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283287 Los(e)/Seite
Los 517
William Scott CBE, RA (British 1913-1989) Portrait of a Girlsigned and numbered 'William Scott 7/60' (lower right)lithograph44.5 x 35cmBought from the Redfern Gallery by Thea Brown and direct family descent.Condition report: Not examined out of the frame. Appears in overall good, clean condition. Some slight toning of the surface, most evident to the margins and with some minor foxing.
Los 497
§ Laurence Stephen Lowry RA (British 1887-1976) Woman with a Beardsigned 'L.S. Lowry' (lower right)lithograph61 x 50cmFootnote: Horizons peppered with vertiginous factory chimneys coughing out sooty clouds of industry and stylised matchstick figures scurrying across canvases have become synonymous with Lowry's name, the present lot, an arresting portrait of a bearded woman, therefore sits peculiarly within the body of his work. Lowry encountered his sitter in 1957, on a train travelling from Cardiff to London. In an account of his journey, Lowry claimed that he was so taken by the woman, whom he described as "having quite a nice face and a very long beard", that he was immediately compelled to sketch her. It would appear that Lowry was not particularly discreet in his sketching as, after a short while, the woman asked him what he was doing. Sheepishly, and blushing like a "Dublin Bay prawn", Lowry showed her his sketch. He recalls that at first, she was troubled by the drawing, but by the time they had reached Paddington station the pair had become firm friends. Later that same year, Lowry would use his hastily scribbled sketch to create an oil painting of his friend from the train. Reflecting upon his interaction with his sitter, Lowry noted that she was a "an able and intelligent woman, completely alone and isolated behind her deformity". A reclusive figure himself, Lowry’s portrait is one of quiet beauty and kindness and demonstrates his compassion for the sitter.
Los 367
§ § Francis Wynne Thomas (British 1907-1989) The Canal Lock; portrait sketch of a lady to the reversesigned 'F. Wynne Thomas' (lower right) oil on canvas88 x 76cmCondition report: Canvas is in plane but tension is slightly slack. One or two very minor accretions, and a small network of fine drying cracks at the top left hand corner, otherwise in good overall condition.
Los 480
§ § Anna Mayerson (German 1906-1984) Portrait of a Womanoil on canvas112 x 87cmCondition report: Would benefit from a gentle clean. Surface has clusters of mould mostly located across the centre and at the top blue edge of the image. The surface is overall quite rough, with areas of exposed canvas, and scratches in the paint layer, as per the artist's technioque. Along the sides and top of the canvas there are holes where the canvas has been previously tacked to the stretcher, and a small hole on the underside of the canvas where attached to the stretcher. The tension of the canvas is generally good, though there is a minor deformation in the top right hand corner.
Los 391
Berthe Morisot (French 1841-1895) Young Girl with a Cat, after a portrait of Julie Manet by Renoirdrypoint etching, cancelled plate12.5 x 10.5cmCondition report: The work is unsigned and unframed, but hinge mounted with tape along the top edge. The surface is typically toned and with some light undulation, one small foxing mark at the top edge of the image.
Los 461
§ § John Bratby RA (British 1928-1992) The Missoni Dress & the Salute Domes - Self Portrait with Patti in Venicesigned 'BRATBY' (lower right)oil on canvas121 x 90cmCondition report: The surface has accumulated a light layer of dirt and some slight yellowing of small areas of paint, particularly around the more impasto areas. The canvas is slightly loose in the frame, though in plane and with good tension.
Los 1053
Thomas PEAT (XVIII-XIX)Portrait of Mr H W WoodOil on concave copperSigned, inscribed and dated 1783 to verso22x19.3cmSold with a letter from the sitter to a distant relation one John Dufty of OakhamCondition report: This work hasn't been examined out of the frame and it is behind glass, it has a carved frame with damage as can be seen in the image.The work itself seems to be in good untouched condition
Los 1103
Leon KOSSOFF (1926-2019)Male portraitPencil drawing17.5 x 17.5 cm&FigureCharcoal drawing14 x 13 cmSigned and dated 90/92Condition report: The top sketch has an inch long brown mark (could be a spash of coffee). The paper is slightly more yellow than the paper of the portrait. The portrait has an horizontal crease about a cm from the bottom that runs along the width of the drawing. No other areas of concern.
Los 1169
Jim DINE (1935)Self Portrait in a Flat CapEtchingSigned, Dated 1974 and numbered 29/3525.5x31cm plate size Condition report: There a couple areas of tiny foxing spots (see photos). The print has very slight undulation but it is barely noticeable and couldnt be captured in a photo. The glass a has a large crack in bottom rh. corner. Not faded and otherwise in good condition.
Los 1207
John Anthony PARK (1880-1962)The Yellow Cardigan, a Portrait of the artist's wife PeggyOil on canvas laid on boardSigned with initials J A P and dated 1928To verso remnants of labels and a still life30.5x26cmNote The third letter in the signature looks like an R. We believe this to be a slip of the artist's stylus
Los 1224
Attributed to John Watson GORDON (1788-1864)Sir Patrick Fraser TytlerTo verso inscriptions and labels including National Portrait Gallery of ScotlandOil on canvas75x62cmNote;Patrick Fraser Tytler FRSE FSA(Scot) (30 August 1791 – 24 December 1849) was a Scottish advocate and historian. He was described as the "Episcopalian historian of a Presbyterian country"Condition report: This work has overpainting, we speculate that it is partway through the restoration process
Los 386
John EMANUEL (1930)Seated FigureMixed media39 x 26cmTogether with two mixed media portrait studies by the same hand, each 38 x 24.5cmCondition report: These artworks are in good condition. One artwork is not laid flat and one artwork has a slight bump that runs the length of the work, (see photo). Two studies are painted on paper and one mixed media on heavy weight homemade paper. These works are not signed.
Los 310
Antique Period - Attractive 9ct Rose Gold Cameo Set Ring. The Shank Added Later Is 18ct Gold. Depicts In High Relief, The Portrait Bust of a Classical Female. c.1900. Ring Size - T. 4.5 grams. All Aspects of Condition Including Cameo / Setting and Shank Excellent. Provenance - From a Ladies Private Collection.
Los 35
An Important Antique Oval Portrait Bust Cameo of Fine Quality - Of a Dignified Gentleman, Carved In the Classical Roman Taste In High Relief, Artist Signed to the Verso - Please See Images. Housed In An Antique 18ct Gold Frame. c.1800's. Grand Tour Period. Size 2 x 1.5 Inches. Not Marked but Tests High Ct Gold. Wonderful Condition In All Aspects. Provenance - From a Ladies Private Collection.
Los 53
George III - Large and Fine Quality Carved Black Basalt Portrait Cameo / Plaque Brooch, Mounted Within a 9ct Gold Ornate Mount Frame. Marked 9ct - Later Period. Depicts Admiral Nelson, Design by John De Vaere In 1798, Particularly Sharp Modelling - Unmarked. Indicating an Early Piece / Example of Wedgwood. Weight 85 grams. Wonderful Fresh Condition, No Issues of Any Kind, Extremely Pleasing Piece. Height 3.5 Inches - 8.75 cms & Width 3 Inches - 7.5 cms. Provenance - Comes from a Ladies Private Collection.
Los 91
Austrian 19th Century Excellent Quality 18ct White Gold - Hand Painted Oval Shaped Large Brooch, Set with Rose Cut Diamond to Border, The Central Portrait Miniature of a Young Couple In Mid 19th Century Dress, The Back of Brooch with Austrian Gold Marks, Also Tests High Ct Gold. Weight 25.7 grams.
Los 111
Frank Martin (1921-2005) British, a portrait, titled 'Louise Brooks', limited edition etching, pencil signed, titled and numbered 76/100, 37.4 cm x 27 cm, glazed in a contemporary silvered frame.Condition report: Good condition, with no staining / damage evident. Colour elements in good order
Los 204
A group of collectable items, largely related to Napoleon Bonaparte, to include a Limoges ceramic box, a faux tortoisehell box, a framed medallion after Andrien (depicting Josephine), an Empire style inkwell, printed portrait miniature and others, together with a resin bust of Niccolò di Bernardo dei Machiavelli, signed Casea, 12 cm high.Condition report: Missing section the cover of the faux tortoiseshell box. No further damages. Most items with light age-related surface marks.
Los 207
A 19th century plaster high-relief bust of Napoleon Bonaparte in profile, housed in an ebonised frame, 11 cm diameter, together with another similar in white metal, glazed in a gilt frame and a blue jasperware style portrait of a gentleman, 4.3 cm x 3.5 cm, also gilt framed.Condition report: The two gilt frames are now gold paintedThe jasper panel is OKThe metal profile is OKThe plaster relief is OK
Los 292
A pair of Chateau de Tuileries Sevres porcelain and ormolu two-handled urn-shaped vases and covers, on shaped square bases, having portrait panels of Napoleon and Josephine over Romantic-style scenes of courting couples, signed 'Lefranc', each with figural scroll handles, the covers with cone finials, 31 cm high, printed marks to inside of one cover.Qty: 2Condition report: Professional restoration to one cover (Napoleon vase), no further apparent damage or repair.
Los 32
A 16th century late Baroque, probably Southern German or Spanish, limewood figure of a saint, dressed in flowing robes with original polychrome decoration, 63 cm high.Purchased by Della from the collection of her cousin's 'Howard Hodgkin - Portrait of the Artist' estate sale at Sotheby's. Lot. 220. 24/10/17 Estate of the late Della Howard. Please see the related article on https://www.dawsonsauctions.co.uk/
Los 42
Palermo School, circa 1799Portrait of King Ferdinand IV of Naples and III of Sicily (1751-1825), in profile facing left, wearing a blue coat with red collar and wearing the breast-stars of the Royal Sicilian Orders of Saint Januarius, Saint Ferdinand and of Meritcharcoal and coloured chalk on laid paper18 x 12cm Footnotes:Provenance:Sir Thomas Masterman Hardy (1769-1839), to whom reputedly given by Nelsonhis nephew, William Mansfield (circa 1848-1892), Portesham House, Dorset, and thence by family descent to the current owners.According to family tradition, the present drawing was discovered hidden behind the portrait of Nelson, lot 40 in this sale and which was given by Rear-Admiral Sir Horatio Nelson to Captain Sir Thomas Masterman Hardy (see lot ??? for a description of the events surrounding the background of these two drawings).For further information on this lot please visit Bonhams.com
Los 115
An engraved glass portrait goblet, mid-19th centuryThe generous round funnel bowl finely decorated with a full-length portrait of Napoleon Bonaparte in full uniform on horseback, holding a saddlebag bearing the monogram 'N' beneath a crown with his left hand, the reverse with a blank circular cartouche within a wreath of roses, set on a faceted hollow stem, the circular foot star-cut, 18.8cm highFootnotes:Provenance:Paul Kettle CollectionThe source of the present portrait would appear to be a steel engraving by John Henry Robinson after an original by Jacques-Louis David.For further information on this lot please visit Bonhams.com
Los 18
Circle of Jean-Baptiste Isabey (Nancy 1767-1855 Paris)Portrait of Napoleon wearing Coronation regalia pencil and watercolour, heightened with white, oval13 x 10.5cm in a burr walnut frameFootnotes:Provenance:Anon. sale, Christie's South Kensington, 8 December 2011, lot 347.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 6
A small gold-mounted glass pendant with cristallo-ceramie portrait of Napoleon Bonapartecirca 1802-03The portrait possibly by Desprez and mounted by William Harris, the bust portrait depicting the Emperor as First Consul, to dexter, inscribed BONAPARTE, on a cream backing, inscribed HARRIS to the interior of the glass, within an oval gold case and suspension loop, the red leather velvet-lined and silk case with paper label on the interior, inscribed Harris Gem and Seal Engraver PALL MALL No.22 4.5cm by 3.6cmFootnotes:William Harris was a London medal engraver in the late 18th and early 19th centuries. Examples of his work have been sold at auction in recent years. Although sulphides or cristallo-ceramie are attributed largely to Apsley Pellatt in England from 1819 and later to the paperweight factories of France, it is believed that Desprez, an artist about whom unfortunately very little is known, had mastered the technique of incrustation during the reign of Napoleon, and did so with a perfection that his contemporaries or his successors seldom achieved. It has been suggested that this pendant relates to the Peace of Amiens in 1802, the portrait depicting Napoleon as First Consul.For further information on this lot please visit Bonhams.com
Los 4
Andrea Appiani (Milan 1754-1817)Portrait of Napoleon Bonaparte, bust length, in profile Signed 'A Appiani' Dedic. 'Dal vero a SELa Comtesse Hartig/Marchessa J De...'pencil, black and white chalk on tanned paper20.5 x 18cm Footnotes:Provenance:The von Hartig familyThe present portrait is believed to have been drawn from life by Andrea Appiani, whose close association with Napoleon was of paramount importance. In 1796 on the entry of the French General into Milan, Appiani made a celebrated pencil portrait of him (now in the Brera, Milan), which won him the favour of Napoleon and numerous commissions within the Cisalpine Republic. Appiani also designed many medals and the headings for official papers and was put in charge of choosing the works of art to be requisitioned and sent to France. In 1801 the artist was sent to the Assembly at Lyons and also travelled to Paris, where he made numerous portraits of members of the Bonaparte family. The present portrait is believed to be very close to the artist's drawing of Eugène de Beauharnais, Napoleon's stepson, in the Museo Correr in Venice. After returning to Milan in 1803 he painted the celebrated portraits of Napoleon and Francesco Melzi (both in the Villa Melzi-d'Eril in Bellagio) and in the same year he began work on the Fasti di Napoleone, a series of 35 monochrome canvases for the Sala delle Cariatidi in the Palazzo Reale, in Milan, which he completed in 1807 (now destroyed, but engraved under the supervision of Appiani himself and the direction of Giuseppe Longhi). His further decorations in the state rooms of the Palazzo Reale were notable and, while also largely destroyed in 1943, his Apotheosis of the Emperor Napoleon on the vault of the Sala di Trono survives. In 1804 Appiani went to Paris for the Emperor's coronation and in 1805 he painted the portrait of Napoleon, King of Italy (now in the Kunsthistorisches Museum, Vienna).Along with the sculptor, Antonio Canova, Appiani was arguably the chief exponent of Italian Neo-classical art, valued for his impeccable technique and superb handling, whether in drawings, oil paintings, or frescoes. His particular style, which displayed a delicate gradation of tone was inspired by Correggio and by the school of Leonardo and marks his works apart from the severe and statuesque manner of Jacques-Louis David. The effects of softness and luminosity so apparent in his drawings are also found in his paintings, which appear to have been equally executed with the same extraordinary facility and grace. Heinrich von Bellegarde (1756 – 1845), whose mother was a Countess von Hartig, entered into Austria's service in 1778 and served with distinction during the campaigns between 1793 and 1795. In 1796, following these campaigns, he was made Feldmarschallleutnant and chief of military staff to Archduke Charles. The following year, he negotiated the Treaty of Leoben, the preliminary accord to the Treaty of Campo Formio, with Napoleon Bonaparte. In 1799, he was made commander of a corps in eastern Switzerland which was to ensure communication between the armies of Souvarov and Archduke Charles. In 1806, he was named Feldmarschall and civil and military governor of Gallacia. During the 1809 campaign, he commanded the first corps of the Austrian army, under Archduke Charles. He distinguished himself at Essling (21-22 May) and Wagram (5-6 July). Following the Treaty of Schönbrunn in 1809, he once again became governor of Gallicia but was often called to preside over meetings of the Aulic Council. In 1813, he was called to lead the Austrian army in Italy and in 1814, he concluded the armistice with Eugène de Beauharnais. Between 1814 and 1815, he was governor of Lombardy and Venetia. During this time, he came up against Murat at the banks of the river Po and defeated him at Occhiobello and Casaglia in 1815. In 1816, Bellegarde spent some time in Paris, but was soon recalled to again preside over the Aulic Council, a post which he held until 1825.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
Los 127
Alfred-Guillaume-Gabriel, Comte D'Orsay (French, 1801-1852): A bronze equestrian portrait of Arthur Wellesley, 1st Duke of WellingtonDepicted on his favourite charger 'Hanover' wearing a plumed bicorne and holding a telescope in his right hand, his sheathed sword to his left side, on rectangular naturalistic base, the base signed to one side and to the underside of the horse COMTE D'ORSAY SCULPT. 1848, the opposing side of the base inscribed and numbered T.W. No 17, raised on a contemporary black marble rectangular plinth, 44.5cm high approximately overallFootnotes:The Comte d'Orsay studied sculpture in Florence and Paris before arriving in London in 1823. Known as a flamboyant dandy, he mixed in aristocratic circles and enjoyed success as a both a painter and sculptor in Paris and London, exhibiting at the Royal Academy throughout the 1840's and also at the Paris Salon from 1845. He was nominated as the Director of the Beaux-Arts in 1852 by Louis-Napoleon and exhibited his bronze equestrian statue of Napoleon in 1849 at the Paris Salon.The sculptor was apparently particularly proud of the present equestrian statuette which caused a stir in London and greatly pleased the Duke. He also produced a bust of the Duke which was reproduced in Parian ware as well as painting a portrait of Wellington which was apparently one of his favourite depictions and which is now in the National Portrait Gallery.A large edition of this model inscribed 'PRESENTED TO LADY ELIZABETH MARCHIONESS OF DOURO ON THE 18TH JUNE 1852 BY FIELD MARSHAL ARTHUR DUKE OF WELLINGTON' was sold at Sotheby's, London, May 29, 2008, lot 20.Literature: P. Kjellberg Les Bronzes du XIX Siecle, Les Editions de L'Amateur, Paris (p. 526).For further information on this lot please visit Bonhams.com
Los 144
Denzil O. Ibbetson (British, 1775-1857)Study of Napoleon Bonaparte leaning against a gun on board HMS Northumberland en route to St Helena bears inscription below by John Des Fontaine 'A correct likeness of General Buonaparte taken on board H:M:S: Northumberland on her Passage to the Isld. St. Helena in 1815/ J:DesF:'pen, brown ink and watercolour on Whatman paper21 x 13.8cm Footnotes:Provenance:The Lacquer Chest, London, from whom acquired by the present private owner in 1995.Napoleon was taken to St Helena on HMS Northumberland in the care of Admiral George Cockburn, arriving there in October 1815. An account of the voyage can be found in the journal of Cockburn's secretary, J.R. Glover which was published in 1893. Also on the ship was Denzil Ibbetson who was Commissary officer on Saint Helena during Napoleon's exile, (one of the few British officers to remain there throughout Napoleon's incarceration) and who produced a number of sketches of the captive both en route to and after his arrival on the island; notably he painted Napoleon's death-bed portrait. In the present drawing Napoleon has a somewhat disconsolate expression as he leans on a gun carriage wearing a petit chapeau, uniform coat, knee breeches and buckled shoes. Another version of the sketch, in mirror image but without the gun or watercolour, was sold, Art+Objects, New Zealand, 29 June 2010, 'Napoleon's Final Days', lot 9. This composition also appears to be the original for George Cruikshank's rare etching which shows Napoleon in two positions, (British Museum print 1978, U.838). Ibbetson seems to have done a number of versions of the sketches that he made of Napoleon and he gave them to friends and colleagues on the island; John Des Fontaine was a landowner on St Helena.For further information on this lot please visit Bonhams.com
Los 17
A very rare Paris engraved glass portrait beaker by Broussouze, circa 1810Of so-called 'Charpentier' type, the cylindrical form with a flared rim, finely decorated with a profile portrait of Napoleon Bonaparte after Galle, the Emperor facing dexter and wearing a laurel wreath, signed 'BROUSSOUZE', the rim with a formal foliate border, 9.4cm highFootnotes:Glasses of this form produced during the Empire period are traditionally referred to as 'Charpentier glasses' after a certain Charpentier, whose name and Parisian address were discovered on a label inside the cover of the case of a related beaker in the Museum Kunstpalast, Düsseldorf (inv. no. mkp.P 1940-189). See Walter Spiegel, 'Pariser Glasschnitt im Empire: Die so genannten Charpentier-Gläser', Die Kunst (5/1987), p.393 for a discussion. 'Charpentier glasses' are found in three general forms: cylindrical, bell-shaped, and that of the present lot.We know relatively little about the identity of Broussouze, other than he was established in Paris at 150 Rue Montmartre from 1808, and at 137 Galerie de Pierre in the Palais-Royale from 1810. A signed beaker engraved with a profile portrait of Louis XVIII by Broussouze with an identical foliate border, dated to circa 1814-20, is illustrated and discussed by Fernando Montes de Oca, L'Age D'Or du Verre en France (2001), pp.181-3, no.149. The same beaker is also illustrated by Brigitte Baumgärtner, Porträtgläser (1981), p.49, fig.54. This beaker is mentioned together with the present lot by Spiegel (ibid.) at p.396. It is possible the Parisian glass engravers such as Broussouze were influenced by contemporary Bohemian engravers, but the quality of French engraving of this period is generally softer and more painterly. The profile of Napoleon's nose on the present lot, which is slightly more 'Roman' than usually seen, together with the bow to the back of the laurel wreath, suggest that the portrait is taken from the medal struck in 1805 by André Galle rather than the virtually identical medal struck in 1804 by Bertrand Andrieu.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
Los 133
Six Staffordshire figures of Napoleon, mid-19th centuryComprising a porcellaneous figure of Napoleon standing on a square base, a bare-headed figure beside a tree, a figure standing with an eagle at his side, another wearing a blue waistcoat and jacket picked out in gold, another astride a rocky base, the last on a tall cylindrical plinth inscribed 'N B', with a cannon at his feet, 19.2-32cm highFootnotes:A similar model to the example standing on a cylindrical plinth is illustrated by P D Gordon Pugh, Staffordshire Portrait Figures (1970), p.231, fig.48.For further information on this lot please visit Bonhams.com
Los 31
A PORTRAIT MINIATURE OF JÉRÔME BONAPARTE BY LOUIS FRANÇOIS AUBRY (FRENCH, 1767-1851)Jérôme Bonaparte, King of Westphalia (1784-1860), wearing white uniform of the Westphalian Infantry and the red ribbon, star and badge of the Grand Eagle of the Légion d'Honneur, watercolour on ivory, signed Aubry on the obverse, 4.2cm highFootnotes:Aubry was a pupil of Vincent and Isabey. In turn, he taught many important artists including Saint, Millet, Le Gros, Delacluze and Meuret. He painted many important members of the French court, including Jérôme and his wife, Pauline Bonaparte and the Empress Joséphine. For an enamelled version of this portrait see Bonhams, Fine Portrait Miniatures, 5th November 2002, lot 115.Please note, it is not possible to export ivory to the United States.This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory. The United States Government has banned the import of ivory into the USA.For further information on this lot please visit Bonhams.com
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283287 Los(e)/Seite