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283284 Los(e)/Seite
Los 901
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.
Los 365
A SELECTION OF NINE 18TH AND 19TH CENTURY PORTRAIT MINIATURES comprising of a lady putting on stockings, on metal panel. A gentleman in a blue coat. A lady in a blue dress. An oval of a lady in a gilt metal frame. A circular miniature of a gentleman with a blue back ground. An oval of a gentleman with grey hair. A gentleman with a ruff. A gentleman possibly Shakespeare. A Madonna and child - images from 5cm to 10cm
Los 1002
A 17th CENTURY JOINED OAK WAINSCOT CHAIR with a scrolled leaf-carved top rail above a carved lozenge portrait panelled back within corner spandrels, curved shaped arms with turned uprights, boarded seat and matching ringed turned tapering legs united by under stretchers 98cm high 60cm across arms.
Los 126
Hinton Gibbs (British, fl. late 1790s to 1822) Portrait of a lady, profile to the right, wearing a coral necklace and dress with a lace trim around bust, with hair in a Grecian hairstyle, circa 1804/1806, backed with ivory, 6.1 x 5.2cm (2.5 x 2in); Portrait of a young child, profile to the right, 7.1 x 5.7cm (3 x 2in); and Portrait of a gentleman, profile to the left, wearing a black coat with button and collar detailing, circa 1810, 6.6 x 5cm (2.5 x 2in) reverse painting on glass (3) Lady - some paint deterioration and chips to the head and neck. Child - Some cracks due to age, diagonal crack and a missing piece of wax support/backing approximately 3/4inch below sitter, a few blemishes above the sitter's head, some paint deterioration to the neck of sitter. Frame loose. Gentleman - visible cracks and discoloration around perimeter. Some paint deterioration to sitter's jacket.
Los 264
Circle Luigi di Giovanni (Italian, 1856-1938), Portrait of an Italian Fiddler, bears signature centre right "Giovanni", oil on a rectangular panel, in an oval frame, 38 x 31 cm. The Victoria and Albert Museum holds an oil on canvas of the same subject by Luigi di Giovanni. Oblong panel within an oval frame. Panel has a vertcal split all the way through to the left-hand side.
Los 305
After Sir Joshua Reynolds, PRA (British, 1723-1792), Portrait of Georgiana, Duchess of Devonshire, 20 x 15 cm (8 x 6in); After Jean Baptiste Greuze (French, 1725–1805), Portrait of a lady in a cream dress with blue ribbons, at a casement, holding a letter, 18 x 12 cm (7 x 5in), oil on panel (a pair) in pierced and gilded Florentine frames; together with an English School (19th Century) watercolour of a young man, 12 x 10cm (5 x 4in) (3) There is a vertical crack in Georgiana's panel. Both loose in their frames and with some scuffing to the edges.
Los 309
Indian Company School, 19th Century, Four watercolours of Indian men, including a gentleman standing full-length, in a lilac coat, carrying a case, 11 x 7 cm (4.5 x 3in); A musician playing a small stringed instrument, 13.5 x 9.5 cm (5.5 x 4in); A nobleman in a white turban, carrying a sword, seated on a carpet, 14.5 x 9.5 cm (6 x 4in); A man with a stick, 13 x 8 cm (5 x 3in); together with a representation of the God Ganesh, seated and resting against a pillow, holding a white water lily, 13 x 9.5 x (5.5 x 4in) watercolour and Indian ink on paper (5); together with Three paintings on mica, two depicting Indian noblemen carried in palanquins, both 9 x 15 cm (3.5 x 6in); and another of a nobleman riding a camel, 9 x 13cm (3.5 x 5in), Indian ink on mica, framed (3); also two Mughal miniature paintings, Tiger and deer hunt with hunters riding in on a horse and on top of an elephant, with script above, 22 x 13 cm (8.5 x 5in); Portrait of a Prince, in a red dress and a turban, inscribed below the sitter, 15 x 10 cm (6 x 4in), gouache on paper (2); French School, 19th Century, A Fallen Napoleonic soldier with his horse beside him, a trumpet on the ground, watercolour, 7 x 10cm; and Charlton Nesbit (British, 1775–1838), A Pastoral scene with a peasant watching a flock of birds, etching, 6 x 8cm (12 watercolours in total)
Los 66
19th Century Russian Hand Painted Miniature Portrait on Ivory, Possibly Maria Feodorovna (wife of Paul I). Signed with monogram center right. sight measures 2-3/4" H x 2-1/4" W, frame measures 4-1/8" H x 2-3/4" W. We Will Not Ship This Item Out of State of Florida. Condition: Good condition Domestic Shipping: $36.00 Min Est. $700.00 Max Est. $900.00
Los 67
19th Century Russian Hand Painted Miniature Portrait on Ivory, Empress Anna Ivanovna (r. 1730-1740). Inscribed to back. sight measures 3" H x 2-1/2" W, frame measures 3-3/8" H x 2-7/8" W. We Will Not Ship This Item Out of State of Florida. Condition: some fading otherwise good condition Domestic Shipping: $36.00 Min Est. $600.00 Max Est. $800.00
Los 68
19th Century Russian Hand Painted Miniature Portrait on Ivory, Empress Elizabeth I (r. 1741-1762). sight measures 3" H x 2-3/8" W, frame measures 3-3/8" H x 2-3/4" W. We Will Not Ship This Item Out of State of Florida. Condition: Good condition Domestic Shipping: $36.00 Min Est. $300.00 Max Est. $400.00
Los 69
19th Century Russian Hand Painted Miniature Portrait on Ivory, Emperor Peter II of Russia (r. 1727-1730). Signed center right. sight measures 3-1/4" H x 2-1/2" W, frame measures 3-1/2" H x 2-7/8" W. We Will Not Ship This Item Out of State of Florida. Condition: Some fading otherwise good condition Domestic Shipping: $36.00 Min Est. $600.00 Max Est. $800.00
Los 116
Roderic O'Conor (1860-1940)Etude, Femme à Contre JourOil on board, 62.2 x 50.8cm (24½ x 20'')Signed and dated (19)'07; signed again and inscribed 'Etude. Roderic O'Conor No.3' versoAtelier 'O'Conor' stamp versoProvenance: Hotel Drout, Paris 'Artist's Studio Sale', 7th February 1956; Crane Kalman Gallery, London, March 1959; Robert Hodsell 1959; later with Ben Goldstone; sold Christie's 'Irish Sale', May 2003, Cat. No.67, where purchased by current owner.Exhibited: Possibly 'Salon d'Automne' 1909, No.1319.Literature: 'Roderic O'Conor: A Biography with Catalogue of his Work' by Jonathan Benington, Dublin 1992, Cat. No.127, p.205.Shortly after moving to Paris from Brittany in 1904, O'Conor produced a group of studio interiors in which the figure was portrayed against the light, or contre-jour. Doubtless he was aware of the use made of this technique by Degas and Bonnard, both of whom took similar delight in the resonance and ambiguity of shadows.O'Conor responded to the new challenge with gusto. Finding his feet in new cosmopolitan surroundings, he felt, impelled him to develop a new approach. For the first time in his life he was the proud and sole occupier of a spacious studio, illuminated on one side by a series of large windows. He quickly found that the effects of light and shade, contrast and colour could be endlessly adjusted by placing his models at varying distances from the windows, and by painting them at different times of day. One way to expand the range of such opportunities was to interpose his subjects in the space between the light source and his easel, thereby making it appear as if they were emerging dramatically from the shadows.O'Conor's contre-jour body of work comprises a self-portrait and several paintings of nude and clothed female models. The present work is arguably the most surprising and the most daring of the entire group. The figure is viewed at close proximity, so that the masses of her torso and skirt completely dominate the composition; we are, in truth, almost within touching distance of this mantled figure whose facial features we are unable to discern. The light reflects off her neck, shoulder and bodice, dazzling in its brightness, and yet the absence of detail that is a direct corollary of the viewing conditions means that she must remain an enigma.Capturing such a scene with a camera would be virtually impossible - the lens could never cope with the extreme light-dark contrasts. Only a brave artist would attempt it in paint, knowing that the glare of light from behind the subject would demand something extra from the colours at his disposal. O'Conor's solution is easy to discern: he pushed the plastic properties of oil paint to new extremes of gesture and impasto. The sensuous build-up of pigment in this work is at once highly experimental and daring. Whilst the mosaic-like textures prompt comparison with Sickert's paintings dating from 1907, such as 'The Juvenile Lead', the approach of the Irishman is so radical as to be ahead of its time, anticipating the work of contemporary artists such as Frank Auerbach.Jonathan BeningtonA major exhibition, Roderic O'Conor and the Moderns at the National Gallery of Ireland, co-curated by Jonathan Benington runs until October 28th 2018
Los 38
Louis le Brocquy HRHA (1916-2012)Image of James Joyce (Opus 424)Oil on canvas, 70 x 70cm (27½ x 27½'')Signed verso and dated (19)'79-88Provenance: With Galerie Jeanne Bucher, Paris; Taylor Galleries, Dublin, where purchased by current owner.In Dorothy Walker's monograph on the artist le Brocquy she describes the spiritual and technical problems with his images of Joyce. ''It is said that no Dubliner can quite escape from the microcosmic world of Dublin, and in this I am certainly no exception. James Joyce is the apotheosis, the archetype of our kind and it seems to me than in him-behind the volatile arrangement of his features-lies his unique evocation of that small city, large as life and therefore poignant everywhere. But to a Dublin man, peering at Joyce, a particular nostalgia is added to the universal ''epiphany'', and this perhaps enables me to grope for something of my own experience within the ever-changing landscape of his face, within the various and contradictory photographs of his head which surround me, within my bronze death-mask of him and, I suppose, within the recesses of my own mind. Indeed I think that this preoccupation of mine is not altogether unlike that of the Celts of prehistory, with their oracular cult of the human head, the mysterious box which holds the spirit prisoner. To attempt today a portrait, a single static image of a great artist such as Joyce, appears to me to be futile as well as impertinent. Long conditioned by photography, the cinema and psychology, we now perceive the human individual as facetted, kinetic. And so I have tried as objectively as possible to draw from the depths of paper or canvas these changing and even contradictory traces of the man. In this fragmentary search I have seemed at times to encroach on archaeological ground. Is there archaeology of the spirit Certainly neither my will nor my skill has played any essential part in these studies. For the fact is that many of them emerged entirely under my ignorant left hand-my right hand being for some months immobilized in plaster. So it would appear that no dexterity whatever was involved in forming these images, which tended to emerge automatically, so to speak, jerked into coherence by a series of scrutinized accidents, impelled by my curiosity to discover something of the man and, within him, the inverted mirror-room of my own experience.
Los 91
Mary Swanzy HRHA (1882-1978)The Lute PlayerOil on canvas, 45 x 36cm (17¾ x 14¼'')Mary Swanzy began her career as a portrait artist, before adopting an increasingly abstract approach to her subject matter. In this present example, her handling of the paint reflects her later interest in cubist techniques, particularly evident in the figure’s dress, where she has broken up the contours of the surface, using colour instead line to suggest the folds of the drapery. However, at the same time she is following more traditional lines of composition and figural representation. The Lute Player incorporates many elements of style and pictorial arrangements similar to old master paintings. The female figure, is placed in the centre of the composition, as the focal point around which the scenes rotates. She is given a sense of importance, raised up on a rock, out of proportion to the landscape surrounding her. This amplification of her features, particularly her head and hands, and deliberate eschewing of perspective by Swanzy reflects the work of Renaissance painters. Women playing lutes reoccur time and again in these old master paintings, with the instrument serving as a symbol of harmony and grace, appropriate qualities for a woman in the 16th century. In Swanzy’s work, she is presented to us as a Venus figure, with a dress draped loosely over her body, slipping off her shoulders to expose the pearly white flesh of her skin underneath. She is a sensual figure, a symbol of beauty, the epitome of femininity, sitting in this arcadian landscape. Yet, Swanzy held strong views about the role of women in art and she rejected the notion that only certain types of subject matter were appropriate to her because of her gender, remarking “Ladies have to paint pussy-wussies and doggy-woggies...If I had been born a Henry instead of Mary, my life would have been very different”. (Brown, Karen. E, The Yeats Circle, Verbal and Visual Relations in Ireland, 1880- 1939, Routledge 2011). While she could never escape this prejudice in her own lifetime, by taking on the role traditionally adopted by male painters of representing a female subject for purely visual pleasure, she is manages to subvert this stereotype. Niamh Corcoran, August 2018
Los 115
δ Salvador Dali (1904-1989)Portrait de Calderón (M & L 515a; Field 73-1-D)Etching with aquatint printed in colours, 1971, signed and inscribed 'E.A.' in pencil, an artist's proof aside from the edition of 150, on Richard de Bas wove paper, as included in 'Calderón: La Vie est un songe', printed by Ateliers Rigal, with full margins, plate 340 x 250mm (13 3/8 x 9 7/8in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Los 268
δ Robbie Williams (b.1974)Self Portrait SetThe set of four screenprints in colours, 2000, signed and numbered inscribed 'AP' from the edition of 10 in pencil, each on wove, each the full sheet printed to the edges, 725 x 725mm (28 1/2 x 28 1/2in) (4) (framed)Inspired by the prints of Andy Warhol these images are also based on polaroid's, which was a working method of Warhol.δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
![[§] JOHN BULLOCH SOUTER (SCOTTISH 1890-1971) AFTER ANDREA DEL SARTO - PORTRAIT OF A WOMAN Oil on canvas, unframed 73cm x](https://cdn.globalauctionplatform.com/e0391efe-b5ae-42a2-aceb-a9510106d4c8/2e5a361b-4720-40c8-ab80-377eac34185e/468x382.jpg)
![[§] DAVID ALISON R.S.A. (SCOTTISH 1882-1955) AN UNFINISHED PORTRAIT Signed, pencil and watercolour 47cm x 45cm (18.5in x](https://cdn.globalauctionplatform.com/e0391efe-b5ae-42a2-aceb-a9510106d4c8/e6328f94-7ecf-45ab-cde5-558fdb1384a5/468x382.jpg)
![[§] JAMES COWIE R.S.A., L.L.D. (SCOTTISH 1886-1956) SELF-PORTRAIT Pencil 14cm x 11.5cm (5.5in x 4.5in) Provenance: The Ar](https://cdn.globalauctionplatform.com/e0391efe-b5ae-42a2-aceb-a9510106d4c8/364def7c-d55d-462c-801c-55a5a417cf79/468x382.jpg)
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283284 Los(e)/Seite