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Los 253
Three pictures including a portrait of a girl in a bolero, oil on canvas, signed indistinctly and dated 62. 60cm x 45cm, Eisnen still life flowers, oil on canvas, signature indistinct, 49cm x 39cm, and Aldo Raimondi, La prima Neve' etching on silver, engraved signature, 211/999, 25 grams of silver, 13cm x 17cm (3)
Los 121
SIR ALFRED GILBERT R.A. (1854-1934)COMEDY AND TRAGEDY: ‘SIC VITA’bronze, raised on a stepped ebonised wood plinth34cm high (bronze), 39cm high (with plinth)Provenance: The Fine Art Society, LondonNote: New English Sculpture was a dynamic movement at the end of the 19th century which injected energy and naturalism into English sculpture. The medium had been dominated by a neo-classical style seen as rigid and irrelevant to human experience, so much so that Baudelaire even wrote a critique of the Paris Salon in 1846 titled ‘Why Sculpture is Boring’. The term ‘New English Sculpture’ was coined in Edmund Gosse’s article ‘The New Sculpture’ which was published by Art Journal in 1894, where he defined the movement as ‘a close and reverent observation of nature’. Leading sculptors such as Lord Leighton, Alfred Gilbert and Hamo Thornycroft revived the Italian Renaissance art of ‘lost wax’ bronze casting in order to finely render surface details like musculature and facial expressions in a more naturalistic manner. This approach was introduced by Aimé-Jules Dalou, who disseminated the French method of direct modelling during the period he spent teaching at South Kensington School of Art from 1877 to 1880. This combination of traditional and modern continental influences prompted these artists to recast well-worn classical myths in a distinctly original and relatable style. The movement re-established the relevance of sculpture within society by embracing the statuette, which bridged the divide between high art and decorative art without compromising on the standard of craftsmanship. Until the 1860s sculpture was primarily limited to the marble portrait bust or large classical figure, but these smaller bronze casts created a new sculptural category which suited the scale and price desired by homeowners. The cult of the statuette was a popular feature in late Victorian and Edwardian architectural design and enabled the classical heroic figure to fulfil a new decorative role within a domestic setting.
Los 134
SMALL GROUP OF OBJECTS OF VERTU comprising a PORTRAIT MINIATURE of a cleric on ivory, 7cm high; a papier-mâché AIDE MEMOIRE depicting Bonnie Prince Charlie, with metal C-scrolls and flowers, 9.5cm high; a silver and marine ivory MAGNIFYING GLASS, by Alfred Biggin & Son, maker's marks GHB, hallmarks Sheffield 1909; a tortoiseshell PATCHBOX of oval form depicting plaited hair and the monogram HJ, 7.5cm wide; and a William IV silver mounted oak SNUFF BOX, with inset plaque THIS SNUFF BOX WAS MADE / FROM THE REMAINS / OF THE CHOIR / OF / YORK MINSTER / DESTROYED BY FIRE / FEB. 2ND 1829., 9cm diameter (qty)Note: Please be aware that this lot contains material which may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit http://www.defra.gov.uk/ahvla-en/imports-exports/cites/
![[§] DYLAN LISLE (SCOTTISH CONTEMPORARY)PORTRAITSigned with monogram, oil on canvas29cm x 29cm (11in x 11in) and another by th](https://cdn.globalauctionplatform.com/1304ecaf-2163-4f92-bf18-a95900c00e1f/4e4efae4-b081-416b-c0d3-903da4f572c3/468x382.jpg)
![[§] LEON UNDERWOOD (BRITISH 1890-1975)SELF-PORTRAITWhite-line etching, signed and dated ‘2214cm x 9cm (5.5in x 3.5in)](https://cdn.globalauctionplatform.com/1304ecaf-2163-4f92-bf18-a95900c00e1f/999388a0-27af-4261-b5b4-efe53979fb1a/468x382.jpg)
![[§] AUGUSTUS JOHN O.M., R.A. (WELSH 1878-1961)BENJAMIN EVANSEtching, signed14.5cm x 11.5cm (5.75in x 4.5in) and a further two](https://cdn.globalauctionplatform.com/1304ecaf-2163-4f92-bf18-a95900c00e1f/c2920551-774f-45e5-a52b-f5d2867c45f2/468x382.jpg)
![[§] GERALD LESLIE BROCKHURST (BRITISH 1890-1978)ADOLESCENCEEtching, signed39cm x 28cm (15.25in x 11in)Provenance: Elizabeth H](https://cdn.globalauctionplatform.com/1304ecaf-2163-4f92-bf18-a95900c00e1f/2d52a396-4059-4448-c863-b3b84235d605/468x382.jpg)
Los 279
[§] GERALD LESLIE BROCKHURST (BRITISH 1890-1978)ADOLESCENCEEtching, signed39cm x 28cm (15.25in x 11in)Provenance: Elizabeth Harvey-Lee, OxfordshireLiterature: Guichard, Kenneth M., 'British Etchers: 1850-1940,' Robin Garton 1981, pl. 11, pp. 29-30.Note: From an edition of 91 and believed to be the 5th and final state.Note: Gerald Leslie Brockhurst's print masterpiece Adolescence is the focal point of the Kirkton House collection of etchings. As the artist's most celebrated work within the medium and one of the greatest prints of the 20th century, it is a perfect centrepiece to a carefully considered collection of British etchings.Throughout his career, Brockhurst was particularly concerned with the evocation of feminine beauty. A precocious drawing talent, he commenced training at the Birmingham School of Art aged twelve, before going on to secure a scholarship to the Royal Academy Schools. He became one of the most successful and sought after portrait painters in London, but always maintained his fundamental skill as a draughtsman. When it became clear that the market for contemporary etching was growing, Brockhurst translated his drawing skills into the technique of etching, mastering the medium and publishing his first set of prints in 1920. The wider fashion in etchings at this time was for landscapes and cityscapes, but Brockhurst pursued the same subjects as his paintings, producing exceptionally detailed portraits and figures studies that became extremely popular. He drew on a wide range of visual influences that celebrated female beauty, from contemporary glamour portraits and fashion photography to Italian Renaissance paintings, to develop his own distinct style.In his ongoing exploration of female beauty and the theme of young womanhood, Brockhurst utilised each of his two wives as regular models. His first wife, Anais appears in etchings he created throughout the 1920s, patiently posing as a range of different characters as well as herself, however, the marriage itself came under strain after she learnt of his infidelity with her sister, Marguerite. Brockhurst then met and fell in love with Kathleen Nancy Woodward, whom he re-named Dorette, following his established penchant for gifting his female portraits and sitters with exotic names, a teenage model at the Royal Academy. She became his regular model and muse, and is the figure depicted in Adolescence. Following his divorce from Anais, they married and moved to the United States, amidst an unsurprising whirlwind of scandal.Adolescence is a charged work, as well as technical masterpiece. Brockhurst's mastery of the etching technique to render a range of surface textures and tones, particularly skin, is profound. This is the largest scale Brockhurst worked on in etching, yet the details are minute, and the process painstaking. His etchings have sometimes been mistaken for aquatints as he manages to create such tonal variety and soft edges, yet each work is etched, line by line, dot by dot. The subject is not so straightforward; the teenaged Dorette sits naked, contemplating herself in front of the mirror. It can be viewed as a psychological portrait as well as a physical one, exploring the complex and contradictory emotions and anxieties brought on by the process of adolescence, a conflict we can see across Dorette's expression, and in her uncertain gaze. This is a vulnerable moment where she is open with her anxieties and lack of certainty and confidence, rather than attempting to mask them. She is almost an adult, and is desired as one by the artist, yet there is still a great deal of youth and vulnerability to her, and it is this blurred boundary that so compelled the artist and continues to make this an enticing, elusive image.Adolesence is widely considered a masterpiece of the etching medium, a tour de force of the skills required to work effectively in the genre, with a subject that is compelling and complicated in its surprising emotional depth. It is easy to see why it remains so revered, and not a little scandalous.
![[§] DAME LAURA KNIGHT D.B.E., R.A., R.W.S. (BRITISH 1877-1970)MAKE-UP 1925. TCHERNECHEVA.Etching with drypoint, from an editi](https://cdn.globalauctionplatform.com/1304ecaf-2163-4f92-bf18-a95900c00e1f/fd048ae1-4dd2-4845-fd16-f484bcdb945c/468x382.jpg)
Los 289
[§] DAME LAURA KNIGHT D.B.E., R.A., R.W.S. (BRITISH 1877-1970)MAKE-UP 1925. TCHERNECHEVA.Etching with drypoint, from an edition of 18, signed26cm x 20.5cm (10.25in x 8in)Note: Dame Laura Knight was one of the most distinguished and popular female artists working in 20th century Britain. Knight was made a Dame in 1929 and in 1936 became the first woman to be awarded full membership to the Royal Academy of Arts highlighting her pioneering role in raising awareness and respect for future women artists. Knight's artistic career was exceptional from the beginning, she joined the Nottingham School of Art at the young age of thirteen where she went on to specialise in the figurative, realist tradition; a testament to her innate artistic talent as up until 1893 female students were not allowed to draw nude models from life.Knight worked in a range of media including oils, watercolours, engraving and etching and is celebrated for giving an insight into the lives of individuals who lived on the fringes of society such as circus performers and ballet dancers. This collection of etchings showcases Knight's unique ability to gain the trust of these communities which facilitated her immersive working method that often involved Knight living alongside the individuals she drew. The etching Zebras shows how Knight documented the popular leisure activities of the early twentieth century, in this case by spending an intensive period of four months travelling around the country with Bertram Mills's circus recording the lives of itinerant circus performers.As well as popular entertainment, Knight also engaged with cutting edge performances in the art world; the drypoint etching Make Up is a portrait of Lubov Tchernicheva, the prima ballerina in the Ballet Russes's debut matinée peformance of Cleopatra at the London Colisseum. Sergei Diaghilev's Ballet Russes was instrumental in introducing European modernism to Britain and captured the imagination of many artists with Coco Chanel and Pablo Picasso designing costumes and French avant garde artists like Henri Matisse designing the set productions. However, instead of focusing on the drama of the performances themselves Knight was permitted backstage access to capture the unseen and private lives of the dancers. In Knight's autobiography Oil Paint and Grease Paint she highlights just how privileged she was recalling that ''No outsider but myself then haunted the stage''. This etching reveals the close relationship Knight shared with the performers; here she observes Tchernicheva carefully applying khol eyeliner for her role as Cleopatra in which she wore an Egyptian headdress designed by Sonia Delaunay. Knight stated 'there was to be no conversation; it was to be as if I did not exist' and it was this unobtrusive approach which enabled Knight to capture such quiet contemplative moments and that gives her etchings their intimate appeal.
![[§] DAME LAURA KNIGHT D.B.E., R.A., R.W.S. (BRITISH 1877-1970)DANCERSEtching and aquatint, signed28cm x 23cm (11in x 9in)Note](https://cdn.globalauctionplatform.com/1304ecaf-2163-4f92-bf18-a95900c00e1f/96e00390-2811-4cfa-dfc5-6b20883d7563/468x382.jpg)
Los 290
[§] DAME LAURA KNIGHT D.B.E., R.A., R.W.S. (BRITISH 1877-1970)DANCERSEtching and aquatint, signed28cm x 23cm (11in x 9in)Note: Dame Laura Knight was one of the most distinguished and popular female artists working in 20th century Britain. Knight was made a Dame in 1929 and in 1936 became the first woman to be awarded full membership to the Royal Academy of Arts highlighting her pioneering role in raising awareness and respect for future women artists. Knight's artistic career was exceptional from the beginning, she joined the Nottingham School of Art at the young age of thirteen where she went on to specialise in the figurative, realist tradition; a testament to her innate artistic talent as up until 1893 female students were not allowed to draw nude models from life.Knight worked in a range of media including oils, watercolours, engraving and etching and is celebrated for giving an insight into the lives of individuals who lived on the fringes of society such as circus performers and ballet dancers. This collection of etchings showcases Knight's unique ability to gain the trust of these communities which facilitated her immersive working method that often involved Knight living alongside the individuals she drew. The etching Zebras shows how Knight documented the popular leisure activities of the early twentieth century, in this case by spending an intensive period of four months travelling around the country with Bertram Mills's circus recording the lives of itinerant circus performers.As well as popular entertainment, Knight also engaged with cutting edge performances in the art world; the drypoint etching Make Up is a portrait of Lubov Tchernicheva, the prima ballerina in the Ballet Russes's debut matinée peformance of Cleopatra at the London Colisseum. Sergei Diaghilev's Ballet Russes was instrumental in introducing European modernism to Britain and captured the imagination of many artists with Coco Chanel and Pablo Picasso designing costumes and French avant garde artists like Henri Matisse designing the set productions. However, instead of focusing on the drama of the performances themselves Knight was permitted backstage access to capture the unseen and private lives of the dancers. In Knight's autobiography Oil Paint and Grease Paint she highlights just how privileged she was recalling that ''No outsider but myself then haunted the stage''. This etching reveals the close relationship Knight shared with the performers; here she observes Tchernicheva carefully applying khol eyeliner for her role as Cleopatra in which she wore an Egyptian headdress designed by Sonia Delaunay. Knight stated 'there was to be no conversation; it was to be as if I did not exist' and it was this unobtrusive approach which enabled Knight to capture such quiet contemplative moments and that gives her etchings their intimate appeal.
![[§] DAME LAURA KNIGHT D.B.E., R.A., R.W.S. (BRITISH 1877-1970)SPANISH DANCEREtching and aquatint, signed28cm x 22.5cm (11in x](https://cdn.globalauctionplatform.com/1304ecaf-2163-4f92-bf18-a95900c00e1f/ee8a436f-d552-4454-89e3-79071f97446e/468x382.jpg)
Los 291
[§] DAME LAURA KNIGHT D.B.E., R.A., R.W.S. (BRITISH 1877-1970)SPANISH DANCEREtching and aquatint, signed28cm x 22.5cm (11in x 8.75in)Note: Dame Laura Knight was one of the most distinguished and popular female artists working in 20th century Britain. Knight was made a Dame in 1929 and in 1936 became the first woman to be awarded full membership to the Royal Academy of Arts highlighting her pioneering role in raising awareness and respect for future women artists. Knight's artistic career was exceptional from the beginning, she joined the Nottingham School of Art at the young age of thirteen where she went on to specialise in the figurative, realist tradition; a testament to her innate artistic talent as up until 1893 female students were not allowed to draw nude models from life.Knight worked in a range of media including oils, watercolours, engraving and etching and is celebrated for giving an insight into the lives of individuals who lived on the fringes of society such as circus performers and ballet dancers. This collection of etchings showcases Knight's unique ability to gain the trust of these communities which facilitated her immersive working method that often involved Knight living alongside the individuals she drew. The etching Zebras shows how Knight documented the popular leisure activities of the early twentieth century, in this case by spending an intensive period of four months travelling around the country with Bertram Mills's circus recording the lives of itinerant circus performers.As well as popular entertainment, Knight also engaged with cutting edge performances in the art world; the drypoint etching Make Up is a portrait of Lubov Tchernicheva, the prima ballerina in the Ballet Russes's debut matinée peformance of Cleopatra at the London Colisseum. Sergei Diaghilev's Ballet Russes was instrumental in introducing European modernism to Britain and captured the imagination of many artists with Coco Chanel and Pablo Picasso designing costumes and French avant garde artists like Henri Matisse designing the set productions. However, instead of focusing on the drama of the performances themselves Knight was permitted backstage access to capture the unseen and private lives of the dancers. In Knight's autobiography Oil Paint and Grease Paint she highlights just how privileged she was recalling that ''No outsider but myself then haunted the stage''. This etching reveals the close relationship Knight shared with the performers; here she observes Tchernicheva carefully applying khol eyeliner for her role as Cleopatra in which she wore an Egyptian headdress designed by Sonia Delaunay. Knight stated 'there was to be no conversation; it was to be as if I did not exist' and it was this unobtrusive approach which enabled Knight to capture such quiet contemplative moments and that gives her etchings their intimate appeal.
![[§] DAME LAURA KNIGHT D.B.E., R.A., R.W.S. (BRITISH 1877-1970)A CHORUSEtching and aquatint, from an edition of 55, signed18cm](https://cdn.globalauctionplatform.com/1304ecaf-2163-4f92-bf18-a95900c00e1f/2837aff5-8be1-4129-f647-df54639dfb77/468x382.jpg)
Los 292
[§] DAME LAURA KNIGHT D.B.E., R.A., R.W.S. (BRITISH 1877-1970)A CHORUSEtching and aquatint, from an edition of 55, signed18cm x 25cm (7in x 9.75in)Provenance:The Leicester Galleries, LondonExhibited: Walker Art Gallery, Liverpool – Sixty-Third Autumn Exhibition, 1937.Note: Dame Laura Knight was one of the most distinguished and popular female artists working in 20th century Britain. Knight was made a Dame in 1929 and in 1936 became the first woman to be awarded full membership to the Royal Academy of Arts highlighting her pioneering role in raising awareness and respect for future women artists. Knight's artistic career was exceptional from the beginning, she joined the Nottingham School of Art at the young age of thirteen where she went on to specialise in the figurative, realist tradition; a testament to her innate artistic talent as up until 1893 female students were not allowed to draw nude models from life.Knight worked in a range of media including oils, watercolours, engraving and etching and is celebrated for giving an insight into the lives of individuals who lived on the fringes of society such as circus performers and ballet dancers. This collection of etchings showcases Knight's unique ability to gain the trust of these communities which facilitated her immersive working method that often involved Knight living alongside the individuals she drew. The etching Zebras shows how Knight documented the popular leisure activities of the early twentieth century, in this case by spending an intensive period of four months travelling around the country with Bertram Mills's circus recording the lives of itinerant circus performers.As well as popular entertainment, Knight also engaged with cutting edge performances in the art world; the drypoint etching Make Up is a portrait of Lubov Tchernicheva, the prima ballerina in the Ballet Russes's debut matinée peformance of Cleopatra at the London Colisseum. Sergei Diaghilev's Ballet Russes was instrumental in introducing European modernism to Britain and captured the imagination of many artists with Coco Chanel and Pablo Picasso designing costumes and French avant garde artists like Henri Matisse designing the set productions. However, instead of focusing on the drama of the performances themselves Knight was permitted backstage access to capture the unseen and private lives of the dancers. In Knight's autobiography Oil Paint and Grease Paint she highlights just how privileged she was recalling that ''No outsider but myself then haunted the stage''. This etching reveals the close relationship Knight shared with the performers; here she observes Tchernicheva carefully applying khol eyeliner for her role as Cleopatra in which she wore an Egyptian headdress designed by Sonia Delaunay. Knight stated 'there was to be no conversation; it was to be as if I did not exist' and it was this unobtrusive approach which enabled Knight to capture such quiet contemplative moments and that gives her etchings their intimate appeal.
![[§] DAME LAURA KNIGHT D.B.E., R.A., R.W.S. (BRITISH 1877-1970)MERRY-GO-ROUNDEtching, signed28.5cm x 21cm (11.25in x 8in)Note:](https://cdn.globalauctionplatform.com/1304ecaf-2163-4f92-bf18-a95900c00e1f/508ac862-a937-4f22-ae77-ae37d5aec226/468x382.jpg)
Los 293
[§] DAME LAURA KNIGHT D.B.E., R.A., R.W.S. (BRITISH 1877-1970)MERRY-GO-ROUNDEtching, signed28.5cm x 21cm (11.25in x 8in)Note: Dame Laura Knight was one of the most distinguished and popular female artists working in 20th century Britain. Knight was made a Dame in 1929 and in 1936 became the first woman to be awarded full membership to the Royal Academy of Arts highlighting her pioneering role in raising awareness and respect for future women artists. Knight's artistic career was exceptional from the beginning, she joined the Nottingham School of Art at the young age of thirteen where she went on to specialise in the figurative, realist tradition; a testament to her innate artistic talent as up until 1893 female students were not allowed to draw nude models from life.Knight worked in a range of media including oils, watercolours, engraving and etching and is celebrated for giving an insight into the lives of individuals who lived on the fringes of society such as circus performers and ballet dancers. This collection of etchings showcases Knight's unique ability to gain the trust of these communities which facilitated her immersive working method that often involved Knight living alongside the individuals she drew. The etching Zebras shows how Knight documented the popular leisure activities of the early twentieth century, in this case by spending an intensive period of four months travelling around the country with Bertram Mills's circus recording the lives of itinerant circus performers.As well as popular entertainment, Knight also engaged with cutting edge performances in the art world; the drypoint etching Make Up is a portrait of Lubov Tchernicheva, the prima ballerina in the Ballet Russes's debut matinée peformance of Cleopatra at the London Colisseum. Sergei Diaghilev's Ballet Russes was instrumental in introducing European modernism to Britain and captured the imagination of many artists with Coco Chanel and Pablo Picasso designing costumes and French avant garde artists like Henri Matisse designing the set productions. However, instead of focusing on the drama of the performances themselves Knight was permitted backstage access to capture the unseen and private lives of the dancers. In Knight's autobiography Oil Paint and Grease Paint she highlights just how privileged she was recalling that ''No outsider but myself then haunted the stage''. This etching reveals the close relationship Knight shared with the performers; here she observes Tchernicheva carefully applying khol eyeliner for her role as Cleopatra in which she wore an Egyptian headdress designed by Sonia Delaunay. Knight stated 'there was to be no conversation; it was to be as if I did not exist' and it was this unobtrusive approach which enabled Knight to capture such quiet contemplative moments and that gives her etchings their intimate appeal.
![[§] DAME LAURA KNIGHT D.B.E., R.A., R.W.S. (BRITISH 1877-1970)ZEBRAS - 1930Etching, signed27cm x 36cm (10.5in x 14in)Note: Da](https://cdn.globalauctionplatform.com/1304ecaf-2163-4f92-bf18-a95900c00e1f/f49da9b7-6180-46aa-ccb9-9dfef94879b9/468x382.jpg)
Los 294
[§] DAME LAURA KNIGHT D.B.E., R.A., R.W.S. (BRITISH 1877-1970)ZEBRAS - 1930Etching, signed27cm x 36cm (10.5in x 14in)Note: Dame Laura Knight was one of the most distinguished and popular female artists working in 20th century Britain. Knight was made a Dame in 1929 and in 1936 became the first woman to be awarded full membership to the Royal Academy of Arts highlighting her pioneering role in raising awareness and respect for future women artists. Knight's artistic career was exceptional from the beginning, she joined the Nottingham School of Art at the young age of thirteen where she went on to specialise in the figurative, realist tradition; a testament to her innate artistic talent as up until 1893 female students were not allowed to draw nude models from life.Knight worked in a range of media including oils, watercolours, engraving and etching and is celebrated for giving an insight into the lives of individuals who lived on the fringes of society such as circus performers and ballet dancers. This collection of etchings showcases Knight's unique ability to gain the trust of these communities which facilitated her immersive working method that often involved Knight living alongside the individuals she drew. The etching Zebras shows how Knight documented the popular leisure activities of the early twentieth century, in this case by spending an intensive period of four months travelling around the country with Bertram Mills's circus recording the lives of itinerant circus performers.As well as popular entertainment, Knight also engaged with cutting edge performances in the art world; the drypoint etching Make Up is a portrait of Lubov Tchernicheva, the prima ballerina in the Ballet Russes's debut matinée peformance of Cleopatra at the London Colisseum. Sergei Diaghilev's Ballet Russes was instrumental in introducing European modernism to Britain and captured the imagination of many artists with Coco Chanel and Pablo Picasso designing costumes and French avant garde artists like Henri Matisse designing the set productions. However, instead of focusing on the drama of the performances themselves Knight was permitted backstage access to capture the unseen and private lives of the dancers. In Knight's autobiography Oil Paint and Grease Paint she highlights just how privileged she was recalling that ''No outsider but myself then haunted the stage''. This etching reveals the close relationship Knight shared with the performers; here she observes Tchernicheva carefully applying khol eyeliner for her role as Cleopatra in which she wore an Egyptian headdress designed by Sonia Delaunay. Knight stated 'there was to be no conversation; it was to be as if I did not exist' and it was this unobtrusive approach which enabled Knight to capture such quiet contemplative moments and that gives her etchings their intimate appeal.
![[§] SIR GERALD FESTUS KELLY P.R.A. (BRITISH 1879-1972)JANE XLVIOil on canvas100cm x 80.5cm (39.25in x 31.75in)Exhibited:The R](https://cdn.globalauctionplatform.com/1304ecaf-2163-4f92-bf18-a95900c00e1f/845637d4-b382-49a7-cb3d-187079e1ef32/468x382.jpg)
Los 328
[§] SIR GERALD FESTUS KELLY P.R.A. (BRITISH 1879-1972)JANE XLVIOil on canvas100cm x 80.5cm (39.25in x 31.75in)Exhibited:The Royal Academy of Arts, 1946, no.3The Royal Academy of Arts, Sir Gerald Kelly Exhibition, 1957, no. 264Living Artists Exhibition, Bradford, 1957Note: Sir Gerald Festus Kelly was educated at Eton College and Trinity Hall Cambridge before going on to study art in Paris and becoming one of Britain's most celebrated society portrait painters. Kelly had a dynamic international artistic career which started in Paris in 1901 when he met the influential art dealer Paul Durand-Ruel who introduced Kelly to prominent French artists like Degas, Monet and Rodin. After being spurned by a dancer, Kelly left Paris for Burma where he completed his acclaimed paintings of Burmese dancers before returning to England where he was commissioned to paint portraits of King George VI and Queen Elizabeth II, for which he received his knighthood. The subject of Jane XLVI is however neither foreign nor royal but a much more personal subject for Kelly which he would return to again and again. The portrait depicts Lilian Ryan, an artist's model who met Kelly in 1916 and later went on to become his wife and lifelong muse. In a BBC interview Ryan recalls that upon hearing her first name Kelly exclaimed ''What a bloody name, I can't call you that I shall call you Jane''. Kelly subsequently painted 'Jane' no fewer than fifty times in multiple guises and submitted her portrait to the Royal Academy every year after 1920; an institution which Kelly himself would go on to become the President of in 1949. This painting is one of the celebrated 'Jane' series and was first exhibited at the Royal Academy's 178th Summer Exhibition in 1946, then later again at the Royal Academy's Exhibition of Works by Sir Gerald Kelly in 1957. Kelly was said to relish the challenge of rendering contrasting materials with a high degree of finish and this picture exemplifies Kelly's abilitiy to use oil paint's illusionistic properties to render a variety of textures. Jane is depicted seated against a plain dark background which accentuates the opulence of her clothing and Kelly has suceeded capturing the subtle sheen of Jane's oriental silk robe decorated with floral motifs and the softness of her fur collar. Kelly acknowledged James McNeil Whistler as an early influence and Kelly's attention to decorative oriental materials echoes the elaborately detailed paintings by Whistler such as Princess From the Land of Porcelain (1863-64) that celebrated Japanese visual culture and was a major source of inspiration for the Aestheticism movement at the end of the nineteenth century.
![[§] ROBERT SARGENT AUSTIN R.A. (BRITISH 1895-1973)BETHLEHEMEtching, signed17cm x 14cm (6.75in x 5.5in) and two further etchin](https://cdn.globalauctionplatform.com/1304ecaf-2163-4f92-bf18-a95900c00e1f/60648d48-cfd0-4d4f-ffd8-e2b6744eecc5/468x382.jpg)
Los 1178
Plaque. An exquisite hand painted portrait plaque, depicting a Spanish / Portuguese Girl with long dark hair and wearing a gold locket round her neck (possibly by Konigliche Porzellan Manufaktur, KPM, Berlin), circa 19th Century, reverse of plaque with impressed number '324' to upper left corner and contemporary label (unreadable), plaque size 22cm x 14.5cm approx., contained in a contemporary frame
Los 1201
Kathleen Shackleton (1884-1961). Charcoal, depicting a portrait of St. Osyth, signed by artist to lower edge, back reads 'St. Osyth Mahala Eustace Wood, drawn 1921, Dr Wood', mounted & framed, image size 28.5cm x 21cm approx., together with four books belonging to St. Osyth and her husband, including These From God's Own County, by S. L. Bensusan, 1st ed., 1947; Cobbers, A personal record of a Journey from Suffolk, by Thomas Wood, 1947, etc., (Comes with related documents) Kathleen Shackleton was the sister of explorer Sir Ernest Shackleton. This is the second of two portraits depicting St. Osyth, it was discovered whilst clearing out St. Osyth's housekeepers home. It is unclear why two identical portraits were done. It is thought that this a preliminary piece. Kathleen Shackleton has a piece exhibited in the National Portrait Gallery.
Los 307
George Chapman (British 1908-1994)/Portrait of Eric Ayers/signed and inscribed verso/oil on board, 36cm x 25cm/Note: Eric Ayers was a graphic artist (1921-2001) who worked alongside George Chapman and other artists including Eric Ravilious and Edward Bawden. His wife Betty Rothenstein painted under the name of Duffy Ayers. Condition Report: Surface a little dirty but otherwise condition of painting good. Frame a little chipped.ARR Artist's Resale Right may apply to the sale of this lot. For further information please ask Chorley's or visit www.dacs.org.uk
Los 308
Gaetano Vitale (Italian 20th Century)/Portrait of a Young Woman/head and shoulders in a white dress/signed lower right/oil on canvas, 70cm x 50cm Condition Report: ARR Artist's Resale Right may apply to the sale of this lot. For further information please ask Chorley's or visit www.dacs.org.uk
Los 345
Raoul Millais (British 1901-1999)/Portrait of William Holman Hunt/signed with monogram and inscribed by the artist 'My grandfather's old friend William Holman Hunt'/black chalks, 13.5cm x 11cm Condition Report: ARR Artist's Resale Right may apply to the sale of this lot. For further information please ask Chorley's or visit www.dacs.org.uk
Los 564
A CONTEMPORARY VESTA CASE cast with a sad face on one side and a happy face on the other, by David Bowles, London 1995, a Victorian vesta case, oval in section, Birmingham 1887 and a Victorian embossed vesta case with a portrait of Queen Victoria on the front, by C.E. Solomon, Birmingham 1896; the latter 1.6" (4 cms) long; 2.8 oz (3)
Los 718
A GEORGE III TRAFALGAR COMMEMORATIVE VINAIGRETTE engraved on the cover with a portrait of Admiral Nelson and the script "England Expects Every Man Will do His Duty", the grille depicting "HMS Victory Trafr. Oct.r 21 1805", gilt interior, the base inscribed "Eliza Nottingham, Leeds", by Matthew Linwood, Birmingham 1905; 1.7" (4.3 cms) long; 0.9 oz
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283287 Los(e)/Seite