283287 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen
283287 Lose gefunden, die zu Ihrer Suche passen. Abonnieren Sie die Preisdatenbank, um sofortigen Zugriff auf alle Dienstleistungen der Preisdatenbank zu haben.
Preisdatenbank abonnieren- Liste
- Galerie
-
283287 Los(e)/Seite
Los 585
A FINE FRENCH GILT-METAL AND PORCELAIN MANTEL CLOCK, 19TH CENTURY, the urn surmount with porcelain painted portrait miniature, the circular dial with pink ground and painted with foliage, further inset with seven porcelain panels, case stamped PH Mourey, two-train movement, raised on stands under a glass dome. Overall 51cm high.
Los 722
A pair of late 19th century oil paintings on canvas (possibly over painted photographic portraits) one showing a bust length portrait of lady in black bonnet, with gilt and coral necklace and earrings, the other showing a gentleman in black jacket and tie, both signed top right L Haeck, dated 93, 67 x 54 cm in moulded gilt frame
Los 783
An oil painting on board of a kitchen cupboard containing pots and pans, blue and white banded jug, etc, signed bottom left Jo, with inscribed verso Kitchen Blues, with address details, dated 1979, 46 x 30 cm approx together with a 19th century silhouette portrait of a young boy in oval gilt frame, 19 cm maximum frame size, together with two framed school roll of honour scrolls - 1920 and 1926
Los 331
Timothy Birdsall (British 1936-1963) Two elderly gentlemen seated at a table with a young lady in a punch bowl pen and ink, signed 12 x 24cm Together with Herbert Thomas (Bert) Kitchen Head and shoulders portrait of Bertrand Russell black ink highlighted with white, signed and dated 1977 lower right 37.5 x 49cm (2) Langton Gallery label verso
Los 341
Formerly from the estate of the late Lady Lucan. An unfinished oil on canvas study of Richard John Bingham, 7th Earl of Lucan, in Peer's robes, unsigned but considered to be a copy of a commissioned portrait executed by the late Lady Lucan, 76 x 64cm, accompanied in the lot by an interior black and white press photograph Geoff Wilkinson, dated 1977, depicting a young Lady Lucan, together with two other canvases by the same hand
Los 113
Attributed to John Gubbins (fl.1815) PORTRAIT OF A LADY & GENTLEMAN (A PAIR) oil on canvas; (2); (unframed) 35 by 27in. (88.9 by 68.6cm) Dimensions of Gentleman 35.75 by 28in. Gubbins was a native of County Limerick. He practised as a portrait painter in Limerick, Dublin and Belfast. In 1819 he exhibited two landscapes and seven portraits in the Dublin Society's House in Hawkins Street, including one of The Hon. Walter Yelverton and one of Liet. Colonel Blacker. At this time he was living on Grafton Street, Dublin, and occasionally exhibited in the Royal Hibernian Academy. A Portrait of William III, a copy by him after Kneller, is in the Mansion House, Dublin; and a Portrait of Sir Abraham Bradley King, a copy of a picture by H. Thompson, was destroyed in the fire in the City Hall in November 1908. His portrait of Mrs. Humby as Cowslip in the Agreeable Surprise was engraved by H. Brocas, and one of Archbishop Troy was engraved by B. O'Reilly. The date of his death has not been found. A portrait of Daniel O'Connell (1775-1847) by Gubbins currently hangs above the Kilkenny marble chimneypiece in the Mansion House, Dublin.
Los 120
John Martin (1789-1854) and othersAN IMPORTANT SCRAPBOOK OF ART AND MUSIC Abigail Cohen, who married William John Whyte* of Marleybone, 1844; Thence by descent through the Whyte family; Private collection, West of Scotland * William John Whyte is thought to be the grandson of Samuel Whyte, founder of the celebrated Whyte's Academy, Grafton Street, now home to Bewley's café. This lot comprises three separate scrapbooks/albums: The first compiled in the 1830s by a young Jewish woman, Abigail Cohen - who lived in London - and two later albums from c.1902 from her extended family including an Olive Anchoretta Whyte. The scrapbook includes watercolours, pencil drawings, sketches, poems and literary pieces and musical autographs within, and laid in. There are approximately 60 entries to Abigail's scrapbook and a further 20 to the later collection. Abigail Cohen was born in 1811, into a wealthy Jewish family at Leman Street, Goodmans Fields, London to Judah and Grace Cohen. Judah (1768-1838) was a slave trader, of the West India Merchants, and operated from H&J Cohen, 58 Mansell Street in London. At one point Abigail is thought to have lived at Nottingham Place, Marylebone. The Irish Connection (Fig. I) Among the album are several interesting entries from Irish personalities, including Daniel O'Connell (1775-1847) whose contribution comprises the second verse of Let Erin Remember the Days of Old from Thomas Moore's Irish Melodies. (Fig. II) Included is a musical autograph, titled Romanza, by Irish composer Michael William Balfe (1808-1870) best-remembered for his opera The Bohemian Girl. (Fig. III) Samuel Lover (1797-1868) Irish songwriter, composer, novelist, and a painter of portraits, chiefly miniatures is included with an interesting and hasty entry to "My Dear Miss Cohen" dated "London, August 1841". A lengthy inclusion by William Bayle Bernard - author of The Life of Samuel Lover (1874) - is dated "London, July 1836" (Fig. IV) An untitled musical autograph by Irish composer and pianist George Alexander Osborne (1806-1893) is captioned "my last eight minutes (?) in London" and is undated. He was a supporter of Frédéric François Chopin (1810-1849) during his tour of England in 1848. Richard Robert Madden (1798-1886) Irish doctor, writer and abolitionist, Dedication and autograph. (Fig. V) In the Vale of Avoca watercolour laid on card with blind stamp of Turnbulls Superfine Board, London. (5.5 by 3.75in) Artworks John Martin was a painter, engraver and illustrator and was one of the most popular painters of his day known for his melodramatic paintings of religious subjects and fantastic compositions. He had six children who survived to adulthood and whose work is inlcuded in this album. (Fig. VI) John Martin, Flight into Egypt dated 1834, Sepia wash (5.75 by 8.25in) Alfred Martin, Landscape with Classical Buildings and Mountains in the Distance dated 1834, sepia wash (7.75 by 5.25in) Zenobia (Zoe) Martin, View of a Castle with Two figures in the Foreground ink and watercolour (3.25 by 4.5in) & Portrait of a Lady Reading, July 1836, pencil (5 by 4.25in) Two contributions by Zenobia's husband Peter Cunningham, are also included, one a lengthy, rhyming, three verse poem dedicated to Abigail. (Fig. VII) C. John Mayle Whichelo (1784-1865), The Bay of Naples, 1830, watercolour (4.25 by 5.5in) (Fig. VIII) After William Charles Ross, Portrait of HRH Prince Albert, pencil (8 by 6in) (Fig. IX) Style of Joseph Mallord William Turner (1775-1851) Rüdesheim, sepia wash over pencil heightened with white with location inscribed at base right of centre Other contributors include: Théodore François Joseph Labarre (1805-1870) French harpist and composer. Barnard van Oven (1796-1860) English physician and communal worker. He practised in London and had an extensive clientele among the Jewish community. John Lucas Tupper (c.1824-1879). Early member of the Pre-Raphaelite circle. Two pencil drawings. (Fig. X) Pierre Paul Emmanuel De Pommayrac (1806-1880). Puerto Rico born French artist. Watercolour of French woman. Sir Michael Andrew Angus Costa (1808-1884) Italian-born conductor and composer who achieved success in England. Musical autograph score. The later albums contain approximately 20 entries including: an ink drawing by H.W. Armstead dated June 1902 illustrating tribal figures dancing in celebration on 31 May 1902, the day The Treaty of Vereeniging was signed, (fig. XI), an equestrian watercolour by E Bartlett dated 1902 and a copy in ink of a cartoon. Both also include various text entries and newspaper cuttings.
Los 25
Attributed to Sarah Henrietta Purser HRHA (1848-1943) PORTRAIT OF A LADY IN A BLACK FUR COAT oil on canvas 26 by 19.50in. (66 by 49.5cm) We are grateful to Dr John O'Grady author of The Life and Work of Sarah Purser, Four Courts Press, Dublin, 1996 for his kind assistance in cataloguing this lot.
Los 27
Sir John Lavery RA RSA RHA (1856-1941) AUTOGRAPHED LETTER TO SCOTTISH PATRON J.J. COWAN, 28 APRIL 1895 two and a half pages Octavo on Arts Club notepaper 7 by 4.50in. (17.8 by 11.4cm) Contained in a linen presentation folder with titled upper and navy ribbon ties. An interesting letter from Lavery to his Scottish patron, J.J. Cowan, giving a vivid impression of his busy schedule, and discussing his portrait of Madame J.J. Cowan et sa Fille exhibited in Paris. Reference is also made to American artist James Abbott McNeill Whistler as well as Lavery's plans "to see the Rembrandts" in Holland and "the Italian masters on their native soil".
Los 28
Sir John Lavery RA RSA RHA (1856-1941) KAID MACLEANS' CAMP. A WET DAY oil on canvas signed lower right; signed again and titled on reverse; also with artist's [5 Cromwell Place, London] address inscribed on reverse 21 by 18in. (53.3 by 45.7cm) Oriel Gallery, Dublin,1987; Private collection; Christie's & Hamilton Osborne King, 28 June 1995, lot 162; Private collection 'John Lavery RSA, RHA', The Goupil Gallery, London, 1908, catalogue no. 19 When scanning the territory with binoculars, tents were powerful signifiers in North Africa at the turn of the twentieth century. Wandering warlike Anjera and Taureg tribesmen in desert regions, favoured long low tents no more than five feet high, that would not topple during sand storms, while the standard, imported French or British 'Sibley' bell tents used by Kaid Maclean, and pictured by Lavery in the present work, immediately signalled the arrival of a military force. (1) At the time it was painted therefore, Kaid Maclean's Camp would have been famous for the commander's widely reported exploits. Son of an Army doctor, General Sir Harry Aubrey de Vere 'Kaid' Maclean KCMG (1848-1920), had begun his career in the 69th Regiment of Foot in 1869 and seen service in Canada before being stationed in Gibraltar in 1873. Three years later he resigned from the British Army to take up the post of training officer in the Sultan of Morocco's army. He quickly learned Arabic, although his Scottish accent caused great amusement among the troops. Within a short time he was promoted to command the royal guard of 400 soldiers who accompanied the Sultan on his peregrinations between the three Moroccan capital cities of Marrakech, Rabat and Fez. It is probably one of these expeditions that is represented in the present work and it sits alongside other smaller 'Moorish camp' pictures that Lavery showed in his Goupil Gallery exhibition in June 1908. The landscape, the wet day, with runnels of rain water coursing down the path in the foreground, suggest that this bivouac is more likely to have been painted closer to Tangier than Fez. During his winter trip to the 'White City' in 1906-7, The Times Tangier correspondent, Walter Harris, had introduced the painter to the much admired Sultan's military advisor, the man who, according to Lavery, reputedly 'charmed' the Moroccan court with the 'skirl of his bagpipes'. (2) The introduction occurred when, with Harris and RB Cunninghame Graham, Lavery rode via Tetuan, to Fez, a journey of some 150 miles. (3) On this occasion, not only did the painter produce a kit-kat portrait of the Kaid (unlocated), but he executed a large ceremonial full-length of the Scots general which now hangs in the El Minzah Hotel, Tangier. Lavery would by 1906, have been well-aware of Maclean's exploits. As commander, courtier and diplomat he was constantly on the move. In 1892 he quelled the Anjera rebellion, an action that the artist and 'Bibi' Carleton may have witnessed. (4) Two years later in the face of plotting viziers, Maclean master-minded the succession of the Sultan's favourite son, Abd-el-Aziz. Yet despite his loyalty to the ruling family, the imposing Scot acted as an unofficial agent for the British and this was recognized in the coronation honours of Edward VII. However his power was waning, and in 1907, within a short time of Lavery's return to London, Maclean was taken hostage by the notorious, El Raisuli. He was held for seven months during which there were lengthy negotiations for his release and the brigand successfully secured British citizenship (ie protection from the Sultan's revenge) and the fiefdom of Tangier for himself. Maclean then retired to Richmond, although he retained a house in Morocco for winter holidays. He died there in January 1920. His funeral cortège, during which his body was carried in state on a gun-carriage through the streets of the city, was also painted by Lavery. (5) By contrast, fourteen years earlier, the present atmospheric sketch gives evidence of the height of Maclean's prestige, just before his fall from grace. Prof. Kenneth McConkey January 2018 1. Throughout the early years of the century there were frequent reports of kidnap, rescue and ransom by Anjera and other Riffian tribesmen. 2. John Lavery, The Life of a Painter, 1940 (Cassell & Co Ltd), p. 103. 3. For a fuller account see Kenneth McConkey, John Lavery, A Painter and his World, 2010 (Atelier Books), pp. 96-100. 4. Ibid p. 101. Lavery records riding out from Tangier with Bibi Carleton to witness a fight between the Anjera tribesmen and the followers of the brigand, El Raisuli. Sadly no dates are given. 5. Sold Christie's 17 May 2002.
Los 49
William Crozier HRHA (1930-2011) SELF PORTRAIT, 1962 oil on paper; (monoprint) signed and dated lower right; titled on Arthur Tooth & Sons [London] exhibition label on reverse 20.50 by 14.50in. (52.1 by 36.8cm) Arthur Tooth and Sons Ltd, London; Private collection In 1961 William Crozier's interests moved from the landscape to the depiction of skeletal, existential figures. These haunting images were invariably more concerned with depicting the human condition than with the portrayal of any one individual and they owe more to Tachisme and Art Informel (which interested Crozier in the 1960s) than to any traditional idea of the self-portrait. In 1961, too, Crozier was invited by Ruth Borchard to paint a picture of himself for inclusion in a national collection of artists' self-portraits.(1) This monoprint was one of a number of works Crozier made in connection with Borchard's commission. Dr Katharine Crouan 1. See Philip Vann, Face to Face: British Self-Portraits in the Twentieth Century, Sansom and Co., Bristol, 2004, pp. 136. A major retrospective of Crozier's work takes place at IMMA, 'William Crozier: The Edge of the Landscape' until 8 April 2018.
Los 52
Louis le Brocquy HRHA (1916-2012) REACHING. HOMAGE TO JOHN MONTAGUE, 1968 oil on canvas; (hexaptych) each canvas signed and dated on reverse; also with various notes regarding presentation 33 by 40in. (83.8 by 101.6cm) Christie's, The Irish Sale, 22 May 1998, lot 194; Private collection In his catalogue essay 'Jawseyes', for an exhibition of portraits by Louis le Brocquy (1916-2012), the poet John Montague (1929-2016) referred to the images as "manscapes", and what he saw as "le Brocquy's re-invention of the portrait". (1) Montague could write from personal experience as the subject of Reaching. Homage to John Montague (1968). Montague has described how he came to know the artist best during the 1960s, when he was Paris Correspondent with the Irish Times. (2) le Brocquy and his wife, artist Anne Madden, lived in the south of France and regularly visited Paris, and Montague relates how they socialised with fellow artists and writers, or visited exhibitions of le Brocquy's work on show there. The interest was mutual with the artist providing the cover illustration for Montague's collection A Chosen Light published in 1967, the year before the portrait. Montague reminisced about exploring art with Louis le Brocquy at major collections, describing the artist's responses to the finer points of display, the positioning of artworks or the way they were mounted. That same attention to detail is evident in this example. Reaching comprises six panels arranged in two rows of three within an enclosing frame; the central two panels with dark, textured grounds, and the four flanking panels with white. While particularly reductive in method, comprising sparse surfaces punctuated with impastos of paint applied to suggest embodiment rather than illusionistic description, smudges and layers are scraped to reveal both human frailty and resilience, through symbolic bone and flesh. The portrait in the upper centre is a brooding study evoking deep immersion in thought, surrounded by a suggestion of metaphorical hands reaching for something elusive, barely within grasp. The Head Series, to which this painting relates, emerged in 1964 inspired by a visit to the museum of anthropology in Paris and continued for a number of years until the artist took on the very different challenge of the images for Thomas Kinsella's The Táin, published in the year following the Homage portrait of Montague. As with his portraits in general, this one alludes to the head as a container of the spirit and imagination, with the face as a kind of veil, both revealing and shrouding. In this exceptional example, the expression and the language of gesture evoke the fugitive processes of creativity and its hard-won achievement. Dr Yvonne Scott January 2018 1. Louis le Brocquy, Studies Towards an Image of James Joyce, Galleria d'Arte San Marco dei Giustiniani, Genoa, 1977. Texts by le Brocquy and by John Montague. See Anne Madden Le Brocquy, Louis Le Brocquy: Seeing His Way, Dublin: Gill & MacMillan, p.210. 2. John Montague, "Poet John Montague on Louis le Brocquy", Irish Times, 26 April 2012.
Los 64
Robert Ballagh (b.1943) SELF PORTRAIT, 1969 print; (no. 17 from an edition of 50) signed, numbered and dated lower left 13.50 by 9.75in. (34.3 by 24.8cm) Estate of Theo McNab Theo McNab was born in Dublin. He worked as a design consultant before exhibiting for the first time at the Irish Exhibition of Living Art in 1971, where he was awarded the Carroll's prize. From 1973 he held one man shows at the David Hendriks Gallery. He exhibited extensively in Europe, the USA, China, Japan and Korea. In 1981 he became a member of Aosdána and was elected to the Toscaireacht (Supervisory Board) in 1985. He was Professor of Fine Art at the National College of Art & Design where he actively promoted international exchanges for staff and students under the Erasmus scheme. His work is underpinned by scientific order as found in nature, such as observation of the movement of the sun within a given period of time from a fixed position. He has said: "I do not wish my painting to be classified as abstract or otherwise. I am interested in our feelings about existence and our desire for order whether manifested in mythology, philosophy or mathematics. I transform these timeless concerns into landscapes reflecting personal experience".
Los 102
G Smith (20th Century school), portrait of Rudolf Nureyev, pencil and watercolour, signed and dated 1976 by artist and signed by Rudolf Nureyev lower right, 49cm x 39cmProvenance: Painted by Nureyev's dresser when he performed in the Black Swan at the Coliseum. The signature was authenticated by Daily Telegraph's former ballet correspondent Katherine Sorley Walker
Los 61
Attributed to Sir John Watson Gordon (1788-1864), 'Portrait of James Collier Harter', oil on canvas, H.126cm W.100cm, within ornately carved giltwood and gesso frame with integrated plaque 'Presented to the family of James Collier Harter ESQ.re of Broughton Hall by 323 of his friends and fellow citizens to commemorate their presentation of the original portrait (by Sir John Watson Gordon R.A. & P.R.S.A.) to the Manchester Infirmary in acknowledgement of Mr.Harter's eminent services as treasurer of that institution.Provenance:By decent through through the family.Footnote:The portrait was started by a commission artist who then fell ill shortly after starting the painting. The artist of the original (John Watson Gordon) then stepped in to finish the painting with his own hands. An edition of the Manchester Guardian, 1855, states this in its report of the event of the presentation of the portrait. (Newspaper available upon request)
Los 213
Fourteen Halcyon Days Royal Commemorative enamel bonbonnieres; Prince William 1st Birthday, 4th Birthday, 18th Birthday 124/500, 21st Birthday 104/300, QEII Anniversaries; 40th Wedding 138/400, 75th Birthday 71/750, 80th Birthday 83/250, 50th Wedding 145/1000, 50th anniversary of the Coronation 81/250, Portrait of the Queen Mother 147/500, Queen Mother, State Visit to Spain 1988 188/300, Marriage of Charles & Diana 446/1000 and Birth of Prince Henry 386/1000
Los 235
STUART BENSON (20TH CENTURY)Portrait Bust of Mab MoltkeBronze, 34cm highNote: Mab Moltke was a lifelong friend of Oliver St. John Gogarty and he commissioned Benson to make this bust for Mab as a gift. Benson also made a bronze bust of Gogarty - see frontispiece of 'Perennial' by Oliver St. John Gogarty, published by Contemporary Poetry, Baltimore, MD, 1944.
Los 402
JESSICA ELIZABETH CORRIE (c. 1900)Miniature Portrait of General William Charles Forest Oil on ivory, tondo, portrait, 4cm diameter, the entire 9cmWith label verso 'General Forrest, C. B, Uplands, Winchester, 1900, painted by J. E Corrie'Major William Charles Forrest fought in the infamous Battle of Balaklava during the Crimean War (1854 - 56). This event is remembered for a particularly embarrassing military blunder, The Charge of the Heavy Brigade, 1854, in which in the confusion of the British soldiers rushing to support their follow troops brought the wrong gun batteries to replenish the depleted stocks. Major Forrest remarked in the aftermath, ’I got a crack on the head in one charge but the brass pot stood well, and my head is only slightly bruised.’
Loading...-
283287 Los(e)/Seite