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283287 Los(e)/Seite
Los 92
British School, 18th Century - Group of three portrait miniatures, comprising, Portrait of a man in a blue coat and powdered wig, Portrait of a lady with ringlets and Portrait of a man in a blue coat with lace cravat, watercolour on ivory, 7.5 x 6.5cms, 5 x 3.5cms and 7.5 x 6cms respectively, in frames. (3)
Los 189
Frederick Sands RI (British, 1916-1992), 'Blois, France' Oil on canvas, signed lower right centre 24 x 36in. (61 x 91.5cm.) *Born in Liverpool in 1916, Frederick Sands was taught watercolour painting by his father, James Sands, who was a window dresser for a local tobacco company but had a passionate love of art. He came to Jersey in 1933 to work for his great uncle, Fred Laurens, as a portrait photographer where he met Mabel Handford, who later became his wife. The couple evacuated to England during World War 11 when Frederick worked as a War photographer. They returned to Jersey in 1946. He taught art at de la Salle College from around 1956 until 1983 and was elected a member of the Royal Institute of Painters in Watercolour, although he also worked in oils. He is best known for his sweeping coastal views, particularly of St Ouen's Bay in Jersey. ** Good condition.
Los 206
John Helier Lander (Jersey, 1868-1944), Portrait of Adolph Cookson Curry aged 8 oil on board, signed and dated 1894 top right, English, late 19th century, running pattern frame 15½ x 11½in. (39.4 x 29.25cm.) * Provenance: Bonhams & Langlois, St Helier, Jersey 28th November 2001, lot 83. Sold for £2,070. ** Notes: Adolph Cookson Curry was the son of Adolphus Cookson Curry (1848-1910) a Jersey born civil engineer and architect who was responsible for designing some significant buildings in Jersey including the Opera House, Highlands College, Victoria Club, Jersey Ladies College, Midland Bank and St Paul's Church. He was also concerned with the restoration of Mont Orgueil and St Ouen's Manor. John Helier Lander was born in 1868 in Belmont Road, Jersey, the son of a bootmaker. He was apprenticed to a watch-maker at the age of fifteen however his artistic talent was soon recognised and he went to London with an introduction to Sir John Everett Millais. After a year at Calderon's Art School in Hampstead he went to Paris where he studied at Julien's famous atelier under Bouguereau and Fleury. He completed his training after three years at the Royal Academy School, which he left in 1893. Returning to Jersey, Lander took up the position of Art Master at the Ladies College and began to paint portraits of prominent local people. In 1905 he moved to London and became established as a fashionable portrait painter. He secured many commissions, including the Royal Family and many heads of state. He exhibited frequently at the Royal Academy, the Royal Institute of Oil Painters, the Royal Society of Portrait Painters and the Paris Salon. Lander died in 1944. Collections: Royal Collection, Manchester City Art Gallery, American Embassy, University College Oxford, Société Jersiaise etc.
Los 322
20th century Chinese School, A portrait of a young lady with a fan, reverse painting on glass, unsigned, 19¾ x 13¾in. (50.25 x 35cm.), in a part ebonised frame with brass hanger. * Small flake to black background to left of head. Some patchy blooming and pale spotting to the black ground throughout. Small scratch to black at top margin. Frame with some speckled bleach spotting pale wood section.
Los 380
attributed to Johann Peter Feuerlein (German, c.1668-1728), Figural sketches two, pen, ink and wash on paper, the larger 6 x 8in. (15.25 x 20.25cm.); together with a small quantity of other pencil, pen & ink and watercolour sketches and portraits, including a watercolour on paper oval portrait miniature of a French military Officer, c.1802, inscribed 'M. Dumourier Frenchman'; two small pen & ink Welsh landscapes, 19th century; two watercolours attributed to William Edward Frost RA etc. (10)
Los 439
Scottish School (early 19th century), Portrait of a gentleman, half length, dressed in a fur trimmed cloak, red sash and black feathered hat, wearing a portrait miniature around his neck oil on canvas, inscribed 'By Mead 1801' to canvas verso, unframed 19 x 15in. (48.25 x 38cm.) * Has been cleaned and revarnished at some stage - some small retouches visible under UV, but appears to be a blocking varnish so not much is visible. Small area of craquelure and paint flaking to lower left. Two tiny glued splits and indents from back of canvas to lower right of the feathered hat and another indent from grit beneath stretcher to top left corner. Some small flakes and abrasions to edge of canvas.
Los 444
Scottish School, circa 1840, Pair of Portraits of a Gentleman & his Wife oil on canvas, inscribed and possibly dated indistinctly on a letter lower right in the portrait of the man, modern reproduction swept frames 30 x 25in. (76.2 x 63.5cm.). (2) * Both paintings relined in the 20th century. Minor losses, surface dirt, abrasion and old retouchings. In the portrait of the man there is a repaired tear in the canvas in the top right centre.
Los 446
Anglo Dutch School, 1640, Portrait of a Young Boy with a Parrot oil on a chamfered joined oak panel, inscribed with the boy's age and date in Latin "Aetatis 7 Ano 1640", faux oval, plain wooden frame 26¾ x 22¼in. (67.9 x 56.5cm.) * Painted on three joined panels, the joints visible from the front. Recent butterfly joints added to join the panels visible from the back. The surface is slightly scuffed and dirty. Frame damaged with losses.
Los 449
Circle of Sir Godfrey Kneller (German, 1646-1743), Portrait of a Gentleman in a Red Coat faux oval, oil on canvas, English, 18th century, carved and gilded frame 30 x 24in. (76.2 x 60.7cm.)* Fair but stable condition. Scattered areas of rubbing where the paint has thinned and some deterioration to the varnish. Centre right with marked fine craquelure and some tiny paint flakes missing. Two other tiny paint flakes to lower edge. Frame contact marks to top right and lower left corners. The canvas has been recently been wax lined and the stretcher replaced. Frame good overall, minor losses, old inactive worm verso.
Los 451
English School (1920s-30s), Portrait of a young lady, in a black hat and fur stole watercolour, signed indistinctly lower right, in an ebonised glazed frame, inscribed with various notes verso 14¼ x 10½in. (36.2 x 26.7cm.); together with another similar watercolour portrait. (2) * Provenance: M. E. Rogers & Co., Chancery Lane, London ** Both portraits have had white watercolour wash overpainted to the background to try to cover toning of the sheet, which is quite marked. The white has unfortunately covered the signature to the portrait of the lady with stole. There is some foxing visible to both in the areas which have not been overpainted.
Los 509
John Randall Bratby RA, LG, ARCA (1928-1992), Portrait of a gentleman in a bowler hat impasto oil on board, signed 'BRATBY' in white vertically to lower right and further signed 'J BRATBY' to the c. June 1970 newspaper pasted verso, unframed 24 x 23¾in. (61 x 60.25cm.) * Provenance: Inherited by the current owner from the late Major A.C.J. Congreve, the Godson of HRH The Duke of Connaught. ** Paint loss to corners, most notably the lower right corner which has curled and is missing a piece from the back of the thick board. Heavy craquelure visible to the impasto but this appears to be contemporary to the work and not later deterioration. No retouching or restoration visible under UV.
Los 528
Charles Turner, ARA (1775-1857) after John Hoppner (British, 1758-1810), Admiral Lord Nelson, full length portrait, mezzotint, pub. Colnaghi & Co., London, 1806, 24½ x 16in. (62.25 x 40.6cm.), in a bird's eye maple frame. * Water damage to frame at lower and upper left. Print has restoration to tear at lower right corner. Dirty smudge to left end of lower margin. Two small restored tears to upper margin at left and two small tears visible to top right margin. Not examined out of frame.
Los 722
Leonora Jenner - revival of 17th century needlework - An embroidered (stumpwork) casket, 20th century, of typical form with slopping panels, the hinged lid with two portrait miniatures, interspersed with floral design with butterflies, snails and other insects, signed in pearl effect beads 'Leonora Jenner 1940', opening to reveal a void for storage lined with pink paper, the hinged double doors to front worked with angels taking tea, and the Sacrifice of Isaac, opening to reveal pink paper interior with single shelf, the other panels with many three dimensional fruits, flowers, animals, birds and figures, to include figural landscapes, lion, leopard, camels, rabbits, dogs, cats, squirrel etc., having ornate twin pierced handles, raised on four gilt wood feet, 12¼ x 8 3/8in. (31 x 21.3cm.), 13 1/8in. (33.4cm.) high, visually stunning. * Leonora was an expert in needlecraft and she created many textiles, furnishings and embroideries for Avebury Manor. Inspired by the aesthetic of her historic home she revived the art of ‘stump work’, the 17th century style of needlework which gives a three-dimensional effect. ** Provenance: Christie's, London (South Kensington) sale 5572, 15th March, 2005, lot 191. *** One carrying handle loose (missing screw), front doors missing handle, some dresses on figures with slightly loose material, beads on female portrait loose, slight gilt rubbing to feet, overall very good, visually stunning, bright colours.
Los 137
A Victorian portrait oil painting of a gentleman, painted on metal and re-painted in places, frame size 51 x 36cm.Provenance:Michael Trethewey. A Gentleman of Taste.We are delighted to be selling in this sale and over forthcoming sales, items from the estate of the collector Michael Trethewey. Michael had an unerring eye for quality. He was a frequent visitor to these auction rooms, an elegantly dressed, unassuming man who bought well and had a singular passion for old school antiques.We are honoured to be handling his estate and as well as the items in this antiques sale we will be selling further pieces from his extensive collection in our June 17th Jewellery, Silver & Watches Sale and across our range of upcoming specialist sales.
Los 29
An English delft polychrome decorated lobed dish, probably Bristol, circa 1710, with royal portrait of Queen Anne, initialled .AR', diameter 25cm, height 4.5cm.An almost identical dish is illustrated on page 81 of Michael Archer's 'Defltware'.Condition report: There is no restoration. Usual slight chipping to edge rim and a short hairline crack to the rim.
Los 800
A* Gaymard after Thomas Gainsborough - portrait of an elegantly dressed young lady standing three-quarter length beside a tree her hands in a fur muff, also a companion lady seated, three-quarter length sat beside a tree, wearing a large yellow bonnet, coloured mezzotinted engravings, each 10" x 7.75" (a pair)
Los 10
PABLO PICASSO (1881-1973)Chapeaux d'arlequin (recto); Arlequin (verso), circa 1918 signed Picasso (lower left) black crayon on paper, double sided19.9 x 10.5 cm.7 13/16 x 4 1/8 in.Footnotes:The authenticity of this work has kindly been confirmed by Monsieur Claude Picasso.ProvenanceMarcel Michaud Collection, Lyon (acquired from the artist in 1943)Françoise Dupuy-Michaud Collection, France (by descent from the above circa 1951)Anon. sale, London, Charity Auction, 30 November 2015Acquired directly from the above by the present ownerPablo Picasso's Chapeaux d'arlequin (recto) and Arlequin (verso) is a testament to the artist's early 20th century innovations in illustration, painting, stage and set design. It showcases one of Picasso's most peripatetic periods, during which he collaborated with major composers, dancers, choreographers and artists that were together crystallising the tenets and aesthetics of Modernism – a movement with Picasso at its epicentre. Quite serendipitously, this whimsical, playful work was once owned by the famous dancer Françoise Dupuy, having been gifted to her by her father, the Avant-Garde art dealer and critic, Marcel Michaud.Guiding his black crayon across the paper with fluidity and flourish, Picasso renders a series of iterations of Harlequin, the stock character of 16th century Commedia dell'Arte theatre, performed throughout Europe by travelling comedy troupes. In this present work, the character is instantly recognisable from its typifying features; bicorne hats are perched at jaunty angles and ruffled collars protrude flamboyantly. A mischievous court servant, the Harlequin would perform dazzling stunts and tricks, often acting to thwart his master and gain the affections of his love interest, Columbine. Throughout the development of the Harlequinade pantomime genre in 18th century Britain, the character evolved into a prototype for the Romantic hero. The Harlequin was possibly included in Picasso's repertoire through Barcelona's annual street carnivals, as well as Picasso's visits to the Cirque Médrano in Montmartre in his early twenties, during which he befriended the performers. Their socio-political status as outsiders gave substance to some of Picasso's most poignant early works, including the iconic La famille de Saltimbanques (1905, National Gallery of Art, Washington, D.C.), which depicts an itinerant and seemingly destitute family of performers in a desolate landscape.In this present work, Picasso traces each Harlequin with a single deft stroke. His deliberate, unbroken lines flatten them to the point of pure abstraction. The undulating loops and swirls harmonise each figure into a cohesive entity, defining it in space, yet also generating a flurried medley of movement and perspective. Picasso's goal of eliminating the contours of a three-dimensional space is a hallmark of his Synthetic Cubism, the thematic successor of the Analytical Cubism which he developed with Georges Braque between 1908 to 1912. Picasso and Braque were concerned with fragmenting three-dimensional forms into geometric facets, giving them substance through shading. Conversely, this work represents Picasso forging a more 'distilled' mode of Cubism. By reducing his Harlequins into curvilinear vignettes, Picasso seeks to evoke distortion in its purist form.Incidentally, an iconographic hallmark of Picasso's Synthetic Cubist period was his revisiting the Harlequin and other theatrical characters that were previously ubiquitous in his Rose period (1904-1906). Theodore Reff has observed that, '... like a Cubist composition, the Harlequin's costume of flat bright colours and strongly marked patterns both fragments and conceals the underlying forms, assimilating them to a surface design of great decorative brilliance. Symbolically too this interest in a form of concealment that is also a form of revelation... links Harlequin as a type and Cubism as a style.' (T. Reff, 'Harlequins, Saltimbanques, Clowns and Fools', in Arforum 10, no. 1, 1971, p. 31). Many critics – including Reff and even the psychologist Carl Jung – interpret the Harlequin as an alter ego for Picasso himself. Indeed, Picasso's famous self-portrait, Au Lapin Agile (1905, Metropolitan Museum of Art, New York), depicts the 25-year-old artist in the trademark bicorne hat and patterned garb of the Harlequin, leaning demurely at the bar with a drink in hand. In this deeply psychological scene, Picasso inhabits the melancholic essence of the outcasted Harlequin, thereby evoking his isolation as a young artist.Between the Rose period of Au Lapin Agile and the time of this present work, the Harlequin was dormant within Picasso's oeuvre for nearly a decade. Its resurgence and aesthetic transformation here might be interpreted as a re-alignment of Picasso's social and artistic identity. Indeed, 1917 represented a major turning point in Picasso's life. Motivated by the onset of the First World War, and two failed marriage proposals, Picasso travelled to Italy for the first time at the invitation of his friend, Jean Cocteau. There he designed Cubist sets and costumes for the Ballets Russes, a ground-breaking company that facilitated collaboration between Modern artists, designers, composers and choreographers, including Wassily Kandinsky, Henri Matisse, Erik Satie and Coco Chanel. Picasso's relocation to Rome scandalised his Cubist contemporaries at the Café de la Rotonde, who considered Paris the sole habitable option for artists of their calibre.At the Ballets Russes, Picasso met the young ballerina Olga Khokhlova, who he married in the summer of 1918. At the close of that same year, Picasso contributed three highly similar Harlequin drawings to Jean Cocteau's book, Le Coq et l'Arlequin (1918). This quasi-manifesto, which is at times didactic, comedic and absurd, defends the simplicity of the music of Satie and Stravinsky, reviling in turn the more bombastic compositions of Wagner and Debussy. In it, Cocteau mocks the 'fuzziness' of traditional 19th century paintings, which he interprets as facile spectacles of obscurity. Against this literary backdrop, and indistinguishably from this work, Picasso renders his harlequins at their most minimal. They evoke both Cocteau's ethos, with its speckled veil of farce, as well as the spontaneity and whimsy of Cocteau's choreography for the Ballets Russes.Just as Picasso executed this work near the close of the First World War, Marcel Michaud purchased it from Picasso in 1943 in the final stages of the Second World War. A key figure of Lyon's artistic milieu of the mid-20th century, Michaud owned Galerie Folklore and founded Groupe Témoignage in 1936, an experimental art group bringing together young sculptors and painters, many of whom were taking up the mantle of Surrealism. A few years later he gifted the work to his daughter, Françoise Dupuy who in 1951 married her husband Dominique Dupuy, and befitting to the the work's history, both are renowned for their ground-breaking contributions to dance. They performed globally as a duo aptly named 'Françoise et Dominique' in ballet, cabaret and music-hall productions. From the zeitgeist of its creation to the rich lives of its previous owners, this present work arguably serves as a remnant of the free spirit of Modernism, with interwoven ties to art, music, design and performance. Associations Pablo Picasso's Chapeaux d'arlequin (recto) and Arlequin (verso) is a testament to the artist's early 20th century innovations in illustration, painting, stage and set design. It showcases one of Picasso's most peripatetic periods, during which he collaborated with major composers, dancers, choreographers an... This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 28
THOMAS RUFF (B. 1958)Portraits, 1984-1985 a)Portrait, (L. Gerdes)signed and dated Thomas Ruff 1984 (on the reverse)chromogenic colour print24 x 18 cm.9 7/16 x 7 1/16 in.b)Portrait, (K. Kneffel)signed and dated Thomas Ruff 1984 (on the reverse)chromogenic colour print24 x 18 cm.9 7/16 x 7 1/16 in.c)Portrait, (J. Sasse)signed and dated Thomas Ruff 1984 (on the reverse)chromogenic colour print24 x 18 cm.9 7/16 x 7 1/16 in.d)Portrait, (C. Bernhard)signed and dated Aug 85 Thomas Ruff (on the reverse)chromogenic colour print24 x 18 cm.9 7/16 x 7 1/16 in.Footnotes:ProvenancePrivate Collection, UKSale: Bonhams, London, Vision 21, 25 October 2006, lot 27 Acquired directly from the above by the previous ownerThence by descent to the present ownerLiteratureValeria Liebermann, 'Annotated Catalogue Raisonné of Works since 1979' in Matthias Winzen, Ed., Thomas Ruff: 1979 to the Present Exh. cat. Cologne 2001, pp. 181-182, illustrated in colourThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 2823
Aussergewöhnlich feines und seltenes Goldemailgehäuse (Französische Schule) ca. 1650.Gold.D 34 mm.Gehäuse Nr: Zweiteiliges "Bassin"-Form Gehäuse allseitig fein emailliert: Aussen auf türkisblauem Grund Portrait einer eleganten Dame umrahmt von 4 ovalen Landschafts-Szenen. Die Gehäuse-Innenseite ebenfalls türkisblau emailliert und mit ovalem Portrait eines Edelmannes
Los 1250
GIOVANNI BARBERA (Attr.le) Produzione Italia 1930 ca. Scultura in gesso raffigurante autoritratto dello scultore.Bibliografia: Vittorio Fagone, Due pittori e due scultori a Palermo negli anni trenta. Renato Guttuso, Lia Pasqualino Noto, Giovanni Barbera, Nino Franchina, in L'arte all'ordine del giorno: figure e idee in Italia da Carrà a Birolli, Milano, Feltrinelli, 2001. Sergio Troisi (a cura di), Il Gruppo dei Quattro. Guttuso, Pasqualino Noto, Franchina, Barbera: una situazione dell'arte italiana degli anni '30, Palermo, Eidos comunicazioni visive, 1999. PLASTER SCULPTURE DEPICTING THE SCULPTOR'S SELF-PORTRAIT. Alt. cm 36,5.
Los 11
Duncan Grant (British, 1885-1978)Portrait of Simon Bussy signed 'D.Grant' (lower right)oil on canvas laid on board73.5 x 62 cm. (29 x 24 3/8 in.)Painted circa 1922-25Footnotes:ProvenanceThe Artist (until 1964)With Wildenstein & Co., London, 12 December 1964, where purchased byMr A. McAlpineWith Gallery Edward Harvane, London, 22 December 1972, where purchased by Lord and Lady Neill, thence by family descentPrivate Collection, U.K.ExhibitedLondon, Wildenstein & Co., Duncan Grant and his World, 4 November-12 December 1964, cat.no.73Stockholm, Prins Eugens Waldemarsudde, Duncan Grant, 5 June-29 August 1999, cat.no.30The French painter Simon Bussy (1870-1954) is especially valued for his striking images in pastel of animals and birds, often studied at London Zoo in Regent's Park on his annual visits to the capital. He also made distinctive pastel portraits such as those of French writers such as Gide and English friends including the mountaineer George Mallory and his brother-in-law Lytton Strachey (the last two in the National Portrait Gallery). He became an intimate of the Strachey family when in 1903 he married Dorothy (see lot 39), who later became the accredited translator of Gide and the author of Olivia. They lived in Roquebrune near Monte Carlo with their daughter Janie, a painter and great friend of the Bell family. Bussy had studied under Gustave Moreau at the Beaux-Arts where he met Matisse and became his lifelong friend. As a young man, Duncan Grant received much advice from Bussy including an introduction to Jacques-Emile Blanche's school La Palette which Grant attended 1906-07 and an important letter of introduction to Matisse in 1911.We are grateful to Richard Shone for compiling this catalogue entry.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 13
Sir William Rothenstein (British, 1872-1945)Self-portrait oil on canvas60.9 x 50.9 cm. (24 x 20 in.)Painted circa 1925-30Footnotes:ProvenanceThe Artist, thence by family descentPrivate Collection, U.K.Sir William Rothenstein was a man of broad talents. Born in Bradford in 1872, the fifth of six children to Bertha Dux and Moritz Rothenstein, a German-Jewish textile merchant. William proved his artistic prowess at a young age as evidenced by a highly competent boyhood self-portrait now in Sheffield Museums' collection. A regular exhibitor of portraits and landscapes with the New English Arts Club, Rothenstein is credited as a co-founder of the Carfax Gallery (there responsible for developing the English reputation of Rodin's sculpture) and authored several books including the first English monograph of Goya's work in 1900. He later became principal of the Royal College of Art and Trustee of the Tate Gallery, receiving a knighthood in 1931. A society figure, the National Portrait Gallery now holds more than 200 Rothenstein portraits of notable figures of his age, and his three-part memoirs Men and Memories features anecdotes about Oscar Wilde, Max Beerbohm, James Whistler, Paul Verlaine, Edgar Degas, and John Singer Sargent.Rothenstein painted at least thirteen self-portraits in oils throughout his life, and together they present his many guises: a confident youngster, a war artist, an educator, and collector. Nine of the thirteen known self-portraits are in institutional collections including The Metropolitan Museum of Art, New York, The National Portrait Gallery, London, and the Royal College of Art, London. The present example has remained in the artist's family since its execution. Painted in the cottages of Iles Farm, Far Oakridge, Gloucestershire, to which the Rothenstiens moved in the mid-1920s, it is not thought to have been previously published or exhibited.For further information on this lot please visit Bonhams.com
Los 19
Paul Nash (British, 1889-1946)Sunset Eye, Study 5 signed 'Paul Nash' (lower left) and titled 'Sunset Eye/Study 5' (verso)watercolour29 x 40 cm. (11 3/8 x 15 3/4 in.)Executed in 1945Footnotes:ProvenanceWith Arthur Tooth & Sons, LondonMiss Ruth Clark, 1945Margot Eates and Hartley RamsdenSale; Sotheby's, London, 20 November 1991, lot 155Jeff Horwood, thence by family descentPrivate Collection, U.K.ExhibitedOxford, Oxford Arts Club, Watercolours and Drawings by Paul Nash, February 1949, cat.no.29London, Leicester Galleries, Paul Nash: A Private Collection of Watercolours and Drawings, May 1953, cat.no.20LiteratureAnthony Bertram, Paul Nash, The Portrait of an Artist, Faber and Faber, London, 1955, p.298Margot Eates, Paul Nash, John Murray, London, 1973, p.87, p.137, pl.136 (col.ill)Andrew Causey, Paul Nash, Clarendon Press, Oxford, 1980, p.325, p.474, pl.394, cat.no.1260 (ill.b&w)For further information on this lot please visit Bonhams.com
Los 21
Sir John Lavery R.A., R.S.A., R.H.A. (1856-1941)Jasmin signed 'J.Lavery' (lower right); further signed, titled and dated 'JASMIN./BY JOHN LAVERY/FEZ.1920.' (verso)oil on canvas76.2 x 63.7 cm. (30 x 25 in.)Footnotes:ProvenanceSale; Sotheby's, New York, 24 January 1980, lot 326With Schweitzer Galleries, New York, where purchased by the present ownerPrivate Collection, U.K.When originally catalogued over twenty years ago, the present picture's placing within the oeuvre remained unclear. It was known that Lavery had visited Tunisia, early in 1919, and at the beginning of December that year, had returned to Tangier (see lot 22). Only with the discovery of a series of letters in 2017 did it become clear that in early April 1920 he had made his second trip to Fez as part of a longer tour that took in Rabat, Casablanca and Marrakech. His vivid memories of this ancient apex of trade routes across the Maghreb, stretched back to 1906 when, with the writer, R.B. Cunninghame Graham and Times correspondent, Walter Harris, he made his first expedition to Fez. While this earlier expedition had to be conducted on horseback over terrain controlled by brigands, the second, in 1920, was possible by car on roads recently laid by German prisoners-of-war.So, on 3 April 1920, Lavery wrote to his daughter from Casablanca, that they were bound for the city the following day. There, he and his wife, Hazel, his stepdaughter, Alice, and a friend, Nora Clark-Kerr, would stay at a house loaned to them by El Menebhi, 'a rich Moor' whose portrait Lavery had painted. Moroccan hospitality was legendary, and from the moment of their arrival, they were treated royally, by dozens of richly attired servants. It is likely that from among this group he persuaded 'Jasmin' to sit for him. The artist's brief second sojourn in Fez, mirrors that of the American novelist, Edith Wharton, the previous year. In her account, the 'Sultan's favourites' were dressed in 'pale rosy' ceremonial costumes with 'voluminous sleeves ... a thin black line as a pencilled eyebrow ... [while] ... over the forehead-jewel rose the complicated structure of the headdress ...' - each detail confirming what Lavery observes in Jasmin. Yet for the painter, in these remarkable circumstances, normal studio practice prevailed and before embarking on the present canvas he produced a small sketch that establishes palette and design (fig 1).While handling in the larger work is broadly similar, it is unlikely that two different women, identically dressed, posed for the painter. And although we can now approach the second group of Fez canvases with much more certainty, Jasmin, with her lips reddened with the juice of walnut bark, pencil-thin eyebrows and khol-black eyes, retains her mystery.We are grateful to Professor Kenneth McConkey for compiling this catalogue entry.For further information on this lot please visit Bonhams.com
Los 22
Sir John Lavery R.A., R.S.A., R.H.A. (1856-1941)In Morocco signed 'J Lavery' (lower left); further signed, titled and dated 'IN MOROCCO/BY/JOHN LAVERY/1920' (verso)oil on canvas63.5 x 76.2 cm. (25 x 30 in.)Footnotes:ProvenanceMrs Norman Dangar, acquired in London circa 1930-36, thence by family descentPrivate Collection, AustraliaOn 7 December 1919 John Lavery arrived in Tangier for the last time. During the preceding twenty-eight years he had revisited the city on many occasions, but this valedictory tour came after five years when hostile German U-Boat activity and mine-laying in the seas around Britain had ruled out both the direct route by ship to the Straits, and the English Channel crossing with its long overland journey through France and Spain. Back on that first sojourn in 1891, he had travelled alone, and now, aged sixty-three, he was en famille. On arrival he, his wife, Hazel and stepdaughter, Alice, found that the group of friends they had known prior to the war was greatly reduced, and the French authorities were tightening their grip on the city. A large new branch of 'Printemps', the Paris department store, had opened, and an esplanade had been created along the bay front. Lavery's house, Dar-el-Midfah, on the other side of the city, had been rented throughout the war to an old comrade, the Glasgow School painter, William Kennedy. Sadly, while in residence the previous year, Kennedy had died, and the house had yet to be cleared, so the first five or six weeks of the Laverys' stay were spent at the Villa Harris, now operating as an hotel. As always, Lavery was keen to start work, but there were practical difficulties to overcome. His car, 'the Ford', containing his painting materials was yet to be shipped, and he needed to secure the services of a chauffeur who was also a competent mechanic, if he wished to travel beyond the confines of the city. New roads had been laid by German prisoners-of-war, on which he hoped to return to Fez and explore Marrakech for the first time. The journey was planned for the end of February, but in the event, they were not ready to set off until mid- March, so with his painting kit to hand in the new year, and a solo exhibition in prospect, the artist was ready to start work - painting the ceremonial closure of the German Legation on 15 January and the funeral of an old friend, Kaid MacLean, on 6 February. At the same time several beach scenes were painted close to the Villa Harris, before his materials were stowed in 'the Ford', for the inland journey. Despite the fact that we know a great deal about this extended Moroccan tour, discoveries have yet to be made and one of the most remarkable of these is the present work.For many years in a private collection in Australia, it bears a title that Lavery had used before, for his group portrait of Hazel, Alice and their Moroccan servant in the garden at Dar-el-Midfah (see fig.1).When Lavery owned it, this was a small villa with a hillside garden containing a separate studio on what was then known as Mount Washington, just beyond the Marshan, where 'well-to-do Christians and Jews lived', to the west of the Tangier Kasbah. Lavery's house has been extensively remodelled since 1920 and while it seems likely that the present canvas was painted there, it is impossible to be completely certain. We may suggest that the woman in the centre, dressed in flaming red – her jacket competing with the splendid bougainvillea that flowers for much of the year in North Africa – could be Hazel Lavery. However, while her companions have yet to be identified, there are several possibilities, for all three figures. During January 1920, for instance, the Earl and Countess of Pembroke and their daughter, Lady Patricia Herbert arrived at the Villa Harris and it seems that they toured the city with the Laverys. On one occasion, Hazel Lavery reports, that their car was attacked by an 'angry crowd' of anti-French demonstrators during bread shortages in the city. It is possible that the artist's invitation to paint the Double Cube Room and Palladian Bridge at Wilton, was given during this sojourn and the three shown in the present painting are the earl, his wife and daughter.What remains curious is that when it came to sketching the Palladian Bridge, the painter included a woman in identical costume leaning on the parapet (see fig.2).Such family rendez-vous, or 'portrait interiors' would become stock-in-trade for Lavery in the years to come. Arguably the series originated earlier when in 1905 he painted the Windsor-Clives on the terrace at St Fagans in 1905, but its potential remained unrealized. Whoever these figures may be, their naturalism betrays a well-trained eye. Lavery was adept at this kind of spontaneous composing. Where others would pass by, he stopped and framed the motif. And as the shadows lengthen in the sunlit setting of a Moroccan villa, their quiet conversation murmurs up through the fragrant blossom and into a cloudless sky. We are grateful to Professor Kenneth McConkey for compiling this catalogue entry.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
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Walter Richard Sickert A.R.A. (British, 1860-1942)Portrait of Mrs Barrett signed 'Sickert.' (lower left)oil on canvas50.8 x 40.3 cm. (20 x 15 7/8 in.)Painted in 1906Footnotes:ProvenanceThe Artist, 3 January 1907, from whom purchased byBernheim-Jeune, ParisRt Hon Frederick Leverton Harris, thence by descent toMrs Gertrude HarrisSale; Sotheby's, London, 19 June 1974, lot 66aJ. Moore PollockSir Denis Rickett, thence by family descentPrivate Collection, U.K.ExhibitedParis, Bernheim-Jeune, Exposition Sickert, 10-19 January 1907, cat.no.30 (as Le Canapé rayé)London, Stafford Gallery, 27 June-July 1911, An Exhibition of Pictures by Walter Sickert, cat.no.30 (as The Striped Sofa)LiteratureJames Bolivar Manson, 'Walter Richard Sickert A.R.A.', Drawing and Design, July 1927, p.5 (ill.) (as Portrait)Wendy Baron, Sickert, Phaidon, London, 1973, cat.no.228Wendy Baron, Sickert, Paintings & Drawings, Yale University Press, New Haven and London, 2006, p.320, cat.no.266.1 (ill.b&w) In April 1906 Sickert sent his intimate friend, the society beauty and talented amateur singer Elsie Swinton (Mrs George Swinton), a series of 14 postcards, each containing a cameo sketch in pen and ink, illustrating the paintings on which he had been working in his studio at 8 Fitzroy Street between Good Friday (13 April) and the following Thursday. All were figure subjects set within a room which featured a striped green sofa, a bentwood chair, and a few heavily-framed pictures on the walls. He inscribed each card, some with the timing of his sittings, some with the identities of his four models and several with both. His models were the Belgian Daurment sisters, Hélène and Jeanne, whom he had recently met in Soho; Agnes Beerbohm – elder sister of Max, a talented dress designer, and some ten years earlier one of Sickert's lovers; and a woman identified in three sketches as 'new model'. The new model sat for two head and shoulders strict profile portraits, one on Saturday morning and one on Sunday (New Head of New Model); on Thursday afternoon she sat for a near frontal head wearing a shy smile and a large straw hat which shadowed her eyes. At no other time in Sickert's long career has his precise production over a one week period been so accurately disclosed.The paintings of Aggie Beerbohm in fancy dress and of the racy Daurment sisters are all in character. Not so the three portraits of the 'new model'. Her face and personality seem to have offered Sickert a blank canvas on which he could experiment with old master prototypes. The Thursday afternoon painting (Private Collection) is a free reworking of Rubens's Chapeau de Paille (London, National Gallery); the two profile portraits adapt the well-known Renaissance formula which Sickert regularly returned to from the 1890s to the 1930s. One of the profile heads is on offer here. The other was bequeathed by Roger Fry to the Courtauld Institute of Art. Fry probably bought it from the Savile Gallery where it had been exhibited in February 1928 (31) under the title Portrait of Mrs Barrett. But who was Mrs Barrett? Lillian Browse, in her monograph on Sickert published in 1960 (p.21) had defined her as 'charwoman', a statement which prompted Mrs Barrett's daughter-in-law to inform Miss Browse that her mother-in-law had been a dressmaker, not a charwoman', and that she had died in 1925. This raises the intriguing possibility that Agnes Beerbohm, the dress designer, may have introduced the dressmaker to Sickert. The portrait on offer here is certainly the profile begun on Sunday. The sitter's jacket or blouse on the Sunday sketch is repeatedly annotated 'RED' denoting vertical stripes, consistent with the colour used in this painting, whereas in the Fry version Mrs Barrett wears an olive green blouse, similar in tone and colour to the background wallpaper. The Sunday version is also much enlivened by the introduction of the striped sofa, the title under which it was exhibited at the Galerie Bernheim-Jeune in Paris in January 1907 and at the Stafford Gallery, London in 1911. The red and pink striped jacket worn by Mrs Barrett reappears (together with a pearl necklace) in two more, near full-face, head and shoulders portraits: The Red Blouse (The Carrick Hill Trust, Adelaide) and Le Collier de Perles (Private Collection), the latter identified in the archives of Bernheim-Jeune as La Belle Sicilienne or La Siciliana.Sickert's model, wearing different clothes, also seems to feature in two interiors executed in pastel: Blackmail: Mrs Barrett (National Gallery of Canada, Ottawa); and Mrs Barrett (Tate). Confusion struck when the Ottawa pastel was taken from its frame. Old backing labels and inscriptions were discovered which revealed it had been exhibited at the Salon d'Automne in Paris in 1905 under the title Popolana Veneziana. How can a 'new model' of Easter 1906 have sat for a picture exhibited in autumn 1905? Did Sickert deliberately mislead Mrs Swinton? And why? I have no answers. The confusing plethora of titles is typical of Sickert. He used invented titles to manipulate the characterisation of his Camden Town period models. In the case of the portraits discussed here, fashion may have misled future scholars and collectors. Heavy, upswept, rolled wings of hair are common to Mrs Barrett at Easter 1906, to an extant photograph of Mrs Barrett given by her daughter-in-law to Miss Browse, and to Sickert's 1905 model – whether Sicilian, Venetian or possibly neither. However, it is indisputable that the models for all these pictures are strikingly alike. We are grateful to Dr. Wendy Baron for compiling this catalogue entry.For further information on this lot please visit Bonhams.com
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William Roberts R.A. (British, 1895-1980)Self-portrait signed and dated 'William/Roberts/'73' (lower centre)pencil38.1 x 28 cm. (15 x 11 in.)Footnotes:ProvenanceWith Gillian Jason Gallery, LondonLord and Lady Neill, thence by family descentPrivate Collection, U.K.ExhibitedLondon, Gillian Jason Gallery, William Roberts, 1895-1980: 40 Self-portraits, 20 January-16 February 1991, cat.no.22We are grateful to David Cleall and Bob Davenport for their assistance in cataloguing this lot.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
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Sir Cedric Morris (British, 1889-1982)Green Mountain Lilies signed and dated 'CEDRIC MORRIS-54' (lower left), further partially signed and titled 'Green Mountain Lillies/Cedric Mo...' (on a label attached to the stretcher)oil on canvas91.7 x 71.8 cm. (36 x 28 1/4 in.)Footnotes:ProvenanceSir Peter Wakefield & Miss Mary Rose WakefieldWith Austin Desmond Fine Art, London, where purchased by the present ownerPrivate Collection, U.K.ExhibitedLondon, Tate Gallery, Cedric Morris, 28 March-13 May 1984, cat.no.89 (as Flowers in a Brown Jug)LiteratureRichard Morphet, Cedric Morris, Tate Gallery, London, 1984, p.117, cat.no.89 (col.ill, back cover)'I like to think that behind this special painting [flower painting] an esoteric line of thought that expresses itself in symbols portraying the eternity of experience that flowers themselves have' ('Concerning Flower Painting', The Studio, May 1942, pp.121-132).Although a frequent traveller, Cedric Morris spent much of the early 1920s based in Paris and the latter part of the decade working in a studio at 32 Great Ormond Street, London. During these years, the self-taught Morris developed complex surrealist, abstract and portrait practices. He engaged with leading art and society figures of the day, developing friendships as broad as Nancy Cunard and Peggy Guggenheim, Winifred and Ben Nicholson, Christopher Wood and John Banting. He staged his first one-man exhibition in Rome in 1922 and was represented in the British Pavilion of the Venice Biennale in 1928 (and again in 1932). He exhibited as part of the Seven & Five Society and had one man shows with Arthur Tooth and in The Hague.Following a decade of city life, in 1929 Morris and his partner Arthur Lett-Haines took a lease on Pound Farm in Suffolk. The move to the country was to be permanent, the couple moving to nearby Benton End a few years later and there establishing The East Anglian School of Painting (famously tutoring Lucian Freud). The gabled and buttressed Benton End dates to the sixteenth century and with its extensive walled gardens provided a perfect habitat for the proliferation of flowers and vegetables. It was here that Morris was able to fully indulge his passion, becoming a plantsman rather than a gardener and demonstrating his tremendous skill by rearing varieties that would not ordinarily be found in this country. Of particular note were his irises, for which he won the Foster Memorial Plaque, the highest award made by the British Iris Society, in 1949. Other favourites were the roses, sweet peas and lilies that lined the garden beds. Green Mountain Lilies (1950) celebrates a selection of these flowers and the diversity of colour that was achieved in the garden by Morris and his botanist associate Nigel Scott during the 1950s. The years in which Scott worked alongside Morris at Benton End have been described as 'the most perfect period of the garden'. The present work, impressive in scale, was included in and illustrated as the back cover of the Tate Gallery's 1984 exhibition catalogue on Cedric Morris.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
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Craigie Aitchison C.B.E., R.S.A., R.A. (British, 1926-2009)Portrait after Delacroix signed and indistinctly dated 'Craigie Aitchison/1979' (verso)oil on canvas laid on board 29.3 x 23.6 cm. (11 1/2 x 9 1/4 in.)Footnotes:ProvenanceWith Timothy Taylor Gallery, LondonWith Beaux Arts, LondonWith Waddington Custot, London, where acquired by the present ownerExhibitedLondon, Piano Nobile, Craigie Aitchison and The Beaux Arts Generation, 14 November 2019-29 January 2020This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
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A CEYLONESE DAGGER (PIHA KAETTA)^ 18TH CENTURY AND A PERSIAN DAGGER^ QAJAR^ 19TH CENTURY¦the first with iron blade of flattened-triangular section formed with a fuller along the back-edge and inlaid with a running pattern of silver flowers and foliage towards the tip^ the lower portion of the blade chiselled with flowers^ foliage and scrollwork and enclosed by silver-plated brass decorated with traditional foliage and flowers extending from a brass ferrule en suite^ carved hardwood grip retained by three rivets over silver washers^ and silver pommel cap decorated en suite; the second with recurved single-edged blade^ and iron grip chiselled with foliage^ flowers enclosing a gilt framework filled with a portrait bust on each face^ in its leather scabbard¦the first: 32.5 cm; 12 3/4 in overall¦(2)
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â“Œ A FIJIAN GUNSTOCK CLUB^ AN ABORIGINAL BOOMERANG^ LATE 19TH CENTURY AND A FURTHER CLUB¦the first of characteristic form^ chip-carved at the base and encircling the top^ the latter flaring^ carved with in imitation of bark and with bifurcated terminal (small chips^ cracked); the second of characteristic form and the third carved with a female portrait bust¦the first: 106.5 cm; 42 in¦(3)¦¦Property from the David Jeffcoat Collection (1945-2020)¦¦Part proceeds to benefit The Wallace Collection
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â“Œ AN ENGLISH BASKET-HILTED ~MORTUARY~ SWORD^ MID-17TH CENTURY¦with broad double-edged blade inlaid with a running wolf mark in latten on one face and formed with a broad fuller framed by a pair of slender fullers on each face^ rectangular ricasso with a pair of additional grooves^ iron basket-guard of characteristic form (the outer bars expertly restored)^ including guard chiselled with portrait masks on ovals carried by scrolling foliage on each side and beneath the knuckle-guard^ scrolling vestigial quillon^ and near spherical pommel decorated en suite^ and spirally fluted wooden grip¦84.8 cm; 33 3/8 in blade¦¦Property from the David Jeffcoat Collection (1945-2020)¦¦Part proceeds to benefit The Wallace Collection
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â“Œ AN 80 BORE SILESIAN WHEEL-LOCK BIRDING RIFLE (TSCHINKE)^ SECOND QUARTER OF THE 17TH CENTURY ¦with slender octagonal swamped sighted barrel rifled six narrow grooves^ and engraved with concentric circles on the muzzle face^ flat lock with characteristic external mechanism faced in large brass plaques engraved with scrolling foliage^ fitted with wheel retained by an arch-shaped bracket faced with engraved brass^ flash-guard^ engraved sliding pan-cover^ dog and dog-spring bracket each faced with engraved brass decorated with scrolls and monster heads^ fruitwood full stock profusely inlaid over its entire length with engraved brass and plain and engraved mother-of-pearl plaques (small restorations and minor replacements^ the fore-end with one small repair)^ the latter comprising an alternating arrangement of square and round plaques over the fore-end^ angular butt inlaid with further designs including a brass portrait profile of a Turk on the left and with quatrefoils^ hearts and further rondels in mother-of-pearl on each side^ patch-box with cover faced in engraved brass decorated en suite^ iron trigger-guard shaped for the fingers^ brass ramrod-pipes^ brass fore-end cap^ and one iron sling swivel (later ramrod)¦86.0 cm; 33 7/8 in barrel¦¦Part proceeds to benefit The Wallace Collection¦¦A Tschinke decorated in a similar manner is preserved in the Polish Army Museum^ Warsaw (inv. no. 33643X)^ see Zygulski 1982^ pI. 65. ¦¦¦
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‡Ⓦ A FINE PAIR OF 16 BORE DUTCH FLINTLOCK HOLSTER PISTOLS BY BAREND PENTERMAN A UTRECHT^ CIRCA 1720¦with tapering barrels formed in three stages^ brass fore-sights enclosed by an engraved frame^ the median borders with a pair of raised bands framing a gilt panel top and bottom^ the former with an additional band of silver dentil and with a central band of silver pellets^ the breeches chiselled with scrolls on a gilt fishroe ground and signed on a silver band above^ the undersides faceted and struck with a small crowned heart mark^ engraved tangs decorated with classical profiles and border ornament^ stepped bevelled locks^ chiselled and engraved with foliage beneath the pans^ signed on the tails and encrusted with brass festoons^ fitted with faceted pans^ engraved steels and chiselled cocks^ the latter encrusted with brass scrolls issuant with profile masks^ highly figured full stocks (the fore-ends repaired ahead of the forward ramrod-pipe^ small filled repairs)^ carved with elaborate foliage and monsterhead scrolls about the rear ramrod-pipes and about the tangs^ steel mounts chiselled with foliage and enriched with encrusted brass^ comprising openwork side-plates involving issuant masks and a central brass portrait profiles^ spurred pommels encircled with brass foliage and fitted with demon mask caps^ trigger-guards with acanthus terminals and with brass masks on the bows^ a pair of ramrod-pips^ and vacant silver escutcheons^ and wooden ramrods^ one perhaps the original (the steel parts with small areas of light pitting)¦30.5 cm; 12 in barrels¦(2)¦¦Part proceeds to benefit The Wallace Collection¦¦Provenance¦Henk Visser (1923-2006)^ inv. nos. HV1044^ 1045 ¦Thence by descent¦¦Literature¦G. de Vries and B. J. Martens^ Arms of the Netherlands in the Collection of H. L. Visser^ volume I^ part 4^ Arnhem^ 2007^ pp. 446-7^ cat. no. 875¦¦Barend Penterman became a citizen in Utrecht in 1679/80^ and is recorded as a locksmith and later a firelock-maker. In 1714 he was Dean of the Utrecht Blacksmiths guild and died on 19th January 1723^ after which his widow continued the business. His work is recorded in a number of dynastic collections outside the Netherlands^ reflecting the international renown he must have enjoyed. See Haartman 2006^ pp. 69-71.¦¦The crowned heart mark is encountered beneath the breeches of a number of Utrecht made firearms of this period.
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â“Œ A FRENCH SMALL-SWORD WITH CHISELLED AND GILT IRON HILT^ CIRCA 1700¦with tapering blade of hollow-triangular section^ russet iron hilt chiselled against a gilt ground^ including asymmetrical shell-guard decorated with portrait profiles and foliage^ quillon with monsterhead terminal^ and ovoid pommel en suite with the guard^ and the grip bound with plaited wire between silver collars¦74.0 cm; 29 in blade¦¦Property from the David Jeffcoat Collection (1945-2020)¦¦Part proceeds to benefit The Wallace Collection
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