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Preisdatenbank abonnieren•L.S. LOWRY (1887 - 1976) THREE ARTIST SIGNED LIMITED EDITION COLOUR PRINTS ISSUED IN CONJUNCTION WITH A BRONZE PROFILE OF THE ARTIST COMMEMORATING HIS 80th BIRTHDAY 'Self Portrait', 'Artist's Mother' and 'Artist's Father' Each signed in pencil With the bronze circular portrait medallion of L. S. Lowry by Leo Solomon In case with certificate numbered 281/300 The prints, each 10 1/2" x 14 1/2" (26.5 x 37cm); the medallion, 5" diameter (12.5cm) (4)
CHEN YAN NING (1945-) THE SANDALWOOD FAN IV A Chinese painting, oil on canvas, signed Chen Yan Ning, framed, with paper labels for the Hefner Galleries, Inc., Syllavethy Gallery and the Alexon Portrait exhibition at The Mall Galleries, 1990, 101cm x 75cm. Provenance: exhibited at the Hefner Galleries, Inc. New York. Purchased by Dame Anita Roddick (1942-2007) from Syllavethy Gallery for £10,500 on the 30th October 1990, together with a copy of the invoice. She then lent this painting to the Alexon Portrait exhibition at the Mall Galleries. Sold on behalf of the Roddick Charitable Foundation. 陳衍寧（1945-） 沉香扇之四 油彩畫布 畫框款識：CHEN YAN NING。來源：曾在紐約赫夫納畫廊展出，1990年10月30日由安妮塔·羅迪克（1942-2007）以£10,500的價格購於蘇格蘭斯拉維斯畫廊，附發票複印件。之後借給位於the Mall Galleries的Alexon肖像展展出，背面附畫廊及展覽標籤。
XU CAO (1899-1961) PORTRAIT OF ZHONG KUI A Chinese scroll painting, ink and colour on paper, inscribed and signed fu zi tian lai Yan Sun Xu Cao with an artist's seal which reads Xu Cao, 57cm x 31.5cm. Provenance: from the collection of Lin Wen Zhi (d.1994) acquired in the 1950s and thence by descent. Lin was the oldest son of a wealthy and influential family, he studied at the University of Shanghai during the 1920s, he was sent from Shanghai to Singapore to help in his uncle's business. After the Second World War, he went on to start his own businesses, then he re-established the family tea business in his late 70s. 徐操（1899-1961） 鐘馗送福 設色紙本 立軸款識：福自天來，燕孫徐操。鈐印：徐操來源：林文治收藏（逝于1994）之後由其女兒收藏至今。林文治是民國時期大戶人家長子，1920年代畢業於上海大學，畢業之後移居新加坡幫助其叔叔的生意，之後重新創立家族茶葉生意。
AFTER LENG MEI (19TH CENTURY) PORTRAIT OF MAGU IN THE SONG DYNASTY STYLE A Chinese scroll painting, ink and colour on silk, inscribed and dated the geng chen year, signed Leng Mei, with one artist's seal, 97.5cm x 47.5cm. Provenance: formerly a private European collection acquired between the 1950s and 1980s. 冷枚（傳） 麻姑圖 設色絹本 立軸款識：時在庚辰秋日仿宋人法，臺門畫史冷枚。鈐印：冷枚。來源：歐洲私人舊藏，購於1950-80年代。
1867-1961 accumulation on cards or in packets including 1867 5m. drab, 1p. red plate proofs, later varieties unmounted mint with1953 King Farouk with portrait obliterated selection mostly in pairs with double overprints, 1955 Second Arab Postal Union Congress 5m. inverted overprint, 1961 Revolution Anniversary and Five Year Plan miniature sheet miscut. Generally good to fine. (61)
A miscellaneous selection housed in an oversized Lighthouse album and loose contained in two large cartons (one flattened) including 2004 Christmas set in sheets of fifty, 2006 National Portrait Gallery sheet of sixty, 'Victoria Cross' press sheet (two, one in a frame), 2008 'Lest We Forget' (3rd issue) sheet of sixty; Post Office (12) postmen/women and pillar boxes, Yearbooks (3), and a quantity of 1980's stamp issue advertising posters
Gladys MacCabe ROI FRSA MA HRUA (1918-2018) The Green Room, Shelbourne Hoteloil on boardsigned lower left and titled on reverse 61 x 102cm (24 x 40.2in)Taylor Gallery, Belfast; Private Collection Gladys MacCabe was born in Co Antrim in 1918. One of her ancestors was a famous 18th-century Scottish painter, Sir George Chalmers. She had a picture published in the Royal Drawing Society's magazine when she was 16 years old and went on to study at the Belfast College of Art. In 1941 she married fellow artist and musician Max MacCabe (who died in 2000). Gladys and Max exhibited together on many occasions, starting in Ireland at Robinson & Cleaver in Belfast, 1942, and in England at the Kensington Art Gallery in 1949. Gladys and Max were members of the group of artists known as The Contemporary Ulster Group, which included Daniel O'Neill, George Campbell, and Gerard Dillon. William Conor was also an associate and Gladys painted his portrait in 1957 (now hanging in the Ulster Folk Museum). She formed the Ulster Society of Women Artists in 1957, as she felt that there was an untapped wealth of talent among the women artists of Northern Ireland. The Society's first major exhibition was in the Belfast Museum and Art Gallery in 1959.
Henry Jones Thaddeus (1860-1929) RHA Portrait of a Young Lady in a Black Feathered Hatoil on boardsigned lower left 52 x 43½cm (20.5 x 17.1in)Gorry Gallery, Dublin; Private Collection An Exhibition of 18th - 21st Century Irish Paintings: Gorry Gallery, Dublin: 6th - 19th December 2015; illustrated page 27 The sitter bears more than a passing resemblance to Rita de Acosta Lydig, a New York socialite, painted by Thaddeus in 1904 (Brendan Rooney, 'The Life and Work of Harry Jones Thaddeus, p.234 illustration no.47). She also sat to Giovanni Boldini and John Singer Sargeant. She was regarded as 'the most picturesque woman in America'.
Sir Thomas Alfred Jones (c.1823-1893) Woman Knittingoil on boardsigned with monogram centre left 43½ x 33cm (17.1 x 13in)Gorry Gallery, Dublin; Private Collection The exhibition, at the Gorry Gallery in 2016, of Connemara Girls by Sir Thomas Alfred Jones, marked the re-discovery of this almost forgotten painter of Irish life and people in the nineteenth century. Acquired by the Quinnipiac Great Hunger Museum, Connemara Girls was subsequently one of the highlights of the touring exhibition "Coming Home", shown at Dublin Castle and the West Cork Arts Centre in 2018. Another painting by Jones, also of an Irish 'colleen', Molly Macree, has long been a popular favourite in the National Gallery of Ireland. An eminently Victorian artist, Jones's own life story is like something from a novel by Charles Dickens. Abandoned as a child, he was raised in Dublin by foster parents, the philanthropist Mr. Archdale and his sisters. In 1833, showing talent as an artist, he was enrolled at the Dublin Society's Drawing Schools, and nine years later became a student at Trinity College, although he left without obtaining a degree. In 1841, Jones exhibited for the first time at the Royal Hibernian Academy, before setting off to continue his artistic studies on the Continent. The portrait Thomas-Alfred Jones, painted in 1851 by Pierre Puvis de Chevannes (Musee d'Orsay), may well be of the Irish artist during his time in France. Jones returned to Ireland after several years, setting up as a portrait painter. He exhibited regularly at the RHA, was elected an Associate in 1860, and nine years later succeeded Stephen Catterson Smith as President. In many of his paintings, Jones set out to create an idealised picture of how rural life in Ireland might be. He delighted in depicting country girls, bare-foot and wrapped in shawls, but healthy and rosy-cheeked. If the realities of life in rural Ireland failed to reach this ideal, this escaped his notice; his depictions of people were intended to be heart-warming and reassuring. In this painting, Jones celebrates the qualities of a woman who, though of advancing years, is still busy knitting, and doing her best to improve life for herself and her family. Her face, though lined with age, is handsome and resolute. She is outdoors, enjoying the good weather, although well wrapped up with shawls and a bonnet. Behind her is the neat white-washed wall of a cottage. Many of Jones's portraits are of 'colleens', or young girls, but this painting confirms that his interest was in depicting countrywomen of all ages, in a sympathetic and unsentimental way. Although attractive and popular, these scenes of country life were not Jones's main output as an artist. He was more at home as a society painter, depicting professional, social and political leaders. Among his commissions was a large series of portraits of the Lords Mayors of Belfast, among them William Ewart, James Haslett, Edward Coey, John Lytle, John Preston and others. His portrait of Queen Victoria is also in Belfast City Hall, while his portrait of James Hamilton is in the offices of Belfast Harbour Commissioners. Jones's sitters in Dublin included members of the Guinness family, surgeons, musicians, politicians and generals. In 1875 he painted portraits of the Earl and Countess of Bantry, while his portrait of Charles Stuart Parnell can be seen in the Oak Room of the Mansion House, Dublin. Peter Murray, October 2018
Andy Warhol (1928-1987) Golden Mushroom, from Campbell's Soup II, 1969 (F. & S. II.62)screenprint in colours on smooth wove paper, framed - number 94 from an edition of 250 (total edition includes 26 artist's proofs). Printed by Salvatore Silkscreen Co., Inc., New York. Published by Factory Editions, New York.hand signed in ball-point pen verso, stamp-numbered 94/250 verso 89 x 58½cm (35 x 23in)Taylor Gallery, Belfast; Private Collection Feldman-Schellmann II.62 One evening in 1962, the philosopher and art critic Arthur Danto happened to see a work by Andy Warhol in the window of the Leo Castelli Gallery in New York. The work was a stack of screen-printed Brillo Boxes, just like the boxes you could find in the supermarket, but these were recreated by Warhol and they were empty. Danto realised in that moment that Warhol had transformed the whole notion of fine art. As far as he was concerned, things would never be the same again. Born in Philadelphia in 1930, Warhol had worked as a very successful commercial artist and illustrator in New York since the early 1950s. But now he was transforming the subjects and methods of popular and commercial culture into the currency of fine art. Pretty much every American, Danto realised, could understand a Warhol. You didn't need knowledge of art history or any kind of insider information. At a stroke he had bypassed the pretensions of an art world elite - an elite that included Danto himself. Warhol went on to draw on any number of everyday subjects including, famously, Campbell's Soup cans - of which there are three pristine examples here - dollar bills, advertising imagery and film stars. When Warhol used images of film stars, he didn't aim for a classical studio portrait, he took ordinary publicity shots, as reproduced in newspapers and magazines, familiar to millions of people, made silkscreen versions of them, mechanically, but with some interventions, and produced them in multiples. His studio was called, appropriately, the Factory. His Ingrid Bergman has her in character as Sister Superior Mary Benedict in The Bells of St Mary's. Aidan Dunne, October 2018
A Nepalese bronze portrait of a royal donor from a shrine, Nepal, circa 18th century, the female figure sitting with one knee raised, her hair gathered in a bun, wearing large disc earrings her hands in namaskara mudra, wearing beaded necklace, amuletic pendant, 8.5cm high This figure would originally have been part of a shrine depicting the donor couple seated together, often with their offerings depicted in front. 18世纪 尼泊尔铜皇室供养人像
An Portrait of John Perriam, husband of Ann Perriam. John Perriam was the husband of the Naval Heroine Ann Perriam (The Powder Monkey) who was widowed at the age of 93 and lived in Tower Street, Exmouth. She aaccompanied her husband on board H.M. Ship Crescent and Orion and also fought alongside Nelson at The Nile. The Powder Monkey (a Wetherspoons pub) was named after John Perriams wife, oil on canvas laid on board or panel, 96 x 73cm, framed
* ISHBEL MCWHIRTER RCA (BRITISH b 1927 -), RHINOCEROS watercolour on paper, signed, titled and dated 1970 40cm x 50cm Mounted, framed and under glass Note: Born London in 1927 to a Scottish father and a Welsh mother, and a descendant of the Bard Hedd Wyn, Ishbel McWhirter was brought up in north Wales. She boarded and studied at A.S.Neill’s Summerhill School, resulting in her first solo show in London's Bond Street aged 18. Invited by the great Austrian artist Oskar Kokoschka to become his pupil, which continued for 7 years. Kokoshka wrote in 1945, " I see my pupil Ishbel McWhirter moved by curiosity...she pictures her heroines with a serene remoteness, lovely restraint, and the strangeness of the designers of the white funeral vases of ancient Greece ." Kokoshka encouraged her ‘lively un-English palette’ which has resulted in her vibrant watercolours and oils, often of the Menai Strait. Of her portraits, Kokoshka stated it appeared the colour came through the skin rather than being applied by a brush. She is best known for her portraits which include: Melvyn Bragg, Sir Kyffin Williams, Barbara Hepworth, Tilda Swinton, Nelson Mandela and Lord Scarman. In 1990 in honour of her time with Kokoschka she was invited to hold an exhibition at his birthplace near Vienna. Collections include: National Portrait Gallery, London; Victoria & Albert Museum, London; Scottish National Portrait Gallery, Edinburgh; National Library of Wales, Aberystwyth and Oriel Mon, Llangefni.
* GEOFF SQUIRE RSA RSW RGI (BRITISH 1923 - 2012), THE PORTRAIT OF ELSA oil on board, signed 71cm x 46cm Framed. Note: Geoff Squire was a Senior Lecturer at the Glasgow School of Art. He held the position of Governor at Glasgow from 1988-91. He was an inspirational and influential teacher and his students included Alison Watt, John Byrne and Steven Conroy. Painting in oil, acrylic, watercolour and working in pastel, his work has been exhibited extensively and appears in world-wide collections including the RSA, Royal and Ancient Golf Club in St Andrews, New College, Edinburgh and in the collection of HRH The Princess D Maria Cristina, Duchess of Braganza.
GERARD BURNS, THE VIEW FROM BACKSTAGE oil on canvas, signed 50cm x 50cm Framed. Note: Gerard Burns is one of Scotland's best known and most successful living artists. He trained at Glasgow School of Art and achieved UK wide acclaim as Winner of the Daily Mail ''Not the Turner'' Competition in 2003 with a £20,000 first prize. His many private collectors include The Malaysian Royal Family, Ewan McGregor, Sir Tom Hunter and numerous celebrities from the worlds of entertainment, sport and politics. Exhibiting Galleries include: Thompson's Gallery, London; Contemporary Fine Art Gallery Eton; Richmond Hill Gallery, Loch Gallery, Toronto; Robertson's Fine Art Gallery, Edinburgh. Works in Corporate Collections include: Aberdeen Asset Management New York and Aberdeen, RBS Scotland, Standard Charter Bank, West Coast Capital, Accenture, Dublin, Stagecoach Group, Norwood Club, New York. National Public Collections include: Hunterian Art Gallery, Glasgow; Kelvingrove Art Gallery, Glasgow; Burns Museum Alloway, Ayr; Scottish National Portrait Gallery (Portraits of former Scottish First Minister Alex Salmond, and author Denise Mina entered into the permanent collection at the Scottish National Portrait Gallery in 2015). The Scottish Parliament (''The Rowan'' hung in the former First Minister Alex Salmond's office for the duration of his tenure and Portrait of Margo McDonald entered into the permanent collection and installed at the Scottish Parliament in Sept 2016). Glasgow Caledonian University Portrait of Chancellor Professor Yunus installed 2016, Royal College of Physicians and Surgeons Glasgow. Portrait of former President Frank Dunn installed April 2016.
* NORMAN EDGAR RGI, STILL LIFE AND YELLOW CUP oil on canvas, signed 76cm x 76cm Framed Note: Norman Edgar studied at Glasgow School of Art from 1966 to 70 and went on to teach there until 1990, when he left in order to paint full-time. He is a landscape and portrait painter, working in the Colourist tradition. A member of the Glasgow Institute of Fine Arts, he shows work regularly in the annual Royal Scottish Academy exhibitions. He has long been a resident of Gourock on the south bank of the River Clyde and marine activities feature prominently in his work. He is also widely regarded to be one of Scotland's leading still life painters.
Original antique World War One propaganda poster - Das Geheimnis von Luttich / The Secret of Liege - showing a full size 42cm artillery shell featuring a portrait of Kaiser Wilhelm II with the Imperial German eagle and two images from postcards issued by Gustav Lierch & Co. Berlin showing bomb damage to the Fort de Loncin at Liege in Belgium and inscriptions in stylised gothic text reading Unser Bombenerfolg Luttich gefallen am 7. August 1914 Originalgroosse des 42cm Geschosses / Our bomb shell dropped on 7 August 1914. The German armaments manufacturer Krupp secretly designed this heavy artillery mobile weapon that was built to destroy reinforced concrete and became known as Big Bertha / Dicken Bertha after destroying the Fort de Loncin in 1914; the Fort is now a Great War memorial site and museum. Large size. Good condition, restored paper loss and folds, backed on linen. Country: Germany, year: 1914, artist: Unknown, size(cm): 111x42.
Original vintage WWI Propaganda Poster - Lord Kitchener says: Enlist to-day. British Army Recruitment Poster - Published by the parliamentary recruiting committee. Portrait of Lord Kitchener with the quote "Men, materials & money are the immediate necessities. ... Does the call of duty find no response in you until reinforced - let us rather say superseded - by the call of compulsion?" - Lord Kitchener speaking at Guildhall, July 9th 1915. Printed by David Allen and Sons Harrow, Middlesex. Fair condition, folds, tears on folds, small paper losses on folds, minor creasing, small scuff on bottom right corner. Country: UK Year: 1915 Size (cm): 126.5x102 (Horizontal).
Original antique British World War One propaganda poster "Make us as proud of you as we are of him!" featuring a portrait of a smiling British soldier in uniform inside an oval pendant with a blue ribbon above and the text below. Published by the Parliamentary Recruiting Committee, London. Printed by David Allen & Sons. Ltd., Harrow, Middlesex. Fair condition, folds, tears on image, tears in margin, slight browning. Country: UK, year: 1915, artist: Unknown, size(cm): 75x50.
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