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283287 Los(e)/Seite
Los 202
EIGHT PORTRAIT ENGRAVINGS to include "John Milton" by J. Houbraken c.1741, "Joannes Milton" by Geo. Vertue (both laid down), a female by Seydelmann after Rubens, "Maria Ab Etruria" bt Adriano Halluech, a female by R. Strange after Guido Rheni, "La Révérende Mère Marie Frédéricque", an etching of a girl signed Frank Sternberg and a portrait of a 17th Century gentleman untitled (8)
Los 203
EIGHT PORTRAIT ENGRAVINGS to include three by J Houbraken - "Joannes van Schelle" after J. Regters, "Hermannus Venema" after B. Accama c.1735, and "Francis Lord Cottington" c.1743 together with "Samuel Johnson" by Heath, "Charles Lawton" (no details), "Richard Reynolds" by H. Meyer after N. Branwhite c.1817, "George Croft" by F. Eginton after George Heape c.1810 and "Le Petit Physicien" by J. G. Wille after Gaspar Netscher (8)
Los 364
~ Circle of Valentine Cameron Prinsep (1838-1904) Portrait of Eleanor ( 1844 - 1927) nee Stone and wife of Justinian Edwards-Heathcote, full length, standing in an interior, wearing an elegant white and powder blue dress exuberantly decorated with flowers and bows Indistinctly signed, oil on canvas, 196cm by 120cm See illustration In fully restored condition, relined, cleaned and re-varnished. The surface is somewhat flattened by a relatively stiff reline and areas of original impasto are now lacking in integrity. Small area c. 2in. of missing paint to upper right hand corner and also left hand side middle edge of a similar size. There is an obscured indistinct signature to lower right hand corner. Otherwise in a stable state of preservation. Not examined with a UV light.
Los 366
~ Follower of Sir Joshua Reynolds PRA FRS FRSA (1723-1792) Portrait of a gentleman, half length, wearing a white powdered wig, burgundy satin waistcoat and white necktie Oil on canvas, 74cm by 62.5cm See illustration. Restretched and re-lined. Canvas and stretcher are nailed to the frame. In good overall condition. Surface generally scuffed and dirty. Small amounts of overpaint visible by eye, particularly to sitter right shoulder and coat. Flecks of missing paint within face, hair and necktie. Various chips to frame. Label for the Chapman Brothers, Chelsea, Picture Restorers & a further label for Archer Cowley & Co., Oxford with the name name Col. H. W Waller stamped to paper. Not examined with a UV light.
Los 367
~ Follower of Anthony Frederick Augustus Sandys (1829-1904) Portrait of the five eldest children of the Rev. EJJG Edwards: JH Edwards (Heathcote) Katherine Edwards (Cooper) Edith Lindsay Edwards (Reynolds) James Edwards and Beatrice M Edwards (Clarke), half length Oil on canvas, 79cm by 97cm (with arched top) See illustration
Los 368
~ Follower of George Romney (1734-1802) Portrait of the three children of Sir John Heathcote of Langton Hall: Richard Heathcote on the right, Mrs Fenton née Selena Heathcote and Nigel Heathcote, seated before a landscape and holding sprigs of flowers Oil on canvas, 126cm by 100.5cm Provenance: With Frost and Reed, London See illustration
Los 370
~ Manner of Mason Chamberlin (1727-1787) Portrait of Catherine Ayre, standing full length, holding roses before a landscape Oil on canvas, 125cm by 100.5cm Catherine Ayre was the wife of the Rev. Edward Bromhead and mother of Thomas Ayre Bromhead See illustrationCanvas slightly loose on stretcher. Covered in a layer of dirt and discoloured varnish. Flecks of what appears to be brown paint across surface. Frame in good and sound condition. Possible small areas of overpaint to left hand side foliage of the tree and at sitters left. The bottom left hand corner has streaks of an unknown/ liquid which is incongrous to the original surface. Not examined with a UV light.
Los 373
~ Follower of Godfrey Kneller (1646-1723) Portrait of Hardress Waller, head and shoulders, wearing a red powdered wig, red velvet coat over an armoured breastplate, in feigned oval Oil on canvas, 69.5cm by 58.5cm See illustration Evidence of old restoration and infilling to old cracquelure, mainly evident to top half of the painting, on and around the sitters head. Old re-line, clean and revarnished. The surface of the painting has been somewhat flattened by the restoration process and the paint is thin in places, mainly within the background. Wood worm holes to the stretcher of an unknown date. Otherwise broadly in a stable state of preservation. Not examined with a UV light .
Los 375
~ Attributed to James Wyatt (1764-1813) Portrait of Sir Hardress Waller, head and shoulders, wearing a large white collar, in a feigned oval Oil on canvas, 73.5cm by 60cm Sir Hardress Waller was the son of Sir G Waller by Mary Hardress. He sat as one of the judges on the King's trial December 1648 for which he was tried and banished to Ireland and sat in the Irish Parliament. He married Elizabeth, daughter of Sir J Dowdall KT Provenance: According to label verso exhibited Council on Education Kensington Museum Collection 1866 no. 648 Lent by Rev JT Waller. Christie's stencil 3FW3H (?) See illustration
Los 376
~ Manner of Robert Walker (1599-1658) Portrait of a gentleman, three-quarter length, standing before a red curtain wearing armour and holding a sword Oil on canvas, 105cm by 83.5cm See illustration. Not a modern copy. Executed c. 100 years +. Covered in a thick layer of grime, dirt & discoloured varnish. Visible damage and scratches to helmet at sitters right. There is a repaired horizonal tear lower right approx 3 in. in length. Overpaint visible with the naked eye to sitters left cheek and eye. Possible overpaint / hole to breastplate of sitters right. Possible evidence of early overcleaning to armour as paint shows signs of abrasion. Stretcher is nailed to frame. Woodworm damage to stretcher of unknown date. Christies stencil verso 370 FW. Possible collection sticker no. 5 to back of frame. Overall in a stable state of condition otherwise. Not examined with a UV light.
Los 106
World.- Anonymous. Coronation King Edward VIII souvenir flag map, with a portrait of the King and a double-hemisphere world map with the British Empire coloured red, and the Royal Arms illustrated over a Union Jack background, colour-printed wood engraving on linen, 230 x 320 mm (9 x 12 1/2 in), small holes and rough edges, minor surface dirt, framed, [1936].⁂ The flag was printed in 1936 ready for the Coronation which was to take place the following year. However, Edward VIII chose love and marriage to Mrs Wallis Simpson rather than the throne and crown. Edward abdicated on 11th December 1936 and George VI was crowned instead.
Los 112
Britain.- Camden (William) Camden's Britannia Abridg'd with Improvements and Continuations to this present time, 2 vol., title page to each volume but lacking portrait frontispieces, with 61 engraved folding maps, occasional surface dirt, browning and handling creases, some careful repairs to minor losses, panelled calf, both recently re-backed, modern endpapers, vol. 1 with lower cover replaced, both rubbed and worn, 8vo, Joseph Wild, 1701.
Los 54
Europe.- Strada (Famiano) Famiani Stradae Romani e Societate Jesu de Bello Belgico, zoomorphic map of Belgium frontispiece, title, 9 engraved portrait plates only, nicks, tears, surface dirt and browning throughout, largely disbound, spine missing and splitting, lacking covers, very worn, 12mo, Corbelletti, Rome, 1643; together with Samuel Butler's An Atlas of Antient Geography, 1853, V. Monin's Petit atlas national des départements de la France et de ses colonies, 1833, the ninth edition of Guy's School Geography, on a New and Easy Plan, circa 1810, a copy of Plans of the most important Cities and Towns of Continental Europe, accompaning the special edition of Bradshaw's Continental Railway, Steam Transit, &c., Nicholas de Fer's [Les Forces de l'Europe, ou Description des Principales Villes avecs leurs fortifications ... pour l'usage de Monseigneur Le Duc De Bourgogne], 86 plates only, some folding, various repairs throughout to nicks, tears, and some loss, some leaves laid on support, otherwise surface dirt and browning, near contemporary calf, gilt, very worn, oblong 4to, [circa 1705-1710]; and volume 29 from Didot's Histoire General des Voyages... (7)
Los 16
λ Graham Knuttel (Irish b.1954) Diesel, the artist's dog Oil on paper Signed (lower right) 50 x 70cm (19½ x 27½ in.)Provenance: New Apollo Gallery, Dublin This piece is a portrait of Knuttel's beloved dog, Diesel. Works by Knuttel are held in some of Hollywood's top collections including that of Sylvester Stallone and Robert De Niro. Condition Report: A few isolated spots of surface dirt throughout the sheet. There is a small hole to the paper at the lower right corner just visible (approx diameter 4mm) however this is in the margin at the extreme edge of the sheet, rather than the actual picture. There is a slight undulation to the very edge of the sheet at the upper right edge but this could probably be solved by re-framing. Inspection under UV light reveals no evidence of restoration or repair. Unexamined out of glazed frame.Condition Report Disclaimer
Los 181
λ David Saunders (British b. 1936)Untitled, 1989Mixed media and collage Signed and dated 6/89 (verso)21.5 x 15.5cm (8¼ x 6 in.)Unframed David Saunders turns our attention to the function of colour in painting and how this can influence the interior or space around it. A piece of work is created through a process of events but once situated in the interior there is no before or after all the elements are simultaneously present and we as the viewer accept the visual rhythm and harmonious colour palette as the final piece of work. David Saunders was born in Essex in 1936. Before being conscripted for military service Saunders worked in the advertising industry and attended evening classes at St. Martin's School of Art. Whilst Saunders was stationed on Salisbury plain he took the opportunity to pursue his passion for painting. Inspired by the work of Paul Nash the local chalk downs scattered with isolated clumps of woodland would serve as his subject matter through these years. On release from the army Saunders studied under Frederick Gore at St. Martin's School of Art from 1959 to 1962 and continued his studies at the Royal Academy Schools. Saunders was supported by the Arts Council and went on to exhibit across the UK. Between the years 1980-1999 Saunders carried out intense research into the function of colour in paint and he went on to organise jointly with Richard Bell the exhibition 'Colour Presentations' at the Arts Council in 1986. Curators' Comment I Don't be afraid to be bold. These works by David Saunders can be hung both portrait and landscape; which direction creates the most pleasing visual rhythm and harmony for you? Condition Report: A few specks of surface dirt and scratches. Otherwise in good original condition.Condition Report Disclaimer
Los 182
λ David Saunders (British b. 1936)Untitled, 1991Mixed media and collage Signed and dated 2/91 (verso)21.5 x 15.5cm (8¼ x 6 in.)Unframed David Saunders turns our attention to the function of colour in painting and how this can influence the interior or space around it. A piece of work is created through a process of events but once situated in the interior there is no before or after all the elements are simultaneously present and we as the viewer accept the visual rhythm and harmonious colour palette as the final piece of work. David Saunders was born in Essex in 1936. Before being conscripted for military service Saunders worked in the advertising industry and attended evening classes at St. Martin's School of Art. Whilst Saunders was stationed on Salisbury plain he took the opportunity to pursue his passion for painting. Inspired by the work of Paul Nash the local chalk downs scattered with isolated clumps of woodland would serve as his subject matter through these years. On release from the army Saunders studied under Frederick Gore at St. Martin's School of Art from 1959 to 1962 and continued his studies at the Royal Academy Schools. Saunders was supported by the Arts Council and went on to exhibit across the UK. Between the years 1980-1999 Saunders carried out intense research into the function of colour in paint and he went on to organise jointly with Richard Bell the exhibition 'Colour Presentations' at the Arts Council in 1986. Curators' Comment I Don't be afraid to be bold. These works by David Saunders can be hung both portrait and landscape; which direction creates the most pleasing visual rhythm and harmony for you? Condition Report: Overall in good original condition.Condition Report Disclaimer
Los 41
λ Edward Wolfe (British 1897-1981)Portrait of Barclay DonneOil on canvas92 x 61cm (36 x 24 in.)Painted in 1918/19.Provenance:Odette Gilbert Gallery, LondonPaisnel Gallery, LondonCollyer Bristow Collection, LondonBorn in Johannesburg, South Africa, Wolfe moved to England during the First World War where he studied at the Slade School of Art from 1916-1918. At the Slade he met and became friends with Nina Hamnet and Roger Fry who invited him to join the Omega Workshops, a design enterprise founded by members of the Bloomsbury Group and closely associated with the Hogarth Press. He had his first solo show in Johannesburg in 1920 and went on to exhibit widely both in England and internationally. In the 1920s he became known as 'England's Matisse' in reference to his strikingly colourful post-impressionistic portraits. His success owed much to his involvement with the London Group of artists and his association with art critic and painter Roger Fry and the writer Osbert Sitwell. Wolfe's work is held by the Tate Gallery, the Royal Academy and the National Portrait Gallery, London as well as numerous other public and private collections. Condition Report: The canvas has not been lined and is a little slack. Small, scattered areas of flaking throughout but most noticeably to the upper right quadrant. Some craquelure, surface abrasions and light surface dirt throughout. Stretcher marks visible, especially to the vertical edges. Inspection under UV light revels some very light, scattered retouching which is largely confined to the darker background.Condition Report Disclaimer
Los 42
λ Edward Wolfe (British 1897-1981)Jet Fairley in Swiss CostumeOil on canvas166 x 100cm (65¼ x 39¼ in.)Painted in 1936.Provenance:Odette Gilbert Gallery, LondonCollyer Bristow Collection, LondonBorn in Johannesburg, South Africa, Wolfe moved to England during the First World War where he studied at the Slade School of Art from 1916-1918. At the Slade he met and became friends with Nina Hamnet and Roger Fry who invited him to join the Omega Workshops, a design enterprise founded by members of the Bloomsbury Group and closely associated with the Hogarth Press. He had his first solo show in Johannesburg in 1920 and went on to exhibit widely both in England and internationally. In the 1920s he became known as 'England's Matisse' in reference to his strikingly colourful post-impressionistic portraits. His success owed much to his involvement with the London Group of artists and his association with art critic and painter Roger Fry and the writer Osbert Sitwell. Wolfe's work is held by the Tate Gallery, the Royal Academy and the National Portrait Gallery, London as well as numerous other public and private collections. Condition Report: The canvas has not been relined. There is a very small split in the weave of the canvas to the lower right at the edge of the apron, only visible upon very close inspection. The canvas is slightly loose on the stretcher and there are some small areas of craquelure upper left and some further areas where craquelure is beginning to develop. The painting may benefit from a reline. Otherwise, colours fresh and in good original condition. No evidence of retouching visible under ultraviolet light.Condition Report Disclaimer
Los 43
λ Edward Wolfe (British 1897-1981)Gypsy LangOil on boardSigned (lower right)99 x 79cm (38¾ x 31 in.)Painted in 1926.Provenance:Odette Gilbert Gallery, LondonPaisnel Gallery, LondonCollyer Bristow Collection, LondonBorn in Johannesburg, South Africa, Wolfe moved to England during the First World War where he studied at the Slade School of Art from 1916-1918. At the Slade he met and became friends with Nina Hamnet and Roger Fry who invited him to join the Omega Workshops, a design enterprise founded by members of the Bloomsbury Group and closely associated with the Hogarth Press. He had his first solo show in Johannesburg in 1920 and went on to exhibit widely both in England and internationally. In the 1920s he became known as 'England's Matisse' in reference to his strikingly colourful post-impressionistic portraits. His success owed much to his involvement with the London Group of artists and his association with art critic and painter Roger Fry and the writer Osbert Sitwell. Wolfe's work is held by the Tate Gallery, the Royal Academy and the National Portrait Gallery, London as well as numerous other public and private collections. Condition Report: A few surface scuffs and scratches and some associated minor losses. Also some surface dirt. Otherwise in generally good condition. No evidence of retouching visible under ultraviolet light.Condition Report Disclaimer
Los 44
λ Edward Wolfe (British 1897-1981)Portrait of David Cleghorn ThomsonOil on canvasSigned (lower left)63 x 48cm (24¾ x 18¾ in.)Painted in 1949. Provenance:Odette Gilbert Gallery, LondonPaisnel Gallery, LondonCollyer Bristow Collection, LondonLiterature:John Russell Taylor, Edward Wolfe, 1986, plate 143 (illustrated)Born in Johannesburg, South Africa, Wolfe moved to England during the First World War where he studied at the Slade School of Art from 1916-1918. At the Slade he met and became friends with Nina Hamnet and Roger Fry who invited him to join the Omega Workshops, a design enterprise founded by members of the Bloomsbury Group and closely associated with the Hogarth Press.He had his first solo show in Johannesburg in 1920 and went on to exhibit widely both in England and internationally. In the 1920s he became known as 'England's Matisse' in reference to his strikingly colourful post-impressionistic portraits. His success owed much to his involvement with the London Group of artists and his association with art critic and painter Roger Fry and the writer Osbert Sitwell.Wolfe's work is held by the Tate Gallery, the Royal Academy and the National Portrait Gallery, London as well as numerous other public and private collections.Condition Report: The canvas is not relined. Some scattered flaking to the paint surface notably to the left hand edge. Otherwise, in generally good condition. No evidence of retouching visible under ultraviolet light.Condition Report Disclaimer
Los 45
λ Edward Wolfe (British 1897-1981)Portrait of Ivan SmodlakaOil on boardSigned (lower left)82 x 65.5cm (32¼ x 25¾ in.)Painted in 1960.Provenance:Odette Gilbert Gallery, LondonPaisnel Gallery, LondonCollyer Bristow Collection, LondonExhibited:London, Royal Academy, 1960, no. 1Literature:John Russell Taylor, Edward Wolfe, 1986, plate 142 (illustrated)Born in Johannesburg, South Africa, Wolfe moved to England during the First World War where he studied at the Slade School of Art from 1916-1918. At the Slade he met and became friends with Nina Hamnet and Roger Fry who invited him to join the Omega Workshops, a design enterprise founded by members of the Bloomsbury Group and closely associated with the Hogarth Press. He had his first solo show in Johannesburg in 1920 and went on to exhibit widely both in England and internationally. In the 1920s he became known as 'England's Matisse' in reference to his strikingly colourful post-impressionistic portraits. His success owed much to his involvement with the London Group of artists and his association with art critic and painter Roger Fry and the writer Osbert Sitwell. Wolfe's work is held by the Tate Gallery, the Royal Academy and the National Portrait Gallery, London as well as numerous other public and private collections.
Los 45A
λ Edward Wolfe (British 1897-1981)Portrait of Sir John Clements for the film 'Quartette'Oil on canvasSigned (lower left)127 x 101.5cm (50 x 39¾ in.)Provenance:The Augustine Gallery, HoltThe David Paul Gallery, ChichesterCollyer Bristow Collection, LondonBorn in Johannesburg, South Africa, Wolfe moved to England during the First World War where he studied at the Slade School of Art from 1916-1918. At the Slade he met and became friends with Nina Hamnet and Roger Fry who invited him to join the Omega Workshops, a design enterprise founded by members of the Bloomsbury Group and closely associated with the Hogarth Press. He had his first solo show in Johannesburg in 1920 and went on to exhibit widely both in England and internationally. In the 1920s he became known as 'England's Matisse' in reference to his strikingly colourful post-impressionistic portraits. His success owed much to his involvement with the London Group of artists and his association with art critic and painter Roger Fry and the writer Osbert Sitwell. Wolfe's work is held by the Tate Gallery, the Royal Academy and the National Portrait Gallery, London as well as numerous other public and private collections.
Los 60
λ Margaret Green (British 1925-2003)Nude (Lady Coldstream)Oil on board61 x 38cm (24 x 14¾ in.)Provenance:New English Art Club, LondonThe present portrait is believed to be of artist William Coldsream's second wife Monica Hoylan, originally his model who he later married and became Lady Coldstream.
Los 71
Continental School (early 20th century)Portrait of a young artist, possibly a self-portraitOil on paper48 x 35cm (18¾ x 13¾ in.)Condition Report: Not under glass. Card bowing, could benefit from a reframe. No significant condition issues. Inspection under UV reveals no obvious evidence of restoration or repair. Condition Report Disclaimer
Los 8
λ Gladys Maccabe (Irish 1918-2018)Gallery visitorsOil on canvasSigned (lower right), titled (to stretcher verso)40 x 50cm (15½ x 19½ in.)In 1941 Gladys married artist and musician Max Maccabe. The couple exhibited together throughout their relationship, most notably in Ireland at Robinson & Cleaver in Belfast in 1942 and at Kensington Art Gallery, London in 1949. The couple became members The Contemporary Ulster Group which included like minded artists such as Gerard Dillon and William Conor. In 1957 Gladys painted a portrait of Conor which is now hanging in the Ulster Folk Museum. Gladys Maccabe recognised that the talent of young female artists in Ireland was going unrecognised. In 1957 she formed the Ulster Society of Women Artists who held their first major exhibition at the Belfast Museum and Art Gallery in 1959. Gladys' work is concerned primarily with gatherings of people going about their everyday lives whether that be a moment in time captured at a market, a beach or at the races. Gallery visitors is a particularly contemplative piece which illustrates figures frozen in mid conversation and thought.
Los 9
λ Gladys Maccabe (Irish 1918-2018)At the marketOil on boardSigned (lower left)39.5 x 51cm (15½ x 20 in.)In 1941 Gladys married artist and musician Max Maccabe. The couple exhibited together throughout their relationship, most notably in Ireland at Robinson & Cleaver in Belfast in 1942 and at Kensington Art Gallery, London in 1949. The couple became members The Contemporary Ulster Group which included like minded artists such as Gerard Dillon and William Conor. In 1957 Gladys painted a portrait of Conor which is now hanging in the Ulster Folk Museum. Gladys Maccabe recognised that the talent of young female artists in Ireland was going unrecognised. In 1957 she formed the Ulster Society of Women Artists who held their first major exhibition at the Belfast Museum and Art Gallery in 1959. Gladys' work is concerned primarily with gatherings of people going about their everyday lives whether that be a moment in time captured at a market, a beach or at the races. Gladys' work is concerned primarily with gatherings of people going about their everyday lives whether that be a moment in time captured at a market, a beach or at the races.
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283287 Los(e)/Seite