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283284 Los(e)/Seite
Los 355
Attributed to Marie Gabrielle Kownacka (French, mid 19th Century), portrait of a young lady, half length seated wearing a black dress with a lace collar and a wrap and holding a baby, landscape beyond, oil on re-lined canvas, 48 by 37cm, gilt frame. Provenance: attribution on Victoria Art Gallery, Bath letter included
Los 379
Attributed to William Moore of York (British, 19th Century), portrait of a young gentleman, half length standing with crossed arms and wearing a black tunic, oil on board, old label verso reads 'One of the Midforths who gambled away Risehall, Hull. Sold to the Bethells about 200 years ago. Grandmother ..... nee Midforth would not have a pack of cards in the house because of this', 29 by 24cm, gilt frame. Provenance: from the collection of Captain Mark Phillips, with letter
Los 509
A pair of mid 19th Century oval portrait miniatures on ivory, circa 1860, gentleman and lady companion in bust length profile, the gentleman wearing a blue tunic and white stock, the lady wearing a bonnet and blue dress with lace collar, 7.5 by 5.5cm, in black ebonised frames, with a pair of oval portrait miniatures on opaque glass and a portrait miniature of a boy in Tudor dress (5)
Los 526
British School, circa 1840, an oval portrait miniature of a young lady, bust length wearing a white lace shawl and coral coloured dress, landscape beyond, on ivory, tortoiseshell verso, 8 by 6cm, framed, together with an oval portrait miniature of a gentleman in profile, pencil and white chalk, 10.5 by 8cm and a lithograph oval portrait miniature of Napoleon, framed (3)
Los 700
Henry Stacy Marks for Minton, a set of twelve Aesthetic Movement dinner plates, 1879, each with a PreRaphaelite portrait tile of a Medieval allegory, including Music, Peacock, Beer, Host, Boars Head etc., within a Gothic wreath of fleur de lys and a stylised floral sprig border, impressed marks, 26cm diameter (12)
Los 1085
A Late XIX Century Vienna Style Porcelain Vase, of flattened two handled pear shaped form, the central panel painted by Wagner, signed, with a head and shoulders portrait of a lady with long flowing hair, against a dark blue and elaborate gilt ground, Beehive and star marks, inscribed Erblut Deposé 4043H, 13cm high; A Similar Globular Vase, with shaped tapered neck, central portrait against turquoise beadwork gilt and cream ground, 10.5cm high. (2)
Los 92
The studio easel of Anna Airy RA (6th June 1862 - 23rd October 1964), manufactured by Reeves & Sons, with adjustable height and angle mechanisms, 71cm wide, Provenance- Easel acquired from the Jack Haste Gallery, Great Colman Street Ipswich who oversaw the storage of Anna Airy's works after her death, the easel was then purchased by prominent Suffolk artist Margaret Glass. Anna Airy, was born at Greenwich, London on 6th June 1882, only daughter of Wilfred Airy (1836-1925), civil engineer, the son of Sir George Biddell Airy (1801-1892), astronomer royal; and his wife Anna, who died in childbirth, daughter of Professor Listing of Gottingen, Lower Saxony, Germany. Raised under the care of her two maiden aunts, Annot Airy and Christabel Airy, who were both artists. Airy was educated at Slade School of Art 1899-1903 alongside artists such as Augustus John and William Orpen, studying under Frederick Brown, Philip Wilson Steer and Henry Tonks. Airy was awarded a Slade scholarship in 1903 and the Melville Nettleship Prize for three consecutive years. In 1906, Anna was elected a member of the Pastel Society, in 1908 an associate member of the Royal Society of Painter-Etchers, in 1909 a member of the Royal Institute of Painters, in 1913 a member of the Royal Society of Portrait Painters and in 1918 a member of the Royal Institute of Painters in Water Colours, and was one of the most respected female artists of her generation. Anna exhibited at the Royal Academy in London, every year bar one 1905-1956, and at international exhibitions in Paris, Stockholm, Milan, Pittsburgh, Toronto, Ottawa and Montreal. Some of her paintings are in the Royal collection and the Queen Mother used a reproduction for one of her Christmas cards. Airy was a member of the Ipswich Art Club, 1903-1964 where she exhibited regularly and became its first woman president. Airy married artist Geoffrey Buckingham Pocock on 18 February 1916, who had taught at the Slade. Anna died at Playford, Suffolk on 23rd October 1964.
Los 131
Propagandateller der RSFSR Russland, neuzeitlich - Nach einem Entwurf von Mikhail M. Adomowitsch Porzellan, runder Standring. Polychromer Aufglasurdekor: Lenin und kyrillischer Inschrift: ''Wer nicht arbeiten, ißt nicht'', ''Lenin'' und ''RSFSR''. Rückseite mit Hammer und Sichel und ''1921''. D. 20,5 cm - Portrait nach einer Karikatur von Natan I. Altman
Los 116
Signed and dated 1807, oil on canvas56cm x 86.5cm (22in x 34in)Footnote: Note: Alexander Nasmyth is remembered as the father of Scottish landscape painting. This delightful Inverary scene depicts industry and leisure: while figures on both banks enjoy an afternoon of fishing, the mill’s puffing chimney indicates work taking place within. The landscape is rendered with characteristic meticulousness, while retaining an atmosphere of romance and charm, demonstrating Nasmyth’s mastery of the genre.Alexander Nasmyth was born in Edinburgh in 1758, and would go on to become a key figure of the Edinburgh cultural Renaissance at the start of the nineteenth century. Initially apprenticed as a heraldic painter to a coachbuilder, his talent was identified by Allan Ramsay, who employed Nasmyth at his London studio. Here, he honed his painting technique working on minor areas of Ramsay’s compositions, while gaining an invaluable insight into the business of studio commissions.In 1778 Nasmyth returned to Edinburgh, and soon became an in-demand portrait painter. He travelled to Italy in 1782 to further study painting, a venture made possible by a loan from the banker Patrick Miller of Dalswinton. Miller would remain Nasmyth’s patron throughout his career, and as an expression of gratitude Nasmyth named his first son Patrick, who himself would go on to be a significant Scottish artist. Patrick Nasmyth also painted the Miller’s Lynn, Inverary in 1818.Alexander Nasmyth remained in Italy for two years, travelling around the country and developing his skills as a painter of landscapes. Upon his return to Scotland he developed a close friendship with Robert Burns, and the pair would often enjoy long walks together across central and southern Scotland. Nasmyth’s famous portrait of Burns now hangs in the Scottish National Portrait Gallery.From 1792 Nasmyth concentrated on landscape painting in the Dutch style. Architectural structures often feature in his scenes, owing to his enduring interest in building and engineering. Many of his designs for members of the Scottish nobility were realised, including the Dean Bridge in Edinburgh and a temple covering St. Bernard’s Well by the Water of Leith. By 1815 his reputation was such that he was invited to submit a proposal for the expansion of Edinburgh’s New Town.Nasmyth’s influence on Scottish landscape painting cannot be understated. He established a painting school at his home on York Place, Edinburgh, teaching pupils including Sir David Wilkie, David Roberts and Clarkson Stanfield. He insisted that his followers draw with their subject before them, rather than working from existing drawings or paintings. Wilkie would later describe Nasmyth as ‘the founder of landscape painting in Scotland [who] by his taste and talents took the lead for many years in the patriotic aim of enriching his native land with the representations of her romantic scenery’.
Los 154
Signed, oil on canvas56cm x 51cm (22in x 20in)Provenance: Acquired from Alexander Reid, La Société des Beaux-Arts, Glasgow in 1924 by Ion R. Harrison Footnote: Exhibited: Samuel John Peploe, La Société des Beaux-Arts, Glasgow, 1924Fine Art Section, Empire Exhibition, Bellahouston Park, Glasgow 1938, no.28Pictures from a Private Collection: Peploe, Fergusson, Hunter, Cadell, McLellan Galleries, Glasgow, 1951Three Scottish Colourists, Scottish Arts Council Gallery, Glasgow 1970 and tour, no. 71Literature: Ion R. Harrison, 'As I Remember Them' in T. J. Honeyman, Three Scottish Colourists: Peploe, Cadell, Hunter, London 1950, p. 119, repr. col. pl. VI.Guy Peploe, S. J. Peploe, Farnham 2012, p. 137, repr. col. fig. 144.Note: Roses and Fruit is a superlative painting by Peploe. It not only shows the artist at the very height of his powers but was also part of one of the most important collections of the work of the Scottish Colourists ever assembled.Having explored the visual possibilities of the tulip in the immediate post-World War One period, roses emerged as Peploe's favoured flower in the early 1920s. They became the subject of the most celebrated paintings of his career. The interplay of light and colour amidst their layered heads, as well as the formal contrast with their strongly defined leaves proved endlessly inspirational. On a practical level, roses maintained their shape long enough to satisfy Peploe's painstaking working methods.In his still lifes of the decade, Peploe brought to bear all the experience he had gained in the genre as an emerging artist in Edinburgh before the war, his experimentation in pre-war Paris and the development of his practice during the conflict. Peploe's exploration of the work of artists from Edouard Manet, to Vincent van Gogh and Paul Cézanne were brought to a triumphant and original conclusion in this period, as revealed in Roses and Fruit.This ambitious and confidently realised work features many of Peploe's most treasured still-life objects, from fruit compotier to gold-rimmed tea-cup and be-ribboned black fan. Each element is carefully placed in relation to the others, creating a sense of balance and allowing a seamless visual journey from drapery in the foreground to plate in the foreground. The cropping of, for example, the aspidistra leaf which enters from the left, is a clever device suggesting the space beyond the canvas, into which the viewer is invited to join the artist. The complex and triumphant realisation of the roses, their stems in water and the view through the vases are passages of extraordinary skill. A gentle palette is combined with bright colour, especially in the fruit, to provide rhythm and structure. It was with works such as Roses and Fruit that Peploe rose to international prominence in the 1920s and on which his enduring reputation as one of Scotland's most important artists is based.In 1915, Peploe had his first solo exhibition at Alexander Reid's gallery, La Société des Beaux-Arts, in Glasgow. Thus began a long and productive relationship with the business, which expanded to London, involving regular exhibitions throughout the rest of Peploe's life. As a result, many art lovers were introduced to Peploe's work, not least the Glasgow ship-owner Ion R. Harrison. He purchased Roses and Fruit from Alexander Reid when it was included in a solo exhibition in the city in 1924. It was one of the first two paintings by the Scottish Colourists which he acquired before going on to become one of their most significant patrons.In 1950 Harrison recalled: 'In was in 1921 or 1922 that I first became interested in the work of the...Scottish Colourists. The first exhibition of Peploe's which I saw was in Alex. Reid & Lefevre's, West George Street, Glasgow. Mr Peploe at that time had an Exhibition of Flower Pictures...I had never seen anything in art similar to these pictures...The first pictures I bought of the...Colourists were from a Peploe exhibition at Reid's which was held in March 1924. One was the beautiful Pink Rose Picture [sic - he is referring to the present work, which is titled Roses and Fruit under its reproduction in the book] and the other the smaller storm seascape painted at the North End, Iona. I recollect the thrill it gave me to hang my first two Peploes.' (Harrison, op.cit, p. 119)Harrison not only went on to acquire many of Peploe's most important paintings, but was also able to develop a friendship with the notoriously private artist. He explained: 'It was through Cadell that I first met Peploe and it was when Cadell was starting to paint a portrait of my wife that Peploe joined us at Croft House for a weekend. This was a very great privilege for us, for Peploe did not care for visiting people unless he knew them very well. It was a very happy weekend indeed and Peploe was pleased to see his pictures hanging together in their surroundings...I held him in great esteem and regard him as a very great artist.' (ibid, p.123).Indeed, over time the walls of the Harrison family home, Croft House in Helensburgh, were hung with masterpieces not only by Peploe, but also by Cadell, J. D. Fergusson and George Leslie Hunter. Such was the eventual importance of the Harrison Collection that it was exhibited at the McLellan Galleries in Glasgow in 1951.Roses and Fruit is being sold to support various charities.
Los 3809
Müller, Richard (1874 Tschirnitz a. d. Eger - Dresden 1954) Portrait von "Eduard Staffel" (so unter der Abbildung im Buch s.u. bez.). Öl/Lwd. (Kratzer im unteren Bereich), li. o. monog. "RM" sowie dat. 1920. Ca. 89x 69 cm. R., 99,5x 79 cm. Beigegeben: Kopie bzw. der Abbildung Auszug Auszug aus Franz Herrmann Meissner, "Das Werk von Richard Müller", S. 150.
Los 2368
Fünf Teile Jugendstil- und Art Deco-Schmuck: a) Paar Ohrhänger. 800/000 Silber. Durchbrochen gearbeitet und besetzt mit zahlreichen Markasiten und oval facettierten Amethysten. Mz. "WB", 20er Jahre. L. 10 cm; b) Brosche in Form eines Eulenkopfes. 826/000 Silber, Augen besetzt mit Chrysopracabochons. Mz. "RsJ", Skandinavien, 20er/30er Jahre. D. 4,2x 4,4 cm; c) Damenring. 830/000 Silber. Rechteckiges Oberteil mit farbigem Email. 20er/30er Jahre. RW 53,5 und d) Brosche. 925/000 Sterlingsilber in Form einer Blüte mit reliefiertem Portrait einer jungen Frau. Mz. "CD" und Londoner Beschau von 1901. D. 3,1 cm.
Los 3060
Katalog der Kunstsammlung des Grafen Stroganoff: "Collection d'estampes d'après quelques tableaux de la Galerie de son Exc. Mr. le Comte A. Stroganoff, gravées au trait par des jeunes Artistes de l'Académie des Beaux-Arts à St. Petersburg", verlegt bei A. Pluchart, St. Petersburg 1835. Mit ganzseitigem Titelkupfer mit Portrait des Grafen Stroganoff, 85 breitrandigen Kupfertafeln und den beschreibenden Textseiten. Fleckig und l. gebräunt. Halbledereinband aus der Zeit l. besch. 1 Seite lose.
Los 3922
Wittmer, Johann Michael (1802 Murnau am Staffelsee - München 1880) Portrait einer jungen Dame mit Schmuck- bzw. Münzschatulle. Öl/Lwd. (rest. und retuschiert), li. u. sign. "M. Wittmer" und bez. "ex. archetypo...F." sowie dat. "MDCCCIXVL (wohl 1854)" sowie Ortsbez. "Roma". Ca. 100x 86 cm. Prunkrahmen (l. best.), ca. 126x 113 cm.
Los 3888
Unbekannter Maler (Niederlande/Flandern, frühes 17. Jh.) Portrait eines Edelmannes. Öl/Holz (parkettiert, rest.), li. o. bez. "Aetatis suae 65" und dat. "Anno 1621". 59x 43 cm. In geschnitztem und vergoldetem Holzrahmen (rest), 17./18. Jh., 83x 68 cm. Beigegeben: Fotografie des Portraits, verso mit handschriftlichem Gutachten von Max J. Friedländer von 1952 mit möglicher Zuschreibung an Van Dyck.
Los 3811
Nattier, Jean-Baptiste (1685 Paris 1766), Werkstatt "Marie Leszczynska, Reine de France". Öl/Lwd. 83x 65 cm. Prunkrahmen im Louis XV-Stil. 104x 88 cm. Beigegeben: Gutachten von 1946 des Kaiser-Friedrich-Museums, Staatliche Museen in Berlin, das die Arbeit Jean-Marc Nattier zuschreibt; Brief der Gemäldegalerie von 1951 mit der Bitte um Leihgabe des Portraits für eine Ausstellung der französischen Gemälde des 18. Jahrhunderts aus der Sammlung Friedrichs des Großen. Die Königin Maria Leszczynska, Gemahlin von Louis XV., beauftragte Jean-Marc Nattier 1747 mit ihrem Portrait, das der Künstler im darauffolgenden Jahr mit großem Erfolg im Salon ausstellte. Das Publikum und die Kritiker waren besonders durch die einfache Eleganz der Pose begeistert, die auf königliche Accessoires zugunsten einer feinen, psychologischen Darstellung verzichtete. Auf Wunsch der Königin erscheint sie in einem roten Tageskleid, das dezent mit Spitzen und Pelzbordüren verfeinert ist, sie jedoch als eine Frau des Volkes darstellt. Nattier lieferte der Königin 1748 das Portrait, begleitet von zwei offiziellen Kopien. Aufgrund des sensationellen Erfolgs der Arbeit bei der Salon-Ausstellung beschloss die Königin, das Bild zu vervielfachen und Nattiers Werkstatt stellte in den folgenden Jahren eine Anzahl von Kopien her, jeweils mit leichten Abweichungen im Dekor. Die Produktion dieser Repliken wurde vom Cabinet des Tableaux der Intendanz der Gebäude des Königs (Bâtiments du Roi) geleitet, um dann an französische Institutionen und europäische Königshäuser verschickt zu werden und die kontrollierte Verbreitung eines offiziellen Bildes der französischen Königsfamilie zu gewährleisten. Das vorliegende Werk gehört zu diesen offiziellen Repliken, das Original von Nattier befindet sich heute im Schloss von Versailles. Wir danken Xavier Salmon und Juliette Trey für die Bestätigung der Zuordnung des Werks an die Werkstatt von Nattier. Lit.: Xavier Salmon, "Jean Marc Nattier, 1685-1766", Paris, Réunion des Musées Nationaux, 1999; Claire Aubaret, "Les copistes du Cabinet des tableaux de la surintendance des Bâtiments du roi au XVIIIe siècle", in Bulletin du Centre de recherche du château de Versailles, Dezember 2013.
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283284 Los(e)/Seite