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283287 Los(e)/Seite
Los 15
18th century Dutch school, a painting on glass of a young sailor, 25 cm x 18.3 cm in a wooden frame, together with an oval pastel portrait of a finely dressed lady, 45.5 cm x 33 cm, glazed in a gilt frame, a further pastel study of two children (indistinctly signed, and dated 1853) and a 19th century watercolour of a lady seated beside the sea.Qty: 4
Los 26
Attributed to Gustave Arthur Bouvier (act. 1839-1888), a full-length portrait of a woman beside a piano, titled verso 'Music of Bygone Days', with written address given as '2 Bolton Road, St Johns Wood', oil on canvas, 24.2 cm x 16 cm in a giltwood frame.Condition report: No apparent major defectsThe outside edge of the frame size: 34 cm x 26 cm
Los 1198
Cameron (British, 20th century), head and shoulders portrait of a man in a large hat with a goatie beard, inscribed 'Though we travel the world over to find the beautiful, we must carry it with us or we find it not', and 'Thank you David for my first year' watercolour, signed and dated 1970, 27cm x 22cm,
Los 1219
Daniel Gardner (British, 1750-1805), portrait of a lady in a robe and cap,in an oval mount, gouache and pencil, 24cm x 20cm. From the property of a deceased local collector. PROVENANCE: Sotheby's lot 56, 30th April 1996.Condition Report: Light wear and rubbing where the picture and mount meet.
Los 1228
Paul Sandby RA (British, 1731-1809). Mrs. Thomas Paul Sandby with her son and daughter. Portrait of three figures, inscribed in pencil below 'Mrs TPS, Miss S, Augustus S'. Pencil and wash on paper, 11.5cm x 11cm. Previously from the collection of Sir Bruce Ingram with his collectors' stamp verso (an 'I' within an octagon) and inscribed in pencil 'P. Sandby'. From the property of a deceased local collector. PROVENANCE: Sotheby's lot 61, 11th July 1991. Christie's lot 369, 8th December 2011 (offered as by Paul Sandby).
Los 1335
§ David Jagger (British, 1891-1958). Portrait of a young lady. Oil on canvas, unsigned. 61 x 46cm. Framed. With torn label verso. See Christie's sale 11/07/2017, lot 78, a work by David Jagger, apparently depicting the same sitter approximately ten years younger. Please note that artists resale right may be additionally payable on this lot up to a maximum of 4% on top of the hammer price where above the threshold, visit www.dacs.org for more information.
Los 1365
Attributed to Mary Beale (1632-1697), portrait of John Ludford, oil on canvas, inscribed John Ludford, Esq. Nat. 14th March 1653, Ob. 15th Sept. 1681, with plaque for Mary Beale, 76 x 64cmCondition Report: Some areas of re-touching/over painting to the face and a few other small areas. Four scratches to the canvas. Some wear to canvas.
Los 1366
17th / 18th century British school, portrait of a gentleman wearing cap and a lace cravat, thought to be Sir Matthew Hale (1609-1676), Lord Chief Justice of England and Wales between 1671-1676, oil on canvas, a painted cartouche lower left bears the words 'Pro Rege' (for the King), 71 x 61cm. Condition Report: Very small paint loss and a repair in upper right hand quarter.
Los 1372
Attributed to Theodore Russell (British, 1614-1689). Portrait of a lady, half length wearing a pearl necklace and a white satin dress with blue bows, oil on canvas, bearing antique label verso inscribed 'Supposed to be one of the daughters of Sir Francis Godolphin', label for Harrods Depository, Barnes verso, unsigned, 71 x 60cmCondition Report: Small spot of paint loss to left of the lady's mouth. Areas of re-touching/over painting to the face, the fringe of the hair and bows on the dress as seen under UV light. Scratch on canvas. Wear to canvas.No details on provenance.
Los 1446
REVISED ESTIMATE 19th century Continental school, portrait of an 18th century lady with powdered hair and wearing a red dress and a pendant, oil on canvas, unsigned, 74 x 61cm Condition Report: Extensively overpainted and repaired. Most notable to the face, chest and hands. The largest repair runs from the middle of her forehead down to her top lip. There is over painting throughout, some of which can be seen with the naked eye.Cracking to picture surface throughout.The back of the canvas has has some kind of coating put on it but it is not re-lined.
Los 64
Alfred Josiah Rushton (1864-?), a full-length portrait of a young girl standing in a doorway, oil on canvas, signed to lower right corner, 61 cm x 41 cm in a giltwood frame.Condition report: I can not see any signs of re-lining or old repair but the canvas is quite slack and the paint surface multiple "spiders web" cracks but these are very fine.
Los 67
19th century school, a watercolour portrait, titled 'Elizabeth', the label verso naming her as the eldest daughter of Joseph Woodhouse of Scotswood Northumberland, wife of Charles Bulmer of Saltwell Hall, Cty Durham, and giving her dates as 1778-1852, 36 cm x 29 cm, framed and glazed, together with a small 19th century painted porcelain plaque, a double portrait of a mother and child, contained in a velvet-lined leather case.Qty: 2
Los 89
Charles Turner after J Hoppner, 'Admiral Lord Nelson', 19th Century mezzotint, 62 cm x 40.5 cm glazed in an ebonised frame, together with a 19th century engraving, after Louis Albert Guislain Bacler d'Albe (1761-1824), portrait of Napoleon Bonaparte, engraved by Mercoli Fils, 44.5 cm x 37 cm glazed in an ebonised frame.Qty: 2
Los 95
James McArdell, after Thomas Hudson, 'John Duke of Montagu', portrait engraving, 41.5 cm x 28.5 cm, together with an 18th century coloured engraving, after Samuel and Nathaniel Buck, 'The East View of Dartington-Temple, In the County of Devon', 20 cm x 38 cm, and oval portrait engraving by Giovanni Vendramini, after Franceso Bartolozzi (1727-1815), 31.4 cm x 25 cm and a portrait engraving of Elizabeth I, by Cornelius Vermeulen after Adriaen Van der Werff, 31 cm x 17.8 cm, each framed and glazed.Qty: 4
Los 487
Deutscher Maler 2. Hälfte 18. Jh. Portrait des 1710 geborenen Gottfried Adrian Müller. Herrenportrait als Halbfigur mit Perücke und blauem Mantel. Rs. Klebezettel mit teilweise erhaltener handschriftlicher ausführlicher Lebens- und Familienbeschreibung des Dargestellten. Öl/Holz. 21,5 x 15,5 cm. R
Los 27
Walter Frederick Osborne RHA ROI (1859-1903)Landscape with Sheep, and Rising Moon (1893) (Possibly the painting entitled 'Peaceful Eve')Oil on canvas, 50 x 68cm (19¾ x 26¾'')Signed and dated (18)'93Provenance: Sale, these rooms 14/12/1994, lot no. 28; and 26/9/2018, lot no. 82 as 'Moonrise'.Exhibited: Possibly Dublin Arts Club, 1894, no. 73, entitled 'Peaceful Eve'.Literature: Possibly Jeanne Sheehy, Walter Osborne, Ballycotton, 1974, cat. No.406, p.137.A moon rises in a clear blue sky, heralding the approach of evening, clouds appear beyond the horizon, while in the foreground sheep graze peacefully in a meadow. Walter Osborne's picture is dated 1893, and this was a busy period in his career, when he was undertaking official portrait commissions, painting informal studies of his family, genre scenes in Dublin, and making excursions to Co. Galway, yet also finding time to paint landscapes around Co. Dublin, such as this tranquil rural scene. (1) With its mixture of farmland and scrubby fields it may be set near Foxrock, south of Dublin, where Osborne's fellow painter J.B.S. McIllwain lived.Like his father animal painter William Osborne RHA (1823-1901), Osborne had a strong affection for animals, and he depicted them with exactitude and empathy. He had earlier painted shepherds and their sheep in villages and farmland in England. In this painting he shows a flock of sheep untended, grazing peacefully, or looking out of the picture with curiosity, as if at a viewer. The rising moon, associated with fertility, the cycles of life, and the regeneration of crops and animals, had had emotional and symbolic importance for artists of the Romantic period, for example Turner, Caspar Friedrich, Samuel Palmer and James Arthur O'Connor; and for the French Barbizon artist Daubigny, with his atmospheric evening scenes of shepherds with their flocks and the rising moon.Osborne's painting shows a daylight scene, but the foreground in shadow and the rising moon are suggestive of the approach of evening. The pastures and trees are painted freely in earthy green, dun and ochre tones. But the sky, a pale, transparent blue, and the lozenge-shaped moon, have an extraordinary brightness and clarity. The moon's edges, slightly blurred, cast a warm glow, and the light brightens the fluffy clouds beyond the horizon. Osborne combines a careful Naturalism with a deeply lyrical feeling for nature. In many such pictures the foreground is in shadow, but sunshine lights up a distant landscape, buildings or clouds, (as for instance in 'Loiterers', 1888, sold in these rooms, 9th December 2020), suggestive of a wonderful sunny world beyond.The exact title of Osborne's picture is not known, but it may possibly be identified as Peaceful Eve which was exhibited at the Dublin Arts Club in 1894, and which was praised by the art critic of the Irish Daily Independent:"Peaceful Eve, a splendid conception of a peaceful country scene just as twilight shadows are darkening into night. The combination of deep shadows with the lighter shades where the fading sunlight still lingers on the uplands, is beautifully brought out. The artistic eye will also note ... the rising moon as it tinges with its mellow light a piled-up bank of clouds which are just beginning to show over the ridge of the eastern hills" (2) Julian Campbell, February 20211) eg. Landscapes such as The Thornbush, 1893 and Milking Time, c.1893 may have also been painted at Foxrock.2) Irish Daily Independent, 18 Jan. 1894, quoted by J. Sheehy, Walter Osborne, 1974, p.137
Los 64
Paul Henry RHA (1877-1958)Portrait of a Lady (c.1910-14)Oil on canvas board, 22 x 13cm (8¾ x 5'')Signed; also inscribed on reverse in the artist's hand 'For Dear Grandmama from Paul'This is an early Paul Henry, as the dot in the signature indicates. The age of the woman is uncertain, but given the form of the signature, as the general hesitancy shows, it is evidentially early in Henry's career, possibly around c.1910-14. It was certainly done before he went to Achill Island. The Portrait is numbered 1345 in S. B. Kennedy's on-going cataloguing of Paul Henry's oeuvre.S.B. Kennedy
Los 73
Frederick E. McWilliam HRUA RA (1909-1992)Undercover Girl 1978Bronze, 17.5 x 25 x 19cm (6¾ x 9¾ x 7½'')Signed with initialsEdition 1/5Provenance: Ashford Hall, Ashford in the Water, Derbyshire; Waddington Galleries, London, McWilliam's exhibition 1979; Sworders Fine Art, Stanstead Mountfitchet, 'The Country House Sale', September 2009, where purchased by current owner.Literature: McWilliam's notebook, work is numbered 78.07, ie the 7th work of 1978. When he embarked on his series of 'Legs' 1977 - 1981, 'he began the practice of making small accurate sketches of each work beside his notebook entry, which was not only for his won identification, but for the foundries, in this case the Galizia Foundry'. 'The Sculpture of F.E.McWilliam' Ferran & Holman, Lund Humphries, 2012, p. 85.Exhibited Taylor 1979; the Arts Councils of Northern Ireland and the Arts Council of the Republic of Ireland, 1981, cat. no. 151; exhibition tour, Ulster Museum, Belfast, April - May; Douglas Hyde Gallery, Dublin, May - June; Crawford Municipal Gallery, Cork, July - August. Tate Gallery, 1989, cat. no. 66, illus. p. 64.'Women of Belfast' and 'Woman in a Bomb Blast' were a highly charged response by McWilliam to the devastating bombs in Belfast and in particular the bombing of the Abercorn restaurant in 1971. This series was followed by the 'Banners' which again focused on the Northern Ireland problems, a series instigated by the Peace People, mainly women, including his long time friend Sheelagh Flanagan, myself and many others, who marched for peace. After five years of producing work, which were McWilliam's reaction to the 'troubles' in his country of birth, McWilliam, turned, for respite, to the subject matter he loved most, the beauty and form of female legs. The walls of his studio in Holland Park had many photographs of female forms, especially legs, some from Selfridges' advertisements for ladies' tights. The capriciousness of McWilliam's imagination combined with his modeling skill, were used in his series of 'Legs' from 1978 until 1981, ending with Ms Orissa. The subject of women's legs as a means to create movement, beauty and intrigue, heightened by his observation of Indian carvings, especially in the temples of Orissa, which he studied first hand, informed him that the entire human form did not need to be present to give meaning to the subject. His return to the Surrealist idea of incomplete fragments and his use of legs, to convey this, as in 'Undercover Girl' provides femininity and sensuality but with an underlying strength and stoicism. The top of 'Undercover Girl' is hidden under a partially opened umbrella shape or a form developed from his Banner series, 1975/76, thereby conveying the intrigue and secrecy of undercover agents.His ability to convey this, in every foot movement and toe position, portrays his admiration for the female form. His friendship with the Dublin born ballerina, Ninette de Valois (1898 - 2001) founder of the Royal Ballet, whose portrait he carved in 1963, influenced him greatly, leading to his love of ballet and an appreciation of such an exacting art form in which arm and leg movement were paramount. Feet were important to McWilliam as a means to express emotions whether terror in 'Women of Belfast' which to him were - 'the women as victims of man's stupidity' or the mystery, strength and fortitude imbued in 'Undercover Girl'.Denise Ferran, February 2021
Los 84
Robert Harwood (1830-1876)River Landscape with a Figure on a Bridge, Mountains BeyondOil on canvas, 61.5 x 91.5cm (24¼ x 36")Signed 'Rob. Harwood', lower-right; also signed versoBorn in Clonmel, County Tipperary, the younger brother of portrait painter, James Harwood (1816-1872), Robert Harwood was a landscape painter and exhibited at the Royal Hibernian Academy and the Royal Academy, London between 1855 and 1876.
Los 159
Patti Boulaye (b. 1954) is a BritishNigerian singer, actress and artist who rose to prominence after winning New Faces in 1978 and was among the leading British entertainers in the 1970s and 1980s. Patti has made over 200 TV appearances including Royal Command Performances at the London Palladium. In recent years she has appeared in two episodes of "Pointless", as a contestant in a series of 'Celebrity MasterChef' and Channel 5's "When Talent Shows Go Horribly Wrong". In January and February 2016 Boulaye appeared in the threepart BBC series The Real Marigold Hotel, which followed a group of celebrity senior citizens, including Miriam Margoyles and Wayne Sleep, on a journey to India. A signed original Keystone Press Agency 1979 black and white photograph approximately 8 inches x 7.5 inches and an original typed press release document giving details of the photograph as "'a framed Patti Boulaye with her husband Stephen Komlosy holding the portrait of his wife by John Bratby, which he has acquired for her as a wedding present'. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
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283287 Los(e)/Seite