North Africa, Carthage AR Shekel. Time of Hannibal. Carthago Nova, circa 218-206 BC. Bare male head (Hannibal?) left / Horse right, palm tree behind. Villaronga 1973, 142; CNH p. 71, 64; BMC 104. 5.96g, 21mm, 12h. Very Fine. Very Rare. This coin is conventionally believed to carry the portrait of Hannibal on the obverse. In 237 BC Hamilcar Barca, after having lost the First Punic War against Rome, but having won the Mercenary War against the Libyans, disembarked at Gadir with a Carthaginian expedition with the purpose of "re-establishing Carthaginian authority in Iberia" (Polybios, Histories, 2.1.6), and within 9 years he had expanded the territory of Carthage well into the Iberian peninsula, securing control of the southern mining district of Baetica and Sierra Morena, before dying in battle in 228. Hamilcar was succeeded by his son-in-law Hasdrubal the Fair who expanded the new province by skilful diplomacy and consolidated it with the foundation of Akra Leuka, Mahon and finally in 227, Qart Hadasht (Latin: Carthago Nova) as his capital. After his untimely death in 221 he was succeeded by Hannibal (247-182), oldest son of Hamilcar Barca, and Hamilcar's second son Hasdrubal (245-207 BC). The Barcids now wielded control over much of the mineral rich Mediterranean side of the peninsula until 219 when Hannibal made the fateful move of taking and sacking Saguntum, a well established Roman ally. The wholesale slaughter of this Roman ally's population, and the arrogance with which the Roman ambassadors sent to Carthage to seek redress were met, led directly to the Second Punic War: the great statesman Quintus Fabius, speaking to the Carthaginian senate, gathered a fold of his toga to his chest and held it out, saying "Here, we bring you peace and war. Take which you will." The Carthaginians replied "Whichever you please - we do not care." Fabius let the fold drop and proclaimed "We give you war."
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Antinous PB Tessera of Alexandria, Egypt. Circa 2nd-3rd centuries AD. Draped bust right, wearing hem-crown; crescent before / Nilus reclining left, holding cornucopiae; uncertain date before, crocodile to right below. Milne -; Dattari (Savio) -; Köln -. 3.57g, 19mm, 4h. Near Extremely Fine. Well centred, and with an attractive portrait.
Caracalla AR Tetradrachm of Laodicea ad Mare, Seleucis and Pieria. AD 215-217. AYT•K•M•A• ANT?N?INOC• C?B, laureate head right / •?????X• ??• ?????C• ??• ?•, eagle, holding wreath in beak, standing facing, head left and wings spread; star between legs. Prieur 1179. 16.53g, 28mm, 12h. Good Very Fine. Highly lustrous. A particularly bold portrait of Caracalla.
L. Pomponius Molo AR Denarius. Rome, 97 BC. L•POMPON•MOLO, laureate head of Apollo right / Numa Pompilius standing right, holding lituus behind lighted altar to which victimarius leads goat for sacrifice; NVMA•POMPIL in exergue. Crawford 334/1; Sydenham 607. 2.86g, 18mm, 11h.Good Very Fine, with heavily encrusted surfaces. An attractive portrait.
Vespasian Æ As. Lugdunum, AD 77-78. IMP CAES VESPASIAN AVG COS VIII P P, laureate head right; globe at point of bust / Eagle standing facing on globe, head right, with wings spread; S-C across fields. RIC 1237. 10.71g, 27mm, 6h. Extremely Fine. Fields gently smoothed. Attractive brown patina. A portrait of fine style. Previously slabbed by NGC #4280858-009 and graded AU (68) 5/5 - 4/5.
Vabalathus Æ Antoninianus. Antioch, March-May AD 272. IM C VHABALATHVS AVG, radiate, draped, and cuirassed bust right / AEQVITAS AV[G], Aequitas standing left, holding scales and cornucopiae; star to left. RIC 1; BN 1263. 2.85g, 20mm, 12h. Good Very Fine. Extremely Rare. Septimius Vabalathus, son of the ruler of Palmyra, Septimius Odenathus, came to power in AD 267 with his mother Septimia Zenobia as regent after the murder of his father, who had been entrusted with the defence of the Roman provinces in the east by the Emperor Gallienus. A strong character and very ambitious, Zenobia expanded her sphere of influence through the capture of the province of Egypt and the expulsion of the Roman prefect Tenagio Probus and his forces in 269, a campaign aided in its success in part due to the turmoil inside the Roman Empire after the death of Gallienus. The Roman East remained under the control of Palmyra under the subsequent emperors Claudius II and Quintillus, and when Aurelian came to power in 270 he pragmatically chose to acknowledge Zenobia and Vabalathus in order to allow himself time to deal with the breakaway Gallic Empire. Early issues of Vabalathus included a portrait of Aurelian with the imperial title of Augustus; later in the reign both Vabalathus and his mother adopted the imperial titles for themselves, and Aurelian disappears from the types. However their power was not to last as, having subdued the uprisings in the west, Aurelian marched east. The opposing armies met outside Antioch where the Palmyrenes were routed and fled into the desert, with Zenobia and Vabalathus apparently being captured and taken to Rome for display in the emperor's triumph.
Tacitus AV Aureus. Siscia, November AD 275 - June 276. IMP C M CL TACITVS P AVG, laureate, draped and cuirassed bust right / ROMAE AETERNAE, Roma seated left, with shield leaning against throne, holding Victory and long sceptre. MER-RIC Temp No. 3599; RIC 74; Calicó 4088. 4.39g, 22mm, 6h. Good Very Fine - Good Fine. Slightly wavy flan. area of flatness to rev. Excellent portrait.
Barbarous Imitation of Theodora (wife of Constantius I) Æ Nummus. Imitating Rome, after AD 337. Garbled legend, draped bust right / ...ROMA, Pietas standing facing, holding child in her arms. Cf. RIC 28 & 54. 0.88g, 10mm, 9h. Near Extremely Fine. Bearing a portrait that looks unnervingly to be Magnentius, the reverse of this nummus can only have been copied from those of Theodora (wife of Constantius I) featuring Pietas cradling a child in her arms, the garbled legends of the piece further strengthening this attribution.
Julian II Æ Double Maiorina. Sirmium, AD 361-363. D N FL CL IVLIANVS P F AVG, pearl-diademed, draped and cuirassed bust right / SECVRITAS REI PVB, bull standing right, two stars above; *BSIRM(palm) in exergue. RIC 107. 8.78g, 28mm, 1h. Near Extremely Fine. Scrape across rev., exceptional obv. portrait.
A Victorian electrotype wall plaque by Elkington & Co, circa 1885, designed by Léonard Morel-Ladeuil, of rectangular form, modelled in relief with the marriage scene from `Much Ado About Nothing`, topped by a portrait medallion of William Shakespeare crowned with a laurel wreath and flanked by a pair of putti, the corners with masks of 'Comedy' and 'Tragedy', the sides decorated with trophies of music, the bottom with the title plaque, the field inscribed `Morel-Ladeuil fecit 1884`, 'Elkington' numbered `1311`, unframed 44 x 59cm (17 x 23in) Other Notes: Trained in the Paris workshop of Antoine Vecht (1799-1869) and a skilled chaser, Morel-Ladeuil was one of a number of prestigious French artists hired by Elkington & Co. Ltd. for their design skills. There was a tremendous revival of Shakespeare’s plays in London theatres at this time, and the scene is said to represent the actual set of the Lyceum Theatre production of 1882.
A memorial stick pin for John Brown, in the form of a medallion with the ghillie's portrait bust, initials JB and date of death 1883 on one side, the reverse inscribed with Queen Victoria's monogram 'From VRI', collet set in a ring border (tests for silver) to a yellow pin (tests for 14ct gold), diameter 1.7cm Lytton Strachey wrote a biography of Queen Victoria published in 1921 just twenty years after her death, in which he describes Victoria's 'affectionate friendship' with her Balmoral servant, who came to have an unpopularly prominent rôle in her life after Prince Albert's untimely demise in 1861, and whom she described in her journal as 'my devoted personal servant and faithful friend'. When John Brown died, Queen Victoria saw that 'a long and eulogistic obituary notice of him appeared in the Court Circular; and a Brown memorial brooch - of gold, with the late ghillie's head on one side and the royal monogram on the other - was designed by Her Majesty for presentation to her Highland servants and cottagers, to be worn by them on the anniversary of his death, with a mourning scarf and pins.'
Ɵ Vanity Fair portrait of Richard Francis Burton The Arabian Nights [London, Vincent Brooks Day & Sons, dated October 24th 1885] single folio, outer margins a little darkened, mounted, framed and glazed, total 460 by 310 mm. Ɵ Indicates that the lot is subject to buyer’s premium of 24% exclusive of VAT (0% VAT).
ƟAlbert Letchford (Artist), A Series of Seventy Original Illustrations to Captain Sir R. F. Burton's Arabian Nights, first edition, D series [London, H. S. Nichols, 1897] complete, portrait of Richard Burton and 70 plates, each with original printed tissue guard, publisher's notice slip at the front of the volume, some faint scattered foxing, original black cloth, covers decorated in gold and spine lettered in gold, extremities a little rubbed, spine slightly faded, large 8vo (260 by 175mm.) Ɵ Indicates that the lot is subject to buyer’s premium of 24% exclusive of VAT (0% VAT).
ƟIsabel Burton, The Inner Life of Syria, Palestine and the Holy Land, 2 volumes, first edition [London, Henry S. King & co., 1875] complete, half-titles, mounted photographic portrait frontispieces in each volume, 2 chromolithographed plates, 1 large folding map, publisher's errata slip to vol. 2, a few small pencil inscriptions, engraved armorial bookplate of Caroli Weld de Chideock to pastedowns, original publisher's decorated cloth, spine lettered in gilt, upper outer corners of covers a little mottled, spine ends a little cracked and worn, 8vo Provenance: Charles Weld was an architect and prominent English Catholic in the 19th century, his armorial bookplate to upper pastedown The first edition of Lady Burton's first book, detailing events as they occurred in her journal whilst traveling through Alexandria, Beirut, Damascus and includes a description of haj. Many wrongly accredited her husband Richard Burton for contributing vast sections of this text, and in the preface she explains that this book was an experiment of writing as if it were talking with friends instead of being an address for the Royal Geographical Society; perhaps trying to establish her own authorial voice as a female travel writer. Ɵ Indicates that the lot is subject to buyer’s premium of 24% exclusive of VAT (0% VAT).
Ɵ Richard Francis Burton, The Guide-Book. A Pictorial Pilgrimage to Mecca and Medina, first and only edition, printed for the author [London, Clowes & Sons, 1865] complete, wood-cut portrait frontispiece of the author, Camberwell Public library ex-libris stamps to title and verso of final leaf, otherwise in excellent condition internally, original green printed covers, upper cover ruled and printed in black, spine ends worn, card split along length of spine, some light staining to covers, small 8vo [Penzer p.76] Exceedingly rare work printed as a pamphlet for the Pictorial Representations exhibition arranged by the Royal Polytechnic Institution in 1865. The exhibition included paintings, taken from original drawings from Burton's voyage. The text includes a description of the life, death and burial of the Prophet Muhammad, as well as the main rites connected with hajj. The last copy to appear at auction made £11,250 at Christie's in 2012, and before then $16,800 in 2005 (also at Christie's). Ɵ Indicates that the lot is subject to buyer’s premium of 24% exclusive of VAT (0% VAT).
Attributed to John Cox Dillman Engleheart (1750-1829) Portrait Miniature. The oval miniature depicting a gentleman, approx 65 x 80 mm. JCS Dillman Engleheart was the nephew of renowned miniaturist George Engleheart. Provenance: Please refer to the previous lot regarding Henry Chapman Pincher (1914-2014).
French School Antique Portrait Miniature. The oval portrait miniature depicting King Louis XV, signature centre right K.Falb (which may be an abbreviation). The portrait miniature presented in a boulle frame, approx 95mm x 122mm. Provenance: Please prefer to the previous lot regarding Henry Chapman Pincher (1914-2014).
French School - Antique Portrait Miniature. The circular oval portrait miniature painted on ivory depicting Charles-Francois Lebrun 1st duc de Plaisance (1739-1824) French statesman who served as Third Consul of the French Republic and Prince of the Empire by Napoleon I, approx 50 x 70 mm, inscribed to verso Charles Lebrun nr 5963.Provenance: Please refer to the previous lot regarding Henry Chapman Pincher (1914-2014).
Ken SYMONDS (1927-2010)Bryan PearcePastel on paperSignedInscribed to the back and dated 198673 x 52.5 cm(See back page illustration)Part of a remarkable collection of artists portraits by Ken SymondsKen Symonds and his wife Jane conceived the idea for his impressive 'Artist Portrait Series' in the early eighties. Remarkably, the series of 40 large pastels were all executed during the year of 1984, using a combination of artist sittings and some photography and each portrait taking about a week to complete. Those who knew Ken, will remember what a productive worker he was - often well into the night. That he completed so many portraits in such a short space of time is a testament to his industrious attitude towards his work and no doubt his enthusiasm for the concept.They were exhibited towards the end of 1984 at the Art Centre Trust in Lemon Street, Truro and at the Penwith Galleries in St Ives.Symonds was an accomplished draughtsman and each work is a an excellent likeness of the sitter. Emulating the likes of Holbein and other great historical portraitists, each subject is surrounded by the tools of their trade and works in progress. Indeed Symonds' own working of, for example Bryan Pearce's boats or a Paul Mount sculpture is what gives these portraits so much warmth and appeal. Being good friends with many of his contemporaries must have made it relatively easy for Symonds to initiate such a project. Some of the most noteable artists, such as Frost and Wells were sold at the time, but what remains is an extraordinary body of work and nearly thirty-five years later, provides us with a wonderful document of the artist's community in West Cornwall at that time. Condition report: Good condition.
Ken SYMONDS (1927-2010)Wilhemina Barns-GrahamPastel on paperSignedInscribed to the back and dated 198673 x 52.5 cm(See back page illustration)Part of a remarkable collection of artists portraits by Ken SymondsKen Symonds and his wife Jane conceived the idea for his impressive 'Artist Portrait Series' in the early eighties. Remarkably, the series of 40 large pastels were all executed during the year of 1984, using a combination of artist sittings and some photography and each portrait taking about a week to complete. Those who knew Ken, will remember what a productive worker he was - often well into the night. That he completed so many portraits in such a short space of time is a testament to his industrious attitude towards his work and no doubt his enthusiasm for the concept.They were exhibited towards the end of 1984 at the Art Centre Trust in Lemon Street, Truro and at the Penwith Galleries in St Ives.Symonds was an accomplished draughtsman and each work is a an excellent likeness of the sitter. Emulating the likes of Holbein and other great historical portraitists, each subject is surrounded by the tools of their trade and works in progress. Indeed Symonds' own working of, for example Bryan Pearce's boats or a Paul Mount sculpture is what gives these portraits so much warmth and appeal. Being good friends with many of his contemporaries must have made it relatively easy for Symonds to initiate such a project. Some of the most noteable artists, such as Frost and Wells were sold at the time, but what remains is an extraordinary body of work and nearly thirty-five years later, provides us with a wonderful document of the artist's community in West Cornwall at that time.
Ken SYMONDS (1927-2010)Tony GilesPastel on paperSignedInscribed to the back and dated 198652.5 x 73 cmPart of a remarkable collection of artists portraits by Ken SymondsKen Symonds and his wife Jane conceived the idea for his impressive 'Artist Portrait Series' in the early eighties. Remarkably, the series of 40 large pastels were all executed during the year of 1984, using a combination of artist sittings and some photography and each portrait taking about a week to complete. Those who knew Ken, will remember what a productive worker he was - often well into the night. That he completed so many portraits in such a short space of time is a testament to his industrious attitude towards his work and no doubt his enthusiasm for the concept.They were exhibited towards the end of 1984 at the Art Centre Trust in Lemon Street, Truro and at the Penwith Galleries in St Ives.Symonds was an accomplished draughtsman and each work is a an excellent likeness of the sitter. Emulating the likes of Holbein and other great historical portraitists, each subject is surrounded by the tools of their trade and works in progress. Indeed Symonds' own working of, for example Bryan Pearce's boats or a Paul Mount sculpture is what gives these portraits so much warmth and appeal. Being good friends with many of his contemporaries must have made it relatively easy for Symonds to initiate such a project. Some of the most noteable artists, such as Frost and Wells were sold at the time, but what remains is an extraordinary body of work and nearly thirty-five years later, provides us with a wonderful document of the artist's community in West Cornwall at that time.
Ken SYMONDS (1927-2010)Roy RayPastel on paperSignedInscribed to the back and dated 198652.5 x 73 cmPart of a remarkable collection of artists portraits by Ken SymondsKen Symonds and his wife Jane conceived the idea for his impressive 'Artist Portrait Series' in the early eighties. Remarkably, the series of 40 large pastels were all executed during the year of 1984, using a combination of artist sittings and some photography and each portrait taking about a week to complete. Those who knew Ken, will remember what a productive worker he was - often well into the night. That he completed so many portraits in such a short space of time is a testament to his industrious attitude towards his work and no doubt his enthusiasm for the concept.They were exhibited towards the end of 1984 at the Art Centre Trust in Lemon Street, Truro and at the Penwith Galleries in St Ives.Symonds was an accomplished draughtsman and each work is a an excellent likeness of the sitter. Emulating the likes of Holbein and other great historical portraitists, each subject is surrounded by the tools of their trade and works in progress. Indeed Symonds' own working of, for example Bryan Pearce's boats or a Paul Mount sculpture is what gives these portraits so much warmth and appeal. Being good friends with many of his contemporaries must have made it relatively easy for Symonds to initiate such a project. Some of the most noteable artists, such as Frost and Wells were sold at the time, but what remains is an extraordinary body of work and nearly thirty-five years later, provides us with a wonderful document of the artist's community in West Cornwall at that time.
Ken SYMONDS (1927-2010)Breon O'CaseyPastel on paperSignedInscribed to the back and dated 198673 x 52.5 cm(See back page illustration)Part of a remarkable collection of artists portraits by Ken SymondsKen Symonds and his wife Jane conceived the idea for his impressive 'Artist Portrait Series' in the early eighties. Remarkably, the series of 40 large pastels were all executed during the year of 1984, using a combination of artist sittings and some photography and each portrait taking about a week to complete. Those who knew Ken, will remember what a productive worker he was - often well into the night. That he completed so many portraits in such a short space of time is a testament to his industrious attitude towards his work and no doubt his enthusiasm for the concept.They were exhibited towards the end of 1984 at the Art Centre Trust in Lemon Street, Truro and at the Penwith Galleries in St Ives.Symonds was an accomplished draughtsman and each work is a an excellent likeness of the sitter. Emulating the likes of Holbein and other great historical portraitists, each subject is surrounded by the tools of their trade and works in progress. Indeed Symonds' own working of, for example Bryan Pearce's boats or a Paul Mount sculpture is what gives these portraits so much warmth and appeal. Being good friends with many of his contemporaries must have made it relatively easy for Symonds to initiate such a project. Some of the most noteable artists, such as Frost and Wells were sold at the time, but what remains is an extraordinary body of work and nearly thirty-five years later, provides us with a wonderful document of the artist's community in West Cornwall at that time.
Ken SYMONDS (1927-2010)Gill WatkissPastel on paperSignedInscribed to the back and dated 198652.5 x 73 cm(See back page illustration)Part of a remarkable collection of artists portraits by Ken SymondsKen Symonds and his wife Jane conceived the idea for his impressive 'Artist Portrait Series' in the early eighties. Remarkably, the series of 40 large pastels were all executed during the year of 1984, using a combination of artist sittings and some photography and each portrait taking about a week to complete. Those who knew Ken, will remember what a productive worker he was - often well into the night. That he completed so many portraits in such a short space of time is a testament to his industrious attitude towards his work and no doubt his enthusiasm for the concept.They were exhibited towards the end of 1984 at the Art Centre Trust in Lemon Street, Truro and at the Penwith Galleries in St Ives.Symonds was an accomplished draughtsman and each work is a an excellent likeness of the sitter. Emulating the likes of Holbein and other great historical portraitists, each subject is surrounded by the tools of their trade and works in progress. Indeed Symonds' own working of, for example Bryan Pearce's boats or a Paul Mount sculpture is what gives these portraits so much warmth and appeal. Being good friends with many of his contemporaries must have made it relatively easy for Symonds to initiate such a project. Some of the most noteable artists, such as Frost and Wells were sold at the time, but what remains is an extraordinary body of work and nearly thirty-five years later, provides us with a wonderful document of the artist's community in West Cornwall at that time.
Ken SYMONDS (1927-2010)Anthony FrostPastel on paperSignedInscribed to the back and dated 198652.5 x 73 cm(See back page illustration)Part of a remarkable collection of artists portraits by Ken SymondsKen Symonds and his wife Jane conceived the idea for his impressive 'Artist Portrait Series' in the early eighties. Remarkably, the series of 40 large pastels were all executed during the year of 1984, using a combination of artist sittings and some photography and each portrait taking about a week to complete. Those who knew Ken, will remember what a productive worker he was - often well into the night. That he completed so many portraits in such a short space of time is a testament to his industrious attitude towards his work and no doubt his enthusiasm for the concept.They were exhibited towards the end of 1984 at the Art Centre Trust in Lemon Street, Truro and at the Penwith Galleries in St Ives.Symonds was an accomplished draughtsman and each work is a an excellent likeness of the sitter. Emulating the likes of Holbein and other great historical portraitists, each subject is surrounded by the tools of their trade and works in progress. Indeed Symonds' own working of, for example Bryan Pearce's boats or a Paul Mount sculpture is what gives these portraits so much warmth and appeal. Being good friends with many of his contemporaries must have made it relatively easy for Symonds to initiate such a project. Some of the most noteable artists, such as Frost and Wells were sold at the time, but what remains is an extraordinary body of work and nearly thirty-five years later, provides us with a wonderful document of the artist's community in West Cornwall at that time.
Ken SYMONDS (1927-2010)Max BarrattPastel on paperSignedInscribed to the back and dated 198652.5 x 73 cm(See back page illustration)Part of a remarkable collection of artists portraits by Ken SymondsKen Symonds and his wife Jane conceived the idea for his impressive 'Artist Portrait Series' in the early eighties. Remarkably, the series of 40 large pastels were all executed during the year of 1984, using a combination of artist sittings and some photography and each portrait taking about a week to complete. Those who knew Ken, will remember what a productive worker he was - often well into the night. That he completed so many portraits in such a short space of time is a testament to his industrious attitude towards his work and no doubt his enthusiasm for the concept.They were exhibited towards the end of 1984 at the Art Centre Trust in Lemon Street, Truro and at the Penwith Galleries in St Ives.Symonds was an accomplished draughtsman and each work is a an excellent likeness of the sitter. Emulating the likes of Holbein and other great historical portraitists, each subject is surrounded by the tools of their trade and works in progress. Indeed Symonds' own working of, for example Bryan Pearce's boats or a Paul Mount sculpture is what gives these portraits so much warmth and appeal. Being good friends with many of his contemporaries must have made it relatively easy for Symonds to initiate such a project. Some of the most noteable artists, such as Frost and Wells were sold at the time, but what remains is an extraordinary body of work and nearly thirty-five years later, provides us with a wonderful document of the artist's community in West Cornwall at that time.
Ken SYMONDS (1927-2010)Roy WalkerPastel on paperSignedInscribed to the back and dated 198652.5 x 73 cm(See back page illustration)Part of a remarkable collection of artists portraits by Ken SymondsKen Symonds and his wife Jane conceived the idea for his impressive 'Artist Portrait Series' in the early eighties. Remarkably, the series of 40 large pastels were all executed during the year of 1984, using a combination of artist sittings and some photography and each portrait taking about a week to complete. Those who knew Ken, will remember what a productive worker he was - often well into the night. That he completed so many portraits in such a short space of time is a testament to his industrious attitude towards his work and no doubt his enthusiasm for the concept.They were exhibited towards the end of 1984 at the Art Centre Trust in Lemon Street, Truro and at the Penwith Galleries in St Ives.Symonds was an accomplished draughtsman and each work is a an excellent likeness of the sitter. Emulating the likes of Holbein and other great historical portraitists, each subject is surrounded by the tools of their trade and works in progress. Indeed Symonds' own working of, for example Bryan Pearce's boats or a Paul Mount sculpture is what gives these portraits so much warmth and appeal. Being good friends with many of his contemporaries must have made it relatively easy for Symonds to initiate such a project. Some of the most noteable artists, such as Frost and Wells were sold at the time, but what remains is an extraordinary body of work and nearly thirty-five years later, provides us with a wonderful document of the artist's community in West Cornwall at that time.
Ken SYMONDS (1927-2010)Tony O'MalleyPastel on paperSignedInscribed to the back and dated 198652.5 x 73 cmPart of a remarkable collection of artists portraits by Ken SymondsKen Symonds and his wife Jane conceived the idea for his impressive 'Artist Portrait Series' in the early eighties. Remarkably, the series of 40 large pastels were all executed during the year of 1984, using a combination of artist sittings and some photography and each portrait taking about a week to complete. Those who knew Ken, will remember what a productive worker he was - often well into the night. That he completed so many portraits in such a short space of time is a testament to his industrious attitude towards his work and no doubt his enthusiasm for the concept.They were exhibited towards the end of 1984 at the Art Centre Trust in Lemon Street, Truro and at the Penwith Galleries in St Ives.Symonds was an accomplished draughtsman and each work is a an excellent likeness of the sitter. Emulating the likes of Holbein and other great historical portraitists, each subject is surrounded by the tools of their trade and works in progress. Indeed Symonds' own working of, for example Bryan Pearce's boats or a Paul Mount sculpture is what gives these portraits so much warmth and appeal. Being good friends with many of his contemporaries must have made it relatively easy for Symonds to initiate such a project. Some of the most noteable artists, such as Frost and Wells were sold at the time, but what remains is an extraordinary body of work and nearly thirty-five years later, provides us with a wonderful document of the artist's community in West Cornwall at that time.
Ken SYMONDS (1927-2010)Self-portraitPastel on paperSignedInscribed to the back50.5 x 71 cmPart of a remarkable collection of artists portraits by Ken SymondsKen Symonds and his wife Jane conceived the idea for his impressive 'Artist Portrait Series' in the early eighties. Remarkably, the series of 40 large pastels were all executed during the year of 1984, using a combination of artist sittings and some photography and each portrait taking about a week to complete. Those who knew Ken, will remember what a productive worker he was - often well into the night. That he completed so many portraits in such a short space of time is a testament to his industrious attitude towards his work and no doubt his enthusiasm for the concept.They were exhibited towards the end of 1984 at the Art Centre Trust in Lemon Street, Truro and at the Penwith Galleries in St Ives.Symonds was an accomplished draughtsman and each work is a an excellent likeness of the sitter. Emulating the likes of Holbein and other great historical portraitists, each subject is surrounded by the tools of their trade and works in progress. Indeed Symonds' own working of, for example Bryan Pearce's boats or a Paul Mount sculpture is what gives these portraits so much warmth and appeal. Being good friends with many of his contemporaries must have made it relatively easy for Symonds to initiate such a project. Some of the most noteable artists, such as Frost and Wells were sold at the time, but what remains is an extraordinary body of work and nearly thirty-five years later, provides us with a wonderful document of the artist's community in West Cornwall at that time.
Ken SYMONDS (1927-2010)Peter SmithPastel on paperSignedInscribed to the back and dated 198652.5 x 73 cmPart of a remarkable collection of artists portraits by Ken SymondsKen Symonds and his wife Jane conceived the idea for his impressive 'Artist Portrait Series' in the early eighties. Remarkably, the series of 40 large pastels were all executed during the year of 1984, using a combination of artist sittings and some photography and each portrait taking about a week to complete. Those who knew Ken, will remember what a productive worker he was - often well into the night. That he completed so many portraits in such a short space of time is a testament to his industrious attitude towards his work and no doubt his enthusiasm for the concept.They were exhibited towards the end of 1984 at the Art Centre Trust in Lemon Street, Truro and at the Penwith Galleries in St Ives.Symonds was an accomplished draughtsman and each work is a an excellent likeness of the sitter. Emulating the likes of Holbein and other great historical portraitists, each subject is surrounded by the tools of their trade and works in progress. Indeed Symonds' own working of, for example Bryan Pearce's boats or a Paul Mount sculpture is what gives these portraits so much warmth and appeal. Being good friends with many of his contemporaries must have made it relatively easy for Symonds to initiate such a project. Some of the most noteable artists, such as Frost and Wells were sold at the time, but what remains is an extraordinary body of work and nearly thirty-five years later, provides us with a wonderful document of the artist's community in West Cornwall at that time.
Ken SYMONDS (1927-2010)Michael O'DonnellPastel on paperSignedInscribed to the back and dated 198652.5 x 73 cmPart of a remarkable collection of artists portraits by Ken SymondsKen Symonds and his wife Jane conceived the idea for his impressive 'Artist Portrait Series' in the early eighties. Remarkably, the series of 40 large pastels were all executed during the year of 1984, using a combination of artist sittings and some photography and each portrait taking about a week to complete. Those who knew Ken, will remember what a productive worker he was - often well into the night. That he completed so many portraits in such a short space of time is a testament to his industrious attitude towards his work and no doubt his enthusiasm for the concept.They were exhibited towards the end of 1984 at the Art Centre Trust in Lemon Street, Truro and at the Penwith Galleries in St Ives.Symonds was an accomplished draughtsman and each work is a an excellent likeness of the sitter. Emulating the likes of Holbein and other great historical portraitists, each subject is surrounded by the tools of their trade and works in progress. Indeed Symonds' own working of, for example Bryan Pearce's boats or a Paul Mount sculpture is what gives these portraits so much warmth and appeal. Being good friends with many of his contemporaries must have made it relatively easy for Symonds to initiate such a project. Some of the most noteable artists, such as Frost and Wells were sold at the time, but what remains is an extraordinary body of work and nearly thirty-five years later, provides us with a wonderful document of the artist's community in West Cornwall at that time.
Ken SYMONDS (1927-2010)Jane O'MalleyPastel on paperSignedInscribed to the back and dated 198673 x 52.5 cm(See back page illustration)Part of a remarkable collection of artists portraits by Ken SymondsKen Symonds and his wife Jane conceived the idea for his impressive 'Artist Portrait Series' in the early eighties. Remarkably, the series of 40 large pastels were all executed during the year of 1984, using a combination of artist sittings and some photography and each portrait taking about a week to complete. Those who knew Ken, will remember what a productive worker he was - often well into the night. That he completed so many portraits in such a short space of time is a testament to his industrious attitude towards his work and no doubt his enthusiasm for the concept.They were exhibited towards the end of 1984 at the Art Centre Trust in Lemon Street, Truro and at the Penwith Galleries in St Ives.Symonds was an accomplished draughtsman and each work is a an excellent likeness of the sitter. Emulating the likes of Holbein and other great historical portraitists, each subject is surrounded by the tools of their trade and works in progress. Indeed Symonds' own working of, for example Bryan Pearce's boats or a Paul Mount sculpture is what gives these portraits so much warmth and appeal. Being good friends with many of his contemporaries must have made it relatively easy for Symonds to initiate such a project. Some of the most noteable artists, such as Frost and Wells were sold at the time, but what remains is an extraordinary body of work and nearly thirty-five years later, provides us with a wonderful document of the artist's community in West Cornwall at that time.
Ken SYMONDS (1927-2010)Bernard EvansPastel on paperSignedInscribed to the back and dated 198673 x 52.5 cmPart of a remarkable collection of artists portraits by Ken SymondsKen Symonds and his wife Jane conceived the idea for his impressive 'Artist Portrait Series' in the early eighties. Remarkably, the series of 40 large pastels were all executed during the year of 1984, using a combination of artist sittings and some photography and each portrait taking about a week to complete. Those who knew Ken, will remember what a productive worker he was - often well into the night. That he completed so many portraits in such a short space of time is a testament to his industrious attitude towards his work and no doubt his enthusiasm for the concept.They were exhibited towards the end of 1984 at the Art Centre Trust in Lemon Street, Truro and at the Penwith Galleries in St Ives.Symonds was an accomplished draughtsman and each work is a an excellent likeness of the sitter. Emulating the likes of Holbein and other great historical portraitists, each subject is surrounded by the tools of their trade and works in progress. Indeed Symonds' own working of, for example Bryan Pearce's boats or a Paul Mount sculpture is what gives these portraits so much warmth and appeal. Being good friends with many of his contemporaries must have made it relatively easy for Symonds to initiate such a project. Some of the most noteable artists, such as Frost and Wells were sold at the time, but what remains is an extraordinary body of work and nearly thirty-five years later, provides us with a wonderful document of the artist's community in West Cornwall at that time.
Ken SYMONDS (1927-2010)Bob CrossleyPastel on paperSignedInscribed to the back and dated 198673 x 52.5 cm(See back page illustration)Part of a remarkable collection of artists portraits by Ken SymondsKen Symonds and his wife Jane conceived the idea for his impressive 'Artist Portrait Series' in the early eighties. Remarkably, the series of 40 large pastels were all executed during the year of 1984, using a combination of artist sittings and some photography and each portrait taking about a week to complete. Those who knew Ken, will remember what a productive worker he was - often well into the night. That he completed so many portraits in such a short space of time is a testament to his industrious attitude towards his work and no doubt his enthusiasm for the concept.They were exhibited towards the end of 1984 at the Art Centre Trust in Lemon Street, Truro and at the Penwith Galleries in St Ives.Symonds was an accomplished draughtsman and each work is a an excellent likeness of the sitter. Emulating the likes of Holbein and other great historical portraitists, each subject is surrounded by the tools of their trade and works in progress. Indeed Symonds' own working of, for example Bryan Pearce's boats or a Paul Mount sculpture is what gives these portraits so much warmth and appeal. Being good friends with many of his contemporaries must have made it relatively easy for Symonds to initiate such a project. Some of the most noteable artists, such as Frost and Wells were sold at the time, but what remains is an extraordinary body of work and nearly thirty-five years later, provides us with a wonderful document of the artist's community in West Cornwall at that time.
Ken SYMONDS (1927-2010)Alexander Mackenzie Pastel on paperSignedInscribed to the back and dated 198652.5 x 73 cm(See back page illustration)Part of a remarkable collection of artists portraits by Ken SymondsKen Symonds and his wife Jane conceived the idea for his impressive 'Artist Portrait Series' in the early eighties. Remarkably, the series of 40 large pastels were all executed during the year of 1984, using a combination of artist sittings and some photography and each portrait taking about a week to complete. Those who knew Ken, will remember what a productive worker he was - often well into the night. That he completed so many portraits in such a short space of time is a testament to his industrious attitude towards his work and no doubt his enthusiasm for the concept.They were exhibited towards the end of 1984 at the Art Centre Trust in Lemon Street, Truro and at the Penwith Galleries in St Ives.Symonds was an accomplished draughtsman and each work is a an excellent likeness of the sitter. Emulating the likes of Holbein and other great historical portraitists, each subject is surrounded by the tools of their trade and works in progress. Indeed Symonds' own working of, for example Bryan Pearce's boats or a Paul Mount sculpture is what gives these portraits so much warmth and appeal. Being good friends with many of his contemporaries must have made it relatively easy for Symonds to initiate such a project. Some of the most noteable artists, such as Frost and Wells were sold at the time, but what remains is an extraordinary body of work and nearly thirty-five years later, provides us with a wonderful document of the artist's community in West Cornwall at that time.
Ken SYMONDS (1927-2010)Catherine ArmitagePastel on paperSignedInscribed to the back and dated 198673 x 52.5 cmPart of a remarkable collection of artists portraits by Ken SymondsKen Symonds and his wife Jane conceived the idea for his impressive 'Artist Portrait Series' in the early eighties. Remarkably, the series of 40 large pastels were all executed during the year of 1984, using a combination of artist sittings and some photography and each portrait taking about a week to complete. Those who knew Ken, will remember what a productive worker he was - often well into the night. That he completed so many portraits in such a short space of time is a testament to his industrious attitude towards his work and no doubt his enthusiasm for the concept.They were exhibited towards the end of 1984 at the Art Centre Trust in Lemon Street, Truro and at the Penwith Galleries in St Ives.Symonds was an accomplished draughtsman and each work is a an excellent likeness of the sitter. Emulating the likes of Holbein and other great historical portraitists, each subject is surrounded by the tools of their trade and works in progress. Indeed Symonds' own working of, for example Bryan Pearce's boats or a Paul Mount sculpture is what gives these portraits so much warmth and appeal. Being good friends with many of his contemporaries must have made it relatively easy for Symonds to initiate such a project. Some of the most noteable artists, such as Frost and Wells were sold at the time, but what remains is an extraordinary body of work and nearly thirty-five years later, provides us with a wonderful document of the artist's community in West Cornwall at that time.
Ken SYMONDS (1927-2010)Paul FeilerPastel on paperSignedInscribed to the back and dated 198673 x 52.5 cm(See back page illustration)Part of a remarkable collection of artists portraits by Ken SymondsKen Symonds and his wife Jane conceived the idea for his impressive 'Artist Portrait Series' in the early eighties. Remarkably, the series of 40 large pastels were all executed during the year of 1984, using a combination of artist sittings and some photography and each portrait taking about a week to complete. Those who knew Ken, will remember what a productive worker he was - often well into the night. That he completed so many portraits in such a short space of time is a testament to his industrious attitude towards his work and no doubt his enthusiasm for the concept.They were exhibited towards the end of 1984 at the Art Centre Trust in Lemon Street, Truro and at the Penwith Galleries in St Ives.Symonds was an accomplished draughtsman and each work is a an excellent likeness of the sitter. Emulating the likes of Holbein and other great historical portraitists, each subject is surrounded by the tools of their trade and works in progress. Indeed Symonds' own working of, for example Bryan Pearce's boats or a Paul Mount sculpture is what gives these portraits so much warmth and appeal. Being good friends with many of his contemporaries must have made it relatively easy for Symonds to initiate such a project. Some of the most noteable artists, such as Frost and Wells were sold at the time, but what remains is an extraordinary body of work and nearly thirty-five years later, provides us with a wonderful document of the artist's community in West Cornwall at that time.
Ken SYMONDS (1927-2010)Robert JonesPastel on paperSignedInscribed to the back and dated 198652.5 x 73 cm(See back page illustration)Part of a remarkable collection of artists portraits by Ken SymondsKen Symonds and his wife Jane conceived the idea for his impressive 'Artist Portrait Series' in the early eighties. Remarkably, the series of 40 large pastels were all executed during the year of 1984, using a combination of artist sittings and some photography and each portrait taking about a week to complete. Those who knew Ken, will remember what a productive worker he was - often well into the night. That he completed so many portraits in such a short space of time is a testament to his industrious attitude towards his work and no doubt his enthusiasm for the concept.They were exhibited towards the end of 1984 at the Art Centre Trust in Lemon Street, Truro and at the Penwith Galleries in St Ives.Symonds was an accomplished draughtsman and each work is a an excellent likeness of the sitter. Emulating the likes of Holbein and other great historical portraitists, each subject is surrounded by the tools of their trade and works in progress. Indeed Symonds' own working of, for example Bryan Pearce's boats or a Paul Mount sculpture is what gives these portraits so much warmth and appeal. Being good friends with many of his contemporaries must have made it relatively easy for Symonds to initiate such a project. Some of the most noteable artists, such as Frost and Wells were sold at the time, but what remains is an extraordinary body of work and nearly thirty-five years later, provides us with a wonderful document of the artist's community in West Cornwall at that time.
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