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MICHAEL DAHL (1659-1743)Portrait of Frances Langham, as a young girl, half-length wearing a low brown dress, in a feigned ovalOil on canvas, 75 x 62cm With label verso, Frances eldest daughter of Sir John Langham, by Elizabeth eldest daughter of Sir Thomas Samwell bart, died unmarriedProvenance: Cottesbrooke Hall, Temple Manor, Sold HOK at Slane Castle, The Langham Collections, 2004
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ENGLISH SCHOOL, c.1810A Portrait of James West of Alscot Park, Gloucestershire, the bald gentleman seated half length, holding a letter addressed to Mr West; and the companion portrait of his wife Sarah, a daughter of Christopher Wren of Wroxhall, seated half length, by a table with a book. A Pair, Pastels, each 26 x 22cm Sold by order of the Executors of Eileen, Countess of Mount Charles
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MICHAEL DAHL (1659-1743)Portrait of Martha Langham, as a young girl three-quarter length wearing a blue dress with a bowl of cherries and a canary, in a feigned ovalOil on canvas, 74 x 62cm With label verso, Martha 4th daughter of Sir John Langham baronet by Elizabeth his wife, died unmarriedProvenance: Cottesbrooke Hall, Temple Manor, Sold HOK at Slane Castle, The Langham Collections, 2004
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HUGH DOUGLAS HAMILTON (1739-1808) Portrait of a man, half length with white ruff and blue coatPastel, 24 x 19.5cm, ovalSigned with initials and inscribed 'ROMA'Inscribed verso Painted by Hamilton Rome 1789, altered and repainted by C Skripmsher London 1816In contemporary George III giltwood frameProvenance: Lieutenant Colonel George William Panter and by descent to present owner. (Panter formed the outstanding pre-war collection of Irish silver, glass, militaria, pastels and architectural drawings in Dublin, much of which was sold through Sotheby's in the 1930s.)The face of this young man is obviously by Hamilton and there is no reason to doubt the monogram etc, so it would appear that the sitters' Roman casual clothing was altered to formal and fashionable regency style in 1816.
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***PLEASE NOTE THE ESTIMATE IN THE PRINTED CATALOGUE SHOULD READ €2,000 - 3,000***ENGLISH SCHOOL (LATE 18TH CENTURY)Portrait of a Young Boy in a Blue Coat - 'Lannie' Alexander Mitchell of StowOval, pastel, 62 x 47cmProvenance: Captain HCP Hamilton, Moyne, Durrow, Co. Laois and thence by descent.
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***PLEASE NOTE THE ESTIMATE IN PRINTED CATALOGUE SHOULD READ €800 - 1,000***SCOTTISH SCHOOL (19TH CENTURY)Portrait of an 18th century Lady in a Blue Dress Seated in an Interior, Believed to be Miss InnesOil on canvas, oval slip, 75 x 51cmProvenance: Captain HCP Hamilton, Moyne, Durrow, Co. Laois and thence by descent
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NATHANIEL HONE THE ELDER (1718-1784)Portrait of a lady holding a bookOil on canvasSigned with monogram and dated 1758Although they later fell out dramatically - and their relationship is inevitably viewed through the events surrounding the exclusion of The Conjuror from the 1775 exhibition of the Royal Academy - in the 1750s Nathaniel Hone and Joshua Reynolds seem to have been close both personally and professionally. They were two young artists on the rise with Hone, born in 1718, the elder by five years. There seems to have been some connection between Reynolds and Hone’s brother, Samuel, when the two were in Italy together in 1752, with a sketched portrait of ‘Master Hone’ appearing in one of Reynolds’s Italian Sketchbooks in the British Museum. By the mid-1750s Hone and Reynolds were both winning distinguished patronage and were involved together in the fractious art politics of the time, but, perhaps crucially, with the latter yet to establish the total dominance of the London art world which he would secure in the following decade particularly after the establishment of the Royal Academy with the, by now, Sir Joshua in charge as President. In the year after the present work was painted, Reynolds and Hone served on a committee of leading artists charged with organising a public exhibition to improve the standing of the profession. Several of this committee, Francis Hayman, Richard Wilson, Joseph Wilton and William Chambers went on, with Hone and Reynolds, to comprise the foundation members of the Royal Academy. Hone was one of two Irish artists so honoured - with the number limited to forty in the instrument of foundation, signed by George III on 10 December 1768. George Barret was the other and both served as members of the first Council of the R.A., a position it is difficult to see Hone having attained without the support of the President. It is unsurprising then that there are telling overlaps between Hone and Reynolds’s portrait practice. The present portrait of a lady shares the central placement of the sitter and frank gaze and amused, quizzical, or possibly flirtatious, expression with Reynolds’s Catherine, Lady Chambers (1756, Kenwood House, London) while the arrangement of the hands, held interlinked on a ledge, recalls - or anticipates - Reynolds’s Portrait of Lady Caroline Adair (1757-59, private collection) and a succession of later portraits such as Mrs Irwin and Mrs Montgomery (both 1761; Huntington Art Collection, San Marino and private collection). However, the Hone differs from all of these portraits by Reynolds, in the inclusion of a book, a motif the latter very rarely uses in his numerous portraits of female sitters. Her benign expression accords happily with the harmonious colour scheme and gently bravura treatment of the varied textures of her clothes, while she wears similar large pearl drop earrings to those sported by Hone’s wife in a 1749 miniature portrait (private collection, with Gorry Gallery, Nov 2016).The present work will be included in the forthcoming monograph on the artist currently being compiled by the author and Dr Brendan Rooney. Anyone with information about Nathaniel Hone is invited to get in touch with the authors via the National Gallery of Ireland. William Laffan
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JOHN EMMS (1843-1912)Portrait of a Grey Cob, outside his stable with a Dandydimont and a dachshundOil on canvas, 65 x 83cmSigned lower right and dated, 1896In a contemporary oak frame with gilt slip, with the label 'J. D Spence, picture frame maker, gilder and picture restorer, 7 Lower Sackville Street Dublin.' Sold by order of the Executors of Eileen, Countess of Mount Charles
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Karl Pollak (1902-1986)PORTRAIT STUDIES to include Hogan Mander, Rolf Winquist, Thomas Dugdale, Sir Robert Young, The Mayor of Westminster, The Hon. Greville Howard, Prince Vladimir Galitzine, Nicholas Becker, Lord Cecil of Chalwood, Ernest Thesiger, Ten, three unsigned, black and white photographs, most pencil signed with studio stamp and exhibition labelslargest 49 x 36cm (13)
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SECOND EDITION, 8vo, xlii + 433 pp, original olive cloth with gilt decoration, frontis portrait, 6 chromolithographs, 9 colour and 1 B&W natural history plates, 4 folding maps and numerous B&W illustrations with tissue guards, pages uncut, very light foxing on title page and ep, spine starting to open
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inscribed with the title on a plaque adhered to the front of the frame ; Inscribed on the back with the artists name and address. 89 by 135cm (excl ornate gilt frame)Herbert Gustave Schmalz (1856-1935) was an English painter who renamed himself Herbert Gustave Carmichael after World War 1 to avoid popular anti-German sentiment prevalent at the time. The son of a German father and English mother, he received his initial art training at the South Kensington School of Art and later at the Royal Academy of Arts, completing his studies at the Royal Academy of Arts in Antwerp. Although little known nowadays, Carmichael had a successful career in his day and trained under some important painters. He exhibited widely, including at the Royal Academy, the Fine Art Society on Bond Street (where he had a solo exhibition in 1900 of forty paintings); the Grosvenor Gallery and the Royal Society of Portrait Painters. His works were very popular and were reproduced as prints and in magazines of the time, including a much loved moody and romantic portrait of Elizabeth Barrett Browning painted in the late 19th century. Associated with the late Pre-Raphaelites, he made a name for himself as a history painter. He lived in the Kensington area of London, and was friends with William Holman Hunt and Frederic Leighton, marrying the sister of Dorothy Dene, a favourite model for Leighton. His style was heroic, influenced by the Pre-Raphaelites and Orientalism. The influence of Frederic Leighton on his work is profoundly apparent, in the choice of academic subject matter, society portraits and later landscapes of biblical sites Palace of the Popes - Avignon was painted later in the artist?s career, after World War 1. A monumental work, it initially appears as a secular landscape painting of an early-renaissance palace bathed in golden light, however it has an important historical-Christian theme. Avignon was the seat of the Holy Roman Empire in exile after the schism of the church, and the palace was constructed on the orders of the new Pope Benedict XII in 1334. Successive Popes elaborated and extended the building until it became the soaring, majestic palace of this painting, with a maze of rooms, chapels and courtyards exquisitely decorated and embellished, making it the grandest Gothic palace of Europe. Today, Palais des Papes is a UNESCO World Heritage Site revered by lovers of architecture, history and splendour. In Palace of the Popes Avignon, the artist presents an early evening scene of the palace viewed from the river below and described - on the reverse of the painting in his own elaborate hand - as 'Betwixt the new moon and the sinking sun'. Schmalz's work is well represented in major public collections such as the Royal Academy and others in Europe, America and Australia including the Bendigo Art Gallery. The work is framed in its original beautifully modelled French gilt frame made by the Royal gilders, James Bourlet & Sons Ltd., of Nassau Street, West London as registered on the Royal Portraits Gallery?s list of framers from 1895-1903. - Carol Kaufmann
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283322 Los(e)/Seite