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Los 360
AFTER SIR THOMAS LAWRENCE (1769-1830) A portrait of King George IV as Prince Regent based on the work of 1815, half-length, the then Prince depicted in Field Marshal's uniform, oil on canvas, 90cm x 70cm. Provenance: By family tradition this portrait was given by George IV to a member of the Croker, Woore or Pennell family and was acquired from a member of the Woore family in 1980's ( Miss Rosamund Croker (known as Miss Pennell) was painted by Lawrence and the original was sold by the family to J Pierpont Morgan and they were given a copy.Â
Los 361
NATALE SCHIAVONI (1777-1858) 'Venus' nude full length female reclining on a chaise longue in an interior, holding a hand mirror in her left hand, behind her there is a green velvet draped curtain, which has been partially opened to reveal a landscape beyond, a small dog appearing from behind the chaise at her feet, signed lower left, 115cm x 150cm. Literature: for a very similar example see the Mayfair gallery portrait of Fanny Elssler, with a near identical composition based on Titian's masterpiece 'Venus of Urbino' (c. 1534).
Los 362
ATTRIBUTED TO GEORGE DUNCAN BEECHEY (1798-1852) A portrait of Mary Guillemard depicted half-length with landscape beyond, the sitter wearing a simple red/brown dress, oil on canvas, 79cm x 63cm. Note: Born Mary Phillipa Davies Giddy in 1769 to Revd. Edward Giddy, Curate of St. Erth's Church, Cornwall, and his wife Catherine, Mary's elder brother was Davies Gilbert (born Davies Giddy, 1767 –1839), who was High Sheriff of Cornwall from 1792 to 1793, Member of Parliament for Helston in Cornwall from 1804 to 1806 and for Bodmin from 1806 to 1832 and President of the Royal Society from 1827 to 1830. Mary was tutored the famous bluestocking Hannah More. In 1804 Mary married John Lewis Guillemard, a member of a Huguenot refugee family of silk-weavers. In the years preceding their marriage Guillemard had been in America where he was appointed a Commissioner on behalf of England to adjudicate on claims made under the Treaty of Amity with America, having been chosen by ballot in preference to another candidate who had been put forward on behalf of the American representatives. In a despatch from Philadelphia to the Foreign Office dated 27 June 1797 he is described as "a gentleman distinguished for the union of talents and information with uncommon modesty and urbanity"
Los 365
ENGLISH SCHOOL, 19TH CENTURY A portrait of Anna Duckworth later Lady Coltman (1792-1873) half-length, the sitter depicted handling cut flowers in an interior, oil on canvas, 90cm x 70cm. Provenance: Christie's, Orchardleigh Park, Somerset, sale 21st & 22nd September 1987, catalogued as by Joseph Allen RA, hammer price £2,000
Los 233
Home in the countryside oil on canvas 39 x 49cmFootnote: Provenance: Acquired directly from the artist by Marjorie Florence Crossley Thence by family descent to the present owner Cambridge born Marjorie Crossley (1905-2001) was both an accomplished painter and sculptor. She was President of The Artworkers Guild, Associate (and later Treasurer) of the Royal Society of British Sculptors and a Member of Council (and later Vice-President) of the Artists General Benevolent Institution. Having painted a portrait of his friend Marjorie in the 1950s (private collection), the present lot was probably a gift from Gilbert Spencer.Condition report: Oil on canvas attached to a wooden stretcher. There are minor undulations across the canvas but overall it is in a good condition. Debris trapped between the canvas and lower stretcher bar has caused a deformation at the centre of the bottom edge with paint loss. There is minor abrasion at the edges caused by framing.
Los 282
Half length portrait of a seated young man in a green kaftan signed and dated 'Gilbery 70' (lower right) oil on canvas 72 x 62cmFootnote: Born in London in 1913, Michael Gilbery’s extraordinary talent for painting was first recognised when he was 17 years old when he exhibited a portrait of his father at the Royal Academy. After completing his secondary education, Gilbery was offered a scholarship to study at Central St Martins, and later at the Royal Academy, where he studied under Sir William Rothenstein, Gilbert Spencer, and Roland Pitchforth. Gilbery's portraits are noted for their fastidious attention to detail, offer a fascinating insight into the changing trends, in both fashion and portraiture from the 1930s onwards. Gilbery, born Goldberg, is also remembered for his sensitive and nuanced depictions of Jewish life.Condition report: Oil on canvas attached to a wooden stretcher. The canvas tension is sound but in all four corners there are undulations. The paint layer is in a good, stable condition. There are a few light scuffs to the surface and remnants of an old paper label at the lower right corner. The decorative frame is in a good condition.
Los 283
Portrait of Ian as a child signed 'J A Grant' (lower left); titled and inscribed with the artist's address to the reverse pastel 45 x 33cmFootnote: Provenance Sale; Sotheby's, The Ian Grant Collection Removed From 41 Ladbroke Square, 1 January 2001, lot 176 Exhibited London, The R.I. Galleries, The Pastel Society The present lot was most likely executed around 1928 and depicts the artist’s only son, Ian Dunlop Grant. After an early education in France and Italy, Ian Grant enjoyed a successful career as an architect and designer, often working in partnership with Ashley Baker. In 1958 Ian Grant purchased No. 41 Ladbroke Square which, filled with exquisite and extraordinary items, would become the focus of his life and work.
Los 284
Portrait of Elizabeth (Bessie) de Cuevas Faure signed and dated 'Leonor Fini / 1950' (lower right) oil on canvas 55 x 33cm, unframedWe are grateful to Richard Overstreet for confirming the identity of the sitter of the present portrait, which is reproduced in Leonor Fini Catalogue Raisonné of the Oil PaintingsA certificate of authenticity will be provided with this lotFootnote: Provenance:Bessie de Cuevas, ParisThence by descent Hubert Faure, LondonLiterature:Richard, "LF essentially Parisienne," The Queen, London, Dec 20, 1950Overstreet and Zuckerman, Leonor Fini Catalogue Raisonné of the Oil Paintings, 2 vol., Scheidegger & Spiess, Zurich, 2021Argentine born and of mixed Slavic, Argentine, Italian, and Spanish heritage, Leonor Fini was raised by her mother in Trieste, Italy and is today remembered as a fashion icon, feminist hero, and one of the most influential female artists of the mid-twentieth century, with her career in the visual arts encompassing everything from portraiture and product design to set and costume design for stage and screen. Independent and headstrong like her mother, Fini was expelled from three schools resulting in the cessation of her formal education during her adolescence. Free from the constraints of schooling, Fini, aged just 13, began training herself as an artist, sketching cadavers from the local morgue, devouring tomes from her Uncle’s vast personal library, and studying the Old Masters on display in museums throughout Europe. In 1931 Fini moved to Paris where her magnetic and eccentric presence quickly won her many friends and admirers, including Max Ernst, Henri Cartier-Bresson, Man Ray, Jean Cocteau and Salvador Dali. Although she was enthusiastically welcomed into Surrealist circles, and frequently contributed to Surrealist exhibitions, Fini refused to align herself with any one movement and instead, cultivated her own singular brand of Modernism, incorporating surrealist motifs with a disparate spectrum of influences, including the Pre-Raphaelites, Mannerists and old Flemish masters.Condition report: Oil on canvas attached to a wooden stretcher bar with a horizontal cross bar. The canvas tension is slack, leading to undulations across the surface and stretcher bar marks where the canvas is in contact with the wooden frame behind, leading to cracks in the paint layer. There are numerous scuffs and scratches across the surface, the deeper ones causing loss to the paint layer. In the area of the sitter's face, an impact from the reverse has caused a convex deformation to the canvas and paint layer. In the sitter's right eye is a brown accretion or fly spot on the surface. Under ultraviolet light it is evident that there is some reworking to the face and chest of the sitter. Further examination would be needed to determine if this is by the artist's hand or if it is later restoration.
Los 292
At Aunt Lydia's House; with a portrait of a man to the reverse, possibly Duncan Grant signed 'G.Hooper' (lower right) oil on canvas 49.5 x 39.5cmCondition report: Oil on canvas attached to a wooden stretcher. There is a painting on the reverse of the canvas, a portrait of a man in a hat. The canvas tension is adequate and the picture is in plane. The paint layers are in a good condition overall . There is a varnish layer which is very glossy and yellowed. A thick layer of dust lies across the surface. The frame has a few stains and chips to the surface.
Los 326
Alastair's Aunt / Study of Nancy Redpath, circa 1916 conté on grey paper 32 x 25cmFootnote: Provenance: Artist's collection Thence by family descent Exhibited: Edinburgh, Fine Art Society, William MacTaggart and Other Famous Scottish Painting Families, 1989 Executed around 1916, during her training at Edinburgh College of Art, the present lot is believed to be the earliest known work by Anne Redpath. As an early student work, Redpath’s drawing of Nancy is distinctive from the evocative scenes of domesticity and expressionistic landscapes that came to define her work at the height of its maturation. After her death in 1965, Redpath’s studio was sealed and her three sons, Lyndsay, David, and Alastair, were invited to select works until the studio was left empty. The present lot was selected by Alastair Michie, the eldest of the brothers. Anne’s sister, Nancy Redpath, the sitter of the portrait, sadly died of consumption in her early forties.
Los 340
Wonder and Brightness - Self portrait signed, titled and dated '2009' to the reverse oil on canvas in a painted frame 48.5 x 38cmFootnote: Provenance: With Richmond Hill Gallery, London, where acquired by Peter SimpsonCondition report: Oil on canvas. The canvas has good tension and the paint layers are in a good condition overall. The artist has varied the surface of the paint with matte and glossy areas. There is a layer of surface dust across the work. The artist has painted the frame, there are scuffs and areas of abrasion.
Los 384
Head of Marko Kraljevic ink on brown paper dated '15/11/1910' (lower left); signed 'IMeštrović' (lower right); further signed by Marina Mestrovic to the reverse 7.5 x 9cmFootnote: Arguably the most prominent Croatian sculptor of the modern era, Ivan Meštrović is also remembered as a writer, architect, and paladin of national legend. The present lot, an ink drawing of the head of Marko Kraljevic, appears to be a study for his five-metre-high bronze depicting Kraljevic upon his horse, Šarac, which was presented at the Serbian Art Pavilion at the International Exhibition in Rome in 1911. In 1933, a second, much smaller, version on horseback was commissioned for the Serbian Royal family. The head of Kraljevic as depicted by Meštrović was also reproduced for use on Yugoslavian stamps and banknotes. Gazing past the viewer, determined and dignified, the subject of the drawing, Marko Kraljevic, was the Serbian King from 1371 until 1395, and was said to have protected the Macedonians, Serbians, and Bulgarians from the invading Turks during the Ottoman occupation. Immortalised throughout Balkan folklore as a protector of the weak and advocate of justice since the 14th century, Meštrović’s robust portrait demonstrates the strength and nobility of his subject.
Los 143
David Bowie (British, 1947-2016)Untitled (self-portrait), 2002no.165 of 175, photo-lithographic print of Bowie in a head and shoulders pose, numbered and signed by Bowie in pencil to the lower border 25.5 x 30.5cm (10 x 12in)(I)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 92
Chris Levine (Canadian/British, born 1972)Kate Moss She's Light (Pure), 2014Studio Proof from the artist's personal collection, lenticular 3D print 75 x 55cm (750 x 550mm)Footnotes:This work is accompanied by a certificate of authenticity signed by the artist.ProvenanceA unique studio proof generously donated by both the artist Chris Levine and supermodel Kate Moss, with all proceeds going to Oxfam GB'Refuge is within and meditation is the key.'- Chris LevineChris Levine is a UK based light artist who works across many mediums in pursuit of an expanded state of perception and awareness through image and form. Levine's work considers light not just as a core aspect of art, but of human experience more widely and a spiritual, meditative and philosophical edge permeates his work. Levine's status as one of the world's leading light artists has led to a number of high profile cross media collaborations from Massive Attack, Kate Moss, Grace Jones and Jon Hopkins and has produced work for Chanel, BMW and Swarovski. Levine's work has been exhibited at The National Portrait Gallery, Kensington Palace, the Science Museum, The Eden Project, The Royal Opera House, The Annenberg Space for Photography, MATE museum in Lima, New York City's Museum of Arts & Design, London's Fine Art Society and Tasmania's MONA museum.'Working with Chris was an incredible creative experience. The atmosphere on set was really calm and meditative and he has captured that stillness perfectly in this piece, I love the serenity in this image.'- Kate Moss'This meditative piece is very special to me and it was a dream come true to create it. It speaks of inner beauty and infinite peace within us. The work draws the viewer towards stillness, which is a portal to the divine, offering a moment's refuge in a crazy world.'- Chris Levine'We are grateful to Kate Moss for the generous donation of this striking lenticular 3D print and for her support for Oxfam over the years. All funds raised from the purchase of this item will support Oxfam's work to tackle poverty around the world.'- OxfamThis 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 192
Indian school, 19th century, full length portrait possibly the Emperor Muhammad Shah, with attendants before a lily pond, the salmon pink border with floral fronds, gouache, overall 32.5cm x 21.4cmCondition report: Crease to top right and bottom left corners. Corner tips missing from bottom left and right. Edge knocks to top left and right corners. Paint cracked by emperors right shoulder continuing to the border where there is evidence of overpainting. Further cracks to the painting just below his katar. Paint crazed on faces when viewed under a magnifier.
Los 21
Manner of Jean-Baptiste Greuze (1725-1805), a late 19th or early 20th century portrait of a young woman with a cockatoo, oil on canvas, 74 cm x 54 cm in a giltwood frame.Condition report: No tears or repairs to the canvas. Light cracking evident to lighter areas on close inspection. Some surface scrapes careful that cleaning would remove. Frame in good order with minor losses commensurate with age.
Los 307
A small collection of WW I ephemera, comprising a French embroidery of allies flags, a small 'Vive La France' flag, with ink inscribed poem, a postcard, a colour printed plate decorated with a bust of Hindenburg and a WWI German 1813/1914 Iron Cross and an Edward VIII.- Souvenir flag commemorating the accession of Edward VIII, with his portrait and the flags of the Dominions superimposed on the Union Flag, printed British Made, 57cm x 84cm
Los 328
A Georgian framed miniature portrait of a gentleman, together with another in an ivory case, two Victorian painted miniatures of ladies and a further portrait of a lady in a gilt frame, all a/f.Condition report: All pieces with wear, damage and/or missing elements. Ivory cased miniature is fixed shut, with loose glass and splash of gilt paint across the front. It also has paint loss to top left corner. Portrait in gesso frame is loose and held in by wire. It is also bowed vertically. Remaining portraits slightly better, but in incomplete cases and not sitting flat.
Los 340
A collection of assorted framed miniature portraits, early 19th century and later, largely watercolours the largest 17.5 cm x 13.5 cm.Qty: 12Condition report: Portrait in larger gilt frame torn and repaired centrally. Other items in overall fair condition with wear commensurate with age. Small oval portrait in gilt frame (lady with blue background) is split vertically to the left hand side.
Los 4
Philip Hermogenes Calderon (1833-1898), a large full-length portrait of a seated aristocratic lady, oil on canvas, signed bottom right and dated 1889?,141 cm x 110 cm in a giltwood frame.Footnote: Provenance: Private vendor, labels for James Bourlet & Sons Ltd verso.Condition report: Several tears and areas of damage, in need of a professional clean
Los 5
Beatrice Bright (1861-1940), a large three-quarter length portrait of an aristocratic Edwardian lady, oil on canvas, signed verso with indistinct name of the sitter, 130 cm x 94 cm in an ornate giltwood frame.Footnote: Provenance: Deceased private Maidenhead estate, no purchase history available. 'Lot 198' in chalk to reverse of frame.Condition report: Two small tears to the canvas (bottom middle), requiring repair.Minor surface rubbing elsewhere.
Los 6
19th century Continental school, a large, full-length portrait of a child with a hoop, oil on canvas, unsigned, 96 cm x 68 cm in a giltwood frame.Condition report: Attached piece of canvas verso, not apparently related to the painting as the colours do not match, bearing the signature 'Knopp Imre'. The painting itself with thin surface cracking evident, but no tears or rips to the canvas. Frame with general wear.
Los 1196
Wilko Johnson - 'I get the Locomotive Blues but I feel All Right.' photographic portrait by Charlie Chan (contemporary), taken at Wilko's home in Westcliff on Sea, 17th July 2013, printed 2014, signed in pen by Wilko and signed and numbered 1/3 by the photographer, digital fibre print, in mount and framed, 21 1/4 x 29 inches overall.Provenance: from a private collector.
Los 1582
Raymond Massey in "The Old Dark House" (Universal, 1932).CGC Graded Portrait Photo (8 X 10 inches).Vintage gelatin silver, single weight, glossy photo. This is a very scarce portrait photo of Raymond Massey in his first US film role. Dated 1932 on reverse, along with typed blurb (for publication purposes).
Los 1048
The Rolling Stones - Four silver gelatin prints of Ronnie Wood, Mick Jagger, Charlie Watts and Keith Richards by Michael Donald, dated 2014, each numbered 2/50, the portrait of Ronnie Wood hand signed in silver pen, all in mounts and framed with certificates of authenticity, image size 24 x 18 inches. (4)Michael Donald photographed the Rolling Stones in 2010 to coincide with the filming of Stones in Exile, an edition of the image of Charlie Watts was included in the final exhibition of the Taylor Wessing Photography Prize at the National Portrait Gallery.Provenance: from a private collector.
Los 3641
Prof. Ernst Fuchs, "Portrait Hannelore Elsner" Bildnis der bekannten Schauspielerin vor dunklem Grund, Werksverzeichnis Weis/Fuchs 279, Radierung in Blau, 1977, unter der Darstellung in Blei rechts signiert „Ernst Fuchs“ und links nummeriert „XIII/XV“, unter Passepartout und hinter Glas gerahmt, Darstellungsmaße ca. 40 x 31,5 cm. Künstlerinfo: österreichischer Maler, Graphiker, Plastiker, Architekt und Musiker (1930 Wien bis 2015 Wien), studierte 1945-50 an der Wiener Akademie bei Albert Paris von Gütersloh, 1948 Mitgründer der "Wiener Schule des Phantastischen Realismus", 1950-62 Parisaufenthalt, unterbrochen von Studienreisen nach Amerika, Italien, Spanien, England und 1957 mehrmonatigen Aufenthalt im Kloster "Dormitio" in Jerusalem, pflegte Künstlerfreundschaften zu Salvador Dali, Jean Cocteau, Arno Breker, Mati Klarwein, Leonor Fini und mit dem Kreis um Jean-Paul Sartre, 1962 Rückkehr nach Wien, 1966 Professur, in den 1970er Jahren zunehmend Design- und Architekturentwürfe sowie Bühnenbildner, seit 1988 zeitweilig in Monaco tätig, erhielt zahlreiche Ehrungen, in internationalen Sammlungen vertreten, Quelle: Vollmer und Internet.
Los 3647
Bernhard Heisig, "Gespräch mit dem Genossen Lenin" kompletter Titel "Zu Majakowski - Gespräch mit dem Genossen Lenin", Lithographie, um 1970-80, unter der Darstellung rechts handsigniert „Heisig“ und links unleserlich bezeichnet, in der unteren linken Ecke bezeichnet „2. Zustand“, Darstellungsmaße ca. 42,5 x 30 cm, Blattmaße ca. 57,5 x 42 cm. Künstlerinfo: bedeutender dt. Maler, Graphiker und Illustrator (1925 Breslau bis 2011 Strodehne), zunächst Schüler seines Vaters, des Freizeitmalers Walter Heisig, 1941-42 Studium an der Kunstgewerbeschule Breslau, 1942-45 freiwilliger Kriegsdienst, ab 1948 Studium an der Fachschule für Angewandte Kunst Leipzig, ab 1949 an der Akademie für graphische Kunst und Buchgewerbe, 1954 zum Dozent und 1961 zum Professor und Rektor der Hochschule für Graphik und Buchkunst (HGB) Leipzig berufen, zeitweise Vorsitzender des VBK der DDR, gehört neben Mattheuer und Tübke zu den Begründern der „Leipziger Schule“ und zu den bedeutendsten Künstlern der DDR, schuf 1986 Portrait von Helmut Schmidt für die Galerie der ehemaligen Bundeskanzler im Bundeskanzleramt, tätig in Leipzig, ab 1992 in Strodehne, Quelle: Vollmer, Eisold „Künstler in der DDR“ und Internet.
Los 3648
Bernhard Heisig, "Lenin und d. ungläubige Timofej" Lenin im Gespräch, Lithographie, um 1970-80, rechts unten signiert in Blei „Heisig“, Darstellungsmaße ca. 39 x 30,5 cm, Blattmaße ca. 60 x 44,5 cm. Künstlerinfo: bedeutender dt. Maler, Graphiker und Illustrator (1925 Breslau bis 2011 Strodehne), zunächst Schüler seines Vaters, des Freizeitmalers Walter Heisig, 1941-42 Studium an der Kunstgewerbeschule Breslau, 1942-45 freiwilliger Kriegsdienst, ab 1948 Studium an der Fachschule für Angewandte Kunst Leipzig, ab 1949 an der Akademie für graphische Kunst und Buchgewerbe, 1954 zum Dozent und 1961 zum Professor und Rektor der Hochschule für Graphik und Buchkunst (HGB) Leipzig berufen, zeitweise Vorsitzender des VBK der DDR, gehört neben Mattheuer und Tübke zu den Begründern der „Leipziger Schule“ und zu den bedeutendsten Künstlern der DDR, schuf 1986 Portrait von Helmut Schmidt für die Galerie der ehemaligen Bundeskanzler im Bundeskanzleramt, tätig in Leipzig, ab 1992 in Strodehne, Quelle: Vollmer, Eisold „Künstler in der DDR“ und Internet.
Los 3659
Koloman Moser, Allegorie der Kunst sitzender weiblicher Akt beim Zeichnen an einer Leinwand und im Hintergrund Portrait eines behelmten jungen Mannes im Profil, links unten ligiertes Monogramm „FVKG“, Farblithographie auf grünem Papier, 1900, rechts unten ligiertes Monogramm „KM“, erschienen als Titelvignette des Umschlags der Jahresmappe der Gesellschaft für vervielfältigende Kunst in Wien, rückseitig typographischer Text, Papier in den Ecken leicht gestaucht, Darstellungsmaße ca. 14 x 15 cm, Blattmaße ca. 30,7 x 29,8 cm. Künstlerinfo: auch Kolo Moser, bedeutender österr. Maler. Graphiker, Illustrator und Kunstgewerbler (1868 Wien bis 1918 Wien), studierte von 1886-89 an der Akademie in Wien bei Franz Rumpler, Christian Griepenkerl und Matthias von Trenkwald, parallel zeitweise als Illustrator für die Zeitschriften "Wiener Mode" und "Meggendorfer-Blätter" tätig, 1892-93 Zeichenlehrer der Kinder von Erzherzog Karl Ludwig auf Schloss Wartholz in Reichenau an der Rax, 1892-97 Mitglied des "Siebener-Club", 1893-95 Studium an der Kunstgewerbeschule Wien bei Franz Matsch, 1896 Aufnahme in das Wiener Künstlerhaus, 1897 Mitbegründer der Wiener Secession und tätig für deren Zeitschrift "Ver Sacrum", ab 1899 Lehrer an der Kunstgewerbeschule Wien, unternahm zahlreiche Studienreisen, u. a. nach Abbazia, Lovran, Triest, Venedig und Padua, 1903 Gründungsmitglied der Wiener Werkstätte, 1907 Austritt aus den Wiener Werkstätten und Hinwendung zur Malerei, tätig in Wien, Quelle: Thieme-Becker, Wikipedia und Internet.
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283287 Los(e)/Seite