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283287 Los(e)/Seite
Los 58
* WENDY WOOD (SCOTTISH 1892 - 1981),WOODLAND LANDSCAPEwatercolour on paper, signedimage size 22.5cm x 14.5cm, overall size 37cm x 27cm Mounted, framed and under glass. Label Verso.Note: Wendy Wood, born Gwendoline Emily Meacham, was a campaigner for Scottish independence and one of the founders of the Scottish National Party. An eccentric and colourful figure, she was also a gifted artist, sculptor and writer. Her antics often created controversy. From 1956 Wood shared an artists studio and house with her partner, Florence St John Cadell in Edinburgh. Wood’s art was widely acclaimed and rare to the market. Her portrait is held by the Scottish National Portrait Gallery in Edinburgh.Condition report: Condition is good overall, with no visible signs of restoration, damage, or known issues.
Los 82
SIR JAMES LEWIS CAW (SCOTTISH 1864 - 1950),DRIFTING OUT, CAMPBELTOWN LOCHpastel on paper, signed, titled image size 20cm x 37cm, overall size 45cm x 61cm Mounted, framed and under glass. Label verso: Aitken Dott & Son, Edinburgh (now The Scottish Gallery).Note: Sir James Caw is a significant figure in Scottish art history, as a curator, critic and art historian. He was also, perhaps not coincidentally, married to the eldest daughter of the artist William McTaggart RSA (1835-1910) and a practising artist in his own right. After a spell as curator of the Scottish National Portrait Gallery he was appointed Director of the National Gallery of Scotland (as it then was) in 1907 and remained in post till 1939, retiring at the age of 75. Both through his acquisitions for the Gallery and as art critic of The Scotsman for seventeen years he did much to shape artistic taste in Scotland. His book "Scottish Painting, Past and Present, 1620-1908" provided the standard history of Scottish art for much of the 20th century. In the words of Duncan Macmillan, it ‘inspired and informed Scottish readers for over eighty years’. Caw also produced monographs on Ramsay, Raeburn, Sir James Guthrie and – not least – his father-in-law William McTaggart. McTaggart was born on the Mull of Kintyre and Campbeltown and Machrihanish were favourite locations for his paintings. James Caw would also have visited the area to visit his wife's family. Caw remains a hugely significant figure in Scottish art history but his own work very rarely appears at auction.
Los 180
ALEXANDER IGNATIUS ROCHE RSA NEAC RP (SCOTTISH 1863 - 1921),THE WALK TO THE RIVERoil on canvas, signedimage size 63cm x 75cm, overall size 87cm x 99cm Framed.Note: Born at Gallowgate in Glasgow on 17th August 1861, the son of a milliner, Alexander Roche was schooled at St Mungo’s Academy and then attended classes at the Glasgow School of Art while working in an architect's office. His real art training came in Paris, where he studied for several years from 1881, under Boulanger and Lefebvre at Julien’s and later under Gérome at l’Ecole des Beaux-Arts. While in Paris he met and befriended several other Scottish students including William Kennedy, (Sir) John Lavery and Thomas Millie Dow, along with Dow’s mentor, William Stott of Oldham. Together they painted at Grez-Sur-Loing, just south of Fontainebleau, all influenced by Bastien-Lepage (1848-84) and the plein-airistes. In 1885 Roche returned to Glasgow where he painted a number of romantic idylls of girls in gardens, interiors or in landscape, such as The Dominie’s (schoolmaster) Favourites exhibited at the Glasgow Institute in 1885, No. 591, which was priced at the great sum of £250 and The Shepherdess (exhibited to acclaim at the RA 1890). He moved to a cottage on the banks of the Luggie in Dunbartonshire and there some of his best landscapes were painted. Most of 1888 was spent in Capri, where he was associated with a cosmopolitan group of artists including Fabio Fabbi and Harold Speed. Two further trips to Italy followed, to Florence and Venice, in the early 1890s when he painted peasants in the Sabine Hills. In Florence, he met and married an Italian girl, but the marriage was not to last. In 1896 Roche moved to Edinburgh and began to paint portraits and figure studies. His sense of colour and confident brushwork were well suited to portraiture and in his later years this became his main output and source of income. He spent some time in the USA, fulfilling portrait commissions and seeking others. Among his lucrative commissions was a group portrait for Andrew Carnegie, then the world’s richest man, of his wife Louise (nee Whitfield) and their daughter, Margaret. He won a gold medal at Munich 1891, an Hon. Mention at the Paris Salon 1892 and a gold medal at Dresden 1897. Elected ARSA 1894 and RSA 1900, he exhibited at the RSA from 1887 - 1976 and at the RA from 1890 - 1919. Roche was considered a member of the Glasgow School, but after the late 1880s he drifted to the fringes of the movement. In 1906, he remarried, to Jean, daughter of the animal painter Robert Alexander and sister of Edwin, the flower and animal painter. All four shared a friendship with Joseph Crawhall, together with a love of Tangier. They lived from 1907 until the outbreak of the Great War at 8 Royal Terrace in Edinburgh, a very prestigious Edinburgh address reflecting his considerable commercial success. Around this time he was struck with a cerebral haemorrhage which paralysed his right hand. He taught himself to paint with his left and was later to produce some exceptional landscapes. The Roches later bought a house, Hailes Cottage in the village of Slateford, by the Water of Leith, to the southwest of Edinburgh, where he died, on 10th March 1921, aged 59. UK public collections hold forty examples of his work including at Glasgow Museums & Galleries, The National Galleries of Scotland, The Fleming Collection, The Kelvingrove, The Hunterian, Edinburgh, Kirkcaldy, Stirling The Royal Scottish Academy and The Walker Art Gallery.
Los 724
A gold and seed pearl bar brooch with a central crescent motif and an ivy leaf motif to either side, width 3cm, a gilt metal, red and colourless paste three stone bar brooch, a portrait cameo bar brooch, a gold and pale blue paste solitaire bar brooch, detailed '9ct', a gold, amethyst and seed pearl bar brooch, detailed '9ct', a gold and garnet single stone bar brooch, detailed '9ct', and a Continental gilt and red paste set brooch, detailed '800', with two cases.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Los 762
A 9ct gold Scorpio pendant, weight 3.2g, length 3cm, a 9ct gold brooch, designed as a dragonfly with gem set eyes, weight 4g, width 3.8cm, and a gold mounted oval shell cameo brooch, carved as a portrait of a lady, detailed '9ct', weight 4g, width 2cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Los 591
A 9ct gold mounted oval shell cameo pendant brooch, carved as a portrait of a lady within a scroll pierced surround, detailed '375 Italy', weight 11.2g, width 4.5cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Los 544
An early 19th century gold mounted honey coloured agate fob seal, engraved with a profile bust portrait of a classical maiden, weight 7g, height 2.7cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Los 622
A 9ct gold mounted oval shell cameo brooch, carved as a portrait of a lady with a flower within a twisted wirework border, Birmingham 1974, fitted with a safety chain, weight 18.5g, width 4cm, with a case.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Los 788
A gold mounted sardonyx brooch of circular form, carved with a profile head and shoulders bust portrait of a lady within a beaded and half pearl border, weight 8.7g, diameter 3.5cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Los 767
An early 19th century amethyst brooch of shaped rectangular form, glazed with a hair locket compartment within a surround of ten cushion cut amethysts, width 2.5cm (the pin lacking), an oval pietre dure brooch, designed as a lily-of-the-valley and forget-me-nots, length 5.5cm, and a Victorian gilt metal mounted oval shell cameo brooch, carved as a portrait of a lady, width 4cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Los 169
A PORTRAIT OF EDOUARD DERMIT pen & ink on paper, with Vidalon watermark 20.0 x 15.0cm. / 6 x 8in. Edouard Dermit was the adopted son of Jean Cocteau, having been engaged as his gardener in 1947. He was a self-taught artist and actor, who starred a number of Cocteau's films and completed his father's chapel decorations at Fréjus. Cocteau tutored him in art and entrusted him with the publication of his writings on his artistic contemporaries, published under the title Passe Defini. Provenance: From a collection of 57 drawings by Cocteau inherited from the artist's estate and having been in private hands from 1965 - 1977 Sotheby's 1977 to R Scharf 1977 to John Constable 1980
Los 16
STUDY FOR THE COMTESSE DE KERCHOVE PORTRAIT pencil on paper; unframed 36 x 25½cm. / 14¼ x 10in. The Comtesse de Kerchove (Maria Lippens) married Oswald de Kerchove de Denterghem, a Belgian liberal politician. This study is believed to be the prelude to Lefebvre's portrait of the Comtesse, which is currently at the Museum voor Schone Kunsten in Gent, Belgium.
Los 195
PORTRAIT SKETCH OF A WOMAN Pen, pencil and watercolour signed l.r. Alexander (Catherine Carrington nee Alexander) 36 x 25cm. / 14 x 10in; together with a page of figure studies and designs variously inscribed (12 laid down on one sheet, 4 verso; and four landscape studies on two sheets, the first signed and inscribed lower right C. Carrington/ nr. Yegen Spain; the second inscribed lower centre very dark right hand tree behind farm/and shadow down side of barn and signed verso centre right C. Carrington (15)
Los 6
PORTRAIT OF AN OFFICERoil on canvas71½ x 56 ½cm. / 28 x 22in. Infantry officer of the period of the American War of Independence wearing the uniform prescribed from 1768. The sitter is almost certainly an officer of the Militia, which was embodied in 1777, and the portrait may therefore be dated circa 1780.
Los 15
RODSTENSEJEE, WITH COUNT EMIL VON HOLSTEIN-RATHLOU (THE ARTIST'S BROTHER-IN-LAWsigned l.r. Holger H Jerichau oil on canvas 40 x 57cm. / 15¾ x 22½in. Provenance: Private Collection, Denmark The subject of the present work was one of Denmark's grandest and most extravagant aristocrats of the latter half of the 19th century. Born to wealthy parents, Emil (1849-1919) was known for his lavish lifestyle and his extensive seafaring, spending years aboard his ships in Danish waters and as far away as Alexandria. He was known for his parties and hunts for friends and peers, who included the Danish Royals. He had a particular passion for hunting, which was part of the reason he purchased the 14th century estate of Rodstensejee, in Jutland (Northeast Denmark) . He was made Court Huntsman to Christian IX in 1878, co-founded the Danish Hunting Association, served on its board between 1892-1897 and became a Knight of Dannebrog in 1896. Emil married Sophie Dagmar Elisabeth Jerichau, the artist's sister, in 1878, and the present work could either be a wedding gift or a later commission by the artist's brother-in-law. A further portrait of von Holstein-Rathlou by Elisabeth Jerichau Baumann, the present artist's mother, sold at Bruun Rasmussen, Copenhagen, 2011.
Los 214
RED FULL-FACE SELF PORTRAIT 1961Ref: 1855Dated l.l.: 1961 and signed l.r. John Bratbyoil on canvas, 122 x 30.5 cmProvenance: acquired directly from the artist by John ConstableExhibited: The Zwemmer Gallery, July 1962 This important early Bratby self-portrait, a genre the artist would regularly return to in future years, was in the artist's own collection until acquired by the dealer and collector John Constable towards the end of Bratby's life. In a letter from the artist to Constable penned whilst staying in Venice (un-dated), the artist adds his own comments on the painting: "Self Portrait with Pipe in red pullover, worn for a decade, in very thin paint. 1961. Pre Fauvist period."
Los 22
Circle of Michael Dahl (1659-1743), portrait of gentleman said to be Robert, First Walpole, half length, in a brown coat and white stock, oil on canvas, 76cm H x 63cm W unframed. Known as Sir Robert Walpole who was the first prime minister of the United Kingdom, Walpole was in office in 1721-1742.
Los 34
Manner of Jean Baptiste-Greuze (French, 1725-1805), portrait of a girl, bust length, in a cream dress. 47cm x 39cm unframed; another English School, late 19th century, portrait of a young girl, bust length in a green dress and white shirt, oil on canvas 46cm H x 46cm; small portrait of an infant, full length, in a white bonnet. 30cm x 23cm (3)
Los 32
English School, circa 1830, portrait of a lady, half length, in a pale green dress, holding a book and roses, oil on panel. 35.5cm x 30cm unframed; another, portrait of young lady, half length, in a white dress and burgundy coat, oil on board. 55cm H x 46cm W unframed; another mid 19th century, portrait of a lady, half length in a green dress with a coral necklace 45cm 38.5cm (3)
Los 301
John Opie ESQ Artist - John Opie 16th May 1761- 9th April 1807Engraved by S.W Reynolds- 4th July 1773-13th August 1835John was a Cornish historical and portrait painter. He painted many great men and women of his day, including members of the British Royal family, and others who were most notable in the artistic and literary professions.In 1781,having gained considerable experience as a portraitist travelling around Cornwall,Opie moved to London with Wolcot. There they lived together, having entered into a formal profit-sharing agreement. Although Opie had received a considerable artistic education from Wolcot, the doctor chose to present him as a self-taught prodigy.16cm W x 21cm H
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283287 Los(e)/Seite