The important Harry R Attwood Brooklands and pre WWII racing archive. Harry Attwood was part of the Attwood racing drivers and garage proprietor dynasty from the West Midlands. He was also the father of Richard (Dickie) Attwood, Grand Prix competitor and winner of the 1970 24 Hours of Le Mans race, driving the Porsche 917. Harry’s archive comprises his pre WWII BRDC member’s badge, which would have adorned his Supercharged MG, official Brooklands race cards, telegraphs of good wishes at Brooklands, British Racing Driver’s Club correspondence, insurance waiver, entry brochure with regulations for the 1933 Tourist Trophy Meeting, Ards, numerous press cuttings, an original pen and ink drawing by Roth, of The London Evening News featuring a portrait of Harry and an MGA Roadster (framed), another similar of MG interest (framed), and a silver trophy cup with the ACE Motor Club Coventry enamel insignia, awarded to Harry for the Copsall Speed Trials, July 9th 1927
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A Sevres oval porcelain cabinet plate, the central panel depicting Le Mort de Gaston de Foix en 1512 from the Bataille de Ravenies, within a gilded and jewelled border of portrait medallions including Louis XVI, Louis XIV, Mary Antoinette and Madame Elizabeth, 39cms (15.25ins) wide.Condition ReportSome minor wear to the gilding and some losses to the jewelled decoration, no chips, cracks or repairs.
A Georgian ivory yellow metal mounted patch box of navette form, the lid set with an oval coloured portrait miniature silhouette in the manner of Buncombe, depicting an Officer of the 9th Regiment, The Norfolk Regiment, within a hinged yellow metal mount which opens to reveal a portrait miniature in sepia of a young lady holding a lamb, 11cms (4.25ins) wide.Condition ReportThere is a minute loss to the ivory to the top above the clasp for the hidden painting and a nick to the clasp below to the left edge of centre, otherwise good condition.
London International Exhibition 1862 silver medal, by Jacob Weiner (1815-1899), obv; exterior of the exhibition building above Stamped in the building by H. Uhlhorn of Grevenbroich Prussia, rev; interior view of the building, cased, together with a Colonial and Indian Exhibition London 1886 bronze medal by Leonard Charles Wyon (1826-1891), obv; portrait bust Prince of Wales, rev; exhibition details within wreath, cased. (2)
A Crown Ducalware teapot and cover transfer printed "War against Hitlerism This souvenir teapot was made for Dyson & Horsfall of Preston to replace aluminium stocks taken over for Allied Armaments 1939" further printed with various allied flags, having printed mark verso, h.15cm, together with a Copeland Spode commemorative jug, transfer printed with a portrait of Sir Winston Churchill and Churchill quotes, printed mark verso U.S.A. design patent 130618, h.17cm (2)Condition report: Teapot – crazing to the lid and hairline crack, body with some handling wear to transfer, very dirty.Jug – the whole of area above Churchill portrait has been restored and with hairline.
A WW I silver cased trench watch of full hunter type, the spring hinged cover embossed with a portrait of Earl Kitchener with marching soldiers below, opening to reveal a white enamel dial with luminous Arabic numerals and subsidiary seconds dial at 6 o'clock, the movement marked Aureole, the back cover with London Import mark for 1914, on a brown leather strap, 3.5cm (excluding crown.)
JOAN CRAWFORD - 'MY WAY OF LIFE' Simon & Schuster 1971 3rd printing with a dustjacket together with 'A Portrait of Joan', The autobiography of Joan Crawford with Jane Kesner Ardmore, Doubleday & Company 1962 (2)¦Condition Report:My Way of Life has a pasted in dedication (not from the author), slight wear on the extremities, dustjacket has some discolouring and two tears¦A Portrait of Joan has no dustjacket, a pasted in Christmas card dated 1961 and a puncture in the spine¦
Dr Sambanand Monappa Pandit, FRSA, 1916-1993, portrait of a young Indian lady, gouache on paper. Pandit was a highly acclaimed Indian artist, who went on to win several awards later in his life, for his realistic style of painting. Examples of his work can be found in various important collections throughout the world.36 x 44cmCondition report: Condition appears to be ok and we have removed it from the frame to inspect it. Clearly signed. Was removed from a local house clearance, where it had hung for many years.
Laurence Stephen Lowry (British 1887-1976) ARR Limited edition set of three prints all hand signed in pencil and a bronze medallion relief of the artist No. 160/300 prints include portraits of Lowry's mother and father and a self portrait plus a bronze plaque. Limited edition of 300. 37cm x 26.5cm. These three prints were issued in conjunction with a bronze plaque with a relief profile of Lowry by the sculptor Lee Soloman, in commemoration of Lowry's 80th Birthday.
Laurence Stephen Lowry (British 1887-1976) ARR Limited edition set of three prints all hand signed in pencil and a bronze medallion relief of the artist No. 31/300 prints include portraits of Lowry's mother and father and a self portrait plus a bronze plaque. Limited edition of 300. 37cm x 26.5cm. These three prints were issued in conjunction with a bronze plaque with a relief profile of Lowry by the sculptor Lee Soloman, in commemoration of Lowry's 80th Birthday.
Laurence Stephen Lowry (British 1887-1976) ARR Limited edition set of three prints all hand signed in pencil and a bronze medallion relief of the artist No. 47/300 prints include portraits of Lowry's mother and father and a self portrait plus a bronzw plaque. Limited edition of 300. 37cm x 26.5cm. These three prints were issued in conjunction with a bronze plaque with a relief profile of Lowry by the sculptor Lee Soloman, in commemoration of Lowry's 80th Birthday.
(See English version below)Arthur Segal (Jassy 1875 – 1944 London). „Selbstporträt“. 1921Öl auf Leinwand. 70 × 50 cm (mit Rahmen: 84,5 × 64,5 cm) ( 27 ½ × 19 ⅝ in. (mit Rahmen: 33 ¼ × 25 ⅜ in.)). Unten rechts signiert und datiert: A. Segal. 1921. Rückseitig betitelt, signiert und bezeichnet: Portrait A Segal Charlottenburg N [vom Künstler?:] 75. Auf dem Keilrahmen je ein Etikett der Großen Berliner Kunstausstellung und des Hamburger Kunstvereins.Liska 257. [3273] Im bemalten Künstlerrahmen. Provenienz: Marianne Segal, Tochter des Künstlers (bis 1970) / Privatsammlung, Großbritannien (1970 bei Sotheby’s erworben) / Privatsammlung, GroßbritannienWir berechnen auf den Hammerpreis pauschal 30% Aufgeld und 7% verauslagte Einfuhrumsatzsteuer.Arthur Segal (Jassy 1875 – 1944 London). ”Selbstporträt”. 1921Oil on canvas. 70 × 50 cm (with frame: 84,5 × 64,5 cm) ( 27 ½ × 19 ⅝ in. (with frame: 33 ¼ × 25 ⅜ in.)). Signed and dated lower right: A. Segal. 1921. Titled, signed and inscribed on the reverse: Portrait A Segal Charlottenburg N [by the artist?:] 75. On the stretcher a label of the Große Berlin Kunstausstellung and of the Hamburger Kunstverein.Liska 257. [3273] In the painted artist's frame. Provenance: Marianne Segal, daughter of the artist (until 1970) / Private Collection, Great Britain (acquired 1970 at Sotheby’s) / Private Collection, Great BritainWe charge 30% premium and 7% import tax on the hammerprice.
(See English version below)Gottfried Brockmann (Köln 1903 – 1983 Kiel). Selbstporträt. 1923Tuschpinsel auf Papier, vom Künstler auf bräunliches Papier montiert. 19 × 15,5 cm (33 × 23 cm) ( 7 ½ × 6 ⅛ in. (13 × 9 in.)). In den Ecken signiert und datiert: 26. 9. 23 brockmann. Auf dem Unterpapier unten links mit Bleistift signiert: brockmann.[3459] Provenienz: August Sander, Köln (seitdem in Familienbesitz)Wir berechnen auf den Hammerpreis 30% Aufgeld.Gottfried Brockmann (Cologne 1903 – 1983 Kiel). Self portrait. 1923Brush and India ink on paper, mounted by the artist on brownish paper. 19 × 15,5 cm (33 × 23 cm) ( 7 ½ × 6 ⅛ in. (13 × 9 in.)). Signed and dated at the corners: 26. 9. 23 brockmann. Signed in pencil on the underpaper lower left: brockmann.[3459] Provenance: August Sander, Cologne (thence by descent to the present owner)We charge 30% premium on the hammerprice.
(See English version below)Heinrich Hoerle (1895 – Köln – 1936). Arbeiter (Selbstbildnis vor Bäumen und Schornsteinen). Um 1930Grafit auf Japanbütten. 61,5 × 46,7 cm ( 24 ¼ × 18 ⅜ in.). Rückseitig korrespondierende Grafitskizze.Nicht bei Backes. Leichte Randmängel. [3459] Wir berechnen auf den Hammerpreis 30% Aufgeld.Heinrich Hoerle (1895 – Cologne – 1936). Worker (Self-portrait in front of trees and chimneys). Circa 1930Graphite on Japan laid paper. 61,5 × 46,7 cm ( 24 ¼ × 18 ⅜ in.). Corresponding graphite sketches on the reverse.Not in the catalogue raisonné by Backes. The subject is traced in places on the reverse. Minor margin imperfections. [3459] We charge 30% premium on the hammerprice.
SIR HENRY RAEBURN R.A. (SCOTTISH 1756-1823) THREE-QUARTER LENGTH PORTRAIT OF LADY CARNEGIE Oil on canvas(127cm x 102cm (50in x 40in))Provenance: Sir Andrew Agnew , Bart Sir John Reid, Glasgow and thence by family descentFootnote: Exhibited: On loan to the National Gallery of Scotland, 1921-28 Stedelijk Museum, Amsterdam, British Art 1936, no.140 Royal Academy, London, Scottish Art, 1939 Aberdeen Art Gallery, Festival Exhibition, Paintings from North East Homes Literature: James L Caw, Catalogue of the Collection of Pictures belonging to John Reid, James Maclehose and Sons Ill p.6 Note: Lady Agnes Carnegie (1763-1860) was born in Edinburgh in 1763. Her father, Andrew Elliot, was the last Governor of New York under British rule, and when Agnes was twelve months old the Elliot family relocated to New York. When American independence was acknowledged in 1783 the Elliot family returned to Scotland, and later that same year Agnes married Sir David Carnegie, MP for Kincardineshire and deputy governor of the British Linen Company. The couple and their twelve children lived between Kinnaird Castle and their house in Gloucester Place, London. Agnes was herself a talented pastel artist. This enigmatic portrait of Lady Agnes Carnegie was made c.1810, when Raeburn was at the height of his powers. The subtle, muted palette is a signature of Raeburn’s, as is the soft, glowing illumination of the subject. Raeburn’s ability to evoke texture and light is as remarkable as his talent for capturing his sitter’s personality, evidencing his interest in Enlightenment principles of observation: he insisted that his sitter remained before him throughout the painting process. In this portrait Lady Carnegie looks towards the viewer with soft, smiling poise, and while her presence feels gentle her fine clothing and jewellery declare her status as a wealthy and influential individual. Raeburn’s mastery for descriptive brushwork is evident throughout this portrait, demonstrated by the delicate, ephemeral ruff at her throat, contrasted with the startling dimension and precision of her lace cuffs. Also of note is the light playing on the silken stripes of Lady Carnegie’s ivory headdress. Today Henry Raeburn (1756-1823) is celebrated as one of the greatest Scottish portrait painters. Son of an Edinburgh yarn-boiler, Raeburn was apprenticed in his teens to jeweller and goldsmith James Gilliland. Despite having received little training, his formidable talent as a portrait painter was soon recognised, and he quickly moved from painting miniatures to creating large oils on canvas. Under the sponsorship of Sir Joshua Reynolds, Raeburn relocated to Italy in 1785 to study the Old Masters and hone his craft. Two years later he returned to Edinburgh, taking a property on George Street. The work he produced forthwith cemented his legacy as Scotland’s finest portrait artist. This portrait comes from the collection of John Reid (1861-1933), a son of James Reid of Auchterarder, who founded the Hyde Park Locomotive Works in Glasgow. The Reid family were early collectors of Barbizon and Hague school paintings, and also owned several important Old Masters. French and Dutch paintings were well-represented in John Reid’s personal collection, and he also developed a fine selection of British paintings, including this remarkable Raeburn portrait.
ANCELL STRONACH (SCOTTISH 1901-1981) WHERE SINKS THE VOICE OF MUSIC INTO SILENCE Signed and dated 1924, oil on canvas(127cm x 102cm (50in x 40in))Provenance: Purchased by John W.D. Thomson in 1980. Exhibited: The Royal Glasgow Institute of Fine Arts, 1924; ‘Ten Years of The Fine Art Society in Glasgow’ exhibition, 1989.Footnote: Note: Ancell Stronach is generally an unfamiliar name, even to Scottish Art enthusiasts, but in his day he was a significant figure in the Scottish art scene. Born in Dundee, he trained at the Glasgow School of Art, winning many awards and a travelling scholarship during his studentship. Following his studies, he worked professionally as an artist; designing stained glass, painting murals, decorating churches and establishing a reputation as a portrait artist. Alongside his own painting, he also taught, rising to the position of Professor of Mural Painting at Glasgow School of Art. He was elected a member of the R.S.A. in 1934, and exhibited internationally; at the R.S.A., R.A., Paris Salon and in exhibitions in Canada, New Zealand and America. All the markers of a significant and accomplished career. ‘Where Sinks the Voice of Music Into Silence’ is bold and decorative, with the vibrant colour and ecclesiastical details that were the signature of his painting at this time. Stronach pulls detail, poetry and inspiration together masterfully in this work, with areas of rich, flat colour interspersed with delicate patterning and design. A strikingly decorative piece on first glance, close attention reveals generously considered details in aspects as diverse as the tendrils of the male figures beard, the curling waves at the bottom corner and the snow-topped hills in the distance. The composition is accomplished: the delicately delineated angelic wings are centred in the canvas, with the figures placed in a ‘V’ around them, maintaining balance and visual interest as every inch of canvas is utilised. The result is a richly rewarding viewing experience. Stronach’s poetic title does little to reveal the meaning or moment that this work depicts but it assists in evoking the atmosphere that the painting itself conveys. The feeling is symbolic and meaningful with a sense of mysticism, creativity and spirituality. Artistically, Stronach was inspired by early Italian fresco painters and the Pre-Raphaelites, though his commitment to mural painting and stained glass design also shines through in this significant work. His chosen style and subject reflects the wider Celtic Revival movement prevalent in Scotland’s arts scene at this time and visible in the work of other artists such as John Duncan and Phoebe Anna Traquair. The Celtic Revival and the Pre-Raphaelites were concerned with looking to a distant past for inspiration and Stronach strives for that here. The ensuing melding of historic and modern lends the painting an essential timelessness in its beauty. At the outbreak of war in 1939, Stronach felt his opportunities as an artist were greatly reduced by the extenuating circumstances and took the opportunity to change direction, pursuing a long-standing interest in animals and the circus. He married a professional acrobat and they toured together with his show, entitled ‘Ancell and his 40 Painted Pigeons.’ He did not engage with the art world over the course of the rest of his life though it is believed he continued to paint for personal pleasure. It is for this reason that his name remains relatively unknown and the appearance of his works on the market so rare; ultimately his professional painting career only lasted for a very limited period, despite his talent and success. ‘Where Sinks the Voice of Music into Silence’ was first exhibited at The Royal Glasgow Institute of Fine Arts in 1924. More recently it was purchased by the current vendor’s late husband at the Fine Art Society in 1980. The vendor remembers the dramatic moment of seeing this work for the first time, and the immediate decision to purchase. In the forty years since, it has hung in just two locations, his architectural practice in the West End of Glasgow and their home in Stirlingshire. A rare opportunity now presents itself for this richly dramatic and decorative work to find a new home.
ALEXANDER GOUDIE (SCOTTISH 1933-2004) LA VIE EN ROSE Signed, oil on canvas(152cm x 122cm (60in x 48in))Footnote: Note: The history of art is full of examples of significant relationships between artists and patrons: indeed, it is not an overstatement to say that they make the art world go round. Alexander Goudie, a leading Scottish painter of the 20th century Glasgow school, found a long-term supporter and lifelong friend in John Thomson, the prominent Glasgow architect and interior designer of the company Weddell & Thomson. Inspired by his trips to the city’s museums as a young boy, Thomson’s adult life revolved around his appreciation of art and aesthetics. When creating an interior, Thomson keenly encouraged his clients to decorate their walls with original artwork by contemporary Scottish artists. In this way, and through his own extensive personal collection, he was friend and patron to a great many of the artists active that time on the Scottish art scene, including David Donaldson, Alberto Morrocco and John Cunningham. Goudie’s work, however, clearly had a particular appeal for Thomson; reflected in the significant examples that featured in his collection. Thomson, now sadly deceased, spoke of the frisson of anticipatory excitement he would experience prior to his trips to the artist’s studio, and long convivial evenings biding at Goudie’s home with a drink in hand. Praising Goudie’s strong draughstmanship and vibrant palette, he credited the artist with converting him away from Victorian era artworks to the wave of talent on his own doorstep. Lyon & Turnbull are pleased to offer for sale one of the key pieces from the Thomson Collection, the monumental ‘La Vie En Rose. Both intimate in mood and dramatic in scale, it is a relatively early work and depicts the artist’s wife and muse, Mainee. It is a fine example of the most significant aspect of Goudie’s oeuvre: the portrait. Paisley born, the young Goudie went on to study under David Donaldson at the Glasgow School of Art. It was here that his work resolved to embrace the strong tradition of portraiture that the School boasts. Detectable in his aesthetic lineage are the influences of greats including Sir John Lavery and Francis C. B. Cadell. This is traceable in his the lushly applied paint and bravura brushwork. He too was drawn to sophisticated interiors, and created an aesthetic that cleverly walked the line between the contemporary and classical.
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