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283322 Los(e)/Seite
Los 23
JAMES WHITELAW HAMILTON RSA RSW NEAC (SCOTTISH 1860 - 1932),THE OLD FARMHOUSEoil on board, signed25cm x 35cmFramed.Note: James Whitelaw Hamilton was born on 26 November 1860, the eldest child to wood turner James Hamilton and his wife Mary Stevenson of 1 Morris Place Glasgow. His parents moved the family to Helensburgh and lived at Thornton Lodge, 107 Sinclair Street, Helensburgh. Whitelaw Hamilton displayed an aptitude for painting at an early age, and after studying in Glasgow, he moved to Paris and studied at the studios of Pascal-Adolphe-Jean Dagnan-Bouveret and Aimé Morot, both considered leading lights of the 19th Century French Movement - specialising in landscapes and portraiture.Whitelaw Hamilton's landscapes have a rugged and raw quality but he did not limit his work to one medium being equally successful using oils, pastels and watercolours. Not surprisingly, given Helensburgh's reputation as a centre for artists, Whitelaw Hamilton became friends with the Glasgow Boys. In 1884, he joined Guthrie, Henry, Crawhall and Melville at Cockburnspath. EA Walton, who spent his winters at Thornton Lodge, and James Guthrie were to remain friends with Whitelaw Hamilton throughout their lives. They shared similar ideals and spent many years in Helensburgh recording the urban lifestyle of the wealthy residents in the town. Whitelaw Hamilton married Lillian Millar Shaw of 12 Lynedoch Place, Glasgow at St Mary's Episcopal Church on 9 September 1891. He and Lillian took residence in the Grange, 23 Suffolk Street, Helensburgh, the home that he was to remain in for the rest of his life.Whitelaw Hamilton exhibited abroad as often as he did at home. He became a member of the Munich Secession and won a gold medal at the Munich International Exhibition in 1897. He became a member of the New English Art Club in 1887, a member of the Royal Scottish Academy in 1922 and a member of the Royal Scottish Society of Painters in Watercolours in 1895. He also held the position of Hon. Secretary, Royal Glasgow Institute of the Fine Arts. He suffered personal loss in 1918, when his son Lt. Arthur Leslie Hamilton was killed in action in Mesopotamia on 25 October, serving with the 1st Highland Light Infantry. A portrait of his son was completed by James Guthrie and is held within the collection of the Glasgow Art Gallery.James Whitelaw Hamilton died in Helensburgh on 16 September 1932 aged 71. His work is represented in Glasgow Art Gallery, Perth Art Gallery, City of Edinburgh Collection, Lillie Art Gallery, The Hunterian, Perth & Kinross Council, Kirkcaldy Museums & Galleries, Paisley Museum & Art Galleries, Dundee Art Gallery, Kelvingrove, The Royal Scottish Academy, Walker Art Gallery, Weimar Art Gallery in Germany and other public collections.
Los 65
* JOHN DANIEL REVEL ROI RP (SCOTTISH 1884 - 1967), PORTRAIT OF A CHILD oil on canvas, signed 51cm x 42cm Framed Note: John D Revel was born in Dundee in 1884. He studied at Dundee School of Art, becoming an Art Pupil Teacher. After qualifying as a teacher he taught for two years in Shipley, Yorkshire before becoming the Principal Teacher of architecture in Preston, Lancashire. In 1906 he gained an open Scholarship to the RCA and in 1911 left the College with a degree in architecture, a degree in painting and the award of a Travelling Scholarship for painting. After a year abroad he was offered and took up the post of Headmaster at Chelsea School of Art. He also saw service in the First World War in Mesopotamia and India, becoming an official artist to the Expeditionary Force (water-colour paintings survive from this time). He specialised in portraiture and landscape. Revel was elected a member of the International Society of Painters, the Royal Portrait Society and the Royal Institute of Oil Painters. In 1925 he took up the post of Director at Glasgow School of Art. Under his directorship the Extension Building (now the Assembly Hall) was built and the School saw an upsurge in student and social events, notably the development of the Student Representative Council, the growth of the Glasgow School of Art Dramatic Club and the birth of the Kinecraft Society. Revel kept up the tradition of teacher/headmaster/director by occasionally taking the architect's drawing class. The degree course in Architecture produced its first graduates during his time as director, quite a few of whom were women. The artist has works in the collections of Glasgow and Dundee museums. Only three of Revel's paintings are recorded in UK auction records (Artnet) with the most recent being ''New Orleans Boy'', a 50 x 40cm oil on canvas, which was sold by McTear's for £1800 (hammer) as lot 1486 29th November 2012.
Los 19g
Roman, Imperial Period, Rome Mint, Marcus Aurelius, ca. 161 to 180 CE. AE sestertius (26.7 g). On the obverse, laureate and bearded head of Marcus Aurelius to right. On the reverse, Salus standing facing left, her right arm extends outwards over altar. RIC 843; C. 564. Size: 1.25" W (3.2 cm)Marcus Aurelius was one of the most famous Roman emperors and one of the so-called Five Good Emperors, a general, an author, and a guiding light on legal and administrative matters for the Empire. Coins bearing his likeness are from a time of prosperity and military success for Rome. Provenance: Ex-Matrisciano Collection, California Condition: Choice VF with excellent portrait/ All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #120825
Los 68
Pre-Columbian, North Coast Peru, Moche III, ca. 400 CE. A burnished blackware/brownware vessel depicting a seated man with a naturalistic visage most likely representing a portrait of a particular individual, wearing a long poncho, elaborate headdress decorated with seashells at each end, and large round ear ornaments, holding a baby jaguar on his lap as if it were a placid kitty. Given the great contrast in scale between the figure and the jaguar, and the figure's highly decorated state, this gent probably represents a warrior or ruler of high status. Size: 7" L x 5" W x 7.25" H (17.8 cm x 12.7 cm x 18.4 cm)Intriguingly, Pre-Columbian mythology and art oftentimes reflects a close interaction between human and jaguar. The jaguar symbolized power and might throughout the Pre-Columbian world. Warriors, rulers, hunters, and shamans alike associated themselves with this king of beasts, the largest and most powerful feline in the New World. The principal Moche god wears a headdress adorned with a jaguar head and paws and important mortals donned similar headdresses. A nocturnal animal, the jaguar sleeps in caves and dark places and creeps quietly in the forest, evoking great mystery. Oddly enough, few Moche artists would have actually scene jaguars as they are not indigenous to the coast. Jaguars prefer moist forest conditions. However, scholars believe that some cubs were transported over the mountains for Moche rituals and it is also possible that some jaguars wandered down the coast. Provenance: Ex-Dan May collection, 1970's Condition: Expected surface wear commensurate with age. Tiny nick to one toe. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #120253
Los 1167
Northern Ireland: 1958-67 3d deep lilac, ordinary, spectacular block of 72 (12 x 6) showing under-inking on approximately half of the stamps, causing the Queen's portrait to be fuzzy. The second row also shows a horizontal doctor blade flaw across all stamps (SG NI1 var) creasing affecting 5 stamps at left and some splitting, still a dramatic variety u/m
Los 331
English School late 17th Century Portrait of a lady, seated, wearing pearls and holding a basket of flowers Oil on canvas in a carved wood frame 90 x 70cm; 35½ x 27½in General condition report Relined, good restored condition, canvas with either a join or old fold 5cm in from upper margin, restored and retouched, under u.v. light there is quite a bit of retouching around margins and some other scattered areas of retouching, some fine retouching to craquelure on face and decolletage again visible under u.v. light
Los 190
School of Sir Thomas Lawrence P.R.A. Portrait of Sir Thomas Moore Watercolour over penil 28.5 x 20.25cm; 11 x 8in This drawing relates to Lawrence~s unfinished oil of Sir Thomas Moore, which was commissioned by the publisher John Murray and exhibited at the Royal Academy in 1830, No. 136 (see Kenneth Garlick, Sir Thomas Lawrence, 1989, p.240, no.575). General condition report A few very light fox marks, otherwise good condition
Los 342
Benjamin Wilson (1721-1788) Portrait of a gentleman, half length, wearing a red coat in a painted oval Oil on canvas, in a carved wood frame 76 x 65cm; 30 x 25½in General condition report Old lining, some visible restoration and light stretcher marks, quite a few small areas of retouched paint loss in background and elsewhere
Los 29
λ James Scouler (1741-1812) Portrait miniature of a gentleman, head and shoulders, in a blue coat Signed with initials and dated indistinctly, thought to be 1771 Oval, blue glass surround, gold frame with hair back and seed pearl initials JMB 60 x 50mm Provenance: Lawrence Gould Antiques 15/11/07 Lots 1-31 from a private collection
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283322 Los(e)/Seite