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283322 Los(e)/Seite
Los 121
18th Century mahogany Jewish portrait panel depicting the bust of 'Flavius Josephus'; the bust recessed in an oval surround inscribed with name to the top and raised on a brick-work pedestal having a shield emblazoned with the mask of medusa, an open book with the indistinct inscription dated 1791, flag & flaming urn. Believed to be carved after a 1732 edition of translated Josephus works featuring a printed illustration of the subject from which the carving is based, 15.5cm wide, 25cm highFootnote:Flavius Josephus was a first-century Romano-Jewish historian and military leader, best known for The Jewish War, born in Jerusalem then part of Roman Judea, to a father of priestly descent and a mother who claimed royal ancestry.He initially fought against the Romans during the First Jewish–Roman War as head of Jewish forces in Galilee, until surrendering in 67 CE to Roman forces led by Vespasian after the six-week siege of Jotapata. Josephus claimed the Jewish Messianic prophecies that initiated the First Jewish–Roman War made reference to Vespasian becoming Emperor of Rome. In response, Vespasian decided to keep Josephus as a slave and presumably interpreter. After Vespasian became Emperor in 69 CE, he granted Josephus his freedom, at which time Josephus assumed the emperor's family name of Flavius
Los 272
A collection of Victorian and later silver and white metal jewellery and watches, including an oval locket the front with a cusped-panel with gold flower and leaf highlights, between raised floral and wirework panels, hallmarks rubbed probably Birmingham 1891, approximately 50mm high; an Indian embossed white metal tapering round parasol handle, 5.5cm long; a Continental white metal fancy link, elaborate panel and purple-paste guard length necklace with a swivel clasp, approximately 142cm long overall; hung with three monkeys and a pendent trefoil mirror, the sliding cover pierced and embossed with an Art Nouveau female bust, 34mm wide; two pendant medallions, an oval cabochon sardonyx ‘bullseye’ cabochon bar brooch; A Swiss silver cased open-face keyless fob watch; a Continental rectangular portrait miniature brooch with a tiny seed-pearl.
Los 30
A PARCEL-GILT BRONZE FIGURE OF A FLUTIST, SONG TO MING DYNASTYChina, 960-1644. Cast in the form of a standing court lady playing a flute, wearing a long flowing robe incised with foliate decorations at the lower hem as well as billowing scarves and a pendent sash with incised geometric designs. The face with a serene expression. The hair arranged in a high chignon behind the tiara.Provenance: From the collection of Sir David and Lady Scholey. Sir David Scholey CBE FRSA achieved success as a merchant banker in the City of London, later becoming a director of the Bank of England and governor of the BBC. His commitment to the arts was reflected in his role as Chairman of Trustees of The National Portrait Gallery as well as a Director of the London Symphony Orchestra. A lifelong interest in music and art has been shared with his wife Alexandra and together they furnished Heath End House in Hampstead - once the residence of John McNeill Whistler. Regular purchases from the leading London antiques fairs and dealers allowed them to add to those pieces passed down from their families and thus assemble a magnificent collection over decades.Condition: Good condition, commensurate with age. Old wear and minor casting flaws. Minuscule nicks, losses, dents and light scratches.Weight: 217.4 gDimensions: Height 13.5 cm Auction result comparison: Compare a related gilt bronze figure of a lady, also dated Song to Ming dynasty, at Sotheby's Hong Kong in Later Chinese Bronzes from the Collection of Ullrich Hausmann on 7 October 2014, lot 3353, sold for HKD 43,750. 宋至明代鎏金銅吹笛侍女像 中國，960-1644年。吹笛子的侍女立像，她身穿飄逸的長袍，紋飾精美，面容安詳，頭髮在頭飾後面梳成高髻。 來源：David Scholey爵士先生和Alexandra Scholey女勛爵收藏。David Scholey CBE FRSA 是倫敦非常成功的銀行家，曾是英格蘭銀行的董事和 BBC 總裁。 藝術方面，他曾擔任國家肖像美術館受託基金主席和倫敦交響樂團總監。 他與妻子Alexandra都非常鍾情音樂和藝術，他們一起為Hampstead曾是John McNeill Whistler的居所 Heath End House 配置了家具。 因爲他們定期從倫敦主要的古董展和經銷商那裡購買古玩，所以他們能夠不停家族流傳下來收藏添置新品，從而在幾十年裡建立了一個宏偉的收藏。 品相：狀況良好，與其年齡相符，舊時磨損和輕微鑄造缺陷，微小的刻痕、缺損、凹痕和輕微的劃痕。 重量：217.4 克 尺寸：高13.5 厘米 拍賣結果比較：一件同樣為宋代至明代鎏金銅侍女像﹐見香港蘇富比 Later Chinese Bronzes from the Collection of Ullrich Hausmann 2014年10月7日 lot 3353, 售價HKD 43,750。
Los 108
After Alexander Gardner (American, 1821-1882). Oil on canvas portrait of Abraham Lincoln, after Gardner's famous photograph of Lincoln. Illegibly signed along the lower left.Provenance: from the collection of an important Minnesota institution.Sight; Height: 26 1/4 in x width: 21 1/2 in. Framed; Height: 36 3/4 in x width: 32 in.
Los 52
Group of 14 Booker T. Washington Memorial Half Dollars. The obverse features a portrait of Booker T. Washington. Inscribed with "UNITED STATES OF AMERICA, BOOKER T. WASHINGTON, HALF DOLLAR, E PLURIBUS UNUM" and the year. The reverse features the log cabin in which he was born. Inscribed with "BOOKER T. WASHINGTON, BIRTHPLACE MEMORIAL, LIBERTY, FROM SLAVE CABIN TO HALL OF FAME, IN GOD WE TRUST, FRANKLIN COUNTY VA."Group of 27 1893 Columbian half dollar coins featuring a bust of Christopher Columbus surrounded by "UNITED STATES OF AMERICAN * COLUMBIAN HALF DOLLAR" one one side with the reverse featuring a port view of the Santa Maria above two hemispheres flanked by the date 1492 and surrounded by "WORLD'S COLUMBIAN EXPOSITION CHICAGO * 1893."Each; Diameter: 31 mm
Los 77
Autograph from early Connecticut governor Jonathan Trumbull (1740-1809), with a certificate of authenticity from Autograph House, Enka, North Carolina. With a letter from Jonathan Trumbull's brother, noted artist John Trumbull (1756-1843), to his niece, Abigail Trumbull Lanman. With a portrait of Trumbull and a notice for commemorative stamps featuring his artwork. Height: 9 3/4 in x width: 7 3/4 in.
Los 106
Group of three cartes de visite of Abraham Lincoln and Ulysses Grant. The Abraham Lincoln CdV is marked Charles D. Fredricks & Co. "Specialite" 587 Broadway, New York. With an old stamp adhered to the verso. Two cards of Ulysses Grant, one featuring him standing with three-quarter length in uniform with a mourning band on his left arm in honor of the death of Lincoln. The other card shows Grant in portrait in a quarter pose.(Each) Height: 4 in x width: 2 1/2 in.
Los 19
Dutch school; first half of the 17th century."Portrait of a lady.Oil on copper.It has a noble coat of arms on the back.It has slight losses of the pictorial layer.Measurements: 4,5 x 4 cm.It is interesting to point out that in this miniature work the artist has covered the two spaces of the pictorial surface, the front and the back. It is for this reason that on one of the sides of the copper can be seen the presence of a sober female portrait, and on the other a heraldic coat of arms. From the Renaissance miniature portraits, framed in a circle or oval, were pieces for private contemplation. Considered as jewellery, in the 17th century they became pieces of personal adornment or a gift, when they were mounted as jewellery. They were executed in a wide variety of techniques, such as oil on copper, pewter or ivory, gouaches on parchment or cardboard and, from the 18th century, watercolour on ivory. This delicate art was lost from the second half of the 19th century onwards, in parallel with the development of photography.Portraiture, whether individual, group or even character portraits, embodies the relationship between the individual and society, and therefore the state. This genre accounts for a full third of the total output of the Dutch Baroque, and its main innovator in Holland was Frans Hals, who, thanks to the power with which he marked the character of his models, penetrating their personality to the point of giving them vitality and spontaneous truth, was able to free himself from the prevailing late mannerism, giving rise to a new conception of the portrait. Faced with the exuberant and elegant Mannerist portraiture, of virtuoso and elaborate execution, a general reaction was triggered at the beginning of the 17th century, based on compositional austerity and operational sobriety. Thus, in contrast to the previous century's desire for virtuosity, Dutch Baroque portraitists revived the earlier models in a more sober and solid manner, focusing on the characterisation of the sitters, the elegance of the poses and the delicate capturing of the qualities of the various objects.
Los 20
Dutch school; second half of the 17th century."Portrait of a lady.Oil on copper.Measurements: 4,5 x 4 cm.Portrait of young girl in miniature, which represents the bust of the protagonist who is in the centre of the composition, arranged in a strict frontality. From the Renaissance, miniature portraits, framed in a circle or oval, were pieces for private contemplation. Considered as jewellery, in the 17th century they became pieces of personal adornment or objects of gift as they were mounted like jewellery. They were executed in a wide variety of techniques, such as oil on copper, pewter or ivory, gouaches on parchment or card and, from the 18th century, watercolour on ivory. This delicate art was lost from the second half of the 19th century onwards, in parallel with the development of photography.Portraiture, whether individual, group or even character portraits, embodies the relationship between the individual and society, and therefore the state. This genre accounts for a full third of the total output of the Dutch Baroque, and its main innovator in Holland was Frans Hals, who, thanks to the power with which he marked the character of his models, penetrating their personality to the point of giving them vitality and spontaneous truth, was able to free himself from the prevailing late mannerism, giving rise to a new conception of the portrait. Faced with the exuberant and elegant Mannerist portraiture, of virtuoso and elaborate execution, a general reaction was triggered at the beginning of the 17th century, based on compositional austerity and operational sobriety. Thus, in contrast to the previous century's desire for virtuosity, Dutch Baroque portraitists revived the earlier models in a more sober and solid manner, focusing on the characterisation of the sitters, the elegance of the poses and the delicate capturing of the qualities of the various objects.
Los 28
French or Italian school; second half of the 17th century."Portrait of a gentleman.Oil on copper.It presents losses on the pictorial layer.Measurements: 8 x 6 cm.From the Renaissance the miniature portraits, framed in a circle or oval, were pieces for the private contemplation. Considered as jewellery, in the 17th century they became pieces of personal adornment or a gift object, as they were mounted as jewellery. They were executed in a wide variety of techniques, such as oil on copper, pewter or ivory, gouaches on parchment or cardboard and, from the 18th century, watercolour on ivory. This delicate art was gradually lost from the second half of the 19th century, in parallel with the development of photography.In the 17th century, the European portrait scene was varied and wide-ranging, with numerous influences and largely determined by the taste of both the clientele and the painter himself. However, this century saw the birth of a new concept of portraiture that would evolve throughout the century and unify all the national schools: the desire to capture the personality and character of the human being, beyond his external reality and social rank, in effigy. During the previous century, portraiture had become established among the upper classes and was no longer reserved solely for the court. For this reason, as the 18th century progressed, and even more so in the 18th century, the formulas of the genre became more relaxed and moved away from the ostentatious and symbolic official representations typical of the Baroque apparatus. On the other hand, the 18th century reacted against the rigid etiquette of the previous century with a more human and individual conception of life, and this was reflected in all areas, from furniture, which became smaller and more comfortable, replacing the large gilded and carved pieces of furniture, to the portrait itself, which came to dispense, as we see here, with all symbolic or scenographic elements in order to depict the individual rather than the personage.
Los 32
Spanish school, follower of DIEGO RODRIGEZ DE SILVA Y VELÁZQUEZ (Seville, 1599 - Madrid,1660); 17th century."The Jester Sebastián de Morra".Oil on canvas. Re-coloured.It presents damages in the pictorial surface.Measurements: 40 x 26 cm.This work replicates the well-known portrait of Sebastián de Morra nicknamed "the cousin", which was painted by Velázquez around the year 1645. The original work is currently in the Prado Museum in Madrid. In both pieces we see the representation of the jester of King Philip IV, who at first formed part of the court of the Cardinal Infante Don Fernando of Austria, and after his death moved to the protection of Prince Baltasar Carlos, who bequeathed him several objects in his will. Both portraits have the same composition, with the jester in the centre of the scene, seated against a neutral background that gives the figure all the prominence. Despite the damage that can be seen in this work, and the tonal darkness that does not allow all the details to be made out, it is possible to see the suit with lace at the neck, a symbol of distinction and royal protection that the sitter enjoyed, as this type of garment was forbidden for anyone who did not belong to the aristocracy. The work belongs to a series of portraits painted by Velázquez with the intention of decorating the secondary or transitional rooms of the palace (corridors, staircases, etc.). This set of portraits has generated great interest throughout the history of art, and has therefore been widely debated, with theories such as that these works were painted by Velázquez with the intention of dignifying the sitters and criticising the society of the time.Diego Rodríguez de Silva y Velázquez (1599-1660) was the leading artist of the court of King Philip IV of Spain and Portugal, and of the Spanish Golden Age. He began painting in a precise tenebrist style, later developing a freer form characterised by bold brushstrokes. In addition to numerous interpretations of scenes of historical and cultural importance, he painted dozens of portraits of the Spanish royal family and commoners, culminating in his masterpiece Las Meninas (1656). Velázquez's work became a model for 19th-century realist and impressionist painters. In the 20th century, artists such as Pablo Picasso, Salvador Dalí and Francis Bacon paid homage to Velázquez by reinterpreting some of his most iconic images.
Los 41
Cículo de JUAN DE VALDÉS LEAL (Seville, 1622 - 1690)."Saint Francis of Borgia".Oil on canvas.Repainting.Lacking in the frame.Measurements: 64 x 51 cm; 82,5 x 67,5 cm (frame).Contemporary of Murillo, Valdés Leal was his biggest pictorial rival in the Seville of his time. However, their language differs greatly. Murillo's gentleness contrasts with the latter's harshness and dramatic verism. In this representation of Saint Francis Borgia, whom we recognise by the skull and imperial crown he holds in his left hand, the saint is depicted with a countenance reminiscent of other religious figures depicted by Valdés Leal, starting with the painting of the same figure that he produced for the pictorial series on the life of Saint Ignatius of Loyola (now in the Museo de Bellas Artes in Seville). Under the lowered eyelids, black eyes of impenetrably deep expression, together with the frown and half-open lips, reveal with intensity a moment of inner transformation. The dark, velvety-textured clothing accentuates by contrast the naturalism of the flesh tones, both on the face and on the hands. The glittering jewels on the skull denote particular skill in the use of glazes and glitter. The psychological depth and the symbol of the crowned skull convey the horror at the discovery of the decomposition of the Empress Isabella of Portugal when she was about to hand over her corpse in Granada. The jewels symbolise the saint's renunciation of all earthly goods. Especially known for his paintings of vanitas (such as those he painted for the church of La Caridad in Seville), Valdés Leal nevertheless worked on all kinds of religious themes. We do not know when he moved to Córdoba, although it is likely that he had already trained as an artist in his native city. It has been speculated that he was influenced by the workshop of Herrera el Viejo, and also by the art of the Cordovan Antonio del Castillo, as possible influences for his first known signed and dated work, the San Andrés in the church of San Francisco in Cordoba, dated 1647. In it he was able to combine the monumentality of the figure of the saint with a naturalistic approach with visible success. In 1656 he settled in Seville, where he spent most of his life. In 1660 he was one of the founders of the Academy of Drawing, of which he became president in 1663. The following year Palomino set out on his trip to the court and to El Escorial, a journey that can still be understood as an apprenticeship, driven by his eagerness to become acquainted with the works of the great masters in the royal collections. In 1667 he joined the Brotherhood of Charity in Seville, whose founder had been Miguel de Mañara, the noble visionary author of the eschatological Discourse on Truth, to which Valdés would remain attached from then on. In 1671 Valdés Leal had the opportunity to work as an architect on the ephemeral decorations that the Seville cathedral had installed to celebrate the canonisation of Saint Ferdinand. Thanks to these works Palomino defines him as "a great draughtsman, perspectivist and architect". He also produced two engravings, reproducing his works in the cathedral, for Fernando Torres Farfán's book celebrating the event, which gives us an insight into his work as an architect. These are his most important works as a printmaker, although his engraving of the cathedral monstrance, a self-portrait and the posthumous image of Miguel de Mañara are also known. In 1672 he was in Cordoba, an occasion that Palomino took advantage of to meet him personally. This lends further value to the Cordovan treatise writer's affirmation of Valdés Leal's literary interest, as he describes him as possessing "the ornament of all good letters, not forgetting those of poetry".
Los 50
Andalusian School; Circle of JUAN RUIZ SORIANO (Higuera de la Sierra, Huelva, 1701 - Seville, 1763)."Portrait of a clergyman.Oil on canvas. Re-retouched.It has repainting and restorations.Measurements: 159 x 111 cm; 173 x 124 cm (frame).In this scene the author presents us the image of a religious dressed in black tunic, so it is probably the representation of a religious of the order of Saint Benedict. In the centre of the scene, seated at a desk, he looks towards the viewer, revealing a realistic face with a very rounded form, gesture and expression that the artist manages to portray. The figure holds a pen in one of his hands, while the other holds a book from which the palm leaf, referring to martyrdom, is detached. One of the most notable features of the composition is the scene in the central area on the left. Here we can see a group of small figures who seem to be observing something outside the composition. The agitation of this scene contrasts with the stillness of the rest of the painting. It is likely that this device alludes to the texts referring to the main figure or to biographical information about him, so that the painter has introduced it in a narrative manner, with the intention of portraying not only the figure of the religious figure but also his context.Due to the technical characteristics of the work, this piece can be included in the artistic circle of Juan Ruiz Soriano. Born in the town of Higuera de Aracena, now Higuera de la Sierra, Juan Ruiz Soriano trained in Seville with his cousin Alonso Miguel de Tovar (Higuera de la Sierra, 1678 - Madrid, 1752), beginning his pictorial activity in 1725. As a disciple of Tovar, it is logical that Ruiz Soriano's art should at the same time derive from that of Murillo, which is why his pictorial production is characterised by a soft, gentle drawing. We know that he worked for numerous religious orders, which asked him to produce a series of paintings to decorate their cloister walls. He must also have worked extensively for private individuals.
Los 67
Spanish school; circa 1837."Portrait of a lady.Oil on canvas.It has grainy varnish, repainting and restorations.It has a period frame.Signed: Casanova.Measurements: 127 x 98 cm; 148 x 120 cm (frame).The elegance of the clothes, added to the gesture of the lady gives the work an aristocratic tone. The piece is a great technical exercise with a precise drawing based on the detail and meticulousness, almost documentary in nature, of the details, showing great interest in capturing the textures of the fabrics and the qualities of the jewellery with which the protagonist is portrayed, as well as the elements that make up the still life, in which the reflection and the shine can be appreciated. Despite the extraordinary delicacy with which the tactile qualities of the fabrics of the costume are treated, or for example the boa that falls from her neck creating abundant folds, the portrait is rendered with a spirited, synthetic technique. One of the most notable elements in the scene is the lady's hairstyle. It should be noted that during the 19th century the wig was no longer used, which led to a proliferation of hair arrangements, to which floral ornaments, jewellery and even wire frames were added to hold the hair up.In the 19th century, the panorama of European portraiture was varied and wide-ranging, with numerous influences and largely determined by the taste of both the clientele and the painter himself. However, this century saw the emergence of a new concept of portraiture that would evolve throughout the century and unify all the national schools: the desire to capture the personality and character of the human being, beyond his external reality and social rank, in his effigy. During the previous century, portraiture had become established among the upper classes and was no longer reserved solely for the court. For this reason, as the 18th and even more so in the 19th century, the formulas of the genre became more relaxed and moved away from the ostentatious and symbolic official representations typical of the Baroque apparatus. On the other hand, the 19th century reacted against the rigid etiquette of the previous century with a more human and individual conception of life, and this was reflected in all areas, from furniture, which became smaller and more comfortable, replacing the large gilded and carved pieces of furniture, to the portrait itself, which came to dispense, as we see here, with all scenographic elements in order to depict the individual rather than the personage. It should also be noted that in the specific case of Spain, the socio-political situation the country was going through led to a proliferation of portraiture, as this genre made it possible to establish the importance of the individual, whether political, aristocratic or social.
Los 77
Milanese school; circa 1600."Portrait of Pietro Mangrella".Oil on canvas. Re-drawn.Measurements: 177 x 100 cm.In the lower part of this portrait we can appreciate an inscription that designates the identity of the main character: Pietro Mangrella. This symbiosis between calligraphy and painting is distributed throughout the work, in fact, the man holds a book in his hands. On this document, which is open to the viewer, we can read: Noscere Se Dominari Sibi on one of its pages and Hoc opus Hic Labor est on the other. Latin phrases that mean something like; knowledge dominates it, and this work here is or here is the work, here begins the difficulty. This reference to Latin indicates that this is a depiction of a man of letters. This relationship between literature and painting experienced great splendour during the 17th century, bringing different artistic areas closer than ever before. The recognition of the liberal arts in the 1600s led to the development of portraiture, generating great interest in the pictorial capture of emblematic figures from the world of literature. For this reason, the aristocrats of the time expanded their collections of portraits of illustrious men, with the presence of culturally important figures. The pre-eminence achieved by the figure of the literary figure as a famous man is evidence of the great proliferation of such portraits and of the aristocrats' interest in portraits of themselves with elements from literature or linked to literary knowledge. With regard to the portrait, it is worth noting the sobriety of the artist, who inscribes the upright figure in the centre of the scene, in an austere, dark interior. The tones of the flesh tones, the skin that hangs over his shoulders and the bundle he holds in his hands stand out against the gloom. The Milanese school is a rarity in Italian painting as it does not have the characteristics that unify it with others such as the Roman or Venetian schools. Within this northern school various sub-schools can be distinguished, centred on the cities of Genoa, Genoa, Piedmont, Bologna, Cremona, Modena, Ferrara and Parma. However, the term Milanese school is often identified with the Lombard school.
Los 85
ABRAHAM DE VRIES (ca.1590- ca. 1650)"Portrait of a gentleman.Oil on oak panel.With label on the back.Measurements: 66 x 56 cm; 80 x 64 cm (frame).This work has great aesthetic similarities with the painting by Abraham de Vries, "Portrait of an unknown nobleman" which belongs to the collection of the Het Stadmus Museum in Belgium. In both cases the composition, the treatment of the lace on the body, the fabrics of the costume and the tones used are similar. However, in the present painting the sitter is a younger man with a much more defined flesh tones that add a high degree of detail to the portrait, although he turns his face in order to establish eye contact with the viewer.Abraham de Vries was one of the leading portraitists of his day. Due to an itinerant lifestyle that took him to countries such as France, Antwerp and the Dutch Republic, his stylistic qualities are difficult to pinpoint. Little is known about Abraham de Vries' early life and training. It is now generally believed that the artist was born in The Hague because when he joined the Guild of Saint Luke in The Hague in 1644 he paid the fees of a native son of the city. In the past, he was believed to be from Rotterdam. In 1617 the artist was registered in the Rotterdam church administration. De Vries travelled to the south of France in the 1620s. During his period of residence in Aix-en-Provence around 1623-1624 he was the teacher of the Flemish artist Jan Cossiers, who had travelled from his native Antwerp to the south of France. De Vries also spent time in Toulouse, Montpellier (1625), Bordeaux (1626) and Paris (1627-1628). During his stay in France he met the prominent French scientist and humanist Nicolas-Claude Fabri de Peiresc, a close friend of Rubens, and De Vries met Rubens in person in 1629 during a stay in Paris. After his return to the north, he made several trips to Paris and Antwerp. He registered in Antwerp in 1628 and again in 1634 when he became a member of the local guild of Saint Luke in July 1634. Cardinal-Infante Ferdinand of Austria, who was the governor of the Spanish Netherlands, saw a portrait by De Vries during his visit to Antwerp. This led to an invitation to work at the court city of Brussels, where his work was considered superior to that of Anthony van Dyck. In 1639-1640 there are records of De Vries' presence in Rotterdam. Abraham de Vries is primarily known for his portraits although he also produced a number of landscapes. His early works recall the works of contemporary Amsterdam and Hague artists such as Thomas de Keyser and Jan van Ravesteyn. From the late 1620s to the 1630s his painting possessed a clear Flemish influence that is recognisable in his portraits. By the 1640s the Amsterdam art scene had fallen under the spell of Rembrandt's artistic portraiture. Rembrandt's portraits emphasised the character and personality of his models through their physiognomy rather than through symbols and iconography. Abraham de Vries was also unable to resist the influence of this new pictorial style in his portraits.
Los 87
Workshop of BARTOLOMÉ ESTEBAN MURILLO, 17th century."Ecce Homo".Oil on canvas. Re-enteled.It presents restorations.Measurements: 50 x 60 cm; 88 x 68 cm (frame).The work gives off an emotional devotional tension clarified by the darkness of the scene, the expressiveness of the red mantle and the definition of Christ's anatomy. The face, perfectly modelled, stands out for the play of volumes and the truthfulness of the features. They show us a concentrated Jesus, with lowered eyelids and a serious face, aware of his destiny. Only the rod in his hands breaks the viewer's concentration on Christ's body, but its presence is barely perceptible as it blends into the darkness of the background. The quality of this religious portrait suggests that it was produced by Murillo's workshop, as the work has similarities with pieces on the same theme attributed to the master, such as the painting in the Museum of Cadiz, where, despite the differences, the composition and the conception of the figure of Jesus are very similar. The theme of Ecce Homo belongs to the Passion cycle and immediately precedes the episode of the Crucifixion. Following this iconography, Jesus is presented at the moment when the soldiers mock him, after crowning him with thorns, dressing him in a purple robe and placing a reed in his hand, kneeling down and exclaiming "Hail, King of the Jews". The words "Ecce Homo" are those pronounced by Pilate when presenting Christ to the crowd; their translation is "behold the man", a phrase by which he mocks Jesus and implies that Christ's power was not such in comparison with that of the rulers who were judging him.Little is known of Murillo's childhood and youth, except that he lost his father in 1627 and his mother in 1628, for which reason he was taken into the care of his brother-in-law. Around 1635 he must have begun his apprenticeship as a painter, most likely with Juan del Castillo, who was married to a cousin of his. This working and artistic relationship lasted about six years, as was customary at the time. After his marriage in 1645 he embarked on what was to be a brilliant career that gradually made him the most famous and sought-after painter in Seville. The only trip he is known to have made is documented in 1658, when Murillo was in Madrid for several months. It is conceivable that while at court he kept in touch with the painters who lived there, such as Velázquez, Zurbarán and Cano, and that he had access to the collection of paintings in the Royal Palace, a magnificent subject of study for all the artists who passed through the court. Despite the few documentary references to his mature years, we know that he enjoyed a comfortable life, which enabled him to maintain a high standard of living and have several apprentices. Having become the city's leading painter, even surpassing Zurbarán in fame, he was determined to raise the artistic level of local painting. In 1660 he decided, together with Francisco Herrera el Mozo, to found an academy of painting, of which he was the main driving force. His fame spread so far throughout Spain that Palomino states that around 1670 King Charles II offered him the chance to move to Madrid to work there as a court painter. We do not know whether this reference is true, but the fact is that Murillo remained in Seville until the end of his life. Works by Murillo are now in the most important art galleries in the world, such as the Prado Museum, the Hermitage in Saint Petersburg, the Kunsthistorisches in Vienna, the Louvre in Paris, the Metropolitan in New York and the National Gallery in London.
Los 646
English School (19th century) Portrait of a gentleman, shoulder length, in a black double breasted coat, white waistcoat and wing collar shirt, oval, watercolour and bodycolour on card, 8½ x 6¾in. (21.5 x 17.2cm.), in a period reeded gilt frame with scroll cresting; together with an unframed watercolour over pencil portrait of a lady, unfinished, 8¾ x 6¼in. (22.25 x 15.8cm.). (2)
Los 753
A French Art Nouveau brass easel back hat-pin stand with applied female portrait and floral decoration, stamped 'DEPOSE', 3¾in. (9.5cm.) high when open; together with a silver golf club hatpin; Egyptian niello hatpin & yellow metal faceted horseshoe stick pin; and three others to include a cased yellow metal version with central white stone and applied portrait bust. (qty)
Los 963
Owen Lennox (British, b.1950) A portrait of the musician Noel Gallagher (Oasis, Noel Gallagher's High Flying Birds) oil on board, signed and dated (20)05 lower margin, unframed 14 7/8 x 11in. (37.75 x 28cm.); together with another oil on canvas portrait by the same artist of the broadcaster John Humphreys, 11¾ x 8¼in. (29.8 x 21cm.); and ticket from the Eminem 2003 'The Anger Management Tour', framed and glazed with a print of the artist. (3)
Los 1047
Channel Islands interest - a postcard / photograph album pre-war, containing a number of Channel Islands photographs, including a Guernsey Fruit Export G. Ltd. delivery lorry, hay harvesting, inside a vinery etc., plus portrait photographs and postcards; together with an album of 1930s cigarette cards. (2)
Los 113
A Victorian Art Nouveau style photograph album the black leather covers with Art Nouveau style decoration and end papers with floral decoration, chrome clasp, the card pages with gilt lining, all but one in good condition, some with chromolithogrph floral decoration, containing original 19th century portrait photographs, plus a few later.
Los 80
δ Pablo Picasso (1881-1973)Portrait de Dora Maar au Chignon I (Tête de Femme Demi-Profil À Gauche) (Bloch 291, Baer 611)The rare drypoint, 1936, a fine impression printed with rich burr, signed in pencil, aside from the total of 115 with the stamped signature, on Montval laid paper watermarked Vollard, with full margins, sheet 445 x 340mm (17 ½ x 13 3/8 in) Ex. collection Roger LacourièreAcquired from the above by the present owner. δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
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283322 Los(e)/Seite