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283284 Los(e)/Seite
Los 412
Follower of James Loden of Bath (1784-1854)oil on canvasPortrait of a gentleman on a bay hunter with two spaniels in a landscape28.5 x 35.5in.CONDITION: Oil on canvas wax relined 20 - 30 years ago or so, canvas remains tight, paint perhaps slightly dirty but otherwise in good order, signs of old stretcher marks and a fine but stable craquelure through most of the paint, some retouching directly in the sky below the horse's head and along the right hand stretcher mark, housed in an associated French giltwood frame.
Los 433
Clara Muller (19th C.)oil on canvasPortrait of a girl seated upon an armchairsigned and dated 188737 x 89cmCONDITION: Oil on canvas relined 20 - 30 years ago, canvas remains tight though paint or varnish looks a little discoloured and dirty, signed and dated 1887 lower left, housed in the original gilt frame which is separating at the corners and showing further damage in the lower right corner. Old label verso giving name and address of the painter, Miss Clara Muller, Bergama Via Pignolo, Italy.
Los 434
Mid 19th century Continental Schooloil on canvasFull length portrait of a girl wearing a blue and white dress standing before a piano forte29.5 x 24in.CONDITION: Oil on canvas relined 20 - 30 years ago or so, canvas remains tight, paint a little dirty with a few slight raised bumps, one near 11 o'clock being the most notable but another near 9 o'clock, no sign of any signature, housed in probably the original gilt gesso frame which is in fair order, no labels verso.
Los 456
Alfred Hitchens (1861-1942)oil on canvasTriple portrait of the children of Samuel and Maud McAulay (1856-1920 and 1859-1936) Francis Wilmer (1891-1916), Phyllis Maud (1892-1982) and Grace Marion (1893-1970?)signed and dated 190032 x 38in.CONDITION: Oil on original canvas in honest untouched condition, housed under glass but paint still rather dirty with a fine craquelure running throughout the darker paint which is starting to split apart particularly on the left hand side of the work, signed by Alfred Hitchens and dated 1900 lower left, housed in the original gilt gesso frame which has numerous small losses but is overall in fair order, label to the back of the canvas saying Phyllis M. Peck.
Los 464
J. Davies c.1900oil on canvasPortrait of a boy sailorsigned21.5 x 17.5in.CONDITION: Oil on canvas relined 20 years ago or more, canvas remains tight, paint perhaps a little dirty, signature looks like a monogram that has had the avies of Davies added in red, housed in a Victorian gilt slip bird's eye maple frame which is in fair order, no labels verso.
Los 534
A George III gold and inset oval portrait miniature ring, painted with the bust of a gentleman to sinister, with glazed cover, size I/J, gross 3.6 grams.CONDITION: Glazed cover very scratched. Wear to the setting in places. Possible old repair to one side of the shank where it joins the ring head.
Los 555
A Victorian oil on ivory portrait miniature of a gentleman, in a gold bracelet frame with original gold mounted entwined hairwork strap, inscribed en verso 'Jane Seymour from Her Dear Husband, March 21st, 1849, frame 83mm, strap only 13.5cm, gross weight 68 grams.CONDITION: A few minr scratches and dings to the gold on the back of the strap mounts. A few minor scratches to the back of the frame. Small scracth to the glass cover of the miniature. One end of the of the bracelet has become detached from the frame mount. Some blemish marks? to the lapel of the jacket. Overall condition is otherwise good.
Los 38
Girolamo Savonarola BüsteItalien/Florenz, 16./19. JahrhundertBronze gegossenL 54cm, H 40cm, T 32cmGirolamo Savonarola war ein italienischer Dominikaner, Bußprediger und Kirchenreformator. Geboren 1452 in Ferrara, gestorben 1498 in Florenz.Diese Portrait-Bronze besticht nicht nur durch die Größe, sondern auch den expressiven Ausdruck.Die Qualität des Gusses ist bestechend. Sie ist in verlorener Form gegossen und daher ein Unikat.
Los 5
Anthonius van DyckAntwerpen 1599 – 1641 London, zugeschriebenPortrait eines alten MannesÖl auf Leinwand, 39 x 28 xmDieses Portrait eines Mannes (39x28cm) wurde mit größter Wahrscheinlichkeit in der Werkstatt des Anthonis van Dyck (1599-1641) in der ersten Hälfte des 17. Jahrhunderts gefertigt. Van Dyck, ein bedeutender Maler des flämischen Barock, war zunächst ein Lehrling in der Lukas-Gilde Antwerpens und hatte im Alter von 16 Jahren bereits sein eigenes Atelier. Schon in jungen Jahren, ab 1618 arbeitete er für Peter Paul Rubens, der ihn sogar als seinen „besten Schüler“ bezeichnete, obwohl er vermutlich recht schnell vom Gehilfen zum engen Mitarbeiter aufstieg. So erreichte er schnell einen hohen Bekanntheitsgrad. Sein meisterhaftes Können wird auch dadurch unterstrichen, dass er selbst bald eine große Werkstatt leitete und zahlreiche bedeutende Nachfolger hatte. Van Dyck verfeinerte sein Geschick noch zusätzlich durch Reisen in Italien, wo er in den 1620ern um die 300 Personen porträtierte. Hier perfektionierte er das Handwerk eines Porträtisten; von seinem ersten datierten Bild – einem Männerportrait – aus dem Jahr 1613 zu seiner Arbeit als Hofmaler und Porträtist für Karl I. in London ab 1632. Einen besonderen Feinschliff lieferte die venezianische Hochrenaissance-Malerei, wobei seine künstlerische Vielseitigkeit besonders in den meisterlichen Männerporträts zum Ausdruck gebracht wird.Aus einem typischen dunklen Hintergrund tritt der Porträtkopf im Chiaroscuro hervor; der Kragen aus durchsichtigem, luxuriösem Stoff unterstreicht die Leuchtkraft der imposanten Erscheinung, die nicht im Geringsten auf Körperhaftigkeit angewiesen ist. Das füllig - wohlgenährte Gesicht des Mannes ist gerahmt von kurzem Haupthaar und gestutztem Wangenbart, der durch den üppigen, zusammenlaufenden Schnauz- und Kinnbart kontrastiert wird. Dieser sorgsam gekämmte Bart hat als Zentrum einen nachdenklich geschürzten Mund mit betonten roten Lippen, die einen lebendigen und frischen Eindruck erwecken. Die Lichtquelle tritt von links in das Bildfeld, wobei die Augen des Porträtierten genau hier fokussieren. Durch dieses gekonnt eingesetzte Detail werden die expressiven Augen in ihrer Wachsamkeit zur Schau gestellt. Die gesamte Augenpartie ist, typisch für van Dyck, naturalistisch - ausdrucksstark strukturiert: Die Stirn ist leicht gerunzelt, die Augenbrauen grüblerisch zusammengezogen. Das Paar leuchtender Augen wird eindrucksvoll durch die weiß betonte Wasserlinie, das wulstig herausgearbeitete Tränenwärzchen und die prägnanten Lider geschildert. Man vergleiche nur das Bildnis des Cornelis van der Geest um 1620 aus der National Gallery in London: Nicht nur der nachdenkliche Gesamtausdruck und die einprägsame Augenpartie sind ähnlich, sondern auch die präzise eingesetzte Farbigkeit. Diese unterstreicht die van Dyck’sche Souveränität in der Nuancierung der Gesichtsstruktur, denn die einzelnen Lichtpunkte auf Nase und Pupille vermitteln einen fast unmittelbar- fotorealistischen Eindruck. Auch die technisch durchkomponierte Verfahrensweise der Pinselführung ist charakteristisch für van Dyck und seine Werkstatt; zusammen mit dem ansprechenden Krakelee wird der Alterswert des Bildes betont.
Los 9
Portrait auf ScagliolaplatteDer Heilige FranziskusMuseales GemäldeÖl auf Stein, 54,5 x 47,5 cmDieses außergewöhnliche Portrait eines Kutten-Heiligen wurde in Italien im 17. oder 18. Jahrhundert geschaffen.Das Gemälde ist von ungewöhnlich hohem künstlerischem Können und besticht durch die Verwendung einer Scagliolaplatte als Malträger. Möglicherweise handelt es sich bei dem Dargestellten um den heiligen Franziskus der über einem Buch in Gedanken verloren sinniert. Die Tonsur und die Bekleidung mit einer Kutte lassen uns zu dieser Annahme kommen. Stilistisch ist das Werk in die Epoche des 17./18. Jahrhunderts einzuordnen. Auch das Krakelee und die Oberfläche lassen diesen Schluss zu. Die Patina und Oberfläche der Rückseite des Panels verstärken diesen Eindruck. Da wir noch keinen vergleichbaren Kunstgegenstand in Händen hatten und auch kein wirklich anerkannter Experte für diese Objekte gefunden werden konnte, ist54, auch eine Entstehung im 19. Jahrhundert möglich. Unserer Meinung nach aber früher. Möglicherweise ist diese Tafel eine absolute Neuentdeckung. Qualitativ ist es auf jeden Fall ein kaum vergleichbares, hoch interessantes Sammlerstück.
Los 400
A 20TH CENTURY MURANO COPY OF A BAROVIER MARRIAGE CUP, blue glass pedestal bowl form, enamelled and gilt, the body depicting two portrait roundels within an allegorical scene of the ride to and swim in the fountain of youth and love, after the example in the Murano Museum, Venice, inscripted to base 'ESEGUITO A MANO MURANO', height 20.5cm x diameter 21cm
Los 566
A BOX OF 19TH/20TH CENTURY WATERCOLOURS AND AN OIL PORTRAIT, comprising an unsigned oil on board of a boy wearing a hat, size approximately 18cm x 15cm, Abraham Hulk landscape watercolour, William J King pastoral landscape, unsigned watercolour of a boy helping a girl to pick apples from a tree, F.F. Wilmot watercolour landscape, unsigned landscape, Ernest Law portrait of a young lady, portrait of a young girl
Los 753
PAINTINGS AND PRINTS, ETC, to include a study of two male lions, initialled R.M. Watercolour on paper, size 25cm x 34cm, late 19th Century oil on board depicting boats and an angler beside a lake, unsigned, Lisa Audit print 'Forest Study II', Peter Snow print of geese, Keith Johnson landscape print wool work picture dated 1932, C.J. Colton watercolour of a pub, H Stevenson pastel dog portrait, other assorted prints, etc
Los 120
A BOX OF ASSORTED ITEMS, to include a 'St Justin' pewter belt buckle of a Celtic design, a black wooden miniature portrait of a lady in profile, a cross stitch floral picture in a frame, a wooden spoon, a small wicker basket and a carved bone figure of a man on a rock with animals set on a carved wooden plinth
Los 82
NASA A pair of photographs, comprising: 1) Official portrait of the Apollo 16 crew. The crew members John Young, Commander; Ken Mattingly, Command Module pilot; and Charles Duke, Lunar Module pilot pose for a portrait in front of an earthrise image and their mission's insignia (first photograph) January 1972 Vintage chromogenic print on fibre-based Kodak paper, 25.4 x 20.3 cm (10 x 8 in), with A KODAK PAPER watermarks on the verso (NASA / RCA) 2) John Young (left) and Charles Duke check out the Lunar Rover systems with their camera equipment hung on their chest (second photograph) during a simulation of EVA near the LM November 1971 Vintage gelatin silver print on fibre-based paper, 25.4 x 20.3 cm (10 x 8 in), NASA photo no 71-H-1739, with NASA Headquarters caption on the verso Footnotes: 'We spent hundreds of hours training in the spacesuits, collecting pseudo-samples, photographing the samples in place and after we had collected them. It taught us how to point the camera and how to center the picture without a viewfinder. The cameras were hung on our chests, and we got to where we could just point the thing and guess the distances. We were pretty good at it; I was pleased with the way they turned out. Charles Duke
Los 531
* ANDREW HUNT, FLIGHT (GEORGE) oil on canvas board, signed 92cm x 61cm Unframed, as intended. Note: This exceptional painting was commissioned by IKEA with the intention that it would be sold at a charity auction with the proceeds being donated to Sheffield Children's Hospital. The child in the picture is "George" and the artist's title is "Flight". The vendor acquired the picture at the charity auction. Note: ANDREW HUNT is widely regarded to be one of the UK's finest portrait painters. Born in Chester in 1973 Andrew grew up in North Wales and attended Bath Academy of Art in 1992 where he studied for a degree in graphic design and illustration. In 1996 he moved to Sheffield where he settled after discovering the city's industrial heritage provided rich settings and narratives for his figurative oil paintings. Selected Exhibitions 2015 Tiger Aspect commission for BBC drama 'Peaky Blinders', Portraits of the cast and consultancy on set. 2015 The Contemporary Art Gallery, Eton. Battersea AAF 2014 Solo Exhibition Cadogan Contemporary, London 2013- present Manchester Artzu Gallery Resident Exhibiter 2012 Olympics show Cadogan Contemporary. Usain Bolt portrait donated to the Jamaican High Commission 2012 30TH Anniversary Exhibition, Cadogan Contemporary, London 2012 Works on Paper, Cadogan Contemporary, London 2012 An Exhibition in Hampshire, Cadogan Contemporary, Winchester 2011 Andrew Hunt, Solo Exhibition, Porter Brook Gallery, Sheffield 2011 An Exhibition in Hampshire, Cadogan Contemporary, Winchester 2010 Andrew Hunt, Solo Exhibition, Porter Brook Gallery, Sheffield 2010 New Work, Solo Show at Cadogan Contemporary, London 2008 National Portrait Gallery, BP National Portrait Award Exhibition 2006 Sheffield to Tobago, Solo Show at Cadogan Contemporary, London 2004 Cadogan Contemporary, Solo Show 2003 Cadogan Contemporary, Summer Exhibition 2002 Cadogan Contemporary, Solo Exhibition 1996 Manchester Academy of Fine Arts, Bi-Annual Open 1995 National Portrait Gallery, BP National Portrait Award.
Los 550
ANGELA REILLY, CHANGE oil on board, signed and titled verso 26.5cm x 23cm Framed and under glass. Note: Investigating the luminosity and tone of flesh, Angela Reilly’s paintings technically exude the precision of an old master, likened to a contemporary Holbein. Unusually, Reilly’s paintings becoming more detailed the larger their scale. Though almost photo-realist in their accuracy, Reilly’s work powerfully communicates what is felt as well as seen; realising the intangible. Reilly believes, "Portraiture is a preservation of ones memory not just preservation of appearance." Born in 1966 Angela Reilly studied Fine Art at Duncan of Jordanstone from 1984-87. In 1987 she moved to London working as an illustrator. In 1995 she began to concentrate solely on painting, moving back to Glasgow in 2003. Subsequently Reilly has exhibited in National Portrait Gallery, The Scottish Royal Academy and The Royal Glasgow Institute. In 2006 Reilly was commissioned to paint Lord Falconer’s - then The Lord Chancellor’s - portrait; was awarded a prize for portraiture by the National Portrait Gallery BP Prize 2006 and in 2007 featured in a BBC documentary. Angela Reilly's work is widely exhibited in London and Scotland.
Los 586
* JOHN G BOYD RP RGI (1940 - 2001), FLOWER PIECE oil on canvas, signed; further signed and titled verso 50cm x 50cm Framed and under glass. Provenance: Exhibited and acquired in 1996 at The Contemporary Fine Art Gallery, Eton. Labels verso and original sale ticket with price (£2000). Note: John Boyd was born in Stonehaven, Kincardineshire in 1940. He studied at Gray's School of Art, Aberdeen (1958 - 1962) where he was taught by Robert Henderson Blyth. He briefly studied at Hospitalfield where he met John Byrne and Sandy Fraser, who was to become a lifelong friend. Boyd moved to Glasgow and from 1967 - 1988 he taught at Glasgow School of Art before turning to painting full time. His first solo show was held in Edinburgh in 1967, after which he exhibited regularly at the RA, the RSA, the RGI and RSPP. A major retrospective of his work was held in Glasgow, in 1994. Boyd won numerous awards and was elected a member of the Royal Glasgow Institute of Fine Arts in 1982 and a member of the Royal Society of Portrait Painters in 1989. His work is held in private collections owned by, among others, the Earl of Moray and Lord MacFarlane as well as numerous corporate collections including The Fleming Collection, Bank of Ireland, Murray Johnson and Arthur Anderson. Public collections include the Paisley Art Gallery, the People's Palace, Glasgow Museums and the Lillie Art Gallery, Milngavie. He was noted for his strongly coloured landscapes, portraits and still life's, mostly in oils, with his best work being produced in the last ten years of his life.
Los 595
* CLAIRE HARKESS RSW (SCOTTISH B. 1970 - ), POLAR BEAR watercolour on paper, signed, dated 1998 label verso 26cm x 18cm Mounted, framed and under glass. Label verso: Gallery 41, Edinburgh Note 1: In 1998, Claire worked as Artist in Residence with The Royal Zoological Society of Scotland. While at Edinburgh Zoo she was filmed as part of the BBC "Ex-S" series and a fascinating documentary about her work was broadcast in November of that year. This work is a portrait of a specific animal at Edinburgh Zoo and it's likely that many Edinburgh residents and visitors to the Zoo will recognise this animal.. Note 2: Claire Harkess was born in Ayr, Scotland, graduating from Glasgow School of Art in the early 1990s. In recent years her painting has taken her to fragile lands to study and interpret life on the edge. Antarctica, Outback Australia and St Kilda are all places where, in such extreme environments, survival is difficult and the balance of life is delicate. Harkess has also worked on the Galápagos Islands, made famous by Charles Darwin’s ‘The Origin of the Species’. This isolated volcanic outpost remained relatively untouched by man, evolving to become one of the World’s unique ecosystems. The balance present in nature is clearly communicated through Claire's paintings. Painting in watercolour or gouache offers a unique directness; the essential qualities of light and energy present in the natural world are the very essence of the medium itself. The delicacy of her palette and oriental economy of her mark-making creates a subtle tension representing a world that is ‘holding still’, giving a sense of freedom, spirit, time and place. Claire's work is exhibited at The Scottish Gallery, where her most recent highly successful solo show was in July 2020, and at other prestigious galleries around the UK.
Los 614
* EDMOND XAVIER KAPP (BRITISH 1890 - 1978), VIOLINIST charcoal and watercolour on paper, signed and dated '41 34cm x 25cm Mounted, framed and under glass. Label verso: Cyril Gerber Fine Art. Titled and dated 1941. Note: Edmond Xavier Kapp was born in London and was educated at Christ's College in Cambridge, in Paris and Rome. Kapp was a British portrait painter, draughtsman and caricaturist who during his career depicted many of the most famous politicians, artists and musicians of the time. He had several dozen one man shows in London and provincial galleries as well as on the continent, in Canada and America. There was a major retrospective exhibition of his work at the Whitechapel Art Gallery in 1961. Kapp's work is represented in many public and private collections including 26 pictures in The National Portrait Gallery, London.
Los 638
* JULIAN GORDON MITCHELL, THE CONTRAPTION oil on canvas, signed verso 120cm x 100cm Framed. Note: Julian Gordon Mitchell is an English artist who uses painting as a window into an imaginary, dreamlike world. His work is sometimes macabre, often unsettling and invariably crafted with obsessive care. His unique pictures make conscious references to the European canon of painting as well as metaphysical and surreal art. Julian's critically acclaimed paintings have been shown at the National Portrait Gallery, The Royal Society of Portrait Painters, and The Cabinet Office in Westminster (London).
Los 640
* MARYSIA DONALDSON (1930 - 2018), PIERROT AND NUDE watercolour on paper, signed 25cm x 25cm Mounted, framed and under glass. Note: Marysia Donaldson was born in Warsaw and brought up in Scotland where she was educated. She studied at the renowned Glasgow School of Art, which counted amongst its past students many illustrious painters. Marysia was taught there by her future husband, David Donaldson, the Queen’s Painter and Limner in Scotland, and by Hugh Crawford RSA. On leaving Art School she took up sculpture, but in time concentrated on painting. She has had numerous one-man exhibitions, both in the UK and abroad and has exhibited in many group shows including the Fine Arts Society, the Scottish Gallery, Fosse Gallery and the Everard Read Gallery, Johannesburg. She was a regular exhibitor at the Royal Scottish Academy, Edinburgh, The Royal Glasgow Institute and The Royal Academy, London as well as at the Royal Society of Portrait Painters. She is represented in the collection of HRH The Duke of Edinburgh and in collections throughout Scotland, England, France, South Africa, Canada and the USA as well as in numerous corporate collections, including Hambros Bank, The MacFarlane Group, John Capel and Freshfields.
Los 647
ANGELA REILLY, GUISE oil on board, initialled, further signed and titled verso 30cm x 33cm Framed and under glass. Note: Investigating the luminosity and tone of flesh, Angela Reilly’s paintings technically exude the precision of an old master, likened to a contemporary Holbein. Unusually, Reilly’s paintings becoming more detailed the larger their scale. Though almost photo-realist in their accuracy, Reilly’s work powerfully communicates what is felt as well as seen; realising the intangible. Reilly believes, "Portraiture is a preservation of ones memory not just preservation of appearance." Born in 1966 Angela Reilly studied Fine Art at Duncan of Jordanstone from 1984-87. In 1987 she moved to London working as an illustrator. In 1995 she began to concentrate solely on painting, moving back to Glasgow in 2003. Subsequently Reilly has exhibited in National Portrait Gallery, The Scottish Royal Academy and The Royal Glasgow Institute. In 2006 Reilly was commissioned to paint Lord Falconer’s - then The Lord Chancellor’s - portrait; was awarded a prize for portraiture by the National Portrait Gallery BP Prize 2006 and in 2007 featured in a BBC documentary. Angela Reilly's work is widely exhibited in London and Scotland.
Los 648
ANGELA REILLY, ABANDON oil on board, initialled, further signed and titled verso 25cm x 31cm Framed and under glass. Note: Investigating the luminosity and tone of flesh, Angela Reilly’s paintings technically exude the precision of an old master, likened to a contemporary Holbein. Unusually, Reilly’s paintings becoming more detailed the larger their scale. Though almost photo-realist in their accuracy, Reilly’s work powerfully communicates what is felt as well as seen; realising the intangible. Reilly believes, "Portraiture is a preservation of ones memory not just preservation of appearance." Born in 1966 Angela Reilly studied Fine Art at Duncan of Jordanstone from 1984-87. In 1987 she moved to London working as an illustrator. In 1995 she began to concentrate solely on painting, moving back to Glasgow in 2003. Subsequently Reilly has exhibited in National Portrait Gallery, The Scottish Royal Academy and The Royal Glasgow Institute. In 2006 Reilly was commissioned to paint Lord Falconer’s - then The Lord Chancellor’s - portrait; was awarded a prize for portraiture by the National Portrait Gallery BP Prize 2006 and in 2007 featured in a BBC documentary. Angela Reilly's work is widely exhibited in London and Scotland.
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283284 Los(e)/Seite