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Los 352
Lewis Baumer (British, 1870-1963), Portrait of John, bust-length, as a boy, signed, inscribed and dated '1935', coloured chalks, 38.5cmx26cmProvenance: from the estate of Elizabeth Pepys-Cockerell, whose husband John was a descendant of the diarist Samuel Pepys. His ancestors had a long association with Sezincote in Gloucestershire
Los 353
English school, early 20th century. Portrait of Colonel Everard. A. Ford, three quarter length. Bears plaque 'Presented to Col. Everard. A. Ford by past and present members of The London Diocesan Church Lad's Brigade on the 21st Anniversary of the founding the Brigade. 1912'. Signed lower right 'S. Fry. 12', 119x78cm
Los 355
Follower of Thomas Gainsborough. Portrait of Mrs. John Cockerell, née Frances Jackson, great niece of Samuel Pepys, diarist, and wife of John Cockerell, son of John Cockerell Esq., of Bishop's Hull, Taunton, Somerset. Half-length, seted, in a white gown, a landscape beyond, an old paper backing with inscriptions en verso, oil on canvas, 74x51cm Provenance: from the estate of Elizabeth Pepys-Cockerell, whose husband John was a descendant of the diarist Samuel Pepys. His ancestors had a long association with Sezincote in Gloucestershire
Los 356
Circle of Margaret Carpenter. Portrait of Ann Pepys-Cockerell and her daughter, later Mrs. Pollen, both half length, sewing and reading at a work table, oil on canvas, two labels en verso, 105x85cmProvenance: from the estate of Elizabeth Pepys-Cockerell, whose husband John was a descendant of the diarist Samuel Pepys. His ancestors had a long association with Sezincote in Gloucestershire
Los 357
Circle of Henry Rayburn. Portrait of Mrs. Robert Grahame of Whitehill, 1st Provost of Glasgow (1759-1851), whose portrait, by Chester Harding, was presented to the Glasgow Art Gallery. Three quarter length, in white dress, her left elbow resting on a plinth, a landscape beyond. Old paper backing with inscriptions en verso, 125x99cmProvenance: from the estate of Elizabeth Pepys-Cockerell, whose husband John was a descendant of the diarist Samuel Pepys. His ancestors had a long association with Sezincote in Gloucestershire
Los 385
English School, circa 1790. Miniature portrait of a lady, bust-length, with long black hair and lace shawl and a portrait of a gentleman in a red waistcoat, his hair en queue, each oval, 5x4cmProvenance: from the estate of Elizabeth Pepys-Cockerell, whose husband John was a descendant of the diarist Samuel Pepys. His ancestors had a long association with Sezincote in Gloucestershire
Los 386
Manner of Richard Cosway. Miniature portrait of Charles Rose Ellis, later Lord Seaford, in black coat with high white collar, circular, 5cmD, in laurel ormolu-mounted ebonised rectangular frame. Red wax seal with crest en verso and an old paper backing with inscriptionsProvenance: from the estate of Elizabeth Pepys-Cockerell, whose husband John was a descendant of the diarist Samuel Pepys. His ancestors had a long association with Sezincote in Gloucestershire
Los 387
B.V. Portrait miniature of a lady, half-length, with auburn hair and lace bonnet, ruffle lace collar, and white embroidered shawl; portrait miniature of a gentleman, bust-length, in clerical robes; the first signed 'BV', oval, 6cmx7.5cm, in ebonised frames. Executed circa 1820 (2)Provenance: from the estate of Elizabeth Pepys-Cockerell, whose husband John was a descendant of the diarist Samuel Pepys. His ancestors had a long association with Sezincote in Gloucestershire
Los 484
MILITARIA - A PERSONAL ARCHIVE RELATING TO SERGEANT CHARLES WILTSHIRE comprising portrait photographs; a photocopy of his flying log book, 1944-45; later correspondence with former flight crew members; and other items. Note: Charles Victory Wiltshire joined the army in 1940 and was posted first to Egypt, then to Heraklion, Crete, from which he escaped following the German airborne invasion in 1941. He returned to Egypt where he contracted malaria, was sent back to England and retrained as a flight engineer. In 1944 he joined 431 Squadron, Royal Canadian Air Force, based at R.A.F. Croft, near Darlington, County Durham. Initially flying Halifax bombers he was then allocated to a Lancaster bomber, 'F' KB812, serving with George 'Mac' McNeill, pilot officer; Lorne 'Larry' Gardiner, navigator; Keith 'Ding' Bell, wireless operator; Guy 'Bull' Colthurst, bomb aimer; Frank 'Bram' Bramley, mid upper gunner; and Cliff 'Cod' Sollows, rear gunner. His flying log notes his participation in raids on u-boat pens at Bergen, Norway; on railway marshalling yards across Germany; the I.G. Farben chemical plant at Ludwigshaven; Dusseldorf aerodrome; steel works at Nuremburg; a rubber plant at Hanover; the city of Dresden (13th Feb. 1945, 'great devastation'); the Bomm & Voss submarine pens, Hamburg ('Me262s attacked rear of gaggle and got 4 Lancs. Corkscrewed four times and evaded fighters. Mustang cover weak'); and elsewhere - a total of 53:04 day-time and 141:05 night-time operational hours.
Los 88
A MODERN 9CT GOLD AND PORTRAIT MINIATURE OVAL BROOCH/PENDANT the portrait miniature with five tiny eight-cut diamonds 'en habille' and depicting a three-quarter length bust of a lady in Elizabethan dress, mounted in a plain glazed frame with a beaded scrolling border, import marks for London 1989, 5cm high overall, 3.25cm wide (2 in x 1 ¼ in); 9.7g gross; together with a filed-curb chain on a bolt ring clasp, stamped '9k', 51cm long (20 in), 2.9g
Los 409
MARY MASCALL (BRITISH a 1803 - 1838), PORTRAIT OF ARTHUR THOMAS MALKIN, AGED 13 oil on canvas, dated 1816 on label verso 35cm x 30cm Framed Note: The sitter, Arthur Thomas Malkin (1803-1888) went on to become a considerable achiever in various fields, as a first-class cricketer (Cambridge, 1826), an author, ("Gallery of Portraits with Memoirs", 6 vols, 1833-1836), and various histories and biographies. He was also an acclaimed mountaineer, completing the first ascent of Hockenhorn in August, 1840.
Los 411
* AUGUSTUS JOHN OM RA (BRITISH 1878 - 1961), THE PORTRAIT OF SUNITA oil on canvas, signed 53.5cm x 43cm Framed and under glass. Note: This lot is accompanied by a hand written letter of authentication (dated 4th March 2019) from Rebecca John, artist, grand-daughter of Augustus John and the leading authority on the work of her grandfather. Inscribed on canvas verso: "Property of Sophie Fedorovitch, 22 Bury Walk, Chelsea SW3, London". Sophie Fedorovitch was a Russian born theatrical designer who worked with ballet choreographer Sir Frederick Ashton from his first choreographed ballet in 1926 until her accidental death in 1953. Fedorovitch died in a gas explosion at her home (known as "the Gothic Box") at 22 Bury Walk on 25th January 1953. Two old printed labels verso, one explaining the background to the portrait and the other stating the picture to be "Property of Mary Smeaton or Scott". Augustus John became acquainted with Jacob Epstein at the New English Art Club after Epstein moved from Paris to London. He produced several drawings of Epstein and two etchings. Epstein later modelled a bronze head of John’s son Romily, which is part of the Garman Ryan Collection followed by a stone version and a Bronze head of Augustus in 1916. Although the two artists encouraged each other, they had a prickly friendship which animated their portraits of each other. This was probably further exacerbated by John’s reputation of having a fiery and rebellious temperament, prone to violent mood swings. Augustus John lead a notoriously promiscuous lifestyle and "fathered numerous children with nearly as many different mothers". "Sunita" was originally from Kashmir, a Muslim who married Ahmed Peerbhoy, a millionaire of Bombay, but sometime in the early 1920s she came to England with her son Enver and younger sister Anita Patel. The sisters joined a troupe of magicians known as the Maysculine Brothers. Sunita developed a persona as an Indian mystic and fortune teller and became widely known as Princess Sunita. Jacob Epstein may have met Sunita at the British Empire Exhibition, where the exotic foreign displays intrigued him, or possibly through his friend Matthew Smith (1879 - 1959). In 1925 Epstein invited Sunita, Enver and Anita to live at his home at Guilford Street in London with the full agreement of his wife Margaret. Mrs Epstein was trying to end her husband's affair with Kathleen Garman by encouraging him into affairs with other women. Sunita had become Epstein's favourite model and she posed, often alone but sometimes with her son, for numerous drawings and sculptures by Epstein until 1931. Jacob Epstein was apparently furious that John had encouraged "Sunita" to sit for a portrait and when John told him that he wanted Sunita to sit for him again, Epstein refused to allow it. "Augustus was celebrated first for his brilliant figure drawings, and then for a new technique of oil sketching. His work was favourably compared in London with that of Gauguin and Matisse. He then developed a style of portraiture that was imaginative and often extravagant, catching an instantaneous attitude in his subjects."
Los 412
GEORGE FREDERICK WATTS RA (BRITISH 1817 - 1904), PORTRAIT OF ALEXANDER LUMSDEN OF AUCHINDOIR oil on canvas 60cm x 49.5cm Framed Note: In its original "Watts" frame, with standard brass tablet inscribed "G F Watts, RA" Provenance: Purchased from the estate of a direct descendant of the sitter.
Los 464
ROBERT PAYTON REID ARSA (SCOTTISH 1859 -1945), A SALMON POOL, GLENFINLAS oil on canvas, signed; titled verso in the artist's hand 40cm x 60cm Framed. Provenance: Lot 48, Christie's, Glasgow 25th August 1997 where sold for £1265 (Premium). Note: What was perhaps not known when this picture was sold in 1997, is that the location chosen by Payton Reid is almost certainly the exact location for the portrait painted by John Everett Millais of John Ruskin when they holidayed together at Glenfinlas in 1853. During the holiday Ruskin's wife Effie fell in love with Millais and later had her marriage to Ruskin annulled on the grounds of non-consummation. She went on to marry Millais in 1855. The Glenfinlas holiday and its aftermath became a massive and protracted scandal at the time and it's very likely that Payton Reid, albeit several years later, would have deliberately chosen the location fully knowing its significance.
Los 244
‡John Bratby RA (1928-1992)Portrait of Diane Hills seated in an orange armchairSigned, also inscribed verso Diane Hills, Paragon, Blackheath, To Jack, another pressy: this your znd sad nun - John, also dated 1971 or 1972Oil on canvas122 x 91cm++Some bloom to surface and some speckling to canvas in background otherwise good condition
Los 248
Dickens (Charles) Cope's smoke room album, together with Tourists in Wales - Pencillings in the principality, by a pedestrian artist, Bowen Rees (Ioan) A short prospectus for The Mountains of Wales, 1987, programmes from The National Museum of Wales portrait sculpture fund, 1984, The Pageant of Peace at Cardiff Arms Park, 1919, and Porths Empire Shopping Week, 1931,a copy of The Penny magazine from 1835, a proposition from the Land Nationalisation Society and a sepia portrait of a gentleman
Los 149
The Northumberland Fusiliers:- a parchment Discharge Certificate to Pte Ralph Harrigate, 1st Battalion, Northumberland Fusiliers who Attested 13th September 1877, served in South Africa and was Discharged 12th September 1889; three albums and six card mounted photographs of First World War period photographs relating to RQMS JOHN BOYD, 6th Battalion, with research; an original portrait photograph of Sgt Renwick, 1st Vol. Battn, Northumberland Fusiliers, circa 1904; a number of copy photographs of an Officer and NCO's, 1st Vol. Battn., circa 1904, in a small book and a similar card mounted portrait, Second World War; an Identity Card issued to Mrs Stephenson as a Y.M.C.A. Tent Worker at a Military Camp, Northumbrian Division; an Earl Grey's Competition Medal (qty)
Los 155
The Durham Light Infantry:- a Victory Medal, pair of miniatures, a whistle, buttons, photographs, Soldier's Service and Pay Book and ephemera including an RFC trial Notebook to 93239 Private (later Lance Corporal) Jesse Gordon Baker, and ephemera relating to his son Able Seaman Jessie Lionel Baker, RN, in a plastic folder; also, a helmet plate, a helmet plate centre, a pair of shoulder titles, a pair of embroidered slip-on shoulder titles, a rugby medallion, three portrait photographs of a Sergeant and officers, booklets and a silver Coat and Cuff button to an officer of the 2nd North Durham Militia, 1853-1881, etc
Los 19
A First/Second World War Family Group of Medals, comprising 1914-15 Star, British War Medal and Victory Medal, awarded to 35696 L.CPL.H.TOPLISS, R.A.M.C., and a Pacific Star with BURMA clasp, posthumously awarded to Leslie Topliss R.N., son of the above, together with medal award slip stating he should have received four medals, original box of issue, a portrait photograph of him as a police officer and a letter from his commanding officer describing how he was killed in action.
Los 5
A First World War Group of Medals to Levi Bradshaw, comprising 1914-15 Star and British War Medal to 14. 24546 PTE.L.BRADSHAW, MANCH.R., Memorial Plaque with scroll to L/Cpl. Levi Bradshaw, Northumberland Fusiliers, identity bracelet scratched PTE.L.BRADSHAW 41138 NORTHLD.FUS., two postcard photographs - one portrait, the other a group portrait inscribed A Merry Lot of Wigan Pals, a Lourdes Medallion and two coins
Los 69
A Second World War RAF Group of Four Medals, comprising 1939-45 Star, France and Germany Star, Defence and War Medals and the miniatures, awarded to un-named airman of 35 Squadron, with a group photograph, three portrait photographs and framed paper plaque to 80 (Signals) Wing Headquarters, RAF; a General Service Medal, 1962, with clasp SOUTH ARABIA, awarded to M4257311 ACT.CPL.M.(Michael) HESMONDHALGH R.A.F., with photograph and Certificate of Service in which he is recorded as a Dog Handler to the RAF Police 1967-1969
Los 7
A First World War DCM Group of Four Medals, awarded to 49015 CPL.W.G.SCAMMELL, R.E., comprising Distinguished Conduct Medal, 1914-15 Star (SPR.), British War Medal and Victory Medal, loosely mounted in a glazed case with ribbon bar, cap badge and three silver medallions, together with copies of Supplement to the London Gazette, 11 March 1920, a framed portrait photograph in an ebonised frame and a volume of Recipients of the Distinguished Conduct Medal 1914-1920 in which he is mentioned on page 47
Los 77
A First World War Pair, awarded to 186065 W.ADAMS, A.B., R.N., comprising British War Medal and Victory Medal, in box of issue, with his nickel plated bosun's whistle, portrait photograph, a photocopy of his Service Record, Census Returns for 1881,1891 and 1911, Probate Registry document, postcards and letters etc
Los 78
λMichael Bergt (American, b. 1956) The Yes Man, 1991 Kinetic bronze sculpture Edition 2/9 52.5cm high, 25cm wide With an associated onyx plinth Michael Bergt works across various media, and is perhaps best known for his historically inspired egg tempera paintings, which channel the Italian Renaissance. One such work was selected to feature in the 2018 BP Portrait Award at the National Portrait Gallery. Bergt is however by no means a traditionalist, and his bronzes show a fascination with the human form and often push the body's boundaries. The present work shows the humorous and slightly surreal element that characterises the artist's oeuvre. Bergt is a fellow of America's National Sculpture Society, and his work is held by collections across the United States. λ Indicates that this lot may be subject to Droit de Suite royalty charges. Please see our Terms & Conditions for more information.
Los 11
§ANNENKOV, GEORGES (1889–1974) Portrait of Alexander Bozheryanov, signed with initials.Ink and collage with paper on paper, 28 by 43 cm.Provenance: Private collection, Europe.Literature: Yu. Annenkov, Portrety, Petrograd, Petropolis, 1922, p. 111, illustrated; p. 166, listed.The Portrait of Alexander Bozheryanov, offered here for auction, created by the model's friend and fellow artist Yury Annenkov, is part of the celebrated Portraits series, Annenkov’s best-known cycle of works on paper. Moreover, it is undisputedly a classic example of superb portraiture of Annenkov’s Russian period.Annenkov took up the genre of portraiture in earnest only at the end of the 1910s. After successfully executing a few private commissions, he received an offer in 1921 from the publishers Zinovy Grzhebin and Yakov Blokh to produce portraits of several contemporary writers for their forthcoming books. The ostensibly one-off job generated momentum for a whole series of virtuoso portraits of his contemporaries.Inasmuch as the commissioned portraits were to be subsequently reproduced in black and white, it made no sense for Annenkov to execute the originals in oil or watercolour: the comparative advantages of these complex, labour-intensive techniques would invariably be lost. As the artist started the series in 1921–1922, he deliberately stuck exclusively to black ink and lead pencil, creating a uniform style, which encompassed two immutable principles: no full-body portraits (just the head, or, at most, chest- high portrait of the model); and an incisive, economical drawing style with geometrical emphases and fanciful line curvatures in the spirit of European Art Deco. The portraits of writers were soon followed by those of Annenkov’s fellow artists, as well as musicians, thespians, cinematic actors, and members of Soviet government.The portrait of Alexander Bozheryanov (1882–1959) was probably created when the sitter and Annenkov both worked on the production of Nikolai Evreinov’s philosophical harlequinade The Main Thing at the Volnaia Komediia (Free Comedy) theatre in 1921. In his Diary of My Meetings, Annenkov recalls in some detail the project that they found so enthralling: “I engaged one of my friends, the artist Alexander Bozheryanov, in the stage-design aspect of the production as my ‘accomplice’. Bozheryanov and I did all we could — legally and illegally — to get hold of the material for my curtain. That was… difficult. But in certain back alleys and on ‘black’ markets, where dealers would scatter as soon as a policeman appeared, we succeeded, through sheer patience and perseverance, in obtaining the required material.”It is no coincidence that, as Annenkov depicts his companion, he creates not just a portrait, but rather a sociobiographical variant thereof. Bozheryanov is surrounded not only by the tools of his trade — a large bottle of ink and a tube of paint — but also by the snapshots of quotidian life of Petrograd they had witnessed. The resulting image thus conveys both the model’s physiognomical traits and the typical features of artistic life of the early Soviet years.In just over a year, the series was completed, and Annenkov decided to present some of the best works at the World of Art exhibition, held at the Anichkov Palace in Petrograd in May 1922. The exposition made a tremendous impression on the public and the critics, and the Portraits album, released in the autumn of that year, reinforced the impact. Bozheryanov’s portrait was reproduced in the album as an illustration for Mikhail Kuzmin’s article on Annenkov’s oeuvre. Undoubtedly, it is one of the most impressive works in the series.
Los 124
NILUS, PETR (1869–1943) Self-Portrait and A Collection of SketchesNine pencil, one with ink, two crayon, one watercolour, and another watercolour and gouache, on paper, one laid on cardboard, the largest measuring 63 by 48 cm and the smallest 15 by 13 cm.Provenance: One work, Ventes Pierre Nilouss, Drouot, 15 January 1997 (stamp on the reverse).Private collection, France.Authenticity of one work has been confirmed by the artist's widow (insciption on the reverse, dated 5 May 1953).
Los 14
*YAKOVLEV, ALEXANDER (1887–1938) Portrait of a Chinese Man.Sanguine, charcoal and crayon on paper, laid on paper, 155 by 63.5 cm.Executed c. 1918. Provenance: Collection of the opera singer Alexandra Yakovleva (1889–1979), the artist’s sister. Acquired from the above by the previous owner in 1978 (inscription on the backing paper). Private collection, USA.Yakovlev, Portrait of Chinese Man: Exhibited: Possibly, Exhibition of works by Alexander Yakovlev, Gallery Barbazanges, Paris, April–May 1920. Possibly, Exhibition of works by Alexander Yakovlev, Grafton Gallery, London, May–June 1920.The graphic work Portrait of a Chinese Man, measuring one and a half metres in height, that is offered for auction is one of the very rare pictures that Alexander Yakovlev produced on such a scale, and it was created during his first Far Eastern journey in 1917–1919. The artist went to China, Mongolia and Japan on a scholarship from the Academy of Arts, but his impressions and encounters with unusual models and subjects so captivated him that, once the period of his study trip had expired, Yakovlev sought an opportunity to extend his stay in Asia. He visited temples and poor neighbourhoods in towns, accompanied camel drivers, went out to sea with fishermen, befriended pearl divers and attended festive ceremonies and burials. The natural landscapes, the human diversity, the distinctive character of the way of life, and the brightness of the national costumes and adornments struck the European’s imagination, and he ecstatically depicted actors at the traditional Chinese and Japanese theatres, Tibetan lamas, Imperial military leaders and Mongolian nomads. He brought back from the trip hundreds of sketches and easel drawings, executed in the most difficult field conditions. In a report to his professor at the Academy, Dmitry Kardovsky, about these wanderings, the artist declared: “China, Mongolia, Japan. Stages on the journey. Infinitely interesting countries... abundant images. Rich in colours. Fantastic in shapes. Strikingly diverse in culture. Different myths. More diverse than those that took root in our little Europe. I worked hard; life was often very lonely. Especially psychologically... A very difficult first year in Pekin without money or income... I had a stroke of luck when life became totally difficult. I arranged an exhibition in Shanghai, where I didn’t sell very much, but I got many commissions for portraits. That enabled me to pay off my debts and go on to Japan, where I spent an unforgettable summer on the island of ?shima.” These lines illustrate the importance of the series of full-length portraits when seen against the background of the exotic genre and landscape scenes. The work on offer is one of the most accomplished of them and is marked by skilful drawing, expressiveness and brilliant mastery of brushstrokes and lines when conveying the characteristic features of the figure and face. By blending academic clarity and exotic colouring, Yakovlev was able to create a stylised ethnic image that was both expressive and credible. Portrait of a Chinese Man is a finished easel piece, where the sharp characteristics of the model are conveyed with a meticulous authenticity that captures both the individual and the generalised, ethnic and historical features of the appearance of someone living in the Celestial Empire. According to the eminent critic Abram Efros, it is not a matter of chance that, since it was on his first Eastern journey that he emerged as an artist, Yakovlev forever “remained the same brilliant, academic, exotic personality, the Vereschagin of the 1920s – minus realism, plus decorativism....” At the review exhibition of the results of the trip, which the artist presented in 1920, first in Paris and then in London, the Chinese works were especially prominent. Public and critics alike enthusiastically hailed the works’ exotic authenticity and artistic mastery. Nicholas Roerich, who visited the exhibition in London and was himself infatuated at the time with the East, later recalled: “I remember Yakovlev’s 1920 exhibition in London: the large display rooms were filled with astonishing paintings from China. What a delicate and convincing power lay in them, yet at the same time there was no imitation; originality resonated everywhere." Authenticity of the work has been confirmed by the expert E. Yakovleva.
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283287 Los(e)/Seite