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283287 Los(e)/Seite
Los 22
CIRCLE OF WILLIAM EGLEY (BRITISH 1798-1870) Portrait miniature of a Boy called Master William Bailey, seated on a grassy mound, his hands clasped around his right knee, wearing tan trousers and matching jacket, white chemise with frilled collar and black shoes Watercolour on ivory Rectangular gilt-wood frame Rectangular, 18 x 12.5cm (7 x 5in)
Los 172
The Property of a Connoisseur, London ANDRÉ MARE (FRENCH 1887–1932) Self-portrait as a gunnery officer Signed and. Mare (lower left); dated Sept 1915 and inscribed Ravin en dent de scie devant Massiges (lower right) Pen and black ink and watercolour 26 x 17cm (10 1/4 x 6 3/4in) André Mare participated in the Camouflage unit during the First World War, applying Cubist theory to create trompe-l’oeil effects when disguising weapons and military materials from the Germans. He worked on the Somme Offensive of 1916, and assisted the Italians camoufleurs in 1917. Mare's training in camouflage is evident in his cubist watercolours, with many reflecting his war experiences. A pioneering figure of the Art Deco movement, during the 1912 Salon d’Automne he exhibited his controversial Maison Cubist alongside sculptor Raymond Duchamp-Villon and other artists. Mare later joined forces with Louis Süe and established a design practise specialising in Art Deco furniture and interiors. He died in 1932 of tuberculosis caused by being subject to multiple mustard gas attacks during the war. Delouche, Danielle. “CUBISME ET CAMOUFLAGE.” Guerres Mondiales Et Conflits Contemporains, no. 171, 1993, pp. 123–137. JSTOR, www.jstor.org/stable/25730967. Daviet, Jean-Pierre. “Art Déco, Résonances De L'ancien Et Du Nouveau.” Vingtième Siècle. Revue D'histoire, no. 124, 2014, pp. 185–187., www.jstor.org/stable/24674853.
Los 149
The Property of a Connoisseur, London HANS SCHWARZ (BRITISH 1922–2003) Woodland scene with a river Signed H Schwarz (lower left) Gouache and pen and black ink 44 x 28cm (17 1/2 x 11in) Together with a folder of eight drawings and lithographs by the same hand. Born in Vienna, Schwarz was expelled from Austria by the Nazis in 1938 and settled in Birmingham. There he trained at the School of Arts and Crafts before being interned from 1940 to 1941. After the war he became a freelance illustrator with his work included in the Shell Guide. He published several books with Studio Vista and Pitman, and was a member of the New English Art Club, the Royal Watercolour Society, the Royal Society of Portrait Painters and the Royal Society of British Artists. Widely exhibited, his work is in various public collections including the National Portrait Gallery.
Los 13
CONTINENTAL SCHOOL (19th CENTURY) A double sided marriage portrait miniature of a Lady, wearing a white dress with high frilled collar, a portrait miniature in a frame with seed pearl border around her neck and a frilled white bonnet, the reverse with a portrait of a Gentleman, wearing a black coat, black waistcoat and stock, his hair powdered and worn en queue Watercolour on ivory Gilt frame Oval, 72mm high
Los 24
ATTRIBUTED TO JAMES LEAKEY (BRITISH 1775-1865) Portrait miniature of a Lady, wearing red velvet dress trimmed with lace, a jewelled brooch and gold necklaces, wearing a lace cap adorned with a blue and pearl brooch Watercolour on ivory Gilt-metal black lacquer frame Rectangular, 10.5 x 8cm (4 1/2 x 3 1/4in)
Los 29
DANIEL GARDNER (BRITISH 1750-1805) Portrait of a Gentleman, traditionally believed to be Jackson Mason (1752-1809), attorney and alderman of Lancaster Pastel Oval, 23 x 18cm (9 x 6 3/4in) Provenance: Anne Eliza Dixon, granddaughter of Daniel Gardner. Sold to Lord Carlingford, K.P. Lady Strachey, her sale Christie's Leggatt, 1911 Private collection UK Lady Strachey had a large collection of pastel portraits by Daniel Gardner which were sold at Christie's. The present portrait is possibly the portrait of Jackson Mason (1752-1809), a contemporary of Gardner's. It was bought by Leggatt in 1911 for one guinea. Jackson Mason's death was reported in The Monthly Magazine (vol 28, p. 538) At Lancaster, Jackson Mason esq. one of the aldermen of the borough, highly esteemed for his ability and integrity in his profession as a solicitor, 56.
Los 25
ROBERT THORBURN A.R.A. (1818-1885). Portrait miniature of a Lady, wearing a pink dress with white falling lace neckline and sleeves, and a small gold brooch set with a purple stone at her corsage, her dark hair worn in ringlets Watercolour on ivory, gilt-metal bow surmounted ormolu frame Oval, 115mm high
Los 192
The Property of a Connoisseur, London GEORGE CHINNERY (BRITISH 1774–1852) Portrait of a farm girl Oil on canvas 52.5 x 43.5cm (20 1/2 x 16 3/4in) Born in London, Chinnery was the son and grandson of 'penmen' - professional calligraphers. He enrolled in the Royal Academy Schools in 1792 some five months after the death of Sir Joshua Reynolds. His early paintings were miniatures, somewhat after the manner of Cosway. In 1797 he moved to Dublin and married Marianne Vigne. There he enjoyed some success as a portrait painter, his sitters including many of those involved in Irish politics. On the Union of England with Ireland in 1801, his clientele virtually disappeared, and he returned to England, briefly, before setting off to India, to Madras, where his second brother, John was in business. He did not see his wife again for sixteen years.
Los 156
The Property of a Connoisseur, London HARPER PENNINGTON (AMERICAN 1855–1920) The Idol Titled (lower right) Watercolour 19.5 x 13cm (7 1/2 x 5 1/2in) Born in Baltimore, Harper Pennington was from a prominent Maryland family. A portrait painter of some renown, from 1874 to 1886 Pennington was the pupil of Jean Léon Gérôme, Charles Auguste Emil Carolus-Duran and James MacNeil Whistler. Under Whistler’s tutelage in Venice Pennington’s artistic skills improved greatly and saw him adopt a monogram bearing a striking resemblance to his master’s butterfly. Previously thought to be by the hand of Whistler, Professor Margaret MacDonald has re-attributed it to that of Harper Pennington.
Los 40
The Property of a Connoisseur, London GEORGE DANCE THE YOUNGER (BRITISH 1741-1825) Dr Johnson and friends Pencil on laid paper 19.3 x 26.5cm (7 1/2 x 10 1/2in) Dr Johnson was an architect and profile portrait artist, who positioned himself within eighteenth-century London society. He created an exclusive 'Club' with great figures such as Sir Joshua Reynolds, David Garrick and James Boswell who revolutionised the capital's cultural life by bringing together artistic, literary and political figures of the period. Dance produced caricatures with subjects that exaggerated and mocked human vices, he saw this as a source of personal entertainment, relaxation, and artistic liberation.
Los 234
Property of a Connoisseur, London ALEXANDER BROOK (AMERICAN 1898–1980) Portrait of Mrs Charlotte Chrestien (née Kaufmann) aged 22 Signed and dated A. Brook '30 (lower right) Oil on canvas 50.5 x 41cm (20 x 16in) Alexander Brook, an American artist and critic, began painting when recovering from a serious illness as a child. He joined the New York Art Students League in 1915, and was taught primarily by Kenneth Hayes Miller during his four year studies. After leaving the League he married Margaret Frances ‘Peggy’ Bacon, a fellow artist with whom he had two children. Peggy Bacon was an American print maker, illustrator, painter and writer. She was best known for her humorous and ironic etchings and drawings and her satirical caricatures of prominent personalities in the late 1920's and 30's. She studied under Brook’s tutelage at the Art Students League. Here she met and became friends with Charlotte Kaufmann, mother of the present owner, who was also an artist. Brook painted many family portraits of Charlotte Kaufmann's family. In her diary, Kauffmann records acquiring the portrait of Peggy Bacon on 7th January 1936. At about the same time there is an entry about Alexander Brook concerning his tutelage and criticism of her painting technique. Brook remarried twice and painted until he retired in 1966. He won many awards throughout his career including the Logan Medal of the Arts at the Art Institute of Chicago in 1929.
Los 16
ENGLISH SCHOOL (circa 1800) Portrait miniature of an Officer, wearing the uniform of an Aide de Camp - red coatee with gold lace and gold epaulettes, dark blue standing collar, white frilled chemise and white stock, his hair powdered Watercolour on ivory Gold frame, the reverse glazed Oval, 71mm, high
Los 27
ENGLISH SCHOOL (1846) Portrait miniature of a Gentleman, wearing black coat, white shirt and tied checked cravat Watercolour on ivory Gold brooch mounted frame, the reverse engraved with initials and date HMS/ 1846 around a central glazed aperture containing locks of hair dated 1846 Oval, 50mm high
Los 15
FRENCH NAIVE SCHOOL (Circa 1828) Portrait miniature of Madame Gÿs-Crepin avec ses enfants - she wearing a black dress, her curled black hair adorned with a gold headband and pearls, her son wearing a brown coat and holding sheet music in his hand and her little daughter wearing a blue dress with red shoes Watercolour on ivory Square gilt ormolu frame, the reverse inscribed with the sitter's name and dated 1828, 10.3cm x 10cm
Los 17
ENGLISH SCHOOL (19TH CENTURY) Portrait miniature of an Officer, profile facing left, wearing red coat with gold epaulettes and blue facings and collar, a white cross belt and a tall black hat decorated with white and red plumes Painted on the reverse of glass Gilt-metal frame Oval, 102mm high
Los 5
SWEDISH SCHOOL (18TH CENTURY) Portrait miniature of Frederika Charlotta Insenstierna (1757-1811), wearing the sash and order of the Vadstena adliga Jungfrustift, column background with draped fabric, c.1761 The reverse indistinctly inscribed with sitter's details and collection lable Watercolour on vellum Shaped and gilded frame Rectangular, 74mm high Thanks to a faded and barely-legible inscription on the reverse of this miniature, its sitter has recently been identified as Fredrika Charlotta Insenstierna. Born in 1757, Fredrika was the daughter of Fredrik Ulrik Insenstierna, a senior official at the court of the Swedish king, Fredrik I (1676-1751). Fredrik Ulrik had begun his career by serving as the head of the household of the Crown Prince Adolf Fredrik, who later succeeded Fredrik I as king. From this, he ascended to positions of ever-increasing seniority in the administration of the royal court, before eventually attaining the illustrious role of Hofmarskalk, making him one of the highest-ranking figures within the court. His duties involved the organisation of the many spectacular court ceremonials and entertainments, including dances and banquets. It was a position of considerable stature and was one for which he must have been rewarded handsomely, as is attested by the stout double chin that can be seen on his portrait by Gustaf Lundberg in the Nationalmuseum, Stockholm, which was made at around the same time as the present miniature. Indeed, given that both portraits were executed around 1761 – the year in which Fredrik was made Hofmarskalk – it does not seem unlikely that they might have been commissioned to commemorate his appointment to the post. As well as his highly-coveted function at court, Fredrik also served as the governor of Västmanland Province. Fredrika Charlotta is shown in a grand and imposing setting that alludes to the prestigious nature of the role that her father performed at court. She stands in a vast, marmoreal architectural space from which a swathe of delicately damasked drapery falls behind her, which is echoed in the folds of the shawl that seems to be in the process of slipping off her right shoulder. Despite her young age – Fredrika was likely no older than five years old when the likeness was made – the sitter has a commanding demeanour. This is, however, mitigated by the delicacy of the palette such as can be seen in the blues of Fredrika’s dress; these are carefully echoed in the frills of her sleeve and neckline, in her bracelet and also in the ribbon that she wears in her hair. The prominence in the blues of the sitter’s dress is not likely to have been coincidental as light blue and white – the colours of the sash that Fredrika wears – were the colours of the newly-founded Vadstena adliga Jungfrustift, an order of which the young Fredrika seems to have been an early member, as is indicated by the sash and order that she wears. Founded in 1747, when it first began to accept members, it was a secular order of nuns that was intended to provide for unmarried female nobles. Patronage of the Jungfrustift by Princess Luisa Ulrika – the wife of future king Adolf Fredrik – and the injection of funds that it promised inspired the founders of the nunnery to noble dreams for its future. Teachers were acquired for the boarding school that was to be housed in the disused Vadstena Castle (also noted on the reverse of the miniature and possibly the setting for the portrait) and further ambitious plans were formulated. Disappointingly for Luisa Ulrika – by now queen – sufficient funds for an endowment were never raised and in 1758 she relinquished her patronage for the project. Nevertheless, the project continued in the guise of a fund to provide for unmarried daughters of nobles on the condition that they never married so long as they were receiving its support. Fredrika Charlotta never did marry and died aged fifty-four in 1811.
Los 11
ATTRIBUTED TO CHARLES ROBERTSON (IRISH circa 1760-1821) A fine double sided portrait miniature depicting an Officer and a Lady. He wearing scarlet uniform with blue facings, gold epaulettes and gold lace, white frilled chemise and black stock, his hair powdered. She wearing white dress with pearl brooches at her shoulder and corsage, a white turban with pearl strand in her natural hair. Watercolour on ivory Gilt metal frame Oval, 60mm high
Los 12
CONTINENTAL SCHOOL (CIRCA 1830) A pair of portrait miniatures of a Lady and Gentleman by the same hand: she wearing black dress with puff sleeves and buckled belt, a pearl necklace and hoop earrings with jewel drops, her brown hair upswept and curled; he wearing blue coat with gold buttons, yellow waistcoat, white chemise and tied white cravat a black ribbon around his neck Watercolour on ivory Gilt-metal mounted within later gilt-metal frames Oval, 75mm and 65mm high respectively (2)
Los 235
Property of a Connoisseur, London ALEXANDER BROOK (AMERICAN 1898–1980) Portrait of Peggy Signed a. Brook (lower right) Oil on canvas 20 x 15.5cm (8 x 6 1/4in) Provenance: Downton Gallery, New York Charlotte Kaufmann, New York (acquired from the above on 7th January 1936) Thence by descent to the present owner Alexander Brook, an American artist and critic began painting after becoming confined to his bed aged 12. He joined the New York Art Students League in 1915 where he was taught primarily by Kenneth Hayes Miller. Upon leaving the League he married Margaret Frances ‘Peggy’ Bacon, printmaker, illustrator, painter and writer. Bacon was best known for her humorous and ironic etchings and drawings and her satirical caricatures of prominent personalities in the late 1920's and 30's. She studied under Brook at the Art Students League where she befriended Charlotte Kaufmann, the present owner's mother. Brook subsequently painted many family portraits of Kaufmann's family.
Los 21
ATTRIBUTED TO THOMAS HARGREAVES (BRITISH, 1775-1846) Portrait miniature of a Lady, wearing white dress trimmed with lace, a blue belt, blue shawl, coral bead necklace and a gold chain with a monocle, her dark hair upswept and curled watercolour on ivory gold fausse-montre frame with decorative border, the reverse with blue glass border around a glazed aperture to reveal hair oval, 60 mm high
Los 232
WOLFRAM ONSLOW-FORD (BRITISH 1879-1956) Portrait of a young gentleman Signed and dated W Onslow Ford 1926 (lower left) Oil on board 37.5 x 27.5cm (14 3/4 x 10 3/4in) The present work was probably painted in Shimla, Himachal Pradesh, India, where Onslow-Ford lived in the 1920s. The son of the sculptor Edward Onlsow Ford and the uncle of California Surrealist Gordon Onslow-Ford, he studied at the Royal Academy Schools, London and specialised in portraiture. His work shows the influence of Whistler, who was a family friend. He exhibited at the Baillie Gallery, the Glasgow Institute of Fine Arts; the Walker Art Gallery, Liverpool, Manchester City Art Gallery and the Royal Academy.
Los 260
Five works by Harald Mahrenholz (lots 260-265) Harald Mahrenholz was from a cultured Jewish family. His maternal grandfather had been a cellist, his mother was a concert pianist, and his brother established himself as a portrait and fashion photographer. In his home city of Berlin Mahrenholz studied in the studio of the Expressionist painter Ludwig Meidner, and subsequently worked for the stage and film director Max Reinhardt. From Berlin he moved to Paris, where he came under the influence of the Fauve painter and society portraitist Kees Van Dongen, was introduced to Matisse and Picasso, and met Christian Dior. Dior, then a young co-director of the newly established Galerie Jacques Bonjean on rue de la Boétie, took up Mahrenholz’s work, exhibiting his paintings alongside others that he championed, from Leonor Fini, Salvador Dali and Joan Miró to neo-Romantics Eugène and Léonide Berman and Pavel Tchelitchew. Through Dior the painter was introduced to the Parisian intelligentsia and beau-monde amongst them Gertrude Stein and Coco Chanel. Mahrenholz moved to London in the late 1930s where he continued to paint, but also set up a haute couture salon on Curzon Street in Mayfair. His clients included Princess Margaret, Margot Fonteyn, Barbara Hutton, the Duchess of Argyll and Vivien Leigh. He was introduced to Daniel Wildenstein by fellow designers Elizabeth Arden and Coco Chanel. Wildenstein held a one-man show of Mahrenholz's paintings at his New Bond Street gallery in 1947. HARALD MAHRENHOLTZ (GERMAN 1904-1994) The school mistress Oil on board 43 x 36cm (17 x 14.25in)
Los 466
Nelson interest, a George III silver vinaigrette, by Matthew Linwood, Birmingham 1806, rectangular form, the hinged cover engraved with a portrait of Lord Nelson and engraved 'England Expects Everyman Will Do His Duty', the interior with a hinged grille embossed and pierced with H.M.S Victory and 'Victory Trafalgar OCR 21 1805', length 2.9cm, approx. weight 0.5oz.
Los 9
λ An early 19th century gold-mounted ivory portrait aide memoire, unmarked, tapering oblong form, the front set with an oval portrait of a gentleman wearing a green coat, under glass, bright-cut borders, with a pull-out aide memoire, toothpick and gold-mounted pencil, length 6.8cm. Provenance: The Judith Howard Collection.
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283287 Los(e)/Seite