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Los 35
Spanish School of XVII century "Portrait of Admiral Christopher Columbus". Oil on canvas, glued to cardboard. Frame of the XVIII century. Measurements: 58 x 48 cm; 69 x 59 cm (frame). Portrait of gentleman of long bust, of great sobriety, with a neutral background plunged in the half-light on which the face stands out, directly illuminated by a warm light, that molds the soft features of the young face. The portrait is accompanied by a Latin caption at the top: "COLOMBVS LICVR NOVI ORBIS REPTOR". In the 16th century the birth of the modern portrait took place; the genre became autonomous in Spain during the reign of the Catholic Monarchs, through Italian and Flemish influence, but it was under the governments of Charles V and Philip II when the modern court portrait was established. A portrait based on formal austerity and the symbolic weight of objects, attire and expressions, which should reflect the nobility, status and importance of the sitter, was then developed. In the formative years of court portraiture, Titian and Antonio Moro were of special importance. The latter, Flemish by origin, contributed the meticulous execution and attention to detail, as well as the effective lighting, which enhances the physical presence of the character. Titian contributed not only a modern style of Venetian origin, but also a new iconography of power. Already with Philip II, this work of construction of the genre and, with it, of the official image of the ruler, will remain in the hands of Alonso Sanchez Coello and Juan Pantoja de la Cruz, his disciple.
Los 55
Spanish school of the 18th century, following models of JUAN CARREÑO DE MIRANDA (Avilés, Asturias, 1614 - Madrid, 1685)."Portrait of the Duke of Pastrana.Oil on canvas.Measurements: 105 x 87 cm.We are in front of a portrait of Gregorio de Silva y Mendoza (1649-1693), V Duke of Pastrana, IX Duke of Infantado, VII Duke of Lerma, VI Duke of Francavilla, V Duke of Estremera, Prince of Eboli and Prince of Mélito, among other titles. It is a portrait that closely follows the one made by Juan Carreño de Miranda to the same duke around 1679, one of the highest quality portraits made in Spain in the second half of the 17th century. In both portraits, the duke is presented with a serious countenance and elegant bearing. The present portrait has been painted in realistic language, with a meticulous technique that follows the tradition of the genre as it was practiced in the Spanish court of the 17th century. Likewise, the right qualities of the fabrics, pleats and flesh tones are extracted.
Los 51
English school of the XVI century. Circle of ROBERT PEAKE (1551-1619).Portrait of a lady.Oil on panel.Measurements: 39 x 29 cm; 65 x 55 cm (frame).Robert Peake, called "the old man" was an important English painter active throughout the end of the reign of Elizabeth I and the first years of the reign of his successor, James I. He trained with the painter Laurence Woodham, beginning in 1565, and with the miniaturist Nicholas Hilliard a few years later. It seems that by the late 1580s he was well established in London, and had a large clientele composed of the upper class and the court. He enjoyed royal favor and devoted himself to the creation of works for Prince Henry Stuart and for King James I, eventually obtaining the position of royal painter, which he shared with John De Critz. In fact, Peake worked in collaboration with De Critz and with another painter, Marcus Gheeraerts the Younger, and with the miniaturist Isaac Oliver, so that sometimes the final authorship of the works attributed to this circle is controversial.The portrait of shows a style, both in terms of composition and pictorial workmanship, closely linked to that of Robert Peake. The woman is depicted bust-length, looking directly at the viewer but with her face slightly tilted. She is dressed in black, although her face is haloed by a splendid white lace ruff characteristic of the Elizabethan period. The red-haired hair, pulled back and covered by a hood richly adorned with pearls, underlines the oval of a heart-shaped face. The attitude is serene, somewhat blasé, as befits. The Virgin Queen, Gloriana or Good Queen Bess (Greenwich, 1533 - Richmond, 1603) was queen of England and Ireland from 1558 until her death. Elizabeth was the fifth and last monarch of the Tudor Dynasty. Daughter of Henry VIII, she was born a princess, but her mother, Anne Boleyn, was executed when she was three years old, so Elizabeth was declared an illegitimate child. However, after the death of her siblings Edward VI and Mary I, Elizabeth assumed the throne. One of the first measurements she took was to establish a Protestant church independent of Rome, which would later evolve into the present Church of England, of which she became the highest authority. Elizabeth was expected to marry, but despite several requests from Parliament, she never did. As Elizabeth grew older, her virginity made her famous and a cult grew up around her, celebrated in portraits, pageants and literature of the time. The queen took charge of a country divided over religious issues in the second half of the 16th century. During her reign, England enjoyed great cultural splendor, with figures such as William Shakespeare and Christopher Marlowe; also important figures such as Francis Drake and John Hawkins. He maintained frosty relations with Philip II, with whom he waged a war that ruined both countries economically. His 44-year reign was the fifth longest in English history, behind those of Elizabeth II, Victoria I, George III and Edward III.
Los 96
CECIL BEATON (1904-1980)Portrait of a Young Boy (Nicholas Pascoe Grenfell)Oil on canvas, 88.5 x 67cmSignedProvenance: Commissioned by the family; hence by descent. The Grenfells were family friends and neighbours of the artist.This portrait was executed in the 'Red House', which was Beaton's home in Wiltshire. It was then brought to Ireland by the Grenfells where it was hung in Clobemon Hall, Ferns, Co. Wexford.Sir Cecil Beaton was a distinguished photographer but he is best referred to as a Renaissance man as his many talents also saw him comfortably dip into interior design, costume and set design and painting. Growing up, Beaton’s nanny had a Kodak 3A camera and, sensing his interest, she took it on herself to teach him the basics of photography and film development. From here, his artistic eye was nurtured and his first image was published in Vogue while he was still in college. His debut exhibition was held with the aid of Osbert Sitwell at the Cooling Gallery, London. The show raised some eyebrows and Beaton temporarily relocated to New York where he felt his work would be better received. The end result was a contract with Condé Nast to take photographs exclusively for them. As his reputation grew, so did the renown of his clients and Beaton was employed to take the official wedding photos of the Duke and Duchess of Windsor. He was subsequently honoured with photographing Queen Elizabeth II on her coronation day. He similarly excelled in his work with film and theatre and won two academy awards for his costume designs in Gigi (1958) and My Fair Lady (1964). Cecil Beaton is hailed as someone who acknowledged his sitter’s imperfections but then did his very best to hide them. Beaton would choose flattering angles and carefully placed light in order to hide or misrepresent his subject’s flaws. This approach led to captivating images of beautiful people, whether in photograph or paint. Helena Carlyle, October 2021
Los 213
A fine mid 18th century French fan, 28.5cm, with pierced ivory and mother of pearl guards and sticks, the well painted paper leaf with watercolour scene of artist painting a portrait surrounded by classical figures, marked Aelle Peint La Matresse d'Alexandre, the reverse with figures in landscape, overall in good condition and typical wear and damages for its age, guards repaired
Los 366
British International Print Biennale posters, two including 1988, 84cm by 60cm (33inch by 24inch), Bradford and 1976, Bradford, 101cm by 71cm (40inch by 28inch); and two Russian advertising posters, one depicting a bird, trees and bird boxes, dated 1989, 99cm x 66cm (39inch x 26inch); Vladimir Lenin, portrait, dated 1988, 97cm x 65cm (38inch by 26inch).
Los 36
Ø A 19TH CENTURY AMERICAN SAILORWORK WHALEBONE WALKING STICK the whalebone tapering shaft with spiral and crosshatch carving to scrimshaw decorated walrus tusk handle monogrammed WO and 1866 LDN, the top with bust-length portrait inscribed Liberty, the sides with eagle’s head profile -- 35in. (89cm.) long
Los 252
'SCOTT'S LAST EXPEDITION' by Capt R.F. Scott & Dr. E.A. Wilson, two vol, first edition, photogravure portrait frontispiece, large folding map at end of vol. I, numerous plates including six photogravure sketches by Wilson, a few folding plans and maps, original blue cloth, uncut, hinges a little rubbed, large 8vo, London, Smith, Elder & Co., 1913 (2)Footnote: Vol. I contains Scott's journals and vol. II 'Being the Reports of the Journeys & the Scientific Work undertaken by Dr E.A. Wilson and the Surviving Members of the Expedition'. The preface is by Sir Clements R. Markham.
Los 251
'THE VOYAGE OF THE DISCOVERY' by Captain Robert Falcon Scott, two vol, first edition, photogravure frontispiece, that in vol. II a portrait of Scott, folding map in a pocket at end of vol. I (lacking in vol. II), numerous plates (many detached), some foxing and spotting, original blue cloth, gilt decoration on front covers, very rubbed, inner hinges broken, 8vo, London, Smith, Elder & Co., 1905; and a copy of vol. II with the map in the pocket at end (2) Sold not subject to return
Los 253
'THE NORTH POLE' by Robert E. Peary, first edition, photogravure portrait of the author, large folding colour map at end and 116 plates, original pictorial cloth, central gilt medallion portrait of Peary, 4to, London, Hodder and Stoughton, 1910Footnote: With an extremely congratulatory introduction by President Theodore Roosevelt.
Los 247
'THE NORTHWEST PASSAGE, BEING THE RECORD OF A JOURNEY OF EXPLORATION OF THE SHIP GJOA 1903-07' by Roald Amundsen, two vol., first English edition, photogravure frontispieces, that of vol. I a portrait of the author, folding map in a pocket at end of both vol., plates, original blue cloth gilt, t.e.g., partly unopened, large 8vo, London, Archibald Constable, 1908 (2)Condition report: A fine copy.
Los 258
'THE HEART OF THE ANTARCTIC BEING THE STORY OF THE BRITISH ANTARCTIC EXPEDITION 1907-1909' by Ernest Shackleton, two vols., first edition, photogravure frontispiece, that of vol. I a portrait of Shackleton, numerous plain plates, a few in colour, occasional very light foxing, original blue cloth, silver illustrations on front covers, vol. I rather stained, dust-jackets, t.e.g., others uncut, 4to, London, William Heinemann, 1909 (2)Footnote: Copies with the dust-jackets are scarce.
Los 399
TROIKA (CONTEMPORARY) 'DARK HUMOUR', a stencil portrait of a female figure, signed verso, mixed media on canvas, approximate sizes: image 76cm x 50cm, frame 83cm x 58cm (TROIKA are a collaboration of three artists, Eva Rucki, Conny Freyer and Sebastian Noel) (condition: dirty marks to frame) (ARR)
Los 609
A 19TH CENTURY SEATED PORTRAIT OF AN OLDER MALE, he is whittling a walking stick by the light of a cottage window, his supper of a baked potato is cooling on a table, unsigned, oil on canvas, gilt framed, approximate size 45cm x 35cm (Condition report:- painting has been cleaned at some point, craquelure visible across the whole surface)
Los 636
A 19TH CENTURY PASTEL HEAD AND SHOULDERS PORTRAIT OF A CLERGYMAN, titled verso 'Revd C.H. Hutton', indistinctly signed, dated 1843, approximate size 56cm x 42cm, framed, together with a W.E.Webster print of a young girl wearing a pink dress, mounted, framed and glazed, approximate size 48cm x 36cm
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283287 Los(e)/Seite