following her 1926 marriage to Francis Archibald Kelhead Douglas, the eleventh Marquess of Queesberry, she became unwillingly known as the 'Painting Peeress' (see ed. Alice Strang, Modern Scottish Women: Painters and Sculptors 1885-1965, National Galleries of Scotland, Edinburgh, 2015, exh. cat., p. 76).
Los 117
◆ ANCELL STRONACH (SCOTTISH 1901-1981) WHERE SINKS THE VOICE OF MUSIC INTO SILENCE Signed and dated 1924, oil on canvas(127cm x 102cm (50in x 40in))Provenance: Purchased from the Fine Art Society by John W. D. Thomson in 1980, and thence by descent. Exhibited: The Royal Glasgow Institute of Fine Arts, 1924 ‘Ten Years of The Fine Art Society in Glasgow’ exhibition, 1989Note: Ancell Stronach is generally an unfamiliar name, even to Scottish Art enthusiasts, but in his day he was a significant figure in the Scottish art scene. Born in Dundee, he trained at the Glasgow School of Art, winning many awards and a travelling scholarship. Following his studies he worked professionally as an artist, designing stained glass, painting murals, decorating churches and establishing a reputation as a portrait artist. Alongside his own painting he also taught, rising to the position of Professor of Mural Painting at Glasgow School of Art. He was elected a member of the R.S.A. in 1934, and exhibited internationally at the R.S.A., R.A., Paris Salon and in exhibitions in Canada, New Zealand and America; all the markers of a significant and accomplished career. Where Sinks the Voice of Music Into Silence is bold and decorative, with the vibrant colour and ecclesiastical details that were the signature of his painting at this time. Stronach pulls detail, poetry and inspiration together masterfully in this work, with areas of rich, flat colour interspersed with delicate patterning and design. Close attention reveals a wealth of considered detail, such as the tendrils of the male figure’s beard, the curling waves at the bottom-left corner and the snow-topped hills in the distance. The composition is accomplished: the delicate angelic wings are centred in the canvas, with the figures placed in a ‘V’ around them, maintaining balance and visual interest as every inch of canvas is utilised. The result is a richly rewarding viewing experience. Stronach’s poetic title does little to reveal the meaning or moment that this work depicts, but it nevertheless further evokes the atmosphere that the painting itself conveys. The feeling is symbolic and meaningful with a sense of mysticism, creativity and spirituality. Artistically, Stronach was inspired by early Italian fresco painters and the Pre-Raphaelites, though his commitment to mural painting and stained glass design also shines through in this significant work. His chosen style and subject reflects the wider Celtic Revival movement prevalent in Scotland’s arts scene at the time, which is also visible in the work of contemporaneous artists such as John Duncan and Phoebe Anna Traquair. The Celtic Revival and the Pre-Raphaelites were concerned with looking to a distant past for inspiration and Stronach strives for that here. The melding of historic and modern lends the painting an essential timelessness in its beauty. At the outbreak of war in 1939, Stronach felt his opportunities as an artist were greatly reduced by the extenuating circumstances and took the opportunity to change direction, pursuing a long-standing interest in animals and the circus. He married a professional acrobat and they toured together with his show, entitled ‘Ancell and his 40 Painted Pigeons.’ He did not engage with the art world for the remainder of his life, though it is believed he continued to paint for personal pleasure. It is for this reason that his name remains relatively unknown, and the appearance of his works on the market is rare; ultimately his professional painting career only lasted for a very limited period, despite his talent and success. Where Sinks the Voice of Music into Silence was first exhibited at The Royal Glasgow Institute of Fine Arts in 1924. More recently it was purchased by the current vendor’s late husband at the Fine Art Society in 1980. The vendor remembers the dramatic moment of seeing this work for the first time, and the immediate decision to purchase. In the forty years since, it has hung in just two locations, his architectural practice in the West End of Glasgow and their home in Stirlingshire. A rare opportunity now presents itself for this rich, dramatic and decorative work to find a new home.
Los 178
NO RESERVE Holroyd (Michael) Bernard Shaw, 3 vol., first edition, plates, original cloth, price-clipped dust-jacket, slight creasing to edges, 1988-91 § Munnings (Sir Alfred) An Artist's Life, 3 vol., portrait frontispiece, plates, original cloth, housed in original slipcase, 2001 § Fridlander (Ernest D.) Matthew Maris, one of 750 copies, frontispiece, plates, scattered faint spotting, previous owner's ink signature, original cloth, slight bumping to corners and extremities, dust-jacket, slight creasing to edges, 1921; and others biography, 8vo & 4to (c.80)
Los 75
Baines (Edward) History of the Cotton Manufacture in Great Britain, first edition, extra-illustrated with 18 plates, some folding or double-page, contemporary ink ownership signature to half-title, portrait frontispiece offset to title, occasional spotting or foxing, modern burgundy half morocco, 8vo, [1835].
Los 50
Fielding (Henry) The Works, 4 vol., first edition, portrait frontispiece, occasional spotting, some light foxing to initial and final ff. (including some titles, endpapers etc), endpapers renewed, contemporary calf, rebacked, some repairs to corners, small amounts of scuffing to spine ends, A. Millar, 1762 § Pope (Alexander) The Poetical Works, 3 vol., near contemporary ink ownership inscriptions to titles, occasional spotting, mainly to endpapers, paper repairs to hinges, contemporary half calf, rebacked with morocco labels to spine, Glasgow, Andrew Foulis, 1785 § Rousseau (Jean-Jacques) Emilius; or, An Essay on Education, 2 vol., translated by Mr. Nugent, half-titles, 7 engraved plates, very occasional light marginal foxing or spotting, front endpaper vol. 1 coming loose, contemporary calf, spines gilt, joints cracking, light wear to spine ends and upper corners, lower corners with leather repairs, for J. Nourse and P. Vailant, 1763; and 3 others similar, v.s. (14)
Los 65
NO RESERVE Physiognomy.- Lavater (Johann Caspar) Le Lavater portatif, précis de l'art de connaitre les hommes par les traits du visage, sixth edition, engraved title, hand-coloured stipple-engraved portrait frontispiece of the author and 32 portraits, text ff. foxed, some spotting or staining to portraits, lightly browned, contemporary calf, gilt, rebacked, preserving original backstrip with red leather label, corners little worn, rubbed and marked, Paris, Saintin, 1815; and an 18th century French Pharmacopoeia, 12mo & 4to (2)
Los 208
NO RESERVE Collectables.- Exhibition of a Collection of Silversmiths' Work of European Origin, plates, captioned tissue-guards, scattered faint spotting, strengthened hinges, original buckram, rebacked retaining original backstrip, browned as usual, rubbed and worn, for the Burlington Fine Arts Club, 1901 § The F. S. Mackenna Collection of English Porcelain, 3 vol., portrait frontispiece, plates, original cloth, slight bumping to corners and extremities, Leigh-on-Sea, 1972 § Jackson (Charles James) English Goldsmiths and their marks, frontispiece, plates, tables, cracked upper hinge, original cloth, rubbed and worn, 1905; and others similar, v.s. (52)
Los 41
Paris (Matthew) Historia major. Juxta exemplar Londinense 1640, verbatim recusa, edited by William Watts, 2 parts in 1, engraved portrait frontispiece, title in red and black and with woodcut floral ornament, 'Adversaria sive Variantes Lectiones' and indices bound after part 1, instead of at start as per ESTC, occasional spotting or light staining, contemporary panelled calf, rebacked, preserving original backstrip in compartments with a new but to style red morocco, label, corners restored, rubbed and scuffed, [Wing P359], For A. Mearne, T. Dring, B. Tooke, T. Sawbridge, & G. Wells, 1684; and another, Salomon Glass, folio & 4to (2)
Los 152
Binding.- Boswell (James) The Life of Samuel Johnson, 2 vol., newly edited by Roger Ingpen, plates and illustrations, full red morocco with black morocco portrait silhouette onlays to upper covers, by Bayntun-Riviere, g.e., 4to, Bath, 1925.⁂ A very handsome set of this important edition with numerous illustrations and copious notes, bibliography, chronology et.
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283287 Los(e)/Seite