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283287 Los(e)/Seite
Los 803
A collection of pictures including a 19th century engraving of the Duke of Beaufort in the Uniform of the Gloucestershire Yeomanry, after H. de Daubrawa, an early 19th century coloured engraving of an officer of the 92nd Highland Regiment of Foot and a further military etching signed WA Cox all framed, together with an oil on canvas style printed portrait of a young girl reading, in moulded gilt frame and three nursery prints after Beatrix Potter.
Los 611
A miscellaneous collection (2 boxes) to include mixed brass wares to include trivets, candlesticks, etc, silver plated and other cutlery, order of service for the wedding of His Royal Highness the Prince of Wales and Lady Diana Spencer, His Royal Highness the Prince Andrew and Miss Sarah Ferguson, etc, a quantity of playing cards, cigarette cards, pair of oval ebonised portrait frames, etc
Los 105
Andy Warhol (American, 1928-1987) Willie Shoemaker, 1978 Synthetic polymer paint and silkscreen ink on canvas 40” x 40” Stamped and authenticated by the Estate of Andy Warhol, numbered ‘PO41.010’ (on overlap) $500,000. – 600,000.Provenance: Estate of the Artist, The Andy Warhol Foundation for the Visual Arts, Inc. Jane Holzer (Baby Jane) Private Collection Sotheby’s New York: “Contemporary Art: Part Two (Morning)” [Lot 119]: Thursday, November 15, 2001 Private Collection, London: 2001-2005 Private Collection, NY: 2005-present Literature: Sotheby’s “Contemporary Art: Part Two (Morning)” [Lot 119] auction catalogue: New York: Thursday, November 15, 2001 Catalogue Raisonné, The Andy Warhol Foundation for the Visual Arts, Inc. [Pending] In 1977 Warhol began working on a series of portraits of athletes at the behest of Richard Wiseman, a well-known art collector and sports enthusiast. While the “athletes” series was a deviation from Warhol’s previous subject matter, the theme that tied this group of portraits to many of his previous works remained — fame. Warhol immortalized many iconic figures in “pop culture,” including actors, musicians and political figures. The depiction of athletes was a natural progression and the fame that the athletes embodied was not lost on Warhol. He expressed this sentiment, saying: “I really got to love the athletes because they are the really big stars.” The 10 athletes that constituted this series were Muhammad Ali, Pelé, Dorothy Hamill, Tom Seaver, Jack Nicklaus, O.J. Simpson, Chris Evert, Willie Shoemaker, Rod Gilbert, and Kareem Abdul-Jabbar. Warhol’s portraits of pop icons have become highly prized works of art and continue to produce record auction prices; images of Marilyn Monroe, Liz Taylor, Marlon Brando, Elvis and others have sold for more than $30,000,000 since 2014, with a Triple Elvis (Ferus Type) leading the way, bringing an astonishing $81,925,000. The first portrait Warhol produced in the “athletes” series was that of Willie Shoemaker, a Pop icon in the racing world, to be sure. Willie Shoe is the Elvis of the turf. Born August 19, 1931, in Fabens, Texas, William Lee Shoemaker became a giant in Thoroughbred racing despite his 2.5-pound beginning. Riding professionally from March 19, 1949, to February 3, 1990, “The Shoe” won 8,833 of 40,350 races, including 11 Triple Crown races. In 1958 at the age of 27, Shoemaker was inducted into the National Museum of Racing Hall of Fame. An excerpt from Warhol’s published diary details his meeting of Shoemaker as follows: Monday, March 28, 1977–Los Angeles At 4:00 I went to Fred’s room to photograph Willie Shoemaker the jockey. Richard Weisman commissioned me to do a series of athletes’ portraits. Richard will keep some of the portraits and some will be for sale and the athletes will get to keep some. So Willie was the first athlete. Had to get some film (cab to Schwab’s $3, film $15.30–lost slip). Willie’s wife called from the lobby and she came up with a girlfriend–but without Willie. He didn’t show up till ten after 5:00 and when he saw her, he couldn’t believe she was there. He’d been in court getting a divorce from her, that’s why he was late. Willie’s ex-wife of one hour was one of the tallest women I’ve ever seen. She was dressing Willie for the picture and he looked like an eight-year-old kid. And guess what he was wearing – little jockey shorts! Ordered Martinis and the wife was drinking. She kept asking him for a date to celebrate the divorce and he kept turning her down, he said, “If I’d known that you were going to be here, I wouldn’t have come.”
Los 19
Edward Troye (Swiss/American, 1808-1874) Nina Oil on canvas, 25” x 30” Signed, dated May 28, 1869 $30,000. – 40,000.Provenance: H.P. Whitney Collection of Sporting Art, Yale University James Graham and Sons, New York Private Collection This painting is the one referenced on page 313 of Alexander Mackay-Smith’s book The Race Horses of America as one of the two from the Whitney Collection of Sporting Art that was deaccessioned from Yale in exchange for a John James Audubon. The New York gallery that received the painting named it “Nina,” and it could be Nina, based on another known portrait of the horse by Troye. Mackay-Smith was unable to verify with absolute certainty which horse this might be but also speculates it could have been a mare belonging to James Grinstead of Kentucky, possibly Kelpie. Francis P. Garvan assembled and later gave Yale University what would become the core of its American art collection; along with this he bestowed the finest collection of sporting art ever assembled in this country, named in honor of his two friends and fellow Yale alumni, Harry Payne Whitney and Payne Whitney.
Los 112
Sir William Orpen (Irish, 1878-1931) Sergeant Murphy & Things Oil on canvas, 29 ½” x 40” Signed $350,000. – 450,000.Provenance: Artist’s Studio Book record for 1923: Sergeant Murphy sold to 1st Baron Dewar of Homestall for £500 Viscountess Ward of Witley, her sale; Christie’s London 14 July 1967, lot 89 (750gns. to Roussack) E.J. Roussack, NY, his sale; Sotheby’s London, 18 July 1973, lot 52 (illustrated) Anon. sale; Christie’s NY, 8 June 1984 lot 301 (illustrated) Anon. sale, Christie’s NY, 30 May 2002, lot 108 (illustrated) Sir William Orpen had a friendly rivalry with Sir Alfred Munnings, who was widely considered the best sporting artist of the 20th century. While the two were stationed in France as war artists during World War I, they found themselves both painting at the Canadian Cavalry Headquarters. Munnings, who was painting a portrait of Prince Antoine of Bourbon on horseback, ran out of sable brushes. He found Orpen and asked him three questions: if he had a car (which he did); if he had any sable brushes; and if so, would he mind lending Munnings some brushes? Orpen kindly handed Munnings all of his sable brushes. The next day Orpen asked Munnings for the brushes back. Munnings quickly reminded him of the first question about the car and told Orpen he could “damn well drive to Paris and get some more.” (Orpen, An Onlooker in France, p. 66) The rivalry between the two great artists perhaps reached its conclusion in this painting — quite impressively Orpen’s first attempt at a horse portrait. It is often said that this work was an endeavor to prove that Orpen could paint a horse portrait that would rival those of Munnings. Orpen, after all was one of the most fashionable portrait painters — a “prodigy from Dublin” who had taken London society by storm. Munnings was equally as fashionable but had the advantage of a reputation as a painter of horses and men. Sergeant Murphy was first exhibited at the Royal Academy in 1924 and, unsurprisingly, was compared with Munnings’ works in the same show. Munnings remembers reading a review of the show “about Orpen’s picture of Sergeant Murphy saying that the Irishman’s picture was better than mine of the grey horse…that my horse’s head was too small.” (Munnings, The Second Burst, p. 153). Many elements within Orpen’s painting of Sergeant Murphy are, in fact, borrowed motifs from Munnings’ oeuvre. The oak tree is a notable example as several of Munnings’ patrons went so far as to request oak trees in their commissioned paintings. Chris Pearson, a scholar of Orpen, even suggests that the man leaning against the oak tree in Sergeant Murphy & Things is Munnings himself — a tongue-in-cheek nod to Munnings’ reputation as the top horse painter of the day. Munnings was commissioned to paint Sergeant Murphy after he won the Grand National. It is unclear if Orpen was ever commissioned by the horse’s owner, “Laddie” Sanford — his record books indicate that it was first purchased by Lord Dewar (of whiskey fame) in 1923, prior to its initial exhibition at the 1924 Royal Academy exhibition. That it was not purchased by Mr. Sanford leads to the speculation that Orpen painted Sergeant Murphy & Things as a challenge to Munnings. Sergeant Murphy was a chestnut gelding by General Symons out of Rose Craft, bred in Ireland by G. L. Walker in 1910. By the time he died at 16, he was the veteran of an impressive seven Grand Nationals. When he won the Grand National in 1923, he was owned by the American Stephen “Laddie” Sanford, who had purchased him while an undergraduate at Cambridge to use as a foxhunter. The 1923 Grand National had a field of 28 starters. Six horses completed the formidable course. It was the first Grand National ever won by an American owner. Exhibitions: London, Royal Academy, 1924, no. 655 as “Sergeant Murphy & Things ” Liverpool, Walker Art Gallery, 54th Autumn Exhibition, 1926, no. 158 London, Royal Academy, Commemorative Exhibition of Works by Late Members, 1933, no. 88 Dublin, National Gallery of Ireland, Orpen Centenary Exhibition, 1978, no. 124
Los 955
A George IV muslin handkerchief, stamped with small crown/ GR/ 1824, with a portrait print, his signature and a wax impression of his portrait seal bearing the first version of the National Anthem “God Save Our Good King George”, mounted in a contemporary maple frame with gilt inner frame, 19” x 22” GC
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283287 Los(e)/Seite