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283284 Los(e)/Seite
Los 42
δ Salvador Dali (1904-1989)Portrait of La Fontaine (from La Fontaine's Bestiary Dalinized) (Field 74-1-A; M&L 653)Etching with drypoint, 1974, signed and numbered from the edition of 120 in pencil in roman numerals, on Richard de Bas paper, printed by Ateliers Rigal, published by Mouret, Paris, with full margins, sheet 785 x 590mm (31 x 23 1/4in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Los 38
TWO LAVA CAMEO BRACELETS, each comprising a line of oval vari-coloured lava cameo panels, carved to depict classical portrait profiles, the largest bracelet with yellow precious metal mounts, clasp signed GI and stamped '9', the smallest bracelet with gilt metal mounts, lengths 18.5cm and 18cm respectively (2)
Los 891
Russia 1961 Lighthouse Album with the year mint and/or used and with mint issues on mostly non philatelic covers. Includes good thematic content with Cosmic Flight issue and 22nd Communist Party Congress opts SG2635 &2636 mint & on cover & an autographed portrait Yuri Gagarin. Beautifully presented
Los 440
SAYA MYIT (1886-1966) PORTRAIT OF A YOUNG BOY A Burmese painting, ink on paper, signed Myit and dated 28-10-51, together with a watercolour by U Maung Maung Gyi (1890-1940) depicting a river landscape, both framed and glazed, 42.4cm x 30.7cm. (2) Provenance: from the collection of Robert Thornhill (d.2018). The painting by Saya Myit directly acquired from Andrew Ranard. Robert Thornhill was a connoisseur and teacher of Fine Art. He developed a keen interest in Burmese art, acquiring considerable knowledge of Burmese artists, their styles and influences, sharing with others his knowledge of this milieu. His home in Bangkok exhibited, with delight, the many acquisitions he collected over several years on visits to Yangon's art dealers in the early 2000s.
Los 444
U OHN LWIN (1907-88) PORTRAIT OF A NAGA WARRIOR A Burmese painting, oil on board, signed Ohn Lwin and dated 61, framed, 30.7cm x 21.3cm. Provenance: from the collection of Robert Thornhill (d.2018). Illustrated: A Ranard, Burmese Painting: A Linear and Lateral History, p.160, pl.159. Robert Thornhill was a connoisseur and teacher of Fine Art. He developed a keen interest in Burmese art, acquiring considerable knowledge of Burmese artists, their styles and influences, sharing with others his knowledge of this milieu. His home in Bangkok exhibited, with delight, the many acquisitions he collected over several years on visits to Yangon's art dealers in the early 2000s.
Los 121
Rare poured wax portrait shoulder head doll of an elderly lady pedlar doll, probably Pierotti, nineteenth century, the finely moulded elongated face with fixed blue glass eyes, painted slightly smiling mouth with laughter lines, inserted real hair eyebrows and inserted grey hair in bun to back, on a cloth body with wax lower arms and legs, wearing all original cream and blue two piece gown, underclothes, socks leather shoes and straw bonnet, holding a basket of wares including two gilt candle sticks, tiny shoes, glass bottle, scrap book, blue bead necklace, fan, brush, cotton threads and more, together with a brown parasol, condition: right arm hand broken and in pieces but present, left arm loose and with piece missing from upper arm, lacks one shoe buckle, 22” (56cm) tall.
Los 324
A late 19thC French ormolu and porcelain mantel clock, the circular dial bearing Roman numerals, painted with flowers and jewelled against a bleu celeste ground, eight day movement, signed F C, 858, with bell strike, the case cast with flowers, leaves and swags, inset four porcelain plaques, one painted with a portrait of a lady, two with flowers, and the fourth with a recumbent cherub, on a gilt wood stand, with pendulum and key, 33.5cm H, 30cm W.
Los 549
FOLLOWER OF HENRY RAEBURN (1756-1843)Portrait of Mary Anne Monkhouse, seated three-quarter length, wearing a red dress and white wrap, a table with books at her sideoil on panel, 13 x 10 inProvenance: The sitter's family by descentThe sitter Mary Whitehouse (1799-1869) was the daughter of Thomas Monkhouse of Northallerton, Yorkshire. She married Lt. Colonel H. Booth in April 1826. Her husband served with the 1st Green Jackets and The Oxfordshire and Buckinghamshire Light Infantry. Previously he had fought in the Spanish campaigns under the Duke of Wellington and Sir John Moore.
Los 589
ASCRIBED TO JOHAN JOSEF ZOFFANY (1733-1810)Portrait of a Gentleman, traditionally identified as Augustin Jacob,half-length, wearing a dark claret coat and white cravatoil on canvas30 x 25 in Augustin Jacob (1747-1811), the presumed sitter, was the son of John (Jean) Jacob, a London diamond merchant and silversmith. His mother Anne Courtauld (1710-1793) was the sister of the Huguenot metalsmith Samuel Courtauld. Zoffany certainly had many links with the Huguenot community working in London. He painted for instance in 1760 a portrait of the Huguenot clockmaker Stephen Rimbault , who employed Zoffany temporarily to paint clock faces, and who also introduced him to the portrait painter Benjamin WilsonProvenance: The sitter's family, by descent
Los 592
B. PRABHA (1933-2001)Untitled (Two Boys)signed and dated 'B. Prabha, 1965' (upper right)oil on canvas56 x 38 inProvenance: Philip Richardson, Esq, Arundel, Sussex (by c.1990);Thence by descent Philip Richardson travelled to India and had a wide circle of Indian friends and contacts both there and in the UK. He met Prabha in person on at least one occasion, and may very possibly have acquired this painting direct from the artist. Badgelwar Prabha (better known as B. Prabha) began her career when there were few other leading women artists in India. Working in the 1950's and 1960's when post-independence India was in the throes of dynamic change and upheaval, Prabha utilised her unique position as one of the very few professional artists to become a medium for strong social commentary on poverty and inequality in Indian Society. She studied at the Nagpur School of Art and afterwards at the Sir J. J. School of Art, Mumbai. Soon after she married the artist and sculptor B. Vithal. Two years following that she exhibited at the Bombay Exhibition of 1958, where she won first prize. She followed that up with two solo shows at Delhi's Kumar Gallery in 1959 and 1961.Prabha had come to Bombay as a financially struggling artist, and is said to have initially sold pieces of family jewellery to raise funds. At that time she and her husband were living in a dilapidated house at Worli Naka. Their first month's rent and Prabha's paints allegedly being purchased from Vithal's first ever commission fee which he received for helping sculpt a statue of Vallabbhai Patel. Prabha's first break through came when three of her paintings were purchased by the eminent Indian scientist Homi J. Bhaba.Prabha embraced a bold, modern Indian aesthetic. She developed a style which became well known for her characteristic images of elongated pensive figures on canvases, executed in a single dominant colour. Over the years, her penchant for simplicity, perhaps to counter the myriad complexities of life, led her to develop a characteristic, elegant style that came to be instantly recognisable. Her refined aesthetic language, defined by elongated, graceful lines and figures, always guided and informed her works.The writer Shirin Bahadurji wrote of Prabha's paintings "Her figures have a haunting presence as if caught in a rare moment of stillness and silence- a single second stolen out of the bustle of daily living'' Prabha claimed that 'she was more at ease with the female form, painting men only in large murals where they blend into the backdrop'. The subject matter of her work often centred on the rural and urban poor. She was particularly concerned with the issues of hunger, homelessness and the subservient role of women in Indian life. In 1965 she executed a 'hunger' series of fourteen paintings that depicted the slums of Bombay and the 'shattered dreams of the hutments'. For three other figurative paintings by Prabha dateable to 1965, cf. Christies's, New York, March 8th 2008, Lot 22; Sotheby's, London June 16th 2009 lot 43; and Christies's London June 11th 2008, lot 76. The Brightwell's example with, unusually for Prabha, all nude sitters, has certain compositional similarities with a later 1982 work by the artist sold at Artiana Auctions, Dubai, 13th October 2016, Lot 5. That work also depicted a double portrait (of two Indian Girls wearing Saris) featured against a largely opaque background.
Los 503
AFTER JOHN COLLET (c.1725-1780)'Bachelor Fare or Bread and Cheese with kisses'mezzotint engraving, published by Carrington Bowles, London, 1777with horizontal paper discolouration in lower plate, Pl.14 x 10 inSold with two other mezzotints after John Collet titled 'Miss Tipapin going for all Nine' (publ.1779 ); and 'The Ladie's (sic) Shooting Pony (publ.1780); together a further mezzotint engraving by Robert Hancock after I. Wright depicting 'Edward Scofield Aet 71. 3 feet 2 inches high, Deputy Clerk of St.Chad's in Shrewsbury', margins trimmed to plate on three sides; four (4)John Collet was a pupil of the artist George Lambert. He first exhibited at The Society of Free Artists in 1761. His satirical subjects were often based on those of William Hogarth whose 'Comedy in art' he strove to imitate. A number of his works were reproduced by leading printmakers of the day.Robert Hancock, (the engraver of the mezzotint depicting Edward Scofield), joined the Worcester Porcelain Company in 1756. He worked there for the next twenty years before having a short spell at Caughley. After 1780 he concentrated more on stipple and mezzotint portrait engravings.
Los 509
AFTER ROBERT RICHARD SCANLAN (1801-1876)Horse Dealing No1; and Horse Dealing No 2coloured aquatint engravings by John Harris II,published Aug 1841, by R. Ackermann at his 'Eclipse Sporting Gallery, 191 Regent Street, London'both prints with significant paper discolouration,Pl. 13 1/2 x 16 in; a pair (2)John Harris II (d.1834) was a London engraver, who specialised in both portrait and sporting subjects
Los 511
AFTER JOSEPH-SIFFRED DUPLESSIS (1725-1802)Portrait of Gabriel Senac de Meilhan, Intendant of Hainault (1736-1803)engraving by Charles Clement Bervic, published 1783Pl.12 3/4 x 11 1/2 inProvenance: C. A. de N. Lucas, Esq, Jermyn St. London, 1874The sitter was successively Intendant for La Rochelle, of Aix-en-Provence and of Valenciennes. He witnessed the beginning of the French Revolution in Paris and fled to London in 1790. Later he lived in Aachen and journeyed to Russia at the invitation of Catherine the Great Sold with a watercolour by Sue Macartney Snape depicting 'Figures at an Antique Fair'; and a watercolour by Philippe Julian titled 'Chateau Margaux' (Provenance: The Trafford Gallery )
Los 573
JAMES PARDON (1792-1862)'Samuel'oil on canvas36 x 27 1/2 inProvenance: W. J. Clement. Esq ,MP William Hall, Wateridge & Owen, Auctioneers, Shrewsbury, November 10th 1881, Lot 25. £13 Anon W. Elsmere, Esq. Thence by descentA copy of the 1881 William Hall, Wateridge & Owen auction catalogue is sold with the painting; together with a manuscript letter from W. Elsmere dated 25/11/1881. That letter refers to Pardon's painting of Samuel and is addressed to the original purchaser at the 10 November 1881 auction. Elsmere writes..'I am obliged by your favour of this morning, but not being too much of a judge of pictures myself, I do not feel inclined to offer a fancy price for the painting alluded to. My sole reason for wishing to possess it is that a near relative of mine sat for that picture when a child...'James 'Canterbury' Pardon was trained at the R. A. Schools and initially exhibited at the Royal Academy from addresses in London and Canterbury where he was noted in a local Directory as 'a portrait painter and carver/gilder' of 51, St.Peter's Street, Canterbury. In about 1837 he moved to the Midlands, and in 1851 he opened a portrait studio in Shrewsbury. There he painted a number of local figures including RiceWynne, Mayor of Shrewsbury and Robert Darwin (father of Charles Darwin), then a doctor at the Royal Shrewsbury Hospital.
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283284 Los(e)/Seite