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283287 Los(e)/Seite
Los 640
Attributed to Sir Thomas Lawrence PRA, FRS (1769-1830) Portrait of Prince Hoare (1755-1834), bust-length, in a black coat and white stock Oil on canvas 53.5 x 43.6cm; 21 x 17in Provenance: Kelvingrove House, Glasgow; Scottish Private Collection; English Private Collection Prince Hoare was a celebrated artist and playwright and son of the artist William Hoare of Bath (c.1707-1792). Prince Hoare had been a friend of Lawrence's for around forty years and Sir Thomas is known to have referred to him affectionately as 'My old Bath friend'. Another, less finished version of this sketch is recorded (see Kenneth Garlick, Sir Thomas Lawrence: A Complete Catalogue of the Oil Paintings, Oxford, 1989, no. 411), and was sold at Sotheby's, 4th December 2014, lot 218 (£23,750).
Los 68
Jacques Rigaud (French 1680-1754) A View of the Bason of Latona Hand-coloured engraving 23.8 x 46.5cm; 9¼ x 18¼in Together with Paul Angier (French 1725-c.1757) after Jacques Rigaud; L'Abreuvoir au Front du Palais de Marli; hand-coloured engraving; 23.8 x 46.2cm; 9¼ x 18¼in; Davies (act. 1837) after Giuseppe Longhi (1766-1831), Portrait of Napoleon; engraving; 45 x 37cm; 17¾ x 14½in; and Map of the Island of Elba and a view of Porto Ferrajo; coloured engraving and aquatint; 35.8 x 24cm; 14 x 9½in (4)
Los 7
John Smart (1741-1811) Portrait of miniature of George Robertson (1747-1788), wearing a coat and white stock, and with powdered hair Inscribed Mr Geo Robertson Lands*/painter painted by his/friend Mr Smart just/before his departure for/India (to verso) Oval, pencil and watercolour on card, in a gilt painted wooden frame 111 x 91mm Provenance: Bonhams, Knightsbridge, 25 November 1998, lot 50 George Robertson was a landscape painter, who travelled with William Beckford to Jamaica in 1772. He spent two years on the island, producing views which were subsequently engraved. The inscription on the reverse of the present work suggests it was executed in early 1785, shortly before John Smart's departure for India.
Los 78
After Sir Joshua Reynolds PRA, FRS, FRSA (1723-1792) Portrait of George Spencer, 4th Duke of Marlborough and his family Mezzotint, by Charles Turner (1773-1857) 83.6 x 67cm; 33 x 26¼in Together with John Smith (1652-1743) after Sir Godfrey Kneller (1646-1723); Portrait of Sir Christopher Wren; mezzotint; 35.2 x 25.7cm; 13¾ x 9¾in; John Keyse Sherwin (1751-1790) after John Francis Rigaud (French 1742-1810); Portrait of John Yenn, Architect; stipple; 32 x 26.2cm; 12½ x 10¼in; and John Simon (c.1675-1751) after William Hoare of Bath (1706-1792); Portrait of The Right Honourable Philip Dormer Stanhope Earl of Chesterfield; mezzotint; 34.5 x 26cm; 13½ x 10¼in (4)
Los 785
John Brett ARA (1831-1902) Portrait study of Daisy, the artist's daughter, aged 19 months Dated and inscribed Sketch of Daisy/age 19 months/aug 13 1874 (upper right) and signed and inscribed Presented to Pollie/august 16th 1874/John Brett (to verso) Oil on board 20.9 x 17cm; 8¼ x 6¾in Provenance: Given by the artist to his wife Mary Brett, 16 August 1874; By descent to the sitter, Daisy Watson (née Brett); Maas Gallery, London, 1991; Private Collection Literature: Christiana Payne and Charles Brett, John Brett Pre-Raphaelite Landscape Painter (Yale, 2010), p.217, no 713 (unseen and unlocated by the author and listed as (?)pencil) We are grateful to Charles Brett for his assistance cataloguing the present work, and for the following information: This charming study of his second child, and eldest daughter, Daisy, was painted in Guernsey, where Brett and his family spent the summer of 1874. A few days later he presented it to his wife Mary (also known as Pollie). After her death in 1911, it was inherited by the sitter (then Daisy Watson), and passed down in her family until its acquisition by the Maas Gallery in 1991. Brett made oil studies of all his seven children at some point in their early years, although from 1879 onwards he preferred to use the camera to record their activities.
Los 831
Joseph Sydney Willis Hodges (1828-1900) Portrait of Frederick Vernon Williams, Master of the Eridge Hunt, dressed in his hunting coat Signed Sydney Hodges (lower left) Oil on canvas 145.7 x 102cm; 57¼ x 40¼in Provenance: Presented by members of the Eridge Hunt to the sitter on his marriage, 20 April 1892; And by descent
Los 834
Edith Corbet (1846-1920) Portrait of Alice Williams, née Herbert, in a white dress with lace shawl, standing in an interior Signed Edith Corbet/1897 (lower left) Oil on canvas 148.4 x 100.5cm; 58½ x 39½ Provenance: By descent from the sitter Alice Williams and Edith Corbet were friends, and studied together in Florence. She was the niece of the Earl of Pembroke, and married Frederick Williams (lot 831).
Los 836
English School 19th Century Portrait of a young girl sitting in a landscape with a spaniel Oil on panel 34.5 x 29cm; 13½ x 11½in, framed as an oval Together with English School 19th Century; Portrait of a young lady in a white evening dress; oil on canvas; 34.2 x 29cm; 13½ x 11½in, framed as as oval (2)
Los 840
B. A. Butler (19th Century) after Franz Xaver Winterhalter (German 1805-1873) Portrait of Queen Victoria (1819-1901), three-quarter length, wearing a white silk dress and the insignia of the Order of the Garter Signed and inscribed Her Most Gracious Majesty/ VICTORIA/ Queen of Great Britain & Ireland/&/ Empress of the Indies/ PAINTED IN THE YEAR OF HER DIAMOND JUBILEE/FROM WINTERHALTER'S PICTURE/IN THE PALACE OF VERSAILLES/By B A Butler (to reverse) Oil on canvas 127.4 x 96.3cm; 50¼ x 38in Provenance: Woolley and Wallis, Salisbury, Fine Old Masters & 19th Century Paintings, 10 December 2014, lot 225, where purchased by the present private collector After Winterhalter's version in the Château de Versailles (inv. no.MV 4675)
Los 852
William Frederick Yeames RA (1835-1918) Portrait of Mr Shannon, director of Coutts, seated in an interior Signed and dated W F YEAMES/1893 (lower left) Oil on canvas 115.4 x 89.8cm; 45½ x 35¼in Literature: M. H. Stephen Smith, Art and Anecdote: Recollections of William Frederick Yeames, R.A. (London, Hutchinson & Co), p.217 Exhibited: London, Royal Academy, no.335 Mr Shannon was a lifelong friend of the William Frederick Yeames.
Los 853
James Sant CVO, RA (1820-1916) Portrait of Alexander Boord (1872-1925), full-length, holding a book Signed with monogram (lower right) Oil on canvas 145.7 x 86.1cm; 57¼ x 34in Exhibited: London, Royal Academy, no.814 Alec Boord was the youngest son of Sir Thomas Boord, 1st Bt. (1838-1912), the Conservative MP for Greenwich from 1873-1895.
Los 854
Seán Keating (Irish 1889-1977) after Sir William Orpen KBE, RA, RHA (Irish 1878-1931) Portrait of James Hugh Smith-Barry (1816-1856), bust-length, wearing a black coat and blue waistcoat. Oil on canvas 61.1 x 46cm; 24 x 18in Together with a collection of letters from Sir William Orpen to Lord Barrymore relating to the work. Provenance: Commissioned in 1916 from Seán Keating via Sir William Orpen, by Arthur Hugh Smith-Barry, 1st Baron Barrymore (1843-1925); And by descent According to the enclosed letters, in 1904 Lord Barrymore commissioned Sir William Orpen to paint a posthumous portrait of his father, based on an 1854 pastel sketch by James Rannie Swinton, which was hung at Fota House. Orpen discusses the difficulty of painting from a drawing, as well as advising Lord Barrymore how best to light the work. In 1916, Lord Barrymore evidently wanted a second version to hang in his Cheshire home, Marbury Hall. Apparently Orpen was not able to accept the commission but he arranged for his former pupil Seán Keating to undertake the work.
Los 855
Alfred Hitchens (1861-1942) Portrait of Geoffrey Mercer (1896-1966) as a boy, seated in a landscape, wearing a grey suit and holding a hunting crop Signed and dated Alfred Hitchens 1905 (lower left) Oil on canvas 114.7 x 91.5cm; 45¼ x 36in Provenance: By descent from the sitter to the present owner
Los 90
Philip de Graves (act. 1704-1725) Portrait of a gentleman, wearing a brown coat, in a painted oval Signed and dated D.Graves/pinxit/1718 (lower right) Pastel 40 x 29.3cm; 15¾ x 11½in Literature: Neil Jeffares, 'Philip de Graves', Dictionary of pastellists before 1800, online edition, accessed 14/04/2021, no. J.358.201
Los 93
Sir Godfrey Kneller Bt. (1646-1723) Portrait of a young girl, half-length Black chalk 20 x 14.6cm; 7¾ x 5¾in Provenance: Henry Scipio Reitlinger (1882-1950) (Lugt 2274a); Sotheby's, London, The H.S. Reitlinger Collection, Part II, 27 January 1954, lot 164 Literature: Henry Scipio Reitlinger, Old Master Drawings: A Handbook for Amateurs and Collectors (Constable Ltd, 1922), p.139
Los 136
§ BRUCE MCLEAN (SCOTTISH 1944-) ORANGE FACE, 1984 Oil on paper(69cm x 48cm (27in x 19in))Footnote: Note: Bruce McLean’s distinctive, irreverent practise is hard to pigeon-hole and his multi-disciplinary approach attests to this, with the artist noted for his work across the mediums of painting, print-making, sculpture and performance. An alumni of the Glasgow School of Art and Central Saint Martins, McLean’s impact on the artworld was immediate and has proved long-lasting. At the tender age of just 27, McLean had a solo exhibition at the Tate Gallery in London before going on to teach art, most notably becoming Head of Painting at the Slade School of Fine Art. His teaching practise and forthright, colourful approach to his own work has influenced subsequent generations of British artists.Lyon and Turnbull are delighted to offer some rare to market early career works by this enigmatic figure. They were painted in McLean’s garage studio in Barnes during the period between the spring of 1983 and 1984 after McLean had returned from some time in Berlin. He found the space and the domestic situation around it immediately congenial and it was close enough to home for him to work in a way that suited his temperament; at odd times of the day or night, unpredictably and spontaneously.These pieces were part of a body of paintings that have a marked stylistic unity. Though his work is characterised by a sense of fun and approachability, it is in fact frequently underpinned by political discourse, stemming directly from a belief in the centrality of art to the development of human consciousness and to social and domestic well-being. For example, in the case of Lot 136, we see one of his recurring motifs from this era of his work; the stepladder, with its connotations of social ascent and descent. These garage paintings are notable for their extreme economy of means, directness of address, stark simplicity of style, gestural vehemence and passionate indignation.In 1985, photographer Alastair Thain published his photobook ‘Skin Deep’, the aim of which was to “offer an exploration of modern celebrity and myth”. The image here aims to tap into and capture the wit and irony with which McLean’s work often sought to lampoon, as well as more seriously question, the workings of the art world. Here, in typical style, we find him playfully subverting the trope of the ‘traditional’ portrait. Fellow artists also shot by Thain include Joseph Beuys, Andy Warhol and Francis Bacon
Los 138
§ BRUCE MCLEAN (SCOTTISH 1944-) SELF-PORTRAIT Oil on paper(51cm x 40cm (20in x 15.75in))Footnote: Note: Bruce McLean’s distinctive, irreverent practise is hard to pigeon-hole and his multi-disciplinary approach attests to this, with the artist noted for his work across the mediums of painting, print-making, sculpture and performance. An alumni of the Glasgow School of Art and Central Saint Martins, McLean’s impact on the artworld was immediate and has proved long-lasting. At the tender age of just 27, McLean had a solo exhibition at the Tate Gallery in London before going on to teach art, most notably becoming Head of Painting at the Slade School of Fine Art. His teaching practise and forthright, colourful approach to his own work has influenced subsequent generations of British artists.Lyon and Turnbull are delighted to offer some rare to market early career works by this enigmatic figure. They were painted in McLean’s garage studio in Barnes during the period between the spring of 1983 and 1984 after McLean had returned from some time in Berlin. He found the space and the domestic situation around it immediately congenial and it was close enough to home for him to work in a way that suited his temperament; at odd times of the day or night, unpredictably and spontaneously.These pieces were part of a body of paintings that have a marked stylistic unity. Though his work is characterised by a sense of fun and approachability, it is in fact frequently underpinned by political discourse, stemming directly from a belief in the centrality of art to the development of human consciousness and to social and domestic well-being. For example, in the case of Lot 136, we see one of his recurring motifs from this era of his work; the stepladder, with its connotations of social ascent and descent. These garage paintings are notable for their extreme economy of means, directness of address, stark simplicity of style, gestural vehemence and passionate indignation.In 1985, photographer Alastair Thain published his photobook ‘Skin Deep’, the aim of which was to “offer an exploration of modern celebrity and myth”. The image here aims to tap into and capture the wit and irony with which McLean’s work often sought to lampoon, as well as more seriously question, the workings of the art world. Here, in typical style, we find him playfully subverting the trope of the ‘traditional’ portrait. Fellow artists also shot by Thain include Jospeh Beuys, Andy Warhol and Francis Bacon
Los 276
Seven framed military portrait prints, to include the Lieutenant Alan Gerard V.C, Captain John Aiden Liddel V.C, Captain Frank H McNamara V.C, Captain F.M.F West V.C M.C, 2nd Lieutenant Alan Arnet McLeod V.C, Sargent Thomas Motter Shead V.C and Captain (temp. Major) L.W.B.R EESP.C M.C, 16cm x 11cm each framed and glazed. (AF)
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283287 Los(e)/Seite