Otto MuehlHendrix1983 Öl auf Leinwand; gerahmt90 x 90 cmBezeichnet, monogrammiert und datiert rechts unten: Hendrix, M 27.11.83österreichische PrivatsammlungMuehls enorm produktives Å’uvre ist von diversen Wechseln geprägt, in denen er bereits früh verschiedene Stile der Klassischen Moderne übernimmt und eine postmoderne Konzeption von Malerei entwickelt. Phasen des spielerischen Umgangs mit den Ausdrucksmöglichkeiten der Malerei wie Farbfeldmalereien, Varianten der Landschaftsmalerei, stark gestische und abstrakte Ausdruckskunst, Anklänge an Pop Art in Malerei und Siebdruck, ironische Paraphrasen über Werke Van Goghs und Picassos bis hin zu einer Gruppe monochromer Arbeiten in Gold wechseln einander ab - wobei Muehl keinen Tabubruch scheut und die Provokation bewusst als Konfrontation mit den Moralvorstellungen der Gesellschaft einsetzt.Auf eine expressive Phase, in der er vor allem ekstatische Körperdarstellungen, sexuelle Motive und Tabubrüche malt, folgen ab 1986 Werke, in denen er die kompositorischen Möglichkeiten des Siebdrucks in Malerei übersetzt. Bereits in den späten 60er Jahren – noch während seiner Aktionen – fertigte Muehl Portraits von Persönlichkeiten des damaligen "Establishment" an, die er teilweise als Vorlagen für Siebdrucke heranzog, teilweise aber auch in anderen Techniken variiert. Es sind Prominente aus Politik, Kultur und Showgeschäft, wie Konrad Adenauer, Charles de Gaulle, Papst Johannes Paul II, Herbert von Karajan, Mao, und wie im vorliegenden Werk Jimi Hendrix, dessen Portrait Otto Muehl nicht nur im Siebdruck anfertigt, sondern auch als radikal expressiv gemaltes, fast schon abstrahiertes Ölbild. In knalligen, kontrastreichen Farben zeigt er den Sänger im Halbprofil, den Mund weit aufgerissen, die Augen erahnt man geschlossen in singender Ekstase. Durch all seine Werkphasen zieht sich die Dominanz der Farbe und eine enorme experimentelle Kraft, die auch von seiner Parkinson-Krankheit nicht gebremst wurde.Trotz Muehls fragwürdiger persönlicher Biografie, die sich nicht "entschärfen" lässt, bleibt sein künstlerisches Werk ein hochinteressantes, das in den letzten Jahren in einigen großen Ausstellungen aufgearbeitet und präsentiert wurde.(Ina Waldstein)
283287 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen
283287 Lose gefunden, die zu Ihrer Suche passen. Abonnieren Sie die Preisdatenbank, um sofortigen Zugriff auf alle Dienstleistungen der Preisdatenbank zu haben.
Preisdatenbank abonnieren- Liste
- Galerie
-
283287 Los(e)/Seite
JOSEP MARIA TAMBURINI DALMAU (Barcelona, 1856 - 1932)."Day in the countryside.Oil on canvas.Signed in the lower left corner.It carries a label of Barrachina & Ramoneda.Measurements: 42 x 64 cm; 68 x 89 cm (frame).Tamburini remains in this work halfway between the contemporary costumbrista representation and the symbolist evocation, in a typically fin-de-siècle image that transcends the realistic portrait to enter a lyrical scenario, of poetic echoes both in the feminine figure and in the own way of capturing the landscape.Painter and art critic, and a leading figure of Catalan modernism, Tamburini began his training at the Escuela de La Lonja in Barcelona, and later completed his studies in Paris, with L. Bonnat, and Rome. He collaborated as a cartoonist, art critic and poet with the magazine "L'Avenç", one of the most outstanding artistic publications of Catalonia at the turn of the century. He also wrote for "La Vanguardia". As a painter, he began his career in history painting and anecdotal realism, to later evolve along the lines of symbolism, strongly influenced by English pre-Raphaelism. Recognition came in 1888, when he won a silver medal at the Universal Exposition in Barcelona. He continued to participate in official exhibitions in Barcelona and Madrid, and was again awarded at the Barcelona Exhibition in 1898, where he received the Queen Regent's Extraordinary Prize. In 1911 he received the Prize of the Kings of Spain. As a mature painter, he worked on placidly fantastic, detailed and precious themes, as well as religious themes and some portraits. He was also a member of the Board of Museums of Barcelona, advisor to the Academy of Fine Arts, professor at the School of La Lonja and co-founder of the Artistic and Literary Society of Catalonia (1911). He is represented in the MACBA, the National Museum of Art and the Library of Catalonia, the Royal Academy of Sant Jordi, the Casa Lis Museum in Salamanca and the Fine Arts Museums of Valencia and Seville, as well as in numerous private collections.
ALBERTO ARRÚE VALLE (Bilbao, 1878 - 1944)."Basque costumbrista scene with ball game".Oil on canvas.Signed in the lower right corner.Measurements: 37 x 58 cm; 64 x 79 cm (frame).Alberto Arrúe offers us in this canvas a magnificent group portrait that shows the interest of the painting and the Basque literature of the XIX century for the customs and the popular types. The artist presents us with a young couple in the foreground, followed by a chaplain and a pelotari. The four characters climb the slope of a mountain, like a pilgrimage. Behind this eloquent genre scene, we see an imposing landscape dotted with a church, executed with a very varied palette in which green tones predominate, very elaborate and varied. In the lower part of this panoramic view, going almost unnoticed, although in line with the narrative of the rest of the scene, Arrúe represents a Basque pelota court, with the players in full game and the public enjoying the match. The painter plays with the intensity and contrasts of light to construct the space, and attenuates the colors of the composition, reflecting the warm atmosphere that dominates the landscape.Brother of the other artists José, Ricardo and Ramiro, Alberto Arrúe began his training with Antonio María Lecuona, and later completed his studies at the School of Arts and Crafts with Guinea and Arámburu. In 1894 he was granted a scholarship to enter the Escuela Superior de Bellas Artes de San Fernando in Madrid, and later made study trips to Rome, Paris, Marseilles, London, Bordeaux and Argentina. Arrúe specialized in portraying the characters and customs of the Basque Country, and showed his work in official exhibitions such as the National Exhibitions of Fine Arts held in Madrid (1901 and 1904), the IV Exhibition of Modern Art in Bilbao (1906), the Hispano-French Exhibition in Zaragoza (1919), the I Exhibition of Painting and Sculpture in Bilbao (1919) and the Exhibition of Spanish Painting in London (1920). He also showed his work in galleries in Bordeaux (1920) and Buenos Aires (1922 and 1928), among other cities, including an important personal exhibition held in Bilbao in 1943, a year before his death. He is currently represented in the Provincial Museum of Vitoria and the Provincial Council of Bizkaia, among other public and private collections.
IGNACIO DÍAZ OLANO (Vitoria, 1860 - 1936)."Las langosteras", ca.1925.Oil on canvas.Signed in the lower right corner.Work reproduced in color in "Basque painters and sculptors of yesterday, today and tomorrow", page 307.Measurements: 100 x 90 cm; 120 x 110 cm (frame).The production of Ignacio Díaz Olano is inscribed within the framework of the rise of regionalism in Spain in the second half of the 19th century and the first third of the 20th century. In this canvas, Olano offers us a realistic portrait of local customs, centered on the representation of two lobsterwomen from the Basque Country. The two women converse relaxedly beside the estuary of the village, while the basket with the lobsters caught during the day rests next to them. The clothes they both wear, with clogs and wide aprons, as well as the regional hairstyles they wear, denote the painter's search to reflect the types and customs of the Basque Country, which make it different and unique. In this boom of regionalist art, painters like Olano vindicated their own roots and, above all, the traditions and forms of dress, at a time when customs were threatened by the notable growth of urban areas and the imposition of new fashions brought from outside. Art, fundamentally in its pictorial aspect, thus became in a certain way a vehicle of expression capable of making regional peculiarities known to the rest of the nation.Ignacio Díaz began his training in Vitoria, and then studied in Barcelona, with a scholarship from the Vitoria City Council, between 1876 and 1880. In Barcelona his teacher was Gustavo Bacarisas, and he studied at the School of Fine Arts. After finishing his apprenticeship he returned to his native city, where he collaborated for some time in the weekly magazine "El Danzarín", signing his drawings with the pseudonym "Galop". Then, in 1890, he moved to Paris, where he spent four years studying anatomical drawing. He also worked in the French capital as a set designer for the Opera House. In 1894 he went to Rome with his friend Felipe Arrieta. After two years in Italy, in 1896 he took up permanent residence in Vitoria. Between 1890 and 1925 Díaz participated in multiple editions of the National Exhibitions of Fine Arts, obtaining a bronze medal in 1895 and a silver medal in 1899 and 1901. He taught at the School of Arts and Crafts of Vitoria, and was a professor of drawing at the Institute of the same city. His work is mainly costumbrista, and is impregnated by a great naturalism. He was also a great portraitist, having also cultivated still life and landscape. In 1963 the Provincial Council of Alava held an anthological exhibition of his work in his honor, exhibiting one hundred and fifty-eight works. The critic Mario Ángel Marrodán stated: "The ardent and powerful lyricism of his painting is the result of the fusion or confrontation of man with his time, of the painter and his environment, or of the artistic reality between rustic and wild from which he has extracted the new fruits of the work of art". Ignacio Díaz is currently represented in the Prado Museum (his work is on deposit in the Fine Arts Museum of Asturias), the Fine Arts Museums of Vitoria and Asturias, the Provincial Museum of Alava, the City Hall and the School of Arts and Crafts of Vitoria, the Caja Vital Foundation and the collection of the Bank of Vitoria, as well as in numerous private collections.
VALENTIN DE ZUBIAURRE AGUIRREZÁBAL (Madrid, 1879 - 1963)."Basque types".Oil on canvas.Signed in the lower left corner.With label on the back of the XXemeExpositionBiennaleInternationale des Beaux-Arts, Venice, 1936.Measurements: 101 x 101 cm; 123 x 123 cm (frame).Valentín de Zubiaurre demonstrates in this painting his superb gifts as a portraitist, reflecting with naturalism and closeness to the three main characters, perfectly individualized in their attitudes and features. Zubiaurre, who knew like no one else how to represent the people of his time, especially Basques and Castilians, takes pleasure in the attitudes of the figures, with serious and measured gestures. The young girl, dressed in popular Basque clothing, is presented in strict profile, holding a basket of fruit in her right hand. Her gaze is directed to the old man in front of her, whose reflective face alludes to hard work and life in the countryside. In his right hand he holds a walking stick, revealing his advanced age, while in his left he holds a jar. Like him, the villager behind him, with an imperturbable gesture, wears popular clothes and a txapela. Special mention should be made of this last character, who looks directly at the viewer, an aspect that departs from what is usual in contemporary Spanish genre painting, where the characters usually ignore the painter's presence (as, in this composition, the other two villagers do). Behind this monumental group portrait, we see a group of houses of the village unfold. The white walls and gabled roofs tell us that we are in a small village in the Basque Country, full of life according to the locals who invade its streets.The son of the musical composer of the same name, Valentín de Zubiaurre was born deaf and dumb, as was his younger brother Ramón, also a painter. He began his training with the painter Daniel Perea, also deaf and mute, before entering the San Fernando Royal Academy of Fine Arts in 1894. There he was a disciple of Carlos de Haes, Muñoz Degrain, Ferrant and Moreno Carbonero, and at the same time he completed his solid training by visiting the Prado Museum. In 1898 the two Zubiaurre brothers embarked on a study trip that would take them to France, Italy and the Netherlands. On their return to Spain they obtained a scholarship from the Diputación de Vizcaya in 1902, which allowed them to settle in Paris. There they attended classes at the Académie Julian, became acquainted with the modern trends that were then developing in the French capital and became interested in Impressionism. However, the Zubiaurre brothers were not permeable to its influence, mainly due to the weight of their academic training and their admiration for the Flemish and Italian primitives as well as for contemporary Spanish painters such as Dario de Regoyos and, especially, Ignacio Zuloaga. Valentín de Zubiaurre regularly sent his works to the National Exhibitions of Fine Arts, being awarded on several occasions; in 1908 he obtained the second medal, and in 1917 he was awarded the first medal. He was also distinguished with awards from foreign institutions, and won prizes in outstanding international competitions held in the first decade of the 20th century, among them those of Munich, Buenos Aires, Brussels, San Francisco, San Diego and the University of Panama. From the 1920s until the Civil War, the Zubiaurre brothers experienced their period of greatest success and recognition, both in Spain and internationally. After the war Valentín de Zubiaurre resumed his career in Spain, and his recognition became official with his appointment as a full member of the Royal Academy of Fine Arts of San Fernando in 1945, culminating with the medal of honor awarded to him at the National Exhibition of Fine Arts in 1957, six years before his death. He is currently represented in the Fine Arts Museums of Chicago, Buenos Aires, Paris, Luxembourg, Munich, Berlin, Tokyo, Pittsburg and San Diego, as well as in the main art galleries of the Basque Country, the Castagnino Museum in Argentina, the Reina Sofía National Art Center, the BBVA collection and the Museum of Modern Art in Rome, among others, both public and private.
FEDERICO BELTRÁN MASSES (Güira de Melena, Cuba, 1885 - Barcelona, 1949)."Lady in Venice", Paris, 7-4-1924.Oil on canvas. Relined.Signed, dated and located in the lower right corner.Work included in the exhibition of the Caja Vital Kutxa in 2002.Measurements: 170 x 186 cm.Federico Beltrán Masses was a unique and unrepeatable artist, indisputable renovator of the aesthetic postulates of the beginning of the 20th century. His captivating style, influenced by the great traditional Spanish masters, but categorically modern, can be contextualized between Art Deco and symbolism, with costumbrist influences in its early stages. Masses produced numerous large format works such as the one in question, in which he painted beautiful women, all of them endowed with a remarkable eroticism and a stark sexuality that explain how the painter became the portraitist par excellence of the aristocracy of the time, as well as the first Hollywood stars of the 1920s and 1930s. The sophisticated young woman who is the protagonist of our work is dressed in a sumptuous dress with attention to the quality of the details, and is surrounded by lavish bouquets of red roses. Behind her, a figure covering her head with a turban dedicates a song to her on a stringed instrument. The scene, with the Doge's Palace and St. Mark's Bell Tower in Venice as a backdrop, is bathed in the night light and the deep blue tone that characterized his compositions, earning him the nickname "Blue Beltran". Venice was for Masses the city of his dreams and fantasies. Its palaces and canals awakened his deepest feelings and brought, with their unmistakable style, the fabulous Italian past closer to the charm and enchantment of the Belle Époque.Beltrán Masses, despite his Cuban origin, studied art in Spain. He began his training at La Llotja School in Barcelona, and was a disciple of Joaquín Sorolla. In 1905 he moved to Madrid to study first-hand the works of the masters in the Prado Museum. In 1916 he settled in Paris, where he achieved great commercial success, receiving commissions from illustrious people in the United States, Belgium, Italy and India. He was a member of the Royal Academies of Madrid, Barcelona, Zaragoza, Lisbon, Cordoba and Malaga. He was also a member of the Hispanic Society of New York, the Institute of France, the Academy of Fine Arts in Paris, knight of the Order of Malta and the French Legion of Honor, and general curator of the International Art Exhibition in Bordeaux in 1928. He participated in many exhibitions and shows, such as the one held at the Sala Parés in Barcelona in 1910, the Hispano-French Fine Arts Exhibition in Paris in 1919 and the Venice Biennial in 1921. In 1924 he received the Cordon de Isabel la Católica, and in 1934 he exhibited his works at the Royal Watercolour Society in London. Among his official commissions, the portrait he painted of King Alfonso XIII stands out. In 2007 a retrospective exhibition of Federico Beltrán Masses was held at the Casa Lis Museum of Art Nouveau and Art Deco. Beltrán Masses devoted himself to both landscape and figure painting, although towards the end of his career he focused fully on portraiture. He developed a totally unique style, influenced by the great Spanish masters but decidedly modern. Works by Beltrán Masses are currently preserved in the Prado Museum, the Jeu de Paume Museum in Paris, the Casa Lis in Salamanca and the Reina Sofía in Madrid.
J. FINLAYSON AFTER NATHANIEL HONEMiss MetcalfeMezzotint, 50 x 36cmIn Hogarth frame, published 1772; Together with another mezzotint After J Hudson, Portrait of Andrew Robinson Esq., 38 x 28cm;After Wills 'Right Hon Philip, Lord Hardwicke', 35 x 25cm; And After T C Hofland 'Richmond From Twickenham Park', 42 x 59cm, Published 1822(4)
Circle of Sir Peter Lely (British 1618-1680)Portrait of Mrs Abraham Houblon dressed as a saint, reading the bibleOil on canvas123 x 100cm (48¼ x 39¼ in.)The bible open at Luke 1vs29. Provenance:The 1st Earl Mountbatten of BurmaThence by descentAbraham Houblon (23 January 1640 - 11 May 1722) was Governor of the Bank of England from 1703 to 1705. He married Dorothy Hubert in 1672 at Westminster Abbey. She was a niece of Henry King, Bishop of Chichester, and granddaughter of John King, Bishop of London. Their daughter Anne married Henry Temple, later 1st Viscount Palmerston.Condition Report: The canvas has been lined. There are spots of loss to the background mostly around the top of the sitter's head. Faint stretcher marks and craquelure. Scuffing to the framed edges particularly to the left edge. The paint is thin in places. Inspection under UV reveals scattered retouching throughout and a green cloudy varnish.Condition Report Disclaimer
Thomas Sword Good (British 1789-1872)The egg sellerOil on panel25.5 x 19cm (10 x 7¼ in.)Traditionally identified as a portrait of the artist's nieceProvenance:From the collection of Matthew G. Erinson [?], 1886Bought by John Wheeldon Barnes, Esq, 1894Leggatt Brothers, LondonSale, Christie's, London, 4 November 1988, lot 192Condition Report: Some light rubbing and abrasions to the framing edges. There is a small line of gilt running along the right framing edge, which probably occurred whilst gilding was applied to the frame. The panel is beginning to bow ever so slightly and therefore doesn't sit completely flush in the frame. There is some very light surface dirt around the top left of the sitter's bonnet which flairs under UV however this does not appear to be retouching. Inspection under UV light reveals traces of a green cloudy varnish which has been partially removed, but no further evidence of restoration or repair.Condition Report Disclaimer
Samuel Melton Fisher (British 1860-1939)Portrait of Mrs Fuller, half-length, in a grey dress with pink rosesOil on canvas, ovalSigned (centre right)58.5 x 44.5cm (23 x 17½ in.)Condition Report: The canvas has not been lined. Generally appears to be in good original condition. Inspection under UV reveals no visible damage or restoration. Would benefit from a light clean and new varnish.Condition Report Disclaimer
James Sant (British 1820-1916)Portrait of the Hon. George FitzRoy Somerset (1857-1921)Oil on canvasSigned with monogram (lower right)140.5 x 90cm (55¼ x 35¼ in.) Provenance: The Raglan CollectionSale, Christie's London, Interiors Including Posters, 11 September 2019, lot 166Exhibited:London, Royal Academy, 1864, no. 279.Literature:J. Steegman, Portraits in Welsh Houses, Cardiff, 1962, vol. II, p. 127, no. 17.Born on 18 September 1857, George FitzRoy Henry Somerset, later 3rd Baron Raglan, was the son of the 2nd Baron Raglan, and his wife Lady Georgiana Lygon, third daughter of Henry Lygon, 4th Earl Beauchamp. King George V of Hanover was his godfather, and he became a Page of Honour to Queen Victoria in 1868, which he remained until 1874. On 28 February 1883, he married Lady Ethel Jemima Ponsonby, daughter of Rev. Walter William Brabazon Ponsonby, 7th Earl of Bessborough and Lady Louisa Cornwallis Eliot. They had six childrenCondition Report: The canvas has been lined. Fine surface cracking throughout. Inspection under UV light reveals some areas of retouching to the darker pigments mostly covering paint shrinkage. The work has been cleaned and re-varnished and is in its original frame.Condition Report Disclaimer
Follower of Sir Peter Paul Rubens Portrait of an officer, possibly Ambrogio Spinola, 1st Marquess of Los Balbases (1569-1630)Oil on canvas, oval63 x 46cm (24¾ x 18 in.) Condition Report: The canvas has been lined. Paint surface seems to be in reasonably good condition. Inspection under UV light reveals scattered restoration mainly to the background and sitter's jacket. The face generally appears to be untouched. The work has been cleaned and re-varnished. Condition Report Disclaimer
Sir Joshua Reynolds (British 1723-1792)Portrait of James Whitshed M.P. (circa 1716-89) in naval uniformOil on canvas89 x 68.5cm (35 x 26¾ in.)Joshua Whitshed was an Irish politician and M.P. for Wicklow in the Parliament of Ireland, 1747-60. Son of James Whitshed of Dublin and his wife, Grace Dillon. Educated at Trinity College, Dublin. Married Fances Bathurst, daughter of Allen, 1st Earl Bathurst. Elected M.P. for St.Ives in 1754 and Cirencester, 1766-83. Sat to Reynolds in November 1755 at the same time as his wife. Provenance: By family descent until 2018.Literature: A. Graves & G. Cronin, A History of the Works of Sir Joshua Reynolds P.R.A., 1899, Vol. III, p. 1053. E.K. Waterhouse, 'Reynolds's Sitter Book for 1755', The Walpole Society, XLI, 1968, p.116. Condition Report: The canvas has been relined. There is also a horizontal patch to the lower half (verso). The sitter's name is inscribed on the reline which may well also be on the original canvas underneath. There are two old horizontal tears in the canvas to the lower right quarter on the sitter's coat, these have been partially repaired and retouched. Inspection under UV reveals scattered areas of retouching are visible in these areas, as is a line around the sitter's head and other background areas. There is evidence of use of bitumen in background areas, particularly along the left side. There is a thick layer of old discoloured varnish.Condition Report Disclaimer
λ Frank Cadogan Cowper (British 1877-1958)Self-Portrait of the Artist in his Eightieth Year, 1957Oil on canvasSigned, inscribed and dated (to label verso)78.5 x 68cm (30¾ x 26¾ in.)Provenance:The artist's familySale, Christie's, London, 14 May 1993, lot 92Where purchased by the present owner (a member of the Cadogan Cooper family)Frank Cadogan Cowper studied at St John's Wood Art School and then at the Royal Academy Schools where he went on to exhibit throughout his sixty-year career. He became an Associate in 1907 and a full academician in 1934. His early work is strongly influenced by the Pre-Raphaelites, but later he adopted a more Renaissance style, often with an emphasis on rich brocades to create a decorative effect. In 1908-10 he contributed to the murals illustrating Tudor history in the Commons' East Corridor in the Houses of Parliament. He is often seen as the last exponent of the Pre-Raphaelite tradition and was patronised by Evelyn Waugh, a pioneer of the Victorian revival. His worked featured prominently in John Christian's pioneering exhibition The Last Romantics, in 1989 at the Barbican Art Gallery. His popularity continues to rise and in 2011 his picture Our Lady of the Fruits of the Earth sold at auction for £469,250, a record for the artist. Condition Report: The canvas has not been lined but has a backing board on the reverse which is preventing full examination of the back of the canvas. Inspection under UV reveals some very minor abrasions and losses to the framing edges and it appears the artist has folded out the canvas on the left and lower edge. Presented in its original Whistler type frame and is ready to hang. Condition Report Disclaimer
Circle of Sir Anthony van Dyck (Flemish 1599-1641)Charles I on horsebackOil on canvas139 x 107.5cm (54½ x 42¼ in.)Provenance:Richard Cosway, 20 Stratford Place, Oxford Street, LondonSale, Mr George Stanley 'A Catalogue of the Pictures of Richard Cosway, Esq. R.A.', 17-19 May 1821, lot 105, 150 gns.The collection of Mr EmmersonSale, Phillips, 15-16 June 1832, lot 131 (£64)The collection of The Blackett Family of Matfen HallLiterature: J. Smith, A Catalogue Raisonne of the works of the most eminent Dutch Flemish and French Painters, vol. III, 1831, page 104, no. 366. Matfen inventory, no.8 The Walpole Society, Vol. LXVI, 2004, p.202 The Cosway Inventory of 1820This depiction of King Charles I is one of the most celebrated and well-known images of him. He was a fine horseman and the symbolism of his pose perhaps suggests he was a ruler who can tame a powerful animal and control the passion and disorder in his kingdom (K. Sharpe, Politics and Ideas in Early Stuart England, London, 1989, pp.44-7). It relates to Sir Anthony van Dyck's Charles I on Horseback with M. de St Antoine in The Royal Collection which is dated 1633. It was painted on a monumental scale (142 x 102 in.) and hung at the end of the Gallery at St James's Palace, a position for which it was probably designed. It has been suggested that our picture may have once been of a similar scale and reduced because the outer parts of the composition were unresolved. The scale of the figure of Charles corresponds directly to that in the autograph version and the idea of it being a fragment is further supported by it not being a standard size. A more typical 50 x 40 in. canvas would suggest that it is a later replica. The modelling of the horse and figure is well resolved whereas the plain background may be either an unfinished ground layer waiting to be painted or possibly a layer of blue (spelt) used in the seventeenth century that tended to deteriorate. The reason why the full-size picture was abandoned are not known, but it would have been a very substantial commission with a limited number of houses or institutions able to accommodate a picture on such a scale. The onset of the Civil War in 1642 may well have also been a contributing factor. None-the-less it is a fascinating insight into 17th Century Royal portraiture. The picture was formerly in the collection of Richard Cosway, the leading portrait painter of the Regency period, who in 1785, was appointed Principal Painter to the Princes of Wales. Together will his wife Maria they were very close to the Prince, and he was a frequent visitor at Maria's glittering salons and concerts. Condition Report: The canvas has been lined and is on a later stretcher which is providing good support. Under UV light there are scattered spots and lines of restoration, these are mostly in background areas and to the edges, and some finer work to the figure, including the face. This is all well executed however and not apparent to the naked eye. Condition Report Disclaimer
λ John Arthur Machray Hay (Scottish 1887-1960)Portrait of a lady wearing a purple dressOil on canvasSigned (lower left)75 x 62cm (29½ x 24¼ in.)Condition Report: The canvas has not been lined. Discoloured varnish and surface dirt throughout. Some scuffs and abrasions to the lower edge with some associated minor paint losses. Inspection under UV reveals no signs of restoration or repair. Would benefit from a light clean.Condition Report Disclaimer
Eastman Johnson (American 1824-1906)Portrait of Julia May AppletonPastel55 x 45cm (21½ x 17½ in.)Provenance:Property of a deceased American estateCondition Report: Appears to be indistinctly signed upper left. The vendor is a descendant of the sitter, who in turn commissioned the portrait directly from the artist. The sheet is laid on linen, supported by a stretcher. Some minor spots of surface dirt and abrasions to the surface edges but these are very slight. Unexamined out of glazed frame which appears to be original to the work.Condition Report Disclaimer
Follower of Sir Anthony Van Dyck Portrait of a musician believed to be Nicholas Lanier (1588-1666)Oil on canvas81 x 65cm (31¾ x 25½ in.)Condition Report: The canvas has been lined, and the reline is visible along the framing edges. Light scattered craquelure and thinning paint in places throughout. Stretcher marks visible. Some retouching visible to the naked eye. UV light reveals significant retouching and a green cloudy varnish throughout. Some patches to the canvas verso, possibly the result of damp.Condition Report Disclaimer
Sebastiano Ceccarini (Italian 1703-1783)Portrait of a Gentleman, holding a plan of Bernini's Sant'Andrea al Quirinale, RomeOil on canvas97 x 72cm (38 x 28¼ in.)Provenance:Hazlitt, Gooden & Fox, LondonLiterature:P. Conisbee, Review of the exhibition 'Claude to Gericault: the arts in France 1630-1830, in The Burlington Magazine, vol. 1000, July 1986, p. 534, reproduced fig. 83 (as Italian between Francesco Trevisani and Pier Leone Ghezzi);F. Petrucci in Dipinti Tra Rococo e Neoclassicismo da Palazzo Chigi in Ariccia e da altre raccolte, exhibition catalogue Cavallino di Lecce, Palazzo Ducale dei Castromediano, 2013, pp. 45-46, illustrated fig. 40 (as Sebastiano Ceccarini)Exhibited:Agnews, London Claude to Gericault: the arts in France 1630-1830, 25 July 1986 (as anonymous French)Sant'Andrea al Quirinale, Rome, with its distinctive elliptical ground plan, is considered a Baroque masterpiece. In 1658 Cardinal Camillo Francesco Maria Pamphili commissioned the architect Gian Lorenzo Bernini to design a Jesuit church on the Quirinal Hill. Bernini thought the church one of his most perfect works; his son, Domenico, recalled that in his later years, Bernini spent hours sitting inside it, appreciating what he had achieved. Condition Report: The canvas has been lined and is on a later stretcher which is providing good support. The paint surface appears to be in good original condition. Inspection under UV reveals some small spots of retouching to the edges and background areas also some spots on his forehead and cheek but these are very small. The canvas has been previously cleaned and re-varnished. Condition Report Disclaimer
Circle of George Romney (British 1734 - 1802)Portrait of John SmithOil on canvas101.6 x 127cm (40 x 50 in.)Provenance:John Smith by descent Sir Thomas Spencer, BtSabin Galleries, London, 1960Purchase from the above, private collection, London Sabin Galleries, London, 1970Purchased from the above, present ownerExhibited:London, Sabin Galleries, "English Portraits Mainly Eighteenth", 1960, No. 21.London, Sabin Galleries, "English Portraits 1500-1830", 1970, No. 31. Literature:Lot 92 Alex Kidson, George Romney; A Complete Catalogue of his Paintings (2015), vol. 2, p.535, No. 1196A, as an autograph replica of the painting in the Barber Institute, Birmingham. Condition Report: The canvas has been lined and this reline is partially visible to the framing edges, whether there is also some rubbing and associated loss. Faint traces of old craquelure throughout together with some light surface dirt and one or two surface scratches and scuffs. Inspection under UV light reveals retouching throughout including a more concentrated area around the sitter's head and at the background pillar to the sitter's right (as you look at the work). There is also a thick green cloudy varnish which may be obscuring further retouching. Overall the work appears to be in good, restored condition.Condition Report Disclaimer
Pongracz Ignac (Hungarian 20th Century)Portrait of the race horse SachertorteOil on canvasIndistinctly signed, inscribed, and dated 1925 (lower right)68 x 88cm (26¾ x 34½ in.) Condition Report: The canvas is unlined. Fine surface cracking along the upper edge and to the sky. One or two very small spots of paint loss, but generally appears to be in excellent condition. Inspection under UV light reveals no evidence of restoration or repair. Condition Report Disclaimer
After Jules Bastien-LepagePortrait of Sir Henry IrvingOil on canvas44 x 46.5cm (17¼ x 18¼ in.)Together with a letter and a telegram between Dr J. Schwartz and Mr Lawrence Irving discussing the exchange of the paintingProvenance: In the collection of Miss Nora Robbins 1945Sale, Sotheby's, 24 January 1951, Lot 40Sale, Christie's, 12 June 1953, Lot 145, where purchased by Dr J. SchwartzAcquired by Mr Lawrence Irving, the sitter's grandson, 1953Thence by descent Sir Henry Irving (1838-1905) was one of the most prolific English stage actor and managers during the Victorian era. During his time at the Lyceum theatre from 1878, Bram Stoker worked for Irving as his business manager and it is widely acknowledged that the actor provided at least some of the inspiration for the latter's title character in his 1897 novel Dracula. In 1895, Irving became the first actor to receive a knighthood.The portrait offered here is a direct copy of a portrait on display at the National Portrait Gallery, London, painted by Jules Bastien-Lepage (1848-1884). The original work was painted by the artist in one or two sittings during the spring of 1880, when Lepage was spending a second season in London exhibiting at the Royal Academy. As a rather serious individual who always maintained an air of professionalism, the unexpected intimate composition of the portrait was disliked by Irving who would not agree to attend any further sittings, and therefore meant that both the original and this later copy, remain unfinished.In December 1909, the portrait was donated by Dame Ellen Terry, Irving's long term acting partner to whom he had previously gifted the work, to the National Portrait Gallery in London. To celebrate this new acquisition, a full page plate appeared in the Burlington Magazine in 1910.It wasn't until 1951, that this second version of the picture appeared for sale at Sotheby's in London. Three years later the picture was sold again, this time by Christie's. The successful buyer, a Dr Schwartz, contacted Henry Irving's son Lawrence Irving soon after the sale offering to swap the portrait for some letters by George Bernard Shaw. The portrait has been in the possession of the Irving family ever since.An attribution for the second portrait has never been established, but it is generally accepted that it is not the hand of Bastien-Lepage. There has however been some suggestion that the portrait could be an early work by William Nicholson. As well as being a good friend of Ellen Terry, Nicholson also lived for a short period with Terry's son and his wife during the 1890s, so it is absolutely possible that he would have seen the portrait and had chance to copy it during this time. In addition, records indicate that a Miss Nora Robbins was the owner of the painting in 1945. Little is known about Robbins although it is believed she was the owner of Robbins Gallery on Southampton Row in London.Miss Nora Robins was the subject of a bust by Barbara Hepworth in 1926 (see Bonhams sale 26 November 2011, Lot 142). In 1938, Hepworth married her second husband, Ben Nicholson - son of William. Of course highly speculative, but it is therefore not impossible that if Hepworth was still friends with Robbins during this time, that the latter could have acquired the portrait through Barbara and Ben. The present lot is the feature of a 15 minute pilot podcast by Adam Scourfield.
Sir Godfrey Kneller (British 1646-1723)William Coventry, 5th Earl of Coventry (1676-1751)Oil on canvas laid to boardSigned and dated 1720 (lower left), inscribed with sitter's details (verso)124 x 100.5cm (48¾ x 39½ in.)Provenance: Croome Court, Worcestershire Burgate Manor, Fordingbridge, Wiltshire Sale, Sotheby's Property of Sir John Coventry Esq, 15 May 1929, lot 82 Private collection, London Sale, Christie's, London, Anonymous Sale, 17 October 1986, lot 101 Private collection, Monte CarloWilliam Coventry, 5th Earl of Coventry was born in 1676, the son of Walter Coventry and his wife Anne Holcombe, daughter of Humphrey Holcombe, a wealthy London merchant. William inherited the Earldom in 1719, despite being only distantly related to the Earl's of Coventry; his grandfather being the youngest brother of Thomas Coventry, 1st Baron Coventry. It is perhaps for this reason we see the large Coventry coat of arms painted on the wall to the right, behind William. Although the composition is a typical format of Kneller's later works, the inclusion of the family coat of arms surmounted by the Earl's coronet is most unusual. In addition, William's lavish maroon velvet jacket covered in an excess of gold brocade detail is significantly more decorative than many jackets worn by other nobleman in Kneller's portraits, and it is clear to see William wished to visually display his wealth and status. William appears to have moved into Croome Court, the Coventry family seat built in 1649, as soon as he became the 5th Earl and immediately went about improving the earnings of the estate. William's son George would later go on to employ Lancelot 'Capability' Brown to redesign the gardens and house in a style that befit the mid-18th century fashions. As well as inheriting the Earldom that year, 1719, was also the year that William was married to Elizabeth Allan, daughter of John Allen of Westminster, of whom Kneller also painted in a now lost pendent portrait shortly after the marriage. This portrait was thus almost certainly painted to celebrate both William's rise to the peerage and his marriage.Condition Report: The canvas has been previously restored and the paint surface is stable. There is a small repaired tear (approx. 8cm) running diagonally through the coat of arms upper right. This is only faintly noticeable in natural light. There are some further smaller repairs to the upper edge, and some associated retouching. Inspection under UV reveals scattered retouching throughout, including to the repaired areas above. There is also a green cloudy varnish. Overall this work is in good restored condition and ready to hang.Condition Report Disclaimer
![French School (19th century)Portrait of a ladyOil on canvasSigned with monogram CB [?], indistinctly inscribed and dated 1894](https://cdn.globalauctionplatform.com/29d9e9bb-6120-4da6-a87a-adbc015d046c/b03bdd94-7ce8-4dd6-8cb3-addd01342a35/468x382.jpg)
French School (19th century)Portrait of a ladyOil on canvasSigned with monogram CB [?], indistinctly inscribed and dated 1894 NOEL (upper right)49 x 39cm (19¼ x 15¼ in.)Condition Report: The canvas has not been lined. There are some areas of flaking and associated paint loss to the centre of the upper edge and the lower left quadrant. There is some white highlighting to the sitter's face, and it is unclear whether this was original to the artist's design or later retouching (it does not flair when inspection under UV). Inspection under UV reveals some retouching to the lower left quadrant and to the sitter's hair, as well as a few additional scattered spots throughout.Condition Report Disclaimer
After Sir Joshua ReynoldsMary Isabella Manners (née Somerset), Duchess of Rutland (1756-1831)Oil on canvas161 x 107cm (63¼ x 42 in.)On 26 December 1775, Charles Manners, 4th Duke of Rutland (1754-1787) married Lady Mary Isabella Somerset (died 1831), daughter of Charles Somerset, 4th Duke of Beaufort and a celebrated beauty, renowned for her elegance and good taste. She was one of the most prominent society hostesses, and Sir Joshua Reynolds painted her portrait four times. Charles and Mary had six children.Condition Report: The canvas has been lined. Scuffing and associated paint loss to the framing edges, particularly at the bottom. Craquelure and surface dirt throughout, together with additional scattered scuffing. Some thinning to the paint surface throughout. Inspection under UV reveals infilling to the craquelure, and a repaired L shaped tear (approx. 10cm length) above the sitter's head. Additional scattered retouching throughout together with a green cloudy varnish. Would perhaps benefit from a light clean.Condition Report Disclaimer
λ Uberto Pallastrelli de Celleri (Italian 1904-1991)Portrait of The Duchess of WestminsterOil on canvasSigned (lower left); further signed, inscribed, and dated 11-36 (verso)60 x 50cm (23½ x 19½ in.)Remains of exhibition label versoCondition Report: The canvas has not been lined. The canvas has thick impasto throughout, and some of this has previously stuck to the glaze and come away. This in turn has caused an associated loss to the paint surface in these areas, most notably to the upper left corner. Under UV there appears to be some old retouching to the sitter's hair, scarf, and clothes, but this is quite light. Unexamined out of glazed original frame. Condition Report Disclaimer
Emil Adam (German 1843-1924)Portrait of the race horse, KincsemOil on canvasSigned and dated 1895 (lower right), extensively inscribed by the artist (to two labels verso) 55 x 70cm (21½ x 27½ in.)Kincsem: Foaled in 1874 by Cambuscan out of Water Nymph, winner of the Goodwood Cup 1878, Kincsem was the winner of 54 races and never defeated.Condition Report: The canvas has not been lined and there is a patch to the canvas verso (visible in online illustration)corresponding to an area of damage upper right (recto) above the horse's back. The work has a glossy varnish. Inspection under UV light reveals no further evidence of restoration or repair. Overall in good condition and ready to hang.Condition Report Disclaimer
Attributed to Mary Beale (British 1633-1699)Portrait of a lady wearing a brown dressOil on canvas, feigned oval74 x 61cm (29 x 24 in.)Condition Report: The canvas has been lined, and the paint is wearing thin and has a blotchy appearance to the sitter's face and body, possibly caused by over-cleaning. There is a small puncture to the upper right quadrant and is a further scuff, approx. 4cm long to the lower right corner. Craquelure throughout together with faint stretcher marks. Inspection under UV reveals extensive retouching throughout. Would recommend viewing.Condition Report Disclaimer
Attributed to André Bouys (French 1656 -1740)Still life with fruit and bread on a tableOil on canvas80.5 x 97cm (31½ x 38 in.)Provenance:Private Collection, FranceThe painting is attributed to André Bouys, at the suggestion of Eric Turquin Expertise S.A., Paris, on the basis of its similarity in composition and style to other still lives by the artist. André Bouys was born in Hyères in southern France in 1656. He was a pupil of François de Troy in Paris, where he established his reputation as one of the foremost portrait painters of his generation, becoming a member of the French Academy in 1688. Although his principal occupation was as a portraitist, towards the end of his career Bouys specialised in still life pictures of tables laden with luxurious food, drink, and wares, of which the present lot is a fine example. Condition Report: The canvas is unlined but has five patches to the reverse (see image online). Fine surface cracking and stretcher marks but the paint appears to be stable. Inspection under UV reveals scattered areas of fine retouching across the image as well as layers of old varnish. These restorations are all well executed and not visible to the naked eye. Condition Report Disclaimer
Circle of Ferdinand Bol (Dutch 1616-1680)Portrait of a womanOil on panel, framed as an oval67.5 x 53.5cm (26½ x 21 in.)Condition Report: The panel has been cradled. There are a couple of scuffs to the corners where the work has been framed. The panel itself appears to be in three or four sections and these joins are visible in natural light. There is and old repaired crack to the right of the sitter's head. There is a layer of discoloured varnish and surface dirt. Inspection under UV light reveals scattered retouching, including to the areas of the sitter's sleeve, as well as to the background, the vertical panel joins, face, ruff and clothing. Condition Report Disclaimer
Follower of Sir Peter Lely Portrait of a lady wearing a gold satin dress with blue wrapOil on canvas111 x 77cm (43½ x 30¼ in.)Condition Report: The canvas has been relined and this is visible to each edge. Light surface dirt throughout. Stretcher marks are visible in natural light. Craquelure throughout, with some isolates areas just starting to lift - most notably to the right of the sitter's face. Paint wearing a little thin in some places. Inspection under UV reveals retouching throughout, particularly to the right of the sitter's face, possibly where there has been previous damage. Together with a green cloudy varnish throughout.Condition Report Disclaimer
Thomas Hudson (British 1701 - 1779)Portrait of Mary Browne (1721 - 1773)Oil on canvasSigned (lower left); later inscribed with sitter's details (upper right) 127 x 101cm (50 x 39¾ in.)Painted circa 1759Provenance:Commissioned by Sir William BrowneThence by inheritance to Mary Ffolkes and descent in the Ffolkes family to Sir Robert Ffolkes, 7th Baronet (b.1943), by 1979Literature:Prince Frederick Duleep Singh, Portraits in Norfolk Houses, Norwich 1928, vol. I, p.248, no.22, London, Kenwood House, Thomas Hudson 1701-1779, 1979, under no.25Thomas Hudson was one of the most fashionable portrait painters in London in the mid-18th Century. He taught Sir Joshua Reynolds and his sitters included the Duke of Cumberland and George Frederic Handel. In 1748 he visited France and the Low Countries with his friend William Hogarth. and his works of the 1750s, such as this, reflect his exposure to the sensuous handling of Flemish painting, as well as elements of the French rococo. Mary Browne was the daughter of the wealthy physician Sir William Browne (1692-1774), and his wife Mary Greene. Browne began to practice medicine in the prosperous seaport and market town of King's Lynn, Norfolk, in 1716. He became a few of the Royal Society and was knighted in 1748. The following year he moved to London and settled in Queen's Square, Bloomsbury - not far from Hudson's fine house in Great Queen Street. In 1759 he commissioned this portrait, together with one of his wife. Both sitters wear silver satin dresses trimmed with delicate lace. Hudson also painted Sir William three times, firstly 1745-49, as a portly, prosperous Lynn physician, with St Nicholas's church in the background, again in 1766 in his pomp as the newly appointed President of the Royal College of Physicians and again on his retirement, which he gifted to the college.Mary married William ffolkes (d.1773) of Hillington Hall, Norfolk in 1747. The ffolkes were an ancient Norfolk family dating back to before the 14th Century and had connections to the Walpole's of Houghton and later in the century, to Admiral, Lord Nelson. William ffolkes was a lawyer and agent for the Dukes of Montagu, Richmond and Manchester. Their only son, Martin, was born on 21st May 1749. After Eton, he studied at Emmanuel College, Cambridge and entered Lincoln's Inn in 1768. On his grandfather Sir William Browne's death in 1774, he restyled himself as Browne ffolkes and was created a Baronet. He was elected a Fellow of the Royal Society in 1772, was High Sheriff of Norfolk 1783-84 and was MP for King's Lynn from 1790 until his death in 1821. Browne is memorialised with his daughter Mary and generations of the ffolkes family in Hillington church. Those records, and Hudson's portraits, commemorate two remarkable and fascinating East Anglian families. Condition Report: The canvas has been lined. There is a pronounced pattern of raised craquelure with associated fragile and lifting paint and numerous scattered losses, including corresponding to vertical drips which possibly pertain to water ingress. There is evidence of ingrained dirt and a heavily discoloured varnish layer. There are numerous passages of previous restoration, most notably large, discoloured clumsy retouchings above the lower edge which are visible in natural light. Inspection under UV light reveals scattered retouching throughout. Condition Report Disclaimer
Attributed to John Baptist Closterman (British 1660-1713) Portrait of Charles, Lord Mohun (circa 1675-1712)Oil on canvas74 x 62cm (29 x 24¼ in.)Known for his frequent participation in duels and as a profligate rake, Mohun was one of the most notorious men in England. As a member of the Kit-Cat Club he was painted by Kneller. His last act was to take part in a duel with the Duke of Hamilton in Hyde Park on 15 April 1712 during which both principals died. Condition Report: The canvas has been lined with the reline visible along the upper edge. Some scuffs and abrasions to the framed edges. Evidence of old craquelure. Has been previously restored but appears to be stable and ready to hang. Inspection under UV reveals extensive infilling to the craquelure and background as well as some retouching throughout. This has been well executed however. Condition Report Disclaimer
British School (19th century)Portrait of a ladyOil on canvas76 x 63cm (29¾ x 24¾ in.)UnframedCondition Report: The canvas has not been lined. There is a small patch (verso) to the lower quarter. Stretcher marks, surface cracking and abrasions to edges all visible. Light scuffs and surface scratches throughout. The canvas has been lined and is a little loose. Inspection under UV light reveals retouching to the corresponding patched area (lower right), as well as one or two light patches to the sitter's chin.Condition Report Disclaimer
Y Attributed to John Hoskins (British circa 1590-1664)Lady Glynne Wheler, wearing black dress, white underslip, pearl and gem jewels, single strand pearl necklace, pearl drop earrings, her hair curled and upswept into a bun embellished with pearlsOil on vellum, ovalSigned with initials and dated 1648 (lower right)6.5 x 4.5cm (2½ x 1¾ in.)Together with fourteen portrait miniatures, variously oil on copper, vellum, watercolour on ivory and enamel, each depicting a member of the Sitwell family from the 17th to 19th centuries, each identified by inscriptions to labels attached verso, the largest 14 x 10cm, the smallest 3.5 x 3cmFramed as three groups of five, in oval frames, the largest overall: 49 x 43cm, the remaining two: 42 x 35cm (3)Condition Report: They are all presented behind glass in three common frames. They are unexamined out of their frames, but under UV light there are no visible signs of damage or restoration.Condition Report Disclaimer
English School (early 18th century)Portrait of Lady Rogers of Blachford, Devon Oil on canvas125 x 98cm (49 x 38½ in.)Condition Report: The canvas has been lined. There is also a patch (verso) to the lower centre of the canvas. There is a surface scratch (appox. 4cm) to the background at the right of the sitter's head. Stretcher marks visible. Craquelure throughout, together with some thinning of the paint, most notably the white pigment. Inspection under UV reveals retouching throughout particularly to the background. There is also a large repaired tear to the lower red drapery (approx. 10cm) which corresponds to the patch verso. Condition Report Disclaimer
Johann Joseph Acherman (Swiss 1790-1845)Portrait of a lady wearing a gold dressOil on canvas laid to cardSigned (lower right)84 x 57cm (33 x 22¼ in.)Condition Report: The card has now started to bow. There is a deep surface scratch to the sitter's handkerchief, and again off the sitter's right shoulder. Additional numerous small surface scratches and scuff throughout, some with associated paint loss. Inspection under UV light reveals some light retouching to the background however this is hard to read under the varnish. The figure generally seems untouched however.Condition Report Disclaimer
Carl Max Gerlach Quaedvlieg (Dutch 1823-1874)Portrait of a young ladyOil on canvasSigned (lower right)28.5 x 22cm (11 x 8½ in.)Condition Report: The canvas has not been lined. Some surface cracking and stretcher marks. Inspection under UV reveals some very light spots of retouching to the background and a green cloudy varnish. Otherwise the work appears to be in good original condition.Condition Report Disclaimer
Edward William Cooke, RA (British, 1811-1880)The upper floor of Rembrandt's father's mill, Koukerksigned and dated 'E.W. Cooke/1838' and inscribed 'JAN BRANDT/R' (to the wall centre right) oil on panel 50 x 61cm (19 11/16 x 24in).Footnotes:Provenance: Purchased by Sir Thomas Baring, 1839, and by descent to The Countess of Northbrook, C.B.E., sold for the benefit of the Red Cross and St John Fund, Christie's, London, 20 December 1940, part lot 46, as A Corner of the Mill (2½ gns to Gibbon).H. S. Gibbon, Christie's, London, 30 October 1942, part lot 89, as A Corner ofthe Mill (3 gns to Beck).Anon. sale, Bonham's, London, 22 January 2014, lot 72.Exhibited: London, British Institute, 1839, no. 131.Literature: John Munday, E.W.Cooke A Man of his Time, Woodbridge, 1996, Appendix 2: 'Catalogue of Paintings in Oils', 38/18, p.329; Appendix 4: 'The Itinerary 1824-1879: '1838 Oct. 8 Hazersworde: Rembrandt's mill'', p.366Five paintings of 'Rembrandt's father's mill' are mentioned in the Catalogue of Paintings in Oils, three of them being roughly the same size as the present lot including one that depicts the lower chamber of the mill. The other two depict the upper floor and measure 20.5 x 20.5cm and 25 x 32cm respectively. Four of the paintings were exhibited at the British Institute in 1839.One of the versions measuring 20.5 x 20.5cm is illustrated in John Munday, E.W.Cooke A Man of his Time, Woodbridge, 1996, p.249, 38/4, illus. pl.163and was sold at Christie's, 25 January 1974 for £550 (lot 116); and Sotheby's A Great British Collection: The pictures collected by Sir David and Lady Scott, 19 November 2008 for £31,250 (lot 18).The version measuring 25 x 32cm was sold at Sotheby's, Chester, 6 November 1986 for £528 (lot 3192). Both of these versions are cropped compositionally as well as being of smaller dimensions than the present lot.For an external view of Rembrandt's father's mill see 'The Mill on the Old Rhine near Leiden', J. Munday, E.W.Cooke..., p.107, 38/19, illus. pl. 53.The present lot is rare example of a Dutch interior from Cooke, him being mostly pre-occupied with maritime subjects. The fact that this mill was in Rembrandt's family was obviously of great interest to the artist. This is demonstrated by his returning to the subject repeatedly and also a note detailing the link of the mill to the van Rhijn family via Rembrandt's father which Cooke wrote and attached to the back of one of the pictures he exhibited at the British Institute. It was acquired by William Wells who kept an open house for artists in Redleaf, where Cooke stayed frequently.The well worn steps, the objects hanging on the walls, the old hook holding up the sack for the flour to find at the bottom of the wooden ramp, well polished by use, all of these details combine to create a vivid portrait of a place of work. The building seems to have seen better days but still functions and does so with great character, all of which is captured by Cooke who relishes these details as well as the overall composition which draws the eye through the room, past the shutter hanging off its hinge and out to the river beyond. The rich and varied ochres, siennas and umbers that form the palette are a tribute to Rembrandt whilst maintaining the unmistakable economy and strong draughtsmanship of Cooke.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
FIVE WAX PORTRAIT RELIEFS19th century Comprising Mrs Hargreaves and the Earl of Enniskillen both by Richard Cockle Lucas, Charles James Fox, a gentleman with an order, a woman formerly identified as Charlotte Bronte; together with a framed note signed Charles Dickens and dated to the reverse 1889, Mrs Hargreaves - 32 cm. (12 1/2 in.) high, 26 cm. (10 1/4 in.) wide (6)Footnotes:Provenance: Christie's, London, South Kensington, 26 October 2016, The Hone Collection, lot 101.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
An Italian framed Siena marble portrait bust of the Emperor Titus19th century Carved in high relief and mounted on a slate roundel within a grey painted frame, measurement including frame: 28.5cm wide, 4cm deep, 29cm high (11in wide, 1 1/2in deep, 11in high) For further information on this lot please visit Bonhams.com
A GROUP OF BOIS DURCI PORTRAIT ROUNDELSSecond half 19th century, attributed to Francois LepageComprising twenty-three examples 11.5 cm. diameter, a larger example commemorating the London exhibition 1862 and another depicting Mozart surrounded by putti the largest 16.5 cm. diameter (25)Footnotes:Provenance: Christie's, London, South Kensington, 26 October 2016, The Hone Collection.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Florentin Louis Chauvet (French, 1878-1958), Portrait en pied de Monsieur Bernard (Portrait of Mr Bernard)Bronze, brown patinationThe figure in standing position holding a cigar on a plinth base, signed, dated and inscribed: a mon aimable ami Marcus Bernard / F. Chauvet / 1904, 8cm wide, 7cm deep, 67cm high (3in wide, 2 1/2in deep, 26in high) This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Frederic, Lord Leighton, PRA (British, 1830-1896)Portrait of Henry Evans Gordonoil on canvas 61 x 51cm (24 x 20in).Footnotes:Provenance: Mrs Henry Evans Gordon.Anon. sale, Sotheby's, London, 7 January 1970, lot 8.Anon. sale, Christie's, London, 2 November 1990, lot 288.Exhibited: London, Grosvenor Gallery, Summer Exhibition, 1877, no. 31.London, Royal Academy, Exhibition of Works by the Late Lord Leighton of Stretton, Winter 1897, no. 42.Literature: Times, 1 May 1877, p. 10.E. Rhys, Sir Frederic Leighton, Bart., PRA, London, 1895, p. 69.E. Rhys, Frederic, Lord Leighton, London, 1898, pp. 28-9, 87.E. Staley, Lord Leighton of Stretton, PRA, London, 1906, p. 239.Mrs Russell Barrington, The Life, Letters and Work of Frederic Leighton, London, 1906, vol. 2, p. 387.L. and R. Ormond, Lord Leighton, New Haven and London, 1975, pp. 121, 163, no. 242.For further information on this lot please visit Bonhams.com
18th and 19th century school, A Collection of fourteen naïve watercolour portraitsIncluding a portrait of a girl wearing a blue dress with her dog, inscribed to the back: 'HARDY 89 CHEAPSIDE about 1790', a portrait of two school boys, indistinctly signed and dated 1830, a portrait of a mother and her child, with a black bordered written inscription (now indistinct) dating the picture to 1821, a portrait of Lady seated on a bench with her spaniel, identified as Miss Augusta Law, taken at Willingham Rectory and dated 1808, and a portrait of a boy with a mastiff signed, possibly T Fals and dated 1845, The portrait if a girl wearing a blue dress: 32cm x 26cm (14)For further information on this lot please visit Bonhams.com
Loading...-
283287 Los(e)/Seite