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Los 88
Enrico Caruso (1873-1921) Italian Tenor Signed Pencil Portrait, the charming portrait sensitively capturing on paper his son Enrico Caruso Jnr, entitled 'Mio Figlio' signed Enrico Caruso London 1913, approx 24.5 x 35 cms, frame and glazed. Note: This portrait was gifted to Madame Da Costa, a cherished friend of the family, the Caruso articles offered in the sale are from the direct descendants of Madame Da Costa.
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Paul Henry RHA (1877-1958)Digging Potatoes (1916-19)Oil on panel, 33 x 40.5cm (13 x 16'')SignedProvenance: Acquired by a private collector c.1921; Sale Sotheby's, London, 18/05/2000, Lot 130; Private Collection.Literature: Brian P. Kennedy, 'Paul Henry, Paintings, Drawings, Illustrations', Yale 2007, Illustrated p.192, Catalogue No.454.Exhibited: Possibly London, Leicester Galleries, 'Pictures of Irish Life and Landscape by Paul and Grace Henry', January 1921, No.29. In his autobiography, An Irish Portrait (London, 1951, p.48), Paul Henry wrote that John Millington Synge had ‘touched some chord which resounded as no other music ever had done' and, he tells us, it was of Riders to the Sea that he was thinking as he left London 'on the couple of weeks' holiday' he had promised himself.Despite Henry’s increasing reputation as a graphic artist in London, it was to Achill he was drawn and so captivated was he that he was to spend nine years there - as a sort of home-coming, for his maternal grandfather, the Rev. Thomas Berry, had preached the gospel on Achill in the mid-1830s. Soon after his arrival on the island Henry made for the village of Keel, on its southern shore. He was enthralled by the life he found there. 'Achill called to me as no other place had ever done', he wrote (An Irish Portrait, p.50), yet, he said, although 'the persuasiveness of it’s voice charmed me', it was not easy to follow its meaning. It was, however, an emotional call and he decided to settle there, 'not as a visitor but to identify myself with its life and to see it every day in all its moods.' In particular the peasantry working in the fields reminded him of Millet, whose work he knew as a student in Paris.The hatted male figure, digging with a spade, is almost a direct quote from Millet's The Spaders. The fields in Achill were very small - 'a man might own a field or two beside his door and another bit of land, about the size of a small suburban front garden, a mile or so away' -having, for hereditary reasons, been sub-divided many times over the years. The potatoes are being harvested from ridges, the traditional method of cultivation on Achill. Here, like Millet, Henry wanted to paint a scene of life as it really was, the harshness of daily routine being evident from the back-breaking work and the small return of crops produced. 'I have yet to see people who worked so hard for so little gain', he wrote years later. 'It meant incessant toil with the spade', ploughs being useless on those stony fields (An Irish Portrait, p. 57). In pictures such as this, Henry introduced a new realism to Irish art. Gone is the 'stage Irishness' of much nineteenth century art and, as with Millet's field workers, we realize that life was difficult, being neither heroic nor idyllic, and the simple toil of the figures gives a natural dignity to their efforts that is more convincing than much academic painting of the time.In his early Achill period potato digging was a favourite subject for Henry and he made numerous versions of this composition and with similar poses appearing. The man digging may be Johnny Toolis, who appears in The Potato Harvest (SBK425) and The Potato Diggers (SBK295). We are indebted to Dr S. B. Kennedy whose writings formed the basis of this note.
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John Butler Yeats RHA (1839-1922)Portrait of Master Milo RyanOil on canvas, 66 x 51cm (26 x 20’’) UnframedExhibited: Dublin, Royal Hibernian Academy, 1903, No. 100Provenance: The sitter’s family, by descent.Yeats completed a number of intriguing portraits of children throughout his career. Beginning with his own offspring, he made multiple sketches of their early years, a particularly touching example is a drawing of the infant W.B Yeats asleep in the family home. Portraits of children are challenging for an artist, as they are faced with a subject whose personality is not yet fully defined. However, this is part of their charm.Though we do not know the exact age of the sitter, Master Milo Ryan looks to be around eight or nine when the portrait was completed. Yeats chooses to depict him standing, with an open book in hand as if he was just in the process of reading a passage out to us. Yeats has painted the young boy in a strong light, which throws up the details of his formal attire. Dressed in a suit jacket, with a shirt and tie, the clothes feel as if they are too big for him, the triangles of the shirt collars extending out over his narrow shoulders. The face is beautifully rendered especially the large brown eyes of his sitter, which express a sensitivity, a youthfulness behind the somewhat formal composition. Working from an almost black background, Yeats introduces colour through flashes of white, pink and blue highlights. The pages of the book appear as dabs of paint, which Yeats, using the end of a brush scrapes a line through to suggest the folds in the paper. Despite the dark colour tones, there is warmth to the boy’s features, the pink and orange highlights of his flushed cheeks. Milo Ryan, was born on June 7th, 1892 and educated at Trinity College, Dublin. He served with the Royal Army Medical Corps during the Great War, taking a permanent commission as Captain in 1919 and becoming a Major in 1927. He died at Lahore on December 4th, 1936 at the age of 44.We know that this work was included in the Royal Hibernian Academy annual exhibition in 1903, so presumably it was painted around this time. This was a busy year for Yeats; he had been commissioned by Hugh Lane to paint twenty portraits of figures from the Irish cultural milieu for his modern art gallery. Lane had also helped Yeats secure his old studio at no. 7 St Stephen’s Green in Dublin. John Quinn, an American lawyer turned art collector visited Ireland the year previously and purchased from Yeats his portrait of his son William, which is now part of the NGI collection. He also requested a further three portraits of John O’Leary, Douglas Hyde and George Russell. The portrait of AE was not finished until 1903 and he persuaded Quinn to let him enter it into the annual RHA exhibition.One would not consider Yeats to be a society portrait painter, in the traditional sense, in that he did not make significant money from the commissions. He painted people he knew, family friends and relatives, fellow artists and writers. As a result they feel familiar, more personal than traditional portraits of the period. There is a sense of kinship between the artist and his subjects, in which he is gently probing at a further understanding of their personality and Yeats once remarked ‘The best portraits will be painted where the relation of the sitter and the painter is one of friendship’. His portraits often have a sense of being unfinished, quick sketch like brushstrokes move across the canvas. It seems the artist did not want to produce static, conventional portraits in which the sitter is frozen in time, but rather allow them to act as enquiries into the personality and thoughts of his subjects who, as with all human beings, young and old, were ever evolving. Niamh Corcoran, September 2019
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Sir John Lavery RA RSA RHA (1856-1941)The Red House - from the Phoenix ParkOil on canvas board, 25 x 35cm (10 x 15)Signed; signed, inscribed and dated versoProvenance: Gifted to Maeve Healy, daughter of Tim Healy (the first Governor General of Ireland).Sir John Lavery occupies a unique position in the history of Irish art. Although he was the pre-eminent society portrait painter in England throughout the period in which Ireland gained its independence, he wasn’t just sympathetic to the Irish cause: Michael Collins was a close friend and stayed with Lavery and his wife Hazel at their home in London during the Treaty negotiations. Lavery was a Northerner, born in Belfast. Orphaned early on, he was raised by relatives and sent to school in Scotland, began working and studying art in Glasgow, then Paris, then with the plein air painters at Grez-sur-Loing (where he was, he said, happiest), all of which broadened his horizons immensely. He always attributed a major part of his public success to Hazel (they married in 1910), herself a painter, socially skilled and a natural communicator.He knew - and painted - pretty much everyone involved in political developments in Ireland from the pre-First World War years to the establishment of the Free State. That is to say, he knew people on all sides, Irish, Unionist and English, and felt secure enough to advise Churchill, when he asked his opinion, that the English should leave Ireland to the Irish. It is hardly surprising, then, that he numbered among his friends the Irish nationalist MP, barrister and writer Tim Healy. Born in Bantry in 1855, Healy moved to England and worked for a rail company while still in his teens. He soon became involved in the Irish Home Rule movement and grew close to Parnell, who encouraged him to run for parliament in 1880, launching his political career.Their relationship soured, however, over the O’Shea scandal. Healy, a famously wasp-tongued, traditional catholic, objected fiercely to Parnell’s extra-marital affair. He found his own path through the dramatic political developments, giving up the Home Rule cause as lost and declaring himself a supporter of independence but against violence. He was legal consul for many Sinn Féin members in various legal proceedings. Because, like Lavery, he knew and talked to everyone, he seemed an ideal candidate for the new position of Governor General, the Crown’s representative in the Free State (as it happened, Kevin O’Higgins was a nephew of his). He excelled in the role.His home was Glenaulin in Chapelizod, which Lavery dubbed The Red House. Hence his inscription, ‘The Red House - from the Phoenix (sic) Park, To The Misses Healy’ on the back of this painting, which highlights Glenaulin in red, in a view towards the southwest with the Dublin Mountains in the distance. In the foreground, seen from the rear, four people are seated on a park bench.The painting was a gift to Maev Healy, one of Tim Healy’s daughters (second from the left). The others depicted are (left to right) Maev’s elder sister Lizzy Healy, Mick Buckley of the Irish Army Medical Corps, and his sister, ‘May Buck’, who was married to the Healy sisters’ younger brother Joseph Healy.Aidan Dunne, August 2019
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Islamic Art A portrait of the Ottoman Sultan Bayezid I (r. 1389-1402)After Cristofano dell'Altissimo (Firenze 1525-1605)17th century Oil on canvas . . Cm 54,00 x 76,00. Portrait of the sultan, pictured in profile, with a long pointed beard, a richly ornated cloak and a big rounded turban. the lower inscription identifies him as Baiazet I Turc. Impil., or the Turkish Emperor.Bayezid I was the fouth sultan of the Ottoman empire, he rose to power in 1389 and became known with the nickname of Yildrim (The Thunderbolt). The original subject of this painting was made by Cristofano dell’Altissimo as a part of the Giovio collection started in 1552 by order of Cosimo I de’ Medici, who charged the painter Cristofano dell’Altissimo with copying the portraits of the Galleria Universale degli Uomini of Paolo Giovo, bishop of Como, held in his villa in Borgovico.Giovio himself, in his book Eulogia (1546) thus described the Sultan:"...he had a stern face, and frightening to behold, with a long beard split in two by bristly curls. He was nicknamed Hildrim, that in Tartar means "lightning" of those that frighten like the thinder, because of his characteristic swiftness and his sudden and violent attacks during wars..." (in Elogia virorum bellica virtute illustrium). Cristofano dell'Altissimo painted at least 280 portraits, among these Sultans and Eastern important people are the rarest. During the centuries, paintings such as this have been copied and used also as diplomatic gifts.We know at least two series including Sultans and eastern people portraits: one at the Topkapi Palace of Instanbul, constituted by the portraits shipped from Venice in 1779, and another composed of 14 portraits painted by Veronese in the Bayerische Staatsgemaldesammlungen of Munich.Provenance: Private Collection Milan, Italy.
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Islamic Art A rare Timur’s portrait After Cristofano dell'Altissimo (Florence 1525-1605)17th century Oil on canvas . . Cm 54,00 x 76,00. Portrait of the well-known ruler and progenitor of the Timurid dynasty, pictured with a white pointed hat, a sumptuous vest and a bow and arrow on his left shoulder. The inscription in Italian reads "Tamerlano. Tartaro". the first being the Italian name for Timur and the latter a manner to identify the Mongols. The original subject of this painting was made by Cristofano dell’Altissimo and it is part of the Giovio collection started in 1552 by order of Cosimo I de’ Medici, who charged the painter Cristofano dell’Altissimo with copying the portraits of the Galleria Universale degli Uomini of Paolo Giovo, bishop of Como, held in his villa in Borgovico. Cristofano dell'Altissimo painted at least 280 portraits, among these Sultans and Eastern important people are the rarest. During the centuries, paintings such as this have been copied and used also as diplomatic gifts.We know at least two series including Sultans and eastern people portraits: one at the Topkapi Palace of Instanbul, constituted by the portraits shipped from Venice in 1779, and another composed of 14 portraits painted by Veronese in the Bayerische Staatsgemaldesammlungen of Munich.Provenance: Private Collection Milan, Italy.
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Indian Art A collection of eight Indian drawings India, 19th-20th century . . Cm 23,50 x 33,50. Including: two depictions of Lord Krishna playing the flute; Durga on a lion; two female portraits in the Kishengarh style (whose one signed); a Bhairavi Ragini ragamala (partially coloured); a Mughal style male portrait (signed) and a woman dancing under a tree (signed). Provenance: Venetian private collection, Italy.
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Indian Art A rare portrait of a woman playing a tambur and singing India, Deccan, 18th centuryInk, pigments and gold on paper . . Cm 12,00 x 22,00. Probably depicting the Todi Ragini, a musical mode in which the lady sings to a deer. A close related example with a deer, instead of the second clump of flowers on the left, is published in Fraser M.,"The V.S. Naipaul Collection of Indian Paintings, Drawing and Watercolours", London, 2014, n. 7; while this very iconography can be seen at the Islamische Museum in Berlin and published in Zebrowski. "Deccani painting", London and Los Angeles, 1983, fig. 90, col.pl. XV. Provenance: Venetian Private Collection, Italy.
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δ Salvador Dali (1904-1989)Portrait de Calderón (from Calderón: La Vie est un songe) (Field 73-1-D; M&L 515a)Etching with aquatint printed in colours, 1971, signed numbered from the edition of 250 in pencil, on Richard de Bas wove paper, as included in 'Calderón: La Vie est un songe', printed by Ateliers Rigal, with full margins, plate 340 x 250mm (13 3/8 x 9 7/8in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
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Rembrandt van Rijn (1606-1669)Self Portrait with SaskiaEtching, 1636, on fine wove paper without watermark, New Hollstein's third state (of four), some fine tears and loss restored with careful facsimile, sheet 105 x 93mm (4 1/8 x 3 5/8in) (unframed)Literature:Hind 144; New Hollstein 158 iii/iv
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δ Tracey Emin (b.1963)Self-Portrait Chromogenic print in colours, 2001, signed, dated, titled and numbered from the edition of 80 unique prints in black ink verso, on Kodak Professional photographic paper, published by Parkett Editions, New York/Zurich, as included in Edition for Parkett No. 63, the full sheet, 400 x 401mm (15 3/4 x 15 3/4in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
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283284 Los(e)/Seite