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Preisdatenbank abonnieren*@Holloway (Edgar, 1914-2008). Self Portrait No. 7, 1937, etching with plate tone on pale cream laid paper, from the published edition of 50 impressions, signed and numbered 47/50 in pencil below the image, titled and dated to lower edge, plate size 25 x 30 cm (9.9 x 11.11 ins), with margins, framed and glazed (1)
*Autograph Letters by French & Italian Artists. Nine autograph letters or notes signed by Antonio Canova (1757-1822), Jean Auguste Dominique Ingres (1780-1867), Eugene Delacroix (1798-1863), Paul Delaroche (1797-1856), Gustave Dore (1832-1883), Jean-Leon Gerome (1824-1904), Jean Baptiste Isabey (1767-1855), Eugene Meissonier (1815-1891) and Horace Vernet (1789-1863), circa 1815-70, consisting of a pencil presentation inscription by Antonio Canova attached to an engraved profile portrait of the sculptor (dated 1812), 'A Sua Eccellenza Milord Penrose Ammiraglio del Mediterraneo, Canova' [Sir Charles Vinicombe Penrose, Commander in Chief of the Mediterranean Fleet, Autumn 1814-May 1815 and May 1816-1819], a signed letter from Ingres to Victor Chaugi, Rue de Seine, Paris, dated 31 Juillet 1850, postponing an invitation to lunch as he will have to go to the countryside, a signed note by Eugene Delacroix to Eugene Cheradame, dated Paris 7 aout 1846, acknowledging receipt of 4000 francs 'pour prix de mon tableau representant un naufrage', a signed undated letter on blue paper from Gustave Dore to 'Mon cher Capitaine' outlining arrangements for them both to attend an invitation from a lady, a letter from Jean-Leon Gerome to Madame Millais, dated London 1er janvier 1870, regretting that he cannot accompany his wife as he must take advantage of the weather, while 'le Fog, l'affreux Fog, l'ennemi des peintres ne vient pas changer en nuit obscure la lumiere crepusculaire qui fait le charme de ce pays', a letter from Paul Delaroche to an unnamed recipient, dated 7 novembre 1831 'Monsieur, J'ai ete bien vraiment contrarie lorsque j'ai appris par la lettre que vous m'avez fait l'honneur de m'ecrire que vous vous etiez inutilement donne la peine de passer plusieurs fois chez moi. Le dessin dont Monsieur Feuillet vous a parle n'est plus a moi, et je regret de ne pouvoir dans un moment m'occuper de vous pour faire un autre' , a letter with remains of seal from J. B. Isabey to Monsieur John Gamble, 7 Surry Square, Kent Road, London, dated Jeudi 31 octobre 1822, referring to a lithograph requested by him which cannot be made ready as he will be in the studio for the next four months, a short note from Ernest Meissonier to Monsieur Giroux circa 1859, a letter on pale blue paper from Horace Vernet to Monsieur le Ministre, requesting an audience with him tomorrow morning regarding 'une affaire qui m'interesse vivement', each mounted on modern white backing paper (9)
*Ross (R., early 19th century). Lord Byron, after Thomas Phillips, circa 1830s-50s, oval miniature portrait in watercolour and gouache on ivory, head and shoulders portrait, half profile to left, showing the poet as a young man with light brown curly hair, wearing a white collar, pale blue waistcoat, and terracotta coat, signed to right-hand side, 7.5 x 6cm (3 x 2.25ins), ebony frame, glazed, paper label on verso annotated 'Lord Byron' in an early hand (1)
*Jackson (George, early 19th century). Portrait of a Young Man, 1822, fine watercolour and gouache half-length portrait of a handsome young man with tousled dark brown hair, wearing a black waistcoat and cravat, and heavy brown overcoat, signed G. Jackson and dated 1822 lower right, antique-style black and gilt frame, glazed For a similar example of this little-known artist's work, depicting the sporting artist John Frederick Herring (NPG 4902) and also dated 1822, see David Saywell & Jacob Simon, National Portrait Gallery, Complete Illustrated Catalogue, 2004, page 299, and Richard Walker, Regency Portraits, 1985, page 246. (1)It measures approximately 18.5cm x 16cm, or around 7.25 x 6.25 ins.
*Portrait miniature. Lady Cambridge, mid 19th century, oval portrait miniature, gouache and watercolour on ivory, depicting a half-length portrait of a young lady wearing a pearl headdress on her dark brown ringlets, and a blue dress with muslin neckline, gathered sleeves, and braided bodice decoration, toned, 8.5 x 6cm (3.25 x 2.5ins), contemporary panelled ivory frame glazed, a few minor cracks in ivory, titled in contemporary manuscript on verso (1)
*@Holloway (Edgar, 1914-2008). Christopher (Self Portrait 14), 1942, etching on laid paper, with light plate tone, signed and titled in pencil to lower margin, additionally inscribed in pencil by the artist to foot 'for Monica - Capel-y-Ffin May 1943. S.P. 14 1942', plate size 22.7 x 13.7 cm (8.9 x 5.4 ins), with wide margins, framed and glazed (unexamined out of frame) (1)
*Cosman (Milein, 1921-2017). Stravinsky Conducting, 1982, etching with aquatint, signed and dated, and numbered 2/75, some light overall spotting, 17.8 x 32.5 cm (7 x 12.75 ins), with margins, framed and glazed, together with another self-portrait etching by Cosman, signed and dated '81, marked A/P, and 'For Kaja with love' in pencil, plate size 14.6 x 10 cm (5.75 x 4 ins), sheet size 37.5 x 28.5 cm (14.75 x 11.25 ins), framed and glazed, plus a group of 6 original pen and dark green ink drawings of orchestral musicians and a conductor performing Wagner's Flying Dutchman, Tchaikovsky's Overture to Romeo and Juliet, Elgar Howarth concertino for trumpet and Beethoven's 5th Symphony, 17 x 11 cm (6.7 x 4.3 ins) and slightly smaller, mounted together as one, framed and glazed (3)
*De Morgan (Evelyn, 1855-1919). Portrait of a boy, 1874, oil on canvas, full-length study of a dark-haired young boy in a loin cloth, leaning against a plinth, with legs crossed at the ankles, dated and initialled upper right corner, somewhat soiled and rubbed (wearing thin in a few places), 53 x 27.5cm (21 x 10.75ins) Executed whilst Evelyn De Morgan was a student at the Slade School of Art. The De Morgan Foundation has a remarkably similar full-length portrait, of a young man in a loin cloth, which they describe as: "a very rare life study in oil on canvas" from the artist's early student days, adding "only once the student had satisfied their teacher that they were proficient with pencil and pastels would they be allowed to progress to working with oil paints". (1)
*Hepburn-Edmunds (Nellie M., circa 1878-1953). David Steele, aged 3 3/4 years, 1933, oval portrait miniature on ivory, signed and dated lower left, 12 x 10 cm (4.75 x 4 ins), period gilt frame, glazed, with handwritten label by the artist to verso, contained in original brown leather presentation case (some marks and wear) Provenance: Private Collection, Hampshire. Exhibited: Royal Academy, 1933, number 3. Note: Nellie Hepburn Edmunds studied at the Slade School of Art under Fred Brown and at Westminster School of Art under Mouat Loudan. She was elected vice-president of the Royal Society of Miniature Painters in 1912, and was invited to contribute to the Queen's Dolls' House and the 1925 British Empire Exhibition. (1)
English School. Oval miniature portrait of Robert Southey, circa 1830s, watercolour and gouache on ivory, head and shoulders portrait showing the poet with grey curly hair and sideburns, wearing a white cravat and black frock coat, 6 x 4.5cm (2.25 x 1.75ins), oval frame, glazed, annotated on verso in an early hand 'N.S.' and 'Robert Southey' (1)
*@Holloway (Edgar, 1914-2008). Self Portrait No. 16 (Prospect of America), etching with plate tone on pale cream laid paper, from the published edition of 50 impressions, signed and numbered 22/50 in pencil below the image, titled in pencil to lower edge, plate size 19.9 x 15 cm (7.9 x 5.9 ins), with margins, framed and glazed (1)
*Cook (Alice May (1876-1958)). Portrait miniature of Elisabeth June Restall, circa 1942, oval watercolour on ivory, head & shoulders portrait of a pretty young lady with long dark hair worn in two plaits, wearing a rounded-necked blue and pink floral-patterned blouse, with a circular blue stone brooch at neck, signed lower left, 7 x 5.5cm (2.5 x 2.25ins), oval white metal pendant frame, glazed, together with an unsigned oval portrait miniature of Elisabeth June Restall as a baby, watercolour and gouache on ivory, head and shoulders portrait of a chubby baby with blonde hair, 7.5 x 6cm (3 x 2.25ins), oval gold coloured pendant frame, mounted in a velvet-lined case, with double flaps to front and stand to back, rubbed and one hinge broken, plus a small oval daguerrotype of a female relative, mounted in an embossed case Alice May Cook was a painter, miniaturist and book illustrator, who studied at St John's Wood School of Art and the Royal Academy Schools. She exhibited widely, including the RA, the Royal Society of Miniature Painters, the Society of Women Artists, and the Royal Hibernian Academy in Dublin. (3)
*@Holloway (Edgar, 1914-2008). The Turban (Self-Portrait No. 9), 1937, etching with plate tone on cream paper, from the published edition of 50 impressions, signed and numbered 45/50 below the image, and titled to lower edge, 12.6 x 10.2 cm (5 x 4.1 ins), with margins, framed and glazed Meyrick (1996) 108. (1)
*Watercolours & artwork. A large collection of approximately 130 watercolours, drawings and artwork, mostly 19th century and early 20th century, including 6 watercolours of maritime scenes with sailing ships (one signed Callow), 18.5 x 27cm (7.25 x 10.75ins) & smaller, 14 pencil and watercolour studies of German ballet dancers, circa 1930s, 25 x 15.5cm (10 x 6ins) & smaller, two small sketch books containing numerous pencil portrait and character studies etc., contents loose, both in original cloth covers with initials AMB and date 1910 to upper cover, together with other landscapes, portraits, still life studies etc. (approx. 130)
*Cowern (Raymond Teague, 1913-1986). V‚zelay, 1937, etching on wove paper, signed, titled and dated in pencil, plate size 14.5 x 18.8 cm (5.75 x 7.4 ins) with margins, framed and glazed, together with a late 19th century etching on wove paper of women in a harbour loft mending fishing nets (possibly by a Newlyn or Staithes artist), unsigned, plate size 16.2 x 26 cm (6.4 x 10.5 ins), with good margins, plus a lithographic portrait of Hilaire Belloc by William Rothenstein (1872-1945), dated in the image 1896, framed and glazed (3)
*Miniature. Portrait of a Regency Lady, 1818, oval watercolour on ivory, half-length portrait of a lady wearing a high-waisted green dress with puffed sleeves, and a white lace cap over her dark curls, verso with indistinct pencil inscription dated 1818, 7.5 x 6cm (3 x 2.25ins), ebonised frame, glazed, together with another 19th century miniature painting, oval watercolour on ivory, of the Virgin Mary, mounted, framed and glazed (2)
*Circle of Rembrandt van Rijn (1606-1669). Portrait of a bearded man, half-length, wearing a dark coat, white cravat and dark headcap, black and white chalk on blue-grey laid paper with fleur de lys watermark to centre, old professional restoration to edges, laid down on pale blue backing paper, 35 x 24 cm (13.75 x 9.5 ins) Provenance: A. Stewart Wright, mezzotint portrait artist active in the 1920's. Leggatt Brothers, 30 St James's Street, London, circa 1954. With a handwritten letter by A. Stewart Wright accompanying this drawing, addressed to Leggatt Brothers, dated January 11th 1954, on paper with address 11, Lynton Road, New Malden, Surrey at head, stating: 'The chalk drawing of a bearded man by Rembrandt, on blue-grey 'wire' paper, has a fleur de lys watermark in the centre of drawing. I repaired the damages to this drawing in December 1953.' The firm of Leggatt brothers, Fine Art Dealers, was established in 1820 and continued to trade until 1992. Pale blue or blue-grey papers (as here) were used by pupils of Rembrandt such as Jacob Adriaensz Backer (1608-1651), Govaert Flinck (1615-1660) and others. (1)
*@Holloway (Edgar, 1914-2008). Self Portrait, 1932, etching on pale cream paper, one of 6 artist's proofs, aside from the published edition of 50, signed, titled and dated in pencil, and marked V/VI AP's to lower margin, and additionally marked in pencil to edge of sheet S.P. No. 6, 1932, a very good impression, plate size 22.7 x 16.2 cm (8.9 x 6.4 ins), with wide margins, framed and glazed (unexamined out of frame) (1)
*Austrian School. Portrait of a Habsburg Princess, circa 1770-1780, oil on canvas, 81.5 x 63 cm (32 x 24.75 ins), relined, old auction stencil to verso of stretcher 798 GR, gilded wood frame Provenance: Private Collection, Bath, England. A na‹ve portrait of a daughter of the Habsburg Dynasty, the Habsburg Crown seen large-scale on a table behind the young girl, and a miniature profile portrait of an Austrian royal figure or archduke at the front of her dress. Possibly one of the many daughters or grand-daughters of Empress Maria Theresa of Austria - the subject bears some resemblance to known portraits of Maria Teresa of Naples and Sicily (1772-1807), eldest daughter of Ferdinand IV & III of Naples and Sicily, later Ferdinand I of the Two Sicilies (1751-1825) and Marie Caroline of Austria (1752-1814), who married Francis II of Austria (1768-1835), the last Holy Roman Emperor. (1)
*Continental School. Oval miniature portrait of Queen Louise of Prussia (1776-1810), later 19th century, watercolour and gouache on thin ivory, signed Denise lower right, depicting the famous young wife of Frederick William III of Prussia, who met Napoleon following his defeat of the Prussians in 1807 to ask for leniancy, the figure wearing a white empire-style dress with pink ribbon sash and ermine royal cape, and a diadem with star and veil, 10 x 8 cm (4 x 3.2 ins), period ornate brass frame, together with another Berlin porcelain oval miniature portrait of Queen Louise, pencil inscribed to verso with her name, and with blind impressed stamp '15' to verso mounted on oval brass frame, 9 x 7 cm (3.5 x 2.75 ins), a small oval miniature portrait of a young woman holding red roses in the style of Heinrich Friedrich Fger (1751-1818), probably late 19th century, an English watercolour portrait of a seated widow, unsigned, and one other (5)
John Wesley Carroll (American, 1892-1959 ) Original Chalk Pastel Female Portrait (Untitled) Circa late 19th/Early 20th century, large portrait of young female subject, her dark hair pinned in loose chignon, rose pink silk drapery finished with a yellow rose corsage to her décolletage. Rendered in soft chalk pastel on Bristol paper, Signed to bottom left, very good condition, framed and mounted under glass, 23 x 17 inches.
A Late 19th /Early 20th Century Art Nouveau Marble Portrait Bust - Possibly Queen Alexandra Of Denmark Large scale bust in white marble raised on circular marble pedestal, her hair adorned with an ornate Kokoshnik tiara, her decolletage draped with carved pearls. Some chips/damage in places - does not detract, please see accompanying image. 65 inches in height, 49 inches at widest point
CHEN YANNING (B. 1945)PORTRAIT OF ANNIE CATTO DOUGLAS oil on canvas, Signed 'CHEN YANNING' in Pinyin at the lower left, titled Annie Catto Douglas (1914-1980) verso50x39.5cm (sight)Provenance:Syllavethy Gallery, Alford, Aberdeenshire, Scotland; acquired by a British private collector from auction.Note:The present lot was the first commission Chen Yanning undertook when he arrived in the UK in 1986. It was commissioned by a gentleman called Jock Douglas from Burghead. He wanted a portrait of his recently deceased wife Annie. The portrait was painted from two photographs, a small colour one and a slightly larger black and white one. This painting has been authenticated by Susan and Michael Gassaway, owners of the Syllavethy Gallery.
SEVEN PORTRAITS ON SILKQING DYNASTY, CIRCA 1900 comprising six finely painted portraits on silk of the members a Chinese family and a portrait of George Grant, who stayed with the family whilst living in Beijing and commissioned these paintings, the seventh portrait depicting Mr Grant himself (7)29x20cm approxProvenance:From the collection of George A. Grant, a Scottish telegraph officer murdered in Mongolia in 1913 whilst trying to protect Chinese merchants from the bandits; the article 'A Brave Man's End', published in The Sydney Morning Herald on 11.10.1913, commemorates the courageous act by Mr Grant; thence by direct family descent.
TWO RARE PORTRAIT MINIATURES ON IVORYBY YEE CHEONG (ACTIVE IN SHANGHAI, HONG KONG AND FUJIAN ABOUT 1860S–1890S) oil and gilt on ivory, depicting a British officer in military uniform and an elderly gentleman in a suit, in original fitted boxes, both bearing label of 'Yee Cheong', each box containing a handwritten note apparently giving instruction as to how to carry out the composition and colouring of the two portraits (2)11x8.2cmNote:Also known as Yi-chung, Yee Chun and Ye Chung, Yee Cheong operated a photography and painting studio in Shanghai, Hong Kong and Fujian from the 1860s to the 1890s. He was among the first Chinese painters to make use of photography, introduced to China by Western diplomats and missionaries. The striking realism of these two portraits suggests that they were each copied from a daguerreotype. For a Portrait of a Boy in Cavalier Costume, about 1870, also by Yee Cheong, see the collection of The Getty Research Institute, 2003.R.22.11.
Barbarians v Clubs Rugby Programme Selection - 2x signed (5): v Newport 1975 and 1995 (signed by 6 Baa-baas); v Leicester 1975 (signed by JPR Williams). Really interesting shape, with programme notes, history and fine centre portrait artwork; and 1999 (at Twickenham) when Leicester were Premiership Champs; and v the NZ Barbarians at Cardiff, 1987. A little wear on some, but overall (G)
1976 UEFA Super Cup match programme Bayern Munich v Anderlecht 17 August 1976 (Final 1st Leg) hand signed to the cover photo by Franz Beckenbauer, also to a photo inside the programme, the signature of Gerd Muller. Also noted is a b&w photo featuring Beckenbauer and Muller holding a framed portrait and hand signed by each of them. (2 items, 4 signatures).
1990 Tony 'O'Reilly's Homage' - British Lions and South Africa Ultra-Rare Limited Edition Hardback de Luxe Rugby Book: 120 pp in heavy green leatherette boards with gold inlaid cover & spine titles, No.15 of 50 copies, calligraphically dedicated to Jack van der Schyff and signed to that frontispiece by Host Tony O'Reilly and Guest of Honour Dr Danie Craven. Keith Clayton was asked by O'Reilly to create the very personal volume, with press cuttings and 'then and now' pictures of many of the 1955 Lions and S African players and other appropriate guests at the Cape Town hotel, where he paid for all to honour the almost-80 year old Doc. Striking colour art portrait of the pair, many coloured pictures and autograph pages graced by those of Cliff Morgan, R H Williams and Bryn Meredith. Addresses page, index and, to the endpapers, fine action studies of the then 'Mr Heinz Worldwide', O'Reilly, as he had been in his prime 1955 Lions form. A great and very unusual chance to possess this fascinating rare rugby volume.
1899 Lancashire County Northern Union Jersey, Honours Cap and portrait: Formerly the property of H Kruger (Rochdale Hornets) who features in the large coloured framed glazed 14" x 10.5" picture wearing the same. Jersey a little grubby and with suitable stains, but bright with those narrow scarlet and white Lancashire hoops, collar apparently starched (later?!!) and 2 of 3 buttons present. Maker's name and attractive Lancs badge. Maroon revised style County Cap, maroon with god braid and tassel tarnished but in good outside condition, much-frayed to the inside though. HK monogram to inner and makers' name, Joe Nicholls (Yorks and England Cricket) & J T Brown, Halifax. Henry Kruger was born in 1878 in Manchester but of Welsh parentage. His parents returned to Cardiff. He played rugby as half back for Llwynypia and then "went north" and played for Rochdale Hornets and Hull Kingston Rovers. The medal, jersey and cap were won for Lancashire in the 16-13 win over Yorkshire in 1899, part of the Rugby League "War of the Roses". All good condition for age and a very atmospheric and attractive trio of items.
Jardowski (mid-19th century)Double-Portrait, of Two Young Girls and their Dog of the Hicks or Thompson Families, Essex, half-length, each child in a blue or white dress tied by a bow, the dog with his paws on their lap while being strokedsigned and dated 1845, attributed to verso, oval, watercolour and gouache, 24cm x 19cm
[Churchill memorabilia] A silver parcel gilt Churchill Centenary cylindrical cigar box by Garrard & Co. Ltd, London 1973, with a mesh finish, the cover with a low relief portrait and Sir Winston Spencer Churchill 1874-1974, designed by John S. Churchill & Alex Styles, limited edition no. 11 from a run of 100, 11cm (4 3/8in) high, 360g (11.6 oz), in a Garrard fitted case
[Churchill memorabilia] A pair of silver parcel gilt Churchill Centenary coasters by Garrard & Co. Ltd, London 1973-74, plain sides, the wooden base inset with a low relief portrait and Sir Winston Spencer Churchill 1874-1974, the reverse with his coat-of-arms, designed by John S. Churchill & Alex Styles, limited edition no. 11 from a run of 100, 13.7cm (5 3/8in) diameter, in a Garrard fitted case
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