§ Gertrude Hermes, OBE, RA (British, 1901-1983) The Peat Cutters signed and dated 'Gertrude Hermes 1956' in pencil (lower left); titled and numbered 21/50 lino-cut 43 x 58cm (17 x 23in) Provenance: Whitworth Art Gallery, Manchester, Purchased 'Pictures For Schools', 1957 A painter and sculptor, Gertrude Hermes began her artistic career at the Brook Green School of Painting and Sculpture, where other students included Henry Moore. Hermes exhibited regularly at the Royal Academy from 1934, was commissioned to produce works for the British Pavilion at the 1937 Paris World Fair, and showed at the Venice International Exhibition in 1939. Hermes is best known for her pantheistic prints and intricate woodcuts, which fluidly mirror the rhythms and symmetries of nature. Her most popular works at 'Pictures for Schools' often depicted animals, of which 'The Peat Cutters' (1956) and 'The Ram No. 2' (1958) are but two. A retrospective of her work was held at the Whitechapel Gallery in 1967, and Hermes's work can now be viewed at the Tate Gallery and the National Portrait Gallery. A rippling effect has resulted from the page not being stuck down, especially towards the top of the page. Slight discolouration along edges consistent with age.
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Manner of Ruskin Spear, CBE, RA (British, 1911-1990) The Skaters oil on board 39 x 60cm (15 x 23in) Other Notes: Ruskin Spear won scholarships to both the Hammersmith School of Art (1926-1930) and the Royal College of Art (1930-1934). He was initially influenced by the Camden Town Group, whose dynamic style and unpretentious subject matter encompassing domestic interiors and the London townscape mirrors Spear's portrayal of enigmatic characters and local street scenes. Disabled by polio since his childhood and flamboyantly known a self-styled 'working-class cockney', much of Spear's work combined a sense of narrative with a focus on his immediate surroundings and local inhabitants, who were often portrayed relaxing in local pubs, parks and shops. The present lot most likely depicts one of the numerous parks local to Hammersmith. Spear's work was featured in a major retrospective at the Royal Academy in 1980. Additionally, many of his paintings now form part of the nation's most prestigious collections, including the Tate Gallery, the National Portrait Gallery, and the Royal Academy.CONDITIONBeen subjected to extensive cleaning.
§ Rodrigo Moynihan, RA (British, 1910-1990) Self portrait signed and dated 'R Moynihan 38' (lower right) oil on canvas 38 x 28.50cm (15 x 11in) Other Notes: Rodrigo Moynihan began his painting career in the wake of a trip to Rome in the winter of 1927-1928. He had moved to London prior to this and began his education at the Slade School of Fine Art in 1928. In the 1930s, he was a member of the Objective Abstraction movement, but became associated with the Euston Road School from 1937 onwards, turning instead to figurative art and social realism. 'Self-Portrait' (1938) was painted in the years immediately preceding his appointment to the British army (1940-43), during which time he was commissioned by the War Artist's Advisory Committee to paint several military portraits. Painted just before he enlisted, Moynihan portrays himself in the guise of a soldier - the low viewpoint and boldly frontal pose conveying an image of strength. In 1948, Moynihan became a professor at the Royal College of Art and received several important portrait commissions, including the then Princess Elizabeth and Prime Minister Clement Atlee. There is a repair to the bottom of the canvas. Shows evidence of cleaning, and significant overpainting, particularly to the figure's black shirt. The painting has also been varnished.
§ John Napper (British, 1916-2001) A plate of fish signed 'Napper' (lower right) oil on canvas 31 x 39cm (12 x 15in) Other Notes: John Napper trained at the Dundee School of Art and the Royal Academy School where he was taught by the portrait artist, Sir Gerald Kelly. He was sent as a war artist to Ceylon and east Africa during World War II and upon his return to England, taught life art at St Martin's School from 1949-57. Like his former teacher, Napper became a fashionable portrait painter and his picture of the Queen is in the Walker Art Gallery, Liverpool. His last piece of work was a design fora large stained-glass window for the chapel at St James's Palace. The painting has been quite extensively cleaned, which has led to some areas of the original canvas weave showing through, particularly towards the bottom.
BRIAN ORGAN (b. 1935) a poster advertising the portrait of the then Lady Diana Spencer, which went on display at the National Portrait Gallery on the 24th July 1981, less than a week before the sitters Wedding to Prince Charles, the poster with ink inscription "For Bryan from Bryan (Organ) Dec 1981", 76cm x 50cm; TATE GALLERY: A poster for the Ben Nicholson Exhibition, 19th June - 27th July 1969, 75cm x 50cm Condition Report: Lady Diana poster - discolouration and moisture spots evident, but difficult to ascertain as to whether they are on the paper or the underside of the glass. Rippling evident to the lower section suggesting the presence of moistureBen Nicholson Poster - Some discolouration but overall in relatively good condition
•IVAN MESTROVIC (Croatian, 1883-1962) A study of a classical figure stading aboard a boat with ram's head prow, above the artists name, gold paint on paper, 35cm x 24cm in a gold painted frame with relief animal decoration bearing a Rowley Gallery label verso; together with a copy of the Victoria and Albert Museum Exhibition Catalogue of 1915, which features the artwork on the front cover The book 'Ivan Mestrovic, A Monograph' (various authors) pub. Williams & Norgate, London, 1919, states on page 93, note 86 "The reproduction of the end piece in the centre of the last page, is made from a drawing by I. Mestrovic himself, and was used on the cover of the catalogue of the Victoria and Albert Museum Exhibition in London, 1915' Provenance: The Property of the eminent portrait, ballet and travel photographer E. O. Hoppe (1878-1972) and thence by descent Condition Report: Original artwork has some areas of discolouration evident. there are some annotations, presumably by the artist, doe on pencil. There does not appear to be any signs of tears, rips or creases to the paper. The exhibition catalogue is in relatively poor condition - the front cover is detached.
•PETER MORRIS (20th century) A three quarter length portrait of a lady seated in an armchair before a curtain, c. 1935, oil on canvas, 105cm x 64cm (unframed) Provenace: The Estate of William Gaspard Guy Romilly, 4th Baron Romilly (1899-1983) Peter Morris a friend and one time lover of Duncan Grant. Morris painted in France with Grant and is known to have sat for portraits for him. Grant also painted his sister Dora, and both were associated with the Bloomsbury Group. Dora Morris (1902-1960) was the second wife of the 4th Baron Romilly Condition Report: one patched repair around the sitters right armpit, some surface wear and craquelure in places
•ERNST EISENMAYER (Austrian 1920-2018) 'Old Jack' a head and shoulders profile portrait of Joseph John 'Jack' Gover, signed and dated 1944 lower right, oil on canvas laid on board, 55cm x 45cm Ernst Eisenmayer was born in Vienna in 1920 to poor Austro-Hungarian Jewish parents. During an attempt to reach France from Vienna following the annexation of Austria in 1938 He was arrested in Saarbrücken on the French-German border and transported to the infamous Dachau concentration camp. Fortunately for Ernst, his younger brother Paul had reached Britain as a Kindertransportee, where his guardian, Professor JL Brierley, promised to sponsor Ernst in Britain. This secured his release from Dachau in April 1939, where he was possibly one of the last prisoners freed before the outbreak of the Second World War. However, arrival in Britain proved something of a Pyrrhic victory. In 1940 Eisenmayer was sent to five different British internment camps, including Onchan on the Isle of Man, where he made objects for warehouse exhibitions and wrote for the camp newspaper. His monochrome 'Violinist at Onchan' was later published as a stamp motif of the Isle of Man. In 1944 he showed work for the first time in an exhibition on Austrian art in exile. Two years later he enrolled at Camberwell College of Arts and studied there until 1947. Initially he focused on painting but later began creating sculptures and works with welded steel, bronze and stone. Acquiring British citizenship after the war, he worked temporarily as a toolmaker, painting in his free time under the guidance of the Austrian artist, poet and playwright Oskar Kokoschka, who became a key influence and supporter of his career. The City of Vienna awarded him the Medal of Honour for his artistic work. A short film by Frances Lloyd on the early work of Eisenmayer was shown at the Jewish Museum of Art as part of their 2009 exhibition, "Forced Journeys: Artists in Exile in Britain 1933-45." It describes the artist's deportation from Munich central station. The curator Rachel Dickinson considered his contribution to the exhibition as the "greatest aesthetic revelation." In 1975 Eisenmayer left England for Italy where he lived until 1988, then moving to Amsterdam until 1996. He returned to Vienna and lived in the Maimonides Center, a Jewish retirement home. His last two retrospective exhibitions were Art beyond Exile and The Dignity of Man. Condition Report: one area of 'bubbling' of canvas where it is not affixed to the backing board, otherwise works appears to be in good condition with no obvious signs of damage or restoration
DAVID-ANDERSEN: A SILVER AND ENAMELLED DISH, circular form, the centre with translucent blue enamel of a relief portrait of a horseman with sword and shield, within a spiral fluted border, rim with presentation inscription to Air Vice Marshall EC Huddelston, 18.4cm dia. Condition Report: Item appears to be in good overall condition with no visible damage, one side slightly mis-shaped
Unique Silver Box, Theatrical/Vaudeville Interest. George Barry Lupino Hook (1884-1962). Large Silver Domed Top Presentation Momento Cigarette Box With Cedar Wood Interior, Silver Hallmark For Sheffield 1923. Engraved To The Top A Salmon Holding A Letter In Its Mouth Addressed To Aunt Lucy, Engraved Dedication Reads 'To Sunshine With Thanks For His Unending Kindness, Signed Barry Lupino'. 8 Inch Wide, 5 Inch Deep, 3 Inch High. Barry Was An English Comedian, Music Hall And Vaudeville Act, Film Star And Producer, He Stared In Numerous Films Of The Day, Sporting Life, The Sky's The Limit, Bed And Breakfast, Garrison Follies, Never Trouble Trouble, Jack And The Beanstalk, To Name A Few, The Lupino Family Were Famous In Their day, His father (1853-1932) Performed In Drury Lane Pantomimes In The 1890's, With Dan Leno, His Other Son Mark Lupino (1889-1930) Was A Famous Vaudeville Performer. In Later Life Barry Lupino Worked In Television As A Producer In Shows Such as The Fred Emmery Show (1957), Caxton Tales (1958), It's A Square World, Spike Milligan. Barry Lupino's Portrait Can Be Seen In The National Gallery Collection, London. He Was A Member Of The Music Hall Guild Of Great Britain And America, He Spent 5 Years Touring In America With His Stage Act. The Lupino Family Have Been Connected With The English Stage Since The 17th Century, When They Arrived From Bologna, Italy. Barry Was Also The Brother Of The Actor And Comedian Stanley Lupino Who Was The Father Of The Famous Actress Antoinette Lupino And Uncle Of The Famous Hollywood Anglo/American Actresses lda And Rita Lupino Who Both Starred In Many Hollywood Blockbuster Films With Actors Such As Humphrey Bogart, Rock Hudson, Charlton Heston And Many More.
Fine Quality Berlin KPM Cabinet Cup And Saucer, hand painted polychrome portrait of a Freiherr (German equivalent of a Baron) outfitted in early 19th century military attire in a panel to the front of the cup, stylised gilt foliage on a white ground to the rest. Elevated scroll handle with anthemion terminus, three gilt paw feet and deep band of plain gilt to the interior; the saucer with gilt foliage to the edge and a 7 pearl coronet over a Gothic W to the centre, representing a Freiherr. 1837-44
Doulton Lambeth Tobacco Jar Barrel form lidded jar of glazed earthenware with applied moulded oval portrait plaques to body, impressed factory mark and 8093 to base. Together with Copeland Spode Queen Victoria Diamond Jubilee 1837 pitcher and beaker. Please see image. Along with a Doulton Lambeth vesta striker, with applied blue decoration.
A 19th Century Portrait On Canvas Unsigned portrait of an elderly whiskered gentleman, housed in period gilt gesso frame - some damage to corners. Label to frame verso, almost indiscernible 'H. E Payne', stamp to canvas verso 'Rowney & Co, 64 Oxford Street'. Image size, 10 x 8 inches, overall dimensions, 13.5 x 15.5 inches, craquelure throughout, please see accompanying image.
25th Anniversary Desert War Set of three 18ct Gold Commemorative Medals issued in 1966 by Metal Import Ltd, Coined and Weights by Johnson Matthey and Co Ltd. Each Medal Has Field Marshall Montgomery, Portrait to the left of obverse with a Tank in the Desert and inscription 'Sidi Omar, El Alain, Tobruk, El Acheila to reverse. 22mm 0.257 Ozt, 32mm 0.562 Ozt, 40mm 1.125 Ozt; In a Blue Presentation Case with Certificate.
'Concorde - The Queen of Aviation' set of 12 Cu Gold Plated Proof coins, 2009, in wooden case with certificate; 'London Olympics' Gold Plated ingot series; 'The Changing Face of British Coinage' Queen Elizabeth pre-decimal edition; 'The 2012 Diamond Jubilee 65 mm coin; 'Cook Islands 5 Dollars, Cu Gold Plated with portrait, cased with certificate x 2; plus Crown sized coins x 9; and 'The Princess Diana of Wales' NIUE Islands 6 coin One Dollar, 2011, set of coins (10)
A contemporary fine Russian gold gem set and enamelled egg on stand, the white enamel and gold egg opening to reveal several candles and chalice, having a painted oval portrait of the Tsar and his wife within a diamond border and diamond and enamel crown finial, on a circular base with black enamel inscription and heightened with diamonds and sea green enamel to upper, 348g and a 14.5cm high, with a fitted box marked Veritable Oeuf D'Oie Collecion Russia (2)
The Royal photographic collection of Colonel Vassa Voynovich otherwise known as 'John Scott'.A remarkable archive of photographs from the most respected Royal photographer of the 20th century. Note: This lot was withdrawn from a previous sale and please be aware it is being sold with an on going copyright dispute despite having a sworn assignment of copyright from the vendor. We therefore offer no guarantee as to the purchaser's entitlement.Over 4000 colour transparencies dating from 1949 up to the early 1980s.Voynovich came to England in the 1940s after escaping occupied Yugoslavia. Originally from a remote Serbian village, he had already experienced a life of danger and intrigue. As a 17 year old in World War I, he had commanded a platoon on the Russian front during which time he was taken prisoner, escaped, wounded, returned to command a battalion, wounded again, then used his recuperation in hospital to study Law and gained a Doctorate from Zagreb University. Between the wars he held several important military and civilian posts before ending up in German-occupied France in 1940. In 1941 he escaped to England via Paris on a train reserved for German Generals, carrying three different passports and smuggling out important Intelligence reports as well as a cache of British and American currency. The young King Peter of Yugoslavia, who had himself escaped the German invasion of his country and was living in London in a suite at Claridges, appointed Voynovich his Private Secretary, Master of the Royal Household, Keeper of the Privy Purse and Political Adviser. Voynovich spent several years in the service of the young King Peter, but when the King decided to move his household on to Monaco, Voynovich, fearing a life of indolence, declined to accompany him. Instead, he resolved to remain in England and become a photographer. He took his Leica camera everywhere he went, often his hosts at weekend country house parties would invite him to take pictures. Before long, the young Princess Elizabeth saw some of these photos of her friends. The official process in order to gain a photographers pass to Royal events was to apply to the Palace each month when the Royal engagements were published. However, Scott's diplomatic contacts gave him unparalleled access. He was a friend of Sir 'Jock' Colville who was Princess Elizabeth's Private Secretary (and had also been assistant Private Secretary to three wartime Prime Ministers: Chamberlain, Churchill and Attlee). Through Colville, Elizabeth requested that Voynovich photograph her in uniform during one of her first Trooping the Colour ceremonies. This was a success and he was asked again in 1951 when she took the salute herself as the King was ill. The resulting photograph of her in the scarlet tunic of the Grenadier Guards was the image that the new Queen chose after she had succeeded to the throne, to be shown in cinemas whenever the national anthem was played. The success of this photograph really launched Voynovich's photographic career. It was at this time that he changed his name to the more manageable John Scott, partly because in his native Yugoslavia, photographers were considered third class citizens.As an ex-cavalry officer with equestrian expertise and having been a member of the diplomatic service he was very well positioned to intimately capture favourite Royal events such as Ascot, Badminton and Windsor Horse Show. He had a great passion for horses which was shared by all the Royal Family. Scott was also extremely charming and his diplomatic experience meant he was suave and comfortable around Royalty. In addition, he spoke 10 languages which made him very useful.One of the Royals once told him "You are the only photographer who lasts with Lillibet, because when you are taking pictures you behave accordingly, and when you are not, you are one of us."Although initially reluctant to exploit his connections, he was advised to employ an agent. His agent found him an unconventional client - he refused to charge any royalties for the Trooping the Colour photograph, "I am not a shopkeeper!" he protested, but his scruples changed and his work went on to command the highest fees from magazines and publishers around the world. His clients included a number of well-known British publications including Woman's Own magazine where in 1953, he met Judy Appelbee (nee Stoakes) who was a secretary. His contract work for Woman's Own was more conventional in nature and he often needed a model. Judy was clever and beautiful and he persuaded her to pose for him. They shared a love of horses. It was the beginning of a career-long collaboration which placed Judy in front of, and also behind the camera, and in which she found herself rubbing shoulders with and photographing the upper echelons of the aristocracy and the Royals. She was to become his assistant for the next 30 years.Together they photographed numerous Royal events all over the world and took some of the most iconic Royal images of the 1960s, 70s and 80s. Judy retired to Cornwall with her husband. When Voinovich died in 1986, he left his photographic collection to Judy. As well as the two occasions the Queen requested Scott to photograph her for the Trooping of the Colour, other notable photo shoots of his career (although not included in this lot) include the 3 year-old Prince Charles and his baby sister Anne in the gardens at Clarence House. A selection of these photographs was sent by the then Princess Elizabeth to Prince Philip in Malta where he was on active service. Official commissions included the formal portrait of Diana, Princess of Wales used for a special Crown Agents' Omnibus Series of postage stamps to commemorate her 21st birthday amongst the Commonwealth countries. He also did a series of 19 official portraits of Prince Charles in uniforms with full military and naval regalia, see lot 397A for prints, copyright for these belong to the Crown.Some of the most remarkable images include Prince Charles laughing with Mother Theresa in India in 1980 and in complete contrast, the Prince dancing with scantily clad carnival dancers in Brazil. Also iconic images of Charles and Diana announcing their engagement and on honeymoon at Balmoral, looking happy and comfortable in each other's company. In 1971 Prince Phillip took up carriage driving. In 1973, Scott was asked to help organise a Yugoslavian team to compete in the European Carriage Driving Championships at Windsor. Scott acted as interpreter. They competed with four bay Lippizzaner stallions and brought a team of reserve horses. One was presented to Princess Anne and another to Scott as a thank you for his assistance. There many images of these beautiful horses and others belonging to Princess Anne. When Scott died, as well as inheriting his photographic archive, Judy also inherited his Lippizaner and brought it to Cornwall.Looking through the thousands of images in this archive, covering almost forty years, it is possible to see the Royal family grow up before ones eyes. Knowing them now, in their older years, it is easy to forget how dashing Prince Charles and Prince Andrew were, how poised and stylish Princess Anne was or the luminous beauty of Princess Margaret and indeed our current Queen. Yet everything is here, from childhood to maturity, Royal engagements with all their pomp and ceremony to unguarded family moments between the Queen and her children. It is an astonishing collection.The collection consists of colour transparencies housed in plastic display sleeves that hold 12 or 20 transparencies. Many are annotated with date and location.5 filing boxes containing 3917 transparencies and 9 folders containing 623 transparencies, assorted prints and some negatives. Some of the contents of the folders are duplicates of images in the boxes. (See inside back cover illustrations)
A Royalist heart shaped silver locket, one side engraved 'I morne for Monarchy' the other side 'I live and dye in loyaltye', the locket opens to reveal the portrait of Charles l in low relief on a black ground and to the lid a mourning cast oval with central skull, height including suspension loop 22mm. It comes in a box labelled King Charles lst. Provenance: The Penrose Estate, Porthleven, Cornwall. Condition report: Small dents to back, general condition good.
Photographs and a small amount of correspondence relating to Mr Frank Gaines, Head coachman to George V at Windsor Castle, who was a royal coachman during 3 reigns. Including a hand written memorandum to Gaines from Princess May/Mary? at Sandringham Oct 1927 and a letter written by The Lady in Waiting on behalf of Princess Mary thanking Gaines for his good wishes on the birth of her son, Goldsborough Hall, August 1924. Also two oval mounted photographs of Prince George, Duke of Kent and Prince Henry, Duke of Gloucester, annotated George 1912 and Henry 1912, probably gifts for Royal staff. Photograph of Princess Mary driving a carriage. Various other photographs and photographic postcards of Gaines driving carriages and other coachmen. Other images: George V portrait, a group of WWI medical corps soldiers, a very full 'Torpedo' type charabanc. A large guards and carriage procession leaving the inner courtyard of Buckingham Palace. 6 postcards of people in fancy dress, two dated Sandringham 1912. Various other images of Scotland/Balmoral and Sandringham and miscellaneous subjects and persons. A newspaper cutting from the Daily Mirror announcing Gains' retirement. Total: 47 photographs and photographic postcards.
William Moore, Snr (British, 1790-1851), two portraits of young women, watercolour on pencil, each signed and dated 1835 lower left, in ornate gilded frames, 25cm x 20cm Portrait painter William Moore Snr made his career in York. He was the father of fourteen children, some of whom became successful artists themselves including Albert Joseph Moore (1841-1893), and the landscape and marine painter, Henry Moore, R.A (1776-1848)..
William Moore, Snr (British, 1790-1851), portrait of a woman and another of a man seated, watercolour on pencil, each signed and dated 1829, in gilded frames, 25cm x 20cm Portrait painter William Moore Snr made his career in York. He was the father of fourteen children, some of whom became successful artists themselves including Albert Joseph Moore (1841-1893), and the landscape and marine painter, Henry Moore, R.A (1776-1848)..
William Moore, Snr (British, 1790-1851), portrait of a woman and another of a man holding a gun, watercolour on pencil, each signed and dated 1829, in gilded frames, 25cm x 20cm Portrait painter William Moore Snr made his career in York. He was the father of fourteen children, some of whom became successful artists themselves including Albert Joseph Moore (1841-1893), and the landscape and marine painter, Henry Moore, R.A (1776-1848).. Have not been out of frame. We do not know who the sitters are. Gentleman has staining most notable to top half of the picture, possible slight loss to colour. Lady staining most notable to margins, white staining to the left hand side visible on image.
William Moore, Snr (British, 1790-1851), two portraits of young women, watercolour on pencil, each signed and dated 1835, in wooden frames, 25cm x 20cm Portrait painter William Moore Snr made his career in York. He was the father of fourteen children, some of whom became successful artists themselves including Albert Joseph Moore (1841-1893), and the landscape and marine painter, Henry Moore, R.A (1776-1848).. Have not been out of frame. We do not know who the sitters are. Lady with flower in hair overall condition good, no major faults found, some loss of colour and some staining to paper. Lady in red chair overall loss to surface decoration notable to face, body and background, some staining.
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