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283284 Los(e)/Seite
Los 684
STEVE MCCURRY (AMERICAN b 1950), SHARBAT GULA, AFGHAN GIRL, PAKISTAN offset lithographic colour print, signed lower right in pen 54cm x 38cm Mounted, framed and under glass Note: Steve McCurry took his most recognized portrait, ''Afghan Girl'', in a refugee camp near Peshawar, Pakistan in 1984. The image itself was named as ''the most recognized photograph'' in the history of the National Geographic magazine and her face became famous as the cover photograph on the June 1985 issue. The photo has also been widely used on Amnesty International brochures, posters, and calendars. The identity of the ''Afghan Girl'' remained unknown for over 17 years until McCurry and a National Geographic team located the woman, Sharbat Gula, in 2002.
Los 579
* ANGELA REILLY (SCOTTISH), REVIVAL oil on board, signed with initials 46cm x 62cm (approximately 18 x 24 inches) Framed. Label verso: Thompson's Gallery, 76 Marylebone High Street, London with sold price of £1900. Note: Investigating the luminosity and tone of flesh, Angela Reilly’s paintings technically exude the precision of an old master, likened to a contemporary Holbein. Unusually, Reilly’s paintings becoming more detailed the larger their scale. Though almost photo-realist in their accuracy, Reilly’s work powerfully communicates what is felt as well as seen; realising the intangible. Reilly believes, "Portraiture is a preservation of ones memory not just preservation of appearance." Born in 1966 Angela Reilly studied Fine Art at Duncan of Jordanstone from 1984-87. In 1987 she moved to London working as an illustrator. In 1995 she began to concentrate solely on painting, moving back to Glasgow in 2003. Subsequently Reilly has exhibited in National Portrait Gallery, The Scottish Royal Academy and The Royal Glasgow Institute. In 2006 Reilly was commissioned to paint Lord Falconer’s - then The Lord Chancellor’s - portrait; was awarded a prize for portraiture by the National Portrait Gallery BP Prize 2006 and in 2007 featured in a BBC documentary. Angela Reilly's work is widely exhibited in London and Scotland.
Los 523
* ARCHIE FORREST RGI, LINDA II oil on board, signed, titled verso 15cm x 23cm Framed and under glass. Note: Collections include: Argyll Group PLC; Arthur Andersen & Co; BBC; Clydesdale Bank; Duchess of York; Ian Jay Associates; Intercapital Brokers Ltd.; Kelvingrove Art Gallery; MacFarlane Group (Clansman) PLC; MacRoberts Partnership; The Museum of Scotland; National Trust for Scotland; One Devonshire Gardens, Glasgow; Robert Fleming Holdings Ltd.; Royal College of Physicians, Edinburgh; Scottish Amicable; Scottish National Portrait Gallery; Scottish Opera; The Earl of Wemyss and March; The Royal Bank of Scotland; Royal Scottish Academy of Music and Drama; Stirling University; Weddell & Thomson; Whyte & Mackay; William Teacher & Sons Ltd.
Los 12
Group of two 19th century American School folk art paintings. One oil on board portrait of a girl holding a bird, and one oil painting on board depicting an elderly woman having her portrait painted.Dimensions: Girl with bird: unframed; height: 12 in x width: 9 3/4 in. Framed; height: 16 1/2 in x width: 14 in. Second painting: unframed; height: 10 3/4 in x width: 9 in. Framed; height: 19 in x width: 17 in.Condition: Fair condition, the panel for the portrait of the girl has a vertical break along the right.
Los 45
Group of 25 prints and sketches, dating predominantly from the 19th and early 20th centuries. Includes one pith paper painting of a young man; nine pages of illustrated German text telling the story of a young man's life with his faithful and pious mother; one lithograph, circa 1827, a political cartoon mocking the renovations to the spire of St. Jacob's Church in Hamburg; one watercolor painting depicting people gathering wood near a coast, signed Br Al along the lower left and further signed "L. Brammer--Altona Leo" along the verso; one sketch of a town scene with a German inscription along the verso; one small watercolor portrait; one engraving of a biblical scene; one engraving of ships and a castle; one sketch of a windmill, which is adhered to a paper which is signed Julie Weihnacht and dated 1845; one sketch of a house; one small poster for Kiderhilfstag (Children's Health Day) in Hamburg in 1911; one watercolor of the port of Hamburg; one sketch of a woman in a dress with a cut out piece; one small portrait in ink on vellum of a person in a fur-lined robe and muff; one enhanced photograph of a horse and a dog; one engraving of St. George's Church in Hamburg and the surrounding area which is adhered to a sheet but appears to have been taken from a book; one engraving of St. Michael's church in Hamburg, dated 1668; and one painting on paper of a harbor scene. Dimensions: Heights range from 3 in to 14 in; widths range from 2 1/2 in to 13 in. Condition: Generally good condition; some staining to paper and some tears to edges.
Los 13
English School, circa 17th century. Oil on panel portrait of Henry IV. Inscribed "H.R. IIII" along the upper left. There is a Minneapolis Institute of Arts label attached to the verso, which is inscribed L22-430, meaning the painting was loaned to the MIA in 1922. A partial label attached to the verso reads "Londo" and the letter "G." "T. B. Walker" is inscribed on the verso of the frame in pencil. Provenance: T.B. Walker Collection; private collection, Minnesota. Henry IV of England (1366-1413) was the first king in the Lancastrian line, which ruled England between 1399 and 1471, with a gap from 1461-1470 owing to the Wars of the Roses. His father, John of Gaunt, was the Earl of Lancaster and a major political figure during the early parts of Henry’s cousin Richard II’s reign. Henry entered politics in 1386 as part of the lords appellant, a group in opposition to the crown. Tensions quickly heated up, with conflicts resolved only by John of Gaunt’s timely return from a diplomatic expedition to Spain. At this point, Henry left England to go on Crusade to Central Europe for a few years. Upon his return to England, he immediately began stirring up political conflict, which eventually led to his exile in 1398. Later that year, John of Gaunt died. Richard immediately seized all of his--and, therefore, Henry’s--lands. Henry took this as an opportunity to invade England and usurp the throne, and was crowned king in 1399.He spent the early years of his reign pushing back uprisings of the Welsh, the French, and his own countrymen. Several of these wars dragged for years, particularly the now-legendary revolt led by the Welsh prince Owain Glyndŵr (ca. 1354-ca. 1416), who gained control of nearly the entirety of Wales before he was beaten back by Henry’s son Henry (1386-1422) in the first decade of the 15th century. King Henry grew increasingly incapacitated by illness, likely syphilis, in the later years of his reign, leading to further intrigue in government as various people competed for power and favor. He died in 1413 and was succeeded by his son Henry, who became Henry V of England. Despite the constant action and intrigue of Henry IV’s reign, which was even dramatized by Shakespeare, very few visual records of the man himself survive. The only image surviving from the king’s lifetime is his effigy from his grave in Canterbury. The image here, which is the standard depiction of Henry IV, is not actually based on Henry, but is instead based on a portrait of Charles VI of France, a contemporary of Henry’s. This portrait type was likely developed around the 1580s in response to the growing popularity of portrait halls. These halls were frequently lined with portraits of kings and queens of England as a way of emphasizing loyalty to the crown. The lack of a portrait of Henry created a gap in these halls, which led to the creation of this image, based on the engraving of Charles VI in the 1567 book "Recueil des effigies des roys de France avec un brief sommaire des genealogies faits et gestes d'iceux." Some alterations were made to the portrait: the face was altered to closer resemble that of the effigy, and a red rose, the symbol of the Lancastrian kings, was placed in Henry’s hand.This specific painting likely dates from the 17th century. Its entire history is not known, but once in the United States, it spent time in the collection of Thomas Barlow Walker (1840-1928), an important Minnesota lumberman with a passion for art collecting. Walker’s collection formed the basis for what became the Walker Art Center. This painting is an excellent and unique example of the standard portrait type for Henry IV due to the level of precise detail, and depicts the king in semi-profile to the left, wearing a burgundy tunic with a fur trim and collar. His right arm, which is armored, bears a scepter topped with a fleur de lis, and his left hand is holding a Lancastrian red rose. Around his neck is a gold necklace with a medallion of a lion rampant. The inscription to the left of his head reads H.R. (Henricus Rex) IIII. Unique among portraits of this type, instead of a plain dark background, this painting has scrolling designs on brown. Dimensions: Sight; height: 33 in x width: 22 in. Framed; height: 44 in x width: 33 1/2 in.Condition: Several vertical cracks to the panel, areas of visible inpainting under UV to the figure's face, areas in the background, and some along the body. Wooden supports along the verso, wear to the frame.
Los 7
Cephas Thompson (1775-1856). Oil on canvas portrait of Julius Thompson (1824-1900), the painter's son. Provenance: Directly from artist; descended through family.Dimensions: Unframed; height: 27 in x width: 22 in. Framed; height: 32 1/4 in x width: 27 in.Condition: Good condition, several light surface scratches.
Los 11
Cephas Thompson (1775-1856). Oil on canvas portrait of William Thompson. The nameplate reads: "William Thompson, February 15, 1748-March 14, 1816. Son of Caleb J Thompson and Abigail Crossman, Captain in Revolutionary War, Fought at Bunker Hill. Painted by Cephas Thompson, 1775-1856." Two scraps of fabric are affixed to the verso. The first has the artist's name, possibly his signature. The second reads "William Thompson. Son of Caleb T. and Abigail Crossman. Captain in the Revolutionary War. Fought at Bunker Hill. Very prominent in affairs of Middleboro, Mass."Provenance: Directly from artist; descended through family.Dimensions: Unframed; height: 26 1/2 in x width: 21 3/4 in. Framed; height: 36 1/4 in x width: 31 1/4 in.Condition: Good condition.
Los 5
American School, circa 19th century. Oil on canvas portrait of a young man. There is an illegible inscription on the verso, which is additionally inscribed #1572.Dimensions: Unframed; height: 22 3/4 in x width: 18 in. Framed; height: 35 1/2 in x width: 26 in.Condition: Good condition, relined.
Los 176
Six ceramic Pre-Columbian figural vessels from regions in Peru, including: one Chimu-Inca vessel (900-1470 C.E.); one Chancay vase (1000-1476 C.E.); one Moche Blackware jar (post-classic 900-1521); one Huari human face vessel (600-800 C.E.); one Vicus female figure vessel (100 B.C.E.- 200 C.E.); and one Inca Coquero portrait vessel (1100-1300 C.E.).Provenance: Chimu-Inca vessel purchased by Fernandez Leventhal Gallery, NY from Arte Primitivo Auction in June 2000. Purchased by current owner from Fernandez Leventhal Gallery in August 2000. Chancay vase originally uncovered by Huaqueros near Huarai, Peru; purchased by current owner from E. & L. Emond, Eastman QC, Canada. Blackware jar excavated by Dr. Javier Chiappo from the northern coastal region of Peru, centered around Huaca de la Sol; purchased by current owner from Dr. William Harling from Melbourne, FL, in 2000. Huari vessel purchased by Emmerich Frankel, Switzerland; Ernesto Ledermann, Switzerland; Nora Sermier & Ernesto Lederman Schwarz, Chiasso, Switzerland; purchased by current owner from Art Primitivo auction in 2002. Vicus vessel in Dr. Robert E. Rothenberg Collection, NYC prior to 1971; purchased by current owner from Arte Primitivo auction in 2002.Dimensions: Chima-Inca; height: 7 1/2 in x width: 4 in x depth: 5 1/2 in. Chancay; height: 7 3/4 in x diameter: 5 1/4 in. Moche; height: 9 in x diameter: 7 in. Huari; height: 7 3/4 in. x diameter: 8 in. Vicus; height: 9 in x width: 5 1/2 in x depth: 8 1/2 in. Inca; height: 8 3/4 in. x diameter: 5 1/2 in.Condition: Wear consistent with age.
Los 274
Louis ShipShee (1896-1975). Two oil paintings on canvas. One is a portrait of Buffalo Bill Cody. The other, titled "Thanksgiving to the Great Spirit," depicts a man in a war bonnet raising one hand to the sky. Both are signed and titled along the lower left. Kickapoo Logan (1908-2000). Oil on board titled "On the Alert" depicting a young Native American man with a horse. Signed along the lower left. Dimensions: Buffalo Bill Cody; sight; height: 23 3/4 in x width: 19 in. Framed; height: 28 3/4 in x width: 23 3/4 in. Thanksgiving to the Great Spirit: sight; height: 26 1/2 in x width: 17 1/2 in. Framed; height: 31 in x width: 22 in. Kickapoo Logan: sight; height: 15 1/4 in x width: 19 1/2 in. Framed; height: 23 in x width: 27 in.Condition: Good condition.
Los 1101
After Pablo Picasso, Abstract design; Lamp & Goat's head; Faces; Still life with fish; Double Portrait I; Cubist still life; Still life of fruit; Two Faces; Visage; Still life with Goat's head, ten woodcuts, from Balzac's 'Chef d'ouvre inconnu', edition of 340, published by Vollard 1931, various sizes.(10) DDS
Los 2454
An oval photographic portrait miniature of a lady, displayed in a filigree fronted case, three bangles, five brooches and pins, a filigree pendant with a neckchain, a filigree oval pendant locket, a Chinese Mandarin's fingernail guard, an Asian pendant with a neckchain, a papier mache snuff box, formed as a shoe, a gold mounted, amber cigarette holder, with a case, a single row necklace of graduated cultured pearls, an aide memoir, having enamelled covers, twelve costume rings, twelve pairs of costume earrings and further items, (qty).
Los 2336
A gold rope twist link neckchain detailed 9ct, on a cylindrical clasp, gross weight 4.7gms, a gold mounted oval shell cameo brooch designed as The Three Graces, detailed 9ct, an oval pink shell cameo brooch, designed as the portrait of a lady, a Victorian circular agate set brooch, a colourless zircon set brooch, a pin, a colourless paste set buckle, a gilt metal propelling pencil, a silver pendant cross and a hand pendant with a neckchain. (10)
Los 2140
A Victorian silver mounted Royal Worcester porcelain scent bottle, the front decorated in brown with the portrait of The Queen and detailed 1837 Victoria.R 1887, the rim detailed Canada, Australia, India and the back decorated in brown with National floral symbols, maker Sampson Mordan, London 1886.
Los 2372
A Victorian gold and rose diamond set brooch, in an oval design, an oval shell cameo brooch, designed as the portrait of a girl, seven further brooches, a branch coral necklace, a reconstituted amber bracelet and mostly silver jewellery, comprising; three bangles, four pendants and charms, two pairs of earrings, six rings and sundry, (30).
Los 2114
A silver mounted mother-of-pearl oval magnifying glass, probably circa 1800, an ivory cased part sewing necessaire, (the thimble and part of the scissors lacking), probably French, second half of the 19th century, two unmounted oval shell cameos, each carved as a classical portrait and two further items, (6).
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283284 Los(e)/Seite