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283284 Los(e)/Seite
Los 118
Sir Stanley Spencer, K.C.B., C.B.E., R.A. (British, 1891-1959):A head study above a figural sketch study down on card, H 14 x W 13 cm, a further female portrait study verso below an inscription possibly reading 'Sandwich in Spring 1923? Xmas 1925? Sandwich at 3V: Hotel. ...two terms at the Slade in 1922 & 1923', the frame bearing Phillips lot label & the reverse inscribed 'Sothebys'. Please note that Artist's Resale Rights may apply to this lot.
Los 120
Dr William Macquitty (British, 1905-2004): 'War artist Stanley Spencer sketching at the Clyde shipyards, 1943', archival bromide print, hand signed lower right, H 27 x W 32 cm. Provenance: Dr. William MacQuitty, A Selling Exhibition of Selected Photographs', Christie's, London, 23rd-26th November 1997, labelled verso. Note: A film producer, a writer & photographer, MacQuitty's film contributions to the war effort included Out of Chaos, a portrait of the war artists Henry Moore, Stanley Spencer, Paul Nash and Graham Sutherland. He also filmed Spencer and his crucifix painting in Cookham churchyard.
Los 127
Bejamin Creme (Scottish, 1922-2016):Portrait of a lady, coloured chalks, signed upper right & dated '45, H 41.5 x W 30.5 cm. Note: An artist, author & esotericist, Creme began painting at an early age & held his first exhibition in Glasgow, his birthplace, in 1940. It was here that Josef Herman saw Creme's work , returning with the artist Jankel Adler, who likewise introduced Creme to the renowned Scottish Colourist J.D. Ferguson. In 1945, the date of the present picture, Creme moved to London with his first wife Peggy, the possible subject of the portrait, & set up his studio in Battersea. Through his association with Adler, Creme continued to be a part of the emerging artistic scene. His circle of friends & associates in London included the artists Robert Colquhoun, Prunella Clough, Francis Bacon, Keith Vaughan & John Minton. Please note that Artist's Resale Rights may apply to this lot.
Los 225
After Andrew Geddes (Scottish, 1783-1844):'Summer', portait of a lady, said to be Charlotte Nasmyth, oil on canvas, oil on canvas, H 75 x W 62 cm. Note: A slightly later copy of Geddes' original 1826 picture, now in the Scottish National Gallery. The work was inspired by Rubens' celebrated portrait of Susanna Lunden, ‘Le Chapeau de Paille’, which had been shown in London a few years earlier. Charlotte Nasmyth (1804-1884) was the sixth daughter of the landscape painter Alexander Nasmyth & herself became an artist.
Los 250
After Sir Godfrey Kneller (1643-1723):The Kit Kat Club, by John Faber Jr., the complete set of 49 mezzotints with frontispiece & contents, from the original paintings of Kneller, 1735, sold by T. Tonson in the Strand & by J. Faber at the Golden Head in Bloomsbury Square,contained within a fine leather album with gilt decoration. Note: The Kit-Kat Club obtained its name from the tavern where the members originally met, run by Christopher Cat (or Kat), famous for his "Kit-cat" mutton pies. Luminaries included nearly all the most powerful Whig politicians from 1688 to 1710, & there was much gossip in the period about the activities of the members. By 1703 the group had grown too large for Christopher Cat's tavern, and soon thereafter Tonson used the members' dues to build a special clubroom at his residence in Barn Elms, Surrey. Around this time Tonson commissioned Sir Godfrey Kneller (himself a member) to paint portraits of forty-eight of the Kit-Cats-including the Dukes of Newcastle & Somerset, the Earls of Dorset & Essex, & others including Cornwallis & Godolphin-as well as Tonson himself (these originals are housed in the National Portrait Gallery). This series of plates, by the leading mezzotint artist of his era John Faber the Younger, was issued by Tonson in the 1730s.
Los 121
Alfonso Ruspagiari (1521-1576), Unidentified Woman and Her Admirer, uniface lead medal, sculptural female bust right, her hair elaborately dressed and coiled, wearing earring and pendant necklace, her breasts exposed and with drapery tied around her midriff and on her left shoulder; her portrait set within oval frame from the right edge of which a male head looks towards her; signed on the truncated right arm, A R, 69mm (Attwood 646; Arm. I, 216,5; Pollard 519 = Kress 450; Scher, Currency of Fame, 73 and p. 146), pierced, a very fine contemporary cast, very rare. The medal has been much discussed, in particular by Mary Levkoff in Currency of Fame (pp. 187-7), who described it as “one of the most compellingly romantic images in medallic art from the Renaissance”. The principal subject represents a sculptural image of womanhood admired by a male head emerging from the scrollwork of the oval frame, perhaps an allusion to Ovid’s story of Pygmalion, the sculptor who fell in love with the statue of a woman that he had created. Alternatively, if in fact the second head is female then the medal portrays youth and old age and becomes an illustration of Vanitas.
Los 127
Anonymous (17th or 18th century, possibly Netherlandish), Benvenuto Cellini (1500-71), uniface cast silver medal with bust viewed from behind and head turned three-quarters facing, his left arm raised, wearing gown with fur collar, 50.4mm, very fine. Ex Hermann Vogel collection and Pogge collection, part II, Hamburger, Nov. 1903, lot 4404; also Sotheby’s, 9 April 1992, lot 485. Another example of this medal is in the British Museum (acq. 1966 and currently placed among medals described as “17th Century Italian, unknown artists”). The present portrait is taken from a painting by Vasari of Cosimo I surrounded by his artists but it actually copies the image there of Vasari himself (Cellini is shown elsewhere as an old man). A print by Joseph Collyer (1747-1827) of Cellini utilises this same image (described as after Vasari) and finally the image was used on a 19th century medal by T.W. Ingram (fl. 1820-65).
Los 133
Gioacchino Francesco Travani (fl. 1634-75), Alexander VII (Pope, 1655-67), uniface bronze medal, bust right with hand raised in blessing, 93.4mm (BDM VI, 130), extremely fine The medal is usually accompanied by a reverse of the fountain of Santa Maria in Trastevere. There are two thin cracks in the flan before and behind the portrait. There is a small repair to the edge at 2 o'clock.
![Stephen (1135-1154), Watford type penny, Worcester mint, moneyer Wulfric, rev. []lfric on p[ir], 1.14g (N. 873; S. 1278), str](https://cdn.globalauctionplatform.com/ef8a7785-cbe5-41fb-8c29-a8f100b170e6/b1854cb2-1e38-435b-fe3c-97f5ea2896e2/468x382.jpg)
Los 253
James I, second coinage, shillings (3), m.m.lis, third bust (N. 2099; S. 2654), m.m. rose, fourth bust (N. 2100; S. 2655), third coinage, m.m. trefoil, sixth bust (N. 2124; S. 2688), sixpence, 1606, m.m. rose(?), fourth bust (N. 2103; S. 2658), third with attempted piercing on portrait, fair to fine (4)
Los 263
Charles I, Oxford mint, shilling, dated ‘1044’ in error for 1644, m.m. Shrewsbury plume on obverse only, obv., type C, large bust of Fine Oxford style just breaking inner circle, rev., with decorative lozenges in field beside plumes and beside date, 6.13g (SCBI Brooker 941, same dies; N. 2448; Morr. C-7; S. 2975), old crease marks, some surface deposit and with colouration on reverse suggesting imperfect preparation of the silver blank, about very fine and with a strong portrait, interesting and rare
Los 625
A French pearl, rose-cut diamond and portrait miniature pendant brooch, late 19th century, the circular painted enamel plaque depicting a classical lady and putto after Kauffmann signed G. K., within a fluted bezel and 16 bead surround and with rose-cut diamond scroll settings and detachable pendant fitting, glazed panel back, stamped makers mark N & C, 25g gross, fitted case. Illustrated
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283284 Los(e)/Seite